Interference Random Movie Talk V: The Final Frontier

[Lancemc]

That's what they sayin' yo.

If the game show question graphic wasn't on the poster, or at least wasn't so obtrusive it would almost be purchase-worthy.

 

[LMP]

If the game show question graphic wasn't on the poster, or at least wasn't so obtrusive it would almost be purchase-worthy.

Are you serious?

 

[KhanadaRhodes]

Of his films, I've only seen Trainspotting and Sunshine... really looking forward to 28 Days Later. I think Sunshine will be a cult classic years from now, even if the 3rd act leaves a bit of a weird taste in your mouth. That's what she said.

whoa, you've never seen 28 days later? you're in for a treat.

 

[Lancemc]

whoa, you've never seen 28 days later? you're in for a treat.

Agreed. Probably my favorite of the 4 Boyle films I've seen, which is particularly telling considering how much I also loved Sunshine and given my general distaste for "horror" movies.

It's also several orders of magnitude greater than its sequel.

 

[lazarus]

28 Days Later was great, but I didn't think the sequel was bad. I liked how it explored different themes from the first film.

I don't mind Boyle, but Trainspotting is somewhat overrated. For trendy 90's films, it isn't even close to something like Pulp Fiction.

I haven't had the chance to see Millions, which I've heard good things about. I liked Sunshine as intelligent sci-fi, but still didn't think it was anything special or groundbreaking.

And The Island was...entertaining.

 

[Lancemc]

I actually haven't yet seen Trainspotting. Doesn't really seem like my thing too much, but I'm sure I'll get around to it eventually.

The Beach is solid... a bit odd for sure, but I like the directions it takes here and there, not what I expect it to do.

28 Days Later I love more and more every time I see it. The final act is still my least favorite part of the movie, but I hardly dislike it like I once did. I can appreciate the turn it takes, but my problems lie in the execution. But like I said, I love the movie too much to really care anymore.

Millions is actually my least favorite thing I've seen from him. I like it a bit for its originality, but nothing really spoke to me from a storytelling or thematic perspective. Almost felt a bit too calculated at times.

Sunshine is intelligent sci-fi, and these days that sort of is something special. I'm due for a rewatch though.

But yes, I'm dying to see Slumdog. It seems like it could mark Boyle's break into the creative big league so to speak. We'll see.

 

[lazarus]

A quick note: don't know if anyone still cares or is paying attention, but it looks like Iron Man barely edged out Indiana Jones this summer, making approximately $1 million more at the U.S. box office. The question is, doesn't this make Indy a financial disappointment? Did anyone expect it to make LESS than $300 million? The Phantom Menace was a fourth installment 16 years in the making, this one took 19 years. The difference is that TPM went on to become the second highest-grossing film of all time domestically (until being passed by Shrek 2).

Also worth noting is that Attack of the Clones, which finished with around $310 million (after inflation this is as much if not more than the 2008 films discussed), was considered a relative bomb back in 2002. Does that make sense, when it made just as much as Indy IV? And it was the FIFTH film in the saga to be released. Does anyone think a fifth Indy film, regardless of how well it were to be reviewed, would even come close to that number? Or that a sixth would make as much as Return of the Sith? Now I understand Star Wars has an edge because it's a continuing story, and is going to be more likely to bring return viewers. But I think many had expected Indy to easily take the B.O. crown this year, and it simply wasn't the case.

The real success story here is Iron Man, which had an well-liked actor not necessarily known as big box office material (like Depp in Pirates) in a comic adaptation that probably wasn't a sure thing as far as a franchise builder. Now a sequel is on the way and the film is the second-highest grosser of the year.

 

[Lancemc]

I think everyone was sort of surprised how successful Iron Man was. I certainly didn't expect it to be the biggest hit of the summer (until The Dark Knight of course). Indy turned in about as much as I expected it too though to be honest. It's not really like the Star Wars prequels where it was an entirely new and fresh story. Indy was really just a looooong delayed sequel in a sense. Old people doing things they did 20 years ago. Clearly the audience was still there, but the film did sort of smell a bit dated even when it was being marketed.

 

[KhanadaRhodes]

I actually haven't yet seen Trainspotting. Doesn't really seem like my thing too much, but I'm sure I'll get around to it eventually.

The Beach is solid... a bit odd for sure, but I like the directions it takes here and there, not what I expect it to do.

28 Days Later I love more and more every time I see it. The final act is still my least favorite part of the movie, but I hardly dislike it like I once did. I can appreciate the turn it takes, but my problems lie in the execution. But like I said, I love the movie too much to really care anymore.

Millions is actually my least favorite thing I've seen from him. I like it a bit for its originality, but nothing really spoke to me from a storytelling or thematic perspective. Almost felt a bit too calculated at times.

Sunshine is intelligent sci-fi, and these days that sort of is something special. I'm due for a rewatch though.

But yes, I'm dying to see Slumdog. It seems like it could mark Boyle's break into the creative big league so to speak. We'll see.

i saw trainspotting last year i think, and it was okay. given how much i heard about it and everything, i was kind of underwhelmed.

and i also like 28 days later much more than its sequel. the sequel wasn't bad at all, but it just didn't have the same spark the first one had, i suppose.

and i love sunshine. i was surprised by how much i ended up liking it.

 

[LMP]

I think everyone was sort of surprised how successful Iron Man was. I certainly didn't expect it to be the biggest hit of the summer (until The Dark Knight of course). Indy turned in about as much as I expected it too though to be honest. It's not really like the Star Wars prequels where it was an entirely new and fresh story. Indy was really just a looooong delayed sequel in a sense. Old people doing things they did 20 years ago. Clearly the audience was still there, but the film did sort of smell a bit dated even when it was being marketed.

On the other hand, I think people expected Hellboy 2 to be bigger than it was, too. That film got left in the dust by the insane run of The Dark Knight.

Good points about Indy IV, too. I think it did the business they were expecting it to in theaters, and that number will only go up for the "Ultimate 4-pack Indy set" DVD and Blu Ray releases.

 

[lazarus]

But that's my point. Maybe rational people like us didn't expect the film to do that much, but I believe the studio was banking on it making much more than $300 million. I really think they believed it would crack $400 million, or at least come close. It's fucking Indiana Jones, one of the most-loved film characters. The thing barely made more than the third Pirates film.

And screw the Indy 4-pack. I'd rather have the Young Indiana Jones Chronicles boxed sets.

 

[LMP]

But that's my point. Maybe rational people like us didn't expect the film to do that much, but I believe the studio was banking on it making much more than $300 million. I really think they believed it would crack $400 million, or at least come close. It's fucking Indiana Jones, one of the most-loved film characters. The thing barely made more than the third Pirates film.

And screw the Indy 4-pack. I'd rather have the Young Indiana Jones Chronicles boxed sets.

True, but it still did extremely well overseas with $784 million (a distant second to TDK's $992 million) compared to Iron Man's $580 million (5th, after Kung Fu Panda and Hancock, believe it or not). Paramount's happy either way, I'll bet.

The only episode of that I've seen is the Peacock one that came with the old VHS trilogy set... maybe I'll check them out one day.

 

[lazarus]

I have a hard time taking International numbers seriously, as they take whatever crap is spoonfed to them from Hollywood, and with the exception of a few markets (France, China, Japan, the U.K.) don't have access to many of the choices we do.

But it could still be argued they expected to make more money than The Dark Knight, here or abroad.

 

[LMP]

I have a hard time taking International numbers seriously, as they take whatever crap is spoonfed to them from Hollywood, and with the exception of a few markets (France, China, Japan, the U.K.) don't have access to many of the choices we do.

But it could still be argued they expected to make more money than The Dark Knight, here or abroad.

That I agree definitely agree with... I don't know anyone who isn't surprised at how big The Dark Knight turned out to be.

 

[lazarus]

Enjoy:

http://www.funnyordie.com/videos/a8...calrissian-w-billy-dee-williams-from-fod-team

 

[LMP]

I was just about to post that. Fucking Ackbar, man.

 

[Lancemc]

I just RSVP'd to a free press screening of Slumdog Millionaire on the 11th.

FUCK YEAH!

 

[Dalton]

Tweed: That's the building of our country right there, Mr. Cutting. Americans aborning.

Bill: I don't see no Americans. I see trespassers, Irish harps. Do a job for a nickel what a ****** does for a dime and a white man used to get a quarter for. What have they done? Name one thing they've contributed.

Tweed: Votes.

Bill: Votes, you say? They vote how the archbishop tells them, and who tells the archbishop? Their king in the pointy hat what sits on his throne in Rome.

 

[lazarus]

That...was the minority vote.

 

[LMP]

And on the Seventh Day, God squatted over and out came Ireland.

 

[lazarus]

I thought out came Bono. Or was that South Park?

 

[LMP]

The Farrelly Bros. doing The Three Stooges... fuck.

 

[U2DMfan]

Who would be cast in that movie?

I dread the choices that may be forced on them.

Although they got Jeff Daniels in D&D and he wasn't a 'hip' choice at the time.
They also cast Jimmy Fallon in the BoSox movie (which I liked, sue me) but he's not near a great comedic actor. Can't even hold a moderately serious face in his SNL skits. Bill Murray and Woody in Kingpin was perfect, Carrey in Irene and Stiller in Something ABout Mary were good choices. Hell, even Cameron Diaz was a good choice in that movie. Shallow Hal=liked Jack Black, Gwenyth and Jason Alexander, great choices. Granted, I have to assume they would only control casting so much, if at all. Does it depend on their 'producer' status?

More recently, the twin movie. Kinnear and Damon? Good actors, not real funny, IMO. The material was kinda meh, (I saw it only once and on cable) so I dunno. Never saw Heartbreak Kid.

Some unfunny trendy box office wanker will probably get cast in this Stooges movie. (insert laundry list here)

Please, no Wilson brothers. No Vince Vaughn, in fact although I love a lot of the 'Frat Pack', especially Ferrell, I don't want to see any of them in this one. Maybe Jack Black, if any.

Fucking Seth Rogen will probably get in.
Actually he's pretty funny, I just resent him at the moment.
Fucking Tiger Woods-like agent he has.
Katherine Heigl? Ok, she's pretty but I guess I can swallow that one.
Elizabeth Banks? A fucking goddess. Totally, ridiculously implausible.
That schleppy asshole fucking looks like me.
He's also The Green Hornet.
Although he's made some funny shit, he's sort of one note, stoner joke, isn't he?
Like a funny Kevin Smith, minus the Star Wars references and most the fart jokes.
Speaking of, he directed Rogen's new film, (Schlub and Liz MOtherfucking Banks make an Implausible Porno) starring Jason Mewes, of course.

Sorry, to you Kevin Smith fans, I'll stop now before this turns into a rant. This entire post, was less about the Stooges movie, which is probably not going to be very good anyways and just an opportunity to say how much I hate Seth Rogen currently.

My mom called me when his last movie was out (he was on Letterman) "Honey, this guy on Letterman reminds me of you..."
Fuck me.

Peter Farrelly's next project after this?
Is called 'Walter the Farting Dog'
The title is a winner. Although the movie will certainly not be.

 

[LMP]

I kept seeing Russell Crowe's name pop up for Moe, which is an excellent pick, I think, but I can't stand Farrelly movies not named Dumb and Dumber or Kingpin, so there's that.

Saw Eyes Wide Shut last night... man, it was excellent. Put me in the camp that Cruise is dreaming the whole thing after the marijuana scene. The Wizard of Oz references were what sealed it for me. And this was probably the best thing I've seen Cruise do apart from Magnolia, but give him the benefit of the doubt here since he plays a much larger role.

 

[Lancemc]

I don't know that I subscribe to the traditional dreaming concept for this film in particular, so much as a whole-sale rejection of reality in the first place. And while I think it's a sound interpretation, I never really got the feeling that Kubrick meant to portray a discreet reality and fantasy within the film.

But regardless of interpretation, I'm glad you liked it. It's still my favorite of his work by quite a sizable margin, and it contains the absolute pinnacle of steady-cam work I've seen to date.

 

[LMP]

I don't know that I subscribe to the traditional dreaming concept for this film in particular, so much as a whole-sale rejection of reality in the first place. And while I think it's a sound interpretation, I never really got the feeling that Kubrick meant to portray a discreet reality and fantasy within the film.

But regardless of interpretation, I'm glad you liked it. It's still my favorite of his work by quite a sizable margin, and it contains the absolute pinnacle of steady-cam work I've seen to date.

That's cool, I just felt from the way he portrayed New York City, noticeably artificial, and the pacing of the film, that it felt like a dream compressed into a certain amount of time. The distortion of reality is probably the most apparent when you compare the Zeigler's party at the beginning to the orgy sequence at the Somerset mansion; they seemed like the same types of parties, mass collections of the rich indulging themselves in earthly delights, but the orgy sequence was what it would be underneath the artifice of high society, if that makes any sense. I think the film's just as much an exploration of Bill's sexual naivety and confusion as it is him questioning his position in the "high class," but I'm not sure which idea I should focus on more.

Your favorite? That's interesting. I definitely would stack it closer to his "understood" masterpieces than most would, it seems, but I can't make a sound judgment on it after seeing it for the first time. It does make me really excited to pick up that Kubrick boxset though and watch again - it'd be perfect for Christmastime.

 

[Lancemc]

The sound-stage NYC certainly implies a distance from reality, but like I said I don't think the film is structured as a reality-dream-reality type dealie like we see in other films. Right from the get-go we're introduced to some sort of cinematic dream-state. It's good to quote the "over the rainbow" as a cue to the madness about to ensue, but the visual motif is just as pervasive in the opening shots as it is after Zeigler's party. Then look at the dance between Alice and the European gentleman at the party. That guy is pure fantasy, the first manifestation we see of Alice's sexual and marital frustration. I don't think any of these people are meant to be observed as real independent persons any more than the variety of blondes Dr. Bill flirts around with throughout the rest of the story.

 

[LMP]

The sound-stage NYC certainly implies a distance from reality, but like I said I don't think the film is structured as a reality-dream-reality type dealie like we see in other films. Right from the get-go we're introduced to some sort of cinematic dream-state. It's good to quote the "over the rainbow" as a cue to the madness about to ensue, but the visual motif is just as pervasive in the opening shots as it is after Zeigler's party. Then look at the dance between Alice and the European gentleman at the party. That guy is pure fantasy, the first manifestation we see of Alice's sexual and marital frustration. I don't think any of these people are meant to be observed as real independent persons any more than the variety of blondes Dr. Bill flirts around with throughout the rest of the story.

So you're ascribing these dream-like characters into Bill and Alice's realities? I guess the "walking dream" idea makes as much sense to me as a literal dream.

It was interesting that we just finished reading The Importance of Being Earnest in my Lit class the day that I started watching this... with both dealing with the faults of the upper-class, albeit in completely different ways.

 

[lazarus]

But don't you think the final scene is supposed to be in "reality"? The hustle-and-bustle of normally life is finally portrayed, in a "crowd" scene that's far different from the elite gatherings shown earlier. Regardless of what before is supposed to be reality, this to me is them finally in the real world. From what I remember it's not shot as gauzily, either.

To me this has to be "real" for the point (Kidman's final line) to ring true.

 

[Lancemc]

So you're ascribing these dream-like characters into Bill and Alice's realities?

Yes and no I suppose. I think it's supposed to be nebulous as to who or what is real and what is fantasy throughout the entire film. Or beyond that, I personally don't think it's that important of a question. This is what these two people are experiencing, and this is their story... reality, fantasy, hallucination, dream, a perception clouded by their subconscious... not sure how relevant it is, but the only real point I'm trying to suggest is that there's no discreet change between the beginning part of the film and after where you noted.

There is a notable shift though at the very point Laz suggests, which I sort of ignored before. The final scene definitely carries a different visual and temporal presentation which suggests something has changed. It's as if the building tensions and trials this couple has endured throughout the prior two and a half hours have reached a breaking point, and now we see two broken and haggard people in the realization of where they are in their lives and their relationship. That's also partly what disinclines my to believe any part of the film prior is really a "dream" or anything implying that it never really happened to these characters. More that everything before their awakening is presented as a reality...but maybe one expressive of the characters' own emotional or mental detachment in a purely cinematic manner.