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The handsome tard said:
The Miniseries's version of the series does have creepier tone when you see that even if this clown wasnt some sort of disguised monster, he is still a creepy grown adult dressed as a clown to lure children with the promise of baloons and cotton candy.
"Im not supposed to talk with strangers"
"Very wise of your dad, Georgie, very wise indeed. I am Pennywise, the dancing clown! You are Georgie. Now we know each other. Correct?!"
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I wonder how much of this is for budgetary reasons and how much is a conscious design choice given the "stranger danger" panic of the 80s.
 
umseriously said:
The woke parts of 28 days later would definitely be the black girlboss, cliche evil white men, and the allusions to slavery in Britain which doesn't really make sense considering it's not America. These woke tropes don't destroy the movie, and infact are kind of ignored by the end, but I definitely did notice them while I was watching it. It happens for a lot of old movies I rewatch now. I notice elements I didn't before.
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Aside from hacking a man to death who was pleading for mercy and telling Jim she won't hesitate to kill him, what girlboss stuff does she do? Mark is the one who says they'll go with Jim to see his dead parents, Selena didn't get a say. After they find Gleeson's character, he takes charge, including the tunnel decision that I mentioned only Jim protested, Selena said nothing. She doesn't help to lift the car while Hannah changes the tyre, she just shrieks.

The rapists are all white, but so is the soldier who pulls a gun on them and tries to stop it. Selena doesn't do anything to stop the soldiers, her only idea is to drug Hannah so the rapes aren't as traumatic and she only semi-accomplished that because she kissed a soldier and begged for privacy.

I do see your point with the black guy chained up, however we are given no indication that a white soldier being infected wouldn't be chained up, or that the black would abstain from the rapes.
 
Big Miss Steak said:
I didn't think she kicked too much ass, tbh. It was fine.
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AvP is my guilty pleasure, so I'm biased, but I really like Lex. She's believable because of her established background, isn't overconfident, doesn't have stupid one-liners, teams up with Scar for help. She's cool. I love her dynamic with Scar, so I was pretty stoked when the premise of Badlands first started being teased. I really hope it's not shit. Scar shouldn't have died though, that was so wrong of them. He deserved to go home fully blooded and alive. And then maybe we would have gotten something better for Requiem. We need at least one movie where the main Preddy doesn't die.
 
Arbiter said:
AvP is my guilty pleasure, so I'm biased, but I really like Lex. She's believable because of her established background, isn't overconfident, doesn't have stupid one-liners, teams up with Scar for help. She's cool. I love her dynamic with Scar, so I was pretty stoked when the premise of Badlands first started being teased. I really hope it's not shit. Scar shouldn't have died though, that was so wrong of them. He deserved to go home fully blooded and alive. And then maybe we would have gotten something better for Requiem. We need at least one movie where the main Preddy doesn't die.
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Either that or died without having a xeno inside of him so at least he'll go home as a true hunter to his kind.

The funny thing is that Badlands gave us such a bad design in an attempt to making the predator visually "easier" to get engaged but whoever came up with that decision clearly doesnt seem to get we can get invested in a predator without seeing their faces and, if we do see it, having it altered to be "less ugly" (ironically I think Badlands's take is uglier).

People like the "silent effecient honorful hunter" type and the predator is a literal embodiment of that. No need to try to make them more "appealing" to look at.
MrGodSlave said:
Aside from hacking a man to death who was pleading for mercy and telling Jim she won't hesitate to kill him, what girlboss stuff does she do? Mark is the one who says they'll go with Jim to see his dead parents, Selena didn't get a say. After they find Gleeson's character, he takes charge, including the tunnel decision that I mentioned only Jim protested, Selena said nothing. She doesn't help to lift the car while Hannah changes the tyre, she just shrieks.

The rapists are all white, but so is the soldier who pulls a gun on them and tries to stop it. Selena doesn't do anything to stop the soldiers, her only idea is to drug Hannah so the rapes aren't as traumatic and she only semi-accomplished that because she kissed a soldier and begged for privacy.

I do see your point with the black guy chained up, however we are given no indication that a white soldier being infected wouldn't be chained up, or that the black would abstain from the rapes.
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One of the cultural consequences of woke is us now looking back and inserting the marxism where I dont think there really was, especially since the character does a lot of mistakes and is just a tough survivor instead of a girlboss.


People are going to forget that females can be strong characters without being girlbosses and thats sad.
 
The handsome tard said:
One of the cultural consequences of woke is us now looking back and inserting the marxism where I dont think there really was, especially since the character does a lot of mistakes and is just a tough survivor instead of a girlboss.
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Yup, I'm annoyed at myself for trying to unwoke the film by shitting on Selena. She saves Jim's life, not because she is a girlboss, but because she has previous training as a chemist and is struggling desperately, pleading and hoping he lives. She and Mark seemed pretty aligned with their thoughts, having probably spent a few weeks together, and she also makes decisions for the trio that the men never question.

It must be exhausting for screenwriters these days if they pay a single slither of heed to culture wars. Always second guessing yourself, inviting others to critique what you've written on the basis of it indulging/subverting tropes.
 
Arbiter said:
Scar shouldn't have died though, that was so wrong of them. He deserved to go home fully blooded and alive. And then maybe we would have gotten something better for Requiem. We need at least one movie where the main Preddy doesn't die.
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I was so mad Scar died. Incensed. Killing off a character is what lazy writers do when they are not confident in how to handle a character moving forward.

The handsome tard said:
The funny thing is that Badlands gave us such a bad design in an attempt to making the predator visually "easier" to get engaged but whoever came up with that decision clearly doesnt seem to get we can get invested in a predator without seeing their faces and, if we do see it, having it altered to be "less ugly" (ironically I think Badlands's take is uglier).
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I think they're trying to show that he's young, maybe they're trying to show that spots and barbs and bristles grow in with age. I don't like this idea. I think they also redesigned the face a bit to make it easier for him to emote, to transfer mo-cap expressions onto the Predator face. I understand this from a practical stance but still don't like it.

The 2005 King Kong had a major re-design from the time the film was first announced/teased to when it was released. I have some hope.

kong comparison.webp
 
Sweet this is the thread to talk about 28 Years Later

I didn't like the movie. In fact I thought it sucked. I can guarantee it would never have been produced without the 28 brand recognition.
Once the intro stated that the ending to 28 weeks later got retconned, I knew I wasn't going to have a good time.

The 1st 1/3 felt like I was watching a PS4 movie game with "Dad" being the companion NPC giving tutorial tips to the boy
The 2nd 1/3 is just filler about a trip to the doctor. The foreign Swedeoid was just in the movie to let the audience know that the rest of the world is business as usual, confirming that 28 Weeks Later is just a fever dream. It's served its purpose when its iPhone lost its charge and got decapitated by the Alpha in the train. The infected giving birth is just whatever, probably lorebreaking or pretentious. Forgot the baby even existed while writing this post.
The 3rd 1/3 was just a fucked up version of The Lion King's theme.
The ending was just shock to hype up for the sequel, not really vibing with it. The metal music was just outright inappropriate.

The sick Mom plot was dumb; apparently everyone knew all along that she was dying from cancer, but no one bothered telling the boy, Spike.
The journey to the medicine man was also absurd. I really didn't need to see all that walking and standing, it's just padding to run the reel time to 120 mins. It just reinforces the stereotype that only horror movies would stretch a walking scene and justify it by saying it's LE SUSPENSEFUL.
The baby born from the infected that gave birth is obviously immune to the virus, or placenta is the preventative medicine to infection.

Maybe it will get better, probably not, but only if it commits to the bit with the Rage Virus making semi-sentient Supermutants.

But really though, why would the Britoids not wear a faceshield to block projectiles from the infected that can spit blood?
Maybe it's just a bri"ish thing and you have to be one of them to understand their movies, nuances, and symbolism.
4/10, never should have been a Coming of Age movie. Brb reading about Jimmy Saville and the Magna Carta.

Jimmy Savile.webp

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The handsome tard said:
The funny thing is that Badlands gave us such a bad design in an attempt to making the predator visually "easier" to get engaged but whoever came up with that decision clearly doesnt seem to get we can get invested in a predator without seeing their faces and, if we do see it, having it altered to be "less ugly" (ironically I think Badlands's take is uglier).

People like the "silent effecient honorful hunter" type and the predator is a literal embodiment of that. No need to try to make them more "appealing" to look at.
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Big Miss Steak said:
I think they're trying to show that he's young, maybe they're trying to show that spots and barbs and bristles grow in with age. I don't like this idea. I think they also redesigned the face a bit to make it easier for him to emote, to transfer mo-cap expressions onto the Predator face. I understand this from a practical stance but still don't like it.

The 2005 King Kong had a major re-design from the time the film was first announced/teased to when it was released. I have some hope.
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I really hope it's a Sonic situation where they listen to fans and can fix it. We love the way classic yautjas look already, there's no need to make Dek look more human. I don't think it makes him more appealing to the general public either. The head shape and silhouette are all wrong. He at the very least needs quills on the sides of his head for the right silhouette. Sure, make them shorter to show he's young, but I think his design still needs that volume for the proper look. I think thinner "hair" makes him look older instead of younger. And I never read their bare forehead as "balding", it always read more as a dinosaur-like plate. Bringing his hairline down into a widow's peak just looks weird. I have also noticed and don't like the trend towards less-masked predators. Their masks are becoming more revealing and they wear them for less screen time. Filmmakers should be able to see from the mainstream success of characters like the Mandalorian that general audiences can absolutely connect with and love fully masked characters. It makes the unmasking moments more special and impactful, like when Scar did the blooding ritual with Lex. Here are some reimagined designs for Dek.
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He looks pretty damn cool in the SDCC banner though, I like his mask. I hope he wears it for a lot of the movie.
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Arbiter said:
He looks pretty damn cool in the SDCC banner though, I like his mask. I hope he wears it for a lot of the movie.
1750803148141.webp
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If the female character does lose her legs and gets carried around, that's going to piss some people off :story:
 
umseriously said:
The Alpha having plot armor in 28 years later is pretty annoying.
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Finally watched it. I very much dislike whenever zombies - or infected here - interact with guns, because you always have to make the people using the guns incompetent retards. Bullets have to vanish into the ether, or theoretically human infected with human needs can somehow walk off half a magazine of 5.56 to the chest and keep coming. The Alpha suffered the same issue; he does this big scary 'ooh I am strong!' attack in the tunnel, and somehow no one just plugs him. It really doesn't matter how many roids you're on, if you are theoretically human then you're going to die when you get shot repeatedly.

I actually did like the film though, it was very weird. I liked that it wasn't so much 'ahh the zombies are here' and was more of a character piece in a world that happened to be filled with the infected. It does suffer from standard zombie film tropes of teleporting zombies, stealth zombies, and zombies that have a retard inducing aura around them.
 
Chunky Salsa said:
Finally watched it. I very much dislike whenever zombies - or infected here - interact with guns, because you always have to make the people using the guns incompetent retards. Bullets have to vanish into the ether, or theoretically human infected with human needs can somehow walk off half a magazine of 5.56 to the chest and keep coming. The Alpha suffered the same issue; he does this big scary 'ooh I am strong!' attack in the tunnel, and somehow no one just plugs him. It really doesn't matter how many roids you're on, if you are theoretically human then you're going to die when you get shot repeatedly.

I actually did like the film though, it was very weird. I liked that it wasn't so much 'ahh the zombies are here' and was more of a character piece in a world that happened to be filled with the infected. It does suffer from standard zombie film tropes of teleporting zombies, stealth zombies, and zombies that have a retard inducing aura around them.
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I feel like you could do a really elegant handwaved by making that zombies from Akira esper freak show drug experiments, then THAT makes their dead brains broadcast into everybody
 
Watched a couple I hadn't heard anyone mention. First is The Surrender (2024 or 2025, not sure). It's extremely meh, despite a really great performance from Colby Minifie. Mom and daughter try to bring back Dad with a dark ritual, and it doesn't go great. I just couldn't bring myself to care about the characters, despite the pretty good acting. Dialog didn't really stand out as bad or anything, but it definitely wasn't good enough to draw you in, so when shit turned bad you didn't really give a shit. There's a couple good scenes, and I give it credit for not pussying out on an ending (it's not good, but at least it tried something), but it's really just not worth watching.

2.0/5.0 . They tried and there's nothing egregiously wrong, it's just got nothing worth watching unless you have a hard on for Colby Minifie. There's nothing this movie did that A Dark Song didn't do ten times better, and, in fact, some scenes seem stolen directly from it. No tits.

Also watched The Devil's Business from 2012 (I think). Not sure why people don't talk about this one. It apparently is (wrongly) compared to Kill List because they're both British and about hitmen, but they're way different endeavors. I think The Devil's Business rubs people raw because it seems lkke it's going to be an artsy, good, well-done horror (a la Kill List), but then turns into a kind of goofy, dumb B-movie. But I don't think it intends that at all. I think it wanted to be a dumb B-movie from the start, and if you go in knowing that it's pretty fun.

The lead is great (if a walking trope) and the supporting cast ( like 2 other guys, also tropes) are fine too.

I don't really want to spoil it, cause it's worth watching for sure. The first half is a bit slow, being just setup and talking (although interesting enough and with enough charisma that I wasn't bored or anything), but it is full-on after that.

3.5/5. Not great but it more than does what it sets out to do and is pretty fun. No tits (just guys and demons). Short too, so definitely worth throwing on for a watch.
 
Can we have a modern horror movie that isn't an hour of slight tension with nothing happening before a big twist and frantic ending no one cares about? I've been trying new horror and so much of it is this with 80's nostalgia baiting mixed in. Slow paced horror only works if you care about the cast and the lead actor. Ugly people with more races than F1 does not make it worth sitting through 50 minutes of nothing. It's not scary to bore people.
 
Over my protests and very much against my better judgement, I was coerced into seeing M3gan 2.0. I did not particularly care for M3gan 1.0, and the trailers, which indicated that this would be a sci-fi comedy with M3gan as the hero, looked pretty danged bad to me.

Well, it genuinely surprised me. Despite my cynicism and rock-bottom expectations for the film, I have to admit that I was absolutely blown away by how fucking retarded it was. I thought there would be a little 5-minute scene at the beginning to explain "as you know, we re-programmed M3gan to not be evil" and then it would go on to be the TikTok MCU version of Terminator 2, but it's so much more unnecessarily complicated and stupid than that. The story makes no sense and requires the characters to constantly drop exposition to explain the writer's crackhead ideas of what's supposed to be going on and how computers work in this dimension (they are magic, even by movie standards). It also ends on a pro-AI note somehow.
 
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