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Post by delon on Oct 12, 2019 18:44:10 GMT
Comments/ratings/recommendations/film posters are welcome and much appreciated.
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Post by OldAussie on Oct 12, 2019 19:11:03 GMT
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Post by Chalice_Of_Evil on Oct 12, 2019 22:16:40 GMT
I had a mini-movie Kayathon. No, I didn't watch a bunch of movies about kayaks, but rather ones starring English actress Kaya Scodelario - starting with the Maze Runner trilogy.   The Maze Runner (2014). Maze Runner: The Scorch Trials (2015). Maze Runner: The Death Cure (2018). Wuthering Heights (2011). Pirates of the Caribbean: Dead Men Tell No Tales (2017). Pirate’s life... While most consider the first PotC movie the ‘best’, the second one grew on me the more I watched it and, to my surprise, became my favourite. The third one remains a mess (Keira Knightley/Elizabeth was the one bright spot) and the only part I enjoy/remember from the fourth is the mermaid attack. I’d personally rank this fifth film in the middle, it's better than the last two, though not as good as the first two. The movie begins with Will and Elizabeth’s son, Henry, wishing to free his father of the curse from the third film. Orlando Bloom fans shouldn't get their hopes up, as his screentime is basically cameos at the beginning/ending of the film (including the post-credits scene). He fares better than Keira Knightley, though, who has a silent cameo at the end and post-credits scene (at least we get to see them reunited/have a happy ending). Johnny Depp's Captain Jack Sparrow seems drunker during the beginning of this film than he has previously. If you're over his shtick by now, chances are you won't change your opinion now, but if you're up for one more adventure with Captain Jack, then just go along for the ride. At least his first scene in this film is better than the last two movies (just not as good as first two). By that point we've also met the adult version of Henry (Brenton Thwaites), who's after this film's 'McGuffin' that everybody wants (the Trident of Poseidon) in order to save his father, and astronomer/firm believer in science/skeptic of the supernatural, Carina Smyth (Kaya Scodelario), who's constantly accused of being a witch and is the only one who can read the map that leads to the trident. When the two newcomers aren't being tied up or shouting each other's names, they prove decent enough additions to the cast. Carina's intelligent, independent, resourceful, and crucial to the story; while Henry is...Will’s son. Well, at least they're better than the missionary man/mermaid coupling of the last movie. While their characters certainly won't replace Will/Elizabeth as the romantic centre of the franchise, the actors try their darnedest to make their coupling work (with mixed results). They each work better playing off of Jack, actually. Kaya manages to make her character heroic without ever swinging a sword and her exasperation at being surrounded by pirates and their ignorance allows for a comedic touch. It's also revealed she has an important connection to Geoffrey Rush's Barbossa. It's a shame they didn't get more time together. Javier Bardem's Captain Salazar is thankfully at least more interesting a villain than Blackbeard (not hard, considering how underwhelming Blackbeard was). Salazar has undead sharks and a ship-eating ship at his disposal...which are somehow still less ridiculous than Blackbeard's magic-rope-controlling-sword and ship flame-thrower), though the most memorable thing about him is the effects used on him and his cursed crew (they’re all floaty and have pieces missing). It’s quite something. A flashback scene explaining Salazar's motives (and the origin of how Jack got his various accessories, including his hat), displays equally impressive effects with a de-aged Johnny Depp as young Jack. While interesting/informative, it may have been better placed at the start of the movie, as where it’s actually placed in the film kind of brings the story to a screeching halt. Filling the void of the weirdly 'hot' (despite efforts being made through make-up to appear otherwise) witch-type in place of Naomie Harris' Tia Dalma is Golshifteh Farahani as Shansa. Her character is bald, covered in tattoos and, like Salazar, in serious need of a toothbrush...but somehow manages to make the look *work* for her. She proves intriguing, but sadly disappears shortly after her introduction/feels underutilised. Gibbs is back once again, and he actually amused me at one point with how he managed to trick Scrum (a character I wasn’t that fussed on in the last film, but since then I’ve seen the actor who plays him in the TV series Boardwalk Empire as Al Capone and what Gibbs does to Scrum here feels like payback for all of Capone’s pranks...which might not be ‘fair’, but it gave me a laugh). There are several big action set pieces throughout the movie, though the most visually dazzling one was near the end, set at the bottom of the ocean (which had been parted). The film's humour is hit & miss, some jokes work and some don't (Paul McCartney gets an amusing cameo). There’s a couple of emotional beats that have some impact, but don't expect to be tearing up too much. Despite the fact this film, for all intents and purposes, seems like the 'final' one, there is the door left open for possibly more. However, it would be in the franchise's best interest to end things here. It mightn’t be at the highest of highs, but neither is it the lowest of lows; so they should quit while they're ahead/make like dead men and tell no (further) tales.                        (2013). And the non-Kaya Scodelario-related movies I watched... Kiss of the Damned (2012). Zombieland (2009). Kingsman: The Golden Circle (2017). |
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Post by morrisondylanfan on Oct 12, 2019 23:17:27 GMT
Hi all,I hope everyone is having a good weekend & I've gone Horror loco. Mexican Horror:  Una rata en la oscuridad (1979) 8 "When we were orphaned you took on the role of a mother,I really never felt her absence." Getting comfy in the new home, writer/director Alfredo Salazar & cinematographer Miguel Garzon weave a silky dream-logic supernatural horror atmosphere, spun in bright red dissolves across the household,panning to a excellent use by Salazar of rumbling sound effects giving a weight to the floating objects thrown across the rooms. Enticingly setting up a full circle ending in a underhanded manner at the beginning, Salazar thankfully refrains from any moralising, in the steamy sex scenes, which Salazar holds to draw the power play in the relationship between the masculine Sonia and the motherly Josefina and builds on the sensual dream-logic mood, climaxing in a delightfully sleight of hand turn into psychotronic madness. Although not offering a solid answer on if the ghostly sounds were actually caused by the spirit of the old owner,or actually just part of a bigger game, the screenplay by Salazar rides over what could be bumps in the road, by placing a focus on the psychological horror between Josefina and Sonia, whose bonds of trust snap to doubt over how much they really should trust each other. Sizzling the screen in their close encounters, fitties Ana Luisa Peluffo and Anais de Melo give excellent turns as Josefina and Sonia,thanks to the sexy duo being on the same page in expressing their dream-logic sensual desires, with a tastefully ripe, visible relish of screaming with paranoid fear from seeing a rat in the darkness.  The Body Snatcher (1957) 5 Filmed at a real wrestling show, co-writer/(with Alejandro Verbitzky) writer/director Fernando Mendez & cinematographer Victor Herrera bring the action to life, with a elbow drop landing on stylish close-ups on the faces of audience members gripped by the match, landing a pin fall with a unsettling stamped match finish. Holding back on the King Kong-inspired body snatching horror in order to have it be the finishing move of the flick, Mendez grapples the majority of the movie as a crime flick with a scatting of Mad Scientist kidnapping/ reviving the dead antics,who come back to life by stylish dissolves, but are soon back in the morgue thanks to the bone-dry script, which fails to piledriver tense mystery or creepy horror onto the body snatcher.  Mysteries of Black Magic (1958)-Currently the biggest surprise viewing of the month. 9. "The circle of agony." Putting a spell on the audience with a opening magic show, director Miguel M. Delgado & cinematographer Victor Herrera brilliantly hold Gothic Horror thrills back for the final, instead eyeing a creepy psychological chiller atmosphere, lit in moody close-ups (backed by clipped narration) on Egle reading the minds of audiences in the crowd, which Delgado turns from a party trick into deadly game, turned in smash cuts on Egle getting metal nails to dig into palms and blades to be gripped by her hypnotised audience members. Casting a spell of curiosity on Prof. Eladio Tejeda (a wonderfully meek Carlos Riquelme) over suspicions that Egle is a witch,Delgado sets them on a collision brimming with a refined Gothic Horror mood, dripping from the imposing long shadows and shards of white light across her face making Egle look like a possessed empress,and melting jagged whip-pans on Egle's voodoo stabs hitting a hell fire and brimstone final. Coming over from being a script/book writer in Argentina, the screenplay by Ulises Petit de Murat superbly captures a novel-like attention to character building, most startling in Murat's family having a bratty bite at the start, which soon cracks over mounting suspicions over Egle's links to Murat's sudden death. Whilst handing out chunky slices of Gothic pulp for the gloriously lively revival of a mummified god, Murat conjures the majority of the Gothic Horror vibes from chilling dialogue,which matches the pins and needles Egle digs into her victims, via a sharp dig into the broken state of Egle's mind. Casting a spell on the film and the viewer from the opening,Nadia Haro Oliva gives a outstanding turn as Egle, thanks to weaving a imposing, unblinking presence, with a overwhelming,almost demonic desire to solve all the mysteries of black magic.  The Witch (1954) 7 Initially appearing to be a entry in the "Mad Scientist makes a body count to find cure for a woman's skin condition" sub-genre, the screenplay by co-writer/(with Alfredo Salazar) director Chano Urueta brings a refreshing twist,by actually having the Mad Scientist cure Nora (temporary.) Skirting round the horror elements, the writers conjure up a wish-fulfilment Cinderella fantasy, allowing Nora to be embraced by those who had spat at her real looks, which returns with a vengeance,as the Mad Scientist wants Nora to help enact revenge on those who he suspects killed his daughter,one of whom Nora has fallen in love for. Getting her to the ball on time, director Urueta & cinematographer Victor Herrera shakes some Hollywood glamour glitter over Nora's fantasy, glittering in loving close-ups on the bewitching beauty. Losing her dreams when the clock strikes 12, Urueta balances the dreamy with bubbling,off-beat chills, heated up in a hell/underworld trial featuring real "freaks",and stylish super-imposed images displaying the inner beauty of Mora, under well-designed prosthetic effects.Putting a spell on everyone, Lilia del Valle gives a enchanting turn as Nora, which avoids any cackling, thanks to Valle expressing a passionate empathy Nora has for others,and hopes of being seen as more than a witch.  El Monstruo Resucitado (1953) 6 Powering up themes which would fly in The Witch a year later, co-writer/(with Dino Maiuri) director Chano Urueta & his regular cinematographer Victor Herrera cover the disfigured plastic surgeon with the cape of The Phantom of the Opera, which brews a icy air of mystery, from the build-up of the surgeon unveiling his face, behind the caped-covered close-ups, Urueta drops the cover for terrific, beastly practical effects in the close encounter between the surgeon and Nora, (who shares her name with that of Nora in Urueta's The Witch.) Urueta initiates a major motif which would span future credits, of sliding the Gothic fever running from the DR's operations and brooding lair (complete with a henchman!) to the side of the plate, instead gliding for a high-end Melodrama atmosphere, bubbling away while the surgeon looks from upon high at Nora. Starting with a fresh cut from the surgeon getting kissed by Nora, the screenplay by Urueta and Maiuri sadly skip over the chance for a Mad Scientist/Doctor take on Beauty and the Beast, by powdering it down with dry Melodrama rubbed from Nora keeping secrets under the knife of the revived monster. Other films:  Petticoat Larceny (1943) 7 Diving into a fake kidnapping in order to improve ratings for her radio show by secretly noting down the "Realistic" dialogues gangsters say, the screenplay by Jack Townley & Stuart Palmer runs a nice line in comedic cynicism, hitting playful punch-lines in 11 year old Joan Mitchell being more of a mobster than the softy gangsters who are out of the loop on her ratings plans. Casting a breezy atmosphere over the airwaves, director Ben Holmes & cinematographer Frank Redman keep the program bouncing along with wide panning shots across the radio station as the crime show is recorded, while Joan Carroll visibly enjoys playing against type, as Small Change dots her petticoat with listening figures. |
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Post by teleadm on Oct 13, 2019 0:10:36 GMT
Here is the latest of Tele! .jpg) Let's just say lazy Sunday OK movie  Since I watched the European version, there is a bit of nudity of Barbeau. Not too familair of the DC Comics world of super heroes. Very cheesy, but a bit fun anyway, and how did Frensh swooner Louis Jourdan end up here!  The first Dr Phibes movie was a so called Sleeper, in that it made more money than aniticipated. And it was a very entertaining movie. It's a disappointing sequel, feels like they just threw something together, and included the actor from Count Yorga movies  The daughter of Jack takes up daddy's work, since it is the daughter of Jack The Ripper. Surprisingly well made Hammer Horror chiller, and very bloody for it's age.  The is no doubt, the Devil made a visit. The first 30 minutes is like an old Doris Day-type movie going nowhere, silently creeping upon you, how about that old cozy couple that lives beside you. I rate this movie high, but I have to admit that I didn't get it on first views!  No words needed, it's a masterpiece!  Hope you're not there yet! Next week! see ya! , |
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Post by politicidal on Oct 13, 2019 0:25:36 GMT
Tales of Terror (1962) 5/10
Death Hunt (1981) 6/10
Set It Off (1996) 7/10
The Viking Queen (1967) 5/10
The Seventh Victim (1943) 4/10
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Post by mikef6 on Oct 13, 2019 1:05:55 GMT
Any strong feelings about Destroyer?
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Post by mikef6 on Oct 13, 2019 1:14:00 GMT
Think Fast, Mr. Moto / Norman Foster (1937). 20th Century Fox. This was the first of an 8-picture series from 20th Century Fox. Fox already had the Charlie Chan films and decided there was an audience for another Asian detective, this time Japanese. Peter Lorre accepted the role because, as he said, he wanted to play a hero for once. He later claimed to regret taking the part. “Think Fast, Mr. Moto” opens with Moto in disguise, already in the midst of an investigation. In an unusual angle for a mystery, we are never certain until the end just who Moto is, what he is after, or what he already knows. We do know that he can be ruthless as when he throws a henchman overboard off an ocean liner and that he knows Japanese martial arts by seeing him throw people across the room in demonstrations of judo or jujutsu (Hollywood didn’t seem to know they were different and I don’t know enough to tell them apart). On board a ship bound from San Francisco to Shanghai, Moto makes the acquaintance of Bob Hitchings (Thomas Beck) the son of the owner of the ocean liner company. Also getting Hitchings’ attention is the attractive Gloria Danton (Virginia Field) making Mr. Moto suspicious. Sig Ruman (“A Night At The Opera”) is seemingly the boss of a large smuggling ring. Because of the unusual approach of the screenplay and the presence of Peter Lorre – always a welcome delight – this is a light but very entertaining beginning to the new series.  ![]() A Bullet For Joey / Lewis Allen (1955). Bischoff-Diamond Corporation/United Artists. In Montreal, Eric Hartman (Peter van Eyck), an agent of a “foreign power” posing as a rare book dealer, has his eyes on a physicist Dr. Carl Macklin (George Dolenz, father of Mickey, grandfather of Ami), developer of something (the MacGuffin, never specified) that the foreign power wants. He sends word to recruit Joey Victor (George Raft) (are they playing games with actor Victor Jory?), an American gangster who had been deported to Europe, to come to Canada to lead the effort to kidnap the scientist. In the meantime, in a parallel narrative, Inspector Raoul Leduc (Edward G. Robinson) of the RCMP is investigating the murder of a man who had been posing as an organ grinder. As the spy’s plans go forward, the police investigation begins putting together a number of clues that will lead them to the plot against Dr. Macklin. Victor gets some of the old gang together including his reluctant former girlfriend Joyce Geary (Audrey Totter) who had to be blackmailed into rejoining with Victor. Raft is playing the same tough guy he always plays so the familiarity can be comforting. Audrey Totter turns in the film’s best performance as the angry and unwilling partner in the scheme who is starting to fall for her mark. Edward G. Robinson is a bit disappointing because he seems to be running on his reputation instead of giving an actual performance. None of the other actors distinguish themselves. Plenty of location shooting in Montreal. Not a bad flick overall even though if flopped at the box office. It's status, though, may be rising because it was given a DVD and blu-ray release in 2015. The cinematographer was Harry Neumann whose 40-year career consisted mostly of westerns and crime (The Phenix City Story, My Gun Is Quick).   Crooked House / Gilles Paquet-Brenner (2017). An excellent choice for Agatha Christie fans and/or lovers of traditional English Country House murder mysteries. This stand-alone novel (no continuing characters) was one of Christie’s favorites of her own books. The time is the late 1950s-early 1960s. The date 1957 is mentioned at one point and rock ‘n roll is a new craze. Private investigator Charles Hayward (Max Irons) is approached in his London office by Sophia de Haviland (Stefanie Martini). Charles had met Sophia in the past and had a thing going with her when he had been in the diplomatic corps stationed in Egypt and she had been visiting. Sophia was a member of the Leonides family, whose founder, an enormously wealthy Greek and British citizen, had recently died. Sophia suspects foul play and wants Charles to be an independent investigator. Charles reluctantly goes to work after getting permission and authority from Chief Inspector Taverner of Scotland Yard (Terence Stamp). Old Leonides had insisted that all his near relatives live in his huge county house: his two sons by his first wife, their spouses, and children – one granddaughter, Josephine (Honor Kneafsey) is herself investigating but will not tell Charles what she suspects. Also in the cast, and fun to watch, are Gillian Anderson, spouse to one of the heirs, who is an actress with a failed career but who “acts” constantly in real life, and Christina Hendricks and the dead man’s decades younger ditzy second wife who may or may not be having an affair with the children’s tutor. Best of all, in a wonderful and moving dramatic performance is Glenn Close as Lady Edith, sister to Leonides departed first wife. Edith runs the household and knows much more that she is willing to share. Charles has to hurry when bodies start falling and the child Josephine may herself be in danger. See is for Glenn Close if for no other reason. Even though "Crooked House" had a brief theatrical release, the direction and cinematography are pretty much what you would expect from a Masterpiece Mystery or Downton Abbey episode, which is not necessarily a Bad Thing. ![]() 
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Post by OldAussie on Oct 13, 2019 1:30:40 GMT
Any strong feelings about Destroyer? liked it quite a lot.....played out a bit like a shortened version of the True Detective series.
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Post by morrisondylanfan on Oct 13, 2019 2:08:57 GMT
I had a mini-movie Kayathon. No, I didn't watch a bunch of movies about kayaks, but rather ones starring English actress Kaya Scodelario - starting with the Maze Runner trilogy. The Maze Runner (2014). Maze Runner: The Scorch Trials (2015). Maze Runner: The Death Cure (2018). Wuthering Heights (2011). Pirates of the Caribbean: Dead Men Tell No Tales (2017). Pirate’s life... While most consider the first PotC movie the ‘best’, the second one grew on me the more I watched it and, to my surprise, became my favourite. The third one remains a mess (Keira Knightley/Elizabeth was the one bright spot) and the only part I enjoy/remember from the fourth is the mermaid attack. I’d personally rank this fifth film in the middle, it's better than the last two, though not as good as the first two. The movie begins with Will and Elizabeth’s son, Henry, wishing to free his father of the curse from the third film. Orlando Bloom fans shouldn't get their hopes up, as his screentime is basically cameos at the beginning/ending of the film (including the post-credits scene). He fares better than Keira Knightley, though, who has a silent cameo at the end and post-credits scene (at least we get to see them reunited/have a happy ending). Johnny Depp's Captain Jack Sparrow seems drunker during the beginning of this film than he has previously. If you're over his shtick by now, chances are you won't change your opinion now, but if you're up for one more adventure with Captain Jack, then just go along for the ride. At least his first scene in this film is better than the last two movies (just not as good as first two). By that point we've also met the adult version of Henry (Brenton Thwaites), who's after this film's 'McGuffin' that everybody wants (the Trident of Poseidon) in order to save his father, and astronomer/firm believer in science/skeptic of the supernatural, Carina Smyth (Kaya Scodelario), who's constantly accused of being a witch and is the only one who can read the map that leads to the trident. When the two newcomers aren't being tied up or shouting each other's names, they prove decent enough additions to the cast. Carina's intelligent, independent, resourceful, and crucial to the story; while Henry is...Will’s son. Well, at least they're better than the missionary man/mermaid coupling of the last movie. While their characters certainly won't replace Will/Elizabeth as the romantic centre of the franchise, the actors try their darnedest to make their coupling work (with mixed results). They each work better playing off of Jack, actually. Kaya manages to make her character heroic without ever swinging a sword and her exasperation at being surrounded by pirates and their ignorance allows for a comedic touch. It's also revealed she has an important connection to Geoffrey Rush's Barbossa. It's a shame they didn't get more time together. Javier Bardem's Captain Salazar is thankfully at least more interesting a villain than Blackbeard (not hard, considering how underwhelming Blackbeard was). Salazar has undead sharks and a ship-eating ship at his disposal...which are somehow still less ridiculous than Blackbeard's magic-rope-controlling-sword and ship flame-thrower), though the most memorable thing about him is the effects used on him and his cursed crew (they’re all floaty and have pieces missing). It’s quite something. A flashback scene explaining Salazar's motives (and the origin of how Jack got his various accessories, including his hat), displays equally impressive effects with a de-aged Johnny Depp as young Jack. While interesting/informative, it may have been better placed at the start of the movie, as where it’s actually placed in the film kind of brings the story to a screeching halt. Filling the void of the weirdly 'hot' (despite efforts being made through make-up to appear otherwise) witch-type in place of Naomie Harris' Tia Dalma is Golshifteh Farahani as Shansa. Her character is bald, covered in tattoos and, like Salazar, in serious need of a toothbrush...but somehow manages to make the look *work* for her. She proves intriguing, but sadly disappears shortly after her introduction/feels underutilised. Gibbs is back once again, and he actually amused me at one point with how he managed to trick Scrum (a character I wasn’t that fussed on in the last film, but since then I’ve seen the actor who plays him in the TV series Boardwalk Empire as Al Capone and what Gibbs does to Scrum here feels like payback for all of Capone’s pranks...which might not be ‘fair’, but it gave me a laugh). There are several big action set pieces throughout the movie, though the most visually dazzling one was near the end, set at the bottom of the ocean (which had been parted). The film's humour is hit & miss, some jokes work and some don't (Paul McCartney gets an amusing cameo). There’s a couple of emotional beats that have some impact, but don't expect to be tearing up too much. Despite the fact this film, for all intents and purposes, seems like the 'final' one, there is the door left open for possibly more. However, it would be in the franchise's best interest to end things here. It mightn’t be at the highest of highs, but neither is it the lowest of lows; so they should quit while they're ahead/make like dead men and tell no (further) tales. (2013). And the non-Kaya Scodelario-related movies I watched... Kiss of the Damned (2012). Zombieland (2009). Kingsman: The Golden Circle (2017). Hi COE! I hope you are having a good weekend,and with you having had a theme week dedicated to her, what makes Kaya Scodelario's performances stand out most for you? Looking at her credits,I see that I've just miss catching her in Crawl, but do actually have another with her on disc: 
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Post by Chalice_Of_Evil on Oct 13, 2019 4:05:54 GMT
Hi COE! I hope you are having a good weekend,and with you having had a theme week dedicated to her, what makes Kaya Scodelario's performances stand out most for you? Looking at her credits,I see that I've just miss catching her in Crawl, but do actually have another with her on disc: Hi, morrisondylanfan. Hope you’re having a good weekend too. My weekend’s okay, but we’ve been having weird weather here. One minute it’s hot, then cold, rainy, then sunny. Doesn’t know what it’s doing, it seems. But I digress. I’d watched the first two Maze Runner films previously when I originally bought them on Blu-ray, but hadn’t watched the third since I bought it some time ago (I have so many unwatched DVDs/Blu-rays that it feels like I’ll never get around to watching them all...but I’m attempting to. I buy them when they’re cheap/on sale, but then get sidetracked by watching other things, which is how they’ve piled up). I decided it was finally time to get around to watching the third film, but decided I’d rewatch the first two in the lead-up to watching the third film. I then realized I had other movies with Kaya Scodelario in them that I hadn’t watched in quite a while, and decided to rewatch them too. The only movie with her I didn’t own was Wuthering Heights (which I recorded on TV and watched). As for what it is about her performances that stand out to me – well, I know quite a few people probably are mostly familiar with her from the Maze Runner films and weren’t that fond of her character in them (but apparently the filmmakers changed a lot from the books that the films are based on, and it seems people were a fair bit upset by that. So she can’t be blamed for that). While there are other interesting characters that may overshadow her character of Teresa, I think by the third film she showed there was more going on with her character than what may have first appeared. I just think it was the writing of the character that made her not stand out quite as much as the other characters, rather than her performance. She was quite different with her performance as ‘Older Cathy’ in Wuthering Heights. She seemed to have a bit more ‘life’ in her performance there. However, I didn’t particularly like the film itself. I’m aware a lot of people think the PotC movies ran out of steam several movies ago, but she was actually one of the bright spots in the film, I thought. Her character brought some new ‘life’ to the franchise and I think it’s a shame we’re likely to never see her in any more of those films. As for The New Neighbour/ The Truth About Emanuel (it’s always strange when I see alternate titles for films. I often wonder why they were changed for the releases here), she plays a ‘moody teenager’, but not the ‘typical’ sort. There’s quite the complexity to her character and I think Kaya plays that well. She seems to be able to play ‘moody’, but at the same time inject a dark sense of humour into her performance. It’s all about the looks that she gives. There’s quite a lot of pain going on underneath the surface and I thought she conveyed that well (whereas other actresses might make it more ‘obvious’). I do feel some judge her performances based solely on what they see on the surface, rather than looking at the subtleties going on. I never watch the TV series she was in called Skins (though did catch a couple of episodes once I found out she was in it). It appeared to me that she was playing another ‘damaged’ character there, and it seems like she’s really gotten the hang of portraying such characters. Anyway, these^ are just my thoughts on her. I’m sure others would disagree. Thanks for asking me about my thoughts on her. I saw she was in that Crawl movie. I’ll probably get around to watching it someday (once it’s not too expensive on DVD/Blu-ray, most likely). I would recommend checking out The Truth About Emanuel if you have it, though. If there’s one performance of hers you should check out, it’s probably that one (out of the ones I’ve seen, anyway).
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Post by claudius on Oct 13, 2019 10:52:46 GMT
My, at least four of these SatAM cartoons were videotaped during their run. I'll show them by Asterisk.
DARK SHADOWS (1969) “Episodes 856-860” 50TH ANNIVERSARY. MPI Video DVD.
HENRY V (1989) 30TH ANNIVERSARY Kenneth Branagh’s adapation of Shakespeare’s play with Emma Thompson, Derek Jacobi, Christian Bale, Ian Holm, Paul Scofield, and Brian Blessed. My first notice of this film was a comment in the GUINNESS BOOK OF FILM FACTS AND FEATS book about Branagh shot the Agincourt battle in cloudy days (compared to Olivier’s sunnier depiction, due to the limits of Technicolor photography at the time). I first saw parts of it on a 1991 MASTERPIECE THEATRE showing on PBS (from the intro of the French Court to ‘Once more into the breach’ scene). I heard Patrick Doyle’s music before, on trailers for MURDER IN THE FIRST, which tricked me into believing it was that film’s score. The connection of dots didn’t happen until I saw the Agincourt scene on an Encore Channel Broadcast in Summer 1996. I bought the soundtrack in 1999 (When my late History Professor did the St. Crispin Speech in my History class, I hummed Doyle’s score). MGM/UA DVD.
THE WORLD’S GREATEST SUPERFRIENDS (1979) “Knights of Camelon” 40TH ANNIVERSARY.* An amnesiac Superman is tricked into becoming the Black Knight by rebels to overthrow a medieval-Sci-fi kingdom. Grew up with a Saturday Morning recording of this episode (Batman with a light sabre!). Warner DVD.
THE NEW ADVENTURES OF FLASH GORDON (1979) “King of the Hawkmen.” 40TH ANNIVERSARY.
THE SCOOBY DOO AND SCRAPPY DOO SHOW (1979) “Close Encounters of a Scooby Kind” 40TH ANNIVERSARY. Warner DVD.
THE TRANSFORMERS (1984) “Transport To Oblivion” 35TH ANNIVERSARY.* The first post-pilot Transformers episode, setting the formula. Grew up with a Saturday Morning recording. Shout DVD
MUPPET BABIES (1984) “Raiders of the Lost Muppet” 35TH ANNIVERSARY. Animal vanishes, and the gang look for him, leading to Kermit, Fozzie, and Miss Piggy getting trapped in the Basement of Doom, incorporating footage from INDIANA JONES AND THE TEMPLE OF DOOM (I wonder if that was a good idea considering the PG-13 rating, although Fozzie does comment “I forgot this fantasy is rated PG. We’re underage.”). Bootleg DVD.
DUNGEONS AND DRAGONS (1984) “Day of the Dungeon Master” 35TH ANNIVERSARY.* Dungeon Master gives Eric his power and station for the day. Grew up with a Saturday Morning recording of this episode (enjoying the scene of Venger's ghost appearing to the team). This DVD version, however, alters several music cues. DVD.
SUPERFRIENDS THE LEGENDARY SUPER POWERS SHOW (1984) “Darkseid’s Golden Trap” 35TH ANNIVERSARY. Warner DVD.
THE MIGHTY ORBOTS (1984) “The Devil’s Asteroid.” 35TH ANNIVERSARY.* Grew up with a Saturday Morning recording of this episode. Warner DVD.
THE COUNT OF MONTE CRISTO (1934) UNITED ARTISTS 100TH ANNIVERSARY and COMC 175TH ANNIVERSARY. The first sound version of the Dumas novel, with temporarily-in-Hollywood Robert Donat. This was the first live-action COUNT I saw (the first was a Hanna Barbera cartoon in 1990). I only saw the second half on my Fox Network Broadcast (or more accurately, my WETG channel which showed colorized Hollywood films), then saw the entirety one Blizzardy weekend in 2002. This is the colorized version, Video Treasures VHS.
ROCKY (1976) UNITED ARTISTS 100TH ANNIVERSARY. Sylvester Stallone’s Boxing Classic. I probably saw all the first four films in my childhood, but except for IV (which I saw in theaters), I hardly remembered them. I did not have a lucid watching of this film until 1995. MGM/UA DVD.
PILLOW TALK (1959) 60TH ANNIVERSARY. Doris Day and Rock Hudson’s Sex Comedy. First was aware of this on an American Movie Classics Broadcast in 1992. This is a 2004 TCM Broadcast VHS recording.
BEETLEJUICE (1989) “Laugh of the Party” 30TH ANNIVERSARY. Shout DVD.
STAGECOACH (1939) UNITED ARTISTS 100TH ANNIVERSARY and 80TH ANNIVERSARY. John Wayne’s star-making film (his first with John Ford) with Claire Trevor, Mitchell, Andy Devine, and John Carradine. Saw scenes of this film on a 1930s Hollywood documentary. Saw the entirety in my American West class in the fall of 2001. Youtube.
NARUTO SHIPPUDEN (2012) “A Message from the Heart.” Viz Media DVD.
THE HEIRESS (1949) 70TH ANNIVERSARY this month. Based on the play based on Henry James' WASHINGTON SQUARE. Olivia de Havilland gets her second Oscar playing the homely, emotionally abused daughter of a doctor finding love (at least in her view) for the first time. Universal DVD.
HEATHCLIFF (1984) “May the Best Cat Win” 35TH ANNIVERSARY. More like a pilot of the series, with the cast resembling their comic book counterparts compared to their predominant DiC incarnations (especially Marcy and the Fish peddler).
THE COUNT OF MONTE CRISTO (1964) “Episode 9: News from Jamina.” CoMC 175TH ANNIVERSARY. Youtube.
ER (1994) “Hit and Run.” 25TH ANNIVERSARY this month. John Carter has a crisis of faith, until an emergency delivery reaffirms everything. In Noah Wyle’s final regular episode, the family makes a return appearance. Warner DVD.
ZORRO (1990) “The Legend Begins Part 1-2” ZORRO 100TH ANNIVERSARY. The first two parts of a 4-part storyline showcasing the origin of the swordsman. Bootleg DVD.
DRAGON BALL Z (1989) “Unbelievable! Saibamen, Born from the Soil.” 30TH ANNIVERSARY. Funimation DVD.
SCOOBY DOO WHERE ARE YOU? (1969) “Decoy for the Dognapper.” 30TH ANNIVERSARY. Warner DVD.
THE FIRST CHURCHILLS (1969) “Plot Counter Plot” 50TH ANNIVERSARY. Acorn Media DVD.
THE MIRACLE WORKER (1962) UNITED ARTISTS 100TH ANNIVERSARY. Film adaptation of the stage play (itself a TV Play) about Annie Sullivan and Helen Keller, with Oscar-winning performances by Anne Bancroft and Patty Duke. First saw this on Showtime in the summer of 1992. Watched this in view of what I will be viewing next week…MGM/UA DVD.
WELCOME DANGER (1929) 90TH ANNIVERSARY. Harold Lloyd’s first talkie (originally done in silent form, until Lloyd witnessing a sound film presentation getting laughs persuaded him to create a sound version). First saw this on TCM (on a Harold Lloyd monthly marathon in April 2003). This a VHS recording of a broadcast later that year.
ONCE AND AGAIN (1999) “Liars and Other Strangers” 20TH ANNIVERSARY. Buena Vista DVD.
ANGEL (1999) “Lonely Hearts” 20TH ANNIVERSARY. Elisabeth Rohm’s Kate makes her first appearance. The original script- concerning Prostitutes- was considered too grim and dark. FoxVideo DVD.
GANKUTUSOU: THE COUNT OF MONTE CRISTO (2004) “Until the Sun Rises Over the Moon” 15TH ANNIVERSARY. Geneon DVD.
MONTY PYTHON’S FLYING CIRCUS (1969) “Sex and Violence” 50TH ANNIVERSARY. Although the second episode, it has been traditionally broadcast in the States as the first. This an edited version, missing “The Wacky Queen” sketch (Silent footage of Terry Jones’ Queen Victoria doing slapstick). Paramount VHS.
THE NAVIGATOR (1924) 95TH ANNIVERSARY. Buster Keaton’s Nautical comedy. First saw it on the Keaton Centennial on American Movie Classics’ Film Preservation Special in October 1995. Kino DVD.
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Post by wmcclain on Oct 13, 2019 12:46:06 GMT
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Post by morrisondylanfan on Oct 13, 2019 15:04:27 GMT
Comments/ratings/recommendations/film posters are welcome and much appreciated. Hi delon,I hope you are having a good weekend & I remember you mentioning a while ago about going to a Clouzot season at the cinema,how did it go?
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Post by delon on Oct 13, 2019 17:20:33 GMT
Comments/ratings/recommendations/film posters are welcome and much appreciated. Hi delon,I hope you are having a good weekend & I remember you mentioning a while ago about going to a Clouzot season at the cinema,how did it go? Hi morrisondylanfan, thanks for asking. I ended up only seeing Manon (1949). There were only about dozen people in attendance, although a lot more went to see Quai des Orfèvres (1947) which was screened beforehand. I thought it was pretty great and the print we saw was suprisingly good as well. The final scenes in Palestinian desert particularly left a lasting impression and elevated the film from good to great for me. La Verite (1960) will probably be my next watch, did you see it ?
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Post by hitchcockthelegend on Oct 13, 2019 18:28:59 GMT
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Post by morrisondylanfan on Oct 13, 2019 20:41:39 GMT
Good review of Fear in the Night Spike. From the opening school visit,I was taken by how odd the mood of this Hammer Psycho-Thriller is. Review from 2016. 8 Reaching the screen after originally being written in 1963,co- writer/(along with Michael Syson) director Jimmy Sangster gives the horror a sly middle class shell,dressed in crisp surroundings and prim clothes which allow for the psychological terror to lurk underneath. Dissecting Hammer studios major theme of female hysteria with Giallo black gloves,the writers brilliantly mix haunted Gothic Horror memories of a past that has long gone with a rich Film Noir pessimism.Tearing Peggy Heller away from being a "Scream Queen",the writers use the disbelief in Peggy's visions to cast her as a Film Noir loner,whose hysteria over what she is experiencing is clouded by the meek middle class façade Robert covers her eyes with. For the final Hammer Horror he would direct, Sangster and cinematographer Arthur Grant set the mood tranquillity,by giving the opening morbid,stilted camera moves casting a shadow of something long forgotten. Cosying up in the Heller's house, Sangster sits in with corned shots on the household which lock Peggy in and make the sudden shots of violence smash the image of Peggy's life with a mighty Hammer. Also making his final Hammer outing, Ralph Bates gives a wonderful performance as Robert,whose mature manner Bates makes just that bit eerily off. Joining in on the Giallo Horror game, Peter Cushing walks a fine line in his performance as "The Headmaster" whose gentlemen manner is undermined by Cushing blinding him with shards of cold emotion across his black glasses.Delivering a scream with fear to match the best of Hammer's Girls,the elegant Judy Geeson wonderfully turns Peggy into a burnt-out Film Noir loner,whose chirpy middle class heart is worn down by Geeson into a hysteria which leads to Peggy being numb to the outside world,as Peggy discovers that fear is the key. 
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Post by Lebowskidoo 🦞 on Oct 14, 2019 18:25:00 GMT
Halloween Horror Month Continues...  The Kiss (1988)  Joanna Pacula (rhymes with Dracula!) is ideal as an evil auntie intent on passing on her evil entity to her niece, Meredith Salenger.  This was fun. My favorite part was the evil muppet kitty, who causes lots of mischief.  In the Tall Grass (2019)  Trippy Stephen King movie about a group of people lost in some tall grass. The dude can turn any scenario into horror! This has gotten some bad reviews, but I enjoyed it all. Not his greatest work, but serviceable and thought provoking. Leaves some things unanswered, which only makes you wonder about it more after it's over.  Gallery of Horror (1967)  John Carradine tells five spooky tales, all of which are badly written and acted out by some of the stiffest actors ever, and they were mostly all alive at the time! Amateurish and bland. Poor Carradine tries his hardest, bless him. Lon Chaney Jr. shows up looking like he was very badly hungover from a bender the night before. At least the whole thing was short! Saw it with the title, "Gallery of Horror."  The Devil's Messenger (1961)  Anthology movie in which Lon Chaney Jr. plays The Devil in the wraparound story told between three separate spooky stories.  It's just okay, none of the stories are all that. Chaney is easily the best thing this movie has going for it. Shutter (2004)  Inventive and twisty Thai horror movie that keeps you guessing all along. Some great surprises, with genuine human emotion. Shocking and scary, very much worth your time. Loved it!  Shutter (2008)  Just watched the Thai movie this was based on, so why not rewatch the American remake (starring a Canadian and an Australian) that I saw a decade ago, but apparently forgot everything about.  This is mostly loyal to the first movie, with a few alterations, which helped to keep me on the edge, not expecting them. I actually enjoyed this just as much as the original, not something you often hear. I think that sense of dread was slightly stronger in the original, but this comes close. Can't really elaborate more because I'd hate to be that jerk that blabs the whole movie in a quick review and ruins the surprises the movie has to offer. The Video Dead (1987)  An evil TV spews zombies, making life in suburbia awkward.  This is as 80's-VHS-retro-horror as you can get, which is weird since I watched it streaming over the internet. I would have loved this back in the 80's, heck, it's pretty entertaining now. Low budget but lovable. Apparently filmed on weekends by the cast and crew. Ready or Not (2019)  Another one of those crazy-rich-folks-throw-a-murder-party movies! This movie wasted no time getting into the action. A hide and seek game goes over the edge and things get bloody. It's all tied to a family curse. Samara Weaving (who looks like Margot Robbie) is becoming quite the scream queen after The Babysitter (2017) (which I loved, BTW), and I couldn't be happier for her!  Andie MacDowell is all sinister in her dark eye makeup, like we've never seen her before. The rest of the cast is made up of familiar (to me) Canadian actors, particularly Nicky Guadagni, who plays the auntie of your nightmares.  Reminded me of so many other similar movies, but this one has a crowd-pleasing explosive ending that I truly was not expecting!  Monster Family (2017)  Well, Jason Isaacs as Dracula was great casting, and his three little pet bats (that look like pigs with wings) were amusing, so it was alright. Don't go in expecting too many laughs though.  Evil Dead (2013)  This is everything I ever wanted for an Evil Dead (1981) remake! The laughs are gone and the gore is on! Kicks the scares up several notches as well. This is intensity in it's purest form! You know it's great when it's all over and you could easily watch it again right away! Like any remake, it has its haters, but I couldn't find any fault with it.  I used to watch Jane Levy in the sitcom Suburgatory, but here she sheds her skin and a new scream queen is born, on frickin' steroids!  Watch it alone, in a cabin in the woods, with the lights off, for full effect...muhahahahahaha!!!  Borderland (2007)  Three friends go over the Mexican border to party, but things go quite the opposite.  Man, this was intense! Plenty of gory scenes, many were the type that shocked you or made you squeamishly recoil in disgust. Maybe don't watch with the younglings, just saying...   Sean Astin, of all people, plays a super-sketchy sleazeball villain, a real change of pace for the actor, for sure!  The Dead Don't Die (2019)  A Jim Jarmusch zombie comedy? Yeah, I really was ready for a great time watching this, but man, this was slow, like zombie slow.   Thank God for that cast, they kept my interest, but I feel like their characters were never fully realized, so much of the stuff that happened to them occurred off-screen. Iggy Pop plays a zombie, perfect casting!  There were a few laughs, too many "clever" in-jokes maybe. It was okay, but no Zombieland or anything, which still holds the title of "Best Bill Murray Zombie Movie."  Messiah of Evil (1973)  First off, I was pretty weirded out about how similar the two leads looked like Sharon Tate and Peter Fonda. Am I alone here?   This was trippy, like one of your own random spooky dreams somehow got filmed and released as a movie. Probably would be frustrating for the casual horror fan to watch, but film geeks might enjoy it more.  The grocery store scene was a nice moment of true terror!  Death House (2017)  Umm...well, that was a movie, I guess?   Put some of horror's most beloved actors all in one movie...one crazy ass nonsensical mess of a movie, and throw it out there and watch the suckers lap it up anyway. This cast and us fans deserve better. Expendables of horror my ass!Anna and the Apocalypse (2017)  A very special 28 Days Later/S Club 7 Christmas mashup movie, complete with musical numbers and zombie bashings. It has some fun with the whole zombie genre, and the songs are actually good and not so sugary as to be off-putting.  Some of the scariest sights in this movie were the ugly Christmas sweaters. Also, did I mention my fear of bowling shoes?  Winchester (2018)  The true story of Sarah Winchester and her spooky house is a good idea for a ghost story, and Helen Mirren and Jason Clarke more than make this watchable, but you won't find it scary, it misses the mark in that area.  Aenigma (1987)  Kathy gets tricked by her school mates and winds up in a coma, turning green, which no one seems to notice. She's getting revenge with her mind while in the coma.  It's Italian horror from horror maestro Lucio Fulci, all dubbed with an odd musical score and weird visuals, which is either your thing or it isn't. Even American actor Jared Martin is dubbed, what's up with that? All this can be overlooked if the tone and mood make up for it. This movie is entertaining but hardly perfect. It's pretty over the top at times, but I just went with it.  Did I mention the snails? Yes, there is a snail attack scene, did you ever think you would see such a thing in a horror movie? Well, here's your chance!   Although there have been a few stinkers, I have found some genuinely impressively made horror movies this week. Hope you all have a great movie week, see you next week!  |
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Post by Chalice_Of_Evil on Oct 16, 2019 11:25:31 GMT
Ready or Not (2019) Another one of those crazy-rich-folks-throw-a-murder-party movies! This movie wasted no time getting into the action. A hide and seek game goes over the edge and things get bloody. It's all tied to a family curse. Samara Weaving (who looks like Margot Robbie) is becoming quite the scream queen after The Babysitter (2017) (which I loved, BTW), and I couldn't be happier for her! Andie MacDowell is all sinister in her dark eye makeup, like we've never seen her before. The rest of the cast is made up of familiar (to me) Canadian actors, particularly Nicky Guadagni, who plays the auntie of your nightmares. Reminded me of so many other similar movies, but this one has a crowd-pleasing explosive ending that I truly was not expecting! I too recognised a bunch of actors/actresses from other things in this: Samara Weaving (who it seems quite a few people have mistaken for Margot Robbie), Adam Brody, Henry Czerny, Andie McDowell, Kristian Bruun, Elyse Levesque...and, lastly, the main reason I'm eager to check out the movie - Melanie Scrofano (from the TV series Wynonna Earp). Since first watching the trailer, I thought it looked like silly, gory fun. Good on Samara Weaving.
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Post by hitchcockthelegend on Oct 16, 2019 19:01:04 GMT
Good review of Fear in the Night Spike. From the opening school visit,I was taken by how odd the mood of this Hammer Psycho-Thriller is. Review from 2016. 8 Reaching the screen after originally being written in 1963,co- writer/(along with Michael Syson) director Jimmy Sangster gives the horror a sly middle class shell,dressed in crisp surroundings and prim clothes which allow for the psychological terror to lurk underneath. Dissecting Hammer studios major theme of female hysteria with Giallo black gloves,the writers brilliantly mix haunted Gothic Horror memories of a past that has long gone with a rich Film Noir pessimism.Tearing Peggy Heller away from being a "Scream Queen",the writers use the disbelief in Peggy's visions to cast her as a Film Noir loner,whose hysteria over what she is experiencing is clouded by the meek middle class façade Robert covers her eyes with. For the final Hammer Horror he would direct, Sangster and cinematographer Arthur Grant set the mood tranquillity,by giving the opening morbid,stilted camera moves casting a shadow of something long forgotten. Cosying up in the Heller's house, Sangster sits in with corned shots on the household which lock Peggy in and make the sudden shots of violence smash the image of Peggy's life with a mighty Hammer. Also making his final Hammer outing, Ralph Bates gives a wonderful performance as Robert,whose mature manner Bates makes just that bit eerily off. Joining in on the Giallo Horror game, Peter Cushing walks a fine line in his performance as "The Headmaster" whose gentlemen manner is undermined by Cushing blinding him with shards of cold emotion across his black glasses.Delivering a scream with fear to match the best of Hammer's Girls,the elegant Judy Geeson wonderfully turns Peggy into a burnt-out Film Noir loner,whose chirpy middle class heart is worn down by Geeson into a hysteria which leads to Peggy being numb to the outside world,as Peggy discovers that fear is the key. Good stuff mate. You obviously like it more than I do, I think I would have liked it better had I not seen and loved Taste of Fear before it. It was originally to be called Brainstorm, that's why I used that for my headline. Looks a little under seen actually, under 40 reviews on IMDb, found yours and gave it a tick.
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