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Post by hitchcockthelegend on Nov 25, 2019 18:56:52 GMT
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Post by hitchcockthelegend on Nov 25, 2019 19:24:08 GMT
One of my favorite movies with some of my favorite actors. The pace might be a bit slow, but I liked that, as the diverse characters has a chance to develope their characters. Maybe Howard Hawks' last great movie. My Rifle, My Pony and Me... The good thing about those movies is you know what you gonna get, outdoors, gunplay and railroads in beautiful colour and Randy will eventually find a woman to kiss, and they seldom lasts over 80 minutes. What I like is that it doesn't pretend to be anything else, but action entertainment for a little while, and an escape from reality. Rio Bravo - It's one of the much beloved Westerns that Western fans are divided upon, not in that it's in any way poor, because it's a very good film, but it definitely is loved a lot more by none hardcore Western genre fans. I much prefer El Dorado as it's to me stronger in performances and Hawksian thematics. Rio Bravo > www.imdb.com/review/rw1833401/?ref_=tt_urvSanta Fe - www.imdb.com/review/rw2443838/?ref_=tt_urv
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Post by morrisondylanfan on Nov 26, 2019 0:05:53 GMT
morrisondylanfan Love your review of El Royale. It really was a neon-noir love letter. I will definitely have to rewatch it at some point, now knowing how it ends, to get a fuller understanding of it all. Goddard was a writer on Buffy the Vampire Slayer back in the day, a show I was way too into, and I've watched him move on to Lost and feature films. Happy for his success and stunned by his talent. Joker, although a villain, seems relatable to people these days. He starts off with the best intentions and an ugly world pushes him in a darker direction. I guess that's why he has a billion dollars now. A billion dollars...whoa! Can't you hear Jack Warner freaking out from beyond the grave, or what? Hi Lebowski,I was wondering about what you think of the idea of a Joker 2? Whilst I think something interesting could be done with this Joker and Two Face, I think that with the studio of course wanting the sequel to be a bigger hit,that it would be better left as a one-off. With established the formula, the lack of any major action set-pieces,or "Sky Beam" third act, gave the flick a rebellious edge ( which says a lot about modern blockbusters.)
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Post by hitchcockthelegend on Nov 26, 2019 12:28:55 GMT
I Wake Up Screaming / H. Bruce Humberstone (1941). Twentieth Century Fox. Cinematography by Edward Cronjager. Frankie Christopher (Victor Mature) is in the police station being grilled about a murder. He sits in a pool of light surrounded by shadowy figures. In the office outside the jail section, Jill Lynn (Betty Grable), sister to Vicky Lynn (Carol Landis) the murder victim, is being questioned by detectives about Frankie’s relationship to Vicky. The light here is not much better as shadows fall cross the faces. Thus begins a somewhat under the radar, underappreciated film that many believe to be one of the first authentic film noirs (as they came to be called) and therefore one of the most influential. In fact, three films that are often considered the beginnings of the sub-genre/style/whatever-you-want-to-call-it were: The Stranger on the Third Floor released in August 1940, The Maltese Falcon released October 8, 1941, and I Wake Up Screaming released October 31, 1941. (TRIVIA QUESTION: What actor appeared in all three of these movies? No peeking, now.) The first part of the story is told in flashback. Frankie, a well-to-do boxing promoter meets Vicky Lynn who he is attracted to. He decides he can make her a singing star so starts to build her career in a whirlwind of night clubs, hob-nobs with the smart set, and her name in society columns. But her ego grows too big so when she is found dead by her sister, Frankie is the obvious suspect. With no evidence to hold him, Frankie is released, but one of the detectives, Ed Cornell (Laird Cregar), begins to trail him and harass him, all the time telling Frankie that he believes him to be the murderer. Frankie must do something on his own so, with Jill’s help begins his own investigation. An absolute film noir essential. Mildred Pierce / Michael Curtiz (1945). Warner Bros. Cinematographer: Ernest Haller (Oscar win for Gone With The Wind, six other nominations. Also cinematographer for Plunder Road, see review below). From the opening shots (both gun and camera) the viewer is drawn into this drama of a mother/daughter relationship that leads to violence. After we see a man shot down in a house, we then follow Mildred (Joan Crawford, Oscar winner for this role) contemplating suicide. After being interrupted, she runs into old friend and business rival Wally Fay (Jack Carson). Taking Wally back to the murder house, she locks him in and flees. In a great scene, Wally runs from room to room looking for a way out as the rooms and staircase turn into a nightmare fun house with no way out. At the police station later Mildred tells her story in flashback beginning when as a housewife she kicks her husband (Bruce Bennett) out when she learns he is having an affair. She is left alone with her two daughters. The teenage Veda (Ann Blyth) is already a social climbing snob who wants new cars and clothes that Mildred cannot provide. She takes a job waiting tables and as she learns with the help of new friend Ida (Eve Arden) begins to dream about her own restaurant business. The middle section detailing Mildred’s rise to fortune, the men in her life, and the growing greed of Veda admittedly gets more than a little soapy. However, most of the shots are bathed in shadow (with some startling Deep Focus) and the final act returns to total noir sensibilities. The movie was nominated for Best Picture, Joan Crawford won Best Actress, and both Ann Blyth and Eve Arden got Supporting Actress noms. This may be an “A” picture, but is film noir to the roots. My second film noir essential of the week. Veda’s birthday present is a 1940 Buick Special Convertible Coupe. Mildred paid $1800 for it. Wicked Woman / Russell Rouse (1953). A Greene-Rouse Production/United Artists. An unknown gem for sure that is a light riff on James M. Cain and “Postman” with a gender switch. This time around the drifter is Billie Nash (Beverley Michaels), a hard-as-nails, been around the block a few times blond, who gets off the bus in a medium sized town. She takes a cheap furnished room and finds a job at a local tavern owned by Matt Bannister (Richard Egan) and his alcoholic wife Dora (Evelyn Scott). She then throws herself at Matt who is unhappy in his marriage but has to put up with his wife because she had inherited the bar, so Matt only owns half of it. Billie immediately starts working on Matt to sell the bar out from under Dora and take the money so the two of them could fly away to Mexico. Dora would never divorce Matt nor agree to sell the business so they concoct a risky scheme. The loose cannon in all this is Charlie Borg (Percy Helton), a lonely tailor who lives across the hall from Billie in the rooming house. When Billie first moves in she cadges free meals and money off him with vague promises of going dancing sometime later. When finally rejected, he begins to keep a close eye on Billie. Director slash co-writer Russell Rouse stages a couple of beads-of-sweat inducing scenes when as the scheme against Dora comes close to unraveling. Rouse also wrote the story and screenplay for one of the movies that made me a movie fanatic in the first place, D.O.A. (1950). He won an Oscar for Screenplay Written Directly For The Screen (Pillow Talk, 1959). The ending, which is almost comedic, is a let down but it’s fun until then. Beverly Michaels, Robert Osterloh, Richard Egan Percy Helton with Michaels Plunder Road / Hubert Cornfield (1957). Twentieth Century Fox. Cinematographer: Ernest Haller. Wait…what? Hubert Cornfield? Turkish-born Cornfield only directed seven films (co-directed uncredited an eighth) with one major well financed color film in his resume with Marlon Brando of all people: “The Night of the Following Day” (1969) which, if I remember correctly, was a critical and box office failure. “Plunder Road,” on the other hand, is a complete success for what it is, an almost non-stop heist-action-car chase movies. As two trucks drive though a pouring rain we hear a sentence or two of the thoughts of each of the men but for the first 13 minutes we don’t hear a word spoken as they carry out a complicated but precise gold robbery from a train. Disguising the extremely heavy gold shipment between three trucks and disguising its presence, the men begin a one thousand mile drive to a destination in Los Angeles trying to avoid road blocks or any kind of attention. The drive is harrowing for them all and great entertainment for the audience. The leader is Eddie Harris (Gene Raymond). Also in the cast is Wayne Morris, Stafford Repp (Chief O’Hara in the 1960’s Batman TV Series), Elisha Cook (sans the “Jr.”), and Steven Ritch. Gene Raymond, Wayne Morris, Steven Ritch You watched some quality last week Mike! Every noir fans favourite fall guy, Elisha Cook Jr. I Wake Up Screaming - Totally agree with you - www.imdb.com/review/rw2238909/?ref_=tt_urvMildred Pierce - Yep, top draw. I never used to consider myself a Crawford fan, but then I saw Mildred Pierce and Johnny Guitar and that changed things for me. www.imdb.com/review/rw2403735/?ref_=tt_urvWicked Woman - Thanks for that Mike, one I'll have to stick in my notebook. Plunder Road - www.imdb.com/review/rw2869306/?ref_=tt_urv
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Post by hitchcockthelegend on Nov 26, 2019 12:33:24 GMT
Hee, it's the pirate film set on land! I do not count my chickens before I see them, and then I wait until the eggs are hatched out. Pirates of Blood River is directed by John Gilling and written by Jimmy Sangster. It stars Christopher Lee, Kerwin Matthews, Glenn Corbett, Michael Ripper, Andrew Keir, Oliver Reed, Marla Landi and Peter Arne. Music is by Gary Hughes and cinematography by Arthur Grant. When Huguenot Jonathan Standish (Matthews) is found guilty of adultery, he is banished from the village and sent to serve hard labour at the penal colony. However, managing to escape, Jonathan is captured by pirates led by Captain LaRoche (Lee) and forced to lead the pirates back to his home village, where, LaRoche is convinced valuable treasure is hidden. One of Hammer Film Productions pirate ventures, Pirates of Blood River is landlocked but still a whole bunch of piratical fun. Sangster's screenplay dangles interesting carrots that aren't fully unearthed, such as the religious fervour holding the Huguenot village in its grip, and questions of main character's pasts are left unanswered, but cast are very spirited and Gilling, in spite of being brought in late and being a pain in the ass, crafts a fast paced picture of excitement and tension. The small budget and absence of a ship and seafaring malarkey is barely noticed, though this place of plunder doesn't look much like a tropical island. There's good action, especially for the "big" battle at the finale, while it's good to see low cost effects, such as a piranha attack simulated by ripples on the water, actually be very effective for dramatic purpose. Blindfold duelling, too, always a bonus. Plenty of beards, jolly roger speak, bodily abuse and guerrilla warfare, enough in fact to lift it above its obvious flaws. 7/10
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Post by hitchcockthelegend on Nov 26, 2019 18:25:59 GMT
Biggest let-down of the month: QT's Death Proof Introduced in the Grindhouse cut with fake trailers far more inventive, funnier than the actual film, Writer/cinematographer/directing auteur Quentin Tarantino (QT) opens his segment with a foot waving in the air, a fitting image for the repetitive stamping on the same spot nature of the film. Attempting to pay tribute to the Grindhouse, the screenplay by QT completely misses the mark in being either a kitsch tribute or a actual Grindhouse flick, with each member of the girl gangs given little to distinguish themselves from each other, as each of them pour out QT's usual hip dialogue, which in this case comes out as clunky, due to a focus in the dialogue of forcing mention of the same two or three films over and over again, no matter how out of place it is. Utterly missing the leanness of real Grindhouse cinema, QT offers a glimpse of hope with the arrival of Stuntman Mike, but throws it all away, by having Mike not being the silent and deadly type in Grindhouse flicks, or the QT baddie with the winning one-liner, as Mike miss-timed stunts land him with the same colourless, bone-dry dialogue as the rest of the cast. The first time he has worked as a cinematographer on his own work, QT displays a shocking lack of attention to consistency on the aesthetic. Setting two girl gangs up against Stuntman Mike over a 14 month period, QT rubs the first gang down with a grating bag of tricks of fake spots, flickering lines and blobs on the print in a attempt to dig into the Grindhouse spirit, which get shoved aside for a modern, crisp digital sheen glossing between the cars in a enjoyable swift final battle with long crane shots that sure were not the type done in the Grindhouse era. The start of their collaboration, Kurt Russell steals the film as Stuntman Mike, thanks to Russell bringing out a laid-out coolness in Mike which tips at a psycho under the Death Proof hood. Wright's Hot Fuzz 10 Going from a zombie apocalypse to the mean streets of Sandford, co-writer/(with Simon Pegg) directing auteur Edgar Wright reunites with editor Chris Dickens and continues to build upon his distinctive fluid whip-pans/crash-zooms being pinned by rapid, razor-sharp edits stirring a Action-style atmosphere during the most mundane of tasks being done. Awakening the sleepy town with a awesome soundtrack, Wright continues to dual-weld genres, as Wright & cinematographer Jess Hall turn the small countryside location into a US Action movie backdrop, where Angel and fellow cop Danny Butterman chase shoplifters on the glossy running tracking shots and zoom-ins loading up a explosive atmosphere. Opening up the secrets of the town, Wright joyfully sends Angel and Danny into a breakneck Slasher Comedy, slashing Action movie whip-pans onto gloriously gory visual sight-gags chopping at the murders taking place. Reuniting together, the screenplay by Wright and Pegg inventively continues to expand on the themes of Shaun, with the strongly individual Angel uncomfortable over becoming a buddy to those in his newly joined force, having to face off against a zombie-like cult, who follow the group mantra that their murders are for "The Greater Good." Becoming buddies as they patrol the streets, the writers make the buddy cop friendship between Danny and Angel one which pays loving tribute to Action movies with a warm comedic steak, via Danny's fandom of cop films hilariously spilling over to him treating doing tasks with Angle such as searching for a missing goose as if it is a precursor to a Action set-piece. Hanging out on the big screen for a second time, Nick Frost and Simon Pegg give terrific turns as Danny and Angel, thanks to the dead-pan side Pegg gives Angel being matched by the eager enthusiasm Frost powers Danny's excitement over the hot fuzz becoming bad boys. Film Noir's-The first one starring my avatar! Symphonie pour un massacre (1963) 10 The lone figure walking into the final shot, the beautiful Michele Mercier gives a outstanding, expressive turn as Madeleine, whose frustrations over her husband Clavet's continuing gamble in building closer ties in the underworld, are kicked by Mercier with a Femme Falale feisty edge. Getting the planned drug deal on track with the skill of pros who have been in this game for years, the ensemble cast give incredible hard-nose Noir loner turns, from co-writer Jose Giovanni's lingering air of mystery as Moreau, to Michel Auclair's enthusiastic youthfulness of Clavet. Breaking the rails which bonded them by smearing blood on the tracks, Jean Rochefort draws the complexities building in Jabeke's betrayal of his fellow gang members, with the wise move of giving him limited dialogue, allowing Rochefort to facial express the weight on Jabeke's shoulders over his silencing of those who get close to uncovering his betrayal. Displaying the same meticulous eye later appearing in his La piscine (1969-also reviewed) co-writer/(with Jose Giovanni and Claude Sautet) director Jacques Deray & cinematographer Claude "Nephew of Jean" Renoir compose this symphony of a Noir massacre with pristine stylisation, loading a atmosphere of dread in refine long-shots going down the carriages filled with Jabeke's betrayals. Punching out when Jabeke's backstabbing risks being found out, Deray hits with shards of whip-pans coming out of low shadows to the blunt, blast force of Jabeke's murders. Featuring not one, but three film makers, the adaptation of Alain Reynaud-Fourton's story Les Mystifies by Deray/Giovanni and Sautet thrillingly binds the bond of these five Noir thugs with superb, measured dialogue on the years of trust and friendship which leads to them doing the drug deal as a group. Shattering all trusts with Jabeke's betrayal, the writers magnificently sink Jabeke deeper into Noir waters each time he tries to widen the net by killing suspecting former friends, with each murder getting Jabeke closer to hearing the final notes of a massacre symphony. Death Proof - Ouch! Probably the first time in our friendship we have differed greatly - how interesting You have put up a great written reason for your disdain, which I respect wholesale. I love that you come at it from a "real" grindhouse perspective, and I couldn't argue with that in any shape or form, since it's really not a subject I could remotely claim to be clued into. So with that in mind, I love the film because I don't carry that "original" grindhouse fervours, and it remains one of my favourite QT movies. Moi > There are few things as fetching as a bruised ego on a beautiful angel. Warning: Spoilers Death Proof is directed and written by Quentin Tarantino. It's part of a double feature production that Tarantino and Robert Rodriguez released as Grindhouse. With Rodriguez contributing Planet Terror. Death Proof tells of a psychopathic stunt man played by Kurt Russell who stalks pretty young ladies and then murders them by way of road accidents caused by his "death proofed" stunt car. Joining Russell in the cast are Zoë Bell, Rosario Dawson, Vanessa Ferlito, Jordan Ladd, Sydney Tamiia Poitier, Tracie Thoms, Mary Elizabeth Winstead and Rose McGowan. Many trials and tribulations followed the release of the Grindhouse project; poor opening weekend, two film's meant to be together ultimately separated on disc, with different cuts etc etc. It's all rather boorish in truth and really both Death Proof and Planet Terror stand up on their own two feet even if the whole "Grindhouse" homage" is somewhat lost in home viewing. So on to Death Proof, a film that finds Tarantino on deliciously agreeable form. Delivering a chicksploitation psycho killer piece that bubbles nicely under the surface to then explode into one of the most thrilling finales in recent times. Now in its longer cut, Death Proof is split into two parts. The first part has one group of girls (Poitier, Ladd & Ferlito) out in Austin, Texas, celebrating the birthday of one of them. It's here we are introduced to Stuntman Mike (a terrific Russell), who is stalking them. For this first half there's lots of talk and relationship posers plotting away. It's a slow build, and in light of QT's pre release promise of 200mph thrills, it may lose some viewers hungry for action and murder death kill from the off. But hang in there, listen to the dialogue, get to know the characters, particularly the girls (how often do we get to know victims in slashers eh?), and then bang! Pay off number one as carnage is unleashed in multi-angles and action replays. A memorable blood show played out to the awesome drum beats of Dave Dee, Dozy, Beaky, Mick & Titch's pop classic Hold Tight. Part two. And our second group of girls, an aesthetically pleasing bunch that contains Zoë Bell, Mary Elizabeth Winstead, Tracie Thoms & Rosario Dawson. Again there's much talk, but oh what talk. These are girls I could sit and listen to for ever. This may not be QT's most quotable movie, but it isn't shy of coolness in the writing. Just sample the whole gun conversation as the camera revolves around the table, a sharp sharp moment in the film; all that's missing is a Madonna story, you know? Some may argue it's indulgent from the director, I say it's finding a director very relaxed and at one with his protect. Besides, it's a critical passage of play that's setting us up for the exhilarating climax as Bell (real life stunt-woman) straps herself to the bonnet of a speeding Dodge Challenger. What follows is ripping cinema, free of CGI and string work, not only does QT homage those car movies of the 70s he loves so much (Vanishing Point, Dirty Mary Crazy Larry et al), but he's also patting the back of the stunt-men and women who bring so many action moments to life. And as this long car chasing sequence raises the pulses, it starts to unravel that Death Proof is subverting the norm. Bravo boys and girls. Hilarious, riotous, troubling, sexy and sleazy, Death Proof is unsurprisingly proving divisive. But I for one wouldn't be at all surprised if in ten years time it is regarded as being one of his best movies. The Grindhouse project may not have worked as a whole, but this portion on its own provides thrills and cheek in equal measure as Tarantino gets behind the wheel and takes us on one hell of a ride. Kicking soundtrack too! 9/10 Hot Fuzz - I'm not going to trawl back to repost from threads earlier in the year, I love it, some of our friends here love it, and now you clearly love it as well. I actually take it over Sean of the Dead as my favourite of the Cornetto trilogy! Symphonie pour un massacre (1963) 10 - So, another one I need to see then... I'm just working my ay through some Spag Westerns at the moment and then I promise I'll be back on the Frenchie noir trail!
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Post by hitchcockthelegend on Nov 26, 2019 18:50:56 GMT
Face to Face (1967) - www.imdb.com/title/tt0061636/referenceReasons of state, Wallace. You studied history, so you know what I mean. Not out of hate... but with compassion. Faccia a facia (Face to face) is directed by Sergio Sollima and Sollima co-writes the screenplay with Sergio Donati. It stars Gian Maria Volontè, Tomas Milian and William Berger. Music is by Ennio Morricone and cinematography by Emilio Foriscot and Rafael Pacheco. Brad Fletcher (Volontè), a New England professor, is plagued by ill health and is advised to relocate to the West for better climate conditioning. Once in Texas he is unfortunately taken hostage by wounded outlaw Beauregard Bennet (Milian), the result of which begins a turning of the character based tables... Sergio Sollima followed his excellent La resa dei conti (The Big Gundown) with this similar, if more complex, classic piece of spag cinema. Often cited as a picture with deep political motives, which Sollima denied, it really is in simplified terms a story about a good man going bad and a bad man going good. There are of course political and social observations, coming as it does down in the South post the Civil War, while some of the literate philosophising rewards more on subsequent revisits to the pic. Very talky for sure, it does however contain some superb action sequences, particularly in the last quarter, which in turn is crowned by a very Leonesque finale of quality framing. The trio of lead actors, each a Spag Western legend, are on superb form, while Sollima and his cinematographers provide an epic location based scope to the piece. Be sure to not see any abridged or dubbed version, see it only in its full length with natural Italian accompanied by the various subtitle options. 8/10 Terrific review of FtF,Spike. I've got the flick on disc,and your review is making me look forward to checking it out. Hi Buddy. Thanks for the kind words, I really have just kept it simple. Once I knew that Sollima steadfastly refuted claims about it being a metaphor for the rise of Italian fascism then I'm not going to extend thought to it - which many in depth critical reviewers have done. I liked it a lot and it will be interesting to see how it pans out for you - I'm petty sure you will like some of the compositions in it.
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Post by Feologild Oakes on Nov 26, 2019 23:40:51 GMT
I finally actually sat down and watched Singin' in the Rain (1952)
It could be because i am not really a big musical fan but i did not think it was that good, not a bad movie but nothing special.
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Post by OldAussie on Nov 27, 2019 0:00:32 GMT
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Post by morrisondylanfan on Nov 27, 2019 0:10:49 GMT
How would you rank them Aussie? My current ranking is: Fuzz Dead End
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Post by OldAussie on Nov 27, 2019 0:53:06 GMT
probably -
Fuzz End Dead
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Post by mikef6 on Nov 29, 2019 2:28:52 GMT
hitchcockthelegend You always have such an amazing and wide-ranging variety of films each week. I have seen several of your viewings but not for many years. Arnie made so many of those action dramas with quips in the 1980s it is a surprise that they all don’t run together in one’s mind, but somehow they don’t. “Raw Deal” I thought was one of his lesser efforts but nevertheless enjoyable. I haven’t seen it since the year of its release. About the same with “Airport 1975.” The four “Airport” movies started big in 1970 and then stair-stepped their way downward in quality as they went on. “Airport 1975” was the second of the bunch so still had some punch left, if I recall. Carpenter’s “Assault On Precinct 13” is some kind of masterpiece. As I said recently in a thread about “Children of the Damned,” there was a low-budget that came together with script, actors, and director to create a miracle that should never have happened. Also, about two weeks late, thanks for the lead to “Inside The Walls Of Folsom Prison.” I located it and it is on my watch list.
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Post by teleadm on Nov 29, 2019 18:43:44 GMT
hitchcockthelegendThanks for your reviews and analyses! Santa Fe, while you went deeper, is more or less what I wrote "you know what you're gonna get" in the pre-Boetticher-Scott era/collaboration. Rio Bravo, I understand your points! Having a recent teen idiol I though have been more understanding towards, to attract a wider audience including youngsters, even if they are more posers than having any greater acting abilities, it didn't disturb me too much. Airport '75, I've written about before as "Forget everything you know about aerodynamics" and enjoy a bunch of stars, seasoned, new and known from television, in distress, and have fun with all clichés. Myrna Loy having strong drinks could be a wink to her martini drinking Nora Charles.
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Post by hitchcockthelegend on Nov 29, 2019 19:17:36 GMT
I finally actually sat down and watched Singin' in the Rain (1952) It could be because i am not really a big musical fan but i did not think it was that good, not a bad movie but nothing special. What a shame, pic is a complete and utter ode to joy. Maybe another viewing for you later on in life, perhaps when you are feeling blue? Or is that it, you tried and it's move on time?
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Post by morrisondylanfan on Nov 29, 2019 19:34:04 GMT
Biggest let-down of the month: QT's Death Proof Introduced in the Grindhouse cut with fake trailers far more inventive, funnier than the actual film, Writer/cinematographer/directing auteur Quentin Tarantino (QT) opens his segment with a foot waving in the air, a fitting image for the repetitive stamping on the same spot nature of the film. Attempting to pay tribute to the Grindhouse, the screenplay by QT completely misses the mark in being either a kitsch tribute or a actual Grindhouse flick, with each member of the girl gangs given little to distinguish themselves from each other, as each of them pour out QT's usual hip dialogue, which in this case comes out as clunky, due to a focus in the dialogue of forcing mention of the same two or three films over and over again, no matter how out of place it is. Utterly missing the leanness of real Grindhouse cinema, QT offers a glimpse of hope with the arrival of Stuntman Mike, but throws it all away, by having Mike not being the silent and deadly type in Grindhouse flicks, or the QT baddie with the winning one-liner, as Mike miss-timed stunts land him with the same colourless, bone-dry dialogue as the rest of the cast. The first time he has worked as a cinematographer on his own work, QT displays a shocking lack of attention to consistency on the aesthetic. Setting two girl gangs up against Stuntman Mike over a 14 month period, QT rubs the first gang down with a grating bag of tricks of fake spots, flickering lines and blobs on the print in a attempt to dig into the Grindhouse spirit, which get shoved aside for a modern, crisp digital sheen glossing between the cars in a enjoyable swift final battle with long crane shots that sure were not the type done in the Grindhouse era. The start of their collaboration, Kurt Russell steals the film as Stuntman Mike, thanks to Russell bringing out a laid-out coolness in Mike which tips at a psycho under the Death Proof hood. Wright's Hot Fuzz 10 Going from a zombie apocalypse to the mean streets of Sandford, co-writer/(with Simon Pegg) directing auteur Edgar Wright reunites with editor Chris Dickens and continues to build upon his distinctive fluid whip-pans/crash-zooms being pinned by rapid, razor-sharp edits stirring a Action-style atmosphere during the most mundane of tasks being done. Awakening the sleepy town with a awesome soundtrack, Wright continues to dual-weld genres, as Wright & cinematographer Jess Hall turn the small countryside location into a US Action movie backdrop, where Angel and fellow cop Danny Butterman chase shoplifters on the glossy running tracking shots and zoom-ins loading up a explosive atmosphere. Opening up the secrets of the town, Wright joyfully sends Angel and Danny into a breakneck Slasher Comedy, slashing Action movie whip-pans onto gloriously gory visual sight-gags chopping at the murders taking place. Reuniting together, the screenplay by Wright and Pegg inventively continues to expand on the themes of Shaun, with the strongly individual Angel uncomfortable over becoming a buddy to those in his newly joined force, having to face off against a zombie-like cult, who follow the group mantra that their murders are for "The Greater Good." Becoming buddies as they patrol the streets, the writers make the buddy cop friendship between Danny and Angel one which pays loving tribute to Action movies with a warm comedic steak, via Danny's fandom of cop films hilariously spilling over to him treating doing tasks with Angle such as searching for a missing goose as if it is a precursor to a Action set-piece. Hanging out on the big screen for a second time, Nick Frost and Simon Pegg give terrific turns as Danny and Angel, thanks to the dead-pan side Pegg gives Angel being matched by the eager enthusiasm Frost powers Danny's excitement over the hot fuzz becoming bad boys. Film Noir's-The first one starring my avatar! Symphonie pour un massacre (1963) 10 The lone figure walking into the final shot, the beautiful Michele Mercier gives a outstanding, expressive turn as Madeleine, whose frustrations over her husband Clavet's continuing gamble in building closer ties in the underworld, are kicked by Mercier with a Femme Falale feisty edge. Getting the planned drug deal on track with the skill of pros who have been in this game for years, the ensemble cast give incredible hard-nose Noir loner turns, from co-writer Jose Giovanni's lingering air of mystery as Moreau, to Michel Auclair's enthusiastic youthfulness of Clavet. Breaking the rails which bonded them by smearing blood on the tracks, Jean Rochefort draws the complexities building in Jabeke's betrayal of his fellow gang members, with the wise move of giving him limited dialogue, allowing Rochefort to facial express the weight on Jabeke's shoulders over his silencing of those who get close to uncovering his betrayal. Displaying the same meticulous eye later appearing in his La piscine (1969-also reviewed) co-writer/(with Jose Giovanni and Claude Sautet) director Jacques Deray & cinematographer Claude "Nephew of Jean" Renoir compose this symphony of a Noir massacre with pristine stylisation, loading a atmosphere of dread in refine long-shots going down the carriages filled with Jabeke's betrayals. Punching out when Jabeke's backstabbing risks being found out, Deray hits with shards of whip-pans coming out of low shadows to the blunt, blast force of Jabeke's murders. Featuring not one, but three film makers, the adaptation of Alain Reynaud-Fourton's story Les Mystifies by Deray/Giovanni and Sautet thrillingly binds the bond of these five Noir thugs with superb, measured dialogue on the years of trust and friendship which leads to them doing the drug deal as a group. Shattering all trusts with Jabeke's betrayal, the writers magnificently sink Jabeke deeper into Noir waters each time he tries to widen the net by killing suspecting former friends, with each murder getting Jabeke closer to hearing the final notes of a massacre symphony. Death Proof - Ouch! Probably the first time in our friendship we have differed greatly - how interesting You have put up a great written reason for your disdain, which I respect wholesale. I love that you come at it from a "real" grindhouse perspective, and I couldn't argue with that in any shape or form, since it's really not a subject I could remotely claim to be clued into. So with that in mind, I love the film because I don't carry that "original" grindhouse fervours, and it remains one of my favourite QT movies. Moi > There are few things as fetching as a bruised ego on a beautiful angel. Warning: Spoilers Death Proof is directed and written by Quentin Tarantino. It's part of a double feature production that Tarantino and Robert Rodriguez released as Grindhouse. With Rodriguez contributing Planet Terror. Death Proof tells of a psychopathic stunt man played by Kurt Russell who stalks pretty young ladies and then murders them by way of road accidents caused by his "death proofed" stunt car. Joining Russell in the cast are Zoë Bell, Rosario Dawson, Vanessa Ferlito, Jordan Ladd, Sydney Tamiia Poitier, Tracie Thoms, Mary Elizabeth Winstead and Rose McGowan. Many trials and tribulations followed the release of the Grindhouse project; poor opening weekend, two film's meant to be together ultimately separated on disc, with different cuts etc etc. It's all rather boorish in truth and really both Death Proof and Planet Terror stand up on their own two feet even if the whole "Grindhouse" homage" is somewhat lost in home viewing. So on to Death Proof, a film that finds Tarantino on deliciously agreeable form. Delivering a chicksploitation psycho killer piece that bubbles nicely under the surface to then explode into one of the most thrilling finales in recent times. Now in its longer cut, Death Proof is split into two parts. The first part has one group of girls (Poitier, Ladd & Ferlito) out in Austin, Texas, celebrating the birthday of one of them. It's here we are introduced to Stuntman Mike (a terrific Russell), who is stalking them. For this first half there's lots of talk and relationship posers plotting away. It's a slow build, and in light of QT's pre release promise of 200mph thrills, it may lose some viewers hungry for action and murder death kill from the off. But hang in there, listen to the dialogue, get to know the characters, particularly the girls (how often do we get to know victims in slashers eh?), and then bang! Pay off number one as carnage is unleashed in multi-angles and action replays. A memorable blood show played out to the awesome drum beats of Dave Dee, Dozy, Beaky, Mick & Titch's pop classic Hold Tight. Part two. And our second group of girls, an aesthetically pleasing bunch that contains Zoë Bell, Mary Elizabeth Winstead, Tracie Thoms & Rosario Dawson. Again there's much talk, but oh what talk. These are girls I could sit and listen to for ever. This may not be QT's most quotable movie, but it isn't shy of coolness in the writing. Just sample the whole gun conversation as the camera revolves around the table, a sharp sharp moment in the film; all that's missing is a Madonna story, you know? Some may argue it's indulgent from the director, I say it's finding a director very relaxed and at one with his protect. Besides, it's a critical passage of play that's setting us up for the exhilarating climax as Bell (real life stunt-woman) straps herself to the bonnet of a speeding Dodge Challenger. What follows is ripping cinema, free of CGI and string work, not only does QT homage those car movies of the 70s he loves so much (Vanishing Point, Dirty Mary Crazy Larry et al), but he's also patting the back of the stunt-men and women who bring so many action moments to life. And as this long car chasing sequence raises the pulses, it starts to unravel that Death Proof is subverting the norm. Bravo boys and girls. Hilarious, riotous, troubling, sexy and sleazy, Death Proof is unsurprisingly proving divisive. But I for one wouldn't be at all surprised if in ten years time it is regarded as being one of his best movies. The Grindhouse project may not have worked as a whole, but this portion on its own provides thrills and cheek in equal measure as Tarantino gets behind the wheel and takes us on one hell of a ride. Kicking soundtrack too! 9/10 Hot Fuzz - I'm not going to trawl back to repost from threads earlier in the year, I love it, some of our friends here love it, and now you clearly love it as well. I actually take it over Sean of the Dead as my favourite of the Cornetto trilogy! Symphonie pour un massacre (1963) 10 - So, another one I need to see then... I'm just working my ay through some Spag Westerns at the moment and then I promise I'll be back on the Frenchie noir trail! Hi Spike,I hope you are having a good weekend & thanks for sharing your terrific review. With you having enjoyed Death Proof so much,I was wondering if you've picked up the R1 Grindhouse version (which includes Edgar Wright's fake trailer) ? Out of the QT's I've seen, Death Proof actually reminds me most of is Once in Hollywood, with QT placing a good part of his attetion in capturing the era/style of both films.
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Post by RiP, IMDb on Nov 30, 2019 5:12:33 GMT
Between Two Worlds (1944) good REHASH of Outward Bound (1930) based on the 1923 play of the SAME name.
7/10.
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Post by MrFurious on Nov 30, 2019 17:32:36 GMT
Miss Sloane(16) For Sama(19)(doc) Really pissed they removed the documentary board from this site. This has one of the most amazing scenes ever where a 9 month pregnant woman is full of shrapnel and they cut the baby out of her to save it and it takes ages for it to start breathing, a miracle that the both of them ended up surviving. They are mad people out there putting their childs lives at risk to make them martyrs, pretty shit parenting The Bank Dick(40)needed a comedy after that one^ The Coward(65) One Child Nation(19)(doc)
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Post by RiP, IMDb on Dec 1, 2019 8:03:16 GMT
Between Two Worlds (1944) good REHASH of Outward Bound (1930) based on the 1923 play of the SAME name.
7/10. WHOOPS, WRONG THREAD! I ONLY watched it the day BEFORE yesterday (WELL AFTER the 23rd of November).
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Post by mikef6 on Dec 4, 2019 18:41:04 GMT
Between Two Worlds (1944) good REHASH of Outward Bound (1930) based on the 1923 play of the SAME name.
7/10. WHOOPS, WRONG THREAD! I ONLY watched it the day BEFORE yesterday (WELL AFTER the 23rd of November). Ha! I did the same thing not long ago. It was a Saturday and the new thread had not been put up yet. I mistook the previous week's as the new one. Embarrassing.
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Post by Feologild Oakes on Dec 4, 2019 22:11:19 GMT
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