'War Stories'
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.
I'm amused that I can handwave witches, both good and evil, and trolls, but the diabetes thing tripped me up.
I'm glad to have a bit of fore-warning as I have plans to see this (and hopefully wave my hands so as to not be irked) this weekend.
Signed, finally saw The Hobbit, and if there had been One.More.Fat.Joke, I would be about ready to throttle PJ.
All right, that's the best one yet. They keep showing more and more, and I should probably stop watching them, but I'm pretty excited for the movie now. (Not that I wasn't generally excited before, but still hesitant after Iron Man 2. )
There are two separate movie moments that pretty much always make me cry, as long as they're halfway decently handled--the hobbit moment, and the Millenium Falcon moment--either when everyman rallies, not just the hero of the piece or the guys you thought had left come back and fight (like, seriously, typing it makes me cry) and it's pretty clear that we're getting at least a hobbit moment here, since my reflexes seem to be considering Iron Man and War Machine the Hero heroes.
The hobbit moments always get me too, ita. I am a sucker for the little people (no pun intended...mostly) standing up for the hero and joining the fight. The Millennium Falcon moment is more of a "Fuck yeah!" for me.
I am forever now going to call that moment the hobbit moment.
Two of my utterly reliable crypoints are the Lilo moment (unconventional family tenderness, as when Noni sings "Aloha Oe" to Lilo or when she, Lilo and David are playing on the beach and surfing and losing themselves in improbably uncomplicated joy, or Stitch saying, "It's little, and broken, but still good. Yeh, still good"; or, in the film of Matilda, when Matilda pulls the adoption paperwork out of her backpack and you realize she's been carrying it around for years as a promise to herself that if she ever finds her true family she'll be ready) and what I guess you could call the Jesus moment, when a character gives up everything for the beloved, regardless of the personal cost. Which I define broadly enough to include moments like Jamie reciting the Spanish poem and later withdrawing from Nina's world in Truly Madly Deeply.
(Which I've been thinking about because I just foisted clips from it onto my two officemates who'd been raving about how much they adore Ghost, and I couldn't even. Steps had to be taken. At least they're now both thoroughly intrigued and riveted, and I can move on to being pissy at the idiots on YouTube downrating the clips because how could Juliet Stevenson love an actual living human out in the world if she had corpsey Alan Rickman at home?)
Never felt the Truly Madly Deeply love. I found it mostly disturbing.
Well, it's not supposed to be *not* disturbing. It's pretty clear throughout that she is cohabiting with an actual dead person, and that his return in response to her total inability to move on may be deeply comforting to her, but it's not healthy and it's emphatically not life.
I love that movie for its meditations of love, life, and grief. It is really powerful to me. The first time I saw it, I had a really good cry.