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PostPosted: Wed Oct 25, 2017 10:16 am 
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Joined: Fri Mar 04, 2005 4:22 am
Location: NYC
Sandler has an amusing story about Dustin Hoffman and how he snubbed Daniel Day-Lewis at a rehearsal.


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PostPosted: Thu Nov 30, 2017 2:55 pm 

Joined: Sun Oct 14, 2007 5:31 am
35mm prints are going to be playing at a few venues, including the New Beverly Cinema. Should look nice, as it was filmed in 16mm.


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PostPosted: Sat Dec 23, 2017 11:53 pm 
Dot Com Dom
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Joined: Wed Jan 11, 2006 2:42 pm
Another great non-Gerwig-coscripted film from Baumbach, just like all the others. As ever, I enjoy Baumbach's great affinity for showing new ways to depict not great people, but two things really stand out with this one for me. One is Sandler, who is just tremendous-- his choices here are inspired and he disappears into the role in a way that shows Punch-Drunk Love was no fluke (and he is far better and more complex here than there). The second is the way the film is barely a conventional comedy and yet explodes with two extended and inspired physical comedy set pieces. The chase was great, but the ineffectual catharsis (car-tharsis) at the hospital is one of Baumbach's greatest scenes and an easy highlight of the film, especially considering the dark underlying point Baumbach is making about this outburst.

Also, how in the hell did "Genius Girl" not make the qualifying list for the Oscars?!


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PostPosted: Sat Jan 06, 2018 2:43 pm 
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Joined: Mon Jul 09, 2007 6:15 pm
Location: Seattle, WA
This is messy but terrific, like a great late-1980s Allen with a more communal vibe. It probably didn't need to be over 90 minutes, certain elements probably could've been a little more compacted, telling, or varied, but all the themes and characters and locations are like catnip to me. The details scan so well (of course the book Harold wants back is Buddenbrooks) and Baumbach does such a great job balancing the sentiment with the misanthropy in a way that feels intensely real.


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