Him and Good Luck Always Was Strangers

Like an Egg from a Tall Chicken

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—Edward Scissorhands (dir. Tim Burton), 1990.

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MYRNA LOY in THE THIN MAN (1934) dir. W.S. Van Dyke

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Evangelion: 3.0 + 1.01 — Thrice Upon A Time (dir. Hideaki Anno), 2010.

Even in a future where we have designed giant mechanical husks to contain and weaponize mythobiological entities, we still haven’t updated to USB-4.

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Funny Face (1957)

© The Richard Avedon Foundation

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MEG RYAN AND TOM HANKS IN FILMS Joe Versus the Volcano (1990), dir. John Patrick Shanley. Sleepless in Seattle (1993), dir. Nora Ephron. You’ve Got Mail (1998), dir. Nora Ephron.

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PAIRING: Sucker-Punch

Marvel’s The Avengers (dir. Joss Whedon), 2012. Soul (dir. Pete Docter and co-dir. Kemp Powers), 2020.

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RECORD STORES IN FILMS Rock of Ages (2012) Scott Pilgrim vs The World (2010) Pretty in Pink (1986) 500 Days of Summer (2009) Cloud Atlas (2012) High Fidelity (2000) Empire Records (1995) A Clockwork Orange  (1971) Hearts Beat Loud (2018) Before Sunrise (1995)

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Credit cards from adaptations of John le Carré into film:

The Spy Who Came in from the Cold (dir. Martin Ritt), 1965. The Deadly Affair (dir. Sidney Lumet), 1966. The Looking Glass War (dir. Frank R. Pierson), 1969. Tinker, Tailor, Soldier, Spy (dir. John Irvin), 1979. The Little Drummer Girl (dir. George Roy Hill), 1984. The Russia House (dir. Fred Schepisi), 1990. Tinker, Tailor, Soldier, Spy (dir. Tomas Alfredson), 2011 A Most Wanted Man (dir. Anton Corbijn), 2014. Our Kind of Traitor (dir. Susanna White), 2017.

Requiescat in pace, David Cornwell.

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—Time Bandits (dir. Terry Gilliam), 1981.

What really sells these scenes, of course, is the combination of how scared everyone is of him and the fact that he doesn’t remotely care about the devastation surrounding them all — the devastation he engineered.

RIP, Ian Holm.

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—Indiana Jones and the Last Crusade (dir. Steven Spielberg), 1989.

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Batman (dir. Tim Burton), 1989.

Bruce Wayne is bad at social distancing. And his mask covers the wrong part of his face.

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—Get Shorty (dir. Barry Sonnenfeld), 1995.

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—Contagion (dir. Stephen Soderbergh), 2011.

On January 28, The Hollywood Reporter, um, reported that Contagion was in the top ten rentals on iTunes, and Vulture followed up with a revisiting of the film.  Great minds, etc., as former Boston Globe reviewer Wesley Morris’ did something similar in the New York Times on March 10 (well-timed there, Grey Lady... you’re only slightly behind BuzzFeed News and just barely keeping up with The Playlist and the Boston Herald).  Despite a career-spanning love of Soderbergh, I passed on it at the time, and so didn’t remember this exchange with which Morris aptly ends his rewatch.

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The Adventures of Bob & Doug McKenzie: Strange Brew (dirs. Rick Moranis and Dave Thomas), 1983.

RIP Brewmeister Smith.  

The New York Times obit mentions that for a stretch of time “typically... and to his mounting frustration... played the villain” in a series of films from the late ‘60s all the way through to the ‘80s.  This film came out the same year as he played arch-villain Blofeld in Never Say Never Again.  I hope he got some respite in this film by dramatically mocking the villain tropes he seemed to be trapped in.

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—Sleepless in Seattle (dir. Nora Ephron), 1993.

This typifies my relationship with the car radio: I’m either singing along or telling it to shut the hell up. Sometimes, like Annie, within mere seconds of each other.

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“Terry O’Neill... was the photographer of choice for a wide array of the stars of the 1960s and beyond. He photographed not only the Beatles and the Rolling Stones, but also Frank Sinatra; not only classic Hollywood actresses like Audrey Hepburn, but also more recent big-screen favorites like Nicole Kidman.”

Sources: Skinner auction house and Paddle8. See also Terry O’Neill’s Twitter account.

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—Spider-Man: Into the Spider-Verse (dirs. Bob Persichetti, Peter Ramsey, and Rodney Rothman), 2018.

I’ve been in love with Spider-Gwen’s look since before I read her character in a comic.  How wonderful it was to have her emerge as a true acro-badass onscreen.