It’s just a love story—nothing more, nothing less. Regarding the acting, I think I mentioned this before... Bill always plays it that way, with that signature melancholy. Honestly, he could have snagged an Oscar for *endless day*, but hey, forget the Oscar. The acting isn't bad, but when I read reviews calling it "phenomenal," "masterful," or "flawless"... I have to say, that feels like a massive stretch. I saw little Johansson in a movie I actually liked better—*spirit world*. She’s got great potential, but I feel like both Bill and her really should have delivered something much stronger here. It was Sofia, Coppola's daughter, who was the one saying, "Okay, great, you were amazing," instead of the usual "Cut! Let's go again." Personally, I prefer Sofia's directorial debut, but people are going to have their opinions on what they like and what they don't. To me, *The Virgin Suicides* is a fantastic film, while *Lost in translation* is just... okay. And here is a bunch of poorly placed emojis for good measure: 😎 🙄 🙂 😛 🙂
Noah Watson4 said:I’ll be honest, I haven’t actually seen it yet! 😉 But since everyone keeps raving about it being a top-tier crime flick—and let's face it, those are getting pretty hard to find in theaters these days—I might just force myself to go catch it! 😛
Noah Watson4 said:So, basically, you're saying it's some weird mashup of L.A. Confidential & Training Day? Like, Liotta's character is giving off major Russell Crowe vibes while Patric plays someone straight out of Training Day?
Sandra Moore said:Who on earth talked me into watching that absolute train wreck? I'll let you know my actual thoughts once I've finished processing the emotional damage. 🙂
granitebadger25 said:Back then, I honestly felt like the whole world was just sitting there waiting for me to grab it... I wonder if kids growing up today ever get that feeling, or if we just had better vibes floating around back then 🙂
In the meantime, we’ve gone through a total civilizational reset... we basically did a full 360, because now Washington, D.C. is a city where kids just party to bad country music, whereas twenty-five years ago, the entire world felt like ours... now, it belongs to them. 😢
Picked up a book yesterday that serves as a killer reminder of a different era. The first chapter is literally titled "THIS IS NOT A ROCK ENCYCLOPEDIA," so don't go in expecting some epic saga about the New Wave... though it does dive into plenty of other stuff, like stories about The Clash, Bruce Springsteen, and those old underground indie scenes...
Jessica Nguyen85 said:Anyway, 'Donnie Brasco' is a whole saga, while Scarface is pure dark noir.
Honestly, Donnie Brasco is hands down the heavyweight champion of the genre, though the Bad Lieutenant (Abel Ferrara) from way back in '92 is right up there on its heels... Harvey Keitel absolutely crushed the role of a lifetime in that one. It’s wild how all these flicks rely on these powerhouse performances—you've got Keitel, Jason Patric, Liotta, Depp, Al Pacino, and even Hawk & Washington holding their own in Training Day. I think that's the crux of it: being undercover means you have to actually become "one of them," because if you don't (like how Depp's character gets called out by the woman), you're basically dead meat. While Depp had to deal with the fallout after the carnage, guys in movies like Scarface often start small with just some powder before escalating to the absolute chaos we see from characters like Keitel.
Hebeno is actually a solid flick about some pretty crooked cops. Patric & Liotta are killer here; this is easily Liotta's best work since Goodfellas, and I don't think I've seen Jason Patric in this kind of shape in forever. Plot-wise, it feels a little stretched—it’s a perfect 10 until those last 20 minutes hit and things start to dip slightly. The twists feel a bit forced (I had a similar gripe with the ending of Training Day, though I'd say Narc is the better movie overall), but it's not enough to ruin the whole experience. One of my favorite moments is when Liotta talks to Patric about his late wife while they're sitting in the car in the middle of winter... you can hear the crows in the background, and the score is subtle but spot on. It feels gritty and real, with characters teetering right on the edge... oh, and there are a few brutal beatdowns too (Liotta tends to lose his cool a bit whenever he catches someone and his hands start flying 😉 )
rapidstag74 said:I finally sat down and watched the movie properly yesterday—naked, beer in one hand, remote in the other. And honestly? When I grow up, I want to be just like Roland. Roland is the LAW. Any guy who can sneak up on the White Wolf while decked out in a furnace and a cloak made of chainmail, all while dragging a massive seven-foot two-handed sword behind him, deserves an Academy Award for Stealth performance, which I am officially awarding him on behalf of the Academy.
Oh, and the Second rule of Fantasy: It’s never too cold for Cleavage.
Isn't it Lambert... look, I'll admit he's churned out a mountain of absolute garbage lately—heaven knows why, especially since the guy always promised he had more in him...
I'd say there are just two films where he actually nailed the role:
- SUBWAY (1985) - THE LAST EMPEROR (1987)
He kind of lost his way after that, but who knows? Maybe if Tarantino gives him a shot, we'll see a real comeback.🙄
Yeah, the movie is basically a stream of consciousness... It starts with Paul Hackett reading Miller's "Naked Lunch" in a bar, where a woman sitting across from him mentions how much she loves the book... then this nightmare kicks off where Paul ends up crossing paths with everyone connected to her, and everything just snowballs. There are moments where the paranoia feels totally overwhelming, and just when you think the whole thing is going to explode into pure nonsense... somehow, it all pulls itself together somehow. He navigates through these bizarre characters, though he definitely doesn't come out unscathed. The vibe is actually pretty close to the madness of the legendary Taxi Driver; the leads in both films are these loners in New York City who can never quite get comfortable with being alone. Scorsese is one of the big four in NYC—alongside Allen, Spike Lee, and Abel Ferrara—and honestly, he's one of the greatest directors of all time. I've got a few of his movies, including After Hours, which I think I watched on Netflix about two or three years ago.
Maria Thomas9 said:I’m constantly reading about screenwriters, directors, producers, and all that, but I honestly can't wrap my head around what actually separates them—so if there's a kind soul out there who can break down their roles...
The screenwriter writes the script (Ava), the director brings that vision to life (Tarantino), and the producer is just the one holding all the cash (Bender)
You’ve gone a little off the rails here, and honestly, people are pretty pissed... you don't even need a movie to prove that, just take a look at the election results 😈 😱 😵
The Godfather... you’d think after watching it about 15 times you'd be totally burned out on it, just sick of seeing those same faces, but nope... it's a classic that'll always stay a classic 🙏