FtttG
User ID: 1175
FtttG
2hr ago
I understand that the Altamont free concert is widely understood to have served as the death knell of the optimism of the 1960s hippie movement. But I genuinely don't understand why Woodstock hadn't already accomplished that. Three people died. I appreciate that three people dying from negligence is less dramatic than one person being stabbed to death: but still, what kind of exchange rate is this?
Huh: in addition to the lone stabbing at Altamont, there were also three accidental deaths I hadn't heard about. The hope was that Altamont would be the "Woodstock of the West". I guess they got what they wanted, and then some.
FtttG
3hr ago
the great legacy of the original Woodstock
Where three people died, eight women miscarried, and the logistics were so badly planned that the organisers had to appeal to local farms to provide food and water?
I still don't understand why Woodstock occupies such a vaunted stature in the American imagination. "Hendrix played 'The Star-Spangled Banner', but he made it all, like, distorted and stuff. Far out." Okay?
FtttG
8hr ago
I hear the film buffs used to call the car chase scene the best car chase ever on film
You must watch The French Connection. Friedkin was risking, not just the lives of his stuntmen, but those of random passers-by as well. The man was a nutcase.
FtttG
9hr ago
Funny, the only Mission Impossible film I've seen is the first one. Brian de Palma is such an inconsistent director. Scarface is an obvious masterpiece, and Carrie is great, but The Untouchables is overrated as hell, and despite being marketed as thrillers both Blow Out and Body Double were so boring I turned them off halfway through. I was fully onboard for the first half of Mission Impossible when it's a tense, nervy thriller, but by the time the climax rolled around and it had turned into a silly action film I'd completely lost interest. The Prague operation that opens the film and the climax on the train feel like they belong to two completely different movies: it's no surprise it went into production without a finished screenplay.
Curious if any of the sequels are any good.
Castle of Cagliostro
Funny, I've never seen this one but reading the name jogged my memory. I think I saw a trailer for it on my Ghost in the Shell DVD years ago.
Not exactly a recommendation but possibly worth consideration: Craig-era James Bond.
The only one I saw was Casino Royale and I did enjoy it (breath of fresh air after the silliness of the Brosnan era). Probably more of a spy thriller than an action film.
Pacific Rim
I've never watched a mecha film, or TV series, or anything (watched the first few episodes of Evangelion before giving up on it, may try it again). This one piqued my curiosity primarily for featuring my one-time celebrity crush, Rinko Kikuchi, who starred in the excellent film adaptation of my favourite novel of all time, Norwegian Wood. The only films of del Toro's I've seen were Pan's Labyrinth (decent, but didn't really love up to the hype) and Hellboy II (bland forgettable capeshit slop). As far as the three big men of Mexican cinema go (del Toro, Cuarón and Iñárritu), I think he's the weakest link.
FtttG
1d ago
I adore Ghost in the Shell and Akira, and probably should have included the latter in the above list. I'm of two minds about including GitS in a list of action films, as I'm not sure that one chase scene and one fight against a tank really an action movie make.
I saw Princess Mononoke for the first time a few months ago and thoroughly enjoyed it. Far more violent than I was expecting from a Ghibli film.
FtttG
1d ago
Apparently he recently got around to denying the allegations, after staying silent for a full year. The article mentions that he's recently finished a new book: I suppose whether it sees publication will be the litmus test.
Last week @Lizzardspawn asked why none of the sequels to the first two Terminator or Predator movies have been any good. Having only seen the first Predator and Terminators 1 and 2, I wasn't really in a position to comment on the inferiority of the sequels, but offered my two cents anyway based on my secondhand knowledge of Terminators 3-6. This got me thinking about Terminator 2 and I ended up reading the entire Wikipedia article (and the sub-article dedicated specifically to its special effects). Last Friday we sat down to watch a torrented version of the rerelease for Blu-ray which includes all of the cut scenes. It still looks great, although annoyingly there were a few points in the first half of the movie in which the colour grading would change dramatically in consecutive shots (I don't mean consecutive scenes: I mean consecutive shots in the same location), which was distracting and a rather glaring oversight for a rerelease apparently overseen by Cameron himself. It also ends with the corny, sentimental ending I criticised last week, rather than the "open road" ending from the theatrical release. But all that aside, the film still holds up, many of the visual effects still look positively jaw-dropping thirty-five years later, and the film is a true landmark in action films.
This got me thinking about my favourite action films, in no particular order:
- Terminator 2: As above.
- The Matrix: Perhaps the only film that can rival Terminator 2 for innovation in visual effects, and a spellbinding sci-fi romp on top of that.
- Die Hard: my brother and I have a tradition of watching this every Christmas, to the point that I daresay I could probably recite the entire film from memory with some prompting. Nothing beats bellowing "no more table!" in a thick Teutonic accent with a glass of Bailey's.
- The Rock: probably my single favourite action film ever. Whatever one might think of Michael Bay's "chaos cinema" style more broadly, it works here. Nicolas Cage's goofiness had not yet veered into outright self-parody, Sean Connery remained as wryly charismatic in his sixties as peak Bond, and Ed Harris lends palpable gravitas to an anti-villain whose motivation is more sympathetic than any of the protagonists' (it's amazing to me that Harris never served: he's completely convincing as a military man). It's an action film in which violence is deployed both for cathartic escapism and for heart-rending pathos (the scene in which the SEAL team is gunned down in the shower room is a moving audio-visual statement on the pointlessness of war), without any consequent feeling of tonal dissonance. It's an unusually cerebral and literate action film which offers thought-provoking meditations on the morality of American military adventurism, while still finding the time to have fun and give us great lines like "Your besht? Loshers always whine about their besht. Winners go home and fuck the prom queen."
- Speed: I was positively obsessed with this film as a small child, a testament to the power of raw sound and image to overpower one's critical thinking faculties. Even ignoring the film's brazen disregard for the laws of physics, one could fill a book with the plot points that don't make a lick of sense or are dependent on contrived coincidences – and yet, in the moment, one simply doesn't care. Probably Keanu Reeves's best performance ever (admittedly not a terribly high bar to clear), his chemistry with Sandra Bullock* is believable and irresistible, Dennis Hopper offers perhaps the most entertaining action-movie villain since Hans Gruber, and the soundtrack is memorable, exciting and emotive.
- Saving Private Ryan: More of a war film than an action film proper, although its impact on the genre is impossible to dispute. Even people who don't like the film as a whole will concede that its depiction of the Omaha beach landing set the tone for how action movies would look, sound and feel for decades afterwards.
- The Fugitive: I only watched this film quite recently, but it deserves its place in the canon of action-thriller films for grown-ups. On a second watch I was struck by how vacant and anonymous Harrison Ford's leading man turn is: Tommy Lee Jones is the film's real protagonist, and steals every scene he's in.
- Total Recall: As discussed here. The film which best encapsulates Philip K. Dick's entire aesthetic, and the best Paul Verhoeven film I've seen (I'm curious about Starship Trooopers and Showgirls).
- Heat: Like Saving Private Ryan a marginal example, and more of a crime thriller than an action film. In a runtime of nearly three hours, it only contains two or three real action setpieces, but one of those happens to be one of the most tense, nerve-wracking and explosive shootouts in cinematic history, so it would be remiss of me not to include it.
- Predator: Right up there with Terminator 2 as far as action/sci-fi goes, and I like that it's not as self-serious in tone.
Are there any recurring patterns here? Nostalgia obviously plays a major role: several of these films (Speed, The Rock, Terminator 2) were films I watched repeatedly on VHS as a child. Relatedly, there are no entries from this century (excepting the marginal case of The Matrix Reloaded, which I'm counting under The Matrix). Every film is also American: I've heard great things about Asian action cinema, but both times I tried watching Hard-Boiled I turned it off about half an hour in.
What would you say your favourite action films are? Are there non-American action films that I really must see? Are there any from this century that I really ought to check out? (Before anyone mentions John Wick: I will concede that its action sequences are expertly choreographed and filmed, but when I watched it a few years ago I came away feeling distinctly underwhelmed, finding it stylistically confused and at odds with itself.)
*Rumour has it that no other than Ellen deGeneres was the frontrunner for the role. I feel quite confident that, had they gone with this, it would have derailed the entire film.
Last week I finished Philip K. Dick's Ubik. Since completing my 2025 new year's resolution, I've become much less disciplined about reading: this one took me a full month to read, despite being accessibly written and barely 200 pages long.
I thoroughly enjoyed it. On my edition, the cover blurb is from the (now disgraced) Neil Gaiman, who notes how far ahead of his time Dick was. It's really striking that this book was published at the tail end of the 1960s, decades before its central theme (our fundamental inability to distinguish reality from illusion) became the go-to in Hollywood cinema: The Matrix, eXistenZ, Vanilla Sky, Total Recall*. The latter example is particularly interesting as, although it's officially an adaptation of Dick's short story "We Can Remember it for You Wholesale", it mashes up a bunch of different ideas and themes from assorted Dick novels and stories, such that it might be more accurately categorised as an adaptation of Dick's entire oeuvre rather than any specific work. The scene in Total Recall in which Quaid meets Dr. Edgemar in his hotel room has no analogue in its source material, but seems to have been drawn from a similar scene in Ubik.
When I first watched Total Recall only a few years ago, I remarked that one of the reasons I enjoyed it so much was that I love 90s action movies that are goofy and over-the-top, and I also love sci-fi movies that are existentially unsettling: Total Recall is the first (and to date, only) example I can think of where a movie tried to do both at the same time, and pulled it off. (Any goofiness in The Matrix is unintentional.) This is entirely in keeping with the source material: Ubik, like many of Dick's stories, is an existentially chilling nightmare, but also tremendously silly, with Dick clearly having enormous fun imagining the fashions of the future ("a cowboy hat, black lace mantilla, and bermuda shorts" or "a floral mumu and Spandex bloomers"). It's also, as I mentioned the other week, a tremendously horny book: there is perhaps no author in the Western canon who loved breasts as much as Dick did. The triple-titted hooker in Total Recall may have no analogue in Dick's writing, but I can't help but think he would have approved. While Total Recall may not be the best cinematic adaptation of Dick's work (in terms of impact and influence, it's hard to argue with Blade Runner, and I loved its Villeneuve-helmed sequel; Spielberg's Minority Report is excellent, despite having nothing in common with its source material beyond the basic premise), I think it's the most faithful cinematic representation of his aesthetic: chilling, goofy and horny in equal measure. It's a shame he didn't live long enough to see it.
A colleague lent me Hua Hsu's memoir Stay True, and I'm about 80 pages in. Hsu is a second-generation Taiwanese-American who attended UC Berkley in the mid-nineties, where he befriended a Japanese-American fellow undergrad named Ken who tragically died young (although I haven't gotten that far yet). It's well-written and an easy read, but everything about it, from its nineties nostalgia (of course he meets riot grrls in college, of course he's devastated when Cobain dies) and polite airing of grievances about the Asian-American experience feels awfully familiar. I don't expect ever to read it again.
*The 1990 Paul Verhoeven film starring Arnold Schwarzenegger, not the redundant 2012 remake with Colin Farrell.
FtttG
2d ago
From this comment I feel like you most be an incredible bubble.
It's called "Europe", and specifically Ireland.
FtttG
2d ago
They proceeded to burn all that good will and more with their conduct afterwards (not helped by Netanyahu being an extraordinarily repellent figure to all but the far right), which is when their reputation really started to tank.
I think this is just a straight up lie. I honestly can't recall anyone expressing even the slightest amount of sympathy for Israel in the immediate wake of October 7th. The idea that everyone in the West was on their side until they retaliated just seems flatly untrue to me. Even to this day I still encounter pro-Palestine types claiming that October 7th was a false flag, or that Hamas only attacked military targets (and the hundreds of hours of footage of their squaddies murdering civilians at a music festival were created with AI). Even pointing out that Hamas raped women and abducted people is widely seen as tantamount to endorsing Israel's "genocide" (massive enormous scare quotes).
FtttG
3d ago
Reductress can be funny from time to time, I think about this one a lot: "Stomach Flatness Checked in Mirror after Massive Dump".
The thing that makes tongue-in-cheek suggest that they are the same person is a similar writing style: blocky paragraphs with an abundance of links and an abundance of quips.
I regret to inform you that's just because they've both been subsumed into the Motte egregore. I genuinely find it startling reading over comments I posted here years ago: gradually but unmistakeably, my writing style has shifted closer to the Motte centre of gravity over time.
There are worse egregores to be subsumed into. Reddit might be the worst.
FtttG
4d ago
I still follow The Onion on Facebook, and it's sad how anodyne and unfunny their content has become. Every so often I stumble across one of their older articles, and it's heartening to be reminded of how funny and perceptive they used to be.
This is one such case: "‘This Here Is Probably Our Bestselling Love Seat,’ Says Man Who Would Have Been Powerful, Revered Warrior 4,000 Years Ago".
From that comedic premise, the entire article is a tour de force.
FtttG
4d ago
You still haven't answered my question.
FtttG
5d ago
We've heard all this before, remember Trump's first term? Trans genocide?
The specific claim that a trans genocide is around the corner is still being trotted out.
FtttG
5d ago
I recently got into an argument with a pro-Palestine guy, who argued that Israel is the world's sole remaining ethnostate. He did begrudgingly concede my counter-example of Liberia (in which citizenship is explicitly reserved for those of Negro heritage). However, he didn't budge when I characterised Japan, Korea and essentially every Arab nation as ethnostates in all but name. Would you think that's a fair characterisation of China?
But that only invites further questions. 400k people attended Woodstock, with three deaths (and between 4-8 miscarriages) in three days: it's universally remembered as a festival built on free love, hope and optimism. 300k people attended the Altamont Free Concert, with four deaths in one day (including one killing self-defense): it's universally remembered as a uniquely horrific event, the decisive end to the hope and optimism of the 60s hippie movement. When people talk about how awful Altamont was, are they really claiming that it was (going by your maths) four times more lethal than expected, and one-third more lethal than Woodstock? From the way people talk about these two events, that's not remotely the impression I get.
Another metric: Woodstock '69 had a fatality rate of 0.75/100k, while Altamont's was 1.33/100k. I just have a hard time reconciling the disparate reputations these two events hold in the popular imagination.
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