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Post by The Kid on Nov 20, 2020 17:21:54 GMT
We all know that you laugh your ass off at Apocalypse Now or Platoon. Pure joy those movies are. :rofl: You guys are all taking this the wrong way.
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Post by 🤯 on Nov 20, 2020 17:26:01 GMT
To be clear, Superbad is much more my kind of war movie.
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Post by Strobe on Nov 20, 2020 17:40:08 GMT
The Kid is Frank Drebin confirmed. As an aside, The Naked Gun was my #35.
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Post by Strobe on Nov 20, 2020 18:33:36 GMT
For Hall of Fame I definitely think it makes Tom Hanks's (Forrest Gump, SPR, Toy Story, and The Green Mile) For me it makes Spielberg's as well, but there is definite room for disagreement on that as Spielberg's library is just so extensive. Big has to be in there. It's arguably the most important role of his career. The film that made him critically and commercially. Where even with some failures coming right after, he continued to be given opportunities. It is also a more iconic Hanks role than either SPR or Green Mile. I don't even know if Green Mile would be #5. I can see Philadelphia above it. I can see Cast Away above it, not as a film, but a Tom Hanks role that has seeped into the public consciousness. Apollo 13 maybe as well. When you talk about The Green Mile with people, Michael Clarke Duncan is who comes to people's minds. I know Sleepless in Seattle seems to be a big deal in the States, but it never seemed to have become an iconic rom-com over here.
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Post by The Kid on Nov 20, 2020 18:49:26 GMT
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Post by UT on Nov 20, 2020 20:15:25 GMT
For Hall of Fame I definitely think it makes Tom Hanks's  (Forrest Gump, SPR, Toy Story, and The Green Mile)  For me it makes Spielberg's as well, but there is definite room for disagreement on that as Spielberg's library is just so extensive. Big has to be in there. It's arguably the most important role of his career. The film that made him critically and commercially. Where even with some failures coming right after, he continued to be given opportunities. It is also a more iconic Hanks role than either SPR or Green Mile. I don't even know if Green Mile would be #5. I can see Philadelphia above it. I can see Cast Away above it, not as a film, but a Tom Hanks role that has seeped into the public consciousness. Apollo 13 maybe as well. When you talk about The Green Mile with people, Michael Clarke Duncan is who comes to people's minds. I know Sleepless in Seattle seems to be a big deal in the States, but it never seemed to have become an iconic rom-com over here. Yeah there is no chance Green Mile can be on there. Agree there Philadelphia and even Castaway would be ahead.
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Post by 🤯 on Nov 20, 2020 20:41:29 GMT
Saving Private Ryan is most definitely on Vin Diesel's Mt. Rushmore.
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Post by UT on Nov 20, 2020 20:57:58 GMT
Saving Private Ryan is most definitely on Vin Diesel's Mt. Rushmore. No it’s not! F&F F5 XXX A Man Apart Not sure I could make the argument for A Man Apart or Knockaround Guys but they are fun enough movies. It’s probably Fast 4 though as that was his true return to the franchise.
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Post by Lionheart on Nov 20, 2020 23:28:20 GMT
One of my absolute favorites. The first musical I ever saw and my second favorite musical overall. It opened my eyes to what musicals really were and made me seek out many more. I had always thought musicals were foolish gibberish for prudes when I was younger; a bunch of people being silly and dancing around. Well, there is silly dancing...but I did not know how entertaining and innovative silly dancing could be. Never mind the clever scenes, witty dialogue, and charm packed into many of them. Unlike what I had assumed, few musicals are anywhere near 100% music. They are mostly half narrative with intricate plots and well thought-out situations, the same as any other movie can have. The main difference is they can suddenly burst into song at any moment, but the music can be powerful with the right intent and really support the story rather than taking anything away from it. Gene Kelly is the foremost musical master and this is easily his best film. His determination to excellence is well known and he demanded a very high standard of himself and those around him, insisting scenes were shot again and again until he was absolutely satisfied. While this sometimes made him a pain to work with, his dedication is well respected and the reason why many of his performances are so good. His strong style of dancing is in direct contrast to the fancy footed dancers in many other musicals, like Fred Astaire. As the two top stars of musicals, they are polar opposites. Kelly held the ideal that dancing and manliness can go together and wanted to show this through his movements. Graceful still perhaps, but more prominently powerful. But what truly impresses me is his charm and how he completely becomes the happy characters in his movies, acting at a very high and convincing level so that you can't even imagine the character being remotely as headstrong and particular as he actually is. It is that heartwarming character that I most enjoy about his films. The cheer generates an entire pleasant atmosphere similar to that of The Apartment (and I think that very similar atmosphere is a big reason why people fall in love with that movie as well). Take the title track which showcases this wholesome spirit in full force: Probably my 2nd favorite scene of all time, behind only the Throne of Blood conclusion I talked about earlier. This performance puts a smile on my face about as wide as the rain puts on the face of the character, without fail every single time I see it. I just cannot help but smile. It's so uplifting and human. About the only other thing that has this much of an affect of the same nature on me is a James Stewart performance. Though similar types of characters, it is perhaps even more impressive since Kelly achieves it through acting contradictory to his own personality rather than just being himself as Stewart does. You could say that makes it not as significant, that it's not actually real, but it is clear to see he does the job well if the effect is the same. Donald O'Connor, the supporting actor, is lesser known but nearly as powerful himself. His quirky expressions are right on point, his wacky dancing is incredibly unique and he has excellent comedic timing and athleticism to boot to add that extra bit of flourish into the dance performances. I don't think anyone else could have possibly played this role as well as he did. He was in many more films, but almost none that are commonly watched today or anywhere near the legendary status of Singin' In The Rain. This is unfortunate, but I feel there may be some hidden gems amongst them because his talent is undeniable. He steals the show with this performance in a random scene that isn't even much relevant to the story: It's a bit slapstick, but he clearly achieves legend status for this scene alone. Quite apropos of the title, it makes nearly everyone laugh. A performance that defies demographics and works across the board. My myself, my parents, and my wife. Even when I played it for my 16-month old son, he laughed. I loved the story overall. The plot is very comical, but the romance ties the whole thing together. I love pretty much everything about this movie. Even ridiculous concepts for a scene like Moses Supposes, premised on a tongue twister, are transformed into epic scenes by this movie.
And the amazement doesn't stop at the credits either. Even some of the darn outtakes from this film were so good that I count them among my favorites on my loved playlist.
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Post by Lionheart on Nov 20, 2020 23:37:13 GMT
Four more hits on my list from the #80-40 range on the overall list. Quite a few more films placed on the overall list that I really enjoy though and I will hopefully write some words on them later.
02. Vertigo 03. A Clockwork Orange
08. Throne Of Blood 11. Singin' In The Rain
16. North By Northwest 17. The Seventh Seal 28. Three Colors: Blue 30. Schindler's List
32. Shutter Island 39. It's A Wonderful Life
52. Casablanca 54. Citizen Kane 74. Chinatown 79. Butch Cassidy and the Sundance Kid 99. The Apartment
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Post by bodyslam on Nov 21, 2020 1:41:26 GMT
Saving Private Ryan was a great movie, but not a great movie to see when hungover. For this reason and this reason alone it did not make my list.
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Post by RT on Nov 21, 2020 3:27:44 GMT
Superbad was my #2.
I've given up posting an updated list but I'll chime in here and there.
For my thoughts on Superbad you can watch this video:
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Post by Big Pete on Nov 21, 2020 3:48:03 GMT
Saving Private Ryan is a token pick. It didn't feature on my list, but it's one of those movies where if I went back and studied it I could see it making my Top 10. As it stands, it's one of those movies I happened to catch on television, I enjoyed it but I can't pretend that I brush my teeth with that movie.
Taxidriver was in a similar position before I went back and watched it. LT and Strobe did a great job of covering it, personally I enjoy how the narrative unfolds. Just like Travis' life, it's a little aimless and at first it appears it's going to be this unlikely romance between Bickle and Cybil Sheppard's (who is stunning in the movie) character. However, when that unravels so does the rest of the movie. We see Bickle's development and his desire to not only fit in society but to assert himself on it. He's had enough of being discounted, he's going to be a man and do something about it. I like how complicated the ending is. While in some twisted way, Bickle is the hero, the film frames it in such a light that his approach was completely unnecessary, selfish and nothing more than an ego flex. Most mainstream movies would have just portrayed Bickle as the hero, in Taxidriver it's far more complicated.
Watching it in lieu of the Joker and while there's plenty of similarities, they have different goals. The Joker is about deconstructing a famous villain and trying to figure out what makes him tick. Taxidriver has more to do with the post-Vietnam climate in 70s New York and how these former soldiers try to adjust in that environment.
I genuinely find Kid's take interesting since he's from the area. I'm not sure how much of it's to do with his stance on De Niro or him just not being a fan of 'loner' movies.
Superbad's selection would be a surprise on any list, but if you follow PW it's a no-brainer. It's our generation's Ridgemont High and ticks enough boxes to certify itself as a comedy classic. I always lump it in with shows like Skins, Summer Heights High and The Inbetweeners as my high school experience.
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Post by thereallt on Nov 21, 2020 6:03:28 GMT
Saving Private Ryan is most definitely on Vin Diesel's Mt. Rushmore. No it’s not! F&F F5 XXX A Man Apart Not sure I could make the argument for A Man Apart or Knockaround Guys but they are fun enough movies. It’s probably Fast 4 though as that was his true return to the franchise. Vin Diesel I would say Fast and Furious, Pitch Black, XXX and Boiler Room
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Post by 🤯 on Nov 21, 2020 9:41:57 GMT
Never mind. Deja vu tells me we had this conversation before. And you fuckers didn't respect the importance of Groot.
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Post by 🤯 on Nov 21, 2020 9:46:26 GMT
Saving Private Ryan is a token pick. It didn't feature on my list, but it's one of those movies where if I went back and studied it I could see it making my Top 10. As it stands, it's one of those movies I happened to catch on television, I enjoyed it but I can't pretend that I brush my teeth with that movie. Taxidriver was in a similar position before I went back and watched it. LT and Strobe did a great job of covering it, personally I enjoy how the narrative unfolds. Just like Travis' life, it's a little aimless and at first it appears it's going to be this unlikely romance between Bickle and Cybil Sheppard's (who is stunning in the movie) character. However, when that unravels so does the rest of the movie. We see Bickle's development and his desire to not only fit in society but to assert himself on it. He's had enough of being discounted, he's going to be a man and do something about it. I like how complicated the ending is. While in some twisted way, Bickle is the hero, the film frames it in such a light that his approach was completely unnecessary, selfish and nothing more than an ego flex. Most mainstream movies would have just portrayed Bickle as the hero, in Taxidriver it's far more complicated. Watching it in lieu of the Joker and while there's plenty of similarities, they have different goals. The Joker is about deconstructing a famous villain and trying to figure out what makes him tick. Taxidriver has more to do with the post-Vietnam climate in 70s New York and how these former soldiers try to adjust in that environment. I genuinely find Kid's take interesting since he's from the area. I'm not sure how much of it's to do with his stance on De Niro or him just not being a fan of 'loner' movies.
Superbad's selection would be a surprise on any list, but if you follow PW it's a no-brainer. It's our generation's Ridgemont High and ticks enough boxes to certify itself as a comedy classic. I always lump it in with shows like Skins, Summer Heights High and The Inbetweeners as my high school experience. To piggyback on Big Pete's excellent post about Taxi Driver (since he doesn't brush his teeth with SPR), another difference between Taxi Driver and Joker is that Travis shaves his hair into a mohawk whereas Arthur dyes his green.
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Post by Strobe on Nov 21, 2020 12:06:43 GMT
I don't even consider Joker to be a Joker film. It feels like it only needed to be to get funding, capitalising on the comic book boom. Todd Philips wanted to make a film looking at the healthcare system in the States and make his Taxi Driver/King of Comedy hybrid film, but that doesn't sound appealing to studios, so he shoehorned in some Bruce Wayne stuff. Taxidriver was in a similar position before I went back and watched it. LT and Strobe did a great job of covering it, personally I enjoy how the narrative unfolds. Just like Travis' life, it's a little aimless and at first it appears it's going to be this unlikely romance between Bickle and Cybil Sheppard's (who is stunning in the movie) character. However, when that unravels so does the rest of the movie. We see Bickle's development and his desire to not only fit in society but to assert himself on it. He's had enough of being discounted, he's going to be a man and do something about it. I like how complicated the ending is. While in some twisted way, Bickle is the hero, the film frames it in such a light that his approach was completely unnecessary, selfish and nothing more than an ego flex. Most mainstream movies would have just portrayed Bickle as the hero, in Taxidriver it's far more complicated. Taxi Driver is a film and Bickle is a character with no easy answers. Bickle is lost, confused, angry, violent, racist, misogynistic - a reflection of his city, his society. It isn't an excuse, but it can be an explanation. He has a Madonna-whore complex. He idolises Betsy, puts her on a pedestal, and while his taking her to the "dirty movie" shows his social ineptness, it can also be seen that in order to be able to physically desire her, he must first degrade her. Her counterpoint is Iris, the whore, who he should be able to physically desire, but she is only 12 and he wants to save her, to return her to her Madonna status (notice all the candles, looking like the inside of a church, during their scene in the room together). In the film's climax, the increasingly deranged Travis goes after the masculine/father figure in Betsy's life, the senator, and fails to assassinate him. So he then goes and kills Iris' masculine/father figure - the pimp. He was close to committing a murder that would have seen him labelled as a psychotic madman, yet for the other he is hailed a hero. Were these any different for Travis? To us, the viewer, who has seen his journey and seen into his psyche, I think he is a villain, albeit a near sympathetic one, in part because of the quirky charm and humour De Niro brings. But to the city, he is a hero, showing that this society will champion someone who violently cleans up the scum, like Travis talked about. The unmotivated camera move away from De Niro's phonecall to look down an empty hall is a famous shot from the film. Was the call just too awkward and painful that even the camera had to look away? We will see the violence of the climax displayed but this rejection is too much. Was it to emphasise Bickle's loneliness? Was it to suggest that there is no one on the other end of the phone and it is all in Travis' mind? He talks about sending her flowers on the phone, yet his apartment is full of them. They may have been sent back, but maybe he did not send them at all? I always take the ending as Bickle's dying fantasy - that he is a hero, and one who is in control, and that Iris returned safely to her parents. But it can definitely be taken as reality, with that little reverse musical moment suggesting that the unhinged Bickle is still there. Scorsese may have simply used his parents for the photo of Iris' parents (like how he filled in himself for a part than an actor dropped out of) for convenience, but their old age does bring up questions about Iris. Are these adopted parents? Is that why she ran away from home? Much of the film is shot in a way that could suggests it is all a fantasy. That hazy, dreamy quality. Even that amazing opening shot of the steam from the sewers, representing the seedy underbelly of the city that we will be going in to, with the taxi appearing out of it, gives a sense of the unreal. Never mind. Deja vu tells me we had this conversation before. And you fuckers didn't respect the importance of Groot. Does your average person know that Vin Diesel is the voice of Groot though? That's the key thing. Everyone knows Tom Hanks is Woody. And Pitch Black definitely has to be in there. It feels like the role that made him into the action star he would become and the character of Riddick got two sequels and another planned. It is easily the second role people associate with Diesel after Dom. I've genuinely never heard of Boiler Room or A Man Apart.
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Post by Ness on Nov 21, 2020 12:13:39 GMT
I don't even think Vin Diesel knows he's Groot.
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Post by 🤯 on Nov 21, 2020 12:59:39 GMT
Does your average person know that Vin Diesel is the voice of Groot though? That's the key thing. Yes, if they pay attention to credits, which I assume the average person does with MCU movies? I'd also argue this point is potentially irrelevant depending on the type of role. The average person certainly doesn't know what the fuck characters Doug Jones has portrayed but that doesn't stop his Shape of Water and Pan's Labyrinth creatures from being on his Mt. Rushmore IMO. Andy Serkis falls into a similar situation with his Caesar and Gollum.
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Post by UT on Nov 21, 2020 13:29:30 GMT
No it’s not! F&F F5 XXX A Man Apart Not sure I could make the argument for A Man Apart or Knockaround Guys but they are fun enough movies. It’s probably Fast 4 though as that was his true return to the franchise. Vin Diesel I would say Fast and Furious, Pitch Black, XXX and Boiler Room F5 needs to be in there. I’d compromise on Pitch Black being there but F5 is the movie that turned that franchise into what it became again. And it’s just a great movie in general.
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Post by Strobe on Nov 21, 2020 13:44:31 GMT
Yes, if they pay attention to credits, which I assume the average person does with MCU movies? I'd also argue this point is potentially irrelevant depending on the type of role. The average person certainly doesn't know what the fuck characters Doug Jones has portrayed but that doesn't stop his Shape of Water and Pan's Labyrinth creatures from being on his Mt. Rushmore IMO. Andy Serkis falls into a similar situation with his Caesar and Gollum. From my experience, the average person is really bad at remembering details, that aren't the big ones, of films. I would not be surprised if Vin Diesel as Groot is one of the ultimate "ahh, he's the voice of Groot" *immediately erased from mind to be repeated each time* examples. For most actors, it would not matter if people immediately associated such a role with them, but Diesel is a big star and there is competition. I can see a good argument for Pitch Black, The Fast and the Furious, xXx and Guardians of the Galaxy. You could put Fast Five in there, as with Rock's addition, that series went on to a different level of success, but does that character really need two films? I don't really see it. Harrison Ford only needs Star Wars to cover Han Solo and Raiders to cover Indy. Arnie needs Terminator and T2 though, because the role was so different. I don't think Diesel needs two for Dom.
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Post by UT on Nov 21, 2020 14:09:17 GMT
I think he needs two for Dom , it's easily his most iconic character and really the only thing he's famous for at this point. The OG F&F is a lock for obvious reasons and XXX too as it was it his foray out of the franchise and proved he could be marketable. Plus its a guilty pleasure of many.
The last two come down to movies mentioned like Pitch Black , GOTG , Boiler Room and F5 - and I argue F5 having to be on there because of what the franchise became going forward. Without that movie the franchise might have died another slow death and his and Rock's clash was one of the most talked about things in movies at the time. Who knows what happens to his career going forward if F5 isn't as good or doesn't have incredible success.
If he had other more prominent movies or roles to be argued against it I'd be fine and get the Ford correlation , but Ford did a bunch of incredible and important movies. Vin really hasn't. He's the F&F guy and putting arguably the most successful and *second* best movie on his Rushmore seems right.
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Post by UT on Nov 21, 2020 14:22:34 GMT
Training Day is great. Everytime I go awhile without watching it and get stuck in the critics reviews and distaste for the movie I kind of like "Yeah maybe it isn't as great as I remember" and then I watch it again and decide those critics are dickholes. Yes it's not the finest piece of art ever made but it's such a blast and never gets boring to me. Scene after scene is memorable and allowing Denzel to ham it up alongside Hawke as the pretty perfect straight man is crime/action gold. #39 seems about right for it on this list , I had it a tinge higher but can't complain.
Also "KING KONG AIN'T GOT SHIT ONE ME" is possibly the most iconic quote of the 2000's.
Easily Washington and Hawkes Mount Rushmore.
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Post by Ness on Nov 21, 2020 14:26:54 GMT
Training Day is so great. There's just something about the cop that goes outside the lines here and in shows like the SHIELD that makes so much sense that you can't help but get on their side. And if only they just blurred the lines they'd be heroes, but then it's not possible to fly that close to the sun.
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Post by Emperor on Nov 21, 2020 15:02:39 GMT
1. Good Will Hunting 3. Training Day 4. Oldboy 6. Gladiator 8. Matchstick Men 11. Unforgiven 12. Mr. Smith Goes To Washington 14. Butch Cassidy and The Sundance Kid 15. Silver Linings Playbook 18. Throne of Blood 25. The Sting 27. Spirited Away 29. Logan 31. Parasite 32. Elf 37. Inside Out 38. The Apartment 39. The Green Mile 40. Beauty and the Beast 43. Harry Potter and the Half-Blood Prince 44. In Bruges 51. The Shining 53. The Prestige 60. Catch Me If You Can 61. Django Unchained 62. The Conjuring 69. Paranormal Activity 70. No Country For Old Men 72. Tombstone 84. Wayne's World 87. John Wick 88. Saw 96. Memento
I'd say that Training Day overachieved, and I'm pleased with its placement. Amazing movie. Alonzo Harris is my favourite movie villain and one of my favourite characters in general, and Ethan Hawke knocks it out of the park as his straight man.
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Post by UT on Nov 21, 2020 15:07:30 GMT
Training Day being one of Emps favorites surprises me. I love it though.
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Post by UT on Nov 21, 2020 15:17:14 GMT
Training Day is another one of those movies that I got super pumped up to see because everyone loved it and it just kind of fell flat. It feels, IDK how to describe it.. very melancholy at around the 2/3 part as the day starts to turn to night. Just really depressing, really. Huge turn toward not caring about it. Anyone else believe at the end that those dudes wouldn’t have just killed both of them? Also.. the moment where they are going to kill him for the deal with the girl until he proves he saved her earlier.. what a nice yarn you’ve spun.. how convenient for the story. I don’t understand why people get hung up on that saving the girl piece. It’s a movie , things happen like that all the time and it was a nice surprise the first time. If you’re going to take apart every movie by pieces like that then you’ll have a very miserable movie life.
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Post by Ness on Nov 21, 2020 15:32:07 GMT
The girl saving seems like it playing into the story... everything he told the rookie to do, when he did the opposite it actually worked in his favor. Also see the part where he said never to come to his area alone.
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Post by Emperor on Nov 21, 2020 15:55:19 GMT
Training Day being one of Emps favorites surprises me. I love it though. Really? Don't I talk up Training Day almost as much as I talk up Good Will Hunting?
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Post by UT on Nov 21, 2020 16:09:38 GMT
Training Day being one of Emps favorites surprises me. I love it though. Really? Don't I talk up Training Day almost as much as I talk up Good Will Hunting? Maybe. It just seems a little on the camper side than what I’d expect.
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