kubrickshines

I'm also Team Blanca, though I think the vote would be more split than you guys do. Casablanca's a real boys' club, for instance, and I wonder if women might identify more with GWTW's perspective. Or people who prefer historical epics to snappy comebacks.

But what would your mom put in, Muth?

I was just trying to poke fun. I wouldn't listen to the podcast if I really thought Devin was a fat blowhard; I just wanted to say "Zing". So if Devin read that and got sad, I'm sorry dude. You're my favorite horror film reviewer and yadda yadda yadda fan worship.

They rank highly among the superhero films produced thus far, though of the two, only Dark Knight will be remembered 50 years from now, bolstered by Heath Ledger's powerful penultimate film performance (try saying that ten times fast). The question of "what is the most important film of the century (so far)" is pretty interesting though. Like, how do we ascribe "import"? Maybe it breaks down into: 1) what film historians tell us is culturally significant, and 2) what festers and remains in the societal consciousness long after its release. Historically, 'Iron Man' might end up being the most important superhero film since, like Toy Story or Mission Impossible, its the origin of what has become a cinematic powerhouse (Marvel Studios).

I haven't seen the film, so I won't be voting this round. But I did want to chime in and say this was the most uncomfortable I've ever been listening to a Canon episode. Dave Schilling's presence (unintentionally, I'm sure) somehow disrupted the balancing act the show typically is. I don't think Devin has ever been so brusque or dismissive in an episode, perhaps emboldened by Dave's tittering. Also, the Canon's surfeit of indulgence picks has transformed it into a fat blowhard, in the likeness of one of its creators. Zing.

I texted my mom asking what her favorite films were and she said: - The Lady Eve - Sullivan's Travels - The Palm Beach Story ...she's kind of into Preston Sturges.

I can recall seeing this around 12 and really loving it, but now I worry it'll fall into the 'generally pleasant, not great' category of Forrest Gumps and Shawshank Redemptions. On a less personal note, it's the rare film that: 1) was adored by general audiences and film critics alike, 2) maintains a significant level of cultural relevancy long after its release and 3) offers a bunch of parabolic interpretations to stimulate discourse. i.e. its popularity ensures more subscribers and our cohosts get to dump on millennials some more. Win-Win.

So nice I had to post it twice.

I think it's pretty influential. 'TKoC' might be the first widely distributed example of "anti-comedy" or "cringe comedy" in cinema, and would go on to influence David Letterman's and Larry Sanders' meta-critiques of show business. At the very least, it had a lasting impact on Tim and Eric - http://www.avclub.com/article/24-hours-of-discomfort-comedy-and-discomfort-comed-88516 And this flavorwire article offers some more food for thought, as well as Scorsese's thoughts on the film: “I cannot give myself to it. It has no emotional point of entry. All of the characters are closed doors.” (http://flavorwire.com/581553/how-scorseses-king-of-comedy-influenced-a-generation-of-film-television-and-stand-up) One last note- This (unfortunately) wasn't mentioned on the podcast, but De Niro had originally brought the script to Scorsese all the way back in 1974, almost a decade before it was released. Just imagine that alternate timeline

"Silkwood" is probably already on the Canon list, albeit far, far down. As for "Plenty"- a forgotten curio of polarizing opinion - I wouldn't hold my breath, dude.

Ross, admitting you're a psychopath with delusions of grandeur is the first step. Welcome to the club! And this may be the caffeine talking, but Edgar Wright might be the greatest comedy director of all time. Doesn't get nearly enough credit due to his genre of choice. All his works are insta-Canon for me, though I'd argue Shaun of the Dead is his weakest directorially.

I often go back and forth between which trilogy is the millennial 'Star Wars' - the Matrix or Lord of the Rings. In the end, LotR is probably the better whole, but The Matrix is the best standalone film of all six involved. This also might be the best evidence for Davin's as-of-yet unsubstantiated claim that "1999 was the best year for movies".

I haven't seen a ton of documentary nominations, so I'm throwing this one out. I think its become a bit forgotten, despite the intense praise it got at release. I wouldn't thumb my nose at an Errol Morris versus though.

Sorry, I didn't mean this to become a critique of the Canon's film choices, I just like statistics. I meant it more to inspire discussion or thoughts about what films we choose to discuss and the biases we (as a community or as a people) face. And maybe the 80s really are the most canon-worthy decade? It was the decade where low and high culture met in the mainstream marketplace: Coppola started making more family friendly fare (The Outsiders, Peggy Sue Got Married), Scorsese got into comedies, Woody Allen was making family dramas into box-office boffo, all before collaborating on the uneven "New York Stories". We've got the brat pack, Spielberg perfecting the blockbuster, a horror revolution, Coen Brothers, Tarantino, Soderbergh, and Jarmusch all getting their starts. Hell, someone even gave David Lynch $40 million to make boring Star Wars. The diversity is staggering!

Drink anytime Amy addresses being blonde or blonde empowerment