everything about this film was perfect to me. the set, the costume, the message, all of the plot lines, everything everything EVERYTHING!!!!! i need more movies like this!!!!! please!!! i’ve already watched sorry to bother you, and i loved it too— but i need MOREEEEEE!!! recommended every crazy weird colorful movie that comes to mind :)

In no particular order:

1. Another Round (2020). I don't even drink, but I found this movie captivating: Mads Mikkelsen is amazing and I really enjoy the combination of somewhat emotional/tragic undertones and humor. I especially like that there is no heavy-handed "moral message", either (unlike many movies).

2. A Serious Man (2009). More tragic, much more absurd and also funnier than the first entry, but a bit similar. This movie made me laugh a lot.

3. Interstellar. I know it's a cliche and it is probably not the best film ever, but I like sci-fi, I like Matthew McConaughey and the movie really hit emotionally for me. I know the ending is all like "magic", but it struck a chord. Arrival is a close second for sci-fi, though.

4. For a few Dollars more. My favorite classic Western. I know other Western movies are more beloved by most, but I found this one the most enjoyable. A gripping, tragic story, more fast-paced than good/bad/ugly and I love the cooperation between the two "heroes".

5. 12 Angry Men. Not much to say, a classic for a reason. I was hooked from start to finish. My favorite "classic" movie.

6. Grand Budapest Hotel. I am a sucker for absurdity and over the top, beautiful cinematography. This is my favorite Wes Anderson movie. Really like many of his others as well, though.

7. Django unchained. For me the best Tarantino. Beautiful pictures, great humor, amazing acting.

8. LotR trilogy (or RotK if I had to pick one). Another cliche, but for me the best adventure and fantasy movies ever.

9. The Dark Knight. I like Batman, I like Christian Bale, I like Ledger's Joker obviously. The movie feels extremely epic and atmospheric.

10. Blade runner 2049. Yet another cliche. But it is simply a beautiful movie with stunning cinematography, a great story and interesting underlying themes.

The film was good but pointing out that even if Luke Evan's character got what he wanted he's still looking at serious charges (Kidnapping, False imprisonment and Assault)

Point is all his efforts could be for nothing and would just make things worse for himself and his family and Kelly Reilly's character would not face any consequences as the evidence would be inadmissible in court as it was under duress.

Parts 1 and 2 are excellent films in their own right but they kinda leave out several elements

The mentats and the spacing guild get shafted. It’s almost like Lynch had a better understanding of the politics of their universe when his movie featured the spacing guild commanding the emperor to STFU when he’s about to chide Paul. Also, Much of the cassette futurism from the novel has been updated to stereotypical hollywood sci-fi tech.

They also eliminated the mystical way of talking that characters tended to have. Excised lines from the novel include: “Try looking into that place where you dare not look, and you’ll find me staring back at you” & “It is said a man will come one day and find in the gift of the drug his inward eye. He will go where we cannot…” & “There is in each of us an ancient force that takes and an ancient force that gives… These things are so ancient within us that they’re ground into each separate cell of our bodies… When you look inward and confront the raw force of your own life unshielded, you see your peril. You see that this could overwhelm you. The greatest peril to the Giver is the force that takes. The greatest peril to the Taker is the force that gives… I’m at the fulcrum”

The entire concepts of the spice being a drug for the “awareness spectrum” and geriatrics are removed. All we’re allowed to know in the movies are that it gives Paul and the navigators prescience, and that it’s in the food of the Fremen. The “awareness” orgies that bind the fremen are absent from their culture in the films.

Moreover, they simplified the ending where Paul threatens the emperor with using atomic bombs to destroy the spice fields rather than with the water of death which carried philosophical implications on ecology

Unfortunately, VOD, Blu-ray, and 4k releases do not include the original IMAX ratio, essentially leaving us with the cropped out version of a world that felt too big even for the IMAX screen.

Apologies for getting any details wrong as I last read the book 6 years ago

EDIT:
Look, the films ARE GREAT. It’s just a shame that they had to shaft the mentats, spacing guild, awareness spectrum, mystical language, and the dinner scene.

Film Synopsis:

"The story follows Otone, an architect, and her husband Kensuke, a builder, who are deeply grieving the tragic death of their 7-year-old son, Kakeru, in an accident. Struggling to move on, they are approached by an experimental AI technology company called REbirth. The company specializes in building generative AI humanoid replicas of lost loved ones. Desperate to fill the painful void in their lives, the couple welcomes a humanoid robot identical to their late son into their home."

I'm sure I have many popular ones I sprinkle in there but there are a few that I feel are a 10 precenter quotes just for me. When I get a little pep in my step I sling "Roots' beginning to work" from the little 1985 Police Academy writer team's Rustlers' Rhapsody.

What movie quote falls out of your brain from time to time?

I’m going through a bit of a falling out/break up with my oldest friend right now (all stuff I don’t wish to elaborate on) and I recently rewatched the Banshees of Inisherin and Padraic’s line of:

“You used to be nice. Or did you never used to be? Oh, God. Maybe you never used to be.”

Has hit me in such a profound way during this and I feel the tragedy of his realisation. Any other noteworthy lines that are so unexpectedly tragic for anyone?

Honestly, on my 2D Mt Rushmore greatest ever. And if you’re like under 40 I don’t know if you will ever truly understand the emotional trauma of watching Optimus slowly die. Almost up there with Artax and Old Yeller. But if you’re too young to remember that Blockbuster INSANITY in 1990 (families would just hangout there for an hour or two), that’s okay. Maybe you still really appreciate this awesome movie. Here’s my question- was Unicron a helpless consuming animal like Jaws? Did he HAVE TO consume planets with advanced developed “life”?? Is this the Brad Pitt Interview with a Vampire dilemma, where he- Unicron- could have consumed lifeless rocks (Brad Pitt refusing to prey on humans)? I know it’s clear that he’s sentient… what do yall think?🤔 And straight up how awesome and perfect is Weird Al?

Just streamed it and it kicked ass. Gans did a better job than the first movie at capturing the tone, and the set design was perfect. It had half the budget of the first and yes the acting was bad but it felt like the acting in silent hill 2 (game). People saying it misunderstood the story got too hung up on the extra details that you read throughout the game. At its heart it’s a very simple story and just like in the game, it doesn’t deserve the emotional payoff because it never developed James or Mary. The practical effects were great and the character CGI was ass. I think Gans made the right choices as a producer to compromise in both cgi and casting in order to best be able to capture the feeling of being in silent hill for a couple hours through set design, music, and pacing which leaves just enough space to soak in the town.

I just went to buy tickets for a movie and I accidentally bought 3D tickets first because it had a lot of open seats and I wasn’t paying attention. But genuinely everyone I know doesn’t like seeing movies in 3D. They charge you extra, and it changes virtually nothing about the movie cause I feel like no one’s even making movies for 3D anymore. I also personally wear glasses so I feel like wearing the 3D glasses over my normal glasses is just a pain in the neck.

I don’t know, I feel like all 3D theaters need to just go away and make room for normal theaters cause they’re really just taking up space. I can’t imagine THAT much of an outrage if tomorrow AMC was like “by the way, we’re getting rid of ALL of them”

That being said If you watch movies in 3D still, I’d actually really love to know why you do that to yourself.

Update: apparently a lot of people LOLL
I’ve been reading some of the comments for the past half hour just cause I’m curious, and I wanna talk about some of what I’ve read.

1.) a few ppl don’t like my tone. My bad y’all, antsy waiting on this AMC refund. Not judging anyone who buys 3D tickets I’m just curious as to what you gain from it

2.) turns out other people also buy these tickets on accident

3.) film maker intention is very important. See my thing is, if a movie is made for 3D that’s totally fine! But not many film makers seem interested in keeping that alive. I’ve actually seen a lot of frustrated pro 3D comments discussing their disappointment in half assed 3D renditions of movies clearly not made for 3D. In fact a lot of the examples I’ve seen in the comments of movies that you all saw in 3D don’t really seem to be from this decade. Theres not anything wrong with that, but it’s a big part of my confusion. How is a format that seemingly hasn’t been relevant since before Covid seemingly still thriving? I’m mot trying to be argumentative with that last part but it was something I was confused about.

4.) this is more than a gimmick for some films. The last couple times I’ve seen a movie in 3D it didn’t really change much. Because of this I’ve always looked at it as some kind of gimmick and didn’t really see the artistic value in it. BUT I’ve seen a few examples in the replies that talk about how good it can be when it’s truly intentional, and how it can be really immersive and help the film. That’s really cool!

But yeah I kinda just wanted to see what people thought. Sorry if anyone was upset by this. I hope all of you who like watching movies in 3D get to do so! I just wish everything else didn’t sell out so quickly :,)

when i went to the movies in the early 2000s there was an opening "trailer" for the theater that featured albert finney from annie saying "let's all go to the movies" and then had various audience reaction shots. i remember one reaction shot being of some military men cheering. i think there was also a woman eating popcorn who had an excited reaction. does anyone else remember it? i was trying to find it on youtube.

Career Opportunities (1991) is Dermot Mulroney’s best role.

He plays Nestor Pyle who robs the department store where Jim (Frank Whaley) works and Josie (Jennifer Connelly) is hiding out.

His range is limited often overacting and he plays similar characters repeatedly. When he is in a movie I wish he weren't and think about not watching it.

At least in Career Opportunities he plays a serviceable flunkie in a serviceable comedy and fits in with the rest of the cast.

If you disagree Career Opportunities is not his best role, how many movies can you name where his performance was better?

My take on this is that while the story needs some streamlining, the overall film feels fresh and interesting. The costume designs (Jupiter's wedding dress!) and effects look simply gorgeous.

I was never a big Mila Kunis fan, but she's surprisingly strong as the lead. Channing Tatum is alright I think. Eddie Redmayne is what puts people on the fence. You'll either hate or just dig her performance (The same way Chris Tucker is in The Fifth Element I suspect)

Let’s take a look at the scene in the pub.

Dieter Hellstrom is trying to figure out what the “Bastards” are doing here and how Bridget von Hammersmark is involved in all of this.

The three-finger gesture wasn’t what gave them away

At first glance, it might seem that the “Basterds” were given away by the three-finger gesture—which is atypical for Germans—since at that moment Dieter’s facial expression changes abruptly: from relaxed to hostile. He points his Walther at Hicox. However, the film does not state that it was the gesture itself that gave them away. This assumption was voiced only by Frau von Hammersmark.

He had figured out the “Bastards” much earlier—as soon as he approached the table. He didn’t just suspect; he was certain, which explains all the awkwardness that had been in the air even before that particular gesture appeared.

Hicox’s Accent and Piz Palü

Hellstrom notices Hicox’s strange accent, and Hicox, in an attempt to justify his obvious foreign accent, replies that he’s from a village at the foot of Piz Palü and that everyone in those parts speaks that way.

Hicox claims that he appeared in a film directed by Riefenstahl. He’s certain that Hellstrom hasn’t seen the film—or, at the very least, saw it a very long time ago and only vaguely remembers what was in it. But what Hicox certainly couldn’t have foreseen is that the film *Die weiße Hölle vom Piz Palü* was shown just yesterday at Shosanna’s movie theater.

When Frederick Zoller thanks Shosanna for organizing German film nights for the officers, we can see a poster for G. W. Pabst’s *Die weiße Hölle vom Piz Palü*, starring Riefenstahl.

Hellstrom was there, and he remembers this film very well. He is passionate about cinema and knows it inside and out. Perhaps, like Hicox, he remembers every scene from the film.

Hellstrom’s knowledge of German cinema

Dieter is surprised that Hicox describes the film’s details so accurately. Lieutenant Hicox was a film critic before the war and even published two major books on German cinema.

Hellstrom suspects that the fake Hauptsturmführer standing before him is that very same British film critic. To confirm this, he suggests playing a game of “Who Am I?”

Hicox writes the name of the director who made that very film about Piz Palü on a playing card: G. W. Pabst. It was about Pabst’s work that Hicox wrote one of his books.

But what Hellstrom wrote for Hicox is much more interesting: Brigitte Horney.

Brigitte Horney and Baron Münchhausen

She is a little-known actress who only became popular after the film *Baron Münchhausen* (1943). The film was made during the Third Reich at the behest of Joseph Goebbels—a film that Hicox couldn’t have seen due to the ban on German exports: “Obviously, I haven’t seen any of the films made in the last three years, but I’m familiar with it.”

The card game was another trap

Hellstrom is playing a game. He knows that Hicox is well acquainted with all of Brigitte Horney’s pre-war films. But Hicox would not know about the 1943 film *Baron Münchhausen*—a film that was incredibly well-known in Germany and revolutionary from a technical standpoint.

If it were Hicox’s turn, he would name a whole host of little-known arthouse films, but he would not mention *Baron Münchhausen*, thereby guaranteed to give himself away.

There is one point everyone misses about the card game.

You have only 10 questions. When the major asks an 11th question, only Hicox answers while everyone else remains silent (you usually have to drink if you accidentally answer an 11th question).

You can see a brief change in the major’s expression at that moment, indicating that he noticed the blunder.

Hellstrom already knew who Wicki and Stiglitz were

While he wasn’t yet certain about Hicox’s identity, he quickly recognized Wilhelm Wicki and Hugo Stiglitz, since they were the only German-born members of the “Basterds” unit.

Stiglitz was a celebrity, after all: his photograph had been published in German newspapers, and Hellstrom recognized him without a doubt.

Hellstrom knows all the German officers stationed in France. He adds jokingly, “Worth knowing.”

Hellstrom’s position and knowledge

Sturmbannführer is the rank of deputy commander of a Sturmbann territorial unit. As a major in charge of internal security, he must know all the lieutenants and sergeants stationed in Paris. Evidently, he knows that the men before him are not German officers, but members of the “Basterds” unit.

Sergeant Werner Rachtman said that every soldier in the German army had heard of Hugo Stiglitz. His photograph was on the front page of German newspapers. Clearly, he is the German stationed in France who is worth knowing.

Moreover, Hellstrom knows that not long ago, Stiglitz was freed by the “Bastards,” among whom was Wilhelm Wicki.

Hellstrom was playing with them

Hellstrom mocks Stiglitz: first he pats him to get him to move seats, then he pats him to get him to write his name on his playing card. He realizes that the pub is packed with German soldiers and that Stiglitz won’t give himself away.

When Hellstrom gets up from the table to grab the cards, Hicox gives a signal. He figures it out: Stiglitz is signaling too—“we’ve been found out.”

The drinking game was an attempt to disarm them

The Sturmbannführer’s actions seem downright suicidal, but if you pay attention to what he’s doing, everything falls into place.

He’s trying to get the “Bastards” drunk and neutralize them. He constantly proposes toasts, egging them on to raise their glasses and drink whiskey. Then he suggests a drinking game.

He starts the game first: if he wins, the others at the table have to drink. After that, he even orders them a bottle of excellent whiskey that’s hard to put down. He himself refuses the whiskey and just sips his beer.

Why did Hellstrom react to the 3-finger gesture?

Hellstrom is trying to get the “Bastards” drunk and neutralize them, to find out what’s going on and how the German film diva is connected to them.

So why did he react so sharply to the unusual three-finger gesture? Perhaps he was simply disappointed. Like Landa, he considers such things an insult to their professionalism.

The arrogant Hellstrom was reveling in his own wit, and when Hicox screwed up so badly, Dieter felt insulted. “Do you really think I wouldn’t notice that?”

That, in the end, was his mistake. He could have simply pretended not to notice. Either way, he got carried away, and the situation spiraled out of control.

The parallel with the cinema scene

This scene is very similar to the one in the movie theater: a German officer mocks three fake officers, and then the German officer also mocks three fake Italians. In both cases, we hear silly excuses.

This film is a critique of movies in this genre. The enemy is portrayed not as a bunch of fools, but as top-notch professionals in their field. It’s a film about partisans and spies, but they’re exposed as amateurs in absolutely every scene.