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Science, culture and mental fitness
‘This is not only a musical and a comedy, as we expected, but also a revue of sorts: Comic actors such as Bill Murray, John Candy and James Belushi have walk-ons, and Steve Martin almost steals the show as a sadistic, motorcycle-riding dentist. Yet at the heart of the movie is a basic sweetness, an innocence that extends even to the centerpiece of the story, which is a man-eating plant named Audrey II.’
BTW, the movie is a remake of a Roger Corman classic featuring Jack Nicholson. And the music was written by Alan Menken, who later became the most celebrated Disney composer. Surprisingly, Ebert doesn’t mention any of this in his 1986 review.
https://www.rogerebert.com/reviews/little-shop-of-horrors-1986
'Heavy load to bear,
Party over here,
I'll be over there'
Finally found it, the most elusive coke 
'It is certainly in every frame a Kubrick film: technically awesome, emotionally distant, remorseless in its doubt of human goodness.'
Ebert explains why Barry Lindon is possibly the most Kubrickian movie ever
https://www.rogerebert.com/reviews/barry-lyndon-1975
‘My name's John Ford. I make Westerns. I don't think there's anyone in this room who knows more about what the American public wants than Cecil B. DeMille—and he certainly knows how to give it to them ... [looking at DeMille] But I don't like you, C. B. I don't like what you stand for and I don't like what you've been saying here tonight.
John Ford spoke up when very few people did. What filmmaker do you think would do the same today?
John Ford - Wikipedia
“If the horizon’s at the bottom, it’s interesting. If the horizon’s at the top, it’s interesting. If the horizon’s in the middle, it’s boring as shit. Now, good luck to you. And get the fuck out of my office.”
This is what director John Ford tells the young Spielberg in The Fabelmans. Ford is played by David Lynch in one of the most memorable cameos in film history. Reading more about this scene is the best way to appreciate Spielberg’s genius. Movies create myths, and in myths you cannot have a balanced perspective.
Vulture
The Fabelmans’ Brilliant David Lynch Cameo Is All About Perspective
It’s pitch-perfect casting that only deepens the film’s layers between reality and fiction, character and persona.
‘ "The Big Sleep" is a lust story with a plot about a lot of other things.’
Roger Ebert praises the obtuseness and brilliance of Faulkner’s script
https://www.rogerebert.com/reviews/great-movie-the-big-sleep-1946
'On the day that Kasparov was defeated by Deep Blue, I found myself thinking of the film "Being There'' (1979). The chess champion said there was something about the computer he did not understand, and it frightened him. There were moments when the computer seemed to be . . . thinking.'
https://www.rogerebert.com/reviews/great-movie-being-there-1979
The Glasses character in "Safety Last" would have blended with the background of the department store where he worked if it had not been for action imposed upon him. But what action!
https://www.rogerebert.com/reviews/great-movie-safety-last-1923
ANA lounge in Tokyo serves world-class sushi 
The least grandiose thing about Dubai is the Grandiose Supermarket in Dubai Mall 
'Life is like a rollercoaster
It does flips and throws you over
Board your ship that's going nowhere
If you stop, you'll end up somewhere'
Everybody wants to go to Japan'
Soundtrack for a beer in Tokyo Dome hotel, rollercoaster view included
"Conscience. What a thing! If you believe you got a conscience, it'll pester you to death. But if you don't believe you got one, what could it do to ya?"
He finds out.
https://www.rogerebert.com/reviews/great-movie-the-treasure-of-the-sierra-madre-1948
Heading to Tokyo, let us know if you want to connect this Sunday at noon 
'Women Talking is heavy on dialogue but light on any sort of discernible narrative. It’s a “message movie” and, while the message is important, director Sarah Polley hammers it home with a stridency that’s distancing. Too often, the characters don’t seem real. They are mouthpieces for victims of male toxicity in isolated communities. Part of the problem is the theatricality of the production, which seems like it’s the adaptation of a play (it isn’t; it’s an adaptation of a book by Miriam Toews). Another issue is that Polley has elected to desaturate the film’s colors to an extreme degree. Presumably this is to emphasize the drabness of the women’s lives but it calls attention to itself too forcefully.'
The most grating character in Women talking is the male, played by Ben Whishaw. Unlike in other similar movies (Promising Young Woman, Men, Vengeance) where the white male is the villain, here he is an insufferable ally figure, always listening, always saying the necessary platitude, but never developing into a real character. James Beradinelli calls the movie a period piece mumblecore, which is an exciting description. Unfortunately, the mumbling feels fake, as if somebody shoved a book about toxic masculinity in the mouths of Bolivian Mennonite women and then had them spit the words out, like bloody teeth following a viscious attack. Sarah Polley has done and will do better
Reelviews Movie Reviews
Women Talking | Reelviews Movie Reviews
The title doesn’t lie. Women Talking is all aboutwomen talking. In this case, their conversation revolves around the nighttimehorrors they have e...
'Women Talking is heavy on dialogue but light on any sort of discernible narrative. It’s a “message movie” and, while the message is important, director Sarah Polley hammers it home with a stridency that’s distancing. Too often, the characters don’t seem real. They are mouthpieces for victims of male toxicity in isolated communities. Part of the problem is the theatricality of the production, which seems like it’s the adaptation of a play (it isn’t; it’s an adaptation of a book by Miriam Toews). Another issue is that Polley has elected to desaturate the film’s colors to an extreme degree. Presumably this is to emphasize the drabness of the women’s lives but it calls attention to itself too forcefully.'
The most grating character in Women talking is the male, played by Ben Whishaw. Unlike in other similar movies (Promising Young Woman, Men, Vengeance) where the white male is the villain, here he is an insufferable ally figure, always listening, always saying the necessary platitude, but never developing into a real character. James Beradinelli calls the movie a period piece mumblecore, which is an exciting description. Unfortunately, the mumbling feels fake, as if somebody shoved a book about toxic masculinity in the mouths of Bolivian Mennonite women and then had them spit the words out, like bloody teeth following a viscious attack. Sarah Polley has done and will do better
Reelviews Movie Reviews
Women Talking | Reelviews Movie Reviews
The title doesn’t lie. Women Talking is all aboutwomen talking. In this case, their conversation revolves around the nighttimehorrors they have e...
'On the morning the film begins, he is stuck in traffic on the freeway. Nothing is moving. Exhaust fumes rise all around him.
The director, Joel Schumacher, deliberately shoots this scene as a homage to the famous opening of Fellini's "8 1/2," but instead of finding himself floating up into the sky, like Frederico Fellini's hero, the man gets out of his car, slams the door, and goes walking alone across Los Angeles. This is not always a safe thing for a crew-cut white man, wearing a shirt and a tie.'
A film like this could never be made today, or if it did it would be a rant against white privilege. Falling down is way more subtle, a movie about a wounded man who wounds back. As usual, Ebert said it best
https://www.rogerebert.com/reviews/falling-down-1993
'There are times, indeed, when the movie seems less about Alice than it does about the speculations and daydreams of a lot of women about her age, who identify with the liberation of other women, but are unsure on the subject of themselves.'
Scorsese's masterpiece is almost 50 years old, but the movie is timeless, just like Ebert's review of it
https://www.rogerebert.com/reviews/alice-doesnt-live-here-anymore-1974
'Yes I’m an animal
Yes I’m an animal
Yes sometimes the things I do are irrational
Yes sometimes the things I do are quite radical'
Single-take surrealism by Ren