i agree with the tate sent
i liked the manson stuff in the background, but, while the ending is pretty fucking good, i just wish he'd trimmed the tate scenes.
By data Go To PostOnce Upon A Time would have been 5 stars if they cut out all the Sharon Tate and Manson shit and just focused on Rick Dalton's career going to hell.
Movie completely turned me around on Dicaprio
i liked the manson stuff in the background, but, while the ending is pretty fucking good, i just wish he'd trimmed the tate scenes.
The thing I really liked about the Mason stuff was QT made almost every scene super tense. Like the whole movie you felt things were going to pop off
Just found out that this was shot in Portugal and it is a Portuguese co-production, that´s pretty cool.
Jojo rabbit was weird. The Hitler imaginary friend stuff fell really flat to me but the characters were great
1917 looks amazing
1917 looks amazing
By aka Espi Go To PostSo what releases for the rest of the year are you guys interested in?A Hidden Life and Good Liar
Marriage Story, The Report, Knives Out, The Irishman, 1917, Little Women, The Rise Of Skywalker, Uncut Gems and Ford V Ferrari.
By data Go To PostJojo rabbit was weird. The Hitler imaginary friend stuff fell really flat to me but the characters were greatthat's too bad was interested in that
1917 looks amazing
By blackace Go To Postthat's too bad was interested in thatIt's still worth a watch.
The main character's little chubby friend is maybe one of the funniest side characters in a movie in some time
By Not Go To PostAbout to see The Irishman at the Egyptian. Back in 4-5 hours;_; Jealous.
Enjoy and report back.
The music in The Raid Redemption is so underrated.
By Kuma Go To PostDoctor Sleep was a good movieTrying to convince my buddies to go see it with me soon
Enjoyed the Irishman, was captivated* throughout and didn't need to go to the bathroom.
*I didn't fall asleep and start snoring, unlike some people in the audience.
*I didn't fall asleep and start snoring, unlike some people in the audience.
Alright, I watched Dredd, John Wick 1 and The Raid all in the same month. Obviously they have their differences, but I would kind of put them all into a pretty similar bubble. Especially Dredd and The Raid.
Man, The Raid makes two movies that I thought were solid 8s look bunk. Watching The Raid after Dredd is like playing The Last of Us after Bioshock Infinite. The Raid has such better scenes, such better action, an actual sense of suspense unlike Dredd which is just 'Karl Urban walks through everybody and cute girl occasionally does some stuff but no one is doubting her safety because Karl Urban is protecting her and he literally walks through everyone' where as every fight scene in The Raid, when Rama kills a thug, it feels like a big deal. Like you can feel momentum shift in every fight which is incredibly rare in action movies.
I also love the slimy shitty apartment complex. Dredd and John Wick are fun power fantasies, but The Raid is so godlike
Man, The Raid makes two movies that I thought were solid 8s look bunk. Watching The Raid after Dredd is like playing The Last of Us after Bioshock Infinite. The Raid has such better scenes, such better action, an actual sense of suspense unlike Dredd which is just 'Karl Urban walks through everybody and cute girl occasionally does some stuff but no one is doubting her safety because Karl Urban is protecting her and he literally walks through everyone' where as every fight scene in The Raid, when Rama kills a thug, it feels like a big deal. Like you can feel momentum shift in every fight which is incredibly rare in action movies.
I also love the slimy shitty apartment complex. Dredd and John Wick are fun power fantasies, but The Raid is so godlike
The Raid Redemption might be my favorite movie of all-time. I have no complaints about the movie.
The Raid 2 on the other hand..
The Raid 2 on the other hand..
The raid 1 was one of the best cinema experiences ever, still remember coming out giddy as fuck lol
Raid 2 was boring as fuck in comparison
Raid 2 was boring as fuck in comparison
Dredd is mediocre. The Raid 2 has great fights but the film has aspirations it cannot reach. The Raid 1 is fantastic.
Oh, and Booksmart was good. Amazingly well cast; the two leads are sensational. And dat Billie Lourd.
If you told me that movie was an hour and a half when I left the theater I'd believe you
Effects when he's really young near the beginning are spotty, from then on flawless. Overall I'd say I really enjoyed it. Think I want to see it again.
Which I can! Thanks Netflix
Also, Pacino? Holy shit. What a performance
Effects when he's really young near the beginning are spotty, from then on flawless. Overall I'd say I really enjoyed it. Think I want to see it again.
Which I can! Thanks Netflix
Also, Pacino? Holy shit. What a performance
The Age of Innocence
Described by Scorsese as the most violent of all his films, this turn of the 20th century romance is as brutal as it is balletic, as ruthless as it is romantic. It is the tale of an arrogant, inactive man who lets his heart and head battle each other into deadlock, and ends up being the true victim of a love affair.
There's something noble about Newland Archer's approach to life; his belief that society is too straitjacketed, his passion for Countess Olenska and in turn his faithfulness to May. But he also believes he's the most intelligent man in every room; that he alone is tortured by the restrictions the world places on him, and as such he toes the line between pitiful and sympathetic throughout. In fact, he has much in common - oddly enough - with Travis Bickle, another disenchanted citizen of New York who believes the world owes him more than he is currently receiving.
A gorgeous opening - flawless credit sequence by Elaine and Saul Bass, remarkable production design by Dante Ferretti - establishes the world in which the action takes place, all helped along by a subtle and world-weary narration by Joanne Woodward. The three leads are exceptional; the chemistry between Day-Lewis and Pfeiffer radiates off the screen, while Ryder is naïveté personified for the majority of the film, before showing street smarts of the kind Archer can barely comprehend such is his inability to mask his emotions.
Come the end, one cannot help but be swept away by the power of Archer's passion, and shredded by the position he finds himself in. For all of the shootings and beatings and stabbings in Martin Scorsese movies, nothing truly aches like a broken heart.
Casino
Casino is the rare Martin Scorsese film that doesn't grip the viewer immediately. In fact, it starts off as a semi-parody of Goodfellas: the narration by De Niro and Pacino is inelegant, unsubtle and too didactic; the music is overbearing, never-ending and again fairly on the nose; and it takes an hour for the plot to truly begin coming to fruition. And Las Vegas, for all its glitz and glamour, is too kitschy, too inauthentic to enjoy in a similar way to the Copacabana in Scorsese's previous mob movie.
And there is Scorsese's masterstroke; the film lulls you into a false sense of security, sets up the rules of Las Vegas, how it was the perfect playground for mobsters and hustlers alike and then reveals all of that time spent painting the city WAS to make you hate it after all. This is a town of vipers; Rothstein buys into his own hype, Santoro flies out of control, Ginger falls to her vices, and it's the lure of the casino that exacerbates these characters' worst flaws.
Those latter two hours suggest that the opening superficialities were by design. Scorsese, setting Vegas as the location for a harsh examination of capitalism and all its gross selfishness, doesn't intend to be subtle, or elegant. He WANTS his audience to detest this place, these characters, this life - and by beating you over the head with it in the first hour, he emphasises just how empty the city truly is, and the inhabitants. It initially plays by the same rules as Goodfellas, but is uglier, seedier, less exotic.
The same can be said for De Niro and Pacino's performances. De Niro is defined by his controlled nature early on, and his performance couldn't be more different than the live-wire performances he's given in all of his appearances with Scorsese, and underwhelming by comparison. But - that's the character. Ace is pathetic. He's sold out to the mob by minute one of the film - he isn't seduced by the lifestyle, he doesn't run things or commit glorified acts of violence a la Henry Hill blowing up the cars; he's a manager of an entertainment complex, pure and simple. Ace doesn't really have a physical presence against the mobsters; when arguing with Pesci, De Niro stands at a distance, crosses his arms. It's as far away from Jimmy Conway or Jake La Motta as possible. He's defined as much by that as the way he treats Ginger, pulling her to her wardrobe and clearing out her clothes. He defines her by her material items, holding her to loyalty over money. A man seduced by money, by the accumulation of wealth without the ability to spend it meaningfully, his performance is completely lacking in vanity and energy, and it's as excellent as many of the previous performances he put in for this director.
Pesci too adds layers to what could be assumed to be a facsimile of his Goodfellas role. He isn't funny or charismatic like Tommy De Vito; he doesn't have the same energy to him. He's an insidious, grotesque figure from the first scene he appears, and the film never shies away from showing him as such. Pesci carries himself differently; heavier, broader, Tommy's smoothness replaced by a jerkiness in Nicky that suggests an inelegance. It's subtle, but it's different.
Casino almost undermines itself from the beginning. It's so brash, opulent and in-your-face for its first hour that its real ambitions take a while to come to the surface. But when they do, and the poisonous ruinous nature of Las Vegas and its lifestyle is emphasised again and again and again, it becomes an engrossing watch. This is Great American Tragedy, Scorsese-style.
Described by Scorsese as the most violent of all his films, this turn of the 20th century romance is as brutal as it is balletic, as ruthless as it is romantic. It is the tale of an arrogant, inactive man who lets his heart and head battle each other into deadlock, and ends up being the true victim of a love affair.
There's something noble about Newland Archer's approach to life; his belief that society is too straitjacketed, his passion for Countess Olenska and in turn his faithfulness to May. But he also believes he's the most intelligent man in every room; that he alone is tortured by the restrictions the world places on him, and as such he toes the line between pitiful and sympathetic throughout. In fact, he has much in common - oddly enough - with Travis Bickle, another disenchanted citizen of New York who believes the world owes him more than he is currently receiving.
A gorgeous opening - flawless credit sequence by Elaine and Saul Bass, remarkable production design by Dante Ferretti - establishes the world in which the action takes place, all helped along by a subtle and world-weary narration by Joanne Woodward. The three leads are exceptional; the chemistry between Day-Lewis and Pfeiffer radiates off the screen, while Ryder is naïveté personified for the majority of the film, before showing street smarts of the kind Archer can barely comprehend such is his inability to mask his emotions.
Come the end, one cannot help but be swept away by the power of Archer's passion, and shredded by the position he finds himself in. For all of the shootings and beatings and stabbings in Martin Scorsese movies, nothing truly aches like a broken heart.
Casino
Casino is the rare Martin Scorsese film that doesn't grip the viewer immediately. In fact, it starts off as a semi-parody of Goodfellas: the narration by De Niro and Pacino is inelegant, unsubtle and too didactic; the music is overbearing, never-ending and again fairly on the nose; and it takes an hour for the plot to truly begin coming to fruition. And Las Vegas, for all its glitz and glamour, is too kitschy, too inauthentic to enjoy in a similar way to the Copacabana in Scorsese's previous mob movie.
And there is Scorsese's masterstroke; the film lulls you into a false sense of security, sets up the rules of Las Vegas, how it was the perfect playground for mobsters and hustlers alike and then reveals all of that time spent painting the city WAS to make you hate it after all. This is a town of vipers; Rothstein buys into his own hype, Santoro flies out of control, Ginger falls to her vices, and it's the lure of the casino that exacerbates these characters' worst flaws.
Those latter two hours suggest that the opening superficialities were by design. Scorsese, setting Vegas as the location for a harsh examination of capitalism and all its gross selfishness, doesn't intend to be subtle, or elegant. He WANTS his audience to detest this place, these characters, this life - and by beating you over the head with it in the first hour, he emphasises just how empty the city truly is, and the inhabitants. It initially plays by the same rules as Goodfellas, but is uglier, seedier, less exotic.
The same can be said for De Niro and Pacino's performances. De Niro is defined by his controlled nature early on, and his performance couldn't be more different than the live-wire performances he's given in all of his appearances with Scorsese, and underwhelming by comparison. But - that's the character. Ace is pathetic. He's sold out to the mob by minute one of the film - he isn't seduced by the lifestyle, he doesn't run things or commit glorified acts of violence a la Henry Hill blowing up the cars; he's a manager of an entertainment complex, pure and simple. Ace doesn't really have a physical presence against the mobsters; when arguing with Pesci, De Niro stands at a distance, crosses his arms. It's as far away from Jimmy Conway or Jake La Motta as possible. He's defined as much by that as the way he treats Ginger, pulling her to her wardrobe and clearing out her clothes. He defines her by her material items, holding her to loyalty over money. A man seduced by money, by the accumulation of wealth without the ability to spend it meaningfully, his performance is completely lacking in vanity and energy, and it's as excellent as many of the previous performances he put in for this director.
Pesci too adds layers to what could be assumed to be a facsimile of his Goodfellas role. He isn't funny or charismatic like Tommy De Vito; he doesn't have the same energy to him. He's an insidious, grotesque figure from the first scene he appears, and the film never shies away from showing him as such. Pesci carries himself differently; heavier, broader, Tommy's smoothness replaced by a jerkiness in Nicky that suggests an inelegance. It's subtle, but it's different.
Casino almost undermines itself from the beginning. It's so brash, opulent and in-your-face for its first hour that its real ambitions take a while to come to the surface. But when they do, and the poisonous ruinous nature of Las Vegas and its lifestyle is emphasised again and again and again, it becomes an engrossing watch. This is Great American Tragedy, Scorsese-style.
I know it often gets written off as a Goodfellas rehash, but I think it's a really good watch. Not one of Scorsese's best, and a little too long and repetitive for its own good - a la New York New York - but there's a hell of a lot to like.
By n8 dogg Go To PostI know it often gets written off as a Goodfellas rehash, but I think it's a really good watch. Not one of Scorsese's best, and a little too long and repetitive for its own good - a la New York New York - but there's a hell of a lot to like.I don't like those comparsions honestly.
There are quite a few things that are similar, like Pesci and his impulsive nature or DeNiro playing a calm and collected guy. Plus the overall theme of a character not being part of it, despite playing a huge role in it.
Henry Hill not being a real part of the Mafia while working for them, while Rothstein is neither accepted by the "cowboys" of Vegas nor is seen as equal partner by the mafia, where he is basically a cash cow whenever it was betting or leading the casino.
Apart from that the films carry different elements around that aren't that comparable at all.
When you spoke about the actors, you missed Sharon Stone. It's by far one of my favorite performances of her.
Also the comedic elements are just so fucking great. The pesci dialogue with Don Rickles, or when Ace throws out the guy from Nicky's crew.
Casino is a great flim that will be compared to Goodfellas fairly or unfairly. There is a lot to like about it but it seems to have fat on it compared to his other works
Yeah, Stone is great. I think she's far more unpredictable and electric than Pesci, really. Pesci's a fucking schlubby scumbag who goes out like one.
By Apollo Go To PostBooksmart is the whitest movie of the decade
Saw Apocalypse Now: Final Cut at the BFI Southbank last night. Whew, what an incredible experience. You definitely couldn’t make that today. I still prefer the theatrical cut, but this didn’t really feel 3 hours long. Coppola, you madman lmao
By Apollo Go To PostBooksmart is the whitest movie of the decadethey made a downton abbey movie this year.
By Apollo Go To PostBooksmart is the whitest movie of the decadeWhiter than Ladybird and Frances Ha?
I'm looking at a list of best picture nominees of the last decade and even from there it's hard to pick which movie is the whitest amongst it.
By n8 dogg Go To PostThere is no movie in existence whiter than Frances HaTbh I really liked that movie. Managed to perfectly nail the experience of being a wayward millennial in a massive city. Also it looked gorgeous.
but yeah, white as all fuck
By Flutter Go To PostI'm looking at a list of best picture nominees of the last decade and even from there it's hard to pick which movie is the whitest amongst it.Get Out
By /sy Go To PostMy GF will kill me if we don't go see this. lol
I always thought Scooby Doo was boring, but I loved Pup Named Scooby Doo.
Are the Peanuts people making it? Or is that just what all CG movies not made by Disney look like now?
Are the Peanuts people making it? Or is that just what all CG movies not made by Disney look like now?
By Flutter Go To PostGangs of New York is a mess.
Weinstein to blame