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Did the Roots do some half-assed protest like with Palin, or has Fallon also ruined their integrity?
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Jan 9, 2017 19:07
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No one else can be at fault for your loss of integrity. The Roots have made their choice(s).
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Jan 9, 2017 19:12
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TrixRabbi posted:And literally any other professional comic would have managed to bounce back from that without a problem. Like you think Chris Rock would have stalled for time by pointing out famous people in the audience? I mean, this is literally what an award show monologue is anyways so... though Fallon's Chris Rock impersonation was, shall we say, unfortunate.
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Jan 9, 2017 20:49
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They Shoot Zombies films on Youtube, entries 101-200. The Brood (104): Hardcoded Croatian subs. Onibaba (107): The image quality isn't great, and the English subtitles are noticeably delayed, which can be a bit of a nuisance. In the Mouth of Madness (111) The Hills Have Eyes (119) The Phantom of the Opera (122): I think this is the 1929 reissue, but someone more knowledgeable on the subject like Egbert would probably know for sure. House on Haunted Hill (130) Martin (133) The Devil’s Rejects (140) The Masque of the Red Death (143) The Abominable Dr. Phibes (144) Vargtimmen (152) Dead Ringers (153) Tenebre (155) Kairo (160) Häxan (162): There's another version which has English subs for the intertitles but much worse image quality. Shivers (164) The Hitcher (168) White Zombie (174) Sei donne per l’assassino (177): In English, sadly. Reazione a catena (182): English again. There is an Italian version with English subtitles, but the image quality is much worse. Behind the Mask: The Rise of Leslie Vernon (184) The Old Dark House (185) Planet Terror (191) They Live (192) Prince of Darkness (194) On a sidenote, the list's rankings make no sense to me. Event Horizon and Zombieland above The Night of the Hunter? The Devil's Rejects and Planet Terror among the 200 greatest horror films ever made?
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Jan 9, 2017 21:09
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On the one hand I kind of sympathize with Fallon because he's never claimed to be political or hard hitting nor has he ever really not anyone one his show due to politics nor has he ever asked anything but the most softball of softball questions. On the other hand gently caress him and gently caress everything I just wrote. He's an unfunny spineless hack and the fact that he's pretty much the current king of late night is pathetic on many levels
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Jan 9, 2017 21:10
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Samuel Clemens posted:They Shoot Zombies films on Youtube, entries 101-200. It's the long-OOP Milestone DVD using the "edited 1930 version" Photoplay Productions restoration (which is on Blu-Ray from BFI). That edition had the Carl Davis score on one track, the US sound-on-disc track edited to fit the surviving version on another. Basically, Universal created the 1930 re-release version, then re-edited THAT into the version that survives in 35mm. It's a re-edit of a re-edit, which is why it doesn't have any of the new footage except for replacement shots (like Carlotta on stage). Someone put up the BFI remaster online: https://www.youtube.com/watch?v=2QKpWPut8iM&t=3268s (Though, it's worth buying since it's only about $15 from Amazon UK and region free, plus it has a mostly complete 1080p remaster of the 1925 cut) Egbert Souse fucked around with this message at 21:18 on Jan 9, 2017 |
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Jan 9, 2017 21:16
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K. Waste posted:Did the Roots do some half-assed protest like with Palin, or has Fallon also ruined their integrity? It's probably some of the highest paid work in music history, I'd assume
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Jan 9, 2017 21:17
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Cronenberg chat got me to rewatch this the other day and goddamn is it a stunning movie
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Jan 9, 2017 21:19
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glam rock hamhock posted:On the one hand I kind of sympathize with Fallon because he's never claimed to be political or hard hitting nor has he ever really not anyone one his show due to politics nor has he ever asked anything but the most softball of softball questions. Someone here once compared Fallon to an entertainer who would enthusiastically participate in propaganda broadcasts for a totalitarian regime. It is the perfect way to describe a spineless obedient hack like him. May he be gutted and left to bleed to death hung by his feet above a rail station for normalizing Trump.
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Jan 9, 2017 21:24
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X-Ray Pecs posted:I'd remake Ghosts of Mars, because it's already a schlocky-but-fun remake of Assault on Precinct 13, but there are just a couple obvious tweaks you could make that could turn it from a dumb B movie into a legit great movie. That the idea already exists in reality kinda increases the need to point it out through art, I'd say. Similarly, my remake of Tetsuo: Bullet Man would do a 180 from it's existing over-amped hyper-caffeinated extreme-ness and become something far more subdued, introspective, and melancholic. Essentially Repulsion, but about technological subsistence, economic oppression, and the alienation of individual identity in a culture of commodified consumerist cultists. There will still be drill penises, of course! Probably first introduced in a scene within a movie theatre. Oh, and the protagonist would be a woman.
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Jan 9, 2017 21:29
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I figured you were the man to ask. Thanks for the explanation. Uncle Boogeyman posted:Cronenberg chat got me to rewatch this the other day and goddamn is it a stunning movie In a perfect world, Jeremy Irons would have won the Oscar that year.
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Jan 9, 2017 21:37
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DC Murderverse posted:I mean, this is literally what an award show monologue is anyways so... MBMBaM has a really good bit where they discuss how Chris Rock impressions usually end up sounding racist, but Jackie Chan impressions sound racist 100% of the time. The bit ends with a Chan impression so bad they bleeped it one syllable in.
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Jan 9, 2017 21:42
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So, uh, how did Fallon normalize Trump? I don't watch late night talk shows so I'm not really aware of any interviews featured on them. How are people surprised a presidential candidate was given softball questions on a milquetoast talk show? I'm aware that I am not the audience for this sort of thing, but how influential do y'all actually think Fallon's show and interviews are?
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Jan 9, 2017 21:45
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Samuel Clemens posted:I figured you were the man to ask. Thanks for the explanation. I was reading the wiki and apparently when he won his Oscar the following year for Reversal of Fortune, he thanked Cronenberg. It's a magnificently complex performance.
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Jan 9, 2017 21:46
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Coffee And Pie posted:MBMBaM has a really good bit where they discuss how Chris Rock impressions usually end up sounding racist, but Jackie Chan impressions sound racist 100% of the time. The bit ends with a Chan impression so bad they bleeped it one syllable in. How many white comics even do Chris Rock impressions other than Fallon?
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Jan 9, 2017 21:47
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Uncle Boogeyman posted:I was reading the wiki and apparently when he won his Oscar the following year for Reversal of Fortune, he thanked Cronenberg. It's a magnificently complex performance. Yeah, it's one of those rare performances I find irresistably captivating. I can't help but be drawn into his characters' world and psychological experiences.
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Jan 9, 2017 21:49
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Safety Factor posted:So, uh, how did Fallon normalize Trump? I don't watch late night talk shows so I'm not really aware of any interviews featured on them. How are people surprised a presidential candidate was given softball questions on a milquetoast talk show? I'm aware that I am not the audience for this sort of thing, but how influential do y'all actually think Fallon's show and interviews are? Most Presidential candidates don't have as large a body of violent, mysoginistic, racist quotes.
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Jan 9, 2017 21:50
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There's a difference between doing what SNL did, which admittedly they feel is a mistake and are fighting back against it with intentionally antagonizing the guy and taking some good shots at him (which, to some, is too little too late), and what Fallon did. SNL kinda just flatly tolerated having Trump on the show and that episode is largely unwatchable mostly because there's the big elephant in the room of the fact that he's on the show and none of it is funny, none of it is anything beyond the slightest lip service. Fallon had him on the show and he did more than tolerated his presence; he engaged with him, he paled around and he even mussed up his hair. It's the fact that he so openly engaged with him and treated him like he's far more harmless than he is but also that he's deserving of such treatment. SNL still really isn't off the hook with me though. The passivity of having him on said all it needed to in the face of others choosing to reject him outright.
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Jan 9, 2017 21:52
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CelticPredator posted:I hate Armond White. He's an insincere contrarian. Hate that poo poo. While I don't disagree, I think his AMERICAN SNIPER review is great (Even though he gets an unneeded shot off at BOYHOOD). CPL593H posted:I mean, the villains in the Marvel movies are really bland and unmemorable archetypes so this isn't saying much. I think they got it right with David Tennant in JESSICA JONES, particularly in our current climate. But then fell right off with whatever the gently caress was going on in LUKE CAGE.
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Jan 9, 2017 21:54
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Lobok posted:The whole show started with a huge self-own when the teleprompter wasn't working and he panicked. A man whose career is based on doing live comedy. Calling what Jimmy Fallon does "comedy" is really charitable. TrixRabbi posted:And literally any other professional comic would have managed to bounce back from that without a problem. Like you think Chris Rock would have stalled for time by pointing out famous people in the audience? Jimmy Fallon is a talentless hack and he either sold his soul to Satan or is sucking a very important person's cock every day to get where he is. I can't wrap my mind around how he is successful or famous. Aside from being devoid of any comedic ability he just seems really unnatural in front of a camera like he's constantly going t piss his pants and he's been on tv for like 15 years. DrVenkman posted:I think they got it right with David Tennant in JESSICA JONES, particularly in our current climate. But then fell right off with whatever the gently caress was going on in LUKE CAGE. The Netflix shows and the movies are so different from one another so that's no surprise, but I have to disagree with you about the villains in Luke Cage.
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Jan 9, 2017 22:00
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Man, I wanted to like BLAIR WITCH (2016) more than I did. I think it's clear they wanted to hold back some things for a sequel (They confirm as much in their commentary) and it suffers for it.
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Jan 9, 2017 22:23
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The only good thing in that movie is the finale and that shot of the witch. I know people hate it for good reasons, but I thought that one second was really well done. Honestly I'd rather it have been a original film.
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Jan 9, 2017 22:30
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The true successor to the Blair Witch Project is Willow Creek. It captures the vibe perfectly but does its own thing and manages not to be a derivative knock off.
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Jan 9, 2017 23:00
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Finally got around to watching As Above, So Below. I know I'm late to the party on that one, but it was pretty great. Although now I feel like a hypocrite for liking it after complaining about thin characters in Rogue One and not minding them in this one. I think maybe the found footage element helps gloss over that because a dude making a documentary is not necessarily gonna ask these weird tunnel-guide punks for their history when there's other stuff going on.
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Jan 9, 2017 23:07
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Sugar Cookies (1971)quote:A surreal psychological thriller from the creator of "Troma," the director of "Silent Night, Bloody Night," and director Oliver Stone! (91 minutes) sure why not
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Jan 9, 2017 23:07
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I watched Godzilla Vs Mothra. It was kinda cool. I like the themes, and the effects, but I feel like these movies might work better if I grew up with them? Maybe? I really loved Gojira though. But maybe it was the more serious tone that sucked me in. Next is Ghidrah The Three Headed Monster, so we'll see! Working my way up to Shin Godzilla a bit.
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Jan 9, 2017 23:08
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The Stuff is so goddamn crazy that it makes God Told Me To look like a traditional narrative. It begins where literally any other movie would have its middle, and then it starts a completely different story that is also in the middle. Michael Moriarty meets Andrea Marcovicci and introduces himself, then at the end of the scene she's his girlfriend. I'm pretty sure Cohen decided to make them a couple so that he only needed one motel room later. And then there's Paul Sorvino. Everyone needs to watch this goddamn batshit movie right away.
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Jan 9, 2017 23:15
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I ran out of Smugfilm and Frost/Christman. Are there any other good podcasts that ARE NOT bad movie comedy casts?
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Jan 9, 2017 23:24
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I Don't Even Own A Television is a podcast about bad books, if that's helpful
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Jan 9, 2017 23:26
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SEX HAVER 40000 posted:I ran out of Smugfilm and Frost/Christman. Are there any other good podcasts that ARE NOT bad movie comedy casts? chapo trap house and street fight radio and i dont even own a television
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Jan 9, 2017 23:26
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Babysitter Super Sleuth posted:I Don't Even Own A Television is a podcast about bad books, if that's helpful andif you tweet lyrics from TLO Roll Call at jay you can almost hear him sigh
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Jan 9, 2017 23:27
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Also Last Podcast On The Left is a true crime/conspiracy podcast with a very black sense of humor, though it's not at all for everybody
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Jan 9, 2017 23:28
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SEX HAVER 40000 posted:I ran out of Smugfilm and Frost/Christman. Are there any other good podcasts that ARE NOT bad movie comedy casts? the aforementioned My Brother, My Brother and Me is great. It's the only comedy podcast I listen to with any regularity (unless any of you weirdos thinks Sword and Scale is comedy, which, yikes).
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Jan 9, 2017 23:28
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Oh sorry i meant good film podcasts, already mad deep on MBMBAM and IDEOT. Thanks for those though, everyone should listen to them
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Jan 9, 2017 23:31
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Shane (1953) is a strange, compelling knot of a movie. Despite my professed affinity for the western genre, I’ll be the first to confess that the American western has never really resonated with me. A countercultural degenerate like me naturally gravitates towards subversive pictures like Johnny Guitar, or genre meditations like the Euro westerns or El Topo. Shane is situated in an interesting position, along that spectrum. It’s fondly remembered as a classic, nostalgic, traditional western of the Virginian pattern. I remember my dad watching it often in my childhood. But seeing it myself with fresh eyes, it’s just so unapologetically weird! The American western nearly always concerns itself with what America is and what we want it to be. That question of values is borne out in Shane’s conflict between Joe Sr. and Roof Riker, but it’s not the tropic tycoon vs stalwart private citizen conflict that we’ve come to expect. Roof Riker is a desperate man, one who, through the encroachment of homesteaders on the western range, finds his mode of subsistence becoming economically untenable. In this, Riker ironically finds himself occupying the position of the Native American peoples that he boasts about having collaborated to genocide. Riker “tamed” the west by forcing the plains tribes into armed contention in order to secure his grazing lands, and now, as homesteaders erect fences and shift the landscape into an agrarian mode of production, he finds himself reduced to a thug on the margins of society, forced towards violent resistance (despite his notable attempts to avoid as much) to prolong his way of life. Riker is the massacring American, the legacy of Manifest Destiny, and his work is done. What follows is the work of forgetting him. The homesteader represents a cleaner, more morally upright American, who can (as Riker points out, in his way) inherit the fruits of genocide while evincing their complicity with it. But you can’t erase the killer with a gun; it takes a camera. Enter the eponymous gunslinger, stoic and well-meaning, emerging from a romantic, vaguely unsavory past. The cinematic cowboy can do more than kill Riker, he can replace him. Shane is entirely aware of the craven, insidious nature of the western project. Its narrative is constructed in such a fashion that violence is the failure state. Every party involved is maneuvering in such a way as to eschew, minimize, or at least stifle and mute violent conflict. We went to make a clean break: we long move beyond the bloody legacy of our nation without giving up the dividends of that violence, but it seems impossible. Riker waits in the dark, and he’s not leaving. Shane takes on the burden of eliminating Riker and his gang in a display of marvelous cinematic violence, but this too is an admission that we’ve ultimately failed. Unable to reconcile his inherent killer tendencies with a peaceful life, Shane has to ride off into the dark. The cinematic eclipse of our genocidal history is incomplete, and in Shane, this is made strikingly clear in the peculiar character of Joe Jr. Frequently used as an audience surrogate, Joe Jr is a character that might be more at home in a horror film: a little homunculus that soaks up the inexpressible libidinal excesses of the film’s characters, always at hand to reproduce them in enlarged form. It’s worth noting that Joe Jr. is the only character that wears a cowboy costume for most of the movie. Joe Jr grooms the apprehensive cast of Shane for the cinematic form, goading them towards violence and brutality because that’s what happens in the pulp novels that form his imaginative landscape. When the cinematic gunslinger rides out, he isn’t carrying the legacy of frontier violence off with him. He leaves behind Joe Jr, well taught, eager with empty rifle.
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Jan 9, 2017 23:34
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SEX HAVER 40000 posted:I ran out of Smugfilm and Frost/Christman. Are there any other good podcasts that ARE NOT bad movie comedy casts? Travis Bickle On The Riviera is one of my favorite movie podcasts, I'd recommend their Tony Scott vs Ridley Scott bracket special to see what they're about. They're definitely more on the freewheeling and tangential side of things. Filmspotting is more serious, it's public radio, but they have interesting discussions.
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Jan 9, 2017 23:40
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I've only seen Jimmy Fallon a few times and his popularity is absolutely baffling. That statement about propaganda is terrific.
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Jan 9, 2017 23:49
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SEX HAVER 40000 posted:I ran out of Smugfilm and Frost/Christman. Are there any other good podcasts that ARE NOT bad movie comedy casts? Uhh Yeah Dude is like one of the best and oldest podcasts out there. There's a thread in RGD with loads of clips in the OP. Also You Must Remember This, a Hollywood history podcast.
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Jan 9, 2017 23:57
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therattle posted:I've only seen Jimmy Fallon a few times and his popularity is absolutely baffling. That statement about propaganda is terrific. He's okay when he's just playing dumb drinking games with his guests.
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Jan 9, 2017 23:59
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Anonymous Robot posted:Shane is situated in an interesting position, along that spectrum. It’s fondly remembered as a classic, nostalgic, traditional western of the Virginian pattern. I remember my dad watching it often in my childhood. But seeing it myself with fresh eyes, it’s just so unapologetically weird! The director, George Stevens, headed the army unit which was responsible for filming D-Day and the liberation of Dachau, which makes me wonder how much this experience influenced his work on Shane. The film certainly feels a lot more wary of violence as a means to an end than many of its contemporaries. Though my favourite bit of trivia about Shane is that the distinctive gun firing sound was achieved by shooting a cannon into a garbage can. It's a brilliant idea, and it gives the shootouts an intensity that few other westerns manage to equal.
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