This is from a scene the producers wanted cut because they were running behind schedule, but Stallone insisted because he believed it was the most important one in the whole movie. They gave him one take. Rocky: I can't do it. Adrian: What? Rocky: I can't beat him. Adrian: Apollo? Rocky: Yeah. I been out there walkin' around, thinkin'. I mean, who am I kiddin'? I ain't even in the guy's league. Adrian: What are we gonna do? Rocky: I don't know. Adrian: You worked so hard. Rocky: Yeah, that don't matter. 'Cause I was nobody before. Adrian: Don't say that. Rocky: Ah come on, Adrian, it's true. I was nobody. But that don't matter either, you know? 'Cause I was thinkin', it really don't matter if I lose this fight. It really don't matter if this guy opens my head, either. 'Cause all I wanna do is go the distance. Nobody's ever gone the distance with Creed, and if I can go that distance, you see, and that bell rings and I'm still standin', I'm gonna know for the first time in my life, see, that I weren't just another bum from the neighborhood.
And of course it was the heart of the movie. I was amazed when I learned Stallone wrote the Rocky movies and First Blood (the screenplay, adapted from the novel). There's more to him that just a crooked-mouthed tough guy musclehead. If I remember right, he also shopped the scripts around Hollywood himself and got them greenlit.
Yeah, Stallone is more than he looks. Though if they do a remake of the HP series, I think I know who they could cast as Harry.
I watched "The Gentleman" because I wanted gangsters. It's by Guy Ritchie, so I felt safe. Eh. Parts were good, and parts were stupid. I kind of liked Hugh Grant's antics (he's this flamboyant paparazzo), and some of the cut-away visual tricks were funny. The language was a bit overdone. It doesn't bother me, but it's just too tryhard to be believed. It also would build up these characters as badasses, but I never really bought it. Not like I was supposed to. (Colin Farell cannot hurt me, sorry, though the premise was amusing.) I did laugh a bit. It was okay. Wanting legitimate gangsters still, I switched to "First Love" by Takashi Miike. That was sincerely awesome. It has that nasty grunginess that makes you not want to be in this world at all (compared to the overt slickness of "The Gentleman"), but the characters manage to establish themselves before it's all done. Kind of like Ritchie was trying to do, but IMO, done much more successfully. The hero is likeable and you feel sorry for him. (He's not a gangster.) You understand his despair. You want him to succeed. It had funny moments too. That kind of black humor you shouldn't laugh at but do anyway. It definitely had some Miike-moments, if you know what I mean. Probably not as hardcore as he usually goes but still pretty off the wall. I really liked the Chinese head gangster (so deadly). I got a kick out of this one scene that was clearly going to be an insane car stunt, and you knew the movie couldn't pull it off believably, and then everything switched to animation for the jump. Very meta, because you understand the joke the movie is making.
If I said I didn’t like Apocalypse Now I was lying (or mistaken... or going off an initial knee-jerk reaction or something). I think it’s a brilliant film. I can’t put my finger on why I don’t like Conan. I should - I love all that sword and sorcery / fantasy stuff when it comes to films - but it’s the second time I’ve tried to watch it and the second time I’ve given up before the end. I find it directionless, noisy, poorly acted and the score just doesn’t fit with what we’re seeing on the screen. The music, I think more than anything else, makes it unwatchable for me.
I really like some of the early Friday the 13th movies, but it's got nothing to do with the killer or the deaths. It's the feeling of the late 70's and early 80's that's captured beautifully in them. The stuff the teens are doing is the stuff we used to do, and of course the way they dressed and just the whole atmosphere that was in the air in those days. They're almost a chronicle of what those times were like, more so than most movies I've seen that were made then. The only other one I can think of that captures it as well is Dazed and Confused, which was actually made in the 90's. I really don't like the 1st one and the beginning of the 2nd because of who the killer was (I won't spoil it for those who don't know). It was a little ways into #2 where the movies started to find their strength. They sort of had to finish the idea from the 1st movie at the beginning of the second, and once that was out of the way they found their awesomeness, for me anyway.
Thinking more about it, it might have been #3 where they started to get good. I think it was, because it was in 3d. And that was a big part of the advertising, #3 in 3d. Pitchforks, eyeballs and yo-yo's in your face!
The original F13th is the only one worth bothering with imo. I was about 16 when I first saw it and the ‘you think it’s over but it’s not’ ending nearly made me piss my pants! Yeah, I was a mard arse.
Does anyone know of any instances of the false ending or double ending before Friday the 13th? It's the earliest one I can think of, and became a staple afterwards—famously in Alien and Aliens.
Re-Animator is a strange case. The first is a classic and tied with Return of the Living Dead for my favorite horror comedy . The sequel in some ways isn't as good, but in other ways it's even better.
Carrie came out in 1976, four years before Friday the 13th, and it featured a double ending. Scared me to death, I still have trouble with it.
The writers of the new Space Jam movie dropped Pepe Le Pew from the franchise because he was too aggressive with the ladies, but included a cameo by the Droogs from A Clockwork Orange, actual rapists.
Wow, it did, didn't it? Yeah, that is a good call! Another one I'm trying to trace back as far as I can is the unkillable killer (like the Terminator). Of course there were Jason and Michael Meyers, but the shark in Jaws came well before, and I think an important predecessor would be the Yul Brynner character in Westworld, who also qualifies. There have probably been more going way back. I guess a lot of monsters—Frankenstein, Dracula, and vampires in general. So that one goes way back into folklore, before written language was even a thing. OK nevermind, not gonna be able to trace it farther back than that without all kinds of specialized research. In fact, a lot of gods and devils were unkillable killers, so that idea probably goes back to the beginning of human thought. Of course it does—Nature herself is an unkillable killer that's been hounding us all along—the Terrible Mother, womb and tomb to us all. In fact the idea is just the human understanding of the inescapability of mortality, the fact that life means the inevitability of death.
Friends, I recently watched the first part of the movie "Kill Bill" for the first time. I've watched all of Tarantino's other films, and to be honest, even The Hateful Eight cannot compare to Kill Bill in terms of cruelty and metamodernity.
I like Kill Bill. Do you remember the last time Uma Thurman was in a Tarantino movie? Do you remember the thing she said to John Travolta about the pilot she was in? I think it was called the Deadly Viper Assassination Squad, an all-girl assassination team where each one had a different specialty. That's almost what Kill Bill is. One of the differences—she said she was the knife expert in the pilot, and that would be Vernita Green in Kill Bill. But Tarantino has said that some of his movies (the crazier ones) are like movies that the characters in his other movies would watch. Fascinating to think about, and to find similarities between the 2.
