I love this language choice in an article about A Home At The End Of The World and its cut:
Farrell has apparently made some hard demands about the trimmed scenes being re-inserted back into the film.
Buffy: Synchronized slaying. Faith: New Olympic category?
'Conversations with Dead People'
Buffista Movies 3: Panned and Scanned
A place to talk about movies--Old and new, good and bad, high art and high cheese. It's the place to place your kittens on the award winners, gossip about upcoming fims and discuss DVD releases and extras. Spoiler policy: White font all plot-related discussion until a movie's been in wide release two weeks, and keep the major HSQ in white font until two weeks after the video/DVD release.
§ ita § - Jul 10, 2004 8:36:41 pm PDT #106 of 10001
Well not canonically, no, but this is transformative fiction.
tommyrot - Jul 10, 2004 8:44:47 pm PDT #107 of 10001
Sir, it's not an offence to let your cat eat your bacon. Okay? And we don't arrest cats, I'm very sorry.
The flimsy outfits and lack of bras in the future are distracting.
DavidS - Jul 10, 2004 9:06:11 pm PDT #108 of 10001
"Look, son, if it's good enough for Shirley Bassey, it's good enough for you."
In Spider-Man I didn't mind that there was an El in NYC. There used to be one in Brooklyn and it was featured prominently in King Kong (the original) and I'm pretty sure the Fleischer Superman cartoons. To me it was callback to that kind of mythical fantasy NYC. It's not a real life Manhattan.
I also loved that scene with the train because I thought it did something that's very hard to do in these movies and that's give some kind of scale to the hero's ability. I know some were thrown out of it because that seemed beyond Spidey power but to me it was pretty much the same as the falling skyway car in the first movie. He's sacrificing his body more than using his strength. The strength was coming from the webbing, and he endured it. It was similar to the Fleischer animated Superman cartoons because they made you feel that even though he had this strength, they really pressed that upper limit in a credible way that added drama. Too often those kind of powers just become a deus ex machina.
Also the fight scenes fucking rocked. Again, they were choreographed around the specific abilities of the two characters. Doc Ock's power was palpable, and little bits like Spidey using his webbing to pull Doc into his punch was sweeeeet. It just looked great. Infinitely better than the first one.
The movie had a lot of little shout outs: Spider-Man No More with the suit in the trashcan was a famous comic cover. I loved how they did a Haskell Wexler lens flare when they did the goofy "Raindrops Keep Falling On My Head Medley." Stuff like that.
§ ita § - Jul 10, 2004 9:08:51 pm PDT #109 of 10001
Well not canonically, no, but this is transformative fiction.
The real reason noone can object to the elevated trains in NY is that there are elevated trains in NY. Just not there.
Scrappy - Jul 10, 2004 9:23:49 pm PDT #110 of 10001
Life moves pretty fast. You don't stop and look around once in a while, you could miss it.
Count me in on the teary-eyed Spidey 2 love. JZ is me, and how proud am I about that?
Saw "Badass" tonight. It's Mario van Peeble's film abut the making of his Father's seminal film in the 70s. Fascinating--Mario is a tremendously charismatic actor and the film is pretty unblinking portrait of his father as well as a terrific evocation of the controlled chaos of a low-budget film. It's kind of an odd thing watching the movie--Dude, you're playing your own Dad. And you're talking to the actor playing you as a 13-year-old.
§ ita § - Jul 10, 2004 9:28:02 pm PDT #111 of 10001
Well not canonically, no, but this is transformative fiction.
Mario's good in it, really? I've never liked him in anything, although he's very good looking. How does Melvin come off? I've had the book burned into my brain, and he's pretty unflinching about himself there and IRL too -- you make it sound like Mario's true to that.
Scrappy - Jul 10, 2004 9:37:11 pm PDT #112 of 10001
Life moves pretty fast. You don't stop and look around once in a while, you could miss it.
He WAS good., And a beautiful man--he's 46 and he looks gor-juss. And, yeah, it does a good job of showing us Melvin's many strengths and weaknesses and how they both contribute to and hurt his work. And the fascinating and thing is that sometimes his weaknesses help his work and vice versa.
§ ita § - Jul 10, 2004 9:39:47 pm PDT #113 of 10001
Well not canonically, no, but this is transformative fiction.
He's a piece of work, alright. The perfectionism works out in the end, I guess, but it's stressful during.
Lyra Jane - Jul 11, 2004 6:21:26 am PDT #114 of 10001
Up with the sun
Oh! Another sort-of-teary moment was Harry's reaction when he took Spidey's mask off and realized it was Peter.
The thing that surprised me about that scene was I had seen it fifty zillion times in the trailer, and because itwas in the trailer I assumed it was a False Reveal, and either Harry would be interrupted before he could remove the mask or it wouldn't actually be Peter in the suit. It was almost a nice change to have a scene like that actually end with a true reveal.
Matt the Bruins fan - Jul 11, 2004 7:08:28 am PDT #115 of 10001
"I remember when they eventually introduced that drug kingpin who murdered people and smuggled drugs inside snakes and I was like 'Finally. A normal person.'” —RahvinDragand
I'll never be able to remove the mental image of Mario Van Peebles as Piño in The Last Resort with Charles Grodin.
I'll be there too. Especially if there's the promise of more than five minutes of Methos this time.
Was there ever any explanation for why Methos suddenly disappeared in the middle of the last movie? Or was that just the point where Peter Wingfield said "Screw this! I have a coffee commercial waiting!"?