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The chemistry is actually unreal
"Everything's my business."
"He made me!"
"I've been usin' some fruity soaps, Maggie."
"I've noticed."
Death, fraud, and pig shit... this was so sweet! Love how all the stories tied together in the end. And that twist
Is it just me, or does Ian Bannen look a lot like Colin Farrel? Or is it just the Irish accent?
"Let's disappear."
Portrays a kind of loneliness that doesn't really exist anymore in 2024, replaced instead by a new type of disconnection; any empty space filled by an unending barrage of social media and newsfeeds and infinite scroll.
The old kind feels more honest, somehow.
>"If you go down there, you might see something."
"I know."
"Carnal."
"I know!"
Yet another underrated 90s black comedy. So dark, so funny, and I was actually invested! Cast is perfect (except perhaps Spelling, whose father coincidentally financed the movie). Parker Posey ily.
It's amazing how despite its fucked-up nature, this is actually a really good portrayal of the brother-sister relationship, with its unique rapport and shared language. Just, ya know... minus the incest part.
"Damn us! It's none of our business. This troop has been very shabby to Field Mate Sam Shakusky. In fact, we've been a bunch of mean jerks!"
"Blork."
For something that should've hit so close to home, I guess I expected to feel more?
Maybe the problem is that you never go full Jesse Eisenberg? That was kinda hard to watch.
Love the look of this movie. Some really beautiful shots.
Kieran Culkin is unreal. Ok Kieran, you can be an honorary Jew if you want.
"Do you remember the best way to crack an egg?"
There's nothing original about this story, and telling it out of order doesn't change that. The only reason this works at all is due to Pugh, Garfield, Delaney, and the delightful score. But it got me ugly crying, so I guess I can't fault it too much.
I liked when 40 minutes in, someone went, "Oh, it's the same girl!" ♂
"I can confirm to you... that on occasion... I do have access to complimentary Weetabix."
"Jealousy is a disease, remember that, Diamond! I'm just gonna go chill in my mansion or whateva!"
"It's a cappuccino, Dean! It's not a cup of chino!"
"I LOVE AFRICA!"
"Fucking weird thing to say."
"BALLS, baby, balls!
Well, why don't you remember the good we had together, the beautiful times, huh? Oh, I got an idea. Why don't you call your friend the Marlboro Man in here and ask him a couple of questions? You ask him, ask him, ask him, Marlboro, when was the last time you made love in the lee of the lighthouse on Point Venus in Tahiti, huh? Or out on the lagoon, yeah, that shining lagoon with the goddamn surf booming on the Barrier Reef, hey? Yeah, or up on Whitney that night of the blizzard in the double mummy bag, woo! Ask him that."
My first Altman and I must say, I was expecting more. This somehow felt both too subtle and too over the top. I couldn't bring myself to care about the central mystery. Felt so much longer than it needed to be.
It's not all bad. I enjoyed whatever the hell Elliot Gould was doing here. Some great dialogue, some really funny moments, and a jaw-dropping ending.
Apparently this is supposed to subvert the Marlowe character and the private detective genre as a whole. Marlowe's behaviors evoke the 1950s, in contrast to the 1970s world that surrounds him. Unfortunately, all this was completely lost on me.
Obsessed with Marlowe just lighting matches on the nearest available surface, wherever he goes.
Toros: "If you don't help me fix this, I'm gonna have you arrested."
Ani: "Arrested for what?"
Toros: "For what? I'll tell you for what. Trespassing. Fraud. Cheating. Theft."
Garnik (on the couch, pathetically icing his broken nose): "Assault."
Enjoyed this more once I knew what to expect. Anora really is a rollercoaster of emotion—from intoxicating sex and romance, to hilarious nighttime romp around the city, to sobering, heartbreaking moments where we—and Ani—are forced to confront reality.
"Lady luck is a fickle slut!"
Was this that much worse than the first two? Or are these just not for me anymore?
Best part of the movie was the girl next to me who kept yelling things out before they happened ("Two heads! Two heads!")
"We're only cuddling for warmth."
"Yeah, cuddling for weather purposes."
Awwwwww...
Give me two leads this charismatic and I can forgive a lot.
Why was the Rebecca Vargas conversation giving Tarantino vibes lol
"A fraud marriage??"
Every character here would be the funniest person in any other movie.
Mikey Madison is a force of nature. Sam Jackson has some serious competition for the best delivery of "motherfucker".
"I love it here."
Zemeckis is back with another gimmick! Too bad he forgot to also make a good movie this time.
Ophelia Lovibond!
"I'd rather you take my broom, I know it better."
"But Mom, that one's so old!"
It's the tiny real-life details that make Ghibli movies so special—details like struggling to lift your kid when they're not as small as they used to be, or trying to carry all the logs at once, or the groceries spilling onto the floor.
The two girls next to me in the theater were a bit too horny for Tombo.
VIP5Grayson spotted!
Alternating between multiple Bill Lawrence shows is incredibly confusing when he keeps throwing in the same actors lol
"It's useful being top banana in the shock department."
No idea what the hell Audrey Hepburn is doing here but I love it so much. Her doe-eyed ditziness, her stubborn sadness, her diction and line delivery are absolutely enchanting.
Why do they even bother putting other people on screen? All you look at is Audrey Hepburn anyways.
"I'll tell you one thing, Fred darling... I'd marry you for your money in a minute. Would you marry me for my money?
"In a minute."
"So I guess it's pretty lucky neither of us is rich, huh?"
"All we had was the fantasy. And you gave up."
J:FàD isn't nearly as funny, moving, or disturbing as the original. In one sense, this is way more subversive than Joker—whatever you enjoyed about that movie, you probably won't find it here. Instead, J:FàD presents you with a tonally bizarre rehashing and deconstruction of the original.
Unfortunately, J:FàD also abandons all the ambiguity of the original. Where Joker makes you think, J:FàD tells you what to think.
There are still moments of brilliance (mostly in the visuals). Mostly, though, they just make me want to go back and rewatch Joker.
Not sure I needed a Joker prison sex scene, but it made the couple who was talking nonstop walk out!
*It may look like he's just resting. But right now, Brian's inside the dream of a random 19-year-old boy in South Korea."
Really liked the first half, less sure about the second.
I don't know if anyone but Nic Cage could've pulled off this combination of oblivious and ineffectual on the one hand, and unstable and menacing on the other.
In the scene where he visits the apartment, I (and the entire theater) could not stop laughing.
"I just... I don't want any rumors if I'm meeting with Obama."
"For my whole life, I didn't know if I even really existed. But I do. And people are starting to notice.
"They've cut our funding. We're closing down our offices next week."
I haven't been a big fan of Phoenix in the past. But he's mesmerizing here, in his portrayal of a man whose grip on reality is tenuous at best.
Not an especially original story, perhaps. And the comic book elements occasionally clash with the gritty portrayal of 1980s New York, I mean Gotham. But its impeccable execution, combined with the familiar iconography, is undeniably powerful.
"I'd very much like to be equal to you."
"Paul... Muad'Dib... Usul. Maybe, you could be Fremen. Maybe I'll show you the way."
[Hans Zimmer needle drop]
Do our choices matter, or is our fate inevitable?
Christopher Walken looks like he showed up to set ten minutes before shooting and didn't have time to do anything except run a comb through his hair.
The most Hulu-ass movie I've ever seen. Pretty sure Hallie Meyers-Shyer has never met a real life child.
Gave up after half an hour. Can't believe I wasted a trip to the theater on this.
"You know, in ten years, none of this would have mattered. I'd be 24, you'd be 38. So sad it had to end this way. What we had was so special. But, here we are. Too bad you didn't listen. Just want you to know, Nick, no matter what happens, we'll always be friends."
A campy black comedy that turns into a campy horror movie. Alicia Silverstone is perfect in her film debut: pouty, seductive, spiteful, crazed.
This is why boundaries are important :slight_smile::arrow_up_down:
"There's never been a television show made for, or by, the generation that grew up watching television."
Not really sure what the point of this was, but I had fun! Probably would've been more meaningful if I had grown up watching the original SNL cast.
This would've been so good in a packed theater, too bad it's barely selling any tickets. Honestly shocked this got a theatrical release at all. (Not that it's bad at all, but the premise definitely has limited appeal.)
Lamorne singing "Kill All The Whities" was worth the price of admission.
Chevy Chase: Oh, that's cute. I remember when you used to do comedy.
Milton Berle: Funny, cause I never heard of you.
Chevy Chase: That's probably the Alzheimer's.
VIP5"The first rule is the simplest: Attack, attack, attack.
Rule two: Admit nothing, deny everything.
Rule three: This is the most important rule of all. No matter what happens, no matter what they say about you, no matter how beaten you are—you claim victory and never admit defeat."
What a ride. Supervillain origin story; student becomes the master.
Jeremy Strong's head-bobbing, idiosyncratic, amoral Roy Cohn is an all-time great villain (yet I somehow found myself sympathizing with him towards the end?). Sebastian Stan is fantastic as always, embodying the transformation from bashful, ineffectual nepo baby to ruthless, unfeeling killer. Maria Bakalova brings a touch of humanity to the unbridled greed, selfishness and moral relativism which surround her.
The 70s 16mm cinematography is absolutely gorgeous, the 80s videotape format less so.
Snoop Dogg: I was trying to call him, but he didn't pick up.
Director: Just now?
Snoop: Cuz I was gonna ask him what he wanted me to lie about.
Clever, creative, trippy. I especially love the beats depicted as bouncing, glowing Lego pieces. Surprisingly introspective and brimming with positivity. I challenge anyone to watch this without a smile on their face.
Very confused by the mechanics of Lego food. Also, why did they play the Conclave trailer before this??
"I think a hero is an ordinary individual who finds the strength to persevere and endure despite overwhelming obstacles."
If you're looking to cry for 104 minutes I highly recommend this.
"Hey, is this blood up here on your windshield?"
"Yeah, uh, I... I hit a deer."
"You hit a deer.
"Yeah, over on, uh—I was on Slauson."
"A South Central deer?"
"Yeah, they out there."
A lean thriller set over one night in LA. More than once, the whole dynamic turns on a dime in the middle of a conversation. Incredible soundtrack, intoxicating cinematography, immaculate vibes. This Mann guy sure knows how to make a movie.
Vincent's gray hair and mannerisms put me in mind of a wolf—a hunter. Remember when Tom Cruise used to Act?
"Out of options, Max. Just take comfort in knowing you never had a choice."
