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Part of my issue with the film is the way it almost glorifies the final scene. Throughout the movie Mookie points out to his buddy that it's not a race thing, or that it's no big deal that there are no pictures of black men on the wall, but at the end it's like he he has an epiphany or something that causes him to snap. He throws the garbage can through the window. To me it almost seems like this is supposed to be his character's redemption. John Turturro's character is the only one in that establishment that is actually racist though.

Mookie's decision to chuck the bin was not down to racism or hatred against Sal and his pizzeria.

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I agree, Daniel. It's actually one of the most impressive films i've seen, in terms of direction. It's incredibly well shot. The writing also felt real to me.

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Cobpyth's Movie Log ~ 2019

I don't care for the spinning shots, the scene where the characters hurl racial slurs and insults (not because of that, but the way it was shot i.e., zooming in and out and whirling around.) There were several instances of things like that that got on my nerves. It just isn't my style I guess.

You are oversimplifying it. I also couldn't see how Lee 'glorified' that moment. If anything, he made it look extremely negative.

I guess not. I loved those parts. I thought that was really fresh and inventive.
It has become one of those memorable moments in modern film history.

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It's what you learn after you know it all that counts. - John Wooden
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Ossie Davis' character does stand before the crowd and attempt to diffuse the situation but is pushed aside. To me this is more realistic because nobody else is behaving rationally, and throughout the movie Da Mayor is portrayed as a wordly-wise type who, having dropped out of society is able to view events as an impartial outsider - even though he's black and considered part of the community. Mother Sister is also doing this, but she seems warped by material wealth and status and is lumped in with the rest of society when we see her baying with the crowd at the end of the movie. On seeing the destruction the following morning she weeps because that is all their actions have achieved -Destruction and suffering. Lee's message is clear to me, even though there are many shades of morality within his story. He's basically saying that you have to fight the power, but in an intelligent and constructive way. Some things (such as demanding black heroes adorn the walls of an Italian Pizzeria) are just misguided and not worth it.

On a side note. Even though Sal is very liberal and likable throughout the movie; he does eventually stoop to racial slurs when provoked and confronted by Radio Raheem.

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100 Favourites From The Future: REWIRED

Girls, Guns, and Gambling + cheesy, corny, cliche-filled with tongue firmly in cheek lil tale using the ole noir premise of a down on his luck fella (christian slater) who winds up in the wrong place at the wrong time and everyone is after him for it. Filled with Elvis impersonaters, a stolen apache mask, a pretty blonde in black with guns, corruption, greed and the crazy twist and turn of said noir premise.

Perrier's Bounty (Irish) Already in deep, Michael McCrea spirals deeper still along with his neighbor and his da (who's dying, or so the grim reaper told him) in a very well done gritty, intelligently written, visceral story mixed with dark humor and some damn fine acting by everyone involved.

Sharknado - Oh, it's such a shame, it could've really worked but, instead, what we have is lots of "whoa! Cool!" bits that are strung together without any care of attention. Or, to quote my g/f with about 10 minutes to go; "This isn't even a film. It's a series of scenes they've put together." That's not to say we didn't enjoy it but, unlike Mega Shark Vs Giant Octopus or even Sharktopus, I can't see this as having much, if any, rewatchability. There was one moment where it did something I wasn't expecting, which gave me a certain amount of respect for it but, sadly, it undid it at the end and you know exactly what's going to happen just before it does.

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5-time MoFo Award winner.

I would give both Layer Cake and Premium Rush slightly higher ratings, , I think they're both good little films, although I haven't seen the first in a while. And I was planning on watching Delicatessan before I did my 90s list but I didn't have time.

Also, Soylent Green...

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WARNING: "Soylent Green" spoilers below

will I enjoy it even though (I think) I know what happens in it?

will I enjoy it even though (I think) I know what happens in it?

Premium Rush was cinematic but stupid. Layer Cake seemed like a better idea than a well-done movie. Soylent Green starts off slowly but evolves and builds up a head of steam before it gets to the end. I'd give it the same rating without the ending, which I assume is what you think you know. That image I posted from it is actually my favorite part.

I kind of agree about Premium Rush in that the whole ticket story and plot is a bit silly, but the cinematic elements/scenes were enjoyable and made up for it for me, a decent kind-of-action film.

That ''euthanasia'' death sequence is the most profound part of Soylent Green, and Edward G. Robinson plays a lovely role in his last film. I agree Soylent Green shouldn't be defined by what has become a famous revelatory ending. The real substance is with Sol and Thorn's friendship, and the social commentary regarding the perils of overpopulation and pollution.

Hey Mark!

Just wondering about Total Recall. I think I gave it around the same grade, and I thought it was a fairly decent flick, with maybe one or two too many action scenes dragging it down a bit in the third act. One thing that is kind of bugging me though: Why did ANY of this happen? In the 90s version, they have to wipe Hauser's mind because the rebels have an actual mind-reader on their side he has to get by. Not in this version, though. So...why did they do all this again?

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Planes Trains and Automobiles wins my most over the top inappropriate 80's soundtrack of all time award. The super cheesy ending all made sense when i saw two seconds later, "Directed by John Hughes".

Clue really takes off when Tim Curry starts retelling the entire movie and the alternate endings were a cool way to wrap it up.

I recently fell in love with Hoop Dreams, but Interrupters is a lot more messy and unfocused. The final scene with Flamo was really something though.

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Hi Meaty!

Blood Simple. (1984; Coen Brothers) - The Coens make a spectacular debut with a neo-noir filled with twists and turns like only they can provide, but unlike a lot of their work this very serious. It's one of the best films of the 80s.

Night on Earth (1991; Jim Jarmusch) - At times really funny, other times it's really sweet. It's a little uneven, but that happens frequently with anthology type movies. It's certainly a worthwhile experience.

Shane (1953; George Stevens) - Correct me if I am wrong, but most westerns of the time were still in black & white, right? Well, Shane is in color and it's really beautiful to look at. Some scenes were shot in a studio, and some were shot on location in California and Wyoming. They all look great though. Some of the other aspects of the film that might seem cliche or corny are all made up for with charm. Something I can't quite put my finger on about this film helps it a lot. It just feels good.

The Hitcher (1986; Robert Harmon) - Rutger Hauer plays a memorable villain, John Ryder is his best. Outside of Rutger, it's still an above-average thriller, but he takes it over the top to make it a legitimate cult classic.

Maniac (1980; William Lustig) - Holy butts, this is good. Really good. Sleazy. Vile. Violent. Dirty. Grimy. Beautiful. Dazzling. Surreal. Near perfect.

In Time -

The World's End -

The Bourne Identity -

The Bourne Supremacy -

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