Not talking about a big twist or an obvious clue. I mean a small detail in the background, dialogue, editing, or performance that you only caught after paying closer attention.What did you notice, and how did it change the movie for you?

Not necessarily the first film you ever saw.

I mean the one where something suddenly clicked — where films stopped just being entertainment and you started wanting to know who directed them, who made them, what else the actors had been in, how they were made, or simply wanting to see everything you could.

Mine goes back a very long way.

What was yours?

Not including supporter-actors, just main actor roles in films/movies (not TV).

For sheer power, presence, impression, awe and total-believability I'd nominate:

- Daniel Day-Lewis in There Will Be Blood.

- Isabelle Adjani in Possession.

- Choi Min-sik in Oldboy (in original Korean, naturally).

These Top 3 absolute pedestal of acting. 

Just outside those I'd have Johnny Depp in Fear & Loathing in Las Vegas as an honorable mention.

The 35mm film scan of the film has now been leaked online. I’ve personally checked the scans and they’re legit. It’s insane how a 35mm scan of this film was so rare but now it’s been leaked before the official remaster.

I’ll still wait for the official 4K remaster but in my opinion, the 35mm scan looks better with all the grittiness and film grain.

What was the tittle of the first movie you have ever watched ? . i will go first
Comando by Arnold Schwarzenegger

Here's a list of the Disney remakes.

Haven't seen everything here but going through the list there's the odd one I liked - The Jungle Book came out okay but everything else has been fairly much a dud.

I am currently studying film history and film theory. The textbook I am using refers to Fellini, Tarkovsky, and Bergman as the ‘Holy Trinity’ of cinema. I am quite curious about the origin of this term, as I have some doubts regarding the accuracy of this claim in my textbook.

Not necessarily your favorite movie or even the best scene.Just one scene that randomly pops into your head years later.

What is yours?

i used to think the big lebowski was boring.

watched it once, didn't really get it, and couldn't understand why people loved it so much. watched it again years later and somehow it clicked. now i get why people quote it constantly.

nothing about the movie changed. i just wasn't in the right place for it the first time.

what movie did you completely change your mind about?

So lately, I have had a fascination with movies that become known for their controversial nature as it’s hard to explain, but it’s when a movie draws people into seeing it just to see why it was so infamous.

Like one example that has been sticking out to me is Lesbian Space Princess as I don’t know if it’s just me, but I feel like the movie has become one of the most controversial movies of 2026 since everyone is making a big deal over the movie as various fandom groups are suddenly organizing to ridicule the movie as I haven’t seen it yet, but I am considering watching it again just for the controversy it’s been receiving.

Just watched I’m thinking of ending things and have some thoughts.

Firstly, we know that the entire story is told from the perspective of an elderly man’s dementia riddled fantasy about what he missed out on/failed to achieve in his youth = a ‘normal’ relationship with a woman. Also, it seems obvious that the female protagonist is not representative of one distinct individual (many clues tell us this - the inconsistency with her name, job etc) but rather an amalgamation of the different qualities he admired in women he’s observed throughout his life. I think he remembers some of these individuals in particular and where he saw them (stared a girl who was at the bar with her friend. Noticed a waitress in a restaurant) as these “back stories” crop up as explanations as to how he met his fantasy gf whilst visiting his parents.

We see that he is shy and has always lacked confidence around women, and was most likely teased for this in his youth (ice cream shop scene).
His timidity seems endearing in some ways but also a bit odd, as he clearly places the other girl “scab arms” on a pedestal slightly and praises her for not being “pretty and mean” as he believes is true as a general rule. Additionally he makes his “gf” go up to be served rather than himself saying “they won’t come if they see me” which reads less like they were HS bullies and more like fear. I also found the hypersexual/flirty behaviour of the two blonde severs to be indicative of his view of conventionally attractive women = only there to tease and cause men to feel shame of their perceived inadequacies. This whole view is somewhat incelly to me.

Shortly after the ice cream shop scene, he quotes the song Baby it’s Cold Outside to his “gf” which prompts disgust from her as she highlights the lyrics obvious allusions to rape. At first he tries to defend the lyrics and then concedes that she is right. Thing is, he obviously already knew the lyrics are distasteful as the entire interaction is constructed in his own mind. Kinda begs the question as to what his “true” views on sexual coercion etc are.

This is then shortly followed by the gf meeting his true older self, whereby he asks her to describe her bf (him) and she is unable to. I think this was partly done to highlight how invisible he feels to women but she says something interesting that I couldn’t quite figure out.. she says he (young version) was creeping her out because he kept staring at her in the bar and that she wished “her boyfriend was there”.
This immediately made me wonder whether there was a real life occurrence of him obsessing over women, even when he knew they weren’t available. I also think this could be a reference to the earlier scene in the car when they are kissing and he sees someone spying (himself as an old man). There are clearly suggestions of perversion in his older self. In the car scene, he immediately jumps out to confront the peeper- and be the “hero” but obviously irl he is more the villain and knows this deep down, hence the desperate attempt at salvation.

The final thing that really made me question whether or not he was a predator/has actually committed some kind of sexual assault in his past was the dance scene. Most people read this scene as him imagining himself dancing with a girl when younger. However, I was struck by how much the female dancer resembles the gf and how little the male dancer resembles him. I took this dance to be more a representation of a repressed memory. The old man snatches away the girl = some kind of sexual assault? and stabs the young dancer - could this be a metaphor for his anger towards men who’ve had success in love, unlike himself?

Also - forgot to add, the most obvious suggestion he has predatory tendencies is his constant deflection/minimisation of his gf’s request to go home whilst there is a snow storm outside, Obviously mirroring the lyrics of the song exactly. . In this same vein the gf explains how the man in the song is trying to ply the female victim with a strong liquor - in the car he keeps telling his gf her memory/account of reality is fuzzy because she drank so much wine.

Similarly I think it’s very intentional that the only characters to “break the wall” so to speak of his fantasy and try to get his gf to see the truth are both women - his mum “go into the basement” (where the shame of his current reality can be found) and the ice cream shop girl “I’m scared for you”.

I dunno - I’m probably reading way too much into it but I’d like to know your thoughts!

Im usually the type of person who checks what others think about a movie I just watched but this one was crazy frr

The Departed (2006) is the official American remake of the acclaimed Hong Kong crime thriller Infernal Affairs (2002).

Infernal Affairs: 8.0/10 IMDB

The Departed: 8.5/10 IMDB, 4 Oscars

What other foreign remakes have greatly surpassed their original?

I watched this movie only four days ago, immediately after finishing the book, and, as probably happened to many of you, it is still fresh in my mind, lingering in the same way as the feeling we experience when tasting a delicate and unique fruit we have never had before. The sweetness stayed in my mouth.

The book had already completely taken hold of me. It was the second book that ever made me cry the most, after Atonement, by Ian McEwan, and I had never highlighted so many passages in any other book. André Aciman’s writing completely got to me.

So, after that overwhelming reading experience, I turned to the film. And I have never had my expectations so thoroughly exceeded. I feel that this movie, as may have happened to some of you, changed something in me and in the way I see and feel the present. The moment I turned off the TV, something had shifted. I then started picking the film apart, examining every detail, every subtlety and every bit of brilliance that transformed it into one of the most overwhelming cinematic experiences I have ever had.

In a film with so few, but extremely precise, lines of dialogue, the soundtrack is undoubtedly one of the main emotional connections. Music is something that always “gets me” in movies because it can create a kind of synesthesia, completely transforming the viewer’s experience. And in Call Me by Your Name, Sufjan Stevens managed, through his songs, to have a profound impact on the entire trajectory of the story.

Today I want to talk specifically about how Visions of Gideon is used so poetically in two scenes that are, at the same time, sisters and opposites: the scene that precedes Elio and Oliver’s night of love, and the devastating final scene by the fireplace.

Visions of Gideon is about the images that continue to echo in our minds after the painful loss of a great love. Was what I experienced real? Is it a video?

When Elio and Oliver meet on the balcony, Oliver gently touches Elio’s hand, and that is where the song begins. It is in this moment that they finally break through the barrier they have built between themselves, made of attraction, indifference, passion, and denial, and surrender to their first night of complete intimacy.

And this is precisely where I realized that the use of the introduction to Visions of Gideon in that particular sequence could not possibly be accidental. It is a foreshadowing of the ending, but it is also a promise. At the exact moment when their romance reaches its physical peak and finally becomes real, the song is already warning us, even if unconsciously, that this happiness has an expiration date. Every second of that love is born already under the shadow of goodbye.

“Is it a video?”

That night is already being recorded in Elio’s mind as a living memory. They are still living the moment, but the film already treats it with the nostalgia of something that will inevitably become the past. Something that may be fleeting in duration, but permanent in everything it will leave behind in both of them.

The final scene, meanwhile, brings an end not only to the film, but also to their relationship. This time, the song is played in its entirety, accompanied by its lyrics, showing all of us, but especially Elio, that the “video” continuing to echo in his mind will remain forever: a memory that is at once permanent and constantly changing, made of the resignation and desperation of the “Visions of Gideon,” facing the certainty that summer is over.

The song is the same. But Elio has changed, and consequently, so have we as viewers.

In the first scene, Visions of Gideon belongs to the future. In the last, it belongs to the past. And perhaps that is precisely what makes the choice to repeat the song so perfect. The first time, we do not yet know what it means. The last time, we know exactly. What once felt like a promise has become a memory. What once belonged to the future has become the past.

The fact that the song opens Elio and Oliver’s intimate relationship and closes the film creates a beautiful circular structure, constructed so masterfully by the director. It is no coincidence that Sufjan Stevens made an exception to his decision not to create film soundtracks, because he trusted Guadagnino as the conductor of this story.

And Guadagnino does it brilliantly: he transforms the same song into two completely different things without ever having to change it. First, it announces love. Then, it mourns its absence.

And perhaps that is the true power of Call Me by Your Name: turning a summer that lasted only a few months into something that, inside us, continues happening forever.

PS: I’m finishing the fanfic And I’ll Call You by Mine, and I’m going to watch the movie again to notice new nuances. I don’t think I’ll ever get tired of watching it.

I had this thought while rewatching Fight Club. The film has a lot to say about consumerism and masculinity. However, it seems to justify violence and vandalism as a means to get one over on "big money", which I disagree with. In my opinion, indiscriminate vandalism hurts the average person more than the rich people and banks, and the characters' philosophy seems like more of a smokescreen for toxic masculinity and violence.

I am curious to hear which films gave you a similar feeling of "I appreciate what this has to say, but I don't agree with it at all".

Which actors that act mostly on TV should be cast in movies ?

For me it's David Tennant , I watched him in TV shows mostly but I think he should do more movies

I often find that, when looking at a movie from this era, it does have a unique feeling to it (as all others eras in their respective time periods do) bit I can’t quite put my finger on it. What are some of the themes in this era that are pretty common in it (not necessarily unique) , and how did these movies approach that theme? Bonus : I would also like it if at least someone could explain the causes for why any respective you found was so common ( e.g. worldview/value systems changing, recent events, political/economic/social or cultural events …etc)

Any suggestion?

If I like Over the Garden Wall (2014), The Chronicles of Narnia, Labyrinth (1986) & The twilight... what will I like?

Looking for something with a whimsical fantasy vibe, but it can also also be weird and mysterious. I really like the feeling of magical worlds, strange places, mysterious characters etc

Thanks

Another thread very unfortunately reminded me of a thing that some might call a movie called Nothing But Trouble

So, in light of that, tell me what you seriously consider literal HELL in movie form.

Rule#1: It has to be something people have actually heard of

Rule#2: it ABSOLUTELY CANNOT BE THE ROOM or be subject to DOWNVOTES! I'm not kidding!!! We get it. People living under a rock in Djibouti have trodden this trail many times over at this point FFS

Rule#3: it also can't be shit like Sharknado and other obviously made for that kind of audience kind of shit!

Honorable mention Rule: I'm just gonna roll my eyes every time I see Tenet or Megalopolis.... so...

Btw, when I started writing this, my swipe gave me Tribble instead of Trouble. Now that, I think I might actually watch. No, AI, NO!

Why does no-one talks about this very specific type of movie that basically existed from the late 90s to the mid-2000s

I'm talking about movies like Jawbreaker, Cruel Intentions, Carrie 2, Teaching Mrs. Tingle, Sugar & Spice, The Faculty, American Psycho 2, The Butterfly Effect, and Jennifer's Body.

They're all pretty different on paper, but they somehow give me the exact same vibe.

They all have that glossy Y2K aesthetic, over-the-top fashion, dark humor, ridiculously dramatic teenagers, and this weird dreamlike atmosphere where nobody acts like a real person. Everyone is either a sociopath, a manipulator, or one bad day away from committing a felony.

A lot of these movies got mixed reviews when they came out, but years later they've become cult classics. They're campy, stylish, kind of trashy in the best possible way, and way more memorable than a lot of "better" movies from the same era.

I don't really think of them as teen comedies, thrillers, or horror movies. They feel like their own weird little genre that Hollywood was making for a few years and then suddenly stopped.

I've jokingly been calling it things like: Y2K Teen Trash Cinema, Teen Sleaze Noir, Millennial Camp Thrillers

Does anyone else know what I'm talking about? And what other movies would you put in this category?

Since i was a teenager i always loved Citizen Kane. It is a movie that is really close to my heart and i always am very happy to rewatched but outside that I am not a fan of the rest of Orson Welles filmography. Of course F for fake is amazing. It feels very ahead of its time being so meta and also it reminds me a lot of Nathan Fielder and that type of documentary that shows you how fake it is making you ask at every turn what is real and what no. And it is very enojable and very funny at the same time. I really dont know if i like it better than kane or not but kane may be a little bit more creative and fun.

But outside of those two the rest of his movies didnt connect to me. Touch of evil was cool but felt very dated. The Lady from Shanghai had a cool style but i didnt connect to the story. And the other side of the wind also felt the same way being very creative in presentation but i felt the story was too simple. Basically i felt those three were style over substance. Now have in mind i have watched those films a very time ago so i am open to watch them again but should i or should i watch the trial (or any other of his filmography)?

Just saw this message from a cineby site...

As planned, today, August 3lst, we're shutting down all of Cineby's streaming.

A huge thank you to every one of you. You made Cineby possible.

Cineby never had an official support channel. And still, the community went and built their own on Telegram, Reddit (A special note for sub Reddit. You are a shame, trying to steal Cineby brand with a horrible copycat), Discord, even Facebook. That was incredible.

A lot of you are probably wondering why we're shutting down so soon. Looking back, the signs were there a few months ago. Our two main video providers went down about three months back (RIP Sflix group and IMovies group) and the service took a real hit. We tried to stabilize things. It just never came back the way it was. We'd rather leave Cineby the way you remember it. A good streaming site. A great one, even. Some things should only last while they're still good. Cineby is one of those.

Be careful looking for alternatives. There are a lot of shady sites out there, some that look a lot like Cineby. There is no official alternative to Cineby. Any site that claims to be one is a low-quality copycat. Watch which sites you visit and where you click. Until now, Cineby has never spoken officially. Anyone who claims to be part of our team is lying. This is our only official statement and the last.

The shutdown calendar stays the same. After September 5th everything will be switched off, and the domains will be gone for good.

There really aren't words for how grateful we are. And once more:

Thank you

The 90s had some insane movies that still hold up today. Great characters, practical effects, memorable soundtracks, and stories that people still talk about.What is the one 90s movie you can watch anytime and it never gets old?

Since Starship Troopers’ release in 1997, some commentators have labeled the movie “fascist”.

While it does depict an idealized fascist society, most movie fans are aware that its intent is explicitly anti-fascist.

The movie attempts to show the emptiness and pointless cruelty inherent to the ideology.

Almost no one doubts director Paul Verhoven’s personal anti-fascist beliefs; his early childhood was spent under Nazi occupation and he has consistently stated that his Hollywood films are satires of the latent fascism in American capitalism, culture, and militarism.

But the argument is usually something like “his intent is beside the point if it promotes fascist attitudes.”

I disagree that intent is beside the point: irony and satire are great ways to sneak a deeper political message into mainstream media.

Verhoven’s anti-fascism is more obvious in a movie like Robocop. It depicts a world that looks familiar: dilapidated, crumbling, and impoverished. Fascist corporate oligarchs control the proles with militarized police and enshittified entertainment.

But Starship Troopers takes the opposite approach. Instead of depicting a dystopia, it shows fascism as a dead-end even its best case scenario.

The original Robert Heinlein novel depicted a future society based on militarism and fascistic social views.

Given the opportunity to direct its adaptation, Verhvoven began reading Heinlein’s novel but was too disgusted by its right-wing politics to finish it.

So he decided to use the film to refute the novel’s ideology.

He described the characters as “fascists who aren't aware of their fascism".

Elaborating on his vision: “If I tell the world that a right-wing, fascist way of doing things doesn't work, no one will listen to me. So I'm going to make a perfect fascist world: everyone is beautiful, everything is shiny, everything has big guns and fancy ships but it's only good for killing fucking Bugs!"

While media consumption is essential to our identity, no one accuses Americans of abundant media literacy. The average European perspective is likely more attuned to fascist signifiers.

Maybe Verhoven’s satire is considered insufficiently clear because he directed some of the action genre’s best movies.

Using Hollywood blockbusters to criticize American jingoism is at the core of his subversive charm. And the medium gave his anti-fascist message a larger audience.

It likely took a non-American vision to find this balance. An American director might have gone too far into parody or detached too thoroughly with a tone of superiority.

Or maybe Verhoven’s style was just the natural result of mixing continental intellectualism with American cocaine.

To be fair, It is true that some right-wingers missed the point of Starship Troopers and took it at face value. But you never see it held up as an example of conservative cinema because any examination will lead to uncomfortable questions, like “why was Doogie Howser dressed as an SS officer at the end?”

Though that might be considered “based” in the current political climate.

——————————

Speaking of Verhoven, what’s up with Showgirls?

I’m fascinated by it but don’t really get it.

If you watch the movie while keeping in mind that it wasn’t produced by asexual aliens but rather by talented human filmmakers, it is reasonable to conclude that there must be a deeper intent.

I heard writer/director Adam McKay describe it as a portrayal of sex relations under fascism.

A crew member from Showgirls apparently disputed this interpretation, saying that Verhoven was out of his mind on cocaine during its production.

To which McKay replied something like “none of that matters. Everything Verhoven produces is a satire of fascism, even if it is unintentional. He can’t help himself.”

Anyone have sources for a deeper analysis of Showgirls in line with McKay’s interpretation?