Shadow Hog posted:

From what I read, one of his bigger regrets is not being able to take the role of Jafar, because TNG kept him too busy.

Imagining Jafar not being voiced by Jonathan Freeman, and the idea just feels so utterly foreign to me...

paradoxGentleman posted:

I took one look, heard the words "Well, my little Bro-" and paused the video on the spot.

Is this actually going to be what it sounds like, or should I continue?

kefkafloyd posted:

That's bizarre because he reprised his role in the Dreamworks HTTYD series. Oh well, guess Erlich's got his own stuff to do.

Robindaybird posted:

I know - Anime, the Mazinger movie is looking really slick. Lot of the CG in Mecha go in two extremes of heavy, clunky, mechanical, or human-like movement but floaty as hell without any feeling of oomph or weight. Somehow they managed to give the titular mecha a sense of weight and impact with it's movement and attacks.

https://twitter.com/Viruul/status/924875613902479360

the sense of weight really is an issue a lot of CG have issues with.

GonSmithe posted:

Ejiofor as Scar is great but I really wish they had just gotten Irons again like they did with Mufasa.

LORD OF BOOTY posted:

You say that like Nintendo isn't going to have a loving iron vice-grip on every aspect of the production of this movie. I don't think they want a repeat of the old Mario movie.

SomeJazzyRat posted:

Huh, surprised they aren't going for the "Picking back up with the characters X years later" plot that blockbusters are all about. Kinda refreshing actually. It's kinda becoming a cheap way to add emotional gravity to a story.

Pick posted:

This movie is awesome and criminally underrated.

paradoxGentleman posted:

So what value do you place on the happiness of your fellow human beings? How many good movies is the lovely work life of hundreds of people worth?

K. Waste posted:

So I've been watching Barbie movies, and there's a recurring frame narrative to these movies where before getting into the film proper, it'll be about Barbie sitting down and telling some kids a story. Pretty standard, right?

The thing is, though, that the context of these stories gets increasingly strained circumstantially. So I'm up to Barbie Thumbelina, and the movie begins with Barbie being a... school teacher? Day-care worker?... taking a bunch of kids on a tree-planting field trip. The kids each pick a tree to plant, and the one who picks the small, twiggy Charlie Brown tree gets made fun of. So Barbie sits the tots down and starts regaling them with the tale of Thumbelina, ya know, to teach them how even little things can make a big difference. Nice lesson plan, right? Even ties back into Barbie try'na encourage these kids to get a little more engaged with environmentalism.

Here's where Barb starts going off the rails and Thumbelina actually reaches that nice threshold of being mediocre but interesting. Thumbelina and all her fairy friends' home are being threatened by an industrial development project! Investigating the arrival of the contractors, through a series of mishaps, she ends up being the prisoner of the lead developer's daughter, a superficial and smart-phone savvy young lass who's constantly competing with her 'best friend' to appear more affluent and trendy.

So, imagine you're screenwriter Elise Allen. How do you choose to convey this? Maybe focus on fashion? Music events, upper echelon soirées, the stuff that's the bread-and-butter of Barbie's upper-middle class fantasy life? Well... what if you had this little girl's best friend being given her own island? What if that island has people on it?

This isn't subtle, either. As this little girl is completely unaware that her father is about to displace an entire culture of 'little people' - albeit magical ones - her friend gloats about the fact that her dad bought her and island, casually mentions with some distaste that there are people on it, and then gets over it by saying she'll just go take it over when she's old enough. So in a single anecdote, we get the obliteration of subtext. There is no metaphor, and Barbie has moved on from telling the kids a story about protecting the environment, to a more politically nuanced story that acknowledges imperialism and capitalism as the root cause of environmental ruin, and the primary cost as human.

There's other nuanced stuff here, too. For instance, the little girl's father, while certainly wealthy, is 'new money.' He mentions early on that this development project is a big step up for him, that there's likely some financial gossip going around that he can't pull it off. So, again, Barbie is weaving in at least nominal elements of socioeconomic critique, rendering the persecution of Thumbelina and her people as indistinguishable from the aspirational class fantasy of the American Dream.

Moon Atari posted:

In the Jim Carrey Grinch there is a hot lady who is all horned up for the Grinch.

Owlofcreamcheese posted:

Also if people are deconstructing doctor suess specials someone please explain pontoffel pock to me, it always feels like it has a moral but for the life of me I've never been able to tell what it is.

Like it almost follows the structure of a guy being bored in his simple life, wishing to get away from it all, being given a world tour and an adventure, in a careful what you wish for type way, meeting a girl who also wants to get away from it all then ending back in his simple life with a greater appreciation. But like, it doesn't follow that structure because he never wanted to get away, he WANTED to work at the pickle factory from the start, also the head angel fairy guy uses the same "I want to get away from it all" phrase it seems really negative. Like the character development seems to follow a man as he learns how to use levers more correctly?

(I have no particular opinion on The Hoober-Bloob Highway)

Owlofcreamcheese posted:

That is another way the special WOULD have made sense. But it seems like working at a pickle factory is a wonderful way to spend every day and his toes curl just thinking about how great it would be.

quote:

Likewise there keeps being references to helping him being against fairy rules like maybe there could be a story where the higher up fairies won't help but the rank and file fairies do whats right, but it's only the helpers that seem to worry about the rules and the higher up fairies seem nothing but helpful.

Owlofcreamcheese posted:

I'm just not buying that totally external reading is what it was meant to be.

Like three people "want to get away from here" because of their job.

Puck because he has no job. Nefa because her job is weird fantasy sex slavery. And then the great fairy because he's failed his job for the first time.

Like it's a super solid literary theme and doctor seuss stories almost always are "about" something, but it doesn't clearly mean anything.

The simple answer is clearly that the special was poorly made and didn't deliver on it's theme and got muddled up in production somehow but it's hard to even figure out what it was even supposed to be without just making up some arbitrary symbolism like factory work being bad and this having a grim ending. Even the name of the thing being "where are you" doesn't tie into anything except a random scene of him flying around. It's not a "all the places you'll go" type story. The places he goes basically don't mean anything and are mostly real places.

Jeb! Repetition posted:

Are all of them her walking around sexily as various men ogle her?

Jeb! Repetition posted:

I guess if you're a furry

Tuxedo Catfish posted:

I still want a whole movie about a kid who overcomes his grief by engaging in underground robot fights.

kefkafloyd posted:

That jazzy version of "You're a Mean One, Mr. Grinch" is pretty groovy at least.

Benedict Cumberbatch, though... bleh. You know who would have made a good Grinch? Michael McKean.

dogsicle posted:

Or maybe language evolves and changes over time.

Koramei posted:

It did always seem odd to me how ubiquitous cinemas tried to make 3d movies considering a big chunk of the population physiologically can't watch them for various reasons.

But that aside, 3d animated movies are the one place where IMO the 3d effect actually significantly enhances it and is worthwhile; there's a huge difference in the sense of depth. I mean, obviously, but it's in a way 3d-ified live action doesn't really do. Aside from Avatar I don't think I've ever watched a 3d non-animated movie and actually thought it was worthwhile, but for animated ones I haven't regretted it once.

Pixeltendo posted:

So has anyone seen the weird movie on netflix called Monster family? I uh happened to take a look at it when my little brother decided to watch it and i'm completely befuddled.

It's obviously a European movie because of how bad some of the dubbed lines are, and it definitely seemed to be after the Hotel Transylvania crowd because there's a Frakenstein monster that farts

Macaluso posted:

Macaluso posted:

I mean yes obviously hey should've cut to Pornhub but maybe in the actual movie