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H. Lecter

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The Mist was pretty good... every bit that showed monsters was pretty shitty (with the exception of the super giant monster near the end, which was awesome), and some of the dialogue was stunted as hell, but it had some pretty amazing moments. And the end was a total fucking slap to the face of the audience, I loved it and thought it took an enormous amount of balls to pull off.

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The Mist does have obvious similarities to The Fog, but I'm a big Stephen King fan so I thought it was real good. I shit bricks over the ending. If I was him, I woulda thrown myself under one of the tanks. By the way, dudes old school Land Cruiser is such a dope ride.

 

 

Eastern Promises was dope! best Russian Mob movie ever.

 

I thought it was just ok. Nothing special.

 

 

 

I just saw 21 . Good movie

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I'm sorry but I didn't like no country for old men, it was just plain unreal that the two main characters survived every moment until the end. And what the fuck was up with the ending? made no fuckn sense!!!

 

The mist on the other hand was pretty fucking good, I reommended this when it came out you bunch of tools!!

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I'm sorry but I didn't like no country for old men, it was just plain unreal that the two main characters survived every moment until the end. And what the fuck was up with the ending? made no fuckn sense!!!

 

The mist on the other hand was pretty fucking good, I reommended this when it came out you bunch of tools!!

 

naw...the ending made sense...the one bitch was talking bout how you never see whats coming, then just like that dudes dead

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Re: Aspring Filmmaker

 

My names jojje, im from sweden and im 22 years old. I'm currently on my first term at the

 

International Academy of Film and Television. I initially took journalism in college but got

 

frustrated with sitting in class doing exercises after exercises. I wanted to create

 

something tangible and substantial. One Google search led me to

 

IAFT and the rest is history. Now im in the process of

 

editing my own film. A film that I wrote, I directed, and produced. I'd like to meet

 

people in this forum who share the same passion for filmmaking as me. It would be great to

 

share ideas and discuss about anything and everything.

 

tits?:scrambled:

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there is a part 2 but i wouldnt suggest watching it i couldnt get past the first 15 minutes of it.

i liked battle royal but i felt it could have been better.

 

yes there is a remake in the works but it will suck huge balls. because hollywood seems to think that we are all fruitcakes that couldnt handle a film like this and will have to water it down into easily digestable piece of shit. not to mention i also hate the recent trend of remaking every asian horror movie that has made any money recently.

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"NO COUNTRY FOR OLD MEN is an ALLEGORY.

 

The title is from the first line of Sailing to Byzantium by William Butler Yeats, a poet classically trained and considered by many to be the greatest 20th Century poet.

 

Death is Anton Chigurh. His hair style (hood-ish, shroud-ish) and black clothing suggest Death. Death kills the innocent as well as the guilty and has his own set of rules. When the witness to the high-rise killing asks, “Are you going to kill me?” Death answers, “It depends. Do you see me?” When the kids on the bicycles help him after the car accident he tells them, “You didn’t see me.” If you see Death, you die; if not, you may live. Chigurh seems to come and go at will and seems to know where Moss is without trying very hard. His rules are his rules and they seem arbitrary and random. He is referred to by the sheriff as a “ghost” and he seems to be able to go wherever he pleases.

 

Death kills with a cattle stun gun, almost like a member of the clergy administering a cross to the forehead of a parishoner. Death is often portrayed as a hooded figure with a scythe; in this case he’s a “hooded” figure with a cattle stun gun.

 

Man is Llewellen Moss, part sinner, part saint. He is offered a deal with Death when Death offers to ignore his wife but take him. Instead, Llewellen challenges Death and chooses declines the offer. This is straight Faustian bargaining. By declining Death’s “This is the best deal you’re gonna get” Moss signs not only his own death warrant but his wife’s, too.

 

Llewellen challenges Death to a showdown and when his wife tells the sheriff, “He won’t quit, neither. Never has.” the audience expects a later showdown because we’ve been trained to see the protagonist take on the antagonist at the climax of a story — but before that can happen life’s randomness gets in the way and the Mexicans kill him. This is the major turn in the movie and the one that takes the sail out of the audience, which has been cheering for Man in his struggle against Death without realizing it.

 

Free Will is Carla Jean. She chooses at the end of the film not to allow Death to be random. She has a 50% chance of saving herself but chooses not to avail herself of the opportunity. She is the bravest of the lot, choosing to die by her own decision and not the randomness of Death.

 

The sheriff is the philosopher trying to understand the universe. He cannot and is defeated by Death in his attempt. At the movie’s end the Sheriff bemoans the fact that God never entered his life. One of God’s creatures, Death, was in the Sheriff’s life but he didn’t realize it (see “Scene with Sheriff” below). The story is the Sheriff’s, his quest to understand Life, and the dream he tells at the end of the movie explains that his own father, long dead, has gone before him into the darkness of death and awaits him.

 

Interesting parallel — Moss pays money for a coat as he crosses into Mexico; Chigurh pays the kids money for a shirt after his accident. What is meant by that? Cannot be a coincidence.

 

Chigurh walking away from the accident at the end shows that Death cannot be stopped. It will always walk the streets. It is a part of our existence forever.

 

Scene with the Sheriff and Death at the same hotel room at the same time but the Sheriff does not see Death. This scene is vital — it solidifies the allegory. The Sheriff enters the room but does not see Death and so he does not die. Death sees the sheriff but chooses not to kill him because he’s not seen in return. This scene is the “supernatural” scene which signals that we’ve watching an allegory, that what we’ve been watching is more than it appears.

 

Why 1980 for the book/film when it was written in 2005? Could it be it was begun then and the author simply chose not to update it? What is the reason? Must be one. Might be nothing more than the author started this 25 years ago and didn’t feel like updating it to present times."

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I'm sorry but I didn't like no country for old men, it was just plain unreal that the two main characters survived every moment until the end. And what the fuck was up with the ending? made no fuckn sense!!!

 

The mist on the other hand was pretty fucking good, I reommended this when it came out you bunch of tools!!

 

i feel sorry for you.

keep watching "quality films" such as "the mist".

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