TV/Movies Megathread

[Ed Anger]

The Final Countdown is the finest movie ever.

F-14's and Zeros. What more do you need.

http://www.youtube.com/watch?v=oyjNInIH4Hw

I have a boner now.

[Ideologue]

I certainly enjoyed it.

Katmai: do you even like your job?

Yes unlike you I love my job.
I also know Tron legacy is drek.

God, it's so frustrating being in the vanguard.

[Ed Anger]

I certainly enjoyed it.

Katmai: do you even like your job?

Yes unlike you I love my job.
I also know Tron legacy is drek.

God, it's so frustrating being in the vanguard.

We don't understand your agony.

[CountDeMoney]

I certainly enjoyed it.

Katmai: do you even like your job?

Yes unlike you I love my job.
I also know Tron legacy is drek.

God, it's so frustrating being in the vanguard.

And you wonder why I always take big, wet, steaming, nasty and viscous dumps shaped like Popeye Doyle's hat on your reviews.

[Neil]

The problem with Tron Legacy was:  Not enough Tron.

[Ideologue]

I certainly enjoyed it.

Katmai: do you even like your job?

Yes unlike you I love my job.
I also know Tron legacy is drek.

God, it's so frustrating being in the vanguard.

And you wonder why I always take big, wet, steaming, nasty and viscous dumps shaped like Popeye Doyle's hat on your reviews.

I was being ironic, fuckface.

The problem with Tron Legacy was:  Not enough Tron.

That was my biggest issue with it.  Tron's redemption should have either been given another ten minutes of build-up (at least more than like thirty seconds) or should have been saved along with Cillian Murphy for Tron 3.  On rewatches, it's less jarring, kind of like Woola's Speed Force mastery in John Carter.

[The Minsky Moment]

Oh, and Tron: Legacy is surely amongst the most aesthetically perfect movie ever, with its austere yet monumental production design and its use of a limited but vivid color palette hovering against endless seas of black.

But no Riefenstahl tinge.  So fail.

[Ideologue]

Riefenstahl, Smiefenstahl.  In terms of pure set design I was reminded of Ken Adam--weird, unnecessary angles all over married to a modernist sheen; compare this to the basically neoclassical style employed by Albert Speer for the Nazis and you don't really get much.  (Edit: other than an impressive sense of fascism, obviously.)  Interestingly, however, director Joe Kosinski is also an architect, by trade, and it shows in both Tron Legacy and in his follow-up, Oblivion.  The interplay between costume and production design recalls, of course, Danilo Donati.  Darren Gilford is a true master of his art.  I didn't have to look up any of those names DO YOU?

And anyway sometimes a tower of light is just a tower of light, man.

[The Minsky Moment]

It doesn't say great things when the highest praise for a movie is set design, when the movie in question has virtually no sets to speak of.

For all your gab about pictures that move, you seem to overlook that since the late 20s those pictures talk as well.  And when a talkie is 2 full hours of people saying asinine things, it is understandable that one would prefer to consider the virtues of setless set designs.

[Ideologue]

It doesn't say great things when the highest praise for a movie is set design, when the movie in question has virtually no sets to speak of.

For all your gab about pictures that move, you seem to overlook that since the late 20s those pictures talk as well.  And when a talkie is 2 full hours of people saying asinine things, it is understandable that one would prefer to consider the virtues of setless set designs.

Tron Legacy had plenty of physical sets, I believe.  The game grid locker room, Kevin Flynn's safehouse, Clu's headquarters, the End of Line club, the Encom boardroom.  Kosinski prefers to use sets; Oblivion's sets have very little CGI in them (and the backgrounds in them are mainly rear projected, not greenscreened, even).  Legacy demanded a lot more CGI flourish, but it's some of the best CGI seen on film.  In any event, it's a false distinction--it doesn't matter exactly how it's rendered, it matters what is rendered.  Production design didn't come to an end with The Phantom Menace.  If anything, the possibilities became wilder with a new tool added to the arsenal--although so far few have really taken full of advantage of it as a tool rather than as a crutch.  In Legacy, it's an essential tool employed by master craftsmen.

And given the actual content--personally, I liked Tron Legacy's fathers-and-sons themes.  The dynamics between Kevin Flynn, Sam Flynn, Quorra, and Clu were great; Clu's speech to his assembled troops may recall the night rally from Triumph of the Will, but instead of forcing Clu into the mold of a larger than life, Kosinski keeps it personal, bound less to Clu's "patriotic" impulses but to the struggle between his creator and the flaws his creator gave him.  Kevin Flynn and Clu are tragic figures, brought down by their own imperfections, not least their great hubris.

I guess mileage may vary.

[frunk]

I guess mileage may vary.

And sometimes the car flips over and spontaneously combusts right on the showroom floor.

[Eddie Teach]

Hunger Games > Tron

[Sophie Scholl]

Garbon:  (And anyone else interested)  I've actually found Dracula has grown on me.  It's certainly an interesting spin the the mythos.  If you can get ahold of it via ondemand or the internet, I suggest giving a shot if you have some free time.

All the eps are still on hulu so I could give it another go. When would you say was your tipping point? Like is ep 2 still a bit painful?

Yeah, episode 2 is still a little rough if I remember correctly.  I'm not really sure when I started enjoying it, I just did.  Haha.  Somewhere along the way I just found myself drawn in by the concept and the slight bend on the traditional Dracula storyline and characters.

[Ideologue]

Hunger Games > Tron

I'm disgusted.

[Eddie Teach]

Hunger Games is the pork to Tron's steamed carrots. Ok, it wasn't that bad. Make it broccoli, with butter but no cheese.