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Posts by slylynx16

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I was watching some highlights from last season the other night, and it got me thinking about the sheer psychological warfare that happens behind the scenes of every major sports franchise. We all see the jerseys, the touchdowns, and the post-game interviews, but we rarely talk about the actual transactional tension that exists between a franchise and its centerpiece. It’s a weird, almost toxic relationship, isn't it? On one hand, you have these players who become the face of a city, the heartbeat of a fan base. On the other, you have a corporate structure that views them as assets with a very specific, rapidly depreciating shelf life.

There is this constant, simmering tension regarding "timing." In almost every major contract negotiation we see in the news lately, there’s this unspoken sense of a countdown. It’s never just about the numbers on the page; it’s about the leverage of the calendar. It feels like a high-stakes game of chicken where both sides are staring each other down, waiting to see who blinks first. One side is betting that the team can't afford to lose them, while the other is betting that the team would rather move on than overpay for "potential" or "past glory."

I remember back in my college days, I played some intramural ball, and even at that amateur level, you could feel the tension when a star player started hinting that they might move to a different league or a different school if things weren't "right." It’s a microcosm of what happens at the highest levels. You have these individuals who are essentially walking billion-dollar entities, and they know exactly how to use the looming shadow of the upcoming season to force a hand. It’s not just about greed, though that’s the easy label to slap on it. I think it’s about security. When you’re in a profession where a single ligament tear can end a career in a split second, every negotiation is a frantic attempt to buy peace of mind for the future.

But here is what bothers me: does this culture of "ultimatums" actually hurt the integrity of the game? When a player essentially says, "It’s my way or the highway before the preseason starts," it creates this massive distraction. The media descends, the fans start getting angry, and suddenly the focus isn't on the playbook or the training drills; it's on the boardroom. It feels like the "business" side of the business has finally, irrevocably swallowed the "sport" side whole. We used to talk about players staying with one team for their entire career, building a legacy. Now, it feels like every player is a mercenary looking for the best possible exit ramp before the clock hits zero.

I also wonder about the fans' role in this. We get so emotionally invested in these players—we buy the jerseys, we scream at the TV when they miss a throw—that when these contract standoffs happen, we feel personally betrayed. We feel like the player is "holding the team hostage." But is that fair? They are professionals performing a service. They aren't obligated to accept less than what they believe their market value is, even if that value is tied to a very specific window of time.

Is there such a thing as a "fair" deal in an era where player value is so volatile? Or is the entire concept of a long-term contract becoming a relic of the past? I'd love to hear what you guys think—does a player's use of timing and deadlines show strength and savvy, or is it just a disruptive tactic that undermines the stability of a team?
The Bourne Identity in Movies ·
Yeah, she's... charming.

Rachel Weisz, I mean... image
The Bourne Identity in Movies ·
driftingeagle27 said:...

So, the core problem is:

#1. The flawed critique of Big Pharma

#2. The plight of Africa #3

#3. The unrealistic, naive, and frankly absurd plot... Spoiler: Tessa is married, as we know. To a white man. At the 27-minute mark, she’s leaning against a fence, chatting with her friend, an African American guy (who is quite well-built!). By minute 28, we see her nursing. An African American baby! Naturally, her friend, an African American man, is right there beside her. But wait! Her husband, a white man, is also present (just on the other side of the bed)... At minute 29 (we now realize everyone is in some makeshift maternity ward), a second friend walks in... He hands her a fruit basket and offers condolences for the loss of her baby. She briefly—as if that were the least important thing in the world—says, "it was a boy," and then, with total indifference, gets back to her story (and her music!). By minute 30 (after the first friend leaves on his own initiative and she sends her husband packing—sending him out to fetch water, basically!), our Tessa, more determined than ever, tells her second friend about her "conspiracy theory" and her plans to take action regarding it (all involving the first friend, and all without her husband’s knowledge or consent!)... "A film with temporal shifts as drastic as this needs the patience to rest on its haunches for a moment to give the audience opportunity to take stock. Whether that means just setting its camera on a much needed tripod (a novel idea the film seems to loathe), or including some honest scenes of the emotional strain the characters are suffering through, or not including so many random details of the squalor of the Kenyan slums, or heck, even a voice-over track, The Constant Gardener supplies nothing in the way of a breather, and slowly suffocates."

#4. The immature, self-destructive, and utterly pathetic romance story

Arare mavelim quam sic amare. - Titus Maccius Plautus Mercator

(I'd rather plow a field than love like this.)

#5. The obnoxious, overused handheld camerawork

#6. The jarring, almost intentionally poor cinematography (Occasionally out of focus, often with characters drifting out of frame—presumably due to Meirelles' attempt at a certain kind of "documentary" realism—the cinematography can, at best, be described as messy. The (good) idea to achieve a sense of authenticity is there, but it quickly becomes eye-straining and ultimately backfires. Regardless, bad lighting is still bad lighting, and if you have both talent and the resources (with a production budget of $25.5 million) to make something better than The Constant Gardener, why wouldn't you? If I'm looking for flaws, let me see them clearly. Don't give me filler.)

A masterpiece?

No, just a mess. image

Edit: Oh, and you quoted (besides the text) this picture ... you like it, don't you? :naughty:
The Bourne Identity in Movies ·
Oh, boy...

Here we go again. image

driftingeagle27 said:The way they dose out the red herrings is perfect; it's easily one of the film's strongest traits.


Red herrings, you say? And what exactly the real issue is, then..?
The Bourne Identity in Movies ·
Gary Adams3 said:This thread is closed. Any further comments are pointless.

Well, if the rest of the group (yourself, Gregory Garcia, and those of you alike) considers love and pathology to be essentially the same thing, then I suppose any further discussion is indeed redundant...

By the way, this movie is easily one of the most absolute messes I've had the displeasure of watching in the last year.
The Grudge (2004) in Movies ·
Andrew Stewart2 said:Great movie. I’ve been reading quite a bit about those Japanese horror flicks lately...

Well, us Asians definitely have a reputation for that!

Here is the poster for The Ring 2, a film based on a true story...
Best violent scenes? in Movies ·
This reminds me... image

[watching an S&M video demonstration with Rex]
Van de Kamp: What did your mother *do* to you?
The coolest people of all time in Movies ·
Joshua Bennett4. image
The coolest people of all time in Movies ·
The one and only:

[And so the fanfare begins... image]

Zeljko.
Kiss Kiss Bang Bang (2005) in Movies ·
I agree—actually, I already put it on my list of the 5 best movies from last year.

"Don't worry, I saw The Lord of the Rings. I'm not going to end this 17 times..."

Hilarious, truly. image
A History of Violence in Movies ·
It seems we’ve fallen into a familiar pattern here—one where people tend to argue over whether the characters or the plot are the superior element. It’s a bit paradoxical, really, since both are essential components of the same machine: A History of Violence.

By "characters," I mean the people inhabiting the story (which, let's be honest, is a movie about characters!), and by "plot," I mean the actual sequence of events. To be fair, focusing on the plot doesn't make much sense given how secondary it feels to me, which probably explains why Americans seem so fascinated by this particular film. Since the narrative takes a backseat to my final verdict, I'll leave it at that.

So, the characters.

The brightest spot in the entire production is Edie, the protagonist's wife. She delivers a brilliant and, above all, REALISTIC portrayal of a small woman from a small town. When her quiet life suddenly shifts into the realm of a horror movie, she unexpectedly becomes formidable. It serves as a blunt reminder of what anthropology teaches us, regardless of modern social movements: at her core, she is the protector of the home first, and everything else second.

Then there is Tom / Joey, the lead. He draws a very sharp—if somewhat unrealistic—line between the life dictated by his upbringing and the one he consciously chooses. What I personally think about such a drastic transformation is a question far too complex for a casual discussion on this forum, so I'll stick to the facts: Mortensen's performance isn't bad at all. In fact, it's quite good.

Finally, there is Jack, the son. As a direct consequence of his father's actions, he undergoes his own transformations—changes that most casual viewers cannot help but find intense. However, because his arc feels the least grounded, I'll focus on the film's broader message: the violence we encounter, whether by choice or chance, during certain periods of our lives leaves a mark that lasts for the entire lifetime. The real question is how that internal resistance, or that survival instinct, will eventually manifest.

All in all, the movie (with Maria Bello as Edie, Cronenberg's stylized violence, the pacing, the cinematography...) is solid.

But it isn't quite enough to break into my Top Five for the year.
Harry Potter and the Goblet of Fire in Movies ·
papa štrumf said:You know that feeling when you just keep chewing the same bite over and over...

Well, hello...

It’s pretty obvious you haven't seen Narnia.
Arthur Anderson49 said:It must have been a bad day for Erica Jong. I assume the zip was closed.

Or she simply ran out of batteries...

P.S. Come on, grow up already and realize that men aren't strictly necessary for women to experience loud, explosive orgasms. As for "slapping the tonsils" (with a penis), I'll pass this time... it's just tacky.

P.P.S. Literally. image
Two words: Deep Throat. image

I think Erica Jong put it best:

The premise was simple: just get in there and go at it, and she’d be just as satisfied as he was. Turns out, that theory was a total bust.
The Wedding Crashers (2005) in Movies ·
I agree with everything said, though I’d probably describe the film more as a modern take rather than a standard romantic comedy.

Honestly, there's a certain pleasure in watching that level of arrogance and crude, tasteless humor—mixed with just enough blatant misogyny and sexism to keep things interesting. It all flows perfectly from the sheer talent of Owen Wilson and Vince Vaughn, who are clearly masters of their craft.

image

There isn't any doubt in my mind: these guys really rule... image
The Tale of Two Sistersimage
Film vs. Book (Topic of interest!!) in Movies ·
image

"Who said that back when Brad and I nismo were just tearing it up, we didn't make a good movie?!!"
steelviper6 said:... and he can't wait to get laid...

WHAT did I tell you people?!!
Richard Hernandez13 said:Is that one of those Vin Diesel movies?

Oh, you...

... haven't a clue. image

"Dangerous" movies don't exist.

They certainly do.

Proof of my point—among other things—is found in the double-digit percentages of actresses who have to fake an orgasm on screen.

And that—regrettably—isn't just simple...
Jose Miller17 said:That’s rich coming from someone who thinks Batman is a failure just because he isn't getting laid.

You know what?

I'm officially convinced. It's not just that we aren't using the same logic or even speaking the same language—it's that we aren't even from the same planet.

I thought I was being perfectly clear. image

("It was based on the idea that all a man had to do was put his penis down a woman's throat and thrust and the woman was as satisfied as the man. Well, guess what?")

As for bores of your caliber—sorry, I really don't have the time...