cannastop

http://cinematreasures.org/ Really neat site for looking up theaters. One of the few places where you can easily find the construction date of your local place. Many people also include pictures and comment about the upkeep of the places.

nvm, it got fixed.

No, it's actually going to be the Disney Classic Home on the Range!

How many sent lists with private messages?

That's because 2016 has also had 6 enormously huge breakout hits.

Sing already has reviews, and it looks like critics are less enthusiastic about it than Dory. Disney would have 3 nominees before Illumination has one.

Even if Netflix wanted to sell itself to Disney, it wouldn't be for a discount. Acquisitions usually always end in big payouts. Disney probably wouldn't want all of 21st Century Fox, though. Probably just its movie business.

http://www.bloomberg.com/news/articles/2016-10-03/netflix-rises-on-takeover-speculation-as-quarterly-earnings-loom There are rumors that Disney wants to buy Netflix, which would be an interesting proposition. It's not likely, because Netflix doesn't want to be taken over. But what would Disney do if it had Netflix? We know that they want to grow profits in a time of cord-cutting, and what better way of doing that than buying the competition?

The Red Turtle has a reputation of being an aesthetically fulfilling film, which the animation branch cares a lot about. All we know about Your Name is that it's making a lot of money in Japan. So did The Boy and the Beast, but that didn't get an Oscar nom either. However, if Your Name is released this year, and it manages to get buzz, I think that it will most likely join Moana, Zootopia, Kubo, and The Red Turtle rather than knock one of them out.

I wouldn't. Ghibli still has a lot more prestige. We don't know if American critics will even like Your Name.

Who cares, man. You can still bring children to a PG-13 movie.

I stand corrected. You voted for two Bill Plympton features.

@Jake Gittes I think you're the only one to vote for a Bill Plympton feature.

Alright, I wrote yet another review, but I think this is the first one I think is "proper". Zootopia is an electrifying crime thriller, and a giddy subversion of audience expectations. This is the most political that Disney has ever gone, and possibly ever will go, yet Zootopia is still utterly disarming with its blunt but gentle wit, and with its authentically characterized protagonists, Judy Hopps and Nick Wilde. Even from the first second, the movie is upfront on its theme: A young Judy stars in a cheerily moralizing stage play that depicts enmity between predator and prey as a thing of the past, when animals were stuck in "primitive, savage ways". The parallel to human society is plain to see, but what is downright surprising is that the movie directly satirizes the comforting myths about the world that we tell ourselves. Judy Hopps is characterized in a bold way. Her sunny exterior hides a zeal for justice that is nearly unscrupulous. The film challenges the viewer upfront when Judy blatantly profiles Nick Wilde based on his species. With other family films, the plucky protagonist always does what is right, but Zootopia introduces a more ambiguous and mature perspective. These tweaks make the relationship between Judy Hopps and Nick Wilde completely captivating. Their cynical arrangement to solve the disappearance of Emmet Otterton progresses into friendliness, but is always undermined by unspoken mistrust, even as they share tender moments and jovial barbs. Impeccable production supports the storytelling: The animation is top notch. Every breath, wince and gasp is articulated when Judy's drill sergeant informs her that she must master every ecosystem in Zootopia. The cinematography in that sequence is extraordinary as well. The desaturated colors and moody lighting brings to mind movies like The Silence of the Lambs. Cinematic flourishes set Zootopia apart from more typical animated features. Zootopia makes no bones about its didactic intent, but it also makes no bones that it will enthrall the audience. This is a classic that will continue to surprise new viewers for all times.

Meanwhile, if everyone were literally like me, Zootopia would have made $5B dom...

I don't think you represent the general audience.

I don't think the general audience cares about talking animals vs. humans when it comes to animation. I think the real distinction is animated vs. live action. As for why Storks disappointed, I think it's because the marketing didn't convey what the movie was about besides cute babies and birds. Not as interesting as The Secret Life of Pets, I guess.

I don't think the PG-13 rating is keeping that many kids away from Miss Peregrine. Parents can figure that stuff out for themselves, right?

Lol When the Bough Breaks × cannastop 2 hours ago CoolioD1 2 hours ago Jason 2 hours ago CoolEric258 2 hours ago Jake Gittes 2 hours ago I Am A Walking Curse 2 hours ago 4815162342 2 hours ago filmlover 2 hours ago WrathOfHan 2 hours ago MCKillswitch123 2 hours ago Morieris 1 hour ago Daniel Dylan Davis 30 minutes ago Ethan Hunt 22 minutes ago Spaghetti 8 minutes ago

Damn, lying is an option? Maybe I should try that to pick up some cool points.

Next time go full blanks and ham it up beyond plausibility.

Awards Circuit September 26 http://www.awardscircuit.com/oscar-predictions/best-animated-feature/ “Moana” – (Walt Disney Pictures) “Zootopia” – (Walt Disney Pictures) “Kubo and the Two Strings” – (Laika) “The Red Turtle” – (Sony Pictures Classics) “Miss Hokusai” – (GKIDS) “Finding Dory” – (Pixar) “Sing” – (Universal Pictures) “April & the Extraordinary World” – (GKIDS) “The Secret Life of Pets” – (Illumination) “The Little Prince” – (Netflix) It's still that #5 spot that's up for grabs.

Awards Circuit, September 26 Original Screenplay: http://www.awardscircuit.com/oscar-predictions/oscar-predictions-best-original-screenplay/ “La La Land” – Damien Chazelle “Manchester by the Sea” – Kenneth Lonergan “Moonlight” – Barry Jenkins, Tarell McCraney “Loving” – Jeff Nichols “Jackie” – Noah Oppenheim “20th Century Women” – Mike Mills “The Lobster” – Efthimis Filippou, Yorgos Lanthimos “Hell or High Water” – Taylor Sheridan “Florence Foster Jenkins” – Nicholas Martin “I, Daniel Blake” – Paul Laverty I have my doubts about Loving. Adapted Screenplay: “Fences” – August Wilson “Silence” – Jay Cocks “Lion” – Luke Davies “Nocturnal Animals” – Tom Ford “Billy Lynn’s Long Halftime Walk” – Jean-Christophe Castelli “Hidden Figures” – Allison Schroeder “Arrival” – Eric Heisserer “Sully” – Todd Komarnicki “Love & Friendship” – Whit Stillman “The Girl on the Train” – Erin Cressida Wilson Replace Lion with Arrival, in my opinion.

Award's Circuit said this on September 26: http://www.awardscircuit.com/oscar-predictions/best-original-song/ “La La Land” – “Audition (The Fools Who Dream)” “La La Land” – “City of Stars” “Moana” – “We Know the Way” “Sing Street” – “Go Now” “Hidden Figures” – “Victory” “Sausage Party” – “The Great Beyond” “Trolls” – “Can’t Stop the Feeling” “La La Land” – “Another Day of Sun” “Moana” – “How Far I’ll Go” “Popstar: Never Stop Never Stopping” – “I’m So Humble” I hadn't heard of #5 before.

Probably shouldn't watch Pixar either. WTFFFF? The toys talk and then they don't? WHAT IS THIS SORCERY? *ded*