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At one point, Arno, the friend who's in the incestuous relationship with his mom, says to Nate "I have two words for you man: lie." and I thought to myself, well that just sums up the problem with the whole movie. It's so damn stupid, it can't catch a basic error like the difference between one word and two.

Honestly, it's this aspect of Hilton's persona that got me thinking about the Munchausen angle. I think most people would have considered her a villain in real life at the time this came out, and so part of me wondered if the movie was building to a big reveal of some ulterior motive behind her character's relationship with June. As professional wrestling connoisseur, especially as it informed modern reality television (and now politics), I thought that she was at least leaning into her intrinsic heel-ishness and might be on board with that curveball. Paris Hilton, the human, epitomized the toxic beauty standards of that era. I don't think it's exaggerating to say that thousands, if not millions, of women and girls were made to feel like the Nottie to her Hottie. That this movie unironically embraced that dynamic is just further evidence that every person involved should be in jail.

Yello Dyno is definitely taking those kids to a secondary location.

Oh yeah, here:

I'm not familiar enough with the history of the intricacies of the AFI list - do we know the reason it's not on the 2007 list (after being on the 1997 list) is due to it being considered British as opposed to it just not getting enough votes? I'm debating whether I'll vote on this one still because I think historical epics are my thing. I saw this in college and was "meh". I'm still kind of "meh". Relatedly, if I were to rank Spartacus (coming up) amongst Kubrick's work, it'd probably beat out Killer's Kiss and Fear & Desire, but that's it. I know he was a director for hire on that one, but it might also be a sign that the genre just isn't my thing. I liked the scene of Lawrence in the sandstorm losing his way (well, his moral and literal compass). I wish there were more parts like that. Just viscerally, I suppose. I guess I'm waiting for Bleary to get in here for a stronger negative on it, because I remember he said he dislikes it.

I voted no solely because I agree with the argument that this is really a British movie, and if The Third Man could be knocked off then this one could too (if anything, that film is more "culturally" American since two of its lead actors are American). As a film unto itself it's clearly worthy of standing among the Top 100.

There once was a man from Corntucket whose cob was so long he could shuck it

Context is important.

To my knowledge, b-movies were called that, because they were the b-movie in the double-feature. The equivalence to that now would probably be, direct-to-video. errr, I mean, direct to streaming, but without it being a given that meant low quality that direct to video meant in the 80s.

This movie is a pretty fascinating example of how two people can have wildly different takes on source material. The book that Goodfellas was adapted from was written by Nicolas Pileggi. His wife Nora Ephron based on the same recorded conversations with Henry Hill made this movie.

The thing is that they are really only watching the BEST movies from the old days (or at least those widely considered the best). There was plenty of forgettable crap in the 50s, 60s, 70s too, it's just that . . . it's been forgotten.

Just a quick note: I took this photo in San Francisco a few years ago. It's one of my favorite finds from wandering the city.