2026 Movie Discussion Thread

[JLSigman]

13 hours ago, Andrew POE! said:

Conan The Destroyer (Netflix) - 2.5/5 stars

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Conan The Destroyer nearly misses the point of what Conan The Barbarian was doing. Conan The Barbarian is a story about a character building himself up for revenge, becoming stronger while seeking it. It does so through showing the story and selectively using dialogue to fill in the gaps. Conan The Destroyer at the start has Conan (Arnold Schwarzenegger) talking and giving quips. Conan ceases being merely a warrior of brute force and instead is lead on a quest.

Conan The Destroyer lends itself to be like a lot of kids' adventures of the 1980s, The Goonies, The Neverending Story, and so forth. Conan is told that Princess Jehnna (Olivia D'Abo) must get a gem to locate a horn. Doing so allows Conan to see his dead lover alive again. Jehnna has with her Bombaata (Wilt Chamberlin) who serves as her guard. They meet Zula (Grace Jones), who is chained to a stump and Conan frees her; Zula does a booty shake and fights off the men to join him.

The thing with Conan The Destroyer is it's very much a comedy. Kills are shown, but the beheadings and the violence is mostly 'off screen' with the camera focused on the heroes doing it. Jehnna asks Zula for love advice at one point. "How do I get a man? I just capture him and take him!" Zula says. Malak (Tracey Walter) is asked the same thing and really doesn't know. Then, later Conan is drunk and tries to teach Jehnna to use a sword before bumping into Bombaata and falling down comically.

Apparently, and almost predictably, what Queen Taramis (Sarah Douglas) promised Conan for taking Jehnna to the horn isn't so. It turns out that Bombaata and Queen Taramis want to sacrifice Jehnna to awaken Dagoth. Conan and others fight off and kill various people and eventually destroy Dagoth with pulling off its horn.

The final scenes resemble the throne room in Star Wars as Zula is made captain of the guards, Malak the jester, and the Wizard (Mako) the court wizard. Conan walks off and it shows the same scene from Conan The Barbarian where Conan is seated with the promise of another adventure (yet there isn't one).

In all honesty, Conan the Destroyer is a no fills, all action movie that doesn't require too much intelligence for its story. Even though the dialogue is borderline terrible. Richard Fleischer for this movie directed it well despite at times it not being that good. Gotta sell toys and merchandise somehow in the 1980s.

 

This is the one my Dad allowed us to see, either on cable or rented. To me, it's much more a physical comedy than an action film, with some neat scenes (the mirror room was quite clever). It was also my introduction to Grace Jones.

[The Natural]

Here's my list of actors/actresses robbed of Academy Award wins. Some weren't even nominated:

R Lee Ermey for Full Metal Jacket.
Vincent D'Onofrio for Full Metal Jacket.
Ellen Burnstyn for Requiem for a Dream.
Jake Gyllenhaal for Nightcrawler.
Samuel L Jackson for Pulp Fiction.
Michael Keaton for Birdman.
Cate Blanchet for Carol.
Glenn Close for Fatal Attraction.
Christian Bale for American Psycho.
Christian Bale for The Dark Knight.
Val Kilmer for Tombstone.
Taron Edgerton for Rocket Man.
Clint Eastwood for Unforgiven.
Sigourney Weaver for Aliens.
Daniel Day Lewis for Gangs of New York.
Alan Rickman in Die Hard.
Linda Blair for The Exorcist.
Ellen Burnstyn for The Exorcist.
Jason Miller for The Exorcist.

[Tabe]

5 minutes ago, The Natural said:

Here's my list of actors/actresses robbed of Academy Award wins. Some weren't even nominated:

R Lee Ermey for Full Metal Jacket.
Vincent D'Onofrio for Full Metal Jacket.
Ellen Burnstyn for Requiem for a Dream.
Jake Gyllenhaal for Nightcrawler.
Samuel L Jackson for Pulp Fiction.
Michael Keaton for Birdman.
Cate Blanchet for Carol.
Glenn Close for Fatal Attraction.
Christian Bale for American Psycho.
Christian Bale for The Dark Knight.
Val Kilmer for Tombstone.
Taron Edgerton for Rocket Man.
Clint Eastwood for Unforgiven.
Sigourney Weaver for Aliens.
Daniel Day Lewis for Gangs of New York.
Alan Rickman in Die Hard.
Linda Blair for The Exorcist.
Ellen Burnstyn for The Exorcist.
Jason Miller for The Exorcist.

My hill to die on here is Will Ferrell in Elf. He was incredible in that movie. 

[The Natural]

9 minutes ago, Tabe said:

My hill to die on here is Will Ferrell in Elf. He was incredible in that movie. 

Good shout, pal.

[The Natural]

16 minutes ago, The Natural said:

Here's my list of actors/actresses robbed of Academy Award wins. Some weren't even nominated:

R Lee Ermey for Full Metal Jacket.
Vincent D'Onofrio for Full Metal Jacket.
Ellen Burnstyn for Requiem for a Dream.
Jake Gyllenhaal for Nightcrawler.
Samuel L Jackson for Pulp Fiction.
Michael Keaton for Birdman.
Cate Blanchet for Carol.
Glenn Close for Fatal Attraction.
Christian Bale for American Psycho.
Christian Bale for The Dark Knight.
Val Kilmer for Tombstone.
Taron Edgerton for Rocket Man.
Clint Eastwood for Unforgiven.
Sigourney Weaver for Aliens.
Daniel Day Lewis for Gangs of New York.
Alan Rickman in Die Hard.
Linda Blair for The Exorcist.
Ellen Burnstyn for The Exorcist.
Jason Miller for The Exorcist.

Kevin Conroy for Batman: Mask of the Phantasm.

Mark Hamill for Batman: Mask of the Phantasm.

Robin Williams for Aladdin.

[caley]

5 hours ago, Tabe said:

My hill to die on here is Will Ferrell in Elf. He was incredible in that movie. 

I don't think there is another, living or dead, who could have pulled off that role with the same effect as Ferrell. 

***

This year I have watched 

'Breaking News in Yuba County': (Tubi) and boy what a terrible decision it was to start the year with it. And I LIKE most of these actors (Allison Janney, Mila Kunis, Clifton Collins Jr, Matthew Modine, Awkwafina, Wanda Sykes, Jimmi Simpson, Regina Hall!) but this was just a dreadful film. An unerdappreciated wife surprises her cheating husband, who dies, and she, incomprehensibly, buries his body and reports him missing. And this is the leit motif of this film, characters behaving in incomprehensible ways in order to serve the plot, such as it is. Anyways, her reporter half-sister (Kunis) interviews her on TV and she becomes a pseudo-celebrity (The movie wants to say SOMETHING about Nancy Grace-style crime shows and celebrity-dom but I don't think it knows what that something is!) and this brings her into contact with talk show hosts, disapproving police officers, angry mobsters, etc. etc. It's a particularly ugly little movie that is neither funny enough, nor clever enough to justify its existence and has a rather nasty streak of enjoying to show women get brutalized. 

'High Tide': (TCM) Don Castle is a PI hired to both protect a newspaper editor and investigate his murder once it happens because he's going after a criminal racket who will surely rub him out. It's all right, I like Castle. The opening and closing scenes are both set in the present with the rest of the film presented in the middle which while interesting for the time period, pretty much gives away the plot.

'Captain America: Brave New World': (Disney+) I...liked this, I guess. It wasn't anything really special, just your basic hero versus monster of the week. And it's hamfisted attempt at delivering a message of unity for a divided nation was real bad. Maybe I didn't like it..I like Anthony Mackie.

'Copycat':(Netflix) Ehhh, it was okay. The premise is interesting enough with Holly Hunter (I LOVE Holly Hunter) as a cop investigating a serial killer who enlists Sigourney Weaver an agoraphobic, near-serial-killer victim/serial killer expert to help with the hunt of a killer who is replicating murders of famous serial killers. Now if you dislike cops, THIS is the movie for you because I'm not sure there has ever been an assembly of a less-competent police force than this one: angry sexist chief who doesn't trust the female cop to complete the investigation, a cop tasked with bodyguard duty who wanders off to use the bathroom, a lecherous ex-boyfriend cop, a guard who wanders away to help someone turn off their car alarm. But even the two likable cops in the lead tend to ignore Weaver's advice and investigations, dismissing her with terse "Now's not a good time" as she's trying to help them solve a case. Probably the most interesting character is Harry Connick Jr's locked-up serial killer (Yes THAT Harry Connick Jr!) who is probably not onscreen enough.

'Teenagers Battle The Thing': (Tubi) Woof. I have a soft spot for these 50s/60s evil monster attacks teens movies and they're usually good for a laugh. But this thing was an hour and felt like four. The first 35-40 minutes is basically ARCHEAOLOGY! A teacher taking kids out, explaining stuff, talking about stuff. And nothing happens. Then they find a mummy-esque tomb, disturb it and he comes after them...sort of. The lack of any budget means that the climax of the movie basically happens offscreen while the characters watch. DREADFUL

[RandomAct]

Watched F1 tonight. Brad Pitt drove that car real fast.  Had a lot of half baked plot threads that kinda went nowhere, but overall it was pretty fun. The other guy also drove that car real fast.

[Andrew POE!]

F1 missed out on not quoting from Primus' "Jerry Was A Race Car Driver" somewhere.

Selected movies today....

Possessions (2020) (HBO Max, mini series, leaving on 1/27) - 1/5 star

Spoiler

Seeing that this mini-series was leaving HBO Max this month, I figure I give this a shot. It's honestly one of the most disappointing shows/movies I've ever seen. I watched the subtitled version (i.e. no English dubbing for French voices).

If every episode were like Episode One, this would be rated higher easily. Nathalie (Nadia Tereszkiewicz) is due to be married to Eran (Imri Biton) until the lights go out and Nathalie is found with blood covering her and Eran having his throat slashed. Israeli police get involved with Rafi (Tazhi Grad) and Esti (Noa Koler) investigating the crime. Karim (Reda Kateb) from the French consulate office advises Nathalie not to make any statements as the police question Nathalie for her involvement.

Episode one is utterly intriguing as the police investigate the crime and Karim is trying to learn more about Nathalie and what led up to it. Episode two follows up on this as more is introduced regarding Nathalie and Eran's relationship and the murder scene is recreated.

But, as the show goes, more is added to it that makes it seem like it would go in one direction, then discarded. Nathalie's parents Rosa (Dominique Valadie) and Yoel (Tcheky Karyo) seem to hint at a darker secret in Nathalie's life; Nathalie and Karim go to Palestine and finds a former lover of Nathalie named Alex (Corentin Fila). It's implied that Alex knows who murdered Eran and Alex was involved in the murder; instead, Alex seems to be out of the running for it and implies that 'someone' wanted Eran dead that knows Nathalie.

The last three episodes began with such promise and soon grinds to a halt. Apparently, the comatose former boyfriend of Nathalie 'compelled' Nathalie to murder Eran. Karim seems to be the only person at this point where he vocalizes how non-senscial this is. Rosa was examined as a suspect until she wasn't. Yoel was thought to have sexually abused Nathalie, until that's just dropped.

The second to last episode has Nathalie marrying a comatose man Eli (Vassili Schneider) because 'that's what the matchmaker decreed.' Then, Nathalie murders the comatose man in a compound in the final episode.

Seemingly, people involved with this show thought this is the most logical conclusion to reach. Every other story thread introduced wasn't sufficient. Esti was right to suspect that Nathalie committed the murder (which the show as much said that she did) at the start, but not for the reasons stated. Nathalie was never sexually abused by Eran or by her father. She was brainwashed by her mother and those around her mother at an early age.

The show despite the first episode, is shot and filmed the same. Deserts have a blinding nearly white light everywhere in every shot. Actors involved seem to have a flat, almost lifeless and emotionless way of playing their characters, even with something like a murder involving the main character.

I can't help to feel that the show didn't want to have Eran's family be more against the marriage; except for the funeral scene, they are really a non-issue. The show lead me to believe that Eran's brother was behind the murder of his brother because Eran 'disgraced the family's name' with marrying a French woman he met at a mall. Instead, they are less then culpable.

So Possessions leaving HBO Max isn't exactly an essential watch. Now HBO Max needs to bring back better shows they dropped.

Natural Born Killers (Criterion Channel, leaving on 1/31) - 5/5 stars

Spoiler

"When they said repent/I wonder what they meant" -Leonard Cohen, "The Future"

Natural Born Killers is more relevant today than it was in 1994. At the time this came out, the mainstream media were up in arms over it, with every conservative pundit decrying this as a film and saying various things like "it's trash," 'it's not Christian," blah blah blah. The fact is Natural Born Killers isn't a movie about two mass murderers Mickey (Woody Harrelson) and Mallory (Juliette Lewis), it's an indictment about the consumerism and media environment that produces people like them. Teenagers are shown interviewed and they say they think Mickey and Mallory are 'cool.' Obviously, the 1990s were such a time where this happened alot with sensationalism and tabloid TV (note the montage at the end of the movie with OJ Simpson, Rodney King, and the Menendez Brothers).

The movie literally is pure cocaine to watch. Oliver Stone has always been willing to slaughter the sacred cows of America; it just took a story from Quentin Tarantino to amp it up. The movie has so many stylistic changes (black and white footage, dutch angles everywhere, slow motion shots, projected footage, etc) throughout that it's literally dizzying to watch. The presentation is the product of the television generation, not of the movie generation.

Mallory's backstory is introduced through a television sitcom with her father (Rodney Dangerfield) and her mother (Edie McClurg) and her. Her father is verbally and sexually abusive with Mickey arriving as a meat delivery driver. Mallory is 'saved' by Mickey as both murder her parents; it's almost difficult to say that Mallory is even saved by the act. Mickey and Mallory literally nothing going for them other than murdering people. There's no deeper meaning being derived for them other than the act.

What changes is when they encounter Warren Red Cloud (Russell Means) and Warren actually understanding them despite the language barrier. Mickey of course kills him due to a fever venom infused dream; it's a commentary how an individual outside of American society can make two characters reflect upon what they are doing and even regret what they did in the moment.

What's interesting is how music form as a leitmotif for the movie. Leonard Cohen's songs - "Waiting For The Miracle" and "Anthem" specifically - seem to serve as one for Mickey as the music almost describes his thought process for committing murder. Cowboy Junkies' cover of "Sweet Jane" appears whenever Mickey thinks of Mallory. Mallory has Nine Inch Nails' music serve as her leitmotif when she is talking with Mickey and they are walking by a cop in one scene.

The thing with Natural Born Killers is everyone in the movie is psychotic. Not just Mickey and Mallory, but Wayne Gale (Robert Downey Jr), who seeks to exploit the two for television ratings. Also Jack Scagnetti (Tom Sizemore) who has murdered a woman and written a book about his methods of capturing criminals. And the prison warden Dwight McClusky (Tommy Lee Jones) who literally spits out orders and is generally unhinged. Oliver Stone's statement seems to be that the police are equally as psychotic as the criminals like Mickey and Mallory.

The first half of the movie have Mickey and Mallory committing crimes and escaping with Wayne Gale showing a reenactment on television. Jack Scagnetti catches up with them at a Repo Man-like drug store as Mickey and Mallory are trying to find medicine for rattlesnake poison. The two are captured alive as it cuts to a year later.

The prison scenes are literally the most unhinged and psychotic scenes I've ever seen and that's saying something with this. Mickey and Mallory are separated as Jack Scagnetti meets the prison warden and Wayne Gale is to arrive for an interview with Mickey "during Superbowl weekend." Mickey brings up theories as to why he does what he does. Towards the end of the interview, a riot breaks out.

The last 30 minutes or so of the movie is pure adrenaline as Mickey gets to Mallory while taking hostages. Jack and Mickey have a standoff until Mallory kills Jack and Mickey, Mallory and Wayne escape. Wayne is killed as Mickey and Mallory leave for parts unknown. The credits show Mallory and Mickey in a trailer with two kids and Mallory pregnant.

Natural Born Killers as a movie is absolutely essential cinema and uses a lot of the tricks of "New Hollywood" through the VHS (obviously due to Tarantino being influenced by the movies he would see). The characters aren't meant to be what people should be, but the truth of the matter is this is the way notorious people are.

Is This Thing On? (saw in the theaters) - 4/5 stars

Spoiler

"Getting back together with your ex is like taking a shit and trying to put it back in your asshole"

In seemingly bygone days, Hollywood would typical release adult comedy/dramas like this to movie theaters. Nowadays, they are pumped out to Netflix and Hulu and in a rarity. Is This Thing On? will not change how adult comedy/dramas are done, but it's nice to see something like this in theaters again.

Is This Thing On? is somewhat of a "Cassavetes for Middle America" movie - the drama is low-key and lacking in histrionics. The staple of adult comedy/dramas is the middle/upper class concerns for its main characters; this movie wouldn't work if any of the characters were dirt poor and sharing apartments with a guy that has a stamp collection. Alex Novak (Will Arnett) and his wife Tess (the absolutely unbelievably fucking gorgeous Laura Dern) have decided to separate from each other and are trying to do so quietly. Alex goes downtown to find a bar and finds one that will charge him $15 to get in or he can sign up to perform standup comedy.

Alex's path with standup comedy is absolutely relatable, especially for middle aged men that feel like they have reached a 'rut' in their lives. For me, I especially could empathize with Alex as I have recently started acting in local theater productions. Will it lead to me getting bigger parts and allowing me to quit my day job? No, it may not. Alex has a similar mindset - he relishes the opportunity to do gigs and perform and the highlight for him is being able to perform a 10 minute set one night.

Much of the conflict for this movie is a bit 'smaller' than usual. There's not a screaming fight or breaking objects, but it's manifested in Alex's comedy. One scene that's absolutely cringe to watch is when Tess meets a guy named Laird (Peyton Manning, who honestly sounded like he was being Peyton Manning and not acting as a guy not named Peyton Manning); the two decide to go to a comedy club where....Alex is performing. Alex is dishing about his separated wife and about having sex with another woman for the first time. Alex doesn't see Tess in the crowd, but Tess leaves after the set.

The scene with the two in front of the Comedy Cellar is almost an "Only in New York" type of scene. The two share a cigarette and for whatever reason go to Alex's place. Tess and Alex have make up sex in Alex's apartment as they begin their 'reaffair' and get back together. What I liked is when the two go to visit Christine (Andra Day) and "Balls" (Bradley Cooper) at their almost-but not quite The Big Chill looking house and sneak away to kiss.

One scene that is practically magical to watch is when Christine, Stephen (Sean Hayes) and Geoffrey (Scott ICenogle, Hayes' real life husband) are in the kitchen and spontaneously start singing "Amazing Grace." It seems like something out of a Cassavetes movie and reminded me a lot of the scenes from The Big Chill where people would gather in the kitchen and sing oldies to each other.

At the cabin, Christine interrupt Alex and Tess during a conversation and Alex goes to leave, angry at Christine. As he is leaving, it match transitions into him going on stage and launching into a tirade about how "those in relationships are like vampires." Alex is smoking outside and sees his dad Jan (Ciaran Hinds); they share a touching moment where Alex actually cries in his dad's arms. Once again, there's something absolutely relatable about that; a man in his 40s being able to show his father what he does is a perfect moment.

Throughout the movie, "Balls" and Alex have conversations about Alex's standup comedy career. "Balls" tells Alex he inspires him and he's thinking of getting a divorce. Towards the end, that appears to be changed; "Balls" and Christine have gotten back together after 'she said her piece.' The two of them go to Texas where "Balls" is on a television show and he steals a hat. (Quite honestly, I want to have "Balls" courage with acting and just say 'fuck it' to act on any production anywhere).

What's a prevalent image throughout the movie is the photo of Tess playing volleyball. Tess' career, much like Alex's, also has a resurgence where she becomes a head coach. Tess' back is to the camera as she is spiking the ball and is hanging up in Alex's apartment. Alex tells Tess that 'he wanted to have her at the peak of her power,' which is an affront to Tess. "You upset me and I upset you, that's what it's like being in a relationship," she says. Later, Alex changes it to the photo after he bought a new car in an act of almost mania at the start of his standup comedy career.

The end of the movie is much like the beginning where Alex and Tess attend something related to their kids' school. Their sons are performing in a school band where they play "Under Pressure." Alex and Tess share a knowing look to each other and then share a kiss. The movie ends as the isolated voices from the real "Under Pressure" are played.

Is This Thing On? is very much fitting in the tradition of "comedy of remarriage." A couple that thought being apart was better rethought this and stayed together; today's times are trying in that respect and it's easy to see why couples would break up. But it's nice when they don't.

Judgment Night (Criterion Channel, leaving on 1/31) - 3/5 stars

Spoiler

Judgment Night does a few things different, few things well, and few things badly. What's interesting (and somewhat refreshing) is the fact that the movie depicts a friendship between a white man and a black man due to the fact that both are similar to each other. Frank (Emilio Estevez) is a suburban dad who hangs out with Mike Peterson (Cuba Gooding Jr) from past outings together; as Frank's wife Linda (Christine Harnos) quibs, "you need to hang out with grown up friends." "They are grown up," Frank says.

Equally interesting is the fact that Ray (Jeremy Piven) is considered the 'odd man out' of the group because his possible criminal background and he coerced a dealership to let him borrow a RV with a bar and TV. Frank's brother John (Stephen Dorff) is even more of an 'odd man out' because the original friend dropped out of the group and John almost drives a car into the RV.

Judgment Night in some respects is like The Hangover or Cassavetes' Husbands meeting After Hours. What happens on this trip is the four guys wanting to see a boxing match then deciding to make a 'detour' that sends them to a lower class part of Chicago. The depiction of Chicago seems to fit a lot with what the news media would depict lower class areas; it's 'crime filled,' because it's filled with black and brown people. The first person encountered that's injured has a gunshot wound and is a Hispanic male.

It's somewhat insulting that Fallon (Denis Leary) would be the 'criminal mastermind' drug lord that kills the person the group tries to rescue. As if brown and black people can't be their own 'criminal masterminds.' Contemporary movies of the time addressed this with Boyz N The Hood and Menace II Society being out. There's no logical reason that anyone would follow Fallon anywhere; it's mentioned that he's highly educated and has a college degree. Yet he runs a drug syndicate, either out of necessity or out of wanton greed.

The movie essentially functions as a chase with the four guys trying to escape Fallon and his men. Slowly over time, the numbers get whittled down. Ray dies from a fall after trying to 'negotiate' with Fallon and Fallon begins to lose men from either his own hand or from the group killing them. It then is reduced to just a fight between Frank and Fallon, with Frank, Mike and John surviving.

Judgment Night as a movie is a bit darker than a lot of the movies around the same time, with a lot of gold/green lighting in the shots. I dug the shot of the guys scaling over a fence, which is a bit reminiscent of The Warriors. There's also the 'bridge' between two rooftops, which recalled Indiana Jones & The Temple of Doom for me with how the gap was depicted.

The soundtrack is like a lot of 1990s movies, where it functions as a compilation of songs. It seems that in the 1990s, a lot of movies started to have a more conscious choice to have songs from musical acts featured in their movies.

For the most part, Judgment Night is a decent crime thriller.

 

[odessasteps]

I would have loved to see what NBK would have been like if QT directed it himself. 

also one of my all time favorite soundtracks. I think it’s full of potential; wrestling themes too. The Patti Smith song, the Future, drums a go go. IIRC, Pillman used the L7 song in ECW.

Edited January 10 by odessasteps

[zendragon]

That and I would have liked to see what the original script of Pretty Woman would have ended up like on screen

[odessasteps]

I had the original QT script before the movie came out, when I was working on my thesis. 

[Curt McGirt]

Andrew, were you inspired to watch Judgement Night from the talk in the main wrestling thread? Have to ask, because that's a really funny coincidence if not. 

I've seen NBK I don't know how many times; I dubbed the uncut version on VHS for myself once upon a time. I hope that's the version you saw, with Tommy Lee Jones' head on a stick and the guards getting sliced up to Dr. Dre. If it weren't for Tommy I'd consider Downey Jr. to have the most unhinged role, especially after he comes down with Stockholm Syndrome and starts yelling at his wife and lover on the cell phone ("I'm gonna put a hot pepper up your arse" is a line that will stay with me forever ). But there IS Tommy, and he is absolutely a fucking Looney Tunes character. They made a mistake of not sticking in at least a couple frames of him in an animated form like they do with Harrelson. It's like Wile E. Coyote got ahold of a prison and everything falls apart for him just like it would for the coyote. How they got Rodney Dangerfield to do his part is beyond me. It's not exactly a role you take for a paycheck. And lets not forget him watching WWF on TV ("Kill the fuckin' Indian!"). 

Maybe it's just me, but if you count True Romance and NBK as Tarantino films, they are in a serious shoot fight with his legit, self-directed works for top billing. I'd actually take the former over any of his other films, except for maybe Jackie Brown.

[Andrew POE!]

Nope, I didn't even know that Judgment Night was being talked about in the main wrestling thread. It's on the "Leaving Criterion Channel" page, so I watched it.

I didn't see the uncut version of Natural Born Killers, just the theatrical cut that's on Criterion Channel. It somewhat makes me mad that they didn't put the uncut version up. 

I would almost say that NBK is better than Pulp Fiction in some respects. Honestly, if Tarantino did nothing else, he would be set. 

[Mister TV]

9 hours ago, Andrew POE! said:

F1 missed out on not quoting from Primus' "Jerry Was A Race Car Driver" somewhere.

Selected movies today....

Possessions (2020) (HBO Max, mini series, leaving on 1/27) - 1/5 star

  Reveal hidden contents

Seeing that this mini-series was leaving HBO Max this month, I figure I give this a shot. It's honestly one of the most disappointing shows/movies I've ever seen. I watched the subtitled version (i.e. no English dubbing for French voices).

If every episode were like Episode One, this would be rated higher easily. Nathalie (Nadia Tereszkiewicz) is due to be married to Eran (Imri Biton) until the lights go out and Nathalie is found with blood covering her and Eran having his throat slashed. Israeli police get involved with Rafi (Tazhi Grad) and Esti (Noa Koler) investigating the crime. Karim (Reda Kateb) from the French consulate office advises Nathalie not to make any statements as the police question Nathalie for her involvement.

Episode one is utterly intriguing as the police investigate the crime and Karim is trying to learn more about Nathalie and what led up to it. Episode two follows up on this as more is introduced regarding Nathalie and Eran's relationship and the murder scene is recreated.

But, as the show goes, more is added to it that makes it seem like it would go in one direction, then discarded. Nathalie's parents Rosa (Dominique Valadie) and Yoel (Tcheky Karyo) seem to hint at a darker secret in Nathalie's life; Nathalie and Karim go to Palestine and finds a former lover of Nathalie named Alex (Corentin Fila). It's implied that Alex knows who murdered Eran and Alex was involved in the murder; instead, Alex seems to be out of the running for it and implies that 'someone' wanted Eran dead that knows Nathalie.

The last three episodes began with such promise and soon grinds to a halt. Apparently, the comatose former boyfriend of Nathalie 'compelled' Nathalie to murder Eran. Karim seems to be the only person at this point where he vocalizes how non-senscial this is. Rosa was examined as a suspect until she wasn't. Yoel was thought to have sexually abused Nathalie, until that's just dropped.

The second to last episode has Nathalie marrying a comatose man Eli (Vassili Schneider) because 'that's what the matchmaker decreed.' Then, Nathalie murders the comatose man in a compound in the final episode.

Seemingly, people involved with this show thought this is the most logical conclusion to reach. Every other story thread introduced wasn't sufficient. Esti was right to suspect that Nathalie committed the murder (which the show as much said that she did) at the start, but not for the reasons stated. Nathalie was never sexually abused by Eran or by her father. She was brainwashed by her mother and those around her mother at an early age.

The show despite the first episode, is shot and filmed the same. Deserts have a blinding nearly white light everywhere in every shot. Actors involved seem to have a flat, almost lifeless and emotionless way of playing their characters, even with something like a murder involving the main character.

I can't help to feel that the show didn't want to have Eran's family be more against the marriage; except for the funeral scene, they are really a non-issue. The show lead me to believe that Eran's brother was behind the murder of his brother because Eran 'disgraced the family's name' with marrying a French woman he met at a mall. Instead, they are less then culpable.

So Possessions leaving HBO Max isn't exactly an essential watch. Now HBO Max needs to bring back better shows they dropped.

Natural Born Killers (Criterion Channel, leaving on 1/31) - 5/5 stars

  Reveal hidden contents

"When they said repent/I wonder what they meant" -Leonard Cohen, "The Future"

Natural Born Killers is more relevant today than it was in 1994. At the time this came out, the mainstream media were up in arms over it, with every conservative pundit decrying this as a film and saying various things like "it's trash," 'it's not Christian," blah blah blah. The fact is Natural Born Killers isn't a movie about two mass murderers Mickey (Woody Harrelson) and Mallory (Juliette Lewis), it's an indictment about the consumerism and media environment that produces people like them. Teenagers are shown interviewed and they say they think Mickey and Mallory are 'cool.' Obviously, the 1990s were such a time where this happened alot with sensationalism and tabloid TV (note the montage at the end of the movie with OJ Simpson, Rodney King, and the Menendez Brothers).

The movie literally is pure cocaine to watch. Oliver Stone has always been willing to slaughter the sacred cows of America; it just took a story from Quentin Tarantino to amp it up. The movie has so many stylistic changes (black and white footage, dutch angles everywhere, slow motion shots, projected footage, etc) throughout that it's literally dizzying to watch. The presentation is the product of the television generation, not of the movie generation.

Mallory's backstory is introduced through a television sitcom with her father (Rodney Dangerfield) and her mother (Edie McClurg) and her. Her father is verbally and sexually abusive with Mickey arriving as a meat delivery driver. Mallory is 'saved' by Mickey as both murder her parents; it's almost difficult to say that Mallory is even saved by the act. Mickey and Mallory literally nothing going for them other than murdering people. There's no deeper meaning being derived for them other than the act.

What changes is when they encounter Warren Red Cloud (Russell Means) and Warren actually understanding them despite the language barrier. Mickey of course kills him due to a fever venom infused dream; it's a commentary how an individual outside of American society can make two characters reflect upon what they are doing and even regret what they did in the moment.

What's interesting is how music form as a leitmotif for the movie. Leonard Cohen's songs - "Waiting For The Miracle" and "Anthem" specifically - seem to serve as one for Mickey as the music almost describes his thought process for committing murder. Cowboy Junkies' cover of "Sweet Jane" appears whenever Mickey thinks of Mallory. Mallory has Nine Inch Nails' music serve as her leitmotif when she is talking with Mickey and they are walking by a cop in one scene.

The thing with Natural Born Killers is everyone in the movie is psychotic. Not just Mickey and Mallory, but Wayne Gale (Robert Downey Jr), who seeks to exploit the two for television ratings. Also Jack Scagnetti (Tom Sizemore) who has murdered a woman and written a book about his methods of capturing criminals. And the prison warden Dwight McClusky (Tommy Lee Jones) who literally spits out orders and is generally unhinged. Oliver Stone's statement seems to be that the police are equally as psychotic as the criminals like Mickey and Mallory.

The first half of the movie have Mickey and Mallory committing crimes and escaping with Wayne Gale showing a reenactment on television. Jack Scagnetti catches up with them at a Repo Man-like drug store as Mickey and Mallory are trying to find medicine for rattlesnake poison. The two are captured alive as it cuts to a year later.

The prison scenes are literally the most unhinged and psychotic scenes I've ever seen and that's saying something with this. Mickey and Mallory are separated as Jack Scagnetti meets the prison warden and Wayne Gale is to arrive for an interview with Mickey "during Superbowl weekend." Mickey brings up theories as to why he does what he does. Towards the end of the interview, a riot breaks out.

The last 30 minutes or so of the movie is pure adrenaline as Mickey gets to Mallory while taking hostages. Jack and Mickey have a standoff until Mallory kills Jack and Mickey, Mallory and Wayne escape. Wayne is killed as Mickey and Mallory leave for parts unknown. The credits show Mallory and Mickey in a trailer with two kids and Mallory pregnant.

Natural Born Killers as a movie is absolutely essential cinema and uses a lot of the tricks of "New Hollywood" through the VHS (obviously due to Tarantino being influenced by the movies he would see). The characters aren't meant to be what people should be, but the truth of the matter is this is the way notorious people are.

Is This Thing On? (saw in the theaters) - 4/5 stars

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"Getting back together with your ex is like taking a shit and trying to put it back in your asshole"

In seemingly bygone days, Hollywood would typical release adult comedy/dramas like this to movie theaters. Nowadays, they are pumped out to Netflix and Hulu and in a rarity. Is This Thing On? will not change how adult comedy/dramas are done, but it's nice to see something like this in theaters again.

Is This Thing On? is somewhat of a "Cassavetes for Middle America" movie - the drama is low-key and lacking in histrionics. The staple of adult comedy/dramas is the middle/upper class concerns for its main characters; this movie wouldn't work if any of the characters were dirt poor and sharing apartments with a guy that has a stamp collection. Alex Novak (Will Arnett) and his wife Tess (the absolutely unbelievably fucking gorgeous Laura Dern) have decided to separate from each other and are trying to do so quietly. Alex goes downtown to find a bar and finds one that will charge him $15 to get in or he can sign up to perform standup comedy.

Alex's path with standup comedy is absolutely relatable, especially for middle aged men that feel like they have reached a 'rut' in their lives. For me, I especially could empathize with Alex as I have recently started acting in local theater productions. Will it lead to me getting bigger parts and allowing me to quit my day job? No, it may not. Alex has a similar mindset - he relishes the opportunity to do gigs and perform and the highlight for him is being able to perform a 10 minute set one night.

Much of the conflict for this movie is a bit 'smaller' than usual. There's not a screaming fight or breaking objects, but it's manifested in Alex's comedy. One scene that's absolutely cringe to watch is when Tess meets a guy named Laird (Peyton Manning, who honestly sounded like he was being Peyton Manning and not acting as a guy not named Peyton Manning); the two decide to go to a comedy club where....Alex is performing. Alex is dishing about his separated wife and about having sex with another woman for the first time. Alex doesn't see Tess in the crowd, but Tess leaves after the set.

The scene with the two in front of the Comedy Cellar is almost an "Only in New York" type of scene. The two share a cigarette and for whatever reason go to Alex's place. Tess and Alex have make up sex in Alex's apartment as they begin their 'reaffair' and get back together. What I liked is when the two go to visit Christine (Andra Day) and "Balls" (Bradley Cooper) at their almost-but not quite The Big Chill looking house and sneak away to kiss.

One scene that is practically magical to watch is when Christine, Stephen (Sean Hayes) and Geoffrey (Scott ICenogle, Hayes' real life husband) are in the kitchen and spontaneously start singing "Amazing Grace." It seems like something out of a Cassavetes movie and reminded me a lot of the scenes from The Big Chill where people would gather in the kitchen and sing oldies to each other.

At the cabin, Christine interrupt Alex and Tess during a conversation and Alex goes to leave, angry at Christine. As he is leaving, it match transitions into him going on stage and launching into a tirade about how "those in relationships are like vampires." Alex is smoking outside and sees his dad Jan (Ciaran Hinds); they share a touching moment where Alex actually cries in his dad's arms. Once again, there's something absolutely relatable about that; a man in his 40s being able to show his father what he does is a perfect moment.

Throughout the movie, "Balls" and Alex have conversations about Alex's standup comedy career. "Balls" tells Alex he inspires him and he's thinking of getting a divorce. Towards the end, that appears to be changed; "Balls" and Christine have gotten back together after 'she said her piece.' The two of them go to Texas where "Balls" is on a television show and he steals a hat. (Quite honestly, I want to have "Balls" courage with acting and just say 'fuck it' to act on any production anywhere).

What's a prevalent image throughout the movie is the photo of Tess playing volleyball. Tess' career, much like Alex's, also has a resurgence where she becomes a head coach. Tess' back is to the camera as she is spiking the ball and is hanging up in Alex's apartment. Alex tells Tess that 'he wanted to have her at the peak of her power,' which is an affront to Tess. "You upset me and I upset you, that's what it's like being in a relationship," she says. Later, Alex changes it to the photo after he bought a new car in an act of almost mania at the start of his standup comedy career.

The end of the movie is much like the beginning where Alex and Tess attend something related to their kids' school. Their sons are performing in a school band where they play "Under Pressure." Alex and Tess share a knowing look to each other and then share a kiss. The movie ends as the isolated voices from the real "Under Pressure" are played.

Is This Thing On? is very much fitting in the tradition of "comedy of remarriage." A couple that thought being apart was better rethought this and stayed together; today's times are trying in that respect and it's easy to see why couples would break up. But it's nice when they don't.

Judgment Night (Criterion Channel, leaving on 1/31) - 3/5 stars

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Judgment Night does a few things different, few things well, and few things badly. What's interesting (and somewhat refreshing) is the fact that the movie depicts a friendship between a white man and a black man due to the fact that both are similar to each other. Frank (Emilio Estevez) is a suburban dad who hangs out with Mike Peterson (Cuba Gooding Jr) from past outings together; as Frank's wife Linda (Christine Harnos) quibs, "you need to hang out with grown up friends." "They are grown up," Frank says.

Equally interesting is the fact that Ray (Jeremy Piven) is considered the 'odd man out' of the group because his possible criminal background and he coerced a dealership to let him borrow a RV with a bar and TV. Frank's brother John (Stephen Dorff) is even more of an 'odd man out' because the original friend dropped out of the group and John almost drives a car into the RV.

Judgment Night in some respects is like The Hangover or Cassavetes' Husbands meeting After Hours. What happens on this trip is the four guys wanting to see a boxing match then deciding to make a 'detour' that sends them to a lower class part of Chicago. The depiction of Chicago seems to fit a lot with what the news media would depict lower class areas; it's 'crime filled,' because it's filled with black and brown people. The first person encountered that's injured has a gunshot wound and is a Hispanic male.

It's somewhat insulting that Fallon (Denis Leary) would be the 'criminal mastermind' drug lord that kills the person the group tries to rescue. As if brown and black people can't be their own 'criminal masterminds.' Contemporary movies of the time addressed this with Boyz N The Hood and Menace II Society being out. There's no logical reason that anyone would follow Fallon anywhere; it's mentioned that he's highly educated and has a college degree. Yet he runs a drug syndicate, either out of necessity or out of wanton greed.

The movie essentially functions as a chase with the four guys trying to escape Fallon and his men. Slowly over time, the numbers get whittled down. Ray dies from a fall after trying to 'negotiate' with Fallon and Fallon begins to lose men from either his own hand or from the group killing them. It then is reduced to just a fight between Frank and Fallon, with Frank, Mike and John surviving.

Judgment Night as a movie is a bit darker than a lot of the movies around the same time, with a lot of gold/green lighting in the shots. I dug the shot of the guys scaling over a fence, which is a bit reminiscent of The Warriors. There's also the 'bridge' between two rooftops, which recalled Indiana Jones & The Temple of Doom for me with how the gap was depicted.

The soundtrack is like a lot of 1990s movies, where it functions as a compilation of songs. It seems that in the 1990s, a lot of movies started to have a more conscious choice to have songs from musical acts featured in their movies.

For the most part, Judgment Night is a decent crime thriller.

 

Totally misremembered and thought Ice T and Ice Cube were the villains in Judgment Night, confused it with Trespass! Guess, I’m watching both of them this coming week. 

[HarryArchieGus]

6 hours ago, Curt McGirt said:

I've seen NBK I don't know how many times; I dubbed the uncut version on VHS for myself once upon a time. I hope that's the version you saw, with Tommy Lee Jones' head on a stick and the guards getting sliced up to Dr. Dre.

Totally disagree on the NBK version to watch. The theatrical cut is far superior. I dig those outtakes, and especially the scene you mentioned, but their inclusion in the longer Directors Cut kills the incredible momentum in the original release. Especially the prison break scene. Those cuts are better utilized as part of the special features.

During the DVD/'Blu Ray' era, and up until recently, (I believe) the only way to properly watch said theatrical cut was on VHS or Laserdisc. Further, for some shitty licensing issue, Nine Inch Nails 'Burn' was removed from a crucial point in the movie - the breakdown before Leonard Cohen's the Future takes us into the credits. I don't think I've ever encountered this issue with a film before, or not that I'm aware - obviously there are lots of TV show examples. Burn was restored with the recent UHD release. 

10 hours ago, odessasteps said:

I would have loved to see what NBK would have been like if QT directed it himself. 

also one of my all time favorite soundtracks. I think it’s full of potential; wrestling themes too. The Patti Smith song, the Future, drums a go go. IIRC, Pillman used the L7 song in ECW.

I've always been curious what QT's NBK would look like, but I certainly wouldn't trade it for what we got. NBK in that theatrical cut is to me perfection, and an (often) underappreciated masterpiece. Stone to me is extremely hit and miss (Wall Street, the Doors etc.), but NBK and JFK are amongst my favorite films of that era. Honorable mention to the overlooked U Turn and Any Given Sunday.

Totally with you on the Soundtrack. The fearless mixing of Leonard Cohen with Dr. Dre and Enya and Patti and the Cowboy Junkies etc etc is absolutely incredible. And Burn is amongst the best NIN tracks of the era. A huge influence on my mixtape and radio show production ever since. That soundtrack is a standalone movie in itself. 

10 hours ago, Andrew POE! said:

Natural Born Killers (Criterion Channel, leaving on 1/31) - 5/5 stars

  Reveal hidden contents

"When they said repent/I wonder what they meant" -Leonard Cohen, "The Future"

Natural Born Killers is more relevant today than it was in 1994. At the time this came out, the mainstream media were up in arms over it, with every conservative pundit decrying this as a film and saying various things like "it's trash," 'it's not Christian," blah blah blah. The fact is Natural Born Killers isn't a movie about two mass murderers Mickey (Woody Harrelson) and Mallory (Juliette Lewis), it's an indictment about the consumerism and media environment that produces people like them. Teenagers are shown interviewed and they say they think Mickey and Mallory are 'cool.' Obviously, the 1990s were such a time where this happened alot with sensationalism and tabloid TV (note the montage at the end of the movie with OJ Simpson, Rodney King, and the Menendez Brothers).

The movie literally is pure cocaine to watch. Oliver Stone has always been willing to slaughter the sacred cows of America; it just took a story from Quentin Tarantino to amp it up. The movie has so many stylistic changes (black and white footage, dutch angles everywhere, slow motion shots, projected footage, etc) throughout that it's literally dizzying to watch. The presentation is the product of the television generation, not of the movie generation.

Mallory's backstory is introduced through a television sitcom with her father (Rodney Dangerfield) and her mother (Edie McClurg) and her. Her father is verbally and sexually abusive with Mickey arriving as a meat delivery driver. Mallory is 'saved' by Mickey as both murder her parents; it's almost difficult to say that Mallory is even saved by the act. Mickey and Mallory literally nothing going for them other than murdering people. There's no deeper meaning being derived for them other than the act.

What changes is when they encounter Warren Red Cloud (Russell Means) and Warren actually understanding them despite the language barrier. Mickey of course kills him due to a fever venom infused dream; it's a commentary how an individual outside of American society can make two characters reflect upon what they are doing and even regret what they did in the moment.

What's interesting is how music form as a leitmotif for the movie. Leonard Cohen's songs - "Waiting For The Miracle" and "Anthem" specifically - seem to serve as one for Mickey as the music almost describes his thought process for committing murder. Cowboy Junkies' cover of "Sweet Jane" appears whenever Mickey thinks of Mallory. Mallory has Nine Inch Nails' music serve as her leitmotif when she is talking with Mickey and they are walking by a cop in one scene.

The thing with Natural Born Killers is everyone in the movie is psychotic. Not just Mickey and Mallory, but Wayne Gale (Robert Downey Jr), who seeks to exploit the two for television ratings. Also Jack Scagnetti (Tom Sizemore) who has murdered a woman and written a book about his methods of capturing criminals. And the prison warden Dwight McClusky (Tommy Lee Jones) who literally spits out orders and is generally unhinged. Oliver Stone's statement seems to be that the police are equally as psychotic as the criminals like Mickey and Mallory.

The first half of the movie have Mickey and Mallory committing crimes and escaping with Wayne Gale showing a reenactment on television. Jack Scagnetti catches up with them at a Repo Man-like drug store as Mickey and Mallory are trying to find medicine for rattlesnake poison. The two are captured alive as it cuts to a year later.

The prison scenes are literally the most unhinged and psychotic scenes I've ever seen and that's saying something with this. Mickey and Mallory are separated as Jack Scagnetti meets the prison warden and Wayne Gale is to arrive for an interview with Mickey "during Superbowl weekend." Mickey brings up theories as to why he does what he does. Towards the end of the interview, a riot breaks out.

The last 30 minutes or so of the movie is pure adrenaline as Mickey gets to Mallory while taking hostages. Jack and Mickey have a standoff until Mallory kills Jack and Mickey, Mallory and Wayne escape. Wayne is killed as Mickey and Mallory leave for parts unknown. The credits show Mallory and Mickey in a trailer with two kids and Mallory pregnant.

Natural Born Killers as a movie is absolutely essential cinema and uses a lot of the tricks of "New Hollywood" through the VHS (obviously due to Tarantino being influenced by the movies he would see). The characters aren't meant to be what people should be, but the truth of the matter is this is the way notorious people are.

Is This Thing On? (saw in the theaters) - 4/5 stars

  Reveal hidden contents

"Getting back together with your ex is like taking a shit and trying to put it back in your asshole"

In seemingly bygone days, Hollywood would typical release adult comedy/dramas like this to movie theaters. Nowadays, they are pumped out to Netflix and Hulu and in a rarity. Is This Thing On? will not change how adult comedy/dramas are done, but it's nice to see something like this in theaters again.

Is This Thing On? is somewhat of a "Cassavetes for Middle America" movie - the drama is low-key and lacking in histrionics. The staple of adult comedy/dramas is the middle/upper class concerns for its main characters; this movie wouldn't work if any of the characters were dirt poor and sharing apartments with a guy that has a stamp collection. Alex Novak (Will Arnett) and his wife Tess (the absolutely unbelievably fucking gorgeous Laura Dern) have decided to separate from each other and are trying to do so quietly. Alex goes downtown to find a bar and finds one that will charge him $15 to get in or he can sign up to perform standup comedy.

Alex's path with standup comedy is absolutely relatable, especially for middle aged men that feel like they have reached a 'rut' in their lives. For me, I especially could empathize with Alex as I have recently started acting in local theater productions. Will it lead to me getting bigger parts and allowing me to quit my day job? No, it may not. Alex has a similar mindset - he relishes the opportunity to do gigs and perform and the highlight for him is being able to perform a 10 minute set one night.

Much of the conflict for this movie is a bit 'smaller' than usual. There's not a screaming fight or breaking objects, but it's manifested in Alex's comedy. One scene that's absolutely cringe to watch is when Tess meets a guy named Laird (Peyton Manning, who honestly sounded like he was being Peyton Manning and not acting as a guy not named Peyton Manning); the two decide to go to a comedy club where....Alex is performing. Alex is dishing about his separated wife and about having sex with another woman for the first time. Alex doesn't see Tess in the crowd, but Tess leaves after the set.

The scene with the two in front of the Comedy Cellar is almost an "Only in New York" type of scene. The two share a cigarette and for whatever reason go to Alex's place. Tess and Alex have make up sex in Alex's apartment as they begin their 'reaffair' and get back together. What I liked is when the two go to visit Christine (Andra Day) and "Balls" (Bradley Cooper) at their almost-but not quite The Big Chill looking house and sneak away to kiss.

One scene that is practically magical to watch is when Christine, Stephen (Sean Hayes) and Geoffrey (Scott ICenogle, Hayes' real life husband) are in the kitchen and spontaneously start singing "Amazing Grace." It seems like something out of a Cassavetes movie and reminded me a lot of the scenes from The Big Chill where people would gather in the kitchen and sing oldies to each other.

At the cabin, Christine interrupt Alex and Tess during a conversation and Alex goes to leave, angry at Christine. As he is leaving, it match transitions into him going on stage and launching into a tirade about how "those in relationships are like vampires." Alex is smoking outside and sees his dad Jan (Ciaran Hinds); they share a touching moment where Alex actually cries in his dad's arms. Once again, there's something absolutely relatable about that; a man in his 40s being able to show his father what he does is a perfect moment.

Throughout the movie, "Balls" and Alex have conversations about Alex's standup comedy career. "Balls" tells Alex he inspires him and he's thinking of getting a divorce. Towards the end, that appears to be changed; "Balls" and Christine have gotten back together after 'she said her piece.' The two of them go to Texas where "Balls" is on a television show and he steals a hat. (Quite honestly, I want to have "Balls" courage with acting and just say 'fuck it' to act on any production anywhere).

What's a prevalent image throughout the movie is the photo of Tess playing volleyball. Tess' career, much like Alex's, also has a resurgence where she becomes a head coach. Tess' back is to the camera as she is spiking the ball and is hanging up in Alex's apartment. Alex tells Tess that 'he wanted to have her at the peak of her power,' which is an affront to Tess. "You upset me and I upset you, that's what it's like being in a relationship," she says. Later, Alex changes it to the photo after he bought a new car in an act of almost mania at the start of his standup comedy career.

The end of the movie is much like the beginning where Alex and Tess attend something related to their kids' school. Their sons are performing in a school band where they play "Under Pressure." Alex and Tess share a knowing look to each other and then share a kiss. The movie ends as the isolated voices from the real "Under Pressure" are played.

Is This Thing On? is very much fitting in the tradition of "comedy of remarriage." A couple that thought being apart was better rethought this and stayed together; today's times are trying in that respect and it's easy to see why couples would break up. But it's nice when they don't.

I'm with you on these two. I just saw the latter this week and very much dug it. Agree, it's nice to see an 'adult' movie slide in amongst the cartoons, comic books and horror ruble. I'd also love to see more movies about...

Spoiler

...loved ones finding a way passed their petty bullshit and reuniting - couples, friends, etc.

Which wouldn't be my takeaway if they'd not been so tasteful here. No cringe sentimentality. From my perspective, this makes Bradley Cooper 3 for 3. Star is Born was terrific commercial fare and the Maestro was criminally underrated. I don't sense Netflix home viewing delivered the full capablities of that beautiful soundtrack.

Edited January 10 by HarryArchieGus

[Andrew POE!]

I need to watch A Star Is Born and Maestro, which is bound to happen sooner than later lol. 

[Curt McGirt]

I've watched the uncut version so long that I can't remember what it's like not to have those scenes, so I can't say it does or doesn't lack any momentum, but I'd like to say they were short enough not to affect anything. 

Trespass is awwwwwwwwesome! What a great, underrated '90s action flick. You just can't beat that lineup -- T, Cube, Bill Paxton, Bill Sadler. Fuckin' Glenn Plummer and Tiny Lister are in it! It's grimy and gritty and low to the ground. Can't beat it. 

[Control]

22 hours ago, The Natural said:

Here's my list of actors/actresses robbed of Academy Award wins. Some weren't even nominated:

R Lee Ermey for Full Metal Jacket.
Vincent D'Onofrio for Full Metal Jacket.
Ellen Burnstyn for Requiem for a Dream.
Jake Gyllenhaal for Nightcrawler.
Samuel L Jackson for Pulp Fiction.
Michael Keaton for Birdman.
Cate Blanchet for Carol.
Glenn Close for Fatal Attraction.
Christian Bale for American Psycho.
Christian Bale for The Dark Knight.
Val Kilmer for Tombstone.
Taron Edgerton for Rocket Man.
Clint Eastwood for Unforgiven.
Sigourney Weaver for Aliens.
Daniel Day Lewis for Gangs of New York.
Alan Rickman in Die Hard.
Linda Blair for The Exorcist.
Ellen Burnstyn for The Exorcist.
Jason Miller for The Exorcist.

Jon Polito in Miller’s Crossing.

[The Natural]

22 hours ago, The Natural said:

Here's my list of actors/actresses robbed of Academy Award wins. Some weren't even nominated:

R Lee Ermey for Full Metal Jacket.
Vincent D'Onofrio for Full Metal Jacket.
Ellen Burnstyn for Requiem for a Dream.
Jake Gyllenhaal for Nightcrawler.
Samuel L Jackson for Pulp Fiction.
Michael Keaton for Birdman.
Cate Blanchet for Carol.
Glenn Close for Fatal Attraction.
Christian Bale for American Psycho.
Christian Bale for The Dark Knight.
Val Kilmer for Tombstone.
Taron Edgerton for Rocket Man.
Clint Eastwood for Unforgiven.
Sigourney Weaver for Aliens.
Daniel Day Lewis for Gangs of New York.
Alan Rickman in Die Hard.
Linda Blair for The Exorcist.
Ellen Burnstyn for The Exorcist.
Jason Miller for The Exorcist.

 

22 hours ago, The Natural said:

Kevin Conroy for Batman: Mask of the Phantasm.

Mark Hamill for Batman: Mask of the Phantasm.

Robin Williams for Aladdin.

I really fucked up forgetting:

Kate Winslet for Eternal Sunshine of the Spotless Mind.

Jim Carrey for Eternal Sunshine of the Spotless Mind.

[Mister TV]

1 hour ago, Curt McGirt said:

I've watched the uncut version so long that I can't remember what it's like not to have those scenes, so I can't say it does or doesn't lack any momentum, but I'd like to say they were short enough not to affect anything. 

Trespass is awwwwwwwwesome! What a great, underrated '90s action flick. You just can't beat that lineup -- T, Cube, Bill Paxton, Bill Sadler. Fuckin' Glenn Plummer and Tiny Lister are in it! It's grimy and gritty and low to the ground. Can't beat it. 

It’s directed by Walter Hill and written by Bob Gale and Robert Zemeckis!

[odessasteps]

The theatrical release is also missing “the courtroom scene” 

 

[RazorbladeKiss87]

I've always been curious about what a QT directed NBK would look like but ultimately, like "True Romance," I doubt it'd be better than what we got. 

The uncut version was the only version I saw for a long time until I got a copy of the laserdisc. I definitely feel the difference in pacing. Not sure which I prefer. Probably the theatrical. 

Great soundtrack. One of my favorite 90s soundtracks, along with Lost Highway and the Crow. 

[odessasteps]

I think it’s definitely visually different in QT directs for sure. And maybe politically, given Oliver Stone is Oliver Stone. 

[Curt McGirt]

I swear I don't remember the courtroom scene being in the Director's Cut, and maybe it wasn't.

[odessasteps]

I don’t remember when I first saw it. But I knew it already.