ol' eddy wrecks

I'm in the same situation as with the first one: it's October; didn't have time to watch; plan to catch up with it in November; when I made my top 25 of 100 AFI films it made the cut - admittedly based on a very vague memory of it. I guess a few things I'll toss out there: Paul's suggestion of combining them into one movie - the BFI did that for the 2002 version of their list. In the 2012 version, they chose not to combine them (dropping them both down below Apocalypse Now. People can't seem to agree on Coppola's best.) I'm not sure what caused them to combine them in 2002 and then to split them apart for 2012. I think I saw a line that the BFI asked everyone to "count each individual film separately". I guess it does get you into complicated situations with narrative trilogies (the Apu trilogy also comes to mind where people could make the reasonable argument they belong together). Amy's dig at Scorsese - yeah, he returns to mob/crime movies a lot, but he also does a lot of other movies. I still regret never watching Silence - though it was on sale recently, so I guess in buying it, I'm committing it to my end of year movie watching when in vacation. The whole Scorsese/Coppola internet outrage reminds me of how the internet got really mad when Ethan Hawke said, "Logan - enjoyable. Not remotely as great as people talked it up to be." "Talked it up as if it were Bresson," was closer to his choice of words, IIRC. I haven't seen Logan. I wonder Scorsese's opinion would be of it. Or TDK. He was only asked about the MCU movies. I wonder how much the formula needs to vary for him to think... well that there's something slightly more there-there. I say this as someone who hasn't seen Logan and is mostly ambivalent to current wave of superhero movies (honestly, I get second-hand fatigue hearing critics talk about how much fatigue they get from watching all of these superhero movies, most of which they seem to enjoy individually). But in his criticism (and in contrast to the Hawke outrage), it leaves me wondering how much of what we currently mean by "superhero" movies has really been defined by the MCU (and DC's attempt to replicate its success). But that's really a passing pondering for me. Mostly I don't really care. Like the Ethan Hawke instance, I am kind of amazed at how defensive it appears people get about other people dissing the culture they enjoy (or maybe it's just something about the internet that just amplifies the scope of the response?). I feel like I saw a larger context of Coppola's quote, still not sure what he meant by (or how he got to) "despicable" though. It just seemed like a random assertion. Maybe it's a word he falls to easily? Random thought - a big knock against Gravity was that it became a bumper car/pinball type of amusement park ride and did a poor job conveying human emotion (not that it didn't attempt it, it just did it in a poor, trite, cliched manner). I feel like that's relevant to the discussion somehow, but I guess it would be, "what are Scorsese's thoughts on that in terms of compare/contrast" - but he's not here.

Googling, the plaid looks like Shelly's regular clothes. I remembered he had props and costumes - and I think he owned the harpoon Jason shoots at the audience (because part 3 was in 3D - most notable thing I remember from it being in 3D was the eye popping out at the audience in one of Jason's last kills). But it looks like Shelly had hockey pads and at least a jersey (why you'd have that in summer, I can't remember despite only watching the movie a year or two ago). I think the internet said Jason got his get-up in the supply store where he had his first kills in part 3.

I'm trying to remember, but didn't he also steal the outfit off of the camper he killed and took the hockey mask from? (in part 3)

Being someone who sometimes listens to collections of horror movie themes, I'm probably only mildly surprised since I find the Friday the 13th original theme to be very similar to the Psycho theme (one collection had both, and when shuffled, I'd often have a hard time identifying which it was when starting). So it wouldn't be the first time in the series something like that has happened.

Between dying at 51 and ending on a How Did This Get Made? level movie, I'd imagine dying at 51 would probably bum John Singleton out more. In terms of worse career trajectories, IDK, Ed Wood started with trash b-movies and ended with trash softcore porn. That started low and ended low. At least Singleton can point to a section of his career where he was (comparatively speaking) high. I guess it depends how you look at it.

Possibly made for TV movie that got a European theatrical release, and then re-released multiple times under different titles and edits? Wouldn't be the first time I've heard of these things happening. I didn't watch and am reading the thread backwards, but this post caught my eye.

I go the opposite route - carrying durian and other foodstuffs around with me and randomly shove it into the mouths of strangers. Sometimes immediately followed by performing the heimlich.

I'm in the group of people who likes Apocalypse Now and The Conversation more than The Godfather movies. However, as stated in the American Graffiti thread, I don't have time to watch these movies in October as I really need to revisit this one and the sequel to see how it works for me now (maybe my opinion will change on it). However, back in the Lawrence of Arabia thread I joked to bleary about it making his top 100 of the top 100 movies watched from the AFI list, and it might be interesting for people to do a top 25 ballot of what's currently on the AFI list and take a poll of those. And for me, both Godfather movies made that cutoff. So... my vote is still "yes."

It's been a while since I've seen either, but wouldn't American Psycho be the more appropriate comparison than Fight Club from the "all in his head," interpretation? I have not seen Joker. I know somewhere it was well received. All I've heard repeatedly in the multiple streams of media reviews that flow into my brain that it is, "shallow Taxi Driver. Phoenix gives a great performance," with the overall assessment ranging from "this was a bad movie," to "it was watchable to borderline enjoyable" in light of that. I will point out, getting booed at Cannes, my understanding is, that's fairly common. To the point where I hear that and just kind of shrug.

I've seen the first 20-30 minutes of this and can tell you, no, no you probably do not. It gets old pretty fast.* Find the NSFW trailer, and you'll get the best version of the movie. *: Saw this at a film fest, but had to step out about that much time into to go to a prior engagement for a few hours. It had already kinda gotten bad by that point. When I came back everyone pretty much told me the rest of the movie did not improve in my absence.

Writing what you know always pulls some part from your life. If we considered that auto-bio-graphical (Amy wants those hyphens after "bio"!), a lot of weird movies would be considered autobiographical. I know the podcast seems (at least to me) to like to talk a lot about the story behind the making of the movie, but for evaluating the movies, I tend to focus more on the movies themselves. (Admittedly, with certain movies, it's doesn't entirely make sense to discount things such as authorial intent, what other movies were doing at the time, or cultural events the movie might be responding to - since all of those things seem to matter when watching a movie and you can't watch something in a complete vacuum. So take my statement with some grain of salt).

One thing I noted/remembered: Paul didn't like the ending epilogue for The French Connection either, and said it felt weird, like it they felt like they were out of a comedy. I remember on that episode thinking, "American Graffiti also has those ending epilogues and they're not comical." I suspect Animal House was just a very formative movie for Paul. I wonder if it's to the point where it's mentally too jarring for him to see it as a way for the movie to undercut and remind the viewer what they're seeing is all it's cracked up to be (either in its transience or hollow victory). Another thing I thought of: One example of a "Strangle the Cat" type of ending being parodied was in Robert Altman's The Player. The "Because in real life. People, DIE! *sobs*"-bit. i.e. The idea that the difference between an action movie where the heroine is saved at the end one where the hero is a moment too late isn't "realism," - plus a couple other things being mocked in those scenes.

That's mostly my plan as well. I remember really liking The Godfather movies (all 2 of them - the exact number that exist and no more), but it's been forever since I've seen them, so part of the podcast has been having myself reserve time to revisit movies that I feel have gone unwatched for too long. And for me, three of the four weekends in October involve at least some type of fest or thon of horror movies, and the fourth weekend is mostly preparing my place to host one for friends the following weekend. So I'm either watching Unspooled movies on a weeknight or they're waiting until November. So November. "Halloween 4 is in my opinion, is the best of the Halloween sequels... that came after Halloween 3." - introduction given at a retrospective screening that I attended a few years ago. I binged the ANoES movies last month (up through part 6) and Phantasm last year. The decline in the franchises get really tedious when watched back to back (though I think ANoES handled it relatively better up through part 5).

Since it's October, I'm binging horror movies this month and probably won't be able to follow the movies on the podcast. I saw this a number of times in my late teens and liked it quite a bit. However, I also remembered Rocky being a good drama and when we revisited it for the podcast, it... did not hold up, to put it mildly. Both American Graffiti and Jaws are movies that I don't think I've seen since my late teens and remember being generally quite positive on even if I'm negative on mostly everything else their respective directors made, and now, because of Rocky, I'm wondering how well they'd hold up on a rewatch. I do like the phrase, "strangle a cat moment." I'd read that screenplay book. At a high level, I remember being more in line with @sycasey 2.0 on the ending. One thing that has stayed with me over the years is liking movies about memory and the processing of it. AG being a nostalgia piece and then having that ending sets the tone (at least for rewatches and thinking about it) of how the past slips away and we are what we are now. And just how sad it is when we think about the past. /shrugs

Referring to White Men Can't Jump. I keep doing this! Grammatically, I believe the vague specification (maybe some rule about pronouns?) refers to the most recent stated noun/subject, not the original topic.

So, maybe more of a proverbial top 10 than necessarily a literal top 10 - which I was also partially wondering when I asked that. I think it was criterion that once listed put together a list of movies that Kubrick's favorites (though compiled from anecdotal conversations and not a compiled list) and I remember White Men Can't Jump. It was unclear from what conversation or how expressed that like (e.g. movie he really liked vs "reflecting on all time best favorites"). It seemed like an odd choice to read at the time, outside of "hey, everyone enjoys some comedy." But this and another podcast I listen to recently revisited it and also commented about how it talked frankly about race. So, thinking back on his quotes* about Claudia Weill's Girlfriends (and thinking back, I think he had some similar sentiments about Ophul's La Plaisir (though I'm less certain of my memory of that)), there is a through line there. I haven't seen the movie since I was a teenager. *: at work, on phone, not readily available at hand. Might Google later.

I suspect I violated some rules of grammar, leading to confusion. I've seen American Graffiti (though a long time ago, and don't know how it's fare on a rewatch) - I haven't seen Coolie High.

What are the other nine?

The talk in this episode left me wondering if Coolie High will be brought up in the next/American Graffiti episode. A movie, I have admittedly not seen, but have heard it brought up in discussion with and in reference to American Graffiti.

I own Starcrash on blu-ray (and this was before MST3K did it - granted, it was also before I watched it). I also own Dünyayı Kurtaran Adam (The Man Who Saved the World. aka, Turkish Star Wars). I might not be the best when it comes to making financial decisions. The former is a lot more watchable than the latter, what with its Christmas light universe and its Greco-Roman claymation (not actually a thing). I also own The Visitor, but haven't watched it because I keep meaning to watch it with friends. I've owned it for probably 3-4 years now. This is not uncommon with me. Still saving it. My understanding is.... it's an "ambitious" film.

Stated with the caveat that I only had a chance to start the rewatch of this but didn't have the time to finish (and probably won't, October is typically a busy month for me) - While I enjoy this movie, and know that it ranks highly on all the lists, back when I first watched it and sort of still feel thoughts that echo what Paul said on the podcast. I just enjoy The Apartment more. I think of Sunset Blvd as a great film. To me, Some Like it Hot seems like a solidly good film, but doesn't seem like a great film to me. If I were to gravitate to a movie that's just simply funny for lists like these, I'd find myself choosing Dr Strangelove and Life of Brian. Which admittedly, neither are "simply", I guess.

Fair point. I had forgotten that detail, though I wonder how deep a cut a HDTGM listener really wanOH.MY.GOD.IF.THEY.DID.TROLL2'SGOBLIN.QUEEN.AND.POTTED.BOY.OR.POPCORN.BOY.IT.WOULD.BE.AMAAAAAAZING!!!!!!

Paul had a couple of lines at the beginning of the podcast about expressing, I guess some confusion that Kubrick didn't consider this one of his films, but did Paths of Glory even though that came before (I mean, he was a director for hire who didn't feel like they got the final word on the final cut they wanted). I think also a side comment about how this one doesn't have the style you'd expect in a Kubrick movie. It does leave not knowing how many pre-2001 Kubrick movies he's seen. They'rea very different style and often feel less detached from the main characters (though something like PoG still has that amazing long take of the General walking through the trenches. Side note - David Simon of The Wire, is a really big fan of PoG). I know Michael Philips of the Chicago Tribune is a critic who really loves the ones leading up to 2001 (I can't recall of he was counting Spartacus) and is more tepid on the subsequent films. When people talk about not liking his films, I often find myself wondering if the person would prefer his earlier films. I suspect if they like classic films, they probably would, though ironically those earlier films are often seen by people interested in his early films because of his later ones. I guess that's a topic that could be discussed when they hit Strangelove though.

Somehow I never mentally connected the dots between that joke in Life of Brian and Spartacus, but it's pretty obvious now that it's pointed out. I guess I've never watched the two in close enough temporal proximity?

I have not seen Ben-Hur. When the podcast covered it, it was a case of, "I'll watch it if I have time, because being bottom on the list doesn't give me great confidence this will be the movie to change my opinion on a genre that I seem tepid on." I did not have time. I don't really feel regret not seeing it outside of say comparing Spartacus to other historical epics. Or getting more of the ~reference humor~ parody in Hail Caesar!