Well, if you listen to the conversation you'd realize what was going on. I mean, it would be silly for the movie to have a bunch of Frenchies saying things like "Damn Vietnamese people rebelling against French colonial rule! Thanks to the United States Military for coming to our aid because of a diplomatic alliance,…

Well, if you listen to the conversation you'd realize what was going on. I mean, it would be silly for the movie to have a bunch of Frenchies saying things like "Damn Vietnamese people rebelling against French colonial rule! Thanks to the United States Military for coming to our aid because of a diplomatic alliance,…

I agree. And to the people specifically criticizing the plantation scene, it's a fantastic addition if you have read Heart of Darkness and think of Apocalypse Now as an adaptation of Heart of Darkness (which was essentially a massive critique of colonialism) and not just a Vietnam War movie. It's also refreshing to…

I agree. And to the people specifically criticizing the plantation scene, it's a fantastic addition if you have read Heart of Darkness and think of Apocalypse Now as an adaptation of Heart of Darkness (which was essentially a massive critique of colonialism) and not just a Vietnam War movie. It's also refreshing to…

I agree with eligit. My favorite directors are the ones that make very distinct stylistic choices that may alienate or turn off most viewers and critics, but for the ones the choices resonate with, they REALLY resonate with.

I agree with eligit. My favorite directors are the ones that make very distinct stylistic choices that may alienate or turn off most viewers and critics, but for the ones the choices resonate with, they REALLY resonate with.

It does, but it tells them in a different way. That movie is clearly a Wes Anderson movie, but since he had to frame it in the work of someone else, it forced him to explore different ways to express those themes. I feel like all of his other movies utilize the exact same techniques, follow the exact same plots, etc.…

It does, but it tells them in a different way. That movie is clearly a Wes Anderson movie, but since he had to frame it in the work of someone else, it forced him to explore different ways to express those themes. I feel like all of his other movies utilize the exact same techniques, follow the exact same plots, etc.…

Oh, no, I completely agree, Cronenberg has grown so much as a director, and is unquestionably better now than he was at the beginning of his career. His old stuff just has this indescribable charm that appeals to me more than his current stuff.

Oh, no, I completely agree, Cronenberg has grown so much as a director, and is unquestionably better now than he was at the beginning of his career. His old stuff just has this indescribable charm that appeals to me more than his current stuff.

If someone's head doesn't explode or their body doesn't transform in some completely disgusting show of borderline cheesy special effects, then it's not back-to-basics Cronenberg for me. That's the Cronenberg I like. Did anybody at Cannes see his son's film? Its premise sounded more like his father's old work, which…

If someone's head doesn't explode or their body doesn't transform in some completely disgusting show of borderline cheesy special effects, then it's not back-to-basics Cronenberg for me. That's the Cronenberg I like. Did anybody at Cannes see his son's film? Its premise sounded more like his father's old work, which…

I really don't understand the worship people have for Rushmore over Anderson's other movies. Given that, except for Fantastic Mr. Fox, Wes Anderson essentially makes the exact same movie with the exact same themes (and, generally speaking, the exact same actors), his newest film is always technically his best since he…

I really don't understand the worship people have for Rushmore over Anderson's other movies. Given that, except for Fantastic Mr. Fox, Wes Anderson essentially makes the exact same movie with the exact same themes (and, generally speaking, the exact same actors), his newest film is always technically his best since he…

Why would NBC even bother spending the money on producing a fourth season of a niche show with limited popularity if they're going to remove the reason it has even that niche popularity in the first place? Besides making the show unappealing to existing fans, Community's fanbase is remarkably well connected and…

Why would NBC even bother spending the money on producing a fourth season of a niche show with limited popularity if they're going to remove the reason it has even that niche popularity in the first place? Besides making the show unappealing to existing fans, Community's fanbase is remarkably well connected and…

I would imagine that the actors dropping out of this film have less to do with them feeling uncomfortable about the subject matter and more about their realization that Quentin Tarantino is a shitty writer and director, as well as a MASSIVE prick who annoys the ever living shit out of anyone that's near him.

I don't know if anyone's mentioned it yet, but Blade Runner is the best film-adaptation-of-a-book I've ever seen. It is significantly different from the book in a number of ways— it cuts out all of Mercerism, the Pinhead, and most of the animal subplot— but it translated all the themes of the book perfectly and it did…

I like Sparta WAY more than The Mars Volta. Sure it's not prog-rock ambitious, but it's way more solid, especially in terms of songwriting. Rather than piece together random big words and claim it's some sort of story, I actually feel like Sparta's songs mean something.

I think you hit the nail on the head. Unfortunately, I think it was those two warring philosophies that ended up tearing At the Drive-In apart, but all parties involved benefited heavily from having someone push them.