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Poll: Are You Interested In Line Including Write Ups For Each Film?

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  1. #19
    Chaos reigns. Line's Avatar
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    Quote Originally Posted by Pain
    If Fargo isn't in your top 10, you might be seeing red.

    Quote Originally Posted by Flex View Post
    Someday i'll be reading on DVD covers...

    "Two thumbs up"

    -Roeper & Line
    Oh there's no way I'm working with that prick.


     



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  2. #20
    Chaos reigns. Line's Avatar
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    Line's Top 100 Films of All Time

    John Huston, 1948

    Some films transcend deep philosophical analysis and life-changing subtext by having incredibly competent screenplays, memorable characters, and wonderful performances. Key Largo is such a film.

    While the film's setting is, of course, Key Largo, our film primarily takes place within the ocean resort owned by James Temple (Lionel Barrymore), the father of a military buddy of our lead, the uncomparable Humphrey Bogart. It's an interesting role for Bogie as he portrays his mild-mannered, smooth-talking self, but lacks the tough guy persona we've all come to know and love him for. Throughout the film though we see one of my favorite transformations of character through continuous tests of fortitude. As a hurricane approaches, the entire resort must be locked and boarded up and within the hallowed, dilapidated walls dwells a group of gangsters headed by the once infamous Johnny Rocco (Edward G. Robinson). Rocco is ruthless and determined to do whatever it takes to retain the psuedo-hero worship he's gained from other criminals throughout the world; a character trait that may very well damn him.

    The storm plays funny tricks on all parties involved and there are some incredibly powerful moments which do reflect greatly on the role of women, not only in film noir, but of their cultural significance of the times. Loyalty and frienships are tested as cabin fever sets in and instead of a stereotypical, blanketing coversion of our characters to irritability their true forms instead begin to show. The transitions of our two most memorable players seem smooth and effortless thanks to the fantastic screenplay and Huston's incredible penchant for storytelling. While there seem to be several cinematic peaks the story works very successfully as a whole and is an endlessly rewatchable genre piece.


     


  3. #21
    Mecca V.I.P. Flex's Avatar
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    Serious question, do your buddies give you a hard time for watching these types of movies?


     


  4. #22
    Chaos reigns. Line's Avatar
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    Quote Originally Posted by Flex View Post
    Serious question, do your buddies give you a hard time for watching these types of movies?
    Actually it's the opposite; I'm usually very critical of their tastes depending on how much hyperbole they decide to throw around. There will actually be some more familiar titles coming up soon though.


     


  5. #23
    Chaos reigns. Line's Avatar
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    Line's Top 100 Films of All Time

    Howard Hawks, 1940

    In what has been often times heralded as one of the greatest American screenplays off all-time (courtesy of Charles Lederer), Howard Hawks weaves a complicated romantic comedy starring none other than the ever-charming Cary Grant. Grant plays newspaper editor Walter Burns. An overworked, and competitive man, Burns uses his smooth ways to hatch a clumsily-cunning plot in order to keep the former star journalist and Mrs. Burns (Hildy Johnson as played by sassy Rosalind Russell) from marrying, of course, a slow-witted insurance salesman.

    What sets this film above other "screwball" comedies of the era is just how far its willing to dive into its own world that there's not only genuine concern for the characters, which is fairly stock in said films, but the screenplay is so breezy and refreshing that the sillier it gets, the more we unconditionally invest ourselves. In actuality, the audience should be sensing that something's amiss when Burns tries a romantically motivated trap Hildy into staying in the city just a bit longer to finish "one last story". Usually Grant as an actor is a charming and even though his plans can come off as somewhat maniacal we hardly think of him as a bad man. That being said, in His Girl Friday, we have an internal conflict about his intentions and whether or not he's indeed trying to save the paper or if these are merely excuses he's telling himself and his surrounders in order to reacquaint his love for Hildy. The juxtaposition of his charm to his psuedo-dasterdliness somehow never comes off as malicious and with each twist and turn in what some might label as a hilarious inconcievable plot we get a taste of what this man, and men in general are willing to do for love.


     


  6. #24
    Chaos reigns. Line's Avatar
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    Line's Top 100 Films of All Time

    Darren Arnonofsky, 2000

    Perhaps this will be labeled as a conventional choice but I assume that those who know me will anticipate that through the remainder of this essay that I find it engaging for reasons outside those typically listed. I have found through my experience with Aronofsky that he is a very subtextual filmmaker and criticisms of his work are an over-emphasis on visuals. Generally, the masses can conceed that said visuals are indeed relevant in terms of the context in which they are juxtaposted to but few dwell on what's below the surface.

    Requiem for a Dream is a powerful film. Immediate reactions to it can lead to labels of shocking, depressing, disgusting, and even self-indulgent. However, it is in my opinion that this film paints a much larger picture of the things we yearn for; our addictions, so to speak, are not necessarily those of drugs or vanity but of freedom and dreams. It is natural to overlook such a theme as many enjoy movies that leave an immediate and lasting impression on them; they associate the film with those feelings for the rest of their lives. When any piece of art or beauty leaves such a mark on our minds we become satisfied with our own interpretation and in this instance, most can push the piece aside as a mere anti-drug message. Let us further examine what lies beneath.

    The relationship between all of our leads are important ones and each have distinct goals. Sara Goldfarb (Ellen Burstyn) plays mother to the son of a drug addict Harry (Jared Leto). Sara yearns for the days of yesteryears, likely during the time of her husband's life and the love the family once shared. In her depression she has confided herself mainly to her home or a small circle of other disillusioned elderly women. She is dead inside. Her only connection with the outside world lies in the exaggerated and exuberant world of infomercials and she longs for the attention and superficial love of an brightly lit stage and an audience forced to applaud. Her obsession with weight loss and the addiction which emerges as a byproduct are far less about her wanting to look good on television and much more about taking herself and family back to a time when all was peaceful in her mind. Even if her personal memories are overly idealistic, the ideas are what keeps her going and these ideals breath life inside her before stripping it away.

    Harry is defiant by definition but means no ill-intent through his actions. He's young, naive, and in love with life. The latter is often described as an endearing quality and that one must love life and love oneself in order to love others. However, Harry's self-indulgence hampers his connection with his mother and detaches him from his own humanity. Without it being said, the absence of his father likely played an enormous role in his early life, one that lead to a carpe diem theorem that engulfed his entire spirit. Meanwhile his relationship and sins of the flesh presumably lead him to Marion (a gorgeous Jennifer Connelly), a young lamb who has also lost her way. However, unlike the perpetual drifting of Harry's life intentions, Marion has a goal but is too preoccupied in the notion of being young and in love. Like Sara, she becomes obsessed with a different ideal, one to design and create, but in turn ends up slowly destroying herself. The deconstruction of dreams is in direct relation to her extension of Earthly pleasures through Harry.

    In whole, the film becomes more about relations and chasing dreams than it does just about drugs and their consequences. While that is clearly a heavy theme, the examination of one's dreams and our willingness to achieve them is a much more philosophical and rewarding one.


     


  7. #25
    Mecca V.I.P. Flex's Avatar
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    First one i've heard of.

    :keke:


     


  8. #26
    Mecca V.I.P. high_five's Avatar
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    Quote Originally Posted by Flex View Post
    First one i've heard of.

    :keke:
    I haven't heard of any of them. :dunnodude:


    “All men dream, but not equally, those that dream by night in the rusty recesses of their minds, wake in the day to find that it was vanity; but the dreamers of the day are dangerous men, for they may act upon their dreams with open eyes, to make it possible.”

    T.E. Lawrence, Seven Pillars of Wisdom


  9. #27
    Mecca Mod (not) Daniel Andersson's Avatar
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    One thing's for sure...Line is old fashioned

    Line's Top 100 Films of All Time


    [MOTM] - JAN 2008
    [MOTY] - 3rd 2008

    Line's Top 100 Films of All Time


  10. #28
    Mecca V.I.P. Flex's Avatar
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    Quote Originally Posted by high_five View Post
    I haven't heard of any of them. :dunnodude:
    Requiem for a Dream is where this theme that we've heard a hundred times has come from.






     


  11. #29
    Mecca V.I.P. high_five's Avatar
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    That is a sweet song, i must admit.


     


  12. #30
    Mecca V.I.P. Beefcake's Avatar
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    Where do you find the time to watch all these movies Line? and how do you hear about the old ones?


    If I was you I'd hate me too...
    Line's Top 100 Films of All Time


  13. #31
    Chaos reigns. Line's Avatar
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    Quote Originally Posted by Beefcake View Post
    Where do you find the time to watch all these movies Line? and how do you hear about the old ones?
    I've been really interested in film for the past four years and when it gets cold outside I usually only leave to go to the gym, go out to eat, or occasionally go to class. As for the older films, I lurked on the boards at Rotten Tomatoes for awhile and then started posting there one year ago today. I actually was planning on just keeping this film list over there but I figured I'd share it with you guys as well since we talk about movies fairly often.





     


  14. #32
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    how long you planning dragging this out


     


  15. #33
    Chaos reigns. Line's Avatar
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    Quote Originally Posted by Rageking View Post
    how long you planning dragging this out
    When I finish a banner, I post it.


     


  16. #34
    Mecca V.I.P.
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    ah i see
    work faster:linedrunk:


     


  17. #35
    Chaos reigns. Line's Avatar
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    Line's Top 100 Films of All Time

    James Foley, 1992

    Outside my window it's dark. What would be an inescapable shroud of blankness is being staunched by dimly lit fluorescent lights; they seem much brighter than they should in contrast to the night's sky. Looking out I can see into buildings and their glass fronts resemble wonderous entrapments for the voyeur moreso than a sheltering construct for man. I can peer inside and view strangers if I wish and this will be the only glimpse of their lives that I will see through my umbillical perspective. There is no extension of myself into those surrounding me, or at least it feels that way at this point in time. It's 5:38 am, and I'm writing out of anxiety and obession. Obsession to get the words right, to turn what my world is giving me now into a semblance of a coherent write up. As cars pass by the headlights remind me of the vacant eyes of strangers. I only converse with them in an auditory or physically dodging manner and can only see them for what they. That being said relationship of the salesman within our film to that of their clients does not differ from that of the my mind and my ever adapting surroundings. We observe, we listen, we calculate, and we react.

    Glengarry Glen Ross is a story of dimly lit nights and desparation for contact and hope. Ends are trying to be met, quotas filled, and time squandered; I know the feeling. Based on a play by David Mamet (also credited for the screenplay), we see the lives of others through the lense of salesmen and it's not uncommon for that lense to be pointed at oneself either. Within the office our players dial their hours away, making calls to strangers which they can may never put a face to. They're given names, leads, and this is all the have to make a sale. In a way, the salesmen in our picture are more distant strangers to their customers as I am to the cars passing by for at least I have that brief moment of multiple sensory contact. No. They have names and the names are worth shit.

    This is what I would like to call an actors' film. A cast with the likes of Pacino, Lemmon, Arkin, Spacey, Baldwin, and Harris all but proves the prior claim as fact. There's a sweeping nervousness though to several of our characters as they are now pitted against each other in a sales contest where first prize is a car, second prize is a set of knives, and third prize is your pink slip. Here we see the business world, not necessarily exclusive to telemarketers or property salesman but of any capitalistic venture in today's society. Is this a time for friendship and loyalty? It depends how badly they want bread on the table and oil to heat the house. We see Lemmon, playing Shelley Levene, Levene the Machine. Shelley is about as old school as they come and realizes that his good-natured and honest approach is not what impacts people anymore. Ringing true in today's world, one must relate to our surrounders and being nice and offering a sympathetic ear doesn't cut it anymore. Sunken to the point where he can't pour himself a cup off coffee without being barked at he fails to realize that what sells is sex and, unfortunately, everyone's buying.

    Ricky Roma is Al Pacino or Al Pacino is Ricky Roma. There's no difference really but it's also Pacino at his most charismatic. Roma knows not only how to play the game but how to adapt. He is liked only by those he wishes to be liked by and speaks immutable truths to the others; the ones that don't want to hear it. The scenery surrounding Roma is in stark contrast to that of Levene who is often found in the rain, crammed into a phone booth, or at his desk when he should be home nestled up to his wife. He's the type of character that I'd never see outside on a night like this, especially at a time like this. Looking out my window again, I half expect to see Lemmon's silhouette cast by a neon light of a place basking with promises of which he may never know.

    Too often is this film recognized only for the talent and just how quotable it is. But desperation is there. Betrayal is there. Most importanly the willingness to do what a man feels is just in order to survive is there. It's survival of the fittest in a deep character study that, although released in the early 90's, is just as fitting now, if not moreso than ever before. With outsourcing and technology the jobs of men willing to put their brains to the anxietal grindstone for such meager pay is going the way of the buffalo.

    I look out my window again and see one or two passerbies. I know nothing of them but I get a better sense of who they are than our salesmen will of 90% of those they call. I see faces and gestures and although we'll never meet there's a certain connection and I can see them as people; there's no motive behind my eyes. I can't imagine making a living like the men in our film do, nor can I blame them for their actions. Perhaps justice and reason can fuck off.

    A Footnote: This is what happens when I write in a state of mania. I'm not proof-reading this shit. Watch the film. The end.


     


  18. #36
    Mecca V.I.P. Hypocrisy86's Avatar
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    hmm.. how bout Day watch?






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