Trailer do filme amor

Trailer do Filme 'Afinado no Amor' Dublado. ... Armadilhas do Amor - Filme completo dublado part 2/2. MccloudKeith2038. 0:38. Ver online filme Esse Amor que Nos Consome completo HD dublado em Português. dm_522f51c29f61e. 59:30. De encontro com o amor - filme inspirador - dublado prt 1/2. Seleção do dia dos trailers mais vistos pelos leitores do AdoroCinema: Trailer do novo filme de Denis Villeneuve,007 - Sem Tempo Para Morrer Trailer Legendado Star Trek Beyond – Imagens do set de filmagem! (graças à Screen Crush) A trama ainda não foi revelada, mas de acordo com a internet, esse novo filme envolve belicosos Klingons. O ator Idris Elba irá fazer o papel do vilão principal. Enfim, aqui está uma visão mais próxima daquela alienígena mulher que foi visto no vídeo de bastidores: Relatório do filme “Uma lição de amor” Sam é garçom que se envolve com uma garota de programa que engravida dele, e quando o bebê nasce ela abandona a filha com Sam, até ai tudo seria normal, mas Sam é um pai especial que tem problemas mentais, com a ajuda dos amigos e vizinhos cria a Lucy. + Saiba quem são os Vencedores do Oscar 2013 Do diretor austríaco Michael Haneke (A Fita Branca), Amor ganhou a Palma de Ouro no Festival de Cannes 2012 e recebeu quatro indicações ao Oscar 2013, levando o prêmio de melhor filme estrangeiro. Uma Carta de Amor (Message in a Bottle) - Trailer do Filme. Clovis Rylen. 6:02. Filme 'Quanto Dura o Amor?' * Première Mundial Assis-SP - presença da Atriz Maria Clara Spinelli. Garner Keyla. 2:36. Filme de Park Chan-wook sobre amor entre duas mulheres estreia em dezembro. euronews (em português) Mais de. O título “Amor Garantido”, do filme dirigido por Mark Steven Johnson, faz referência a um site fictício de encontros online, que garante que, nele, você encontrará o amor verdadeiro. Trailer do filme Amor, Amor / Love, Love (2018) Filme sobre amor lésbico quer driblar censura com exibição online na Nigéria O assunto é polêmico no país, onde as relações entre pessoas do mesmo sexo são teoricamente puníveis com ... A Netflix divulgou nesta quinta-feira (20) o trailer de “Amor Garantido”, novo filme do serviço de streaming que estreia em 3 de setembro. +Globo exibe “Resident Evil 5: Retribuição ...

relembrando três belíssimas obras LGBT+

2020.08.13 10:13 bobinhozinho relembrando três belíssimas obras LGBT+

introdução/contexto: essas obras são muito importantes pra mim. conheci elas num momento onde eu ainda tava confuso e não aceitando minha orientação sexual, e elas me ajudaram a passar dessa fase.
assim como fizeram comigo, as obras podem ajudar alguns de vocês que estão procurando validação ou com dificuldades sobre sua orientação sexual. mesmo os que não se encaixam nessa descrição, elas são bem feitas, legais e fofas, então recomendo-as de qualquer jeito.
obra I: Eu Não Quero Voltar Sozinho (curta-metragem) (spoilers na sinopse) (brasileiro)
assista: youtube
sinopse: Leonardo, um adolescente deficiente visual que muda de vida totalmente com a chegada de Gabriel, um novo aluno em sua escola. Ao mesmo tempo que tem que lidar com os ciúmes da amiga Giovana, Leonardo vive a inocência da descoberta do amor entre dois adolescentes gays. (mais informações: wiki do curta e IMDb do curta (em inglês))
obra II: Hoje Eu Quero Voltar Sozinho (longa-metragem) (spoilers na sinopse) (brasileiro, em português)
assista: trailer youtube(*) compre ou alugue (youtube filmes) netflix
*: aparentemente o vídeo dá pra ser assistido de boa, mesmo que de graça. qualquer problema eu tiro o link.
sinopse: Leonardo, um adolescente cego, tenta lidar com a mãe superprotetora ao mesmo tempo em que busca sua independência. Quando Gabriel chega na cidade, novos sentimentos começam a surgir em Leonardo, fazendo com que ele descubra mais sobre si mesmo e sua sexualidade. (adorocinema) (mais informações: wiki do longa e IMDb do longa (em inglês)
obra III: In a Heartbeat (Num Piscar de Olhos) (animação, curta-metragem) (spoilers na sinopse) (estadunidense, mas não precisa de legenda)
assista: trailer youtube
sinopse: Num Piscar de Olhos segue a história de Sherwin, um garoto que se apaixona pelo seu amigo Jonathan. (mais informações: wiki da animação (em inglês), wiki da animação (em português) e IMDb da animação (em inglês)
é isso, espero que eu consiga apresentar esses curtas pra alguém que ainda não os conhecia. qualquer erro no post me avisem, por favor. se cuidem <3
edição 1: link pra netflix do longa (obrigado u/orphss)
submitted by bobinhozinho to brasilivre [link] [comments]


2020.08.13 10:11 bobinhozinho relembrando três belíssimas obras LGBT+

introdução/contexto: essas obras são muito importantes pra mim. conheci elas num momento onde eu ainda tava confuso e não aceitando minha orientação sexual, e elas me ajudaram a passar dessa fase.
assim como fizeram comigo, as obras podem ajudar alguns de vocês que estão procurando validação ou com dificuldades sobre sua orientação sexual. mesmo os que não se encaixam nessa descrição, elas são bem feitas, legais e fofas, então recomendo-as de qualquer jeito.
obra I: Eu Não Quero Voltar Sozinho (curta-metragem) (spoilers na sinopse) (brasileiro)
assista: youtube
sinopse: Leonardo, um adolescente deficiente visual que muda de vida totalmente com a chegada de Gabriel, um novo aluno em sua escola. Ao mesmo tempo que tem que lidar com os ciúmes da amiga Giovana, Leonardo vive a inocência da descoberta do amor entre dois adolescentes gays. (mais informações: wiki do curta e IMDb do curta (em inglês))
obra II: Hoje Eu Quero Voltar Sozinho (longa-metragem) (spoilers na sinopse) (brasileiro, em português)
assista: trailer youtube(*) compre ou alugue (youtube filmes) netflix
*: aparentemente o vídeo dá pra ser assistido de boa, mesmo que de graça. qualquer problema eu tiro o link.
sinopse: Leonardo, um adolescente cego, tenta lidar com a mãe superprotetora ao mesmo tempo em que busca sua independência. Quando Gabriel chega na cidade, novos sentimentos começam a surgir em Leonardo, fazendo com que ele descubra mais sobre si mesmo e sua sexualidade. (adorocinema) (mais informações: wiki do longa e IMDb do longa (em inglês)
obra III: In a Heartbeat (Num Piscar de Olhos) (animação, curta-metragem) (spoilers na sinopse) (estadunidense, mas não precisa de legenda)
assista: trailer youtube
sinopse: Num Piscar de Olhos segue a história de Sherwin, um garoto que se apaixona pelo seu amigo Jonathan. (mais informações: wiki da animação (em inglês), wiki da animação (em português) e IMDb da animação (em inglês)
é isso, espero que eu consiga apresentar esses curtas pra alguém que ainda não os conhecia. qualquer erro no post me avisem, por favor. se cuidem <3
edição 1: link pra netflix do longa (obrigado u/orphss)
submitted by bobinhozinho to brasil [link] [comments]


2020.08.13 08:21 bobinhozinho relembrando três belíssimas obras LGBT+

introdução/contexto: essas obras são muito importantes pra mim. conheci elas num momento onde eu ainda tava confuso e não aceitando minha orientação sexual, e elas me ajudaram a passar dessa fase.
assim como fizeram comigo, as obras podem ajudar alguns de vocês que estão procurando validação ou com dificuldades sobre sua orientação sexual. mesmo os que não se encaixam nessa descrição, elas são bem feitas, legais e fofas, então recomendo-as de qualquer jeito.
obra I: Eu Não Quero Voltar Sozinho (curta-metragem) (spoilers na sinopse) (brasileiro)
assista: youtube
sinopse: Leonardo, um adolescente deficiente visual que muda de vida totalmente com a chegada de Gabriel, um novo aluno em sua escola. Ao mesmo tempo que tem que lidar com os ciúmes da amiga Giovana, Leonardo vive a inocência da descoberta do amor entre dois adolescentes gays. (mais informações: wiki do curta e IMDb do curta (em inglês))
obra II: Hoje Eu Quero Voltar Sozinho (longa-metragem) (spoilers na sinopse) (brasileiro, em português)
assista: trailer youtube(*) compre ou alugue (youtube filmes) netflix
*: aparentemente o vídeo dá pra ser assistido de boa, mesmo que de graça. qualquer problema eu tiro o link.
sinopse: Leonardo, um adolescente cego, tenta lidar com a mãe superprotetora ao mesmo tempo em que busca sua independência. Quando Gabriel chega na cidade, novos sentimentos começam a surgir em Leonardo, fazendo com que ele descubra mais sobre si mesmo e sua sexualidade. (adorocinema) (mais informações: wiki do longa e IMDb do longa (em inglês)
obra III: In a Heartbeat (Num Piscar de Olhos) (animação, curta-metragem) (spoilers na sinopse) (estadunidense, mas não precisa de legenda)
assista: trailer youtube
sinopse: Num Piscar de Olhos segue a história de Sherwin, um garoto que se apaixona pelo seu amigo Jonathan. (mais informações: wiki da animação (em inglês), wiki da animação (em português) e IMDb da animação (em inglês)
é isso, espero que eu consiga apresentar esses curtas pra alguém que ainda não os conhecia. qualquer erro no post me avisem, por favor. se cuidem <3
edição 1: link da netflix pro longa (obrigado u/orphss)
submitted by bobinhozinho to arco_iris [link] [comments]


2020.07.18 19:45 Baby18JJulIntca Home-made Adu-lt Por-n Videos

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submitted by Baby18JJulIntca to Home_Made_Fun [link] [comments]


2020.06.15 16:21 konceptart Once Upon a Time in Hollywood.

A little bird (not exactly #metoo but also not a rapist) in the industry once told me two interesting, dark, but also unsurprising secrets.
The Casting Couch is real and more literal than you think.
The theater world has one that is the mirror image.
He used to work with Paramount and MGM's casting agents as a trusted talent source. This was back in the days of major musicals on film. So the streams kind of crossed at his office door. (I might have my industry terms straight, I'm trying to translate but he speaks in Old Hollywood lingo so it's a little confusing)
It's got to do more with house players, you know not random extras doing fill in parts, but regular working talent with studio contracts (not sure this is a thing in the post Song and Dance Hollywood). The stars factor in, but only tangentially.
Anyway, most agents back then (and he thinks still today, remind me and I'll tell you about how this convo got started) at a certain tier in the old boys club worked both with Other Bigger Mainstream Talent Managers and also directly with porno casting managers (pre porno it was the sexy pre Hays Code stuff, and in the 60s and 70s a lot of them also worked with "Blacksploitation" (hate that term, but it's niver than "race films" as my buddy puts it) talent agents (and they tented to in turn work with Pimps))
So at his feeder's level, those were the guys that did the casting couch routine. Back in his day it was more of a talent interview than the "let's shoot a demo reel" stuff that got cheap and high quality enough for distribution on a whim... If you follow.
So they run through the motions. If she can't act and she's not pretty enough to fuck you send her on her way. If she can act and is an uggo you pass her off to the Broadway feeders. If she CAN act and she IS fuckable then you straight up rape her. Like it's on a checklist.
If she's into it, bang, she goes up to my buddy's tier. If she's not into it but she pretends to like it, off to the porn directors. (well casting, but in porn usually same thing... At least they didn't have to do their own gaffing like these days!)
If she seems like she might have a boo boo or a sad, but is cool, you tell her you'll see what you can find for her.
If it looks like she might call the cops or the paper or a lawyer, we'll then you call the Mob's meat head you have in your Rolla dex, and then they see if daddy has any money or trick her out. If she looks like a starving artist tupe, you call the pimps.
And this was all because the Studio Brass at MGM or wherever wanted free access to every ass not only in the choir section but also the typing pool. Where do you think they got all the girls (or pretty boys) for the orgies you see in stuff like the thread namesake or that Ryan Johnson (AHS GLEE) thing about Hollywood?
Any way so basically sex traffickers use(/d?) and fed/feed the same talent pipelines as both the studios and the pimps.
And the piece he didn't know or understand clicked when I told him the story of this girl I used to live with who survived a jump-rape-kill initiation and got passed around to get crack thin and turned out.
My buddy was all "THAT'S where they found all them talented hoes for the Race pictures, I always wondered that" (Just picture Richard Kind saying it)
I told him my friend was white, and he's like yeah, casinos and porn for the white hoes. (or the paedophiles he also suggested but I don't know)
And then added "If your friend had been both Jewish AND a good actress, she would have gone to my feeder instead of the pimps."
She was Jewish, and then the pieces started clicking, and I added "Fuck maybe that explains maybe why they still let her live at home."
And he's like, "Right she had to either earn her way out of Slavery on her back like the Romans used to do it, or, since she's Jewish, maybe if her acting improved a little, then maybe she went to my feeder guy."
So, like I said, old school Hollywood, but basically we ended up deciding that America is just one big cartel being run by the old Sicilian Slave Traders, Zulu Warrior Chiefs (back before the Civil War), and Jewish talent scouts. Just trading hoes who are the full package up into polite society to be wives or down into Slavery.
World's oldest profession indeed!
There's a who lot of other conspiracies we have like this explaining why people hated witches and loved nuns (the witches were smart and disobedient and so they could live alone), why Maternal last names are rarely tracked in naming systems, why Female led Native tribes were such a threat... And the "going native" phenomenon). Crazy to think about, but with those predatory sketchy mall "talent scouts" I knew growing up, and why the Hippies and the Drug cartels were chill, and that whole business with Manson running a biker gang and also recoding with beach boys producer or whatever.
And NO I am not going to name names. I'm just a low rent performance artist (try finding a talent scout for THAT as it is) and I want to work. I'd even suck dick if I could get a talent scout to trick me out.
I see why the Asian cartels took as long as they did to take a bite of the big apple on Canal St if you know what I mean.
I think the secret sauce used to be the Priests and the Football coaches passing Prey around, and the liberal arts professors and Polanski and Woody Allen types dating "younger women" and "buying a daughter" out in the open. Makes international adoption brokers seem really sketch.
I don't know, just thinking about #BLM and how in the old world military and police were the same and here we have Thuggy police and the World Police (hence the UNs Grey Helmet dudes) and how merchants and tradesmen have been fucked over by corporations and Chinese sweat shops. It's like every one is just two seats away from either a mobster or someone about to become a hooker at any given wedding, and THAT'S what it means to be a "Classless Society"
Pull yourself up by your boot straps indeed.

BLM and ALM and Blue Lives Matter and 13112 are all just different seats at your dumb Poly Amorous 3rd cousin marrying two gay dudes and fag hagging their wedding.

You know, like #SeatsAtAWedding. We're all one family, you just don't let racist uncle Ted wear a Maga hat to your Asion nieces wedding, and you sure as fuck don't sit him next to the little Nirobian boy that was just adopted by gay uncle Bob.
Personally I'm convinced that #AdoptionBrokeringIsHumanTrafficking but I work in #HR as my day job, and #SeatsAtAWedding is just a little more catchy. #SAAW don't abbreviate the at? #SAW that would get confused for viral marketing.
Thouuuuugh, if SAW Hostel Get Out US and the Hole Tarentinoverse had a Avengers style franchise that would be bad ass. Imagine Alice in Wonderland smoking with Snoop Dog and Cheech and Chong in a new Trailer Park Boys go to Euro Disney Animated Feature. #SeatsAtATeaParty maybe? #SAATP could we make it #SATPM and squint? This shit does seem like an Adult Swim Cartoon.
Like they say, no one fucks a comedian or a voice actress unless she looks like Venus Terzo.

SatPMCartoons (aka Fox News ha!)

submitted by konceptart to rumors [link] [comments]


2020.06.08 13:48 finnagains 'Uncut Gems' - Adam Sandler - How to win bets and alienate people

Uncut Gems - Trailer (2:32 min) https://youtu.be/vTfJp2Ts9X8
Directed by Benny Safdie and Josh Safdie
Uncut Gems (2019), now available on Netflix, tells the story of Howard Ratner (Adam Sandler), a Manhattan jeweler and gambling addict with a huckster’s smile.
The film assaults one’s senses with its mix of shouting and vulgarity, tacky music and harsh artificial lighting. Like Ratner, it esteems financial success, delights in the gaudy and proceeds at a breakneck pace. But, also like its protagonist, Uncut Gems shows little capacity for reflection and, though entertaining, ultimately reveals a lack of substance.
Sandler’s Ratner barrels through each day accumulating debts, fending off creditors and looking ahead to his next big win. He is coarse, pushy and rude, except when asking for a favor or a second chance, particularly from creditors and loved ones. His unrefined taste in jewelry and clothing matches his manners and outlook. If Ratner is meant to be a lovable rogue, the film doesn’t give us much about him to love.
The story opens at a mine in Ethiopia, where a worker’s leg has been mangled. His coworkers crowd around, some tending to him, others yelling at the visibly uncomfortable Chinese managers who arrive at the scene. Meanwhile, two other miners find an unusual, multicolored opal they chisel out of the wall.
Ratner buys the uncut opal and enters it into an auction, hoping to make a big profit. His employee Demany (LaKeith Stanfield), who steers rich clients into his boss’s showroom, brings former NBA forward Kevin Garnett (playing himself) to work one day. When Ratner, a basketball fanatic, shows the opal off to Garnett, the latter is amazed and feels a mystical connection with it. Garnett wants to buy it, but Ratner says he must bid at the auction. Disappointed, Garnett asks to hold on to the opal for that night’s game, promising to return it the next day. Ratner reluctantly agrees, asking for Garnett’s diamond-studded Celtics ring as collateral.
No sooner is Garnett out the door than Ratner races to another jeweler to pawn the ring, intending to buy it back later. Cash in hand, Ratner hustles to his bookie (who is not pleased to see him) to place a bet on a basketball game. Ratner’s breathless maneuvering, which leaves little room for error, is part of his unending quest for new profits and adrenaline rushes: a quest that utterly dominates his life.
Ratner owes money to Arno (Eric Bogosian), who sends two goons to tail and threaten him. During their confrontations, Ratner shows a certain amount of courage, perhaps rooted in his unshakable belief that a big win is right around the corner. As Ratner keeps up his patter of oily jocularity, transparent excuses and solemn promises, Arno gazes at him with a mixture of intimidation and incredulity. When the thugs punch Ratner and throw him into a public fountain, one’s sympathy is limited.
Julia (Julia Fox), one of Ratner’s employees, is also his lover. She lives in an apartment that Ratner keeps as a refuge from his wife and family (who are at best an afterthought for him). Julia works in the showroom according to her mood. In the nightclubs, she keeps her eye out, like Demany, for rich potential clients. She provides Ratner with excitement and solace until, in a nightclub, he finds her in a closet with singer the Weeknd (Abel Makkonen Tesfaye, the child of Ethiopian parents, coincidentally or not). As he often does, Ratner causes a scene.
While most of the characters in Uncut Gems dislike Ratner, his wife Dinah (Idina Menzel) loathes him. Early in the movie, Dinah insists on the divorce they have been postponing, and Ratner, absorbed in a game on which his money is riding, is indifferent about its timing. But after he kicks Julia out, Ratner begs Dinah for a second chance. Dinah responds calmly and deliberately, “I hate being with you, I hate looking at you, and if I had my way, I would never see you again.”
Ratner’s daughter Marcel (Noa Fisher) treats him with open contempt. He attends her school play, but instead watches the scores come in on his smart phone. When he realizes that Arno’s underlings have tailed him to the auditorium, he picks a fight with them. After taking him for a harrowing ride, they lock him naked in the trunk of his own car. When Ratner tries to talk to Marcel afterward, she barely acknowledges him and soon walks away.
In his grasping, amoral philistinism, Ratner resembles (cartoonishly and on a far smaller scale) the financial speculators who dominate the world economy. Yet the filmmakers fail to make this connection or create any distance with which the viewer might consider the action critically. Apart from the fleeting references to Ethiopia, they do not explore the larger economic and social world that Ratner inhabits. They do not even examine Ratner’s own personality. His behavior and that of the bookies, jewelers, creditors and hoodlums who populate the film are accepted as given, if not implicitly admired. In this, the Safdie brothers show the unfortunate influence of director Martin Scorsese, one of the film’s executive producers.
Sandler gives a creditable performance, but his role does not require much subtlety or emotional range. Fox and Bogosian, too, deserve praise. Although Uncut Gems is engaging and increasingly suspenseful, it ultimately is an unsatisfying and unpleasant movie.
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2020.05.19 22:49 jujubadejurubeba Sugestão de série com temática LGBTQ+: Love, Victor [Com amor, Victor] (Hulu, 2020)

Love, Victor será uma série estadunidense de comédia romântica criada por Isaac Aptaker e Elizabeth Berger, inspirada e ambientada no mesmo universo do filme Love, Simon [Com amor, Simon] (Greg Berlanti, 2018).
A série está programada para estrear em 19 de junho de 2020 na plataforma de streaming Hulu e teve seu primeiro teaser-trailer liberado no canal oficial do serviço no YouTube. A série é produzida pela Fox junto a Hulu.
Inicialmente, a série seria lançada pela Disney+, que se recusou a apostar no formato menos infantilizado da série que, então, foi transferida para a Hulu.
A produção se passará na mesma escola de Com Amor, Simon e mostrará um novo estudante (Victor), interpretado por Michael Cimino, tentando se adaptar à vida no novo ambiente com a ajuda do protagonista do filme original (Simon).
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2020.04.11 20:42 jujubadejurubeba Sugestão de mais um filme com temática LGBTQ+ para assistir em quarentena: Você Nem Imagina (Alice Wu)

Você Nem Imagina é a mais nova produção de Romance da Netflix, e o filme, com temática LGBTQ+, acaba de ganhar o seu primeiro trailer. Com sua estreia agendada para 1º de maio na plataforma de streaming, no vídeo conhecemos os protagonistas e a amizade improvável que eles construíram.
“Amor não é encontrar a sua cara-metade perfeita. É tentar, insistir e fracassar”, diz a jovem personagem Ellie. Uma garota tímida que acaba fazendo amizade com Paul, o atleta popular da escola, por conta do amor: ele quer conquistar uma garota. A questão é que, na verdade, Ellie também é apaixonada pela mesma menina.
Com direção e roteiro de Alice Wu, o filme é protagonizado por Leah Lewis e Daniels Diemer. Alexxis Lemire, Enrique Murciano, Wolfgang Novogratz, Catherine Curtin e Becky Ann Baker completam o elenco.
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2020.03.30 20:58 jujubadejurubeba Sugestão de filme com temática LGBTQ+ para assistir em quarentena: Giant Little Ones (Keith Behrman)

Giant Little Ones acompanha Franky e Ballas, amigos de infância que são a realeza do ensino médio: bonitões, estrelas do time de natação e populares com as garotas. Eles têm a vida adolescente perfeita - até a noite do aniversário de 17 anos de Franky, quando ele e Ballas se envolvem em um incidente inesperado que muda suas vidas para sempre. Trata-se de uma história sincera e íntima de amadurecimento sobre amizade, auto-descobrimento e o poder do amor sem rótulos.
O filme foi lançado oficialmente em 2019, mas já pode ser assistido pela plataforma de streaming Amazon Prime agora em 2020.
Trailer oficial: https://www.youtube.com/watch?v=xxLBTRcDVfU
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2020.03.29 17:40 uequalsw Picard is a sequel to TNG: an exercise in rewatch lists

Several days before the series premiere of Picard, inspired by the publication of other such lists, I took a stab at creating a list of 10(-ish) episodes (etc.) to rewatch. Now, several days after the season finale, I am revisiting that list, noting what I got wrong and what I got right, and what I would add to this list today. Note that for the purposes of both my original and revised list, I consider “Children of Mars” to be “part” of Picard, in that you would watch it as part of a normal run-through of the series.
In the course of this exercise, I concluded that, despite the showrunners’ protestations to the contrary, Picard is indeed a sequel to The Next Generation, albeit perhaps not the one we might have expected.
My original words are in block quotes; my present comments in plain text.

Introduction and Caveats

A great many drops of virtual ink have been spilled in recent days with regards to what to rewatch in anticipation of Star Trek: Picard. Here follows my own attempt.
Two framing caveats:
First: this list is aimed at Star Trek fans who are already familiar with the franchise. While new fans may find this list useful as well, I am not prioritizing providing background info for every character who may appear. This list is not necessarily a good introduction to Jean-Luc Picard, Data, Seven of Nine, or the Star Trek universe overall.
Second: this list is based on my understanding of the premise of the show, some four days before its premiere. That understanding is rather tentative. However, based on "Children of Mars," Sir Patrick’s interviews, the trailers, and various comments that have been made about the show already, I make my recommendations of materials to review.

My original list, and comments thereon

1) Star Trek Nemesis

The most recent installment of the Next Generation saga, and in many ways the jumping off point for the premise of Picard. The most important detail here is Data’s death, which we have been told had a profound impact on Jean-Luc Picard. Much of the movie is about Picard and Data and their relationship. Other key details include the Riker-Troi wedding, the character of B-4, and Shinzon’s Coup, which began a tumultuous decade for the once-and-former Romulan Star Empire.
More thematically, Nemesis represented the closing of a chapter in the lives of the crew of the Enterprise. With Data’s death, the Riker-Troi wedding (and Crusher’s departure for Starfleet Medical, cut for time), it was clear that they could never “go home again.” Life would never be the same, and this I think will be a turning moment for Picard – it may even be why the titular character accepted promotion to admiral – something that James T. Kirk himself beseeched him not to do.
As has been discussed elsewhere, Picard has a surprisingly complex relationship to Nemesis. Indeed, Chabon et al seem to have gone to some trouble to make it decidedly unnecessary to view the film in order to enjoy the show. In some ways, the show almost renders the film superfluous. In any case, even though Picard’s silence on the topic of Nemesis is deafening, it cannot be denied that the two are deeply intertwined, and so its place on this list is still reasonable. However, if you were coming up with a very strict list of things to watch before Picard in order to maximize impact, I am not quite certain that Nemesis would make the cut.

2) “The Measure of a Man”

"Children of Mars" established an attack by “rogue synths” on Mars sometime in the 2380s. This, combined with hints dropped in the trailers and in interviews, suggests that “synthetic lifeforms”, or “synths”, have become common place in the Star Trek universe by this point.
The rise of such a race was foreshadowed in “The Measure of a Man,” and Picard’s realization of the implications was a turning point not just for him, but for the series as a whole. It is one of the first times that we see Jean-Luc Picard, Advocate For The Marginalized.
The entire premise of Picard springs from this episode. I suspected there would be a connection, once we learned of “rogue synths”, but even then I wasn’t expecting the enormous role this episode would play.

3) “The Offspring”

In many ways, the spiritual successor to “The Measure of a Man”, this episode again sees Picard grappling with the humanity of his android friend. Once again, we are prompted with the daunting idea that Data may represent the first of a new race – and that we shall be judged on how we treat that race.
This episode also introduced what, in some ways, was a new and dark low for our beloved Starfleet: ordering one of its officers to turn over his child to the state. At the time, many fans interpreted Admiral Haftel’s actions as that of a rogue – surely Starfleet Command would not actually approve of such an action. Moreover, Starfleet would not create a race of androids to serve as slaves, surely?
And yet, there is nothing to suggest that Haftel was a rogue – and indeed, plenty to suggest that Starfleet would resort to very dark deeds indeed.
This is a close runner-up behind “The Measure of a Man,” although if push came to shove, I could see it being dropped from this list in favor of an episode related to one of the other characters. As I’ve written elsewhere, this episode looms large in the spirit of Picard, even though it is alluded to only briefly in the text of the series. Beyond introducing the concept of “Data’s daughter(s)”, it also counterbalances “The Measure of a Man” in that it establishes that Starfleet is still somewhat wobbly on the question of android rights. This contrast — of Starfleet’s wobbliness versus Picard’s conviction — is a major theme of Picard, whether on the question of synths or Romulan evacuations.

4) “The Best of Both Worlds, Parts 1 and 2”

Condensed into a single entry on this list, this is Picard’s defining encounter with the Borg. Even once liberated from the Collective, his time as Locutus forever cements his connection to them, and leaves its irrecoverable marks on his very soul.
Unsurprisingly, this prediction was correct, and its place on this list is quite secure.

5) “Family”

Picard returns home after his ordeal, to the family vineyard – a story which apparently repeated itself sometime prior to Picard.
If I were sneaky, I’d cheat and condense “Family” into the “The Best of Both Worlds” entry, as an unofficial “Part 3”. As it stands, while there are echoes of “Family” in Picard, it, like “The Offspring”, lives more in the spirit of the show than the text. Unless grouped in with “The Best of Both Worlds”, I don’t know if I would keep it as a standalone on this list — mainly because space is already limited. However, I could be convinced of the importance of this episode — it does establish the vineyard as Picard’s place of retreat, which is the context we then understand his fourteen years of retirement in.

6) “Unification I and II”

Picard visits Romulus and meets Spock. In some ways, I would not be shocked if Picard largely ignores this episode. Spock has been consigned to the Kelvin timeline, Sela appears to have been quietly forgotten by the writers, and the Romulans no longer have an oppressive state from which a furtive underground must hide. Still, there are a number of seeds which are planted here, and it was the Romulans’ most prominent moment in Next Generation.
I will admit — I am pleased to have suspected that this episode would be ignored. As it happened, I understand why it was (outside of one blink-and-you'll-miss-it reference). Beyond the reasons I listed here (all of which hold true), calling back to this episode would have introduced more complexity than they had time for — Romulus’ relationship with Vulcan, Spock’s work for reunification, Sela’s relationship with Picard… it all would have been an awful lot to unpack. As it stands, I would definitely remove this episode from the list — but I do have something in mind to take its place…

7) “I, Borg”

A sequel to “The Best of Both Worlds” in many ways, and an introduction to the Borg we will come to know as “Hugh,” who is said to appear in the new series. Picard, initially dead-set on using Hugh as a tool of mass destruction, eventually turns around completely, and, once again, becomes Jean-Luc Picard, Advocate of the Marginalized.
Perhaps more so than any other entry on this list, I think “I, Borg” may actually be the most critical to watch in terms of fully appreciating Picard. “The Measure of A Man” and “The Best of Both Worlds” are both recapitulated relatively effectively — the former doesn’t actually have much direct impact on the plot, and the latter gets an extremely effective recap in “The Impossible Box.”
But Picard’s history with Hugh only gets briefly mentioned. The facts of it are established sufficiently, but it’s much harder to convey the emotional depth of the episode. I think their reunion has a significantly stronger impact if you have seen this episode.

8) “Descent, Part 1 and 2”

A sequel to “I, Borg.” We meet Hugh again, and see the effects of a Collective that is being fractured – an idea I suspect will be explored in Picard.
The other key point to this episode is a scene early on with Admiral Nechayev and Captain Picard. After Picard declined to pull the trigger on the Borg virus in “I, Borg,” Nechayev orders him to use it, if he ever should get the opportunity again. This is another example of Starfleet being a more questionable organization than we would like it to be.
(Some fans objected to Starfleet’s deployment of a weapon-of-mass-destruction in the final days of the Federation-Klingon War depicted in the first season of Star Trek: Discovery. Though jarring, it is important to remember that this is the same organization that wanted to disassemble Data, wished to kidnap Lal, and ordered Picard to attempt genocide.)
I was pretty much completely wrong on this one. Yes, Picard does explore the experience of former Borg drones in the xBs, but that really is not the same as the fractured Collective seen here. Moreover, Hugh’s experience in "Descent" really isn’t mentioned either. Yes, we get the nuance of Starfleet’s moral greyness, but that alone does not merit its inclusion on this list. Definitely should be removed.

9) “Endgame”

Choosing representation from Voyager is tricky. Voyager did so much with the Borg, and so much with Seven of Nine. It is unclear how much of a role she is going to play in the new series, and it is unclear how much of Voyager’s influence will be apparent in the Borg of Picard.
However, “Endgame” has several things going for it. First: it has, till now, been the franchise’s final word on the Borg. Voyager’s actions here almost certainly had lasting ramifications. Second: it is the franchise’s final word on Seven of Nine. The character she is here is the closest we’ll get to who she will be in Picard. This includes establishing her tentative explorations of human expression such as her romance with Chakotay, as well as establishing her need to atone for her sins as part of the Collective.
This was a hedged bet on my part. In hindsight, it was not a bad bet. Certainly an episode that lives in the spirit of the new series. However, I believe I would replace this entry with a different one…

10) Wildcard: choice of Star Trek Generations, Star Trek: First Contact, Star Trek: Insurrection, “Gambit”, “The Drumhead”, “The Defector”

Any of these may be relevant; all of these may be irrelevant.
An absolute hedge of a bet — and quite the cheat — this entry was.
Generations marks another emotional turning point for Picard, and establishes his vineyards as a place of great loss; it also marks the occasion where he is told to never accept promotion to admiral, advice which he seems to have eventually ignored.
First Contact was for many years the franchise’s final word on Picard and the Borg. And quite a word it was, casting Picard as Ahab to the Borg’s White Whale. It showed Picard turning a key corner in his grief and pain over the Borg. I would not be surprised, however, if the new series doesn’t take very many cues from this story. Picard doesn’t necessarily resolve his feelings about the Borg as much as he does recognize their outsized influence on his behavior, and then set them aside. As sacrilegious as this is to say, Picard may very well ignore First Contact all together: Nemesis and “Endgame” each move both Picard and the Borg much further along, and in some ways move us past anything that came out of First Contact.
Insurrection, though rather maligned as a film, is the culmination of Picard’s many years of clashes against amoral admirals. Here, Picard is, perhaps for the first time at this scale, willing to violate the Prime Directive and disobey orders in order to fight injustice. His speech to Admiral Dougherty (“How many people does it take before it becomes wrong, Admiral? A hundred? A thousand? A million? How many people does it take?”) has echoes of a much earlier speech he gives in “The Measure of a Man,” which reads in part:
A single Data, and forgive me, Commander, is a curiosity. A wonder, even. But thousands of Datas. Isn't that becoming a race? And won't we be judged by how we treat that race?
It may very well be that the retired Admiral Picard we shall soon meet will see the events of Insurrection as the beginning of the end of his allegiance to Starfleet.
Once again, I will admit that I am pleased to have predicted the possibility of First Contact being largely ignored, as it turns out almost entirely to have been. Tonally, the series draws much more from Generations — showing a Picard grappling with loss — and from Insurrection — showing a Picard grappling with the shortcomings of Starfleet —, but neither film gets any particular direct follow-up, so they’d hardly be considered “required watching”.
“Gambit” is intriguing because it shows us Jean-Luc Picard outside of a Starfleet context – in a way. Of course, he is effectively undercover the whole time, so it’s not “really” Jean-Luc Picard. But it does give us a flavor of what a rogue Picard might look like, which we may see echoes of in Picard.
Interestingly, “Gambit” has virtually no relevance to Picard; at the time of writing, it seemed possible that the new series would lead into “Picard as a rogue”; if anything, they did the complete opposite, showing a Jean-Luc Picard who was Starfleet through and through, even when out of uniform. One interesting nugget from “Gambit” that I had not considered at the time, however, is its introduction of a few pieces of Vulcan (and Romulan) mysticism, through the Stone of Gol, etc. The stone and specific myths introduced in “Gambit” were not followed up on in Picard, but the reinforcement of the idea of Vulcan spirituality arguably laid the groundwork for the buckets of Romulan spirituality we ended up with.
“The Drumhead” is one of Picard’s finest moments of Advocating for the Marginalized, and Standing Up For What Is Right. It also highlights how his assimilation may serve as an eventual fissure point with Starfleet Command. I suspect that the particulars of this episode will not play a large part in Picard. However, the tone and spirit of the episode seem like they may be echoed.
The tone and spirit of “The Drumhead” were indeed echoed. Rios’s line — “Rafi told me you were a speechmaker” — particularly calls to mind Picard’s speech in this episode. Depending on where the show goes in Season 2, this episode might be revisited — certainly it could be interesting to see Simon Tarses’ place in this post-supernova world. But, as it stands, not particularly relevant.
“The Defector” offers us perhaps our closest examination of Romulan society in the franchise, including (lamentably) the efforts of “Unification”. Once again, I suspect the details of this episode will not be directly relevant. However, we have heard hints of Romulan refugees in Picard, and this episode highlights how very far Romulan society will have fallen to reach that point.
Of these, my choices would likely be either Insurrection or “The Defector.” For new fans who are looking for an introduction, “The Defector” actually could serve as a good introduction episode to the franchise, after which they could follow through the list above in production order – which is in fact the order I have given here, except that Nemesis should be saved for last.
I remain convinced that “The Defector” is the best choice out of these, and in fact, I believe that it merits a place of its own on this list, and not just as part of the wildcard entry. I would have it displace “Unification”, for a few reasons.
First, it is the most concise depiction of the dynamic between the Romulans and the Federation — the brinkmanship, the mistrust, the long history of both: the episode really does have the feeling that the Federation was always just a steps away from all-out war with the Romulans. This becomes very important in Picard because it lends more credibility to the argument that the Federation had no obligation to save the Romulans during the Supernova Crisis.
In theory, it is easy enough to agree with Picard that the Romulan-ness of the lives in question should have no impact on whether the Federation should expend great effort trying to save them; but when watched in the light of “The Defector,” it seems perhaps a little more understandable that some might balk at the idea. Picard tells us about the long fractious history between the Federation and Romulans, but “The Defector” shows it to us in a brutally concise manner.
Second, “The Defector” gives us a sense of what “normal” life was during TNG. The other episodes on this list, for the most part, showed exceptional situations — the captain assimilated and acting uncharacteristic in the wake of it, a courtroom special that focuses on a couple of characters, etc. But “The Defector” is classic TNG — ensemble cast, wide-ranging story, personal one-on-one conversations. It shows the crew of the Enterprise in their element — working as a team and as a family — and gives a great example of the “good old days” we all remember — in-universe and out-of-universe alike.

“Will Not Be A Sequel”

A final concluding note: the Powers That Be have emphasized to us time and again that Picard will not be a sequel to The Next Generation. So, it may very well be that virtually none of the stories catalogued here will have any bearing on the new show – as it may very well choose to chart its own new course.
Ah, and now this is interesting. I am glad that the Powers That Be told us, repeatedly, that Picard will not be a sequel to The Next Generation; we needed them to set expectations — we weren’t going to see the Enterprise, we wouldn’t be chumming it up with Worf and Geordi down in Ten-Forward, it wasn’t going to “feel” like TNG. At least for me, that allowed me to enjoy Picard on its own merits.
But, let us be clear: Picard absolutely is a sequel to The Next Generation (and a better sequel, in my opinion, than any of the films were). The entire premise of Picard hinges on one question arising from one episode: what if Bruce Maddox succeeded? From there, the story folds in three other overarching ideas from TNG: the meaning of Data’s death, the aftershocks of Picard’s assimilation, and the destiny of the Romulan people (explored more extensively in TNG than anywhere else). For sure, the series stands on its own merits, without any need to have seen really any Star Trek before. And it certainly doesn’t follow up on everything, or even all of the important things, from TNG.
But it’s ludicrous to deny that Picard is anything but a sequel: it takes several stories which were told in TNG, and now it is telling the next chapters in those stories.
~~~

What Would I Add?

“Collective”

This episode introduces us to Icheb, as well as a “soft” introduction to Seven of Nine and her experiences on Voyager. I know some lists might recommend “Scorpion” or “Unimatrix Zero” to give background on Seven, but I like how this one shows her “normal life” aboard Voyager, in addition of course to introducing Icheb.
This episode also introduces us to what eventually will be called the “reclamation” process, by which individuals are reclaimed from the Collective. If Seven was the first xB, then Icheb and the other children are the next ones to follow her.

“Imperfection”

This episode gives us the best look at Seven and Icheb’s relationship. (As a bonus, we get to catch the Easter egg reference in Picard to Icheb’s cortical node.) As with Hugh’s first meeting with Picard in Picard and their background in “I, Borg,” viewing “Imperfection” before Picard allows that scene to land with that much more oomph. Again, Picard tells us the facts of Seven’s relationship with Icheb, but seeing it firsthand makes such a difference.

“All Good Things”

Picard’s first season is a 10-episode meditation on loss and remembrance. It is inherently intertwined with the idea of “the end of a story” and what comes after it. What comes after Data’s death? What comes after Picard retires from Starfleet? What happens after the final TNG film? All of these mark “the end of a story,” and yet we find that there were still stories to be told.
Picard also explores the idea of “things not turning out as we expect.” As humans, we all have a bias to imagine the future as being more like the present than it actually will be. I’m sure many of us mused about Riker and Troi raising a family — but did any of us imagine that they would lose a child? I’m sure many of us imagined Picard some day retiring from Starfleet — but did any of us imagine that it would be out of protest? To be clear, I’m sure some among us did imagine either of those things — but I think the typical thinking would be a passing thought to these ideas at most.
“All Good Things” sings in a sort of counterpoint to Picard in this respect. The TNG series finale gives us a look at a future, likely sometime around the era in which Picard occurs, and thus created an implicit expectation around the futures of our characters. Picard meets some of these expectations, but subverts others. Picard retires to his vineyard, but as an admiral, not an ambassador. The Romulan Empire is no more, but destroyed by a supernova, not by Klingon occupation. Picard suffers from neurological decline, but its onset appears sudden and catastrophic, more akin to a massive stroke than to the senility of Irumodic Syndrome.
For many years, “All Good Things” stood — alongside Nemesis, but I think always quietly thought to exceed Nemesis — as the “end of the story” of The Next Generation. And because Picard is the story of “what happens after the end of the story”, it is deeply intertwined in spirit — though not in plot — with “All Good Things”.
~~~

A Revised List

In closing, I present a revised list of 10-ish episodes (etc.) to watch as prequels to Picard. By no means are these required, nor is this list exhaustive of every reference in the show. But I believe these episodes provide a significant enhancement to the viewing experience. Moreover, I believe that this list would in fact serve as a good jumping off point for someone totally new to the franchise, who wanted to watch Picard but with some background.
Items in bold might be considered the closest thing to mandatory.
1) TNG: “The Measure of A Man” 2) TNG: “The Defector” 3) TNG: “The Offspring” 4) TNG: “The Best of Both Worlds, Parts 1 and 2” 5) TNG: “Family” 6) TNG: “I, Borg” 7) TNG: “All Good Things” 8) VGR: “Collective” 9) VGR: “Imperfection” 10) Star Trek Nemesis
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2019.11.28 07:01 OldmanRevived i saw one movie (The Irishman)

trailer
the life of the mafia seems almost hermetically sealed. its members hardly ever associate with anyone else, and so their values start to become valid to themselves because nobody disagrees with them. it is a loose association, like a family or clan, of criminal groups that share a common organisational structure and code of conduct. Martin Scorsese's "The Irishman" is yet another magnificent achievement that upholds the mafia code by touching on subjects such as avarice, jealousy, murder, and guilt. all have key roles in a world where good-natured kidding can turn in the flash of a moment to sudden violence. the movie is based on Charles Brandt's book "I Heard You Paint Houses," to which that title is used as an opening title card. Frank Sheeran, besides hailing for a time from Delaware, was one vicious and disciplined mobster. this is his story, his hardscrabble life which perhaps made his amorality unsurprising. it all starts in a nursing home, where an aged Frank (Robert De Niro) tells an authentic account of his time in the mob, spoken in his own street vocabulary. he makes no attempt to gloss over what he has done or make excuses for it.
in 1950s Pennsylvania, Sheeran drives meat packing delivery trucks and starts to sell some of the contents of his shipments to a local gangster. after getting accused by his company of theft, lawyer Bill Bufalino (Ray Romano) gets him off after Sheeran refuses to give the judge any names of who he was selling to. Bufalino introduces Sheeran to his cousin Russell (Joe Pesci), the head of the northeast crime family. Sheeran slowly gets on Russell's good side, and begins to do jobs for him, including murders. soon, Russell introduces Sheeran to Jimmy Hoffa (Al Pacino), the head of the International Brotherhood of Teamsters, who has financial ties with the Bufalino crime family and is currently under mounting pressure from the federal government.
Hoffa is also struggling to deal with fellow rising Teamster Anthony Provenzano (Stephen Graham), and their feud deteriorates beyond repair. but he makes sure keeps his distance, and sees Anthony as just another chip in the sidewalk. Frank becomes Hoffa's main bodyguard while he is on the road, making Hoffa become a close family friend. Hoffa is presented as an interesting figure; one who starts using the mob for the benefit of his teamsters but makes the tragic mistake of believing he is too big to be bound by mob rules. his story and will to take over what was once the most powerful union in America is a remarkable tale in its own right. as the story unfolds, we dispense with some of the more fanciful notions that have evolved over those years.
"The Irishman" is a long movie, with the space and leisure to expand and explore its themes. it isn't about any particular plot, it's about what it felt like to be in the mafia. it offers a wide, startlingly vivid view of the mob dynasty, and gets into it at the primary level, with a willingness to be basic and an attempt to look without the usual preconceptions. the visual scheme is based on life or death contrasts; the men meet and conduct business in deep-toned, shuttered rooms or nearly empty restaurants, and the story moves back and forth between this hidden, nocturnal world and the tension that its members share.
take notice of Frank and his motives of either individual bravery or guilt. his service in WWII conveyed the horrors of warfare much better than a lot of flowery recounts which try to immortalize it as something despicable. Frank's account, and the small notes made by his peers, tell of just doing the job. there's no joy in the work, and there's sadness as friends die, but that is masked by the need to keep going. these passages set the stage for his emotional detachment from taking lives later on. the gangsters are not defiant, they’re furtive and submissive. they live by taking orders.
the direction is tenaciously intelligent. Scorsese holds on and pulls it all together. there’s classic grandeur to the narrative flow, but his attitude is specifically modern, more so than in many films with a more jagged surface. as expected, he uses popular music to underline the film's dramatic moments. the compilation of Glenn Miller, Smiley Lewis, and The Five Satins help us reach backwards in time to Frank's nostalgia; a time that is better forgotten but crucial to his sense of self purpose. Frank’s openness is an expression of an almost pagan love of people and landscape; his style is an embrace. Scorsese’s openness is a reflection of an exploratory sense of complexity; he doesn't feel the need to comment on what he shows us, and he doesn't want to reduce the meanings in a shot by pushing us this way or that. the assumption behind this film is that complexity will engage the audience.
Scorsese lets the spectator roam around in the images, lets a movie breathe, and this is extremely difficult in a period film, in which every detail must be carefully planted. but the details never look planted, not even the carefully handled visual effects. de-aging is still a new technique which is in the stage of being tampered with, and visual effects supervisor Pablo Helman helps accumulate it well. the most prominent usage is with De Niro, who is given a more rich and eccentric look in the flashback sequences. the steely blue eyes go unchanged with his character, and give us an example of the very colorful and innocent life that he led way before he became a gangster.
Pacino creates a quiet, ominous space around himself; his performance, big yet without ostentation, complements De Niro's. he manages to change from a small, fresh-faced, darkly handsome union leader into an underworld lord, becoming more intense, smaller, and more isolated with every step. Joe Pesci makes a different return to form, since there's not the sudden, violent discharge of emotion. his effects are subtler, less showy, and he gives himself over to the material.
what is amazing is that this recount by an old man facing death is not a repentance for a life lived horribly wrong, but a simple detailing of the events of that life. the banality of Sheeran describing his career: hits, butchering, beatings told the way an accountant would detail audits or financial statement presentations, is fascinating and speaks to a man wholly absorbed in doing his part for organized crime. perhaps it's inevitable that someone like Sheeran is destined to remain an enigma. or, the prosaic reality is that Frank Sheeran was an essentially shallow, empty man whose only true value in the world in which he moved was the brutality and violence of which he was so obviously capable of performing without much notice or preparation.
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2019.06.03 23:22 agopessimist Moving on from and appreciating King of the Monsters...

So this weekend has come and gone, and it's been a crazy ride for us Godzilla fans. We've been on one hell of a hype train for the past 5 years, and when the movie finally came, we all lost our collective minds both in hype and in response to recent reviews.
Many of us were greatly affected by the recent reviews and thoughts people had about the movie. There were people who loved it, people who enjoyed it despite its issues, and there were people who hated it. We were forced to endure this movie being attacked all over by film critics, and I'm sure we were all so excited and hopeful that KOTM would make a ton of money so that the Monsterverse could continue.
Unfortunately the movie didn't do as stellar as we all wanted it to be. While we still don't have the full box office earnings of KOTM yet, I think we all know that it did do decently well, but nowhere near the levels we all wanted it to be, or to at least be as successful as 2014. We all debated over whether film reviews really impacted how many people saw this movie, whether the story disappointed people enough to not see it, of KOTM released on a packed weekend, or if the Kaiju genre is too niche for most Western audiences. These past few days have been hearr-breaking for Godzilla fans in a lot of ways. We saw a movie that has been hyped up so much, and which seemed to contain a lot of elements that we desperately wanted in a Western Godzilla film be trashed by critics and underperform compared to its prequels, and now we are less certain than ever if the Monsterverse can continue past GvK.
Well let's just take a deep breath, and step back for a second. Instead of feeling depressed over KOTM not doing as well as we wanted, let's just take a moment and appreciate what this film has done for us Kaiju fans and the Monsterverse in general.
Despite the Monsterverse potentially ending with Godzilla vs Kong, let's just appreciate that we have had so far 3 excellent American Kaiju movies. Whether you enjoyed them or hated them, at least we all can acknowledge that these films were treated with so much love and respect from the people involved, people who genuinely wanted to respect the source material, or were mega fans like us who want to do Godzilla and other Kaiju justice. How many times has Hollywood screwed us over with movies that completely ruin what was presented in the source material? How many times have we been forced to deal with directors and the big shots in Hollywood having to ruin good movies because of the actions and words of directors and actors disrespecting their audiences and forcing their politics needlessly into film? Regardless of whether you think these movies were good or not, at least all three of them were made with so much love and care by people who greatly respect the Kaiju fandom. Never again will we have Godzilla be treated with so much disrespect as he had in the 1998 movie!
These American movies brought so many new Kaiju fans into the community, and during the last few months we've seen so many new members embracing the Kaiju community and coming together to appreciate these films and characters. I myself have never seen so many people coming together and just have a total blast during these months leading up to KOTM, talking about all the movies, theories as to the future of the Monsterverse and the Kaiju, sharing fanart and toys, and just geeking out over trailers! Seeing how people like Dougherty have set out to make this the best Godzilla film they can make brought us so much happiness, having finally found a mega fan making his own love letter to the fandom. It's been an amazing ride that will no doubt continue up to Godzilla vs Kong and beyond with the TOHO films. Let's all just take a moment to appreciate just how much the Monsterverse films have brought in so many new fans to the genre, with some people entering this community thanks to these films. Whether Godzilla is a metaphor for the misuse of nuclear weaponry, a superhero badass, villain, or amoral force of nature, we all love this guy and 2014 and KOTM really made him shine in a way we've never seen him in before.
While it may seem depressing that KOTM was torn apart by critics and ended up not performing as well as we wanted it to, at least we've got a movie that most of us really enjoyed, or at least helped bring new people into the community and embracing the Kaiju genre, made by a fan for the fans. And that alone is cause for celebration. It's been a crazy ride for us and for many Godzilla fans these past few days, and whether the Monsterverse does end with the next movie or not, let's step back from the negativity for the moment and just be happy that we've still had an amazing trilogy of Kaiju movies so far, and never again will we have bad movies like '98 since now we have directors out there who clearly love Godzilla to bits and would go above and beyond to make him look amazing on the big screen.
Thank you to Legendary, Gareth Edwards, Jordan Vogt-Roberts, and Michael Dougherty for making such incredible films and putting the Kaiju genre front and center on the big screen. KOTM has come and gone, and now let's all embrace the hype train for Godzilla vs Kong coming soon!
And besides, now that this is over, let's all brace ourselves for the eventual debate (civil war lol) that is who is the true victor: Godzilla or Kong. Lol I cannot wait to see how people will react to the winner in this fight next year. Will you be happy or pissed that Godzilla or Kong won the fight?
Hope this post helps lessens the negativity we've been having these past few days concerning KOTM. At least we've had an awesome ride these last 5 years, and we've been having great movies all this time. Think TOHO will do the same? Whether you love or hate Shin Godzilla and the anime trilogy, these films also lead to a resurgence in popularity for Godzilla in Japan, and with their World of Godzilla premiering in 2021 I am excited to see what they'll show!
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2019.06.01 19:58 skywalkerpg Tammy and the T-Rex Uma obra prima do trash gore!

Tammy and the T-Rex Uma obra prima do trash gore!
https://preview.redd.it/e8ystrgpas131.png?width=878&format=png&auto=webp&s=0c38c80f5b6ce5a5d70e953f41eb27a2ad4d64d9
Tammy and the T-Rex é um filme trash pra caramba, extremamente sangrento de 1994 e que acaba representando bem a tosqueira que muitos filmes trash conseguem ter. A história é sobre um garoto chamado Michael que foi assassinado, porém um cientista louco resolveu fazer uma experiência com seus genes e os colocou em um tiranossauro rex. Mas Michael consegue fugir para se vingar de quem o sacaneou e também reencontrar seu antigo amor, Tammy.

É um filme raro e atualmente conseguiu ser recuperado em sua versão original e ganhou classificação certa. Na época do lançamento a classificação da bagaceira brutal era 13 anos kkkkk. Agora que foi recuperado foi pra 17 anos. Olha o trailer:

https://www.youtube.com/watch?v=xwyDKFqCJdg
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2019.04.24 15:52 _notaproblem Questions Masterpost

[Updated 02/07/19]
Here's all the questions that have been asked in the Q&A section of every podcast.
Episode Question* Username\*) Timecode
#01: The Cloverfield Paradox & Oscar Nominations What’s your favourite movie, and why? YourMovieSucksDOTorg 1:55:43
If there is one book you would want to see made into a film, what is it? Would you direct it or would you have another guy direct it? If so, you get to pick the director you want to make it. youtube.com/ralphthemoviemaker 2:12:26
Why do you guys feel the need to use rating systems? \...] To rate films.) IHEofficial 2:18:08
#02: Black Panther, Hausu, Rotten Tomatoes What's your favourite musical score from a film? EliBowsman 1:14:50
Any lesser known YouTubers you would recommend? rionite101 1:30:10
Which is your favourite Star Wars film and why? ffsFionn 1:33:30
Roger Ebert infamously said once, that video games can never become art the same way films, music and literature can. Do you agree with this, or disagree with it? superslightlyoff 1:44:48
What are your favourite TV shows? thelastsecret 1:52:20
#03: Cool Cat, This is England What are some of your best and worst theatre experiences? FullMoonHowling 1:31:52
What makes a film pretentious rather than meaningful? somevelvet_morning 1:51:21
Out of all your movie reviews, have you ever rewatched a movie and felt you were initially too harsh on it or too easy on it? MrBump465 2:04:24
Hey considering what types of movies and games you like. I wanna ask what type of music you guys are into and what some of your favourite artists? MahBoiOweb 2:08:13
#04: Marvel Movies, Wild at Heart Would you date someone who has awful taste in movies? DexterLecter99 2:03:45
How do you guys come up with such garbage yet funny movies? Like, what is your process behind finding movies worth reviewing? n/a 2:10:24
#05: The Needle Drop, Dancer in the Dark Just wondering if any of you guys have played any musical instruments during your life? XDpadfoot 1:17:40
Hey Melon, I know you hate Straight Outta Compton. Uh, what's your favourite biopic about musicians? therealmemedaddy 1:32:23
What are some of your favourite music videos or music video directors? jamtwin1999 1:36:14
So I wanna know out of all our videos, what is the video that has kinda upset people the most? And if the negative response to a video has ever gotten to you guys or upset you or whatever. IHEofficial 1:46:02
#06: Isle of Dogs, Boy Who are some lesser known independent directors that you predict will blow up and will deliver something big and great in the coming years? ralphyouareahugefag 1:49:46
Opinons on Cannes banning Netflix Originals? [deleted] 1:56:58
What is the worst thing affecting film culture right now? NeoSoul727 2:06:20
#07: Avengers: Infinity War, Barry Lyndon Do you think it's important to disregard an actor's scandals when it comes to judging the quality of a movie? j6e6s6 1:36:37
What's the best performance you've seen wasted on a terrible movie? shagedelic99 1:47:16
What is the most obnoxious/lazy camera technique to see in films? Also has it ever been used well? elglitcho 1:52:01
#08: The Last Jedi, Amores Perros What is in your opinion the best action scene ever?! mediocrecartoonist 1:13:40
Have you ever had a strong reaction from watching a movie? Some example would be a movie making you feel sick, or a movie making you feel really anxious or stressed. themoviebagel 1:20:42
What's your favourite video game? hankychan 1:24:19
Is there any objective (i.e. can a film be objectively be good/bad value to film or is all inherently subjective? People respond to different aspects of filmmaking differently and see meaning and purpose in different choices made by the filmmakers that others don't. So I believe that it is entirely subjective.) darthlittle 1:33:03
#09: Chris Stuckmann, Mommy Which movies in the most recent years, do you think will be considered classics in the future? FrameGenius 1:26:43
Since Stuckmann is a quite an avid anime fan. What's your favourite animated movie that's from Japan for all of you? kyubeydaisuki 1:33:18
What are favourite title sequences? yunkie101 1:39:16
#10: E3 2018, The Man Who Wasn't There What film would consider the worst of all time? SmokingThePowder 1:01:58
Favourite documentaries? larrsh 1:08:52
What are your favourite dramatic roles from usually comedic actors? RashadTheReactor 1:15:26
What's a genre of film you have the hardest time getting into? shagedelic99 1:18:09
#11: Cr1TiKaL, Martyrs What are some movies people wouldn't expect you guys to like, but you guys really like? just2good 1:30:37
Which video would you consider your masterpiece/magnum opus? gigaswoozy 1:44:04
What is the video game with the best writing/best story? steide56 1:51:31
What's the most disturbing film you've ever seen? ragingbull1999 1:57:38
#12: Hereditary, Shaolin Soccer What's your favourite director's worst movie, and why? Tuneison 1:32:08
If you're in the middle of a human centipede and can pick from anyone in the world, who would you want in front of you and who would you want behind you? TedioreReload 1:35:58
#13: Quinton Reviews, Happiness Which anticipated film has disappointed you the most? WillieButtz 1:31:54
What are your favourite guilty pleasure movie genres? ragehi42 1:40:41
What are your favourite movies that were never finished? Like if you could see one movie that wasn't finished just like a version of it of that's done then what would it be? n/a 1:49:10
#14: M:I - Fallout, Fantastic Planet What is the worst horror movie that manage to genuinely scare you? Sammiyin 1:27:20
Who is your favourite character of all time? Greenhood300 1:31:04
How do you guys feel about movie pirating/torrenting? Reaper4578 1:33:50
#15: Under the Skin, Punch Drunk Love What's a film that you loved upon first viewing, but eventually "grew out of" over time? Rayman323 1:13:47
Adam and Ralph, are you aware that Alex urinated on his brother? HenroyXII 1:16:34
Thoughts on the new Oscar changes? WillNP 1:18:13
Are there any recent movies that have received bad or mixed reviews that you'll think will become cult classics in the future? somemoronnamedtom 1:23:25
Which writer and director you want to see work together? ImTheBaron13 1:25:44
If you could turn any movie into a video game, what would it be? WillieButtz 1:29:08
#16: The Dark Knight Rises, Jacob's Ladder Can a comedy be a 10 out of 10, just on laughs and enjoyment or does it need more? I posted this one in the Questions Thread for Episode 14, but I'm all the more curious how you three quantify this given the discussion around Punch Drunk Love being enjoyable but not life-changing to paraphrase Ralph and I think Alex. domoenchilado 1:16:31
What is your guy's opinion on watching movies while under the influence of a mind altering substance? Do you guys believe some movies are more enjoyable while high or drunk or should not be watched while sober in order to fully appreciate. godspeedyoubarry 1:21:44
When you buy movies do you prefer to buy them DVD, digital, Blu-ray or 4K, and why? Pastor_James69696969 1:28:35
Memes aside, do you think the Shrek films are good? fabiowants2die 1:33:03
#17: Plot Holes, Mary & Max What is a great movie that isn't very rewatchable? mufasa_9 1:11:10
Is calling a film or any piece of media overrated a valid criticism? Have you ever disliked a movie simply because it's held in such high regard. MakeGoodMakeBetter 1:12:55
What are your view points between British and American humour or comedy in films? Owen_Po 1:17:51
Opinons on Bechdel Test. HenroyXII 1:26:58
#18: Spider-Man PS4, Ben & Arthur Do you think it's okay to actually harm or kill animals to make a movie more authentic? IsaiahLilBear 1:09:33
Seeing as the month of October is coming up or now. What horror films do you consider to be the best? Whether it be in terms of how they scare you or just their overall quality. GroudokaHG 1:16:48
How, if at all, did your upbringing affect your movie taste? sshanbom111 1:18:35
What do you think is your worst video? mnightneedsanoscar 1:22:02
What do you think of Shane Dawson's documentary series? Do you think this is a step in the right direction for filmmaking on YouTube? __guy __ 1:25:54
#19: Venom, Pink Floyd: The Wall What is some of the best make-up/practical effects you've ever seen? Zachsquatch_ 1:14:48
Movies that would be better with an R-rating. eggfrenzytv 1:19:33
Favourite TV theme songs? MichaelScott2003 1:24:48
What are your opinions on anime? __guy __ 1:28:35
What games do you think do the whole story thing right in your opinions? imsbs111 1:36:35
#20: Chris Stuckmann, The Piano Teacher How long do you think you can go without watching a movie/tv show or playing a video game? BouncyBallStudios 1:34:54
What's a movie you guys so ridiculously much you can quote to a T? JelloJake 1:33:42
Which editing software do you think is best for movie reviews? TateDGibbs 1:36:29
Does bad CGI affect your overall opinion and score for a film, even if it has a limited budget? What about a film that even has a reasonable budget for good CGI? TheSpaceDentist 1:40:46
#21: Pixar, Don't Look Now What are the best performances you've ever seen that have been done by a child? yfinfffffffff 1:21:25
How much do you get recognised in public? bdog7171 1:25:27
Adam and Alex are you aware that Ralph has cracked his brother's head open? thelecturgan 1:30:10
What's the worst character in any movie? 64samb 1:31:28
When judging a documentary, how does misinformation factor into your ratings? Does it depend on the style the documentary is going for? GroudokaHG 1:35:26
#22: The Ballad of Buster Scruggs, A. I. Artificial Intelligence What is your most anticipated movie for next year? emet_s 1:29:36
Do you guys care if a movie based on a true story takes creative freedoms in the writing process. sitonacast 1:35:04
Do you think there is a certain point where film becomes porn? I'm talking about films like Antichrist, that have actual non-simulated sex in them. Or is there no real limit to how sexuality can be in a film to distinguish it from a porn. ArtsyFilmStudent 1:38:05
Have you ever experienced a time, where you are really enjoying a movie all the way through until it completely fell apart in it's third act. Is a poorly executed third act enough to ruin an entire movie for you? iacs12 1:42:05
#23: YouTube Rewind, The Holy Mountain In your opinion, what is the most important aspect of a movie? Example, the writing, the directing and acting or even something I'm missing. dgager 1:27:58
Are there any examples of films you think would work better as TV shows or vice versa. Raspyrees 1:30:32
What is the best movie that has been recommended for Sardonicast? The only criteria is that you can't have recommended it yourself. Tuneison 1:32:21
Have you ever been to a location that was used in a film? And if so which location is your favourite? ii_laemmle 1:32:45
Since the new Fantastic Beasts came out, my question is do you guys like Harry Potter at all? What is your opinions on it? And have you seen them and what's your favourite Harry Potter movie? jhuff707 1:36:01
What to you makes a movie a cheesy and where do you draw the line between good cheese and bad cheese? damianasia 1:37:35
#24: Spiderverse, Lover, Amadeus What are some of your favourite movie posters? bdog7171 1:21:09
Have you guys ever fallen asleep during a movie in theatres? breneger 1:27:55
If you guys had a friend who liked the Madagascar series an unhealthy amount, how would you go about getting help for them? leedumb 1:31:48
I have a fun one, what does "Christmas movie" mean? What defines a Christmas movie? drfuzzyslippers 1:34:23
#25: The House that Jack Built, Bandersnatch, Shallow Grave What is your least favourite marketing campaign surrounding a movie? I'm talking about how the movie presented itself prior to release through trailers and other promotional tactics. littleCT 1:10:51
Since its the end of the year please tell us: What's your favourite film of 2018, what's your least favourite film of 2018, what's your biggest disappointment, the biggest surprise of 2018 and your guilty pleasure of 2018 something you enjoyed despite how bad it is? IGotAccountToAskthis 1:21:27
#26: Aquaman, Happy as Lazzaro What movie, or movie series do you want to see have a 20 years later sequel i.e. Blade Runner 2049 or Trainspotting 2. BattleUpSaber 1:21:26
What movie had the worst sequel? (Sequel that had the biggest drop in quality compared to original.) Ralph-san 1:25:13
What well regarded movie have you never seen but you know you should but you just can't be bothered to. Notthatsamsmith 1:26:55
What are your favourite/least favourite fan theories on films? Samisapole27 1:28:52
What's your opinions on being on your phone while watching a movie? Not at the theatre, because that's obviously fucked. But being on your phone checking reddit and what not while watching a movie. n/a 1:34:42
Are you ever feel insecure about your stance on a movie like if you didn't like the movie and someone you tend to agree with really loved. Do you ever go back to it and try to see what they saw? RalphsJenkem 1:37:35
#27: Sam Raimi's Spider-Man Trilogy In your opinion what is the worst Best Picture winner? JunkYardJesus1981 2:01:44
Are there any filmmakers have made both a 10 out of 10 and a 1 out of 10? And if so, who are they? Tuneison 2:03:55
Which movie endings were so bad, that they ruined the whole film? ragingbull1999 2:07:25
What are some of the best uses of music or alternatively silence in film? HarryTheBerry 2:11:18
Sardonicast #28: Disney, Madagascar Trilogy Who are some of your childhood characters crushes? MolokoPl_s 1:29:47
In an age of important movies, what's a movie you think people need to see? As in a movie you urge people to watch because it carries some sort of political or social message or portrays an important lesson in philosophy, identity, physiology, etc. notam-d 1:34:07
What movie made you depressed for a long time, if any? Ken-199 1:36:43
What's the worst sentence of dialog in cinema history? crabbinsxd 1:39:02
If you could delete any movie from existence, what would it be? THICCBOI42069shit 1:41:43
I remember in one of the episodes, Adam said that he would like to have a segment on the podcast about drugs. What were your first drug experiences? What were drugs have you done? And what are some insights you have on certain drugs in general? Are there any instances when taking substances altered how you perceived a film you had seen before sober. If so what film, and how did being under the influence change your perception of the film? littleecce 1:44:42
How do you guys use music in your videos without getting claimed? Most directed towards Ralph because he uses a large range of music in his videos. gamingcandybar 1:59:03
Pitch a movie that would make a lot of money. BikeBence 2:03:37
#29: Green Book, The Celebration Where do you see Sardonicast in a year, considering we are just slightly over the one year anniversary of Sardonicast. Tuneison 1:19:05
What's the most offensive movie you've ever seen? s_destroyer_v 1:22:02
Do you believe that a good film adaptation of video game is possible? When adapting from a short story, novel or play, you're bringing to life a character by representing them with an actor on screen. But is it possible to make a film version of Lara Croft or Nathan Drake, for example, that isn't just an inferior copy. Also, is there any joy to be found in seeing characters on screen doing the things you've done yourself in a game? PirateDiscoKingYT 1:26:20
What is one thing y'all find odd about each other's countries? spaceefork 1:34:40
Our thoughts on film's with exceptionally long runtimes. Such as Sátántangó (6h59m, Evolution of a Filipino Family (9h53m, Out 1 (12h55m and Resan (14h33m. Would you watch them, are you willing? What are your thoughts on movies that long?) RalphsJenkem 1:47:08
#30: Climax, After Hours Who do you think is the biggest asshole is in Hollywood, and why? jrgreenjr99 1:03:44
What is the worst movie title of all time? TheEoghShow 1:18:20
What live-action movie would be better if it were animated? bdog7171 1:24:53
With these Michael Jackson allegations, and if they're true, for example, can you separate the art from the artist and can you still enjoy his music or more broadly anything along these lines. Whether it be finding out about Kevin Spacey and what he did, and you know, there are countless examples at this point. sirman5152 1:29:45
Have you ever had a movie that you can't assign a number value to, for any reason. The-Movie-Supreme 1:33:24
What are our thoughts on the controversial movie, Watchmen from 2009. The_Irritated_Critic 1:36:17
#31: Us, The Dark Crystal What's your opinion on dream sequences in film? And what are some of your favourites? Cazelli89 1:08:45
How many copyright strikes do each of you currently have? What's been your success rate since starting on YouTube? Deadstone16 1:14:10
Hey boys, what are your thoughts on The Human Caterpillar? Do you believe that it is necessary and meanful or gross for the sake of being gross? Lutanyte 1:34:07
Can you think of the worst possible sequel to your favourite movie? bubarh 1:37:52
Are there any examples of supposed holes in great director's filmmaking that you think exist? For example, the idea that Chris Nolan supposedly can't film a fight scene. freddythebeast 1:42:54
Has a film ever frustrated you so much that it bothered you for days? Specifically because immense talent behind it. ScatAutotune7103 1:47:56
I'd be interested to hear y'alls opinions on cult classic movies. Ones that were met with mixed response on release but have huge fanbases now. Donnie Darko and The Big Lebowski come to mind, people might suggest others. Thanks. ashburystreet 1:50:38
#32: Shazam!, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles Aside from good ol' Derek Savage. Have any other directors responded to your reviews of their films? Whether it be negative or positive. MakalShadakal 1:27:49
Whenever Roger Ebert went to the theatre, he would always sit in a seat that was twice as far back as the screen is wide. So my question is do you guys have a specific seat that you always seat when you go to theatre? Is that seat at a height or angle that makes watching a movie more enjoyable somehow or does it not matter where you sit in a theatre because it doesn't impact your experience. sitonacast 1:36:59
Given that you three are longterm cinephiles. Do you ever wonder if your experience criticism alienates from the majority of casual moviegoers simply because of your extended exposure and thus cynicism towards a wider variety of film in the industry that surrounds it. For example, when YMS might cry, "Just don't think about it." to highlight contrived or contradictory plot logic that may be exactly what a mainstream audience intends to do. Enjoy the spectacle and superficial escapism of the film without exerting the required disbelief to ask themselves why the scene they're watching would likely not make sense. Or when you note Marvel characters have upcoming movie deals despite being deceased in-universe, though a casual Marvel fan would simply not of cared to have done that research. Would or do try to see the films you watch in a untrained eyes of a mainstream audience member who might of only had the chance to attend the cinema a few times a year as opposed to individuals who have extensive industry knowledge. Svartlnaggaroth 1:38:32
My question is what is the point of using a 5 star review system if you still rate things in half stars as well? At that point you might as well use a ten point system. GameronWV 1:46:07
Hey boy, I just wanted to hear your thoughts on an extremely polarising person: Seth MacFarlane. What are opinions on his work, him as a person, his Oscar hosting and do you think he has genuine talent. bloomer467 1:47:51
Do you guys think that an overabundance of sex sequences can ruin an otherwise excellent movie or tv show? Sorry to sound like some fucking mum, but that's the question. Ridlo_BAZINGA_ 1:50:53
What world events have had the most impact on cinema as an art form? FrippTricky 1:56:16
With Neon Genesis Evangelion coming to Netflix have any of you guys seen the series and as a whole what are your thoughts on it? Ambiant_co 1:59:35
#33: Avengers: Endgame, Star Wars Prequels Is a single character enough to ruin a movie? If so, what are some examples? Coolkid1692 1:37:34
Did you ever watched a movie and then immediately regretted that you weren't in the right mood for it? What would be an example of a movie, for which you'd need to be in a very specific mood to enjoy it? KolFoxy 1:40:52
What are some of your favorite creature designs in any movie? Screen-Saver 1:44:42
What do you guys think it collectively your favourite/least favourite type of movie? TheEoghShow 1:47:00
What is the most suffering that you guys have ever done for a video and did it pay off? FakerDaker- 1:50:22
Have you ever seen a movie so bad you shut it off part of the way in? If so, what movie? certified-hypebeast 1:55:36
Would you guys ever let a guest or a fans of the show recommend a film? Jazzyboy327 1:59:13
#34: Sonic, Pikachu, Eyes Without a Face Adam, what is your favorite movie that you’ve given a 6 out of 10? m1234e 1:02:40
What are your thoughts on an AI made movie. With learning algorithms only improving, and AI getting very good at pattern recognition, do you think robots can make a good film, or at least a commercially good movie? Pickledcactus 1:05:34
Do you judge porn, in the same way as the movies you discuss on this podcast? Does it distract you if there are bad lighting or week stories with plot holes? 187_3470 1:12:08
Which movie or TV show (whole or a single season left you the most disappointed and why? Is Game of Thrones Season 8 getting a ralphthemoviemaker episode? biracial_gemini 1:13:58
How do you guys feel about whitewashing in a movie? For example, Death Note, Ghost in the Shell, Dr. Strange, etc. Have characters that do not match with the source material. Do you think a movie should be judged by how the movie is and not on who plays the character? BronzySponhe 1:25:11
What are some movies that are still worth watching even if you already know the ending or twist? Citizen-HAL 1:30:12
How would you rank the last 10 films to win Best Picture? AKenjiB 1:33:18
What would you say the purpose of filmmaking is? Expendable418 1:36:10
What is something stupid and regrettable that you have done in the past that still haunts you to this day, even though it really shouldn't? SimpleAmbassador 1:37:42
#35 Game of Thrones, Xavier Renegade Angel What is your parent's opinion on your channels? And do they watch your content? stupidmaggot 1:04:06
What is the most unintentionally uncomfortable movie or TV scene that you’ve ever seen? Man_of_Metropolis 1:07:53
What do you think is the worst TV show currently airing? PooOnFace 1:12:05
What is the movie that you dislike the most on IMDb's Top 250 films list? the-proud-bosnian01 1:22:01
What do movies get wrong that bothers the shit out of you? For me it's gun terminology, people getting blown away by one shot, etc. Amh_99 1:27:02
I would like to hear your thoughts on 3D. What's a film that looks epic in 3D or you wish was converted in 3D? Or do you think 3D is gimmick that serves no artist value? Boyer_Voyer 1:31:29
#36 Suspiria, THX 1138 What is your least favorite aspect of your favorite film? Alexmarom11 0:56:35
What are your thoughts on the show Chernobyl? foodchild 1:00:35
What are your thoughts on procrastination? As creators how do you fight it? Any advice or particular routines that help you focus on your work? LucaTosti 1:05:51
You often talk about how some movies have changed the way of filmmaking, for example Jacob's Ladder and Eyes Without a Face, but do you think any movies have changed filmmaking overall or just specific genres for the worse? And which ones come to mind? As_Geirr 1:15:01
#37 Dark Phoenix, Alien³ How long do you guys think theaters will continue to survive? How do you all see the future of the moviegoing experience evolving? thx118 1:01:49
Did you guys see the “Doctor Sleep” trailer? It’s being directed by Mike Flanagan who did "Gerald’s Game" which was pretty good in my opinion, but he has a good amount of flops. bendrethegiant 1:06:38
Adam, if Scar was being voiced by Jeremy Irons in the remake would you be seeing it in the theatre? Leedumb 1:08:50
When did each of you become aware of each others channels? Mrtimc 1:10:00
Apart from Ralph who has mentioned he has been to film school, how do you guys know so much about the technical aspects of film? Have Adam and Alex studied it at all? If not, how did you learn so much without specific education? dontwanttofap 1:12:56
Who is collectively, general consensus among the three of you. Your favourite/least favourite director? TheEoghShow 1:19:29
Don't know if non-movie questions are allowed, but what are some of your favourite hobbies outside of movies, music and YouTube? -Cilantro- 1:21:39
Have you guys ever actually watched a movie on your phone? dheemonk123 1:29:54
Notes:
\ I haven't included questions that were asked before the Q&A or any questions that further the discussion.) \* Some names have been spelt incorrectly.)
submitted by _notaproblem to Sardonicast [link] [comments]


2019.04.03 00:30 Chen_Geller Thorin is The Protagonist or Why The Hobbit trilogy is Great

Over the years, I've diligently sat through every essay - written or filmed - which was resolved to tear Peter Jackson's The Hobbit trilogy (2012-2014) a new one, and more often than not I found the arguments lacking. I was happy to find some people (like Chris Hartwell) who sang a different tune, but even they were usually apologetic in their enjoyment of the films, often resorting to fan-cuts. So I decided to write this as someone who enjoys The Hobbit trilogy - and the entirety of the Middle Earth series - pretty much as it is.
While I won't shy away from being verbose, I would like to try and remain focused. For this end, I will skirt around the superficial technical aspects of The Hobbit trilogy, whether positive (the expert long-takes, crisp digital cinematography, great music and awe-inspiring set and creature design) or negative (unpolished CGI, some pacing issues and undercooked subplots). Rather, I wish to delve into the structure, the narrative and the themes that underline the work as a whole and - hopefully - bring a new perspective to the way these films are assessed. All within less than 3,000 words.
First, lets start with a note on structure, or simply ask...
Part 1/3: Was the Two-film version going to be any better?
So many reviewers and essayists who took swipes at Jackson's trilogy bemoaned the two-film version that never was: be it Guillermo Del Toro's, or Jackson's. But few have actually tried to reconstruct that two-film version and assess whether it was actually going to be better...until now, that is.
Jackson's commentaries, behind-the-scenes footage (which often included shots of script drafts and call-sheets) allow to piece together the time in which sequences were shot and - at times - written. Rummaging through that material, I was surprised to find that the two film version was not going to look too different.
The film would have included the framing device, prologue and Bag-End sequence as they are in the current edit. Azog was going to be present (with the distinction that his backstory was going to be revealed more gradually1), Radagast and the Dol Guldur subplot - including Thrain, the Nazgul and the High-Fells - were going to be present,2 with the distinction that the High Fells were going to be placed in the first film: the storm-clouds which Gandalf beholds were going to be the ones that hindered the company in the High Pass.
Tauriel and Legolas were going to be present, as was the former's love story with Kili.3 The extended Laketown setpiece, including Bard's family, the Master and his servant, and the chase to conceal the Black Arrow were all shot during principal photography, when it was two films.4 Gundabad, it seems, was not envisioned during principal photography, but the idea that capturing Erebor would allow Sauron to re-establish Angmar, and the backstory according to which Legolas' mother died there once, were already in place in the original script.
With the exception of the scenes in the Gallery of the Kings, Thorin's descent into Dragon Sickness was largely shot when it was still just two films, as was the negotiations with Bard and Thranduil, and the confrontation with Dain and some portions of the fighting in the streets of Dale. Ravenhill was envisioned in the script, but shot in pickups.
So, if all these seemingly extraneous elements existed in the two-film version, the natural result would have been films which would have been that much more overstuffed - more like Jackson's King Kong, which was more bloated than any Hobbit entry. People who begrudge the presence of characters such as Legolas in this narrative will have recieved less of him in terms of sheer screentime, but - to my mind - that would have only led to his inclusion (among other things) feeling that much more rushed and contrived.
Furthermore, to quote Jackson himself, "it didn't even structurally felt quite right, where one [film] ended and the other began". 5 The first film was going to end after the Barrel sequence, with Kili wounded, Sauron discovered by Gandalf and the showdy sillhuette of Bard towering over the company.6 That never sounded interesting to me: I infinitely prefer the cliffhanger to The Desolation of Smaug.
In fact, the brevity of pre-production on The Hobbit meant that the later portions of the screenplay, including the battle and the final showdown on Ravenhill, weren't fully formed on the page when shooting began, and were certainly not thoroughly previzualised or story-boarded. Therefore, by going to three films, Jackson could have more time (until pickups in late May 2013) to rewrite and previsualize those sequences, and up to Novemeber 2014 to fully shape them. So, in some ways, the split to three films only assisted in this troubled production.
So, having established that the two-film would probably not have been too different to the three film version and in fact may have turned out worse, let us proceed to the main point; this being that...
Part 2/3: Thorin is the protagonist (and the antagonist)
If the main swipe aimed against the films was the split to three movies, the chief source of faint praise was Martin Freeman's performance as the titular character. Chris Hartwell, in his excellent essay,7 came closer to the truth when he placed Bilbo's relationship with Thorin as the "heart" of the narrative, but that's not quite right either. Rather, the true core of the trilogy is Thorin's journey - of which his relationship with Bilbo is but a part. Therefore, its not Freeman's performance that defines these films - and is therefore not the one that should be recieving praise - its Armitage's.
This was brought home to me in the opening prolouge of The Hobbit: An Unexpected Journey (2012). We've seen this narrative device before, in The Lord of the Rings: The Fellowship of The Ring (2001) where it was used as a James-Bond-esque cold opening, but also as an exhibition of the trilogy's antagonist (Sauron) and a setting of the stakes therefore. The prologue to An Unexpected Journey serves a similar function, with one addition: it also sets up the protagonist. But it wasn't not Bilbo: its Thorin.
Placing Thorin at the core of the narrative informs every creative decision in The Hobbit; and while it resulted in the scale of The Hobbit expanding to the ballpark of The Lord of the Rings, on a deeper level Thorin's character journey gives The Hobbit trilogy its own narrative and set themes, which are completely distinct from those of The Lord of the Rings.
Narrativelly, The Lord of the Rings (like most tentpole franchise films) is a Hero's Journey: Its Frodo's Hero's Journey (to a point), its Sam's, its Aragorn's, its Merry and Pippin's, Eowyn's, and on and on. Had The Hobbit remained Bilbo-centric, it too would have been yet another iteration on that narrative. However, being centered around Thorin made it something completely different: the story of a tragic hero. It has more in common with Braveheart (1995) or Jackson's King Kong (2005) than it does with The Lord of the Rings.
To this end, the trilogy scheme really serves the overall narrative very well, because in the first film Thorin is allowed to be less grim (I counted at least four smiles!) and show much more overtly sympathetic character traits. Already in the prologue he's shown to be heroic, to be a leader, a saviour and possess a moral fiber. He's honourable, too: even though he doesn't care for Bilbo, he risks his own life three times to rescue him, for instance.8
All of this allows for the audience to become invested in him as he spirals down into amorality, zeal and greed. From the start, Thorin is bitter and vengful, he's cantankerous and isolationistic, and susceptible to greed. In fact, the absence of a central antagonist through the majority of the second film - and the death of the titular villain in the very beginning of the third film - both allow Thorin to be his own antagonist throughout most of the story. In the second film in particular, so many of his scenes are allowed to very intentionally hit two notes at the same time: when he bursts at Thranduil, we the audience understand him (because we know Thranduil isn't trustworthy) and yet we see the rage and lack of pragmatism in Thorin's uncontrolled outbursts.
Thematically, Thorin and the Company - unlike Frodo and The Fellowship - aren't trying to save the world: they're trying to retrieve their people's (and no one else's) wealth and homeland. Its a theme of patriotism, which was left unexplored in The Lord of the Rings with the exception of sneak peaks through the character of Boromir. The moment when they behold the Lonely Mountain from across the misty lake9 is as moving as anything in The Lord of the Rings.
The flipside of this, however, is isolationism, an issue which both Thorin and Thranduil are afflicted with. Their similarity is significant because it allows seemingly throwaway storylines to reflect, thematically, upon the main story. Tauriel's romance with Kili may be cheesy, but her humanistic worldview is as antithetical to Thranduil's, just as Bilbo's would soon become to Thorin's.
Part 3/3: A six-part series.
The theme of isolationism is a great building-block towards The Lord of the Rings, as the threat of a greater evil unites the people of Middle Earth. This allows The Hobbit to function quite organically - I think - as a prequel to The Lord of the Rings.
In fact, its so well-constructed as a prequel, that when I put the plot of the six films back-to-back, I discovered something quite impressive: you can actually chart a three-act narrative structure from An Unexpected Journey, through The Hobbit trilogy, and terminating in The Lord of the Rings: The Return of the King, and have it line-up quite nicely with a textbook example of the three-act structure.10 So the entire work does actually function like one big story, in a way in which other film series' never had and never will.
This owes to no small extent to the fact that Sir Peter Jackson, along with one creative team and production crew, directed, wrote and produced all six films (which, in volume, are more comprable to 8 or 9 films), a feat unmatched by any other filmmaker.

_______________________________________
  1. According to the commentary to An Unexpected Journey: "originaly in our script and the way we first shot it, it was a sequence which was going to be relayed in Beorn's House.[...]We've shot a version of it, a much simpler version of it." Behind-the-scenes footage shows that the script had an allusion to Azog's backstory during the prologue, which was most likely to be elaborated upon in the "simpler version" of the Lonelands scene, with the full backstory only revealed in Beorn's House, just as we learn that Azog is in league with The Necromancer. This did mean the brief omission of a scene in which Azog is revealed to be alive upon Weathertop. Rather, as Philippa Boyens relays it, they originally wanted Azog to turn out alive on the slopes of the Misty Mountains: "The audience realizes his alive the moment Thorin realizes he's alive."
  2. The film's composer, Howard Shore, in fact scored the High-Fells footage in 2012, when it was still in the cut of An Unexpected Journey: the piece is on the extended album, and is intercut with music for the traveling montage of the company. Thrain makes an appearance in Dol Guldur in the annoucement trailer of the trilogy, and was going to menace Gandalf within the ruined fortress, as he does in the Extended cut of The Desolation of Smuag. Originally, he was going to be killed by Azog, just before Gandalf's confrontation with Sauron. Galadriel's arrival to rescue Gandalf, and the fight with the Nine was shot in May 2011.
  3. Tauriel and Legolas' fight with Orcs in Bard's House took place in April 2012. In fact, healing Kili was Lilly's first scene to be shot. Her scene with Kili on the shores of the Long-Lake, complete with Legolas interrupting them, was in the script no later than November 2011. Legolas' part in the Barrel sequence was also part of principal photography, having been shot by Andy Serkis. His fight with Bolg seems a later addition, although in the original Laketown sequence he does chase some Orcs out of Bard's House, as per his line "there are others."
  4. Per Behind the Scenes footage, The scenes in the Master's chambers were shot in August 2011, as was his smacking of Bard after the street chase. The Dwarves being smuggled into Laketown, including being covered in fish and coming up Bard's toilet, was shot in March 2012. Even some of Alfrid's footage for the third film, such as the scene where he very poorly welcomes Gandalf into the ruins of Dale, were shot during principal photography (the call-sheet of that particular scene can be found in the Barrels out of Bond behind-the-scenes footage).
  5. So per Jackson's Exeter interview. You'll note that in that interview, Jackson confirms what he said in other interviews as well as in the audio commentary to an Unexpected Journey, which is that it was his idea to split the films into a trilogy. When he pitched it to the studio "they were shocked." I assure all readers that, had the studio had a say in the creative decisions behind this trilogy, they wouldn't have let the films' runtime baloon as they did (which limits the number of showings), they wouldn't take a chance on higher-frame-rate), they'd cut down a lot of the vulgar humour and quite a bit of the violence, etcetra.
  6. so according to the audio commentary to The Desolation of Smaug.
  7. https://www.youtube.com/watch?v=_WvdIESdZSc&list=PLOejsOfbIvaQeCNhYh1i7TGWE4p1VCMyL&index=5
  8. Thorin identifies Smaug, rallies the troops against him, saves (at the risk of his life) Balin, Thror and Thrain, leads his people's exodus, works as a lowly blacksmith to support his kin, delivers them unto victory in battle and - we later learn - builds a new life for his people. That's a lot to accomplish in one flashback!
  9. https://i0.wp.com/caps.pictures/201/3-hobbit-smaug/full/hobbit-smaug-movie-screencaps.com-9623.jpg?strip=all
  10. The first act, which ends with the central conflict starting in earnst, is when Sauron's armies are sent to ravage Erebor, and Smaug informs Bilbo that the darkness "will spread to every corner of the land." It happens 23% of the way through the running time of the entire series. The midpoint, which introduces a big twist in the course of the conflict, happens right "between" the two trilogies, with the reveal (for new audiences) that Bilbo's Ring is in fact The One Ring, 42% of the way through the series; The climax, a low-point of the conflict followed by a positive upheaval, occurs with the charge of the Rohirrim, at 96% of the narrative's course. Those proportions aren't too far off of a textbook example, which typically has the three plot points at 25%, 50% and 75% of the course of the narrative. Trying to do a similar exercise with series such as Star Wars, Harry Potter and even the MCU yielded less than-favourable results, by comparison.
_______________________
There are other things I really like about this trilogy - the characterisation of the individual Dwarves, Smaug as a villain, and quite a few of the setpieces - but for now, suffice to say: I love The Lord of the Rings and The Hobbit, and would love to see this series continue, in film and on TV.
submitted by Chen_Geller to TheHobbit [link] [comments]


2019.04.02 19:23 larrystarr The Beach Bums - A Quadrilogy?


Post started Aprile 1st, 2019 at 4:20, CST.
Saw The Beach Bum this weekend and was pretty thrilled that it lived up to my expectations. They were high since I liked Spring Breakers a lot and consider it one of the better American films in the past few decades. I feel like with Beach Bums release there is now an un-official quadrilogy of films that share a lot of interesting qualities. A drug-addeled hero. Counter culture vs. Authority. Coastal locals (LA, Nola, South Florida) that are intrinsically linked to a certain stereotypical behavior. Great directors. Similar story mechanics. Did I mention drugs? Can you guess the four films?
The Big Lebowski, Bad Lieutenant: Port of Call New Orleans, Inherent Vice, The Beach Bum
(hear me out first!)(spoilers)
I've always thought there are a ton of similarities in the Big Lebowski and Inherent Vice. It almost feels like the Coens admired the book and said "let's make a movie like the book, except instead of a stoner private eye, let's make it just a stoner who gets sucked in to a film noir plot." It's notable that kidnapping is a common element of the Coens films. Doc Sportello and the Dude are both counter culture figures. The dude is a remnant of the California world that Doc is witnessing vanish to industrialization in Inherent Vice. They are both drawn in to danger to find a missing woman. In a very prototypical film noir fashion, they will follow leads from one location to another, interacting with a variety of strange characters who lead them (mostly astray) around Los Angeles and surrounding areas. They both run up against various power structures (law enforcement, the wealthy (Japonica's father, the Other Lewbowski). There is a thread of something I don't have a good name for.. a unique sort of sexual openness bordering on deviancy that seems a part of the fabric of coastal California (as well as Florida, New Orleans) - The massage trailer where Doc finds Jade, the parties in the hills, the illicit happenings at Mickey Wolfman's place, Doc and Shasta's semi-open relationship - In Lebowski, Jackie Treehorn's party and his porn films, Bunny's come-ons to the Dude, Maude and the Dude's one night). These protagonists can not operate well (or at all?) without drugs. Both the "kidnappings" in the films would likely be resolved had Doc/The Dude not gotten involved at all. (She Kidnapped herself dude!)
Now, to follow on, The Beach Bum obviously has a similar feel to either of these films. Set in a different coastal city where morals also seems a good deal off from the mainstream (of America). While Beach Bum doesn't have a noir plot exactly, it ends up feeling like one. Like the Dude or Doc, Moondog's M.O. is to get high first and deal with the problems at hand second. The plot structure feels more like a Road Film although I came to think there are actually TWO types of road film. The more existential type like Vanishing Point or Two Lane Blacktop. Characters travel along a road to nowhere as a metaphor for life. And then the more modern road movie which I can't think of prior to National Lampoons Vacation but many since (if you know of an antecedent, post!). In this type, the road trip is mostly characterized by journey being an excuse for characters to get to a new location at regular beats and meet new characters to have interactions with (Pee Wee's Big Adventure, Tommy Boy, Little Miss Sunshine). Beach Bum feels like the later. While Moondog isn't always literally on the road, he boats, takes a plane, runs, and drives a golf cart on his journey, it's of the road movie genre IMO (but again, it feels very similar in structure to a Noir which is perhaps an entirely different post where I would have to provide more evidence).
Moondog is also a relic of a different era and his operating against the grain of society (like Doc/Dude) is part of the character's charm. Perhaps more so than in the L.A. setting, sexual norms are quite different in Moondog's world of Southern Florida. There are run-ins with the police (Doc, the Dude, Moondog are all arrested at some point). Moondog also runs up against the wealthy (even though he IS/WAS wealthy) and it's actually his wife and lawyer who hold wealth over his head hoping to push him in the 'right' direction. Also notable that while all three characters see themselves as members of the counter-culture, to the average person (especially law enforcement, the wealthy) they appear as just "hippies" or "bums". There is much comedy to be generated in the differences in the character's personas as they view themselves and the way they are treated by the other characters in the film.
“Dealing with the Hippie is generally straightforward. His childlike nature will usually respond positively to drugs, sex, and/or rock and roll, although in which order these are to be deployed must depend on conditions specific to the moment. " / "The bums lost, the bums will always lose!"
OK, I'll move on to Bad Lt. POCNO. This film is somewhat of an outlier but I think it has a fairly strong connection with Beach Bums. Korine and Herzog are kindred spirits. "Even Dwarves Started Small" would be a great double bill with "Gummo" wouldn't it? Herzog moved beyond his "weird art" phase faster but I think you could see Korine doing the same with Spring Breakers. I think Beach Bum and Bad Lt. are pretty similar in that their protagonists are terrible people, but also terribly entertaining in their malfeasance. It's great (and transgressive) comedy when Terence threatens an elderly woman in a nursing home and when Moondog and Flicker smash an old man on a 'rascal' over the head and rob him. Both characters are selfish and constantly take from others to get one they want (drugs, out of financial trouble, to escape). They have looser sexual morals, both with loving partners but open to relationships and encounters on the side. An element of Bad Lt. that's present but not verbalized as it is in Beach Bum is that Terence is presented as being "id driven". The numerous shots of various prehistoric reptiles underscore this, especially the scenes where only Terrance can see them. I don't remember the exact speeches that Moondog gives but he intimates that he follows "the rhythms of life that are flowing around" or something to that effect. This leads both characters to do what feels good (hedonism) first and when this leads to problems, they then do whatever it takes to get out of trouble (then they repeat this cycle). I think all four protagonists could be considered hedonists and all four also operate outside the moral code of their respective societies which again, puts them at odds with authority and also make them super entertaining to watch (anti-heroes). The Coens call this out with their ironic introduction that The Dude is "The man for his place and time" (during the first Bush admin)
"I only mention it because sometimes there's a man... I won't say a hero, 'cause, what's a hero? But sometimes, there's a man. And I'm talkin' about the Dude here. Sometimes, there's a man, well, he's the man for his time and place. He fits right in there. And that's the Dude, in Los Angeles. And even if he's a lazy man - and the Dude was most certainly that. Quite possibly the laziest in Los Angeles County, which would place him high in the runnin' for laziest worldwide. But sometimes there's a man, sometimes, there's a man. Aw. I lost my train of thought here. "
I think it's notable in Bad Lt. and Beach Bums that in each case the characters end up being rewarded despite the horrible things they do. I've wondered if both films should not be read as an indictment of America and (white male) privilege. Terrance is promoted and Moondog gets the inheritance (which he quickly destroys) even though the means they used to get there are terrible. But the films also feel celebratory of their protagonists at the same time which is part of why I think both films are so good as not many films walk this thin line.
That's it, I might have left a few things out and certainly my writing can be a bit scatter-shot, apologies for that. I also am interested in other films I might not know about that are in the same vein and films that perhaps influenced these in a way. Some that came to mind were Touch of Evil and The Long Goodbye. Both I think are informed by their locales setting the tone for how seedy the proceedings become. Touch of Evil had a particularly amoral protagonist in Welles. Long Kiss updated Noir in so may different ways and is an important touch stone I think between classic Noir and "Neo-Noir". Gould's portrayal of Marlowe as a lackadaisical loser seems to predict the anti-heroes I talk about in the "Quadrilogy". I've read about Cutter's Way and it seems it may be a similar neo-noir but I've yet to watch it.






submitted by larrystarr to TrueFilm [link] [comments]


2019.03.30 14:32 Pedro_Bonucci The saddest original film scores which aren't particularly known yet you wish to highlight

The Life of David Gale, Jake and Alex Parker - The score was often used for trailers yet few knew it came from a largely unknown film directed by Alan Parker.
Amore Per Amore, Ennio Morricone (Stay as You Are, Alberto Lattuada)
River Waltz, Alexandre Desplat (The Painted Veil, John Curran)
Mom's Broom, Joe Hisaishi (Kiki's Delivery Service, Hayao Miyazaki)
Central do Brasil, Jacques Moreleunbaum and António Pinto (Central do Brasil, Walter Salles)
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2019.03.19 00:32 LegendaryProphet Avengers Endgame Theory

After Thanos snapped his fingers with the glove of infinity, thus halving life in the universe, our heroes on Earth were shocked to find themselves defeated and with friends and family lost or dead. Captain America, Black Widow, Thor, Bruce Banner, War Machine and Rocket the only survivor of the Guardians of the Galaxy, are the only ones left alive with some Wakandian who indiebox the disappearance of Black Panther and Tony Stark who together with Nebula is in space trying to get back to Earth with a jet taken on Titan the homeworld of Thanos, where he was defeated and saw Spiderman disappear, Doctor Strange and the rest of the Guardians of the Galaxy. Ant man is trapped in the quantum realm after he only entered to collect quantum energy to cure Ghost, but Dr. Peam and Wasp have not had a way to pull it out as they are also affected by the Snap. The World, the universe is ruined, with the people who suddenly have disappeared nothing is more the same, along with them has gone away the harmony, the natural law of daily events, the unfolding of activities and social tasks. A world of disembarging, mourning and many have camped around the statue of Liberty. The Avengers seek Nick Fury but only find a pager in the Ashes. They bring Him to the base to understand Fury who he was contacting and as he arrives the answer to that question, he presents himself to them CapMarvel who asks where Fury is finished. She, Too, on the other side of the galaxy began to see people disappearing flying between their ashes and it seemed no coincidence that Fury had contacted her. She is told all about the incident and how the famous and terrible Titan has committed this horrible genocide. The first solution for the space heroine is to immediately confront Thanos sure that he can beat him and steal his Glove. The Avengers, however, convince her that it is not so easy to beat the Titan because it is really powerful, Thor despite a GOD has failed to stop him. They say to stop, to rest and reflect well for the next move. Black Widow goes to search of Barton Hawkeye in Tokyo where after the end of the domiciliary and the loss of his family after the Snap is fighting against the local mafia, the Yakuza, Barton seems changed in the eyes of Romanof, is more ruthless with a vacuum in the eyes. She asks him to return to the base and that there will always be a hope if they continue to fight side by side. Scott Lang (Ant-Man) comes out of the quantum realm crossing a portal of the time perhaps unwittingly finding himself in 1993 not to be realized and goes to the same address of the base of the Avengers trying to get open the door not knowing that at that time the Group of Heroes was not yet trained. He Starts to realize that he has gone back in time and then goes from the only person who can help him back in 2019, Herry Peam, the scientist who made the being a man form Ant man. Cap and Natasha discover a message from 1993, it is Scott Lang who from the past tried to enter the base. From There the heroes gather and Ant-Man tells what had happened to him. So everyone is wondering if it is possible then to go back in time and maybe fix things, to prevent Thanos from collecting all the gems of infinity, to prevent Loky from starting the New York War and taking possession of the Tesseract. Meanwhile we hear a glimpse into the sky and everyone prepares for the possible battle, CapMarvel begins to shine but rushing out they go to meet Tony Stark who has managed to return to Earth. He embraces with Cap, they apologize for everything and for those devils of signatures of the agreements of Socovia. They Are sad because they lost but thanks to Scott they find a hope, perhaps the only one. Tony, the genius of the group along with Bruce Banner study How to exploit the quantum realm and how to enter the tunnel created by Peam and his wife. Rocket finds the House of Peam where he collects every note and theory about the quantum realm and the suit used to enter it by saving his wife. Then they manage to build new suits with which they will travel back in time. A third of the film will be held in the past where Steve Rogers finds Peggy Carter in 1943, her first and only Love, tells her how many strange things have happened in the future and she says that the only way to move forward is to start over again. Maybe this will do. Maybe Cap will stay in the past to live the life he never lived. Will it ensure that the tesseract is not dispersed in the ice? Thor will talk to Odin about the use of Infinity Gems, Tony will seek advice from his father? Captain Marvel will go to the scientist Lawson/Mar-Vel, Bruce Banner will clarify his problems with the Hulk and we'll see the transformation in Professor Hull that is the physicist of the Green beast with the mind of the scientist. Our heroes will do everything to remedy the mistakes of the past, not everything will go as they want and eventually they will face Thanos but with at least a couple of infinite gems in the least. Iron Man manages to steal the glove and wear it. He will Kill Thanos and with the gem of the soul bring everyone back to life but paying a high price, his beloved Pepper Pots will not be able to resurrect. Here we will hear Tony's message that we heard in the first trailer. Or Despite the efforts will go again against Thanos and its Snap? Maybe They know that must go so strongly and that after to bring back to life all those affected by the snap must take possession of the gem of the soul which however requires a sacrifice and we know that to sacrifice will be one of Captain America and Tony Stark, perhaps Both. Eventually maybe after the Victory against the Titan we'll see Pepper Pots listen to Tony's message that we heard in the first trailer just that the message won't be there at the beginning of the movie but in the end and it will really be a farewell message.
In ITALIANO: Dopo che Thanos ha schioccato le dita con il guanto dell'infinito dimezzando così la vita nell'universo i nostri eroi sulla terra sono rimasti sconvolti nel ritrovarsi sconfitti e con amici e familiari dispersi o morti. Captain America, Vedova Nera, Thor, Bruce Banner, War Machine e Rocket l'unico sopravvissuto dei Guardiani della Galassia, sono gli unici rimasti in vita con qualche Wakandiano che piange la scomparsa di Pantera Nera e Tony Stark che insieme a Nebula è nello spazio cercando di tornare sulla Terra con un jet preso su Titano il pianeta natale di Thanos, dove è stato sconfitto ed ha visto sparire Spiderman, Doctor Strange ed il resto dei Guardiani della Galassia. Ant man è intrappolato nel regno quantico dopo che ci era entrato solo per raccogliere energia quantica per curare Ghost, ma il dottor Peam e Wasp non hanno avuto modo di tirarlo fuori poiché colpiti anch'essi dallo Snap. Il mondo, l'universo è in rovina, con le persone che improvvisamente sono scomparse nulla è più lo stesso, insieme a loro è andata via l'armonia, la legge naturale degli avvenimenti quotidiani, lo svolgersi delle attività e compiti sociali. Un mondo allo sbaraglio, in lutto e molti si sono accampati attorno la statua della libertà. Gli Avengers cercano Nick Fury ma ritrovano solo un cercapersone tra le ceneri. Lo portano alla base per capire Fury chi stesse contattando e nel mentre arriva la risposta a tale quesito, si presenta da loro CapMarvel che chiede dove sia finito Fury. Anche lei dall'altra parte della galassia ha iniziato a vedere la gente sparire volando tra le proprie ceneri e non le è sembrata affatto una coincidenza che Fury l'avesse contattata. Le viene raccontato tutto l'accaduto e di come il famoso e terribile Titano abbia commesso questo orribile genocidio. La prima soluzione per l'eroina spaziale è quella di affrontare immediatamente Thanos sicura di poterlo battere e rubargli il Guanto. Gli avengers però la convincono che non è cosi facile battere il titano poiché veramente potente, Thor nonostante un Dio non è riuscito a fermarlo. Si dicono di fermarsi, di riposarsi e riflettere bene per la prossima mossa. Vedova nera va alla ricerca di Barton Occhio di Falco a Tokyo dove dopo la fine dei domiciliari e la perdita della sua famiglia dopo lo Snap è in lotta contro la mafia locale, la Yakuza, Barton sembra cambiato agli occhi della Romanof, è più spietato con un vuoto negli occhi. Lei gli chiede di tornare alla base e che ci sarà sempre una speranza se continueranno a lottare fianco a fianco. Scotti Lang ( Ant-Man ) esce dal regno quantico attraversando un portale del tempo forse involontariamente ritrovandosi nel 1993 non rendendosene conto e va allo stesso indirizzo della base degli Avengers cercando di farsi aprire il portone non sapendo che a quel tempo il gruppo di eroi non era ancora formatosi. Inizia a capire di esser tornato indietro nel tempo e allora va dall'unica persona che può aiutarlo a tornare nel 2019, Herry Peam, lo scienziato che ha reso realtà l'essere un uomo formica. Cap e Natascia scoprono un messaggio dal 1993, è Scott Lang che dal passato cercava di entrare nella base. Da lì gli eroi si riuniscono e Ant-Man racconta cosa gli fosse successo. Allora tutti si chiedono se fosse possibile quindi tornare indietro nel tempo e magari aggiustare le cose, impedire che Thanos raccolga tutte le gemme dell'infinito, impedire a Loky di iniziare la Guerra di New York ed impossessarsi del Tesseract. Nel frattempo si sente uno squarcio nel cielo e tutti si preparano alla possibile battaglia, CapMarvel inizia a brillare ma correndo fuori vanno ad incontrare Tony Stark che è riuscito a tornare sulla Terra. Si abbraccia con Cap, si scusano per tutto e per quelle diavoli di firme degli accordi di Socovia. Sono tristi perché hanno perso ma grazie a Scott ritrovano una speranza, forse l'unica. Tony, il genio del gruppo insieme a Bruce Banner studiano come sfruttare il regno quantico e come entrare nel tunnel creato da Peam e la moglie. Rocket trova la casa di Peam dove raccoglie ogni appunto e teoria sul regno quantico e la tuta usata per entrarci salvando sua moglie. Allora riescono a costruire nuove tute con le quali viaggeranno indietro nel tempo. Un terzo del film si svolgerà quindi nel passato dove Steve Rogers ritrova Peggy Carter nel 1943, il suo primo ed unico amore, le racconta quante cose strane siano successe nel futuro e lei dice che l'unico modo per andare avanti è ricominciare da capo. Forse questo faranno. Forse Cap resterà nel passato per vivere la vita che non ha mai vissuto. Farà in modo che il tesseract non venga disperso nel ghiaccio? Thor parlerà con Odino riguardo l'uso delle gemme dell'infinito, Tony cercherà consiglio a suo padre? CapMarvel andrà dalla scienziata Lawson/Mar-Vel, Bruce Banner chiarirà i suoi problemi con Hulk e vedremo la trasformazione in Professor Hull ossia il fisico del bestione verde con la mente dello scienziato. I nostri eroi faranno di tutto per porre rimedio agli errori del passato, non tutto andrà come vorranno e alla fine si ritroveranno ad affrontare Thanos ma con almeno un paio di gemme dell'infinito in meno. Iron Man riesce a rubare il guanto e ad indossarlo. Ucciderà Thanos e con la gemma dell'anima riporterà tutti in vita ma pagando un caro prezzo, la sua amata Pepper Pots non potrà resuscitare. Qui sentiremo il messaggio di Tony che abbiamo sentito nel primo trailer. Oppure nonostante gli sforzi andranno nuovamente contro Thanos ed il suo Snap? Forse sanno che deve andare così per forza e che dopo per far tornare in vita tutti coloro colpiti dallo snap bisogna impossessarsi della gemma dell'anima la quale però richiede un sacrificio e sappiamo che a sacrificarsi sarà uno tra Captain America e Tony Stark, forse entrambi. Alla fine forse dopo la Vittoria contro il Titano vedremo Pepper Pots ascoltare il messaggio di Tony che abbiamo sentito nel primo trailer solo che il messaggio non ci sarà all'inizio del film ma alla fine e sarà veramente un messaggio di addio.
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2018.12.18 14:00 anselmocaramelo Lições do Miss Universo

Dias atrás ocorreu em Bangkoc, o tradicional concurso de Miss Universo. A festa foi transmitida pela Fox e teve uma grande promoção, contando com representantes de 94 países. No final, a vitória ficou com a filipina Catriona Gray, tendo a brasileira Mayra Dias chegando entre as 20 mais belas.
Até aí nada de excepcional, mas um dos fatos mais marcantes foi a participação de Angela Ponce, a Miss Espanha, a primeira transexual a disputar a coroa. Foi uma atuação até certo ponto discreta, já que ela não foi muito longe, mas toda vez que entrou na passarela foi muito aplaudida e festejada. Obviamente o simbolismo chamou mais atenção que suas curvas e o significado de sua participação foi muito maior do que podemos estimar nesse momento.
Pensando nisso, lembrei do impacto que tive ao assistir o filme "Entre-Laços" (2018), da japonesa Naoko Ogigami. Nele se conta a história de uma transexual que se casa com um pai de uma menininha que foi abandonado pela esposa. O chocante desse filme está no fato de ser uma história bem água com açúcar, uma Sessão da Tarde para assistir com toda família. Para nós a temática transexual está inserida no submundo da prostituição, drogas e perversões de todo tipo. Uma simples história de amor é algo inconcebível e o filme mostra exatamente isso, bem intrigante. E detalhe, tudo contado na maneira japonesa, o que torna o resultado ainda mais surreal... (quem ficou curioso pode ver o trailer no youtube)
Daí, quando uma transexual participa do concurso de Miss é sinal de que o mundo está mudando. A hipótese de um travesti nessa competição seria considerada absurda e cômica há bem pouco tempo, mas homens trans já estão em diversas modalidades esportivas femininas, além de postos de trabalho na vida cotidiana. Provavelmente Angela Ponce foi apenas a primeira disputando o Miss Universo, com o tempo se tornará algo normal. Quem sabe num futuro próximo a Miss Brasil seja uma transexual, afinal nosso país é conhecido mundialmente como exportador de pessoas com essa orientação. Hoje essa possibilidade parece absurda, mas com o passar das gerações isso muda muito rapidamente até chegar o dia que não existirão diferenças entre mulheres XX e mulheres XY. Não sei se estaremos vivos nesse dia, mas há uma grande chance da fala de muitos esquerdista se tornar realidade e o sexo virar uma mera convenção social.
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2018.10.23 23:56 SSF415 I watched Predator (1987)

Every day in October for 30 days, per tradition, I'm watching a different monster movie.
I don’t think I really love “Predator” as much as I think I love “Predator.” But I’m okay with that.
A year before “Die Hard,” John McTiernan directed what would otherwise be his most famous movie, about a team of commandos hunted by an invisible alien monster in a Central American jungle.
For most of the first act, “Predator” looks like essentially any other Arnold Schwarzenegger movie from the period, with our hormone-laden hero leading a team of soldiers for hire and spending a full Ted Nugent concert’s worth of munitions on what’s suppose to be a rescue mission.
On top of Arnold, the movie is stocked with a bunch of real tough guys and also Shane Black, including Carl Weathers of “Rocky” fame and wrestler turned politician turned surrogate crazy uncle to our nation Jesse Ventura.
The tough guys and Shane Black are supposed to rescue kidnapped diplomats from some contras, and like any sensitive hostage situation their approach involves the delicate application of dozens of grenades.
Seems to me that when you want to extract people alive from a dangerous situation it’s maybe advisable not to turn the entire compound into fiery marathon of death in which the flames themselves are also somehow on fire. But these guys are professionals so I guess they know what they’re doing.
Yes, it seems like a typical ‘80s action shooter; Schwarzenegger even throws off a one-liner during the firefight. But of course the movie is just beginning and, like my posture during high school gym class, is about to become so atypical as to be potentially subversive.
The monster itself is one of the best things about “Predator,” and how FX great Stan Winston came up with the design—which seems derivative of absolutely nothing—I’ll never know.
More than just the look of the monster, though, is the tangible mystique the movie grants it. It’s a mysterious and inhuman figure, hidden for most of the film, its motivations clear but also so blankly amoral as to defy any attempt at empathy, and everything from its appearance to its use of copycat audio to the trademark “thermal vision” suggests a nature nearly incomprehensible to us.
In my mind, “Predator” feels almost like satire of the action genre. Schwarzenegger is very persistent in the opening scene that he’s not a hired killer, but his Literal Burning Man approach to this supposed humanitarian mission shortly erodes his high ground.
So it seems a bit like a morality tale when the soldiers in turn find themselves the victims of a killer that is even more efficient and amoral than they are. The movie spells this out in an eerie exchange at the finale, when Schwarzenegger asks the dying monster, “What the hell are you?” and its response is the simply rhetorical repetition, “What the hell are you?”
The thing is, I acknowledge that the movie probably doesn’t really have this subtext. None of McTiernan’s other movies do, after all. And the screenwriters here are the same sibling duo who gave us “Wild, Wild West” and “Mission To Mars,” so I’m pretty cautious about how many eggs I want to put into that basket.
We tend to want to interpret art and media in ways that confirm our values. So of course a bleeding heart like me is going to want to read “Predator” as some sort of subversive anti-war statement instead of the macho-stuffed machismo platter that it appears to be at face value and probably actually in fact is once you remove that face.
Even so…take the case of the most recent “Predator” sequel, released less than a month ago, which features a scene in which the young son of the Army Ranger lead actually directly asks him, “What’s the difference between being a soldier and being a killer?”
This most recent sequel was in fact directed by original “Predator” not-so tough guy costar Shane Black. It’s a small thing, but you know, they didn’t HAVE to put that line in there, and I speculate Black felt an obligation to acknowledge the theme of the original movie, or at least what I believe to be the theme.
The 2018 “The Predator” is a pretty limp affair as far as sequels go, seemingly undermining almost everything about the first film. The original sequel, “Predator 2,” released in 1990, descends into camp, and while it has fans these days I just can’t get on board with it myself.
Yet another sequel, “Predators,” emerged 20 years later, bringing together the weirdest possible ensemble of Adrien Brody, Topher Grace, Walton Goggins, Alice Braga, and Laurence Fishburn, in what seems more like an unlikely Hollywood carpool than a coherent cast. I liked this one quite a bit, for the record.
But what none of the sequels really succeeds at is preserving or recreating that signature mystique of the original film and monster, or the harrowing tension of coping with a threat that’s almost but not quite entirely outside of your comprehension.
Tomorrow we look at the alien monster movie with possibly the least mystique ever committed to film, "Robot Monster."
***
Original Trailer:
https://www.youtube.com/watch?v=K9AT3tQGbIk

Past "Predator" I Watcheds:
https://www.reddit.com/iwatchedanoldmovie/comments/9c3pln/i_watched_predator_1987/
https://www.reddit.com/iwatchedanoldmovie/comments/9bus93/i_rewatched_predator_1987_got_some_issues/
https://www.reddit.com/iwatchedanoldmovie/comments/727ggo/i_watched_the_predator1987/
https://www.reddit.com/iwatchedanoldmovie/comments/6x4soa/i_watched_predato


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2018.09.23 14:36 Anonymous_1-2-3-4-5 MCU Movies Behind the Scenes Facts *Wanted to do this for fun* Day 12: Ant-Man

So i'm going to go on IMDB and look at each MCU movies behind the scenes facts and POST THE MOST INTERESTING ONES here, I will post each movie a day instead of what I did before where I did 10 posts, I will start with the first Iron Man and each day will be the next MCU movie after it, ending with Guardians 3, I will also do the Netflix Shows, Agents of Shield and Agent Carter

ANT-MAN

1. At first, the film was meant to focus on the original Ant-Man, Hank Pym. However, Pym developed several personalities, one of whom abused his girlfriend, and producers decided he was not family friendly. Instead, the focus shifted to Scott Lang, with Pym as a mentor and supporting character.

2. When Paul Rudd told his nine-year-old son he was going to be Ant-Man, his son said, "Wow, I can't wait to see how stupid that'll be."

3. The Falcon's role in the plot came about after Adam McKay and Paul Rudd went to see Captain America: The Winter Soldier (2014) and fell in love with the character. They casually suggested working him into the plot, and Kevin Feige informed them that it would actually make perfect sense since Falcon was now living at the New Avengers compound as of Avengers: Age of Ultron (2015).

4. For the 1980s flashback scenes, de-aging VFX were used on the 70-year-old Michael Douglas and the 57-year-old Martin Donovan to make them appear younger, and aging VFX were combined with the wig and make-up 33-year old Hayley Atwell wore to make her appear older.

5. Michael Douglas celebrated his 70th birthday on set. As an homage to his on-screen character and to celebrate the milestone, the crew presented him with a birthday cake decorated in icing with ants crawling over a film reel.

6. Michael Douglas joked about his being made younger through CGI, saying he felt like doing a prequel to one of his younger films: "Seeing myself CGI-ed at the beginning of the movie thirty years younger was incredible! I had these little dots all over my face, and I'm looking at it and half way through the scene the picture it just appeared and there I was thirty years ago. Romancing the Stone (1984). I'm thinking I'm all for a prequel!"

7. According to Michael Douglas, the costume for Paul Rudd had to be altered because of his muscles. Rudd had gone on an extensive training and workout regimen in order to build the proper muscle size for a superhero, but Rudd had become so muscular, they had to soften his costume up.

8. While Edgar Wright was working on the film, he requested that Marvel refrain from using Ant-Man or Wasp until he had finished the movie, which is why they were absent from The Avengers (2012).

9. In addition to getting in shape with the help of a trainer and weights, Paul Rudd worked with a gymnast. Rudd said of using a gymnast, "I knew I was going to have to do rolls and flips and things like that. I just wanted to be as convincing as possible."

10. Posters for "Pingo Doce," the Brazilian soda company Bruce Banner worked for in The Incredible Hulk (2008), can be seen in the San Francisco scenes.

11. The laser sounds fired from Yellowjacket's suit are the same sound as the main gun on an AT-AT being fired in the Star Wars movies.

12. Michael Douglas explained why he took the role of Hank Pym, saying, "And most importantly, I did it for my children. They're so excited. I've finally got a picture that they are so excited about. Dad is cool. You have to understand, for most of my career, I've done so many R-rated pictures. They can never see any of my movies." *At the time of release of this film his children were 14 and 12\*

13. (at around 46 mins) Scott Lang suggests calling the Avengers to assist. In the comics, Ant-Man was an original Avenger.

14. Scott's brief work at Baskin-Robbins was originally going to be at Chipotle, but the company did not like their negative portrayal. The filmmakers considered Jamba Juice, then settled on Baskin-Robbins after realizing that the bright colors would be a funny contrast to the dark prison opening.

15. Director Edgar Wright, a big fan of Ant-Man, proposed the film to Marvel in 2003, describing it as "an action-adventure comedy; a cross-genre action and special effects bonanza." He had been developing the movie since then, shooting a test reel and hiring the cast, and was close to begin shooting the movie. However, in 2014, he dropped out due to "creative differences" with Disney, which had bought out Marvel Studios five years prior.

16. (at around 11 mins) Darren Cross jokes that the concept of a shrinking human sounds like a "tale to astonish." Ant-Man made his debut in the comic "Tales to Astonish" #27 (Jan. 1962). Darren Cross shrinks a chair as part of a demonstration; this was taken from the same comic, where the first thing Hank Pym shrank was a chair.

17. (at around 32 mins) Garrett Morris, who portrays a cab driver in the film, appeared as Ant-Man in the Saturday Night Live: Margot KiddeThe Chieftains (1979) sketch, which was the first live-action appearance of the hero.

18. Paul Rudd and stuntmen wore actual Ant-Man suits while Corey Stoll wore a motion-capture suit as Yellowjacket. This decision was made early on when creating and filming with a real Yellowjacket costume was found to be impractical.

19. At the beginning of the film, set in 1989, the Triskelion is being constructed. The building was S.H.I.E.L.D's main quarters in Captain America: The Winter Soldier (2014).

20. The shrunken-down scenes feature a great deal of dust mites, which was a deliberate move by the VFX artists to emphasize an insect's point of view (they see the world in greater detail than a human does).

21. Whilst filming a scene with Michael Douglas, Paul Rudd attempted to reenact the famous interrogation scene with Sharon Stone from Basic Instinct (1992). Rudd ultimately failed with the attempt, resulting in Michael Douglas saying "What are you? A f****** pervert?"

22. The size-shifting VFX (the outlines left by the body on shrinking/growing) were taken from the original "Ant-Man" comics, and was influenced by stop-motion and multiple exposure shots.

23. The VFX artists decided to incorporate techniques that would make this film different from other "shrinking" films and give an "experimental" look to the film. These techniques include macro photography (digital mattes of enlarged environments) and motion-capture. Trick photography was also employed: close-ups, aerial shots and long shots with wide lenses were the main techniques employed to get a good ambiance for Ant-Man in a giant environment.

24. Edgar Wright wanted the film to be completely stand-alone, with no references to the other films in the Marvel Cinematic Universe. This plan did not match the studio plan for the Marvel Cinematic Universe. This, among other factors, led to Wright leaving.

25. Although Edgar Wright dropped out of the movie, a large portion of the script he wrote is still in the story.

26. According to Evangeline Lilly, Hope's role was much smaller in Edgar Wright's drafts. It was beefed up significantly during rewrites, with Lilly providing some ideas and input.

27. Paul Rudd worked on rewrites with Adam McKay. Michael Peña and Evangeline Lilly have said in interviews that many of the actors were consulted on their characters during the rewrite, which resulted in expanded roles.

28. (at around 46 mins) When Scott Lang tells Pym that their first move should be calling the Avengers, Pym responds by saying that they're probably busy making a city fall from the sky. This is a direct reference to the events in Avengers: Age of Ultron (2015).

29. On the day that they filmed the sequence of Cross shrinking a lamb, when they broke for lunch, the caterer just so happened to serve lamb chops. The cast and crew claimed it was an awkward meal.

30. The Yellowjacket armor is based on the G.I. Ant-Man armor from the "Irredeemable Ant-Man" comic. The suit's helmet also incorporates the facial features of Hank Pym's villainous robot Ultron.

31. When the role of Wasp (Hank Pym's lover and wife) was in the script, Rashida Jones and Emma Stone were considered for the part.

32. Paul Rudd and Adam McKay convinced Bobby Cannavale to do the film. Cannavale said, "They both called me and said, 'You've got to do this.' They called me before Marvel called." Cannavale felt that the big budget film's atmosphere felt more like an independent film, as he was able to improvise a lot with his fellow cast members.

33. The preview for the first teaser was ant-sized... Which is to say that it's almost completely impossible to tell what's going on in it. A human-sized trailer went up the next day.

34. According to the filmmakers, the main theme in this film is "passing the torch."

35. Corey Stoll describes his character of Darren Cross as a shadowy version of Hank Pym: "Cross is a guy who is not that dissimilar from Michael Douglas' character Hank Pym. A brilliant scientist, who is not ethically pure. The great thing about the whole movie is that everybody is in those shades of grey."

36. A sequence was filmed where Pym and Lang discuss the Ant-Man name. Lines from this exchange include "Lame, I know," "Iron Man was taken," and "Is it too late to change the name?" (Interestingly, Pym did adopt other monikers in the comics, including Ant-Man, Giant-Man, Goliath, Yellowjacket and Wasp.) These lines were featured in trailers and TV spots, but not the finished film.

37. The idea of a potential Ant-Man movie had been kicked around before Marvel had its own movie studio. Once the Marvel Cinematic Universe was founded, there were plans to include him in the Phase One films and be a member of the Avengers. Those plans fell through and he was supposed to have a film in Phase Two instead. The movie was then pushed back to becoming the first part of Phase Three, until it was decided that this movie would actually be the finale of Phase Two, after Avengers: Age of Ultron (2015), and that Captain America: Civil War (2016) would lead Phase Three. In short, its release date didn't change so much as its classification.

38. Peyton Reed is a huge Marvel fan and seized the opportunity to direct a film in the MCU even if it meant stepping in at the last minute to take over a project previously helmed by Edgar Wright.

39. In the comics, Hank Pym's daughter Hope Pym (here she takes her mother's maiden name of Van Dyne) was a villainous character who acted out of resentment against her father. While that angle is present in this film, she is much more heroic and reasonable here.

40. Simon Pegg described Edgar Wright's script as 'daring, fun, funny and hugely exciting.'

41. In the comics, Hank Pym created Ultron. This movie is the next Marvel movie released after Avengers: Age of Ultron (2015).

42. Sean Bean, Pierce Brosnan and Gary Oldman were considered for the role of Hank Pym.

43. (at around 1h 45 mins) In the last scene of the film when Luis is telling Scott about a tip, the girl talking to the Sam Wilson/Falcon says, ''We got a guy who jumps, we got a guy who swings, we got a guy who crawls up the wall''. This is in direct reference to Spider-Man who made his debut in the MCU in Captain America: Civil War (2016).

44. Scott lives at the Milgrom Hotel. This was named after comic-book artist Al Milgrom.

45. During an interview with the film's star Paul Rudd on The Howard Stern Show (1990), Stern told Rudd he had tried - 15 years prior to the release of Ant-Man - to buy the rights from Marvel in hopes to translate it to the big screen.

46. Luis, played by Michael Peña, was based on a real friend of Peña, Pablo, who is a minor criminal and talks just as rapidly as Luis does.

47. Jessica Chastain turned down the lead female role of Hope van Dyne due to scheduling conflicts. She had previously bowed out of the role of Maya Hansen in Iron Man 3 (2013) for the same reason.

48. The first production to film in the sound stages at the new Pinewood Atlanta Studios. With the exception of Doctor Strange (2016), all of Marvel Studios' subsequent productions have been filmed entirely or in part at Pinewood.

49. While promoting Baby Driver (2017), Edgar Wright said he never watched the finished film, saying "It would kind of be like asking me, 'Do you want to watch your ex-girlfriend have sex?'"

50. Edgar Wright was responsible for casting Paul Rudd, Michael Douglas, Evangeline Lilly, David Dasmalchian and Michael Pena.

51. (at around 1h 14 mins) When Luis is posing as a guard, he whistles "It's a Small World". Not only is Ant-Man small, which makes the song appropriate, but the song is originally from a ride (Small World) at Disneyland, which, like Marvel Studios, is owned by The Walt Disney Company.

52. Paul Rudd is the second Parks and Recreation (2009) cast member to be cast as a main lead in the Marvel Cinematic Universe, after Chris Pratt as Star-Lord in Guardians of the Galaxy (2014).

53. Patrick Wilson was cast as Paxton. But after the movie was delayed, scheduling conflicts forced Wilson to drop out and Bobby Cannavale took the role. Wilson subsequently went onto appear on the DC Extended Universe's superhero films by voicing a role the following year as the President of the United States in Batman v Superman: Dawn of Justice (2016) and co-starring in Aquaman.

54. (at around 1h 40 mins) If you watch closely as Scott shrinks towards the Microverse, you'll see a tardigrade on the right lower portion of the screen.

55. Adrien Brody, Joseph Gordon-Levitt, and Ewan McGregor were all in the running for the role of Scott Lang.

56. Most of Ant-Man's action scenes were shot normally with VFX around him. The exception was the fight with Falcon: Anthony Mackie had to mime the actions of getting beaten by Ant-Man.

57. Michael Peña was actually stumbling over his words during the "telephone game" sequence.

58. Edgar Wright himself selected Paul Rudd for the role of Scott Lang based on his natural charisma, which would make Scott likable despite being a criminal in-story.

59. Peyton Reed revealed that Andrew Barrer and Gabriel Ferrari were also writers of the movie and but had to remain uncredited due to the Writers Guild. Dave Callaham also did a rewrite before filming.

60. Edgar Wright's drafts did not include the Wasp, save for a mention from Pym.

61. Marvel executive producer Victoria Alonso exclaimed one morning during filming, "You'll never believe it! I found an ant in my bathtub, and I saved it! I was talking to it!"

62. The building that was used for the Pym Technologies exterior set stored records for the city of Atlanta and was also used as the news studio in Anchorman: The Legend of Ron Burgundy (2004), which also starred Paul Rudd.

63. Atoms consist of mostly empty space, as proven by Ernest Rutherford in his gold foil experiment. Therefore it is theoretically possible to shrink or expand material, although the means to do so are far beyond present day technology.

64. The director of this film, Peyton Reed, was considered to direct Guardians of the Galaxy (2014), another Marvel Studios film, which was later directed by James Gunn. Reed was also attached at one point, to direct Fantastic Four (2005), a film adaptation based on another Marvel property, that was released by 20th Century Fox.

65. After this film was released, Hope Pym was introduced into the Marvel Comics as Nadia Pym ("nadia" is Russian for "hope"), daughter of Hank Pym and a Hungarian scientist.

66. Jordan Peele was originally cast when Edgar Wright was still director.

67. Editor Dan Lebental said that despite Edgar Wright's departure and Peyton Reed joining the project, the studio still held onto the original release date. This meant that the film's post-production team lost 10 weeks of time in the process to complete the film. Lebental said that it certainly accelerated the workload on the editing, sound, visual effects and 3D rendering teams with their team doing the final mixing sound before some of the hundreds of visual effects shots even arrived for them. Lebental said that this is a norm in the business but this was an extreme situation, given Wright's departure and Reed joining.

68. Mary Elizabeth Winstead wanted to play The Wasp.

69. In Edgar Wright's drafts, Darren Cross's alter ego would have been Nano Warrior, instead of Yellowjacket. The drafts also featured a car chase sequence.

70. Peyton Reed originally wanted Rick Moranis who's known for portraying Wayne Szalinski in the Honey, I Shrunk the Kids films in the film for a cameo.

71. Edgar Wright has said, that despite working on "Ant-Man" for a decade, and leaving the project on his own terms, he cannot bring himself to watch the finished product.

72. Adam McKay, Ruben Fleischer, Rawson Marshall Thurber, Nicholas Stoller, Michael Dowseand David Wain were considered to direct the film.

73. (at around 3 mins) Writers Andrew Barrer and Gabriel Ferrari appear briefly in the film, as two prisoners during Scott Lang's escape from the jailhouse. Barrer's father also appears in the film (at around 18 mins), standing at the bar during the Hope/Cross dinner scene.

74. Hank Pym, Scott Lang and Clint Barton are the only superheroes in the MCU to have offspring (as well as Frank Castle in The Punisher). Hank and Scott are also the only heros to lose their wives (Janet Van Dyne apparently died at the Quantum Realm and Maggie divorced Scott). Coincidentally, Hank Pym, Scott Lang, and Clint Barton have all used Pym particles in the comics.

75. David Wain was considered to direct after Edgar Wright left the project.

76. Ant-Man is implied to have the ability to manipulate his weight and mass to be light and heavy whenever he wishes. This came from the DC Comics hero the Atom, who serves as Ant-Man's counterpart: both are heroes with shrinking abilities, and both started out as scientists who passed their titles down to others.

77. Patrick Wilson was cast as William Crossnote, but he left the project after Edgar Wright's departure, citing a scheduling conflict.

78. Michael Douglas was later considered for the role of Doc in Baby Driver (2017), Edgar Wright's next film after dropping out of this project. Kevin Spacey was ultimately cast.

79. This is the second super hero movie for actor David Dastmalchian. He previously appeared in The Dark Knight (2008) in a minor role as one of Joker's henchmen.

80. John Slattery and Anthony Mackie have appeared in other Marvel movies but have never shared any screen time. In another film The Adjustment Bureau (2011) they both appear onscreen at the same time.

81. This is the second time that a film from the MCU was released in theaters in July since Captain America: The First Avenger (2011).

82. The plot has similarities to both The Mask of Zorro (1998) and Batman Beyond (1999) - an older hero trains a thief to be his replacement and settle an old score.

83. David Dasmalchian said getting cast in this film couldn't have come at a better time, given that his wife was pregnant with their first child and they only had $400 in the bank. Dasmalchian initially feared that his casting was in jeopardy when Edgar Wright departed the project as Wright had personally emailed the actor. But the fear came to pass as new director Peyton Reed was a fan of the actor after his work in The Dark Knight and Passengers.

84. Edgar Wright's draft had the X-Con security team with approximately 6 or 7 members as opposed to the three in the finished film. Janet Van Dyne was also absent from the story.

85. CAMEO: Stan Lee: (at around 1h 45 mins) the bartender who says a woman looks "crazy stupid fine."

86. According to Peyton Reed when it came to using Thomas the Tank Engine during the battle sequence on Cassie's train set, there were certain stipulations when it came to showing the character. Reed and the team met with the rights holders of Thomas and had to make a presentation. The owners stipulated that Thomas couldn't be depicted as doing anything evil, had to remain neutral and no character could be tied to a train track that Thomas was going to be on, as the owners were very protective. Reed was happy with using Thomas as it helped add to the personality of the film, and that the owners found the use of Thomas funny in the film.

87. Hank Pym wants Scott to use the Ant-Man technology to pull off a heist. In the comics, Lang stole the Ant-Man suit from Pym in hopes of pulling off enough heists to save his sick daughter; when Pym found out, he allowed him to keep the suit as long as he used it for heroic purposes.

88. Cassie Lang is delighted at her father's superhero career, even adopting an ant as a pet. In the comics Scott's daughter Cassie eventually dons the Ant-Man costume herself to become the heroine Giant-Girl (later Stature).

89. Yellowjacket in this film is a combination of Ant-Man villains Yellowjacket (a mentally unstable alter ego of Pym), Darren Cross (a villainous businessman and enemy of Scott Lang) and Eric O'Grady (an amoral and selfish person with Pym tech who also was the fourth Ant-Man).

90. Janet van Dyne (Wasp) ends up shrinking herself into a microscopic dimension and was presumed dead. This was her fate in the Marvel comic "Secret Invasion".

91. (at around 5 mins) Scott's Baskin-Robbins name tag says "Jack" which is understandable considering he was hiding the fact he was just released from prison. He then asks his co-worker "Darby" to take over at the register while he speaks to the manager. Jack and Darby are The names of Paul Rudd's children in real life.

92. The ending was supposed to have a showdown between Ant-Man and Carson, with Ant-Man defeating him and reclaiming the stolen sample of Pym Particles. The ending was changed to Carson escaping and presumably delivering the sample to HYDRA in order to set up Captain America: Civil War (2016).

93. (at around 13 mins) When Cross brings the Hydra agents into the room where the Yellowjacket suit is stored, one of them has part of a tattoo showing above his collar. It is the symbol of the "Ten Rings" terrorist group that kidnapped Tony Stark in the first Iron Man (2008) film.

94. (at around 18 mins) When Cross shrinks a board member and implodes him into a tiny blob, strawberry jam was used for the blob.

95. Another ending was filmed that is closure-related. In it Scott Lang tracks down and confronts Mitchell, who knew that Carson took the Pym Particles sample during the confrontation at the lab. It was filmed as a measure of ambiguity in the event it was needed. The producers eventually decided to leave it out as a future plot point in either of another tie-in or in the sequel.

96. When Scott is shrinking to microscopic size he appears to shrink into a forest. This could allude to the Microverse. In Marvel comics its a whole world on subatomic level.

97. Scott is able to enlarge some items in size during the film, including himself. This is a homage to Giant-Man, in the comics Hank Pym's superhero title due to him relying more on growing to gigantic size rather than shrinking.

98. The original opening that Edgar Wright wrote was to have a mini-adventure (in homage of Goldfinger (1964)) that the young Hank Pym would infiltrate Panama to retrieve a microfilm and confronted a Panamanian general by the name of Castillo. Jordi Mollà had filmed his scenes as Castillo but was cut. Peyton Reed admitted that while the standalone adventure was really cool, although filmed, it was disconnected after it was edited together. Reed eventually settled for the existing prologue which bookmarks the confrontation with Mitchell and Hank later on.

99. All the movie (closing film of Phase Two in the Marvel Cinematic Universe) shares many similarities with Iron Man (2008) (first film of Phase One in the Marvel Cinematic Universe):
-A revolutionary and technologically advanced crime-fighting suit is replicated (and modified to be more lethal), by a former friend/partner of the suit's inventor, who has ambitions to sell the technology to people with nefarious purposes, expressly against the wishes of the inventor.
-In an effort to protect this from happening, and protect someone he loves, the hero must use the suit beyond its expected capabilities to defeat the villain, resulting in the villain's death as his own suit is destroyed.
-The hero is endangered by the technology he uses (Obadiah extracts from Tony Stark's breast the mechanism that prevents the shrapnel inside his blood from arriving at his heart to kill him, and Scott Lang uses the special system of the suit to defeat Cross, reducing his size to enter in the Quantum Realm).
-The hero trains to use the suit with comic results (Tony Stark crashes sometimes while he constructs the first armor, and Scott Lang increases his size before the right time, crashing against the ground).
-A woman turns into the assistant of the hero (Pepper Potts for Tony Stark, and Hope Pym for Scott Lang).
-Love interest between the hero and his assistant (Tony Stark and Pepper Potts, Scott Lang and Hope Pym).
-Both movies also end with the implication that the heroes' actions have earned them consideration for joining the Avengers.
-The main villain of the movie is bald (Obadiah Stane in Iron Man, Darren Cross in Ant-Man).
-The villain dies by the suit he creates (Stark collapses Stane's armor, who falls to crash against the Arc Reactor of the laboratory, and Lang collapses Cross's armor, who vanishes in the Quantum Realm).
-Presentation of a hero for a sequel (War Machine in Iron Man, The Wasp in Ant-Man).

100. The climax, when Scott shrinks to sub-atomic levels and enters the quantum realm, is a tribute to the Disneyland attraction, Adventure Thru Inner Space. Open from 1967 through 1985, the attraction shrunk guests as they got smaller till they became the size of an atom. Hank warns Scott by saying, "It means that you would enter a reality where all concepts of time and space become irrelevant as you shrink for all eternity." This same quote is repeated when Scott is in the quantum realm, though it echoes, similar to the Paul Frees quote from the attraction, "They will be our only source of contact once you have passed beyond the limits of normal Mag-ni-fi-ca-tion"
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2018.06.27 14:37 Lucy_Senna Lembrem-se da Mulher de Ló – Resenha

Oi, tudo?
Eu já escrevi essa resenha, há um ano... Achei interessante repostá-la aqui. Talvez eu faça resenhas de outros filmes torreanos se vocês quiserem, 'kay?
–––––––––––
Tenho que confessar uma coisa a vocês. Eu era ingênua e me surpreendi quando as TJs lançaram o filme do filho pródigo. Achei que depois daqueles antigos, ela tinha parado. Mas estava enganada. Começaram a vir filmes bem feitos, bem filmados, com roteiros novos. O primeiro foi Filho Pródigo. Muito forte (aka muito apelativo). Vieram outros filmes depois.
Quando lançou o segundo da nova fase torreana mostrando tempos atuais – "Estas palavras têm de estar em seu coração" – o hype causado foi grande. O trailer mostrava as cenas mais fortes, para no final, o filme não ser tão forte como parecia. Continuava apelativo e esse filme mostra o quão a Torre sabe ser abusiva e chantagita, mas particularmente não supera o primeiro. Aí o Corpo Governante se reuniu e discutiram "hm, parece que nossos escra— digo, ovelhas estão se distraindo demais com comédias mundanas. Vamos prendê-los mais e fazer nosso próprio romance".
Nisso, mais tarde lançou-se aquele filme romântico que eu esqueci o nome...mas não importa. É ruim. Conseguiu ser pior e é mais forçado com um roteiro fraquinho.
Quando a Watchtower recria as histórias bíblicas em filmes, fica realmente muito bom. Uh, talvez não os trechos da história de Jesus – tinha cenários muito pobres mas era para ser algo mais teatral. Já a história do Rei Ezequias ficou fantástica no sentido de pós produção. Eu não vi o filme de Jonas ainda, mas parece ter ficado fantástico.
Agora quando ela faz filmes com cenários atuais, nossa senhora, credo. Ano passado tivemos... "Lembrem-se da mulher de Ló." Lembram? Meus amores... Esse foi o pior filme que essa empresa já fez.
O filme tenta ser um filme "Sessão da Tarde", no humor e no visual. A abertura é super infantil e bobona.
Meu, o tio é apresentado como "tio". E só. A boa notícia é que isso é o menor dos problemas.
O filme começa com uma família tendo problemas financeiros, com muitas contas pra pagar, e a mãe da esposa dizendo que era bom trabalhar um pouco mais para eles não passarem um aperto maior. Ela disse d'uma forma bem escrota, capitalista e ridícula, mas isso não vou dizer que é irreal não. Acontece conversas assim mesmo, particularmente é cansativo ouvir papos assim. Depois de pensar e desobedecer o seu marido – que por sinal, é extremamente estúpido, dá muita raiva de assistir só por causa dele pelo fanatismo extremo e como ele trata a mulher como alguém inferior – ela se torna uma corretora de imóveis, melhorando muito a vida da família e esfriando com a religião. Nada de especial, nada de diferente.
(Olha, preciso avisar que eu não sei o nome de ninguém nessa história. Não, não foi má vontade, custei pra tentar.)
Então o pai começa a fazer estudo para converter um ser agressivo, mas gente boa. Ele tem uma família normal, mas retratada como bagunçada, por causa do tom de deboche usado na cena onde aparecem.
Por que a Torre sempre retrata que alguém jogando videogame é alguém fraco? Me poupe.
Acabam por ir na reunião e gostam do ambiente, mas no final o estudante se desentende com o instrutor – o marido da protagonista – quando ele percebe que um ancião é sustentado pela congregação, dizendo que estava vivendo nas costas dos outros. O que...não deixa de ser mentira, pois ele morava numa casa decente e tinha uma minivan na faixa dos seus $40 mil (vindo pra cá seria 120 mil fácil). Mas do nada, na transição do primeiro episódio pro segundo, ele decide ser uma TJ. Assim, do nada, pra nada, aquele pensamento que ele teve morreu num passe de mágica.
Ah. Eu ainda não falei da parte principal do filme, a esposa desse xarope. Ela é uma personagem que me causou pena e raiva ao mesmo tempo. Pena por ela só querer o melhor pra família, raiva por fazer isso mal feito. A moça mal acaba de ganhar o dinheiro e já começa a gastar, tudo bem! Eu ganhei meu primeiro salário do meu emprego novo e comprei um vestido de 700 reais. É super inteligente, sabe!
Isso só mostra o quão irreal e estúpida é a forma da Torre retratar alguém que só quer um pouco mais de conforto na vida, demonstrando a pessoa sempre se transformando numa materialista.
A atriz faz com que a personagem, através de seu olhar e expressões, seja encarada como a bruxa, alguém que se corrompeu e se tornou uma vilã. É estúpido, irreal.
As situações e suas devidas retratações da realidade são um show de horrores, todas. São super ilisórias, visões deturpadas e maldosas do "sistema". Famílias mundanas sempre retratadas como bagunçadas e com problemas. Colegas de trabalho sempre mau-caráter e agressivos. Há duas ou três referências (zombarias) escrotas contra homossexualidade. Em uma delas a mãe está vendo um programa onde um casal gay é protagonista, e eles são postos de costas pra provavelmente não dizerem em Betel que"irmão tal interpretou um gay". Ela os apoia – de jeito ridículo, dizendo "o mundo mudou" e sem nenhuma seriedade. Não falam de amor entre os LGBT, afinal, eles não pregam amor, mas sim ódio e medo. A outra é quando a colega da filha mais velha diz – desnecessariamente, dando a entender que "mundanos se exibem quando são não-héteros" – que tem duas mães, e o pai começa a ficar alterado com esse simples fato e já joga aquele discursinho de "seguimos o que está na bíblia". Há uma terceira, porém mais implícita. O colega da esposa sempre fica de costas também, e fala um pouco mais solto. Ouvi pessoas atrás de mim dizendo "ih é boiola", mas na dublagem BR (que sempre foi PÉSSIMA) ele não é tão solto nem fazia gestos femininos. É ridículo, nojento, tendencioso e desnecessário. Queriam mesmo abrir espaço para insultar essas pessoas – na qual eu e outros infiltrados estamos inclusos – de graça. O filme não mudaria em nada sem essas idiotices. A conversa do ancião com a guria foi desconfortável de se assistir também, bem invasivo.
Legal que o estudante se batiza, e bem rápido até. Normal hoje em dia. Só é moiado como é forçado e diria que até seja ilusório. Não sei aí aonde vocês moram, mas aqui arrumar um estudo bíblico é complicado.
A segunda parte termina com o marido da esposa ficando desumilde e recusando ajuda do estudante.
O filme dá vontade ver até o fim? Não, não dá vontade de ver até o fim. Estava na metade da segunda parte e já queria que terminasse. Escrevi essa resenha antes de ver a terceira parte e já perdi por absoluto o interesse. O final – aliás, os roteiros torreanos são bem previsíveis: tudo normal, desanda, desaba, meditam e tudo volta a ser feliz como antes num passe de mágica. Digo mágica porque é bem irreal, por exemplo, a irmã mais velha ter aprendido o lógico – o amor – e volta a ser fiel a Torre: voltando a ver coisas normais como erradas, só porque o trabalho era muito puxado e tinha "muita pressão". Como se na Torre não tivesse pressão, né. Essa menina ou arruma um emprego bem levinho ou não irá durar nada num emprego normal.
Ah sim, a terceira parte tem cenas completamente descartáveis: todo mundo muda num passe de mágica e todo mundo fica feliz. A mulher, ao não faltar à celebração, não perdeu a amizade de Jeová. Que lhindo.
Agora entendi porque minha mãe ficou num ódio mortal quando tive de faltar à celebração pra fazer uma prova. É, o deus todo amoroso vai chegar pra você, juntar os dedos e dizer "corta aqui, não sou mais seu amigo" por não ter ido a comemoração. Que maduro, hein.
Os filmes JW são bem irreais, mas este sem sombra de dúvidas foi o pior. Ele é muito forçado em criar situações, com algumas até aleatórias, como do nada a mãe da moça dizendo que estava com dores e ficando doente, e queria morar com ela. Tipo, "why". Enfaticamente nada do que ocorre naquele filme se dá de forma natural ou espontânea.
Além disso, o filme retrata muito mal ambos os mundos: o mundo normal – esse nem preciso comentar – e o próprio mundo torreano também. Sabe quando vocês lêem/ouvem que "dentro da organização serão felizes, e fora dela nunca serão"? O filme inteiro se resume a essa mensagem multiplicada por 7, de tanto que é jogado na sua cara, o que faz o filme ser muito ridículo e desinteressante de assistir, levando a pessoa normal (porque os TJs consideram como melhor filme do mundo) a caçoar do filme.
A qualidade da filmagem caiu. Nos outros filmes as filmagens eram bem feitas, me surpreendiam. É isso o que acontece quando decidem fazer filmes todo ano. A única coisa realmente boa e proveitosa que via nos filmes JW eram a qualidade da pós-produção, e se não fosse o filme de Ezequias, diria que essa qualidade se foi. Parece bastante que são duas equipes diferentes para produção de filmes: uma equipe fantástica que cuida das histórias bíblicas e outra bem moiada com uma mentalidade iludida para situaçõss atuais.
Os cortes são desconexos e inconscistentes, com o cara se mexendo duma forma, corta e ele tá numa posição bem diferente. Os ângulos de filmagem são bons até, mas tinha horas que não a direção não fazia ideia do que queria fazer. Falando em "não saber o que queria fazer", a abertura e efeitos de transição são infantis demais. E quando aconteciam no meio do filme, senti que estavam apressando as coisas porque de fato não é interessante. Nada é interessante. Mas acontece com frequência, e a transição é mal resolvida nos movimentos. Também não sei o que queriam passar com aquele efeito. Imitar seriado americano? Não sei. Ao menos o efeito da moça se tornando estátua de sal foi... Sei lá. A moça é muito bonita. Mas é bizarro, tenta fazer jumpscares – quando algo assustador pisca do nada na sua tela – e... Achei interessante aquilo ali, mas forçado e bizarro num filme desse naipe.
Só digo uma coisa, o filme é um show de horrores e um show de horrores amador. ★
submitted by Lucy_Senna to extestemunhasdejeova [link] [comments]


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