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I don't think there are enough >>>>>>>>>>>>>>>>s between for the gulf in between the first 2 and #3.
yeah, i loved that, but i was like 12 and biting into apples & cleavage was very appealing to me at the time. saw it recently and ugh. thing is i've read a surprising # of rollicking 18th C British novels and enjoyed them. just hasn't worked for me on the screen...
It's really fertile ground, too. In the 70s, after Long Goodbye came out, i tried writing two. One was about a hippie private eye hired to chase down some threats made to a reclusive 70s rock star but it turned out the rock star actually wanted to revenge-frame the PI for what he thought was a betrayal of a girl in the Weather Underground they knew in the 60s. The other was about a psychiatric worker whose psych nurse gf fell under the spell of a charismatic patient who got her to spring him and they formed a cult together until the old boyfriend foiled some Mansonian plot they were cooking up. My agent sold options on the script of the first and the outline of the second, but they were pretty horrible and never went anywhere.
The Lebowski Fest began in Louisville in 2002 , but I didn't first go until the 2nd one in 2003.
Heh - and ... I was thinkin' of posting the tres tenors in the Best performance thread, but couldn't find the link before you posted LP.
I don't know why Bound made me think of The Last Seduction, but I'd like to add that one to the mix. Loved it.
Mr. krista has been waxing poetic about the idea of "stoner noir" for like 20 minutes now after I mentioned this to him. He wanted me to thank "whoever posted that," so thank you.
I just learned that Mr. krista has never seen Brick nor even heard of it. While I'm preparing my divorce papers, you guys should add it to your Noirvember list if you haven't seen it. It's on Netflix!
While I'm looking forward to watching it again, I will take you task a little for not finding a film starring Gloria Grahame, the Queen of noir.
We should take Netflix and Amazon to task for their #### options of older films.
Netflix ain't no movie site. I've had it for a year & a half now and NOT ONCE have i heard somebody shout out a flick or seen sumn make me wanna check this one out or that and punched it in on Noflix to any positive result.
Oooh, you could have a Brick + The Last Jedi Rian Johnson double feature!!!
Not necessarily true, for example:
Body Heat was made 38 years ago which makes it closer chronologically-speaking to Double Indemnity than a newly released film noir.
Another great film noir from 1981 is Michael Mann's first feature Thief with James Caan.
Move Barry and Clockwork up a tier each. Move down Killing and Paths. I'm on the fence with FMJ, as there is a lot to like, I might need to rewatch it. The lesser Kubricks are all flawed enough that while they're good films they're not good Kubrick films.
I'm a fan of The Limey too. Stamp is terrific and it tells a very simple story well. I often find myself recalling that scene with Peter Fonda in the car talking about the 60's and how authentic it felt.
Nice update.
Bingo.
I always thought the film was exactly the opposite of that. I thought that the character's warped view of masculinity and what it means to be a "man" was a cautionary tale whereby their view of masculinity caused destruction and mayhem because they were worshiping that part of masculinity which was a destructive force; one that had no reason, no teleological end. The actions taken in the film need no reason, justification, nor grand cause, they're just an existential lament about the state of masculinity in a consumer culture. It is violence for violence's sake, a final act of destruction committed by hobgoblins for no other reason than to burn it down.
This is a very interesting perspective. I will think on it during my watch.
Maybe we are back at that point now. There does seem to be a throughline for movies like Clockwork, Taxi Driver, Fight Club and Joker.
no, it aint them. Star Wars hangover, BttF, those awful babysitter movies were them. I meant to put "Y" in there (now corrected). the 2nd of the gens who raised themselves after the nuclear family fell apart. latchkey, feminization, a disconnect from the gens being about making #### better, burgeoning liberty for all sexual orientations, a grieving process for white male identity - Fight Club showed a lot of the payoffs to all that.
The characters are a little older than me, and I'm in the Gen X camp. But that's neither here nor there: I think you're right about your diagnosis that the themes are endemic to Generation Y (literary license) and that it allows a glimpse into the social zeitgeist of that set.
This is more on the lines of how I take it. There are some nuggets of truth - ie you aren't the clothes you wear, but it's taken to such an extreme that I think the movie and book are also poking fun at it or showing what the extreme might look like.
