@cryostars doesn't seem to have bothered her though:
“Extras are the lowest and you don’t ever speak to a star unless they speak to you. We’ve been told: ‘Tom Cruise is about to come on set. Please do not make eye contact.’” She has always found the strictly enforced on-set hierarchy more amusing than demeaning. “I had self-worth, because I was part of the film. Films would be very boring without extras. You’d get on the tube train, and there’d be no one else in it!”
Yes, he is. I worked on one of his films and he is everything you read about him. I witnessed him flip his shit but to be fair, that was when he and Katie Holmes were breaking up.
The Hayes code sucked, but the way directors needed to be creative to get around it was great. Modern directors could learn a lot about making romantic relationships smolder and using innuendo instead of adding cheap sex.
That show wasn’t popular with Gen Z though. How do I know this? Gen Z doesn’t watch HBO (they can’t afford yet another streaming service and they’re too lazy to pirate anything that isn’t anime because it’s too inconvenient).
I would say HBO’s core demographic is probably about 25 to 54, but ‘Euphoria’s’ target is probably 12 to 29,” Edgerton said. “HBO shows are this sort of high-end, exclusive programming, but they’re going to have to appeal to more viewers than they ever did before, and they’ve done a pretty good job so far.”
I swear the creator dialogue has got to have some amount of advertisment mixed in with real people because the biggest compliment I see everywhere is that the movie looks expensive but cost very little.
I saw it. It was gorgeous. The art direction was wonderful. But that was about everything positive I have to say about it.
The world building was atrocious, the plot was trope heavy, the sound design was serviceable but not many sounds stood out, I couldn’t find an impactful or nuanced message, the pacing was a rubber band, and the individual challenges were boring.
I love original content, and quite frankly I feel like there’s enough of them every year to not be heart broken everytime a bad original film doesn’t make a stellar return. I’m kinda tired of the “where new IP” discussion though.
Of course I wish there were more big budget independent films but right now the problem seems to be big budget films in general to me. More often than not they hit like duds, but they’re built on good will and that’s all it takes to get me to return to the first dud.
Idk, Creator sucked and it hurts to say because I want new, great, and scifi worlds coming to the theater every year but the Creator isn’t good simply because it’s new and that doesn’t meant new IPs are “hard for the masses” to understand/appreciate/turn-out-for.
I mean sure, I enjoy the US as bad guys too. But they were cartoonish, one-note, and their decisions made no sense. I mean the whole premise, as executed, didn’t make any sense.
The US’s war winning weapon was… Guided missiles; that they used to strike the enemy indiscriminately and generally didn’t really care where they landed? They were afraid of AI because they hooked it up sky net style and it nuked LA, but later on that’s revealed to be a human’s fault? They supposedly hate AI but they use what seemed to be low level AI running robot bombs to attack the enemy? Their soldiers were happy to kill a dog to get the access to the secret base and cut off the face of an enemy to bypass a door but they’re shown to have hacking devices for doors and in this hightech world we’re supposed to believe they can’t find a metal hatch in the ground going to a fuckin mass production factory?
The main antagonist to the US is… A father/daughter pair who make AI in seemingly their free time? Not the actual factories or research facilities with hundreds of scientists but the pregnant “god” creator who’s trying to raise a kid with her husband on the beach.
Idk man. Slap a big US Army on the tanks that are destroying a village to kill a kid and that’s an evocative painting, a real striking visual I guess. But a good 2.5 hour movie that does not make.
It was an OK movie, but there were a number of strange plot holes and other inconsistencies that made the movie puzzling or that needed to be fleshed out better. It felt in 6 like it was trying to be Avatar, using the new gen starwars people to explain it.
I always welcome new movies though. Really getting sick of scooby-doo like superhero movies and COD-likes like John Wick, mission impossible, James bond and many others.
The plots are predictable, wrap themselves neatly up in 2 hours, have the main hero always survive automatic fire, and somehow have rebuilt NYC 33 times in the past 30 cinematic universe films. And somehow a new bad guy always has raised billions + a star base/private island that must be destroyed.
That showed us that the Animated Series was so good because the network restrictions forced him and his team to be creative. When given full control, we get… Well, this and the Killing Joke
I feel iffy on this. I loved the original Karate Kid growing up, but absolutely hated the 2010 remake. Partly because I feel like it is following the trend of just lumping every Asian character into a generic “Kung Fu Guy” stereotype with no room for nuance.
Like, in the original, Mr. Miyagi’s backstory as a Japanese war veteran was pretty significant to his character, and karate being a specifically Japanese fighting style made sense for him to teach.
Not to say you have to be Japanese to learn karate, but that wasn’t even the premise in the 2010 movie, where Mr. Miyagi was swapped out for the Chinese Mr. Han, and the discipline being learned is kung fu, not karate. But that doesn’t matter, does it? Because as far as the white people in the audience are concerned, there’s basically no difference. Asian is Asian, right?
(And being a movie made in cooperation with China Film Group, which is a propaganda arm of the Chinese government, they definitely couldn’t have Mr. Han also be a war veteran who regretted his years of service, because who could ever regret fighting for glorious communism?)
I never saw the Jaden smith film, but that’s a bad joke right? That it’s kung fu, not karate? How did they even think it appropriate to still call it karate??
Yeah, it was fine but as an Asian American, the name bothered me. I dunno why they didn’t just call it “The Kung Fu Kid” and market it as a spiritual successor.
I love that we’re getting all this Asian cinema nowadays, but there’s still more to do. Like you said, lumping all Asians together still. And even still, a lot is all about being Asian. Say what you will about the Fast and Furious movies, but the character of Han is what we need more of. A character that just happens to be Asian, and his whole personality isn’t just “Asian dude”. He’s just a guy, and that’s awesome.
But creativity is hard and risky. Can I interest you in a milquetoast film written by committee instead? I promise it was made with almost no planning or preparation and rushed out the door.
So we skip watching in theaters and just wait for it on streaming service(s). Maybe a good theater flop will teach Martin to make reasonable length movies or to add an intermission if he can’t.
I didn’t know the second Spiderverse movie was 3 hours long when I started it and by the end I was like “Wrap it up, man! I need to hit the hay.” But instead of wrapping it up they just ended it without wrapping anything up. I was disappointed tbh.
Any movie over 2.5 hours should have an intermission when shown in a theater. It wouldn’t ruin the experience as much walking out and missing a key scene because your eyeballs are floating
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