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Offline asylumseeker

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Re: Post ah movie thread
« Reply #1230 on: November 18, 2013, 04:28:34 AM »
12 Years a Slave

Powerful Movie.
Chiwetel Ejiofor, Michael Fassbender and Lupita Nyong'o stand out.
Steve McQueen has made a masterpiece.

I needed a drink after it was done though, it never lets you get comfortable.

The film is supposed to have a sobering effect, not the opposite.  :)





Offline asylumseeker

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Re: Post ah movie thread
« Reply #1231 on: November 18, 2013, 05:54:16 AM »
I thought 12 years a slave rang kind of hollow...I wasn't moved by it; it was very disjointed...kind of all over the place.

Are you referring to his memory of his freedom? If so, these were interlaced throughout the film, and I thought they were effective reflections that were structurally useful and indicative of what a formerly free person would reflect on post-enslavement.

Most accounts of enslavement tend to neglect this narrative of memory. This film reflected the enslaved as thoughtful, introspective beings. That struck me as a significant departure from other films recounting enslavement.

As an institution, one of the pillars of enslavement was to deny acknowledgement of the enslaved person's personhood (we see that time and time again in the film when the institution forces the main character to stamp out references to his former life (his literacy, his numeracy, his family etc., and also through separation of children from their mothers, and through rape and sexual ascendancy ... ironically forced miscegenation with a "non-person" being preferred to a consensual relation with one's wife).

Ultimately, it's the collective memory of imported Africans that was "erased" as individual memories were suppressed. What would have become of Solomon had he been unable to "remember" on the day on which he returned to physical freedom? (Here I'm thinking about the questions he was asked by the law enforcement agent, to which a faulty memory would not have secured his removal from the plantation). As such, I didn't find it disjointed, but reflective of the battle for sanity that he experienced as he transitioned from being free to being owned and restrained.

***
This film probably lent itself to revealing memory more prevalently than others ... could it be because of the protagonist's previous life as an established "free man" of means in the Western context of 19th century New York society (which viscerally we understand or perhaps with which in our contemporary Western mind we more readily empathize) rather than the less resonant status of a free man dragged inter-continentally on the assumption he bore no status other than that of as commercial product (with which we less readily identify ... it likely being difficult to appreciate human beings as auctioned currency ... other than we "know" it occurred historically and was a "bad" thing, we don't really understand the experience in a tactile way).

***
One could contend that the ease of memory in the film stems from Northup's publication of his experiences in his 1853 book (Twelve Years a Slave; Narrative of Solomon Northup; a Citizen of New York, Kidnapped in Washington City in 1841, and Rescued in 1853 from a Cotton Plantation near the Red River, in Louisiana) ... thereby documenting "memory" of his experience.

However, there have been myriad other memories of those dragged trans-Atlantically: Abu Bakr al-Siddiqi (The History of Abon Becr Sadiki, known in Jamaica by the name Edward Donlan), Omar ibn Said (Autobiography of Omar ibn Said, Slave in North Carolina), and works by Ottobah Cuguano and of Abdul Rahaman, for instance ... that at the very least similarly facilitate or activate memory of the primary characteristic held in common by all enslaved persons (regardless of their pre-enslavement means and status). The primary characteristic: all enslaved people were once all free or bear a legacy of freedom from a once free ancestor with undeniable personhood, yet it has taken Hollywood some time to flesh this out.

These accounts provide a tapestry of not just the forced amnesia demanded by slave owners, but of the memory of personhood despite enslavement. We should be accountable to them more frequently.

***
And, this takes me to the most dynamic element of the film for me ... whereas many films frame enslavement through a lens of retroactive condemnation rooted in moral valuations, this film underscored the transactional nature of enslavement: people as human cargo bearing economic valuations and consequences (debts, deeds and mortgages etc.) ... Only one character intoned on morality during the film, yet that character was somewhat willing to turn a blind eye.

Not only did this economic facet of enslavement cement an active thought that history tends to repeat itself (given greed and other aspects of human nature) unless vigilance is perpetual, I thought also of how transformative the experience must have been for Northup himself as a man of value: valued in the North for his personal wealth and valued in the South for the wealth he sustained for masters (particularly being an exceptional person bearing exceptional value).

The film references no notion of his conscience regarding the paradox of him living well in the North while those of his pigmentation suffered in the South (I'm not of the view that it needed to) ... highlighting its other dynamic element of relevance to modern viewers: the lack of protection afforded by the content of one's pocket (once deemed a marginalized person) versus the protection possibly afforded by the content of one's mind despite such marginalization. Arguably, Solomon never mentally acquiesced to the will of any of his masters, and he had that luxury because he had a view of the world off the plantation. Cue Bob Marley and Redemption Song here. Is there a message that the mind can triumph the pocket? A message that lingering economic disparities - a legacy of the regime of the imported African labor market - should be insufficient to quell ambition and personal destinations.

***
I viewed the film in a movie theater in the American South. There were only 4 others in attendance (a middle-aged black couple and a white couple perhaps marginally younger) ... apparently Best Man Holiday was the pull. Not sure whether to attach much meaning to the empty seats, but there was something to suggest the film would be uncomfortable viewing for an integrated American audience when much of the dialogue on race relations in the US is reactionary rather than historically embracing.

It might be time to re-read Naipaul's A Turn in The South, re-view Borat, and do both for Haley's Roots. People will struggle to take collective ownership of this film. Glad I saw it, but perhaps it would be less exceptional if other accounts of enslaved narratives were more popularly known, and enslavement less a taboo topic of which most of us possess only a superficial understanding.
« Last Edit: November 18, 2013, 06:30:46 AM by asylumseeker »

Offline Toppa

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Re: Post ah movie thread
« Reply #1232 on: November 18, 2013, 11:52:58 AM »
Oh my goodness Assylum, I just wasn't moved by the film - I didn't think it was great.

The story was just jumping all over the place. For example they when we was suddenly chopping cane...somewhere I don't know where and then suddenly ended back up with the Fassbender master. I assume it was temporary to pay off some kind of debt but that was an assumption I had to make. And that random scene in the beginning with him and the other mulatto looking slave where she made him touch her down there. That was the most random thing.

And the interactions between the slaves and the white folks just felt so...exaggerated and forced. Didn't feel authentic.

It just gave off a vibe I get when watching Tyler Perry films...they're Ok but you always sense they're deficient.
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Re: Post ah movie thread
« Reply #1233 on: November 18, 2013, 11:53:05 AM »
Good post by Asylumseeker .  Think also of the works of Phyllis Wheatley and more relevantly Olaudah Equiano (Gustavus Vassa).  Additionally the theaters were likely empty because the movie has been out for close to a month now.

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Re: Post ah movie thread
« Reply #1234 on: November 18, 2013, 02:24:07 PM »
I thought 12 years a slave rang kind of hollow...I wasn't moved by it; it was very disjointed...kind of all over the place.

Are you referring to his memory of his freedom? If so, these were interlaced throughout the film, and I thought they were effective reflections that were structurally useful and indicative of what a formerly free person would reflect on post-enslavement.

Most accounts of enslavement tend to neglect this narrative of memory. This film reflected the enslaved as thoughtful, introspective beings. That struck me as a significant departure from other films recounting enslavement.

As an institution, one of the pillars of enslavement was to deny acknowledgement of the enslaved person's personhood (we see that time and time again in the film when the institution forces the main character to stamp out references to his former life (his literacy, his numeracy, his family etc., and also through separation of children from their mothers, and through rape and sexual ascendancy ... ironically forced miscegenation with a "non-person" being preferred to a consensual relation with one's wife).

Ultimately, it's the collective memory of imported Africans that was "erased" as individual memories were suppressed. What would have become of Solomon had he been unable to "remember" on the day on which he returned to physical freedom? (Here I'm thinking about the questions he was asked by the law enforcement agent, to which a faulty memory would not have secured his removal from the plantation). As such, I didn't find it disjointed, but reflective of the battle for sanity that he experienced as he transitioned from being free to being owned and restrained.

***
This film probably lent itself to revealing memory more prevalently than others ... could it be because of the protagonist's previous life as an established "free man" of means in the Western context of 19th century New York society (which viscerally we understand or perhaps with which in our contemporary Western mind we more readily empathize) rather than the less resonant status of a free man dragged inter-continentally on the assumption he bore no status other than that of as commercial product (with which we less readily identify ... it likely being difficult to appreciate human beings as auctioned currency ... other than we "know" it occurred historically and was a "bad" thing, we don't really understand the experience in a tactile way).

***
One could contend that the ease of memory in the film stems from Northup's publication of his experiences in his 1853 book (Twelve Years a Slave; Narrative of Solomon Northup; a Citizen of New York, Kidnapped in Washington City in 1841, and Rescued in 1853 from a Cotton Plantation near the Red River, in Louisiana) ... thereby documenting "memory" of his experience.

However, there have been myriad other memories of those dragged trans-Atlantically: Abu Bakr al-Siddiqi (The History of Abon Becr Sadiki, known in Jamaica by the name Edward Donlan), Omar ibn Said (Autobiography of Omar ibn Said, Slave in North Carolina), and works by Ottobah Cuguano and of Abdul Rahaman, for instance ... that at the very least similarly facilitate or activate memory of the primary characteristic held in common by all enslaved persons (regardless of their pre-enslavement means and status). The primary characteristic: all enslaved people were once all free or bear a legacy of freedom from a once free ancestor with undeniable personhood, yet it has taken Hollywood some time to flesh this out.

These accounts provide a tapestry of not just the forced amnesia demanded by slave owners, but of the memory of personhood despite enslavement. We should be accountable to them more frequently.

***
And, this takes me to the most dynamic element of the film for me ... whereas many films frame enslavement through a lens of retroactive condemnation rooted in moral valuations, this film underscored the transactional nature of enslavement: people as human cargo bearing economic valuations and consequences (debts, deeds and mortgages etc.) ... Only one character intoned on morality during the film, yet that character was somewhat willing to turn a blind eye.

Not only did this economic facet of enslavement cement an active thought that history tends to repeat itself (given greed and other aspects of human nature) unless vigilance is perpetual, I thought also of how transformative the experience must have been for Northup himself as a man of value: valued in the North for his personal wealth and valued in the South for the wealth he sustained for masters (particularly being an exceptional person bearing exceptional value).

The film references no notion of his conscience regarding the paradox of him living well in the North while those of his pigmentation suffered in the South (I'm not of the view that it needed to) ... highlighting its other dynamic element of relevance to modern viewers: the lack of protection afforded by the content of one's pocket (once deemed a marginalized person) versus the protection possibly afforded by the content of one's mind despite such marginalization. Arguably, Solomon never mentally acquiesced to the will of any of his masters, and he had that luxury because he had a view of the world off the plantation. Cue Bob Marley and Redemption Song here. Is there a message that the mind can triumph the pocket? A message that lingering economic disparities - a legacy of the regime of the imported African labor market - should be insufficient to quell ambition and personal destinations.

***
I viewed the film in a movie theater in the American South. There were only 4 others in attendance (a middle-aged black couple and a white couple perhaps marginally younger) ... apparently Best Man Holiday was the pull. Not sure whether to attach much meaning to the empty seats, but there was something to suggest the film would be uncomfortable viewing for an integrated American audience when much of the dialogue on race relations in the US is reactionary rather than historically embracing.

It might be time to re-read Naipaul's A Turn in The South, re-view Borat, and do both for Haley's Roots. People will struggle to take collective ownership of this film. Glad I saw it, but perhaps it would be less exceptional if other accounts of enslaved narratives were more popularly known, and enslavement less a taboo topic of which most of us possess only a superficial understanding.

excellent analysis..

i enjoyed the film and the method at which McQueen approached the story, implementing flash backs of a former life that he longed for once more. There are people who do not like the non linear narrative, personally I write most of my screenplays in that fashion because I believe it has a much more real feel to it and gets across the story in a better way.


Offline asylumseeker

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Re: Post ah movie thread
« Reply #1235 on: November 20, 2013, 07:21:04 AM »
Oh my goodness Assylum, I just wasn't moved by the film - I didn't think it was great.

The story was just jumping all over the place. For example they when we was suddenly chopping cane...somewhere I don't know where and then suddenly ended back up with the Fassbender master. I assume it was temporary to pay off some kind of debt but that was an assumption I had to make. And that random scene in the beginning with him and the other mulatto looking slave where she made him touch her down there. That was the most random thing.

And the interactions between the slaves and the white folks just felt so...exaggerated and forced. Didn't feel authentic.

It just gave off a vibe I get when watching Tyler Perry films...they're Ok but you always sense they're deficient.

Deficient spelling?  :devil:

Look, there are several ways in which one could conclude a film is great. One could examine the screenplay, the cinematography, the score etc., or the outcome could turn on how the film left you feeling. Doh geh me wrong ... On a personal level, it wasn't a film that riveted me emotionally so as to deem it a "great film", but - despite my equanimity - I can't detract from it in terms of its technical value or social value or likely contribution to the body of cinematographic works. However, I can say, with comfort, that it was a "good" film that needed to be shared on the screen, but I can't comment on the intricate aspects.

***
Regarding the orgasmic moment: I see where it might have been a bit extra/gratuitous ... I wasn't sure where it was going, and I didn't think it was the most auspicious beginning, and thought this better not end up with Solomon and that woman in constant rendezvous after wukking de fields.

Things didn't evolve into him continuing with the woman in any way, and I thought this a good thing. Thereby avoiding the stereotypical considerations of a black man's libido, the film ascended to a different height.

However, as the film progressed, I regarded that moment as a device to create a few effects: (1) to contrast her voluntary action and sexual need with the involuntary participation and unexpressed sexual desire of women involved with their masters; (2) to underscore the communal, open space in which this contrasting sexual activity took place: right there francomeh in the barn in the presence of others without concern or consequence; (3) to personalize enslaved women despite the depravity of their situation; (4) to show the emotional void  ... the woman initiated the sexual activity, but then immediately started crying once the act was done ... she got what she wanted, but right after realized it wasn't enough ... and look what the hell I'm reduced to.

***
I didn't see the interactions between the groups as fabricated. Can't really point to anything that departs from historical documentation of plantation life. I respect your view, but find the Tyler Perry reference to be harsh.

If anything, the thing that struck me was the considerable mental dividing line of having to play the fiddle, dance and be "merry" moments after something tragic went down (like Patsy gehhin clocked in the face at point blank range).

Tell yuh what doh ... the use of the Bible to shape group interaction was ingenious. Whose idea was that?
« Last Edit: November 20, 2013, 07:36:57 AM by asylumseeker »

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Dawn of the Planet of the Apes | Official Trailer
« Reply #1236 on: December 19, 2013, 11:55:05 AM »
This looks like it will be good!  :beermug:

Dawn of the Planet of the Apes | Official Trailer | 20th Century FOX
<a href="http://www.youtube.com/v/h_9-3Fj3ZdI" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">http://www.youtube.com/v/h_9-3Fj3ZdI</a>
De higher a monkey climbs is de less his ass is on de line, if he works for FIFA that is! ;-)

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Re: Post ah movie thread
« Reply #1237 on: December 21, 2013, 06:46:07 PM »
Anyone see "The Butler"?

Yeah - I thought it was weak; could have been a lot better.

I thought it was only me. Still an important movie for documentation and for having it Black made . . .  but I expected more.
Except for the opening scene, I wasn't moved as you'd expect. Forrest Whitaker was outstanding as usual, though.

Saw it.
Liked it.

Oprah is a fine actress. Sorry she hasn't done more on the screen.

The Nigerian-Brit. actor who played the son has a lot of presence on screen. I'll be looking for his other performances.
He's set to have a role in the next Jurrasic Park.

VB
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Re: Post ah movie thread
« Reply #1238 on: January 02, 2014, 05:31:29 PM »
Oh my goodness Assylum, I just wasn't moved by the film - I didn't think it was great.

The story was just jumping all over the place. For example they when we was suddenly chopping cane...somewhere I don't know where and then suddenly ended back up with the Fassbender master. I assume it was temporary to pay off some kind of debt but that was an assumption I had to make. And that random scene in the beginning with him and the other mulatto looking slave where she made him touch her down there. That was the most random thing.

And the interactions between the slaves and the white folks just felt so...exaggerated and forced. Didn't feel authentic.

It just gave off a vibe I get when watching Tyler Perry films...they're Ok but you always sense they're deficient.

I rememer when he left to go work on a plantation bez the Cotton Master didn't have enough revenue due to a blight crop. But his return was illustrated.

Can't remember him leaving the cotton plantation for another reason.

Re. the woman who jump him in the beginning, you will notice as soon as the scene was done, there was a flashback to his family and his wife. I got the impression he hadn't forgotten his family, that is why he blank de woman.

What I find was shit was how the wife just watch him when he enter the house. If I hadn't seen my spouse in 12 years I woulda be rushing and bawling. But I guess we could put that down to shock.

I thought this was a decent movie, especially well acted by the star and expect to see him get an Oscar nomination.
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Offline asylumseeker

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Re: Post ah movie thread
« Reply #1239 on: January 03, 2014, 03:19:05 AM »

I rememer when he left to go work on a plantation bez the Cotton Master didn't have enough revenue due to a blight crop. But his return was illustrated.

Can't remember him leaving the cotton plantation for another reason.

Re. the woman who jump him in the beginning, you will notice as soon as the scene was done, there was a flashback to his family and his wife. I got the impression he hadn't forgotten his family, that is why he blank de woman.

What I find was shit was how the wife just watch him when he enter the house. If I hadn't seen my spouse in 12 years I woulda be rushing and bawling. But I guess we could put that down to shock.

I thought this was a decent movie, especially well acted by the star and expect to see him get an Oscar nomination.

Same here. Goes to the personalization point. Depicted faithfulness to his wife and family. Can't recall anywhere in the film where he's involved intimately with anyone other than his wife.

... or put it down to a dangling device used to end the film. When that scene started, I didn't anticipate the film ending jes so. We imagine a "happily ever after".

Offline futbolfan

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Re: Post ah movie thread
« Reply #1240 on: January 04, 2014, 05:45:54 AM »
Two movies that I saw recently and I believe the people will enjoy seeing are

American Hustle and The Lone Survivor. Both movies will be nominated for various awards this year.
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Re: Post ah movie thread
« Reply #1241 on: January 04, 2014, 10:05:35 AM »
Two movies that I saw recently and I believe the people will enjoy seeing are

American Hustle and The Lone Survivor. Both movies will be nominated for various awards this year.

i heard lone survivor is good... american hustle i will have to weigh in on..

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Re: Post ah movie thread
« Reply #1242 on: January 06, 2014, 01:33:21 PM »
Fellas I watched "Fire In Babylon"  last night on netflix.   Even though O grew up in that era and knew the West Indies was a great team I had no idea how great the era was.  This film states that for 15 years they were unbeaten.  Not sure if that's ever been done in any other discline of professional sports.   My only issue with the film is that it I was hoping to see something on the Trinidadian players that came in to make that era great also. 
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Re: Post ah movie thread
« Reply #1243 on: January 06, 2014, 03:15:47 PM »

Offline asylumseeker

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Re: Post ah movie thread
« Reply #1244 on: January 23, 2014, 06:14:53 PM »
Ex-mobster of 'Goodfellas' fame wanted in Calif.
SAN BERNARDINO, Calif. – A mobster-turned-FBI informant whose life inspired the movie "Goodfellas" is wanted for failing to appear in court on tickets alleging he was drunk in public in San Bernardino.

Henry Hill, 65, faces two $25,000 arrest warrants. He says he wasn't aware he needed to be present in court Wednesday and had asked for a new hearing date because he was having hernia surgery.

"I was hoping the court would understand," Hill told The Press-Enterprise of Riverside from his San Fernando Valley home.

The cases stem from two public intoxication arrests in May 2008. Hill said he was in alcohol rehabilitation at the time.

Hill was again arrested in Los Angeles earlier this year and released before his arraignment because of jail crowding.

"I don't remember much of all that, but I've been sober a month now," he told the newspaper. "I don't want to drink anymore."

The "Goodfellas" movie ends with Hill, played by Ray Liotta, entering federal witness protection after implicating fellow mobsters in murders and the 1978 heist of $5.8 million in cash from a Lufthansa Airlines vault in New York.

Drug arrests led to Hill being removed from the federal program in the early 1990s.



http://www.nytimes.com/2014/01/24/nyregion/arrests-in-cold-case-investigation-including-78-lufthansa-heist.html?hp

http://www.nytimes.com/interactive/2014/01/24/nyregion/24heist-document-indictment.html

« Last Edit: January 23, 2014, 06:16:51 PM by asylumseeker »

Offline Toppa

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Re: Post ah movie thread
« Reply #1245 on: February 16, 2014, 12:40:23 AM »
Robocop was good. :beermug:
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Re: Post ah movie thread
« Reply #1246 on: February 17, 2014, 09:19:24 AM »
Anyone see "The Butler"?

Yeah - I thought it was weak; could have been a lot better.

I thought it was only me. Still an important movie for documentation and for having it Black made . . .  but I expected more.
Except for the opening scene, I wasn't moved as you'd expect. Forrest Whitaker was outstanding as usual, though.

Saw it.
Liked it.

Oprah is a fine actress. Sorry she hasn't done more on the screen.

The Nigerian-Brit. actor who played the son has a lot of presence on screen. I'll be looking for his other performances.
He's set to have a role in the next Jurrasic Park.

VB

As good as this movie was, it is loosely based on a real individual. So loose that they didn't even use real names.

Some of the things that never happened:

him working in a cotton field.
His father being killed in front of him.
Having a son who died in Vietnam.

You'll notice they covered every President during his service except for Jimmy Carter.
Carter was perhaps the most outspoken President against racism.
I'm wondering if it's because JC was still alive and would have had to ok the scenes re. himself.

VB
« Last Edit: April 11, 2014, 01:03:29 AM by vb »
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Re: Post ah movie thread
« Reply #1247 on: March 04, 2014, 02:53:25 PM »
Take in Pompeii over the weekend... Bury dis one with de relics.

Jon Snow from Game of Thrones gets to show off his newly-crafted abs and mediocre acting chops in Clash of the 3000 Gladiators from Pompeii.  This is intended to be a historical recreation and not fantasy so there weren't any magical elements onscreen, but this movie still required a massive suspension of reality to accept the unconvincing characters, acting and dialogue throughout this movie. 

I kept waiting for Vesuvius to erupt and steal the show, but sadly that came very late and even then the director failed to capture the sense of dread and foreboding... say nothing of the sheer shit-my-pants panic that would ensue if I were to face a wall of molten lava closing in at 70 mph.  Wait for it on DVD... or stream online.


Ah then try and take in Monuments Men... good movie, if yuh having ah hard time sleeping.  I was out within 15 minutes, popcorn all over mih chest.  I wake up when somebody start shooting.

Offline grimm01

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Re: Post ah movie thread
« Reply #1248 on: March 04, 2014, 04:48:36 PM »
Take in Pompeii over the weekend... Bury dis one with de relics.

Jon Snow from Game of Thrones gets to show off his newly-crafted abs and mediocre acting chops in Clash of the 3000 Gladiators from Pompeii.  This is intended to be a historical recreation and not fantasy so there weren't any magical elements onscreen, but this movie still required a massive suspension of reality to accept the unconvincing characters, acting and dialogue throughout this movie. 

I kept waiting for Vesuvius to erupt and steal the show, but sadly that came very late and even then the director failed to capture the sense of dread and foreboding... say nothing of the sheer shit-my-pants panic that would ensue if I were to face a wall of molten lava closing in at 70 mph.  Wait for it on DVD... or stream online.


Ah then try and take in Monuments Men... good movie, if yuh having ah hard time sleeping.  I was out within 15 minutes, popcorn all over mih chest.  I wake up when somebody start shooting.

Hard luck there Bakes, it sounds like de cinema owe yuh some money. From de time I see the previews I figure Pompeii woulda be crap. A love story before a historical disaster? Sounds like Titanic with a volcano.

Offline Peong

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Re: Post ah movie thread
« Reply #1249 on: March 04, 2014, 06:22:33 PM »
I saw Gravity on Friday.  Some good harrowing moments, and the camera angles were making me dizzy.  No surprise they were big at the Oscars, I real enjoyed it.

I would trade seeing 10 quality movies to be in T&T for the past few days though. Tabanca

Offline asylumseeker

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Re: Post ah movie thread
« Reply #1250 on: March 04, 2014, 08:34:21 PM »
I saw Gravity at one ah dem extra luxurious cinemas where yuh could recline to about 160 deg., feet up, ultra-cushioned seating, touch of a button service etc. ... in short order I was asleep. Doh in fairness to de film, I snoozed through a good chunk of de tornado film, Twister, and I'm told that was action-packed.

Wasn't impressed, although I acknowledge de intricate tech component. Steups, ah never see Sandra Bullock in so much clothing in ah flick yet. De ting was monotonous.
« Last Edit: March 04, 2014, 08:36:04 PM by asylumseeker »

Offline Bakes

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Re: Post ah movie thread
« Reply #1251 on: March 04, 2014, 09:34:38 PM »
Hard luck there Bakes, it sounds like de cinema owe yuh some money. From de time I see the previews I figure Pompeii woulda be crap. A love story before a historical disaster? Sounds like Titanic with a volcano.

 :rotfl: :rotfl:

Pretty much.  And de gyul ugly like sin... they coulda easily pay de red head Wilding ting from de North tuh play dat role.  But dat is why ah end up with de BOGO.


I saw Gravity back in November... overrated and overhyped.  And how de ass dat win Best Cinematography?  Is not like dey shoot de movie in space.  Best Special Effects category was full or what?

Offline Toppa

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Re: Post ah movie thread
« Reply #1252 on: March 04, 2014, 11:14:22 PM »
Yeah, I fell asleep during Pompeii and Gravity was tata.
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Re: Post ah movie thread
« Reply #1253 on: March 06, 2014, 02:54:14 AM »
I saw Gravity at one ah dem extra luxurious cinemas where yuh could recline to about 160 deg., feet up, ultra-cushioned seating, touch of a button service etc. ... in short order I was asleep. Doh in fairness to de film, I snoozed through a good chunk of de tornado film, Twister, and I'm told that was action-packed.

Wasn't impressed, although I acknowledge de intricate tech component. Steups, ah never see Sandra Bullock in so much clothing in ah flick yet. De ting was monotonous.

My first question is why de ass you really going to the cinema?

Second, you obviously miss out the part where Sandra spend about five minutes in skimpy shorts showing off she well crafted legs. But then again you was asleep.  ;D

VB
VITAMIN V...KEEPS THE LADIES HEALTHY...:-)

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Re: Post ah movie thread
« Reply #1254 on: April 10, 2014, 11:37:07 AM »
I went and see Noah de other night... biggest waste of $22 dollars.  Movie was utter shit, they take all kinda artistic liberty with the Noah story and still end up making ah pack ah shit movie.  No need getting into specifics, spend yuh money only if yuh feeling sorry fuh Hollywood and dem.  Thank God fuh good (and willing!) company   ;D

Offline Peong

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Re: Post ah movie thread
« Reply #1255 on: April 10, 2014, 04:09:58 PM »
The Wolf Of Wall street is one of the raunchiest movies I have ever seen.  Drugs and sex everywhere for three hours.

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Re: Post ah movie thread
« Reply #1256 on: April 11, 2014, 01:03:49 AM »
The Wolf Of Wall street is one of the raunchiest movies I have ever seen.  Drugs and sex everywhere for three hours.

And very good acting.
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Re: Post ah movie thread
« Reply #1257 on: April 11, 2014, 06:31:08 AM »

Quote

My first question is why de ass you really going to the cinema?

Second, you obviously miss out the part where Sandra spend about five minutes in skimpy shorts showing off she well crafted legs. But then again you was asleep.  ;D

VB

dais like saying ms pacman have the ability to cause blood rush.

Offline Peong

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Re: Post ah movie thread
« Reply #1258 on: April 11, 2014, 09:32:51 AM »
The Wolf Of Wall street is one of the raunchiest movies I have ever seen.  Drugs and sex everywhere for three hours.

And very good acting.

Jonah Hill and Shane from Walking Dead had me crackin up.  And let me make a special recommendation for the scenes with Margot Robbie.
That is a prime cut of meat.

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Re: Post ah movie thread
« Reply #1259 on: April 13, 2014, 04:16:04 PM »
The Wolf Of Wall street is one of the raunchiest movies I have ever seen.  Drugs and sex everywhere for three hours.

And very good acting.

Jonah Hill and Shane from Walking Dead had me crackin up.  And let me make a special recommendation for the scenes with Margot Robbie.
That is a prime cut of meat.


It was a pleasure to see her naked.

She will be Jane in the next Tarzan movie.
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