94 posts shown.
Just saw that the FDA is reporting a new outbreak of explosive diarrhea with 72 cases already. It’s pretty creepy that they haven't even said where it's coming from or what's causing it yet. Anyone else feeling uneasy about this or know if it's linked to a specific food?
Thanks, guys!
Got another question for you...
When I'm installing Windows on either of these two setups, do I actually need to worry about whether they're 32-bit or 64-bit?
Hey everyone!
I’m pretty much clueless when it comes to PC hardware, so I’m hoping someone can point me in the right direction for picking out parts for a new build.
It’s mostly just going to be for basic stuff—browsing the web, watching movies, listening to music... what I really care about is keeping it quiet and snappy. Ideally, I want a 240 GB SSD and a 500 GB HDD, all while trying to stay under $1000.
Thanks!
Not many people realize that Craven's The Last House on the Left is actually a remake of Bergman's "The Virgin Spring" from 1960, which was based on that old medieval poem, Tore's Daughter in Wänge.
Anyway, the original Last House is pretty gruesome... honestly, I'm just glad Wes moved on to much better substances about twelve years later and filmed the greatest horror movie ever made.
Arthur Anderson49 said:Honestly, I feel about Stanley Kubrick the same way I feel about Hemingway—he’s incredibly important, sure, but he isn't necessarily "great" in my eyes. It's the same deal with Odyssey. It stands as this massive turning point that basically paved the way and kicked off a whole new era for sci-fi cinema. But as a movie? It just didn't click for me. I felt like it left me wanting so much more.
On the flip side, Blade Runner is a total game-changer because of how it treats sci-fi tropes; it almost treats them as mundane. Instead of treating the future like some grand, mystical spectacle, it looks at it just like we look at the present—just a gritty continuation of our current reality. It's the polar opposite of Odyssey. It just hit me: those two films are essentially negations of one another. Blade Runner is the anti-Odyssey.
Spot on! Both movies share that heavy dystopian undertone, but while "2001: A Space Odyssey" stays within the lines of hard science fiction—veering into more metaphysical territory in that final act—Blade Runner uses its futuristic setting as nothing more than a foundation. The sci-fi elements don't even dominate the universal themes being explored through the story...
bluecobra27 said:So basically, Sean Penn is the ultimate Oscar magnet. He just bagged one for playing a gay politician, but let's not forget he’s also checked off roles playing people with disabilities and Jews...
Between Sean Penn and Harvey Milk, we've basically got a whole contingent of Lithuanian Jews right there.
Man, how could I have blanked on that Freemans speech from The Shawshank Redemption...
It’s easily in my top 10.
To make up for it, here's the link;
Morgan Freeman in The Shawshank Redemption
While I was thinking about it, a few other heavy hitters came to mind;
Kevin Spacey in Seven (starts at 2:08)
Denis Leary in Demolition Man
Bruce Lee in Enter the Dragon
Ryan Gosling in The Believer (starts at 2:05)
Kevin Spacey in Under the Sand
So, which movie monologues actually stuck with you... the ones that really hit home?
Just a few ground rules here: no voiceovers, no one talking to themselves (there needs to be at least one listener), and let's skip the jokes and random anecdotes.
My personal top 10:
(Quick heads-up: I didn't bother listing every single speech... I only specified the scene if the one I've picked isn't technically the most famous monologue that character delivers in the film.)
10. Paul Finch in "Network"
9. Dennis Hopper in "True Romance"
8. Ben Affleck in "Boiler Room"
7. Kevin Spacey in "Swimming with Sharks"
6. Jack Nicholson in "As Good as It Gets"
5. Michael Douglas in "Wall Street" (that "I create nothing. I own." bit)
4. Roger Hill in "The Warriors"
3. R. Lee Ermey in "Full Metal Jacket"
2. Edward Norton in "American History X" (the "Our border policy is a Joke (Rutger Hauer quote)" speech)
1. Rutger Hauer in "Blade Runner"
briskbison41 said:It actually has potential.
The big question is who they'll cast to step into Robert Englund's shoes.
Here's how I picture it, especially with Michael Bay producing;
Michael Bay's "A Nightmare on Elm Street"
briskbison41 said:Hands down one of the best horror flicks ever made.
Apparently, they’re already cooking up a sequel.
Nah, they're actually prepping a remake.
Sometimes, those accidental bits of hilarity in serious dramas end up being way funnier than anything actually written to be funny in a comedy... It’s just one of those things... turns out unintentional humor hits different.
Those kinds of moments... they can come from pretty much anything. Bad directing, wooden acting, cheap special effects, or just plain old bad ideas... it’s hard to tell sometimes.
Alright, here it is... my personal Top 10 list of the most unintentionally hilarious moments I've ever seen.
I dropped some YouTube links in for a few of them, so go ahead and check them out for yourselves...
10. The Godfather (1972)... specifically that messy collision between Sonny Corleone and Carlo Rizzi... It’s hard to watch sometimes. You see Sonny, all fire and impulse, just absolutely losing it because he can't handle the tension in his own house. And then there's Carlo... that snake. He knows exactly which buttons to push, playing the victim while he's actually pulling the strings on the family dynamic. It’s such a masterclass in how domestic friction can spiral into total tragedy. Sonny thinks he's being the protector, the big man, but he's really just walking straight into a trap set by someone who doesn't even have the guts to face him directly. One minute it's a heated argument in a kitchen, the next... well, you know how it ends. Just pure, unadulterated chaos born from ego and bad intentions... typical.
Yeah, sure. Even the best of us trip up sometimes...
Sonny Corleone beating the hell out of Carlo Rizzi is easily one of the most poorly executed fights in cinematic history... just painful to watch.
So, this clearly improvised scene kicks off with Sonny Corleone tossing a stick at Carlo Rizzi, but he misses completely... then he follows it up by "punching" him a few times—if you can even call it that, since his fist ends up about a foot away from his face every single time. He bites his hand, rips off his shoe, tosses a trash can at him that spills junk everywhere, and to top it all off, finishes with a couple of pretty pathetic, half-hearted kicks...
9. Cruising (1980)... that scene where Al Pacino starts dancing... honestly, it’s something else. Just watching him try to find his footing in that whole subculture... you can see the tension building. It's a heavy vibe... very much a specific kind of grit that only eighties cinema really captured quite like that... anyway, just one of those moments that sticks with you.
This scene might be intended to be funny, in part... but Al Pacino just made it absolutely hysterical.
Fatal Attraction (1987) — that first sex scene between Michael Douglas and Glenn Close...
One of the absolute best thrillers from the 80s—honestly, any decade—features this one incredibly bizarre, sort of awkward sexy scene. It starts out pretty promisingly, with the two leads getting down and stripping, but the tension just completely evaporates when Glenn Close, right in the heat of the moment, accidentally twists a faucet and water starts leaking all over the sink... then Michael Douglas just picks her up, half-dressed, and starts carrying her around the room...
7. CARRIE (1976) - that scene where the kid falls off his bike...
Check out this scene from about the nine-minute mark... Carrie is just walking down the alleyway, minding her own business, when this annoying little kid on a bike starts weaving through the trees like a maniac, just relentlessly picking on her...
At one point, Carrie just loses it and uses her telepathic powers to knock him right off his bike... honestly, I can't decide what's funnier: that look she gives him, the kid eating dirt, or that cheap imitation of the Psycho theme playing in the background during the whole mess...
6. THE BOYS FROM BRAZIL (1978) - those German accents...
It’s such a phenomenal Science Fiction political thriller, but unfortunately, people just make fun of it because of those desperate German accents the main characters have... especially Laurence Olivier, who sounds a bit like Inspector Clouseau at times...
5. THE EXORCIST (1973) — basically taking a massive dump on Max von Sydow...
This brilliant scene gets totally overshadowed by that famous vomiting moment, even though it’s way more hilarious... after the little girl hits him with one of the most original insults ever uttered in a movie—"Stick your cock up her ass, you motherfucking worthless cocksucker!"—Max just sits down by the bed and opens a book...
No, the second he starts reading, she just throws this total peasant insult right in his face...
But Max just refuses to let it get to him. He keeps reading, stone-faced... just calmly taking his glasses off to wipe them down while the rest of the saliva drips all over his face...
4. So, I was thinking about that scene in Alien again... you know, the one from '79. That moment with the chestburster. It’s just... visceral. There’s something about the way it unfolds that stays with you. Most sci-fi tries to be flashy, but this was just raw, uncomfortable reality playing out in space. The sheer panic in the room... it wasn't just about the creature itself, but the total breakdown of everything they thought they knew about survival. Just pure, unadulterated dread. One minute you're eating dinner, and the next... well, you know. It’s hard to find anything else that hits quite that hard.
Maybe it’s the best horror movie ever made, but let's be real... when that little alien pops its head out of John Hurt and just stares at the crew, that tagline "In space, no one can hear you scream" basically turns into: "In space, no one can hear you screaming from laughter."
3. 8mm (1999) — Nicolas Cage watching a snuff film...
So, if we were to put together a definitive list of the absolute best unintentional comedy moments—you know, those scenes that are so bad they actually loop all the way back around to being hilarious—but we did it without involving Nicolas Cage... what would that even look like? It’s a fascinating thought experiment... just stripping away one of the kings of accidental camp to see what else is out there...
Even though "The Wicker Man" is packed with moments like that, I decided to go with the legendary scene where Nick sits there watching that snuff film... just squirming in his chair, groaning, whimpering, and trying so hard not to burst into tears like a total pussy...
2. THE TEXAS CHAINSAW MASSACRE (1974) - those final 20 minutes...
One of the most intense movies ever made ends with one of the absolute most ridiculous finales you'll ever see...
From the second Sally steps foot into that house of horrors, this terrifying horror flick suddenly flips the script and turns into a total slapstick comedy...
Even if you manage to hold it together during the beginning, you’re definitely going to lose it once that old man steps onto the screen and starts bashing poor souls over the head with a hammer...
1. DAWN OF THE DEAD (1978) - Full Movie
Without even trying, this is easily the best unintentional comedy ever made.
Zombie movies are everywhere, but if you look closely, the funniest ones are actually part of the horror subgenre... and "Dawn of the Dead" is the absolute gold standard here.
Even though the whole premise—this terrifying zombie horde (meaning just some guys in perfectly pressed shirts with a light dusting of powder on their faces, shuffling along at about 0.1 miles per hour)—is hilarious, those shots featuring zombies with mustaches and one with an afro... those are priceless.
Anyway, that’s my two cents...
If any of you can think of a moment that was unintentionally funny, feel free to share it with us.
Exactly, that’s the whole reason I haven't picked up a camera to make a movie yet... I refuse to let my work end up looking like some damn wedding video.
Can anyone actually explain how to get even remotely close to that high-budget cinematic aesthetic when you're working with next to nothing?
I know, it sounds like a total contradiction, but maybe there's a way...
Arthur Garcia59 said:NBC is showing "Bully" this Saturday... if you're looking to expand your horizons regarding Central Park and Korine and that whole crew, you should probably check it out if you haven't seen "Bully" yet.
Korine has nothing to do with "Bully".
That’s exactly why the movie works...
How can you even put Heston in the same breath as that obnoxious guy?
I’ve never quite grasped the obsession with Russell Crowe or Colin Farrell.
Those two are just so incredibly uncharismatic... it's actually painful to watch.
As for Russell Crowe, he has about as much charisma as a random guy on the street.
Personally, I’ll always remember Heston more for his sci-fi and post-apocalyptic stuff (Planet of the Apes, The Omega Man, and Soylent Green) rather than those big historical epics.
It’s not that I’m actually asking for it, but I’ve gotta say, I’m pretty surprised we haven't seen a sequel to Blade Runner yet—you know, something following Deckard and Rachel... and honestly, there's enough raw material there for a full-on prequel too. Think about the Off-world stuff... the replicants, the colonization of other planets, those bloody uprisings... maybe even seeing a bit of Pris in action...
Richard Howard2 said:I suppose it’s perfectly acceptable to tweak history if it serves the cinematic vision. After all, a feature film isn't exactly trying to be a documentary.
Okay, let's try a hypothetical here;
Say you become a famous politician and, for example, Dada Matanić decides to make a biopic about your life.
But because they're terrified the audience will fall asleep halfway through, they decide to throw in something "exciting" just to keep people engaged—like, say, a recurring scene where you're having affairs with sheep.
So, everything else in the movie is historically accurate, except for that one awkward detail.
Would you still "experience the film in a way appropriate to a work of art" back then? Or would you still be stuck obsessing over that "tiny hole in its narrative machinery" that is, honestly, totally irrelevant...
Jerry Martin19 said:Yeah, agreed. You can always spark a good (or at least heated) debate from categorizing stuff like that, but when I saw Odyssey on a list like that, I thought they were trying to manipulate us with some kind of megalomaniac scale 😠
I'm always going to be aggressive toward that kind of pigeonholing 😁
In that case, thanks to the director for making sure people weren't already confused enough by keeping them hooked with blockbusters like Gladiator 🤮
Does it mean anything to you that "2001" is at the very end of the list?
It’s pretty obvious you haven't looked at many lists in your life...
Look, I seriously doubt the author of this list is so dim that they can't tell the difference between the past and the future.
For any normal person, it’s clear that nobody has an issue with "2001" (they probably don't have an issue with most films either, though they likely watch them with a bit of ironic distance), they just wanted to wrap up the list with a joke about how little humanity has actually progressed over the last 40 years.
You clearly didn't even catch the joke back in 2005, when George Bush and Donald Rumsfeld were nominated for a Zlatan Malina for worst lead and supporting actor in "Fahrenheit 9/11."
I also see most people here commenting about how those films "weren't intended to portray history as it actually was."
Who gives a damn what the intention was?
The guy simply picked movies based on real events or real people (for some, that basis is obvious just from the title) and decided to hold them up against those actual events and people.
Also, I'm not buying the argument that artistic license serves as an excuse for these kinds of fabrications.
Even if the people behind these movies will probably never answer for these crimes, there's still such a thing as moral responsibility—to certain individuals, or even entire nations that such distortions could hurt.
I highly doubt Americans would be fine with someone twisting historical facts to depict them as a nation built on genocide. But no... that's not...
And while I can somewhat understand it when directors like Roland Emmerich (10,000 B.C.) or Michael Bay (Pearl Harbor) do it, it’s at least a little strange when respected, serious filmmakers like Ridley Scott and Oliver Stone pull the same stunt.
So how can you say there's no "Alexander"?
Apparently back in 2004, twenty-five Greek lawyers threatened a lawsuit because the film depicted their hero as nothing more than a passionate lover of the male anatomy:
http://www.cnn.com/2004/LAW/11/25/alexander/