David Price5 said:Well, just as bad movies exist, bad series exist too. We don't dismiss the entire medium of cinema just because of a few flops, so we shouldn't judge TV directing the same way. Just look at the production quality of shows like *Lost*, *Damages*, *Deadwood*, or *Rome*.
I’m not really trashing it, but it feels like a bit of a step backward for people who actually care about genre distinctions. You kind of reminded me of Walter Hill—he’s not always my cup of tea when it comes to standard films, but his TV work is top-tier, even though I don't usually go for Westerns myself...
northerncrane4 said:Badhem actually started out in TV. And don't act like he hasn't done films—*Blue Thunder* and *Drop Zone* were just the beginning. Don't forget *Short Circuit* and *Stakeout* either... 🙄
To me, Badham is a solid B-movie guy—nothing wrong with that—but he’s alright. Back in the day, he made stuff that people actually wanted to see, you know? Real box-office hits that didn't try too hard to be high art or anything. For me, "Stakeout" and "Another Stakeout" are basically the peak of what a good action comedy should be, and "Bird on a Wire" isn't far off from that level. I'd put him in the same bracket as Peter Hyams... except Hyams actually showed some ambition back in the day (like with *Capricorn One*) and had some real quality, whereas now he can barely scrape together a decent flick...
Melissa Wilson2 said:Man, Donnie Darko never hits the mark for me. I've always kind of hated the title, but honestly, this comment pretty much nails it.
Honestly, the movie blew me away. It’s just... I don't even know how to put it, you really have to experience it for yourself to get how the atmosphere hits differently than anything else out there. I'm low-key terrified of what they might try to pull with a sequel... but this one will always be my number one go-to whenever I'm looking for that specific kind of personal enjoyment. Enjoy the ride.👍
David Price5 said:We shouldn't overlook television series, especially now. The investment is massive, and frankly, the quality can be quite impressive...
Yeah, true, but the legends of cinema basically surrendered to the medium. I'm not hating on it—I mean, even Tarantino has played into this trend—but when I think about how *The Fugitive* is one of my all-time favorites, and then you see the director basically scraping by on mediocre TV shows nowadays... it just feels wrong. And Friedkin? I don't know... maybe he was doing Petersen a favor or maybe he just can't land a real gig anymore...
briskbison41 said:Honestly, the fact that he likes them might actually work in his favor somehow.😁
I honestly don't get how they even managed to land Billy Bob Thornton for this—the info they've put out about the movie is just pathetic, even if the listing looks all neat and official... and we aren't exactly talking about some cheap, third-rate remake here, either. This is a top-tier horror masterpiece that still holds up perfectly after all these years. The whole series is basically built on that same quality—though I'd say that's mostly because they actually had decent directors at the helm, unlike most of the other stuff out there...
briskbison41 said:I have to agree—Robert Knepper definitely has that specific look you'd expect from a horror movie killer.
And we already know he’s got a thing for younger women🤣 so this would basically just be an extension of his usual type, maybe even a deeper dive into that kind of role...
Jerry Martin19 said:Alright, found it... the thread, obviously 😁
What’s the consensus on Tom Tykwer? Personally, I thought he was solid to great with stuff like Heaven, The Princess and The Warrior, and Run Lola Run. But Perfume kind of fell flat for me. It seemed okay at first glance, but after digging into it a bit more—and reading a critique that felt way more substantial and layered, basically just better—it confirmed my doubts. It feels like he got lost trying to turn Perfume into some massive blockbuster for the masses. Maybe it's just me, but it feels like that charm he used to have (at least for me) has just watered down...
Not sure about his latest one with Clive Owen and Naomi Watts, but hoping it beats the last one. If anyone’s seen it, let me know what you thought 🙂
It’s basically a mashup of Bourne and Mr. & Mrs. Smith... pretty mid if you ask me. I haven't sat through it myself, but a buddy recommended it mostly because he can't get over how Clive Owen keeps acting like he’s still salty about missing out on the Bond role by making movies that feel like a cheap imitation of 007...
P.S. It’s kind of wild seeing guys like William Friedkin—you know, the guy behind *The French Connection* and *The Exorcist*—ending up directing episodes of *CSI*. And then there's John Badham, who went from directing *WarGames* and *Drop Zone* straight into TV series directing... honestly, it's a bit tragic...
I saw over on IMDb that they were actually considering having Robert Knepper play Freddy... which honestly sounds kind of wild, if you think about it... Robert Knepper T-Bag from Prison Break—now that was actually an interesting rumor... honestly, I think he’s got more edge than old Billy Bob Thornton, he just has that look on his face that makes you freeze up...
I was just scrolling through some old discussions about that whole *A Nightmare on Elm Street* remake situation... you know, the one everyone seems to have such strong feelings about. It’s funny how certain movies just stick in your head for all the wrong reasons—it really makes you wonder if we'll ever get a remake that actually respects the original vibe instead of just trying to slap a modern coat of paint on it and calling it a day. There’s always that tension between wanting to see something fresh and just wanting to preserve what made the classic work in the first place. I feel like most studios today just look at the numbers and go, "Hey, people liked this thirty years ago, let's do it again with more CGI," without actually understanding the soul of the story... which is usually where things fall apart. It's a tough balance to strike, especially when you're dealing with something as iconic as a Wes Craven creation. You can't just replicate the dread; you have to recreate the feeling... and most remakes just end up feeling hollow. Anyway, just some late-night thoughts while I was digging through the archives... Wes Craven basically put it this way regarding the remake—he’d honestly rather take a jawbone to the eye than deal with that whole situation... ha ha ha.
I was just scrolling through the FAQ section over on IMDb for that one movie... you know the one... and I started thinking about how much people love to nitpick the tiny details in these scripts. It’s funny how everyone thinks they have a better take on the plot than the writers did—especially when it comes to those weirdly specific logic leaps that only make sense if you stop thinking for five seconds... anyway, it got me down a bit of a rabbit hole. Just one of those things where you realize how much work goes into making something look effortless, even when it's clearly a mess behind the scenes... turns out, most of us are just overanalyzing stuff that wasn't meant to be solved... Man, there's just a massive pile of info floating around right now—some of it totally confirmed, some of it just straight-up rumors—about this remake...
Melissa Wilson2 said:I watched half of it🙄 before giving up—the file was glitching out or something (classic Divx issues)... so I'll try finishing it later, what's left of it🤷 but honestly, all those Asian horror flicks just feel like a repetitive loop to me. I still remember watching "The Curse" and having zero clue who anyone was—everyone looks identical, which I think is a massive flaw in their whole film industry.
Check out how this guy manages to mimic about 500 different Asian actors in just two minutes 500 impressions in 2 minutes🤣 🤣 🤣
😂Total madness. Everyone's basically the same now because every single movie relies on that one trope—some ghost lady with a pale face. It’s hard to get actually scared when everything follows the exact same template. I'm getting ready to marathon Quarantine, so if anyone has suggestions... I watched REC and man, that movie was freaking incredible. Only thing that bugged me was the handheld camera work—half the shots were totally out of focus—but hey, I guess that's how you make a decent found-footage flick.
velvetcrane57 said:There is something about the atmosphere in *Blade Runner* that just hits differently. Honestly, I’m struggling to think of a single film out there that manages to capture a mood quite as effectively. It’s in a league of its own.
I’m right there with you. To be honest, when I first saw it—I was only about seven—it actually kind of creeped me out, but man, does it land perfectly for me now. That constant rain, the darkness, the haze... it all just works so well with those shots of massive, empty skyscrapers and that general sense of everything just falling apart. I'd throw Alien into the mix too... even now, that feeling of claustrophobia still gets to me whenever I watch it...
Melissa Wilson2 said:Honestly, that movie was a total bust for me. It felt rushed, full of plot holes, and the ending... man, everything was just so forced. But after watching [REC], I can tell you right now—that's how you make a real movie. I’m planning on catching Shutter tonight (the US version, since I'm not really in the mood for the Thai original), so please tell me if I'm making a mistake.😕
Don't do it!!!! Oh my God !!!!!! Seriously, don't even think about it!!!!!🤣 This movie is a complete disaster. If you haven't seen anything original lately, this is basically just a collection of every cliché ever. The Ring, The Grudge... whatever US horror tropes you can think of, they're all crammed in here.
P.S. Mirror is actually a pretty decent flick—it delivers on what it promises without cheapening the experience by trying to jump-scare you constantly (you know, the whole thing where pigeons, cats, or people suddenly pop out of nowhere). The story is good, even if some parts feel a bit illogical, and the atmosphere is solid. My only gripe is that sometimes you see a bit of Bauer coming from Kiefer—I guess he thought he was making something different—but the ending is actually one of the better ones, mostly because it doesn't cave to the usual demand for a crappy happy ending.
Man, this is the kind of topic I live for. Seriously, why didn't I stumble upon this thread sooner? What I can't wrap my head around is how the terrorists—or whoever actually pulled this off—managed to get into the cockpit in the first place. I mean, you don't just stroll into those flight decks... those doors are built like tanks, designed so they can't be breached even if the Hulk himself came knocking. But according to how this played out, these guys (who supposedly weren't even armed, if I'm following correctly) didn't just take down the entire crew, the pilots, and any potential action stars like Steven Seagal... they actually managed to breach a highly restricted area that stays locked tight regardless of threats or suspicious activity.
crimsondriver54 said:While I’m generally not a fan of remakes, I’m hoping this version is handled with more care than the original. That one suffered quite a bit from forced "humorous" moments and some truly grating music—not to mention the acting felt pretty wooden overall.
Yeah, the Original definitely has some rough patches—the music is a disaster, and the acting and plot feel almost like a parody at times. Still, the core concept is actually pretty cool... Craven really proved he had a knack for imaginative storytelling when he wrote things like A Nightmare on Elm Street, The Hills Have Eyes, and Best Friend. If he gets the right resources this time—which he probably didn't back then—he might actually show us what he can do. For a remake to actually beat the Original, it needs to feel grounded, especially since they aren't changing the story much here... unlike that recent Friday the 13th, which wasn't even a real remake, and let's be honest, the original wasn't anything to write home about either.
Honestly, calling this movie a horror flick right out of the gate is just wrong—it’s a thriller, plain and simple. Even Wes Craven mentioned that a few times himself, but I guess you sell more tickets if you slap a "horror" label on it to make it sound edgier... Anyway, it’s actually one of the better remakes we’ve seen lately since it sticks pretty close to the original without trying to reinvent the wheel or adding a bunch of unnecessary fluff. The cast carries it, too. Tony Goldwyn is great as the vigilante dad—he was killer as a serial killer in Kiss the Girls—and Monica Potter is solid as the support, playing a role similar to that psycho she did in Along Came a Spider. It’s a great film that honestly outshines some of those big-budget, hyped-up trash movies coming out recently, though I wouldn't say it's for everyone. If you have a weak stomach, the original is probably even worse... Solid 5/5 for me.👍
briskbison41 said:Are you thinking of The Score (2001) or something else?
Nah, nah... movie soundtracks actually split into two different things. You've got the music side—which is just the songs or tracks that inspired the vibe—and then there's the score soundtrack, which is the actual instrumental music playing in the background. That track from the trailer falls under the score for the movie Inkheart... composed by Thomas Newman. The real struggle is whether you can even find it online, because I've been hunting for the score from Black Dog for years now and it's basically a ghost... total rarity. It’s way easier to find the licensed songs. This other stuff—the actual scores—is a much tougher nut to crack unless the movie is a massive hit or something...
briskbison41 said:I've been digging around trying to find that specific track that plays right at the end of the official trailer, but I'm coming up empty so far...
It's actually part of the official The Score soundtrack by Thomas Newman. So, now the real question is... does anyone know where I can actually download it?
briskbison41 said:I mean, I think his movies are pretty solid—especially the adventure ones—but honestly, it’s all just a matter of taste... So, did she talk you into it too?...😁
Man, Brendan Fraser is just so freaking cute...😍 If I had been forced to sit through those one-off comedies like Enchanted or Monkeybone... man, I don't think I would've enjoyed them at all. Now, The Mummy is actually great—it’s got its flaws, obviously, but it was a blast right up until Indy made his return... which, personally, I just find so charming...😍 So, I’d say The Mummy is sitting at about a mediocre grade right now—not great, but definitely better than National Treasure. Honestly, I could see him doing some action flicks; he’s definitely got that certain look for it... I did a little digging online, and the whole vibe seems like this mashup of Harry Potter and those other fantasy types. Anyway, I already downloaded it for her, so she can just dive in and enjoy. I already know she’s going to love it...
Journey... was just okay—kind of a mediocre flick, honestly—but The Mummy actually left a decent impression. Maybe it’s just because Indiana Jones had been off the radar for a bit, so there was this craving for that specific vibe, but I'd give the trilogy a passing grade at best. As for those comedies of his... man, good grief, I tend to steer clear of them for a reason. I'm basically being forced to sit through this one because my girlfriend is obsessed with it (even though I keep reminding her that Jim Carrey exists), so I guess I'll finally be able to give it an objective take. Right now, though, it doesn't look particularly interesting to me...
Didn't this kind of flop at the box office? It feels way too much like Golden Compass—which, for some reason, I just can't bring myself to watch—and with Brendan Fraser involved in more magic stuff... uh, yeah, pass. I'd rather he just stick to The Mummy.