I knew it was Meyer and the trailer still kinda sold me. Andrew Niccol is good and they make a pretty big point of saying he wrote the script, so there's a good chance he took what was good about the story and rinsed off the Meyer.

White's tendency to use big words and obscure references doesn't impress me largely because he's clearly trying so hard to be impressive and assure everyone he's the smartest guy in the room, and I think he likes to be contrarian so that he can make claims to seeing what others don't because, again, he's so much smarter than they are. This seems clear from the fact that, from the reviews I've read, he spends almost as much time brow-beating other movie critics as he does actually saying mad things about the film in question.

Remember the NIGHTMARE BEFORE CHRISTMAS commentary where I made it a running gag about it being communist propaganda? That's all White does, except he'd actually go out and watch some obscure communist-era films so he could name-drop them. It's all self-inflating nonsense. Give me a week with the more obscure titles in the Criterion collection and I could write a review just as "impressive" and "insightful" (and insane) about MOVIE 43 or HERE COMES THE BOOM.

Did White come up in the video? I didn't bother to watch it past the cutaway to his "I just discovered Godard and everything mainstream is insipid trash" buddy.

RE: the topic -

No. Next question.

Team What The Fuck Just Happened At My Face! Woo!

Talking about setting/tone is not even the same thing as talking about plot/story.

My contention is that those elements wouldn't have to be sacrificed to do so, although some things would. But we all have to kill our darlings for the sake of the story sometimes.

The logic of the time travel is a nitpick. I mean, it has MASSIVE problems but so does BTTF. The logic of people's behavior and the flow of the story, on the other hand, is fundamental, and where I think BTTF soars and LOOPER stumbles.

Obviously YMMV with any movie. Some people loved this flick unreservedly. But for me, the storytelling was messy enough to get in the way of the authenticity of the emotion. The lack of a solid story throughline translated into a lack of emotional throughline, for me.

You're right, though, that Disney does deserve credit for what they're doing. We talk about them feeding us Star Wars until we die, but at least they respect us enough to generate new Star Wars content for us to consume. They could easily have just put out T-shirts of Mickey dressed as Luke and kept re-releasing the existing films in 3D and on Blu-ray and in 4K and upside down and inside out. They may be milking a cash cow, but at least they're trying to give us fresh milk instead of trying to sell us the old milk again and again.

I don't think you'll hate it, but you might develop a sad.

It makes me sad that my immediate gut reaction to this idea is "Ew, no."

This is interesting to me. I'm hearing this a lot but nobody was raising this as an issue when Fincher was the rumored choice, and his movies look WAY more similar to each other than JJ's do.

Personally, I think SUPER 8 shows JJ is very capable of emulating an aesthetic while still making a modern film, so having him on Ep7 is one of our best shots of having a film that actually feels like the original trilogy. As long as he doesn't bring in Orci/Kurtzman/Lindelof to mess with the Arndt script I think we're in good hands.

Ugh. Guys. This joke burned down 20 years ago.

This goes against your point, by the way, as the lens-flare-heavy STAR TREK was a very distinct "look" compared to MI:3 and SUPER 8 (the latter of which had some anamorphic flaring but nothing like the deliberately blinding nature of TREK's).

Eh, I like it better if he passes her despite the fact she "failed" according to certain parameters, rather than on an unstated technicality. You may be right that this was the intention, though. I also prefer my personal interpretation of AMERICAN PSYCHO to the movie the director, on the commentary, says she was making.

EDIT: I went to check out the script to see if there was an indication whether they might have intended this or not, and hey what do you know, Trey called it: there WAS supposed to be a shootout leveraging the slo-mo factory, although not quite Trey's version -- Dredd and Anderson were going to take a big tank of the stuff up to Ma-Ma's and shoot it open, overdosing all the bad guys but using their (established earlier) respirators not to get hit themselves.

It was probably cut for budget and for being essentially the same beat as the drug bust earlier; personally I like Trey's idea better.

Interestingly, the dead man's switch thing is NOT in the script I've got. Ma-Ma gets the drop on Dredd tries to shoot him, and he breaks her gun hand and punches her in the face repeatedly -- pausing only to hit her with slo-mo -- until finally punching her through a window.

We did it, you guys.

http://www.comicvine.com/news/dredd-top … ts/145864/

Oh fuck. I read the first couple chapters back when it came out and nearly gave myself psychosomatic ebola.