Discuss and Rate the Last Film You Watched

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Johnny Novgorod

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How exciting that for every box office fiasco this year so far we've had a successful and infinitiely more fun counterpart. Spider-Verse 2 is a better superhero multiverse movie than The Flash; Mission Impossible 7 is a much better action-adventure movie about a legacy hero hunting for 2 halves of a MacGuffin than Indy 5. Well, that's just 2 examples and MI7 isn't even out yet. I don't know if it's gonna make Top Gun 2 numbers but I predict at least a solid turnout.

I guess John Wick 4 is better than Fast X? But I haven't seen Fast X, don't know how well it did, and don't know if they're as specifically comparable.
 
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Baffle

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Sitting down to watch Cannonball Run. I absolutely loved this film as a kid. Hope it's held up well.

Captain Chaos just made his first appearance.
 

Gordon_4

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How exciting that for every box office fiasco this year so far we've had a successful and infinitiely more fun counterpart. Spider-Verse 2 is a better superhero multiverse movie than The Flash; Mission Impossible 7 is a much better action-adventure movie about a legacy hero hunting for 2 halves of a MacGuffin than Indy 5. Well, that's just 2 examples and MI7 isn't even out yet. I don't know if it's gonna make Top Gun 2 numbers but I predict at least a solid turnout.

I guess John Wick 4 is better than Fast X? But I haven't seen Fast X, don't know how well it did, and don't know if they're as specifically comparable.
It’s funny, I have zero interest in Mission Impossible since I didn’t like the first two, but I absolutely gotta respect the hustle they made and turned it into what it is now. Like that’s dedication and passion.
 

Absent

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It’s funny, I have zero interest in Mission Impossible since I didn’t like the first two, but I absolutely gotta respect the hustle they made and turned it into what it is now. Like that’s dedication and passion.
The first two are rather bad. They become increasingly good afterwards, which is a bit counter-intuitive for a movie series.
 

Johnny Novgorod

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It’s funny, I have zero interest in Mission Impossible since I didn’t like the first two, but I absolutely gotta respect the hustle they made and turned it into what it is now. Like that’s dedication and passion.
I think just showing the BTS footage of a few stunts - not even pretending they're leaks, like Deadpool keeps doing - is infinitely better marketing, and cheaper than whatever they paid Tom to say he liked The Flash. Hell maybe saying that helps fund Part Two.

Endgame (and Covid, and streaming) obviously marked the end of an era for blockbusters, but it seems now people are favoring the real deal over the CGI thing. Yeah, tons of CGI go into the John Wicks and Top Guns and Mission Impossibles, but they keep things within the realm of what's humanly possible (bullet-proof Keanu notwithstanding) and therefore doable. BTS footage of Keanu and Tom jumping through the hoops for realsies sells that idea of authenticity.

It's also why I think people like something like this over something like Fast and Furious. Mission Impossible can be just as ridiculous or nonsensical sometimes, but it never quite jumped the shark the way F&F and Indy did at the time. Sci-fi gadgetry aside, they never stretched the realm of what's humanly (or phyisically) possible so much as pushed the limits. And whenever they do they have the photo evidence to prove it.
 

Johnny Novgorod

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The first two are rather bad. They become increasingly good afterwards, which is a bit counter-intuitive for a movie series.
You mean the De Palma and John Woo ones? De Palma's was good. Obviously you show it today to Gen Z and it looks like your grandaddy's action flick. But before it was an action movie it had to be a De Palma movie, meaning a sleazier Hitchcock movie, meaning more thrills than action. And John Woo's is your run of the mill early aughts Michael Bay-ish idea of cool and edgy.

MI3 is the most nondescript one. Just another nondescript Abrams hack job. Everything after Ghost Protocol has been gold, although I have trouble separating 5 from 6 in my head.
 

Absent

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You mean the De Palma and John Woo ones? De Palma's was good.
I didn't like it, and I'm usually partial to De Palma. Without even being a huge fan of the series (I respect it a huge lot for many reasons but it bores me), I didn't like the take on Phelps, who should have been the Tom Cruise character name if anything. And the very daring specificity of Mission Impossible is the teamwork (usually series and films were said to work better if the public identifies to one sole protagonist) and the over-elaborate devious trickery (and the wristwatch synchronizing). De Palma made a standard spy movie centered around a solitary hero, losing the identity of that franchise. As the film series went, they brought back the teamwork concept, and it benefits the franchise a lot.

Maybe I would have appreciated that film better if it had just been a random spy flick. Or even a James Bond (or a Harry Palmer). But as a Mission Impossible, it was a letdown.

And I happen to really not be very fond of John Woo's run of the mill early aughts Michael Bay-ish idea of cool and edgy.

But with MI3... well, it's not an unforgettable film, but already, Philip Seymour Hoffman's disturbing performance elevates it to a very interesting level. And after that, they really found a perfect balance of light-hearted over-the-top unrealistic yet thrilling bondishry and pre-MCU ensemble play. The more Simon Pegg the better...

I do also mix them all (I can hardly distinguish the "oh that's the one where they"), but even as a merged blur, it's a very enjoyable merged blur. I see them as the Bond movies I wish the new Bond movies had been (and would have been if they hadn't decided to be Bourne movies).
 

BrawlMan

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I guess John Wick 4 is better than Fast X? But I haven't seen Fast X, don't know how well it did, and don't know if they're as specifically comparable.
I call that a pick your poison scenario. Both are overblown and go for too long.

but it seems now people are favoring the real deal over the CGI thing. Yeah, tons of CGI go into the John Wicks and Top Guns and Mission Impossibles, but they keep things within the realm of what's humanly possible (bullet-proof Keanu notwithstanding) and therefore doable. BTS footage of Keanu and Tom jumping through the hoops for realsies sells that idea of authenticity.
You can thank the first John Wick and many good to great straight to DVD action films from the late 2000s and 2010s.
It's also why I think people like something like this over something like Fast and Furious. Mission Impossible can be just as ridiculous or nonsensical sometimes, but it never quite jumped the shark the way F&F and Indy did at the time. Sci-fi gadgetry aside, they never stretched the realm of what's humanly (or phyisically) possible so much as pushed the limits. And whenever they do they have the photo evidence to prove it.
The problem with the later F&F movies after Furious 7 feel like fan fics and live-action cartoons. No one is in any real danger, and whoever was a bad guy in a previous movie, is now a "good"/decent guy in the following sequel. Bringing back characters who fucking died back to life cheapens each next entry too. I always disliked F&F6 though, and will never touch anything after 7. Vin Diesel and the rest phoning it in does not help.

You mean the De Palma and John Woo ones? De Palma's was good. Obviously you show it today to Gen Z and it looks like your grandaddy's action flick. But before it was an action movie it had to be a De Palma movie, meaning a sleazier Hitchcock movie, meaning more thrills than action. And John Woo's is your run of the mill early aughts Michael Bay-ish idea of cool and edgy.
The only reason so many people hate on MI2 was because everything looked silly by the mid-late 2000s, and the execs screwed John Woo out of the editing room. At least Woo fans have/had a justifiable reason to not like the movie. Everyone else was just jumping on the bandwagon hate, or disliking because Limp Bitzkit did part of the soundtrack that's dated. BTW, MI2 is still better than a majority of Bay's bullshit. Yes, even Bad Boys.

MI III I like fine, but I forget the what plot is every time I watch. Seriously, @Johnny Novgorod, what's the Rabbit's Foot?!


Fast and the Furious (2001), 4/10

The opening film to probably the most flanderized franchise in movie history after James Bond, this film is very, very tame and low-key compared to what the series is now, or even 10 years ago. It's a very basic, pretty low-stakes story about an undercover cop, and pretty much nothing about it is remarkable aside from being a time capsule of the early 00s, and of course its status as the franchise starter. The script and acting are all quite mediocre, and there's really nothing special about almost any aspect of the filmmaking. The film's two core action setpieces, which come back to back at the very end, are about trying to get an injured guy off the door of a truck, and chasing two guys on mopeds. Followed by an incredibly abrupt ending, which could almost leave on a "to be continued" for how quickly it cuts to credits. That's it.

I guess Dom Toretto is kind of interesting as an ambiguous not-really antagonist, and you do get a sense of him taking a shine to Paul Walker's character. But that's just a few bits among what is the bulk of this film, which is the nerdiest car porn I've ever seen. There's a car in most of the shots in this movie, often as the core focus. There's ridiculous amounts of dialogue about car models, engines, modfications, all of which is just incomprehensible gobbledygook to someone like me. I guess it's interesting to experience what watching a movie about, say, tabletop wargaming would be to someone who's the core audience of this move.

I was intent on going to see the latest instalment right after this just to experience the whiplash, but now I'm kind of intrigued. A youtuber I follow once characterized these movies as anime, and that you have to slog through the early "slow arc" to get an attachment to these characters and really feel the good bits. Since these movies don't really demand your attention, I think the bar for watching a whole 9 other films after this is a lot lower than usual. There's not dense lore or stylistic changes to experience, it's kust cars going vroom and things going boom. I might actually do it.
At its worst, the first F&F movie is a 7/10. If your rating is a 4, then 2F 2F might as well be a 2. We all know the movie is Point Break with cars, but it works. It's better PB remake, than the official PB Remake. The movie is the most grounded and creates suspense and drama. None of these characters are invincible superheroes. They are at risk of getting hurt or dying. The action scenes are clear, concise, and consistent. Well shot and edited, with none of the bombastic, makes no sense post F7 nonsense. The characters are more believable here, than in their later appearance. The worst you can say about original was the era it came from, but that is not a net negative.


The soundtrack, while dated, ain't bad. You're either into nu metal, hard rock, or rap/hip-hop from 98-2001 or not. 2Fast 2Furious is all hip-hop from the early 2000s, and Tokyo Drift has Hip Hop, Techno, Rock, and J-Rock from the 2006 (only slightly dated compared to its prequels). I still say Tokyo Drift has the best soundtrack out of variety and style alone.
 
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BrawlMan

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I didn't like it, and I'm usually partial to De Palma. Without even being a huge fan of the series (I respect it a huge lot for many reasons but it bores me), I didn't like the take on Phelps, who should have been the Tom Cruise character name if anything. And the very daring specificity of Mission Impossible is the teamwork (usually series and films were said to work better if the public identifies to one sole protagonist) and the over-elaborate devious trickery (and the wristwatch synchronizing). De Palma made a standard spy movie centered around a solitary hero, losing the identity of that franchise. As the film series went, they brought back the teamwork concept, and it benefits the franchise a lot.

Maybe I would have appreciated that film better if it had just been a random spy flick. Or even a James Bond (or a Harry Palmer). But as a Mission Impossible, it was a letdown.

And I happen to really not be very fond of John Woo's run of the mill early aughts Michael Bay-ish idea of cool and edgy.

But with MI3... well, it's not an unforgettable film, but already, Philip Seymour Hoffman's disturbing performance elevates it to a very interesting level. And after that, they really found a perfect balance of light-hearted over-the-top unrealistic yet thrilling bondishry and pre-MCU ensemble play. The more Simon Pegg the better...

I do also mix them all (I can hardly distinguish the "oh that's the one where they"), but even as a merged blur, it's a very enjoyable merged blur. I see them as the Bond movies I wish the new Bond movies had been (and would have been if they hadn't decided to be Bourne movies).
 
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Absent

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STARRING : LALO SCHIFRIN AND THAT'S ALL YOU NEED TO KNOW

But also, in contrast with the tv series, I like how most of the movies actually discard or downplay the masks thing. The masks thing is really a dumb cheap plot device.
 
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thebobmaster

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Watched Insidious Chapter 2 today, in preparation for The Red Door tomorrow. I'm almost certainly in the minority here, but I think I liked it better than the first one. First one started off well, but lost me a bit when it got to The Further, whereas this one kept me going the whole time. Plus, Patrick Wilson did a fantastic job at both portraying the real Josh and the possessed Josh differently enough that you got the sense it was someone else wearing him as a skin, which is not an easy thing to do without it seeming silly. Here, it did not feel silly.
 

PsychedelicDiamond

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Asteroid City (2023)

Wes Anderson has always been one of the most stylistically single minded directors in history. From the visual composition, to the performances, to the soundtracks you know an Anderson movie when you see or hear one. Instead of branching out in any significant way, he spent his entire career finding new ways to synthesize increasingly higher concentrations of his root style. He's sort of an anti Tim Burton that way, whose once distinctive style dissolved to be practically unrecognizable as not only his own, but as any distinguishable artistic voice whatsoever.

Anderson, ever so productive, has had another release, less than two years after French Dispatch. Unsurprisingly, Asteroid City is, in every sense if the word, more of a Wes Anderson movie than every previous Wes Anderson movie. And might mark the point where his artistic sensibilities have grown to proportions too massive for the underlying framework to hold them up.

Where French Dispatch was definitely another escalation compared to what came before, I liked it quite a lot and would probably consider it one of his best movies so far. Maybe in my personal Top 3 of his movies, definitely in my Top 5. Asteroid City on the other hand just didn't land for me, no pun intended.

It's not for a lack of ambition. Anderson has really gotten into framing devices starting with Grand Budapest Hotel, and in case of Asteroid City, the framing device is at the core of the movie. Asteroid City is about a small desert town... Pardon, Asteroid City is about a theater production about a 1950's small desert town hosting a convention for child geniuses that becomes the site of an alien landing. Jason Schwartzman plays a young widower who's the father of one of those child prodigies, Scarlett Johansson a famous actress who's the mother of another. Along with an assortment of other eccentric characters they get to contemplate some existential quandaries as the town goes into lockdown.

I always felt like I was pretty much on a wavelength with Anderson but honestly, this movie didn't do it for me. His sense of humor always leaned quite heavily on extremely absurd dialogue being delivered in an extremely deadpan manner, but I swear that dialogue used to be a lot wittier, not to mention the visual humor a lot punchier. Asteroid City is not devoid of entertainment, but it's buried in something that's too contemplative to be consistently funny and too smarmy and meta to be consistently heartfelt.

I already mentioned, much like a David Lynch movie you can immediately tell a Wes Anderson movie by the actors line deliveries alone, but what Schwartzman and Johanson are doing here crosses over from deadpan into monotone, making the emotional centerpiece of the movie about as lively as a crashed asteroid. Meanwhile a lot of the jokes are so weirdly abstract that they either went over my head, or me feeling like they went over my head secretly is the entire joke.

Honestly, at this point I feel like Anderson is just trying to find out what he can get away with. Between the half ironic/half sincere Norman Rockwell inspired visuals, a sense of humor so dry that it's often hard to tell whether it's there at all and a plot so loose that the movie itself wonders aloud if there even is one, Asteroid City is all but impenetrable. I don't begrudge any artist for making something that only makes sense to themselves, but honestly, what am I supposed to make of it? It's not a completely unenjoyable movie, the visuals are unique as always and there's a funny gag once in a while but most of it just felt like someone else's inside joke.
 

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Mission Impossible, 7/10

This was showing on TV, and it'd been like 15 years since I'd seen it. It's very good. Going back it honestly feels remarkable how in line this feels with the 2010s installments despite there being revolutionary leaps in filmmaking and entire trends that came and went in between. It plays itself very straight, but not poe-faced either: there's no love interest subplot or corny one-liners, but it never loses its sight on being a rollicking spy adventure. It has that same level of commitment to tension, and the most tense scene being just waiting for a droplet of sweat fall still holds up. The level of practicality in most setpieces goes a long way to keep it from feeling dated.

Where this movie falters is the last third, where I just completely lost sight of the plot, and couldn't keep up with who was double-crossing who and for what reasons. There's some seriously immersion-breaking moments in the final climax, among which the dated CG is minor. It's so good for most of its runtime, but the last half an hour I was just scratching my head a lot of the time. Still, it's deservedly a classic, and it's fun to see the first seedling of what grew to be one of the most consistently great action franchises in history.
 

Xprimentyl

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Mission Impossible, 7/10

Where this movie falters is the last third, where I just completely lost sight of the plot, and couldn't keep up with who was double-crossing who and for what reasons.
To be fair, that's a critique one could level at most spy/espionage/action-thrillers for the better part of a couple decades. I'd mostly ignored it and just enjoyed the action, but then Tenet became a thing, and I had to face the music: it IS possible for something to be so far up it's own ass that you can't even enjoy it at a surface level. I've shared this before, but in case anyone forgot, it's still very relevant.

 

Phoenixmgs

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Hence why this whole 'Disney/Pixar are bombing because they lost their way' talk kinda irks me.

Across the Spider-Verse is being used by all these commentary channels as an example for high box office because of quality, but Into was just as good yet didn't do too well in theaters, actually being the lowest performing Spider-Man movie.
Then, why are they bombing? Why did Avatar 2 make over 2 billion (that's really not a Disney movie per se as they acquired it as it was being made) and other Disney movies that were making an automatic $Billion now not even turning a profit? People liked Avatar and Avatar 2 looked like more Avatar.

People just don't care about Marvel anymore. MCU crescendoed with Endgame and Phase 4 is just completely meandering, there's no core plot line, nothing to care about. And the movies just aren't even good or passable (Hell, the freaking Flash was better than Thor 4 or Black Panther 2 or Eternals). And they totally haven't been able to replace characters like Iron Man or Captain America that people care about with new characters. They fumbled the "passing the torch" so bad, they tripped on the way out of the house and burned down the house, you literally couldn't have executed it any worse. You really think people care about 2/3rds of The Marvels main cast that were introduced in TV shows the average person haven't even watched? Who do you think is gonna see that? It's the same thing with Indy 5 after Indy 4, who the fuck is the audience for that? Hell, the director is deriding fans for not liking his deconstruction of Indiana Jones. Again, who the fuck wants to see an Indiana Jones movie that deconstructs Indiana Jones? I sure as hell don't when it's supposed to be a kids movie, I wanna see Indiana Jones with fun set-pieces infused with Scooby Doo antics, that's what I want.

I assume it's some of the same things with the live-action remakes. I don't know anyone that really loved any of them like people do the originals. You keep swinging and missing and people start writing you off eventually. Disney movies and TV shows, from my experience/perspective, seem so factory churned out now, I don't give them much chance of being anything really good. It's like AAA video games in a sense, I have no confidence in any of them being any good anymore. At least I know with say Mission Impossible or John Wick, they are trying to be the best MI/JW movies they can be.


Well taking A: tWoW and Quantumania into consideration respectively -

Now, Deadline reports that Avatar: The Way of Water's actual profit is $531.7 million. After factoring out the additional costs of filming most of Avatar 3 and parts 4, which were shot concurrently, the film's production budget is pegged at $400 million. The film's $2.3 billion box office haul is further eaten into by hefty marketing costs, residuals, participations, overhead, and more, with the film's total expenses being $1.087 billion. The $531.7 million profit makes Cameron's sequel undoubtedly a huge success, and this number doesn't include the additional revenue generated by the movie's presence at Disney theme parks.


Usually, theaters retain around 50% of the profits collected during any film's theatrical run, meaning Disney received around $235 million dollars for Ant-Man and the Wasp: Quantumania. This means that, technically, the Phase 5 film did make a profit, though a profit of only around $30 million is below initial expectations - especially when further marketing and promotional costs are considered. While Ant-Man and the Wasp: Quantumania perhaps can't be considered an honest-to-goodness box office bomb - it didn't make a loss - the film certainly didn't reach the numbers done by the most successful MCU projects.

According to the following Variety article, Ant Man 3 needed $600 million to break even.
 

Casual Shinji

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Then, why are they bombing? Why did Avatar 2 make over 2 billion (that's really not a Disney movie per se as they acquired it as it was being made) and other Disney movies that were making an automatic $Billion now not even turning a profit? People liked Avatar and Avatar 2 looked like more Avatar.

People just don't care about Marvel anymore. MCU crescendoed with Endgame and Phase 4 is just completely meandering, there's no core plot line, nothing to care about. And the movies just aren't even good or passable (Hell, the freaking Flash was better than Thor 4 or Black Panther 2 or Eternals). And they totally haven't been able to replace characters like Iron Man or Captain America that people care about with new characters. They fumbled the "passing the torch" so bad, they tripped on the way out of the house and burned down the house, you literally couldn't have executed it any worse. You really think people care about 2/3rds of The Marvels main cast that were introduced in TV shows the average person haven't even watched? Who do you think is gonna see that? It's the same thing with Indy 5 after Indy 4, who the fuck is the audience for that? Hell, the director is deriding fans for not liking his deconstruction of Indiana Jones. Again, who the fuck wants to see an Indiana Jones movie that deconstructs Indiana Jones? I sure as hell don't when it's supposed to be a kids movie, I wanna see Indiana Jones with fun set-pieces infused with Scooby Doo antics, that's what I want.

I assume it's some of the same things with the live-action remakes. I don't know anyone that really loved any of them like people do the originals. You keep swinging and missing and people start writing you off eventually. Disney movies and TV shows, from my experience/perspective, seem so factory churned out now, I don't give them much chance of being anything really good. It's like AAA video games in a sense, I have no confidence in any of them being any good anymore. At least I know with say Mission Impossible or John Wick, they are trying to be the best MI/JW movies they can be.



According to the following Variety article, Ant Man 3 needed $600 million to break even.
Nobody was exactly looking forward to Avatar 2. It didn't really ride the wave of popularity of the first movie afterall. And really not great blockbusters have been making huge profits for decades. Whether Thor 4, Black Panther 2, and The Enternals are worse than The Flash didn't stop them from having a better box office, and The Flash utterly tanking.

There's something else going on here. A lot of these June/July releases - Indy 5, The Flash, Elemental, Ruby Gilman; Teenaged Kraken - are movies that typically make a decent return, quality be damned. Though Elemental seems to be pulling itself up somewhat. It could be overcrowding, it could be audiences not exactly being in a movie going mood this summer, it could be streaming services having made people less willing to leave their homes and pay for tickets, or it's all of the above. Also, China being less welcoming to foreign blockbusters now also probably has something to do with it.

But to say that general audiences suddenly colllectively just got picky about the quality of blockbusters is doubtful. Not to say general audiences are just stupid, but most people who go to the movies usually do so as a night out, and they'll watch whatever is the new big movie. Same for families who take their kids to watch the next big animated movie.
 
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thebobmaster

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Just got back from watching Insidious: The Red Door. It wasn't as good as the first two, but it was a satisfying conclusion to the series. Missed Lin Shaye and mah investigation bois, who each get once scene/cameo, and Renai's actions really lost me on her as a character to like, but the film overall had some pretty good atmosphere, and for a first-time director, Patrick Wilson definitely picked up some tricks on how to build up to a good jump scare. Watching this movie was not great for my back.
 

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I'm not quite sure this can count as a review because I haven't finished watching it, but goddamn is Transformers: Rise of the Beast dull as fuck.

I'm on my third attempt to finish watching it tonight. I like to use my ADHD as my meter of a films quality and man did this film have me clawing out of my seat.

If you can try to picture this, Michael Bay movies - Loud, frenetic, quippy, nonsense. Now picture the exact opposite - Slow, drab, energonless dialog.

Transformers: Rise of the Beast Superficially tries to remove all the mistakes of bayformers. It's largely played straight, very minimal "wackiness", the combat is easy to see, the Transformers all look awesome, but now the story is by the numbers, all the voice acting feels like actors desperately trying to stay awake. Instead of a joke or quip every thirty seconds, every line is like "We must get the thing", "we have the thing" like exposition more than dialog. It reminds me of the toys that you can click to say things, but it's just like "Transform.....rollout..(I guess). It's very strange to watch on screen.

Even Pete Davidson playing Mirage sounds dull and lifeless, like they just put him on speakerphone while he was playing Call of Duty and had him distractedly say lines that the tiktok kids would recognize. Maybe this is a little racist, but the whole time I was thinking man if they had let Craig Robinson let loose he woulda knocked it out of the park as Mirage. It feels like that's the character they actually wanted like Craig Robinson from Pineapple express, but the studio said they had a contract with Pete Davidson. For the record I don't "hate" pete davidson, he was great in bodies, bodies, bodies, but this really just feels like poor direction.

The whole movie(I'm like halfway through) feels like it suffers from pacing, cinematography and script being overworked by studio notes and editing. Several jokes in the trailers are noticeably cut out of the film. Scourge, the villain, seems like he's on valium. Everyone just sounds bored and exhausted, by the abject meaningless of existence.

The only real positive thing I can say is that the combat looks pretty cool, very classic transformers, the rest of it coma inducing.

Easteregg: I accidently watched it in French and so for Bumblebee, instead of movie quotes, it's just some wacky french guy and it's hilarious. I almost considered leaving it on as it was vastly more entertaining, at least for his scenes.
 
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BrawlMan

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Nobody was exactly looking forward to Avatar 2. It didn't really ride the wave of popularity of the first movie afterall. And really not great blockbusters have been making huge profits for decades. Whether Thor 4, Black Panther 2, and The Enternals are worse than The Flash didn't stop them from having a better box office, and The Flash utterly tanking.

There's something else going on here. A lot of these June/July releases - Indy 5, The Flash, Elemental, Ruby Gilman; Teenaged Kraken - are movies that typically make a decent return, quality be damned. Though Elemental seems to be pulling itself up somewhat. It could be overcrowding, it could be audiences not exactly being in a movie going mood this summer, it could be streaming services having made people less willing to leave their homes and pay for tickets, or it's all of the above. Also, China being less welcoming to foreign blockbusters now also probably has something to do with it.

But to say that general audiences suddenly colllectively just got picky about the quality of blockbusters is doubtful. Not to say general audiences are just stupid, but most people who go to the movies usually do so as a night out, and they'll watch whatever is the new big movie. Same for families who take their kids to watch the next big animated movie.
Like I said before, I'll say it again: June was overcrowded and all of theaters overcharge the price for food, drinks, and tickets. There's a reason why I rarely ever go to an evening show now. Been that way for a good long while now. We already gave the reasons, he just don't want to listen and keeps goal posting like usual. I don't even bother wasting your breath at this point.