ITT: Comfy classics

Wargames or bedazzled

>retarded in many ways
Like how? It's fucking kinography. Only "bad" thing would maybe be the stock footage of orcas from aquariums when for the split second they show it you can kind of tell the orca is in a pool and not the ocean but who gives a fuck, at least it's not CG. And yeah Jaws 2 is pretty good. One thing pissed me off about Jaws2 is at one point the shark puppet's mouth puckers really bad when it snaps at the actors and I really wish they got another take or didn't use that shot because that almost ruined the movie for kid me.

The plot is simple. You can leave it on background and still get what is going on. Well shot also and the action is decent.
Wake up in the middle of the night and still know what is going on.

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Boomers are so stupid. They had so many clever warnings and cautionary tales about that type of shit but they were too stupid to apply theoretical scenarios to real life. Wtf is the point of stories beyond that? Mindless escapism? God damn. And yet here we are.
>YOU BLEW IT ALL UP.

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>OP asks for classics
>user posts movie that came out yesterday

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>>retarded in many ways
>Like how? It's fucking kinography

Again I like the film but his review breaks down it's problems painfully - 1000misspenthours.com/reviews/reviewsn-z/orca.htm

> Mind you, just about everything that happens in Orca is rather (at the very least) incongruous. Honestly, the only character in the film whose behavior makes any kind of sense in aggregate is the fucking whale— and we have to give even him credit for both a whale-song-to-English interpreter and a network of spies and collaborators ashore before his behavior begins to make actual sense. I mean, sure, whales are smart, and killer whales in particular display problem-solving abilities that put plenty of primates to shame, but for this whale to do what he does, it’s necessary for someone to have told him Nolan’s home address! It’s necessary for him to have learned enough about human society to be familiar with concepts like social shaming and peer pressure. It’s necessary for someone to have explained to him about fire (which he would obviously never have seen out in the open ocean) and gasoline— and for someone to have switched out all the fuel in the dockside pumping station in preparation for the big kerosene lantern attack, since maritime internal combustion engines typically run on diesel, and diesel fuel doesn’t behave that way.

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Ever heard the term
>You cannot grasp the true form of weapon autism' attack!
You try dealing with society and see that you are only half of yourself when you look at ur stupid self in the mirror. I bet you have a twitter account just to fit in. You zoomers are all the same no wonder boomers compare you to women prison bitch or how you like to be called fuckboy. Give me a (you) stupid fuck bag sissy faggot

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> And that’s to say nothing of the myriad ways in which Vincenzoni and Donati have misunderstood and/or misrepresented the killer whale’s natural lifestyle, which bears very little resemblance to what’s portrayed in the film. Most notably, the lifelong bond around which orca society is structured is that between mother and offspring, not that between mated male and female. Indeed, killer whale bulls only rarely take mates from within their own pods; rather, they generally hook up with females from neighboring pods, then go running home to Mom once the deed is done. But bogus or not, at least the orca has a clear motivation, and even his most blatantly impossible actions are plainly consistent with it. The humans, on the other hand? Hoo-boy…

> Nolan’s inconsistencies are probably deliberate, insofar as we’re encouraged to regard him as not terribly bright and totally out of his depth, and to that extent if no other, Orca is completely convincing. This, after all, is a guy who makes his entrance by attempting to capture a great white shark alive on a boat that has no apparent facilities for maintaining a large and demanding fish even if he did somehow manage to land one without killing it in the process. Nolan is subjected to a lot of conflicting pressures over the course of the film, and it makes some sense that he would drift from one influence to the next without purpose, plan, or program. Nevertheless, the filmmakers did themselves no favors by withholding the story of the drunk driver until roughly the halfway point. That incident is the crucial factor governing Nolan’s relationship with the grief-maddened whale, and until it comes to light, it seems absurd that a professional fisherman would have a single qualm about killing anything that lives in the sea.

> The people pushing Nolan this way and that, by contrast, have no such excuses for their incoherent characterizations. Let’s start with Annie, who incorrectly advises Nolan that killer whales are monogamous, and that by catching one, they “might be busting up a happy family”— while standing in the Bumpo’s pilothouse, as the boat closes in on its quarry. Surely the time and place to raise that complaint was hours if not days ago, on dry land, and if Annie is so opposed to even non-lethal whaling, then why the hell isn’t she back in South Harbor, sitting out the mission as a conscientious objector?! Swain’s behavior is similarly garbled. At all times, his sole concerns are the economic health of South Harbor’s watermen, and the possible impact of the orca’s activities thereupon. As such, we would naturally expect him to advocate tirelessly for the whale’s destruction, but that’s not quite what happens. Sure, he spends most of the movie in that mode, and he is the mastermind behind the other fishermen’s efforts to force Nolan to clean up his mess, but in his first appearance, he urges Nolan to give up orca-hunting. “Folks around here are superstitious about those things,” he says, before going on to explain about the negative effects of killer whale residency on fisheries. Much as with Annie’s line about busting up happy cetacean families, it would be one thing if that initial encounter between Swain and Nolan had occurred prior to the hunt; then we could ascribe the change in Swain’s position to a change in the surrounding circumstances. Instead, though, he cautions Nolan against whaling off South Harbor after the orca has dumped his mate’s body on the beach, and after he has been spotted lying in wait for Nolan outside the entrance to the harbor proper.

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Old or young you idiots care the ones that can't see the truth. It's not a Demon it's part of a film! De fucking bunked

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> That is to say, Swain switches his prescription for dealing with the orca situation without any outside stimulus. And then there’s Jacob Umilak, whose actions are so nonsensical in sum that they lap themselves to make a different kind of sense from what the screenwriters seem to have intended. Umilak, as one would expect of an Indian in a bad Hollywood movie of this vintage, is basically the Lorax, except that he speaks for the whales instead of the trees— although I’m sure that if this were a movie about a killer tree, he’d be happy to speak for those, too. It is thus puzzling indeed when he straps on his spear and magic helmet, and starts singing “Kill the Orca” right along with Swain and the other watermen, even as he continues to stand up for the whale’s claim to be the justified party in this situation. The funny part, of course, is that that’s exactly what somebody who was in real harmony with nature (as opposed to the 70’s eco-guilt version of harmony) would do. Nature, after all, involves a whole lot of killing, and what could be more natural than trying to kill something that wants to kill you?

Jesus Christ stop I made it halfway through the first paragraph this is the most reddit shit I've ever heard. The movie is good, no one behaves weirdly, and yeah, the whale followed Nolan home, his house is right on the water.

This movie isn't very good.

> The undisputed Queen of Incongruity, though— her position impervious to attack by even the most determined and well-qualified pretender— is Rachel Bedford. Compare, for starters, two of the tiresome speeches that she’s forever making on the slightest provocation, the uniquely ill-organized college lecture that fills in the space between the two first-act fishing expeditions and the pompously gloomy voiceover that accompanies the outset of the Bumpo’s climactic voyage. During the former, Bedford makes in passing the utterly absurd assertion that among the unexpected points of similarity between humans and killer whales is the latter’s “profound instinct for vengeance.” But then, some fifty minutes later, she muses, “I told myself that I was somehow responsible for Nolan’s state of mind, that I had filled his head with romantic notions about a whale capable not only of profound grief— which I believed— but also of calculated and vindictive actions, which I found hard to believe, despite all that had happened.” So which is it, lady?! You can’t even realistically argue (as the screenwriters feebly attempt to) that the instinct-for-vengeance bit was part of a deliberate snowjob meant to dissuade Nolan from his orca-hunting mission by playing to his presumed ignorance and superstitious tendencies. For one thing, it hardly seems likely that Bedford would alter the content of her college lectures for Nolan’s “benefit,” writing off her own students as collateral casualties of her whale-saving bullshit campaign.

What do you recommend?

> And even if Bedford did take such a flexible reading of her professional ethics, the lecture-hall scene happens (and here we go again) before Rachel learns that the fisherman had decided to trade up from sharks to whales. Similarly, just you try reconciling her early certitude about the vigilante orca’s motives, intentions, and game plan with her protestation shortly before the attack on Nolan’s house that neither she nor Nolan nor anybody else really knows what the whale wants! (It’s a telling bit of irony that one of the very few truly sensible statements made by anyone throughout the entire movie is patently false within the context of this story.) Bedford can’t even make up her damn mind what she thinks of Nolan personally, vacillating without apparent cause between inexplicable attraction and perfectly reasonable detestation and contempt. If this woman has any idea what she’s doing at any moment of the story, there’s certainly no evidence to that effect— even after the filmmakers went back to add intrusive voiceover narration by Charlotte Rampling purporting to grant us insight into Bedford’s thoughts and feelings.

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