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January 04 2013

Overall, I did like your movie ...
Oh, I know. Don't worry, I'm not some guy with thin skin. No, no, you brought up something in particular about the film -- and I've read it about three other times. So I thought it would be wonderful to actually deal with you about it. It's kind of what I want to talk about, rather than do some BS overall interview. So you brought up what you thought was -- that basically their plan...

Their scheme.
Their scheme ... that it was "harebrained" and illogical. Now, here's the thing: I want to talk about that because that's actually something worth talking about.

You know this story obviously so much better than I do, so I feel this is a no-win situation for me. But I'm in.
Well, you know, you opened your mouth.

Quentin Tarantino, 'Django Unchained' Director, Challenged Us To A Debate On A 'Harebrained' Plot Point

January 03 2013

Der im Vorspann und auf dem Filmplakat genannte Schauspieler Wolfgang Preiss, der in allen vorherigen Filmen der CCC-Film die Rolle des Dr. Mabuse spielte, ist in diesem Film weder zu sehen noch zu hören. Produzent Artur Brauner veranlasste seine namentliche Nennung aus Gründen der Werbung.
Die Todesstrahlen des Dr. Mabuse – Wikipedia

December 29 2012

Not trying to be a contrarian, but I am pretty surprised by all the love for this movie. That such incredibly unfunky white comedians could pose as peers of the world's greatest musicians was some disbelief I could never suspend. Hard to forget that the whole ham-fisted homage started out as a parody. As for all the racist stereotyping in the movie, it may not seem like much now in the South Park Family Guy era, but it's still offensive. The jokes aren't that funny and for over-the-top slapstick, it sure ain't no It's A Mad Mad Mad Mad World or even 1941. When I saw the original Blues Brothers line-up live in concert during their only tour, I recall seeing the world's best barband doing soul covers with some mediocre vocalists whose love for the music was making fun of it.
bonefish @ Shit. What? Rollers. No. Yeah. Shit. | MetaFilter

December 27 2012

In dieser Woche startet Hollywoods Weltraum-Spektakel "Krieg der Sterne" in den deutschen Kinos. Im März folgt der Ufo-Film "Unheimliche Begegnung der dritten Art", in dem Außerirdische landen, um den Menschen bessere Zeiten in Aussicht zu stellen: Hollywood sahnt in bisher ungeahntem Ausmaß die Milchstraße ab -- beide Filme machen in den USA Rekord-Kasse. Nach den Teufels- und Exorzisten-Melodramen, den Katastrophenfilmen und Weltkrieg-II-Schinken kommen jetzt die Weltraumspekulanten -- die Phantasie bleibt auf der Strecke.
DER SPIEGEL 6/1978 - Science Fiction - Flucht ins Weltall
Reposted byplan9 plan9

December 22 2012

Selbst in Kindergärten ist am Wochenbeginn der Horror los. "Drei- bis Sechsjährige spielen 'Zombies killen'", berichtet Claudia Silckerodt von der Berliner Kindertagesstätte Fehlerstraße: "Wer einen Schlag in den Nacken abkriegt, muß tot umfallen." Vierjährige, so haben Kindergärtnerinnen dem Kölner Medienpädagogen Jochen Wilhelm erzählt, "bewegen sich wie Zombies mit steifen Armen und Beinen durch die Gegend und geben Grunzlaute von sich".
DER SPIEGEL 11/1984 - Zum Frühstück ein Zombie am Glockenseil
Reposted fromKinderabteilung Kinderabteilung
Verhaltensstörungen bei jugendlichen Videovielsehern hat auch die Berliner Schulpsychologin Ute Leyßner festgestellt: "Hauptschüler prügeln da plötzlich auf ihre Klassenkameraden ein, weil sie sich für Zombies halten, und zehnjährige Mädchen wollen nicht mehr lernen, da die 'lebenden Leichen' sie angeblich sowieso bald töten."
DER SPIEGEL 11/1984 - Zum Frühstück ein Zombie am Glockenseil
Einem Studenten etwa verging jedesmal schlagartig der Frühstücksappetit, wenn er beim Biß ins Marmeladenbrötchen an die von Menschenfressern abgeschnittene Mädchenbrust denken mußte; einem anderen kamen bei seinem Lieblingseis mit Kirschsauce immer wieder Bilder von den Blutorgien hoch; eine Studentin assoziierte beim Betrachten ihrer grünen Zimmerpflanzen das Urwalddickicht des Films, prompt kamen ihr Kannibalenbilder vor Augen.
DER SPIEGEL 11/1984 - Zum Frühstück ein Zombie am Glockenseil

In Boulevard-Blättern werden flink direkte Zusammenhänge zwischen Videobrutalitäten und realen Verbrechen konstruiert.

"Massaker-Mörder kam ins Hochhaus", meldete "Bild" vorletzte Woche, als ein junger Mann in Hamburg, angeblich im Anschluß an die ZDF-Dokumentation "Mama, Papa, Zombie", seine Nachbarin und deren beide Kinder erdrosselte und mit einem Krummschwert verstümmelte. "Video schuld?" fragte das Springer-Blatt auf Seite 1 - und gab die Antwort auf Seite 4: Der Täter "soll ein Fan grausiger Videos, Kannibalen-Filme und Pornos sein".

Auch in Mönchengladbach, wo eine Frau ihren Ex-Geliebten umbrachte und die Leiche zerstückelte, legte das Blatt gleich die Spur: "Menschenfleisch in Dosen - war's ein Video-Kannibale?"

Für den Kölner "Express" ist der Fall klar: "Immer mehr Morde sind offensichtlich von Horror-Videos inspiriert."

DER SPIEGEL 11/1984 - Zum Frühstück ein Zombie am Glockenseil

December 06 2012

Verhoeven is sharp to point out the duality of the film. Obviously we have Quaid and Hauser, but the director notes that this could all still be part of Quaid’s original fantasy, that he’s simply in a dreamworld, experiencing it all. He points out that the actors in Quaid’s world at the beginning of the film could be genuine people, not agents who are spying on him. Much of the commentary is devoted to Verhoeven and Schwarzenegger explaining how the two sides work. In all honesty, they end up making the film more confusing.
24 Things We Learned From the ‘Total Recall’ Commentary | Film School Rejects

November 17 2012

I mean, it's really difficult to know how to behave when 01) you are starring in a movie that is 100% admittedly a woman's masturbation fantasy and then 02) you find out that she asked for you personally to star in it. If the genders were reversed, everyone would celebrate Roberta Pattinson's personal strength and good humor in the face of creepy, entitled objectification from Steve Meyers.
elizardbits @ "It felt like a book that shouldn't have been published." | MetaFilter

November 12 2012

I think I've made this point repeatedly, but Prometheus becomes a much, much better movie when you realize that the crew on this ship is a whole bunch of mediocre scientists and engineers who are either freelancing due to the lack of steady work, or not so indispensable back home that they can't go away to god-knows-where for a few years and possibly not come back. It's basically Keystone Kops in Space.
griphus @ Ultramorph | MetaFilter

November 08 2012

Bale, an admirer of Hayao Miyazaki's Spirited Away, was then cast as the voice of the title character, Howl, in the English language dub of the Japanese director's fantasy anime adventure Howl's Moving Castle, an adaptation of Diana Wynne Jones's children's novel. Its gross in the US was US$4,711,096, a fraction of its worldwide gross (US$235,184,110.)
Christian Bale - Wikipedia, the free encyclopedia

October 27 2012

Life is what's important to me. The lives we can save, right here and now. The little, baby alien lives. I believe they begin the moment the egg reacts to the heat of the nearby host and the implanter life form hatches. We can't have any firing, because God decided to put the heat exchanger for the fusion reactor right above where the aliens made their nest.
The Disappearance of the Colonists on LV-426 is Something God Intended to Happen

September 14 2012

No, Moslems don’t believe that Jesus was the Messiah.

Think of it like a movie. The Torah is the first one, and the New Testament the sequel. Then the Qu’ran comes out, and it retcons the last one like it never happened. There’s still Jesus, but he’s not the main character anymore, and the messiah hasn’t shown up yet.

Jews like the first movie but ignored the sequels. Christians think you need to watch the first two, but the third movie doesn’t count. The Moslems think the third one was the best, and Mormons liked the second one so much, they started writing fanfiction that doesn’t fit with ANY of the series canon.

How to Explain the Religions of Abraham to the Hollywood Generation | [via] Unsettled Christianity
Reposted bybrightbytejaphySpinNE555nicapicellabinaAgnesf4m8raindancerwtfkielskullbunnieniemalsahjouHereNamecoloredgrayscaleschottladencheesymemememenaichn0gyouamDerOrwischerinteressiert-mich-netmikeybertincendariusecblackarenSuppentrollBananifafnirscaveeglerion-justforfun1Lyccygenb0ckbigbear3001niemalstffinkreghlooqueEineFragevonStilvolldostlauraarualBadukBomorbidnymphSpiderbaitDiviusspinatlasagnephaidroskrybusdatenwolfAkaiklausmaenModestPearlnewqvoyddfyxscottytmwestentaschenphilosophElbenfreundapocstraycat

June 26 2012

And so anything outside this dominant culture is treated as, well, a little weird. Hollywood's representation of cyclists, for example, as blogger Bike Snob puts it, has "pretty much been nerds on 10 speeds." The list of prominent bicyclists in film history includes misfit teens (Napoleon Dynamite), eccentric Einstein-like scientists (the license-less Jeff Goldblum character in Independence Day, in which the bike is, admittedly, shown as a pretty decent way to escape Manhattan), vaguely countercultural types (Mark Wahlberg's character in I Heart Huckabees, or Carl Bernstein in All the President's Men) perpetual man-children (Pee-Wee's Big Adventure), and people who otherwise refuse to grow up or are out of touch with real life and the working world. (Consider the couch-surfing Owen Wilson character in You, Me, and Dupree, whose answering machine message announces: "If this is in regards to employment, please be aware that my Class Four driver's license has expired.")
How not having a car became Hollywood shorthand for loser. - Slate Magazine

May 28 2012

Spoiler: Der Hund von Basketball ist Air Bud. #sherlock
Cuba_Libre_Jr
Reposted fromhenteaser henteaser

May 27 2012

He established himself quickly as a powerhouse in the action genre and began appearing in more films, his most successful to date being Dark Angel (1990). Over the years he recognized that his outstanding physique and size would not always be a plus in his acting career, so if needed he would reshape his look, dropping up to 40 pounds at times for various roles, and he began studying with some of the industry's best acting and speech coaches.
Matthias Hues - Wikipedia, the free encyclopedia

March 30 2012

When teenager Kirsten (Julie Austin) accidentally cuts her hand during an "Anti-Christmas" pagan ritual with her friends Brooke and Amy in the woods, her spilled blood awakens an ancient demonic Christmas elf. The elf is the central figure in a modern-day Neo-Nazi plot to finally bring about the master race that Hitler had always dreamed of conquering the world with. Rather than a race of pure-blood Aryans, it is revealed that Hitler instead dreamed of a race of half-human/half-elf hybrids (it is also revealed that elves figured heavily into a pseudo-cult religion that the Nazis practiced in secret).
Elves (film) - Wikipedia, the free encyclopedia

March 22 2012

One thing that's shocking now in 48 Hours is that Nick Nolte's character is using racial slurs right to your face.
[In perfect Nick Nolte voice] "I don't know what the hell you're smiling about, watermelon!" You know why it worked then and the reason why it wouldn't now? My significance in film – and again I'm not going to be delusional – was that I'm the first black actor to take charge in a white world onscreen. That's why I became as popular as I became. People had never seen that before. Black-exploitation movies, even if you dealt with the Man, it was in your neighborhood, never in their world. In 48 Hours, that's why it worked, because I'm running it, making the story go forward. If I was just chained to the steering wheel sitting there being called "watermelon," even back then they would have been like, "This is wrong, wrong, wrong, wrong!"
Eddie Murphy: The Rolling Stone Interview | Movies News | Rolling Stone

February 18 2012

One of the hyped aspects of Minority Report, a sci-fi thriller based on the Philip K. Dick story, was how Spielberg called together a whole bunch of visionary thinkers who helped him create the film’s futuristic world. In the movie, when Tom Cruise walks through a mall, the advertisements, reading his identity, call out his name in a cacophony as he walks through.

This makes no sense even by Spielberg standards. Are the calls vocal? Is everyone getting shouted at at the same time? Or is it telepathic? And either way, uh, in what universe—even in the scary future—would a company think that this was a good idea? Who wants to walk past an ad that shouts at you? This may have been one of the big ideas his group of big brains dreamed up, or it might just be a way for Spielberg to go after luxury advertisers for product-placement bucks.

Also in Minority Report, Tom Cruise has a lot of fun playing around with those clear screens, looking like CNN’s John King on election night. But … why does he still have to move data back and forth from desk to desk with that glass optical disk? Didn’t they invent networked computers yet?
Spielberg movies and the poor narrative logic found within - Slate Magazine
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