Movies/scenes that men are allowed to cry at

The whole movie is campy but has heart, and this scene just kills me every time.

>You don't get behind of the wheel of a T-180 to be a driver, you do it because you're driven

HARD MODE: No LotR

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That final race redeemed the whole damned movie

>end scene of Big Fish

My dad tells ridiculous stories from his childhood growing in third world shithole. Stories so crazy I don't believe them. The scene at the end where all the characters from his story came to welcome him off had me crying like a little bitch

>Fuck everything

youtube.com/watch?v=3tI1pu5rfZw

That doesn't look like a movie to me.

It's the music from the scene familamzoid.

The whole movie was fantastic. It was just so sincere with no hint of irony, but yes that last scene really drove it home.

youtube.com/watch?v=DvwhIStnDw8

youtube.com/watch?v=ow8XF7LtDG0

youtube.com/watch?v=_EZCG2Ex8Q0

>honoring child murders

Not in my thread

goddamn that movie was amazing to just look at

i was just rewatching the film for the first time in years and the final race scene had me choking up

>speed racer came out 8 years ago
what

The ending to this film.

god dammit fox and hound always makes me cry

>no HD option

But they all live...

youtube.com/watch?v=NCmDBl3W-Pk

This was stupid as fuck. Oh look he's doing flips and shit and passing everyone, wow how heroic and determined

Pic related in A Knight's Tale always gets me.

Synecdoche, New York also has multiple moments which are prone to activating my waterworks.

Fucking Knight's Tale is the best ever. I will never turn it off when it's on.

Easily makes my top 5 comfy movies, it was one of the first DVDs I ever got.

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youtube.com/watch?v=3UkZOZIO63I

>You stay. I Go. No following
>You are what you choose to be

It's a happy cry. Not a sad one. Tears of joy and happiness

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Is this a youtube thing?

no, it's Don Hertzfeldt's film It's Such a Beautiful Day

Only women and nu-males cry.

>You, stay... I, go... no following...
>Super..man...
>YOU CAN FLY?!

This movie. This fucking movie.

I've never cried at a sad ending. This sappy shit though

No, it's an animated movie by Don Hertzfeldt called It's Such a Beautiful Day. Really creative animations from a guy who can't draw much more than stick figures, and the story runs the gamut from utterly heart-wrenching to absurdist.

A lot of his stuff is on Youtube though. His video called Rejected spawned countless memes in ~2007, it's still kind funny in its own weird way.

>I'm not a gun
>You are what you choose to be

So fucking good.

>guns kill

This is my one gripe with the movie, granted it could have been WAY more hamfisted, but it still bothers me. I like the movie overall though.

>men are allowed to cry at

There aren't any restrictions on what men are and aren't allowed to cry over, you robot

Strong men also cry.

Wild Strawberries
Au Hasard Balthazar
Tokyo Story
The Lives of Others
Colors

and I shed a single at the end of Collateral

I gotta agree. It's fortunate that it's one of the few films that make me feel like a kid again, otherwise that element of it would bother me.

>everything except the ape and fat kid was fantastic
fixed

This, also the scene in 50/50 got me a bit when he was about to go into surgery

There's a scene in pic related that gets me every time.

Also it's a top tier retard-kino. Much better than Forrest Gump.

Flying scenes aren't all that HTTYD do well.

youtube.com/watch?v=0MAnrV1GTaQ

Is there a version of this movie that removes all the kid and chimp scenes?

youtube.com/watch?v=1FkW3ASq6G0

Yeah the director's cut actually removed all that.

the final scene of Bloodfather

Fucking yes.

these, and speaking of mann, this rivals Heat for me.

If he threw up his barrier as he exited the charge he could've survived.

holy shit this scene, i had to pause because i couldnt even hear the dialogue

>please boss don't put that thing over my face
>don't put me in the dark
>I's afraid of the dark

>tfw he embraces death

>elephant man texting when cute lady in front of him

MUH GUNS

good thing your retarded species is dying off

Fuck.

I was in the middle of writing you a response about how I always felt the moral was less about "guns are bad, all day every day" but that they can and are used for evil, which is fine for a kids movie.

Then I thought about how difficult it would have been to portray both sides in a kids film, how could they have possibly have justified that Gun-mode of the Iron Giant as a positive, useful thing, and then it hit me:

Don't read this if you don't want the movie potentially ruined for you:
Why the hell didn't he just fly up relatively close to the warhead, and then shoot at it with his amazing weaponry? Surely he could've taken it out without body blocking. Didn't he have small rockets of his own and a giant laser?

God damn it.

WILD FUCKING STRAWBERRIES
Teared up numerous times. Probably a perfect movie. Good thing it doesn't get memed here.

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man I liked wild strawberries but I thought it was a really touching ending, not sad at all.

End fight in " Warror" just gets to me.

Zack Snyder dares to infuse the comic-book genre with moral and political substance. Fanboys do not own the franchises of Batman and Superman movies, so director Zack Snyder went against the mob and dared to raise the genre to a level of adult sophistication in 2013’s Man of Steel, the most emotionally powerful superhero movie ever made. (Fanboys hated it.) Snyder’s sequel, Batman v Superman: Dawn of Justice adds politics, bringing to the fantasy some contemporary, real-world concerns. This is not conventional comic-book allegory; rather, Snyder uses the figures of Batman (Ben Affleck) and Superman (Henry Cavill) walloping each other to give visible substance to social and moral issues, much as Greek tragedy does. He takes the wildest, Bizarro World fiction — of two superheroes turned super foes — and uses the premise to explicate our current dilemmas concerning power, principles, and divinity. It helps that Snyder is also visionary, inclined to extravagant spectacle and gifted with a signature erotic touch. An early montage equates violence, wealth, loss, and grief through symbolic images of bullets, pearls, blood, and tears. It is witnessed by the young Bruce Wayne, a paranoid orphaned millionaire who misconstrues Superman’s involvement in the previous film’s battle that devastated Metropolis (and traumatized nearby Gotham City), and so he vows a vigilante’s revenge.

With its legal-brief title, Batman v Superman reflects the confusion that pits secularists against believers, and the partisanship that inhibits national alliance. This tension is so visually amped up that the opposition of Batman to Superman feels revelatory: Man versus the god in Man.
Snyder’s opening sequences interweave the origin stories of these mythic heroes and their alter egos. What has become overly familiar through years of repetition acquires new dynamism — and new understanding — that particularizes and personalizes each wounded man’s suffering. Not only are these time-shifts audacious (movie marquees announce the 1940 The Mark of Zorro and the 1981 Excalibur — implying the evolution of history), but so is Snyder’s proposition about the nature of heroism and vengeance: Both stem from the way individuals react to and comprehend their experiences. Snyder’s thrillingly intelligent use of interior conflict and political antagonism vastly outclasses Christopher Nolan’s Batman trilogy: Batman Begins, The Dark Knight, and The Dark Knight Rises — all noxious — which were bellwethers of our culture’s decline.

Fanboys prefer the Nolan films for their “darkness,” which emphasized the sophomoric, pseudo-tragic elements of the Batman graphic novels. But Snyder’s more adult treatment finds the material’s emotional core. This displeases the fanboy/hipster whose adolescent embarrassment about feelings was exploited through Nolan’s emotionless violence and post–9/11 nihilism. Snyder counters that cultural crisis and (through the script by Chris Terrio and David S. Goyer) visualizes the millennial moral struggle as pop myth. His essential subject is mankind’s struggle to discover compassion as well as common obligation — or dare I use the non-political term: brotherhood? The pain of post–9/11 as reflected in Nolan’s Batman films was a paradigm shift. But fantasy cannot conscientiously be enjoyed Nolan’s way, without any sense of social, historical, or moral consequence. Snyder manipulates this new paradigm so that mankind’s sense of mortality is embodied by Batman, Superman, and their arch-nemesis, Lex Luthor. (All three characterization performances are, well, perfect.) When Superman’s motives are questioned, the skepticism and vilification create an antagonism between him and Batman that Snyder lays out as an ideological conflict and that Luthor exacerbates. Luthor (Jesse Eisenberg, who played Mark Zuckerberg in The Social Network and thus personifies the craven millennium) cynically whines about “The oldest lie in America: that power can be innocent.” He even threatens a senator (Holly Hunter) who heads an investigation into Superman’s guilt. Luthor’s obsession with Superman (“He answers to no one. Not even, I think, to God”) reveals envy that is unmistakably demonic; a development that coheres with Snyder’s spiritual-social vision of post–9/11 grief and desire for salvation. He creates the year’s first great movie image by examining Superman’s “divinity” when he is surrounded by Day of the Dead multitudes

The image echoes our current desperation regarding “populism” — and that’s truly audacious

Among today’s outstanding American filmmakers, Snyder has an eccentric interest in the spiritual expression of his characters’ conflicts. From the erotic antiquity saga 300 to the anthropomorphic fable Legend of the Guardians: The Owls of Ga’Hoole, Snyder demonstrates a caricaturist’s knack for elaborating Good vs. Evil. It takes just such dreamlike moral clarity to reprove the Nolan trilogy’s chaos. Look at Snyder’s second high point: Batman’s nightmare of battling Superman plus his own enigmatic demons imagined as Stymphalian wasps. The scene spins agonizingly slowly (though not in slow motion), becoming ever more hallucinatory. It fuses comic-book imagery to the oldest Western myths. In this age of petty Marvels, most comic-book movies merely perpetrate fantasies of power, but Snyder, enacting his personal aesthetic, braves a film that examines those fantasies. He boldly challenges popular culture’s current decay. Man of Steel was a magnificent, hugely satisfying response to what’s often missing in pop culture, and Batman v Superman raises more ideas without (yet) resolving them. An attempt to invoke other superheroes from the DC Comics stable, starting with Wonder Woman (Gal Gadot, accompanied by tribal drums that recall Snyder’s overawed feminist fantasia, Sucker Punch), ultimately goes unfulfilled. And Snyder, obliged to placate the Marvel hordes, lets a couple of fight scenes devolve into Avengers-trite turmoil. Still, the equation of moral myth and contemporary political catastrophe marks an important advance. Snyder intends to resolve the conflict between commerce and art, power and morality. “Knowledge with no power is paradoxical,” one character says. “Man made a world where standing together is impossible,” frets another. With Batman v Superman, the battle for the soul of American culture is on.

In an interview, Snyder described Batman’s hatred for Superman as “finding reinforcement of those feelings in the media.” So Snyder employed a supporting cast of political pundits who expand Batman v Superman into a kind of meta-media commentary: Anderson Cooper, Charlie Rose, and Nancy Grace are among those crossing the line from TV news to Hollywood fantasy. They frequently, brazenly blur the distinction between fact and fiction, objectivity and venality, mendacity and truth. This has been going on at least since the 1990s, and it still is a problem for both journalism and Hollywood (Nancy Grace, Lawrence O’Donnell, and Dr. Drew Pinsky popped up last week in Midnight Special). Soledad O’Brien and Neil deGrasse Tyson also appear in Batman v Superman, along with Andrew Sullivan, seen shouting, “Every act is a political act!” That may be so (Snyder’s a sly dog), but pundits who don’t stick to their day-jobs lose credibility.

The ending of The Killing Fields

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youtube.com/watch?v=S8B370KNp1o

One of my fav movies right there famdelalam

That fucking score.

youtube.com/watch?v=DEMICfWLOig

I-I'm not crying, y-you're the one who's fucking crying!

Came to post this

This film, and it's soundtrack, is a masterpiece.

The scene in moon when sam finds out the truth about whats going on

I cried like a child

>scene that is moving
>scene that makes me cry every time
There's nothing wrong with finding something emotional, there's everything wrong with showing off about it. Crying should be done the same way praying is - privately and without fuss. Not for show in any case.

this was cheesy shit. u must have watched it when u were 6 years old so u have nostalgia. there was a reason ths movie flopped

I cry with the death scene in Click. Truly Sandler-kino

>u

kys

Same man

>HARD MODE: No LotR

youtube.com/watch?v=iBSLBl-64fk

Real Steel

>lmao dumb boxing movie what a shitshow
>final match happens
>holy fuck why am I crying? ;_:

youtube.com/watch?v=N5pqo47eOBs

The entire final episode is fair game, really

KYS

Was a lot better than expected, watching the Japanese opponents sperg out was great

That scene in The Grey where he's trying to comfort that dying man after the plane crash.

>kys
lol leafy fan, bruh??? xD

I saw that movie when I was 23 years old. I loved almost everything about it.

Pans Labyrinth
youtube.com/watch?v=cvjiQTdcCRU

> not liking based sprittle

He did the same shit in every ep of the cartoon if they weren't there everyobe would be complaining they were missibg

savage

The father son relationship here is very much like my relationship with my dad. He's autistic as fuck and ANY change to routine made him ridiculously angry.

Cried desu

newfag, please

Madoka has always been Sup Forumscore

That movie had no right being as good as it was.

>tfw went through my movie folder and can't find anything that made me cry

Brooks' suicide in Shawshank Redemption is probably the closest

>inb4 pleb

It sort of did considering the talent behind it. I don't know how they'll make a sequel without it being contrived and repetitive.

At least the Lego Batman Movie looks fun.

this desu

youtube.com/watch?v=WvtlctFLIbc

The music is what gets me.

youtube.com/watch?v=vAf5qSwsZrM
The opening from Star Trek was pure kino.