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Film Critic Catch-All
THIS IS SOOOO GREAT!


People
|10 min read

Here’s Why Quentin Tarantino’s Press Club Speech Mattered

https://losangeleno.com/people/quentin-t...ng-speech/

"Got concrete rhymes, been rappin' for ten years and

Even when I'm braggin', I'm bein' sincere"



"Teenage angst has paid off well/ Now I'm bored and old"


"Drunk as hell, but no throwin' up

Half way home and my pager still blowin' up"


"I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when things start getting bad
I just play my music louder"





Reply
CineSavant

Slaughterhouse-Five

by Glenn Erickson Dec 03, 2019

https://trailersfromhell.com/slaughterhouse-five-2/


"Kurt Vonnegut’s quirky sci-fi novels didn’t always adapt well to film, but George Roy Hill’s 1972 effort is a faithful winner. The filmmaking craft used to ‘unstick’ Billy Pilgrim in time is nothing short of brilliant, highlighting the camera talent of Miroslav Ondricek and the editing skill of Dede Allen. The book even has a built-in sex angle that the film doesn’t shy away from — providing our first encounter with Valerie Perrine as a starlet kidnapped by aliens curious about human mating habits. The somber, sometimes spiritually-defeatist tone of the show represents the book well; it ought to be better known."

"Critic Kim Newman is quite right about George Roy Hill’s Slaughterhouse-Five: only a filmmaking team coming off a monster commercial hit, leveraging serious of clout, could get a studio to bankroll a screwy project from author Kurt Vonnegut Jr.. This sort-of sci-fi epic has no stars and a screenplay more convoluted than any European art picture by Alain Resnais. Vonnegut’s non-linear science fiction novel leaps constantly to and fro in space and time with a Resnais-like pattern of overlapping memories — Renais’ own time-quandary picture Je t’aime, je t’aime (1968) is far less accessible. Vonnegut’s focus was the cruel absurdity of war, which he experienced personally by surviving the Allied firebombing of Dresden, as an American POW. The author’s analog character Billy Pilgrim spends the film’s hundred minutes time-tripping: leaping between his war experience, his disappointing marriage and career, and most weirdly, his experience (or fantasy) of being kidnapped by space aliens, and housed somewhere in the stars for an alien experiment less sinister than sensual.

Because the star is the story, movie stars would only have gotten in the way of George Roy Hill’s film adaptation of Slaughterhouse-Five. Hill was no slouch behind a camera, although his previous pictures varied in merit — one wouldn’t naturally co-bill Slaughterhouse-Five with Thoroughly Modern Millie. The World of Henry Orient garnered praise for its gentle expressionism in depicting some aspects of the imagination of two young girls. The enormously successful Butch Cassidy and the Sundance Kid is certainly beautifully designed and directed, even with its anachronistic ‘everything’s lovely’ music score. Slaughterhouse-Five won a big prize at Cannes, but made no money; Hill immediately bounced back with The Sting, a monster pop hit that could be described as ‘Butch and The Kid are Even Cuter Now!’

That leaves Slaughterhouse-Five as an odd duck, but for what it is, an almost PERFECT odd duck. The writer is Stephen Geller, whose book became the industry-admired Pretty Poison; he and Hill took on the task of adapting Kurt Vonnegut without flattening the writer’s style, attitude, or wicked sense of humor. Although the book conjures much more philosophical despair — it’s always rubbing some cruel irony in the reader’s face — Hill and Geller’s picture nails the basic flow of despairing absurdity, crossed with cosmic acceptance."

"Got concrete rhymes, been rappin' for ten years and

Even when I'm braggin', I'm bein' sincere"



"Teenage angst has paid off well/ Now I'm bored and old"


"Drunk as hell, but no throwin' up

Half way home and my pager still blowin' up"


"I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when things start getting bad
I just play my music louder"





Reply
That Tarantino speech is lovely. Thanks for sharing, E.
home taping is killing music
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That Tarantino speech was great.

Cahiers du Cinema announces their 10 best of the decade:

[Image: ELHCIGwW4AEpZ4y.jpg:large]

TWIN PEAKS was incredible but come on, that was a season of television.
I was in a horror-comedy called BLACK HOLLER. It's now on Prime Video. Check it out!
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That is a very Film Twitter list.
home taping is killing music
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Cahiers was Film Twitter before Film Twitter. I've seen half of those, and I liked them all, but sheesh.
I was in a horror-comedy called BLACK HOLLER. It's now on Prime Video. Check it out!
Reply
Like, not for nothing, but has Twin Peaks The Return ever screened somewhere in one continuous form? The only reason I put OJ MADE IN AMERICA on my "Best of the Decade" list is because it played theatrically that way, and also the director has described it as "a film."
home taping is killing music
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I don't believe so. I mean, it's created AS EPISODES. Episode 8 is, for the most part, a standalone riff on 2001!

It's one of my favorite works of art of the decade, but it ain't a movie.
I was in a horror-comedy called BLACK HOLLER. It's now on Prime Video. Check it out!
Reply
I think the closest it has gotten is MoMA screening it over three consecutive days.
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Thanks for linking to that QT speech Elvis. LA Times Sunday edition was my weekly drug as well. And indeed, I would always seek out Kevin Thomas' Friday movie reviews before Kenneth Turan's.

Guess I'll try a ALLIGATOR / JACKIE BROWN double feature soon. Maybe include DRAGON WARS and force a triple.
The most important thing in life is broads. Broads!
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They showed the first two Return episodes at Cannes. The Cannes FILM festival.
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Did it end with a title card saying "FOR THE OTHER SIXTEEN HOURS, PLEASE CONTACT YOUR CABLE PROVIDER"?
I was in a horror-comedy called BLACK HOLLER. It's now on Prime Video. Check it out!
Reply
So the latest salvo (although indirect and I'm confident Miller isn't talking shit about Marty) in the "Are superhero films CINEMA?" battle comes from George Miller (emphasis mine):


Quote:That brings Miller to the ongoing debate over whether superhero films qualify as cinema, with The Irishman director Martin Scorsese and to a degree Francis Ford Coppola sounding a warning about their dominance at the box office. Alejandro González Iñárritu voiced it a different way to me right after the premiere of the 2014 Best Picture winning superhero satire Birdman, though González Iñárritu’s gripe was more about the depiction of humanity waiting for a superhero to save them, which equated to people giving into helplessness and waiting for the government to serve that savior role in real life. Miller finds in a lot of the blockbuster fare the kind of storytelling integrity he requires and searches so hard for in his own films, and thinks it is unfair to marginalize the superhero, Star Wars and other franchise films.

“I watch all of them,” Miller said. “To be honest, in terms of this debate, cinema is cinema and it’s a very broad church. The test, ultimately, is what it means to the audience. There’s a great quote I saw that applies to all we do. It was from the Swahili storytellers. Each time they finished a story they would say, ‘The story has been told. If it was bad, it was my fault because I am the storyteller. And if it was good, it belongs to everybody.’

“It’s a mistake and a kind of hubris if a film does well at the box office to dismiss it as clever marketing or something else,” Miller said. “There’s more happening there, and it’s our obligation as storytellers to really try and understand it. To me, it’s all cinema. I don’t think you can ghettoize it and say, oh this is cinema or that is cinema. It applies to all the arts, to literature, the performing arts, painting and music, in all its form. It’s such a broad spectrum, a wide range and to say that anyone is more significant or more important than the other, is missing the point. It’s one big mosaic and each bit of work fits into it.”

He says, with far more credibility, knowledge, and beauty, what I've previously attempted to express.

Captain America: The Winter Soldier is cinema. And so is Raging Bull. And so is John Wick. And so is Short Term 12.
"Nooj's true feelings on any given subject are unknown and unknowable. He is the butterfly flapping its wings in Peking. He is chaos and destruction and you shall never see his true form." - Merriweather

My Steam ID: yizashigreyspear
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Miller, and the Swahili, really get it.
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Dunno how, but I'm FB friends w. Daniel Waters. He dropped a pretty cool 'Best of' yesterday. Perusing it, I realize I still have a lot of catching up to do!

"1. THE CLOCK (Steven Wright once called The Dictionary “a poem about everything” and this Christian Marclay film, which i saw all 24 hours of, has a similar epic and comic effect…a day in the life of cinema, highlighted by me trying to nap between one and four AM only to be waken up by scenes of people being woken up in the middle of the night by terrifyingly mixed ringing phones.)
2. TREE OF LIFE
3. THE LOBSTER
4. BLACK SWAN
5. MAD MAX FURY ROAD
6. THE TURIN HORSE
7. HER
8. A SEPARATION
9. PARASITE
10. BIRDMAN
11. SCOTT PILGRIM VS. THE WORLD
12. THE SOCIAL NETWORK
13. HOLY MOTORS
14. MANDY
15. CAROL
16. UNCUT GEMS
17. UPSTREAM COLOR
18. STARLET
19. BEYOND THE HILLS
20. A PROPHET
21. INSIDE OUT
22. BURNING
23. HEARTBEATS (DOLAN)
24. NOCTURAMA
25. UNDER THE SKIN
26. RAW
27. SNOWPIERCER
28. GET OUT
29. FOUR LIONS
30. BOYHOOD
31. PADDINGTON 2
32. FISH TANK
33. ANOMOLISA
34. MOTHER (BONG JOON HO)
35. MOTHER (ARONOFSKY)
36. POETRY
37. THE WORLD’S END
38. NEW WORLD (PARK HOON-JUNG)
39. THE WILD BOYS
40. FIRST REFORMED
41. ENTER THE VOID
42. LITTLE WOMEN
43. INCENDIES
44. AMOUR
45. THOSE RAID PICTURES
46. DETENTION
47. THE GRAND BUDAPEST HOTEL
48. VOX LUX
49. CABIN IN THE WOODS
50. THE MASTER (took me three times)
51. MELANCHOLIA
52. EIGHTH GRADE
53. CERTIFIED COPY
54. PHANTOM THREAD
55. BEFORE MIDNIGHT
56. NEVER LOOK AWAY
57. WHY DON’T YOU PLAY IN HELL?
58. TONI ERDMANN
59. SHOPLIFTERS
60. INCEPTION
61. LIFE AND NOTHING MORE
62. JACKIE
63. FRANCES HA
64. THOSE NYMPHOMANIAC PICTURES
65. DOGTOOTH
66. BULLHEAD
67. THE DUKE OF BURGUNDY
68. CHRONICLE
69. THE ARTIST
70. GOOD TIME
71. THE TRIBE
72. TOKYO TRIBE
73. TRASH HUMPERS
74. TIMBUKTU
75. A TOUCH OF SIN
76. THE GREAT BEAUTY
77. NEIGHBORING SOUNDS
78. LEVIATHAN
79. 13 ASSASSINS
80. LINCOLN
81. INHERENT VICE
82. GREENBERG
83. SPRING BREAKERS
84. KRISHA
85. FORCE MAJEURE
86. AMERICAN HUSTLE
87. BRAWL IN CELL BLOCK 99
88. TRAIN TO BUSAN
89. THE DARK NIGHT RISES
90. SAINT LAURENT
91. RIGHT NOW WRONG THEN
92. RED STATE
93. DOLEMITE IS MY NAME
94. A SERBIAN FILM
95. TOY STORY 3
96. GUISEPPE MAKES A MOVIE
97. ONCE UPON A TIME IN HOLLYWOOD
98. THOSE DEADPOOL PICTURES
99. KEEP THE LIGHTS ON
100. THE LOVE WITCH
101. THE HEAT—Yes, the one with Sandra Bullock and Melissa McCarthy, It makes me laugh. And I can’’t stop watching it."

"Got concrete rhymes, been rappin' for ten years and

Even when I'm braggin', I'm bein' sincere"



"Teenage angst has paid off well/ Now I'm bored and old"


"Drunk as hell, but no throwin' up

Half way home and my pager still blowin' up"


"I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when things start getting bad
I just play my music louder"





Reply
Oh, great call on The Clock. I still have eight hours to go on that one.
"I'd rather wake up in the middle of nowhere than in any city on Earth."--Steve McQueen
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THE HEAT???
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Don't be the enemy of fun.
"I'd rather wake up in the middle of nowhere than in any city on Earth."--Steve McQueen
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It will rock you. It will roll you.
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(12-07-2019, 04:00 PM)hammerhead Wrote: Don't be the enemy of fun.

DARK KNIGHT RISES???
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This is wild.

Somehow I don't remember this crazy change at all. It's brilliant, though.

"on the vhs of gremlins 2, instead of the hulk hogan cameo that occurs when the film itself burns up, there's this completely insane tv/vcr specific detour featuring gremlins interacting with john wayne"


https://twitter.com/_katiestebbins_/stat...3382256645

"Got concrete rhymes, been rappin' for ten years and

Even when I'm braggin', I'm bein' sincere"



"Teenage angst has paid off well/ Now I'm bored and old"


"Drunk as hell, but no throwin' up

Half way home and my pager still blowin' up"


"I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when things start getting bad
I just play my music louder"





Reply
I like that it's home-video specific (the picture glitches instead of jumping and burning, etc) but it isn't as much fun and we lose not only the Hulk Hogan cameo but the Paul Bartel cameo as well.
"I'd rather wake up in the middle of nowhere than in any city on Earth."--Steve McQueen
Reply
This made my day:

"Joe Pesci and Letterman, chemistry of gods"

https://twitter.com/JFrankensteiner/stat...9558915072

"Got concrete rhymes, been rappin' for ten years and

Even when I'm braggin', I'm bein' sincere"



"Teenage angst has paid off well/ Now I'm bored and old"


"Drunk as hell, but no throwin' up

Half way home and my pager still blowin' up"


"I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when things start getting bad
I just play my music louder"





Reply
(12-07-2019, 11:00 PM)Fat Elvis Wrote: This is wild.

Somehow I don't remember this crazy change at all. It's brilliant, though.

"on the vhs of gremlins 2, instead of the hulk hogan cameo that occurs when the film itself burns up, there's this completely insane tv/vcr specific detour featuring gremlins interacting with john wayne"


https://twitter.com/_katiestebbins_/stat...3382256645

I legit got pissed off and thought my VCR had eaten the tape when I first saw this back in the day. Prior to that I had only ever watched the flick on ABC airings which skipped the meta scene entirely. It would be years until I finally saw the original version with Hogan and Bartel. 

What I wouldn’t give to have seen this play out in a theater back in 1990.

I mean, technically I could have, but I was four years old and ruined any chances of that by freaking the fuck out during the opening credits of BATMAN the previous summer. So while my older cousins got to go see this, I had to make do with DUCK TALES: SECRET OF THE LOST LAMP.
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CineSavant

Abbott & Costello – The Complete Universal Pictures Collection

by Charlie Largent Dec 07, 2019

https://trailersfromhell.com/abbott-cost...ollection/

"The ne plus ultra of horror comedies, Abbott and Costello Meet Frankenstein stars Bud and Lou as Chick Young and Wilbur Grey, two bumbling shipping clerks who take delivery on a pair of suspiciously oversized boxes intended for a local House of Horrors. When the contents of those crates go missing, the police, insurance detectives, mad doctors and monsters descend on the hapless duo and Wilbur in particular; his docile brain is in danger of going missing too – Dracula has plans to transfer it into the skull of Frankenstein’s creature.

The 1948 release is ostensibly the duo’s most polished film. Like Wilbur himself, the robust screenplay by Robert Lees and Frederic Rinaldo is “… round, firm and fully packed.” Van Enger’s photography is positively luminous and Frank Skinner’s tilt-a-whirl score lifts every scene (Skinner’s work was so expressive it was reused time and again for the boy’s other comic chillers). Abbott and Costello were never so agile on screen – their teamwork has a snap, crackle and pop that may be the closest thing to seeing them live in their burlesque years. Charles Barton nimbly juggles the rapid-fire action even as all hell breaks loose but much of the film’s success lies with the monsters themselves. Bela Lugosi and Lon Chaney perform with a solemnity that only enhances the humor – playing their characters perfectly straight, they make the perfect straight men for Bud and Lou.

It was a triumph at the box office too – costing just over $790, 000, the movie raked in over $3 million – which made the follow-up an even bigger disappointment. Mexican Hayride is the kind of film based on a Cole Porter musical that uses none of Porter’s music. The boys pitched a fit – in unison for once – and got suspended for a week. The following year they attempted to right the ship by reviving the friendly climes of gothic-tinged comedy to mixed results."

"Got concrete rhymes, been rappin' for ten years and

Even when I'm braggin', I'm bein' sincere"



"Teenage angst has paid off well/ Now I'm bored and old"


"Drunk as hell, but no throwin' up

Half way home and my pager still blowin' up"


"I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when things start getting bad
I just play my music louder"





Reply
CineSavant

Until the End of the World

by Glenn Erickson Nov 30, 2019

https://trailersfromhell.com/until-the-e...the-world/


"An amazing Blu-ray year is capped by a genuine favorite, rescued by its filmmaker and set aside for almost twenty years. Wim Wenders was forced to make a shortened version of what he hoped would be his greatest success, following Wings of Desire: but he cleverly saved his 4.5-hour uncut version, making its Blu-ray debut on December 10. Longform video is currently the rage, so perhaps the time has finally come for the uncut Bis ans Ende der Welt. The music soundtrack is nothing less than fantastic, not to be missed."

"I certainly hope that I can turn people on to Until the End of the World, but I make no promises. When I expressed excitement for the film to a fellow editor, he let me know that he was at its Paris Premiere in 1991, and he claimed that the audience hated it. That of course was one of the shorter cuts, that Wim Wenders refers to as ‘Reader’s Digest’ versions that barely support a plotline, let alone get deep into the characters. But some people don’t like stories that refuse to choose one genre and stay there. Some enjoy the adventurous, continent-hopping first two acts, but lose interest when the last third arrives at an experimental lab in a remote corner of Australia.

I remember people flinching when told that the film was almost five hours long — who would want to sit through that? Things have certainly changed in twenty years, what with the legions of viewers binge-streaming entire seasons of TV shows, ten hours at a clip. Had Erich von Stroheim’s lost ten-hour cut of Greed (1925) somehow survived, it would likely now be readily available on a NetFlix menu, as a miniseries."

"For those who remember the short version, watching UTEOTW unspool in twice as much detail will be a real thrill. Cinematographer Robby Müller’s dense, gorgeous images were dazzling on a screen as big as the Egyptian on Hollywood Blvd. For the theatrical screenings Wenders divided the show into three separate films called Die Trilogie. Each part 1. Teil, 2. Teil and 3. Teil was about a hundred minutes long, with two intermissions. The breaks gave us a chance to stretch our legs and share the excitement, as if Until the End of the World were a Super-Deluxe Roadshow presentation. By the finale, with U2’s anthem-song playing, the walk-out felt like a communal experience. I was able to bring along most of my family to the second screening, which became a formative experience, like taking them to the 70mm Spartacus when they were small kids and seeing the wonder in their eyes. My generation was lucky — movie-going was much different back then, special."

"Got concrete rhymes, been rappin' for ten years and

Even when I'm braggin', I'm bein' sincere"



"Teenage angst has paid off well/ Now I'm bored and old"


"Drunk as hell, but no throwin' up

Half way home and my pager still blowin' up"


"I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when things start getting bad
I just play my music louder"





Reply
"The audacity of Cassavetes and Falk, putting 400k each to make the movie they wanted, then tell studios to fuck off and leave them alone after they liked it. These are the principles we all like to think we have, but who knows if we do, yet that's what they actually did."

https://twitter.com/JFrankensteiner/stat...1657023489



 Peter Falk: The Real Story of Nick & Mabel and Why the Bars Stay Open for Mr. Columbo


By
Tom Burke  

https://www.rollingstone.com/music/music...bo-236946/

"Got concrete rhymes, been rappin' for ten years and

Even when I'm braggin', I'm bein' sincere"



"Teenage angst has paid off well/ Now I'm bored and old"


"Drunk as hell, but no throwin' up

Half way home and my pager still blowin' up"


"I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when things start getting bad
I just play my music louder"





Reply
Beaks is crazy for this one:

https://twitter.com/mrbeaks/status/1204602915165392896

Twitter Truth:

Jeremy Smith: "Clint Eastwood’s a shitty human being, and, at best, an above-average filmmaker with the right script. He’s a stumblebum Ridley Scott. Make peace with this." "Let Eastwood go. What’s the best film you’re going to lose? UNFORGIVEN? Give it to Peoples. You haven’t seen A PERFECT WORLD, so fuck off. Eastwood sucks. As someone who fought hard to find meaning in BLOOD WORK, trust me... he’s lazy and he hates minorities"

"Got concrete rhymes, been rappin' for ten years and

Even when I'm braggin', I'm bein' sincere"



"Teenage angst has paid off well/ Now I'm bored and old"


"Drunk as hell, but no throwin' up

Half way home and my pager still blowin' up"


"I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when things start getting bad
I just play my music louder"





Reply
But Faraci is still a swell guy who deserves forgiveness...

The real ending to Big...
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(12-11-2019, 09:12 AM)filmnerdjamie Wrote: But Faraci is still a swell guy who deserves forgiveness...

Ding Ding Ding!!!

That reminds me, I need to ask for my money back that I gave him for his book.
“That which doesn't kill you wasn't done right.”—Khaya Dlanga
Reply
Beaks is kind of right about women in recent Eastwoods, tho.

A thoughtful, bird's-eye view of Marty-gate et al: https://gen.medium.com/the-decade-comic-...19b732a660
home taping is killing music
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Someone tweeted that the funny thing about the "Clint Eastwood is problematic" discussion is that "Clint Eastwood is a fucked-up, problematic human being" is a hugely important theme running through Eastwood's own work. That's my take as well. He always wrestled with his real self vs persona - more so than most controversial icons/ artists.

"Got concrete rhymes, been rappin' for ten years and

Even when I'm braggin', I'm bein' sincere"



"Teenage angst has paid off well/ Now I'm bored and old"


"Drunk as hell, but no throwin' up

Half way home and my pager still blowin' up"


"I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when things start getting bad
I just play my music louder"





Reply
How does Eastwood grappling with his own persona/real self account for him dragging a dead woman's reputation through the mud with a lie? I think that's the final nail in the coffin for a lot of people re: old, chair yelling Eastwood.

Not trolling, because, as mentioned, I've slightly come around on the guy as an artist - I'm like one of four east coast liberals who stuck up for AMERICAN SNIPER.
home taping is killing music
Reply
Jesus, that Falk/Cassavetes article is phenomenal.
"I'd rather wake up in the middle of nowhere than in any city on Earth."--Steve McQueen
Reply
(12-11-2019, 10:53 AM)boone daniels Wrote: Beaks is kind of right about women in recent Eastwoods, tho.

I'm not saying he isn't. I'm saying what he tweeted would hold more weight if he wasn't still friends with Faraci.
“That which doesn't kill you wasn't done right.”—Khaya Dlanga
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