Which films have you seen lately? ΚΓ' - The thread is your movie hegemon.

Tron: Ares follows a highly sophisticated Program, Ares, who is sent from the digital world into the real world on a dangerous mission, marking humankind’s first encounter with A.I. beings. The feature film is directed by Joachim Rønning and stars Jared Leto, Greta Lee, Evan Peters, Hasan Minhaj, Jodie Turner-Smith, Arturo Castro, Cameron Monaghan, with Gillian Anderson, and Jeff Bridges.
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Jared Leto, Greta Lee, Gillian Anderson, Evan Peters, and director Joachim Rønning sit down with RT Correspondent Erik Davis to talk about their first exposure to the world of Tron, the pulsing soundtrack of Nine Inch Nails, and the incredible chase sequences!
 

Monster munch: can Predator: Badlands survive the removal of its unashamedly ultraviolent roots?​

Thanks to director Dan Trachtenberg, the franchise has evolved. But the pure cinematic testosterone that sustained it may have disappeared

There is a longstanding Hollywood urban myth that the original 1987 Predator movie was inspired by a joke doing the rounds about Sylvester Stallone’s Rocky series. The idea was that after the Italian Stallion beat up Dolph Lundgren’s towering Soviet superman Ivan Drago in 1985’s Rocky IV, the only opponent he could fight next would be an alien. Supposedly, screenwriters Jim and John Thomas heard this jape and wrote Predator – which, after a few rewrites, a new lead (Arnold Schwarzenegger) and a change of title from their original spec script, became one of the most enduring sci-fi action films of the 1980s.

In truth, the timeline doesn’t add up. The Thomas brothers were already shopping their script around in 1983, long before Rocky IV hit cinemas, suggesting the “Rocky v alien” story is probably a post hoc myth. Yet the original film is such a perfect example of the brutally linear B-movie-esque 80s creature-feature that the story has been handed down through the decades – not because it’s true but because it feels as if it should be.

Predator is such a gloriously boneheaded concept that it ought to have spawned 20 increasingly terrible straight-to-video sequels starring progressively more ersatz versions of Schwarzenegger, each battling rubbery mandible-sporting foes against ever cheaper and more cheerful backdrops. Instead, we have been handed a series of pretty middling follow-ups: 1990’s Predator 2, the execrable Alien vs Predator films, Predators (2010) and The Predator (2018). These were never quite bad enough to achieve cult infamy, but were not good enough to justify anyone watching them again.

But this week we got a new trailer for Predator: Badlands, from director Dan Trachtenberg; this is the film-maker who has been quietly doing for the saga what Christopher Nolan once did for Batman, with the stripped-back, brilliant Prey (2022) and the gleefully deranged anime spin-off Predator: Killer of Killers earlier this year. It made me think of the old Rocky story, partly because the new film’s protagonist, teen predator Dek, sounds as if he has spent a few winters in Vladivostok. But more pertinently because this movie no longer resembles anything close to that original, beautifully simple premise. Its plotline is no longer “Rocky v alien (in the jungle)” but something more akin to “existentially conflicted space crustacean forms uneasy alliance with android twin on a sentient death planet while being hunted by his own species”.

This tells us everything we need to know about mainstream sci-fi film-making in the modern era. Star Wars was once an elevated matinee adventure serial with space monks and hero starfighters, but has morphed into a vast intergalactic genealogy project in which everyone’s grandad turned out to be evil. Terminator started out as the pulpy tale of a cyborg that came from the future to kill you, but wound up as a muddled loop of rebooted timelines in which the killer robots keep coming back, mostly to apologise for the last sequel. Alien began life as the story of something hellish from outer space that would cheerfully murder you from the inside, before somehow switching to demon androids quoting romantic poetry in candlelit laboratories.

By contrast, Predator has generally stayed true to its B-movie roots – though maybe no longer. Badlands does not seem to be about Predators facing off against humans – in fact, there don’t appear to be any humans in the film. It is ostensibly the tale of a young Yautja warrior who finds himself stranded on a planet full of monsters even worse than he is, with only a Weyland-Yutani android (Elle Fanning) to provide running commentary. It’s hard to imagine that we won’t learn more about the Predator race, their honour code and the reason they want to kill everything that moves. Finally, after nearly 40 years of thermal-vision carnage, this sci-fi saga is about to start universe-building – just like all its peers.

Then there is that Alien link. You would have thought Trachtenberg would be too smart a film-maker to find himself deep into creation myths and android philosophy. Rumours suggest Badlands is set so far in the future that the events of Disney+’s wonderfully cerebral series Alien: Earth will have zero connection here. But even so, it’s hard to imagine that some of that existential radiation won’t seep into the new movie: can it be a coincidence that the evil corporation is once again snooping around on a planet filled with the worst extraterrestrials in the cosmos? Because otherwise, what is the point of tying the two sagas together?

Perhaps, in the end, the real question isn’t whether Predator: Badlands can evolve – it’s whether we want it to. The original movie worked because it was pure cinematic testosterone, a 107-minute flex of Reagan-era id. Maybe we don’t need to know what the Yautja do at weekends, or whether they have a word for love. Perhaps the beauty of Predator was that it was never meant to grow up. If Trachtenberg’s film ends with our young extraterrestrial hero learning compassion, self-knowledge and the futility of endless conflict, that’s fine. But part of me will still be rooting for him to scream: “If it bleeds, we can kill it,” before punching an alien dragon to death.

P: BL, Posters -

 
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That was really interesting :)
And 71% of voters think the original Predator was best..nice.

The John McTiernan original is the only one in the franchise I own. It's the only one I care for, though Prey was watchable for what it is.

McTiernan made Predator, Die Hard and The Hunt For Red October in a streak of three years. Now that's a collection of action films every director wants on their CV.
 
Prey was like the first Predator movie I watched since Predator 2. It was decent. The setting I liked the most.

Looks like Elle has her a handsome new boyfriend.
:lol:
 
I actually liked how Prey started, even with the whole "suddenly being a super warrior girl" being highly unrealistic (one strength of the original was that Arnie & company were all 100% believable in their roles).
But when the action arrived at that village with the weird headhunters (or whatever they were..shows how much i cared :)), i zipped out.
 
Looks like Elle has her a handsome new boyfriend.
:lol:

:D

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(P: BL)
''You know his name. Do you want to know his story? /_\''
G2RHa9BX0AAA6b2


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But when the action arrived at that village with the weird headhunters (or whatever they were..shows how much i cared :)), i zipped out.

That scene was quite enjoyable, those trappers earned getting thier wigs split in well executed violent fashion.

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Just like the first one, Predator 2 was also awesome in it's own way...stressed out Danny Glover kickin ass in a futuristic heat-wave crime-ridden L.A.
That old lady with the broom..ahaha.
 
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Diane 'Mrs Corleone' Keaton
R.i.P
(1946-2025)

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Diane Keaton, ‘Annie Hall’ and ‘The Godfather’ Actress, Dead at 79​

Beloved Oscar-winner also starred in Reds, Father of the Bride, The First Wives Club, Something’s Gotta Give, Looking for Mr. Goodbar and Woody Allen movies

In the golden age of the American New Wave in the 1970s, she was at the centre of that era’s great comedy and tragedy: as Kay, the innocent wife of Al Pacino’s Michael Corleone in Coppola’s The Godfather (1972), she was the aghast, complicit witness to mob toxicity and murder, paralysed with disillusion and fear as she is shut out of her husband’s dealings in his private sanctum – and then, in the next film, like a modern-day Medea, Diane Keaton’s Kay reveals to the icily infuriated Michael the awful truth about her miscarriage.
 
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Disney keeps trying to make TRON happen... I don't know if TRON is going to catch on...

They are building a huge TRON ride at EPCOT though... it was under construction the last time I was there (2022), so they are all-in on TRON for some reason... I'm not sure they are going to be able to make TRON happen. Its a pretty outdated concept. It was advanced for its time when the original came out, but its kinda obsolete.
 
^ I read someone say the seats were empty, but they had a good time as the visuals were lit and the sound-track was poppin.

Tron: Ares
Out now
Perhaps the most exciting thing for many about this new Tron film is that it has a score from Nine Inch Nails. It also stars Jared Leto as the embodiment of a super-advanced AI program sent into the real world on a high-stakes mission. (Just try not to notice that Ares is an anagram of a**e, because you won’t be able to unsee it.)


An expensive ad for thier new ride -

Disney's Tron: Ares is glitching at the box office. The Jared Leto-led movie pulled in $33.5 million at the domestic box office during its opening weekend, lower than Leto's 2022 flop Morbius, which earned $39 million domestic in its opening weekend. Globally, Tron: Ares sits at just over $60 million, and faces a steep climb to earn back its $180 million production budget.
 
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Set in the future on a deadly remote planet, “Predator: Badlands” follows a young Predator outcast (played by newcomer Dimitrius Schuster-Koloamatangi) who finds an unlikely ally in Thia (Emmy and Golden Globe nominee Elle Fanning) as he embarks on a treacherous journey in search of the ultimate adversary.

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