>You'll get your rent when you stop you daughterfucking!
So weird how the incest subplot in Spiderman 2 goes nowhere.
>Remember Peter, with great power comes great responsibility.
>Responsibility to beat the shit out of each and every negro you see.
I knew Uncle Ben was a little racist, then again what old guy isn't? But this was just too excessive.
>>70091164
It was a different time.
>>70090995
Don't worry, Marvel will fix this in the next one.
not some "tfw no gf" shit, movies that make you think about the human condition and serious business like that
>inb4 Mr Nobody
50/50 made me cry
>>70090974
what's wrong with Mr. Nobody? I've only seen it once but I remember enjoying it
Did television or movies clue you in that you were gay?
It is 100% NOT gay to find Trumeder attractive when hes done up as a woman.
For whatever reason, he makes a damn women, with his dirty little giggles and- shit. Am I gay too?
>>70090872
I don't think even /pol/ would have any issue if Darren transitioned.
>There’s little distance between X-Men: Apocalypse and the films of Chinese director Jia Zhangke. Although their audiences are different (juvenile thrill-seekers and art-movie devotees), the films appeal to the same grim taste for catastrophe. It is a symptom of the era’s depression and the culture’s decline.
>The X-Men films are quasi-political comic-book trash, while Jia’s dramas depict Chinese citizens adjusting to new social conditions — they’re X-Men minus the fantasy metaphors. These similarities announced themselves with this week’s simultaneous opening of X-Men: Apocalypse (eighth in the Marvel franchise, so far), directed by American Bryan Singer, and the new documentary Jia Zhangke: A Guy from Fenyang, by Brazilian filmmaker Walter Salles. Seen close together, Marvel Comics’ reiteration of its gifted-mutant-freedom-fighters action series seemed to parallel Salles’s respectful investigation into Jia’s films about average people whose lives are stunted by government-imposed social policies. (The high point of both movies is Jia sentimentally musing on father–son relationships. He must secretly love The Empire Strikes Back.)
>The high-tech manufacturing of Singer’s impersonal, studio-financed blockbuster obviously contrasts with the personal history behind Jia’s government-supervised work. But rather than stick to a junk-vs.-art irony, notice a common, cynical view of behavior in the two movies. This cynicism was definitively set out in critic Gregory Solman’s brilliant 2001 assessment of how the first film in the X-Men series traduced human experience. Solman wrote, “X-Men offers little in the way of Xplanation or Xperiment. . . . [T]he X-men function as blunt metaphors for various forms of social injustice and alienation, but there are only hints of causal connection, and there’s no theory about why genetic mutations have suddenly sprung up and accelerated in the human community. . . . These X-men are all so Differently Abled and liberal baiting . . . ”
>Jia takes a human-rights view of the same sociological mutation. In his films Platform, Unknown Pleasures, The World, and A Touch of Sin, various forms of social injustice – implicitly, the depredations of China’s Cultural Revolution — are subtly critiqued through art-cinema formalism (long takes and exaggerated violence), which, in its way, is as alienating as sci-fi comic-book gimcrack. This has made Jia a celebrity on the international film-festival circuit, where filmmakers are rewarded for managing careers under repressive regimes while also appealing to the privileged taste of elitist audiences.
>Salles’s documentary/interview with Jia half-explores the motivations behind his elitism, which is more interesting than Singer’s pop-art nonsense featuring aging, interchangeable freakazoids and teasings about global annihilation. Jia can never depict malign authority such as Oscar Isaac’s portrayal of the character Apocalypse, whom the X-Men must defeat in order to save mankind; Jia’s characters simply react to their culture’s treacherous influence and unnamed power.
As Jia guides Salles through his home settlement, Fenyang, formerly a prison, and his past shooting locations, and as he introduces old friends and neighbors, the documentary gives evidence of how a director translates personal experience and political perspective into film (a process that the Hollywood system — and particularly the Marvel machine — almost fascistically obscures).
>It is touching to hear Jia admit, “I have such appreciation for the camera, for without it I could not capture the details of life and I would be left with all I feel inside.” Yet his confessional approach to filmmaking is thwarted by a storytelling tendency not so different from Singer’s. Jia’s films incline toward unclear social theories and simplistic rationales for complex impulses. Although he says, “There are personal emotions in my films,” he gets caught up in nihilistic art-movie clichés.
>Filmmakers who propose violence as a manifesto, whether in comic-book or sociological contexts, are equally squalid. And these have affected his appreciation for his cultural heritage and his own background in ways that observers of American hipster filmmaking might recognize: “I love the feeling of disaster and collapse we feel here,” Jia lectures. “There are still traces of past riches. The architectural structure is still there, but we see it after its decline.” This attitude can be sensed in the way Hollywood action filmmakers regard America’s past. It is the basis for the sad, tiring disputes favoring Marvel thrill rides over Zack Snyder’s moral epics; it indicates a preference for decadence (ruin porn) much like Jia’s.
>When Jia relates a character from his abominable A Touch of Sin to a ruined locale, Salles intercuts a moment from the film that abstractly conveys the momentum of despair, violence, and spiritual stasis. This out-of-context scene is stronger than all the F/X in X-Men: Apocalypse, yet it is confounding. Jia relates this visual expression of alienation to social media: “All you need is a blog account to express your opinions. But the problem is that even if you have a blog, and express your ideas, who hears you? Is someone really listening?”
>Unfortunately, Jia then explains: “Violence is also a manifesto, a way to affirm . . . existence as an individual.” He makes reference to the Wuxia genre (China’s equivalent to U.S. Westerns), with its “old-time justice keepers” and “traditional female warriors,” along with his own style of filming scenes of interminable futility and exaggerated violence. Here, Jia sounds just like Tarantino, J. J. Abrams, or Bryan Singer but with sociological pretensions.
>Would Salles prescribe such claptrap — the current fashion that romanticizes anarchist “protest” and fascist censure as “justice” — for the depiction of Brazil’s political crises? It’s doubtful. Filmmakers who propose violence as a manifesto, whether in comic-book or sociological contexts, are equally squalid. Jia and Singer are differently abled, but they’re both liberal baiting.
Why did normies love it?
mental illness is funny?
>>70090744
>normies
Liking superhero movies and being a virgin doesn't make you a special snowflake. You're as normal as they come.
white man holding the gate while two of the chosen run away.
*Car door creaks*
>>70090566
riding through this world ....all alone
https://youtu.be/BvfVEm6qkG0
One of my favorite shows of all time. Yes, I know how cheesy it is. I am a 27 year old straight white male.
Movie didn't interest me when it came out, avoided it until now, and honestly, I don't get the hype. The first hour was really good but the movie just fell apart in the last 30 minutes. Am I missing something?
>>70090419
If dubs you hang yourself.
Disappointing, just like your dubs
>>70090398
IT WAS ALL A DREAM
this was literally just the raid in a sci fi setting
>sci-fi
still good though
Yes but it had a better waifu.
>bar fight
Fuck me that's good shit.
I'm wondering though: Beyond the music and the title card (and Dan Stevens being basically the Terminator), what makes this film more 80's than any other film? I mean, it gets the tone down perfect (compare this to Kung Fury and you'll see what I mean) but I can't quite pinpoint why.
>>70090248
The first half is great. The second half feels kind of cliche. I still liked it a lot though.
>>70090289
I dunno, I quite like the second half. It goes straight thriller but because they'd been sorta building up to that it kinda makes sense.
This movie is honestly one of my favorites.
I agree with you OP, it really nails the 80s vibe.
The whole movie just feels like a movie from then, it's a fun movie that doesn't take itself too seriously.
does /tv/ like giallo films?
>>70090247
REEEEEEEEEEEEEEE THIS ISN'T MARVEL
>>70090247
yes
stendahl syndrome is underrated (and incidentally, the last good movie argento did)
>>70090247
No, I prefer Ironman
>tfw I was 18
>tfw watching ROTK in theaters
>Gondor is getting their shit pushed in by Mordor
>Gandalf about to get wrecked by the Witch-King
>it's all ogre
>Rohan out of fucking nowhere
>dem horns
Still get chills desu senpai
https://www.youtube.com/watch?v=rCZ3SN65kIs
>blowing horns to let them all know you're coming
great strategy fucking idiots
>>70091825
If we followed that logic, then charging only with a cavalry sustains no rational thinking either. They should all be dead. You can't just trample an entire army. At one point your initial speed diminishes, and by then, your only choice is to disengage.
>inb4 "muh it worked in Vienna with the polish cav, I s-swear ._."
Bullshit. The charge threw the Turks off, but only worked because the infrantry could then charge the Turks that were being pinned down by the Polish cavalry.
>>70091949
I don't think Rohan's charge was much better than Vienna. The charge ended in Elephants and a dead king.
what was his god damn problem?
Chilli and sea bass, i believe.
>>70090116
SPARED NO EXPENSE
he just really liked dinosaurs
REFN IS A FUCKING HACK, CONFIRMED:
- Elle Fanning has a dream/hallucinatory sequence during her first big gig in which she kisses her own evil self on two mirrors, basically turning evil for the rest of the movie
- She ditches her quasi-boyfriend, falls asleep in her sleazy hotel were Keanu Reeves sneaks in, puts his knife in her mouth, wakes her up with it and continues to push it down further into her throat slowly. Elle keeps gagging, Keanu keeps saying "Deeper..."
- Elle wakes up on the floor, so it's possible that last sequence was a dream maybe? But probably not since Keanu Reeves now tries to break into her room yet again, fails to do so and instead rapes and possibly kills the 13-year-old "lolita type", as he described her earlier, child next door, while Elle puts her ears on the wall and listens (and so do we as the audience! Yay!)
- Elle calls her friend Ruby who did her make-up in the past and seemed to be the one nice person other than her quasi-boyfriend and then spends the night in her house.
- Ruby instantly tries to rape Elle, because goddamn that girl is so fucking pretty you just can't help it I guess
- Elle pushes her away. In what I can only describe as the biggest display of subtlety I ever had the chance of witnessing, Ruby spends about 5 minutes drawing a face with two crossed-out eyes on a mirror next door. The movie would really like you to be incredibly shocked by this for reasons
- Ruby goes to work the next morning, she does the make-up for dead people in the morgue as a second job. Thing is, Elle Fanning is so goddamn beautiful that she instead decides to have sex with the corpse, intercut with scenes of Elle Fanning caressing her own body. This goes on for way to long. Firmly into Eli Roth territory here.
- Ruby comes back home, Elle has a big speech on how she is really dangerous and everyone wants to be as pretty as her. Thing is: Ruby brought two models we saw throughout the movie who really hate Elle.
- Two models with knifes hunt Elle through the mansion. This is all very silly.
- They end up at a pool outside. Ruby pushes Elle in, basically breaking every bone in her body. We see the three of them approaching gasping Elle, movie cuts away tooooooooooo
- Ruby in a goddamn Bathtub filled with blood watching the models showering and erotically smearing blood all over their bodies. Yes. This is basically a mix of the opening scenes of Hostel 2 and Blade only with more naked chicks and a LOT more pretension. Eli Roth only dreams of being able to be this blatant.
- Ruby lays on the floor naked, spreads her legs. The camera slowly approaches her vagina, when liters and liters of blood starts pouring out of it. This is all very symbolical and deep and I had a really tough time not bursting out in laughter ever since I saw the fucking blood-filled bathtub
- Cut to a modeling job of the two other models. One of them cant stop gagging. This goes on for, what 7 minutes? Just her gagging in the most hilarious fashion possible. She runs to the toilet. She gags some more. I really, really, REALLY hoped for her to spit out a complete foot or, I don't know, ALL of Elle Fanning but no, instead she just pukes up an eye. Like, a whole eye. They didn't even cut it up or anything. She then screams "I HAVE TO GET HER OUTSIDE OF ME" and cuts her own belly open.
- The other model calmly looks at her while all of this is happening, then picks up the eye and eats it. When the other girl first puked up the eye the whole theater already burst out laughing, this is basically when we completely lost it.
- She puts up her sunglasses and walks out. The End
>CONFIRMED
it's been confirmed since pusher 3
Style over substance, Gee, No one predicted that.
Пpивeт. I am an internet user from the far away land of russia. What do citezens of the west think of russian cinema?
Sorry for my grammar mistakes. I dont practice english enough.
Aleksandr Sokurov is one of the greats, the greatest living Russian filmmaker. What do people in Russia think of him?
We think Cyka Blyat Cheeki Breeki Iv Damke
WARCRAFT HAD THE BIGGEST OPENING DAY OF THE YEAR IN GERMANY
http://www.mediabiz.de/film/news/kinocharts-deutschland-trend-blitzkrieg-bop/407468
SEE YOU JAMES CAMERON!
Word of mouth is gonna propell this movie so much.
>>70089849
>WARCRAFT HAD THE BIGGEST OPENING DAY OF THE YEAR IN GERMANY
>$3 billion confirmed
More like 6 billion
>>70089849
>drops 98% 2nd weekend for being worse then Battlefield Earth
![maxresdefault-2[1].jpg](https://i.imgur.com/8e0qGQe.jpg "maxresdefault-2[1]")
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![1424171197158[1].jpg](https://i.imgur.com/5PW5NYw.jpg "1424171197158[1]")
![1404877668909[1].jpg](https://i.imgur.com/uoqSobf.jpg "1404877668909[1]")
