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Yeah, it was clearly a case of being a product of its time. It's not something inherently bad in the film, and I understand why it ended up like that. I just didn't, personally, enjoy watching it because of that.

Straczynski said somewhere that it had fallen apart, and wasn't in progress as far as he knew. Unfortunate, I think he could have done amazing things with a remake.

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The Rocketeer was a favorite of mine as a kid, but I don’t think I’ve rewatched in in a least 20 years. Gave it a re-watch last night and it’s still great.

Okay, sure, Billy Campbell is a bit wooden (Brendan Fraser, Brandon Routh, and Nathan Fillion are so much better at playing this sort of Square-Jawed, All-American Hero) but he’s not terrible. He’s mostly just upstaged by Alan Akron, Jennifer Connelly, and Paul Sorvino stealing the show... and Timothy Dalton is clearly relishing every bite of the set, gleefully scenery chewing his way through the whole film. Since he basically gets to play an Errol Flynn type swashbuckler, a dashing debonair romantic lead, and a Bond Villain simultaneously, you can’t help but enjoy watching him enjoy the part.

Special effects are, well, they’re thirty years old. The flying scenes are quite as seamless as I remember, which might rob the movie of some of its magic... But everything else holds up great.

Rumors of a sequel or remake have swirled around forever, but I don’t think it will ever happen.

If you’ve never seen The Rocketeer or just haven’t seen it this century, give it a whirl.

Four stars.

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The Omen 3: Hit and miss. Damien's monologues in particular just don't end up working out. I'm pretty sure it's a combination of script and direction, because I know Sam Neill can do better than that. The overall plot works out pretty well tho, and there are some great bits here and there. It'll never be a classic the way the original was, but it's far better than most cases of sequel-itis.

Leprechaun: Origin: Only nominally related to the Warwick Kinrade franchise. Apparently it got kinda panned, but I'm guessing that it's one of those cases where it's not "original" or "groundbreaking" enough for the critics. In and of itself, it seemed pretty solid to me. Stephanie Bennett seems like she could actually make a pretty good action hera if someone gave her the right roles.

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12 hours ago, WestRider said:

The Tunnel (2011): Basically an indie found footage remake of C.H.U.D. It's solid. Not terrible, not great. I would be interested to see what the director can do with a proper budget, because there's definitely promise here.

I'm waiting for the Portland homeless problem to become a CHUD problem. 

Peace in our time.

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Star Wars Episode I: The Phantom Menace

Script 1/5

Plot 2/5

Graphics 4/5

Acting 2.5/5

Score 4/5

We are introduced to a Galaxy Spanning United Nations utilizing Advanced Technology and Science to enforce the will of some members onto others in the name of peace. This, while allowing black market operations to exist within the capital of said Galaxy wide organization, allowing a healthy slave trade to exist, and promoting negative realworld stereotypes.  Action scenes are well choreographed, for the most part.  The soundtrack is probably the best aspect of this movie.  None of the acting gets by unscathed, even from veterans. 

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4 hours ago, Ish said:

Music 10/5 

Say what you will about the Star Wars franchise (even the most devout Fandalorian has to concede they’re of variable quality) but there’s no denying that John Williams’ scores are outstanding.

I remember when I finally watched Revenge of the Sith, I kept feeling serious dissonance, because the music was evoking so much emotion, and everything else in the film was falling so flat.

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The weird thing about Attack of the Clones and Revenge of the Sith, at least for me, is the knowledge that Francis Ford Coppola is officially acknowledged as having done some rewrites on the script... Francis Motherloving Ford Goddamn Coppola.

How bad must the original scripts have been if Coppola is your script doctor and we still get the “I don’t like sand” soliloquy as the big romance moment and “Not the younglings!” as the big tragic moment? 

I mean, it’s Star Wars, so I wasn’t expecting Dostoevsky. I was expecting space-wizards and laserswords, cornball jokes, and cliché villains who call themselves “the Dark Side.” The franchise is supposed to be a recreation of the pulp serials of the Golden Age of Hollywood... But, yikes.
 

I wanted Edgar Rice Burrows, not Ed Wood.

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On 11/28/2019 at 12:23 AM, Ish said:

and “Not the younglings!” as the big tragic moment? 

I would like to submit "Annie, you're breaking my heart!" as an even more cringe-worthy tragic moment. Especially because the medical droid at the end confirms that she did indeed die of a "broken heart".

And that's why 30-seconds-old Leia was able to form a memory of her mom being "very beautiful, yet very sad". I'd be sad too if I had only a few seconds left before my heart split in half. 

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The Star Wars prequels were astonishing in their ability to pull off feats of cinematography I never thought possible: They made Christopher Lee appear non-threatening as a villain; They made Natalie Portman seem unemotional; They made Ewan McGregor seem uncharismatic; They made Samuel L. Jackson seem boring...

The Star Wars sequel trilogy (well, the two I’ve seen anyway) have a really bland set of characters ( “Hi, I’m Poe Dameron, you’ll forget I exist whenever I’m not on screen.” “Hi, I’m Captain Phasma. You’ll forget I exist before the end of this sent—“ ) but they seem much more competently directed overall.

 

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The Irishman (or I Heard You Paint Houses) is a new film from Martin Scorsese, made directly for Netflix. It stars stars Robert De Niro, Al Pacino, and Joe Pesci; Ray Romano, Bobby Cannavale, Anna Paquin, and Harvey Keitel all play prominent supporting roles... Okay, Paquin only speaks like seven words in the whole movie, she’s basically a walk-on extra, but it’s Martin freakin’ Scorsese. He makes those seven words work and just about any actor would kill for a part in a Scorsese picture.

The story is an adaptation of an throughly debunked biography of Frank "The Irishman" Sheeran, a mob hitman and union organizer who claimed to have been the person who killed Hoffa. The film is outstanding, but don’t treat it as an actual work of history... It’s one of those films where what it’s about isn’t what the films really about. 

Five outta five. 

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  • 1 month later...

Red Tails (2012) the last movie Lucasfilm made before being sold to the House of Skaven Mouse. Spent years in development hell and had trouble finding a distributor... and then fell short of its budget by about $8 million at the box office. Oof.

Having finally gotten a chance to see it, I can see why it wasn’t a big hit. It’s not a bad film, not at all. The acting is great, the cinematography is gorgeous, the air combat action scenes are better choreographed than anything in the last six Star Wars... and need I really say anything about Lucasfilm and ILM’s sheer mastery of digital sorcery?

The trouble with Red Tails is a combination of two things:

 First, the filmmakers were clearly set on making an "old school" war movie, a homage to classics like Flying Leathernecks or Twelve O’Clock High, but about the Tuskegee Airmen who never got (although they totally deserved) a classic WWII film. But in doing so, they embraced all the dated cliches and plot devices we’ve all seen in these movies – spoiler that isn’t a spoiler: the pilot who puts the photo of his new fiancé up in his cockpit doesn’t get a happy ending  – making it just fall a bi flat emotionally.

Secondly, I couldn’t shake the feeling the whole film that I was watching the second part of a trilogy or the third- and fourth-episodes of an eight part miniseries. Maybe I’ve been spoilt by things like Band of Brothers The Pacific, or other more recent “prestige television” type presentations over the “old school” John Wayne and Jimmy Stewart fare... But character introductions and characterization was rushed, we don’t get anything about the Tuskegee Airmen’s formation or training, there’s no prologue, and we don’t even get  much of an epilogue. It just kinda starts en media res and then ends the same way.

Nevertheless, it’s a good film overall. Any fan of WWII films (and especially fans of WWII air combat films) will enjoy it and the Tuskegee Airmen are certainly deserving of a starring role... 

2.4 outta 5, overall, but actually a lot better than that score implies if the classic WWII movie is your cup of tea.

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Tremors, Tremors 2: Not high cinema, by any means, but they are a whole lot of fun. (I do think the first one would have been better with Christian Kane instead of Kevin Bacon, but the timeline couldn't have worked out for that.) The second one is way better than any direct-to-video sequel has any right to be. A clear addition to the list of properties that didn't suffer from sequelitis.

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