#231
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Re: Bad Moments in Great Films
The Paul Newman quote I use most is from Nobody's Fool.
Lady asks him if he want a cup of tea and he says "Not now. Not ever." |
#232
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Re: Bad Moments in Great Films
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Bret, I agree that it is a dumb shot with either interpretation. [/ QUOTE ] And even more so since it's suppose to be a nice apartment, not a dilapidated building with a rat problem. And the dog turning away from Damon just before he enters the apartment is heavy-handed dumb too. |
#233
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Re: Bad Moments in Great Films
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[ QUOTE ] And the dog turning away from Damon just before he enters the apartment is heavy-handed dumb too. [/ QUOTE ] I think you guys are overestimating the average viewer's ability to see symbolism. Most people would see the rat at the end and go "Ewww, a rat." And the dog scene was way more subtle. I actually liked that touch. The rat was pretty over-the-top but I don't think many people noticed the dog. |
#234
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Re: Bad Moments in Great Films
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The Paul Newman quote I use most is from Nobody's Fool. Lady asks him if he want a cup of tea and he says "Not now. Not ever." [/ QUOTE ] An excellent, underrated film. And the book is excellent, as are each of Russo's first three in particular. |
#235
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Re: Bad Moments in Great Films
I just rewatched "Fight Club" and the parking garage security camera scene wasn't as bad as I remember. The only scene that really made no sense was how they started the fights. No one is walking up to some guy beating the crap out of himself and saying "Can I be next?".
BTW: There really weren't any multiparty conversations to explain away. Norton actually says "Sometimes it was Tyler talking through my voice" as Tyler tells him what to say to the doctor stitching up his face, and Marla was never talking to both egos at the same time. |
#236
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Re: Bad Moments in Great Films
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Just remembered the scene after the meeting with Bud and his father and Gekko and the union heads, and the father makes a scene and storms out and gets in the elevator, and Bud chases him in there, and they have a very clunky bit of dialogue that culminates in Martin Sheen actually butchering the final line about "...must've not have been very good of a job raising you..." or something. [/ QUOTE ] IIRC, it's "If you really believe that, then I must not have...must not have done a very good job as a father." I always thought the "butchering" was intentional, as he's supposed to be getting choked up? |
#237
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Re: Bad Moments in Great Films
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Yeah, the scene where Vince is dancing around with the cue and stuff is really bad, but.................. The Color of Money's not a great movie. [/ QUOTE ] "Here I go again, on my own..." That's a pretty benign bad moment. Sure, Cruise oversells it a bit, but he was far more believable as a pool hustler than Damon was as a poker hustler. Ditto Turturro & Whitaker. I'm OOT's Official TCOM Overrater, but I do think everyone else underrates/overlooks it. Far better than The Departed, for starters. Maybe TCOM is the greatest non-great movie? IMO, the lamest moment is when Mastrantonio rattles off the names of the upcoming cities right at the end, like she's all of a sudden some hard-bitten ol' road dog, fadin' the white line. |
#238
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Re: Bad Moments in Great Films
Nothing in the movie Heat suggests that DeNiro's character would go back for Wayne Growe (sp?) at the end. Nothing. To me, it ruined the ending because it didn't ring true.
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#239
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Re: Bad Moments in Great Films
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Obi-wan: "Who's the bigger fool? The fool or the fool who follows it?" [/ QUOTE ] I think that line is awesome. |
#240
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Re: Bad Moments in Great Films
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Nothing in the movie Heat suggests that DeNiro's character would go back for Wayne Growe (sp?) at the end. Nothing. To me, it ruined the ending because it didn't ring true. [/ QUOTE ] I think there were 2 things in this movie suggesting DeNiro's inevitable downfall. DeNiro's attachment to Amy Brenneman's character, for one, suggests that he is, in fact, weak. DeNiro also blew a hole right through that phony cold, hard exterior by concluding his coffee shop conversation w/Pacino with the line, "or maybe we'll never see each other again." That scene suggested without a doubt the same tragic flaw shared by both Pacino & DeNiro. DeNiro's destiny (whether he realized it) was to [censored] up in order to fulfill Pacino's destiny of catching him. Wayne Growe's character didn't even need exist in this film for any other purpose. |
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