Post yours

Post yours

But in blue velvet there was no BASED talking about le BASED Burgers!

>know what they call a Royalle with Cheese in France?
>a Royalle with le Cheese

I was gonna make one but I can't stop thinking about fat titties right now, sorry.

They are not like each other at all, except for the neo-noir aspect.
Why post the image when no one thought it was a good comparison previously?

ok

Those films aren't similar at all, you stupid chud faggot.

OP got blown the fuck out the first time he posted this. Now he's trying to turn it into an epic new meme to save face.

this thread again

Someone post the Yojimbo and fistful of dollars one please

I know MGS3 is a good movie, but pay some respect to the superior original.

>No extended ladder climbing sequence
It's shit.

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>pocahontas
>Avatar

I can't believe I never noticed this until now, it's so blatant

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what... the love interest doesn't die in mgs3 and there's no mentor betrayal in ns

what are you on about

There no mechs in Ninja Scroll, so it cannot be the same, right?

bravo chazelle

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also jubei doesn't use a silenced tranq gun like snake wtf??????

the exact opposite, these look same but are totally different

If anything Mystery Train was the original Pulp Fiction. Don't see how Blue Velvet is at all similar

And neo noir is a meaningless category anyway.

SSSSNAAAAAAKE EATERRRRRRR

In a way, what Tarantino has done with the French New Wave and with David Lynch is what Pat Boone did with rhythm and blues: He's found (ingeniously) a way to take what is ragged and distinctive and menacing about their work and homogenize it, churn it until it's smooth and cool and hygienic enough for mass consumption. Reservoir Dogs, for example, with its comically banal lunch chatter, creepily otiose code names, and intrusive soundtrack of campy pop from decades past, is a Lynch movie made commercial, i.e., fast, linear, and with what was idiosyncratically surreal now made fashionably (i.e., "hiply") surreal [...] D. Lynch is an exponentially better filmmaker than Q. Tarantino. For, unlike Tarantino, D. Lynch knows that an act of violence in an American film has, through repetition and desensitization, lost the ability to refer to anything but itself. A better way to put what I just tried to say: Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear.

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I was waiting for the shitposting to begin, I was not let down.