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ol' eddy wrecks

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Everything posted by ol' eddy wrecks

  1. ol' eddy wrecks

    Deer Hunter

    Fwiw, I like The Deer Hunter more than Platoon, but at the same time will acknowledge that Platoon probably had the best fights in terms of, "I believe this to be the most accurate depiction of a combat in Vietnam." It also had a lot of impressive jungle scenes. I am not fond of the narration or the general writing. The conflict of world-views seemed somewhat simplistic. I do wonder how we would view Platoon if Stone wasn't a veteran, but that's a counterfactual that I can't really imagine. I love Apocalypse Now, but I am someone who enjoys journey into the darkness of man type of stories that are done on a cinematically spectacular level. Full Metal Jacket (not on the list), I also love for its theme of the socialization of soldiers into killers (accompanied with the sub-theme of the dehumanization of the enemy, and the progression of being able to kill people closer and personal to the soldiers). I just rattled those off, because each of those main Vietnam films have their own focuses and strengths (and weaknesses), and going into this rewatch of The Deer Hunter, I mostly remembered I didn't like the Vietnam scenes beforehand, decided I didn't want to frame it as, "should it be on the list, should it not be on the list?," and went with, "What do I like about this movie? What do I dislike about this movie?" Which I think gave me a more enjoyable experience (something I've said in the past, and then the very next week, I've reverted back to, "does this belong on the list"). Just tossing that out there. Side observation - this is the vietnam movie that Amy likes. I remember she had the thesis that she thinks men like war movies because they are the only movies where men can show vulnerable emotions to each other. I can't help but notice that's definitely more true of this one than Apocalypse Now. I think also more-so than Platoon. Thought I'm wondering (and am too lazy to check) - what non-Vietnam war movies are on the list? Saving Private Ryan... M*A*S*H (though, I think the popularity of that one was due to Vietnam). I'm drawing a blank on what, if anything, else.
  2. ol' eddy wrecks

    Deer Hunter

    I think I'm in the camp that likes it more than others, but it has its flaws. However some of your arguments, I have further questions (or possibly rebuttals). Outside of Fredo, I mean John Cazale, I'm trying to remember to who else in the town is he an asshole. And let's be honest, Fredo was Fredo'ing it up. I think some of the "perfect"-ness of Michael is also a statement on how his actions (the probability, success, and certainty of them) wouldn't seem out of place in the action movies that would follow in the 80s. It also makes me think of Mark Wahlberg's ridiculous take on what he would have done on 9/11 if he was on any of those planes, but that's an aside. In terms of differentiating this from other Vietnam movies, or well, to categorize it in terms of what it's concerned about, at a high level, I'd describe it as the effect the Vietnam war had on average American life. This might be influenced by my thoughts that the Vietnam parts are the worst aspects of the films and the non-Vietnam parts, the best. However, I think that's where the bulk of the movie time is spent. I think I need you to clarify more on how Michael's hunting mentality borders on being a psychopath, since I get the feel from the film that it's supposed to be some type of zen-warrior type of shit. The, "there are plenty of accounts of the North Vietnamese subjecting their prisoners to different types of physical and psychological torture," combined with the beginning of the film supposed to feel realistic, combined with the general sense of, I believe most people didn't go over to Vietnam (at least, outside of the draft age), their knowledge of what "the shit" is, was going to be spread via word-of-mouth. So, I don't think the film should necessarily be let off the hook so easily on the assumption people will know what's fact or what's fiction. I agree with you on what russian roulette was a metaphor for, and something would be lost thematically taking it out, but one has to acknowledge the downside of it confusing the minds of people when discussing what type of tortures the North Vietnamese did to soldiers. The difficulty of disproving a negative (saying russian roulette didn't happen) would also cause the misconception to linger. In terms of people actually playing russian roulette after seeing the film... okay, I don't want to be crass, but that is Darwin Awards stuff, and won't blame the film for that. There's also the issue that it wasn't the North Vietnamese setting up a russian roulette gambling house in the later half of the movie. I can't help but wonder if this even worse because then it just portrays all Vietnamese, not just our enemies in the war, as people who don't value human life.
  3. ol' eddy wrecks

    Do The Right Thing

    I will concede I'm not really engaging with any the complex questions about the movie in that quick take, but it's a Monday night, and it's a prior episode.
  4. ol' eddy wrecks

    Do The Right Thing

    Black Girl is on The Criterion Channel (unsurprisingly), if anyone wants to watch it. I'm a bit late to this episode, but I just wanted to add, the speech Radio Raheem gives is actually from another movie, Night of th... just kidding. I actually assumed everyone knew that for some reason. I have heard an interesting anecdote on it (maybe apocryphal), but someone once asked Spike Lee, "is that Radio Raheem quoting Robert Mitchum or is that Spike Lee quoting Robert Mitchum." Spike reportedly, paused, thought, and after a bit you could see a smile crack out on his face, and he replied, "Radio Raheem doesn't know who the hell Robert Mitchum is." In terms of references to movies already covered on Unspooled, I took the money scene at the end to be a reference to Treasure of the Sierra Madre. Though, in the end Mookie does bend down and pick up the money. But it was the whole principle they were trying to make. Maybe a stretch on my part, but it seemed deliberate.
  5. ol' eddy wrecks

    Do The Right Thing

    I'm not getting to watching this until this weekend, so I can't weigh in on much. In terms of films by black directors, my knowledge is sadly very limited (I mentioned To Sleep with Anger and The Hollywood Shuffle in the upcoming episode thread because they were leaving the criterion channel's/streaming service, well, have now left it). So I will just include this article because it at least lists movies... http://www.slate.com/articles/arts/cover_story/2016/05/the_50_greatest_films_by_black_directors.html I believe The Watermelon Woman (and I know Black Girl) is streaming on the criterion channel. Some of the movies on the list, such as Touki Bouki and Black Girl, aren't American. (e.g. Touki Bouki is from Senegal - or at least the director is). The one director I didn't see on the list was Bill Gunn for Ganja & Hess (remade by Spike Lee as Da Sweet Blood of Jesus). Which admittedly, feels a bit incomplete (maybe because of the rushed situation in which he filmed it). So, while it might not leap to mind as "top 100 movie" type of material, it has interesting flourishes and I find it more interesting and worth watching than a lot of movies on the AFI list (admittedly, I have more idiosyncratic tastes). He's directed two other movies, one sounds like it might have some of the same issues, and the other appears to hard to find.
  6. ol' eddy wrecks

    Toy Story

    I came across the title of this one when googling for examples of toys coming to life. I had not heard of it and did not realize just how close the plot summary is. I will say, of the movies that would trigger a lengthy debate on the merits of the AFI list, I was not expecting it to be, "#99. Toy Story." I don't have strong opinions on it. And it continuing to be on the list is different than being on the list in 2007, but I'll bring up the point that in 2007, the only Pixar films so far were: Toy Story A Bug's Life Toy Story 2 Monsters, Inc Finding Nemo The Incredibles Cars Ratatouille came out in 2007, but probably wouldn't have been out long enough to be considered for the list. I haven't gone through the AFI ballot to see which ones were even considered eligible (the presence of a curated list on the ballot being something I consider to be a great shortcoming of the AFI process). (I guess this is more for @Cambert) But just off of that list, I'm not sure it's obvious that Toy Story isn't the one to pick. Especially in 2007 (admittedly I haven't gone back to watch it, so it might be much weaker than what I remember - but I remember You Story 2 being too heavy on reference humor. Plus the burden of being a sequel). correction: originally had auto-complete mishap of "#99. You Story."
  7. ol' eddy wrecks

    Toy Story

    Just googling, we left off some obvious classics: The Nutcracker Suite and Babes in Toyland.
  8. ol' eddy wrecks

    Toy Story

    What about the broomsticks in The Sorcerer's Apprentice in Fantasia? Oh. I can't remember the backstory for Herby the Lovebug, Kit in Knight Rider, that animated car in that Hanna Barbara cartoon from the 70s. Go-bots and Transformers would probably be adjacent. I also read The Indian in the Cupboard as a kid, which also happened to be adapted to a live action movie, released the same year as Toy Story. There's also the old silent short, A Trip to the Moon (I believe. Never seen it. I just know the iconic image of the rocketship in his eye). The "merit of did it first" debate is a complex one in my head, but somehow, animated inanimate objects in a children's movie doesn't seem that crucial (especially looking back on the long history anthropomorphized inanimate objects in fiction.)
  9. ol' eddy wrecks

    Upcoming Episodes

    Prompted to mention because Do the Right Thing is the next movie up; but I noticed leaving the Criterion Channel on June 30th: Charles Burnett's (also known for Killer of Sheep) To Sleep with Anger Robert Townsend's Hollywood Shuffle I don't know if the other Charles Burnett stuff is leaving (e.g. My Brother's Wedding)
  10. ol' eddy wrecks

    Midnight Cowboy

    I re-watched Muriel and was mistaken. Lots of disorienting time-lapse cuts (that also shifts the camera angle), but no types of flashbacks. A fair amount of Resnais' work involves the issue of memory and how it remains with us.
  11. ol' eddy wrecks

    Midnight Cowboy

    I think I'm being more disparaging than intended by saying, "ape." Mimicing another's technique (and allegedly, Resnais didn't believe in the concept of stealing. He had a line about ideas are in the air, no single person came up with them. Or something to that extent), but doing it well is justified. I think my big issue is the memories in Midnight Cowboy start off with the grandmother and mother seems connectable to a person who would think "I want to go to NYC to be a hustler," and ends with a traumatic event that just doesn't seem to connect with what we see in the present day. Anyhow, I also checked, the American, neo-noir, Point Blank (with Lee Marvin) came out in 1967 also had flashbacks triggered by what's currently happening. IIRC (and it's not a given that I do), they spend a longer time in the flashback, so, unlike Hiroshima or Midnight Cowboy, it feels less like a passing/immediate thought, and more like a flashback. But the random jumping/triggering does have that image association quality, quick cut, that is more implying transition of thought of the main character rather than transition of narration as presented by the director.
  12. ol' eddy wrecks

    Midnight Cowboy

    The walkman wasn't invented until 1979. You can't fault him too much for playing the radio on the bus. I guess it depends how loud he was listening to it. The flashback editing (associating memories with what they're seeing) seems to ape Resnais' style in at least Hiroshima mon Amour (1959) - though by the end you do get the full expository, traditional, flashback. I'd have to rewatch Muriel (1963); Je t'aime, je t'aime (1968) and Last Year in Marienbad (1961) to see if he also did that exact same technique in there. I want to say yes on Muriel. For Je t'aime, je t'aime think the flashbacks were more traditional in the transition (since there was a scientific device for time travel, so technically not flashbacks. Though they did separate other experimental things, such as change the actress who played his wife in different scenes, IIRC). And I don't think Marienbad had flashbacks. That said, I think the flashbacks were the most interesting part of the movie. That and the scenes of Buck's initial homelessness. And the transition from being a fake Texan coming to New York, to looking like he might be a fake New Yorker coming to Miami. I felt the stream of consciousness fantasy for Dustin Hoffman in Miami went on for too long, but overall my two biggest issues were raised in the Ebert review. 1. If you were to excise the flashbacks from the movie, you would barely have any indication that Joe Buck suffered what should have been an incredibly traumatic event. Like, in anything, like mannerisms... anything. The best explanation I could come up with was, he didn't know how to emotionally handle it, and just really, really repressed it, which makes the violence at the end actually make more sense. He would just be kind of not emotionally right inside in terms of violence, but gets by day to day in denial about everything (and not thinking about it). 2. I don't really get why him and Ratzo really bonded over anything other than being in proximity and time passed. And the next big issue is just, the turn of events by getting invited to the party just felt like such a sudden change of fortune, it seemed jarring, and not in the intended way. Though that's less of a fundamental problem I had than the previous two. I enjoyed this movie a fair amount actually. Listening to the episode afterwards though, hearing Ebert emphasize the problems I did have with it, makes me more iffy on saying yes or no if I'd put it on my hypothetical ballot for the list. That said, I liked it better as a movie than probably most things we've seen so far. But not Taxi Driver. Or Apocalypse Now. ETA: On the Overlook feedback, Paul said he didn't know if TCM was too... something (unpolished?) to be on the list. Maybe, compared to what else in on the list, but fwiw it's #183 on the BFI sight & sound critics list (The Shining and Don't Look Now are also somewhere in the 101-200 range. The Exorcist didn't get many mentions in the poll/i.e. low spot on the list).
  13. ol' eddy wrecks

    Horror & The AFI List: Live from the Overlook Film Festival

    I think intent has reasonably strong bearing. Like how "scared" might be limiting, intent to "scare" might also be limiting. Allowing in the disturb, unsettle, (I guess we could also include 'disgust' and 'wince in pain' for body horror - both cerebral and non-cerebral) also gets us closer. But I think there's also some other goals that filmmakers are going for with a lot of horror movies that is in some weird area. Lots of franchise sequels fall into this category. I think it's the blood/kills that makes one wince - which is the reaction I think someone said was in their criteria, is really what those movies are going for. Granted, I take a fairly expanded definition of horror, and also fine saying a film has horror elements. And talking how much of a horror film is it, while still classifying it as a horror film. I think David Lynch gets name-checked a lot on the, "horror elements" in movies that are not necessarily horror movies. I think a more interesting one to consider was Silence of the Lambs. I think the scenes where Clarisse goes down to talk to Lector, when examined would qualify as a horror movie. After a bit though, you get the sense she's playing with psychological fire which is a type of danger, she is not in physical danger from Lector, which is probably why it's difficult to cleanly define it as a horror film. And the physical danger, from Buffalo Bill, is undermined since Lector seems like the more supernatural presence. Making the craziness of his basement less horrifying. This might be apocraphyl, but I recall reading Tobe Hooper thought The Texas Chainsaw Massacre was hilarious and didn't get why people were so terrified by it - and I think that was why he did what he could to make TCM 2 so over the top, it would be more clearly ridiculous. I don't know if he thought that way about all of TCM or just the end or what, because the first couple of kills in that movie were disturbing to me in a way that I didn't really see in other slashers that would follow in the 80s.
  14. ol' eddy wrecks

    Horror & The AFI List: Live from the Overlook Film Festival

    Probably because most people, at least the ones at a horror convention, aren't really scared by the movies as adults and watching most horror movies as an adult, it doesn't feel like what they're actually going for is actually to scare you. Movies like Jaws, Psycho, and Blair Witch might have succeeded the most in causing fear in adults, in the sense they made some feel anxiety or vulnerable when doing every day things they always took for granted. Then there's the whole horror-comedy issue. Though, if we don't go with the whole categorical schema thing we do with everything, then I'd probably go with, "anything that would have scared me when I was 6, or as an adult disturbed, unnerved, or unsettled me." But I'm sure that's incomplete as well. How would psychological horror fit into this? i.e. the horror of losing one's mind? I know usually these either spill over into physical violence (Repulsion, The Driller Killer) or manifest the psychological uncertainty as a physical manifestation (Bug, Take Shelter, Repulsion). ETA: Trying to define horror movies in the abstract might be futile, but maybe taking more edge cases and debating those. Henry: Portrait of a Serial Killer came up during the Silence of the Lambs discussion. I consider that a horror film. Running against your presented definition above, I'm not sure how much of a threat the main characters are under (except to each other) since they are the threat.
  15. ol' eddy wrecks

    Halfway There Special

    The two mash-ups that came to mind that no one said: 1. Martin Sheen's Willard from Apocalypse Now being the captain of the spaceship in 2001. What type of room the Monoliths might make for him would be interesting. 2. Hal piloting the ship in A Night at the Opera... which I guess would just be a more chaotic version of Wall-E. If we're taking this as a time to post our lists again, I might do three lists: The ranked list of the movies we've seen. An AFI ballot of the movies so far (ie, what movies I'd include on my ballot, unranked. top five movies, unranked, for tiebreaker purposes). And a BFI-like ballot (top 10 movies, unranked), while restricted to American movies, don't have to be what's been on the show.
  16. ol' eddy wrecks

    Vertigo

    I was answering the unasked question about Nashville, which I realize now, contextually, was not clear. It was intended as a joke. I watched Vertigo a number of times growing up on whatever size CRT I had. It was probably on cable (which meant there were also commercial breaks - though probably nothing was edited out, as would happen to more contemporary films - just cataloging yet other differences that come up in watching movies). I revisited it again for the first time in decades probably a few years ago on that afore-mentioned 65", and one of the things that stood out was the lusciousness - or at least boldness - of the Ernine's scenes, and also that the color of the faces were not overly pink as I would remember some older movies tended to be on those TVs growing up (which, as an adult, I associate with color settings on TVs being poorly configured - which is yet another possible difference/flaw in viewing). Rewatching it again this weekend*, I feel like my biggest gap between me and why I'm guessing a lot of critics love it, might be I just don't seem to get on the same wavelength with the movie on the obsession. At least not on a personal level - I think that's what critics are responding to. And I don't know why, because I feel like obsession is an emotional state I easily connect to in movies. But I don't really feel it strongly while watching Rear Window, either. Maybe it's Jimmy Stewart being obsessed I don't connect to? IDK. I have a few more thoughts, but it's late here. *: This time I found myself also really focusing on the rich browns, which is not a color you often think of being rich, but for example the wood in the structure in the scene linked to by Dan. ETA: morning after thought - imagine Vertigo's second half without the twist let alone the reveal, but everything playing out almost the same way (the main difference just being Jimmy Stewart having paranoid accusations over a necklace that looks somewhat the same, but isn't). That's a really dark movie. So I do wonder if the crime aspect is getting in the way of me enjoying it more. Though, that remake would leave the first half of the movie a little more confusing in terms of coherency.
  17. ol' eddy wrecks

    Vertigo

    Yes, but maybe only once. About 25 years ago. On VHS. On my 12" CRT in college. I'm sure something was lost. I liked it, but compared to other movies I saw that way and still loved - but would later see on a larger screen, something was lost on that small screen (either theater or even compared to my 65" tv now).
  18. ol' eddy wrecks

    Vertigo

    In terms of mood over plot, I'd also second WKW coming to mind. Maybe partially affected by knowing a co-worker is coincidentally also just started exploring some of his films recently. Fallen Angels is his most overtly stylistic, In the Mood for Love his most poignant (that has aged for me better than his others). (ETA: if you're going for something more sublime, since you said Kubrick, you might want to check out Tarkovsky if you haven't. My preferences are for Stalker over Solarys, and one of those are probably where you should start). As for the Vertigo remake Amy mentioned, I remember brought it up in the Indiana Jones thread due to its fan-made remake. Anyhow, I'll warn people, Guy Maddin is a very... um, stylized director. Primarily using my old-fashioned stuff. E.g. he does silent films. He does silent films with voice-over. I really enjoy his stuff, but I know it's not going to be for everyone here. I think The Saddest Music in the World is his most accessible. Maybe Brand Upon the Brain?
  19. ol' eddy wrecks

    Vertigo

    I think it was more - I didn't connect to this movie the first time I saw it, but since everyone says it's good, I'll give it multiple viewings, and try to appreciate what it is other people are seeing in it. Which I don't think is inherently an insult. It's a rumination on acclaim and how it affects how we interact with movies that I've posted on these forums myself. And I think in relation to talking about Vertigo in a previous thread, as well. I've still yet to find my connection to Vertigo that's clarifies to me at least why so many other people love it. But because it's the very top of the critics Sight & Sound poll, I want to give it at least a couple more tries (and I'm not talking about even loving it myself, I just want more of an emotional sense of, "yeah," I can see why people love this movie). Note - I still haven't rewatched yet for this episode. Hoping to squeeze it into Memorial Day weekend stuff.
  20. ol' eddy wrecks

    To Kill A Mockingbird

    Side note of some small things to point out: In the podcast, I think they refer to Cunningham as "someone who doesn't like to be thanked." Just to clarify, he doesn't like to be thanked because he's poor and is paying off a debt to Atticus that he doesn't have the money for (so he has to pay in goods he's growing). And being thanked for that payment effectively reminds him of this fact. Lots of the movie is about Scout being given social hints about how it hurts the pride of poor people and to be considerate of them (they point this out in the podcast better with the syrup scene). Another observation - Atticus struggling to shoot the gun with his glasses on. Seemed like a clear metaphor about how Atticus doesn't want to engage in violence, he wants to stick to the rational, but in the end, to take care of the rabid dog, he ultimately has to remove his glasses in order to kill it. The dog, I'll just assume is a metaphor for what happens with Ewell.
  21. ol' eddy wrecks

    To Kill A Mockingbird

    And when we see Ewell shadowed in darkness, clawing at their car, we learn the real horror movie isn't the scary monster trapped in the neighbors basement but the Native American genocide. I mean, the racism lying beneath the small southern town's picture of hospitality. (/was also going to work in a Blue Velvet reference there). Though, and I'd have to revisit the episode, when Paul said arthouse film, I think the referenced Italian neo-realism, which isn't a flashy style (more subject matter and keeping things no-frills. The commonly cited practice of using non-professional actors). But this was too polished as a drama to be that either, I feel. And neo-realism films are mostly focused on the challenges and situations of the common citizenry of post-war Italy (or a specific demographic for neo-realist styled films - e.g. African American population in Killer of Sheep). And while there was the issue of poverty. But subject matter-wise, it was a historical depiction of 30 years prior, and it was more of a coming of age of three children, realizing the underlying rot of her town. Anyhow, while watching it crossed my mind to check when other movies came out around this time that might have been tackling various, vaguely similar themes or images. Just to get a sense of what was swirling around at the time. To Kill a Mockingbird (book) 1960 To Kill a Mockingbird (movie) 1962 The Bicycle Thieves 1948 The 400 Blows 1959 Twelve Angry Men 1957 Shadows 1959 (Own this, but I still need to watch this one) Spartacus 1960 (I was wondering if either stand up scene might have influenced the other) In the Heat of the Night 1967 Killer of Sheep 1978 (I thought was an earlier film) Then just googling to see what else was going on cinema-wise about racism Black Girl - 1966 (haven't seen this one) West Side Story 1961 A Raisin in the Sun - 1961 Guess Who's Coming to Dinner - 1967 Imitation of Life - 1959 (hadn't heard of this one. I've only seen Kazan's two big movies) I'm not sure what to take away from this, but it's there. I guess I'm getting a bit of a mental block trying to think of another movie from the era exploring racism through the eyes of children in the south. I guess we could go back much further to Mark Twain. I guess I'm just trying to get a sense of was this really that groundbreaking or not. Oh well, to me it still feels like a polished drama, with an interesting credit sequence. It's kind of in the same situation as Silence of the Lambs, where I could see myself including this somewhere on a list of a 100 movies (especially when picking from 400 movies), but can easily imagine that I'd also come up with 100 movies that wouldn't include it (especially when not picking from a curated list of 400 movies). Just wondering, how do you feel about Twelve Angry Men?
  22. ol' eddy wrecks

    To Kill A Mockingbird

    I'm only 1/2 hour into this revisit (last time was probably 10th grade, so 25 years). In terms of camera work, I remembered the opening credits were supposed to be interesting (at least to high school students) - and that actually held up. That was interesting (visually). If Paul had no expectations going in, maybe that really stuck in his mind. I'm at the night time visit to the Radley place; the camera work has appropriately shifted to feel a bit like a horror movie - and the shadow of Radley on the wall seems like a direct allusion to Murnau's Nosferatu - which seems appropriate. I don't think that's that avante garde (if the rest of the film felt like the opening credits - which it doesn't so far, and in my memory, it doesn't - I could see that label a bit more). I'll post anything else that sticks out to me, but I don't think there's much.
  23. ol' eddy wrecks

    The Silence of the Lambs

    Aside comment - the podcast mentioned how this was the rare (only?) Oscar BP that was released in February. My recollection is, it came out in February, but then was re-released close to the end of the year when they felt they had a shot at the Oscars (admittedly a memory from when I was a teenager, and as I write it, it feels weird that that is something I think I remember). One of the more overt Oscar campaigning practices.
  24. ol' eddy wrecks

    The Silence of the Lambs

    In thinking of horror/thriller movies (well, horror) that I'd probably prefer to be on the list, Night of the Living Dead came to mind. If you're going for influence (e.g. true-crime craze), I would think NotLD would have to go on there, for (as far as everything I've heard, and have not see a counter-example) it invented what we think of as the zombie (apocalypse) genre. Of the movies that I do not necessarily want on the list, but also influential, Halloween is credited for starting the slasher craze we associate with the 80s (even though Black Christmas by all accounts was getting to it first, and I don't know how The Texas Chainsaw Massacre doesn't seem to get credit for that, despite being iconic and coming out in '73 - which is also a movie with the killer influenced by Ed Gein). But what came to mind: Night of the Living Dead, The Exorcist, The Texas Chainsaw Massacre; since the AFI is fine appropriating British films, I'd assume Canadian ones are also up for grabs, so something like Videodrome or The Fly (I'd already want enough Kubrick films, I wouldn't argue for The Shining). Psycho is already on the list. I did really enjoy Silence of the Lambs in this revisit, and it's well made, I just end up going through all these other films I'd prefer, I'd suspect I'd run out of space fast, so I guess, I'd be a "no," but at the same time, I'd say, compared to other films on the list, it doesn't make me scratch my head (after this revisit) as some other movies do. But then again, looking through the 400 films in the 2007 AFI ballot, maybe I'd have a really hard time coming up with 100 films from their curation.
  25. ol' eddy wrecks

    Tootsie

    He's chasing after a number of women at his birthday party (the point of the film, somewhat aggressively). I think the journey isn't supposed to be love, but rather the ability to empathize from her perspective and not just an object of desire or an abstract notion of love without a real concept of what's inside.
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