Chaz
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Posts posted by Chaz
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1 hour ago, Legion By Night said:
A $1 billion budget live action DBZ movie would be a $200 million grosser, minimal.
SAY THAT TO MY FACE
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A $200 million budget live action DBZ movie would be a $1 billion grosser, minimal.
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The digital release hit Elvis harder than I expected.
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2 hours ago, cdsacken said:
man well but annual renewal for me is November so might as well keep it for basically nothing.bigger shock for me is once I leave T-Mobile I’m cancelling Netflix. I’ve had subscription for 22 years. Their content gets worse daily and their available movie collection blows versus HBO max. I loathe the UI for hbomax but it’s time to suck it up
I ditched Netflix last month. I haven’t watched anything on the service in years.
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Hell, we’re STILL getting ‘60s nostalgia movies.
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4 hours ago, The Panda said:
alright. let's go rapid fire!
Number 125
Blazing Saddles (1974, Mel Brooks)
Number 124
The Dark Knight Rises (2012, Christopher Nolan)
Number 123
Toy Story 3 (2010, Lee Unkrich)
Number 122
Arrival (2016, Denis Villeneuve)
Number 121
North by Northwest (1959, Alfred Hitchcock)
Number 120
The Wolf of Wall Street (2013, Martin Scorsese)
Number 119
The Terminator (1984, James Cameron)
Number 118
All About Eve (1950, Joseph K. Mankiewicz)
Number 117
Dunkirk (2017, Christopher Nolan)
Number 116
Harry Potter and the Prisoner of Azkaban (2004, Alfonso Cuaron)
The best movie made about show business AND the best script of the first half of the 20th Century AND the best performance by Bette Davis couldn’t get higher than this?
You’re all going to Hell.
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I’m actually interested in Beast. It looks stupid and fun. I’ll also see the Dragon Ball movie. Other than those two, I’m out in August. I mean, I’ve been out since the ‘80s, but I won’t be in the theater.
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Endgame's third act is great. Everything before it is an absolute bore.
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1 hour ago, Fox20 said:
Young Justice was in trouble already either way, last season had no promo, they just dropped it to die and let alone that half of the season was a powerpoint presentation.
Season 4 was actually their most-watched season ever, according to Greg Weisman. Just being on HBO Max gave them a bigger audience than they ever had on Cartoon Network/DC Universe.
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16 minutes ago, Cappoedameron said:
Young Justice is once again gonna be screwed over despite being top tier animation.
Greg Weisman has been hinting at this possibility since the finale aired and I’ve come to terms with it.
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6 hours ago, The Dark Alfred said:
Another fantastic sub-20 Tuesday hold for TGM and it's good enough to be the best ever!!! Flying above TITANIC and AVATAR defo a sweet thing.
Biggest domestic 10th Tuesday*:
1 Aug 2, 2022 Top Gun: Maverick $1,406,970 3,008 $468 $653,026,492 2 Feb 24, 1998 Titanic $1,291,197 3,006 $430 $405,030,767 3 Feb 23, 2010 Avatar $1,262,678 2,581 $489 $690,499,726 *technically LA LA LAND is #1, but that opened limited.
LOL Titanic made another $200 million after its tenth Tuesday! King
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1 hour ago, Plain Old Tele said:
Oh honey…Are you prepared to face the world as a blind man, Tele? You won’t be able to see the numbers on your scratch offs.
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1 hour ago, The Panda said:
Breathe easy @Cap, it's in
Number 55
"We didn't need dialogue. We had faces!"
About the Film
Synopsis
"A hack screenwriter writes a screenplay for a former silent film star who has faded into Hollywood obscurity."
Its Legacy
"As much a black comedy as it is film noir, Sunset Boulevard (1950) benefits greatly from stylish lighting by John F. Seitz, ASC — who had previously worked with director Billy Wilder on the noir classics Double Indemnity (1944) and Lost Weekend (1945). In a September 1950 article on Sunset Boulevard, AC editor Herb Lightman observed that Seitz believed “cinematography must exist to tell the screen story, rather than to stand out as a separate artistic entity.”
Seitz’s lighting within her mansion gives only a hint of sun beyond the cluttered walls and creates a suffocating atmosphere. Desmond’s decadent domain is revealed largely through deep-focus shots that keep the vast spaces of her rococo mansion in sharp view.
“To achieve this extreme depth of field,” Lightman explained, “it was necessary to use a greatly intensified light level and to latensify the film in order to stop down the lens aperture sufficiently.” The latensification, which was used for about 15 percent of the film, added perhaps two stops to the film speed. This allowed Seitz to use a practical lamp on the set as the key light in at least one scene. He could also shoot night for night and create, along with other effects, the Gothic gloom of the backyard funeral for Desmond’s pet monkey (a scene that Wilder reportedly described to Seitz as “the usual dead-chimpanzee setup”).
An instant classic, Sunset Boulevard earned 11 Oscar nominations, including a Best Cinematography nod for Seitz. With some 160 credits to his name, dating back to 1916, the cinematographer retired from his career behind the lens in 1960 to focus on his work as an inventor. Deemed “culturally, historically, or aesthetically significant” by the U.S. Library of Congress in 1989, Sunset Boulevard was in the first group of films selected for preservation in the National Film Registry."
- David E. Williams, American Cinematographer
From the Filmmaker
Why It's Great
Critic Opinion
"From this viewpoint, however much it may have been disliked in Hollywood, Sunset Boulevard (1950) was an insider's film, in Thomson's words, "one of Hollywood's most confused pieces of self-adulation." Though Louis B. Mayer cursed Wilder out-"You bastard," he said after an early screening, "you have disgraced the industry that made you and fed you"-Sunset Boulevard was the kind of "quality" production that won Academy Awards, not plaudits from Cahiers du Cinema. (Actually, thanks in part to Hollywood's awe of the legitimate theater, the lion's share of the awards that year went to another treatment of the aging star, Mankiewicz's All About Eve.) In this light, the limitations of Sunset Boulevard were confirmed by its uncertain tone, its apparent grab bag of cinematic sources and effects. The movie begins in the dark world of the film noir, with its title printed in block letters along a curbside, the camera tracking feverishly down a deserted street and a caravan of police cars and motorcycles pulling up at Norma Desmond's mansion to investigate a murder-all of which is accompanied by Franz Waxman's thriller music and, soon, Joe Gillis's Chandleresque voice-over detailing the circumstances of his own death.
But what begins like Double Indemnity soon modulates into a breezy, knowing satire of contemporary Hollywood, full of references to actual people and places. The look and tension of noir filmmaking seem completely forgotten. After a perfunctory chase in which two bozos acting like G-men try to repossess Joe Gillis's car, we must shift gears yet again when he takes refuge in Norma Desmond's seem ingly deserted "Sunset castle,>" which, like her, is a decay ing remnant of the silent film days of the 1920s. Here the most puzzling thing initially is Gloria Swanson's strident, mannered, operatic performance, which starts as high camp with the obsequies for a pet monkey and culminates with a Grand Guignol mad scene worthy of Callas or Sutherland. Under Wilder's direction, Swanson makes no attempt to humanize Norma, to play her from the inside for pathos or sympathy. (Predictably, David Thomson con demns her "thunderous acting style" for being too "em phatic and feverish.") Though Swanson, irradiated by looking at one of her own movies, tells William Holden that "we didn't need dialogue-we had faces," her own face is too often a garish mask of self-absorbed posturing and melodrama: precisely what the 1940s saw when it glanced back at the silent-film era.
his is the case that can be made against Wilder's film. But I think critics who do make it are simply looking at the wrong movie. Our view of Sunset Boulevard is skewed by Wilder's reputation as a satirist and by its own reputation as the best movie ever made about Hollywood. Far from damaging the movie by hamming it up, Gloria Swanson burns up the screen from the first moment she appears. Next to Holden's cool, laid-back, "modern" movie acting, which depends so much on the inflections of his voice, her performance is so visual, so gestural, that it re vives the spirit of silent film singlehandedly. There's some thing lifeless about the scenes without her or Stroheim, especially the few between Holden and the kids his own age: the "normal"' world to which he is presumably trying to escape. Sunset Boulevard is less a one-of-a-kind film than an ingenious adaptation of the genre conventions of noir to its Hollywood subject. Though Wilder, unlike many of his fellow emigres, never seemed much like a German director, here he reaches back throughl noir to its primary source, the expressionism of horror and Gothic, to convey his sense of the two Hollywoods, both equally out of touch with anything real: one immured narcissistically in its past glories, the other trapped in the tawdry superficiality of the present."
- Morris Dickstein, Grand Street , Spring, 1988, Vol. 7, No. 3 (Spring, 1988), pp. 176-184
Public Opinion
"Still a classic."
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Letterboxd.
The AI's Poetic Opinion
sunset boulevard
"The cars light up the street
As the sun sets in the sky
A beautiful sight"- dA vInci
Factoids
Previous Rankings
UNRANKED (2020, 2018, 2016, 2014), #80 (2013), #90 (2012)
Director Count
Brad Bird (2), James Cameron (2), Martin Scorsese (2), David Fincher (2), Stanley Kubrick (2), Christopher Nolan (2), The Russos (2), Ridley Scott (2), Paul Thomas Anderson (1), John G. Avildsen (1), John Carpenter (1), Charlie Chaplin (1), Brenda Chapman (1), Joel Coen (1), Wes Craven (1), Clint Eastwood (1), Victor Fleming (1), William Friedkin (1), Michel Gondry (1), Steve Hickner (1), John Lasseter (1), Spike Lee (1), Richard Linklater (1), Katia Lund (1), David Lynch (1), Richard Marquand (1), Fernando Meirelles (1), Hayao Miyazaki (1), Katsuhiro Otomo (1), Jan Pinkava (1), Makoto Shinkai (1), Vittorio de Sica (1), Steven Spielberg (1), Andrew Stanton (1), Isao Takahata (1), Guillermo Del Torro (1), Lee Unkrich (1), Gore Verbinski (1), Peter Weir (1), Simon Wells (1), Billy Wilder (1), Kar-Wai Wong (1), Robert Zemeckis (1)
Decade Count
1930s (2), 1940s (1), 1950s (1), 1960s (1), 1970s (3), 1980s (7), 1990s (8), 2000s (16), 2010s (5)
Country Count
Japan (4), Brazil (1), China (1), Italy (1), Mexico (1), Spain (1)
Franchise Count
Pixar (4), The MCU (2), Alien (1), Avatar (1), Before (1), Blade Runner (1), The Exorcist (1), Finding Nemo (1), Halloween (1), Incredibles (1), Pirates of the Caribbean (1), Rocky (1), Scream (1), The Shining (1), Star Wars (1), Toy Story (1), The Wizard of Oz (1)
Re-Weighted Placements
#74 Fanboys Ranking, #55 Cinema Ranking
#26 Old Farts Ranking, #99 Damn Kids Ranking
#48 Ambassador Ranking, #58 All-American Ranking
#75 Cartoon Ranking, #55 Damn Boomer Ranking
Ok. Everybody gets to live for now!
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Y’all just better hope I don’t see All About Eve outside that top 100. Imma be scratching eyes out.
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9 minutes ago, YM! said:And we’ll never see The Venture Bros HBO Max movie.
I WILL FUCKING RIOT
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You did not misspell George Cukor’s last name. The disrespect.
Judy’s performance in A Star is Born…*chefs kiss*. The first Oscar loss that sparked a public evaluation of the Academy’s voting standards. The best performance by Hollywood’s greatest legend and she lost to Grace Kelly in The Country Girl? No ma’am.
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Judy Garland was the greatest star of the 20th century.
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1 minute ago, Ozymandias said:
I'm gonna let you in on a little secret. Most films made before 1960 are boring as shit and a waste of time. 1960-2000 is the cinematic sweet spot. don't @ me people
Oh, you GETTING @-ed. I won’t allow the children to be disrespectful.
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Baumer, I had Jaws in my top 5 too.
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2 minutes ago, CaptNathanBrittles said:
I'm pretty sure Siskel & Ebert loved it when it came out.
Siskel and Ebert went on CNN to defend the Star Wars Trilogy against cinema snobs in 1983. They were based kings TBH.
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I don’t think Elvis hitting PVOD will affect it too terribly. Older audiences will be more inclined to see it in a theater.
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10 minutes ago, Eric the Tank Engine said:
EXCUSE ME
YOU HEARD ME
Boo Boo the Fool girl!
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The only negative I can give The Prince of Egypt is that the songs are terrible. The score is beautiful but those songs…yikes.
MINUS the classic that brought legends Mariah Carey and Whitney Houston together for the first and only time! God damn the ‘90s was truly the last great decade.
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14 minutes ago, Issac Newton said:
Thor: Love and Thunder passed the $300M domestic mark after grossing an estimated $13.08M this weekend (from 3,650 locations). Estimated total domestic gross stands at $301.52M.#ThorLoveAndThunder #Thor #BoxOffice @MarvelStudios @thorofficial pic.twitter.com/Mj96Crl7VZ
— BoxOfficeReport.com (@BORReport) July 31, 2022Thor is the eighteenth MCU movie to make $300 million domestically.
Iron Man
Iron Man 2
The Avengers
Iron Man 3
Guardians of the Galaxy
Avengers: Age of Ultron
Captain America: Civil War
Guardians of the Galaxy: Vol. 2
Spider-Man: Homecoming
Thor: Ragnarok
Black Panther
Captain Marvel
Avengers: Infinity War
Avengers: Endgame
Spider-Man: Far From Home
Spider-Man: No Way Home
Doctor Strange and the Multiverse of Madness
Thor: Love and Thunder
What an insane run.
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The End of Summer: Dragon Ball Super Super Hero/Beast Weekend Thread | DBS 20.1, Beast 11.6, BT 8, Pets 5.8 | TGM 5.85. Passes Infinity War to become sixth-biggest domestic earner
in Numbers and Data
Posted
That’s better.