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Posts posted by Brundlefly
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11 hours ago, A24 said:
"They’re all my children, but, I really do think Once Upon a Time in Hollywood is my best movie." - Quentin Tarantino
A pretty solid indication of the fact that an artist's evaluation of the own work often is totally amiss.
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Ironically, The Way of Water is the opposite of Dune: While the latter is one of the rare occasions of Hollywood showing us, how devastating a victory can feel, the former goes full pro war à la 'to crush the enemy is the only solution to this'. Ideologically, these films are quite literally like water and fire (or let's say water and earth; Avatar and Oppenheimer are like water and fire).
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Can anyone who bought this set confirm that this release is click-free, devoid of volume dips and worth the upgrade?
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I love Fellini and I love that one especially! I may even prefer it over 8 1/2.
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1 hour ago, Sweeping Strings said:
For Your Eyes Only - 007 firmly back on Earth after Moonraker, and we get a superior Moore Bond as a result. Good action sequences, the 'cheesy' humour is kept under control for the most part, silkily urbane villainy from Julian Glover, a great ally in Topol, a beautiful AND believable leading lady in Carole Bouquet and a truly Cold War 'McGuffin' (and speaking of which, the 'That's detente, comrade ... ' ending here is just about perfect).
This Bond movie surprised me, its kind of a hidden gem, cause it's actually very good, escpecially the action sequences and the tense final castle break-in, despite never being mentioned among the superior entries of the Moore era.
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13 hours ago, Tom Guernsey said:
I thought Lashana Lynch was far more dynamic than Daniel Craig in the last film. A side series about her would be great. Plus it would piss off the anti-woke brigade. Double win.
I agree.
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Is it possible that the first track of the album is an addition to the Dune Sketchbook and not actual score? Its position within the album, the length and the thematic focus would imply that.
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2 hours ago, Chen G. said:
Now that's a big statement.
Even the two "Parts" of Dune are separate productions: Villenueve did not write the two scripts, even as a story treatment, together or even back-to-back and did not film them together. They have, as far as I can tell, pretty much the same crew, but in the first part he didn't particularly try to introduce as many of the cast-members of both parts: there are many new faces in Part Two.
The two films do feel reasonably of-a-piece, but Dune: Messiah is bound to be a different beast. I doubt it will play as cohesive enough to be regarded as a 7.5-hour film.
You're right. Having seen the second part, I maybe just wanted to emphasize the narrative flow that I assume the three movies will be connected by.
Yeah, it's more like Kill Bill and less like Nymphomaniac or 1900, where the films were just split up, AFTER they were shot and edited.
1 hour ago, Romão said:Same thing as the two books, really (Dune and Dune Messiah). Regardless of how Frank Herbert has said that Messiah was always intended as an epilogue for the first book, they still very much feel like separate, distinct (albeit continuous), works.
I'm sure the movies will feel the same. It's actually to the stories benefit, I think, if we feel a somewhat pronounced stylistic and tonal change in the 3rd movie
I haven't read the books, but isn't it the case, that Villeneuve leans the second movie towards the Messiah book, unlike Herbert did?
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On 01/03/2024 at 12:56 PM, MaxMovieMan said:
This movie cements both parts of Dune as all-time great sci-fi films and also as a whole with both movies combined I would say this becomes an all-time epic in general. I don’t think Denis could’ve done a better job with this and this is definitely his magnum opus. Dune: Messiah will be very interesting because the ending of this film leaves one major plot thread in a different place than the books. This plot thread is literally the driving force of Dune: Messiah so I honestly don’t know how they would even adapt the book without completely changing the plot. I think what Denis did with the change was better than the book’s ending but Dune: Messiah hinges on this thing that Denis changed. Who knows. For now we have two films that are for sci-fi what Lord of the Rings was for fantasy.
The ending feels so open (much like ESB) that I've got the impression, we will have a movie trilogy, where you won't feel the "cut" between the two books that the whole story is based on. It just will be one big seven and a half hours movie.
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Oh no, why they doin' this?
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21 hours ago, JTW said:
They could’ve chosen to make a new program, with a new design and actually make it a desirable for those who already own the 2020 set. But instead Intrada went the cheap and dishonest way, and simply made new discs and used the 2020 design and added 8 and 1/2 minutes of alternate takes and 20 seconds of the main program that they left out from previous releases, another fiasco btw.
Your logic is that you should get a free copy, only if there is little difference between the respective releases. I don't get that in the first place, but nevermind...
You now imply that a new release which is more or less the same as the old release is not desirable, or at least not "desirable for those who already own the 2020 set". I get that.
So, you want to get a free copy of the new release only if/because it is less desirable to you? I mean, why even bother then?
- Yavar Moradi and JTN
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3 hours ago, filmmusic said:
I don't understand the hate for this film.
It's marvelous! Great production values and a great Dustin Hoffman (I don't know who was nominated for an Oscar that year, but I would nominate him).
Ok, Julia Roberts is indeed miscasted I think, but I got used to her..
One of my favorite movies, and the score... second favorite Williams score ever (after E.T.). (it was sacrilege that it wasn't nominated for an Oscar)
I think one reason is the fact that this movie does not really know what it is, a muscial, a light phantasy movie for children, a grim adventure - to me it always felt very inconsistent. The other thing might be the very stripped down and naive message about family - a major and sometimes eye-rolling shortcoming in (not only) my opinion. Spielberg has done that much more profound and subtle in E.T.
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As one of the most vociferous critics of Intrada on this forum, I have to agree with @Yavar Moradi here. Of course any implication that it is just a sly strategy to hold back the definitive version of a score in order to make collectors buy more than one of their releases is pure madness. This is what these labels do, they produce the best sounding and most comprehensive release that is possible, depending on the source material and restoration techniques that is available at the time. So, how does it matter, whether the current release is just a slight or a considerable improvement on the prior release? Any complaint from collectors in one of these cases (which there are plenty of) comes from their desire to own the best sounding version available. There is simply no reproach to make towards the labels.
The claim of a free copy is not completely incomprehensible to me (after all, I wrote something like that in this thread), but you can't really be serious to expect Intrada to do that without suffering grave economical disadvantages from it. Next question would be: where to draw the line? Should we all get a free copy of the new Hook, in case we have bought the 2012 release? I'm sure any of the special labels would send out all of their releases to anyone who wants them for free if at the same time it would be raining 100 dollar bills at their warehouses, but that won't happen.
However, if one of these labels produces something that is lacking in any way, although the source material and restoration techniques they have access to would have allowed for a more definitive release, you can indeed criticize that. That's basically what I do. To me, the 2020 version becomes obsolete now, mainly due to its shortcomings. The improvement between the 2020 and the 2024 release might be bigger than it should have been if they had done a more meticulous work back then.
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In the sample of "The Apology" I can hear the infamous digital clicking noises. Anyone else hear them (from 0:27 to 0:39 in the sample)? This is the same kind of clicks that they had on numerous releases in the past which is clearly not something that was in the source material all along. Are they serious? Again? They let this happen again?
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Still haven't listened to it. My copy should have been a Christmas present, but didn't make it in time, so now it's lying at my parents' house until I visit them again.
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On 10/02/2024 at 3:38 PM, Edmilson said:
I didn't remember Jerry's birthday was two days later than John's! lol
Guess both of them are from Aquarius!
And in between is the death day of Jóhann Jóhannsson.
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I love the music on itself, but the film is cleary overscored - at one point I had exactly seven pieces in mind that, if you took them out of the film, would fix this issue.
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"The Sand Volcano" from 2:14 to finish is the end credits suite consisting of Rick's Theme and the Love Theme. Three and a half minutes rounding off the album in wonderful and musical fashion. The haphazard film edit of the end credits - I would not include that, not only because it has no new music to offer, but also because it has some very unmusical and jarring transitions, which are downright offensive to the creator of this music. The end credits of Total Recall, for example, are a different matter - there was no end credits music composed or recorded, so the recreation of the film edit served to round off the album and to include the transition between the tracked cues which was in fact recorded for this purpose only.
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17 hours ago, A. A. Ron said:
The scandalous thing here is that it is not something to make up for the lack of a especially recorded end credits suite in order to elegantly close the main program - there already was an end credits suite, a really great one! Why on earth you need to replace it with that horrible compilation?! This decision is still baffling!
15 hours ago, Trope said:The more I hear about these mistakes on Intrada releases I came very close to purchasing, the more concerned I become about their upcoming releases. Maybe they should stick to releasing niche Goldsmith scores over and over again, and leave important scores by him and other major composers (Williams, Horner, Elfman, etc.) to La-La Land and Quartet, who seem to know what they’re doing.
The concern is very justified, they got themselves into that and they have to get out of it by themselves. The Hollow Man release was just the big showdown of carelessness for me, cause it gives you a hundred reason to purchase it again, when a fixed version will be released one day. LLL would just have waited (as they did with Hook) until they got all the needed tapes to make it a complete release and have employed competent staff for mastering and artwork.
17 hours ago, A. A. Ron said:If they would end up re-recording the whole thing, I'd never ever dare to just think of the original recording any more.
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I just typed in "Inchon improved re-release by Intrada" which is exactly what I did four years ago. I just hope it is not the exact same non-improvement we got back then.
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As insightful as this text is (I mean, they admit that they could have been more meticulous), having bought the highly deficient 2020 release I feel a little annoyed now.
This one really has to be the perfect release, absolutely complete, consistent volume, no clicks and a clear step up in sound - anything else would be galling.
- Tydirium, Trope and Yavar Moradi
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The Movie Critic (Quentin Tarantino's supposed final movie)
in General Discussion
Posted
A little better, but not perfect, as my favourite movie of his (Inglourious Basterds) is not what I consider his best movie (Pulp Fiction).