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I sincerely apologize if, given the massiveness of the thread, I do some repeating, but as I understand it, it's pretty well known that Eastern/Southern European movie posters are the poo poo. Well, this is certainly the case for Godzilla. It's safe to say I want all of these on my wall one day: Gojira  Son of Godzilla  Godzilla vs. Gigan (the cockroach is a reference to the alien villains of the film, which makes this poster strangely more accurate then most B-movie adverts end up being.  This one is particularly killer: Godzilla vs. the Sea Monster  This is the best though: Terror of Mechagodzilla  Not Godzilla, but Gappa 
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Jun 6, 2014 00:08
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Whiteycar posted:The horse seems happy to be there Thanks, jerk, now I can't un-see that. EDIT: *Does not actually think poster is a jerk.*
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Jun 6, 2014 06:30
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davidspackage posted:It does not surprise me one bit that in the war between species, horses would side with the apes. I don't know. I think they'd be a little cheesed that they're so easy to enslave. "Why does this keep happening?! Why do they want to ride us?" EDIT: Facepalm Ranger posted:I kind of want to subject myself to this...morbid curiosity is a horrible thing... Trailer: https://www.youtube.com/watch?v=huf_CnvOhlo It actually looks... Kinda funny? In an obscure Troma way, I guess. And anyone who wants to snag one of those polish Godzilla posters can get them through this specialty website (just be prepared to pay between $130 and $400): http://www.polishposter.com/ K. Waste fucked around with this message at 18:31 on Jun 6, 2014 |
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Jun 6, 2014 16:52
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The poster looks awful, but I'm pretty sure the tagline is just supposed to be intentionally incomprehensible. Madkal posted:That's alright. We humans would have dogs by our side. You are so loving naive. The dogs would be the first to sell us out. It's all part-a the cycle, man. First the year of the Monkey. Then the year of the Dog. Then the year of the Horse. Next thing you know it'll be fuckin' year of the Rabbit, and we'll be getting Michael Bay presents Neill Blomkamp's Night of the Lepus, and where will your butt-sniffin' pooches be then? Nowhere! That's where! Now, shut up and eat your drat cereal!
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Jun 6, 2014 22:39
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I see your seven golden men and raise you seven golden vampires.  Here's a poster I am now proud to say I have in my personal collection. It was an impulse buy when I was browsing through a poster store. I've only seen two of Walerian Borowczyk's films, it and Goto, the Island of Love, and I think they're both bizarre and weirdly poetic in their own way.  I'm especially interested in how this kind of ad campaign was mirrored with von Trier's Antichrist: 
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Jun 8, 2014 05:27
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effectual posted:drat that looks messed up. https://www.youtube.com/watch?v=5ioQnLUTX0A I was watching a documentary hosted by Melvin Van Peebles called Classified X, and it briefly goes into the phenomenon of Hollywood films that attempted to deal with race and miscegenation. This sort of melodrama -- in which a white person was cast in the role of a 'yellow' Negro (a Black man or woman who could pass for white) -- was actually fairly common. Some other examples include: Both the 1930s and 1950s adaptations of Imitation of Life Elia Kazan's Pinky Lost Boundaries from 1949
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Jun 11, 2014 03:48
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penismightier posted:Weird to disdain it as a "phenomenon" and merely an "attempt" - both versions of Imitation of Life and Pinky are among the best and most progressive of American films. This subgenre goes back at least to Nella Larsen's seminal novel Passing, which I can't believe was never directly adapted. If it's any consolation, I haven't seen those films and was not in any sense intending some pejorative connotation, but was explicitly referencing Classified X. It's a quite thorough and sincere documentary that is equally critical of independent Black cinema or 'race movies' through the 1920s-1940s, where there are clear elements of minstrelsy and racialist stereotyping as well. I know Van Peebles' name can also conjure up a lot of connotations for people based on that one movie Sweet Sweetback, which was really just one part of this really talented and complex creative mind. His Story of a Three Day Pass or La Permission is a French New Wave film about an interracial affair between an American soldier and a cosmopolitan French woman. There's also the hilarious / sad as Hell Watermelon Man, which basically reverses the paradigm established by the racial melodramas of the Code era. It's about a middle class, obnoxious white suburbanite who wakes up one morning to find out that he's 'transformed' into a Black man. Initially, Columbia tried to pressure Van Peebles to use a prominent white actor and put him in blackface, rather than the way he executed it, with actor Godfrey Cambridge in white face for only the film's opening act, and then spending the rest of the film 'adjusting' to the new reality of his Blackness and the sudden vacuum of privileges. Tellingly, Columbia also pressured Van Peebles to change the film's ending, which he also didn't do. They wanted it to end with him returning to being white and getting 'his life back;' a contemporary Job story. In Van Peebles' vision, not only does he accept his Blackness, the last scene in the film is him at a Black militant self-defense seminar. 
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Jun 11, 2014 06:34
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Jedit posted:Nice classical reference there. It's amazing how easily Fuseli's nightmarish pictures lend themselves so easily to modern horror. I know I've already posted a poster of Walerian Borowczyk's La bête, and this poster doesn't really fit with the tone of the film, but it's still stunning and creative. (Sorry for size)  Comparison: 
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Jun 11, 2014 17:23
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effectual posted:I found a preview of the new Spongebob movie. I can't tell what's more glorious. This, or the "Frozen Peas" reenactment from Pinky and the Brain.
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Jun 13, 2014 00:38
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Waffleman_ posted:________/ That's "It stinks." Jeez you guys think you could know your T.V. one liners jeez.
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Jun 14, 2014 05:34
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I don't know who you are or where you come from, but I think I may love you.
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Jun 15, 2014 04:05
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The poster itself is pretty uninspired, but if you wanted to pick an image that defined The Big Lebowski, I don't think they could have done much better. The tagline is shite, though.
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Jun 17, 2014 17:37
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effectual posted:It's better than the movie it's a parody of though http://pauseliveaction.files.wordpress.com/2011/02/big-sleep.jpg The Big Red Square
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Jun 17, 2014 21:34
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I've only seen The Expendables. Which is pretty much the same as not seeing it at all. It was the action movie equivalent of an Adam Sandler movie.
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Jun 18, 2014 16:46
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The only interesting of The Expendables for me is that, like Act of Valor, it frames torture as a sadistic, immoral act that is beyond the scope of its heroes. But unlike that other movie, The Expendables is a sadistic killing spree anyway. Wasn't there also a subplot about Jason Statham beating up his girlfriend's ex-husband that went absolutely nowhere? I'm hard pressed to think of a film that underutilized its cast as badly as The Expendables.
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Jun 18, 2014 17:21
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A Force of One is still good for a few yucks.Cage posted:He can still punch and shoot people pretty good though. I dont see how they relate. Punching and shooting people isn't a story. Hell, you don't even need a story. Just be good enough of an artist and collaborator so that you can do some justice to both film and the art of physical combat and strategy. Otherwise, it's the prime definition of hackneyed bullshit.
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Jun 18, 2014 23:15
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I'd just like to remind everyone that Stallone cowrote and costarred in a Dolly Parton musical-comedy called Rhinestone. And that in this movie he sings a song called "Drinkinstein." Drinkin'stein. https://www.youtube.com/watch?v=mNPPf4RbQeg
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Jun 19, 2014 06:32
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FreudianSlippers posted:Thanks to Chuck Norris facts, which are like 8 years old by the way, there are tons of people who know about Chuck but dont know he's an actor or even that he isn't fictonal. It's strangely fitting that Chuck Norris of all action stars would basically become the contemporary version of a tall-tale figure.
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Jun 19, 2014 16:04
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Why is his mouth shaped like one of those cartoonish twirly mustaches?
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Jun 27, 2014 15:58
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Bloody Hedgehog posted:95% of actors in film portrayed by black people. White Devil strikes again.
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Jun 30, 2014 15:53
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They look like the not-Sonic characters in a Sonic game. Seriously, I look at those posters and think, "I'm so sick of looking for these loving emeralds."
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Jul 1, 2014 04:41
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Rageaholic Monkey posted:It's like an ET ripoff and a Wall-E ripoff combined. The trailer made it look pretty drat entertaining, but if you asked me to guess what the film was based on the poster alone, I would have assumed it was a CGI animated film. That's how completely overproduced that poster seems to me. Vintersorg posted:Bring back the possibility of the ET sequel where he comes back and has to rescue Elliot. For what it's worth, Super 8 is a pretty fitting spiritual sequel to E.T.
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Jul 2, 2014 23:01
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axleblaze posted:Who wants to see a really god damned dope, mildly Kinda reminds me of the French and American posters for Man Bites Dog. The 'censorship,' I mean:  
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Jul 4, 2014 01:41
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poster?
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effectual posted:Shooting babies is less controversial than shooting dogs? It's really interesting thinking about the extent to which even the most minor changes made to the advertisement of a foreign film can completely change the way people are going to go in interpreting the film. The original title of the film It Happened in Your Neighborhood, like Man Bites Dog, has some obvious allusions to journalism, except it has the complete opposite effect. It implies that what the characters are doing is mundane, as opposed to the American title, which plays up, more than the content of the film, the film itself: Wow, look at this new French thing! Bet you didn't see this comin'. It's weird because, It Happened in Your Neighborhood is also a direct reference to basically what the filmmakers were doing. The It doesn't refer to the story of the film; it refers to the film as well. It's sort of works as a direct commentary on independent filmmaking, and how it's much more self-motivated and much less complicated than it appears on the surface. It happens in your neighborhood, these kids making a really grotesque film. I should also note, as I just found out, that the French poster is the censored one. It's weird because, in a way, the censored poster works better than the original conception with the pacifier. Benoit never kills any children in the film. He gets a lot of elderly people, though. And the dentures flying out at the screen does a much better job at capturing the pitch black humor behind the film than the pacifier.
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Jul 4, 2014 06:19
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Dr. Killjoy posted:Actually he does kill a kid so I thought that the American poster perfectly caught the shock value iherent in the film. I definitely need to watch it again. Refresh my memory, when did he off the kid? NVM: It's when they break into the suburban home and smother him. (Which Benoit didn't want to do, but the filmmakers tell him that's what they want. I love the extent to which it's uncertain how much of Benoit's life is his own and how much is just the filmmakers encouraging him.) K. Waste fucked around with this message at 08:44 on Jul 4, 2014 |
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Jul 4, 2014 08:42
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David Fincher's thing is sex and death, isn't it? But the promos just make me restless for a nonexistant Nekromantik remake starring Ben Affleck.
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Jul 6, 2014 02:45
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I can understand the lack of love for Fincher's version of The Girl with the Dragon Tattoo, as Oplev's own adaptation is already a really good thriller that harkens back to classic psycho thrillers like Silence of the Lambs. But that's the thing. Compared to Oplev's film, Fincher and Zaillian's version is almost like an anti-thriller, especially during the ending. But that's also the same thing that kind of makes me annoyed when people imply that Fincher did 'nothing new' or some variation with the title. Maybe it was just seeing both films in relatively short succession, but it was almost immediately apparent to me that Fincher's film wasn't merely 'darker,' that all of the creative decisions he and Zaillian made, however subtle, not only dramatically changed the story but a lot of the subtext of the film, and in many cases, at least for me, it made for a more rewarding film. It's like when people look at Gus Van Sant's Psycho and they still act like he's just copying Hitchcock's film verbatim - I can't argue with whatever someone's subjective experience was, but you shouldn't have to like a film to pay attention to it and respect its overt differences from another, especially if they do share a source. Speaking of Psycho, I remember way back in the late-'90s and seeing the VHS for the Van Sant remake and having no consciousness of the Hitchcock film, so even before I knew of the shower scene, this was my only visual reference to Psycho: 
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Jul 6, 2014 15:49
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morestuff posted:Fincher's take on Dragon Tattoo is probably the best he could have done, but the irritating parts of the original novel still sink it. A lot of major elements (elaborate hidden cryptograms!, Salander's meandering subplot, a Scooby-Doo level villain reveal) feel so played out and lifeless that it overwhelms the better aspects. I don't know that they're lifeless. I think he and his screenwriter deliberately don't play up those elements because they are trying to make The Girl with the Dragon Tattoo and not The Girl with the Dragon Tattoo and the Mystery of Nazi's Lake. Seconding that Panic Room kicks rear end. Alien 3 is also uneven as Hell, but while it doesn't hold a candle to the previous two films, it's still a pretty fitting conclusion to the trilogy.
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Jul 6, 2014 16:15
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Hewlett posted:Yeah, The Game and Panic Room, I thought, were pretty great. I think they form a bit of a loose thematic (or at least tonal) trilogy in Fincher's works along with Zodiac. If there's a thematic trilogy among his filmography, it's def Panic Room, Zodiac, and The Girl with the Dragon Tattoo. E: Eh... maybe Alien 3, Panic Room, and The Girl with the Dragon Tattoo.
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Jul 6, 2014 16:49
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 The poster for Panic Room, I think, is an elegant example of one of those things that might seem cliche in a film poster - the inexplicable huge head of the actor dominating the screen - but actually serves the oppressive tone of Fincher's movie very well.
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Jul 6, 2014 17:28
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beanieson posted:I thought kristen stewart was a dude till like halfway through my first viewing of panic room. She and Jodie Foster were the perfect pair for that story. They both really bring the best out of each other.
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Jul 6, 2014 18:07
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The thing that really sucks about Alien 3 is that it's awash in pseudo-religious imagery and but doesn't have a single speck of religion in it. It's still a very worthwhile film, but if Fincher was tasked with basically taking a an incomplete re-write of a script that included extensive religious imagery, but then had to make compromises based on the resources at his disposal, then he chose a lot of really boring, very much music video derived motifs to carry this: the barcode tattoos, Ripley having a tryst with a prisoner doctor, before he finally gets killed and the film finally ramps up. The question becomes why the hell he didn't just make the prisoner doctor a prisoner priest. It seems overtly like a lot of people were cast for typological roles rather than as unique characters, so you get this unnecessary character Charles Dance who only gets unceremoniously killed off anyway - when the point has already been made redundantly that every person Ripley loves dies horribly - when he should have just been combined with the Dutton's character. By thinking in types first and plot mechanisms second, Fincher ended up neglecting a lot of the possibilities that could have made Alien 3 a really potent, psychosexual, oppressive horror film. Her having an even potentially romantic relationship with a murderer and rapist of women would have certainly hammered home the obvious Mother Mary imagery much better. In a lot of ways, you could see the now frankly over-the-top quality of Seven (which is still loving great) as recompense for the lack of refinement of his debut. His debut is still something that shouldn't be thrown away lightly, however. It shows some distinctly Terry Gilliam-esque influence that I think is sadly lacking from Fincher's current aesthetic.
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Jul 7, 2014 04:02
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Cacator posted:Depends on how you define "enjoy." I've seen a lot of Cronenberg films and Crash makes me the most uncomfortable. Really? Not, I dunno, Dead Ringers?
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Jul 8, 2014 02:36
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The entire sequence of the recreation of James Dean's death was simply one of the most spectacular things I think I've seen in a film.
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Jul 8, 2014 03:44
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Oh, wow, Ramses and Moses as brothers.
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Jul 8, 2014 19:38
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boom boom boom posted:What are y'all on about, Moses is white. Also, he had Jew horns: I'm really agitated by Hollywood's insensitive depiction of Jews without horns. (USER WAS PUT ON PROBATION FOR THIS POST)
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Jul 9, 2014 03:19
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It's really sad that he seems to be going for such an overt throwback to Hollywood epic ensemble films, rather than going the Aronofsky route and just plumbing ancient mythology for ideas. I would love to see a version of Genesis that included Lylith, and Eve 1. You know, Eve 1, the new woman God is making for Adam when Adam accidentally sees her basically unfinished and becoming so traumatized he can't have sex with her. Necessitating God destroy Eve 1 and make Eve 2, the Eve we all know and hate. I would also like to finally see a proper cinematic adaptation of either the Táin Bó Cúailnge. Or a new crack at the Nibelungenlied
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Jul 9, 2014 04:32
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penismightier posted:https://www.youtube.com/watch?v=iDUgigISy98 Seems distinctly Pasolini-esque. Thanks for sharing. This looks really visually striking.
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Jul 9, 2014 05:23
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kiimo posted:I can't tell from your post if you know this but the Moses horns wasn't due to Europe's anti-semitism, it's due to a bad translation. Apparently they took rays of light coming from his head to mean horns and didn't correct this for a long time so statues and paintings in the renaissance showed him with horns. At least that's what more than one Art History professor taught me. Yeah, I had actually tried to link an image of a statue of a horned Moses, but it didn't work.    But, yeah, basically, like a lot of history, the story of horned Moses basically comes down to a mistranslation. But you'll noticed that there really is an overt attempt to characterize Moses as 'subhuman' in ways beyond being horned. It was actually a very conventional belief in those days - in part due to the mistranslation - that present day peoples were actually the descendents of basically a more monster-like being. The Greeks and Romans had their belief in the Golden Age of giant men, and there's even the potential influence of apocryphal or non-canonical Biblical literature, which are more consistent with similar pagan mythology in this regard, and where significant figures do in fact sometimes appear with horns.
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Jul 9, 2014 16:05
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That Boyhood poster seems to be more going for a reference to A Scanner Darkly and especially Waking Life, but giving it a less oppressive realization. I just don't see what lucidity has to do with the film. It's just aesthetically indulgent. The golden ratio creates an interesting structure, but if this was meant to convey the 'fragments' of life spiraling towards and from an ineffable 'center,' then I can't help it could have been better visually conceived (and would have been more creatively challenging, color-wise) with snap shots of the actor without the rotoscope effect.
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Jul 17, 2014 21:19
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