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rukaio101

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rukaio101 last won the day on December 23 2014

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About rukaio101

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  1. Huh. That actually looks not half bad. Of course, that's not a guarantee when it comes to DC movies, mind, but promising signs nonetheless. I also like how the trailer focus has switched more from Batman to Wondy now, after her movie overperformed. (Not that I'm complaining in the slightest, of course.) Still internally cringed a lot during that monologue about Supes being a 'beacon to the world' (which I'm 90% certain was Snyder's contribution because it sounded just the dumb faux-philosophic crap from BvS). It's hard to take claims about Supes being 'hope' seriously in the DCCU when he spent his entire last two movies moping, smashing buildings and looking miserable whenever he actually had to save anyone. Then again, the DCCU has been consistently awful when it comes to Supes, so here's hoping this changes that. Also, I'm totally wishing for that figure at the end to secretly be Ryan Reynolds as Green Lantern. Just because.
  2. Dunkirk (2017)

    Pleasantly surprised to see I'm not the only one who felt fairly 'eh' on this movie. Don't get me wrong, I didn't dislike it and it certainly wasn't the self-indulgent snoozefest that was Interstellar, but a lot of Nolan's weaknesses as a director are still rather on display here, possibly even more so than Interstellar or TDKR. And the relative lack of dialogue only serves to highlight them further. See the thing is, I think Nolan's style was kinda wrong for what this movie was trying to achieve. The movie is attempting to be a constantly tense survival thriller, akin to Gravity or Train to Busan, with constant danger after constant danger piling on and on as the protagonists desperately try to struggle past it all to get home to safety. The problem is that this doesn't really suit Nolan because his style of building tension is waaaaaaay too meandering to work for such a movie. Nolan's directing works best when he's able to milk a tense moment for all that it's worth, like the shuttle docking in Interstellar (one of the few scenes I unambiguously liked in that movie). However, Dunkirk is almost nothing but tense moment after tense moment, all of which Nolan ends up drawing out, until eventually it feels less tense and more just boring. Especially when the gimmicky framing device means some stuff ends up getting repeated. (Did we really need to see the same minesweeper boat get sunk three times from vaguely different angles?). The land portion in particular got the worst of it (since the air portions were relatively short and the boat portions had some actual characters to give a damn about). Speaking of, considering the all-star cast he had available, Nolan really needed to rely on his actors a lot lot more here, because they felt very underutilized and certainly not to the film's benefit. Don't get me wrong, I get what he was trying to do here, tell a story through mainly through visuals and directing rather than dialogue. And I've seen that work really well in a lot of movies and comics. But it really is not a good fit for Nolan, who's kind of a 'one tone director' (that is to say all of his movies more-or-less have the same consistent tone throughout.) Of course, being a 'one tone director' isn't necessarily a bad thing. In fact, I'd place a large amount of Nolan's success on his ability to (usually) pick his projects sensibly to best play off that tone. However, it also makes him a poor fit for the sort of visual storytelling I think he was trying to achieve here. It's impressive when you can go from a happy tone to a sad tone through visuals only (see the opening of Up). It's less impressive when you go from Nolan's usual tone to... Nolan's usual tone. And without much in the way of character established neither through visuals nor dialogue, we're left wondering why we should really be all that invested. Again, it's the land portion which gets the worst of this. Shame too because when the characters are allowed to actually talk to each other, the movie gets a lot more interesting. There's a lot of other stuff I could say about this movie, both positive and negative, and again I don't think it's necessarily bad, despite how much I've complained about it. Some of the tense moments do work, most of the actors are great when given a chance to be and I liked a fair amount of the stuff on the boats and in the air. But there are still a lot of glaring problems with it, some of which are down to problems with Nolan as a director. Hopefully he can reign himself in and pick a more suiting project next time. (Also, I've already prepared myself for this to inevitably top BOF's Best Films of 2017 list.)
  3. War For the Planet of the Apes (2017)

    Is it weird that I kinda think the second half didn't go far enough in the brutality? I mean, I've always been of the opinion that if you're going to go with the holocaust imagery, you'd better go all the way with it. And while there certainly were some brutal moments here and there in War, I don't think it, for me, ever really captured that same atmosphere of crushing horror and cruelty compared to something like Schindler's List. In movies like those, you really got the impression that the guards could kill anyone at any time for no other reason than because they felt like it. But I never really got that impression from this movie and, as a result, I wasn't really as invested as I was supposed to be. So it just came off as a bit overlong and bleak (but not in the good way). I enjoyed the first half though. And the movie overall. Just wish they'd had the balls to go all the way with that second half.
  4. Yes, I'm certain the 5th major superhero team-up film in 5 years is really going to have that unique fresh feeling. Plus, as we all know, team-up films have had nothing but increasing returns since the first Avengers. Out.
  5. Spider-Man: Homecoming (2017)

    Different Counterpoint: I thought those filming scenes did a good job of setting-up one of Peter's main personal conflicts in the movie. Specifically, his wish to get more involved in the important Avengers stuff, rather than the basic 'friendly neighbourhood Spiderman' stuff he was doing before. Showing from a personal perspective how enthusiastic and excited he was during that Civil War mission really did a good job of emphasising that in a way that just messaging Stark/Happy wouldn't really achieve. Plus, as a bonus, it also did a decent job of establishing how Happy considers him an annoyance. Anyway, my personal opinion of the movie as a whole is that it was solid. Not amazing, but I liked it enough. It's probably the most consistently good of the SH movies I've seen this year, it didn't have any major flaws that jumped out at me, but it's also probably the most disposable as well (except maybe Lego Batman). It just didn't grab my interest the way WW, GOTG2 or Logan did and none of the high moments shone as strongly (although I think the trailers are partly to blame for spoiling most of Spidey's character arc). Maybe it'll improve on a rewatch, I don't know.
  6. Right then. I had quite a lot of franchise rights in the old thread, not all of which I intend to keep. But here are the ones I am still reserving. Aldnoah.Zero Attack on Titan Berserk Black Cat Black Jack Boku no Hero Academia Code Geass Codex Alera Dresden Files Hellsing Fate Stay Night The Heroic Legend of Prince Arslan Jojo's Bizarre Adventure Log Horizon Lone Wolf and Cub The Lost Fleet Monster Hunter Mushishi Neon Genesis Evangelion Once on this Island Phoenix Wright Planetes Primeval Red Dwarf Redwall Samurai Champloo Shinsekai Yori Space Battleship Yamato Trigun Vinland Saga World Trigger Zettai Karen Children And there are a few new ones I'm adding to the bunch. Dr Stone The Promised Neverland We3 Worm
  7. Baby Driver (2017)

    I enjoyed it because it was effectively a crime caper by way of Hollywood musical. It melded the music in with the action so perfectly, every beat timed to the movement, every moment timed to the rhythm, it felt like the perfect mix of an adrenaline filled car chase and a finely choreographed musical number. That's not something you see that often and certainly not done as well as it was done here. I'm not going to pretend the characters and story are particularly complex (although Deborah was the only one I really felt was paper thin), but I also think that was kinda the point? I'm kinda cribbing from Guillermo del Toro's twitter review of the movie here, but there is a sort of prince and princess fable-like atmosphere to the movie, mixed in with the rock n'roll grime. It give the whole thing a real sweet sincere edge beneath the flash. Besides which, either way, this movie really is all about the style and that's not a bad thing in my eyes. It's clearly what the movie is focused on and it does it really damn well. One of my favourite moments wasn't even an action scene, but was when Baby was coming back with the coffee while listening to his music, after the opening car chase. The 'dance' was so well choreographed and there were were so many subtle moments references to the song in the background that it was more or less a fantastically choreographed treasure hunt. And besides which, I'd say there are enough funny moments and interesting characters to carry the film inbetween the 'musical numbers' if you will. I'm not going to pretend it's perfect, there are quite a few things I could criticise here and there. But considering I'm usually not that fond of crime films, I thought this was a really fun ride.
  8. That's why I said three out of four of those are 'fairly accurate' rather than '100% accurate'. I certainly wouldn't say Snyder knows nothing about filmmaking, but I would say that he doesn't really get a lot of the DC characters very well (or competent characterisation in general, to be honest) and that there are a lot of flaws in his style of filmmaking. Also, since we're sharing Top 10 superhero films, here are mine in no particular order. The Avengers The Dark Knight Batman Begins The Captain America Trilogy (all three I think deserve a place for different reasons) Wonder Woman X-Men First Class Deadpool Guardians of the Galaxy
  9. To be fair, as much as I love WW, I'd still call three out of four of those fairly accurate.
  10. So, am I the only one here who thinks the Uncle Ben stuff is actually among one of the strongest moments in both the original Spiderman and the first TASM? Not necessarily saying I'd like to see it done again in Homecoming, mind, (especially since it would require a fair amount of build-up to work effectively), but it is fairly effective and emotional if used correctly.
  11. Transformers: The Last Knight (2017)

    No offense, Bau, but that describes like 90% of all blockbusters.
  12. The Classic Conversation Thread: The Sequel

    So, I only just put two and two together on this, but I've just realised my plan for this Friday is effectively going to be a cinema double-screening of Transformers: The Last Knight and The Book of Henry. It's either going to be the most amazing trainwreck I've ever experienced or it's going to kill me. There is no middle ground.
  13. Wonder Woman (2017)

    I think people seem to be misunderstanding what Ares was doing most of the time. He was never actually manipulating the Germans or the Allies or anyone else into war. He was merely giving people ideas for weapons/tools and then leaving them to their own devices. He never deliberately forced them to use them or told them how or who to use them on. That was all mankind's doing. He'd never tell Hitler directly to use gas chambers on the Jews, he'd merely give a German scientist inspiration for a method of killing a lot of people and then walk away. Honestly, this is mostly just my own interpretation, but I really like the idea that Ares's plots aren't so much designed to efficiently wipe out humanity as they are to prove that he was right. He alone saw the evil in humanity and the other gods shunned him for it. So instead of wiping humanity out himself, he merely gives them tools to do with what they wish. If they truly are not evil, like the Gods believe, they should be fine. He even balances out his interference by trying to help them work towards peace with the armistice (one of the few things that wasn't explained that well in the film, I'll be honest). But instead, they end up destroying each other and proving every last doubt he had in them. Of course, in the end, Wondy manages to break away from his ideology by acknowledging that men are beings of nuance, of both good and evil. Something that she as a demigod (of both god and woman) can understand, but he, as a pure god, cannot. Again, mostly my own interpretation, but there's a lot of subtle stuff I really like about Ares. Shame he does go a bit generic ranting villain towards the end. EDIT: Actually, this literally just occurred to me, but the main evil plot that Wondy/Steve were fighting to stop the entire movie was never actually directly Ares's plan. It was his tools yes, but it was solely Ludendoff/Dr Poison's idea. Ares was just hanging back the entire time and watching. He only turned up at the end, not to complete the plan, but because he wanted to talk to Diana and tempt her onto his side. Possibly out of loneliness (since the other gods are gone) or as a way to affirm his ideals, the ones that the other gods violently rejected. He's the final boss, yes, but he's technically not the main antagonist. Christ, this movie's like the anti-MoS/BvS. With those movies, the deeper I dig, the more shit I find. With this movie, the deeper I dig, the more reason I find to love it.
  14. Rank the DCEU films

    Wonder Woman- A Man of Steel- Fuck this Batman v Superman- I don't even Suicide Squad- Just why One of these films is not like the others.
  15. Wonder Woman (2017)

    I definitely agree with a lot of this. All the depth and thought in the world don't really matter if your film isn't engaging and the execution isn't solid. If you, as an audience member, are bored then all the subtle, between-the-lines stuff will easily go over your head. However, I feel there are a couple of small things I should bring up. First of all, just because a filmmaker puts in what they believe to be subtle/deeper meaning does not mean that that's necessarily what an audience member will take out of it. In Salo (which, to be honest, is not a great movie to be bringing up in a Wonder Woman thread but I couldn't think of any better examples off the top of my head), a character eats literal shit, in a scene that, apparently according to the filmmaker, is supposed to be a metaphor for the fast food industry. However, watching the scene itself, there's literally nothing to really suggest that and you'd never have guessed it unless you'd already read it elsewhere. So the metaphor doesn't really work. I'm praising Wonder Woman not just because it has a lot of subtle, between-the-line stuff but because a) it's presented well enough that I was able to pick up on it without too much effort (since I rarely go into films deliberately aiming to pick them apart) and b ) said moments subtly helped to bolster the more obvious major themes and moments. I get that they didn't work for you, but they were still recognizably there. The second thing I wanted to bring up is that not everything subtly implied in a movie is necessarily a deliberate action by the filmmaker and/or an actual positive. For a more appropriate example than Salo, I saw the BvS Extended Cut a while ago (it still sucked) and one scene in particular stood out to me for its subtle and (I assume) unintentional implications. It's after the courtroom bombing where Clark is on his pointless wangst-fest. He's travelling through the mountains when he passes a couple of native american stereotypes. One of said stereotypes comments that Clark looks like a man looking for a place to die. Now, I suspect the intention of the scene was just to set up the talk with Ghost Pa Kent, as well as pointing out that Supes is very depressed. But, considering the movie never did a good job of actually showing Clark get over his issues and that Supeman actually does end up dying at the end of the movie, it created for me the (again presumably unintentional) implication that Clark was actually suicidal and that's why he killed himself on Doomsday's spike. And, viewed through that lens, a lot of the movie ends up taking a very different tone. Again, I severely doubt that that's what the filmmakers were going for, but it's still very easy to read from the movie. So yeah, I agree that it's easier to pick up/overlook subtler things if you respectively love/hate a movie and WW is no exception, but it's still worth appreciating that the movie did actually manage to include those themes/ideas in a recognizable way to begin with. Or at least recognizable enough that you (a person who wasn't that fond of the movie) can acknowledge them when I point them out to you. To go back to BvS, people have tried to talk about deeper meanings in scenes like 'Martha' or Lex Luthor's motives, but more often than not, it's still easy to argue why those scenes/the movie didn't do a good job of establishing that intent and not just that I wasn't feeling them. Oh definitely. It sounds like it'd be a lot of fun. Especially if it's a movie we have differing viewpoints on, like this one.
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