RyanSz

Dammit I've been beat to it. Also it's movies like this that remind me that Hayden Christensen is still alive and somehow getting work. I want to know who passed up on this role before the producer finally had to settle on him? Also is Emma Roberts really that hard up for work? She's been killing it in various TV shows and movies, so it makes no sense as to why she would do this film. And if you all want a odd bit of enjoyment, read the plot summary on this film's wiki page as it appears to be written by a preteen who fed a hastily written book report through Google translator then had it translated back to English.

Looking at this again, I can kinda understand why the actors in it signed up as it's written/directed by Steven Knight, who wrote such things as Eastern Promises, Dirty Pretty Things, Locke, and The Hundred Foot Journey, so there was a definite pedigree at the helm of this thing. Yet all that does not push past that twist which is so out of left field for Knight I have to assume he took acid while on a fever dream and then wrote this script.

I just read the wiki for this film and when I saw what it was I instantly knew it has to be covered by the show. I'll give them credit for completely covering up the twist and not revealing anything in the promotional material, but holy shit that is a level of insanity that needs to be covered. I'm not wondering how it got greenlit, I'm wondering how a slew of Oscar winners and nominees read this script and went, "yep, where do I sign up?"

Wait so did the group do the Hulu one as well? I ask because they actually interview the shyster behind the festival in that one to get his side of the story cut with what was actually happening.

It's what I'm hoping wins, but I would be fine with Ralph winning because it was leaps and bounds improved over the original in regards to the animation, and wouldn't be surprised if Dogs wins. Yet if Incredibles 2 wins it will be as bad as Jethro Tull beating Metallica for the inaugural Metal Album Grammy.

I wasn't surprised by what was chosen, but that's not saying I think they're the best choices. I was surprised Toni Collette didn't get a nomination and as far as Black Panther goes, I enjoyed it but I don't put it in Best Picture level, especially considering the film that was the impetus for the Oscars moving to the up to ten films for the award, The Dark Knight, was in my mind a more deserving film. I'm glad that Spider-Man: Into the Spider-Verse got nominated, but legitimately forgot that Isle of Dogs came out this year, so with those two and Ralph Breaks the Internet being among the nominated I'm glad to see that animated films that are being inventive with how they're animated are getting much deserved attention. I was surprised that Blindspotting didn't get at least a screenplay nomination as for first time writers, Daveed Diggs and Rafael Casal did a fantastic job in creating a vibrant and deep story with a very realistic feel. Also, how does Widows not get a cinemetography nomination or Stephen McQueen not nominated for directing?

This was actually an episode of Law & Order SVU where the detectives were getting a call from a child who claimed to be in the process of a kidnapping, but when they trace the call it's bouncing all over the city and the girl's answers to their questions are creating a lot of doubt about the reality of her claims. It's a tense as hell episode because you the viewer are starting to get the same questions and wondering if this isn't some kind of scam.

It's weird hearing that the same guy made both this and Phone Booth as it seemed he didn't know which version of this story would work, protagonist talking to hostage or protagonist talking to antagonist. Phone booth works in that it's basically a morality discussion between Colin Farrell and Keifer Sutherland with some people popping in sporadically, along with it being just slightly longer than Chopping Mall so there's no feeling of extra fat being put into the film. Cellular on the other hand feels bloated at 90 minutes and is ridiculous with the amount of people they put into he gang of dirty cops and their over complicated plot to get a video camera.

He's not in the trailer, I only found out looking at the cast list, he plays an assassin called the Tick Tock Man. In fact, his begging to be in the next John Wick film during the Johnny Mnemonic episode is one of the first bits of trivie the movie has on IMDB.

It was an unofficial remake of Yojimbo which led to the studio, Toho, suing the makers of this film, eventually getting 100k and an 15% of the worldwide receipts of the film, which ended up being a nice check given to Kurosawa. The movie was officially remade as the Bruce Willis so-bad-it's-good film, Last Man Standing in 1996, which in itself is a decent mob/western.

ZOUKS IS IN IT!!

There's also Sukiyaki Western Django which pulls inspiration from Yojimbo and the Man With No Name trilogy, while mixing in some decent comedy.

2 appearances: Andrew Bryniarski - Street Fighter, Hudson Hawk 2 appearances: Jessica Biel - Stealth, Cellular 2 appearances: John Ennis - Jack Frost, Cellular 6 appearances: Chris Morgan (screenwriter) - Fast Five, Fast & Furious 6, Furious 7, Fate of the Furious, Cellular

I'll be surprised if the Elton John one isn't just a 2hr fever dream from what's been shown in the trailer.

I wasn't saying that your cousin was wrong, but what my perception was of the film, apologies if it came off that way, I just didn't see that as a bisexual person. To be honest I forgot about saying bisexual to Mary Allen, though looking back that was par for the course of that film with how everything is kind of glossed over in that film. And with earlier reports of how Sacha Baron Cohen left the film because the band wanted really no focus on anything outside of the band and the making of their music, I was surprised by what was in the movie. In regards to lead and supporting categories, is there guidelines written somewhere to delineate between the two or is it like it seems and is completely based on the situation. Amadeus is one that comes to mind where F. Murray Abraham was also included in the lead actor category and beat Tom Hulce when he really was the supporting actor of that film.

They didn't erase his bisexuality as his relationship with Mary Allen is given a good focus and his relationships with men were gone into at times, even showing him in various leather and sex clubs, but with it PG-13 much wasn't shown on either end of the spectrum. It was cookie cutter in that every big song was done after a fight with the band, literally aping what Walk Hard made fun of, and the numerous timeline inaccuracies were pretty bad, although the Live Aid scene was a near shot-for-shot recreation of the actual event. I do find it odd that this won Best Drama while Green Book won for Comedy/Musical which clearly they should be swapped.

I got was it was but I felt it was more on the nose than the other allusions made like the white voice leading to acceptance and prosperity and that work is a prison and vice versa with the lifetime contracts working for Hammer.

I really enjoyed it and it's premise, but it did kinda lose me near the end with Armie Hammer's plan for the work force. Plus I saw it a week or so after re-listening to The Last Dragon episode of the show so Tessa Thompson's art display featuring a monologue from the movie was just oddball enough to work, especially with some of the art exhibits I've seen.

I'm still pissed Jeff Bridges got the Oscar nomination over Ben Foster, who absolutely stole that movie with his performance.

That's sort of why I never go by festival dates either, because Trick R' Treat had a similar thing where it was shown at a small handful of festivals, had a trailer before a few big movies, and then didn't come out for another three years. Or then there's The Poughkeepsie Tapes which had it's trailer before a couple big superhero and horror films, was finished in 2007, pulled from release due to studio restructuring, had a screener leaked online in 2009, and then finally got an official video release in 2017, but it's release year is listed as 2007. Since festivals are a dime a dozen any more I would think at least a limited release for indie and award bait, wide release for everything else, and video release for straight to streaming/VOD. As for Veronika Decides to Die, I think the proper answer is to say its release year is 2029, just to seriously fuck with people's heads.

IMDB can't be counted really because it usually goes off the date production starts and the expected release, which is screwy with some movies that are in release hell like Cabin In the Woods or All the Boys Love Mandy Lane, which come out literally years after they finished production. With my list I basically consider a wide audience release as the release time and also if it's a month or so difference, it's not a huge issue to me to count it as a current year release.

Well they were going off a real life incident, so there wasn't going to be some big shootout or anything. I really enjoyed the movie, though was kinda bummed at how they watered down his career as a mule, since the real guy had been doing it for over a decade, becoming kind of a cartel tall tale, while the movie has him doing the job for maybe a little over a year.

Oh there is a bit of hokiness to the killer in Black Xmas, but you kind of expect it given the campy nature of the film, and considering that half of the marketing was literally made just for the trailers.

Blindspotting was one I really wanted to see this year but never got a chance to and is on my to-watch list for now along with Green Book and Won't You Be My Neighbor.

They created a whole backstory to who was calling and that characters past, as his family were the original owners of the house. It adds a nice layer to the story, especially considering how the remake for When a Stranger Calls tried to stretch out the first 30 minutes of the original to fit a 90 minute movie. As for the original Robocop, there were definite routes to take with the story, but the focus on what is a man/what is a machine was well done, but the remake like Total Recall's remake, removes any ambiguity from the story by just telling the audience "no this is how it really is."