carmellomangexp

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carmellomangexp last won the day on August 4 2015

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About carmellomangexp

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  • Birthday 05/20/1987

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  1. I actually kind of liked the finale. At least 30 minutes of total shit could have been trimmed to make it even more solid though, and it seemed like every scene went on an additional 3-5 minutes than it should have to make it's point. But at times it had some of the sharpest writing of the season (not saying much), and even a few moments with some real emotional weight. I liked Frank's death. Realizing he was going to die, attempting to instigate a quick death, but getting an even more brutal one was an interesting turn. So was his vision right before the final collapse. I was nearly pissed to see his wife popping in to ruin the scene, but they kept the moment brief and the little twist of her final line was kind of cool too. Still a cruddy season overall...but I feel more intrigued to come back for season 3 than was before.
  2. I just find your 5000:1 ratio of words written to original thoughts expressed to be obnoxious and pretentious.
  3. I think you're missing my point. I'm not being sensitive over David Lynch, and I don't care that he's not your cup of tea. The fact that I chose to key in on the Lynch thing, or even this show at all is academic. I think that 85-90% of what you post is facile regurgitation of opinions you find elsewhere, and I don't think you're capable of generating interesting takes or observations of your own. Nobody writes more and says less. See, I know you don't know what you're talking about, and one example that I felt compelled to call out here was you saying the parallels between this season and Twin Peaks are one of the great aspects of this show. I know that the only reason these comparisons are being made by you is because they're being made all over the place by other writers. But I take just as much umbrage with you saying this is "basically Chinatown," or that Rachel McAdams or any of the action in this show is genuinely awesome. When you say this season's biggest winner is Cary Fukanagwa, I think that sounds eerily familiar to something I heard before, and I have doubts that you'd be able to discuss the variance in direction without just linking to an article elsewhere. There's plenty of interesting things to be said about Lynch's influence on this season, but the only thing you can do is post a tumblr link to a list of utterly meaningless easter eggs at best. Is anyone supposed to be blown away by the fact that there are blue diamonds in TD and a Blue Diamond Motel in Twin Peaks? Or the fact that music was left playing in both? Is it really a notable similarity that both have detective characters whose complicated pasts led them to become more devoted to their work?...Or is that literally every detective story ever written? For you to point to these things as evidence of why this season is more worth watching is an amusing illustration of how dubiously your opinions are constructed. If you did show up and open your mouth to yell at me, I'm not sure your own voice would come out. You'd just have to play that clip again. Sorry for being a dick, I just think you're completely full of shit. Also, I read Molly Lambert's article this morning, and I think that sucked too.
  4. This season sucks. If it sucked any less, I'd stop watching, but it sucks so much that hate-watching is just entertaining enough. Last night's episode was a pile of shit. Mixhail, you're hitting the nail on the head. Cassidy...lost in the dark, as usual. Love seeing you toss out random scraps of stuff you read elsewhere as if they're compelling observations. It's especially hilarious that you point out reference to Twin Peaks as part of what's "great" about this season, even though you strongly dislike David Lynch in all the ways that make Twin Peaks a noteworthy series. ("Very weird/out there...and tonally off," to quote you.) Parallels to the general structure and genre of Twin Peaks are relatively superficial...almost incidental considering how ridiculously common such tropes are in murder mystery/detective/noir fiction. Whats drawn attention this season in TD is the pervasive cribbing of Lynchian style, tone, and imagery, which have a far more unique fingerprint and come more directly from Lynch's movies.
  5. Jurassic World I agree with with pretty much everything mentioned above by Mixhail and Weaves, but my nostalgia for Jurassic Park doesn't pick up any slack for it. It was trash from start to finish. The script was terrible, it had cringeworthy dialogue, the direction was inept, there was no memorable action, zero chemistry between the two leads (especially that terrible kiss), it failed to take advantage of anything Chris Pratt is really good at, and even the relationship between the brothers was super weak. This movie has been in development hell for a while and has apparently gone through several iterations through the treatment and script-writing stages, including a battle for writing credit that went to WGA arbitration. So that's a major red-flag that brings the likes of Alien: Resurrection to mind, and as was the case with with Alien, the studio eventually decided this thing just had to be made from whatever scraps of ideas they had so far. I wouldn't be surprised if Chris Pratt's involvment after Guardians was the key element which thrust this jumbled mess into being. It's a great example of what can happen when a mega-budget tent pole is "entrusted" to an unproven director. Colin Trevorrow had no business making this based on the credit of his only other feature, which was a mediocre indie rom-com. That's weird to say after Jurassic World just blew the brakes off the box office, but the truth is this movie didn't have to be good at all; it was going to be a commercial success regardless. It's just kind of sad that so little was done to ensure this was a quality movie, and that's likely to be the case for many more like it. There are probably a few reasons Trevorrow was selected...first because I'm sure he was cheap, but more importantly because he's essentially powerless. The people overseeing the Marvel universe seem to be getting this part right more than others (guys like Shane Black and James Gunn actually bring some personality to the table), but it's becoming a trend that the powers in charge of massive franchise properties don't want to do battle with highly influential auteur directors, and the model for how these movies are made is beginning to mirror television, where the director is basically a gun-for-fire and the real control lies with producers or some equivalent of a showrunner. I did appreciate the "I have a boyfriend part," only because I really like Jake Johnson and Laura Lapkus. But that's about it. Hated literally everything else.
  6. I feel like it's pretty obvious that's not the last we see of Jon Snow. There's clearly significance to Melisande arriving and it's been well established that resurrection through the Lord of Light is possible. On the other hand, I don't like the way the situation with Stannis was handled. I'm sure it'll turn out that Brienne spares him, but it feels pretty cheap to be yanked around like that. I want to be left wondering what will happen next, not wondering wtf I just saw or if I can even believe what I saw at face value. That really sucks the satisfaction out of a season finale. Like if Jon is resurrected, that's a narrative twist that is earned and carries some actual weight in story...if next season starts and the show is basically like "JK, she changed her mind mid-swing," that's kind of fucking bullshit.
  7. Just watched A Girl Walks Home Alone at Night the other day and really loved it. The affectation of style in the trailer and apparent hipsterness of the director (see her IMDB pic) was almost a turn off, but Ana Lily Amirpour acquits herself nicely in interviews and actually seems very cool. The movie crosses all these boundaries with a new wave/remodernist vibe that has this spell running through it which I found kind of mesmerizing and really beautiful. Very impressive for a feature debut. It's on Netflix right now. Another directorial debut that some here have mentioned is Slow West, which I also saw recently. I really like the idea a grim fairy tail in a western shell. It's a great pairing of genre and tone. Michael Fassbender and Ben Mendelsohn are two of my favorite actors currently but they just didn't have solid enough material to work with to give this movie the strong heartbeat it needed, which is a real shame because the stage was set so well otherwise. Still, it was an enjoyable watch. Finally, I saw A Most Wanted Man for a second time last night and liked it even more than when I saw it in theaters. Watching it as an espionage procedural is a little dull, but as a character study it's so much richer, and PSH is just phenomenal in it. What makes him so fascinating is that despite how downtrodden and haunted he apparently is, his sincerity and veracity distinguish him in a movie that's all about manipulation and betrayal, yet that turns out to be his major flaw. All the quiet moments and deliberately slow pacing pays off so well in that ending for me. Definitely worth watching if you missed it.
  8. Imdb message board for Thrones crashed during the episode. Stannis broke the internet. Pretty terrible episode.
  9. 1. Reservoir Dogs 2. Pulp Fiction 3. Jackie Brown 4. Basterds 5. Volume 1 6. Death Proof 7. Volume 2 8. Django I'm beginning to resent Tarantino, as much as I love watching his movies. I really want him to get back to making films in earnest as opposed to these glib genre contraptions. His talent is almost going to waste on films that work more like a series of set pieces and quotes than something lean and precisely structured, and the degree to which he "pays homage" to his influences is becoming way too indulgent. It's not transformed or channeled through his own perception enough that I get any sense of what he believes about the real world or real people living in it. It's all filtered through quotations of film history. This is a guy with a really rare talent who should be making some of the great American movies of our generation, and instead he's just kind of fucking around. I really think he has this driving urge to be loved and always give his audience exactly what they want without restraint, which comes at the expense of creating more challenging and complex material I know he's capable of because it still shines through in moments like the opening scenes of Basterds. That said, there's no way I won't be in a theater for The Hateful Eight on opening night.
  10. I think the battle at Hardhome was the best action set piece of the series. Incredibly staged action and there was so much story development incorporated within. I think it cemented this season as my favorite so far, which is pretty exciting knowing some of what's still coming in the next couple episodes. And Tormund crushing the Lord of Bone was one of my favorite things ever. So badass. My book-reader friends were explaining how this battle was handled in the books...through letters sent hastily from the battle, explaining that there were "dead things" in the woods and water. Apparently it's an event of much speculation on westeros.org, and there's one theory suggesting the Others actually raised up undead kraken during the attack, which somehow, even after this epic sequence, left me upset that I didn't get to see zombie kraken in battle. My one friend, who is as deeply entrenched in these stories as anyone could possibly be, is pretty convinced that one of Dany's dragons will ultimately be killed in battle and resurrected by White Walkers. An on-screen dragon vs. ice dragon duel would be unreal.
  11. Hard to limit some of these to one per year without having to really make a difficult decision, which I don't feel like doing. These are my personal favorites. 2000 - American Psycho 2001 - Amelie, Mulholland Drive 2002 - City of God, 28 Days Later 2003 - Oldboy 2004 - Bad Education, Eternal Sunshine 2005 - A History of Violence, Cache 2006 - Pan's Labyrinth, Children of Men, The Lives of Others 2007 - There Will Be Blood, No Country for Old Men, Before the Devil Knows You're Dead 2008 - Let the Right One In, In Bruges, The Dark Knight 2009 - A Serious Man, Antichrist 2010 - Animal Kingdom 2011 - Drive, The Girl With the Dragon Tattoo 2012 - The Master 2013 - Her 2014 - Under the Skin, Whiplash, The Raid 2
  12. Totally agree that this did something to the tone of the action that left it wildly inconsistent. A huge part of what makes action great is the life or death stakes that add tension to the atmosphere, and when the tone of action is inconsistent, the stakes are diminished due to our expectation that the characters are capable of whatever they need to be in the moment. There isn't a moment when I believed Max or Furiosa were ever in legitimate danger of being thwarted. And if a movie is going to be this completely invested in the quality of the action, it can't make that kind of mistake without losing a few points on overall quality.
  13. Favorites of the Year Ex Machina A Girl Walks Home Alone at Night The Revenant Carol The Big Short Inside Out Certainly worth seeing Mad Max: Fury Road Sicario Victoria Spotlight Star Wars: The Force Awakens The Martian Anomalisa Macbeth Bone Tomahawk Probably worth seeing Furious 7 '71 Slow West It Follows Brooklyn While We're Young Mission Impossible: Rogue Nation The Hateful Eight Room Bridge of Spies The End of the Tour The Gift The Diary of a Teenage Girl Steve Jobs Creed Chi-raq Possibly worth seeing Kingsman: The Secret Service The Overnight Spectre Trumbo Kumiko, The Treasure Hunter Black Sea Spring The Avengers: Age of Ultron Welcome to Me Me and Earl and the Dying Girl Montage of Heck Chappie Maggie Hot Girls Wanted Tangerine Results The Voices Spy Manglehorn Crimson Peak Ant-man Black Mass The Man From UNCLE Burnt Mississippi Grind Disappointing or Not Worth Seeing 50 Shades of Grey Focus Jurassic World The Gunman Blackhat Southpaw Paper Towns My Life Directed by Nicolas Winding Refn
  14. I think you're being a little hyperbolic in saying there's zero logic to it. It makes sense to me, given what has been revealed in the show. It's possible I'm misreading things, but on the other hand maybe you're just having a difficult time reconciling the events of the show with the knowledge you have from the books. Littlefinger gained control of the Vale and Sansa, two major assets, and he's parlaying Sansa into a stronger relationship with the Boltons. She's important to them because she represents the last known piece of Stark lineage, to which the North is still loyal. (And I do realize that this is contradicted in the text...it's common knowledge that Roose killed Robb, and that alone will prompt many to side with Stannis.) But by offering the Boltons Sansa, he's somewhat bolstering their cred and helping to galvanize the North to defeat Stannis. Also, since Sansa is a known traitor and supposedly complicit in Joffrey's death, the wedding between her and Ramsay is enough to provoke action against the Bolton's from King's Landing, which is apparently another phase of Littlefinger's plan. So it seems he's trying to end up in power one of three ways: 1. The Boltons win convincingly over Stannis. Littlefinger already has seeds planted to pit the Bolton-led North + the Vale against the Crown. At this point he can either team up with the North against Cersei, or stir up Northern support and try to topple the Bolton's himself. 2. Stannis wins convincingly over the Boltons. Littlefinger tries to get on his good graces by explaining that he is the one who got Sansa out of King's Landing. He convinces him to appoint Sansa as leader of the North, and he rules through her by proxy. (Not the best option, since he probably isn't accounting for Jon Snow.) 3. Stannis and the Boltons decimate each other. Littlefinger comes in with the Vale and cleans up, seizing Winterfell for himself as per his agreement with Cersei. Obviously some of these outcomes are better than others for Littlefinger, but it seems as though he set up a win-win-sorta win situation for himself, and Sansa has been the key to it all. Plenty logical indeed.
  15. I've read through A Storm of Swords, and the decision to stop reading has been working out pretty great, as I seem to be enjoying the show much more than anyone I know who has read the books all the way through. And that was my goal. I'll pick the books back up when the show is over, because I did really enjoy them. Everything you've said basically comes down to your knowledge of and comparison to what happens in the books. And I just don't care what happened in the books. The only question I have about the logic of what's transpired in this arc of the show is why Littlefinger would leave Sansa, a valuable chess piece, in such a dangerous situation with the Boltons, with seemingly little knowledge about Ramsay...but then again, I don't know the details of the long con yet, so I'm just along for the ride. You may be totally correct that this arc is inferior to the one in the book, but it's the only one that exists for non-book readers.