cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (I think I saw a unicorn?)
1. Pick 15 of your favorite movies.
2. Go to IMDB and find a quote from each movie.
3. Post them here for everyone to guess.
4. Strike it out when someone guesses correctly, and put who guessed it and the movie.
5. NO GOOGLING/using IMDB search functions. Totally cheating, you dirty cheaters.


This isn't my fifteen favorite movies--I don't really have favorite movies; there might be a writable number of movies I love, but it'd be pretty arbitrary--this is fifteen movies I could remember that I liked.

ED:
As the populace has failed to identify these, I give them to you now:

#7 - The Ruling Class
#8 - The Stuntman
#9 - The Lion in Winter
#10 - The Hobbit
#13 - The Music Man


Please note that 7-9 are all movie starring Peter O'Toole. I have a thing.

/ED

1) The trick is not minding that it hurts. Lawrence of Arabia [livejournal.com profile] mikkeneko

2) It can only be attributable to human error. 2001 [livejournal.com profile] windsorblue

3) Insanity runs in my family. It practically gallops. Arsenic and Old Lace [livejournal.com profile] mikkeneko

4) That's a curious name for a motorcar. Chitty Chitty Bang Bang [livejournal.com profile] mikkeneko

5) I do not know the way. Fellowship of the Rings [livejournal.com profile] mikkeneko

6) Well, think of it, to be married to the man who is always the first in line to be hanged! 1776 [livejournal.com profile] mikkeneko

7) Behavior which would be considered insanity in a tradesman is looked upon as mild eccentricity in a lord.

8) What should I congratulate you for? The fucking scene or for fucking the director?

9) Of course he has a knife, he always has a knife, we all have knives!

10) Surely you realize that your success has made you some bitter enemies?

11) Sire, if you don't mind my saying, you have a very loud thumb. Robin Hood [livejournal.com profile] mikkeneko

12) Mother always taught me: "Never eat singing food."A Muppet Christmas Carol[livejournal.com profile] mikkeneko

13) That woman made brazen overtures, with a gilt-edge guarantee.

14) Jesus, George, it was a wonder I was even born. Back to the Future [livejournal.com profile] m00nface

15) I'm going to give you the choice I never had. Interview with the Vampire [livejournal.com profile] sisterjune
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (greenlee and david)
I'm only halfway along here, so I may yet change my mind, but Francis Ford Coppola's Dracula has succeeded in the unthinkable, to wit, making me wish that the heroine, who is a perfectly decent and unexceptionable human being, would hook up with the evil, murderous vampire who loves her, even though he's also regularly raping and slowly murdering her best friend (...and, okay, I feel unclean just typing that out, and maybe now is the time to rethink the unthinkable that I've been thinking).

Anyway, Gary Oldman (Dracula) and Winona Ryder (Mina Murray) have a surprising amount of chemistry, doubly so once the reincarnation subtext comes properly into play. A contributing factor is Keanu Reeves as Jonathan Harker; I am perfectly willing to assume that he was cast for his wooden, Ken-doll-esque performance, and that this is all deliberate.*

I'm not even being sarcastic.


Overall, I have extremely mixed feelings about this movie (and I think I'm watching a cropped-for-TV-version, boo, hiss--it may be full of weird shit, but it's still Francis Ford Coppola, and cropping films for TV is a sin against both God and all good directors), but I must say, looking back from nigh twenty years on, this strange, and uneven, and at times, I think, deeply misguided adaptation contains memorable, influential, even iconic imagery that has lived on in the canon of vampire and film lore. Which is why I wanted to watch it in the first place.


*I don't remember this much Dracula/Mina romancin' in the parts of the book I actually read,** but if anybody is deeply invested in Jonathan Harker and Mina Murray as a couple, it's news to me.

**I have read about sixteen comic/graphic novel adaptations of Dracula, plus, now, this film; despite multiple attempts, though, I have never managed to finish the actual goddamned epistolary novel. My shame! I keep getting bored.


In other news, young Winona Ryder with an English accent looks and sounds so very much like Keira Knightley that I keep getting confused. Yes, yes, it's a generational thing, shut it.

In other, other news: the obligatory linking to of comics. First, it might be a violation of the Geneva Conventions to ever discuss a Dracula-related adaptation without linking to this Kate Beaton comic. Second, I finally know where this quote comes from. (Both links are reasonably worksafe, which is remarkable, since the second one is Oglaf (initially an attempt to create pornography which immediately degenerated into sex comedy).
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (woman with hamster)
Fantasy:
Weis, Margaret, and Tracy Hickman: Dragons of the Hourglass Mage
(I read a short review of this that went something to the effect of, "There are good Raistlin books, and bad Raistlin books, and this is one of the bad ones, totally not worth your time." So I immediately requested it from the library, because it's about RAISTLIN MAJERE, dude.

Even at their best, Dragonlance books are never exactly what I would call good, and this is no exception, but I'm not gonna lie: Weis and Hickman's books have, over the years, brought me countless hours of unironic pleasure, and Raistlin Majere is one of those characters I randomly fixated on when I was young, and will never, ever, not love. I read it in one go when I was sick and bedbound the other day, and couldn't concentrate on crossword puzzles).


Romance:

Dunlop, Barbara: Beauty and the Billionaire
(this is the ebook romance I read when I was supposed to be looking at ebook cataloging, and I must say, it was surprisingly decent. The prose was okay, the sexual tension was good, and--in what was a pleasant surprise to me--the heroine was a successful professional whose career and whose dedication to her career path remained relevant for the entire book. Even when she went to Paris for a makeover. Our heroine, Sinclair is a very good PR manager at a cosmetics company who's being upstaged by a less-competant but more fashionable rival in the company, and when she and her billionaire beau boss talk it over, they decided that the best way to fix that was to give her a more stylish image which would better match the company's target demographic, women in Sinclair's age range who dress stylishly. Given the nature of the industry and her job, I am okay with this idea. )
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (Default)
Archival post: The Hooded Utilitarian blog post #6: Female Creators Roundtable: Jane Austen and yes, eventually, some damned zombies. Originally posted at The Hooded Utilitarian by Cerusee on 7-26-2009.

Female Creators Roundtable: Jane Austen and yes, eventually, some damned zombies. )
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (things still surprise me)
--Never has the unlined face of youth seemed so dumb to me.

...

--Donald Sutherland and Timothy Hutton do not look remotely like father and son. Hutton and Moore don't look alike, either. But I can't quibble, because they all act the fuck out of this movie. I keep having these nagging 20th century upper class psychoanalyst film thoughts, but as films about the emotional travails of privileged wealth go, this is pretty heart-rending, and the casting is a big factor in its effectiveness.
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (Default)
Watching Ordinary People, the famous 1980 film for which Timothy Hutton earned an Oscar; I'd never seen it before.

How weird, to see Hutton in this. I saw Moore first in The Dick Van Dyke Show, and then in the Mary Tyler Moore Show, and of course she's older here, but that's what people do; they get older. Sutherland is stranger, because I've only ever seen him as an older man, and here he's just middle aged, but it's not the hardest leap, to take twenty years off of an old man.

But Hutton...I've only seen a three-decades older Hutton, the incredibly able Hutton, with his charisma, his presence, the fine command of dialogue and deliberate body language: all in the vehicle of an middle-aged body, a deeper, rougher voice, a face that is quite attractive, but also lined and lived-in. This teenage Hutton is shocking to me, because he is instantly recognizable as the youthful version of that man; you recognize him at the first sentence, the first facial quirk. The mannerisms and the voice are the same as the adult version; the body is so incredibly young. How is this smooth-faced, light-voiced child this good of an actor? It seems only fair that a man Hutton's age can do what Hutton can do, with all those years of practice, but how is he here so good, so young? I can't believe my eyes.

...

There's a scene, near the middle of Ordinary People, in which Beth Jarrett, Moore's character, wanders out into the chilly yard to talk with her son Conrad. We have already seen that there is no intimacy between mother and son, and they strain to connect somehow; Conrad reaches for childhood memories--a pigeon that used to nest on Beth's car and frighten her, a dog that Conrad and his brother wanted when they were young--but Beth is uncomfortable with the note of discontent in Conrad's recollections, and the conversation quickly implodes; she retreats back into the house, abandoning her tentative effort at being a parent to her surviving son. It's very powerful, and it's a microcosm of the film; symbolic of everything wrong with the Jarretts, everything that Beth has withheld from her family. It's beautifully played--the ambiguous, wistful longing from both parties, the inevitability of their failure to make a connection, Conrad's pain, Beth's unwillingness to make anything but the most superficial acknowledgement of his existance. Her token gestures of motherhood--telling Conrad to work harder at swimming, to wear his jacket in the cold--are revealed as meaningless by her total inability to share a single moment of emotional honesty with her suffering son. It's quietly, almost gently heartbreaking, all this failure.
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (Default)
Good movies I have seen lately:

I Capture the Castle: omg, this was fantastic. Solidly filmed, lovely material about characters who are quite likable and interesting. Must read the book, now. Hey, Marc Blucas! I used to have a little crush on him when he was on Buffy, which came back for this movie, although he looks less impressively mountainous when he's not standing next to tiny Sarah Michelle Gellar.

Blade Runner (the Final Cut): No, I'd never seen it before. It was pretty fine. Harrison Ford was pretty fine. My friend from Los Angeles, who was sitting next to me, assures me that LA is exactly like that, including the flying cars, and who am I to argue?

The Music Man: I'm tempted to go into detail on this. It's not as good a movie as the others here--it's an okay movie and an okay movie version of an absolutely brilliant musical that I love--and I've seen it before (both this movie, and a high school production of it that I doubt was as good as I remember it being), but it got me to pondering what I like specifically about Marian as a character. Maybe more on that later.

Indiana Jones and the Raiders of the Lost Ark: Again, no, I'd never seen it before, although I have seen bits and pieces of the second and third Indiana Jones movies. Christ, it's racist, but what a solid and (despite the racism) enjoyable piece of filmmaking that was. Harrison Ford is pretty fine. So's Marion Ravenwood. More heroines should be named Marian; it seems to lead to good things.


Not so good:

Indiana Jones and the Temple of Doom: I gave up halfway through. It was just as racist as the first, and much nastier and darker to boot, requiring me to grit my teeth a lot harder. Harrison Ford is again pretty fine, but there are better, more pleasant movies in which he's fine, and plenty of them. When I read that Spielberg himself later admitted to not liking it (he thought the only good thing about it was that he met his second and present wife while filming it), I stopped trying to finish it. Ehhh.

Suburban Girl: As I described elsewhere.
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (Default)
Archival post: The Hooded Utilitarian blog post #2: Suburban Girl: Love and Work. Originally posted at The Hooded Utilitarian by Cerusee on 6-17-2009.

Suburban Girl: Love and Work )
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (chiaki)
I'm really going to need to see this: a live action version of Tezuka's MW, starring my adored, the talented and charismatic Hiroshi Tamaki (aka, the swoonworthy Chiaki from the live-action Nodame Cantabile. Hiroshi charmed equally with sex appeal and by his willingness to make the most ridiculous and undignified faces known to man when his character goofed around with the titular Nodame, played by the equally charming Ueno Juri). I think it very likely that Hiroshi will be just as deliciously watchable as a charming, murderous sociopath as he was as a grumpy conducting student haunted by an uncouth piano student. And he'll be wearing sexy glasses and a nice suit! It's Cillian Murphy as the Scarecrow all over again, folks--I'm a lost cause.

Which reminds me, one of these days, I need to get my hands on the Nodame Cantabile live action DVDs, preferably with English subtitles and in a format my DVD player can handle. That series was incomparably fun, and good enough to rewatch.
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (woman with hamster)
Novels/prose books:

Heyer, Georgette: Envious Casca, The Unfinished Clue
(Heyer's Handy Tips!, aka, Things I Have Learned from Georgette Heyer's Mystery Novels:
--Never throw a house party if you're a mean old bastard; you're sure to be murdered within a hundred pages.
--But! If you're an attractive, clever, forthright, and self-possessed single woman, the police investigations following these inevitable murders are a great place to pick up a worthwhile spouse).


Graphic novels:

Ware, Chris: Jimmy Corrigan, or, The Smartest Kid on Earth.

Appollo, writer, and Lewis Trondheim, writer and artist: Bourbon Island 1730.


Cooke, Darwyn, et al: Will Eisner's The Spirit vol. 2
(No, I'm not planning to see the Miller film adaptation. Yes, Kyle Baker was very funny on that subject. No, it didn't change my mind about Frank Miller being a poor match for the material.

Recent movie adaptations of comic books I haven't seen and have no interest in: The Spirit, The Dark Knight, Iron Man, Hellboy 2, The Hulk.

Forthcoming movie adaptations of graphic novels/comics I will have no interest in when they come out: Astro Boy, Captain America, The Avengers, Watchmen, Wonder Woman, Wolverine, Thor, any further entries in the Superman, Spider-Man and Batman franchises, any adaptation that falls short of the standard set by, say, Persepolis.

The best film adaptations of comic books tend to be no better than okay, and the worst are painful or outright insulting. I'm done with them, and I'm at peace with that).



Manga:

Ninomiya Tomoko: Nodame Cantabile vols. 13-14
(speaking of adaptations, I curse Hollywood's evil and unscrupulous money-grubbing use of DRM to create and enforce regional coding, which makes it impractical for me to import DVDs of the brilliant, hilarious live-action adaptations of this comic, even though no one in North America has any financial investment in or motivation to distribute it in this market, and this rarity, a truly worthy adaptation, is thus almost totally inaccessible to me in any legally sanctioned format. Stupid fuckers).
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (Default)
I'm much too lazy to actually ever write that post titled, You Know, You Guys Care Way Too Much About Getting Comic Books Turned Into Movies that's been eating at my backbrain for a few months, but Tucker Stone hits a few of the highlights that would be in it--namely, "comic book movies don't sell comics, and never have and possibly never will, but that's not necessarily a bad thing." Maybe I could write a follow-up titled, Are You Sure You Want To Become A Franchise? Or, Okay, So You Are Sure You Want To Become A Franchise, That's Cool, Your Life, But Don't Complain If I Don't Follow.

Getting stuff--particularly finished works--made into movies is really, ultimately, not about artistic validation. Right now, and in the foreseeable future, comics and graphic novels are a tiny, money-poor niche in publishing and in the broader American cultural sphere. It's hard to make a living on them. That's going to remain the case for the foreseeable future. Creators who benefit substantially from the occasional comic/GN-inspired movie will be few and far between (one can always live on the hope of that, I suppose; that's what the American dream is all about--letting gross inequalities of wealth and social resource remain standing on the unshakeable, delusional hope of the disenfranchised that they'll someday win the lottery or invent the perpetual motion machine and be welcomed into the Kingdom); creators who benefit artistically from comic books or graphic novels being made into movies will, I think, be even rarer.*

*Creators who benefit artistically from the creative innovations of film are not so rare.

So all that money and name recognition that gets thrown around with movies? Just remember you're not going to end up getting very much out of it, whether you're a reader or a creator of comics. Comics etc is not a money field. Publishing of any stripe is not a big money field. That is a reality all people who are part of book culture need to accept. I'm not saying, "don't hope and work for financial solvency and god willing, even profitability in book publishing or as a creator," but movies are not the holy grail that will make money issues in publishing go away.
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (I wasn't doing anything)
Well, that was quite bad. I think it would have been bad anyway, but unfortunately, the limited theater release version was a dub, and not a good dub. The English voice actors ranged from passable to "probably would have been good if they'd been recorded in the same room"; the English voices did not match the mouths of the Japanese actors, and this was painfully obvious most of the time. Many, many pieces of key information were delivered via Japanese text--none of which was translated into English. I was able to follow the plot because I knew it already, but my companions were extremely confused. One of them was unaware that Death Note is chock-full of English text, and assumed they were simply translating the text inconsistently, until I explained on the car ride home.

They changed the plot of the arc this movie covers in some key ways. The changes tied together coherently enough that I don't think I would have minded, had they done so in a manner that resulted in a good movie. Alas.

Despite it being bad, I really enjoyed it! It made me nostalgic for those days of yore when Death Note was just developing its English-language fanbase via scanlations, when it was still one of the best manga I'd ever read, before the spoilery things I shall not name, and back before it disappointed me. I loved this thing hard, and it was exciting to be in the fandom when it was young, although I forswore the fandom in fairly short order for being largely populated by pretentious dickheads.

The movie audience was a fun, noisy, young crowd--pretty much the con-going crowd, complete with L cosplayers. They were loud and obnoxious, cheered vigorously when L made his first appearance, and shouted out snarky remarks every time something particularly stupid happened or whenever something really important was conveyed via untranslated Japanese text. Since the movie was so bad, I think most of the audience (myself included) was deriving its primary entertainment from making fun of it, until an attendant came in and made everyone shut up. It's possible someone had gone and complained, but I sort of doubt that, since nobody in the audience evinced the slightest inclination to shush the theater before that. (And if they did, shame on them, because they ruined the fun of most of the people there, including my non-fandom companions.) This was not intentionally a fandom/con venue, but the zeitgeist was definitely that of a anime/manga con, and it's a pity that that was quashed.
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (Default)
We went to see Prince Caspian yesterday, and despite some very significant departures from the plot of the book, it was excellent and I thoroughly enjoyed it. Edmund was badass. They all were, especially Susan (she was really a lot more badass than she should have been, since she's supposed to hate violence, but it was so cool to see her fight on the same level as her brothers than I cannot bring myself to mind) but aside from the fact that Edmund has always been my favorite character, I was just thrilled to see him essentially get in the last and loudest word on a certain key character relationship. My sister and I cheered.

(Thoughts on Edmund and later Eustace: they are particularly dear characters because they have redemption stories. Both of them start out as somewhat warped, unlikable and rather unhappy people, and both of them become better, happier, and fundamentally more decent because of their associations with Narnia. Most of the other human protagonists start out better off than that, so they don't struggle in quite that way.

God, I hope they do make a The Voyage of the Dawn Treader movie. I can take or leave the rest of the books, and have no special desire to see them made into movies, but these adaptations have been a lot of fun, and Voyage is all about the fun.)

Prince Caspian is a hunk. I admit to having blinked a bit over the Susan/Caspian vibe, because in Voyage, Caspian flirts with Lucy, who in this movie is about ten, but they didn't push it too hard, and you can't really blame Susan. Caspian's hot! I'd make googly-eyes back at him, too!

Sunshine

Apr. 5th, 2008 12:25 am
cerusee: a white man's face with his hand holding up a lit match (the trick is not minding that it hurts)
I...wow.

Good movie. Up until about the last 35 minutes, which turned a visually stunning, imaginative, well-directed, and frightening science fiction movie into a so-so horror movie.

Scratch that. Good movie. I would have preferred that they made this movie without a certain element--I honestly think it was not required by the plot--but although the element disrupts the movie for me and subtracts more than it adds, it does pick up again at the very end.

Thoughts while watching:

--Does human opposition make the effort more meaningful? If you could make a sacrifice for the greater good, and you were sure to die anyway, and no one could ever, ever know whether it was you that failed, or even know about your sacrifice...would you be able to summon the strength to continue?

--One of the great things about a within-the-bounds-of-current-scientific-knowledge story set in space is tension between certain death and possible survival--"we're dead" vs. "there's hope." Sunshine uses this tension to wonderful effect, not by presenting any new tricks about how to die in space, but by executing the old ones really well.

--Cillian Murphy: beautiful and good. The repeated sequence of his character, Capa, being strapped into his space suit by someone else (the first time, in stark contrast to the Captain strapping himself in, the second, time, being strapped in by the man who volunteered to stay and die to save the others): affectingly pathetic, paid off when he finally straps himself into a suit himself.

--People die three ways: hot, cold, cut. Self-sacrifice, with hope, without hope. Three recurring images: sunlight, water, plants. The sun motif, over and over again. The end, in the grey box, with universe changing and distorting around us.


Highly recommended. It's not flawless, but it's still amazingly well-done, and it's a thinking movie made by people expecting a smart audience, so I forgive it for not being flawless.
cerusee: a white man's face with his hand holding up a lit match (lawrence of arabia)
Look, can we talk about Peter O'Toole already? I feel like we've been avoiding this conversation far too long as it is. Let's get straight to it: he's an acting god. He certainly seems to spend a fair amount of time playing god, or at least playing egomaniacs, psychotic killers, paranoid schizophrenics, sex gods, acting legends, and war heroes with disturbed personas. (Except for that one movie with Audrey Hepburn, which is entertaining beyond what it has any right to be. The world didn't need another larceny flick, but it's still a better place for O'Toole and Hepburn screwing around being gorgeous and funny, and How to Steal a Million is a clever and well-executed larceny flick.)

The only downside to his having lived this long is that at age seventy-four, he is no longer the most smokingly hot man I have ever laid eyes on. Still, he was kind enough to do his best work when he was beautiful, most especially in Lawrence of Arabia--which incidentally is the best movie ever made, and for about a week after seeing it for the first time, I replaced my standard greeting of "Hey, it's that guy," with, "Hey, have you seen Lawrence of Arabia?" (Disappointingly, no one's gone for the obvious punchline, or even the really clever less obvious punchline.) I'm not in doubt about my heterosexuality, but if I were, Peter O'Toole would clear things up nicely.

(And if you haven't seen Lawrence of Arabia, you should. It's only the best movie ever made, featuring the best performance of one of the world's greatest actors, living or dead, as one of the most complex and interesting men of the 20th century, but I don't want to oversell it or anything.)


So, O'Toole movies--I'm working my way through the canon as fast as the interlibrary loan can provide it for me. Night of the Generals, I'm only part way through, and it is a freaky, freaky movie, totally a treat for Omar Sharif and O'Toole in the same room, and god, why are they so hot as fucking Nazi officers? O'Toole looks good in a uniform, but he's a lot sexier in his Nazi general coat than he was in the British officer's outfit from Lawrence of Arabia, and it is very distracting. He is like a black hole of charisma; all attention is pulled to him when he's in the room, and it's damned difficult to look at anything else. Good thing he's the star.

Amazingly, he's less scary (so far) as Tanz in Night of the Generals than he was as Jack in The Ruling Class. The Ruling Class is a sick, vicious, twisted, hellaciously funny and weird movie, with just a wisp of a sentimental grounding to turn the ending into a heartache. O'Toole is an English Earl who is also a paranoid schizophrenic; he spends most of the movie believing he's God (he has scary blond Jesus hair and wears a white suit, and talks about love) and the rest believing he's Jack the Ripper. It's hard to say which is freakier. Murderous insanity is terrifying, but the verve and unpredictability of his Christ persona is somehow as unsettling as it is funny. O'Toole equally strong in both aspects, and makes them coherently part of the same madness, no mean trick. He's the reason to watch the movie. Again, it's the good thing he's the star. The other performances in this movie are good, but what drives both the story and the satire is the way that different characters react to Jack's loud, colorful insanity--some with frustration, some with amusement, some with ignorance, all with opportunism--which requires O'Toole to pretty much be the center of every scene in which he talks, and a few in which he doesn't, but does chirp like a bird.

By the way, I would rather by far watch Peter O'Toole chirp like a bird while dressed like Jesus in a lounge suit than watch Nicole Kidman in anything.

Regarding How to Steal a Million. It's not important. It is fun. A lot of movies have been made like this, and there's nothing particularly that requires O'Toole to be there; the character type he plays in it has been played creditably by many a lesser actor. That said, it's O'Toole, and he's a delight to watch, and if the role could have been played by a lesser actor, that certainly didn't stop him from turning in a superior performance--not overacting, mind you; he's charmingly understated. And while for some reason, he's brunet here, he is nevertheless still beautiful, and rather cute with Audrey Hepburn.
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (burning light)
I tried to watch the Appleseed movie. I got all of twenty minutes into it before I was forced to choose between turning it off or stabbing my eyes out with with the pens I use to hold my hair up in a bun. I wish a lifetime of pain on whatever wretch decided 3D animation was the wave of the future. The animation was hideous. It was like have your eyeballs painted with Barbie dolls.

And why do movies made from Shirow works have no sense of humor? Do they hire scriptwriters to sift through the source material and strip every remotely humorous line of dialogue or visual joke? I think I knew I wasn't going to be able to sit through the movie when Deunan sleeping on the floor was played for pathos. (In the manga, it's funny, dammit. Cynical and used to indicate that she's cautious to the point of paranoia--you can take the soldier out of the war zone, but you can't take the war zone out of the soldier--but funny.)

If not for GITS SAC, I'd think Masamune Shirow was the Alan Moore of Japan: doomed to have no really satisfying cinematic adaptations of his works. Except with cyperpunk instead of occultism and literary references.
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (Default)
Whoa! Weird. A little on the expressionistic side, and not in a good way. Overall, beautiful, highly watchable, and an interesting alternate take on the story.

Spoilers for series and movie within. )
cerusee: a white redheaded girl in a classroom sitting by the window chewing on a pencil and looking bored (Default)
Lockhyd: Miyazaki has definitely got Howl pegged.
Lockhyd: the prettiness, the bright, glassy eyes, the disarming manner--charming and devestating
Lockhyd: the way he so casually lays the smackdown on Sophie


Lockhyd: Michael is so young!
Lockhyd: he's just a little kid here
Mikkeneko: was he supposed to be a teen?
Lockhyd: in the book, he's old enough to be Martha's sweetheart
Mikkeneko: ah
Lockhyd: don't recall exactly how old that was
Lockhyd: old enough for lahv


Lockhyd: green sliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimmmmmme
Mikkeneko: yup
Mikkeneko: lovely histrionics
Lockhyd: XD XD XD XD
Lockhyd: his towel fell off


Lockhyd: ...I no longer recognize the plot
Mikkeneko: I don't even remember what the original plot was
Lockhyd: not this

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