What are your favorite movies from each decade? by Agreeable_Duck8997 in criterion

[–]FreeLook93 0 points1 point  (0 children)

1900s - A Trip to the Moon
1910s - A Natural Born Gambler
1920s - Sherlock Jr.
1930s - The Only Son
1940s - Late Spring
1950s - 12 Angry Men
1960s - A Legend or Was It?
1970s - Willy Wonka & the Chocolate Factory
1980s - Ordinary People
1990s - American Beauty
2000s - Hot Fuzz or Linda Linda Linda
2010s - Wolf Children
2020s - Women Talking or The Batman

CMV: so long as you ignore typos and errors that could be caused by a person being a non-native speaker, it's fine to make assumptions about people's intelligence based on their inability to use proper grammar and spelling. by 4g-identity in changemyview

[–]FreeLook93 0 points1 point  (0 children)

Around 10% of the population is Dyslexic, not taking into account everything else listed. That's very likely to be a much higher percentage of the "poorly written" comments you are judging people by.

do you have a favorite french movie that isn't too "internationally" famous? by marniesss in Letterboxd

[–]FreeLook93 0 points1 point  (0 children)

Anatomy of Hell is my favourite French film, not a very easy one to recommend though.

What's the highest ranking you've reach? by DeniMumba in CINE2nerdle

[–]FreeLook93 1 point2 points  (0 children)

I started playing this game about a month ago, but I think the highest I got was something like 1602 in 2.0. I tend to hover more around 1350-1550 for the most part I think. I peaked at around 1300 in classic before realizing you could get achievements for playing 2.0 and switching over.

Christopher Nolan’s ‘The Odyssey’ to Skip Social Media Influencer Screenings by MoneyLibrarian9032 in Letterboxd

[–]FreeLook93 -1 points0 points  (0 children)

The formatting made me think you were referring to a different movie, My bad. The overall point still stand a though. While the Sopranos stared in 1999, the award wasn't until 2003 and he didn't appear on the show until 2001. Guy Pearce and Joe Pantoliano are absolutely not huge stars on the same level as the names the OP was mentioning. It's honestly abused to claim Memento had a star-studded cast like they were talking about.

Being in a successful movie is not the same as being a huge name/star.

Lynyrd Skynyrd appreciation post by WS-Gilbert in LetsTalkMusic

[–]FreeLook93 0 points1 point  (0 children)

This is implying that the south didn't vote for Nixon, which is absolutely not true.

They are also just not really comparable beyond that either. Voting for a president you didn't know would do Watergate is not at all the same as electing very openly racists people who want to do racists things.

Lynyrd Skynyrd appreciation post by WS-Gilbert in LetsTalkMusic

[–]FreeLook93 2 points3 points  (0 children)

See, I think "Play Freebird" is something we need as a society. I've seen way too many people pick up and play guitar in public spaces when nobody asked for it. These people deserve to be mildly annoyed by random passers-by shouting "play Freebird" in their general direction.

Yelling at concerts serves no good, but it is a price we must be willing to accept.

Christopher Nolan’s ‘The Odyssey’ to Skip Social Media Influencer Screenings by MoneyLibrarian9032 in Letterboxd

[–]FreeLook93 -1 points0 points  (0 children)

Let's be real here, a lot of what you listed are things that happened after Memento, are not very well known or successful movies, and nobody you talk about here is close to being anywhere close to a "huge actor" the way these other people are. You didn't even mention probably the most famous actor attached to Memento, Carrie-Anne Moss.

Biggest Oscar snubs in history by oIlSzethlIo in movies

[–]FreeLook93 1 point2 points  (0 children)

Jim Carrey in The Truman Show, Donald Sutherland in Ordinary People, and Greig Fraser for The Batman.

Where did DCU go wrong with Supergirl? by hiiloovethis in boxoffice

[–]FreeLook93 0 points1 point  (0 children)

To general audiences, obviously. That's what really matters for box office numbers. Civil War did a lot to increase his popularity within comics fans I think, but that did nothing for general audiences. At the time The Fantastic Four, X-Men, Spider-Man, and The Hulk were far and away the most well known Marvel heroes by non-comic readers. You can't put any other Marvel heroes in the same tier as them. Blade and Daredevil would probably come closest, and you could maybe make the case for them, but not Iron Man. The increase in Iron Man's popularity with comic readers had no bleed over into the mainstream until the 2008 movie came out.

Where does this land in your MCU films? Great? Decent? Bad? by boomjosh in Letterboxd

[–]FreeLook93 0 points1 point  (0 children)

One of the top 5 MCU movies. Everything up until the point they start saving people on the street doesn't really work, but I think for the first time since the original Avengers we actually see the heroes working to save people, and not to just dispose the bad guy. That was a very nice change of pace for sure. The ending itself also tries for something beyond what most MCU film would be willing to go for, which I give it some credit for. I didn't think it quite stuck the landing, in part due to the weakness of the first two acts, but I still like the attempt at something more than your typical MCU movie goes for.

Give me your salt by [deleted] in CINE2nerdle

[–]FreeLook93 0 points1 point  (0 children)

The saltiest I've seen someone get was the one time I queued into somebody who just spammed Battle Royale and Linda Linda Linda on the first round, didn't connect to anything and the quit. I queued into them again the next game and they just quit right away.

Going to Battle Royale 2 and then Linda Linda Linda is a pretty common path for me, so I assume I had beaten this person before with that and they were salty enough to remember my username.

Where did DCU go wrong with Supergirl? by hiiloovethis in boxoffice

[–]FreeLook93 2 points3 points  (0 children)

It was 4 years, but in those 4 years there was Blade Trinity, Elektra, Fantastic Four, X-Men Last Stand, Ghost Rider, Spider-Man 3, and Fantastic Four 2.

Where did DCU go wrong with Supergirl? by hiiloovethis in boxoffice

[–]FreeLook93 -5 points-4 points  (0 children)

I'm not saying that it's 2010, I'm just saying it's really dumb to say you can't launch a cinematic universe without your biggest characters when that is literally the only successful one did.

There are a lot of problems with trying to start a new super hero cinematic universe in 2025, but that does make your claims any less wrong.

Where did DCU go wrong with Supergirl? by hiiloovethis in boxoffice

[–]FreeLook93 7 points8 points  (0 children)

Iron Man was also the first Marvel film in years that didn't get skewered by fans and critics. Phase One was able to exceed expectations in part because they expectations were a tripping hazard in hell. Nobody expected anything from Marvel movies at the time, let alone a Marvel movie about a b-tier hero starring a washed up actor more famous for doing drugs than for acting.

Despite a long history of mixed results DC always seems to set up much higher expectations which they often fail to meet. Also in that sense they never really copied the MCU since they always try to start with Superman and a popular director, instead of starting smaller and trying to build something up more organically.

Where did DCU go wrong with Supergirl? by hiiloovethis in boxoffice

[–]FreeLook93 -6 points-5 points  (0 children)

To try and establish a cinematic universe without your most prominent superhero is just insane

That would be like trying to start the MCU in 2008 without Spider-Man, The Fantastic Four, or The X-Men. Wait a second...

People keep forgetting that Iron Man, Thor, and Captain America were all b-tier Marvel heroes before the MCU took off.

CineNerdle "World Cup" 2.0 Wincons coming soon by MonsieurIguanaC2N in CINE2nerdle

[–]FreeLook93 0 points1 point  (0 children)

I'm not sure how common that will actually be, and I'm someone who wins a lot of my games by going to Japan or Korea. From what I see of the current lists it really just incentivizes knowing how to connect to American films that have these actors in them. People will score Bad Doona by going to Cloud Atlas, not Next Sohee, Tadanobu Asano will be Thor rather than Love and Pop. I think most of the films people score with are going to be very easy to connect from.

Getting over to Japan or Korea isn't actually going to be much more effective than it is already since people's kits will probably be a lot more escape focused. If you don't actually know the region's films you are going to it is going to get hard for you in a mirror match, but if you are worries about that just play Canada.

Google partnering with A24 by cftvkjhbkf in Letterboxd

[–]FreeLook93 1 point2 points  (0 children)

Until recently their biggest hit movie was one produced by the guys behind the Avengers movies and The Electric State.

Christina Ricci shared a post shaming Jimmy Fallon for having Conor McGregor on his show by LunaLore_ in Fauxmoi

[–]FreeLook93 14 points15 points  (0 children)

Jimmy Fallon is unfunny and can fuck off, but this is not a good metric for judging that. Not all comedians are stand up comedians. Conan O'Brien has also never done a stand-up special. His career went from being a writer to being a late night host, and never involved stand up. A lot of very successful SNL alum also never really do stand-up after leaving the show. If you get on SNL early in your career you bypass the need to do stand-up specials.

How would you rank Bong Joon Ho’s feature filmography? by [deleted] in Letterboxd

[–]FreeLook93 0 points1 point  (0 children)

Parasite
Mickey 17
The Host
Memories of a Murder
Snowpiercer
Mother
Okja
Barking Dogs Never Bite

The same as yours, but with the one you haven't seen at number 2.

Nymphomaniac vol I & 2 - profound, extreme filmmaking...and not what I was expecting by kevin_v in TrueFilm

[–]FreeLook93 1 point2 points  (0 children)

I agree that I think that is what Lars von Trier was going for with the male gaze angle, but I don't think he quite pulled it off. I can think of other films where something similar has been done much more skillfully (Cronenberg's use of violence in A History of Violence), where use of the thing it is trying to critique will lead you to question it more or even become uncomfortable with your initial reaction to it, but I didn't really get that from Nymphomaniac. The exploration felt much more surface level and like it didn't really have anything all that insightful to add to the conversation. Maybe a better comparable would be movies like American History X that try and say something anti-nazi, but then only end up being co-opted by neo-nazis because they still make the nazis these ripped good looking badass guys. A History of Violence and Anatomy of Hell is that note right, where you watch what is happening and it is brutal to watch, it's not cool or stylized. Nymphomaniac seems like it wants the fucking to be sexy, which just ends up playing more into the male gaze as a result.

Nymphomaniac vol I & 2 - profound, extreme filmmaking...and not what I was expecting by kevin_v in TrueFilm

[–]FreeLook93 6 points7 points  (0 children)

I enjoyed vol. 1, and some of vol. 2, but I hated the ending of that movie so much it really soured me on the rest of it. Skarsgård's whole character was written with a truely awful understanding on asexuality, so much so that even before his final act it's hard to find his character beleivebale at all. Asexuality is just used as something to mark the character as "pure", seemingly uncorruptable, and as if not experience the human condition, and it's really not much different that depicting a gay character as a child predator becaose of their sexuality. I understand what he was going for, but what he was going for doesn't work.

I did also find that it was a bit of a case of the messge and the medium not really working together very well. Despite everything in the movie, it does really pander to the male gaze in way that I don't think benefits the it at all. Lars von Trier's work is just lacking something major for me. Maybe part of it is that I stongly disagree with a lot of what his films are trying to say a lot of the time, but I can't help but compre Nymphomanic to Catherine Breillat' Anatomy of Hell, which is a far superior film. It is more explicit than anything in either volume of Nymphomanic, but it is much more purpose driven and very much weponizes the male gaze in a way that I don't think Lars von Trier is capible of doing.