Schoolio's Movie Corner

[schoolofruckus]

Well, not every movie can be so brilliant of a statement as a town of Michael Jackson impersonators, Gabe.

I know, and it's goddamn unfortunate.

[schoolofruckus]

Gabe did you watch 27 dresses

Not enough of it to offer a comment.

[Neutral Milk Hotel]

Thoughts on all the Pixar films (it being probably my favorite studio):

Toy Story (1995)

I've seen Toy Story so many times that I can't really look at it with fresh eyes; I know that I love it, but it's so entrenched that I'm not sure whether or not the film itself is worthy of five stars. But as a pioneering film both in CGI technology and family films that appeal to all members of the family, it deserves a perfect score.

Rating: 10.0

A Bug's Life (1998)

This, unfortunately, is Pixar's weakest film. To a certain extent, all of their films are based on classic archetypes and plot structures, but here it's too thin, and obvious. In addition, Kevin Spacey is almost too good as the villainous Hopper; any appearance of his character is like a dark shadow descending over the film, and his death is maybe a little twisted for a movie that's otherwise so sunny. Still, that Pixar's weakest film was made 10 years ago and is still better than the majority of CGI films made by other studios speaks to the studio's brilliance.

Rating: 7.6

Toy Story 2 (1999)

This is how to make a sequel. Not content to merely rehash the beloved original, the folks at Pixar used this opportunity to more profoundly explore the emotional significance that toys hold for all of us, and finds plenty of new angles and ideas about toys to play with, all of them entertaining and charming.

Rating: 10.0

Monsters, Inc. (2001)

For awhile I called this the best Pixar film, but now I think it's more that it's the most easily entertaining. The ingenuity that went into the creation of Monstropolis truly is astounding, and the film has one of the great chase scenes, incorporating a multitude of closet doors. However, Monsters Inc. only hints at the emotional depth that would be more satisfyingly explored in future films from the studio.

Rating: 8.4

Finding Nemo (2003)

An unexpectedly melancholy and poignant picture, Finding Nemo is as visually stunning as any film has ever been. I haven't ever quite connected with this one the way I have with other Pixar films, but I think that's more to do with me than the film itself, which is clearly of the highest standard.

Rating: 9.0

The Incredibles (2004)

A clear descendant of Watchmen, The Incredibles is a complex examination of identity and self-worth within the superhero milieu. That it also succeeds as a hilarious, exciting adventure is to be expected from Pixar, truly the leading light of film studios in this day and age.

Rating: 9.6

Cars (2006)

While the movie is undeniably disappointing after the forward momentum of Finding Nemo/The Incredibles, Cars is still a completely solid Pixar film. I like to think of it as a last visit to the more traditional Pixar style (although maybe not, what with Cars 2), before the more forward-thinking and adult Ratatouille and WALL-E.

Rating: 8.0

Ratatouille (2007)

Not only one of the the best Pixar films yet, but the beginning of a new era for the acclaimed animation company, an era that retains the Pixar magic but increases in sophistication and nuance. The story about a rat who wants to cook turns out to be a meditation on the nature of creation, and the relationship between artists and those who consume the art. Complex themes indeed for a film whose main character is a talking rat.

Rating: 9.8

WALL-E (2008)

Pixar stands apart from the other animation studios because they truly understand that animation is a medium, not a genre; it's an instrument to be used to envision stories that can't be properly told with real actors and locations, not some sort of talking animals/pop culture references/celebrity voiceover thing. Here, they use this powerful tool to tell a story about mankind's potential extinction, and it's an astonishing masterpiece. This is a film with more to say about humanity and the world than most films out there, live action or not. It's a cautionary tale about the dangers of human ingenuity, and a beautiful parable about the power and importance of love. WALL-E is Pixar's greatest accomplishment yet, and a gargantuan step forward for animated storytelling.

Rating: 10.0

[RotationSlimWang]

You hand out 10s like they get you handjobs.

[Neutral Milk Hotel]

I just really like Pixar. I normally don't give out that many.

[wmgaretjax]

Death Proof did not suck shit, friendo.

I thought Death Proof was fucking hysterical. Loved it.

[schoolofruckus]

You hand out 10s like they get you handjobs.

3 handjobs in 13 years isn't exactly John Holmes territory.

[Mr. Dylanja]

Has anyone seen Mongol? Thoughts??

[Neutral Milk Hotel]

I saw it. It was a lot better than I expected. There's nothing revolutionary on display here, but the film recreates the ancient Mongol lifestyle with near documentary accuracy, and it was fascinating to observe this culture that's so different from our own. And yes, the battles are completely kickass. Count me in for the next two.

[schoolofruckus]

No. I want to, but I'm not sure if I'll get to it before it leaves theaters.

I did just watch Ali: Fear Eats The Soul. It was really good. I haven't seen any of Fassbinder's other stuff, so I didn't really know what to expect. But this was a love story both sweet and stark at the same time. A lonely, elderly cleaning lady and a lonely, younger mechanic from Morocco find solace in each other in mid-70's Germany, amid the prejudices and suspicions of all the people in their lives.

I liked it a lot. What other Fassbinder films should I seek out?

[whynotsmile99]

I can't wait to see the Hunter S. Thomspon doc next week

[Cherita Chen]

CHUT UP!

[wmgaretjax]

No. I want to, but I'm not sure if I'll get to it before it leaves theaters.

I did just watch Ali: Fear Eats The Soul. It was really good. I haven't seen any of Fassbinder's other stuff, so I didn't really know what to expect. But this was a love story both sweet and stark at the same time. A lonely, elderly cleaning lady and a lonely, younger mechanic from Morocco find solace in each other in mid-70's Germany, amid the prejudices and suspicions of all the people in their lives.

I liked it a lot. What other Fassbinder films should I seek out?

"Lola" is great as is "The Marriage of Maria Braun". "Berlin Alexanderplatz" is his best work if you can devote the time to it.

[C DUB YA]

Thoughts on all the Pixar films (it being probably my favorite studio):

Toy Story (1995)

I've seen Toy Story so many times that I can't really look at it with fresh eyes; I know that I love it, but it's so entrenched that I'm not sure whether or not the film itself is worthy of five stars. But as a pioneering film both in CGI technology and family films that appeal to all members of the family, it deserves a perfect score.

Rating: 10.0

A Bug's Life (1998)

This, unfortunately, is Pixar's weakest film. To a certain extent, all of their films are based on classic archetypes and plot structures, but here it's too thin, and obvious. In addition, Kevin Spacey is almost too good as the villainous Hopper; any appearance of his character is like a dark shadow descending over the film, and his death is maybe a little twisted for a movie that's otherwise so sunny. Still, that Pixar's weakest film was made 10 years ago and is still better than the majority of CGI films made by other studios speaks to the studio's brilliance.

Rating: 7.6

Toy Story 2 (1999)

This is how to make a sequel. Not content to merely rehash the beloved original, the folks at Pixar used this opportunity to more profoundly explore the emotional significance that toys hold for all of us, and finds plenty of new angles and ideas about toys to play with, all of them entertaining and charming.

Rating: 10.0

Monsters, Inc. (2001)

For awhile I called this the best Pixar film, but now I think it's more that it's the most easily entertaining. The ingenuity that went into the creation of Monstropolis truly is astounding, and the film has one of the great chase scenes, incorporating a multitude of closet doors. However, Monsters Inc. only hints at the emotional depth that would be more satisfyingly explored in future films from the studio.

Rating: 8.4

Finding Nemo (2003)

An unexpectedly melancholy and poignant picture, Finding Nemo is as visually stunning as any film has ever been. I haven't ever quite connected with this one the way I have with other Pixar films, but I think that's more to do with me than the film itself, which is clearly of the highest standard.

Rating: 9.0

The Incredibles (2004)

A clear descendant of Watchmen, The Incredibles is a complex examination of identity and self-worth within the superhero milieu. That it also succeeds as a hilarious, exciting adventure is to be expected from Pixar, truly the leading light of film studios in this day and age.

Rating: 9.6

Cars (2006)

While the movie is undeniably disappointing after the forward momentum of Finding Nemo/The Incredibles, Cars is still a completely solid Pixar film. I like to think of it as a last visit to the more traditional Pixar style (although maybe not, what with Cars 2), before the more forward-thinking and adult Ratatouille and WALL-E.

Rating: 8.0

Ratatouille (2007)

Not only one of the the best Pixar films yet, but the beginning of a new era for the acclaimed animation company, an era that retains the Pixar magic but increases in sophistication and nuance. The story about a rat who wants to cook turns out to be a meditation on the nature of creation, and the relationship between artists and those who consume the art. Complex themes indeed for a film whose main character is a talking rat.

Rating: 9.8

WALL-E (2008)

Pixar stands apart from the other animation studios because they truly understand that animation is a medium, not a genre; it's an instrument to be used to envision stories that can't be properly told with real actors and locations, not some sort of talking animals/pop culture references/celebrity voiceover thing. Here, they use this powerful tool to tell a story about mankind's potential extinction, and it's an astonishing masterpiece. This is a film with more to say about humanity and the world than most films out there, live action or not. It's a cautionary tale about the dangers of human ingenuity, and a beautiful parable about the power and importance of love. WALL-E is Pixar's greatest accomplishment yet, and a gargantuan step forward for animated storytelling.

Rating: 10.0


Awesome assessment of their work.

[Stefinitely Maybe]

I watched "Employee Of The Month" yesterday. There were only two good things about this movie, and both of them belong to Jessica Simpson. That is all.

[woogie846]

I watched "Employee Of The Month" yesterday. There were only two good things about this movie, and both of them belong to Jessica Simpson. That is all.

Her charm she brings to the screen and the quick wit of her character.

[Down Rodeo]

So I watched Tarkovsky's Stalker last night and...WOW...what a mesmerizing movie. The film is ponderously slow, has striking images, and is very DENSE, pretty much everything you would expect from Tarkovsky. It takes a basic science fiction plot and strips it down to the barest essentials, so that it basically becomes an odyssey of self-discovery for the three main characters. I think it's definitely in the same league as Solaris, and a movie that definitely demands revisiting at some point in the future. Very challenging stuff.

[woogie846]

I watched Dr. Strangelove tonight. I really love Peter Sellers.

[Stefinitely Maybe]

Her charm she brings to the screen and the quick wit of her character.

Right. And her tits.

I watched Paranoid Park last night. It was accomplished and beautiful filmmaking, but I am getting pretty tired of Van Sant's "schtick". Having seen Elefant and Last Days, I guess I shouldn't have expected anything radically different, but I was frustrated by the slowness of the movie, and the self-absorbedness of some of the lingering shots. It's like Gus has forgotten that he's making movies for an audience as well as himself.

I sort of feel the same way about Douglas Coupland - I like the stories he tells, and the characters he creates, and the way he tells them; but I just wish he would change it up a bit, because it's becoming a bit predictable.

Having said all that, though, I liked the movie.

[wmgaretjax]

Right. And her tits.

I watched Paranoid Park last night. It was accomplished and beautiful filmmaking, but I am getting pretty tired of Van Sant's "schtick". Having seen Elefant and Last Days, I guess I shouldn't have expected anything radically different, but I was frustrated by the slowness of the movie, and the self-absorbedness of some of the lingering shots. It's like Gus has forgotten that he's making movies for an audience as well as himself.

I sort of feel the same way about Douglas Coupland - I like the stories he tells, and the characters he creates, and the way he tells them; but I just wish he would change it up a bit, because it's becoming a bit predictable.

Having said all that, though, I liked the movie.

What's the "schtik?" Being slow and methodical?

[woogie846]

I just watched Bad Company with Jeff Bridges.

[Somewhat Damaged]

What did Mr. Bridges think of the film?

[full on idle]

hahaha

[Down Rodeo]

I finally saw The Usual Suspects tonight, and I pretty much thought it sucked.

[Stefinitely Maybe]

What's the "schtik?" Being slow and methodical?

Having repeated close-ups and slow-motion shots of a character walking towards the camera, whilst some soft acoustic music plays in the background, to portray "inner turmoil". Over, and over, and over, and over a-fucking-gain.

[wmgaretjax]

Having repeated close-ups and slow-motion shots of a character walking towards the camera, whilst some soft acoustic music plays in the background, to portray "inner turmoil". Over, and over, and over, and over a-fucking-gain.

In "Last Days" weren't the characters walking away from the camera? I don't remember much acoustic music in either "Elephant" or "Last Days."

I don't think the slow motion is meant to describe "inner turmoil," although that might be what the characters are experiencing. It seems to me it serves a much more neutral intent, one that resides in the nature of moments and the way that time deviates from one moment to the next. Really simple... That's why I'm not sure it's a gimmick.

[RotationSlimWang]

I finally saw The Usual Suspects tonight, and I pretty much thought it sucked.

One, two, three, four, five, six... Oswald was a ***.

[Courtney]

Gabe did you watch 27 dresses

That was the worst movie I've seen in a while. I mean, didn't have high expectations, but it was even worse than I was expecting. The characters were one-dimensional and the plot was completely predictable. What can tend to save these sorts of movies is charming, endearing characters and/or chemistry between the actors, neither of which was the case in 27 Dresses. I'm annoyed that I wasted 90 minutes of my JFK-LAX flight on the thing.


I finally saw The Usual Suspects tonight, and I pretty much thought it sucked.

The Usual Suspects is an excellent film, and you're a fool if you think otherwise.

[whynotsmile99]

I just watched "The Man Golden Arm" a 1956 Otto Preminger film. Pretty damn good. Frank Sinatra plays a heroin addict who tries to give it up for a drumming career. I would imagine the film was quite shocking back then.

Best thing about the whole picture was Frank Sinatra. I have never seen a Sinatra film before, but I gotta give credit where credit is due. He was excellent in this picture. His withdrawl scene was quite powerful.

Good movie. Excellent score as well

http://www.bfi.org.uk/filmtvinfo/library/eventsexh/past/saulbass/images/man_with_the_golden_arm.jpg

[Down Rodeo]

One, two, three, four, five, six... Oswald was a ***.

Although not without its few good lines.

[Down Rodeo]

The Usual Suspects is an excellent film, and you're a fool if you think otherwise.

I found it hollow, full of cliches, and frankly, not very exciting. To each his own.

[RotationSlimWang]

I found it hollow, full of cliches, and frankly, not very exciting. To each his own.

What cliches exactly?

[Down Rodeo]

The dialogue was full of tough-guy bullshit that I've heard many times before, every situation with the criminals seemed formulaic, and the "twist" at the end wasn't much of a surprise.

Also, the artificially complicated plot added nothing to the movie, except to make me want the ending to come sooner rather than later.

[schoolofruckus]

One, two, three, four, five, six... Oswald was a ***.

Think you brought enough guys?

[schoolofruckus]

The dialogue was full of tough-guy bullshit that I've heard many times before, every situation with the criminals seemed formulaic, and the "twist" at the end wasn't much of a surprise.

Also, the artificially complicated plot added nothing to the movie, except to make me want the ending to come sooner rather than later.

Let me ask you this: did you know the ending before watching it? I mean, 13 years is a long time to keep a lid on this movie's ending. And while this can be seen as a demerit - I definitely don't think the movie works nearly as well unless Soze's identity is preserved.

But even so, it's on the shortest list of best pulp-y crime movies of my lifetime. It may not be wholly original, but it's pretty much executed perfectly - writing, directing, photography, editing, and especially acting.

[mountmccabe]

Also, the artificially complicated plot added nothing to the movie, except to make me want the ending to come sooner rather than later.

Spoilerific?

The plot was a story, concocted by Verbal. Sure, there has to be at least some levels of truth to it - the people and places involved had to match what the cops knew - but beyond that loose framework the rest could've been complete bullshit. That isn't something you see every day.

[mountmccabe]

Let me ask you this: did you know the ending before watching it? I mean, 13 years is a long time to keep a lid on this movie's ending. And while this can be seen as a demerit - I definitely don't think the movie works nearly as well unless Soze's identity is preserved.

But even so, it's on the shortest list of best pulp-y crime movies of my lifetime. It may not be wholly original, but it's pretty much executed perfectly - writing, directing, photography, editing, and especially acting.

Ehh. I think your second paragraph cuts into the force of your first paragraph. I mean, sure, it's better without any spoiler but it's a taut, witty thriller regardless.

It's a fucking funny movie and this talk of it is making me wanna see it again. Hmm.

[roberto73]

I wonder if The Usual Suspects is a case where, if you didn't see it in its original release, it'll lose something years later. It sounds and looks like other movies because an awful lot of tough-guy movies in the late 90's cribbed directly from Suspects and Pulp Fiction/Reservoir Dogs. I thought it was brilliant when it first came out, and I still drag it out at least once a year to show people who haven't seen it before. They like it, but it does seem to have been blunted by a decade of Tarantino/Singer imitators.

[full on idle]

I remember people having audible reactions and applauding in the theater when the final plot twist in Usual Suspects was revealed.

[Down Rodeo]

I actually didn't know the ending beforehand, and it still didn't thrill me that much. Maybe if I had seen this 10 years ago, I might have felt differently, but all I had heard was that The Usual Suspects was a masterpiece, and for me it fell woefully short of that characterization. I would say it's a well-done AVERAGE crime flick, but not nearly in the same league as, say, Pulp Fiction or Zodiac. I know those are all very different movies, but I feel like there's a depth to those that The Usual Suspects is severely lacking. Also, Benicio del Toro's accent was horrendous. Kevin Spacey was very good, though.

[schoolofruckus]

There are moments when I wonder if The Usual Suspects is actually better than Pulp Fiction. I don't generally come to the conclusion that it is. But they're definitely in the same ballpark (let alone being in the same league and the same fuckin' sport).

[RotationSlimWang]

There are moments when I wonder if The Usual Suspects is actually better than Pulp Fiction. I don't generally come to the conclusion that it is.

Gabe... I fucking hate you.

[Down Rodeo]

Yeah, Pulp Fiction is far superior. The Usual Suspects only pretends to have intelligence behind it, but it's just empty manipulation. Here, this review sums it up nicely:


It's okay if you lose track of the plot—it's not long before you'll realize that none of it really matters. Roger Ebert, in his review of The Usual Suspects, said that he prefers to be amazed by motivation, not manipulation. Now, if you've approached The Usual Suspects expecting to be hit over the head, it may not be too difficult for you to spot Keyser Soze. Singer and screenwriter Christopher McQuarrie, though, don't want you to find Waldo. Despite the convoluted narrative, The Usual Suspects makes perfect sense. If you can smell the con job a mile away, you may jump right before Singer pulls the rug out from under you. Singer's engagement of noir idiom is too lightweight to propel McQuarrie's punchy meta-narrative beyond inconsequentiality. The Usual Suspects has always kind of sat there, hoping that you'll love it for its twist ending. "It is a tale told by an idiot, full of sound and fury, signifying nothing." Yeah, that sounds about right.

[schoolofruckus]

Gabe... I fucking hate you.

I'm just being honest about how much I enjoy The Usual Suspects.

And - I'll admit to something - there's something about Tarantino that makes me want to hate him. It's got very little to do with his movies, my aversion to Death Proof aside. Reservoir Dogs, Pulp Fiction, Jackie Brown, and Kill Bill are all, more or less, perfect movies, and undeniably the work of a formidable talent. Maybe it's the aftermath of Tarantino's influence, or the fact that I find him to be a little over-rated - neither of which are his fault, I realize - but I know that I don't think of him with exactly the same kind of reverence that I afford some other American directors in roughly the same generation (guys like PTA and David Fincher).

Swing away.

[Down Rodeo]

Hmm...I thought you were gonna say you didn't like Tarantino because he's annoying as fuck to listen to (which is true).

I don't know, it sounds like there's no specific reason you dislike Tarantino. Maybe he just gets more attention than PTA and Fincher, which irks you a bit. Personally, I think Tarantino's still more talented than those two, although Fincher's really starting to come into his own and PTA has some solid movies on his resume so far.

I think this is a good debate to have, though. Thanks for diverting attention away from The Usual Suspects.

[schoolofruckus]

I just find it weird that I have a filmmaker whose body of work - as an auteur, at least - I consider 80% bulletproof, and yet I don't hold it or him in as high of regard as many, many other filmmakers.

[RotationSlimWang]

I find it weird too.


Also fucking stupid. But weird, yeah.

[schoolofruckus]

Ha ha ha ha ha.

I expected more outrage. I have to say, I'm slightly disappointed.

[RotationSlimWang]

I'm talking to a man who like Harmony Korine, what the fuck can I possibly expect?

[Down Rodeo]

So what exactly is your beef with QT, Gabe? You don't hold him in high regard, but you don't seem to know why.

And sorry we're not so mad, but it's not like you're bashing Scorsese or anything.

[wmgaretjax]

I love QT so much. I'm not afraid to admit it, and neither should you Gabe.

I'll play the controversy game though, Martin Scorcese is waaaay overrated.

[RotationSlimWang]

Scorcese is overrated. Goodfellas is just a bunch of wop bullshit, three fucking hours of it.

[schoolofruckus]

I love QT's work. I'll never say otherwise. And I really can't put into words what it is that irks me about him. It's not like I hate him. I also don't think he's irritating to listen to; I actually find him hilarious. I just have a hard time thinking of him as one of the great filmmakers of this time...someone whose new films I should be salivating to see. I always want to see them, and at least until Death Proof, they always turned out better than I hoped for. By a lot. But some of the recent talk about Inglorious Bastards, for example, I could give a shit about. My attitude is of the "Make the movie, don't make the movie, I don't give a fuck either way" variety. Whereas I eat up everything I can find on films like Silent Light or The Man From London...whose directors I have seen one movie from apiece.

I guess maybe my QT love peaked in high school and I've grown more attached to other directors and sensibilities lately. I'm just being honest.

[schoolofruckus]

Also, Wall*E is fucking astounding. I don't need to sell it. I don't know what to really say about it. It's like a cocktail of 2001 (the spare beginning-of-new-civilization ambience and pure visual cinema) and Finding Nemo (the mixture of humor and heart in animated character work) and Jean-Luc Godard (the VICIOUS satire of consumer culture) and the prologue of Terminator 2 (the futuristic wasteland). Plus, I'm sure, countless other films I haven't seen. I can't say enough about the visuals - they were so overpowering it took me about 15 minutes to get past them and invest in the character. Sounds like a possible demerit, but I assure you it's not. The production designer on this film should be nominated for an Oscar alongside any live action film that arrives this year. The ambition in the storytelling...it is completely mind-blowing for a film aimed (however partially) at children to throw these kinds of haymakers at consumer culture. To say nothing of the decision to tell the film at least 75% visually.

Go see the fucking thing whether you dig Pixar or not. This is the best movie I've seen so far this year, and it's not close.

[SoulDischarge]

No. I want to, but I'm not sure if I'll get to it before it leaves theaters.

I did just watch Ali: Fear Eats The Soul. It was really good. I haven't seen any of Fassbinder's other stuff, so I didn't really know what to expect. But this was a love story both sweet and stark at the same time. A lonely, elderly cleaning lady and a lonely, younger mechanic from Morocco find solace in each other in mid-70's Germany, amid the prejudices and suspicions of all the people in their lives.

I liked it a lot. What other Fassbinder films should I seek out?

The only other Fassbinder flick I've seen besides 'Ali' is 'Whity,' which is fucking strange. I couldn't really say if it's good or anything, but it's unique in its what-the-fuckness.

[Down Rodeo]

I'll play the controversy game though, Martin Scorcese is waaaay overrated.

Ouch, that hurts. I consider Scorsese to be the greatest living film director, but apparently we don't see eye-to-eye.

[RotationSlimWang]

Ouch, that hurts. I consider Scorsese to be the greatest living film director, but apparently we don't see eye-to-eye.

Next you should try picking somebody that knows how to end a movie worth half a shit.

[Down Rodeo]

The ending to The Departed did nothing for you?

[RotationSlimWang]

Endings where everybody dies are amateur cop out shit.

[Down Rodeo]

Tell that to Shakespeare.

[woogie846]

What did Mr. Bridges think of the film?

http://icanhascheezburger.files.wordpress.com/2007/05/ha-ha-ha2.jpg

[wmgaretjax]

Ouch, that hurts. I consider Scorsese to be the greatest living film director, but apparently we don't see eye-to-eye.

No fucking way we see eye to eye.

The ending to "The Departed" was unforgivable, not because of the plot (see "Internal Affairs"), but the execution. If anything, the coy image of the rat walking across the balcony rail should have clued you in on the fact that you just wasted over 2 hours of your time.

[Down Rodeo]

Alright, forget The Departed for a second. That doesn't change the fact that Scorsese still made Taxi Driver and Raging Bull, both absolute masterpieces.

[wmgaretjax]

Alright, forget The Departed for a second. That doesn't change the fact that Scorsese still made Taxi Driver and Raging Bull, both absolute masterpieces.

"Taxi Driver" is a masterpiece. "Raging Bull" is a great film. Beyond that you have some interesting ones (Gangs of New York, Age of Innocence, Last Temptation of Christ) but none of them ever live up to that initial promise.

Greatest Living Filmmaker? No fucking way.

I'll stick to this till he dies, but Bela Tarr is the greatest filmmaker alive. And that's only because Antonioni died last year.

[Down Rodeo]

Raging Bull is probably my favorite movie ever made. I think the others you mention are better than you give them credit for. And I'm assuming you didn't care much for GoodFellas then.

Bela Tarr's great from the one movie I've seen of his (Werckmeister), but I can't comment on his body of work. Maybe in time I'll agree with you.

Can I get a greatest American filmmaker at least?

[downingthief]

We rented a Doc from Netflix, watched it last night. Called "Born into Brothels". It is about a photographer who "lives" among women in Calcutta that are prostitutes, and she ends up befriending their kids, and teaching them photography. I first heard about this a few years back when Amnesty International was involved, but never had the chance to see the film.

The DOC left me kind of flat, really. I think there could have been so much more to it. It was a sad subject matter, to be sure. But, I wanted to really FEEL it. And, I didn't. I felt bad for the kids, and how this world of prostitution was keeping them down. I just felt it could have been more powerful.

Oh, and I am late to the dance, I know. But, Usual Suspects is brilliant to me. QT is hit or miss with me, as is Scorsese. Pulp is still the best QT film, and Taxi Driver is a masterpiece.

[C DUB YA]

"Taxi Driver" is a masterpiece. "Raging Bull" is a great film. Beyond that you have some interesting ones (Gangs of New York, Age of Innocence, Last Temptation of Christ) but none of them ever live up to that initial promise.

Greatest Living Filmmaker? No fucking way.

I'll stick to this till he dies, but Bela Tarr is the greatest filmmaker alive. And that's only because Antonioni died last year.

Taxi Driver and Raging Bull are two of my faves. I really have grown to like Good Fellas as the years have gone by - but man - The Departed just pisses me off. The final scene is a complete flub. Casino pisses me off, Last Temptation pisses me off. Also, the last act of Gangs of New York is terrible imo.

[Stefinitely Maybe]

I just finished watching Eastern Promises. What a fucking yawnfest.

[C DUB YA]

History of Violence is better.

[C DUB YA]

I just watched In Brudges for the second time - I really like that film.

[iv3rdawG]

The Day the Earth Stood Still trailer:

http://www.filmweb.pl/Trailer?trailer.id=22817

TDI0ZupdIcA

[schoolofruckus]

Raging Bull is probably my favorite movie ever made. I think the others you mention are better than you give them credit for. And I'm assuming you didn't care much for GoodFellas then.

Bela Tarr's great from the one movie I've seen of his (Werckmeister), but I can't comment on his body of work. Maybe in time I'll agree with you.

Can I get a greatest American filmmaker at least?

You know, I'm thinking hard of an alternative to Scorsese here - for best living American filmmaker, I mean - and I don't know that I can argue. I don't know who else would take his place, but my candidates would be (in no particular order):

Vincent Gallo (fuck all y'all)
Gus Van Sant
Paul Thomas Anderson
Coen Bros.
Michael Mann
Terrence Malick
David Lynch

and

well....

Quentin Tarantino.

Well, what do you know. I guess I do think of him alongside the other guys.

However, I'd probably have to also pencil Scorsese in as the headliner of this bunch. Taxi Driver is absolutely one of my favorite films of all time.

And Michelangelo Antonioni was without question the best living filmmaker, period, until approximately a year ago.

[algunz]

Can anyone help me with ideas for PG-13 movies that could engage an 8th grade summer school class and include a powerful and effective "inspirational speech?"

[schoolofruckus]

Glengarry Glen Ross

[Blinken]

Can anyone help me with ideas for PG-13 movies that could engage an 8th grade summer school class and include a powerful and effective "inspirational speech?"

I always liked the presidents speech in Independence Day.

[Newro7ic]

Endings where everybody dies are amateur cop out shit.


Tell that to Shakespeare.

I like Scorcese, I do... but DR, you just kind of proved RSW's point for him. Comparing Scorcese's ending to something that Shakespeare did over 400 years ago proves that that sort of ending is a little played out.

[Young blood]

PCU.
Pulp fiction.
Brave Heart.
Revenge of the Nerds.
Glory.
Lean on me.
The Terminator.
Hoosiers.
Animal House.
Apocalypse Now.
The Jerk.
Caddyshack.
The muppet Movie.
Gremlins.

[Young blood]

The color of money.
Wall Street.

[Young blood]

Glengarry Glen Ross

ohhhh the kids will love this....

[C DUB YA]

Can anyone help me with ideas for PG-13 movies that could engage an 8th grade summer school class and include a powerful and effective "inspirational speech?"

When We Were Kings

(Ali doc) check the rating though, I can't remember

[Young blood]

Network.

It always seems to get hockey players motivated.

[C DUB YA]

I always liked the presidents speech in Independence Day.

HAHA - one of the worst moments in film. Right up there with Ben Affleck's supposedly sexy Austrailian zoofari lines(with the animal crackers) in Armageddon.

[Young blood]

Trainspotting. It will help keep the kids off the drugs.

[schoolofruckus]

Okay, enough fucking around.

algunz, just show then Cool Runnings in its entirety and be done with it.

[Young blood]

5Za2k5wA3sk

sorry to much red bull... im done.

[wmgaretjax]

Paul Thomas Anderson
Gus Van Sant
Terrence Malick
David Lynch

Yeah. I'd go with one of those probably (chances are I'd pick Gus Van Sant one day, and Lynch the next). Scorcese falls into tier 2 for me, particularly because he's had quite a few movies I just absolutely abhorred, and the only one that knocked me off my ass was so long ago...

He sits above Coppola in this regard, but it's the same reason I could never pick Coppola despite him having at least 3 masterpieces under his belt.

[wmgaretjax]

I second "Network" but I think it's R.

[Hopeless Semantic]

Want an inspirational speech, lol. Show them Brian's Song and watch as the emo kids in your classes go off the deep end. Or, Bang The Drum Slowly...that works too.

[chairmenmeow47]

inspirational speeches... how about american pie? i think it's so inspiring how that one guy convinces his friends to finally get laid by the end of the year. that kind of determination and hard work is something for which we all should strive.

[whynotsmile99]

Paul Thomas Anderson
Coen Bros.
Michael Mann
Terrence Malick
David Lynch

and

well....

Quentin Tarantino.

Well, what do you know. I guess I do think of him alongside the other guys.

However, I'd probably have to also pencil Scorsese in as the headliner of this bunch. Taxi Driver is absolutely one of my favorite films of all time.

And Michelangelo Antonioni was without question the best living filmmaker, period, until approximately a year ago.

I can't agree with you on Gallo and van Sant, but agree with you on the rest of the list. Oliver Stone, Spike Lee and Sidney Lumet deserve to be there as well. Scorsese is without a doubt one of the best. David Gordon Green will be there soon if he keeps it up.

I haven't gotten far into Antonioni at all. Been meaning to, but you know how things go. I liked Blow Up quite a lot and look forward to watching L'Aventura soon, but what else would you recommend of his?

I do have to say that his segment on "Eros" was quite possibly one of the worst short films I have ever seen. Total garbage. Sad he went out with that.

[whynotsmile99]

so who is seeing this tomorrow? I can't wait

Might have to do a double feature at the art house theater this weekend

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I just watched Be Kind Rewind. I liked it a lot. Very sweet, silly, fantasy movie. Good laughs. Jack Black Mos Def and Danny Glover were perfect. Gondry captured the spirit of Passaic very well.

[wmgaretjax]

I can't agree with you on Gallo and van Sant, but agree with you on the rest of the list. Oliver Stone, Spike Lee and Sidney Lumet deserve to be there as well. Scorsese is without a doubt one of the best. David Gordon Green will be there soon if he keeps it up.

I haven't gotten far into Antonioni at all. Been meaning to, but you know how things go. I liked Blow Up quite a lot and look forward to watching L'Aventura soon, but what else would you recommend of his?

I do have to say that his segment on "Eros" was quite possibly one of the worst short films I have ever seen. Total garbage. Sad he went out with that.

Go and watch "Eros" again. It's a throwback to a time when experimental filmmakers were reading so much Joyce and then Becket that they had to try something to break away from emulating his form. Antonioni produced feature films that worked alongside these experimental filmmakers, the segment in "Eros" is his love song to that generation of filmmakers, and it's fucking spot on.

I can't possibly agree with Lumet, Stone or Lee... Although out of those Spike Lee probably sits on the same level as Scorsese with me.

David Gordon Greene certainly has the potential... I still haven't seen "Snow Angels."

[Blinken]

I am going to see it tomarrow, It looks really good.

[schoolofruckus]

I can't agree with you on Gallo and van Sant, but agree with you on the rest of the list. Oliver Stone, Spike Lee and Sidney Lumet deserve to be there as well. Scorsese is without a doubt one of the best. David Gordon Green will be there soon if he keeps it up.

I haven't gotten far into Antonioni at all. Been meaning to, but you know how things go. I liked Blow Up quite a lot and look forward to watching L'Aventura soon, but what else would you recommend of his?

I do have to say that his segment on "Eros" was quite possibly one of the worst short films I have ever seen. Total garbage. Sad he went out with that.

I'm inclined to put all three of the guys you listed in the discussion as well, even though I hated Alexander, Inside Man, and Before the Devil Knows You're Dead.

With Antonioni - watch everything you can get your hands on. Here are my feelings on his work, covering his creative prime (I haven't seen any of his really early or later work):

Il Grido - A father and his daughter hit the road after her mother rejects him, staying with various former and future lovers along the way. It's more conventional than his other films, and it drags a little bit in the middle. But the bleak ending is terrific, and is a striking window into the future direction Antonioni would go.

L'Avventura - During a boating excursion among bourgeois friends, a young woman goes missing; her not-so-wealthy friend Claudia vows to find her, along with the vanished woman's extremely wealthy fiancee. They are soon sidetracked and begin a gaudy affair, with Claudia being seduced by the life that's always been outside her grasp. This film is fucking brilliant.

La Notte - A rich couple whose marriage is falling apart attends a party out of obligation, where both of them are tempted to stray by other partygoers. This isn't Antonioni's most engaging film, but it is a great depiction of what it's like to feel alone no matter how crowded the room is.

L'Eclisse - A young woman leaves her lover and embarks on a new romance with an aggressive young stockbroker. This is Antonioni's most detached, unconventional narrative, and it's definitely a film that needs a little time to marinate. But the ominous subtlety paints a vivid portrait of the undernourishment of the characters' souls. The finale is one of the most harrowing sequences I've ever seen on film.

Il Deserto Rosso - Antonioni's first color film; this will be the hardest one for you to find because it hasn't been released in the US. It's worth the effort to track down if you like his other stuff. A woman has moved with her recently-promoted husband to a remote industrial location; the stifling artificial landscape induces a growing hedonism among their acquaintances and themselves, and eventually begins to drive her to delusion. If you liked Todd Haynes' Safe - this is a very obvious predecessor.

Blow-Up - Impossible not to love. The photographer's feigned social conscious is one of the more cynical revelations I've seen, and one of my favorite endings ever. Obviously, it's a delicious feast, and worthy of all the praise it has been given.

Zabriskie Point - This is Antonioni's weirdest, most surreal film. A vigilante student and a hippie working in the corporate world convene unexpectedly out in the desert for an afternoon of exile that somehow becomes an orgy. Terrific Pink Floyd score. And one of the most cathartic out-there endings in movie history.

The Passenger - Antonioni's most "entertaining" film. Jack Nicholson plays an English journalist who journeys to Africa to interview a guerilla army and encounters a deceased colleague in his hotel room. Disenfranchised professionally and personally, he assumes the dead man's identity, and returns to Europe to find he has become a weapons dealer. The film's climax is a 10 minute long shot that is one for the time capsule.


There's a ton of consistency with Antonioni's work: stark, gorgeous, multi-layered photography that evokes things no prose ever could; a recurring disavowal of elite, capitalist values, and the way they often mask a person's hollow core; and, as mentioned in many of the above synopses, a phenomenal instinct when it comes to ending the film. He's like the anti-Spielberg in - well, in every way - but primarily in his ability to stick the landing like nobody's business.

And, along with Stanley Kubrick and John Cassavetes, he was in my personal holy trinity of filmmakers.

[wmgaretjax]

Sokurov should also be considered for greatest living filmmaker (not american).

[algunz]

Thanks for the ideas. I am open to more suggestions.

What about movies that deal with the themes of unrequited love or not living life in vain?

[downingthief]

Thanks for the ideas. I am open to more suggestions.

What about movies that deal with the themes of unrequited love or not living life in vain?

What about Tarabithia?

[algunz]

I'm trying to find good films that they haven't likely seen, but will keep them interested for the entirety of the movie.

I like the idea of Network or Hoosiers.

[schoolofruckus]

Thanks for the ideas. I am open to more suggestions.

What about movies that deal with the themes of unrequited love or not living life in vain?

Rushmore for the former. I don't give a fuck that it's rated R.

The Diving Bell and the Butterfly for the latter.

[downingthief]

Hoosiers is classic. Network is R rated. Sex, profanity, etc. All the good stuff. :)

[RotationSlimWang]

Considering that Van Sant has only made one, maybe one and a half good movies and Gallo is an overstuffed bag of moneky shit, I'm pretty sure they can be left out of the Greatest Living Filmmakers conversation. Oliver Stone too. Spike hits about 1 out of 3 times. Scorcese's good but he's pretty hacky with his storylines a lot of the time and frankly how many greasy Itals can you really make movies about?

Every other director we've talked about has at BEST a 50 percent success rate. Tarantino is, by any reasonable consideration, 5 for 6 at least. You people are fucking swine.

[wmgaretjax]

Considering that Van Sant has only made one, maybe one and a half good movies

I'm curious as to what his good movie is Randy... Tarantino is a completely reasonable choice by anyone's mark. Just not my preference when it comes down to it.

[RotationSlimWang]

Good Will Hunting, and Idaho gets a half.

[algunz]

Why is Rushmore rated R?

I haven't seen Diving Bell yet. I'll check it out this weekend.

Thanks for the ideas. Keep them coming. I have these kids for a 2.5 hour block Monday-Thursday. It's really hard to keep them interested when your bombarding them with all that they were supposed to get during the school year. I figure I can fit in one good movie occasionally that is connected to the various poems, short stories, actitivities, etc. that we are doing. For my sanity and theirs. I greatly appreciate the help.

[wmgaretjax]

Good Will Hunting, and Idaho gets a half.

oh lord... really? Idaho, hell yes.... But out of all his films Good Will Hunting is your pick? Have you seen Mala Noche?

[schoolofruckus]

Psycho and Finding Forrester aside, I've loved or very much liked everything Van Sant has made. He's absolutely in the discussion, if not the final verdict.

Again - I'm working through my strange hang-up with Tarantino....but it's not an aversion. I personally don't think he's the best alive, but he's up there. And looking at his body of work I can't come to fisticuffs with anyone who thinks he is.

[iv3rdawG]

Why is Rushmore rated R?

Use of the f word a couple of times and I guess some nudity (I don't remember any-but according to the MPAA it's there) and some sexual related themes. And if they're kids I don't think they'd be that interested in Diving Bell, seeing that it's French and has subtitles. It's your call. And there is nudity in that film even though it's PG-13.

[schoolofruckus]

oh lord... really? Idaho, hell yes.... But out of all his films Good Will Hunting is your pick? Have you seen Mala Noche?

I don't think Randy would like Mala Noche. I do, however, think he would love Drugstore Cowboy, and not for obvious reasons.

[RotationSlimWang]

Good Will Hunting is a seriously quality flick despite the schmaltzy, convenient conclusion. Plus I'm a sucker for stories about geniuses. And no, I haven't seen it, and don't intend to. His ponderous slow-moving bullshit can stay away from me.

[RotationSlimWang]

I've seen Cowboy, frankly it fucking sucks despite the inclusion of Israelite on the soundtrack.

[schoolofruckus]

It's not my favorite of his either, but it's a good movie. And it's definitely a tributary into Trainspotting.

[schoolofruckus]

Why is Rushmore rated R?

I haven't seen Diving Bell yet. I'll check it out this weekend.

Thanks for the ideas. Keep them coming. I have these kids for a 2.5 hour block Monday-Thursday. It's really hard to keep them interested when your bombarding them with all that they were supposed to get during the school year. I figure I can fit in one good movie occasionally that is connected to the various poems, short stories, actitivities, etc. that we are doing. For my sanity and theirs. I greatly appreciate the help.

You haven't seen Rushmore? Like iv3rdawg said, it's got a little bad language. It's nothing they haven't seen before.

You should also fail any student who doesn't like either of these two movies.

[Hopeless Semantic]

I managed to finally watch a movie I bought a few weeks ago, and it was pleasantly good. The movie is called The Namesake and it stars Kal Penn of Harold & Kumar fame. It is about the early life of Gogol (Penn) as he goes through the pains of growing up and growing up Indian in America. It also deals with the clash of cultures between father and son which is somewhat close to my experience. Great movie in my opinion and I recommend it.

[chairmenmeow47]

i just want to thank you for accommodating us. you see, we only thought we were going to be three, but uh, someone invited himself along, so i apologize.

[wmgaretjax]

Plus I'm a sucker for stories about geniuses.

Yeah. Me too.

[RotationSlimWang]

It's not my favorite of his either, but it's a good movie. And it's definitely a tributary into Trainspotting.

What? How in the fuck does Cowboy have anything remotely to do with Trainspotting except that they both involve drugs? You're insulting one of the two best movies ever made.

[wmgaretjax]

What? How in the fuck does Cowboy have anything remotely to do with Trainspotting except that they both involve drugs? You're insulting one of the two best movies ever made.

"Trainspotting" isn't that good....

[schoolofruckus]

Cowboy reminded me of Trainspotting in its depiction of a band of drug users and petty thieves. It's not a deep, intricate connection; I just think they're in the same family tree. Trainspotting is worlds better, though.

[RotationSlimWang]

Yes, it is.

[RotationSlimWang]

That's a pretty fucking tenuous connection, Gabe.

[chairmenmeow47]

"Trainspotting" isn't that good....

what the holy hell?!?!

[schoolofruckus]

That's a pretty fucking tenuous connection, Gabe.

Admittedly so.

[mountmccabe]

There's a ton of consistency with Antonioni's work: stark, gorgeous, multi-layered photography that evokes things no prose ever could; a recurring disavowal of elite, capitalist values, and the way they often mask a person's hollow core; and, as mentioned in many of the above synopses, a phenomenal instinct when it comes to ending the film. He's like the anti-Spielberg in - well, in every way - but primarily in his ability to stick the landing like nobody's business.

And, along with Stanley Kubrick and John Cassavetes, he was in my personal holy trinity of filmmakers.

Thanks for the run-down, Gabe. I'll def be checking out some of those because I haven't seen anything the guy's done. Anything by David Gordon Green either.

[schoolofruckus]

Thanks for the run-down, Gabe. I'll def be checking out some of those because I haven't seen anything the guy's done. Anything by David Gordon Green either.

Given that you are a Tarkovsky fan, I think you will love Antonioni.

Also, sorry that my quoting of you exposes you as a philistine.

[mountmccabe]

Sokurov should also be considered for greatest living filmmaker (not american).

I loved Russian Ark and need to purchase it/see it again but that's the extent of my exposure here. What of his other films should I track down?

[Somewhat Damaged]

Is anyone else going to see Hancock? Caught a matinee of it yesterday and enjoyed it. There's a third-act twist that has gotten some notoriety. It's clearly telegraphed before the film is 10 minutes old, but it's not like a Shyamalan thing where your reception of the movie is contingent on being surprised by the twist. This certainly could have benefited from being a bit longer but I guess that's not the harshest criticism to make of a film.

[schoolofruckus]

I doubt I will see it. I really dug Friday Night Lights, but life is only so long.

[Young blood]

Im going to take a wild guess on hancock because I refuse to see any more will smith movies......


Charlezey Theron is a evil charecter and fights hancock to the death.

[wmgaretjax]

I loved Russian Ark and need to purchase it/see it again but that's the extent of my exposure here. What of his other films should I track down?

"Mother and Son" would probably be my next recommendation. And if you are a tarkovsky fan, you will love it.

[wmgaretjax]

what the holy hell?!?!

in that it isn't one of the two best movies ever made.

[Somewhat Damaged]

Im going to take a wild guess on hancock because I refuse to see any more will smith movies......


Charlezey Theron is a evil charecter and fights hancock to the death.

She does have powers like him, and at first I thought she was the villain, but while they do have one battle, it isn't to the death and they both end up saving each other's lives.

[RotationSlimWang]

in that it isn't one of the two best movies ever made.

You fucking name for me a movie that is a more cohesive blend of content, visuals, and sound. Best employment of a soundtrack ever. Not a drop of acting that isn't brilliant. Several of the most affecting scenes I've ever witnessed on a screen. Masterful juxtaposition of the world of its characters. Fuck you, art ***.

[wmgaretjax]

You fucking name for me a movie that is a more cohesive blend of content, visuals, and sound. Best employment of a soundtrack ever. Not a drop of acting that isn't brilliant. Several of the most affecting scenes I've ever witnessed on a screen. Masterful juxtaposition of the world of its characters. Fuck you, art ***.

I didn't say it wasn't great. I just said it can't possibly be one of the two best movies of all time. Unforunately 2001 and Decalogue were made... So that pushes it to at least 3... Unfortunately for it I think it might get pushed down a couple dozen more notches before I finish...

[RotationSlimWang]

Oh my god, 2001 isn't even in Kubrick's top five. I hate you, Jared. When is my kid going to be born already?

[schoolofruckus]

Randy, why do you hate children and love?

[wmgaretjax]

Oh my god, 2001 isn't even in Kubrick's top five. I hate you, Jared. When is my kid going to be born already?

That's it. You are wrong. Period. End of story. Go fucking die you piece of horse shit. I'm going to fuck you up the ass without a reach around the next time I see you. Fucking dirtbag. Hater.

[RotationSlimWang]

Clockword
Full Metal
The Shining
Strangelove

Cut it down to four--now you seriously wanna try and tell me 2001 is better than any of those fucking movies? It's about a killer space station, for fuck's sake.

[schoolofruckus]

Clockwork
2001
Strangelove
Full Metal Jacket
Paths of Glory


It's about the birth of life on this planet.


Also, in a hilarious turn of events, "Stanley Kubrick" by Mogwai just came on my iTunes.

[wmgaretjax]

Clockword
Full Metal
The Shining
Strangelove

Cut it down to four--now you seriously wanna try and tell me 2001 is better than any of those fucking movies? It's about a killer space station, for fuck's sake.

yeah... it's better than all of those. And Gabe knows how to watch a movie.

Seriously guys, we've done out Kubrick lists too many times, I know all your guys favorites...

[BlackSwan]

Clockword


wtf? d isn't even close to k.

[Hopeless Semantic]

For me, the top 4 is almost the same with Full Metal and Clockwork being nearly tied as Kubrick's faves. I'm not even going to debate on this issue, I am merely a bystander.

[schoolofruckus]

There's nothing to debate, really. Jared is right - we've whipped these out enough times already.

[Hopeless Semantic]

So, is Full Metal the best Vietnam war pic? Has that been debated too many times already here?

[woogie846]

So, is Full Metal the best Vietnam war pic? Has that been debated too many times already here?

Platoon could be one of them.

[woogie846]

Has anyone seen Mongol yet? How is it?

[Hopeless Semantic]

Platoon could be one of them.

I really liked Platoon as well. I'm not sure if Hamburger Hill can be placed in that category though. Oooh Apocalypse Now was a trip.

[BlackSwan]

"Trainspotting" isn't that good....

maybe in the world of people with huge splintered sticks up their asses...

[SoulDischarge]

I understand the Tarantino thing and I think it might be because of his over-abundance of 'cool.' While his films are definitely expertly crafted and technically sound, there is a bit of ironic distance that could stop people from truly connecting to his work. He's kind of like Godard in that he makes movies about movies and genre more than about real life people and emotions. I'm not saying he lacks depth or anything, but I do think he isn't quite as interested in trying to express the ineffable aspects of human nature that a lot of other great directors aim for. Tarantino's movies are very entertaining and moving, but I don't think they're especially profound most of the time. At least not in the same way that Kubrick, Bergman, Tarkovsky, etc. are. The types of movies he makes require a degree of emotional detachment, and it's bound to leave some people feeling a bit disconnected. I'm sure I'll eat my words on this one sometime, but I'm just offering it up for discussion.

Also, '2001' is a masterpiece and saying that it's about a killer spaceship is like saying 'Citizen Kane' is about a sled.

Also also, 'A Clockwork Orange' is playing at the Hollywood Forever Cemetery on July 19th for anyone in the LA area that's interested.

[Down Rodeo]

Jared and Gabe are both right. 2001 is clearly Kubrick's best and one of the greatest of all time. Full Metal is good, but not one of Kubrick's best and definitely not the best Vietnam movie. That would be Apocalypse Now. Or maybe The Deer Hunter.

[schoolofruckus]

I understand the Tarantino thing and I think it might be because of his over-abundance of 'cool.' While his films are definitely expertly crafted and technically sound, there is a bit of ironic distance that could stop people from truly connecting to his work. He's kind of like Godard in that he makes movies about movies and genre more than about real life people and emotions. I'm not saying he lacks depth or anything, but I do think he isn't quite as interested in trying to express the ineffable aspects of human nature that a lot of other great directors aim for. Tarantino's movies are very entertaining and moving, but I don't think they're especially profound most of the time. At least not in the same way that Kubrick, Bergman, Tarkovsky, etc. are. The types of movies he makes require a degree of emotional detachment, and it's bound to leave some people feeling a bit disconnected. I'm sure I'll eat my words on this one sometime, but I'm just offering it up for discussion.

Also, '2001' is a masterpiece and saying that it's about a killer spaceship is like saying 'Citizen Kane' is about a sled.

Also also, 'A Clockwork Orange' is playing at the Hollywood Forever Cemetery on July 19th for anyone in the LA area that's interested.

This is mostly true. However, I think Godard had waaaaay more to say about the world we live in than Tarantino has even attempted to. That's fine - it's not QT's bag. But Godard, for all his film-brat posturing, was also a worthy social commentator.

I meant to say this long ago, but he is, of course, high in the running for best living filmmaker.

Awesome tip on the Cinespia event.

[Hopeless Semantic]

I really want to do the Hollywood Forever thing, but damn no one is down lol...

[amyzzz]

Can anyone help me with ideas for PG-13 movies that could engage an 8th grade summer school class and include a powerful and effective "inspirational speech?"
I haven't read through all the pages yet.

I would say Lord of the Rings: Return of the King
(Aragorn's speech to the army)

[Down Rodeo]

I meant to comment on the other directors that were mentioned earlier. They're all great choices, but for me, I think what sets Scorsese apart is his full body of work, which I think is more consistently great than any of those other directors. I think David Lynch or maybe the Coens come closest, but they have their inconsistencies that put them a notch below Scorsese. I can't really comment on van Sant since I've only seen his most popular movies. And Tarantino's great, but he probably needs another decade of making movies before we can really comment on his work.

By the way, Antonioni doesn't really do it for me yet. I've seen L'Avventura and I own Blow-Up, but neither one of them really blew me away after first viewing. Maybe I need more time with his work.

[garrett222]

i loved hancock. great movie. *** - must see summer film

[RotationSlimWang]

I meant to comment on the other directors that were mentioned earlier. They're all great choices, but for me, I think what sets Scorsese apart is his full body of work, which I think is more consistently great than any of those other directors. I think David Lynch or maybe the Coens come closest, but they have their inconsistencies that put them a notch below Scorsese. I can't really comment on van Sant since I've only seen his most popular movies. And Tarantino's great, but he probably needs another decade of making movies before we can really comment on his work.

By the way, Antonioni doesn't really do it for me yet. I've seen L'Avventura and I own Blow-Up, but neither one of them really blew me away after first viewing. Maybe I need more time with his work.

Are you fucking kidding me? First of all, David Lynch still has yet to make a single good movie despite all you dumbassed fanboys (you know who you are), but to say that Scorcese is more consistent than the Coens is just ridiculous.

[Down Rodeo]

Umm...Blue Velvet and Mulholland Dr. are fucking amazing movies, and it's a shame that you can't see it.

And yes, movie for movie, I consider Scorsese to be more consistent than the Coens. Even Scorsese's weakest recent movies like Gangs of New York are better than, say, Intolerable Cruelty. A matter of personal preference, my friend.

[RotationSlimWang]

Mulholland Drive is a convoluted piece of tripe. How about Kundun?

[Down Rodeo]

Haven't seen Kundun yet, so I can't say. Bringing Out the Dead probably makes up for it, though. Ladykillers?

[RotationSlimWang]

Casino, the fifth entry in the Three Hours Of Annoying Arguing Wop Assholes series of films.

[Down Rodeo]

Good ol' American bigotry.

[Mr. Dylanja]

Randy what are some of your all time favorite films?

[schoolofruckus]

Are you fucking kidding me? First of all, David Lynch still has yet to make a single good movie despite all you dumbassed fanboys (you know who you are), but to say that Scorcese is more consistent than the Coens is just ridiculous.

It's a very transparent mistake to get hostile about a subject that, for whatever reason, you simply don't understand.

[algunz]

Every time I peak in here it feels like you all are having the same discussions over and over again.




Thanks Amy.

[schoolofruckus]

I'd like to be a smartass about Your Teachership talking about "peak"ing in here. But in this case, I fear you're right. Maybe after 280 pages, we're going into re-runs.

[amyzzz]

Somewhere in here we listed our top 25 movies of all time.

[amyzzz]

And I'm pretty sure the "top ten" Kubrick movies are in here too.

[algunz]

Dam I ahte it when I fuck up my spellin wit yew peeps.

[amyzzz]

I wish I was peaking.

[algunz]

Me too, in every sense of the word.

[amyzzz]

Hey Gabe, are there any David Lynch DVD collections out?

[RotationSlimWang]

Good ol' American bigotry.

You never had to actually fucking live around them. Let me let you all in on a little secret--New York guineas are some dumb, uninteresting motherfuckers. There is absolutely NO fucking reason to have made almost half a dozen movies about the same fucking characters.


Randy what are some of your all time favorite films?

Favorite or best? There's a difference. Favorite looks like this:

Ghostbusters
Caddyshack
Blazing Saddles
A History Of The World Part I
etc.

The best movies ever made though go like this:

1 & 2--Pulp and Trainspotting, tied.
3 & 4--City of God and Citizen Kane, tied.
After that ordering becomes less fixed: A Clockwork Orange, The Empire Strikes Back, Apocalypse Now, The Princess Bride, Rocky Horror, Cool Hand Luke, it goes on.

[thestripe]

Mulholland Drive stinks.

[algunz]

It's kind of scary how much I can relate to both your lists, Randy.

You're still an asshole though. : )

[RotationSlimWang]

Mulholland Drive stinks.

You ain't just whistlin' dixie--it stinks on ice. That movie blows an army of dogs.


It's kind of scary how much I can relate to both your lists, Randy.

You're still an asshole though. : )

And you still wish you could blow me.

[algunz]

As long as you have a detachable penis, so I wouldn't have to listen and deal with the dick attached.

[iv3rdawG]

New clip of The Joker in action:

BqJeHW53Lp0

Starts at about 32 seconds.

[RotationSlimWang]

WHAT FUCKING LANGUAGE IS THAT CRAZY BITCH SPEAKING?!

[RotationSlimWang]

Also, that clip is exactly why I didn't want Heath in this fucking role. GODDAMMIT.

[algunz]

WHAT FUCKING LANGUAGE IS THAT CRAZY BITCH SPEAKING?!

Good question.

Heath's performance has potential to be interesting, but that dialogue was pretty cliche.

[unitedwestand]

http://www.apple.com/trailers/fox/thedaytheearthstoodstill/large.html
will this be another new war of the worlds?
it looks frigen cool, though, needless to say...

[luckyface]

Pretty much looks like a combination of the The Mist and War of the Worlds.

[KungFuJoe]

You never had to actually fucking live around them. Let me let you all in on a little secret--New York guineas are some dumb, uninteresting motherfuckers. There is absolutely NO fucking reason to have made almost half a dozen movies about the same fucking characters.



New York wouldn't have the best pizza if it weren't for those dumb ass guineas.

Also, City of God probably wouldn't exist if wasn't for the Godfather or Goodfellas.

I will agree that the Coen brothers are more consistent than Scorcese though. Damn those interesting jews.

[RotationSlimWang]

No, their food is great, and they're amusing in anecdotes--aside from that, they can all stay the fuck away from me.

City Of God certainly wouldn't exist if not for The Godfather. You know. An actually good movie about somewhat interesting dagos.

[RotationSlimWang]

Here's the thing--I WOULD BE A TEN TIMES BETTER JOKER THAN THIS.

Just saying.

[KungFuJoe]

let's talk about real italians

blixdlehPCg

[RotationSlimWang]

Are we sure they don't suck first?

[RotationSlimWang]

I'm just saying, let's be absolutely sure these Italians aren't going to be the disaster that the ones we already let over were.

[KungFuJoe]

Asia always sucks first

[Down Rodeo]

Motherfuckers, say whatever you want about Scorsese, but at least spell his goddamn name correctly.

Sorry, I couldn't help myself.

Randy, at least you have respect for Citizen Kane. I can't fault you for that.

[RotationSlimWang]

Motherfuckers, say whatever you want about Scorsese, but at least spell his goddamn name correctly.

Sorry, I couldn't help myself.

Haha, fair enough.

Also--No.

[Backwater]

I know he wasn't American but no love for Hitchcock here? What gives? Also, John Huston and Billy Wilder should be mentioned in the top ten. As far as living directors, Todd Solondz is incredibly underrated.

Slimwang, two of your favorite movies are on AMC tonight back to back. Animal House, then History of the World, then Animal House again.

[whynotsmile99]

I'm inclined to put all three of the guys you listed in the discussion as well, even though I hated Alexander, Inside Man, and Before the Devil Knows You're Dead.

With Antonioni - watch everything you can get your hands on. Here are my feelings on his work, covering his creative prime (I haven't seen any of his really early or later work):

Il Grido - A father and his daughter hit the road after her mother rejects him, staying with various former and future lovers along the way. It's more conventional than his other films, and it drags a little bit in the middle. But the bleak ending is terrific, and is a striking window into the future direction Antonioni would go.

L'Avventura - During a boating excursion among bourgeois friends, a young woman goes missing; her not-so-wealthy friend Claudia vows to find her, along with the vanished woman's extremely wealthy fiancee. They are soon sidetracked and begin a gaudy affair, with Claudia being seduced by the life that's always been outside her grasp. This film is fucking brilliant.

La Notte - A rich couple whose marriage is falling apart attends a party out of obligation, where both of them are tempted to stray by other partygoers. This isn't Antonioni's most engaging film, but it is a great depiction of what it's like to feel alone no matter how crowded the room is.

L'Eclisse - A young woman leaves her lover and embarks on a new romance with an aggressive young stockbroker. This is Antonioni's most detached, unconventional narrative, and it's definitely a film that needs a little time to marinate. But the ominous subtlety paints a vivid portrait of the undernourishment of the characters' souls. The finale is one of the most harrowing sequences I've ever seen on film.

Il Deserto Rosso - Antonioni's first color film; this will be the hardest one for you to find because it hasn't been released in the US. It's worth the effort to track down if you like his other stuff. A woman has moved with her recently-promoted husband to a remote industrial location; the stifling artificial landscape induces a growing hedonism among their acquaintances and themselves, and eventually begins to drive her to delusion. If you liked Todd Haynes' Safe - this is a very obvious predecessor.

Blow-Up - Impossible not to love. The photographer's feigned social conscious is one of the more cynical revelations I've seen, and one of my favorite endings ever. Obviously, it's a delicious feast, and worthy of all the praise it has been given.

Zabriskie Point - This is Antonioni's weirdest, most surreal film. A vigilante student and a hippie working in the corporate world convene unexpectedly out in the desert for an afternoon of exile that somehow becomes an orgy. Terrific Pink Floyd score. And one of the most cathartic out-there endings in movie history.

The Passenger - Antonioni's most "entertaining" film. Jack Nicholson plays an English journalist who journeys to Africa to interview a guerilla army and encounters a deceased colleague in his hotel room. Disenfranchised professionally and personally, he assumes the dead man's identity, and returns to Europe to find he has become a weapons dealer. The film's climax is a 10 minute long shot that is one for the time capsule.


There's a ton of consistency with Antonioni's work: stark, gorgeous, multi-layered photography that evokes things no prose ever could; a recurring disavowal of elite, capitalist values, and the way they often mask a person's hollow core; and, as mentioned in many of the above synopses, a phenomenal instinct when it comes to ending the film. He's like the anti-Spielberg in - well, in every way - but primarily in his ability to stick the landing like nobody's business.

And, along with Stanley Kubrick and John Cassavetes, he was in my personal holy trinity of filmmakers.

sounds good thanks for the info. Look forward to watching more of his stuff. Going to bump a bit of his stuff on netflix next week

[woogie846]

I just watched Midnight Run. It's a fun movie.

[whynotsmile99]

damn, how could i leave David Fincher and Tim Burton off my list. I'll see whatever those guys put out.

and Todd Solondz, as someone else pointed out, is getting up there. A few more Storytellings and he will soon be a favorite.

i have too many favorites.

[Somewhat Damaged]

Tim Burton kinda annoys me. Maybe 'cause I've worked with people who remind me of him and they've annoyed me tremendously. But also because Planet of the Apes and Charlie and the Chocolate Factory were really shit.

[Backwater]

Storytelling is the shit but it isn't even an hour long is it? Tim Burton started to slack off with some stupid remakes but Sweeny Todd is great, his best since Ed Wood.

[Somewhat Damaged]

I had a pot brownie when I saw Sweeney Todd and was fuckin' stoned outta my head. All I really remember from it is that Sweeney kills Sascha Baron Cohen's character and dies at the end.

When I saw Blazing Saddles, I took Ecstasy and all I remember is the black guy being sheriff and wondering what the fuck was going on. I should probably check that out again sometime soon.

[Backwater]

I once watched part of an episode of Lost when I was tripping on probably the best hit of acid I've experienced (like a lot of you guys last weekend at EDC.) It was fucking hilarious. I laughed harder than I can ever remember. What a stupid fucking show.

[Somewhat Damaged]

Speaking of Kubrick...

http://www.guardian.co.uk/media/2008/jul/03/channel4.kubrick

[KungFuJoe]

I finally got around to watching the Dasepo Naughty Girls movie. It was exactly the kind of goofy satire I was hoping it would be. Just as funny as the series, but a hell of a lot prettier. Candy cinema at it's most fun. I wanted to lick the screen half the time. I'm not sure how to exactly explain it, but it follows numerous stories of the korean students & faculty at a high school called "No Use" high. It's off the wall zanyness rarely loses it's charm. I was pretty much smitten by this film. How can you not be when there are cyclops, dragons, cross dressers named "big razor sis" & poverty riding a girls back. that's all I can say. lovely pic.

[RotationSlimWang]

I know he wasn't American but no love for Hitchcock here? What gives? Also, John Huston and Billy Wilder should be mentioned in the top ten. As far as living directors, Todd Solondz is incredibly underrated.

Slimwang, two of your favorite movies are on AMC tonight back to back. Animal House, then History of the World, then Animal House again.

Oh god, just shut up forever. Anyone who claims to actually enjoy Hitchcock's bullshit should be forcefed balls until death.

Also, forgive me for failing to include Beetlejuice on the ten best movies ever made.

[RotationSlimWang]

I finally got around to watching the Dasepo Naughty Girls movie. It was exactly the kind of goofy satire I was hoping it would be. Just as funny as the series, but a hell of a lot prettier. Candy cinema at it's most fun. I wanted to lick the screen half the time. I'm not sure how to exactly explain it, but it follows numerous stories of the korean students & faculty at a high school called "No Use" high. It's off the wall zanyness rarely loses it's charm. I was pretty much smitten by this film. How can you not be when there are cyclops, dragons, cross dressers named "big razor sis" & poverty riding a girls back. that's all I can say. lovely pic.

If you're going to insist on watching Asian b-movies, could you please not bring them up like they're anything more than some big Asia festish masturbation session?

You disgust me. Also, can I get a copy of that? With or without the come, thanks.

[algunz]

I agree on Beetlejuice, but the hate on Hitchcock is a bit surprising.

[Mr. Dylanja]

Guillermo Del Toro, what does the panel say about him?

[RotationSlimWang]

All that Old Hollywood crap can get fucked. I tried watching Hitchcock--it was absurdly contrived snail-paced bullshit.

[algunz]

Can it be contrived if it's one of the first?

Forced? He always just seemed like an explorer.

[Backwater]

Oh god, just shut up forever. Anyone who claims to actually enjoy Hitchcock's bullshit should be forcefed balls until death.

Also, forgive me for failing to include Beetlejuice on the ten best movies ever made.

You didn't enjoy Psycho or North by Northwest, even remotely? Are you alive?

[algunz]

My favorite Hitchcock is Rear Window.

[Backwater]

All that Old Hollywood crap can get fucked. I tried watching Hitchcock--it was absurdly contrived snail-paced bullshit.

Old Hollywood Crap? You don't have any appreciation for Film Noir at all? Did somebody order a hipster because there's one right here

[algunz]

Hitchcock is not film noir.

[RotationSlimWang]

Can it be contrived if it's one of the first?

I dunno, go watch The Man Who Knew Too Much, report back on whether or not there's such a thing.

[KungFuJoe]

hahaha. the movie is like a big Asia fetish masturbation session. if you're bored you can watch the series on youtube http://www.youtube.com/watch?v=PfXONIZYEXw

[Somewhat Damaged]

My favorite Hitchcock is Rear Window.

Same here. Although I think Disturbia is superior.

[Backwater]

Hitchcock is not film noir.

No kidding? Thanks for the info. I was refering to his post awhile back about how hardley any films made before the 70's are worth a shit.

Disturbia is BETTER than Rear Window?!?!? Anything with Shia Lebouf in it is automatically much worse than the original.

[Somewhat Damaged]

I was being facetious, dumbass.

[Backwater]

Well you never can tell who is being facetious or not on the internet. I apologize, you interneter.

[wmgaretjax]

Todd Haynes!!! One more film and I'd be willing to include him as a contender for best living American filmmaker (Safe, Poison, I'm Not There... and his other efforts are fantastic as well).

Todd Solondz is an interesting person to bring up, I fucking loved Palindromes.

[Somewhat Damaged]

Well you never can tell who is being facetious or not on the internet. I apologize, you interneter.

Good point. But don't call me "interneter." Too close to "******" for my liking.

[Mr. Dylanja]

I apologize, you interneter.

Shouldn't it be netter or did you do it because it sounds neater?

[Backwater]

Todd Haynes!!! One more film and I'd be willing to include him as a contender for best living American filmmaker (Safe, Poison, I'm Not There... and his other efforts are fantastic as well).

Todd Solondz is an interesting person to bring up, I fucking loved Palindromes.

I've actually yet to see Palindromes but Welcome to the Dollhouse, Happiness and especially Storytelling are fantastic. Yet he is never mentioned in great director conversations, that's why I brought him up. An underrated Jew, what do you know? The anitthesis of George Lucas, Solondz must be.

[Backwater]

I meant Spielberg, sorry. Lucas isn't a Jew but he's still overrated. Episode III was alright but it still wasn't even as good as Jedi. Can anybody think of one director that got better with age? I can't. Young directors like PTA don't count. Can anyone name an older director who is over 40 that has became better with age? It seems impossible, but I'm very welcome to any suggestions.

[Somewhat Damaged]

How can there be such a thing as an underrated Jew? Randy knows what I mean, amiright?

[RotationSlimWang]

Dear god just shut the fuck up.

EDIT: For Backwater, not you, Rick.

SECOND EDIT: Actually you shut the fuck up too.

[wmgaretjax]

I meant Spielberg, sorry. Lucas isn't a Jew but he's still overrated. Episode III was alright but it still wasn't even as good as Jedi. Can anybody think of one director that got better with age? I can't. Young directors like PTA don't count. Can anyone name an older director who is over 40 that has became better with age? It seems impossible, but I'm very welcome to any suggestions.

Kieslowski, Tarr, Tarkovsky... To name the ones that jump into my head. Kieslowski in particular really ripened and made his best work towards the end of his career. Bergman was very similar (his last couple of films are arguable). Bresson was the same way... Seems only in america we let our filmmakers decay...

Tarkovsky made Solaris at 40 and Stalker later than that

Kieslowski made Dekalog at 50, and Three colors at 55

Bergman made Cries and Whispers well into his 50s...

Tarr Werckmeister Harmonies at 45

Bresson Pickpocket at 58

there you go. and those are my favorite films by those directors, all made later in their career. I'm a firm believer in older filmmakers (whatever that means).

[Down Rodeo]

I don't know, Andrei Rublev was Tarkovsky's second movie and it's pretty damn fantastic. And Bergman's early work was still amazing, I don't care what anyone might say.

[Backwater]

[QUOTE=wmgaretjax;665083]Seems only in america we let our filmmakers decay...

QUOTE]

Yeah, you know it's sad but true.

[wmgaretjax]

I don't know, Andrei Rublev was Tarkovsky's second movie and it's pretty damn fantastic. And Bergman's early work was still amazing, I don't care what anyone might say.

Bergman's early work is great, but nothing matches "Cries and Whispers." Just an example of a director that continued to grow and produce great work that built upon what he did as a young filmmaker.

I agree, Rublev is great, Mirror is a masterpiece, but Solaris and Stalker are transcendental.

[Down Rodeo]

Don't forget Fanny and Alexander either. And I really need to see Cries and Whispers soon.

[Backwater]

What does eveyone think of Salvador Carassco and The Other Conquest?

[whynotsmile99]

I've actually yet to see Palindromes but Welcome to the Dollhouse, Happiness and especially Storytelling are fantastic. Yet he is never mentioned in great director conversations, that's why I brought him up. An underrated Jew, what do you know? The anitthesis of George Lucas, Solondz must be.

"Palindromes" is a riot. If you loved the others, you will love Palindromes.
I think that ties with "Welcome To THe Dollhouse" as my favorite Solondz film, followed by "Happiness" and my least favorite, "Storytelling", which I still love.

Has anyone seen his first film, before "Welcome TO The Dollhouse?" called "Fear, Anxiety &Depression"

never heard of it before. I for some reason always assumed WTTD was his first.

[wmgaretjax]

Don't forget Fanny and Alexander either. And I really need to see Cries and Whispers soon.

And "Scenes From a Marriage." Everything Bergman touched was pretty much gold for me.

[SoulDischarge]

Luis Bunuel was another one who improved as he aged. Although I do love me some 'Un Chien Andalou.'

[Backwater]

Has anyone seen Sydney? I wouldn't expect it to be as good as Boogie Nights but I'm just curious.

[whynotsmile99]

Luis Bunuel was another one who improved as he aged. Although I do love me some 'Un Chien Andalou.'

Pedro Almodovar for sure as well

[Backwater]

Luis Bunuel was another one who improved as he aged. Although I do love me some 'Un Chien Andalou.'

Girlie so groovy, I want you to know. Slicing up eyeballs, I want you to know. I want to grow up to be, be a Debaser.

[Backwater]

I love the Pixies so much I think I'm insane. How can one person like one band so much?

I just saw In Bruges . . . fucking awesome. After Wall-E and Forgetting Sarah Marshall it's the third best movie of the year!

[schoolofruckus]

I've actually yet to see Palindromes but Welcome to the Dollhouse, Happiness and especially Storytelling are fantastic. Yet he is never mentioned in great director conversations, that's why I brought him up. An underrated Jew, what do you know? The anitthesis of George Lucas, Solondz must be.

Count me out of Solondz worship. Happiness is a great film and parts of Storytelling were really sharp, but I had huge problems with Welcome to the Dollhouse and Palindromes.


Kieslowski, Tarr, Tarkovsky... To name the ones that jump into my head. Kieslowski in particular really ripened and made his best work towards the end of his career. Bergman was very similar (his last couple of films are arguable). Bresson was the same way... Seems only in america we let our filmmakers decay...

Tarkovsky made Solaris at 40 and Stalker later than that

Kieslowski made Dekalog at 50, and Three colors at 55

Bergman made Cries and Whispers well into his 50s...

Tarr Werckmeister Harmonies at 45

Bresson Pickpocket at 58

there you go. and those are my favorite films by those directors, all made later in their career. I'm a firm believer in older filmmakers (whatever that means).

Antonioni made Il Grido at age 45, and that's when his creative prime began. He went on to make 7 world-class films (including at least 4 at masterpiece-level) over the next 19 years.


Has anyone seen Sydney? I wouldn't expect it to be as good as Boogie Nights but I'm just curious.

Sydney is really good for what it is. It's obviously his least-impressive work, but it's a fine shoestring debut. The performances carry it more than the filmmaking.

[RotationSlimWang]

Welcome to the Dollhouse was bad enough in a specific way that I know I never have to see anything that man makes for the rest of my life.

[Backwater]

I think There Will Be Blood is the best American film made in the last ten years

[RotationSlimWang]

I think you're the worst American person made ever.

[schoolofruckus]

I don't think any of Solondz's film's are bad; there are just individual choices made in them that sink the ship. Plus, while he sometimes has some very interesting aspects of human nature to comment on (with Palindromes in particular), his stuff too often feels like an excuse to be sick for it's own sake.

[Backwater]

Welcome to the Dollhouse was bad enough in a specific way that I know I never have to see anything that man makes for the rest of my life.

In the specific way that you are a homosexual? We all know that Randy like to suck other mens penisis? This isn't a secret.

[Backwater]

Isick for it's own sake.


That's a great name for a metal band.

[Backwater]

I think you're the worst American person made ever.

Nice 4th of July rant, Spick. Go back to Mexico where you belong.

[RotationSlimWang]

God you can't even spell "spic" right.

[Blinken]

And your hat is fucking stupid

[Backwater]

And your hat is fucking stupid

Yeah, a hipster hat.

[RotationSlimWang]

Still funny.

[wmgaretjax]

Still funny.

Randy... Will you buy a hat like that and take a picture of yourself in it? Or better yet, Chris would you send the hat to Randy? It really belongs to him now.

[RotationSlimWang]

It is entirely possible that in the week leading up to Coachella I happened to find such a hat in a store and debate long and hard over purchasing it. There might even be a picture. Oh wait, there is.

http://i64.photobucket.com/albums/h165/thelastgreatman/Randy01.jpg