Posts by Samuel Murphy8

That was back when people were getting kicked out of NYU just for being clueless.

Oh, please. 😁
Or more accurately: "Why don't you guys just turn the volume down already?"

If I had to listen to that ridiculous Russian accent one more time, I might actually lose it.

I actually caught it a few days ago—which is why the lyrics are stuck in my head. 😁

So, what’s your take—are we really supposed to say nothing but glowing praise about Buñuel?

Laura Palmer25 said:I don't have anything profound or groundbreaking to say about these three superstars😁 besides wishing them a happy birthday.

But for Patrick, my mind goes straight to Braveheart and that absolutely menacing Edward who spends his time bullying poor little Scots.



Man, the chills I get from him in that role... that medieval aristocratic arrogance he pulls off is just unmatched.🙂

I had no idea he played that part; he’s definitely one of those slick, slippery supporting characters.

Patrick McGoohan actually plays the warden at Alcatraz alongside Clint Eastwood—mostly just small roles, though, so he didn't exactly stick in my mind.

bluenomad2 said:Sunset Boulevard is his best. I am big... It's the picture that got small. 🙏

That same year, we got Rashomon, All About Eve, In a Lonely Place, The Asphalt Jungle, Orpheus, Night and the City, and Harvey 🙏—it's actually sickening. And yet, people have the nerve to try and compare modern films to the classics today. Just this one single year was too much to handle.

It's airing this Saturday on NBC around 10 PM.

bluenomad2 said:electricridge6, I think you’re genuinely off base here. Marlon Brando, Jack Nicholson, Robert De Niro, and Al Pacino are so deeply etched into our collective subconscious that we assume no one else can touch them—and you're right, there are really only two others. Olivier and DDL. Now, Laurence Olivier never made headlines for being difficult, nor did he chase the kind of massive blockbusters that someone like Boogie or James Cagney might have leaned into—though those films were excellent regardless. But ask any acting coach out there—the ones who actually know what they're talking about—and they'll tell you Olivier was the gold standard of classic Hollywood. Some even claim he's the greatest to ever do it. As for DDL, he’s essentially Olivier's spiritual successor; he learned everything from him. Those two belong right alongside Brando, Nicholson, De Niro, and Pacino. That gives us a group of six—the absolute elite. It doesn't matter which of the six sits at the top; in my humble opinion, they represent the pinnacle of cinema history. I’d probably throw Max von Sydow into the mix too, though that’s just my personal bias creeping in—but as far as that core six goes, I stand by it.

I caught him in Three Days of the Condor (1975) yesterday. At first, I didn't even recognize him—he was so perfectly immersed in pollackov's style that nothing felt forced or amateurish.

bluenomad2 said:I’m also sitting here wondering what they're even talking about 🤷—seriously, let’s not lump massive blockbusters in with actual cinema. To me, TWBB stands far above any single film from Leo. Even his last turn as the Mohican was better directed than anything else in his filmography. Then you have DDL, who exists in a completely different stratosphere—true elite tier. After him, you've got guys like Norton and the rest. And then there are the "solid" actors like Leo, who mostly lean on those big hits where you don't actually need to tap into any real emotional depth. Give me some real drama, for God's sake. Even in Revolutionary Road, Kate Winslet absolutely outclassed him.

Shannon also basically ran circles around him. He didn't show even a hint of emotion during those table scenes where the dialogue starts hitting home.

I’d trade every bit of this new-age tech for just one more shot at an old classic.

Why is it that these comparisons always seem to sideline names like Paul Newman, Dustin Hoffman, Sandy Stewart, Jack Lemmon, or Tim Burton—actors who arguably contributed far more to the craft of cinema on their own?
I’d go as far as to say that Edward Norton is easily one of the finest young actors working today, right up there with Phoenix and Bale. As for Leonardo DiCaprio, his acting just feels hollow to me—totally unconvincing.

The storytelling here is absolutely vital—it’s executed flawlessly by the narrator—and the film is packed with such subtle, nuanced moments. Forman crafted a truly sophisticated piece that stands out as one of my favorites from the eighties; it really reinforces my love for that entire decade.

It’s really just De Niro carrying the film—any scene without him feels lackluster. And honestly, why all the constant texting? It would have been much more engaging if they had just shown them actually talking.

They only ever reward those gaudy, overproduced films—hopefully the Academy Awards will finally right this wrong.

goldenhound32 said:Rope—definitely one of Hitchcock’s finest. It’s basically a masterclass in minimalism: a short murder mystery confined to a single apartment and just a handful of shots. Pure genius.
VIII

So, what was the catch? There’s usually a reason behind an eight—don't leave me hanging. :-)

Right, I realize he isn't a guy—I just wasn't quite sure how to phrase that more politely without sounding awkward. 😁

The staging and the acting—especially Cruise—are spot on, along with the dialogue, the score, and the cinematography...

Paul T. Anderson possesses an encyclopedic command of filmmaking technique; I’d place him among the all-time greats. His work isn't exactly for the masses—certainly not everyone's cup of tea—but they're my favorites.

I caught it a few days ago, so the dust has finally settled, yet something still feels fuzzy about the plot. Can someone who's seen it clarify if Claudine's boyfriend actually opened fire on Jim (the cop) after losing his gun?

Patrick Martin said:Carlito's Way 🙂

Don't take this personally—but I'd love to hear the actual reasoning behind such a drastic take on this movie.

Ethan Palmer61 said:I’d rewrite everything in Interstellar from the moment he hits that black hole.

Sorry, but I find this whole thing hilarious.

Karen Jackson4 said:A truly magnificent review—an interpretation, an analysis, perhaps even an essay—of Muf.

Personally, I find > to be the superior film; I suppose it’s because it taps into something more universal, a certain human truth.

>. 😍

I've always found her a bit grating—honestly, she was never quite my cup of tea—but this is the first movie where I didn't find her performance nearly as irritating.