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About Rushmore

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    Angry at the sun for setting

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    The whole argument from significant form stands or falls by volume. If you allow Cézanne to represent a third dimension on his two-dimensional canvas, you must allow Landseer his gleam of loyalty in the spaniel's eye.

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  1. Rushmore

    Watchmen (2009)

    The Dark Knight certainly has noticeable similarities to Watchmen in theme and tone. I don't know how much of this is The Dark Knight being influenced by Watchmen and how much is simply the tendency of dark-and-gritty superhero stories to gravitate towards this part of idea-space. It's much more obvious that Brad Bird's Tomorrowland was meant to be a response to Watchmen (among other things), where the Ozymandias figure, the one who tells people a lie in order to scare them straight, was an overt villain, not an ambiguous (anti)hero.
  2. The article they were discussing wasn't hard to find. To my mind, preserving the record always has value. When a community has existed as long as this one, some people will be interested in its history and development, and you can gain valuable information about such by accumulating a multitude of small data points. In this case, I would say the very fact that small threads about single articles like this used to be started all the time is worthwhile information, since it helps us see how the site has developed. I'd like to be able to go back and review many such threads if the occasion ever comes up. FWIW, I'm willing to put my money where my mouth is on this, such that if storage costs are the issue, this would get me to donate if donations for the site are opened up again.
  3. So, after an uncertain first few episodes, I started falling for this show pretty hard, and was completely in love by the end of Episode 9, the second-to-last. It's an incredibly insightful and sophisticated treatment of the difficulties of uncompromising religious faith in the modern world (not necessarily very insightful about Catholicism specifically, but I wasn't expecting that and didn't demand it), and one of the best dramatic treatments of a crisis of faith in general I can think of. And then a horrible, disastrous decision in the finale retroactively ruined the entire show. I'll still undoubtedly rewatch this numerous times, or at least the first nine episodes, but damn, what a frustrating experience.
  4. Rushmore

    Castle in the Sky

    Yeah, archiving and data preservation has been one of this site's weaknesses over the years, with every "upgrade" and redesign resulting in more loss. And the Wayback Machine coverage that far back is too spotty to be useful. I've been growing fond of good old phpBB lately.
  5. It looks like the vertically oriented poster images are squashed into a square, resulting in the same kind of distortion that you get from stretching a 4:3 DVD image to fill a widescreen TV. Can this be fixed?
  6. Looks like all is well now, thanks.
  7. For the last day or two, when I visit the site on a mobile browser, it looks like this, while the title displayed is "A configuration or server error has occured". I've tried it on both Firefox and Chrome on Android. Only the forum itself seems to be affected; the other pages (top 25 and top 100) display normally.
  8. Joyce and Hopper's meanderings could stand to be cut a bit, certainly. I guess that could trim off one episode. I'm still not sure there's enough dead wood in the remainder to cut another. (Again, lots of things could have been better, but the better version wouldn't necessarily be shorter.)
  9. For Season 2, yes, I don't disagree. For Season 3, I don't think so. Here are some things that Season 3 did: Introduced several hilarious new characters; Made more interesting use of El's powers, as the first time they really advance the drama, not just the plot (if that distinction makes sense): consider the scene where it's revealed that's she's used it rather unethically, though not with premeditated malice; Made more interesting use of Billy, who at first is a textbook ladykiller, i.e. someone whom we want to die, in accordance with horror tropes, and who then becomes more complex (almost, in a way, the replacement for the abused child El in Season 1); Finally brought the El/Mike ship in - this was in preparation since Season 1, of course, but it would be unsatisfying not to see it; Gave Brett Gelman a few more scenes to steal; Developed the odd couple/buddy cop dynamic of Steve and Dustin (consider the single line "If you die, I die," which hits harder than any number of lengthy speeches in war movies); Made Will more interesting than before, as the boy who, for the first time, is aware of his role as the conservative in the group of adolescents, the one who is pained and bewildered by the changes wrought by all these newfangled hormones (Noah Schnapp is a genuinely talented actor, and this is the first chance the show has really given him to show that); Developed the queer themes that were always latent in the show and would have rankled if not addressed, primarily through a candid, drug-assisted conversation in a later episode between two older teen characters, but prepared by an incredibly cutting line from a younger teen character several episodes before; Gave a certain 80s fantasy film genuine dramatic weight, not just nostalgic value, in a brilliant scene reminiscent of Magnolia; Developed a teenage-reporter storyline featuring a girl reporter and a boy photographer, without which a certain artistic integrity would have been lacking. Not everything in Season 3 was successful, of course, but I think it would have been hard pressed to compress all this further than it already was compressed. it could have been better, but I'm not sure that it could have been shorter.
  10. Anyone seen Season 3? I agree that Season 2 was a bit of a letdown. Season 3, while not that great as horror, is as good as the show has ever been as 80s-themed teen drama. Some of the writing and acting in the teenagers' scenes (both the older set and the younger set) are superb.
  11. Rushmore

    Day of Wrath

    Strange. It was attributed to Ron Reed in 2014.
  12. I've created a set of pages for the older top 25 lists in hopes that they'll be serviceable for the short term. Sneak preview here: https://simplegifs.com/stuff/artsandfaith/top-25-horror.html https://simplegifs.com/stuff/artsandfaith/top-25-road.html https://simplegifs.com/stuff/artsandfaith/top-25-marriage.html A few notes on these pages: This is not a professional quality design. I'm offering them simply as a stopgap until we have time/resources to put a more permanent solution in place, on the theory that they reach the "better than nothing" level. The images in the lists (not the images in the nav bar) are taken from the old versions of the top 25 pages. They should be responsive and at least readable on every commonly used device/browser. If they fail at this, please tell me. Also please mention any other accessibility/readability/usability concerns. The "Mercy" and "Waking Up" lists, as far as I know, have never been hosted at A&F at all, but only at Image (where they still are). I don't know the implications of that for re-hosting the lists on this site.
  13. There are still quite nice-looking versions of the lists on Image's website. Is it frowned upon to link to those now?
  14. For several years, I've been maintaining a spreadsheet of all the A&F lists. Here it is updated to include the new list. Interestingly, three of the films on the aging/growing older list—The Straight Story, Wild Strawberries, and Tokyo Story—are also among the films that have appeared on all previous versions of the top 100.
  15. Rushmore

    Stalker (1979)

    Thanks for this, Andrew. This is more helpful than anything else I've seen in coming to terms with my recent reaction to the film, which, at the end, was characterized by crushing disappointment. I felt like I had been tricked into taking a long journey into a black void. That doesn't mean I was oblivious to the beauty of it all. It would have been impossible to feel so profoundly unsatisfied if hadn't also fallen in love with the first two hours. The mesmerizing combination of natural beauty and industrial decay, the sound design, the interesting music choices that arise and pass away... The way the drama, the visuals, and our expectations for the outcome develop over time is absolutely masterful filmmaking. That lengthy rail-car shot, for example: it's beautiful in itself, but it's so good because it comes right there, after the (relatively) fast-paced action of dodging the soldiers and entering the Zone, and it's a perfect time to take a long breath and begin wondering who these men are.
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