In Rock 'n' Roll High School Forever, the scene where they go over to someone's house and pretend to worship their refrigerator doesn't further the plot or character development in any way.
this post was submitted on 18 Oct 2024
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Looper when they're "torturing" the one guy and his body parts are disappearing one after another.
To clarify, do you mean it wouldn't make sense that his body part would dissapear as they were severed in an alternative past. Or do you mean it doesn't belong on the plot/add to the story?
Not Op, but...
Spoiler for the torture scene in Looper
At the start of that scene, they're inflicting harm that would still allow the dude to do everything he's done so far, just scarred. And the scars are appearing on his future self. It makes a kind of weird sense, if we stretch our imagination.
But they cross well past anything reasonable into injuries that would have just made anyone's past self decide to retire and hide out in the woods in Florida.
It made no sense at all by the end, that his future self was somehow still working for them.
The first. Those injuries were done decades ago, and yet they are just appearing now to the surprise of the character.
If that's how the time travel "works" in this universe somehow, then Bruce Willis disappearing at the end contradicts this.
The whole Looper premise doesn't make sense.
Criminals in the future send people back in time to get whacked. If you get an abnormally large payout, that means you whacked your future self and are now retired.
Why have someone kill themselves with a large payoff? Why retire them? If they're retired in the future, why have them killed?
You have present day hitmen, A, B, and C. Future victims, a, b, and c.
A -> a, B -> b, C -> c results in stupid large payouts and retired killers.
A -> b, B -> c, C -> a has normal payoffs and no retirements.
Still doesn't explain why you wanted a, b, and c dead in the first place.
Looper is a great LOOKING movie, those shotguns were on point! Just don't go thinking about it for more than 5 minutes.
The part that pisses me off. "We can't kill people in the future because the forensics are too good." Then armed men come for him in the future. They can't kill him or they'll get caught, why are the guns a threat?
Can still shoot him? Could be stupid and kill him anyway?
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I didn't like that movie, but do people really analyse movies like this as their watching them? I don't usually unless I'm really bored, or afterwards if I really liked it.
I'm trained in literary analysis and criticism, so, yeah, I'll sit there thinking "well, lets see how they explain this..."
The best fiction actually does.
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The scene where Al Pacino gets slapped by a big black guy wearing only a cowboy hat and a jockstrap in Cruising (1980)
This Scene from Designated Survivor. I'm still chuckling when thinking about it.
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A lot of scenes are just thinly veiled commercials - why are we spending so much time looking at the front of a brand-new car the characters are getting into? It's always awkward and takes away from the scene.
The Office, Season 6, episode 20, “The Leads”. All the characters in this episode always seemed to me like they had a different personality for just this one episode. It really stands out IMO.
I was completely on Michael's side through that whole story. When Phyllis called him numb nuts, I think any other manager would have fired her ass. But they treat Michael like shit sometimes cause he's so forgiving.
Also after the Michael Scott paper company when Phyllis is crying that Michael claimed they were family but went after their customers, yeah Phillis? And what did you guys say when Michael treated you as family? You scoffed at him and brushed him off. So fuck you. Also hate how when you get a new customer you "got a new customer" but when you lose a customer it's "they STOLE the customer". There's no stealing here buddy, just a better salesperson
Chicago fire. Stella and Severide being "away" longer than expected. Out of the blue ignoring the other one. I know the actors had other work to do, but it was sloppy writing.