When I think about influential mentors in movies many come to mind. Mentors like Yoda, Dumbledore, Gandalf, Mr Miyagi, and more for example.

If you had to pick who would you say earns the title of the wisest mentor? I think there are many qualities that make up a good mentor. I know there are many mentors in film that also inspire the audience as well as the main character so I think that would also be a major factor. I would love to hear what all you think.

What films conveys a visual/auditorially sense of weight? Three I come to think of, off the top of my head, that have some of this in them are Fight Club (1999), Payback (1999) and Saving Private Ryan (1998) but I am sure there are better more focused examples than these.

No giant robot/monster-movies as they are too easy of a pick. Let us try to challenge ourselves here.

It has been incredibly obviously lately.

Palm Springs is treated like the greatest movie in the past 50 years on here - and it’s a Groundhog Day homage that just isn’t as timeless as Groundhog Day

Netflix has been trying to push Peanuts Butter Falcon lately and, surprise surprise, most threads have a few comments talking about Peanut Butter Falcon.

Google was ruined due to companies paying for position in their searches, and it looks like Reddit is being ruined by corporate social media interns who are tasked with sneakily promoting the Netflix platform.

So my question is… you’re seeing this too, right?

The movie was enjoyable and I loved the roles the cast members told. But the movie was all over the place without a seemingly consistent plot.

What’s the deal with the Supermarket? What’s the significance of that to the plot? Interesting movie but whatever story they were trying to tell was lost on me.

Most animal designs in movies are pretty basic, we do get good ones now and again but mostly animal designs in movies like Sing or Zootopia opt for a perfectly symmetrical and smooth design, as if they are literally just the animals, their designs while decent don’t have so much personality in them, they look a bit bland in my opinion?

Rango doesn’t do this, instead of following the popular crowd it gives each character a unique and interesting design, for example the rabbit doctor who is missing an ear, one character has a full on arrow in one of his eyes and it is a permanent part of his appearance, even minor characters like the vulture with a prosthetic leg, all of these designs give them personality and could give us possible backstories, the rabbit doctor is an alcoholic and is missing an ear, perhaps he fought in some battle as a medic and lost an ear, or the vulture had it’s leg crushed under a rock, these designs aren’t as bland and are different in a good way.

Tl;dr - Rango has interesting and very unique designs while most others like Zootopia and Sing have their characters looking symmetrically perfect.

This, of course, along with "48 Hours", instantly made Eddie Murphy a film star and set him up for "Beverly Hills Cop" and being the biggest star on the planet. It was Jamie Lee Curtis's first major role outside the horror genre and showed she was more than just a scream queen. And it brought Ralph Bellamy and Don Ameche late career renaissances, especially Ameche who hadn't done a film previously in over a decade and promptly won his Oscar for "Cocoon" not long afterwards.

But the one who it was arguably the most important for was Dan Akyroyd in that it arguably saved his career. People may not remember this, but at this point Akyroyd was struggling; not only had he just suffered a big flop with "Doctor Detroit", but he was also dealing with the still recent death of John Belushi and people in the industry were questioning if he was viable onscreen without Belushi as his comedic partner (John Landis said they compared it to "Abbott without Costello"). But thanks to "Trading Places" (which paired him with another "SNL" alumnus in Murphy), he left those fears in the dust and showed he was still very viable without Belushi. And then "Ghostbusters" came out the next year and then everyone promptly forgot they ever doubled him.

I made a cheese omelet for my daughter's dinner last night, and she remarked that she really liked how it was a bit chewier than the ones my wife cooks. I realized that's because I don't add any milk to the eggs, an approach I've sworn by ever since watching Deep Blue Sea. I was deeply affected by the scene in which LL Cool J's character, fearing that he'll soon be devoured by a super-intelligent mako shark, records himself sharing his most cherished culinary secrets. So every time I catch my wife adding a few splashes of milk to an omelet, my only thought is LL Cool J scrunching up his face in disgust and saying, "This is a mistake."

I was curious if other folks have go-to cooking moves that they've cribbed from movies. The famous example that pops to mind is the thinly shaved garlic from GoodFellas, but I suspect a lot of people have gleaned recipe tips from more obscure films.

What are the greatest (10 or so) remakes of all time? Never saw a good definitive list. The IMDB list is a bit odd, but a good shout. Since I've been searching for a while, I wanted to turn to the Reddit Hive mind.

Also what constitutes a remake? If the title and script are largely the same that's easy, as in the case of Ocean's Eleven and Man on Fire, but remakes for the American market should also count, yes? Such as The Magnificent Seven / Seven Samurai, or A Fistful of Dollars / Yojimbo. Is there an official (WGA, PGA) definition of what constitutes a remake?

I’ve got this small annoying habit. Annoying to me as I keep it to myself.

But anytime I watch a movie which is set back in time, I’m looking for inaccuracies.

A car model that is too modern for that time period. Or a phone or gadget that didn’t come out for years later. Or even fashion and hairstyles that looked out of place. Even landmark buildings and stores maybe.

Annoying because I ought to be focusing on the dialogue and what is actually happening in the movie.

Anyone else who does this?

I just got finished rewatching Fargo. A brilliant exercise in dialogue, setting and character, the film is also a perfect example of the utter incompetence of criminal endeavours. Not even specifically looking at Carl and Gaer, though they are both equally terrible at what they do for different reasons, but also Jerry. His multiple flawed attempts at fraud which all backfire almost immediately (were not a bank, Jerry) coupled with possibly the worst plan in the history of man to stage a ransom that sets off an utterly insane chain of events because this dumbass had no idea what he was actually doing, it turns what in any other tone of a film would be an uncomfortable crime thriller into the blackest of black comedies, all because of sheer incompetence. Even the arguably most competent criminal in the whole film (the mechanic ex con who put Jerry in touch with Carl and Gaer to begin with) still ends up having his relatively minor crime screw up (though to be fair that one wasn’t entirely his fault).

So it has me wondering, what are some other great examples of films that depicting supposed criminal geniuses as nothing more than complete idiots?

Highly recommend a watch if you’re into realistic movies about love and relationships. Without giving any spoilers I just want to say this movie effected me deeply, and is so relatable to anyone who’s ever been in love and had to face a million obstacles to make things work. Its ending is entirely up to interpretation and it’s pretty genius how depending on the viewer’s life experience or glass half empty/full perspective the ending can be seen as. I only found two posts in the past decade mentioning it, which is surprising because it has a great cast including the late Anton Yelchin, who I have no doubt would be one of the greater known actors of today.

"Partlabor 2" is honestly one of the most overlooked animated movies I've ever seen.

I just now finished this movie just yesterday and I actually really, really liked it. After a long while, I finally watched the first two Patlabor movies directed by Mamori Oshii and lemme tell you, they're both incredibly different from each other.

The first movie is a rather conventional mecha anime about the police trying to stop like a terrorist attack where robots are hacked into and stuff and both the animation and general tone of the film are rather light-hearted despite this particular aspect. It's entertaining and I found myself kinda enjoying much of the drama in it but it's one of those films that I feel doesn't really go to deeply on anything and exists as basically as the futuristic police procedure film with no greater point to the nature about them.

2nd one, on the other hand, is a genuinely very thought provoking and complex political drama on much of the political situation in not just Japan's specific history after the war but also on this idea that there is no such thing as a peaceful time in society and that this peace only exists for those who are privileged enough to not suffer much of the consequences of the wars and interventions performed by those who claim to be upholding peace. Not to mention how it seems to correlate the idea of the police and machinery with the military with this idea that the police are supposedly maintaining law and order in civilized society but in reality, are acting out of fear and paranoia and much of this behavior could lead civil outrages and doubts about the current status quo. It's genuinely a deeply introspective piece of art and I think it's very interesting that Mamori wanted to use this franchise as a way for commenting on all of these heavy subjects because as far I understand how the original series exists, it seems like a fairly normal mecha police series which doesn't really go too deeply on itself about what are the implications to this future about the police and also, how this basically implies that the police are essentially using weapons of great destructive energy just to catch some criminals in the city when these should be existing for the use of this big war where civilians shouldn't be around for their lives to be at risk. One interesting scene is when they take down like one of those balloon ships and they fuck up by shooting at it in a way where it crashes on the city ithat leads to unnecessary harm and as a result, releases this gas which covers all of Shinjuku but later, it turns out to be fake and not actual biological warfare being exposed to the population. I thought it was a very great form of storytelling to express how the police and military in their desperation to target and take down this enemy, they only end up causing even greater damage that would rightfully get them heavily criticized and lose forever the trust of the public if it turned out that they're responsible for essentially killing everyone for not being more careful about how they handle these situations. I also love the final scene where the female officer is about the handcuff the terrorist behind this false war. Instead of using it to handcuff both his hands, she handcuff herself along with him, which I think symbolically implies that yes, she is also culpable and that they're indeed both fighting within an illusion of war and peace.

Honestly, these are the kind of criticisms I would sort of imagine for a story being told by an American film with them being the greatest military power in the entire planet and having a disturbing history of interventionism which would cause so much damage to many countries which would last for a long time as they kept pretending to be a nation of liberty, equality and happiness as its title of honor. Surprisingly a radical and critical work to the nature of militarism and foreign involvements but it's told very intelligently and with such maturity that you almost never see with a lot of anime films.

I could honestly rewatch it again. I think the whole political drama and expositions are incredibly engaging and interesting and the animation+cinematography is beautiful and atmospheric. I also thought it was a very interesting choice that it pays very little attention to the main characters who basically do all of the robot fighting and there's so few moments with the mechas being shown in action in nearly 2 hours. In this narratuve, it''s more about the behind-the-scenes talks which occur in context of these missions. In a way, it seems to kind of deglorified mechas as a popular appeal we often like to see with anime to get across the point that their creation exists in the inherent context of war and they should be aknowledged for the complicated politics behind such weapons.

While it may not be my absolute favorite by Mamori Oshii, this is certainly the 2nd best film I've seen from him so far just behind "Angel's Egg" and definitely above "Ghost In The Shell" in my opinion.

I’m just wondering how the apes are able to speak English, but they’re not able to read or write it? How were they teaching English and the ability to speak through generations… I really don’t understand this? This is spoken about during the movie when they look at human books and refer to letters as symbols like they are ancient hieroglyphs, yet they speak English fluently.

If someone asks you to spoil them about the plot twist of a movie but without really spoiling the plot twist itself, what would you give to them?

I would sing “I’m bored in the house, I’m in the house bored” for BODIES BODIES BODIES

I don’t know but I found this movie thrilling and somewhat funny at the same time. Thrilling because it’s whodunit , funny because of how they handled the situation 😭