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HUNDU THE BEAST GOD posted:But didn't cast her in any films. She got more modeling work out of that than film work. Which basically says "We'll look at you, but we won't listen to you".
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Mar 17, 2017 23:34
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| # ? May 9, 2024 23:38 |
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Saw it tonight. Thought it was great. SMG makes threads in CD unreadable. Even if you are right, being obnoxious about it means I won't agree with you anyway. Well thanks for listening, bye.
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Mar 18, 2017 05:36
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There was some laughing going on so I might've misheard it but the douchebag brother says "fam" when he's first introduced, right?
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Mar 18, 2017 05:37
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HUNDU THE BEAST GOD posted:But didn't cast her in any films. She got more modeling work out of that than film work. She got cast as this thing  ...so I guess you could argue "well, at least she didn't get cast just for her looks"?
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Mar 18, 2017 12:49
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TBeats posted:Even if you are right, being obnoxious about it means I won't agree with you anyway. Hard disagree
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Mar 18, 2017 12:59
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Magic Hate Ball posted:There was some laughing going on so I might've misheard it but the douchebag brother says "fam" when he's first introduced, right? "SUP FAM"
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Mar 18, 2017 16:02
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This movie is a thing of marvel for making people cheer for a TSA agent
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Mar 18, 2017 17:19
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they get poo poo done.
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Mar 18, 2017 17:39
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Lil Mama Im Sorry posted:"SUP FAM" Yea I deffo cackled @ that.
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Mar 18, 2017 17:43
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Groovelord Neato posted:you were wrong about the twilight zone episode. Well no; for that to be the case, you would have to successfully argue for the objective existence of evil gremlins. So, in an exemplary case of life imitating art, you find yourself pointing to the marks on the plane and saying "see?! Look at these markings! Only a gremlin could have created marks like these! Don't you see?!" Plus: you heard a disembodied voice - and this voice reassured you that, though you might sound crazy now, history will vindicate you. I did not bring up Nightmare At 20000 Feet arbitrarily. The title tells you explicitly that it's a dream - a nightmare. And a nightmare is, by definition, the horrific realization of a fantasy. Get Out is likewise a film depicting a nightmare scenario. It is explicitly Chris's nightmare - the realization of Chris' fantasies - fantasies of his own powerlessness, of his girlfriend's infidelity, of his 'selling out', of his losing his essence and 'becoming white', and so-on. And like the protagonist of Nightmare, Chris chooses to remain asleep because he sees no other alternative. He only perceives two choices: red pill or blue pill - returning to the oppressive normalcy or retreating into fantasy. The tragedy of the film is that Chris cannot imagine a third choice.
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Mar 18, 2017 23:56
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The proper solution in Nightmare at 20,000 feet is to somehow bring the gremlin into the plane.
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Mar 18, 2017 23:59
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"A terrifying or very unpleasant experience or prospect." It's almost like words have more than one definition.
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Mar 19, 2017 00:01
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SuperMechagodzilla posted:I did not bring up Nightmare At 20000 Feet arbitrarily. The title tells you explicitly that it's a dream - a nightmare. And a nightmare is, by definition, the horrific realization of a fantasy. no.
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Mar 19, 2017 00:03
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So you would contend that the episode is not metaphorical, it's just about what actual gremlins would be like, hypothetically
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Mar 19, 2017 00:05
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does anyone read a thread. did you read the post above mine.
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Mar 19, 2017 00:14
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The gremlin exists in the diegesis of the episode, but it also represents the actualization of itself.
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Mar 19, 2017 00:21
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Say it ain't so, I will not go - Turn the lights off, carry me home
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Mar 19, 2017 01:24
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Annointed posted:"A terrifying or very unpleasant experience or prospect." Well no, Webster; you haven't actually provided an alternate definition. You've only (over)simplified the definition that I've already used, by omitting the reason why a nightmare is terrifying/unpleasant. You know, the psychology. Again, there is a concerted effort to render Chris apsychological and apolitical. People believe Chris does not have fantasies. It's frankly a bizarre objectification.
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Mar 19, 2017 01:53
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SuperMechagodzilla posted:Well no, Webster; you haven't actually provided an alternate definition. You've only (over)simplified the definition that I've already used, by omitting the reason why a nightmare is terrifying/unpleasant. You know, the psychology. i hope someone gives you a wedgie. you ruin threads.
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Mar 19, 2017 01:54
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I am the ultimate killing machine.
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Mar 19, 2017 01:56
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SuperMechagodzilla posted:Again, there is a concerted effort to render Chris apsychological and apolitical. People believe Chris does not have fantasies. It's frankly a bizarre objectification. I don't know how anyone could think that after seeing his goofy millennial yuppie fuckboy apartment.
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Mar 19, 2017 02:11
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SuperMechagodzilla posted:I am the ultimate killing machine. Yeah so someone should stop you.
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Mar 19, 2017 02:26
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CelticPredator posted:Yeah so someone should stop you. Oh wait the OG Godzilla already did.
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Mar 19, 2017 03:14
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I'm still of the opinion that Chris isn't afraid of wanting to be white, or afraid of being turned white. Nor does he "want to be white", all of those anxieties are Rod's. Rod thinks he's losing his friend to to a white girl who's going to turn him white, which is foreshadowing the very literal scenario in which Chris is actually going to be turned into a white person through brain surgery. All of that can also be allegorical, or metaphorical, but that doesn't mean it isn't also happening diagetically in the movie itself. And Nightmare at 20000 Feet, sorry to tell you this, involves a literal gremlin who literally bites through the engine of a plane. The episode ends with an inspection of the plane where they find claw and scratch marks. There is an ambiguity until the twist reveal, the ambiguity is there to reflect the mental state of the air travel phobic passenger. The ambiguity of the neighborhood's intentions towards Chris reflect Chris's fears of being an outsider among a group of white people, it just turns out that he has something to literally be afraid of (being having his brain replaced with a white person's). You can do the impossible in fantasy and horror films. Just because they reflect our fears and dreams doesn't make the scenarios in them "not real" in the context of the film universe itself. Saying that a fantastical situation in a fantasy or horror or sci-fi movie is "in a character's head" is the laziest, base-level reading you can make and doesn't really add anything to the understanding of the work. You're just saying "this is an allegory for this, but also because it's an allegory that means it's not even real".
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Mar 19, 2017 03:47
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SuperMechagodzilla posted:Well no, Webster; you haven't actually provided an alternate definition. Looks like it was Oxford actually. You should watch Twilight Zone some time. Some of the episodes are clunkers but the rest are really very good.
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Mar 19, 2017 04:27
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King Vidiot posted:Nightmare at 20000 Feet, sorry to tell you this, involves a literal gremlin who literally bites through the engine of a plane. The episode ends with an inspection of the plane where they find claw and scratch marks. [...] Saying that a fantastical situation in a fantasy or horror or sci-fi movie is "in a character's head" is the laziest, base-level reading you can make and doesn't really add anything to the understanding of the work. You've made a mistake here. I've already written that it is not all in Chris' head. He is reacting to actual horrific things, but badly. Understand that my reading is based on hundreds of horror films, each depicting a variation on the same basic narrative: The Terminator: a homeless veteran convinces a waitress that robots are secretly out to get her. All the evidence is destroyed, and she goes 'off the grid' because the cops think she's crazy. William Friedkin's Bug: a homeless veteran convinces a waitress that robots are secretly out to get her. There is no evidence. The cops think they're crazy. They immolate themselves. The Matrix: the internet convinces an office worker that robots are secretly out to get him. He goes 'off the grid' and vows to find evidence. The cops think he's a crazed terrorist. Nightmare At 20,000 Feet: a businessman is convinced a gremlin is secretly out to get him. The cops think he's crazy, and he's sent to an institution. The evidence remains unrecognized at the end. The Autopsy Of Jane Doe: a father and son are convinced a witch has sent zombies to get them. They die, and the witch uses magic to erase all the zombie evidence. The cops conclude that the family went crazy and did a murder-suicide. Devil's Due: a man is convinced that a cult is secretly out to get his pregnant wife. The wife is killed, then the cult steals the baby and destroys all the evidence. The cops arrest the man for his wife's murder, concluding that he went crazy. The Blair Witch Project: some kids are convinced a witch is out to get them. After they disappear, the police drop the investigation because the evidence shows nothing. A movie studio makes a paranormal documentary about the event. You can go on like this. In every case, people are fighting this evil conspiracy, but all the evidence is conveniently destroyed, suppressed, or not yet uncovered. Now, my reading of these films is based on dialectical synthesis: Thesis: there is a gremlin. Antithesis: gremlins don't actually exist. Synthesis: the gremlin is there despite not actually existing. i.e. the gremlin exists insofar as people believe that it does. The gremlin theory - like any conspiracy theory - provides a minimal amount of 'cognitive mapping' to make sense of why bad things happen to good people, and planes fall from the sky, etc. This is the point in practically every horror film. Chris is reacting to something out there - something genuinely evil - but he doesn't fully understand what it is. He can't wrap his head around it. Racism is horrific, but Chris retreats from the true horror of racism by escaping into a more comfortable conspiracy narrative. The true horror is that there is no conspiracy. These bad people that Chris killed genuinely cared about him. They wanted to be his friend. SuperMechagodzilla fucked around with this message at 08:51 on Mar 19, 2017 |
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Mar 19, 2017 08:46
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Bug is really more of a Tracy Letts thing.
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Mar 19, 2017 09:05
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I think walking into a film with a prefab thesis, before actually watching it, is kind of a bad idea You can apply "it didn't really happen" to nearly 80% of fiction. You aren't actually saying anything meaningful about the movie. That big list has only made this more obvious.
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Mar 19, 2017 09:31
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SuperMechagodzilla posted:
Who drove the car into the police station while Kyle was locked up then, tough guy?
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Mar 19, 2017 10:37
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SuperMechagodzilla posted:The true horror is that there is no conspiracy. These bad people that Chris killed genuinely cared about him. They wanted to be his friend. SMG: The white people were the real victims in Get Out! SMG has a single way of looking at things which he applies uncritically to everything, but somehow he's the one engaging in critical thinking here. Normally when someone treats everything as a nail because he only has a hammer it's treated as a sign of being vacuous rather than insightful. sean10mm fucked around with this message at 13:56 on Mar 19, 2017 |
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Mar 19, 2017 13:45
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sean10mm posted:SMG: The white people were the real victims in Get Out! Yeah wait, what? SMG apparently thinks it's okay for black people to get their brains pulled out as long as they're replaced with the well-meaning brains of white people that want to help them.
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Mar 19, 2017 13:58
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having your brain pulled out and replaced with an old white dude's is a metaphor for supporting capitalism, so i suspect SMG is anti-brain removal
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Mar 19, 2017 14:26
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Magic Hate Ball posted:I don't know how anyone could think that after seeing his goofy millennial yuppie fuckboy apartment. It's a big clue! Like Peele himself points out, the parents in Get Out would've also loved Get Out.
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Mar 19, 2017 15:15
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sean10mm posted:SMG: The white people were the real victims in Get Out! I think, rather, he's saying that no conspiracy is required for the southern supper club to be horrific to Chris. The horror isn't that Chris kills them; the horror is that these people view themselves as well-meaning benefactors of black people, that their racism is so mundane and ingrained that many would mistake it as benign. Man, usually I can understand where the cauterwauling over SMG posts comes from, but this stuff seems pretty straightforward to me, and has enhanced my appreciation for the film in a way that the usual Zizek-dumps in genre film threads don't.
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Mar 19, 2017 16:23
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HellCopter posted:You can apply "it didn't really happen" to nearly 80% of fiction. You have become confused. I did not write "it didn't really happen." I wrote that something did happen, but that this something is presented to us in a highly subjective way. The gulf between the objective and subjective is the entire point of Get Out. The cops just can't understand what it's like to be black. "The sunken place means we're marginalized!" Peele is straightforwardly arguing that the 'sunken place' - marginalization - is real. The conceit of the film is that the magic hypnosis causes Chris to perceive 'the sunken place' as a literal alternate dimension outside objective reality. So, put simply: Chris's post-hypnotic hallucinations are 'more real' than the banal normalcy of the party. Chris now experiences his particular situation as horrific, and (in horror movie terms) goes through a very messy breakup with his girlfriend. Chris' altered state of mind 'frees' him from his decent job and his cozy apartment, so now he can go 'off the grid' and become an anti-cult terrorist or whatever. It's a Fight Club narrative. It's a Terminator narrative. All the films listed are very different. In Terminator, the evil robots are 'real' but can only be perceived by schizophrenics. In Bug, there are no actual robots; the characters are 'merely' sciziophrenic, reacting badly to basic social and economic hardships. The point of viewing these films in tandem is to demonstrate how they take different approaches to an identical topic: capitalism, madness, the nature of reality, etc. The robots are real despite not actually existing. Bug is simply a more-bleak Terminator with a detached perspective, where the robots beat the schizophrenics in the end. sean10mm posted:SMG: The white people were the real victims in Get Out! You have poor reading comprehension. SuperMechagodzilla fucked around with this message at 17:23 on Mar 19, 2017 |
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Mar 19, 2017 17:18
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Vegetable posted:This movie is a thing of marvel for making people cheer for a TSA agent I thought that was really funny too.
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Mar 19, 2017 17:32
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Vegetable posted:This movie is a thing of marvel for making people cheer for a TSA agent "Ladies and gentlemen of the jury, you can now see Catherine Keener had to die; she was going to use her enchanted teacup to send my client to the Ghost Dimension. She's like a witch, or something." The entire movie is about tricking audiences into supporting really stupid ideas.
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Mar 19, 2017 18:16
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Why does Rose call her white-assimilated ex-boyfriend who aspired to be their gardener Grandpa?
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Mar 19, 2017 18:24
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Fortunately even the most ignorant jury pool will be aware that a teacup can be considered a deadly weapon. https://www.youtube.com/watch?v=16RdEtQL9EQ
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Mar 19, 2017 18:38
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