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(Thread IKs: Roth)
 
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checkplease
Aug 17, 2006



Smellrose
The true danger of AI is that so many critics use the phrase ai generated:

“ he’s blockbuster cinema’s first example of the A.I. image generator as auteur: Plug in some nerd-rear end variables — zombies, Batman, sexual violence as character motivation, etc”

Had this discussion in other thread, but going to see it a lot more instead of actual ideas.

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checkplease
Aug 17, 2006



Smellrose
Weird to me that they didn’t want the r rated cut to begin with. Netflix has plenty of such material on it. I dunno, did their past r rated films not do well?

checkplease
Aug 17, 2006



Smellrose
Here for that trailer then.

Wonder if bad reviews will push Netflix to quickly release the long cut. But not like Netflix film decisions ever seem sensible.

checkplease
Aug 17, 2006



Smellrose
The Irishman is the one I keep thinking of when I ask why they thought they needed a 2 hour cut. Did the Irishman fail in views or something

checkplease
Aug 17, 2006



Smellrose
Since it’s streaming I’ll watch both cuts. I just hope the true cut comes out without too much of a wait.

checkplease
Aug 17, 2006



Smellrose
Clearly all the Synder bots have formed a collective ai to post positive blog reviews all in order to raise the rotten tomato score a percent or two.

checkplease
Aug 17, 2006



Smellrose
Also a glowing red sword falls under homages and allusions.

checkplease
Aug 17, 2006



Smellrose
Disagree on the dp complaints. I thought he was using focus variations a lot better here than in army of the dead. Army was almost an experiment with that, where he he seemed to have it streamlined more.

checkplease
Aug 17, 2006



Smellrose
There’s quite a few aliens in this one. You have the bounty hunters who support fascism. The bar aliens who do scummy bar things. There’s the spider lady who is a victim of fascist expansion and thinks the best response is terror on the citizens. And finally the alien king who helps the rebels fight the fascists.

checkplease
Aug 17, 2006



Smellrose
grains complaints is the dumbest thing.

checkplease
Aug 17, 2006



Smellrose

Schwarzwald posted:

Honestly, yeah, the final fight is hard to keep track of. That being said, it did have Ray Fisher taking down a Star Destroyer with a spear and a running leap so I have decided to forgive it its faults.

Yeah I’m hoping extended version fleshes out this gun fight a bit. Going from being imprisoned to pushing back bad dudes wasn’t the clearest layout.

checkplease
Aug 17, 2006



Smellrose

josh04 posted:

Same reason it's important in this universe. Army gotta eat, no farms on your giant space submarine.

Also space beer. Motherworlda craft game is weak.

checkplease
Aug 17, 2006



Smellrose

No Luck Needed posted:

you are correct. The point was to scare the villagers into complying.

the grain problem is a problem of world building. Is this moon part of the Human Empire? Do these people own this land? if they own it, where is the deed registered? is it with the Human Empire? Why would moon farmers not want to help the Human Empire? does the Human Empire not helping moon farmers? is this an illegal moon farm? are moon farmers separatists? are they Human citizens? Why is the Empire bad? How do Moon people know about this bad empire? Why cant the Humans make new robots? Do aliens also make robots?

the movie is interesting but also too shallow

Um did you watch the intro or all times they said they empire came into just kill people and the their stuff? Like 4 different people reflected on this.

checkplease
Aug 17, 2006



Smellrose
Found this a lot of fun and love having a new big space sci fi, but like others I want the longer cut for more expanded details and scenes. I think we want to know more about the various fighters as they are just so unique from each other. Like Prince Tarak: where’s he from, why does he not wear a shirt ever? Old robots, a colosseum, glowing swords, goo bag brain vr: definitely want more of those.

I thought most of the action was solid with the last big fight a bit muddled at parts but contained some great moments like the leap or the final fist fight. As for the ending Kai being the true scummy Han Solo is great. Everyone ending back up on farm world thinking the fight is over but still going there is a strange choice, but I guess why not check it out. Everything with talking to Balsarius in the astral world was fantastic. . Looking forward to part 2

A scene I really appreciated is when the “trained” bird then just murders the master when he tries to ride it post Tarak. Death to all oppressors.

checkplease
Aug 17, 2006



Smellrose
lol at going on in and watching a movie directed, written, and shot by Zack Synder and complaining about slow mo.

checkplease
Aug 17, 2006



Smellrose

CelticPredator posted:

My issue with the slow mo is it doesn't feel like it's showing me anything cool. It's just showing someone leap once, or slam into a wall. Or shoot a gun.

Slow mo works when the focal character does something really cool and we can take that in. An example

https://www.youtube.com/watch?v=VeK-d553Mjk&t=227s
Whenever he strikes, it lets you soak it in.

This is a fair complaint and not just there’s too much slow mo like some others. It’s a matter of taste, but I think the slow mo he does in village fight and final fist fight work well for coolness at least. Though yeah 300 speed ramping is still so good.

He’s also using slow mo to highlight emotions in the film. Like Kora at peace with the soil early on or Kora raging as a soldier in the past.

checkplease
Aug 17, 2006



Smellrose
I just rewatched that first village fight. Impact or not, Kora is not physically overpowering these bigger guys. She stabbing, cutting, and shooting them. This is not a fight scene where she’s out punching and kicking a guy twice her size. She’s just being very lethal.

And the leg thing yeah is to counter the rape aspect, provide cover, and because why not who cares.

Also Sofia Boutella looks quite ripped. Those arms. She’s been part of the Synder gym crew it seems.

checkplease
Aug 17, 2006



Smellrose

Simiain posted:

Yeah, this time of year means I've been exposed to different family members and thus to different (gross and upsetting) corners of nerd fandom, a lot of which has been loudly scoffing about a woman beating up a bunch of guys. So I was primed to look out for it.

In that scene it was made abundantly clear that a nimble, lethal super elite fighter was up against a gang of lumbering grunts who were out of their depth. It was fine and made sense in the context of the film.

The only time that kind of thing was noticeable was at the bar, when the gross fat alien took a punch from farmer man (who is ripped) and smiled, but was knocked down with ease from a punch to the head from Kora.

In any case it's just a movie, so.... Y'know.

Reminds me I was watching Midnight Run last week and De Niro keeps knocking people out with one punch. Which maybe isn’t unrealistic compared to action movie beatings, but it just looked funny as he wasn’t throwing the most real looking punch and the other bounty hunter was like twice his size.

checkplease
Aug 17, 2006



Smellrose
Seems cool? Different versions of a film is fun.

checkplease
Aug 17, 2006



Smellrose
Bar was full of cover and walls anyways and baddies were low level criminals. Final fight though was full of soldiers so I guess could complain more there. But this is just normal for the genre be it Star Wars, Dune, and pretty much any action film. Just think of it like a video game with our heroes having high AC/dodge and enemies attack with disadvantage.

Also gotta remember that CineD is full of Sickos who love a good neck snapping.

checkplease
Aug 17, 2006



Smellrose

Benson Cunningham posted:

It is not. That's depressing. Now I can't watch the Fifth Element anymore.

I mean, calling this a movie is a gift.

Please post some of your writing

Roth posted:

Lol I just noticed the "I could make a movie better than this" good luck dude I'm rooting for ya

Did someone post this thread to Twitter? The poster can both make a better novel and movie if he wanted. They are just busy you know.

checkplease
Aug 17, 2006



Smellrose

Schwarzwald posted:

What surprises me most so far is what isn't getting complained about. For example, the quaint village that's being robbed of its grain are basically Space Amish, and while they're welcoming of Kora, they aren't just willing to let her live their and help out. They want her to join their community and that entails marrying of their own and explicitly producing children, which Kora is clearly unhappy with.

And that's interesting, but it's also uncomfortable and icky and problematic. There's poo poo to talk about!

But instead we have page long rants about how its bad because people eat grain, or miss their shots in a bar fight or because that admiral nazi dresses like a middle manager (???).

The film deserves better haters.

edit: put in spoiler tags

The Motherworld gave Kora a job of authority. She was a commander and traveled to various worlds. On Veldt, she would have to be a mother as you stated and likely never leave.

Interestingly, there seemed to be only male soldiers under Noble where as the slain king had all genders in his conquering army.

checkplease
Aug 17, 2006



Smellrose

Tuxedo Catfish posted:

Notably, the outskirts aren't untouched by the Motherworld; they were conquered and integrated once and now they're getting ideas. The village's cozy little fertility cult isn't that far off from the Imperial worship of a mythical life-giving queen, either.

The movie puts a lot of emphasis on ideology and what motivates people to fight. Getting back to the question of training, one of the things we learn about the Motherworld's military is that even under the old king (who seemingly had a much stronger claim to ideological loyalty than Belisarius does) they didn't rely on loyalty to the cause alone to motivate their elite troops; they encouraged them to find a lover among their peers so they'd be motivated to protect that person, to have something immediate and concrete to make them fight. The one explicit example we see of this kind of relationship is heterosexual.

Now, look at the jarhead assholes who attack the village: as checkplease notes, they're all men. They might all be gay, but if they are they're awfully keen to prove to each other how het they are. More likely, the system described above has either broken down or simply never applied to them. Noble also literally gives a speech on his theory of management: he prefers fear to either ideological or community bonds.

e: conversely, most of the heroes are motivated by a sense of obligation; Kora is guilt-tripped into staying, she pulls the same trick on Darrian, Tarak's there out of a sense of honor, Den's survival is on the line but also it was his fuckup that made things as bad as they are, and Titus and Nemesis are doing it for people who died under their leadership or protection.

e2: which given Snyder's Superman trilogy, his approach to Rorschach, the heroism of an artist willing to die for their art in Army of Thieves, the ending of Sucker Punch, etc. probably isn't good enough! i suspect Anthony Hopkins robot is going to show up in part 2 to push them towards a more durable reason to fight together than just guilt and a common enemy.

Right the whole fight to protect your lover aspect seems to show that just pushing the glory of the king or some other impersonal ideal was no longer enough after years of conquering. With the king dead, it seems like Nobles crew is mostly fighting for their own sadistic pleasures with the exception of the one nice kid. Maybe he just needs a job.

It seems like all of team Kora were wronged by the Motherworld in some way. But that’s also shown to be true for just about everyone, including Kai and the Spider lady who both act differently. So a universal hatred of the Motherworld as you stated won’t be enough for a final reason to fight.

If the king and his family didn’t die and the daughter took over and tried to bring peace, would others like Noble even listen to this?

checkplease
Aug 17, 2006



Smellrose

H13 posted:

Each time you re-watch a movie, it is less enjoyable compared to the previous time you watched it.

This...is one of the most obvious statements ever?


A strange way to experience cinema or any form of entertainment.

checkplease
Aug 17, 2006



Smellrose
Ah well you start with 1 whole suspender of disbelief but each time you watch a film you lose 10%, unless there is a non British accent in the film which causes a 5x multiplier on disbeliefs. Also every time a bullet misses a hero that’s another disbelief though these are addictive and then multiplied by accents at the end.

Here’s my 2 hour YouTube video analysis where I explain this. Or check out my 70 part twitter thread.

checkplease
Aug 17, 2006



Smellrose

YggdrasilTM posted:

That was my breaking point too. That whole fight didn't make any sense.
I do think the end of the fight isn’t edited the best and hoping the longer cut cleans it up. I agree, we all know she’s still got two swords in free hands.

But it’s important to keep in mind that the spider woman was doomed already. First we know that mining has killed her offspring likely making her the last of her kind. Next, she approaches initially trying to bargain saying that her path of terrorism is justified. And even if she kills Nemesis, Kora has her gun ready to shoot the spider.

Really the end is just the spider making sure her executioner looks her in the eye one last time. Maybe a hope for her cause to be remembered, a new reason to fight. Maybe a final acknowledgment that terrorism isn’t the path.

checkplease
Aug 17, 2006



Smellrose

Bongo Bill posted:

You're telling me that they made a space opera movie that's derivative? Why, such a thing is unprecedented.

He came with a trope checklist. You know he’s a professional. Dirt? Check. Space? Check.

checkplease
Aug 17, 2006



Smellrose
The problem with new Dune is that Lynch Dune exists and you always wondering where the battle pug and cat milker are going to show up.

Here we get some space Conans riding giant birds and goo bag vr at least.

checkplease
Aug 17, 2006



Smellrose

Guy A. Person posted:

Hmmm I’ve seen very few person insults outside of calling people cult members which is a very personal and uncalled for attack :shrug:

I think people are coming in here expecting to drop their hot takes and not expecting push back. Push back is for cultists/Sickos. But this is a discussion place…

checkplease
Aug 17, 2006



Smellrose

90sgamer posted:

My biggest problem with the film was the cgi once again a cool story is brought down by boring artificial looking backgrounds. Why can’t they just use the effects they used in 80s fantasy films and Star Wars? Sure some of that poo poo looked fake but it had this otherworldly quality to it that sticks with you and looked better then generic cgi poo poo

Synder loves Boormans Excalibur. It would definitely be cool if he made a film with a retro look like that, but maybe a hard sell.

checkplease
Aug 17, 2006



Smellrose

Mega Comrade posted:

I dont think that was there point though. I believe they were arguing that he just shoves it in with no thought, not that they use it in their movies.

This is a bad assumption though. Why would you assume a filmmaker does something in a film with zero thought? Why not ask what they are trying to convey.

We talked about this in the thread earlier but slow mo is both used to make stuff look cool for some action or hero poses, and to hone in on emotions and themes. For example, the slow handling of the soil and seeds by Kora to emphasize the feeling of peace to her. Or in her flashback it slow mos on her battlefield face to again highlight her past rage.

checkplease
Aug 17, 2006



Smellrose

Mega Comrade posted:

Slow-mo can be a crutch to putting together actual good action choreography. It can also make some action choreography worse.

Yes like other film tools it can have a positive and negative effect. But going into a Synder film thinking all slow mo is bad and the director makes choices thoughtlessly probably isn’t the best way to approach a movie .

checkplease
Aug 17, 2006



Smellrose

Papercut posted:

No one said all slo-mo is bad

Well do you have anything to say? We’ve been taking about how slow mo can be used.

checkplease
Aug 17, 2006



Smellrose

Papercut posted:

I'm saying that you're strawmanning the position you're arguing against.

If you mean about the movie, for the first 45 minutes I was enjoying laughing at the Hallmark-movie level telegraphing of the emotions the viewer should be feeling, but after that it just got really boring and felt interminably long so it wasn't even fun to laugh at anymore.

The discussion was about approaching films understanding directors have intent. Sure, all slo mo may not be the correct word choice, but you are ignoring the rest of the discussion about how and why directors use slo mo and other tools.

checkplease
Aug 17, 2006



Smellrose

SuperMechagodzilla posted:

Watched the first 30 mins of the Netflix Cut out of curiousity, and this is mainly a genuinely unnerving ‘Nazi home invasion’ kind of deal that recalls Inglorious Basterds. The only noticeable slow-mo was an Obviously Symbolic pouch of seeds being dropped on the ground, and the moment was clearly slowed down for emphasis on the Obviously Symbolicness (coming shortly after a big speech about how this religious community values fertility, and a subsequent smaller speech about how the protagonist is uncomfortable with the idea of ‘settling down’).

All the cinematography is better than most stuff I’ve seen this year, the score is unsettling, the editing flows seamlessly, and they have both genetically-engineered future-horses and a Chappie.

So what are people getting mad about, again? There’s absolutely nothing objectionable here.

That Chappie takes a lot of abuse. Excited to see more of Jimmy in next installment.

Listening to the score, it reminds me of Gladiator, which had its own offscreen home invasion by a Roman army and fields of grain.

checkplease
Aug 17, 2006



Smellrose
Yeah the 2 vs 3 hour cut 100% seems like a marketing decision. There’s no way they hired Synder not expecting a long version as he’s had this planned out for a bit. And with the amount of marketing they are putting in, this films development was definitely watched.

checkplease fucked around with this message at 17:39 on Dec 27, 2023

checkplease
Aug 17, 2006



Smellrose

Guy A. Person posted:

I liked the whole recruitment thing, I do think there was a way to cut the last third of the movie to be more coherent and give the recruits more time to shine in the final fight, while also not making the whole "we are all returning to the farming village for essentially no reason" thing more sensible, but maybe that would have required actual reshoots and ADRing that was seen as unreasonable.

In a way this is sort've like the opposite of BvS, where the first third of that film was cut to poo poo in order to get it under a time limit. Unfortunately David Brenner who I think did a better job with BvS is no longer with us and it seems whoever did this edit was not as up to that task,

I think one way to see the recruitment is as a series of shorter stories loosely connected before the final battle. Like there’s a story about a space Conan given a chance at freedom if he helps to enslave a beast. Instead he helps it fight for itself following theme of the film. Then there’s a story about a warrior meeting and a dying ancient spider breed discussing and fight over the best path of revenge. There’s a cadre of revolutionaries debating if they owe it to the civilians to help them or to focus on the cause.And finally there’s just an angry drunk guy.

The big battle, agreed, just seems too heavily edited between its series of moments: betrayal, kora escape, ray Fischer jump, then fist fight.

checkplease
Aug 17, 2006



Smellrose

McGann posted:

I may have misunderstood (as I watched the movie broken up in 2 parts), but weren't they needing to return to get the small payment they were promised (was it just grain?)?

I see so many people brining up this point, but it never crossed my mind as I'd thought I'd heard (or assumed) the above.

Correct there is the promise of payment, but it seems small enough they could just skip out on it. Felt more like eh we might as well to me, we’ve come this far.

checkplease
Aug 17, 2006



Smellrose
I assumed the villagers just sacrificed that solider to their fertility good in a wicker man fashion. Good to know there’s no space bees and get better fate.

Glad to hear there’s more Jimmy.

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checkplease
Aug 17, 2006



Smellrose

Ovenmaster posted:

Saw this, thought it was pretty terrible. I have no particular opinion of Snyder, and I actually didn’t know it was one of his movies going in. Might have a different view going forward, though…

I didn’t know it was a cut-down version either, but I’m not of the opinion that it can be saved by a longer running time. The structure is just too exhausting—the side-kick recruitment part was already dragging on (with atrociously bad and paper-thin characters that serve no purpose), I really don’t have the stamina for an extended version of that. Besides, what amazing character development would be hiding in the cut content to make the likes of Conan the griffon-riding barbarian actually engaging and not a character concept a 10 year old dreamed up for a D&D session?

Speaking of character development, what journey does Kora actually go through? What is her lesson she needs to learn, her wants and needs, her flaw to overcome, the theme that shapes the story? On a surface level her back-story is interesting, but I need more than that. What’s hiding in that noggin of hers? Does she have commitment issues? Guilt? Repressed anger? Is she trying to hide? Clear her name? It feels like she’s fighting the Empire out of necessity (because now the outpost soldiers are dead which would doom the village once the Empire finds out) rather than a conscious decision. Yes, she chooses to save the girl rather than ride away, but for obvious reasons (anyone would wish to intervene). The choice has no thematic or character development underpinning. Where is her growth at? All I got was that she doesn’t want to settle down and have children in this weirdo religious village, but it has no significance on the story plot-wise or thematically.

The lack of character depth is really hammered home at the final battle between Kora and Noble, where there’s no dialogue (except for the quip at the end). Usually in good story-telling the antagonist embodies some sort of shadow-side of the protagonist, or an embraced flaw, or a temptation that the protagonist is struggling with. And this conflict of ideologies might be shown via the characters battling each other verbally as well? Here it’s just as if it’s two randoms punching at each other.

And not to pile on with the Star Wars comparisons, but going to what is essentially Cloud City, where they are betrayed was a bit too on the nose. There’s an homage, and then there’s… that.

Overall, unless the entire world suddenly hail the longer version and the sequel as the greatest movies of the 21st century, I’ll give them a hard pass. It probably would have worked better as a TV-show.

Not every movie is going to be about character growth or learning lessons. Maybe you are not saying that, but it seems like that’s what you want here at least. It is a part 1 though, so the journey isn’t complete.

Regarding Kora: we learn most about her in flashbacks and this is where we see how her character for the point she is at now and why she made her initial choice. So her initial growth happens in reflection, though she does go through other changes.

Kora tells her story of how her family was killed but then she was raised by the Motherworld, the killers, to be a commander of their forces. She conquered world and killed for the Motherworld and stole resources. She was just like Noble, dressed like Noble. But something changed her to bring her to this point, away from all this.

We know she guarded princess Issa, which everyone liked and promised wouldn’t be addicted to conquering like past kings. But Isa died. Now this isn’t completely stated and will likely be in part 2, but it’s heavily implied the Kora was somehow involved with killing the King and his daughter. This is why she’s the number one criminal. This is what pushes her away from the path of conquering to seeking peace in nature and soil. The village girl about to be assaulted likely reminds her of the princess, as it did with Jimmy the robot, and gave her a redemption of sorts.

Also Kora starts by thinking she is undeserving of a home and happiness, but after what she thinks is a successful protection of the villages, she thinks it can finally be a good place to stay.

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