Posts by redowl90

Anthony Jackson50 said:Here are a few of my personal takes:
I definitely fall into that camp of people who think The Thin Red Line and Magnolia are just plain boring.
The Conversation is actually a pretty boring movie—but honestly, that’s a far cry from saying it isn't good! I still keep a copy in my collection, though.
I honestly feel like I could watch The Remains of the Day over and over again—it’s one of those absolute gems that just never gets old! Every single time I sit down to watch it, I find something new to appreciate; it’s just so deeply engaging and stays interesting no matter how many times it rolls around.
I watched All the President's Men recently—and man, it was a bit of a slog for me!
You know, I’ve seen some polls floating around where people have actually crowned The Exorcist as the greatest horror movie of all time—and honestly? I think they've got a point. It isn't just empty jump scares; there's real substance there.
I feel like Lost in Translation is honestly kind of Boring—it just drags for me—but I have to admit, the lead actors are enough to pull you through it.
Citizen Kane has one of the absolute best endings in cinema history—hands down!
Honestly, I have to agree—Alexander is just a terribly boring movie.
You really need some patience when it comes to watching for Rublev—honestly, even I found it pretty Boring back when I was a teenager.
The Crying Game is anything but a boring movie!
I have to say, Mean Streets didn't exactly blow me away—even with all the massive amounts of praise I've been reading about it lately...
Legends of the Fall is easily one of the most boring movies I've ever sat through...

Let's make one thing clear right from the jump—we aren't here to talk about those low-budget B and C movies. In this thread, let's stick to the heavy hitters—only the famous works by legendary directors and acclaimed authors.
For instance:
I have to admit, I was really looking forward to diving into Jim Jarmusch's work, but honestly? Both Dead Man and Broken Flowers felt pretty Boring to me—just couldn't quite get into the groove of them, despite my high expectations!
When it comes to the Coen brothers, they really seem to have this binary way of working—it’s either an absolute blast or a total slog to sit through. Personally, I think Barton Fink and The Man Who Wasn't There fall squarely into that second category... definitely more of a "tough watch" than a fun night at the movies!
Great Anti-recommendation:
Half Nelson: Even though some big-shot critics have hailed this one as a masterpiece—some even ranking it among the top 10 films of the decade—it’s honestly such a drag. It’s just incredibly Boring. That being said, Gosling really did nail his part.

Even though you started out by blaspheming against The Thin Red Line and Magnolia, I actually have to agree with what you wrote here. Or rather, I’ll only agree regarding The Man Who Wasn't There, which I personally found pretty tedious despite the gorgeous cinematography. And instead of Barton Fink (which I haven't seen), I'd put Miller's Crossing in that mix.

wearytinker8 said:You're messing with Filmash, but you clearly aren't reading the posts closely enough either.
Let's do a quick refresher on what the criteria actually were: "100 greatest American heart-pounding movies..."
That’s exactly why things like "Le Samourai," "Blowup," "M," "Tesis," "The Vanishing," or "Mad Max" didn't make the list...

Psycho! That’s all there is to it.

velvetcrane57 said:😂🤣

I honestly can't believe what I'm reading here... this film is an absolute masterpiece.🙏

Are you having some trouble following my posts? At no point did I say the movie was garbage. I’m just disputing why it ended up on this ridiculous list, since I don't think it really delivers that "American heart-pounding" tension or anything like that.

You follow me, buddy?

wearytinker8 said:

Scáthach Asks:
Ugh... I honestly thought I was the only person on this entire planet who found that movie absolutely infuriating... Usually, whenever I bring it up, people just stare at me like I’ve lost my mind or start falling asleep right then and there...

Next time those pseudo-intellectual friends of yours pull that stunt, just tell them where to shove it... honestly. And don't ever be afraid to call a movie garbage, even if it's something like Citizen Kane...

So, when they hand out an Oscar for No Man's Land... then suddenly everything is just fine, right?

Like I’ve said before... action and tension just aren't the same thing. In fact, constant action tends to kill the tension entirely. That's probably why you don't see many action flicks showing up in the top 100...
But obviously, that doesn't mean an action flick can't pack in some suspense and actually feel tense... I mean, just look at Die Hard or Speed. They get it right...
As for those two directors... clearly, according to whatever "expert" jury you ask, their work just doesn't have enough tension to crack the top 100. If it makes you feel any better, Face/Off was one of those 300 nominees that just couldn't quite break through the barrier...
Look, "Rear Window"... the whole thing basically takes place in a single room with just one guy—and then there's the other character who's really only there to talk to him, essentially acting as a mouthpiece for us, the audience... it’s still more intense than "The Rock," "Armageddon," and "Pearl Harbor" combined.

That's absolutely fair, because it's true. Every Hitchcock film is suspenseful, and every single one of them (at least the ones I've seen) really belongs on that list.

But, let's be honest, I'm pretty sure Melville's Le Samourai isn't even remotely on that list. And that's a seriously tense movie, too. Still, the main thing is that Dog Day in Afternoon made the cut.

wearytinker8 said:Every single time I sit down to watch this movie, it keeps me right on the edge of my seat from the opening frame until the very last minute...
The main thing is probably that gut-wrenching fear for those two robbers... you know, that tension that kicks in once you realize they aren't just walking out of the bank with the cash. It’s easy to get sucked into their struggle, especially with performances from Pacino and Cazale that feel so incredibly raw and real...
Jerry Martin19 hit the nail on the head... dynamics and tension are two completely different beasts.
For instance, like, 95% of *Deliverance* doesn't even have any actual action in it... yet it’s still easily the most nerve-wracking movie I've ever seen.

The jury's whole mission was to nail down the "100 greatest American heart-pounding and adrenaline-inducing films, regardless of the genre"... which basically means finding those hundred movies that actually get your pulse racing and your adrenaline pumping, no matter what kind of flick they are...
Look, you can totally disagree with certain picks—for instance, I’ve always found things like *The Wizard of Oz*, *E.T.*, *Rocky*, or *Raging Bull* to be pretty questionable... But calling the entire list a massive pile of garbage? Saying it's completely unprofessional just because it was compiled by some group of 1,800 actors, directors, writers, producers, historians, and critics? That's a bit much...

When someone uses terms like "heart-pounding" and "adrenaline-inducing films," I’m looking for names like John Woo and Michael Bay. Are they represented here by their work? Because if they aren't—then the whole list falls apart.

Dog Day in Afternoon and All The President's Men definitely don't fit that description. It just seems off.

Carol Lewis said:Hey, let’s get serious for a second, without throwing out those "good" movies just to stir up an argument... you guys really aren't, but you haven't actually sat through a boring movie if you haven't watched this right here 🙂🙂

Oh, absolutely! Yeah, this definitely makes the top 5 most boring movies ever. For sure.

Jerry Martin19 said:I think talking about "boredom" just leads people straight into a dead end. It’s impossible to debate which movie is boring and which isn't because "boredom" is strictly tied to whatever an individual happens to care about. I'm sure there's someone out there who finds Terminator boring. I mean, watch out, it's TERMINATOR!!! If Terminator doesn't grab someone, then what? ...I guess it's enough 😁

Anyway, stay away from these kinds of malicious lists. The only thing this kind of ordering and categorization does is cause misunderstandings and fights over nothing but personal taste...

For example, personally, I find that one—which is supposedly one of the most intense according to AFI's list (the 🙄 list), Dog Day in Afternoon—to be a bit of a snooze. It's a good film, but at times it's just boring. Go ahead, crucify me 🙂

edit: and the same goes for Odyssey on the intense list and A Clockwork Orange 🙄

Nobody's going to crucify you here, because claiming Dog Day in Afternoon is a "tense" movie is just plain silly. Where exactly is the tension? Don't get me wrong, it’s definitely a high-quality film—it absolutely is—but it isn't tense. Even All The President's Men doesn't really fit that description either.

I honestly think that AFI's list of most suspenseful films is total garbage. They didn't even bother to define what they actually mean by a "suspenseful" movie. At this rate, I wouldn't be surprised if they tucked American Beauty somewhere in their top 50 all-time thrillers. Or maybe even Million Dollar Baby.

Nonsense.

wearytinker8 said:Look, you can call it a drama if you want, but to me? It’s a documentary. Not that it really matters...
I’m just honestly shocked that... So, I was looking over AFI's list of the 100 most suspenseful movies... just sitting here thinking about how much tension they managed to squeeze into those frames. It's a hell of a lineup. Some of them hit you like a freight train, while others just simmer under the surface until you can't take it anymore. Makes you wonder if we even appreciate that kind of pacing anymore... or if everything just has to be loud and fast these days. Not that there's anything wrong with loud, but there's an art to the slow burn... a certain kind of dread that stays with you long after the credits roll. Think about movies like Planet of the Apes, The Dirty Dozen, Halloween, Dog Day in Afternoon, Blade Runner, Terminator 2, Night of the Living Dead, or Blood Simple...

Why on earth "Jason X," for crying out loud? I mean, that's your absolute favorite movie...
Look, if we’re talking about movies hitting that same theme, I’d have to bring up Poltergeist... honestly, it’s ten times more tense and gripping than The Exorcist.

Well, that’s interesting, because I actually found "Poltergeist" pretty boring.
I guess we're even now. 😬

wearytinker8 said:Come on, man... besides that massive twist—which, by the way, was clearly ripped straight from Sleepaway Camp—what else is actually worth mentioning in that absolute disaster?

Taj film is just driving me insane... It’s trying so hard to be deep, but honestly? It’s about as deep as a puddle at Black Lake...
I can totally see Anderson doing this: "First, I’ll hook them with an intriguing intro about these wild coincidences, then I'll spend three hours filming pointless footage featuring top-tier actors, and finally, I'll wrap it all up with some enigmatic rain of frogs and a pathetic little song. It'll be a hit..."
If you're looking for something deep with similar themes, you should really check out Kieslowski's Blind Chance from 1981...

Maybe I just found the movie stupid because of the subject matter... and honestly, I couldn't care less about The French Connection.

I can't even remember half of that garbage anymore, but I do know I spent two damn hours waiting for a payoff that never actually arrived... and when it finally did, it was just completely contradictory and confusing. Total disaster of a movie.
De Palma’s "Blow Out"... honestly, if you look at how similar they are in theme—since both are basically different takes on "Blow Up"—he completely runs circles around the original. It's leagues better... easily worth ten grand more just for the execution alone.

Oh, sure, let's just make a two-hour thriller about two journalists trying to figure out who broke into the Democratic Party headquarters...
It's basically like making a two-hour thriller about an investigative reporter digging into a massive corporate scandal at a huge US tech firm.
If you want a real political thriller, go watch The Parallax View by the same director from a couple years earlier. Now *that* is a thriller.

Wow, okay, you really just showed your true colors there, you sick fuck.
Look, those few shock scenes don't save a movie where eighty percent of the runtime is just the kid's mother having endless, drawn-out conversations with a revolving door of doctors, psychiatrists, priests, and detectives.
That should be a horror movie, not some damn melodrama.
And don't even get me started on the ending... "The power of Christ compels you!" over and over again fifty times.

Hmm... I don't know. An excellent script, maybe? A solid thriller-style climax? Great performances?

wearytinker8 said:Come on, man... besides that massive twist—which, by the way, was clearly ripped straight from Sleepaway Camp—what else is actually worth mentioning in that absolute disaster?

Taj film is just driving me insane... It’s trying so hard to be deep, but honestly? It’s about as deep as a puddle at Black Lake...
I can totally see Anderson doing this: "First, I’ll hook them with an intriguing intro about these wild coincidences, then I'll spend three hours filming pointless footage featuring top-tier actors, and finally, I'll wrap it all up with some enigmatic rain of frogs and a pathetic little song. It'll be a hit..."
If you're looking for something deep with similar themes, you should really check out Kieslowski's Blind Chance from 1981...

Maybe I just found the movie stupid because of the subject matter... and honestly, I couldn't care less about The French Connection.

I can't even remember half of that garbage anymore, but I do know I spent two damn hours waiting for a payoff that never actually arrived... and when it finally did, it was just completely contradictory and confusing. Total disaster of a movie.
De Palma’s "Blow Out"... honestly, if you look at how similar they are in theme—since both are basically different takes on "Blow Up"—he completely runs circles around the original. It's leagues better... easily worth ten grand more just for the execution alone.

Oh, sure, let's just make a two-hour thriller about two journalists trying to figure out who broke into the Democratic Party headquarters...
It's basically like making a two-hour thriller about an investigative reporter digging into a massive corporate scandal at a huge US tech firm.
If you want a real political thriller, go watch The Parallax View by the same director from a couple years earlier. Now *that* is a thriller.

Wow, okay, you really just showed your true colors there, you sick fuck.
Look, those few shock scenes don't save a movie where eighty percent of the runtime is just the kid's mother having endless, drawn-out conversations with a revolving door of doctors, psychiatrists, priests, and detectives.
That should be a horror movie, not some damn melodrama.
And don't even get me started on the ending... "The power of Christ compels you!" over and over again fifty times.

"Magnolia" definitely isn't trying to be deep. It's just a straightforward film about people and human nature. I'll give you that it ends with a pathetic song, but everything leading up to it (including an incredible Tom Cruise) is great. The directing is almost flawless, even if the script might have one too many characters.

wearytinker8 said:Come on, man... besides that massive twist—which, by the way, was clearly ripped straight from Sleepaway Camp—what else is actually worth mentioning in that absolute disaster?

Taj film is just driving me insane... It’s trying so hard to be deep, but honestly? It’s about as deep as a puddle at Black Lake...
I can totally see Anderson doing this: "First, I’ll hook them with an intriguing intro about these wild coincidences, then I'll spend three hours filming pointless footage featuring top-tier actors, and finally, I'll wrap it all up with some enigmatic rain of frogs and a pathetic little song. It'll be a hit..."
If you're looking for something deep with similar themes, you should really check out Kieslowski's Blind Chance from 1981...

Maybe I just found the movie stupid because of the subject matter... and honestly, I couldn't care less about The French Connection.

I can't even remember half of that garbage anymore, but I do know I spent two damn hours waiting for a payoff that never actually arrived... and when it finally did, it was just completely contradictory and confusing. Total disaster of a movie.
De Palma’s "Blow Out"... honestly, if you look at how similar they are in theme—since both are basically different takes on "Blow Up"—he completely runs circles around the original. It's leagues better... easily worth ten grand more just for the execution alone.

Oh, sure, let's just make a two-hour thriller about two journalists trying to figure out who broke into the Democratic Party headquarters...
It's basically like making a two-hour thriller about an investigative reporter digging into a massive corporate scandal at a huge US tech firm.
If you want a real political thriller, go watch The Parallax View by the same director from a couple years earlier. Now *that* is a thriller.

Wow, okay, you really just showed your true colors there, you sick fuck.
Look, those few shock scenes don't save a movie where eighty percent of the runtime is just the kid's mother having endless, drawn-out conversations with a revolving door of doctors, psychiatrists, priests, and detectives.
That should be a horror movie, not some damn melodrama.
And don't even get me started on the ending... "The power of Christ compels you!" over and over again fifty times.

What kind of thriller? What are you talking about? All the President's Men is a political drama.

wearytinker8 said:Come on, man... besides that massive twist—which, by the way, was clearly ripped straight from Sleepaway Camp—what else is actually worth mentioning in that absolute disaster?

Taj film is just driving me insane... It’s trying so hard to be deep, but honestly? It’s about as deep as a puddle at Black Lake...
I can totally see Anderson doing this: "First, I’ll hook them with an intriguing intro about these wild coincidences, then I'll spend three hours filming pointless footage featuring top-tier actors, and finally, I'll wrap it all up with some enigmatic rain of frogs and a pathetic little song. It'll be a hit..."
If you're looking for something deep with similar themes, you should really check out Kieslowski's Blind Chance from 1981...

Maybe I just found the movie stupid because of the subject matter... and honestly, I couldn't care less about The French Connection.

I can't even remember half of that garbage anymore, but I do know I spent two damn hours waiting for a payoff that never actually arrived... and when it finally did, it was just completely contradictory and confusing. Total disaster of a movie.
De Palma’s "Blow Out"... honestly, if you look at how similar they are in theme—since both are basically different takes on "Blow Up"—he completely runs circles around the original. It's leagues better... easily worth ten grand more just for the execution alone.

Oh, sure, let's just make a two-hour thriller about two journalists trying to figure out who broke into the Democratic Party headquarters...
It's basically like making a two-hour thriller about an investigative reporter digging into a massive corporate scandal at a huge US tech firm.
If you want a real political thriller, go watch The Parallax View by the same director from a couple years earlier. Now *that* is a thriller.

Wow, okay, you really just showed your true colors there, you sick fuck.
Look, those few shock scenes don't save a movie where eighty percent of the runtime is just the kid's mother having endless, drawn-out conversations with a revolving door of doctors, psychiatrists, priests, and detectives.
That should be a horror movie, not some damn melodrama.
And don't even get me started on the ending... "The power of Christ compels you!" over and over again fifty times.

Whatever, man. If "The Exorcist" is too boring for you, go watch Jason X. Or Dracula 2000.

Harold Mendoza59 said:Mmm, a half-dead, bloody Jesus on a cross getting railed. Mmmm, in a little girl's pussy—so young she doesn't even know what it is yet, yeah! Lucky you, man. I just saw her slide the cross under her nightgown and speak in a raspy man's voice. Real thrilling stuff.

"I watched The Exorcist and all I remember is Jesus in a pussy." Those aren't exactly "Raw Passion," damn it.

Uh, I get your signature now. My bad. Forget I said anything.

I honestly don't see how this relates to anything. Some people might dig the whole imagery of a little girl and Jesus, others won't. But we're supposed to be discussing boring movies here, and in my opinion, The Exorcist—with that scene and plenty of others like it—can hardly be called boring.

wearytinker8 said:You really... actually, you don't need to bother watching "Schramm," from the same director.
redowl90 is wondering how a 90-minute movie can be boring. Well, this one's only 60 minutes long, yet it feels like three hours...

Anyway, here are my TOP 10:

1. Lolita (1962) — a massive milestone in cinema history, sure, but try sitting through it twice...

2. Mean Streets (1973) — Scorsese has plenty of dull entries, but man, this one just drags...

3. Traffic (2000) — I think I fell asleep about ten times during this one.

4. All the President's Men (1976) — believe it or not, this documentary-style thing is ranked 57th on the AFI list of most suspenseful movies ever.

5. The Exorcist (1973) — hands down the most tedious horror flick in history.

6. The Conversation (1974) — compared to this, Warhol's "Empire," which is just eight hours of the Empire State Building, feels like a high-octane action thriller.

7. Ken Park (2002) — honestly, I was just screaming in frustration...

8. Dawn of the Dead (1978) — four people with enough ammo to take over the world, fighting off zombies who move at a snail's pace while 70s "Starsky & Hutch" style music plays in the background...

9. Magnolia (1999) — three hours of pure, pretentious self-indulgence.

10. The Crying Game (1992) — (SPOILER!!!) The girl has a dick! Is that really why we have to endure all that misery?

Man, I have to say something about this... This list couldn't possibly get any worse. Seriously. I can definitely get on board with Lolita and Mean Streets, but I haven't actually sat down to watch Ken Park or Dawn of the Dead.

However...
The Crying Game?!?! 😲 One of the best thrillers from the '90s.
Magnolia?!?! 😲 Honestly, you might be better off just skipping *There Will Be Blood* altogether.
Traffic?!?! 😲 Best drug movie in recent memory? Honestly, I have no clue. Maybe ever.
The Conversation?!?! 😲 Are you kidding me?! This has to be Coppola's best work besides The Godfather—though, if I'm being honest, the middle of that one drags a bit. But man, those first and last thirty minutes of this film? Absolutely killer. And that ending is pure genius.
All the President's Men?!!? 😲 That’s easily one of my top five political movies ever made. Robert Redford and Dustin Hoffman are absolutely perfect in those roles. Honestly, how could anyone find that boring?
The Exorcist?!?! 😲 I’m running out of threads to post in. But honestly, a movie where a little girl impales a crucified Jesus through her vagina while screaming, "Let Jesus fuck you!" can't possibly be boring, no matter how much you hate it.

Phew... Okay, I needed to vent a little. Honestly, I have to disagree with your list. 😬

Alexander Peterson7 said:The Thin Red Line!!

That's just pure blasphemy!

analogbison said:As for me, that horror flick really stuck with me. The Wasp movie If we can pivot toward horror for a moment—honestly, that was exceptionally dull. It might have been the most tedious first hour I have ever spent watching anything in my entire life, followed by some random horror flick. terrible swamp Which F. Whitaker is out there spouting such absolute nonsense about ghosts that it actually makes your head spin? Seriously, it’s enough to give you vertigo. Alexander I won't say another word... those are really the only ones I can think of at the moment.

The Wasp movie ISN'T a horror. I have no idea why everyone keeps labeling it as one... It's actually a great psychological drama.

What a ridiculous list. Lost in Translation boring movie? Even if you think it is, the thing is only about 90 minutes long... How can something that short featuring Scarlett Johansson possibly be boring? Seriously 🙄

Someone above mentioned that they found The Talented Mr. Ripley, Oldboy, and 12 Monkeys boring... I honestly don't even know what to say to that.

When I first saw Pulp Fiction, I actually found it pretty dull. I watched it a few more times later on and it wasn't quite as boring (probably because I knew what to expect), but I still think it's overrated.

I also found Tom Jones to be a pretty boring movie. And Underground by Emir Kusturica too.

velvetcrane57 said:Exactly... that's my point...
I wasn't really expecting you to get it anyway...

Honestly, I don't think you actually know what you're talking about—you're just typing stuff out to make it look like you have an opinion when there's really nothing behind it.

You can't even defend your own argument, even though I've asked you to do it multiple times now.

velvetcrane57 said:Oh boy... my bad... I guess I just insulted your all-time favorite movie... (I won't name it, though, just to save you the embarrassment).......

I don't follow. How does any of this actually relate to your definition of a "smart" movie?

velvetcrane57 said:It might actually be the smartest movie out right now, aside from No Country...

I’d have to ask you for a precise definition of what makes a film "smart."

Morgan Ortiz91 said:Man, what a weekend—getting to catch both No Country for Old Men and Darjeeling back-to-back was just incredible. They’re both such distinct experiences in their own way. Darjeeling, though... man, I loved it. There’s just something about those kinds of movies that leaves you with this sweet aftertaste, like you actually made the most of your weekend. It’s a brilliant piece of filmmaking, and honestly, my heart goes out to anyone who walked out of the theater early. I am just obsessed with Anderson's quirky perspective on things; the way he can take these seemingly mundane, everyday life moments and transform them into these tiny, magical, hyper-realistic comedic vignettes is just stunning. And don't even get me started on those slow-motion shots and that incredible soundtrack—I hadn't really heard half of that stuff before, so huge thanks to him for introducing me to it all 🙂 I definitely need to sit down and watch this at least one more time... absolutely... “We haven’t located us yet.” 😬

People walking out on an Anderson film again? Unbelievable... 🙄

dustyfalcon122 said:Thanks White, your takes have always been more than solid so far 🙂

Thanks. Really. I'll be hanging out here all week.

Linda Parker2 said:Where on earth did you see that? It hasn't even hit US theaters yet.

I actually tried reading the book a few years back, but I ended up tossing it after maybe 50 pages. Honestly? The main character just drove me absolutely insane.

I think I’m living ahead of my time. Ahead of American time, even.
I'm actually Jumper.