All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Suddenly, life was more than French fries, gravy, and girls.
Set in 1959, Diner shows how five young men resist their adulthood and seek refuge in their beloved Diner. The mundane, childish, and titillating details of their lives are shared. But the golden moments pass, and the men shoulder their responsibilities, leaving the Diner behind.
Barry Levinson's "Diner" is a dialogue-driven slice of late 1950s life. With characters who would rather talk to each other than push further into adulthood, the film's focus on conversational character interaction over plot makes plenty of sense. There may not be a lot of forward motion here, but "Diner" manages to be affecting and engaging nontheless.
Steve Guttenberg, Daniel Stern, Mickey Rourke, Paul Reiser, Timothy Daly, and Kevin Bacon star as a group of pals trying hard to shrug off the responsibilities of adulthood as long as they can. With jobs, marriages, and grownup life calling, the friends would rather shoot the breeze at their favorite Baltimore diner than really growup. Through their interactions, the audience is able to…
Like the characters in the film, we all eventually move on from Diner more swiftly than expected. The world of bullshitting the night away, forensically debating the minutiae of youth and associated pursuits, now feels like a previous lifetime, a foreign, alien land. Once upon a time this was a fabulous roommate film on loop that captured those years and friends you never forget so vividly, regardless of era. It was real and true and every glance and nuance held me on tenterhooks. But then I turned 21. I changed. I got old. I left youth behind. Diner is now like a marvelous summer I only half remember, and half understand, but I always enjoy coming back to it. One…
'What's that John Wayne movie called? The one with the stagecoach...'
So that's Pop's Secret
As a Baltimore native, I appreciate "Diner" in some ways that other people may not -- its churches, restaurants, bars and neighborhoods are all places I am familiar with (it was shot on location). But this is a man's world in "Diner", a world I am not entirely comfortable with, which keeps me from fully enjoying the movie. A very well-done, clever film with great dialogue, but it's a "boys club only" movie at its core.
If American Graffiti made us rediscover drag racing, drive-ins and the promontory cliffs of Inspiration Point, then Diner simmers down the infectiousness by adding a more thoughtful approach to its proceedings. Don't get me wrong, there's still Dion & the Belmont's wonderful Doo-Wop, an iconic rock n' roll soundtrack, those chrome-trimmed cars and a sexual divide in late 50's Americana. But it's primarily about the passing elegy for this era and not a fetishistic adoration of its time. Five guys hang around in a Baltimore diner during 1959. One of them’s about to get married. One is already married. All of them are restless and unsure which paths they’re going to take through life. They relive old times, smoke too much,…
One of the great hangout movies. Besides, any film that quotes 'Sweet Smell of Success' has good shot at a mention in my cool book.
Good cast. But kinda Boring. Nothing I'll end up watching again
This review may contain spoilers. I can handle the truth.
Don't touch my records. Ever.
One of my favorite movies of 2008 was The Wrestler, and key to that film was the lead performance by Mickey Rourke. As much as I loved Sean Penn in Milk, I’m confident in saying that Rourke was robbed. However, one element of that whole story I wasn’t really in on was that of Rourke as an actor in need of a comeback. As the buzz around him as an actor mounted I checked his IMDB page and realized that the one and only other Mickey Rourke performance I’d actually seen was in Sin City, I was completely ignorant of the work he did in his prime. I hadn’t meant to avoid all of Rourke’s work, but I wasn’t around…
Setting this film in 1959 doesn't really help to make it feel any less cliché, but there is still a little heart left in this film.
Boyz II Men.
Individual scenes are perfect. The whole film meanders around whiny self-righteous white protagonists that, in 2016 I've had enough of.
But I loved the popcorn scene. And the radio scene. And Kevin Bacon as a villain makes way more sense.
The "pick up the beat" scene is worth the price of admission.
It got interesting characters, but the direction is too dull; a complete opposite of the intensity of its characters. Francis Ford Coppola and Whit Stillman dealt better with this kind of films. Also, John Hughes.
Diner's strength is the camaraderie of its protagonists, it's weakness the amount. Had it maybe been about five, even four men, we would be allowed a deeper look, helping to further dive into these characters. There is so much richness in their dialogue, that sometimes, the added drama of the subplots just feels like wasted space. Even so, the scenes in the diner help raise it into something worth remembering.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
Complete list. :-(