LateReg

What was Parasite's theater count last week? And for how many more weeks do we expect it to expand?

What's the budget on this?

I think the 6th episode is the best and perhaps most acclaimed of the series. The long takes in the funeral home. On a second viewing, the whole thing feels more complete. Even the end, which to me is still the only weak point of the series, feels a lot better.

Bong has always been the best at that. I've always said that he mixes genres as if they were all one and the same.

Agreed. The scene seems like both a daydream and a memory at the same time. Even so, it's not how Tarantino sees Lee, but how Cliff Booth sees him. Huge difference there.

I didn't get to revisit as many of these as I'd have liked to, but something like this. (According to first festival/theatrical screenings, not US release dates) 1. Beau Travail 2. Eyes Wide Shut 3. Being John Malkovich 4. The Wind Will Carry Us 5. The Straight Story 6. Time Regained 7. Magnolia 8. Topsy Turvy 9. The Matrix 10. Rosetta 11. Fight Club 12. Three Kings 13. L'humanite 14. All About My Mother 15. Audition 16. Election 17. Toy Story 2 18. Ratcatcher 19. The Blair Witch Project 20. The Insider 21. Taboo 22. eXistenZ 23. The Limey 24. The Virgin Suicides 25. Bringing Out the Dead Runners Up: Outer Space, The Iron Giant, Run Lola Run, American Movie, Ghost Dog, American Beauty, South Park: Bigger Longer & Uncut, The Mission, Boys Don't Cry, Go, Pola X, The Talented Mr. Ripley, The Sixth Sense, Dead or Alive Further Personal Favorite: The Ninth Gate I think the American Beauty debate is interesting. It hasn't held up as well as most other films because it seemed so fully formed in its time, especially when I was a freshman in college. I'm not gonna lie - I still think it's very good despite it not being a cool thing to like. But it doesn't hold a candle to the somewhat similar Magnolia, or precursors like Blue Velvet, and I think that's part of why the thrill of its newness faded fast. It's put together well and impresses on first viewing but it's not very deep or original in the final analysis.

Following is his first film. Insomnia is also R. He started his career as a very adult director who made lean movies on a small budget, which is why some clamor for him to make a return to that territory.

I think both parts of the story in this basically plotless movie are wonderfully intertwined on an atmospheric level, which is where this movie lives and breathes. The Mansons were incorporated from the second scene in the film, and frequently revisited throughout, which helps. But this movie is about the times, and the changing of times, and the confusion of the times, and perhaps a loss of innocence, and all of that is tied together. To me, saying that the Mansons don't belong in the movie is like saying that they don't belong in real life. They don't, and yet there they are, influenced by and influencing the times. It all feels right to me, and there's a lot to read into, and I'm happy he left it loose and the meaning of it all understated. As far as Bruce Lee, I simply don't see the things described here as a bad thing. I don't think in these terms, but even if it is a white male fantasy, that's that character's white male fantasy. The film doesn't need to pass judgment on that character for fantasizing (if it's a daydream, as it felt to me, or a hazy memory, as it also felt) or for actually fighting Lee in that fashion (if it is a flashback). Maybe it's just something that happened. Maybe the Pitt character is simply a macho man who felt underappreciated who wanted to take down somebody who everybody admired in order to prove himself. Or, maybe the character actually is racist in some way. Maybe that is the point, and we see it through his eyes, and it just is what it is.

Why was it cringy? I genuinely don't understand that criticism, which was tossed around by some as early as its premiere.

This, 100%. It's shaping the industry, reverberating effects of how and what movies are being made, etc. That's the practical reason to be against certain films without simply being able to ignore them.

Redlettermedia makes a difference because 1999 is the year of Phantom Menace. His elaborate and jokey reviews are famous for pointing out every single possible flaw and goof in, mainly, the Star Wars prequels. Many people I know credit him as being a key contributor to the prevalent opinion that the prequels are not in any way good. I think that's why it has been suggested that Redlettermedia may matter to the placement of films from 1999.

Scar Jo is right, and doesn't sound entitled to me at all. Acting is playing someone you're not. Thats the fun, thats the challenge. The notion you have to turn something down because you aren't, say, gay or straight and the character is, is artistic restriction and is awful. That said, all should have equal opportunity based on talent and that obviously isn't the case.

If you're talking about Kyle Smith, he's the opposite of edgy. He's an extremely conservative critic with, in my opinion, very safe, middle of the road taste.

Same here. Bao is the best in some time and I'm surprised that folks here didn't like it given its reception. It's quite unique, beautiful and deep.

Divisive not only because of the political division, but because the movie, if it is anything like The Big Short, will be wild, fractured, chaotic editing, etc. Not for everyone in that regard.

Same actress from Wonderstruck. Half of which took place in the era of silent cinema and was shot as though it was made then. She's a great little actress.

Honestly, Ready Player One was one of the most impressive movies I've ever seen from a technical standpoint. Visuals, editing, clarity of action, mastery of technology...its astounding. Spielberg's greatest achievement on a technical level, imo. That's why you see it.

Isn't the actual idea even more depressing than that? That the boy isn't actually seeing his mother, but rather a recreation of her? And that he's only being allowed to so that the advanced AI can study him further like he's just some specimen? And that at the end they're shutting him down forever? I believe that's all why some people consider it one of the great and misunderstood twist endings of all time. It seems like the most sentimental thing Spielberg has ever done, but it's really the darkest.

I don't think that's true. Judging by the film polls of the best films of the decade by fandor and the AV Club in 2015, the movie has gained in support. It placed in the top 40 of both lists.

He definitely meant past two decades, as in the pre-determined time frames of what we typically refer to as decades (80s, 90s, etc), not actually 20 years. But Signs and World War Z and I Am Legend should all definitely be on there.

He's great in a small role in The Childhood of a Leader.

I've always had Easter Mondays off. I went to Catholic grade school and a public high school. My girlfriend is currently a teacher at a public school, and they also get Easter Monday off...they don't say it's because of Easter Monday, though. They just usually schedule an institute day that day or something else. Point being, I think that Easter Monday is such a large thing for so many people that schools would rather just make up an excuse to give kids that day off out of respect to the amount of people who celebrate Easter. At least where I'm from and what I see.

@EmpireCity liked it, so I thought it might be okay. Too bad.

Fury Road embargo lifted the Monday of its week of release. That is still early, especially considering it's Warner Bros. It lifted right after its Cannes premiere. Lifting on a Wednesday as opposed to a Monday or even Tuesday is usually not a great sign. I think only movies that are trying to be kept totally secret have their embargoes lift on Wednesday (10 Cloverfield Lane, for example) and still end up doing great critically. Obviously, it could still do ok, though.

Totally agree. Not sure where the negativity is coming from.