Admittedly, my memory of the movie is quite dim. Yeager was my favorite part of the book.
Not sure if it’s a badly cut trailer, or a bad adaptation, but that “Right Stuff” trailer isn’t doing it for me. And that’s not just because they’re downplaying Yeager, but the whole tone just doesn’t feel right. Apple’s “For All Mankind” is alt-history fiction, but feels closer to the tone of the Right Stuff than…
Burn Notice got horrible because they were out of gas by the end. It’s one thing when your A-plot is the same basic victim-of-the-week story, if your B-plot can show some excitement, but the B-plots were the same thing every time. Worse, the main characters fell into the same conflicts again and again.
I feel like the A/B plot structure works well. A-plot is a sci-fi thing of the week, B-plot progresses an overarching story forward. As the season progresses, do a little ebb and flow over how much time each plot gets, so that by the tail end of the season, your B-plot dominates.
There’s something to be said, in general, for a “smeared” history; setting your fiction in a timeless place, modern but old, futuristic but modern. B:TAS was cribbing from the best, on that, I guess- James Whale famously took that approach for Frankenstein. (Which clearly informed some of the styling of B:TAS)
“The Most Dangerous Short Circuit”
I haven’t gone back to it, but my initial reaction to High Fidelity was that I hated it: the asshole protagonist loses his relationship for being an asshole, mopes about it, and then his “timeout” lapses, and he’s back to his relationship.
Wait, so you mean to tell me a device in a safety critical industry operates using an ancient- and thus well known and well understood- piece of hardware that also requires physical access (and thus cannot be remotely exploited)?
I mean, “I don’t want to associate with this person because I find them awful,” doesn’t seem immature to me. Like, I can enjoy media and personalities that are problematic or toxic to varying degrees, but I have to take them in context. The context here is that it’s 2020, and Doug TenApel was involved, so within that…
This rant may have gotten away from me.
Star Trek has never been particularly successful as a film franchise. Oh, it’s had a few hits, but adjusting on its ratio for hits and misses, well, they’ve been at their best when they’ve been at their lowest budgets. (TWOK famously shot on roughly a TV production budget)
Infinity Train’s third season currently doesn’t have a firm release date, though we know when it drops, it’ll be streaming on HBO Max.
Zorro-era Banderas would have been perfect.
I’ll hope for something big, loud and dumb, that’s not embarrassed by being big, loud and dumb, and has a director that wants the action to be clear and legible. If they do all that, it’ll be great.
I’d be shocked if it hasn’t been. Hell, it may have been it JC3, the one I played, and I don’t remember it, because, well, as you said, you aren’t playing for the story. Which gets us back to “oh, the screenwriter for John Wick? That’s a person who knows how to write a movie without a story.”
100% agreed, for sure. I don’t even think they need to be clever (or should be): evil dictator is building an evil super weapon, but surprise, the CIA wanted it for themselves. Boom, third act is just one long action sequence.
I think you kinda have to go balls-to-the-wall action in 202x.It’s the world of superhero movies, and unrealistic action sequences are the go-to, and you absolutely need to have a grapple-hook/wing-suit sequences, and there’s no way to make that look at all realistic. It’s superhero shit.
On one hand, “We’re making a ‘Just Cause’ movie,” leaves me asking “why?” but “John Wick with more explosions,” answers the question.
The moment Baby Doll and Dorothy started playing, it was so sweet and you also could instantly tell that it was going to end so, so badly. I want to talk more about this show with my friends, but I’m the only one watching it, and you just. can’t. explain it. Each episode is cracking with so much stuff and it’s all so…