It's tragic, but not *entirely* tragic. The end of the film has a tone of peace and reconciliation that pulls it back from that particular ledge. It's about the most graceful understanding of death I can imagine.

It's tragic, but not *entirely* tragic. The end of the film has a tone of peace and reconciliation that pulls it back from that particular ledge. It's about the most graceful understanding of death I can imagine.

But do you not see how an absurd hand like this undermines the premise that these men are brilliant at poker? Any amateur could crush the world's best player by drawing a straight flush against a full house. You don't have to know anything about poker to conclude that Robinson getting such a hand was really, really,…

But do you not see how an absurd hand like this undermines the premise that these men are brilliant at poker? Any amateur could crush the world's best player by drawing a straight flush against a full house. You don't have to know anything about poker to conclude that Robinson getting such a hand was really, really,…

You're right. Careless error. It's been fixed.

You're right. Careless error. It's been fixed.

Disagree completely. Getting the details right is important, and when you have a situation where both characters have poker hands they'd bet their first born on, the notion that either of them are skilled players goes out the window. They're just lucky, which is part of the game, but not how your McQueen and Robinson…

Disagree completely. Getting the details right is important, and when you have a situation where both characters have poker hands they'd bet their first born on, the notion that either of them are skilled players goes out the window. They're just lucky, which is part of the game, but not how your McQueen and Robinson…

Yes. Hitchcock focuses quite a bit on process here— Fonda is being put through the system, and that system is (necessarily) passionless at every step. To me, these supposedly "dull" scenes are full of tension, because we can see how excruciating is it for Fonda and how little power he has to assert his innocence.

Yes. Hitchcock focuses quite a bit on process here— Fonda is being put through the system, and that system is (necessarily) passionless at every step. To me, these supposedly "dull" scenes are full of tension, because we can see how excruciating is it for Fonda and how little power he has to assert his innocence.

I would…um… hold off on the Hitchcock movie.

I would…um… hold off on the Hitchcock movie.

You're all wrong about this movie. It's completely riveting. Hitchcock's style is as rigorous as a Bresson film and Henry Fonda could not have been more ideally cast. *shakes fist*

You're all wrong about this movie. It's completely riveting. Hitchcock's style is as rigorous as a Bresson film and Henry Fonda could not have been more ideally cast. *shakes fist*

Understood.

Understood.

Some of those incidents you mention *are* part of the movie. The Kenny G. song is replaced here by Stevie Wonder's "My Cherie Amour" and there is indeed a fight at Eagles-Giants game. But you're also right to suspect that the mental issues are downplayed a bit in the service of a more crowd-pleasing ensemble comedy.…

Some of those incidents you mention *are* part of the movie. The Kenny G. song is replaced here by Stevie Wonder's "My Cherie Amour" and there is indeed a fight at Eagles-Giants game. But you're also right to suspect that the mental issues are downplayed a bit in the service of a more crowd-pleasing ensemble comedy.…

When this query was sent out, I thought the answers were going to be along the lines of: "Celebrities we like saying or doing something that disappointed us." Obviously that didn't turn out to be the case and now I'm having to rescue my remarks (which I stand behind) from an unexpected context.

When this query was sent out, I thought the answers were going to be along the lines of: "Celebrities we like saying or doing something that disappointed us." Obviously that didn't turn out to be the case and now I'm having to rescue my remarks (which I stand behind) from an unexpected context.