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What are you watching? Anonymous 10/07/2020 (Wed) 05:44:12 Id: 09411b No. 89
And what are you planning on watching? Any cool TV shows, Documentaries or Movies? I've been watching my VHS collection of Rocky and Bullwinkle.
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This film has emotionally devastated me. It manages to hit home multiple times. I watched the director's cut, which was the original cut, and highly recommend that versus any cut-down version since it retains an important storyline. I've seen multiple critics call it overly saccharine, but that perhaps ignores how bittersweet the entire last act is. Reminds me a lot of Once Upon a Time in America, albeit without the facade of a mob movie. Maybe I just have a thing for films that track an entire person's life. Morricone's score pulls both of them together despite taking place across massive timespans. Cannot recommend enough. It has some tragedy for everyone, and it's steeped in nostalgia, but I would consider this its signature.
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>>89 1997 The Edge Anthony Hopkins, and Alec Baldwin. I love the outdoors, and I love survival books and films. So I knew I would enjoy this film even if I did have doubts going in about Alec Baldwin being a massive faggot. This film does not disappoint. Superlative frankly, I loved it.
>>1061 The real message of the movie is countryside italians are no better than niggers.
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>>89 >Warehouse Slaves Discipline >quick search >Imdb gives no info What is this move about anon ? >>311 12 Monkeys is one of my favorite movie ever. Watched as a kid and was blown away. Watched countless times since. If you like this movie, try La Jetée by Chris Marker on which this movie is based. A Beautiful piece consisting of a sequence of black and white photographs with a narrator telling the story. It's referenced in the opening credits of 12 Monkeys. Watch it in French (original) as the narrator work is very good. You can find it online subtitled in English.
>>89 Sometimes I come across films depicting Jack's fetishes and it scares me. This film's Funky Forest: The First Contact (2005). I read a synopsis claiming it to be the weirdest film ever depicted, which is a very high claim to make. It's made up of a bunch of little stories, some of which continue throughout the whole film. Side A wasn't really that weird at all. Side B, though, went into David Cronenberg body/sexual horror that really was off the wall. Overall really boring and wouldn't recommend it unless you're taking a girl out for a first date. But craziest of all, Hideaki Anno makes an appearance several times.
>>89 Continuing on my journey of watching weird Japanese movies, I checked out Air Doll (2009) after years of having it on my list. It's from the same director as Still Walking, so you know it's going to be a slow-paced, depressing movie. The plot is a sex doll mysteriously comes to life one day and starts a life of her own. The film goes on to show different degrees of solitude in people's everyday lives, from having lost love to death. All the while, we get a quirky depiction of the living doll by Bae Doona. Air Doll is a little over two hours long and it really slogs through it. A lot of it is to highlight Bae Doona because we'll spend a good two minutes watching her walk down the street. I mean, sure, her portrayal was great, but I also think you could have cut that shit down to 40 minutes and would have had more to show for it. Overall, interesting premise but fell flat.
Changing it up from weird Japanese movies, I finally completed the "Finland" trilogy (also known as the "losers" trilogy) from Aki Kaurismäki. All the movies are defined as comedies, but let me tell you, it's a sliver of comedy if that. >Drifting Clouds - Kauas pilvet karkaavat (1996) Main plot is a husband and wife both lose their jobs and struggle throughout the whole movie to find new work as they slowly have to give away possessions in their home. This one hits close to home and was really damn depressing Though, in Aki fashion, there is happiness in the end. Film was good, but I think it was my least favorite of the three. Wasn't a big fan of the husband character and I wish they had done more with Markku Peltola's chef character. >The Man Without a Past - Mies vailla menneisyyttä (2002) This one was nominated for an Academy Award for Best Foreign Film and won the Grand Prix at the Cannes Film Festival that year. I can definitely see why and I'd say it clearly stands out from the other three. Plot follows a man (chef from the previous movie) who gets beaten the shit out of him, causing him to have severe memory loss. He ends up living in near enough poverty and falls in love with a woman (same wife actress as the previous movie) from the Salvation Army. What a take on the impoverished lives of people. It shows such humility and beauty, wonderful shots and stellar performances. This one definitely had a lot more comedic timing as well (but again, don't expect to be laughing the whole time). I've watched this one twice. Absolutely great film that I will likely recommend for a movie night one of these days. Kati Outinen is good autistic waifu material in my opinion. >Lights in the Dusk - Laitakaupungin valot (2006) This one, I believe, is the least liked of the three films generally. Main plot is a man (played a minor role in The Man Without a Past) who has aspirations for bigger and better things while he works the night shift as a security guard. He meets a female extortionist who he quickly falls for and, ultimately, leads to his downfall. This one felt like misery porn because of the circumstances in the film (don't want to give too much away). I feel like there's more going on that I'm not catching from the main character. For example, Aki addressed a pivotal point in Drifting Clouds about character motivation without a single piece of dialogue. In this case, though, the plot seemed to move forward in a lot more of an ambiguous way - or, at least, I wasn't able to catch it. But I still really liked the movie. Shots were beautiful (I loved the portraiture of the different characters), with lots of light play. The down-on-his-luck fellow was still really well played and I loved the stagnant romance he had with the wiener vendor that played out so well in the end. Film is less than 90 minutes and I would recommend it, but I can see why people would be screaming at their screen wondering why Koistinen is such a dolt. Overall, beautiful movies that deserve a watch if they seem like your type of thing. Don't expect crazy action or witty dialogue - these movies are all about a voyeuristic appeal in seeing people down in the dumps and finding a bit of happiness from it.
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>heard of this movie because it's a feature film where the actors actually have sex >decide to watch it one afternoon because I'm bored and got curious about it >literal fucking gay porn I don't know what I expected. Maybe I should've watched Blue is the Warmest Color because that only has lesbians. I will nominate this movie on the movie night some day and you will all suffer.
I watched In Search of Bigfoot, a documentary from the 70's about a team of researchers setting up camp near Mount St. Helens to look for Bigfoot. As expected, they find a whole lot of nothing. Some human hairs, some "large footprints" that don't look like feet, and some scratches on some rocks. But the narration and music is incredibly nostalgic if you were raised on nature documentaries from this era, and the views of Washington are gorgeous. Would have made an excellent nature film without the Bigfoot nonsense. Very short and would recommend it, even if you just fall asleep to it.
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I watched Jin-Roh. The Wolf Brigade. Because anons kept raving about it being the mother fucking shiznit. The art was incredible. Everything is beautifully detailed and very realistic in movement. The music matched the scenes well. Nothing special but certainly appropriate. The backstory was very well done. The first 20 minutes of the movie will grab and hold you. This writer knows his shit. And then the main plot starts. The film never recovers. Our main character Fuse da ruse is apparently too bitch to waste a ho with a bomb. What a pussy. So when my lil terrorist blows herself sky high and takes out city power for a full day his superiors send him back to the academy. And while there he calls his contact in the regular cops to get the dead bitches address. While jacking off in her crypt he meets her sister and decides to start a relationship with her. Guess he didn't like defending his city. Maybe he prefers everything on fire? Who can say cause the cunt spends the next 90 minutes doing jack and shit. Nigger don't even talk. This entire mid section adds nothing to the plot, and if it was cut you'd have the same damn movie only it would be 30 minutes long. I guess the backstory writer quit maybe? Cause the jarring difference between the start and this horseshit is wild. So anyway the girl isnt the terrs sister but instead another terrorist who just looks identical to her. She was hired by the secret police to frame our hero for being a terr fucker. Honestly wonder why they bothered. If they left him alone he would have anyway apparently. Why do the secret police want him fired? Cause they want a media circus to get the people (In this Authoritarian society with protests against these exact same special cops anyway. Yeah they didnt think that through. If the special division gave a shit about public oppinion they probably wouldnt stop riots with machine guns on a daily basis.) So the movie is called wolf brigade. and apparently thats the name of a secret special counter counter intelligence/internal affairs for other agencies including the secret police. So double secret police. Theres a red riding hood story where our hero only speaks the wolfs lines. he dreams constantly of wolves. and the movies GODDAM NAME IS THE WOLF PATROL WITH HIS PICTURE UNDERNEATH THE TITLE. So if you figured out the twist five minutes in then congrats you arent retarded. But don't worry if your slow. The movie will beat this over your head for the next hour and a half. So our wolf patrol double secret cop has to stop the secret police from framing himself. He does this by jumping into the frame. Gets an APB put out on him for murdering 20 cops and running away with a terrorist. Then the cops find him again and he kills anothet 20 cops. Because the secret cops needed to use politics to take down the special division. But the Special Division perhaps recognizing the stupidity in that just assassinates the entire branch opposed to them. So anyway then our hero cries and gut shoots his lady love (which kills her instantly cause your heart is next to your kidneys and spleen I guess) then the movie ends. Whys he kill her? "She knows the secret polices secret. So we can blackmail them by saying we got her and will go to the media at any time. But also even though we cops we aint got any jail cells so they gonna just take her from us. So shoot her and pretend we got her." Now first of all. They killed everyone who knew about her. And shes a convicted terrorist. Who the secret police sprung illegally and off the books. If she shows up to a news station why would they believe her? She has no evidence. Everyone who was even aware of her plot is dead. Her story is impossible to confirm. Second shes a convicted wanted terrorist linked to the death of 40 cops. Now she has no characterization. shes just suicidal. Thats her whole arc. She is so annoying that when they decide to randomly murder her for NO REASON. you dont complain. As a viewer your just glad this shit shows about to end. 3/10. Absolute garbage. I've read penny pulp comics with more internal logic. Its like the writer quit after the first 20 minutes so they filled the runtime with long shots of NOTHING for 80 minutes. and then just said "oh who could even remember the plot by now lets just kill everyone then roll credits" What a complete and utter waste of time. You are certain to be a dumber person if you watch this. What an ungodly hack. Just awful. Watch the first 20 minutes then turn it off. You will have saved time and seen an actually good movie.
I recently watched a movie new to me, but included on many "Best Of" movie lists. Titled "Yi Yi (一一)", it's a Taiwanese movie directed by Edward Yang from 2000. The film follows a middle- to upper-middle class family living in Taipei. This includes a grandmother, her two sons (one of who has a gambling addiction and marries his [very pregnant] girlfriend; the other is an engineer in a failing company who meets his old love), and her two grandchildren (a teenage daughter who befriends the girl next door and a young son who, well, is a typical young boy). Yi Yi is a masterpiece of cinema. If you love beautiful shots, you will love this movie. If you love great acting, you will love this movie. The film is close to three hours, but it holds itself the whole time. I can see why it's ranked as one of the best movies ever made. Not an action movie by any stretch and it takes dedication to watch, but great if fine cinema is your jam. >>1318 >Literal gay porn Seek degeneracy and you will be rewarded. The only counter movie I have is Love (2015) from Gaspard Noé. It's mostly threesome with two women and one guy, but if I recall correctly, there is a tranny scene but the movie was so insufferable and pretentious, I didn't watch all of it. I wouldn't recommend it. >>1418 I haven't seen Jin-Roh in probably close to ten years, but your rant has inspired me to re-watch it to compare your points.
>>1417 Have you watched the original Boggy Creek movie?
>>1218 >Decide to look up Warehouse Slaves Discipline myself >IMDB does provide a listing, but as anon said, no info >Look up one of the actresses and she's credited in the likes of <Big Busted Lesbians at Play <I Cream with Genie <Dildo Fantasy Party I mean, I can't say I know the exact plot of the movie, but with the title and the people involved, I can make an educated guess.
>>1441 Did you rewatch it?
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>>1460 Been busy so I only got halfway through, so I'm waiting to finish the movie before commenting. Stay tuned.
>>1418 Finally finished the movie. So here are my comments (excuse the blogpost in advance): >The backstory was very well done. The first 20 minutes of the movie will grab and hold you. This writer knows his shit. First 20 minutes of the story seems like it's going to be a general film about The Sect (aka the terrorist group that is against the government) versus the authorities. >The beginning of the movie and the rest of the movie are not the same at all, they're two completely different movies I never read the manga so I can't speak to how the story went there. However, yes, the film does pivot from a focus on this parallel world where the Allies lost to a character piece about Fuse, an agent of the Kerberos. In particular, the character piece is straight about him maybe breaking the wolf character in Little Red Riding Hood, going against fate. But I can't say it's "jarring" for switching gears. It established setting to help us understand where Fuse and the terrorista that blows herself up come from. This is not a new way to write a story. The Count of Monte Cristo - at least the novel - takes a long-ass time setting up Edmond Dantès' background and story before we ever touch revenge. Moby Dick - not sure why I can only think of novel examples - is mostly an encyclopedia on whales and whaling until the very end when we finally meet the whale ourselves. Considering how damn convoluted the factions are in the movie, I think it's especially fair to make them clear in the beginning. >The Red Riding Hood story is stuffed down your throat the whole movie Very heavy-handed in delivery and execution, but I find that an issue with anime in general. >Kei is killed and there's literally no point because no one would believe her This ties in to the character piece of Fuse which was established in the movie. Will he decide to be a real human bean or will he accept the fact that he's a "wolf"? Next, he clearly cares about the girl to an extent, so she's a liability to him breaking away from the brigade and not following instructions. She even says that, had they run away together, she would have known he loved her. <But it's still shit because the reason they give to kill the girl makes no sense. She knows the Wolf Brigade exists and she knows who's in it. The whole movie, that brigade is established as a rumor - including by people who were not killed. Some Public Security officers are alive who know about the operation. They catch her and she confirms members of the Wolf Brigade, they can take them out and then get rid of the secret police. Instead, kill her now so she can't go to anyone, but then we can always say we have her and we can use her against you. Is it kind of lazy writing? Yeah. But it's trying to fit with that characterization of Fuse that has been going on the whole movie. That's the bigger interest - hence why the final line is saying that the wolf ate the little girl. I think Jin-Roh is remembered for two reasons: animation (as you mentioned) and the fact that it's attached to the same person who created Ghost in the Shell. Is the plot astounding? Meh, it's not the worst, but as you said yourself, it's heavy-handed as hell on the symbolism which I really don't care for. You also need to really be paying attention to the dialogue because otherwise, you're left in the dark plotwise. That's fine, but certainly not a casual-viewing movie. But I don't think the first 20 minutes are great and the rest is trash. Especially because the animation and sound production are so well-done, I'd watch it the whole way through.
>>1463 Still think gut shooting her was kind of a dick move.
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I watched Masayuki Suo's Shall We Dance? (Shall we ダンス?) a number of years ago (it stars the same actor who played the gangster in Tampopo, but it's very chick flick) and came across an earlier work of his called Fancy Dance (ファンシィダンス). The movie's about a young ska singer (people claim "punk", but it sounds a whole lot like ska to me) who is forced into Buddhist monk training for one year so as to take over his father's temple one day. Enjoyable, easy movie I'd say. Obviously the trainees (and even some of the higher disciples) get into trouble over stupid shit constantly, but you also get a sense of what going through the monk training is like, which I really enjoyed. Guy's girlfriend is a dick (or rather, she needs a dicking), but I think the movie played out well in the end. I'd recommend it, even though it goes gay for a scene. I also ended up checking out the director's next movie, Sumo Do, Sumo Don't (シコふんじゃった). This movie stars a lot of the same actors from Fancy Dance and the characters and plot run real similar initially (does that count as copyright infringement?). In this case, the film follows a university student who, after getting a job prematurely, realizes he is missing credits from his supervisor in order to graduate. His supervisor agrees to let him graduate if he participates in the university's sumo club and competes in one tournament. This one doesn't go into as much depth with sumo training as the previous movie did with Buddhist training (and even that was limited), though I can understand given how grueling sumo training is. Nonetheless, it was a bit disappointing since I know some basic grappling but don't exactly know the rules of sumo. A little more emphasis would have been appreciated and would have made it even better. Nice movie, though, that I'd recommend too. Added bonus, apparently Disney+ remade the movie into a TV series that premiered two days ago. Considering one of the main characters is a woman - who seems to be actively participating in the club even though sumo is strictly male - I can't say I trust it all too much. (Spoiler: Yes, there is a female who participates in the final sumo tournament in the movie, but they don't openly admit it because they know it's illegal and it's a move out of love and desperation. A woman is also seen training at the end, but again, more out of love than her actively training.) But maybe I'll check out an episode... Maybe.
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>>1490 I ended up checking out the first episode of the Sumo Do, Sumo Don't series. Pozzed beyond belief and no humor apart from a couple of attempts at directly copying the movie. They do provide more of a focus on the sumo culture which I appreciate, but most of the time we get a rant on the patriarchy oppressing women in sumo. Avoid at all costs.
I watched Broadcast News this weekend. It was my first James L. Brooks film (of Simpsons and Taxi fame, as well as Mary Tyler Moore Show) and it seems from his filmography he specializes in romantic comedy drama. I put it off for some time because of the romantic comedy angle, especially because love triangles always have a depressing ending. That said, if you are a fan of analog media there are more than enough scenes about how news stations used to work to keep you along for the ride, and the relationship stuff is mostly in the background until the end. Don't avoid it just because of the romantic comedy angle! At its core, it's about the transition from hard to soft journalism in broadcast media. There's more than enough laughs, and Jack Nicholson steals every scene he's in. It's a lovely little film that feels like it was forced to include some elements just to be a little more mainstream; as if audiences wouldn't watch a smart film about the degradation of journalistic integrity. And that's probably a good call. Making it a hybrid romantic comedy gives it a little more backbone and probably got more people to watch. Shame it did nothing to stop the inevitable decline of the medium, though.
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Just watched American Made, it's about how the Iran-Contra affair came to be. Pretty nice movie. In the same vein there's Lord of War if people haven't seen it. tl;dw: If you see glowing niggers, run them over.
>Like Someone in Love (ライク・サムワン・イン・ラブ) This came as a recommendation after I spoke to someone about a movie about a woman hiding her prostitution gig. It's a French-Japanese film directed by an Iranian (what a mix). In this movie, the woman lies to her fiance that she's an escort, but clearly the fiance has suspicions about what's going on behind the scenes. Long shots that really show great acting from the actors and actresses. I've never watched anything else from the director, but apparently this is style through and through. Acting was fine, but I couldn't get on board with the story. The fiance was super unlikable and somehow had this notion that if he married this woman, she would no longer hide secrets from him. I also felt bad for the old man who gets tied up in the whole thing - seriously, why all this for some escort who acts like a bitch? >Turtles Are Surprisingly Fast Swimmers (亀は意外と速く泳ぐ) One of those "what the hell is going on" movies. Basic plot is that a housewife is forced to take care of her husband's turtle while he's gone overseas. She ends up discovering a spy organization and becomes a spy (without ever really knowing what she's doing). Every scene ties to the next one, but it's nonsensical. It gave me some good laughs at times, but only watch if you like random shit. >My Uncle (ぼくのおじさん) From 2016, this one starts off super promising. The story's about a nephew writing about his lazy, philosopher uncle for his over-the-break report. It was a cute comedy with a focus on their dynamic. But then the movie turns into a romantic drama a little over halfway through and it becomes insufferable. The movie ends up moving location to Hawaii and initially it's fine. But then we start with the awkward "I-am-totally-from-America" english from the main actress. Not that the American actors' acting is any better - it's generally super flat. The comedy flies out the window and focuses on shit you don't care about until the very end. It seemed like the typical Japanese issue of not knowing how to end a story, so they completely change direction and make it ultra dramatic. Please fix your shit, writers.
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Tampopo is one of those movies I watch every so often (for those who never saw it on stream, I recommend it). I watched Supermarket Woman a while back based solely on the fact it was directed and written by the same director (Itami Jūzō) as Tampopo. But I found it boring overall and not at all like Tampopo (apart from the fact that it featured food and romance as well). More recently, I decided to take a look at A Taxing Woman (マルサの女), released in 1987. The movie's about Ryōko Itakura (played, as always, by the director's wife), a tax investigator who is 100% committed to stopping those looking to invade tax. She ends up investigating Hideki Gondō (played by the cowboy in Tampopo), the owner of love motels who is tax invading to the utmost degree - and with great proficiency. For a movie about legalist scum, it was entertaining. I ended up watching it in chunks and felt that it was quite long (two hours), but the pacing was a lot better than Supermarket Woman. Miyamoto Nobuko really does a great job as the tax investigator, though I frigging hope for the people of Japan that there is no one actually like her out there. Yamazaki Tsutomu is also great as the sleazy love motel owner (who gets all the chicks). However, I can't say I ever really understood what makes his character form a bond with the tax investigator. I was sure it was a ploy to have the investigation called off, but the ending clearly shows that isn't the case. He also admits some dumb shit to her about how he would invade tax, which absolutely blew my mind since you don't want to reveal your secrets to someone investigating you for that exact crime. Consequently, I would have preferred if the movie had stayed away from a romantic angle completely because it didn't jive with the story at all. It's an interesting premise and I liked the individual characters, but Tampopo still reigns supreme in my eyes. The romance didn't make much sense in A Taxing Woman and though generally entertaining, it still felt slightly too long. Completely unrelated, I think the movie was sponsored by Nintendo because we get a scene where the tax investigator plays Super Mario Bros. and they show it on screen for a good twenty seconds.
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I watched Fulltime Killer (2001) Movie is OK and is a mish mash of different movies. tl;dw: The Chad killer vs The Virgin Fulltime Killer The Virgin: - Has trouble talking to women - Only watch from afar - Has spilled ramen in his apartment - All the planning is done by his manager - Can't reload when stressed out The Chad: - Is flashy when killing targets - Show his face everywhere: doesn't give a fuck - Seduce girls like it's nobody's business - Has time to do mission even while on a date - Even helps The Virgin so he can duel him later
>John Wick 4 Put this off because I usually see it with the same group of friends and we were all busy until this weekend. I still take issue where the direction the series headed after the first entry. Some of the best scenes were John systematically hurting the mob to force them to come out and fight him. Starting with 2, he mostly has a never-ending horde coming for him. The first two are pretty clean in terms of plot, and can stand on their own. The third is the worst entry by far; relying on the mythology of the first two films (especially the second) and largely comprised of filler, it also complete's John's transformation into a superhero. He spends much of the first film hobbled by a single bullet only to fall 200 feet from a rooftop and survive in the third film. While the fourth film does little to correct course, it does fix many of the flaws of 3. Specifically, it has much less filler, and the fights are not pointless. Honestly, I don't really know why they made 3 to begin with, since the plot doesn't advance. But this isn't a review of 3. If you can stomach that John is basically an unstoppable killing machine who can be hit by multiple cars and shirk it off then JW4 is excellent. There's a dozen different major action setpieces, each of which alone could be the crown jewel of a lesser action movie. If you're in this for quality stunts, creative kills, and funny moments then JW4 is very satisfying. I can't rememeber the last time an action film was this long, either. It's not JW1. JW1 stands on its own as a breath of fresh air. JW4 completes the franchise's tranformation into silly bullshit. But at least it has good choreography, and it's not quite as absurd as some new action film series. >Zelig An early Woody Allen mockumentary about a man who is so insecure he mimics those around him to fit in. He can literally change clothes or adjust his ethnicity. No, I'm not kidding. It's ludicrous and hilarious. Say what you will about Woody Allen, this is an inventive film and one of the best mockumentaries I've ever seen, bar none. It's short and ends just as the gimmick wears off. Allen's work is very polarizing to me, but his best stuff knocks it out of the park and this is no exception. It's strange that he became known for his weird, rambling romantic comedies with Diane Keaton given how bland they are. I guess mainstream audiences in the 70's and 80's just weren't open to the creative stuff.
Usually we associate China and Hong Kong with ripping off movies from the west. But what if I told you that they actually released the first Street Fighter movie? That's right folks, not sure if director Wong Jing had a thing for Street Fighter or if he was approached by Capcom, but he released a film based on (some of) the characters a year before the official Street Fighter motion picture. Even then, in his movie about City Hunter starring Jackie Chan, there was a long scene where we get Jackie Chan dressing up as several Street Fighter characters including Chun-Li. That movie has great choreography - as expected from Jackie Chan - and it is on point for a City Hunter portrayal, but it has a lot of what moments and the plot doesn't make a whole lot of sense. Anyway, Future Cops (1993) is about, well, future cops who go back to 1993 in order to protect a judge (known as The Judge) who prosecutes The General in 2043. Some of these future cops (and future villains) are straight-up Street Fighter characters (such as Kent and Dhalsim). The film is a comedy, though for the most part, it's pretty strange. One memorable scene is when a future cop goes into a Super Mario Bros. video game with some girl for a date while explaining that AIDS means no boom-boom in the future for anybody. We also get the main protagonist who turns into Goku unleash his abilities and fight The General at the end of the movie after cheating through life with these future cops. Did I laugh? Yeah. Do I think it's better than the Street Fighter movie? Probably since it doesn't take itself seriously in the least. But I'd say watch at your own risk, it's pretty out there at times with seemingly little direction. Movie can be found on jewtube, though the subs are in rough shape: https://invidious.0011.lt/watch?v=gJF76IqE3ec
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>40 Year Old Virgin A decent film held down by societal norms, runtime requirements, and a muddled tone. It initially begins as a comedy against its protagonist, a 40 year old living in a retirement community played by Carell. He rides his bike, lives for his hobbies, and is mild mannered but polite, even charming. He goes about working at !Radioshack in a dead end technical job with associates decade(s) his junior, all of whom represent emotionally stunted and vulnerable male archetypes. Malco's character cheats on his wife because he's afraid of commitment and in a marriage with a woman who he thinks is likely to cheat on him due to her job as a club representative. Rudd's character is hung up on an ex-girlfriend to the point of obsession, repeatedly breaking down as the runtime goes on. Rogan's character is a sex pervert who isolates his emotional side from the world outside of his books, and he became like this due to the controlling role of his father. All of these descriptions would make for fine characters if the film was more akin to Flickering Lights, but the film fluctuates between advocacy for self-acceptance and sex obsession. There are tender moments between the male cast as they learn about each other and Carell's lifestyle, but the film has large and obvious portions cut from it and many jokes that fall flat. For example, Malil and Bednob's characters do nothing for the story. They're Hindu and Pakistani, but you can only understand this if you know the ethnicities of the actors. Nothing is done with this dynamic either. Bednob sits at the poker table (but does leave early), and both have minor drama with the rest of the cast, implying a greater role in the group at some point in production. These ultimately draw from the runtime, and many, many scenes and characters like them exist. Arguably, the heroine, Keener's character, is one of these characters. Despite feeling second best to Carell's hobbies, Keener ultimately accepts Carell and has no reaction beyond, "That's a good thing," and "I thought you were going to kill me," to Carell being a virgin. The first does nothing for the message, and the second is a rehash of Rogan's impression of Carell as a serial killer, something Rogan came to admit to Carell after getting to know him. She and her children are rehash characters because the films of the time demanded a heroine, and the societal expectation was and is that Carell will stop being a manchild despite being completely content with his life before coming out of his shell. Due to these extraneous characters, plots, and jokes, the comedy and drama are scattershot, and no character except Carell has an arc. Even then, Carell's arc lacks a final act. It skips immediately to its conclusion. This can be seen with the main four as well. Malco's wife is suddenly pregnant, but he shows insecurity with her being a club rep at the party celebrating this. The plot demands a conclusion with the heroine and the story is pushing the runtime of a standard picture, so this is resolved by showing them happy with their child at the timeskip wedding. Rogan has sex with a woman he introduced to Carell who the group agrees upon being a freak as she masturbates with a showerhead. Despite alluding to her being freakier than him, this arc is once again resolved at the wedding with them happily together in the bleachers. Rudd falls for a girl Rogan hires for his sake, and she alludes to being tied to the mob given her heavy Italian-American accent and stating she would pay to have her ex killed if she could. This arc is resolved at the wedding. The wedding itself is almost a dream-like sequence, and this isn't intentional because the film ends with two random song numbers. To prevent this post from taking an entire page, I'll give an idea of a more perfect version of the movie: Shift the focus from Carell to his friends after the midpoint and extend the movie to three hours. The first portion would be focused on Carell opening up to the group and the group opening up to each other because of Carell's presence as Carell becomes disillusioned with women but the group find what they think is love, it would mostly be the existing film. In the second half of the film, have Carell and Keener get together and follow their story but have the rest of the cast's run parallel. Malco becomes paranoid that the kid may not be his. Rudd finds out what it's like to be on the receiving end of obsession, constantly monitored by a woman he thinks might be in the mafia. Rogan realizes what he looks like to everyone else as he tries to be romantic with a complete sex pervert. Ideally, she would replicate the horsefucking he spoke of at the beginning of the movie. The three take what they've learned from Carell and each other to resolve their situations. Malco is honest with his wife. Rudd focuses on himself, perhaps entering therapy with, comedically, a female therapist. Rogan admits to the group that he's a writer and announces he has been writing a book which, comedically, is either bad or emotional but received with encouragement from his friends. As the group focuses on their own problems, Carell still has his breakup with Keener, even including the callback to Rogan saying he thought she would kill her. After he admits he's a virgin and proposes to her, Hart's character comes and kills him, comedically following up on the earlier scene between him and Malco. Hospitalized, Keener, her family, and Carell's friends stand around his bed and talk about him, calling back to each others' thoughts, again played for comedic effect. The camera rises from Carell as the scene transitions to him marrying Keener. The original sequence is exactly the same, but there's only one musical number. The musical number now leaves room for interpretation as to whether the film ends with Carell living or dying.
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>>1750 >Twin Peaks A great show brought down by suits, but I am only four episodes away from completing it. I truly enjoy MacLachlan's character alongside the rest of the cast. Everyone has depth and aren't inherent evils, and the sometimes jilted nature of the deliveries adds to the experience. Everything about Twin Peaks, the town, is great. It's an ideal American town untouched by the outside world, a straight metaphor for America as a whole. Unfortunately, the increasing influence of suits and releasing of the reigns by Lynch are obvious as the series progresses. My first recognition of this was the sudden cut during Fenn's confession to MacLachlan in his hotel room. The cut to Fenn's face was likely from a group of alternate takes and inserted after an executive saw it. It's painfully obvious that the teenage cast weren't written as being of the age of maturity, and Lynch likely had to write around this change. While this would turn out to be a boon to the plot overall by showing MacLachlan's character as principled, it would obliterate the story in the second season by allowing Welsh's and Zane's characters to exist. Really, everything after the conclusion to the initial plot shouldn't have been included in the first season. My suspicion is that, following the success of the first season, a triple order was demanded by the network or the series had to fill in for another. With this greater order came a greater opportunity for creative freedom, but this was squashed by the studio very quickly in order to cash in on the series. There are nonsensical and worthless plotlines meant to pad time, rehashes of previous plot points, and obvious attempts to both make the series fit the mold of its contemporaries and advertise certain actors who simply aren't up to snuff, particularly Marshall's and Ontkean's characters. There are also painful, strange scenes that occur within the second season which humiliate and assassinate the characters. For major characters, MacLachlan and Fenn are notable. For minor characters, Lynch and Chen are notable. MacLachlan's backstory and reason for not being with Fenn shifts from him being naïve and in love to him being an adulterer with his partner's wife. Fenn shifts from a mature but strange young woman who values her virginity to hopping on any bone she can come across, even if only to manipulate them. Lynch shifts from being near deaf to magically capable of hearing from Amick's character in a forced romance. Chen shifts from being a victim of circumstance with a checkered past to a hardened criminal, something that also drags down Ontkean. The production team had no idea what to do with the series' characters and mistook "flawed and multifaceted" for "secretly bad." Graham's character is a Mary Sue and a genderbent version of MacLachlan. After the resolution of the death of Lee's character, the series should have ended or, if the network seriously wanted more or feared for ratings, the season should have finished with the revocation of MacLachlan's status as an FBI agent and setting up the remaining Quebecois as the new enemy set against the backdrop of the rebuilding of Horne Incorporated while drip feeding the Black/White Lodge mysticism. My only praises to the second season's second half are for the humanization of Ashbrook's character and the horrific reintroduction of DaRe's character. It's a shame MacLachlan's agent stuck him in the Wine Aunt Rabbit Hole, cursing him to Desperate Housewives and Sex and the City until Lynch could bring back the series, only to say he'll never continue it. Out of principle, I may refuse to watch the third season despite knowing Lynch had full control. Twin Peaks isn't Twin Peaks if it doesn't take place entirely within Twin Peaks.
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>Project X Superbad if you stripped out the Jewish comedy. A super low budget, poorly directed, badly paced found footage film featuring a ton of no-names. It's no wonder critics hated it, it is trash and an excuse to ride the high of Superbad and the Hangover and act as what I assume to be a money laundering scheme. A huge amount of money was definitely used toward the soundtrack. While a decent representation of every teen's ideal generic house party, it's not a compelling film. There's nothing about the characters or their dynamics to latch on to. That said, the party was probably real in some part, something I have to give props to the crew for but also acknowledge that there was almost certainly pedophilia involved. I only watched this because of how aggressively it was marketed to me as a kid. >Videodrome A deep and unexpectedly mystical film. Unfortunately, the pacing is off in many scenes. Its novelization is likely better. It's difficult to stress how much I didn't expect aspects of this film from Cronenberg. The practical effects are great, but I can sometimes tell the difference between previously hard static objects and their soft writhing counterparts. However, this didn't totally draw from the experience. The erotic television and VHS were unnerving. Unfortunately, the chest pussy was inconsistent. It changed shape and detail in use. James Woods really sells the role of a scummy pirate TV host. I barely remembered his role as himself in Family Guy until the end. Overall, the film could have used a two hour runtime to fix the pacing issues, but it's understandable that the film at two hours would have been an extremely hard sell to distributors. >Austin Powers A parody that holds up well, but I can't deny its place in the descent of quality in parody as a genre that culminated in the "X Movie" era. It's the Scary Movie to the Scream of Our Man Flint. A decent romp, the movie is best enjoyed with some knowledge of classic spy films. However, some points of the film are nonsensical. For example, Scott asks, "Why don't we just shoot them?" and a long sequence about how he doesn't understand the spy-villain dynamic plays out afterward in response. However, the fembots are advertised as just what Scott describes, trapping and shooting Powers, but they use an aphrodisiac on Powers when they meet him. They only deploy their tit guns after they fail. I watched it a few times when I was younger and decided to rewatch it now out of a renewed interest in the series. >Scary Movie A low brow parody of Scream, dumbing down the concept by one step. However, it has a surreal quality to it. Many of the scenes (and sometimes lines) are 1:1 to Scream but with obvious changes in dialogue and characters. The effects are terrible, but I think many of the scenes, if not the movie as a whole, were refreshing for the time. If you didn't like Scream or millennia horror in general, you could point to Scary Movie and say, "That's why Scream/millennia horror sucks." The characters are forgettable, save the gay nigger and nigger stoner, but the intention of the film isn't to have memorable characters. You know the archetypes from cultural osmosis because you've seen stoner movies and horror movies in the past. This said, I seriously resent the film and wish its tagline of "no sequels" was true. It ushered in the era of "X Movie" as mentioned above, the rock bottom of parody that set the stage for obnoxious self-referential and meta humor in "intelligent" media. I also blame it and what it's parodying for the rise of ARGs, analog horror, and some of the more grating sides of internet humor. My love-hate opinion of the work may be because this was also something I watched frequently as a child.
>>1754 >I also blame it and what it's parodying for the rise of ARGs, analog horror, and some of the more grating sides of internet humor Explain
>>1792 Sorry for the late response. I haven't checked this thread in a while. I'm sorry if my writing is jumbled here. I'm typing this while very tired. I can post more when I'm more awake if you have any questions after reading. A key component of millennia horror was attempting to blur the line between reality and fiction through viral marketing by the creation of proto-ARGs. The most poignant of these, and the one Scary Movie parodies, is the Blair Witch Project. Many, many ARGs aped the marketing campaign of the Blair Witch Project and its found footage style. Look at TribeTwelve and EverymanHYBRID. Analog horror is more of a branch of ARGs, but it's also rooted in found footage. ARGs prefer to emulate viral marketing by having a high amount of user input. Analog horror prefers to emulate the films being marketed by focusing on the narrative. Additionally, ARGs are posted by the character(s) within the universe, another ape from millennia horror viral marketing, while analog horror is posted by the creator or some other entity that doesn't interact much with the audience, analogous to studios publishing films. As an aside, I predict that someday soon people will misattribute BEN DROWNED from its current misattribution as a creepypasta to it being analog horror because it doesn't follow the trappings of live action ARGs and has bleed-through with many of the tropes of analog horror. Another point is the placement and use of technology between pre-millennia horror, millennia horror, and ARGs and analog horror. In pre-millennia horror, technology was scary in a scientific way. Nuclear bombs, zombie viruses, space blobs, etcetera are things of pre-millennia horror. Millennia horror integrates technology into the horror and typically makes the plot hinge on it but almost never makes the horror about technology. ARGs and analog horror are more often then not about the civilian horror of technology or include it in some way that technology is inherently evil. For a third point, the existence of meta understanding in horror. In pre-millennia horror, the only people who would know about horror movies would typically be weirdos because they weren't culturally relevant aside from monster movies. In millennia horror, everyone knows about horror movies because they're culturally relevant, even though the characters still follow the same tropes despite the creators pretending they don't (more on that later). Scary Movie directly parodies this. This meta understanding of horror also exists in analog horror and ARGs. ARGs take place in alternate versions of reality and thus must have it unless their alternate reality is predicated on the lack of horror films in the mainstream, and analog horror does this in a structural sense, typically approaching the central topic of their horror and dissecting it through faux documentaries and presentations which are usually made by the government (more on that later). Fourth point, the place of realism in characters and drama over horror. Scary Movie is absolutely meant to parody these. A major focus of millennia horror is attachment to the characters through the creation of a drama while the horror acts as means of moving the plot. Through this, directors think they're making their characters less stereotypical, but Scary Movie points out that there is no removal of stereotypes. Instead, the stereotypes have changed to match the times. The characters now about horror films and are meant to be deep or complex, but they still abide by horror tropes because there wouldn't be a movie otherwise. Characters do this in ARGs despite direct audience input. You can learn everything about a character in this alternate reality and even give him advice, but he'll still die to the scary monster or go insane from the computer game because there wouldn't be a story otherwise. In analog horror, the focus on drama and worldbuilding is supreme over the horror as even the horror itself is usually given a character. Final point, the place of the government and the closeness of horror. In pre-millennia horror, the government would usually either save the day or fail, but it was almost never inherently untrustworthy. In millennia horror, the government is always untrustworthy, and there is no safety in your day-to-day life because of it. You could find an ancient entity in the woods, and the government will cover it and your death to it up instead of sending a team to kill it and save you. You could be kidnapped and tortured in a foreign country, and going to the embassy is pointless because the government is in on it too. Serial killers can make elaborate deathtraps and taunt the government then get away with it. In ARGs and analog horror, the government is almost always either infiltrated by the horror, directly has a hand in it, or is trying to cover it up. When the government fails, which it always does, it's because it underestimated the threat or was incompetent despite having an agency or bureau dedicated to the threat.
>>1855 As for the grating side of internet humor, it's easier to explain Scary Movie's place in it first. Scary Movie would spawn the litany of "X Movie" genre parodies. Genre parodies are a hotbed of LOL SO RANDOM humor. For example, Alvin and the Chipmunks having rabies in Disaster Movie. The Chipmunks shouldn't be there, but they are for no reason other than that it's funny. This stems from the approach taken by Scary Movie 3, but that stems from the approach taken by Scary Movie (which itself stems from Don't Be a Menace While Drinking Your Juice in the Hood, but that's outside of the scope of this). Scary Movie takes events and tropes from millennia horror and adds an element of lowbrow comedy to them to parody their existence. For example, the dick through the gay nigger's ear is a parody of a scene in Scream 2 where a knife is used instead. This is intentional because it's funny for the character who has been established as practically openly gay to be killed by putting his ear to a gloryhole where he's mindfucked and it parodies how retarded the kill it's referencing is. If this was made in a later "X Movie" the dick would be green and there would be a two minute sequence of Shrek killing the guy with it. LOL SO RANDOM humor would eventually transform into "ironic" and "post-ironic" humor. Now Shrek is not only the one doing it, the Albanian national anthem is playing and it's bitcrushed to near unrecognizability. Now for the place of millennia horror in grating internet humor, referential humor. Millenia horror helped popularize referential humor through the previously mentioned meta nature as characters would mention past horror movies by name or talk about how they were going through a horror movie trope. Scream is a major player in this, especially with its running "How to Survive a Horror Movie/Trilogy/Sequel/Reboot" gag. This is a soft form of breaking the fourth wall as both the audience and the characters understand that they're watching a movie and in a movie respectively yet can't consciously act on it due to, again, the necessity of a plot. Referential humor used to be something only nerds would do, but the explosion in popularity of the medium as films became cheaper to distribute and wealth grew led to the popularization of references. If you had never watched Nightmare on Elm Street, you would still understand the reference to it in Scream because of cultural osmosis. If you had never watched The Good Doctor, you would be able to understand the "I am a real doctor!" meme through cultural osmosis. For an older and likely more relatable example, remember how often "The cake is a lie!" was spoken by people who had never played Portal but used as a means of group identification. Rather than keep the reference within the community of the property or community of the genre of the property, it's exposed to the outside and used by the outside in place of humor. Whoever uses the line doesn't really get the joke. He's just repeating it. Scream begins with referential humor. It's funny that someone who "likes scary movies," mixes up Michael Meyers and Jason Voorhees. The audience laughs at the joke despite not being able to do so themselves. "Do you like scary movies?" is now engrained into their psyches. They'll repeat it to their friends, and both of them will think it's funny because its context is now as a movie reference rather than satire. The line has lost its context and is now funny because something well known said it. Like LOL SO RANDOM humor, referential humor evolved into the grating "ironic" and "post ironic" humor of the present day. Winnie the Pooh is dancing in a corner of the Backrooms next to a white Monster can while Caramelldansen plays. Wojack has fifty variants because his degeneration into "feels guy" would eventually become "feelings guy". Pepe is a common Twitch emote.
>Watch Last Tango in Paris >Find out after the fact that Bernardo Bertolucci, the director, was considered a "protégé of Pier Paolo Pasolini" That sums up my review of the movie right there.
I finally sat through "In the Soup". Only hardcore Steve Buscemi fans need apply. Interestingly, though, it has cameos from some famous people: Sam Rockwell, Jim Jarmusch, hell, the "little man" is Mike Anderson from Twin Peaks!
>>1954 I found a somewhat similar but better Steve Buscemi movie called "Living in Oblivion". He stars as a director trying to get one scene done but everything keeps going wrong (in multiple layers - Inception style). I don't know why but I have the feeling that blam would be interested in this movie if he hasn't seen it already.
Rewatching chungking express and fallen angels. I cant explain it. Something about the alienation, and cynicism of a culture apart. A people separated from themselves. It just makes the comfiest movies of all time. I often fall asleep with them on. What was the message? Whats he getting at?


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