#i love the shots of eliot punching out the camera

[ghostlyarchaeologist]

POV: You're a Leverage bad guy.

Leverage S03E13/S04E15

[fluffypotatey]

Leverage Ep 12 >:3

Pre-show:

WE MADE IT TO THE FINALE

TOOK ME MONTHS BUT WE’RE HERE 🔥🔥🔥🔥

can’t think only react

So excited

Reaction:

Oooooh synopsis are you telling me we’re gonna heist the ✨insurance company✨ hehehehe

shit wait we’re starting there?????

OH SHIT

ok ok soooooo Nate is drunk (maybe???? possibly???? most likely????), he almost shot a dude (past boss????), past boss offered shrimp and Nate just went “I do like shrimp”

Bro?????? Is this a flashback????

They don’t give a time or date tho….keeping it mysterious for plot reasons I guess (<- is grumbling about it)

WAIT

SOPHIE

SOPHIE IS HERE

YIU MOTHERFUCKER

LEVERAGE YOU DIDNT

HOW DARE YOU NATE DONT YELL AT SOPHIE

they staged an intervention whilst giving him heist of his dreams 🤧 like a “hey, broski, your drinking problem sucks…..wanna get at the man who ruined you?”

ELIOT WITH GLASSES YES

ohhhhhh so this is why it’s called the 1st David Job

“While you are well-versed in dead guy art, I am not” I love you so much Alec 💕💕💕💕💕💕

Oooooh pretty art

Ummmmm sketchy basement????

omfg the vases 👀👀👀👀👀

Bro just let him take a photo????? Rookie mistake

Awwwwww let Parker play with the little naked man 🥰

Lmao Sophie does not need you to tell her how to heist a guy, Nate 🤭 so silly, maybe if you drank some water—

Oh ho! You calling the pope a heathen 😂 in front of an alleged Vatican archivist 😂 you got balls man

Mag????? THE EX WIFE?????

WHAT

WHAT IS SHE DOING HERE?????? Girlie why are you in a party hosted by the ceo of the company that killed your son??????

Parker is meeeeeeeeeeee

SOPHIE 😂😂😂😂

Oh dear…..Maggie what are you doing????

SOPHIE 😂😂😂😂😂😂

It’s what….15 minutes???? jfc

Alec turned the fucking statue 💀💀💀💀💀

“Breakfast jambalaya” well now I’m hungry

YEEEEE MY PARKER/ALEC HEART

awwwwwwww he wants to talk about it 🥺🥺🥺 I’m ok T^T totally

ELIOT 💀💀💀 YOU DID NOT

Love my chaotic, smart Parker 🥰

ok, so, question: they mention that Nate’s ex-wife meets him to talk about when the priest got attacked in the Miracle Job, but now it’s like the team never met her before???? sorry it’s been awhile but I’m a little confused. Shouldn’t Sophie already know what she looks like???? Bc she made the “she’s pretty” comment here like idk sorry I’m might be overthinking this?

Lmaooooooo SOPHIE

ELIOT IS DONE LMAOOOOO

Parker don’t throw the David!!!!!

?????

Ok does the ex-wife care as in she wants to get back together or care as in “we used to love each other and while it isn’t the same now I still care for you like an old friend cares”? bc I really want option 2

Eliot why would you bring up the ex-wife again????

Sophie……girlie what are you doing???? She looks so excited and idk whether to be concerned or not

Oooooooh parents are talking

Lmao that door does not help at all, plus it has windows???? The trio’s still there this is not a private combo lol

oh shit she doesn’t know 🫢

Nate/Sophie 🥺🥺🥺🥺 why are they so soft stop it

Fuck up the company please 🙏🏻

TEXACO?????

Wait bro what’s the new plan???

Alec lmao 😂 bringing out the pen, making the pilot panic

you not a fan of heights 👀 ironic

ALEC 💀💀💀

“FAA! he’s a hardass” 😂😂😂😂

ALECCCCC WTF

BRO THE PILOTS ARE STILL THERE

My thoughts on what the pilot’s are thinking: “fucking FAA….stupid new regulations….wait, why is he putting that on his head??? What’s with that briefcase???? Who is he talking to???? What’s with the statue????….fucking FAA…”

Ah fuck it’s option 1….dammit

YEAH NATE PUNCH HIS ASS

OH SHIT

WHO WAS THAT GET THAT CAMERA AWAY

And of course this is just halfway

YES ELIOT WAIT FUCK

WHOMST

WAIT ALEC BB NOOOO HES JUST A MAN LEAVE MY MAN ALONE

WHO ARE THESE PEOPLE??????

PARKER FUCK

LEAVE HIM ALONNNNNE

WHAT DID THEY DO TO MY BOY

FUCKUNG CROWLEY LOOKING DUDE BETTER NOT HARM PARKER

YES ELIOT FUCK HIM UP BREAK HIS KNEES

“I’ll come alone” fucking liar >:(

Sophie…….no girlie……..

Sterling please don’t hurt my Nate/Sophie please…..dont 🥺

He’s keeping Parker???? You bitch

Fuck 🫠 so stressed rn

Please tell me this episode isn’t over 🫠🫠🫠🫠

Ok ok not over 🥺 but still stressed

Nooooooooo Sophie/Nate please!!!!! You can’t hurt each other 🤧🤧🤧🤧 it’s not allowed!

Lmao you put it on the the edge of the roof, very classy girlie

ALEC!!!! BABY T^T

Parker should kill him, for funsies

Eliot should kill all of the lackies, for funsies as well • Hahaaaaaa so stressed

Girlie don’t you dare jump

GIRLIE WHAT

FUCK THEM ALLL UPPPPPP BOYS

I mean….they could cut the line????

Eliot you good??? Are his ribs still broke?????

Ok so episode is close to ending….everything seems well…but this is a 2-parter????

“Shouldn’t we call the police?” “You’re fired” said it like a true villain to his henchman 😎

ALEC BRO BADASS BUT STILL THE HQ????

Lmaooooo talking shit, piglet?

OHHHHHHHHH THE SHOT IS JUST LIKE THE PILOT!!!!! THEY’RE DIUNG A PARALLEL OF HOW THEY MET WHEN THEY WERE BARELY A TEAM AND NOW PRESENT TIME WHERE THEY ARE A FAMILY OH MY GOD!!!!

EVEN THE SCATTER WAS LIKE THE PILOT AHHHHHHHHHH

Final Thoughts:

[adamwatchesmovies]

The Crush (1993)

The Crush makes a bad movie out of a worse premise. Granted, writer/director Alan Shapiro did base this story on an incident he experienced but I doubt anyone alive could be as stupid as this film’s protagonist unless they were some kind of creep. Speaking of which, this film threatens to turn you into one with its loving shots of Alicia Silverstone playing a 14-year-old.

Twenty-eight-year-old writer Nick Eliot (Cary Elwes) moves into the guest house of Cliff and Liv Forrester (Gwynyth Walsh and Kurtwood Smith) and meets their daughter, Darian* (Silverstone). The girl soon becomes obsessed with Nick and when he rebukes her advances, she won’t take “no” for an answer.

*Please note that in some versions of the film, Darian’s name has been changed to Adrian. I watched the film on VHS where the original spoken language remains.

This is a pretty standard thriller cut from the same cloth as Fatal Attraction. The “twist” is that there is no affair. Nick has done nothing wrong but Darian still becomes obsessed with him. At least in theory. To anyone watching, it’s clear that although the film wants to paint Nick as someone who definitely didn’t ask for this, he might’ve been asking for this… at least a little. Maybe times have just changed that much (I wouldn’t be surprised) but Nick's behavior is uncomfortable way too often. First, he tells her “if you were ten years older…”. Then, he looks at her lovingly when she’s sunbathing. Finally, he agrees to drive her out to a remote location in the middle of the night - without her parent’s permission - and when she kisses him, he says nothing about the inappropriate behavior to anyone. I say three strikes, you’re out.

Then again, it might not be that Nick is secretly attracted to Darian - which is too bad because that might’ve made the film more morally ambiguous and interesting - it could be that he’s just a moron. When he submits his first assignment to his new boss, he doesn’t realize Darian has snuck into his computer and edited it - improving the article significantly in the process - until Michael (Matthew Walker) compliments him on his writing. Damn. I knew she was smart but this fourteen-year-old is good enough to write for a magazine? Really? Anyway, after one of his prized photos goes missing, you’d think Nick might… I dunno, lock his door? Change his computer password? Tell someone? Even after Darian literally leaves 99 messages on his answering machine and builds him a secret shrine (complete with those magical candles that never go out and emit no heat), he doesn’t say anything to anyone. Come on, man. At that point, this has gone beyond a simple crush. I know you could take out a teenager with just one punch no matter how manipulative she may be, but there’s still cause for concern, particularly since…

Then, the film gets REALLY creepy. Darian beats herself up, grabs a used condom from Nick’s trash can and puts the sperm inside her body so she can convincingly accuse him of rape. If I may quote Promising Young Woman: “It's every man's worst nightmare, getting accused of something like that.” ”Can you guess what every woman's worst nightmare is?” I don’t want to throw this film’s premise into the fireplace completely. I’ve seen all sorts of wild concepts work with the proper execution. The problem with this “he said, she said” thriller is that the camera shoots Alicia Silverstone, who was 26 at the time but is playing a minor, with all of these shots that tell us we should be attracted to her. We see her undress while Nick is hiding in her closet and see her in several bikinis. At one point, she’s on a swing and her crotch keeps coming towards us over and over. If Nick isn’t attracted to her, why is the camera? I’m not accusing anyone involved in the making of this film of being a predator. What I am saying is that it’s completely tone-deaf and pretty obvious that no woman was ever consulted during the filmmaking process.

With all this out of the way, let me praise Alicia Silverstone in this role. She does this thing where in one scene, she is completely believable as an innocent teenager whose parents would never believe is insane. In the next, she’s demented and disturbingly flirty. The movie is bad. She is not.

If someone had the guts to push the envelope, The Crush might have been provocative and memorable instead of generic. It’s not worth seeing for multiple reasons and I certainly wouldn’t call it “Scary, stylish and very sexy. A top-notch thriller.” unlike Jim Svejda, whose quote is featured on the back of the VHS cover. Yuck! (On VHS, August 11, 2022)

[bloodonhissocks]

Rewatching The 12 Step Job (1x10), I noticed a scene that I've glossed over many times before. When Hardison activates the bomb under the car by sitting in the seat, he naturally panics as Eliot assesses the situation. Hardison comes up with the idea of a bag of bricks to which Eliot says, "That only works in the movies."

The rest of the scene unfolds sort of in a comedic way, though I don't know if that's because I've seen it so many times and know that they obviously don't die. Hardison has clearly never been in such an extreme near-death situation (not yet at least) and is unfamiliar with the pressure and fear, so he starts rambling and insisting on the bag of bricks because he's panicking. On the other hand, Eliot is more calm and able to deal with the situation because, we can assume, he lives in constant high-stakes situations. He figures out that the bomb is a computer bomb.

Gosh I have so much to say about this scene haha, so I'm gonna start with the way that Hardison's and Eliot's characters are simultaneously both in a situation that is foreign yet familiar. There's a better phrase for it, but I can't think of it. Eliot is used to being close to death but is clueless about computers. Hardison works with computers, but since he's the one trapped by the bomb, he's forced to reboot it indirectly and under enormous pressure. As a result, they have to trust each other.

I think I never noticed this dynamic because I was distracted by the layer of comedy. Hardison tells Eliot that the margin of error is half a second to which Eliot responds, "Run the bag of bricks by me again." We know Eliot knows that the bag of bricks will not work, but he's so out of his depth that he circles back to an impossible idea. I can't articulate why exactly that's comedic because I haven't studied comedy, but I always thought his remark was funny along with other remarks such as Hardison saying "I'm gonna die" because he knows Eliot is out of his depth.

Right before Eliot yanks the wires, we get a close-up shot of his hand shaking and that is such an important detail to highlight. When was the last time Eliot was that afraid? He's so used to being able to take care of himself and handle things on his own, and now he's in a situation where he has to completely trust someone else with his own life. I can't even imagine how he was feeling in that moment. This speaks volumes about how much of a bond he and Hardison have at that point in season 1 and I will never shut up about how much of a family they've become in such a short (I'm assuming since it's still within season 1) period of time. Eliot could've dipped and left Hardison to die, but no, he would never have done that. I would like to think that running didn't even cross Eliot's mind.

They survive, of course, and the comedy returns for a third and final time when Hardison asks Eliot for an uncertain confirmation of whether Eliot would've dragged him under the truck as well and Eliot says, "Sure." Eliot will trust Hardison with his life but won't openly admit that, of course, he would save Hardison 🥴 FKSDHFKDSHKFSDL I just remembered that this was also the episode where Hardison pretended that he and Eliot were together so that that could both "visit" at the rehab center. That just makes everything so much better.

Anyways, I love that scene between those two. It also highlighted Eliot's jock archetype without all the bad stuff. We've had Eliot "camera was too far to punch so I threw a rock at it" Spencer who is the same exact person as Eliot "hopelessly clueless about computers and doesn't know what to do because he can't just punch it" Spencer and I am so here for that duality.

[leverage-ot3]

notable moments from The Rundown Job

leverage 5.09

the HEART EYES in parker and eliot’s eyes as they watch hardison crack the code of the vault is my religion

- - - - -

Hardison: Kiss for luck?

Parker: Who needs luck?

confident baby

- - - - -

(Parker begins doing elaborate moves and turns to get through the lasers, quickly reaching the far wall)

Hardison: I never get tired of that

THE HANDSHAKE BETWEEN HARDISON AND ELIOT BC THEY LOVE THEIR BADASS GIRLFRIEND

- - - - -

Parker (opens a case to reveal it is full of diamonds): Oh! Bup-bup.

(Eliot snaps at Parker to get her attention)

Hardison: Eight new schools. Okay, take care, sister Agnes. (hangs up)

(Parker closes the case and gives it to Eliot for mailing as Hardison dials the phone)

Hardison: Hey, Nate, we’re done in D.C. We’re flying back tomorrow. See you.

Parker: They’re so shiny. Couldn’t I have just kept one?

Hardison: Road to redemption, Parker. Just think how good it’s gonna feel when you get that Christmas card from those orphans. Hell, we may even get Eliot to smile.

parker deserves all the shiny things

“the road to redemption” THEY CHANGE TOGETHER

- - - - -

Riley: Why���d you quit, anyway? (pushes button again)

Eliot: Started running with some different people...

(Riley pushes button again but it doesn’t seem to be working)

Eliot: Like a hacker...

(Hardison enters room and nods. Riley pulls a gun from his drawer and shoots toward Eliot, but the gun is empty)

Eliot: And a thief.

(Parker taps on Riley’s head. He turns. She is holding the clip and a bullet from his gun)

Parker: Click. (tosses clip and bullet on table)

eliot “I started running with some different people” spencer loves his partners and I adore that with my whole (whole) heart

- - - - -

Eliot: Good night.

(Parker stuns Riley, who slumps on the desk)

I’m glad they’re enabling her tasering obsession

- - - - -

Eliot (checks his watch): I’m gonna keep her alive. You guys find a way to get her out of here.

Hardison: With what? I…

Eliot (walks away): You stole a Michelangelo with tinfoil and chewing gum. Figure it out!

eliot is like bitch please you’re smarter than this

- - - - -

the way the three of them back up to each other, covering their backs ,,,

- - - - -

Hardison: This is a violation of my constitutional rights.

Vance: You’re Alec Hardison. You cracked the Pentagon servers when you were 12. N.S.A. has a file on you a mile long.

Hardison: Do they? What do they say about me? I hope they gave me a cool nickname.

Vance: Parker here... No file on you, which is...

(Parker appears to be sleeping)

Vance: Is she asleep?

Eliot: She bores easy. What do you got on us?

hardison probably does have a cool nickname

also I LOVE how they still have no clue about parker

+

eliot being like “she bored easy” 🤷🏼‍♀️ the MARRIEDNESS

- - - - -

Hardison: Y-you’re talking about stopping a terrorist attack in an afternoon. We’d need all your intel.

Vance: That truck back at the crime scene... It’s an N.S.A. Mobile response intelligence unit–

Hardison: With the Schneier cryptography system and the j-dam satellite uplink? That... I know nothing about, ‘cause that would be treason and wrong. (to Vance) Are you for real

hardison: I wouldn’t know anything about that because that wouLd Be TrEaSoN

- - - - -

Vance: So, you grab the truck... (moves to sit by Eliot) Hell... Your girlfriend’s already out of her cuffs.

(Parker sits up holding the handcuffs and tosses them to Vance)

...they didn’t deny that parker was eliot’s girlfriend. they didn’t bother to correct him because it is, in fact, true that she is both their girlfriends. in this essay I will-

- - - - -

Agent: No, I can’t let you in the truck.

Hardison: A gigabyte gone... your job, gone.

Agent: Security clearances.

Hardison: You’re not gonna let who...

Eliot: What are we, terrorists? Okay, that was my plan was to come here, show you a real badge that I somehow got, and then bring somebody crazy to break into a secure vehicle? We’re gonna move this down the block. He’s gonna spend about an hour doing spot-checks on databases. I showed you my badge. Man, here, take my badge. (tosses it to Agent) Call it in. I got to deal with this guy

it’s funny because it’s true

- - - - -

Hardison: It’s got every database... N.S.A., CIA, FBI. It’s got hard backdoors into most commercial systems, live feeds into every security camera on the grid. Man, if this wasn’t such a gross violation of our civil liberties, I would be in love right now.

they never stop calling out the government and I’m Here For It™

- - - - -

Parker: Where do we start?

Eliot: We start with getting you two on a plane out of here. You didn’t sign up for this. Trust me.

Hardison: And you? You’re going to handle this by yourself? Come on, she’s a lady, man. She needs the right touch. What you gonna do with your big punching hands... Punch the screens? No.

Parker: We agreed we all change. Better or worse, we change together.

Eliot (after a moment): What do they got on the gunman?

ELIOT JUST WANTS HIS PARTNERS SAFE

also,,, for better or worse, we change together??? BITCH THOSE ARE WEDDING VOWS

- - - - -

Parker: Do you know why you bring a cooler full of ice to a robbery? No? I do. Everything we need to know is in that basement. I’ll drive.

Hardison: Hold on.

Eliot: Exactly.

Hardison: No, hold on. (holds on to table)

Eliot: Oh, you... oh, hell, man (sits down in chair across from Hardison. the van horn honks twice and eliot looks around, fumbling) No seat belts up in this thing- (looks at Hardison) d-do you got a seat belt?

Hardison: No, uh-uh, hold the wall (holds the wall)

eliot and hardison being exhausted boyfriends at parker’s reckless driving, I love this song

- - - - -

Parker: How do you lose track of a whole laboratory?

Eliot: There’s over 200 tons of uranium missing from the United States nuclear storage.

Hardison: The air force lost a hydrogen bomb off the coast of Georgia.

Eliot: Countries are big things, Parker. A lot of secrets slip through the cracks.

wow I love knowing these things and having to live with it

- - - - -

Hardison: The Spanish flu killed 50 million people during World War I, and now somebody’s got it. (opens door)

Parker: Look, we can do this. Just treat it like any another job.

Hardison: This isn’t just any other job.

Eliot: All right, all right. Stay focused.

Hardison: I focused! That bug in there killed 50 million people! 50! And that was when the population was lower.

Parker: Now?

Hardison: Now? 150 million people. 150 million dead. Hey, we’re thieves, man, and we’re good at what we do, but this is way, way out of our league. And you expect us to go catch some psycho with a city killer? A country killer?

Eliot: You scared?

Hardison: You’re damn right.

(Hardison turns to enter the truck but Eliot grabs his wrist, holding him back)

Eliot: I’m not. I got the best thief And the smartest guy I know chasing this guy.

(Hardison looks at Parker, but Eliot grabs his head and pulls him back)

Eliot: Hey, listen to me. You’re smartest man I’ve ever known, Hardison. I need that brain to get me to him. ‘Cause you know if I lay my hands on him, it’s done. Get me to him. (lets Hardison go)

tHe WaY hE gRaBs HaRdiSoN’S fACE

eliot knows hardison is spiraling but he also knows how to get him out of it because he knows hardison like the back of his hand and knows how to get through to him

THEY LOVE EACH OTHER

- - - - -

there are so many good ot3 shots in this episode it brings me so much joy

- - - - -

parker climbs hardison like a T R E E to turn off that detonator as eliot provides counterbalance

- - - - -

Eliot: Did it work?

Hardison: I... I don’t know. I’m trying to get the phone speaker.

Vance (on phone): Move, move, move! Get to cover! Pull everyone back to the perimeter!

Eliot: Ohh! My boy! (hugs Hardison) That is what I’m talking about!

tHe HuG, yOuR hOnOR

- - - - -

they really be playing grand theft auto in this one

- - - - -

(Udall fires toward the trio and they dive for cover. Eliot and Parker look at each other and nod. Parker looks at Hardison)

Parker: For luck.

(Parker kisses Hardison, then she and Eliot nod at each other. Parker grabs the briefcase and runs off the train while Eliot runs toward Udall. Hardison goes after Parker, and Udall shoots Eliot in the leg. Eliot reaches Udall and punches him, knocking him out. Hardison continues after Parker, who stops and opens the briefcase)

F O R L U C K

also high key the look parker and eliot share? it had the same vibes as “we do the things that they can’t, won’t”

+

parker high key kissing hardison “for luck” but also kissing him because eliot can’t

- - - - -

Hardison: Yeah. Yeah, that’ll do... that’ll do it. (he pulls her into his arms) Don’t do that to me. I can’t lose you. Do you understand? I can’t lose you. Don’t scare me like that.

Parker: Yeah.

Hardison: I can’t

he loves her so, so much

- - - - -

Vance: Promise you’ll at least consider working with us again.

Eliot: I work with them now.

Vance: Honor among thieves?

Eliot: Something like that. (walks away)

something like that,,, HE LOVES THEM, YOUR HONOR

- - - - -

Vance: World can always use some more good guys.

Parker: Yeah, well, too bad we’re the bad guys

smh, “sometimes the bad guys are the best good guys”

- - - - -

Parker: You’re shot. You should go to the hospital.

Eliot: I don’t do hospitals. (drops crutch)

Hardison: I told you. He takes getting shot very lightly

he drops his crutch to lean on parker and hardison THIS IS NOT A DRILL

- - - - -

after watching this episode, I agree with y’all wholeheartedly that this was an ot3 GOLDMINE

edit: also, notice how much is written in pink (the colorcode for ot3 notes and meta). like, more than half of it. because LITERALLY ALL OF THIS IS OT3 MATERIAL

[justanothercinemaniac]

Epic Movie (Re)Watch #204 - The Untouchables

Spoilers Below

Have I seen it before: Yes

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: No.

Format: Blu-ray

1) Al Capone at the barber.

First of all, this scene establishes Capone’s position in the world of the film. The press treats him as a legitimate businessman despite his immoral standings (he’s a KNOWN bootlegger, he doesn’t even hide it), which means it’s going to be all the more difficult to take him down. He’s totally in control of the scene and the fear we see in the barber’s eyes when he accidentally cuts the mobster shows just how dangerous he really is. It’s a great first taste of the gangster.

2) The second scene - of the shop blowing up and the little girl going up with it - does well to draw in audience sympathy. Despite all his showboating Capone is a monster who kills whoever gets in his way. A bully on the worst scale. He literally murders a little girl as collateral damage because someone doesn’t want to serve alcohol. That’s just fucking evil.

3) As I’ve noticed with many mob movies, The Untouchables has a woman problem. Patricia Clarkson is great but here character is nothing more than the dotting and supportive housewife. Like, there’s no conflict to her AT ALL. Her husband is doing work which puts her and her family at risk but she’s always supportive/understanding. Can’t have the woman questioning her man now can we. It’s kind of annoying. And then the only other two female characters I can even think of - the mother of the murdered girl and the woman at the train station - aren’t even characters really as plot devices. They’re just there to up the stakes for Ness.

3.1) ARE YOU KIDDING ME!? I just googled this shit and for one thing Eliot Ness didn’t have any children during the time this film is set and two HE DIDN’T HAVE A HAPPY MARRIAGE! They ended up getting divorced a few years later IN THE 30s! But the film decided to drop that ripe conflict and interesting character interaction to instead give us a cliché dotting wife trope!?

4) Kevin Costner as Eliot Ness

The best movie heroes don’t see themselves as heroes and aren’t portrayed as invincible/mythological but as just normal people trying to do good. That’s exactly what Ness is here: a good man doing his best. While at the beginning of the movie he’s a bit of a boy scout, it’s his development from that into a man who is willing to go further for a good deed which makes him interesting. This is a guy who pins up a headline of his first really big failure, who is able to remove any sense of ego and pride to ask for help when he needs it. He HATES it when he has to kill people (as seen when he has to shoot one of Capone’s goons in Canada) and just wants to get home at the end of the day. Costner portrays all of these qualities very well, making Ness an honest and down to earth character. Writing a character to be that is one thing, but Costner actually portraying that helps the audience get invested in our protagonist.

5) Sean Connery as Malone.

Connery was won his only Oscar (and it was the only time he was nominated for an Oscar) in this part and you can see why. From his very first scene Malone is striking and memorable, taking complete command of every scene he’s in. Robert DeNiro as Al Capone is a tough guy to go up against, but through Connery’s performance you believe Malone can really help take him down. That’s how strong a performance he gives, being the standout player in an already great cast. And one of the key things about Malone is that he’s not all about bravado. He’s not a trope, but a character. He has fears, insecurities, but he’s able to push past these to do the right thing. This just means Connery’s performance is all the more layered as he plays out Malone’s decisions and conflicts. It’s absolutely great.

6) The church scene.

I think this scene is largely memorable because of how powerful the cinematography is. It’s a unique visual; the characters are kneeling/in a state of submission but by towering over the camera they’re given power in the shot. But it’s more than just an amazing shot (which that is), the scene also clearly sets up the stakes and goals of these two cops. You clearly understand Ness’ morals and convictions here while Connery’s always amazing performance as Malone really helps to carry the scene.

7) I love the way Malone tests George Stone/Giuseppe Petri (played wonderfully by a young Andy Garcia). He wants a real fighter, someone strong in their convictions, not someone who could easily be pushed over by Capone. So seeing how reacts to blatant racism is very telling of this. Also I just love that THIS is the way Giuseppe (I think I’m going to call him Giuseppe in this post) handles it.

8) I go to school in Chicago, so I recognize a ton of the bits in the film which were actually shot in the city and I always get a kick out of it. Like, “oh, I walk down that street. Oh, I’ve been there. Cool!”

9) The ease with which the titular Untouchables handles the first liquor raid reminds me of a quote by Edmund Burke: “The only thing necessary for the triumph of evil is that good men do nothing.” Everyone KNOWS where the liquor is, Capone’s not HIDING, just no one wants to take him one because of his power and because they don’t care. It’s not hard at first, it just gets hard once you actually make a move.

10) The dinner scene.

I think this is DeNiro at his best in the film. The dinner scene is ripe with tension as soon as Capone picks up a bat. You KNOW what’s going to happen with that bat. He’s Al Capone for pete’s sake! The slow pacing of the scene as well as what is basically a demented version of “duck duck goose” (as Capone makes his way around the table, we’re waiting to see who he’ll wail on with the bat) really ramps up the tension, while the total brutality of the scene’s outcome raises the danger/stakes for our heroes.

11)

Ness [in shock at the suggestion]: “Try [Al Capone] a murderer for not paying his taxes?”

I was originally going to use the “Dramatic Irony” gag from Netflix’s “A Series of Unfortunate Events” but it doesn’t really work in the context so instead:

12) This line always stuck with me.

Canadian Mountie: “And surprise, as you very well know Mr. Ness, is half the battle.”

Ness: “Surprise is half the battle. Many things are half the battle. Losing is half the battle. Let’s think about what is all the battle.”

13) The entire shootout in Canada actually works very well. There’s a grand amount of tension in the scene before anyone even fires a gun, just when we’re waiting in the shack. Then the fact the mounties kinda screw up Ness’ plan creates interesting conflict because anything that can be done to throw off a well thought out plan is interesting. But what works the best is the fact that the ensuing skirmish between Capone’s men and the authorities is just so damn entertaining to watch. The music, the action, all of it makes it feel really heroic honestly. I dig it.

14) I really like Malone’s trick that convinces Capone’s guy to turn on him. It’s really intelligent and the fact that the movie kind of takes it seriously (with the music and the focus on Capone’s living goon) actually makes it pretty funny.

15) Wallace’s death packs a considerable punch, primarily because he was the best on the team. He was the most honest, the most earnest, just a good man. Even better than Ness you could argue. So the fact that he’s the first to die and in a truly awful way just drums up a lot of sympathy/reaction from the audience.

16) If you want to understand the impact Wallace’s death has on the story, look no further than the following scene. The fact that Eliot just straight up goes to confront Al Capone is A) a powerful choice by the character and B) very telling of his emotional state that he does something so reckless.

17) I love how pissed Malone gets when it seems like they’re done going after Capone. When he’s in, he’s all in. His own personal stakes are so high by now. What would the point be of all of this, of Wallace’s death, if they’re not going to go all the way? This whole moment could really be considered the low point of the film, meaning a big change needs to happen.

18) A lot of my notes lately have been about scene and in some ways how one scene leads to another. The death of Wallace leads to Eliot making a hasty move as well as the crumbling of the investigation. The crumbling of that investigation leads to Malone confronting his police pal about Capone (more on that in a moment) which leads to the next scene which leads to the next scene. The best structure of a film is an invisible one and the organic nature of this plot means just that. It’s pretty great.

19) As I mentioned above, the scene where Malone confronts his cop friend about Capone is really great. Not only is it organically born from what’s happened but it’s pure stakes. If a character - ANY character - can leave the scene without getting what they want and not being totally devastated the stakes are too low. NEITHER character can yield to the other without being totally fucked, to the point where they have a fist fight trying to hold on to their stakes.

20) Malone being stalked by one of Capone’s men in his own apartment is INCREDIBLY effective as a scene of suspense. The use of point of view camera angles in this shot is great. The audience is given the information we don’t think Malone has and we’re worried for him. Much like the shark in Jaws, it seems like he’s about to get jumped on by a bad guy before he turns around with a friggin’ SHOTGUN and utters one of the greatest lines in film history.

Malone: “Brings a knife to a gun fight.”

21) Following this, Malone’s extended death sequence is absolutely gut wrenching and another strong example of Connery’s excellent acting. It speaks once again to stakes. He’s holding on as desperately as he can, as long as he can, until he can tell Ness what he died for in the first place. Until he can do one last thing to help put Capone away. It’s just totally heartbreaking and I love it.

22) The Union Station shootout.

This is by far the most iconic moment in the film I think. First of all, let me mention two personal things about this scene: I walk those steps REGULARLY and one of my teacher’s at school is a sailor in this scene (I just don’t know which one, I think the left one walking up the stairs).

A perfect example of high stakes from slower tension, not only does the scene take its wonderful time building up to the shootout but the violence itself is also in suspenseful slow motion. The inclusion of the baby buggy not only adds a slight ticking clock element to the pre shootout scene but also a grander scene of immediate stakes as the action unfolds. NO ONE WANTS TO SEE THE KID GET HURT! It’s just really freaking great.

23) The final encounter with Ness and the man in white who killed Malone always felt a little extra to me. On the one hand it ties up that loose end and is very entertaining to watch. At this point I’m more interested in what is happening in the court room with Capone though. So…I don’t know. The movie is pretty great so I guess having it in doesn’t hurt it. Also Eliot killing him in basically cold blood shows a lot of development for his character. As does…

24)

Eliot [on how he convinced the judge to change juries]: “I told him his name was in the ledger too.”

Lawyer: “His name wasn’t in the ledger.”

25) And this is a final good note.

Reporter: “They say they’re going to repeal prohibition. What will you do then?”

Eliot: “I think I’ll have a drink.”

Eliot was never fighting for prohibition. He was fighting for the law. He was fighting against a bad man who was killing people and alcohol was a part of that. And I think this last line represents that perfectly.

Despite whatever issues I may have with it’s female representation, The Untouchables is an absolutely excellent film. It is wildly entertaining, able to be fun and dramatic at the same time. And although Sean Connery gives the best performance in the film, he is a part of an ensemble with no weak link in its bunch. From DeNiro to Costner to Garcia, they’re all great in the film. All in all, The Untouchables is just a great movie.

[cheshasleverage]

can we TALK about hardison and Eliot? Please?

Ok starting off with Sophie and Nate, that back and forth shot where it gradually escalated to “Shrew? Shrew? SHREW?” And “I believe in foreplay” (which completely caught me off guard and I had to pause to catch my breath from laughing) was fucking hilarious. But finding out Sophie is keeping tallies? That she wants to make sure whatever relationship they do have is healthy? It was nice to watch it. Nate gets caught off guard and then defensive but at the end he gives her a care, so I assume whatever was said about healthy relationships eventually got to Nate and he realized maybe he has been taking her for granted or not really giving the relationship what it deserves.

Parker, oh parker. I love her cards first of all, when can those come out? She’s so created and talented, and her drawing (albeit a bit sloppy considering it was just a fast sketch) reminded me of season 2 (Fairy Godparents job I think? I’m probably wrong but I get them mixed up) when she draws a very detailed police sketch of the shooter that she saw for a second. I’m pretty sure Parker has photographic memory or something because she remembers things in extreme detail. But also! I kind of hated that she was mainly there for the creepy director to follow around. That scene with the belt camera? It made me so uncomfortable I kind of wish at some point Parker punched him. Her presentation though, she’s clearly trying and if it hadn’t been so loud and enunciated (it is what Sophie taught her so she’s getting there) it would’ve been good I think.

Now hardison and Eliot. The entire time this sandwich debate is going on I’m thinking “ok maybe Parker ate it because that seems like a parker thing. Maybe Nate is gonna turn around at the end and reveal it was him?” I thought it was Hardison for a second but he played it off pretty well. Anyways that entire dynamic was fucking hilarious, they were a gold mine of laughter. The shots of them looking at the camera? Their little personal interviews? The way they kept threatening the camera men and eventually jumped over tables to block the windows? Every bit of it was great. Then Eliot saves hardison and says “no one throws hardison off a roof except me.” Did that scene remind anyone else of the Kombucha girl? I need a side by side of them stat. Also hardisons reveal at the end KILLED me. “Oh I ate the damn sammich. Boy can cook. If I wasn’t sure he would kill me I’d thank him.” At this point I want an eliot Spencer style cook book.

The overall episode? Hilarious and light hearted. I’m kind of glad they throw in funny episodes like this. I’m all for the serious tones that lead to the overarching big bad but little ones like this, That show they’re still doing “little” jobs and shows how they interact with each other? Brilliant. Still brings up that dysfunctional family dynamic into play. Watching them work around a camera crew that could easily expose them to the public was genius. And the camera work! I know camera work is apparently very important in this series but they seamlessly transitioned from the normal steady camera shots to show they aren’t on documentary to the office camera shots, unsteady, zooming in and out, etc. this is definitely one of my favorite episodes that I’m gonna go back to watch on rainy days to feel better.

Was anyone gonna tell me how fucking funny the office job is or was I just supposed to find that out myself?