Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
A family heads to an isolated hotel for the winter where an evil spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action, while attempting to liberate a twelve-year-old prostitute.
Robert De Niro,
57 years later, Ellen Ripley is rescued by a deep salvage team during her hypersleep. The moon from the original movie has been colonized, but contact is lost. This time, colonial marines have impressive firepower, but will that be enough?
"2001" is a story of evolution. Sometime in the distant past, someone or something nudged evolution by placing a monolith on Earth (presumably elsewhere throughout the universe as well). Evolution then enabled humankind to reach the moon's surface, where yet another monolith is found, one that signals the monolith placers that humankind has evolved that far. Now a race begins between computers (HAL) and human (Bowman) to reach the monolith placers. The winner will achieve the next step in evolution, whatever that may be. Written by
The movie was not a financial success during the first weeks of its theatrical run. MGM was already planning to pull it back from theaters, when it was persuaded by several theater owners to keep showing the film. Many owners had observed increasing numbers of young adults attending the film, who were especially enthusiastic about watching the "Star Gate" sequence under the influence of psychotropic drugs. This helped the film to become a financial success in the end, despite the many negative reactions it received in the beginning. See more »
Earth should appear closer to the horizon at Clavius than at Tycho, not vice versa. See more »
The original theatrical release had Ligeti's Atmospheres to a black screen for roughly 8 to 10 minutes before the movie began, and Strauss' The Blue Danube well after the end credits to a black screen. See more »
For all those bewildered by the length and pace of this film ("like, why
does he show spaceships docking for, like, 15 minutes?"), here's a word you
might want to think about:
Beauty is an under-rated concept. Sure, you'll often see nice photography
and so on in films. But when did you last see a film that contains beauty
purely for the sake of it? There is a weird belief among cinemagoers that
anything which is not plot or character related must be removed. This is
depressing hogwash. There is nothing wrong with creating a beautiful
sequence that has nothing to do with the film's plot. A director can show 15
minutes of spaceships for no reason than that they are beautiful, and it is
neither illegal nor evil to do so.
'2001' requires you to watch in a different way than you normally watch
films. It requires you to relax. It requires you to experience strange and
beautiful images without feeling guilty that there is no complex plot or
detailed characterization. Don't get me wrong, plots and characters are
good, but they're not the be-all and end-all of everything. There are
different KINDS of film, and to enjoy '2001' you must tune your brain to a
different wavelength and succumb to the pleasure of beauty, PURE beauty,
unfettered by the banal conventions of everyday films.
"All art is quite useless" - Oscar Wilde.
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