Is she tall? My mum started letting me see films with her that were out of my age range around then, but I’m tall, which cut down on the dirty looks. People never knew how old I really was. Plus she’d send me to get the popcorn while she bought the tickets.
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Relatively speaking; she hit my height 6 months ago, and now she’s got me by a good inch or two… but then again, I’m only 5’ 5", so that’s not saying much.
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That should be enough to confuse people, especially if she dresses up a little. 13 was when waiters started telling me the cocktail specials. Hm, maybe that’s why to this day I think “not for me”.
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Rated R (for strong violence and language throughout, sexual references and brief drug material).
“Drug material” replaces the “graphic nudity” mention in the rating for DP1.
“Under 17 requires accompanying parent or adult guardian.” – MPAA
Sounds fine if you can find an adult to accompany you both. 
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I don’t expect the theater employees to give a damn one way of the other, as long as I buy some tickets.
It’s other movie goers who might give me the stink eye.
And if that was a “short” joke, spare me; I’m a freakin’ GIANT in Chinatown!
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Not at all. Some of my best friends…
But seriously, you’re the best judge of whether your daughter is ready for such a movie. If she’s seen the first, she already knows every possible bad word, and at 13 she’s probably seen worse onscreen violence (not a good thing, but the nature of entertainment today).
As for other patrons, I doubt if many Deadpool watchers come from the pearl-clutching community. And if they are, point out that even the MPAA says you’re legit.
My own opinion is that a snarky film that doesn’t take itself seriously is better than the dubious values of the typical superhero flick.
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She already knew them when she was much younger than she is now; we take the subway regularly.
I seriously doubt anyone will even pay us any mind, but all the arbitrary assholery in the news lately makes me wary.
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That was some serious eyeroll material from the kind of person who dismisses all genres except the genre they like, tarring the thing people find to be good and fun with the crap originally done only for the ROI of the backers and stars. Pheh.
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I found this exquisite little gem of an SF film tonight, and it only came out last year.
It’s SF of ideas, not special effects, and it’s an actorly, talky, theatrical film, which I love when it’s done right, as here. It’s one of those endings that’s heartwarming and tragic and true all at once.
ETA: just realised I didn’t provide a viewing source. For those with access to Kanopy (probably through your local library), it’s on there.
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“Only”
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Mrs Ficus is away at an trade show so I’m using the time I have alone to catch up on my Netflix queue. One of the things at the top my list was to watch the Roxanne Shanté biopic “Roxanne Roxanne”. I consider myself to be an amateur historian in the world of hip hop and the mid 1980s were a pivotal time in its history, so I was really looking forward to this film. Unfortunately I was disappointed in the final product.
The film succeeded in answering the question I never would have asked around, “how do you make a musician’s biopic while featuring almost nothing in the way of their music.” I was expecting a film showing Shanté’s brilliant musical performances, what led to the recording of Roxanne’s Revenge, how she got in with the Juice Crew, and the infamous “Roxanne Wars” that followed only to be left wanting. Much of her musical career is glossed over, something that was foreshadowed in the opening moments of the film where you see a nine year old Shanté about to slay in a street rap battle only to cut to the title card before she opens her mouth. This anticipation leading to nothing in the way of illuminating her musical career ultimately leads to disappointment after disappointment.
We never learn about the context behind the song Roxanne’s Revenge, nor do we even ever hear more than a snippet of the song. The Roxanne Wars that follow are never even mentioned. Rather than focusing much on Shanté’s musical career, much of the focus is on her harsh domestic life, failed relationships, the men in her life letting her down, and hustling on the streets to make ends meet. While I realize it was a deliberate choice of the filmmaker to go this route and break the musical biopic mold by essentially eschewing the “musical” part, I was left wanting. Further muddling the plot are the frequent chronological jumps forward without any context or explanation making it difficult to determine when or where a scene was taking place.
I really can’t fault the acting – the performances in this film are excellent. The attention to detail in capturing the mid 80s NYC vibe is impeccable. The actual film composition is expertly crafted. As a film nerd, there was some really memorable things there.
It’s just a shame that much like Roxanne Shanté herself, all too much of her muscial was glossed over and forgotten. I felt that Ed Piskor’s Hip Hop Family Tree was more illuminating to Shanté’s musical career.
I can’t say it’s a bad film that’s not worth watching, but go in with the expectation of it being primarily about Shanté the person, and not Shanté the rapper.
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Just got caught up to current on the new season of Westworld; I’m enjoying the narrative much more this go round than in the first season.
Also I’ve rewatched some of the first season to refresh my memory, (since it was some time ago) and I had an unimportant revelation that I didn’t notice the first time around; Logan was totally bi.
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I’ve had mixed luck with the last couple of movies. Someone on reddit did a thread of “Name 3 unrelated movies that could make a good trilogy” and one of the responses was “Leon, Hanna, Atomic Blonde”. Leon I knew (but hadn’t seen in years), and apparently Hanna is about a teenage assassin and Atomic Blonde about an adult assassin. Sounded like fun so I decided to give it a try.
I saw The Professional in the theater when I was a teen; this time I got the full international version, and there were definitely some parts that I didn’t remember. It was at least as good now as it was then. It is somewhat timeless; although it doesn’t have cellphones or internet, it takes place in slummy no-income areas where that could still fit. So it could take place anywhere from the 1940s to today. And it does bring the emotion. One thing I noticed this time that I didn’t really pick up on before was Leon’s being basically a man-child and having been okay with that because he had nobody and no reason to grow up until Mathilda came along, and then deciding to change. It held up well and the second watch was worth it.
Then I noticed my wife watching something with Patrick Stewart in it, and asked if she’d seen Green Room. She hadn’t, so I suggested we watch it. It is a good movie, and Patrick Stewart does a great job as an evil bad guy, but unfortunately, although it’s only a few years old, it wasn’t as good this time around. In the pre-Trump era when it came out, the idea of a bunch of cold, calculating neo-nazis getting away with murder was a bit shocking and scary. But now, only a few years later, it’s just a little too close to the daily news headlines. It’s a bit uncomfortable. 
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Leon was good. Never saw US version.
Hanna was a wonderful Chemical Brothers sound track tied together with some action scenes.
Atomic Blonde was a great cover album of 80s songs. I guess ScarJo Charlize had some reason to be in the movie.
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If she did, she didn’t make it to the final cut, because Charlize Theron is the star and virtually the only woman listed in the cast. No ScarJo.
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I’ve just caught up with Steven Universe and …holy shit, y’all.
I’m going to have to rewatch the entire thing from Season 1 Episode 1 now with a completely different perspective, knowing now how thoroughly fucked-up a few of the characters are.
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you are correct. Not enough coffee before reply
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Could happen to anyone and quite frequently does.
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I was waiting for someone to post that.
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And now, your moment of Zen…
http://www.ubu.com/film/paik_butterfly.html
Butterfly (1986)
2:03 min, color, sound
The exuberant irreverence and wit of Butterfly characterizes [Nam June] Paik’s stream-of-consciousness visual and conceptual techniques. In a vibrant image/music collage, he ironically juxtaposes high-cultural artifacts (the aria from Madame Butterfly), contemporary avant-garde icons (Laurie Anderson) and Eastern symbols (the butterfly), within a rapid-paced proliferation of vividly computerized visual effects. This abbreviated work is classic Paik.
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