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eddy
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Postby eddy » Wed Aug 08, 2018 2:53 pm

This may also be an unpopular opinion, but I don't like that they are forcing a 3 hour timeline. Who cares if it goes over? Honestly, the most interesting part of these most of the time is hearing the actors talk and tell stories. Don't watch if you are complaining about 20 minutes of overflow

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Postby Dickie Dunn » Wed Aug 08, 2018 3:05 pm

This may also be an unpopular opinion, but I don't like that they are forcing a 3 hour timeline. Who cares if it goes over? Honestly, the most interesting part of these most of the time is hearing the actors talk and tell stories. Don't watch if you are complaining about 20 minutes of overflow
Eh. I think there ends up being a lot of downtime in the show between awards people actually care about.
Actor in a Supporting Role
Makeup and Hairstyling
Costume Design
Documentary Feature
Sound Editing
Sound Mixing
Actress in a Supporting Role
Foreign-Language Film
Animated Short Film
Animation Feature Film
Production Design
Visual Effects
Film Editing
Documentary Short Subject
Live-Action Short Film
Cinematography
Original Score
Original Song
Original Screenplay
Adapted Screenplay
Directing
Actor in a Leading Role
Actress in a Leading Role
Best Picture
It's definitely a dick move to the people that would be nominated in those categories, but move Animated Short Film, Documentary Short Subject, and Live-Action Short Film (**** short films I guess), and then maybe a couple things like Production Design, Sound Editing, and Sound Mixing to be awarded during commercials breaks and you've got a three hour show featuring categories the general movie going public is concerned with while the other people still get awarded in front of their peers and get acknowledgement on TV.

eddy
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Postby eddy » Wed Aug 08, 2018 3:08 pm

Source of the post It's definitely a dick move to the people that would be nominated in those categories, but move Animated Short Film, Documentary Short Subject, and Live-Action Short Film (**** short films I guess)
I'm fine with this.

I guess what they are doing is taking certain categories and editing them during commercial breaks and coming back with a best of later in the show (so what you said!)

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Postby Dickie Dunn » Wed Aug 08, 2018 3:13 pm

Some experienced talent reps estimate that due to the unique situation, Gunn could receive a payout of $7 million to $10 million, if not potentially higher. And, more importantly, he would be free to take on another project immediately. Also affecting the negotiations is that sources say Disney plans on using Gunn's script for the third movie.
https://www.hollywoodreporter.com/heat- ... ng-1133161
They should bite the bullet and unfire him.

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Postby tifosi77 » Wed Aug 08, 2018 3:16 pm

Some experienced talent reps estimate that due to the unique situation, Gunn could receive a payout of $7 million to $10 million, if not potentially higher. And, more importantly, he would be free to take on another project immediately. Also affecting the negotiations is that sources say Disney plans on using Gunn's script for the third movie.
https://www.hollywoodreporter.com/heat- ... ng-1133161
I did not know he wrote the screenplays, too. If that's the case, he may have a keyman clause that binds use of his script to him directing it.

I'll go with what DD said, they just rip the Band-aid off and unfire the guy.

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Postby shafnutz05 » Wed Aug 08, 2018 3:21 pm

If they do, it will be interesting to see how Disney spins it. They are not generally conditioned to admit errors in judgment.

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Postby eddy » Wed Aug 08, 2018 3:22 pm

The new Mission Impossible is the best collection of stunt set pieces I’ve seen this year.

It actually isn’t terrible, but probably one of the best MI films to date. Kind of a carryover from the the 2015 film.

And moar Rebbeca Ferguson please...
You think a 6 year old would be fine with this if he's seen all the marvel movies as a reference?

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Postby Silentom » Wed Aug 08, 2018 3:23 pm

The new Mission Impossible is the best collection of stunt set pieces I’ve seen this year.

It actually isn’t terrible, but probably one of the best MI films to date. Kind of a carryover from the the 2015 film.

And moar Rebbeca Ferguson please...
You think a 6 year old would be fine with this if he's seen all the marvel movies as a reference?
I think there is some tremendous side-boob.

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Postby eddy » Wed Aug 08, 2018 3:24 pm

If they do, it will be interesting to see how Disney spins it. They are not generally conditioned to admit errors in judgment.
That's what I was thinking. Maybe wait for some other big news and slide this in on a Friday afternoon. It's not like the people who pushed for him to get fired are not going to be angry anyway

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Postby Dickie Dunn » Wed Aug 08, 2018 3:29 pm

“Sorry everyone. We fired James due to public outcry and then later learned that the public outcry came from Pizzagate truthers, QAnon, and 4chan, so who cares. Welcome back James.”

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Postby Silentom » Wed Aug 08, 2018 3:59 pm

That would be like a wet dream to witness.

eddy
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Postby eddy » Wed Aug 08, 2018 4:00 pm

It would be even funnier if DC hired him for Green Lantern

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Postby NTP66 » Wed Aug 08, 2018 4:03 pm

It might take more than Drax saying he won’t appear in the next movie to get anything done.
After all, they could just keep him invisible in the next script...

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Postby DigitalGypsy66 » Wed Aug 08, 2018 10:57 pm

The new Mission Impossible is the best collection of stunt set pieces I’ve seen this year.

It actually isn’t terrible, but probably one of the best MI films to date. Kind of a carryover from the the 2015 film.

And moar Rebbeca Ferguson please...
You think a 6 year old would be fine with this if he's seen all the marvel movies as a reference?
It's a bit intense at times, but the violence isn't really over the top. And there is one f-bomb.

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Postby NTP66 » Thu Aug 09, 2018 10:42 am

Simon Pegg and Nick Frost. I'm in.


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Postby count2infinity » Thu Aug 09, 2018 10:46 am

Shaun of the Dead and Hot Fuzz are two of my favorites. This looks to be in the same vein, so I'm in as well.

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Postby tifosi77 » Thu Aug 09, 2018 2:04 pm

Hollywood Doesn’t Make Movies Like The Fugitive Anymore
The Fugitive’s success relies as much on plausibility as it does on velocity. Despite the soaring set pieces, the film somehow manages to remain grounded in a kind of palpable reality. “It is just so nice to watch a movie about normal smart people instead of insane super geniuses,” The Washington Post’s Alyssa Rosenberg tweeted in 2016. And though the characters’ antics could scarcely qualify as “normal,” significant portions of the film’s budget were spent on bypassing CGI in favor of creating real sets—like for the train crash ($1.5 million) and the dam jump ($2 million). Ford also insisted on performing his own stunts despite having a double and being 51. That is him flying through the air as if to jump from a train (on ropes, but still), that is him standing on the edge of North Carolina’s Cheoah Dam (a rope attached to his leg, but still), that is him limping through much of the film because he tore a ligament and refused to treat it. And that is him acting the hell out of everything in between.
Though The Fugitive established Chicago as the place to shoot, it’s perhaps more notable for being the best of a genre that no longer really exists: the character-driven Hollywood action movie for adults. As Davis told Mandatory in 2013, the industry has gotten to a point such that if a film “doesn’t have tons of eye candy where a 22-year-old in some other country can just enjoy watching it, then [it] hardly gets made.” This is the world of tentpoles and franchises and event cinema, a world in which everything must bow to the demands of accessibility.

While “old-man action” movies like Taken and The Equalizer could be considered descendants of The Fugitive, they lack its character development. Those thrillers that are character driven—say, No Country for Old Men or Hell or High Water—are less popcorn, more art. The Fugitive acts as a placeholder for a time when adults could be entertained by action heroes without being condescended to (see Die Hard, Lethal Weapon, The Firm, Patriot Games), which is why many viewers who saw the movie as kids in the ’90s, and who are adults now, wield it as a nostalgic marker of taste.

In 2015, the same year a Fugitive sequel was announced, the comedian John Mulaney released a special called The Comeback Kid in which he digressed mid-joke into an explanation of the original film’s plot. “Why does Kimble confront Nichols?” he asks. “Well, I know we all know this, but … ” And then he goes on to rehash it anyway because The Fugitive is the kind of movie that can be rehashed voraciously over and over and over again. Siskel watched it twice before reviewing it in 1993 and already wanted to see it again; Seitz saw it 10 times in the theater upon its release; and I have replayed it upwards of 30 times over the years. What I once believed to be a guilt-ridden affinity for a mindless puff of Hollywood excess, I now understand as an appreciation for a kind of modern-day moveable feast. As Gerard’s relationship with Kimble transformed, so too has mine. I thought I didn’t care, but I do.

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Postby eddy » Thu Aug 09, 2018 2:09 pm

Sign me up for more movies like The Fugitive.

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Postby shafnutz05 » Thu Aug 09, 2018 2:10 pm

I think I'll rewatch that this weekend.

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Postby Troy Loney » Thu Aug 09, 2018 2:24 pm

Wasn't there a sequel with Wesley Snipes?

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Postby Silentom » Thu Aug 09, 2018 2:26 pm

U.S. Marshals.

eddy
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Postby eddy » Thu Aug 09, 2018 2:38 pm

http://www.latimes.com/entertainment/mo ... story.html

Image
The character of Michael Myers in the new "Halloween," left, and political strategist Steve Bannon are in films announced for the upcoming Toronto International Film Festival. (Ryan Green/Universal, left; Toronto International Film Festival, right)
picture and caption made me chuckle for TIFF writeup

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Postby tifosi77 » Thu Aug 09, 2018 2:52 pm

Wasn't there a sequel with Wesley Snipes?
U.S. Marshals.
Which was a pretty decent movie in its own right. The genius of The Fugitive is that it makes the good guy the bad guy, and the bad guy the good guy. That works when the good guy is Harrison Ford. When the good guy is Wesley Snipes, you kind of find yourself rooting for the bad guy. Even when the bad guy turns out to be Tony Stark.

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Postby Silentom » Thu Aug 09, 2018 3:13 pm

RDJ was such a dick in that movie. Loved it.

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Postby NTP66 » Thu Aug 09, 2018 4:25 pm

Report: Marvel Studios Making 11th-Hour Plea To Disney To Keep James Gunn On ‘Guardians 3’
According to sources that spoke to Deadline, there seems to be a last-ditch, 11th-hour appeal from the folks at Marvel Studios for Disney to accept Gunn back. The report is quick to say this is not a sign of a clash or any strong-arming from Marvel against the mothership. Instead, the folks at Marvel are taking the temperature of the room, so to speak, and know that it may be in everyone’s best interest to rescind the dismissal and allow the director to work on the franchise he’s instrumental in bringing to life.

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