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  1. CarloOos

    John Wick 3: Parabellum - May 2019

    There’s nothing low effort about John Wick 2.
  2. CarloOos

    John Wick 3: Parabellum - May 2019

    I adore how both sequels seemingly take place in the same fairytale version of New York as Dario Argento’s Inferno.
  3. Cloud had ‘visions’ in the original (like when you’re setting the bomb at the very start), previously they were abstract voices but I bet that’ll be where Sephiroth now appears. Another was when you find Jenova in the Shrina building.
  4. Sorry but what use is ‘unprecedented access’ to someone who also has no idea how to end this story? That same someone who has spent over a decade with the same problems and would seemingly rather spend the last few years of his life enjoying newfound success. I mean fair play to him, he doesn’t owe anyone anything. Something that aggravates when people say ‘they should have just done this’ is that those hypothetical solutions often bear no relation at all to the real life deadlines, budgetary restraints and practical limitations that the actual writers/producers/directors needed to. A few months is not a long time to write 8+ hours of content which wraps up 15+ characters arcs when locations managers, production designers and VFX supervisors are breathing down your neck to get started.
  5. CarloOos

    John Wick 3: Parabellum - May 2019

    The original John Wick was a revenge thriller (albeit one with amusingly absurd premise and refreshingly good action), whereas the sequels are straight up martial arts films. I only ever regarded plot of the original as a vehicle for the choreography, so it doesn’t bother me at all that the sequels have doubled down on the technical aspects as they were by far the most interesting and successful part of it for me. The catacombs fight in Rome for example, it’s an incredible achievement in terms of lighting, cinematography and choreography, and they’ve taken that concept even further in the third. This one also feels much more knowingly funny than the others, which were often too po-faced for their own good. They’re definitely leaning into the absurdity of the premise, along with some pitch-black comedy kills.
  6. Best bit of the episode by far.
  7. CarloOos

    Game of Thrones Poll thread

    Give it a watch. I’m getting roasted for suggesting that all the green screens and pyrotechnics in the world are no substitute for bold and creative cinematography, which the previous ‘big’ episodes had in spades (including the Winterfell battle, IMO). Would be curious whether you agree about this one, I thought it was aesthetically naff for the most part.
  8. Soz Scott, shoddy green-screen on a polystyrene-looking set isn’t my idea of striking cinematography.
  9. I’m going to go against the grain a bit here at all the technical plaudits this episode has been receiving; the FX were massively inconsistent, the editing poor and the cinematography was bland at best and ugly at worst. Sure it had lots of explosions and will have cost a fortune but episode 3 was far, far more aesthetically impressive and cohesive imo. When I think of previous ‘set-piece’ episodes they’ve all had some iconic imagery, but this didn't have anything. And don’t say the Cleaganebowl, because besides the beach fight that was the cheapest looking bit of the whole thing.
  10. CarloOos

    Rian Johnson Star Wars trilogy (now cancelled)

    Something I’ve always found naive about criticism of TLJ & the handling of the new trilogy is the presumption that JJ ever actually wanted to do the whole trilogy, or even more than one instalment to begin with. Fanboys always seem to presume that it’s the dream of any filmmaker to work on their favourites franchises, when in reality it’s their dream and most filmmakers would rather be doing their own stuff if they could get it made. I know JJ is on the record of having grown up with Star Wars but that doesn’t mean he ever intended to give up almost a decade of his career to it. His interviews around the time of TFA’s release always came across as very non-committal to me.
  11. CarloOos


    I think they were between a rock and a hard place, they couldn’t have done The Thick Of It or Veep in today’s poltical climate. There’s no denying this season is quite silly and a different beast but it’s only been amped up to match how ridiculous politics has become by 2019. It’s the last season and they’ve morphed every character into the very worst version of themselves (hilariously this has meant keeping Dan exactly the same), and it’s pretty funny seeing how far they go with it. Proper Veep ‘finished’ with Selina getting on the helicopter for the last time, the post-White House stuff is more like an amusing ‘You thought that was bad, this how fucking crazy things are now’ epilogue. They could probably do something similar with The Thick Of It characters all split across Change UK & The Brexit Party.
  12. It seemed inevitable that they were building towards almost everyone dying in their petty squabble for the throne until the more pressing issue of Winter/the Night King became unavoidable for whoever was left. It feels so strange having characters give it the old ‘my work here is done / walk off into the sunset’ TV ending, presuming that we have indeed seen the last of some of them.
  13. CarloOos

    How it should have ended

    Ex-Machina should have ended as the elevator doors shut, that small scene afterwards feels incredibly tacked on.
  14. Anyone who’s read The Dark Tower can testify that having the original author finish their own series is absolutely no guarantee against sudden shifts in content, pace or style. Stephen King spent 20 years writing the first four books but wrote and released the last three within 18 months, and you can absolutely tell.
  15. In that particular instance it was entirely down to the directors’ hubris.

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