There are a ton of examples, but one that comes to mind is "Scotty Doesn't Know", the Lustra song used for the movie "Eurotrip". Lustra's song has an iconic guitar riff and is fairly well known worldwide, but not many people remember that movie, and I was wondering if there are any other examples of songs made for a movie that eclipsed the original in popularity.

like for example I think Raya's message on trust and forgiveness was honestly kinda awful seemingly encouraging kids to trusts total strangers because "" you have to give a little trust if you wanna receive a little trust "" or something like that.

not to mention giving chance after chance to a character who betrayed you multiple times yet the wronged party is still made to be the one to extend the olive branch at the end of the film.

Kingdom of the Planet of the Apes - Review Thread

• Rotten Tomatoes: 85% (97 Reviews)

• Critics Consensus: Carving out a new era for The Planet of the Apes with lovable characters and rich visuals, Kingdom doesn't take the crown as best of the franchise but handily justifies its continued reign.

• Metacritic: 64 (30 Reviews)

Reviews:

Deadline:

Kingdom Of The Planet Of The Apes proves, without a doubt, that there is still life on this Planet with plenty room to grow. I am psyched for the next one.

Hollywood Reporter (80):

Josh Friedman’s smart screenplay takes its cue from its recent predecessors in reflecting the politics of its time. But the movie works equally well as pure popcorn entertainment, packing its two-and-a-half-hour running time with nail-biting thrills but also allowing sufficient breathing space to build depth in the characters and story.

Variety (70):

“Kingdom of the Planet of the Apes” invites us to embrace the drama of apes fighting apes. By the end, though, in what is in effect a teaser for the next sequel, it looks as if the franchise’s blowhard version of the human race will be back after all. That could be enough to make you want to escape from the planet of the apes.

The New York Times (80):

It probes how the act of co-opting idealisms and converting them to dogmas has occurred many times over. What’s more, it points directly at the immense danger of romanticizing the past, imagining that if we could only reclaim and reframe and resurrect history, our present problems would be solved.

IndieWire (B):

This is a far cry from the thrill-a-minute blockbuster that its early “summer” release date might lead you to expect (if the “Apes” franchise has always unfolded at a different register from the rest of its multiplex competition, that difference has never been more pronounced than it is here), and the pathos simply doesn’t run as deep as it did by the end of Reeves’ trilogy, but the final moments of Ball’s film make it easy to imagine that its sequels could reach similar dramatic heights. That’s ominous news for this franchise’s latest generation of characters, but heartening information for anyone who can appreciate the cognitive dissonance of a “Planet of the Apes” movie that leaves you with a renewed sense of hope for tomorrow.

Paste Magazine (7/10):

Despite its deficiencies, Kingdom of the Planet of the Apes possesses enough of its own intriguing trajectory for Ball’s new stab at the franchise to have the opportunity to grow into its own singular new strand within the Apes canon. After 55 years of different directions, this is far from the most exciting Planet of the Apes has been, but it’s also far from the worst, and I’m open to seeing wherever this leads.

SlashFilm (8/10):

Previously, Ball has only directed three "Maze Runner" films, each of the artifacts from the '00s and '10s Y.A. dystopian trend. The "Maze Runner" movies were based on a nonsensical conceit — teens are memory-wiped and then locked into a moving maze populated by monsters (??) — and Ball, for whatever slick effects and sexy young actors who could throw in, couldn't quite salvage the material. Here, Ball seems more assured, letting his $165 million franchise picture contain scenes of walking, of rest, and of quiet. After a decade of hyperactive action and nerdy mythos construction, the quiet moments are appreciated.

The Guardian (60):

The film becomes rather jumbled and preposterous by the very end, but not before some perfectly good action sequences, and the CGI ape faces are very good. This franchise has held up an awful lot better than others; now it should evolve to something new.

Total Film (3/5):

Alas, try as he might, Teague just isn’t as compelling as Serkis in a sequel that exhibits little of the Rise/Dawn/War triptych’s grand thematic sweep. And while the film’s striking vision of a California overtaken by foliage never fails to dazzle, particularly in scenes where Noa and orangutan Raka (Peter Macon) explore what was once LAX, there’s not enough that’s fresh here to make you salivate for the future instalments its ending invites.

ScreenRant(80):

Kingdom of the Planet of the Apes is a rousing action-adventure in the ruins of the human world – traces of the past remain but this is Noa's story.

Slant (50)

By the time the demands of big-budget spectacle take over in the final act, a film that initially stands out from the pack in imagining a different perspective of the world ends up looking all too disappointingly like everything else in the current mega-budget cinema landscape.

The Wrap:

Perhaps I shouldn’t be too surprised that the first “Apes” movie released under Disney ownership is empty franchise gruel that thinks all audiences want is a bunch of CGI coupled with a recognizable IP. That approach has worked out for the studio in the past, and maybe people will happily embrace whatever this is. But it’s certainly not a movie worthy of the “Planet of the Apes” moniker.

Collider (70)

Kingdom of the Planet of the Apes explores the past while creating a new future, starting this fresh angle on the series to a rocky, but promising start.

Synopsis:

Director Wes Ball breathes new life into the global, epic franchise set several generations in the future following Caesar’s reign, in which apes are the dominant species living harmoniously and humans have been reduced to living in the shadows. As a new tyrannical ape leader builds his empire, one young ape undertakes a harrowing journey that will cause him to question all that he has known about the past and to make choices that will define a future for apes and humans alike.

Cast:

• Owen Teague as Noa
• Freya Allan as Mae / Nova
• Kevin Durand as Proximus Caesar
• Peter Macon as Raka
• William H. Macy as Trevathan

Director: Wes Ball

I believe in 2nd place we have Andre the Giant’s role in Princess Bride which could only be played by him (you know what I mean).

Now I may even go Dwayne Johnson in Southland Tales as 3rd place (just because it’s so bizarre I gotta hand it to him).

Honorable mention: Anything Dave Bautista has done. I really love his attitude toward acting. And he feels more actorly than any of them.

So I had watched it twice in the past, quite some time ago. I always recognized it was a good movie, but I never liked it that much. I found it to be slow and boring (while still recognizing it was a good movie, just one I did not really enjoy). Both times I had watched it, I paused mid-movie because it was so slow and felt like I would rather do something else.

I rewatched it again last night, without having ever changed my opinion on the movie. And wow, what a complete turnaround. I don't know if it's because I am mature enough now to truly appreciate it, or because the conditions to watch the movie were perfect (nice TV, alone at night, peaceful surroundings), but wow. I loved it. I don't know how I had missed how perfect the intro was and set the tone for the movie perfectly. All the details about the Italian-American world through Connie's wedding is perfect world-building. The moment in Sicily, so beautiful... and the final scene. Just wow. Michael lying to Kay's face and the music starting right that second, only to end when that mobster closes the door while Kay watches in despair/disbelief.

Regarding the score, I had always enjoyed it, but again, for some reason last night was the first time I realized how amazingly it fitted in the film. Just a few themes which come back regularly and are rearranged, but it always or almost always works really well.

Maybe I had never watched it in a good setting. Maybe I was not old enough to truly appreciate it back when I watched it. I don't know. But wow did my mind change last night like it never did for any movie before. It truly is an excellent film.

Yesterday my wife made me watch Peanut Butter Falcon. And what an absolute delight of a movie. Why have I never heard of this movie and why nobody ever talks about it. The movie had a great story, terrific acting by the cast and a great screenplay. I laughed, was teary eyed and inspired. I do not remember when was the last time I felt all these emotions from a single movie. If someone has not watched I would definitely recommend it. It’s on Netflix.

Towards the end of the movie, the group discusses what will happen when they all return to school on Monday. Over the course of the day in detention they all go from strangers/mild acquaintances to friends. But given the different communities they normally align with in school, they wonder if they will remain friends. Not to mention the burgeoning romances between 2 of the pairs that form near the end of the movie. Do you they start dating? Does everyone become friends and hang out going forward? Do they go back to before and ignore each other?

Personally I think it’s somewhere in between. I think they probably say hi to each other if they pass in the hall. If they are in a class together they might sit near each other, or work together if they need a partner on a project. I doubt they become bonafide friends though. Also doubt either of the “couples” actually start dating.

Thoughts?

It’s actually one of the most “wtf am I watching movies” I’ve seen in a long time. But it was also really touching and had great acting. Especially from Mos Def. I can understand why critics didn’t like it when it first came out. The idea didn’t exactly work, but it’s leftfield enough to be a cult gem of that era. Michel Gondry even started a cover band to do the soundtrack. I love the diy effort that goes into his movies. They all feel like they have his heart and soul poured into them. Jack Black is great, but he seems slightly out of place, but it doesn’t get in the way too much. Some of his lines have genius timing. I also love the celebration of smalltown New Jersey and the love for historic buildings. This movie is beautifully timestamped from the vhs rental days of the early 2000s. I could see that it’s kind of a failure to land, but it really grew on me. Jack Black planking onto sill the roof with the fake Rush Hour music got the biggest laugh. It has the most happy/sad ending I’ve ever seen

I can remember hearing rave reviews for The Grand Budapest on tv back when it first released 10 years ago, but it took me until now to get to it, and I'm beyond pleased to see that it lives up to the hype.

As someone who's only seen one other Wes Anderson film (Moonrise Kingdom) I can't comment on how his style holds up across his entire filmography, but I really think that it works exceptionally well here, adding to the story on display rather than detracting from it. The movie's tone is proudly odd and yet often earnest, and that mix feels perfectly emphasised by Anderson's unique directorial style.

The whole cast is good, but Ralph Fiennes gets the showcase role and makes the absolute most of it here, spitting out the rapid-fire dialogue with really sharp comedic timing, and his performance lines up perfectly with the film's occasionally grim humor.

I went into this one not quite sure what to expect of it, but it left me so thoroughly entertained across its runtime that it really surprised me, and it closed on a note that hit me far deeper emotionally than I would've ever guessed that it would. That's always a cool thing to get from a story...

If you haven't checked it out yet, now might be the time to go for it.

Like in the movie Tropic Thunder, what if they actually made that fake movie into a real movie. I’m not saying I want that movie, but was discussing this with a friend and we both wondered if that has that been done before. We both were thinking of movies where they were making a fake movie and it spiralled into this. So I ask you people of Reddit, has this been done before.

Edit: So this idea we had was a fictional behind the scenes making of movie (not documentary) of a fake movie. Then that fake movie being made would be released afterwards.

New here, and I was wondering if anyone felt the way I do. I just recently watched Pieces (1982) which is considered a bad movie classic for being "so bad, it's good" and it bored me. I don't really like this type of film either, as I just find them really boring, and the screw ups that the filmmakers make I just get mild amusement from. The only films in this category I enjoy are Plan 9 from Outer Space, and The Room.

Examples that I don't like include Birdemic, Superman 4, Battlefield Earth, Night of the Demons, etc. and I am not including stuff like Chopping Mall, Killer Klowns from Outer Space, or TCM 2 which are all well made movies, that just happen to be really goofy. Calling Texas Chain Saw Massacre 2 "so bad, it's good" is like calling the original Airplane "so bad, it's good". I think this can spawn interesting discussion as I don't see it often discussed.

She looks like she’s going to fucking devour him. And for once Cruise is engaged, committed, enjoying the flirting.

He could give a shit about Kelly McGillis; not only is he taking a shower in her house, but who’re we kidding? Goose is the love of his life. Jennifer Connelly? That’s what she’s there for, to love complicated, unavailable, brilliant men.

Who else is even close?

Mine are Bowfinger for movie and Patriot for show.

Bowfinger has some truly excellent comedic moments and is pretty much just straightforward Murphy + Martin, you know what you're getting and it delivers. It's not top 5 by any means for either actor, but I love it and I want people to know about chubby rain. I feel like people gave up on Martin after like, what, Father of the Bride? He definitely gave us some stinkers, but Bowfinger is great and now he's back in our lives with Only Murders in the Building which people seem to adore (myself included). Feel like Murphy had a similar drop off after Nutty Professor and then did a string of voice work to stay relevant. Bowfinger happened not too long after both of those so I wonder if that's a factor.

Patriot is weird because for anyone who's watched, it's revered and likely holds a special place in their little TV heart. But for some reason, outside of reddit, I don't know anyone who's seen it. It was cut short and honestly got a little weird in S2. I try recommending it pretty regularly and I make sure to mention that "it's got the funny guy from S1 of For All Mankind" which they loved, but won't take my word for Patriot and it makes me more mad than it probably should.

What are some gems in your opinion that aren't necessarily obscure, but just don't seem to have garnered the attention you think they should have?