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Friends In Your Head | Forums → Posts by johnpavlich
Fair enough, but I'm sure if I drink enough beer, I won't mind the taste anymore.
Just because the brain can adapt to something like that, does not necessarily mean it should or has to. I mean what's next? Films shot and projected at 48 frames per second? 
I argue that Die Hard 2 is a perfectly fine film and is only "bad" whenever it makes reference to itself as a sequel. If you were to make a fan edit and remove the few (but glaring and obnoxious) moments of self awareness, the film would play much better. The only one I would keep? The last one at the end, when Holly asks John, "Why does this keep happening to us?" mostly because it was expertly delivered and makes me laugh every time.
Back to Dredd: I find it silly that anyone who has seen The Raid can't enjoy (or won't watch) Dredd, as if seeing one completely invalidates the other or renders it unnecessary. One should have no effect on the other. Sure, the plots are basically the same (the law must bring justice to a lawless high rise, but are trapped inside and forced to battle the inhabitants as demanded by a crime boss who resides on the top floor), but so what? If I see Armageddon first, does that mean Deep Impact has nothing to offer me and I shouldn't even bother? Of course not. They are very different movies, premise notwithstanding.
I really enjoyed this episode (I was present for the live record). I had seen the film for the first time mere hours before, and I loved it. Apparently, the original creator of Judge Dredd was a consultant on the film and I think it shows. Furthermore, in addition to being naturally funny, Down In Front was in top form in explaining why the movie works and suggesting alternatives or how to fix the few things that didn't work. Great episode! One of my favorites!
I can only shrug and repeat that it worked for me.
It's interesting that you mention how the villain doesn't end up facing off against the hero. You know what other movie is also guilty of that? The Fifth Element, also written by Luc Besson.
If I watch the movie again and go through it beat by beat and it turns out you're right about the wasted potential and not delivering on everything that's setup, then I'll retract my implication that it's a "perfect" movie.
Until then, does anyone else agree with me that Premium Rush is at least a perfect movie?
Well shit, man. Tell me what it means, then! How else am I going to learn?
....Wait, my tiny review you're quoting from me here has nothing to do with why I think it's a perfect movie, just FYI. If we're operating under the definition of setting up what is paid off and vice versa, then I feel Lockout qualifies. Granted, I've only seen the movie once but I'm pretty sure every gun presented on the mantle was eventually fired.
Oh, don't worry. I know just as well as you do that Lockout isn't a "good" movie, but that's not what we're talking about here. I think it's a "perfect" movie. For me, Guy Pearce's performance and much of what his character said and did were what carried me through. It's essentially Luc Besson doing John Carpenter's lost "Escape" sequel, "Escape From Earth" but in this instance, Snake Plissken is a lot more delightful to be around. Not so surly. At the end of the day, I was surprised at just how much damn fun I had watching the movie and I really appreciate how sincere and honest it is about what kind of movie it aspired to be.
As for Premium Rush, I'm doing a commentary for that soon, so I'll just answer your questions there.
That was a big bucket of awesome. However, I've never understood the desire to pit cats against dogs, as one being superior to the other. It's apples and oranges. Yes, they're both fruit (or in this case, pets), but each have their pros and cons. While I may prefer cats, I also love dogs. Why embrace one and dismiss the other? They're both awesome in their own ways.
I break it down like this: If you want a baby (without actually having a baby), get a dog. If you want a roommate/friend, get a cat.
I've never heard of that Fatale comic. I'm dying to read it, mostly because it reminds me of a graphic novel I've had banging around in my head for years. For YEARS! It's called Seraphim. The story is equal parts Hellboy, Dogma and Angel, with a dash of Miller's Crossing.
Hey! I resent ONE of those!
I don't think so. Maybe more a failing of Trey's, but not the film's. However, I wouldn't necessarily call it a failing anyway, as Trey is allowed to view the film however he likes. Joss has said it's a loving hate letter to the Horror genre. What he means by that is he was unhappy with the state of much Horror recently, particularly "Torture Porn". He felt a lot of the humanity had gone out of these stories, and it's that humanity which is so important to why these stories are told to begin with. Cabin is all about exploring that. Trying to understand how we got here and why we want/need to see this. Trying to find the humanity, which yes, ties back to what these movies used to be, while also examining those tropes as well, so it leaves no stone unturned and is an equal opportunity microscope.
Part of what gave Joss hope again for the genre was "The Descent", which is probably why David Julyan (Memento) is the composer on Cabin, as he scored both "The Descent" and the sequel.
To clarify, The Director was originally written as a man but yes, once they changed it to a woman, Sigourney Weaver was who they immediately thought of for the role. It's also important to note that Joss already had a history with her, since he wrote Alien Resurrection and she was a huge supporter of his original script. It was the thing that convinced her to do the film.
Friends In Your Head | Forums → Posts by johnpavlich
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