From the Twitch Live Stage at New York Comic Con 2017, IMDb LIVE host Kevin Smith talks to Marvel Chief Creative Officer Joe Quesada about the development of the Marvel franchise, his history at Comic Con and more.
A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
Guido is a film director, trying to relax after his last big hit. He can't get a moment's peace, however, with the people who have worked with him in the past constantly looking for more work. He wrestles with his conscience, but is unable to come up with a new idea. While thinking, he starts to recall major happenings in his life, and all the women he has loved and left. An autobiographical film of Fellini, about the trials and tribulations of film making. Written by
Colin Tinto <firstname.lastname@example.org>
Federico Fellini attached a note to himself below the camera's eyepiece which read, "Remember, this is a comedy." See more »
When Guido visits the cardinal in the mud bath, the cardinal is sitting in a chair, fully dressed in his cassock, as two attendants use a sheet to form a curtain around him; however, as the camera cuts to a closer angle, the cardinal is suddenly undressed to the waist. See more »
Could you walk out on everything and start all over again? Could you choose one single thing, and be faithful to it? Could you make it the one thing that gives your life meaning... just because you believe in it? Could you do that?"
I don't know... could you?"
No, the character I'm thinking of couldn't. He wants to possess and devour everything. He can't pass anything up. He's afraid he'll miss something. He's drained.
That's how the film ends?
No, that's how it begins. Then he meets a girl at ...
[...] See more »
Swirling, kaleidoscopic rumination from Fellini. The other user comments here (as well as many professional reviews) show how difficult it is to discuss this film briefly, so I don't think I'm going to try. I would only say that, like other films that push at the boundaries of cinematic greatness--`Citizen Kane,' `Nashville,' and `Brazil' are three others that come to mind--it isn't really possible to place `8 ½' in any simple category. It is a comedy and a tragedy, a satire and a celebration, a movie about love and about the lack of it, a movie about making art and a movie about living, an autobiography and the most challenging kind of fiction, a masterpiece of style and a movie that's really about something. It's not for everyone, but it should be, and it's quite possibly the single greatest movie I have ever seen. 11 out of 10.
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