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Matt C

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Matt C last won the day on September 26 2013

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About Matt C

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  • Birthday 02/16/1987

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  1. I saw this earlier today. I posted my thoughts about it in the other thread, but I didn't like it. Not for the violence, but Todd Phillips and his co-writer miss the point by painting Phoenix's Fleck as mentally ill. The movie also pegs mentally ill people as nutcases, stalkers, and violent criminals. There's no nuance... and it doesn't sit well with me. Providing a character like Joker with a backstory strips away a lot of the menace and mystique. Phoenix's performance was excellent throughout, as was the cinematography. That tai chi thing, though, didn't work.
  2. Joker I didn't like it. The key thing that kills it for me is that it vilifies people with mental disorders by pegging them as stalkers and basket cases. Todd Phillips and his co-writer go a bridge too far by normalizing Arthur Fleck and not mining the fact that people here in the U.S. can obtain guns that shouldn't have them (mentally ill and/or those with criminal records). Joaquin Phoenix's performance is excellent, even mind-blowing in individual scenes, but he deserved a better script and director. (And I could've done without the tai chi movements.) It's a shame, as Scorsese would've been able to do something transient with a story like this. The cast is stellar and Lawrence Sher's cinematography even more so. Hildur Guonadottir's score is very effective, but she reuses Arthur's motif to the point of exhaustion. Judy Renee Zellweger is excellent in this warts-and-all movie about Judy Garland. After the first ten minutes, she became the character, and the movie doesn't gloss over her failings during the last few months of her life. It's a workmanlike biopic but Zellweger really elevates it.
  3. Just Mercy Our film fest screened this in advance, and it's fine. Good performances by Michael B. Jordan and Jamie Foxx, good direction by Daniel Destin Cretton, but nothing extraordinary. Brie Larson sticks out like a sore thumb with an atrocious Southern accent and an even worse wig than the one she had in Avengers Endgame. It's safe and predictable Oscar bait, but it goes down smoothly. Audiences will lap this up come January 2020.
  4. IT: Chapter Two This didn't need to be over 2.5 hours. I get the flashback sequences with the younger versions of The Losers Club (being as they were the reason the first film worked), but some were extraneous. James McAvoy and Jay Ryan felt miscast as the older Bill and Ben, while the rest (especially Bill Hader and Jessica Chastain) were terrific. Bill Skarsgard is still just as scary and ghoulish as Pennywise but his presence felt diminished in sections. The problems involving the climax and how the Losers Club defeat Pennywise don't bother me as much as the pacing and plot diversions. Had Andres Muschietti been more ruthless with paring down the script with Gary Dauberman (as they did with the first film), this would've been a better-paced film. The tone and atmosphere is just as pervasive as the first film, with some gorgeous camerawork by Checco Varese. Benjamin Wallfisch's score expands upon the palette from the first film, but nothing too memorable. Sink or Swim A fun little French film from last year. It's a feel good comedy, with the humor naturally blossoming from the characters' relationships and their insecurities about becoming a middle-aged synchronized swimming team. Gilles Lellouche keeps the pace moving well and it doesn't get boring.
  5. She did give Batman her own flair (in addition to Edward Scissorhands), and her lack of involvement was felt in Batman Returns. Would've been interesting, if she was still living, to see how she would've orchestrated Avengers: Age of Ultron or Justice League . Going back to Revell, Power Rangers is a fun score, but the recording and mixing is botched. Even if Walker had orchestrated and conducted that too, it was at the mercy of Dan Wallin.
  6. She certainly did. It's something that I wish more people gave her credit for, in addition to her composing talent. I really miss her.
  7. They got a distribution fee for The Incredible Hulk.
  8. Peter Pan - James Newton Howard It's a very Mickey Mouse-type score, but it fits with the lush hyper storybook feel of the film. Obviously, Howard took a bit of inspiration from Williams' Hook with cues like "Fairy Dance" and "Flying" but I think people overlook this score. Some major highlights in Howard's body of work. I would've loved to been on Sony Scoring Stage during the recording of "Flying"... the last minute and a half give me goosebumps. (Universal Studios uses "Flying" as part of their cinematic water show during the day, so it was a pleasure to hear that cue pumped through large speakers.)
  9. Is Feige writing the script or did he just come up with a story? Also curious whether he will make his directorial debut with this pic after earning well-earned clout at Marvel Studios...
  10. Granted, directors who have proven themselves ought to have the choice to use either format. Marc Webb was forced to shoot his first Spider-Man movie digitally, but successfully lobbied to shoot the sequel on 35mm. And since then he’s shot his other films like that too.
  11. Indeed but it looked amazing. Solo, on the other hand... Granted, the studios want to save money but the directors should have the choice to use film, Alexa/Red/MXL or use both formats. There’s a certain aesthetic to SW films compared to the MCU. I hope Feige recognizes that. And no mid/post credit scenes either.
  12. I guess Sony thought "Well, 75% of the b.o. profits is better than 50%"...
  13. She is. She wouldn't settle for a cameo role in JW3, she told Trevorrow (I think it was last year) if this film is the last one, Ellie has to be involved.
  14. If he has an idea to make Star Wars fresh and engaging -- I'm all for it. As long as he doesn't mandate it being shot digitally like he's required with the MCU...
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