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Post by hitchcockthelegend on Jun 19, 2019 7:23:48 GMT
School Spirit (1985) Boring, unfunny trash. Halloween (2018) Yeah, I watched it again, and discovered new things about it while I did. The sequel we always wanted but didn't get until now. Thanks for watching School Spirit so I don't have to! Saving the latest Halloween film for the October Challenge, open minded about it myself.
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Post by hitchcockthelegend on Jun 19, 2019 7:28:51 GMT
The Bridal Path (1959)7 Going to the Scottish Highlands to track McEwan’s search for a bonny lass,co-writer/(with Geoffrey Willans) director Frank Launder & cinematographer Arthur Ibbetson map out a whimsical Comedy atmosphere thrown from winding panning shots of McEwan running against the beautiful rugged terrain. Falling into mishaps with the locals, the score by Cedric Thorpe Davie finely pitches McEwan’s problems with a Folk score that digs thorns into his sides, whilst remaining playful for McEwan’s issues with every local he meets. Saying goodbye to the remote Scottish island as McEwan lands on the mainland in their adaptation of Nigel Tranter’s novel,the screenplay by Launder and Willans hilariously lay Scottish clichés down thickly,from not a minute going by where “Oh aye” does not appear, to the gun-toting locals and incompetent police giving the perceived outsider McEwan a less than warm greeting. Going from place to place with McEwan in his attempt to find a would-be bride, the writers let the comedy flourish to its most ripe form during these exchanges,with McEwan catching the wrong eye of a banker and the slap-stick high jinks of McEwan outwitting the local police, covering the fact that the whole misunderstanding the film is built on, could easily be solved. Hoping to meet a woman of his dreams but instead finding a wonderful supporting cast of George Cole, Terry Scott and Dilys Laye, Bill Travers gives a warm, embracing performance as McEwan, with Travers having McEwan land on every fish out of water misstep,as he tries to get off the path. Before Death Wish,Bronson went for revenge in: Full movie: Gang War (1958) 7 Ganging up when the Hays Code was the gang in town, director Gene Fowler Jr. Makes a clever use of the soundtrack in layering rumblings of gun fire to the background,creating the impression audibly of a gang war spilling outside across the streets. In setting up the Avery's relationship, Fowler & cinematographer John M. Nickolaus Jr. oddly stay on stilted wide-shots which blocks any closeness the viewers have to the couple from developing. Needing to be watchful due to the Code, Fowler stylishly unveils the aftermath of gang killings, most strikingly composed in the "looking over the edge" shot which triggers Alan Avery into revenge. Witnessing a gangland killing, the screenplay by Louis Vittes adapts Ovid Demaris's novel with a mounting pressure on Alan and his pregnant wife Edie, in their measured, polite manners being shot down by high rolling gangs who unleash revenge, from wanting it over Alan witnessing their murderous business. Joined by a elegant Gloria Henry in her final film as Edie, Charles Bronson gives a wonderful turn as Alan,whose quiet, softly spoken behaviour Bronson chips away into a death wish against the gang war. Thanks for those chap, never heard of them before.
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Post by hitchcockthelegend on Jun 19, 2019 7:39:29 GMT
The Longest Day (1962) Of course, Turner Classic Movies ran this great film on 6/6, but I didn't get around to watching it (my sister thoughtfully recorded it) until several days later. I found it wonderfully inspirational, exciting, informative, and often very moving. Saddest moment: the paratroopers who missed their planned landing area and came down in the middle of the town of St. Mère Eglise--most of them being shot and killed before they hit the ground. My only major criticism relates to casting: I could have done without some of that era's teen heartthrobs--notably Fabian, Paul Anka (who was probably given his small role as a courtesy for having also composed the stirring theme), and Tommy Sands. I exempt Sal Mineo from that disapproval, because he could actually act (as he had proved in such films as Rebel Without a Cause and Exodus). 9.5/10. Destry Rides Again (1939) Another James Stewart gem from that mother of all classic movie years, 1939. This iconic Western became known for being, among other things, the movie that saved Marlene Dietrich's career and removed her stigma as "box office poison". Although she (as fiery dance-hall star, Frenchy) and Stewart (as Destry) have some great scenes together, particularly the climactic moment when she takes a fatal bullet meant for him , there are many other pleasures to enjoy here. One of my favorite comic sequences is the one between Lily Belle (Una Merkel) and Boris (Mischa Auer), in which the latter finally asserts his true identity. As ever, Brian Donlevy makes a wonderful villain you love to hate. 9.5/10. Watched The Longest Day myself this week, hopefully a review for next weeks thread. Nice comments from yourself. Destry Rides Again, glad you like it so much, more than myself but I'd re-watch it in a heartbeat if it shows up on the box. Welcome to Bottleneck.Deputy Tom Destry Jr. (James Stewart) rides in to Bottleneck and sets about ridding the town of the riff-raff elements - without guns! Based on the novel by Max Brand, Destry Rides Again simultaneously spoofed the Western genre whilst reinvigorating Marlene Dietrich's flagging career. At first glance it seemed an odd casting choice to choose Dietrich as the bawdy saloon chanteuse, Frenchy, especially since Paulette Goddard was originally cast for the role. But it really comes off, where Dietrich's loud and brusque portrayal perfectly plays off of Jimmy Stewart's laid back and gentle mannered Destry performance. The role of Destry is tailor made for Stewart, his everyman charm sits perfect for a character who is at first painted as a wimp, he drinks milk - he carries no guns, but who better than Stewart to fully realise a character that uses brains over brawn to great effect? A film of this type, though, is only as good as its villain, and thankfully Brian Donlevy steps up to the plate with a suitable grumpy sneer, it's a fine performance from a very undervalued performer. Directed by the highly experienced George Marshall, Destry Rides Again is chock full of the elements that make a good family film even better than it should be, jokes a plenty, goodies and baddies, songs and quality slices of drama, all combine here to make this a very entertaining and rewarding picture indeed. While for those into girl power really need to check out the ending of this picture for sure. Little Joe, Little Joe... 8/10
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Post by OldAussie on Jun 19, 2019 10:42:57 GMT
I bet these Indy films sparkle on Blu-ray? I absolutely adore my DVD box set and have never been tempted to double dip for the Blu-ray set, but I'm getting tempted by the month! Temple of Doom. I think it's better thought of these days. Spielberg on devilishly OTT form! Prior to the long mooted and eventual release of part 4, Temple Of Doom was often thought of as the weakest part of the series, yet it actually appears to me to be maturing nicely with age. With honest appraisal I see the only crime that Temple Of Doom can be charged with is is not being as good as Raiders Of The Lost Ark. But since few films can match that movie's classic status I find it churlish to do the second film down for it. Temple Of Doom is a frenetic roller-coaster ride, full of enough crash bang wallop fit to grace any action adventure in the history of cinema. The set pieces are pure outrageous fun; life raft escape from a crashing plane, mine cart thrill ride & a bridge sequence that is pure boys own brilliance. And while the film finds Spielberg cramming the action with a darkly sinister streak (hence the PG13 rating), we find that the fun still far outweighs any horror that junior viewers might get from certain scenes. The film also finds Ford giving his best performance as Indiana Jones since the plot calls for a more humane Jones. In fine physical shape, his witty interplay with Short Round is coupled with a textured feel of friendship that plays real well up on the screen. Kate Capshaw was always going to struggle to get close to Karen Allen's wonderful turn as Marion Ravenwood in Raiders, for where Marion was feisty and tough, Capshaw's Willie Scott is more scare-d-cat and reliant on Indy's guile to save her from peril, but she does OK and looks gorgeous into the bargain. Indiana Jones and the Temple of Doom was a massive hit at the box-office and firmly bought Spielberg the time to then go out and make two dramas in Empire of the Sun (1987) & The Color Purple (1985). He would then return with the third Indiana film to finish what was then a marvellous trilogy; of which Temple Of Doom is the prime piece of meat in the delightful (original) trilogy sandwich. 8.5/10 Last Crusade. It is undeniably a Raiders re-tread, but so what! In fact the more I watch it the closer it gets to being my favourite of the series... Raiders Of The Last Crusade.Indiana Jones teams up with his father to try and locate the Holy Grail. Something that the Nazis are again particularly interested in themselves. We didn't know it at the time, but every Indiana Jones fan on the planet presumed that The Last Crusade was to be the final film to feature the intrepid archaeologist. As it turned out, another film would surface in 2008, but casting that aside (as many would like to do), Last Crusade should, and is, judged as the trilogy closer it was meant to be. In 1988 Steven Spielberg was deep into bringing Rain Man to fruition, all thoughts of Indiana Jones had gone by the wayside with the harshly judged part two, Temple Of Doom. In stepped George Lucas to politely remind Spielberg that they had an agreement to make another Indiana Jones picture, Spielberg no doubt obliged and humble, passed on his Rain Man work to Barry Levinson who promptly bagged himself an Oscar for the film. It can be guessed that Spielberg was probably grouchy around this period, but he needn't have worried, because The Last Crusade provided a much needed hit for not only himself (post Empire Of The Sun), but also Lucas (Willow) and Harrison Ford (Frantic). I mention the run up to this picture because it explains a lot on why the film is pretty much a retread of Raiders Of The Lost Ark, something that some detractors find unforgivable. Yet Last Crusade is still an immensely enjoyable adventure picture, with Spielberg proving that he was still capable of a popcorn bonanza. Using the Raiders formula and moving away from the dark flourishes of Temple Of Doom, Last Crusade is actually the simplest film of the three, but still it manages, courtesy of a sparkling casting decision, to become the most entertaining of the original trilogy. Is it better than Raiders? Of course not, but it positively rips along with sparky dialogue and an agenda of cliffhanging suspense like the adventure films of yore. In comes Sean Connery as Dr Jones Senior, and its the picture's trump card, because the magnificent interplay and obvious rapport with Ford (cool as a cucumber) is there for all to see. It's this what drives the film on through the more mundane and picture filler sequences, showcasing two top wily professionals with care and consideration to their craft. The casting of Alison Doody as the main female is a poor one, and one only has to look at her subsequent career post Crusade to see she wasn't up to the task here. Bonus comes in the form of the River Phoenix prologue, Phoenix as the young Indiana paves the way for the jaunty path that Crusade takes, whilst simultaneously giving us a nice little back story from which to launch the adventure. Made for $48 million, the film went on to gross $474,171,806 Worldwide, now that's a lot of people who evidently were happy with Raiders Of The Lost Ark 2! And I gleefully count myself amongst that number. 9/10 Crystal Skull. I had a great time with it when I filed in to see it on opening day, and returned home and promptly reviewed it enthusiastically. Time has mellowed me a touch but I still maintain it's great fun and hardly deserving of the scorn some series fans pour on it. Rewatch and a review rewrite pencilled in for me. Laura. Yeah, dames are always pulling a switch on you. Otto Preminger's wonderfully crafted mystery has become something of a big favourite of many people over the years, and rightly so. But just what is it that makes the film so watchable after all these years? Sure the cast is solid, but I personally wouldn't say spectacular. Gene Tierney simmers and holds it together whilst Clifton Webb, Dana Andrews & Vincent Price are perfectly admirable in their roles as guys in drippy infatuation with Tierney's vibrant title character. Perhaps the success of the piece is with the screenplay? Adapted by at least "five" known writers from the novel by Vera Caspary, it is in truth delightfully bonkers! You have shades of necrophilia, potential gay suitors, and the girl the boys all court is dead, minus her face after a shotgun assault. Then there is the fact that Laura bends the conventions of the genres it can each sit in. Is it film noir, a who done it, a ghost story or just a plane old detective story? Does it matter? No, not really, because it's the ambiguity that is the films strength. As for Laura Hunt herself, well she's no femme fatale, in fact she's an ordinary woman, yet the men are in awe of her. It shouldn't work on the surface, but it does, very much so. The film had something of a troubled shoot, hires and fires and jiggled endings were abound. Preminger was originally the producer for the film but was hired after Fox head honcho Darryl Zanuck fired Rouben Mamoulian. He in turn replaced cinematographer Lucian Ballard with Joseph LaShelle (who won the Academy Award for his efforts). Regardless, what we have with the finished product is a cheeky and often twisted tale of obsession. A film where one can never be sure what is actually going to develop, right up to, and including, the final denouement. 8/10 My Indy order - 3-2-1---------------4 And knowing your interest...... My cinema plays a classic most Monday nights - as you will see in next week's thread, my most recent viewing was a special one, hint - B Company, 2nd Battalion, 24th Foot .
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Post by wmcclain on Jun 19, 2019 11:29:03 GMT
The Nice Guys. Shane Black back on neo-noir form, I love it. When I saw young Angourie Rice I thought: that kid is going to be a star! Every scene lights up when she's on. I went back and watched her in the grim end-of-the-world These Final Hours and she had a small part in The Beguiled remake. Still waiting...
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Post by morrisondylanfan on Jun 19, 2019 15:16:51 GMT
The Bridal Path (1959)7 Going to the Scottish Highlands to track McEwan’s search for a bonny lass,co-writer/(with Geoffrey Willans) director Frank Launder & cinematographer Arthur Ibbetson map out a whimsical Comedy atmosphere thrown from winding panning shots of McEwan running against the beautiful rugged terrain. Falling into mishaps with the locals, the score by Cedric Thorpe Davie finely pitches McEwan’s problems with a Folk score that digs thorns into his sides, whilst remaining playful for McEwan’s issues with every local he meets. Saying goodbye to the remote Scottish island as McEwan lands on the mainland in their adaptation of Nigel Tranter’s novel,the screenplay by Launder and Willans hilariously lay Scottish clichés down thickly,from not a minute going by where “Oh aye” does not appear, to the gun-toting locals and incompetent police giving the perceived outsider McEwan a less than warm greeting. Going from place to place with McEwan in his attempt to find a would-be bride, the writers let the comedy flourish to its most ripe form during these exchanges,with McEwan catching the wrong eye of a banker and the slap-stick high jinks of McEwan outwitting the local police, covering the fact that the whole misunderstanding the film is built on, could easily be solved. Hoping to meet a woman of his dreams but instead finding a wonderful supporting cast of George Cole, Terry Scott and Dilys Laye, Bill Travers gives a warm, embracing performance as McEwan, with Travers having McEwan land on every fish out of water misstep,as he tries to get off the path. Before Death Wish,Bronson went for revenge in: Full movie: Gang War (1958) 7 Ganging up when the Hays Code was the gang in town, director Gene Fowler Jr. Makes a clever use of the soundtrack in layering rumblings of gun fire to the background,creating the impression audibly of a gang war spilling outside across the streets. In setting up the Avery's relationship, Fowler & cinematographer John M. Nickolaus Jr. oddly stay on stilted wide-shots which blocks any closeness the viewers have to the couple from developing. Needing to be watchful due to the Code, Fowler stylishly unveils the aftermath of gang killings, most strikingly composed in the "looking over the edge" shot which triggers Alan Avery into revenge. Witnessing a gangland killing, the screenplay by Louis Vittes adapts Ovid Demaris's novel with a mounting pressure on Alan and his pregnant wife Edie, in their measured, polite manners being shot down by high rolling gangs who unleash revenge, from wanting it over Alan witnessing their murderous business. Joined by a elegant Gloria Henry in her final film as Edie, Charles Bronson gives a wonderful turn as Alan,whose quiet, softly spoken behaviour Bronson chips away into a death wish against the gang war. Thanks for those chap, never heard of them before. Thanks Spike,my dad said he remembers seeing ending of Bridal Path on BBC or C4 20 or so years ago! With Gang War,the ending is hurt by the Hays Code,but Bronson still brings the revenge grit.
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Post by Lebowskidoo 🦞 on Jun 19, 2019 17:54:30 GMT
School Spirit (1985) Boring, unfunny trash. Halloween (2018) Yeah, I watched it again, and discovered new things about it while I did. The sequel we always wanted but didn't get until now. Thanks for watching School Spirit so I don't have to! Saving the latest Halloween film for the October Challenge, open minded about it myself. School Spirit was not what I expected. I assumed it was a horror spoof, but it was actually a sex comedy with a bit of a ghost story. Not a good ghost story, and not even good as a sex comedy. Just dumb. Halloween is a very good sequel, so worthy of the original. Confusing if you expect the entire series to be connected. It really isn't at all anymore after this one.
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Post by Lebowskidoo 🦞 on Jun 19, 2019 18:16:14 GMT
King Kong (1976) - www.imdb.com/title/tt0074751/referenceNo, you're dead wrong. He was the terror, the mystery of their lives, and the magic.1976. I had already been spellbound and terrified by Jaws the year previously, I mean I was only 10 years old. Having been introduced by my film loving parents to the original King Kong from 1933, as soon as this update - in colour - was released, I stood in that queue for two hours to see it. I was spellbound once again, absolutely loved it, telling everyone in school or on the playing fields how great the experience was. Those things never leave you, it's love of cinema with youthful eyes, and none of us should ever decry those moments as being ignorance. Much later in life, watching this reworking of the Kong story becomes a battle to not extinguish those youthful fires. For now you can see just how poor the effects are, in fact just how much of a cheat (through research) that uber producer Dino De Laurentiis was as he put this onto the screen. Conversely, though, you can now see just how adult much of it was. The pic is full of sexual connotations and imagery. I mean look at Jessica Lange's first scene, she is introduced in a wet dress with erectus nippleus in full effect. I didn't remember that as a 10 year old boy... There's some smart era concerns in the narrative, fuels, discrimination etc, and for sure the array of characters on show are 1970s intelligent. Hell! even the change to helicopter attacks instead of aeroplanes for the finale deserves respect - with the added sombre setting of the WTC twin towers now more attention grabbing - yet it's hard to get away from just how poor the production is. So as we may still shed a tear as the giant beast is felled by his love for a beauty, and we curse mankind for just not leaving him on his island, this is still poor film making that comes close to shattering fond memories of the young movie lovers back in 1976. 5/10 Master and Commander: The Far Side of the World (2003) - www.imdb.com/title/tt0311113/referenceFor England, for home, and for the prize!Master and Commander: The Far Side of the World is directed by Peter Weir, it stars Russell Crowe as Jack Aubrey and Paul Bettany as Stephen Maturin. It is spliced from various novels in the Aubrey–Maturin series written by Patrick O'Brian. The film takes place during 1805, during the Napoleonic Wars and finds Captain Jack Aubrey and the crew of British frigate HMS Surprise ordered to intercept, destroy or take as a prize the French privateer Acheron. But the Acheron (The Phantom as the crew of the Surprise call her) is no ordinary ship, and her Captain is smart. So Lucky Jack has his work cut out; not only in the pursuit of the Acheron, but in harmonising the crew under his command. Especially his loyal and trusting friend Stephen. It's pretty evident within the first few minutes of Master & Commander that this is no standard blockbuster naval based war movie. If you are after, or was expecting, a wave to wave Bruckheimer carnage a-like piece, well you best, or should have, stay(ed) away. For this is a Peter Weir movie, in fact this is a Peter Weir "period" movie, where attention to details and character dynamics are the order of the day. There's battle action here for sure, beginning and end, and terrific they are too. As first cannonballs crack and splinter its targets (note the sound work here), and later as blade meets blade; it's exhilarating stuff alright. But this is more interested in palpable tension, both on deck and on the waves. Threat is never far away, again, this is is covered by the impending duel with the Acheron and Aubrey's tactical pursuit/escape of her. While the crew give us a series of character dramas to involve us in the make up of a man-o-war's personnel. How different classes and males (there's not one female in the film) of all ages have to work together as one efficient unit in order to survive and triumph. Except for an interlude spent on the lusciously filmed Galapagos Island (Russell Boyd Best Cinematography Academy Award Winner), the film is set 99% of the time out at sea, on a cramped ship, this tells you that Weir is interested in telling a character driven story, cloaked in realism, above all else. The teaming of Weir with the highly rated O'Brian material looked a good one, and to someone like me who has never read an O'Brian novel? It is. But many of O'Brian's fans have been upset by either the stuff missing in the film, the stuff put in to fully form Weir's vision of the characters, or for Crowe not being Pugwashy enough. These complaints were inevitable since they come with practically every adaptation of novels these days. It should be noted, tho, that Weir was very much a fan of O'Brian, and in fact always felt inspired by the tight intricate detail of his writings. What of the author himself? Well he passed away three years before the film was released, but he had always envisaged Charlton Heston for the role of Aubrey. So, who in the modern era comes closest to Heston's physical presence on screen. Why Russell Crowe of course. Who not only brings that to the character, but also depth, because Aubrey comes with many traits. Strength, honour, stubbornness, leadership and loyalty are a given for a Captain on the high seas. But Aubrey is also vulnerable, self aware, playful, knows his limitations and able to laugh at himself. Crowe peels off each layer and delivers a high quality performance; from our first encounter with Crowe as Aubrey, the realism so loved by Weir is given a shot in the arm; and it stays throughout the movie. An excellent piece of casting then, as is that of Paul Bettany as ships surgeon, science and nature lover, and best pal of the Captain, Stephen Maturin. Bettany & Crowe had formed a friendship on 2001s A Beautiful Mind. Where their on screen chemistry lifted an already fine film, to an even better one. So it be here too. Stephen & Jack's relationship is the core of the piece. Two very different men yet as tight as two peas in a pod, with Stephen serving as the code breaker for the audience as sea talk and tactical intrigue weaves in and out of the story. It's there where Bettany excels, for he not only has us believing in this warm (platonic) friendship, he's also got us rooting for him since he is in essence the odd man out on this ship. Our sympathy is firmly with him, our friendly rebel if you please. Of the rest there's note worthy turns from Billy Boyd, James D'Arcy & Edward Woodall, while Lee Ingleby gives a really heartfelt and emotionally engaging turn as Hollom. The film is not without flaws, tho. The pace of the piece does slip from time to time, while the talky middle section may stretch the patience of some. And the film isn't long enough to give the main characters some back story for the audience to work off. But it's still a great movie. Ripe with intelligence and interesting characterisations: and boasting enough adrenalin, humour and upset to fill out a big budgeted 1950s historical epic. Get on board folks, this is quality film making. 9/10 Done! Loved your review of King Kong (1976), it was one of the big milestones of my cinema youth. I remember staring up at that poster in awe. The movie never quite lives up to the promise of the poster, but I loved it anyway. Most movies back then had posters with scenes that you never quite got to see in the movie itself. I know now that it looks silly to some, but I still have a great fondness for it too. Master and Commander: The Far Side of the World (2003) is a movie that practically screams that it must be seen on the big screen...but I saw it on a plane from Miami. Always said I would rewatch it again on a TV at least, but I still haven't. Crowe was having a great run about that time.
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Post by hitchcockthelegend on Jun 20, 2019 5:32:56 GMT
I bet these Indy films sparkle on Blu-ray? I absolutely adore my DVD box set and have never been tempted to double dip for the Blu-ray set, but I'm getting tempted by the month! Temple of Doom. I think it's better thought of these days. Spielberg on devilishly OTT form! Prior to the long mooted and eventual release of part 4, Temple Of Doom was often thought of as the weakest part of the series, yet it actually appears to me to be maturing nicely with age. With honest appraisal I see the only crime that Temple Of Doom can be charged with is is not being as good as Raiders Of The Lost Ark. But since few films can match that movie's classic status I find it churlish to do the second film down for it. Temple Of Doom is a frenetic roller-coaster ride, full of enough crash bang wallop fit to grace any action adventure in the history of cinema. The set pieces are pure outrageous fun; life raft escape from a crashing plane, mine cart thrill ride & a bridge sequence that is pure boys own brilliance. And while the film finds Spielberg cramming the action with a darkly sinister streak (hence the PG13 rating), we find that the fun still far outweighs any horror that junior viewers might get from certain scenes. The film also finds Ford giving his best performance as Indiana Jones since the plot calls for a more humane Jones. In fine physical shape, his witty interplay with Short Round is coupled with a textured feel of friendship that plays real well up on the screen. Kate Capshaw was always going to struggle to get close to Karen Allen's wonderful turn as Marion Ravenwood in Raiders, for where Marion was feisty and tough, Capshaw's Willie Scott is more scare-d-cat and reliant on Indy's guile to save her from peril, but she does OK and looks gorgeous into the bargain. Indiana Jones and the Temple of Doom was a massive hit at the box-office and firmly bought Spielberg the time to then go out and make two dramas in Empire of the Sun (1987) & The Color Purple (1985). He would then return with the third Indiana film to finish what was then a marvellous trilogy; of which Temple Of Doom is the prime piece of meat in the delightful (original) trilogy sandwich. 8.5/10 Last Crusade. It is undeniably a Raiders re-tread, but so what! In fact the more I watch it the closer it gets to being my favourite of the series... Raiders Of The Last Crusade.Indiana Jones teams up with his father to try and locate the Holy Grail. Something that the Nazis are again particularly interested in themselves. We didn't know it at the time, but every Indiana Jones fan on the planet presumed that The Last Crusade was to be the final film to feature the intrepid archaeologist. As it turned out, another film would surface in 2008, but casting that aside (as many would like to do), Last Crusade should, and is, judged as the trilogy closer it was meant to be. In 1988 Steven Spielberg was deep into bringing Rain Man to fruition, all thoughts of Indiana Jones had gone by the wayside with the harshly judged part two, Temple Of Doom. In stepped George Lucas to politely remind Spielberg that they had an agreement to make another Indiana Jones picture, Spielberg no doubt obliged and humble, passed on his Rain Man work to Barry Levinson who promptly bagged himself an Oscar for the film. It can be guessed that Spielberg was probably grouchy around this period, but he needn't have worried, because The Last Crusade provided a much needed hit for not only himself (post Empire Of The Sun), but also Lucas (Willow) and Harrison Ford (Frantic). I mention the run up to this picture because it explains a lot on why the film is pretty much a retread of Raiders Of The Lost Ark, something that some detractors find unforgivable. Yet Last Crusade is still an immensely enjoyable adventure picture, with Spielberg proving that he was still capable of a popcorn bonanza. Using the Raiders formula and moving away from the dark flourishes of Temple Of Doom, Last Crusade is actually the simplest film of the three, but still it manages, courtesy of a sparkling casting decision, to become the most entertaining of the original trilogy. Is it better than Raiders? Of course not, but it positively rips along with sparky dialogue and an agenda of cliffhanging suspense like the adventure films of yore. In comes Sean Connery as Dr Jones Senior, and its the picture's trump card, because the magnificent interplay and obvious rapport with Ford (cool as a cucumber) is there for all to see. It's this what drives the film on through the more mundane and picture filler sequences, showcasing two top wily professionals with care and consideration to their craft. The casting of Alison Doody as the main female is a poor one, and one only has to look at her subsequent career post Crusade to see she wasn't up to the task here. Bonus comes in the form of the River Phoenix prologue, Phoenix as the young Indiana paves the way for the jaunty path that Crusade takes, whilst simultaneously giving us a nice little back story from which to launch the adventure. Made for $48 million, the film went on to gross $474,171,806 Worldwide, now that's a lot of people who evidently were happy with Raiders Of The Lost Ark 2! And I gleefully count myself amongst that number. 9/10 Crystal Skull. I had a great time with it when I filed in to see it on opening day, and returned home and promptly reviewed it enthusiastically. Time has mellowed me a touch but I still maintain it's great fun and hardly deserving of the scorn some series fans pour on it. Rewatch and a review rewrite pencilled in for me. Laura. Yeah, dames are always pulling a switch on you. Otto Preminger's wonderfully crafted mystery has become something of a big favourite of many people over the years, and rightly so. But just what is it that makes the film so watchable after all these years? Sure the cast is solid, but I personally wouldn't say spectacular. Gene Tierney simmers and holds it together whilst Clifton Webb, Dana Andrews & Vincent Price are perfectly admirable in their roles as guys in drippy infatuation with Tierney's vibrant title character. Perhaps the success of the piece is with the screenplay? Adapted by at least "five" known writers from the novel by Vera Caspary, it is in truth delightfully bonkers! You have shades of necrophilia, potential gay suitors, and the girl the boys all court is dead, minus her face after a shotgun assault. Then there is the fact that Laura bends the conventions of the genres it can each sit in. Is it film noir, a who done it, a ghost story or just a plane old detective story? Does it matter? No, not really, because it's the ambiguity that is the films strength. As for Laura Hunt herself, well she's no femme fatale, in fact she's an ordinary woman, yet the men are in awe of her. It shouldn't work on the surface, but it does, very much so. The film had something of a troubled shoot, hires and fires and jiggled endings were abound. Preminger was originally the producer for the film but was hired after Fox head honcho Darryl Zanuck fired Rouben Mamoulian. He in turn replaced cinematographer Lucian Ballard with Joseph LaShelle (who won the Academy Award for his efforts). Regardless, what we have with the finished product is a cheeky and often twisted tale of obsession. A film where one can never be sure what is actually going to develop, right up to, and including, the final denouement. 8/10 My Indy order - 3-2-1---------------4 And knowing your interest...... My cinema plays a classic most Monday nights - as you will see in next week's thread, my most recent viewing was a special one, hint - B Company, 2nd Battalion, 24th Foot . Nothing under the spoiler mate?
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Post by hitchcockthelegend on Jun 20, 2019 5:42:15 GMT
The Nice Guys. Shane Black back on neo-noir form, I love it. When I saw young Angourie Rice I thought: that kid is going to be a star! Every scene lights up when she's on. I went back and watched her in the grim end-of-the-world These Final Hours and she had a small part in The Beguiled remake. Still waiting... Yes, makes quite a mark. Black has a good record with introducing youngsters into his plot writing. Apart from The Predator mind, which is just a bad film period!
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Post by hitchcockthelegend on Jun 20, 2019 5:46:03 GMT
Thanks for watching School Spirit so I don't have to! Saving the latest Halloween film for the October Challenge, open minded about it myself. Halloween is a very good sequel, so worthy of the original. Confusing if you expect the entire series to be connected. It really isn't at all anymore after this one. They did this with Godzilla. After a 10 year hiatus they started again in 1984 and ignored everything that was made after the original film in 1954. It's no big thing to me, as long as they make a good film. I have lost track where we were at with Halloween anyway
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Post by hitchcockthelegend on Jun 20, 2019 5:53:01 GMT
King Kong (1976) - www.imdb.com/title/tt0074751/referenceNo, you're dead wrong. He was the terror, the mystery of their lives, and the magic.1976. I had already been spellbound and terrified by Jaws the year previously, I mean I was only 10 years old. Having been introduced by my film loving parents to the original King Kong from 1933, as soon as this update - in colour - was released, I stood in that queue for two hours to see it. I was spellbound once again, absolutely loved it, telling everyone in school or on the playing fields how great the experience was. Those things never leave you, it's love of cinema with youthful eyes, and none of us should ever decry those moments as being ignorance. Much later in life, watching this reworking of the Kong story becomes a battle to not extinguish those youthful fires. For now you can see just how poor the effects are, in fact just how much of a cheat (through research) that uber producer Dino De Laurentiis was as he put this onto the screen. Conversely, though, you can now see just how adult much of it was. The pic is full of sexual connotations and imagery. I mean look at Jessica Lange's first scene, she is introduced in a wet dress with erectus nippleus in full effect. I didn't remember that as a 10 year old boy... There's some smart era concerns in the narrative, fuels, discrimination etc, and for sure the array of characters on show are 1970s intelligent. Hell! even the change to helicopter attacks instead of aeroplanes for the finale deserves respect - with the added sombre setting of the WTC twin towers now more attention grabbing - yet it's hard to get away from just how poor the production is. So as we may still shed a tear as the giant beast is felled by his love for a beauty, and we curse mankind for just not leaving him on his island, this is still poor film making that comes close to shattering fond memories of the young movie lovers back in 1976. 5/10 Master and Commander: The Far Side of the World (2003) - www.imdb.com/title/tt0311113/referenceFor England, for home, and for the prize!Master and Commander: The Far Side of the World is directed by Peter Weir, it stars Russell Crowe as Jack Aubrey and Paul Bettany as Stephen Maturin. It is spliced from various novels in the Aubrey–Maturin series written by Patrick O'Brian. The film takes place during 1805, during the Napoleonic Wars and finds Captain Jack Aubrey and the crew of British frigate HMS Surprise ordered to intercept, destroy or take as a prize the French privateer Acheron. But the Acheron (The Phantom as the crew of the Surprise call her) is no ordinary ship, and her Captain is smart. So Lucky Jack has his work cut out; not only in the pursuit of the Acheron, but in harmonising the crew under his command. Especially his loyal and trusting friend Stephen. It's pretty evident within the first few minutes of Master & Commander that this is no standard blockbuster naval based war movie. If you are after, or was expecting, a wave to wave Bruckheimer carnage a-like piece, well you best, or should have, stay(ed) away. For this is a Peter Weir movie, in fact this is a Peter Weir "period" movie, where attention to details and character dynamics are the order of the day. There's battle action here for sure, beginning and end, and terrific they are too. As first cannonballs crack and splinter its targets (note the sound work here), and later as blade meets blade; it's exhilarating stuff alright. But this is more interested in palpable tension, both on deck and on the waves. Threat is never far away, again, this is is covered by the impending duel with the Acheron and Aubrey's tactical pursuit/escape of her. While the crew give us a series of character dramas to involve us in the make up of a man-o-war's personnel. How different classes and males (there's not one female in the film) of all ages have to work together as one efficient unit in order to survive and triumph. Except for an interlude spent on the lusciously filmed Galapagos Island (Russell Boyd Best Cinematography Academy Award Winner), the film is set 99% of the time out at sea, on a cramped ship, this tells you that Weir is interested in telling a character driven story, cloaked in realism, above all else. The teaming of Weir with the highly rated O'Brian material looked a good one, and to someone like me who has never read an O'Brian novel? It is. But many of O'Brian's fans have been upset by either the stuff missing in the film, the stuff put in to fully form Weir's vision of the characters, or for Crowe not being Pugwashy enough. These complaints were inevitable since they come with practically every adaptation of novels these days. It should be noted, tho, that Weir was very much a fan of O'Brian, and in fact always felt inspired by the tight intricate detail of his writings. What of the author himself? Well he passed away three years before the film was released, but he had always envisaged Charlton Heston for the role of Aubrey. So, who in the modern era comes closest to Heston's physical presence on screen. Why Russell Crowe of course. Who not only brings that to the character, but also depth, because Aubrey comes with many traits. Strength, honour, stubbornness, leadership and loyalty are a given for a Captain on the high seas. But Aubrey is also vulnerable, self aware, playful, knows his limitations and able to laugh at himself. Crowe peels off each layer and delivers a high quality performance; from our first encounter with Crowe as Aubrey, the realism so loved by Weir is given a shot in the arm; and it stays throughout the movie. An excellent piece of casting then, as is that of Paul Bettany as ships surgeon, science and nature lover, and best pal of the Captain, Stephen Maturin. Bettany & Crowe had formed a friendship on 2001s A Beautiful Mind. Where their on screen chemistry lifted an already fine film, to an even better one. So it be here too. Stephen & Jack's relationship is the core of the piece. Two very different men yet as tight as two peas in a pod, with Stephen serving as the code breaker for the audience as sea talk and tactical intrigue weaves in and out of the story. It's there where Bettany excels, for he not only has us believing in this warm (platonic) friendship, he's also got us rooting for him since he is in essence the odd man out on this ship. Our sympathy is firmly with him, our friendly rebel if you please. Of the rest there's note worthy turns from Billy Boyd, James D'Arcy & Edward Woodall, while Lee Ingleby gives a really heartfelt and emotionally engaging turn as Hollom. The film is not without flaws, tho. The pace of the piece does slip from time to time, while the talky middle section may stretch the patience of some. And the film isn't long enough to give the main characters some back story for the audience to work off. But it's still a great movie. Ripe with intelligence and interesting characterisations: and boasting enough adrenalin, humour and upset to fill out a big budgeted 1950s historical epic. Get on board folks, this is quality film making. 9/10 Done! Loved your review of King Kong (1976), it was one of the big milestones of my cinema youth. I remember staring up at that poster in awe. The movie never quite lives up to the promise of the poster, but I loved it anyway. Most movies back then had posters with scenes that you never quite got to see in the movie itself. I know now that it looks silly to some, but I still have a great fondness for it too. Master and Commander: The Far Side of the World (2003) is a movie that practically screams that it must be seen on the big screen...but I saw it on a plane from Miami. Always said I would rewatch it again on a TV at least, but I still haven't. Crowe was having a great run about that time. Yep, posters were so much a part of the experience as a youngster. There were no multiplex theatres when I was a boy so you always had to queue for ages - sometimes hours - to see a film on a one screen picture house. It was those posters that kept you excited as you waited to get into the theatre. Yeah Crowe had a quality run from 97 to 07
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Post by OldAussie on Jun 20, 2019 7:18:48 GMT
Dear Hitch, Should work now - B Company, 2nd Battalion, 24th Foot
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Post by hitchcockthelegend on Jun 20, 2019 16:36:02 GMT
Dear Hitch, Should work now - B Company, 2nd Battalion, 24th Foot
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