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  1. 8 points
    I believe this is Michael's picture
  2. 6 points
    UPDATE!!! After this weeks mini the Minis + Movies + Episodes Total Runtime (or the MME runtime if you like) will be 35 days!!! https://docs.google.com/spreadsheets/d/1fNUxhVbJf9FOIHnE1yorJj383JS51T0cjF6XsaE8tA4/edit?usp=sharing
  3. 6 points
    The one line that stands out for me is when Kaz runs to take a cold shower to curb his horniness he complains "Damn New York City pluming, you call this cold water?" Water by nature is cold. When it enters a building it doesn't go through a special cold pipe to get colder, it is already cold. There is nothing pluming could do to make the water colder. Granted Kaz is a homeless mentally ill man who sleeps in garbage and probably hasn't had a shower in many a year. Is it the case that his body is so use to washing or bathing in sinks and from hoses that regular cold water isn't that cold to his body? Also, has the inability to get cold water ever really been a complaint? Has anybody ever jumped in a shower and been like "Hey this is warm, I wanted an ice cold shower because I'm a sociopath."
  4. 6 points
    When we first meet Sonia, it’s in Denny’s apartment after it’s been ransacked by Chip because Denny had the gall to throw a birthday party. Sonia is shocked he would be such an asshole just because Denny wanted to celebrate his birthday, at which point Denny clarifies that it was her own birthday party she was throwing. I’m not sure what’s more upsetting: the fact Sonia didn’t realize it was Denny’s birthday or that Denny had apparently never bothered to invite her best friend in the first place. Either way, when you add Denny’s refusal to visit her best friend’s sister in the hospital, there really does seem to be more behind Sonia’s decision to make out with Kaz than meets the eye.
  5. 6 points
    Ok, this has been a movie I've wanted to cover in this group since it's inception, both because it's great (one of my aboltute favorite musicals) and we've covered so much of the Norman Jewison oeuvre already, the completist in me wants to watch it. I've waited for it to be free on streaming on Netflix or Amazon Prime and it just hasn't happened. So... I'm just gonna pick it now. If the group would rather I pick something else (this being a pandemic and all), I would gladly change my pick (I do have an alternate that I would like to revisit anyway). Please let me know. After all, if I were a rich man, I would be buying way more movies.
  6. 5 points
    It is also available for free on the Pluto TV app (they do have ads on there tho)
  7. 5 points
    Because he's an attractive white guy that's not Chip or a serial mangler, which is all Denny deserves I guess?
  8. 5 points
  9. 5 points
    Shit... I forgot that was a straight up thief as well. Seriously, between the criminal ways, the lust demon, the homelessness and the constant sexualization of women, why are we suppose to like this guy?
  10. 5 points
    Anything coming out of my tap is basically lava for the next two months, so I would gladly welcome an ice cold shower.
  11. 5 points
    You both assume I want to suppress my lust demon. I let that sucker out.
  12. 5 points
    First of all, Paul was wrong -- Alan Fudge did not play the nerdy guy who becomes the Mangler, he played Phil the police captain. The nerdy guy was played by Robert Trebor, who is perhaps best known for being on Xena. Also, this movie is character-actor central! There were a lot of folks in here to recognize from other projects (not just Calvert DeForest). Arnold Johnson, who played "Fixer," is best known as the lead in Putney Swope, Robert Downey Sr.'s great cult satire, and from recurring roles on Sanford & Son. Gina Gallego, who played Sonia, has quite a long IMDb credit list, but I knew her best as one of Rebecca's co-workers on Crazy Ex-Girlfriend. And of course, the woman yelling from behind the counter in the health-food restaurant was Lin Shaye, who frequently appears in horror movies and Farrelly Brothers comedies.
  13. 5 points
    What you're saying is that if Kaz actually came, he might have gone from Asmodeus to Belphegor?
  14. 5 points
    I really enjoyed this movie and the episode was fantastic While I don't think any of us can say for sure whether or not Kaz and Sonia had sex or just made out, I have to agree with Jason that Kaz smoking a cigarette is the accepted short hand for post coital satisfaction. My problem with this, however, is that if Kaz came, and is presumably no longer horny, what guarantee did they have that the lust demon would even stick around? I mean, I totally get the position they are in, and if it's their only hope of saving Denny, it would be downright irresponsible of them *not* to turn Kaz on, but no one said they had to go until completion. I'm just saying that it was a pretty dangerous game they were playing with Denny's life, and if I were her, I would still be kind of pissed.
  15. 5 points
    I found it interesting that Kaz did not react the same around Denny as he did most other women. With most women, he seemed to immediately want to turn into the demon, whether it was with the woman on the subway or Denny's friend, Sonia. But with Denny, he spends a lot of time with her without any issue. It is not until they heavily start making out that the demon shows any sign of appearing. At first I thought this might be just another example of the film's inconsistencies. Or worse, that they were implying that Denny was not as attractive as those other women. But I think the film was trying to make a distinction between love and lust. He does not respond the same way around Denny because she is his "true love". This idea is reinforced by the fact that the sword Sonia grabs from her occult store is labeled as 'the sword of Asmodeus'. Asmodeus is known as the demon of lust. In 1589, a German bishop named Peter Binsfeld published an influential list of demons and paired each demon with one of the seven deadly sins: Lucifer (pride), Mammon (greed), Leviathan (envy), Beelzebub (gluttony), Satan (wrath), Belphegor (sloth) and Asmodeus (lust). It is said that Asmodeus' dominion is lechery - he causes performance issues when men are with their wives and induces their attraction to other women. Furthermore, one text described Asmodeus as a demon who perpetually spawns new demons to bring chaos to the world, inciting lechery and excess wherever they roam. Given that we know both Kaz and Chucky have been cursed by the same person, is it possible that the Romanian grandmother and her granddaughter are agents of Asmodeus who have concocted this honeypot trap to lure young boys in so that they can be made into these demons?
  16. 5 points
    I don't think anyone mentioned that a "gris-gris" (pronounced "gree-gree" like Sonia's sister Miguela's store) is actually a word that refers to a charm or talisman that is meant to ward off evil spirits. Maybe this is some oblique rationale for why Miguela survives her attack from the Mangler? Or maybe, considering her sister is psychic, she has some sort of familial passport to the spirit realm and is able to resist somehow? Or maybe the writers of the movie just had a list of cool sounding spiritual-esque words and picked one at random for the name of the store. Either way, just a little trivium for you.
  17. 5 points
    This was my initial reaction to Jason's view of the movie's message
  18. 5 points
    I liked it because the one guy was called Laser Wolf* *yes I'm aware it's spelled differently
  19. 5 points
    Ok, deep breath... So this movie has fascinated me for a long time. It definitely pairs with the other movie adaptation of a spiritually focused musical directed by Norman Jewison in the early 1970s, Jesus Christ Superstar. The latter is definitely a much lower budget endeavor which puzzles me considering such a monster hit Fiddler on the Roof Was. I think in college I was looking up what were the most successful movies in big, important years in cinema and I was shocked to see what a phenomenon Fiddler was. A year before The Godfather, two years after Easy Rider supposedly made old Hollywood ideas (like epic musicals) extinct, was this, to me, an anomaly of a film. I know the Broadway musical was a smash, but a three-hour musical about pogroms, poverty, and the conflict between tradition and modernity in late Tsarist Russia seemed so unlikely to me. Plus, one of the most challenging and rewarding classes I took in college, around the time I discovered this movie, was a History of Russia class, much of which focused on this exact time period. Structurally, I think this musical is interesting from the get-go because it kind of has an "I want" song in "Tradition," but what Tevye wants is for things to stay the same as they always have been, just if he could maybe have a little more money and have to work a little less hard. Especially considering how much his family and his entire life are upended by the end of the film, our protagonist is actively opposing progress throughout the movie (though he's more open to change than a lot of his fellow villagers). Tevye is our window into this world, but what fascinated me about him is that he's just a bit beyond an Everyman character: he's a little smarter, a little wiser, a little funnier, has a little more perspective, works a little harder, has a little more of an active relationship with God, and is willing to bend the rules a little more than his fellow villagers. Not a lot, but a little. And all of those little bits make him, to me, a hero. So by the end, even when it takes his entire family yelling at him for him to acknowledge his daughter again, even if only for a moment, we see him carting all his belongings through the mud with a rope over his shoulder, he is a hero. Sure, we'd like him to be heroic enough to accept his daughter with open arms at that moment, but in this moment in history, in this movie, that is just a bridge too far. Tevye's life has been entirely upended by these gentile Russians; his daughter's wedding was ruined, his family is displaced, and his ancestral home destroyed. And now his own child is married to one? FUCK. I think that's a wonderful illustration of the theme of Tradition introduced in the opening song. It's tradition that this town, this community, this religion, has survived for millenia, living through pogroms and crusades and genocide. Their entire existence lives on the precipice of destruction (like that Fiddler), so of course this community depends on tradition to keep it together and alive. It is to Tevye's credit that he is able to recognize the damaging, or at least not useful, elements of that tradition and let it go, so his daughters can find happiness. Sure he grumbles about God and his fate, but he comes around eventually. Musically, the film stands out as it embodies that tradition with its orchestration and instrumentation. It combines 20th century modes of storytelling (the Broadway/big film musical) with sounds and rhythms of traditional Jewish music and culture. We are listening to the give and take of progress vs. tradition that is going on in Tevye's own mind. I know a lot of people are bothered by the tonal shift after the intermission, but I actually find it thematically appropriate. I think it is indicative of the life of Jews in Eastern Europe for much of the last, well, millennia. That is, existing on the edge between livable misery and intolerable trauma, going from where one is able to joke about one's living conditions in order to suffer through it, to tragedy so severe it constitutes a landmark break from everything one knows and cherishes. They lived that edge-of-the rooftop existence every day for generations. I have MANY more thoughts on this film, but I will end this rant by saying that this movie connects to me even on a spiritual level. The tableau at the end of the film, with the villagers, now refugees, staring starkly and longingly into both the camera and their grim future, breaks my heart. These images echo every Jewish refugee in history, from ancient Babylon to the Holocaust, and the Boomer generation that made up much of the audience for this film, whose own familes barely escaped or were victims of that genocide, it must has been harrowing. Me being Catholic, it affects me in a different way; in that I am reminded of all the refugee crises America has ignored since then, from Syria to those at our own border. It's reprehensible and tragic on a global scale and, personally, it's against everything I believe in to ignore people in such poverty and pain. The Bible is full of Jewish refugees that it frames as heroes, not just the many mentioned in Fiddler on the Roof, but also that one Jesus guy. So any Christian who would ignore these people, or participate in their destruction, makes me just so fucking angry. There's a panoply of movies about global crises of the present or the past, but maybe it's the smallness of the scale of this film combined with the scale of the music that makes it connect with me so deeply.
  20. 4 points
    I know it won't be for everyone, but this is straight up one of my favorite Musicals. It could be because I was shown it in history class at an impressionable age, but it really hits a lot of sweet spots for me.
  21. 4 points
    OK, here goes. In @Cam Bert's words, I want to strike while the iron is hot and view the Hamilton prequel. This brought the Continental Congress to life for me and allowed me to view the Framers as more than stuffy old men. There are troublesome parts, of course, but hypocrisies are also discussed and brought to light. The arguments between John Dickinson and John Adams were the very questions I had wondered about before seeing this movie. We're watching It is long but I plan on doing at least three Kast showings, to allow people to view an hour at a time if they wish. It is available for rent on Vudu and Amazon, and maybe elsewhere.
  22. 4 points
    So what we're saying is that in the hot summer months we're all trying to repress our lust demons?
  23. 4 points
    This has been me with anything since quarantine started. One episode of a tv show? Kind of a big commitment for someone sitting inside on the couch by myself all weekend.
  24. 4 points
    Off-topic: Ennio Morricone passed away. Everyone sing The Good, The Bad, and The Ugly theme in his memory. This is my favorite rendition. "What is your part?" "Oh, I stand there and sing 'Wah wah wah'."
  25. 4 points
    Can we talk about how crazy Connie and Suz’s plan is to find Michael and the rest of the kidnapped children? They have Connie sneak into the back of the Signor’s truck and use a bag of sugar and a funnel, so that he can leave a trail for Suz to follow. Why allow Connie to be captured like that? Wouldn’t it be easier to just have both of them tail the Signor’s truck on their bikes? Or get Suz’s dad to tail him in his car? Furthermore, the sugar plan was deeply flawed. As we saw, the trail could easily be eliminated with something like a street sweeper. Plus he only had a 4 lb. bag. It’s unlikely that he has enough sugar to last the whole distance. I was stunned when Suz rediscovered the sugar trail and said she finally found it after days (plural!) of searching. You’re telling me that no wind, rain, or traffic disturbed that sugar line in all that time? Lastly, when Connie and Suz put this plan into action, the Signor leaves the art shop and asks Suz if she would like to go for a ride. She says no, she’d rather ride her bike. So The Signor just leaves her be. Why was he so polite to her and accepting of her refusal to come along? Or was he polite to every child and he just succeeded in getting that many kids to willingly come along with him?
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