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mudsharkbytes (92)


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Great movie, but difficult to look at Jô Shishid Powerful And now for something completely different… What Joe did didn't seem all that bad Plot hole? So essentially she became another Billy Pilgrim? View all posts >


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Well, except there wasn’t any time travel in this movie. Come to think of it - I’m not sure I’ve seen enough time travel art theft trope type films to categorize this one as “standard.” Come to think of it - I can’t think of any time travel art theft films off the top of my head. Not sure I agree. Most musical artists, both contemporary and those from the time The Beatles were active, are lucky if they have more than one or two songs on an album that are outstanding. The Beatles managed to fill entire albums with outstanding songs, and they did this album after album. They would do the same today. It’s because they were creative and played well off each other. You’re assuming if they were alive today they wouldn’t be making contemporary music. I agree. One of the key characteristics that makes their music so timeless is the way their songs can be reinterpreted / arranged without losing any of their charm. I have heard jazz, classical, ska, reggae, blues, even baroque arrangements of their songs and they never fail to entertain. You poor aesthetically challenged soul. I pity you. I was hoping it would break out into Warren Zevon’s “Werewolf of London,” but sadly, I don’t think he’d written it yet when the movie came out. Ha ha - yes, you keep telling yourself that. You clearly have an agenda, one in which you desperately want it to be true that the children found guilty solely on the basis of coerced confessions were actually guilty despite no DNA evidence to back it up, and that’s because nowadays we have better methods of collecting DNA. In other words, the lack of any concrete evidence doesn’t mean anything because, well, look at them - they must be guilty. And you have the audacity to follow that up with a sling of ad hominem’s. Ironic doesn’t even come close to labeling the level of hypocrisy you bring to this “discussion.” Pathetic. Had a single one of those children stuck their penis’s in her, or participated in any other way in the attack, there would’ve been sufficient DNA at the scene to have at the very minimum identified one of them, but there wasn’t. Period. I’m sorry, were you responding to me? I was chastising the OP for being such a snowflake, but since you decided to make an ass of yourself the simple fact of the matter is, if any of those children had taken part in the rape in any way shape or form, some of their DNA would’ve remained at the scene. There was none. Any you call me a racist? I would bring up the old homily of the pot calling the kettle black but you would probably call that racist as well. What a snowflake. Over four hours of drama documenting a colossal injustice perpetrated against a group of innocent teenagers and youngsters but what gets you REALLY outraged is the approx one minute of unaltered footage of Trump jumping on the bandwagon and a few comments by parents unhappy he’s calling for the death penalty for their kids. Sad. What makes a movie seem like a bad choice is when it’s picked over other movies that you feel were more deserving. For me, hands down the worst film ever awarded an Oscar has to go unequivocally to “The English Patient.” While it’s not necessarily a bad movie, when you compare it to both “Fargo” and “Slingblade,” two movies of nearly transcendental quality that were released that same year, the inappropriateness of the award becomes self evident. Not that popularity should matter, but who these days gives a rats ass about “The English Patient” any more? On the other hand, “Fargo” continues to gain in popularity and is an almost timeless story. In terms of taste there is no real way to come to a consensus. I find your observation about it’s obtrusiveness interesting though. From what I remember, having only seen the movie once, was, in the scenes where it is used, the soundtrack enters at nearly the limit of audible perception and grows to the point where it becomes, as you point out, obtrusive. I’ve no doubt this was deliberate as each scene grows dramatically in a similar fashion. I do agree that the soundtrack does leap out of the background and forces you to deal with it perceptually, and typically soundtracks are more subtle than that. I remember when we were watching it my wife having a similar reaction to yours, thinking the composer must’ve been excessively lazy to compose such a simplistic soundtrack. I actually think the music in question wasn’t composed for the movie but was a selection from one of the scores listed at the end, possibly by Ligeti or Luc Ferrari but I’m not sure. I told her I actually thought it was a ballsy choice for the very reasons she was grousing about. View all replies >