Jump to content

Buckeye Jones

Member
  • Content count

    1,983
  • Joined

  • Last visited

About Buckeye Jones

  • Rank
    Killer of threads

Contact Methods

  • Website URL
    http://www.flickr.com/photos/ed_aisela
  • ICQ
    0

Profile Information

  • Gender
    Male
  • Location
    In America
  • Interests
    any roasted coffee, home renovation, travel, raising two boys, church, Swiffer, Charmin

Previous Fields

  • Occupation
    Market Research
  • About my avatar
    I think it's me.
  • Favorite movies
    (today) Empire Strikes Back, LOTR:FOTR, TT EE, ROTK, The Searchers, Braveheart, Raiders of the Lost Ark, Spartacus
  • Favorite music
    Copland: Appalachain Spring, Orff: Carmina Burana, U2 Joshua Tree, Zooropa, Achtung Baby, Rich Mullins, Resphigi: Pines of the Rome, almost anything from or by Pepe Romero; Buckeye Battle Cry, The Ohio State University Marching Band
  • Favorite creative writing
    JRR Tolkien LOTR/Silmarillion, the Hobbit; Tom Wright, Jesus and the Victory of God, Resurrection of the Son of God, For All God's Worth; Edmund Morris TR biographies. David McCullough's John Adams biography, Remains of the Day, Ishiguro.
  • Favorite visual art
    John Volck's stuff. And Dan Sorensen's.

Recent Profile Visitors

4,069 profile views
  1. Buckeye Jones

    Star Wars: Boba Fett spin-off movie

    If this was a Dengar movie, I'd be in. But ain't gonna pay money for someone who gets belched on by a sarlaac.
  2. Buckeye Jones

    Star Wars: Han Solo origin story spin-off

    I'd be very curious to know how this version differs from the Lord version, aside from the Bettany/Williams switcheroo. Were the clunky parts (the final act, especially) clunky because they pieced this thing together from two sources, or because Kasdan & Son wrote a clunky script? And I really would have loved to have seen the dude who played young Harrison Ford in the Adaline movie play Han in this movie. He just seemed to have the same knack at wry-ness that Ford has. There's one line in this film that made me react to it with a huge eye-roll, at the end, when one character says, "You're the good guy". To me, that tells me the filmmakers didn't understand their characters---at all. And that, more than anything else, is why I think Solo fails for me. It doesn't understand its own story.
  3. Buckeye Jones

    Avengers: Infinity War Part I

    Relentlessly okay is a pretty good descriptor. As franchise movies go, I'm more invested in the Star Wars series (though its long had diminishing returns, even as I remain favorably inclined to the new sequels, despite their faults), so I don't get tremendously excited when various Marvelista's appear or disappear. I found Thanos to be pretty engaging as a bad guy, even if his minions and their motivations never really gel. There was a bit too much Guardians of the Galaxy screen time, though I suppose the story demanded it to be so given the third act and its machinations. And I'm not sure that this ending could be affecting, as it is so obvious a set up for the next film, and with such clear Chekovian guns still hanging over their various mantles. For starters, of course, is that phone call that was never made between Cap and Iron Man, then Banner's impotence, as well as the fact that for an Avengers movie there was no Avengers reinstatement. So many MCU threads that need resolution, and resolution that won't take place until the fourth film. Just cinematically, this is half a story.
  4. Buckeye Jones

    A Quiet Place

    Two thoughts: the nail is exposed by the laundry bag earlier in the film, it gets snagged on a piece of splintered wood and is exposed when she pulls it up. However, having dealt with nails in wood floors for the past fifteen years, it is a pretty unlikely event to have the pointy end of the nail exposed like that. The second is that Brody's reading seems a little self-righteously ridiculous. The silent majority fighting back against dark skinned marauders is a little too New Yorker out there for me. I'm all for exposing subconscious and outright bias, but this is unsupportable. I'm sure there's a rhetorical error there somewhere.
  5. Buckeye Jones

    Christian Filmmakers Networking Group

    AWESOME. Two quick things/notes really. ONE--Most important one. I am writing a script based on 2 Kings 2:24. Its a gritty black comedy tale of REALISTIC violence and VENGEANCE: Logline: After his only son is mauled to death by a bear commanded by the Prophet Elisha, widower Elkaniah son of Jerushabem sets out to avenge his son's untimely death by betraying the kingdom to Naaman of Aram. But just when Elkaniah has turned his back on God, God has another thing planned for him. It's gonna be AWESOME. Like Passion of the Christ but with bears and prophets and romance (widower meets Shunnamite widow!!!) and faith and redemption and a little bit of deMille style decadence (you think Claudette Colbert was the only ancient person into milk baths?) TWO-- I couldn't help but notice your legends page felt a little .... well, not very legendary. But I was glad to see you had John Carpenter on there. Halloween was AMAZING.
  6. Buckeye Jones

    A Quiet Place

    Well, for what its worth, there was this older lady reflecting on the film afterwards: "I mean, why the @#%& would you have SEX when you know what's gonna happen!? Damn, girl!"
  7. Buckeye Jones

    A Quiet Place

    A taut little scifi thriller that takes a new twist on an old formula and creates a richer stew than the usual fare. SDG's review (which has a few notes that may best read until after you've seen it) captures a lot of what makes this a fine film: This happens fairly early in the film, and its important, I think, to pay attention to what each character does during that grace as it lays out some character notes that have meaningful payoffs. This movie really reminded me of Shyalaman's Signs. A family that's dealt with tragic loss in the midst of almost inconceivable circumstances holds out on a farm surrounded by cornfields, while ever tightening problems force them to rally around each other in unexpected (though perhaps in Signs' case, conveniently telegraphed) ways. Krasinki does great work with the sound design. His creatures are effective and scary, looking a bit like a mashup of the Stranger Things monsters and a Star Wars beastie meant to eat up our heroes. The casting is excellent, especially the girl who's deaf (Millicent Simmons). As SDG mentions, it is especially refreshing to see a functional family onscreen, and here's to hoping we see more.
  8. Buckeye Jones

    300 (2006)

    This thing is on Netflix, which means I've finally gotten around to seeing it. Ken's spot on with his 10 years review. I'm surprised that the film with all its stylization was as inert as it was. I also expected more gore, so I noticed that when the blood was flowing, the sand stayed unstained. This led to an almost clinical feeling--that there's no weight to this thing, even as it purports to showcase Spartan valor in the face of unstoppable invasion. The politics of this are a mess, I suppose, although it may have no politics to begin with. The end coda, with Dilius leading the charge lend only the tiniest gram of weight to the sacrifice of Leonidas, which could have been supplied with a much stronger dramatic arc. What if Gorgo was actually marshalling the army to come to their aid? What if she was evacuating the city and only needed three days' time? But nope--pretty much, what would it have looked like if we turned 300 the comic book into 300 the movie? And that's about it. One final shot--why the incessant narration? So annoying. My wife asked if I had the voiceover for visually impaired feature on.
  9. Buckeye Jones

    Star Wars: Episode VIII: The Last Jedi

    Well, she learned that the Force moves rocks. But the three lessons that Luke teaches her are 1) The Jedi are not the sole owners of the light side of the Force, 2) something else I've forgotten by now, and 3) I don't think he explicitly teaches her one, but I took it that Luke's final lesson is the sacrificial feint at the end, from which she learned that a real hero will give everything up of himself to save those he loves. But maybe it was the rock lesson. But was Yoda lying? She DID have everything she needed. I can't recall the actual line. I really don't get worked up about where Johnson took this as somehow subverting the Star Wars mythology, but I can see how one can be so inclined. When I reflect on the film, I just wish for a little tighter edit. What I'd really like to see are Lucas's treatments he passed along to Disney with the sale.
  10. Buckeye Jones

    Star Wars: Episode VIII: The Last Jedi

    SPOILER Peter wrote: Of course, the old Yoda, which is the only Yoda Luke knows, was the comical Yoda. Starwars.com (marketing, of course), has a relatively open interview with Johnson on his choices in VII here: http://www.starwars.com/news/we-had-such-a-great-time-rian-johnson-on-the-path-to-star-wars-the-last-jedi. The glove stuff doesn't bother me at all, nor does the recall of Darth Sidious. The Holdo stuff does, because its stupid within the story, even though it pays off with her jump to lightspeed. Moving Snoke out of the way, in a way that plays off ROTJ (with some direct quotes from that film here, e.g. the elevator ride) in an interesting way AND sets up a really tight action sequence and brings Ben Solo's character to a sharp point, even with the echo back to Vader's offer in ESB. The "let the past die" stuff is just a false hope on the character's part, even as the past literally dies. But it just doesn't die; it leaves a tremendous legacy that progresses the story forward in Rey's learning of Luke's lessons, and of course she may find those Jedi treatises more page-turning than Luke did.
  11. Buckeye Jones

    Star Wars: Episode VIII: The Last Jedi

    Saw that SDG and Peter Chattaway both reflected that THE LAST JEDI refutes/replaces many of the THE FORCE AWAKENS themes/directions or "mystery boxes". Much of the storyline in TLJ is specifically focused on moving on from the past, so thematically you could say TLJ is reacting to the nostalgia bomb that was in TFA. Though, at one of the initial climaxes, a dramatic and not unexpected shift in allegiance quickly blends callbacks to both ROTJ and ESB--it was as if Johnson faced nostalgia head on, and then shook it up. What follows is certainly exciting and interesting as it moves our players to the final acts of this trilogy. Ultimately, I didn't feel that TLJ refuted or rolled its eyes at TFA, even if what was set up as big fan concerns (you'll recall the endless debates over a couple of characters' origins) was rather quickly addressed and forced the characters to move on, or not, as the case may be. Hamill did really good work here, and I found myself wishing that instead of this trilogy, Lucasfilm had picked up the story 15 years earlier in the narrative. I think there was a ton of interesting story to explore with Skywalker's attempts at restoring the Jedi order, and the conflicts that arose in that time period that would have potentially been more dramatically satisfying than the current stories. But perhaps that was ground already covered in Lucas' own prequels, with Anakin's fall and all that. The diverging storylines probably could have used a little bit of tightening, particularly Finn's. And there's an important leadership lesson in the Holdo/Daemeron dynamic: If you actually have a plan in a stressful situation, its important to share it transparently. Would have saved a lot of headache and heartache. It's a good movie, with a lot to like. I tend to think it provides a valuable continuation of what started in TFA in a way that pushes the story forward in interesting ways but without "course correcting". SPOILER Having grown up as a kid seeing the original films came out, I am not a real fan of watching the big three not survive these individual films. I'd have loved to have seen Han, Luke, and Leia share some screen time again, and "pass the baton" if you will through means other than their deaths. I'm very glad Johnson put Luke and Leia together, even for a brief moment.
  12. Buckeye Jones

    The Lost City of Z (2016)

    Now streaming on Amazon Prime. Fascinating film. That final act, with father and son as co-explorers, is just a powerful piece of filmmaking. Peter mentions the color grading--it is a consistent washed out sepia tone through the entire film. Its effect is not unlike an instagram filter to create an "aged photo" feel. At times, it is distracting, particularly on the river sequences. It does communicate "heat" rather effectively, and perhaps tonally that one's perspectives always color the information one takes in. I found myself wishing for a bit more building of relationships between characters, but that final act, once son has grown up to idealize and inspire his father, hits me in the gut.
  13. Buckeye Jones

    Star Wars: Episode VIII: The Last Jedi

    Oh don't get me wrong--I'm definitely heading to see this on opening night in 3D Imax with my two boys. But you gotta admit, some of that trailer dialogue is pretty clunky.
  14. Buckeye Jones

    Star Wars: Episode VIII: The Last Jedi

    There is something truly special about the dialog in the trailer. It goes the way you think, if you think in cliche's, even if Luke says differently.
  15. Buckeye Jones

    The Magnificent Seven (2016)

    NBooth's post is worth at least 5 of the Magnificent Seven. This is one of those films that I left not just disappointed in, but I kinda actually hate. Its on Amazon Prime now, so I feel marginally better that I didn't pay extra for it. But I've seen a handful of Fuqua's films now, and I think he's got a dour heavyhandedness that makes his stuff just unpleasant. So the overall effect is a subversion of the mythic West (by now itself a cliche: Blood Meridian, the Wild Bunch, Silverado, Appaloosa, Unforgiven--heck, even the clunky 3:10 to Yuma remake have mined this ground with greater reward). But the dullness of it is overwhelming, with a dark, brutal, pounding of the senses with shooting and killing and meanness that is unleavened by any lightness. I get it--everyone wants to be gritty, and tell the real story of the Western, but I'm of the opinion you can't have your cake and eat it too. If you are making a PG-13 blockbuster remake of The Magnificent Seven, you need to lighten the load with likable characters (perhaps by not having one of your heroes blow the brains of out a two bit thief then shoot off his brother's ear then mock them in a sad attempt at humor or characterization), and some real sense of peril--some stakes, again, with people you might care about, or at least with characters that OTHER characters care about. Even the Robicheaux/Rocks/Chisolm relationship was hamfisted. Ugh. And I can't even remember the ending VO, and I watched this a week ago. Not a fan. I'd argue the right way to do this is to hand the reins over to Costner and let him turn it into an Open Range 2. That was a western that knew what it was doing--even with some pretty dark and gritty stuff happening.
×