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Post by hitchcockthelegend on May 12, 2019 19:43:13 GMT
 A nice farewell, and an entertaining final after the awfull part 2, and a great homage to old Western movies and TV series.  Paul Newman is a powerhouse in this movie, playing an old has-been in small town America's only joy, it's once glorious ice-hockey team that has stopped winning games many years ago. The movie gives a great view of small town America that is slowly dying, since the old mill's that nearly employed eveyone is soon going to close. The once satiric edge might be a bit lost by now.  The very Rat Pack movie! I love them on vinyl and have enjoyd many hours listening to them and seing them on TV shows, those are the tops! The movie in itself was dissapointing and felt lazy. Not funny enough to make it a comedy, not thrilling enough to make it a good heist movie. It's still a joy to watch though. Conte is great as the member of the heist who is dying, and only participates to pay for his sons education. Back when VHS was all the rage I very nearly purchased a rental shop, it fell through because the guy wouldn't let me buy the flat above the shop as part of the deal. I was going to call the shop Movies For Moods, which would tie in with your feelings this last week. Films are such a comforting medium at times, keep watching and may memories of your mother always shine bright when watching films and actors she loved.
I never found Back to the Future II bad, the very first viewing of it I found it confusing, but I have really come to like it a lot in context of it being the meat in the sandwich trilogy. I love part III, but it also helps that I'm a Westerns devotee  www.imdb.com/review/rw2161577/?ref_=tt_urv
I revisited Slap Shot not long ago. For all the funny cynicism on show, it's actually one of the cleverest sports movies out there. www.imdb.com/review/rw1952271/?ref_=tt_urv
Only seen the original Ocean's 11 many years ago and was disappointed. So when the remake came around I thought it was a good idea. I must try and catch the original again at some point.
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Post by hitchcockthelegend on May 12, 2019 20:07:55 GMT
The Third Man - Masterpiece - www.imdb.com/review/rw2653435/?ref_=tt_urv
I have a hazy recollection of watching City Hall but haven't even rated it, and I certainly don't remember anything about it. Not a good sign and yet the cast demands it be given another chance...
I definitely need to see Baby Doll!
Robocop - cunning as a fox!
They'll fix you. They fix everything.
On his first day out on the streets of Detroit, Officer Murphy is brutally killed by known thug leader, Clarence Boddicker. Scientists at OCP are able to use what remains of Murphy's body and build a new heavily armed cyborg police officer, one that could rid the streets of crime forever.
Paul Verhoeven has been called many things in his career, bonkers, challenging and visionary, here with his first perceived block buster American feature, he showcases all of those things. Robocop on the page (and with its title) looked like your average run of the mill sci-fi shoot them up, with its basic premise not exactly oozing originality either. But Verhoeven had screenwriter's Edward Neumeier & Michael Miner in his corner, and they came up with a superior script to fully realise his vision. That Robocop is a satirical critique of totalitarianism and corporate corruption is now a given. Yet it wasn't at first evident to the summer block buster crowd, but Robocop has stood up well to critical re-examinations and the depth digging that so many have afforded it.
So with the script he wanted in place, Verhoeven utilised his memories from childhood, where his Netherlands home was taken over by a stomping German army, and added in the destruction factor, with no amount of technical expertise as well. Verhoeven paints an unhinged portrait of this Detroit (actual location shoot was parts of Texas), with skew whiff angles and bizarre twists lining the picture, the special effects even today looking tremendous. Robocop is extremely violent, especially in the directors cut that's now widely available, but even during the most wincing scenes, it stays brisk and sparky, and on his side is that his characters are as inhuman as the title protagonist is!. Thus the fusion of berserker sci-fi and human realism sits easy with the viewer, with the result serving notice to what a fine director Verhoeven can be.
Peter Weller dons the Robo suit (enduring agony for weeks on end apparently) and does what is required, and Nancy Allen kicks buttocks as Murphy's partner, Anne Lewis. But it's with the unsavoury characters that Robocop gains its acting kudos. Ronny Cox, Miguel Ferrer and a wickedly vile Kurtwood Smith dominate proceedings, helped immeasurably by the nature of the script. Verhoeven is thought to be a hard character on set, demanding much from all involved, even driving the normally amiable Weller to thoughts of violence against his director. But few, if any of those involved in Robocop can now say the final result wasn't worth it, because between them they made a genre classic. 9/10
L.A. Confidential - one of the greatest Neo-Noirs out there - www.imdb.com/review/rw3520427/?ref_=rw_urv
Suspira your comments LOL! Well I'm no fan of the original so the remake holds zero appeal to me.
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Post by hitchcockthelegend on May 12, 2019 20:19:20 GMT
M / Joseph Losey (1951). Superior Pictures/Columbia. Fritz Lang went ballistic when he was asked to direct a Hollywood remake of his 1931 German language classic film. Just the idea of a remake made him apoplectic. Douglas Sirk was also approached to direct. Finally, a rising talent, Joseph Losey, was chosen. The setting was changed to Los Angeles (lots of outdoor photography of early ‘50s L.A.) and David Wayne, then not as yet an established actor (this was his seventh film) had the unenviable task of walking in Peter Lorre’s footsteps as the crazed child killer yet while not making us forget Lorre, he manages to bring something of his own to the role. But, if possible, you can take the 1951 “M” on its own terms, you will find an worthy noir suspenser. Losey, who was on the verge of getting on the blacklist, put together a good cast that included many others who were running afoul of HUAC, namely Howard Da Silva as the leading investigator, Luther Adler, Norman Lloyd (still alive today at 104 years old), Karen Morley, and Martin Gabel in his movie debut as the head of the mob. A very busy Raymond Burr (“M” was the first of 8 films with Burr released in 1951) is one of Gabel’s thugs. There are many striking scenes and an extended climax inside the Los Angeles landmark and frequent movie location, The Bradbury Building (where Edmond O’Brien shot it out with his killer in “D.O.A.”). Recommended.   A Killer Walks / Ronald Drake (1952). Brit noir. Not a bad little thriller based on a play that was based on a novel. Two brothers, Ned and Frankie, live on a small farm with their Gran who controls the purse strings. Ned (Laurence Harvey with his Angry Young Man persona already in place) is trying break away but Gran holds him back. His younger brother is a sleepwalker so Ned plans to kill Gran and blame it on Frankie’s nighttime trances. Things go wrong, of course. This is an early leading role for Harvey which sets the tone for his future. The film itself is cheaply made and runs less than an hour. It is obviously a product of the Cinematograph Films Act 1927 which was still very much in force. This law, which required 20% of films shown in U.K. theaters to be British films, was in reaction to the dominance of United States movies imported to England. The result was a stream of short inexpensive movies made only to provide the necessary films to meet the quota. They came to be known as “quota quickies” and “A Killer Walks” meets every criteria. Yet, some small gems have come from the quota quickies and this little seen drama may be one of them. P.S. the law requiring the quota was repealed in 1960.  Good work for A Killer Walks, hardly anything written about it out there so thanks for bringing it to the table. Written by, directed by and produced by the same guy. Cinematograph Films Act 1927 indeed!
You have sold me on the M remake 
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Post by vegalyra on May 13, 2019 0:08:07 GMT
 Revolt of the Slaves (1960) - Italian sword and sandal film (peplum) about the persecution of Christians during the Roman Empire days. Outside of Rhonda Fleming I wasn't too sure I remembered any of the other cast from other films. Usually in these types of films there are a few recognizable "Hollywood" names with a load of Italian actors. I believe Lang Jeffries was in a few other sword and sandal films and he was married to Fleming at the time, so that makes sense that he's in this one. This one is okay, the catacombs sequences are pretty interesting but it isn't much of a standout of the genre.  The Court Martial of Billy Mitchell (1955) - Second time I've watched this in the past month, it's an interesting film, especially the actual court martial sequences. It's probably one of the most drab cinemascope films I've ever seen. The court martial takes place in an old drab warehouse (the Army was trying to avoid publicity) and the olive drab uniforms of the officers taking place in the court martial are well, "drab". The film seems an interesting choice for the then fairly new Cinemascope process given that it mainly takes place inside of a fairly tight warehouse. The actual film is quite good though, Gary Cooper is at his usual best portraying Billy Mitchell, the controversial pioneer of military aviation. Lots of familiar faces in the film all do excellent work. |
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Post by hitchcockthelegend on May 13, 2019 2:05:34 GMT
My viewings :
'Boyz N The Hood' (1991 - John Singleton)
One of the best debut offerings? Certainly of the 90s it is.
Rick, it's the Nineties. Can't afford to be afraid of our own people anymore, man.
1991
"One out of every twenty-one Black American males will be murdered in their lifetime"
"Most will die at the hands of another Black male"
"Increase The Peace" is the closing message of John Singleton's powerful, intelligent and affecting call for calm in South Central Los Angeles. Often mistakenly presumed by those who haven't seen it to be a film that glamorises violence, Singleton's debut film takes us into South Central and holds us there by just shooting the story. No trickery or overtly moralistic posturing from the director (and writer), just an unpretentious look at life in a modern ghetto.
The story follows three black teenagers as they ponder on what life holds for them as adulthood lurches from around the corner. Brothers Doughboy (Ice Cube) and Ricky Baker (Morris Chestnut) and best friend Tre Styles (Cuba Gooding Jr), each have the usual worries that come with leaving the teenage years behind. Parents, girls, careers, not returning to the pen! But this is no ordinary coming of age drama, we have been party to this neighbourhood that these boys live in. This is a place where a trip to the store can get you killed in a drive by shooting. A place where those keen to learn and do their homework have their muse shattered by the frequent sound of gunshots and sirens filling the South Central night.
Though Singleton can be accused of painting some of his characters as too saintly, he should be forgiven since this is after all, a message movie. Besides which his portrait of this particular neighbourhood is done from honest memory since he himself be a former youth of South Central LA. There in lies one of Boyz's trump cards, Singleton, through his own observations, asks of those in "The Hood" to take responsibility for what they do. Something that is potently given narrative credence courtesy of Tre's father's (a fabulous understated Laurence Fishburne) deep musings. Once the built up tension explodes with the inevitable tragedy that all should be ready for, the impact is like a sledgehammer hitting bone. Not in a blood letting for impact sake, but with the aftermath as a family soaks up the situation. It gives 90s cinema one of its most affecting and damning scenes, one that once viewed is hard to fully shake out of the memory bank. Here Singleton could possibly have bowed out of the story, but he goes further, expanding the aftermath and taking us, along with the characters, to the final "Increase The Peace" dénouement.
It's been called everything from an After School Special to the most important Black American movie made thus far. I agree with the last assessment. 9/10
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Post by teleadm on May 13, 2019 16:43:24 GMT
Well this was not a week like others. My dear old 91 years old mother passed away, and we had many good times together, those are the bright memories, She was a great source when we talked about older movies. So sorry to read that my friend, sincere condolences.
I'll get to your films later. Take care.
With all My Heart, Thank You very Much!
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Post by teleadm on May 13, 2019 16:44:27 GMT
teleadm Please accept my condolences. My own mother died back in 2004 at age 81. You saw some good films to help you through this period. I share your enthusiasm for Back To The Future, Part III. For a little while last decade, I explored the fantasy sub-genre of steampunk. BTTF III is looked back on fondly as a pioneering work even before there was such a word as “steampunk.” I also have good memories of “Roxanne.” One of Steve Martin’s best performances. Most memorable is the scene – right out of Cyrano – when a man calls him “big nose.” Martin then reels off a long list of more creative insults the man could have used if he had any imagination. When I first saw “Ocean’s 11” many years ago, I agreed that it was lazy. Sort of like Frank and his pals were just hanging out but with the camera rolling. Seeing it again recently, it seemed to me to be tighter and more clever. My Lovely Wife liked it a lot. She laughed and hit me on the shoulder when she realized what was happening at the funeral. Saw “The Hollow Triumph” not too long ago and enjoyed it very much. A couple of unexpected Reveals keep things interesting. With all My Heart, Thank you very much!
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Post by teleadm on May 13, 2019 16:50:07 GMT
Well this was not a week like others. My dear old 91 years old mother passed away, and we had many good times together, those are the bright memories, She was a great source when we talked about older movies. This was the week when my Mom passed away. The last link to the old world. To not drown in sorrows and keep a clear head, I watched movies. Frank Sinatra, Burt Lancaster, Clark Gable and Mickey Rooney were the men she loved on the silver screen. Hi teleadm,I'm really sorry to read about your mother passing,and I hope you and your family are OK during this sad time. With all my Heart, Thank you very much!
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Post by teleadm on May 13, 2019 16:54:17 GMT
teleadm So sorry to learn of your loss, and today is Mother's Day here in Canada. Thinking of you.  With all my Heart, Thank you very much!
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Post by marianne48 on May 13, 2019 23:55:13 GMT
The first, and only, season of Family Tree (2013)--a quirky sitcom created by Christopher Guest that explores looking for one's roots and finding the unexpected. Chris O'Dowd is endearing, as usual, and the cast consists of familiar faces from Guest's films--Michael McKean, Ed Begley Jr., Guest himself, Bob Balaban, Fred Willard playing that boorishly friendly character he often plays in these movies, and others. Some of the low-key humor is winning, while some falls flat (Luba is irritating, and the eccentric sister whose nasty alter ego is expressed through her monkey puppet is alternately funny and repugnant), but it's got enough to make it entertaining. It deserved at least one more season to play out its story.
Scotty and the Secret History of Hollywood (2017)--Scotty Bowers, author of Full Service, a chronicle of his career as a gas station owner who doubled as a pimp to the stars during the Golden Age of Hollywood, continues, in this documentary, to try to drum up interest in the sexual predilections of long-deceased stars. What may have been shocking/titillating to the public 30 or 40 years ago is old news now. Much of this film follows Bowers' tendencies toward hoarding as much as his past exploits. Not very interesting stuff.
Two re-watches:
The Wedding Singer (1998)--Adam Sandler's most watchable film. An amusing look back at the tacky 1980s, as well as a parody of period pieces overloaded with nostalgic pop culture references. Goofy fun.
The Very Thought of You (1944)--Every time TCM shows this (about once a year or so), I try to watch it. Sweet WWII romance drama about a young woman who brings home a soldier to dinner and to meet the family. The family is definitely an unsentimentalized portrait--brother is a resentful, sniping jerk;
sister is married to a sailor but still runs around with other guys while he's overseas; Mom, played by Beulah Bondi, who usually specialized in kindly mothers, is downright meanspirited here. The couple has to deal with wartime anxiety, but also with her family's bickering. A few somber moments, but lots of lighthearted ones, too (even one somewhat risque moment, when one of the sisters comes upon Ma and Pa in an awkward pose and accuses them of "playing leapfrog.") Irresistible and charming.
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