I’ve been eager to revisit this after Killers of the Flower Moon. Being only a few minutes longer, it’s interesting to see how Marty utilizes each film’s length and to what purpose.
Killers spends every available minute immersing you into a time and place that’s been both overlooked and underserved before now, using its final minutes to reckon with its own role in the tragedy-to-entertainment cycle. Irishman puts a character’s glory days and shopping of their own casket 50 years later…
Criterion Collection.
Now that it’s out on Criterion, I’ll take a break from this. I want to really build the anticipation before I watch it again in a few years, since I can already recite some scenes from memory lol.
Any clumsiness you can attribute to the first couple thirds, whether it be youthifying, the actors playing younger than they are, whatever, is overshadowed by that last hour.
That last damn hour. Good lord. I love it as your basic,…
“Holy Mary, Mother of God, pray for us sinners.”
Michael Corleone pulls the world down around him. No one is safe from his rage.
The Godfather Part II walked so Mamma Mia: Here We Go Again could run.
P.S. The flashbacks rule. I’m just an idiot.
As powerful as the first time I saw it many years ago on a dark and stormy night.
As X said, we can pick apart the who and the what all we like, but 60 years on now, the argument really can’t be made that the “why” that Oliver Stone ended up at wasn’t dead on.
The Presidency is a transitory role, acquiesced completely to military might, and sadly every President since Jack has fully bought into the mania. And…
A weird way to celebrate St. Patrick’s Day, I know.
John Kennedy represents the last great hope of a country that was killed by the military industrial complex and the greed of men. At least that’s Stone’s view, and for the most part it’s mine as well.
I think the Kennedy assassination was obviously a conspiracy, and the most important question regarding it isn’t who or what. It’s why.
Since 11/22/1963, those gunshots have echoed through the halls of justice…
Marty Scorsese gives a guided tour through a level of hell Dante couldn’t anticipate in his dizziest daydream.
Wolf, Fight Club and probably Joker all belong in the Half of the Audience Missed The Point Hall of Fame, which I have decided is a thing.
Watched as a lead up to Coppola’s new cut of III (which @mods should be on LB) and damn, what a picture.
I’ve said it before and I’ll say it again: absolutely nothing beats a death montage.
This is very much in the vein of Tinker Tailor which is of course why I like it so much.
Also because Roth goes full Roth and gives De Niro a lot to work with, and his direction more than lives up to the task.
It’s a little slow, sure, but once I get into the movie’s rhythm I want to stay there.
Spies? London? The Cold War? A long runtime? A cold, calculating lead character? An Eric Roth script? JOE PESCI?
Hell yeah.
Haven’t seen this in years and years, so I’m pretty happy that it holds up as well as it does. I’m probably alone in that opinion but oh well. Give it a go if you haven’t seen it. You might be surprised!
Bumping this up to the Full Five, baby.
Should have done it in February but I was too drunk to remember.
I’m sure Dune will be fine and all, but for my money Blade Runner 2049 will remain Denis’s great sci-fi adaptation.
But as good of a job he does directing (holy shit these #lewks) it’s Hampton Fancher and Michael Green’s script that really brings this home. Very few sequels justify their existence from a storytelling perspective, which makes me…
Current drunk me: this is a fucking masterpiece bro oh my god. Denis punch me daddy. Ryan bash my face in. Roger knock my fucking teeth out.
Future sober me: Blade Runner 2049 is what all sequels should aspire to be. It expands upon the world set up by the original, mining a deeper meaning while expanding the scope of the original, a gold standard of sci-fi storytelling. Can be watched on a loop until oblivion.