Especially disappointing when it’s the Smartest Man in the World’s computer.
It was even dumber in the graphic novel: they originally put in “Rameses” and the computer asked, “Do you want to add a rider?”
Yeah, okay, let’s subtly reference the “Two riders were approaching…” quote from the beginning of the chapter, but come ON.
One thing that takes me out of the movie is obvious ADR.
Surely by now we are sufficiently advanced in digital technology to alter audio which is recorded in a booth, so it sounds like it’s in the same room the rest of the dialogue was. How hard can it be to tweak it to match? It’s no different to digital colour grading! Come on, people!
I’m sorry smeghead, are you Beyoncé? Or Jackée? Why are you taking this so personally?
Unless they’re obviously having fun with the exaggeration, like The Marine or Transporter 2. Hoot!
Right. As bad as Castaway was, this was the worst part of it: that it was a neverending FedEx commercial. Well, when it wasn’t being a Jeep commercial.
There’s a hilarious moment in* Double Team*, obviously meant as a joke on product placement, when a Coke machine saves a baby. Brilliant.
In their defense, if they had invented a package delivery company, the audience would be mentally replacing their logo with the FedEx one every time the fake logo showed up. According to the director’s commentary, no money changed hands. They got permission and cooperation from FedEx, but it’s not really a commercial if it’s not paid. Robert Zemeckis might be a slut, but he’s not a whore.
Unlike you, I enjoyed the film. Also, having no music for the entire time he was on the island was a very brave directorial choice. It’s not great art, but removing the emotional manipulation tool of music meant trusting the audience to far greater degree than usual for Hollywood.
There was no problem with the M–afterall, it was supposed to be an apt shared by both women.
I disagree with this. Most sitcoms of the 60s and 70s were NOT self-contained. The Dick van Dyke Show as well as Andy Griffith and Leave It to Beaver, all had long running plotlines or character development.
True, sometimes they did not pay attention to continuity issues, such as Mary Richards denying in one show that she was ever a cheerleader(she did admit to being a Pompon), than about 4 or so more shows (in the same season), she declares she was head cheerleader, but overall, the plot elements remained the same: she worked at WJM, she remained uncomfortable with confrontation (long after she should have learned to deal with it), single, etc. Several sitcoms had two part episodes.
Now, if you mean plot twists that were not explained, but left hanging to be caught up another time or season ala soap operas, then, yes.
Happy Birthday Wanda June “Nobody’s unhappy in Heaven. They’re all too busy playing shuffleboard!”
Technical expertise added to the script, but delivered incorrectly.
(Since I just saw this): I was really impressed with the way they obviously hired someone to make the technical dialog seem realistic for the scene in Breach where Chris Cooper’s character talks about the new computer system they’ll need, and mentions “an OC48 with a data rate of 2-point-4-8-8 megabits per second.”
I guess they couldn’t have had that guy they hired be on set that day, but it was a nice try.
(That was a comma there in your script Chris, not a decimal point. :))
Not to speak for smeghead, but you basically rule out any movie with hispanic cast members. Unless of course you forgot that we still count as American.
:rolleyes:
Once again, my racism is exposed.
I have to assume I didn’t see that one, or if I did I was so taken out of the movie I didn’t notice that line.
In any event, I withdraw my complaint. It appears to be an annoyance to enough people. My complaining, that is. Not the item I complained about.
Just giving a reason why someone might take it personally that any American with an accent in their name ruins a move.
Take it for what it was worth.
Seriously dude, if you want a list of real things to be upset about, I’ll be happy to supply you with one.
Yeah. That’s precisely the same.
A movie set in the 40s with no one smoking is like a movie set in present day with no one using a cell phone.
If the thread doesn’t already exist, it may be worth exploring when the cessation of smoking in movies began. I’d guess late 90’s or early 2000’s. But it’s just a guess.
The test case would have to involve a film noir sort of vehicle with minimal smoking, or a police procedural with lots of lowlifes who don’t smoke.
Take Blade Runner as a for instance. Not just the interiors but the whole movie is a smoke screen. The interview at the beginning is a commercial for tobacco.
And since Edward R. Murrow was always holding a burning cig, even Good Night and Good Luck had to remain true to the times portrayed and keep the smoke going.
Said another way: what’s the most recent crime story or period drama where there’s no smoking?
I’m sure someone smoked, but I don’t think any of the leads in LA Confidential did. I’m trying to recall now, it’s an interesting question.
Note that they managed to portray a heavy 3 or 4 pack a day man in “Thank You for Smoking” without us ever seeing him light up.
Sexism and Racism was also rife in that early period, and we don’t make a point of showing that- unless it’s plot point.
There’s little doubt that portrayals of smoking as sexy and sophisticated caused an increase in smoking. Teens, especially, are senesitive to this. We should not glamorize smoking or even show it, unless a crucial plot point needs to be met.
I don’t at all agree with that - it’s a period thing. Sanitizing casual sexism and racism out of movies set when such things were common and socially acceptable also would not be a good thing - having everyone acting as if they had the social mores appropriate for the present when the movie is set in a previous era would not be good for realism at all.