CinemaCopa
@CopaExMachina • 6,911 subscribers
Film Director | Screenwriter | Author | Educator https://t.co/6pP9j0pKhl
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Not sure why Christopher Nolan doesn't think the "Nobody" pun doesn't translate to modern dialogue. The Odyssey's "Nobody" pun might be nearly 3,000 years old yet remains one of the most famous literary tricks in human history. It holds up today because it is simultaneously a simple joke, linguistic genius, and adds to Odyssyeus's hubris. There's even another layer to this trick. Odysseus knows he can't out muscle this guy. By stripping his name and becoming "Nobody", Odysseus proves that identity and strength are meaningless without intellect. After defeating the Cyclops, Odysseus (safe on his ship) let's his ego gets the best of him. He can't stand even his "Nobody" alter ego getting the credit, so he screams his real name back at the Cyclops to let him know who really did this to him. And of course, now that the cyclops knows it was really Odysseus, prays to Poseidon using his real name. Which in the poem, catches Odysseus a 10 year prison sentence out at sea. The "Nobody" joke is insanely multilayered and the real punchline is Odysseus can't stand Nobody taking credit for his exploits. The Odyssey (1997) | Andrei Konchalovsky
CinemaCopa4,487,327 Aufrufe • vor 1 Monat
Nolan's Odyssey lacks any sexuality whatsoever. Very sterile interaction between Matt Damon and Samantha Morton's Circe. Still nothing tops The Odyssey 97 and my favorite depiction of Circe. Bernadette Peters is wildly fun to watch as she raises the stakes with Odysseus, loving the fact that her spell didn't work on him. She's got other tricks up her sleeve (or maybe up her peplos). I appreciate the fact that Armand Assante's Odysseus has like -2 hesitation when he has to sleep with her. "Don't have to ask me twice. Of course, I am doing this for my men." The Odyssey (1997) | Andrei Konchalovsky
CinemaCopa2,426,886 Aufrufe • vor 1 Monat
Charlie Sheen has Adonis DNA. For Hot Shots Part Deux he got absolutely jacked all because he "didn't want to look like a wimp" while spoofing Stallone. This is what clean stack of being dedicated to your craft and tiger blood looks like. Hot Shots! Part Deux (1993) | Jim Abrahams
CinemaCopa1,035,040 Aufrufe • vor 19 Tagen
The reason Top Gun: Maverick was a cultural phenomenon is it managed to do what modern legacy sequels (think Star Wars, Indiana Jones, Terminator) failed at for years. The movie didn't treat Maverick as some infallible god nor does it turn him into a broken loser. He's still stubborn, reckless, but his flaws stem from his grief over Goose, not from some cynical corner of a writer's wet dream of writing Game of Thrones. Maverick earns the respect of the younger pilots by demonstrating supreme skill, acting as their ultimate enabler. The biggest piece of proof this was the goal is in the scene with Ice Man. They didn't recast or write him off screen. They brought in Val Kilmer and integrated his health issues, handling his character with incredible dignity. The conversation between Ice Man and Mav is the emotional anchor to the whole movie. Top Gun: Maverick proves audience don't mind nostalgia bait or passing the torch as long as the characters they grew up loving are treated like they mattered. Top Gun: Maverick (2022) | Joseph Kosinski
CinemaCopa670,362 Aufrufe • vor 24 Tagen
Red Dawn's opening paratrooper invasion is one of the most jarring opening sequences in 80s cinema. Other than the foreshadowing history lesson previously discussed, it shatter any semblance of American suburban peace. War is some place else in the world, never in our backyards. No adult or authority figure is coming to save these kids. In fact, that's the first casualty, Mr. Teasdale. No questions asked. No banter back and forth. The protective safety net completely wiped out in a blink. Within 3 minutes the audience, much like the characters, don't have time to process anything really. Politically you have no idea why this is happening. What the motivation behind the attack is. Survival is the only instinct that matters in this moment. Jed doesn't pick up an AK and starts blasting away. He scoops up his brother and a couple classmates with only one goal in mind. Get the hell out of there alive. Red Dawn (1984) | John Milius
CinemaCopa160,669 Aufrufe • vor 8 Tagen
Romancing the Stone is one of the dumbest titles for a movie, especially for one that's damn good fun. Out of all the 80s Raiders of the Lost Ark ripoffs it's the best. The script by Diane Thomas is rock solid, but no one can write great onscreen chemistry like this. Romancing the Stone (1984) | Robert Zemeckis
CinemaCopa200,700 Aufrufe • vor 15 Tagen
Anytime Red Dawn was on TV my older brother and I were glued to it. To this day I sometimes look out of my back window and imagine a paratrooper landing in it. The movie strikes such a primal nerve in boys, "The home must be defended at all costs." Usually a movie like this glances over the cost. Not this one. John Milius is such a master at myth, ethos, and openings. Mr. Teasdale's lesson on Ghengis Khan is one hell of piece of foreshadowing. The arriving Soviet army won't distinguish between combatants and civilians, adults and kids, just like the Khans. The murder of Teasdale and the school kids will prove this. Later, The Wolverines are flushed out of the mountains exactly how Mr. Teasdale describes Khan's tactics. But someone will be granted mercy and live on. Just an insane opening sequence that gives you so much in so little time, and it sticks with you forever. Red Dawn (1984) | John Milius
CinemaCopa79,780 Aufrufe • vor 9 Tagen
Rocky Balboa has no right being this damn good. I've always said if Stallone didn't become a movie star, he would have had a great career anyway as a screenwriter. "The world ain't all sunshine and rainbows" monologue ain't no joke. Rcoky Balboa (2006) | Sylvester Stallone
CinemaCopa319,898 Aufrufe • vor 2 Monaten
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When I say filmmakers wish they can make a mid-tier Spielberg film, this is what I mean. His blocking is like watching a little mini-ballet. The camera moves are motivated by the actors. Violà you have at least 9 shot compositions in 35 seconds. Hook (1991) | Steven Spielberg
CinemaCopa247,337 Aufrufe • vor 2 Monaten
The obvious dummy plus Gary Busey's death scream is pure perfection. Drop Zone (1994) | John Badham
CinemaCopa155,551 Aufrufe • vor 1 Monat
The "Do I feel lucky?" scene in Dirty Harry is a masterclass in character introduction, establishing everything you need to know about Harry Callahan’s worldview, his methods, and his relationship to the law in just over 3 minutes, completely bypassing the need for expositional bullshit. The scene starts with Harry sitting at a diner counter, casually eating a hot dog. When the alarm goes off, he doesn't panic, drop his food, or wait for the cavalry he just called in. He handles a bank robbery while casually chewing on a hot dog. Just another Tuesday for Harry to blow away bad guys. This establishes him as a rogue operator who views official police protocols as annoying obstacles to actual justice, which must be swift if justice means anything. The sheer destructive force of his response with cars flipping over, hydrants erupting, windows shattering tells the audience that Harry doesn't care about collateral damage, personal safety (still out in the open even after confirming his leg is wounded), or protocol. He cares about stopping the threat by the most direct, violent means available. The "Do I feel lucky?" monologue isn't just a cool speech but a great look into his psyche. He hooks the wounded robber with a psychological trap. By withholding the one piece of information the criminal desperately needs whether the gun is empty, Harry enjoys exerting absolute physical and psychological control over criminals. The final hammer clicking and Harry's smirk tell you everything about his nature. He doesn't feel a shred of remorse or hesitation about pointing a massive hand cannon at an unarmed, bleeding man and pulling the trigger just to see what happens. This also sets up his moral compass. In Harry’s view, if you cross the line into criminality, you forfeit your right to empathy, due process, or safety. This all happens inside a shade of 4 minutes. Masterful stuff. Dirty Harry (1971) | Don Siegel
CinemaCopa112,404 Aufrufe • vor 1 Monat
The situational irony and hypocrisy of resources in Death Wish is its most frustrating aspect. When Paul’s wife is brutally murdered, the police treat it like bad weather, an unavoidable, tragic reality of modern urban life. They tell Paul there's only a mere chance of catching the guys who killed his wife and raped his daughter. "That's the way it is in the city". But the moment Paul flips the script and starts executing muggers, the precinct suddenly discovers an infinite pool of resources. The state that was completely paralyzed by street violence is suddenly running with clinical, hyper-efficient urgency. Why? Paul’s actions expose their own systemic failure. The system will tolerate a high volume of violent crime before it will tolerate a single individual proving that the system isn't working. They'll even use the violent criminal to lure in the vigilante. Death Wish (1974) | Michael Winner
CinemaCopa115,643 Aufrufe • vor 2 Monaten
