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LORD OF BOOTY posted:here is the sum total of what i managed to suss out in the theater: something really bad happened (a disease or something i guess?). a family lives out in the woods and takes in another couple. the family's kid has a sex dream, and then Joel Edgerton starts losing his poo poo and murders people and suddenly the family all has the disease or whatever. cut to credits. it was not particularly goddamn coherent. It's an interesting reaction that you found it puzzle-like. I took the lack of backstory as permission for me to focus on the characters, rather than trying to figure out the details of what led to the apocalypse. The broad strokes are what you said — there's some disease, they're a prepper family who live off the grid, when they meet a new family things change and it forces the family to reveal what they're willing to do to protect themselves. The ambiguity is in the form of the kid's dreams. Are they scary dreams because he lives in a scary world? Are they weird visions of the future? Do some of the things he dreams about actually happen, like at the end when it's implied he may have sleepwalked and opened the door? The only part that was out and out ambiguous was the ending — we see the kid's nose bleeding and then he's spitting up in the sink. Is that the first sign of the plague, or is he just reacting to watching the other family be murdered? We see him go to bed and then we fade to black, like we do every time before the kid dreams...so is he dreaming of catching the plague? Is he actually dying and has some awareness of his mom saying goodbye, much like in the opening scene with the grandfather? I also couldn't tell if the parents were infected or not — they're at the dinner table next to an empty chair just like when the grandad died. Is that an objective shot or is it another nightmare? I also think the movie will hold up well on rewatch because you can see it all as allegory. The idea of trying to keep your children pure and untainted from the danger and harsh reality of the outside world. There's also an amazing technical detail I didn't catch when watching it (ending spoiler too) — whenever the kid is dreaming the aspect ratio is very wide, i.e. the black bars on the top and bottom are much thicker than the rest of the movie. When Joel and his wife are killing the other family the black bars are slowly creeping in until it's super super widescreen...in other words, reality has become the kid's nightmare. That detail made me love the movie even more, and I think it supports reading the coda of the movie as an extended dream from the son's POV. I'm genuinely curious if you care to say what else you found frustrating or off-putting about the movie, I wish I had more people to talk to about it! That's one problem of having so many drat things to see, it's hard to find places to talk about it.
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Feb 19, 2018 21:42
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Erebus posted:Hulu also has about 50 MST3k episodes. Unfortunately you're never going to get a big collection of them in one place (legally) because it's a rights nightmare. You've got to wonder what the residual check on the theme music for, say, "Prince of Space" looks like.
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Feb 22, 2018 22:58
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nate fisher posted:I usually like Noah Baumbach’s movies, but I didn’t like The Meyerowitz Stories at all. Maybe because Greta Gerwig didn’t co-write, since she was busy doing Ladybird.
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Feb 25, 2018 02:31
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veni veni veni posted:Oh hey Wind River is on Netflix already. It's pretty good. Oh awesome! I think Hell or High Water and Sicario are "better" movies but there are scenes that I love in this one. My favorite part was the convoluted close-range pistol shoot out at the end where everyone's firing like crazy and no one can hit anything, it felt so weirdly real.
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Mar 2, 2018 19:40
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ozmunkeh posted:I’ve avoided all marketing since the initial teaser. Is the movie just the first book? Very loose adaptation of the first book. Alex Garland admitted he read the book once then adapted the screenplay based on his recollection of that initial read.
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Mar 3, 2018 20:45
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Big Mean Jerk posted:This is a little disappointing but not entirely surprising since so much of the book is just internal monologuing. Does the film at least maintain the same unsettling vibe? I actually haven’t read the book, but I thought it did a great job of creating an uneasy dread up to the last moment. They’ve added some backstory to Natalie Portman’s character that’s a little thin, they changed the relationship with her husband, and the acting of the posse is very uneven. But there are some frightening set pieces, and a very out-there third act that I liked a lot. Totally worth checking out, I mean how much new sci fi is there really?
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Mar 4, 2018 01:18
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New trailer for the Netflix original series Lost in Space is up. I'm too young for the original series and too old for the 1998 reboot (and I guess there have been other adaptations). But the world looks great. 10 year old me would watch the hell out of this. And fun appearance by Elizabeth Banks. https://youtu.be/fzmM0AB60QQ
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Mar 6, 2018 20:03
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ONE YEAR LATER posted:That's Parker Posey. Whoops! You're right. Her look reminded me of Banks in that new Power Rangers movie. Funny enough a lot of the comments about the Lost in Space trailer go the opposite way from the reaction here — lots of people who are strong fans of the 1998 version and don't want this to "ruin" it. Congrats to the Netflix algorithm for figuring out the hidden appetite for a reboot.
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Mar 7, 2018 22:10
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HUNDU THE BEAST GOD posted:People that do this and the podcast thing are out of their loving minds. I think the use of the words "consume" and "binge" for TV shows and movies comes from a similar weird place. I don't think the goal of entertainment should be "completing" it. There's no Xbox achievement for watching everything in the Netflix catalogue. I know a lot of people half-watch stuff — they surf the internet, they do laundry, or I guess they watch it at double speed to "get through it." But we're like 120 years into the filmed entertainment thing, you'd think people could find stuff in that collection that holds their attention completely. If something isn't interesting enough for you to watch at normal speed I think you're better off watching something else.
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Apr 2, 2018 18:51
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LadyPictureShow posted:Any body else check out The Florida Project? My boyfriend is from Orlando and he was like ‘drat, they really captured the whole Florida aesthetic’ but I thought it was a slog of lovely white trash people and kids being obnoxious little shits. I loved the naturalistic vibe and Willem Dafoe as a put-upon father figure. The lead actress was an unknown that the director discovered on social media, and the kids are also all new and so great. I thought the mellow rhythm of it was so melancholy, and it nailed the bored summer vibe. I really felt for the characters. The DVD had a BTS bit where Sean Baker explains that the tampon moment actually happened to him when he worked at a movie theater. Blargh...
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Apr 8, 2018 08:45
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"Hit em with a phone book 'cause it don't leave no bruises!" John Mulaney is the best. I wonder if he's ever going to attempt another show, but this time one that's much more his voice and put it on a network like FX.
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May 3, 2018 20:59
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Hamelekim posted:Not sure this is the thread for this but I just bought a 2017 LG oled tv and want to test out the best 4K HDR content on Netflix once it arrives. Any suggestions for the best stuff to watch? I know that Altered Carbon is supposed to be good, although I've already seen it in 1080p. When I watch Netflix through the 4K Apple TV the app suggests things in a "UHD" category. Altered Carbon does look really good.
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May 12, 2018 01:57
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Ali Wong’s new comedy special is up. It’s more of the same and not as good as her first special, but some of the later sections about motherhood and her struggle to “have it all” made me and my wife laugh. I don’t know of another comic who approaches that material with her POV. I figured it probably doesn’t pop up on a lot of peoples recommended, so if that’s your speed or you liked Baby Cobra you should give it a spin.
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Jun 3, 2018 20:53
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Unzip and Attack posted:Can someone who has watched season 2 of The Handmaid's Tale let me know if it's worth finishing? The wife and I enjoyed season 1 but got 3 episodes into season 2 and when June gets recaptured we just both lost interest in the show. We don't want to watch another 7 episodes of a woman being abused if the story just keeps revolving around torture. My wife and I had the exact same thought, but I would encourage you to stick with it. If anything that despair is exactly the point of where Season 2 is now going to take you — how would you react if you were in the same spot? They very quickly find a good balance of more backstory and twists that will probably get you re-engaged. And it generally takes it easy on the physical torture (nothing as intense as the second season premiere, for example). So yeah, I would keep going. Elizabeth Moss is so much fun to watch. Not to mention there are a couple "Holy poo poo!" moments in the next few episodes, and unlike Season 1 I found every episode so far to have something worthwhile (even if they're all about 10 minutes too long). Hope I don't lead you astray!
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Jun 17, 2018 09:11
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Throwing in another vote to check out Ken Burns's Vietnam doc. I've been treating it as a big, 18 hour movie and watching it in 45 minute chunks. I have the last two episodes to watch. I think some of the early reviews in this thread were bummed at the way it glosses over certain historical points. This is most apparent in the first couple episodes which operate like a really well written Wikipedia article synced up with archival footage. But as it finds its rhythm in the middle section, leaning more on talking head interviews, the series strikes an amazing balance between anecdote and historical context. They've also mined an enormous amount of color film footage and cut it together in clever ways to create a sense of place that we're used to only seeing in fictional movies. As a child of boomers and a military family I felt very familiar with all the "plot" parts, but was surprised how absorbing it was to follow the conflict month by month. Events like the riots at the DNC, Nixon's election and call to the "silent majority", and the Kent state shootings land with more weight than I expected. I think the whole project is a very fine representation of a very complicated conflict and surprisingly emotional, especially as you follow various interviewees through the entirety of the war. It's still astounding how eerily familiar our mistakes in Iraq and Afghanistan are when placed up against the Vietnam war.
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Jul 12, 2018 02:44
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Good Time with Robert Pattinson is on Amazon Prime. Tells the story of one crazy night in New York as a hustler character desperately tries to find 10k. Constant close-ups, anxiety-making music and a really great performance from Pattinson. I don't know that the emotional core was quite there for me at the end, but at its best moments it has that "wait, WHAT now?" quality of pulp fiction where things keep getting crazier and more specific. The incidental casting is also great. One of the co-directors plays Pattinson's mentally disabled brother, and the therapist in the first scene is a great example of the weirdo look and vibe they achieve. He looks like David Cronenberg crossed with old Howard Stern.
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Jul 31, 2018 19:15
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Sarchasm posted:I wasn't a fan. Everything feels so chaotic that at some point it all ceases to matter. Good cinematography if that's your thing, but there's no plot and very little character. You've made me think: another way to put it is that it's ALL plot, in that things are constantly and overwhelmingly happening, but the narrative isn't super strong.
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Aug 1, 2018 00:26
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My theory on Season 3 and why it doesn't quite work is because the overarching theme, that chaos and coincidence in the universe are unstoppable as embodied by Thewlis, wasn't that interesting narratively. It took one of the best actors the show had ever had in Mary Elizabeth Winstead, and one of the cleverest bits with the rivalry between Ewan McGregors, and it all sort of petered out. The out-there episodes, such as the tie-in with Season 2, didn't feel as interesting as the narrative thrust of previous seasons. I also grew really tired of every season ending in a bloodbath. But I'm here, ready for Season 4 when it comes!
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Aug 15, 2018 17:12
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Ugly In The Morning posted:I just finished Three Billboards Outside Ebbing Missouri on HBO. Holy poo poo that was a fantastic movie and I was misting up something fierce three or four times. Yeah, it was great. There was a streak of darkness that unified the comedy and tragedy in an unusual way. I liked that one of themes was how things don't wrap up the way we want or expect, and it's about our reaction to that that matters. I loved the filmmaking when the advertising guy gets thrown out the window in I believe a oner, and was truly surprised when Woody Harrelson leaves the movie at the 1/3 mark.
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Sep 23, 2018 03:26
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The Walking dead should’ve been an anthology show. Every season is a new group of survivors working in the aftermath of this outbreak. You could have one season be like The Last of Us, another like 28 days later, maybe one takes place in frozen Canada. But once they said “there’s no cure AND the cast doesn’t change,” there was no real reason to watch. It did really give the illusion of movement, and I liked Jon Bernthal and Rooker, but it never improves past the pilot.
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Sep 24, 2018 06:35
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LifeLynx posted:A lot of it is probably network execs, also. I hear all the time about show runners who step down because their "vision" doesn't match up with what the network wants. Well now the network is still making the same millions on the show because they're not too proud to churn out the same episode sixteen times a year, and the former show runner has to suffer the indignity of having the same yacht for two years in a row because they have to gamble on a new TV series becoming a hit. While there are some high profile exceptions that you hear about — e.g., Frank Darabont with TWD, Bryan Fuller and American Gods — showrunners are often just elevated writers who came up with the concept, or directors / producers that are brought in to helm the ship. They’re rarely the ones cashing the big checks like you’re imagining. Usually that’s the Executive Producers (although sometimes that’s the same person). In the over-saturated TV market it’s really difficult to take a show from inception to season 1 and then keep it running for lots of seasons. Especially as network TV represents a smaller portion of production every year. I think the number of show runners abandoning an idea they originated because of creative differences is pretty small. And if you’re a writer or director at heart it’s much more enticing to try your luck with your own material than running a difficult show for someone else. Even if the paycheck is generous it might be less than you think, and it’s an all-consuming job. Most people in the industry are fans just as much as the critics and viewers and want to make their own mark. And of course, no one wants to work on a bad show, but it still takes a lot of effort to make one. But Hundu is still right, that most people dream of having steady work at that level. The discussion is theoretical for 99% of people. I’m just giving some sympathy to those who are running shows. Cocoa Ninja fucked around with this message at 00:13 on Sep 26, 2018 |
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Sep 26, 2018 00:10
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Hold the Dark’s setting and atmosphere is so wonderful that it totally balances out a slower, more ambiguous third act. It’s like a heavier, headier version of Wind River, including one major sequence in particular that was just wild. I liked that one performance which seems very weird at first blush makes more sense over time. But I think one reason it’s not as satisfying narratively as Saulniers other stuff is it splits the focus between the local chief and Jeffrey Wright, unlike in his other movies we are totally locked into Macon Blair and Anton Yelchin. But man, I could seriously eat Hold the Darks vibe with a spoon. I also felt like the ending had a major True Detective season 1 vibe.
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Sep 30, 2018 07:45
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B-Rock452 posted:At first while watching Hold the Dark I really just wanted to turn it off and watch Wind River which is one of my favorite movies from last year then I came to this thread and actually got psyched to rewatch Brick. So I guess something good came from this movie... Hold the Dark feels like a really close cousin of Wind River's, except much more moody, dark, and ambiguous. Right down to the missing children aspect. I really like Taylor Sheridan's writing, but I do think Jeremy Saulnier has such a lock on tone that I prefer HTD. Even though a lot of people in the thread didn't care for the movie I really hope Netflix can keep cranking these out. Apparently Saulnier made this for less than 15 million, which is just mind-blowing considering the cast. To put that in perspective, Black Panther's production budget alone was 200 million dollars. I know it's apples and oranges, but I would take 10 HTD's before a big-budget superhero movie from Netflix.
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Oct 1, 2018 05:28
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HUNDU THE BEAST GOD posted:He's made his duds but is otherwise a great filmmaker. I hope he gets to do his Chaplin thing. Groucho Marx, actually! And based on "Raised Eyebrows" which was a biography written by a young guy who ended up being Groucho's de facto archivist in the last three years of his life. I think that's such a great angle and agree with you, I would love to see this made!
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Oct 10, 2018 04:35
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