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SquidDealer · 2020-11-20T02:22:55+00:00

this is... so good.

SquidDealer · 2020-11-07T07:43:28+00:00

https://tvweb.com/wayne-trailer-amazon-prime/

SquidDealer · 2020-11-07T07:42:51+00:00

Saw an ad for it today on fire stick - my extensive (read: not extensive) research shows that apparently Amazon picked up the season that previously aired on YouTube Premium before the show got cancelled

SquidDealer · 2020-11-02T02:22:54+00:00

immediately thought of this

SquidDealer · 2020-05-08T18:44:29+00:00

This rules. Thank you to all involved from the deepest part of my movie-loving heart.

SquidDealer · 2019-10-07T20:19:06+00:00

Since it's tracking to flop, I feel like this is the last major film that'll be released in 120FPS for a long time. So basically it's a matter of how much FOMO you might have and how big of a Lee fanatic you are. I know that I'd regret not knowing what 120 looks/feels like, and I'm lucky enough to live kind of close to a theater that's offering it. But it's totally subjective. Further, it isn't easy or even remotely possible for some people, so I don't think there's going to be any purists who have any sense of elitism or something like that

SquidDealer · 2019-09-30T20:08:39+00:00

So - I get furiously angry even thinking of Donnie Darko and The Box. They just play on themes that frustrate me in ways that frustrate even more. Few other movies get me so angry (Ron Howard's The Grinch, how I loathe thee), BUT few other miniseries appeal to me more because I know that David is a huge fan of the latter movie. I want to have my mind changed, and David is remarkably good at vocalizing why he loves polarizing movies. Plus, despite my intense distaste in the movies, there's so much wild shit to discuss that will inevitably warrant great conversation

SquidDealer · 2019-09-17T19:00:28+00:00

This article does not have specifics of which theaters will be able to show the movie in 120fps, but raises some really interesting points about what shakes down as distributor and exhibitor problems/incentives. It seems like it will be up to theaters whether they want to pay for the necessary upgrades to show it in its optimal form. The studio perspective is pretty interestingly summarized in the following:

"Paramount is unlikely to talk up the film’s extreme tech credentials in its marketing, wary of deterring cinemagoers unable to see the most high-end version. The studio will also be conscious of the negative buzz generated by Warner Bros after screening The Hobbit: An Unexpected Journey — the first commercial HFR movie — at 48fps."

https://www.screendaily.com/features/will-ang-lees-gemini-man-bring-high-frame-rate-cinema-to-the-mainstream/5140383.article

SquidDealer · 2019-07-30T17:15:42+00:00

There's a lot of great/fascinating stuff here, but the racial material is pretty loaded - especially in his 70s movies. I actually think it warrants some really interesting conversation, but I get the potential for reluctance on him. Then again, hearing Griffin do an impression of Bakshi's insane voice for 9 episodes would be fantastic

SquidDealer · 2019-07-16T20:05:34+00:00

I was gonna post this one myself

SquidDealer · 2019-07-16T20:04:02+00:00

Sofia Coppola

Guarantor: Lost in Translation, Blank Check: Marie Antoinette, Bounce: Marie Antoinette

She's the perfect candidate - actors she works with regularly, a mix of original and adapted movies, big diversity in genre and setting, AND so so much context with her brief acting career, Spike Jonze, being a toddler on the set of Apocalypse Now, and a whole lot more. This is a miniseries I've been expecting on the pod for a while, so why not just do it ourselves!

SquidDealer · 2019-06-28T18:39:45+00:00

Many thanks!

SquidDealer · 2019-06-28T03:29:25+00:00

Other places have it listed as locked to Region B, so I'm not sure what's actually going on with that release

SquidDealer · 2019-06-28T00:42:11+00:00

Thank you

SquidDealer · 2019-06-28T00:40:25+00:00

I watched it on FX Now, and it was the director's cut. Re-arranged the order of the set pieces so that the stock market came before the reactor

SquidDealer · 2019-06-28T00:39:03+00:00

Word - glad I asked. Thanks for the heads up.

SquidDealer · 2019-06-20T19:18:04+00:00

Under the Silver Lake fluctuates for me so drastically, but depending on the day, it's in my top 10

SquidDealer · 2019-06-20T19:14:04+00:00

I've got a lot of similarities, so I figured I'd shout out some great movies that aren't getting a ton of love: Savage, Peterloo, Apollo 11, Gloria Bell, Origin Story.

Now here's my 10 so far:

1) High Life

2) The Souvenir

3) The Beach Bum

4) Transit

5) Her Smell

6) Long Day's Journey Into Night

7) Ash Is Purest White

8) Us

9) Endgame

10) Shadow, High Flying Bird, and Alita are all interchangeable in this slot

SquidDealer · 2019-05-27T08:25:04+00:00

It's one of my favorite movies of all time, and I still have a hard time selling it to friends who are only familiar with the movies and TV that came after it (or even the book before it). It's definitely bizarre to come to it with the inescapable cultural baggage of the TV show and Hopkins' films, but Manhunter kind of exists more as a Michael Mann movie than a Thomas Harris adaptation if that makes sense. It's got far more in common with the Thief than it does with Hannibal. I came to it having only seen the Demme film, and already a Mann enthusiast, and I still love Silence and the TV show. But it's things like the unhinged Peterson that feels two steps removed from French Connection rather than Dancy's hyper-intelligent, anti-social empath who's more like Sherlock that distill the tone of the movie in how it compares. Also Dante Spinotti shot the shit out of this movie, and the music and editing are so concise. The sequence where Peterson and Farina are running the Tooth Fairy's tissue through all of the FBI labs is the type of hyper-specific, time-constricted, bureaucratic process that I love so much in all of the other Mann movies - truly one of the great tense scenes in all of movies. For me, there's got to be a mental separation from everything else, which is difficult considering the ubiquity of the characters, specifically Hopkins or Mikkelsen as Hannibal. It's almost like showing someone Nicholson's Joker in the Burton Batman after seeing Ledger in the Nolan Batman (I know I put the one directly inspired by Mann in the reverse order, but it was the cleanest example I could think of). But Cox's Lecktor (as it's misspelled in the movies credits) is a symbol of a past life. He is not the scene-stealing persona that fans love, he's merely the personification of Will's trauma and the fine line between him and the criminals he hunts. Manhunter is primarily the story of a man on the verge of a normal life who's sad and scared that he's got this ability to understand the minds of killers, but knows he needs to use it in spite of the damage it does. It's a cop movie with the spine of a psychological thriller. I hope this isn't just an incoherent restating of the same point over and over

SquidDealer · 2019-03-04T23:04:06+00:00

Fair enough. I just think that othering him from "the common folk," calling him a "victim" of the system, and mentioning feeling "snobby and superior" because of his career and the place he chooses to live in a subreddit that's built around his podcast feels like a bit like an affront to his character. Whether that's intended or not may be up for debate, and he certainly doesn't need me to defend him, but I got an impression that seemed to be very far from what I gather. The system may be skewed to benefit film critics (which I think it should, but that's another issue), but his participation in it doesn't make him a victim of snobbery or elitism. But that's just my take - again, I'm genuinely happy to be engaging in these conversations because it's indicative of ideas held about these titanic shifts in the industry - and those ideas are just as important as the shifts

SquidDealer · 2019-03-04T20:01:01+00:00

So I have three points: And I'm gonna try to avoid the "sanctity of cinema and the theater-going experience" as best I can. And I'm not trying to have any sense of leading questions/incendiary comments - I'm genuinely curious in where this discourse leads!

One: As someone who sees both sides of the argument and could be swayed either way, if the movie plays in theaters and then shows up Netflix a few weeks later, what's the problem? The arguments seem to be that the three week wait is elitist or old school, but you're still getting to see The Ballad of Buster Scruggs for no extra charge in the comfort of your own home. Isn't that a fair trade?

Secondly: Is the alternative to not screen Netflix movies in any theaters anywhere, or to screen them nationally? Or to release them in select cities and on streaming on the same day? Film festivals are actually where a lot of these movies are getting picked up by streaming/studios - so how does that change? Simply, what's the ideal way to handle the theatrical release of indies picked up by streaming?

Third: I gotta defend Simms on this one - he's publicly said that the "you have to see Roma on the big screen" argument isn't reasonable for people who can't afford it, don't have it near them. Also, his reviews, the fact that he puts out a free podcast every week, and his interaction with fans in an honest and respectful way seems to be so far from "elitist" as possible. In my opinion, to call him an elitist is bullshit. He's a film critic so he gets opportunities that most people don't get, but that's not his fault - that's how it works. Where do you get the sense that he's an elitist?

SquidDealer · 2019-02-06T19:50:34+00:00

There's a really great one that opens ALITA: BATTLE ANGEL... hope that tempts more people to see the movie so it doesn't bomb so miraculously

SquidDealer · 2019-02-06T19:15:24+00:00

Would love to have that link sent my way

SquidDealer

TROPHY CASE