Jake Gittes

I would have assumed that The Social Network's loss would teach Oscar bloggers (and not just them, but everyone following the Oscar race) a damn good lesson, but apparently not. It doesn't matter if the movie is the greatest thing since sliced bread, you don't proclaim it an Oscar winner when it's still fucking September. Call it a frontrunner all you want, but it's not a winner until it actually is.

I wouldn't put it completely past the Academy, but the overall reaction to the movie would need to be on the level of TKS (another feel-good, sentimental movie that won against a bunch of much more ambitious films), if not higher, since Philomena is a smaller story - no royal families here.

I'd say Dench is up there with them, with about an equal (if not better) chance to win.

It's one of the seemingly few times I totally agree with Ric about something. I don't think I ever enjoyed seeing Knightley in any movie other than the original Pirates.

93

All That Jazz is really good, but Cabaret and Lenny are both better, so I think this list wouldn't lose much if one of the three Fosse films got taken out.

Have you even seen The Duellists? It's arguably Scott's best film! I'm voting off DEEP RED and ALL THAT JAZZ.

Anyone who likes Proyas should watch his debut, Spirits of the Air, Gremlins of the Clouds. The whole thing is on YouTube, which might actually be the only good (and certainly the quickest) way to watch it, because it's never been released on DVD, only on VHS. A true hidden gem if there ever was one, and it's very much worth it - it's absolutely beautiful and unlike most films you'll ever see.

Nope. I'd read that the official giallo films are only those without a supernatural element, so I only watched those, with the exception of Suspiria (which I'd wanted to see for a long time and simply couldn't resist, especially right after watching three other Argento flicks). I'm definitely interested in watching some supernatural Italian horror movies, though... someday.

Torso was alright. Didn't really expect that . But it mostly worked, with a nice amount of tension. Can't say it was one of the more memorable gialli, though. Your Vice Is A Locked Room..., from the same director, is better IMO.

Not yet, I'll check it out. But I've read that he got seriously mad at MPAA for refusing to give it an R rating, and also interviewed Helen Mirren about the whole thing. Should read that too.

Not an original notion, but seriously, the best thing about gialli as a whole has to be their titles. After I've seen movies with names like The Bird with the Crystal Plumage, Black Belly of the Tarantula and (best one) Your Vice Is a Locked Room and Only I Have the Key, I think I'm even more intolerant to incredibly bland titles they give to so many movies today. Come on, have some fucking imagination!

I actually had a little Giallo marathon a month ago, watching about a dozen movies. The ones I liked best were Argento's The Bird with the Crystal Plumage and Aldo Lado's hugely underrated Short Night of Glass Dolls - which is great in the way it almost completely replaces cheap nudity and gore (nothing wrong with that, but there's enough of it in other gialli) with a terrific, suspenseful mystery story. Other ones I enjoyed, but not as much: Deep Red (Argento; widely considered to be the best in the genre, but I personally found it overlong and not very thrilling, although it's got great production values) Blood and Black Lace (Bava) Lizard in a Woman's Skin (Fulci) Black Belly of the Tarantula (Paolo Cavaro) The Fifth Cord (Luigi Bazzoni) Four Flies on Grey Velvet (Argento) Don't Torture a Duckling (Fulci) Torso (Sergio Martino) Your Vice is a Locked Room and Only I Have the Key (Martino) Only one I really disliked was Bava's A Bay of Blood, which felt like it was going on for an eternity - although the ending is brilliantly fucked up. Finally I also watched 2009's Amer, which is a great little homage to the genre's spirit and sensibilities, even if doesn't really have killers with knives chasing sexy young women.

How could I forget the Wachowskis. I'll take the Matrix sequels and Speed Racer over 95% of summer blockbusters made in 2000s, and Cloud Atlas over 99% of movies released last year. They really aren't getting nearly enough recognition.

I watched it yesterday for the first time and it blew me away, even though I'd already seen other Greenaway films made earlier in the 80s. It's also got one of the most powerful final scenes I've seen in any movie, ever - I was literally shaking in my seat. And I've had Michael Nyman's score playing on repeat for six hours now. Still not tired of it.

Regarding TWBB: I think that "I drink your milkshake!" would work better for us here because it applies not just to those specific characters, but to any situation where one person has all the power and another person has none. Meanwhile, "I'm finished!" is much more specific to Plainview's situation at the end of the movie, and it's also just not as memorable or distinctive, IMO.

"Try the cock, Albert. It's a delicacy, and you know where it's been." - The Cook, the Thief, His Wife & Her Lover

Among wide releases, definitely. Otherwise, Before Midnight and The Act of Killing both also have a 8.7 average rating, with way more reviews on one hand and imperfect percentage ratings (98% and 97%) on the other hand.

"Well, nobody's perfect" - Some Like It Hot "To tell you the truth, I lied a little" - Chinatown "Welcome to the real world" - The Matrix "A million dollars isn't cool. You know what's cool? A billion dollars." - The Social Network "How the fuck am I funny, what the fuck is so funny about me? Tell me! Tell me what's funny!" - Goodfellas BTW, The Lion in Winter, Monty Python and the Holy Grail, Goldfinger are all strictly UK productions, while The Good, the Bad and the Ugly is Spanish/Italian/German. So I'm not sure they count if we go by the original post's rules.

It was out of competition

"All right Mr. De Mille, I'm ready for my close-up" - Sunset Boulevard "I am big, it's the pictures that got small" - Sunset Boulevard "Shut up and deal" - The Apartment "Cause only one thing counts in this life: get them to sign on the line which is dotted!" - Glengarry Glen Ross "All train compartments smell vaguely of shit" - Glengarry Glen Ross

"I killed him for money and for a woman. I didn't get the money, and I didn't get the woman" - Double Indemnity. That line might be the essence of all film noir. "I drink your milkshake!" - There Will Be Blood "The greatest trick the devil ever pulled was convincing the world he didn't exist" - The Usual Suspects "I've always depended on the kindness of strangers" - A Streetcar Named Desire "Forget it Jake, it's Chinatown" - Chinatown BTW, I'm under 26 and I'd love to be a part of the panel, so, I'll also use this post to volunteer.

Helm's Deep is one of the best old-fashioned epic battle sequences ever put on screen.

I think/hope the freeway chase from Reloaded will be there. It's THE set-piece of both Matrix sequels.

I don't know why I'm still reading this thread.