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What Is The Last Film You Watched? (Newer Films)


King Mark

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I don't know which part you're referring to in your PS?

Anyway, the helicopter sequence was the best edge of your seat moment in the film.

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Ah, gotcha!

Yea, it was crazy that Beck was alright, with his face exposed to the wind and apparently no gloves (?), and yet Rob, the expert hiker by a wall for wind protection, didn't.

Did you see it in IMAX, btw? It was spectacular in that format.

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Not even close! Gravity's score hurt the film; That film would have been better without it.

In Everest, it didn't hurt the film at all, and probably improved it - it was simply nothing that would compel you to listen to it on its own.

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It's a bit of a run-of-the-mill score, but for these kind of films, it could be a lot worse. I'd classify it as generic by Marianelli's standards, but come on, thrillers of this nature usually get blander sonic wallpaper. And there are definitely some nice moments on album.

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By big-budget, do you mean bigger-scale films other than dramas? Because scores like V for Vendetta, Agora and Brothers Grimm beg otherwise.

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No, they're not really. Though I think genre and scope are more contributing factors than how much money the film makes.

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I imagine Pan would have been written in the vein of his score for Brothers Grimm, which is wonderful stuff. But the elegant European classicism probably made the producers nervous.

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Okay, based on most of the comments in that thread: does anyone except me like the score? (Koray probably does too).

I've never before read so much support for removing a score entirely from a film. Even Zimmer doesn't get that honour!

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Okay, based on most of the comments in that thread: does anyone except me like the score? (Koray probably does too).

I've never before read so much support for removing a score entirely from a film. Even Zimmer doesn't get that honour!

I like the score. I don't think it works as well on album than it does in the film, but it's very effective and complements the visuals perfectly. I don't really see the hostility towards it.

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Sicario

What a powerhouse of tension and dread. The arresting camerawork and Deakins' cinematography keep you latched onto every frame, with Johannsson's pulsing underscore tying it all together. I'm very interested in checking out Villeneuve's other films now. This is very much his film, where an okay script with good performances is turned great by the direction. Really stunning aerial shots, with a thick mood that doesn't give the audience a moment to rest or breathe. It's like True Detective: The Movie, for those who might not be familiar with what it's about. I personally went in blind, not having even seen the trailer.

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Okay, based on most of the comments in that thread: does anyone except me like the score? (Koray probably does too).

I've never before read so much support for removing a score entirely from a film. Even Zimmer doesn't get that honour!

I already just said I thought it was good.

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The Avengers: Age Of Ultron

Like most sequels this film is bigger. And bigger usually isnt better.

There seems to be more of everything. More characters, more plot, more robot baddies which are easily disposed off. More action, more CGI.

The Avengers from 3 years ago somehow got the recipe just right. The story was quite basic, even simplistic maybe. But it served it's purpose of getting the characters together, and giving them an adversary.

Age Of Ultron has a more intricate story, but in a film with so many things going on, it's intricacy if often glossed over. Even when I watched it in the cinema, I could practically feel the deleted scenes.

Whedon's direction is much the same. Plenty of visual eye-candy, which still doesnt make him come off as a great visual storyteller. His strength lies in characters and snappy dialogue, which this film has plenty.

The special effects are, like most Marvel films, technically flawless, yet sterile at the same time.

Worst of all is Ultron.

James Spader is effective with his typically oily, sneering voice. But the design of Ultron is incredibly bland. It's just another big fucking robot. Any menace the character has (which isnt enough) comes from Spader. Even Whedon's script at times works against this.

Whedon's villains are usually a bit too self-aware and self mocking to be truly terrifying.

The score for the first film was quite up front. But for this one they really buried it in the mix. Really the only moments that stood out were the ones harvested from the first score, and a scant few statements of Elfman's theme.

Like most Marvel films it's a giant tasty hamburger, you dive into it, gorge it down, get really full really fast, but a few hours later you are hungry again. I had a double cheeseburger XXL from Burger King yesterday which felt exactly like Age Of Ultron.

So all in all it's fine. But The Avengers was a film that became just a little bit more then the sum of it's parts. This one doesnt...

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The Martian - yes, it's probably Ridley Scott's best for a while; it's often amusing, the Mars vistas are often stunning and the effects are impeccable. But you're never really in any doubt that Damon will be rescued, so the attempts at 'jeopardy' feel a little hollow.

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Okay, based on most of the comments in that thread: does anyone except me like the score? (Koray probably does too).

I've never before read so much support for removing a score entirely from a film. Even Zimmer doesn't get that honour!

I thought it mostly worked really well, but the final cue was for a different film.

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The Martian

There are many reasons why I love Apollo 13. Aside from being a great movie on its own terms, from a technical standpoint, acting, music, direction, etc, it also doesn't talk down to its audience when it comes to scientific inquiry and human intelligence. The Martian reminded me of my love for Apollo 13. It works on the basis of its scientific seriousness and the determination of its characters to solve problems.

The movie also works due in no small part because of Matt Damon. He's anchors the entire production.

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The Martian. What a giant piece of turd. Nothing works in this thing. Fuck you, Ridley Scott.

Sorry about the language but I really hated it. Like, from start to finish.

Karol

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The Martian. What a giant piece of turd. Nothing works in this thing. Fuck you, Ridley Scott.

Sorry about the language but I really hated it. Like, from start to finish.

Karol

Want to elaborate a bit? I wasn't terribly fond of it but I didn't exactly hate it.

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The Martian. What a giant piece of turd. Nothing works in this thing. Fuck you, Ridley Scott.

Sorry about the language but I really hated it. Like, from start to finish.

Karol

Want to elaborate a bit? I wasn't terribly fond of it but I didn't exactly hate it.

OK few things then:

It's basically a 1990's cheesy action cinema. The type of thing Michael Bay would make back in the day.

Writing is horrendously bad. Characters describing exactly what we can see on screen. Literally everything spelled out. It's unbearable. Besides, every single line from the great book of movie cliches is present.

Not a single character is bothered about Matt Damon. Not even Matt Damon. Which means no tension whatsoever.

There are two dozens of characters I don't care about. Why? Because I don't get to know them, other than because of a few lines of dialogue or some random slapstick comedy.

Tone of this thing just feels all over the place.

It's way too long. I had an actual bumache. But that could be from hemorrhoids...

I could treat it as a parody of a blockbuster from a different era of filmmaking. But that doesn't really say much...

Given that I had the same type of reaction to Prometheus (even though it's a different type of film), I might be allergic to Ridley Scott.

Karol

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