Finally a trailer....and it's disturbing! I guess that's the point but...yeah.

I feel like this movie has been in pre-production since I was just out of college.

She looks like Cathy Areu.

Moved out of Christmas and into February. $200 mil megabomb en route.

Why do trailers nowadays have the lamest, goofiest songs connected with them? Geez...

mkaroly wrote: ↑Sun Sep 30, 2018 6:46 pm Why do trailers nowadays have the lamest, goofiest songs connected with them? Geez...

With the state of film scores these days, who can blame them?

Want to know how last-minute moving the film to February was? I was in Walmart today, and they had a selection of Fox steelbooks, all with movie cash for Alita...which are good "starting December 15th" (or whatever), and expire on February 28th, which will be two weeks after the film opens.

Does Walmart have all their Christmas stuff up yet? I say that jokingly but...

That really does show how late in the game this was. I wonder if it had something to do with how quickly they could pull this DEADPOOL "whatever" together -- in concert with ALITA clearly being something they did not feel was suited to a Christmas slot. These studios are always going to go with whatever they feel will make the most money...

AndyDursin wrote: ↑Fri Oct 05, 2018 9:22 pm Does Walmart have all their Christmas stuff up yet? I say that jokingly but...

I was in Costco earlier this week, TONS of Christmas stuff/music with three+ weeks before we hit Halloween. Can we keep holidays in their proper months, please...?

"James Cameron's cold leftovers" indeed. Whenever a project migrates from Cameron down to Rodriguez, this kind of reaction is totally unsurprising...

https://variety.com/2019/film/reviews/a ... 203125169/

It is a view broadly held in Hollywood that writing is not the greatest of James Cameron’s manifold filmmaking gifts: The visual storytelling of his blockbusters is what sticks, not the plywood poetry he sticks in the mouths of his often perfunctory characters. A new Cameron production that boasts his imagination behind the keyboard rather than the camera, “Alita: Battle Angel” does little to change that perception. Directed instead with budget-splashing brio but little genuine inspiration by Robert Rodriguez, this manga-based cyberpunk origin story is a pretty zappy effects showcase, weighed down by a protracted, soul-challenged Frankenstory that short-circuits every time it gets moving.

8/10

Yeah, it's all surface, all eye-candy, and obviously an abbreviated chunk of a much larger manga narrative we'll never see completed on the big screen, but this is also definitely coooooooooooooooooooool, with stunning visuals, terrific action sequences (including a ball-busting barroom brawl) and just enough "heart" at the core to make the narrative deficiencies easy to forgive, at least on a first viewing. It's basically this year's John Carter, meaning it's another box-office megabomb that's nevertheless far better than its tepid reviews would indicate, and it's a shame that it won't spawn a franchise. And as far as the "uncanny valley" aspects of Rosa Salazar's (quite endearing) titular performance go, I found myself far more disturbed by Jennifer Connelly's pencil-thin legs. Even being able to see the "seams" of Robert Rodriguez's elaborate but patently-false F/X don't really dull the film's charms, as this was never intended to look "real" (like Roger Ebert said in his review of Rodriguez's Sin City, "This isn't a film noir, it's a film noir's wet dream about itself" ). I had a blast with this. It's not a classic, but will definitely find an audience at home, even if the 3D pop of the theatrical screenings will be somewhat diminished.