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Post by delon on Oct 26, 2019 15:50:36 GMT
Comments/ratings/recommendations/film posters are welcome and much appreciated.
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Post by wmcclain on Oct 26, 2019 16:01:32 GMT
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Post by politicidal on Oct 26, 2019 16:46:33 GMT
Innerspace (1987) 8/10
Hercules, Sampson, and Ulysses (1963) 2/10
The Ladykillers (2004) 3/10
Ma (2019) 7/10
Yesterday (2019) 8/10
Rocketman (2019) 5/10
Joker (2019) 9/10
The Mummy's Hand (1940) 4/10
Night Passage (1957) 8/10
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Post by teleadm on Oct 26, 2019 18:47:41 GMT
Here is the Tele Week of Wonders:  Interesting for sure, and Cumerbatch, Knightley and Price was great, but there was also some uncomfortable feeling that something important was left out.. I mean it's a good movie!  This on the other hand was garbage! Not one single original idea. Tired jokes stockpiled upon each other. I liked the Idea main since it could have been something else.  Coppola did it right, skip the horror and go for erotic lusts instead, while still have horrific scenes and blood dripping. The Best Dracula since Bela and Christopher, creating a character of it's own  Nicholson is so great in etching his character (Bogart did the same once) that one forgets what the movie is actually about, disappearing water. Director John Huston is the embodiment of pure evil, lovely when he needs you, the opposite when he don't. Faye Dunaway's beauty suits this movie and old feel.  Looks like a Roger Corman Edgar Allan Poe movie, It isn't but keeps that feeling with Jacques Tourneur at the helmet instead. Undertakers with depts needs to fasten demiss of future, but some lives too long like Basil Rathbone. Uneven but fun, Karloff has the funniest lines. It also has the last movie performance of mega-mouth Joe.E. Brown, in one scene.  Masterpiece, what else to say!  The pendulum is great, and some parts of the story, that will make you wonder if it is a spooky castle or if someone is driving Vincent Price insane!  One of the best British horror movies ever! small stories told around, with other people some scary and some not so. Michael Redgrave and his ventrioquist doll is the most famous part, but there us more with mirrors, busses, voices above, and yes a light diversment with golfers. Enjoy every moment of it.  While you wonder who this joybringer was.... Until next week... |
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Post by kijii on Oct 26, 2019 20:49:46 GMT
Judy (2019) / Rupert Goold I am still pretty impressed about Renée Zellweger's performance of Judy Garland from the 60s near her death.This is a rather depressing movie about her life after divorce from Sidney Luft.  
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Post by Chalice_Of_Evil on Oct 26, 2019 21:01:56 GMT
Goosebumps (2015). Star Wars: Episode II - Attack of the Clones (2002). Planet of the Apes (2001). Terminator Salvation (2009). Stealth (2005). Tarzan (1999). Enemy of the State (1998).
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Post by OldAussie on Oct 26, 2019 21:15:18 GMT
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Post by petrolino on Oct 26, 2019 22:43:34 GMT
Hi everyone. My viewings :
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'Libido' (1965 - Ernesto Gastaldi & Vittorio Salerno)
Crime thriller, acknowledged as perhaps the first "giallo" film made to not be directed by Mario Bava - I've not seen Dino Tavella's 'The Embalmer' (1965) which came out the same year.
'Deadly Inheritance' (1968 - Vittorio Sindoni)
Crime drama. A giallo mystery, and one I now desperately want to emerge on dvd (with English subtitles, or by cleaning up the dubbed version currently playing on youtube), as it's my favourite new giallo viewing of the year (a treat for Halloween season).
'Interrabang' (1969 - Giuliano Biagetti)
Crime mystery. A giallo shot on location.
'Bloody Sect' (1982 - Ignacio F. Iquino)
Satanic shocker.
'Mark Ronson : From The Heart' (2019, Documentary - Carl Hindmarch)
Profile of dj, multi-instrumentalist and music producer Mark Ronson.
Thanks.
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Post by mikef6 on Oct 27, 2019 0:06:49 GMT
The Phantom Light / Michael Powell (1935). Gainsborough Pictures. The “quota quickie.” This disparaging term refers to the Cinematograph Films Act 1927, passed in the U.K. in an attempt to counter the dominance of U.S. films between the two World Wars. The Act required that movie theaters had, by law, to exhibit a certain number of British made films alongside American films. By the year “The Phantom Light” was released, the quota had reached 20%. Most of the films made to meet the quota were low-budget, low ambition product, but some later famous directors (Powell and Alfred Hitchcock included) earned their spurs at the helm of these movies. Further, like the American “B” movies of about the same time period, many of them are now admired for the skill the film makers show with so little to work with. “The Phantom Light” is a proof of that idea. Lighthouse Master Sam Higgins (Gordon Harker) is sent to Wales to take charge of a lighthouse whose former Master had met a mysterious fate. It is his first time in Wales making Higgins feel uncomfortable around people with customs, attitudes, and language that he is unfamiliar with. In addition, two civilians, a man in a London business suit (Ian Hunter) and a ditzy young woman (Binnie Hale), approach Higgins about visiting the lighthouse that night. Higgins doesn’t believe either of their stories but they manage to get there anyhow. As night falls and the fog rolls in, strange things begin to happen. I thought this combo of comedy, mystery, and suspense to be very similar to what Hitchcock accomplished in “The 39 Steps” and “The Lady Vanishes.” Gordon Harker is a forgotten actor (at least in the U.S.) with a filmography of near 70 film roles (3 of them with Hitchcock). He frequently played a sly and knowing Cockney, as he does in “The Phantom Light.” Harker easily handles both the comedic and heroic sides of his character. A really delightful comedy thriller.   Woman In The Window / Fritz Lang (1944). RKO. Prominent psychology professor Richard Wanley, who counts the District Attorney (Raymond Massey) and a rich doctor as friends, is left alone when his wife and children go off on a trip. Meeting his two friends in front of their club, they notice a painted portrait in a nearby shop window. All three admire the beauty of the woman in the painting. Late that night, on his way home, he stops to look at the painting again. He is surprised when the woman herself (Joan Bennett) appears behind him and strikes up a conversation. Seeking an “adventure,” he goes with her to her apartment where an insanely jealous man bursts in and – in a fight – is killed. Knowing he will be ruined even if not prosecuted, he and the woman, Alice, concoct a plan to cover their tracks by moving the body. Of course, everything begins to collapse as his pal the D.A. begins to close in and a blackmailer (Dan Duryea at his sleazy best) demands money that neither of them have. Fritz Lang, of course, is a master of this kind of material and knows how to tighten the screws on the audience. How will Richard and Alice ever escape the trap they have got themselves into? The “surprise ending” that wraps up the story surely resolves the case and most viewers are fine with it, but I just hate it. I know that it must have been intended as a joke to laugh at, but I didn’t. Lang and cinematographer Milton R. Krasner (The Dark Mirror, The Farmer’s Daughter, A Double Life) use light, darkness, and claustrophobia to expertly create a stifling atmosphere. ![]()   ![]() Trapped / Richard Fleischer (1949). Eagle-Lion Films. This begins like so many other docu-drama tribute movies to federal government law enforcement agencies (The House On 92nd Street, T-Men, Port of New York) with a booming bass voice narrator extolling the virtues of whatever presidential cabinet department is the hero while marching music plays. In this case, however, the “docu” part fades away in place of a noirish undercover dangerous assignment story. Character actor John Hoyt, a familiar face and voice, gets a rare lead role and runs away with it. He plays Treasury agent John Downey who is in search of a counterfeiting ring who have possession of some almost perfect plates that make very good fake bills. To help them get Downey inside the ring, they get a promise of help from hood Tris Stewart (Lloyd Bridges) in return for a release from jail. Stewart agrees but the feds, not trusting him, let his escape in the hope he will led them where they want him to go. Also prominent in the cast is Barbara Peyton as Meg Dixon, Stewart’s girlfriend. Peyton was a talented actress who also had the looks necessary for stardom, but her life went off the rails. She was the third point of the violent love triangle with Tom Neal (Detour) and Franchot Tone vying for her attention. It ended with Tone being almost beaten to death. Payton died in 1967 at the young age of 39, having been married five times, and deep in the bottle. She also co-starred with James Cagney in the noir/gangster thriller “Kiss Tomorrow Goodbye” which I will review here next week. Meanwhile, “Trapped” is a worthy watch for the three leads Hoyt, Bridges, and Payton. The cinematographer was Guy Roe (Behind Locked Doors, Railroaded, Armored Car Robbery). ![]()  Lloyd Bridges & John Hoyt  Barbara Payton & Lloyd Bridges  The Big Combo / Joseph H. Lewis (1955). Allied Artists Pictures. I thoroughly enjoyed this dark noir that features a dominating performance by Richard Conte as Mr. Brown, the untouchable head of the mob in an unnamed city. Obsessed with bringing him down is police detective Leonard Diamond (Cornel Wilde) who is also obsessed with Mr. Brown’s “girl” Susan Lowell (the talented Jean Wallace) who is a spiritually tortured beauty. Disregarding warnings from his boss, the crusty but benign Capt. Peterson (Robert Middleton), Diamond considers Susan as the way to get to Brown. Meanwhile, Brown strikes back using Joe McClure (Brian Donlevy), his weak willed and verbally abused second in command, to intimidate Diamond, and then his two hitmen Fante and Mingo (Lee Van Cleef and Earl Holliman) – who are coded as gay – to kill him, leaving collateral damage along the way. Through all the night and fog, you still feel like you are having a great time with this movie. Director Lewis (So Dark The Night, My Name Is Julia Ross, Gun Crazy) and noir superstar cinematographer John Alton create a true film noir atmosphere. This was the last feature film for Helen Walker whose troubled private life led to the end of her career. Jean Wallace was Cornel Wilde’s spouse at the time of filming. They made several movies together. Screen writer Philip Yordan gets an unusual “by” credit on the title card (as seen below). But after all is said and done, it is Richard Conte who rules.   Richard Conte and Jean Wallace  ![]() Violent Saturday / Richard Fleischer (1955). Twentieth Century Fox. Three strangers show up in a small but bustling mining town with eyes on the local bank with its easily by-passed vault time-lock, no alarm system, and only two town cops to be distracted. The robbers are Harper (Stephen McNally), Chapman (J. Carrol Naish), and Dill (Lee Marvin). They carefully case every aspect of the bank and play their escape route meticulously, getting an innocent Amish farmer, Stadt (Ernest Borgnine), and his family involved. The town itself has a lot of melodrama going on that will need to be resolved on the Saturday. First of all, Stevie, young son of Shelley Martin (Victor Mature), has become disillusioned with his father because Shelley had an exemption during the war as engaged in an essential industry (copper mining) to the war effort while Stevie’s friend’s father was a war hero. Boyd Fairchild (Richard Egan), son of the owner of the copper mine, drinks heavily because his wife (Margaret Hayes) is having multiple affairs. Straight-laced Mr. Reeves (Tommy Noonan), bank manager, is married but fixated on Linda Sherman (Virginia Leith), the pretty young nurse at the mine, but she has her eyes on Boyd Fairchild. Ready for more? Elsie Braden (Sylvia Sidney) who works at the local library is about to default on a bank loan so impulsively steals the purse of a library patron. That’s enough for three movies and, indeed, a full two-thirds of the run time is mostly taken up by these sub-plots. But the last half-hour that has the robbery and a stand-off at the Amish farm is top-notch and, I think, totally saves the movie. Acting is excellent all-round except maybe Noonan who is too much of a caricature. The color cinematography is by four-time Oscar nominee Charles G. Clarke (Moontide, Carousel, Suddenly, Flaming Star).  It’s a stick-up (Sylvia Sidney at far right, holding money)  Lee Marvin – love the light blue suit and matching fedora 
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Post by morrisondylanfan on Oct 27, 2019 1:19:00 GMT
The Phantom Light / Michael Powell (1935). Gainsborough Pictures. The “quota quickie.” This disparaging term refers to the Cinematograph Films Act 1927, passed in the U.K. in an attempt to counter the dominance of U.S. films between the two World Wars. The Act required that movie theaters had, by law, to exhibit a certain number of British made films alongside American films. By the year “The Phantom Light” was released, the quota had reached 20%. Most of the films made to meet the quota were low-budget, low ambition product, but some later famous directors (Powell and Alfred Hitchcock included) earned their spurs at the helm of these movies. Further, like the American “B” movies of about the same time period, many of them are now admired for the skill the film makers show with so little to work with. “The Phantom Light” is a proof of that idea. Lighthouse Master Sam Higgins (Gordon Harker) is sent to Wales to take charge of a lighthouse whose former Master had met a mysterious fate. It is his first time in Wales making Higgins feel uncomfortable around people with customs, attitudes, and language that he is unfamiliar with. In addition, two civilians, a man in a London business suit (Ian Hunter) and a ditzy young woman (Binnie Hale), approach Higgins about visiting the lighthouse that night. Higgins doesn’t believe either of their stories but they manage to get there anyhow. As night falls and the fog rolls in, strange things begin to happen. I thought this combo of comedy, mystery, and suspense to be very similar to what Hitchcock accomplished in “The 39 Steps” and “The Lady Vanishes.” Gordon Harker is a forgotten actor (at least in the U.S.) with a filmography of near 70 film roles (3 of them with Hitchcock). He frequently played a sly and knowing Cockney, as he does in “The Phantom Light.” Harker easily handles both the comedic and heroic sides of his character. A really delightful comedy thriller. A sweet review for a sweet ditty from Powell,Mike. I was wondering if you've seen the similar to the second half, lighthouse-set Arthur Askey Comedy Back Room Boy(1942)? Full film: www.youtube.com/watch?v=3uVbU_vU65oMy review from when I saw the light,in 2011. 7 Although it takes a bit too much time for the mystery side of the movie's plot to really kick in,Michael Powell and editor D.N. Twist give the film a very snap pace,which most film makers would have struggled to build into the films gradual mystery. Whilst his directing is not as smooth and elegant as it would be in his later work,the rough edges to Michael Powell's very early style,actually helps the film massively,with the use of jump-cuts by Powell and Twist allowing a eerie sense of terror to enter the film,as each person on the lighthouse starts to fear that they will be the next one to "disappear". As well as the movie having a fun performance from Gordon Harker as the crusty old sea dog Sam Higgins,and Binnie Hale putting some extra excitement into the film as Alice Bright,who whilst fighting back in a very entertaining way,is also able to wear a very a head of its time short short skirt. Along with his fast-paced directing and fun cast,Powell also uses some brilliant real locations for the film,with the first half of the film showing a small country side area of Wales,and the second half of the film having a great claustrophobic fearful feel,with Michael Powell cleverly using a real lighthouse for each of his characters to disappear from,one by one.
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Post by morrisondylanfan on Oct 27, 2019 1:32:37 GMT
Goosebumps (2015). Star Wars: Episode II - Attack of the Clones (2002). Planet of the Apes (2001). Terminator Salvation (2009). Stealth (2005). Tarzan (1999). Enemy of the State (1998). Hi COE! I hope you had a good weekend & how did you find Tarzan to be? Having found The Legend of Tarzan (2016) incredibly dry, I went back to the Disney version,and was stunned by how superior the action/ vine swinging and the script, were compared to the big budget Legend.  Btw,looking at Gemini Man's box office, the days when Will Smith got praise & box office wins with likes of double whammy MIB & EotS sadly look like something he is now out of step with doing.
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Post by claudius on Oct 27, 2019 11:49:58 GMT
My, Frank Welker voiced a lot in my viewings. I'll list them.
THESE THREE (1937) UNITED ARTISTS 100TH ANNIVERSARY Sam Goldwyn & William Wyler’s slightly censored version of THE CHILDREN’S HOUR (removing the Lesbianism as authorized by the Production Code). I first remember seeing its entry in Jerry Vermyle’s THE FILMS OF THE THIRTIES. I saw only a short scene (the comeuppance) on Showtime where I felt Bonita Granville's brat was the victim! (when the housekeeper is Margaret Hamilton, how could one not make a mistake). I did not learn about her true evil until a 1993 USATODAY Article listing filmdom’s evil children (This film, THE BAD SEED, THE OMEN, PROBLEM CHILD, and THE GOOD SON were the other entries). Watching the 1962 remake also helped in showing the brat. I had actually watched this film last week, but forgot to list it in the last thread. Warner DVD.
DARK SHADOWS (1969) Episodes 866-870 50TH ANNIVERSARY MPI Video DVD
SATURDAY NIGHT LIVE (1979) “Eric Idle/Bob Dylan” 40TH ANNIVERSARY One sketch has sarcastic interest about Bruce Jenner, thinking him "SO interesting" (oh the irony…). Universal DVD.
SCOOBY DOO AND SCRAPPY DOO SHOW (1979) “Shiver and Shake, that Demon’s a Snake.” 40TH ANNIVERSARY. Warner DVD. Frank Welker as Fred.
THE WORLD’S GREATESTS SUPERFRIENDS (1979) “Universe of Evil” 40TH ANNIVERSARY. The Supermen of two worlds (one good, the other evil) switch places, another episode I saw in my childhood. Warner DVD. Frank Welker as Gleek the Space Monkey
SUPERFRIENDS THE LEGENDARY SUPER POWERS SHOW (1984) “Curse of the Dreadful Dolls/The Royal Ruse” 35TH ANNIVERSARY. The first episode, dealing with a Marvel Puppet Master-esque villain the Dollmaker (originally was going to be the Superman foe the Toyman) also marks the final relevant appearance of El Dorado. The second story in this episode marks Darkseid’s final appearance in this version of the series. I did not see these episodes on broadcast. I first viewed it on Cartoon Network when it first aired the entire series in 1996 (however, this and the final episode were the only SFtLSPS that were broadcast at the time; not until 2003 did they air). Warner DVD. Frank Welker as Dollmaker and Darkseid.
THE TRANSFORMERS (1984) “Divide and Conquer.” 35TH ANNIVERSARY. Optimus Prime is gravely wounded and much is made to save him (for a time). I had a FHE VHS of this episode. Shout DVD. Frank Welker as Megatron, Soundwave, Laserbeak, Rumble, Ravage, Skywarp.
DUNGEONS AND DRAGONS (1984) “The Dragons Graveyard” 35TH ANNIVERSARY. A rather dark episode as the kids decide to kill Venger once and for all. I saw this episode on the Saturday Morning Fox Network broadcast in 2000. BCI Eclipse DVD (from what I gathered, this episode has an altered soundtrack). Frank Welker as Uni and other creature voices.
THE MIGHTY ORBOTS (1984) “The Jewel of Targon” 35TH ANNIVERSARY. Warner DVD.
THE NEW ADVENTURES OF FLASH GORDON (1979) “The Beast-Men’s Prey” 40TH ANNIVERSARY. Forty years ago Saturday October 20, 1979, this episode aired on NBC at 10AM. During the time of the broadcast, I was born. BCI Eclipse DVD.
MUPPET BABIES (1984) “The Case of the Missing Chicken” 35TH ANNIVERSARY. Bootleg DVD. Frank Welker as Kermit and Beeker.
ANNIE HALL (1976) UNITED ARTISTS 100TH ANNIVERSARY. Woody Allen’s Oscar-winning comedy. Seen parts of this film over the years since the mid-1990s. This film pretty much ends my UA Centennial viewing of the studios’ Allen films, five in all (SLEEPER, LOVE & DEATH, ANNIE HALL, INTERIORS, and MANHATTAN), unless one counts WHAT'S NEW PUSSYCAT? as an Allen film. MGM/UA DVD.
HELL’S ANGELS (1930) UNITED ARTISTS 100TH ANNIVERSARY. Howard Hughes’ massive war epic and the film that catapulted Jean Harlow to stardom. First saw this on American Movie Classics in 1990, the commercials spotlighting its 2-strip Technicolor Ball sequence as the only color scene of Jean. I admit only watching the first part of this film for this viewing, ending with the German Zeppelin’s explosion. Universal DVD.
ARCHIE AND HIS NEW PALS (1969) 50TH ANNIVERSARY. Animated special of Filmation’s THE ARCHIES, introducing Sabrina the Teenage Witch to the series. Interesting to hear HB VA Don Messick here, and learning Don Bluth did some early animation. First saw this in 2008. A special feature of ARCHIE’S FUNHOUSE DVD.
LOVE AT FIRST BITE (1979) 40TH ANNIVERSARY George Hamilton as Dracula in 1970s New York. I first saw parts of this as commercial on CBS’s WALT DISNEY PRESENTS 1981 broadcast of DUMBO. When my interest in Dracula was whetted in late 1988, I managed to watch this on VHS via a carpool friend. This was probably my eight Dracula show (THE HALLOWEEN THAT ALMOST WASN’T, SPIDER MAN AND HIS AMAZING FRIENDS, Filmation's GHOSTBUSTERS, IN SEARCH OF DRACULA, COUNT DUCKULA series, THE MONSTER SQUAD, the Frank Langella DRACULA). I did wonder why Dracula didn’t wear red lining in his cape (then again neither did Bela Lugosi in the original film). Watched most of this on Youtube (except for the “I love the Nightlife’ dance number- altered on this version- which I watched on another Youtube clip).
BEETLEJUICE (1989) “Bad Neighbor Beetlejuice/Campfire Ghouls” 30TH ANNIVERSARY. Shout DVD.
THE COUNT OF MONTE CRISTO (1975) Norman Rosemont’s TV-film adaptation of the Dumas novel with Richard Chamberlain, Louis Jourdan, Tony Curtis, Donald Pleasance, Trevor Howard, and Kate Nelligan. The third Count I ever saw, and my first experience with the 'Villefort Baby' plot. First saw this in 2001. CBS FoxVideo VHS.
NARUTO SHIPPUDEN (2012) “Attack of the Gedo Statue” Viz Media DVD
THE TARZAN, ZORRO, AND LONE RANGER ADVENTURE HOUR (1981) "Walk a Tight Rope" & "Fort Roman" ZORRO 100TH ANNIVERSARY. Geez, ten months and I don’t bother to check up any of Filmation’s ZORRO series, probably my first experience with the masked hero. Unlike other Filmation shows, this one's animation was done in Japan. I also viewed the LONE RANGER segment (Frank Welker as Ringmaster and Hugo). This is a VHS recording from a 1981 broadcast on CBS.
THE COUNT OF MONTE CRISTO (1964) “Episode Eleven: Dishonour” CoMC 175th ANNIVERSARY
GARGOYLES (1994) “Awakening Part 1-3” 25TH ANNIVERSARY. Gred Wiseman’s Disney Animated Series. First saw the trailer on the NIGHTMARE BEFORE CHRISTMAS VHS, and on its premiere on Fox in 1994. Disney DVD. Frank Welker as
BARNACLE BILL THE SAILOR (1934) Popeye the Sailor Animated short. I was inspired to watch this after my brother and me watched a YouTube clip of a Popeye sketch from the short-lived FRIDAYS, which used the music of "Barnacle Bill the Sailor." YouTube.
DRAGON BALL Z (1989) “Farewell Ten-San! Chaozu’s Suicide Strategy” 30TH ANNIVERSARY. Funimation DVD. Frank Welker as Bronx.
SCOOBY DOO WHERE ARE YOU? (1969) “Never Ape an Ape Man” 50TH ANNIVERSARY. Warner DVD. Frank Welker as Fred and Ape Man.
THE FIRST CHURCHILLS (1969) “Rebellion” 50TH ANNIVERSARY. Charles II dies, and his brother James becomes King, causing the late King’s illegitimate son the Duke of Monmouth to rebel unsuccessfully (as does Dr. Blood if you remember CAPTAIN BLOOD). AcornMedia DVD.
YELLOW SUBMARINE (1968) UNITED ARTISTS 100TH ANNIVERSARY. This marks my last Beatles film for the UA Centennial, having also watched A HARD DAY'S NIGHT and HELP!. MGM/UA DVD.
HEATHCLIFF (1984) “Heathcliff’s Double” & “Terrible Tammy” 35TH ANNIVERSARY. Youtube.
ZORRO THE GAY BLADE (1981) ZORRO 100TH ANNIVERSARY Or ZORRO THE STRAIGHT SON WHO HAS A GAY BROTHER, since the major plot revolves on the straight son with the stereotypical gay Twin Brother making his appearance after the first 35 minutes (if this film was made today, there would be one son, and not the straight one). This was probably the first Zorro film I ever saw, I only have a figment of memory of Don Diego escaping from a vengeful husband. I didn’t get reacquainted until 1995. CBS FoxVideo VHS. Frank Welker the Narrator.
BUFFY THE VAMPIRE SLAYER (1999) “Fear Itself” 20TH ANNIVERSARY. FoxVideo DVD.
ANGEL (1999) “I Fall to Pieces” 20TH ANNIVERSARY FoxVideo DVD.
ONCE AND AGAIN (1999) “A Dream Deferred” 20TH ANNIVERSARY. Buena Vista DVD.
GANKUTUSOU: THE COUNT OF MONTE CRISTO (1999) “A Mother’s Secrets” Geneon Entertainment DVD.
MONTY PYTHON’S FLYING CIRCUS (1969) “Owl-Stretching Time” 50TH ANNIVERSARY. The debut of Graham Chapman's silly-killjoy Colonel, and the "Fruit Defense" sketch. My first viewing was the second half back in the Summer of 1992. Arts & Entertainment Home Video DVD.
THE TAMING OF THE SHREW (1929) 90TH ANNIVERSARY & UNITED ARTISTS 100TH ANNIVERSARY. The first Shakespeare sound film (a bit of a paradox for the earlier Bard adaptations) and Douglas Fairbanks and Mary Pickford’s only film together. This marks my final viewing of both actors’ films for the Centennial, Six for Doug (HIS MAJESTY THE AMERICAN, THE MARK OF ZORRO, THE THREE MUSKETEERS, THE THIEF OF BAGDAD, THE BLACK PIRATE, THE IRON MASK), five for Mary (POLLYANA, LITTLE LORD FAUNTLEROY, LITTLE ANNIE ROONEY, SPARROWS, MY BEST GIRL). This is the 1966 reissue version. Youtube.
THE LORD OF THE RINGS (1978) UNITED ARTISTS 100TH ANNIVERSARY. I first saw parts of this adaptation on WGN in November 1988 (which confused me on whether I was watching some LEGEND OF LINK Movie or another Rankin-Bass HOBBIT film). I finally saw it on Thorn Media VHS in the Summer of 1995. The last time I saw this was on its 40th Anniversary last November. Warner DVD. Frank Welker as additional voice.
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Post by Chalice_Of_Evil on Oct 27, 2019 14:17:58 GMT
Hi COE! I hope you had a good weekend & how did you find Tarzan to be? Having found The Legend of Tarzan (2016) incredibly dry, I went back to the Disney version,and was stunned by how superior the action/ vine swinging and the script, were compared to the big budget Legend. Btw,looking at Gemini Man's box office, the days when Will Smith got praise & box office wins with likes of double whammy MIB & EotS sadly look like something he is now out of step with doing. Hi, morrisondylanfan. Hope you had a good weekend too. I hadn't watched the Tarzan (1999) before, though I have seen the 2016 version. There were things I liked and disliked about both versions. As for Will Smith, Enemy of the State is probably my favourite film of his. I think the 2019 Aladdin did pretty well, actually (I enjoyed it).
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Post by morrisondylanfan on Oct 27, 2019 16:39:56 GMT
Hi all,I hope everyone is having a good weekend,and before getting to the movies, I'll tell about a somewhat memorable few days. Last Saturday I got home late and grabbed a pack of nuts for a snack. Taking a bite,I heard a loud "crunch", spat it out and found over half a broken tooth! Being able to get a appointment on Monday, went the dentist, and got told that sadly only option was to take what remained of the tooth out. During the op, dentist said that when he has had to remove that tooth from others before,it's always had one root,but somehow mine had two (lucky me.) In the middle of the op,I felt something on my tongue, which turned out to be a filling the dentist had accidentally knocked out,que another injection to put a replacement in. Whilst being completely out of as the nurse gave me advice (she could have been saying anything for how knocked out I was!) I noticed that my lips were covered in red, which in that weird moment reminded me of the most controversial film of 2019,which I finally saw on Friday. "Jokerman dance to the nightingale tune,Bird fly high by the light of the moon, Oh, oh, oh, Jokerman."  "You don't listen, do you? You just ask the same questions every week. "How's you job?" "Are you having any negative thoughts?" All I have are negative thoughts."-Arthur Fleck.Being that this has over 6000 (!) IMDb reviews,I kept it as plot-free and to the point as possible.  Nine Inch Nails: The Downward Spiral-The movie 10. Going right back to the Punk spirit of his GG Allin documentary origins,co-writer/(with Scott Silver) director Todd Phillips & his regular cinematographer Lawrence Sher switch on Hildur Guðnadóttir's excellent grinding Industrial score, and dissect Fleck with a incredibly a raw atmosphere, opening Gotham to stunningly vast wide-angle shots taking in the mountains of trash and poverty-stricken crumbling buildings, which Fleck dies in,but Joker is born from. Whilst clearly inspired by 70's US cinema,Phillips wisely avoids making this a mere tribute, by stripping the film from every layer of gloss CBM have been painted with over the last few years, to instead cast light at grime-covered murky colours, spread in stylishly restrained short zoom-ins and tracking shots bringing the viewer up close to the short, sharp, shots of abrasive violence. Igniting a revolution from Thomas Wayne calling people "Clowns", the screenplay by Phillips and Silver takes a grounded approach to the actions of Fleck, who becomes a symbol as Joker, after getting chewed and spat out by society. Book-ending the film with Fleck speaking to a counsellor, the writers draw a excellent character study laced with bitter dialogue, driving the film not with action scenes, but Fleck being grind down of his humanity until the chaos of Joker is all that remains. Joined by a great,on the edge Frances Conroy as his mum, a dreamy Zazie Beetz as neighbour Dumond, and a double bill of gruffness from Brett Cullen as Thomas Wayne and Robert De Niro as Murray, Joaquin Phoenix gives a astonishing, expressive turn as the battered and beaten across every step of the downward spiral Joker. Mexican cinema: A Punk Rock Crime flick! The 90 second theme song: www.youtube.com/watch?v=PsLw-mcbORs Intrépidos punks (1988) 10 Riding on the chords of the super catchy theme song (by a sadly uncredited composer) director Francisco Guerrero & cinematographer Alfredo Uribe bring da ruckus with a joyfully weird, blazing Punk Rock atmosphere, which Search and Destroy the leather- clad Punk/Metalhead bikers with mega spikes playing a Vicious tune to anyone who dares confront their killing of innocents and Bankrobber deeds (they even have a band playing their theme tune in the middle of a bank,that they are in the process of robbing!) Riffing the second half to be a battle between Police & Thieves,Guerrero revs the bikes with gallons of Grindhouse gory sleaze, stripping the big-haired Punk ladies (but keeping the slightly out of shape lads dressed-thankfully!) bare,and finishing the set with what appears to be a tank running over a Punk. Playing the flick with a straight-line 3-chord spirit, the screenplay by Roberto Marroquin & Ulises Perez Aguirre Give 'Em Enough Rope by unleashing a animated mood by joyfully pinning Piratos, Caligula and Tarzan as names of the break-neck bank robbing and killing Intrepidos punks.  My first GdT. Cronos (1993)8 At the time becoming the most expensive Mexican film ever made after loans and bank debts were used to raise a extra half million which took the budget to $2 million, writer/ directing auteur Guillermo del Toro (GdT) & his regular cinematographer Guillermo Navarro display a remarkable focus under all that pressure, with a precession in establishing visual motifs which would be built upon across GdT's future works, turning the wheels on the Steampunk style inner workings of the 450-year-old mechanical, bug-shaped object, spinning to the glowing jars filled with monstrous contents being lined across the screen by GdT. Stating in the detailed commentary that only one take could be shot a good number of times due to the limited film stock left, GdT and Navarro thankfully don't leave out ingredients when brewing a Gothic Horror atmosphere, steaming up on Hammer Horror- inspired deep blue lines being cut across the screen consuming Gris into the darkness, which gets set alight by refined panning shots to spots of blood. Writing the beginnings of the script in 1984 under the title "Vampire of the Grey Dawn", the screenplay by GdT impressively avoids the missteps stuck in long-term development projects often take, by keeping concentrated the relationship between Gris and Aurora, who jolts Gris by being able to see the human face behind the face of a monster (a recurring theme for GdT.) Injected by one of the legs on the device, GdT sinks the fangs of this modern vampire into addiction, as antique dealer Gris (played by a superb Federico Luppi, a future regular collaborator of GdT) loses all the warmth shared with his family, in exchange, for the addictive warmth of blood.  Dr. Satán (1966) 6 Turning poor souls into zombies in his underground lair, director Miguel Morayta & cinematographer Raul Martinez Solares drill a dark psychedelic atmosphere, tuning into the reverberating score with smoke masked close-ups and eerie devils overlapping Dr. Satan's devilish operations. Dicing the terror of this doc in his lair with sinister underworld dealings in the outdoors, the screenplay by Sidney T. Bruckner and Jose Maria Fernandez Unsain inject a Noir mystery into Satan's hands, as Satan floods Mexico with counterfeit cash which in hand helps cover any questions people raise on what he gets up to in his lair. Whilst the flood of cash brings a ticking clock tension to the police trying to find him before the next scheduled operations, the writers disappointingly fold the majority of the mystery into lacking the menace of Dr. Satan's operations, due to little being spent on building up Dr. Satan as a horrific threat in the outside world. Holding victims down with a rogue gentlemen false charm,Joaquín Cordero gives a great turn, which laces viciousness with a devilish charm for Dr. Satan.  El vampiro (1957)-The first Drac on film with long fangs. 8. The first film appearance of Dracula to give him elongated fangs a year before Hammer Horror's version, director Fernando Mendez & cinematographer Rosalio Solano build a fascinating halfway castle between the classic shadow play Gothic and the oncoming full bodied blood lust, where cute bats on visible strings fly round a shocking sequence of Dracula killing a child. Hitching a ride to Dracula/ Duval's mansion basking in expressionism shadows tied with chilly fog, Mendez spreads Duval's wings in elegant black and white, reaching out to wide-shots filling the rooms with mist where Duval can (and does) hide from his guests, until he steps out into prime Gothic Horror close-ups on Duval's necking. Meeting Enrique and Marta at a crossroads, the screenplay by Ramon Obon and Ramon Rodriguez prints pages of Bram Stoker's creation with their own terrific ideas (no Van Helsing) leading to a playful mystery guest in the mansion attempting to stop Duval from having a nibble, turning the pages for Enrique to realise what Duval has a taste for,which ignites a thrillingly fiery final encounter amid the fall of the house of Duval. Biting into his first film, German Robles gives a mesmerising debut turn as Duval, whose aggressiveness to getting his next victim is paired by Robles with a utterly chilling gentlemanly image presented to guests to get their guards down in the house of Duval.  The Sign of Death (1939) 6 As those film makers in the US were having to fight with the Hays Code, across the border co-writer/(with Jose Benavides hijo/ Francisco Elias/ Jose Martinez de la Vega and Salvador Novo) director Chano Urueta & his future regular cinematographer Victor Herrera were showing everyone how things are done when free of a Code in decades ahead of their time in startling set-pieces, stripping the sacrificial victims topless, and hanging onto long shadows surrounding the Klan-dressed baddie smearing another slot of the sign of death with blood. Spreading out the stylish set-pieces, Urueta makes the limitations of equipment from the era visible, with what should be a buzzing newsroom uncovering the case, getting clipped by stilted, bulky wide and medium-shots. Bringing some light comedic sparks off the press from the slap-stick of Cantinflas, the writers follow Urueta in breaking what would be breaking Hays Code rules with menacing dialogue stating that all that sacrifices must be "virgins" for the sign of death. Other flicks!  The Echo (2008) 7 Spending the majority of the film alone in a flat, Jesse Bradford gives a terrific, expressive performance as Reynolds. Coming out from serving time and living in the flat of his deceased mother,Bradford keeps the tough, ex-con shell on display at the entrance, but cracks it behind closed doors on Reynolds fearful curiosity to the echoing sounds. Crossing the pond to direct the remake of his 2004 original, director Yam Laranas closely works with cinematographer Matthew Irving to unlock a J-Horror-style atmosphere dangling in stylishly held stilted shots looking across to the background on Reynolds flat, chillingly revealing him to not be the lone occupant. 20 minutes shorter than the original, Eric Bernt & Shintaro Shimosawa's adaptation leans a bit too much on all of the coincidences falling into place at just the right moment for the mystery to be solved, (yet no explanation given for why the ghosts could be touched) but make up for it thanks to the rest of the chills being kept as a slow-burn, lighting Reynolds fears from the ghostly creaking sounds with the screams of domestic abuse the neighbours are suffering, which echo to Reynolds front door.
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biker1
Junior Member
@biker1
Posts: 1,804
Likes: 743
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Post by biker1 on Oct 27, 2019 21:24:28 GMT
crime wave (1953) ☆☆☆
Back when movie police were becoming facist bully boys. Sterling Hayden's tough cop and film's location shooting elevate familiar crime story.
dangerous crossing (1953) ☆☆1/2
Jeanne Crain, as desirable as ever, loses her husband, in an entertaining 75 minute mystery thriller on a ship.
the blue gardenia (1953) ☆☆1/2
Tidy murder mystery, but won't be going into my top 10 Fritz Lang. Not as memorable as his other noir films - and will probably benefit from another viewing.
crime of passion (1956) ☆☆1/2
Barbara Stanwyck and Sterling Hayden in far-fetched domestic drama leading to inevitable noir conclusion.
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Post by hitchcockthelegend on Oct 27, 2019 22:59:05 GMT
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Post by morrisondylanfan on Oct 28, 2019 2:02:32 GMT
A terrific crop of films Spike! On Demons,have you got the stuffed with extras Arrow version. Looking back at that era,it's a shame that Lamberto & Michele Soavi were seen as the new stars, for what became the third, and final wave of a active Italian genre cinema scene (the double whammy of Italy going into the worst recession it had faced since WWII, (the year it also became one of two countries to fall out of the ERM in the same year) and Berlusconi with his TV empire entering politics in '94, pretty much leaving what was a active scene, in the dust. My notes from Oct 2014: 6. Before getting to the film,I have to give a special mention to Arrow,who along with delivering a perfect transfer pack the DVD with tremendous extras which go from 2 lively audio commentaries, to an official Demons 3 Comic-book.Backed by a soundtrack featuring sharp Rock songs and Claudio Simonetti jumping score,Lamberto Bava and cinematographer Gianlorenzo Battaglia turn the cinema into a dazzling nightclub,with Bava and Battaglia giving the film a flashy,soft lights appearance.Closely working with practical effects maker Sergio Stivaletti,Bava displays ever bit of Stvaletti's superb work,thanks to using a number of closely-held tight shots,which allow the demons to slowly burst onto the screen. Whilst the screenplay offers the exciting chance of seeing a gang of mismatched characters take on Stivalettis blood thirsty monsters,the writers disappointingly never allow any of the audience members to be given "their" moment.Due to none of the enjoyable cast members being given a moment to shine,this leads to none of the individuals in the crowd to be that distinctive,and also causes the fake film- within-a-film to be far more atmospheric than the actual film,as Bava lets his blood drench demons stomp across the big screen. On a somewhat similar note, I remember when Let Me In & WIB came out, it did feel like Hammer Horror was actually coming back, but they just appeared to fizzle out. My notes on Let Me In from Nov 2016: 7. Gripping the cold snap seasonal setting of the title,writer/director Matt Reeves & cinematographer Greig Fraser step on the fresh blood snow in stark white lights that give the vampire tale an icy atmosphere. Aiming to keep the film grounded, Reeves sets an inconsistent tone with the special effects,via "practical" (done with under the roof CGI) sequences (backed by a hauntingly dour score from Michael Giacchino) such as a car crash being given an earthiness thanks to Reeves superbly held tracking shots,which are disappointingly undermined by rubbery vampire attacks and fire CGI that appear to have been rushed in post-production,and stand completely at odds with the mature nature of the film. Bringing John Ajvide Lindqvist's novel to the US in the 80's, Matt Reeves smartly uses the period setting to blend pop culture nods with a sharp allegorical theme under the surface,as the TV screens show Reagan making the "Evil empire" speech and putting good/evil in black and white terms,being a complete contrast to the "grey" areas of horror that Owen finds with Abby. For the outbreak of vampire feeding,Reeves keeps the horror linked to the heart felt relationship between Abby and Owen,whose slow-burn growth in their relationship allows Reeves to gradually peel the garlic of Abby's vampire life. Walking in the real snow barefoot (shivers!) the graceful Chloë Grace Moretz gives a mesmerising performance as Abby.Looking ill at ease over revealing the dark side of her life, Moretz sinks her teeth in Abby's wild animal vampire attacks,which are smoothly linked by Moretz to the ice breaking in Abby's romance with Owen.Joined by a terrific Richard Jenkins and Cara Buono, Kodi Smit- McPhee (who reunited with Reeves on Dawn of the Planet of the Apes) gives an excellent performance as Owen.Beaten to a pulp by bullies,McPhee builds on the bruises of Owen with a striking sense of confidence lit by Owen's realisation that no one is simply good or evil,as Owen lets the right one in. On Triangle,I was wondering if you've seen the Spanish 2007 Horror, Timecrimes? 
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Post by hitchcockthelegend on Oct 28, 2019 16:41:33 GMT
A terrific crop of films Spike! On Demons,have you got the stuffed with extras Arrow version. Looking back at that era,it's a shame that Lamberto & Michele Soavi were seen as the new stars, for what became the third, and final wave of a active Italian genre cinema scene (the double whammy of Italy going into the worst recession it had faced since WWII, (the year it also became one of two countries to fall out of the ERM in the same year) and Berlusconi with his TV empire entering politics in '94, pretty much leaving what was a active scene, in the dust. My notes from Oct 2014: 6. Before getting to the film,I have to give a special mention to Arrow,who along with delivering a perfect transfer pack the DVD with tremendous extras which go from 2 lively audio commentaries, to an official Demons 3 Comic-book.Backed by a soundtrack featuring sharp Rock songs and Claudio Simonetti jumping score,Lamberto Bava and cinematographer Gianlorenzo Battaglia turn the cinema into a dazzling nightclub,with Bava and Battaglia giving the film a flashy,soft lights appearance.Closely working with practical effects maker Sergio Stivaletti,Bava displays ever bit of Stvaletti's superb work,thanks to using a number of closely-held tight shots,which allow the demons to slowly burst onto the screen. Whilst the screenplay offers the exciting chance of seeing a gang of mismatched characters take on Stivalettis blood thirsty monsters,the writers disappointingly never allow any of the audience members to be given "their" moment.Due to none of the enjoyable cast members being given a moment to shine,this leads to none of the individuals in the crowd to be that distinctive,and also causes the fake film- within-a-film to be far more atmospheric than the actual film,as Bava lets his blood drench demons stomp across the big screen. On a somewhat similar note, I remember when Let Me In & WIB came out, it did feel like Hammer Horror was actually coming back, but they just appeared to fizzle out. My notes on Let Me In from Nov 2016: 7. Gripping the cold snap seasonal setting of the title,writer/director Matt Reeves & cinematographer Greig Fraser step on the fresh blood snow in stark white lights that give the vampire tale an icy atmosphere. Aiming to keep the film grounded, Reeves sets an inconsistent tone with the special effects,via "practical" (done with under the roof CGI) sequences (backed by a hauntingly dour score from Michael Giacchino) such as a car crash being given an earthiness thanks to Reeves superbly held tracking shots,which are disappointingly undermined by rubbery vampire attacks and fire CGI that appear to have been rushed in post-production,and stand completely at odds with the mature nature of the film. Bringing John Ajvide Lindqvist's novel to the US in the 80's, Matt Reeves smartly uses the period setting to blend pop culture nods with a sharp allegorical theme under the surface,as the TV screens show Reagan making the "Evil empire" speech and putting good/evil in black and white terms,being a complete contrast to the "grey" areas of horror that Owen finds with Abby. For the outbreak of vampire feeding,Reeves keeps the horror linked to the heart felt relationship between Abby and Owen,whose slow-burn growth in their relationship allows Reeves to gradually peel the garlic of Abby's vampire life. Walking in the real snow barefoot (shivers!) the graceful Chloë Grace Moretz gives a mesmerising performance as Abby.Looking ill at ease over revealing the dark side of her life, Moretz sinks her teeth in Abby's wild animal vampire attacks,which are smoothly linked by Moretz to the ice breaking in Abby's romance with Owen.Joined by a terrific Richard Jenkins and Cara Buono, Kodi Smit- McPhee (who reunited with Reeves on Dawn of the Planet of the Apes) gives an excellent performance as Owen.Beaten to a pulp by bullies,McPhee builds on the bruises of Owen with a striking sense of confidence lit by Owen's realisation that no one is simply good or evil,as Owen lets the right one in. On Triangle,I was wondering if you've seen the Spanish 2007 Horror, Timecrimes? Hiya Chap! Thanks for sharing the reviews, informative as usual, great info on the Italian scene then. I'll track your reviews down on IMDb and tick of course. Demons - Italian horror has never been my thing, but it showed up on The Horror Channel and I was intrigued to see how "the lesser Bava" had got on. Glad I did because I had a really fun time with it. Shame you didn't like Let Me In as much as me, but pertinent points you raise. I'm not hamstrung by having read the book or seen the original, so judged purely on its own terms I found it to actually be a beautiful horror movie! The inside the car crash section is outstanding, but even that is trumped by the swimming pool sequences. The youngsters were top draw as well. I do feel, however, that it's definitely a film that needs to be seen a second time before attempting to write a review, so we will see. A lot of the reviews I put forward during the challenge are interim jobs, there just isn't enough time to write a whole bunch of substance, but the odd film deserves a bit more respect and I think this is one. You didn't say if you liked Triangle yourself?  Nope, not seen Timecrimes, I have a feeling I need to... 
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Post by morrisondylanfan on Oct 28, 2019 17:18:29 GMT
A terrific crop of films Spike! On Demons,have you got the stuffed with extras Arrow version. Looking back at that era,it's a shame that Lamberto & Michele Soavi were seen as the new stars, for what became the third, and final wave of a active Italian genre cinema scene (the double whammy of Italy going into the worst recession it had faced since WWII, (the year it also became one of two countries to fall out of the ERM in the same year) and Berlusconi with his TV empire entering politics in '94, pretty much leaving what was a active scene, in the dust. My notes from Oct 2014: 6. Before getting to the film,I have to give a special mention to Arrow,who along with delivering a perfect transfer pack the DVD with tremendous extras which go from 2 lively audio commentaries, to an official Demons 3 Comic-book.Backed by a soundtrack featuring sharp Rock songs and Claudio Simonetti jumping score,Lamberto Bava and cinematographer Gianlorenzo Battaglia turn the cinema into a dazzling nightclub,with Bava and Battaglia giving the film a flashy,soft lights appearance.Closely working with practical effects maker Sergio Stivaletti,Bava displays ever bit of Stvaletti's superb work,thanks to using a number of closely-held tight shots,which allow the demons to slowly burst onto the screen. Whilst the screenplay offers the exciting chance of seeing a gang of mismatched characters take on Stivalettis blood thirsty monsters,the writers disappointingly never allow any of the audience members to be given "their" moment.Due to none of the enjoyable cast members being given a moment to shine,this leads to none of the individuals in the crowd to be that distinctive,and also causes the fake film- within-a-film to be far more atmospheric than the actual film,as Bava lets his blood drench demons stomp across the big screen. On a somewhat similar note, I remember when Let Me In & WIB came out, it did feel like Hammer Horror was actually coming back, but they just appeared to fizzle out. My notes on Let Me In from Nov 2016: 7. Gripping the cold snap seasonal setting of the title,writer/director Matt Reeves & cinematographer Greig Fraser step on the fresh blood snow in stark white lights that give the vampire tale an icy atmosphere. Aiming to keep the film grounded, Reeves sets an inconsistent tone with the special effects,via "practical" (done with under the roof CGI) sequences (backed by a hauntingly dour score from Michael Giacchino) such as a car crash being given an earthiness thanks to Reeves superbly held tracking shots,which are disappointingly undermined by rubbery vampire attacks and fire CGI that appear to have been rushed in post-production,and stand completely at odds with the mature nature of the film. Bringing John Ajvide Lindqvist's novel to the US in the 80's, Matt Reeves smartly uses the period setting to blend pop culture nods with a sharp allegorical theme under the surface,as the TV screens show Reagan making the "Evil empire" speech and putting good/evil in black and white terms,being a complete contrast to the "grey" areas of horror that Owen finds with Abby. For the outbreak of vampire feeding,Reeves keeps the horror linked to the heart felt relationship between Abby and Owen,whose slow-burn growth in their relationship allows Reeves to gradually peel the garlic of Abby's vampire life. Walking in the real snow barefoot (shivers!) the graceful Chloë Grace Moretz gives a mesmerising performance as Abby.Looking ill at ease over revealing the dark side of her life, Moretz sinks her teeth in Abby's wild animal vampire attacks,which are smoothly linked by Moretz to the ice breaking in Abby's romance with Owen.Joined by a terrific Richard Jenkins and Cara Buono, Kodi Smit- McPhee (who reunited with Reeves on Dawn of the Planet of the Apes) gives an excellent performance as Owen.Beaten to a pulp by bullies,McPhee builds on the bruises of Owen with a striking sense of confidence lit by Owen's realisation that no one is simply good or evil,as Owen lets the right one in. On Triangle,I was wondering if you've seen the Spanish 2007 Horror, Timecrimes? Hiya Chap! Thanks for sharing the reviews, informative as usual, great info on the Italian scene then. I'll track your reviews down on IMDb and tick of course. Demons - Italian horror has never been my thing, but it showed up on The Horror Channel and I was intrigued to see how "the lesser Bava" had got on. Glad I did because I had a really fun time with it. Shame you didn't like Let Me In as much as me, but pertinent points you raise. I'm not hamstrung by having read the book or seen the original, so judged purely on its own terms I found it to actually be a beautiful horror movie! The inside the car crash section is outstanding, but even that is trumped by the swimming pool sequences. The youngsters were top draw as well. I do feel, however, that it's definitely a film that needs to be seen a second time before attempting to write a review, so we will see. A lot of the reviews I put forward during the challenge are interim jobs, there just isn't enough time to write a whole bunch of substance, but the odd film deserves a bit more respect and I think this is one. You didn't say if you liked Triangle yourself? Nope, not seen Timecrimes, I have a feeling I need to... Hi Spike, like you I've not seen Let The Right One In (which I've got on disc) and after Joker,I'm interested in seeing what Matt Reeves does with Batman. A few weeks ago I picked up Triangle & Timecrimes on disc from CEX. When Triangle came out in cinemas, I vividly remember a lot of complaints about it openly lifting big un-credited elements of Timecrimes,with even the 4 star Empire review pointing it out: www.empireonline.com/movies/reviews/triangle-2-review/"the protagonist loops back on herself in an eternal cycle, reminiscent (even in its Möbius-strip character arc) of the little-seen Spanish Timecrimes — though probably inspired by Memento or Groundhog Day." Btw,check your PM's.
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Post by marianne48 on Oct 29, 2019 1:07:07 GMT
Seven Samurai (1954)--A recent post asked "What classic film have you never seen?" The one most often mentioned by other posters was this film. A 3- 1/2 hour movie that takes place in 16th century Japan? Did I really want to watch this? I gave it a try, and I couldn't stop watching it. Epic battle sequences aren't usually for me, but there's so much more to this film. Toshiro Mifune is often billed as the star of this film, and he does give a memorable over-the-top performance as the most flamboyant of the samurai. But the real star of the film for me is Takashi Shimura, whom I've seen up to now only in
Gojira as the frustrated Dr. Yamane, and as the meek, dejected clerk in Ikiru. Here, he displays a completely different personality as the quiet but powerfully charismatic head samurai. He exudes a cool, James Coburn-like presence that keeps the other samurai and the hysterical villagers in line. His performance alone makes the movie compelling viewing, besides all the human drama that leads up to the climactic battles. Despite the long running time,
the movie doesn't seem bloated or plodding. To anyone else who has been putting off seeing this--see it already! It definitely lives up to its reputation as one of the greatest films of all time.
The Young in Heart (1938)--Enjoyable, sentimental comedy about a family of grifters who stumble upon their best scam yet--invited to move into a mansion with a lonely, elderly spinster, they take the offer and then try to influence her to change her will so they can inherit her estate. Then Janet Gaynor, as the adult daughter of the grifter family, finds herself having second thoughts about the scheme, just as the rest of the family begins to discover that making an honest living is actually more fun than scamming. Good performances from dependable actors--
Roland Young, Douglas Fairbanks, Jr., Paulette Goddard, and Billie Burke (who doesn't, for a change, overdo her usual fluttery routine here). There's a twist ending, and, as a bonus, there's a cute dog, too.
Are We Not Cats (2016)--Indie movies can get pretty quirky, but this one takes the cake. In fact, it not only takes the cake, but vomits it back up, too.
Shambling, aimless truck driver meets up with addled, aimless woman and they begin a romantic relationship after discovering that they share a common interest--they like tearing out their own hair and swallowing it. Complications ensue when the woman develops an enormous hairball in her stomach. No, really. See this only if your idea of a love story involves sequences of extreme skin rashes, spitting up blood, and DIY home surgery.
The Dish (2000)--One of my favorite parts of Apollo 13 was the guy in the NASA control room who demonstrates how the astronauts can save the spacecraft and themselves using such items as a paperback book and lots and lots of duct tape. This movie, starring Sam Neill, is reminiscent of that scene--it's all about
the unsung efforts of a small staff of technicians in a tiny Australian town who are responsible for bringing the images of the Apollo 11 moon landing to the entire world. How much of it happened the way the movie depicts it is debatable, but it is based on a true story, and it makes for an enjoyable,
humorous 'footnote to history" story.
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