View Poll Results: Beauty and the Beast

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  • Yay

    2 22.22%
  • Nay

    7 77.78%
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Thread: Beauty and the Beast (Bill Condon)

  1. #26
    Screenwriter TGM's Avatar
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    Quote Quoting Dukefrukem (view post)
    I dont know why you guys are upset that these movies exist. There's plenty of room for other things.
    It's just disheartening, especially when you consider that it's likely an entire generation will look at these inferior films as the definitive versions, as it'll be the ones that they grew up with. And, well, like Zac Efron said above, they deserve better than this shit that Disney's been churning out. Because there's a reason they used to just re-release the old classics over and over in theaters way back when, because those movies actually hold up, even revisiting them several decades later. But these new films? Yeah, they're pretty much dead on arrival, for all the reasons pointed out by trans, and only serve to highlight just how good the originals actually were.

  2. #27
    In the belly of a whale Henry Gale's Avatar
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    Quote Quoting TGM (view post)
    It's just disheartening, especially when you consider that it's likely an entire generation will look at these inferior films as the definitive versions, as it'll be the ones that they grew up with. And, well, like Zac Efron said above, they deserve better than this shit that Disney's been churning out. Because there's a reason they used to just re-release the old classics over and over in theaters way back when, because those movies actually hold up, even revisiting them several decades later. But these new films? Yeah, they're pretty much dead on arrival, for all the reasons pointed out by trans, and only serve to highlight just how good the originals actually were.
    Sure. I don't disagree with most of that, but I also don't feel like that sort of frustration over it going to make it stop. At this point all that can happen is either they get better or they don't.

    To me I'd oddly see it as it being similarly selfish and weird for them to just sit on the rights to these versions of the stories and never explore new possibilities with them, similar to them keeping things "in the vault" in decades past, even when (like with Condon's film here) they very much stick to the original template. But I'm someone who also always feels like more of something (or, in this case, more versions of something) is always a weird and wonderful thing, even in cases of clear inferiority or expectedly diminished returns.

    We live in a time where everything is now accessible all the time, everything is meshing together to become one collective noise, ads are art and art is advertising, kids now see everything whether they should or not and probably have a tougher time holding the same sorts of value in traditional forms of entertainment as a result. So finding ways to make things stand out and have any sort of quality controlled zeitgeist-harnessing ― especially regarding works from the past ― to become big cultural and film-going staples for future generations will only become harder without having new iterations of something to bring it sharply back into the consciousness and reignite conversation and celebration of it. Whether or not that new thing is any good or lets people actually revisit its origins is beside the point, because the consideration wouldn't have happened anyway.

    I have young cousins and friends my own age who had never wanted to see the original Star Wars trilogy until The Force Awakens approached. The masses probably didn't know what Tron really was other than some of its blue neon imagery before Kosinski's movie brought it back in a new way. And most people I know have still not seen any of the original Mad Max movies, but dammit if they don't love Fury Road.

    It's not a perfect example, but after years of people seemingly partaking in no dialogue about The Matrix other than how much they didn't like sequels ad nauseum over the years, the news of a potential reboot / prequel suddenly shifted the tone entirely to posts and articles of people coming out the woodwork to express how much they cherished that universe (once they usually vented their dismay over the potential new Wachowskis-less film). But I'm someone who also always feels like more of something (or, in this case, more versions of something) is always a weird and wonderful thing, even when there are cases of clear inferiority or expectedly diminished returns.

    And hey, I always liked but never fully loved Disney's original Cinderella in my single-digit years, and now I find myself weirdly in awe of Branagh's version. It clearly wasn't made with me in mind, but it hit me in a beautifully unexpected way in my adulthood. Plus Disney still re-released Beauty and Lion King in 3D this decade and that's probably the last time they could justify putting it back in wide-release theatres for kids to enjoy them with that sort of big, family-day-out experience.

    No one is replacing movies, and it's not like Disney can ignore the fact that people want to see them (as Beauty just opened with the 7th biggest weekend of all time). I'm not sure why they would go against their best interests just because they feel people like us might not want or need them. If every generation of filmmakers respected the sanctity of certain films considered classics, we wouldn't have endless other things we cherish. The best stories are the ones worth re-telling, and the ones most remembered are the ones told the most.

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    Last edited by Henry Gale; 03-20-2017 at 05:07 AM.

    Wonder Woman (Jenkins, 2017) - ***˝ / 7.9
    Alien: Covenant (Scott, 2017) - *** / 7.7
    Guardians of the Galaxy Vol. 2 (Gunn, 2017) - *** / 7.1 --> 7.6 (after 2nd time)
    King Arthur: Legend of the Sword (Ritchie, 2017) - ***˝ / 7.9
    The Beach (Boyle, 2000) - **˝ / 5.3
    The Fate of the Furious (Gray, 2017) - *** / 6.7
    Beauty and the Beast (Condon, 2017) - *** / 6.8
    La La Land (Chazelle, 2016) - **** / 9.5
    T2 Trainspotting (Boyle, 2017) - ***˝ / 8.7
    Logan (Mangold, 2017) - ***˝ / 8.3
    John Wick: Chapter 2 (Stahelski, 2017) - *** / 7.5
    Get Out (Peele, 2017) - **** / 8.9

  3. #28
    Quote Quoting Dukefrukem (view post)
    There's plenty of room for other things.
    Where?

    If you're talking theatrical, there isn't any room at the multiplex, because a movie is either in 3,000 theaters across the country or it's nowhere. If you're not talking theatrical, it doesn't matter, really, because room for everybody means nobody gets noticed. (VOD is a wasteland of poor discovery.)

    Every time some shit blockbuster does well -- and more and more I'm convinced these movies do as well because of lack of choice at the multiplex -- every time, it means the bar drops just a little bit more and the bar has been dropping for 30+ years.

    More blockbusters means less variety at the theater, because only the biggest films will play there. There no room for things like "The Wailing," (36 theaters in the US) or "Elle" (209 theaters) or even "Everybody Wants Some" (454 theaters) and "Moonrise Kingdom" (924).

    Less variety means a dead art form and a dying culture.

    Quote Quoting Henry Gale (view post)
    But I'm someone who also always feels like more of something (or, in this case, more versions of something) is always a weird and wonderful thing, even when there are cases of clear inferiority or expectedly diminished returns.
    This is a strange way of looking at anything, much less something that aspires to be art, even commercial 'art.'
    "I don't have time to only care about good."—Duke

  4. #29
    Replacing Luck Since 1984 Dukefrukem's Avatar
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    You guys are making me depressed. Hating this movie is like listening to the liberal media today. And comparing it to Everybody Wants Some is fake news.

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  5. #30
    Stunt Man
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    Unironical "liberal media" and misused "fake news" within the same post, lol.
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  6. #31
    Quote Quoting Dukefrukem (view post)
    You guys are making me depressed. Hating this movie is like listening to the liberal media today. And comparing it to Everybody Wants Some is fake news.
    I've re-read this post about 10 times, and it gets weirder every time.
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  7. #32
    Not a praying man Melville's Avatar
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    Quote Quoting Dukefrukem (view post)
    You guys are making me depressed. Hating this movie is like listening to the liberal media today. And comparing it to Everybody Wants Some is fake news.
    This may be the most confusing post I've ever read on match cut.
    I am impatient of all misery in others that is not mad. Thou should'st go mad, blacksmith; say, why dost thou not go mad? How can'st thou endure without being mad? Do the heavens yet hate thee, that thou can'st not go mad?

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  8. #33
    Replacing Luck Since 1984 Dukefrukem's Avatar
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    What's so confusing about it?

    The Liberal Media makes everything depressing. Everything is bad. Everything is wrong.

    Comparing Everybody Wants Some, The Wailing, Elle to a huge movie like this is apples to oranges.

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    Quote Quoting D_Davis (view post)
    Uwe Boll movies > all Marvel U movies

  9. #34
    walks with the dead. Dead & Messed Up's Avatar
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    I figured it was a cheeky use of "fake news," the way Trump now uses it for pretty much anything he doesn't like.

  10. #35
    Replacing Luck Since 1984 Dukefrukem's Avatar
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    Of course it was.

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    Quote Quoting D_Davis (view post)
    Uwe Boll movies > all Marvel U movies

  11. #36
    In the belly of a whale Henry Gale's Avatar
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    Quote Quoting Irish (view post)
    This is a strange way of looking at anything, much less something that aspires to be art, even commercial 'art.'
    Well, I mean in the sense that I simultaneously feel a keen interest as well as a detachment of it being largely out of my hands as to what things get made anyway, other than for the tickets I buy and whatever other forms of wallet-voting or conversation I want to conduct about the thing at hand. There is a certain justice that should be upheld in storytelling and media as much as any aspect of society, but let's go back a few decades to certain movies with gullies of things like questionable-to-outright-terrible sexual and racials issues littered through "beloved" works that we can't pretend didn't exist that have and still can only improve over time the more we're conscious of them. Hell, let's just do an even sub-par Breakfast at Tiffany's remake without a Mickey Rooney fiasco in it just so we can properly point out to onward generations the original issue there.

    But I do also always enjoy the ironic and wild nature of culture as it goes through various cycles. Like when there were those 4 or 5 years that everyone complained about everything being vampire-related.. I just sat back in confusion going, "Who cares? The time is now for everyone to get their vampire ideas made. Some will be shit, some will be great, and then it'll move on." and now we're post-Twilight and True Blood, and managed to get things like two stellar cinematic versions of Lindqvist's Let the Right One In we can hold onto.

    I love looking at things as kitsch in the moment, and then loving if/when anyone else follows that thinking later. Wild things are being made constantly, you can choose to focus and vocalize your interest in what you do like or complain about what you don't. I'm probably watching it all anyway.

    But in the cases of these Disney remakes, superhero movies, and even things like The Matrix, we're dealing with fables. Both modern and of the past. The strongest stories have always been the ones that are retold throughout generations. Film is only a century or so old, so we're now at the point where it might be overwhelming and even disheartening to see the turnaround on certain remaking happen so quickly, but again, where we are now as a mono-culture, it's the nature of the beast to cut through the noise with familiarity of certain titles, and hope in that hole broken in the wall you can sneak in completely original stuff in behind it.

    To me, films don't function literature or music where the original source (especially when they're already adapted works themselves) is the text and the sacrasant thing to republish instead of re-work. Cinema (especially mainstream) and television is theatre, it's a production, it's a time capsule, it's a living snapshot of an interpretation of a moment through a story, and then if over time it endures and is well-thought of enough, hopefully the right people find a way to do it again. Maybe they'll even find ways to improve here and there, if not fully.

    Example: This movie. Things like the Beast's song here are great, much of the design is stunning. Another new song is a bit of a clunker, some of the look of the characters are really garish to me. The overall production is a lesser work. I'm also glad it exists.
    Last edited by Henry Gale; 03-20-2017 at 05:27 PM. Reason: Fixed/added some lines.

    Wonder Woman (Jenkins, 2017) - ***˝ / 7.9
    Alien: Covenant (Scott, 2017) - *** / 7.7
    Guardians of the Galaxy Vol. 2 (Gunn, 2017) - *** / 7.1 --> 7.6 (after 2nd time)
    King Arthur: Legend of the Sword (Ritchie, 2017) - ***˝ / 7.9
    The Beach (Boyle, 2000) - **˝ / 5.3
    The Fate of the Furious (Gray, 2017) - *** / 6.7
    Beauty and the Beast (Condon, 2017) - *** / 6.8
    La La Land (Chazelle, 2016) - **** / 9.5
    T2 Trainspotting (Boyle, 2017) - ***˝ / 8.7
    Logan (Mangold, 2017) - ***˝ / 8.3
    John Wick: Chapter 2 (Stahelski, 2017) - *** / 7.5
    Get Out (Peele, 2017) - **** / 8.9

  12. #37
    Quote Quoting Henry Gale (view post)
    There is a certain justice that should be upheld in storytelling and media as much as any aspect of society, but let's go back a few decades to certain movies with gullies of things like questionable-to-outright-terrible sexual and racials issues littered through "beloved" works that we can't pretend didn't exist that have and still can only improve over time the more we're conscious of them. Hell, let's just do an even sub-par Breakfast at Tiffany's remake without a Mickey Rooney fiasco in it just so we can properly point out to onward generations the original issue there.
    Jesus, what? You can't be serious. That's a horrifying idea. (And who gets to play censor?)

    (Reduced to its logical conclusion, this is the same sort of thinking that makes Facebook blur the tits off an image of "Venus de Milo," or inspires the removal of Huck Finn from libraries.)

    But I do also always enjoy the ironic and wild nature of culture as it goes through various cycles. Like when there were those 4 or 5 years that everyone complained about everything being vampire-related.. I just sat back in confusion going, "Who cares? The time is now for everyone to get their vampire ideas made. Some will be shit, some will be great, and then it'll move on." and now we're post-Twilight and True Blood, and managed to get things like two stellar cinematic versions of Lindqvist's Let the Right One In we can hold onto.
    I'm with you in spirit, but this ain't that.

    I mean, all those vampire movies didn't cost $200 million apiece and come attached with $100 million ad budgets, and they didn't swamp the larger culture for a decade. In other words: There's a huge difference between a flavor-of-the-month like "Twilight" or Pottermania and the deleterious effect of blockbuster culture over time.

    These stories aren't fables. They are intellectual property. They aren't being retold over and over again because they resonate across time and culture. They aren't being retold because some auteur had a personal, burning desire to CGI Beast onto the big screen, or tell more stories about Neo and Morpheus. They're being re-told for a buck. I would have zero problem with that if they didn't elbow everything else out of the frame.

    I do love it when somebody shows up with a different angle, like John Carpenter did with "The Thing" or Cronenberg did with "The Fly." Likewise, things like "Wicked" and "Maleficient," etc. Because regardless of quality, at least there's an idea there and a fresh thought at the start.

    But remaking "Beauty and the Beast" and tacking on a couple of new songs and a few extra shots is not the same thing.

    PS: "Let the Right One In" is being remade as a TV show, by the showrunner of MTV's "Teen Wolf." Still think reboot culture is cool?
    Last edited by Irish; 03-20-2017 at 06:00 PM.
    "I don't have time to only care about good."—Duke

  13. #38
    kill it with fire Skitch's Avatar
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    I hear both sides. I would put out there though, there are like a dozen film versions of Beauty and the Beast.
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  14. #39
    walks with the dead. Dead & Messed Up's Avatar
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    Quote Quoting Skitch (view post)
    I hear both sides. I would put out there though, there are like a dozen film versions of Beauty and the Beast.
    Yeah, it's hard to object to this remake on any sort of principle (I mean, how dare Disney bother in 1991 when Cocteau's version was the definitive version?!) - it's more an issue with this specific version looking like a cynical retread meant to reinforce Disney's version of the story as the definitive one. Honestly, this Disney live-action remake business plays like a response to the box-office success of the non-Disney version of Snow White with Charlize. Like Disney realized, "If we let other people create successful versions of these unlicensable stories, people might associate those stories with a company that isn't us, and fuck that right out the window."

  15. #40
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    I can't wait until Disney remakes Peter Pan with Joe Wright.
    I'm back to rating shit again.

    Carol (Todd Haynes) - ***
    Phoenix (Christian Petzold) - ***˝
    The Hateful Eight (Quentin Tarantino) - ***˝
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  16. #41
    Quote Quoting Skitch (view post)
    there are like a dozen film versions of Beauty and the Beast.
    Yes, but they weren't all musicals involving singing tea cups. This is more a direct remake of "Disney's Beauty and the Beast" and less another version of "La Belle et la Bęte."

    The closest analog I can think of is Gus Van Sant's "Psycho." Remember that one? Audiences and critics turned on it immediately, partially because it was a redo of a classic and partially because nobody except Van Sant saw the point in a shot-for-shot remake of a widely known film.

    Twenty years later, that model has become corporate strategy and audiences seem to love it.
    "I don't have time to only care about good."—Duke

  17. #42
    In the belly of a whale Henry Gale's Avatar
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    Quote Quoting Irish (view post)
    Jesus, what? You can't be serious. That's a horrifying idea. (And who gets to play censor?)

    (Reduced to its logical conclusion, this is the same sort of thinking that makes Facebook blur the tits off an image of "Venus de Milo," or inspires the removal of Huck Finn from libraries.)
    Wait.. I thought I was clear but I should clarify I meant revising problematic aspects with new productions of stories rather than editing them out of the older versions.

    Film-wise, I am very against Lucas-ing. Blade Runner-ing I am mostly fine with as all versions remain available.

    Wonder Woman (Jenkins, 2017) - ***˝ / 7.9
    Alien: Covenant (Scott, 2017) - *** / 7.7
    Guardians of the Galaxy Vol. 2 (Gunn, 2017) - *** / 7.1 --> 7.6 (after 2nd time)
    King Arthur: Legend of the Sword (Ritchie, 2017) - ***˝ / 7.9
    The Beach (Boyle, 2000) - **˝ / 5.3
    The Fate of the Furious (Gray, 2017) - *** / 6.7
    Beauty and the Beast (Condon, 2017) - *** / 6.8
    La La Land (Chazelle, 2016) - **** / 9.5
    T2 Trainspotting (Boyle, 2017) - ***˝ / 8.7
    Logan (Mangold, 2017) - ***˝ / 8.3
    John Wick: Chapter 2 (Stahelski, 2017) - *** / 7.5
    Get Out (Peele, 2017) - **** / 8.9

  18. #43
    kill it with fire Skitch's Avatar
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    Quote Quoting Henry Gale (view post)
    Blade Runner-ing I am mostly fine with as all versions remain available.
    Good point. And if you have to go Alexander-ing, just throw it in the trash.
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  19. #44
    Quote Quoting Henry Gale (view post)
    Wait.. I thought I was clear but I should clarify I meant revising problematic aspects with new productions of stories rather than editing them out of the older versions.

    Film-wise, I am very against Lucas-ing. Blade Runner-ing I am mostly fine with as all versions remain available.
    You were clear. You suggested excising aspects from "Breakfast at Tiffany's" with a new, socially conscious version. (Nevermind that "Tiffany's" is a story about a gay (?) man who is half in love with a call girl. People will always find one aspect of that or another problematic, even after you judiciously kick Mickey Rooney out of the picture.)

    This reminds me of an essay Ray Bradbury once attached as an author's note to the end of "Fahrenheit 451." It seems people were always writing him with "suggestions" on how to "improve" his work -- but really, they wanted to take a fat, black marker and cross out whole sections. The essay was a polite and creative way to tell them all to go to hell.

    So yeah. Still a gross idea.
    "I don't have time to only care about good."—Duke

  20. #45
    My bathmats are GORGEOUS. Ivan Drago's Avatar
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    Come on, guys. What's the point of arguing? We all know Beastly is the definitive adaptation of this classic fairy tale.
    Last Five Films I've Seen

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    My Cousin Rachel (Michell, 2017) 7


  21. #46
    In the belly of a whale Henry Gale's Avatar
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    Quote Quoting Irish (view post)
    You were clear. You suggested excising aspects from "Breakfast at Tiffany's" with a new, socially conscious version. (Nevermind that "Tiffany's" is a story about a gay (?) man who is half in love with a call girl. People will always find one aspect of that or another problematic, even after you judiciously kick Mickey Rooney out of the picture.)
    ["Is this the moment where I realize I've actually never seen it?", he thought to himself.]

    Quote Quoting Irish (view post)
    This reminds me of an essay Ray Bradbury once attached as an author's note to the end of "Fahrenheit 451." It seems people were always writing him with "suggestions" on how to "improve" his work -- but really, they wanted to take a fat, black marker and cross out whole sections. The essay was a polite and creative way to tell them all to go to hell.

    So yeah. Still a gross idea.
    Of course. He is the author, he has every right to control and preservation of the vision he created. Again, no one is removing or replacing the original text.

    Shūsaku Endō wrote Silence in 1966, Masahiro Shinoda directed the film of it in 1971, and then Scorsese did the same last year (45 years later). The last of these will surely be the one most in the public consciousness, but without it, would we even be thinking about the other two? And is four and a half decades with a director of a certain caliber the thing that validates it having a perceived moratorium being lifted from it? Or did people not cherish the original enough to care?

    Any successive versions of the same story should be seen as totally valid too, and though opinions can exist as to whether or not it should exist, in the end, it should then be judged as a work in and of itself at that point, not with some inherent generalization that because it's been done that it's already worthless. We have very recent instances of remakes like the recent RoboCop, Total Recall and Carrie ones, where even three to five years later it's safe to say no one is talking about or thinking about them, and the power of the originals endure. Should original ideas have been made with that same money as their budget? Absolutely, but that's a whole other conversation as to why studios would rather make one $120 million movie than six $20 million ones these days. It's a go big or [audiences] stay home in their minds.

    But what's wrong with a kid having this version of B&TB this past weekend and have it be the one that brings them immense joy and gives them a love for the material similar to how I did with the objectively superior 1991 one? There's no ensuring that at home they would've been as enraptured by Disney's original at some point, or if their parents would've ever shown it to them, but as a big cultural moment and movie-going event, they likely went. I don't remember the first time I most movies I watched at home as a kid, but I can tell you exactly where I saw and how I felt when I saw movies in the theatre as a kid, because it was almost always a more memorable and impactful experience.

    My only real pet peeve is now Googling "Beauty and the Beast" and having the new one take precedence on the right side as its assumed result.

    Quote Quoting Ivan Drago (view post)
    Come on, guys. What's the point of arguing? We all know Beastly is the definitive adaptation of this classic fairy tale.
    Nah bro, gotta be on that CW tip. Looks at this hideous beast. Much to suffer.

    Last edited by Henry Gale; 03-21-2017 at 02:55 AM.

    Wonder Woman (Jenkins, 2017) - ***˝ / 7.9
    Alien: Covenant (Scott, 2017) - *** / 7.7
    Guardians of the Galaxy Vol. 2 (Gunn, 2017) - *** / 7.1 --> 7.6 (after 2nd time)
    King Arthur: Legend of the Sword (Ritchie, 2017) - ***˝ / 7.9
    The Beach (Boyle, 2000) - **˝ / 5.3
    The Fate of the Furious (Gray, 2017) - *** / 6.7
    Beauty and the Beast (Condon, 2017) - *** / 6.8
    La La Land (Chazelle, 2016) - **** / 9.5
    T2 Trainspotting (Boyle, 2017) - ***˝ / 8.7
    Logan (Mangold, 2017) - ***˝ / 8.3
    John Wick: Chapter 2 (Stahelski, 2017) - *** / 7.5
    Get Out (Peele, 2017) - **** / 8.9

  22. #47
    My bathmats are GORGEOUS. Ivan Drago's Avatar
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    Quote Quoting Henry Gale (view post)
    Nah bro, gotta be on that CW tip. Looks at this hideous beast. Much to suffer.

    Child, please.

    Last Five Films I've Seen

    Road To Perdition (Mendes, 2002) 9
    Rough Night (Aniello, 2017) 7
    The Mummy (Kurtzman, 2017) 4.5
    The Silence of the Lambs (Demme, 1991) 10
    My Cousin Rachel (Michell, 2017) 7


  23. #48
    In the belly of a whale Henry Gale's Avatar
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    Always thought it was a bold move for them to not give Perlman any make-up.






    [
    ]

    Wonder Woman (Jenkins, 2017) - ***˝ / 7.9
    Alien: Covenant (Scott, 2017) - *** / 7.7
    Guardians of the Galaxy Vol. 2 (Gunn, 2017) - *** / 7.1 --> 7.6 (after 2nd time)
    King Arthur: Legend of the Sword (Ritchie, 2017) - ***˝ / 7.9
    The Beach (Boyle, 2000) - **˝ / 5.3
    The Fate of the Furious (Gray, 2017) - *** / 6.7
    Beauty and the Beast (Condon, 2017) - *** / 6.8
    La La Land (Chazelle, 2016) - **** / 9.5
    T2 Trainspotting (Boyle, 2017) - ***˝ / 8.7
    Logan (Mangold, 2017) - ***˝ / 8.3
    John Wick: Chapter 2 (Stahelski, 2017) - *** / 7.5
    Get Out (Peele, 2017) - **** / 8.9

  24. #49
    The Pan
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    I'm enjoying this conversation, and far more sympathetic to Irish's side than anything else I'm seeing here.

    As I see it, what is to bemoan here is not the mere fact of remakes or even reboots. For my part, I hardly think that something "being done before" is disqualifying. I'm fascinated by adaptations and remakes (which are, effectively, adaptions that don't move between media) and believe a lot of great art has been created from creative interpretations of existing works. What I object to with the New Disney Strategy is the sense of excessive corporate planning, projects designed to, above all else, extend brand life and consumption.
    It's why I find Henry_Gale's comparison to Endo's novel weak. For Scorsese, adapting Silence was a decades-held passion project that was forever in search of the right timing, the right players, and the right funding. He fervently desired to bring it to the screen because he read the novel and wanted to bring his vision of it to life. Beauty and the Beast happened because executives decided that they needed to fill a release slot and, after Maleficient, Cinderella, and the Jungle Book, it was Beauty and the Beast's time in the Animated Canon Remake Project. It was typed into the release schedule and a team was assembled to make it happen. In a few ways, this is the prestige version of the much-derided direct-to-video mill DisneyToon Studios was functioning as through the 90s and early 2000s, though I actually think that some of those cheap sequel projects had a bit more ingenuity and vision to them than the new live-action remakes.

    Endo's novel (well-remembered today among Japanese readers as well as anyone outside Japan who studies modern Japanese literature or is interested in canonical works on faith in world literature), Shinoda's film (hardly seen outside of or inside of Japan, with Endo as a credited co-writer on the screenplay), and Scorsese's film all will continue to exist, even if Scrosese's will be more prominently remembered (or not, no one saw it). The same, of course, is true of both versions of Disney's Beauty and the Beast. But the beholdenness to the 1991 animated film as original, with the reason for its being seemingly just to "honor," "renew," and "capitalize on" the original is terribly uncompelling.

    I can't valorize more consumption of the Beauty and the Beast in whtever form as anything like an unqualified net good. I understand the economic rationale for Disney's move to produce these. What I bemoan is that it's working so goddamn well. That audiences want to see it this much. This ties into the death of middle-tier studio movies, to be sure.

    (please forgive the awkwardness of this post--I recognize I had a few more things I wanted to say to wrap it up, but I've been writing something else all day and my brain is shot)

  25. #50
    kill it with fire Skitch's Avatar
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    Well said.
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