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1. Fight Club 10/10
2. Seven 9/10
3. The Game 8/10
4. Panic Room 7/10
5. Alien 3 6.5/10
6. Zodiac 6.5/10
7. Benjamin Button 2.5/10
I haven't seen Alien 3 or Benjamin Button, but the rest looks just about right. Fight Club is obviously the ****. Se7en and The Game are awesome as well. I haven't seen Panic Room in some time, but from what I remember about it, I enjoyed it. I liked Zodiac quite a bit, was it was just a tad too long. In summary, David Fincher FTW.
worker bees can leave
even drones can fly away
the queen is their slave
If you want to see Shia LeBeauf (sp?) and Meagan Fox giving oscar worthy performances or feel like your getting a dick rammed up your ass at the sight of a poor acting performance, hell, even if you think either one can act remotely well, don't even bother watching the trailer.
But when you go see it, think of why you're seeing it. Are you actually going to see it because you think Shia can deliver the action performance of a century or are you going to see badass effects and Optimus Prime kicking ass? I assume it's the latter with 90% of this world and if you can enjoy good action and something that will entertain you for probably 2 hours of the 2hrs 30min runtime and don't mind some cheesy, annoying humor, go see it.
Anyway, I don't have a problem bashing Blade Runner since Ridley Scott has come out with "Director Cuts" and all that ****. If he knows he didn't get the movie right the first time, then I don't mind calling it dull.
Hate to quibble, equivocate, or split the famous hairs, but the difference between a Director's Cut & the 1st run released film is all in the cuts. Think more "cuts" than "directors" here. There is no getting it right the 1st time.... hell, if they release a 2nd verison of it, there isn't even any 1st time.
Directors would release 12-hr. feature films if the producers would let them, so much $ & effort went into about 95% of even the most sucky films they don't want to cut any of it. It always comes down to a compromise between the film editor & the director.
For example, classic avant garde director Sam Peckinpah made Major Dundee in 1965 after a prolonged shoot in Mexico & turned in over 16 hrs. of footage to their studio for the edit. The producers, studio moguls & assorted suits went full-bore apesh*t crazy -- they lined up on the right to lay the oldest Hollywood cliche' ---> You'll never work in this town again!! on Peckinpah, the released almost 3-hr. film was a result of their compromise agreement. Peckinpah learned his lesson, & 2 yrs. later he filmed his masterpiece The Wild Bunch in the same area around Durango, Mexico with a lot of the same extras & local flavor. When they wrapped, he released p/o it piecemeal to the studio while using his own local editor in Mexico (who was also his lover, with whom he had a daughter later) to produce his own "director's cut," so he could pioneer his use of slo-mo to graphically depict violence that later became his trademark. Roger Ebert was one of the 1st to declare the cut of TWB that screened in theaters in 1968 "a masterwork" & a lot of others did too, other directors including Kubrick emulated Peckinpah in doing their own editing.
Not Keanu Reeves, Josh Hartnett or Orlando Bloom bad, but he's not far behind either.
Hah! loved that comment, lmao! I was notorious on another board's movie discussion thread for reffing Josh Hartnett with his big square jaw & minimal screen actor skillset as Josh Hardnuts for a lot of good reasons, like his high testosterone screen hero roles, I will however say he's developed into a better actor over time & if you pay close attention to his roles you can see a progression. He was quantum leaps better after Pearl Harbor, did a creditable job as a cop/boxer b/c he looks like a boxer in The Black Dahlia that was a box office bomb, & was great as the cop in 30 Days of Night, a good but not great vampire film that featured Tony Huston, son of the famous director, as the vamp pack leader.
Josh Hardnuts > Marky Mark, but JH could have been cast in about 75% of MM's roles & done a decent performance. MM as stated earlier can actually play thugs & hoodlums b/c he channels his own past, but he's becoming too old for those roles, Hardnuts has a future in film. Boogie Nights may have been his big career door-opener, but come to think of it, hustler Dirk Diggler somewhat based on the late John Holmes isn't too far removed from those hoodlum roles that he cultivated with his bad boy Marky Mark image. Boogie Nights for me was all about Burt Reynolds as the porn mogul (where was his Oscar?), & Julianne Moore & Heather Graham as vintage porn actresses with whom we see the full arc of the late 70s through the 80s as porn becomes mega-profitable, coke-fueled, & Hollywood mainstreamed.
The Black Dahlia was a great effort at period piece ambiance based on a tabloid-promoted famous serial hooker-killer, set in LA in the late 40s/early 50s, they went to freaking Bulgaria to film it b/c urban renewal had bulldozed all those LA neighborhoods in the 50s & 60s to build their fwys. Scarlett Johanssen was really hot, but her role = her somewhat shallow performance, could've been better. I was looking for seamless similarity with the James Ellroy novel, but that is too much to hope for from Hollywood, so I was as always disappointed & give it 2 & 1/2 stars. See the 4-star LA Confidential for Ellroy material rarely nailed in cinema with performances/characterization, setting, pacing, the whole pkg. I've met Ellroy several times at book signings & he's always a major hoot & in rare form, signing his books with wildly slung ink & oversized cartoony epigrams, one of our best living crime authors.
How's that for a 1st morning post in the West Coast cool dawn on just 1 cup of coffee?