Andrew Williams23 said:You could've posted this under the Whitesnake thread just to keep the conversation focused. I just want to know what two singers in one band actually does. Honestly, I don't see how that works.
Backing vocals? They might handle some solos if needed, but otherwise, they'll just be playing the keys.
Rachel Richardson said:To be honest, their pizza always makes me a bit nervous—I find Italy much better suited for pasta and croissants slathered in Nutella (the authentic kind, obviously😁)—for breakfast 😍
What were the pizzas topped with? 🍿
Correction: the best one in Verona was ham and sir, the worst in Rome had four types of sir, and the second best in D.C. was a massive mixed one meant for three people.
Rachel Richardson said:The best pizza I ever had was in Naples—just some random little bakery near the center, close to a plaza dedicated to our Anžuvinac. 😁 Just standard mozzarella, tomato sauce, and basil. 🧐
Honestly, I don't take this too seriously. The kids love it, and sometimes I get a bit more creative, but... My brother has experimented with all sorts of wild combinations.
For me, simple dough is perfectly fine—you can even grab it from a local bakery if you want to keep things easy. The key is having plenty of thick, delicious toppings. 😁
Well, I've had the absolute worst in Italy, but also some of the best in Verona (when I was 8) and Washington.
Discoveries? I don't dig too deep because there isn't much worth finding. Every now and then, though, someone like Svemirko and his Tunguzija catches my eye.
The last thing I heard is leagues above anything being put out by local or even international artists. Mainly because it's rare to find someone who can play everything that well while also handling the recording and arrangement themselves.
Hmm... yeah. I’ve been seeing a therapist since last December. I can definitely see progress—I jumped from a level 2 to a level 6 on my assessments. But the anxiety hasn't fully cleared out. In fact, I had a panic attack in my sleep two nights ago. It doesn't happen when I'm awake or out in public, though. What am I actually afraid of? Just missing deadlines because of how my job is structured. What’s the absolute worst-case scenario? (I hate that question). The worst part would be my boss giving me a bad performance review because of some baggage from previous jobs that honestly had nothing to do with my actual work. Am I overthinking this? Yes. I worry too much, and I just want to figure out how to stop being my own worst enemy.
Steven Newman50 said:Unlike some other attempts at American filmmaking, this one doesn't make you want to claw your eyes out while watching. I'm not claiming it's a masterpiece or some groundbreaking cinematic revolution.
The acting is decent enough, and there are moments where you actually see yourself in the characters. It has its charming bits, and like someone already mentioned, it’s a fine movie to kill a Sunday afternoon. As far as meeting its own goals? It hits the mark.
Exactly. It’s not a triumph, but it isn't garbage either. Not even close.
Steven Newman50 said:A weaker entry from the Coen brothers. Just finished it...
It’s got those nice little moments and that signature dark humor, but the way people act doesn't really capture the 60s vibe they were going for.
Funny at times, and the music hits the spot. It's a good movie, but nothing more than that...
Pretty much. I love the Coen brothers, but this one felt pretty uncharacteristic for them. Maybe we've just been spoiled by their hits over the years...
Karen Smith9 said:Looking back at it now, I feel like the film loses a bit of its punch over time. There are definitely a handful of great scenes in there, I'll give it that. The way they filmed the Requiem finale is quite clever—really sharp. However, I found F. Murray Abraham's performance to be a bit much—bordering on overacting—whereas the guy playing Salieri felt far more convincing. As for the rest of the cast? They felt incredibly thin to me, almost like mere decorative accents on a Baroque painting. But since my appreciation for biopics has been steadily declining—honestly, I’ve grown to dread them lately—I don't find this one to be anything particularly special either. Amadeus is your pretty standard Oscar contender: beautifully shot, high production values, a famous subject, the whole nine yards. Still, even within Forman's own body of work, I wouldn't rank it among his top three, let alone consider it a major heavyweight.
Overacting? I wouldn't go that far, but honestly, I might not be right either. I first saw the movie when I was seven, right as I was starting music school. I grew up listening to the classics at home, so that part didn't bother me at all. In fact, the film stuck with me, and I’d rewatch it with total excitement. I don't know how much people actually know about Mozart, but while there are inaccuracies, they're forgivable since the movie is based on Peter Shaffer's play. That’s actually what bothered me most last time I watched it—everything feels a bit too "stagey." As for the writing of the Requiem, Salieri didn't help him finish it. Mozart didn't finish it because he died penniless. He left notes for his student, who then transcribed the Requiem based on those sketches. Besides, I think Forman really captured the essence of the greatest musical genius—like that scene where his aunt reads him a primer. He probably did have it all in his head, seeing things that could easily turn into notes.
Better late than never, Mark. I'm talking about myself here. My new DVD sat on the shelf for a couple of years because you have to carve out specific time to sit down for three hours of David Lynch. It requires dedication. I finally just grabbed a digital copy and watched it on my laptop while traveling abroad. I see people were fighting it up there—let them fight. Personally, I think Lynch went a bit overboard with the runtime. The rabbits felt unnecessary, and he leans way too hard into the LSD vibes and whatever else. Still, the movie is interesting. I wouldn't say I "get" it, though; it gets lost in abstraction and over-experimentation. But hey, that's David Lynch. If he didn't do that, he wouldn't be who he is. The most logical theory to me is that Laura Dern is just an actress who gets lost in translation and starts becoming her character. Also, someone mentioned Lynch improvises. I suspect there's some truth to that. It feels like he throws certain scenes in based on a vibe rather than a rigid plan formulated when he isn't on LSD. 😁 Anyway, that doesn't mean he shows up to the set unprepared. It just means he has enough experience that he doesn't show up like a student teacher on his first day. Once you actually know what you're doing, improvisation becomes easy. Plus, he uses the same crew almost every time. Grace Zabriskie, Laura Dern, Harry Dean Stanton, the late Jack Nance, Justin Theroux, Mary Sweeney, Johanna Ray, Angela Badalamenti... When you've worked with people that long, you don't need to explain every little detail. The crew already knows the drill.
Amanda Robinson4 said:Aha, okay, yeah... I'm reading now that it's really all about whether you're seeing things from the angel's view or the human's perspective 🙂
I only brought up Smith because we were talking about using those techniques nowadays, I wasn't trying to compare them artistically or anything. I couldn't think of any better examples on the spot, but that specific combo really adds so much energy and mood...
And honestly, the fact that Spielberg improvises so much? I love that about him, and I love it about Herzog too! 🙂
Yeah, I heard he loved to improvise and that the actors didn't always love it. But hey, look at the result.
Kevin Smith is a whole different story. There’s a reason the movie stays black and white for half the runtime before switching to color. Morgan Freeman (I can't recall his character's name) plays a fallen angel. Once he "becomes" human, the film shifts to color. That’s why, from the perspective of Inspector Columbia, everything is in color.
Amanda Robinson4 said:Just watched it for the first time and honestly... I'm speechless. Spielberg, where have you been all my life? 😍
And then there's Morgan Freeman, who everyone knows probably gave the best performance of a certain historical dictator ever. Plus, they even share a birthday 😁
The spontaneity, the colors, the themes, the camerawork, the footage, the vibe... everything. EVERYTHING! AAAAAA! 😬
Black and white works wonders when it's done right. It’s cool to see how it looked back then versus how it holds up now (at least for me). I'm a fan of his work. California, New York City is also top-tier. Slow burn, but it sticks with you.
You hit the nail on the head. A movie like this requires a specific touch. Tom Hardy deserves a lot of credit for making it work. It’s straightforward—it doesn't overcomplicate things—but it still keeps you on the edge of your seat.
This whole debate is unnecessary. Just watch the movies and move on. Sometimes a single genre doesn't exist, so people just slap on whatever label fits best. According to the OP, Transformers doesn't even exist. I'd also point out that "fantastic" literally means something made up—basically, a product of pure imagination. "Science Fantasy is a literary and cinematic genre centered on a utopian vision of future technological advancement."
The quote above is the most accurate way to describe Science Fantasy or Sci-Fi, pick one.
Larry Moore83 said:Did a little rewatching and 😲... WTF... why is Tarik Filipović even in this?! 🤣 I didn't catch him the first time around—guess he wasn't quite there yet. The movie still holds up perfectly after 11 years. It's great. 😁
No way it's been that long? How can a movie be that old? Btw, I'm not really into vampires or zombies, but it seems like things work best when everything is a joke rather than some "pretending to be serious" drama. Just like that American flick 😲 What We Do in the Shadows..
So, I’m currently halfway through Joan Didion's "Accused." The book focuses heavily on abuse, but it also dives deep into those toxic, obsessive dynamics between men and women. Since I went through my own phase of being way too possessive about a year and a half ago, I’ve been wondering: what actually drives people to show their darker side? Why is it so hard to let go? Why do we cling to impossible situations when walking away is clearly the better move? What is that impulse? In the novel, even after her ex-husband and current on-again, off-again boyfriend basically throw her aside, she still ends up crawling back and humiliating herself. Why do we get so possessive?
Speaking of which, something weird happened to me recently—something I’ve honestly never experienced before. I met this guy who wasn't exactly a supermodel or anything, just a decent, charming guy, but he was easily twice my age. Still, there was this magnetic pull toward him that I couldn't shake... He's around 50, but he looks like he's in his late 30s.
Anthony Harris8 said:Phil Chevron has passed away. 😢
http://www.youtube.com/watch?v=QLIs7-dUtZ0
There it is. And Shane is still hanging on like a drunk on a life raft... strange stuff... I’ve never caught one of their shows, but word is they absolutely kill it when they're having a good night. Shane might be missing a few teeth, but even like that, he’s captivating—honestly almost irreplaceable. Without him, the Pogues wouldn't be what they are. Not by a long shot. Man’s got charisma, regardless. And yeah, I read he was rarely sober, which the band members themselves confirmed. 🙂
Larry Walker24 said:About half a billion people worldwide tune in for Eurovision
I highly doubt it. There are about 740 million people living in Europe. That would mean nearly 500 million people are watching this junk, which would be almost the entire population of the continent. Seems like a pretty inflated number if you ask me.
Timothy Cox2 said:I can’t even remember the last time I actually sat down to watch Eurovision. To me, the voting is just pure politics. But those few seconds when a country is being introduced? That part is gold. And let's be real—people don't just watch Eurovision in the States; even folks in China are tuning in. A country should probably be paying for that kind of exposure. Look, if PBS can't figure this out, they should just hand the programming over to another network. Seriously, why is PBS even running commercials on their own channel when we’re already paying our subscription fees? It makes no sense. They really need to get that law aligned with what's happening across the rest of the US. If someone told me yesterday that I was going to be out here defending Eurovision, I wouldn't have believed them either.😲
I second that word for word. Besides, who is that garbage even for? I mean, seriously. The LGBTQ+ crowd? How many people outside actually watch that disaster? I highly doubt anyone gives a damn about one tacky, musical mess.