Eric the Marxist
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Posts posted by Eric the Marxist
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1 hour ago, XXR & Friends said:
Taylor Swift just promoted DW on her Instagram, so be wary of any spike in presales in the next few hours.
This is like when Oprah endorsed Obama.
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Moderation
How about instead of getting angry that some random critic is being hyperbolic over a superhero movie, you guys could just...ignore it? This "grr critics bad" nonsense some users have been doing has already gotten old, and we don't need it here. Please move on.
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MERC
WITH
A
MOUTH
In 2016, to the shock of millions around the world, Ryan Reynolds’ wacky new comedy Deadpool, which brought R-rated raunch and parodic wit to the Marvel Fox-Men universe, became one of the biggest sensations of the year. In a year dominated by superheroes, from wars against superheroes, magic-filled doctors, supervillain teams, and that one piece of shit named X-Men: Apocalypse, Deadpool was a breath of fresh air. A movie that dared to have fun with the material. A movie that was so irreverent and self-aware that it satirized and mocked the films in its own franchise. A movie that felt like a true palate cleanser from the constant barrage of superhero adventures. Like Scream back in the 90s, it was both a love letter and a modernized satire of an entire genre. And you can argue, like Scream, it helped make other producers more self-aware of their material and reinvigorate the genre’s popularity. Of course, this time, it just made the biggest genre ever...even bigger.
With a hit sequel in 2018, Ryan Reynolds was conspicuously absent from the superhero limelight. Not his fault of course, but wacky shenanigans regarding studio changes, multiverse craziness, and capitalism being terrible meant the fabled Deadpool 3 took forever and a half to actually come out. However, six years later, we finally had the prayers of millions of Marvel nerds answered as Deadpool is now officially in the Marvel Cinematic Universe. Oh, and Hugh Jackman's back as Wolverine for the last time...again.
With multiverse craziness, wacky comedy, tons of rumored cameos, and plenty of kino post-credits scenes, Marvel fans are more hyped than ever on this hilarious thrill ride. Especially at a time when the Marvel Cinematic Universe is going through severe growing pains and cultural disinterest. Can this turn things around and deliver an opening for the ages? Or are we getting numbers as unfuckable as Wade Wilson's face? Regardless of what happens, we all just need to remember to relax and have fun and enjoy the thrills of Marvel weekend threads.
Though of course, we have some ironclad rules to follow...
1. ABSOLUTELY NO SPOILERS. THIS INCLUDES SPOILERS UNDER A SPOILER TAG. This also applies to every other movie currently in theaters and every new movie/show recently released on streaming. So no Twisters spoilers, no Despicable Me 4 spoilers, no Beverly Hills Cop 4 spoilers, etc.
2. GOOD VIBES! Big weekends like these are supposed to be fun. So don’t be a party pooper and ruin things for everybody. You don't have to insult people for not liking Marvel movies, you don't have to say theaters are dead without Marvel, you don't have to say Marvel movies are the death of cinema. This forum's all about silly fun, so don't make it something it's not.
3. THE REPORT AND IGNORE BUTTONS ARE YOUR FRIENDS.
And lastly...
4. DON'T BE A DICK
We good? We good. Now...
WITHOUT FURTHER ADO
LET'S DO THIS SHIT
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1 hour ago, keysersoze123 said:
I hope they use Styles in other movies.
Oh yeah, he's in these. That's weird.
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43 minutes ago, The Panda said:
It seems we have an error. Apparently, all of those voters voting for "Beauty and the Beast" demanded I "give them the Disneyland version", instead of the widely beloved French classic from 1946.
Although others are telling me Cocteau could still remain president (of spot number 80) if I only had the courage...
Number 80
"Tale as old as time."
Synopsis
"Join brave, independent Belle on the adventure of a lifetime as she sets out to rescue her father---and discovers the enchanted castle of a mysterious beast. Enjoy this timeless tale overflowing with unforgettable characters and music you'll never forget, universally acclaimed as one of Walt Disney Animation Studios' finest features." - Disney+
From the Scholar
"When Disney's Beauty and the Beast was released late in 1991, critics hailed the film for its apparently innovative portrayal of the heroine, Belle.1In Newsweek, David Arisen claimed that "from the start, the filmmakers knew they didn't want Belle to be the passive character of the original story or a carbon copy of Ariel in The Little Mermaid, a creation some critics found cloyingly sexist" (75). In MacLean's, Brian Johnson praised Disney for "break[ing] the sexist mould of its fairy-tale heroines. . . . Beauty and the Beast spells out its enlightenment in no uncertain terms" (56). And in The New York Times, Janet Maslin asserted that Belle is "a smart, independent heroine . . . who makes a conspicuously better role model than the marriage-minded Disney heroines of the past" (1). But in spite of this insistence that Belle is a strong female character, that this fairy tale is "different," I saw the same old story, a romance plot that robs female characters of self-determination and individuality. Not at all a feminist movie, Disney's Beauty and the Beast slips easily into the mold of almost all other popular versions of fairy tales; that is, it encourages young viewers to believe that true happiness for women exists only in the arms of a prince and that their most important quest is finding that prince.
Although it is clear that "Beauty and the Beast" has always been in part a love story, earlier printed versions of the tale offer valuable lessons in addition to emphasizing the love relationship. Disney, on the other hand, strips the traditional fairy tale of anything but the romantic trajectory, throws in a dose of violence, and woos its vast audience into believing it has been educated as well as entertained. Disney's Beauty and the Beast, while initially presenting a more interesting and better developed heroine than those we find in other Disney animated features, undermines the gains it makes by focusing narrative attention on courtship as plot advancement and marriage as dénouement. Certainly, romantic love is an important part of people's lives. But if we want children to develop balanced views of relationships between men and women and of their own identities as active individuals with full access to society, we should question the messages sent by such films.
The deleterious effects of concluding fairy tales with marriage have been extensively examined by such critics as Marcia K. Lieberman and Karen Rowe. Lieberman points out that while [End Page 22] such stories end with marriage, the action of the story is concerned with courtship,
which is magnified into the most important and exciting part of a girl's life, brief though courtship is, because it is the part of her life in which she most counts as a person herself. After marriage she ceases to be wooed, her consent is no longer sought, she derives her status from her husband, and her personal identity is thus snuffed out. When fairy tales show courtship as exciting, and conclude with marriage, and the vague statement that "they lived happily ever after," children may develop a deep-seated desire always to be courted, since marriage is literally the end of the story.
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If Disney claims to be updating fairy tales for contemporary children by eliminating sexism and creating strong female characters, then Disney is subject to an examination of these aspirations. To be sure, it is important to remember that Belle is an improvement on earlier Disney heroines. She is presented as a much more well-rounded person, with interests, goals, and aspirations. More than just a self-sacrificing, devoted daughter, Belle shows gumption when she stands up to the Beast, curiosity when she explores the forbidden West Wing, and rebellion when she runs away from the castle.10 But these traits, in and of themselves, are not rewarded or acknowledged as the tale closes. The emphasis is on Belle's nurturing tenderness, her beauty, her sexuality, and her happily-ever-after commitment to the Beast. Each of the refreshing traits set up at the beginning of the story is diminished or eliminated. The importance of Belle as a reader is greatly reduced. We do not see her travel beyond her village and the neighboring palace. We do not know whether she develops any new interests or ideas. Instead, we find her in virtually the same position as Snow White, Sleeping Beauty, and Cinderella at the end of their stories: by the side of her prince. The capitulation of Disney's Beauty and the Beast to the romance plot is complete. Because it aspired to move beyond this conclusion and snared us into thinking that it might, the Disney version is ultimately more dangerous than the most blatantly sexist fairy tales. Recognizing this danger is the first step in transforming that beast."
- Cummins, June. "Romancing the Plot: The Real Beast of Disney's Beauty and the Beast." Children's Literature Association Quarterly 20, no. 1 (1995): 22-28.
From the Filmmaker
From the Critic
"A lovely film that ranks with the best of Disney’s animated classics, Beauty and the Beast is a tale freshly retold. Darker-hued than the usual animated feature, with a predominant brownish-gray color scheme balanced by Belle’s blue dress and radiant features, Beauty [from the classic French fairy tale] engages the emotions with an unabashed sincerity that manages to avoid the pitfalls of triteness and corn.
The character of Belle, magnificently voiced by Paige O’Hara, is a brainy young woman scorned as a bookworm by her townsfolk and kidnaped by the Beast. She finds her initial aversion overcome by a growing appreciation of his inner beauty and sensitivity. While the usually soft-spoken Robby Benson might seem an odd choice for the voice of the Beast, his booming bass voice in the early sections and the increasingly boyish timbre of his voice in the later parts perfectly capture the character’s complexity."
- Variety
From the Public
"Most interestingly, the movie is a subtle but damning musing on masculinity. Gaston, one of Disney's scariest villains, is Narcissus, who uses his looks and physique to rule over the town, despite not have any other qualifications. The Beast is a violent manchild who must learn that he cannot lash out in fits of violence and automatically get his way; and he must learn empathy and kindness, in order to escape his curse and truly be human.
Howard Ashman was an immense talent who we lost too soon. "Tale As Old As Time" is so simple yet earnest as sung by Angela Lansbury. His lyrics are top notch throughout, particularly in the unsung hero of the show: “The Mob Song.” What a climax! Panicked! Fast! Crazed Madness! I also love the story that Alan Menken wrote part of the fight scene in like ten minutes as a placeholder, but when he went back to write the “real part” they couldn’t think of anything better. True geniuses.
Beauty and the Beast is Howard Ashman and Alan Menken’s magnum opus; not only is it one of the best movies (live action or animated) of all time, it is one of the best musicals of all time."
- @Cap
Factoids
Previous Year's Rankings
2012 - #77, 2013 - #68, 2014 - #44, 2016 - #47, 2018 - #40, 2020 - #54, 2022 – #34
Director Count
J. Cameron (2), A. Kurosawa (2), D. Lynch (2), R. Allers (1), R. Altman (1), J. Demy (1), C.T. Dreyer (1), M. Forman (1), W. Friedkin (1), M. Kobayashi (1), S. Leone (1), L. McCarey (1), R. Minkoff (1), C. Nolan (1), J. Peele (1), R. Scott (1), M.N. Shyamalan (1), V.D. Sica (1), G. Trousdale (1), K. Wise (1)
Decade Count
1980s (4), 1960s (3), 1990s (3), 2000s (3), 1950s (2), 1970s (2), 1920s (1), 1930s (1), 1940s (1), 2010s (1)
International Film Count
Japan (3), France (2), Italy (2)
Franchise Count
WDAS (2), Alien (1), Avatar (1), Exorcist (1), Gladiator (1), Man With No Name (1)
Genre Count
Historical Fiction (6), Drama (4), Horror (4), Musical (4), Comedy (3), Action (2), Adventure (2), Animation (2), Epic (2), Fantasy (2), Jidaigeki (2), Noir (2), Sci-Fi (2), Thriller (2), Tragedy (2), Coming of Age (1), Mystery (1), Neorealism (1), Romance (1), Western (1)
A Recipe
The "Grey Stuff" (from Disney World's "Be Our Guest" Restaurant)
Ingredients
▢1 3.4 oz vanilla pudding mix
▢1 1/2 cups milk
▢15 oreos
▢8 oz cool whip
▢2 tbsp chocolate pudding mix
▢sprinklesInstructions
In a medium bowl, combine pudding mix and milk. Whisk well and refrigerate for 10 minutes.
Place Oreos in a food processor and blend until they become crumbs.
Mix the crushed Oreos in with the pudding mixture and mix well.
Fold in Cool Whip and chocolate pudding mix until well combined and refrigerate for one hour before serving.
When ready to serve, place “grey stuff” in a piping bag and add a dollop to the middle and then pipe a spiral around it. Top with sprinkles.
ENJOY!
From: https://lilluna.com/grey-stuff-recipe/
good movie imo
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14 minutes ago, AniNate said:
Lmao where'd that pullquote come from already? No name attached to the source
They made it up. It’s David Manning all over again!
SpoilerI’m assuming this is an embargoed review that they will publish when it premieres at TIFF
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13 hours ago, The Panda said:
Number 80
"May the devil himself splatter you with dung."
Synopsis
"The story of a gentle-hearted beast in love with a simple and beautiful girl. She is drawn to the repellent but strangely fascinating Beast, who tests her fidelity by giving her a key, telling her that if she doesn't return it to him by a specific time, he will die of grief. She is unable to return the key on time, but it is revealed that the Beast is the genuinely handsome one. A simple tale of tragic love that turns into a surreal vision of death, desire, and beauty." - The Movie Database
From the Scholar
"The role of the artist is thus to create an organism having a life of its own drawn from life, and not destined to surprise, to please or displease, but to arouse secret feelings in reaction to certain signs which represent beauty for some, ugliness and deformity for others.
Cocteau, Démarche d'un poète.
The 1946 Jean Cocteau film Beauty and the Beast is ostensibly an adaptation of a classic French fairy tale written in 1757. As the accompanying chart shows, Cocteau made numerous additions, deletions and transpositions in his rewriting and reworking of the eighteenth-century original text (changes often alluded to by critics). The addition of Avenant (which in French means attractive), played as well by Jean Marais, the Beast, squares the plot and especially the ending. There Avenant and the Beast exchange masks, reuniting internal and external beauty and ugliness and resolving the double tension of their two dichotomies. Avenant repeats the fate of the Beast, being turned from beauty to beast because he did not believe in the powers of magic. The creation of Avenant not only offsets the Prince-Beast but also establishes a masculine equivalent of the linguistic feminine polarity of the French title: La Belle et la bête."
- Pauly, Rebecca M. Literature/Film Quarterly; Salisbury Vol. 17, Iss. 2, (1989): 84-90.
From the Filmmaker
From the Critic
"Before Disney's 1991 film and long before the Beast started signing autographs in Orlando, Jean Cocteau filmed "Beauty and the Beast" in 1946, in France. It is one of the most magical of all films. Before the days of computer effects and modern creature makeup, here is a fantasy alive with trick shots and astonishing effects, giving us a Beast who is lonely like a man and misunderstood like an animal. Cocteau, a poet and surrealist, was not making a "children's film" but was adapting a classic French tale that he felt had a special message after the suffering of World War II: Anyone who has an unhappy childhood may grow up to be a Beast.
Those familiar with the 1991 cartoon will recognize some of the elements of the story, but certainly not the tone. Cocteau uses haunting images and bold Freudian symbols to suggest that emotions are at a boil in the subconscious of his characters. Consider the extraordinary shot where Belle waits at the dining table in the castle for the Beast's first entrance. He appears behind her and approaches silently. She senses his presence, and begins to react in a way that some viewers have described as fright, although it is clearly orgasmic. Before she has even seen him, she is aroused to her very depths, and a few seconds later, as she tells him she cannot marry--a Beast!--she toys with a knife that is more than a knife."
- Roger Ebert
From the Public
"A film that is enchanting in every sense of the word. The film combines a sense of realism, though still under a childlike lens, with a strong, potent sense of surrealism that is simply magical. It really does feel like a fairy tale come to life. And as somebody who loves fairy tales, even the sanitized versions, this was all I could ever want.
The scenes surrounding Belle's childhood home are very entertaining for sure, and they get even better when the fantasy and the magic of the castle start to infest the picture. Yet it's the Beast and the castle that truly makes this picture work. The makeup on the Beast, a lion-styled design, is both a threatening, yet alluring look that still works today. At the same time, the castle is full of so many wonderful touches that give it a sense of mystery and wonder all at once. The handleabras that beckon the protagonist in, the curtains blowing through the wind, the bedrooms and dining hall full of immense detail. Even the way Belle moves through the castle at points, as if she is gliding on air, brings so much mood and atmosphere that it's hard not to be entranced by it all.
In many ways, the way the film plays out is almost like a dream. Objectively speaking, it doesn't quite make sense, but everything is so moody and alluring, as if we're being lulled into our own minds and that we are seeing one of Jean Cocteau's strange and wild dreams projected onto celluloid. A movie that truly feels like a dream come to life is a task that is easier said than done, but Cocteau nails it. This is a serious all-timer for me and I loved just about everything here." - @Eric
Factoids
Previous Year's Rankings
2012 - Unranked, 2013 - Unranked, 2014 - Unranked, 2016 - Unranked, 2018 - Unranked, 2020 - Unranked, 2022 – Unranked
Director Count
J. Cameron (2), A. Kurosawa (2), D. Lynch (2), R. Allers (1), R. Altman (1), J. Cocteau (1), J. Demy (1), C.T. Dreyer (1), M. Forman (1), W. Friedkin (1), M. Kobayashi (1), S. Leone (1), L. McCarey (1), R. Minkoff (1), C. Nolan (1), J. Peele (1), R. Scott (1), M.N. Shyamalan (1), V.D. Sica (1)
Decade Count
1980s (4), 1960s (3), 2000s (3), 1940s (2), 1950s (2), 1970s (2), 1990s (2), 1920s (1), 1930s (1), 2010s (1)
International Film Count
Japan (3), France (3), Italy (2)
Franchise Count
Alien (1), Avatar (1), Exorcist (1), Gladiator (1), Man With No Name (1), WDAS (1)
Genre Count
Historical Fiction (6), Drama (4), Horror (4), Comedy (3), Musical (3), Action (2), Adventure (2), Epic (2), Fantasy (2), Jidaigeki (2), Noir (2), Sci-Fi (2), Thriller (2), Tragedy (2), Animation (1), Coming of Age (1), Mystery (1), Neorealism (1), Romance (1), Western (1)
A Recipe
Belle's Beef Ragout
Ingredients:
2 lb beef chuck roast, 1.5-inch cubed
2 cups rosé
12 cloves garlic, peeled and smashed
2 cups beef bone broth
1/4 cup all-purpose flour
1/2 tsp ground clove
2 parmesan rinds
3 Tb unsalted butter
1-2 sprigs fresh rosemary
3-4 sprigs fresh thyme
1 Tb dried rose petals
1-2 sprigs fresh parsley
2 bay leaves
2 Tb tomato paste
1/2 lb carrots, 1-inch cubed
8 oz. button mushrooms
1/2 yellow onion, 1-inch diced
kosher salt
Instructions:
Blend a pinch of kosher salt in a dish with the flour and ground clove. Then preheat the oven to ·250°F.
Melt a tablespoon of butter in the dutch oven over medium-low heat on the stovetop. Saute the garlic until golden, then transfer to a separate bowl with the tomato paste.
Melt the remaining butter in the pan, then saute the mushrooms until the sizzling slows. Transfer to a dish, cover with plastic wrap, then refrigerate.
Working in single layer batches, dredge the beef in the flour mixture and brown on all sides before moving to a plate.
Deglaze the pot with the wine, and scrape up the browned bits with a plastic spatula. Bring to a boil, then lower the heat to simmer for 10 minutes.
While waiting, add the remaining flour to the bowl of tomato paste and garlic. Smash the contents with the back of a spoon and stir into a uniform paste.
Stir the bone broth into the pot, then the beef and garlic paste. Once combined, add the carrot and onion. Then stuff the rosepetals and herbs into the strainer before setting it into the pot as well.
Bring the stew to a boil, cover with a lid, then place inside the oven to braise for three and a half hours until tender.
Stir the rosewater and mushrooms into the pot, cover again, and set aside to cool. Refrigerate overnight to let the flavors marry.
Reheat the pot over low heat on the stovetop for 30 minutes before serving.From: https://thegluttonousgeek.com/2021/03/04/belle-beef-ragout/
The only adaptation that matters…
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Is this really coming out this Christmas? They’re cutting things close trailer-wise
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40 minutes ago, Cmasterclay said:
Also, Timothee sings all of his own songs!
He's so cool
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Quorum Updates
Borderlands T-16: 37.12% Awareness, 45.59% Interest
Cuckoo T-16: 18.4% Awareness, 42.25% Interest
It Ends with Us T-16: 26.81% Awareness, 42.37% Interest
Killer's Game T-51: 18.12% Awareness, 41.81% Interest
Smile 2 T-86: 37.93% Awareness, 46.23% Interest
Kraven the Hunter T-142: 22.8% Awareness, 39.93% Interest
Deadpool & Wolverine T-2: 71.72% Awareness, 69.99% Interest
Final Awareness: 100% chance of 90M, 80% chance of 100M, 20% chance of 200M
DC/MCU Awareness: 100% chance of 100M, 50% chance of 200M
Final Interest: 78% chance of 100M, 11% chance of 200M
DC/MCU Interest: 83% chance of 100M, 17% chance of 200M
1992 T-37: 20.08% Awareness, 44.6% Interest
T-30 Awareness: 54% chance of 10M, 17% chance of 20M
Low Awareness: 38% chance of 10M, 12% chance of 20M
T-30 Interest: 60% chance of 10M, 35% chance of 20M
Low Interest: 29% chance of 10M, 7% chance of 20M
Afraid T-37: 15.52% Awareness, 42.27% Interest
T-30 Awareness: 16% chance of 10M
Low Awareness: 18% chance of 10M
T-30 Interest: 60% chance of 10M
Horror Interest: 67% chance of 10M
Never Let Go T-65: 21.59% Awareness, 45.13% Interest
T-60 Awareness: 60% chance of 10M
Horror Awareness: 37% chance of 10M
T-60 Interest: 61% chance of 10M
Horror Interest: 67% chance of 10M
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2 minutes ago, kayumanggi said:
"photorealism film"
lmfao what
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22 minutes ago, Youngstar said:
Can we stop with this "The Lion King is actually live-action" gaslighting?
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1 hour ago, Cmasterclay said:
Very very skeptical of this casting
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21 minutes ago, ChipDerby said:
has @Eric Twister seen this
Just got to it.
Looks like every other music biopic. Not in a good way, because those movie suck eggs.
However, with all that said....
HIS HAIR HIS VOICE HIS BEAUTY MY BELOVED YOU ARE SO A;LSKJGAIUTGRHIUTOERHYIOUHGOIJEHTWEOIUFHSJKLFH
SO READY SO HYPED LETS GOOOOOOOOOOOOOOOOOOOOO AHHHHHHHHHHHHH
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There's a screening happening now. I'm assuming that we will get reactions in a few hours.
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33 minutes ago, lorddemaxus said:
I think the biggest problem still is that no movie has given people a new hook to keep people interested in the future of the franchise. Closest one was probably Shang-Chi but the guy hasn’t appeared in a single one like 10 movies later.
This is the biggest problem with there being like 8 Marvel movies and shows a year. Like my mind has me thinking Shang-Chi came out like 8 years ago, because of all the media in between. But like…it’s only three. And he hasn’t even showed up in anything since then, so it makes the gap feel more noticeable than it actually is.
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1 minute ago, belblazer said:
The C+, B- and B reviews as freshs 💀 I hate this omg
I mean...those are good grades? Like they are almost always considered fresh by Rotten Tomatoes.
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Just now, blazera said:
I am having a great time seeing you try to make this score look worse than it is.
you must be really miserable right now haha
Moderation
Yeah, we're not doing this. Please don't start a fight with other users.
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1 minute ago, ZeeSoh said:
85% on RT after about 60 reviews. 50 positive and 9 negative
The influencers. They have so much...what's the word I'm looking for?
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They should have stopped after Endgame.
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5 minutes ago, Reddroast said:
Sure you can.
I'll give some examples: food fight, cats (2019) ready to rumble. Those are all objectly bad films.
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DEADPOOL & WOLVERINE WEEKEND THREAD | 211 DOM, 233.1 OS, 444.1 WW | Disney does it again!
in Numbers and Data
Posted