Movies

kvetcha said:
I am admittedly kind of wary of Zemeckis’ mocap era, but I do respect your taste in film…
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If you find the style completely unappealing (which is understandable, I'm not the biggest fan of it either), then I can't promise this would necessarily win you over, as it has a lot of the same issues that the other Zemeckis mocap projects do, just to a lesser degree in my opinion. You still get the occasional uncanny expression and things like that, but I think utilizing actors like Jim Carrey and Gary Oldman who are already very animated performers and making the character designs more cartoonish and exaggerated helps it avoid some of the pitfalls mocap often leads to.
 
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Selaws said:
I've just signed up too. Think I will use it to log all my 2024 movies in a list, I use the notes in my phone currently and have done for the past few years. Letterboxd looks much better!

Heres my profile

letterboxd.com

W_Swales’s profile

W_Swales uses Letterboxd to share film reviews and lists. 316 films watched.
letterboxd.com letterboxd.com
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I transferred my 2023 list to Letterboxd and currently at 223 films watched this year. More than I thought to be honest!
 
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I myself am sitting pretty at 398 (and counting)
 
kvetcha said:
I have to admit being a little baffled by the polarized response to Maestro. I thought it kinda ripped, but half the reviews on Letterboxd are fully shitting on it.
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Haven’t read any of the reviews but I know there were a few people upset about the prosthetic nose. Which is imo seemed tastefully done and makes Cooper a spitting image.
 
kvetcha said:
I have to admit being a little baffled by the polarized response to Maestro. I thought it kinda ripped, but half the reviews on Letterboxd are fully shitting on it.
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I am going to watch it again, but I also don’t get the hate. It’s nice that it’s not a by the numbers biopic. That’s why I like it, also visually it is stunning.
 
Bull Shannon said:
Meanwhile, I was utterly demolished by The Boy and the Heron the weekend. Saw subs; definitely want to get back in there to see the dub.

In lieu of a review, I present in chronological order, a list of the times I cried during this movie:
  1. When Mahito found the book inscribed by his mother.
  2. When Mahito and Kariko are pushing the boat out to sea. I don't know what was going on with me, but it was just so beautifully animated and overwhelming, and there was something about them struggling and working together.
  3. When Mahito is begging Natsuko to come with him, the slips of paper are engulfing him, he's actually calling her his mother, and she screams in his face that she hates him.
  4. The Parakeet King following Mahito back to the uncle; something about the creeping inevitability of his pursuit was so dang overwhelming.
  5. When the world is falling apart around them; it's, again, so overwhelming.

Thank you for watching my Ted Talk.
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My wife and I went to see this last night. Such a great film.
 
kvetcha said:
I have to admit being a little baffled by the polarized response to Maestro. I thought it kinda ripped, but half the reviews on Letterboxd are fully shitting on it.
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I’m fully part of the problem as I haven’t sat down to watch it, but I think Netflix’s treatment of it (namely shunting it onto the service without a theatrical release) discourages people from engaging with it seriously. Whether the distributor thinks a movie is “worth” a theatrical run affects how I perceive it, even when watching at home under best circumstances.
 
Bull Shannon said:
I’m fully part of the problem as I haven’t sat down to watch it, but I think Netflix’s treatment of it (namely shunting it onto the service without a theatrical release) discourages people from engaging with it seriously. Whether the distributor thinks a movie is “worth” a theatrical run affects how I perceive it, even when watching at home under best circumstances.
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Regardless of how you end up feeling about the movie, the score (almost entirely Bernstein) is glorious and worth cranking.
 
Bull Shannon said:
I’m fully part of the problem as I haven’t sat down to watch it, but I think Netflix’s treatment of it (namely shunting it onto the service without a theatrical release) discourages people from engaging with it seriously. Whether the distributor thinks a movie is “worth” a theatrical run affects how I perceive it, even when watching at home under best circumstances.
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It's definitely played in theaters in my city. And if it played here, it probably did elsewhere.
 
kvetcha said:
I just can't comprehend people watching the Mahler No 2 sequence and feeling nothing. I was overwhelmed!
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This sequence definitely rules. People have been quick to pile on it and accuse Cooper of trying to hard. And maybe? And also, so what. Being thirsty for an Oscar doesn't bother me if the final product is good.
 
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