We often champion films as masterpieces because they maintain their relevancy over time. So a masterwork must be something that adds to it.
One of my least favorite trends of the last 3 or so years in film (which I'm possibly the most guilty of) is viewing films, music or art of any kind through the lens of the Trump era as a first reaction.
12 Angry Men, despite being over 60 years old, is the best possible critique of…
Bigger, longer, deeper, meaner. As all sequels should be. Every time I watch this I’m blown away at how perfect it is, and how every choice made was the right one.
After watching this, part of me always wants to immediately run it back for round two.
The first movie I watched at my first New York apartment that I have all to myself. Yay!
This 4K transfer is unbelievable.
“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.
Long movies are the best movies.
Things really fell into place with this latest viewing of Godfather: Part II. Yes, even the flashbacks I was meh on before have grown on me. Exponentially in fact.
Literally the only fault I can find is the cut between the abortion scene and Vito arriving back in his hometown. It’s awkward to say the least.
Everything else is simply some of the best filmmaking we’ve ever seen. This movie expands the scope of…
For years I have wondered why this has the reputation as one of the five best movies ever made.
The answer couldn’t be more simple. It’s just a well-told story with interesting, well-rounded characters.
And damn is it good.
I think the key moment to this story is when Michael lights Enzo’s cigarette for him outside of the hospital, and he looks down at his hands to see that they’re steady.
Fucking amazing.
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.
Took my time with this one to give it a chance to really stick the emotional landing.
It did!
You bow to no one.
Good stuff. Can’t even imagine the kind of sobbing that happened in the theater back in ‘03.
I’m not sure I’ll ever get over Ledger in this movie. Few “big” performances since have even come close to the level of immersion he got to here.
It’s the hair, the makeup, and the posture, but what sells it most for me is that damn voice.
How does an Australian make himself sound like that? What the hell did he even hear that set him on the course to get there? And how does he make it work so…
I would have liked a quick scene of Karen explaining her interior design choices with that second house. Really wild stuff.