Funny how Dean here is like a (negative, borderline parodic) Christ figure, but more pathetic than tragic: he doesn't survive the "Last Supper" and gets crucified on his own drunken ambition after going all Judas on himself.
That's not the only way angsty moody antihero Jett Rink manages to be a comical statement, and still his characterization stays mostly despicable. At the beginning of the motion picture he is the ultimate outsider, a lone poor cowboy filled with resentment and…
The subtle picture of a bird inside a cage with the door opened on the wallpaper of Ana's bedroom (in Christian Grey's Escala penthouse). "Mrs. Robinson" --in the invisible past of a straightforward filmic version of a glamourized Ben Braddock type (needless to say, on the polar opposite of Dustin Hoffman). Even the closed ending, because, you know, there are two sequels... hence a retrospective ambiguity to a romance tragedy (think 9 1/2 Weeks rather than Last Tango in Paris).
I'd say 50 Shades of Grey has more to do with The Graduate than Rumor Has It does.
Also, Dakota Johnson as Anastasia Steele forever <3
"Humuhumunukunukuapua'a" was the most fun number!, don't believe the naysayers (or the editors of the original telecast).
Three great masters together in one memorable (if irregular) anthology film. My favorite story now --again-- has to be Allen's Oedipus Wrecks, although Scorsese's Life Lessons is, at its best, vintage Scorsese. On the other hand, Coppola's Life Without Zoe has retained its fairytale-ish view of childhood; but apart from that and its whimsical quality of cinematic exercise in style made by friends and family (typical of the director of The Godfather), Life Without Zoe serves as a nice, even…
I love how Walt Disney didn't completely sanitize Carlo Collodi's brilliant, amazingly dark novel because most probably he couldn't, but also because he didn't want to turn it into something that it was not. Pinocchio is still a very intelligent and lighter (as in dutifully watered-down and skillfully modified) adaptation, arguably the better and without a doubt the most celebrated of one of the most ingenious books ever written, a classic in its own right that should appeal to children of all ages.
Harvey Keitel hangs out with his lazy friends 24/7. They don't know what to do with their lives, and when they become really bored they play with guns and scare each other. Or they slap each other. Or they laugh their guts out for nothing in particular. Some times they entertain themselves with "broads". Keitel has a Madonna/whore complex that jeopardizes his love life when his girlfriend (Zina Bethune) tells him of a dark secret in her past.
Scorsese's take…
Duckie listening to The Smiths' "Please Please Please Let Me Get What I Want", and getting something better at the end.
Every time I watch this film Greta Schröder becomes my favorite Mina again. So right now my top 5 are as follows:
1. Greta Schröder (as Ellen)
2. Judi Bowker in Count Dracula (1977)
3. Isabelle Adjani (as Lucy) in Nosferatu: Phantom der Nacht (1979)
4. Winona Ryder in Bram Stoker's Dracula (1992)
5. Lupita Tovar (as Eva) in the Spanish Dracula (1931)
I admire and love Stanley Kubrick's immortal work as much as anyone with a passion for cinema, but with all due respect they completely forgot about Shelley Duvall in The Shining when they reminisced about his quiet, gentle, even charming direction of actors.
RIP Stanley Kubrick (07/26/1928 - 03/07/1999)
Basically American Psycho #0, where Jared Leto gets his annoyingly aloof good looks destroyed by the beyond-unreliable narrator and -mentally unstable protagonist (who are the same person, here and there) instead of getting killed with an axe*. Or, a sui generis remake of Jerry Lewis' The Nutty Professor (a rehashed version of Dr Jekyll and Mr Hyde, you know) in which the morally repulsive doppelganger is Brad Pitt --aka Tyler Durden. Either way, a forever compelling (and nocturnal) film about…
The search for love in a somnambulistic society that has lost its soul. But destiny prevails (doesn't it?). And film (magic), and (magical) music --by Paul Thomas Anderson and Thom Yorke, respectively. The automaton-like choreography and the ever-outstanding direction make this something quite hypnotic.