And a number of other films, not just with Stiller.

What’s there to miss?

I mean cool I guess but why this one? I feel like there are much better stories he has made that would be better to adapt into live action.

No, I loved it, it was a sweet sweet taste of what he may have done if Chris Farley hadn't died and left Myers to do Shrek (yeah yeah, he had the Austin Powers movies i there, too).

Shinkai is just about the best animator going right now. His movies look amazing, can't wait for Suzume to release in the US in a week or two

Tree Of Life (You can name any Terrance Malick movie for that matter I guess) is absolutely stunning

At least it was motorbikes instead of cars.

You're reading into it too much. And that's saying something because this is already one of the most discussed and dissected scenes in film theory courses from the last half century.

However, there is some symbolism with the reflection--though I might suggest that "symbolism" is too strong a word.

Symbolism in movies only really works when it appears as a motif--a recurring composition, action, object, musical cue, or dialogue. Symbols require definition to hold meaning. Authors employ motif to signal the definition before the symbol is placed into the context which the author wants to draw meaning from.

So, where else in The Matrix do we see reflections? Easy, it's the next scene. There's a cracked mirror near him when he sits down to be extracted, it then repairs itself and tries to kill him.

Briefly--because there's literal libraries worth of chapters and essays written on this scene--how things are perceived--or reflected--in the Matrix is a recurring topic of exposition and philosophical musing--Residual Self Image and all that. Morpheus' glasses reflect that theme and foreshadow many layers of what's to come. That Neo reaches "into the reflection" of the glasses foreshadows both Neo's "physical" contact with the mirror and the thematic journey he is embarking on. That the mirror immediately tries to kill him exposits the hazards of pursuing truth and foreshadows the threat his own reflection--his own self image--poses to him.

But trying to draw meaning from right hand/screen left is reaching into your own construct rather than the film's. It's already thematically hefty. That the reflection operates normally on screen should signal a weight limit. Your own words signal your value of "personal" perspective--your residual self image--more than the pursuit of truth. That mirror is hazardous.

From one person who offered no proof.

Legit OP only movie Ive watched since 2019 is Fury Road haha.

It feels like 8 out of 10 movies in general is a reboot, sequel, or MCU movie. As I didnt even like MCU movies in 2010, i especially dont care for constant releases of the same fight fest super hero movies and their adjacent reboots. Likewise i dont need to see john wick for a fourth time, jurassic park for a millionth time, scream, etc. And there is like a 1/10 chance its actually a good sequel or reboot and 9/10 to be lazy and cheap story telling.

It feels like its safer for studios to reboot and revise old IP even if it means not doing the original source material justice (i.e turning the Hobbit into 3 films, while injecting content that actually just drifts from viewer expectations per their bangout success with creating LotR).

Id say its almost worse for streaming too. Shows that are good dont end, they just become cliched after season after season keeps trying to make plot points move and change too. Everything just feels samey after a point and I kinda just loss interest.

I kind of feel like gaming is in a similar boat these days. So much unfinished or compromised games in general kinda kill my enthusiasm for trying anything new. You already have limited time and money, only to learn even after 1.0 releases and stuff games are just buggy messes lacking content.

Haha all the old stuff that used to interest me just took a dive and now i basically watch youtube or listen to music and podcasts for entertainment. Id probably go to a movie if someone asked but i dont even have a bearing on what has been released in the last few years.

Are you serious?

Shhhhh, don’t tell Section 31.

La La Land immediately comes to mind.

>Narration? Aren't they the character's inner dialogue telling how they feel?

You're right, 'internal monologue' would've been a better description

>An unusual deviation from the romance we are used to. Makoto Shinkai subverts everything we know about romance by not giving us a 'happily ever after'.

All of his movies were like this until Your Name. That Your Name doesn't have an overtly sad ending was kind of a twist at the time.

I think 5cm is the best of his anti-romance era. It does a great job of capturing how much a teenage crush can feel like your whole world, and also how easily it can slip away. Some people grow up by letting it go, and some grow up with those scars, but all of us move on somehow.

If you think all movies are just “slightly changed ingredients” of each other then that’s nothing short of ignorance. It just doesn’t seem like movies in general are your thing and idk what you want the movies sub to do with that confession. Cool, good for you?

we have opposite tastes but i couldn't agree more. contemporary excellence is just tragic mediocrity —in every aspect of humanity.

I remember watching The Chaser prior to it’s wide release at the Busan International Film Festival and Na along with the leads all came out afterwards to do a Q&A session. I got to speak with him briefly and unfortunately the translator misunderstood what I asked but he still gave very thoughtful responses and it was a really cool moment to share that space with the man who made this film and a very excited audience. It was also disturbing watching an actor portray a serial killer so well and then walk out onto the front of the theater 20 feet in front of you. Gave me chills.

The best

I can agree with that, Shinkai's main strength are his visuals over his story telling, even though he has improved in the latter. I think Shinkai still has a ways to before I can talk about him at the same level as someone like Miyazaki. I'd say anime directors who can considered at that level are Isao Takahata and Satoshi Kon (who I think is straight up the best, despite having his career get cut short).

The director Martin Brest was fired from Wargames while on set. He then proceeded to blow up at the producers and make a big scene. He was fired because he wanted more of a serious adult thriller film than it turned out to be.

He's definitely improved a lot, starting with Your Name. When that film came out a lot of people were calling him "The New Miyazaki" and I felt offended on Miyazaki's behalf because I'd seen his previous films...

I still think there's a big gap between their respective storytelling abilities, but it's not the huge chasm it used to be!

Narration? Aren't they the character's inner dialogue telling how they feel?

Of course there are several symbolisms and hints throughout the film but it is not like the male lead didn't show how he felt powerless as a child unable to profess his love or the second female character didn't realize why her feeling would never reach her crush.

Even at the last part where there was no dialogue, the song lyric beautifully captured the male lead's journey "always searching for you on the opposite platform or through window in the back alley" and his wish to have "one more time, one more chance".

I agree that it's not the best written (I think it's one of Shinkai's earlier features where he's still a bit raw), but idk if my needing 2 viewing is the perfect evidence for it. There's plenty of movies which I didn't appreciate until a later viewing which I still think were well written (like Enemy (2013)).

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