It's good, though.
Mal: Okay. She won't be winning any beauty contests anytime soon. But she is solid. Ship like this, be with ya 'til the day you die. Zoe: 'Cause it's a deathtrap.
'Out Of Gas'
Buffista Movies 5: Development Hell
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 § - Jan 01, 2007 6:52:59 pm PST #6741 of 10001
Well not canonically, no, but this is transformative fiction.
Cashmere - Jan 02, 2007 12:38:34 am PST #6742 of 10001
Now tagless for your comfort.
I liked Collateral. It was good storytelling, irrespective of the way it was shot.
Anne W. - Jan 02, 2007 2:22:11 am PST #6743 of 10001
The lost sheep grow teeth, forsake their lambs, and lie with the lions.
I loved Collateral. There was a quality to the dialogue and its delivery that made me feel as if I were watching a play more than watching a movie. Plus, I was able to forget within two minutes that I was watching Tom Cruise in one of the leading roles.
Kevin - Jan 02, 2007 3:00:54 am PST #6744 of 10001
Never fall in love with somebody you actually love.
(Or is there a flick called Colleral?)
You'd never know I posted that at 3am our time.
I liked it as a film. The way it was presented took me out of it slightly, as it just looks a bit... different. It's weird, I don't know -- I actually like handheld shot films, or moments in film, as they can add an intimate touch to something (see also: Children of Men). It's possibly just the digital thing which is noticable to me. Or maybe I'm just wrong.
Gris - Jan 02, 2007 3:48:04 am PST #6745 of 10001
Hey. New board.
The Avengers was just playing in my hotel room. I was liking it! So delightfully bad!
Tom Scola - Jan 02, 2007 3:49:21 am PST #6746 of 10001
Remember that the frontier of the Rebellion is everywhere. And even the smallest act of insurrection pushes our lines forward.
No, it was just bad. Not to mention insulting to fans of the original.
Cashmere - Jan 02, 2007 3:51:44 am PST #6747 of 10001
Now tagless for your comfort.
I still laugh at the shots of Uma Thurman's double climbing up that ladder in the catsuit. I'm sure it was extremely difficult finding a stunt double of Uma's body type but the shocking difference in ass size was just silly..
Gris - Jan 02, 2007 3:57:18 am PST #6748 of 10001
Hey. New board.
Well, in non-bad movies:
As if I wasn't salivating enough to see it ASAP, Pan's Labyrinth has a 98 on metacritic after 20 reviews. A 98! That is BY FAR the highest score I've ever seen on a new movie, at least one with more than a few reviews. (ROTK was at 100 with 5-6 reviews, but dropped to a more reasonable 90ish by the end).
ETA: Apparently, it is currently the third-highest rated movie ever on Metacritic. Number 1 is The (perfect 100) and number 2 is, of all things, Superman II (though it doesn't have a lot of reviews to get its 99). Fourth is Dr. Strangelove, with a 96.
Frankenbuddha - Jan 02, 2007 4:59:57 am PST #6749 of 10001
"We are the Goon Squad and we're coming to town...Beep! Beep!" - David Bowie, "Fashion"
I know he's not a movie buff unless the films have some sort of space conveyance in them, but George Stevens ranks up there with Cecile B. DeMille and Orson Wells and Alfred Hitchcock as directors that changed not only how movies are made and viewed, but Hollywood itself.
Well, without George Stevens I never would have imagined John Wayne as a Roman centurion at Christ's crucifixion, but I don't think that's quite what you meant.
Jessica - Jan 02, 2007 5:32:31 am PST #6750 of 10001
And then Ortus came and said "It's Ortin' time" and they all Orted off into the sunset
Collateral was also Michael Mann -- he's one of the few directors out there today who really knows how to shoot in digital, instead of just treating it like cheap film.
Unfortunately for the DVD market, what both Collateral and Miami Vice show off brilliantly about digital cinematography is how much rich/crisp detail you can get out of very dark night scenes, which isn't something most TVs are able to reproduce, especially after it's been downcoverted to standard def.