Aw man, you stole my answer.

For OP’s benefit though, I’ll expand on why. Clearly, with those directors being your self-professed favorites, you have an attraction to surrealism, or unconventional, shall we say, filmmaking. Tetsuo fits the bill. In my estimation, it’s essentially what would happen if you asked Davids Lynch and Cronenberg to collaborate on a live action Dragonball Z episode. There’s non-linear editing, repeated visual motifs which the director leaves to the audience to parse the significance of, a focus on vibe over narrative, striking black and white cinematography, psychosexual explorations of sadism and masochism, and a healthy slathering of KY Jelly and prosthetics to add some body horror to the melange.

Very good. Much less Kick-Ass or Bullet Train, much closer to his turn in Nosferstu. In any case, he’s in a supporting role, so, regardless of your feelings on him, it shouldn’t affect your enjoyment too much.

I mean, I guess there will always be people who comically miss the point of a given piece of media (e.g. the lionization of Al Pacino’s Scarface, or “Born in the USA” playing at political rallies), but you make it sound like you’ve unlocked some secret meaning in the film by viewing Michael Douglas as a villain. However, that’s not even the subtext of the movie, it’s the text itself. Douglas says, practically to the camera (if I’m remembering correctly, it’s been several years), “I’m the bad guy? When did that happen?”.

Anyone who walked out of the movie thinking it was sympathetic to its protagonist wasn’t paying attention. Again, I know these people exist, I’m just flummoxed by that fact.

Well, now I can only think of being Sherlock Holmes battling bioweapons, and I fear you’ve set me up for disappointment!

Dis u?

I’m not comfortable with companies using any kind of marketing tactics.

Now, I felt like I was fairly gentle in pointing out the absurd nature of that statement. I even readily acknowledged what I assumed to be your intent, i.e. there are absolutely marketing tactics which go beyond the pale. But, as I, and others, have pointed out, you’re the one operating on your own personal definition of marketing here, which is in contradiction to what that concept actually is. Any intro to business class will tell you that marketing is, essentially, ANYTHING an entity does to inform people of its services. It’s an enormous umbrella, which includes tactics both odious and innocuous. It is as readily applicable to the gal who posts on Facebook that she’ll do your hair for $20 as it is Facebook selling that information to a third party so she can be served targeted salon equipment advertisements.

All I’m saying is, if you say “all marketing is bad”, you need to be prepared for people to call you out on the hyperbole of that statement. Therefore, you might consider arguing the point you actually intend to make (which is good and I agree with you about!), instead of leading with a statement which you don’t actually believe.

Calling you Chicken Little was facetious, but meant to be a gentle dig at the hyperbole. Still, I shouldn’t have said it, and I apologize.

Take it easy there, Chicken Little. “I’m uncomfortable with any kind of marketing” is so hyperbolic, it’s almost parody. Putting the name of your business above the door? Thats marketing. Creating a website where customers can find and engage your services? That’s marketing. A minority-owned business proudly owning that status? That’s marketing. A friend telling you about the great meal they had the other day from a local restaurant? Believe it or not, that’s marketing.

Marketing is not evil in and of itself. Unless humanity returns to a tribal social structure where you can count the number of non-related acquaintances you know on your fingers, it is a necessary component of operating a business. Of course, you’re 100% right that there have been dubious applications of the principle, but again, you’re throwing the baby out with the bath water, and it hampers the salient point that you’re trying to make.

I didn’t even realize that there was another strike ongoing until yesterday, when I watched this Maggie Robertson (Vampire Dommy Mommy from RE8) interview. She even mentions that word wasn’t really out there about it at the time of the interview. Glad to hear it resolved enough that the union was willing to end the strike.

Link to the interview, if you’re curious. She’s very funny.

Man. I really need to start watching movies from the French New Wave. I knew Alphaville was technically a science fiction story, but I didn’t realize how far I to the genre Godard leaned.

High Hopes by Mike Leigh seems like it at least partially checks that box.

Run Silent, Run Deep (1958)

Is this version of the Green Lantern a big Electric Callboy fan?

Sometimes, the humor is found in how unsubtle the methodology is. A carpet bombing approach, one might say.

Your final sentence provided me an audible guffaw.

And it’s pretty good! I had fun with the time I put into it, though it did feel a little bloated in the same way their Pathfinder RPG did. I think it’s a consequence of their Kickstarter success for these games, which just kept talking on more stretch goals.

The good news is there is a LOT of game present for those that enjoy it.

Idk about that, I heard a fair number of folks who were less enthused with Eternal vs 2016. The general sentiment among those folks was that Eternal skewed too far into “combat puzzle” territory, where encounters felt like they had prescribed “solutions” that you needed to perform to succeed reliably. This iteration being less about resource management and high speed encounter flow seems to be a reaction to those critiques.

Exploiting Morrowind’s systems is a hobby unto itself. For years, the only copy I had access to was the Xbox release (not even the GOTY edition). Without the dev console, I had to discover other ways to bend the game to my will.

To this day, I have to resist the urge to steal the Limeware Platter from the customs office, not to mention sequence breaking by phasing through the barrel with Fargoth’s ring in that building’s courtyard. Since you hadn’t technically completed the tutorial and been released from custody yet, you could zip around the whole island, stealing with impunity and assembling quite the nest egg for your playthrough.

I’d say the latter rationalization is more plausible than the former. From memory, the swampy bits are pretty well concentrated along the western edge of the island, before giving way to the relatively temperate zones around Caldera and Pelagiad. By contrast, the volcanic portions of the island cover at least half the landmass, and there’s implemented ash storms with some frequency in those zones.

As far as headcanon goes though, I’m partial to thinking the fog represents aerosolized Cliff Racer droppings.

Yeah, granted the article is quoting the plaintiffs’ suit, so we’re getting a pretty skewed interpretation, but both films ending with a scene in which the leads select the same Spice Girls album to listen to really does point towards plagiarism. With that being said, I don’t know how anyone could think they’d get away with that blatant.

Blood Vessel (2019).

An improbably diverse group of U-Boat attack survivors find their way aboard a seemingly abandoned Nazi vessel, discovering, in time, what happened to the previous occupants.

The movie has 3 things going for it:

1. A perfect title.
2. Commitment to make-up and practical effects in most scenes(the standout being the main antagonist)
3. The production either filmed on a real vessel, or they have very talented set decorators. Given how many B-grade creature features (esp. ones set in WW2) wind up being 80 minutes of stereotypes tramping through the woods, the production value was not unappreciated.

Is it good? Not really. Does it make good on its premise? Also, no. Is it better than it could have been? Absolutely.

Worth a watch for fans of foam latex.