Posts by Jose Chase2

Morgan Bishop4 said:The absolute best part has to be when the brother and sister keep teasing each other like 😁I could honestly binge-watch this all day long! 😁hehehe, and then the next morning when Cooper starts messing with them... man, that's gold.

And obviously that guy on the train 🙂plus that whole party scene at the start where the song kicks in and she just walks out on him... ugh, seriously, it’s just too good! 😁

😲 🙂

Jason Gonzalez7 said:I don't know.
I feel like this is really a movie about movies—about the whole act of storytelling and reading.
That’s why that scene where she enters the room full of rabbits feels like its own kind of resolution; those rabbits represent a masked, unreachable consciousness, the very source of the story and the experience itself.

And if we consider how they are both disguised and unknowable, we end up right back at Lacan—sorry...

I haven't seen the movie yet, so I'm not sure what the deal is with the rabbits, and I've never heard of Lacan. 😬

But hey, just tell me one thing: how does it stack up against Mulholland Drive?

Jason Gonzalez7 said:My bad. I was trying too hard to sound important, when I could have just said this much more simply...
I was just trying to stay consistent with his way of talking...

Or maybe I'm just being dense.🤣

Jason Gonzalez7 said:Jessica Nguyen85, thanks for reading me so well. 😉
And you guessed right, I'm actually processing and refining exactly what I wrote in my head.
Personally, if you read between the lines of my post, I think that cognitive barrier is hidden within that "click" that happens when you engage in projection during any narrative work—something that feels both sequential and timeless at once.
It's especially true during the acting process, when you actually become the character you're interpreting. If we consider that everything around us is a narrative construct governed by symbolic Law (oh, Lacan, oh, not Lacan!), then the point becomes clear.

But still, I really need to rewatch the film! I don't believe this is the only way to explain it...

Man, I think I need an explanation for your explanation :Olić: 😳 😬

just how strong am I 🙂

Amanda Lopez50 said:...man, I actually went through something similar back when I was following the Los Angeles Lakers—now I totally get why my thread about Fincher hits different😁

me with the Game 🙏🙏

I honestly don't know how people managed to miss the pure genius of that movie 😢

quietdriver3 said:Sure, the numbers back him up. But honestly? It worries me that Cameron hasn't really found a consistent rhythm over the last decade. Even with those stats—if my gut is right—directors who take long breaks tend to stumble when they try to come back. 😳

Or maybe it's just us that changed? Look at the era we grew up in versus now, and suddenly Terminator 2 hits different. It’s like giving a kid the keys to an ice cream factory—that's how it felt back then. Now, imagine walking into a theater to see Terminator 2 for the very first time.

slyrider16 said:It’s pretty clear his sensibilities aligned perfectly with ours—the Beaver, Richard Howard2, and my little self—so we’re all fans. Meanwhile, some people just want to trash Titanic. Amateurs. *sigh*. 😁

I mean, come on, Titanic has a love story, and we can't have that!

Jerry Martin19 said:looking at the big picture—the first one takes it. I’ve said that before. But the sequel? It's pure genius. There's really no debate there, at least not in my book. 🙂

I honestly view those two films as one single entity—they're just inseparable to me.

quietdriver3 said:I still remember the first time I saw Terminator 2. Once the credits rolled, I just sat there in my chair—kind of spaced out—grabbed the VHS remote, hit STOP => REW => PLAY, and watched the whole thing again from the top. Just couldn't catch my breath. 😁

I felt the exact same way with both the first one and the sequel—except instead of rewinding, I just sat there staring at the TV for half an hour, totally stunned by the "wow" factor. Absolute masterpieces. 🙏🙏🙏🙏

Well, let's see which movie is actually the most requested at our local video rental shops :Olić: 😬

Sam Raimi is going to have to work pretty hard if he wants to reclaim the reputation he lost after Spider-Man😠

crimsonmoose3 said:The King Kong remake holds a 7, which is wild—considering it’s easily the most boring, mindless piece of garbage released this year. And it drags on for a hellish 3 hours.

:asshole:

Henry Campbell5 said:That's nonsense—there's actually quite a bit you can learn from people like them.

You don't really need critics for that, either.😕

From what I've heard, that's actually a quote from Clint 🙏 🙏

Honestly, I can't stand the whole concept of an art "critic" 🤮—it’s just not my thing. Art isn't a hard science where you can hand out "final" grades, right? I mean, take any movie—anything from the most blatant trash to the films everyone calls masterpieces—there's always going to be some "critic" finding something to complain about. Plus, I think a lot of people struggle to tell the difference between movies meant to convey a message (and let's face it, you can find a "message" in literally anything—like, you could argue Dude, Where's my Car is actually a sharp critique of weed culture 😬 ) and movies that are strictly there for the ride. So, which is better: a mediocre "art house" flick or a fantastic movie that has zero deep meaning but is incredibly fun to watch? For me, I'll take a great entertainer over a bad "art" film every single time.

In my book, critics are only useful if you happen to vibe with them on the same wavelength; then you can read them just to see if they flag something worth your time. Beyond that? They aren't worth a dime.

Which one? I always just upload my GIF directly from my computer and it works perfectly fine without any issues 🙄

I knew someone would bring up Wachowski sooner or later 🤣

though I probably could have guessed who 🤣

Richard Hernandez13 said:Stop-motion is just a technique used for special effects—it’s not some specific subgenre. You see plenty of stop-motion used throughout every single Indiana Jones movie.

You know what I meant 😠—you’re the one who started this thread about Ray Harryhausen and stop-motion. Can we just move this over to the Adventure Films section? Otherwise, merging these two really doesn't make any sense.🙏

Richard Hernandez13 said:Durica from Ivica Bednjanac. It was in Smiba, if I recall correctly.

Man, where on earth did you dig that up?😲

Richard Hernandez13 said:Since when is merging threads considered "acting like a brat"?

Acting like a five-year-old here—guilty as charged.

😬

Yeah, I'm being childish. What can I say? Having my name attached to my own thread matters to me almost as much as my post count. I'm a kid at heart—sue me. 😛

And while we're at it, remind me who this little girl is? I think I might remember her from back in the day. 😬

Richard Hernandez13, you’re picking on me for sticking to my guns, but honestly—wasn't it just convenient for you to hijack this thread for your own purposes? Even if my scope is a bit broader than yours. Your topic was specifically about stop-motion adventure films, whereas mine covers adventure films as a whole. How do you not see the distinction there? If you really want us under one roof, then fine—just rename the whole thing "Adventure films and point."