Jaws is used mainly as comic relief in Moonraker, which I feel is a mistake. Aside from the carnival in Rio, where he is genuinely terrifying as a giant, sad clown (again, that Rio sequence with Jaws and the lady agent in Rio who helps Bond is yet another notch in this film’s “serious Bond film” belt. When Jaws grabs her and lifts her up, you can truly see how gigantic Richard Kiel is. What a legend), he’s not really menacing in any of his scenes.
When we first see him, he’s flapping his damn arms like wings, then we see him on the cable car making a scared face before he crashes, and then again on the speedboats after the river chase, he makes a goofy face before going over the falls.
He’s such a great character, a brilliant addition to the series, and here he is treated, for the most part, as laughable.
A real shame.
A few minor edits to delete those goofy reactions and this film goes much, much harder.
As it is, it’s not too bad, and Jaws’ turn from heel to hero in the third act is fucking fantastic.
It leads to my Favorite Line in the whole film, when the giant space station is falling apart all around them, and Jaws, with his new girlfriend, the height challenged Holly, decides to open a bottle of champagne and toast their impending demise in his first line of dialogue spoken in the series.
The succinct, genius, “Well, here’s to us,” spoken in a soft, but very deep voice.
How great is that?
It’s what me and my wife always toast to when we go out for dinner or drinks by ourselves.
Beautiful moment. Richard Kiel plays it perfectly.
“Ya kids mine because I bought 'it. You got 'im on loan, he is leased, you are renting him. I'll whack out ya whole family. People'll be eatin' 'em in their lunch tomorrow in their Wimpyburgers and not know it. You get paid what I say. You do what I say, I run you. There is no discussion. I want, you work, until you are burned-out, you are busted, or you're dead... you get it?”
Thief
I'm not one of those luddites who is reflexively against AI, but I would never and will never use AI to write my articles. For better or worse, they're all me!
I don't really know her. As far as I'm concerned she's just another infloooooencer whose primary goal is clicks. Even if numbers are half what they say it's still a million times better than the alternative. But there's no reason to doubt the numbers put out by the admin. Generational wins stacked high.
Maybe. Maybe not. I don't trust a lot of these snakes that do nothing but question and countersignal the admin under the guise of being more based than Trump and Stephen Miller. I trust Trump and will remain loyal because he's delivering more than any right wing leader in over a hundred years. A great man of history.
Ever notice how many anti-hero shows in which the character carries out ever worsening irredeemable shit ends up in the final season fighting the mythical neo-nazi as a sort of redemption arc?
I hope that the surprise success of The End of Oak Street compels more people to watch David Robert Mitchell’s previous film, Under the Silver Lake, which in my opinion was one of the great American indie masterpieces of the 2010s and the sharpest satire of disaffected millennial male detachment. The movie distills the feeling of men coming to age during a moment of history when it seemed like the achievements and greatness of the men of prior generations were fundamentally denied to them. It’s about disappointment, boredom, loneliness, the humiliation of failure, and the profound resentment of a young man who realizes he’s been lied to ever since his loving parents told him he could be anything when he grew up. 10/10
Una película que la dirige Tony Scott, que el guión es de Tarantino, la música de Hans Zimmer y cuenta con reparto de lujo está destinada al éxito.
Fue el caso de Amor A Quemarropa (1993)
10 films that deserve more love:
Blonde (Dominik)
Alien 3 (Fincher)
Pain & Gain (Bay)
Out of the Blue (Hopper)
Sea of Love (Becker)
Naked (Leigh)
eXistenZ (Cronenberg)
Dangerous Game (Ferrara)
Only Lovers Left Alive (Jarmusch)
Fighting With My Family (Merchant)