Licorice Pizza - SPOILERS!

[HACKANUT]

That guy certainly has the same vibes as "number 12 guy"... but I dont recall him every wearing a "12" jersey in Nashville. Most definitely not in the assassination scene

[Jeremy Blackman]

I didn't know Arnold Schwarzenegger and Guy Pierce ever shared the screen. What movie is that?

Spoiler: ShowHide

Visible in the second row: Neil Young, Jeremy Blackman, Bob Odenkirk, Paul Dano, David Krumholtz, Brian Posehn

[HACKANUT]

I didn't know Arnold Schwarzenegger and Guy Pierce ever shared the screen. What movie is that?

Spoiler: ShowHide

Visible in the second row: Neil Young, Jeremy Blackman, Bob Odenkirk, Paul Dano, David Krumholtz, Brian Posehn

LOL

It's Nashville

[csage97]

Finally got to see this the other day! It wasn't playing in my area for a long time, until it had a two- or three-week run nearby. I avoided the forum this whole time because it was just making me sad that I couldn't see it, and I didn't want to see any spoilers or anything near that.

I kind of personally had the hype die down because I was expecting theatres here to pick it up, but then they didn't for so long, and then finally did. I was going in with kind of lowered expectations because of that. And then I was blown away. Really a beautiful film. This is like the perfect balance of camera movement and close-up static shots that PTA has alternately delivered along his career, and really what I've been hoping he'd do for some time. Stuff that's like Boogie Nights in its sweeping storytelling, but then these amazingly shot and acted close-ups like we get with Harriet Sansom Harris' character. There's a moment where she kind of tears up and it's so over-the-top bonkers and hilarious. PTA focuses on letting the actors shine in these moments, but then allows the camera to wander and sweep across other moments like the convention when Gary is showcasing what's initially called Soggy Bottom.

I've seen some viewer reviews complain about the story being kind of "vignettes," and of course it's held together by the love story across all these changes. The visual storytelling is perfect for this, drifting along, but focusing in on the colourful characters, and then drifting again. What you really get is these pointed memorable moments with a sense of the times and situations drifting on, all existing in a setting and place which feels really inhabited.

Another thing I've seen in reviews is that some people feel the big name actors come in too briefly just to "be there." But oh, no, their characters are so absurdly and memorably drawn such that these are larger-than-life moments played by larger-than-life actors. These were some of my favourite moments. Like Bradley Cooper's macho-nutso character. Keeps the interest and hilarity going in an otherwise straightforward story at its core.

General impressions: This movie was so fucking funny. Even from the beginning. I mean, the scene early on when Gary and Alana first have dinner at The Cock and Gary is just breathing loudly. It drags on and you can just keep hearing him breathe. There are other jokes scattered throughout that are just downright juvenile and in good fun. Makes me think of PTA talking about how his dad and his dad's friend purposely got pulled over for a joke (can't remember the specifics, but it was in the Marc Maron podcast). It's that kind of thing.

The soundtrack was spot-on.

Cinematography was some of the best as I kind of mentioned above. The anamorphic format is fantastic and they play with light here. Like I was saying before, there's a wide range of techniques and deliberately chosen styles to portray key parts (e.g., Steadicam, close-ups, handheld, etc.) and it's all expertly chosen and blended.

Alana Haim and Cooper Hoffman are just phenomenal. They're both stars here. But for me, Cooper Hoffman really stands out. And what to say of all the context? Just totally remarkable. Both of them exceeded my expectations and more.

[wilberfan]

   

[wilberfan]

Just stumbled on this photo (from here).

I've wondered ever since first spotting it during the filming in 2020 if there was any particular significance to these two films.  Seeing this suggests the possibility that they were chosen for no other reason than historical accuracy...

(But I also noticed in the credits during my last watch, that they're also both MGM films!)

[Drill]

I was a little surprised that Maya & the kids didn't get a thank you in the credits. I guess since they were all in it. His kids randomly being the background of so many scenes is really one the funnier things in the film.

[Yes]

I was a little surprised that Maya & the kids didn't get a thank you in the credits. I guess since they were all in it. His kids randomly being the background of so many scenes is really one the funnier things in the film.

I can't remember--which films did they get Thanks in before? I think Phantom and Master?

[Drill]

I was a little surprised that Maya & the kids didn't get a thank you in the credits. I guess since they were all in it. His kids randomly being the background of so many scenes is really one the funnier things in the film.

I can't remember--which films did they get Thanks in before? I think Phantom and Master?

All of them since TWBB.

[Yes]

I was a little surprised that Maya & the kids didn't get a thank you in the credits. I guess since they were all in it. His kids randomly being the background of so many scenes is really one the funnier things in the film.

I can't remember--which films did they get Thanks in before? I think Phantom and Master?

All of them since TWBB.

Damn, didn't realize. I guess the the on screen roles were thanks enough

[wilberfan]

For our archives:

https://youtu.be/KmTp4GTZ_jk

[Jeremy Blackman]

Excellent video. I mostly agree with her conclusions about LP starting at 46:51.

[wilberfan]

I've been hoping to get a translation of Miyoko's dialogue in LP.  Fortunately, someone made an attempt over in reddit:

[wilberfan]

https://youtu.be/VZw3G2WmlnY

[Yes]

Did not realize 3/4 kids were the ones bothering John C. Reilly