OncomingStorm93

The first film was about a street racing family and an undercover cop. By the 7th film, cars were literally jumping from one skyscraper to another. The 8th film featured a remote-controlled car army, and a car chase with a nuclear submarine. In the 9th film, they went to space. But yeah, let’s draw the line of believability at Mia learning how to fight.

I was genuinely interested in checking out this movie before I learned about how it was being propagated by conservative media. Even knowing how nutso Jim became with Qanon. Still may catch it, since by most accounts it appears to be a quality film that’s not inherently conspiracy-filled. It’s just the narrative surrounding the release

I hope those complaining about female characters’ combat ability apply equal scrutiny to Geriatric Jones in throwing punches Dial of Destiny, or John Wick being a walking talking killlshot also, “woke” is a term that’s been so politicized by everyone across the spectrum that now it’s definition is in the eyes of the beholder.

Are you aware what film series you walked into the tenth installment of?

MIIII also unleashed director JJ Abrams upon cinemas, for better or worse.

I generally enjoy Rogue Nation, but have it below Ghost Protocol (the best total package in terms of writing/directing) and Fallout (series best cinematography and action) Also, I think Sean Harris’s performance as Solomon Lane is substantially more engaging in Fallout. I never quite enjoyed is quiet calculating nature in RN, but the unhinged, raw Lane in Fallout was a real treat. I do hope we get to see more of him before this series is finished.

found Maggie’s alt

As a massive South Park fan, I’m gonna have a hard time taking “The Entity” seriously

I will forever be a defender of Dead Man's Chest, and At World's End over most of today's blockbusters. Yes, there's significant story issues across both films, and wildly inconsistent characterizations, but Verbinski's direction remains top-tier, the preformances all Stellan- I mean stellar. And the CGI remains some of the best the industry has ever created, even 15+ years later. In fact, I kind of find it weird we don't talk/hear much about ILM anymore. I know they're still chugging along, but Weta has been mom's favorite child over the past decade, and on the flip side of the convo has been the terrible VFX on tentpoles from overworked artists.

That was my first though. I haven’t even seen the new trailer, think I’m going to avoid it as I’m already going to catch it release day. I can tell from the impressions on here that it’s a fantastic trailer. But the first trailer released less than 2 months ago, and we still have 4 months (and a week) before release. FWIW, WB released the second/main/final trailer for Part 1 exactly 3 months (July 21) before release (Oct 22). If I were WB I would have waited until after the summer for the showstopper trailer. Would have had a stronger impact after MI7/Barbieheimer were past the hype stages.

The best thing Gunn can to do help his reboot universe before it kicks off is not feed the social media hype machine years and years and years in advance of every film, as Snyder and the producers who succeeded him did. Every DC film since they first rolled out their “plan” in like late 2013 has been overexposed for the sake of clicks. Unfortunately, I don’t think Gunn is capable of avoiding this trap. He’s a massive social media presence and he likes playing into it.

Looks uninspired, but at least competently handled.

I feel pretty confident that Disney's casting choices with TLM played less of a role in it's underperformance than it's the upteenth Disney Live Action Remake, and while the 1989 original has it's loyal fans, the fact is it was never as popular as the rest of the Renaissance-era animated musicals. It's total B.O. was $211m, compared to B&TB's $440m two years later, and Aladdin's $500m three years later. Not to mention Lion King doing almost $1b five years later. It made basically what the original Jungle Book and 101 Dalmatians did in the 1960s. The simplest explanation is that The Little Mermaid is not one of the more popular Disney animated musicals, and didn't warrant such an expensive live action remake.

My 3rd (now convinced it’s a masterpiece, the definitive ESB of the animation medium) fully sold out (Santa Monica last night) screening last night had me sitting next to what I assume were current sorority sisters, whose reaction to the ending was a very passionate “that’s bullshit”

They'll forget about it if they haven't yet. Just like their "boycotts" against sports leagues taking social justice stands 3-4 years ago.

Why did Elemental fail? Because it's another in a long line of animated films about abstract worlds that seem like ours... but seemingly without anything original to say. I'm assuming the film is as uninspired as the marketing made it seem and the 75%ish RT score indicates critics thought (that's "broadly palatable" range) What does this film do (or even attempt to do) better than Zootopia (or any number of anthropomorphic animal animated films)? Or previous Pixar efforts like Monsters Inc, Cars, or even Onward? The twist on the formula was... make it a rom-com? Can't imagine how that gets the kiddos on board.

I’m shocked, shocked I tell you, that this sloppy stew of recycled ideas with Cats-tier CGI is seemingly failing to latch on with general audiences.

Hobie dropped it off.

I can understand and appreciate the allegories that both Gwen and Miles had with their respective admission scenes to bookend their film, while recognizing they are separate from the plot specifics of the film. I did catch the film a second time tonight, and noticed the “protect trans kids” sign in one shot. My thought? Good for Gwen for standing up for what she believes are rights that need protecting. The sign shows her general passion and her virtues. I didn’t think anything more of it, and I doubt the filmmakers thought it warranted more thought. Anyway, Daniel Pemberton’s score slaps so hard. It’s a breathtaking score, on its own and within the film. All-timer. The music of the first film didn’t stick with me much but the Blade Runner vibes that accompany Miguel and The Spot, with Gwen’s punk-rock mixed in, it deserves year-end nominations.

The ending of this is far more egregious than what Fast X has been accused of. A lot to love about this movie, but a lack of cohesion. 130 minutes of build up with no resolution. Everything was set up for an explosive conclusion but the last 15 minutes were total anti-climax, and tbh I didn’t find any of the cliffhangers engaging enough to warrant the mic drop. Animation was pristine as expected, the individual story elements were engaging, I just feel we were robbed of a climax that would have solidified this as a fully fledged film. I’m just left feeling mostly empty. Like I just ate a bunch of delicious empty calories. Edit with a few more thoughts: Agree with above commenter about The Spot, and where that character is headed Gwen Stacy has the only full character arc in this film. And it’s perfectly handled. The extended prologue and wrap up were beautiful, both in the writing and art-style. It’s the glue that holds this sprawling story together. Film got too meta for my tastes.

Seconded. I had no idea this film existed, but it had the strongest audience positive reaction out of my nearly-full FX screening over the weekend.

Weak-ass cliffhangers. Kinda obvious that the crew in the plane are going to escape in Shaw's cars, and "how's Dom gonna get out of this one?!?!" isn't compelling because we know he clearly will somehow.