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BravestOfTheLamps posted:Actually surprisingly high. It easily beats out GOTG1 on direction, design, and cinematography. Visually sure, but it has a lot of pacing and structural issues. Granted, Adams was never one for tight structure anyway, but you can kinda get away with that more in radio or in a book. There are definitely a few points where it kinda sputters out and a few others where it feels like they're trying to weld on a more conventional Hollywood approach (playing up the romance, for example, though this does give Trillian a lot more to do.) I mean, it's a fine film but it definitely has its flaws. As for GotG v2, loved it. Lots of great visual spectacle and a very solid story. Where the villain in the first Guardians was motivated by pure anger and revenge, coming to represent a pure force of death, the villain in this is motivated by a "sense of purpose" which leads to his being a force of life out of control, overtaking all other life not out of any tyrannical ambition but just wanting to BE so much more than anyone else. They both kinda represent dark forces tugging at the main characters- Quill in the first film has his grief and his bitterness at his mom's death gnawing at him forever, and in this he wants to Be Somebody and Belong and buy into the plan his dad has for him. I also really liked that Nebula got more to do. Karen Gillan has one of the best readings in the film, that "All I wanted was a sister" really got to me- it's a stock line but I was not expecting it. Pom Klementieff is a nice little discovery too. (And I knew Elizabeth Debecki was one to watch ever since Great Gatsby.) And yeah the final act made me tear up a bit (and it wasn't quite as drawn out as the first which is a plus.) I wasn't really surprised by Yondu's death since all of Stallone's dialogue is about what'll happen when he dies, which is Foreshadowing 101, but it worked. Michael Rooker is good and I'm sad to see his character go. And the opening credits sequence was very nice. Maybe THIS is finally the year the art makes a comeback.
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May 6, 2017 04:55
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Medullah posted:
I feel like in this case they cut it so that you couldn't quite tell how all of what they showed was going to actually play out. Like the way the trailer runs, you think the platform with the spinny battery-powered things, and the giant tentacled beast, are going to be a part of the cilmax, not the opening salvo. Ego never really shows up, you don't see that the characters get separated, etc.- it's good at avoiding the actual structure of the movie.
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May 6, 2017 05:25
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Justin Godscock posted:Eh, Douglas Adams wrote the script and made changes to suit the medium which was his thing. It's why the radio version differs from the book which differs from the TV show and such. The director has come out saying that the romance subplot that everyone complains about was something Douglas Adams wrote. Maybe it would have been better if he lived to see filming but we'll never know. He did some work but judging by the credits a lot was done after he died. I'm not complaining about the changes per se, though I think the pace is uneven.
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May 6, 2017 07:51
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TrixRabbi posted:
Because they already punched out their problems at the planet's core, and Nebula admitted that she was frustrated and losing when they were kids because Gamora wanted to win and Nebula wanted a sister. And Gamora opens up and says she was scared for her life and didn't think about what was happening to Nebula and she's sorry. They have by this point made an uneasy peace, because Nebula's rage was always sort of misplaced and pathetic. Hell, her attempt at killing her sister is a sloppy "fly over and strafe her a bunch" suicide run- it's a joke itself because it's so frenzied and dumb. Because in the end the anger she has for Gamora is displaced. She recognizes this. Maxwell Lord fucked around with this message at 19:42 on May 6, 2017 |
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May 6, 2017 19:34
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Sir Kodiak posted:Absolutely agreed on the first one. I could feel the quip coming throughout the whole speech. To the extent that I'm "unnecessarily cynical" about the MCU, it's from a difficulty in engaging with drama that I know is going to be inevitably undercut. I view it a little differently. Ego is someone so wrapped up in his grand vision for the universe that he no longer cares about individual connections- friends, families, etc. Who needs 'em? The greater good (the greater good) is what matters. And really the theme of the movie is how dangerous this can be- how being all singleminded can blind us to opportunities to actually create meaning through our relationships with others. Peter still has not forgotten his family and friends, and something like "I killed your mother" can still create that instinctive "gently caress YOU!" response. That's human. That's enough to make the stars vanish from his eyes. It's similar to how Nebula and Gamora get snapped back to reality, when they remember they're sisters and their father was the one who tried to make them kill each other, and they're not enemies.
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May 6, 2017 19:51
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Franchescanado posted:
The one quibble I have with this scene is that the song gets cut off. I think if Gunn had really been given the time to try he could have blocked things out so that the more dramatic part of the fight would synch up with the song's trippy instrumental at the end, and then it gets exploded just in time for that final "Mister blue skyyyyyy".
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May 6, 2017 19:56
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I can see a little apprehension when it comes to using the likenesses of dead actors, who obviously can't agree to what the filmmakers want them to do, etc., but when it comes to making old people look less old, that's just basically highly advanced makeup.
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May 6, 2017 20:38
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It's not exactly out of character for him either. You get the feeling that if anything kept Rocket in line in the first film it was Groot, and now Groot's a baby so Rocket is free to wallow in his own crapulence. His worst instincts come to the fore and trouble follows. Though in his defense the Sovereign are elitist eugenicist dicks so stealing from them is basically stealing from Nazis right. (I doubt he thought that much about it, though.)
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May 8, 2017 01:47
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BravestOfTheLamps posted:ruddiger is mocking people who imprint emotionally on tent pole blockbusters. It's a visceral emotional response. You don't prescreen your emotional response, something works for you or it doesn't. That comes first, the cool logical dissection comes later. Obviously the film did not elicit a similar response from you. That's fine. You can argue why it doesn't work. That's fine. Saying other people are silly for having a different visceral reaction? That makes you a dick. Maxwell Lord fucked around with this message at 01:36 on May 10, 2017 |
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May 10, 2017 01:31
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ruddiger posted:Tarantino wrote the Hateful 8 without any idea of who poisoned the coffee pot and let the movie's plot unfold organically as he wrote it. Yeah but he presumably at some point edited the script he had written, and in that time made the calculated call to keep that the same. Hot today, cold tomorrow, that's how writing works. And that's before the stages of preparing, shooting, and editing the film, all of which were filled with opportunities to change his mind. Sure, Yondu's death is a bit heavily foreshadowed. But there was enough going on otherwise that I wasn't sure until pretty late in the climax that it was going to take place. We've spent enough time with him to grow to like him as a character and to understand how Peter would come to view him as his true father, and to lose two fathers at once is pretty brutal.
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May 10, 2017 03:09
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I thought it worked because of Karen Gillan's performance. You could really hear the defeat in her voice when she said "All I wanted was a sister." A familiar line but she sells it drat well.
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May 15, 2017 02:14
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I'd say Ronan is more focused on vengeance for the loss (which is a nationalistic one) whereas Joe is partly motivated by the loss of the child but also bent on regaining his "property".
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May 30, 2017 02:21
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