The drummer for System of a Down is too busy trying to remember the time signature changes to worry about what that big bearded guy 10 feet in front of him is shouting about. All he knows it it’s throwing him off his fucking rhythm.
The drummer for System of a Down is too busy trying to remember the time signature changes to worry about what that big bearded guy 10 feet in front of him is shouting about. All he knows it it’s throwing him off his fucking rhythm.
‘90s sitcom theme song band:
The Wire opening with various covers of Tom Waits’s “Way Down in the Hole” is easily the longest credit sequence I’ve never even been tempted to skip. I don’t know why, but it feels like that song sets the pace perfectly for what is a deliberate, comprehensive look at the effects of the drug war.
It is extremely telling of audiences in 1995 that they angrily stormed out of Showgirls saying, “I expected something less bizarre from the director of Total Recall.”
“I was hiding under the porch because I love you.”
If Andy is periodically checking up on his old toys that he gave away to a little girl, then he’s a freak who deserves to be escorted, sobbing and shrieking, from his neighbor’s house by the police.
Eastern Europeans don’t need nudging from their oligarch rulers to be racist as fuck. Mainstream views of black/brown people in those countries, especially of immigrants, make the 1960s South look positively tolerant, because at least racist-ass southerners never had a problem with black people existing near them.
And Ego’s criticism in the film demonstrates the one great value of critcism, “defense of the new,” by having the courage to go to bat for a creator whose very identity would disqualify him from his position in most peoples’ minds. That’s the great thing about the movie: the whole storyline is basically answering the…
Any German speakers here who can give us any idea of how natural Joseph Gordon-Levitt sounds speaking the language? Based on his “French” accent in The Walk, I don’t have high hopes for him here, but maybe he just naturally gives off a more Teutonic vibe.
“And in this next one, you get to see her as a kid!!!”
Not only is this the most-overlooked Pixar film, it’s probably the one the studio regrets not pushing harder: those 2 roly-poly bugs are basically the Minions 12 years ahead of time.
One of the coolest bits of visual storytelling in Fury Road: in the pre-credits sequence where Max is caught and captured, he briefly escapes from his captors when he sees them coming toward him with a huge brand. It’s big, impossible to miss, takes up 80% of the screen. Then, five minutes later, our first shot of…
“The film’s use of the phrase ‘large adult son’ is unforgivable.” —Katie Rife, The A.V. Club
To be fair, the question was not “should the popular vote matter?” It was, “should a mathematical minority of voters be allowed to choose the nominee?”
I did. In my imagined version of the plot, McLane leaves his cell phone in his hotel room with his coat and shoes (it’s one of those smartphones that really only fits in a coat pocket) and the bad guys still use walkie-talkies because it still serves their plan to have the police think they’re terrorists.
“No one would ever spend bath time on the phone! Now if you’ll excuse me, I’ve got to take a bath—where’s my phone?”
Surely you mean “Heidi Gardner, who you may recognize as every boxer’s wife in every movie about boxing ever.”
As opposed to Groundhog Day, where Andie MacDowell’s character essentially functions a trophy for the main character to win once he’s worthy of her—and, when she briefly becomes a co-conspirator with him, is quickly reset to “trophy” status the next day.
“a cat named G-Spot (get it?)”
“Give us your full name, woman! That is our tradition, here on Tatooine! You can’t fool us—we KNOW every sentient being in this galaxy has exactly two names! We had a Jedi hiding out here under an alias, and our demand for a last name shook him so hard, he accidentally gave us his real name! No one escapes the power…