My Little Pony: The Movie (2017): The Thread: The Discussion

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Re: My Little Pony: The Movie (2017): The Thread: The Discus

Postby RudeCyrus (?) » Sun Oct 08, 2017 1:30 am

Maybe this movie needed more fart jokes and ironic winking and nudging at the audience. Then the critics would love it!
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Postby Fizzbuzz (?) » Sun Oct 08, 2017 1:35 am

Maybe it really should have been about the Mane Six coming to New York City where their goofy shenanigans are just the thing to help a dingus and his dream girl fall in love.
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Postby PonyHag714 (?) » Sun Oct 08, 2017 1:56 am

This is why I don't listen to reviewers. Many of them label movies like MLP as kids' movies right off the bat and thier objectivity goes out the window. They just don't "get" Pony, and they don't want to bother trying to. :unenthused:
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Postby Highbrow Dash (?) » Sun Oct 08, 2017 2:12 am

SlateSlabrock wrote:I took a peek at the critics' reviews, since I noticed MetaCritic has the film sitting at 41/100, which seems a little harsh, my own complaints notwithstanding. The negative reviews seem to be divided between, "Ugh, why do I have to go watch this kiddy film?" (RogerEbert.com) and, "But Discord! What about the Tree of Harmony?!" (IGN)


That RoberEbert review does have this incredible quote:

I have an eight-year-old son who is definitely NOT a Brony. He attended a recent screening with me under vocal protest, despite my encouragement that he keep an open mind heading into the film, as is always our goal. (“Sorry, kid,” I told him. “Not everything can be ‘Dunkirk.’”)
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Postby Highbrow Dash (?) » Sun Oct 08, 2017 2:15 am

Fizzbuzz wrote:Maybe it really should have been about the Mane Six coming to New York City where their goofy shenanigans are just the thing to help a dingus and his dream girl fall in love.


Honestly I still can't believe Perry and Fontra didn't take them up on that offer.
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Postby Big Boss (?) » Sun Oct 08, 2017 2:38 am

Have to say that one of my favorite parts of the movie was Capper using Spike as a flamethrower, BJ Blazkowicz style. Top tier joke.
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Postby Wayoshi (?) » Sun Oct 08, 2017 3:10 am

I think my biggest complaint, more than the story which struggles to get to mediocre status, is that the movie did a poor job at introducing G4. This movie was made because FiM was such a success. But we're just dumped into Canterlot, whiz by who the Mane 6 are in two minutes, not much explanation on what alicorns are and what pony society is, etc. You would think a goal of a theatrical release would be to draw in some new people.

I could rehash what everyone has said about the story, but at this stage I think I'm finally worn out on adventure stuff in pony. I just greatly enjoyed the new episode today, completely slice of life. Of course a movie was always going to be adventure, but you look at the whole body of the show over nearly 200 episodes now and I don't see how anyone could argue the adventure content is superior to the slice of life content.
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Postby Soft Snow (?) » Sun Oct 08, 2017 4:57 am

Did the kids like it? I'm hearing a lot of reviewers saying their kids enjoyed it. That seems like a success to me.
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Postby Kadjule (?) » Sun Oct 08, 2017 8:35 am

What a cute movie! I saw this yesterday and absolutely adored it. The new characters were all quite endearing in their own way and I was pretty stoked to see a bunch of weird looking mutants inhabiting that crime city.

I was overall pretty pleased with the musical numbers. I imagine the song featuring Tempest will likely end up in my regular playlist even.

I was completely unfamiliar with Hanazuki going into the theater and was pretty happily surprised by what I saw with the short.
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Postby Highbrow Dash (?) » Sun Oct 08, 2017 10:01 am

Wayoshi wrote:I think my biggest complaint, more than the story which struggles to get to mediocre status, is that the movie did a poor job at introducing G4. This movie was made because FiM was such a success. But we're just dumped into Canterlot, whiz by who the Mane 6 are in two minutes, not much explanation on what alicorns are and what pony society is, etc. You would think a goal of a theatrical release would be to draw in some new people.


I disagree. You don't need to explain everything about the setting to introduce someone to the show. I think the movie does a fine job showing what the show is all about, with the same comedy, cuteness and great songs :-P

There's room for improvement but I can't think of a better introduction to the series.

I mean just think about the whole pirate ship sequence. Everything from the moment they get on the ship to the moment they build their hot air ballon is pure gold: the jokes, the character interactions, the song, RD's rainboom fuckup, their escape. It's all incredible.

If that isn't pure :ponydrugs: I don't know what is.
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Postby The Doctor (?) » Sun Oct 08, 2017 3:56 pm

Weekend estimates are in....

$8.8 million. Sounds like the first day rush didn't carry into the weekend.
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Postby Dexanth (?) » Sun Oct 08, 2017 6:09 pm

To me, my issue with 'The villain can just be thin' is I look at other animated villain's and, well, they aren't. Hans in Frozen, Sid in Toy Story, Scar in The Lion King, Tamatoa in Moana...what's different about all of them is that their character shows through in their words and actions. I have an idea of what they want, I can identify with why they are the way they are, you can start writing a story in your head about why they are the way they are (And, also, often, the movie gives in more detail, little lines here and there that help fill it in).

With the Storm King, I can't. I can't tell you anything about him beyond 'He's an image obsessed asshole who is completely superficial'.

And similarly, with those films, they take effort to sculpt the world. Their scripts are rich with details that by the time you finish you can understand the world, understand how it works, relate to it.

If I had walked into MLP knowing nothing I feel I'd walk out of it all the more confused. All we get of Equestria is little bits of Canterlot - it works for us because we know all of this walking in, but otherwise there's just so much of it we want to accept just because.

There's one bit that works - Twilight meeting the Princesses, where her spazzing out, her relationship with them, bits of their own characters, all that comes through...but it's still muted. We see almost none of Luna or Cadance, but you still get pieces there, and you see how Twilight sees herself in relation to them, and so forth.

But...at the end of it, beyond 'Friendship, and ponies, and bluh!' I have a hard time telling you anything about Equestria, really, beyond it being filled with cute marshmallow horses who are completely unable to do anything for themselves.
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Postby Highbrow Dash (?) » Sun Oct 08, 2017 8:59 pm

I think the "feel" of the show is a lot more important than the setting and lore.

Of course Equestria didn't get a real chance to shine in this, because most of the movie takes place elsewhere. I still think it was a pretty good reflection of what this show is all about.

Yeah they could've removed some stuff to make room for the Storm King, AJ and Fluttershy, but I still enjoyed it for what it was. The show's had worse villains, like Sombra and Tirek.
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Postby Soft Snow (?) » Sun Oct 08, 2017 10:24 pm

Fizzbuzz wrote:Careful what you wish for. A&O's sequels are legendarily bad.

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There is a key difference separating the two. Alpha and Omega had all their original assets tied into their first movie. So when they made the sequel on a smaller budget they had to pretty much remake cheaper versions of them. Contrary to ponies, they have a cheaper set of assets available to them that don't require a movie budget to look as good. Ponies can easily switch over to their TV format if they decide to make direct-to-video movie sequels and they will still look pretty good.
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Postby SlateSlabrock (?) » Sun Oct 08, 2017 11:44 pm

The Doctor wrote:Weekend estimates are in....

$8.8 million. Sounds like the first day rush didn't carry into the weekend.


Better than the $7 million estimates going around, but apparently IT had a huge surge that managed to push it just past MLP for the weekend. Surprisingly, higher per-theater profit than The Mountain Between Us.
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Postby Big Boss (?) » Mon Oct 09, 2017 12:45 am

Kadjule wrote:What a cute movie! I saw this yesterday and absolutely adored it. The new characters were all quite endearing in their own way and I was pretty stoked to see a bunch of weird looking mutants inhabiting that crime city.

I was overall pretty pleased with the musical numbers. I imagine the song featuring Tempest will likely end up in my regular playlist even.

I was completely unfamiliar with Hanazuki going into the theater and was pretty happily surprised by what I saw with the short.


Always great to see you back. :allears:
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Postby Fizzbuzz (?) » Mon Oct 09, 2017 1:03 am

Soft Snow wrote:There is a key difference separating the two. Alpha and Omega had all their original assets tied into their first movie. So when they made the sequel on a smaller budget they had to pretty much remake cheaper versions of them. Contrary to ponies, they have a cheaper set of assets available to them that don't require a movie budget to look as good. Ponies can easily switch over to their TV format if they decide to make direct-to-video movie sequels and they will still look pretty good.
:allears:

If that's what Hasbro wants, they could call up DHX at any time and tell them to make a four-part episode in whatever season's being produced. If Lionsgate wanted Hasbro to make direct-to-video sequels to the movie specifically, I assume that'd be using the movie's assets, which if that were done as cheaply as A&O's sequels would be hideous.
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Postby Headless Horse (?) » Mon Oct 09, 2017 1:39 am

Oh man you guys this movie was pretty freaking great.

Yeah it had a couple of issues with too-abrupt story transition points and the art style does take a bit of getting used to, but that's about where my complaints end.

I mean also there's the whole idea of the movie kind of recasting the world setting to be that much bigger and full of more fantastical creatures and countries than have been hinted at in the show so far, but I think that works in the movie's favor all things considered—it's aimed at an audience that isn't necessarily familiar with the show, and with its animation style it's targeting a kind of look-and-feel that is reminiscent of Disney's last few traditional 2D features rather than the 3D kids' movies that are in vogue nowadays, so it kind of makes sense that it's trying to trigger a "Hey this feels a lot like the Disney movies I remember loving" in the 20-30 age range adults bringing their kids to see it today. It reminds me of Treasure Planet, in terms of its character and world designs, and that might be entirely intentional; seeing the immense "Art Of" book and all the development art that went into creating the world for this movie, it's clear they were shooting for the stars here, and aiming to connect with something the parents in the audience remembered, a moment when the horizons of their imaginations were unrolled by something they'd had no idea was even there, all of a sudden laid out in front of them by what they'd thought was a simple two-hour's diversion for their kids.

(Aside: I watched the live-action/CGI Beauty & the Beast on the plane home from Chicago and I was left absolutely cold, like chilled to the bone. I can't believe it was even a Disney production it's that bad. It's a shot-for-shot remake but lacks every bit of the visual charm of the original; the characters are ugly and animated without a hint of "life" or personality. It looks like one of those awful Video Brinquedo things. I can't understand why it exists or how it's garnered any positive reviews at all. It's absolutely baffling.)

Though I do have to say I was still kind of "eehhh" about the MLP movie right up to the point of the big gigantic fuck-up by Twilight and the argument that ensued. I was like holy goddamn shit. And to have a line like "I just can't talk to you right now" delivered completely straight and from the soul by Pinkie of all people... wow. Something about the gray drab backgrounds with the ponies still as colorful as they've always been, and yet completely bedraggled and beat down by what has just happened... it's never been that real before, and somehow that made it all the more wrenching. I'm still reeling from it a day later.

Going back to reread the thread now to see what everyone else thinks so far, but I for one can't wait to see all the discussion of the many things I missed despite all attempts to drink it all in. Good show, horse cartoon, good show.
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Postby Soft Snow (?) » Mon Oct 09, 2017 2:07 am

From what I can gather, the movie made $12.6 million at the box office and came in fourth for the week. Not bad at all.
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Postby Headless Horse (?) » Mon Oct 09, 2017 2:39 am

One comment about the Storm King being shallowly defined—I'm gonna say that I don't have an issue with that, because he's not in any way the focus villain. We don't even see him until like 2/3 through the movie. The villain we're meant to have our eyes on the whole time is Tempest, and she fills that role very well.

Storm King is presented as more of a distant figure, someone for even the lieutenant villains to hide from when we follow their POV; and that move means he gets to be Tirek with a sense of humor, a clown with style and sarcasm. I don't care what his motivation is; the villain whose motivation I care about is Tempest, and boy howdy do we get a fully illustrated helping of her backstory. Clearly the movie can do characterization for the ones it cares about, so I say that Storm King's character being drawn so thin (and yet so much fun, for the little we do get of him) is entirely an intentional decision.
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Postby Headless Horse (?) » Mon Oct 09, 2017 2:51 am

Also you know what my only real problem with the movie was?

It's dumb, but for some reason it matters to me.

They don't get the forehooves right.

THEY'RE NOT RIGHT


The front legs are like hoses that they bent in two places, or pool noodles that they chopped off at the ends. They're like Andy Price legs, which is why I couldn't stand the comics and had to stop reading them.

The show always to this day manages to get the hand-evoking shape of the hoof right; even nowadays when they so frequently do the "cross your foreleg over your chest" gesture rather than the simple but super-cute raised/cocked foreleg of S1/2, they always have the shape right. And the anatomy in the show is always constructed such that the forelegs bend in the right places, with the right proportions; short upper leg, even shorter "forearm", and the hoof portion the longest and thickest. But the movie doesn't seem to get that. Just take that pool noodle, go fold fold, done. :effort:

A small and very personal gripe and the main reason why I hope the show continues to use its own style and art assets forever
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Postby Highbrow Dash (?) » Mon Oct 09, 2017 5:39 am

Headless Horse wrote:Though I do have to say I was still kind of "eehhh" about the MLP movie right up to the point of the big gigantic fuck-up by Twilight and the argument that ensued. I was like holy goddamn shit. And to have a line like "I just can't talk to you right now" delivered completely straight and from the soul by Pinkie of all people... wow. Something about the gray drab backgrounds with the ponies still as colorful as they've always been, and yet completely bedraggled and beat down by what has just happened... it's never been that real before, and somehow that made it all the more wrenching. I'm still reeling from it a day later.


That was so good. "It's not enough, we are not enough" :fluttersmith:
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Postby Discord (?) » Mon Oct 09, 2017 7:03 am

Did my own double feature of No Game No Life Zero followed by this. :v: Which...turned out to be funky tonal shift and unfortunate with the former blowing me away and the latter not as much in comparison.

But for what it was, I enjoyed it. Undoubtedly my perception of the movie is coloured by my waning interest in the series but I could appreciate the sheer spectacle and the harkening back to Faust's original vision of FiM as adventure-focused.

The animation took some getting used to but after the first few minutes it definitely grows on you. Lot of cool visual flourishes throughout (my favourite: Twilight flying in the first song) and it's fun to look at.

I enjoyed the sense of grandiose journey unlike anything in the series proper. The guest star characters are incorporated a lot better than I expected, not really detracting from the main group.

It was a fairly prototypical pony plot, not a story that I thought punched with the best of pony but had it's good moments and was functional enough. I agree with the sentiment on Storm King but Tempest carried that load okay.

I think my biggest issue would be I think Twilight's central character conflict could have been delivered better. Ultimately, the details of any epic-pony plot have never mattered as much as the character conflict, which is what makes ponies tick. The thinness of the Storm King and the by-the-numbers story don't really matter if that conflict hits hard enough.

But I don't think Twilight's conflict — lapsing in sight of friendship in the pursuit of being a good ruler (which has good potential)— gets quite enough time to breathe.

It's close, and all the pieces are there. The first part of the story has her freaking out and kind of trying to gun solo (or at least implied to be) before her friends remind her they're there for her. Her various scolding of her friend throughout their adventure, culminating in her thievery after the great line from queen hippogriff about looking after her people. Realizing where she was going wrong by looking at Tempest.

But to me this conflict is left too much in the background behind all the spectacle and I would have liked to see more of a build-up in the foreground leading into Twilight trying to steal the pearl and the emotional payload that follows.

Two small adjustments I could think of to help this:
1. Instead of having the whole group doubt they can go back to save the day in Canterlot after getting booted out, have

Twilight be the main one pushing that. Maybe more of the mane 6 thinks they can do something, but Twilight call it off due to the danger of the anti-magic and Celestia's command to Luna. This would better enforce that conflict, while also solving this fine point from Dexanth's post:
However, the worst part? The entire 'epic journey' is pointless. In the end, all it comes down to is 'Their new friends somehow beat an army which totally wrecked Canterlot and thus enable Pinkie et all to Party cannon themselves into the Storm King' which culminates in the climax being 'Who can grab the stick first'.


The journey's ultimate purpose proves to be pointless, but that could have been more deliberately by design. Twilight already had the means to take back Canterlot — her friends, like so many times before. The journey becomes a way to remind her of that (and pick up more friends to make that easier).

2. A little bit more build-up to the thievery itself. This is a huge action and mistake for Twilight to make. It would have been good to have just one quick scene, hang longer in the throne room, debating herself but reflecting on the "a ruler has to look after her subject first" line before going for it as "the only solution."


But that aside, it's still quite serviceable for a conflict and the story overall has a lot of solid moments that I think tied things together well enough. Also, I thought the music was quite good.

I'm glad this film exists and the crew got to take on a project like this. It may not be as strong story wise as ponies can be, but it's still a good little film; and it's just nice to see ponies on the big screen (without becoming high school girls). Here's hoping the film proves to be a success.
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Postby Headless Horse (?) » Mon Oct 09, 2017 9:47 am

One thing that the writing gets to do when it has a movie-length script and a feature-film presentation to breathe in is little thematic callbacks, and one that I wanted to call out was the reiteration of the phrase you've got this (or I've got this, we've got this).

It comes up three separate times in the movie, each in a different context, and I thought the way they framed it really did a great job of quickly and eloquently illustrating Twilight's uncertainty and how she's able to bolster her confidence and her efficacy with her friends' help.

The show never has that long in a given story for a callback like that to work in the same way, and I was glad to see that this writing team is able to adapt their existing sense of story beats to incorporate a Disneyish flourish like that without breaking from their own mold.
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Postby Aramek (?) » Mon Oct 09, 2017 2:45 pm

I like that Spike had the largest body count.
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Postby Headless Horse (?) » Mon Oct 09, 2017 2:53 pm

His fire worked like fuckin napalm

Like he set that one dude on fire that was grabbing him, and it didn't blow out, it grew :black101:
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Postby Mr. Big (?) » Mon Oct 09, 2017 3:25 pm

That was probably one of the few things from the movie I was shocked to see. I figured that the writers were forbidden from showing Spike set anyone on fire, even in self-defense, but in the movie he did it at least twice (the other time when Twilight got captured).

Another scene from the movie that made me go "oh my god" was when Capper tricked a guy into thinking he has a disease that will make his body parts fall apart, and guy immediately grabbed his crotch

I guess the movie earned a PG rating for a reason. :v:
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Postby Headless Horse (?) » Mon Oct 09, 2017 3:37 pm

Incidentally I've been going over in my head what I think about the song



And, I mean... I've been trying to dismiss it as a silly preexisting pop song by a stunt-casted headliner cynically pasted into the movie for merchandising tie-in reasons at best. But the more I find out about it the harder I find it to roll my eyes at it.

Especially since it apparently was written specifically for the movie? Not just a cross-promotion, but created specifically to add something fresh and new to the film. And then looking at the lyrics, which are pretty damn emotionally charged and have nothing specifically to do with the movie's subject matter... it elevates both the song and the movie by their mutual association.

I remember something like this happening with the radio version of Can You Feel the Love Tonight, tracking its own way up the charts independent of any link with the movie it came from. But in this case the song isn't a radio-ified version of a showtune, it's a human-world pop song that fits in pony world just fine. But the somber tone of it playing over the triumphant end of the movie gives that whole aspect of the movie a level of ... I don't know. Seriousness that I wasn't at all expecting. It's a genre that plays against type, bringing the mood down for the evening (the Art Of book mentioned that they wanted to end the movie at twilight, consciously, for the symbolism of it :ponydrugs: — this was all intentional), rather than a Menken-style grand triumphant bell-ringing orchestral finale.

If I were to liken this deliberate crossing of moods to anything equally iconic, it might be this:



This kind of thing was unheard-of in TV at the time. Uplifting gospel used as the counterpoint to a horrific scene of betrayal and murder, though a justifiable act, with the double entendre of the lyrics underlining the justification. It was audacious and revolutionary and soon dramatic TV was doing things like this all over the place, but I think Bab 5 kind of set the stage for a lot of what we take almost for granted in these kinds of clever tonal juxtapositions nowadays.

The song in this movie does almost exactly the same kind of thing, mood-wise and texture-wise. The only thing it's missing is a little bit of lyrical applicability, to Twilight perhaps, but I don't think every piece needs to fit in order for the song to do the job it's signed on to do. It's as effective as that song that leads us into the credits at the end of Prince Caspian, which is the last time I remember this being done so well.

It's still stuck in my head days later, so there's that too
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Postby PonyHag714 (?) » Mon Oct 09, 2017 4:31 pm

I've been listening to it a lot myself. Sia's voice is very catchy. :allears:
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Postby Soft Snow (?) » Mon Oct 09, 2017 11:35 pm

I liked the movie, I'm definitely going to be buying the DVD when it becomes available. The movie hit all it's marks and didn't do anything wrong. Although it could have done things better. For instance, the Storm King. It was fine that he didn't have a background or motive for being a villain, just that we knew he was a villain. But I think it wouldn't have been a bad thing if they did include that. The end result of either would still be the same regardless.

Mr. Big wrote:Another scene from the movie that made me go "oh my god" was when Capper tricked a guy into thinking he has a disease that will make his body parts fall apart, and guy immediately grabbed his crotch

I guess the movie earned a PG rating for a reason. :v:

The movie didn't have a single fart, poop or vomit joke. Which is something I know a few parents appreciated as that seems to be the norm in most children cartoons nowadays. So I'll let them pass with a penis joke.

But in my head I was wondering if he thought ponies gave STDs which is why he instinctively grabbed his crotch.
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Postby SlateSlabrock (?) » Tue Oct 10, 2017 2:27 am

Headless Horse wrote:But in this case the song isn't a radio-ified version of a showtune, it's a human-world pop song that fits in pony world just fine. But the somber tone of it playing over the triumphant end of the movie gives that whole aspect of the movie a level of ... I don't know. Seriousness that I wasn't at all expecting. It's a genre that plays against type, bringing the mood down for the evening (the Art Of book mentioned that they wanted to end the movie at twilight, consciously, for the symbolism of it :ponydrugs: — this was all intentional), rather than a Menken-style grand triumphant bell-ringing orchestral finale.

[...]
The song in this movie does almost exactly the same kind of thing, mood-wise and texture-wise. The only thing it's missing is a little bit of lyrical applicability, to Twilight perhaps, but I don't think every piece needs to fit in order for the song to do the job it's signed on to do. It's as effective as that song that leads us into the credits at the end of Prince Caspian, which is the last time I remember this being done so well.


It's a curious choice. The music video leaked a week or two before the film came out, and it has scenes from the end of the film. Based on the tone of the song, I was wondering just how dark the climax was going to be. We see Twilight drifting down from the storm with the staff, exchanging bows with Celestia at the party, etc., and it seemed to me that the movie was going to force Twilight to undergo some harrowing trial against the Storm King, alone. Maybe she would have to win Tempest over, like Luke reaching out to Darth Vader at the end of Return of the Jedi.

That's not really how MLP works, and in the end, Twilight getting the staff was mostly just an obvious "did she die?" fake-out, with a little bit of spotlight on Tempest seeing how true friends help each other. I'm not sure I think it's bad, just that... maybe that music video inflated my expectations for the dramatic stakes.

Anyway, as a bookend for Twilight's adventure, I think it's weird to be singing, "But when your wounds open, you will cry" as everyone parties and celebrates. But I think it works as a song for Tempest. Even at the end, she thinks she's going to be rejected again. She didn't fix her horn, so why would anyone want her? But Twilight does care, and she wants even a former villain to be redeemed. "I am here, and I see your pain."
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Postby Headless Horse (?) » Tue Oct 10, 2017 11:56 am

Could be. Thematically and dramatically it works as a Tempest song, I'll agree.

Still, and this question applies to the whole soundtrack now that I've listened to it: I wonder how much of the story and the characters the songwriters were familiar with? Most of the songs appear (pretty surprisingly, actually) to be custom-written for the movie, since they all share a fairly basic theme of friendship and sticking together, as well as telltale shibboleth vocabulary like "magic" and "technicolor" :v: . But how much guidance are these artists getting as to what concepts to address specifically?

I feel like Sia must have written from a fairly perfunctory level of familiarity with the material, like maybe the visuals and little else—if only because the song is so intensely visual in its poetry. Everything in it is a visual metaphor. Rain, sunlight, soaring, rainbows, huge wide-open eyes. The kinds of things you'd be familiar with if you were seeing the visual design of the show/movie for the first time. And still you can read it entirely literally, in which case those references to flight are just too compelling and evocative to pass up. Maybe it's just me (lord knows I'm a sucker for a line like "shoot for open skies"; that's some of that same Jonathan Livingston Seagull level shit that I always wondered if the show was going for with Rainbow Dash), but I want it to be about Twilight, even if it doesn't make any sense in-context in the movie. Even if I have to imagine it's more about her life and her coming-of-age in general, her awakening from innocence, than about what's going on in this particular story.

I don't think for a minute that this is what the writer intended, but if I imagine it as a drop-in replacement for Celestia's song in Magical Mystery Cure, mm..


E: watch I'm totally wrong and all these songwriters are huge pony fans
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Postby theGECK (?) » Tue Oct 10, 2017 3:42 pm

This movie set my new headcanon of how ponies would look! :sweetielarm: :flail: :flail: :sweetielarm:

It was pony, bigieized. All of the shiny parts made shinier, all of the flaws were flawyer, and the ponies were ponieser. And the theatre had custom cups which I think I might need to go back and get one of them. Why? Because Ponies in the theatre are fun! And I had fun. Was it an amazing movie? No. Was it pony? Oh very much yes, and I watched the credits with a smile on my face and a :awesomedash: in my heart.

I didn't like the short though. Then I saw Polsky's name as the writer and wen't "Oh, that makes sense." :v:

This movie makes me use lots of smilies, which shows how much I feel about it. Watching it has made me want to go back and watch the rest of season 7 now.
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Postby Headless Horse (?) » Tue Oct 10, 2017 7:26 pm

theGECK wrote:This movie set my new headcanon of how ponies would look! :sweetielarm: :flail: :flail: :sweetielarm:

It was pony, bigieized. All of the shiny parts made shinier, all of the flaws were flawyer, and the ponies were ponieser. And the theatre had custom cups which I think I might need to go back and get one of them. Why? Because Ponies in the theatre are fun! And I had fun. Was it an amazing movie? No. Was it pony? Oh very much yes, and I watched the credits with a smile on my face and a :awesomedash: in my heart.


This.

It isn't the new Lion King for me, but it damn sure has made me feel like I'm 18 again. :granny:
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Postby Perpetual Lurker (?) » Tue Oct 10, 2017 7:43 pm

The biggest thing that impressed me about the movie is how well they managed to sell Twilight's personal arc throughout the story. From moment one we see Twilight under huge amounts of pressure, and once that pressure changes from planning a party to saving Equestria, we see her slowly crumble under it. She goes from untrusting, to annoyed, to desperate, to outright deceitful. It's something that even most of the show's two-parters fail to manage, the only exceptions being the pilot and The Crystal Empire. I think that the increased runtime available to a feature film is to thank for that. As abrupt as the transitions from place to place were, they each served an important role in pushing Twilight closer and closer to the edge.
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Postby Soft Snow (?) » Wed Oct 11, 2017 2:38 am

Aramek wrote:I like that Spike had the largest body count.

Spikes don't kill ponies, ponies with Spikes kill ponies.
:v:

Headless Horse wrote:watch I'm totally wrong and all these songwriters are huge pony fans

How uncommon is it to hire people familiar to the franchise?
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Postby Kadjule (?) » Thu Oct 12, 2017 6:44 am

Big Boss wrote:Always great to see you back. :allears:

Thanks! It's always nice to see that a good number of the people I remember are still participating here.
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Postby Octavia (?) » Fri Oct 13, 2017 2:51 pm

Adelor and I are seeing it in theaters again today :scootatrue:
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Postby Highbrow Dash (?) » Fri Oct 13, 2017 3:26 pm

Octavia wrote:Adelor and I are seeing it in theaters again today :scootatrue:


:wantitneedit:
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Postby Octavia (?) » Fri Oct 13, 2017 4:02 pm

It's 11:00 am on a Friday and unsurprisingly we're the only ones in the theater.
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