Edward Mitchell50 said:You couldn't, but apparently the plan is for Washington, D.C. and the District of Columbia to merge into one area, so it should be fine then.
Does anyone happen to know what the protocol was during the first half of the year regarding travel restrictions? For instance, if my permanent residence was listed in Washington, D.C., but my official domicile was in Newark, would I have been permitted to travel between the two without a permit?
Jerry Martinez50 said:He’s actually the author of several books on giallo, zombie films, and plenty of other scholarly works focused on horror in general. A top-tier expert who has made quite an impact right here on this forum.
Furthermore, he is a recipient of the Nobel Prize, an Academy Award for the best assessment of the decade's finest films, and an Academy Award for the most precise evaluation of acting prowess. Regardless, he has yet to resolve those lower dysfunctional issues; however, even that will be settled in due time as he completes his doctorate in 😁
The truck driver is essentially Michael Myers, and this movie serves as a mere window into his daily routine while he relentlessly pursues Jamie Lee Curtis and the rest of her family.
casualraven said:What, am I not allowed to share an opinion? 😢
Also, P. Stewart - Xavier
Of course you can; however, your point bears no actual relation to whether Christopher Reeve was more or less convincing than his peers in portraying the character.
casualraven said:Yeah, Reeve gets pretty close to Superman, but I honestly think that's just because Superman is such an incredibly bland character. I never really understood the whole "hero" thing with him; there isn't anything unique about his design besides that ridiculous gelled hair, and the guy isn't even a superhero—he's just a glorified cheater running around with God Mode turned on. 😢
Do you even bother reading the thread titles? This isn't a debate about which character is the least "bland," who you relate to most, who has the most unique design, or who is the least much of a "cheater." Read the title and stop trolling.
There Will Be Blood: http://www.youtube.com/watch?v=JghkG4WydNk For me personally, these are the best-acted 15 seconds in the entire film.
No link, but I always get chills during that scene in The Dark Knight where Harvey Dent and Rachel Dawes discuss their future, all while the police chief is dying from acid spiked in his whiskey, the judge is being blown up in her car as Joker's cards flutter through the air, and Zimmer's score builds toward its climax.
@John Travolta Thanks for the recommendation; that film was one of the first I wanted to dive into once I started exploring Italian cinema, but I haven't had any luck tracking it down until now. It is definitely going on my watchlist.
Blessings upon the soul who resurrected this thread (and the one who originally breathed life into it).
I consider the elder Bava to be the alpha and omega of the horror genre; to this day, I maintain that "Black Sabbath" stands as his most formidable achievement, though I have also delved into "Lisa & The Devil", "Blood and Black Lace", "Black Sunday", and "The Whip and the Body".
Argento is, quite rightfully, the most resonant name in the realm of American horror classics, and his "Suspiria" remains my absolute favorite of all time; from that masterpiece, I have also explored "Bird with the Crystal Plumage", "Cat o' Nine Tails", "Four Flies on a Grey Velvet", "Deep Red", "Inferno", "Tenebre", "Phenomena", "Sleepless", "Card Player", "The Third Mother", "Opera", and "Stendhal syndrome".
As for Lucio Fulci, he is a subject unto himself; I still find myself debating whether "don't tortura Donald Duck" or "The Beyond" holds more sway over me. Regarding his other works, I have viewed "Lizard in a Woman's Skin", "Zombie Flesh Eaters", and "City of the Living Dead". "House by the Cemetery" is next on my agenda.
I hold a deep affinity for this style of horror, and it would be most desirable if its following remains steady, if not grows, in the years to come.
It’s always been a bit irritating how he constantly pivots to analyzing Romanian, Russian, Canadian, or Azerbaijani cinema, yet somehow acts as if three major Hollywood blockbusters are produced in the US every single year. I am well aware that America isn't an endless fountain of masterpieces, and I'm sure there are plenty of fascinating gems coming out of Azerbaijan, but as a critic writing for a largely lay audience, perhaps he could dial back the pretension just a touch.
I have only seen Double Indemnity, Sunset Boulevard, and The Lost Weekend from this gentleman, along with Stalag 17.
I can say that The Lost Weekend left the deepest impression on me; William Holden's performance stands as one of the most powerful acting feats I have ever witnessed. At times, the film itself begins to take on elements of horror, which conveys the terrors of alcoholism far more effectively than if it had merely settled for simple pity for the protagonist. As I mentioned, Holden is masterful; at certain moments, he evokes Jack Nicholson's archetype of the cynical rogue who cares little for tomorrow, yet in others, he embodies a martyred soul, crippled by his own weakness and a nearly childlike helplessness to change or escape his greatest enemy: himself.
Sunset Boulevard disappointed me; from the very introduction involving an orator speaking from beyond the grave—narrative approaches of that sort have never appealed to me—to the lead protagonist, with whom I failed to connect at any single point; neither with her nor with the story as a whole.
Stalag 17 and Double Indemnity were enjoyable; both held my attention, and I watched them in a single sitting. What makes them inferior to The Lost Weekend in my estimation is simply that I feel no urge to revisit them anytime soon, unlike the latter.
In my estimation, "Sin City" stands as his most formidable achievement—though, to be fair, one must also credit Tarantino and Miller for their contributions. Following closely behind is "Planet Terror," which marks the point where I draw the line regarding films that have left me genuinely breathless with admiration. I find "From Dusk Till Dawn" and his segment within "Four Rooms" to be perfectly serviceable. While the Mexico trilogy is somewhat digestible, I don't even bother attempting to sit through "Spy Kids." As for "Machete," I am holding onto high expectations, saving it for just the right moment.
I consider this to be the greatest trilogy ever made. The first installment earns a solid 5+ from me, while the second stands as my second favorite Western of all time. As for the third, it is quite simply my absolute favorite Western, and I would rank it among my top three films overall. Its reputation on IMDb and the influence seen in the works of Quentin Tarantino are entirely justified; in my view, this is one of those rare instances where a film simply cannot be called overrated, regardless of how much praise it receives through the passing decades.
It is quite difficult to single out my absolute favorite tracks since I have become so deeply immersed in Bright Eyes lately, but if I were to curate a definitive compilation, these would undoubtedly make the cut:
1. Perfect Sonnet 2. a Mirror and Those Indifferent Clocks 3. The Movement of a hand 4. an Attempt to tip The Scales 3. The Movement of a hand 4. an Attempt to tip The Scales 5. Method Acting 6. fra a Balance beam 7. WE ara Nowhere and It's Now 8. Old Soul song ( for The New World order 9. Poison Oak 10. 10. Four Winds 11. 11. One Would Riot for Less 12. 12. lim Tree