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The Re-up Thread
TOMMY BOY: Boy, it makes me sad that Spade and Farley really made this one great movie together. It has a lot of heart, and what impressed me this time around is how committed both actors, but Spade in particular, are to their parts. Spade is really trying to ground Richard in...wait for it...pathos.

EX MACHINA: This is still so good. I had to watch it for class, and I'm just very impressed by the craftsmanship on display. Vikander is an all-timer here, without a doubt, and I will forever believe she won the Oscar for this instead of DANISH GIRL (bleh). What stood out to me this time was Isaac, though - I realized that a lot of these "genius tech billionaire" parts that actors do are basically impressions of Gates or Jobs or Musk. But what Isaac does better than many of the actors who have played these kind of parts is the kind of brazen, powerful charisma - the reality distortion field - that someone like Jobs actually had. You need to buy into that for the movie to work, and it's a top 3 OI perf for me.
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Tommy Boy is one of Christian Bale's favorite movies. That blows my mind for some reason..
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(09-29-2018, 01:04 AM)filmnerdjamie Wrote: The template for the "Buddy Cop" sub-genre and the film that launched Eddie Murphy into movie stardom... and I finally got around to seeing 48 Hrs. tonight with the wife.

I choose to believw Kurosawa, Mifune, and Shimura set the Buddy Cop template in STRAY DOG - young loose cannon gets partnered with more settled veteran cop; initial dislike becomes respect amd friendship as they work case. 



Anyway, due to my significant other being deficient in pop culture (apparently taveling the world and switching from a successful career in law enforcement to a successful career as a massage therapist cuts into one's movie viewing), Ive been on a tear with her, rewatching GOODFELLAS, JAWS, and THE GODFATHER recently.

Last night we watched PAN'S LABYRINTH. What a great fucking movie with one of the kiss-off all-timers near the end ("He won't even know your name.") I'm a bit lacking in my del Toro so I need to watch a few more of his that I missed.

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The cowboy bar scene is an all-timer, but the film has some pretty problematic elements to it.
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(09-29-2018, 08:00 AM)boone daniels Wrote: TOMMY BOY: Boy, it makes me sad that Spade and Farley really made this one great movie together. It has a lot of heart, and what impressed me this time around is how committed both actors, but Spade in particular, are to their parts. Spade is really trying to ground Richard in...wait for it...pathos.
I think Tommy Boy is right there with Planes, Trains and Automobiles in the "comedy road trip" genre. I have an unreasonable love for it, and I can't help but think what might have been, considering that the rest of Farley's films are so bad. (My God, Black Sheep...you are awful)
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Tommy Boy has the perfect balance of humor and heart and Farley makes a believable change from lovable doofus with no real life direction to becoming a successful CEO/salesman with the responsible on his shoulders.

Plus all that glorious abuse Rob Lowe takes like a champ. And to this day, I still ask for people's "Herbie Hancock" when needing a signature at work.

The real ending to Big...
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Along with PSH and Ledger, Farley is one of those great "what could have been" careers for me. The book THE CHRIS FARLEY SHOW (highly recommended) talks about how he was on the verge of making that turn into a different stage of his career. He was voicing SHREK, and apparently brought to that character the same humanity he has in TOMMY BOY. And after years, they were finally ready to do Fatty Arbuckle with David Mamet, which probably would have gotten him an Oscar nomination. It's really sad.
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That book also reveals how hated the iconic Chippendales sketch with Patrick Swayze was internally. Everyone from Chris Rock to King of the Assholes Chevy Chase tore it shreds... and they frankly have a point.

The real ending to Big...
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Currently watching: you could write a fascinating piece about male stardom in the 90s using TOMBSTONE and only TOMBSTONE, because literally everyone is in it. Forgot Aiden from SEX AND THE CITY shows up as one of the Cowboys!

Also this score gatdamn.

Also, boy, this is a "soft R." Lots of blood and violence, but this is more tame than some PG-13s today.
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Tombstone is a 90s classic I've yet to see. Need to change that.

Recently saw Unforgiven. Jesus what a film.
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The scene where Bill Paxton has been shot and is bleeding out on the pool table is pretty graphic.

Also, when a certain character gets shot in the head by Doc, it's very offputting. Whenever people get shot in the head and don't die immediately it skeeves me out (see Harrison Ford in Regarding Henry, the villain at the end of Premium Rush, etc.)
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The fuck you doin’, Roy!
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There’s a guy getting knocked off a horse with a rifle butt in Tombstone that’s one of my favorite action beats ever.
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(09-29-2018, 11:49 AM)shaunh Wrote: The fuck you doin’, Roy!

I don't...KNOW!
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Paxton and Biehn's deaths are pretty graphic. My wife also pointed out that they say "goddamn" a lot, which is a no-no for PG-13s.

That said, still pretty tame compared to a lot of stuff that gets a PG-13.
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Goddamn is a no-no for PG-13? There's many that have said it a LOT. How many times is too many to keep it PG-13?
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Tried giving Day of the Dead another shot.

Had a "Love/Hate" relationship here. First time I ever remember being disappointed in a movie after first seeing Night of the Living Dead on late night television and being truly terrified and my "Come to Jesus!" experience watching Dawn of the Dead (the latter remains among my top three favorite films).

But it kinda grew on me. Looked on it as more of a "hang-out" movie during adolescence... 'till the tide turned towards the end of my 20's.

Watched it again the other night and still a big fat nope. Masterful Savini zombie work sandwiched between two hours of assholes yelling at each other. And Romero was frankly wrong-headed as fuck to treat the soldiers being in the wrong for killing Dr. Frankenstein. The dude was straight-up murdering people just to feed his pet zombies. They had every right to axe his wacko-ass. Everything after that, yes they are fucked up and deserve what they got.

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heh, I started watching that last night but need to finish it. My main takeaway of it is, "Man, Romero sure knows how to cast an asshole."
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Last night rewatched 1951's THE THING FROM ANOTHER WORLD.  Thoughts, presented in no particular order:
  • The music to this is phenomenal. It's as key to the film as Morricone's is to Carpenter's version.
  • If the film were about the same characters, with same snappy patter and banter, but no monster, I'd still love it.
  • The film is a lot naughtier than you'd expect a movie made in 1951 to be. Obviously nothing's shown but it insinuates a hell of a lot, down to referencing BDSM.
  • It holds up remarkably well for a film closing in on 70 years old and made on a modest budget.
  • The science vs military conflict plays out very differently in 2018. Carrington's right in his ideals but wrong in application, while the military is the opposite. Every trace of alien life and tech is destroyed.
  • Dovetailing to the previous bullet: I feel like this is the first time watching that I get it as a Cold War parable. It doesn't feel airtight as one, but it's definitely informed by fear of Communist activity and invasion.
  • It's funny as hell but in a really low key way, due to the fast, snappy dialogue. 
  • This really, really deserves a first class HD clean up. TCM's print really varies in quality, and given the film's classic status, it's a bit of a mystery to me why this doesn't even have a bare bones blu release.

If you've never seen, I strongly suggest you seek it out.
"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

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Seconding that HD clean up. If you want it right now, get the Warner DVD. Avoid any current blus. The one I got is (quite literally) a VHS transfer. It's packaged like a Criterion though so, don't be fooled..
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Considering how many films are getting releases (and clean ups) on blu, I can't figure how this film has been passed over.

ETA: This thread from 2015 on the Home Theater Forum deals with it. It appears there are problems getting the materials needed to make a good blu/HD release:

https://www.hometheaterforum.com/communi...bd.343021/
"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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Caught Once Upon a Time in America on Netflix the other day and it still remains one of my all-time favorite films. Such a majestic and soulful masterwork... about a scumbag who may or may not be experiencing an opium-induced hallucination. Normally that ending is the definition of a cop out but God damn that last shot just makes it work. 

A film about the decisions we make and then spend the rest of our lives regretting. Maybe my favorite De Niro performance and I wish Leone lived long enough to see the reevaluation in its favor after Warner Brothers royally fucked him.

The real ending to Big...
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Watched my DVD of Judgment Night for the first time in years tonight with an ex-Chewer. Underrated as hell.

Really, where is the love for this movie? Easily Stephen Hopkins' best film, a nasty, no-bullshit riff on The Warriors and Assault on Precinct 13 that really makes you feel for the leads without much exposition. That said, Denis Leary shoves the entire movie into his mouth as the villain. It's a shame that he never played a bad guy like this again. Even in The Ref, he's a sympathetic figure who has to deal with protagonists, for lack of a better word, who are just as virulent as he is. The way he plays the part is this strange portmanteau of Robin Williams' manic energy and James Woods' intensity and it's beautiful.

There's gotta be a self-starter who can get this out on Blu-ray. I'd hope that Warner Bros. (who now has the rights) gave Scream Factory this movie, or will in the future.
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I started re-watching A TIME TO KILL last night, and whoo-boy, that is a movie that is at once incredibly dated and yet weirdly relevant. A whole bunch of the talk from the Klan characters is very "make America great again," but at the same time, it's infused with this Clinton-era liberalism that is distrustful of activist groups and organizations. The NAACP are basically framed as hucksters and showboaters in a way that's really kind of gross. And, of course, the movie's central conceit seems to turn on appealing to white people's empathy, and the ending suggests that gosh, we wouldn't have all these problems with race if Matt McConaguhey and Sam Jackson could just get their kids together for supper.

It's a mess, but an entertaining and fascinating one, both as a film and a historical document.

Also, having watched a number of these big-budget adult dramas/thrillers based on best sellers from the mid to late 90s recently, that time period was really bad when it came to depicting rape and sexual assault on screen. Like, I know people are critical of the exploitation scene of the 1970s and 80s for that stuff, but movies like A TIME TO KILL and KISS THE GIRLS are just as bad about it. And I think the worst one I've ever seen is the lovingly shot gang rape in THE GENERAL'S DAUGHTER.
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(09-29-2018, 10:28 AM)boone daniels Wrote: Along with PSH and Ledger, Farley is one of those great "what could have been" careers for me. The book THE CHRIS FARLEY SHOW (highly recommended) talks about how he was on the verge of making that turn into a different stage of his career. He was voicing SHREK, and apparently brought to that character the same humanity he has in TOMMY BOY. And after years, they were finally ready to do Fatty Arbuckle with David Mamet, which probably would have gotten him an Oscar nomination. It's really sad.

Catching up here with a weird tidbit. I never really paid much attention to him but I saw him interviewed on Letterman back in the day. I can't even remember what for (probably Tommy Boy). I don't really remember any of the interview. But near the end I thought we got this depressing glimpse into something else for a moment. The way I remember it, he wasn't being completely frivolous in the interview and at the end Letterman made some crack about something and Farley sighs and says something like "Yeah, everyone wants to see the fat guy fall down." Then he launches into this twitchy spasming "dance" the audience loved, which I guess was familiar schtick from him.
I don't know if my memory is right but it did seem like a guy trapped in this horrible freak show.
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Yeah, a big part of that book THE CHRIS FARLEY SHOW is that constant tension for Farley - and those in his orbit especially - between the desire to make people laugh, and the desire to be seen as something more than "fatty fall down." A lot of his old SNL castmates and friends are still upset with the way SNL came to use that as a kind of fallback.
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