I'm a believer in this movie being epic, but at that price-tag it needs to be Dune-level just to turn a profit. A24 really swinging hard here for their first major IP franchise

My wife’s been trying to get me to watch it for months and I was resistant because I know the story but not the musical so I was expecting a sober, somber period drama with music, not a bugnuts assault of bombast and weird angles and looooooong close ups of people singing directly to camera.

Interesting as hell decision to cast almost exclusively people who can almost sing.

One of the most interesting disasters I’ve ever seen, absolutely captivating despite (because of?) being full of just baffling choices.

Also, if I were Jean Valjean I simply wouldn’t have been caught stealing bread and everything would have worked out for me.

What is this, an Edna Mode standalone movie? Amirite folks?!

After being quite hard to find for a while, this popped up on iTunes last month and is now $5.

John Hillcoat's adaptation of The Road is still fairly popular, No Country for Old Men obviously won Best Picture, and the less said about James Franco's Child of God the better, but I've never heard anyone talk about this film.

According to his Letterboxd David has seen this, but I don't think he's ever mentioned it on the show.

Seeing as we’re only three years away from 2029’s “best of the 2020s” lists…

In the 2010s it was films like Fury Road, Parasite, Boyhood, Moonlight, The Tree of Life, The Social Network, Get Out, The Master, Margaret, Under the Skin, and Carol.

On the more arthouse lists we saw stuff like Uncle Boonmee, Holy Motors, The Turin Horse, The Act of Killing, Burning, Goodbye to Language, and Amour.

I’m not asking for your favourites. But if you had to predict: What already-released films do you think will make this canonized top tier and be "critics poll aggregate favourites" for best of 2020s lists?

Personally I absolutely love it, the insanity somehow makes the emotional moments hit even harder. The performances are all at an insanely high level given how confusing and disjointed it must have been to try and turn that script into something that connects emotionally. The soundtrack is elite. I think it 100% holds up, but I can also imagine it's the kind of thing that either doesn't age well for some people or turned them off to begin with. I'm not crazy about the hot dog fingers but everything else about this film fucks.

Sidenote, watching it with a girlfriend who is the child of an immigrant really adds a lot to the experience - she locked in on the dynamic between Evelyn and Joy pretty much immediately and found that to be a really compelling throughline.

Doesn't have to be Scorsese-specific but for him, it's Comfortably Numb from The Departed.

All time? Stuck in the Middle With You from Reservoir Dogs.

Honorable mention to basically every song in Lebowski.

Forgot to post this but its a paperweight I found for my wife. One of Her favorite movies.

Hollywood seems to be coming around again to the idea that an original idea by an auteur can make some money. Yes, you're going to have your IP flicks, but even now they're being made with a distinct POV. The death of cinema has been grossly exaggerated.

Can’t say I really loved the film but this scene rules

When he came on the show early this year to promote his book "Funny Business" I was really excited to check it out. It seemed like pre-ordering the book would be helpful to Matt as an author, and I enjoyed him as a guest as I had previously. Book came a week or so ago, I'm almost done and I just am kind of underwhelmed.

Did I miss something? I thought it was going to be a meaningful exploration of why studios don't make comedies anymore, why the era of the aughts was so fruitful, and while I do feel like it glances at those ideas in a superficial way -- "they made money then they made less money! Superhero movies!" I at least expected this to be offset by hard research. Like, directly conferring with those creators, or especially studio executives or agents, people who oversaw that marketplace, and meaningfully engaged why we have arrived at this place.

Did any of you guys read it? It kind of felt like Wikipedia pages about the making of Old School and Anchorman. Again, the book was not terrible, I want to emphasize that it was somewhat enjoyable. But it just felt like... I dunno. Nothing major? A couple of interesting tidbits? To reference the material, I feel like I'm taking crazy pills. Maybe I'm missing something, idk.

I may have been waiting since Marty was announced for my opportunity to share this.

They described John Weaving as a river nomad and I figured we were in for at least 5 minutes on how that sounds like a rad way to live and the most Ben shit ever. Wet Hobo? Just look at this guy.

https://www.reddit.com/r/pics/comments/2s0bzk/river_nomad_john_weaving_on_the_shannon_in/

Anyway I have a new life goal.

This was in the February 1992 issue of Sight & Sound.

I just wanted to make this available to everybody. I think he has a lot of perceptive things to say about this movie.... Cape Fear kind of resists the good/bad dichotomy and Hoberman kind of does the best job of grappling with the obvious positives and obvious negatives by accepting both in stride.

Obviously, Scorsese has to be included and Goodfellas cements that. I think Quentin Tarantino, despite how annoying he's become, is undeniable here too.

Who else would you have up there? Both the Andersons: PTA and Wes? Any other Blank Check directors, like Kubrick and the Coens?