DanEngler

Amy and Paul have nothing to do with the moderation of this forum and they rarely pay attention to it. To the casual observer, your first few actions after creating an account were to: Attack the hosts for not "understanding" a movie Attack the hosts for not sharing your opinion of another movie Carry over conflict from an unaffiliated Facebook group Post the same comment to multiple threads to maximize said conflict Start taking swings at other forum members I deleted your comment in this thread (while leaving it intact in the other) because it was an unnecessary derail of the ongoing discussion of Who's Afraid of Virginia Woolf. If you wish to continue participating here, I politely ask that you lay off the invective.

Yes, dozens of people on Twitter have asked Paul and/or the @HDTGM account about it and the only time they addressed it* was to say "Don’t watch movies announced for live shows. Those are for the live shows and don’t always correlate to the podcast release dates." Evidence suggests they don't plan to release it. * Paul may have addressed it in the past but he uses a service to periodically delete all of his old tweets, so I can't be sure.

I found this downloadable version on the /r/HDTGM subreddit, although it was pulled from the minisode rather than being from the original performer.

The Deer Hunter is tied with Unforgiven in the category of "Romantic Guitar Song Inexplicably Used as Theme".

I didn't know if it was this, or the helicopters were retreating from an ambush and the dangling men were enemy soldiers, or just bad filmmaking.

Did anyone else notice that, when the helicopters initially fly past the escapees as they float down the river, there are already two guys hanging from the skids? The fact that this isn't listed as a goof on IMDb (i.e. accidentally using a shot from the attempted rescue a minute later) has me wondering if I missed something.

Beyond the (alleged) goal of padding the length of the film, I think the extended wedding scenes came from writers struggling to give the audience any reason to sympathize with a group of unlikable characters. When your protagonists are drunk assholes who drive recklessly and aren't perturbed by women getting slapped around or having guns waved in their faces, and who possibly enlisted as an excuse to shoot Vietnamese people ("Kill a couple for me!"), it's hard to care when they're subjected to the horrors of war. Paul's opinions this week strongly echo my own. I appreciate Platoon for its hyperrealistic portrayal of the war from someone who experienced it firsthand, and Apocalypse Now as an impressionistic fantasy based on "the war" as it diffused through American consciousness. I don't feel The Deer Hunter adds anything new to this duality, and I don't think it belongs on the AFI 100 for that reason. Also, I see Paul and Amy getting some pushback on Twitter for discounting a queer interpretation of The Deer Hunter. When Cimino has demonstrated so little interest in subtlety for the majority of the film, I can't imagine him playing coy about Michael and Nick's sexuality, especially when the simplest explanation (Michael pining over Linda while feeling honor-bound to not pursue her) slaps you in the face every five minutes.

That's ostensibly what his first movie is about (although everything I know about it I learned by listening to Blank Check.)

This! If I'm making something with raw garlic (like tzatziki or hummus), I always cut the cloves in half and remove the germ to temper its pungency.

Hard "no". The human characters are nightmarish, the jokes are all very "first thought", it's clear which parts of the dialog were voiced early in the process (where the actors sound big and theatrical before relaxing into natural performances), and Randy Newman is like nails on the chalkboard of my soul. If either WALL-E or The Incredibles were added to the list, they would merit a spot much higher than #99.

You only need to paste the SoundCloud URL and it will automatically embed the player. I fixed your original post.

Amy & Paul cross-examine 1962’s Southern drama To Kill A Mockingbird! They compare the slice-of-life storytelling to later filmmakers like Richard Linklater, reveal Brock Peters’ on-set nickname, and ask whether the film can be considered separately from the book. Plus: author and professor Wayne Flynt talks about his friendship with Harper Lee in her later years. For Vertigo week, what other mental disorders could be the title of a Hitchcock film? Call the Unspooled voicemail line at 747-666-5824 with your answer! Follow us on Twitter @Unspooled, get more info at unspooledpod.com and don’t forget to rate, review & subscribe to us on Apple Podcasts. Photo credit: Kim Troxall This episode is brought to you by Turo (www.turo.com code: UNSPOOLED) and Ooni Wood Fired Pizza Oven (www.ooni.com code: UNSPOOLED).

Go to the Bad Movie Recommendations section of the HDTGM forum. This forum is for The Canon, a podcast about celebrated movies that ended in 2018.

While I don't count Vertigo among history's greatest plots, I think it deserves its spot on the AFI list for direction/cinematography alone. Watching it for the first time, there were so many moments that I had to rewind just to marvel at what seems like an impossible amount of beauty captured on screen. And this video gave me an even greater appreciation for Hitchcock's amazingly intricate choreography.

#582 Practice Sacks with Joe Wengert as the coach of the Bismarck Dinner Dogs?

Note: I updated the poll to include the West Side Story vs. Singin' In The Rain rivalry proposed by Amy & Paul.

Same, on all counts. To reiterate what Paul said, if anyone reading this needs someone to talk to (confidentially and for free) call 1-800-273-8255. Their site has resources for Spanish speakers and deaf/hard of hearing people too. And if you're trans and you want to connect with fellow trans people who understand what you're going through, the volunteers at Trans Lifeline are waiting. Call 1-877-565-8860.

And if you (like me) prefer to receive all information in podcast form, 99% Invisible has a good episode about the Green Book from 2016.

After the first 10 episodes of Unspooled, @Cameron H. came up with the brilliant idea to include a weekly poll so we could determine, once and for all, whether each film belongs in the AFI Top 100. While the podcast is focusing on 2018's best films this month, I figure it would be a good time to add polls to the episodes we'd missed and allow everyone to exercise their democratic rights. Vote now! Polls are open until March 1. Citizen Kane Ben Hur The Wizard Of Oz Swing Time The French Connection Titanic 2001: A Space Odyssey Bonnie And Clyde Platoon The General All About Eve Double Indemnity Singin’ In The Rain The Sixth Sense Taxi Driver E.T. The Extra Terrestrial High Noon The Lord Of The Rings: The Fellowship Of The Ring

If anything, Amy needs to be dragged for naming Rian Johnson as one of the most talented directors at taking a stagnant property in a radical new direction. Not because I disagree with her—Brick is one of my all-time favorite movies and I've been a huge fan of Rian's work ever since—but because Amy is a close friend of both Rian and his wife (and past guest) Karina Longworth. This is a horrible conflict of interest and is totally unacceptable in the high-stakes, contractually-binding world of movie podcasts!

I don't know if I consider it nitpicking because I agree with Amy & Paul: the majority of Black Panther is electrifying, which is why the final act feels so underwhelming in comparison. In fact, when I revisited what I remembered to be a deeply emotional cliff/sunset/death scene, I realized I was actually thinking about the end of War for The Planet of The Apes. I pray that Black Panther 2 really sticks the landing so counting it among the 100 best films of all time is a no-brainer.

In the event that there were no Simpsons references this week, The Critic had them covered.

I'd rank Johnny Guitar (1954) above all of the Westerns we've covered so far, although I'm not sure fans of the genre would even consider it a Western. Yes, it features cowboys and horses and gorgeous vistas and stagecoach robberies and bar room brawls and crooked lawmen and tense showdowns with menacing villains, but the protagonist is played by Joan Crawford and its dialog is as snappy as the best film noir and its theme is a torch song performed by Peggy Lee. All I know is, if Karina Longworth (host of You Must Remember This) and Millie De Chirico (TCM and FilmStruck programmer) and Fresh Air's Terry Gross have all independently recommended a film, it's a guaranteed classic. Here's a trailer that arguably gives away too much of the plot:

The current rotation (and members' past picks) can be found at the top of this thread.