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CaptainCrozier's Replies
Pretty much all of Robert Zemeckis' films--Forrest Gump, Contact, Cast Away, etc.
The Curious Case of Benjamin Button, even though the cinematography is still very Fincherian.
Scorsese's version of Cape Fear.
Apollo 13.
I saw this film back when it first came out in 2000. I was in junior high and I loved it.
At a certain point I "outgrew" the humor in this movie and now that I'm in my thirties if I had been my age now back in 2000 I probably wouldn't have though much of it.
But now I've circled back around to enjoying this flick very much simply because of the nostalgia and because today's excuses for comedies are so much worse.
<blockquote>In “College” (S1, E:5) Tony also killed Fabian "Febby" Petrulio (the rat) pretty much spur of the moment and with his bare hands and a cord. </blockquote>He may have decided on the spur of the moment, but took the time afterward to verify he had his man, stalk him, and then waited until the next day to actually whack him.
Whereas Tony killed Ralph and Chrissy as soon as he felt the urge.
Is it possible to become a commissioned officer by showing sufficiently good conduct and leadership without having to go through official training? And for such a turn of events to happen after the age of 30?
So basically once you reach a certain age, as an enlisted solider, you become too old to be an officer?
The kid is a reverse pedophile.
<blockquote>Four years later he'd be playing a country bumpkin in Shawshank Redemption.</blockquote>
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Probably still looked good in the shower, missed opportunity! </blockquote>
Imagine him getting caught by Bogs and the sisters doing those nude martial arts moves.
They'd chop his ass clean in two like a piece of firewood!
Cool, cool!
<blockquote> when Argyle drives John and Holly away it's not quite as dark so the sun must have started rising right then.</blockquote>In the very last shot of the movie, when John and Holly are being driven away by Argyle, and the camera pans up and the credits start rolling across the screen, you can clearly see the sky is getting light and the sun is about to come up.
<blockquote>My problem with the movie is that it doesn't have much depth. It's a good film; lovely to look at with great cinematography and a nice score, but the characters and their relationships don't feel very fleshed out. A case of style over substance. They could have developed the family more at the beginning and Hanks's line of work too. Before much has developed, Hanks and his son are on the run from the mob. Because of this I didn't root for them as much as I felt I should have. It's also lacking in tension where there was opportunity to create more of it. </blockquote> That has always been <i>exactly</i> my beef with this flick as well!
Beautifully said on all points, spurtle467.
My guess is white liberal women who have gay guy friends, along with gay men themselves--particularly the flaming ones--are the target audience(s) for this flick.
There is something funny about the rhythm of his speech and how he inflects.
He's a bit like Walken that way.
Nick Glennie-Smith did the score to this flick.
Yeah, I agree it does sound similar to Serra's scores, especially the bad guys' musical cues.
Probably just a rip-off.
I never met her, yet I must have psychically sense the end was nigh, hence the matter being on my mind of late.
May she rest in peace.
I think it was a bit of both.
I've known many real life autistic people, but never heard of anyone as dysfunctional and robotic and dependent on routine as Raymond. I think his need for the routines was greatly exacerbated by living that way at the institution for decades.
They may have <i>thought</i> they were helping him, but they were only hurting him by making it all the more unlikely that he would ever be able to function on his own.
Brad Pitt's "live" performance begins when he's in Russia, specifically the scene where he tells Captain Mike "You do drink a lot."
In the early scenes up until that point, they digitally constructed his face--albeit using data from actual scans taken of him--and superimposed it on other actors' bodies.
It's all spelled out in the movie.
Leto's character was under the impression that Meg and her daughter wouldn't be moving in for another week so he clearly thought he had a wider window of opportunity than he actually did, as another poster pointed out.
Plus, it may have taken him some time to recruit the other two guys, as yet another poster said.
Fincher did the exact same in Benjamin Button; there's a few scenes in that movie shot in the style of movies made in the 1910s/20's/30's.
You should get tested for your TDS PopMusicFan1927.
You said the same thing about De Niro's performance as Capone in The Untouchables.