I object to these, not because they're morally reprehensible, but because they're boring and unimaginative.
Voiceover narration throughout the movie is almost never done in contemporary film. Most filmmakers think it cheapens the whole medium to do it.
The only case I can think of that's done it recently, and gotten away with it, is Memento, which was a small, cheap production that could afford the risk.
For a big budget production, voiceover narration will assuredly not be used, due to the stigma against it and how plain unusual it is.
1) Name me an example of this occurring where the original actor didn't die mid-production.
2) The movie made very little money.
It's not a matter of not being able to do it, dramatically.
It's a matter of the studio not being willing to hire 2-3 different A-list actors to divide one role between them in a cinematic climate where the bankability of a movie's main star usually decides whether it will get made or not.
It's a matter of the studio not being willing to hire 2-3 different A-list actors to divide one role between them in a cinematic climate where the bankability of a movie's main star usually decides whether it will get made or not.
It won't work.
The main character switches bodies - they'd need several actors to portray the main protagonist, which Hollywood will never do.
Most of the story is told through Kovacs' internal monologues, noir style, which is for some reason a big fat no-no of modern cinema.
This will be either be a mess or completely rewritten.
I don't know. Game of Thrones is by far the most disappointing adaptation of last year, for me.
The right Mona looks either surprised or amused. I can't decide which.
Looks like every other generic superhero movie in recent years.
Unlikely hero obtains superpowers, gets a costume, is misunderstood, fights theme villain, saves the day.
Unlikely hero obtains superpowers, gets a costume, is misunderstood, fights theme villain, saves the day.
I'm so over this whole genre. The only movie that's added anything to it in the last twenty years, is the Watchmen adaptation, that attempted to tell a more elaborate story than what's described above.
My random observations.
Poor Emma Stone. Looks like everyone's set on collectively ignoring the fact that she had the leading role in The Help.
Never thought I'd see the day where Jonah Hill was (deservedly) nominated for an Oscar.
Heavy handed tripe like Warhorse being nominated purely due to the name attached to it.
An overall weak, self indulgent list of best movie nominees compared to last year.
The way to get a book deal in today's climate is to write urban fantasy with a pretty girl on the cover, have it be a series of seven or more books and allude to witches, vampires or faeries in the title.
Or, you know, in the case of the book above, have the actual word be a part of the title.
Or, you know, in the case of the book above, have the actual word be a part of the title.
Instant best seller.
B5 is the embodiment of epic space opera for television.
The sheer scope, from subtle spine tingling forebodings all the way to insane climaxes, makes all other space-driven SF on TV and film look utterly insignificant in comparison.
The sheer scope, from subtle spine tingling forebodings all the way to insane climaxes, makes all other space-driven SF on TV and film look utterly insignificant in comparison.
It would certainly serve the story better and help reign in the narrative for the last (hopefully) two books.
Not everything that could happen should happen. If it does, in this case, it'll set the precedent that whenever principle characters with unfulfilled potential are within travelling distance of a Red Mage, he/she'll basically become impervious to death. Which would be a huge mistake for a series lauded as fantasy's return to nitty gritty realism.
All things in moderation.
I liked the Dondarrion bits, how the background myths and rumors gave life to him as a kind of invincible hero, and having the payoff turn out to be that he simply got reanimated every time he died and forced to go on by the weight of his own legend, and in the process losing his humanity by degrees. That was brilliant storytelling and served the story in every way.
I was also fine with Cat taking up that mantle of tragic background character in an equally grisly way.
The imposters/presumed dead people I see as a separate issue and doesn't bother me.
I felt the Mance Rayder thing went too far though. It felt a little too convenient and Mcguffin-y.
Having Jon Snow come back to life at this point would feel very soap opera-ish. On the whole, I'd like more random and incidental deaths in the series at this point, to sort of close the net and add the sort of realism that was the best part of the first three books.
Jon Snow's abrupt death was fantastic, and represented a slap in the face to the tired old trope of the underdog hero fated to rise up in the face of adversity and impossible odds to fulfill his destiny.
Having it be that sudden and leaving behind that kind of unfulfilled potential is great realistic writing, and an anti-trope that fits right in with the death of Ned and Robb Stark.
Having him return to life would be a dramatic mistake in a series such as this, that basically features world building as the primary character.
Must be regionalized American art for many of these. None of the hardcover versions I have of The First Law and Malazan Book of the Fallen have art as a atrocious as what's seen above.
If he does magically spring back to life, it'll officially herald the shark being jumped.
It'll remove any sense of randomness and realism in the series for me.
It'll remove any sense of randomness and realism in the series for me.
Making Star Wars kids movies is perfectly fine. If Lucas had simply made a junior trilogy that was standalone and never tampered with the originals apart from digital restoration, that'd be all nice and dandy.
But Lucas clearly went beyond trying to do that when he made the prequels directly tell the backstory of Darth Vader, and even modified the original trilogy to fit them.
But Lucas clearly went beyond trying to do that when he made the prequels directly tell the backstory of Darth Vader, and even modified the original trilogy to fit them.
Lucas is just one of those filmmakers who is dependent on others reeling him in, and sadly he has become too powerful for anyone to dare do that.
Basically represents everything I generally hate about anime.
Overly flamboyant, style over substance action, composite still images with crazy blinking lights in the background, a framerate that jumps up and (way) down dependent on the animation techniques being utilized, terrible rock music, bad dubbing.
Overly flamboyant, style over substance action, composite still images with crazy blinking lights in the background, a framerate that jumps up and (way) down dependent on the animation techniques being utilized, terrible rock music, bad dubbing.
The only thing lacking in the trailer (but I assume will be present in the final product) is a nonsensical, abstract storyline that needs to be interpreted in group discussion to be made sense of, and random comedy animals dispersed in-between extreme adult violence.
I really want The River to be good.
Both science and religion is a way for humanity to explain what is currently unexplainable to us. The real difference is the method.
The minute you start treating existing science as an undeniable paradigm of objective fact is the minute you break off from the scientific method.
