JosephDaley

Satoshi Kon is one of the greatest storytellers to work in any medium, let alone film, and these two feature films specifically are the foundational 'Urtext', as Devin would say, for much of Darren Aronofsky's and Christopher Nolan's visual nd thematic ideas found in the film's 'Black Swan' (and to a degree certain shots were lifted for 'Requiem for a Dream' also) and 'Inception'. Now that we're going through the looking glass and beginning to talk anime, I think it's high time we recognize other filmmakers who aren't Hayao Miyazaki

I came to this show with Blade Runner, which is my Favorite movie of all time. I came to Devin's writing through Kristian Harloff's Far, Far Away. His writing was a godsend, I have opened up on BMD before, but I suppose I'll just leave my piece here: I found Devin's writing almost like clockwork after my ex, Courtney, had attempted suicide. We had freshly broken up, but we did that a lot. Our relationship was toxic and beautiful. She was my Karen to my Hank, and it wasn't until after I found out that she was okay, that I also found out that she had been almost 3 months pregnant with our child. The pregnancy didn't survive her attempt, I guess the shock to the system was so great that it miscarried. We had conceived most likely, after my ex had comforted me through the accidental overdose after one of my close *close* friends. I was angry and hurt and broken, and Devin's voice felt like... like a kindred voice, but one that I deeply respected. I didn't always agree with his opinion, but it was one that I had come to deeply value, respect, and sometimes echo in my own writing. So last night, as I was listening to The /Filmcast, where they were talking in spoilers about the problematic nature of Nate Parker's 'The Birth of a Nation', that I first heard about the allegations leveled at Devin. I must have missed Devin's initial post on BMD or Meredith's SOTU address, but I was floored and shocked, and I couldn't believe it. While I don't mean to write about me, and how much Devin has come to mean to me, especially in light of the gravity of what he has been accused of, but I feel like the preamble is necessary to inform Amy that I will not continue to listen to this show without Devin. I watched Far, Far Away crumble under the abscence of Kristian Harloff, I watched Jedi Alliance qualitatively fold after both Ken Napzok's departure and Joseph Scrimshaw's. I will not watch this show qualitatively decline in that same way. I've come to cherish Amy's opinion and voice, but I almost never agree with it, and I've playfully ribbed at her expense in the forum's before, but it's out of a deep love of this show. This show has meant a lot to me, and the Forum has become a playground of frothing film love and has ingratiated itself into my identity as a film fan. It was a great run, and I look forward to Amy's continued writing and podcasts, but this show must continue without my patronage.

'In the Mood For Love' (and 'Chungking Express') is available through The Criterion Collection, and will certainly be available through both Hulu Plus & Filmstruck, which will be available starting in October. Also, I've posted about Wong Kar-wai a million times in here before, but it bares repeating, 'In the Mood For Love' is one of the greatest movies about love, ever, ot has to be in The Canon Eternal at some point.

Empire Strikes Back is not in this Canon, and Wrath of Khan almost certainly will be. This is almost the greatest deleted scene from Fanboys II.

No, I'm not talking about Hellboy..... Well, not yet anyway! "The dreams of youth, are the regrets of maturity. Dreams, are my speciality. Through dreams, I influence mankind..." This is my favorite piece of dialogue from Ridley Scott's little seen, and little appreciated masterpiece of fairytale filmmaking. This line is sumptuously delivered by the lascivious Tim Curry, who allows the line to pour languidly from his mouth with the deliberateness and ease of a beastly bull courting a timid unicorn (If that could ever be considered a thing). In fact, I think we can all agree: Tim Curry is the single most attractive and considerable component to talking about Scott's film, that and the beautiful, lived in, Disney fairytale design of the film, and presents us with one of the most iconic film villains of all time. So iconic, that literally nobody ever mentions him.... Except when you're talking about the quality of McFarlane toys or visual representations of The Morning Star himself in film. There are other anecdotal things to talk about- the boring sweetness of Mia Sara, the buck-toothed and sexless wonder that is a youthful Tom Cruise, and the oddball, textured, Old World depiction of fairies and fairy-folk in general (PS this movie is virtually an Enchanted World adaptation verbatim) and of course there's always discussion around which cut of the film is preferable or which soundtrack is more appropriate (firmly in the Director's Cut & Jerry Goldsmith camp btw) for the film. This movie was virtually shit on and forgotten by everyone, and if we're going to talk about 'Labyrinth', we should consider talking about the other notable and visually lush fantasy of the 1980's- 'Legend'. I don't know if it's Canon material, but it's certainly better than Jim Henson's film (though, could you imagine if Scott had had the ability to cast Jennifer Connelly in this one).

A few images? You could literally frame every single gorgeous frame of 'Legend', and hang them in an art gallery. It's a stunning movie that's expertly told. Especially in the director's cut, and for me at least, 'Legend' feels perfectly sculpted and articulated. I often find myself comparing it to the work of Disney, and it's no surprise that Scott wanted to do a live action Disney fairytale. The things you seem to find dull, it's *traditional* qualities, are actually what elevate it. In 1985, there just weren't a whole lot of exceptional fantasy movies. There were a few, but most were junk. Or were trying to rip off John Milius. This movie though, is for me, perfect filmmaking. It takes itself serious enough because it's a story. My bigger qualm comes from Mia Sara and Tom Cruise. They're just dreadful in the movie. Tom Cruise, because he can't help but feel modern as shit, and Mia Sara, because she's boring as shit. But you're wrong about the "subversive" quality, there's a very real argument that you can have that Tom Cruise's character could be read as a gay character. At least, that's how it's always read to me. I know they're showed to be in love, and we're told over and over again that they are.... But it just doesn't work becaus you never get any of that from Tom Cruise. Something in that performance feels genuinely gay, or readable as gay. I find that's plenty subversive, whether intentional or unintentional, when I watch that movie it always reads as a love and friendship that's platonic- it's not a prince rescuing a princess, it's her BFF who likes what she likes tryna get his friend back. That is admittedly just the way that I and several of my friends have all come to read the film. We threw it on during one of our LGBT movie nights, and just were all surprised to learn that we all felt very similarly.

We could always get a hold of filmmaker Andre Joseph if that would settle your qualms?

Anything that gets Pam Grier into The Canon has my vote. Also, LGBT filmmaker and B-Movie maven Lola Rocknrolla would be an excellent guest for this specific topic.

I've watched, re-watched, and re-watched this film time an time again. I would've loved to have this movie square off against Ridley Scott's 'Legend", which i think is a much better an much more sexual and kinky movie, but I'm throwing my hat in the ring with a hearty 'Yes". I've been in love with Jennifer Connelly my entire life- whether it's this or in Dario Argento's little seen 'Phenomena' (I'm surprised Devin didn't mention that, which I believe *is* her first feature) and I adore her in this film, alongside David Bowie's soundtrack, which isn't exactly "Young Americans", but is still wonderful. As well as to just have a Jim Henson movie in the Canon.... Oh, and because 'Pennies From Heaven' and 'Working Girl' are in The Canon. So fuck it. PS I would so love to watch a version of this movie designed by Luis Royo, rather than Brian Froud. I've never been a yuge fan of Froud's artwork honestly.

A) We need some Jidaigeki in The Canon, and more Foreign language efforts in general. Our Pop Culture is obsessed with Anti-heroes, it's been that way since before Alan Moore and Frank Miller took the Caped Crusader and re-contextualized him as The Dark Knight in the 1980's, and it'll be that way for richer or poorer for some time I suppose. Jesse James, Tony Soprano, Heisenberg, Darth Vader, and Kylo Ren. and so many innumerable others that it's hard to count. Ryunosuke however, is perhaps the Mack Daddy of the Bad- the Worst of the Worst. This amoral Samurai destroys everything by existing- he longs to corrupt and maim the world as he cackles and slaughters his way through it. Tatsuya Nakadai brings Ryunosuke to effortlessly chilling life here, and the finale of this movie is the ultimate Joker origin story come to vividly maniacal life. I would love to see this movie brought before The Canon and to see how we the viewers come down on it, I wouldn't be surprised if many people feel differently towards this movie than I do, it's not the easy sell that the epic and grand 'Seven Samurai' is, or the vibrantly relevant but little seen 'Three Outlaw Samurai' (Which is one of the inspirations for Star Wars Episode VIII) is. But I see so much of this movie reflected in the storytelling of today, so much of Ryunosuke and his Sword of Doom in every Anti-hero story we celebrate or tell anew.

I can definitely concede to what you're getting at, and recognize my own fault at contributing to what you're describing. I'm actually really glad that you made this post, and I hope more people come on here and read what you have to say see themselves likewise gently checked. I greatly look forward to reading more of what you have to say as this show and these forums continue to grow and become more animated. I get on here so intermittently, and sometimes- and more often than i should like or realize- i really do take my own opinion too seriously, and proselytize it as if I'm Luke Skywalker or something. You should see me debate my co-worker, he's a huge movie buff too and he's also staunchly hard right conservative, and our differing viewpoints clash so virulently and so cantankerously that I've literally walked away a flaming, roiling, and abrasive asshole. I try really hard not get like that, but I get in my own way *way* too often. I was listening to Hamilton with a significant other recently, an she so called me out for basically having Alexander Hamilton's personality as presented in that musical. Thank you for checking me, before I wreck me.

I just watched 'But I'm A Cheerleader!' at my friend Kaylee's annual LGBTQ movie night, and I had never heard of it, but I'm so glad that I watched it. It's so weird. It doesn't have anything to do with Female Coming of Age films, but it reminded me of how I felt after watching Michael Cuesta's 'L.I.E.', only a much warmer and more positive feeling. If Pennies From Heaven get's into The Canon, I'm suggesting D.E.B.S.

I feel like perhaps you took my comment and interpreted it as me saying that I don't think it's important to discuss gender inequality, as if I don't think that's a huge problem that deserves to be talked about, but you're absolutely right and it is important. I can't know what you went through as a female fan trying to find representation that you can recognize yourself in, but I didn't mean to make you feel as if that point of view is invalid. I just really think it's important to recognize that Pennies From Heaven is a terribly bland and ineffectual movie, and that I feel like we're giving it too much consideration on both sides, and it's all thrown out of balance because 'Re-Animator' is in The Canon. I apologize if my comments came out in a way that hurt your feelings, or that came across in away that's disingenuous or flagrantly wrong-footed. I'll certainly try to really just pause and write out my thoughts more clearly, sometimes i just allow my emotions to color how i communicate, and I've been working on it.

I'm so for this it's not even funny.

All of the gendered discussion here is wonderful, but has no basis on the film we're voting on today. 'Pennies From Heaven' isn't one of the greatest movies ever made, and follows a male character who couldn't be bothered to care about the feminine perspective of the women in his life. You're almost all making this all a question of do we vote because we love Amy and want to see her and the things she loves comfortably reflected in The Canon, or not. The answer is neither. We vote *N-O* because 'Pennies From Heaven' is barely a C, in the context of the greatest movies ever made. 'Pennies From Heaven' doesn't even come close to the Top 500 Greatest Movies Ever Made, so why should it be allowed to be inducted into The Canon of the Greatest Movies Ever Made? Are we just going to allow every movie that our hosts put forward into The Canon? 'Re-Animator' has it's following and place in history specifically because it *is* one of the greatest horror genre exercises of the 1980's, and is an sterling example of how to make a pitch perfect horror movie. 'Pennies From Heaven' was relegated to the dust covered waste bin of ineptitude because it's just objectively *not* the greatest anything, it's just a blip on Steve Martin's career, and an anecdotal addition to his IMDb. It's a fine movie that isn't exceptional at literally conveying anything. Again, this is The Canon of the Greatest Movies Ever Made.

Cronenberg's Crash is one of my favorite movies--- of *ALL TIME*. I don't think this is an indulgence, I think this movie is one of the most quotable movies of the 1990's,I think it's a vastly misunderstood masterwork from one of the most intellectually stimulating auteurs working today, and I think it's just so niche, weird, and frankly just plain ol' interesting movies we could ever talk about for The Canon. I've agonized for months over which Cronenberg film to submit as a suggestion, and I want them all. I want Videodrome, I want Dead Ringers, I want The Brood, The Fly ( ), Eastern Promises... I mean, the only two films of his that i dont enjoy are Fast Company and M. Butterfly. What does everyone think--- am I crazy? Is this the wrong Cronenberg?

The Wachowski Sisters absolutely deserve to be in the Canon. I'd put the entire Matrix saga in (including the Animatrix), Cloud Atlas, Bound, and Speed Racer in too if i were being greedy. They're my kind of crazy and visionary... and CHITOWN LOVE I MEAN RIGHT?

As someone who basically spent the past 10 years of my life in the Midwestern music scene, I have to say that i hate this movie. Green Room is a much better vision of what show culture is like in my opinion, and does a much better job of doing more with the themes and ideas you described in 20 minutes than the entire runtime of SLC Punk. Admittedly, that's coming from a very specific perspective. I still really enjoy SLC Punk, it's just not in my opinion a Canon entry.

I absolutely love this weird, perverted, and playful Muppet misadventure. Partly because Jennifer Connelly ushered me into adulthood with feels that I didn't understand, and partly because I wanted to watch David Bowie undress the whole time. This movie was one of my favorite movies growing up, and I've come back on it religiously throughout my life... I'm not sure that I would argue too hard that it belongs in The Canon though. Especially because all of the criticisms that I have of Pennies from Heaven, apply to this one. It's just not a masterwork, except in that it's by one of the most human and important filmmakers in modern history- Jim Henson. I don't know where that leaves my vote honestly.

I voted "N-O" because this movie is just not the *greatest* at anything. It just isn't, and I'm sorry Amy... Just because you love something and you find Something substantive inside it, doesn't necessitate admittance into the hallowed halls of The Canon Eternal. 'Re-Animator' at least *is* one of the greatest genre exercises of the 1980's, and if I remember correctly the entire argument surrounding that movie came from an incredibly *ignorant* philosophy that there's already too much Genre in The Canon, that too many incredible 1980's Horror films specifically were previously admitted.... If you had went with 'Synecdoche, New York' however, that *would've* been a slam dunk. I wanted to vote yes, because I voted yes for 'Re-Animator', and because I don't want you to feel like your taste (and therefore yourself) isn't reflected in The Canon.... But this dreck? N-O. Pushing this into The Canon would be like me insisting that we do an episode on Christophe Gans' 'Brotherhood of the Wolf', one of *MY* favorite movies. I love everything about that movie, and I always hope that others find what I find in it as well, but it's just not a great movie. It's really ambitious and creative and beautiful, but at the end of the day it still needs to get an A+ to be in The Canon. 'Pennies from Heaven' is barely a C, and C's don't make it onto the Honor Roll

I don't think there's a movie that I find personally more responsible for establishing my understanding and communication with the opposite gender, or culpable in the reevaluation of my sexual identity than I do Mean Girls. I love this movie, and I feel like pretty much every cinephile that I know 25 and under, shares that feeling... I'm not sure it's quite had enough time on the shelf, but I know this movie is canon worthy.

There is no world that I want to live in where the Harry Potter film's make it into The Canon. I'm a diehard when it comes to Harry Potter, so my opinion is heavily biased towards the books, but the film's are so slight by comparison, hit or miss doesn't even begin to describe how pockmarked the disparity of quality among them really is. Prisoner of Azkaban is easily the best of the bunch, and the only one that I think could be considered Canon worthy, but Pottermania belongs to the books, and its impact on our culture belongs solely to those books. If this were a Canon of the most important touchstones of Pop Culture period, then the books (and films by extension) merit inclusion as a guarantee. But this is strictly film, and none of the Harry Potter films deserve to be included. In closing: the *books* inspired the podcasts, the conventions, the Wizard Rock, the Midnight Book releases, and Pottermania. The movies just let in the normals, as Devin called them.

If we're strictly limiting ourselves to the classic period, I'd actually love to see a smaller less seen gem like Edgar G. Ulmer's Detour be brought up for consideration. Also, obvious contenders and shoe-ins like Sunset Boulevard, The Maltese Falcon, The Big Sleep, Orson Welles' The Lady from Shanghai, Out of the Past. I mean, this is one of the best "genres", "movements", or "periods" in Film--- period. It would be interesting to put a classic of Film noir, against a classic of Neo noir, and see how the vote goes. But I'd honestly rather a straight up one film episode.

I voted "no" because this is my ex-girlfriend's favorite movie. She deserves to have her taste reflected in The Canon, but not today. Also, I do really admire this movie. I don't love it per se, or return to it very often, but I do enjoy it. Although, if I'm being honest, I'd much rather live and love in Billy Wilder's Irma la Douce than Breakfast at Tiffany's, and I know I'm probably in the minority in that opinion, but that is how I feel about it. *PS I don't *really* love Audrey Hepburn, I mean... I do, like everyone else, respect her and her place in history, but I personally don't find her attractive in the slightest. And if I'm going to watch a romantic movie of any kind, I kindof have to feel attracted to one or any of the romantic partners we spend time with. I do however really go for Elizabeth Taylor or Shirely MacLaine, I guess I just vibe with danger and eroticism and more fiery passion on screen and off.