Justanothercrow421

Something I've never done before: Custom Covers for Audiobooks. These for J.R.R. Tolkien's The Hobbit, The Fellowship of the Ring, The Two Towers, and The Return of the King - all done in the style of the books' dust jackets using Tolkien's original illustrations. Particularly fond of The Hobbit; the Cirth writing in the border took a little while to get right.

Something tells me Messiah is going to feature a lot more of the The Holy War than the book. Much of what happens in the book could be adapted so that the events occur during that war to make it much more cinematic.

Jurassic Park III (2001) to match the LLL booklets.

The Matrix (Don Davis)

Only bad thing about this is you now need to get the rest of the series haha It's a great score and package.

I thought GvK had a nice sense of scale still (Godzilla and Kong and Mechagodzilla felt huge in that Hong Kong sequence). GxK really threw that out the window though. We need far less time spent in Hollow Earth and more time in cities with more Toho monsters... Dougherty is my pick for the next film too.

It doesn't. I was initially disappointed to not hear that line, but I think in the context of Denis' film, the film's ending works very well. There's quite a few deviations from the book in the third act of this film, but it still very much feels like Dune (to me), and I really enjoy these films as a companion piece to the novel. Cannot wait for Dune Messiah to hit theaters.

I believe the name change happened around the time Part Two was supposed to release.

Some disappointing news for anyone collecting the Mondo releases on the Heisei/Millennium series: Mondo never had the rights to do Biollante or Final Wars, so as it stands the series is over and will (for the moment) remain incomplete. A real bummer. Our only hope is that Mutant (which was founded by Mondo's founders) picks up the pieces and completes the series (as they are doing with Dune: Part Two). Pure speculation: hoping for an announcement of these two on Godzilla Day (in early November). Once Waxwork puts out Shin Godzilla on vinyl, I'll have it all on wax. Hopefully Callahan remembers to write an actual story for this film (I love the MV movies, but GxK was a bit too silly, even for this lifelong Godzilla fan).

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I totally understand this interpretation of that scoring, and at a time, I may have had a similar reading. But today, I read it as a much more mournful moment. I don't mind the score here, but I do agree with you that keeping this silent would've probably been more appropriate.

My initial interest in your post was more how you could walk away with the idea that this film wasn't a "movie about what a bad thing war is but about that war is actually good when each of your enemies is a racist sadistic coward." The film makes it a point to portray the Allies as not being very different from the average Axis soldier. Both are shown to be cowardly (Upham and Willie when faced with death), cruel (Americans kill surrendering Czech POWs), and honorable (the one German who kills Fish chooses not to kill Upham in the stairwell). The film's entire thesis is that war changes the people who fight it - often times for the worse. Even the ones who manage to make it out alive aren't quite the same as before. Soldiers lose their humanity with every breath in this film. Some make their attempts at regaining some with varying success. SPR insists that people fighting wars have the capacity for good, not that war in and of itself is good...

That isn't what I feel at all while watching Saving Private Ryan. This film reinforces the tragedy, violence, and randomness of war. It doesn't glorify the so-called "Great War" but it does attempt to find some meaning for it for these few men. I've returned to the film time and time again because it's a masterclass in direction, blocking, editing, visual storytelling (production design), subtle use of music, and acting. It's a sober look at World War II and I do think it's a beautiful and mature film.

Fair enough. I personally think that its characters are a bit more complex than that. Pretty much all of Miller's men are just following orders and question the mission from the start; Reiben nearly goes AWOL and Sgt Horvath pulls a gun on him, for example. I'll admit the film isn't without its share of saccharine Spielberg moments, that sort of thing appeals to me. Appreciate the response!

Can I ask what you don't like about the film? I'm curious how one could come to this conclusion. It seems almost antithetical to the film's entire purpose/premise... I've seen this film countless times and while it certainly stirs up many emotions while watching, I rarely (if ever) feel as though I'm having "a good time" watching it. What rubbed you the wrong way about SPR? What makes it your least favorite of Spielberg's films?