Of course not. I have no idea if they do this in other countries—pausing a movie mid-stream—but here, they’re already forcing breaks on anything over 135 minutes. Give it a year and they'll probably start doing it for anything over two hours...
Even Inner Space isn't a total loss. I’ve always had a soft spot for Zemeckis—mostly because of Roger Rabbit. There’s a certain technical mastery in his work that I respect, mixed with this underlying sense of childlike wonder. Out of all the directors mentored by Spielberg, he’s definitely my favorite.😁😁😁
I thought the movie was terrible. Dante stumbled hard after Gremlin 2 and hasn't found his footing since—it's been a downward slide. Zemeckis did a much better job with Roger Rabbit.
I’m not sure if you can even call it an anti-Western—whatever—but it’s a hell of a movie. Easily one of Altman's best. Plus, you've got that L. Cohen score. You'd be crazy not to watch it...
Scenario and dramaturgy aren't technical aspects of filmmaking. Take Body of Lies, for instance—as a complete film, it isn't anything special, yet technically speaking, it's flawless.
Arthur Anderson49 said:To Be or Not to Be? It’s agonizingly long—just way, way too long. The whole thing is bloated with useless details—the kind of self-indulgent filler you only see when directors and writers think they can force their little obsessions down the audience's throat. Honestly, it didn't resonate with anyone. Not that I'm surprised.
What exactly qualifies a film as _Technical_ perfection? The script alone sits on the level of The Iliad or an Odyssey.
The debate isn't about whether the movie is actually good or bad—that’s subjective. We are talking about the technical execution here. The cinematography, the sound design, and the overall production quality—that's where the real discussion lies.
briskhound2 said:I mean, Basic is practically a masterpiece compared to Rollerball—which was just straight-up depressing. Harlin definitely has talent, I actually rewatched 12 Rounds just yesterday, but it’s like he can’t catch a break with decent casting (Cena was rough) or maybe the producers are just trolling him at this point. The last thing he truly nailed was The Long Kiss Goodnight. But yeah, he'll never hit those Cliffhanger heights again, which is a bummer...
I'm with you on that. Harlin has the talent, but most of his work sits firmly in the mediocre category—unless you count Driven, which was pure garbage.
John McTiernan also "blew it." It’s a damn shame—he was one of my favorites—but there was absolutely no reason for him to waste his talent on *The 13th Warrior*, *Rollerball*, or *Basic*... Don't even get me started on Renny Harlin...
Technically speaking, Ridley Scott's Body of Lies is solid, even if it doesn't exactly break new ground. To be fair, most of his films are technically top-tier. It’s a similar story with Spielberg's Munich—flawlessly executed from a technical standpoint.
Nicholas Walker3 said:They aren't meant for general retail—they were released on DVD, but strictly for specific institutions and clubs... though even I can't wrap my head around who actually received them.
I know some music schools and academies picked them up, but I have no idea what kind of edition we're talking about here—like, does it include any commentary from the crew or maybe a critique from a film scholar? For us, that's pure science fiction.
I just watched this film and it’s truly excellent. Verhoeven has returned to his old form. It’s a shame it skipped theaters entirely—it came straight to DVD here, even though it was a massive hit in Europe.
It doesn't even drop here until Thursday, but honestly, based on what I'm hearing from people who've already seen it—you can probably just skip this one..
redowl90 said:Dr. Strangelove belongs to Columbia, while Cowardly nests with Warner... what are we even debating here?
Warner bought the distribution rights—they didn't bankroll the whole thing themselves. Look, you can shoot your own movie, but you still need someone to actually get it into theaters. These days, most indie flicks premiere at Sundance, and then the major studios swoop in to buy them up. Take Searchlight Pictures, for example—they picked up Little Miss Sunshine, Juno, and Slumdog Millionaire. The big players all have their own specialized divisions specifically for low-budget and indie projects (think Warner Bros. Independent, Paramount Vantage, Sony Pictures Classics, Universal Focus, or Searchlight Pictures).
I’m not convinced Turtles Can Fly actually qualifies as an indie film. To me, "independent" means movies produced outside the major studios—usually the big American giants—where the director maintains genuine artistic control. Take Solitaire, for instance; that's a true indie because it was backed by private capital—Gibson's money—without producers breathing down the director's neck. Some even argue that Lucas's Star Wars ep 1,2,3 should be classified as independent since he personally financed them and retained all the rights, leaving Fox to handle nothing more than distribution. If you're looking for actual quality indies, you can't go wrong with Jim Jarmusch. As far as recent stuff goes, I thought ok Little Miss Sunshine and Juno were pretty good.
It finally hit Blu-ray here in the States. It isn't exactly a luxury collector's edition, but the documentaries about the production and everything else make it pretty solid. I'm planning to pick it up soon.