WriterJon

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  1. I think the exchange towards the end illuminates this quite a bit: Angier thought, based on his previous conversation with Cutter, that I also thought there was a nice dichotomy set up between Angier and Borden with the symbolic trick Also, I thought it was interesting that Borden tells Angier
  2. David Duchovny's cameo was definitely the greatest. "I'm a hand model, Mama. A finger jockey. We think differently than the face and body boys. We're a different breed."
  3. So... did anyone else think that Nebbercracker looked a lot like Gollum? (FWIW, I'm enjoying reading this exchange very much.)
  4. A few cents worth of opinion: Superman Returns felt very much like a new "origin" story, and I think that contributes to the unevenness of some of the film. While it's not as jarring as most superhero origin films are
  5. Numerous scenes from Zoolander: David Duchovney: "It's not up to you. At the proper moment, they'll trigger you. Usually using some kind of auditory or visual Pavlovian response mechanism." Zoolander: "Audi-what-ey?" "There was a moment last night, when she was sandwiched between the two Finnish dwarves and the Maori tribesmen, where I thought, 'Wow, I could really spend the rest of my life with this woman.'" "Mer-MAN!" And pretty much anything from the first two Naked Gun movies: "It's true what they say: Cops and women don't mix. It's like eating a spoonful of Drain-O, sure it'll clean you out, but it'll leave you hollow inside." "I can't hear you! Don't fire the gun while you're talking!" "Caucasian?" "Yeah, you know, a white guy. A moustache. About six-foot-three." "Awfully big moustache." "I'm sure that we can handle this situation maturely, just like the responsible adults that we are. Isn't that right, Mr... Poopy Pants?"
  6. Having gone all the way through Nicolosi's Act One program, I have ambivalent feelings towards her philosophy. She is insistent that the best thing for young Christians wanting to make movies is to be absorbed into the Hollywood system and change things from the inside out. I'm afraid that she's a bit schizophrenic when it comes to understanding exactly what she wants to accomplish. Is the point to create the best stories we can on film, or is it to be covert missionaries in LA? I think she's doing good work, but she needs to stop for a while and come up with a more coherent philosophy of Christian art in films. Having said that, I personally enjoyed WotW. I went in expecting a horror flick, and that's exactly what I got. Could've done without the Freeman-narrated bookends, though.
  7. It's been mentioned already, but Till We Have Faces is easily my favorite of Lewis's books, though in some ways it is his most difficult. Of course his works on apologetics are his most famous, and you might want to start with The Case For Christianity (an earlier and shorter version of Mere Christianity) and The Problem of Pain.
  8. Just finished Peter and the Starcatchers by Dave Barry and Ridley Pearson. The book aspires to be a prequel to J.M. Barrie's Peter Pan, and I think it half-succeeds in this goal. As a children's action-adventure book, it succeeds incredibly well.
  9. http://www.beautifulatrocities.com/2004/06...eit-911-vs.html
  10. How about the end of Do the Right Thing, when Mookie gets up from his considerations and tosses a garbage can through the pizzeria window? For most of the movie, Mookie is an empathic and "innocent" character that the audience identifies with. His decision was made after careful deliberation, though he apparently did think he was "doing the right thing."
  11. I concur. Having dreams of literary greatness myself, this story really struck home with me.
  12. True, the parallel threads of horror and comedy seem rather... oxymoronic at times. Some horror films throw humor into the horror, but it is usually black comedy. This is sitcom-type humor placed right next to disembowelments. Yet somehow it managed to pull it off. The coda felt like the perfect ironic ending to a zombie movie. After all, once the dead come back and eat the living, what's left to do?
  13. And while he's busy working out his past traumas in prose, children are exposed to philosophies from the pit of hell. (No, I don't think that Pullman is a "demon," but any story that has the death of God as its wish fulfillment might as well be demonic.) Sure, maybe he's had some terrible experiences with the Church (Catholic or otherwise), and I would hope that to be resolved someday, but he's only digging a deeper grave for himself and by his writing inviting others to join him. That being said, I agree that his writings demand a response that goes beyong a broad condemnation of his work. Once the disease is diagnosed, a cure must be sought. What form do you think this would take?
  14. The question of morality among the pagans is a tricky one, but St. Paul sheds some light on it when he says that all men have the law written on their hearts. This does not mean that every man has a full knowledge of morality and of what is required of him by God. Many people groups were and are lost in grave ignorance, and this has led to incorrect ideas of morality. For instance, if a tribe of islanders truly believe that a god lives in their neighboring volcano, and that if they do not throw a maiden into the mountain he will destroy them all utterly, then it is not precisely immoral for them to do so. They are ignorant of many of the greater elements of the moral law, and especially of the nature of the true God. From an outside and Christian moral viewpoint, their actions are gravely immoral. But since they are following their consciences as best they can, they are not precisely sinning, and in a strange and twisted way, may actually be virtuous. Now, the example of The 13th Warrior is somewhat different, I think. The cult of the "fat woman-like entity" is obviously relishing in darkness and destruction. Every man knows that hateful destruction is evil, and I don't think it's possible for anyone's conscience to be so deformed as to truly think this good. The massacres and worship of grotesque deities indicate that they are relishing their deformities, and that they know exactly what they are doing. They are worshipping evil; even by their own inadequate pagan standards, they can know that.
  15. Good point. But aren't the precursors to comic book superheros fairly "goofy," as well? Robin Hood has that feather in his cap and wears green tights. Tarzan swings on vines and talks to apes. There's a kind of inherent silliness that comes with the territory, but it works well for what it is. Right, I'm not demeaning the use of "silly" styles. I think that operas are silly, too. Perhaps "melodramatic" or "flamboyant" would be a better way of saying it. Hmm, I don't know. There's something that just doesn't quite seem to work when you try to translate two-dimensional ink drawings into flesh-and-blood actors on screen. Perhaps what works well on the page just stops working if an exact translation to film is made. On a similar note, I've read a handful of superhero novels, and they just did not work at all. The suspension of disbelief one gives to crudely-drawn images and speech bubbles just doesn't work for straight prose. Perhaps the same is true of film; some changes need to be made for the translation to work? Joel Schumacher did everything in his power to prove you wrong, and succeeded in spades, in my opinion. Touche. But didn't the first Batman film (1966) somehow "work" because of, not in spite of, its goofiness? I'm not sure that Schumacher's last two Batman films were really goofy so much as just plain weird and incoherent. At least the 1966 film had a kind of mad logic behind it. Sin City, on the other hand, doesn't strike me as being at all goofy in its source material, though it does appear to be very melodramatic. (I haven't read it, but I've seen it around.) Any director should, I would presume, seek to adapt that melodrama into the film.