R1: Who would win a gunfight?

R2: Who wins in a fist fight?

R3: Who wins in a mob war?

Location: Abandoned building

Round 1: Gunfight with plenty of cover

Round 2: Hand to Hand

Round 3: Montana cartel vs Corleone family, both have 10 henchmen each

Round 1: Gunfight on an open street Round 2: Fist fight

https://media1.popsugar-assets.com/files/thumbor/QOFmVqoF5dyynixa6D5bFBQGM1A/fit-in/728xorig/filters:format_auto-!!-:strip_icc-!!-/2018/03/29/814/n/24155406/334bd3fd5abd3142db2082.33985979_Dunkaccino/i/Dunkaccino.jpg

Everyone has a beretta pistol, a shotgun, and the fight happens in an empty neighborhood street with cars for cover.

Any weapons

Outside help is allowed but only hit squads

Location: Apartment complex

R1: Gunfight

R2: Fist Fight

R3: Vincent goes after John wick but John doesn’t know

R4: Same as R3 but Vice Versa

The year is 1979, and one day, Anton decides to murder the dons in New York. As he eventually kills a bunch one by one, Vincent gets alerted about the situation and attempts to find and kill him when he has the chance. Who wins this fight?

R1: In an empty street of New York at night, the fight starts as a random encounter, Anton doesn’t know Vincent is after him. (Vincent knows his location)

R2: Vincent goes with a group of hitmen to assassinate him in a more populated street at daytime.

R3: Fist fight to the death.

Vincent has a Beretta and a Mac-11, Anton has his Remington 11-87

Hello and welcome to Oranjestad, Aruba! Last year Charlot won with ''Better When It's Dark'' and brought the contest here on the beautiful island of Aruba for the ''annual'' 3rd edition.

Now, time for the sign-ups to begin:

But, before that sign up in DiscoverVision / RandomVision, if you haven't. Those are great contests with great organizers, help them out.

I shared some of my ideas for rewriting The Godfather Part III in r/fixingmovies about a year ago, and I was curious to hear what the people in this subreddit thought about them now that I’ve fleshed my ideas out some more.

To begin with, this rendition of Part III will emulate Part II and feature two parallel narratives that pick up where Vito and Michael’s storylines in Part II left off.

The first one will be set in 1932-1933 and document the rise of the Corleone family during the ending days of Prohibition along with the events of the Olive Oil War as written in the original novel. That and it will elaborate on the origins of characters like Sonny, Frank Pentangeli, Luca Brasi, and Hyman Roth; the former of which ascends the family hierarchy by helping his father cleanse the streets of the Black Hand organization led by Salvatore Maranzalla and his two lieutenants: Joe Pisani and Willie Bufalino (all three of whom are mentioned in the original script for Part II). In this rendition, the character of Maranzalla will fill the role that Salvatore Maranzano does in the original novel; thus creating a link between Vito’s storylines in Parts II and III - specifically Vito’s conflict with Fanucci, who was revealed in Part II to have been one of Maranzalla’s underlings.

While I haven’t figured out the logistics, the following plot points will be adapted directly from the original novel and depicted in the storyline featuring Vito:

• Brasi’s brutal slaying of the Chicago Outfit gunmen sent to kill Vito at Maranzalla’s behest.
• Maranzalla’s restaurant assassination at the hands of Tessio and four other gunmen. (As a nod to the historical killing of Salvatore Maranzano - from whom Maranzano/Maranzalla's name is derived - at the hands of Jewish hitmen Bugsy Siegel, Red Levine, and Bo Weinberg, the roles of the four gunmen that aid Tessio in killing Maranzalla will be filled by Hyman Roth, his brother Sam, Moe Greene, and Johnny Ola.)
• Sonny's participation in an armed robbery, and his subsequent induction into the family.
• Vito's near-death experience at the hands of the Irish Gang.
• Brasi's slaying of the Irish Gang members as well as a mob boss that attempted to intervene and protect the independents.

The second narrative will be set during the 1960s and explore the consequences of A) Michael orderi

Context

A brief background on Angell Town, Brixton, SW9. The Angell Town Estate is border by the Loughborough Estate to the East, the Myatts Field Estate to the North and the Somerleyton Estate to the South. The area has been home many different generation gangs over the years and is one of the most popular and legendary estates in South London. This article may be long so I apologise if I have to divide it into 2 or more parts. Angell Town is nicknamed A-Town, as a shortened/abbreviated version the nickname has been used for over 30 years originally by 28's members from the area.

The Angell Town Estate

1970's

The Brixton area during this time was home to various Yardie immigrant gangs and sets from Jamaica, the Yardies brought their criminal activities from Jamaica to London, such as Drug-Dealing, Burglary among other crimes. They mainly opted to selling Weed, since they got it from Jamaica for little-no price, they sold it for cheap prices, so many people could get their hands on it.

- http://news.bbc.co.uk/1/hi/uk/2220907.stm (News report on the legacy of the Yardies in the UK)

Also around this time many British-Born 1st/2nd gen gangsters started to form criminal crews, well known, Brixton gangster, Vincent 'Rat' Atkins had a small clique based around Angell Town.

1988

The rise of the 28'$

A few friends from Brixton decided to form a clique, these people included Fudge, Archer, Aswad, Bandit etc. The name 28's came from the fact that there were originally 28 people when they linked up. This crew would go on to do many robberies, murders and other crimes. The gang were rivals with another Local gang called the Untouchables. The two sets would have back and forth disputes over the years. The 28's were mainly located in Angell Town which they nicknamed A-Town, Coldharbour Lane and Railton Road, which was Brixton's frontline. Despite being a Brixton gang, the 28'$ membership and influence expanded all over Lambeth, in areas such as, Tulse Hill, Kennington, Brixton Hill, Stockwell, Norwood and Clapham. The 28's were basically the Ghetto Boys or Peckham Boys of Lambeth. As members of the 28's grew older, they began to contest the Yardie gangs around Brixton, many shootings and attacks happened between the British born 28's and the Jamaican born

So I've been watching the Sopranos lately(first viewing!) and seeing the deterioration of Uncle Junior gave me the idea.

What if Michael Corleone had dementia in Godfather III? I feel like that would explain a lot of issues with Pacino's performance and the scripting. Michael's emotional outbursts and weird humor, his random usage of "never let anyone know what you're thinking", his dependence on Connie(who by tradition should be nowhere near business discussions), his willingness to let the careless Joey Zasa be street boss.

And last, but not least, his irrational decision to pass the family onto a disrespected enforcer(there's no way Joey did not make Vincent going to his uncle like a crybaby public).

I feel that if they had actually written a dementia angle into the film, then it would have been really compelling to see the extremely composed and strategic Michael fall apart and struggle to keep his thoughts in order. Agree, disagree?

Greetings. You may have seen my post in some of these videos but every 10 villains, I put them in a list of what happens to them. I figure it'd be better to show it off in the subreddit instead. Without further ado, let's begin.

Their story is unfinished: Azula (was last seen fleeing from Zuko with her posse, The Legend of Korra never states what happened to her), Davy Jones (he somehow came back at the end of Dead Men Tell No Tales), and Griffith (was last seen in a dream Guts had)

Alive, free, and uninjured: Alex DeLarge (book) (settles down to have a family), Amy Dunne (goes home of her own volition and stays with Nick), Hannibal Lecter (book series) (spends the rest of his days living contentedly with Clarice), Henry Potter (never successfully closes the Building and Loan but is never harmed in any way), the Lighthouse (is completely unharmed by its occupants), Louis Bloom (comes out of his situation completely unharmed), Patrick Bateman (goes completely ignored by the people around him), Tetsuo Shima (becomes a god in another dimension), Travis Bickle (keeps his job as a taxi driver despite his murder spree), and Yuri Orlov (is left alive and free in order to make more weapons)

Alive, free, yet injured: Alex DeLarge (movie) (breaks many bones trying to kill himself but survives), Anton Chigurrh (survives a car crash and flees), the Gingerbread Man (Shrek 1 only) (loses a leg but is free), Hannibal Lecter (Silence of the Lambs/Hannibal Movie) (cuts off his own hand in order to escape), Hans Landa (sells out his fellow Nazis but gets a swastika cut into his scalp by the Basterds), Mildred Ratched (narrowly avoids getting choked to death by McMurphy), and Noah Cross (gets shot in the shoulder but is otherwise fine)

Alive, captive, and uninjured: Daniel Plainview (ends the movie being caught in the process of killing Eli Sunday), the Joker (Joker) (is last seen trying to flee from the sanitarium), Norman Bates (Psycho 1 only) (ends the movie waiting to be put in the asylum), and Viktor Bout (is currently serving out a life sentence in federal prison)

Alive, captive, and injured: The Joker (The Dark Knight) (gets more scars from Batman then gets arrested by the GCPD) and Thomas Howard (gets beat up by Thomas Wake, falls down the lighthouse steps, and gets eaten by a seagull while still alive)

Unclear: Tony Soprano (the screen cuts hard to black before we find out his fate)

Will keep coming back regardless of how many times they die: Freddy Krueger (

The Death Collectors - imdb

Frank Vincent

From the book "Mafia films - a guide" : "In this modest, low-budget gangster film by a director who would never go behind the cameras again, two greats of the genre made their big-screen debut: the famous Joe Pesci (as Joe) and Frank Vincent (as Bernie). Robert De Niro, who two years earlier had played the young Vito Corleone in "The Godfather II" (F.F. Coppola, 1974) saw the film and perceived the great potential of both actors. Pesci and Vincent were recommended by De Niro to Martin Scorsese for the cast of "Raging Bull" (audiovisual biography of boxer Jake La Motta, to be released in 1980). "

When flirting with the idea of directing a fourth Godfather film during the ‘90s, Francis Ford Coppola and Mario Puzo imagined an ending to the Corleone saga that featured two parallel narratives, which Puzo referred to as the “Good Years” and “Bad Years”. The first one - set in 1933 - would document the Corleone family’s rise to power during the ending days of Prohibition along with the events of the Olive Oil War and the Pacification of New York as recounted in the original novel. That and it would expand upon the backgrounds of characters like Sonny, Frank Pentangeli, Luca Brasi, and Hyman Roth; the former of which ascends the family hierarchy by helping his father cleanse the streets of the influence of the Black Hand organization led by Salvatore Maranzalla.

The second one - set during the 1980s - would document the exploits of a melancholic Vincent as he leads the Corleone family into decline and involves them in a volatile war with a South American drug cartel that lasts over ten years; resulting in Vincent’s death, which would have been reminiscent of Pablo Escobar’s death at the hands of the Search Bloc.

While I like Coppola and Puzo’s ideas regarding the “Good Years”, I feel that their ideas regarding the “Bad Years” fail to introduce new characters within the family whom audiences can empathize with, and contradict Vincent’s character as it was formerly established in Part III; particularly their idea for Vincent to involve the Corleone family in the drug trade, which Vincent was critical of in the third film. It doesn’t help that Coppola and Puzo dug themselves into a hole by casting aside Michael’s son Anthony, killing off Mary, discarding all of the other Corleone grandchildren, and creating a lack of characters that could have inherited the mantle from Michael, Tom, and Connie and appeared in integral roles in Parts III and IV. That being said, this is how I would write the “Bad Years” of this hypothetical film as a means of addressing these points, redeeming Part III, and fixing the entire saga:

Set in 1984, the “Bad Years” will document the exploits of Vincent as he attempts to monopolize on the growing casino industry in Atlantic City. Having inherited Michael’s controlling interest in Immobiliare, Vincent and his associates in the Philadelphia mob (which is led by a character that draws inspiration from Angelo Bruno) partner with some Arabian sheiks that seek to invest their oil riches in the development of several casinos in Atlantic

Do your worst!

I'm surprised it hasn't decade.

For context I'm a Refuse Driver (Garbage man) & today I was on food waste. After I'd tipped I was checking the wagon for any defects when I spotted a lone pea balanced on the lifts.

I said "hey look, an escaPEA"

No one near me but it didn't half make me laugh for a good hour or so!

Edit: I can't believe how much this has blown up. Thank you everyone I've had a blast reading through the replies 😂

It really does, I swear!

Buenosdillas

They’re on standbi

Over the course of 2020, my podcast co-hosts and I watched and reviewed all 168 domestic wide releases from 1980 on their 40th anniversaries. If anything appears to be missing, (Superman 2, Watcher in the Woods) it probably didn’t release wide in the U.S. until 1981. What follows is my personal ranking for the year and a bite-size summary of each film. Links to longer reviews are available in the comments.

#168 - Falling In Love Again

You wouldn't think that a script about a mid-life crisis written by an 18-year-old would be any good, and you'd be right.

#167 - Home Movies

Brian De Palma taught a film class and invited his students to write and produce a feature film. De Palma directed and called in favors from Kirk Douglas, Keith Gordon, and his then-wife Nancy Allen to star.

#166 - Loose Shoes

A collection of very low-budget comedy sketches from SNL alumni and adjacents. Mostly famous for an early appearance from Bill Murray.

#165 - Bon Voyage, Charlie Brown

Charlie Brown and friends head overseas, unsupervised, as foreign exchange students and uncover long lost details of Charlie's family history. Poorly animated, even for a Peanuts movie, and the last nail in the coffin for traditionally animated Peanuts films.

#164 - Running Scared

Two servicemen (Ken Wahl and Judge Reinhold) wrap up a tour of duty in Panama and stumble across plans for the Bay of Pigs invasion and are mistaken for foreign spies.

#163 - Middle Age Crazy

Wrongheaded mid-life crisis "comedy" starring Bruce Dern. A man worried about his age buys a luxury car and cheats on his wife to feel young again and we are expected to sympathize with him.

#162 - Nothing Personal

Romantic comedy that inexplicably features actual footage of baby seals being clubbed. It’s embarrassing box office performance prevented Suzanne Somers from doing a second movie for 14 years.

#161 - First Family

Buck Henry is usually a terrific comedy writer, and the cast of this film are inarguably the funniest working actors and actresses of the time, but this misfires hard.

#160 - Up the Academy

An 80s teen comedy so bad that Mad Magazine took their name off it. Rick Baker provides a stunningly accurate and equally disturbing Alfred E Newman makeup job that bookends the film.

#159 - Loving Couples

Insanely the first of two wife-swapping comedies on the year to star Shirley MacLaine. This one's worse. Stars James Coburn, Susan Sarandon, and Stephen Collins.

#158 - The Hearse

Second haunted house

Pilot on me!!

From what I understand, the title of Don(aka "the Godfather") generally goes to the most trusted caporegime when the current Don retires or is killed. Or the capos get together and pick one out to lead the rest. So how come Tessio or Clemenza(or the other capos, there must've been more than two crews surely) didn't protest more to the ascension of Michael? And why did Vito give the title to such an inexperienced man anyway, even if he was his own son?

With Sonny(who was a properly trained capo) gone, and Michael and Fredo being no more than soldiers at their very best, couldn't the Corleones have gone legitimate there and then, and handed the power of the Family over to either Tessio or Clemenza? They would have been immediately disqualified from "the game" and safe to pursue their casino interests without further harassment. At Vito's request, the Family might have given up their hold over Vegas entirely, or alternatively they might have continued their involvement but the Corleones would still not be targets anymore(and as old friends, Tessio and/or Clemenza would not mistreat them either).

It's even worse in The Godfather Part III, when Michael christens Vincent as the next Don. Vincent is a soldier who openly disrespected the underboss(Joey Zasa) and went over the Family's heads to complain to the Don. I imagine he would've been clipped the minute Michael was out of the picture.

Everyone knows that this story is Mario Puzo's. BUT, the movies made a great story into American Myth (just like Hercules and Zeus are "heroes" of Ancient Greece.) But what is considered canon, the books, or the movies?

If its the movies. then that means Godfather III, whether you like it or not, is canon to the overall story of the Godfather Saga. Mary Corleone being the sacrificial lamb to the wheel of destiny of Vito and Michael Corleone is just beautiful art. However... (the movie totally misses out on Nino Valente and Johnny Fontane's side story. That's a really fun side quest to the Saga)

If its the books, that means Family Corleone is canon. In addition to that, there are minor differences in the books that make the movies non-canon. Vincent Mancini cannot exist in the Godfather book, because (see above) Lucy either has Vincent, or she shacks up with that Jules.

Anyways, I love both, but if I had to choose. I prefer the movies to the books. But I'm a selfish man, and I think Mario Puzo's words are not as as good as a movie's words.

(Note: There are long paragraphs and sentences to read, but please try to see the concept)

A Tale Of 2 brothers:

• Rocky - An up & coming police officer of the VCPD that has a child on the way
• Ken - A young street gangster that runs nightclubs, picks up hookers, and also gets involved in the Vice City cocaine trade

Rocky is a caring brother for Ken that always stood up for him when he was in trouble. However, before Rocky gets promoted into a big position Ken gets set up by a powerful local criminal organization and all of hellfire rains upon.

This leads to Rocky going to secret life of crime. While Rocky and Ken are wanted by the law, they meet multiple criminals (Con Artists, Mobsters, Big Time Drug Dealers/Smugglers) that can help them in what they need. But when everything leads to a finale, Rocky dies in order to protect Ken. He realizes meanwhile how his reckless actions have caused his brother's death. He leaves Vice City to Liberty City unable to live with what he's done or reconcile w/ Rocky's wife and soon to be child.

3 decades later in Modern Times,

• Pierce (Rocky's son) is about to turn 30 and has rejected going to college. He does things his
• Uncle (Ken), now a roughed up middle aged guy who's had enough time to reform his life, did in the 80s.

Ken tries to change Pierce's life and tries to prevent all the reckless things he did in his time, this gives Ken an opportunity to redeem himself. Ken and Pierce's relationship are similar to Michael and Franklin or Vincent and Michael Corleone in The Godfather Part 3.

Link To The Video That This Post Was Made Out Of/Inspired:

https://www.youtube.com/watch?v=LhL99aJ65zU

In the original Godfather (1972), Vito expresses his desire to see Michael go legitimate, so the Corleone Family could "hold the strings". He seemingly involved himself with the criminal underworld in the 1920s only due to the nature of the times, during which the police had little control over the mafia(not being American, I don't know how historically accurate this is) and Vito had to take matters into his own hands to protect the Italian-American community.

This is basically established as the ultimate goal of the Corleone Family - legitimate independence. To be protected and represented by American law. Vito interprets this as Michael becoming a Senator or President, so that no corrupt official could get in the way of justice. However, from the sequences in Godfather II (1974), it's obvious that Vito had no real thirst for power. He was perfectly happy working in that little shop and bringing his wife the occasional pear. Vito merely wanted his family and friends to be happy, and uses power as the only tool seemingly available to him to make sure it stays that way.

In The Godfather III (1990), a cynical Michael laments that power is corrupt everywhere, even at the holiest of places such as the Vatican. He spends the entire movie trying in vain rehabilitate the Corleone name with more power moves, only to run into conspiracies and greed. In the meantime, his son Anthony decides to become an opera singer. It seems a bit out of the blue when first watching the film. But upon thinking it over, I felt like this was a genius way of showing the Corleones actually winning.

Anthony is able to become a success entirely thanks to his talent. At the end of the film, Michael comments that "When they hear the name Corleone, they're going to think...". We don't hear the end of that sentence, but the implication is obvious. Vincent's continuation of the crime family is irrelevant. It's Anthony, who has changed the destiny of the Corleones and given them legitimacy and worldwide fame specifically by avoiding the mistakes of his ancestors(the terrible Sicilian history that Michael lectures to him about) and not using power as his tool towards greatness.

So Vito got what he wanted after all.

Dad jokes are supposed to be jokes you can tell a kid and they will understand it and find it funny.

This sub is mostly just NSFW puns now.

If it needs a NSFW tag it's not a dad joke. There should just be a NSFW puns subreddit for that.

Edit* I'm not replying any longer and turning off notifications but to all those that say "no one cares", there sure are a lot of you arguing about it. Maybe I'm wrong but you people don't need to be rude about it. If you really don't care, don't comment.

I know The Godfather Trilogy should be left alone, but this is only a hypothetical question. Please go easy on me :)

My concept is where Robert Corleone, Vincent's young son that seeks to rebuild the Corleone business, only for him to plan a legitimate olive oil business and expand it. Kind of like both Vito and Michael. But that all gets mixed up when a notorious drug lord based heavily on El Chapo plans to go to war w/ him. This concept kind of takes influence from the draft of Coppola & Puzo's plans for Part 4 as Vincent becomes a drug lord and led the family to decline. But w/ the help of some associates where a character based on Frank Lucas, is able to help Robert w/ the big time deals tactics in killing the drug lord. However, He sets up a plan to kill the drug lord, by pretending He and "El Chapo" have a deal and few moments after killing him with something. Similar to how Michael killed Sollozzo. But when He meets a Russian Mob Boss based on Semion Mogilevich is the one that sets it all up, He seeks to meet with him somewhere in Miami Florida. When He offers "Mogilevich" a deal to become an ally of his, only for him to set up an assassination similar to how Vito kills Fanucci.

Potential cast:

Robert Corleone - Ansel Elgort

"Frank Lucas" - Giancarlo Esposito

"El Chapo" - John Leguizamo

Vincent's Daughter - Naomi Scott

"Semion Mogilevich" - Viggo Mortensen or Mads Mikkelsen

What did 0 say to 8 ?

" Nice Belt "

So What did 3 say to 8 ?

" Hey, you two stop making out "

I won't be doing that today!

You take away their little brooms

When I got home, they were still there.