ToferTheHuman
Hii
Shut up, CY.
Congrats Trela
<3
Congrats Trela
<3
-
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Houston Thread - No HOBOs and no WHOBOs. What do we do now??????????????????????????????????????????
- Thread starter Xyro77
- Start date
- Status
Xyro77
Unity Ruleset Committee Member
congrats to cy beating fallout 3
Sync.
Smash Champion
I got 3rd! Yay!
GREAT JOB TRELA <3
GREAT JOB TRELA <3
Xyro77
Unity Ruleset Committee Member
KRDsonic
Smash Master
congrats to trela beating fallout 3
Xyro77
Unity Ruleset Committee Member
for those of you that care about review sites, Rotten Tomatoes has TDKR at 100%(14 9/10 reviews) currently.
http://www.rottentomatoes.com/m/the_dark_knight_rises/
http://www.rottentomatoes.com/m/the_dark_knight_rises/
Zano
Smash Master
one does not simply beat a bethesda game
Xyro77
Unity Ruleset Committee Member
IGN has seen and reviewed TDKR
http://m.ign.com/articles/2012/07/16/the-dark-knight-rises-review
I didn't read it but I assume there are spoilers.
http://m.ign.com/articles/2012/07/16/the-dark-knight-rises-review
I didn't read it but I assume there are spoilers.
Xyro77
Unity Ruleset Committee Member
Alot. Even more if u count Marvel 2.
Nova, she hulk, taskmaster, nova, modock, super skrull, shuma gorath, Dora the explorer mammu, Dr strange, iron fist, rocket racoon.
Marvel 2 had omega red, cable, marrow, psylocke, silver samurai, spiral, thanos
Pretty sure all of these dudes have not been in a marvel movie for more than 2mins.
Nova, she hulk, taskmaster, nova, modock, super skrull, shuma gorath, Dora the explorer mammu, Dr strange, iron fist, rocket racoon.
Marvel 2 had omega red, cable, marrow, psylocke, silver samurai, spiral, thanos
Pretty sure all of these dudes have not been in a marvel movie for more than 2mins.
Alex Strife
Smash Hero
Thanos is in a movie ( post credit avengers )
Dr Strange has had 2 movies ( Dr Strange 1980s film , Dr strange animated film )
Rocket Raccoon ( sadly ) is getting a movie ( Guardians of the Universe in 2014 )
Dormammu was in a movie ( Dr Strange animated film )
Psylocke was in a movie ( x2 as a name , x3 as a villain )
Xyro77
Unity Ruleset Committee Member
Xyro77
Unity Ruleset Committee Member
If they are animated movies, they don't count. We like REAL MOVIES here in tx.
Alex Strife
Smash Hero
dammit xyro
Thanos counts because you never mentioned cameos
I am c/p or linking
Thanos is in a movie ( post credit avengers )
Dr Strange - http://en.wikipedia.org/wiki/Dr._Strange_(1978_film)
Rocket Raccoon
Psylocke was in a movie ( x2 as a name , x3 as a villain )
Thanos counts because you never mentioned cameos
I am c/p or linking
Thanos is in a movie ( post credit avengers )
Dr Strange - http://en.wikipedia.org/wiki/Dr._Strange_(1978_film)
Rocket Raccoon
Psylocke was in a movie ( x2 as a name , x3 as a villain )
RT
Smash Hero
I was referring to UMvC3 only, because pretty much every Marvel character has been in a recent movie or is about to be in a movie.
In other words, the game kind of hints on what Marvel character movies to expect in the near future.
In other words, the game kind of hints on what Marvel character movies to expect in the near future.
Alex Strife
Smash Hero
rocket raccoon should not get a movie
if you are to include characters from space use NOVA not the guardians
if you are to include characters from space use NOVA not the guardians
- Joined
- Feb 27, 2008
- Messages
- 26,560
rocket raccoon should not get a movie
Alex Strife
Smash Hero
Guardians will work if a big name star is attached...I just do not see people wanting to see that film for characters like that.
Player-4
See you in 25 years
dammit xyro
Thanos counts because you never mentioned cameos
I am c/p or linking
Thanos is in a movie ( post credit avengers )
Dr Strange - http://en.wikipedia.org/wiki/Dr._Strange_(1978_film)
Rocket Raccoon
Psylocke was in a movie ( x2 as a name , x3 as a villain )
Alex Strife
Smash Hero
it was announced at comic-con
ToferTheHuman
Hii
That is not Psylocke.
Doesn't count.
Doesn't count.
Sync.
Smash Champion
On my way home today. I have a long drive to look forward to.
BioDG
Smash Ace
- Joined
- Jan 20, 2009
- Messages
- 609
I read it and it's spoiler-free. It's mainly commentary about the performances of the lead actors and how they portray their characters, the pacing of the movie, the quality of its emotion and action, and advice to make sure you see the previous movies first since this one refers to each of them often.IGN has seen and reviewed TDKR
http://m.ign.com/articles/2012/07/16/the-dark-knight-rises-review
I didn't read it but I assume there are spoilers.
Not a bad review. Another reason to make me re-watch the other two before I see it this weekend.
Infern Angelis
Smash Master
Great job Trela, was awesome watching you play on livestream.
Xyro77
Unity Ruleset Committee Member
Thanos cameo doesnt count cause he(or rather his FACE) was in the POST CREDITS scene for 15 seconds(prob less). Psylocke in x2 was briefly skimmed over on a computer screen?!?!?!? LOL yea that doesnt count either. x3 she was in so thats fine. dr strange did have a movie but i didnt think RT meant marvel movies before mvc2. either way, yea he had a movie. guardians was announced at comic con and i highly doubt it will do well because im pretty sure it will be a BAD movie(marvel wrecks lots of its coolest heroes). imo the only good that will come from that movie is more info on Thanos.dammit xyro
Thanos counts because you never mentioned cameos
I am c/p or linking
Thanos is in a movie ( post credit avengers )
Dr Strange - http://en.wikipedia.org/wiki/Dr._Strange_(1978_film)
Rocket Raccoon
Psylocke was in a movie ( x2 as a name , x3 as a villain )
Xyro77
Unity Ruleset Committee Member
F. im gonna read the review. i wanna read the script(alex said its available) but thats total and complete spoilers so ill hold off until the movie is over.
i really hope batman dies. that would be perfect.
Alex Strife
Smash Hero
bane breaks batmans back...but you all knew that ...thats why bane was included in teh film for that moment
Xyro77
Unity Ruleset Committee Member
holy crap, read this review of THE DARK KNIGHT. the dude takes a major poopy on it
Every generation has a right to its own Batman. Every generation also has the right—no, obligation—to question a pop-entertainment that diminishes universal ideas of good, evil, social purpose and pleasure. And Christopher Nolan’s The Dark Knight, is a highly questionable pop enterprise. Forty-two-year-old movie lovers can’t tell 21-year-old movie lovers why; 21 can only know by getting to be 42. But I’ll try.
After announcing his new comics interpretation with 2005’s oppressively grim Batman Begins, Nolan continues the intellectual squalor popularized in his pseudo-existential hit Memento. Appealing to adolescent jadedness and boredom, Nolan revamps millionaire Bruce Wayne’s transformation into the crime-fighter Batman (played by indie-zombie Christian Bale), by making him a twisted icon, what the kids call “sick.” The Dark Knight is not an adventure movie with a driven protagonist; it’s a goddamn psychodrama in which Batman/Bruce Wayne’s neuroses compete with two alter-egos: Gotham City’s law-and-order District Attorney, Harvey Dent (Aaron Eckhart), and master criminal The Joker (Heath Ledger)—all three personifying the contemporary distrust of virtue.
We’re way beyond film noir here. The Dark Knight has no black-and-white moral shading. Everything is dark, the tone glibly nihilistic (hip) due to The Joker’s rampage that brings Gotham City to its knees—exhausting the D.A. and nearly wearing-out Batman’s arsenal of expensive gizmos. Nolan isn’t interested in providing James Bond–style gadgetry for its own ingenious wonder; rather, these crime battle accoutrements evoke Zodiac-style “process” (part of the futility and dread exemplified by the constantly outwitted police). This pessimism links Batman to our post-9/11 anxiety by escalating the violence quotient, evoking terrorist threat and urban helplessness. And though the film’s violence is hard, loud and constant, it is never realistic—it fabricates disaster simply to tease millennial death wish and psychosis.
Watching psychic volleys between Batman, Dent and The Joker (there’s even a love quadrangle that includes Maggie Gyllenhaal’s slouchy Assistant D.A., Rachel Dawes) is as fraught and unpleasurable as There Will Be Blood with bat wings. This sociological bloodsport shouldn’t be acceptable to any thinking generation.
There hasn’t been so much pressure to like a Batman movie since street vendors were selling bootleg Batman T-shirts in 1989. If blurbs like “The Dark Knight creates a place where good and evil—expected to do battle—decide instead to get it on and dance” sound desperate, it’s due to the awful tendency to convert criticism into ad copy—constantly pandering to Hollywood’s teen demographic. This not only revamps ideas of escapist entertainment; like Nolan, it corrupts them.
Remember how Tim Burton’s 1989 interpretation of the comics superhero wasn’t quite good enough? Yet Burton attempted something dazzling: a balance of scary/satirical mood (which he nearly perfected in the 1992 Batman Returns) that gave substance to a pop-culture totem, enhancing it without sacrificing its delight. Burton didn’t need to repeat the tongue-in-cheek 1960s TV series; being romantically in touch with Catwoman, Bruce Wayne and The Penguin’s loneliness was richer. Burton’s pop-geek specialty is to humorously explicate childhood nightmare. But Nolan’s The Dark Knight has one note: gloom. For Nolan, making Batman somber is the same as making it serious. This is not a triumph of comics culture commanding the mainstream: It’s giving in to bleakness. Ever since Frank Miller’s 1986 graphic-novel reinvention, The Dark Knight Returns, pop consumers have rejected traditional moral verities as corny. That might be the ultimate capitalist deception.
A bleak Batman entraps us in a commercial mechanism, not art. There’s none of Burton’s satirical detachment from the crime-and-punishment theme. In Nolan’s view, crime is never punished or expunged. (“I am an agent of chaos!” boasts The Joker.) The generation of consumers who swallow this pessimistic sentiment can’t see past the product to its debased morality. Instead, their excitement about The Dark Knight’s dread (that teenage thrall with subversion) inspires their fealty to product.
Ironically, Nolan’s aggressive style won’t be slagged “manipulative” because it doesn’t require viewers to feel those discredited virtues, “hope” and “faith.” Like Hellboy II, this kind of sci-fi or horror or comics-whatever obviates morality. It trashes belief systems and encourages childish fantasies of absurd macho potency and fabulous grotesqueries. That’s how Nolan could take the fun out of Batman and still be acclaimed hip. As in Memento, Nolan shows rudimentary craft; his zeitgeist filmmaking—morose, obsessive, fussily executed yet emotionally unsatisfying—will only impress anyone who hasn’t seen De Palma’s genuinely, politically serious crime-fighter movie, The Black Dahlia.
Aaron Eckhart’s cop role in The Black Dahlia humanized the complexity of crime and morality. But as Harvey Dent, sorrow transforms him into the vengeful Two-Face, another Armageddon freak in Nolan’s sideshow. The idea is that Dent proves heroism is improbable or unlikely in this life. Dent says, “You either die a hero or you live long enough to see yourself become a villain.” What kind of crap is that to teach our children, or swallow ourselves? Such illogic sums up hipster nihilism, just like Herzog’s Encounters at the End of the World. Putting that crap in a Batman movie panders to the naiveté of those who have not outgrown the moral simplifications of old comics but relish cynicism as smartness. That’s the point of The Joker telling Batman, “You complete me.” Tim Burton might have ridiculed that Jerry Maguire canard, but Nolan means it—his hero is as sick as his villain.
Man’s struggle to be good isn’t news. The difficulty only scares children—which was the original, sophisticated point of Jack Nicholson’s ’89 Joker. Nicholson’s disfigurement abstracted psychosis, being sufficiently hideous without confusing our sympathy. Ledger’s Joker (sweaty clown’s make-up to cover his Black Dahlia–style facial scar) descends from the serial killer clichés of Hannibal Lecter and Anton Chigurh—fashionable icons of modern irrational fear. The Joker’s escalation of urban chaos and destruction is accompanied by booming sound effects and sirens—to spook excitable kids. Ledger’s already-overrated performance consists of a Ratso Rizzo voice and lots of lip-licking. But how great of an actor was Ledger to accept this trite material in the first place?
Unlike Nicholson’s multileveled characterization, Ledger reduces The Joker to one-note ham-acting and trite symbolism. If you fell for the evil-versus-evil antagonism of There Will Be Blood, then The Dark Knight should be the movie of your wretched dreams. Nolan’s unvaried direction drives home the depressing similarities between Batman and his nemeses. Nolan’s single trick is to torment viewers with relentless action montages; distracting ellipses that create narrative frustration and paranoia. Delayed resolution. Fake tension. Such effects used to be called cheap. Cheap like The Joker’s psychobabble: “Madness, as you know, is like gravity—all it takes is a little push.” The Dark Knight is the sentinel of our cultural abyss. All it takes is a push.
Every generation has a right to its own Batman. Every generation also has the right—no, obligation—to question a pop-entertainment that diminishes universal ideas of good, evil, social purpose and pleasure. And Christopher Nolan’s The Dark Knight, is a highly questionable pop enterprise. Forty-two-year-old movie lovers can’t tell 21-year-old movie lovers why; 21 can only know by getting to be 42. But I’ll try.
After announcing his new comics interpretation with 2005’s oppressively grim Batman Begins, Nolan continues the intellectual squalor popularized in his pseudo-existential hit Memento. Appealing to adolescent jadedness and boredom, Nolan revamps millionaire Bruce Wayne’s transformation into the crime-fighter Batman (played by indie-zombie Christian Bale), by making him a twisted icon, what the kids call “sick.” The Dark Knight is not an adventure movie with a driven protagonist; it’s a goddamn psychodrama in which Batman/Bruce Wayne’s neuroses compete with two alter-egos: Gotham City’s law-and-order District Attorney, Harvey Dent (Aaron Eckhart), and master criminal The Joker (Heath Ledger)—all three personifying the contemporary distrust of virtue.
We’re way beyond film noir here. The Dark Knight has no black-and-white moral shading. Everything is dark, the tone glibly nihilistic (hip) due to The Joker’s rampage that brings Gotham City to its knees—exhausting the D.A. and nearly wearing-out Batman’s arsenal of expensive gizmos. Nolan isn’t interested in providing James Bond–style gadgetry for its own ingenious wonder; rather, these crime battle accoutrements evoke Zodiac-style “process” (part of the futility and dread exemplified by the constantly outwitted police). This pessimism links Batman to our post-9/11 anxiety by escalating the violence quotient, evoking terrorist threat and urban helplessness. And though the film’s violence is hard, loud and constant, it is never realistic—it fabricates disaster simply to tease millennial death wish and psychosis.
Watching psychic volleys between Batman, Dent and The Joker (there’s even a love quadrangle that includes Maggie Gyllenhaal’s slouchy Assistant D.A., Rachel Dawes) is as fraught and unpleasurable as There Will Be Blood with bat wings. This sociological bloodsport shouldn’t be acceptable to any thinking generation.
There hasn’t been so much pressure to like a Batman movie since street vendors were selling bootleg Batman T-shirts in 1989. If blurbs like “The Dark Knight creates a place where good and evil—expected to do battle—decide instead to get it on and dance” sound desperate, it’s due to the awful tendency to convert criticism into ad copy—constantly pandering to Hollywood’s teen demographic. This not only revamps ideas of escapist entertainment; like Nolan, it corrupts them.
Remember how Tim Burton’s 1989 interpretation of the comics superhero wasn’t quite good enough? Yet Burton attempted something dazzling: a balance of scary/satirical mood (which he nearly perfected in the 1992 Batman Returns) that gave substance to a pop-culture totem, enhancing it without sacrificing its delight. Burton didn’t need to repeat the tongue-in-cheek 1960s TV series; being romantically in touch with Catwoman, Bruce Wayne and The Penguin’s loneliness was richer. Burton’s pop-geek specialty is to humorously explicate childhood nightmare. But Nolan’s The Dark Knight has one note: gloom. For Nolan, making Batman somber is the same as making it serious. This is not a triumph of comics culture commanding the mainstream: It’s giving in to bleakness. Ever since Frank Miller’s 1986 graphic-novel reinvention, The Dark Knight Returns, pop consumers have rejected traditional moral verities as corny. That might be the ultimate capitalist deception.
A bleak Batman entraps us in a commercial mechanism, not art. There’s none of Burton’s satirical detachment from the crime-and-punishment theme. In Nolan’s view, crime is never punished or expunged. (“I am an agent of chaos!” boasts The Joker.) The generation of consumers who swallow this pessimistic sentiment can’t see past the product to its debased morality. Instead, their excitement about The Dark Knight’s dread (that teenage thrall with subversion) inspires their fealty to product.
Ironically, Nolan’s aggressive style won’t be slagged “manipulative” because it doesn’t require viewers to feel those discredited virtues, “hope” and “faith.” Like Hellboy II, this kind of sci-fi or horror or comics-whatever obviates morality. It trashes belief systems and encourages childish fantasies of absurd macho potency and fabulous grotesqueries. That’s how Nolan could take the fun out of Batman and still be acclaimed hip. As in Memento, Nolan shows rudimentary craft; his zeitgeist filmmaking—morose, obsessive, fussily executed yet emotionally unsatisfying—will only impress anyone who hasn’t seen De Palma’s genuinely, politically serious crime-fighter movie, The Black Dahlia.
Aaron Eckhart’s cop role in The Black Dahlia humanized the complexity of crime and morality. But as Harvey Dent, sorrow transforms him into the vengeful Two-Face, another Armageddon freak in Nolan’s sideshow. The idea is that Dent proves heroism is improbable or unlikely in this life. Dent says, “You either die a hero or you live long enough to see yourself become a villain.” What kind of crap is that to teach our children, or swallow ourselves? Such illogic sums up hipster nihilism, just like Herzog’s Encounters at the End of the World. Putting that crap in a Batman movie panders to the naiveté of those who have not outgrown the moral simplifications of old comics but relish cynicism as smartness. That’s the point of The Joker telling Batman, “You complete me.” Tim Burton might have ridiculed that Jerry Maguire canard, but Nolan means it—his hero is as sick as his villain.
Man’s struggle to be good isn’t news. The difficulty only scares children—which was the original, sophisticated point of Jack Nicholson’s ’89 Joker. Nicholson’s disfigurement abstracted psychosis, being sufficiently hideous without confusing our sympathy. Ledger’s Joker (sweaty clown’s make-up to cover his Black Dahlia–style facial scar) descends from the serial killer clichés of Hannibal Lecter and Anton Chigurh—fashionable icons of modern irrational fear. The Joker’s escalation of urban chaos and destruction is accompanied by booming sound effects and sirens—to spook excitable kids. Ledger’s already-overrated performance consists of a Ratso Rizzo voice and lots of lip-licking. But how great of an actor was Ledger to accept this trite material in the first place?
Unlike Nicholson’s multileveled characterization, Ledger reduces The Joker to one-note ham-acting and trite symbolism. If you fell for the evil-versus-evil antagonism of There Will Be Blood, then The Dark Knight should be the movie of your wretched dreams. Nolan’s unvaried direction drives home the depressing similarities between Batman and his nemeses. Nolan’s single trick is to torment viewers with relentless action montages; distracting ellipses that create narrative frustration and paranoia. Delayed resolution. Fake tension. Such effects used to be called cheap. Cheap like The Joker’s psychobabble: “Madness, as you know, is like gravity—all it takes is a little push.” The Dark Knight is the sentinel of our cultural abyss. All it takes is a push.
Xyro77
Unity Ruleset Committee Member
http://omglol.kerrolisaa.com/1/11190.gifSome men just want to watch the world burn.
CY
Smash Ace
just finished fallout 3, immediately got new vegas. am i nerd xyro
Xyro77
Unity Ruleset Committee Member
CY
Smash Ace
Three Dog, OWWWWWWWWWWWW
RT
Smash Hero
Xyro77
Unity Ruleset Committee Member
............no
Xyro77
Unity Ruleset Committee Member
Holy ****. People are giving death threats to critics of TDKR! and rotten tomatoes is banning people left and right. Twitter is talkin about it right now.
- Status