Gaffer Tape said:
…for the fans who pointlessly obsessed over something…Ah, but the money they make off fans’ pointless obsessions! We’ll know the planet Snoke was born on, his mother’s maiden name, and the make of his first ship before the year is out.
And then we’ll be able to access his finances and reset his passwords!
I justified the Bond thing in my head by arbitrarily deciding that the series was called “James Bond, 007”.
I’ve got all of my Criterion discs on their own shelf organized by spine number.
How many Criterion titles do you have? I have 7 (well, 9 because one’s a trilogy set), which I didn’t feel was enough to justify segregating them from the rest of my movies.
I’ve got 22. I only decided to put them on their own shelf about a month ago when the six I ordered from that Barnes & Noble sale arrived.
Wow. Does that cover multiple formats or is it all Blu-Ray like mine?
There are a few DVDs in there, but most are blu-rays. A lot of them are things I owned on regular non-Criterion dvd and then bought the Criterion version when I upgraded to blu-ray. Here’s the list, because why not.
no 18. The Naked Kiss - Samuel Fuller
no 37. Time Bandits - Terry Gilliam
no 65. Rushmore - Wes Anderson
no 116. The Hidden Fortress - Akira Kurosawa
no 140. 8 1/2 - Federico Fellini
no 157. The Royal Tenenbaums - Wes Anderson
no 174. Band of Outsiders - Jean-Luc Godard
no 238. A Woman is a Woman - Jean-Luc Godard (DVD)
no 260. Eyes Without a Face - Georges Franju
no 267. Kagemusha - Akira Kurosawa
no 300. The Life Aquatic with Steve Zissou - Wes Anderson
no 408. Breathless - Jean-Luc Godard
no 421. Pierrot le Fou - Jean-Luc Godard (DVD)
no 452. The Spy Who Came In From The Cold - Martin Ritt
no 481. Made In U.S.A. - Jean-Luc Godard (DVD)
no 540. The Darjeeling Limited - Wes Anderson
no 594. Godzilla - Ishiro Honda
no 700. Fantastic Mr. Fox - Wes Anderson
no 711. A Hard Day’s Night - Richard Lester
no 733. La Dolce Vita - Federico Fellini
no 800. The Graduate - Mike Nichols
no 821. Dr. Strangelove, Or: How I Learned To Stop Worrying And Love The Bomb - Stanley Kubrick
Bond films are under “J” for James Bond
I twitched, I’ll admit it.
I’m not happy with it either, but I can’t find an alternative I like. Putting them at the beginning for “007” feels aesthetically off and “B” for Bond isn’t really any different than J.
I’ve got all of my Criterion discs on their own shelf organized by spine number.
How many Criterion titles do you have? I have 7 (well, 9 because one’s a trilogy set), which I didn’t feel was enough to justify segregating them from the rest of my movies.
I’ve got 22. I only decided to put them on their own shelf about a month ago when the six I ordered from that Barnes & Noble sale arrived.
Alphabetical by title, generally. Titles beginning with numbers are before “A”. Series are together and in order. So, all of the Bond films are next to each other in release order instead of all over the place and The Road Warrior is next to Mad Max instead of under “R”. When the name of the series is different from the name of the first film, I put it under the series name, so the LOTR films are under “L”, not “F”, and the aforementioned Bond films are under “J” for James Bond and not “D” for Dr. No. For Star Wars, I’ve got official releases first, so it’s the GOUT DVDs, then the PT blu-rays, then the OT blu-rays, then the Despecialized blu-rays, then the Holiday Special. For Star Trek, I’ve got the TOS movie blu-ray set, then the Wrath of Khan remasterd blu-ray, then the 2009 Abrams film. I’ve got all of my Criterion discs on their own shelf organized by spine number.
I’m of two minds on the Maul thing. I think bringing him back was a dumb idea and I’d never have done it if I was a showrunner, but once they’d done it they did go on to do some genuinely interesting things with him.
I think what George said specifically is that it was “beautifully made”, which could easily be a backhanded dig at the writing depending on how salty you think he is.
Poe still gave the order, though. Even if it was supposed to be a kamikaze run, the plan was off by that point.
This isn’t a criticism of the film, but kind of a Fridge moment for me: How does Finn know how to pilot a sandskimmer? (Vaguely; he forgets to engage a certain stabilization thing but seems to have no issues after that) Wasn’t the whole reason he teamed up with Poe in TFA because he didn’t know how to pilot aircraft? I don’t think it has to do with being unfamiliar with a TIE and familiar with the sandskimmer. After all, Star wars seems to imply that piloting experience is a transferable skill; piloting one ship means you’re good at piloting them all. Nevermind that the Sandskimmer seems like it’s supposed to be a vehicle that was outdated before Finn was born, so he’d likely never be trained to pilot one.
Very true. Frankly, I was more confused but what the plan was. They had no weapons that could be of any effect, so was it a Kamakazi run? If so then Rose is a total douche for letting everyone but her and Fin die before deciding it was a bad idea.
How is that on Rose? It was Poe who called off the attack. Finn ignored the order and Rose went after him.
Lol…although how is he a descendant of a human from future earth? I thought that was Jabba.
I am glad you got a chuckle as that was my intent…
There was SW book that followed a group of 5000 humans from Earth in the 25th Century who fall into a black hole or some other plot device and end up in a galaxy far away in a time long long (long) ago. The first Solo was part of the 5000 humans. The humans then go on to populate the galaxy and are the source of all human we see in SW.
This was indeed planned, but it never actually saw the light of day.
I’d be interested in peoples thoughts on why Sci-Fi movies as a genre seem to attract the kind of ‘microscopic’ forensic analysis that other genres don’t.
As the link to the ESB letters page shows, and having lived the period myself, it has always been there. This desire to nitpick, and to pull at all the threads and cleverly say “Ha, I knew it, this is the one that causes it all to unravel!”.
Is it because sci-fi and fantasy fans are more intelligent and able to deconstruct films better than most?
Is it because they become more invested in the ‘universe’ of the movie and so it matters to them more than regular punters?
Is it because they’re socially awkward? That old stereotype, don’t feel assured in the real world and don’t feel assured around girls (we’ve seen that with the reaction to Rey and with the new Dr Who casting).
Is it because of the Prequels - ‘George Lucas raped my childhood’ - did that moment change geek fandom?
There are countless examples in this forum of people trying to pull at the threads and unravel The Last Jedi, and as a fan of the film I am trying not to be judgmental. I have also been on the other side, as I walked out of Attack Of The Clones having hated the photoshop aesthetic and I am sure I vented a bit on social media too.
Anyone have any insight? Why does this happen so purposefully in sci-fi / fantasy but not in other movie genres?
This is a good twitter thread on that subject.
https://twitter.com/bobbyrobertspdx/status/947149725232328709
Films are not wikipedia articles
Movies aren’t just plot delivery servicesTheir utility as such has sprung from a fandom that has sought to quantify their fandom as an achievement, the amassed trivia as currency, the flaunting of said currency of proof they “earned” that fandom
Fans love believing that enjoying mass entertainment is so much harder than it actually is, and the means of proving it by elevating points (both plot- and wikipedia-bullet-) to a position of importance that neglects basically EVERYTHING ELSE that goes into a story.
Combine that weird, almost miserly instinct towards storytelling, with a youtube & reddit-fed surge in highly rewarded dilettantism—a sort of hot-take game of slapjack, film criticism for people who hate film critics but love the sound of their own opinions—and you end up here.
A place where people who don’t understand movies loudly frame their narratives from this perspective: Movies are for competing against, not experiencing—a series of opportunities to crow about how they can’t FOOL YOU. Because you’re too SMART to fall for these SIMPLE TRICKS.
While time dilation is a real thing I don’t think it happens here, plus it doesn’t really fit with SW. In Empire I assumed the journey took much longer since the Falcon had to travel slowly, then Luke jumped into light speed and arrived a lot faster at Bespin. It also means Leia and Han had more time to grow on each other. At a guess… a month. Unless we believe that each piece of training is one day.
In TLJ I’m sure that 3 tests = 3 days = same 72 hours of fuel that the Resistance flagship had. I can’t be certain.
ROTS… 9 weeks? Who really cares.
I thought the cruiser had 18h of fuel left.
They only say that around an hour into the movie.
Solo will have an original theme by John Williams.
When I say time dilation, I don’t mean relativity. There’s some stuff in the Clone Wars and in Legends that suggests the Force can make time pretty elastic in certain significant locations. That’s always been good enough for me to buy that Luke’s on Dagobah longer than Han and Leia are on the run. Whatever works for you, though.
I always figured there’s some kind of Force time dilation going on on Dagobah that allowed Luke to experience more time there than Han and Leia did in the Falcon. They later used that idea explicitly on TCW, and I think the implication in TLJ is that Ahch-To is the same way. I think the idea that time works differently in certain Force-strong places is almost certainly a retcon they cooked up to make sense out of ESB after the fact rather than something they were thinking about while making the movie, but it works for me as an explanation.
We’re at 2°F right now. Supposed to get to -5 tomorrow and -10 mid-week.
I was just going to say, having special parents isn’t the only way to be special. These movies lost sight of that for a while, but it was always true. Hell, Anakin’s mom was a nobody.
I just turned on a lamp with a plastic shade/hood/whatever you want to call it that evidently wasn’t screwed all the way in. I walked away from it for a few minutes and came back to find the shade had come into contact with the bulb and started melting. Now my bedroom reeks of burnt plastic, and I can’t air it out because it’s 3°F outside. No good.
I also think the humor in TLJ functions as a sort of release valve for audience tension. Without the jokes the film would be exhausting.
Oh my goodness, this thread is giving me such a headache right now.
Just now?
This is the first time in my 28 years that I’ve even seen it suggested that Luke could’ve been doing anything other than choking the guards. I had no idea there was any disagreement at all about that.
That ignores the fact that Luke comes back around to the Jedi by the end of the movie. And even if he didn’t, Luke the character being wrongheaded about the Jedi =/= the movie being wrongheaded about the Jedi. When everything shakes out, it’s pretty clear that the movie thinks the Jedi continuing on through Rey is a good thing.
But how? Don’t get me wrong, he’s a compelling character, but he’s not a credible villain.
He’s an unpredictable loose cannon, which after six movies of Palpatine and two movies of diet Palpatine is a novelty. Anyway, I don’t think a villain needs to be an unambiguous personification of evil to qualify as a villain. An emotional wildcard with warped intentions and poor impulse control can do just as much damage as a malevolent puppet master.
I don’t think that’s a bad thing.
I didn’t think he died from exhaustion, I thought he made the decision to become “more powerful than you can possibly imagine” and moved to that next plane voluntarily. He was done with the crude matter of his body, and he cast it off accordingly.
Anyway, I’m fine with that ambiguity because I think it feeds into the mystery of the legend of Luke Skywalker. Different viewers are going to walk away from that with different interpretations. I’m sure the stablehand’s story at the end is pretty embellished and colored by what that kid does and doesn’t know about Luke. What you walk away with depends largely on what ideas about Luke Skywalker you’re bringing to it.