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True, and upon reflection it's NOT sheer chance that their awakenings were necessary to the ship's safety. Jim woke up specifically BECAUSE of the damage that threatened the entire ship. So did Gus.
The damage isn't moot or irrelevant, in other words. Jim was a victim himself, in a sense.
But how much control did Whedon have over Branaugh's "Thor"?
There must have been SOME input, by Feige at least if not Whedon, in order for the films to lead properly into "Avengers."
But "Thor" still felt Branaugh-esque, for all its humor.
The morality can be said to balance ... but I don't think it has to balance.
In fact, the point of the story was that Jim's decision was unquestionably immoral, but he was a "drowning man" at that point.
Aurora came to see things his way because (A) by sheer chance his decision was critical to saving the entire ship and (B) more importantly, she finally realized what life would be like without him, or anyone else.
In other words, I don't see it as a story that requires moral balance so much as empathy and understanding between the main characters
MCU Thor was tongue-in-cheek from the get-go.
I figure they recognized the absurdity of the character (compared to which Iron Man is practically hard sci-fi) and kept it light.
Right, the "Big Monster" thing was another nice surprise for me - the previews made it look like some epic confrontation (and Hulk did manage to knock Surtur off balance), when it really played out as irritation all around - Surtur irritated at the interruption, Thor irritated at Hulk's single-mindedness, and Hulk irritated that he can't go on "winning."
Or maybe the parallel universe also ends when Colter leaves Sean's body. Colter's never around to find out, and therefore neither are we.
The freeze-frame could symbolize the "creation" of an independent parallel universe that could only come into existence with Colter's death in our universe.
Bottom line, we just don't know because the movie itself doesn't know (i.e., the characters themselves weren't sure what would happen with this clearly experimental technology).
I went back & watched it - I was wrong on both counts. He grabbed the tiles ahead of him, which supported him despite not being part of the "name of god." Also, there was nothing supporting the tiles - the struts I saw were in the foreground.
But that only means that many of the tiles were connected and solid, despite not being part of the "IEHOVA." They'd have had to be, in order to form a solid "bridge" around the I,E,H,O, V and A tiles. In retrospect, it looks like many or even most of the tiles were part of a solid platform with just a few "soft and crumbly" trap tiles, like the J and P.
Oh ... meanwhile the bridge problem is worse than I thought. The "paint job" incorporated/mimicked natural lighting, which would've changed with the time of day, season, weather, etc. But it's still one of my all-time favorite movie reveals.
And I'm even more convinced of the TVtropes posters' view regarding the first trap: Indy kneeled too late. He actually would've avoided the second blade anyway if he'd JUST knelt (i.e., not prostrated himself) - I guess he saw it coming and rolled out of the way unnecessarily. But if he'd dropped at the first hint of the "breath of god," he could've knelt AND prostrated himself safely.
The OP is probably one of those right-wingers who thinks "homosexual" equals "pedophile."
The capsule was entirely imaginary, I believe something he himself created in his head based on the container holding his actual, physical body (hence the resemblance of the capsule window to his container window, as well as his continual complaints about the cold).
The clincher for me is the final sequence, when he chose to go on one last mission to save the train. He went from sitting in a wrecked capsule in his T-shirt to being strapped into his seat, back in his flight suit, in a single cut.
The capsule's condition is representative of his own mental state. It's damaged and leaking when he's confused and scared. It's fully operational when he's confident and clear-headed.
What about the airline pilot who sacrificed himself to spare Sean, the 16-year-old?
Or Oscar's mother, who sacrificed herself after those two, but only after what was clearly some anguished mental hand-wringing.
Ultimately, it's a messed-up situation to paraphrase (the Asian guy?), so not much point in assigning commend-ability. I did like the silent's man's resolve and adherence to his principles.
But you can (and you did) also legitimately characterize his resolve as cold-hearted inflexibility, especially since Eric was able to exploit silent man's refusal to vote to eliminate fake-wife.
Or maybe it wasn't a bluff ... it was just Deckard's way of rejecting the imitation
I'll have to check it out in HD, but I thought Indy grabbed mainly at the edge of the lettered tiles, where it was still solid. I do recall there being very clear "struts" presumably supporting the proper tiles.
But as for #3, there's no defense; anyone with stereoscopic vision (i.e., two eyes) would have to concede that point. The entrance to the bridge was admittedly narrow, restricting the field of view and ability to move one's head, but still ...
... I'll never forget the theater's reaction (including my own), when the camera panned around to "reveal" the bridge's secret. It still makes it a forgivable movie-mistake for me.
(and yes, I realize that camera-angle revelation actually makes the problem worse, not better, because it started at a different viewing point from Indy's head)
Yeah I have to admit I have trouble understanding people who were OK with the aliens but hated the crossroads
The crossroads ties it all together, start to finish, as Michelle's character growth story, from someone who flees her problems (her boyfriend, the burned lady, Howard, the aliens) to someone who stands up to bullies and fights for others (the way she couldn't do against the abusive dad).
In my view, the crossroads is a justification for the aliens, if anything.
In all honesty, though, I have to admit to being one of the pro-aliens people. I figure that, while the movie was deliberately vague about what, exactly, was going on outside, it was relatively clear that SOME thing was going on out there.
I like to think it had a double-meaning.
On the surface, Jack knew he was dying and was smart enough to send a message to Exley using Dudley as the messenger.
But I also like to think Jack smiled because he'd realized Dudley WAS a "Rollo Tomasi," i.e., "the guy who gets away with it."
Fair enough - didn't know that about Christian prostration
Found a better answer on TVtropes anyway ... NEITHER blade would've killed a "penitent man" if he knelt at the first "breath" of god. In other words, when the wind starts, the properly penitent man kneels immediately, placing him below the first blade and stopping him before he reaches the second. When Indy dropped, he was already too far along, well within range of the second blade.
Someone there suggested that a penitent man would be inching forward on his hands & knees, below the first blade and slowly enough to trigger the second blade without reaching it.
I've seen her be callous & creepy in Knock Knock
Then homey & bland in War Dogs
Then (intentionally) the only true spark of life in this movie
She's definitely going places
I didn't take that as literal ... rather that they all hope to be special, individualized the way humans supposedly are
She may not even have known about the horse
Better to rule in hell than serve in heaven, maybe?
Just saw it again ... the glass never broke up. She slammed it down quite loudly and it was still there when she got up and walked out.
Agreed, it was the only part of the movie I didn't like
Not at all ... especially since the same company makes Joi "waifu" and replicants
Why wouldn't they offer replicant upgrades?
I also got a "her" vibe - seemed like Joi could not only adapt but evolve according to the user's needs
If they could make replicants, why not a pocket-sized AI?