I give them all . I think they're quite romantic films but conversely they're mostly anti-cinematic. They do have beautiful locations and long takes, but they don't really find a visually-interesting way to film conversations. Midnight is different in that we hear several other characters' thoughts on love and relationships, and a few of these are the most affecting in the film. As to the primary couple, they do have some interesting things to say, and their lives definitely seem to have evolved since we last met them, but ultimately, their arguments seem more generic than enlightening. I applaud the films for daring to try to be more literate and adult than most nowadays, but again I find the intentions only worth so much compared to the results. However, if you love these characters, I think you'll love reconnecting with them here. I halfway did.
Movie Tab II
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What exactly was the point of Joan Cusack's neck braced character in Sixteen Candles? And that whole scene with her drinking from the water fountain? She is a nameless character who gets this whole scene with her in a neck brace just trying to use the drinking fountain (see Youtube video above). It's funny as Hell, and I love it, but the point is?
I wonder if her character is supposed to be John Cusack's sister in the movie, since he's in it, too. It's never said, but I wonder if.
It doesn't and I haven't seen that one. It doesn't appear to be on Netflix instant either. Looks like Amazon's got the DVD for less than $5 so I might just blind buy it.
and hell, if you get it and you don't like it, I'LL buy it off ya lol
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The point? Why, she was the "love interest" of Long Duck Dong!! His sexy, american girlfriend. Their lil tryst on the excercise machine and him telling her his name is a pretty good chuckle too
That is not Joan Cusack.
When they're dancing on the dance floor, you even see Joan Cusack dancing with someone else -- A GIRL, I believe, who looked like a lesbian to me -- and then the camera moves over to find Long Duck Dong dancing with this chick.
This girl is named Marlene, AKA Lumberjack.
Joan Cusack only appears four times in the movie -- on the bus with Anthony Michael Hall; dancing with some lesbian on the door floor; drinking water from a water fountain; and drinking beer at Jake Ryan's party and falling backwards.
She has no character name -- except "Geek Girl #1", even though there isn't a #2 (well, maybe the geeky lesbian) -- she is just someone they included for some odd reason so she could wear a neck brace and a bizarre shirt that had a woman's skirt that could raise up as a piece of cloth and reveal her panties as a design.
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HOLY CRAP, i remember it being her - my serious bad!
Hey, can i claim alzeimer's on this snafu? Or bad memory?. . . how about Old Fart Syndrome. It's VERY common and quite sad, really. Well it would be if i didn't look forward to it for most of my life
Hey, can i claim alzeimer's on this snafu? Or bad memory?. . . how about Old Fart Syndrome. It's VERY common and quite sad, really. Well it would be if i didn't look forward to it for most of my life
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Your rational mind probably thought it was Joan Cusack because Joan Cusack's actual character is rather pointless except as someone to laugh at for being geeky, odd, in a neck brace, and in a strange sweatshirt.
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bless you for even considering the possibility of my mind having any kind of rational function to begin with
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Not sure I even watch movies anymore.
We're the Millers, I guess. Which I actually rather liked.
We're the Millers, I guess. Which I actually rather liked.
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www.esotericrabbit.com
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Were The Millers
Kick Ass 2
The Big Wedding
Taken 2
Jack Reacher
Kick Ass 2
The Big Wedding
Taken 2
Jack Reacher
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"A laugh can be a very powerful thing. Why, sometimes in life, it's the only weapon we have."
Suspect's Reviews
"A laugh can be a very powerful thing. Why, sometimes in life, it's the only weapon we have."
Suspect's Reviews
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This week in movies:
The Grandmaster (2013) by Wong Kar-wai
Camille Claudel 1915 (2013) by Bruno Dumont
A Married Woman (1964) by Jean-Luc Godard +
Pain & Gain (2013) by Michael Bay
Un Amour D'enfant (2007) by Ben Diogaye Beye +
L'afrance (2001) by Alain Gomis
Fahrenheit 451 (1966) by François Truffaut
Film Socialisme (2010) by Jean-Luc Godard
In Praise of Love (2001) by Jean-Luc Godard +
The Garden of Words (2013) by Makoto Shinkai +
The Kings of Summer (2013) by Jordan Vogt-Roberts +
Stoker (2013) by Park Chan-wook
World War Z (2013) by Marc Forster +
Mud (2013) by Jeff Nichols
Behind the Candelabra (2013) by Steven Soderbergh +
This Is the End (2013) by Seth Rogen and Evan Goldberg +
Paradise: Hope (2013) by Ulrich Seidl
The Grandmaster (2013) by Wong Kar-wai
Camille Claudel 1915 (2013) by Bruno Dumont
A Married Woman (1964) by Jean-Luc Godard +
Pain & Gain (2013) by Michael Bay
Un Amour D'enfant (2007) by Ben Diogaye Beye +
L'afrance (2001) by Alain Gomis
Fahrenheit 451 (1966) by François Truffaut
Film Socialisme (2010) by Jean-Luc Godard
In Praise of Love (2001) by Jean-Luc Godard +
The Garden of Words (2013) by Makoto Shinkai +
The Kings of Summer (2013) by Jordan Vogt-Roberts +
Stoker (2013) by Park Chan-wook
World War Z (2013) by Marc Forster +
Mud (2013) by Jeff Nichols
Behind the Candelabra (2013) by Steven Soderbergh +
This Is the End (2013) by Seth Rogen and Evan Goldberg +
Paradise: Hope (2013) by Ulrich Seidl
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I give them all . I think they're quite romantic films but conversely they're mostly anti-cinematic.
Before Sunset's main trick, is remaining as firmly grounded in the reality as it is the surreal. That first scene in the bookshop sets it up, with a terrifically cinematic moment when Jesse describes his new book. As we realize the clear metatextual allusions being made here, Linklater dissolves the boundaries between the first and second film in a simple, and certainly not flashy, manner. This feeling of cinematic elevation would be sustained if it weren't for the clear and focused break that follows. The rest of the film takes place in real time, or as close as anybody's ever gotten to it while also including cuts. The conversation continues and the moments of deja vu continue as some conversation refracts from the prior film. Everything is condensed, and everything is shown, because Linklater knows that it's all important. The film's ending boasts one of the most tantalizing and terrifying fades I can recall. Utterly crushing in its slow inevitability, this fade reminds us of the cinematic fantasy we're in, but also the realism of the life we've just witnessed, and will go on without us. Simplicity elevated to art is the film's mantra. Linklater uses techniques that we've seen in countless films, but in such intuitive ways that they feel new.
I've only seen Before Midnight once, so excuse me for rehashing some previous remarks. The film begins with a deceptively simple shot of two people walking, we instantly assume it's Jesse and Celine, the only two people we've seen before walking together, but the specifics of it confuse us (types of shoes). The following cut reveals Jesse's son, which both makes perfect sense, and catches us off guard. They talk at the airport until he has to leave, after which we get the extraordinary shot of condensed narrative. Jesse walks outside and moves right. We see Celine nonchalantly talking on the phone and leaning on a car. Already we know that they are together and have been for a long time, but the excellent shot comes as, to our delight, Jesse enters the car and the camera wraps around to show two girls asleep in the back seat. A simple and naturalistic camera movement suddenly reveals everything we need to know about the couple, for those who are new to the series, and faithful fans. I will rewatch this soon and have more to say on its cinematic merits, which are many, I just haven't written about it enough to properly recall at this point.
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Mubi
Mubi
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Point Blank - BORING!
Vice Squad - Good old 80's sleaze! A movie that gets across the life on the streets and frank sexual themes with surprisingly little nudity. Strange choice given the subject matter but one to be commended in it's restraint.
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Favorite Movies
A Nightmare on Elm Street 4: The Dream Master (Renny Harlin, 1988)
The Wasp Woman (Roger Corman, 1959)
711 Ocean Drive (Joseph M. Newman, 1950)
The Gorgon (Terence Fisher, 1964)
The Devil Rides Out aka The Devil’s Bride (Terence Fisher, 1968)
All Eyes on Sharon Tate (No Director Listed, 1967)
Waking Up in Reno (Jordan Brady, 2002)
Manhattan Murder Mystery (Woody Allen, 1993)
The Last Days of Disco (Whit Stillman, 1998) +
Billy the Kid vs. Dracula (William Beaudine, 1966)
Jesse James Meets Frankenstein’s Daughter (William Beaudine, 1966)
The Freshman (Andrew Bergman, 1990)
Engagement Party (William Thiele, 1956)
Mistress (Barry Primus, 1992)
Fly Away Home (Carroll Ballard, 1996)
Mr. Lucky (H.C. Potter, 1943)
Losing Isaiah (Stephen Gyllenhaal, 1995)
Mumford (Lawrence Kasdan, 1999)
Another Woman (Woody Allen, 1988)
The Life and Times of Judge Roy Bean (John Huston, 1972)
The Wasp Woman (Roger Corman, 1959)
711 Ocean Drive (Joseph M. Newman, 1950)
The Gorgon (Terence Fisher, 1964)
The Devil Rides Out aka The Devil’s Bride (Terence Fisher, 1968)
All Eyes on Sharon Tate (No Director Listed, 1967)
Waking Up in Reno (Jordan Brady, 2002)
Manhattan Murder Mystery (Woody Allen, 1993)
The Last Days of Disco (Whit Stillman, 1998) +
Billy the Kid vs. Dracula (William Beaudine, 1966)
Jesse James Meets Frankenstein’s Daughter (William Beaudine, 1966)
The Freshman (Andrew Bergman, 1990)
Engagement Party (William Thiele, 1956)
Mistress (Barry Primus, 1992)
Fly Away Home (Carroll Ballard, 1996)
Mr. Lucky (H.C. Potter, 1943)
Losing Isaiah (Stephen Gyllenhaal, 1995)
Mumford (Lawrence Kasdan, 1999)
Another Woman (Woody Allen, 1988)
The Life and Times of Judge Roy Bean (John Huston, 1972)
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It's what you learn after you know it all that counts. - John Wooden
My IMDb page
It's what you learn after you know it all that counts. - John Wooden
My IMDb page
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I like Manhattan Murder Mystery and it's never really mentioned among Allen's best work. Maybe that's enough to say that it is underrated or under seen.
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Gravity (2013) -
An American Werewolf In London (1981) - +
Nights of Cabiria (1957) -
Way of a Gaucho (1952) -
El (1953) -
Los Olvidados (1950) -
The Cabinet of Jan Svankmajer (1984) -
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I don't care about the rest of films I've seen lately. Besides I ain't got time for them, but then again I have time to post this post.
My Name is Nobody
The only one other spaghetti I rated that high is The Good, The Bad and The Ugly and I mean even Django - an epitome of badassity in movies scored 'only' , but just look at the intro scene:
It's just so feel good with that awesome music and laid back Terrence Hill character. And at the very end the movie made me cry even though there wasn't anything soppy or even sad about it. Or nothing like that in a common sense of the words. Not to mention the movie has a lot of comedy elements I normally hate, but loved in this one. Truly one of the best feel good films I've seen.
My Name is Nobody
The only one other spaghetti I rated that high is The Good, The Bad and The Ugly and I mean even Django - an epitome of badassity in movies scored 'only' , but just look at the intro scene:
It's just so feel good with that awesome music and laid back Terrence Hill character. And at the very end the movie made me cry even though there wasn't anything soppy or even sad about it. Or nothing like that in a common sense of the words. Not to mention the movie has a lot of comedy elements I normally hate, but loved in this one. Truly one of the best feel good films I've seen.
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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
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Glad you loved it. Here's what I said about it last time.
My Name is Nobody (Tonino Valerii, 1973)
Great spaghetti western with the "team" of old man Jack Beauregard (Henry Fonda) who just wants to quietly retire and sail to Europe and a young Nobody (Terence Hill) who looks up to him and wants him to become a hero worthy of the history books so others will have someone to positively influence them. The cinematography is beautiful and Ennio Morricone's score has many memorable themes as well as weird la-la backing vocals and a synthesized take on "Ride of the Valkyries" as well as a lift from what sounds like "My Way". The plot isn't especially important but the set-pieces are terrific. It does have ample comedy but I don't really think it's a spoof of the genre. It works itself up a few times to things resembling a Biblical saga and to a real feeling of warmth between the two lead characters.
Great spaghetti western with the "team" of old man Jack Beauregard (Henry Fonda) who just wants to quietly retire and sail to Europe and a young Nobody (Terence Hill) who looks up to him and wants him to become a hero worthy of the history books so others will have someone to positively influence them. The cinematography is beautiful and Ennio Morricone's score has many memorable themes as well as weird la-la backing vocals and a synthesized take on "Ride of the Valkyries" as well as a lift from what sounds like "My Way". The plot isn't especially important but the set-pieces are terrific. It does have ample comedy but I don't really think it's a spoof of the genre. It works itself up a few times to things resembling a Biblical saga and to a real feeling of warmth between the two lead characters.
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