Jake Gittes

A few others from me: The Shop Around the Corner (1940) Professione: reporter (1975) Suspiria (1977) The Duellists (1977) An American Werewolf in London (1981) Angel Heart (1987) The Hairdresser's Husband (1990) Glengarry Glen Ross (1992) Giorgino (1994) Lost Highway (1997) Fear & Loathing in Las Vegas (1998) Pola X (1999) In the Mood for Love (2000) Punch-Drunk Love (2002) There Will Be Blood (2007)

1) What film finishes in first spot? The Butler 2) What film finishes in second spot for Friday? Kick-Ass 2 3) Will any film open to more than 25 mill? Yes 4) Will The Butler open to more than 20 mill? Yes 5) Will Kick Ass 2 open to more than 20 mill? No 6) Will Paranoia open to more than 12 mill? No 7) Will Jobs open to more than 8 mill? No 8) Will Elysium fall less than 58.5%? Yes 9) Will Miller's fall more than 45%? No 10) Will Percy Jackson have a Friday increase of more than 50%? No 11) Will Planes have a Saturday increase of more than 35%? Yes 12) Will Wolverine stay in the top 12? Yes 13) Will DM2 finish within at least a million of Smurfs? Yes 14) Will Blackfish fall more than 20%? No 15) Is RIPD a joke of a box office run? Yes 12/15 4000 13/15 5000 14/15 7000 15/15 10,000 Bonus 1: What will the four openers add up to? 5000 $53.728m Bonus 2: What does the top 10 add up to? 5000 $113.365m Bonus 3: What finishes in spots: 1 The Butler 2 Kick-Ass 2 3 We're the Millers 4 Elysium 8 Paranoia 9 The Smurfs 2 2000 each 5000 if all 6 correct

Herzog's been on my radar for a long time now, just haven't got around to him yet (I was shown Bad Lieutenant by a friend, too). I have a habit of catching up on a lot of living directors' works in days/weeks before they release a new film (recently, for example, I watched a lot of Neil Jordan before Byzantium arrived in theaters, Kar-Wai Wong before The Grandmaster, Korine before Spring Breakers, and so on), and since Herzog remains pretty active I'm sure I'll get more acquainted with him soon enough.

Same, except his one film that I've seen is Bad Lieutenant. Which is amazing, by the way. Cage absolutely kills it.

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Not surprised at that. It's the same as people bashing Drive after almost everyone couldn't stand Only God Forgives.

Only those that haven't been submitted yet. I originally came up with almost 40 films, but removed some hugely popular ones (Fight Club, Jaws, The Incredibles, Godfather II, The Shining, Memento etc) because someone will surely name them later anyway; I wanted to preserve more of the quirkier stiff. 1. Modern Times (1936) 2. Double Indemnity (1944) 3. The Third Man (1949) 4. A Streetcar Named Desire (1951) 5. Lawrence of Arabia (1962) 6. Once Upon a Time in the West (1968) 7. The Conformist (1970) 8. Five Easy Pieces (1970) 9.. Days of Heaven (1978) 10. Apocalypse Now (1979) 11. Once Upon a Time in America (1984) 12. Withnail & I (1987) 13. Monsieur Hire (1989) 14. Naked Lunch (1991) 15. Before Sunrise (1995) 16. Underground (1995) 17. The Butcher Boy (1997) 18. Irréversible (2002) 19. Brick (2005) 20. The Proposition (2005) 21. Zodiac (2007) 22. Inglourious Basterds (2009) 23. A Serious Man (2009) 24. The Turin Horse (2011) 25. We Need to Talk About Kevin (2011)

The hell does Tarantino have to do with it?

Top 10! Thank you, the version of me that correctly answered all those pre-season questions back in April. BTW, have you scored that Now You See Me SOTM that was about what which movie it would pass in gross? I think it can be scored - NYSM has long passed Watchmen and in order to pass Basic Instinct it'd need to make $2m in three weeks, and that isn't happening.

So Precious wasn't too black for them, but The Butler is? Unless I'm mistaken and Spaghetti is talking about it actually winning BP which of course will never happen. But with those reviews a BP nomination wouldn't be anything surprising.

That movie and that scene in particular made me cry buckets when I was a kid. The only other one to have the same effect was TLK.

I didn't say it was?

I think I admire this film more than I enjoy it. Gloria Swanson is incredible, but the scenes with Holden and Nancy Olson ruin the pacing and there's a certain look-how-above-all-this-I-am smugness to Wilder's satire from which he doesn't entirely escape, IMO. I actually think the Academy made the right choice when they awarded Best Picture/Director of that year to All About Eve, and another 1950 film about a darker side of Hollywood - Nicholas Ray's In a Lonely Place - is an underrated gem that I'd say is at least as good as SB.

That's surely the best quality indicator of all. Hummableness. I wouldn't say people today would be able to hum the themes from, say, Blade Runner, does that make it a lesser score? I'll admit I'm no professional when it comes to music, but to me what really matters when it comes to any film score is how well it suits the film. In that respect, I think Elfman's and Zimmer's Batman scores work about equally well. Richer and more grandiose doesn't instantly mean better. I've seen TDK a dozen times and listened to the score even more, and I think it fits the movie like a glove - it's dark, intense when it needs to be and even tragic when it needs to be (mostly in the final scenes as Dent delivers his everything-has-gone-to-hell monologue). It perfectly captures the film's overall atmosphere and then transports it. In that way I don't see how it's not successful. It doesn't need to be orchestral to be good, I thought we left that line of thinking behind for good a long time ago. Inception is an even better example of it (and, in my opinion, the best thing Zimmer ever did). It functions not just as a film score, but as a conceptual album. Here it doesn't simply serve the film, capturing the mood (like in TDK), it enriches it. Things like slowing Non, Je Ne Regrette Rien way down (like everything slows down in a dream) and incorporating it into the score are nothing if not inspired. Moreover, just as a film score, it gets the chance to be a lot of things - bombastic, tense, rising. triumphant, but also incredibly quiet and melancholic, almost ambient. At the same time, nothing sticks out, nothing feels out of place. As far as Zimmer's work overall and him being one-note and simplistic all the time, well I've listened to his scores for The Lion King, The Rock, Black Hawk Down, The Thin Red Line, Gladiator, Dead Man's Chest, TDK, Inception, Sherlock Holmes and Rango numerous times and if those aren't all fairly different from one another and if each and every one doesn't perfectly suit the movie then I must be from another fucking planet. I don't consider myself a fanboy, either, I know Zimmer can produce a lot of uninspired whatever-scores, as well as some total shit - it does him no favors when he's working on six films a year - but when he's game, he can be as great as anyone.

Dr. Strangelove, 8 1/2, La Dolce Vita, Fanny and Alexander, Blue Velvet, Mulholland Drive, Satantango... this would be a damn long list.

It'll pass $60m by next Saturday.

I included WHD, TLR, Pacific Rim, After Earth and Turbo. That was... unwise.

For a while there I thought I was the only one. From the moment the character of Pee-Wee appeared on screen, I wanted him to die a slow, agonizing death. It was honestly infuriating.

Bridges might not have won for playing a grizzled old cowboy in True Grit, but now he's back with a vengeance.

Err... Les Miserables?

I could easily see Rush getting in if the reviews are there. It'll most likely do well enough in the box-office, too.

I didn't realize the topic was only revolving around this forum

Underrated: Spring Breakers, To the Wonder, The Lone Ranger, The Place Beyond the Pines Overrated: Pacific Rim, Now You See Me, The Grandmaster

If Wolverine doesn't develop legs in the next few weeks I'm fucked on SOTM 11. I predicted $136m by the end of the game for it; 95% of that is $129m, and the movie is not gonna get there with drops like this.

How anyone can say Jaws is a D movie is completely beyond me. If nothing else, it's one of the most perfectly structured pieces of storytelling ever made. Spielberg's direction hits all the right notes and no wrong ones.