@jipostus Oh, yeah of course.
Hard Rock Hallelujah is probably my third favourite of the Eurovision winners, after Fairytale and Heroes.
I love how ridiculous the contest can get, but yeah there are some bad songs. Granted I love the ridiculous and silly songs, it's the boring ones I hate.
It's just usually so much fun to watch the performances.
A Date For Mad Mary: An Irish rom-com about a woman trying to find a date for her best friend's wedding, though she's pretty self centered, abrasive, violent, out of control drunk, and fresh out of prison.
In general, I care less about the choreography of a fight scene than I do the framing of it. That's a big reason why think a lot of the Marvel fight scenes fall short for me; they're cut to high hell, and most of them don't let the hits land before moving on to the next shot. The Raid and John Wick have some great fight scenes, as do pretty much all the old Jackie Chan movies. The Revenant has already been mentioned, so I'll throw in the masterful war zone scene from Children of Men. Just in general, if Lubezki is shooting your movie, there's a good chance it's going to be beautiful, and that goes double true for his fight scenes. Of course, it's easy to jerk off over long-takes, so another great, well shot/edited fight scene is the warehouse scene from Batman v Superman. Most of the movie is garbage, but that scene is (in my opinion) the only time Batman's mastery of CQC has been captured on the big-screen. Finally, I'd be remiss not to mention Helm's Deep. Jackson does such a good job setting up the geography of the fight in the scenes preceding the big battle that you never get lost throughout the chaos. That's insanely difficult, especially given the scale of things, and goes to show you how good a director of action he is. If you want to see an example of this done poorly, watch the fight scenes from Snow White and the Huntsman. That movie blows.
For dance in movies, I honestly think it doesn't get much better than the opening number from La La Land. While obviously the whole movie owes a debt to Fred Astaire and co, none of the old-school musical greats could imagine the absolute scale of what Chazelle was able to pull off. He establishes exactly where everything is in that opening drag down the highway, and the blocking is expertly done so that when people dance in and out of the screen, we're never confused or left guessing where they came from. The costumes are simplistic but boldly colored to help your eye track the movement. It just flows, building to its climax. Then everyone returns to their starting positions, and the movie begins. I know some people think this movie is overrated, but I honestly think it's one of the most impressive feats of directing in the past ten years. Say what you will about how likable the characters are; you can't deny that Chazelle is just phenomenally talented. He flexes every artistic muscle he has in this movie and it shows.
While some of the allies definitely have their distinct similarities (Brad and Huber), others seem completely opposed in their preferences, and I love that. The ribbing is always friendly, and it's always based on good 'ol L&R. It's totally rad.