Jake Gittes

Fucking awesome cast. I'm giddy at the thought of the Coens directing all of these people.

Clooney's got a lifetime pass from me for O Brother, Where Art Thou? alone.

William Friedkin Has Met With 'True Detective' Creator Nic Pizzolatto, Potentially In Mix For Season 2 http://blogs.indiewire.com/theplaylist/exclusive-william-friedkin-has-met-with-true-detective-creator-nic-pizzolatto-potentially-in-mix-for-season-2-20140709?utm_source=dlvr.it&utm_medium=facebook

I was told by two different people that I reminded them of Daniel Craig from some movie called Enduring Love:

Well, so do I

Yeah, sure. I wanted to wait until after actuals (which appear when it's the middle of the night here), although now I don't know why. BTW, my first two questions (about Apes making 70m and 80m) would have been exactly the same.

I could go for it

I agree in general, but not in those cases when people use this argument to defend movies that actually choose to have a story only to have it be illogical. Prometheus is a pretty good example, I know people who claimed the plot holes weren't important at all, it's a great movie because it's got all these ideas, man! And I was like, sure, the themes and ideas are very cool, but a movie should learn how to walk before it can run. Some smaller/art films are guilty of this too, when a character does something completely or partly unmotivated/illogical just so the movie would have a pessimistic ending or be complete as an allegory or something. Most times I can't stand it.

I guess it's either Carell and Tatum in lead or Tatum and Ruffalo in supporting. My bet's on the latter.

As someone who had watched the original countless times, Mummy 3 wasn't anything to look forward to. The Mummy Returns already was inferior to its predecessor, Sommers wasn't back, Rachel fucking Weisz wasn't back, Rob Cohen was a hack of hacks, it had been 7 years. The whole thing reeked of studio desperation.

I still rarely complete filmographies 100%. I think the only filmmakers who've made more than 10 films and I've seen every single one are Cronenberg and Jarmusch.

Talking to the father thing was really heavy-handed and awkwardly handled, I thought, but otherwise, terrific and supremely confident movie. Knight makes sure the story is plausible every step of the way (there are no cheap twists, the story serves the characters and not the other way around, Locke is neither overly lucky nor completely miserable at any given point), and Hardy gives his best performance since Bronson. Major props to all the other actors as well, they all perfectly sold it.

Well, some filmmakers from whom I've seen all their films or at least all the essential ones: David Fincher - Zodiac Steven Spielberg - Jaws Jim Jarmusch - Dead Man Claire Denis - Beau Travail Wes Anderson - Rushmore Ulrich Seidl - Dog Days Roman Polanski - Chinatown Ridley Scott - The Duellists Martin Scorsese - Goodfellas Christopher Nolan - Memento Emir Kusturica - Underground Terrence Malick - Days of Heaven Quentin Tarantino - Pulp Fiction Richard Linklater - Before Sunset David Cronenberg - Naked Lunch Joel & Ethan Coen - A Serious Man Patrice Leconte - Monsieur Hire Neil Jordan - The Butcher Boy Alexander Payne - Election Nicolas Winding Refn - Valhalla Rising Paul Greengrass - The Bourne Ultimatum Francis Ford Coppola - Apocalypse Now Sergio Leone - Once Upon a Time in the West Paul Thomas Anderson - There Will Be Blood Lynne Ramsay - We Need to Talk About Kevin Peter Greenaway - The Cook, the Thief, His Wife & Her Lover Andrew Dominik - The Assassination of Jesse James by the Coward Robert Ford Excluded Kubrick because I still haven't seen Barry Lyndon and Eyes Wide Shut, same thing with LVT, Dancer in the Dark and Dogville.

1) Will any Wednesday opener drop less than 20% on Thursday? Yes 2) Will any Wednesday opener increase more than 20% on Friday? No 3) Will Transformers decrease by less than 62.5%? Yes 4) Will Transformers (only Sunday estimates will count) have a total of more than 217.522 mill in China? 5000 Yes 5) Will Tammy make more than 30 mill for the three day? 3000 No 6) Will Earth to Echo make more than 12 million? Yes 7) Will Transformers increase by more than 50% on Saturday? Yes 8) Will any film increase by less than 10% on Friday? Yes 9) Will Deliver us From Evil make more than 22JS and X-men combined? Yes 10) Will Transformers open to more than 12 million in UK (only Sunday estimates count) Yes 11) Will Transformers WW total be at more than 500 mill by Sunday (only estimates will count) Yes 12) What film finishes in first? Transformers 13) Will there be any more fudging this weekend from Paramount? No 11/13 3000 12/13 5000 13/13 7000 What finishes in spots 3 Earth to Echo 5 22 Jump Street 7 Maleficent 10 America 11 Edge of Tomorrow 2000 each, 5000 bonus if all 5 correct. Bonus 1: What will Tammy's 5 day total be? 5000 $31.189m Bonus 2: What will Transformers Thursday gross be? 5000 $9.652m Bonus 3: What will the be the best % increase on Friday (so if you think 22JS will increase 67% on Friday, and that is the highest increase in top 12, then your answer would be 67%) 7000 26.649%

There might not be another film in 2014 that is so loaded with history behind it. First, there's the history of Alejandro Jodorowsky the filmmaker, the 85-year-old cult figure in the artworld who's only made 7 films in just under 50 years, with most of his reputation relying on two (El Topo and The Holy Mountain). Second, there's the history of Jodorowsky the man, who spent an unhappy, abusive childhood in 1930s Chile and only now decided to have an ultimate confrontation with his past by making a film out of it. Third, there's the history of the whole Latin America in the same decade, which inescapably becomes a major part of the film's foundation. Despite all that weight, and the movie essentially being a 2-hour act of personal therapy, The Dance of Reality is not just Jodorowsky's best film by far (and his first truly great film); it's one of the most playful, imaginative and hilarious films made by anyone in recent years, masking its lack of conventional structure by simply laying a great scene on top of a great scene, all of them filled with so many ideas that I could have happily sat there for another few hours. On the way out, a friend remarked that to him, the movie felt almost like an unintentional adaptation of Marquez's 100 Years of Solitude; I have yet to read that novel, but, with what I heard about it over the years, the comparison doesn't surprise me at all. Considering the story he's telling, Jodorowsky could have made a darker, more serious and blunt film; perhaps his 40-year-old version would have done exactly that. I'm happy he waited this long, because the film, while appropriately serious when needed, is the most joyous experience I've had in the cinema this year. It'll be hard for it to be beaten.

1. Only Lovers Left Alive 2. The Dance of Reality (in no particular order) The LEGO Movie Winter Journey (Russia) So Bright Is the View (Hungary) Eye Am (Turkey) Stations of the Cross (Germany) Locke Life Itself Edge of Tomorrow How to Train Your Dragon 2 Much, much more to see.

The Dance of Reality (2014)

Last Year at Marienbad Pierrot le fou The Dance of Reality

Well, all you ever watch is Nolan's filmography on an endless loop so that sounds about right.

I'd be shocked to see Hobbit 3 under 200m DOM

Oh.

Overreacting.

IDL looked amazing, especially in the club scenes and the freeway scenes. To me it's easily one of the best-looking Coen films, along with Miller's Crossing, Fargo, The Man Who Wasn't There and No Country.

It kind of is, but only because the Coens had already done so many great films prior to it.