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#film talk
reallyrallyauthor · 2 months
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Why did no one tell me that the backside of William Tell's pants are the hardest working character in The Card Counter???
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The tailoring of that man's wardrobe in this movie is... *bites fist*
I don't know if it's supposed to add to the tension of the character, his clothes being all tight and whatnot, but I kept wondering how he was squatting low enough to wrap the legs of all of his furniture without busting a damn seam.
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I like Cillian and I will reluctantly watch Oppenheimer soon (whatever), but I'm intrigued by the possibility of Paul Giamatti winning an Oscar for his role in The Holdovers. He didn't play some famous person, no biopic (god, can Hollywood take a break from that?). His character was just a miserable, ordinary guy, quite unlikeable and at the same time, easy to understand. It doesn't take much to end on that path and I think an actor like him is really capable of bringing him to life and also have the audience react with empathy.
The cast in Holdovers is great and the trio works so well together. Their performances shine through their interactions.
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reanimatedguts · 4 months
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you mean nobody was gonna tell me they had Oppenheimer say the, “now i am become death, the destroyer of worlds” line while he was balls deep in some pussy??
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Florence was a guest on Zach Braff’s podcast to discuss her career and their new film A Good Person, which is out today!
I especially loved this bit at the end about her thoughts on possibly Directing films one day:
“I’d love to be a Director. I think I need to learn a bit more. I need to soak it up. It’s such a tricky position to have, and to lead, and to be a leader on a film set. You really have to be-You have to know your shit. And if you don’t a lot of people can get, you know, twisted up by that. And I think, for me, I don’t want to go in and not know and then affect an actor badly…It’s something that you really should go in knowing that you can do it. So I think I’m just going to do a bit more learning.”
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girltomboy · 1 year
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By far my favorite character in Connor's wedding is none other than Connor. The drop of his eyes when he realizes that, as the oldest son, his father was never proud of him, and didn't even get to witness his wedding. The desperation with which he runs away to hide in a room on the boat, the internal battle of having to grieve on your happiest day. But I loved it so much when he sat down and talked to Willa. She offered support, reassurance, and honesty; she took his mind off the grief and decided to pull something beautiful out of sadness. Out of all the siblings he is the only one who has a support system outside of his family, a support system that isn't directly affected by family grief, someone to turn to that can soothe his pain without being clouded by that pain themselves. There is also a lot to be said about him being older and able to confront death and loss much better compared to his siblings. Him giggling on the bed with Willa made me notice that, and seeing them hug at the ceremony made me realize he really broke the family curse. He did not let the soullessness of the Roy brand suck the life, hope, and love out of him. I used to be skeptical of his relationship with Willa, because it looks sketchy from the outside (like Roman always comments on how love is dead when he sees them together), but up close I think it's a relationship that works because both of them are willing to work with it, for their own reasons.
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archibaldtuttle · 13 days
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What were the couple good films that made superhero movies the plague they are today?
Sam Raimi's Spiderman and Nolan's The Dark Knight. I would include Iron Man in this too but at that point Marvel was already banking on the Spiderman style action/comedy formula to work with Downey Junior's charisma.
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Eyes Wide Shut, Vanilla Sky and Oblivion all explore the tension between memory, dreams and reality; and the importance of cultural artefacts and/or social standing, in forging an identity and sense of self.
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I've said it before and I'll say it again, those dude-bro film 'nerds' that idolize the joker/Tyler durden/Patrick Bateman fundamentally misunderstand the whole point of those characters and I want to punch them all in the face
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bloodborne-on-pc · 23 days
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Finally saw Dungeons & Dragons: Honor Among Thieves tonight. It was fun and I enjoyed it. There were dungeons, and there were dragons, and, there was, in fact, honor among thieves (sometimes). There were also practical effects, which looked very cool and are something I always respect and appreciate. Why are there so many "and"s in this paragraph?
Anyway if they do make a sequel I hope we see more of Xenk Yendar, because I liked him a lot and also want to see more of his paladin abilities, because he didn't really use any aside from Divine Sense. I guess his sword glowed after he said some magic words which was supposed to be...something? I don't actually know what that was supposed to represent, it didn't seem to do much at all. I just really want to see him smite a lich or something lmao.
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tinseltine · 3 days
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Tinsel & Tine #MiniMovieReview Extravaganza 20 is complete! Full Reviews - link below...
ARGYLLE| Universal Pictures & Apple Original Films| Writer/Director Matthew Vaughn
An exhilarating throwback to the 80's action rom/com like "Romancing the Stone", with the tech of Vaughn's "Kingsman" franchise. Rating: 4 outta 5
THE GREATEST NIGHT IN POP (We Are The World Doc)| Netflix | Director Bao Nguyen
The doc I didn't know I was waiting 40 years to see, but after seeing it, had to watch it again! So much nostalgia and just a great behind the scenes look at an iconic moment in time. Rating 5 outta 5
DRIVE-AWAY DOLLS | Focus Features | Director Ethan Coen
It may be the other half of the Coen duo flexing his solo muscle, but it's his lead, Margaret Qualley, who owns the movie. Rating: 3 outta 5
MADAME WEB| Sony Pictures / Marvel Studios |Director S. J. Clarkson
The places this could have gone with one or two writers instead of four. And a bit more direction and care for the role from Dakota Johnson. Rating: 2 outta 5
BOB MARLEY: ONE LOVE| Paramount Pictures / PlanB Ent | Writer/Director
I am pleased that this movie now exists to honor this unique individual, his beliefs and talent, but I felt like an outsider watching this movie and never fully connected. Rating 3.5 outta 5
PROBLEMISTA| A24 | Writer/Director Julio Torres -I had so much fun watching this movie! It’s totally my sense of absurdist humor. So recognized his plight of having to work for and placate an erratic person - Been there. Done That. Rating: 4 outta 5
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speccyfilmnerd · 3 months
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The Somehow STILL Underrated Beauty of Tim Burton’s ‘The Nightmare Before Christmas.’
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19.12.23
‘The Nightmare Before Christmas’ is a stop motion animated holiday musical, directed by the incredible Henry Selick, produced by Tim Burton, with music and lyrics by composer Danny Elfman, released in the Halloween season of 1993. Over the years the film has developed a terrifyingly devoted fan base (me included) that grows every year; its sights, sounds, and the feelings they evoke in viewers young and old, is simply encapsulating and downright impressive.
So, now in the run up to Christmas, thirty years after the film originally came out, I would like to talk to you about it.
To refresh your memory, the film follows a depressed and bored skeleton, aptly named Jack Skellington, the pumpkin king. Jack ventures out of the town of Halloween into a whimsical land of Christmas. Enchanted by the sheer joy he feels over this, Jack steals Christmas and loses sight of what Christmas is actually about and the friends he already had. The movie ends with Jack returning Christmas to its rightful owner and himself returning to Halloween town.
NBC was (and still is) one of the most revolutionary stop motion pictures ever made. It utilizes advanced techniques that took more than 100 artists, technicians and animators more than three years to perfect on the screen. Director Henry Selick has become an Animation Icon so to speak. With classics like ‘Coraline’ and ‘James and the Giant Peach’ under his belt, and a clear talent and good eye for stop motion, it's clear Selick was the best choice to lead the operation, with Tim Burton close behind.
Burton chose Selick personally to bring his creation to life. A creation he dreamed up while working for Disney as an animator years before, a character that in his own words is ‘sort of like the Grinch in reverse.’ Selick did his very best to portray the vision Burton had displayed in his concept art accurately, so much so that even some fans of the film mistake it as being directed by Burton himself.
Interestingly, during pre-production, the first things to be made for the film were its songs. Burton brought in his most reliable source for all things musical, composer and lyricist Danny Elfman. at First Elfman was hesitant about working on the film, he said in an interview with GQ earlier this year 'Christmas was the most depressing time of the year for me. It was a very lonely time for me as a kid.’ Elfman himself is Jewish and doesn't celebrate Christmas, however his decision about working on the film was changed when Burton described it's main character, a Skeleton, a repeating motif in Elfman's work.
Before a script was put together Elfman had already written the lyrics that built up a lot of Jack's character, and he also became the singing voice of the part. The rest of the score features beautiful orchestral suites that swell and envelope the listener in all kinds of warm and fuzzy feelings
I asked my friend October, who is more musically inclined than me, to describe the score further…
“Within each song, beautiful and somber melodies are packed into each second of runtime, the orchestra is used effectively to move the story along in such an ornamented way.
Songs like ‘Jack’s Lament’ have gorgeous trailing motifs played by strings and woodwind, maybe opposing Elfman’s other works that have a focus on more powerful brassy numbers. Emotionally-charged lyrics written by Elfman (stated in the interview priorly talked about - Elfman resonated with Jack) are able to be understood and enjoyed by all ages, and the voices chosen for each character - Catherine O’Hara as Sally, Ken Page as Oogie - work excellently to set the tone for each scene and keep engagement at a high.
I’m unable to speak about specifics in terms of instrumentation for songs suck as Sally’s Song and the like, and I don’t own the score quite yet, and my ability to correctly identify instruments correctly lacks.”
The Nightmare Before Christmas, and in particular it's main character Jack, tackles a theme of belonging. When I first saw the film as a child I felt an intense connection to it. It's my mothers favorite and in turn has become mine, seeing this thin, pale, confused character attempt to find somewhere he feels he belongs was awfully personal. I know the way Jack feels in the first act of the story far too well, and it is both a delightful and ever so slightly envious emotion I get when I see him break out of it. 
Back to my childhood again, the villainous Oogie Boogie would always spark a mix of fear and excitement whenever I would hear that first ominous laugh ring out from the screen. He really is a perfectly designed character in my opinion. the contrast between his large, soft, rounded silhouette and jack's thin, almost snappable frame shows how different they are, despite being similar.
for anyone who's interested in filmmaking, animation, music and sound design, colour theory and shot composition or character design, this film is an amazing piece to look at (or write your school paper on) and I think it definitely has, and will continue to stand against time in an industry and an art form that moves ever so fast.
And I wish you all, whether you celebrate or not, a very happy and safe, dry and warm winter.
Interviews referenced/sources used:
Documentary about the production of the film, featuring interviews from many crew members, including Henry Selick, Tim Burton and Danny Elfman:
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Danny Elfman speaking to GQ: (7:20-11:05)
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reallyrallyauthor · 2 months
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I'm watching Scenes From a Marriage again.
Someone, please stop me.
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The way these people unironically tell this random grad student all the ways they've set themselves up to fail. Here are our problems. We never dealt with them. Hahahaha. Should be fine, right?
Mira: I had just come out of a series of relationships that were borderline abusive and I guess that I was addicted to that and I was ... stuck at a job that I could care less about. And Jonathan was the complete opposite. He was everything I wanted to be. He had values, and purpose. It's true.
Jonathan: Yeah, it's ironic because this was at the height of my existential dread. After I left my religion I just had these years of loneliness.
Later... Jonathan: ...it's so obvious that western culture... has created these completely irrational expectations. That marriage must be at all times based on passion, on sex, on relentless emotional intensity.... the whole concept's a complete fallacy
Mira: awkward silence
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Two things here:
1) Does Bradley Cooper know that being an actor involves you know, acting? Someone teach him, please.
2) He's saying Bernstein came into him and we're supposed to ignore that? Choice of words and phrasing, man. It matters.
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reanimatedguts · 10 months
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the movie Green Room, but every time a knife is pulled out of someone, a laugh track spills out instead of blood
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so it seems to me that dwd has been snubbed for most of these award shows right? sometimes i get confused w all the requirements and timing of the movies that can be nominated
Hi anon!
Yes, it’s been absent so far. With the exception of a couple technical awards (Costume and Set Design, I believe) it hasn’t gotten any nominations from the more notable award shows (Gotham Awards, SAG, Golden Globes, Critic’s Choice, Director’s Guild, etc).
It made the shortlist for Music (Original Score) for the Oscars but I’m doubtful it will be get a nomination. It was critically panned and the multiple controversies surrounding it clearly didn’t help. I just mentioned to @twopoppies that Chelsea Handler made a joke about the DWD press tour earlier tonight while hosting the Critic’s Choice Awards and the whole room laughed. Not the best reception to get from some of the industry’s most respected players.
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tani-b-art · 4 months
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Maxine’s Baby: The Tyler Perry Story
Perry’s legacy in film, in Black American culture is imprinted. Generationally. What he’s done in the industry is groundbreaking. His non-traditional approach and method to all he’s accomplished is a testament to what we’ve always done as Black Americans when it comes to everything — having a seat at our own table we built. He broke the mold and shattered the glass ceiling. He truly has the Black American, ancestral lineage of perseverance running through his blood!
I also learned so much more about him and his relationship with his mother and his mother in general that I hadn’t known. Also, parts of him speaking about his mother connected a lot of why he has certain perspectives on life and relationships. The Black women in his life (his mother and aunt who is hero-like in my opinion for the type of action of love) truly played the biggest roles in his shaping as a young boy to becoming a man. We got an inside view of his mind and the journey of him becoming who he is.
Seeing the enormity of his success just is positively moving and stirring. I found myself super proud with the scenes of the grand opening of his ultimate studio! Those parts of the docu had me feeling like I could conquer anything. All of the studio grand opening touched my heart and made me smile tears of joy in the simple fact that he is the embodiment of our ancestors’ love, hope and courage. He built on what they started and I can feel them saying, “Well done.”
It’s moving and emotionally charging.
He also allowed us into the parts of his life as a father to his son. You can tell all that he does and is doing is to be able to give out the love he wished he could’ve gotten from the father-figure in now life. His relationship with his son is so beautiful.
The intimate portrait, bio styled documentary was a great watch. I definitely recommend.
Now….I must speak on the issues that I took with aspects of his footprint on the landscape of film.
Perry loses me when he says things like, “…what we’ve done to each other as Black people who are successful…”. He referenced the boycotting Amos ‘N’ Andy had received in its time along with Alice Walker’s The Color Purple. Amos ‘N’ Andy’s controversy: this show (was a TV adaptation of the radio sitcom of two white men who “adopted stereotypical dialect, intonations, and character traits that had been established in the blackface minstrel tradition in the 1800s”) came out in the midst of the Jim Crow era. An era we all know served to present imagery of Black Americans in racist propaganda replete with racist stereotypes and tropes. And the actors weren’t white men in blackface but actual Black men in these roles. Which is also the similar criticisms Perry’s Madea character receives.
The two shouldn’t be paralleled. Amos ‘N’ Andy was clearly stereotypical mockery (and no condemning the actors at the time) while Walker’s book is “inspired, in part, by a story that Walker's sister told her, about a love triangle involving their grandfather.” It is an account of real life experiences—a real depiction of what Black people, specifically Black women, were going through in the early 1900s in the Deep South. On the heels of freedom (this is post American slavery with the signing of the Emancipation Proclamation) yet still facing the aftershocks of “ending” slavery (racism has never ended), Black women still faced slave-like treatment from former plantation & slave owners and now sexism & patriarchal treatment from their partners (I say now not in a sense of this being completely new). All while gaining more freedom in their outspokenness for the domestic plights they faced with their significant others and demanding equal rights.
Walker’s book and the following film adaptation received backlash on account of the increasing fracture between Black women and Black men in a post “free” society.
Perry also mentioned the not so pleasant views Langston Hughes had with Zora Neale Hurston and her usage of the Black Southern dialect in her writings. That too is incomparable because again, she conveyed real life. These were not caricatures she fictionalized for comic relief.
(please leave Alice Walker and Zora Neale Hurston’s works alone in correlation to yours)
Or in an appearance from Killer Mike (in Perry’s documentary) alluding to the fact that other groups of people don’t take issue with the negative depictions of their people in film.
One — yes they have and do. Has he spoken to any other ethnic group to ask?
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Two — yes, your core demographic, who is Black, will have the most dialogue regarding your work. Who else would? White people? No, because you don’t make art for them. Your work is rooted through the lens of Black Americans. Of course the biggest critique will come from us.
We have a very different relationship with our own country and the world at large. Centuries of ridicule in minstrel shows with not Black (because yes, it wasn’t only white people performing in blackface to mock us) people donning blackface or in film with dangerous propaganda that single-handedly created a racist, terrorist group (k k k). We are still dealing with the aftermath of these harmful depictions and are in constant corrective mode. It’s a continual action.
He spoke about intention as well. And while I don’t believe Perry’s intention of the Madea character (or any of his characters in his films, shows or plays—that’s a different conversation…among other talking points surrounding him can be discussed in an entirely separate talk) was to be problematic it is very damaging to the representation of Black American women — two things can exist. Especially considering all the negative portrayals and images of us over the many, many, many years in all forms of media that the character fits into (again no condemnation on any of the actresses at the time).
But with everything I’ve said, Madea will just always have a kindred connection with me.
I was first introduced to Tyler Perry years ago from a cousin who lent me a VHS of both “Madea’s Family Reunion: The Play” and “Diary of a Mad Black Woman: The Play”. And when Madea came across my screen in that loud shiny red funeral squirt suit, there was an instant likability! I laughed more than I had from anything scripted — in fact, his plays were the first time I had ever watched a stage play. And from then, I have always had a special place in my heart for his plays and for Madea! I purchased 6 DVDs of his plays afterwards and the “Diary” film while I was in my freshman year in college and those plays got me through my first year.
I am glad he’s since retired the character and opened a new chapter of the work he’s putting out but I can acknowledge that Madea and the work pre-Madea’s retirement has been and is a source of joy for me.
And I think that’s what Tyler wants to do with all that he does.
Bring us joy.
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