Teague, that is amazing. Man, now I want to see a poster like that but for the good version of this movie, where it's mark hamill, harrison ford, carrie fisher, nathan fillion, scarlett johanssen, with kurt russell as the villain, directed by Alfonso Cuaron.

Great review Dorkman. I wish I could agree with you, but I'm glad you loved it.

Here's my problem with it. Yes, the editing is extremely impressive and they pull that aspect off, no question.
However, to me, the whole movie comes off as empty and pointless, and the primary reason is this:
For the most part, each individual story is like the "Surrogates" of its respective genre.

We get the most generic and uninteresting mystery story (an evil corporation? way to stretch those narrative muscles), a pretty generic sci-fi blade runner ripoff (with a protagonist who does almost nothing except get dragged around by the badass hero who has pretty much 0 characterization, a story about a white guy freeing a slave which makes him feel better about himself (which plays out exactly to the letter like you'd expect).

Even the stories that could potential be more original and interesting, like the far future one and the escaping old people one, are greatly undercut by the lack of runtime. Plot points get dropped all over the place (the mobsters from the beginning of the Cavendish story who completely vanish, Susan Sarandon suddenly showing up at the end without even a scene of the two re-uniting).

And it's totally understandable to me that this is simply an unwinnable problem you run into by trying to cram 6 stories in 2 hours 40 minutes. My contention though, is that this either needed to be a mini-series, or they should've made some hard choices and cut 2 of the storylines and fleshed out the other 4.

The fact is that as outstanding as the cross-cutting is, aside from being interesting on a theoretical level, it all goes to waste because the stories are mostly generic, forgettable, and uninteresting, like watching rough story outlines before the writers put in any of the interesting details or quirks that would've made them unique.

And that's a damn shame, cause I really wanted to like it.

Worth reading: http://marketsaw.blogspot.com/2012/11/e … ealed.html
Obviously just rumour at this point, and the guy is a known huuuge shill for 3d, but almost all of his major scoops from the last 2-3 years have turned out true (he called the non-lucas directed star wars 2 years ago, as well as many specific things that ended up happening with The Hobbit and Avatar). I'm inclined to believe his sources are legit, so I figured I'd share since this isn't stuff that gets mentioned on any of the big news sites.

I would lose my shit if Cuaron got to make a Star Wars movie.

Sadly I'm mostly too young to remember that time. It only existed for about 2 years for me, when I was just a kid, going to the movie rental section of the grocery store and just picking out movies that looked cool off the cover. I remember being SO excited when I saw there was a movie version of Wing Commander (sidenote: for a shitty movie, still an awesome main theme: http://www.youtube.com/watch?v=cohxgOVcK8E). Alas, the next year came the internet and I'd know every genre film coming out pretty much 2 years out.

I called bullshit on that as soon as I saw it, and it's since been debunked: http://www.firstshowing.net/2012/debunk … isode-vii/

Which is probably for the best, because I think the awfulness of Lindelof would more than outweigh the awesomeness of Brad Bird

Aronofsky will most definitely not be involved.

I suspect the only reason he was signing on to Wolverine was because he wanted to do Noah but couldn't get the budget for it since his movies were mostly flops. He was going to bite the bullet and do a safe studio job, except Black Swan turned out to be a completely unexpected huge hit, and he didn't need the Wolverine gig anymore.

It's hard to describe it, Incredibles is "big" in a different way. Incredibles is explicitly playing around in classic James Bond John Barry scores, it's a great score and my favorite of his, but it's not the kind of big I'm talking about. That one is more of a 50s/60s espionage homage.

I'm talking the big-scale fantasy scores that get you absolutely pumped up, like a Star Trek 2, Lord of the Rings, Independence Day, Conan Barbarian type of big, where the movies are built around big battles and the score sweeps you along and drives the movie. The kind of thing James Horner used to do in his prime.
Examples:

That type of scoring has almost entirely died out as of late, we see much more stuff in the modern hans zimmer vein (which is also excellent, but doesn't fit for a classical adventure series like Star Wars).

Oh god I hope they don't use Giacchino (last thing I need is him fucking up both the Star Trek and Star Wars themes). Ideally Williams is around for another 20 years to keep the ship going. If not him, then I'd settle for another veteran who knows their way around a memorable score, like a Silvestri, or a David Arnold.

If they have to go for younger blood, I'd love for them to use John Powell, How to Train Your Dragon is the most classic-John-Williams-sounding score I've heard in the last few years.

If Disney does decide to crack down, Pink Five will likely be the last large-scale fan film ever made.

Realllly hoping they get Brad Bird to do Star Wars 7. If anyone can inject the sense of fun the series has been sorely missing it's that guy.

Are lightsabers considered canon if you don't name them?
Can Lightsaber Choreography entries still be made as long as they don't explicitly reference any lore/characters (like this year's winning entry)? Or is that now dead too