Casino Trailer (1995) - Trailer Addict

casino robert de niro trailer

casino robert de niro trailer - win

The Audition - a trailer for a commercial promoting a movie-themed casino starring Leonardo DiCaprio, Robert De Niro, and Brad Pitt. Directed by Martin Scorsese, written by Terence Winter and produced by Brett Ratner. Apparently the production cost $70 million.

The Audition - a trailer for a commercial promoting a movie-themed casino starring Leonardo DiCaprio, Robert De Niro, and Brad Pitt. Directed by Martin Scorsese, written by Terence Winter and produced by Brett Ratner. Apparently the production cost $70 million. submitted by Dr_StrangeLovePHD to movies [link] [comments]

Uncut Gems wins 7th "most swears"

Just finished watching it and boy is it over used! But it made me think and look it up and here is the top 10 most profain movies with a swear count
1 Swearnet: The Movie - 935 - A trailer park boys movie about swearing and internet censorship
2 Fuck - 857 -A Documentary on the word, reigning record champ for 10 years before the above came out
3 The Wolf On Wall Street - 569 - Corruption and Downfall in a Net York stockbrokers life, staring our boy Leo
4 Summer Of Sam - 435 - David Burkowitz is the serial murderer in the Bronx and what some neighborhood folk have to say about it
5 Nil of Mouth - 428 - An abusive father, his Wife and kids, and a drug addict brother in law living in South East london
6 Casino - 422 - Robert De Niro is given a bunch of money and set loose in a casino, and hopes he doesn't get lost
7 Uncut Gems - 408 - Honestly pretty odd and good would recommend to watch it right now before it ages weirdly (like Adam Sandler)
8 Straight Outta Compton - 392 - The rise and fall of N.W.A staring Ice Cubes son
9 Alpha Dog - 367 - Sundance Crime Drama based around a true story kidnapping of Nicole Markowitz with some big 2006 names
10 End of Watch - 326 - Los Angeles Police are back at it making friends and living a wholesome police life and maybe a donut.
Just realized this is like a dumb listcle pls don't tell watchmojo, but I found this genuinely intersting so I'm not gonna delete it now
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What's Happening in CT - 1/24/20 - 1/26/20

Friday, January 24th, 2020:

​

Saturday, January 25th, 2020:

Sunday, January 26th, 2020:

Find more things to do here!

Check out a newly released movie such as:

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TMS[2] #83: The Irishman [2019]

3/31/19-12/4/19
IMDB synopsis: “A mob hitman recalls his possible involvement with the slaying of Jimmy Hoffa.”
I’m a pretty big fan of mob movies, and I’m an even bigger fan of Robert DeNiro and Al Pacino, so I wasn’t going to wait too long to see The Irishman. Having said that, I deliberately kept my expectations reasonable, since the trailer fell a little bit flat, and the enormous runtime (3 hours, 29 minutes) likely foreshadowed a self-indulgent director. So what’s the bottom line?
If you like mob movies, and if you keep your expectations reasonable (like I did), this is a fine film. Pacino is really the glue that makes it watchable; he is fantastic as Jimmy Hoffa and he should definitely get an Oscar nomination. DeNiro (playing the hitman) and Joe Pesci (playing the mob boss) are also very good. In that sense, “The Irishman” is really an actor’s showcase – allowing 3 of the best living actors to shine in their twilight years. The plot itself is good enough – engrossing, albeit predictable and with a shortage of real action. In terms of the runtime, yes, Scorsese could unquestionably have cut at least 30-40 minutes, and probably should have. Having said that, I have to admit, I was never really bored (I looked at my phone just twice, and very, very briefly - a real accomplishment for me!).
A few other notes: I was OK with the “de-aging” special effects; I thought it would be distracting, but I got used to it pretty quick. BillSimmons said it was like “really bad botox,” and I think that’s a good way to look at it. Also, please don’t think this is the definitive story of what happened to Jimmy Hoffa; according to what I’ve read online, the real “Irishman” was almost certainly full of shit. So treat this as fiction, or at least, mostly fiction.
So, overall, I think this is a film that’s somewhere between good and very good, but falls short of greatness. I’m actually not sure what the case for calling this a “great movie” would be. The 3 main actors are playing roles they are way too old for (check out DeNiro’s curbstomp scene; it’s ridiculous), the plot is very dialogue-heavy, and it’s way too long. I don’t even think it’s as good as “Casino,” nevermind “Goodfellas.” Still, I do recommend it. I think most people will like it, but not love it, and that’s good enough for a (tentative) recommendation.
Rating: 6.4 / 10
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Movie Review: The Irishman: A gangster’s life and claims - Scorsese Thinks Mob Bosses Really Understand America - 3 Dec 2019

(Official Trailer - https://www.youtube.com/watch?v=WHXxVmeGQUc )
Directed by Martin Scorsese; written by Steven Zaillian, based on the book by Charles Brandt
Veteran American director Martin Scorsese’s new film The Irishman sets out to dramatize the life of Frank Sheeran (played by Robert De Niro), a member of a Pennsylvania crime family and a Teamsters union official.
Shortly before his death in 2003, Sheeran told author Charles Brandt that he had killed his former boss (and longtime friend) Jimmy Hoffa, the Teamsters president from 1957 to 1971, who disappeared in 1975. Sheeran’s claims have been strenuously and convincingly contested by various sources. (Brandt’s book is I Heard You Paint Houses: Frank “The Irishman” Sheeran and the Closing of the Case on Jimmy Hoffa, 2004). Costing nearly $160 million and with a running time of 209 minutes, The Irishman is Scorsese’s longest and most expensive film.
The new film is being treated by the American media as a significant cultural event. The Irishman took over the 1,000-seat Belasco Theatre in New York City’s theater district in November for a month of screenings, imitating a traditional Broadway schedule, with only eight shows a week. It is now available on Netflix.
The film has received universal praise from critics. Innumerable publications have pronounced it “epic” or a “masterpiece,” or both. The New York Times’ A.O. Scott argues that Scorsese’s work “is long and dark: long like a novel by Dostoyevsky or Dreiser, dark like a painting by Rembrandt.” The critic who differs sharply with these views is very much fighting against the stream.
While not as overtly misanthropic or malicious as The Wolf of Wall Street (2013), Gangs of New York (2002) or Goodfellas (1990), The Irishman is a poor, shallow, trite work, which goes back over territory Scorsese has covered numerous times. It continues and even deepens an unhealthy and tedious obsession with the representation of mob figures as somehow holding the key to understanding modern American life. The fact that the filmmaker goes to such great lengths to make figures who coldly kill for money and power into essentially sympathetic or compelling characters is hardly to his artistic or intellectual credit. (Nor is it to the credit of the critics who succumb to the same attraction.) More importantly, this speaks to the general cultural and political stagnation of the past several decades.
It is one of Scorsese’s misfortunes that he was long ago, to a certain extent by default, proclaimed the “greatest living American filmmaker.” An undoubtedly gifted individual, he has been working, through no fault of his own, during the weakest decades in the history of the American and global cinema, a period when filmmaking in the main has turned its back on the lives, conditions and feelings of the great mass of the population. Moreover, there appears to be no one in or around the circles in which Scorsese travels who offers serious criticism or an objective appraisal of his film work.
The Irishman distinguishes itself somewhat from the rest of Scorsese’s work by its ostensible dealing with political and historical events. The 1961 Bay of Pigs invasion by US-sponsored Cuban exiles to overthrow the Castro regime, the Cuban missile crisis a year later, the assassination of John F. Kennedy in 1963, the Watergate affair in the 1970s and, of course, Hoffa’s murder in 1975 all come in for treatment of a sort, along with a number of prominent “mob hits.”
However, each incident—except for Hoffa’s killing—passes by in a matter of seconds, with virtually no explanation or context provided. One suspects that certain episodes, such as Sheeran’s recognition of E. Howard Hunt (Daniel Jenkins) during the Watergate hearings as one of the men he met years before during his purported participation in the Bay of Pigs plot, will be entirely incomprehensible to most viewers, especially younger ones.
The filmmakers have divorced The Irishman from a serious assessment of Hoffa’s role, the broader evolution of the American labor movement and conditions of life in the US in the mid-20th century. Instead, Scorsese and screenwriter Steve Zaillian offer their audience a rambling, highly repetitive, at times incoherent drama, which presumably depends for its success with critics on a number of extended set pieces involving De Niro, Al Pacino (as Hoffa) and various other performers doing their best impressions of “tough guys.” Reality and history don’t figure largely here. These are impressions working from other impressions arranged according to Method Acting clichés (inspired to an extent by On the Waterfront, directed in 1954 by one of Scorsese’s idols, anti-communist informer Elia Kazan), and not necessarily life.
One of the few solid notions one takes away from the film, at least its final act, is that being alone and isolated while growing old is a terrible fate. Along these lines, Scott in the Times argues that “public affairs and Cosa Nostra chronicles aren’t really what this movie is about.” Its real theme involves “a deeper, sadder lesson that has to do with the inevitability of loss. The loss of life, yes, but also the erosion of meaning that accompanies the fading of experience into memory and memory into nothing.” So the $160 million budget, the re-creation of various locales in the 1950s and beyond, and all the rest are merely scaffolding for a “meditation” on loss? A feeble, unconvincing argument, which, if taken seriously, only underscores the considerable waste of talent and resources involved.
The Irishman opens with an aged Frank Sheeran recounting his time with the Mafia as he lives out his last days in a nursing home. The film is told mostly through flashbacks in a non-linear way. (As an aside, the production uses new “de-aging” technology rendering De Niro (76) and co-stars Pacino (79) and Joe Pesci (76) considerably younger as certain portions of the plot require. A visual effects team, according to one account, “creates a computer-generated, younger version of an actor’s face and then replaces the actor’s real face with the synthetic, animated version.” The technology no doubt has impressive possibilities, but in The Irishman, as a result, we see an impossibly younger De Niro as a World War II veteran and other similar anomalies. One wonders why the production couldn’t have simply hired younger actors.)
In 1950s Pennsylvania, Sheeran works as a truck driver for a meat delivery company. Caught stealing from the company, he is defended by lawyer Bill Bufalino (Ray Romano), who then introduces him to his cousin, Russell Bufalino (Pesci), the head of a northeastern Pennsylvania crime family and a significant national figure.
Sheeran begins doing jobs for Bufalino, eventually including murders. Bufalino hands the telephone at one point to Sheeran, indicating that Hoffa is on the line. “I heard you paint houses,” Hoffa says in their first conversation, a code phrase apparently for carrying out a contract killing.
The Teamsters chief becomes close to Sheeran and his family. In his narration, Sheeran asserts that in the 1950s, Hoffa “was as big as Elvis. In the ’60s, he was like the Beatles. Next to the president, he was like the most powerful man in the country.” Hoffa becomes more and more entangled with mobsters, allowing them to borrow large sums of cash from the Teamsters’ pension fund to build casinos in Las Vegas and finance other projects.
In 1958, Hoffa is questioned by Robert F. Kennedy, then chief counsel of the Senate Labor Rackets Committee, at a public hearing about organized crime. Three years later, the newly elected president John Kennedy appoints his brother as attorney general and the latter organizes a “Get Hoffa” squad of prosecutors and investigators. This concerted effort eventually results in Hoffa’s conviction in 1964—in two separate cases—on jury tampering charges and fraud. Hoffa begins serving his sentence in 1967.
After four years and nine months in prison, Hoffa is pardoned by President Richard Nixon in December 1971. The government adds the restriction that he not run for the presidency of the Teamsters again. Hoffa nonetheless begins to campaign for the post, angering the mobsters with public accusations about his replacement Frank Fitzsimmons’ having sold the union out “to his underworld pals.” Hoffa declares, “The mob controls him, which means it controls our pension fund.” Despite warnings, Hoffa keeps up the demagogic attacks, as well as his megalomaniacal claims, “This is my union!”
In the end, Sheeran reluctantly agrees to participate in getting rid of Hoffa. The latter is never seen again.
The Irishman should end at this point, but it doesn’t, dragging on interminably. Sheeran attempts to reconnect with his estranged daughter Peggy (Anna Paquin), who has abandoned him because of his mob dealings. We watch the elderly Sheeran collapse in his home and be placed in a retirement home. Does Scorsese stage these latter scenes because he recognizes that Sheeran is not an attractive figure and thus a good deal of effort is required to make him seem human and sympathetic before the credits roll?
The one serious opportunity to make something of Sheeran comes early in the film when the De Niro character recounts to Bufalino/Pesci that he spent four years in World War II, including a staggering 411 days in combat. He also describes shooting unarmed and defenseless German prisoners. The picture of brutality in the imperialist slaughterhouse goes a long way toward explaining his and other Mafia soldiers’ indifference to killing and suffering in the postwar era, but Scorsese drops the matter almost as soon as he raises it. Such historical and social concreteness is not his métier.
In any event, there is considerable question as to whether the claims Sheeran made in 1972 to Charles Brandt, the author of I Heard You Paint Houses, about shooting Crazy Joe Gallo—a New York crime figure—and Hoffa, for example, are true. Various journalists, police and FBI officials emphatically reject Sheeran’s confession, although they concede he may have been involved in Hoffa’s killing in some fashion. There is no corroborating evidence to back up the gangster’s extravagant, deathbed contentions.
It seems irresponsible for the filmmakers to have staked so much on such relatively flimsy evidence. But this seems in keeping with Scorsese’s generally cavalier attitude toward historical truth. (One should remember that his Gangs of New York, which passed itself off as incisive socio-cultural history, was based on a collection of tall tales.)
Asked by an interviewer from Entertainment Weekly as to whether he believed “that what you have [in the movie] is what really happened,” Scorsese replied, “No. I don’t really care about that. What would happen if we knew exactly how the JFK assassination was worked out? What does it do? It gives us a couple of good articles, a couple of movies and people talking about [it] at dinner parties. The point is, it’s not about the facts. It’s the world [the characters are] in, the way they behave. It’s about [a character] stuck in a certain situation.”
In fact, if, for instance, official or unofficial CIA involvement in the Kennedy assassination were to be established, it would have a devastating impact on American public opinion.
More significantly, Scorsese has never been drawn to presenting actual history. He has his sights set on “higher” things, mythicized history, the working out under varied circumstances of his particular and unchanging concerns—guilt and redemption, “human evil,” criminality, male friendships, loyalty and betrayal, etc.
The director has done little to add to the public’s knowledge about Jimmy Hoffa or the degeneration of the American labor movement. Pacino’s performance is a collection of physical and vocal mannerisms, apparently uninformed by any study of the Teamsters leader’s history or the meaning of his career.
Hoffa (born in 1913 in Brazil, Indiana), a staunch trade union militant in Detroit from an early age, was trained in union organizing in the 1930s by socialists Farrell Dobbs and the Dunne brothers, members of the Trotskyist movement and leaders of Teamsters Local 544 in Minneapolis. Local 544 spearheaded the organization of the successful general strike in 1934, which, in turn, led to the rapid growth of the Teamsters among long-haul truckers in the Midwest.
In 1941, on the eve of World War II, Teamsters President Dan Tobin set about the destruction of the Trotskyist leadership of Local 544. As the Socialist Workers Party’s leader James P. Cannon explained in his 1947 article, “The Mad Dog of the Labor Movement,” when the rank and file revolted against Tobin’s effort to put the local under receivership, the latter “called the federal cops through his friend President Roosevelt, and simply had the leaders [of the local] thrown into prison.”
Cannon continued, “At the same time, a horde of Tobin’s gangsters [headed by Hoffa], armed with blackjacks and baseball bats, were turned loose on the trucking districts with the open connivance of the city police.”
Hoffa, in his 1970 autobiography, paid tribute to Dobbs as the “the master architect of the Teamsters’ over-the-road operations,” “a crackerjack organizer” and “a brilliant strategist.” However, Hoffa went on, he never had any “patience” with either the Communist Party “or with the Trotskyites of the SWP.” He continued: “Both were Marxist; neither believed in a free-enterprise system; both failed to see that workers who leave the enslavement of capitalistic czars for the enslavement of state-appointed czars are no better off and, in fact, lose great economic and social values in the transition … To me, all communists are nuts.”
In the final analysis, Hoffa’s relationship with the mob was a long-term function of his rejection of socialist politics and embrace of the profit system. His gross opportunism and the moral degeneration bound up with it also cost him his life. In The Irishman, Hoffa simply comes across as irritatingly churlish and stubborn. The viewer is almost encouraged to root for his giving in to Bufalino and company—after all, it will obviously save his life and there doesn’t seem to be any principled reason why he shouldn’t go along with the mobsters.
Critics have more than once commented on Scorsese’s fixation with thugs. The Hollywood Reporter recently took note of the “real-life inspirations” for The Irishman’s “film stars:” Sheeran, an alleged hitman; Bufalino, who hid “a vast domain of criminal activity behind his curtain business;” loan shark and racketeer Felix “Skinny Razor” DiTullio (Bobby Cannavale); Sicilian-American mobster Angelo Bruno (Harvey Keitel); Anthony “Tony Pro” Provenzano (Stephen Graham), a captain in the Genovese crime family and a Teamsters official; Anthony “Fat Tony” Salerno (Domenick Lombardozzi), a New York mobster; and Joseph “Crazy Joe” Gallo (Sebastian Maniscalco), a gangster and part of the Profaci crime family.
Each of these characters, as much as it is within The Irishman ’s power and scope, is given individual and even loving attention. Murderers and psychopaths in many cases, some of whose actions have more than a hint of medieval savagery about them, the foulest and most backward members of society, they are given far more depth and pathos than they possibly deserve.
But what about the Teamsters members themselves? The only scenes in which they are included are ones where Hoffa addresses meetings of drivers (assuming that some of the audience members are drivers and not union officials), who applaud and cheer him on like mindless automatons. No truck driver is singled out for dramatic treatment, only gangsters.
Many scenes in The Irishman are dramatically pointless. Characters argue at length about when it is considered rude to be late or wear shorts to a meeting, etc. This “comic” banality juxtaposed with savage violence (à la Quentin Tarantino) rapidly wears thin. In fact, the banter becomes almost unendurable at a certain point, in part because the lowlife characters themselves and their concerns are not interesting to begin with.
In the narration that opens Scorsese’s Goodfellas, mobster Henry Hill (Ray Liotta) explains, “As far back as I can remember, I always wanted to be a gangster. To me, being a gangster was better than being president of the United States … To me, it meant being somebody, in a neighborhood full of nobodies. They weren’t like anybody else. They did whatever they wanted. They parked in front of hydrants and never got a ticket. When they played cards all night, nobody ever called the cops.”
This unsavory, juvenile fantasy, which the real-life Hill realized, apparently holds some appeal for Scorsese himself. The filmmaker seems fascinated, like many petty-bourgeois intellectuals, with “strong men,” men with guns or clubs in their hands able to do “whatever they want.” It may not be his intention, but he has, over the course of a number of films, “romanticized the Mafia thug and turned him into a peculiar variety of American folk hero,” as the WSWS argued in a review of Scorsese’s The Aviator in 2005.
Decades in which the “nobodies,” i.e., the working class majority of the population, have been politically, socially and economically suppressed and excluded—thanks in good measure to the suffocating role played by the type of pro-“free-enterprise” trade unionism championed by Hoffa—have had their impact on Scorsese and other artists. They see the active or energetic element in society, malevolent or otherwise, as lying elsewhere. Scorsese’s work reflects these difficulties (or rather wallows in them) without making sense of or grasping their logic. Throughout his career, the director has accepted uncritically and superficially the immediate, retrogressive reality, now in the process of breaking up, as a given.
In recent comments, Scorsese, who has done important work as a producer, curator and preserver of films, has spoken out against large budget, blockbuster films based on comic books. In a New York Times opinion piece in early November, Scorsese repeated a remark he had made to an interviewer in October, to the effect that “Marvel [Comics] movies … seem to me to be closer to theme parks than they are to movies as I’ve known and loved them throughout my life.” He added that, “in the end, I don’t think they’re cinema.”
Scorsese noted further that “for the filmmakers I came to love and respect, for my friends who started making movies around the same time that I did, cinema was about revelation—aesthetic, emotional and spiritual revelation. It was about characters—the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves.”
Scorsese’s criticisms of contemporary Hollywood and the emptiness of its superhero products are entirely appropriate. However, his own efforts, unhappily, do not represent a genuine alternative, but rather the other side of the same deeply unsatisfactory coin. Important “revelations” are all too few and far between in his films, and the director’s conception of the “complexity of people” extends only to a very limited and debased social layer.
..................
If You Like Joe Biden, You'll Love Scorsese's "The Irishman" - by James Delingpole (The Spectator) 7 Dec 2019
According to Nielsen Media’s ratings service, 17 million people watched ‘at least a few minutes’ of Martin Scorsese’s The Irishman on Netflix over its first weekend. Impressive. Rather less impressive, I’m guessing, is the proportion who actually made it to the end of this excruciating ordeal of an embarrassment of a movie. If it was even close to 50 percent, I’d be surprised. Some critics are saying its Scorsese’s best since Goodfellas. Don’t believe the hype. Though it reunites arguably the all time greatest trio of mob movie actors — Joe Pesci, Robert de Niro and Al Pacino — it’s not the performances you notice, but their age. De Niro is 76, Pacino 79 and Pesci 76. Yet they are playing characters who, for much of the film, are supposed to be half that age. In theory this shouldn’t be a problem. A massive chunk of the movie’s eye-wateringly vast budget — $200 million, allegedly, making it by far Scorsese’s most expensive movie — went on pioneering ‘de-aging’ CGI technology. Perhaps it’s too late for Netflix to ask for their money back. Seriously, they’ve been sold a pup.
At first, it’s like an annoying noise in your hotel bedroom that’s keeping you awake: you try to shut it out and pretend it’s not happening. ‘Oh great!’ you think. ‘Classic Scorsese tracking shot. Just like in Casino and Goodfellas and The Wolf of Wall Street’, as the camera tracks through a bustling nursing home before settling on the solitary, very elderly chair-bound figure of — yay! — Robert De Niro.
But while de Niro can more than convincingly pull off ‘Ninetysomething geriatric in chair’, he’s rather less persuasive as ‘Young GI at Anzio’, ‘Driver of a freezer truck in the 1950s’ and ‘Angry dad beating up the proprietor of a grocery store who has disrespected his pubescent daughter’. As de Niro creakily puts the boot in, you’re more worried that the exertion is going to give him a heart attack than you are about the fate of his victim.
Later, having joined the Mob as a hitman, de Niro’s character Frank ‘The Irishman’ Sheehan, becomes the loyal confidant of Teamsters Union boss Jimmy Hoffa, even to the point of sharing hotel bedrooms with him. There’s a scene where the two men are in their pajamas, having some kind of meaningful dialogue which I’m sure was meant to have you thinking ‘This is another of those Heat-style masterclasses’, but which, I’m afraid, just had me going, ‘Ew! Old guys in pajamas. Please, God, don’t let their fly buttons accidentally fall open.’
I hated responding in this way. I’m getting older myself. I want to live in a world where the work keeps rolling in for us wrinklies and we never have to retire. But as Helen Mirren demonstrated so ably in Catherine the Great, there’s nothing dignified or life-affirming about mutton dressing as lamb; well, not until the CGI technology gets a lot, lot better at disguising it, anyway.
What bothers me is that this may be yet another, hideous, politically correct trend that the world of woke luvviedom is seeking to impose on us, whether we like it or not. To teach us not to be racist, we now routinely see black actors inserted anachronistically into period dramas. To force us to celebrate gay/transgendedisability empowerment we’re now told that such parts can no longer be played by straight/cis/able-bodied actors (even though, you might think, that playing characters who aren’t you is kind of the whole point of acting). Now, to ensure that we’re not ageist, we have to sit through three-and-a-half-hour-long Scorsese movies, feigning not to notice that the parade of virile, macho hard-drinking mobsters and their molls look more like refugees from The Walking Dead.
https://archive.is/Jstm5
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Movie Review: Martin Scorsese’s The Irishman: A gangster’s life and claims - 3 Dec 2019

(Official Trailer - https://www.youtube.com/watch?v=WHXxVmeGQUc )
Directed by Martin Scorsese; written by Steven Zaillian, based on the book by Charles Brandt'
Veteran American director Martin Scorsese’s new film The Irishman sets out to dramatize the life of Frank Sheeran (played by Robert De Niro), a member of a Pennsylvania crime family and a Teamsters union official.
Shortly before his death in 2003, Sheeran told author Charles Brandt that he had killed his former boss (and longtime friend) Jimmy Hoffa, the Teamsters president from 1957 to 1971, who disappeared in 1975. Sheeran’s claims have been strenuously and convincingly contested by various sources. (Brandt’s book is I Heard You Paint Houses: Frank “The Irishman” Sheeran and the Closing of the Case on Jimmy Hoffa, 2004). Costing nearly $160 million and with a running time of 209 minutes, The Irishman is Scorsese’s longest and most expensive film.
The new film is being treated by the American media as a significant cultural event. The Irishman took over the 1,000-seat Belasco Theatre in New York City’s theater district in November for a month of screenings, imitating a traditional Broadway schedule, with only eight shows a week. It is now available on Netflix.
The film has received universal praise from critics. Innumerable publications have pronounced it “epic” or a “masterpiece,” or both. The New York Times’ A.O. Scott argues that Scorsese’s work “is long and dark: long like a novel by Dostoyevsky or Dreiser, dark like a painting by Rembrandt.” The critic who differs sharply with these views is very much fighting against the stream.
While not as overtly misanthropic or malicious as The Wolf of Wall Street (2013), Gangs of New York (2002) or Goodfellas (1990), The Irishman is a poor, shallow, trite work, which goes back over territory Scorsese has covered numerous times. It continues and even deepens an unhealthy and tedious obsession with the representation of mob figures as somehow holding the key to understanding modern American life. The fact that the filmmaker goes to such great lengths to make figures who coldly kill for money and power into essentially sympathetic or compelling characters is hardly to his artistic or intellectual credit. (Nor is it to the credit of the critics who succumb to the same attraction.) More importantly, this speaks to the general cultural and political stagnation of the past several decades.
It is one of Scorsese’s misfortunes that he was long ago, to a certain extent by default, proclaimed the “greatest living American filmmaker.” An undoubtedly gifted individual, he has been working, through no fault of his own, during the weakest decades in the history of the American and global cinema, a period when filmmaking in the main has turned its back on the lives, conditions and feelings of the great mass of the population. Moreover, there appears to be no one in or around the circles in which Scorsese travels who offers serious criticism or an objective appraisal of his film work.
The Irishman distinguishes itself somewhat from the rest of Scorsese’s work by its ostensible dealing with political and historical events. The 1961 Bay of Pigs invasion by US-sponsored Cuban exiles to overthrow the Castro regime, the Cuban missile crisis a year later, the assassination of John F. Kennedy in 1963, the Watergate affair in the 1970s and, of course, Hoffa’s murder in 1975 all come in for treatment of a sort, along with a number of prominent “mob hits.”
However, each incident—except for Hoffa’s killing—passes by in a matter of seconds, with virtually no explanation or context provided. One suspects that certain episodes, such as Sheeran’s recognition of E. Howard Hunt (Daniel Jenkins) during the Watergate hearings as one of the men he met years before during his purported participation in the Bay of Pigs plot, will be entirely incomprehensible to most viewers, especially younger ones.
The filmmakers have divorced The Irishman from a serious assessment of Hoffa’s role, the broader evolution of the American labor movement and conditions of life in the US in the mid-20th century. Instead, Scorsese and screenwriter Steve Zaillian offer their audience a rambling, highly repetitive, at times incoherent drama, which presumably depends for its success with critics on a number of extended set pieces involving De Niro, Al Pacino (as Hoffa) and various other performers doing their best impressions of “tough guys.” Reality and history don’t figure largely here. These are impressions working from other impressions arranged according to Method Acting clichés (inspired to an extent by On the Waterfront, directed in 1954 by one of Scorsese’s idols, anti-communist informer Elia Kazan), and not necessarily life.
One of the few solid notions one takes away from the film, at least its final act, is that being alone and isolated while growing old is a terrible fate. Along these lines, Scott in the Times argues that “public affairs and Cosa Nostra chronicles aren’t really what this movie is about.” Its real theme involves “a deeper, sadder lesson that has to do with the inevitability of loss. The loss of life, yes, but also the erosion of meaning that accompanies the fading of experience into memory and memory into nothing.” So the $160 million budget, the re-creation of various locales in the 1950s and beyond, and all the rest are merely scaffolding for a “meditation” on loss? A feeble, unconvincing argument, which, if taken seriously, only underscores the considerable waste of talent and resources involved.
The Irishman opens with an aged Frank Sheeran recounting his time with the Mafia as he lives out his last days in a nursing home. The film is told mostly through flashbacks in a non-linear way. (As an aside, the production uses new “de-aging” technology rendering De Niro (76) and co-stars Pacino (79) and Joe Pesci (76) considerably younger as certain portions of the plot require. A visual effects team, according to one account, “creates a computer-generated, younger version of an actor’s face and then replaces the actor’s real face with the synthetic, animated version.” The technology no doubt has impressive possibilities, but in The Irishman, as a result, we see an impossibly younger De Niro as a World War II veteran and other similar anomalies. One wonders why the production couldn’t have simply hired younger actors.)
In 1950s Pennsylvania, Sheeran works as a truck driver for a meat delivery company. Caught stealing from the company, he is defended by lawyer Bill Bufalino (Ray Romano), who then introduces him to his cousin, Russell Bufalino (Pesci), the head of a northeastern Pennsylvania crime family and a significant national figure.
Sheeran begins doing jobs for Bufalino, eventually including murders. Bufalino hands the telephone at one point to Sheeran, indicating that Hoffa is on the line. “I heard you paint houses,” Hoffa says in their first conversation, a code phrase apparently for carrying out a contract killing.
The Teamsters chief becomes close to Sheeran and his family. In his narration, Sheeran asserts that in the 1950s, Hoffa “was as big as Elvis. In the ’60s, he was like the Beatles. Next to the president, he was like the most powerful man in the country.” Hoffa becomes more and more entangled with mobsters, allowing them to borrow large sums of cash from the Teamsters’ pension fund to build casinos in Las Vegas and finance other projects.
In 1958, Hoffa is questioned by Robert F. Kennedy, then chief counsel of the Senate Labor Rackets Committee, at a public hearing about organized crime. Three years later, the newly elected president John Kennedy appoints his brother as attorney general and the latter organizes a “Get Hoffa” squad of prosecutors and investigators. This concerted effort eventually results in Hoffa’s conviction in 1964—in two separate cases—on jury tampering charges and fraud. Hoffa begins serving his sentence in 1967.
After four years and nine months in prison, Hoffa is pardoned by President Richard Nixon in December 1971. The government adds the restriction that he not run for the presidency of the Teamsters again. Hoffa nonetheless begins to campaign for the post, angering the mobsters with public accusations about his replacement Frank Fitzsimmons’ having sold the union out “to his underworld pals.” Hoffa declares, “The mob controls him, which means it controls our pension fund.” Despite warnings, Hoffa keeps up the demagogic attacks, as well as his megalomaniacal claims, “This is my union!”
In the end, Sheeran reluctantly agrees to participate in getting rid of Hoffa. The latter is never seen again.
The Irishman should end at this point, but it doesn’t, dragging on interminably. Sheeran attempts to reconnect with his estranged daughter Peggy (Anna Paquin), who has abandoned him because of his mob dealings. We watch the elderly Sheeran collapse in his home and be placed in a retirement home. Does Scorsese stage these latter scenes because he recognizes that Sheeran is not an attractive figure and thus a good deal of effort is required to make him seem human and sympathetic before the credits roll?
The one serious opportunity to make something of Sheeran comes early in the film when the De Niro character recounts to Bufalino/Pesci that he spent four years in World War II, including a staggering 411 days in combat. He also describes shooting unarmed and defenseless German prisoners. The picture of brutality in the imperialist slaughterhouse goes a long way toward explaining his and other Mafia soldiers’ indifference to killing and suffering in the postwar era, but Scorsese drops the matter almost as soon as he raises it. Such historical and social concreteness is not his métier.
In any event, there is considerable question as to whether the claims Sheeran made in 1972 to Charles Brandt, the author of I Heard You Paint Houses, about shooting Crazy Joe Gallo—a New York crime figure—and Hoffa, for example, are true. Various journalists, police and FBI officials emphatically reject Sheeran’s confession, although they concede he may have been involved in Hoffa’s killing in some fashion. There is no corroborating evidence to back up the gangster’s extravagant, deathbed contentions.
It seems irresponsible for the filmmakers to have staked so much on such relatively flimsy evidence. But this seems in keeping with Scorsese’s generally cavalier attitude toward historical truth. (One should remember that his Gangs of New York, which passed itself off as incisive socio-cultural history, was based on a collection of tall tales.)
Asked by an interviewer from Entertainment Weekly as to whether he believed “that what you have [in the movie] is what really happened,” Scorsese replied, “No. I don’t really care about that. What would happen if we knew exactly how the JFK assassination was worked out? What does it do? It gives us a couple of good articles, a couple of movies and people talking about [it] at dinner parties. The point is, it’s not about the facts. It’s the world [the characters are] in, the way they behave. It’s about [a character] stuck in a certain situation.”
In fact, if, for instance, official or unofficial CIA involvement in the Kennedy assassination were to be established, it would have a devastating impact on American public opinion.
More significantly, Scorsese has never been drawn to presenting actual history. He has his sights set on “higher” things, mythicized history, the working out under varied circumstances of his particular and unchanging concerns—guilt and redemption, “human evil,” criminality, male friendships, loyalty and betrayal, etc.
The director has done little to add to the public’s knowledge about Jimmy Hoffa or the degeneration of the American labor movement. Pacino’s performance is a collection of physical and vocal mannerisms, apparently uninformed by any study of the Teamsters leader’s history or the meaning of his career.
Hoffa (born in 1913 in Brazil, Indiana), a staunch trade union militant in Detroit from an early age, was trained in union organizing in the 1930s by socialists Farrell Dobbs and the Dunne brothers, members of the Trotskyist movement and leaders of Teamsters Local 544 in Minneapolis. Local 544 spearheaded the organization of the successful general strike in 1934, which, in turn, led to the rapid growth of the Teamsters among long-haul truckers in the Midwest.
In 1941, on the eve of World War II, Teamsters President Dan Tobin set about the destruction of the Trotskyist leadership of Local 544. As the Socialist Workers Party’s leader James P. Cannon explained in his 1947 article, “The Mad Dog of the Labor Movement,” when the rank and file revolted against Tobin’s effort to put the local under receivership, the latter “called the federal cops through his friend President Roosevelt, and simply had the leaders [of the local] thrown into prison.”
Cannon continued, “At the same time, a horde of Tobin’s gangsters [headed by Hoffa], armed with blackjacks and baseball bats, were turned loose on the trucking districts with the open connivance of the city police.”
Hoffa, in his 1970 autobiography, paid tribute to Dobbs as the “the master architect of the Teamsters’ over-the-road operations,” “a crackerjack organizer” and “a brilliant strategist.” However, Hoffa went on, he never had any “patience” with either the Communist Party “or with the Trotskyites of the SWP.” He continued: “Both were Marxist; neither believed in a free-enterprise system; both failed to see that workers who leave the enslavement of capitalistic czars for the enslavement of state-appointed czars are no better off and, in fact, lose great economic and social values in the transition … To me, all communists are nuts.”
In the final analysis, Hoffa’s relationship with the mob was a long-term function of his rejection of socialist politics and embrace of the profit system. His gross opportunism and the moral degeneration bound up with it also cost him his life. In The Irishman, Hoffa simply comes across as irritatingly churlish and stubborn. The viewer is almost encouraged to root for his giving in to Bufalino and company—after all, it will obviously save his life and there doesn’t seem to be any principled reason why he shouldn’t go along with the mobsters.
Critics have more than once commented on Scorsese’s fixation with thugs. The Hollywood Reporter recently took note of the “real-life inspirations” for The Irishman’s “film stars:” Sheeran, an alleged hitman; Bufalino, who hid “a vast domain of criminal activity behind his curtain business;” loan shark and racketeer Felix “Skinny Razor” DiTullio (Bobby Cannavale); Sicilian-American mobster Angelo Bruno (Harvey Keitel); Anthony “Tony Pro” Provenzano (Stephen Graham), a captain in the Genovese crime family and a Teamsters official; Anthony “Fat Tony” Salerno (Domenick Lombardozzi), a New York mobster; and Joseph “Crazy Joe” Gallo (Sebastian Maniscalco), a gangster and part of the Profaci crime family.
Each of these characters, as much as it is within The Irishman ’s power and scope, is given individual and even loving attention. Murderers and psychopaths in many cases, some of whose actions have more than a hint of medieval savagery about them, the foulest and most backward members of society, they are given far more depth and pathos than they possibly deserve.
But what about the Teamsters members themselves? The only scenes in which they are included are ones where Hoffa addresses meetings of drivers (assuming that some of the audience members are drivers and not union officials), who applaud and cheer him on like mindless automatons. No truck driver is singled out for dramatic treatment, only gangsters.
Many scenes in The Irishman are dramatically pointless. Characters argue at length about when it is considered rude to be late or wear shorts to a meeting, etc. This “comic” banality juxtaposed with savage violence (à la Quentin Tarantino) rapidly wears thin. In fact, the banter becomes almost unendurable at a certain point, in part because the lowlife characters themselves and their concerns are not interesting to begin with.
In the narration that opens Scorsese’s Goodfellas, mobster Henry Hill (Ray Liotta) explains, “As far back as I can remember, I always wanted to be a gangster. To me, being a gangster was better than being president of the United States … To me, it meant being somebody, in a neighborhood full of nobodies. They weren’t like anybody else. They did whatever they wanted. They parked in front of hydrants and never got a ticket. When they played cards all night, nobody ever called the cops.”
This unsavory, juvenile fantasy, which the real-life Hill realized, apparently holds some appeal for Scorsese himself. The filmmaker seems fascinated, like many petty-bourgeois intellectuals, with “strong men,” men with guns or clubs in their hands able to do “whatever they want.” It may not be his intention, but he has, over the course of a number of films, “romanticized the Mafia thug and turned him into a peculiar variety of American folk hero,” as the WSWS argued in a review of Scorsese’s The Aviator in 2005.
Decades in which the “nobodies,” i.e., the working class majority of the population, have been politically, socially and economically suppressed and excluded—thanks in good measure to the suffocating role played by the type of pro-“free-enterprise” trade unionism championed by Hoffa—have had their impact on Scorsese and other artists. They see the active or energetic element in society, malevolent or otherwise, as lying elsewhere. Scorsese’s work reflects these difficulties (or rather wallows in them) without making sense of or grasping their logic. Throughout his career, the director has accepted uncritically and superficially the immediate, retrogressive reality, now in the process of breaking up, as a given.
In recent comments, Scorsese, who has done important work as a producer, curator and preserver of films, has spoken out against large budget, blockbuster films based on comic books. In a New York Times opinion piece in early November, Scorsese repeated a remark he had made to an interviewer in October, to the effect that “Marvel [Comics] movies … seem to me to be closer to theme parks than they are to movies as I’ve known and loved them throughout my life.” He added that, “in the end, I don’t think they’re cinema.”
Scorsese noted further that “for the filmmakers I came to love and respect, for my friends who started making movies around the same time that I did, cinema was about revelation—aesthetic, emotional and spiritual revelation. It was about characters—the complexity of people and their contradictory and sometimes paradoxical natures, the way they can hurt one another and love one another and suddenly come face to face with themselves.”
Scorsese’s criticisms of contemporary Hollywood and the emptiness of its superhero products are entirely appropriate. However, his own efforts, unhappily, do not represent a genuine alternative, but rather the other side of the same deeply unsatisfactory coin. Important “revelations” are all too few and far between in his films, and the director’s conception of the “complexity of people” extends only to a very limited and debased social layer.
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All of the MPAA/CARA-rated films of 2006 (out of the 5,008 films released worldwide that year.)

G
  1. Bambi II (Director: Brian Pimental)
  2. Cars (Directors: John Lasseter + Joe Ranft)
  3. Charlotte’s Web (Director: Gary Winick)
  4. Comic Evangelist (Directors: Daniel Jones + Dann Sytsma)
  5. Curious George (Director: Matthew O’Callaghan)
  6. Doogal (Directors: Dave Borthwick, Jean Duval + Frank Passingham)
  7. Elephant Tales (Director: Mario Andreacchio)
  8. Epiphany: The Cycle Of Life (Director: Ali Hossaini)
  9. Everyone’s Heros (Directors: Colin Brady, Christopher Reeve + Dan St. Pierre)
  10. Franklin and the Turtle Lake Treasure (Director: Dominique Monfery)
  11. Modern Man (Director: Justin Swibel)
  12. Shark Bait (Director: Howard E. Baker, John Fox + Kyung Ho Lee)
  13. Stanley’s Dinosaur Round-Up (Director: Jeff Buckland)
  14. Strawberry Shortcake: The Sweet Dreams Movie (Director: Karen Hyden)
  15. The Gig (Director: Jason Leo Baguio)
  16. The Legend Of Sasquatch (Director: Thomas Calicoat)
  17. The Santa Clause 3: The Escape Clause (Director: Michael Lembeck)
  18. The Wild (Director: Steve “Spaz” Williams)
  19. Urmel aus dem Eis (Directors: Reinhard Klooss + Holger Tappe)
PG
  1. A Broken Sole (Director: Antony Marsellis)
  2. A Merry Little Christmas (Directors: John Dowling, Jr. + Karl Fink)
  3. A Sacred Proof (Director: Yehuda Freeman)
  4. Aimee Semple McPherson (Director: Richard Rossi)
  5. Akeelah + The Bee (Director: Doug Atchinson)
  6. Alex Rider: Operation Stormbreaker (Director: Geoffrey Sax)
  7. Always Will (Director: Michael Sammaciccia)
  8. Amazing Grace (Director: Michael Apted)
  9. Aquamarine (Director: Elizabeth Allen Rosenbaum)
  10. Arthur + The Invisibles (Director: Luc Besson)
  11. As You Like It (Director: Kenneth Branagh)
  12. Azur + Asmar: The Princes’ Quest (Director: Michel Ocelot)
  13. Barnyard (Director: Steve Oedekerk)
  14. Beautiful Dreamer (Director: Terri Farley-Teruel)
  15. Believe In Me (Director: Robert Collector)
  16. Bonneville (Director: Christopher N. Rowley)
  17. Brothers Two (Director: Jennifer Tadlock)
  18. Casi casi (Directors: Jaime Vallés + Tony Vallés)
  19. Christmas At Maxwell’s (Director: William C. Laufer)
  20. Church Ball (Director: Kurt Hale)
  21. Collier + Co. (Director: John Schneider)
  22. Conversations With God (Director: Stephen Deutsch)
  23. Crusade In Jeans (Director: Ben Sombogaart)
  24. Deck The Halls (Director: John Whitesell)
  25. Dog Lover’s Symphony (Director: Ted Fukuda)
  26. Eight Below (Director: Frank Marshall)
  27. Eragon (Director: Stefen Fangmeier)
  28. Everest E.R. (Directors: Brad McLain + Sean McLain)
  29. Faith Like Potatoes (Director: Regardt van den Bergh)
  30. Feliz Navidad (Director: Michael Baez)
  31. Fire Creek (Director: Jed Wells)
  32. Flicka (Director: Michael Mayer)
  33. Flushed Away (Directors: David Bowers + Sam Fell)
  34. Garfield II: A Tale Of Two Kitties (Director: Tim Hill)
  35. Glory Road (Director: James Gartner)
  36. Goose On The Loose (Goose!) Director: Nicholas Kendall)
  37. Guadalupe (Director: Santiago Parra)
  38. Happily N’Ever After (Directors: Paul Bolger, Yvette Kaplan + Greg Tiernan)
  39. Happy Feet (Directors: George Miller, Warren Coleman + Judy Morris)
  40. Hoot (Director: Wil Shriner)
  41. How To Eat Fried Worms (Director: Bob Dolman)
  42. How To Stoppie (Director: Drew Umland)
  43. I’ll Believe You (Director: Paul Francis Sullivan)
  44. Ice Age: The Meltdown (Director: Carlos Saldanha)
  45. Invincible (Director: Ericson Core)
  46. Love’s Abiding Joy (Director: Michael Landon, Jr.)
  47. M For Mother (Director: Rasool Mollagholi Poor)
  48. Material Girls (Director: Martha Coolidge)
  49. Milarepa (Director: Neten Chokling)
  50. Miss Potter (Director: Chris Noonan)
  51. Monster House (Director: Gil Kenan)
  52. My Bad Dad (Director: Mack Polhemus)
  53. Nacho Libre (Director: Jared Hess)
  54. Naming Number Two (Director: Toa Fraser)
  55. Night At The Museum (Director: Shawn Levy)
  56. Offside (Director: Jafar Panahi)
  57. One Night With The King (Director: Michael O. Sajbel)
  58. Opal Dream (Director: Peter Cattaneo)
  59. Open Season (Directors: Roger Allers, Jill Culton + Anthony Stacchi)
  60. Outlaw Trail: The Treasure of Butch Cassidy (Director: Ryan Little)
  61. Over The Hedge (Directors: Tim Johnson + Karey Kirkpatrick)
  62. Penelope (Director: Mark Palansky)
  63. RV (Director: Barry Sonnenfeld)
  64. Red Riding Hood (Director: Randal Kleiser)
  65. Return with Honor: A Missionary Homecoming (Director: Michael Amundsen)
  66. Reunion (Director: Sheila Norman)
  67. Robotech: The Shadow Chronicles (Directors: Dong-Wook Lee + Tommy Yune)
  68. Rocky Balboa (Director: Sylvester Stallone)
  69. Saving Shiloh (Director: Sandy Tung)
  70. Sea Of Dreams (Director: José Pepe Bojórquez)
  71. Secret Of The Cave (Director: Zach C. Gray)
  72. Spymate (Director: Robert Vince)
  73. Stalking Santa (Director: Greg Kiefer)
  74. The Ant Bully (Director: John A. Davis)
  75. The Blue Elephant (Directors: Kompin Kemgumnird + Tod Polson)
  76. The Celestine Prophecy (Director: Armand Mastroianni)
  77. The Genius Club (Director: Timothy A. Chey)
  78. The Lake House (Director: Alejandro Agresti)
  79. The Nativity Story (Director: Catherine Hardwick)
  80. The Pink Panther (Director: Shawn Levy)
  81. The Race Begins (Director: Edward Fu)
  82. The Shaggy Dog (Director: Brian Robbins)
  83. The Thief Lord (Director: Richard Claus)
  84. The Ultimate Gift (Director: Michael O. Sajbel)
  85. The Water’s Edge (Director: Robin Conly)
  86. The Work and the Glory III: A House Divided (Director: Sterling Van Wagenen)
  87. The Year My Parents Went on Vacation (Director: Cao Hamburger)
  88. Think Tank (Director: Brian Petersen)
  89. Unaccompanied Minors (Director: Paul Feig)
  90. Unidentified (Director: Rich Christiano)
  91. Vitus (Director: Fredi M. Murer)
  92. We Are Marshall (Director: McG)
  93. When I Find The Ocean (Director: Tonya S. Holly)
  94. Zoom (Director: Peter Hewitt)
PG-13
  1. 16 Blocks (Director: Richard Donner)
  2. A Good Year (Director: Ridley Scott)
  3. A Lobster Tale (Director: Adam Massey)
  4. A Prairie Home Companion (Director: Robert Altman)
  5. ATL (Director: Chris Robinson)
  6. Accepted (Director: Steve Pink)
  7. Al Qarem (Directors: Affandy Yacoob + Ajmal Yourish)
  8. Alien Autopsy (Director: Jonny Campbell)
  9. All You’ve Got (Director: Neema Barnette)
  10. All The King’s Men (Director: Steven Zaillian)
  11. American Dreamz (Director: Paul Weitz)
  12. Annapolis (Director: Justin Lin)
  13. Antonia (Director: Tata Amaral)
  14. Assphalt Assassins (Director: Brian Bourke)
  15. Avenue Montaigne (Director: Danièle Thompson)
  16. Away From Her (Director: Sarah Polley)
  17. Bacterium (Director: Brett Piper)
  18. Bandidas (Directors: Joachim Rønning + Espen Sandberg)
  19. Bella (Director: Alejandro Monteverde)
  20. Bienvenido paisano (Director: Rafael Villaseñor Kuri)
  21. Big Momma’s House II (Director: John Whitesell)
  22. Blind Dating (Director: James Keach)
  23. Blind Love (Director: Janghun Troy Choi)
  24. Bolly Double (Director: Petrichor Bharali)
  25. Broken Bridges (Director: Steven Goldmann)
  26. Broken Sky (Director: Julián Hernández)
  27. Canvas (Director: Joseph Greco)
  28. Casino Royale (Director: Martin Campbell)
  29. Catch A Fire (Director: Phillip Noyce)
  30. Catch + Release (Director: Susannah Grant)
  31. Chalk (Director: Mike Akel)
  32. Chocolate Rap (Director: Chi Y. Lee)
  33. Citizen Duane (Director: Michael Mabbott)
  34. Click (Director: Frank Coraci)
  35. Color Of The Cross (Director: Jean-Claude La Marre)
  36. Comeback Season (Director: Bruce McCulloch)
  37. Copying Beethoven (Director: Agnieszka Holland)
  38. Crossover (Director: Preston A. Whitmore II)
  39. DOA: Dead Or Alive (Director: Corey Yuen)
  40. Date Movie (Directors: Aaron Seltzer + Jason Friedberg)
  41. Déjà vu (Director: Tony Scott)
  42. Dirty Laundry (Director: Maurice Jamal)
  43. Disappearances (Director: Jay Craven)
  44. Domestic Import (Director: Kevin Connor)
  45. Dreamgirls (Director: Bill Condon)
  46. Driving Lessons (Director: Jeremy Brock)
  47. Ella At Five (Director: David Quinn)
  48. Employee Of The Month (Director: Greg Coolidge)
  49. Evil Behind You (Directors: Jim Carroll + Jason Kerr)
  50. Eye Of The Dolphin (Director: Michael D. Sellers)
  51. Facing The Giants (Director: Alex Kendrick)
  52. Failure To Launch (Director: Tom Dey)
  53. Falling For Grace (Director: Fay Ann Lee)
  54. Fearless (Director: Ronny Yu)
  55. Firewall (Director: Richard Loncraine)
  56. Flyboys (Director: Tony Bill)
  57. For Your Consideration (Director: Christopher Guest)
  58. Forget About It (Director: B.J. Davis)
  59. Golden Door (Director: Emanuele Crialese)
  60. Gray Matters (Director: Sue Kramer)
  61. Gridiron Gang (Director: Phil Joanou)
  62. Griffin + Phoenix (Director: Ed Stone)
  63. Heavens Fall (Director: Terry Green)
  64. Hookers, Inc. (Director: Tim Pingel)
  65. I’m Not Stupid Too (Director: Jack Neo)
  66. I’m Reed Fish (Director: Zackary Adler)
  67. Irish Jam (Director: John Eyres)
  68. It’s A Boy Girl Thing (Director: Nick Hurran)
  69. Jade Warrior (Director: Antti-Jussi Annila)
  70. John Tucker Must Die (Director: Betty Thomas)
  71. Judges (Director: Stephen Patrick Walker)
  72. Just Like The Son (Director: Morgan J. Freeman)
  73. Just My Luck (Director: Donald Petrie)
  74. Kalamazoo? (Director: David O’Malley)
  75. Keeping Up With The Steins (Director: Scott Marshall)
  76. Kenny (Director: Clayton Jacobson)
  77. Kokoda: 39th Battalion (Director: Alister Grierson)
  78. Lady In The Water (Director: M. Night Shyamalan)
  79. Lage Raho Munna Bhai (Director: Rajkumar Hirani)
  80. Larry The Cable Guy: Health Inspector (Director: Trent Cooper)
  81. Last Holiday (Director: Wayne Wang)
  82. Last Stop For Paul (Director: Neil Mandt)
  83. Little Man (Director: Keenen Ivory Wayans)
  84. Love + Debate (Director: Jessica Kavana Dornbusch)
  85. Love + Honour (Director: Yôji Yamada)
  86. Madea’s Family Reunion (Director: Tyler Perry)
  87. Man Of The Year (Director: Barry Levinson)
  88. Marie Antoinette (Director: Sofia Coppola)
  89. Midnight Clear (Director: Dallas Jenkins)
  90. Miriam (Director: Matt Cimber)
  91. Mission: Impossible III (Director: J.J. Abrams)
  92. Moonpie (Director: Drake Doremus)
  93. My Best Friend (Director: Patrice Leconte)
  94. My Brother (Director: Anthony Lover)
  95. My First Wedding (Director: Laurent Firode)
  96. My Super Ex-Girlfriend (Director: Ivan Reitman)
  97. Nihon chinbotsu (Director: Shinji Higuchi)
  98. Nina’s Heavenly Delights (Director: Pratibha Parmar)
  99. Offshore (Director: Diane Cheklich)
  100. One Last Dance (Director: Max Makowski)
  101. Outsourced (Director: John Jeffcoat)
  102. Passion + Brotherhood (Director: Drew Stone)
  103. Peaceful Warrior (Director: Victor Salva)
  104. Phat Girlz (Director: Nnegest Likké)
  105. Pirates Of Treasure Island (Director: Leigh Scott)
  106. Pirates Of The Caribbean: Dead Man’s Chest (Director: Gore Verbinski)
  107. Pirates Of The Great Salt Lake (Director: E.R. Nelson)
  108. Poseidon (Director: Wolfgang Petersen)
  109. Priceless (Director: Pierre Salvadori)
  110. Pulse (Director: Jim Sonzero)
  111. Raising Flagg (Director: Neal Miller)
  112. Relative Strangers (Director: Greg Glienna)
  113. Rescue Dawn (Director: Werner Herzog)
  114. Rounding Home (Director: Phillip Abatecola)
  115. Scary Movie IV (Director: David Zucker)
  116. School For Scoundrels (Director: Todd Phillips)
  117. Scoop (Director: Woody Allen)
  118. Sea Of Fear (Director: Andrew Schuth)
  119. Seth (Director: Corbin Timbrook)
  120. Seven Days Of Grace (Director: Don E. FauntLeRoy)
  121. She’s The Man (Director: Andy Fickman)
  122. Sixty Six (Director: Paul Weiland)
  123. Something New (Director: Sanaa Hamri)
  124. Starter For 10 (Director: Tom Vaughan)
  125. Stay Alive (Director: William Brent Bell)
  126. Step Up (Director: Anne Fletcher)
  127. Stick It (Director: Jessica Bendiger)
  128. Stranger Than Fiction (Director: Marc Forster)
  129. Street Wok’n (Director: Eric Matyas)
  130. Summer Sunshine (Director: David Kentwood)
  131. Superman Returns (Director: Bryan Singer)
  132. Take The Lead (Director: Liz Friedlander)
  133. Tales From Earthsea (Director: Gorô Miyazaki)
  134. Talladega Nights: The Ballad Of Ricky Bobby (Director: Adam McKay)
  135. The Benchwarmers (Director: Dennis Dugan)
  136. The Break-Up (Director: Peyton Reed)
  137. The Covenant (Director: Renny Harlin)
  138. The Da Vinci Code (Director: Ron Howard)
  139. The Devil Wears Prada (Director: David Frankel)
  140. The Ex (Director: Jesse Peretz)
  141. The Fast + The Furious: Tokyo Drift (Director: Justin Lin)
  142. The Final Inquiry (Director: Giulio Base)
  143. The Flying Scotsman (Director: Douglas Mackinnon)
  144. The Fountain (Director: Darren Aronofsky)
  145. The Foursome (Director: William Dear)
  146. The Garage (Director: Carl Thibault)
  147. The Grudge II (Director: Takashi Shimizu)
  148. The Guardian (Director: Andrew Davis)
  149. The Holiday (Director: Nancy Meyers)
  150. The Illusionist (Director: Neil Burger)
  151. The Lather Effect (Director: Sarah Kelly)
  152. The Little Things (Director: Stephen Padilla)
  153. The Lives Of The Saints (Directors: Chris Cottam + Rankin)
  154. The Marine (Director: John Bonito)
  155. The Namesake (Director: Mira Nair)
  156. The Novice (Director: Murray Robinson)
  157. The Painted Veil (Director: John Curran)
  158. The Prestige (Director: Christopher Nolan)
  159. The Pursuit Of Happyness (Director: Gabriele Muccino)
  160. The Queen (Director: Stephen Frears)
  161. The Return (Director: Asif Kapadia)
  162. The Sasquatch Gang (Director: Tim Skousen)
  163. The Second Chance (Director: Steve Taylor)
  164. The Sentinel (Director: Clark Johnson)
  165. The Surfer King (Director: Bernard Murray, Jr.)
  166. The Valet (Director: Francis Veber)
  167. The Visitation (Director: Robby Henson)
  168. The Wicker Man (Director: Neil LaBute)
  169. Thr3e (Director: Robby Henson)
  170. Tomorrow Is Today (Director: Frederic Lumiere)
  171. Tristan + Isolde (Director: Kevin Reynolds)
  172. Ultraviolet (Director: Kurt Wimmer)
  173. Unbeatable Harold (Director: Ari Palitz)
  174. Under The Sycamore Tree (Director: Shane Dean)
  175. Vigilantes (Director: Trevor L. Smith)
  176. Waltzing Anna (Directors: Doug Bollinger + Bx Giongrete)
  177. When The Stranger Calls (Director: Simon West)
  178. X-Men: The Last Stand (Director: Brett Ratner)
  179. You, Me + Dupree (Directors: Anthony Russo + Joe Russo)
  180. Zen Man (Director: Sang H. Kim)
R
  1. .45 (Director: Garry Lennon)
  2. 10 Items Or Less (Director: Brad Silberling)
  3. 10th + Wolf (Director: Robert Moresco)
  4. 13: Game Of Death (Director: Chookiat Sakveerakul)
  5. 300 (Director: Zack Snyder)
  6. 5up 2down (Directors: Steven Kessler)
  7. A Crime (Director: Manuel Pradal)
  8. A Guide To Recognizing Your Saints (Director: Dito Montiel)
  9. A New Wave (Director: Jason Carvey)
  10. A Scanner Darkly (Director: Richard Linklater)
  11. Abominable (Director: Ryan Schifrin)
  12. After The Wedding (Director: Susanne Bier)
  13. After... (Director: David L. Cunningham)
  14. All In (Director: Nick Vallelonga)
  15. All The Boys Love Mandy Lane (Director: Jonathan Levine)
  16. Alpha Dog (Director: Nick Cassavetes)
  17. Alpha Male (Director: Dan Wilde)
  18. Altered (Director: Eduardo Sánchez)
  19. An Existential Affair (Director: Peggy Bruen)
  20. Another Heist (Director: Sean Spoatcoat Brown)
  21. Apocalypto (Director: Mel Gibson)
  22. Art School Confidential (Director: Terry Zwigoff)
  23. Ask The Dust (Director: Robert Towne)
  24. Babel (Director: Alejandro González Iñárritu)
  25. Backlash (Director: David Chameides)
  26. Backwaters (Director: Jag Mundhra)
  27. Bas Ek Pal (Director: Onir)
  28. Basic Instinct II (Director: Michael Caton-Jones)
  29. Battle Of The Warriors (Director: Chi Leung 'Jacob' Cheung)
  30. Beer League (Director: Frank Sebastiano)
  31. Beerfest (Director: Jay Chandrasekhar)
  32. Behind The Mask: The Rise Of Leslie Vernon (Director: Scott Glosserman)
  33. Beyond The Wall Of Sleep (Directors: Barrett J. Leigh + Thom Maurer)
  34. Big Bad Wolf (Director: Lance W. Dreesen)
  35. Big Nothing (Director: Jean-Baptiste Andrea)
  36. Black Book (Director: Paul Verhoeven)
  37. Black Christmas (Director: Glen Morgan)
  38. Black Snake Moan (Director: Craig Brewer)
  39. Blood Diamond (Director: Edward Zwick)
  40. Blood Trails (Director: Robert Krause)
  41. Bobby (Director: Emilio Estevez)
  42. Bon Cop Bad Cop (Director: Erik Canuel)
  43. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Director: Larry Charles)
  44. Bordertown (Director: Gregory Nava)
  45. Breaking + Entering (Director: Anthony Minghella)
  46. Broken (Director: Alan White)
  47. Broken (Directors: Simon Boyes + Adam Mason)
  48. Brutal (Director: Filip Chalatsis)
  49. Bug (Director: William Friedkin)
  50. Bullets, Blood + A Fistful Of Ca$h (Director: Sam Akina)
  51. Caffeine (Director: John Cosgrove)
  52. Candy (Director: Neil Armfield)
  53. Candy Stripers (Director: Kate Robbins)
  54. Canes (Director: Michael Bafaro)
  55. Cargo (Director: Clive Gordon)
  56. Cashback (Director: Sean Ellis)
  57. Cattle Call (Director: Martin Guigui)
  58. Children Of Men (Director: Alfonso Cuarón)
  59. Chores (Director: Sonnie Hamner)
  60. Chronicle Of An Escape (Director: Israel Adrián Caetano)
  61. Civic Duty (Director: Jeff Renfroe)
  62. Clerks II (Director: Kevin Smith)
  63. Cloud 9 (Director: Harry Basil)
  64. Colma: The Musical (Director: Richard Wong)
  65. Come Early Morning (Director: Joey Lauren Adams)
  66. Confetti (Director: Debbie Isitt)
  67. Costa Chica: Confession OF An Exorcist)
  68. Crank (Directors: Mark Neveldine + Brian Taylor)
  69. Cravings (Director: D.J. Evans)
  70. Crazy Eights (Director: Jimi Jones)
  71. Crooked (Director: Art Camacho)
  72. Curse Of The Golden Flower (Director: Yimou Zhang)
  73. Cut Sleeve Boys (Director: Ray Teung)
  74. Dangerous Flowers (Director: Poj Arnon)
  75. Danika (Director: Ariel Vromen)
  76. Danny Roane: First Time Director (Director: Andy Dick)
  77. Dark Heart (Director: Kevin Lewis)
  78. Dark Ride (Director: Craig Singer)
  79. Day Watch (Director: Timur Bekmambetov)
  80. Day Of Wrath (Games Of Swords) (Director: Adrien Rudomin)
  81. Days Of Glory (Director: Rachid Bouchareb)
  82. Dead Calling (Director: Mike Nichols)
  83. Dead In 3 Days (Director: Andreas Prochaska)
  84. Deadly Lessons (Director: Stuart Paul)
  85. Death Ride (Director: Junichi Suzuki)
  86. Death Of A President (Director: Gabriel Range)
  87. Descansos (Director: J. Michael Kipikash)
  88. Detroit (Director: Brian Lawrence)
  89. Diary (Director: Oxide Chun Pang)
  90. Diggers (Director: Katherine Dieckmann)
  91. Dirty Work (Director: Bruce Terris)
  92. Disorder (Director: Jack Thomas Smith)
  93. Displaced (Director: Martin Holland)
  94. Dominion (Director: Larry Anderson, Greg Myers, David Neilsen + Lia Scott Price)
  95. Dominos: The Games We Play (Director: Nahala Johnson)
  96. Dracula’s Curse (Director: Leight Scott)
  97. Dreamland (Director: Jason Matzner)
  98. Driftwood (Director: Tim Sullivan)
  99. Efectos secundarios (Director: Issa López)
  100. El Cortez (Director: Stephen Purvis)
  101. El cantante (Director: Leon Ichaso)
  102. Electric Apricot (Director: Les Claypool)
  103. End Game (Director: Andy Cheng)
  104. Even Money (Director: Mark Rydell)
  105. Everything’s Gone Green (Director: Paul Fox)
  106. Exiled (Director: Johnnie To)
  107. Factory Girl (Director: George Hickenlooper)
  108. Fade To Black (Director: Oliver Parker)
  109. False Prophets (Director: Robert Kevin Townsend)
  110. Farce Of The Penguins (Director: Bob Saget)
  111. Fast Food Nation (Director: Richard Linklater)
  112. Fat Girls (Director: Ash Christian)
  113. Fatwa (Director: John Carter)
  114. Fay Grim (Director: Hal Hartley)
  115. Fido (Director: Andrew Currie)
  116. Final Contract: Death On Delivery (Director: Axel Sand)
  117. Final Destination III (Director: James Wong)
  118. Final move (Director: Joey Travolta)
  119. Find Me Guilty (Director: Sidney Lumet)
  120. Fingerprints (Director: Harry Basil)
  121. First Snow (Director: Mark Fergus)
  122. Five Fingers (Director: Laurence Malkin)
  123. Flags Of Our Fathers (Director: Clint Eastwood)
  124. Flannel Pajamas (Director: Jeff Lipsky)
  125. For Sale By Owner (Director: Pritesh Chheda)
  126. Forgiving The Franklins (Director: Jay Floyd)
  127. Freedomland (Director: Joe Roth)
  128. Friends With Money (Director: Nicole Holofcener)
  129. Fuera del cielo (Director: Javier “Fox” Patrón)
  130. Full Clip (Director: Mink)
  131. Funny Money (Director: Leslie Greif)
  132. Fur: An Imaginary Portrait of Diane Arbus (Director: Steven Shainberg)
  133. G.I. Jesus (Director: Carl Colpaert)
  134. Gente Comun (Director: Ignacio Rinza)
  135. Gone (Director: Ringan Ledwidge)
  136. Goya’s Ghosts (Director: Milos Forman)
  137. Grad Night (Director: Michael T. Fitzgerald, Jr.)
  138. Grandma’s Boy (Director: Nicholaus Goossen)
  139. Greed (Director Ron Wolotzky)
  140. Grilled (Director: Jason Ensler)
  141. Grimm Love (Director: Martin Weisz)
  142. Gringo Wedding (Director: Tas Salini)
  143. Guilty Hearts (Directors: George Augusto, Savina Dellicour, Phil Dornfeld, Ravi Kumar, Benjamin Ross, Paul Black + Krystoff Przykucki)
  144. Half Light (Director: Craig Rosenberg)
  145. Half Nelson (Director: Ryan Fleck)
  146. Hatchet (Director: Adam Green)
  147. High Hopes (Director: Joe Eckardt)
  148. Holla (Director: H.M. Coakley)
  149. Holly (Director: Guy Moshe)
  150. Hollywood Dreams (Director: Henry Jaglom)
  151. Hollywoodland (Director: Allen Coulter)
  152. Home Of The Brave (Director: Irwin Winkler)
  153. Homie Spumoni (Director: Mike Cerrone)
  154. Honor (Director: David Worth)
  155. Hood Of Horror (Director: Stacy Tile)
  156. Hot Tamale (Director: Michael Damian)
  157. How To Go Out On A Date In Queens (Director: Michelle Danner)
  158. I Love Miami (Director: Alejandro González Padilla)
  159. I Served The King Of England (Director: Jiri Menzel)
  160. I Want Someone To Eat Cheese With (Director: Jeff Garlin)
  161. Idiocracy (Director: Mike Judge)
  162. Idlewild (Director: Bryan Barber)
  163. In Her Line Of Fire (Director: Brian Trenchard-Smith)
  164. In A Dark Place (Director: Donato Rotunno)
  165. In ascolto (Director: Giacomo Martelli)
  166. Incubus (Director: Anya Camilleri)
  167. Infamous (Director: Douglas McGrath)
  168. Inland Empire (Director: David Lynch)
  169. Inside Man (Director: Spike Lee)
  170. Ira + Abby (Director: Robert Cary)
  171. Irresistible (Director: Ann Turner)
  172. Islander (Director: Ian McCrudden)
  173. Jimmy + Judy (Director: Randall Rubin + Jonathan Schroder)
  174. Jindabyne (Director: Ray Lawrence)
  175. Johnny Was (Director: Mark Hammond)
  176. Joshua (Director: Travis Betz)
  177. Journey From The Fall (Director: Ham Tran)
  178. Journey To The End Of The Night (Director: Eric Eason)
  179. KM31: Kilometre 31 (Director: Rigoberto Castañeda)
  180. Kabhi Alvida Naa Kehna (Director: Karan Johar)
  181. Karla (Director: Joel Bender)
  182. Kettle Of Fish (Director: Claudia Myers)
  183. Kidulthood (Director: Menhaj Huda)
  184. Kill Your Darlings (Director: Björne Larson)
  185. Killing Down (Director: Blake Calhoun)
  186. Kiss Me Again (Director: William Tyler Smith)
  187. Kisses + Caroms (Director: Vincent Rocca)
  188. Lady Chatterley (Director: Pascale Ferran)
  189. Land Of The Blind (Director: Robert Edwards)
  190. Last Sunset (Director: Michael Valverde)
  191. Legit (Director: James W. Boinski)
  192. Lenexa, 1 Mile (Director: Jason Wiles)
  193. Let’s Go To Prison (Director: Bob Odenkirk)
  194. Letters From Iwo Jima (Director: Clint Eastwood)
  195. Lies + Alibis (Directors: Matt Checkowski + Kurt Mattila)
  196. Like Minds (Director: Gregory Read)
  197. Lime Salted Love (Directors: Danielle Agnello + Joe Hall)
  198. Little Chenier (Director: Bethany Ashton Wolf)
  199. Little Children (Director: Todd Field)
  200. Little Miss Sunshine (Director: Jonathan Dayton + Valerie Faris)
  201. Live Feed (Director: Ryan Nicholson)
  202. Live Free Or Die (Directors: Gregg Kavet + Andy Robin)
  203. Local Color (Director: George Gallo)
  204. London To Brighton (Director: Paul Andrew Williams)
  205. Lonely Hearts (Director: Todd Robinson)
  206. Look @ Me (Director: Todd Wade)
  207. Los Gringos (Director: Daniel Zubiate)
  208. Los pajarracos (Directors: Hector Hernandez + Horacio Rivera)
  209. Lost Signal (Director: Brian McNamara)
  210. Love Comes To The Executioner (Director: Kyle Bergersen)
  211. Love Is The Drug (Director: Elliott Lester)
  212. Love + Other Disasters (Director: Alek Keshishian)
  213. Lucky Number Slevin (Director: Paul McGuigan)
  214. Man About Town (Director: Mike Binder)
  215. Maple Palm (Director: Ralph Torjan)
  216. Memory (Director: Bennett Davlin)
  217. Mentor (Director: David Langlitz)
  218. Mercury Man (Director: Bhandit Thongdee)
  219. Miami Vice (Director: Michael Mann)
  220. Mini’s First Time (Director: Nick Guthe)
  221. Minotaur (Director: Jonathan English)
  222. Moscow Zero (Director: María Lidón)
  223. Mr. Fix It (Director: Darin Ferriola)
  224. Mr. Hell (Director: Rob McKinnon)
  225. Mulberry St. (Director: Jim Mickle)
  226. Nailed (Director: Adreian O’Connell)
  227. Never On A Sunday (Director: Daniel Gruener)
  228. Night Feeders (Director: Jet Eller)
  229. Night Of The Living Dead in 3-D (Director: Jeff Broadstreet)
  230. Nightmare Man (Director: Rolfe Kanefsky)
  231. No Regret (Director: Hee-il Leesong)
  232. Notes On A Scandal (Director: Richard Eyre)
  233. Novel Romance (Director: Emily Skopov)
  234. O Jerusalem (Director: Élie Chouraqui)
  235. Off The Black (Director: James Ponsoldt)
  236. Only The Brave (Director: Lane Nishikawa)
  237. Open Water II: Adrift (Director: Hans Horn)
  238. Open Window (Director: Mia Goldman)
  239. Ouija (Director: Khaled Youssef)
  240. Pan’s Labyrinth (Director: Guillermo del Toro)
  241. Paprika (Director: Satoshi Kon)
  242. Paris, je t'aime (Directors: Olivier Assayas, Frédéric Auburtin, Emmanuel Benbihy, Gurinder Chadha, Sylvain Chomet, Joel Coen, Isabel Coixet, Wes Craven, Alfonso Cuarón, Gérard Depardieu, Christopher Doyle, Richard LaGravenese, Vincenzo Natali, Alexander Payne, Bruno Podalydès, Walter Salles, Oliver Schmitz, Nobuhiro Suwa, Daniela Thomas, Tom Tykwer + Gus Van Sant)
  243. Park (Director: Kurt Voelker)
  244. Penny Dreadful (Director: Richard Brandes)
  245. Perfect Creature (Director: Glenn Standring)
  246. Perfume: The Story Of A Murderer (Director: Tom Tykwer)
  247. Plasterhead (Director: Kevin Higgins)
  248. Played (Director: Sean Stanek)
  249. Pledge This! (Directors: William Heins + Strathford Hamilton)
  250. Premium (Director: Pete Chatmon)
  251. Pretty Cool (Director: Rolfe Kanefsky)
  252. Psychopathia Sexualis (Director: Bret Wood)
  253. Pu-239 (Director: Scott Z. Burns)
  254. Pucked (National Lampoon’s) (Director: Arthur Hiller)
  255. Puff, Puff, Pass (Director: Mekhi Phifer)
  256. Push (Director: Dave Rodriguez)
  257. Quinceañera (Directors: Richard Glatzer + Wash Westmoreland)
  258. Rainbow Raani (Director: Harbance Kumar)
  259. Raising Jeffrey Dahmer (Director: Rich Ambler)
  260. Rampage: The Hillside Strangler Murders (Director: Chris Fisher)
  261. Re-cycle (Director: Danny Pang + Oxide Chun Pang)
  262. Read On (Director: Jeff Faulkinbury)
  263. Renaissance (Director: Christian Volckman)
  264. Reprise (Director: Joachim Trier)
  265. Right At Your Door (Director: Chris Gorak)
  266. Rocker (Director: Lauren Patrice Nadler)
  267. Running Scared (Director: Wayne Kramer)
  268. Running With Scissors (Director: Ryan Murphy)
  269. S&Man (Director: J.T. Petty)
  270. Sakebi (Director: Kiyoshi Kurosawa)
  271. Sam’s Lake (Director: Andrew C. Erin)
  272. Sasquatch Mountain (Director: Steven R. Monroe)
  273. Satanic (Director: Dan Golden)
  274. Saw III (Director: Darren Lynn Bousman)
  275. Scenes Of A Sexual Nature (Director: Ed Blum)
  276. Scorpius Gigantus (Director: Tommy Withrow)
  277. Séance (Director: Mark L. Smith)
  278. Section 8 (Director: Carl Gilliard)
  279. See No Evil (Director: Gregory Dark)
  280. Seraphim Falls (Director: David Von Ancken)
  281. Serum (Director: Steve Franke)
  282. Severance (Director: Christopher Smith)
  283. Shadow: Dead Riot (Director: Derek Wan)
  284. Sherrybaby (Director: Laurie Collyer)
  285. Shock To The System (Director: Ron Oliver)
  286. Silent Hill (Director: Christophe Gans)
  287. Simon Says (Director: William Dear)
  288. Sisters (Director: Douglas Buck)
  289. Skinwalkers (Director: James Isaac)
  290. Sleeping Dogs Lie (Director: Bob Goldthwait)
  291. Slither (Director: James Gunn)
  292. Smashes, Bashes + Crashes (Director: Drew Stone)
  293. Smokin’ Aces (Director: Joe Carnahan)
  294. Snakes On A Plane (Director: David R. Ellis)
  295. Soul’s Midnight (Director: Harry Basil)
  296. Southern Justice (Director: M.D. Selig)
  297. Southland Tales (Director: Richard Kelly)
  298. Special (Directors: Hal Haberman + Jeremy Passmore)
  299. Splinter (Director: Michael D. Olmos)
  300. State’s Evidence (Director: Benjamin Louis)
  301. Steel City (Director: Brian Jun)
  302. Stephanie Daley (Director: Hilary Brougher)
  303. Stormforce (Director: Hans Herbots)
  304. Striking Range (Director: Daniel Millican)
  305. Subject Two (Director: Philip Chidel)
  306. Suburban Mayhem (Director: Paul Goldman)
  307. Summer Love (Director: Piotr Uklanski)
  308. Surf School (Director: Joel Silverman)
  309. Surveillance (Director: Fritz Kiersch)
  310. Sweet Insanity (Director: Daniel Hess)
  311. TV: The Movie (National Lampoon’s) (Director: Sam Maccarone)
  312. Tekkonkinkreet (Director: Michael Arias)
  313. Ten ‘til Noon (Director: Scott Storm)
  314. Tenacious D in “The Pick Of Destiny” (Director: Liam Lynch)
  315. That Beautiful Somewhere (Director: Robert Budreau)
  316. The 9/11 Commission Report (Director: Leigh Scott)
  317. The Abandoned (Director: Nacho Cerdà)
  318. The Architect (Director: Matt Tauber)
  319. The Astronaut Farmer (Director: Michael Polish)
  320. The Beach Party At The Threshold Of Hell (Directors: Jonny Gillette + Kevin Wheatley)
  321. The Black Dahlia (Director: Brian De Palma)
  322. The Bondage (Director: Eric Allen Bell)
  323. The Boys + Girls Guide To Getting Down (Director: Paul Sapiano)
  324. The Breed (Director: Nicholas Mastandrea)
  325. The Butcher (Director: Edward Gorsuch)
  326. The Butterfly Effect II (Director: John R. Leonetti)
  327. The Choke (Director: Juan Mas)
  328. The Clique (Director: David Basulto)
  329. The Contract (Director: Bruce Beresford)
  330. The DaVinci Treasure (Director: Peter Mervis)
  331. The Darwin (Director: Finn Taylor)
  332. The Dead Girl (Director: Karen Moncrieff)
  333. The Deepening (Directors: Ted Alderman + Jim O’Rear)
  334. The Departed (Director: Martin Scorsese)
  335. The Devil Wears Spurs (Director: Charlton Thorp)
  336. The Dog Problem (Director: Scott Caan)
  337. The Drop (Director: Kevin Lewis)
  338. The Elder Son (Director: Marius Balchunas)
  339. The Elephant King (Director: Seth Grossman)
  340. The Entrance (Director: Damon Vignale)
  341. The Fall (Director: Tarsem Singh)
  342. The Far Side Of Jericho (Director: Tim Hunter)
  343. The Foot Fist Way (Director: Jody Hill)
  344. The Girl On The Stone (Director: Marisa Sistach)
  345. The Good German (Director: Steven Soderbergh)
  346. The Good Shepherd (Director: Robert De Niro)
  347. The Good Student (Director: David Ostry)
  348. The Gravedancers (Director: Mike Mendez)
  349. The Groomsmen (Director: Edward Burns)
  350. The Hamiltons (Directors: Mitchell Altieri + Phil Flores)
  351. The Hard Easy (Director: Ari Ryan)
  352. The Heart Specialist (Director: Dennis Cooper)
  353. The Hills Have Eyes (Director: Alexandre Aja)
  354. The History Boys (Director: Nicholas Hytner)
  355. The Hoax (Director: Lasse Hallström)
  356. The Host (Director: Bong Joon Ho)
  357. The Hottest State (Director: Ethan Hawke)
  358. The House (Director: David Krae)
  359. The House Of Usher (Director: Hayley Cloake)
  360. The Hunt (Director: Fritz Kiersch)
  361. The Insurgents (Director: Scott Dacko)
  362. The Kovak Box (Director: Daniel Monzón)
  363. The Last Drop (Director: Colin Teague)
  364. The Last King Of Scotland (Director: Kevin Macdonald)
  365. The Last Kiss (Director: Tony Goldwyn)
  366. The Last Request (Director: John DeBellis)
  367. The Last Time (Director: Michael Caleo)
  368. The Lives Of Others (Director: Florian Henckel von Donnersmarck)
  369. The Marsh (Director: Jordan Barker)
  370. The Night Listener (Director: Patrick Stettner)
  371. The Night Of The White Pants (Director: Amy Talkington)
  372. The Oh In Ohio (Director: Billy Kent)
  373. The Omen (Director: John Moore)
  374. The Other Side (Director: Gregg Bishop)
  375. The Pumpkin Karver (Director: Robert Mann)
  376. The Science Of Sleep (Director: Michel Gondry)
  377. The Sensation Of Sight (Director: Aaron J. Wiederspaphn)
  378. The Shadow Walkers (Director: Mark Steven Grove)
  379. The Situation (Director: Philip Haas)
  380. The Slaughter (Director: Jay Lee)
  381. The Still Life (Director: Joel Miller)
  382. The Strange Case Of Dr. Jekyll + Mr. Hyde (Director: John Carl Buechler)
  383. The System Within (Director: Dale Resteghini)
  384. The TV Set (Director: Jake Kasdan)
  385. The Texas Chainsaw Massacre: The Beginning (Director: Jonathan Liebesman)
  386. The Tiger’s Tail (Director: John Boorman)
  387. The Tripper (Director: David Arquette)
  388. The Unknown Woman (Director: Giuseppe Tornatore)
  389. The Virgin Of Juarez (Director: Kevin James Dobson)
  390. The Wedding Weekend (Director: Bruce Leddy)
  391. The Witches Hammer (Director: James Eaves)
  392. The Woods (Director: Lucky McKee)
  393. The Zombie Diaries (Directors: Michael G. Bartlett + Kevin Gates)
  394. Them (Ils) (Directors: David Moreau + Xavier Palud)
  395. They’re Just My Friends (Director: Attika Torrence)
  396. Thieves + Liars (Director: Ricardo Méndez Matta)
  397. Things That Hang From Trees (Director: Ido Mizrahy)
  398. Things You Don’t Tell... (Director: Alex Melli)
  399. Tired Of Kissing Frogs (Director: Jorge Colón)
  400. Trailer Park Boys: The Movie (Director: Mike Clattenburg)
  401. Trapped Ashes (Directors: Sean S. Cunningham, Joe Dante, John Gaeta, Monte Hellman + Ken Russell)
  402. Troubled Waters (Director: John Stead)
  403. True True Lie (Director: Eric Styles)
  404. Turistas (Director: John Stockwell)
  405. Twisted Sisters (Director: Wolfgang Büld)
  406. Two Tickets To Paradise (Director: D.B. Sweeney)
  407. Two Weeks (Director: Steve Stockman)
  408. Ugly Me (Director: Claudio Dabed)
  409. Unconscious (Director: Bradley Wigor)
  410. Under Surveillance (Director: Dave Campfield)
  411. Underworld (Director: Len Wiseman)
  412. Undisputed II: Last Man Standing (Director: Isaac Florentine)
  413. Undoing (Director: Chris Can Lee)
  414. United (Director: Paul Greengrass)
  415. Unrest (Director: Jason Todd Ipson)
  416. Valentina’s Tango (Director: Rogelio Lobato)
  417. Vampire Diary (Directors: Mark James + Phil O’Shea)
  418. Van Wilder II: The Rise Of Taj (National Lampoon’s) (Director: Mort Nathan)
  419. Vengeance (Director: Gil Medina)
  420. Vengeance (Director: Pleo Sirisuwan)
  421. Venus (Director: Roger Michell)
  422. Volver (Director: Pedro Almodóvar)
  423. Voodoo Curse: The Giddeh (Director: Glenn Plummer)
  424. Wages Of Sin (Director: Aaron Robson)
  425. Waist Deep (Director Vondie Curtis-Hall)
  426. Walker Payne (Director: Matt Williams)
  427. Wango + Maloy (Director: Kristian Laslett)
  428. Wasted (Director: Matt Oates)
  429. Wedding Daze (Director: Michael Ian Black)
  430. Whirlygirl (Director: Jim Wilson)
  431. Who Made The Potatoe Salad? (Director: Coke Daniels)
  432. Wicked Little Things (Director: J.S. Cardone)
  433. Wild Seven (Director: James M. Hausler)
  434. Wilderness (Director: Michael J. Bassett)
  435. Wolfhound (Director: Nikolay Lebedev)
  436. World Trade Center (Director: Oliver Stone)
  437. Wristcutters A Love Story (Director: Goran Dukic)
  438. Yellow (Director: Alfredo Rodriguez de Villa)
NC-17
(none)
submitted by tombstoneshadows28 to movies [link] [comments]

[Table] IAmA: I am Kevin Pollak, new film director. AMA.

Verified? (This bot cannot verify AMAs just yet)
Date: 2015-04-14
Link to submission (Has self-text)
Questions Answers
You've been in a bunch of stuff I've loved, and of course your Bill Shatner impression is impeccable. My question is for your famed serious role in "A Few Good Men" And in the one scene where my character yells at Demi Moore's character, for offending the two kids who "picked on a weaker kid," I found it nearly impossible to yell at her sincerely, with genuine anger, because Demi - the person - offset had been so historically sweet and nurturing to me (and to everyone else) and I wasn't trained enough as an actor to be remove that from my thoughts. So Rob had to - after 7 or 8 takes - take me for a little walk, and it's the first and only time that's ever happened, where an director walked me off-set and said "What's the problem buddy?"
Is Reiner as great with his acotrs as others have put it? Were there any scenes were he got on your case for how you delivered your line (how it's supposed to be said)? And are there any funny anecdotes from that shoot that stand out in memory? Second of all, are you someone who's known for their taste...? Rob Reiner gave me the role of a lifetime. All the giant movie stars on that set treated me like an equal from second one, which they didn't have to (or they needn't have). I explained my difficulty. And he said "Yeah, okay. But the character you're playing REALLY can't stand her."
“MOM” is such a great sitcom. Were you sad to leave the show and were you aware from the beginning that your character would depart they way he did? And what was it like working with that cast? That was a great gig. Chuck Lorre proved once again he is a god of television sitcom, in that he can create life and take it away when the whim strikes him.
For me, it was a phenomenal experience, with a tremendous cast. Obviously, getting to work with Alison Janney and Anna Faris would be a dream come true for any squat-Jew-funny-fucker. But it ended at the perfect time. And a world of jobs, both directing and acting, opened up to me, that I otherwise would not have been available for.
What was it like filming Willow? It was fun being yelled at by Ron Howard every day, because Rick Overton and I (the other brownie) were on the world's largest blue screen stage at the time. They had pre-shot the film in Wales and New Zealand, and Rick and I, covered in face and body make-up paint and designs, with crazy wigs and costumes, were being yelled at Ricky Cunningham for 5 weeks.
A genius experience I will never forget.
Can you describe your experience working on Grumpy Old Men and Grumpier Old Men? Any fond memories of working with Jack Lemmon and Walter Matthau? Really looking forward to watching Misery Loves Comedy and enjoy your interviews. I spoke of Walter. I certainly have amazing fond memories of Jack Lemmon as well.
I remember in one scene, I was doing off-camera lines for his close-up, and he asked me if I minded, and I said "of course not."
And he said "Well, I just remember Marilyn never liked to do them."
And I thought Holy shit, he's talking about Marilyn Monroe.
He wasn't dropping names. Every story Walter and him had involved somebody ridonkulously famous.
Is there anyone you wanted to get for Misery but were unable to? Oh sure.
There are plenty. We only had 4 weeks to shoot. We were going to take whomever we could get. Whoever we could schedule. When we started shooting, we had 25 on-camera talent scheduled, which I was thrilled about. And as we were shooting, people kept saying "Yes," and by the end of the four weeks, we had over 60 people.
When did you first realise you were really good at impressions; was it something that you developed and had to practice, or were you just naturally good at it? In high school, I was mocking the football coach for my friends at lunch, when he came up behind me and got me into a headlock, and whispered in my ear I heard about it, and I don't think it's funny.
And as I was passing out, I thought "I could probably do famous people, and they would never find me!"
Have you ever been to Europe? and if so what's been for favourite place to visit? .. also hi :) I still consider my month-long drive through Italy twenty summers ago to be the trip of a lifetime.
Having said that, the world premiere of USUAL SUSPECTS at the Cannes Film Festival is the singular most exciting and impactful visit to Europe.
Can you fill us in on the best Rickles story? Yes.
Watching Don Rickles rip Robert De Niro a new asshole on the set of CASINO is still the single most favorite moment I've had on the set of any film I've ever done. I still laugh uncontrollably just thinking about it.
Who was the cut up of all the cast in Usual Suspects? You were so brilliant in that flick, btw. Tell me it was the best time ever! It was the best time ever.
Kevin Spacey and I teaching Gabriel Byrne how to do Johnny Carson was a favorite memory. And Stephen Baldwin showing up wearing leather pants on day one, having not arrive on a motorcycle or a horse... that was a favorite memory.
Do you have a certain time that you view as a golden age of standup? Do you have any non-comedy influences that shaped your style/career? Salvador Dali.
And I thought the early 80's was a golden age, but maybe some of the people working today - like Jim Gaffigan, Amy Schumer, and Dana Gould - and many others make me laugh harder than I ever have.
I thought your work in Avalon was fantastic and you've consistently turned in wonderful performances in both comedy and drama. Have you ever been intimidated by a role you've played by or a fellow actor you've worked with? I'm constantly intimidated. Because I'm a comedian, first and foremost, with no formal acting training, and on every film for the last 25 years, during the first week of production, I wait for someone to tap me on the shoulder and say "Oh! We've made a horrible error."
Hi Kevin... Big fan of the podcast. Are you working on any new impressions that we might not have heard? Also, any impressions that you just can't do? There's always impressions that you just can't do. My newest one can be heard on the sixth anniversary podcast, from Largo at the Coronet, I think it's #233, with Dana Carvey and Will Forte. I do Liam Neeson.
Hey Kevin, great to see you on here. You're a very versatile actor. Is there a role or project that you'd like to try that you haven't been able to yet? This film I'm about to direct in June is an opportunity of a lifetime. That is to say, I feel I've been preparing for it for 30 years. And also dreading the moment when the world finds out I'm horrible at it.
In THE USUAL SUSPECTS, what effect, if any, did it have on how you played your scenes knowing who Kaiser Soze really was? We all just had to make damn sure we never got caught making a face or an expression that suggested we knew. Which, for me, is all I ever wanna do - which is to not be caught acting.
If I send you some money for you to buy beer will you tell me the Usual Suspects story??? You don't have to send me the money to buy beer.
You just have to find me in person, and I'll tell you the damn story.
I can't do it here.
Sounds libelous and therefore must be good. Speaking of the Usual Suspects, I heard that the line-up scene was actually the best outtake and that David Fincher couldn't get you guys to stop laughing and goofing around. It worked out very well but is that true? Not David Fincher, but Bryan Singer. That is a true story. The now-famous police lineup scene is actually a series of outtakes that Bryan brilliantly turned into arguably the most memorable scene, after a day of shooting where we basically gave him nothing he could use, because we were in fact being idiots and assholes and couldn't stop making me each other laugh and fart.
Don't forget the fart part, man!
Hi Kevin. My friends and I had a great time in Phoenix for the live KPCS with Matthew Perry. You can remake any film, what would it be and what role would you play? I'm not in favor of remaking any film as a film lover.
If I had to, you know, like with a loaded gun shoved up my ass... and now I don't really have an answer to my stupid set up.
Just write that.
Kevin, let’s talk ARNOLD…what were your best memories woking with Schwarzenegger? Did you smoke any stogies with him or pump up in the gym together? What’s your best and worst Arnold story on End of Days? I did smoke stogies with Arnold.
But I loved to walk by - he had a trailer on-set that was just filled with workout equipment, and I would walk by with a big plate of cake, and laugh in his face.
Any plans to have Conan O'Brien on your chat show? Any plans to beat him up for stealing your idea for his "Serious Jibber-Jabber"? I would kill to have Conan on the show.
And considering I ripped off Charlie Rose - I certainly can't have a problem with what Conan is doing. He's brilliant.
Has anyone ever asked you "Hey, aren't you one of the little guys from Willow? The really little ones?" Real question, it looks like Misery Loves Comedy is sort of your baby, having the writing and directing credit. What would you say was the most unexpected thing you encountered when making your own documentary? The most unexpected thing that should've been more obvious is that I would end up with over 60 hours of material. And the instant need to learn how to edit by myself to turn said 60 hours of footage into a 94 minute film without a script, or a narrative.
Assuming that we live in a world that has walls, and that those walls have to be guarded by men with guns... would Lieutenant Weinberg do it? I'd like to think, if Weinberg was called to arms, he would rise to the occasion.
If I take the character from the literal creation, I also have to assume he chose to be an attorney for a reason.
What item from the Lost Room would you choose to have if having it in real life was an option? Oh gosh. Great question.
Wish I wasn't so fucking old and could remember all of the wonderful possibilities therein.
Could you remind me of some?
Last updated: 2015-04-18 19:51 UTC
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