VANS Forum
General VANS chat topics ranging from other games to general chat. Feel free to create any threads you feel are relevant or beneficial to the crew.
10 topics in this forum
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A place for Vansters to chat and post and for Catman to curl up and purrrrrrr.... Don't forget to Follow this thread if you want to know when someone has posted here.
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Posting Pictures
by VANS Official- 0 replies
- 994 views
This thread is a quick guide to posting pictures on the forum and will assume you already know the basics of having to host your pictures elsewhere and paste the URL in your post. Where to post Remember that the VANS section of the website is currently private. Only the Home page is visible to non-members. If you want to promote us and interact in the public areas of the forum then post outside of the VANS area. If your pictures are for VANS members only then stick to posting in the VANS area. You may wish to do both, if so then spam in the VANS area and just post the best images in the public areas. We do not want to bore non-members with multiple photos o…
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The Van Society Guidelines
by VANS Official- 0 replies
- 947 views
Membership Membership of the Van Society section of this website does not guarantee membership of The Van Society GTA Crew on the R* Social Club. Once we are happy you are a positive member of this group then a Van Society Crew invite will be sent your way. We reserve the right to terminate your membership to The Van Society section of this website and/or the Van Society Crew at any time without warning. Private vs Public Please remember that these forums are split into two parts. The VANS section is currently private, only members of this section (and Moderators) can see the posts made in this section. We may change this to 'read only' in the future for n…
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Racing Rules
by VANS Official- 0 replies
- 965 views
At Van Society Events we prefer Contact racing over Non-Contact or Ghosting. To ensure we keep on racing contact it is essential to respect other drivers whilst racing. This will mean no dive-bombing corners to overtake a bunch of players, being especially cautious in the first corner and giving way to other drivers in certain situations and most importantly... if you are responsible for another player leaving the track or getting spun you should wait for them to regain their position before continuing. Check below for more a more detailed breakdown of our racing rules. Driving Standards will be enforced and expected of people. Most of this is common sense and s…
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Use this thread to put forward and discuss ideas for GTA events. You can also secure dates for upcoming Wednesdays etc. We can kick off with Dave's Drag Fantasy and @Aslad's latest Off-Road venture.
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Vans GT Sport Pictures
by Paulie- 20 replies
- 1.8k views
Some pictures from the VANS v FEAR Racenight.
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The post Sunday Racing League appeared first on The Van Society - GTA Crew. The Sunday Racing League is a weekly racing event hosted by Domestic Battery starting on Sunday 3rd March 2019. All VANS members are welcome to come and join Season 1. Details: A season is 5 weeks (5 rounds). We run this on Sundays 21:00 UTC. Each round is four races. Points for place, points for fastest lap. Each round will take 60-75 minutes. Non-contact on all races. Each round every player will be given a few selected cars to pick from, all races will be with customs ON. Player use same car in all races each round. You will get the cars and the tracks 4-6 days befo…
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Head 2 Head Playlist vs XDBX 1 2
by JuniorChubb- 39 replies
- 3.7k views
Hatch has asked us if we want to run a Head 2 Head playlist against Domestic Battery on May 1st for our regular Wednesday event... Hatch has agreed we will not use any combat based jobs for this night, but would like some air and sea races to go in with the racing jobs too. I was thinking maybe Sumo and that Car Darts R* job might be fun too if numbers allow, maybe some other similar jobs too. All players will need to have VANS crew tags active on the night, this will be arranged for any Wednesday night regulars who are not currently members. @doubleg213 @CatManDoza @Trashbags @Mark Verstappen @SkyeDave @Bkmoto28 @Aslad @Realjaysee @Road2FURY @Paulie @…
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Chatroom
by JustHatched- 2 replies
- 1.1k views
Hey, I wouldn't normally post in a crew area that is not my own, but exclusive to VANS atm is a new feature that needs testing. Click Chatroom in the crew area nav tabs or click the link and check it out. https://www.rockstarsocialclub.net/chat/chatroom/1-chatroom/ I am still working on setup over all and working out in my head how to best implement the use of this so it will have little impact on forum topics/disccusions while allowing crews (or at least the active larger crews) better access to each other
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After the fun we had on Saturday night and a few mentions of this afterwards I wanted to gauge how much interest there would be in running a regular night with them... How often: weekly, monthly, bi-monthly? What game: GT sport, GT sport and GTA? Or just wait a while and offer FEAR the same event that they offered us?
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Recent Activity on RSCnet
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248Rate the Last Film you Watched 2: Electric Boogaloo
What I Watched This Week #179 (June 2-8) Escape from Alcatraz dir. Don Siegel/1979/1h53m Clint Eastwood stars in this prison break drama based on the true story of the only man to escape from the famous prison island off the San Francisco coast, Frank Morris. This film takes its time, much like Eastwood's performance style it's understated, deliberate and measured, with none of the melodrama of something like The Shawshank Redemption. The plot is simple, Eastwood arrives at the prison, spends some time scoping it out, then enacts his plan. It's the little things that give weight to this film, particularly the character of Doc (Roberts Blossom), who quietly represents the unshakeable human yearning for freedom with his portraits and the symbolic use of chrysanthemums. At times the pace of the film does undercut some of the urgency of the escape attempt, but I did like the ambiguous ending that doesn't tell you what happened to Frank after he got past the prison walls. 7.5/10 Rhinestone dir. Bob Clark/1984/1h51m I was scrolling through Sylvester Stallone's filmography and came across this, and knew that I had to watch it just to make sure that it's real. Rhinestone stars Dolly Parton as aspiring singer Jake who needs to get out of her crummy contract at the titular New York country music club. To do this she makes a bet with the manager, Freddie (Ron Leibman), that she can turn anyone into a country singer. The person chosen is tone deaf cab driver Nick, played by Stallone. To do this she takes him back home to Tennessee for some real country experience. Stallone also co-wrote this based on the song Rhinestone Cowboy. Really, it even says so in the opening credits. This whole thing is like a fever dream, especially the scenes where Stallone sings by howling like a demented gibbon. He plays his role like an overactive child with attention issues. Parton is just as sweet and charming as she always is, and the moments when she gets to sing are obviously excellent. I also liked Richard Farnsworth as Parton's father. This is not a good film, but it is a bizarre film, and it has its charms. 6/10 The Hustler dir. Robert Rossen/1961/2h14m Paul Newman stars in his iconic role of pool hustler Fast Eddie Felson who is on the fast track to self destruction as he becomes obsessed with beating the best pool player in the world, Minnesota Fats (Jackie Gleason). This is a film in three distinct acts. The first and third are Felson's showdowns with Fats which bookend a tragic romance between Felson and Sarah (Piper Laurie), a depressed alcoholic. This is a bleak film about addicts and losers, yet there is beauty in the direction that makes this world of smoky pool halls cool and alluring. It also helps that Newman is incredibly handsome. The two pool games between Eddie and Fats are the showpieces here and are given the attention they deserve, with Eddie losing even when he wins, that's just the kind of man he is. Gleason is great as Eddie's opposite, someone totally calm and in control of their emotions. Laurie is heart breaking as Sarah, with only one inevitable outcome for her. Rounding out the main cast is George C. Scott as Bert, the sleazy and manipulative pool hall owner. As a standalone film this is excellent, but wouldn't it be good if we caught up with Eddie let's say twenty five years later? 9/10 Lime's Co-Film of the Week! The Color of Money dir. Martin Scorsese/1986/1h59m Martin Scorsese's The Color of Money catches up with Fast Eddie Felson (a returning Paul Newman) twenty five years after the events of The Hustler. He's now making a decent living off of whiskey, but when a hotshot young pool player, Vince (Tom Cruise), catches his eye he wants back in the hustling game. Without the context of The Hustler this is still a fantastic film full of Scorsese's trademark moves, but with the added history of the character a whole new tragic dimension is added. Eddie is a man full of regrets, so when he sees a chance to recapture his glory days he'll do anything he can to grab it, his old instincts kicking in almost instantly. He's there to use Vince, and he's open about it. But Vince is no d*mmy, even though he may act like it, and with his more emotionally mature girlfriend Carmen (Mary Elizabeth Mastrantonio) he may end up teaching Eddie a thing or two. This has a much different vibe to the previous film, very fitting for the time it was made, and the pool scenes are edited violently by Scorsese's long time editor Thelma Schoonmaker, almost like they're fight scenes. This is a Scorsese film I've not seen before, and didn't really have any interest in before watching The Hustler, but I think this is one of his best works of the decade, only The King of Comedy is better in my opinion. Combined with The Hustler this is an epic, four hour rise and fall and rise and fall and maybe rise again story that spans decades. And it all ends on a high note with a brilliant one liner and a classic Scorsese freeze frame. 9/10 Lime's Co-Film of the Week! Bottom: Exposed dir. Adrian Edmondson/2024/1h30m This made for TV documentary covers the creation, production, reception and legacy of one of my all time favourite shows, Bottom. Written and performed by the late, great (he said so himself) Rik Mayall (seriously, his autobiography is called Bigger Than Hitler, Better Than Christ) and Adrian Edmondson (director of this documentary), Bottom was a BBC comedy that ran for three series in the 90's and was violently crude, obscene, anarchic, absurd and offensive, and one of the funniest things I've ever seen, with slapstick fight scenes that would make Chaplin blush and a sound effects guy straight out of the Looney Tunes. The documentary itself is fine if very standard, featuring interviews with cast, crew and fans, but the real gold is when Edmondson is talking about Mayall, the two being lifelong friends since university. It gets quite emotional at points, which Mayall would have f*cking hated. One of my favourite memories is going to see the Bottom live show with my dad in 2003, their last of five live tours, and even though it's the worst of the five (my favourite is split between 2 and 3), it was amazing being so close to such raw, unfiltered energy. If you've never seen Bottom before, watch it, because the main thing I took from this documentary and seeing all the clips from the show, is that it's been too long since I've seen it. 7/10 La Cage aux Folles dir. Edouard Molinaro/1978/1h32m This French comedy stars Ugo Tognazzi as Renato Baldi, owner of drag club La Cage aux Folles, with Michel Serrault playing Albin, aka Zaza, his partner and star performer. When Renato's son Laurent (Remi Laurent), who the couple have raised since he was a baby, comes home he has some big news. He's getting married. But unfortunately the parents of his girlfriend are in politics, on the conservative side. The very conservative side. So he asks his father and Albin to tone things down a bit while they are visiting. I think this film has aged pretty well considering it was made in the 70's, and while it does rely heavily on stereotypes it never comes across as mean spirited. Tognazzi is good in the lead role, being pulled between his partner, his son and his own identity, with Serrault stealing every scene he's in as a flighty drag queen. The highlight of the film is the climactic dinner party between the two sets of parents with Albin showing some real depth and character here. A little dated but still with a pure heart, I can't wait to compare it with the American remake (see next review). 8/10 The Birdcage dir. Mike Nichols/1996/1h59m Robin Williams and Nathan Lane star as drag club owner Armand Goldman and his partner and star performer Albert in this American remake of La Cage aux Folles. The plot remains basically unchanged from the French original, just with some extra time to let Williams and Lane shine. Considering he's playing a gay drag club owner Williams gives a fairly understated performance, with really only one instance of that classic over the top exuberance. All of that is left to Lane, who is hilarious here. My only real problem with this film, same as the original though I didn't mention it in my review, is that their son, Val (Dan Futterman), is an unappreciative *sshole. Thankfully that doesn't take too much away from this, and the presence of Gene Hackman as republican senator Kevin Keeley, his future father in law, really alleviates this, with him getting to exercise his comedy muscles (and he looks great in drag). This is a slice of fabulous fun and, thanks to the lead duo of Williams and Lane, is better than the original. 9/10- 2
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248
Rate the Last Film you Watched 2: Electric Boogaloo
What I Watched This Week #178 (May 26-June 1) Welcome to the Dollhouse dir. Todd Solondz/1995/1h28m This darkly comic coming of age story stars Heather Matarazzo as Dawn Wiener, a bullied twelve year old whose parents don't seem to care. One day, the school's meanest bully, Brandon (Brendan Sexton III), threatens to r*pe her when classes are out. Dawn actually turns up voluntarily to this meeting, just glad that someone is paying attention to her, and so starts a weirdly sweet relationship between two outcasts (he doesn't by the way, you know, just if you were worried). This all sounds incredibly bleak, but this is a very funny film in the same awkwardly stilted way as something like Napoleon Dynamite, big Midwest Indie vibes. This also feels very authentic, and that is largely due to Matarazzo's performance which always comes across as natural and real. Sexton also does well with a character that could be totally unlikeable, but he brings some real sympathy and nuance to him. This film does excellently to be edgy without it being there just for shock value. And I love that we end on what seems to be a small note of hope for Dawn, because she deserves it. I hope she had a wonderful life. 9/10 Lime's Film of the Week! Sinners dir. Ryan Coogler/2025/2h18m The latest film from the team of director Coogler and star Michael B. Jordan sees him playing twins Smoke and Stack, returning to their hometown in the deep south during prohibition in order to open up a juke joint, somewhere for their incredibly talented blues musician cousin Sammie (Miles Caton) to play. But trouble comes not from the Klan, but from a group of vampires led by the enigmatic Irishman Remmick (Jack O'Connell). This is a film of two halves. The first is pretty much devoid of any horror elements save for a short prologue. Instead it really focuses in on the characters of Smoke and Stack, and everyone they round up to help them run their club. Among them old bluesman Delta Slim (one of my perennial favourites Delroy Lindo), Smoke's estranged wife Annie (Wunmi Mosaku) and bouncer Cornbread (Omar Benson Miller). But what really gets the film's attention is the music. This is a real celebration of the blues and Black music and culture, with Caton, a musician in his first film role, giving the best performance out of a cast of seasoned professionals. The whole film seems to pivot on a crucial scene halfway through where Sammie is giving a performance in the club and he is joined by spectres of Black music both past and present. Native Africans from thousands of years ago performing alongside DJ's and rappers from the future. It's really beautiful and marks the high point of the film for me. After that is when the horror kicks in, which works less well for me. The interactions between the characters is still really well written and performed, but it's the actual action that is lacking, which is a shame because the fight scenes in Creed, again directed by Coogler and starring Jordan, were near perfect. If that side of the film matched the dramatic side then this would be an instant classic for me, but as it is I still highly recommend this. 8.5/10 Finding Dory dir. Andrew Stanton/2016/1h37m In what feels like a totally unnecessary sequel we return to the world of Pixar's near perfect Finding Nemo, but this time my least favourite part of that film, annoying sidekick Dory (Ellen DeGeneres), takes centre stage. Here the forgetful fish has a sudden moment of clarity and remembers her parents (Diane Keaton, Eugene Levy), and sets out on an epic quest to find them. I'm still not a huge fan of the character, but thankfully she's been toned done slightly from the original, a huge relief given the increase in screen time she has. It also helps that this is a well written film, not one of Pixar's best, but it still had me invested. And the flashbacks to a baby Dory and her parents and just so incredibly sweet that I couldn't help but root for her. I also really liked the new character of Hank (Ed O'Neill), a surly octopus who just wants to be left alone. It's a testament to Pixar that they can make a whole film about one of my least favourite characters of theirs and still have me enjoy and be moved by it, and I don't need to say it but I will, the animation is absolutely stunning. 7/10 The Morricone Duel: The Most Dangerous Concert Ever dir. Karsten Andersen/2018/1h11m (no trailer for this, so here's a performance of The Ecstasy of Gold from The Good, The Bad, and The Ugly) This concert film captures a tribute to legendary composer Ennio Morricone by the Danish National Symphony Orchestra, conducted by Sarah Hicks. Most famous for defining the sound of the western thanks to his scores for Sergio Leone's Dollars trilogy (A Fistful of Dollars, For a Few Dollars More, and The Good, The Bad and The Ugly), which is all represented here, this also features pieces from other films he scored such as The Untouchables, Once Upon a Time in America, and his two Tarantino scores for Inglourious Basterds and The Hateful Eight. There are some works not composed by Morricone here, like the Orchestral Suite from The Godfather by Nino Rota and Sonny Bono's My Baby Shot Me Down (presumably for the Tarantino connection as this was used in Kill Bill), but I would've preferred them to stick with Morricone as he has such a huge and varied body of work, the scope of which I don't think is fully represented here. The musicianship, being a national symphony, is world class, so if you have a half decent sound system crank it up and enjoy. The presentation is simple, but there are a couple of nice touches like some hanging corpses around the venue, and simple graphics projected on to screens symbolising the films being played. 7.5/10 Baldwin's Ni- dir. Horace Ove/1968/46m (no trailer again, so here's a clip) This provocatively titled documentary (the title is explained by the subject himself in the above clip) is the first work from acclaimed director Horace Ove, who would make the first feature length film by a Black British filmmaker with Pressure in 1975. Here he documents a short lecture and Q and A session in London given by American writer and civil rights activist James Baldwin, with some short comments at the end by comedian and fellow activist d*ck Gregory. Speaking with a quiet, polite intensity he expounds on the differences in race relations between the UK and the US, his own personal history, what steps need to be taken next, and what role, if any, white liberals have in the civil rights movement. Baldwin is a thoughtful, intelligent, engaging, witty speaker and the forty five minutes spent with him here just flies by, leaving you wanting more. It's so refreshing to see a civilised, mature, grown up discussion about such subjects considering the state of political discourse these days, which just seems to all devolve into shouting matches on social media. A simple and bare bones film, but when you have a subject like Baldwin you don't need anything else. 9/10 Lost in Starlight dir. Han Ji-won/2025/1h36m This Korean animation is set in the near future and tells the story of literally star-crossed lovers, astronaut Nan-young (Kim Tae-ri) and downbeat musician Je-i (Hong Kyung). Their brief romance is tested when she gets a place on a mission to Mars, following in the footsteps of her late mother. This is rather melodramatic at points, but it's also very sweet and tender and genuine, which helps ground it even in the futuristic setting. The world is well designed with it feeling not too far fetched, like it's attainable for 2050, and the animation is crisp and gorgeous, the use of space imagery being particularly pretty. The cross cutting between Nan-young on her mission and Je-i trying to get his music career back on track on Earth is well done, with the distance between them bringing them closer together, but it is all quite predictable. 7/10 A Single Life dir. Joris Oprins, Job Roggeveen, Marieke Blaauw/2014/2m This Dutch animated short has a simple yet fairly well executed premise. A woman has a mysterious vinyl record that, when skipped back and forth, can transport her to different points in her life. This leads up to a dark punchline that's perhaps the best thing about this. I like the style of the set here but I find the character design quite ugly and off-putting, and feel like this could have been expanded to something more emotionally hefty rather than as a setup for a gag. This feels like a practice run for something substantial with more to say, but as it is it's still an entertaining couple of minutes. 6.5/10- 2
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248Rate the Last Film you Watched 2: Electric Boogaloo
Don't Worry Darling (2022) dir Olivia Wilde Florence Pugh and Harry Styles star as wife and husband Alice and Jack in this psychological thriller. It's set in a 1950s USA. Jack works for the mysterious Victory Project, as do all the men who live, with their wives and some kids, in their purpose built desert town. It all seems too perfect. Everyone is very glamorous and stylish. The men all leave for work at exactly the same time in a convoy of cars heading out to the project's out of town HQ. They are strictly prohibited from talking about it outside work. So none of the wives know what their husbands actually do; and this being the 1950s, only the men go to work. The wives spend their days doing a bit of housework, watching the company TV channel, going to the shops on the company funded shuttle buses, buying stuff with their husbands company credit cards, going to the dance class run by the company founder's wife, and having cocktails with the other wives. It's all far too perfect, from a 1950s point of view of the ideal family life, and very creepy. Obviously, being a thriller, things are not actually as perfect as they seem. Alice and Jack's neighbour's son has gone missing and is presumed dead. The wife, who was Alice's best friend, has been blamed for taking him into an off-limits area where he got lost. She claims to have been hearing and seeing weird things and that the company private security people took her son away. But Alice and the other wives don't believe her. Then, predictably, Alice starts to see and hear weird things as well. So it is a bit formulaic in this respect. There must be countless other films that follow a similar basic plot of something odd happening to a main character that a minor character also claims to have experienced, but no one else believes it. The inevitable twist, it wouldn't be a thriller without one, was not a total surprise to me. I guessed early on what it might be so was on the look out for it. But I'm not claiming any great insight or that it would be obvious to everyone. Maybe I just guessed correctly. And it didn't spoil the twist, was more of case of being satisfied I had worked the basics out. The acting is OK, maybe a little forced at times, but it's not the sort of film that needed anything really special. It is very nicely shot with some good sets, costumes, cars and music. There's also some nice choreography from scenes in Alice's imagination and one of the husband's cars (all 50s classics) driving to work in perfect formation that does look a bit like a dance scene. I would have liked to have seen what happened beyond where it ends, but since they had spent 2 hours getting to that point I can see why it did not go on further. It's not the sort of film I would want to have been a 3 hour epic. Overall OK if you don't expect too much from it. 6 / 10- 2
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