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Ipickthiswhiterose

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Posts posted by Ipickthiswhiterose

  1. 3 hours ago, Chucky said:

    But acting frightened is just one of the basics. It seems everyone is jumping the gun because they like this actress, everyone seemed to be praising her before the film was released. Personally i was more impressed with the horror in Tom Hanks' face at the end of Captain Phillips than I was with the main actress in films like US or Hereditary.

     

    You can say it's not true but it's just my opinion and I'm not seeing many oscar nominations for these movies so I'm clearly not alone here.

    I can't think of many horror performances, especially not the kind that we're referring to, in which "being frightened" is the extent of the performance. In addition, 'Frightened' is a particularly misrepresented word that actually covers a number of different actual emotions. In Invisible Man, Moss covers a wide range of emotional notes - comfortably as much as the standard awards performance. 

     

    One could easily dismiss performing Hamlet as "Acting confused", Juliet as "Acting in love", Stanley Kowalski as "Acting Angry" and Wally Loman as "Acting Tired" if one wanted to be glib and dismissive. To simplify Toni Collette's detailed and complex portrayal of trauma, mistrust, self-blame, delusion, seething resentment, desire for nuclear familyhood and, yes, abject terror in Heriditary - quite literally one of the best of the last decade in film - to "being frightened" is just as reductive.

     

    Comedy and horror are hard. Really hard. And they get absolutely shafted by awards in favour of easier genres like, most notoriously, biopics. If you want the proof just look at how many bad performances from greats there are in horror and comedy movies compared to dramas. How many times has De Niro fallen flat on his face doing horror?.....multiple. Nicholson nailed The Shining but is pretty awful in Wolf. Helen Mirren is awful in Winchester while Ian McKellen struggles in The Keep. Donald Sutherland in Virus, Heath Ledger in The Order, Nicholas Cage in (choose any option here), Nicole Kidman in The Invasion, Di Caprio in The Beach (not full horror but aligned), Jim Carrey in the Number 23. You can churn out an equivalent list for comedy (especially DeNiro, who decidedly finds drama a heck of a lot easier than any genre work).

  2. 2 minutes ago, Valonqar said:

    If subtlety is the key to awards than why the biggest overacting/actressing/histrionics/plate-breaking wins much more than introspective acting? So argument that horror performances are not awards worthy cause they "lack subtlety" doesn't stand considering AMPAS preference for showy and unsubtle.

     

    Indeed.

     

    Hoffman winning the Oscar for Rain Man rather than Cruise is a good example. Both roles were equally integral to that film's success, and indeed Cruise played the character that actually changed over the course of the movie, but the less subtle "character" role won out. 

  3. 17 minutes ago, Chucky said:

    Performances in a horror are not subtle so really not as impressive or impactful as an actor nailing a drama. 

    This is simply not true.

    Every role is evaluable on the requirements of that role. If anything makes something more impressive or impactful it's dexterity of thought - which is down to the individual actor and how they work with the director, not the genre.

    In addition to this, subtlety is not inherently better than boldness. Manchester by the Sea and Fences are two movies that due to the cultural backgrounds of the characters require performances to be delivered at differing scales - both feature outstanding performances - one is not inherently better than the other just because the characters in MBTS are more prone to hiding certain emotions.

    Moss is as good in this film when she is proud of having got to the end of the street to pick up the post as she is when emoting heavily due to the stresses of the major action.

     

    Horror is rammed with some of the best performances of the last 5 years. And of all time.

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  4. Inivisible Man with £2.2m opening weekend. (per Screendaily)

     

    Parasite now overtaken £10m and beating out Passion of the Christ is pretty much guaranteed. Amazing achievement.

     

    Sonic has overtaken Detective Pikachu with £14.7m ($18.8m). Call of the Wild collapsed pretty badly second weekend and is at £2.3

     

    Emma, at £6.2, with a genuine chance of out-grossing Birds of Prey, at £8.4, in the UK. Made about twice the latter this weekend.

     

    One-off evening screening of The Lighthouse in Preston (handful of days expansion with most of them in the morning - just really weird) was about half full yesterday. Disappointed that films like this, Colour out of Space and Portrait OALOF aren't opening wider but that's the way of things. Has made as much (£1.3m) as Queen and Slim though which did open wide. Dark Waters also opened wide this weekend and didn't do too badly, just short of a mill. Downhill was DOA wide.

     

    Running tallies for Lil Women £22m ($28.2m), Bad Boys 4L £15.7m ($20.1m) , Dolittle £15.4m ($19.7m), Jojo Rabbit £7.9m ($10.1m), Frozen 2 £53.6m ($68.6m), Jumanji £36.7m ($47.0m) , Gentlemen £11.9m ($15.2m)

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  5. Lead actress Morfydd Clark was excellent earlier this year (UK release, pretty sure not out WW or in US Dom yet) in double roles in The Personal History of David Copperfield - played both his mother and his love interest. Really promising actress.

  6. Hollow Man was a poor film, but it has a latent exciting idea in it.  The line I always remember paraphrased was "Imagine what you could do if you didn't havs to look in the mirror afterwards". And this movie takes advantage of that greatly, with some stunningly directed and tense scenes (the attic sequence ia a standout) and some excellent dynamics between those who llve the  central character but are afraid of her responses with Elizabeth Moss caught between fear and not wanting to appear paranoid. As a recovery and domestic violence movie it is excellent - one of the better scenes is before any Invisible Man shtick when Moss is trying to leave the house for the first time to pick up the post.

     

    It isn't flawless, there are leaps of logic that every viewer has to make a choice whether they care about or not and mine ran out at "floating knife travels halfway across crowded restaurant without anyone noticing, nor does said large restaurant have cameras". The central death-faking which is skirted over very conveniently, the sister has a very sudden and unrealistically negative response to what would have surely been intepreted as a self-damaging email from a trauma victim, and there are more individual moments where its, again, just how much you care about physical logic. 

     

    Largely a very good film though and a recommend for anyone.

     

    Flat B for me.

  7. 6 minutes ago, lorddemaxus said:

    Seems like The Invisible Man isn't the most scary 2020 horror film I've seen this year. Color out of Space is a worse film in almost every regard but the Carpenter's Apocalypse Trilogy type horror used in that film is extremely impactful. Some really horrifying imagery in the movie.

    My desire to see tht movie was completely sunk by the casting.

     

    Hated Cage in Mandy (for the same reason I don't like pouring syrup over chocolate cake) and thought he looked/looks awful in this. Which is a shame as I'd be all in on a film like this usually. Will still try and hunt it down (not easy in UK)

  8. 57 minutes ago, Valonqar said:

    I wouldn't discard AQP 2 as unnecessary yet. if they are going for universe building, it could be a really interesting franchise. It also seems that there will be some human vs human conflict not just humans vs aliens, which is how apocalyptic scenarios go. some higher force (zombies, aliens) creates havoc and humans fight them alright, but they also fight among themslves for the event brings both the best and worst in people. I'm excited. :)

     

    I can honestly say that as someone who didn't enjoy the first that I am amped by what I've seen from the second,  jumping from single-high-concept-gimmick to world-building. Tiny sample size but can confirm its gained a follower in me and Ill be watching in cinema, which I didn't do the first.

  9. 3 hours ago, Madhuvan said:

    Wait is Elizabeth Moss scientologist.. Wtf. I hate them to death. 

     

    To her slight defence I believe she was raised from childhood as a scientologist, rather than an adult convert.

     

    She was also married to abject creep Fred Armison. So she's suffered enough. Never seen someone who makes my skin crawl so much.

     

    Hoping for 30m here, would like a sequel that develops the narrative in a new direction. 

     

    Also interested in Call of the Wild drop, since its demographic would seem to imply good legs.

  10. 6 minutes ago, Valonqar said:

    restaurant comment:

     

      Hide contents

    it serves the purpose of mega shock and also provides mirroring at the end where she takes him out the same way he took out Emily. which is why the ending is so satisfying. she literally uses his own trick on him, like, take that, bitch. Also, she gets Zeus. 

    :cloud9:

     

    As for laps of logic, I'd say that only the email to the sister was suspension of disbelief, that sister would so easily get mad without thinking "Ok, cecilia must be really messed up over everything that happened to send that, I gotta see if she's OK". It was just drama for the sake of drama but nothing I'd take against the movie. It didn't have anything that would make it fall apart retroactively unlike Us where twist about the government engineered "have nots" from the underground undermined the whole thing.

    Yeah, I totally understand this and think it's thematically and structurally a big positive.

     

    I'm also a little confused by anyone bagging the ending, which I thought was v good.

     

    My comments pertain more to the physical logic/mechanics of certain scenes, including the restaurant, requiring a leap. All horror films do, of course, but there were just a few moments that pushed it given the generally gritty tone the film IMO.

     

    Spoiler

    Ie. Thats a very large and very crowded restaurant for a) a floating knife and b) to have no cameras. 

     

    It's still a strong recommend for me. But I also had super high expectations.

     

    Spoiler

    And I'm very excited about the possibility of an Invisible Woman. Especially if it's about the slow corruption that such a power could bring.

     

  11. In the "Enjoyed it but a little underwhelmed" club. Perhaps a bit spoiled by A24 to exact tastes too much recently.

     

    Well made and some excellent sequences, definitely a crowd pleaser.

     

    Acting good across the board.

     

    Surprised the number of scenes where the logic just falls to pieces though. Restaurant scene for instance doesn't stand up to any scrutiny. Might not matter though, depends on the individual viewer for stuff like that.

  12. Wow.

    I really, really, really wish I hadn't watched that trailer.

     

    Talk about showing too much. Not just spoilers but.....everything. Whole sequences. Multiple of them.

     

    How disappointing. It's still my favourite horror film, I still think now is a good time for a reinterpretation, I'm still looking forward to it....but, awwww.

  13. Delighted to see Emma and Parasite doing such solid business. Looks like Emma has opened below David Copperfield but is already well ahead.

     

    The family group is just the standard unit for UK cinemagoers, isn't it. Dolittle isn't much of a surprise, just a disappointment.

     

    Lion King getting to $100m when Infinity War didn't (even with some ER variance) is just a perfect encapsulation of the sheer churning mechanism of family cinemagoing over here.

    • Like 2
  14. I was reading a thread about the weekend box office when......

     

    Anyway, Sonic looks like it's going to fall in the sweet spot above the midweek trend but below the silly projections. Not the absolutely massive hit it perhaps got reactionarily praised as (not here, but in some quarters) but certainly a pleasing success for Paramount. 

     

    Eesh at BOP not likely getting to 90m. I maintain it's the new Scott Pilgrim (or Ready Player One if it hadn't had Asian markers and the Spielberg name to save it) , a film that looks mainstream but chips and chips away at target demographic until the ultimate target audience is way more niche than it, or critics who sit within that niche, thinks. 

     

    Call of the Wild can hope for long legs if indeed it is skewing that old. 

    • Like 3
  15. 47 minutes ago, Krissykins said:

    $27-28m weekend would still make Call of the Wild a bigger flop than Birds of Prey. 
     

    Some people on here really have double standards. Constantly attacking BOP, yet Dolittle and COTW are sitting right there 😂. Interesting. 

     

    Don't forget Rhythm Section as well.

     

    I mean that thing was HISTORIC 

  16. 2 hours ago, Eric the Hedgehog said:

     

     

    Seems decent enough. Hail Queen Anya!

    It's seriously good.  Fantastic acting, photogrqphy and direction. I really recommend this to anyone who can get to see it.

     

     

     

    Meanwhile, having just seen Call of the Wild, I'm rooting for it in its bizarre lost cause. Despite CGI dog there is a lot of heart and effort in that movie. I found it considerably superior to Sonic, and a good family yarn. Lots of atmosphere and lots of care. Closer it can get to 30 the better, and would love it to cause a little mini upset.

    • Like 1
  17. 1 hour ago, Blaze Heatnix said:

    According to Deadline, The Call of the Wild has a budget of 135 million...That's nuts.

     

    Yeah, this is where it's so subjective to talk about success and failure.

     

    Relative to expectation and what might expect of a Call of the Wild adaptation, 21m would be a perfectly good opening weekend by sane measures. Unfortunately the budget was Insane. 

    • Like 1
  18. (Three choices I'd say were somewhat vaguely objective, in that I'd sincerely argue these were bad films, though fair play if you enjoyed them)

    Always Be My Maybe was a film that everyone who has seen it seems to rave about that I honestly thought was appalling.

    It: Chapter 2 and Scary Stories To Tell in the Dark were to me really, really bad films on reasonably objective levels (It repeated the same scene beat-for-beat 6 times in a row and SSTTITD had absolutely no idea who it was for) that seem to have gotten away with fairly middle of the road to positive reactions. 

     

    (Two pure subjective choices, in that I just would say they didn't do anything for me)

    The Irishman had no in for me emotionally. Just nothing to make me care. Stakes for me ended up non-existent for that reason. Completely bland experience.

    While the performances were very good, I just don't have enough interest in watching contemporary pure kitchen-sink naturalism to get anything out of Marriage Story. And I found the score to be outright off-putting. 

     

  19. Long Shot was far better than it had any right to be, it's a shame Seth Rogen seems to have turned into a bit of box office poison - I mean, I understand it, but it was a shame in this case.

     

    Arctic has already been mentioned here. Excellent film.

     

    Booksmart is an obvious choice, but it's also a correct one.

     

    Just Mercy was really overlooked because I think people were reading it as a race relations film, rather than an anti-death penalty film. As a socio-political film with a watertight argument against the death penalty I though it was outstanding. 

  20. Don't know when this is out in the States, but just to say that I heartily recommend it.

     

    No Spoilers, but a note that this version leans heavily on universal existential themes of growing up and relating to the world around you when you are a person of mild temperament surrounded by and attracted to bigger characters, rather than on the satirical elements of the novel rooted in verisimilitude. Hence the casting of Dev Patel - ethnicity is totally irrelevant since the societal aspects are played down. Patel is terrific throughout, as is the whole cast. 

     

    I actually found it incredibly moving, as I suspect anyone of that kind of temperament will do.

  21. C-

     

    Within the first minute of this movie, an alien hedgehog has already made 3 2020-US-specific pop culture references and a civil war joke. This probably indicates everything you need to know about whether you like it or not. 

    I imagine that some, certainly US, audiences might not actually even notice how culturally niche this movie is in places in terms of references and style, but the disparity between Dom and Int numbers seems to already be indicating that the "Olive Garden effect" is real, even if the dynamic is combated somewhat by genuine kid appeal in places and a simple, slick narrative with nothing overtly clunky.

    On the positive side, Jim Carrey is on his way back to full form, Sonic's human friends are pretty well performed and the whole thing is probably charming-adjacent if you don't feel bashed into submission by the pop culture references. That said, I was expecting a four quadrant family movie and what I got was an all-out kids movie that appeals to some adults based on nostalgia and good charity.

  22. B-

     

    This movie is one of a type, but it's a type of which there haven't been a lot recently, and of which I enjoy. I enjoyed the world, I enjoyed the atmosphere, I enjoyed the visuals, I enjoyed the pacing, I enjoyed the characters for the most part. At times the lack of vision was helpful, but there were a few moments of full-on confusion in a negative sense. Krisen Stewart was really good in this, and the performances in general pretty nice.

     

    There are moments where it feels like Deep Blue Sea, moments where it feels like Event Horizon and moment where it feels like X Files. And that sums it up both positively and negatively for me. 

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