Post only 10/10 Kino

post only 10/10 Kino

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yuss

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/thread derailed by its own pic

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This is probably as pure kino as you're ever going to find. Watched it a few years ago not knowing what to expect and was floored, really makes you think.

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Is this a joke thread?
Pic related is not a joke.

TGTBATU was just a film, maybe cinema on a good day.

For a Few Dollars More was the true Kino.

This

FaFDM>AFFoD>TGtBatU

Not even joking

Gonna have to disagree. Though I do think Indio is an amazing (and best) Leone villain. Maybe just put them equal.

At least you didn't pipe in with OUTITW. Now that's the Christopher Nolan 'look at me' version of kino.

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boring af fam

Post something better than, fagget

this post is maybe 12% bait at most, the rest is artificial bait substitute, filler, preservatives, color, sodium benzoate, added HFCS…

You better not be.

what anime is this?

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Shisu no fukushû

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Confirmed best board, was telling my friend this the other day. Van Cleef was so good in Few Dollars.

Love the ending. Not common for Clint to play a secondary role to an older actor but it works so well.

:)

See:

Not even joking.
No other film has ever made me laugh as hard.

Hellraiser is pure horror kino, so many memorable scenes and characters from the original movie are ingrained in people's subconscious. Pinhead & co. will never die.


Is that the one that takes place in a museum? That's one of the best movies I've ever seen. I view it more as a documentary/mockumentary though.

I want to fuck her throat.

You know she'd be down for it.

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I prefered Man of Steel as the story had more focus on Superman as a character, however as a pure comic book movie it passes, the fact it does so many homages to the comics faithfully meant a lot. It's a real shame that the Ultimate edition was not the theatrical cut. But it is what it is.
Funny how when it was announced Ben Afflect was to be Batman, the huge backlash that followed, and on screen he was actually really decent showing off a dark, brooding, angry Batman afraid because of the lack of power he has compared to what he sees to be a God.

As kino as it gets

greatest monster movie of all time

greatest movie monster of all time

greatest monster howl/scream of all time

Yep, camera work in it, especially the end, makes Alejandro Inarritu look like Uwe Boll.

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My man

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SHUT YOUR GODDAMN MOUTH YOU BRAINDEAD FUCKING CASUAL

NEVER IN MY ENTIRE LIFE HAVE I SEEN ONE MAN BE SO FUCKING WRONG

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Are these niggers serious?

Yes

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multi-pass

Jackie Chan's hong kong movies are god tier. Western action movies can't compare tbqh

I saw Ben Hur as a kid, and it was really long and boring

You should watch it again when you grow up. It's a great movie.

Not even joking.

bombp

Zack Snyder dares to infuse the comic-book genre with moral and political substance. Fanboys do not own the franchises of Batman and Superman movies, so director Zack Snyder went against the mob and dared to raise the genre to a level of adult sophistication in 2013’s Man of Steel, the most emotionally powerful superhero movie ever made. (Fanboys hated it.) Snyder’s sequel, Batman v Superman: Dawn of Justice adds politics, bringing to the fantasy some contemporary, real-world concerns. This is not conventional comic-book allegory; rather, Snyder uses the figures of Batman (Ben Affleck) and Superman (Henry Cavill) walloping each other to give visible substance to social and moral issues, much as Greek tragedy does. He takes the wildest, Bizarro World fiction — of two superheroes turned super foes — and uses the premise to explicate our current dilemmas concerning power, principles, and divinity. It helps that Snyder is also visionary, inclined to extravagant spectacle and gifted with a signature erotic touch. An early montage equates violence, wealth, loss, and grief through symbolic images of bullets, pearls, blood, and tears. It is witnessed by the young Bruce Wayne, a paranoid orphaned millionaire who misconstrues Superman’s involvement in the previous film’s battle that devastated Metropolis (and traumatized nearby Gotham City), and so he vows a vigilante’s revenge. With its legal-brief title, Batman v Superman reflects the confusion that pits secularists against believers, and the partisanship that inhibits national alliance. This tension is so visually amped up that the opposition of Batman to Superman feels revelatory: Man versus the god in Man.

Snyder’s opening sequences interweave the origin stories of these mythic heroes and their alter egos. What has become overly familiar through years of repetition acquires new dynamism — and new understanding — that particularizes and personalizes each wounded man’s suffering. Not only are these time-shifts audacious (movie marquees announce the 1940 The Mark of Zorro and the 1981 Excalibur — implying the evolution of history), but so is Snyder’s proposition about the nature of heroism and vengeance: Both stem from the way individuals react to and comprehend their experiences. Snyder’s thrillingly intelligent use of interior conflict and political antagonism vastly outclasses Christopher Nolan’s Batman trilogy: Batman Begins, The Dark Knight, and The Dark Knight Rises — all noxious — which were bellwethers of our culture’s decline.

Fanboys prefer the Nolan films for their “darkness,” which emphasized the sophomoric, pseudo-tragic elements of the Batman graphic novels. But Snyder’s more adult treatment finds the material’s emotional core. This displeases the fanboy/hipster whose adolescent embarrassment about feelings was exploited through Nolan’s emotionless violence and post–9/11 nihilism. Snyder counters that cultural crisis and (through the script by Chris Terrio and David S. Goyer) visualizes the millennial moral struggle as pop myth. His essential subject is mankind’s struggle to discover compassion as well as common obligation — or dare I use the non-political term: brotherhood? The pain of post–9/11 as reflected in Nolan’s Batman films was a paradigm shift. But fantasy cannot conscientiously be enjoyed Nolan’s way, without any sense of social, historical, or moral consequence. Snyder manipulates this new paradigm so that mankind’s sense of mortality is embodied by Batman, Superman, and their arch-nemesis, Lex Luthor. (All three characterization performances are, well, perfect.) When Superman’s motives are questioned, the skepticism and vilification create an antagonism between him and Batman that Snyder lays out as an ideological conflict and that Luthor exacerbates. Luthor (Jesse Eisenberg, who played Mark Zuckerberg in The Social Network and thus personifies the craven millennium) cynically whines about “The oldest lie in America: that power can be innocent.” He even threatens a senator (Holly Hunter) who heads an investigation into Superman’s guilt. Luthor’s obsession with Superman (“He answers to no one. Not even, I think, to God”) reveals envy that is unmistakably demonic; a development that coheres with Snyder’s spiritual-social vision of post–9/11 grief and desire for salvation. He creates the year’s first great movie image by examining Superman’s “divinity” when he is surrounded by Day of the Dead multitudes. The image echoes our current desperation regarding “populism” — and that’s truly audacious

Among today’s outstanding American filmmakers, Snyder has an eccentric interest in the spiritual expression of his characters’ conflicts. From the erotic antiquity saga 300 to the anthropomorphic fable Legend of the Guardians: The Owls of Ga’Hoole, Snyder demonstrates a caricaturist’s knack for elaborating Good vs. Evil. It takes just such dreamlike moral clarity to reprove the Nolan trilogy’s chaos. Look at Snyder’s second high point: Batman’s nightmare of battling Superman plus his own enigmatic demons imagined as Stymphalian wasps. The scene spins agonizingly slowly (though not in slow motion), becoming ever more hallucinatory. It fuses comic-book imagery to the oldest Western myths. In this age of petty Marvels, most comic-book movies merely perpetrate fantasies of power, but Snyder, enacting his personal aesthetic, braves a film that examines those fantasies. He boldly challenges popular culture’s current decay. Man of Steel was a magnificent, hugely satisfying response to what’s often missing in pop culture, and Batman v Superman raises more ideas without (yet) resolving them. An attempt to invoke other superheroes from the DC Comics stable, starting with Wonder Woman (Gal Gadot, accompanied by tribal drums that recall Snyder’s overawed feminist fantasia, Sucker Punch), ultimately goes unfulfilled. And Snyder, obliged to placate the Marvel hordes, lets a couple of fight scenes devolve into Avengers-trite turmoil. Still, the equation of moral myth and contemporary political catastrophe marks an important advance. Snyder intends to resolve the conflict between commerce and art, power and morality. “Knowledge with no power is paradoxical,” one character says. “Man made a world where standing together is impossible,” frets another. With Batman v Superman, the battle for the soul of American culture is on.

In an interview, Snyder described Batman’s hatred for Superman as “finding reinforcement of those feelings in the media.” So Snyder employed a supporting cast of political pundits who expand Batman v Superman into a kind of meta-media commentary: Anderson Cooper, Charlie Rose, and Nancy Grace are among those crossing the line from TV news to Hollywood fantasy. They frequently, brazenly blur the distinction between fact and fiction, objectivity and venality, mendacity and truth. This has been going on at least since the 1990s, and it still is a problem for both journalism and Hollywood (Nancy Grace, Lawrence O’Donnell, and Dr. Drew Pinsky popped up last week in Midnight Special). Soledad O’Brien and Neil deGrasse Tyson also appear in Batman v Superman, along with Andrew Sullivan, seen shouting, “Every act is a political act!” That may be so (Snyder’s a sly dog), but pundits who don’t stick to their day-jobs lose credibility.

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Oh hi there Mike and Jay, I thought you two were busy fucking each other with Rich wanking in the corner.

user, are you sure you want to go down this road? We can if you want, but just how retarded are you prepared to look?

Before you answer that question, remember that you are defending batman v superman.

Probably the best horror film I've ever seen. It's not my favorite, but it's about as flawless as a horror film can be.

Fanboys didn't hate man of steel, leftist hipsters did, which is ironic consider how much leftist ideology there is in the creation of Superman. Especially in BVS with all the leftist media, John Stewart, Cooper Anderson, and that black woman who wore period stained tampons for earrings.


I liked the movie for what it is. The ultimate edition that is. You have the obvious homeages to the death of Superman, and of course the Dark Knight returns. In man of steel you have scenes adapted from All star Superman especially some of the flying scenes.
It's funny how most people who hate on Man of Steel and BvS don't actual give original opinions, they just mirror what Red Letter media have said or some other 'critic'. These same people will of course laud all marvel movies, even the latest one, Civil war where there was no reason at all for them to fight, especially the airport fight scene other than for fanboyism.

Not scary tbqh. Pretty boring. It's like Vertical Limit, but with some shitty generic shapeshifting ayyylium faggot instead of cool mountain climbing action.

It comes off as in bad taste every time they lift a piece of imagery from the source material, presumably because Zack Snyder doesn't understand the stories he's ripping off.

The worst part is that he has to take every single thing he can from DKR, and every single time it's out of context and he misses the point.

Agree to disagree, because that's not the impression I get at all.

Nice cop-out.

You say he takes things out of context and misses the point but you don't offer any examples, nice cop-out.

Okay, the "I believe you" scene was supposed to show that Batman would break his own rules to save an innocent.

In BvS it's a le epic one-liner that Bat of Murder gives after dropping yet another body, and is immediately followed by a joke.

In DKR, Batman's plan for his fight against Superman was to find a way for them both to win. Bruce fakes his death so he can keep protecting Gotham, and Clark can go back to Not-Reagan and tell him he killed Batman.

In BvS it's to show that Batman could "totally kill superman bro" because he's just that le awesome. The fight is also pretty much the same blow for blow to an extent.

You're missing the entire point why they were pitted against each other.

Batman, from the very beginning felt an immense feeling of inadequacy and powerlessness at the mere presence of Superman, hence the first scene where Superman is fighting Zod but this time from th perspective of Bruce, who rescues the little girl and the most salient part where his employee lost his legs.
After that, the movie is a build up of Lex's doing agitating the two against each other. Lex has been intercepting the cheques towards the legless employee and sending them back to Bruce, saying he betrayed his 'family' by kowtowing to superman.
At the same time, Lex is paying off criminals in prison to kill anyone with the batbrand, in the ultimate edition we see this play out with the human trafficker killed. The photos sent to Clark, who has an immense sense of justice and respect for the law, saying 'is this Justice, this vigilante, this bat?' all done by Lex. This point is further hammered home when Clark goes to Gotham to report on Batman, comes across the girlfriend of the killed traffiker, who is visibly upset with a baby, and say
'men like him, the bat, the only thing they understand is a fist'.
The congressional hearing is another part where the theme of 'Justice' is on stage again, after the bombing Superman just flies away, shamed that he didn't/ couldn't prevent it, but the wheelchair was lined with lead, a scene in the ultimate edition covers this with louis at a forensic lab going over the bomb. Again another set up by Lex.
The point here was to make Bruce/ Batman think that Superman didn't care, selfish, arrogant, no connection/ feeling for humans, that the saving people is just an act hiding his true darker intentions.
The movie is a plot woven by lex, who is ultimately afraid of Superman and wants him gone, to get the one man who might be capable of getting rid of him to go against Superman and vice versa. By the time they meet to square off, they both think the other is a villan, Batman with the brands, the prisoner killings, the lack of respect for the law, and Superman, with the killings in the desert, the bombing at the congressional hearing, the destruction of Metropolis. It's all there. It's all given a salient reason why they would want to go toe to toe

Now let's look at MARVEL CIVIL WAR, let's fight because one agrees we should kow-tow to the not U.N. and one doesn't.
Even though they've saved the entire world at least twice, and fought along side each other numerous times causing massive damage in their wake, it's ok because Marvel, and quips. It's ok to destroy entire cities as long as you give a few one liners. Not to mention Ironman was responsible for so many deaths thanks to the creation of Ultron. But he gets a free pass along with the rest of them.

Can you stop writing essays about shit no one cares about?

Man of steel is a good movie (minus the blue sky laser) because it takes Superman and forces him to deal with things he can't punch his way out of and then has to fall in the paladin sense or die and lose everything. It's good writing to present an unstoppable monster who's only controlled by his ideals with a situation his ideals can't stay in tact and get resolved.

BvS is just "HEY GUYS I'M A NERD TOO!" from a personalityless kike and then he disappears and it's fisticuffs time no different to Deadpool's ending except now every shot looks like it's a super move from Street fighter instead of an actual fight.

Personally I thought Man of Steel had an interesting idea deep down it just suffered bad execution.

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Isn't this movie about a giant octopus?

That right there is where you fucked up. First, the idea that prisoners would kill because of a batbrand is stupid and nobody would buy it. Two, if that was a possibility, then Batman would stop doing it.

So there's just no way Superman could think Batman is an out-of-control vigilante.

Doesn't look like it, but I'd love to see a movie about a giant octopus getting in the middle of the Soviet occupation of Afghanistan.

I'm pretty sure there's a movie called "The Beast" about a giant octopus

Well he did, just because you don't want to believe the evidence right in front of your eyes doesn't make your version truth.

Not even joking

Bat man is an out of control vigilante. He's completely unaccountable, has beyond military tech so he's unstoppable by any one but another super hero and he's running around branding people.

How the fuck is Batman not as bad as all the other nutjobs when you look at it from a purely legal point of view?

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one of the few anime worth watching imotbh

You're comparing out of movie batman with what happened in the movie. Completely out of context lad. How can BvS superman know about what has happened in that cartoon when he's only got in movie BvS Batman to go from, who is a dangerous vigilante who has as that other user pointed out, high grade military tech, acting like he's judge jury and executioner.

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this

>>>/suicide/

One of these is a kino, one is a film, one a movie, one a flick and one a joint. Guess which is which.

prometheus is flick
alien is kino
aliens is film
alien^3 is movie
resurrection is joint

You got Aliens and Alien 3 mixed up but are otherwise correct.

if you mean a shitty mystery then yes, it is. Such a shame because they had an interesting environment. That and we'll never get a Mountains of Madness film because of this pos.

the only mystery is how in the name of fuck is damon lindelod still allowed to call himself a writer

SPHERE


SLJ doesn't even scream that much in it.

I'm sorry, user, but I hated that movie.

Okay, fair. But the individual in BvS is barely even Batman, he's just the punisher who's tired of being emasculated by Superman.

Talent doesn't matter in the business, it's all about contacts.

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