The Idea

• Watch and discuss movies together (kinda like a book club)
• "Crowd source" recommendations for not-entirely-new films (IE, older than a year or so, let's say)
• Aim for generally bettering or curating our film "diet"

How it will work (at least at first)

• 1 film a month
• First, a post to take nominations/suggestions
  • Post any film you want to watch, or have heard good things about, or recommend to everyone else
• Second, a post to take votes on the nominations
• And then we watch and discuss the winner

---

First round will start next month (July)

Please share any thoughts/feedback, though we'll likely run this at least once first before making any changes, just to feel it out

Rotten Tomatoes: 82%

Metacritic: 71

Rotten Tomatoes: 82% tomatometer, 43$% audience score

Metacritic: 71

Just saw this one

Two people one keyboard also comes to mind

https://archive.is/lhgTU

Edit: Here's the exact same clip on the standard YouTube Watch page.

courtesy of zagorath

---

Brandon Sanderson the fantasy author

For those uninterested in watching a youtube short (sorry), the theory is pretty simple:

COVID and the death of theatres broke the film industry's controlled, simple and effective marketing pipeline (watch movie in theatres -> watch trailer before hand -> watch that tailer's movie in theatres ...) and so now films have the same problems books have always had which is that of finding a way to break through in a saturated market, grab people's attention and find an audience. Not being experienced with this, the film industry is floundering.

In just this clip he doesn't mention streaming and TV (perhaps he does in the full podcast), but that basically contributes to the same dynamic of saturation and noise.

Do note that Sanderson openly admits its a mostly unfounded theory.

For me personally, I'm not sure how effective the theatrical trailers have been in governing my movie watching choices for a long time. Certainly there was a time that they did. But since trailers went online (anyone remember Apple Trailers!?) it's been through YouTube and online spaces like this.

Perhaps that's relatively uncommon? Or perhaps COVID was just the straw that broke the camel's back? Or maybe there's a generational factor where now, compared to 10 years ago, the post X-Gen and "more online" demographic is relatively decisive of TV/Film sales?

> Following years of languishing in development hell, Doug Liman offers an encouraging update on Edge of Tomorrow 2. Liman previously teamed with Tom Cruise for the 2014 adaptation of the Japanese novel All You Need Is Kill, in which Cruise starred as a military public affairs officer who becomes stuck in a time loop in a future in which aliens have invaded Earth and are slowly winning the war against humanity, but uses the looping to find a way to beat them. Though garnering rave reviews from critics, Edge of Tomorrow was only viewed a modest box office hit, which has partly complicated sequel plans. > > Now, during an interview with Total Film for his upcoming action-comedy The Instigators, Liman was asked about the long journey to making Edge of Tomorrow 2. Though not indicating where in the development process the sci-fi sequel might be, he did assure that Warner Bros. is "constantly" asking about when it will happen, making for an exciting update on the follow-up. Check out what Liman shared below: > >> I do think there's probably no better compliment to a movie than people wanting for there to be a sequel. Road House - there's call for a sequel. Edge of Tomorrow, there's no better compliment than Warner Bros. constantly bringing up, “Will you go and make another one of these?” > > ... > > Development on Edge of Tomorrow 2 has been a rocky road for the past decade, with various starts and stops throughout the years. Cruise, Liman and co-writer and frequent Cruise collaborator Christopher McQuarrie have reiterated that they have the story idea ready for the sequel, which is said to be a "sequel that's a prequel". However, the writing team has changed a number of times, beginning with Snake Eyes duo Joe Shrapnel and Anna Waterhouse, before Love and Monsters co-writer Matthew Robinson was brought on in 2019 to rewrite the screenplay, which was finished in October of that year. > > The biggest hurdle for Edge of Tomorrow 2 to get off the ground thus far has proven to be both the financial logistics and busy schedules of Cruise and co-star Emily Blunt in making the sequel.

> Shira Inbar and Julia Dufossé have been learning a lot about carpets recently. Not just any carpets, Electra-Dye carpets; a type of wacky flooring, usually covered in swirls or planets, that populated movie theatres and multiplexes of the 1990s and early 2000s. “One of the things that really cracked me up is learning that these patterns were designed to camouflage spilled drinks, popcorn kernels, cookie crumbs and general movie theater grime,” says Shira. “A lot of these carpets are still available today! Although they are mostly marketed as decor for home theaters,” says Julia. > > These two don’t just happen to be studying for an upcoming upholstery history pop quiz, this wealth of knowledge came from designing and illustrating Dream Theater, issue 25 of the A24 zine. This edition explores the heyday of the multiplex, which if you’ve taken a wander down the more ‘liminal’ side of TikTok or Instagram recently, you’ll know is having something of a resurgence, in videos showing abandoned concession stands, etc. (Before the zine, Foster Kamer explored this history over on the A24 site, inspired by tweets like this.) > > “The design of that era was so singular – and each theater was so different – that there was so much for us to dive into,” says Shira. What particularly interested Shira, and became a major focus in the brief from A24, was the extravagance of multiplex design. “[That] culture of excess is so prominent in architecture and design in these spaces, during that time,” the designer says. On the other hand, both Shira and Julia tried to distill a contradictory sense of haziness into the design and illustration, distilling the feeling of “bored tweens” and the time-warp experience of leaving after a film: “As you emerged from the [theatre], you realised ‘oh it’s raining, it’s 6pm…’, says Julia.

A24 Zines

I mean, I noticed so many references and what felt like blantant rip offs of classic scenes. I still enjoyed the movie but the constant copying started to get distracting.

"Freaky Friday 2" Begins Filming, First Photo - Dark Horizons =============================================================

Garth Franklin

[!](https://cdndark.darkhorizons.com/wp-content/uploads/2024/06/freaky-friday-2-begins-filming.jpg)

Disney

Filming has officially begun in Los Angeles on the long-awaited sequel "Freaky Friday 2" at Disney Pictures.

Oscar winner Jamie Lee Curtis and her former co-star Lindsay Lohan appear in the first official photo from the body swap comedy which has just been released via Disney's social media channels.

This sequel to the 2003 film boasts a multigenerational twist. Set years after Tess (Curtis) and Anna (Lohan) endured an identity crisis, Anna now has a daughter of her own and a soon-to-be stepdaughter.

As they navigate the myriad challenges that come when two families merge, Tess and Anna discover that lightning might indeed strike twice. The original, itself a remake of the 1976 film starring Jodie Foster in the Lohan role, grossed $160 million worldwide.

Also returning from the 2003 movie are Mark Harmon as Ryan, Chad Michael Murray as Jake, Christina Vidal Mitchell as Maddie, Haley Hudson as Peg, Rosalind Chao as Pei-Pei, Lucille Song as Pei-Pei's mom, and Stephen Tobolowsky as Mr. Bates.

Joining them are Manny Jacinto, Julia Butters, Sophia Hammons and Maitreyi Ramakrishnan. Jordan Weiss penned the script while Nisha Ganatra ("Late Night," "Brooklyn Nine-Nine") directs. Andrew Gunn and Kristin Burr are producing the film which is confirmed to be coming to cinemas in 2025.

What started as an idea over a beer, turned into an Indiegogo crowdsourcing campaign. Then three days of filming followed by a year and a half of post-production with contributions from over forty artists in twelve different countries. It was released in 2017.

Hollywood has been trying to adapt the anime into live action for years. Taken from Wikipedia:

> Since 2002, Warner Bros. acquired the rights to create a live-action remake of Akira as a seven-figure deal.[110][111] The live-action remake has undergone several failed attempts to produce it, with at least five different directors and ten different writers known to have been attached to it.[112][113] By 2017, director Taika Waititi was named as the film's director for the live-action adaptation.[111] Warner Bros. had scheduled the film for release on May 21, 2021,[114] and filming was planned to start in California in July 2019.[115] However, Warner Bros. put the work on indefinite hold just prior to filming as Waititi had chosen to first direct Thor: Love and Thunder, the sequel to Thor: Ragnarok, which he had also directed.[116]

Plot from Wikipedia:

> In 2898 AD, the desertified city of Kasi is now the only city known to exist, ruled by a totalitarian elite, led by god king Supreme Yaskin, from a hovering inverted-pyramidal-megastructure above the city, known as the "Complex". Set against the backdrop of ancient Indian Hindu mythology and a dystopian society, the story chronicles the journey spanning millennia, from the events of the Mahabharata in the year 3102 BC, the beginning of Kali Yuga, to 2898 AD. The core of the narrative revolves around the arrival of enigmatic figure of Kalki, the tenth and final avatar of the Hindu deity, Vishnu.

It is the most expensive Indian film ever made.

Set photo from the shooting in Cleveland. There are plenty more photos and videos floating around, but I can only attach the one picture for some reason.

!

> Laurent Bouzereau, who recently did docs on Faye Dunaway and Natalie Wood, will direct the feature timed to the Steven Spielberg film's 50th anniversary.

If you can't wait for this new documentary, I can recommend, “The Shark Is Still Working” or for something a little different, a sort of visual commentary, why not try Inside Jaws, A Filmumentary.

The DVD rental kiosk company was supposed to pay $16.7 million in three installments. After missing the first payment, there’s a court order to pay the whole balance.

cross-posted from: https://feddit.uk/post/13760361

> > The industry is used to stories about UK cinema­going being in decline since the pandemic and younger viewers finding other ways to spend their leisure time. But a number of independent exhibitors counter that narrative based on their own experiences. While none downplay the struggles that arthouse cinema releases still face at the UK box office, many also highlight reasons for optimism. > > > > “We are seeing a flourishing of young cinephile audiences,” says Jake Garriock, director of publicity at leading UK arthouse distributor/exhibitor Curzon. > > > > David Sin, head of cinemas at the Independent Cinema Office (ICO), echoes that view. “A number of the highest-grossing films in that [arthouse] space in the post-­pandemic era have been films that are aimed at a younger audience than traditional arthouse cinema,” he says, citing titles such as Decision To Leave, Triangle Of Sadness and “a slew of British independent films like Scrapper and Saint Maud, aimed primarily at millennial and Gen Z audiences”. > > > > Sin believes UK arthouse distributors have been slanting their slates toward younger spectators, realising older audiences were initially reluctant post-Covid to come back to cinemas. Over the last two years, independent releases including Anatomy Of A Fall, La Chimera, Aftersun and The Zone Of Interest have played well with a younger demographic. More mainstream indie titles such as Saltburn and Challengers have played extremely well in university towns. > > > > “This younger audience has replaced the more traditional arthouse audience as the core supporter of independent and arthouse cinemas in the UK,” Sin suggests.

> This week, a new Russell Crowe movie is released. The film concerns a demon that comes to inhabit a person, and the struggles of a priest to cast the demon out. You might have seen its poster, in which Russell Crowe wears a dog collar and clutches a crucifix. > > If that sounds familiar, it might be because it has only been a matter of months since the last time that Russell Crowe starred in a film about a demon that comes to inhabit a person, and the struggles of a priest to cast the demon out, that had a poster in which Russell Crowe wears a dog collar and clutches a crucifix. That film was The Pope’s Exorcist. This new one is called The Exorcism. Do keep up. > > If you think it’s slightly inexplicable, to the point of outright derangement, for Russell Crowe to make two films about the same thing, with more or less the same title, where he pretty much wears the same costume, and the poster for each of them uses the same font, then you might have a point. This sort of thing just hasn’t happened in recent memory. > > ... > > Even Nicolas Cage, in the midst of his prolific “Look, I’ll make any film you give me” stage, didn’t make two films as identical as The Exorcism and The Pope’s Exorcist. Even when he made two different films about two different men who can both see slightly into the future and use their skill to stop two different ends of the world (Next and Knowing), he had the good sense to give a couple of years between the two. > > ... > > So, had it not been for Covid, there could have been four whole years between Russell Crowe’s two exorcist films. Had that been the case, barely anyone would have noticed. And maybe, just maybe, Crowe is slightly a victim of his own success here. This is just a punt, but you get the feeling that The Exorcism has gone out of its way to ape the publicity material of The Pope’s Exorcist because it wants to ride the latter’s coat-tails a little. Maybe this is all just an unlucky coincidence. > > Either way, what’s done is done. Whatever the circumstances that led to this event, it looks to all the world as if Russell Crowe wants to pump out a relentless stream of identical exorcism movies until the end of time. So now it’s time for him to strike while the iron is hot. By my calculations, he has just 14 months to film and release the concluding part of what has the potential to be one of the weirdest unofficial trilogies of all time. Exorcists in Space, anyone?