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Enos Cabell posted:Does anyone remember the last wide theatrical release to feature an intermission? I swear I remember watching something in a theater in the mid 90s that had one, but can't for the life of me recall what it was. Gods and Generals (2003) had an intermission.
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Jan 2, 2016 18:33
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Timby posted:Gods and Generals (2003) had an intermission. I wonder how many people never came back for the second half.
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Jan 2, 2016 18:35
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HUNDU THE BEAST GOD posted:I wonder how many people never came back for the second half. I saw it in a packed theater on opening night in Green Bay, Wisconsin. (Probably 80 percent of the people there were dressed in Civil War costumes.) Shockingly, almost everyone came back in after the intermission. I should have run far, far away.
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Jan 2, 2016 18:41
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That's basically Warcraft opening night.
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Jan 2, 2016 18:44
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Timby posted:I saw it in a packed theater on opening night in Green Bay, Wisconsin. (Probably 80 percent of the people there were dressed in Civil War costumes.) Shockingly, almost everyone came back in after the intermission. Wait. Civil War re-enactors wore their costumes to the theater? Nerd will be nerds, I guess...
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Jan 2, 2016 18:49
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I'm surprised intermissions aren't more common these days, especially with the two and a half hour 3d blockbuster style movies. Lot of potential concession sales there.
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Jan 2, 2016 18:50
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Enos Cabell posted:I'm surprised intermissions aren't more common these days, especially with the two and a half hour 3d blockbuster style movies. Lot of potential concession sales there. The wants of distributors and the wants of the theatre chains are often at odds.
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Jan 2, 2016 18:55
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Enos Cabell posted:I'm surprised intermissions aren't more common these days, especially with the two and a half hour 3d blockbuster style movies. Lot of potential concession sales there. Taking 15 minutes off per movie cuts into showings and or ads
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Jan 2, 2016 19:02
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Some quick googling... This is what I remember it like:  and this is what it looks like in the remaster  It's not a small difference. If you think that it's an improvement, I guess that's fine, everyone is entitled to their opinion. But don't tell me it's not a big loving change. Snak fucked around with this message at 19:23 on Jan 2, 2016 |
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Jan 2, 2016 19:18
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Whoa.
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Jan 2, 2016 19:21
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FishBulb posted:Taking 15 minutes off per movie cuts into showings and or ads It feels like this is the main reason that the new Star Wars movie isn't half an hour longer.
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Jan 2, 2016 19:21
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computer parts posted:It feels like this is the main reason that the new Star Wars movie isn't half an hour longer. That was like my favorite thing about Force Awakens, it wasn't quite as breakneck as Fury Road but it was still a non-stop thrill ride and the few quiet moments were meaningful.
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Jan 2, 2016 19:26
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edit: Wrong thread. moved to genchat.
Snak fucked around with this message at 19:30 on Jan 2, 2016 |
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Jan 2, 2016 19:28
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Timby posted:I saw it in a packed theater on opening night in Green Bay, Wisconsin. (Probably 80 percent of the people there were dressed in Civil War costumes.) Shockingly, almost everyone came back in after the intermission. Did any Abe Lincoln cosplayers get assassinated by disgruntled John Wilkes Booth cosplayers?
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Jan 2, 2016 19:39
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computer parts posted:Hamlet (1996) and Gettysburg (1993) both featured intermissions.
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Jan 2, 2016 22:10
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Skwirl posted:Swap any one of those out with Parallax View and you have a better trilogy of paranoia and power. Klute, All the President's Men, and The Parallax View are the trilogy of paranoia and power.
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Jan 2, 2016 22:20
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Acne Rain posted:So apparently not only was The Thing the first in a loose trilogy (John Carpenter's Apocalypse Trilogy, it was followed by Prince of Darkness and Mouth of Madness) but the Breakfast Club was also the first in a loose trilogy of movies by the director. Or so I heard. I might hav details wrong, but the idea interests me. Suspiria Inferno The Mother of Tears First two are essential. Stay far, FAR away from the third.
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Jan 2, 2016 22:56
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People like to bitch about the prequels but I wouldn't rewatch Mother of Tears on a bet.
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Jan 2, 2016 23:07
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Enos Cabell posted:I'm surprised intermissions aren't more common these days, especially with the two and a half hour 3d blockbuster style movies. Lot of potential concession sales there. You don't need a formal intermission in the film itself for that though. Theatres round here that do intermissions just pause the movie somewhere halfway through.
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Jan 2, 2016 23:08
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Suspiria is a masterpiece. Inferno is very good but miles behind Suspiria. Mother of Tears is a crime against humanity.
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Jan 2, 2016 23:18
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Kull the Conqueror posted:Klute, All the President's Men, and The Parallax View are the trilogy of paranoia and power. Klute is so loving dope
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Jan 2, 2016 23:22
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FreudianSlippers posted:Suspiria is a masterpiece. MOT makes Inferno look like Godfather 2. It's absolutely insane.
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Jan 2, 2016 23:37
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I've only ever seen Suspiria, Tenebre and Inferno and I feel like maybe I won with that selection.
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Jan 2, 2016 23:46
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FishBulb posted:I've only ever seen Suspiria, Tenebre and Inferno and I feel like maybe I won with that selection. I haven't seen a lot of his catalog but I caught Deep Red recently and would give it a strong recommendation.
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Jan 2, 2016 23:47
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morestuff posted:I haven't seen a lot of his catalog but I caught Deep Red recently and would give it a strong recommendation. i'd say a good list of five would be: Suspiria Deep Red Tenebre The Bird With the Crystal Plumage Opera covers a lot of ground and all five are A+ movies.
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Jan 2, 2016 23:49
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Oh wait I saw Deep Red too. I've heard good things about Bird so maybe someday
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Jan 2, 2016 23:56
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FishBulb posted:Oh wait I saw Deep Red too. I've heard good things about Bird so maybe someday yeah i highly recommend it. awesome early cinematography from Vittorio Storaro and an equally awesome score by Ennio Morricone. plus it feels like Argento's most Hitchcockian movie, and is crazy self-assured for a directorial debut. it's the one Argento that i feel like even people who don't like Argento can appreciate.
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Jan 2, 2016 23:58
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Speaking of loose trilogies I've heard people arguing of these very forums of Cronenberg's early, middle, and late trilogies. Early is er you know what I'll let someone else fill this gap in my memory. EDIT: so I googled it and someone suggests that early trilogy is The Brood, Shivers, Rabid. donquixotic fucked around with this message at 00:27 on Jan 3, 2016 |
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Jan 3, 2016 00:25
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Uncle Boogeyman posted:Klute is so loving dope And here I was about to respond to the same post about how weak I find Klute. It's a flat mystery with weak suspense. The interplay between Fonda and Sutherland should be amazing but he's sleepwalking without presence while she's doing all the heavy lifting. e: I agree with you on Bird With the Crystal Plumage though. That movie is a good time Adlai Stevenson fucked around with this message at 00:33 on Jan 3, 2016 |
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Jan 3, 2016 00:31
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Uncle Boogeyman posted:The Bird With the Crystal Plumage A big part of this is Morricone's score. People tend to think of his work in terms of his scores for the Leone Westerns, but he's a much more stylistically diverse composer than that, and a lot of it is on display here.
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Jan 3, 2016 07:02
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FishBulb posted:Oh wait I saw Deep Red too. I've heard good things about Bird so maybe someday
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Jan 3, 2016 08:51
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I rewatched the '46 cut of The Big Sleep the other day, and while the dialogue between Bacall and Bogart (and to a lesser extent Martha Vickers as the younger sister) remains as electric and sharp as ever, I can't help but feel that the movie is seriously gimped by the Hays Code interference. I guess it's just an unavoidable part of American cinema in the 40s, but coming from the book I just can't help but think what this movie could have been if it was shot a decade or so later, with the actors magically transplanted. Anyone else feel the same way?
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Jan 3, 2016 20:57
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Slowhanded posted:I rewatched the '46 cut of The Big Sleep the other day, and while the dialogue between Bacall and Bogart (and to a lesser extent Martha Vickers as the younger sister) remains as electric and sharp as ever, I can't help but feel that the movie is seriously gimped by the Hays Code interference. I guess it's just an unavoidable part of American cinema in the 40s, but coming from the book I just can't help but think what this movie could have been if it was shot a decade or so later, with the actors magically transplanted. Anyone else feel the same way? this is essentially why we have Miller's Crossing
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Jan 3, 2016 21:00
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I tend to view No Country For Old Men, Burn After Reading, and A Serious Man as a loose trilogy that deals with entropy and the lack of satisfying conclusion life provides.
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Jan 4, 2016 21:34
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Timby posted:The Cornetto trilogy comes to mind; they all carry a loose theme of letting go of one's childhood and having to grow up. I understand this for Shaun and World's End, but I thought Hot Fuzz was more about embracing boyishness?
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Jan 4, 2016 21:44
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Wormophile posted:I understand this for Shaun and World's End, but I thought Hot Fuzz was more about embracing boyishness? Hot Fuzz is about striking a balance. You can't be all fun like Danny or all work like Nick, you have to balance both to be a functional person. And Danny's entire arc is about moving beyond pure boyishness, destroying his father's system and becoming a hero in his own right, an equal partner to Nick instead of a goofy sidekick.
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Jan 4, 2016 21:59
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as a cinema rube can someone explain why 'the third man' is so amazingly great? i just watched it. i liked it well enough, but i fail to see how this bests all other british films. 
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Jan 5, 2016 06:14
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Edit: never mind
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Jan 5, 2016 06:16
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Abel Wingnut posted:as a cinema rube can someone explain why 'the third man' is so amazingly great? i just watched it. i liked it well enough, but i fail to see how this bests all other british films. It's funny.
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Jan 5, 2016 06:20
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Abel Wingnut posted:as a cinema rube can someone explain why 'the third man' is so amazingly great? i just watched it. i liked it well enough, but i fail to see how this bests all other british films. It's a perfect film. One of the best screenplays ever written, a cast that rivals Casablanca in quality, and it's gorgeously shot. It also has that postwar gloom hanging over it, yet it feels timeless. Egbert Souse fucked around with this message at 16:33 on Jan 5, 2016 |
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