1. The problem I have with 'Barry Lyndon' (which has been on my Netflix streaming queue literally for years), which I just can't bring myself to sit down and watch, is Ryan O'Neal AKA the anti-Jeff Bridges. Parallel career arcs for a while but then somehow one ended up making really good movies like 'True Grit' and…

Oh yeah—
And for the soundtrack alone, a Tarantino adaptation of George Pelecanos' 'King Suckerman' with Michael K. Williams as the excon with a shotgun (hate to typecast after Omar, but still…)

Be Careful What You Wish for
I feel like we've done this one before, but here goes:

"when a filmmaker works in genre, he knowingly accepts a set of predetermined expectations…"

So here's my idea:
Tracy Morgan plays Louis Armstrong in a few episodes of 'Boardwalk Empire' leading to a biopic and ultimately an Oscar. Rationale? Armstrong's early career was closely tied to gangland venues (Capone among others) and Morgan was born to play Armstrong.

Okay…
Now can we finally get a 'Looker' remake? The original is at least as bad as 'Logan's Run' (if nowhere near as successful) and it's ripe for a bigger budget—C'mon Spielberg…it's about CGI in the service of a secret Gov't conspiracy…You love that shit, right?

Also this:

I apologize if this point has been made but the thing I don't get about the "I hate musicals" mindset is the whole "people just don't burst out in song" complaint. So many people take the position that the singing and dancing make a movie unrealistic—As if any given blockbuster could stand a similar test of…

I really hate to ask, but isn't the real life aging of Jenny Agutter kind of an argument in favor of dying at 30? Or maybe not:

I'm not sure what your beef is with me, Senator—I'm not claiming Craven is not a worthwhile or an effective director (He's probably one of the top five Horror directors ever), only that I believe it's a facile position to try to distance yourself from your own exploitative film making by contextualizing it within a…

"Without some distinctions the whole idea of genre is meaningless"

As you may have guessed, I am not a big fan of any kind of orthodoxy—so I'm kind of forming an opinion that Noir is functionally two different things. First, it is a Genre, and like all Genres it has conventions (as opposed to rules) any or all of which may or may not be evident in any single instance. Second, it is,…

"3) Every guy has to stick his dick in crazy at some point in his life."

Here's another one—What about the original 'Get Carter'?

I know of them—but I haven't read them. Also I feel I need to make a quick correction—'Red Harvest' the novel from which Yojimbo is drawn was by Dashiell Hammet, not Raymond Chandler. And since the name is out there, let me recommend a pretty "by-the-numbers" Neo Noir film called 'Hammett' directed by Wim Wenders.

Hmmm…
I don't know if I accept the premise that Noir is any more a "closed" genre than the Western. I would argue that any Western made after the end of the sixties is just as much a comment on its genre as a "Neo-Noir" is on Noir. I think the difference is that there is a much larger body of orthodoxy associated with…

"You know who would agree with this: Bob Dylan"

"$10 is about the price of one movie ticket nowadays"

I just rode home with my iPod Nuggets playlist on and I had to throw another one out there—I don't know if it's on any of the actual Nuggets comps, but I definitely came across it as a result of Nuggets related research:

It's a theme and a motif—which qualifies as a statement if you're Wes Craven and that's all ya got.