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What Is The Last Film You Watched?


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See I've noticed how you hide your personal attacks toward others behind their taste in movies, compared to your own 'enlightened' critique. You specialise in remarks of the back-handed variety. I on the otherhand prefer to cut to the chase and spit it out, be direct with people... and you don't like that.

When you say Seven Pounds is a very good movie I literally answered with a ":(" . How "backhanded" is that? How 'enlightened' is that? You don't cut to the chase, Quint. You have actually nothing to say. All you have is your hatred towards me. It's your only contribution to this thread.

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You want Alex to be gay, you want it, you need it.

True, to him it means he's superior to me. That's why the word "homosexual" keeps popping up whenever he's angry.

He loathes you, yet he can't stay away!

He loaths what he can't understand.

There's nothing to gain by shouting your hatred for someone or something.

Alex

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I just want to say, Stefan is the best argument moderator, always making sure the argument goes down the most appropriate and logical path.

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What Is The Last Film You Watched?

Watched Avatar last night in the cinema. Spectacular. Loved it. I knew nothing about the movie before going,other than one or two shots of blue people in the web. Cameron's common themes run through it, such as mistrust of large corporations and lots of insensitive close minded knuckle head troops with catastrophic weapons doing their bidding. In a way, Avatar is probably the fruition of the concepts he developed the most in The Abyss. Good movie. And, Horner's danger motif re-appearing.

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The Abyss is a 2001: A Space Odyssey tale told from the same working-class perspective as seen in Scott's Alien (Cameron wrote and made Aliens because he was impressed with Scott's Alien.). Like in 2001, the machines are tools. However, the tools don't rebel. Man rebels against man. The machine leads to the next step. What's the point? Cameron was just making a movie while sprinkling it with the odor of his favorite films.

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Isn't that what almost every director does Alex?

You don't actually watch a James Cameron film for the story. You watch it to see what can be done, and what everyone else will be doing for the next 5 years, in the field of special effects, sound effects visuals etc...

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Isn't that what almost every director does Alex?

You don't actually watch a James Cameron film for the story. You watch it to see what can be done, and what everyone else will be doing for the next 5 years, in the field of special effects, sound effects visuals etc...

In The Abyss I felt the ingredients were a little too obvious and perhaps that's why they didn't lead to a new 2001, Alien or CE3K. It was a weak carbon copy of old ideas.

True, they (Cameron"s films) are always innovating on a technical level.

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But story wise he's merely doing his version of what came before, or what he himself has done previously.

In a way it's understandable, He makes the most expensive films ever, no ones gonna finance it if they think it has to radical a story.

It's funny to note though that a distrust for large corporations runs though his films, yet they are financed by....large corporations. :(

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I read that Avatar is a potpourri of all his previous films. I already could extract Aliens from the trailer. Is there also a Titanic aspect to the film? Does he get to stand on the nose of a spaceship with the blue chick?

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Sigourney Weaver in the film (didn't know she was in it, till it began) was also a bit of a nod to her Dian Fossey role in Gorillas in the Mist, I'd say.

It's funny to note though that a distrust for large corporations runs though his films, yet they are financed by....large corporations. :(

I'd say his mistrust is more about corporations and military working hand in hand. All the nods to "Shock and Awe" and other things, said a lot.

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It's funny to note though that a distrust for large corporations runs though his films, yet they are financed by....large corporations. :(

Many large corporations don't really mind what's said about them as long as they get theirs in the end. And if Cameron's films are anything, they are profitable.

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True, to him it means he's superior to me. That's why the word "homosexual" keeps popping up whenever he's angry.

So now I'm angry at you am I? I need to feel superior to you do I? I yearn to understand you but that pursuit is a vain one, therefore I must lash out in frustration, right? Ha ha, stick to reviewing movies Alex, because reading people clearly ain't your thing. The truth is far more simple and straightforward: like steef says, I'm deeply and madly in love with you.

It just wounds my heart that you could never give someone like me a chance. Someone who enjoys mainstream movies, someone who you consider to be part of the flock. Remember that little back-handed remark you made? That hurt man *sniffle*.

Jesus H, chill the fuck out, it's Christmas the day after tomorrow! Believe it or not, I don't "hate" you at all and I honestly wish you a very Merry Christmas.

But I will be straight back to winding you up in the New Year, so have a good one.

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Yeah, they're not dramatically different, but for me the new footage disrupts some of the tension, so I think it's a better viewing after you see the theatrical edition. It's like a nice treat, and it allows you to think of your own conclusions for the questions asked, before answering them for you.

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The Patrick Stewart Christmas Carol is on right now. It's actually become one of my favorite adaptations, I love his performance.

It's been a while since I've seen that one, but it seems to me that they kind of killed the magic by fleshing out every sequence from the story. Did we really need to see Scrooge go to hell? I'm sure Patrick Stewart did a good job with it, though.

Star Trek III: The Search for Spock. What can you say about a film based on the sole premise of resurrecting a character to make audiences happy and thus sell tickets? Given such a premise, The Search for Spock is damned good. There are some great character moments, and the film makes its stupid plot seem pretty legit by killing off David and by cleverly repurposing the parting words from Wrath of Khan. Nice scene chewing by Christopher Lloyd. Surprisingly little music, but what's there is excellent. Looking forward to The Voyage Home.

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An emotional moment in slow motion is over the top.

What about Deckard killing Zorah in "Blade Runner", or, indeed, Robert Wagner getting fried in "The Towering Inferno", of any "action" sequence in "The Fury"?

Blade Runner: Aha, but here the slow-motion changes a killing of a murderous android into an emotional event.

The Towering Inferno: The Towering Inferno? Outside the music of John Williams, is this movie relevant?

The Fury: The slow motion changes an action scene into a surreal, dreamlike ballet, much in the same vain of what Zack Snyder does.

Alex

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Not only is it cool, it's beautiful and mesmerizing. In fact, it's the only thing I remember from The Fury. Like I said, a drea

mlike ballet ... where motion, choreography, form and music become a dance.

So, how was Aliens, Morlock?

Alex

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THE NIGHTMARE BEFORE CHRISTMAS this morning. Still brilliant and the songs are so eminently singalongable.

Watching TEMPLE OF DOOM now, just at the village. The opening is still absolutely amazing, logic be damned. This is what action movies should aspire to.

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THE NIGHTMARE BEFORE CHRISTMAS this morning. Still brilliant and the songs are so eminently singalongable.

I tried to get into this on telly the other day, but just couldn't. Can't put my finger on it, the movie just didn't gel with me, the dark designs were maybe a bit too ugly for me, which I guess is kind of the whole point, but I just didn't like the look of the thing. Live action, like Beetlejuice might have worked better, for me. The songs were quite good though.

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Where The Wild Things Are. I'm not quite sure how to put it, but I was both quite taken with the beauty of the film and left feeling a bit empty. It's got some absolutely amazing stuff, and it feels right, but I think that the expansion made the final scene a bit sentimental and simple. Loved the creatures, and the great voice-work. This is probably my favorite Gandolfini screen performance. And how can you not love Catherine O'Hara? Karen O's work did get annoying at times, but Burwell's was great.

Morlock- about to make some chicken schnitzel sandwiches and watch Aliens.

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Not only is it cool, it's beautiful and mesmerizing. In fact, it's the only thing I remember from The Fury. Like I said, a dreamlike ballet ... where motion, choreography, form and music become a dance.

I was talking about Snyder. DePalma's visual excesses feel motivated and effectivly done (And, unlike Snyder, he actually had a great score in his film).

Aliens (1986). I don't mean to piss anyone off when I say I didn't think it was that great. But it was not that great. It was good, sure. First hour an a half are engaging. Weaver is terrific, Raiser is very good. But I was kind of underwhelmed. Nothing bad about it (except for Paxton), but nothing amazing. But at the 90 minute mark, when they go back for Newt, I actually said to myself "This movie just got good". Even that wasn't as rip-roaring an actioneer as I was led to expect, but it was pretty damn kick-ass, the mother vs. mother element was great (although the finale was made a little absurd by Bishop's torso and head being dragged around).

I must say, the movie's look was dissapointing. First of all, the image on the collector's edition DVD I rented was really grainy. And the sets were there, and used well...but there wasn't half of the mood that Scott's interiors had. There was no cumulative power to these sets (until the climax, at least). It was one thing after another, each one fine, but no deep connective tissue of dread that seeped in from the images. And the film missed a couple of opportunities for money-shots. The revalation of the eggs was a missed opportunity, although the revelation of the Queen made up for it. I was surprised how little music that scene had- it's great for Ripley's descent and search for Newt, the quiet. But part of the reason that the revelation of the eggs was udnerwhelming was the lack of music. I rarely complain about a film being under-scored, but I think the scene would have been better if the music kicked in earlier. I barely felt the score for the first 90 minutes, not even my favorite cues. It is pretty great in the finale, but aside from 'Bishop's Countdown', not quite as iconic as it sounds on the album (It isn't mixed particularly loudly for much of the film).

Overall, I enjoyed it, but was dissapointed by how little this film affected me viscerally. My adrenaline got pumped for the finale, but most of it was just kind of there. I would love to see this on a big screen (I really felt like it didn't translate to the small screen).

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Not only is it cool, it's beautiful and mesmerizing. In fact, it's the only thing I remember from The Fury. Like I said, a dreamlike ballet ... where motion, choreography, form and music become a dance.

I was talking about Snyder.

I was secretly talking about Snyder too. Let me put it this way, I thought about him when I wrote about The Fury. No great score, you say? Where most go for dramatic action music, Snyder contrasts with a crooner song. I love it!

I must say, the movie's look was dissapointing. First of all, the image on the collector's edition DVD I rented was really grainy. And the sets were there, and used well...but there wasn't half of the mood that Scott's interiors had. There was no cumulative power to these sets.

For once, I agree. Although many fans will argue that Cameron's focus was on the story (except for the SE versions of his films, Cameron's storytelling has a great drive) and not on the sets or the look. Personally, I don't think Cameron can arrange a scenery the way Scott does. After all, this is what Scott excels at. He was a set designer before he became a movie director. And in his first three films, the design (which ultimately is an integrated part of 'the image') was the statement. And I believe that this is the reason why Scott's films had and still have such an impact on other artists of all kinds.

Alex

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Well, it's not 300. ;)

Lust, Caution: One side of me said this was a good movie, the other side felt it could've been somewhat more engaging. The photography disappointed me. The dark scenes looked a bit like ordinary video (the DVD has a good transfer though). I was always waiting for a daytime scene. The acting was flawless. I thought the leading female was some kind of a Chinese movie star but it's actually her first role. So again, good movie but something was lacking.

lust_caution.jpg

Alex

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Brokeback Mountain was the fakest gay movie ever. Hulk was a piece of shit. It was a complete artistic failure.

Thank God John passed on that movie.

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Sense & Sensibility was rather charming. Crouching Tiger, Hidden Dragon was excellent, Hulk was a flawed yet fascinating way to make a superhero movie.

Didn't see Brokeback, because I'm straight!

My favorite Ang Lee's are Sense & Sensibility, HULK and Ice Storm. Brokeback Mountain felt like a good TV movie. Don't care for Tigers & Dragons.

Alex

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