My head’s been spinning lately... honestly... Cuba Gooding Jr.. ...
Even if he never quite hit that A-list superstar level—despite having an Oscar on his mantle—you can't deny people saw him as the next big thing. He definitely had that vibe... like he was being groomed to step into the shoes of someone like Denzel Washington or Morgan Freeman...
If you ask me, his first real breakout was in that totally underrated Wolfgang Petersen flick *Outbreak* back in '95. He was sharing the screen with heavy hitters like Dustin Hoffman, Kevin Spacey, Morgan Freeman, and Donald Sutherland... absolute legends...
I honestly think he peaked with his role in Jerry Maguire... that Oscar was supposed to be his big launchpad, but instead, he just went downhill fast. It took him nearly four years to even land something halfway decent with Anthony Hopkins in Instinct. After that, if you can even call it that, his last real standout was Men of Honor with Robert De Niro. Then there’s that Michael Bay flick, Pearl Harbor... which was basically just a massive waste of money on production value and nothing else. Since then? It's been eight or nine years of absolutely nothing. I haven't watched a single thing he's done. Honestly, if it weren't for the internet, I'd probably assume he'd passed away or just decided to walk away from Hollywood entirely...
👎
EDIT: maybe just one more "stellar" acting role for him in this flick... Honestly, it’s about as good as it gets... just hitting that sweet spot where everything finally clicks. No drama, no fuss, just vibes. I mean, I know Jack Nicholson... but I haven't actually seen that specific movie yet, so I can't really weigh in on it... At the end of the day... it just isn't enough for a heavy hitter of this caliber.
Maurice leaves him in charge of the house for a few days and he ends up throwing a massive blowout for the whole crew... puts on Mauricov's designer coat, acting all high and mighty... drains the entire wine cellar dry... orders some fancy tulips where every single petal costs ten bucks... gets fired on the spot, only for Maurice to hire him right back just so he can work off the tab 🙏
Look, us Miami folks are just wired to complain about everything... even if they handed us our own dedicated subreddit, we'd probably still find something to moan about because it wouldn't be enough, and then we'd start demanding even more...
But honestly, I think we should get our own separate thread. Even if ST is maybe half the size of ZeGe, it's got just as many solid "topics" that really ought to be brought together in one spot.😉
Morgan Murphy7 said:I just had this random, stupid thought
what if a driver just straight up ignores the black flag and refuses to pit? is there some kind of Formula 1 police force that would intercept them, or would they just set up roadblocks on the track? that's what's bugging me right now...
☕
Lately I've been wondering if there's any actual chance we see Mazda or Subaru show up in Formula 1. They'd definitely be my favorites...😬
stormybadger8 said:Honestly, I’m with you, 👎 moving it to 6 PM would be way better 😬 This waiting game is driving me insane. I love those early morning races around 7 or 8 AM—wake up, grab a coffee, and watch the race... 🙏🙏🙏 But this? I don't even know what to do with myself until 11 PM without losing my mind from the suspense... 😬
Same here...🙏
I’ve practically started biting my toenails out of sheer boredom...
northerncrane4 said:I'm afraid—to my great disappointment—that even Gilliam has lost his touch. His last two, "The Brothers Grimm" and "Tideland," were practically forgettable. 😢
Maybe he can still catch the last train out of the slump with "The Imaginarium of Doctor Parnassus," though I doubt it since there wasn't much hype surrounding that one...
..who knows.. maybe he’s just one of those guys who works on a cycle... one hit, two misses, then another hit followed by three misses.... 😉
If he could just pull off one more movie that was at least three-fifths as good as "Fear and Loathing in Las Vegas" (or even "Brazil"), I'd say he's finally back on track...
I didn't see anyone even bringing him up in the last couple of pages, but Oliver Stone is talking about a draft that makes a Chicago winter look like a tropical breeze...
wiredbison82 said:1. Peter Bogdanovich was essentially the golden boy of the early seventies; his work on *The Last Picture Show* served as one of the bedrock pillars for New Hollywood. Since then, however, he has largely vanished from the cultural conversation.
2. Philip Kaufman represented such immense promise during the seventies and early eighties, yet these days he seems relegated to directing mid-tier crime procedurals and unremarkable dramas.
3. Walter Hill—the man behind *The Driver*, *The Warriors*, and *The Long Good Friday*... though I know some folks on this board have dismissed *The Warriors* as trash, but considering some people have leveled similar critiques at Scorsese, Kubrick, or Godard, I’d prefer not to dwell on those opinions.
4. Abel Ferrara stands out as perhaps the most skilled practitioner to emerge from the era of learning the craft under someone like Corman; he carries that Scorsese-esque influence, yet there is a certain irony in the fact that if you spend enough time being told you're a genius, you might just end up following the Ferrara trajectory.
5. John Landis was effectively the architect of subversive American comedy in the early eighties, but more recently, his filmography includes projects like *Kennedy's Children*—frankly, any commentary on his recent output feels redundant.
6. John Waters, often hailed by enthusiasts as the king of bad taste and a pioneer of unapologetic cult cinema, seems to have pivoted toward a more politically correct sensibility lately; even the crown has lost its luster.
7. Jonathan Demme used to be a trendsetter with films like *Caged Heat* or *Crazy Mama*, but nowadays, he appears to be merely following the trends others set.
8. Michael Mann has a contingent of cinephiles who argue his peak was reached back in the eighties with *Thief* and *Manhunter*. It isn't an entirely baseless claim, given that while *The Last of the Mohicans* and *Heat* were major achievements, films like *Ali* and *Collateral* feel like mere repetitions of his established stylistic and thematic tropes—competent enough, certainly, but creatively redundant.
9. William Friedkin is another casualty of the New Hollywood era, an immensely talented director who seems to have wandered off into the wilderness of creative irrelevance.
10. Brian De Palma remains the only true postmodernist in contemporary American cinema. He has never been fully understood or accorded the respect he deserves, and lately, he seems to have fallen into the trap of overindulgent stylistic gimmicks that play too heavily on his own cinematic legacy.
11. Francis Ford Coppola has been creatively stagnant since *Apocalypse Now*; *Rumble Fish* and *The Godfather Part III* were little more than brief attempts at keeping the flame alive.
12. Roman Polanski—had he directed *Oliver Twist* during his *Cul-de-sac*, *Repulsion*, or *Rosemary's Baby* era, we might be discussing a masterpiece of the decade; instead, it serves as a textbook example of wasted potential, and even *The Pianist* feels somewhat overpraised.
Just waiting on the guy behind the scenes to drop Public Enemies...
I've got a feeling this one's gonna be incredible (really, really good)☕...