Undeserved flops

>undeserved flops

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youtube.com/watch?v=jC7U8C2X1Uw
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"Dad movie" kino

This movie was comfy, manly as fuck and had one of the best bro relationships in movie history

GREAT movie. Fun fact, i talked to the woman who played the original mother of the cannibals awhile back. She was in the footage John McTiernan directed. Instead of a hot piece of ass, she was an old, fat baby making factory. The whole scene played out so differently. She said most times on set they have TWO sets- one under the direction of McTiernan and the other under the direction of Critchton. Main actors would walk back and forth between both. Ultimately a good chunk of McTiernan's work was refilmed by that cuck Critchton. A shame. I hope we'll see his cut one day, alongside the original soundtrack.

>blatant contrarianism

Fear and Loathing in Las Vegas

One of the greatest, if not the greatest, viking flick out there.

>learning a language only through lip-reading
>in one night

dat repressed homosexuality

Mctiernan please come back to save kino

>tfw no director's cut

>black muslim viking

Ok how about no thanks

Amazing scene. You have to be an absolute enemy of cinema to not see it. Any other filmmaker would not even have addressed language differences or done it through expository dialogues. Mctiernan addresses it through purely visual storytelling and makes it an exciting moment of character development and manly banter. An excellent narrative gimmick that was also used brilliantly in hunt for red October. People who criticize details for plot reasons and cannot appreciate cinematic techniques and poetic licence are plebs of the highest level. You are the reason creative mavericks like mctiernan are not working anymore and low iq pandering Disney hacks are the new kings of blockbuster filmmaking.

not many people know that vikings had mastered supersonic travel, you're a cut above user

>A well thought out post

You're preaching to the wrong choir my friend

...

It was months of travel

my life

I really love the way he focuses on characters looking at things in his films. It does so much visually and narratively.

I think one of the reasons he's often forgotten or underpraised, is people think he doesn't have a style compared to more obvious filmmakers like say Verhoeven or Mann, who have more ostentatious or eccentric styles. But he has a very unique style, it's just invisible, very subtle. Every action filmmaker has tried to copy him in the last few decades but no one has ever reached his precision, his sense of rhythm, his elegance. The way he frames the space/geography/geometry of a scene especially is perhaps THE most important talent/skill in an action film and no one has ever topped him, yet it goes completely unnoticed. It's something you feel intuitively when you watch his films then compare to others, you know they're better but you cannot express why. But it's done through a perfect grasp on movement and space, a lot of hard work and logic, a complete perfectionist with creative integrity. He pissed off a lot of people of Hollywood despite almost single-handedly creating the most iconic action heroes of the 80-90's and nowadays he gets no credit from the fans. People always complain that modern action is confusing or uninspired, you're never sure where character a is spatially compared to character b in a gunfight, etc. which is why the action is less satisfying. You never get this feeling in McTiernan's films, they're master classes in action filmmaking and filmmaking in general.

Compare
McT's kinomaking
youtube.com/watch?v=jC7U8C2X1Uw
to
youtube.com/watch?v=i_v2zUJu2qo

Notice
- how much more cinematic and engaging it is, the set design makes it feel like it's obviously a real building, instead of a studio elevator with a green screen in a fake generic building
- how much more menacing the situation feels, with the restricted space of the elevator used in a way that feels immersive and dangerous, how the characters strategically use their body weights to block others against tight walls instead of mindlessly punching each other without any sense of physics
- the use of mirror reflection to creatively inform the viewer, the use of framing and lighting to focus on the potential threat, the depth in focus and use of angle and blocking to highlight McLane's weaker position and slow realization's something's off
- how tense it feels, how viscerally brutal the action actually feels with each gunshot and punch having real impact due to great sound design and editing, etc.
- how the sense of humor/"quips" is actually amusing AND reflects/develops the character's personality in face of danger, using the joke to surprise the enemies, directly contrasts with the actual hard-R violence performed right after, John being covered in injuries, dirt, grease, and now blood and guts, he's actually vulnerable and tired during the fight, etc.
- how he only cuts when needed and lets the scene unfold naturally otherwise with no cuts, how each angle chosen has an actual narrative purpose, how the camera movement has some musical rhythm to it, slowly circling around the elevator to mimic John's perspective as he looks around him to identify threats, following his point of view then slowly zooming in to reveal information when he sees the reflection, always with matching cuts that enhance the geometrical understanding of the space and where John is compared to others
- how the music builds up then stops WHEN the action begins
etc

>muslim Viking
The whole reason he's there is because he's NOT a viking

McT is the Man! good posting my friend, it wasn't in vain, I enjoyed it.

>Antonio Banderas
>black

Wait, what's this McTiernan/Critchton stuff about?
I never heard of it.

10/10

>turn on the movie
>"You're the 13th warrior."

Really?

I had never seen it in the original dub and now I have headphones too and I had never appreciated the sound as much as I did today, thanks user, you made me reevaluate a movie I already enjoyed.