come on! come on, come on, what are you staring for? come on! robinson apparently tired, punched with a fairly well and rocked jake lamotta right to his heels. come on, ray. a director and actor find a story at the right time and the right place. and out comes this amazing combination of cinematic virility and absolute fear. it s like watching an animal. i think raging bull is a great title and the film fulfills the promise. the reality of the boxing and the great slow motion, all the black and white gore. the violence of the flashbulbs going off. when he designed the movie, marty purposefully, he didn t put a clutch on the film. there s no clutch. hey, ray, never went down, man. you never got me down, ray. raging bull is a boxing movie for people who don t like boxing because it s really not about that. it s about this man, jake lamotta, who was based on a real person, who s really at war with himself. come on. harder. harder. i didn t really unde
Got deep into the alan ruck character, and matthew s character was the wise fool, but alan ruck was troubled by this evil father. that was really moving. here we are. i want to congratulate you for being on time. excuse me, sir? i think there s been a mistake. i know it s detention, but, um, i don t think i belong in here. the breakfast club is the teenage touchstone. it s a film that s about the tension of being a teenager and kind of knowing that people in other cliques don t really want to be your friend until you re locked in a room together. the first 20 minutes of the breakfast club is perfect filmmaking, the way that it s structured, the way the characters are introduced. it still is my favorite of the john hughes films, just because i think it s so unique and nothing like that had ever been done. so on monday, what happens? are we still friends, you mean? if we re friends now, that is. yeah.