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Originally Posted by ObiWanShinobi
My summary:

Sin City
Violence without action, Noir without suspense, Jessica Alba. Style seeped through the bad parts, setting was good.
General Score: 4/10
Overrated Average: 1/10

My good list is coming soon, so save your critiques!
I thought the violence sometimes crossed the line into sadism but I suppose that was true to the original. Could have done without the sadism.

My favorite part was Marv, the Mickey Rourke character. I would have liked a 90 minute Marv movie without Bruce and Owen. They seemed a little wimpy after Marv.

While you're doing overrated, I think Jessica Alba is overrated. Yeah, she's cute but aren't there about a million better actresses out there? She may be ok for comic book films like Fantastic Four but I don't see her in a serious role. For a knockout who can also act, see Charlize Theron.

But anyway, I enjoyed Sin City. My only real complaint was "too sadistic."



Sedai] To those dissing Chicago: For some reason, I really enjoyed the film. I did find the transitions from stage to film narrative a bit jarring, but I really liked the songs, and I thought all the players did a good job. I would like to see the play, but I give kudos to the filmmakers for attempting to put the two mediums together in the way they did.

I saw Chicago at a dinner theater in Boulder Colorado. The waiters and waitresses were also the performers. It was excellent. Shortly after seeing it on stage, I rented the DVD. Not the same. The movie was ok and performances were good but I highly recommend seeing the stage version by a good cast.

Oh, and I also have my little Chicago coffee mug from the theater.



In Soviet America, you sue MPAA!
Originally Posted by ObiWanShinobi
I'm not easily offended by gore, blood, or decapitation. But when a half naked woman with arms eaten off by a wolf/human hybrid must be shown in her almost full glory, that gets to me. Also, this wasn't over the top B movie gore, this was stylistic and therefore realistic, I never believe in censorship, but I belive in personal opinion, and I wouldn't dare to venture that this violence be considered artistic or classy or neccessary.
Comeon now, since when in the hell does being stylistic equate to realistic? They do NOT go hand in hand and never have. I just don't understand where a statement like that comes from...

You can take your classy comment, but it is neccessary for the film and it sure as all hell is artistic. Just because it is a half naked woman with the flesh of her hand sewn inwards does NOT mean that it isn't artistic. Sin City was not only one of the most artistic works of film this year, but is of all time. Personal opinion is great, but the artistic merits of Sin City aren't up to personal opinion as far as I'm concerned. It's certainly up to you whether you enjoy it or not, but the level of art displayed by Miller and Rodriguez is simply not up for debate. Just because you don't like the style of art does not mean you can discredit its existence in the first place. It takes just as much artistry to paint a dead body as it does to paint a picture of Jesus.

And as for the style being "realistic", what the hell were you watching? Between these comments about Sin City and your thoughts that Eyes Wide Shut is about secret socities of politicians having sex I'm really begining to question whether you actually watch these movies or just read their imdb plot summaries. What makes Sin City so great is that it is so far removed from all that is real - all that is real in our world. Since when do people get shot through the chest with an arrow and still stand with perfect posture, making jokes about it? Since when does any of the violence portrayed in the film stand to the scrutiny of the real world, real physics, real logic and above all, real medicine and biology?

It just isn't realistic and was never intended to be realistic. However, it does succeed tremendeously by convincing us of the real realm that is Sin City. It convinces us that if we could enter the film and take a turn down a back alley where the movie doesn't take a turn, we could find a whole new story.
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Originally Posted by OG-
Comeon now, since when in the hell does being stylistic equate to realistic? They do NOT go hand in hand and never have. I just don't understand where a statement like that comes from...
I suppose the two could be confused with what I"m trying to say. I thought the movie was stylistic and the violence was done differently, thereofore it was stylistic in it's approach. The voracious nature of the violence got to me, regardless of whether or not you consider it realistic, it bothered me on a level that realistic violence could almost always do. Also, they DO go hand in hand if I can only discern what makes me sick and what doesn't make me sick.
Originally Posted by OG-
You can take your classy comment, but it is neccessary for the film and it sure as all hell is artistic. Just because it is a half naked woman with the flesh of her hand sewn inwards does NOT mean that it isn't artistic. Sin City was not only one of the most artistic works of film this year, but is of all time. Personal opinion is great, but the artistic merits of Sin City aren't up to personal opinion as far as I'm concerned. It's certainly up to you whether you enjoy it or not, but the level of art displayed by Miller and Rodriguez is simply not up for debate. Just because you don't like the style of art does not mean you can discredit its existence in the first place. It takes just as much artistry to paint a dead body as it does to paint a picture of Jesus.
In a sense, all forms of everything have some art, some originality, some class to any extent. But a half naked woman with her arms eaten off strikes me more as shocking and less Leonardo Da Vinci. I don't think it qualifies as art on the artsy scale, but in the sense that everything is art I guess it is, but it just seems entirely superfluous to me.

Originally Posted by OG-
And as for the style being "realistic", what the hell were you watching? Between these comments about Sin City and your thoughts that Eyes Wide Shut is about secret socities of politicians having sex I'm really begining to question whether you actually watch these movies or just read their imdb plot summaries. What makes Sin City so great is that it is so far removed from all that is real - all that is real in our world. Since when do people get shot through the chest with an arrow and still stand with perfect posture, making jokes about it? Since when does any of the violence portrayed in the film stand to the scrutiny of the real world, real physics, real logic and above all, real medicine and biology?
The style was realistic as though I thought it could happen, the movie was in black and white with color traces and color blood, but the ideas were so shocking and gratuitious that it seemed real to me. Because it's different if your reading something than if your watching something, you are watching it performed and it is pretty realistic, in animes with violence like that I can discern, but Carla Gugino? That is just perverse, and it looked realistic, if the movie was in color, not only would an NC-17 rating be garnered, but it would be considered the worst violence in movie history. I also know it was part of the film's identity to stay true the graphic novel and represent the style of the whole story, but it was still shocking.

As for the IMDB summary comment, I've seen all the movies I've listed. I do not pretend to know about movies that I haven't seen, I saw Sin City AND Eyes Wide Shut, Eyes Wide shut about 3 separate times (saw it twice from the middle to end, then once a full time). Do not reduce my comments and opinions to that of IMDB tomfoolery, please.

Originally Posted by OG-
It just isn't realistic and was never intended to be realistic. However, it does succeed tremendeously by convincing us of the real realm that is Sin City. It convinces us that if we could enter the film and take a turn down a back alley where the movie doesn't take a turn, we could find a whole new story.
I thought it was shockingly realistic enough to churn my stomach as well as the multiple people who left the theater on it's release date thought it was as well. Perhaps I was wrong in saying the stylized violence was real, I should've said even though the violence was stylized and hyperbolic, it seemed real enough and possible enough to be true.

As for entering Sin City, that is a good trick used to sell Sunday Morning Toon papers, but as far as making a good film with any decent plot points or twists or any moral points whatsoever, none at all.

Straightforward killing and perversion was all that I saw. Maybe I missed the symbolism and the artistic quality of the film, but then again Slash probably has as much symbolism and artistic quality as Sin City.

So no, I will not call it art, what was onscreen was pretty, but the story behind it, the acting, and the script, were all lackluster. If a person drew a painting just because it looked nice and had no story with it, then it wouldn't be a good painting.

Just my opinion.
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[quote=Twain]
Originally Posted by ObiWanShinobi
More!

Yea, I went there again. What happens when you take one man's name and plaster it over something? Apparently classic, and greatest movie ever, filled with one liners we can use day to day till the end of time. Yea, right.

In all fairness to the movie's hip style, it does succeed in presenting us with something different. But, the simplistic storyline and the action scenes are enough to bore me to hell and back. How can we as a people get off on revenge filled tales of violence, not good action, but pure violence. It is disgusting to even think about it.

Re: Kill Bill...My reaction to the movie was this...One minute I'd be thinking "This is total crap" and the next minute I'd be totally enthralled. That seldom happens at movies for me. Crap usually stays crap and great stays great. But Kill Bill was like a roller coaster of really good and really bad.

Yes, it was different. That alone is worth a nod of appreciation. We complain about tired old formulas. Well, this was different.

I'm not into violence but this movie was over the top, comic book violence. Once I accepted that, it was ok. It's realistic violence that is disturbing. I didn't care much for the never ending battle of blood in the restaurant when the bride killed about 3 million attackers but I did like other fight scenes, especially with Lucy Lui.
I agree, I did find myself enjoying limited parts of Kill Bill tremendously, but mostly hating the entire film.

Different? Wasn't that totally a rip off of east asian mystisicm/kung fu revenge films?

Over the top violence, yes, I didn't mind the violence so much, a few scenes bothered me, but I didn't feel horribly sick as I did when watching Sin City.



Movie Forums Stage-Hand
I think The Ring is an overrated movie. I never got to appreciate it the way others did. and also the new star wars trilogy.



Originally Posted by terry
I think The Ring is an overrated movie. I never got to appreciate it the way others did. and also the new star wars trilogy.
I think The Ring will be a horror movie classic. But I'm a little biased, I love Naomi Watts. Can't wait for King Kong.



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Originally Posted by Twain
I love Naomi Watts.
I want to be her slave.



A system of cells interlinked
Originally Posted by ObiWanShinobi
Sin City
Violence without action, Noir without suspense, Jessica Alba. Style seeped through the bad parts, setting was good.
General Score: 4/10
Overrated Average: 1/10
Noir (I am including neo and tech, as well) and suspense are by no means mutually exclusive. There are plenty of noir films that do not contain much, if any, suspense. Many are straight up hard boiled detective stories, straight up gangster flicks, some are comedies, some are science fiction, some are heist flicks, and yes, some are indeed suspense films, too. But, noir isn't just another way of saying suspense.

Take these films into account

Sunset Boulevard (Comedy/parody noir)
The Killing (Heist)
Kiss Me Deadly (mystery with a sci-fi twist)
Blade Runner (NeoNoir Sci-fi/Detective)
The Usual Suspects (Neo-Noir Heist/Gangster)
Out of the Past (Gangster/Mystery/Romance)
The man Who Wasn't There (Character Study/Comedy/Sci-Fi/Heist-ish Coen weirdness, but really zero suspense...brilliant film, btw)
Chinatown (Neo, but a brilliant noir, detective/mystery)
and on and on...

Still, that isn't that important either, because more important that film structure, it's film style that dictates a noir. Certain character archetypes must be present, low key lighting, film stock...all important to the noir style, before we even have a story. Other noir devices can include a hard-boiled voice over (Sunset Blvd, Out of the Past, Blade Runner), a femme fatale (Out of the Past, Laura, Gilda) and most noir comments darkly on the society at the time, or the envisioned society of the time the film is set in, when we include the future-noir stuff like Blade Runner. Kiss Me Deadly was a horrifying commentary on the political landscape of the atomic age, as were many films of the true noir cycle. Stuff like Brainstorm (not the Walken picture, the noir) was more Atomic age doomsday commentary.

I think Sin City fit smack dab in the hard boiled detective genre, and don't think the film was ever intended to be suspense.

If you are still not conviced, I happen to study noir quite a bit, and have a number of texts I can recommend to clear things up. Now, on the other side of the coin, most suspense films of the time used many noir devices for their cinematic effect on people. the low-key lighting, wtc. But stuff like Psycho doesn't define the genre of noir, it just resides in it.


The Wikipedia definition of Film Noir:

"Film noir is a film style and mood primarily associated with crime films, that portrays its principal characters in a nihilistic and existential world. Film noir is primarily derived from the hard-boiled style of crime fiction of the Depression era, (many films noir were adaptations of such novels), and may first be clearly seen in films released in the early 1940s. 'Noirs' were historically made in black and white, and had a dark, high-contrast style with roots in German Expressionist cinematography."



Speaking of film noir, and becoming Naomi Watts slave, Check out Mulholland Drive (Lynch, 2001). One of my favorite films of all time, it's a visceral noir/love story that I cannot recommend highly enough...see this film, if you already haven't!
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Noir without suspense is not my taste buds, my man, I didn't say it wasn't noir because it didn't have suspense.

Also, the Usual Suspects had a ton of suspense, I would go as far as to call it a thriller. Kaiser Soze had me the flip piss pants, and although I predicted the ending, it was chilling the none the less.

Also, I consider suspense major plot poitns breaking hrough and hitting you, not neccessarily scary or hitchcock like, but points that send chills down your spine.

I would consider the romance movie Possession somewhat suspenseful, any time a new discovery was found, a chill would go through my spine.

So I by no means limit noir to suspense, nor suspense to thriller films. But just about every noir movie has what I consider some sort suspesnse and Sin City had none, but I know the two aren't mutually exclusive, hence the hint of my taste.

To reiterate my point on The Usual Suspects, the suspense in that movie was astounding, at least for me, Kevin Spacey made himself legendary in my unhumble opinion.

As for Lesbianic activities in confusing films. Amen



In Soviet America, you sue MPAA!
Originally Posted by ObiWanShinobi
In a sense, all forms of everything have some art, some originality, some class to any extent. But a half naked woman with her arms eaten off strikes me more as shocking and less Leonardo Da Vinci. I don't think it qualifies as art on the artsy scale, but in the sense that everything is art I guess it is, but it just seems entirely superfluous to me.
I absolutely hate it when people discredit art because they think it was created with the simple intention of shock. Why can't horror be art? Just because it isn't hanging behind bulletproof glass in a musem doesn't mean that it isn't "art on the artsy scale". Also, calling Sin City art isn't taking part of the cop-out arguement that "everything is art". I see more artistic talent on display in any frame of Sin City than I do in countless works of art that you'd lump into "art on the artsy scale" hanging on the wall of the Hirschhorn.

I've said it before and I'll say it again. It takes just as much artistry to paint a dead body as it does to paint a portrait of Jesus. Just because it was done on celluloid and not a canvas, don't toss it out as pure schlock.

Sin City is on the same level as The Triumph of Death, the medium is just different.

The style was realistic as though I thought it could happen, the movie was in black and white with color traces and color blood, but the ideas were so shocking and gratuitious that it seemed real to me. Because it's different if your reading something than if your watching something, you are watching it performed and it is pretty realistic, in animes with violence like that I can discern, but Carla Gugino? That is just perverse, and it looked realistic, if the movie was in color, not only would an NC-17 rating be garnered, but it would be considered the worst violence in movie history.
Maybe we just grew up reading different biology text books or my body is an anatomical anamoly, but there is so much in Sin City that I never for a second considered could happen in reality...

And as for the most violence in movie history? Please. You give it far too much credit. Give it a full color pallete and switch it from digital to video and the violence on display wouldn't hold a candle to The Passion of the Christ, which isn't even playing on the same level as Ichi The Killer.

Let's not exageratte here. Sin City is violent, but it isn't the most violent movie ever and no matter what you change the color pallete too, it will still be cartoonish and unrealistic. The things people do to each other in that movie just aren't feasible in the real world, with real people.

See The Passion, which I'm sure you have, or Ichi for an example of what it really looks like to see someone mutilated realistically.

I'd really recommend a thorough examination of Pieter Bruegel's The Triumph of Death, the parallels between the two works are huge. Death is everywhere, death is not subtle and death is not consolatory. It doesn't hold your hand and it will find you. Bruegel painted it over 400 years ago, Rodriguez and Miller just retold it.



A system of cells interlinked
Originally Posted by ObiWanShinobi
Noir without suspense is not my taste buds, my man, I didn't say it wasn't noir because it didn't have suspense.

Also, the Usual Suspects had a ton of suspense, I would go as far as to call it a thriller. Kaiser Soze had me the flip piss pants, and although I predicted the ending, it was chilling the none the less.

Also, I consider suspense major plot poitns breaking hrough and hitting you, not neccessarily scary or hitchcock like, but points that send chills down your spine.

I would consider the romance movie Possession somewhat suspenseful, any time a new discovery was found, a chill would go through my spine.

So I by no means limit noir to suspense, nor suspense to thriller films. But just about every noir movie has what I consider some sort suspesnse and Sin City had none, but I know the two aren't mutually exclusive, hence the hint of my taste.

To reiterate my point on The Usual Suspects, the suspense in that movie was astounding, at least for me, Kevin Spacey made himself legendary in my unhumble opinion.

As for Lesbianic activities in confusing films. Amen
Have to disagree on the whole plot point thing. A plot point breaking through is just simply that, a plot point breaking through. A surprise plot point becoming revealed and hitting the viewer isn't what marks a film as suspense, or one would have to call films like The Empire Strikes Back, a suspense film. Arguably one of the biggest and hard hitting plot points in the history of film, and it certainly sent chills down my spine at the time, but calling Empire a suspense film would be absurd.

I would say a film that puts characters in a dangerous situation to heighten the suspense of the viewer would be a suspense film. Also using the language of cinema insofar as set design, lighting, and of course, music, to put the viewer on edge creates a suspenseful no matter what the plot points or story breakdown. Simply revealing knowledge to the viewer in a surprising or hard-hitting way is a situation that arises in almost every genre of film.

To me, the resolution of The Usual Suspects was simply the resolution to the mystery posed in the film, or "Who is Kaiser Soze?". It was a cathartic mystery resolution, but the film didn't create suspenseful situations for me, just mysterious ones. It had me guessing the whole time, which means it was a good mystery, but I didn't get much suspense from the film. Of course, I have seen this film over 50 times, so I could just be desensitized to any suspense in the film.

Anyway, this is all semantics, I guess, and you can call whatever you want suspense, if it makes you feel suspenseful, it's suspense to you. As far as Sin City is concerned, I agree it didn't have suspense elements, but I will say again, it fits nicely in the middle of the hard boiled Detective genre, even though some of the detectives were a bit....out of the ordinary (Marv)...Sin City borrows style from the Hard boiled side of noir, and it does so wonderfully, IMO, from a strictly stylistic point of view. Ultra-violence or dislike for the source material aside (your dislike, not mine, I love this ****), I think it achieved something special from a design and stylistic standpoint... The pages of Sin City came to life right before my eyes, and that was hot....

As for the violence and source dislike, who the hell am I to argue those points with you? It's just your taste, and there isn't any argument where taste is concerned



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Originally Posted by OG-
I absolutely hate it when people discredit art because they think it was created with the simple intention of shock. Why can't horror be art? Just because it isn't hanging behind bulletproof glass in a musem doesn't mean that it isn't "art on the artsy scale". Also, calling Sin City art isn't taking part of the cop-out arguement that "everything is art". I see more artistic talent on display in any frame of Sin City than I do in countless works of art that you'd lump into "art on the artsy scale" hanging on the wall of the Hirschhorn.
Just to let this be clear, the people who worked on Sin City's art style are amazing creators, and the vision was brilliant. I am not faulting them in any way or shape, nor Miller's decision to use it in his graphic novel.

That being said, there is nothing behind sin city but death. Not telling of an event that happened that contained death, but creating a new story about death.

No, I do not find existentialist death is inevitable trite, artsy. I have have and never will, just as you will never consider any picture hanging ont he Hirsclhorn art compared to Sin City. It is just my taste, and forgive me if I don't follow the norm if I don't like how death is portrayed.

Sin City is not real art. It doesn't fit my taste, and I acknowledge the existence of existentialism and portraits of death and ghastly imagery, but I don't like it nor find pleasure or value in it besides it's shock value.

That is my opinion the subject, so there is no way you can stand on a leg by forcing me to acknowledge Sin City's plunderifous abundance of art that makes Leonardo Da Vinci cry. I simply do not care and do not find any point in it all. I've already accepted death is inevitable, and it's oftentimes not a pleasant experience, and I've also come to grips with "I hate everything" attitude I held for most of my early teenage years.

To some, Sin City may be art, but in my humble opinion, it is shock trash. Some might be able to draw their entire lives from Sin City, but I think it is shock trash with no entertainment value.

If that doesn't fit into your 411 then you can either deal with it or drop the subject.

Originally Posted by OG-
I've said it before and I'll say it again. It takes just as much artistry to paint a dead body as it does to paint a portrait of Jesus. Just because it was done on celluloid and not a canvas, don't toss it out as pure schlock.

Sin City is on the same level as The Triumph of Death, the medium is just different.
The work behind it requires as much talent, the story behind it is what matters. I'm not an art snob, I hate art snobs, and I especially hate the F'tard security at art galleries who won't let you come within 2 miles of an abstract of pig innards. I just find that some artists manage to convey an emotion or event with such precise attention to the subject that it hits you.

I'm not denying the value of death works, especially abstract death works, that oftentimes try to parrallel dieing with hideousness. But, as I've said before, that isn't my cup of tea, the points that they try to get across I've already grown from, and therefore, usually, the lump of them are shock trash to me.

And several famous painters have just made pretty pictures, I'm not an art snob either way. In fact, I have a woeful lack of knowledge on the subject.

As far as Christ is concerned I'm not asserting that every picture of Christ is art as opposed to pretty pictures. I imagine several paintings of Him were merely to start a young artist off on a lucrative career. Like I said, i'm not an art snob.

While we are on this, however, is that the main difference behind Passion and Sin City was that one actually happened, as did Glory, Hotel Ruwanda, and a large number of other historical events. These have violence that show what violence was there, and it is not fiction as Sin City.

I guess that's why I hate Sin City, because it was so out of touch with reality, the scenes of violence were so preposterous they disturbed me, and I'm no Roger Ebert sellout asshead, if I get disturbed by something that has no value to me in the context of myself or in the context of history or some major point, then I find it worthless, possibly amusing, but generally worthless. Evil Dead films that everyone loves I suppose would fit that description. But Sin City had no entertianment value whatsoever to me, so I find it worthless.

Originally Posted by OG-
Maybe we just grew up reading different biology text books or my body is an anatomical anamoly, but there is so much in Sin City that I never for a second considered could happen in reality...

And as for the most violence in movie history? Please. You give it far too much credit. Give it a full color pallete and switch it from digital to video and the violence on display wouldn't hold a candle to The Passion of the Christ, which isn't even playing on the same level as Ichi The Killer.
.
Lets not go into biology professors, that profession is one in which I would like to murder all members of. I've taken 5 semesters of it in high school, 2 regular, 1 online, and 2 christian. I think I passed 4 of the semesters, and I only required 2 semesters of it.

Also, I believe physics would be a more important judge in determining what is possible with the human being.

That is all besides the point, however, and it was exactly that unrealistic violence that got to me, why must it be there.

Oh yea, and like I said, some violence is good, the crucification and torture were realistic because they had to be, they made you sympathesize and it hit your emotions. I did NOT get the same feeling when Bruce Willis ripped out Yellow Bastard's testicles, I just felt sick.

So, violence is determined upon context every time, and I found the violence in Passion not only neccessary, but applaudable to tell a historical event to us without shackles (Schindler's list as well). But something hyperbolic and disgusting the extreme is not acceptable by my standards unless it has a point, and I don't find anything in Sin City worthy of being deemed applicable to me.

Originally Posted by OG-
Let's not exageratte here. Sin City is violent, but it isn't the most violent movie ever and no matter what you change the color pallete too, it will still be cartoonish and unrealistic. The things people do to each other in that movie just aren't feasible in the real world, with real people.

See The Passion, which I'm sure you have, or Ichi for an example of what it really looks like to see someone mutilated realistically.

I'd really recommend a thorough examination of Pieter Bruegel's The Triumph of Death, the parallels between the two works are huge. Death is everywhere, death is not subtle and death is not consolatory. It doesn't hold your hand and it will find you. Bruegel painted it over 400 years ago, Rodriguez and Miller just retold it.
Over the top violence doesn't bother you, well it does to me, and the fact that Sin City has nothing worthy of value to me as growth only shows how pointless the violence is.

I've never seen Ichi the Killer, but if it is another tale of existentialist over the top death, then I would probably hate it.

The Triumph of Death I have heard about, I used to be in the existentalist death scene in Las Vegas, which is an underground community for such, I found these to be disturbing images, and I stopped fooling myself that such could be good for me.

Now, here is the counter point. Maybe, quite possibly, Sin City's tale of death told you something that you never drew or though about before. Maybe the art style jumped in your head as original and bold and styling. Maybe the pieces that fell together filled your soul with exactly what you needed to further your existence on earth.

Please understand, an opinion contrary to mine is completely acceptable. I got some grief for what I thought would be obvious jokes about the horrible batmobile and **** tastic Jessica Alba. That was really more of a joke than anything, but keep in mind I do respect your points, I just don't apreciate something telling me how much art is in something I found to be utterly worthless.

But then again that is my opinion, now, if you had read my summary, I believe it clearly defined what I thought, I will repost it here:

My summary:

An overrated movie is one in which I may enjoy or not like, but consider given undue credit by the movie community. I would also like to point out that this is my personal opinion on the movies in question, and it does not represent fact. Merely an alternate viewpoint on something that is celebrated.

The original intent of this was to post what type of movies I was in to, what I looked for and didn't look for in movies, and I had hoped to give the community a personal opinion on which to judge my movie qualities by. I hope for impeccable, but I will settle for tasteless, anything to let my point across to people so they can understand a member's choices.

I believe that having an overrated list is more important than having a bad movie list, because bad movies, are almost always, incredibly bad. However, overrated movies contain qualities that people like and people hate, so if I were to post my view of overrated movies, you would understand better what I liked, and didn't like, in a light in which movies are always considered good.

Because, like I said, bad movies, are almost always, 100%, bad.

So no, Sin City is not art, by my standards. And you are not going to push the existentialist drove down my throat. But you can accept that is art, and grow from it and let me wallow in my ignorance if that is what you believe.

That's the thing about it, my overrated list tells what I like and do NOT like.

So, now that we have it clear about my tastes, we have hit a point known as the middle zone, where, if two people cannot be persuaded to change their paths, they must accept and move on. If you are offended by my comments about Sin City, just remember I was offended by your comments as well. It is an entirely offensive ordeal, much like the Boise St. Broncos.

You can post what you think, but I know what you think, you think that art is not limited to snobby tomfoolery such as Leonardo Da Vinci. That death itself is in fact art, and damned be the people who deny it's credit. (not egging you on, keep in mind)

Also, Sin City, to you, was something that you opened up from, and really enjoyed, either for the entertainment or ulterior point.

I completely 100% disagree.

But that's my taste, and hopefully it won't be a rotten fig newton when I die.



In Soviet America, you sue MPAA!
Well, you got very defensive, very fast. And I haven't even come out swinging yet. Kidding, of course.

Let's clear some things up. I don't care to change your tastes or your opinion. I honestly could care less whether you like Sin City, or any other movie for that matter, but you've clearly stated in this thread that you want people to attack your points, not attack you, which is exactly what I've done.

You seem to think I haven't done that though, that I have some vendetta against your tastes ("If that doesn't fit into your 411 then you can either deal with it or drop the subject.") and that isn't the case. I just call out bull**** when I see it. Calling Sin City realistic was what did it for me, because it is far from it and you've even acknowledged this now. But then your story just adapted from disliking the 'realistic violence', which we both agree is absent, to disliking the..."unrealistic violence"? I'm sorry, that just doesn't make any sense.

You're telling me to drop it, but you can't keep shooting some enlarging ray at the elephant in the room and then ask me to just ignore it.

Your last response was peppered with the word "existential", which Sin City surely is not. Sin City may be a unique universe, but it isn't existential. The characters behave with logic and reason and, though I guess you could argue this point, but they are certainly aware of the consequences of their actions. Time is linear in the Sin City universe. Just because the laws of physics and the capibility of a human body to withstand bullet hole after bullet hole aren't standard in the film doesn't mean it is an existential piece.

It may not be realistic, but that doesn't default it into the realm of existentialism.

We can chalk it all up to a matter of taste if you want to go that route, but there are facts being stated here and facts are up for grabs.

I'm not offended by your comments, like I said, I honestly couldn't care less. Truth is, unless you provided a picture of your NRA card while you were clubbing a seal on the roof of your H2 atop an oil refinery in the Alaskan wildlife reserves, while eating an omlet made from the egg of a Condor and hugging George W. Bush, I wouldn't be offended. And even then, I'd just laugh.

We can sit in this middle ground you've mentioned, that's fine, it wouldn't be my first journey to the lazy land, but this can't go unaddressed:

You can post what you think, but I know what you think, you think that art is not limited to snobby tomfoolery such as Leonardo Da Vinci. That death itself is in fact art, and damned be the people who deny it's credit. (not egging you on, keep in mind)
Um, what exactly is your point here? That you already have my thoughts nailed before I've expressed them? That you know I'd just as soon rather wipe my ass with the original Mona Lisa as I would appreciate it in a museum? I never even brough Da Vinci into this. I personally think he is one of the greatest minds the human race has ever produced and he'd be one of the starters of my fantasy football team...

Death itself is in fact not art. A corpse of a homeless person is not art. The body of a gang banger riddled with bullets is not art. The sewn up forearm of a naked woman is not art either. Death isn't art, none of it is.

Until someone makes it art.

Oh, and don't ever see Ichi The Killer or any other Takashi Miike work. This isn't some snobby aside on my part, this is a friendly recommendation that you simply will hate all of his films.



ObiWanShinobi's Avatar
District B13
Originally Posted by OG-
Well, you got very defensive, very fast. And I haven't even come out swinging yet. Kidding, of course.

Let's clear some things up. I don't care to change your tastes or your opinion. I honestly could care less whether you like Sin City, or any other movie for that matter, but you've clearly stated in this thread that you want people to attack your points, not attack you, which is exactly what I've done.

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I'm not defensive, I just can't express my POV without turning into an SOB.

I know that, i wanted you to attack my opinion so as to see if you could change it, apparently we have hit a wall, we could continue on about how much I hate what you consider art and how much art knowledge I have is worthless and stupid. I believe that once the middle ground has been hit we can do no more than to wipe our noses and save up ammunition for the hotdog boys.
Originally Posted by OG-
You seem to think I haven't done that though, that I have some vendetta against your tastes ("If that doesn't fit into your 411 then you can either deal with it or drop the subject.") and that isn't the case. I just call out bull**** when I see it. Calling Sin City realistic was what did it for me, because it is far from it and you've even acknowledged this now. But then your story just adapted from disliking the 'realistic violence', which we both agree is absent, to disliking the..."unrealistic violence"? I'm sorry, that just doesn't make any sense.
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Well you do have a vendetta agianst my tastes, as I have a vendetta for unifying Ann Coulter and Bill Maher in wedlock and making a steamy sex video to go online.
It's just our opinions, despite how different they are, they can be grabbed and touched, ever so slightly with love and affection, pricking and prodding like a dog and his boy discovering true friendship after the boy discover's his dad was eaten by alligators.

As for being realistic, I knew the art style was wierd and cool and unrealistic, and the death was superfluous in the extreme, but I felt uncomfortable during the violence, and what was realistic was my uncomfortability with the subject matter. The movie itself wasn't, but was, sort of an enigma in the code of revolutionary robots, if you will.

So I do believe that it wasn't realistic, but it was to me becuase I was realistically pissed off and stomach churned. That was the point I was trying to get across.

Boo biology and all that it entails, it is a profession for halfwits and smacktards.

Originally Posted by OG-
You're telling me to drop it, but you can't keep shooting some enlarging ray at the elephant in the room and then ask me to just ignore it.

Your last response was peppered with the word "existential", which Sin City surely is not. Sin City may be a unique universe, but it isn't existential. The characters behave with logic and reason and, though I guess you could argue this point, but they are certainly aware of the consequences of their actions. Time is linear in the Sin City universe. Just because the laws of physics and the capibility of a human body to withstand bullet hole after bullet hole aren't standard in the film doesn't mean it is an existential piece.
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We can play the last word game all day, but I'll develop a rash and a bad sense of direction, so it eventually must come to a close.

Existential was mostly referring to the type of art that "death" works portray, as I've stated before their was a mini art community dedicated to showing how beautiful death was, and I was into it, it was like a mix between sin city and nightmare before christmas on film, but eventually I came away with nothing of growth or of a worthy opinion. Which is how I feel about Sin City and it's portrayal of death.

Sin City is not neccesarily existential as it is about killing people, you say it's art, i say it's not. We can do the rhyme chyme until Keanu Reeves acts himself a golden globe, but we simply don't have our entire lives to debate like this.


Originally Posted by OG-
It may not be realistic, but that doesn't default it into the realm of existentialism.

We can chalk it all up to a matter of taste if you want to go that route, but there are facts being stated here and facts are up for grabs.
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I guess I agree with you on the first point, and the second point is really relative. I mean facts stated that Christopher Columbus was Italian, but now apparently he is either Jewish, Or Rich Spanish, or a Pirate Spaniard. Why is he from Italy? Because that is what he wanted people to think.

What does this have to do with absolutely anything? Nothing at all, except that opinions are facts to the beholder, and Shaka Zulu knew that his people could defeate gun powder with bamboo sticks and a 3 course meal.


Originally Posted by OG-
I'm not offended by your comments, like I said, I honestly couldn't care less. Truth is, unless you provided a picture of your NRA card while you were clubbing a seal on the roof of your H2 atop an oil refinery in the Alaskan wildlife reserves, while eating an omlet made from the egg of a Condor and hugging George W. Bush, I wouldn't be offended. And even then, I'd just laugh.
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I wouldn't be doing any of those things at all, unless I was buck naked.

Originally Posted by OG-
this can't go unaddressed:
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I tell my house salad that every day.


Originally Posted by OG-
Um, what exactly is your point here? That you already have my thoughts nailed before I've expressed them? That you know I'd just as soon rather wipe my ass with the original Mona Lisa as I would appreciate it in a museum? I never even brough Da Vinci into this. I personally think he is one of the greatest minds the human race has ever produced and he'd be one of the starters of my fantasy football team...
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I knew it would sound like that, but what I was trying to say was that you do not value names over what you consider to be art. I respect that opinion, that is what I was trying to convey. As for wiping ass with Mona Lisa, that would probably be painful, and unpleasant, not reccommended.

Originally Posted by OG-

Death itself is in fact not art. A corpse of a homeless person is not art. The body of a gang banger riddled with bullets is not art. The sewn up forearm of a naked woman is not art either. Death isn't art, none of it is.

Until someone makes it art.
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Again, interesting perspective that I can respect. Talent is certainly readily shown everywhere, I can't deny talent. But I can't respect something that holds no application to me. Nor can you, nor can anyone else.

Originally Posted by OG-
Oh, and don't ever see Ichi The Killer or any other Takashi Miike work. This isn't some snobby aside on my part, this is a friendly recommendation that you simply will hate all of his films.
Well, if it has style I might like it, but if it is about my pov of v on the bang-bang then I'll heed your warning.



A system of cells interlinked
This thread is hilarious and fun.....

Oh, and it's couldn't care less...couldn't....


If one could care less, they care....


Off to Key West....


later!!



ObiWanShinobi's Avatar
District B13
Originally Posted by Sedai
Have to disagree on the whole plot point thing. A plot point breaking through is just simply that, a plot point breaking through. A surprise plot point becoming revealed and hitting the viewer isn't what marks a film as suspense, or one would have to call films like The Empire Strikes Back, a suspense film. Arguably one of the biggest and hard hitting plot points in the history of film, and it certainly sent chills down my spine at the time, but calling Empire a suspense film would be absurd.
Well, yes, but what I meant was generally speaking plot points. Things with mystery to me, with unsolved resolutions, such as possesion or usual suspects is suspense.They are mystery, and when it gets solved it offers another gateway to the facts, this acknowledgement of the fact is what I consider to be suspense. Pretty much all movies rely on some sort of suspense, but movies that dwell on it are waht I consider to be suspense movies.
Originally Posted by Sedai
I would say a film that puts characters in a dangerous situation to heighten the suspense of the viewer would be a suspense film. Also using the language of cinema insofar as set design, lighting, and of course, music, to put the viewer on edge creates a suspenseful no matter what the plot points or story breakdown. Simply revealing knowledge to the viewer in a surprising or hard-hitting way is a situation that arises in almost every genre of film.
I did not see how Bruce Willis, Mickey Rourke, or Clive Owen could be defeated (although several were). To me, these were righteous bad boys who could defeat anyone and die only for purposes to serve how righteous they are. I was never once scared for any of the characters that they might be defeated, the uncomfortable situations created by Frodo And Del Toro and Michael Clarke Duncan and Yellow Bastard were that of sick perversion, and not of me caring whatsoever. I would never consider this suspense more than I would consider Empire strikes back suspense.
Originally Posted by Sedai
To me, the resolution of The Usual Suspects was simply the resolution to the mystery posed in the film, or "Who is Kaiser Soze?". It was a cathartic mystery resolution, but the film didn't create suspenseful situations for me, just mysterious ones. It had me guessing the whole time, which means it was a good mystery, but I didn't get much suspense from the film. Of course, I have seen this film over 50 times, so I could just be desensitized to any suspense in the film.
yea, the mystery is the suspense. I believe they are one in the same, discovering something new, opening up a new whole, they all mean the same thing to me.

I even knew the ending once I knew the setup after the first mission (Spacey is only one with weakness, comeon!?) But when something would happen my spine would tingle and my attention would revert to knew facts.

I liken suspense to historical investigation films as well, it is a cheap tactic, but developing certian areas of an event or person, posing a question, and then offering numerous solvants to that question is what drives us to watch.

It is different than Suspense in Empire Strikes back if it focuses ont he suspenseful part itself.
Originally Posted by Sedai
It's just your taste, and there isn't any argument where taste is concerned
Unless taste brings into question rotten fig newtons, the F'ers who like those clearly need to be reinitiated into society.



Originally Posted by Sedai
Speaking of film noir, and becoming Naomi Watts slave, Check out Mulholland Drive (Lynch, 2001). One of my favorite films of all time, it's a visceral noir/love story that I cannot recommend highly enough...see this film, if you already haven't!
Saw it, loved it. I truly believe Watts' performance was oscar worthy.

You've probably seen Tank Girl, with a young and dark haired Naomi Watts.



ObiWanShinobi's Avatar
District B13
Originally Posted by Twain
Saw it, loved it. I truly believe Watts' performance was oscar worthy.

You've probably seen Tank Girl, with a young and dark haired Naomi Watts.
Naomi Watts need to be in a dominatrix role, with me cast as the one being dominated.

I would do all my own stunts



Really-Am I the only one that thought Lost in Translation was totally over-rated? It's not bad but it's just not that great either. That and damn KIll Bill-- watch Natural Born Killers-- the direction in Kill Bill is super similar--