Author Topic: Small Screen / Big Screen  (Read 538555 times)

flipper

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Re: Small Screen / Big Screen
« Reply #7350 on: April 17, 2018, 07:10:06 PM »
Can't do reboots.

What? Who is to say robots can't lov... oh. REbOots. Never mind

Robots, especially this guy
"It all trickles down from the hot sex. I'm not saying you don't need cheese, just that if you concentrate on the hot sex, the cheese will follow. Naturally."--PsiDefect 03-19-2002 11:28 AM

mo

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Re: Small Screen / Big Screen
« Reply #7351 on: May 17, 2018, 04:22:43 PM »
I'm starting to wonder if I've ever seen a Spanish film or show that I really liked. I've tried to watch a few things on Netflix and was unimpressed. Is it some subconscious racial bias on my part? I feel like their entertainment industry must just be sub-par. I get a similar impression of Indian film, just judging from clips, I have never seen an actual Indian film that I am aware of. Is it ignorance on my part? Have I just not seen the good stuff?
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random axe

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Re: Small Screen / Big Screen
« Reply #7352 on: May 17, 2018, 05:52:12 PM »
Guillermo del Toro is technically Mexican, although a number of his movies are set in Spain and are pretty darn good.  Pan's Labyrinth and The Orphanage both worked very well for me -- he produced the latter, which was directed by a Spaniard. 

The Spanish SF film Timecrimes is a little more divisive.  For me, it was one of those SF films where you know what you're getting, but rarely is it done as well. 

I liked Tie Me Up! Tie Me Down!, and Women on the Verge of a Nervous Breakdown, also by Almodóvar, is supposed to be good, although I haven't seen it yet.  Belle Epoque is a sexy / romantic / unlikely comedy of errors kind of thing.

There's a bugnuts SF film called The Baron vs the Demons that I want to see but haven't gotten a copy of yet.



In my experience, older Spanish films tend to be soap operas, crazy gory low-budget horror films, or historical-political surreal weirdnesses that are pretty strange to foreigners.  Newer Spanish films are sort of like South Korean films, dark but lovely, very pleasant to look at but maybe a little unsatisfying in the plot department.

random axe

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Re: Small Screen / Big Screen
« Reply #7353 on: May 17, 2018, 06:02:17 PM »
Indian films . . . there are like five culturally separate major film industries in India, and I don't really follow any of it.  A lot of Indian films are 'naive' by Western standards, meaning they're aimed at a naive audience, one not expecting sharp twists or irony or unhappy endings or so on.  Even films aimed at adults often feel sort of like kids' movies, as a result. 

Also, in a not unrelated way, they're usually in a 'vaudeville' style, meaning that they're broad and long and very varied -- a three-ring circus.  You gotta get your money's worth, and not everyone likes the same thing, so a movie tends to have a lot of movie in it.  Musical numbers in a superhero movie, yeah, that'll tend to happen.  Strong tendencies toward melodrama, sentimentality, yadda yadda.  Also strong tendencies toward imitating major Western films, so if an ET moment crops up oddly, you're not imagining it.

However, CGI is much cheaper in certain countries, and India's one of them, so you can expect LAVISH insane effects sequences like crazy.  Enthiran, about a sinister self-replicating robot . . . look it up on YouTube.  YouTube generally has about an hour of pieces of it, and it's pretty much an endless insane FX sequence that makes, say, I, Robot look like shit.  But the romance and musical numbers and preaching dialogue scenes and so on have been cut, which, to a Western audience, might be for the best.

India also produces many UTTERLY INSANE action films, and since they don't like showing people getting shot, etc, they like their kung fu.  I think Kerala is the region that makes the craziest ones, but if you want to see a long sequence in which a guy punches out thirty dudes or motorcycles or jumps from a moving Land Rover through a building to kick someone or defies gravity insultingly, etc, there you go.

mo

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Re: Small Screen / Big Screen
« Reply #7354 on: May 17, 2018, 06:49:29 PM »
The del Toro examples are good exceptions I hadn't thought of. I haven't heard of the others, and I'm sure my lack of exposure is a big part of the problem. Netflix (streaming) isn't the best place to find the cream of the crop, but I've enjoyed a lot of the other foreign films/series I have seen on there.

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Strong tendencies toward melodrama, sentimentality, yadda yadda.

See, that's how I see most Spanish cinema.

I noticed an anti-abortion message in the last two things I watched, and that put me off. Hopefully just a coincidence.

I'll have to do some research and see if I can find some better Spanish stuff on Netflix.
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pdrake

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Re: Small Screen / Big Screen
« Reply #7355 on: May 18, 2018, 12:46:50 AM »
I was going to bring up Time Crimes, but I couldn't remember if it was Spanish or Italian.

Such a great movie.
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flipper

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Re: Small Screen / Big Screen
« Reply #7356 on: May 20, 2018, 01:43:21 AM »
I really like Almodovar movies and my favorite is probably All About My Mother.  Another favorite is Dia De La Bestia
"It all trickles down from the hot sex. I'm not saying you don't need cheese, just that if you concentrate on the hot sex, the cheese will follow. Naturally."--PsiDefect 03-19-2002 11:28 AM

flipper

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Re: Small Screen / Big Screen
« Reply #7357 on: June 04, 2018, 04:30:29 PM »
I saw both Infinity War and Solo in the theater.  Both are entertaining, have humorous moments, and have that wow effect.  But both have something missing, that I can't quite describe.  The movie that I'm really looking forward to is Sorry To Bother You though.
"It all trickles down from the hot sex. I'm not saying you don't need cheese, just that if you concentrate on the hot sex, the cheese will follow. Naturally."--PsiDefect 03-19-2002 11:28 AM

mo

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Re: Small Screen / Big Screen
« Reply #7358 on: June 04, 2018, 05:28:55 PM »
The movie that I'm really looking forward to is Sorry To Bother You though.

I've seen trailers on tv that look pretty lame, but after reading the wiki about it, I see it has some serious talent behind it. They list it as a "science fiction comedy film".  :hmm: The SF aspect isn't apparent.

I've seen several articles about how poorly Solo did/is doing, at the box office, but I've read nothing negative about it. Disney effect?
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flipper

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Re: Small Screen / Big Screen
« Reply #7359 on: June 05, 2018, 01:47:23 PM »
Disney dropped a quarter billion in making it and it only brought in two/thirds of it so far.  This doesn't include marketing etc.  So it's a financial disappointment but it's doing great at the box office.  It's all relative.
"It all trickles down from the hot sex. I'm not saying you don't need cheese, just that if you concentrate on the hot sex, the cheese will follow. Naturally."--PsiDefect 03-19-2002 11:28 AM

random axe

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Re: Small Screen / Big Screen
« Reply #7360 on: June 05, 2018, 05:21:04 PM »
Now I want to see it just to see how the hell they spent a quarter billion on it.  :whatever:

Honestly . . . bad writing aside, I think the biggest problems with the series has been tone.  Star Wars itself is note-perfect dramatic Boys' Own Adventure soft-pulp.  And although it's space opera, the tone is so dominant that it could just as easily be almost any genre.  I mean, you could rewrite it as a Tom Sawyer story without much trouble.

Empire Strikes Back . . . starts to break a little.  A lot of it is somewhat older, somewhat darker, somewhat edgier pulp, although not terribly so.  It walks a fine line in integrating the Yoda sequences, and it does have some bewildering meanders, but the tone is strong, and that cinematic scope is still wide and expansive.

Return of the Jedi is already tired and imitative, and, like Willow, unable to properly integrate its kids-movie elements with its adult-adventure parts.

The prequels go to hell almost right off the bat with horrible tonal problems and far too many cheesy elements.  It has a very Late Spielberg feel of the filmmakers brainstorming what kind of impressive sequence could happen next, whether it really fits or not, like Temple of Doom.

Force Awakens just felt incredibly contrived-by-committee, without a guiding hand from an editor watching over the whole thing.  The tone feels purely like an imitation, like someone who didn't understand why people liked Star Wars watched the earlier films through and then set about imitating the look and feel of them, but with a faster television pace.  Everything feels disconnected and forced together, as if they had eight plot points that they knew they had to set up and connect, but they didn't have the time to make the story flow.

So it's like, OK, we have this happy-go-lucky super-confident super-skilled pilot.  I guess we have to show him being happy-go-lucky and confident and skilled.  Put in some of that.  And we have to bring Han Solo back.  He should do some Han Solo stuff right off the bat, so, uh, write something roguish, and we'll throw in some CGI.

It's a lot like the Star Trek films that way.  It's not that they changed stuff.  It's that it comes across like they had no feeling for Star Trek.

Honestly, if you just have the Williams soundtrack for Star Wars playing in the background, I don't see how you can muff a screenplay too badly.  I guess Now This Is Podracing! is the problem.  It may be podracing, but it ain't Star Wars.

I don't care too much if I hate their new Han Solo 'canon', but the tone's gotta be right.  The Anakin of the prequels could not possibly have grown up to be Darth Vader anymore than he could've grown up to be Johnny Carson.  I don't want to see a young Solo that's that far off.  I don't want to see a Han Solo movie that feels like Pale Rider or Men in Black or something.

But, honestly, I feel like a LOT of people could make a solid Young Han Solo Goes For Broke movie for like seventy million bucks.  And I feel like it takes a confused committee to make a badly misfiring Star Wars movie, but, well, you know me.  I do blame Jar Jar Abrams for a lot of it, because I strongly feel he doesn't get it.  He'd probably be happier working his own properties anyway.

flipper

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Re: Small Screen / Big Screen
« Reply #7361 on: June 05, 2018, 07:21:13 PM »
I felt that Han was believable and fairly true to character.  The back story is at least plausible.  It was a fun ride but still missing something.  Maybe it's my depression just preventing me from enjoying braincandy like I usually do.
"It all trickles down from the hot sex. I'm not saying you don't need cheese, just that if you concentrate on the hot sex, the cheese will follow. Naturally."--PsiDefect 03-19-2002 11:28 AM

Dr. Leonard HmofCoy

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Re: Small Screen / Big Screen
« Reply #7362 on: June 06, 2018, 10:07:23 AM »
NOE SPOYLERAZE PLZ

An alt universe where Anakin grows up to be Johnny Carson would really be funny though
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mo

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Re: Small Screen / Big Screen
« Reply #7363 on: June 06, 2018, 02:48:03 PM »
Jabba the Hutt could become Ed McMahon and R2D2 could become Doc Severinsen!

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...unable to properly integrate its kids-movie elements with its adult-adventure parts.

That's got to be an issue for most of these mega-money-movies. They have to garner both demographics. I sense it in a lot of films, and it's off-putting to an old fuck like me. It makes me feel old, and like the movie is not directed at me and I shouldn't be watching, like I'm leering into their private world.
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random axe

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Re: Small Screen / Big Screen
« Reply #7364 on: June 06, 2018, 07:13:25 PM »
The best way to do it:

- Don't infantilize the children in the audience unless your target demographic is really 5 and under.  Underestimating children beggars the film for the kids in the audience and ruins it for adults.  Spielberg and Lucas used to respect children, but as they got older, they became over-protective and tried to sanitize their films, dumb them down, and make them overly cutesy.  And that's terrible.

Look at Miyazaki for contrast.  Back in the day, people knew that kids could look up to adult heroes, but nowadays way too many people think kids can only respect child heroes, which is how you get your Scrappy-Doo crap and ruin Thunderbirds, etc.


- Then, start with a story aimed at the middle (adolescents, say) and broaden its appeal with elements aimed at younger and older audiences.  This is what Pixar and Disney typically do, and they seem to be onto something.