In classical Indian Asethetic Theory, there were 8 “Bhavanas”, or mood-states, to employ when creating art.

There was no “mood-state” in the creation of that animation. It was made by an AI.

Besides, why is he supposed to pretend to like something he doesn’t like? Especially, when he isn’t talking to his peers, but…

Well, they are trying to create an AI that will draw and animate like humans do - essentially, they are trying to create Miyazaki’s replacement - and are showcasing a grotesque animation bereft of art or humanity. What did they really expect?

I disagree. Hostel 2 was more self-assured in the sense that he was pretty much just re-doing Hostel (but, this time, gender-swapped so now it’s women who are getting killed instead of men! Crazy!). He makes his point clearer by making it more explicit and cutting out all the ambiguity (in the first one, it can be…

Personally, I think Roth took it for the same reason that he took Death Wish. He needs work and it was getting harder and harder to make his micro-budgeted gore films. Is it a bad fit? Probably. I don’t think Roth is a good filmmaker.

I find Hostel interesting for two reasons. One,I think the first film is the closest Eli Roth made to a good, compelling horror movie. It’s not quite there but it’s almost there and compared to the rest of his work, I almost want to call it a good movie. Secondly, the Hostel series is responsible for probably one of…

Speed Racer is actually a pretty fucking amazing film and is genuinely underrated. Sorry it wasn’t your cup of tea but don’t imagine that anybody is pretending that you’re right or insightful when you dismiss it so easily.

Agreed. I made a similar argument with somebody on another thread. They were defending comments made to Tran as long as it was actually valid criticism, and my reply was:

I refuse to apologize for Fallout 3.

I gotta say that, when it came out, the twist blew my mind but, rewatching it as a middle-aged man, I was shocked how obvious it was.

Gods, that woman should have had a better career. She had an “OK” career but movies like Jacob’s Ladder prove that she should have had more prominent roles in more prominent movies.

If you are talking about the “manbabies” only, then yes, diversity seems to be the main problem that they had with TLJ (and the other new Star Wars films).

If you are sending “valid criticism” to somebody posting a picture of themselves wearing a dress or eating some ice cream, you are, at best, doing it wrong.

Just about every reviewer or friend that I know has described it along the lines of “a sublime opening 5 minutes followed by a manic and unengaging plot with two miscast, charmless leads” and whatever rating THAT gets is pretty much spot on.

—Valerian And The City Of A Thousand Planets is underrated!—

Oh, shut the fuck up. I didn’t “make fun of your rage”. I just pointed out that many people have actually have valid reasons to dislike TLJ and I dislike it when people use these horrible people to dismiss criticism or conversation about the new films.

Hey, you know what is an interesting film? The Japanese film, Tag, that was released in 2015 and is available on Netflix.

I really suspect that the combination of toxicity and obsession with behind-the-scenes shit that the Internet loves is the problem.

Hmmm...I kinda strongly agree with you on some parts of this but not on others. I did like Solo or, at least, I enjoyed it more thoroughly than I did the other Neo-Star Wars films and, at a core level, OG Star Wars fans from the first generation should be used to strong female leads after Leia and, if anything, should…

I remember that, as a kid, I thought that Mr. Rogers Neighborhood was boring. I watched it - it was on in the middle of Sesame Street and Electric Company - but it was slow and not funny and old-fashioned.

This feels more like an EP than an Album and many of the tracks feel like sketches more than songs. I found it consistent though not compelling, with the exception of “Ghost Town”, which I think is a keeper.