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Critics hate that, so that's gonna be more interesting to see it now. Was already on board for Mads & assassins. Hope it's good. This is the result of a post-John Wick world.

Speaking of Zac Efron he's playing Ted Bundy.
I'm down for this.
 

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@Bubz ;

Kind of working my way back into Schrader stuff again; returned to Bringing Out the Dead (the infamous Marty's most underrated convo is coming up again) and watched Light Sleeper today. Willem Dafoe is a drug dealer - or DD, as he calls it - and it trails more on that similar Bresson/Taxi Driver meets American Gigolo riff, that is Schrader in a nutshell, & my goodness is it another winner. It's best to keep it vague like that, because it's so intrinsic. All about the openings & closing of doors; literally and in life. Work in the 90's already on fire. And for whatever reason, I kept feeling this as an interesting, yet wholly different, companion with To Live and Die in LA.

One of my favorite random cameos in this, too. Although, at the time it wasn't a cameo. But in hindsight now, it is 10/10.
 

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I really want to see Light Sleeper. I'm pretty sure Dafoe has said that's his favourite film he's made so that alone made me want to see it, but I didn't know until I googled it that it was Schrader.

And talking of, I rewatched First Reformed and it really is brilliant.

Bringing Out The Dead is amazing. Definitely underrated Scorsese. But then again I think everything he made from Mean Streets until that film is just on another level in one way or another. He'd be the director I'd find hardest to tell you what I thought his best films are.
 

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Awesome if that's what Dafoe calls his favorite. There isn't a moment he's not on screen here, and does it benefit because of all that.

I'll see if I feel like jumping all the way ahead to getting on First Reformed now. There's no real excuse not to. Although, I did find out that Schrader actually released his cut of Dying of the Light. It's titled DARK; so naturally that name fits. I really want to see how this goes after the studio seemingly did a hack job on it. And since it has been the only film of his I haven't loved, I'm willing to very much buy the words of Schrader & Refn.

Scorsese is totally one of the directors I struggle with that, too. Basically all my favorites are like "I know, but I don't know, because all of this is so great".
 

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Super Moderator Going Backwards With WF
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Well this looks stylish & ultra-violent. Added to my ever growing Netflix watchlist.
Yeah I grabbed this last week and plan on watching it later this week. Liking the look of it as it's going for a John Wick vibe. I really like Mads Mikkelsen and I'm looking forward to seeing him in this role.

I'm unsure for Matt Lucas tho as the campy looking villian lol.
 

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@Blackbeard

https://www.hollywoodreporter.com/heat-vision/zack-snyder-returns-movies-zombie-pic-army-dead-1178979?utm_source=twitter

Zack Snyder Returning to Movies With Zombie Action Pic 'Army of the Dead' (Exclusive)

Zack is back.

Zack Snyder, who directed 2017's Justice League only to step away from movies to deal with a family tragedy, has signed on to helm Army of the Dead, a zombie horror thriller, for Netflix. Snyder will direct and produce with his partner and wife, Deborah Snyder, via their newly rebranded production company, Stone Quarry. The shingle's Wesley Coller is also producing.

Snyder also came up with the story for Army, which has a script by Joby Harold.

The adventure is set amid a zombie outbreak in Las Vegas, during which a man assembles a group of mercenaries to take the ultimate gamble, venturing into the quarantined zone to pull off the greatest heist ever attempted.

Netflix, which is taking over the project from Warner Bros., where it was first set up in 2007, is going full throttle with Army. The movie is set to commence shooting this summer with a sizable budget that could reach the $90 million range, say sources.

To say Snyder is excited would be an understatement.

"There are no handcuffs on me at all with this one,” Snyder tells The Hollywood Reporter in an interview.

Snyder was the chief architect of Warner Bros.’ stable of DC Comics films for many years, and he was in postproduction on Justice League when his and Deborah’s daughter committed suicide. The Snyders decided to step away from the movie, letting Joss Whedon film reshoots and finish postproduction. Since then, the duo has been out of the spotlight. There has been a focus on family, working with suicide awareness causes, and a regrouping of his company. But film projects can be cathartic, and Snyder says he has a desire to get back behind the camera.

“I thought this was a good palate cleanser to really dig in with both hands and make something fun and epic and crazy and bonkers in the best possible way,”
he says.

The new project features several full-circle moments for Snyder. For one, it brings the filmmaker back to the genre of his feature debut, 2004's Dawn of the Dead, which launched his high-profile helming career. It also reunites him with Netflix's movie head Scott Stuber, the executive who originally gave Snyder his big-screen shot on the Universal release. And as much as Snyder has made his name with high-flying comic book adaptations such as 300, Watchmen and the various DC movies, this new project is one he is proud to call truly his own.

“I love to honor canon and the works of art,”
he says of his adaptations, “but this is the opportunity to find a purely joyful way to express myself though a genre. It will be the most kick-ass, self-aware — but not in a wink-to-the-camera way — balls-to-the-wall zombie freakshow that anyone has ever seen. No one’s ever let me completely loose [like this].”

Snyder says he's been energized by the prospect of making this particular story. “I love big action, I love big sequences," he says. "My movie brain starts clicking around and I was like, ‘We need to be shooting this now!’ Constructing these sequences really fired me up.”

One thing Snyder has missed, even while making his mega-tentpoles, is actually operating a camera and “being in the trenches.”

“When the movie gets super big, you get pushed away from the camera," he notes. "And in the last few years, I’ve had a reconnection with photography. This movie will be a chance to get the camera in hand."

Snyder’s return also is noteworthy on other fronts. According to sources, Netflix identified the project and sought it out from Warner Bros., which led to dealmaking that could set a precedent for the studio selling other projects to the streamer. Terms for the studio deal and Snyder’s deal were not disclosed.
This sounds like a perfect project for him.
 

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:mark::mark::mark:

Snyder + zombies + the freedom of Netflix = :fuckyeah

I just found out that Steven Soderbergh of all people is a producer for Bill & Ted Face the Music :CENA

Apparently he was also close to directing a huge studio movie last year as a replacement director. Bohemian Rhapsody and Solo: A Star Wars Story are the only ones I can think of :hmm:
 

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@Obfuscation; @Bubz;

Chiming in absurdly late to state that Paul Schrader's Light Skeeper is a splendid film which I was happy to see a good fifteen years or so ago. Seen it multiple times since, and its myriad layers continuously reveal themselves in glorious fashion.

The denouement is overpowering.


POSSIBLE SPOILER FOR THE ENDINGS TO ROBERT BRESSON'S PICKPOCKET, AND PAUL SCHRADER'S AMERICAN GIGOLO AND LIGHT SLEEPER BELOW:

































Schrader recognized his error in applying the concluding movement, as it were, from Robert Bresson's Pickpocket to the final moments of his American Gigolo. Light Sleeper is where that belongs, as Schrader has stated publicly.
 

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I acknowledged this in a different thread, but I liked both endings having the same thing, although I would decree that it does fit better with Light Sleeper's characters a touch more - seeing how the ties that bind kept them together, and American Gigolo's Julian was more "in too deep" as a result/the resolution found. Adore both films so it is all a win in my eyes.

The Walker is the last remaining of his series of the lonely man odyssey. I'll see how long it takes me to check that out. :hmm:
 

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There is no duty we so much underrate as... being
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The Walker is fascinating. Flawed but fascinating.

American Gigolo is a wonderful film for the most part. The ending is a touch shaky, and has always felt so for me, and when I saw Light Sleeper subsequently I realized why. However, Schrader's love for Bresson is always heartwarming.
 

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I'm intrigued on the element of Schrader alone, but seeing how this is set in Washington DC & the loner protagonist at the heart of the film is gay, seems like there could be some all new depth to dive into, and I like that.

American Gigolo strikes me as a such a significant trend-setter. In premise, and in how it painted a specific sense of gleeful, yet dark excess found within the 1980's. Almost as if it single-handed molded the times. That aspect alone blew me away.
 
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