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Showing content with the highest reputation since 01/24/2020 in all areas

  1. 55 points
    After 6 or so years I've decided to step down from my Admin role on the forums. In 2020 I have found it hard to be on the forums enough to do a proper job of moderating and after much deliberation I decided it would be better if I stepped down. I'd like to personally and publicly thank @Shawn for the opportunities he has provided me. As someone who was not an active forum poster and pretty quiet in general it was a honor to be asked to join the staff. @Water Bottle you have always been supportive, especially when it came to my Derby requests and @Plain Old Tele - I modeled my moderation style after you. The forums lost a great resource when you stepped down from the staff. I won't attempt to mention all the members and staff that I've enjoyed interacting with over the years. It's been great. I just hope that some of the old-timers will return to posting more often. I do want to mention that the one thing I learned about moderating here is how important different views are in a social setting such as the BOT forums. I hope the forums continue to contain a diverse and tolerant attitude towards both movies and life in general. I'll still be around as much as I can so this is not goodbye and the Derby will continue to operate with @ChipDerby's help.
  2. 30 points
  3. 30 points
    Really enjoyed it here. Personally think it was definitely better than the trailers had me expecting. Robbie does a good job despite almost one too many over the top self-aware jokes. Loved McGregor. Almost feels like a Tarantino styled violence in a DC film. They really took that R Rating to heart. Fun soundtrack.
  4. 28 points
  5. 27 points
    Number 5 Spoiler "Take her to the moon for me, okay?" 591 points, 32 lists directed by Pete Docter & Ronnie del Carmen | US | 2015 The Pitch: Inside the mind of a teenage girl, five personified emotions attempt to guide her through life as she moves to a different city. #1 Placements: 2 Top 5 Placements: 3 Top 12 Placements: 7 Metacritic: 94 Box Office: $857m WW Awards: Academy Award for Best Animated Feature; 10 Annie Awards BOT History: #3, Top Movies of 2015; #1 (2016), #1 (2018), Top Animated Movies of All Time; #40 (2016), #20 (2018), Top 100 Movies of All Time; 5 BOFFY awards, including Best Picture and Original Screenplay, out of 12 nominations Critic Opinion: “While other Pixar productions like the Toy Story movies, Monsters, Inc., and Up (the latter two directed by Docter) have stood out in a crowded animation field for their innovative ideas, what really distinguishes Pixar films is the way they take surprising narrative risks and dig deeply into painful emotions that most kid-friendly films strive to avoid. Inside Out does it more literally than other Pixar films, but it does it magnificently. There are endless comedic possibilities in the scenario of five demanding emotions fighting for dominance, and the film periodically toys with those possibilities to lighten the mood. But mostly, it uses the setup to explore why emotions exist, how they change as people grow up, and how a simple surface reaction might come from complicated inner conflict. [...] Like so many Pixar films, Inside Out uses a rambunctious, chaotic adventure to shape a story about growing maturity and understanding. In a deeply evocative way, it’s about coming to terms with sadness (or in this case, Sadness) and still moving forward. And it draws on recognizable, relatable experiences and feelings cleverly, in a way that isn’t entirely tied to a single age or experience. Pixar vets will remember the profound emotions brought up by the opening sequences of Up, the final scenes of Toy Story 3 and Monsters, Inc., and so many other watershed moments in the company’s library of films. Inside Out not only evokes that profundity of emotion, it does it with emotions capable of examining their own response. The emotional control room isn’t a new idea. Inside Out just manages the most ambitious and expressive version of that idea to date.” - Tasha Robinson, The Dissolve BOT Sez: “This is one of the most superlative animated films I know of. Nearly everything here works amazingly. All of these characters are given full stories and their actions all make sense, while the lack of a villain in the movie is something so rare in tentpole animated films, yet the film has a stronger sense of conflict than so many other films. I ended up caring for the wellbeing of one young girl more than the possible destruction of cities in your typical summer blockbuster. Even some of Disgust, Fear, and Anger's decisions work because they ultimately want what's best for Riley, and all of the emotions really do care not just for Riley, but for one another. Joy gets not only one of the best character arcs in Pixar History, but cherishes every bit of power Amy Poehler gives to her role. Sadness goes without saying, and Bing Bong was another obvious standout who becomes way more unexpected and nuanced a character than I thought going into this film.” - @Spaghetti "Joy is a fucking monster in Inside out. She's so ridiculously mean. She is a fucking bully" - @Ethan Hunt Commentary: Our first top 5 finalist is BOT's favorite animated movie. Successfully executing one of Pixar's more high-concept premises, Pete Docter's third feature solidified him as the studio's most imaginative and consistent voice and somewhat unexpectedly became its most successful original film unadjusted for inflation. It's also the highest grossing release in our top 10.
  6. 27 points
    I just learned that my uncle is in critical condition in an ICU and the doctors say he has it. Crazy thing was literally 3 days ago we had a video chat; I told him to stay safe and he said he felt fine. Scary how fast someone can deteriorate. All I can do is hope.
  7. 23 points
    We're over halfway through one hell of a year, there's so many questions and concerns, and one of them is surely, "What really is the definitive best 100 movies ever made?". Well we're all about to find out! *Gulp* We received 36 lists from members, lower turnout than in the 2018 edition, but that was also fresh off of Infinity War's release and we currently still in the era of Bloodshot being the reigning Box Office champ, so overall decent turnout given everything else that is going on. A few factoids about the movies that made the list: - No more than 10 funny book films made the list (potentially less). - No more than 15 cartoons made the list (potentially less). - Some fan favorite directors made the list, and some did not at all. - Not all of the movies that made the list are in the English language. - The list was highly competitive, every list caused quite a bit of changes to the ordering and what made it through. - I'll reveal numbers 250-101 as well over the course of the list, that way we'll be able to show IMDb what's really the top 250 movies. Hahahaha... *help* - There are some newcomers to the list, some returners, some movies that made past lists and didn't even crack the top 250 here. - While most movies did need at least 10 or more votes to make it onto the list (and even more the higher up you go), there were a few movies that managed to make it through from a smaller but very passionate base. One movie made the list with only 4 votes! Here are the first 25 movies that did not make the list for you to chew on while I prepare the first write up! 1. Raiders of the Lost Ark 2. The Empire Strikes Back 3. The Dark Knight 4. Schindler’s List 5. The Lord of the Rings: The Fellowship of the Ring 6. The Godfather 7. Back to the Future 8. Titanic 9. Goodfellas 10. Mad Max: Fury Road 11. Jaws 12. Star Wars 13. T2: Judgement Day 14. 12 Angry Men 15. Do the Right Thing 16. Spirited Away 17. The Lord of the Rings: The Return of the King 18. Jurassic Park 19. Casablanca 20. The Godfather Part II 21. The Matrix 22. Lawrence of Arabia 23. Inside Out 24. E.T.: The Extra-Terrestrial 25. The Shawshank Redemption 26. The Silence of the Lambs 27. Parasite 28. Pulp Fiction 29. Inception 30. Alien 31. The Wizard of Oz 32. Aliens 33. Taxi Driver 34. The Incredibles 35. Heat 36. The Lord of the Rings: The Two Towers 37. Apocalypse Now 38. Princess Mononoke 39. The Good, The Bad and the Ugly 40. Singin’ in the Rain 41. Saving Private Ryan 42. Toy Story 43. Forrest Gump 44. Pan’s Labyrinth 45. The Social Network 46. The Truman Show 47. Seven Samurai 48. Rear Window 49. Psycho 50. The Shining 51. Once Upon a Time in the West 52. Vertigo 53. Wall-E 54. Beauty and the Beast (1991) 55. 2001: A Space Odyssey 56. City of God 57. Toy Story 2 58. Memento 59. Citizen Kane 60. The Lion King (1994) 61. Ratatouille 62. Finding Nemo 63. A Clockwork Orange 64. The Thing 65. Indiana Jones and the Last Crusade 66. Rocky 67. Inglourious Basterds 68. Mulholland Drive 69. Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb 70. Monty Python and the Holy Grail 71. It’s a Wonderful Life 72. Before Sunrise 73. Spider-Man 2 74. North by Northwest 75. Joker Avengers: Endgame 76. Aladdin (1992) 77. Captain America: The Winter Soldier 78. The Apartment 79. The Terminator 80. Die Hard 81. Unforgiven 82. Whiplash 83. Gravity 84. Toy Story 3 85. Boyhood 86. Eternal Sunshine of the Spotless Mind 87. The Wolf of Wall Street 88. Fight Club 89. Children of Men 90. Predator 91. The Bridge on the River Kwai 92. Spider-Man: Into the Spider-Verse 93. Avengers: Infinity War 94. Coco 95.  In the Mood For Love 96. My Neighbor Totoro 97. Blazing Saddles 98. Ran 99. Star Wars: The Last Jedi 100. Before Sunset 101. Groundhog Day 102. The Departed 103. L.A. Confidential 104. The Princess Bride 105. There Will Be Blood 106. The Big Short 107. Chinatown 108. Fargo 109. Gladiator 110. Network 111. Duck Soup 112. The Sixth Sense 113. Your Name 114. Blade Runner 115. The Big Lebowski 116. The Usual Suspects 117. Rashomon 118. One Flew Over the Cuckoo’s Nest 119. Pinocchio 120. Silence 121. Grave of the Fireflies 122. Raging Bull 123. Bambi 124. Star Wars: The Force Awakens 125. Who Framed Roger Rabbit? 126. Amadeus 127. All About Eve 128. Se7en 129. Get Out 130. Arrival 131. Interstellar 132. Halloween (1978) 133. Guardians of the Galaxy 134. Bicycle Thieves 135. The Grapes of Wrath 136. Sunset Boulevard 137. District 9 138. Star Wars: Episode III – Revenge of the Sith 139. The Great Escape 140. La La Land 141. Some Like it Hot 142. Eyes Wide Shut 143. Mary Poppins 144. Ghostbusters 145. Apollo 13 146. The Deer Hunter 147. Life of Pi 148. Nashville 149. Oldboy (2003) 150. The Handmaiden 151. Call Me By Your Name 152. The Bourne Ultimatum 153. Come and See 154. Days of Heaven 155. The Sound of Music 156. Batman Begins 157. Lady Bird 158. Return of the Jedi 159. The Avengers (2012) 160. The Searchers 161. Reservoir Dogs 162. The Texas Chainsaw Massacre 163. Office Space 164. Akira 165. The Intouchables 166. Django Unchained 167. The Jungle Book (1967) 168. Good Will Hunting 169. A Separation 170. The Iron Giant 171. The Best Years of Our Lives 172. Cinema Paradiso 173. Rogue One: A Star Wars Story 174. Creed 175. Life of Brian 176. The Third Man 177. Master and Commander: The Far Side of the World 178. Ben-Hur (1950) 179. Shrek 2 180. Young Frankenstein 181. The Hunger Games: Catching Fire 182. Black Panther 183. Arsenic and the Old Lace 184. The Elephant Man 185. The Raid (2011) 186. The LEGO Movie 187. Hot Fuzz 188. American Beauty 189. Modern Times 190. RoboCop (1980) 191. Gone With the Wind 192. Zootopia 193. Captain America: Civil War 194. Up (2009) 195. City Lights 196. Zodiac 197. Harry Potter and the Deathly Hallows – Part 2 198. All the President’s Men 199. Crouching Tiger, Hidden Dragon 200. No Country for Old Men 201. Bill and Ted’s Bogus Journey 202. Notorious (TIE) Magnolia JFK 203. Margaret 204. When Harry Met Sally 205. Pirates of the Caribbean: Curse of the Black Pearl 206. Ocean’s Eleven 207. Frozen (2011) 208. To Kill a Mockingbird 209. Close Encounters of the Third Kind 210. 1917 211. 8 ½ 212. Dawn of the Planet of the Apes 213. Police Story 214. Black Swan 215. Fantasia 216. A Night at the Opera 217. Paths of Glory 218. X-Men: Days of Future Past 219. Planes, Trains and Automobiles 220. West Side Story 221. The Conjuring 222. The Assassination of Jesse James by the Coward Robert Ford 223. Malcolm X 224. Minority Report 225. Sicario 226. Casino Royale 227. Thor: Ragnarok 228. Back to the Future Part 2 229. The Young Girls of Rochefort 230. The Music Man 231. American Honey 232. Barry Lyndon 233. Once Upon a Time in Hollywood 234. The Maltese Falcon 235. Andaz Apna Apna 236. Fiddler on the Roof 237. (500) Days of Summer 238. Ferris Bueller’s Day Off 239. Roma 240. The 400 Blows 241. Tropic Thunder 242. Ida 243. Iron Man 244. The Quiet Man 245. Dangal 246. The Sting 247. The Battle of Algiers 248. Dunkirk 249. Before Midnight 250. Once Upon a Time in America
  8. 22 points
    "Leave the gun. Take the cannoli." About the Movie Synopsis "The Godfather "Don" Vito Corleone is the head of the Corleone mafia family in New York. He is at the event of his daughter's wedding. Michael, Vito's youngest son and a decorated WW II Marine is also present at the wedding. Michael seems to be uninterested in being a part of the family business. Vito is a powerful man, and is kind to all those who give him respect but is ruthless against those who do not. But when a powerful and treacherous rival wants to sell drugs and needs the Don's influence for the same, Vito refuses to do it. What follows is a clash between Vito's fading old values and the new ways which may cause Michael to do the thing he was most reluctant in doing and wage a mob war against all the other mafia families which could tear the Corleone family apart. " - IMDb Its Legacy "Like millions of other people around the world, I have been obsessed by The Godfather trilogy. I wanted to write about that. And, then, as I started writing about the films, I realized that I also wanted to write about other films depicting Italian-Americans and how horrible the stereotypes were. That made me start thinking about the journey that immigrants had made coming to America, the whys behind the journey and really the history of the mob. I started thinking about my own life, and I thought, I want to make this, in part, a memoir because I am half-Italian and half-English. There was a pull, because I had a very Italian name growing up in a very Anglo world. When I saw The Godfather: Part II, and when ten minutes into the film there is the image of the young Vito on board the ship coming to America and passing by the Statue of Liberty, all of a sudden the light bulb went off. That image brought home to me my grandfather’s journey and how brave, at age 13, he was arriving here alone. At age 13, I was in a private school running around wearing my uniform and school tie, so removed from his experience. So it became not just a movie I loved as a movie lover, but a very personal depiction of the American journey for me. The film changed Hollywood because it finally changed the way Italians were depicted on film. It made Italians seem like more fully realized people and not stereotypes. It was a film in Hollywood made by Italians about Italians. Previously, it had not been Italians making the mobster films featuring Italian gangsters. I feel it helped Italianize American culture. All of a sudden, everyone was talking about Don Corleone and making jokes about, “I am going to make you an offer you can’t refuse.” I think it helped people see that in this depiction of Italian-Americans was a reflection of their own immigrant experience, whether they were Irish or Jews from Eastern Europe. They found that common ground. Then, of course, it changed me because when I saw what I felt was my grandfather on that ship coming to America, it was as if I was fully embracing my Italian-ness. I had never really felt Italian until then. Italian-Americans are very sensitive about their image in movies because it has traditionally been so negative, as either mobsters or rather simple-minded peasants who talk-a like-a this-a. I don’t like these stereotypical images, and yet, I love these films so much. I think the vast majority of Italians have come to accept and actually embrace the film because I think the genius of the film, besides the fact that it is so beautifully shot and edited, is that these are mobsters doing terrible things, but permeating all of it is the sense of family and the sense of love. Where I feel that is completely encapsulated is in the scene toward the end of the first film when Don Corleone [Marlon Brando] and Michael Corleone [Al Pacino] are in the garden. It is really the transfer of power from father to son. Don Corleone has that speech: “I never wanted this for you.” I wanted you to be Senator Corleone. They are talking about horrible deeds. They are talking about transferring mob power. The father is warning the son about who is going to betray him. But you don’t even really remember that is what the scene is about. What you remember is that it is a father expressing his love for his son, and vice versa. That is what comes across in that crucial scene, and that is why I feel that overrides the stereotypical portrayal that others object to. I think it squashed the idea that Italians were uneducated and that Italians all spoke with heavy accents. Even though Michael is a gangster, you still see Michael as the one who went to college, pursued an education and that Italians made themselves a part of the New World. These were mobsters, but these were fully developed, real human beings. These were not the organ grinder with his monkey or a completely illiterate gangster. It is an odd thing. I think to this day there are still some people who view the Italian as the “other”—somebody who is not American, who is so foreign. In films like Scarface [1932], the Italians are presented almost like creatures from another planet. They are so exotic and speak so terribly and wear such awful clothes. The Godfather showed that is not the case. In the descendant of The Godfather, which is of course “The Sopranos,” once again the characters are mobsters. But they are the mobsters living next door in suburban New Jersey, so it undercuts a bit that sense of Italian as the “other.” On the sociological level, we had been facing the twin discouragements of the Vietnam War and Watergate, so it spoke to this sense of disillusionment that really started to permeate American life at that time. I think also the nostalgia factor with the Godfather cannot be underestimated, because in the early ’70s (the first two films were in ’72 and ’74), it was such a changing world. It was the rise of feminism. It was the era of black power. And what The Godfather presented was this look at the vanishing white male patriarchal society. I think that struck a chord with a lot of people who felt so uncertain in this rapidly changing world. Don Corleone, a man of such certainty that he created his own laws and took them into his own hands, appealed to a lot of people. The term “the godfather.” Puzo made that up. Nobody used that before. He brought that into parlance. Here we are 40 years later and all the news reports of the mob now refer to so and so as the godfather of the Gambino crime family. Real-life mobsters now actually say, “I am going to make him an offer he can’t refuse.” That was totally invented by Puzo. I think these are phrases and terms that are not just used by the general public, but are also used by the FBI. So that is a powerful piece of art. The Godfather reaches its tentacles into so many levels of American life. I love the fact that it is Obama’s favorite movie of all time. I just love that." - Tom Santropietro interviewed by Megan Gambino for "The Godfather Effect" with Smithsonian Magazine From the Filmmaker Why It's the Greatest Critic Opinion "Francis Ford Coppola directed the Albert S. Ruddy production, largely photographed in N.Y. Dean Tavoularis was production designer and Gordon Willis cinematographer (Technicolor) for the handsome visual environment, which besides World War II and postwar styles and props, is made further intriguing by some sort of tinting effect. There are people under 40 who grew up in the period of the film and who recall such color tones as evocative of 20 years earlier, that is, the end of the Roaring Twenties and the Depression. Evidently the artistic effect here is to show some sort of antiquity which no longer exists. Puzo and Coppola are credited with the adaptation which best of all gives some insight into the origins and heritage of that segment of the population known off the screen (but not on it) as the Mafia or Cosa Nostra. Various ethnic counter-cultures are part of the past and part of the present, and the judgment of criminality is in part based on the attitudes of the outside majority. Nobody ever denied that a sense of family, cohesion and order are integral, positive aspects of such subgroups; it’s just the killing and slaughter that upsets the outsiders. It is Pacino, last seen (by too few) in “Panic In Needle Park,” who makes the smash impression here. Initially seen as the son whom Brando wanted to go more or less straight (while son James Caan was to become part of the organization), Pacino matures under the trauma of an assassination attempt on Brando, his own double-murder revenge for that on corrupt cop Sterling Hayden and rival gangster Al Lettieri, the counter-vengeance murder of his Sicilian bride, and a series of other personnel readjustments which at fadeout find him king of his own mob. In a lengthy novel filled with many characters interacting over a period of time, readers may digest the passing parade in convenient sittings. But in a film, the audience is forced to get it all at one time. Thus it is incumbent on filmmakers to isolate, heighten and emphasize for clarity the handful of key characters; some of that has been done here, and some of it hasn’t. The biggest achievement here is the establishment of mood and time. Among the notable performances are Robert Duvall as Hagen, the non-Italian number-two man finally stripped of authority after long years of service; Richard Castellano as a loyal follower; John Marley as a Hollywood film mogul pressured into giving a comeback film role in a war film to Al Martino, an aging teenage idol; Richard Conte as one of Brando’s malevolent rivals; Diane Keaton as Pacino’s early sweetheart, later second wife; Abe Vigoda as an eventual traitor to Pacino; Talia Shire as Brando’s daughter, married to a weak and traitorous husband Gianni Russo; John Cazale, another son who moved to Las Vegas when that area attracted the mob, including Alex Rocco as another recognizable character; Morgana King as Brando’s wife; and Lenny Montana as a mobster. Nino Rota’s fine score, plus several familiar poptunes of the period, further enhance the mood, and all the numerous technical production credits are excellent. So, at the bottom line, the film has a lot of terrific mood, one great performance by Pacino, an excellent character segue by Brando, and a strong supporting cast. That will be enough for some, only half the job for others." - A. D. Murphy, Variety User Opinion "My favorite of all time. Got the restoration blu-ray set for Christmas.I can discuss this movie all day long. The acting is just so superb. One of my favorite of all time scenes that doesn't discussed much is the scene where Vito gets shot and poor Fredo is so inept he can't even get the gun right to shoot back. The acting from John Cazale and the pain and guilt he feels because he couldn't do anything to help his father really gets to me. It's a small thing and would get un noticed but that's just how great the story and acting is from all the players." - @ecstasy "It's a masterpiece. My second favorite movie of all time. The restaurant's and final revenge scenes are just amazing" - @peludo "One of the greatest movies of all time... And I'm not just saying that to be "hip"." - @The Stingray The Panda's Haiku Family and crime Tied together with thin strings Controlling each move Factoids Placement on Prior Lists 2012 - 4, 2013 - 16, 2014 - 6, 2016 - 4, 2018 - 9 Director Count Steven Spielberg - 5, James Cameron - 4, Alfred Hitchock - 4, Stanley Kubrick - 4, Francis Ford Coppola - 3, Richard Linklater - 3, Hayao Miyazaki - 3, The Russo Brothers - 3, Martin Scorsese - 3, Lee Unkrich - 3, Brad Bird - 2, Alfonso Cuaron - 2, David Fincher - 2, Akira Kurosawa - 2, John Lasseter - 2, David Lean - 2, Sergio Leone - 2, John McTiernan - 2, Christopher Nolan - 2, Andrew Stanton - 2, Quentin Tarantino - 2, Robert Zemeckis - 2, Roger Allers - 1, John G. Avildsen - 1, Ash Brannon - 1, Mel Brooks - 1, Frank Capra - 1, John Carpenter - 1, Damien Chazelle - 1, Ron Clements - 1, Michael Curtiz - 1, Frank Darabont - 1, Jonathan Demme - 1, Pete Docter - 1, Stanley Donen - 1, Clint Eastwood - 1, Victor Fleming - 1, Terry Gilliam - 1, Michel Gondry - 1, Peter Jackson - 1, Rian Johnson - 1, Terry Jones - 1, Bong Joon-Ho - 1, Gene Kelly - 1, Spike Lee - 1, David Lynch - 1, George Lucas - 1, Sidney Lumet - 1, Katia Lund - 1, Michael Mann - 1, Fernando Meirelles - 1, George Miller - 1, Rob Minkoff - 1, Adrian Molina - 1, John Musker - 1, Bob Persichetti - 1, Jan Pinkava - 1, Sam Raimi - 1, Peter Ramsey - 1, Rodney Rotham - 1, Ridley Scott - 1, Guillermo del Toro - 1, Gary Trousdale - 1, Orson Welles - 1, Peter Weir - 1, Billy Wilder - 1, Lana and Lilly Wachowski - 1, Kirk Wise - 1, Kar-Wai Wong - 1 Franchise Count Pixar - 9, Cameron - 4, Marvel Cinematic Universe - 3, Scorsese - 3, Studio Ghibli - 3, Toy Story - 3, WDAS - 3, Alien - 2, Before Trilogy - 2, The Godfather - 2, Nolan - 2, Spider-Man - 2, Star Wars - 2, Terminator - 2, Back to the Future - 1, Die Hard - 1, Hannibal - 1, Incredibles - 1, Indiana Jones - 1, Jaws - 1, Jurassic Park - 1, The Lord of the Rings - 1, Mad Max - 1, The Matrix - 1, Monty Python - 1, Oz - 1, Predator - 1, Rocky - 1 Decade Count 1930s - 1, 1940s - 3, 1950s - 7, 1960s - 7, 1970s - 11, 1980s - 12, 1990s - 20, 2000s - 16, 2010s - 16
  9. 22 points
    "Roads? Where we're going, we don't need roads." About the Movie Synopsis "Marty McFly, a typical American teenager of the Eighties, is accidentally sent back to 1955 in a plutonium-powered DeLorean "time machine" invented by a slightly mad scientist. During his often hysterical, always amazing trip back in time, Marty must make certain his teenage parents-to-be meet and fall in love - so he can get back to the future." - IMDb Its Legacy "Here we are in 2015: Rick and Morty, which began as a parody of Back to the Future‘s Doc and Marty, is about to start its second season; a $250 figure of Marty McFly sells out instantly; Japan has created an iPhone case based on Back to the Future II‘s DeLorean and it sells like wildfire at nearly $100. It’s been 30 years since Back to the Future came out but it still has a strong impact on today’s pop culture. Why is that? Why is a movie from 30 years ago (which is primarily set an additional 30 years earlier) still so beloved? And where else has it been felt within our culture today? We’re going to take a look at what in Back to the Future resonates with us and try to figure out why. Above anything else, the reason Back to the Future stands the test of time is that it’s a good movie. It did well with both the audience (worldwide gross of $381 million off a $19 million budget) and it did well with critics (96% of critics gave it a good review, according to Rotten Tomatoes). But beyond that, it broadly addresses how fast pop culture changes and specifically allows us to see that through the lens of a teenager hanging out with his parents when they were his age. It’s such a simple idea that it allows all sorts of fun adventure and character-based humor. The fact is, the movie is very specifically set in 1985 and 1955 but instead of dating it, it makes it timeless because now we can in turn compare our present to their past and gain additional contrast in how pop culture has changed. The 1950s were really when the teenager came into existence as a target market as a consumer and it’s only grown more powerful from now until then. In the movie we see what they do for entertainment and compare the 50s to the 80s. Now we can compare that to the 10s. For instance, when Marty McFly first visits the 50s, he tries to order a Tab soda but the soda of that era is Pepsi. While Pepsi is around in the 50s, 80s and today, it’s interesting to see how quickly tastes can change based on fads. Tab isn’t really a thing anymore and Pepsi has increased competition from energy drinks like Monster or Red Bull that just didn’t exist 30 years ago. But the scene at the soda shop remains notable because of the idea behind it. A teenager getting a beverage at their hangout of choice. In the 50s, it was the diner. In the 80s? We don’t really see but it’s more likely to be a fast food joint (we see Burger King fairly prominently in the movie’s “present”). But today it’d be a machine. Kids don’t need a physical hangout location anymore. They connect by Facebook and texts or have plans to do something specific. The fact that the movie shows us how things were and instantly makes us compare it to how things are today keeps it relevant. Politics has changed, too. In the 50s, Doc Brown laughs at Marty’s statement that Ronald Reagan is the president. It seems absurd in that decade. A movie actor attaining the highest office? But that hardly phases us today. Movie stars like Schwarzenneger and Eastwood have been governors and mayors. Politics and acting are careers that people can jump between without barrier. In fact, the familiarity the public feels with actors helps give them a huge leg up in elections, before issues are even discussed and debated. How about how the movie treats terrorism? Doc Brown swindled some Libyan terrorists out of plutonium to charge his time machine only for them to track Doc down and kill him. In the 80s, we had very clearly defined enemies: Middle Eastern terrorists and Soviet Communists. And we were totally comfortable using them as bad guys, in this case in a family comedy. It seems inconceivable that we could use domestic terrorists in such a casual way post 9-11. In the 80s, terrorism was something that happened overseas. These days, we think of it every time we use public transportation, watch the news, or even when we go to public gatherings like marathons or movie theaters. If the 80s thought the 50s were a more innocent time, we can look back on both of them as downright quaint. The reason the first Back to the Future movie remains especially relevant to our culture is that it didn’t predict the future, like the sequel did. Because while Back to the Future II is a funny look at a future generation as seen through the prism of the 80s and even got a few broad ideas right, it doesn’t look or feel right. But it captured its present and its past in a very accurate way. It’s a time capsule that allows us to continue to make the movie a part of our culture because it’s comparing generations and we get to continue to do that. The concept of wondering what it would be like to interact with our parents at the same age is a fascinating one. Would we be friends? How similar are we? What do we take for granted that they never even envisioned? Music, food, entertainment. It’s how we spend our free time but in very different ways. So it’s no surprise that those of us who grew up with Back to the Future then and have disposable income now would like to remember it. We’ll buy a flux capacitor watch even though a kid today may not know what it’s supposed to be. Maybe it’ll pique their curiosity and we’ll have the opportunity to introduce them to a great movie: Back to the Future." - Chris Piers, Robot's Pajamas From the Filmmaker Why It's the Greatest Critic Opinion ""They don't make 'em like they used to" is seldom said of films of the Eighties, but Back to the Future proves that sometimes it should be. For this is entertainment of the purest kind, a picture so tightly plotted, wittily scripted and pacily directed that it's impossible not to dive in head-first and be swept gleefully along. One sign of its sure-footedness is that the story makes effortless sense when you watch it, but resists easy précis. The barest bones are that Marty McFly (Michael J Fox), son of a chronic loser, accidentally travels back 30 years to 1955 in a time machine built by his friend, the Doc (Christopher Lloyd). Once he's there, his then-young mother falls for him instead of his father, and Marty has to unite them, while persuading the young Doc to get him get back to 1985. This fusion of sci-fi, action, romance and comedy could have been a dreadful mess, were it not for writer-director Robert Zemeckis and co-writer Bob Gale's refusal to let a loose line or idea escape their pens. The funnies come thick and fast – Doc excitedly describing the forthcoming high-school dance as "a rhythmic ceremonial ritual"; Marty's hapless dad (the incomparable Crispin Glover) tremblingly telling his ma "I'm your density..." – but more satisfying still is the intricate interplay between past and future. It turns out that Marty's Uncle "Jailbird" Joey loves, as an infant, to stay in his cot ("Better get used to these bars, kid"). The young Doc's incredulity on hearing of actor Ronald Reagan's next job – "Who's Vice-President? Jerry Lewis?" – spoke for the world, and Marty's means of returning to 1985 is a stroke of narrative genius. Scheduling clashes very nearly led to Marty's being played by Eric Stoltz, but (with all respect to the very capable Stoltz) thank heavens a solution was found, as the film would have been immeasurably the poorer without Fox's uniquely energetic charm. It's particularly cruel that so physically nimble a performer should since have been diagnosed with Parkinson's disease, but he continues to approach it with a hero's grace and humour, and has become a major figure in increasing awareness for the disease." - Mark Monahan, The Telegraph User Opinion "I love the script of that movie. Because I feel nowadays people are so into like smoke and mirrors, shock and awe. They want to trick the audience instead of planting breadcrumbs. And everything you need to know about that movie you find out in the first five minutes before the credits even finish rolling. What is the first thing you hear? An ad for a Toyota truck. What does Marty want and get the end of the movie? a Toyota truck. It sets up the clock tower, It sets up the plutonium, It sets up that this kid is always late in an order for him to save himself in the future he needs to be on time. I love it. You as an audience are rewarded for paying attention and figuring out the story as it unfolds. Also Power Of Love is a BANGER! It’s honestly like my favorite movie. Well. It’s like my top 10 favorite movie. Because I’ve got like my 10 and depending on my mood which ever one is my favorite" - @Cap "Funny. Well-acted. Dramatic. Romantic. Re-watchable. Original. Crowd-pleasing. Fun. A Classic if there ever was one. Back to the Future - the best movie ever made." - @Andy Stitzer The Panda's Haiku I need to get back! Ew, mom, please do not kiss me Oh jeez, oh jeez... AH! Factoids Placement on Prior Lists 2012 - 19, 2013 - 13, 2014 - 16, 2016 - 19, 2018 - 13 Director Count Steven Spielberg - 5, James Cameron - 4, Alfred Hitchock - 4, Stanley Kubrick - 4, Richard Linklater - 3, Hayao Miyazaki - 3, The Russo Brothers - 3, Martin Scorsese - 3, Lee Unkrich - 3, Brad Bird - 2, Francis Ford Coppola - 2, Alfonso Cuaron - 2, David Fincher - 2, Akira Kurosawa - 2, John Lasseter - 2, David Lean - 2, Sergio Leone - 2, John McTiernan - 2, Christopher Nolan - 2, Andrew Stanton - 2, Quentin Tarantino - 2, Robert Zemeckis - 2, Roger Allers - 1, John G. Avildsen - 1, Ash Brannon - 1, Mel Brooks - 1, Frank Capra - 1, John Carpenter - 1, Damien Chazelle - 1, Ron Clements - 1, Michael Curtiz - 1, Frank Darabont - 1, Jonathan Demme - 1, Pete Docter - 1, Stanley Donen - 1, Clint Eastwood - 1, Victor Fleming - 1, Terry Gilliam - 1, Michel Gondry - 1, Peter Jackson - 1, Rian Johnson - 1, Terry Jones - 1, Bong Joon-Ho - 1, Gene Kelly - 1, Spike Lee - 1, David Lynch - 1, George Lucas - 1, Sidney Lumet - 1, Katia Lund - 1, Michael Mann - 1, Fernando Meirelles - 1, George Miller - 1, Rob Minkoff - 1, Adrian Molina - 1, John Musker - 1, Bob Persichetti - 1, Jan Pinkava - 1, Sam Raimi - 1, Peter Ramsey - 1, Rodney Rotham - 1, Ridley Scott - 1, Guillermo del Toro - 1, Gary Trousdale - 1, Orson Welles - 1, Peter Weir - 1, Billy Wilder - 1, Lana and Lilly Wachowski - 1, Kirk Wise - 1, Kar-Wai Wong - 1 Franchise Count Pixar - 9, Cameron - 4, Marvel Cinematic Universe - 3, Scorsese - 3, Studio Ghibli - 3, Toy Story - 3, WDAS - 3, Alien - 2, Before Trilogy - 2, Nolan - 2, Spider-Man - 2, Star Wars - 2, Terminator - 2, Back to the Future - 1, Die Hard - 1, The Godfather - 1, Hannibal - 1, Incredibles - 1, Indiana Jones - 1, Jaws - 1, Jurassic Park - 1, The Lord of the Rings - 1, Mad Max - 1, The Matrix - 1, Monty Python - 1, Oz - 1, Predator - 1, Rocky - 1 Decade Count 1930s - 1, 1940s - 3, 1950s - 7, 1960s - 7, 1970s - 10, 1980s - 12, 1990s - 20, 2000s - 16, 2010s - 16
  10. 22 points
    "I'm the king of the world!" About the Movie Synopsis "84 years later, a 100 year-old woman named Rose DeWitt Bukater tells the story to her granddaughter Lizzy Calvert, Brock Lovett, Lewis Bodine, Bobby Buell and Anatoly Mikailavich on the Keldysh about her life set in April 10th 1912, on a ship called Titanic when young Rose boards the departing ship with the upper-class passengers and her mother, Ruth DeWitt Bukater, and her fiancé, Caledon Hockley. Meanwhile, a drifter and artist named Jack Dawson and his best friend Fabrizio De Rossi win third-class tickets to the ship in a game. And she explains the whole story from departure until the death of Titanic on its first and last voyage April 15th, 1912 at 2:20 in the morning." - IMDb Its Legacy "The story of the world's most famous shipwreck has been filmed more than 10 times, including a 1912 German version slapped together just days after the real tragedy and the British film long accepted as the definitive cinematic take on the incident, A Night to Remember (1958). But none have ever achieved the status of Titanic (1997), James Cameron's version of the incident. It was the most expensive movie made up to that time ($200 million) and remains the #1 box office champ, dropping only a few notches in that category when adjusted for inflation. It is tied with Lord of the Rings: Return of the King (2003) and Ben-Hur (1959) for the most Academy Awards won by a single picture (11) and with only one film, All About Eve (1950), for the most nominations (14). It has received dozens of other awards throughout the world, inspired numerous parodies and imitations, and spawned a Grammy-winning hit theme song ("My Heart Will Go On"). It has also spurred renewed interest in the historical facts and a huge increase in the demand for Titanic memorabilia and souvenirs. Although not universally acclaimed by critics, it is perhaps the perfect example of modern Hollywood blockbuster filmmaking, combining the most successful elements of multiple-genre narrative construction, state-of-the-art technical resources, and effective marketing strategies. The film's tremendous success and popularity lie in its ability to integrate dazzling special effects and large-scale historical epic with a human drama that contemporary audiences could connect with on some level. That was Cameron's stated goal on this picture, "to integrate a very personal, very emotional, and very intimate filmmaking style with spectacle, and to try to make that not be kind of chocolate syrup on a cheeseburger." Cameron has said the movie was conceived as a love story, and that it was only the need to recreate the RMS Titanic and its sad fate that necessitated major visual effects. Whatever one's view of how effectively he achieved this integration, Titanic certainly drew praise for having instilled a sense of freshness and suspense into a story whose conclusion is not only foregone but globally known and for working against a nearly century-old air of tragedy and doom to open the picture with such optimism and excitement. An entire book can be written about the technical aspects of making Titanic (and several have been), so it would be unwise to try to cover more than a few highlights here: - The catastrophic rendezvous of the ship with a North Atlantic iceberg was recreated in real water by ramming a large-scale miniature of it into a miniature of the side of the ship constructed out of relatively easy-to-pierce lead. The underwater dolly carrying the iceberg replica was moved through the tank by a cable connected to a truck in the parking lot outside the studio of the special effects company Light Matters. Because of the speed and force needed to tear into the "ship," the impact was shot at 48 frames per second, allowing it to be projected back at the slower normal speed of the actual incident. - Expert model makers from Vision Crew Unlimited were contracted to create details for the extremely exact 45-foot replica of the ship. The craftsmen made lifeboats, davits (the structures used to lower the lifeboats), cranes, ventilators, and 2,000 portholes with working windows. The 14-person team had to cast many of the pieces entirely out of brass because of scale and stress issues. For example, the davits on the real boat were 20 feet high; the models were 9 feet high and quite thin but still had to be positionable and functional, able to support the weight of a lifeboat with 24 model oars in it (even though, according to the model makers, the boats were covered and the oars not seen). - Production designer Peter Lamont obtained the actual Titanic blueprints from the original shipbuilders. In the process, he discovered that the manufacturer of the ship's carpeting was still in business, so he had the firm recreate the exact patterns and colors used throughout the ship. - James Cameron himself made the first of a dozen 12,378-foot dives to the sunken ship at the start of production in the fall of 1995 to shoot the fictional salvage operation that comprises the contemporary portion of the story. Overall, Cameron said the production, with its numerous challenges, hardships, and risks, had him feeling like he was on the bridge of the actual ship. "I could see the iceberg coming far away, but as hard as I turned that wheel there was just too much mass, too much inertia," he said in an interview put together by the Academy of Achievement in Washington, DC, in 1999. "You're in this situation where you feel quite doomed, and yet you still have to play by your own ethical standards, you know, no matter where that takes you. And ultimately that was the salvation, because I think if I hadn't done that...they might have pulled the plug....We held on. We missed the iceberg by that much." Titanic also turned the spotlight on another performer, giving her first feature film appearance in eleven years and reminding the world that she was once a promising young starlet in the 1930s. As the older Rose, Gloria Stuart had her most noteworthy role since the days when she played in such movies as James Whale's The Old Dark House (1932) and The Invisible Man (1933), Busby Berkeley's Gold Diggers of 1935 (1935), and the Shirley Temple hits Poor Little Rich Girl (1936) and Rebecca of Sunnybrook Farm (1938). Stuart retired from films in 1946 to concentrate on a successful visual art career. She returned to acting in the mid-1970s when she was in her 60s, playing a number of bits and small supporting parts on television and the big screen until Cameron cast her in a role based in part on the well-known sculptor Beatrice Wood. Stuart's work earned her an Academy Award nomination as Best Supporting Actress (at 86, the oldest nominee in Academy history), although she commented in her autobiography that she might have won had not so much of her performance been cut from the final release. Following this project, she appeared as a different character in The Titanic Chronicles (1999), a recreation of the 1912 Senate hearings about the oceanic disaster. All the major actors in that production previously appeared in other movies about the Titanic. The bodies of many of the accident's victims were recovered by ships out of Halifax, Nova Scotia, and brought back there for burial. The film's success has brought floods of visitors to the gravesites. One that has caused quite a stir is marked with the name of engine room crew member J. Dawson. Cemetery workers say teenage girls are convinced the headstone marks the grave of Jack Dawson, the fictional character played by DiCaprio." - Rob Nixon, TCM From the Filmmaker Why It's the Greatest Critic Opinion "Short of climbing aboard a time capsule and peeling back eight and one-half decades, James Cameron's magnificent Titanic is the closest any of us will get to walking the decks of the doomed ocean liner. Meticulous in detail, yet vast in scope and intent, Titanic is the kind of epic motion picture event that has become a rarity. You don't just watch Titanic, you experience it -- from the launch to the sinking, then on a journey two and one-half miles below the surface, into the cold, watery grave where Cameron has shot never-before seen documentary footage specifically for this movie. In each of his previous outings, Cameron has pushed the special effects envelope. In Aliens, he cloned H.R. Giger's creation dozens of times, fashioning an army of nightmarish monsters. In The Abyss, he took us deep under the sea to greet a band of benevolent space travelers. In T2, he introduced the morphing terminator (perfecting an effects process that was pioneered in The Abyss). And in True Lies, he used digital technology to choreograph an in-air battle. Now, in Titanic, Cameron's flawless re-creation of the legendary ship has blurred the line between reality and illusion to such a degree that we can't be sure what's real and what isn't. To make this movie, it's as if Cameron built an all-new Titanic, let it sail, then sunk it. Of course, special effects alone don't make for a successful film, and Titanic would have been nothing more than an expensive piece of eye candy without a gripping story featuring interesting characters. In his previous outings, Cameron has always placed people above the technological marvels that surround them. Unlike film makers such as Roland Emmerich and Dean Devlin, Cameron has used visual effects to serve his plot, not the other way around. That hasn't changed with Titanic. The picture's spectacle is the ship's sinking, but its core is the affair between a pair of mismatched, star-crossed lovers. Titanic is a romance, an adventure, and a thriller all rolled into one. It contains moments of exuberance, humor, pathos, and tragedy. In their own way, the characters are all larger-than- life, but they're human enough (with all of the attendant frailties) to capture our sympathy. Perhaps the most amazing thing about Titanic is that, even though Cameron carefully recreates the death of the ship in all of its terrible grandeur, the event never eclipses the protagonists. To the end, we never cease caring about Rose (Kate Winslet) and Jack (Leonardo DiCaprio). As important as the characters are, however, it's impossible to deny the power of the visual effects. Especially during the final hour, as Titanic undergoes its death throes, the film functions not only as a rousing adventure with harrowing escapes, but as a testimony to the power of computers to simulate reality in the modern motion picture. The scenes of Titanic going under are some of the most awe-inspiring in any recent film. This is the kind of movie that it's necessary to see more than once just to appreciate the level of detail. One of the most unique aspects of Titanic is its use of genuine documentary images to set the stage for the flashback story. Not satisfied with the reels of currently-existing footage of the sunken ship, Cameron took a crew to the site of the wreck to do his own filming. As a result, some of the underwater shots in the framing sequences are of the actual liner lying on the ocean floor. Their importance and impact should not be underestimated, since they further heighten the production's sense of verisimilitude. For the leading romantic roles of Jack and Rose, Cameron has chosen two of today's finest young actors. Leonardo DiCaprio (Romeo + Juliet), who has rarely done better work, has shed his cocky image. Instead, he's likable and energetic in this part -- two characteristics vital to establishing Jack as a hero. Meanwhile, Kate Winslet, whose impressive resume includes Sense and Sensibility, Hamlet, and Jude, dons a flawless American accent along with her 1912 garb, and essays an appealing, vulnerable Rose. Billy Zane comes across as the perfect villain -- callous, arrogant, yet displaying true affection for his prized fiancé. The supporting cast, which includes Kathy Bates, Bill Paxton, Frances Fisher, Bernard Hill (as Titanic's captain), and David Warner (as Cal's no-nonsense manservant), is flawless. While Titanic is easily the most subdued and dramatic of Cameron's films, fans of more frantic pictures like Aliens and The Abyss will not be disappointed. Titanic has all of the thrills and intensity that movie-goers have come to expect from the director. A dazzling mix of style and substance, of the sublime and the spectacular, Titanic represents Cameron's most accomplished work to date. It's important not to let the running time hold you back -- these three-plus hour pass very quickly. Although this telling of the Titanic story is far from the first, it is the most memorable, and is deserving of Oscar nominations not only in the technical categories, but in the more substantive ones of Best Picture, Best Director, Best Actor, and Best Actress." - James Berardinelli, ReelViews User Opinion "Ive seen this film at least a 100( Iwatch it a few times every few weeks from the 1997 debut)..And its true, never has a movie moved me so much..(Though I give props to Lion king and Avatar sequences) .... Just an incredible work indeed.. And like Sigourney said when a fellow asks you to do more than just do your nails and come to work when your cues and out works everyone putting sequences together, how can you not aim to do the same. For those that understand him, james is very much loved and has a huge loyal following baumer.. Dont forget Ahnold as well:D" - @Kalel009Shel " I've watched it three times now in the last week. Twice with different commentary and then last night, just the film. The amount of care that went into this, the amount of work and the amount of research, it all paid off. The film is a wonder. The Romeo and Juliette script is fantastic but when you listen to the commentary by the two historians who worked on the film, Cameron went to great lengths to make sure he nailed every detail. The correct breed of dogs were shown in the film, the correct car, every small detail, every nuance was done to perfection. Titanic is truly, imo, one of the best films of all time. If you haven't listened to the commentary, you should give it a chance." - @baumer The Panda's Haiku I'm holding on, Jack I will never let you go Nvm, bye bye Factoids Placement on Prior Lists 2012 - 5, 2013 - 26, 2014 - 59, 2016 - 28, 2018 - 8 Director Count Steven Spielberg - 5, James Cameron - 4, Alfred Hitchock - 4, Stanley Kubrick - 4, Richard Linklater - 3, Hayao Miyazaki - 3, The Russo Brothers - 3, Martin Scorsese - 3, Lee Unkrich - 3, Brad Bird - 2, Francis Ford Coppola - 2, Alfonso Cuaron - 2, David Fincher - 2, Akira Kurosawa - 2, John Lasseter - 2, David Lean - 2, Sergio Leone - 2, John McTiernan - 2, Christopher Nolan - 2, Andrew Stanton - 2, Quentin Tarantino - 2, Roger Allers - 1, John G. Avildsen - 1, Ash Brannon - 1, Mel Brooks - 1, Frank Capra - 1, John Carpenter - 1, Damien Chazelle - 1, Ron Clements - 1, Michael Curtiz - 1, Frank Darabont - 1, Jonathan Demme - 1, Pete Docter - 1, Stanley Donen - 1, Clint Eastwood - 1, Victor Fleming - 1, Terry Gilliam - 1, Michel Gondry - 1, Peter Jackson - 1, Rian Johnson - 1, Terry Jones - 1, Bong Joon-Ho - 1, Gene Kelly - 1, Spike Lee - 1, David Lynch - 1, George Lucas - 1, Sidney Lumet - 1, Katia Lund - 1, Michael Mann - 1, Fernando Meirelles - 1, George Miller - 1, Rob Minkoff - 1, Adrian Molina - 1, John Musker - 1, Bob Persichetti - 1, Jan Pinkava - 1, Sam Raimi - 1, Peter Ramsey - 1, Rodney Rotham - 1, Ridley Scott - 1, Guillermo del Toro - 1, Gary Trousdale - 1, Orson Welles - 1, Peter Weir - 1, Billy Wilder - 1, Lana and Lilly Wachowski - 1, Kirk Wise - 1, Kar-Wai Wong - 1, Robert Zemeckis - 1 Franchise Count Pixar - 9, Cameron - 4, Marvel Cinematic Universe - 3, Scorsese - 3, Studio Ghibli - 3, Toy Story - 3, WDAS - 3, Alien - 2, Before Trilogy - 2, Nolan - 2, Spider-Man - 2, Star Wars - 2, Terminator - 2, Die Hard - 1, The Godfather - 1, Hannibal - 1, Incredibles - 1, Indiana Jones - 1, Jaws - 1, Jurassic Park - 1, The Lord of the Rings - 1, Mad Max - 1, The Matrix - 1, Monty Python - 1, Oz - 1, Predator - 1, Rocky - 1 Decade Count 1930s - 1, 1940s - 3, 1950s - 7, 1960s - 7, 1970s - 10, 1980s - 11, 1990s - 20, 2000s - 16, 2010s - 16
  11. 22 points
  12. 21 points
    It appears I was being a bit of a Joker. The clown did not in fact bring down our BOT society, this funnybook movie did. (Yes, the last entry was the troll entry that is a requirement for any list) "I am inevitable." About the Movie Synopsis "After the devastating events of Avengers: Infinity War (2018), the universe is in ruins due to the efforts of the Mad Titan, Thanos. With the help of remaining allies, the Avengers must assemble once more in order to undo Thanos's actions and undo the chaos to the universe, no matter what consequences may be in store, and no matter who they face..." Its Legacy "It’s been 11 years since the groundbreaking movie Iron Man graced theaters; since then, Marvel Studios has consistently churned out films in their own cinematic universe, some more well-received than others. The immense level of hype surrounding 2012’s The Avengers is difficult to explain in hindsight, you simply had to be there to understand it. Now, in 2019, we are slowly creeping towards the conclusion of some of our favorite big-screen Marvel heroes’ stories, and it has led some fans to reflect on their experience with the franchise. One of these fans in particular is Wiregrass high-school senior, Casey Moran. “Endgame feels like a culmination of many things, both of the franchise itself and, in a way, my childhood,” Moran explained. “Marvel movies have been a pretty big part of my life since I was in the third grade.” Marvel has been very tight-lipped with their promotion of Endgame and Moran has taken note of this. “I think that there’s a lot that could have gone wrong with the promotion of Endgame,” Moran said. “Marvel and Disney have managed to keep the most anticipated movie of all time a relative secret, and I have to commend them for that.” Despite this, fans have noticed death flags around certain characters in promotional material, and are worried for their favorite heroes. “These marathons were some of my favorite experiences; the atmosphere was incredible and it really captured the experience I had with these amazing movies,” Moran explained. Since the first trailer for Endgame was released, fan theories on the events of the film have run rampant on the internet. Moran appears aware of, and enjoys, these theories: “There are obvious ones devouring the internet lately, but I’m a big fan of the time travel theory and the fact that we’ll re-experience characters and storylines that have been in the making for years.” While it’s difficult to guess what Endgame will bring, it may be easier to guess the trajectory of the Marvel cinematic universe moving forward. “I think we’re going to switch focus onto the more recently introduced heroes moving forward,” Moran said. “I really hope that they keep the heart that has been driving these movies and fans for the past decade.”" - Avengers Endgame: the impact the MCU has had on fans From the Filmmaker "Sims: When you were on set for Infinity War and Endgame, you had all these arcs to manage at once. How do you separate the signal from the noise for the actors? Joe: You have to have a very cohesive plan. You’re making thousands of decisions a day. There are multiple filming units, there’s a whole visual-effects team, we have actors coming to us, saying, “I wouldn’t say it this way, I’d say it that way.” Our job is to collect all this information and be the arbiters of taste and provide focus for the entire process. You have to leave room for everyone else to be empowered and assist in making creative decisions. Sims: Infinity War has so much action and wrenching chaos. Endgame is a lot slower, more deliberate on the character stuff, and I appreciate that viewers got the chance to slow things down and sit with the team for a while. Is there a scene that exemplifies that new approach that you particularly enjoyed doing? Anthony: The scene that Joe was in, Cap’s counseling session [with other survivors of Thanos’s decimation]. Sims: A scene about which a studio would immediately ask, “Do we need this? Can this go?” Anthony: You are very right [Laughs]. But it was very important to us! If you have a story point where you kill half of all living things, you have to move beyond the experience of the Avengers. To have an everyman in the story at that moment, and see Cap in a sensitive moment that spoke to his history as a character and the reality he’s living in now—that was an important thing for us. Sims: For 11 years, these movies have been stand-alones that tell their own stories, but they’ve all been aimed toward Endgame. Do you think Marvel will continue that storytelling style, or will things get more diffuse now that you’ve done the big conclusion where everyone’s together? Joe: You have to find a new path forward. That was always our [pitch], which is why I think they allowed us to make these really disruptive choices. You can’t keep giving people chocolate ice cream. Sims: You have to blow up S.H.I.E.L.D. immediately after giving people S.H.I.E.L.D, in The Winter Soldier. Joe: Exactly. So I think [Marvel has] to find a new path forward in this next mega-story they’re going to tell, and I think they’re going to make some very different and surprising choices. The thing we’re most proud of is how diverse the Marvel universe will be, moving forward. The first gay hero is coming, characters of different nationalities are going to be introduced—it’s going to pull the entire world into the story. Sims: Do you have to get to the level of success that Marvel is at now to make those riskier choices that a studio might balk at earlier on in the process? In 2008, if Feige had [proposed] an African hero, a gay superhero, maybe a studio would have wavered. Is that how Hollywood always has to work—that you build up capital to spend it on “riskier” stuff? Anthony: When we were in the edit room on The Winter Soldier, I remember Kevin walking in one day and putting a hand on us and saying, “Can you believe that we’re getting away with making a political thriller as a superhero movie?” Because of the success of the series, we’re all empowered to make decisions that you may not have been able to before. There’s a cycle happening there, because when you make those choices, it surprises audiences worldwide, if you tell the stories well. You’re being very noisy as a storyteller, and that feeds the beast even more. Joe: Black Panther was perhaps one of the more significant cultural events in movie history. That only emboldens the studio to keep moving forward. You’d hope that decisions would be made irrespective of the financials, but ultimately it is called show business, and things are driven by dollars and cents. What’s great about audiences today is that voices can be heard, and people can collectively ask for things from their storytellers and receive them." - Sims interviews The Russo Brothers Why It's the Greatest Critic Opinion "The previous Avengers movie, Infinity War, stunned believers and unbelievers alike with its sheer stupendous scale, and that devastating ending in which the evil Thanos appeared to have gained victory by getting hold of all six of the Infinity Stones, causing a crumbling-to-dust of many key players: a terrible cosmic loss, irreparable, irreversible, surely? We were of course promised wild new surprises with this colossal climactic movie in the Marvel Cinematic Universe, written by Christopher Markus and Stephen McFeely and directed by the Russo brothers, Joe and Anthony. But would these surprises be .... new ways of coming to terms with the unchangeable disaster? Unexpected coping strategies? Novel means of simply accepting the Avengers’ stunningly permanent defeat? Or could it be … something else? Paul Rudd, who plays Ant-Man, was challenged on TV about the possibility of his character shrinking to a tiny size, flying into some convenient orifice of the evil Thanos, and then grossly enlarging himself to make the great villain go splat like Mr Creosote. Rudd declined to be drawn. Well, I won’t disclose how things progress here, other than to say it allows the main players to revisit some of the scenes of their most spectacular franchise triumphs. And I have to admit, in all its surreal grandiosity, in all its delirious absurdity, there is a huge sugar rush of excitement to this mighty finale, finally interchanging with euphoric emotion and allowing us to say poignant farewells. But part of this movie is about how Thor comes to terms with the memory of his mother, Frigga (Rene Russo), and also in fact how Tony Stark achieves closure on the subject of his dad, Howard (John Slattery). And there are many more characters and subordinate narrative arcs to absorb. The poster is not an infallible guide. It is, as ever, a huge intricately detailed and interlocking mosaic of figures within that strange Avengers universe, which uniquely (and bizarrely) combines both the mythic and the contemporary – and which is here the stage for a Tolkienian quest. Avengers: Endgame is entirely preposterous and, yes, the central plot device here does not, in itself, deliver the shock of the new. But the sheer enjoyment and fun that it delivers, the pure exotic spectacle, are irresistible, as is its insouciant way of combining the serious and the comic. Without the comedy, the drama would not be palatable. Yet without the earnest, almost childlike belief in the seriousness of what is at stake, the funny stuff would not work either. As an artificial creation, the Avengers have been triumphant, and as entertainment, they have been unconquerable." - Peter Bradshaw, The Guardian User Opinion "My audience screamed so loud I thought the roof would blow. It was magic. It was such a strange, euphoric experience that I doubt I will ever recreate in a movie theater. What is the greatest cinematic experience of my life? Getting to see, and feel, and hear pure joy. I love this movie. I could easily write another 5k squee fest scene-by-scene breakdown on how much I love this movie. I even wonder if my years of being Officially Over It regarding the MCU made me love it more. I love that the Wakanda Battle Sequence and Avengers Assemble Battle Sequence have the exact same beats; there's such satisfaction in knowing "I have watched this before and watched them loose, but now because they're working together, they're going to win." I love how everything feels like such a natural progression, so that when Tony Stark "is the one to lie down on the wire" and Steve Rogers is the one to "cut the wire" it makes complete sense. I love that use the Time Heist sequence to playfully balance shameless fan service and showing off how these characters have changed/evolved over the twenty-two movie arc. It was absolutely my favorite movie of the year. It might even be my favorite movie of the decade… LOL JK Winter Soldier #1 4EVA. It is the capstone to a truly monumental piece of work. Whether you just want to call it a production factory, or the greatest television series of all time, or natural step in comic book episodic storytelling, the staggering work, dedication, and faith in their proof of concept that Kevin Feige, Louis D'Esposito, Victoria Alonso, and everyone at Marvel Studios displayed over the past 10 years is remarkable. The truly mind-blogging 357M domestic opening weekend, and 1.2 Billion Global Total Opening Weekend is something we'll likely never see again. Not for a very, very long time unless a Chinese film blows up. Avengers: Endgame could be the crescendo of Kevin Feige's cinematic symphony or only the end of its first movement. Who knows what will happen in the next decade? Hell, who knows if we'll even be here in the next decade? (LMFAO, Note: I wrote this before COVID, so that's extra funny to me.) All I know is that for one crazy weekend in April, everyone in the world went to the cinema." - @Cap The Panda's Haiku The joke's on you BOT Endgame made it not Joker Trololololol Factoids Placement on Prior Lists 2012 - n/a, 2013 - n/a, 2014 - n/a, 2016 - n/a, 2018 - n/a Director Count The Russo Brothers - 3, Alfonso Cuaron - 2, Richard Linklater - 2, John McTiernan - 2, Lee Unkrich - 2, Mel Brooks - 1, James Cameron - 1, Damien Chazelle - 1, Ron Clements - 1, Clint Eastwood - 1, David Fincher - 1, Michel Gondry - 1, Rian Johnson - 1, David Lean - 1, Akira Kurosawa - 1, Hayao Miyazaki - 1, Adrian Molina - 1, John Musker - 1, Bob Persichetti - 1, Peter Ramsey - 1, Rodney Rotham - 1, Martin Scorsese - 1, Billy Wilder - 1, Kar-Wai Wong - 1 Franchise Count Before Trilogy - 1, Cameron - 1, Die Hard - 1, Marvel Cinematic Universe - 3, Pixar - 2, Predator - 1, Scorsese -1, Spider-Man - 1, Star Wars - 1, Studio Ghibli - 1, Terminator - 1, Toy Story - 1, WDAS - 1 Decade Count 1950s - 1, 1960s - 1, 1970s - 1, 1980s - 5, 1990s - 2, 2000s - 4, 2010s - 11
  13. 21 points
  14. 21 points
    Birds of Prey 11.85 Bad Boys for Life 5.50 1917 4.25 Dolittle 3.10 Jumanji: The Next Level 2.70 The Gentlemen 1.85 Gretel And Hansel 1.65 Knives Out 1.13 Little Women 1.12 Star Wars: The Rise of Skywalker 1.10
  15. 20 points
    Hello, old friends. Hope you are all healthy and happy as can be in this time of pandemic. Speaking of, pandemic or not, the industry was largely headed for a self-made hell for the last 7-10 years. The good and bad news is that theaters will survive. The good is obvious. The bad is murky. Mostly the industry will need to be bailed out by studios and large tech companies like Amazon, Apple, Netflix and others. It is already happening. There are things in the works that will blow your mind. Amazon will absolutely own one of the larger chains and likely a smaller dine-in type chain as well. It will be a loss leader to drive Prime membership similar to what they have done with Whole Foods. Studios with resources will either move on their own or with strategic partners to cut out the middle man. The very, very bad of the industry is that at least for the next year or longer programming will be the definition of stale. My personal prediction is that pretty much EVERYTHING is moving from 2020. Not such a bad thing as with many productions shut down or delayed, the content can slide into 2021 and fill large gaps. The win/win for the studios and consumers is that straight to VOD/streaming/PPV or whatever you want to call it is here to stay. Mid-budget movies are thriving. Creative freedom to take chances that aren't considered failures because the opening weekend wasn't large enough is a thing of the past. It allows things like The Old Guard, Greyhound, Extraction and others become actual hits. Forget 2020 and gear up for 2021. The industry will be back, it will take some time and look different, but theatrical is here to stay.
  16. 20 points
    It begins! Apologies to those in whom I may have created false expectations by claiming the scoring process would take me "a few days," I myself have learned the hard way that this was... unrealistic. But the results are here, and hopefully you will find them worth your time. Some relevant stats, trivia and observations: 49 lists were submitted and calculated 830 different films received points No film appeared on 75% of the lists My hope for the tiered scoring system I worked out for this countdown was that it would keep people's favorites in their individual lists close enough together without leading to the final list having, say, eight movies with the same score, and depending on one's POV, it ended up working either perfectly or a little too well: there are few ties but a whole lot of freakishly close calls that could have gone differently had one more list been submitted, or even had one of you felt like putting something at, say, #18 as opposed to #19. It made a lot of outcomes during scoring unpredictable until the very end, a feeling that I think will translate to the reveal process as well. When films did tie in points, ties were broken based on the number of lists they appeared in, with films that received broader support ranking higher. When films tied in both points and lists, I chose to keep them tied (note that this is mostly only relevant to films outside the top 100), but I'll provide info re: #1 placements, top 5 placements and top 10 placements for context. With that said... let's get this show on the road.
  17. 20 points
  18. 20 points
  19. 20 points
    At this time, Sonic is outpacing Detective Pikachu by 30%,
  20. 20 points
  21. 20 points
    Quick update. in just 2 hours at Empire 25 Birds of Prey is at 659/7910(38 shows). That is super strong start. As I said Joker sold 1000+ tickets on 1st day. That said its not close to Joker overall though its PS start is strongest I have seen minus SW9/Joker. It has started with 1224 shows at MTC1 and 1259 at MTC2. Not very big but it will go up big time next tuesday. I am expecting at least 4000-5000 shows between the 2 MTC. Target previews should be 8m. but its early days yet.
  22. 19 points
  23. 19 points
    "I'll be back." About the Movie Synopsis "Sent back from a dystopian 2029--where the cold machines have conquered the entire world--to 1984 Los Angeles, the indestructible cyborg-assassin known as the "Terminator" commences his deadly mission to kill humankind's most important woman: the unsuspecting, Sarah Connor. However, from the same war-torn post-apocalyptic future comes a battle-scarred defender--Kyle Reese, a brave soldier of the human Resistance Army--bent on stopping the cybernetic killer from eliminating the world's last hope. But, the Terminator has no feelings, he doesn't sleep, and above all, he won't stop until he carries out his grim task. Does our future lie in our past?" Its Legacy "Thirty years ago, a killing machine from 2029 — assuming the form of an Austrian bodybuilder — arrived with a lethal directive to alter the future. That he certainly did. The Terminator, made for $6.4 million by a couple of young disciples of B-movie king Roger Corman, became one of the defining sci-fi touchstones of all time. Its $38 million gross placed it outside of the top-20 box-office releases for 1984, yet the film grew into a phenomenon, spawning a five-picture franchise that’s taken in $1.4 billion to date and securing a place on the National Film Registry, which dubbed it “among the finest science-fiction films in many decades.” The movie launched the career of James Cameron, who went on to direct the top two box-office earners of all time, Avatar and Titanic. It also boosted Arnold Schwarzenegger, whose monotone delivery and muscle-bound swagger made a cyborg assassin the height of cool. The actor, now filming next summer’s Terminator: Genisys in New Orleans, took a break to reminisce about his most indelible role. Settling for a landline call after four failed attempts to FaceTime — the former California governor’s favorite mode of communication — Schwarzenegger quipped, “Obviously we need James Cameron to provide the technology to link us.” His Terminator comrades also shared their memories via phone — just like it was 1984 again." - The Terminator at 30: An Oral History, Joe McGovern From the Filmmaker DEATH METAL NIGHTMARE It all started in 1981 with a dream. Cameron, then a 26-year-old model maker and art director for Corman, was in Rome attempting to get his name off the ignominious Piranha II: The Spawning, a low-rent horror sequel he had directed for five days before being fired. JAMES CAMERON (director-coscreenwriter) Nightmares are a business asset; that’s the way I look at it. I was sick, I was broke, I had a high fever, and I had a dream about this metal death figure coming out of a fire. And the implication was that it had been stripped of its skin by the fire and exposed for what it really was. When I have some particularly vivid image, I’ll draw it or I’ll write some notes, and that goes on to this day. Returning to Los Angeles, Cameron showed his sketches to Gale Anne Hurd, a 26-year-old Corman assistant. She would soon become, in succession, Cameron’s writing partner, producer, wife, and ex-wife. CAMERON Gale was working for Roger on a movie called Humanoids From the Deep, and they were doing reshoots of some teenagers in a pup-tent getting raped by slimy creatures from the swamp. She was young and supersmart. I showed her what I was working on, and she thought it was pretty cool. GALE ANNE HURD (producer-coscreenwriter) He told me about the dream he had of the metal endoskeleton, and the whole story came together as a result of that stirring image. CAMERON We both were committed to the same principle. It could be shot out in the streets of L.A., cheaply, guerrilla-style, which is how I was trained by Roger Corman. And it involved visual effects elements that I could bring to the table that another director couldn’t and do them economically, because I knew all those tricks. HURD We had what we called a scriptment. It was 40 pages, single-spaced typed. We batted ideas back and forth and always kept in mind that if we wanted to not only sell this script but produce and direct, it had to be at a budget level that wasn’t intimidating to investors. THE WAR ZONE Crucial to both Cameron and Hurd were the ideas of a strong heroine — hence Sarah Connor, a waitress who is targeted by the Terminator because she will give birth to a rebel leader — and an annihilated future world. HURD For me and Jim, always, was the idea that heroic people are the ones who least expect to be heroes. There’s a tradition of male characters who go to war, who are in the boxing ring, who rise to be the corporate titan, you name it. But Jim has always found women to be the more compelling parts to write. Culturally, they’re the ones who feel less equipped, because that’s what society tells them. CAMERON People think that I was a typical male director who was brought to task by a strong female producer and forced to do these themes. But they have connected the dots in the wrong way. My respect for strong women is what attracted me to Gale. It’s what made me want to work with her. Ultimately, it’s what made me want to be married to her. When we went into [1989’s] The Abyss, we were already divorced but we still wanted to work together because we knew how strong the creative partnership was. MICHAEL BIEHN (Kyle Reese): In preparation for the film I’d read a book about the guys that held out in Warsaw during World War II. When they were killing all the Jews or taking them away and putting them on trains, there was a bunch of Jewish guys who were hiding in the rubble. And they fought the Germans against insurmountable odds, like 30 or 40 of them, some women, some children. That grittiness and that mentality — that there’s no time for love or tenderness or music or religion, there’s only time for survival. I said to myself, “This is where this guy came from. This is how he would feel.” HURD Being of Jewish descent, of course I also read all those things. I don’t think we explicitly wanted to say that this future world was inspired by stories of living underground in Warsaw. But on the other hand, whatever I read as historical fact was going to influence our work by virtue of the verisimilitude of that experience and how profound it was. It’s that same kind of a violent harrowing experience. CAMERON The Terminator themes had been important to me since high school. Those apocalyptic visions, ideas about our love/hate relationship with technology, our tendency as a species to move in a direction that might ultimately destroy us, and a central faith in the resourcefulness of humanity. And those are motifs that have gone through all my films — Titanic has a lot in common with Terminator for those reasons." - The Terminator at 30: An Oral History, Joe McGovern Why It's the Greatest Critic Opinion "The strangest realization you’ll have re-watching James Cameron’s The Terminator is that it’s a low-budget film. That feels surreal, considering the legacy this film has cemented in sci-fi and action cinema, let alone making Arnold Schwarzenegger the 1980’s most bankable Hollywood star. But The Terminator is just that: a B-movie premise that Cameron’s masterful vision and memorable characters transformed into an A-list thriller. And more than thirty years later, the film holds up remarkably well. Mostly. The Terminator was a gamble for Cameron. With only Piranha II: The Spawning under his belt at the time, Cameron sold his script- conceptualized from a nightmare of a killer machine attacking him- for a dollar in exchange for being put in the director’s chair director. A mish-mash of gritty sci-fi, John Carpenter’s Halloween and the dystopian landscape of Mad Max, the film’s narrative genius was its time-travel component. In The Terminator, Los Angeles waitress Sarah Connor (Linda Hamilton) finds herself hunted by the Terminator (Schwarzenegger), a cybernetic assassin disguised under a layer of human skin who’s been sent back to 1984 from the dystopian, robot-ruled future of 2029. Sarah’s only salvation lies in Kyle Reese (Michael Bien), a human resistance soldier sent from that future to protect her, or rather her unborn son John, who will eventually grow up to lead the Resistance against the machines. Most moviegoers familiar with Schwarzenegger’s action hero status, especially post-T2, will probably find his role in The Terminator slow-paced by comparison. More importantly, they’ll find it scary. Upon arriving in the present, the Terminator’s first act is to rip out the heart of a punk who won’t give him some clothes. When he needs to self-repair, he peels back synthetic tissue on his arm to reveal mechanical gears and wires covered in blood. And once the mechanical exoskeleton rise from an explosion like Frankenstein’s monster, it really feels like this creature is unstoppable. Equally unique is the mystery surrounding the film’s first act. Until Reese tells Sarah about the future she’s destined to birth, the audience is relatively in the dark about what’s going on. As the Terminator goes on a killing spree against random Sarah Connor’s across L.A., hoping he’ll get the right one eventually, it’s clear our Sarah is being targeted, but for what? The answer’s obvious now, but this Sarah Connor isn’t the weapons expert mom from T2 who regularly tops “Best Female Character” lists. This is an ordinary woman with a roommate and a lackluster job who’s gotten caught in some greater futuristic war beyond her comprehension. Sarah’s arc is about growing into the fighter she’s destined to become. This emphasis on characterization is something the post-T2 films have unfortunately downplayed in favor spectacle and revisiting franchise high points. Because of the film’s cat and mouse pursuit, we’re made to spend time with Connor and Reese as they gradually grow closer together. It’s great character development that also builds on film’s paradoxical sci-fi moments, turning John’s birth and Kyle’s relationship with Sarah into a self-fulfilling act. Ironically, Terminator’s inevitability of history would be completely rejected in the sequel, still the better film in my opinion." - Ben Wasserman, mxwdn User Opinion "Cameron's best by quite some margin. The ultimate chase movie." - @The Stingray The Panda's Haiku Ready for the hunt Coldly picking up the gun Hasta la vista Factoids Placement on Prior Lists 2012 - 28, 2013 - 91, 2014 - 83, 2016 - 81, 2018 - 68 Director Count Alfonso Cuaron - 2, Richard Linklater - 2, John McTiernan - 2, Lee Unkrich - 2, Mel Brooks - 1, James Cameron - 1, Damien Chazelle - 1, Clint Eastwood - 1, David Fincher - 1, Michel Gondry - 1, Rian Johnson - 1, David Lean - 1, Akira Kurosawa - 1, Hayao Miyazaki - 1, Adrian Molina - 1, Bob Persichetti - 1, Peter Ramsey - 1, Rodney Rotham - 1, The Russo Brothers - 1, Martin Scorsese - 1, Kar-Wai Wong - 1 Franchise Count Before Trilogy - 1, Cameron - 1, Die Hard - 1, Marvel Cinematic Universe - 1, Pixar - 2, Predator - 1, Scorsese -1, Spider-Man - 1, Star Wars - 1, Studio Ghibli - 1, Terminator - 1, Toy Story - 1 Decade Count 1950s - 1, 1970s - 1, 1980s - 5, 1990s - 1, 2000s - 4, 2010s - 9
  24. 19 points
  25. 19 points
  26. 18 points
  27. 18 points
  28. 17 points
    Amazing. Imagine keeping an alt in storage for 2 and a half years just in case and then getting discovered after two posts because you just... can't help but be yourself.
  29. 17 points
    "Only grown-up men are scared of women." Historical Setting: 1938 Salzburg, Austria Source from the Period "The excitement of the first Sunday in Advent had hardly died down when the sixth of December came around, one of the most momentous days for all houses where little children lived. On the vigil of this day Saint Nikolaus comes down to earth to visit all the little ones. Saint Nikolaus was a saintly bishop of the fourth century, and being always very kind and helpful to children and young people, God granted that every year on his feastday he might come down to the children. He comes dressed in his Bishop’s vestments, with a mitre on his head and his Bishop’s staff in his hand. He is followed, however, by the Krampus, an ugly, black little devil with a long, red tongue, a pair of horns, and a long tail. When Saint Nikolaus enters a house, he finds the whole family assembled, waiting for him, and the parents greet him devoutly. Then he asks the children questions from their catechism. He has them repeat a prayer or sing a song. He seems to know everything, all the dark spots of the past year, as you can see from his admonishing words. All the good children are given a sack with apples and nuts, prunes and figs, and the most delicious, heavenly sweets. Bad children, however, must promise very hard to change their life. Otherwise, the Krampus will take them along, and he is grunting already and rattling his heavy chain. But the Holy Bishop won’t ever let him touch a child. He believes the tearful eyes and stammered promises, but it may happen that, instead of a sweet bag, you get a switch. That will be put up in a conspicuous place and will look very symbolic of a child’s behavior.” - Maria Augusta von Trapp, The Story of the Trapp Family Singers Historical Context "In July 1934, Chancellor Engelbert Dollfuss was assassinated by Austrian Nazis, as part of a failed coup. The Christian Social party came out of the civil war victorious, and the place of Dollfuss was taken by Kurt Schuschnigg, who abolished other parties and imposed a semi-fascist regime on the country. The question of union with Germany remained alive, however, and the Nazis maintained a constant campaign of terror against the Christian Social regime. In 1936, Schuschnigg agreed to end the ban of the Nazi party in Austria and accepted Nazis into his cabinet. This did not satisfy Adolf Hitler, who upped his demands for incorporation of Austria into the Reich – part of a general foreign policy of Heims in Reich, literally, “home into the Reich,”, which called for bringing ethnic Germans living beyond the country’s borders under German sovereignty. In practice, this would include annexation of Austria, western Poland and Czechoslovakia’s Sudetenland. This was the prelude to the Anschluss, which was greeted by vocal protests from the United Kingdom and the United States, as well as the Vatican, but not much more. On March 12, when German forces crossed the border into Austria, they faced no resistance, and were greeted with flowers. That same afternoon, Hitler arrived, crossing into the country at Braunau, his birthplace. Over the next few days, he toured the country, with the climax of his visit taking place in Vienna on March 15, where he appeared at a rally before some 200,000 people at the Heldenplatz. A month later, a plebiscite on incorporation was held, and 99.7 percent of the population voted to approve. (By that time, some 70,000 potential dissenters had been rounded up and imprisoned.)" - David B. Green, Haaretz Historical Accuracy "While The Sound of Music was generally based on the first section of Maria's book The Story of the Trapp Family Singers (published in 1949), there were many alterations and omissions. Maria came to the von Trapp family in 1926 as a tutor for one of the children, Maria, who was recovering from scarlet fever, not as governess to all the children. Maria and Georg married in 1927, 11 years before the family left Austria, not right before the Nazi takeover of Austria. Maria did not marry Georg von Trapp because she was in love with him. As she said in her autobiography Maria, she fell in love with the children at first sight, not their father. When he asked her to marry him, she was not sure if she should abandon her religious calling but was advised by the nuns to do God's will and marry Georg. "I really and truly was not in love. I liked him but didn't love him. However, I loved the children, so in a way I really married the children. There were 10, not 7 von Trapp children. The names, ages, and sexes of the children were changed. The family was musically inclined before Maria arrived, but she did teach them to sing madrigals. Georg, far from being the detached, cold-blooded patriarch of the family who disapproved of music, as portrayed in the first half of The Sound of Music, was actually a gentle, warmhearted parent who enjoyed musical activities with his family. While this change in his character might have made for a better story in emphasizing Maria's healing effect on the von Trapps, it distressed his family greatly. The family did not secretly escape over the Alps to freedom in Switzerland, carrying their suitcases and musical instruments. As daughter Maria said in a 2003 interview printed in Opera News, "We did tell people that we were going to America to sing. And we did not climb over mountains with all our heavy suitcases and instruments. We left by train, pretending nothing." The von Trapps traveled to Italy, not Switzerland. Georg was born in Zadar (now in Croatia), which at that time was part of the Austro-Hungarian Empire. Zadar became part of Italy in 1920, and Georg was thus an Italian citizen, and his wife and children as well. The family had a contract with an American booking agent when they left Austria. They contacted the agent from Italy and requested fare to America." - US National Archives The Film Itself The Story "Maria (Dame Julie Andrews) had longed to be a nun since she was a young girl, yet when she became old enough discovered that it wasn't at all what she thought. Often in trouble and doing the wrong things, Maria is sent to the house of retired Naval Captain Georg Von Trapp (Christopher Plummer), to care for his children. Von Trapp was widowed several years before and was left to care for seven "rowdy" children. The children have run off countless governesses. Maria soon learns that all these children need is a little love to change their attitudes. Maria teaches the children to sing, and through her, music is brought back into the hearts and home of the Von Trapp family. Unknowingly, Maria and Captain Von Trapp are falling helplessly in love, except there are two problems, the Captain is engaged, and Maria is a postulant." Critic Opinion "For the story of the Von Trapp family singers, of the events leading up to their becoming a top concert attraction just prior to World War II and their fleeing Nazi Austria, Wise went to the actual locale, Salzburg, and spent 11 weeks limning his action amidst the pageantry of the Bavarian Alps. Ted McCord catches the beauty and fascination of the terrain with his facile cameras, combining the splendor of towering mountains and quiet lakes with the Old World grace of the historic City of Music, a stunning complement to interiors shot in Hollywood. Against such background the tale of the postulant at Nonnberg Abbey in Salzburg who becomes governess to widower Captain Von Trapp and his seven children, who brings music into a household that had, until then, been run on a strict naval office regimen, with no frivolity permitted, takes on fresh meaning. Richard Rodgers composed two new songs for the picture, for which he also wrote the lyrics, as he did with added numbers to the remake of “State Fair.” Pair, “I Have Confidence In Me,” sung by Miss Andrews, and “Something Good,” an Andrews-Plummer duet, replace three songs from the original stage show which didn’t blend well into changes made by Lehman in the libretto. While neither is as catchy, perhaps. As certain of the other songs. Both are made into interesting numbers. Of particular interest is the sequence simulating part of the famous Salzburg Festival and actually shot in the spectacular Felsenreitschule, or Rocky Riding School. The stage of the vast amphitheatre is backgrounded by scores of arched tunnels carved out of the rocky mountain that surrounds the city and it forms an impressive backdrop for the climactic scenes of the film, which show the Von Trapp family making their escape after an appearance onstage while storm troopers are waiting for them in the audience." - Whitney Williams, Variety BOT User Opinion "Emotional, gripping and having something to say would be qualities that I seek in movies and Sound of Music final 40 minutes has that in spades." - @Goffe Factoids The Sound of Music was directed by Robert Wise. It received 36 points and 6 votes Countries Represented: Austria (1), England (1), France (1), Israel (1), Japan (2), Spain (1), United States (3) Time Periods Represented: 16th Century (1), 17th Century (1), 19th Century (1), 21st Century (1), Classical Period (1), Middle Ages (1), World War 1/1910s (1), World War 2/1940s (3) Cross Section of Times and Countries: 19th Century - United States (1), 21st Century - United States (1), Classical Period - Israel (1), Middle Ages - England (1), Sengoku Period - Japan (1), Tokugawa Shogunate - Japan (1), World War 1 - France (1), World War 2/1940s - Spain (1), World War 2 - Austria (1), World War 2 - United States (1) Directors Represented: David Fincher (1), Anthoney Harvey (1), Terry Jones (1), Masaki Kobayashi (1), Akira Kurosawa (1), Penny Marshall (1), Sam Mendes (1) Steven Spielberg (1), Guillermo Del Torro (1), Robert Wise (1) Decades Represented: 60s (3), 70s (1), 80s (1), 90s (1), 00s (1), 10s (3)
  30. 17 points
  31. 17 points
    Following the news about America in these last few days ... i dont care if i get banned for saying this but Trump, his administration and literally the majority of Republican leaders are outright criminals and should be put in jail. They dont care about their country or their people, they only care about votes and money. Absolute fucking scum.
  32. 17 points
    an R rated Gotham City Sirens with Harley Quinn & Poison Ivy eating each other out would have been epic
  33. 16 points
    "Whoever saves one life, saves the world entire." About the Movie Synopsis "Oskar Schindler is a vain and greedy German businessman who becomes an unlikely humanitarian amid the barbaric German Nazi reign when he feels compelled to turn his factory into a refuge for Jews. Based on the true story of Oskar Schindler who managed to save about 1100 Jews from being gassed at the Auschwitz concentration camp, it is a testament to the good in all of us." Its Legacy "When I first heard that Steven Spielberg was set to make a film version of Thomas Keneally's “Schindler's Ark”” the special 10th anniversary of edition of “Schindler's List” comes out this week” I worried. I feared that in the story of Oskar Schindler, Spielberg, like Keneally, had found a gentile prism, rather than a Jewish one, through which to tell the horrific events of the Holocaust era. Although Oskar Schindler saved more than 1,000 Jewish lives during the Holocaust, there were many aspects of his story that bothered me. There was something offensive about the paternalistic attitude of Schindler toward “his Jews.” Conversely, the devotion of the Schindlerjuden to him, basically supporting him for the rest of his life, seemed like an unhealthy Stockholm syndrome-like reaction. But that was not my biggest concern. I worried that the story of Schindler would be misleading, that the emphasis would be on Schindler and not the Jews. “For one Oskar Schindler, how many collaborators were there?” Elie Wiesel once wrote in TV Guide. Schindler and the others deemed “the Righteous” and “the Just” stand out because they were the exceptions to human behavior during those dark years. As Wiesel noted, in his own Holocaust experience there were no Schindlers: “None of the Just crossed my path during the war. None of our Christian neighbors in my small village of Sighet, in Romania, risked his life to take in, to hide, to rescue a Jewish child or Jewish friend.” I worried that the story of Schindler, rather than showing the truth of what occurred, would create a dangerous myth: That not only were non-Jews in Poland not complicit in the murders, but regular people, Nazi Party members like Oskar Schindler, saved Jews — Jews who were too weak, too powerless, too lacking in any heroism to even save themselves. This would be a slur on the survivors and a second death for the murdered. Such is the problem of making an example of the exceptional. Then I saw the film and all my reservations disappeared. I succumbed to the power of the movie making. It was as if Spielberg had used all the tools at his disposal to tell a compelling and engrossing story. He checked his ego at the door and let the story be the star. It was an amazing achievement: Spielberg used Liam Neeson as the handsome gentile to seduce the audience into caring, much as Schindler seduced the Nazis into saving lives. It was a valid way, even a commercial way, to tell the story of the Holocaust. For once he had not made a Spielberg film. For that he received an Oscar. For that the film went on to make a fortune. Spielberg used the money to fund the Survivors of the Shoah Foundation once again, reaching beyond himself to make something that would have a lasting impact on others. But I still didn't grasp the full impact of the film until that evening in my hotel room in Ukraine. Annette Insdorf, author of “Indelible Shadows: Film and the Holocaust,” the definitive and essential tome on the subject, feels “Schindler's List” also made it easier for Holocaust films to get made, because, as she wrote me by e-mail, “despite the difficult subject matter, hefty running time and choice of black and white, it had both commercial and critical success.” In the recently published third edition, which looks to be about three times as thick as the first, Insdorf notes that since her last update in 1989, she's seen approximately 170 Holocaust-related films. As she notes in her introduction to the third edition, “The number of cinematic reconstructions” fictional as well as documentary is staggering. They both reflect and contribute to the fact that awareness has replaced silence about the Shoah.” Further, in founding the Survivors of the Shoah Visual History Foundation, Spielberg has dramatically increased our storehouse of knowledge. The recording of 52,000 Holocaust survivors™ testimonies is a great accomplishment, a monumental resource for historians, students” it gives succor and satisfaction to Holocaust survivors and their families, that their experiences are recorded for history for posterity. At best it gives lie to the intention of the Nazis and their henchmen that their crimes and the lives they plundered would be forgotten, would disappear like the ashes dispersed to the wind from the crematoria chimneys at Auschwitz and the other extermination camps. Ten years after the release of “Schindler's List” our knowledge is wider, but is it deeper? What has “Schindler's List” taught us? Certainly, Spielberg has said that the movie shows how one person can make a difference. But that speaks to the good in man. What does “Schindler” teach us about evil? As concerns the Shoah, itself, the search for meaning must remain elusive. The words of Pinhas Epstein, a survivor of Treblinka, still ring in my ears: “Whoever was in Treblinka, will not go out of it, and whoever was not in Treblinka, will not go into Treblinka.” The Holocaust is not a thing to be understood. It is an event to be remembered. It can serve as inspiration, as lesson, as reminder, as a spur" but even the survivors themselves who experienced it are at a loss to understand it. Even more difficult, we must ask some tough questions: What good has it done to have released “Schindler's List” all over the globe in the last decade? To what end? It is a curious coincidence that even as “Schindler's List” is released on DVD and its 10th anniversary is celebrated, the media has been headlining the subject of the power of film to foster anti-Semitism rather than extinguish it. “The Passion” is the 800-pound elephant in the room. No one brings it up in public, but when I mention the 10th anniversary of “Schindler” to friends, they bring up “The Passion.” As if “The Passion” is payback or backlash for years of Holocaust films. As if “The Passion” were saying: “You've had your turn making important Holocaust films, now I want to tell you the most important story for the Christians — one as horrific and violent as anything that occurred during World War II. A story that the world needs to hear, know and see. A story that many people, to this day, denied occurred.” As if “The Passion” is not so much anti-Semitic as it is pro-Christian, and anti-Jewish. “The Passion,” you see, is not a film about the Christ killers. Instead, it is a film that responds to the Christ deniers. Because that's who the Jews are: The people who deny that Christ is the messiah. Crazy? Sure. That's why I write “As if.” But it does bring me back to my point: What 10 years later is the impact of “Schindler's List”? To answer that question, I watched “Schindler's List” again, this time on DVD. I was more aware of the film's artistry this time” which Insdorf details with great precision in her book. What Schindler accomplished did not seem possible: women arrived at Auschwitz, were there in fact for three weeks and Schindler was able to rescue them. It was true but never did fact seem more like fiction. Finally, I was struck by the moral universe presented in “Schindler's List.” In Schindler we are presented with absolute evil” embodied in Amon Goeth and witnessed by the liquidation of the Krakow ghetto; and absolute good” in the words of Itzhak Stern, “The list is life.” In between the two is a world of moral ambiguity. Sid Sheinberg, the former MCA executive who first brought the novel “Schindler's List” to Spielberg's attention, told me this week that for him the essential drama of the movie is simply: “Why did he do it?” Schindler, a Nazi Party member and war profiteer, loves wine, women and fine food. He appears to be amoral in every way. Then I recalled a peculiarity of Jewish belief” the yetzer harah, or evil inclination. As Rabbi Joseph Telushkin explains in “Jewish Literacy,” Jewish tradition would have us born with the evil impulse, while the impulse to be good and altruistic, the yetzer hatov is thought to be a learned trait.” As Jewish lore reminds us on several occasions, the evil impulse (ego, envy, lust) has often fueled great accomplishments, even good deeds. This is the story of “Schindler's List,” I realized: How greed, wine, women, lies and bribes saved Jewish lives. Schindler saved Jews by appealing to people's basest impulses. It now appears that we were wrong to think that a movie, even one as powerful as “Schindler's List,” would rid us of Holocaust deniers, or even reduce anti-Semitism. That is not the way the world works. The evil impulse is always among us. However, we must never forget that one Schindler can subvert the evil inclination, and induce people to accomplish great things. That is man's challenge and our never-ending struggle. And, 10 years later, the lesson of “Schindler's List.” - Tommy Wood, Jewish Journal From the Filmmaker Why It's the Greatest Critic Opinion "Steven Spielberg has made his own Holocaust museum. In Schindler’s List (Universal), an adaptation by Steven Zaillian of Thomas Keneally’s book, Spielberg has created a 184-minute account of the fate of Kraków’s Jews under the German occupation, centered on the German businessman and bon vivant, Oskar Schindler, who devised a ruse to save 1,100 Jews from the Auschwitz ovens. A closing note tells us that in Poland today there are fewer than 4,000 Jews but in the world there are 6,000 “Schindler Jews,” survivors and descendants. For this film Spielberg has done the best directing of his career. Much of his previous work has been clever and some of it better than that, but Schindler’s List is masterly. He has, with appropriate restraint, shot it in black and white (except for two closing sequences in color). Janusz Kaminski’s superb cinematography uses shadows like prosody—illuminates with shadows. Michael Kahn has edited with intensity and line, never breathless, always fast. (One demurral: the intercutting between a Jewish wedding in a camp, a wild German officers’ party and a German officer’s boudoir romp is heavy.) John Williams has arranged a score, with Itzhak Perlman doing violin solos, that for the most part is quiet: Jewish melodies on woodwinds or a small children’s chorus under scenes of inhumanity. Spielberg has not used one trite shot, one cheap tear-jerking assemblage. Tears are evoked, but honorably; his aim was to make a film that gripped us with authenticity. To this end he often uses newsreel angles and newsreel cutting. Yet he is not band-held-camera nutty: where a panorama is needed--Jews in a long street assembling for deportation, Jews in a (seemingly) mile-wide file coming over a great field toward liberation--he understands how to present it and leave it alone. (Most of this picture was filmed in Poland.) Imagination, talent, commitment shine in every flame. This film is a welcome astonishment from a director who has given us much boyish esprit, much ingenuity, but little seriousness. His stark, intelligent style here, perfectly controlled, suggests that this may be the start of a new period in Spielberg’s prodigious career." - Stanley Kauffmann, The New Republic User Opinion "Appropriate that my first review on the new site should be dedicated to the most moving, powerful, and best film of all time, Schindler's List. From top-notch acting, with a compelling lead by Neeson, who dominates as Oskar Schindler in one of the most moving roles I've seen on screen, to powerful storytelling, it's a must see. Fiennes delivers a haunting performance as psychotic Amon Goeth, the new "caretaker" of the camp. His performance is as captivating as Neeson's. Ben Kingsley also delivers a stunning performance. All around, excellent acting. The story is superbly crafted, and the ending is a tear-jerker. One of the greatest scenes in cinematic history is Schindler's personal epiphany of ways he could have helped save more Jews, by selling a car or a ring, etc. Very moving scene in a bleak and tearjerking movie that should be witnessed by everyone." - @The Creator "The filmmaking on display is so good it transcends the utter blackness of the subject matter. I saw it five times in theaters. The first time, it was still in limited release, and I drove 40 miles to San Francisco to see it by myself (I was 19 and none of my friends were interested). There was this old man seated next to me (honestly, I didn't even really notice him until the end), and when the credits were rolling and everyone in the theater was just sitting there, pole-axed, he turned to me and said, "I was there, in one of those camps."I was so flabbergasted and stunned all I could manage was, "oh wow..." (Surely one of the more idiotic things I could've said), and then he got up and left.The 40-mile drive back home was a thoughtful and powerful one." - @Plain Old Tele "I saw it when I was in University in Ottawa. Saw it with 4 friends. We drove home in silence. No one knew what to say. You're just speechless after watching something like that. IMO, Spielberg didn't need that film to show us how good a film maker he was but for all those who just thought of him as someone who directed light hearted movies for kids, they never thought that again after this. And I don't think you'll ever have another director have a year the way he did in 93. Jurassic Park destroyed box office records and then Schindler's List kills it at the Oscars." - @baumer The Panda's Haiku What a scene I saw As she passed through the horror Why did I not act? Factoids Placement on Prior Lists 2012 - 21, 2013 - 10, 2014 - 15, 2016 - 10, 2018 - 15 Director Count Steven Spielberg - 6, James Cameron - 4, Alfred Hitchock - 4, Stanley Kubrick - 4, Francis Ford Coppola - 3, Peter Jackson - 3, Richard Linklater - 3, Hayao Miyazaki - 3, The Russo Brothers - 3, Martin Scorsese - 3, Lee Unkrich - 3, Brad Bird - 2, Alfonso Cuaron - 2, David Fincher - 2, Akira Kurosawa - 2, John Lasseter - 2, David Lean - 2, Sergio Leone - 2, John McTiernan - 2, Christopher Nolan - 2, Andrew Stanton - 2, Quentin Tarantino - 2, Robert Zemeckis - 2, Roger Allers - 1, John G. Avildsen - 1, Ash Brannon - 1, Mel Brooks - 1, Frank Capra - 1, John Carpenter - 1, Damien Chazelle - 1, Ron Clements - 1, Michael Curtiz - 1, Frank Darabont - 1, Jonathan Demme - 1, Pete Docter - 1, Stanley Donen - 1, Clint Eastwood - 1, Victor Fleming - 1, Terry Gilliam - 1, Michel Gondry - 1, Rian Johnson - 1, Terry Jones - 1, Bong Joon-Ho - 1, Gene Kelly - 1, Spike Lee - 1, David Lynch - 1, George Lucas - 1, Sidney Lumet - 1, Katia Lund - 1, Michael Mann - 1, Fernando Meirelles - 1, George Miller - 1, Rob Minkoff - 1, Adrian Molina - 1, John Musker - 1, Bob Persichetti - 1, Jan Pinkava - 1, Sam Raimi - 1, Peter Ramsey - 1, Rodney Rotham - 1, Ridley Scott - 1, Guillermo del Toro - 1, Gary Trousdale - 1, Orson Welles - 1, Peter Weir - 1, Billy Wilder - 1, Lana and Lilly Wachowski - 1, Kirk Wise - 1, Kar-Wai Wong - 1 Franchise Count Pixar - 9, Cameron - 4, The Lord of the Rings - 3, Marvel Cinematic Universe - 3, Scorsese - 3, Studio Ghibli - 3, Toy Story - 3, WDAS - 3, Alien - 2, Before Trilogy - 2, The Godfather - 2, Nolan - 2, Spider-Man - 2, Star Wars - 2, Terminator - 2, Back to the Future - 1, Die Hard - 1, Hannibal - 1, Incredibles - 1, Indiana Jones - 1, Jaws - 1, Jurassic Park - 1, Mad Max - 1, The Matrix - 1, Monty Python - 1, Oz - 1, Predator - 1, Rocky - 1 Decade Count 1930s - 1, 1940s - 3, 1950s - 7, 1960s - 7, 1970s - 11, 1980s - 12, 1990s - 21, 2000s - 17, 2010s - 16
  34. 16 points
    "Open the pod bay doors, HAL." About the Movie Synopsis ""2001" is a story of evolution. Sometime in the distant past, someone or something nudged evolution by placing a monolith on Earth (presumably elsewhere throughout the universe as well). Evolution then enabled humankind to reach the moon's surface, where yet another monolith is found, one that signals the monolith placers that humankind has evolved that far. Now a race begins between computers (HAL) and human (Bowman) to reach the monolith placers. The winner will achieve the next step in evolution, whatever that may be." - IMDb Its Legacy "The movie initially provoked mixed reactions from film critics and the public. It was highly unusual because it had very little dialogue, instead trying to tell its story through imagery. The movie had three primary segments. The first depicted prehistoric Earth, where families of man-apes lived in fear of their predators until an alien monolith appears in their midst. After touching it, they quickly evolve to use primitive tools, bones to crush the skulls of their prey and their adversaries. In one of the most famous scenes in cinematography, an ape tosses a bone into the air where it is replaced by the image of a satellite in space, an editing trick that advances the story millions of years into the future in the span of only a few seconds. In the second segment, astronaut bureaucrats discover another monolith buried on the moon and when sunlight touches it for the first time in millions of years, it sends a powerful signal to Jupiter. In the third segment, humans mount a space mission to Jupiter where another monolith is orbiting. But things go terribly wrong when the spacecraft's computer, known as HAL 9000, goes insane and kills all but one member of the crew. The sole survivor, David Bowman, disconnects HAL and approaches the monolith. He passes through a fantastic light show (during showings many people would apparently take psychedelic drugs and, at this point in the movie, sit in the front rows of the theater). In a bizarre, and for many people highly confusing, final scene, Bowman grows into an old man alone, in the presence of the monolith. Just before his natural death, he is transformed into a baby who, in the final scene, is depicted overlooking the Earth. The sequence symbolized the continuing evolution of humanity into something greater than it is, with alien assistance. Although the movie was not universally praised when it first premiered, it soon came to be widely regarded as a classic by film critics and historians. It was praised for its visual inventiveness, its originality and symbolism, its sound and visual special effects and its musical score. Movies that came after 2001 reflected many of its influences. For instance, Kubrick had originally hired a music composer to write a score for the film and provided him with examples of classical compositions that he thought illustrated the mood he wanted to convey. But ultimately Kubrick discarded the composer's work and used the classical music he had selected instead. Kubrick used Strauss' "Blue Danube Waltz" as background for the docking of a space shuttle with a space station. Not only did recordings of Strauss' music suddenly become very popular, but the music was also used in other films and TV shows, often as a comic or ironic homage to 2001. It was even played on the Apollo 8 mission around the moon. Similarly, Kubrick used the theme from Richard Strauss' "Also Sprach Zarathustra" (Thus Spake Zarathustra) in the opening of the movie to illustrate a dramatic appearance, and the theme was thereafter used for everything from high school graduations to beer commercials. In a recent television commercial for a bank, the director used music similar to the experimental music that Kubrick also featured in the film and depicted automatic teller machines as monoliths. But perhaps 2001's most profound cultural impact was its effect on how people visualize space exploration. As space historian Howard McCurdy has noted, 2001 established the popular image of what a space station should look like. When Americans are asked to draw a space station, they almost inevitably draw a giant spinning wheel in orbit, undoubtedly based upon their exposure to 2001. Perhaps more subtly, 2001 created expectations in the minds of people that the United States would continue to aggressively pursue space exploration after Apollo and would soon develop giant orbiting space stations and bases on the Moon. When Kubrick made 2001 in the midst of the Apollo program, his advisors did not think that bases on the moon and missions to Jupiter would be extremely far-fetched 30+ years in the future. When the actual year 2001 rolled around, however, various newspaper and magazine articles either lamented that the world had not lived up to their false expectations, or snorted that the movie had "gotten the future wrong." As at least one comic joked, "It's the twenty-first century; how come my car doesn't fly?" Space exploration enthusiasts viewed 2001 as a positive predictor of the future and were disappointed that reality did not live up to their dreams. These false expectations even tended to cloud official planning for space exploration. Yet, as some have noted, the real world of 2001 did have its space stations and space shuttles, but they somehow seemed less exciting than the movie versions." - Dwayne Day, U.S. Centennial of Flight Commission From the Filmmaker Why It's the Greatest Critic Opinion "The movie broke with many of the conventions of the time, like mood music to tell you what to feel and think. “2001” left you alone in space with your thoughts. The story begins four million years ago in Africa, where a bunch of bedraggled primates are losing the battle of the survival of the fittest until a strange black monolith appears. To the thunder of “Also Sprach Zarathustra,” one of those apemen is inspired to pick up a bone and use it as a club to kill the animals that have been pushing him around. Suddenly, the apemen are eating meat and chasing their rivals away from the water hole. In a moment of exultation the ape throws the bone into the sky where, in what has been called the longest fast forward in film history, it turns into a spaceship. Around that toss Kubrick pivots his movie and all of human evolution. Another monolith appears on the moon, and yet another in orbit around Jupiter, where an astronaut named Dave Bowman connects with it after subduing a neurotic computer, the HAL 9000, which has murdered his shipmates. In the finale, Bowman is sent through a “star gate” on a trip through space and time, death and rebirth, returning as a glowing Star Child to float like a fetus over the Earth. One revelation is how haphazardly the movie was made. Nevermind the special effects and the model spaceships, Kubrick and Clarke were making up much of the story as they went along. Up until the very end, Mr. Benson tells us, they were struggling with how to portray the alien being responsible for the monoliths, until they realized it couldn’t be done. We don’t know what is out there. It would be hubris to even try to imagine. Where the script has really flipped is in the future history of evolution. Robots have taken over the sacred task of exploring for us. Increasingly sophisticated and smaller machines have spread out to every world of the solar system, buzzing the rings of Saturn, daring the dark voids beyond Pluto and landing on comets, scanning the heavens for new planets, new places to dream about. There have been enough robots, landers and orbiters violating the skies and surface of Mars to spark legends and myths and paranoia among whatever life-forms might be there. The next generation extending our telepresence across the universe will be even smaller and cleverer. Plans are afoot to send fleets of spaceships the size of iPhone chips toward Alpha Centauri, like clouds of butterflies across interstellar space. Even if our bodies don’t ever cross the voids between the stars, our DNA surely will, in a microscopic cascade of space invaders that could still colonize the galaxy. We all carry HAL in our pockets now, and in a few years he, it, will be in our bloodstreams. The future, to the extent that humans are part of it, is bionic." - Dennis Overbye, The New York Times User Opinion "I have a strange sensation with this movie that I do not have with any other. Sometimes I love it, sometimes I hate it. Technnically, it is probably the best movie ever and the most complex too. When I have liked it, it is absolutely fascinating, but when I have not liked it I find it pretentious and boring as hell. I think it all depend on the mood and predisposition of viewer. Fortunately, last time I have seen I loved it." - @peludo The Panda's Haiku I need to get out Open the pod bay doors, HAL Bad robot! Bad! Ah! Factoids Placement on Prior Lists 2012 - 22, 2013 - 17, 2014 - 43, 2016 - 14, 2018 - 60 Director Count Stanley Kubrick - 3, Richard Linklater - 3, The Russo Brothers - 3, Lee Unkrich - 3, Alfonso Cuaron - 2, John McTiernan - 2, Roger Allers - 1, John G. Avildsen - 1, Brad Bird - 1, Ash Brannon - 1, Mel Brooks - 1, Frank Capra - 1, James Cameron - 1, John Carpenter - 1, Damien Chazelle - 1, Ron Clements - 1, Clint Eastwood - 1, David Fincher - 1, Terry Gilliam - 1, Michel Gondry - 1, Alfred Hitchock - 1, Rian Johnson - 1, Terry Jones - 1, David Lean - 1, David Lynch - 1, Katia Lund - 1, Akira Kurosawa - 1, John Lasseter - 1, Fernando Meirelles - 1, Rob Minkoff - 1, Hayao Miyazaki - 1, Adrian Molina - 1, John Musker - 1, Christopher Nolan - 1, Bob Persichetti - 1, Jan Pinkava - 1, Sam Raimi - 1, Peter Ramsey - 1, Rodney Rotham - 1, Martin Scorsese - 1, Steven Spielberg - 1, Andrew Stanton - 1, Quentin Tarantino - 1, Orson Welles - 1, Billy Wilder - 1, Kar-Wai Wong - 1 Franchise Count Pixar - 5, Marvel Cinematic Universe - 3, Before Trilogy - 2, Spider-Man - 2, Toy Story - 2, WDAS - 2, Cameron - 1, Die Hard - 1, Indiana Jones - 1, Monty Python - 1, Nolan - 1, Predator - 1, Rocky - 1, Scorsese -1, Star Wars - 1, Studio Ghibli - 1, Terminator - 1 Decade Count 1940s - 2, 1950s - 2, 1960s - 3, 1970s - 4, 1980s - 7, 1990s - 5, 2000s - 11, 2010s - 11
  35. 16 points
    "Why return to the City of God, where God forgets about you?" About the Movie Synopsis "Brazil, 1960s, City of God. The Tender Trio robs motels and gas trucks. Younger kids watch and learn well...too well. 1970s: Li'l Zé has prospered very well and owns the city. He causes violence and fear as he wipes out rival gangs without mercy. His best friend Bené is the only one to keep him on the good side of sanity. Rocket has watched these two gain power for years, and he wants no part of it. he keeps getting swept up in the madness. All he wants to do is take pictures. 1980s: Things are out of control between the last two remaining gangs...will it ever end? Welcome to the City of God." Its Legacy "However, as with any other city in the world, things get a lot bleaker when you scratch the surface. In 2002, a movie was released that not only scratched that surface but smashed our perceptions of Rio de Janeiro into pieces. That movie was City of God (Cidade de Deus). City of God tells the story of two residents of the City of God favela in Rio, a kid named “Rocket” and another named “Lil Ze”. The story spans over three decades and shows the vastly different directions that Rocket and Lil Ze take in their lives. Rocket wants to live a legitimate, prosperous life whereas Lil Ze only ever wanted to be a gangster, allured by the Robin Hood lifestyle that we see at the start of the film where a gas truck gets robbed and the contents shared between the residents. With a short stature and an even shorter temper, Lil Ze had his life of crime planned out. Crime is still prevalent in the City of God favela but has dropped drastically since the movie was released, largely in part due to the “pacification” of the area by the Brazilian authorities. Pacification meaning that the area is stacked with security forces. The Brazilian economy also picked up and soared in 2010, leading Brazil to both dream of and live in a financial fairytale with the help of domestic industries, such as the automobile industry. For a brief period, Brazil had money and with money comes jobs. In 2015, Brazil had hit its worst recession in three decades. This led to unpopular anti-austerity measures being put in place by the Brazilian government. President Dilma Rousseff was removed from office as a result of impeachment, in part due to accusations of corruption. Corruption is nothing new in Brazil and this is something that was touched in Cidade de Deus, the idea that the “upper echelons” of Brazilian society do not care for the lower classes of Brazil, that the poor are something that can be cast off into the corner. Things could look up for the poor in Brazil, however. Favelas such as the City of God have introduced their own alternative currencies, similar to what America and Germany did during their periods of economic turmoil. This encourages the locals to buy locally instead of going into the wealthier towns and pumping more money into the cities that look down on them, some of these alternative currencies have actually become stronger than the Brazilian Real, so outsiders are coming in looking for bargains. It’s not unheard of for foreigners who move to Brazil for work to actually choose to live in the favelas. Whilst you could dismiss this as some twisted gap year fantasy or whatever derogatory term you want, foreigners can change their local currency into the currency of the favela, thus aiding those financially who have been left behind by the corruption and greed of those in power. Films like City of God and Elite Squad changed the game for Brazilian cinema, they grossed more abroad than they could ever dream of and set the standard for the Cinema Novo movement, but they also forced the eyes of the world on the problems in Brazil and most importantly, the eyes of the Brazilian elite on Brazil." - Rhys Johnson, Some Guy From the Filmmaker "Alice Braga: I was just 18 when I got the phone call from director Fernando Meirelles. I was still in high school and had only appeared in a few commercials. He told me he was looking for someone who wasn't famous, since he didn't want the slum kids who would be acting in his film, a crime drama set in one of Rio de Janeiro's favelas, to feel intimidated. I didn't really audition: I just went to Rio and met the actors who had been chosen by the casting director, Fátima Toledo. About 2,000 young people had turned up after the studio placed an advert in a local paper. Of those, about 200 were selected for an "actors' workshop" lasting several months. Then they selected the leads. Lamartine Ferreira: Our goal with City of God was to do away with the prejudice that exists about favelas. Yes, there is crime in Rio, and we portrayed that, but we wanted to show that people from the slums can lead normal lives and improve their situation if they take advantage of their opportunities. Rocket, one of the central characters, was born in the favela and has many things going against him, but he's able to realise his ambitions. He becomes a photographer and gets his pictures in the newspaper – and people come to understand that he is not just another criminal from the favela. During the nine weeks of filming, we were in constant contact with the residents' association, and they helped us every step of the way. I would go to people's houses and meet the parents of people working in the movie. When a project is presented in a caring manner, you can enter and leave such communities: the drug traffickers were there doing their work, and we were there doing ours. We wanted to show what they do, but we did not want to be involved with them." - How We Made City of God, The Guardians Why It's the Greatest Critic Opinion "It would be rather cheap to tag City Of God "the South American Goodfellas", as if every region of the world is somehow entitled to at least one gangster masterpiece in the freewheeling Scorsese tradition. (Where, you might ask, is the British Goodfellas?) However, since the audience for a two-hour-plus Brazilian movie might not show without some strong encouragement, let's make this clear: City Of God is the South American GoodFellas. And not just because of the episodic flashback structure, or the controlling voiceover based on a first-hand account of real events. Nor even because in gurning, gun-toting Zé Pequeno, City Of God boasts a jabbering psychotic every bit as compelling and unpredictable as Joe Pesci's Tommy. No, City Of God is the South American GoodFellas simply because it's more-or-less in the same class. And only a handful of movies can make that claim. Based on Paulo Lins' eyewitness testimony of the bloody turf war which for years raged in Rio De Janeiro's most notorious slum, City Of God contains enough indelible characters and unforgettable stories to fill several good films. After some five years of preparation, director Meirelles marshals this wealth of material in a dizzying variety of ways, finding – even after two hours of gun battles – new ways to shoot and edit a sequence. However, if City Of God were notable chiefly for inventive editing, then it would be merely a remarkable technical achievement; but the film's real ace is the kids. Through an exhaustive series of open auditions and workshops, Meirelles and co-director Lund not only unearthed dozens of non-professionals right out of the favelas, they also encouraged them to improvise large sections of the script. The results are right and true in a way that Harry Potter can never be. The scene in which two young kids must decide whether they want to be shot in the hand or the foot contains some of the most powerful acting ever committed to celluloid. Devastating." - Colin Kennedy, Empire User Opinion "I remember when I first saw this I was simply blown away. Taking us into the crime world of Rio De Janeiro it belongs up there with the great crime films, like the Godfather, Goodfellas, Mean Streets, etc. It's an epic film that spins three decades. It's got great performances from mostly non actors. It's brutal and violent and very harrowing. And the ending of this movie is scarier than anything I've seen in a horror movie. If you haven't seen it please do." - @DAR The Panda's Haiku Please do not fire man What condition leads to this? Murder of murders Factoids Placement on Prior Lists 2012 - 81, 2013 - 58, 2014 - Unranked, 2016 - Unranked, 2018 - 97 Director Count Richard Linklater - 3, The Russo Brothers - 3, Lee Unkrich - 3, Alfonso Cuaron - 2, Stanley Kubrick - 2, John McTiernan - 2, Roger Allers - 1, John G. Avildsen - 1, Brad Bird - 1, Ash Brannon - 1, Mel Brooks - 1, Frank Capra - 1, James Cameron - 1, John Carpenter - 1, Damien Chazelle - 1, Ron Clements - 1, Clint Eastwood - 1, David Fincher - 1, Terry Gilliam - 1, Michel Gondry - 1, Alfred Hitchock - 1, Rian Johnson - 1, Terry Jones - 1, David Lean - 1, David Lynch - 1, Katia Lund - 1, Akira Kurosawa - 1, John Lasseter - 1, Fernando Meirelles - 1, Rob Minkoff - 1, Hayao Miyazaki - 1, Adrian Molina - 1, John Musker - 1, Christopher Nolan - 1, Bob Persichetti - 1, Jan Pinkava - 1, Sam Raimi - 1, Peter Ramsey - 1, Rodney Rotham - 1, Martin Scorsese - 1, Steven Spielberg - 1, Andrew Stanton - 1, Quentin Tarantino - 1, Orson Welles - 1, Billy Wilder - 1, Kar-Wai Wong - 1 Franchise Count Pixar - 5, Marvel Cinematic Universe - 3, Before Trilogy - 2, Spider-Man - 2, Toy Story - 2, WDAS - 2, Cameron - 1, Die Hard - 1, Indiana Jones - 1, Monty Python - 1, Nolan - 1, Predator - 1, Rocky - 1, Scorsese -1, Star Wars - 1, Studio Ghibli - 1, Terminator - 1 Decade Count 1940s - 2, 1950s - 2, 1960s - 2, 1970s - 4, 1980s - 7, 1990s - 5, 2000s - 11, 2010s - 11
  36. 16 points
  37. 16 points
    Having actually seen it, I don't blame marketing as much anymore. I really don't think they had anything of value to sell, so being confused in their message isn't as unexpected. Didn't think it was bad per se, just...pointless?Muddled storytelling structure that only served to make it more obvious it was emulating the first Deadpool, though it still managed to be fairly boring for the first half of the movie. Deadpool-lite continues with a lot of swearing and violence that SHOULD be entertaining yet isn't. The fights lack any real phisicality, despite the John Wick inspiration. They don't feel real, they lack impact and the violence alone would probably not be enough for an R rating. And that's the other issue - I said before I don't think the rating had an impact on the performance and I still think that, with the note that the movie isn't really embracing that rating. After Deadpool did the shock violence for humorous effect and Logan for dramatic purposes, this was lost so where in the middle. The movie's not funny, the violence isn't so over the top you can have fun with it, the dramatic scenes don't have much impact because you're not invested in these paper-thin characters that once again have to be introduced with actual on-screen text... The marketing was bad because this movie really had nothing to sell. For all its faults, SS had Joker, Batman and Will Smith, plus large scale action to sell (and sell well the trailers did). This... Zilch. I'm glad the overall reception is OK, as I want DC to stop being the punching bag it's been in recent years despite them righting the ship, but by God was I disappointed in this, following the reviews. I was expecting crazy action, humor and violence and all I got was sick of hearing Margot Robbie's voice. Aside from being mostly bored, the biggest takeaway was... What a waste of Ewan McGregor. A better made film overall than the likes of SS, JL and BvS, but I found this to be the least entertaining movie DC has made since Catwoman. I just have zero interest in rewatching this, whereas even with the bad ones, there's either hilarious entertainment value or certain scenes that I enjoy. This is just... Instantly forgettable.
  38. 16 points
    No numbers yesterday because of a birthday invitation . Birds of Prey, counted today at 10am EST: NY (AMC Fresh Meadows 7): 351 (total tickets sold for Thursday) / 394 (total tickets sold for Friday, 13 showtimes) Boston (AMC Assembly Row 12): 221 / 250 (16 showtimes) Boston (Boston Common 19): 257 / 268 (14 showtimes) Miami (AMC Sunset Place 24): 313 / 217 (18 showtimes) Grand Rapids (AMC Grand Rapids 18): 87 / 38 (9 showtimes) Austin (AMC Lakeline 9): showtimes): 29 / 27 (8 showtimes) Tempe/Phoenix (AMC Center Point 11): 119 / 62 (12 showtimes) San Francisco (AMC Metreon 16): 594 / 499 (15 showtimes) LA (AMC Bay Street): 249 / 202 (17 showtimes) LA (AMC Universal): 592 / 427 (18 showtimes) Total tickets sold in 10 theaters till today for Thursday: 2.812 and for Friday: 2.384. Looks a bit frontloaded. Comps: Bad Boys for Life had on Thursday 2.502/2.460 sold tickets, Ford v Ferrari 1.116/1.516, OUATIH 3.644/2.765 and Hobbs & Shaw 2.902/3.407. Bad Boys 3 must have had great walk ups so to be on the safe side I don't compare the Friday presales in this case. But if I compare the Friday number of BoP above (2.384 tickets) with those of the other mentioned films, BoP would still achieve an OW of ca. 37M-49M, not bad. As you can see, the Thursday comparisons are even more favorable. The only thing that worries me is the possible frontloadedness.
  39. 15 points
    #16 Ready Player One 86 pts, 27 lists "People come to the Oasis for all the things they can do, but they stay for all the things they can be." Top 5 placements: 2 Top 10 placements: 3 Top 15 placements: 5 Box Office: 137.7M DOM, 582.9M WW Rotten Tomatoes: 72% Metacritic: 64 Awards: 1 Academy Award nomination, 1 BAFTA nomination, 4 Teen Choice Award nominations Critic Review: "Ready Player One was a substantive film and a far more depressing/disturbing/self-aware one than negative reviews indicated. Maybe the best example of major movie subverting a best-selling novel since American Psycho." - Matt Zoller Seitz BOT User Review: "That Shining scene. Jesus Christ I orgasmed in that part." - @baumer Its Legacy: Became the highest-grossing Spielberg film of the 2010s. Boasts and celebrates notable pop culture events, figures, and films. Is part of a very long, very tiring, very annoying discourse. Gave Ben Mendelsohn a paycheck. Commentary: Just gonna get this out of the way. I get there are a lot of weirdos here who like to act as if Ready Player One is the reason everything in the world is wrong. Well we’re not gonna do any of this mindless and irritating discourse here. We’re celebrating Spielberg, not complaining about him. And just remember what I said right here: Okay? Okay. Now then. Much has been said about Ready Player One, with it becoming one of the most polarizing modern Spielberg titles. Some say it’s a fun, nostalgic romp with spectacle and flair. Others believe it to be a mindless barrage of pop culture references only made to appeal to geeks. Many even go into a nuanced position, arguing the film is a commentary about the endless pop culture spewing life has become, whether that was intentional by Spielberg or not. And that very much applies to the rankings here. Some people placed it at the bottom of their list, while others were far more favorable, placing it high up on their lists. We actually had two users put it in their top 5. Regardless on how you feel about it, there’s certainly passion for this movie, whether good or bad. And I think that makes it a fitting midpoint for this countdown.
  40. 15 points
    "This is reality, Greg." About the Movie Synopsis "After a gentle alien becomes stranded on Earth, the being is discovered and befriended by a young boy named Elliott. Bringing the extraterrestrial into his suburban California house, Elliott introduces E.T., as the alien is dubbed, to his brother and his little sister, Gertie, and the children decide to keep its existence a secret. Soon, however, E.T. falls ill, resulting in government intervention and a dire situation for both Elliott and the alien." Its Legacy "E.T. the Extra-Terrestrial was one of Spielberg’s greatest achievements; according to Box Office Mojo, when adjusted for inflation, the film has made the fourth highest gross of all time (boxofficemojo.com). E.T. was his most successful in terms of revenue. Spielberg’s combination of alien supernatural occurances and suburban reality created an incredibly loved film. The use of a mysterious film elements created such an interesting atmosphere of uncertainty and possibility, which when in contact with Elliott, was able to provide answers for the concerns he was dealing with. The authentic human characters and normal day to day situations made the film seem relatable, in many ways, to a large audience. As Andrew Gordon, in his article “E.T. as Fairy Tale” puts it, “For children, E.T. is a voyage of emotional discovery, for adults, a rediscovery of feeling we thought we had lost or outgrown”(Gordon, 303). With the target audience being kids, each of the three siblings could appeal to a different age a children viewing the movie. With the film appealing to such a wide audience, it became the highest grossing movie of it’s time, beating the current records of another film that Spielberg made, Jaws; both films were made early in the modern blockbuster process that Spielberg played a huge role in. E.T. had an incredible heart warming impact with a happy ending, and would pave the way for future science fiction films to come that would involve children and their experiences with the extraterrestrial. The link between reality and the supernatural in this film as a means of displaying childhood conflicts and their solutions played a large role in the success of the movie. Gordon argues that E.T. the Extra-Terrestrial depicts a fairy tale environment that is suitable for all children, while the characters experience meaningful conflicts throughout the film. His argument goes along with mine, in that this film depicts childhood conflict, and because of this, it adds to the films greatness and the film is successful. Spielberg was able to create a masterpiece by combining realistic problems with a non-realistic environment; attracting people who either wanted to see a cool sci-fi film or a family friendly film, or both. While E.T. the Extra-Terrestrial wasn’t the first film to put aliens in a realistic environment, it was definitely one of the most iconic films to do so, and it used the lurking factor of childhood conflict within its reality. This film paved the way for other films and shows that have used children in a realistic setting being affected by supernatural sources, and the film continues to be used today. Two great examples of film being that E.T. the Extra-Terrestrial had an influence on are Super 8 and Stranger Things. The film, Super 8, has direct ties with E.T. because Steven Spielberg was a producer for the film. The film stars children in a realistic environment dealing with alien activity, just like E.T. the Extra-Terrestrial. The Netflix original series Stranger Things, a currently running, popular show, also depicts kids in the same kind of setting, once again, dealing with aliens. The show goes so far as to copy E.T. with scenes of the characters on their bikes, levitation special effects, and much more. These shows and movies that copy aspects of E.T. the Extra-Terrestrial, do so because the films was an incredible depiction of the conflicts mixed with extra-terrestrial elements that are discussed in this exhibit. E.T. the Extra-Terrestrial has influenced films since its creation, and will continue to do so, because of its incredibly accurate depiction childhood conflict in a sci-fi genre." - Utah State University, Digital Exhibits From the Filmmaker Why It's the Greatest Critic Opinion "Full disclosure, right off the top: I am a total geek for "E.T." I was 9 years old when "E.T. The Extra-Terrestrial" came out in 1982, and it was one of the first truly transforming movie events of my life. Every time I saw it, I cried when E.T. died -- even though I knew he'd come back to life. And I had the biggest crush on Henry Thomas -- he was right up there with Rick Springfield and Scott Baio in my preadolescent opinion. Something about the friendship between a lonely young boy and an alien who's far from home tugged at my heart. It was full of awe and wonder, so sweet and sad and sometimes scary. And it still is. Twenty years and $700 million in worldwide box office revenue later, "E.T." is back in theaters, with new footage and enhanced visual effects. It holds up beautifully. I hadn't seen "E.T." in about 15 years and rented it recently, wondering whether it would have the same emotional impact on me as an adult. Sitting on the couch, blubbering, I realized that it did -- and I have to admit, I got a little teary-eyed seeing the updated version, as well. That kind of enduring moviemaking comes along once every 20 years." - Christy Lemire, The Associated Press User Opinion "E.T. the Extra-Terrestrial is pure magic. Spielberg's direction has rarely been as touching and marvelous as it is in this film. Elliot and ET's friendship is believable and heartwarming, with Henry Thomas delivering one of the greatest child actor performances ever. ET himself is technically astounding, not once appearing false to the audience or to his friends. The way Spielberg uses divorce as a backdrop to further the emotional connection is brilliant, and particularly, his use of lighting in every scene is incredible, always managing to draw out the appropriate mystique and emotion at every possible moment. Humorous and heartfelt, the film's legacy as one of Spielberg's best will also live on for decades and decades to come. E.T. the Extra-Terrestrial is a classic of the family film genre, still amazing audiences to this day." - @Blankments The Panda's Haiku Flying on a bike Through the moon and the sun Whoops, E.T. pushed me! Factoids Placement on Prior Lists 2012 - 42, 2013 - 25, 2014 - 69, 2016 - 34, 2018 - 35 Director Count Alfred Hitchock - 4, Stanley Kubrick - 4, Richard Linklater - 3, The Russo Brothers - 3, Steven Spielberg - 3, Lee Unkrich - 3, Brad Bird - 2, James Cameron - 2, Alfonso Cuaron - 2, David Fincher - 2, Akira Kurosawa - 2, John Lasseter - 2, Sergio Leone - 2, John McTiernan - 2, Hayao Miyazaki - 2, Christopher Nolan - 2, Martin Scorsese - 2, Andrew Stanton - 2, Quentin Tarantino - 2, Roger Allers - 1, John G. Avildsen - 1, Ash Brannon - 1, Mel Brooks - 1, Frank Capra - 1, John Carpenter - 1, Damien Chazelle - 1, Ron Clements - 1, Francis Ford Coppola - 1, Frank Darabont - 1, Jonathan Demme - 1, Stanley Donen - 1, Clint Eastwood - 1, Victor Fleming - 1, Terry Gilliam - 1, Michel Gondry - 1, Peter Jackson - 1, Rian Johnson - 1, Terry Jones - 1, Bong Joon-Ho - 1, Gene Kelly - 1, David Lean - 1, David Lynch - 1, Katia Lund - 1, Michael Mann - 1, Fernando Meirelles - 1, Rob Minkoff - 1, Adrian Molina - 1, John Musker - 1, Bob Persichetti - 1, Jan Pinkava - 1, Sam Raimi - 1, Peter Ramsey - 1, Rodney Rotham - 1, Ridley Scott - 1, Guillermo del Toro - 1, Gary Trousdale - 1, Orson Welles - 1, Peter Weir - 1, Billy Wilder - 1, Kirk Wise - 1, Kar-Wai Wong - 1, Robert Zemeckis - 1 Franchise Count Pixar - 8, Cameron - 2, Marvel Cinematic Universe - 3, Toy Story - 3, WDAS - 3, Alien - 2, Before Trilogy - 2, Nolan - 2, Scorsese -2, Spider-Man - 2, Studio Ghibli - 2, Die Hard - 1, Hannibal - 1, Incredibles - 1, Indiana Jones - 1, The Lord of the Rings - 1, Monty Python - 1, Oz - 1, Predator - 1, Rocky - 1, Star Wars - 1, Terminator - 1 Decade Count 1930s - 1, 1940s - 2, 1950s - 6, 1960s - 6, 1970s - 7, 1980s - 10, 1990s - 15, 2000s - 15, 2010s - 14
  41. 15 points
    California is trying to re-invent the concept of a federal government (which we currently lack).
  42. 15 points
    This is absolutely not true. If you’re getting intubated, it means you literally can’t breathe on your own. These machines are worth their weight in gold right now, they’re not wasting them on anything symbolic.
  43. 15 points
    I live in Brampton. It's a northern suburb of Toronto. There is talk that we are going to be on lock down pretty soon. All bars, restaurants, libraries, theatres and so on are basically closed down. People are being urged to work from home and to not go outside unless they absolutely must. Schools and colleges are closed. There are no sporting events and gatherings of more than 50 people is being frowned upon. Now here's the kicker. I work for the city as a bus driver. We are considered an essential service. This means that along with fire, police, paramedics and doctors, we are forced to work throughout all of this no matter what. If martial law is instituted (and it's not far off) I'm still expected to show up for work. I understand it but I don't like it. Working on a bus, we easily pick up 200-300-400 passengers a day. Right now, I'm sanitizing my hands about 25 times a day and I take three showers every day. I'm doing all I can to make sure I'm as safe as can be. But it seems really unfair and rather dangerous to make us work, especially around all different kinds of people. Just a rant. Had to get it off my mind.
  44. 15 points
    "Pornhub offers free Premium access to all Italian residents and donates all of March profits." https://thenextweb.com/shareables/2020/03/12/pornhub-free-italy-coronavirus/ Definitely seems like a reckless move amidst a toilet paper shortage
  45. 15 points
    Sonic the hedgehog (T-1) MTC1 Prev - overall 1512 shows 27613/235631 414979.05 334210.19 +7390 MTC2 Prev - overall 1783 shows 18799/256331 230628.34 164405.34 +5255 MTC1 OD - overall 3545 shows 63886/592581 855607.25 696350.93 +22396 MTC2 OD - overall 3511 shows 60404/548771 644493.47 511724.49 +19419 MTC1 D2 - overall 3562 shows 38544/592039 474017.35 413735.30 +12466 MTC2 D2 - overall 3515 shows 32911/549857 323916.70 274090.48 +9102 Good day but not as good as I expected 🙂 If the preview numbers double tomorrow it should be good for 3.5m. With better walkins even 4m can happen. OD is where the main action is and that had another good day though it tapered off a bit in the evening. Saturday PS is also very robust and what is great is MTC1/2 ratio which shows movie is playing strong in big cities and smaller cities overall. I will stick to 50m+ 3 day and 60m+ 4 day for now.
  46. 15 points
    Birds of Prey Greater Philadelphia Area Seat Report T-1 and Counting Sellouts Showings Seats Sold Total Seats Perct Sold TOTALS 0 80 763 16,591 4.60% Total Shows Removed Today: 2 Total Seats Removed Today: 311 Total Seats Sold Today: 194 Comp 0.319x of It: Chapter Two 1 day before release (3.35M) 0.222x of Joker (2.95M) 1.856x of Terminator (4.36M) 4.410x of Charlie’s Angels (3.96M) Adjusted Comp 0.609x of Hobbs & Shaw (3.53M) Yes, this lost showtimes. Do with that what you will.
  47. 14 points
    "That's the way it crumbles... cookie-wise." About the Movie Synopsis "Insurance worker C.C. Baxter lends his Upper West Side apartment to company bosses to use for extramarital affairs. When his manager Mr. Sheldrake begins using Baxter's apartment in exchange for promoting him, Baxter is disappointed to learn that Sheldrake's mistress is Fran Kubelik, the elevator girl at work whom Baxter is interested in himself. Soon Baxter must decide between the girl he loves and the advancement of his career." Its Legacy "Billy Wilder was at the peak of his directing powers negotiating the tricky mix of melancholy and humour. Shirley MacLaine recalls Wilder never sitting, often chain-smoking and pacing while directing. Every word mattered. (Diamond stood nearby, policing the exact delivery of each line.) Sometimes she would take a relieved breath after completing a long speech, only to find she’d left out an “and” or a “then”. The takes continued until the dialogue was perfect. This is not to say that Wilder couldn’t swing with a good suggestion. MacLaine, who was then embroiled in a difficult love affair of her own, once casually sighed: “Why do people have to fall in love with other people anyway? Why couldn’t they fall in love with a kangaroo?” Wilder rebuilt the entire set, and re-filmed a key scene to include the line. And again, when MacLaine shared the trials of learning how to play gin, lessons she was then getting from Sinatra and the Rat Pack, Wilder and Diamond wrote that into the script too. And so was born the gin game between Lemmon and MacLaine that continues throughout The Apartment. When filming on The Apartment was completed, so exact was Wilder’s execution that the entire movie was edited in a matter of days. “There was about five feet of unused film,” Wilder remembers with only slight exaggeration. It was, he also recalls, one of the few occasions when he knew the power of the picture while filming. Reviews were not uniformly excellent, with some critics attacking the raciness of the film’s subject matter, not to mention Lemmon’s pimp-hero, but audiences responded quickly. The film was a hit, and the roll continued through Oscar night. When Wilder was at the podium, accepting the Academy award for best director, playwright Moss Hart half-seriously whispered in his ear: “It’s time to stop.” But Wilder did not stop. Moments later, he was awarded the Oscar for best picture as well. And Wilder would go on to direct nine more films. He often discusses future ideas, though he wonders if his physical stamina could match his still-racing mind. He is, as he says with characteristic lack of pretension, a writer. But if you look hard enough around Wilder’s apartment, you can spot his Oscars standing in a clump within the cabinet by his den. And the one out front, standing guard among the other statuettes, is his best picture award for The Apartment. He offers the film his highest compliment. “It worked.” Though our book is finished, our relationship continues. Just the other day, a small miracle happened when Wilder agreed to a rare on-camera interview for The Today Show. I sat beside him in the NBC studio that was once the home of Johnny Carson, and listened as the interviewer leaned forward and posed what was clearly an important question. “We are doing a show on the Century’s Great Thinkers,” he said, “and I’d like you to comment on the next millennium. What would you like to say about the future?” In our current world where anyone of even questionable importance feels a duty to offer lofty thoughts about The Next Thousand Years, Billy Wilder blinked suspiciously behind large glasses. “Nothing,” he said, slightly incredulous, as if to answer would condemn him to a prison filled with pretentious twits. “Nothing.” I watched the frustrated interviewer with some sympathy. Wilder is, after all, not the easiest interview. Just as he has for some seventy years of film-making, today Wilder will leave the chest-beating to others. The interviewer thumbed through his pages of questions. “What’s next,” Wilder asked, professionally pleasant, stealing a look at his watch. “How else can I help you?”" - Cameron Crowe, The Guardian From the Filmmaker "BW: Yeah, but I am not a Strasberg man. I am not an actor. I’m not even a born director. I became a director because so many of our scripts had been screwed up. The idea was that we [Wilder and collaborator Charles Brackett] were under contract to Paramount, and had to deliver eleven pages every Thursday, on yellow paper. Eleven pages. Why eleven, I do not know. And then the script. We were not allowed to be on the set. We were supposed to be upstairs on the fourth floor writing the script. So they would chase us off, and [Mitchell] Leisen was the worst one. Mitch Leisen. I remember one episode. Leisen was directing Hold Back the Dawn [1941]. We were already writing the next script, and not allowed on the set. Policemen! Policemen were on the set to say, “No, no, no!” That was the situation we had then. In pictures, in those days, they didn’t even let you watch what you wrote. So we had written a scene in Hold Back the Dawn where the hero — actually, he’s a gigolo — Charles Boyer, is lying there in that dirty Hotel Esperanza, across the border. It was for the first third of the picture, he’s stranded in Mexico. He hasn’t got the papers to get in, but he would like to get to America. He lies there in bed all dressed, and there is a cockroach that is crawling up the wall and the cockroach wants to get onto the broken, dirty mirror. And Boyer was to imitate a border guard, with a stick in his hand, and say to the cockroach [officiously], “Hey, where you going? What are you doing? Have you got a visa?…What, no visa?! How can you travel without a passport!! You can’t!” That was the scene, meant to appear in the first act. They are shooting the picture, and Brackett and I are going for lunch to Lucy’s — that was the restaurant across the street from Paramount. Now we are finished with lunch, and we passed a table where Mr. Boyer had a nice French lunch with the napkin tucked in here, and a little bottle of red wine. “Hi, Charles, how are you” “How are you boys?” “What are you shooting today?” “We are shooting the scene with the cockroach.” “Oh, yeah, that’s a good scene, isn’t it?” He says, “We changed it a little bit.” [Wilder’s eyes widen.] “What do you mean, you changed it?” He says, “We changed it because it’s idiotic — why would I talk to a cockroach if a cockroach can’t answer me?” I say, “Yeah yeah yeah, but just the same, we would like you to do it.” “No no no,” say Boyer, “we talked and I convinced Mr. Liesen, I’m not talking to a cockroach.” So it was nothing. The scene became flat, nothing. So now we were upstairs writing the end to this picture, Hold Back the Dawn, the last ten pages. I say to Brackett, “If that son of a bitch doesn’t talk to a cockroach, he ain’t talking to nobody! Cross out his dialogue!” [Laughs] We won…kind of." - Conversations with Billy Wilder, Medium Why It's the Greatest Critic Opinion "Back in the day, The Apartment scooped the Academy Awards, taking home Oscars for Best Picture, Best Director and Best Screenplay. It was a major hit and gets top ratings in all the movies-on-TV guides, yet it’s not often revived. Considered as a Billy Wilder movie, it has never become as admired as Double Indemnity or as beloved as Some Like It Hot. Perhaps its relative obscurity is down to the lack of a movie icon. And maybe it’s that this comedy tells truths about American business and sexual morés as uncomfortable now as they were in 1960. However, since even committed Wilder fans are likely to have seen The Apartment only once, years ago on late-night television, this re-release reveals a fresher picture than many a classic you can recite by rote. Made just after Some Like It Hot, the film has barbed jokes about the Marilyn-style blondes most of Jack Lemmon’s lecherous colleagues drag to his apartment for a quick shag, before they take the commuter train to their wives and families. Lemmon, an everyman stranded in a sea of desks who spends more time juggling other people’s affairs than his job, shows the subtlety that marked the maturing of his manic comic personality MacLaine, with a serious haircut, embodies Wilder’s horrifying notion of what Marilyn’s screen character might be like if she were real (who, sadly, Monroe was never actress enough to play). Here MacLaine plays to perfection, heartbreaking with MacMurray and offbeat sexy with Lemmon. Wilder fan Cameron Crowe recently lifted wholesale from The Apartment for the climax of Almost Famous, but the original walking-off-the-overdose scene is more affecting in the shift from farce, to sober drama, to bizarrely touching." - Kim Newman, Empire User Opinion "One of my favorites, a wonderful mix of comedy and drama. It says it all that this is an extremely rare romantic film that actually earns the shot of one character running desperately for the other in the last moment. (It helps that Wilder follows it with a great joke - the champagne bottle - and a perfect closing line, and also doesn't have the characters kiss and fall all over each other). Shirley MacLaine in this movie is one of my all-time biggest cinematic crushes." - @Jake Gittes The Panda's Haiku I have not seen this Nor do I know about it Uncultured Panda Factoids Placement on Prior Lists 2012 - Unranked, 2013 - Unranked, 2014 - Unranked, 2016 - Unranked, 2018 - Unranked Director Count Alfonso Cuaron - 2, Richard Linklater - 2, John McTiernan - 2, Lee Unkrich - 2, Mel Brooks - 1, James Cameron - 1, Damien Chazelle - 1, Clint Eastwood - 1, David Fincher - 1, Michel Gondry - 1, Rian Johnson - 1, David Lean - 1, Akira Kurosawa - 1, Hayao Miyazaki - 1, Adrian Molina - 1, Bob Persichetti - 1, Peter Ramsey - 1, Rodney Rotham - 1, The Russo Brothers - 1, Martin Scorsese - 1, Billy Wilder - 1, Kar-Wai Wong - 1 Franchise Count Before Trilogy - 1, Cameron - 1, Die Hard - 1, Marvel Cinematic Universe - 1, Pixar - 2, Predator - 1, Scorsese -1, Spider-Man - 1, Star Wars - 1, Studio Ghibli - 1, Terminator - 1, Toy Story - 1 Decade Count 1950s - 1, 1960s - 1, 1970s - 1, 1980s - 5, 1990s - 1, 2000s - 4, 2010s - 9
  48. 14 points
    But that’s not what they’re saying. 🤦‍♂️ They begged the government to step up early containment. They begged for mass testing so this containment could be possible. Thanks to a combination of inaction and incompetence, that window has closed. Containment is no longer possible. Now the miserable choice we have is to try and minimize the human cost. There is absolutely nothing cavalier in what our epidemiologists and virologists have been calling for. No one is saying “just let it run its course.”
  49. 14 points
    HQ: 1.75 1917: 0.75 BbfL: 0.75 Parasite: 0.48 Jumanji: 0.29
  50. 14 points

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