Taxi Driver 2

[Guest Runaway Jim]

Dude, you mentioned True Lies yesterday and I immediately added it to my Netflix queue. I love that damned movie.

 

Dude, you mentioned that you added True Lies to your Netfilx queue and I immediately added it to my Blockbuster queue. It's been a few years since I've seen it myself.

 

I forgive you for not liking Taxi Driver.

[a-me-with-a-you]

The Color of Money was okay.

 

The key word in this sentence is 'okay'. Or 'was' maybe, in the way that it's long gone thankfully. I felt rather disappointed watching TCOM, maybe Kubrick should have given Cruise a little reminder that grinning like you're high as a kite isn't really acting, or tolerable to look at neither. It's a little insulting for Kubrick's better work when you praise "Bringing Back The Dead", "TCOM" or "After Hours" in my opinion. Kubrick himself must see this even.

 

One reason a new edition can't compete with old ones is because old ones have the unfair advantage of being seen by the forgiving, wide eyes of childhood--and then forever benefit from the magical, transformative powers of nostalgia. New ones receive no magic; they only face the more discerning, more jaded eyes of adults hoping, in vain, to feel twelve again.

 

I thought Crystal Skull was okay. It certainly has its howlers, but then so does Temple of Doom, which really, really doesn't hold up. (That said, my adult eyes think Raiders and Last Crusade have aged reasonably well.)

 

True. I think movies after a long gap only work if they have the characters mature a bit in a satisfying way while retaining some of the magic that made the first movie successful. It's not quite a decade, but Before Sunrise (1995) and Before Sunset (2004) is about as good of a pair of movies as you can watch filmed over a long gap. I wonder if Linklater and the actors will be up for another chapter in 2015?

 

Very well put Beltmann, the mind plays some tricks on us, it's not entirely impossible though to step back from your golden-edged memory for a minute and recognize guilty pleasures as such, certainly when a film has aged terribly. I still like insanely cheesy action films such as Lethal Weapon but you won't see me defending it as a good movie.

 

Crystal Skulls was no worse than Temple of Doom(which contains the immortal "Indy, a lifeboat? We're not sinking...we're craaaaaashing), Die Hard 4 was merely a fraction worse than Die Hard 2, and Disturbia certainly was a reasonably good rehash of Rear Window. Still I saw "Temple of Doom" and "Die Harder" at that impressionable age of 12.

 

Before Sunrise and Before Sunset are equally good, true, but with the danger as coming off as a cultural barbarian, they're both minor accomplishments of the so called "talkie indie". In a way, I love the lesser but more of the radar attempts in the genre more, that way I can complain about "how these kind of great films are never picked up by mainstream audiences". I think the fact that every wannabe cool kid that never came close to seeing an indie before in his life instantly proclaimed his love for it didn't actually help.

[u2roolz]

The key word in this sentence is 'okay'. Or 'was' maybe, in the way that it's long gone thankfully. I felt rather disappointed watching TCOM, maybe Kubrick should have given Cruise a little reminder that grinning like you're high as a kite isn't really acting, or tolerable to look at neither. It's a little insulting for Kubrick's better work when you praise "Bringing Back The Dead", "TCOM" or "After Hours" in my opinion. Kubrick himself must see this even.

 

Wait a minute? Wait a minute!

 

Are you confusing Kubrick with Martin Scorsese? Marty directed all 3 films that you mentioned above. And it was Bringing Out The Dead, btw.

 

Edit: I'm still not sure where you found those Beltmann quotes, since they are listed as 4:55p.m. & it's only 2:27p.m.

Nevermind, I did see The Color Of Money comment.

[Guest Runaway Jim]

I'm I the only person that really likes Bringing Out The Dead?

 

Kubrick himself must see this even.

 

I doubt he sees shit at this point.

[Dude]

Wait a minute? Wait a minute!

 

Are you confusing Kubrick with Martin Scorsese? Marty directed all 3 films that you mentioned above. And it was Bringing Out The Dead, btw.

 

When he was talking about Kubrick giving Cruise direction, I immediately thought he was talking about this.

 

 

I thought I had repressed the memories of this snoozefest, but it's all coming back to me now.

[Guest Runaway Jim]

Interestingly enough, Scorcese listed Eyes Wide Shut as his 4th favorite movie of the 90s.

[u2roolz]

Interestingly enough, Scorcese listed Eyes Wide Shut as his 4th favorite movie of the 90s.

 

I completely agree with Scorsese's #2 choice for the 90s: The Thin Red Line.

[Guest Runaway Jim]

I completely agree with Scorsese's #2 choice for the 90s: The Thin Red Line.

 

I don't. At all. I've tried to watch it 3 times now and never been able to finish it.

But after reading what he and Ebert said about, I want to try again.

[Winston Legthigh]

Interestingly enough, Scorcese listed Eyes Wide Shut as his 4th favorite movie of the 90s.

Scorsese is rather terse in his comments about Pulp Fiction. Interesting...

 

I don't. At all. I've tried to watch it 3 times now and never been able to finish it.

But after reading what he and Ebert said about, I want to try again.

It is long and meandering, but I think there's real value in it. I think I'll watch it again soon in anticipation of The Pacific on HBO.

[Guest Runaway Jim]

The Thin Red Line always seemed to be void of story to me. But I haven't tried watching it in probably 5+ years now, so I owe it another shot. My taste has changed a lot in 5+ years.

[Winston Legthigh]

The Thin Red Line always seemed to be void of story to me.

That is true - but it's not a movie that works on that level. Like Scorsese says in the article you linked to - it doesn't really have a beginning and end. It's the imagery that I captures me - that of nature "gone wild" in a tropic place like Guadalcanal, vs the machines and destruction that men bring.

 

That, and I love Nick Nolte in that movie. HIGH GROUND BY NIGHTFALL!

[Analogman]

The Thin Red Line always seemed to be void of story to me. But I haven't tried watching it in probably 5+ years now, so I owe it another shot. My taste has changed a lot in 5+ years.

 

When I first saw this thread, I thought of poor old Sylvester Stallone still making Rocky/Rambo films after all of these years.

 

I don't need a sequel to Taxi Driver. I don't think anyone can duplicate the magic of that film.

 

I think The Thin Red Line is a great film (along with Badlands, and Days of Heaven).

[Guest Runaway Jim]

I did love Badlands. I've never seen Days of Heaven on account of my complete and utter hatred of Richard Gere. If I like The Thin Red Line this time around, I'll soften my stance on Gere and give DoH a chance.

 

I enjoyed the latest Rambo movie. I mean, it sucked, but it was fun.

[mpolak21]

I did love Badlands. I've never seen Days of Heaven on account of my complete and utter hatred of Richard Gere. If I like The Thin Red Line this time around, I'll soften my stance on Gere and give DoH a chance.

 

I enjoyed the latest Rambo movie. I mean, it sucked, but it was fun.

 

Days of Heaven was good enough for me to forget that the character was actually Richard Gere. I am a not a fan of his either, but he's pretty solid in Days.

 

I don't need a sequel to Taxi Driver. I don't think anyone can duplicate the magic of that film.

 

[u2roolz]

Well, it's time to stick up for one of my favorite movies of all time...again. LOL.

 

I usually hear the same 2 complaints regarding The Thin Red Line:

1. There's no story...it goes all over the place.

2. People get really upset when someone like Travolta is on screen for like 2 minutes. They often wonder what the point is of having all of these famous actors in this one film.

3. I can't tell who is narrating.

 

1st off: the movie's tagline was "Every Man Fights His Own War" which is exactly what this film is about. This is why points of view and characters weave in and out of the film without much warning. When you think about it, it's kind of realistic right? There isn't any big "exit" scene when a character is never to return. There isn't much of a road map, if you will, of where the story is heading because the storyline is about the war and everyone's experience in it. Sure, there are some main characters, but the film is really about the story of everyone involved in the film that you watch.

 

2nd: Actors ran for the opportunity to work with Malick who hadn't done anything in at least 2 decades. So big name actors took bit roles and that's where some of the confusion lies. Try not to be blinded by "Big Name Actor B" walking out of nowhere onto the movie and then quickly leaving. Remember: try picturing this as a script with moving images to tell the story. The actors are merely playing characters who are supporting the most important thing: the script. Although, the great irony lies in the fact that the story happens to be about the characters within the film. So picture a Brigadier General played by Travolta giving a Lt. played by Nolte his orders.

 

Side note: There was a lot of confusion way back when people couldn't tell the difference between Caviezel & Ben Chaplin when they each had their helmets on. Part of me when I 1st saw this (at 20) thought that this was deliberate. It's something along the lines of "we're all one in the world and we remain anonymous in the bigger picture". I use the example of seeing a deceased soldier's name on the news. We don't know him or her or what their life was like, but they fought and died in a war. So by applying that same sort of thought to this particular example, I think of it like this: This is always going to be happening. People keep dying in these tragic ways. It doesn't matter who they are. It does matter who they are. It could have been me. It could have been you.

*I should note that there's a few philosophical items floating around the internet that goes off on this concept that I'm clearly having trouble to articulate.

 

3rd: The narration is tough to tell who is speaking, but that's just the point. The narration is one voice, yet the voice of many. It all blends into one another. The most interesting aspect is that A) Billy Bob Thornton recorded the narration 1st and then Malick discarded it for multiple narrative, BB) I think the voice used the most is that of the actor who played Pvt. Train (the young kid on the battleship who is shaving and nervous. You later see him in the film and he's still alive.) There's something to be said about that too. Someone who has only 2 scenes has the bulk of the narration. It's as if to say: well, we're not going to show you this character again, but we're going to let you hear his thoughts throughout.

 

"Another very risky bet, which handsomely pays off, is casting many actors who look and sound very much like each other. In accordance with Malick's philosophy, which views all humanity as one congregate, it makes perfect sense that the soldiers look similar at first, that is. The more time we spend with them, the more the individual features both facial and character develop. While this makes it nearly impossible to follow the character development (though there's not that much to follow), it's clear that the film is not really concerned with it. Again, it's a very risky choice that pays off." - Best thing that I could find in a hurry, although I still can't find that one link that has a great paper on this film.

[Analogman]

Well, it's time to stick up for one of my favorite movies of all time...again. LOL.

 

I usually hear the same 2 complaints regarding The Thin Red Line:

1. There's no story...it goes all over the place.

2. People get really upset when someone like Travolta is on screen for like 2 minutes. They often wonder what the point is of having all of these famous actors in this one film.

3. I can't tell who is narrating.

 

 

A friend of mine use to complain about the flashbacks to the swing.

 

Here's another Nick Nolte film for people to check out: Farewell to the King (1989).

 

I should say that in my mind, Travis Bickle does not live to be an old man.

[a-me-with-a-you]

Wait a minute? Wait a minute!

 

Are you confusing Kubrick with Martin Scorsese? Marty directed all 3 films that you mentioned above. And it was Bringing Out The Dead, btw.

 

Edit: I'm still not sure where you found those Beltmann quotes, since they are listed as 4:55p.m. & it's only 2:27p.m.

Nevermind, I did see The Color Of Money comment.

I think it's quite obvious that I was mixing up the names, but I'd be inclined to point this out as well if I was in your position. I can't help it and neither could you apparently ;-)

 

I think the Beltmann quotes weren't from today btw.

 

I should say that in my mind, Travis Bickle does not live to be an old man.

Did you mean that you share my interpretation that the last scenes of Taxi Driver play in Bickle's mind when he's dying?

 

 

I did love Badlands. I've never seen Days of Heaven on account of my complete and utter hatred of Richard Gere. If I like The Thin Red Line this time around, I'll soften my stance on Gere and give DoH a chance.

 

I enjoyed the latest Rambo movie. I mean, it sucked, but it was fun.

"Badlands" is sorely overlooked, and comes very close to being a masterpiece. I think it's pretty brilliant the way the standoffish diary that could belong to any random couple falling in love is juxtaposed with the psychotic actions of Martin Sheen's character on screen. Makes the whole deal very disturbing without gory imagery or a score that hits you over the head. Because that's the more common form of evil right: indifference to it's manifestations and clear presence in many around us.

 

I love "The Thin Red Line" (should've won best picture over "Saving Private Ryan" in '98) but it's been too long since I've seen it to properly respond to the post right above this one. I hope the people praising those two films also have seen and appreciate "The New World", I can look at that film with the sound turned off and still be spellbound, I've never seen anyone capture the beauty and inherent poetic nature of the jungle and it's native tribes so perfectly. It also has an ending that's hard to do justice to in writing.

 

It's possible lovers of Malick may also get a kick out of Jarmusch's "Dead Man" by the way.

[Analogman]

 

Did you mean that you share my interpretation that the last scenes of Taxi Driver play in Bickle's mind when he's dying?

 

It's possible lovers of Malick may also get a kick out of Jarmusch's "Dead Man" by the way.

 

Could be -

 

Another great film.

[Beltmann]

Malick's movies are always closer in spirit to poetry than to conventional narrative, which is precisely their greatest virtue. To gripe that his movies lack plot is to really, really miss the point. (The New World is one of my favorite movies of the decade.)

[Analogman]

That's it. As a stone skipping over a turbulent body of water.

 

Speaking of movies, a friend of mine called me the other day and asked me if had I ever noticed that Tuco acts/looks like a rat towards the end of The Good, The Bad, and The Ugly. I told him to check out the beginning when they are reading through his crimes, and notice the name that Eastwood refers to him as when he is standing off to himself.

 

That is probably one of my most favorite movies of all time.

 

What would the story be if Taxi Driver 2 was made? Would it turn into a Death Wish type of film, or would he be "cured", only to be faced with a past he had put behind him.

[Guest Runaway Jim]

I love "The Thin Red Line" (should've won best picture over "Saving Private Ryan" in '98)

 

It's possible lovers of Malick may also get a kick out of Jarmusch's "Dead Man" by the way.

 

Shakespeare in Love actually won the Best Picture Oscar that year. That said, I think Saving Private Ryan should have won. I think that is one of the greatest movies ever made.

 

I loved Dead Man. Loved it.

[The High Heat]

The Good, The Bad, and The Ugly

 

That is probably one of my most favorite movies of all time.

Yes!

 

People used to ask Clint Eastwood if he'd ever revisit the Dirty Harry character. He'd ask in return, "What would a senior citizen Harry Callahan do? Fight crime at the old folks home?" I think the same idea may apply to Taxi Driver.

[a-me-with-a-you]

Yes!

 

People used to ask Clint Eastwood if he'd ever revisit the Dirty Harry character. He'd ask in return, "What would a senior citizen Harry Callahan do? Fight crime at the old folks home?" I think the same idea may apply to Taxi Driver.

I think he actually answered his own question by making "Gran Torino". That's as close he's come to Dirty Harry without actually being Dirty Harry.

[Sir Stewart]

What would the story be if Taxi Driver 2 was made? Would it turn into a Death Wish type of film, or would he be "cured", only to be faced with a past he had put behind him.

 

I just hope Albert Brooks is on board. The rest is gravy.

[Analogman]

Yes!

 

People used to ask Clint Eastwood if he'd ever revisit the Dirty Harry character. He'd ask in return, "What would a senior citizen Harry Callahan do? Fight crime at the old folks home?" I think the same idea may apply to Taxi Driver.

 

Also - he did give us The Unforgiven.

 

I love so-called Spaghetti Western films.

 

I just hope Albert Brooks is on board. The rest is gravy.

 

Maybe Paul could do a sequel to Light of Day instead. He could call it Dark of Night.