big j 33
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I like so many words in this post
Oh I'm sorry, Did I Break Your Conversation........Well Allow Me A Movie Thread by S&T
I like so many words in this post
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First Watch rn:
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absolute bangerFirst Watch rn:
crowe is a charisma freight train and bale blew me away as the disabled rancher with conviction
awesome western, gonna give the 1957 version a shot one of these days
calibeebee
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I need to go to this COROLINE exhibit. They have promotions all over town
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“You’re gonna have the peanut butter soup with smoked duck and mashed squash. New York Matinee called it a playful, but mysterious little dish”
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Trap 
wth did I watch
wth did I watch
calibeebee
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Yall never gonna learn
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I hypothesize that one of the possible reasons that we movie lovers continue to give M. Night movies another chance despite being repeatedly let down is because we’re subconsciously aware that this is the guy who made The Sixth Sense and maybe, just maybe, he will finally return to that caliber of filmmaking once again.
dontsteponmyshoes
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I guess it's an argument for that but...6th sense is one of the worst movies I've ever seen I'm not giving groupie love to dude because he been bamboozling y'all for decades 
calibeebee
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Absolutely. Sixth sense, unbreakable, and the village had me in a chokehold and thinking he could do wrong.
After he did wrong so many times and hadn’t made a watchable movie in 20 years, he doesn’t get that leeway from me anymore.
Poppovichs Spurs only won 22 games last year. Bellicheck doesn’t have a job in the NFL right now. Greatness can’t last forever, and I’ve learned to not expect it.
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Split was the only thing I really liked from him since the early days and even then I don’t really like where it went towards the end. McAvoy carried it
dontsteponmyshoes
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I liked Stuart Little and Shes All That until I found out he did them now I'm reconsidering my choices other than that he has NO watchable movies to me
other than that he has NO watchable movies to me
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Everything is temporary
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Poor guy. All he ever wanted to do was the right thing 
calibeebee
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A deep dive into M Nights attention to detail and his masterful story telling techniques from his early films. From unbreakable:
.
.
.
.
.
.
.
.
Every time we are reintroduced to Elijah Price, it’s through his reflection in glass.
Our first scene with Elijah, shortly after his birth, is a single long take of a department store dressing room mirror, with the entire scene playing out in its reflection.
In fact, the very first shot of the film goes one step further and is shot through TWO mirrors.
The camera is pointed at the dressing room mirror, which is reflecting a second mirror outside, through which we see the doctor approach Elijah.
(First mirror outlined in blue, second in yellow)
The second time we are reintroduced to Elijah, it is through his reflection in a glass television screen.
The reflection is warped, distorted, a fun-house mirror that captures his own warped self-image.
The screen is turned off. Elijah can only see someone like himself on TV when he stops watching.
Finally, we are reintroduced to an adult Elijah through the reflection of a glass frame over comic art.
To us, Elijah is also within the glass, framed with comic book heroes and villains. This is his world.
When David Dunn is first contacted by Elijah, it’s through a calling card first seen through a glass windshield.
Elijah’s connections with people are often done through glass.
When Elijah discovers the gunman at the football game, he sees him through the reflection of his rear view mirror.
When Elijah falls down the stairs and breaks his leg we dissolve from his eye to glass signage (that looks like an eye), and then rack focus to the woman Elijah is looking at (Robin Wright).
Again, through the glass.
At the end of the film, Elijah Price adopts the moniker of “Mr. Glass,” a name given to him by the kids at school who used to tease him because he “broke like glass.”
But these shots give his name a different meaning. Elijah lived a life of loneliness and alienation. Trapped behind glass, always able to see the world but never touch it.
Like Alice through her looking glass, Elijah became trapped and lost in that world.
Our first scene with Elijah, shortly after his birth, is a single long take of a department store dressing room mirror, with the entire scene playing out in its reflection.
In fact, the very first shot of the film goes one step further and is shot through TWO mirrors.
The camera is pointed at the dressing room mirror, which is reflecting a second mirror outside, through which we see the doctor approach Elijah.
(First mirror outlined in blue, second in yellow)
The second time we are reintroduced to Elijah, it is through his reflection in a glass television screen.
The reflection is warped, distorted, a fun-house mirror that captures his own warped self-image.
The screen is turned off. Elijah can only see someone like himself on TV when he stops watching.
Finally, we are reintroduced to an adult Elijah through the reflection of a glass frame over comic art.
To us, Elijah is also within the glass, framed with comic book heroes and villains. This is his world.
When David Dunn is first contacted by Elijah, it’s through a calling card first seen through a glass windshield.
Elijah’s connections with people are often done through glass.
When Elijah discovers the gunman at the football game, he sees him through the reflection of his rear view mirror.
When Elijah falls down the stairs and breaks his leg we dissolve from his eye to glass signage (that looks like an eye), and then rack focus to the woman Elijah is looking at (Robin Wright).
Again, through the glass.
At the end of the film, Elijah Price adopts the moniker of “Mr. Glass,” a name given to him by the kids at school who used to tease him because he “broke like glass.”
But these shots give his name a different meaning. Elijah lived a life of loneliness and alienation. Trapped behind glass, always able to see the world but never touch it.
Like Alice through her looking glass, Elijah became trapped and lost in that world.
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Child's Play 2 is excellent and may be the best movie in the series.
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That’s very good. I understand all of that perfectlyA deep dive into M Nights attention to detail and his masterful story telling techniques from his early films. From unbreakable:
.
.
.
.
Every time we are reintroduced to Elijah Price, it’s through his reflection in glass.
Our first scene with Elijah, shortly after his birth, is a single long take of a department store dressing room mirror, with the entire scene playing out in its reflection.
In fact, the very first shot of the film goes one step further and is shot through TWO mirrors.
The camera is pointed at the dressing room mirror, which is reflecting a second mirror outside, through which we see the doctor approach Elijah.
(First mirror outlined in blue, second in yellow)
The second time we are reintroduced to Elijah, it is through his reflection in a glass television screen.
The reflection is warped, distorted, a fun-house mirror that captures his own warped self-image.
The screen is turned off. Elijah can only see someone like himself on TV when he stops watching.
Finally, we are reintroduced to an adult Elijah through the reflection of a glass frame over comic art.
To us, Elijah is also within the glass, framed with comic book heroes and villains. This is his world.
When David Dunn is first contacted by Elijah, it’s through a calling card first seen through a glass windshield.
Elijah’s connections with people are often done through glass.
When Elijah discovers the gunman at the football game, he sees him through the reflection of his rear view mirror.
When Elijah falls down the stairs and breaks his leg we dissolve from his eye to glass signage (that looks like an eye), and then rack focus to the woman Elijah is looking at (Robin Wright).
Again, through the glass.
At the end of the film, Elijah Price adopts the moniker of “Mr. Glass,” a name given to him by the kids at school who used to tease him because he “broke like glass.”
But these shots give his name a different meaning. Elijah lived a life of loneliness and alienation. Trapped behind glass, always able to see the world but never touch it.
Like Alice through her looking glass, Elijah became trapped and lost in that world.
calibeebee
Supporter
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- Joined
- May 6, 2007
M Knight continued
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.
.
.
.
.
Along with the visual metaphor, framing characters in windows and reflections also allows the director and DOP to create “panels” within the movie frame.
The shot becomes the page of a comic book, with smaller, enclosed boxes that highlight key pieces of information.
This technique (structuring shots as frames within frames) obviously isn’t limited to Unbreakable, but Shyamalan and Serra certainly lean into it. Hard.
Most of the movie is structured as long static shots, with very little movement by either the actors or the cameras, and with characters framed by interior panels.
This particular shot, with its distinct foreground and background action, always felt like something straight of Gibbons and Moore’s Watchmen.
Even simple shot/reverse-shot dialogue scenes frame the characters within boxes.
And Dunn’s hero scenes are also framed accordingly. Frames within frames. Panels within panels.
And what about David and glass?
David is also introduced accompanied by his reflection. But with one key difference: David is on our side of the glass.
In contrast, Elijah is always introduced entirely through reflection, as if he exists only on the other side of the looking glass.
Like the old Western visual convention of heroes entering screen from left to right and villains right to left, Unbreakable depicts its hero and villain on opposite sides of the glass.
So when David first meets Elijah in-person, the scene is shot through a window.
To meet with Elijah, David has to join him on the other side of the glass.
The shot becomes the page of a comic book, with smaller, enclosed boxes that highlight key pieces of information.
This technique (structuring shots as frames within frames) obviously isn’t limited to Unbreakable, but Shyamalan and Serra certainly lean into it. Hard.
Most of the movie is structured as long static shots, with very little movement by either the actors or the cameras, and with characters framed by interior panels.
This particular shot, with its distinct foreground and background action, always felt like something straight of Gibbons and Moore’s Watchmen.
Even simple shot/reverse-shot dialogue scenes frame the characters within boxes.
And Dunn’s hero scenes are also framed accordingly. Frames within frames. Panels within panels.
And what about David and glass?
David is also introduced accompanied by his reflection. But with one key difference: David is on our side of the glass.
In contrast, Elijah is always introduced entirely through reflection, as if he exists only on the other side of the looking glass.
Like the old Western visual convention of heroes entering screen from left to right and villains right to left, Unbreakable depicts its hero and villain on opposite sides of the glass.
So when David first meets Elijah in-person, the scene is shot through a window.
To meet with Elijah, David has to join him on the other side of the glass.
darthska
Staff member
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- Apr 30, 2004
A deep dive into M Nights attention to detail and his masterful story telling techniques from his early films. From unbreakable:
.
.
.
.
Every time we are reintroduced to Elijah Price, it’s through his reflection in glass.
Our first scene with Elijah, shortly after his birth, is a single long take of a department store dressing room mirror, with the entire scene playing out in its reflection.
In fact, the very first shot of the film goes one step further and is shot through TWO mirrors.
The camera is pointed at the dressing room mirror, which is reflecting a second mirror outside, through which we see the doctor approach Elijah.
(First mirror outlined in blue, second in yellow)
The second time we are reintroduced to Elijah, it is through his reflection in a glass television screen.
The reflection is warped, distorted, a fun-house mirror that captures his own warped self-image.
The screen is turned off. Elijah can only see someone like himself on TV when he stops watching.
Finally, we are reintroduced to an adult Elijah through the reflection of a glass frame over comic art.
To us, Elijah is also within the glass, framed with comic book heroes and villains. This is his world.
When David Dunn is first contacted by Elijah, it’s through a calling card first seen through a glass windshield.
Elijah’s connections with people are often done through glass.
When Elijah discovers the gunman at the football game, he sees him through the reflection of his rear view mirror.
When Elijah falls down the stairs and breaks his leg we dissolve from his eye to glass signage (that looks like an eye), and then rack focus to the woman Elijah is looking at (Robin Wright).
Again, through the glass.
At the end of the film, Elijah Price adopts the moniker of “Mr. Glass,” a name given to him by the kids at school who used to tease him because he “broke like glass.”
But these shots give his name a different meaning. Elijah lived a life of loneliness and alienation. Trapped behind glass, always able to see the world but never touch it.
Like Alice through her looking glass, Elijah became trapped and lost in that world.
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tenor.com
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So, conclusion: This thread reads:
“I don’t like M. Night. I like him”
“I don’t like M. Night. I like him”
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Feel like it's been a while since i've seen Vince Vaugh do Vince Vaughn things
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Exorcist 3 Legion is as good as the first IMO
