https://youtu.be/-bbuSN0SyHw
>what's the difference between a wet raccoon and Donald's trumps hair?
>a wet raccoon doesn't have 7 fucking billion dollars in the bank
what did he mean by this
>the way invanka looks at him
how can she even love another man when her father is the most alpha male in existence
I don't even support Donald Trump but find it gross that there isn't enough criticism directed at Hillary in the mainstream media. It's so biased towards her it's disgusting.
Someone post the s
Situation bit.
You guys ready for Guardians of the Galaxy 2?
>>72012551
No, we were ready years ago, you didn't strike while the iron's hot, no one likes Chris Pratt anymore
What's with the green Navi?
Ha ha I'm sure mom can be persuaded
Apologize.
For what?
>>72012516
For being a mysoginistic pig
>>72012516
Certified fresh.
Has anyone gone to see Swiss Army Man? Thoughts?
Yup. I have to fart right now.
They didn't show it in my country and the torrents aren't out yet.
What happened to Sunday?
http://archive.4plebs.org/tv/search/filename/swiss/
How many lights do you see?
>>72012368
IF YOU DONT GET ME OFF THIS DAMN STATION IM GOING LEAVE YOU MILES
>>72012368
Darmok and Jalad, at Tanagra.
>>72012446
That sounds like a fascinating story. But I am just a tailor.
>she was the best one
huh, didn't see that coming
RELLY?
For a time /tv/ liked Leslie Jones when it was revealed she was the most decent person on set and the other members were spoiled shits. Honestly, she seems like a nice person deep down.
>>72012441
Fuck off, you pathetic cuck.
>same actors
>same directors
>same writers
Why is it then that the first one is so much better than the other two? It's on a whole other level.
Seriously, the other two are shit.
>first movie, one person on poster
>second movie, two people
>third, three
Pottery
>>72012323
The first one is the best because it's literally a perfect movie. It's 100 percent flawless in every way. Back to the future II is a fucking great movie, but it's not perfect. Back to the future III is also great but it's a departure from the other two, They're not shit you hyperbolic cunt. And Taken as a whole, the trilogy is a cohesive, single story that's really really well done with intricate layers of contuity and interweaving of cause, effect, and gives them a feeling of deja vu rather than repetetiveness.
tl;dr. BTTF is 11/10 Perfection, BTTFII and III are still 10/10, but not as good as the first because they couldn't possibly be. all together it's fucking 20/10 GOAT series
>>72012323
The second one hasn't aged well. Third one was always shit.
Or maybe someone went back and fucked with it... great scott!
![Star Wars Episode VII The Force Awakens.mkv_snapshot_01.56.13_[2016.07.15_20.04.57].jpg](https://i.imgur.com/fcByUV3.jpg "Star Wars Episode VII The Force Awakens.mkv snapshot 01.56.13 [2016.07.15 20.04.57]")
YOU NEED A TEACHER
>>72012268
YOU NEED A FATHEROH WAITSO DO I;__;
IT'S OVER ANAKIN, I'M THE BIGGEST GUY
>>72012268
-he says as he's trying to kill her
about to watch pic related
what am i going to think about it?
>you
>think
>>72012263
didn't the original suck balls?!
After tha movie I just wanna sleep with rowdy black girls who would kill you for a chocolate bar and ride around in a sedan covered in lights.
What the fuck was Don's problem?
>>72012134
>dat zoobie zoo
celebrating birthdays made him uncomfortable because of his shitty childhood
also he didn't like his hot new wife sexing it up around his friends and co-workers
>quite the coquette
>>72012134
Don Draper is a stupid baby who has never reflected upon his life.
this is why he has some difficulties to write whatever stuff Roger ordered him to write. This is why he asks Peggy about her dreams, which are pitiful to whomever has stepped back a little from any social alienation to think a few minutes on their existences. he thinks that women are not meant to be whores, thus bringing his own unhappiness.
but no, Don is the cliché of the 40 something who never took 5 minutes to do this basic task.
>>72012134
He was spilling his spaghetti in front of everyone
Why can't this guy FUCK OFF with his one trick rehashes
>>72012059
Yeah but Eva though. Also looks like a better X-Men movie than Apocalypse, and now that Burton has kicked his albatross to the curb he might get better.
>>72012059
As long as I'm getting Eva green in my life idgaf
>>72012162
this
ITT: Based movie deaths
>will never go out fighting Orc hordes
>>72011997
Why didn't he use his shield though?
>>72012080
why didn't your mother swallow?
>tfw ywn go out by fistfighting a werewolf
What was her fucking problem?
She was married to a giant manbaby who never really grew up.
>>72011983
she was a female
Why is this scene in every American movie?
name 26 american movies that make use of this scene
>>72011995
>expecting OP to be extremely autistic.
>>72011995
>>72012090
maybe hes still typing i keep checking every so often to see if hes posted them yet.
>THhat’s not who we are,” a familiar presidential entreaty, came to mind after watching Woody Allen’s Café Society and the new Ghostbusters. Each film offers a comical view of American types, but enjoyment may depend on whether one feels the characters are credible. They aren’t. The Jewish-Americans of Café Society recall Allen’s boilerplate self-deprecation, while Ghostbusters has been rebooted, mostly with Saturday Night Live performers as urban caricatures. The gimmick in each film is to appease the current diversity craze.
>These failed attempts to find humor in social identity (using such contrivances as Café Society’s Jewish-run amusement industries or Ghostbusters’ exaggerated personal peculiarities and trafficking in the supernatural) follow the president’s frequent allusions to Americans’ basic nature — always a non-specific, cure-all remedy to the latest social crisis. Politicians know such distraction is demagoguery; Hollywood calls it entertainment. Allen’s 1930s characters fumble with issues of prosperity, infidelity, and murder, while the contemporary lady ghostbusters use femininity to laugh off literal manifestations of evil. They’re all superficial constructs. Each movie is an exercise in moral evasion — entertainment as brainwashing.
>Let’s analyze this by looking specifically at two contrasting portrayals: Leslie Jones’s in Ghostbusters and Blake Lively’s in Café Society. Black actress Jones and white actress Lively both play minor characters, yet they can be seen to represent who we, as a nation, think we are: the working-class black woman being the least among us in terms of plot significance and the leisure-class white woman being the most among us in terms of social privilege.
>Jones’s Patty Tolan is the friendliest subway-booth clerk in New York City history. She lacks the education of the three white ghostbusters, who unite as professionals of paranormal science, but she has the gumption to join up out of the same fealty known from black domestics in early Hollywood films. Jones is the tallest of all the Ghostbusters actresses (the others being Kristen Wiig, Melissa McCarthy, and Kate McKinnon), and at 48 years old she also suggests the longest career struggle, now finally receiving late acceptance from the showbiz mainstream. (For sentient viewers, this social fact is not unrelated to the actual role of Patty.) What appears “progressive” about Jones’s casting is American business-as-usual: Patty is described as the niece of the character that black actor Ernie Hudson portrayed as an aide to the white leads, Bill Murray, Dan Aykroyd, and Harold Ramis, in the original 1984 Ghostbusters.
>A feminist Gunga Din, Jones’s Patty makes it possible for the SNL white pukka sahibs to feel good about repeating Ghostbusters’ Eighties line-up — as if exhibiting generous social equality. That’s how escapist entertainment works: It disguises Hollywood’s entrenched biased hegemony as happily inclusive fun for all. Director Paul Feig, who saw no need to diversify the cast of his deplorable but lucrative Bridesmaids, perpetuates the same ol’ Ghostbuster tokenism. His cast of romantic dingaling (Wiig), plus-size clown (McCarthy), butch brainiac (McKinnon), and black sidekick (Jones) presumes to update the original film’s nonsense by virtue of representing Obama-era parity (which includes Chris Hemsworth as an unfunny beefcake version of Old Hollywood cheesecake), but Feig forgets that Reagan-era liberals felt no need to demonstrate equality; enjoying white privilege showed who they were, and filmgoers laughed while acquiescing.
>Similar cultural stagnation occurs in Café Society. Woody Allen celebrates the vaunted era of New York’s segregated 1930s nightlife — and its West Coast counterpart in Hollywood. The story of Bobby Stern (Jesse Eisenberg), the brother of a New York gangster and nephew of a high-powered Hollywood agent, centers on his falling in love with non-Jewish women — a Los Angeles secretary, Vonnie (Kristen Stewart), and an East Coast divorcee, Veronica (Blake Lively). But Allen glosses over the cross-ethnic infatuations as well as instances of ethnically restricted businesses. (The décor of Bobby’s nightclub evokes the infamously segregated El Morocco.) Like Feig in Ghostbusters, Allen uses comedy to avoid serious contemplation of the social inequities that accompany class advancement. (Café Society’s unoriginal dialogue, including Allen’s mumbly, gravelly narration, sounds hackneyed. It’s worse when Allen trots out his usual harangue that life is “meaningless.”)
>Allen satirizes Jewish working-class ambition, paranoia, and class pretenses, whether in the luxe of Hollywood studios or the grime of New York racketeering. He romanticizes go-getter Bobby by imitating those Great Gatsby interpretations that read Jay Gatsby as Jewish. But while Allen emphasizes ethnic difference (mocking Bobby and family for their non-Orthodox behavior and occasional reversion to Yiddish-speaking type) he avoids exploring it. That Allen is no ethnicity-buster becomes clear when Lively enters the film. She’s a counterpart to the dark-haired Vonnie, yet she personifies a blonde, blue-eyed shiksa. “I think Jews are exotic,” Veronica tells Bobby, adding “I wouldn’t mind if you had horns.”
Fuck this crybaby.
Everything he writes is so absolutely forced, no matter how "well written" you think it is. He talks in circles without getting anywhere.
