What were the police officers thinking at this moment?
"Who the fuck wears those clothes? Fucking weirdo."
shoot that man
"I bet that faggot would marry a 4/10 Jew"
>This was considered attractive in the 90's
Somebody explain
>>72011181
Daniel Day Lewis has always been attractive
>>72011181
>Somebody explain
You're gay.
SHWING
>he doesn't watch The Americans
>>72011162
How does it compare to Keri's earlier work?
https://www.youtube.com/watch?v=pjbHkfx004M
>>72011318
bretty gud
kekb.png (2.2 MB, 1920x1080)
No people, it's not about the end of the world, today marks the release of the controversial big-budget Sony film (aka. the next Hiroshima bomb for sony becoming a laughingstock even further or the next "Pixels" of Sony Films) Ghostbusters '16.
And also be aware that, I am warning you right now, today is the release of the trailer of {Insert Ultra-Highly Anticipated Film Title Here}, I will advise to you {Instert Franchise Title Here} Fans and Filmgoers; I want you to stay away from the Extreme Hype Train of the film and those completely bland and generic trailers or your geek boy or experience would be ruined by the hype and those terrible, yet evil movie trailers. I Repeat, stay away from the extreme hype and the awful trailers for this film.
(I have a bonus for you, link here: http://thebunkershack.blogspot.ca/2016/07/note-to-all-geeks-everywhere-today-is.html)
The First Letters are Added, Please guess what it is .
More letters are added: An N and an R
tl;dr
>/tv/ goes to the restaurant
https://www.youtube.com/watch?v=Hj31ARSBeHI
Stop viraling your shitty channel here
>>72011124
Jesus Christ this guy deserves to get punched hard in the face... to believe there are people who actually act like this
>>72011142
I'm not him I just find it hilarious
Who is /tv/'s favourite character from Skins?
Pic related; it was a brilliant performance from an underrated actor.
Katie because Skins was horrible and viewers were supposed to hate her. Or JJ because he's an autist like us
>Naomi was the worst character
Cassie was my waifu.
>>72011074
cook was the fuckken man. nigga knew how to handle shit
Thought it was great the first time. But like every other Nolan film it just gets worse with every rewatch.
>>72011089
nah Batman Begins and Dark Knight are great rewatchable movies. Dark Knight Rises not so much.
Why was Roger the worst character and Pete the best?
Pete was a SJW pussy that didn't have to work a day in his life. Roger was a war veteran and owner of a successful advertising company.
>>72010521
>owner
Everything he had was handed to him
Roger got cucked in the end. Pete didn't
http://www.nationalreview.com/article/437888/ghostbusters-cafe-society-thats-not-who-we-are?target=author&tid=1152026
>Ghostbusters and Café Society seek identity in gimmicks.
>‘That’s not who we are,” a familiar presidential entreaty, came to mind after watching Woody Allen’s Café Society and the new Ghostbusters. Each film offers a comical view of American types, but enjoyment may depend on whether one feels the characters are credible. They aren’t. The Jewish-Americans of Café Society recall Allen’s boilerplate self-deprecation, while Ghostbusters has been rebooted, mostly with Saturday Night Live performers as urban caricatures. The gimmick in each film is to appease the current diversity craze.
>These failed attempts to find humor in social identity (using such contrivances as Café Society’s Jewish-run amusement industries or Ghostbusters’ exaggerated personal peculiarities and trafficking in the supernatural) follow the president’s frequent allusions to Americans’ basic nature — always a non-specific, cure-all remedy to the latest social crisis. Politicians know such distraction is demagoguery; Hollywood calls it entertainment. Allen’s 1930s characters fumble with issues of prosperity, infidelity, and murder, while the contemporary lady ghostbusters use femininity to laugh off literal manifestations of evil. They’re all superficial constructs. Each movie is an exercise in moral evasion — entertainment as brainwashing.
>Let’s analyze this by looking specifically at two contrasting portrayals: Leslie Jones’s in Ghostbusters and Blake Lively’s in Café Society. Black actress Jones and white actress Lively both play minor characters, yet they can be seen to represent who we, as a nation, think we are: the working-class black woman being the least among us in terms of plot significance and the leisure-class white woman being the most among us in terms of social privilege.
>Jones’s Patty Tolan is the friendliest subway-booth clerk in New York City history. She lacks the education of the three white ghostbusters, who unite as professionals of paranormal science, but she has the gumption to join up out of the same fealty known from black domestics in early Hollywood films. Jones is the tallest of all the Ghostbusters actresses (the others being Kristen Wiig, Melissa McCarthy, and Kate McKinnon), and at 48 years old she also suggests the longest career struggle, now finally receiving late acceptance from the showbiz mainstream. (For sentient viewers, this social fact is not unrelated to the actual role of Patty.) What appears “progressive” about Jones’s casting is American business-as-usual: Patty is described as the niece of the character that black actor Ernie Hudson portrayed as an aide to the white leads, Bill Murray, Dan Aykroyd, and Harold Ramis, in the original 1984 Ghostbusters.
>A feminist Gunga Din, Jones’s Patty makes it possible for the SNL white pukka sahibs to feel good about repeating Ghostbusters’ Eighties line-up — as if exhibiting generous social equality. That’s how escapist entertainment works: It disguises Hollywood’s entrenched biased hegemony as happily inclusive fun for all. Director Paul Feig, who saw no need to diversify the cast of his deplorable but lucrative Bridesmaids, perpetuates the same ol’ Ghostbuster tokenism. His cast of romantic dingaling (Wiig), plus-size clown (McCarthy), butch brainiac (McKinnon), and black sidekick (Jones) presumes to update the original film’s nonsense by virtue of representing Obama-era parity (which includes Chris Hemsworth as an unfunny beefcake version of Old Hollywood cheesecake), but Feig forgets that Reagan-era liberals felt no need to demonstrate equality; enjoying white privilege showed who they were, and filmgoers laughed while acquiescing.
>Similar cultural stagnation occurs in Café Society. Woody Allen celebrates the vaunted era of New York’s segregated 1930s nightlife — and its West Coast counterpart in Hollywood. The story of Bobby Stern (Jesse Eisenberg), the brother of a New York gangster and nephew of a high-powered Hollywood agent, centers on his falling in love with non-Jewish women — a Los Angeles secretary, Vonnie (Kristen Stewart), and an East Coast divorcee, Veronica (Blake Lively). But Allen glosses over the cross-ethnic infatuations as well as instances of ethnically restricted businesses. (The décor of Bobby’s nightclub evokes the infamously segregated El Morocco.) Like Feig in Ghostbusters, Allen uses comedy to avoid serious contemplation of the social inequities that accompany class advancement. (Café Society’s unoriginal dialogue, including Allen’s mumbly, gravelly narration, sounds hackneyed. It’s worse when Allen trots out his usual harangue that life is “meaningless.”)
>Allen satirizes Jewish working-class ambition, paranoia, and class pretenses, whether in the luxe of Hollywood studios or the grime of New York racketeering. He romanticizes go-getter Bobby by imitating those Great Gatsby interpretations that read Jay Gatsby as Jewish. But while Allen emphasizes ethnic difference (mocking Bobby and family for their non-Orthodox behavior and occasional reversion to Yiddish-speaking type) he avoids exploring it. That Allen is no ethnicity-buster becomes clear when Lively enters the film. She’s a counterpart to the dark-haired Vonnie, yet she personifies a blonde, blue-eyed shiksa. “I think Jews are exotic,” Veronica tells Bobby, adding “I wouldn’t mind if you had horns.”
>While parodying one-way racism, Allen’s shallow portrayal of Stern’s cross-cultural attraction refuses to acknowledge it as a complex part of “who we are.” The racist standards of film-industry practices go unexamined — both in Lively’s WASPy idealization and in the blonde hooker whom Stern rejects when he realizes she’s Jewish. The way Allen lingers on close-ups of WASP love-objects Vonnie and Veronica correlates with Feig’s using Jones’s stereotypical rambunctious black as comic relief in Ghostbusters.
>Both films offer empty characterizations with superficial ethnic identities. The accusation lodged against Bobby’s uncle (“He’s not a [real] Jewish man!”) is surprisingly blunt given Café Society’s sentimental sociology. Similarly, in Ghostbusters, the peripheral status Patty inherits from her uncle is unexpectedly sentimentalized as a social advance.
What is her superpower?
whore
>>72010515
Don't ever say such thing about her ever again, or I will find you, and you will regret.
>>72010559
W H O R E
H
O
R
E
>Saved warcraft ensuring more sequels of proper fantasy kino
>Bans ghostbusters making the movie far more likely to flop
China is the new hero of cinema.
>>72010239
Warcraft isn't getting a sequel. It's set to lose $15 million.
>>72010451
That's literally nothing. You can change that with a sequel with a slightly smaller budget and make a HUGE profit. That's pretty obvious.
>>72010451
It's for promoting the game m8, they don't care.
Brexit movie WHEN?
there already is one dipshit
>>72010231
For someone who doesn't live in the UK nor pay attention to news, what does Brexit mean?
>inb4 massive pleb
Well...?
>>72010131
9
It'll be like I spending time with myself
The exorcist bitch, might make me fuck her
3 hours in a room with Jigsaw's puppet? Or 3 hours in a room with Jigsaw himself? Because without time to set up his death traps, he's just a cancerous old man. He's not gonna do shit.
So, in the director's cut I feel it's painfully obvious that Deckard is a replicant.
One of the defining traits we see of the replicants is "immaturity."
They're just a bunch of lost and confused kids who deal with their emotions in innappropriate ways.
Leon is the most obvious example, but the others show signs too.
Basically, they're just a bunch of turbo autists.
Deckard, likewise, is also shown to be a turbo autist.
I think the scene in which Deckard "forces" Rachel is a sign of that.
His behavior is primal, offensive, and childlike.
Rape is pretty immature- and it was practically rape.
Yet, online, I see so many people say- "Oh, she really wanted Deckard, but needed to be forced."
Or, "Deckard knew she wanted him, so he was justified in his actions."
I think that's pretty bullshit, I think Deckard just didn't care.
As such, there's a level of childlike innocence in his actions, much like when Lenny kills small animals in Of Mice & Men.
Still rape and still deplorable, but the movie shows that the values and societal "structure" of replicants is alien and removed from humans.
I think this idea is backed up by Roy's dialogue when he breaks Deckard's fingers.
"This one's for Zhora, this one's for Priss."
He never mentioned Leon. He didn't give a fuck about Leon.
He most likely was banging Priss AND Zhora.
Roy had established himself as the dominant "alpha male" of the pack.
This implies once again, very primitive, animal-like behaviors among the replicants.
This can also be seen by the howling Roy does during the fight scene.
Iunno, that's my interpretation of it and I think it adds depth to the film's discourse.
How did you guys feel about the scene?
She expressent consent.
Also, she's a machine.
So no.
>>72010045
>children act like autists
ok
They were supposed to be really young, so yeah they're gonna be immature little shits.
team peeta or team gale?
team gay
>>72009497
>fucking Maze Runner
>>72009497
https://www.youtube.com/watch?v=kyx1U9QjWVQ
![1436974177271[1].jpg](https://i.imgur.com/mAkiRov.jpg "1436974177271[1]")
![1424171197158[1].jpg](https://i.imgur.com/LK1tw0W.jpg "1424171197158[1]")
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