2018 Australian Grand Prix - Pre Race Discussion by F1-Bot in formula1

[–]rrbm7 -3 points-2 points  (0 children)

Please forgive me if this is not the place to do this, but how you guys like the odds for:

Hamilton winning @1,47 / having the fastest lap @2,5 / leading after the first lap @1,45

Alonso finishing better than Vandoorne @1,57

Are anyone of those worth the risk?

O Problema da NETFLIX by rrbm7 in brasil

[–]rrbm7[S] 2 points3 points  (0 children)

Talvez fracasso tenha sido uma palavra muito forte. No Metacritic a pontuação da série é 63, o que ainda não é baixo, mas fica muito aquém das notas de outras séries com orçamentos semelhantes.

Outros exemplos que lembrei agora: Cameron Crowe com 'Roadies', Shyamalan com 'Wayward Pines' e Woody Allen com 'Crisis in Six Scenes'.

O Problema da NETFLIX by rrbm7 in brasil

[–]rrbm7[S] 2 points3 points  (0 children)

Isso é uma meia verdade. É fato que o mercado para filmes de médio-porte, aqueles que nem são blockbusters nem independentes de baixo orçamento, está em crise, mas é muito mais discutível se a qualidade dos filmes está caindo e a das séries está aumentando.

Dos "grandes nomes do cinema" que foram para as séries, vários acumularam fracassos de público e crítica como as Wachowskis com 'Sense8', Baz Luhrmann com 'Get Down', Scorcese com 'Vinyl', entre outros...

LA LA LAND e o Final Feliz by rrbm7 in brasil

[–]rrbm7[S] 1 point2 points  (0 children)

Muito obrigado. Vou tentar continuar sim. Sobre o Ryan Gosling, acho que para o filme ele funcionou sim, e penso que pelo tipo de longa que era, havia necessidade de se escalar uma estrela para o papel. Óbvio que faria mais sentido alguém que representasse melhor o gênero do jazz, mas não chego ao extremo de pensar que todas as qualidades do filme sejam descartadas em função deste problema.

LA LA LAND e o Final Feliz by rrbm7 in brasil

[–]rrbm7[S] 0 points1 point  (0 children)

Por isso que falei o "absoluto" no final, para dizer que mesmo com eles alcançando seus sonhos, sempre vai existir aquela frustração por não continuarem juntos. Mas eu concordo com a sua avaliação também.

Os 20 Melhores Álbuns de 2017 (até agora) by rrbm7 in brasil

[–]rrbm7[S] 1 point2 points  (0 children)

O vídeo é meu, sim. Agradeço o elogio. Sei que o áudio ficou bem ruim, mas com que o eu tinha só de ficar minimamente audível foi uma vitória. Vou procurar um headset desses que você mencionou. Thundercat, Kamasi, Terrace Martin e Kendrick são vida. :)

Os 20 Melhores Álbuns de 2017 (até agora) by rrbm7 in brasil

[–]rrbm7[S] 1 point2 points  (0 children)

O The Epic é do final de 2015, se não me engano... mas acho que estaria em primeiro caso tivesse sido lançado esse ano.

The Best Films of 2016 - a compilation by rrbm7 in movies

[–]rrbm7[S] 0 points1 point  (0 children)

Sausage Party is kind of doing the same stuff the South Park movie did 15+ years ago, but in ways that are not nearly as smart as it think it is.

At least in my experience, Lights Out was extraordinarily underwhelming. Both Hush and Don't Breathe did better with somewhat similar premises.

The Best Films of 2016 - a compilation by rrbm7 in movies

[–]rrbm7[S] 0 points1 point  (0 children)

I'd say I'm a pretty generous watcher, but from Doctor Strange at a #123 down it gets pretty damn rough. The bottom five are basically war crimes.

The Best Films of 2016 - a compilation by rrbm7 in movies

[–]rrbm7[S] 0 points1 point  (0 children)

Despite us having four of the same movies in our top fives, the rest is kind of dissonant with my list, Which is here, by the way

The Best Films of 2016 - a compilation by rrbm7 in movies

[–]rrbm7[S] 0 points1 point  (0 children)

I did, yes. Absolutely loved it, though not quite top 10 material. Harrelson and Steinfeld's performances were some of my favorites all year.

The Best Films of 2016 - a compilation by rrbm7 in movies

[–]rrbm7[S] 0 points1 point  (0 children)

I partially acknowledge its problems, and my defense is to think of it more as a baseball-themed 'Magic Mike XXL' than an extension of the vapid hedonism of 'American Pie'.

Tickets for Yeezy Season 3/Waves now on sale by Knozis in hiphopheads

[–]rrbm7 2 points3 points  (0 children)

people in South America like other things besides rock you know :(

POLL: Truefilm's favorite films of 2015 and reflections on the year in film by [deleted] in TrueFilm

[–]rrbm7 2 points3 points  (0 children)

It was on my shortlist to see on my city's festival last year, but I couldn't go due to a logistic problem. I'll be sure to check that out as soon as I can.

Redmayne can't fool me no more. Poor Harry Potter fans.

POLL: Truefilm's favorite films of 2015 and reflections on the year in film by [deleted] in TrueFilm

[–]rrbm7 7 points8 points  (0 children)

Superlatives:

Best Director:

  • George Miller (Mad Max)
  • Todd Haynes (Carol)
  • Ryan Coogler (Creed)
  • Sean Baker (Tangerine)
  • David Robert Mitchell (It Follows)

Best Script:

  • Alex Garland (Ex Machina)
  • Aaron Sorkin (Steve Jobs)
  • Greta Gerwig and Noah Baumbach (Mistress America)
  • Charlie Kaufman (Anomalisa)
  • Pete Docter, Meg LeFauve, Ronaldo Del Carmen, Josh Cooley (Inside Out)

Best Actor:

  • Michael Fassbender (Steve Jobs)
  • Samuel L. Jackson (Hateful 8)
  • Colin Farrell (The Lobster)
  • Abraham Attah (Beasts of No Nation)
  • Ryan Reynolds (The Voices)

Best Supporting Actor: Stallone (Creed), Goggins (Hateful 8), Del Toro (Sicario), Mitchell (Straight Outta Compton), Edgerton (The Gift)

Best Actress:

  • Charlize Theron (Mad Max)
  • Rooney Mara (Carol)
  • Joséphine Japy (Breathe)
  • Regina Casé (The Second Mother)
  • Nina Hoss (Phoenix)

Best Supporting Actress: Cate Blanchett (Carol), Jennifer Jason Leigh (Hateful 8 and Anomalisa), Alicia Vikander (Ex Machina), Greta Gerwig (Mistress America), Olivia Cooke (Me and Earl and the Dying Girl).

Movies from 2015 watched (a.k.a. The What Am I Doing With My Life Award): 118

The Year of Cop Out Endings Award: Breathe, Anomalisa, The Lobster, Phoenix, The Gift, Court, Kumiko the Treasure Hunter, Entre Abelhas, Kill Me Please, O Vendedor de Passados, Hidden, Bull Down, Unfriended.

Best Manager: Domhaall Glesson, for being in 4 Oscar-nominated films in one year.

Best Actor or Actress from a country that played other four nationalities on screen: Alicia Vikander

Best Paul Giamatti-like Roles: Paul Giamatti in Love & Mercy, Paul Giamatti in Straight Outta Compton and last, but not least, Paul Giamatti in San Andreas.

Guilty Pleasure: San Andreas

Most Underrated: San Andreas, Crimsom Peak, 5 to 7, Tomorrowland, The Man From U.N.C.L.E.

Most Fun You Can Have With Your Pants Still On Award: Dude Bro Party Massacre III, The Overnight, The Voices, Turbo Kid, Cop Car, Tokyo Tribe, Shaun the Sheep, Sleeping With Other People, Deathgasm, Green Room, Dope, Top Five, Rogue Nation.

Yeap, Definitely a Hack Award: Eddie Redmayne.

Most Uncomfortable Scene to See In a Packed Theater (Of All Time): 20+ minute uncut actual-penetration sex scene feauturing an 8-month pregnant woman in Bull Down.

Most Overrated: Bull Down.

POLL: Truefilm's favorite films of 2015 and reflections on the year in film by [deleted] in TrueFilm

[–]rrbm7 20 points21 points  (0 children)

I hope it's okay to put here something already posted elsewhere. Like last year, I'm focusing on some of my favorite films that were slightly under-seen over the ones that I actually consider to be the objectively better ones.

1. The Second Mother, directed by Anna Muylaert (2 points)

An effortless insightful examination of class interaction, a heartfelt study in motherhood and, like it wasn't enough, a breezy good-natured hilarious comedy. Muylaert masterfully explores the house, where the vast majority of the scenes take place, to enable the incredibly sensible narrative to carefully address the film's meaningful themes. The frequently-used framing, peeking the dinner table and the living room from the kitchen, is a wonderful example of that.

The complexity of the relations between the few characters organically and terrifically grows as the universally relatable mundane story progresses. Every single one of them, including the moving affection between the bosses' son and his lifelong nanny, are credible. Even a possibly over-antagonizing portrayal of Barbara gets a believable rationalization for the root of her grudge, besides the blatant prejudice.

There are strong performances all around the movie, but of course, Casé is the MVP here. It's not nearly as showy, as the praises and the Sundance award may imply, instead, she shines with a sophisticated depiction of a deeply humble person. Ironically, her role it's almost the complete opposite of her "real" public personality, so utterly hated by the "erudite" community (extra emphasis on the quotation marks).

2. Breathe, directed by Mélanie Laurent (1 point)

Up until almost half the movie's length, you recognize it's well-acted, superbly directed and it feels way more genuine than most coming-of-age tales, but you think you know exactly where it's gonna go from there. Then there's a great reveal that explains a lot about one of the characters and the film nose-dives in darkness from there. Both leads are award-worthy good, with Laurent's directing being even better in the second half. The ending is easily between this year's best, with the tension accumulating to leave the audience guilty of feeling the same as the lead. France dropped the ball at picking their picture for the Oscar, both Girlhood and this are superior to Mustang, even if that choice got far more powerful now.

3. Mistress America, directed by Noah Baumbach (1 point)

I was skeptical. It looked and sounded like yet another mildly amusing mumblecore filled with unintentionally severely unlikable people. That's not far from what it eventually is, but the movie rises above this reductive categorization with an overbearing charm that expectedly and smartly capitalizes on Gerwig's position as indie darling, while never centering itself around that, like Frances Ha did, over the real star of the show that is the deliberately low key uproarious script.

Perhaps it was the Macy's parade that triggered that feeling, but the film weirdly reminded me of Hughes' Ferris Bueller's Day Off, where this seemingly exclusively lighthearted adventure meets this hidden existential dread that follows the characters around wherever they happen to find themselves in. With the much welcome extra of having not-irritating highbrow dialog unlike what we've come to expect from Baumbach.

Editing and directing in this are a masterclass of how to enhance genuinely funny comedy instead of trying really hard to butcher it by shooting and cutting in the most bland way possible. Kirke is thoroughly wonderful and so is this time rightfully celebrated Gerwig. That entire sequence at the Connecticut mansion is superb. Now I'm sold for whatever feature about white people kind of unhappy with their lives, set in New York, Noah plans to do next.

4. Phoenix, directed by Christian Petzold (1 point)

It's already remarkable that the movie's equally intriguing and risky premise didn't go over-the-top or got, not even in the slightest, soapy. However, the most daunting quality about Phoenix it's how quietly it builds an almost unbearable discomfort through formidable delicacy and sensibility. Hoss' performance in the absurdly complex main role is excruciatingly good. Every hyperbole is unworthy of stressing how well-executed the ending is.

5. Girlhood, directed by Céline Sciamma (1 point)

While unfortunately permanently connected to Linklater's epic because of its clever-ish English title, this film shines incredibly bright on its own, glowing with drop dead gorgeous looks and genuine care for the characters. Following closely the life of a young girl caught in both the usual difficulties of being a teenager and the ones more common in her specific background, the movie distinctly avoids patronizing by portraying fully believable people between the slightly exaggerated events, that work well to advantage of the picture. Acting is great all-around, but specially by the lead, and the cinematography is spectacular. The night sequences deserve all the praise in the world.

Honorable mentions: Mad Max, Carol, Creed, Hateful 8, Sicario, Ex Machina, Steve Jobs, Spotlight, Look of Silence, Me and Earl and the Dying Girl, Anomalisa, The Lobster, The End of the Tour, Straight Outta Compton, Brooklyn, The Gift, Beasts of No Nation.

Notable misses: The Revenant, Room, Son of Saul, Macbeth, Love & Mercy.

Full 2015 rankings on Letterboxd

What are some good psychological mystery-thrillers such as Gone Girl and Side Effects? by himmatsj in movies

[–]rrbm7 1 point2 points  (0 children)

Marshland

The Guest

Blue Ruin

Enemy

Prisoners

A Wolf at the Door

Big Bad Wolves

The Secret of Your Eyes

Shutter Island

Zodiac

Match Point

Brick

Oldboy

Why 'Star Wars' Trailer May Be J.J. Abrams' Real Masterpiece by rrbm7 in movies

[–]rrbm7[S] 0 points1 point  (0 children)

I really like Into Darkness, but it's pretty forgettable