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The Matrix Resurrections (Fourth Matrix film)


Giftheck

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58 minutes ago, Jurassic Shark said:

I'm not going to see the film because it will be shite.


I reckon there’s a lot of people won’t watch this film because it’ll be shite. Even the two crap sequels aside the rest of the sibling’s output hasn’t exactly been.. good. 

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1 hour ago, Bilbo said:


I reckon there’s a lot of people won’t watch this film because it’ll be shite. Even the two crap sequels aside the rest of the sibling’s output hasn’t exactly been.. good. 

I liked the sequels. Before the second movie came out I read an Interview with the Wachowskis where they explained that as a logical consequence the sequels are going to be more a superhero story instead of a science fiction story like the first film. So, I knew what to expect. 

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27 minutes ago, Edmilson said:

Anyone here saw Jupiter Ascending? I thought it was pure shite, but with a fine Gia score.

 

https://www.jwfan.com/forums/index.php?/topic/24637-what-is-the-last-film-you-watched-newer-films/page/40/&tab=comments#comment-1099203

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1 hour ago, Edmilson said:

Anyone here saw Jupiter Ascending? I thought it was pure shite, but with a fine Gia score.

 

Yes. I wouldn't go so far as to call it 'pure shite', but it could have used with some restraint, yes. Then again, the Wachowskis were never about restraint. The Giacchnio score, however, was dreadful through and through.

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Well, you know me and Giacchino. I hate pretty much everything he's ever done.

 

Btw, I tried to rewatch JUPITER ASCENDING on Netflix just a couple of weeks ago, and I had to turn off after about 20 minutes. It's definitely a film you have to be 'mentally prepared' for. Same with CLOUD ATLAS, really.

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On the topic of the music not being key to a movie’s success I have to really wonder how the Prequel Trilogy would’ve been considered had the scores for all three been rather sub-par. I think we can all agree that when the rest of the movie fails at conveying certain emotion and drama, the music is doing double time.

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I really don't think how good or bad a score is impacts how well a film is received in almost every instance.  it really only matters to people on message boards like this one in almost every case

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4 minutes ago, Jay said:

I really don't think how good or bad a score is impacts how well a film is received in almost every instance.  it really only matters to people on message boards like this one in almost every case

 

I mean if the score is doing a poor job (quality of the music notwithstanding), then people tend to notice. For instance, Desplat's Monuments' Men is some very fine music on its own, but does not work in context at all. And it actually heightens many of the film's tonal and pacing issues. And you could argue that it played a part in that film's maligned critical reception, among its other flaws.

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Film music is also a huge part of the film’s longevity and cultural impact. If the Imperial March wasn’t so resonant with the world I doubt we would still be seeing it today in completely separate contexts to the franchise. It’s practically taken on a life of its own, but people still recognise it as Star Wars music.

 

To speak to games, I can also attest that one of the things most praised by the general audience in the Halo series is the music. To the point that it’s become one of the main selling points, with the new game marketing itself by saying they’re going back to the roots of the original Halo soundscape.

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I personally love Cloud Atlas but I can see why it isn't for everyone. It's also not a perfect film, but few are, eh? I also don't get the hate it got. There's far worse movies that have a ton of fans, so I am saddened Cloud Atlas never gained a big following after all these years. As I noted earlier, it's score is amazing, if only for the final tracks and the "Sextet" itself. It's music that definitely transcends the film.

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I think the strangest things about the Wachowskis' career is that they made not one, not two, but three movies where humans get liquified and drank by others.  The Matrix, Cloud Atlas, and Jupiter Ascending.  Like, how does that happen?

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13 minutes ago, Jim Ware said:

 

Armie Hammer collaboration on the way? :stir:

 

Oh man, I'd been hearing references to something he did for a bit now, and finally just looked it up.  Wow!  Will this guy ever work again?

 

Too bad Death on the Nile didn't come out when originally intended...

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6 hours ago, Jay said:

I think the strangest things about the Wachowskis' career is that they made not one, not two, but three movies where humans get liquified and drank by others.  The Matrix, Cloud Atlas, and Jupiter Ascending.  Like, how does that happen?

 

Lotta mileage to get out of that!  Pretty fun idea!

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9 hours ago, Jay said:

 

Oh man, I'd been hearing references to something he did for a bit now, and finally just looked it up.  Wow!  Will this guy ever work again?

 

Too bad Death on the Nile didn't come out when originally intended...


I still can’t believe Branagh‘s Murder on the Orient Express got a sequel. 

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20 hours ago, Jay said:

I think the strangest things about the Wachowskis' career is that they made not one, not two, but three movies where humans get liquified and drank by others.  The Matrix, Cloud Atlas, and Jupiter Ascending.  Like, how does that happen?

 

It isn't necessarily just a random idea that they've plotted into their movies, it's more like an auteur trademark. The Wachowskis are well-versed in a myriad of philosophy, and often try to stage those ideas in their films - sometimes with great success (as in THE MATRIX movies), other times not so much (like JUPITER ASCENDING).

 

They are particularly enamoured with Baudrillard and his landmark book Simulacra and Simulation. And it doesn't only have to do with the blurred lines between reality and simulation, it also has to do with basic human epistemology and with how we view the schism between body and mind. By "consuming" another humanbeing, you can take on its properties. This is an old idea that has been explored in many other films and works of art throughout the years - everything from THE BODY SNATCHERS to SOYLENT GREEN to what-have-you. Or the DRACULA myth, for that matter. By reducing humans to liquid form, to "fuel", you also comment on the Godlessness of the world. Perfect for any misanthropic, postapocalyptic setting.

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8 hours ago, Edmilson said:

 

It made US$ 350 millions worldwide in a US$ 100 mil budget, and that while competing against The Last Jedi. 


They’re both boring films! 
 

I was so disappointed by Orient Express. But it just felt long and tensionless. Should have been so much better. Doyle’s score is great though. 

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Mixed feelings about Branagh's Orient Express. I'm a big fan of Branagh, and the source material, so I had high hopes for this.  But as @Bilbo suggested, I found the whole affair to be somewhat tedious, more concerned with its star power and cinematography (which was admitedly impressive) than presenting a tight, suspenseful mystery. And while I'm normally a big fan of sweeping vistas and wide-open photography, I don't think that's what was called for this in this story. The whole thing felt a little too big, undoubtably an attempt by Branagh to appeal to a wider audience (and let's face it, he did), but to me it just didn't work. The result, to quote Mel Gibson, was often boring as a dog's ass.

 

David Suchet will always be Poirot to me. The way he inhabited that character is amazing. One of the best actors of that generation.

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20 hours ago, Jay said:

Too bad Death on the Nile didn't come out when originally intended...

 

LOL, reminds me of the situation Disney and Spielberg now face with West Side Story, though I bet they're hoping people have forgotten about that by December.

 

Just another reason studios really shouldn't sit on big movies for years on end.

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1 hour ago, Thor said:

 

It isn't necessarily just a random idea that they've plotted into their movies, it's more like an auteur trademark. The Wachowskis are well-versed in a myriad of philosophy, and often try to stage those ideas in their films - sometimes with great success (as in THE MATRIX movies), other times not so much (like JUPITER ASCENDING).

 

They are particularly enamoured with Baudrillard and his landmark book Simulacra and Simulation. And it doesn't only have to do with the blurred lines between reality and simulation, it also has to do with basic human epistemology and with how we view the schism between body and mind. By "consuming" another humanbeing, you can take on its properties. This is an old idea that has been explored in many other films and works of art throughout the years - everything from THE BODY SNATCHERS to SOYLENT GREEN to what-have-you. Or the DRACULA myth, for that matter. By reducing humans to liquid form, to "fuel", you also comment on the Godlessness of the world. Perfect for any misanthropic, postapocalyptic setting.

Or "Under the Skin". My recent favourite on the subject.

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