RedX
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Posts posted by RedX
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@antovolk Got the script. Not sure how you share a PDF
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1 hour ago, marveldcfox said:
So for you an auteur is one who is a YES MAN and is willing to let his movie be shit and not make any money...great. I guess that's the new age definition of auteur.
That is logically fallacious, not appropriately addressing what I'm arguing
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Just now, marveldcfox said:
HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAAHA
Yeah....an auteur is one who consistently makes something good and doesn't let others interfere with his work.
You won't get far in the industry this way, ever.
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26 minutes ago, marveldcfox said:
Looks like the Kurzel bros will keep getting work even after the disaster that came out this week. Well they seem to be still in the good books of Fassbender.
They're real auteurs and will accommodate the desires of others into their visions if need be. There's a reason actors like Fassbender gravitate towards them. One divisive venture among an esteemed portfolio
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http://filmmusicreporter.com/2016/12/25/jed-kurzel-to-score-ridley-scotts-alien-covenant/
Looks like Jed Kurzel is scoring Alien. He's a masterful composer. I'm assuming Fassbender brought him on. Magnificent and underrated work from Assassin's Creed, Macbeth, Snowtown, Slow West, and The Babadook.
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8 hours ago, PatrickvD said:
While the Assassin's Creed games have a great premise, beautiful gameplay and overall high entertainment value, they're not as well written as its fans want you to believe.
And then the film adaptation decides to focus on the aspect of the games that no one cares about. This thing is a disaster for the Assassin's Creed brand.
So much wasted potential...
They decided to focus on where the actual story takes place, modern day. The games have neglected that and you often hear outcries of the franchise being pointless as they continue to churn out releases
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34 minutes ago, UTJeff said:
Calling this the best one to date is hardly a big compliment or high praise since it's mainly been a subgenre of box office poison and cinematic trash.
Ingenious observation! Lol but yeah, I think this is a step forward
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I believe Kurzel should have received free reign on the script. In several ways, I feel he was restricted by adhering to the demands and requirements Ubisoft stipulated.
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2 hours ago, trifle said:
Thanks. I think I'll check it out after Christmas. I like Fassy. I've only watched the game over someone's shoulder a few times, but I'm curious why this became such a 'must do' film for Fassbender.
He was really fascinated with the concepts and wanted to produce a franchise like Assassin's Creed from the ground up. Five years of development require a lot of passion. I pity him; It looks to generate disappointing results.
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On 12/21/2016 at 0:56 AM, RedX said:
Just got back from a showing. I was pleasantly surprised. I think the critics are right on saying this is the best video game film to date. Acting from Fassbender, Marion, and Irons really bulster this sucker up. The small intimate moments Fassbender has with other actors is where the movie thrives. Kurzel displays once again a keen and unique visual eye in his direction. Him and Arkapaw are a formidable duo. Jed also nails it again with a phenomenal and bombastic score. But, the film needed defining and fleshing out of key, high concepts for those unfamiliar with the property. It does take initiative to distill the lore into a digestible experience but that may not be sufficient. I thought I would be frustrated with the cutting from present to past but it worked for me. I also think more time should have been allocated to character building. All that said, I'd love to see where they take it from here.
@trifle Got ya
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6 hours ago, Jay Hollywood said:
Its video game music.... its fine if your playing but this IS NOT movie music.
Its fine, but it just sits there and slowly rises. THIS IS ACTION SET PEICE music!
This is a movie soundtrack, I can't tell just listening when the beats of the movie are.... Thats an issue. There is difference between when they are fist fighting or running, on the ground or in the air, its all the same "song" it doesn't evolve and change. Its not spontaneous in any
Compare that to this....
Very different music but still, its similar in action beats. They start the ground... the bad guy thinks he got away... oh no he's still behind me.... climbing to the crane... fighting 500 feet up.... back to the ground..... Now in the embassy.
You can feel and hear the change. Music is supposed to tell the audience what to FEEL. If I need to go from Suspense to getting away to getting caught. From Danger to Success, I need to be told that through music.
A movie should bring in special Motifs and cues for just one moment or action. Example 4:18 the bad guy jumps from level 3 to level 2 in the elevator. Then 8 seconds later when Bond slides from the 3rd to the 2nd floor that Cue plays again. Its the first two times we have heard this. But its there to represent a SPECIFIC accomplishment.
That is not a movie soundtrack. There's no purpose in such constant changes when subtle cues do enough of the trick (Really don't see how it not changes when it transitions from electronic to traditional) And you really don't need to if the music can encapsulate what is occurring. I get the feeling of kindred spirits fleeing the pursuit of the Templar Order across Spanish rooftops. When that highest note is reached, Aguilar is perched on that viewpoint ready to give himself to both a courageous act and to the philosophy of the creed, which is one of free will and spirit. The score does a magnificent job of conveying that.
Its just video game music? Wow, that assessment does not help the perception of this genre of film. I could easily label the Casino Royal score apropos for Spy thriller games like Hitman, if I was presented the music without any previous knowledge
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@antovolk I haven't gotten the script yet but it's supposed to arrive soon, at the latest by the end of this month
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41 minutes ago, Jay Hollywood said:
People always hear bad score and think bad music. Not the case. Not what I mean, not what I ever mean.
It looks and sounds like when you watch the movie they edited the whole film then threw an already finished track over it. It doesn't seem or feel composed to the actual film and its beats. I also found it toneally dull. Not much variety in terms of energy. It was very strange.
I'll disagree with this. The score appropriately invites you back in when a sense of complete boredom creeps in (Perri Nemiroff from Colliders puts it succinctly in her review). It varies from electronic sounds and synths to traditional and more classic. Ranges from frenetic to somber and solemn. The Leap of Faith and Underground match respectively their scenes, along with The Apple, The Creed, and so many others.
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2 hours ago, Jay Hollywood said:
I kinda review it, so light spoilers
My buddy I watched it with was a composer and we both agreed its probably the worst soundtrack to a movie we have ever seen. We tore it about for 10 minutes after. The music is BORING and never changes. No beats, its not a movie score. They run, they fight, they are the roof, the jump the ground, yet the music at no point ever changes. The same beat plays over the whole 10 minute action scene at the same tempo. You know You play a tune, oh no he's jumping, lands on ground, music is similar but switches get more intense, that never happens. IT never evolves.
There is also NOT ONE GOAL for any action scene. There are no real Beats within the action. Its runaway from nameless villains and get an apple all 3 times. No one, get here before this happens, or has escape the room from 3 goons only using X. We need to get this to get the to get this, we have X amount of time to accomplish this, non of that.
The whole movie is a LOL. The bitch who fights with him back in time, we never even get her name, I have no fucking idea who she was. The whole crew of other assassins was beyond pointless. I honestly did not even Giggle one time ether, BvS was about 10x funnier than this movie too.
I can honestly say this is easily the most confused I've ever been waling out of a movie. Ive never seen a blockbuster explain less. This is a movie. You tell me that my lead character IS NOT in control of his actions in the past. WELL THER GOES THE STAKES. Its a different character. Then somehow without ever really explaining it, he learns to actually control all his ancestry past!? IDK!
And all the action was garbage. It intercuts with him fighting air. LIKE THE FINAL BLOW TO THE BAD GUY AND IT CUTS TO HIM STABBING AIR!!!!!!!!!!!!!!!!
Also example of lazy filmmaking to me, we start all 3 past scenes with the same opening sequence of shot styles all 3 times ( He probably thought it was cleaver) . CHANGE IT UP BRO!
If there's one constant praise for the film among cinephiles, its Jed's score. I'm not sure what you were listening to but the differents tracks do evolve and make ample use of percussive drums. The music from the past and present contrast for the most part and then merge towards the end. In a lot of ways, It's very reminiscent of Macbeth.
It's among the best scores this year. I recommend a Spotify listen
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11 minutes ago, JennaJ said:
Probably nowhere, assuming it flops as projected.
True. All depends on what Ubisoft does
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Just got back from a showing. I was pleasantly surprised. I think the critics are right on saying this is the best video game film to date. Acting from Fassbender, Marion, and Irons really bulster this sucker up. The small intimate moments Fassbender has with other actors is where the movie thrives. Kurzel displays once again a keen and unique visual eye in his direction. Him and Arkapaw are a formidable duo. Jed also nails it again with a phenomenal and bombastic score. But, the film needed defining and fleshing out of key, high concepts for those unfamiliar with the property. It does take initiative to distill the lore into a digestible experience but that may not be sufficient. I thought I would be frustrated with the cutting from present to past but it worked for me. I also think more time should have been allocated to character building. All that said, I'd love to see where they take it from here.
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36 minutes ago, marveldcfox said:
Fox and video game adaptations don't go together. They try hard but always fail both commerically and critically. Although I kinda dug the Timothy Olphant Hitman.
I had been saying for the past 3 months that this movie is extremely boring and everything feels so meh. The reviews say exactly that.
Good suggestion before making judgements on a film is to actually see it.
Fox was was not involved creatively with the film. Fassbender's production company, Ubisoft, and New Regency
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45 minutes ago, That One Guy said:
Here's a tip for all video game movie adaptations: Don't hire a director who has only made smaller films or terrible films altogether. Get a seasoned professional in there. Let's take a look at the 3 most recent failures:
Warcraft - Duncan Jones had done two solidly received flicks, but what made them work was their smaller budgets. Now he gets a giant ass 160-170M budget thrown at him and spends 18 months on VFX. That's a huge leap.
Assassin's Creed - Only noteworthy directorical project was Macbeth, cost only 15M to make. Now this has like what, a 150M+ budget? Possibly larger?
Need for Speed - Were they even trying? They hired the director of Act of Valor for Christ's sake.
Get someone like Liman, or the Russo's, or anyone who can make a decent film.
Snowtown was also critically praised along with dabbings into short films
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8 minutes ago, UTJeff said:
Except they weren't able to do this. Callum Lynch was pretty much a cipher with no character development. Even Aguilar is pretty much a blank character.
It's one thing for Hollywood big shots to say they are aware of this and they are working a way around it and it's entirely another thing to successfully execute it.
I think the problem is that for making a movie based on a game, you can't remove these mechanisms and still make an enjoyable movie that will satisfy everyone. Gamers want those mechanisms for a game because it empowers them. It lets them put a piece of themselves into how they play. If they are in Assassin's Creed, maybe they want to get out with as little killing and bloodshed as possible. Or maybe they don't mind going in guns blazing, shoot first ask questions later.
If you made a Legend of Zelda movie, how do you even start with making Link a satisfying character? You see Link is a proxy for the player in Zelda. He doesn't really have much of a personality other than that he's the Hero of Time. How do you rectify Link as a character in a movie when Link is so many things to many people? A lot of people now have their own idea of what Link should look or act like. Some people think Link should be represented as a female as well, and Nintendo has even created a female avatar for Link in Linkle, who was in Hyrule Warriors.
I think the reason Mortal Kombat sort of works the way it does is they basically made Enter the Dragon with some fantasy and supernatural elements. The film is in many ways like a martial arts, stunt show type of experience with a simple plot but it works on that level. Mortal Kombat is like a martial arts exhibition tournament. Movie is a similar deal.
Yeah, they are aware of it. The problem is in the execution. I'll have my thoughts on the film after seeing it tomorrow. Also, characters don't always need to have development in order to create an engaging piece. I've seen plenty of material from film to animation do exactly that.
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3 hours ago, UTJeff said:
I have a specific theory about video game movies and why they don't work.
Video games like Assassin's Creed are about empowering the player. Uncharted is about empowering the player. Yes they are cinematic and they have intricate stories, but in Assassin's Creed it's like you are getting to live through your ancestors genetic memories, and you get to live through these famous historical periods. You get to be a part of history and interact with amazing historical figures.
The Legend of Zelda? Link is nothing more than a proxy for the player. That's why a lot of games have lead characters who are still silent or blank ciphers. They are a way to empower gamers to insert their own personality into these characters.
Other times, games are really just patchwork stories to enable you to play. Or the plot's threadbare. Zombies are attacking. Here you go. Get going. Start blasting zombies and monsters.
It's a step beyond movies. Movies can't capture that immersion. They can't capture that interactivity. And they can't boil down those longer storylines into just two hour plots.
Funny you say this, because this is exactly what the writers were trying to resolve
"Sometimes adaptations have been too loyal to the mechanism at the heart of video games, where the protagonist has to be a cipher for the player" - Michael Lesslie
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26 minutes ago, The Futurist said:
Maybe Fassbender can tell to Alicia in a pillow talk discussion after steamy sex to get out of Tomb Riader.
?
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16 minutes ago, Goffe said:
how is this surprising? games are third rate movies, their stories aren't supposed to be good, and look at the filmmakers they generally attract.
These filmmakers have done phenomenal work. Maybe Alicia can pull it off
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16 minutes ago, UTJeff said:
None of the trailers were getting much buzz or excitement at all.
I have issues with the marketing campaign too, but that's untrue to say not any of the promoted material was received with neither curiosity nor interest
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I think critics will be more satisfied with Alicia's Tomb Raider. Not as bizarre of a concept and has a director that received acclaim for a natural disaster movie
Ghost in the Shell | March 31, 2017 | Scarlett Johansson | Paramount | New Trailer on page 43!!!
in Box Office Discussion
Posted · Edited by RedX
Really starting to feel like GitS. Glimpses of Scarjo nailing the Major's character