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Quasar Sniffer

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Quasar Sniffer last won the day on February 13

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  1. In a shocking twist, Cameron H is smarter than the bozos who wrote this movie!
  2. Quasar Sniffer

    House of 1000 Corpses (2003)

    Nope. This movie is amazing and I love it.
  3. Quasar Sniffer

    Double Indemnity

    One really underrated film noir is an early Anthony Mann film from 1948 called Raw Deal. It's one of the first times a theremin was used as a method of scoring a movie, so it has this very bare, spooky soundscape to it. It also features a fantastic turn as a villain in Raymond Burr, who would go on to play Perry Mason on TV for... forever and become one of the most liked actors in America. Seeing him in a totally different context, much like Fred MacMurray before My Three Sons, is great. He's a malicious monster in this film and it's a wonder he didn't make a career out of playing gangster heavies.
  4. Quasar Sniffer

    Double Indemnity

    The use of the term film noir is pretty arbitrary anyway. Technically, the last real film noir was 1958's masterful Touch of Evil, because the circumstances that led to and influenced the genre were just as dependent on the time period in which they emerged (pre and post-WWII, Red Scare paranoia, unresolved issues from the Hays Code's effect on the extremely popular gangster films of the 1930s) as the content of the films. That environment, both generally and in that era of Hollywood, was changing at the end of the 50s, giving rise to a whole host of new trends and tastes. But in the 1970s, you had films like Chinatown and The Long Goodbye being referred to as film noir, even if they weren't strictly that, especially since being black and white is a pretty definite characteristic of the genre. The color palette of a film like Chinatown is essential to its mise-en-scene (holy shit film nerd talk!), so it's a pretty far cry from "real" noir in that sense. So to require a film to have plots concerning private eyes and vast criminal networks to be noirs I think is a pretty tall order. We'd basically be limited to Maltese Falcon and The Big Sleep, which are amaaaaazing, but if we exclude films like Double Indemnity from the genre, what are we even doing?
  5. How could you not get lost in those eyes? Ooph, I'm heating up. Not saying I wouldn't want to drown in Daniel Craig's baby blues (because I would!), but it makes me sad when people give Dalton the brush-off. He's pretty great!
  6. BOND NERD DEBATE! No way, Lazenby is clearly the WORST. He's just so dull and uninteresting in On Her Majesty's Secret Service, a movie that is otherwise pretty great (Telly Savalas as Blofeld, Diana Rigg as Tracy Bond, possibly the best Bond Girl). My favorite moments of his performance in that movie is when Bond is supposed to be doing an accent of a heraldry expert and Lazenby is dubbed by another, better, actor. And I have watched the Hulu documentary about him, which only made me dislike him more. He just came across like a egomaniacal tool, while Bonds like Dalton and Moore are Unqualified Gentlemen. Speaking of Dalton, I really enjoy him as Bond. I think Moore had so solidly established a brand of his quip-heavy, arched eyebrow charm as James Bond, the franchise needed something drastically different. Timothy Dalton brought that, with his searing sexiness and undercurrent of rage. He's, in my opinion, the closest Bond to Fleming's novels and so I definitely enjoy his performances. Craig has that anger and bitterness too, but it's more on the surface, more unleashed than the quintessentially English Agent Dalton plays him as (even though the character is of Scottish heritage and Dalton is Welsh).
  7. Quasar Sniffer

    Musical Mondays Week 45 Oliver & Company

    I BELIEVE this is just referring to the technique of overlaying animation cells with specific objects in them over set backgrounds. It's why sometimes, especially on quicker TV or shorts animation, you see different color or shading variations in stationary objects rather than characters. For example, if a character is going to pick up the second of five identical hot dogs, you will be able to see the one he or she is going to pick up because it will stand out, as the other objects were xeroxed on a different cell layer than the characters, the background, or the object that is being moved. This also made it easier for Disney (or any animation house) to stay stylistically consistent. Specifically, "line overlay" involves literally overlaying the lines on a separate cell on top of the background paintings/drawings, which were initially set down as basic colors and shapes. Additional cells of more and more details can be added as needed with each additional layer, which dissipates the cheaper look of xeroxed drawings.
  8. Quasar Sniffer

    Musical Mondays Week 45 Oliver & Company

    I found myself thinking a lot about where this movie lands in Disney's history and in the history of animation. It was always going to suffer in reputation from, as stated earlier, being released in the same year as Who Framed Roger Rabbit and one year behind Little Mermaid. It was also released the same year as Land Before Time and one year before another group-of-down-on-their-luck-stray-pets-in-which-Dom DeLuise-plays-a-supporting-role movie, All Dogs God to Heaven. So even if this doesn't have the same tone or style as classic Disney, which Little Mermaid revitalized, it would still be in the shadow of those other, better remembered Don Bluth films. It's been too long since I've seen either Land Before Time or All Dogs Go to Heaven, so I would be remiss to compare the technical merits of the films now, but I know as a child I preferred those two to Oliver & Company. Plus, I hold Roger Rabbit to be a masterpiece and it is my favorite Zemeckis film (I KNOW WHAT I MEAN WHEN I SAY THAT THANK YOU). So animation is just in this very interesting transitional period, in which technology will soon allow for the achievements of both Roger Rabbit and Little Mermaid, not to mention we are right before the outstanding flood of TV animation with the likes of Tiny Toon Adventures, Batman the Animated Series, and right in the middle of the various Duck-related Disney shows. It was also a time when, I think, Disney was really struggling to hold onto its identity, as their golden age of animation had long since passed, as had their live-action kid friendly comedies like Mary Poppins or even The Computer Wore Tennis Shoes. That would, of course, change the next year, as Little Mermaid would usher in a new golden age, only to be again revitalized by Pixar, and now when something like Coco or Incredibles 2 comes out, the studio slays all opponents at the box office, but that was just not the case for much of the 1970s and 1980s. I just find it fascinating, dudes and dames!
  9. Damn, I thought it was the title to John Oliver's new kid show...
  10. Quasar Sniffer

    King Kong

    I think you hit exactly why this film needs to be included. It really showed how movies could physically create totally fictional, fantastical realities for actual actors to interact with. It's exciting, it's thrilling, and it has this two-story ape engage with human actors as its own character. This certainly did not pre-date cartoons, but it does pre-date Snow White and the Seven Dwarfs, the first full-length animated feature, by four years, while only being six years after the first sound picture, The Jazz Singer. We are in brand new territory here, but the fundamentals of storytelling are still adhered to and valued, even if the love story is rather undercooked. From a personal standpoint, I love stop-motion, I find it fascinating to watch and I lament its demise in the wake of more efficient means of creating these kinds of characters. From King King to Ray Harryhausen to Nightmare Before Christmas to Studio Laika, I love that medium so much. So I see King Kong as a sort of progenitor of that whole field (even if the technique was not invented for the film). The racism IS deplorable in this movie, as is the troubling idea bandied around at the time (thanks to movements like "scientific racism") of Africans being more closely related to apes than other races. The very idea of a white woman being kidnapped by an ape from "Darkest Africa" is subconsciously mining that concept. There was a lot of and Eugenics going on in America and Europe at the time, and this movie struck such a chord with audiences that it might have been cultivating those cultural currents. Was it conscious of the filmmakers? I don't know. It doesn't seem malicious the way Birth of a Nation was. Do I wish it wasn't in the film? Undoubtedly. I think you could have a King Kong that functions as a metaphor for the destructiveness of Colonialism, about the dangers and evil that inevitably come when one culture arrives and imposes its values and morals on another. White people come, extract resources from a native culture, and bring back a violated version of it for their own benefit. It could be a Beauty and the Beast story where the real Beast is racism if done right, but the way the Skull Islanders are depicted, the 1933 Kong definitely does not reach those heights. I still think it belongs on the AFI list though.
  11. Quasar Sniffer

    Episode 194 - Yes, Giorgio: LIVE!

    Honestly, I just thought it was the moment the movie truly stopped giving a shit. Like it turned to us and said, "haha, fuck you, Pamela's in this scene because the movie will be over quicker and I don't have the energy to explain why. Deal with it."
  12. Quasar Sniffer

    Musical Mondays Week 44 Easter Parade

    One thing I found I really enjoyed was the slow-motion sequence with Astaire isolated from the normal-speed dancers. It was obviously a process shot, but I just thought it was so fun seeing this emerging technology being used and wondered at by the filmmakers. You know, like a little piece of cinema history. I don't know if this was the first time such slow motion effects were used, but it was still neat witnessing their emergence. Also, from IMDb: Fuuuuuck you, Reese.
  13. Quasar Sniffer

    Your Updated AFI List

    If we're talking lasting impact and universal acclaim, how about the 1978 Superman? It's still remembered as the pinnacle of Superman on screen, even the definitive version among comic book fans, who sometimes look for Christopher Reeve in the Superman comics I try to sell them.
  14. Quasar Sniffer

    The Shawshank Redemption

    I say list what you want. The whole list is so arbitrary anyway, from judging "importance" vs. "quality" or "universality" vs. "artistic merit," it's going to be a personal choice. Plus, this is supposed to be the best American films ever made, but Lawrence of Arabia, directed by David fucking Lean, is #5? I realize it was made by Columbia, but it's made by British people about an Englishman doing very English things in Arabia (i.e. killing non-English people). But does that mean, to be American, only American filmmakers can be involved? I would never say that! But so many David Lean movies just feel so quintessentially British that it feels weird to include this one, even if it is one of my absolute favorites. It's.... arbitrary is what I'm saying.
  15. Quasar Sniffer

    Your Updated AFI List

    If we're going to include one superhero movie, I'd much rather include Infinity War, as it does the most superhero movie heavy lifting of any in the genre (most characters, most plotlines, long as hell), but still manages to be entertaining and isn't a slog to get through. It's like a perfectly engineered Rube Goldberg device that cost $300,000,000 (or whatever it cost) and grossed over $2 billion in ticket sales. It's hard to argue for other Big Time Crowd Pleasers and leave that one off. As for the Nolan films, they all have brilliant moments or individual elements, but they all also have glaring flaws (Christian Bale being an incredibly uninteresting Bruce Wayne/Batman being one big one). I also really feel their length more that Infinity War. And honestly, I think I'd rather have any other Nolan film on the list except his Batman films, which are the least interesting movies he's made.
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