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Post by MrFurious on Apr 27, 2020 10:50:44 GMT
Spider-Man: Far from Home(19) Detroit(17) Spider-Man: Far from Home - Actually had my first viewing last week, I haven't been able to take to Tom Holland but even though it comes off as Spider-Man for 10 year olds, rather enjoyed it. I think it appeals to my inner child! Can't stand M.J. though, sexless and boorish in vocal delivery. Need another viewing down the line before reviewing. Detroit - What you think? I need another viewing for that one as well, powerful stuff. I'd like to research the real case first. Detroit - thought it was gonna be mostly set on the streets/court room. I never watch trailers. A whole chunk of it was set in a hallway/house. It was better than I was expecting. It felt like it had loads of courtroom action cut from the end.
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Post by hitchcockthelegend on Apr 27, 2020 17:14:44 GMT
Hi Spike,with Detour,was it the Criterion Blu from last year you saw it on? If so, how is the upgrade? No mate, good old fashioned DVD complete with creaky grain
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Post by hitchcockthelegend on Apr 27, 2020 17:20:41 GMT
I prefer NIGHT CREATURES to SCARECROW OF ROMNEY MARSH though they are about equal in production values. The Disney version emphasizes a superhero clergyman and the evil of the English authorities and the advantage in sailing to America, while NC has a former pirate turned clergyman (who despite being sympathetic has traitors murdered) and does not present the King's military men as villains. I have yet to see the 1930s version. Escape To Victory is fun. I especially like Michael Caine's "just go with it" reaction in the tunnel when the team decides they want to keep playing. Alligator -- the part where the alligator crashes the wedding is a memorable scene. I'm just glad to not only find someone who has seen NC, but also likes it!
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Post by morrisondylanfan on Apr 27, 2020 21:50:41 GMT
The Rocketeer - I love it, very under appreciated on release. I may not make an honest buck, but I'm 100% American. I don't work for no two-bit Nazi. Rocketeer is directed by Joe Johnston and co-written by Danny Bilson, Paul De Meo and William Dear. It is based on Dave Stevens' comic book The Rocketeer. It stars Billy Campbell, Jennifer Connelly, Alan Arkin, Timothy Dalton and Paul Sorvino. Music is scored by James Horner and cinematography by Hiro Narita. It took eight years to get to the screen, with many rewrites, changes in personal, changes in setting and etc, the only thing consistent was Disney's inconsistency. Once out the film received generally positive reviews but posted only a small profit, in the wake of a Tim Burton inspired reinvention of the Super Hero genre, Rocketeer fell away into cultdom, sequels planned were shelved and its reputation remains to this day one of being a misfire. Unfair say I! Rocketeer is a lovingly crafted adventure film, nodding towards the serials of the 1930s, it's awash with period Hollywood delights, Art Deco imagery, has a damsel in distress, square jawed heroics, Nazi villains, wonderful effects and a blunderbuss Zeppelin finale. Backed by beautiful smooth tone photography and an evocative heart stirring music score, it's a family friendly blockbuster that ticks all the requisite boxes. The quality of the action sequences still hold up today, and Johnston, who wanted the job big time, directs with a knowing grasp of the setting, and crucially he never once loses a grip on tone and pacing. There's no self parody here, no deep Fruedian dissection of the main character, just a honest to goodness good against bad axis, with a romantic cause deftly wafted over proceedings. The role of Cliff Secord (Rocketeer) proved hard to cast, where Vincent D'Onofrio turned it down and "name" actors such as Dennis Quaid, Emilio Estevez, Kurt Russell and Bill Paxton auditioned for the part. Paxton, it's believed, was very close to getting it as well. Disney wanted an A list man, Johnny Depp and Kevin Costner were mooted, but Johnston had a feel for unknown Billy Campbell and managed to convince nervous Disney heads that he was perfect. Much of the scorn that has flown towards Rocketeer has landed at Campbell's door, again, this is unfair. It's hard to tell if one of those A list actors could have made the character work better, for it helps in this instance to not have a familiar face propelling the adventure. There's an innocence, an awkwardness to Campbell's portrayal that just sits right for a guy stumbling upon a rocket pack and finding himself submerged in a chase and harry battle against bad. He also has the looks, a handsome dude who creates a homespun based chemistry with the sensuous Connelly. It's Dalton's movie, though, he's having a devil of a time as the chief villain. Modeled on Errol Flynn and the spurious notion that he was once a Nazi spy, Dalton has the looks, the gusto, the moustache twirling shiftiness and a voice perfect for such material. A roll call of great character actors fill out the support slots, with Terry O'Quinn, Paul Sorvino and Ed Lauter particularly striking the right chords. A smashing piece of escapism, no pretensions or ideas above its station. The willingness to tap into the basic premise of a comic book actioner and entertain in grand Hollywood terms, to be applauded. And I do, and I do love it so. 8/10 I pretty much agree with everything you said, hitchcockthelegend. This is a rollicking old-style adventure film and it's little wonder that the director, Joe Johnston, went on to eventually director my favourite Marvel movie - Captain America: The First Avenger (2011) - as they feel sort of similar in a lot of ways. I noticed several things in this film that felt like he was giving a nod to in the first Cap movie. I hadn't actually watched The Rocketeer in a VERY long time. While I can't recall exactly when I would've last watched it, I think it was probably before we ever started getting DVDs. I remembered only one of two parts from it and had basically forgotten everything else (due to my memory not being as a good as it used to be). So when I saw that the Blu-ray of the movie was available for a really cheap price where I am, and that there was only limited stock available, I thought it was time to finally get it (as I'd put off doing so previously). I didn't want to miss out on seeing it again. It was like watching the movie for the first time, as most of it I'd forgotten. It really has held up incredibly well. I never once thought "Oof, those were some REALLY bad effects." while watching. It seemed to know its 'limits' effects-wise and used them sparingly, which makes when we do see them all the more special/effective. I'm sure some of the people who didn't like this film probably just got impatient with waiting for 'something to happen'. It does take a while before the first flight of The Rocketeer, but I actually had no problem with the time allowed for setting everything up. If I like the characters/actors in a movie, I can patiently wait for the 'action' to start, and that's how it was here. I liked getting to know all the characters and, honestly, the movie does have 'action' almost from the beginning when we see the car chase that leads to Cliff finding the rocket in his possession. I guess some people are just so impatient and want the hero to be the hero right from the start. I myself have no problem waiting. It's the same with CA:TFA - there's a lot of stuff that comes before he dons his costume, and I loved every minute of it. ALL the actors are great in their roles. I'm glad they went with Billy (going by just 'Bill' in this film) Campbell rather than someone more recognisable (I've been watching him in different shows and couldn't even remember him in this role, so it was good to see him as his younger self again. He totally could've played this type of leading man role in many more films). You were right with everything you said about him. I like that he was a regular guy and that he wasn't some a-hole who is just a jerk to everyone, spouting off one-liners all the time. This was back when 'heroes' were actually decent people. Meanwhile, Jennifer Connelly totally feels like she belongs in this time period/type of film. It would be easy to call her character of Jenny Blake a 'damsel in distress', but I counted at least TWO times she knocks a bad guy out, she also discovers who/what Neville Sinclair really is (it's just a shame that her discovery was somewhat rendered moot, as Cliff figures it out himself...though Jenny did steal back those rocket blueprints, at least, so she was still useful). The best part, though, is when Neville is trying to convince her his kidnapping of her isn't as bad as it appears and he spins her some rubbish about him being as much a victim as her. He attempts to seduce her using lines from the roles he's had, but she know every one of them and not easily fooled - that was a great moment. Timothy Dalton is good playing good guys, but is excellent as bad guys (I somehow missed his final line before he met his fate the first time I watched it, but caught it upon rewatch - yes, I've watched the film twice since I bought it. Once by myself, then the second time with other people). There's just SO MUCH to praise about this film. I can't understand anyone hating on it. This is the type of 'comic book' movie I prefer. Just a normal guy who doesn't have any real super powers, but has something that allows him to reach his full potential (much like the serum helped Steve Rogers reach his full potential - though he was a hero ever before he was injected with it). If you want an excellent action/adventure movie with heart, then this is the perfect film for you (the score for the film is also perfect). I put it in the same vein as The Phantom (1996). It was so great to watch this again. I can't recommend it enough to anyone who hasn't seen it. The Monitor/Baby Call (2011) 9 For what is currently the last film he has made, writer/director Pal Sletaune reunites with cinematographer John Andreas Andersen, and builds upon the visual stylisation they had started in Next Door (2005-also reviewed.) Keeping Anna and Anders behind closed doors, Sletaune and Anderson house the duo in a claustrophobic, nerve- shredding Thriller atmosphere, pulled up in long,cornered-off takes pushing Anna and Anders sanity to the corner of the room. When allowing a guest in, Sletaune monitors them increasing the anxiety on Anna and the viewer, via a delicate framing of each person crossing Anna's personal space in up-tight close-shots. Continuing on the unsettling ambiguous turn taken with the Next Door (2005),the screenplay by Sletaune grips the fragile mental state of Anna and Anders by closing them in with conversations on what horrors they have tried to escape from by moving to the flat. Whilst the coda has a odd up-beat note, Sletaune twists it into a tragic note, thanks to the screams Anna picks up on her baby monitor, striking at the mixed signals Anna sends out on what is reality. Spending most of the film with just one other person, Vetle Qvenild Werring gives a terrific turn as Anders, whose bratty side Werring cuts down to fear over his mum sinking deeper into the flat. After her Millennium trilogy co-star Michael Nyqvist had worked with Sletaune on Next Door, Noomi Rapace locks the door and gives a nail-biting performance as Anna, whose bruised mental state Rapace casts across her face with a on-edge fear over losing everything, pinned by Rapace with a curiosity for Anna to learn what the sounds are coming from the monitor. Thale (2012) 6 Placing the telling of this tale in a isolated setting mostly with just three people, writer/cinematographer/ director Aleksander Nordaas (who filmed all the interior scenes in his basement) brushes away the chance to lay the foundation for a enchanting atmosphere, by having Leo vomit all over the opening credits. Instead of going into Elvis's battle with cancer through the dialogue or keeping it to one vomiting scene which fully captures the horrific agony , Nordaas instead tries to express it visually, via Elvis and Leo regularly vomiting, which becomes a barrier to the character drama. Playing snippets of old tapes from the main setting, Nordaas records a enticing mysterious Horror atmosphere from stylishly splintered over saturated glimpses into the origins of Thale. Based upon the Nordic folklore Hulder creatures, the screenplay by Nordaas wonderfully artefacts from the crime scene where Thale is found to bring the mythical creatures into a modern setting, as Elvis and Leo unearth Sci-Fi government conspiracy-style old recordings, notes and rusting machinery. Not saying one line of dialogue, Silje Reinamo gives a magical turn in the title role, via expressing in her closed-off body language anxiety over trusting Elvis and Leo,which Reinamo gradually shakes off with her tail, to turn the page on the tale of Thale. The Monitor/ Baby Call - Not one of my favourite Noomi Rapace movies, but I have watched it a couple of times...and that's down to Noomi's performance. It's movies like this that the majority of people seem to be missing out on seeing, and displays just how dedicated Noomi is to the roles she portrays. She can play anguish/mental torture like no one, and seems to give every role her all. It's a shame most only seem to know her from her 'mainstream' films, as it's her 'lesser known' roles that she displays some of her best acting chops a loot of the time. It's not a film I'd probably rewatch again anytime soon, but I appreciate Noomi's performance in it. Thale - HirundoRustica mentioned this film to me one time, and the huldra intrigued me. I was a bit disappointed in the film as a whole, but agree with you that the actress who played Thale gave an excellent performance (especially impressive since she doesn't utter a word). The way the reveal of what happened to her is done was, I thought, an interesting choice. This film does have a 'mystical' quality about it. The music especially helps. Can't say I was that into the two human characters, but they were alright (though the constant gum-chewing got annoying. And, yes, so did the vomiting). Anyway, while it mightn't be a 'great' film, I have watched it a few times. I just find it unique with how it presents this 'creature tale' (and the 'creature' itself). I wish more movies could do tales about lesser known mythical creatures like this. A great post on The Rocketeer (1991) COE! Looking at '91,what a incredible year for Action cinema: Stone Cold, Rocketeer, Riki-Oh and the epic T2. I find that the main thing they have in common,is that whilst they are all "Action" flicks,they each present the action in unique ways,and have the plot be the foundation for the unfolding events. Mike Stoklasa on RedLetterMedia has said Rocketeer is one of his all-time favourite films,and recently did a 40 min celebration review of it: I gave it 8/10 when I first saw it in 2018: www.imdb.com/review/rw4357399/?ref_=tt_urvWhen I started Thale I was in the mood for a dark fantasy movie,but man, I found the vomiting so dam visually off-putting, the film would have worked far better without it. On Baby Call,I was wondering if you've seen Next Door (2005) that the writer/director also did? I was extremely taken by the unsettling ambiguity both films have over reality. I found Noomi absolutely fantastic here, the rawness she gave scenes such as when she takes her son out of school (with none of the Hollywood glamour) captured the intense psychological pressure the character was under.
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Post by marianne48 on Apr 28, 2020 4:10:31 GMT
The Beatles Anthology (1995)--Every few years, it seems, another "new" Beatles documentary is produced, apparently by filmmakers who know that Beatle fans will eat it up (just like "new, recently discovered" recordings keep appearing). Invariably, these generally consist of the same old film footage found in every other documentary. The best bet is to stick with some of the older docs, such as The Compleat Beatles. Otherwise, this 10-hour chronicle of the Beatles, made by the Beatles, is a comprehensive, satisfying look at the work of the band from beginning to end. No narration, other than the surviving Beatles in a talking-head format (Starr and Harrison, as well as "fifth Beatle" George Martin, just sit and talk; McCartney apparently insisted on looking busy while discussing the band; at some points he's steering a boat, another time he's sitting in front of a campfire. Just for fun, he might have considered a bit more parody--musing about the Beatles while cooking a souffle, perhaps, or training a falcon or something). There's very little about their personal lives, especially the "warts and all" stuff found in other Beatle documentaries, and there's also no heavy-handed analysis of the meanings behind the songs and other critical blather. Instead, they focus on the music, the stress of performing (especially to hysterically screaming fans who couldn't even hear the music), and the ups and downs of running the band. Best of all, there's a lot of music; many of their songs are included in complete form, or at least in sizable rather than brief clips. A must for Beatle fans, especially those who are primarily interested in the music.
After spending 10 hours watching this, the perfect follow-up viewing? The Rutles: All You Need is Cash (1978)--This was a mockumentary created by Eric Idle and Lorne Michaels which was inspired by a short clip which appeared on SNL when Idle hosted the show in the 1970s. As a Beatle/SNL/Monty Python fan at the time, I remember watching this when it was shown on NBC--apparently I was one of the few viewers who actually saw it when it originally aired, since it was the lowest-rated TV show of that week. It was funny then, and it's still fun to watch now. It doesn't really mock the Beatles themselves; it's really intended to skewer ponderous Beatle (and other music) documentaries which take themselves too seriously. A lot of goofy Pythonesque humor, with appearances by SNL alumni of the time and a brief cameo by George Harrison, who probably had the best sense of humor of all the Beatles. Some of the jokes fall flat, but it moves along at a quick pace. Best of all are the musical numbers, all well-done parodies of Beatles hits by the Rutles (I happen to prefer "Get Up and Go" more than the song it parodies, "Get Back"). Years ago, I happened to see a sequel of sorts, The Rutles 2: Can't Buy Me Lunch, which is basically the original movie with some added outtakes and updated material; don't bother to see it.
Reefer Madness (1936)--Cheap exploitation flick about the perils of marijuana--it'll drive you to murder, hysterical laughter, and manic piano playing. Interesting little "message" movie from one of the poverty row studios, a favorite of college students in the 1970s. Enjoyable if you like bad movies.
Another Evening with Fred Astaire (1959)--Mr. Astaire's first TV special was such a hit, he came back with this one. Some enjoyable musical numbers, including one in which Barrie Chase dances with Astaire who, for some bizarre reason, wears an Alfred E. Newman mask throughout the number, and still manages to come off as suave.
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Post by mikef6 on Apr 28, 2020 14:29:23 GMT
The National Theater has uploaded their production of Twelfth Night onto YouTube: I finished watching Twelfth Night and it is beyond great. BUT...The National Theatre is putting up another production on Thursday at 7:30 pm London time so the Twelfth Night may go away leaving just this evening and Wednesday's to catch it. I hope everyone will. My full review will be on the new thread next weekend.
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