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She's got huuuuuge tracts of land?
Michael's behavior is borderline sociopathic, but not at all unbelievable, in fact IMHO it's the closest those movies came to actual gangster/mafia behvior
Shania Twain, Mutt Lange
Vanity? Circa 52 pickup.
As compared to an what an uninspired actor like Marlo Brando can do to a movie such as "Island of Dr. Moreau".
He was damn terrifying by the end of GF2. I can still remember the chills I got during the "It was an abortion" scene.
I enjoyed the DeNiro flashbacks in II more than the "current" story (seems that's the groputhink so far). But I still think the further and final corruption of Michael into the lonely, cold, but powerful man trapped by his father's image and legacy is a compelling story that's narrated in very believable and gripping manner.
Yup.
For starters: Iman (who is blazing), Grace Jones, Halle, Jada Pinkett.
Oh...Pippa.
Oh, I disagree, Brando's performance was totally inspired.
I just couldn't tell you by what.
Brando's not really the primary problem though, that whole movie's a hot mess and pretty much trainwrecks completely after Moreau is killed.
Great scene for Kilmer where he mocks Brando's acting to his face and the world, though.
[edit] And that's a shoot I'd love to hear all the stories and gossip about.
My picks for induction to the Gordie Howe Club (alphabetical order):
Maud Adams.
Pam Grier.
Jessica Lange.
Meryl Streep.
Sigourney Weaver.
Or some random 22-year-old, I guess... never thought much of Emma Watson until I saw a picture of her playing field hockey. I like the jock-gals.
I'm catching up, and I'll get into why I think the film is NOT good when I do, but it can't be a hip soundtrack and nostalgia that makes it the best movie of the year. What does? What's the argument?
Also, I thought Tree of Life was excellent. Not a perfect 10 of a film for what it was going for, but damned good, and the acting was absolutely brilliant.
Lastly, the best film of the 90s was Mulholland Drive. Yes, I know it came out in 2001.
The character (Olivia on "Fringe") is awesome--strong, brave, intelligent, vulnerable. I think the nature of the role is that she doesn't smile much, but when she does, it lights up the screen. I think this is a great add to the consideration set. She's beautiful and also sui generis.
Kate Middleton's stock no doubt went down a little bit with those unfortunate (on many levels) paparazzi photos.
On the movie front...Val Kilmer has had a remarkable career beyond "The Island of Dr Moreau." He's not the superstar one might have expected from "Real Genius," and he seems to drop off the radar now and then, but in reality, he's worked nearly constantly, and he's had some great roles along the way: Iceman, Jim Morrison, Doc Holiday, John Holmes, Batman, his characters in "The Salton Sea" and "Kiss Kiss Bang Bang," etc. Some unfortunate choices like Dieter Von ##### and his character in "At First Sight."
Man, I hate this movie so hard.
Christina Hendricks and Geoffrey Arend (aka Snozzberries guy in Super Troopers).
Oh...Pippa.
A fellow Bugle listener, I presume.
Also Val Kilmer was excellent in Thunderheart.
Tree of Life makes Drive look like a Faulker novel.
Here's Susanna Hoffs at 53 years old:
Susanna Hoffs
That was more of an aside/bonus than anything, though style does go a long way with me and Drive's aesthetic is pretty much perfect. But one of the things that makes its aesthetic perfect is how it complements the narrative. It's an ultra-pristine portrayal of a very violent, disturbed man with whom we're initially asked to identify. Driver starts out appearing to be another in a long line of silent loner/badasses, but his behavior is a lot more erratic and disturbed as the film progresses, and it becomes more apparent that he's not a hero but a ######-up individual with hero aspirations. He puts on a hero's costume, inserts himself into situations where he's forced to act and releases violent impulses with stunning skill and ease. (I've seen plenty of talk on Drive's most obvious influence - Walter Hill's The Driver - but very little of what, to me, is the biggest character influence for Gosling: Shane.) His weirdly detached demeanor towards even the ostensible love interest goes from "stoic" to "antisocial." One of the best descriptions of his character I've read was as a grown-up version of David from A.I. Artificial Intelligence - somebody trying to act human, but with an uncanny valley effect at work that makes the whole effort futile. Instead, he's just creepy. Gosling fits the character like a glove - he's as handsome as they come, but like the film, the sheen of his appearance is masking something a lot uglier beneath the surface. It's why those unflinching bursts of brutality come as such a shock.
This may not all carry that much weight with you, but for what it tried to do - which, as a crime film junkie, I happened to love - it does so just about perfectly.
In my top five ever.
i think i've seen this. its actually cut up into 5 1-hour segments with little 'did you knows' added to the start of the commercial breaks that give behind the scenes stuff about the making of the movies.
Not really my type, though I suspect somehow that she's much more attractive in person than in the music videos.
EDIT: redacted. TMI, NVM.
the walking dead is actually good so far. season 2 was pretty awful, and i completely gave up on it 2 or 3 episodes short of the finale. i wasn't planning on watching this year, either, but since the DVR still had it on auto-record, i watched the first two episodes. and as i said, they were actually good.
revolution: it's not good, and the female lead is awful, but it has an interesting premise, and now that they revealed the 12 keys for restoring power to the world, it also has a purpose. that's usually enough to keep my interest in any sci-fi, and this is no different. i don't really like the show, but there's enough there for me to keep watching.
revenge: again, not a good show, but kind of a guilty pleasure.
american horror story: see revenge
fringe: i was really looking forward to this season, but it's fallen flat so far. the first few episodes have been a glorified scavenger hunt, and i was really hoping to see more of the "evil" walter.
more later...maybe.
This is usually called, "The Godfather Saga," and it's been run by AMC this year:
The Godfather Saga
Good chance it'll show up on there during the holidays sometime. I think I've heard that there might be a DVD version in the works -- there was a VHS years ago.
Copper: Absolutely horrible show. Watched something like the first 3 episodes and have dropped. Does period horribly. Does procedurals horribly. Does acting horribly. Does plot horribly.
Boardwalk Empire seems a bit rudderless. For the life of me I can't figure out what the major arc is for this season.
Seems to me like Nucky found himself in a real dilly of a pickle. His sole source of revenue is being threatened on multiple fronts, with Gyp Rosetti and Arnold Rothstein coordinating to cut Nucky out entirely. His wife, who it should be remembered screwed Nucky out of a literal fortune in the New Jersey highway deal, is back screwing Nucky's first lieutenant. The Feds still want a piece of him, and the DA basically told Nucky the gig was up. He's so desperate for competent help he's forced to rely on Mickey F'n Doyle, and his most competent associate, Eli, just happened to betray Nucky previously and tried to have him killed.
Nucky's never been in a weaker position before.
How any list of silver foxes wouldn't include the absolutely stunning Helen Mirren (she's 67) is beyond me. That bikini photo from when she was 63...crikey.
I will also nominate Prometheus.
Nucky's never been in a weaker position before.
Arnold is not trying to cut out Nucky. Arnold sided with Nucky and Arnold tried to have Gyp killed. Gyp has now been chased out of Tabor Heights and the booze is flowing again to NY. The AG is looking for a fall guy but Nucky is enlisting the female prosecutor to his side, still has Harding's baby in the cooler, and now has Means cutting a deal with him. All Nucky has experienced this season is petty annoyances.
I thought I'd mentioned her already. If I didn't: yes.
I have Silence in my top-5, and I mention it frequently in these discussions.
i was 8 when it came out so i don't really have a feel for its hype at that time, but it's a pretty watchable movie, at least imo.
if i was gonna add a nomination in the "most disappointing movie of all time" category, i'd go with anything michael bay directed after armageddon. before then, he did that, the rock, and bad boys. after, he did pearl harbor, bad boys 2, and the transformers.
as i've said in a few of these thread, the most important aspect of any sci-fi project is to have an interesting premise. if you want something good, it takes a bit more thought, but if you're just looking for something that's watchable, the premise of the show is really all that matters. terra nova wasn't good, but it had an interesting premise. flash forward wasn't good, but it had an interesting premise. it's the same thing with american horror story and the walking dead and, yes, revolution is in this category, too.
on the other end of the spectrum, you have things like "the event" and caprica and commander in chief, that are terrible from the start and have no business being on TV.
and then you have those sci-fi shows that put everything together, and you get greatness. doctor who, battlestar galactica, firefly, daybreak.
Whoa, we found someone who actually likes Armageddon!
This is actually a good point. It's an embarrassingly stupid movie, but was anyone really expecting some groundbreaking masterpiece?
I liked Drive a lot. However, I totally disagree with this analysis. For lack of a better word it's so very bourgeois. There is nothing sociopathic or anti-social in Gosling's character. Or rather, if he is narcissistic, lonely, and violent that isn't mean to be a counterpoint for the way "normal" people are in society, but rather as a reflection of them. Moreover, while I get that he is playing the role of the hero, he nonetheless genuinely tries to do the heroic thing. Once again, the failure here isn't his, but the society he lives in, that perverts the animating impulses of that lie behind heroism. I found his character both interesting and endearing, and not at all repulsive.
as for the ending, i am never a fan of gratuitous deaths, so it was good to see some fallout in the promo for next week. hopefully this season really starts to pick up steam from here. i am dying to be blown away by the end.
This is from the previous page. I can't agree more. I only saw Drive a couple of months ago and I think of the Brooks character almost every single day.
[Edit] Oh, and Crash is a movie so bad that every copy should be destroyed and the memory of its existence erased Stalin-style.
actually, come to think of it, can we change this:
to anything with even steven in it? transformers, indiana jones, wall street. my god, has there been anyone involved with more desecrations of beloved franchises than this guy?
Well, the next thing he's going to be in is a Lars Von Trier movie where he apparently has genuine on-screen sex. Which is irrelevant really but...you know, a thing.
Von Trier is such a dweeb.
Yes. When the soundtrack denominated Driver, "A real human being ... and a real hero," it was being entirely sincere. That kind of thing is so out of step with our time that it inevitably confused.
Heh. I was about to say so far our taste in movies are almost identical. But Ordinary People is one of my favourites.
For me the key scene in my reading is the elevator standoff between the Driver and the hitman Bernie sends to his apartment. We're treated to the big romantic moment where he takes Irene aside and kisses her in slow-motion, and then disarms the hitman in about five seconds flat...and then proceeds to stomp his face in until it's nothing but a pile of goo and blood has spattered on his face. It's completely brutal, and Irene is understandably horrified. Driver looks over his shoulder in desperation and she stands there gaping at him while the doors close between them. I'm not saying the film's treatment of him is totally ironic, but at the very least, its notions of heroism are completely medieval and out-of-time with a film made in 2011.
ATTENTION: THIS REVIEW IS SPOILER-HEAVY. DO NOT READ IF YOU DO NOT WANT TO KNOW WHAT HAPPENS IN DRIVE
I don't think this a good criticism. It is simply fitting the film into your own view of society. It's a review of you, not the film. While I understand a good amount of artistic commentary is like this, what ticks this over into unusable is that it offers opinion as fact: "Society is this. Full Stop. Therefore the film..." I understand this is your writing style, but it works quite a bit into why I didn't find the film much of a commentary on anything at all.
Anyhow, the reasons I didn't like this film are manifold. And despite what was asked on the previous page, I think it IS subconscious wish-fulfillment for the viewer in a ton of ways. a.) The highly-skilled loner expertly executing a masculine pursuit. How does the saying go? Two things every man thinks he is good at, sex and driving? b.) Taking the girl away from an unworthy man, something all boys dream about (hell, all people.) c.) Solving problems with extreme violence, both the protagonist and everyone else. d.) Riding off into the sunset, a misunderstood loner. The film IS Shane, only at least Shane's character was developed. This man stares. No sane person wants their life to be like this, but they imagine it could be. The film is simply popular entertainment, the only insight being that it reveals what a certain type of audience wants to see out of their heroes. That, I can see, is something valuable, but for me it doesn't make for an exceptional film, it makes for a common one in a hipster art-house wrapping. An absolute currently common bloody hipster art-house wrapping.
To this end, cinematically, it leans utterly on cliched characters, which is ultimately why, to me, it fails completely. Nothing at all that Brooks' or Perlman's characters did surprised me in the slightest. Nothing the hard-luck Cranston did either. You could see Irene's boyfriend getting killed in the robbery light-years before it occurs. As soon as Hendricks shows up onscreen, you know she's a redhaired redshirt. Cranston even moreso. Maybe that was the point, I guess, but I didn't see what the point was.
Lastly, why does the Driver wear a mask in that penultimate scene? He doesn't see anyone but who he kills. Perhaps I missed something.
Anyhow. This could have been a better entry but I'm late for work. Ultimately, I just thought the film brought very very little new to the genre of ultra-violent arthouse crime cinema.
I agree with this. The discussion that Gaelan and Alex are having gives the movie way too much credit. But I liked the wrapping a lot more than you did. I think the wrapping was awesome.
Not sure if this will be at all helpful, but I was in the same boat a couple months ago. I think my initial reaction was very similar to yours. I think it's worth it to stick it out. Though I finished season 3 quite a while ago now and haven't bothered to get the next season on DVD, so take that for what it's worth.
#554, that is a pretty convincing view of Drive. Though I do wonder how the elevator scene mentioned above fits into that reading. Carey Mulligan's reaction seems to indicate that C) negated B) in this case. As for the mask scene I was a bit fuzzy on that as well. It seemed like just a toss in to provide some sort of connection to his day-job in the movie studio and for him to look creepy. In terms of actual in-movie reasons the best I can come up with is that he wanted to poke his head into the pizzeria to make sure Pearlman was there. Which seems both overly-elaborate and unnecessary (both because I'm not sure Pearlman knows what he looks like at that point, and surely he can just stakeout the place from afar).
All my disappointment came right in the middle of viewing the trailer. I'm not a huge film buff, so while I had heard there was a live-action Transformers movie in production, I had no idea who was directing/producing/etc. About halfway through the first trailer the screen read "From the director of Pearl Harbor" or something alluding to Bay having his hands on it. I stopped it, got up from my desk, and went to have a smoke.
At least the trailer didn't overhype the movie.
Well, right. I can cop to that, no problem. I think that if the wrapping is better that the present, you can't
pretendcontend the present came from Bloomingdales.I was disappointed that the heart of the plot was so conventional. But for me that only held it back from really being a triumph.
Also, maybe we've been watching different movies, but Drive's wrapping didn't seem that common or overdone to me. It looked like early Michael Mann, and he's still making movies, so I suppose there's some overlap there ...
As for AVClub's list of the best films of the 90s, Before Sunrise was by far the biggest omission. I started reading at #50, and as I got further and further I kept thinking "Wow, how high is it going to be?" It was until I reached the top 5 or so that it even occurred to me that it might not be on the list at all. The sequel is just as good, and I can't wait for the next film in the series.
Lastly, Kate Upton. She isn't remotely my type... and still there is no doubt that she's smoking hot.
But, the whole idea that a New York Mafia boss would abandon his NY territories, leave his people w/o protection, and go to Nevada to "go legit" is a preposterous story line. If a real mobster tried to do what Michael does, he would have been killed 6 minutes into the movie. Hell, his mother would have helped kill him.
EDIT: Apparently my memory deceived me since it's at 93% at RT, not exactly 'mixed'.
Did you watch the pilot movie or the first actual episode, "33". Because if it's the movie, you should push on. But if "33" didn't grab you, you should walk away, because it's one of the most compelling episodes of the series.
For a franchise that is supposed to be about giant robots fighting, the first movie pretty much took every opportunity to cut away from that and show humans doing stuff.
The acting and direction are superb, but I have no interest in seeing it again. It is an impeccably crafted film about people I didn't care for.
Out of all films to come out so far this year, Argo is probably the most likely to do well during awards season. It's very good, somewhat topical, and manages to be both funny and tense when needed.
Seven Psychopaths was probably the movie I enjoyed the most this year, but it's not for everybody. Anyone who enjoys dark, violent comedy should check it out.
Battlestar Galactica is pretty strong from the season 1 premiere through the first two-thirds of season 2. After that it drops off in quality but still has has high points that match the peaks of the initial run (particularly the first four episodes of season 3, the arguable high point of the series). At it's best the show is driven by character and political threads, the religion/spiritual stuff really bogs things down in the final two seasons. I say check it out through the two-parter in episodes 4&5 (Act of Contrition and You Can't Go Home Again). If you aren't hooked at that point it probably isn't worth moving on.
Agreed. My favorite Roger Ebert quote goes something like this. "It's not what a movie is about, it's how it is about it."
This video was the perfect summation of how I felt about that movie...
The downside of watching a lot of movies is that they all sort of blend together for me nowadays. I'm seldom blown away by movie and wish to see it again. Though oddly enough I'll occasionally get the desire to watch a movie I saw 10 or more years ago. There has been almost nothing I've seen in the last 5 years or so that I've had a desire to see again. It might just be because I've seen so many movies or it might be because TV dramas have gotten so good that modern movies are suffering in comparison. I'm much more likely to cannonball through a season or series of some show than watch a movie I saw 3 years ago.
my favorite movies over the last ~10 years have been pulp fiction, from dusk till dawn, inglourious bastards, the dark knight, fight club, lock stock and two smoking barrels, snatch, the departed, LA confidential, and goon.
there are other movies that i've liked, but those are ones where if i see them on, i have to watch 5 minutes, and if i watch 5 minutes, i'm probably gonna watch until the credits.
so yeah, i definitely have a type, but there aren't a lot of directors who can pull that kind of movie off.
Of those, would The Departed and LA Confidential work better as serialized dramas? Maybe even The Dark Knight (and TDKR)? The other seem along the lines of irreverent action movies, which I think cinema still does well.
But yes, I can agree that movies have lost their throne as the best place for High Drama.
Some tremendous melt-downs/arrests/terminations/resignations from Malcolm Tucker, Stewart, and Glenn.
And some classic lines delivered to Terry.
Glenn: "Terry, I don't think I've ever met anyone quite so proud and quite so useless. I do have to thank you, because I have managed to stay in shape purely through the energy I spend in pitying you every day."
Adam: "One of the many, many things that baffles me about you is that you remain unmurdered."
I have just read that apparently Arnold has signed to do a new one- a kind of old conan looking back at his life, which I am super excited by as that was always an aspect of the old comics. I love that original Conan.
The Conan that came out last year was truly, magnificently awful. What an epic failure. How you take ####### conan the barbarian and make a 2 hour movie that doesn't have one instant of fun in it...I have no idea.
The first Conan story Robert E. Howard ever wrote was about Conan in middle age, trying to rule Aquilonia.
That episode is one of the best anythings I've ever anythinged. The ending gave me ####### tingles and cemented Gaeta as one of my favorite characters in everything ever.
You mean, because it sucked so much?
This was one of those times I felt like I just didn't see the movie everybody else saw.
As for movies, I thought Resevoir Dogs was Tarantino's best movie by far and probably the best of the 90's. Pulp Fiction is mostly great, but it's kind of gimmicky and there are some pretty grating scenes (like Bruce Willis with that french chick). Goodfellas was great, but the second half always kind of bores me. Still they are both probably in the top 10. Virgin Suicides was actually probably better than Resevoir Dogs, and there were like 4 great coen brothers movies (Barton Fink, Oh Brother Where Art Thou, arguably The Big Lebowski). Being John Malkovich and OFFICE SPACE are also in the top 10.
Where's the love for Miller's Crossing? That is one of my favorite Coen brother movies.
I agree with the two posters that said peak Elisha Cuthbert is one of the hottest women of all time. She's tough to beat in season one of 24 and The Girl Next Door.
For some reason I've never truly connected with Coen Bros movies the way most like-minded cinephiles have. I like them all well enough, but none would make my personal top 50. No Country for Old Men is probably my favorite.
And yes, in the category of "young, blond, and sexy", fellow Canadian Cuthbert is near the top of the list. I've always found this picture of her to be the most "inspiring".
Criticizing Kate Upton's credentials as a super model seems over the top, as is being critical of Verlander for not dating someone "hotter."
Every time I see Verlander speak, he seems personable, a good quote. He's very likable in this article as well.
I have yet to see the 3rd installment, but I had that same exact feeling after the TDK. I left the theater completely disappointed, and even generally being a fan of Nolan's work, I just couldn't understand the level of praise for TDK. After I watched it the 2nd time at home, I didn't think it was completely awful, just not very good.
I think McCoy hit the nail on the head for me, the pacing in TDK was just awful, and really made the movie boring and drag on. I have no desires to go see the 3rd one.
It's all about Heath Ledger. I thought the Two-Face stuff was just a waste of time.
It's better if you read this whole thing in Christian Bale's stupid gruff "Now I'm Batman and totally not Bruce Wayne" voice.
Even with that taken into account, I still don't get it. Ledger was good, but I didn't come away with the impression he turned an awful movie into an all-time great.
This sums it up pretty well for me. I loved Batman Begins. I thought The Dark Knight was pretty good, but definitely overpraised. The last one isn't terrible, but definitely the worst of the bunch.
A couple of people mentioned Looper earlier. I'd like to give it another plug. Very good movie. Am I the only one that things Joseph Gordon Levitt is the best reasonably young actor working today?
I think that movie should have ended when Aaron Eckhart wakes up in the hospital and sees the coin on his bedstand. Put the rest of the stuff in a second movie.
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