Vic Sage

Johnny Lunchbucket wrote: Hey look. Vic Sage. Does anyone know what became of him? i hear he's blowing goats in the outback.

https://static.rogerebert.com/uploads/movie/movie_poster/7852-2017/large_MV5BMTg2NjMzMDAxMl5BMl5BanBnXkFtZTgwMDkxOTY0MzI_._V1_SY1000_CR0_0_676_1000_AL_.jpg> [YOUTUBE]rNHwKKdirxo[/YOUTUBE] i just found it streaming on HULU! i'm checking it out this weekend.

Slapstick is a maligned form. This was an excellent example of it. Its like watching the game MOUSETRAP, as you watch the ball roll, the wheel turn, the boot kick the bucket, and the trap come down. It's about the movement of objects in space, cause and effect, and its cinema in its purest form. Story? Characters? not so much.

Frayed Knot wrote: More than a bit of CHINATOWN in it, eh? yeah, if CHINATOWN had a happy ending. which is part of the problem here.

i enjoyed it, but i fail to see what the big deal was.

just saw it. i haven't read the book, so i had nothing to be disappointed by. So i liked it ok as a noir-ish adaptation of THE POWER BROKER. I had no problem with the era it was placed in, or the ages of the characters. And this was the first decent Willis performance in maybe a decade. But I found the Tourette's thing a pointless affectation and unnecessary for the story. You could have made the character an outsider/loser in any number of less distracting ways.

I found HUNTERS disappointing. Its got a Tarentino-esque vibe, which I liked, and an almost satirical level of violence. But the performances are largely cartoonish, and the twist in the last episode is SOOOOO preposterous, it made me regret watching the series.

Johnny Lunchbucket wrote: My new screenplay (working title: DRESSED TO KILL) follows young Stanley Eisen from his days as an teenage outcast ashamed of his deformed ear and hounded by a fuckedup parents to a meeting with brash, horny, opinionated mama's-boy Chaim Bloom as young rockers in a big, dangerous city with big, dangerous dreams. Along the way they recruit a hearty-partying guitar whiz and a sour, would-be Brooklyn gangster drummer; hook up with a manager who teaches them the tricks of long-vanished vaudeville magic and together, with only a few songs and even fewer ideas, they leapfrog contemporaries with better chops and bigger followings, on their way to domination (of 13 year old boys). Flick ends with the release of ALIVE! leaving just enough breadcrumbs to promise sequel after sequel after sequel. My only concession to Hollywood is to cast good looking young actors if you really want to get it green-lighted, you have to add Howard The Duck. https://marvel.fandom.com/wiki/Howard_the_Duck_Vol_1_13https://marvel.fandom.com/wiki/Howard_the_Duck_Vol_1_13 https://i.pinimg.com/736x/ef/22/32/ef22326f41cbc2c69483b73d9c73f1c0.jpg>

I think my predictions were pretty good, overall. I went 17/24, with all "locks" coming through. Of the 7 I missed, all were designated as possibles, with "closing", "dark horse", or "even money". No long shots came in.

Before this year, there were 11 foreign language films nominated for best picture, with 6 of them also nominated for best foreign-language film (and 5 of those winning in the best foreign film category, which began in 1956). Best picture nominees: 1932 - Grand Illlusion 1969 - Z* 1972- The Emigrants+ 1973 - Cries & Whispers 1987 - The Last Emperor 1995 - Il Postino 1998 - Life is Beautiful* 2000 - Crouching Tiger* 2006 - Letters from Iwo Jima 2012 - Amour* 2018 - Roma* +nominated in Foreign language film category *won in foreign language film category

its not trying to be funny, so evaluating it on that basis seems odd. It's also not animated, nor a civil war drama. There's oh so many things its not. but one of the things that it IS is powerful, timely, gripping and really well made.

just saw it on VOD. It's really good, but in the comedy-turns-to-tragedy genre this year, i still prefer JOJO.

CURRENT Oscar favorites (with my preferences italicized, where applicable): Best Picture: “Ford v Ferrari” “The Irishman” “Jojo Rabbit” - my choice “Joker” “Little Women” “Marriage Story” “1917” - favorite “Once Upon a Time in Hollywood” “Parasite” - closing Director: Martin Scorsese, “The Irishman” Todd Phillips, “Joker” - my choice Sam Mendes, “1917” - favorite Quentin Tarantino, “Once Upon a Time in Hollywood” Bong Joon Ho, “Parasite” - closing Lead Actor: Antonio Banderas “Pain and Glory” Leonardo DiCaprio “Once Upon a Time in Hollywood” Adam Driver “Marriage Story” Joaquin Phoenix “Joker” - a lock Jonathan Pryce “The Two Popes” Lead Actress: Cynthia Erivo “Harriet” Scarlett Johansson “Marriage Story” Saoirse Ronan “Little Women” Charlize Theron “Bombshell” Renee Zellweger “Judy”- a lock Adapted Screenplay: “The Irishman,” Steven Zaillian “Jojo Rabbit,” Taika Waititi - favorite “Joker,” Todd Phillips, Scott Silver “Just Mercy” Destin Daniel Cretton and Andrew Lanham “Little Women,” Greta Gerwig - closing “The Two Popes,” Anthony McCarten Original Screenplay: “Knives Out,” Rian Johnson “Marriage Story,” Noah Baumbach “1917,” Sam Mendes and Krysty Wilson-Cairns “Once Upon a Time in Hollywood,” Quentin Tarantino - favorite “Parasite,” Bong Joon-ho, Jin Won Han - closing Supporting Actor: Tom Hanks, “A Beautiful Day in the Neighborhood” Anthony Hopkins, “The Two Popes” Al Pacino, “The Irishman” Joe Pesci, “The Irishman” Brad Pitt, “Once Upon a Time in Hollywood” - a lock Supporting Actress: Kathy Bates, “Richard Jewell” Laura Dern, “Marriage Story” - a lock Scarlett Johannson, “Jojo Rabbit” - my choice Florence Pugh, “Little Women” Margot Robbie, “Bombshell” Cinematography: “The Irishman,” Rodrigo Prieto “Joker,” Lawrence Sher “The Lighthouse,” Jarin Blaschke “1917,” Roger Deakins - a lock “Once Upon a Time in Hollywood,” Robert Richardson Film Editing: “Ford v Ferrari,” Michael McCusker, Andrew Buckland - favorite “The Irishman,” Thelma Schoonmaker “Jojo Rabbit,” Tom Eagles - my choice “Joker,” Jeff Groth “Parasite,” Jinmo Yang - closing Original Score: “Joker,” Hildur Guðnadóttir- a lock “Little Women,” Alexandre Desplat “Marriage Story,”Randy Newman “1917,” Thomas Newman “Star Wars: The Rise of Skywalker,” John Williams*“The King,” Nicholas Britell Original Song: “I Can't Let You Throw Yourself Away,” “Toy Story 4” - dark horse “I'm Gonna Love Me Again,” “Rocketman” - favorite “I'm Standing With You,” “Breakthrough” “Into the Unknown,” “Frozen 2” - my choice “Stand Up,” “Harriet” Animated Feature: “How to Train Your Dragon: The Hidden World” Dean DeBlois -my choice “I Lost My Body” Jeremy Clapin “Klaus” Sergio Pablos - even money “Missing Link” Chris Butler “Toy Story 4” Josh Cooley - even money Best Foreign Language Film: “Corpus Christi,” Jan Komasa “Honeyland,” Tamara Kotevska, Ljubo Stefanov “Les Miserables,” Ladj Ly “Pain and Glory,” Pedro Almodovar “Parasite,” Bong Joon Ho - absolute lock Best Documentary Feature: “American Factory,” Julia Rieichert, Steven Bognar - favorite “The Cave,” Feras Fayyad “The Edge of Democracy,” Petra Costa “For Sama,” Waad Al-Kateab, Edward Watts “Honeyland,” Tamara Kotevska, Ljubo Stefanov Best Documentary Short Subject: “In the Absence” “Learning to Skateboard in a Warzone,” Carol Dysinger - favorite “Life Overtakes Me,” Kristine Samuelson, John Haptas “St. Louis Superman” “Walk Run Cha-Cha,” Laura Nix Best Live Action Short Film: “Brotherhood,” Meryam Joobeur -favorite “Nefta Football Club,” Yves Piat “The Neighbors' Window,” Marshall Curry - dark horse “Saria,” Bryan Buckley “A Sister,” Delphine Girard Animated Short: “Dcera,” Daria Kashcheeva “Hair Love,” Matthew A. Cherry - slight favorite “Kitbull,” Rosana Sullivan - closing “Memorable,” Bruno Collet “Sister,” Siqi Song Sound Editing: “Ford v Ferrari,” Don Sylvester - slight fave “Joker,” Alan Robert Murray “1917,” Oliver Tarney, Rachel Tate - closing “Once Upon a Time in Hollywood,” Wylie Stateman “Star Wars: The Rise of SkyWalker,” Matthew Wood, David Acord Sound Mixing: “Ad Astra” “Ford v Ferrari” - slight fave “Joker” “1917”- closing “Once Upon a Time in Hollywood” Production Design: “The Irishman,” Bob Shaw and Regina Graves “Jojo Rabbit,” Ra Vincent and Nora Sopkova - my choice “1917,” Dennis Gassner and Lee Sandales - dark horse “Once Upon a Time in Hollywood,” Barbara Ling and Nancy Haigh - favorite “Parasite,” Lee Ha-Jun and Cho Won Woo, Han Ga Ram, and Cho Hee Costume Design: ”The Irishman,” Sandy Powell, Christopher Peterson “Jojo Rabbit,” Mayes C. Rubeo “Joker,” Mark Bridges “Little Women,” Jacqueline Durran - favorite “Once Upon a Time in Hollywood,” Arianne Phillips Visual Effects: “Avengers Endgame” - even money “The Irishman” “1917” - even money “The Lion King” “Star Wars: The Rise of Skywalker” Makeup and Hair: “Bombshell” - lock “Joker” “Judy” “Maleficent: Mistress of Evil” “1917” JOJO is my personal fave so far this year, but most prognosticators are predicting a "1917" v "PARASITE" awards show.

my OCD required me to use different metrics to rank the movies ('ve actually ranked over 110 superhero movie adaptations). I used rankings from IMDB, Rotten Tomatoes, CinemaScore and MetaCritic to create a metric and this was the ranking. (i did tweak it a bit to incorporate my own ranking too), I agree with you about Cap: First Avenger, but the sabrmetrics say otherwise.

Double Switch wrote: As long as I'm here, I have found a reason to need Netflix (but doubt I'll cave). https://www.youtube.com/watch?v=86ajK0EOq6IWhat Did Jack Do? Toototaban! i watched that last week, out of curiousity. Its pure Lynch - weird, funny, perverse. Reminded me of ERASERHEAD.