I was referring to Boll's videogame tie ins Postal and Far Cry doing their best to bring back the stigma Paul Anderson dispelled with the first Resi.
Justice League official "Zack Snyder" cut on HBO Max
- Thread starter Ar-Pharazon
- Start date
Video game movies are still shit. They still haven't cracked it. Injustice is a comic book based on the video game.
Video game movies as a genre are still stigmatized because they're still not very good or well liked on average. The only ones in existence with a rotten tomatoes score higher than 60 are Sonic and Detective Pikachu and their scores still aren't amazing. Rampage and Tomb Raider barely got over 50% and every other one is below 50%. On Metacritic there are exactly 2 vg films with more than 50/100, and the highest of the two is sitting at 53/100.
Personally I liked Warcraft, but I get very much why it wasn't successful. Rampage was fun for what it was but as an adaptation it was shit. I'm less clear why no one but me seemed to like Tomb Raider, yet I still acknowledge that as the apparent truth.
Personally I liked Warcraft, but I get very much why it wasn't successful. Rampage was fun for what it was but as an adaptation it was shit. I'm less clear why no one but me seemed to like Tomb Raider, yet I still acknowledge that as the apparent truth.
That seems to be a common problem. It seems video games do a better job of translating another medium to a video game than the other way around. Maybe there's more gamers that can appreciate movies than filmmakers that get games.
I'm still hoping for a sequel to that one. Probably not going to happen, but I'd love to see it.
But seriously, the best video game movie in existence (of what I've seen) is easily the modern Jumanji and it's not even close. And that movie isn't actually based on a video game at all, so, yeah, the genre as a whole still really needs work.
But seriously, the best video game movie in existence (of what I've seen) is easily the modern Jumanji and it's not even close. And that movie isn't actually based on a video game at all, so, yeah, the genre as a whole still really needs work.
A Tomb Raider sequel is in production, they announced that Misha Green had been hired to direct not too long ago.
I haven't seen the movie yet, but I just read Adam-Troy Castro's review of it, and it sounds like a typical Zack Snyder movie to me...
https://m.facebook.com/story.php?story_fbid=10225500878691427&id=1310152014
https://m.facebook.com/story.php?story_fbid=10225500878691427&id=1310152014
I still like the Super Mario Bros movie starring Bob Hoskins. Keep in mind I was 14 years old but also the mythology of the games had barely been developed yet. I remember my younger brother telling me the backstory he read in the guidebook. Even at that age I thought - I doubt the game designer had any of that in mind when making a guy jump around. So the movie story is no less valid to me.
Last edited:
At last...
Zack Snyder’s Justice League
A few observations:
Part 1: “Don’t Count on it, Batman”
Similar to the Whedon version, early on, there’s the scenes of Bruce Wayne attempting to recruit Arthur, and the aftermath of the previous entry, yet there are scenes—bits of dialogue that were restored, while the Whedon version had been edited in some areas.
Part 2: “The Age of Heroes”
Wonderful flashback to the first battle against Darkseid and his hordes, where so many races of earth—along with a Green Lantern—were all involved, as it should be. This flashback was such a interesting trip, as it made we wonder what the rest of that world was going through.
Part 3: “Beloved Mother, Beloved Son”
Barry Allen / The Flash: Once again, mature pacing gives a main character what should be obvious to any competent filmmaker: background, reason-to-be, and a window into what kind of person—hero—he would be, along with a connection to his future girlfriend.
Victor Stone / Cyborg: I’ll start by saying those responsible for standing against / dropping Ray Fisher had their heads up their asses; in his introduction / backstory, Fisher gave Stone—and Cyborg the heart that made the character so compelling in his New Teens Titans origin(s)—and more. The tragedy of his mother’s death—his father’s misplaced guilt over doing the one thing he could have to save Victor’s life (and sacrifice his own in Part 5) was heartfelt from start to finish. Indeed, Fisher's Cyborg was intended to be one of the driving forces of the film--and others.
Part 4: “Change Machine” / Part 5: “All the King’s Horses”
Lois Lane: Amy Adams retains the crown as the most sensitive, developed version of the character ever set before the cameras. Its so easy to see the care in her performance (instead of being relentlessly abrasive—a very tired Lois trope).
Part 6: “Something Darker”
I appreciate how Bruce mentions having faith a couple of times—its refreshing and rare for modern filmed superheroes to ever believe in something more than a gadget; there are missions that demand heart more than a plan.
The entire Clark / Lois / Martha sequence was pitch perfect; the love between the characters was natural, and reminded one of how he—although an alien—sees his natural place in the world on that farm. The horrid Whedon version jettisoned so much of what Snyder had been building across two previous movies.
Cavill is the perfect Clark Kent / Superman. No one else comes close.
Ahh, a fully fleshed out battle, emotional, serious, and free of misplaced comic relief.
As in the theatrical cut, Luthor escaped Arkham, and recruits Slade Wilson, giving him Bruce Wayne’s name only for one reason.
Epilogue: “A Father Twice Over”
Bruce’s dream—where he’s partnered with an older Flash, Cyborg, Mera (itching for revenge for Aquaman’s death), Slade Wilson and The Joker was the coda to the dream he had in Batman v. Superman: Dawn of Justice, with a detail about the deaths of Lois…and—according to the Joker, a “Boy Wonder.”
The second reveal of Martian Manhunter volunteering his services was part of the original plan for a sequel; he—and another, Green Lantern—would have been involved. His attempt to help Lois deal with her grief (as Martha) was sweet.
NOTES:
GREAT: The faith innumerable fans had in Zack Snyder completing his vision for the Justice League was justified beyond their wildest dreams, and continues to prove what was known about the theatrical release: Whedon’s lack of insight, general hack-work and trying to approach the concept like his other superhero work was the worst decision for a film franchise that had—up to that point—presented one, rational, logically interconnected and entertaining film after another.
Another strong component of the film was its pacing, taking the time to continue world-building, and focusing on how the fight was not easy—they (the Justice League) had to work for any victories earned. Further, this film gave characters legitimate reasons to work together, as opposed to forced pairing “just because” and then it’s off to the hour-long explosions.
In only a few movies—leading to this one—Snyder build such a rich, storied DC film universe, one successfully added (for warranted reasons) characters and lore from nearly every decade of DC comics, all in one film, with each having (once again) legitimate reasons to be there, and work together.
One complaint about this and most films: over the past two decades—especially after the advent of digital formats, the dissolve has all but vanished from studio films. That storytelling asset adds so much to film, not only in storytelling, but in beauty, that it is sad that it is nearly a thing of the past.
I’m sure the A.F.S.P. (American Foundation for Suicide Prevention) billboard was acknowledged by just about everyone, know what it means, along with the dedication at the end of the film.
Of course, it was great seeing Batman face The Joker, and worthy, well-executed, believable versions of Martian Manhunter and Green Lanterns.
Snyder knew exactly how to construct a superhero series, with fascinating plans for its future; there’s no stadium-sized plot / continuity holes from one film to the next, and no important character development is just there when needed. This is the series DC deserved for decades, but time, license mismanagement, lack of will/interest and most of all—a talent who had the vision to carry it off—did not exist decades ago. Its undeniable how much he shaped this DCEU, and why its greatest entries worked so well, while a Johns/Jenkins “doing it our own way” effort like Wonder Woman 1984 was sloppy mess filled with poor, wrongheaded story choices and a contradictory characterization of Diana, as it ignored her emotional arc from two films covering her past and present.
DC's movie line will never have such a solid body of films again, unless they begged Snyder to return, but they are too self-destructive to ever consider that.
GRADE: A. Not quite an A+ film, but the aforementioned lack of dissolves and some odd editing choices in Chapter Two prevented it from earning the top grade.
Zack Snyder’s Justice League
A few observations:
Part 1: “Don’t Count on it, Batman”
Similar to the Whedon version, early on, there’s the scenes of Bruce Wayne attempting to recruit Arthur, and the aftermath of the previous entry, yet there are scenes—bits of dialogue that were restored, while the Whedon version had been edited in some areas.
Part 2: “The Age of Heroes”
Wonderful flashback to the first battle against Darkseid and his hordes, where so many races of earth—along with a Green Lantern—were all involved, as it should be. This flashback was such a interesting trip, as it made we wonder what the rest of that world was going through.
Part 3: “Beloved Mother, Beloved Son”
Barry Allen / The Flash: Once again, mature pacing gives a main character what should be obvious to any competent filmmaker: background, reason-to-be, and a window into what kind of person—hero—he would be, along with a connection to his future girlfriend.
Victor Stone / Cyborg: I’ll start by saying those responsible for standing against / dropping Ray Fisher had their heads up their asses; in his introduction / backstory, Fisher gave Stone—and Cyborg the heart that made the character so compelling in his New Teens Titans origin(s)—and more. The tragedy of his mother’s death—his father’s misplaced guilt over doing the one thing he could have to save Victor’s life (and sacrifice his own in Part 5) was heartfelt from start to finish. Indeed, Fisher's Cyborg was intended to be one of the driving forces of the film--and others.
Part 4: “Change Machine” / Part 5: “All the King’s Horses”
Lois Lane: Amy Adams retains the crown as the most sensitive, developed version of the character ever set before the cameras. Its so easy to see the care in her performance (instead of being relentlessly abrasive—a very tired Lois trope).
Part 6: “Something Darker”
I appreciate how Bruce mentions having faith a couple of times—its refreshing and rare for modern filmed superheroes to ever believe in something more than a gadget; there are missions that demand heart more than a plan.
The entire Clark / Lois / Martha sequence was pitch perfect; the love between the characters was natural, and reminded one of how he—although an alien—sees his natural place in the world on that farm. The horrid Whedon version jettisoned so much of what Snyder had been building across two previous movies.
Cavill is the perfect Clark Kent / Superman. No one else comes close.
Ahh, a fully fleshed out battle, emotional, serious, and free of misplaced comic relief.
As in the theatrical cut, Luthor escaped Arkham, and recruits Slade Wilson, giving him Bruce Wayne’s name only for one reason.
Epilogue: “A Father Twice Over”
Bruce’s dream—where he’s partnered with an older Flash, Cyborg, Mera (itching for revenge for Aquaman’s death), Slade Wilson and The Joker was the coda to the dream he had in Batman v. Superman: Dawn of Justice, with a detail about the deaths of Lois…and—according to the Joker, a “Boy Wonder.”
The second reveal of Martian Manhunter volunteering his services was part of the original plan for a sequel; he—and another, Green Lantern—would have been involved. His attempt to help Lois deal with her grief (as Martha) was sweet.
NOTES:
GREAT: The faith innumerable fans had in Zack Snyder completing his vision for the Justice League was justified beyond their wildest dreams, and continues to prove what was known about the theatrical release: Whedon’s lack of insight, general hack-work and trying to approach the concept like his other superhero work was the worst decision for a film franchise that had—up to that point—presented one, rational, logically interconnected and entertaining film after another.
Another strong component of the film was its pacing, taking the time to continue world-building, and focusing on how the fight was not easy—they (the Justice League) had to work for any victories earned. Further, this film gave characters legitimate reasons to work together, as opposed to forced pairing “just because” and then it’s off to the hour-long explosions.
In only a few movies—leading to this one—Snyder build such a rich, storied DC film universe, one successfully added (for warranted reasons) characters and lore from nearly every decade of DC comics, all in one film, with each having (once again) legitimate reasons to be there, and work together.
One complaint about this and most films: over the past two decades—especially after the advent of digital formats, the dissolve has all but vanished from studio films. That storytelling asset adds so much to film, not only in storytelling, but in beauty, that it is sad that it is nearly a thing of the past.
I’m sure the A.F.S.P. (American Foundation for Suicide Prevention) billboard was acknowledged by just about everyone, know what it means, along with the dedication at the end of the film.
Of course, it was great seeing Batman face The Joker, and worthy, well-executed, believable versions of Martian Manhunter and Green Lanterns.
Snyder knew exactly how to construct a superhero series, with fascinating plans for its future; there’s no stadium-sized plot / continuity holes from one film to the next, and no important character development is just there when needed. This is the series DC deserved for decades, but time, license mismanagement, lack of will/interest and most of all—a talent who had the vision to carry it off—did not exist decades ago. Its undeniable how much he shaped this DCEU, and why its greatest entries worked so well, while a Johns/Jenkins “doing it our own way” effort like Wonder Woman 1984 was sloppy mess filled with poor, wrongheaded story choices and a contradictory characterization of Diana, as it ignored her emotional arc from two films covering her past and present.
DC's movie line will never have such a solid body of films again, unless they begged Snyder to return, but they are too self-destructive to ever consider that.
GRADE: A. Not quite an A+ film, but the aforementioned lack of dissolves and some odd editing choices in Chapter Two prevented it from earning the top grade.
Says the person who has cried and trashed numerous threads, attacking anyone who does not worship bad versions of Superman, and again, constantly attacks Snyder, his films and fans.
Try not to be the ultimate hypocrite and exercise a bit of self-control...or continue to be predictable.
I have no discomfort in your views, as I am quite happy with the DC universe Snyder created, and unlike members like yourself, i'm not threatened by the existence of poor versions.
Wanting people to enjoy what they watch is more my view. It's not like Snyder is an unknown player in the DC world. He is controversial, has his own view on the heroes and filmmaking. So, why partake? To discuss it?
No, it is quite difficult to understand.
Its the properly named "hate watching." That's the level of clinical, unhealty obsession you see with certain members. They are so threatened and triggered by something they could simply ignore.
That's quite true, as he was always begging for redemption...but he deserved to catch all of the Hell aimed his way in that final battle.
There's some mutilation once the Green Lantern gets involved in the "clash of the oldies" flashback scene that WW narrates.
There's blood in the water during the Atlantis/Steppenwolf battle and we get to see what caused it
There's a brutal climax to the film when Steppenwolf is on his last legs
There's the F word during Cyborg's first in-person meeting with Diana and another in the nightmare scene at the very conclusion
Overall, very very tame for an R-rated movie, though there is plenty of PG-13 violence throughout
I’d rather have 2 discs than compressing the shit out of it to fit it on one. What would be the point?
Yeah, that's a strange thing to fear. Surely switching discs in the middle of a four-hour marathon viewing would also be a welcome chance to hit the can and the fridge.
If that’s the only way, that’s fine but I’m sure you can put 4 hours on a single 4K blu ray disc
It means I have to get up and manually change the disc. Too much work.
Some how, and I don't know how, but I survived the Lord of the Rings extended editions and their two discs.
Similar threads
