Really appreciate that. Truly. Thanks man. And I agree I should be positive more often on here.Alberto wrote:NoMoreDeadCops wrote:
The Stunt Man (1980)
dir: Richard Rush
The greatest film ever made. Period. Okay that's hyperbole. What I should say is that it's my favorite film of all time and I've seen a lot of films (Not a lame brag just a fact. The amount I've seen is not a good thing. It's probably verging on unhealthy. You get the idea.) This movie, I assure, is not liek anything you have ever seen...unless of course you've seen, say, Francois Truffaut's "Day for Night". If you have then you already grasp the awesome concept of movies about the making of a movie. This one takes it a step further. The amount of twists, turns, and ways that this movie just plain messes with you boggles the mind. The movie is gleefully sadistic in the way it keeps making you think you grasp the reality of what's going on. It's a simple yet genius premise: A guy on the run from the law hides out on a movie set and ends up getting cast in the movie just to avoid the police. Unfortunately the director happens to be the human embodiment of the Devil (a power mad and manipulative "puppeteer" played brilliantly by Peter O' Toole) and the leading lady (Barbara Hershey) just happens to fall in love with our hero, but is she even remotely trustworthy? I could go on and on about how much this movie has aspects of Inception in it and HUGE simialrities to The Prestige what with all the "tricking of your audience into believing magic" concepts. The magic here is the magic fo film. The movie's a celebration of film and a celebration of trickery. Any fan of Nolan should give it a watch. The hair, fashion, music and (some) cinematography, etc. is a bit dated but if you're a true movie fan you know that has nothing to do with the quality of a film. The rest withstands the test of time perfectly in my opinion. Couldn't recommend it enough.
P.S. I posted the Spanish poster because it's just so fucking cool. The movie is an American production and in English.
We need more posts like this on Nolanfans. Though I still don't understand why you hate AB and von Trier so much, I admire your knowledge of movies. You should post more about what you like, instead of what you dislike. Thanks for the recommendation, added it to my watchlist, and since you love it and praise it so much, I'll give it a shot one of these days.
Café Cinema: 1895 - 1999
Posts: 55632
Joined:
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What Alberto said. On my watch list as of today and definitely picking it up soon, thanks man! :goNF:Alberto wrote:NoMoreDeadCops wrote:
The Stunt Man (1980)
dir: Richard Rush
The greatest film ever made. Period. Okay that's hyperbole. What I should say is that it's my favorite film of all time and I've seen a lot of films (Not a lame brag just a fact. The amount I've seen is not a good thing. It's probably verging on unhealthy. You get the idea.) This movie, I assure, is not liek anything you have ever seen...unless of course you've seen, say, Francois Truffaut's "Day for Night". If you have then you already grasp the awesome concept of movies about the making of a movie. This one takes it a step further. The amount of twists, turns, and ways that this movie just plain messes with you boggles the mind. The movie is gleefully sadistic in the way it keeps making you think you grasp the reality of what's going on. It's a simple yet genius premise: A guy on the run from the law hides out on a movie set and ends up getting cast in the movie just to avoid the police. Unfortunately the director happens to be the human embodiment of the Devil (a power mad and manipulative "puppeteer" played brilliantly by Peter O' Toole) and the leading lady (Barbara Hershey) just happens to fall in love with our hero, but is she even remotely trustworthy? I could go on and on about how much this movie has aspects of Inception in it and HUGE simialrities to The Prestige what with all the "tricking of your audience into believing magic" concepts. The magic here is the magic fo film. The movie's a celebration of film and a celebration of trickery. Any fan of Nolan should give it a watch. The hair, fashion, music and (some) cinematography, etc. is a bit dated but if you're a true movie fan you know that has nothing to do with the quality of a film. The rest withstands the test of time perfectly in my opinion. Couldn't recommend it enough.
P.S. I posted the Spanish poster because it's just so fucking cool. The movie is an American production and in English.
We need more posts like this on Nolanfans. Though I still don't understand why you hate AB and von Trier so much, I admire your knowledge of movies. You should post more about what you like, instead of what you dislike. Thanks for the recommendation, added it to my watchlist, and since you love it and praise it so much, I'll give it a shot one of these days.
I've seen this back then (man, 30 years ago!) but I really don't remember most of it - Peter O'toole is what I recall the most. After reading Deadcops' post, I'll keep it in mind for a rewatch. By the way, nice to have you contributing on this thread. Keep it up! 
EDIT: Have you seen Kiss, Kiss, Bang, Bang? the scene where Robert Downey, running from the cops, ends up aditioning for a part in a movie and, filled with the emotion of the chase, gets it?
EDIT: Have you seen Kiss, Kiss, Bang, Bang? the scene where Robert Downey, running from the cops, ends up aditioning for a part in a movie and, filled with the emotion of the chase, gets it?
I haven't seen Kiss, Kiss, Bang, Bang no. But wow that's funny! Seems to be ripped straight from Stunt Man. Got to love homages. Or maybe it wasn't one. Who knows.dadosaboya wrote:I've seen this back then (man, 30 years ago!) but I really don't remember most of it - Peter O'toole is what I recall the most. After reading Deadcops' post, I'll keep it in mind for a rewatch. By the way, nice to have you contributing on this thread. Keep it up!
EDIT: Have you seen Kiss, Kiss, Bang, Bang? the scene where Robert Downey, running from the cops, ends up aditioning for a part in a movie and, filled with the emotion of the chase, gets it?
Yes, that's what I thought! Don't know if it was a homage, but that scene imediately came to mind after reading your post.NoMoreDeadCops wrote:I haven't seen Kiss, Kiss, Bang, Bang no. But wow that's funny! Seems to be ripped straight from Stunt Man. Got to love homages. Or maybe it wasn't one. Who knows.dadosaboya wrote:Have you seen Kiss, Kiss, Bang, Bang? the scene where Robert Downey, running from the cops, ends up aditioning for a part in a movie and, filled with the emotion of the chase, gets it?
If anyone's planning on renting or buying it, try to get this version. The second disc has a documentary that is so good it stands alone as its own movie about the hardships of making a movie. Given that The Stunt Man is already a movie about making a movie, one could say the second disc is a movie about making a movie about making a movie. Brilliant stuff.dadosaboya wrote:Yes, that's what I thought! Don't know if it was a homage, but that scene imediately came to mind after reading your post.NoMoreDeadCops wrote:
I haven't seen Kiss, Kiss, Bang, Bang no. But wow that's funny! Seems to be ripped straight from Stunt Man. Got to love homages. Or maybe it wasn't one. Who knows.
Angels with Dirty Faces- Directed by Michael Curtiz-1938
I am a huge James Cagney fan, and out of all his movies this one has to be my all time favorite. You had Michael Curtiz a few years before making his all time best Casablanca, but he was proving here what a good talent he could be. This was back during all the classic mobster movies WB was putting out, but this one had a little more originality.
A group of misfits and ruffians look up to Rocky Sullivan, played by Cagney in all his gangster greatness. He grew up in their same area and has just come home from a long stint in Jail. Rocky's best friend Jerry, played wonderfully by Pat O'Brien has grown up to become a priest, who is trying to steer these kids onto a better path than the one they are heading. With Rocky back in town this becomes increasingly difficult. This storyline has since become pretty commonplace, but this was back when it was fresh.
Both Cagney and O'Brien are fantastic. Humphrey Bogart is also here in a role before he became a leading man as a sketchy, conniving, backstabbing gangster. He plays the part so well I completely forgot about his roles that he would go on to do later. The camera work is brilliant, nothing ever quite gets to me like old black and white films with good and interesting cinematography. The way the shadows fall and create an atmosphere is beautiful. The big finale shoot out is of course exciting, but really at the end the most uninteresting part. The drama and moral questions the film brings up stay at the forefront of the movie. And the ending has one of the, if not all time best endings of any of Cagney's or WB's gangster flicks. Highly recommended for anybody who A. likes old films and B. like gangster films of any kind.
I am a huge James Cagney fan, and out of all his movies this one has to be my all time favorite. You had Michael Curtiz a few years before making his all time best Casablanca, but he was proving here what a good talent he could be. This was back during all the classic mobster movies WB was putting out, but this one had a little more originality.
A group of misfits and ruffians look up to Rocky Sullivan, played by Cagney in all his gangster greatness. He grew up in their same area and has just come home from a long stint in Jail. Rocky's best friend Jerry, played wonderfully by Pat O'Brien has grown up to become a priest, who is trying to steer these kids onto a better path than the one they are heading. With Rocky back in town this becomes increasingly difficult. This storyline has since become pretty commonplace, but this was back when it was fresh.
Both Cagney and O'Brien are fantastic. Humphrey Bogart is also here in a role before he became a leading man as a sketchy, conniving, backstabbing gangster. He plays the part so well I completely forgot about his roles that he would go on to do later. The camera work is brilliant, nothing ever quite gets to me like old black and white films with good and interesting cinematography. The way the shadows fall and create an atmosphere is beautiful. The big finale shoot out is of course exciting, but really at the end the most uninteresting part. The drama and moral questions the film brings up stay at the forefront of the movie. And the ending has one of the, if not all time best endings of any of Cagney's or WB's gangster flicks. Highly recommended for anybody who A. likes old films and B. like gangster films of any kind.
Posts: 55632
Joined:
May 2010
fenwayconnor wrote:Angels with Dirty Faces- Directed by Michael Curtiz-1938
I am a huge James Cagney fan, and out of all his movies this one has to be my all time favorite. You had Michael Curtiz a few years before making his all time best Casablanca, but he was proving here what a good talent he could be. This was back during all the classic mobster movies WB was putting out, but this one had a little more originality.
A group of misfits and ruffians look up to Rocky Sullivan, played by Cagney in all his gangster greatness. He grew up in their same area and has just come home from a long stint in Jail. Rocky's best friend Jerry, played wonderfully by Pat O'Brien has grown up to become a priest, who is trying to steer these kids onto a better path than the one they are heading. With Rocky back in town this becomes increasingly difficult. This storyline has since become pretty commonplace, but this was back when it was fresh.
Both Cagney and O'Brien are fantastic. Humphrey Bogart is also here in a role before he became a leading man as a sketchy, conniving, backstabbing gangster. He plays the part so well I completely forgot about his roles that he would go on to do later. The camera work is brilliant, nothing ever quite gets to me like old black and white films with good and interesting cinematography. The way the shadows fall and create an atmosphere is beautiful. The big finale shoot out is of course exciting, but really at the end the most uninteresting part. The drama and moral questions the film brings up stay at the forefront of the movie. And the ending has one of the, if not all time best endings of any of Cagney's or WB's gangster flicks. Highly recommended for anybody who A. likes old films and B. like gangster films of any kind.
Pizza delivery.
One of my favorite Bond movies: Thunderball (1965)
Looks great on Blu!
Dr. Strangelove or: How I Learned To Stop Worrying and Love The Bomb (1964)
Based on the book Red Alert - which describes an atomic war that started accidentally, this Stanley Kubrick masterpiece became a cult classic. His take on the adaptation, turned a Cold War thriller novel into a sinister comedy of the atomic age. The story unfolds when a delusional Air Force general orders a first strike nuclear attack on the Soviet Union. All kinds of surreal situations follows the attempts to recall the bombers and prevent a nuclear apocalypse.
Besides Kubrick's vision, Dr. Strangelove's is mostly notorious for the performance of its cast. Peter Sellers brilliantly plays three characters: British Captain Lionel Mandrake, the President, and the weird Dr, Strangelove, a former Nazi with a hilarious uncontrollable hand that, apparently, has a Nazi mind of its own. Originally, Sellers was casted to play a fourth role, Major "King" Kong (played by Slim Pickens), but could not do it due to an injury in his leg and some difficulties do reproduce the character's texan accent.
Kubrick used to consider Sellers as a genius, but during the shooting, it became clear that the manic energy of the actor rarely lasted more than 2 or 3 takes (and we all know how much Kubrick likes to do countless takes). To overcome this problem, Kubrick shot Seller's scenes with two cameras simultaneously, while Sellers improvised for hours. George C. Scott also delivers in one of the best roles of his career.
But the most iconic scene of the movie does not have Sellers in it. Slim Pickens riding the falling bomb like a cowboy is maybe one of the most remembered images in Kubrick's filmography.
Dr. Strangelove's satire regarding the American war policies of that age, marked the beginning of the pacifist movement and the public protest acts that exploded in the late 60's, right after the film's release.
