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Post by arnzilla on Nov 22, 2019 12:58:37 GMT -5
"Morality carwash"
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Post by arnzilla on Nov 22, 2019 13:06:09 GMT -5
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Post by Zotyto on Nov 27, 2019 13:06:04 GMT -5
Finally saw it and I love it. The digital de-aging is not my cup of tea, but you get used to it and it never stands in the way of the film. It's incredible to see how this movie tackles so much, on such a grand scale, and yet, at times it really feels like an intimate chamber play. Guys talking in code ("I'm a little concerned.") and symbols (the ring, wearing a suit to a meeting), whispering, exchanging glances. So yeah, I totally get the comparison with The Age of Innocence. The final act is brutal; the scenes in jail with Pesci, the nurse not knowing who Hoffa is, natural death waiting around the corner... it's like a punch in the stomach.
I like the quote from Arnzilla on the first page of this topic: "There's always been a time when there's another Scorsese film on the horizon. This film taught me that I better get ready for another chapter. One day, there won't be another Scorsese film on the horizon. I'm in weepy mode." This is exactly how I feel. Every movie could be his last one now. It's like The Irishman was one of those in memoriam clips you see during award shows.
Another thing I really liked is the way people get shot in this movie. No glamour, just cold-blooded murder, followed by silence. Every kill packs a punch.
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Post by gabriel on Nov 27, 2019 17:35:53 GMT -5
Did Scorsese have a cameo? He actually had! A voice cameo. The lines "all rise, court is in session", right before Frank is absolved in the meat company case, early in the film, are uttered by Marty.
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Post by shynney on Nov 30, 2019 3:33:38 GMT -5
What a masterpiece with loads of innovation. The aging, or youngering, was done so well I really didn't notice it. Every scene was a gem and held your attention. Watched on Netflix so saw it in two parts which helped as don't think I would have had the endurance to appreciate it in one sitting but it wasn't too long, some films need to be that length whereas some films seem to be drawn out too long these days to fit the traditional ninety minutes. The acting was phenomenal all the way through. Sure this film will end up a classic. Hope we shall see more like this and film will reinvent itself.
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Post by gabriel on Dec 2, 2019 14:45:35 GMT -5
Nice theater!
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Post by arnzilla on Dec 2, 2019 18:38:55 GMT -5
I think I agree with Richard Brody. The intimacy throughout, the understated but awesome cornflakes/Total scene, Peggy's powerful "WHY?," the entire appreciation night sequence (where Hoffa dances with Peggy twice), and the final half hour (dominated by Robbie Robertson's theme) all hit me harder (or perhaps just differently) on Netflix than in the theater. I saw things differently, like the opening shot where the darkness framing the first several seconds is more evident, or the call to Jo Hoffa where a bunch of frames are removed leading to a jump cut amid De Niro's stuttering. I appreciated the silences and the length of scenes and the wide shots more on Netflix. Or maybe it was just, like Brody, my stopping and rewinding. De Niro watching himself in the carwash is fucking haunting. Pesci is spectacular. All the acting is superb. Even the performances by Bo Dietl and the young priest (played by real lapsed priest, Jonathan Morris) are funny and moving, respectively.
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Post by gabriel on Dec 3, 2019 3:39:18 GMT -5
Thanks, arnzilla. Nothing beats for me the experience of those two times at a fully packed theater though. Those will always set the tone every time I rewatch it at home, the memory of my reactions and the reactions of the crowd around me. People are talking all the time how different Pesci is in this film, but too little is being said about how De Niro is different also from previous Marty films, perhaps even more powerfully so. It is mainly about his journey after all. It's not about menacing manners so much anymore or about the handling of power, there's a ingenuity and tenderness in him this time that strikes a chord even if we know him to be the executioner he is. And it is also about those blue eyes of him. It also strikes me more each time how this is of a piece with Silence, in terms of pacing, streamlining and simplifying everything to better get at the essential.
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Post by arnzilla on Dec 4, 2019 20:19:24 GMT -5
I thought this was funny.
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Post by arnzilla on Dec 6, 2019 0:13:28 GMT -5
I didn't realize until freeze framing it, but the blood splattering the walls in the opening minutes belongs to Hoffa.
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Post by gabriel on Dec 6, 2019 4:13:08 GMT -5
Yes, I thought I saw that the second time at the cinema, but it goes so quick, and then I confirmed it at home.
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Post by arnzilla on Dec 16, 2019 13:01:17 GMT -5
The movie theater across the street from Russell's curtain shop was screening The Shootist when he was arrested. But when we're first introduced to the shop, it's playing something else. Was it All About Eve? I can't remember.
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Post by gabriel on Dec 17, 2019 3:09:28 GMT -5
The Three Faces of Eve. And we also see Party Girl in another scene.
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Post by arnzilla on Dec 17, 2019 10:25:52 GMT -5
I was close.
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