How about more awkward foot stuff with Alicent?

I hear in the movie Ridley’s character believes the whole time she’s a nobody born to non-descript parents, until the end when she learns her real dad is Johnny Weismuller.  

Great, now I feel even less guilty about pirating the shows from these fuckers.  

It’s pure reputation washing and brand building.

Any time I hear that a filmmaker has gotten “unprecedented access” or that the film is “authorized” I know it won’t be insightful or offer anything compelling. Because it’s just brand building, and won’t engage in anything probative, beyond that the subject was a genius who was ahead of their time.

It’s already too late.  He’s been suffering from dementia and is under conservatorship.  He would not be able to appear on camera, let alone divulge anything new or previously unrevealed.  

I’ll echo the sentiments of others, that nepotism will only get you so far before you get sidelined. Did Maya Hawke have help getting her foot in the door? Absolutely. But she’s also done the work, and has the drive, and few would argue that doesn’t have incredible ability and camera presence. Compare to, say, Chet…

Oh no anyway.gif

Yes!  I posted a bit about this below, but Soul was so frustrating for me, because it had the elements for a great film.  They could’ve done something really groundbreaking if they had just focused on the story of the aspiring jazz musician.  Made a straight up drama in animated form. But they had to shoehorn in a…

That’s what I found so frustrating about Soul.  It *could* have been that movie.  I wished it had just been a straight melodrama about a guy aspiring to make it onto the stage as a jazz musician.  Instead Pixar had to be Pixar and shoehorn in a plot about worldbuilding and a comic foil in Tina Fey, and it cheapened…

Same, I’m not sure I can watch this.  I’m a filmmaker, primarily non-fiction, and I’ve completed many projects, but none that have made a big splash or played at film festivals.  And I’ve got a few that I didn’t finish.  I turned forty and boy I’ve been doing a lot of reflecting....

Yes!  What if they tried to evoke Rankin Bass, or attempted to marry their style to something in a two-dimensional mode?  

I did, and it was one of my favorite (recent) Pixars.  But I still had issue with the animation, namely that there was so much of it.  Pixar seems so self conscious of its reputation as a leader in computer animation, and it seems like they are always pressured to keep pushing the envelope, to distracting levels.  You…

Another fundamental issue for me is their style is stale. At its core, every Pixar film has the same feel. The same movement of the characters. The same kind of mic drop humor where a character freezes and something plops to the ground. They can conjure anything they want, and they just repeat the same kinds of…

I agree with you on the example you give. We don’t need that whole backstory. Max suffered loss, and is therefore a loner. That’s all you need.

I *knew* you were a Dreyfusard.  

Richard Dreyfuss showed up, that’s what happened.

Nailed it. This is how Furiosa works too. I saw it yesterday, and was perplexed by some of its aspects, until I realized that what we’re not seeing is objective truth, but a legend being related by another. The tell being when the History Man says he heard a certain detail directly from Furiosa herself. That’s a…

The big thing for me is, no awards for Megalopolis.  It would’ve been better to have that film out of competition.  Now Coppola has to try and shop his film that was passed on American distribution, has middling reviews and couldn’t get get a single honor from Cannes.

Case in point the Mad Max movies. Don’t get me wrong, George Miller makes incredible films, but Fury Road underperformed, and Furiosa may be an outright flop, and this shouldn’t be the case. Both should be profitable, because both could’ve been made for smaller budgets, because they ought to be junkyard type movies.…