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; Genre Action; Rio Dewanto, Chicco Jerikho; Liked It 739 Vote; release Year 2019; Countries Indonesia. Foxtrot six ans. Foxtrot six pieds. Foxtrot six wiki. Foxtrot sixième.

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But! This is the first Indonesian movie that use intensive CGI and trying to reach the level of hollywood action movies, let's appreciate it! And also the fact that it has quite unique story really surprise me! Still a long way to go, lots of room to improve, but thanks for trying.

 

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We managed to stay for 15 minutes, hoping the story would capture our attention as I enjoy these type of sci-fi movies, but the acting is just so over the top and everything is so cheesy that we didn't last longer than 15 min. Foxtrot six official trailer (2020. Foxtrot six subtitles. Foxtrot six torrent.

 

Foxtrot six download. Foxtrot six official trailer. Foxtrot six868. Foxtrot six trailer 2020. Skip to main content ( 4) 5. 8 1h 54min 2020 18+ A former marine and his friends struggle to save their country from a ruthless party leader. Rentals include 30 days to start watching this video and 48 hours to finish once started. By ordering or viewing, you agree to our Terms. Sold by Amazon Digital Services LLC. There was a problem filtering reviews right now. Please try again later. Reviewed in the United States on March 28, 2020 Format: Prime Video Verified Purchase A good action pack movie to what with my husband who love action movies. I actually enjoyed it. Reviewed in the United States on April 5, 2020 Format: Prime Video Verified Purchase A horrible movie, not worth renting. Poor plot, bad acting, and terrible action. A waste of 2 hours of my life I will never get back.

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Review - An epic fantasy adventure based on the timeless Arthurian legend, "The Green Knight" tells the story of Sir Gawain (Dev Patel), King Arthur's reckless and headstrong nephew, who embarks on a daring quest to confront the eponymous Green Knight, a gigantic emerald-skinned stranger and tester of men. Gawain contends with ghosts, giants, thieves, and schemers in what becomes a deeper journey to define his character and prove his worth in the eyes of his family and kingdom by facing the ultimate challenger. From visionary filmmaker David Lowery comes a fresh and bold spin on a classic tale from the knights of the round table; Country - Ireland, USA; Genres - Fantasy; 125 min. The green knight. The Green knightley. The Green knights. The green knight adventure time.

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The Green Knight Obsah: Obsah pridáme za krátky čas Hodnotenie filmu je možné až po premiére Svetová premiera: 28. 5. 2020 (Štvrtok) Slovenská premiéra: 18. 6. 2020 (Štvrtok) Distribútor: Forum Film Žánre: Dobrodružné (326) Drámy (1002) Fantasy (159) Krajina pôvodu: USA (1106) Írsko (12) Minutáž: 125 min Réžia: David Lowery Scenár: David Lowery Kamera: Andrew Droz Palermo Hudba: Daniel Hart Hrajú: Dev Patel, Alicia Vikander, Joel Edgerton, Sarita Choudhury, Sean Harris, Kate Dickie, Barry Keoghan, Erin Kellyman, Ralph Ineson, Anthony Morris Film poster Oficiálny Trailer od: 25. 11. 2020 Réžia: Cary Joji Fukunaga Daniel Craig, Rami Malek, Ana de Armas, Ralph Fiennes, Ben Whishaw, Jeffrey... 12. 2020 Ivan Ostrochovský Samuel Skyva, Samuel Polakovič, Vlad Ivanov, Vladimír Strnisko, Milan Mikulčík... 16. 4. 2020 Walt Dohrn Anna Kendrick, Justin Timberlake, Sam Rockwell, Chance the Rapper, Anthony... Joachim Hedén Moa Gammel Ginsburg, Madeleine Martin, Olle Wirenhed Hore.

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The Green knight vampire. Watch The Green Online Idigitaltimes. The Green knight rider. Sign up for our Watching Newsletter to get recommendations on the best films and TV shows to stream and watch, delivered to your inbox. The sheer volume of films on Netflix — and the site’s less than ideal interface — can make finding a genuinely great movie there a difficult task. To help, we’ve plucked out the 50 best films currently streaming on the service in the United States, updated regularly as titles come and go. And as a bonus, we link to more great movies on Netflix within many of our writeups below. (Note: Streaming services sometimes remove titles or change starting dates without giving notice. ) Martin Scorsese re-teams with Robert De Niro and Joe Pesci for the first time since “ Casino ” (1995), itself a return to the organized crime territory of their earlier 1990 collaboration “Goodfellas” — and then adds Al Pacino as Jimmy Hoffa. A lazier filmmaker might merely have put them back together to play their greatest hits. Scorsese does something far trickier, and more poignant: He takes all the elements we expect in a Scorsese gangster movie with this cast, and then he strips it all down, turning this story of turf wars, union battles and power struggles into a chamber piece of quiet conversations and moral contemplation. A. O. Scott called it “ long and dark: long like a novel by Dostoyevsky or Dreiser, dark like a painting by Rembrandt. ” Watch on Netflix Noah Baumbach’s searing, Bergman-esque drama is the story not of a marriage, but of its end — of a loving couple who just, as they say, grew apart, but whose uncoupling is nowhere near that organic. Their shifting of priorities and geographic preferences prompts the hiring of lawyers, the spending of savings, and the stating of old resentments and regrets better left unsaid. Baumbach’s screenplay is full of tiny, human touches and graceful tonal shifts; he can move from screwball comedy to open-wound drama in the blink of an eye. “It’s funny and sad, sometimes within a single scene, ” writes A. Scott, “and it weaves a plot out of the messy collapse of a shared reality, trying to make music out of disharmony. ” (If you like this prickly comedy/drama, queue up the Oscar-winning “ As Good As It Gets. ”) This 2003 Oscar nominee from the director Fernando Meirelles renders its oft-told tale of neighborhood crime with such brash energy and intoxicating exuberance that it feels brand new. Meirelles and his co-director, Kátia Lund, construct their film as a slum-kids “Goodfellas”; like that film, “City of God” is based on true events, capturing the awful seductiveness of the criminal life and the dire consequences for those who choose it. Our critic called it a “ scorching anecdotal history of violence. ” (Meirelles’s latest, “ The Two Popes, ” is also on Netflix. ) The latest from Joel and Ethan Coen is an anthology film set in the Old West, a series of tales of varying length and style, some as brief and simple as jokes, others with the richness and depth of a great short story. Our critic wrote, “ It swerves from goofy to ghastly so deftly and so often that you can’t always tell which is which, ” and what seems at first like a filmed notebook of ideas and orphans instead becomes something of a workshop; it’s a place for the Coens to try things, experimenting with new styles and moods, while also delivering the kind of dark humor and deliciously ornate dialogue that we’ve come to expect. (For wilder comedy, check out “ To Wong Foo, Thanks for Everything, Julie Newmar ” or “ Scott Pilgrim vs. The World. ”) Sofia Coppola takes on conspicuous consumption, Millennial malaise, and upper-class entitlement in this darkly funny and stylishly thought-provoking true story (adapted from a Vanity Fair article by Nancy Joe Sales). Emma Watson leads a crew of young, attractive rich girls who spent years helping themselves to the homes (and spoils) of their famous neighbors, partying in Paris Hilton’s “nightclub room” and casually lifting Lindsay Lohan’s jewelry. Coppola refuses to condemn their crimes or apologize for them; it is, A. Scott wrote, “neither a cautionary tale of youth gone wrong nor a joke at the expense of kids these days. ” Documentary filmmakers have long been fascinated by the logistics and complexities of manual labor, but Steven Bognar and Julia Reichert’s recent Oscar winner for best documentary feature views these issues through a decidedly 21st-century lens. Focusing on a closed GM plant in Dayton, Ohio, that’s taken over by a Chinese auto glass company, Bognar and Reichert thoughtfully, sensitively (and often humorously) explore how cultures — both corporate and general — clash. Manohla Dargis calls it “ complex, stirring, timely and beautifully shaped, spanning continents as it surveys the past, present and possible future of American labor. ” (Netflix’s 2018 Best Documentary winner, “ Icarus, ” is also currently streaming. ) Martin Scorsese tells the true story of Henry Hill, an average kid whose idolatry of the neighborhood gangsters made him an errand boy, then a low-level thief, then an architect of the 1978 Lufthansa heist — before he lost it all in a haze of drugs and deception. Scorsese’s exhilaratingly expert use of first-person perspective makes the viewer less an observer than an accomplice, along for the jet-fueled ride to the top, and the cocaine-dusted binge to the bottom. Our critic called it “ breathless and brilliant. ” (Mob movie fans won’t want to miss Al Pacino in “ Donnie Brasco, ” also on Netflix. ) The 2017 Academy Award winner for best picture, this triptych about a young, gay African-American man’s coming of age in Miami is a quietly revelatory piece of work, exploring and challenging modern perceptions of masculinity, family, power and love. Director Barry Jenkins (adapting a play by Tarell Alvin McCraney) creates a world so dense with detail and rich with humanity that every character gets a chance to shine; the themes and ideas are all above board, but conveyed with subtlety and understatement. Our critic described it as “ a poem written in light, music and vivid human faces. ” Two “lifers, ” locked up together indefinitely in Shawshank prison, form a bond that transcends decades of their lives and, ultimately, their own incarcerations in this heart-wrenching adaptation of an atypically non-genre novella by Stephen King. Tim Robbins is in fine form as Andy Dufresne, convicted of a crime he didn’t commit and dedicated to proving it. As Red, the guy who can get anything for anybody, Morgan Freeman (who also narrates) crafts the quintessential Morgan Freeman performance: folksy and friendly, but with a layer of steel underneath. Our critic called it “ a slow, gentle story of camaraderie and growth. ” This brainy sci-fi story from director Duncan Jones (“Mute”) is almost entirely a one-man show, and Sam Rockwell, as a working-class astronaut on a solo mission, is the man for the job — he’s alternately tragic, funny, driven and bitter, often in the same scene, frequently playing to himself. “Moon” is thrilling and thought-provoking, with a stunning finale. Our critic called it a “ modest, haunting first feature. ” (Fans of thoughtful sci-fi dramas will also enjoy “ Ex Machina. ”) The British comedy troupe Monty Python created its funniest, wildest and cult-friendliest feature-length comedy with this 1975 send-up of the legend of King Arthur — and of medieval literature in general, and of big-screen epics. Graham Chapman is the ostensible lead as Arthur, leading his Knights of the Round Table on a quest for the Grail, but the plot is merely a clothesline on which to hang blackout sketches and self-aware gags, and there are many. Our critic called it “a marvelously particular kind of lunatic endeavor. ” (For more fun with Python, queue up the button-pushing 1979 Biblical spoof “ Life of Brian. ”) This vivid, evocative memory play from Alfonso Cuarón is a story of two Mexican women in the early 1970s: Sofía (Marina de Tavira), a mother of four whose husband (and provider) is on his way out the door, and Cleo (Yalitza Aparicio), the family’s nanny, maid and support system. The scenes are occasionally stressful, often heart-wrenching, and they unfailingly burst with life and emotion. Our critic called it “ an expansive, emotional portrait of life buffeted by violent forces, and a masterpiece. ” Three years after reinventing the Batman franchise with " Batman Begins " (also streaming on Netflix), the director Christopher Nolan returned to Gotham, making a rare sequel that surpasses the original. Nolan crafts some of the sharpest, tightest set pieces of the series to date — its opening bank robbery and nighttime prisoner transfer are astonishingly assured — while Heath Ledger pierces in an Oscar-winning turn as the Joker, a frightening, take-no-prisoners snapshot of nihilistic evil. Our critic wrote, “it goes darker and deeper than any Hollywood movie of its comic-book kind. ” Two young men weather their Park Slope parents’ nasty divorce in this ruthlessly intelligent and mercilessly evenhanded coming-of-age story from the writer and director Noah Baumbach, who drew upon his own teen memories and put himself, not altogether complimentarily, into the character of the 16-year-old Walt (a spot-on Jesse Eisenberg). Laura Linney is passive-aggressive perfection as his mother, while Jeff Daniels, as the father, masterfully captures a specific type of sneeringly dissatisfied Brooklyn intellectual. The film is “both sharply comical and piercingly sad, ” as A. Scott wrote, as Baumbach dissects this family’s woes and drama with knowing precision. (Fans of misanthropic comedy may also enjoy “ Her or “ The Lobster. ”) The fashion designer turned filmmaker Tom Ford made his feature directorial debut with this moving, melancholy (and, unsurprisingly, aesthetically stunning) adaptation of the novel by Christopher Isherwood. An Oscar-nominated Colin Firth stars as George, a college professor and “bachelor, ” as gay men in his era were so often euphemistically known. Accompanying George through one long, difficult day — the anniversary of the death of his boyfriend — Ford burrows deep into the tortured psyche of his protagonist, and Firth is up to the challenge, playing the role with what Manohla Dargis called “ a magnificent depth of feeling. ” (Period drama lovers will also love “ The Natural ”; Firth shines again in “ The King’s Speech. ”) A Puritan family, banished to the woods of New England by its community, encounters a frightening force of true evil in this potent mixture of art-house drama and supernatural thriller from the writer and director Robert Eggers. Resisting jump-scares and cheap thrills in favor of slow burns and discomforting dread, Eggers builds his story to a climax that seems both terrifying and inevitable. Our critic called it “ a finely calibrated shiver of a movie. ” Tom Hanks won his first Academy Award for what our critic called his “brave, stirring, tremendously dignified performance ” in this 1993 drama from director Jonathan Demme, which was among the first studio productions to address the AIDS crisis. Hanks plays an H. I. V. -positive lawyer, fired from his firm because of his illness; Denzel Washington stars as the homophobic personal-injury attorney representing Hanks in an unlawful termination suit and learning the error of his prejudices in the process. (For more Oscar-winning drama, stream “ The Crying Game ” or “ Guess Who’s Coming to Dinner ” on Netflix. ) Osgood Perkins — son of the “Psycho” star Anthony Perkins — writes and directs this unnerving and disturbing story of creepy goings-on at a near-empty girls’ boarding school. The performances (from Kiernan Shipka, Lucy Boynton, and Emma Roberts) are sharp and the scares are genuine, while Perkins’s orchestration of mood and atmosphere is chillingly effective. Our critic called it “ perfectly acted and gorgeously filmed. ” Brie Larson won an Oscar for her powerful leading performance in this moving adaptation of the novel by Emma Donoghue, in which a woman held for years in captivity tries to escape from her kidnapper with the help of her young son. Lenny Abrahamson’s intimate direction emphasizes the claustrophobia of their surroundings, but tantalizes with the promise and possibility of escape. (Indie drama lovers may also enjoy “ Burning Cane, ” “ I, Daniel Blake, ” and“ A Serious Man. ”) Kathryn Hahn and Paul Giamatti shine as two New York creative types whose attempts to start a family — by adoption, by fertilization, by whatever it takes — test the mettle of their relationships and sanity. The wise script by the director Tamara Jenkins is not only funny and truthful but also sharply tuned to their specific world: Few films have better captured the very public nature of marital trouble in New York, when every meltdown is interrupted by passers-by and looky-loos. “Private Life, ” which our critic called “ piquant and perfect, ” is a marvelous balancing act of sympathy and cynicism, both caring for its subjects and knowing them and their flaws well enough to wink and chuckle. (The funny, moving “ Obvious Child ” is another wise look at living, and getting pregnant, in New York City. ) We’ve seen countless stories of nasty, selfish people who go on a voyage of self-discovery and come out the other side as better, wiser souls. This acidic comedy-drama asks: What if that journey didn’t take? Mavis Gary ( Charlize Theron, in take-no-prisoners mode), a bitter young-adult author, returns to her hometown in the hope of reuniting with her high-school boyfriend, his picture-perfect married life be damned. A film that zigs when you’re certain it will zag, “Young Adult” tells a satisfying story that is also a sly critique of the conventions of modern moviemaking. Our critic praised its “ brilliant, brave and breathtakingly cynical heart. ” A 52-year-old Georgian woman shocks her family, and her entire community, when she decides to move out of the cramped apartment she shares with her husband, children and parents in order to begin a life of her own. “In this world, there are no families without problems, ” she is told, and the conflicts of the script by Nana Ekvtimishvili (who also directed, with Simon Gross) are a sharp reminder that while the cultural specifics may vary, familial guilt and passive aggression are bound by no language. Manohla Dargis praised its “ sardonically funny, touching key. ” (For more critically acclaimed foreign drama, try “ Burning ” or On Body and Soul. ”) Jennifer Lawrence won the Oscar for best actress for her spectacularly sassy and unapologetically haunted performance in David O. Russell’s (somewhat loose) adaptation of Matthew Quick’s novel. It’s a balancing act of seemingly contradictory tones and styles, slipping nimbly from serious mental-health drama to screwball comedy to romance thanks to the deceptive casualness of Russell’s approach and the skill of his cast — particularly Bradley Cooper as its unsteady protagonist and Robert De Niro and Jackie Weaver (all also Oscar nominees) as his parents. Our critic called it “ exuberant ” and “a delight. ” Gary Oldman is a marvel as George Smiley, the British intelligence agent at the center of this adaptation of the novel by John le Carré. It’s the kind of performance that draws its power from a character’s refusal to raise his voice: One gets the feeling he’s done what he’s done for so long, with such awareness of his own creeping obsolescence, that he can hardly be bothered. Manhola Dargis called it a performance of “ delicacy and understated power, ” and around it, the director Tomas Alfredson (“Let the Right One In”) mounts the best big-screen interpretation of le Carré’s work to date. Mati Diop’s Cannes Film Festival Grand Prix winner is set in Senegal, where a young woman named Ava (Mama Sané) loses the boy she loves to the sea, just days before her arranged marriage to another man. What begins as a story of love lost moves, with the ease and imagination of a particularly satisfying dream, into something far stranger, as Diop savvily works elements of genre cinema into the fabric of a story that wouldn’t seem to accommodate them. Scott called it “a suspenseful, sensual, exciting movie, and therefore a deeply haunting one as well. ” Jonathan Demme’s final feature film was shot on the last two nights of Justin Timberlake’s “20/20 Experience” world tour, at the MGM Grand in Las Vegas. The pairing of director and subject is unexpected, but Demme is up to the job; as in his Talking Heads film “ Stop Making Sense, ” he deftly captures the energy, electricity and playfulness of a live concert performance, a directorial feat that is harder than it looks. (Fans of more traditional movie musicals should check out Baz Luhrmann's “ Strictly Ballroom. ”) The director Mark Osborne (“Kung Fu Panda”) took an unconventional approach to adapting the classic children’s book by Antoine de Saint-Exupéry for the screen, placing its story of an aviator’s encounters with a magical little boy inside a contemporary tale of a little girl’s friendship with that aviator (now a grizzled old man). It sounds like a recipe for disaster, fixing a book that isn’t broken, but “The Little Prince” is a small miracle, maintaining the magic and sweetness of the original while contextualizing it for a new generation. Our critic called it “ unusually forceful and imaginative. ” (Younger viewers will also enjoy “ A Little Princess ” and “ The Princess and the Frog. ”) Ava DuVernay (“Selma”) directs this wide-ranging deep dive into mass incarceration, tracing the advent of America’s overcrowded (and disproportionately minority-filled) modern prison system back to the 13th Amendment of the United States Constitution. It’s a giant topic to take on in 100 minutes, and DuVernay understandably has to do some skimming and slicing. But that necessity engenders its style: “13TH” tears through history with a palpable urgency that pairs nicely with its righteous fury. Our critic called it “ powerful, infuriating and at times overwhelming. ” (Documentary fans should also seek out “ Jiro Dreams of Sushi, ” “ Elena ” and “ Paris Is Burning. ”) Before “Captain Marvel, ” the directors Anna Boden and Ryan Fleck teamed with Ben Mendelsohn (and another superhero movie star, Ryan Reynolds) for this laid back, on-the-road gambling picture, featuring Mendelsohn and Reynolds as a pair of longtime losers reaching for that one big score that will make everything right. The supporting cast is rich — Alfre Woodard, Sienna Miller and Analeigh Tipton all shine — and like the 1970s cinema it so clearly draws from, “Mississippi Grind” has what our critic called “ a loose, behind-the-beat rhythm. ” (Card sharps will also want to add “ Rounders ” to their queues. ) Paul Thomas Anderson burst onto the scene with “Boogie Nights, ” his blazing, energetic, Altman-esque tapestry of life in the seedier corners of the San Fernando Valley, circa 1977. His follow-up is much in the same style (and brings back much of the same cast), but with the filmmaker going for broke, creating a rich, lengthy (over three hours), mournful and often scathingly funny narrative of several interlocking lives over a single, extraordinary day. Operatic in its emotions and ambitions, it’s Anderson’s messiest work, yet one of his very best. (Anderson’s later Oscar winner “ There Will Be Blood ” is also streaming on Netflix. ) As the married couple Cindy and Dean, Michelle Williams and Ryan Gosling are “ exemplars of New Method sincerity, ” according to A. Scott, “able to be fully and achingly present every moment on screen together. ” Their director, Derek Cianfrance, tells this story in pieces as they come together and fall apart, in timelines separated by six years of hard, unsatisfying living (but shot with only a month between them, an astonishing feat of physical and psychological acting). Aching and heartfelt, the film is an often upsetting yet undeniably powerful account of how not all love stories end in “happily ever after. ” (Gosling is similarly forceful and effective in the cult hit “ Drive. ”) Guillermo Del Toro’s 2006 Oscar winner is many things: a lush period drama, a dark fairy tale, a special-effects showcase, a harrowing fable of Fascism. Yet Del Toro’s filmmaking is so confident that the picture’s tone never wavers; he’s such a thrilling storyteller that we follow his protagonist (the marvelous Ivana Baquero) through every dark passageway and down every mysterious rabbit hole on her mystical journey through Franco-era Spain — and out of the clutches of her evil stepfather. It’s both scary and enchanting, terrifying and dazzling; “If this is magic realism, ” writes A. Scott, “it is also the work of a real magician. ” The 2013 winner of the Academy Award for Best Documentary Feature, this “ hugely appealing documentary ” (per Manohla Dargis) functions as both celebration and investigation. The director Malik Bendjelloul tells the fascinating story of Rodriguez, a Mexican-American singer-songwriter who recorded one brilliant album in 1969 and watched it sink without a trace, only to resurface years later as a cult smash in South Africa. How that happened, and what happened to Rodriguez in the meantime, forms the spine of this inspiring picture, which deftly incorporates archival footage, new interviews, dreamy animated sequences and Rodriguez’s spellbinding songs. (Love music documentaries? Check out “ Amy ” and “ 20 Feet From Stardom. ”) A young man’s coming of age becomes a group project when his single mother (Annette Bening) reaches out to their housemates and friends for help, resulting in a slightly more complicated education than she envisioned. This touching and personal dramedy from the writer-director Mike Mills (“Beginners”) deftly conveys the period without relying on caricature, and resists resorting to cheap villainy or soapboxing. Every character is brought to life with humor and sensitivity, and Bening’s work is among her very best. Manohla Dargis deemed it “ a funny, emotionally piercing story. ” (Love tender teen coming-of-age flicks? Queue up “ The Edge of Seventeen. ”) It looks, at first glance, like the perfect New York City romance: a roomy apartment on the Upper West Side, a gorgeous wife and her handsome actor husband, a bouncing baby on the way. Look closer. Roman Polanski’s “ mainstream masterpiece ” is a chilling examination of the terror that lurks just beneath those shiny surfaces, beneath the wide-eyed good intentions of new friends and the cheerful opportunism of the young couple at its center. Mia Farrow does some of her finest acting as the increasingly sickly (and paranoid) mother-to-be. (Fans of ‘60s genre cinema will also want to queue up “ The Dirty Dozen. ”) Maybe she’s just a really good teacher. But there also seems to be something outsized and intense about the interest Lisa (Maggie Gyllenhaal) takes in little Jimmy (Parker Sevak) and his gift for composing and reciting brilliant poetic verse, seemingly out of nowhere. There’s no simple explanation for her behavior, or for how it escalates, because this is not a simple movie. The writer-director Sara Colangelo (adapting the Israeli film by Nadav Lapid) follows the teacher’s impulses to an upsetting but unnervingly logical conclusion, and Gyllenhaal, our critic noted, “somehow makes us all her accomplices, imprisoning our sympathies even when Lisa’s inappropriate behavior escalates to inexcusable. ” It sounds like the setup for an ’80s sex comedy: Two horny teenage boys take an impromptu road trip and talk a seductive older woman into coming along. But the director, Alfonso Cuarón (“Gravity, ” “Children of Men”), “Y Tu Mamá También” frames their story partly through the unexpected but effective lens of class and political struggle, constructing a delicate film with much to say about masculinity, poverty and mortality. And then it’s sexy, on top of that. Our critic called it “ fast, funny, unafraid of sexuality and finally devastating. ” (For more adventurous foreign cinema, check out “ Happy as Lazzaro. ”) Robert De Niro won his second Academy Award for his fiercely physical and psychologically punishing performance in this searing adaptation of the autobiography of the middleweight champion Jake LaMotta. It’s a relentlessly downbeat piece of work, but the force of De Niro’s performance and the energy of Martin Scorsese’s direction are hard to overstate, or to forget. Our critic called it Scorsese’s “ most ambitious film as well as his finest. ” Paying loving tribute to the exploitation movies of multiple eras and cultures, this double-feature dabbles in kung fu, anime, spaghetti Western and blaxploitation, its writer/director Quentin Tarantino deliriously hopping styles like a movie-crazy kid swapping out VHS tapes. But in all the pyrotechnics, he maintains his gift for quotable dialogue and charismatic characters, ending his blood-soaked saga with on a surprisingly warm and human note. Our critics praised the “ odd, feverish integrity ” of “Vol. 1, ” and called “Vol. 2” “ the most voluptuous comic-book movie ever made. ” (Tarantino’s “ Inglourious Basterds ” is also streaming on Netflix. ) The fates of two families — one white and one black, connected by a plot of land one owns and the other sharecrops — are inextricably intertwined in this powerful adaptation by the director Dee Rees of the novel by Hillary Jordan. Rees gracefully tells both stories (and the larger tale of postwar America) without veering into didacticism, and her ensemble cast brings every moment of text and subtext into sharp focus. Our critic called it a work of “ disquieting, illuminating force. ” It is easy to imagine Bill Murray and the director Harold Ramis taking the premise of a smarmy jerk who relives the same day over and over again and turning it into an ’80s-style “high concept” comedy, full of wisecracks and silly situations. Instead, they turned it into their generation’s “It’s a Wonderful Life, ” crafting a film that is filled with comic invention while vibrating with warmth and humanity (without succumbing to the saccharine). Our critic called it “a particularly witty and resonant comedy. ” (For more classic contemporary comedy, add “ Tootsie ” to your queue. ) Sean Penn and Tim Robbins won Oscars for their work with Kevin Bacon as childhood friends whose paths sharply diverge after a horrifying trauma — and intersect again as the cycle of violence circles back. Clint Eastwood’s modest directorial style is ideal for this adaptation of the Dennis Lehane novel; he approaches these chilling events with an everyday resignation, and his actors underplay appropriately. Our critic called it “a film that consists almost entirely of haunting scenes. ” The director David Mackenzie (“Starred Up”) draws on the mythos of classic Westerns to tell this contemporary story of robbers driven to crime not by greed and status but by economic distress and desperation. Ben Foster’s trigger-happy thrill-seeker, Chris Pine’s rational man with a purpose and Jeff Bridges’s wise old lawman are so well drawn and authentically acted that the dialogue scenes are as thrilling as the shootouts. Our critic praised the “ verve and tongue-tickling texture ” of Taylor Sheridan’s dialogue. (For a lighter small-town story, check out Robert Altman's laid-back and lovely “ Cookie's Fortune. ”) A marvelously absurd, stingingly satirical and unexpectedly moving story of a girl and her genetically engineered super-pig, this Netflix original from the director Bong Joon Ho is the kind of movie that goes in so many wild directions at once — urban mayhem one moment, character drama the next — it leaves you breathlessly off-balance. Bong coaxes game and unpredictable performances from his gloriously unhinged cast, with particularly juicy turns by Tilda Swinton and Jake Gyllenhaal. Scott raved, “Mr. Bong juggles delight and didacticism with exquisite grace. ” (For more Bong, check out his previous film, “ Snowpiercer ”; for more Gyllenhaal, stream “ End of Watch ”. ) Steven Spielberg adapts Tintin, the beloved creation of the Belgian cartoonist Georges Remi, for this charming family adventure. In doing so, Spielberg reconnects with the spirit of his Indiana Jones adventures, which were similarly globe-trotting and fun-loving in the manner of the old Saturday serials — though he adds a decidedly modern sheen in the form of motion-capture animation. The result is a cheerful intermingling of old and new, which our critic called “ a marvel of gee-wizardry. ” (For more seafaring family fun, stream Robert Altman’s “ Popeye ” on Netflix. ) Between his second and third Batman outings, the director and co-writer Christopher Nolan crafted one of his twistiest and most satisfying entertainments, a mystery/thriller that delves into nothing less ambitious than the human dreamscape. Leonardo DiCaprio is in fine, tortured form as a high-tech dream manipulator on a high-stakes caper inside the head of a slumbering CEO; Tom Hardy, Ellen Page, Joseph Gordon-Levitt, and Marion Cotillard are among the stacked supporting cast. Our critic praised “Mr. Nolan’s virtuosity as a conjurer of brilliant scenes and stunning set-pieces. ” (Thriller fans will also enjoy Matt Damon in “ The Talented Mr. Ripley. ”) Ang Lee received an Academy Award nomination for best director for this enthralling mixture of martial arts adventure and heartfelt romance. His narrative is a busy hive of deception, betrayal, loyalty and pride, and while the personal and emotional stakes are high, “Crouching Tiger” is most memorable for its awe-inspiring action sequences — bone-crunching and balletic, thrilling and lyrical, as heroes and villains alike transcend gravity itself. Our critic called it “ a heady and delirious brew. ” (Wuxia admirers will also want to stream “ Shadow ”; fans of high-intensity action should queue up “ Train to Busan ” and “ Haywire. ”) Fresh off the success of his genre-bending “spaghetti westerns, ” the director Sergio Leone brought his signature dusty landscapes, offbeat music, brutal violence and morally flexible protagonists to this Hollywood studio production. Henry Fonda is truly chilling as a ruthless villain, conveying a pure evil not even hinted at in his decades of good-guy turns, and the film’s heroine (Claudia Cardinale) and her tough-guy companions (Charles Bronson and Jason Robards) make an unlikely but effective team. Atmospheric, bracing and effortlessly cool, with an unforgettable closing confrontation. (For a more traditional western, check out John Wayne in the original “ True Grit. ”) Watch on Netflix.

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Description: In Mexico City's wealthiest neighborhoods, the Ochoa family runs a private ambulance, competing with other for-profit EMTs for patients in need of urgent help Action country: Mexico 2019 actor: Josue Ochoa. Nattens änglar dokumentär. I definitely want to get this game now so the ad was successful lol.

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Nattens änglar melodifestivalen. I knew Willem Dafoe would be amazing in this movie, so its almost not worth mentioning; but Robert Pattinsons performance gave me chills. Willem Dafoe was just so good though. Nattens änglar elisabet höglund. Synopsis In Mexico City, the government operates fewer than 45 emergency ambulances for a population of 9 million. This has spawned an underground industry of for-profit ambulances often run by people with little or no training or certification. An exception in this ethically fraught, cutthroat industry, the Ochoa family struggles to keep their financial needs from jeopardizing the people in their care. When a crackdown by corrupt police pushes the family into greater hardship, they face increasing moral dilemmas even as they continue providing essential emergency medical services. Crew Details Genre Director Producers Writer Editor Cinematography Studio Country Language Alternative Title Полуночная семья Popular reviews More fuck and i cannot stress this enough capitalism fuck capitalism "Is this really expensive? " Luke Lorentzen’s second feature sets itself apart from most documentaries by being more atmospheric than informative, and is all the more effective because of it. I haven’t taken a trip to Mexico since Matthew Heineman’s fantastic Cartel Land in 2015, so I am very grateful to Lorentzen for giving me a look at the streets of Mexico City I would never have seen otherwise. The government of Mexico City operates less than 45 emergency ambulances for a population of 9 million people. To fill that gap, people like the Ochoa family (Fer, Josue, and Juan) operate private ambulances that answer a very real need. Whether or not the Ochoas will be paid for their services, after… World Tour 2020 Although Midnight Family is an outstanding documentary, simple and completely non-judgmental in its presentation, I do have a concern about it. My main one is that I can see it being used by Trumpians as another reason to demonise Mexican people. I don't listen to a word out of their fucking mouths, but some people do, and in the process they would miss the point being made here. This isn't just a 'Mexican problem'. This could happen anywhere. This is what happens when you underfund vital public services. 45 ambulances to serve a city of over nine million people, and many of those ambulance crews refusing to venture into certain parts of the city. You then get… Fuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuu. A brief elaboration. The health care situation in Mexico City is the reason Malcolm Tucker coined the term "omnishambles". There are 45 public ambulances for 9 million people, and so private ambulances fill the gap, jumping in with limited regulation, unclear training, and uncertain recompense. MIDNIGHT FAMILY stays close and tight with the Ochoa family as they try to work this situation for their survival. I was bemused when an audience member groaned at an early shot of a family member cleaning blood from a stretcher - what did you *expect* from an ambulance documentary? - but in general the film actually eschews gore, instead carefully modulating between levels of the aforementioned omnishambles so that you never get fully… Una familia trabaja como paramédicos por las noches. Padrísimo documental sobre la jodidísima situación de las ambulancias en la Ciudad de México. ¿Sabían que sólo hay 45 ambulancias públicas en la ciudad y todas las demás son privadas y están mal reguladas? Yo no, pero quizá con eso se puedan imaginar la gravedad de la situación. Y en medio de eso está la familia Ochoa, quienes trabajan en una ambulancia buscando ganarse la vida aunque la falta de regulaciones afecte constantemente su desempeño y el servicio que brindan. Y lo increíble es que uno espera que puedan salir adelante, pero al mismo tiempo está muy cabrón ignorar las faltas que cometen. Horrible. Subrayando lo horrible y contrastando con ello, la… DO BUILD STRONGER MEDICAL EMERGENCY CARE AND AMBULANCES FOR MEXICO DON'T BUILD WALLS thank you for coming to my ted-talk Recent reviews Thrilling and the family is a most unique one. Clearly it's treated as an exotic experience from a foreign director rather than an addressing to a social issue in a country that an outsider could care less about for the sake of an interesting story. Biased and offers no solution, no change, just morbidity. Los Ochoa son el perfecto ejemplo del ingenio mexicano, en un momento te estás riendo como si no hubiera un mañana cuando hace 10 minutos estabas llorando. ¿Por qué los guiones de los últimos años se sienten tan acartonados?, ¿por qué no podemos contar más historias cómo esta? Con el corazón apachurrado y la certeza de cuan bendecidos somos por no haber pasado ningún tipo de accidente. "Midnight Family" is a documentary, but it isn't shot in the traditional style of one. Somewhere in the project lurks the central intimacy of life, and for once we don't receive sound-bite interviews on the people involved. The filmmakers let us get a feeling naturally, by spending time with them. We view their lives firsthand, and gain rather intricate details of their personalities, motives, ambitions; their general struggles of getting by. It would be easy to question why a family would choose to run a private ambulance service in a city where they may or may not get paid. It's only when we know one shocking statistic that their reasoning becomes clear. In Mexico City, the government operates only 45… Chale. Ni la salud se salva de la corrupción en México, todo mal. Pero la fotografía y la edición de este docu están bien chidos. Мексиканская «Аритмия». Все понимаю, конечно: поэзия ночи, дифирамб гражданскому обществу и семье —, но здесь для цельности нет какого-то стержня, основательной мысли. Документалистика — это все же тоже художественное, а не функциональное или этнографическое искусство. Иначе можно было бы показывать реальный хронометраж, снятый за одну ночь, а не 80 минут ИЗБРАННОГО. I cannot believe this wasn't nominated at the Oscars 2020 for best documentary because it's easy the best film 2019. The nervous of the situation about how to live in a capitalism crisis in Mexico City as a private service of ambulance feels so real and cruel. I hope this documentary gets more recognition worldwide soon. essential viewing para todos los cedemecos. Popular Lists More.

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Nattens anglards de. Nattens anglars. In Mexico Citys wealthiest neighborhoods, the Ochoa family runs a private ambulance, competing with other for-profit EMTs for patients in need of urgent help. Just two guys being dudes, living in the moment, not a cellphone in sight. Guests Expected Director Luke Lorentzen and producer Kellen Quinn are expected to attend all screenings. Description The Ochoa family runs a hair-raisingly frenetic private ambulance service in Mexico City. Director Luke Lorentzen captures the madness of their curbside negotiations—the service they provide is an add-on to Mexico’s under-resourced public health system—and the truly life-and-death drama of their everyday existence in a thrilling vérité style. Most of all, we become part of the remarkable Ochoa clan, with their big hearts, business savvy, and a remarkable sense of humor in the face of their chosen harrowing profession. “If it bleeds, it leads — and pays the bills. That’s the uneasy truism and slow-boiling moral of the gripping documentary Midnight Family, about a household of ambulance workers. The title isn’t metaphoric (or not exactly), but refers to the Ochoas, who operate one of the many private ambulances that race through Mexico City. Fantastically shot by the director Luke Lorentzen, the documentary develops an urgency that suits the life-or-death stakes onscreen. By turns terrifying and exhilarating, Midnight Family unfolds with such velocity that it may take a while for your ethical doubts to catch up to what’s happening. When they do, they leave you gasping. ” — Manohla Dargis, The New York Times Director Luke Lorentzen A graduate of Stanford University, Luke Lorentzen made his directing debut with the short Santa Cruz del Islote, winning the Festival’s Best Bay Area Short Golden Gate Award in 2014. He made his feature documentary directing debut with New York Cuts (2015). Film Details Year 2019 Language Spanish Runtime 81 Country USA/Mexico Luke Lorentzen Producer Kellen Quinn, Luke Lorentzen, Daniela Alatorre,
 Elena Fortes Editor Cinematographer Music Los Shajatos Print Source.

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Full watch Midnight Family Online Stream. Nattens änglar dox. Bandes-annonces Casting Critiques spectateurs Critiques presse Photos VOD Blu-Ray, DVD noter: 0. 5 1 1. 5 2 2. 5 3 3. 5 4 4. 5 5 Envie de voir Rédiger ma critique Synopsis et détails La famille Ochoa gère une ambulance privée pour les patients nécessitant une aide urgente. Les Ochoa luttent pour que leurs difficultés financières ne compromettent pas la confiance des personnes qu'ils prennent en charge. Distributeur - Voir les infos techniques Si vous aimez ce film, vous pourriez aimer... Voir plus de films similaires Pour découvrir d'autres films: Les meilleurs films de l'année 2019, Les meilleurs films Documentaire, Meilleurs films Documentaire en 2019. Commentaires.

Nattens anglards de salers. No upcoming screenings. Available No Tickets Available [[ artDate | amDateFormat: "dddd, MMMM Do"]] [[ artDate | amDateFormat: "h:mm A"]] [[]] You may not purchase more tickets at this time. About With striking vérité camerawork, Midnight Family drops us directly into the frenetic nighttime emergency ecosystem of Mexico City. In the midst of high-speed ambulance rides, we meet the Ochoas, a ragtag family of private paramedics, who try desperately every day to be the first responders to critically injured patients. In a city where the government operates only 45 emergency ambulances for a population of over nine million, the family acts as a crucial—but unregistered—underground lifeline. But the job is riddled with police bribes and cutthroat competition. And even though the Ochoa family has a reputation for being trustworthy, they must reckon with the sudden escalation in bribes that could force them to wade into the ethically questionable practice of making money off of patients in dire straits. Midnight Family maintains a breathless speed and urgency throughout. The camera is always exactly where it needs to be, capturing the intense textures and thrills of rides and rescues until, with each repetition, a subtextual story emerges—of a family and a society under profound financial and moral duress. Screens with The Dispossessed Hazari is a traditional faith healer, exorcising patients who've been possessed by jinn. But in Kashmir amidst the world’s longest-running conflict, nothing is as it seems. YEAR 2018 CATEGORY U. S. Documentary Competition COUNTRY Mexico/U. A. RUN TIME 81 min LANGUAGE Spanish SUBTITLES Yes with English subtitles EMAIL PHONE [phone] Credits Director Luke Lorentzen Producers Kellen Quinn Daniela Alatorre Elena Fortes Subjects Juan Ochoa Fer Ochoa Josué Ochoa Manuel Hernández Cinematography Edited By Co Editor Paloma López Carrillo Consulting Editor Mary Lampson Sound Design Matías Barberis Music By Los Shajatos Music Performed By Leonardo Heiblum Jacobo Lieberman Alexis Ruiz Andrés Sánchez Consulting Producers Jamie Meltzer Christian Jensen Artist Bio Luke Lorentzen graduated from Stanford University in art history and film studies. His short film Santa Cruz del Islote (2014) won awards at over 10 international film festivals. His first feature documentary New York Cuts (2015) had its world premiere at the International Documentary Film Festival Amsterdam and its U. premiere at the Camden International Film Festival. Luke is also part of the team behind Netflix's documentary series Last Chance U.

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To be honest I was expecting something else but then I saw Disney so yea the Thumbnail is a bit misleading to dumbasses like me. Soooo r we just gonna ignore the thumbnail 😂. Spotlight is one of my favourite films of all time, so this looks really good. Im calling it, shes gonna be the Santa Claus by the end. Edit Release Dates USA 12 November 2019 (New York City, New York) (premiere) 22 November 2019 (limited) Indonesia 27 November 2019 Philippines Canada 29 November 2019 (limited) Kuwait 5 December 2019 Lebanon Saudi Arabia 6 December 2019 Macao 8 December 2019 (International Film Festival and Awards Macao) Singapore 2 January 2020 Portugal 9 January 2020 Netherlands 12 January 2020 (PAC Festival) 23 January 2020 Spain 24 January 2020 Taiwan 30 January 2020 Russia 6 February 2020 Turkey 7 February 2020 Belgium 19 February 2020 Italy 20 February 2020 France 26 February 2020 Hungary 27 February 2020 UK 28 February 2020 Ireland Argentina 5 March 2020 Australia Chile Greece Finland 20 March 2020 Germany 16 April 2020 Mexico 24 April 2020 Also Known As (AKA) (original title) Dark Waters El precio de la verdad Brazil O Preço da Verdade Canada (English title) Peitelty totuus Sötét vizeken India (Hindi title) Cattive acque Japan (Japanese title) ダーク・ウォーターズ Dark Waters - Verdade Envenenada Тёмные воды Serbia Mutne vode Aguas oscuras 黑水風暴 Turkey (Turkish title) Karanlik Sular Ukraine Темні води USA (working title) The Lawyer Who Became DuPont's Worst Nightmare World-wide (English title) (working title) Dry Run Untitled Todd Haynes Project.

 

MUITO BOM. The first time in 2,000 years. Wait, Santa is the same age as Jesus. Estou no banheiro cagando, se vc quiser escovar o dente usa a que tá no outro banheiro aqui tá fedendo kkk. God bless you sir. And God send to hell the food industry executives. Wow, I can't wait to see this. You won't want to see him mad. This is kinda funny because my middle name is Noel 😂. Synopsis Inspired by the true story of Robert Bilott, an attorney who took on the DuPont company in an environmental suit exposing a decades-long history of chemical pollution in drinking water. Metrics Movie Details Portugal Releases: January 10th, 2020 (Wide), released as Dark Waters - Verdade Envenenada Video Release: March 3rd, 2020 by Universal Home Entertainment MPAA Rating: PG-13 for thematic content, some disturbing images and strong language. (Rating bulletin 2599 (Cert #52368), 10/9/2019) Running Time: 126 minutes Keywords: Scandal Source: Based on Factual Book/Article Genre: Drama Production Method: Live Action Creative Type: Dramatization Production Companies: Participant Media, Killer Films Production Countries: United States Languages: English January 2nd, 2020 Only four limited release announced box office numbers for the final weekend of 2019, but all four were in the $10, 000 club. 1917 led the way with an average of $52, 383 in 11 theaters. That was over the three-day weekend. It earned over $1 million during its five-day debut. Just Mercy was well back with an estimated average of $27, 250 in four theaters over the three-day weekend. Ip Man: The Finale will probably turn out to be poorly named, because the movie earned over $1 million over the three-day weekend and earned an average of $20, 850. I’m sure someone is trying to figure out how to continue the franchise, despite the Finale part of the name. Clemency was next with an average of $17, 682 in two theaters. The final film in the $10, 000 club was Star Wars: The Rise of Skywalker, which earned an average of $16, 430 during its second weekend of release. More... December 19th, 2019 Uncut Gems led the way on the per theater chart with an average of $107, 448 in five theaters. The only film to earn a better average this year was Parasite; however, while that film earned an average of $131, 072 during its opening weekend, it was playing in only three theaters, so Uncut Gems arguably has the better opening. Bombshell also had an explosive opening with an average of $79, 789 in four theaters. The number one film of the weekend, Jumanji: The Next Level, was next with an average of $14, 017. The final film in the $10, 000 club was A Hidden Life with an average of $10, 077 in five theaters. December 12th, 2019 Portrait of a Lady on Fire was the only new release to make an impart on the per theater chart earning an average of $33, 672 in two theaters. If we combine this with its early Awards Season success, we can confidently predict a long run in theaters. The only other film in the $10, 000 club was 63 Up with an average of $10, 313 in two theaters. December 10th, 2019 As expected, the box office collapsed this week, as it always does in a post-holiday weekend. Despite the best efforts of Frozen II and Knives Out, the overall weekend box office fell 50% to $89 million. This is 5. 4% higher than the same weekend last year and that’s the more important figure. Year-to-date, 2019 closed ground with 2018, albeit by a tiny margin and this year is still behind last year by 5. 9% or $630 million at $10. 16 billion to $10. 80 billion. It has been a long time since we’ve seen the box office decline by that high of a percentage in one year; however, 2019 is still on pace to be the second highest grossing year of all time and it still has higher ticket sales than 2017 had at this point, so I think we shouldn’t panic over this. December 8th, 2019 Frozen II fell both faster than expected, and faster than projections based on Friday ’s estimates. However, the film is still managing an estimated $34. 67 million over the weekend for a three-week total of $337. 59 million. This is enough to push it ahead of Joker and into seventh place on the yearly chart. If this holds up, then it will have an excellent shot at topping the first Frozen ’s domestic total, even without the Christmas break coming up. Internationally, the film pulled in $90. 2 million in 48 markets for totals of $582. 1 million internationally and $919. 7 million worldwide. It had no major market openings this weekend, but it is earning an estimated $800, 000 in South Africa, which would make it the second biggest opening for an animated film there, behind only Minions. The film has become the biggest animated film in South Korea with $75. 5 million. It as also topped its predecessor in Russia ($23. 0 million) and Mexico ($21. 1 million) and a lot of smaller markets. December 7th, 2019 As expected, Frozen II earned first place on the Friday box office chart. However, the film fell further than anticipated, earning $7. 84 million—off 77% from last Friday. That was a holiday, so obviously it will bounce back over the rest of the weekend, but projections have the film earning about $36 million compared to our $38 million prediction. This is close enough that I’m satisfied with the result and it is more than enough to keep it in wide release until after the new year. December 5th, 2019 The weekend after Thanksgiving is one of the worst weeks of the year to release a film wide. In fact, many years there are no wide releases. This year, Playmobil gets thrown to the wolves, or to the mercy of Frozen II, to be more specific. I can’t imagine it will survive the competition. In fact, most think the wide expansion of Dark Waters will beat it at the box office and that film isn’t expected to land in the top five. This weekend last year had no wide releases and Frozen II should earn more than last year’s top two films, Ralph Breaks the Internet and The Grinch, earned combined. December should get off to a fast start on the year-over-year competition and hopefully that’s a good omen going forward. November 28th, 2019 Frozen II led the way on yet another chart, this time the theater average chart, earning an average of $29, 339 during its opening weekend. Dark Waters was right behind with an average of $25, 652 in four theaters, which does suggest at least some potential to expand. Jay and Silent Bob Reboot continues its impressive road show run earning an average of $16, 140 in five theaters. Citizen K was the final film in the $10, 000 club with an opening of $10, 571 in its lone theater. November 24th, 2019 It didn’t look like Frozen II would match our $125 million prediction based on Friday ’s estimate, but if weekend estimates hold, it will did so with $127. 0 million. This is not only the highest opening weekend for an Animated film in November, but anytime outside of summer. This greater-than-anticipated internal multiplier stronger suggests better legs overall. It is a family film opening just before Thanksgiving, so it was expected to have long legs regardless, but its reviews and its A minus from CinemaScore were merely good and not great. Add in the sequel effect and the film leg’s wouldn’t be nearly as stunning as the first Frozen ’s legs were. However, after this result, I’m a lot more confident the film will still be at least a truly wide release come January, if not a saturation level release, as its predecessor was. November 22nd, 2019 There are not a lot of limited releases on this week’s list, but a few are earning the buzz and reviews needed to find an audience in theaters. This includes Dark Waters, the biggest release of the week, as well as Varda by Agnès, which could become a breakout hit for a documentary. September 19th, 2019 Real-life drama starring Mark Ruffalo opens November 22... Full Movie Details. Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office. Weekend Box Office Performance Date Rank Gross% Change Theaters Per Theater Total Gross Week 2020/01/10 8 $43, 431 42 $1, 034 1 2020/01/17 11 $27, 197 -37% 39 $697 $87, 337 2 2020/01/24 24 $3, 222 -88% 9 $358 $99, 845 3 2020/01/31 - $547 -83% $274 $102, 687 4 2020/02/14 $531 $266 $102, 672 6 Box Office Summary Per Territory Territory Release Date Opening Weekend Opening Weekend Theaters Maximum Theaters Theatrical Engagements Total Box Office Report Date Aruba 12/12/2019 $781 0 $1, 379 1/10/2020 Bahrain 12/5/2019 $7, 050 15 $12, 404 12/20/2019 Croatia 2/6/2020 $14, 006 2/14/2020 Curacao $771 $1, 653 Egypt 12/4/2019 $7, 014 $13, 549 Hong Kong 1/30/2020 $38, 219 20 31 $61, 177 Indonesia 11/29/2019 $73, 655 50 77 $139, 013 2/5/2020 Iraq $1, 516 7 $3, 030 Jordan $2, 500 5 $5, 017 Kuwait $25, 359 12 $46, 237 Laos 1/23/2020 $0 $2, 000 Lebanon $7, 401 14 $13, 287 Netherlands 1/24/2020 $149, 889 72 74 271 $572, 801 2/17/2020 North America 11/22/2019 $102, 606 2110 5044 $11, 136, 084 Oman $3, 749 13 $6, 795 Philippines 11/27/2019 $4, 636 18 $6, 954 Portugal 94 2/18/2020 Qatar $14, 430 21 $25, 230 Russia (CIS) $38, 920 219 2/12/2020 Singapore 1/2/2020 $40, 220 South Africa 1/31/2020 $14, 600 $32, 179 Spain $303, 827 223 543 $630, 627 2/13/2020 Taiwan $50, 866 $76, 436 Thailand $48, 503 Turkey 2/7/2020 $18, 240 45 United Arab Emirates $51, 024 53 $95, 680 West Indies $154 $189 Worldwide Total $13, 144, 282 Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at. For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
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Baseado numa história verdadeira. Robert Bilott (Mark Ruffalo) é um advogado de defesa que confronta a empresa química DuPont para expor um horrível segredo de poluição ambiental. Robert Bilott é um advogado com anos de experiência em defender grandes empresas. Quando um agricultor o contacta devido à morte por envenenamento de 190 cabeças de gado, Bilott decide investigar. É assim que percebe que por detrás de tudo aquilo está a DuPont Corporation, uma poderosa multinacional que, durante os últimos 40 anos, derramou deliberadamente compostos químicos ilegais nas águas da cidade, prejudicando a saúde dos milhares de pessoas que ali residem. Ciente do perigo que corre, mas empenhado em fazer justiça seja a que preço for, Bilott arrisca tudo ao representar a população contra os interesses económicos de uma das mais relevantes indústrias dos EUA. Com realização de Todd Haynes (“Velvet Goldmine”, “Longe do Paraíso”, “I’m Not There – Não Estou Aí”, “Carol”), um drama ambiental baseado em factos reais. O argumento, da autoria de Matthew Michael Carnahan e Mario Correa, tem por base o artigo “The Lawyer Who Became DuPont’s Worst Nightmare”, escrito por Nathaniel Rich e publicado na “New York Times Magazine”. Mark Ruffalo, Anne Hathaway e William Jackson Harper dão vida às personagens. Versão Original – VO (em inglês com legendas em português) FICHA TÉCNICA Título original: “Dark Waters” | Classificação: M/14 | Duração: 126 min | País: Estados Unidos da América | Género: Drama | Data de estreia: 9 JAN 2020 | Realização: Todd Haynes | Argumento: Matthew Michael Carnahan e Mario Correa | Produção: Mark Ruffalo, Christine Vachon e Pamela Koffler | Elenco: Mark Ruffalo, Anne Hathaway, William Jackson Harper.

1 total views Info Playlist Chat Poll views Chapters Highlights Thank you for taking our poll! Sorry, the poll has ended 1 videos ( 577. 000) Download Full Dark Waters - Verdade Envenenada Online Free Watch Here Mojo with Bill Pullman January 18, 2020 Videos Playlists About Privacy Search for videos Cancel of Dark Waters Watch Full Length Full Length Stream OFF AIR Download Full Dark Waters - Verdade Envenenada Online Free Watch Here Mojo with Bill Pullman 2 weeks ago 1 views 1 videos Download Free Dark Waters Solar Movies no sign up Without Paying Playlist ( 577. 000) ↡↡↡↡↡↡↡↡↡↡↡ ⇧⇧⇧⇧⇧⇧⇧⇧⇧⇧⇧ USA / Anne Hathaway / release date 2019 / A corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution / Genre Biography. No privacy policy was made available to date. :.

This is gonna be a hell of a story. The cast, don't get me started on that. Dark waters verdade envenenada. The story reminds me on movie 'erin brockovich. Chidi, what are you doing? You're the morality guy. This movie looks so good. 4 nominations. See more awards  » Learn more More Like This Biography | Crime Drama 1 2 3 4 5 6 7 8 9 10 7. 5 / 10 X American security guard Richard Jewell saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely reported that he was a terrorist. Director: Clint Eastwood Stars: Paul Walter Hauser, Sam Rockwell, Brandon Stanley Mystery 6. 5 / 10 Consummate con man Roy Courtnay has set his sights on his latest mark: the recently widowed Betty McLeish, worth millions. But this time, what should have been a simple swindle escalates into a cat-and-mouse game with the ultimate stakes. Bill Condon Helen Mirren, Ian McKellen, Russell Tovey 6. 9 / 10 In 1950s New York, a lonely private detective afflicted with Tourette's Syndrome ventures to solve the murder of his mentor and only friend. Edward Norton Edward Norton, Gugu Mbatha-Raw, Alec Baldwin World-renowned civil rights defense attorney Bryan Stevenson works to free a wrongly condemned death row prisoner. Destin Daniel Cretton Brie Larson, Michael B. Jordan, Jamie Foxx Romance Sport 7. 7 / 10 Traces the journey of a suburban family - led by a well-intentioned but domineering father - as they navigate love, forgiveness, and coming together in the aftermath of a loss. Trey Edward Shults Taylor Russell, Kelvin Harrison Jr., Alexa Demie 6. 8 / 10 A group of women take on Fox News head Roger Ailes and the toxic atmosphere he presided over at the network. Jay Roach Charlize Theron, Nicole Kidman, Margot Robbie Fantasy Horror Years following the events of "The Shining, " a now-adult Dan Torrance must protect a young girl with similar powers from a cult known as The True Knot, who prey on children with powers to remain immortal. Mike Flanagan Ewan McGregor, Rebecca Ferguson, Kyliegh Curran 7. 4 / 10 A young actor's stormy childhood and early adult years as he struggles to reconcile with his father and deal with his mental health. Alma Har'el Shia LaBeouf, Lucas Hedges, Noah Jupe Action 8. 2 / 10 American car designer Carroll Shelby and driver Ken Miles battle corporate interference, the laws of physics and their own personal demons to build a revolutionary race car for Ford and challenge Ferrari at the 24 Hours of Le Mans in 1966. James Mangold Matt Damon, Christian Bale, Jon Bernthal Sci-Fi 6. 3 / 10 A secluded farm is struck by a strange meteorite which has apocalyptic consequences for the family living there and possibly the world. Richard Stanley Nicolas Cage, Joely Richardson, Madeleine Arthur 7. 6 / 10 The Austrian Franz Jägerstätter, a conscientious objector, refuses to fight for the Nazis in World War II. Terrence Malick August Diehl, Valerie Pachner, Maria Simon History The story of the Battle of Midway, told by the leaders and the sailors who fought it. Roland Emmerich Ed Skrein, Patrick Wilson, Woody Harrelson Edit Storyline A corporate defense attorney takes on an environmental lawsuit against a chemical company that exposes a lengthy history of pollution. Plot Summary Plot Synopsis Taglines: The Truth Has a Man on the Inside Details Release Date: 6 December 2019 (USA) See more  » Also Known As: The Lawyer Who Became DuPont's Worst Nightmare Box Office Opening Weekend USA: $102, 606, 24 November 2019 Cumulative Worldwide Gross: $12, 384, 757 See more on IMDbPro  » Company Credits Technical Specs See full technical specs  » Did You Know? Goofs A nighttime shot of 2015 downtown Cincinnati shows a lit up Ferris wheel. The SkyStar Wheel arrived in Cincinnati in 2018. See more » Quotes Robert Bilott: You're a run of a mill dump, nothing but trash. Edward Wallace: You sound like my first girlfriend. See more » Soundtracks The Heart Is a Lonely Hunter Written by Ed Hill (as Edward Monroe Hill), Mark D. Sanders (as Mark Daniel Saunders) and Kim Williams Performed by Reba McEntire Published by Universal Music - Careers, Universal Music Corp, WC Music Corp, Sony/ATV Cross Keys Publishing Courtesy of MCA Nashville under license from Universal Music Enterprises See more ».

Dark waters – verdade envenenada

Can't wait for this movie my aunt is in it. What makes PFAS toxic? They are fluorinated chemicals and fluorides are developmental neurotoxins. Take Cinema Magazine 23, 189 Followers · Magazine Tiffosi Denim 154, 943 Followers · Clothing (Brand) Nossa Alegria Oficial 2, 203, 734 Followers · Musician/Band Woof Woof 6, 948, 646 Followers · Media/News Company Os Filmes da Zona Indie 371, 980 Followers · Movie Genre Doces ou Salgadas? 6, 684 Followers · News & Media Website Cinema Pla'net 8, 377 Followers · Entertainment Website filmSPOT 13, 391 Followers · News & Media Website Noite e Música Magazine 34, 920 Followers · Arts & Entertainment Cinemas NOS 169, 499 Followers · Movie Theater Close Up 34, 720 Followers · Movie Cervejeira Lusitana Centro Colombo 47, 431 Followers · Steakhouse
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ERIN BROCKOVITCH : Rated R version. I am so dissappointed from the trailer. Thumbnail got me hyped. The let-down tho...

PRIS Audiovisuais Yesterday at 2:06 AM Palavra final para Theron e Robbie. Dois dos mais marcantes desempen... hos do ano (com as mais que merecidas nomeações aos Oscars) e que confirmam o talento de duas senhoras que desmistificam a ideia que basta ter uma carinha laroca para triunfal na indústria cinematográfica. Seguramente, um dos filmes do ano. E um dos grandes trailers do ano, também! ” - Claudio Sousa, Doces ou Salgadas Critica completa aqui: See More. Dark waters - verdade envenenada 2d. Act 1 - 6.9
Act 2 - 7.7
Act 3 - 8.3

Film is about the corruption and negligence by the DuPont company in knowingly poisoning an entire town
Learn about teflon which has a chemical called C-8 that has polluted the towns water in West Virginia giving cancer to thousands
Film shows us the power of this company and how they have control over the town and don't even fear the EPA which should be the ones putting standards on chemicals not the companies that stand to profit
Really mind blowing true story about how a corporate lawyer helps a small town farmer and opens up a massive corruption scandal
Learn that almost every human on the planet has been exposed to C-8 which the human body cannot break down and can lead to cancer, insane the negligence that went into using this product for financial gain
Truly disgusting and infuriating to watch this film unfold as you know things like this are still going on and how Ling they can take to be made right
The EPA needs to be given more power to keep these giant chemical companies in check because this film proves they will use their power to do whatever they want and in this case poison an entire town
Ruffalo gives a good performance as the real life Robert Bilott who uncovers everything we see in the film
Robert goes to bat for this small town farmer even though he is a corporate defense attorney, showing he cares
Hathaway gives a good performance and has a great scene with Tim Robbins at the hospital
Bill Camp also gives a great performance as the small town farmer who is fighting for his family's well being and his town and wants DuPont to pay for what they knowingly did
Film is always kept interesting as knew discoveries keep unfolding through Roberts eyes and we go on this journey with him
We feel is anger and I felt angry along with him as we just keep finding out more and more awful things
Haynes does a great job keeping this film moving throughout as I never lost interest
I like the film grain and some of the shots were pretty impressive but they always fit the scene
Overall a very important film for people to see and know about for themselves.

Take Cinema Magazine 23, 189 Followers · Magazine Tiffosi Denim 154, 943 Followers · Clothing (Brand) Nossa Alegria Oficial 2, 203, 734 Followers · Musician/Band Woof Woof 6, 948, 646 Followers · Media/News Company Os Filmes da Zona Indie 371, 980 Followers · Movie Genre Doces ou Salgadas? 6, 684 Followers · News & Media Website Cinema Pla'net 8, 377 Followers · Entertainment Website filmSPOT 13, 391 Followers · News & Media Website Noite e Música Magazine 34, 920 Followers · Arts & Entertainment Cinemas NOS 169, 499 Followers · Movie Theater Close Up 34, 720 Followers · Movie Cervejeira Lusitana Centro Colombo 47, 431 Followers · Steakhouse.
Hollywood pretending to know better than anyone else, they are part of the problem. Besides, how about you stop poisoning your own citizens with chlorine-washed chicken or hormone-treated beef first and foremost.
Dark waters - verdade envenenada.

That's a good plot idea for a christmas movie. Dark waters - verdade envenenadanada.

The food additive sugar kills more people that any other food stuff / additive

13 days sugar free. Never felt better before. Dark waters - verdade envenenada imdb. Don't give up, it is interesting to the very last minute. I was aware of a lot of things discussed. The one fact that shocked me most, was the information about baby formula and skyrocketing obesity numbers for 6-month old babies and eating habits during pregnancy. I hope that my little comment motivated you to listen and forward this post. This reminds me of Erin Brockovich 2.0. Looks like a goodie. I quit sugar six months ago, and I've just had my fourth menstruation without cramps. And this after 25 years of cramps and pain. I wish someone would have told me 25 years ago. YouTube.

 

 

 

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1. Reporter Cinebox Cinemas

 

Dark Waters - Verdade Envenenada

8.3 (98%) 609 votes

Dark Waters - Verdade Envenenada

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Cast - Issa Rae 86 m Release Date - 2020 Genre - Action reviews - A couple (Issa Rae and Kumail Nanjiani) experiences a defining moment in their relationship when they are unintentionally embroiled in a murder mystery. I feel it's pretty obvious that Lawrence wrote the description for this video.

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Columnist Hindustan News
Biography: Hindustan News विश्व में सबसे तेजी से बढ़ती हुई हिंदी समाचार वेबसाइट है। यह हिंदी समाचारपत्र फ्लैगशिप ब्रांड- हिंदुस्तान की वेबसाइट है |

 

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Directors=Matthew Pope / duration=85 minute / writer=Matthew Pope / year=2019 / Rating=28 vote / A woman's panicked decision to cover up an accidental killing spins out of control when her conscience demands she return the dead man's body to his family. Time left: 80 years Talks back to mother Time left: About 10 seconds. Reading the title I thought this was gonna be some teenage drama where a girl doesnt reply back to her ex boyfriend but this. God. I remember really liking this book back when it came out but this seems a lot more cliche than I thought it was back then lol.

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This class needs to be put in a Battle Royale, that's the way to deal with these children.

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Fourth comment😏. If start thinking in drawers, call it deathcore. INSANE! <3. Wow - I love this. People from Final Destination be like: “Why does it say -21 minutes?”. Watch Blood on 2018 Online Full. Blood`on`Full`Movie`to Watch blood on her Online Theguardian…. Missed the chance to call the film literally “Sadie”.

I can't stay calm on my chair listening this but i wonder if i was there. hmmm :P. Thats the girl from Degrassi lol. Xigmazer, i spit on that comment. Is it becoming a thing to just summarize the whole movie in the trailer now, cause if it is just tell us and we won't think some studio's and editors are incompetent. Wow an original concept! 👏👏👏. This movie is why women don't swipe right on me. This feels like a possibly more intense version of the movie Split, to me. Still looks interesting though. A bully gets a taste of karma. My kind of movie. Why is this girl dying in every show shes in.

Everyone out hear like: loved the book not impressed by the trailer. I didnt like the book but I have hopes for this film. Joe on a whole other level of crazy with this one. So a bully gets a taste of their own medicine? Sounds good. Cant believe theres actually a real app💀. I thought they gonna play Nirvana's song.

Thanks for showing most of the movie and it looks great. Comments: it should be a natural cause death yeah like final destination? This movie is too much like one missed call. That ring tone was catchier too. 1:06 Her blonde friend resembles WWE'S Charlotte Flair.

1. Reporter: Dread Central
2. Biography: News, interviews, contests, and more for horror fans around the world! Contact us at [e-mail].

 

 

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1. 95minutes
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3. actor - Meg Ryan
4. 8,2 of 10
5. audience score - 183005 vote
6. Info - Rob Reiner's romantic comedy When Harry Met Sally stars Billy Crystal and Meg Ryan as the title pair. The film opens with the two strangers, both newly graduated from the University of Chicago, share a car trip from Chicago to New York, where they are both going to make their way. During the trip, they discuss aspects of their characters and their lives, eventually deciding it is impossible for men and women to be "just friends." They arrive in New York and go their separate ways. They meet a few years later on an airplane and Harry reveals he is married. They meet again at a bookstore a few years after that where Harry reveals he is now divorced. From that point on, the two form a friendship. Eventually their closeness results in their respective best friends (played by Carrie Fisher and Bruno Kirby) meeting and falling in love with each other. At a New Year's Eve party Harry and Sally confront the complex tangle of emotions they feel for each other

Zeke dude is really convincing tho. He scares me and gave me anxiety lmao.
"I'll have what she's having. " A 1989 Romantic Comedy directed by Rob Reiner, written by Nora Ephron, and starring Billy Crystal and Meg Ryan. Deadpan Snarker Harry Burns (Crystal) and Wide-Eyed Idealist Sally Albright (Ryan) first meet in 1977, when they share a drive from college in Chicago to New York City. He's seeing her friend Amanda and comes on to her; she turns him down but says they can be friends. He points out that the guy friend will always be attracted to the female friend and want to sleep with her, thus they decide not to be friends. They revisit the question five years later when they happen to find themselves sharing an airline flight, once again resolving that no, they cannot. Five years after that, they re-meet after having been dumped by their other halves, and become friends. They resolve to just be friends... for most of the movie they succeed in this. Their relationship has little sexual tension, and is punctuated by extended conversations where they discuss love, friendship, scatological humor and Casablanca. The Aesop seems to be that people really need friendships - the nonsexual comfort zone Harry and Sally establish with each other is what allows them to move on from their failed relationships. To each other, in case you haven't figured that out yet. In terms of the Romantic Comedy genre, this movie's main contribution was its popularization of Contemplate Our Navels as a form of Character Development and emotional connection — Harry and Sally are defined almost entirely by their interactions with each other. What external factors do exist they usually discuss with each other directly and personally. Viewers familiar with the modern Rom Com may be caught off-guard, as this movie lacks the High Concept and Hotter and Sexier tropes the genre is famous for. There's almost no sex or even provocative clothing. There's vastly more scenes of people in bed, alone, wearing pyjamas and talking on the phone than getting their sex on. The "R" rating was likely due to the famed restaurant scene and couple of swearwords. In 2011, Billy Crystal and Rob Reiner appeared in a spoof trailer on for When Harry Met Sally 2, where Executive Meddling has turned a continuation of the original film into a shameless cashing in on the then-current vampire craze. I'd like some Trope on the side: '70s Hair: Sally is sporting Farrah hair in college. Ain't Too Proud to Beg: Harry offers to do the "traditional Christmas grovel" in apology. Alliterative Name: Harry's ex, Helen Hillson. However, there's a bit of Values Dissonance here because Harry mentions that she's keeping her maiden name (presumably for business purposes) during his engagement. This is clearly meant as foreshadowing since Helen's not that into Harry and will ditch him at the first opportunity. Twenty-five years later, a woman keeping her own name still isn't that common, but it's not a red flag. Analogy Backfire: Harry articulating why enough time has passed that he can ignore having sex with Sally that one time. Also a hint that he's sliding back into his old, insufferable self. Harry: You know how a year to a person is like seven years to a dog? Sally: [ beat] Is one of us supposed to be a dog in this scenario? Armor-Piercing Slap: Sally cracks her hand on Harry's face at Jess and Marie's wedding. Ooph. Arc Words: "Men and women can never be friends. " Backhanded Apology: A famous one delivered by Harry at the end. Backhanded Compliment: Lampshaded by Sally when Harry compliments her on being less "uptight" than she used to be. Harry: Alright, you're still as tough as nails. Bad Date: Harry and Sally spend a good deal of time talking about these. Mostly played for comedy, but can get dramatic, too. Bad News in a Good Way: Helen, true to her profession, suggests a 'trial separation' from Harry. They can still date each other. ("Like this is supposed to cushion the blow. ") Beard of Sorrow: Harry has had a few weeks' growth by the time of his divorce. Beta Couple: Jess and Marie. Big Applesauce Blind Date: Harry and Sally set one up for each other with their respective best friends. Jess and Marie wind up falling for each other instead. Break-Up/Make-Up Scenario Briar Patching: Harry is the undisputed master. The Cameo: The director's mother Estelle Reiner as the "I'll have what she's having" lady. Catchphrase: "You're right. You're right. I know you're right, " for Marie. Chekhov's Gun: Harry roping Sally into singing a show tune duet. He apparently bought the karaoke machine, because he uses it to serenade Sally in apology later. Chekhov's Lecture: Harry's hypothesis on why men and women can't be platonic. Child Hater: Harry getting into a spat with a kid at the ballfield. Kid: (Big jerk. ) Harry: (Little creep. ) Comically Missing the Point: Sally loudly fakes an orgasm in the middle of a restaurant, and a patron thinks something Sally ate was just that good. Earlier, when Sally tells Alice and Marie that she and Joe have broken up, Marie's response is, "You mean Joe's available? " Damned by Faint Praise: What Jess mistakenly thinks applies when Harry mentions that the girl he wants to set him up with Jess on a blind date (i. e. Sally) has "a good personality". Danger Takes A Back Seat: Played for Laughs on the plane, when Sally fails to escape Harry's recognition. Deadpan Snarker: Harry more than Sally, but she has her moments too. Duck Season, Rabbit Season: Arguments with Harry usually devolve into this. Everyone Can See It: Most notably mentioned in the post-sex phone call scene. Eye Take: During a montage, there is a quick scene of a Chinese restaurant. Sally gesticulates wildly as she's describing her order, and the waiter shares one of these with Harry. Fan Myopia: In-universe. Jimmy Breslin is pretty much the reason why Jess became a writer, but never mind. Fate Drives Us Together: "Someone is staring at you in Personal Growth. " Not just the title couple, but one of the old couples. Couple #4 is an inversion; they were born in the same building, worked in the same office, and never met once (until a fateful elevator ride in another city). Faux Documentary: The interviews with elderly married couples that are sprinkled throughout the movie. The stories were based on real-life couples, but portrayed by actors. Finishing Each Other's Sentences: Couple #3 engage in this. Foreshadowing: Helen opting to keep her surname. (It should be noted that plenty of happily-married women keep their surname, but it's definitely meant to be ominous here. ) Harry's confession that his dates always end with him desperate to put his clothes on and flee out the door. Freak Out! : Harry has a meltdown after bumping into his ex and her new boyfriend at The Sharper Image. Sally seems to be showing more maturity than he — that is, until she hears about Joe's engagement. The Freelance Shame Squad: "It just so happens that I have had plenty of good sex! " [cricket chirp] Funny Answering Machine: In reverse. Harry fills up Sally's machine with profuse apologies. *beep* "Hi, it's me! It is the holiday season and I thought I'd just remind you that this is the season for charity and forgiveness. And although it's not widely known, it is also the season of groveling. So if you felt like calling me back, I'd be more than happy to do the traditional Christmas grovel. " And in the next scene: Gallows Humor: Harry peruses the obituary section when hunting for apartments. Later, he makes the mistake of cracking wise about Ethiopian food in front of his date. "We order two empty plates, and then we can leave. " Gilligan Cut: "If she wants to call me, she'll call me. I'm through making a schmuck out of myself! " [cut to Harry singing karaoke to Sally over the phone] Girl of the Week: The other people Harry and Sally briefly date (Julian; "Aunt" Emily in particular) Hello, Attorney! : Helen. Hypocritical Humor: Sally can't recall the name of her room-mate in college. A scene later, she shames Harry for forgetting her name, too. Harry: Riiiight, I remember her, Amanda Rice— Sally: Reese. Harry: —Amanda Reese, that's what I said. (changes subject) Jess and Marie promising not to ditch their respective dates... and then diving head-first into the nearest cab together. Jess and Marie being woken up by a pair of desperate phone calls. I Don't Want to Ruin Our Friendship: Ironically, it proves Harry's point that sex ruins friendships. Not that Harry feels very victorious about it. The Immodest Orgasm: Sally fakes one in the middle of a crowded deli to prove a point to Harry. Some consider this all there is to know about When Harry Met Sally. Incredibly Lame Fun: Battery-operated pith helmet! With fan. Grieving over his ex, Harry finds himself watching reruns of Leave It to Beaver on Telemundo. By his own admission, he's not a well man. "Buenos dias Señor Cleaver. ¿Donde esta Wallace y Theodore? " Inelegant Blubbering: Sally hearing the news of her ex's engagement. Insistent Terminology: The official title of the film is When Harry Met Sally..., including the ellipses. Jewish Complaining: While it is never explicitly stated that Harry is Jewish, he does find ways to complain about the most inane things, like Auld Lang Syne. Joisey: During his doomed date with Marie, Harry reveals his birthplace: Haddonfield. Kavorka Man: Harry must be a walking petri dish of venereal disease by this point. (Sally lampshades) Husband #3 cannot keep track of his past conquests when relating his story. His wife does, though. Lost Love Montage: Harry flashes back to his times with Sally on New Year's Eve. The montage is so powerful, it drives him to sprint across the city to reunite with her. Love Epiphany / Race for Your Love: Harry's running through the streets on New Year's Eve. Loving Details: During Harry's Love Confession at the end, he lists several of Sally's small quirks as things he loves about her. Mars-and-Venus Gender Contrast: Played with a little bit, but mostly played straight. The Matchmaker: Jess and Marie. Matchmaker Crush: Harry and Sally set each other up with their best same-gender friends. Marie and Jess hit it off with each other instead. Meaningful Name: Sally Albright, and Harry Burns. Modesty Bedsheet: Sally and Harry sport the classic "L"-shaped bedsheet. Most Writers Are Writers: After Harry reveals that his wife's been cheating, Jess all but breaks the fourth wall. "I'm a writer, I know dialogue, and that was particularly harsh! " Nietzsche Wannabe: Harry, especially as a young man. Not Staying for Breakfast: Harry's MO. Sally: You know, I'm so glad I never got involved with you. I just would have ended up being some woman you had to get up out of bed and leave at 3:00 in the morning and go clean your andirons... Opposites Attract: Sally is perky and obsessive with structure, while Harry is morbid and obnoxious. Oral Fixation: Harry and his grape seeds. [*ptooey*] Overcomplicated Menu Order: Sally's Establishing Character Moment is this order in a diner: Sally: I'd like the chef salad, please, with the oil and vinegar on the side. And the apple pie a la mode. Waitress (writing): Chef and apple a la mode... Sally: But I'd like the pie heated, and I don't want the ice cream on top, I want it on the side. And I'd like strawberry instead of vanilla if you have it. If not, then no ice cream, just whipped cream, but only if it's real. If it's out of a can, then nothing. Waitress: Not even the pie? Sally: No, just the pie, but then not heated. Precision F-Strike: It's truly startling when Sally drops an F-bomb. The Quiet One: "I'm Ben Small, of the Coney Island Smalls. " Rapid-Fire "Yes! ": During the restaurant scene where Sally fakes an orgasm, she repeatedly yells "Yes! " near the end. Nearby customer: I'll have what she's having. Real Life Writes the Plot: The movie was based on Director Rob Reiner's own dating experiences and frustrations (he was recovering from a divorce just as Harry was), and, as he was single at the time, originally Harry would not get with Sally at the end. The decision of the happier ending where they get together apparently was a result of Reiner meeting and eventually marrying a woman during the film's production. The crowd doing the Wave during an intensely emotional conversation was something that actually happened to Reiner. And Sally's habit of ordering belongs to Nora Ephron. Real Men Hate Affection: Harry confiding about his divorce in the least-intimate setting possible: a football game. The crowd roars each time Harry shares a new revelation. Recurring Riff: "It Had To Be You" pops up all over the place — it's practically the theme song for Harry and Sally's relationship. Rule of Symbolism: After the falling-out with Harry, we see Sally stumbling around town with a Christmas tree she can't manage. It's tough to go it alone. Second Love: Harry and Sally become friends once their respective relationships have ended. Seinfeldian Conversation: Arguing over whether Ingrid Bergman should have stayed with Humphrey Bogart in Casablanca. At the very end, Harry questions the message of "Auld Lang Syne". "Does that mean we that should forget old acquaintances or does it mean that if we should happen to forget them, we should remember them? — which is impossible because we already forgot them! " Serious Business: Jess gets very competitive when playing Charades. Sex Changes Everything: Harry's theory that men and women can't be friends because sex always gets in the way. Single Woman Seeks Good Man Skewed Priorities: Harry's ex-wife waited a week to tell him she wanted a divorce because she didn't want to ruin his birthday. Slap-Slap-Kiss:.. back to Slap, again. Soundtrack Dissonance: Harry mistakenly sings a song from Oklahoma! in a department store, summoning his ex-wife and her boyfriend over. "Surry With a Fringe on Top" continues to blare over the awkward silence. Split-Screen Phone Call: Over the closing credits of Casablanca. " Best last line of a movie ever! " Later used to even better effect with a four-way (three components, but four people, the middle two sharing a bed) split screen call when Harry and Sally simultaneously call Jess and Marie. Status Cell Phone: Harry has a fake plastic car phone, just so he can fake talking on it, to look rich and important when someone else is talking on theirs. Stepford Smiler: Throughout the film, Sally claims to be totally over her commitment-phobic boyfriend. That is, until he promptly proposes to somebody else. Cue explosion. Stunned Silence: After their first meal together, Harry stares at Sally like she's from Mars. The entire diner after Sally's 'orgasm'. Super OCD: Sally obsesses over the most bizarre of minutiae, like not having sauces on her food (but on the side) and putting envelopes into the post box one at a time. There Are Two Kinds of People in the World: High-maintenance women, and low-maintenance women. Sally:.. Ingrid Bergman is low -maintenance? Harry: An L. M. Definitely Thousand-Yard Stare: Post-coital Harry in Sally's bed. Toilet Seat Divorce: The wagon wheel coffee table. From Hell. Inverted, with Harry transferring his own pent-up rage toward his ex on Jess and Marie. Not one to take chances, though, Jess bins the table. Sally's boyfriend in college broke up with her because she wore panties embroidered with the days of the week. And "Sunday" was missing. J'accuse! Sally: They don't make "Sunday". Harry: Why not? Sally: Because of God. Tongue Twister: "But I would be proud to partake of your pecan pie. " Unsatisfiable Customer: Sally is the Berlin Wall of gourmets. Everything needs to be separate. Harry: "On the side" is a very big thing with you. Wedding Day: Marie and Jess's, where Harry and Sally have a post-sex fight. Why Can't I Hate You? : Sally's response to Harry's Love Confession at the end. Your Approval Fills Me with Shame: Harry is a bit too quick in agreeing with Sally that it was a mistake to have sex with her. Your Cheating Heart: Marie has a long-term affair with the married Arthur. Sally continually reminds her that Arthur is never going to leave his wife; Marie always agrees, but a few scenes later, she's discussing him yet again...
1 1 Posted by 3 days ago comment 100% Upvoted Log in or sign up to leave a comment log in sign up Sort by View discussions in 1 other community no comments yet Be the first to share what you think! More posts from the AutoNewspaper community Continue browsing in r/AutoNewspaper r/AutoNewspaper Automated News Feed Subreddit No Censorship, Just News. 8. 6k Members 406 Online Created Oct 28, 2016 Restricted help Reddit App Reddit coins Reddit premium Reddit gifts Communities Top Posts Topics about careers press advertise blog Terms Content policy Privacy policy Mod policy Reddit Inc © 2020. All rights reserved.
Filme com Julian.

My favorite history movie!💑💕💕❤👑🎇. Hola porque no la suben la pelicula. Nobody's going to say it? FINE! I'll do it! I'll have what u/batchpleasecookies is having. Honestly guys. COME ON! Joking aside, really impressive OP. May 4th is her birthday! Happy Birthday Audrey. 1989-2019. Is there something I'm missing? The Bucket List (2007) made money, but wasn't received well, and it looks like that's about the most successful movie he's put out since the 90's. Not only that, but it looks like critics have pretty much torn everything he's made since then to shreds. I'm mostly surprised that he still seems quite active, but the quality of his output seems to be drastically weaker than the classics he used to pump out yearly. John Carpenter is another director I can think of whose career seemed to fizzle in the 90's. Any thoughts on this subject? UPDATE: What are your favorite incorrect director timelines? I could delete this thread, or we could talk about the influence Zack Snyder had on George A. Romero's Day of the Dead, idk.

Of all the gin joints in the world she walks into mine. Audrey hepburn's the one you have always wanted to do it with Kinda racey no. Love this movie ! that commebnt ba by didn't said to her sister' about the monks sitting their self on fire to proste. well I was across the street right he did that! it was 1968 downtown SAigon I deen. Nicholson never blinked once. That's crazy. 1 1 Posted by 4 days ago comment 100% Upvoted Log in or sign up to leave a comment log in sign up Sort by View discussions in 1 other community no comments yet Be the first to share what you think! More posts from the NYTauto community Continue browsing in r/NYTauto r/NYTauto NYT News Automated Feed No Censorship, Just News. 140 Members 12 Online Created Oct 27, 2016 Restricted help Reddit App Reddit coins Reddit premium Reddit gifts Communities Top Posts Topics about careers press advertise blog Terms Content policy Privacy policy Mod policy Reddit Inc © 2020. All rights reserved.

De réception. Background The witty and likeable, lightweight, old-fashioned romantic comedy, When Harry Met Sally... (1989) was intended to answer the sexual politics question: "Can two friends sleep together and still love each other in the morning? " The engaging, episodic film keenly observes romance, relationships between males and females, friendship and sex. Two long-time acquaintances Harry Burns (Billy Crystal) and Sally Albright (Meg Ryan) grapple with this question over a 12-year period (beginning in the spring of 1977), as their relationship grows and matures. Their love is not "at first sight" but takes years to develop. [Note: Their contrasting names reflect their polar-opposite attitudes toward life: the dark, angst-driven, eternally pessimistic but warm nature of the male, with the bright-eyed, perky, fresh-faced, effervescent and happier character of the female. In fact, Harry says early on, "When I buy a new book, I always read the last page first. That way, in case I die before I finish, I know how it ends. That, my friend, is a dark side. " He is basically sexist and irascible, while she fights back in a persnickety, eccentric, feminist way. ] The film's sole Academy Award nomination was for Nora Ephron's Best Original Screenplay - written directly for the screen - it lost to Tom Schulman's script for director Peter Weir's Dead Poets Society. [Note: Ephron would go on to write and direct other romantic comedies, including Sleepless in Seattle (1993) (with Rob Reiner in an acting role) and You've Got Mail (1998) (both with Meg Ryan and Tom Hanks). The respective films were updates of the two classics: Leo McCarey's An Affair to Remember (1957) and Ernst Lubitsch's The Shop Around the Corner (1940). ] The film also features the music of Sinatra reincarnation Harry Connick, Jr. This was one of cinematographer Barry Sonnenfeld's last efforts in that role - he went on to direct The Addams Family (1991) (his directorial debut film) and Addams Family Values (1993), Get Shorty (1995), and Men in Black (1997), among others. The solid lead roles and the supporting performances of the leads' best friends were neglected for Oscar consideration: Carrie Fisher as Marie and Bruno Kirby as Jess. Director Rob Reiner directed this smart, modern-day 'screwball comedy' (his fifth film) of the semi-autobiographical tale - it was compiled from the shared recollections of actual romances. Reiner's first four films include the satire of rock documentaries titled This is Spinal Tap! (1984), the teen romantic comedy The Sure Thing (1985), the youthful drama Stand By Me (1986), and the delightful fantasy The Princess Bride (1987). In 2004, the film was adapted for the stage by Marcy Kahan, and opened in London with leads Luke Perry and Alyson Hannigan. The summer of 1989's 'sleeper' film has a number of startling resemblances to Woody Allen's witty, urban romance Annie Hall (1977): the title credits (with a black background and white text) along with the film's title song "It Had to Be You" (sung by Diane Keaton in Allen's film) being played on a piano, direct camera interviews-testimonials, split-screen techniques, the Manhattan backdrop (including the fall foliage), evocative George Gershwin tunes, obsessive talk about sex and death, the romance between a Jew and non-Jewish woman (shiksa), and Harry and Sally's first meeting in 1977 - is the year the similar film was released. The film's ending parallels Allen's Manhattan (1979). However, the two films also differed: When Harry Met Sally... illustrated how friends can ultimately realize that they're better as lovers, while Annie Hall (1977) showed how lovers may end up better as friends. The title of the film was spoofed in Dumb and Dumberer: When Harry Met Lloyd (2003). The Story The film opens with an older couple sitting on a love seat. [This is the first of many such pseudo documentary-style scenes of recollections of older couples describing how they first met. They are actors in the roles. ] Speaking about his successful marriage, the balding husband talks directly into the camera with his white haired wife next to him: I was sitting with my friend Arthur Kornblum, in a restaurant, it was a Horn and Hardart Cafeteria, and this beautiful girl walked in - [he gestures toward his wife] - and I turned to Arthur and I said, "Arthur, you see that girl? I'm going to marry her. " And two weeks later we were married. And it's over fifty years later and we're still married. UNIVERSITY OF CHICAGO - 1977 The film fades into a scene on a university campus. In close-up, a couple, twenty-six year old Harry Burns (Billy Crystal) and his twenty-year old girlfriend Amanda Reese (Michelle Nicastro) are confiding their love to each other and kissing madly. They are oblivious when a yellow station wagon drives up behind them with twenty-one year old Sally Albright (Meg Ryan), Amanda's pal. After their college graduation, Sally is driving Harry, her best friend's boyfriend, to New York from their school in Chicago - it will be an 18 hour trip. Sally is blonde, smiley, clean-living, structured and very organized in an uptight way and she has already planned the entire trip: I have it all figured out. It's an eighteen-hour trip, which breaks down into six shifts of three hours each. Or alternatively, we could break it down by mileage. There's a, there's a map on the visor that I've marked to show the locations where we can change shifts. On the other hand, Harry is more of a slob, as he demonstrates by eating grapes and forgetting to roll down the window when he spits out a grape seed. They immediately take a dislike to each other. Because they have a long trip ahead of them, Harry asks: "Why don't you tell me the story of your life? " Sally is a would-be journalist who is to "go to journalism school to become a reporter, " and she wants to make a start in Manhattan. By contrast, Harry has "a dark side" and is obsessed with death, but Sally is "one of those cheerful people who dot their 'i's' with little hearts. " Harry: When I buy a new book, I always read the last page first. That way, in case I die before I finish, I know how it ends. That, my friend, is a dark side. Sally: That doesn't mean you're deep or anything. I mean, yes, basically I'm a happy person... Harry: So am I. Sally:.. I don't see that there's anything wrong with that. Harry: Of course not. You're too busy being happy. Do you ever think about death? Sally: Yes. Harry: Sure you do. A fleeting thought that drifts in and out of the transom of your mind. I spend hours, I spend days... Sally: - and you think this makes you a better person? Harry: Look, when the s--t comes down, I'm gonna be prepared and you're not, that's all I'm saying. Sally: And in the meantime, you're gonna ruin your whole life waiting for it. As in Woody Allen's Play It Again, Sam (1972), the opinionated Harry is also obsessed with the film Casablanca (1942) and they argue about it (in voice-over) - expressing their two contrary perspectives about the film's finale. Her practical choice, later denied, is that she would prefer to leave with Victor Laszlo rather than stay with the self-sacrificing, romantic hero Rick (Humphrey Bogart): Harry: He wants her to leave. That's why he puts her on the plane. Sally: I don't think she wants to stay. Harry: Of course she wants to stay. Wouldn't you rather be with Humphrey Bogart than the other guy? Sally: I don't want to spend the rest of my life in Casablanca married to a man who runs a bar. That probably sounds very snobbish to you, but I don't. Harry: You'd rather be in a passionless marriage - Sally: - and be the First Lady of Czechoslovakia - Harry: - than live with the man... you've had the greatest sex of your life with, just because he owns a bar and that is all he does. Sally: Yes, and so would any woman in her right mind. Women are very practical. Even Ingrid Bergman, which is why she gets on the plane at the end of the movie. As they enter a roadside cafe, Harry demonstrates his sexist and argumentative nature. Soon, Sally is debating the odds of having great sex with a guy named 'Sheldon' while they order a dinner meal. She is compulsively concerned about how her food should be prepared: Harry: Obviously, you haven't had great sex yet... Sally: It just so happens that I have had plenty of good sex... (Sally's infuriated response is so loud that other customers stop eating to notice her response. ) Harry: With whom did you have this great sex? Sally: (embarrassed) I'm not going to tell you that! Harry: Fine. Don't tell me. Sally: Shel Gordon. Harry: Shel. Sheldon? No, no. You did not have great sex with Sheldon. Sally: I did too. Harry: No, you didn't. A Sheldon can do your income taxes. If you need a root canal, Sheldon's your man, but humpin' and pumpin' is not Sheldon's strong suit. It's the name. 'Do it to me, Sheldon. ' 'You're an animal, Sheldon. ' 'Ride me, big Sheldon. ' It doesn't work. Waitress: What can I get you? Sheldon: I'll have the Number Three. Sally: I'd like the chef salad, please, with the oil and vinegar on the side. And the apple pie a la I'd like the pie heated, and I don't want the ice cream on top. I want it on the side. And I'd like strawberry instead of vanilla if you have it. If not, then no ice cream, just whipped cream, but only if it's real. If it's out of a can, then nothing. Waitress: Not even the pie? Sally: No, just the pie. But then not heated. Curious about her relationship with Sheldon but also feigning disinterest, Harry pursues the issue further: Harry: So how come you broke up with Sheldon? Sally: How do you know we broke up? Harry: Because if you didn't break up, you wouldn't be with me, you'd be off with Sheldon the Wonder Schlong. Sally: First of all, I am not with you. And second of all, it is none of your business why we broke up. Harry: You're right, you're right. I don't want to know. Sally: Well, if you must know, it was because he was very jealous and I had these Days of the Week underpants. Harry: (He makes a loud buzzer sound) I'm sorry. I need a judge's ruling on this. Days of the Week underpants? Sally: Yes. They had the days of the week on them, and I thought they were sort of funny - and then one day, Sheldon says to me, 'You never wear Sunday. ' He's all suspicious. Where was Sunday? Where had I left Sunday? And I told him, and he didn't believe me. Harry: What? Sally: They don't make Sunday. Harry: Why not? Sally: (matter-of-factly) Because of God. After Sally has finished figuring out her portion of the bill and tip that she will pay, by using a calculator, Harry just stares at her and flirtatiously remarks how attractive she is: Harry: (smiling) You're a very attractive person. Sally: (suspicious) Thank you. Harry: Amanda never said how attractive you were. Sally: Well, maybe she doesn't think I'm attractive. Harry: I don't think it's a matter of opinion. Empirically, you are attractive. (She gets up. ) Sally: (astonished) Amanda is my friend. Harry: So? Sally: So, you're going with her. Sally: So, you're coming on to me. Harry: No I wasn't. (With disbelief, she stares at him. ) As they leave the diner, Sally defensively believes he is "coming on" to her. To carry his line of reasoning further - to get her riled up and to argue his point - Harry proposes going to bed with her. Ultimately, Harry believes that men and women cannot be friends, because sex will always interfere. [This is a classic discussion of the film's main question: "Can a man and a woman ever be 'just friends'"? ]: Harry: What? Can't a man say a woman is attractive without it being a come-on? All right, all right. Let's just say, just for the sake of argument, that it was a come-on. What do you want me to do about it? I take it back, OK? I take it back. Sally: You can't take it back. Sally: Because it's already out there. Harry: Oh jeez. What are we supposed to do? Call the cops? It's already out there! Sally: Just let it lie, OK? Harry: Great! Let it lie. That's my policy. (They get into the car. ) That's what I always say. Let it lie. Want to spend the night in a motel? (She glares at him. ) You see what I did? I didn't let it lie. Sally: Harry - Harry: I said I would and I didn't... I went the other Sally: We are just going to be friends, OK? Harry: Great, friends. It's the best realize, of course, that we can never be friends. Sally: Why not? Harry: What I'm saying is - and this is not a come-on in any way, shape, or form - is that men and women can't be friends, because the sex part always gets in the way. Sally: That's not true. I have a number of men friends and there is no sex involved. Harry: No, you don't. Sally: Yes, I do. Harry: You only think you do. Sally: You're saying I'm having sex with these men without my knowledge? Harry: No, what I'm saying is they all want to have sex with you. Sally: They do not. Harry: Do too. Sally: How do you know? Harry: Because no man can be friends with a woman that he finds attractive. He always wants to have sex with her. Sally: So you're saying that a man can be friends with a woman he finds unattractive. Harry: No, you pretty much want to nail them, too. Sally: What if they don't want to have sex with you? Harry: Doesn't matter, because the sex thing is already out there, so the friendship is ultimately doomed, and that is the end of the story. Sally: Well, I guess we're not gonna be friends, then. Harry: Guess not. Sally: That's too bad. You were the only person that I knew in New York. The camera tracks their car as it crosses the George Washington Bridge into New York City, and they arrive at Harry's destination near Washington Square. In an awkward moment of goodbye, they shake hands and part ways after an "interesting" ride: Harry: It was nice knowin' ya. Sally: Yeah. (They shake hands - and she waves. After walking to the car door, she turns. ) Well, have a nice life. Harry: You too. As an interlude, a second direct-camera interview is presented, with an even older couple sitting together on the same loveseat: Woman: We fell in love in high school. Man: Yeah, we were high school sweethearts. Woman: But then after our junior year, his parents moved away. Man: But I never forgot her. Woman: He never forgot me. Man: No, her face was burned on my brain. And it was thirty-four years later that I was walking down Broadway and I saw her come out of Toffinetti's. Woman: And we both looked at each other, and it was just as though not a single day had gone by. Man: She was just as beautiful as she was at sixteen. Woman: He was just the same. He looked exactly the same. FIVE YEARS LATER At La Guardia Airport in New York, another loving couple are kissing at one of the departure gates. Sally and her new boyfriend named Joe (Steven Ford). When Harry, now wearing a suit and tie, passes by the couple to catch a plane to Washington, he notices them, goes past, and then backs up. Joe, a lawyer, is an acquaintance of Harry's, who has become a political consultant. Although he greets Joe, Harry is unable to place Sally in his memory, but he looks quizzically at her after being introduced. When Harry boards the plane, she tells Joe about her distasteful memories of their college-era drive to New York: Sally: Thank God he couldn't place me. I drove from college to New York with him five years ago and it was the longest night of my made a pass at me, and when I said no - he was going with a girlfriend of mine - oh God, I can't remember her name. (jokingly) Don't get involved with me, Joe, I am twenty-six years old and I can't even remember the name of the girl I was such good friends with, I wouldn't get involved with her boyfriend... I said we could just be friends, and - this part I remember - he said that men and women could never really be friends. Do you think that's true? Joe: No. Sally: Do you have any woman friends, just friends? Joe: No, but I will get one if it's important to you. Finding themselves on the same plane and only one row apart, Harry overhears Sally's fussy ordering, and then suddenly places her: "The University of Chicago, right? " They renew acquaintances after he switches seats to be next to her. Both of them are in relationships - Sally has only known Joe for a month and she tells Harry: "Neither one of us is looking to get married right now. " On the contrary, Harry, a crude and cynical womanizer who is "madly in love", is "embracing life" (according to Sally) and getting married to Helen Hillson, a lawyer: Harry:.. just get to a certain point when you get tired of the whole thing. Sally: What whole thing? Harry: The whole life-of-a-single-guy. You meet someone, you have the safe lunch, you decide you like each other enough to move on to dinner, you go dancing, you do the white man's overbite, you go back to her place, you have sex, and the minute you're finished, you know what goes through your mind? How long do I have to lie here and hold her before I can get up and go home? Is thirty seconds enough? Sally: That's what you're thinking? Is that true? Harry: Sure. All men think that. How long do you like to be held afterwards? All night, right? See, that's the problem. Somewhere between thirty seconds and all night is your problem. Sally: I don't have a problem. Harry: Yeah, you do. While staying over in Washington, Harry proposes that they both have dinner together - as friends. As they stood on the moving escalator at the airport, he struggles to explain that he has an amendment to his earlier rule about relationships between men and women: Yes, that's right. They can't be both of them are involved with other people. Then they can. This is an amendment to the earlier rule. If the two people are in relationships, the pressure of possible involvement is lifted. That doesn't work either. Because what happens then is the person you're involved with can't understand why you need to be friends with the person you're just friends with, like it means something is missing from the relationship and wanted to go outside to get it. Then when you say, 'No, no, no, no, it's not true, nothing is missing from the relationship, ' the person you're involved with then accuses you of being secretly attracted to the person you're just friends with, which you probably are - I mean, come on, who the hell are we kidding, let's face it - which brings us back to the earlier rule before the amendment, which is men and women can't be friends. So where does it leave us? They both realize that they must not see each other and part ways again.

Hmm where /when is my second chance, im still waiting on the first. You left out the best bit, when they jump in a cab and leave Harry and Sally just standing there. So glad I could finally see Casablanca. They just don't make them like this anymore.

Watch Wh~en H,arry' Met Sally. Online Filehoot

Classic scene. you're nobody till somebody pretends to love you, you're nobody till somebody pretends to care. being single to do WHAT YOU WANT TO WHEN YOU WANT TO WITHOUT COMPROMISING ALL THE TIME. IS FREEDOM. BLISS. 2 2 Posted by 9 days ago comment 66% Upvoted Log in or sign up to leave a comment log in sign up Sort by View discussions in 1 other community no comments yet Be the first to share what you think! More posts from the AnythingGoesNews community Continue browsing in r/AnythingGoesNews r/AnythingGoesNews Welcome to r/AnythingGoesNews 27. 7k Members 72 Online Created Nov 16, 2011 help Reddit App Reddit coins Reddit premium Reddit gifts Communities Top Posts Topics about careers press advertise blog Terms Content policy Privacy policy Mod policy Reddit Inc © 2020. All rights reserved.

Wowww Jennifer 😍😍😍😍😍😍. Hello all introduce my name is Hastin Nuraini Jalan Lilin Mas 6 Dadaprejo Junrejo Batu East Java - Indonesia Tel: [phone] I love to write and have a series of short stories I want to sell a movie script for Hollywood And one day want to be a jury at the film festival greetings from Indonesia. This movie is gonna b sick n awesum n funny n hilarious haha i wanna watch this movie so bad. Thank you to whoever posted this - it's genuinely appreciated; for me it doesn't belittle depression, etc, it merely shows that even people like me are WORTHWHILE, we are still allowed to exist. Even if we're not 'normal. WE COUNT. Thank you again.

I really didn't cry at the good-bye scene from Ghost until Sam said, It's amazing, Molly; the love inside, you bring it with you. One of my favourite movies the chemistry between Billy Crystal and Meg Ryan is amazing too bad they don't have films in Hollywood anymore with the quality of when harry met sally. Unforgettable movie. De mariage. Man: I was sitting with my friend Arthur Cornrom in a restaurant. It was an cafeteria and this beautiful girl walked in and I turned to Arthur and I said, "Arthur, you see that girl? I'm going to marry her, and two weeks later we were married and it's over fifty years later and we are still married. (At the university, Harry and Amanda kissing goodbye. ) Amanda: I love you Harry: I love you Sally: (clears throat) kmm kmm... Kmm Kmm Amanda: Oh, hi Sally. Sally, this is Harry Burns. Harry, this is Sally Allbright. Harry: Nice to meet you. Sally: You want to drive the first shift? Harry: No, you're there already you can start. Sally: Back's open. Amanda: Call me. Harry: I'll call you as soon as I get there. Amanda: Oh, call me from the road. Harry: I'll call you before that. Amanda: I love you. Harry: I love you. Sally: (honks) Sorry. Harry: I miss you already, huh, I miss you already. Amanda: I miss you. Harry: Bye. Amanda: Bye. (Harry and Sally in the car, on their whay to New York) Sally: I have it all figured out. It's an eighteen hour trip which breaks down into six shifts of three hours each or alternatively we couldb reak it down by mileage. (Harry climbs to reach for something at the back-seat) Sally: There's 's a map on the huh... visor that I've marked to show the locations so we can change shifts. Harry: Grapes? Sally: No, I don't like to eat between meals. (Harry spits pits out but the window was shut) Harry: I'll roll down the window. Why don't you tell me the story of your life. Sally: Story of my life? Harry: We've got eighteen hours to kill before we hit New York. Sally: The story of my life isn't even going to get us out of Chicago I mean nothing's happened to me yet. That's why I'm going to New York. Harry: So something can happen to you? Sally: Yes. Harry: Like what? Sally: I can go into journalism school to become a reporter. Harry: So you can write about things that happen to other people. Sally: That's one way to look at it. Harry: Suppose nothing happens to you. Suppose you lived out your whole life and nothing happens you never meet anybody you never become anything and finally you die in one of those New York deaths which nobody notices for two weeks until the smell drifts into the hallway. Sally: Amanda mentioned you had a dark side. Harry: That's what drew her to me. Sally: Your dark side. Harry: Sure. Why don't you have a dark side? No you're probably one of those cheerful people who dots their eyes with little hearts. Sally: I have just as much of a dark side as the next person. Harry: Oh really. When I buy a new book I always read the last page first that way in case I die before I finish I know how it ends. That my friend is a dark side. Sally: That doesn't mean you're deep or anything I mean... yes, basically I'm a happy person... Harry: So am I. Sally:.. I don't see that there's anything wrong with that. Harry: Of course not you're too busy being happy. Do you ever think about death? Harry: Sure you do, a fleeting thought that jumps in and out of the transient of your mind. I spend hours, I spend days... Sally: And you think that makes you a better person. Harry: Look, when the shit comes down I'm gonna be prepared and you're not that's all I'm saying. Sally: And in the mean time you're gonna ruin your whole life waiting for it. (a while later, still in the car) Sally: You're wrong. Harry: I'm not wrong, he wants... Harry:.. wants her to leave that's why he puts her on the plane. Sally: I don't think she wants to stay. Harry: Of course she wants to stay. Wouldn't you rather be with Humphrey Bogart than the other guy? Sally: I don't want to spend the rest of my life in Casablanca married to a man who runs a bar. I probably sound very snobbish to you but I don't. Harry: You'd rather be in a passionless marriage. Sally: And be the first lady of Czechoslovakia. Harry: Than live with the man you've had the greatest sex of you life with, and just because he owns a bar and that is all he does. Sally: Yes. And so had any woman in her right mind, woman are very practical, even Ingrid Bergman which is why she gets on the plane at the end of the movie. (They pull up to a road side cafe. ) Harry: I understand. Sally: What? What? Harry: Nothing. Sally: What? Harry: Forget about it. Sally: For.. What? Forget about what? Harry: It's not important. Sally: No just tell me. Harry: Obviously you haven't had great sex yet. (Turns to waitress) Two please. Waitress:: Right over there. Sally: Yes I have. Harry: No you haven't. Sally: It just so happens that I have had plenty of good sex. (Silence, the whole restaurant looks at Sally. Sally realises what she had done, walks carefully with a tilted head towards the table. ) Harry: With whom? Harry: With whom did you have this great sex? Sally: I'm not going to tell you that! Harry: Fine, don't tell me. Sally: Shel Gordon. Harry: Shel? Sheldon? No, no, you didn't have great sex with... Sheldon. Sally: I did too. Harry: No you didn't. A Sheldon can do your income taxes. If you need a root canal Sheldon's your man, but humping and pumping is not Sheldon's strong suit. It's the name. Do it to me 'Sheldon', you're an animal 'Sheldon', ride me big 'Sheldon'. Doesn't work. Waitress: Hi, what can I get ya? Harry: I'll have a number three. Sally: I'd like the chef salad please with the oil and vinegar on the side and the apple pie a la mode. Waitress: Chef and apple a la mode. Sally: But I'd like the pie heated and I don't want the ice cream on top I want it on the side and I'd like strawberry instead of vanilla if you have it if not then no ice cream just whipped cream but only if it's real if it's out of a can then nothing. Waitress: Not even the pie? Sally: No, just the pie, but then not heated. Waitress: Uh huh. Harry: Nothing, nothing. So how come you broke up with Sheldon? Sally: How you know we broke up? Harry: Because if you didn't break up you wouldn't be here with me, you'd be off with Sheldon the wonder-schlong. Sally: First of all, I am not *with* you, and second of all it is none of your business why we broke up. Harry: You're right, you're right, I don't want to know. Sally: Well if you must know, it was because he was very jealous and I had these days-of-the-week underpants. Harry: (imitates a wrong answer buzzer) uah! I'm sorry I need a judge's ruling on underpants. Sally: Yes. They had the days of the week on them and I thought they were sort of funny. And then one day Sheldon says to me, 'You never wear Sunday'. It's all suspicious, where was Sunday, where was Sunday? And I told him and he didn't believe me. Harry: Why? Sally: They don't make Sunday. Sally: Because of God. (They've finished eating. ) Sally: (talking to herself) Ok, so fifteen percent of my share is ninety... six ninety. This leaves seven. (To Harry) What? Do I have something on my face? Harry: You're a very attractive person. Sally: Thank you. Harry: Amanda never said how attractive you were. Sally: Well may be she doesn't think I'm attractive. Harry: I don't think it's a matter of opinion, empirically you are attractive. Sally: Amanda is my friend. Harry: So? Sally: So you're going with her. Sally: So you're coming on to me! Harry: No I wasn't. What? (Sally is not impressed, jaw drops, wide eyes) Harry: Can't a man say a woman is attractive without it being a come-on? Alright, alright, let's just say just for the sake of argument that it was a come-on. What do you want me to do about it? I take it back, ok? I take it back. Sally: You can't take it back. Harry: Why not? Sally: Because it's already out there. Harry: Oh gees, what are we suppose to do, call the cops? It's already out there. Sally: Just let it lie, ok? Harry: Great! Let it lie. That's my policy. That's what I always say, let it lie. Wanna spend the night at a motel? See what I did? I didn't let it lie. Sally: Harry. Harry: I said I wouldn't and I didn't. Harry: I went the other way. Harry: What? Sally: We are just going to be friends, ok? Harry: Great! Friends! It's the best thing. (On the road once more) Harry: You realise of course that we can never be friends. Sally: Why not? Harry: What I'm saying is... and this is not a come-on in any way, shape or form, is that men and women can't be friends because the sex part always gets in the way. Sally: That's not true, I have a number of men friends and there's is no sex involved. Harry: No you don't. Sally: Yes I do. Harry: You only think you do. Sally: You're saying I'm having sex with these men without my knowledge? Harry: No, what I'm saying is they all want to have sex with you. Sally: They do not. Harry: Do too. Sally: How do you know? Harry: Because no man can be friends with a woman he finds attractive, he always wants to have sex with her. Sally: So you're saying that a man can be friends with a woman he finds unattractive. Harry: Nuh, you pretty much wanna nail'em too. Sally: What if they don't want to have sex with you? Harry: Doesn't matter, because the sex thing is already out there so the friendship is ultimately doomed and that is the end of the story. Sally: Well I guess we're not going to be friends then. Harry: Guess not. Sally: That's too bad. You are the only person I knew in New York. (Louis Armstrong breaks into "You say neither, I say.... ". They've reached the Big Apple and are unloading Harry's luggage) Harry: Thanks for the ride. Sally: Yeah, it was interesting. Harry: It was nice knowing you. Sally: Yeah. (They shake hands) Sally: Well have a nice life. Harry: You too. (Luois is back with the song and it switches to another couple on a couch) Woman: We fell in love in high school. Man: Yeah we were... we were high school sweethearts. Woman: But then after our junior year his parents moved away. Man: But I never forgot her. Woman: He never forgot me. Man: No, her face is burned on my brain. And it was thirty four years later that I was walking down Broadway and I saw her come out of Toffenetti's. Woman: And we both looked at each other, and it was just as though not a single day had gone by. Man: She was just as beautiful as she was at sixteen. Woman: He was just the same. He looked exactly the same. (Sally and Joe kissing in the airport, Harry walked by and saw them. ) Harry: Joe! I thought it was you. I thought it was you. Harry Burns. Joe: Harry, Harry how're you doing? Harry: Good, how're you doing? Joe: I', I'm doing fine. Harry: Yeah, it's great, I was just walking by and I thought it was you and there it is, it's you! Joe: Yea, yea, it was. Harry: Are you still with the DA's office? Joe: No I switched to the other side, what about you? Harry: I work with a small firm and we do political consulting. (sociable laughs all round) Joe: Oh Harry this is Sally Allbright. Harry Burns. and I use to lived in the same building. (more sociable laughs) Harry: Well listen I got a plane to catch, it was really good to see you Joe. Joe: You too Harry. (Sally nods) Sally: Thank God he couldn't place me, I drove from College to New York with him five years ago and it was the longest night of my life. Joe: What happened? Sally: He made a pass at me and when I said no he was going with a girlfriend of mine uh... Oh God I can't even remember her name! Don't get involved with me Joe I am twenty six years old and I can't even remember the name of the girl I was such good friends with I wouldn't get involved with her boyfriend. Joe: So what happened? Sally: When? Joe: When... when he made a pass at you and you said no and... Sally: Oh, oh. I said we could just be friends. And this part I can remember he said that men and women could never really be friends. Do you think that's true? Joe: No. Sally: Do you have any women friends, just friends? Joe: No. But I will get one if it is important to you. Sally: Amanda Reese, that was her name, thank God. Joe: I will miss you. I love you. Sally: You do? Joe: Yes. Sally: I love you. (in the plane, Sally day-dreaming about something) Air Hostess: And what would you like to drink? Passenger: Nothing thanks. Sally: Do you have any Bloody Marry mix? Air Hostess: Yes. Sally: Oh wait, here's what I want. Regular tomato juice, filled up about three quarters than add a splash of Bloody Marry mix, just a splash, and a little piece of lime, but on the side. Harry: (from a row behind Sally) The University of Chicago right? Sally: (looks at Harry, sighs) Yes. Harry: Did you look this good at the University of Chicago? Sally: No. Harry: Did we ever uh... (makes pumping fist gesture) Sally: No! No! (to man sitting on her right) We drove from Chicago to New York together after graduation. Man: Would you two like to sit together? (Simultaneously... ) Harry: Great! Thank you. Harry: You were a good friend of umm... Sally: Amanda's. I can't believe you can't remember her name. Harry: What do you mean? I remember, Amanda right? Amanda Rice. Sally: Reese. Harry: Reese, right! That's what I said! What ever happened to her? Sally: I have no idea. Harry: You have no idea? You were really good friends with her. We didn't make it because you were such good friends. Sally: You went with her! Harry: And was it worth it? The sacrifice for a friend that you don't even keep in touch with? Sally: Harry, you might not believe this but I never considered not sleeping with you a sacrifice. Harry: Fair enough. Fair enough. Harry: (contd) You were going to be a gymnast. Sally: A journalist. Harry: Right, that's what I said. And? Sally: I am a journalist, I work at the news. Harry: Great! And you're with Joe. Well that's great, great. You're together, what, three weeks? Sally: A month, how did you know that? Harry: You take someone to the Airport it's clearly the beginning of a relationship that's why I have never taken anyone to the Airport at the beginning of a relationship. Sally: Why? Harry: Because eventually if things move on and you don't take someone to the Airport, and I never wanted anyone to say to me, "How come you never take me to the Airport anymore? " Sally: It's amazing, you look like a normal person but actually you're the Angel of Death. Harry: Are you going to marry him? Sally: (gasping, lost for words) We have only known each other for a month and besides neither one of us is looking to get married right now. Harry: Hmm, I'm getting married. Sally: You are? Harry: Umm hmm. Sally: *You* are. Harry: Hmm, yeah. Sally: Who is she? Harry: Helen Helson, she is a lawyer, she's keeping her name. Sally: (laughs) You're getting married. Harry: Yeah. Sally: (laughs some more) Harry: What's so funny about that? Sally: (laughs even more) It's 's just so optimistic of you Harry. Harry: Well you'd be amazed what falling madly in love can do for you. Sally: Well it's wonderful, it's nice to see you embracing life in this manner. Harry: Yeah plus you know you just get to a certain point where you get tired of the whole thing. Sally: What "whole thing"? Harry: The whole life-of-a-single-guy thing. You meet someone, you have the safe lunch, you decide you like each other enough to move on to dinner. You go dancing, you do the white-man's over-bite, go back to her place, you have sex and the minute you're finished you know what goes through your mind? How long do I have to lie here and hold her before I can get up and go home. Is thirty seconds enough? Sally: (In disgust) That's what you're thinking? Is that true? Harry: Sure! All men think that. How long do you want to be held afterwards? All night, right? See there's your problem, somewhere between thirty seconds and all night is your problem. Sally: I don't have a problem! Harry: Yeah you do. (Plane lands, Harry and Sally meet again on one of those motorised walkways in the Airport) Harry: Staying over? Harry: Would you like to have dinner? (Sally looks over) Harry: Just friends. Sally: I thought you didn't believe men and women could be friends. Harry: When did I say that? Sally: On the ride to New York. Harry: No no no no, I never said that. (Harry pauses, thinks. ) Yes, that's right, they can't be friends. Unless both of them are involved with other people then they can. This is an amendment to the earlier rule, if the two people are in relationships, the pressure of possibilty of involvement is lifted. (Pauses) That doesn't work either because what happens then is the person you're involved with can't understand why you need to be friends with the person you're just friends with. Like it means something is missing from their relationship and "why do you have to go outside to get it? ". Then when you say, "no no no no, it's not true nothing's missing from the relationship", the person you're involved with then accuses you of being secretly attracted to the person you're just friends with, which we probably are, I mean, come on, who the hell are we kidding, let's face it, which brings us back to the earlier rule before the amendment which is men and women can't be friends, so where does that leave us? Sally: Goodbye. Harry: Oh, OK. (They both start to walk along the motorised walkway, side by side) Harry: I'll just stop walking, I'll let you go ahead. (Another old couple on the same couch) Man: We were married forty years ago. We were married three years, we got a divorce. Then I married Margerie. Woman: But first you lived with Barbara. Man: Right, Barbara. But I didn't marry Barbara I married Margerie. Woman: Then he got a divorce. Man: Right, then I married Kitty. Woman: Another divorce. Man: Then a couple of years later at Atticalicio's funeral, I ran into her. I was with some girl I don't even remember. Woman: Ruberta. Man: Right, Ruberta. But I couldn't take my eyes off you. I remember I snuck over to her and I said... What did I say? Woman: You said, "What are you doing after? " Man: Right. So I ditched Ruberta, we go for a coffee, a month later we were married. Woman: Thirty five years today after our first marriage. (Three women sitting outdoor at a table in a restaurant, nice view overlooking water and willow with skyscrapers faintly visible in the distance) (Five years have passed since Harry and Sally's last meeting) Marie: I went through his pockets in bed. Alice: Marie why do you go through his pockets? Marie: You know what I found? Alice: No, what? Marie: They just bought a dinning room table. He and his wife just went out and spent sixteen hundred dollars on a dinning room table. Alice: Where? Marie: Huh... The point isn't where, Alice. The point is he's never going to leave her! Alice: So what else is new you've known this for two years. Marie: You're right, you're right, I know you're right. Alice: Why can't you find someone single. When I was I knew lots of nice single men. There must be someone. Sally found someone. Marie: Sally got the last good one. Sally: Joe and I broke up. Alice: What? Marie: When? Sally: Monday. (At the same time) Alice: You waited three days to tell us? Marie: You mean Joe's available? Alice: Oh for God's sakes Marie don't you have any feelings about this? She's obviously upset. Sally: I'm not that upset, we've been growing apart for quite a while. Marie: But you guys were a couple, you had someone to go places with, you had a date on national holidays. Sally: I said to myself, "You deserve more than this, you're thirty one years old... " Marie: And the clock is ticking. Sally: No the clock doesn't really start to tick until you're thirty six. Alice: God you're in such great shape. Sally: Well, I've had a few days to get use to it, and uh... I feel OK. Marie: Good! Then you're ready. (Marie reaches down to bring up her card index) Alice: Oh really Marie. Marie: Well how else do you think you do it? (To Sally) I've got the perfect guy. I don't happen to find him attractive but you might. She doesn't have a problem with chins. Sally: Marie, I'm not ready yet. Marie: But you just said you were over him. Sally: I *am* over him, but I'm in a mourning period. (Pauses) Who is it? Marie: Alex Anderson. Sally: (Disgusted) Uh! You fixed me up with him six years ago. (Alice giggles) Marie: Sorry! Sally: God! Marie: Alright, wait, here, here we go, Ken Darmen. Sally: He's been married for over a year. Marie: Really. (Dog-ears the his card) Married... Oh wait, wait, wait, I got one. Sally: Look, there is no point in my going out with someone I might really like *if* I met him at the right time but who right now has no chance of being anything to me but a transitional man. Marie: OK, but don't wait too long. Remember what happened to David Walsaw? His wife left him and everyone said, "Give him some time, don't move in too fast. " Six months later he was dead. Sally: What are you saying? I should get married to someone right away in case he's about to die? Alice: At least you could say you were married. Marie: I'm saying, that the right man for you might be out there right now, and if you don't grab him someone else will and you'll have spend the rest of your life knowing that someone else is married to your husband. (At a football game) (We follow the Mexican wave and see Harry and Jess) Jess: When did this happen? Harry: Friday. Helen comes home from and she said, "I don't know if I want to be married anymore. " Like it's the institution, you know, like it's nothing personal, just something she's been thinking about... in a casual way. I'm calm, I say, "Why don't we take some time to think about it, you know, don't rush into anything. " Jess: Yeah, right. Harry: Next day she said she's thought about it, and she wants a trial separation. She just wants to try it, she says, but we can still date. Like this is supposed to cushion the blow. I mean I got married so I can stop dating. So I don't see where we can still date is any big incentive since the last thing you want to do is date your wife, who's suppose to love you, which is what I'm saying to you, that's when it occurs to me that may be... she doesn't. So I say to her, "Don't you love me anymore? " You know what she says? (Jess shakes his head) Harry: "I don't know if I've ever loved you. " Jess: Ooo that's harsh. (They partake in the Mexican wave) Jess: You don't bounce back from that right away. Harry: Thanks Jess. Jess: No, I'm a writer, know dialogue and that's particularly harsh. Harry: Then she tells me that somebody in her office is going to South America and she can sub-let his apartment. I can't believe this, and the doorbell rings, 'I can sub-let his apartment', the words are still hanging in the air, you know, like in a balloon attached to a mouth. Jess: Like in the cartoon. Harry: Right. So I go to the door, and there were moving men there. Now I start to get suspicious. I say, "Helen when did you call these movers? ", and she doesn't say anything. So I asked the movers, "When did this woman book you for this gig? ". And they're just standing there. Three huge guys, one of them was wearing a T-shirt that says, "Don't mess with Mr. Zero. " So I said, "Helen, when did you make this arrangement? ". She says, "A week ago. ". I said, "You've known for a week and you didn't tell me? ". And she says, "I didn't want to ruin your birthday. " (They do the Mexican wave again) Jess: You're say Mr. Zero knew you were getting a divorce a week before you did? Harry: Mr. Zero know. Jess: I can't believe this! Harry: I haven't told you the bad part yet. Jess: What could be worse than Mr. Zero knowing. Harry: It's all a lie. She's in love with somebody else, some tax attorney. She moved in with him. Jess: How did you find out? Harry: I followed her, I stood outside the building. Jess: So humiliating. Harry: Tell me about it. (Pauses) And do you know I knew? I knew the whole time that even though we were happy it was just an illusion and that one day she will kick the shit out of me. Jess: Marriages don't break up on a count of infidelity. It's just a symptom that something else is wrong. Harry: Oh really? Well that symptom is fucking my wife. (Marie and Sally in a book store. Second floor) Marie: So I just happen to see his American Express bill. Sally: What do you mean you just *happen* to see it? Marie: Well, he was shaving and... there it was in his briefcase. Sally: What if he came out and saw you looking through his briefcase? Marie: You're missing the point, I'm telling you what I found. He just spent a hundred and twenty dollars on a new night gown for his wife. I don't think he's ever going to leave her. Sally: No one thinks he's ever going to leave her. (Marie saw Harry peering at Sally through the top of his book) Marie: Someone is starring at you in personal growth. Sally: I know him. You'd like him, he's married. Marie: Who is he? Sally: Harry Burns, he's a political consultant. Marie: He's cute. Sally: You think he's cute? Marie: How do you know he's married. Sally: 'Cos last time I saw him he was getting married. Marie: When was that? Sally: Six years ago. Marie: So he might not be married anymore. Sally: Also he's obnoxious. Marie: Uh, this is just like in the movies remember when the lady vanishes and she says to meet the most obnoxious man in the world.... Sally: The most contemptible. Marie: And they fall madly in love. Sally: Also he never remembers me. Harry: Sally Allbright. Sally: Hi Harry. Harry: I thought it was you. Sally: It is. Huh... this is Marie. (Marie is already on her way down stairs) Sally: Was Marie. Harry: How are you? Sally: Fine! Harry: How's Joe? Sally: Fine. (Pauses) I hear he's fine. Harry: You're not with Joe anymore? Sally: We just broke up. Harry: Oh, I'm sorry, that's too bad. Sally:, you (Long pause) So, what about you? Harry: I'm fine. Sally: How's married life? Harry: Not so good. I... I'm getting a divorce. Sally: Oh, sorry. Oh I'm really sorry. Harry: Yeah, well, what're you going to do. What happened with you guys? (Harry and Sally now sitting in a empty restaurant, having coffee) Sally: When Joe and I started seeing each other we wanted exactly the same thing. We wanted to live together but we didn't want to get married because every time anyone we knew got married it ruined their relationship, they practically never had sex again. It's true. It's one of those secrets that no one ever tells you. I would sit around with my girlfriends who have kids... actually this my girlfriend who has kids, Alice, and she and Garry never did it anymore. She didn't even complain about it now that I think about it. She just said it matter-of-fact-ly. She said, they were up all night, they were both exhausted all the time, the kids just took every sexual impulse they had out of them. Joe and I use to talk about it and we'd say, we are so lucky we have this wonderful relationship, we can have sex on the kitchen floor and not worry about the kids walking in, we can fly off to Rome on a moment's notice. And then one day I was taking Alice's little girl for the afternoon because I promised I'd take her to the circus, and, we were in the cab playing eye-spy. Eye-spy mailbox, eye-spy lamppost. And she looked out the window and she saw this man and this woman with these two little kids and the man had one of the little kids on his shoulders and she said, "I spy a family". And I started to cry. You know I just started crying. And I went home and I said, "The thing is Joe we never fly off to Rome on a moment's notice. Harry: And the kitchen floor... Sally: Not once, it's this cold, hard Mexican ceramic tile. Harry: Umm. Sally: Anyway, we talked about it for a long time and I said, "This is what I want. " and he says, "Well I don't. " and I said, "Well I guess it's over. " and he left. And the thing is I... I feel really fine. I am over him, I mean I really am over him. And that was it for him. That was the most that he could give. And everytime I think about it I am more and more convinced that I did the right thing. Harry: Boy you sound really healthy. Sally: Yah. (Harry and Sally walking along in a park) Sally: At least I got the apartment. Harry: That's what everybody says to me too. But really what's so hard about finding an apartment? What you do is, you read the obituary column. Yeah, you find out who died, and go to the building and then you tip the doorman. What they can do to make it easier is to combine the obituaries with the real estate section. Say, then you'd have Mr. Klein died today leaving a wife, two children, and a spacious three bedroom apartment with a wood burning fireplace. (They both sound of genuine laughter) Harry: You know the first time I met I really didn't like you that much. Sally: I didn't like you. Harry: Yeah you did, you were just so uptight then. You're much softer now. Sally: You know I hate that kind of remark. It sounds like a complement but really it's an insult. Harry: OK, you're still as hard as nails. Sally: I just didn't want to sleep with you and you had to write it off as a character flaw instead of dealing with the possibility that it might have something to do with you. Harry: What's the statute of limitation on apologies? Sally: Ten years. Harry: Ooo, I can just get it in under the wire. Sally: Would you like to have dinner with me some time? Harry: Are we becoming friends now? Sally: Well... (Pause) yah. Harry: Great! A woman friend... You know you may be the first attractive woman I have not wanted to sleep with in my entire life. Sally: That's wonderful Harry. (New old couple again) (They "cross-talk" all the time, they kind of overlaps each other's speech) Man: We were both born in the same hospital. Woman: Nineteen twenty one. Man: Seven days apart. Woman: In the same hospital. Man: We both grew up one block away from each other. Woman: We both lived in tenements. Man: On the lower east side. Woman: On Delancey Street. Man: My family moved to the Bronx when I was ten. Woman: He lived on Fordham Road. Man: Hers moved when she was eleven. Woman: I lived on a hundred and eighty third Street. Man: For six years she worked on the fifteenth floor as a nurse where I had a practice on the fourteenth floor in the very same building. Woman: I worked for a very prominent neurologist, Dr. (someone or rather). We never met. Man: Never met. Woman: Can you imagine that? Man: You know where we met? In an elevator. In the ambassador hotel in Chicago Illinois. Woman: I was visiting family. He was on the third floor I was on the twelve. Man: I rode up nine extra floors just to keep talking to her. Woman: Nine extra floors. (A shot of Harry in the office, looking pathetically at one of those bobbing toys that seems to dip its head enough to drink from a glass of water) (The phone rings, actually the phone is from his apartment as they go about their bedtime phone conversations) (We see Harry and Sally each carrying out their everyday life. Work, shopping etc) (Voices overs) (Sally answers the phone) Sally: Hello. Harry: You sleeping? Sally: No, I was watching Casablanca. Harry: Channel please. Sally: Eleven. Harry: Thank you, got it. Now you're telling me you will be happier with Victor Laszlo than Humphrey Bogart? Sally: When did I say that? Harry: When we drove to New York. Sally: I never said that, I would never have said that. Harry: Alright, fine. Have it your way. (Pause) Have you been sleeping? Harry: 'Cos I haven't been sleeping. I really miss Helen. May be I coming down with something. Last night I was up at four in the morning watching "Leave it to Beaver" in Spanish. (Harry recites some of the Spanish dialogue from Leave it to Beaver). I'm not well. Sally: Well I went bed at seven thirty last night. I haven't don't that since the third grade. Harry: Well that's the good thing about depression, gets you rest. Sally: I'm not depressed. Harry: OK, fine. Do you still sleep on the same side of the bed? Sally: I did for a while but now I'm pretty much using the whole bed. Harry: God, that's great. I feel weird when just my legs wanders over. I miss her. Sally: I don't miss him, I really don't. Harry: No even a little? Sally: You know what I miss? I miss the idea of him. Harry: May be I only miss the idea of Helen. No, I miss the whole Helen. Sally: Mm, last scene. (We see them both looking at the TV, Casablanca playing) Harry: Ooo, Ingrid Bergman, now she's low maintenance. Sally: Low maintenance? Harry: There are two kinds of women. High maintenance and low maintenance. Sally: And Ingrid Bergman is low maintenance? Harry: In LM, definitely. Sally: Which one am I? Harry: You're the worst kind. You're high maintenance but you think you're low maintenance. Sally: I don't see that. Harry: You don't see that? Waiter, I'll begin with a house salad, but I don't want the regular dressing. I'll have the Balsamic vinegar and oil, but on the side. And then the Salmon with the mustard sauce, but I want the mustard sauce, on the side. On the side is a very big thing for you. Sally: Well I just want it the way I want it. Harry: I know. High maintenance. (Casablanca ends with "I think this is the beginning of a beautiful friendship. ") Harry: Mmm, best last line of a movie ever. Sally: Hmm.... Harry: I'm definitely coming down with something. Probably a twenty four hour tumour they're going around. Sally: You don't have a tumour. Harry: How do you know? Sally: If you're so worried go see a doctor. Harry: No, he'll just tell me it's nothing. Sally: Will you be able to sleep? Harry: If not I'll be OK. Sally: What will you do? Harry: I'll stay up moan. May be I should practice now. (moans.... ) Sally: Goodnight Harry. Harry: Goodnight. (Both hang up the phone) (Sally's light is out) (Harry keeps moaning... and eventually lights out) (Harry and Sally walking along the street) Harry: I had my dream again, where I'm making love and the Olympic judges are watching. I've nailed the compulsories so this is it, the finals. I got a nine eight from the Canadian, a perfect ten from the American, and my mother disguised as a East German judge gave me a five six. Must've been the dismount. Sally: Well basically it's the same one I've been having since I was twelve. Harry: What happens? Sally: No it's... it's too embarrassing. Harry: So tell me. Sally: OK there's this guy. Harry: What's he look like. Sally: I don't know he just kind of faceless. Harry: Faceless guy, OK, then what? Sally: He rips off my clothes. Harry: Then what happens? Sally: And that's it. (They stop walking) Harry: That's it? A faceless guy rips off your clothes and that's the sex fantasies you've been having since you were twelve. Exactly the same. Sally: Well sometimes I vary it a little. Harry: Which part? Sally: What I'm wearing. (Harry pauses, looks away, starts walking again) Harry: Nothng. (They are now inside a building with a very tall ceiling. Museum? Gallery? ) (Harry talking in a funny accent) Harry: I have decided that for the rest of the day we are going to talk like this. Sally: (Plays along) Like this? Harry: No, please, to repeat after me. Pepper. Sally: Pepper. Harry: Pepper. Sally: (Starting to giggle) Pepper. Harry: Waiter, there is too much pepper on my paprikash. (Sally giggles some more, Harry feeding her the line again) Sally: Waiter, there is too much pepper... Harry: On my papricash. Sally: On my papricash. Harry: But I would be proud to partake of your pecan pie. Sally: Harry: But I would be proud. Sally: But I would be proud. Harry: To partake. Sally: To partake. Harry: Of your pecan, pieeee.... Sally: Of your pecan, pieeee.... Harry: Pecan pieeee.... Sally: Pecan pieeee.... Harry: Would you like to go to the movie with me tonight? Sally: Would you like to go... would, would... Harry: (Shakes his head) Not to repeat, please, to answer. Would you like to go to the movie with me tonight? Sally: (Mouth opened, realises something, accent gone) Oh, oh. Well I'd love to Harry, but I... I can't. Harry: (Still with accent) What to you have, a *Hot Date*? Sally: Well yah, yah. Harry: (Accent stops) Really? Sally: Yah, well I... I was going to tell you about it but I don't know I just... I felt strange about it. Sally: Well because we've been spending so much time together. Harry: Oh I think it's great that you have a date. (Sally looks around nervously, may be even a bit struck by the answer. ) Harry: It's that what you're going to wear? Sally: Yah. Well, I... I don't know, why? Harry: I think you should wear skirts more. You look really good in skirts. Sally: I do? Harry: Yah. (Sally is looking around again, this time the reaction is a bit more pleasant) Harry: You know I have a theory that Hieroglyphics are really an ancient comic strip about a character named Sphinxie. Sally: You know Harry I think you should get out there too. Harry: (With accent now) Oh no I'm not ready. Sally: You should. Harry: I would not be good for anybody right now. Sally: It's time. (They are in an apartment (I think it's Sally's) unrolling a new rug into its place. ) Harry: It was the most uncomfortable night of my life. Sally: Oh. See no, it has to go this way. The first day back is always the toughest Harry. Harry: We only had one date. How do you know it's not going to get worse? Sally: How much worse can it get than finishing dinner having him reaching over pull a hair out of my head and starts flossing with it at the table? Harry: We're talking dream dates compared to my horror. It started out fine, she's a very nice person, and we're sitting and we're talking at this Ethiopian restaurant that she wanted to go to. And I was making jokes, you know like, "Hey I didn't know that they had food in Ethiopia? This will be a quick meal. I'll order two empty plates and we can leave. " (Sally laughed while drinking from a bottle of water) Harry: Yeah, nothing from her not even a smile. So I down shift into small talk, and I asked her where she went to school and she said. "Michigan State", and this reminds me of Helen. All of a sudden I'm in the middle of this mess of an anxiety attack, my heart is beating like a wild man and I start sweating like a pig. Sally: Helen went to Michigan State? Harry: No she went to Northwestern, but they're both big-ten schools. I got so upset I had to leave the restaurant. Sally: Harry I think this takes a long time. It might be months before we're actually able to enjoy going out with someone new. Harry: Yah... Sally: And may be longer, before we're actually able to go to bed with someone new. Harry: Oh I went to bed with her. Sally: You went to bed with her? Harry: Sure. Sally: Oh. (Harry and Jess practising their batting with coin activated pitching machine) Jess: I don't understand this relationship. Harry: What do you mean? Jess: You enjoy being with her? Jess: You find her attractive? Jess: And you're not sleeping with her. Harry: No. Jess: You're afraid to let yourself be happy. Harry: Why can't you give me credit for this? This is a big thing for me. I never had a relationship with a woman that didn't involve sex. I feel like I'm growing. Kid: You finish yet? Harry: Hey I got a whole stack of quarters and I was here first. Kid: Were not. Harry: Was too. Kid: Were not! Harry: Was too! Kid: Big jerk! Harry: Little creep! (To Jess) Where was I? Jess: You were growing. Harry: Yeah. It's very freeing. I can say anything to her. Jess: Are you saying you can say things to her you can't say to me? Harry: Nah it's just different. It's a whole new perspective. I get the woman's point of view on things. She tells me about the men she goes out with and I can talk to her about the women that I see. Jess: You tell her about other women. Harry: Yeah. Like the other night. I made love to this woman, and it was so incredible, I took her to a place that wasn't human, she actually meowed. Jess: You made a woman meow? Harry: Yah. That's the point, I can say these things to her. And the great thing is, I don't have to lie because I'm not always thinking about how to get her into bed. I can just be myself. (Harry and Sally at a diner) Sally: So what do you do with these women, you just get up out of bed and leave? Sally: Well explain to me how you do it. What do you say? Harry: You'd say you have an early meeting, early haircut or a squash game. Sally: You don't play squash. Harry: They don't know that they just met me. Sally: That's disgusting. Harry: I know, I feel terrible. Sally: You know I'm so glad I never got involved with you. I just would've ended up being some woman you had to get up out of bed and leave at three o'clock in the morning and clean your andirons, and you don't even have a fireplace. Not that I would noticed. Harry: Why are you getting so upset? This is not about you. Sally: Yes it is. You are a human affront to all women and I am a woman. Harry: Hey I don't feel great about this but I don't hear anyone complaining. Sally: Of course not you're out of the door too fast. Harry: I think they have an OK time. Harry: What do you mean how do I know? I know. Sally: Because they... Harry: Yes, because they... Sally: And how do you know that they really... Harry: What are you saying, that they fake orgasm? Sally: It's possible. Harry: Get outta here! Sally: Why? Most women at one time or another have faked it. Harry: Well they haven't faked it with me. Harry: Because I know. Sally: Oh, right, that's right, I forgot, you're a man. Harry: What is that supposed to mean? Sally: Nothing. It's just that all men are sure it never happened to them and that most women at one time or another have done it so you do the math. Harry: You don't think that I could tell the difference? Harry: Get outta here. Harry: Are you OK? Sally: Oh God... Oh yeah right there Oh! Yes Yes Yes Yes Yes Yes Yes Yes Yes Yes Oh... Oh God Oh... Oh... Huh... (Sally finishes, looks at Harry and smiles. Harry looks back, looking a little uneasy) Lady from another table: I'll have what she's having. ("Winter Wonderland" playing in the background, scenes of Harry and Sally buying Christmas tree. Switches to them dancing at a New Year's eve party) Sally: I like you without your beard, you can see your face. Harry: Hey it is my face. Woow, dipping you. Sally: I really want to thank you for taking me out to night. Harry: Aw don't be silly. The next New Year's eve if neither one of us is with anybody, you got a date. Sally: Deal. (They dance now cheek to cheek) Sally: See, now we can dance cheek to cheek. Harry: Mmm. Sally: Mmm. (Both of them noticed they are feeling something about this moment. Just as it was getting a little 'Heavy' we hear... ) Someone: (Out of shot) Hey everybody! Ten seconds till New Year! Harry: Want to get some air? (We hear the crowd counting down the seconds, "Seven, six, five, four, three, two one, Happy New Year! " Couples around fall into embraces and gave each other New Year kisses. "Auld Lange Syne" is sung by everyone. ) Harry: Happy New Year. Sally: Happy New Year. (They kissed, hugged, awkwardly. ) (Another old couple) Woman: Well, he was the head counsellor and the boys' camp and I was the head counsellor at the girls' camp, and they had a social one night, and he walked across the room. I thought he was coming to talk to my friend Maxine, 'cos people were always crossing rooms to talk to Maxine. But he was coming to talk to me, and he said... Man: I'm Ben Small of the Coney Island Smalls. Woman: At that moment I knew. I knew the way you know about a good melon. (Sally and Marie walking to a restaurant. Harry and Jess doing the same thing. Harry is introducing Sally to Jess and Sally is introducing Marie to Harry at a match-making dinner) Sally: You sent flowers to yourself. Marie: Sixty dollars I spent on this big stupid arrangement of flowers and I wrote a card that I planned to leave on the front table Arthur would just happen to see it. Sally: What did the card say? Marie: "Please say yes. Love Jonathan. " Sally: Did it work? Marie: He never even came over. He forgot this charity thing that his wife was a chairman of. He's never going to leave her! Sally: Of course he isn't. Where is this place? Sally: Somewhere in the next block. Marie: Uh... I can't believe I'm doing this. Sally: Look, Harry is one of my best friends and you are one of my best friends and if by some chance you two hit it off then we could all still be friends in stead of drifting apart the way you do when you get involve with someone who doesn't know your friends. Marie: You and I haven't drifted apart since I started seeing Arthur. (Sally stops walking, turns to Marie) Sally: If Arthur ever left his wife and I actually met him I'm sure that you and I would drift apart. Marie: He's never going to leave her. (Harry and Jess now) Jess: I don't know about this. Harry: It's just a dinner. Jess: You know I've finally gone to a new place in my life where I'm comfortable with the fact that it's just me and my work. If she's so great why aren't you taking her out? Harry: How many times do I have to tell you, we're just friends. Jess: So you're saying she's not that attractive. Harry: No, I told you she *is* attractive. Jess: Yeah but you also said she has a good personality. Harry: She *has* a good personality. (Jess stops walking, turns to Harry, raises his arms in the air) Jess: When someone is not that attractive, they're always described as having a good personality. Harry: Look, if you would ask me, "What does she look like? " and I said, "She has a good personality. " That means she's not attractive. But just because I happened to mention that she has a good personality, she could be either. She could be attractive with a good personality, or not attractive with a good personality. Jess: So which one is she? Harry: Attractive. Jess: But not beautiful, right? (Harry walks away. ) (They are now all at a table in the restaurant. Jess is telling Sally about writing. Marie is talking with Harry about something to do with hostages. Both group are not really happening at all. (and I couldn't be bothered transcripting all those cross-talk. )) (Eventually, they stopped. Long silence. All four looking uncomfortable. ) Sally: Harry, you and Marie are both from New Jersey. Marie: Really. Harry: Where are you from? Marie: South Orange. Harry: Haddenfield. Marie: Ah!.... (Silence. Harry and Marie are both holding a polite smile. Then, nothing. And both turn back to the table, looking blank. ) Harry: So, what are we going to order? Sally: Well I'm going to start with the grilled riddichio. Harry: Jess, Sally is a great orderer. Not only does she always pick the best thing in the menu but she orders it in a way that the chef didn't even know how good it could be. Jess: I think restaurants have become too important. Marie: Mmm I agree. Restaurants are to people in the eighties what theatre was to people in the sixties. I read that in magazine. Jess: I wrote that. Marie: Get outta here. Jess: No, I did, I wrote that. Marie: I've never quoted anything from a magazine in my life, that's amazing, don't you think that's amazing? And you wrote it!? Jess: I also wrote "Pesto is the quiche of the eighties. " Marie: Get over yourself! Jess: I did! Marie: Where did I read that? Jess: New York Magazine. Harry: Sally writes for New York Magazine. Marie: You know that piece had a real impact on me, I mean I, I don't know that much about writing but... Jess: Well, well, it spoke to you, and that pleases me. Marie: I.. I mean I really.. have.. you have to admire people who can be as... that articulate. (Harry and Sally simultaneously looked at each other. They each know what's going on. ) Jess: Nobody has ever quoted me back to me before. (The four are walking along the street. ) Marie: Oh! I've been looking for a pair of red suede pumps. (In saying so Marie and Sally are in a place where they can talk, privately. ) Marie: What do you think of Jess? Sally: Well, eh. Marie: Do you think you could go out with him? Sally: I don't know, eh. Marie: 'Cos I feel really comfortable with him. (Sally nodding her head, may be subconsciously. ) Sally: You want to go out with Jess. Marie: If it's alright with you. Sally: Sure, sure. I'm just worried about Harry. He's very sensitive, he's going through a rough period and I... I just don't want you to reject him right now. Marie: I wouldn't, I totally understand. (Harry and Jess now. ) Jess: If you don't think you're going to call Marie, do you mind if I call her? Harry: No, no. Jess: Good, good, good. Harry: But for tonight you shouldn't. I mean Sally's very vulnerable right now. I mean you can call Marie, that's fine. But just wait for a week or so, huh? Don't make any moves tonight. Jess: Fine, no problem, I wasn't even thinking about tonight. (Sally and Marie walks over to the guys. ) Jess: Well I don't really feel much like walking anymore. I think I'll get a cab. Marie: I'll go with you! Jess: Great! Taxi! (Jess and Marie hurried into the cab and it drives off, leaving Harry and Sally alone, again. They turn and look at each a other, a little bewildered. ) (Another old couple. ) (Woman nods while the man kept talking. ) Man: A man came to me and said, "I found nice girl for you, she lives in the next village, and she is ready for marriage. " We were not suppose to meet until the wedding, but I wanted to make sure. So I sneak into her village, hid behind a tree, watch her washing the clothes. I think if I don't like the way she looks, I don't marry her. But she look very nice to me. So I said, "OK. " to the man. We get married. We married for fifty five years. (Four months later... ) (Harry and Sally are out shopping for a gift for Marie and Jess. ) (Harry slam dunks on a toy basketball hoop and said... ) Harry: I have to get this. I have to get this. Sally: Harry, we're here for Jess and Marie. Harry: I know, we'll find them something. There's great stuff here! Sally: We should've gone to the plant store. Harry: Here, perfect for them. (Harry puts a helmet on Sally. ) Sally: What's that? Harry: Battery operated pith helmet, with fan. Sally: Why is this necessary in life? Harry: I don't know. (Takes the helmet off Sally's head. ) Look, look at this, it also makes great fries. Oh, O-o, good, hold off the dogs, the hunt is over. Sally, this is the greatest. (Harry turns the machine on, now speaking through the microphone. ) Harry: Sally, please report to me. Look at this, this is the greatest, you're going to love this. This is a singing machine. Look, you sing the... the lead and it has the backup and everything. This is from Okalahoma! Here is the lyrics right here. Sally: "Surrey with the fringe on top". Harry: Yes, perfect. (Harry starts to sing. ) Harry: Ooo! Chics and ducks and geese better scurry. When I take you out in my surrey. When I take you out in my surrey with a fringe, on top. Now you. Sally: (With Harry singing along. ) Watch that fringe and see how it flutters. When I drive those high stepping strutters. Nosy pokes will peek through the shutters and their eyes will pop. (Sally keeps singing, Harry stopped as he saw something, or someone. ) Sally: The wheels are yellow the upholstery's brown and the dashboard's genuine leather. With icy glass curtains that will... (Still on the microphone. ) What? It's my voice isn't it? I hate my voice. I know, it's terrible, Joe hate... Harry: It's Helen. Sally: (Still on the microphone. ) Helen? Harry: She's coming right towards me. (Helen and a man approaches. ) Helen: How are you Harry? Harry: Fine, I'm fine. Helen: This is Ira Stod. Harry Burns. Ira: Harry. Harry: I'm sorry. This is Sally Allbright. Helen Hillson and Ira. Ira: Sally. Helen: Nice to meet you. Sally: Hi. Helen: Well, see you. Harry: Yeah, bye. Nice to meet you, Ira. Sally: Are you OK? Harry: Yah, I'm perfect. She looked weird, didn't she? She looked really weird, she looked very weird. Sally: I've never seen her before. Harry: Trust me, she looked weird. Her legs looked heavy, really, she must be retaining water. Harry: Believe me, the woman saved everything. (They are at a flower shop, Sally holding a bunch of flowers. Harry is starring into space. ) Sally: Sure you're OK? Harry: Oh I'm fine. Look it had to happen at some point, in a city of eight million people you're bound to run into your ex-wife so boom, it happens, and now I'm fine. (They reach Jess and Marie's place. They are looking at a wagon-wheel coffee table. ) Jess: I like it, it works. It says home to me. Marie: Alright, alright. We'll let Harry and Sally be the judge. (To Harry and Sally) What do you think? Harry: It's nice. Jess: Case closed. Marie: Of course he likes it, he's a guy. Sally? (Sally shakes her head. ) Jess: What's so awful about it? Marie: It's so awful there's no way even to begin to explain what's so awful about it. Jess: Honey, I don't object to any of your things. Marie: If we had an extra room you could put all of your things including your bar stools. Jess: No, honey, wait, wait, wait, honey, honey, wait, wait, wait... you don't like my bar stools? (To Harry) Harry, come on, someone has to be on my side. Marie: I'm on your side, I'm just trying to help you have good taste. Jess: I have good taste! Marie: Everybody thinks they have good taste in a sense of humour but they couldn't possibly all have good taste. Harry: You know it's funny. We started out like this, Helen and I. We had blank walls, we hung things, we picked out tiles together. Then you know what happens? Six years later you find yourself singing "Surrey with a fringe on top" in front of Ira! Sally: Do we have to talk about this right now? Harry: Yes, I think that right now actually is the perfect time to talk about this because I want our friends to benefit from the wisdom of my experience. Right now everything is great, everyone is happy, everyone is in love, but you got to know, that sooner or later, you're going to be screaming at other about who's going to get this dish. This eight dollar dish will cost you a thousand dollars in phone calls to the legal firm of that's-mine-this-is-yours. Sally: Harry... Harry: Please, Jess, Marie, do me a favour for your own good, put your name in your books right now, before they get mixed up and you don't know who's is who's. Because one day, believe it or not, you'll go fifteen rounds over who's going to get this coffee table. This stupid, wagon wheel, Roy Rogers garage sale coffee table! Jess: I thought you liked it. Harry: I WAS BEING NICE! (Harry walks out. ) Sally: He just bumped into Helen. (Sally follows. ) Marie: I want you to know, that I will never, want that wagon wheel coffee table. (Outside, with Sally trying to talk to Harry. ) Harry: I know I know I shouldn't have done it. Sally: Harry, you're going to have to try and find a way of not expressing every feeling that you have, every moment that you have them. Harry: Oh really? Sally: Yes, there are times and places for things. Harry: Well the next time you're giving a lecture series on social graces would you let me know, 'cos I'll sign up. Sally: Hey! You don't have to take your anger out on me. Harry: Oh I think I'm entitled to throw a little anger your way, especially when I'm told how to live my life, by Miss Hospital-Corners. Sally: What's that supposed to mean? Harry: I mean nothing bothers you! You never get upset about anything! Sally: Don't be ridiculous! Harry: What? You never get upset about Joe. I never see that back up on you. How is that possible? Don't you experience any feelings of loss? Sally: I don't have to take this crap from you! Harry: If you're so over Joe, why aren't you seeing anyone? Sally: I see people! Harry: See people, have you slept with one person since you broke up with Joe? Sally: What the hell does that have to do with anything? That will prove that I'm over Joe, because I fucked somebody? Harry you're going to have to move back to New Jersey because you've slept with everybody in New York and I don't see that turning Helen into a faint memory for you! Besides I will make love to somebody when it is 'making love', not the way you do it like you're out for revenge or something! Harry: Are you finished now? Harry: Can I say something? Harry: I'm sorry. I'm sorry. (Jess taking out the wagon wheel. ) Jess: Don't say a word. (New scene, in Jess and Marie's house, a bunch of people playing pictionary or something similar. Sally is drawing something on the white board. ) Jess: Uh, it's a monkey. It's a monkey, monkey see monkey do! It's... an ape, going ape! Woman: It's a baby! (Sally points to her. ) Jess: Planet of the apes! Harry: Planet of the apes? She just said it's a baby. How about planet of the dopes? Jess: It doesn't look like a baby. Harry: Hmm a big mouth... Mick Jagger is a baby! Jess: Baby ape, baby ape! Harry: Stop with the apes would you please? Woman: Uh... baby's breath! Harry: Rosemary's Baby's mouth! Won't you come home Bill baby! Woman: the baby! Harry: Melancholy baby's mouth! Jess: fish mouth, baby fish mouth! (Out of shot: fifteen seconds. ) Woman: Baby boom! Jess: Draw something resembling anything. Woman: Crying baby, kiss the baby. Harry: spitting up, exorcist baby! Woman: Yes sir that's my baby! Harry: No sir don't mean may be. (Out of shot: That's it times up. ) Sally: Baby talk. Jess: Baby talk? What's that, that's not a saying. Harry: Oh but baby fish mouth is sweeping the nation. I hear them talking. Man: Final score, our team one ten, you guys sixty. Sally: I can't draw. Julian: Nah, that's baby, and that's clearly talking. You're wonderful. Marie: Alright who wants coffee? Jess: I do and I love you. Woman: Do you have any tea? Marie: One tea. Harry: Industrial strength. Sally: I'll help you, (To Julian) de-caf? Julian: Yes. Marie: Cream. Woman: Where's the bathroom? Marie: Through that door down the hall. Jess: (To Julian) Doesn't look like a baby to me. Julian: Which part? Jess: All of it. Harry: Hey Jess, you were going to show me the cover of your book. Jess: Oh yeah yeah, it's in the den. Look Julian, help yourself, have some... more wine or whatever you like OK? (To Harry) I like saying it's in the den, it's got a nice ring to it. (Marie and Sally in the kitchen making coffees. ) Sally: Emily is a little young for Harry don't you think? Marie: Well she's young, but look what she's done. Sally: What has she done? She makes desserts. (Harry and Jess in the den. ) Harry: Did Julian seem a little stuffy to you? Jess: He's a good guy, you should talk to him, get to know him. Harry: He's too tall to talk to. (In the kitchen. ) Marie: She makes thirty six hundred chocolate mousse pie a week. Sally: Emily is "Aunt Emily"? (Den. ) Jess: He took us all to a Met game last week, it was great. Harry: You all went to a Met game together? Jess: Yeah, but... it was a... last minute thing. Harry: But Sally hates baseball. (Kitchen. ) Sally: Harry doesn't even like sweets. Marie: Julian is great. Sally: I know, he's grown up. Jess: Emily is terrific. Harry: Yeah, of course when I asked her where she was when Kennedy was shot she said, "Ted Kennedy was shot? " Jess: No. (Harry is in bed, reading a new book. Flick to the last page to read the ending. Phone rings. ) Harry: Hello. Sally: Are you alone? Harry: Yeah I was just finishing a book. Sally: Could you come over? Harry: What's the matter? Sally: He's getting married. Harry: Who? Sally: Joe. Harry: I'll be right there. (Sally opens the door for Harry, she is covered in tears. ) Harry: Are you alright? Sally: Come on in. (Harry closes the door behind him. ) Sally: I'm sorry to call you so late. Harry: It's alright. Sally: I need a Kleenex. Harry: OK. Sally: OK? (They walk into Sally's bedroom. ) Sally: He just called me up 'wanted to see how you were', fine. 'How are you? ', fine. His secretary's on vacation, everything's all backed up and he's got a big case to do, blah blah blah. And I'm sitting on the phone I'm thinking, I'm over him, I really am over him. I can't believe that I'd ever be remotely interested in any of that. And then he said I have some news. She works in his office, she's a paralegal, her name is Kimberley. (Sob, Sob. ) He just met her. She's suppose to be his transitional person, she's not suppose to be the one. All this time I've been saying that he didn't want to get married, but the truth is, he didn't want to marry me. He didn't love me. Harry: If you could take him back right now, would you? Sally: No, but why didn't he want to marry me? What's the matter with me? Harry: Aw, nothing. Sally: I'm difficult. Harry: You're challenging. Sally: I'm too structured, I'm completely closed off. Harry: But in a good way. Sally: No, no, no I drove him away, and I'm going to be forty. Harry: When? Sally: Someday. Harry: In eight years. Sally: But it's there. It's just sitting there like this big dead end. And it's not the same for men. Charlie Chaplain had babies when he was seventy three. Harry: Yeah but he was too old to pick them up. (Sally laughs a little, then turns into sobbing again. ) Harry: Aw... Come here, come here, it's going to be OK. It's going to be fine, you'll see. (Sally is sobbing all over Harry's pullover. ) Harry: Oh go ahead, it's not one of my favourites anyway. It's going to be OK, hmm? You're OK? OK. (Harry kisses Sally. ) Harry: I'll make some tea. Sally: Harry, harry, could you just hold me a little longer? (They start kissing, it didn't stop and yes, it happened. They are in bed, Sally is wearing a smile, Harry is wearing a blank stare. ) Sally: Are you comfortable? Sally: Do you want something to drink or something? Harry: No I'm Ok. Sally: Well I'm going to get up for some water so it's really no trouble. Harry: OK, water. (Sally goes to get some water. Harry examines Sally's video indexing cards. ) Harry: You have all the video tapes alphabetising on index cards? (Sally passes Harry the water. ) Harry: Thanks you. Sally: Do you want to watch something? Harry: No, not unless you do. Sally: No, that's OK. (Sally snuggles into bed. ) Sally: Do you want to go to sleep? (The next morning. Sally is still in bed. Harry is putting on his clothes about to leave. ) Sally: Where are you going? Harry: I gotoa go. Gotta go home, I gotta change my clothes and then I have to go to work and so do you. But after work I'd like to take out to dinner if you're free, are you free? Harry: Right, I'll call you later. Sally: Fine. Harry: Fine. (Harry kiss Sally on the forehead and leaves. Sally just watches as he leaves. ) (Now we see Jess and Marie in bed. First Marie's phone rings. ) Jess: Yours. Marie: Hello. Sally: I'm sorry to call so early. Marie: Are you alright? Jess: I know I would've called at this hour. Sally: I did something terrible. Marie: What did you do? (Jess's phone rings. ) Jess: Now I know who I would call at this hour. Sally: Uh, it's so awful. Harry: I need to talk. Marie: What happened? Jess: What's the matter? Sally: Harry came over last night. Harry: I went over to Sally's last night. Sally: Because I was upset that Joe was getting married. Harry: And one thing led to another. Sally: And before I knew it we were kissing and... Harry: To make a long story short. Sally: We did it. Harry: We did it. Jess: They did it. Marie: They did it. Marie: That's great Sally. Jess: We've been praying for it. Marie: You should've done it in the first place. Jess: For months we've been saying you should do it. Marie: You guys belong together. Jess: It's like killing two birds with one stone. Marie: It's like two wrong's make a right. Jess: How was it? Marie: How was it? Harry: The doing part was good. Sally: I thought it was good. Harry: But then I felt suffocated. Sally: But then I guess it wasn't. Jess: Jesus I'm sorry. Marie: No worries. Harry: I had to get out of there. Sally: He just diappeared. Harry: I feel so bad. Sally: I'm so embarassed. Jess: I don't blame you. Marie: That's horrible. Harry: I think I'm coming down with something. Sally: I think I'm catching a cold. Jess: Look it would've been great if it worked out, but it didn't. Marie: Ah, you should never go to bed with anyone when you find out your boyfriend is getting married. Harry: Who's that talking? Jess: Who? Sally: Is that Jess on the phone? Jess: It's Jane Fonda on the VCR. Marie: It's Bryant Gumbel. Jess: Do you want to come over for breakfast? Marie: Do you want to come over for breakfast? Harry: No, I'm not up to it. Sally: No, I feel too awful. Marie: I... I mean is so early. Jess: But call me later if you want. Marie: I'll call you later OK? Harry: OK bye. Sally: Bye. Jess: Bye. Marie: Bye. (All hang up their phones. ) Marie: God! Jess: I know. Marie: Tell me I'll never have to be out there again. Jess: You will never have to be out there again. (Sally putting on make up. ) Sally (Voice over): I'll just say we made a mistake. (Harry in the shower. ) Harry (Voice over): Sally, it was a mistake. Sally (Voice over): I just hope I get to say it first. Harry: (Voice over): I hope she says it before I do. (Harry and Sally at a restaurant. ) Sally: It was a mistake. Harry: I am so relieved that you think so too. I'm not saying last night wasn't great. Sally: It was. Harry: Yes, it was. Sally: We just never should've done it. Harry: I couldn't agree more. Sally: I'm so relieved. Harry: Right. Waiter: Two mixed green salads. Harry: It is so nice when you can sit with someone and not have to talk. (Sally nods in agreement. ) (Harry and Jess power-walking in a park) Harry: It's just like most of the time you go to bed with someone, she tells you her stories, you tell her your stories. But with Sally and me, we've already heard each other's stories, so once we went to bed, we didn't know what we were suppose to do, you know? Jess: Sure Harry. (Harry and Jess in the street. ) Harry: I don't know. May be you get to a certain point in the relationship where it's just too late to have sex, you know? (Marie getting her wedding dress fitted. Sally is sitting down, watching. ) Sally: Is Harry bringing anyone to the wedding? Marie: I don't think so. Sally: Is he seeing anyone? Marie: He was seeing this anthropologist but... Sally: What did she look like? Marie: Thin, pretty, big tits, your basic nightmare. (Marie turns to Sally with the dress. ) Marie: So, what do you think? Sally: Oh Marie. Marie: Tell the truth. Sally: It's just beautiful. (At Marie and Jess's wedding. Harry and Sally are best-man and bridesmaid. ) Priest: We are gathered here today to celebrate the marriage of Marie and Jess, and to consecrate their vows of matrimony. The vows they take join their lives, the wine their will share winds all their hopes together, and by the rings their will wear, they will be known to all as husband and wife. Sally: I've never seen her so happy, she's a totally different person. Alice: Oh yeah, she is, well... is great, so, what are you going to do about you? Alice's husband: Hon, you want to dance? Alice: Oh yeah, yeah. Harry: Hi. Harry: Nice ceremony. Sally: Beautiful. Harry: Boy, the holidays are rough. Every year I just try to get from the day before Thanksgiving to the day after New Years. Sally: A lot of suicides. Harry: Hmm. Waiter: Would you like a ___ with a shrimp? Harry: (To waiter. ) No. (To Sally. ) How have you been? Harry: Are you seeing anybody? Sally: I don't want to talk about this. Sally: I don't want to talk about it. Harry: Why can't we get past this? I mean, are we going to carry this thing around forever? Sally: Forever? It just happened. Harry: It happened three weeks ago. (Sally with a mouth opened, eye-brows stitched. ) Harry: You know a year to a person is like seven years to a dog? (Harry smiles, shrugs shoulders. ) Sally: Is one of us supposed to be a dog in this scenario? Harry: Yes. Sally: Who is the dog? Harry: You are. Sally: I am!? I am the dog!? Harry: Mmm hmm. Sally: I am the dog!? I... (Sally walks away, turns around signals Harry to follow. They walk to a more private place. ) Sally: I don't see that Harry, if anybody is dog, you are the dog. You want to act like what happened didn't mean anything. Harry: I'm not saying it didn't mean anything. I am saying is why does it have to mean everything? Sally: Because it does! And you should know that better than anybody because the minute that it happened you walked right out the door. Harry: I didn't walk out. Sally: No, sprinted is more like it. (Sally storms into the kitchen. Harry follows. ) Harry: We both agreed it was a mistake. Sally: The worst mistake I've ever made. (They are now in the kitchen. ) Harry: What do you want from me? Sally: I don't want anything from you! Harry: Fine. Fine, but let's just get one thing straight. I did not go over there that night to make love to you, that is not why I went there. But you looked up at me with these big weepy eyes, don't go home night Harry, hold me a little longer Harry. What was I supposed to do? Sally: What are you saying, you took pity on me? Harry: No, I was... Sally: Fuck you! (Sally slaps Harry whole-heartedly, then storms out of the kitchen. Harry took a moment to absorb what has just happened, then follows. On stage is Jess and Marie about to make a speech. Harry and Sally have just arrived from the kitchen. ) Jess: Everybody could I have your attention please? I'd like to propose a toast to Harry and Sally. To Harry and Sally, if Marie or I had found either of them remotely attractive, we would not be here today. (Applause all around. Somehow the two faces aren't exactly smiling. ) (Harry rings Sally leaving a message on her answering machine. Sally just got home from a lonely Christmas tree shopping, chooses not to pick up the phone. ) Harry: Hi, it's me. It's is the holiday season and I thought I'd just remind you that this is the season for charity and forgiveness. And although it's not widely known, it is also the season of grovelling. So if you felt like calling me back, I'd be more than happy to do the traditional Christmas grovel. Give me a call. (Harry rings again. Sally is working at home, but lets the machine answer. ) Machine: Hi, I'm not home right now, call you right back. Harry: If you're there please pick up the phone, I really want to talk to you. The fact that you're not answering leads me to believe that you're a) Not at home. b) Home, but don't want to talk to me. Or c) Home, desperately want to talk to me, but trapped under something heavy. If it's either a) or c) call me back. (Sally looks at the machine, feeling something. ) (Harry and Jess buying a hotdog from a street stall. ) Harry: Obviously she doesn't want to talk to me. What do I have to do, beat her over the head? If she wants to call me she'll call me. I'm through making a schmuck out of myself. (Harry is leaving another message on Sally's machine. He is singing into the phone... ) Harry: If you're feeling sad and lonely, there's a service I can render. Tell the one who dig you only, I can be so warm and tender. Call me, may be it's late so just, call me. Don't be afraid to just, phone moire. Call me and I'll be around... Give me a call. (Sally picks up the phone. ) Harry: Hello, hi, hi. I, I didn't... know... that you were... that you were there. What are you doing? Sally: I was just on my way out. Harry: Where are you going? Sally: What do you want Harry? Harry: Nothing, nothing. just called to say I'm sorry. Sally: OK. (LONG and awkward silence. ) Sally: I gotta go. Harry: Wait a second, wait a, wait a second. What are you doing for New Years? Are you going to the Tyler's party? 'Cos I don't have a date, and if you don't have a date, we always said that if neither one of us had a date, we could be together for New Years. And we... could... you know.... why don't... Sally: I can't do this anymore, I am not your consolation prize. Goodbye. (Sally hangs up. ) (New Years Eve. Harry is at home watching TV. ) TV: And here we are once again at the sixteenth annual New Year Rockin Eve coming to you live from the... Harry (Voice over): What so bad about this? You got Dick Clark, that's tradition. You got Mallomars, the greatest cookies of all time. And you're about to give the Knicks their first championship since nineteen seventy three. (Harry misses the basket. ) (At the party. Sally is dancing with some guy. She doesn't look like she is enjoying herself. He spins her, twirls her, flings her towards Jess and Marie. "Don't get around much anymore" is playing. ) Sally: I don't know why I let you drag me into this. (Harry is now walking the empty New Years street. ) Harry (Voice over): This is much better, fresh air, I have the streets all to myself. Who needs to be at a big, crowded party pretending to have a good time? Plus this is the perfect time to catch up on my window shopping. This is good. (Harry hears laughter, turns and spots a happy couple. ) (Back to the party. Some guy is telling Sally a joke. ) Joker: So the guy says, "Read the card. " (laughts. ) (Sally laughs, not really getting the joke. Turns to Marie. ) Sally: I'm going home. Marie: You'll never get a taxi. (Sally turns to the joker and laughs again. ) (In the street, Harry is finishes off an ice-cream, throws it in the bin. Starts to reminisce. ) Harry (Voice over): You realise of course that we can never be friends. Sally (Voice over): Why not? Harry (Voice over): What I'm saying... is that men and women can't be friends because the sex part always gets in the way. Sally (Voice over): That's not true. Harry (Voice over): No man can be friends with a woman he finds attractive. He always wants to have sex with her. Sally (Voice over): What if they don't want to have sex with you? Harry (Voice over): Doesn't matter, because the sex thing is already out there so the friendship is ultimately doomed and that is the end of the story. Sally (Voice over): Well I guess we're not going to be friends then. Harry (Voice over): Guess not. Sally (Voice over): That's too bad. You are the only person I knew in New York. ("It had to be you" is playing in the backgraound. Harry starts running to the party. Sally is about to leave the party. ) Sally: I'm going. Marie: It's almost midnight. Sally: Well, the thought of not kissing somebody is just... Jess: I'll kiss you. (Harry tries to hail a cab but they all ignore him. So he keeps running. ) Jess: Come one, stay, please. Sally: Thanks Jess I just, I have to go. Marie: Oh wait two minutes. Sally: I'll cal you tomorrow. (Sally kisses Marie then walks away. Then she sees Harry arriving, still puffing. Then, Harry sees Sally as well. ) Harry: I've been doing a lot of thinking. And the thing is, I love you. Sally: How do you expect me to respond to this? Harry: How about you love me too? Sally: How about I'm leaving. Harry: Doesn't what I said mean anything to you? Sally: I'm sorry Harry, I know it's New Years Eve, I know you're feeling lonely, but you just can't show up here, tell me you love me and expect that to make everything alright. It doesn't work this way. Harry: Well how does it work? Sally: I don't know but not this way. Harry: Well how about this way. I love that you get cold when it's seventy one degrees out, I love that it takes you an hour and a half to order a sandwich, I love that you get a little crinkle above your nose when you're looking at me like I'm nuts, I love that after I spend a day with you I can still smell your perfume on my clothes and I love that you are the last person I want to talk to before I go to sleep at night. And it's not because I'm lonely, and it's not because it's New Years Eve. I came here tonight because when you realise you want to spend the rest of your life with somebody, you want the rest of the life to start as soon as possible. Sally: You see, that is just like you Harry. You say things like that and you make it impossible for me to hate you. And I hate you Harry... I really hate you. I hate you. (They kiss and make up. ) Harry: What does this song mean? For my whole life I don't know what this song means. I mean, 'Should old acquaintance be forgot". Does that mean we should forget old acquaintances or does it mean if we happen to forget them we should remember them, which is not possible because we already forgot them!? Sally: Well may be it just means that we should remember that we forgot them or something. Anyway it's about old friends. (They kiss and make up, once more. ) Harry (Voice over): The first time we met we hated each other. Sally (Voice over): No, you didn't hate me, I hated you. And the second time we met you didn't even remember me. Harry (Voice over): I did too, I remembered you. The third time we met, we became friends. Sally (Voice over): We were friends for a long time. Harry (Voice over): And then we weren't. Sally (Voice over): And then we fell in love. (Harry and Sally on the couch this time. ) Sally: Three months later we got married. Harry: Yeah it only took three months. Sally: Twelve years and three months. Harry: We had this... we had a really wonderful wedding. Sally: It was a, it really was, it was a wonderful wedding. Harry: Yeah, we had this enormous coconut cake. Sally: Huge coconut cake, with the, with the... tiers and this... very rich chocolate sauce on the side. Harry: Right, 'cos not everybody like it on the cake 'cos it makes it very soggy. Sally: Particularly the coconut, soaks up a lot of that stuff, so you really... it's important to keep it on the side. THE END.

I think it would be interesting to cover Mad Max: Fury Road. You've talked a lot in the past about dialogue (ex. The Social Network and When Harry Met Sally) but Mad Max: Fury Road exhibits how you can display character and information with barely any dialogue. Where did sound go. Is the best movie 🎥 I see I loved So beautiful 😍 beautiful istorie True love my gosh ❤️❤️❤️👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻.

2 2 Posted by 6 months ago Archived comment 100% Upvoted This thread is archived New comments cannot be posted and votes cannot be cast Sort by View discussions in 2 other communities no comments yet Be the first to share what you think! More posts from the AutoNewspaper community Continue browsing in r/AutoNewspaper r/AutoNewspaper Automated News Feed Subreddit No Censorship, Just News. 8. 6k Members 406 Online Created Oct 28, 2016 Restricted help Reddit App Reddit coins Reddit premium Reddit gifts Communities Top Posts Topics about careers press advertise blog Terms Content policy Privacy policy Mod policy Reddit Inc © 2020. All rights reserved. 1:11 I never thought Kirsten Dunst can give me ASMR. Press J to jump to the feed. Press question mark to learn the rest of the keyboard shortcuts log in sign up 8 8 Posted by 4 months ago 5 comments 90% Upvoted Log in or sign up to leave a comment log in sign up Sort by level 1 2 points · 4 months ago Hell yeah. What kind of red? I fucking love a good merlot level 2 Original Poster 1 point · 4 months ago just an average cabernet. $12/bottle stuff. level 1 2 points · 4 months ago white thundaaahhh!!!!! level 2 Original Poster 1 point · 4 months ago Lol, wut? Continue this thread   More posts from the drunk community Continue browsing in r/drunk r/drunk Welcome to r/drunk 283k Members 506 Online Created Aug 9, 2008 help Reddit App Reddit coins Reddit premium Reddit gifts Communities Top Posts Topics about careers press advertise blog Terms Content policy Privacy policy Mod policy Reddit Inc © 2020. All rights reserved Cookies help us deliver our Services. By using our Services or clicking I agree, you agree to our use of cookies.   Learn More.

Here are some things you might not have known about the award-winning—and much-beloved—1960s-set coming-of-age tale, which made its debut on January 31, 1988. 1. The basic concept for The Wonder Years began as a film script. “We played around with writing a screenplay that used narration as a device, ” series co-creator Carol Black told New York magazine in 1989. “We just started to think that there was a lot of potential fun in that ‘cause you can really play with the contrast between the narrator’s point of view and what the characters are doing. And you can go inside their head and expose what they’re really thinking when they’re saying something different … And then we just sort of jumped from there to thinking that effect is accentuated when you have an adult narrator looking back on childhood. ” Black created the series with her husband, Neal Marlens; the couple had previously worked on Growing Pains. 2. The Wonder Years was inspired by A Christmas Story. From the coming-of-age theme to the use of narration, A Christmas Story inspired the spirit of The Wonder Years. Peter “Ralphie” Billingsley even appeared in the series's final two episodes as one of Kevin’s roommates. 3. The Wonder Years ’s lack of laugh track and single camera setup were revolutionary. The Wonder Years set itself apart from other shows of its time, production-wise, with its single camera setup, use of a narrator, and complete lack of laugh track. “ The Wonder Years [showed the television industry] that it’s OK to create a show like that—to take out the laugh track, to try different camera styles—to take a risk, ” Josh Saviano, who played Paul Pfeiffer, told Salon in 2013. 4. Fred Savage was the obvious choice to play The Wonder Years ’s Kevin Arnold. Casting kids is never an easy task. To help them in finding their lead actor, Marlens and Black interviewed five casting directors for recommendations. All five of them suggested Fred Savage, who at that point was best known for his role in The Princess Bride. “By the time we actually settled on a casting director, we had already resolved that we should see Fred, ” Marlens told The Philadelphia Inquirer in 1988. “Knowing nothing about him, we arranged to screen some unedited footage of a film he was making at the time, Vice Versa … [We saw] a marvelous actor with a natural quality, which essentially means he has no quality at all except being a kid. It sounds funny, but it’s a rare thing to find in a child actor. It’s the same thing we looked for and discovered in Josh Saviano and Danica McKellar. ” 5. The Wonder Years is set in Anytown, USA. Though no specific location is ever given for Kevin Arnold’s hometown, that’s not the doing of the series’s creators. Neal Marlens wanted to set The Wonder Years in Huntington, Long Island—his hometown—and additional elements were also pulled from Black’s hometown of Silver Spring, Maryland. But it was at ABC’s insistence that no city or state was ever mentioned. Still, many eagle-eyed watchers have combed through the series for clues—like Jack Arnold’s license plate and Wayne’s driver’s license—that place the show in California, where it was filmed. 6. The Wonder Years premiered after the Super Bowl. After more than 80 million viewers tuned in to see the Washington Redskins crush the Denver Broncos (final score: 42 to 10) on January 31, 1988, they were treated to the series’s premiere—which Marlens called “a bit of Americana after the quintessential example of Americana. ” 7. The Wonder Years won its first Emmy after just six episodes. Though it wasn’t an immediate ratings bonanza, The Wonder Years was a critical smash from the get-go. On August 28—with only six episodes screened—Marlens and Black took home the 1988 Emmy for Outstanding Comedy Series. 8. Fred Savage became the youngest Lead Actor Emmy nominee. In 1989, at the age of 13, Savage became the youngest actor to be nominated for an Emmy in the Outstanding Lead Actor in a Comedy Series category. He was nominated again in 1990. 9. Danica McKellar’s toughest competition for Winnie Cooper was her sister. When it came down to casting the role of dream girl Winnie Cooper, there were two final contenders: Danica McKellar and her sister, Crystal. “It was practically a tossup, ” casting director Mary Buck told the Los Angeles Times in 1990. After choosing Danica for the role, Crystal was hired for the recurring role of Becky Slater, Winnie’s one-time rival for Kevin’s affections. 10. Kevin and Winnie’s first kiss was the real thing. In the series’s premiere episode, Kevin and Winnie share an awkward first kiss, a coming-of-age ritual neither of the young actors had yet to engage in in real life. “The one good thing about getting your first kiss on camera is that you know for sure it’s going to happen, ” McKellar said in 2014. For his part, Savage called it terrifying. “We were both really scared and nervous and—and—didn't know what was going to happen or … if we were going to do it right. ” 11. A mutual crush between Fred Savage and Danica McKellar was inevitable. Though they swear the relationship eventually morphed into a brother-sister sort of bond, both Savage and McKellar admitted to having mutual crushes in People. “I was in love with her for the same reasons every other boy fell in love with her, ” Savage said. “You won't meet a sweeter, nicer girl—and she's gorgeous. ” “In the beginning we had a mutual crush, ” added McKellar. “Then things went into the teasing stuff and then into a more comfortable, brother-sister thing. ” 12. It was Dan Lauria’s suggestion that The Wonder Years ’s Jack Arnold be a veteran. “I really didn’t contribute that much, but the one thing I did contribute to the character is that when we were shooting the pilot I said to Neal, ‘Look, I’m a vet. I’m a Vietnam veteran and a Marine, and I think if the story is that I’m a vet, that’d fit the character, ’” Dan Lauria recalled to Paste. “Before we even finish the pilot, he said, ‘Well, if we go, Dan, we’re going to make you a Korean War vet to fit the frame. ’ And so they did, and it paid off. There were a number of episodes where it was mentioned that I was a veteran and when my daughter left for college I gave her my old duffle bag from the service. We always had the Vietnam War in the background on the TV at the dinner table. So there were actual news clips. ” 13. Some of Kevin and Winnie’s dialogue in The Wonder Years was lifted from real life. “Kevin and Winnie’s relationship was, in some ways, defined by my friendship with Fred and some of the things that we would say, ” McKellar told Collider. “The writers would actually take lines from things that we were saying to each other, off camera, and put it into the script. There was this whole episode dedicated to, ‘Do you like him, or do you like him, like him? ’ That was an expression that he and I used when we were talking about some guy that I had a crush on, in real life. And then, it showed up in a script, a few weeks later. There were a lot of blurred lines. ” 14. A growth spurt caused Winnie and Kevin’s breakup on The Wonder Years. Kevin and Winnie’s on-again, off-again romance was one of the series’s key storylines. But on at least one occasion—between the show’s third and fourth seasons—the breakup was more of a practical decision when a growth spurt saw McKellar standing much taller than her sub-five-foot onscreen beau. The couple was kept apart just long enough for Savage to catch up to his co-star’s height. 15. Jason Hervey’s brother was the real Wayne Arnold. “There were so many things that I borrowed from our real life experiences, ” Hervey told Uproxx of his brother, Scott. “I’ll give you an example: Juliette Lewis was my girlfriend on the show at the time, and it was the driver’s license episode. We took Fred—I mean, Kevin—to the mall because my mom made us, and I dropped him off at the absolute, absolute furthest end of the mall parking lot and I said to him, ‘Well, technically, this is the mall. ’ And when I picked him up, of course, he was already flirting with this girl, and sure enough Wayne pulls up and I tell him to get in the car, and then every time he went to reach for the door, I kept jerking it forward. And obviously, the first day of 7th grade, my brother did that to me in real life, and just embarrassed the hell out of me. ” 16. Growing up was part of The Wonder Years ’s demise. The Wonder Years was a show about growing up, which is partially what led to its wrapping production after six seasons. “There has always been a question of just how long the wonder years last, ” executive producer Bob Brush told the Los Angeles Times in 1993, following the series’s finale. “As the kids were developing and getting older, there were of course new stories to tell, but the tension and constraints of the deadline of the concept of the wonder years were beginning to press on us … When [Fred Savage] became 16 and 17, there were really things he needed to get to that we couldn’t do at 8 p. m., especially with the kind of venerable cachet that the show had obtained with its audience. We would get notes from the network saying, ‘You could do this on any show besides The Wonder Years. '” 17. The Wonder Years enlisted The Sopranos creator David Chase’s help. In an effort to breathe a more mature life into the series, producer Ken Topolsky commissioned Sopranos creator David Chase to write a script. “When it’s a suburban kid who has a pretty good life and he’s complaining about mom not letting him do something, you just want to smack him, ” Topolowsky told The Wall Street Journal. “That’s when we felt that Kevin’s wonder years were over. ” Though he calls Chase’s script “phenomenal” and “one of the best, ” its storyline—which included hard drug use—would have been too big a leap for the family-friendly series. 18. Daniel Stern wasn’t The Wonder Years ’s original narrator. Though Daniel Stern’s voice is the adult Kevin Arnold we all know and love, it was Arye Gross who narrated the original pilot. Eventually, the series premiere was re-recorded with Stern. 19. Marilyn Manson was not Paul Pfeiffer. It’s one of those Internet rumors that never seems to die. But somehow, somewhere, someone decided that Josh Saviano, the actor who played Kevin’s BFF Paul Pfeiffer, was in fact Marilyn Manson. Which is simply not true. Though that hasn’t stopped the shock rocker from getting in on the fun. “I met [Marilyn Manson] once, ” Savage told ABC News. “He came up to me, and he goes, ‘You know, we worked together. ’ I was like, ‘I do. I do know that. ’” 20. Paul Pfeiffer really did become a lawyer. In the series finale, Kevin shares that Paul attended Harvard and became a lawyer. Which isn’t too far off base. In reality, Josh Saviano attended Yale and became a lawyer. 21. The Wonder Years fans were disappointed that Kevin and Winnie didn’t end up together. Executive producer Bob Brush knew that fans of the series wouldn’t be happy that it didn’t end with Kevin and Winnie’s happily ever after. “Some viewers will be surprised that nothing works out the way your fondest wish would be, ” Brush told the Los Angeles Times. “The message I wanted in there is that that’s part of the beauty of life. It’s fine to say, ‘I'd like everything to be just the way it was when I was 15 and I was happy, ’ but it seemed more nurturing to me to say that we leave these things behind and we go on to forge new lives for ourselves. ” 22. The little boy’s voice in The Wonder Years ’s finale is Daniel Stern’s son. As the series concludes, the voice of Kevin’s little boy is heard asking his dad to come outside and play catch. The voice is Stern’s son. 23. The Wonder Years gave a boost to many young actors’ careers. Juliette Lewis, Jim Caviezel, Alicia Silverstone, Giovanni Ribisi, Mark-Paul Gosselaar, David Schwimmer, Carla Gugino, and John Corbett (then known as Jack) are just a few of the actors who found some of their earliest roles on The Wonder Years. Even Robin Thicke got in on the action, as a young man doing his teenaged best to pick up a girl. 24. Jack Arnold dated Maggie Seaver. Before The Wonder Years, Marlens and Black had created Growing Pains. Which is how Dan Lauria heard about the role of Jack Arnold. “I had done a part on Growing Pains, and I was going out with Joanna Kerns [who played mom Maggie Seaver on the show] at the time, so I heard about it through her, ” Lauria told Paste. “My agent couldn’t get me in, and Joanna said, ‘Well, why don’t you call Neal? He likes you, you guys got along. ’ ‘Cause we both grew up on Long Island, so we would tease each other [about] which school was better at sports. And I said, ‘No, I don’t want to do that, it’s so unprofessional, ’ and Joanna went in and actually called Neal, and she came out and said, ‘Neal said be there tomorrow at 10 o’clock. He thinks you’re perfect. ’” 25. Fred Savage will always be Kevin Arnold. Though he has made the transition from actor to producer and director of shows like It’s Always Sunny in Philadelphia and Party Down, Savage told GQ that “The persona of The Wonder Years is something that's going to be with me forever. And I'm happy for that. It's nothing that I'd ever shy away from, and it makes me feel so good that it's something people still remember and talk about it and think of it so fondly. I think now I've established myself as a director, but starting out, I'd be foolish to think that every opportunity that came after The Wonder Years didn't stem from The Wonder Years. So I owe so much of everything to that show. ”.

Tom Cruise: DID YOU ORDER THE CODE RED. Me: No. I ordered the regular Mountain Dew... De bain. I love how when she first sees him the look on her face is how she really feels, but then she puts on the bad ass was obviously in vain ❤. 1 1 Posted by 15 hours ago comment 100% Upvoted Log in or sign up to leave a comment log in sign up Sort by no comments yet Be the first to share what you think! More posts from the INDEPENDENTauto community Continue browsing in r/INDEPENDENTauto r/INDEPENDENTauto The Independent News Automated Feed No Censorship, Just News. 256 Members 13 Online Created Oct 29, 2016 Restricted help Reddit App Reddit coins Reddit premium Reddit gifts Communities Top Posts Topics about careers press advertise blog Terms Content policy Privacy policy Mod policy Reddit Inc © 2020. All rights reserved.

Alaska Hawaii. De sport. This thread is archived New comments cannot be posted and votes cannot be cast level 1 Wrestlemania 21 marketing was amazing. level 2 Wrestlemania 21 was amazing. level 2 The Austin Gladiator skit was incredible. level 1 About to get 5 million more views from India. level 1 Follow me down the rabbit hole 10 points · 1 year ago level 1 Incredible promo, but why doesn’t it have the famous I’ll have what she’s having line at the end? level 2 It's there. At the very end. Just after the promotional details/voice over level 2 Goldust 1 point · 1 year ago · edited 1 year ago Welcome to r/SquaredCircle Reddit Inc © 2020. All rights reserved.

This is such a good movie I highly recommend it. Such a great movie through all these years. I am so happy to see “Earth Girls Are Easy “ as an honorable mention! 😁 I love that movie. Steel Magnolias (1989): This heart wrenching drama is about a beauty shop, in Louisana owned by Truvy, and the tragedies of all of her clients. Sleepless in Seattle (1993): A young boy who tries to set his dad up on a date after the death of his mother. He calls into a radio station to talk about his dad’s loneliness w... Sleeping with Other People (2015): Can two serial cheaters get a second chance at love? After a one-night stand in college, New Yorkers Lainey and Jake meet by chance twelve years la... Chocolat (2000): A fable of emotional liberation and chocolate. A mother and daughter move to a small French town where they open a chocolate shop. The town, religi... Romy and Michele's High School Reunion (1997): Two not-too-bright party girls reinvent themselves for their high school reunion. Armed with a borrowed Jaguar, new clothes and the story of their... A Lot Like Love (2005): On a flight from Los Angeles to New York, Oliver and Emily make a connection, only to decide that they are poorly suited to be together. Over the n... (500) Days of Summer (2009): Tom, greeting-card writer and hopeless romantic, is caught completely off-guard when his girlfriend, Summer, suddenly dumps him. He reflects on the... Love, Rosie (2014): Since the moment they met at age 5, Rosie and Alex have been best friends, facing the highs and lows of growing up side by side. A fleeting shared... Friends with Benefits (2011): Dylan and Jamie think it's going to be easy to add the simple act of sex to their friendship, despite what Hollywood romantic comedies would have t...

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When Harry Met Sally...

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When Harry Met Sally...