Hatebox
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BR2049 has broken Futurist's edginess meter. -
I think they probably could have gotten away with dropping the whole hologram love angle. It didn't really feel new and his relationship with Deckard may have been more profound if he'd spent the previous part of the movie in utter loneliness. As it was, the artificial love aspect was occasionally interesting but far from essential. Perhaps they were trying to subvert the isolated protagonist trope of the first film.
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I wouldn't underestimate how indifferent the Academy is to Nolan as far as Best Direction goes.
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I did chuckle seeing Sony product placement all over this film, considering many of the corporations who did the same in the first one famously went bankrupt not long after.
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Clearly, the film shouldn't have been that expensive. If that's what it took to make it look like it does then I'm not complaining, but this should have been an 80m labor of love, at most.
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To a point, but the book is actually really sparse on the look of the world. It doesn't even say LA 2019 looks especially grimy or decrepit. That was all Scott. Dick actually saw early production footage of the city just before he died, and was floored.
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It's a small point but I wish there had been a lot more street level scenes. That's what made the original come to life, and they had such a great playground to explore in this one but went for almost entirely big landscape shots. Good-looking ones, no doubt, but in a world where absolutely no-one is impressed by CGI anymore they really should have gone lower more often.
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This is just silly. The style of Blade Runner was the substance. Its world-building was a direct commentary on the direction of humanity, one so influential it became the language of virtually all modern sci-fi.
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Typo: 163 minutes. Even crazier.
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Come to think of it, it's perhaps more remarkable that a studio spent 150m on a virtually action-free 143 minute sci-fi movie than spending 30m on Mother.
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MURDER ON THE ORIENT EXPRESS | 10 NOV 2017 | Fox
Hatebox replied to kayumanggi's topic in Box Office Discussion
The BBC did an expensive adaptation of And Then There Were None a couple of years ago. It was actually rather good. -
I like the film a great deal but I wouldn't be surprised at a huge second weekend drop. I just don't see where that mainstream WOM is coming from beyond arresting visuals.
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The score was... ok. It was probably never going to top the original's, but I was surprised at how little it even tried.
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I had some plot and stylistic niggles but otherwise yeah, it was mostly pretty incredible. The audience definitely felt the length though. I feel like quite a few of them hadn't even seen the first, something the film isn't really forgiving of (nor should it be).
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I'd love JW2 to crumble as course correction for how bad the previous one was, but it ain't gonna happen. Unless people's benchmark for 'crumble' is really high.
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Don't watch it in a theater for the first time. The audience will be so chaotic you won't hear half the lines and the whole thing will just seem weird. It's the anticipation and interactivity that's fun about the screenings, so see if you like it at home first.
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Awesome, we're still talking about Nolan.
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The first was hardly a classic. If anything it was ripe for a remake: an intriguing idea that could have been done way better. They clearly didn't, though.
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It's kind of remarkable how much she fucked up a promising career. There'll be some who say her coming out didn't help, but she just made so many bad film choices post-Inception.
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I hadn't realized how much I was rooting for this film to be good until I noticed how relieved I was at the great reviews. IMAX here I come.
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People keep talking about Nolan because even his detractors can't shut up about him.
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There are a lot of names that American pop culture makes vaguely familiar to OS people without them knowing exactly who they are. Tonya Harding is definitely one of them, I had to look up who she was. That's no comment on BO potential, just noting a weird quirk of not being American.
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Perhaps by now we can put to bed the notion that Aronofsky is 'the next Kubrick' simply after how much he has described his intention of this film down to the smallest detail. Seriously, has another art-house director ever lifted the veil so much?
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Almost clicked on that but then, totally out of character, decided to wait. I live down the road from the london IMAX and will almost certainly catch this on there, so might as well let it be fresh. Glad to hear it looks great, though.
