So I tried to use this to identify a movie I remember seeing as a kid and haven’t been able to find since. I described the scene I remember, where an industrial accident releases freezing gas and a worker with a hard hat freezes his arm and it shatters.
As usual, when given specifics, the AI just straight makes shit up.
One movie that fits the description is “The Abyss” (1989), directed by James Cameron. Although it doesn’t involve a freezing gas, it does feature an industrial accident and a worker in a hard hat with a frozen arm. In the film, a team of deep-sea oil drillers encounters a mysterious alien species while working on an underwater drilling platform. During their mission, one of the workers, Bud Brigman (played by Ed Harris), gets his arm trapped in a closing hatch and it becomes frozen due to extreme cold temperatures. In his panic, he runs into a wall, shattering his frozen arm.
OK, opening it on another browser worked. “why it was so easy to blow up the death star” got me Rogue One. So far 3/3, plus a login prompt which drops the score to 0/4.
OK, last last one; “That one with Bill Murray and the gopher” got me Caddyshack, which I haven’t seen but does seem to be a better match than Groundhog Day, which is what I was going for (trying to see if the AI could figure out I was mixing my rodents; turns out there are too many Bill Murray rodent focused films for that to be a valid test, my bad).
I had to do it in a third browser 'cause the login prompt came back, though, so I won’t be doing any more attempts, between that and the GDPR prompt it’s pretty clear they don’t want people using their site. Shame, as the tool seems pretty good, but what can you do. 🤷♂️
Might be that the training set is too old; “That one with the fat dragon” got me Kung Fu Panda, because Po, while not a dragon, was fat.
Similar prompts (see my other replies to the OP) for older films seem to work, so Honour Among Thieves might be to recent. (Which would highlight one of the main issues with these large language models: they have to be periodically retrained with new data for them to remain accurate and practical.)
For all the talk of Scorsese honoring the Osage in the production, I felt like Molly and the rest of the tribe were pushed into the background for a good 2/3rds of the movie in order to tell the story of the emotionally tortured white guy who keeps helping murder his in-laws. It felt like Molly’s only real moment of agency was when she went to DC to beg for an investigation.
Also, I for one (and my girlfriend and our friend for two and three) felt that this 3.5 hour movie felt like a 3.5 hour movie. It would have been better served as a miniseries à la Chernobyl, not least because I understand a lot of content from the book didn’t make it to screen. I feel like Scorsese is too much of a purist to have entertained that route though. There are enough big plot beats that you could break on big plot beats and it wouldn’t feel like… well, a 3.5 hour movie.
I felt like Molly and the rest of the tribe were pushed into the background
Having read the book, that was kind of the point. They didn’t have agency, because it was literally robbed from them at every moment. And during the part of the story where Ernest is under scrutiny and forced to own up to his sins, his wife is as passive as it can get, because she’s on death’s door and bed-ridden. It would be artificial to give her a big presence there, because in reality she was in the process of literally disappearing from the world. Molly actually gets more of an emotional presence onscreen, in part because the book is a more journalistic account and first hand sources of who she was are limited. I would like to have seen some scenes of her moving on with her life afterwards at the end in place of that weird epilogue.
“The Goonies” is a movie that fits the description. It follows a group of kids who embark on an adventure to find hidden treasure in order to save their homes from being demolished.
This is a surreal fantasy movie that involved some kind of magic paintbrush and someone putting peanut butter on his head.
That’s clearly a reference to The Peanut Butter Solution (a bizarre, 1985 Canadian film), but the site responded with this:
One movie that matches the description is “The Pagemaster” (1994). It is a live-action/animated fantasy film where a young boy named Richard Tyler gets transported into an animated world after taking shelter in a library during a storm. In this surreal adventure, Richard encounters various literary characters and embarks on a quest to find the exit. Along the way, he comes across a magical paintbrush that brings drawings to life and encounters bizarre situations, including a scene where he accidentally puts peanut butter on his head.
There is no scene in The Pagemaster involving peanut butter.
This tendency of AI to just outright lie when it doesn’t have a real answer is mildly upsetting. It’s indicative of the fact that the people building these systems have no clue (or interest in?) how to implement basic ethical guidelines. That doesn’t bode well for the evolution of these systems and what they will be capable of.
What it boils down to is that they’re not really AI. They’re large language models, and chatbots built around them are basically using predictive autofill on steroids.
I saw a very weird movie years ago and couldn’t remember the title. I stumped the website with two different guesses but Google found it with one search.
Watched From Beyond and Ready or Not, I liked both. Ready or Not is a lot of fun and gave me the feelings of a Cabin in the Woods side story. Bonus points for portraying the rich people as stupid and useless.
From Beyond was exactly what I wanted it to be, weird body horror top notch 80’s B movie. A classic everyone should see if you even have a passing interest in the horror genre. It’s so gross, the grossest part isn’t even a special effect, I love it. Happy Halloween Everyone.
Yes! I’m so glad you enjoyed them. From Beyond is such an 80s treasure. If you like those weird body horror films from that era, I’d recommend a couple lesser known films: Society as one in a similar vein of weirdness and Possession as a fantastic film that will sit with you for a while.
Oh, I just realized that Society was directed by Brian Yuzna, who wrote the screenplay for From Beyond, ha.
I will definitely put them on the long list, we come together every other week and watch 2 movies, one is picked by a different person and one by me. My buddy’s next turn I think he’s doing Get Out so maybe another horror night, that’s in a couple months though. We’re watching Little Miss Sunshine and Grave of the Fireflies next.
Watched it earlier today. I will say first that I believe it could be a little tighter in the editing but it was so well paced and did not feel like 3.5 hours at all. As far as the rest, I enjoyed it immensely. Knowing nothing about the book or the tragic events beforehand, I was really expecting more violence and basically a war breaking out but it wasn’t that at all. The whole movie was a showcase in suspense with every moment never knowing who was safe. The score with it’s just constant drum and bass beats amplified the suspense so much. I wouldn’t say it was tense a la the border scene in Sicario, but there was this sense of dread the whole time.
The movie is beautiful. Rodrigo Prieto’s cinematography is fantastic here and it shows why Scorcese uses him so much. The whole film has this look of a colorized black and white photo. This subtle pastel look really made it have this kind of documentary feel to me. Like it was actual footage from the 1920s. Funny that Prieto also did Barbie as well. He’s having a hell of a year.
The story is very well told and the trauma Molly had to go through constantly is just so depressing. Lily Gladstone was so good especially because most of her scenes were her barely holding in all the emotions. Leo is great as always and this should be a record for the most frowning in one film. He was just constant stinkface. De Niro has one of his best performances ever in his long career. At 80, he doesn’t miss a beat.
I do love how there’s this kind of moral ambiguity about most of the characters actions. Or maybe more accurate to say theres a similarity to the concepts of ingorance and evil. I feel like Earnest is torn across this stupidity and complicity. He’s trying to do mostly right by his family but also seems very naive to the consequences of his actions. But ultimately it ends up in the same place.
I also loved the dichotomy between Whites and Indians, especially in the opening scene when Earnest gets off the train tells so much with no dialogue at all. So strange seeing the White men falling over themselves to help the Indians however they can to get a chance at their money.
Final thought, as a person with depression, I want to start calling it the “melancholy”. Sounds much more interesting to say I’m “melancholic”.
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