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Old January 26th, 2009, 12:46 AM   #76 (permalink)
Southy
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I need to get Running Man
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Old January 26th, 2009, 03:37 AM   #77 (permalink)
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I need to get Running Man
fuck! forgot to check if they had it at work today!

will look tomorrow or thursday.

hope that the still have copies about.
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Old January 31st, 2009, 08:40 PM   #78 (permalink)
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Halloween (Rob Zombie version) - I thought it was excellent. Some parts were implausible, but as a slasher film it was really good. I liked the way it showed Myers as a demented kid to give a bit of a background story.

Juno - good film about a teenager who gets pregnant. Half of you have probably seen it already.
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Old February 1st, 2009, 06:01 AM   #79 (permalink)
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Some parts were implausible,
I haven't seen the remake, but that's a funny thing to say. At the end of the original, he gets stabbed through the neck and shot six times, but lives.
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Old February 1st, 2009, 06:12 AM   #80 (permalink)
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I don't like how they try and give monsters a background. I don't care why Mike Myers is a psycho. I don't want to know why Hannibal Lecter is a cannibalistic nutjob.
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Old February 1st, 2009, 08:35 AM   #81 (permalink)
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I reckon it's good - it adds something to the film, rather than just making a carbon copy.

All slasher films have highly implausible parts, but I still notice them every time. In this case he had been locked up for 15 years, but still somehow knew where to find his sister who he hadn't seen since she was adopted out as a baby.
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Old February 1st, 2009, 04:43 PM   #82 (permalink)
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Well that's different from the original. In that, he butchered his sister and then escaped from the loony bin two decades later to continue his killing spree. And I'm with Spiff. I like maniacs better when I don't know why they are maniacs. Giving them a background and a history humanises them when they should be monsters.
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Old February 2nd, 2009, 06:53 AM   #83 (permalink)
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I liked the backstory in Halloween a lot. The main implausibl part is that they are making a sequel.
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Old February 2nd, 2009, 07:14 AM   #84 (permalink)
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I generally prefer the lack of background as well but I thought that part of the film in the hospital/asylum was reeeaally well done.
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Old February 3rd, 2009, 02:12 AM   #85 (permalink)
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Yeah it was very good. I like a wee bit of character development, myself, even in horror films. I like knowing why Freddie Krueger ended up like he was, for example.

How about Zombies - should they be able to run or not?
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Old February 3rd, 2009, 02:42 AM   #86 (permalink)
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yeah definately they should run mate,28 Days Later is one of my personal favourite zombie flicks and they run like hell
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Old February 3rd, 2009, 02:58 AM   #87 (permalink)
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My main question regarding Halloween is, why was it remade in the first place? Really? There's absolutely no reason whatsoever. Honestly. Everyone knows you don't touch the classics, but nobody ever learns.
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Old February 3rd, 2009, 05:05 AM   #88 (permalink)
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yeah definately they should run mate,28 Days Later is one of my personal favourite zombie flicks and they run like hell
they're not Zombies in the 28. . . Later series (of which they are currently or soon making 28 months later) but "Rage Infected" People.
So not undead but not very healthy.

and at least they burn out of energy and starve in a logical manner.
where as the Dawn of the Dead remake was no explanation of why the zombies ran or how they kept their energy up.
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Old February 3rd, 2009, 05:32 AM   #89 (permalink)
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I find it funny that people had problems with zombies running because it didn't make sense, but didn't have a problem with there being zombies in the first place.
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Old February 3rd, 2009, 06:10 AM   #90 (permalink)
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Exactly.
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Old February 3rd, 2009, 08:01 AM   #91 (permalink)
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Zombie didn't mess with a classic though, he made a kickarse remake, which is rare.
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Old February 3rd, 2009, 08:16 AM   #92 (permalink)
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The Visitor and The Station Agent

Thomas McCarthy =
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Old February 3rd, 2009, 08:40 AM   #93 (permalink)
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I find it funny that people had problems with zombies running because it didn't make sense, but didn't have a problem with there being zombies in the first place.
I always get into arguments that zombies in zombie films aren't actually zombies but ghouls, which are undead creatures with a will to harm and eat the flesh of living creatures.

as opposed to true zombies which are corpses animated as slaves to perform certain tasks and labours.

it's also funny to see how much the notion of vampires has changed in the past 150 years too and how they seem to be so much more powerful then the basically shambling flesh eating/intentine chewing/blood drinking corpses that they started as.

the other argument is how Frankenstein's Monster and Jykell & Hyde are also misinterrupted as well.
Especially Hyde, who is usually portrayed as a charming, powerful, large sexual predator when in fact he was created to be a nethandalic devolution which Vistorian man became petrified of once Darwin started publishing his theories of evolution.
Hyde became a sexual predator after Jack the Ripper appeared and the stage shows decided to incorporate the popular elements of that case for publicity and he grew in height and power when they started making movies on him.

was a massive tangent but it's all really interesting when you start looking back on how depictions and mythologies change overtime and really change in a mass media environment.

that teenage girl masturbatory aid Twilight is proof of that and the damage that it's done to vampires for ages to come.
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Old February 3rd, 2009, 08:42 AM   #94 (permalink)
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The Visitor and The Station Agent

Thomas McCarthy =
what's that about?
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Old February 4th, 2009, 03:41 AM   #95 (permalink)
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It's two movies.
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Old February 4th, 2009, 06:15 AM   #96 (permalink)
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It's two movies.
then what are THEY about then?
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Old February 5th, 2009, 01:17 AM   #97 (permalink)
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potential spoilers











The Station Agent:

Finbar McBride, a quiet, withdrawn, unmarried man with achondroplasic dwarfism, has a deep love of everything related to railroads. He works in a Hoboken model train hobby shop owned by his similarly silent friend Henry Styles. Because he feels ostracized by a public that tends to make fun of his size, Fin keeps to himself. Henry dies unexpectedly, and Fin learns he left him a piece of rural property with an abandoned train depot on it. He moves into the old building hoping for a life of solitude, but he quickly finds himself reluctantly becoming enmeshed in the lives of his neighbors. Joe Oramas, a thirty-year-old Puerto Rican American, is operating his father's roadside snack truck while the man recovers from an illness, and Olivia Harris is a forty-year-old artist trying to cope with the sudden death of her young son two years earlier and the ramifications it has had on her marriage to David, from whom she is separated. Cleo is a young African American girl who shares Fin's interest in trains and finally convinces him to lecture her class about them. Emily is the local librarian, a young woman dismayed to discover she is pregnant by her ne'er-do-well boyfriend.

Joe, relentlessly upbeat and overly talkative, soon cracks through Fin's reserve. The two begin to take daily walks along the tracks, and when Olivia gives Fin a movie camera to film the passing trains, Joe pursues them in his truck while Fin captures them on film. The three forge a tentative friendship that is threatened when Olivia descends into a deep depression. Meanwhile, Emily seeks solace from Fin, who slowly is realizing interaction with other humans may not be as unpleasant as he thought.

The Visitor:
Walter Vale is a widowed Connecticut College economics professor who lives a fairly solitary existence. He fills his hours by taking piano lessons with Karen in an effort to emulate his late wife, a classical concert pianist, and works on a new book, although his efforts at both are not producing encouraging results. When he is asked to present a paper at an academic conference at New York University, he hesitates to comply, given he is only the nominal co-author and never even read it. Charles, his department head, persists, and Walter is forced to attend.

When he arrives at the apartment he maintains in Manhattan, he is startled to discover a young unmarried couple living there, having rented it from a swindler who claimed it was his. They are Tarek, a Syrian djembe player, and Zainab, a Senegalese designer of ethnic jewelry, and both are illegal immigrants. Although they have no place to go, they hastily pack and leave, but Walter follows them and persuades them to return. Over the next few days, a friendship slowly develops. Tarek teaches Walter to play the drum, and the two men join a group of others at an impromptu drum circle in Central Park.

En route home, Tarek is mistakenly charged with subway turnstile jumping, arrested for failing to pay his fare, and taken to a detention center for illegal immigrants in Queens. In order to prevent Tarek's deportation from the United States, Walter hires an immigration lawyer. Feeling uncomfortable about remaining in the apartment with Walter, Zainab moves out to live with relatives in The Bronx.

Tarek's mother Mouna unexpectedly arrives from her home in Michigan when she is unable to contact her son. Also in the States illegally, she accepts Walter's offer to stay in the apartment, and the two develop a friendship. Walter confesses his life is unfullfilling; he dislikes the single course he has taught for twenty years, and the book he allegedly is writing is nowhere near completion. She reveals her journalist husband died following a lengthy politically-motivated imprisonment in Syria, and she is concerned about her son's future prospects if he is deported. The two begin to share a simple domestic existence, with Mouna preparing meals and Walter treating her to The Phantom of the Opera when she mentions her love for the original cast recording Tarek sent her as a gift.

Without warning, Tarek is summarily deported to Syria, and Mouna decides to follow him. Alone once again, Walter plays his drum on a subway platform, as Tarek once told him he himself would like to do some time.
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Old February 5th, 2009, 03:29 AM   #98 (permalink)
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acually saw the Station Agent on SBS but thought that it had a different name.

very good and interesting film I thought.
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Old February 5th, 2009, 08:06 AM   #99 (permalink)
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Not a movie, but I hope live theatre counts?

Just got back from seeing the flying fruit flies new production "The Promise". An amazing show that lasted 1hr 40 minutes, full of colour and action to keep everyone entertained from small children right through to the elderly.

the show beings with a flurry of action as the story's young star celebrates a birthday on his fathers outback station. As a gift from his father, he recieves a story book called "The Promise" and varied gifts from his friends. An electrical storm brings a premature holt to the party, and the young boy is taken off to bed. During the storm, a lightning strike sets fire to the family home and the young boys father perishes as he tries to fight the flames.

The boy is sent to live with relitives and whilst waiting for trains to take him to his destination, he opens the book, and the wonder of the eveing begins. The storybook comes to life on stage as you follow the adventures of Felix, his elephant Tara and 1 playful monkey as they travel widely through many lands and cultures.

The show consist of many elements. Acrobatics, juggling, trapesse, as well as puppetry and one very lavish bollywood dance sequence. there is constant movement, colour and special effects that help bring what could be a run of the mill circus style show into an event

what is most impresive about the whole thing is the the performers are all high school students aged from 14 -17
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Old February 8th, 2009, 05:03 AM   #100 (permalink)
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I saw Slumdog Millionaire today. One of the best films I've seen in years. Go see it.
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