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…
So that's Pop's Secret
'What's that John Wayne movie called? The one with the stagecoach...'
This has been on my list of shame for some considerable time. Probably since I started watching it in my teenage years and gave up after the humorous popcorn cinema scene. My attention span was not what it should have been back then. Diner is a wonderful film with great music and a killer script and the relationships between the main actors (all at the start of their careers and varying in ability but all delivering) are perfect.
The only reason I don't love it more than I do is that they're all so reprehensible. From Mickey Rourke's womanising gambler to Steve Guttenberg's insistence at making his girlfriend take a test on Gridiron Trivia in order for them to get…
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,…
It's nearly impossible to watch Diner without thinking about George Lucas' American Graffiti; however, I personally prefer the former. It is a sort of coming-of-age film set in the nostalgic 1950's, set up in an episodic narrative, with many overlapping plot points and conflicts. The characters were developed well enough to make this seem like more than just another throwaway comedy. Moreover, it's got some of the most clever, insightful dialogues I've observed in movies lately. It does get a bit goofy at points, but this is hardly a setback. In all actuality, it's probably impossible for me to dislike a film that features a scene discussing the importance of music records.
that's the smile of the week!
It strays a few times, which is a shame
this a definitely a new favorite.
"Without good dreams, all you have is nightmares"
Dialogue driven movie, that doesn't really go anywhere, but provides a very ncie glimpse into the 1950s Baltimore in six young adult guys lifes, the same as American Graffiti did some years before. It is witty, feels always true and is helped by spot-on performances from the six leads, although one would hope that there was at least one character which wasn't deeply flawed.
Ay, get outta 'ere!
Doesn't go anywhere, but that's more because this movie is so focused and true to the characters that it just simple can't
Para mi una de las películas con mayor factor x de la historia. Unos diálogos que enamoran, una banda sonora superlativa en esta oda a la amistad y al paso de la juventud a la madurez.
Mickey rourke super joven apuntando maneras y una serie de escenas que estarán para siempre en mi memoria.
Barry Levinson's BALTIMORE quadrilogy kicks off with this magnificent sleeper hit about guys, women and a diner.
The best thing about this wonderfully verbose, honest and atmospheric slice of life is the fact that much of it takes place at night and in early sunrise, where all friendships are truly solidified.
This will explain everything: www.vanityfair.com/hollywood/2012/03/diner-201203
Has about three truly great scenes:
- Record collection argument
- Eddie and Billy at the strip-club
- Bouquet toss / speech to final freeze-frame
And plenty of good ones too of course. Evokes a specific milieu and way of thinking with such aching specificity, verisimilitude, and genuine emotion. Can't quite reconcile some of the more acrid elements—particularly towards the women in the picture—that seem so lightly shrugged off. Then again, this was Baltimore, 1959, but it still does keep me from absolutely loving the film. It's kind of miraculous how it keeps the many parallel strands going at the same time, and (mostly) gives each character his due (the women are, by and large, sidelined). From the first…
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…