Er, didn't see that myself. Show of hands, is this a thing other people picked up on and I just missed?
Discuss and Rate the Last Film You Watched
- Thread starter Th3Ch33s3Cak3
- Start date
Legion (2010). I got the movie in the Salvation Double Pack on Blu Ray. The other movie that comes with it is Priest (that involves vampires and I actually enjoy it more than Legion). Paul Bettany is the lead role in both films btw. I used to have this back in the early 2010s, but traded it in for some other movies and extra cash. Critics tore this movie apart on release with MB in particular being nasty about the film. Legion is a B Grade, action-siege movie with zombie elements. Short version: God is pissed and feels it better to kill humanity and wipe them out. Michael, one of the high arc angels rebels, and chooses to defend the few human survivors held up in a diner out in the desert in LA. The survivors have to defends themselves low arc angels who posses weak willed humans and they act like glorified zombie demons or deadites, but not as powerful. Still deadly.
I like this film, and is not as bad naysayers made it out to be. It's stupid and silly, but people behind this project knew what they were doing. Paul B kicks ass and did a lot of his own stunts. This is the man that would go on to play Vision. I never thought that would happen. As far as zombie wasteland movies go, it's better than most of the films that came out during the zombie craze in the 2010s upon retrospect. The movie does end on an open-ended sequel hook. Which was never followed up on until 5 years later on the SyFy channel. The show's called Dominion, but it only lasted 2 season. I never saw it nor am I interested in watching.
2010 was a weird year for movies and games; more so the latter. There was either a heaven vs. hell theme or our angels are evil/bad asses. Bayonetta, Dante's Inferno, and Darksiders. Bayonetta being the best as you have a witch that fight angels with guns, her hair, and can summon demons to wreck their pious, holier-than-thou, shit!
I like this film, and is not as bad naysayers made it out to be. It's stupid and silly, but people behind this project knew what they were doing. Paul B kicks ass and did a lot of his own stunts. This is the man that would go on to play Vision. I never thought that would happen. As far as zombie wasteland movies go, it's better than most of the films that came out during the zombie craze in the 2010s upon retrospect. The movie does end on an open-ended sequel hook. Which was never followed up on until 5 years later on the SyFy channel. The show's called Dominion, but it only lasted 2 season. I never saw it nor am I interested in watching.
2010 was a weird year for movies and games; more so the latter. There was either a heaven vs. hell theme or our angels are evil/bad asses. Bayonetta, Dante's Inferno, and Darksiders. Bayonetta being the best as you have a witch that fight angels with guns, her hair, and can summon demons to wreck their pious, holier-than-thou, shit!
Priest is actually one of the very few examples of a manga that I read before seeing the adaptation of it. I was working at Books-A-Million, and saw it in the manga section. Art style looked interesting, got hooked for several volumes of it. Eventually lost track of it when I got caught up to publication, and I think the writer stopped? *shrugs* But yeah, the film was unsurprisingly, not very accurate to the source material. Like, at all really.
I still thought it was a pretty decent action flick, for the most part. I'm always down for zombie/vampire slaying, so it had me in the seat for that at least. Could've been better, could've been a lot worse.
The crazy thing: the original manhwa (made in South Korea and is the proper term), the Priest fought fallen angels. Preist (2011) acts as sequel to the manhwa, which never actually ended and stopped at Volume 16. For an unknown reason. When adapting the film, the guy who did Legion did not want people thinking he's was copying his previous film again, so he changed the monsters to vampires who act similar to Xenomorphs. I admit that I would have preferred the fallen angels, as at this time Scott Stewart would have had the proper budget for what he was trying to achieve in Legion.
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Inland Empire
What was, and will most likely remain, David Lynch's last feature length film, though one that, in a few ways, somewhat foreshadows his pivot to serialized storytelling as represented by Twin Peaks: The Return and his rumored Netflix project. Inland Empire is a sprawling, three hour long narrative, and that's the short version. Its DVD release contains an additional hour and a half of cut footage, which Lynch himself described as "More things that happened", bumping up the unofficial "complete" cut to about 4 hours and 30 minutes and leaving the viewer with what is probably the most highly concentrated dose of David Lynch they could ever subject themselves too.
Inland Empire is probably Lynch's densest narrative, to the point that the pacing of the 3 hour cut feels almost rushed. It has a reputation of being near impenetrable but let me try to sum it up:
Laura Dern plays Nikki Grace who, in turn, plays Susan Blue, the female lead in a film called "On High in Blue Tomorrows". The day before being offered the role she is visited by an old gypsy woman, relaying a cryptic warning about the role to her. Soon enough the movies director reveals to Nikki, that the film is a remake of an unfinished Polish movie which, in turn, was based on a traditional folk tale, that ended in the lead actors dying while shooting it. Rumor has it, the story itself is cursed. Most of the movie deals with Laura Dern, caught between the persona of Nikki and that of Sue Blue, trapped in a liminal space (a term that has become a bit overused recently, here describing a sort of backstage area to our dimension not too dissimilar to Twin Peaks' Lodges), commuting with various supernatural entities and visiting various different times and places, trying to find a way to break the curse and not only free herself, but also a mysterious Polish woman who fell victim to it a long time ago.
By all means, this is about as simple a way as I can describe it, glossing over details like one group of aforementioned supernatural entities taking the form of three anthropomorphic rabbits in a living room that invokes the set of a family sitcom (their cryptic dialogue punctuated by canned laughter.), Dern's character being guided by a group of prostitutes who, at one point, break out in a song or Dern, in the persona of Sue, telling anecdotes about rape and violence to a pudgy man in glasses who seems to act as a sort of mediator between the material and the spiritual world.
Inland Empire is a greek epic in the style of a Silent Hill game, the story of a woman struggling against fate, struggling against herself and struggling against gods and spirits in order to save her own soul, but Lynch's vision of the places where spirits dwell is a grimy one. The lense through which Lynch presents the world of Inland Empire is anything but crystal clear. The movie was shot on a hand camera with a resolution lower than that of your average modern cellphone camera, bringing a jarringly grounded feeling to a narrative that is anything but. Inland Empire is, in its own way, still a rather gorgeous movie but one that demands to be met halfway to be properly appreciated. It foregoes visual clarity in favour of ambiguity and even a strange sense of intimacy, as represented by numerous extremely close closeups.
Inland Empire was Lynch's last theatrical release, and it feels, in many ways, like a summation of at least this particular segment of his career. It tackles themes of identity, infidelity, artistic expression, feminism, jealousy, the power of storytelling and so much more. Occupying some three way intersection between maximalist surrealist art installation, mystery thriller and urban fantasy epic, it stands as... well, as the most David Lynch movie. Quite famously, Inland Empire did not have a finished screenplay when work on it started. Lynch wrote it as he was making it, letting his intuition guide him and from this improvisational approach to writing emerged what is probably his most compelling movie. A trip down a bizarre labyrinth ending on an unambiguously cathartic note. Inland Empire is dark, bizarre, dense and beautiful.
What was, and will most likely remain, David Lynch's last feature length film, though one that, in a few ways, somewhat foreshadows his pivot to serialized storytelling as represented by Twin Peaks: The Return and his rumored Netflix project. Inland Empire is a sprawling, three hour long narrative, and that's the short version. Its DVD release contains an additional hour and a half of cut footage, which Lynch himself described as "More things that happened", bumping up the unofficial "complete" cut to about 4 hours and 30 minutes and leaving the viewer with what is probably the most highly concentrated dose of David Lynch they could ever subject themselves too.
Inland Empire is probably Lynch's densest narrative, to the point that the pacing of the 3 hour cut feels almost rushed. It has a reputation of being near impenetrable but let me try to sum it up:
Laura Dern plays Nikki Grace who, in turn, plays Susan Blue, the female lead in a film called "On High in Blue Tomorrows". The day before being offered the role she is visited by an old gypsy woman, relaying a cryptic warning about the role to her. Soon enough the movies director reveals to Nikki, that the film is a remake of an unfinished Polish movie which, in turn, was based on a traditional folk tale, that ended in the lead actors dying while shooting it. Rumor has it, the story itself is cursed. Most of the movie deals with Laura Dern, caught between the persona of Nikki and that of Sue Blue, trapped in a liminal space (a term that has become a bit overused recently, here describing a sort of backstage area to our dimension not too dissimilar to Twin Peaks' Lodges), commuting with various supernatural entities and visiting various different times and places, trying to find a way to break the curse and not only free herself, but also a mysterious Polish woman who fell victim to it a long time ago.
By all means, this is about as simple a way as I can describe it, glossing over details like one group of aforementioned supernatural entities taking the form of three anthropomorphic rabbits in a living room that invokes the set of a family sitcom (their cryptic dialogue punctuated by canned laughter.), Dern's character being guided by a group of prostitutes who, at one point, break out in a song or Dern, in the persona of Sue, telling anecdotes about rape and violence to a pudgy man in glasses who seems to act as a sort of mediator between the material and the spiritual world.
Inland Empire is a greek epic in the style of a Silent Hill game, the story of a woman struggling against fate, struggling against herself and struggling against gods and spirits in order to save her own soul, but Lynch's vision of the places where spirits dwell is a grimy one. The lense through which Lynch presents the world of Inland Empire is anything but crystal clear. The movie was shot on a hand camera with a resolution lower than that of your average modern cellphone camera, bringing a jarringly grounded feeling to a narrative that is anything but. Inland Empire is, in its own way, still a rather gorgeous movie but one that demands to be met halfway to be properly appreciated. It foregoes visual clarity in favour of ambiguity and even a strange sense of intimacy, as represented by numerous extremely close closeups.
Inland Empire was Lynch's last theatrical release, and it feels, in many ways, like a summation of at least this particular segment of his career. It tackles themes of identity, infidelity, artistic expression, feminism, jealousy, the power of storytelling and so much more. Occupying some three way intersection between maximalist surrealist art installation, mystery thriller and urban fantasy epic, it stands as... well, as the most David Lynch movie. Quite famously, Inland Empire did not have a finished screenplay when work on it started. Lynch wrote it as he was making it, letting his intuition guide him and from this improvisational approach to writing emerged what is probably his most compelling movie. A trip down a bizarre labyrinth ending on an unambiguously cathartic note. Inland Empire is dark, bizarre, dense and beautiful.
I saw Priest and still holds up fine as long as you're watching the Unrated version. Which is only available on Blu ray. The movie was sent dead on arrival in the dump months of 2011 with PG-13 rating. Seriously, Hollywood can still fuck off with that shit, even though that practice fell out of style 6 or 7 years ago.Priest is basically a live-action Vampire Hunter D movie combined with Judge Dredd. Except D is not the main character and is a villain played by Karl Urban. Ironic, as he would go on to play as Judge Dredd in 2012. The movie runs at a brisk 87 minutes. I like the movie, but it was clear the studio was trying to make a franchise in mind. That did not go anywhere. Focus on making a film first, then worry about the sequels (if they are even needed in the first place). The movie does enough to be self-contained. I admit that I would not have minded a sequel, yet Underworld the Paul WS Resident Evil films continued to get bad sequels after bad sequels to mediocre and bad franchises. In terms of live-action vampire ass kicking, it's better than Blade Trinity, all of the Underworld films, John Carpenter's Vampires, and the From Dusk Till Dawn sequels. Not as good as Blade I & II or 30 Days of Night, but it's on the list. The movie is worth a watch and you can do far worse.
Spiral: From the Book of Saw
Detectives Chris Rock (played by Chris Rock, no jokes allowed on the job though) and Schenk (Max Minghella) chase a Jigsaw copycat (...once again? I've only seen the first Saw in addition to this one). So we have some "karmic justice" or whatever traps that kill and/or mutilate the victims with some absurd set ups, but I'm willing to cut some slack for that sort of thing, but it gets a bit dumb near the end anyways. Samuel L. Jackson is featured in a small role as Chris Rock's dad and he gets to crack a few jokes at the comedian's expense. Anyway, twists, traps, some gore. The sound mixing for dialogue is just plain bad and the movie cuts way too fast even in casual scenes. 5/10
Detectives Chris Rock (played by Chris Rock, no jokes allowed on the job though) and Schenk (Max Minghella) chase a Jigsaw copycat (...once again? I've only seen the first Saw in addition to this one). So we have some "karmic justice" or whatever traps that kill and/or mutilate the victims with some absurd set ups, but I'm willing to cut some slack for that sort of thing, but it gets a bit dumb near the end anyways. Samuel L. Jackson is featured in a small role as Chris Rock's dad and he gets to crack a few jokes at the comedian's expense. Anyway, twists, traps, some gore. The sound mixing for dialogue is just plain bad and the movie cuts way too fast even in casual scenes. 5/10
I stopped caring for the franchise around the fifth film. I love Samuel Jackson and Chris rock, but I'm skipping on this. I see no need for the torture porn. I can't even stomach easily anymore, aside from maybe the first movie.
I watched "Ice Road" which just came out on Netflix. I need to recommend everyone see it, not because it's good, but because it's bad. Bizarrely bad. I'm not kidding or being sarcastic when I say the dialog is the strangest thing I've ever heard. It's not cheap or dumb. It's almost as if they used one of those learning programs that mimic AI by listening to people talk and auto-generated a script. I swear to God I'm not kidding I promise watch 15 minutes of this and you'll be wondering if the script was written in another language and Google translated to english. There's a scene where one person explains to another person what "redundant" means. Not for effect or as a joke. It's treated 100% serious. Youre gonna be like "Baawwhat?!" Every 5 minutes of this.
The movie itself I can only compare to something like an Ed wood movie. It is so bizarre and so bad it's difficult to describe. I wanna recommend watching this train wreck now, but I'm confident MST3K or rifftrax is going have a field day with this one sooner rather than later.
The movie itself I can only compare to something like an Ed wood movie. It is so bizarre and so bad it's difficult to describe. I wanna recommend watching this train wreck now, but I'm confident MST3K or rifftrax is going have a field day with this one sooner rather than later.
Cool World:
(What if we did a dark Edgy Who Framed Rodger Rabbit)
conceptually a nice idea considering more adult aimed comics existed and still exist but this really felt like a 90s movie. You know the joke "The 90s sucked" well this is that in film form. It's not good edgy like the Heavy Metal films where they commit to the blood and boobs, it's bad edgy like we'll just imply all this sex and violence goes on but our level of edgy we're willing to actually show is having the cute bunny character swear a lot and talk about how people are having sex.
Basic plot under the spoiler thing with spoilers
It's kind of surprising the star power in the film with Brad Pitt playing Frank and Kim Basinger as Holli Would. This star power contrasts heavily with the just cheap unfocussed feeling of a lot of the rest of the film. The sets in Cool Wolrd are weird in that they're 3D sets but the props and other items are 2D or turn 2D when the camera look at them from a certain angle so a Sofa may look fine head on but then the camera is at an angle to it and it's clear it's a plywood cut out. It feels like they had no idea how to actually do a cartoon look but it real life 3D environments and didn't think to try and make stuff look cells shaded or something like that. It gets weirder when actual 3D props are involved as a cartoon car will drive into a scene then become a real cart the actor gets out of then rather than keep the actual real car in the shot they replace it with a 2D stand up cut out but only 1 angle of it side on so any shot not side on shows it's clearly a stand up cut out.
The Cool World itself lack a coherent style too with everything from Mother Rabbit style kids cartoon characters to more grotesque monstrous ones to human cartoon characters that wouldn't be out of place in a Popeye cartoon right up to Holli and to a lesser extent Lonette who look like they'd be right at home alongside Spawn or The Maxx at Image Comics.
Add to that the fact the plot feels like it meanders and the film doesn't have consistent rules but makes them up as they go along really doesn't help.
Only watch this if you really want to study a a film that's kind of a huge mess and probably the worst film Brad Pitt has been in.
Detective Pikachu:
Based on the Manga of the same name it was actually pretty good with Ryan Reynolds doing a really good job voicing the Pikachu with a decent plot which you'll see one of the bigger twists coming but it's a kids film really so that's no major crime though the ultimate goal of the villain will be a bit of a surprise as it's not really foreshadowed. It also seems to have a few little nods to the Pokemon animated series for those who may have watched that back in the day.
Very enjoyable far more than I actually thought I would as some-one who has mostly been checked out of Pokemon outside of Pokemon go for many many years now. Well worth a look if you've not seen it.
(What if we did a dark Edgy Who Framed Rodger Rabbit)
conceptually a nice idea considering more adult aimed comics existed and still exist but this really felt like a 90s movie. You know the joke "The 90s sucked" well this is that in film form. It's not good edgy like the Heavy Metal films where they commit to the blood and boobs, it's bad edgy like we'll just imply all this sex and violence goes on but our level of edgy we're willing to actually show is having the cute bunny character swear a lot and talk about how people are having sex.
Basic plot under the spoiler thing with spoilers
A prisoner creates a comic strip called Cool World not realising it's based on a real place and in the past a young army soldier home on leave who ended up in a Motorbike accident with his mother on the back where she ended up dying got sucked into the Cool World Dimension by a cartoon professor called Whiskers using some powerful object called the Spike. Holli Would the cartoon starlet / show girl / maybe also small time criminal gang leader has desires to escape Cool Wold and become a real woman and try to take over Las Vegas believing she'd be able to make it big easily, she drags the Prisoner into Cool World when he's falling asleep. Holli's goal to seduce the prisoner whose about to be freed called Jack. Meanwhile the army soldier Frank has over the years become a police detective with his cartoon partner Nails the giant spider / bug thing. Frank intends to enforce the main rule of cool world noid (regular humans) and Doodles (cartoon / drawn characters) don't have sex. A law that very much complicates Franks relationship with Lonette who is a server on one of Cool Worlds clubs and also a Doodle.
Despite Franks warnings Jack has sex with Holli which turns her into a real human and she and Jack are able to cross over into the real world. Jack takes Holli to a club thinking he's really getting back on his feet after prison now being a renowned artist for his Cool World comics and now having Holli now real and seemingly interested in him. However when he takes Holli to a club it's quickly revealed she very much was just using him and tries to start her rise to success by going up and singing on stage at the club. Things however don't pan out as Holli starts to flip between human and Doodle but not her normal doodle form a weird cartoon clown form which causes he to flee and catch up with Jack who is also flipping between human and Doodle (in his case on old businessman). Holli insists they try to locate the mythical spike that she thinks will help let her become real permanently but when Jack tries to dissuade her she kicks him out the car.
Frank finds out Holli left Cool World and has to return to the real world himself to chase her down landing in Jack's home just as jack gets back home. Holli struggles in her attempt to get into the Casino where the spike is supposedly getting kicked out for having no money and acting weird asking to see the owner whom Holli thinks is some-one entirely different and none of the staff have ever heard of. Outside she runs into a person covered head to toe in coats and scarfs etc who turns out to be professor Whiskers who tells Holli the spike is infact on the hotel room. Jack and Frak arrive as Holli manages to get into the hotel area of the Casino and Frank finds Whiskers who tells them Holli is going for the spike.
Fran chases Holli through the hotel with Holli being able to use her flitting into Doodle form to do cartoon antics like jump through walls. Eventually Holli is trying to climb from a balcony onto the roof then claims she is giving up but can't move. As Frank goes up on the balcony ledge to help her down she flits back to being a toon and kicks him off with Frank falling down the building to the floor below.
Holli grabs the Spike and while it makes her real it starts flooding the Real world with Doodles and Doodle spirits which take over other humans turning them into Doodles. Cool World and the real world are merging and must be stopped. Jack then begins to Doodle out and uses cartoon logic to stretch his arms up to the roof of the hotel and pull himself up where he turns fully Doodle but this time as a macho super hero Doodle. After confronting Holli, being kicked in the balls by her, chasing her down as she tried to escape into the sky riding Doodle spirits and eventually not giving in to her temptations a second time her puts the Spike back in place sucking all the Doodles and Doodle ghosts back to Cool World. Frank's partner Nails insists on taking Franks body back to Lonette in Coold World.
In Cool World Lonette is distraught over Franks death before asking Nails if Holli was a Noid or a Doodle when she kicked him off the roof, Nails answers a Doodle and Lonette reveals Noids who die in Cool World or are killed by a Doodle don't die they actually become Doodles. Which Frank then turns into. Now being a Doodle he and Lonette decide to retire back to her place and finally be able to have sex.
Despite Franks warnings Jack has sex with Holli which turns her into a real human and she and Jack are able to cross over into the real world. Jack takes Holli to a club thinking he's really getting back on his feet after prison now being a renowned artist for his Cool World comics and now having Holli now real and seemingly interested in him. However when he takes Holli to a club it's quickly revealed she very much was just using him and tries to start her rise to success by going up and singing on stage at the club. Things however don't pan out as Holli starts to flip between human and Doodle but not her normal doodle form a weird cartoon clown form which causes he to flee and catch up with Jack who is also flipping between human and Doodle (in his case on old businessman). Holli insists they try to locate the mythical spike that she thinks will help let her become real permanently but when Jack tries to dissuade her she kicks him out the car.
Frank finds out Holli left Cool World and has to return to the real world himself to chase her down landing in Jack's home just as jack gets back home. Holli struggles in her attempt to get into the Casino where the spike is supposedly getting kicked out for having no money and acting weird asking to see the owner whom Holli thinks is some-one entirely different and none of the staff have ever heard of. Outside she runs into a person covered head to toe in coats and scarfs etc who turns out to be professor Whiskers who tells Holli the spike is infact on the hotel room. Jack and Frak arrive as Holli manages to get into the hotel area of the Casino and Frank finds Whiskers who tells them Holli is going for the spike.
Fran chases Holli through the hotel with Holli being able to use her flitting into Doodle form to do cartoon antics like jump through walls. Eventually Holli is trying to climb from a balcony onto the roof then claims she is giving up but can't move. As Frank goes up on the balcony ledge to help her down she flits back to being a toon and kicks him off with Frank falling down the building to the floor below.
Holli grabs the Spike and while it makes her real it starts flooding the Real world with Doodles and Doodle spirits which take over other humans turning them into Doodles. Cool World and the real world are merging and must be stopped. Jack then begins to Doodle out and uses cartoon logic to stretch his arms up to the roof of the hotel and pull himself up where he turns fully Doodle but this time as a macho super hero Doodle. After confronting Holli, being kicked in the balls by her, chasing her down as she tried to escape into the sky riding Doodle spirits and eventually not giving in to her temptations a second time her puts the Spike back in place sucking all the Doodles and Doodle ghosts back to Cool World. Frank's partner Nails insists on taking Franks body back to Lonette in Coold World.
In Cool World Lonette is distraught over Franks death before asking Nails if Holli was a Noid or a Doodle when she kicked him off the roof, Nails answers a Doodle and Lonette reveals Noids who die in Cool World or are killed by a Doodle don't die they actually become Doodles. Which Frank then turns into. Now being a Doodle he and Lonette decide to retire back to her place and finally be able to have sex.
It's kind of surprising the star power in the film with Brad Pitt playing Frank and Kim Basinger as Holli Would. This star power contrasts heavily with the just cheap unfocussed feeling of a lot of the rest of the film. The sets in Cool Wolrd are weird in that they're 3D sets but the props and other items are 2D or turn 2D when the camera look at them from a certain angle so a Sofa may look fine head on but then the camera is at an angle to it and it's clear it's a plywood cut out. It feels like they had no idea how to actually do a cartoon look but it real life 3D environments and didn't think to try and make stuff look cells shaded or something like that. It gets weirder when actual 3D props are involved as a cartoon car will drive into a scene then become a real cart the actor gets out of then rather than keep the actual real car in the shot they replace it with a 2D stand up cut out but only 1 angle of it side on so any shot not side on shows it's clearly a stand up cut out.
The Cool World itself lack a coherent style too with everything from Mother Rabbit style kids cartoon characters to more grotesque monstrous ones to human cartoon characters that wouldn't be out of place in a Popeye cartoon right up to Holli and to a lesser extent Lonette who look like they'd be right at home alongside Spawn or The Maxx at Image Comics.
Add to that the fact the plot feels like it meanders and the film doesn't have consistent rules but makes them up as they go along really doesn't help.
Only watch this if you really want to study a a film that's kind of a huge mess and probably the worst film Brad Pitt has been in.
Detective Pikachu:
Based on the Manga of the same name it was actually pretty good with Ryan Reynolds doing a really good job voicing the Pikachu with a decent plot which you'll see one of the bigger twists coming but it's a kids film really so that's no major crime though the ultimate goal of the villain will be a bit of a surprise as it's not really foreshadowed. It also seems to have a few little nods to the Pokemon animated series for those who may have watched that back in the day.
Very enjoyable far more than I actually thought I would as some-one who has mostly been checked out of Pokemon outside of Pokemon go for many many years now. Well worth a look if you've not seen it.
I saw Luca, the 'maybe gay' Pixar movie that didn't turned out to be gay, but was actually pretty damn gay, just with the usual plausible deniability. I mean, you got two boys spending the majority of the movie trying not to get outed, and that's just one example. There's also a scene were both of them wake up as fishmen due to rain (water turns them fishy) after having fallen asleep together in a treehouse, which causes them to want to hide before anyone finds them. And if that's not a 'oh no, we fell asleep in the same bed, and now it's morning and someone might walk in and see us together' scene, I don't know what is. And there's plenty more like that.
If they were actually gay that'd be truly something special, but yeah, like that's ever gonna happen in a fucking Disney movie.
Anyway, it was quite good. For a movie with as "low stakes" as this it had a scene that really kinda stabbed me in the heart more so than most of Disney's other fare. But the cowardly way Disney still refuses to put some genuine gay characters in their movies, even ones with as much gay subtext as Luca, puts a bit of a damper on this film.
If they were actually gay that'd be truly something special, but yeah, like that's ever gonna happen in a fucking Disney movie.
Anyway, it was quite good. For a movie with as "low stakes" as this it had a scene that really kinda stabbed me in the heart more so than most of Disney's other fare. But the cowardly way Disney still refuses to put some genuine gay characters in their movies, even ones with as much gay subtext as Luca, puts a bit of a damper on this film.
What the hell are you talking about, Onward had that one lesbian cop who was also a cyclops unicorn!
OT: Was going to watch the new Fast and Furious movie, as tradition dictates, but apparently there's no digital release for this one. So it sucks to be living in a poor country with no vaccines, I guess no movies for us from now on. That was one of the veryyyy few positives about this pandemic, watching movies with my family on Film Fridays.
No doubt Disney sincerely pats themselves on the back for that one.
Apparently they bragged about it a bit. For such a tiny scene. It's like how Ubisoft likes to keep Bragging about how they have "THE FIRST PLAYABLE FEMALE ASSASSIN" in the AC series, except they've already had one back in 2012 and her name was Aveline.
Ironically, There's a pretty good Case to be made for Elsa(from Frozen) being a Lesbian but Disney for some reason doesn't want to just out and acknowledge it. Apparently they're waiting for Frozen 4 or something before letting her out of the closet officially.
I didn't bother with Frozen 2, so what exactly is this pretty good case? The only thing that makes Elsa seem lesbian to me is the metric ton of fanart.
The argument goes that the first movie has a huge Coming out Metaphor in it. Namely, Else feels forced to lock herself in her room(closet) because she's afraid of some dark, scary secret that's part of her(homosexuality), so much so that she won't tell her sister about it(it's implied she barely saw her sister for years, despite living in the same palace), let alone anyone else in the kingdom. Eventually the secret comes out, she runs away from society and embraces that part of her, eventually to the point she's entirely open about it to the world. Let It Go can easily be seen as a "Coming out" song. She does everything she can not to be dragged back to the kingdom and hiding in her room before she's eventually able to be completely open about it. Yeah, its an Ice power but it looks a hell of a lot like Disney made her a repressed lesbian to start out with even if they didn't mean to.
Frozen 2 added fuel to this by Elsa meeting a (fantasy)Sami woman who she's a lot more interested in interacting with then any other characters she didn't already know. This in light of the fact while her sister falls in love with like 2 different men, Elsa shows pretty much no interest in any men romantically, even after she's accepted and embraced that formerly secret part of her.
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Also the ambassador to this other ineffable way of life is a girl.
Those are VERY specific strokes within a broad possibility of interpretations. I won't challenge anyone's take as I can't do so in good faith having not seen either Frozen film (no desire to,) but the mental leaps to make those associations, based on your description, sound more like the interpretations a Rorschach test than Disney specifically trying to specifically slide homosexual subtext into children's fantasy. Meaning why jump to homosexuality when it could just as easily be interpreted as a simple "be yourself, whoever that may be" tale as Disney has done countless times? Is Dumbo a metaphor for homosexuality now? Athlete's who want to be artists, dancers who want to be lawyers, construction workers who want to be singers, etc.; why does everyone jump to the homosexuality spin? The modern cultural zeitgeist and well-deserved emergence of prominence and confidence within the LGBTQ+ community?
Not saying anyone is wrong; if there are any closeted young people who took a message away from this film that made them feel better about themselves, I couldn't be happier, but thinking the message was intentionally and surreptitiously for "them" and no one esle is a bit... c'mon. I ate a whole pickle the other day, and this seems like anyone who might have seen me would say I'm harboring deep-rooted, homosexual tendencies when in fact, I just like pickles. Ask my boyfriend.
With Frozen I can see it mainly being a case of the LGBTQ+ community embracing the whole Elsa glow-up. Though once you see it it's hard to unsee it. But with Luca you could turn it into a drinking game everytime there's gay subtext. If the filmmakers didn't put it in deliberately I'd be surprised if they hadn't picked up on it as the movie was coming together.
Elsa spends time talking with a female character, ergo, lesbian.
I mean, as Dalis points out, you could interpret Frozen 1 as a metaphor for Elsa 'coming out,' but "could" is the key word. If Disney wants LGBT characters in films, actually have the balls to do it.