http://www.youtube.com/watch?v=dQ3Mt9yiz6k

Looks dope. 2nd film from Joesph Kosinski who did Tron: Legacy. Hopefully this script is better than Tron's cause for the most part it wasn't his fault the movie sucked.

Also, M83 is doing the score for this.

i'm out.
_____________________
"WHOLESALE REUSABLE GROCERY BAGS!!"
@etfp

>http://www.youtube.com/watch?v=dQ3Mt9yiz6k
>
>Looks dope. 2nd film from Joesph Kosinski who did Tron:
>Legacy. Hopefully this script is better than Tron's cause for
>the most part it wasn't his fault the movie sucked.
>
>Also, M83 is doing the score for this.

Still have concerns for the script too but the rest sounds solid

but when he was gettin fried for that couch, brooke, matt and that crazy turtleneck laugh...where were they?

people need to stick to they guns.

half of y'all need to go cyse depp's next cartoon lookin farce...stay away from t-dogg.

i'm out.
_____________________
"WHOLESALE REUSABLE GROCERY BAGS!!"
@etfp

I'm gonna slam that bandwagon door shut and leave em screaming like Kelly Preston in Old Dogs.

>but when he was gettin fried for that couch, brooke, matt and
>that crazy turtleneck laugh...where were they?

still going to his movies?

MI 3 did $700M bro

bullshit Knight and Day did $261M

Jack Reacher is also over the $200M mark

aka what the fuck are you talking about?

Okay, maybe not that last thing, but yeah

___________________________________________________________________________
Bitch, don't kill my vibe.

Just read an interview with JK that said he shot this on Sony's new CineAlta F65 camera which he said is the digital equivalent of 70MM. He said expect the IMAX release to take up a good portion of the screen.

.

Haha!

Cruise and Smith with the one-two Scientology punch.

Which is a good thing because it means bigger budget sci-fi flicks.

saw it 3 times at the drive ins.
thought it was brilliant and/or kinda timeless.

V.

I'm cautiously optimistic.

so damn strange, any fuck, literally saw this trailer half an hour ago after looking at that Will-Jaden trailer for the M. Night flick. looks interesting

There's a reason why dude was THE actor for pretty much 2 decades.

i mean i think Wil is actually the most succesful / bankable actor of the last two decads, but i get what ur saying.

i always just asume it soccer mom / white women, the oprah sect, who are his fan base.

my social circle consist of artist/musicians, educators, brown women working on masters and PhD's, or managers of stores. none of which care of or check for Tom like that

it's just strange. its like the Brittney spears phenomenon. she was selling a shit ton of records but no one owned the damn albums

>i mean i think Wil is actually the most succesful / bankable
>actor of the last two decads, but i get what ur saying.
>
>i always just asume it soccer mom / white women, the oprah
>sect, who are his fan base.
>
>my social circle consist of artist/musicians, educators, brown
>women working on masters and PhD's, or managers of stores.
>none of which care of or check for Tom like that
>
>it's just strange. its like the Brittney spears phenomenon.
>she was selling a shit ton of records but no one owned the
>damn albums

there's a whole generation of males that grew up on his 80's films that idolize him too

Or at least, there'd better not be daedra.

looks fucking beautiful, and it thankfully doesn't look as cold and dead inside as Tron.

http://www.comingsoon.net/news/movienews.php?id=98293

http://www.comingsoon.net/news/movienews.php?id=98821

If you don't want to go to the article above, here's the clip:

http://www.youtube.com/watch?v=KsoxYYYXx1U

i'm in
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

http://collider.com/m83-oblivion-song-soundtrack/

http://collider.com/oblivion-imax-release-date/

Cruise AND Morgan "Da God" Freeman?

http://pitchfork.com/news/50067-listen-title-track-from-m83s-score-for-the-tom-cruise-film-oblivion-featuring-susanne-sundfr/

I can't fuck wit it. I actually think this would've been better had there been no vocals. It's too pop-py for me.

http://collider.com/oblivion-imax-joseph-kosinski-interview/

that's great news. has a hollywood movie done this before? i can't think of anything.

The trailers have gotten progressively better and Cruise has a pretty great eye for action material. The whole "from the director of Tron 3D" is the only thing giving me pause.

From the sounds of it why didn't Kosinski just get Joesph Trapense to conduct a traditional score? If you ask an artist to do the score, presumably, you want them to do their thing while creating a score such as Trent doing Trent for Social Network and Dragon Tattoo and RZA doing RZA for Ghost Dog and Kill Bill. It still sounds like the respective artist adapted for the retrospective movie. It sounds like they wanted partial M83 sound over a orchestra, which is a shame and makes me slightly less excited for this.

http://pitchfork.com/features/update/9110-anthony-gonzalez/

When I last spoke with Anthony Gonzalez about a year and a half ago, he was frustrated with Hollywood. It was the understandable grousing of someone who deserved a break. With the possible exception of "epic," arguably the most common adjective used to describe M83's music is "cinematic," and Gonzalez had come to Los Angeles a few years ago in order get into the movie-making business. At that point, though, his efforts had resulted in a lot of promising meetings and eventual dead ends.

But then came 2011's Hurry Up, We're Dreaming and its old-fashioned, career-making hit "Midnight City", which Gonzalez admits "terrifies" him now. But it's resulted in accolades that hold far more weight in Hollywood than "critically acclaimed." Now he's Grammy-nominated Anthony Gonzalez, though he jokes, "I'm kind of glad I didn't get the Grammy because otherwise, I'd be full of myself."

And now with his score to the new Tom Cruise sci-fi epic Oblivion, Gonzalez can finally add "Hollywood movie composer" to his resume. Sounds like a classic happy ending, right? Well, not so much. Looking back on his experience making the score, Gonzalez might be even more disillusioned by the film industry than before. "I started to work on this project with a lot of hope, saying, 'Oh, I'm going to do something super special and original,'" he says. "But you can't really, because there are so many people involved and so much money in the game that it's hard to change things. Hollywood kind of sucks the life out of you very quickly."

M83: "StarWaves" (via SoundCloud)

Still, he maintains that he's proud of the work he did on the soundtrack with co-composer Joseph Trapanese, who collaborated with Daft Punk on the Tron score and also contributed brass and strings to five songs on Hurry Up. And he knows it's a tremendous opportunity for his career, but it's also the first time since 2003's Dead Cities, Red Seas & Lost Ghosts that he wasn't clearly the guy in charge. He says the bureaucracy and demands of making a big-budget film nearly drove him to quit. (His next soundtrack will be for a French movie made by his older brother.)

He's also concerned about disappointing his fans, which is somewhat justified-- listen to Oblivion in isolation and you're struck by its lack of M83-style neon-lit synthesizers and booming drums. See Oblivion on IMAX, though, and it becomes clear that the film's sensory overload doesn't exactly leave much room for another "Don't Save Us From the Flames".

As far as the next M83 album, he hasn't started writing it, but he's aiming for something "shorter, more direct, and less cinematic." Reflecting on what's transpired since 2011, Gonzalez muses, "It's scary sometimes because I feel like it's almost going too fast and I'm overloaded with work and stressed out. But I can't complain. I hope it's going to continue."

Pitchfork: How much information were you given about the movie before you signed on for the soundtrack?

Anthony Gonzalez: I didn't know much. I read the script. And I knew Tom Cruise would be in it-- you can't say no to Tom Cruise. It was fascinating for me to start with such a big project. I'm a science fiction fan, so I was a bit scared and skeptical at first, but Joseph Kosinski really pushed me to do it.

Pitchfork: Did the work begin after Hurry Up, We're Dreaming came out?

AG: Yeah. I was on tour and they asked me for like three demos. I sent 17. I was working until 6 a.m. in the back of the bus. I put a lot of hard work on this job to get it. So when I got it, I was really moved and also like, "God, this is serious. Now I've got to do this!" With such a big movie, you can't only please yourself. You have to please the director and the studios and tons of people who are involved.

It took us one year to work on Oblivion with Joseph Trapanese, and I've been through all types of emotions. I almost quit. I couldn't sleep. I was so stressed out. I was on the verge of breaking down. We were touring a lot and I had to work on this at the same time.

"If there's no 'Midnight City' on my next album, what are the people gonna think about me? Are they still gonna love me? That's scary."

Pitchfork: How many times have you seen the actual film?

AG: I probably watched it in its entirety maybe seven or eight times. Especially with some cues, you become obsessed-- you're dreaming of the pictures. You can't sleep because there's this music in your head. It was hard, but I learned so much and I feel like I grew up a lot as an artist working on this film. You have to be consistent. You have to do quick turnovers when something is not appealing for the studios or the directors. I quickly realized that all the ideas of the music I had before working on it weren't going to happen because it's Hollywood and because it's a $150 million dollar budget. I'm not the boss. I'm just someone working for them.

Pitchfork: What kind of notes did the studio give you for the soundtrack?

AG: They needed something bigger, more orchestral; it was hard for me to be told that my music was too indie for the film. I was pissed most of the time, but this is how it works. It's like, "Take it or leave it." And I took it.

Overall, I'm excited about it. But I'm stressed out because I know people are going to hate the soundtrack so much because it's different. People are going to expect a new album from M83, and that's not the case. But, I'm also super proud of it because Joe Trapanese and I worked so hard on it to make everybody happy at the studio. It's a two-hour movie and it's one hour 45 minutes of music, so it was a challenge.

Pitchfork: On the album cover for the soundtrack, it reads "original music by M83" and then "composition with Joe Trapanese and Anthony Gonzalez." Do you have boundaries set for "Anthony Gonzalez, the composer" and "M83"?

AG: I would have pushed for "Anthony Gonzalez and Joe Trapanese," because for me, this is how the score was done. I didn't want to involve M83 in that, but it's hard because Universal wanted to push M83 because of the success of "Midnight City". It's funny because sometimes big studios don't give a shit about you, but when you're nominated for the Grammys, you start receiving emails like, "Oh, congratulations. We're excited about the soundtrack." I'm like, "You didn't give a shit about me two months ago when I got the job, and now you're just acting like a ..." It makes you feel like there's something wrong with the movie industry-- you can write that, I don't care.

Pitchfork: How do you think people expecting another M83 album out of this soundtrack might react?

AG: That's my problem, not their problem. Now, it's gonna be hard to make an album or a song without having someone talking to me about "Midnight City". The song took up so much space in my life. I'll never complain about its success-- I think it's fantastic to have a hit that people can sing and dance to-- but I'm scared of it. If there's no "Midnight City" on my next album, what are the people gonna think about me? Are they still gonna love me? That's scary. I've been trying to make my career grow little by little, and on this album I took a bigger leap. But we'll see what happens. I'm excited and frightened at the same time.

Once again Kosinski makes a movie where the visuals and score are on point, but the script leaves more to be desired. I hate, HATE the plot twist, and just like Tron this shit is very slow at points except it never comes to a screeching halt like Tron Legacy does. Tom Cruise kilt it tho. And I think you can see Andrea's pussy as she stands at the edge of the pool. It's worth a matinee if you MUST see it, but a rental for everyone else. This seemed like a mash up of better sci-fi movies.

...they could've got a regular composer to do this shit. Only a few cues stood out and sounded great.

Also, you can see the plot twist come a mile away after Morgan Freeman let's them go.

BTW way seeing Andrea's ass and pussy on the 8 story IMAX screen was DY-NO-MMMIIIITTEE!!!

http://moviemezzanine.com/oblivion-science-fiction-comfort-food/

For those who don't want to read: it's familiar, but in a good way. It's not empty on ideas or character, and you'll likely feel deja vu and think of other better sci-fi films, but since it looks fantastic, moves with energy, and features a great star performance, you're not likely to mind that it's derivative in a literal sense. It's also a big step-up from Tron: Legacy.

..this had the makings of a great film

visually, on par with everything you'd expect from a big budget film. great movement, sweeping landscapes, and plenty of cool gadgets.

even with a thin plot, this film had the potential to deliver. i even gave it a pass when morgan freeman showed up looking like a long lost jedi knight (wearin' sunglasses in a dark cavernous stronghold). but when they decided to high-jack star wars all the way by trojan horsing the tet, i was done.

unfortunately, this fell apart in the end, leaving the film to suffer the shallow fate of being average at best.



*skatin' the rings of saturn*

..and miles to go before i sleep...

That nigga was wasted as he was only in for 20 minutes.

it had all of the pieces to be one of my top 10 sci-fi films and it just never came together.

I like the slow build even though the big reveal was pretty much foreshadowed to death. But once they got there, they had no idea what to do and then it was one silly move after another to finally get to a final scene that was almost as dumb as ID4's resolution.

The final bit with 52 showing up was groanworthy. (And did they skip a sex scene somewhere because I'm not sure where the kid came from.)

The score was solid enough but a lot of times it was too much. For instance, it seemed to be at its biggest during the re-enactment of what happened to the original ship which we already pretty much knew.

I thought the action scenes of the second half were also poorly done. Less is more. They just needed one pod to get in there and start kicking ass. With three of them, the action became harder to follow and it just became more and more ridiculous when their superior targeting systems and rapid fire only gave Morgan Freeman a gutshot. Also, they could have established somewhere were everyone else was running too. Instead it just became a lot of noise. Sadly, that's par for the course for modern action films though.

Andrea Riseborough has been in the last three movies I've seen and she's done a pretty great job in all three (each part was pretty different.)

This is yet another forgettable film for Cruise. The movie is opening pretty big but I have a feeling it's going to drop big time in its second week.

>I like the slow build even though the big reveal was pretty
>much foreshadowed to death. But once they got there, they had
>no idea what to do and then it was one silly move after
>another to finally get to a final scene that was almost as
>dumb as ID4's resolution.

Agreed.


>The final bit with 52 showing up was groanworthy. (And did
>they skip a sex scene somewhere because I'm not sure where the
>kid came from.)

Son, I was wondering that too. 49 and her must of smashed that one night they're together.

>The score was solid enough but a lot of times it was too much.
>For instance, it seemed to be at its biggest during the
>re-enactment of what happened to the original ship which we
>already pretty much knew.

I didn't find it be overbearing, but boy id I miss Daft Punk this time.

>I thought the action scenes of the second half were also
>poorly done. Less is more. They just needed one pod to get in
>there and start kicking ass. With three of them, the action
>became harder to follow and it just became more and more
>ridiculous when their superior targeting systems and rapid
>fire only gave Morgan Freeman a gutshot. Also, they could have
>established somewhere were everyone else was running too.
>Instead it just became a lot of noise. Sadly, that's par for
>the course for modern action films though.

The only action scene in the second half I liked was the canyon dogfight between the bubble ship and the drones. Yes, it was done in Star Wars, but cotdamn if it wasn't cool and badass.

>Andrea Riseborough has been in the last three movies I've seen
>and she's done a pretty great job in all three (each part was
>pretty different.)

Dat ass. Dat pussy.

>This is yet another forgettable film for Cruise. The movie is
>opening pretty big but I have a feeling it's going to drop big
>time in its second week.

Yup.

>
>>The final bit with 52 showing up was groanworthy. (And did
>>they skip a sex scene somewhere because I'm not sure where
>the
>>kid came from.)
>
>Son, I was wondering that too. 49 and her must of smashed that
>one night they're together.

Yeah, they do the old Hollywood "she goes inside with an alluring look, he gives a knowing glance at her, they walk into the house" sex. To make it even more blatant they fade to a shot of the cabin that night with candles burning inside. Then the next morning she's in bed and he's putting his uniform on to get ready to go.

A ton of overtones from other movies, and some are so blatant it's hard to believe nobody was aware of it.

SPOILERS




.....................................

-The sentinels, erm, drones?
-The ID4 ending?
-Morpheus?
-Jack being but one of many?
-We all know that was Maverick and Goose in that scene, right? I can't be the only one who was waiting for him to flip the bird while flying upside down.
-The Clone Wars.

I enjoyed the movie, but I wish the story had more depth to it. It's skeletal and hits some nice notes at times that seem like more was there at some point. It just felt trimmed down. I'd like to have seen more of the morelocks (whatever you wanna call them, that's my name for them) and some flashbacks to the OG war.

Also, WTF was up with the villain being a giant upside down pyramid?

Oh and can we just stop naming characters in movies Jack alltogether?

Kind of doing that abstract thing, like the monolith in Space Odyssey or the pyramid stuff in The Incal.

And I'm probably being generous with "homage", being that there was so little substance to support them. That said, I dug the upside down pyramid. Felt smart and restrained, even if it wasn't exactly original.

>Also, WTF was up with the villain being a giant upside down
>pyramid?

I'm still not clear on why an upside down pyramid would need water though...

Sometimes voiceover is done well (Sin City) but in this case when they open with voiceover it reminded me too much of the studio cut of BladeRunner...

Cast was good, visuals were great, score was great, story even worked, despite the biting.

That said, the movie was WAY too long, and there were some lines of dialogue that made me cringe, like (I don't remember the specifics, but this is the gist of it):

Tom: I'm beginning to remember...
Red headed chick: We aren't supposed to remember, remember?

I agree that the narration at the beginning is unnecessary, although the person I saw it with was confused about a couple of things regarding Earth's past even with it, so maybe the likely cut of this film or draft of this script before its inclusion was even less easy to connect with.

Cruise is a god. Riseborough is great. Freeman's entrance is so dope. Leo is a ham.

and some things left unanswered

i would've liked to know more about the scavs

but the film was beautifully done, good cast, and a generally good plot, though imperfect.

olga kurylenko is really hot (no lesbo), her beauty is unconventional...she looks part asian.

i would recommend if you're a sic-fi and/or tom cruise fan, the movie definitely makes you think, though whether that is in a good or bad way, varies on the viewer.

>and some things left unanswered
>
>i would've liked to know more about the scavs

There ARE no scavs. This was all done by a sentient machine.
>
>olga kurylenko is really hot (no lesbo), her beauty is
>unconventional...she looks part asian.

^^I C U, Ma.^^
>

Wanted look like it. Paid to see it.

Which is too bad, because the first 30 minutes or so were fairly promising.

SPOILERS, just in case.

I give them props for creating an "effective" atmosphere and bringing a relatively interesting premise to the table. The "drones scouring the remote landscape to destroy enemy combatants hiding in caves" element could have been really interesting for obvious reasons, but they didn't do much with that idea except introduce it and leave it there.

Unfortunately, by around the halfway point it became pretty obvious the whole endeavor was just a spectacularly well-executed exercise in style. Visually, it really was spectacular, but in addition to lacking a heart and a soul, it also lacked a brain. It was like the body of a Lamborghini with no engine under the hood.

But the time we were slogging through the third act I was just waiting for the movie to end. I felt no stakes. I just didn't really care about a clone, or a replicant, or whatever he was supposed to be, nor did I care about a woman who was floating around in space for 60 years. (Sidebar: Longo's head must have exploded when he saw TWO Tom Cruises on screen at the same time, with one putting the other in a figure-8 leg lock of all things...)

The entire last 20 minutes were ludicrously bad, including Jack's "Fuck you, Sally!" line, which elicited tons of unintended laughter from the audience I saw this with. (You could tell he was trying to make the one PG-13 allotted "fuck" really count.)

Cruise was perfectly good, but there wasn't much for him to sink his teeth into here. He seemed to be doing his standard action star routine, which is fine because he's good at, but it's nothing to get excited about after having seen it countless times.

Too bad. This was a squandered opportunity. Could have been much, much better.

(Sidebar: Longo's head
>must have exploded when he saw TWO Tom Cruises on screen at
>the same time, with one putting the other in a figure-8 leg
>lock of all things...)

I wish they could've made it one take. Some movie needs to use the technology from Social Network to make an actor fight himself in one long take, both clones in the shot at all times.

Still tho. I can't say I didn't enjoy it. I DO feel like I need an extended running scene from Cruise.

I still can't figure out why Drones had to be repaired in the first place, nor why they had to have an elaborate set-up with human clones to do it.

The drones were dope as fuck though. Excessively menacing and I couldn't help thinking how scary it is that we are actually experimenting with these things.

************************

It's a way to lead them to the scavs for their attacks

At least that's how I saw it

Truth is had they left them alone completely, they'd have never gained those fuel cores. Literally just leaving them alone would have been the best power play based on the information at hand.

They wouldn't have to steal energy from other planets

It turned seawater into energy when THE USN is right there??

there was a limited number of drones and obviously a limited number of resource pumps
of course there was still an army of jacks though
seems like the aliens made an initial investment in earth, set up shop and then bounced
the army of jacks could lend ground support to keep the attacked drones up and running and the drones protected the resource pumps
the scavs did attack drones (they had one in their possession remember) so there was a *need* to have some one keeping them operational if something happened

That Olga girl in IMAX is the best shit ever.

'Hey I think we need another shower scene here...'
'What if I held my gun and slowly turned around... like... this?'
'I brought these motorcycle goggles from home...'
'You know what would be really cool? Two me's!'

The Maverick schtick was hilarious to me. It worked okay for the action scenes, but I don't think he was the right guy for those quiet moments in between.

The homages were kinda dope but without a better film to support them, felt more like biting. That cliche'd ass dialogue wasn't helping. I got the sense that the script had been cut from various sci-fi blockbuster movie templates.

That said, it truly looked incredible. And thoughtful, too. A lot of creativity went into the visual design and I appreciated that. I just wish they could have put some of that same energy into the story.

>'You know what would be really cool? Two me's!'

liked it as much?

If it didn't have Cruise, the film fundamentally changes.

That's like asking if Die Hard is as good without Bruce, or if The Matrix is better with someone other than Keanu. Just no way of knowing.

It's still the same bland movie.

Oh my were my concerns for the script valid

Oh wow was the title prophetic in all the wrong ways they had hoped for

Oh hey instead of HAL Melissa Leo is SALly!

smh

The combination of screenwriters were not an effective team

The actual humans obviously knew that he was a clone. If they really needed someone to be repairing the drones and keeping the water/energy machines going then why not do it themselves instead of coming up with this elaborate clone scheme?

They took the best human soldier, cloned him to whatever number, and used those clones as their foot soldiers to destroy us.

Further, why risk themselves/itself/etc on the ground when they can place human clones on the ground to do their bidding? They suffer no losses to their own race.

Further, keeping the clones and drones on the ground provided a method of dealing with what remained of a human rebellion.

#49 is stunned to see there's another one of him. But if an army of Crooze's took over the planet (Longo's screaming for a prequel right now) wouldn't they have all seen one another and realized that they were clones? If they remembered their humanity like 49 did, wouldn't they have stopped and wondered why they were killing everyone, much like how he did when he realized that drones were shooting on survivors?

Personally, it was one of those "Whatever, I'll go with it" issues for me but I think it's pretty hard to explain the logic behind it. Similarly, it was kind of silly that the way to get around the drones shooting at the Skavs was that they just dressed up like animals, which the drones wouldn't shoot. You'd think you'd reprogram them to kill everything since you were going to kill them anyway once you took all of the water from the planet.

i was so mesmerized by this visually stunning film. I still don't know what that last scene was about. I do recommend Oblivion just don't ask too many questions.

Grade B

Being as it knows how to make clones of human beings and is able to pinpoint Cruises position by DNA match...or something.

Yet it can't figure out that the person in the capsule is not female...and black.

Just lazy all round.

************************

>Being as it knows how to make clones of human beings and is
>able to pinpoint Cruises position by DNA match...or
>something.
>
>Yet it can't figure out that the person in the capsule is not
>female...and black.

>Just lazy all round.

No, you're lazy. Sorry but that's a relatively simple 'plot hole' to close up. They had Jack's DNA to analyze and match, but there is nothing suggesting they had the girl's DNA to match to see if it was her in the box.

"knowing a lot about human genetics" doesn't mean they know everything there is to know about the DNA of every human. That's a completely ridiculous leap in logic on your end. That's some "we can put a man in space, but we can't ___________?" type logic right there.

You'd think they'd have some sort of body scan that would have spotted the genitalia difference but, whatever, it's not a big deal at all.

Where I was confused was why they seemed to have no problem sending the drone to blow her up when she first landed. Then they suddenly thought that they needed an already defiant Cruise who was clearly in cahoots with the Scavs to bring her onto their ship. My guess is that the explanation would be that she would make a more efficient team with Cruise but then inviting him onto the mothership was kind of a silly moment to me.

I mean we do that already *today*

The Tet already know the difference between male and female DNA.

Lazy.

************************

how did TET/drone-nation did not know about Crooze's Switzerland-type crib? Looked like a lush valley, not exactly hidden away. At first I thought it was in the contamination zone but later scenes made it seem he'd never gone past the border before.
I liked that "they" didn't seem to have infinite ressources, and were stuggling to have enough drones to control everything. Sounded a lot like an issue an occupying force would encounter.

Visually it was great, still once we knew about the scavs/survivors it was kind of a gradual letdown.

>Visually it was great, still once we knew about the
>scavs/survivors it was kind of a gradual letdown.

As soon the scavs came on screen and they were humanoid you knew that they were really survivors based on the trailer with Morgan Freeman telling him that he was lied to about there being humans there.

An immersive experience based on incredible, clean visuals (I highly suggest watching the Making of on HBO...some of the techniques and gadgetry are just awesome) centered on the performance of Cruise doing his usual Croozy things, a solid soundtrack, and a skeletal plot framework (loopholes and all) that would allow those aspects to shine. Of course I wish there was more substance but based on what I had heard and having seen the Kosinksi helmed Tron: Legacy, I was expecting something similar and that's what I got.

I do wish there was no prologue (but do understand why the studios so often force their inclusion in order to provide distinct closure for the general viewers) and the movie would have just ended with the explosion and the Oblivion title fading in (with the destruction in the background to tie in the final event with the title).

Enjoyable, very immersive, but lacking the story resonance that could have propelled it to the next tier. That being said, would still recommend watching this in theaters to fully experience the environment.

Kosinski has a tremendous aptitude for world-building and setpieces -- there was Prometheus-level visual brilliance on display at times. Cruise replacing Hayden Christiensen 2.0 was also an automatic upgrade over Tron: Legacy (which I liked anyway...it would've been a great silent movie).

the plot had holes but nothing that bothered me greatly (unless those vapid, sepia-toned flashbacks count). a fun diversion that was made to be seen in theaters.

I understand the complaints that there's a lot of technology and not a lot of heart, but I didn't really think you needed THAT much heart

I mean, dude is dealing with his memories and how those now-living memories interfere with his very existence

That said, it would have been nice to see more flashback visions besides the one in NYC. Would have better enhanced the romantic backstory so when what happens happens, it feels more earned.

I'm not sure Morgan got his money's worth in this one.

And yes, both Olga Kurylenko and especially Andrea Riseborough were hot.

It looked gorgeous, the score was magnificent as expected (even though it's claimed that it wasn't the "typical M83" sound, which is odd because I could hear it throughout), and it's CROOZE, man, cmon.

_______________________________________________________________________________________
And at that moment, I realized some of you aren't doing this for the shits-n-giggles that you're claiming

>http://www.youtube.com/watch?v=dQ3Mt9yiz6k
>
>Looks dope. 2nd film from Joesph Kosinski who did Tron:
>Legacy. Hopefully this script is better than Tron's cause for
>the most part it wasn't his fault the movie sucked.
>
>Also, M83 is doing the score for this.

dude knows nothing about pacing. this was EXACTLY like tron in that respect.

otherwise, moon + a classic CROOZE flick, which actually isn;t that bad of a combo, but not worth seeing.

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>dude knows nothing about pacing. this was EXACTLY like tron
>in that respect.

Exactly. I like Tron better cause the first half was stronger, than any of this. Plus the Daft Punk score> M83 score.

as good as prometheus at any point (it was a s good as tron, visually, but that's it)

will not be forgotten, btw

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...

how are the visuals not as good as Prometheus??
thats nuts.
the visuals in Tron: Legacy are some of the slickest n gorgeous ive ever seen. got the same with Oblivion. they REALLY gave the world some weight. was seamless most of the time.

the drones were kinda terrifying. not just their intimidating manner but the noises they made each time they processed something. like a fax printer from hell.

lots of shades of other sci fi flicks but i really bought Crooze's performance. some of the most honest stripped back emotional shit he's done in a while.

saw it once at the drive ins and once on a shonky cam dwnld. loved it both times.

V.

>the drones were kinda terrifying. not just their intimidating
>manner but the noises they made each time they processed
>something. like a fax printer from hell.

IT'S SO DOPE.

All M83 & Crooz facial expressions

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I do want to hear the explosions
I DO NOT WANT TO HEAR THE CHARACTERS TALKING

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i'm out.
_____________________
"WHOLESALE REUSABLE GROCERY BAGS!!"
@etfp

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i avoided it due to the reviews and after the first 20 minutes, I was pissed i hadn't seen it in theaters.

sure the twist was meh but it was better than 90% of these hackneyed superhero movies niggas clamor on about.

visuals, sfx, and soundtrack were A+. the first 1:30 of the movie is excellent, I throughout enjoyed the minimal dialogue and character interaction

drones were sick. point blank.

definitely not for people wanting to shut their brains off and watch guns, explosions and grown men crying (star trek?)

best movie of the summer thus far, IMO. and definitely one of the best sci-fi films i've seen in a while.

this is not for people who want to shut their brains off?

it's the dumbest movie in history, and it does not contain asingle plot element that wasn't borrowed from another better movie.

if you don't want to think about the fact the plot doesn't make sense, it's the movie for you, but if you ever in your life say this is the thinking man's action movie you're a damn liar.

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meh, it jacked shit here and there... but so did Moon. And niggas swear by that joint.

Not saying it's on some Primer/Memento/Usual Suspects mindfuck type shit. Just saying it doesn't rely on typical plot devices to propel the story forward.

what you think people think about moon


"Typical plot devices"


I have no idea what you think it used to move the plot forward, but ever progression I saw was a copy from every sci fi movie that has ever featured a plot with clones ever

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If you have a question about the plot I'll try to answer them. I have watched it 3 already since last week.

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you can like the movie if you want, there is no explanation for why tom cruises character exists

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seems like this film is pretty polarizing overall

the ending was kind of wack mainly because Jack's plan was obvious with about 20 minutes left in the film
i'll chalk that up to time constraints, other than that the movie was excellent

the one thing i didn't get , is why did the pyramid let jack enter (alive) once it knew he was lying. the Tet had the technology to pull objects in, it's not like it needed jack to drive the ship in in order to get the body