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AlBorlantern Corps posted:Did Goyer write both Begins and Man of Steel? Or was Begins from the director's brother? IIRC Goyer wrote Begins but his brother was involved a little too, but Dark Knight was mostly his brother.
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Jan 7, 2019 16:50
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Neo Rasa posted:IIRC Goyer wrote Begins but his brother was involved a little too, but Dark Knight was mostly his brother. Yeah, you can basically tell. Begins was around half Goyer, and then he gradually diminished in influence to 0 as the series progressed.
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Jan 7, 2019 16:52
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The newsreel scene completely spoils that Charles Foster Kane ends up losing his gubernatorial race, who edited this malarkey
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Jan 7, 2019 16:54
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Darko posted:Yeah, you can basically tell. Begins was around half Goyer Sounds about right since the entire second half of the movie is characters repeating lines from the first half of the movie.  I do love Begins though.
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Jan 7, 2019 17:02
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Darko posted:Yeah, you can basically tell. Begins was around half Goyer, and then he gradually diminished in influence to 0 as the series progressed. I like Begins well enough to watch it every couple of years when it pops on tv, but the tonal whiplash between it and TDK is pretty wild. You go from ninjas and magnetic water vaporizers and demon Batman to Heat with capes.
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Jan 7, 2019 17:02
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Ghosthotel posted:The video's "The Oil Rig scene spoils the question of whether or not Clark will become superman" is my favorite dumbass take on MoS by far. It's extremely telling and weird that he can't just accept the fact that Clark intrinsically want's to help people and instead wants the movie to give us a big lesson about why saving people is actually good. Hoping that something subverts your expectations and then being mad when it doesn't? I feel like there's a logical fallacy in there somewhere.
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Jan 7, 2019 17:06
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Ghosthotel posted:The video's "The Oil Rig scene spoils the question of whether or not Clark will become superman" is my favorite dumbass take on MoS by far. It's extremely telling and weird that he can't just accept the fact that Clark intrinsically want's to help people and instead wants the movie to give us a big lesson about why saving people is actually good. It's hilarious that anyone had any doubt that he was going to become Superman. quote:The newsreel scene completely spoils that Charles Foster Kane ends up losing his gubernatorial race, who edited this malarkey Citizen Kan't
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Jan 7, 2019 17:15
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One thing that always drives me crazy is how dour and hopeless people say MoS feels. I just can't agree. Every single human in the film is a fundamentally good person with two exceptions. The trucker, and Clark's childhood bullies. And the bullies grow up to be fundamentally decent people. The whole thesis of the movie which Batman ends up repeating in the next film could be "Men are still good". The first thing you even see a human do is tackle Clark out of the way of a falling cage, risking his own health and safety. Even the Earth military antagonists are presented as noble and self sacrificing and quickly come around compared to their Kryptonian counterparts.
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Jan 7, 2019 17:21
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I Before E posted:The newsreel scene completely spoils that Charles Foster Kane ends up losing his gubernatorial race, who edited this malarkey Some rear end in a top hat named “Robert wise” which sounds like a fake name tbh
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Jan 7, 2019 17:23
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Ghosthotel posted:The video's "The Oil Rig scene spoils the question of whether or not Clark will become superman" is my favorite dumbass take on MoS by far. It's extremely telling and weird that he can't just accept the fact that Clark intrinsically want's to help people and instead wants the movie to give us a big lesson about why saving people is actually good. It's a trend with Snyders films is that people need to be told how to feel about themes and ideas he explores. In 300, we're not explicitly told that the proto-fascist infanticidal homophobes are evil, therefore it's clearly an endorsement of them. In Sucker Punch, we're not explicitly told that sexual exploiting of women is bad, ergo it's sexist. In MoS, we're not explicitly shown why saving people is good, so the film is cyinical. In BvS, the toxic masculinity on display from Bruce (and lesser extent Clark, is not condemned enough, so it clearly endorses the cyclical nature of violence. If there isn't some dude/ette meaningfully staring into the camera explaining poo poo then people won't get it
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Jan 7, 2019 17:24
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AlBorlantern Corps posted:Every single human in the film is a fundamentally good person with two exceptions. Probably the least realistic thing in a movie with flying space aliens, isn't it?
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Jan 7, 2019 17:25
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McCloud posted:Ahahaha I forgot about Dans dumb comment about Diablo. He's the same doink that thought the family got barbequed by heatvision at the end of MoS when Superman snapped Zods neck, and doubled down when folks posted screenshots of it. I remember pointing this out, but not with the intention of going "you dummy!" but simply to say "who gives a poo poo?" There's tons of movies that are technically pretty good but awful for a number of reasons: the films of Sam Mendes, Ron Howard, Clint Eastwood, etc come to mind immediately. Conversely there are a lot of technically disastrous films that nevertheless become beloved. I just think the sheen of objectivity is silly, none of that is 'proof' of anything.
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Jan 7, 2019 17:26
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AlBorlantern Corps posted:One thing that always drives me crazy is how dour and hopeless people say MoS feels. I just can't agree. Every single human in the film is a fundamentally good person with two exceptions. The trucker, and Clark's childhood bullies. And the bullies grow up to be fundamentally decent people. The whole thesis of the movie which Batman ends up repeating in the next film could be "Men are still good". The first thing you even see a human do is tackle Clark out of the way of a falling cage, risking his own health and safety. Even the Earth military antagonists are presented as noble and self sacrificing and quickly come around compared to their Kryptonian counterparts. Incidentally, the people in the military are good, the nilitary as an organisation just makes things worse and causes worse collateral damage. Unrelated, but that Kryptonian guy with a german accent was weird af
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Jan 7, 2019 17:27
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McCloud posted:Incidentally, the people in the military are good, the nilitary as an organisation just makes things worse and causes worse collateral damage. "Every planet has a Germany" - Doctor Who
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Jan 7, 2019 17:29
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AlBorlantern Corps posted:"Every planet has a Germany" - Doctor Who You wanna have a good laugh, google Vathlo island.
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Jan 7, 2019 17:35
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Everybody gets hung up on Sucker Punch being misogynistic, which is clearly not the case when you consider what the real “evil” of the narrative is. People also look at the costuming and make assumptions about what purpose it serves rather than how it plays into the overall theme of the film. Arguably the biggest problem with SP is that it kind of has a weak script, partly because it deliberately follows a vague dreamlogic, but also because the movie is just a little too short to explore the concepts it raises fully. The problem is that those gaps on a page level allow people to fill in whatever assumptions they want. It kind of opens itself up to bad criticism by nature of being kind of loosey goosey.
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Jan 7, 2019 17:38
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Fart City posted:I like Begins well enough to watch it every couple of years when it pops on tv, but the tonal whiplash between it and TDK is pretty wild. You go from ninjas and magnetic water vaporizers and demon Batman to Heat with capes. I never found that too weird if only because Batman's pretty much traditionally at home with both. All the best Batman works are when the director (or author or whatever) is allowed to go hog wild with it.
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Jan 7, 2019 17:55
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A brief first look at HBO's Watchmen https://twitter.com/HBO/status/1082097487438102528
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Jan 7, 2019 18:57
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I get Rorshach having an ill fitting mask, but it looks too calculated in how messy it is and it becomes distracting. Is it tied in a knot behind his head?
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Jan 7, 2019 19:04
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I bet it’s the psychiatrist.
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Jan 7, 2019 19:13
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Rorscharchs mask is kept in hobo kovacs filthy coat,it should be rank.
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Jan 7, 2019 19:56
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Bedshaped posted:Renegade Cut does make a good point about how narratively, MoS's flashback editing is all over the place, but that goon rightfully puts it that the cinematography, it all lines up. What? The Cameo posted:It's kinda funny that twenty years after Pulp Fiction, and like eight after Batman Begins, the non-linearity in this particular story messes with some people in a very thorough fashion. And nearly 70 after Rashomon.
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Jan 7, 2019 23:32
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K. Waste posted:Nah, the montage is MoS is also very deliberate. The moment with his mother doesn't just plop out of nowhere, it occurs directly after the oil rig scene, and then is complemented by this image of a mother and infant whale as Clark wakes up. The next flashback occurs soon after when he wonders into a town and is triggered by the sight of a school bus. I get that there's cinematic contextuality going on here but what does the cut say? I don't see any thematic link between the two scenes other than "whales have mothers, and I do too". Same as the school bus, the sight of something triggers something. It's created a visual link between two moments in time, but there's little narrative connection between [Clark] wandering through a strange town and saving a school bus of kids when he was much younger. quote:The flashback there is a much lengthier sequence that itself goes on to have young Clark get revealed to him that he's an alien, which then matches up to his present day progress is journeying north and picking up on what the soldiers in the bar are chatting about. The next flashback isn't until he finally talks with Lois Lane, and it's directly motivated by his explaining why he thinks and feels the way he does about hiding himself from the world, his father's sacrifice to that end. And finally you have the flashback when he's in the church and struggling with whether or not to give himself up for the sake of humanity, and then we have the resolution of the subplot of his changing relationship with his former bully, who helps him at a time of emotional weakness, which then loops back to the priest doing the exact same thing. I think Dan Olson does a better job of expressing the cinema-narrative dissonance without all the tribalism stuff https://www.youtube.com/watch?v=teTOkGXa_W8
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Jan 7, 2019 23:44
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Bedshaped posted:I get that there's cinematic contextuality going on here but what does the cut say? I don't see any thematic link between the two scenes other than "whales have mothers, and I do too". Same as the school bus, the sight of something triggers something. It's created a visual link between two moments in time, but there's little narrative connection between [Clark] wandering through a strange town and saving a school bus of kids when he was much younger. Are you trying to not get the film? Are you working to deprive it of meaning in your mind? He hears whales communicate with each other after a violent, traumatic event in their bit of the ocean. He remembers his mother talking him down from trauma and helping him stay calm. It is simple.
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Jan 7, 2019 23:46
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Memory is associative in a lot of case. Someone will hear a song on the radio and think back to a big event in which that same song was playing. As a personal example, any time I see the Jurassic Park SNES game or it is brought up, I think of my cousin who died in the hospital while I was at home playing it as a kid. So Clark sees a short school bus and thinks back to the day he learned he was an alien from outer space, to be reductive. His whole world changed. It doesn't have to just be tied thematically but visually or with audio too. With Batman v Superman, do you think it's a coincidence that every time Bruce has a nightmare it begins with the world engine sound? Edit: To put a finer point on it. Man of Steel is an origin story. Be it through audio, visual or thematically, you're seeing his origins. His childhood lessons to his trial and tribulations as an adult. Jimbot fucked around with this message at 23:56 on Jan 7, 2019 |
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Jan 7, 2019 23:53
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Bedshaped posted:I think Dan Olson does a better job Hmmm.
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Jan 8, 2019 00:51
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Only Dan Olson could discover that A Christmas Story is about nostalgia.
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Jan 8, 2019 01:17
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pospysyl posted:Only Dan Olson could discover that A Christmas Story is about nostalgia. Lmao.
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Jan 8, 2019 02:45
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pospysyl posted:Only Dan Olson could discover that A Christmas Story is about nostalgia. 
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Jan 8, 2019 03:21
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McCloud posted:He's the same doink that thought the family got barbequed by heatvision at the end of MoS when Superman snapped Zods neck, and doubled down when folks posted screenshots of it.
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Jan 8, 2019 03:44
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Bedshaped posted:I get that there's cinematic contextuality going on here but what does the cut say? I don't see any thematic link between the two scenes other than "whales have mothers, and I do too". Same as the school bus, the sight of something triggers something. It's created a visual link between two moments in time, but there's little narrative connection between [Clark] wandering through a strange town and saving a school bus of kids when he was much younger. Well, no, in both cases the narrative and thematic connection is very direct. Clark goes through an incredibly traumatic situation that once again forces him to resume this wandering, completely alienated from 'normal' relationships; and he is soothed by the memory of how his mother talked him through another incredibly traumatic moment in his development, where he is also alienated from his peers. He sees the quaint scenario of school bus dropping off school kids, and he's reminded of his own childhood, and how monumentally different his own experiences were. Like, of course in completely objective terms the school bus that the homeless Clark sees is "just" a school bus and there's no substantive relationship between it and his former life. But Clark is not a removed, objective observer looking for rational links. He merely sees, hears, and feels things that resonate with him on a personal level. The point is that the past is always with him, he carries it wherever he goes. For the spectator, the structuring of the first half of the film in this way efficiently conveys all of the traumas and experiences that have made Clark the man who he is when we are introduced to him as an adult, culminating, again, in his father's sacrifice as the most defining event of his life. Again, these scenes are not 'all over the place.' The occupy very specific moments of the the first half of the film, and serve a straightforward purpose in developing Clark's character, if non-linearly. After the interview with Lois in the graveyard, there are no more flashbacks until the very end of the film. And, again, here, the flashback serves a very straightforward narrative purpose. K. Waste fucked around with this message at 03:59 on Jan 8, 2019 |
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Jan 8, 2019 03:56
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I think the first half of man of steel is probably bettered only, in terms of narrative and handling flashbacks, by the opening credits to fresh prince of bel air.
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Jan 8, 2019 04:12
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Bedshaped posted:I get that there's cinematic contextuality going on here but what does the cut say? I don't see any thematic link between the two scenes other than "whales have mothers, and I do too". Same as the school bus, the sight of something triggers something. It's created a visual link between two moments in time, but there's little narrative connection between [Clark] wandering through a strange town and saving a school bus of kids when he was much younger. It's not the biggest point, but when Olson is comparing MoS's flashback structure to other media, why does he go to Lost rather than the far more closely connected (both in story, genre and people involved in the creative aspects) Batman Begins? It seems that is a far better example. Also lol that he seems to be confused as to why Superman is upset at killing Zod and thinks they should have set a "no-kill" rule earlier or something. I would have thought it was obvious why somebody would be upset at snapping someone elses neck with their bare hands, but what do I know?
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Jan 8, 2019 04:47
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garycoleisgod posted:I would have thought it was obvious why somebody would be upset at snapping someone elses neck with their bare hands, but what do I know? Yep. Even if you don't take into account that person he's forced to kill is the last remaining link to his place of birth and the only person who could have helped him fulfill the destiny his parents set out for him (resurrecting his own race) if he'd only been willing to compromise, it's still obvious.
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Jan 8, 2019 05:18
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howe_sam posted:New Captain Marvel Trailer thing
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Jan 8, 2019 05:27
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Elastica - Connection One of the ultimate 90s songs.
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Jan 8, 2019 05:30
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gently caress this looks like the most generic poo poo.
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Jan 8, 2019 05:52
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Brie Larson's line deliveries seem really... weird. Like I can't quite get what the vibe of what the character is supposed to be. The tone makes it sound like she's this kind of emotionless weapon, but she's quipping all over, and something about it doesn't mesh.
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Jan 8, 2019 06:11
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NotJustANumber99 posted:I think the first half of man of steel is probably bettered only, in terms of narrative and handling flashbacks, by the opening credits to fresh prince of bel air. Speed Racer too.
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Jan 8, 2019 06:48
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It's the We Need To Talk About Kevin of superheroes
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Jan 8, 2019 07:15
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