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SuperMechagodzilla posted:Joss Whedon is an idiot, make no mistake Go on...
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May 17, 2016 03:46
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SuperMechagodzilla posted:Absolutely nothing in the movie - a movie put together by teams of artists - says 'function over form.' You're right. Ultron does put effort into being scary. Because he wants to intimidate people. Your use of "subhuman" as a perjorative is... something.
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May 17, 2016 04:00
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I'm getting a feeling that this dialectic on the MCU is going to be a wellspring of gold. I mean it is just so earnest on both sides and there is no possible resolution.
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May 17, 2016 04:16
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Really when you think about it, Hitler pales in comparison to the Marvel Cinematic Universe.
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May 17, 2016 04:41
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Neurolimal posted:Really when you think about it, Hitler pales in comparison to the Marvel Cinematic Universe. Not My Ubermensch
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May 17, 2016 08:04
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TFRazorsaw posted:You're right. Ultron does put effort into being scary. Because he wants to intimidate people. Building himself out of parts that have been damaged, the face specifically damaged by someone protesting Stark, is a statement that sends a message, not just an attempt to look scary.
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May 17, 2016 11:49
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Neurolimal posted:Really when you think about it, Hitler pales in comparison to the Marvel Cinematic Universe. The rare reverse-Godwin
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May 17, 2016 14:13
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So this is the closest thing I could find to a full action scene from Civil War online right now. I wanted to try briefly breaking down what it is I don't like about a lot of these types of action scenes in the movie. https://www.youtube.com/watch?v=LMdfj62iC_g Compare that to something like this clip from a lesser Kurosawa film, Yojimbo, that also features one dude fighting multiple others in a similarly simple location. . https://www.youtube.com/watch?v=z8ByAzPe38Y Everything just flows so much better. Rapid editing is only used briefly in the beginning. The action is presented clearly and in focus. Characters always appear where they were established as being in the beginning of the clip, and aren't suddenly spawning in or vanishing. Now let's look back at that Civil War clip in detail. Here's a shot from early in the clip where Stark first shoots at Bucky from a brief distance. Notice how this is the same direction Blondie will run in from. No significant characters appear in the background here, studying the action or anything like that as in the clip from Yojimbo.  About ten seconds later, we cut from Stark getting knocked down...  To Blondie in the next shot suddenly appearing up close, from where seconds earlier we saw nothing to justify her appearance.  This is the first we see of her in the entire clip. Visually her presence is just not established before the script calls for her to throw some blows. Same thing happens with Widow and Panther just popping in a few seconds later. Later on we cut from Bucky punching Panther...  To Panther getting knocked down...   And then we cut immediately to Bucky already being halfway up the stairs.  These form three sequential shots that seem to violate continuity editing. The basic principle of continuity editing is over spatiotemporal clarity, and the film just elides over most of Bucky's escape from the room here in a seeming violation of the principle. Perhaps someone would like to argue that there is some Breathless-style rejection of stylistic norms here... Perhaps there is some context being lost from the full film, though taken out of that context this clip meant to advertise the movie doesn't make a lot of visual sense to me. In comparison did anyone never not know what was going on in the Yojimbo clip? Thoughts? Raxivace fucked around with this message at 17:17 on May 17, 2016 |
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May 17, 2016 17:15
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Raxivace posted:
Are you the guy who old movies exist for where every time they show someone going somewhere they have to show them walking to a car then getting in a car then driving the car then getting out of the car then walking away from the car? And every time advance showing a static shot of a calendar with pages falling off? The scene you sound like you want with a bunch of establishing shots of things that need no establishing seems excruciating to watch.
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May 17, 2016 17:37
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Owlofcreamcheese posted:Are you the guy who old movies exist for where every time they show someone going somewhere they have to show them walking to a car then getting in a car then driving the car then getting out of the car then walking away from the car? And every time advance showing a static shot of a calendar with pages falling off? The scene you sound like you want with a bunch of establishing shots of things that need no establishing seems excruciating to watch.
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May 17, 2016 17:46
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Owlofcreamcheese posted:Are you the guy who old movies exist for where every time they show someone going somewhere they have to show them walking to a car then getting in a car then driving the car then getting out of the car then walking away from the car? And every time advance showing a static shot of a calendar with pages falling off? The scene you sound like you want with a bunch of establishing shots of things that need no establishing seems excruciating to watch. I don't see how you got from "It'd be cool if Carter, Black Widow and Black Panther were in the framing before they were required to fight" to "It'd be cool if we saw every individual shot showing what was happening."
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May 17, 2016 17:59
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Raxivace posted:I don't think you've actually seen that many old movies if you think that's what they were all or even mostly were like. The visual language of film developed over time. There is plenty of 'establishing' stuff in old movies that either never needed to be there or else used to need to be there but now audiences are savvy enough to not freak out about the 'missing' parts that can be easily assumed.
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May 17, 2016 17:59
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Cavelcade posted:I don't see how you got from "It'd be cool if Carter, Black Widow and Black Panther were in the framing before they were required to fight" to "It'd be cool if we saw every individual shot showing what was happening." Yeah, a random shot of all the people that were gonna show up, that sounds super cool, and a good use of time in an already 3 hour movie.
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May 17, 2016 18:00
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Raxivace posted:Perhaps there is some context being lost from the full film I think it was confirmed that the scene was cut down from 1:41 to 1:00 when it was being used as a promo clip on TV shows or something?
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May 17, 2016 18:01
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That's a badly edited sequence even if you like the movie (which I do). Weirdly the sequences they released before the movie were by far the worst offenders, the other editing as I remember was passable to good. Owlofcreamcheese posted:Are you the guy who old movies exist for where every time they show someone going somewhere they have to show them walking to a car then getting in a car then driving the car then getting out of the car then walking away from the car? And every time advance showing a static shot of a calendar with pages falling off? The scene you sound like you want with a bunch of establishing shots of things that need no establishing seems excruciating to watch. There's a difference between whatever thing you're describing here and "where did the person who just punched Bucky in the nuts go a split second later when another character is throwing out a roundhouse kick in the same place". Snowglobe of Doom posted:I think it was confirmed that the scene was cut down from 1:41 to 1:00 when it was being used as a promo clip on TV shows or something? I remember the sequence being very similar in the theater. Maybe slightly more robust but the big offensive things people are pointing out were still there. They may have shown BP and Widow running up though, not sure.
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May 17, 2016 18:01
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Hbomberguy posted:Ultron is 'making a point' with his decisions. You might have also noticed that he spends a lot of time hanging out in a Church, talking about God and the heavens. There are many things Age of Ultron got wrong but one of the things it got right was in choosing not to play Ultron off as a cold, rational, emotionless robot but instead just letting James Spader be a loving weirdo for two hours.
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May 17, 2016 18:09
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Owlofcreamcheese posted:Yeah, a random shot of all the people that were gonna show up, that sounds super cool, and a good use of time in an already 3 hour movie. That's not what it's about at all. Good framing would have them in the frame, approaching the fight while the combat was ongoing. You wouldn't have to cut away from the fight, good editing and blocking would make it clear what was happening without extending the scene.
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May 17, 2016 18:15
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Cavelcade posted:That's not what it's about at all. Good framing would have them in the frame, approaching the fight while the combat was ongoing. You wouldn't have to cut away from the fight, good editing and blocking would make it clear what was happening without extending the scene. The other thing is, a person showing up out of nowhere is cool and exciting, if it happens once. Happening 3 times in a 30 second span is what makes it weird and disjointed.
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May 17, 2016 18:20
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I can't say I had any problem following along with anything in the movie.
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May 17, 2016 18:20
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Guy A. Person posted:There's a difference between whatever thing you're describing here and "where did the person who just punched Bucky in the nuts go a split second later when another character is throwing out a roundhouse kick in the same place". Either my brain just filled in the details it wanted, or in the movie the whole thing looked fine with the restored footage from the marketing cut. There isn't an establishing shot of the people entering the cafeteria, but previous scenes tell you who is going to be there. Stark, Widow, and Blondie(Carter) have a quick meet about what to do. Then they go to Stark getting his glove ready. Carter clearly moves down in the frame and doesn't just disappear as Widow comes in with a kick. Cutting to Bucky on the stairs didn't bother me at all as by the time it happens the stairs have been in the background of most of the shots so it's not like he's teleporting to who knows where.
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May 17, 2016 18:33
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I mean yes, clearly it's not totally baffling what happens, and of course you're going to mentally fill in gaps and make inferences. Bucky being further up the stairs or Widow not being shown rolling out of way aren't completely mind blowing things. It's still fairly sloppy editing and worthy of the criticism it's getting. And yes, I do think you filled in the gaps mentally, I paid specific attention to these particular scenes specifically because there had been rumors that they had been hastily cut down for TV spots. And they were pretty much exactly like this, with like I said maybe a few differences. The other one getting a lot of flak was the beginning of the hospital(?) attack with Cap kicking trucks around and throwing his shield through windows, and that one again was pretty close to what had been shown in promos. Maybe that's why the other editing seemed better because I was seeing it for the first time and didn't know what to look for? I definitely remember trying to pay extra attention though, and these scenes in particular would snap me to attention when i got lax, but then after the bad parts we had already seen, things tended to smooth out. The other rumor was that certain actors (the one mentioned a lot is Johansson) necessitated some clunkier editing because they used stunt doubles more heavily. I'll have to try and pay closer attention the next time I watch (hopefully sometime this or early next week) to see if things tend to get choppier when certain characters are fighting.
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May 17, 2016 18:45
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Hbomberguy posted:Ultron is 'making a point' with his decisions. You might have also noticed that he spends a lot of time hanging out in a Church, talking about God and the heavens. Ultron is effectively a newborn, only given form, function, and personality from a combination of his existing programming, the mind gem, and the info dump he gives himself. He simply doesn't have the experience to be instigating a "worker's revolution", he's more concerned with the hypocrisy and contradictory "salvation" by fire of humanity. Ultron wants to intimidate Stark by showing him a perversion of his creations - but Ultron himself cannot sympathize with the acid-splashed drone because he treats his own bodies with equal irreverence.
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May 17, 2016 18:52
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Ultron's not really a 'crazy weirdo', he's just conflicted and emotional like most children struggling to grasp difficult subjects. If one does not care for Death of the Author then it's pretty easy to notice the very personal and realistic elements used by Whedon, who has always used angels and demons to tell a human story, rather than the other way around. It's worth acknowledging that, in Stark's nightmare, there are no 'defeated' aliens; his fear is not that he hasn't done enough, but that he is unable to adapt to the future and its terrifying new creations. That's why he makes a son, one who is capable of thought and adaptation. His biggest mistake was shoving his own unwanted personality onto him, which plenty of sons and daughters can relate to. Stark was entirely ready to just retire to playing cards and trying to lift hammers, but his son refused to accept the family business of "enforce the status quo until aliens wipe us out". Neurolimal fucked around with this message at 18:58 on May 17, 2016 |
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May 17, 2016 18:53
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Guy A. Person posted:The other thing is, a person showing up out of nowhere is cool and exciting, if it happens once. Happening 3 times in a 30 second span is what makes it weird and disjointed.
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May 17, 2016 19:54
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Guy A. Person posted:I mean yes, clearly it's not totally baffling what happens, and of course you're going to mentally fill in gaps and make inferences. Bucky being further up the stairs or Widow not being shown rolling out of way aren't completely mind blowing things. It's still fairly sloppy editing and worthy of the criticism it's getting. Yeah, but it's not sloppy editing. It's how the visual language of film is told. By skipping the parts that don't matter. They didn't film some long introduction of each character walking up to the camera and saying "I'm gonna be in the fight next!" then some sloppy editor forgot to put it in.
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May 17, 2016 20:13
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Owlofcreamcheese posted:Yeah, but it's not sloppy editing. It's how the visual language of film is told. By skipping the parts that don't matter. They didn't film some long introduction of each character walking up to the camera and saying "I'm gonna be in the fight next!" then some sloppy editor forgot to put it in. This joke you keep posting over and over and over again is cute, but that's not the singular aspect of what everyone is saying is is bad about the editing. Establishing shots (as in, literally, showing where someone is physically for even a split second before they are all of a sudden punching a guy*) would certainly help, but there's other aspects of the editing that is sloppy. The quick cuts and weird locations of people (where does Tony go? He wasn't unconscious after WS punched him?) and things jumping a little too fast (like WS being comically far up the stairs for the speed he is moving) are other examples of this. You can tell because people keeping posting about this stuff in specific detail instead of repeatedly asking you about what the language of film is. Again, it's not horribly logic breaking its just not as smooth and clean as actual good editing, which is in evidence in many other parts of the movie. But please repost the joke about how an establishing shot is a 20 second shot of someone staring into the camera saying "I'm going to be in the next shot okay audience?" * they actually do this with Widow where she is running up behind Carter
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May 17, 2016 20:48
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Collected some thoughts on Civil War, this is largely a first pass-broad strokes focus upon Civil War's three openings and the ending(s) with an ideological bent. "The Neighbour is the (Evil) Thing which potentially lurks beneath every homely human face, like the hero of Stephen King's The Shining, a gentle failed writer, who gradually turns into a killing beast and, with an evil grin, goes on to slaughter his entire family." - Zizek Halloween Jack posted:Capitalism = Stark = Hydra Ok so playing off Stark is Hydra - Civil War and have a little fun with the thought specifically in relation to ideology, but through the lens of The Thing - 1982 for the most part, but 2011 is also great. Because if a movie is going to open with a winter landscape and something buried beneath the ice, that's where my mind is going. Now this can be basically seen to cut both ways, I acknowledge this and the goal here isn't to be obscene, it's a first pass at a finer point. That is, getting at the ideological monster supposedly lurking beneath - Hydra. So the assertion here is that Things(Ironman 2008) have become strangely inverted in the Marvel movies and that initial infection has indeed become a pandemic.(The Thing 1982)  Shot from Winter Soldier, targeting potential problems First a little setup, there's a plethora of analysis made regarding The Thing(1982) about fear and paranoia of communist ideology, this being the grotesque beating heart of the movies body horror elements. This reading revolves around this idea of the horror presented in the neighbor, The Thing is more or less about an all consuming body horror ideological monster that cannot withstand the (toxic) proximity of the Neighbor - let alone the idea of loving thy Neighbour [small note here, love as the sword in christian terms - something you must first turn upon yourself etc]. It must consume the neighbor from within and replace that neighbor with an image of itself in order to be certain of it's own safety. Then utilizing this body double of the neighbor to further consume the group. The final unsettling scene of The Thing has MacReady share his bottle with Childs, who had been missing for much of the ending, while the outpost burns down around them and they slowly freeze. So this is where that lens from The Thing comes into play, in an ideological sense, relating to the toxic or hostile dimension of the Neighbor. The direct link presented in Civil War being Winter - a neighbor to everyone - also not ignoring the wider Marvel movie-verse i.e., it's varying forms of liberal-capitalist ideology, Hydra, hidden monster and so on. The Key relationship of Civil War revolves around Winter, Cap and Stark in relation to trauma: memories - events - conditioning. With images of being frozen and awakening, walking through memories and watching on as something traumatic happens elsewhere, through a screen: the past - the present - ideas for the future.  The Past: So to start there's the mind control-conditioning aspect, along with the little red book, of Winter's traumatic and painful conditioning in the historical past. In short, Winter is being absorbed into Hydra to act unthinkingly according to their will, leading to the assassination of the Stark's and stealing the blue goo super soldier serum - concluding with Tony watching the VHS security footage. So the opening of Civil War, for me, was a bit like finding the frozen MacReady at the end of The Thing. Now being assimilated into the monstrous body of Hydra, an agent without free will - becoming an organ without a body, in a sense. The Present: Cut to Captain America operating on foreign soil chasing down former S.H.I.E.L.D agents in a pretty direct reference to Winter Soldier. There's also an easily over-looked important (war-on-terror) detail here, specifically not wanting to involve the local authorities since that will obviously alert the target. This is playing up the idea that Hydra is indeed everywhere, idealogically speaking, Cap can trust no one but those he 'really knows' and so on. So again this comes back to the idea of a Neighbor, in this case Winter, with Crossbones taunting Cap about his (past) friends suffering - putting his brain back in a blender. Winter is very much so out on his own, the visual association in relation to The Thing here is MacReady, being locked out in the cold after investigating his cabin. Eventually breaking back into the outpost to the horror of the group, since they can no longer trust him. In this moment he's no longer their pilot buddy or whatever, but a toxic neighbour to be treated with suspicion. Ideas for the Future: "Go break some eggs." This was an interesting scene, so now we're looking into Tony's apparent last memory relating to his parents - the past. With a speech about altering this traumatic past-memory alluding to removing the aspects of grief that followed, as part of a surgical therapeutic process. Now this is important in an ideological sense because it ties very closely to the extreme parallel of the idea presented in the Winter Soldier. Surgical strikes upon (toxic-troublesome) neighbours who may pose a problem, with Stark himself being a target. This is the ideological Thing manifest, Stark is Hydra, a strange consumption (destruction) of the neighbour into an idealised object, in a sense. Removing the toxic aspect of the neighbour - the abyss presented in the other - in order to create peace and harmony. The visual association with The Thing lies in it's actions, of wanting to consume the group and creating body doubles (organs) to replace the group (bodies). Furthering its own infection and thus protection.    To try and conclude this observation as briefly as possible, Stark's approach is much the same as shield-hydra in winter soldier, identifying problems (people) and before they become problems and surgically removing or suppressing them. This links into how Winter is treated by everyone, the movie opens with him coming out of the freezer only to end with him being put back into the freezer. So this is where the ending gets weird and the ideological sword can cut both ways in a sense. The true conflict of Civil War isn't between Cap and Stark, but seemingly between Cap and Winter. Cap breaks out his Avenger buddies from superhero gitmo; But the person he was supposedly wanting to help - the central figure of his obsession - his neighbor Winter is put back into an icy coffin. So there's something of a stark contrast of Things here, between the Winter Soldier and Captain America. With Winter willing(?) to turn the sword on himself, contrast with Captain America who can't seemingly imagine the notion.  
brawleh fucked around with this message at 22:28 on May 17, 2016 |
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May 17, 2016 21:10
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Black Widow is a stealth class. Her damage output relies on flanking the opponent to deliver critical hits.
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May 17, 2016 21:20
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It's a nice touch how the 180 line is broken almost every cut in that Bucky fight, it makes the whole thing very disorientating. It probably helps a lot in terms of budget as well - Jackie Chan has time to film a million takes of intricate choreography. I doubt these guys do.
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May 17, 2016 21:36
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Ravel posted:It's a nice touch how the 180 line is broken almost every cut in that Bucky fight, it makes the whole thing very disorientating. It probably helps a lot in terms of budget as well - Jackie Chan has time to film a million takes of intricate choreography. I doubt these guys do. It also contributes to the contrast between the real-world "in the thick of it" action and the goofing-off not trying to be aggressive airport action.
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May 17, 2016 21:42
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TFRazorsaw posted:Ultron is effectively a newborn, only given form, function, and personality from a combination of his existing programming, the mind gem, and the info dump he gives himself. He simply doesn't have the experience to be instigating a "worker's revolution", he's more concerned with the hypocrisy and contradictory "salvation" by fire of humanity. Ultron wants to intimidate Stark by showing him a perversion of his creations - but Ultron himself cannot sympathize with the acid-splashed drone because he treats his own bodies with equal irreverence. He tells everyone that they are killers, while composed of the parts of 'dead' robots. Get it? The dead, the repressed, are returning for their revenge. That's not intimidation. That is a specific message. He describes that body, specifically, as a chrysalis. In other words, he sees the stronger Ultron body we see afterwards as an evolution from this destroyed form.
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May 17, 2016 22:21
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Hbomberguy posted:This is a plot-dump that still manages to ignore key plot information. Ultron is made of the internet and cannibalised pieces of a hyper-intelligent AI that knows Stark better than anyone else. He has, in a sense, experienced everything Stark has done intimately and personally. He's seen all the phone videos of the bombs, all the reports of the devastation he's caused the little people. His damaged-drone body is not simply an attempt to intimidate, but a key part of showing that he identifies as a manifestation of the hatred for Stark. It's also not about sympathising with the drone, because he is the drone. Huh. You know, I've heard that line as "Not this Christmas" for over a year now. I thought it was Ultron being twitchy and weird, which is why it came off as a nonsequitur. Chrysalis makes more sense.
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May 17, 2016 22:29
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RBA Starblade posted:I can't say I had any problem following along with anything in the movie. Same. Compared to the fight scenes in Nolan's Batman movies (their only weak point really), the Russos films have much easier to follow/better looking fights.
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May 17, 2016 22:34
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Guy A. Person posted:This joke you keep posting over and over and over again is cute, but that's not the singular aspect of what everyone is saying is is bad about the editing. Establishing shots (as in, literally, showing where someone is physically for even a split second before they are all of a sudden punching a guy*) would certainly help, but there's other aspects of the editing that is sloppy. The quick cuts and weird locations of people (where does Tony go? He wasn't unconscious after WS punched him?) and things jumping a little too fast (like WS being comically far up the stairs for the speed he is moving) are other examples of this. You can tell because people keeping posting about this stuff in specific detail instead of repeatedly asking you about what the language of film is. Again, it's not horribly logic breaking its just not as smooth and clean as actual good editing, which is in evidence in many other parts of the movie. I disagree about the establishing shots. They have a scene or two prior to the fight that lets you know who is going to be in the fight. Then they repeatedly use framing to show the entire area the fight happens before Tony even starts the "real" fight. Everyone can be seen after their exit from the fight either in the background or inferred via their exit and prior scenes(Tony, specifically, is knocked back toward the corner he came from after establishing in a previous scene that he was just there to disorient Bucky with a repulsor blast). Bucky's fast movement up the stairs does nothing to distract, and, if you do notice that he's further along that you would expect, underlines his super human abilities. I will agree that the quick cuts weren't the best, but they weren't detrimental. Location is clear throughout the fight, at least to me. Tony starts out around the corner, the camera peeks around the corner with him to show you the layout of the area. You know that Widow, Carter, and Panther are going to be showing up and that Tony is acting according to a plan. Carter and Widow come from off screen where a doorway has been visually established. Panther comes in from the only other entrance/exit.
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May 18, 2016 00:26
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Away all Goats posted:Same. Compared to the fight scenes in Nolan's Batman movies (their only weak point really), the Russos films have much easier to follow/better looking fights. There's often this reply of, like, "I could tell what was going on" - as if what we're looking for is a sort of neutral documentation. The thing is that, in this brief sequence, Tony Stark is nearly shot in the face and has his ribcage all but caved in. Black Widow has her windpipe crushed in a hydraulic press, and it's like 'eh'. (Contrast this with Mockingjay 1, which has one of the 'best' strangulations put to film.) The subject matter (everyone in office clothes, the featureless grey cafeteria, Stark pulling out a luxury taser) is one of those Workplace Active Shooter Events. (Not grimdark though! It's fun! Fun tone!) And that's another point where these films compare unfavorably to adequate spy thriller The Bourne Legacy. Of course we know from context that Winter is literally 'possessed' by Zemo, in a God Told Me To sense. And note how the mad outburst is altogether legitimized: the surveillance camera decal slyly positioned behind Stark, while he and Winter's coworkers radio eachother with hidden devices to say stuff like "I'm in position." When Widow gives him the ol' crotch-face, Winter appears isolated and contained behind glass. So, in theory, you have this dynamic of the 'irrational' outburst and containment within an all-encompassing system. They Live's bank scene from the perspective of the ghouls. And that's where the framing becomes important, because the spies popping out to deliver roundhouse kicks are effectively depersonalized extensions of the concrete surroundings. When struck hard enough, they sink into the floor and disappear. If Widow is 'in position', why doesn't she immediately strike while Winter is stunned? Why is Stark the one using hand-to-hand combat to disarm the master assassin? The simple answer is that 'in position' doesn't refer to any actual tactic but, rather, to that aforementioned merging with the concrete. The violence directed against Winter is affectless, blank - not even clinical. It doesn't even register as violence. I'm not talking talking about shooting someone in the face, but the idea of being shot in the face - that should hurt. Kicks are delivered as if to be instantly forgotten. It's like watching ants fight. SuperMechagodzilla fucked around with this message at 01:37 on May 18, 2016 |
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May 18, 2016 01:35
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Guy A. Person posted:This joke you keep posting over and over and over again is cute, but that's not the singular aspect of what everyone is saying is is bad about the editing. Establishing shots (as in, literally, showing where someone is physically for even a split second before they are all of a sudden punching a guy*) would certainly help, help with WHAT though? literally what person was actually confused by the movie? It was extremely straightforward and all those characters were on screen like a minute before that scene.
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May 18, 2016 02:53
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Owlofcreamcheese posted:help with WHAT though? literally what person was actually confused by the movie? It was extremely straightforward and all those characters were on screen like a minute before that scene. Help with the flow of the scene? Like I said this wasn't even the thing I called bad about the editing, that was another guy. And while Gyges and Slugworth made good points about where the characters are entering from and why their abrupt arrival is (in their opinion) a good choice, you have just remained hung up on this one complaint that someone completely different from me made. You also seem to set the bar for "good editing" as being "nobody was confused by it" which is such a comically low bar. Like "yeah this was a good shot, the character was on screen and in focus" levels of bare minimum film quality. Gyges posted:I disagree about the establishing shots. They have a scene or two prior to the fight that lets you know who is going to be in the fight. Then they repeatedly use framing to show the entire area the fight happens before Tony even starts the "real" fight. Everyone can be seen after their exit from the fight either in the background or inferred via their exit and prior scenes(Tony, specifically, is knocked back toward the corner he came from after establishing in a previous scene that he was just there to disorient Bucky with a repulsor blast). Bucky's fast movement up the stairs does nothing to distract, and, if you do notice that he's further along that you would expect, underlines his super human abilities. You make a lot of good points, and like it said it wasn't horrible to the point of being incomprehensible or even close to that. It was just on the bad side of "acceptable editing" in my opinion, call it below average at worst. I'm comfortable agreeing to disagree.
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May 18, 2016 03:16
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I wonder if the Inhumans movie was delayed because they know it will destroy the idea that Agents of Shield is really part of the MCU.
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May 18, 2016 04:06
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Why would they care about Agents of Shield?
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May 18, 2016 04:43
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feedmyleg posted:Why would they care about Agents of Shield? They don't, but the people who are really loud about the MCU do.
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May 18, 2016 04:49
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