As usual, she's pretty much the best thing in it. Which is not so hard, in this movie.
Yeah. As such things go, being the best thing in Crouching Tiger, Hidden Dragon was a much more impressive accomplishment.
'Sleeper'
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As usual, she's pretty much the best thing in it. Which is not so hard, in this movie.
Yeah. As such things go, being the best thing in Crouching Tiger, Hidden Dragon was a much more impressive accomplishment.
Saw Inglorious Basterds and LOVED it! Laughed my ass off. Super fun time.
Saw Inglorious Basterds and LOVED it! Laughed my ass off. Super fun time.
Wasn't Cristoph Waltz effing amazing?
Also, Brad Pitt's character pretending to be Italian? Hilarious!
Most Beautiful Woman Ever: Elizabeth Taylor. Anyone who can get me to take my eyes off Montgomery Clift....
Alternate game: great scenes from awful or mediocre movies.
Night and Day. A "bio-pic" of Cole Porter that's even less grounded in fact than most bio-pics of the era. But there's one great moment in an audition scene fairly early on -- one of the rejected auditioners tells Monty Woolley that she's spent years in the theater, and what's he ever done to make himself qualified to pass her over for a part. Woolley stares at her and says, "I grew a beard."
One of the two redeeming elements in that movie. The other, of course, being the Cole Porter soundtrack.
One of the two redeeming elements in that movie. The other, of course, being the Cole Porter soundtrack.
Doesn't looking at Cary Grant in his prime count for anything?
Doesn't looking at Cary Grant in his prime count for anything?
Fair enough, and I'll even grant that his performance has nothing to do with Cole Porter because of the script as opposed to any flaw in the performance itself.
Inglorious Basterds:
Yes, Christophe Waltz was incredible. Also, I never would have imagined it, but when translated into French and German, Tarantino dialog becomes downright poetic.
But having seen the movie, I am completely baffled by this comment from David Denby's review in the New Yorker:
In brief, Tarantino has gone past his usual practice of decorating his movies with homages to others. This time, he has pulled the film-archive door shut behind him—there’s hardly a flash of light indicating that the world exists outside the cinema except as the basis of a nutbrain fable.
Um, the whole first section of the movie is an homage to Sergio Leone. The movie eventually morphs into other homages, but how anybody who's ever SEEN enough movies to qualify as a film critic can watch the opening of Inglorious Basterds and not recognize it as a spaghetti western set in Nazi occupied France is a bafflement to me.
I took Denby's comment to mean that this movie was entirely made out of references to other movies - that there was nothing original about it.
Oh. Okay. That makes so much more sense.
I disagree completely that there was nothing original about it, but that comment makes more sense to me.
My take was Jess' take on Denby's comment, but I am with Sean on disagreeing with it. For one thing, I've never seen a movie where not only the ability to speak another language, but to have an appropriate accent, and know all the cultural gestures, be a major plot point. Not that no other movie's done that, but I can't recall one off the top of my head. And that was just one strand.