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#616 |
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Did you guys know Morricone scored Carpenter's The Thing?
__________________That may have been one of the reasons I loved that movie so much.
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#617 | |
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Quote:
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#618 |
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Pages 17, 18, & 19
![]() I can't believe that I missed three glorious pages of Roadhouse and Tombstone comments.
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#619 |
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Since I missed it, let me just say, I pray to God everyday that I will at some point in my life, be cool enough to call people 'mi hijo'.
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#620 | |
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And LMP, I know Morricone scored The Thing, but what's weird is that it totally sounds like one of Carpenter's scores. What an odd collaboration, but Morricone did some films in the 80's and 90's you wouldn't expect: Wolf, Disclosure, In the Line of Fire, Fat Man & Little Boy, Red Sonja. He certainly has done his share of hack work, but when he's at his best he blows John Williams out of the water.
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#621 |
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I have yet to see Duck, You Sucker, unfortunately. Though it's very high on my to-see list.
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#622 |
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Speaking of composers, James Horner, Danny Elfman, and of course John Williams own a piece of my soul.
Absolutely love their work.
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#623 |
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Hey Mr LMP, how's the Hitchcockathon going?
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#624 |
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I'm not the biggest Howard Shore fan, but his score for Eastern Promises was surprisingly good.
EP is 5th at the box office this weekend too. ![]()
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#625 | |
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#626 |
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Have you seen Vertigo yet? You definitely want to watch Marnie as a companion piece to it, as they explore similar themes and are both highly stylized. Very underrated Hitchcock--though you could say that about all of his 60's work save for The Birds and Psycho (which I think is ridiculously overrated and not even in his 10 best). I think Topaz received a bad rap particularly, because of the lack of a movie star/central character, and that it's more of an espionage procedural than a suspense thriller.
Torn Curtain (with Paul Newman!) is a mixed bag overall, but has many great scenes that make it a must see.
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#627 |
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Vertigo's somewhere in the queue, same with Dial M for Murder, Notorious, To Catch a Thief, and The Man Who Knew Too Much. I'll add those movies you listed, too.
So far I've seen Rear Window, which I thought was a brilliant character movie. The dialogue was still pretty sharp for an older film and I really dug how it was all shot from the perspective of the apartment. Psycho was pretty good as well, but more of an understated flick than I expected. The narrative shifts from the story of Janet Leigh's embezzlement and lover to Norman Bates and his insanity, which is where the film partly lost me. The Doctor's explanation of Norman's "condition" at the end of the film is the biggest 'Obi-Wan on the Log' scene ever... definitely a studio push there. Maybe if that scene wasn't there the ending would've been a bit better for me, I'm not sure. I didn't quite like the direction it took after the detective's murder.
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#628 | |
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#629 |
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Next time I watch A.I., I'll just stop after the first end narration / David trapped underwater with the Blue Fairy scene.
Now that's perfection.
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#630 |
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I'm sick of all these people defending A.I.'s epilogue with cries of "it was part of Kubrick's original plan!" First of all, Kubrick is notorious for tampering with his films way down to the wire before they're released. Who knows what the fuck he would have included? Second, if the epilogue doesn't look like Kubrick, sound like Kubrick, or feel like Kubrick, it ain't Kubrick. He never would have handled it that awkwardly even if he had included the material.
__________________And yes, a fade out on that Blue Fairy would have been perfection. But tell me the last time you found perfection at the end of a Spielberg film. Here's a suggestion: Raiders.
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