Happy End is as sparse, cold, and detached as anything Michale Haneke has made. If you’re familiar with the Austrian director’s body of work, you know that means Happy End is one hell of an emotionally detached movie. If you haven’t seen any of Haneke’s films, then I honestly cannot think of a single good reason for you to begin by watching Happy End.
I love everything about Martin Scorsese’s crime saga, Casino. So much, in fact, that this is the longest “No One Talks About” post I’ve done yet. And that’s for a few reasons: one, the movie is nearly 3 hours long, two, I really do love everything about it, and finally, I don’t think people talk about Casino enough. Casino is one of the most compulsively rewatchable films I’ve ever seen, because it’s one of the fastest paced long movies ever released. This film, in all its profane, violent, gaudy sensibilities, has me. Here are several reasons why. (Please note that I give away every major plot detail about Casino in this post.)
What a long, great, twisty career Marisa Tomei has had. She started in the sitcom world, took a while to find her footing in film, won an Oscar, hit the indie film scene, refound her footing, got nominated for more Oscars, and has now transitioned to wonderful character roles in which she steals scenes from some of best people in the business. I’ve always been a great admirer of her work; no matter what she’s in or when she’s in it, I’m there.