|
|
Post by delon on Jun 9, 2018 8:45:56 GMT
Comments/ratings/recommendations/film posters are welcome and much appreciated.
|
|
|
|
Post by wmcclain on Jun 9, 2018 11:07:09 GMT
|
|
|
|
Post by OldAussie on Jun 9, 2018 12:37:09 GMT
|
|
Deleted
Deleted Member
@Deleted
Posts: 0
Likes:
|
Post by Deleted on Jun 9, 2018 13:44:48 GMT
|
|
|
|
Post by mikef6 on Jun 9, 2018 19:39:21 GMT
Around The World In 80 Days / Michael Anderson and John Farrow (1956). Best Picture Oscar Winner. Huge box office success. Only movie produced by Mike Todd who is credited with the invention of the wide-screen process used to film the movie, Todd-AO, and who tragically died in a plane crash two years later. Most of the publicity for “80 Days” consisted of information on how many ways it was either the first or had the most of any other movie in history: the most Big Name Stars to appear and be part of the story, the most people photographed, the most miles traveled to make a film, the most camera set-ups ever used, the most…well, you get the idea. The implication is: you can't see this on your tiny 21" black and white TV at home. "80 Days" has got the mostest of any other movie and it is all on the screen to the detriment of the story as we sit for seemingly long minutes watching scenery or ocean vistas go by. We see a lot of parades and street scenes with the “cast of thousands” marching in front of the camera. One diversion with co-star Cantinflas in the bullfight ring lasts a 10 full minutes. Yet there is the knowledge that when we sit through a long sequence of Philias Fogg and Passeportout watching lands and people from an train in India, we are actually seeing India and its people, not a look-a-like location in southern California. The basic plot of the Jules Verne novel is intact. Punctual Philias Fogg (David Niven), living in 1870s London, makes a wager with his club members that he can make an around the world trip in under 90 days – 80, in fact. Fogg departs from London with his valet, Passepartout (Cantinflas), traveling by hot air balloon, boat, train, stagecoach, ostrich, elephant, and some improvised forms of transportation. The cast also features a subdued Robert Newton and Shirley MacLaine in her third movie after “The Trouble With Harry” and “Artists and Models.” A fun movie if you don’t mind the travelogue filler. Cantinflas (he made up that name, he was born Mario Moreno Reyes) was the richest, most popular, and highest paid comedy actor in the world in 1956, except he was only known in Latin American. Charlie Chaplin has been quoted as saying, “Cantinflas is the world’s greatest comedian,” and when Chaplin speaks, people listen. “80 Days” was his first venture out side Latin America. He only made one other Hollywood movie, playing the title role in “Pepe” (1960), another film that featured a plethora of celebrity cameos but which was a box office failure. Thus ended Cantinflas’ Hollywood career.  Aus dem Nichts (In The Fade) / Fatih Akin (2017). This film, the current reigning holder of the Best Foreign Language Film Oscar, features a ferocious performance by Diane Kruger, making a rare appearance in a movie where she speaks her native language. Katja (Kruger), a German citizen, marries a Turkish immigrant even while he is in prison for drug dealing. After his release, they have a son and are in business for themselves when an anti-immigrant group explodes a bomb on their street, killing husband and child. Katja is staggered and consumed by her grief and rage. Even when the bombers are identified, there is doubt that justice will be served, sending her into an even deeper spiral and actions that may endanger her own life as well. This is a tremendously powerful film that is already on my Best of 2017 list and may very well show up as one of the best of decade in just a couple of years. An overwhelming experience.  Blade Runner 2049 / Denis Villeneuve (2017). Although I have always liked “Blade Runner” and have since its release in 1982, I never really internalized it the way some science fiction fans have. Even so, I was interested in this sequel coming 35 years later, not least because Denis Villeneuve was at the helm. In spite of a few good scenes and a few good performances, however, the film (from my point of view) is pretty much of a failure. The main reason is blank-faced Ryan Gosling as the lead. I have always claimed that his stardom was based on the Kuleshov Effect rather than any talent of his own and this film, failing to create his performance through editing, reveals that there is nothing beneath his vacant visage. Also, the film tries to create profundity by inserting long pauses between lines of dialog. Of course, there is the ever present CGI light show of flying vehicles, explosions, and windows suddenly being blown in as an attack is launched. On the plus side, Jared Leto makes the most of his two short scenes as the master villain and it is always great to see Robin Wright as Gosling’s control, and Harrison Ford repeating his character, Deckard, from the original movie. I keep hoping that someday Villeneuve will, even if just on occasion, return to his French-Canadian roots and the smaller, more personal films that he created at the beginning of his career. 
|
|
|
|
Post by teleadm on Jun 9, 2018 21:53:28 GMT
Let's just say that this week didn't become what I hoped for, thougn some were really good  I don't regret one second that I watched this.  I normally like Woody Allen wry comedies, but this was a boring talk and snore feast, with lots of actors I normally like.  The first movie charmed and duped me, this movie felt overdone and stupid, with overtones of Mr Smith Goes to Washington, that doesn't work at all.  Interesting one hour docu about the making of The Third Man 1949  Italian Giallo, but something is missing to make it interesting Sorry other memebers who happens to read this, this just hasn't been a week filled with any classic old movies! |
|
|
|
Post by manfromplanetx on Jun 9, 2018 22:09:36 GMT
A wonderful week of viewing again... Two knockout crime films from director Teruo Ishii . This still says it all an excellent Nippon Noir, Kurosen chitai Black Line (1960)  Nyotai sanbashi , Flesh Pier (1958)  Two Outstanding Yakuza films from Kôsaku Yamashita ... in need of five votes at IMDb !! Nihon jokyo-den: ketto midare-bana (1971) & Otoko namida non hâmonjô (1967) Bloodiest Flower …
Ore ni sawaru to abunaize , Black Tight Killers (1966) Marvellous Pop Art crime thriller from Yasuharu Hasebe  
|
|
|
|
Post by petrolino on Jun 9, 2018 23:08:34 GMT
A wonderful week of viewing again... Two knockout crime films from director Teruo Ishii . This still says it all an excellent Nippon Noir, Kurosen chitai Black Line (1960)
I've seen a handful of Teruo Ishii's crime films, I think pretty much all from the 1970s. Exciting director. |
|
|
|
Post by politicidal on Jun 9, 2018 23:08:46 GMT
Solo (2018) 8/10
Gestorm (2016) 4/10
Topkapi (1964) 3/10
Support Your Local Sheriff! (1969) 5/10
The Assassination Bureau (1969) 7/10
The Molly Maguires (1970) 5/10
Tulip Fever (2017) 3/10
The Verdict (1982) 8/10
Grand Hotel (1932) 5/10
|
|
|
|
Post by mikef6 on Jun 10, 2018 0:29:31 GMT
wmcclainAny thoughts on "Loving Vincent"?
|
|
|
|
Post by wmcclain on Jun 10, 2018 0:35:50 GMT
wmcclainAny thoughts on "Loving Vincent"? We liked it well enough. Lovely experimental animation, with painters doing it in the style of Van Gogh. 95 minutes is plenty; longer would be stretching it. They set up a little mystery plot, suggesting Van Gogh was murdered rather than committing suicide, but never resolve that. You can recognize the actors rotoscoped into their painted versions. |
|
|
|
Post by claudius on Jun 10, 2018 7:13:37 GMT
THE FURTHER ADVENTURES OF THE MUSKETEERS (1967) Episodes 1-3. A sequel to the 1966 BBC-TV Serial Dumas Adaptation with Jeremy Brett (even using the same classical music intro). This adaptation of Dumas' TWENTY YEARS AFTER (its better known version being Richard Lester's RETURN OF THE MUSKETEERS) replaces Brett with 40-year-old Joss Ackland (it is 20 year later, although Doug and Gene weren't exactly young when they played D'Artagnan 20 years earlier). Ackland and Michael Gothard (who plays Milady's vengeful son) would later appear in the Lester films. Simply Media DVD.
THE WAR OF THE ROSES (1965) "Richard III" The final act of John Barton's adaptation of the King Saga, with Ian Holm as Richard, Janet Suzman as Anne, William Squire as Buckingham, and Eric Porter as Richmond. Illuminations/BBC DVD.
THE MAKING OF THE WAR OF THE ROSES (2016) A brief docu pingponging between interviews of David Warner (Henry VI) and Janet Suzman (Jeanne d'Arc/Anne). Evidently the series had a bit of 'Sam Tayloring' of its own, with THE OBSERVOR commenting that viewers play 'Spot the Bard' and distinguish Shakespeare's dialogue and John Barton's additional dialogue. Illuminations/BBC DVD.
LESLIE HOWARD: THE MAN WHO GAVE A DAMN (2016) For a while I've been waiting to see this biography on an actor I've known since the early 1990s (from a Goodtimes PD video of THE SCARLET PIMPERNEL, which had a VHS cover picture from a different film altogether!). I viewed previews on Youtube and accidentally discovered this docu was airing on TCM! This is the second thing I've recorded on VHS this year.
NARUTO SHIPPUDEN (2011) "Declaration of War" Viz Media DVD.
DRAGON BALL (1988) "Go Get It! The Mysterious Super God Water!" 30TH Anniversary. This episode goes to filler, as Goku getting the Super God Water (which just pops up for him in the original manga) becomes a challenging quest in the Anime adaptation. Funimation DVD.
THE ASSASSINATION BUREAU (1969) Back in the day, knowing Oliver Reed as Athos or the stepfather of TOMMY (I knew him first from pictures of THE CURSE OF THE WEREWOLF, although I saw that later), I was surprised to see him playing a calm, suave character in this comedy-adventure. Paramount DVD.
|
|
|
|
Post by Lebowskidoo 🦞 on Jun 10, 2018 15:45:08 GMT
Happy Hunting (2017) was one of those spur of the moment Netflix decisions that kinda paid off. Once a year, a remote town hunts down any undesirable residents or people who wander into town, ya know, for fun. Not too bad.  I decided to finish off John Belushi's filmography by finally seeing Old Boyfriends (1979) and Continental Divide (1981). Neither could be considered typical Belushi movies. In Old Boyfriends, he's one of several old boyfriends visited by Talia Shire's lead character. The premise sounds comedic, but it comes off as more of drama. In Continental Divide, Belushi is cast in the "Spencer Tracy" role to Blair Brown's "Katharine Hepburn."   Jane Got A Gun (2015) reunites Natalie Portman, Joel Edgerton and Ewan McGregor from the Star Wars prequels in a western setting. Kinda average, not bad but not great either.  Shanghai Surprise (1986) was a rewatch, I bought the DVD, apparently I am among the few people to do so, it's not a popular film with the masses. I made a thread on it here and it sank like a stone. I liked the Shanghai setting in the 1930's and there are several things to enjoy, although it is a bit slow in places.  First Kill (2017) was an average action movie, Bruce Willis' career decline continues.  Cargo (2017) is a surprisingly emotional zombie movie, in fact, it may well be the most emotional zombie movie I've ever seen. I would watch Martin Freeman in anything, but it helps that he chooses such great stuff.  White Heat (1949) will be the film noir that I compare all other film noir gangster movies against from now to the end of eternity. Such a perfect movie, it has everything you could want, and even more. Cagney was a dangerous actor back then, I love that, and it improves the movie in so many ways. Brilliant!  Angels With Dirty Faces (1938), Cagney in gangster mode again, only not as all-out crazy as in White Heat, but still enjoyable. I had no idea going in that Bogart was in this too, seeing Bogart with Cagney was an unexpected bonus, to say the least!  Kingsman: The Golden Circle (2017) is a sequel with lots going on. Plenty of action and unexpected turns, with a great cast. Julianne Moore is delightfully twisted here.  The In-Laws (1979) is a madcap comedy with Peter Falk and Alan Arkin, who work so well together that they should have become the next Jack Lemmon and Walter Matthau. Full of absurd situations and lines, any movie fan will enjoy it. So much better than the remake with Michael Douglas and Albert Brooks.  The Prisonoer of Second Avenue(1975) seemed like a comedy but veered off into serious drama once too often. Jack Lemmon and Anne Bancroft are two of my favorite actors of all time and they deliver, it's just that I wanted to laugh more and wound up a little glummed out. Still, it's has a few funny moments and I would recommend you see it.  The Fortune Cookie (1966) was the first pairing of Walter Matthau and Jack Lemmon, but it wound up being the last of their movie pairings that I ever saw. Matthau is spot on here, he deserved that Oscar, Lemmon is great too.  Gangs of New York (2002) was another rewatch, I needed a Daniel Day-Lewis fix. Here, he's scary and intimidating and shockingly, he didn't win an Oscar for this role, unlike how he usually does. Lots of mud, this made me think there was no green grass in all of NYC in 1846? DiCaprio is good and even Cameron Diaz delivers a fine performance. 
|
|
|
|
Post by morrisondylanfan on Jun 10, 2018 23:01:26 GMT
Hi all,I hope everyone is having a good weekend,and last week I got the chance to see some stylish,off-beat films. Venus In Fur (1969) 8 Whipped by Gianfranco Reverberi’s spidery Jazz score,director Massimo Dallamano & cinematographer Sergio “Don’t Torture A Duckling” D'Offizi eye up top quality sleaze with lush stylisation of ruby reds and pristine whites giving a decadent atmosphere to the couple. While some of the more left-field choices interrupt the mood, ( a sex scene between two horses gives turns the erotica dead!)Dallamano makes most of them work by using them to peel the layers of Severin,from extended first-person shots handing out S&M punishment from Severin’s view,and splintered flashbacks unveiling Severin’s desire for humiliation. Unzipping Leopold von Sacher-Masoch’s 1870 novella for the jet-set Euro crowd, “Fabio Massimo” (likely a fake name-this is Fabio’s lone credit) adaptation does extremely well at retaining the feeling of breaking taboos from Severin’s and Wanda’s relationship, with each new erotic act they partake in, (beginning from Wanda whipping Severin, to him requesting Wanda to sleep with other men so he can watch them)placing a chink in the armour of their romance. Dominating proceedings, Laura Antonelli gives an outstanding performance as Wanda,that brims with an erotic sensuality,that Antonelli hooks with a restrained sorrow over the tears in their marriage. Chained up from all sides, Régis Vallée gives an excellent, expressive performance as Severin, which captures the arousal and the pain Severin receives from the venus in fur. Black Moon (1974) 8 Playing out the first 15 minutes with muffled radio noise being the lone dialogue, the screenplay by Louis Malle & Joyce Buñuel, (she would soon divorce her then-husband Juan Luis Buñuel) give the dialogue a clipped,fairy tale-style presentation, via the characters being limited to first names or descriptions, ("The Old Lady") and the murmurs of a literal battle of the sexes encourages Lilly to crawl deeper into the dream-scape of the house. Taking soil from the rabbit hole of Lewis Carroll's Alice in Wonderland,the writers spin Alice's fantasy adventure into a more surrealist direction with the random running around of naked children, (thankfully without Carroll's signs) the breastfeeding of the old lady and a unicorn (!),and fellow guests at the house disappearing into air drawing out Lilly's fantasy of childhood,into the snake of adulthood. Retaining his independent French New Wave spirit by shooting the entire film on his own 200-year-old manor house and its surrounding 225-acre, director Malle and cinematographer Sven Nykvist take advantage of the limitations by giving Lilly's adventures a closed-off appearance,where every attempt she makes to leave, leads Lilly back to the house. Making everyone else round the house fade-out like ghosts,Malle gathers snippets of reality with close-ups held in silence glimpsing at the reality Lilly is leaving. Beautifully using forced perspective to keep Lilly at a child's height, Malle wraps the surrealism in a grotesque,oddly enchanting oder, with the unicorn and birds being given a rotting appearance, and the Old Lady/mother stand-in only being able to survive thanks to breast milk. Sipping on her last performance, Therese Giehse casts a great, unsettling mood as the Old Lady,whose mumbled words Giehse uses to keep Lilly permanently unsettled. Dreaming to escape from the unfolding battle of the sexes,Cathryn Harrison elegantly threads Lilly's child sense of wonder with a sensitive maturity that glows as the black moon rises. Le piège (1958)-First IMDb review for film. 8 Drifting Film Noir loner Gino Carsone in on the same winds of Gino Costa's postman that rings twice, the screenplay by co-writer/(with Roland Laudenbach/Jacques Marcerou & André Tabet) director Charles Brabant take the outline and escape to their own Film Noir destination,with the front page of newspapers gusting across the floor bringing Gino's (played by a gritty Raf Vallone) past back to the headlines. Playing hide and seek with their love and Gino's criminal past, the writers make the triangle between Gino,his lover Cora ,and her dad-in-law Caillé (played by a very good Charles Vanel) become fractured with unease over Caillé's lust for Cora (played by a romantic Magali Noël )undermining Gino's trust in him,and kicked around by all, maid Denise (a wickedly seductive Betty Schneider) unlocking a vindictive sting for the final Film Noir escape. Steaming up the opening and closing credits by freeing smoke, director Brabant and cinematographer Edmond Séchan give Gino's escape to the arms of Cora a hot,sweaty, grubby Film Noir atmosphere of everything being covered in grease and oil,and clouds of shadows taking the wheels off Gino and Cora's plans. Contrasting the rugged look of Gino, (and the peculiar winky-dink score from Alain Goraguer and Maurice Leroux) Brabant laces Cora and Denise with beautifully stylised two-shots, that dig into the Femme Fatale tension between them with the use of mirrors that reflects the devilish smiles they each possess,as Gino finds he has no escape. Other flicks: Jericho (1937) 6 |
|
|
|
Post by morrisondylanfan on Jun 10, 2018 23:04:06 GMT
A wonderful week of viewing again... Two knockout crime films from director Teruo Ishii . This still says it all an excellent Nippon Noir, Kurosen chitai Black Line (1960) Nyotai sanbashi , Flesh Pier (1958) Two Outstanding Yakuza films from Kôsaku Yamashita ... in need of five votes at IMDb !! Nihon jokyo-den: ketto midare-bana (1971) & Otoko namida non hâmonjô (1967) Bloodiest Flower …
Ore ni sawaru to abunaize , Black Tight Killers (1966) Marvellous Pop Art crime thriller from Yasuharu Hasebe
Excellent choice of pics/posters Planet X. They all look so tempting I just want to unwrap the seal and view them! |
|
|
|
Post by jeffersoncody on Jun 12, 2018 5:43:27 GMT
Aus dem Nichts (In The Fade) / Fatih Akin (2017). This film, the current reigning holder of the Best Foreign Film Oscar, features a ferocious performance by Diane Kruger, making a rare appearance in a movie where she speaks her native language. Katja (Kruger), a German citizen, marries a Turkish immigrant even while he is in prison for drug dealing. After his release, they have a son and are in business for themselves when an anti-immigrant group explodes a bomb on their street, killing husband and child. Katja is staggered and consumed by her grief and rage. Even when the bombers are identified, there is doubt that justice will be served, sending her into an even deeper spiral and actions that may endanger her own life as well. This is a tremendously powerful film that is already on my Best of 2017 list and may very well show up as one of the best of decade in just a couple of years. An overwhelming experience. IN THE FADE is an excellent film Mike, but not only did it NOT win an OSCAR, it wasn't even nominated for one. Sebastián Lelio's A FANTASTIC WOMAN won the Oscar for Best Foreign film this year. IN THE FADE did, however, did win a Golden Globe for Best Foreign Film. So, perhaps you meant to say that? |
|
|
|
Post by mikef6 on Jun 12, 2018 14:05:03 GMT
Aus dem Nichts (In The Fade) / Fatih Akin (2017). This film, the current reigning holder of the Best Foreign Film Oscar, features a ferocious performance by Diane Kruger, making a rare appearance in a movie where she speaks her native language. Katja (Kruger), a German citizen, marries a Turkish immigrant even while he is in prison for drug dealing. After his release, they have a son and are in business for themselves when an anti-immigrant group explodes a bomb on their street, killing husband and child. Katja is staggered and consumed by her grief and rage. Even when the bombers are identified, there is doubt that justice will be served, sending her into an even deeper spiral and actions that may endanger her own life as well. This is a tremendously powerful film that is already on my Best of 2017 list and may very well show up as one of the best of decade in just a couple of years. An overwhelming experience. IN THE FADE is an excellent film Mike, but not only did it NOT win an OSCAR, it wasn't even nominated for one. Sebastián Lelio's A FANTASTIC WOMAN won the Oscar for Best Foreign film this year. IN THE FADE did, however, did win a Golden Globe for Best Foreign Film. So, perhaps you meant to say that? Yeah, I remember it being announced at an awards show. Must have been the Globes. Every time I fail to Fact Check (I'm usually pretty good at it), what I write turns out to be incorrect. It's just fate or Kismet or the universe having a laugh. |
|
|
|
Post by morrisondylanfan on Jun 12, 2018 21:18:17 GMT
Hi Aussie,I hope you are having a good week,and I was wondering how you found Tonya to be? Along with enjoying Margot Robbie's playing Tonya with blemishes and all,I was impressed by the seamless blend of Robbie's real skating skills and CGI. One thing that I realised afterwards,is that this is the third breaking the 4th wall bio-pic Robbie has appeared in (the other 2 being Wolf of Wall Street & Big Short.) |
|
|
|
Post by marianne48 on Jun 13, 2018 2:32:00 GMT
King of Jazz (1930): One of those very early musicals at the dawn of "talkies" which didn't age too well; it's more curio than entertainment experience. It wasn't even very successful on its first release, as audiences were apparently tiring of such musical revues at that point. It's worth a look, though, for its creaky performances, fashions (one sequence features wedding gowns "through the ages"), the heavily made up performers (including the men and small children), and the striking early Technicolor process used for the film and restored in the recent DVD. Also of interest is an early performance by Bing Crosby
and the appearance of bandleader Paul Whiteman, who has a charming Oliver Hardy quality.
The Wizard of Oz (1939): Not having seen this in many years, I revisited this when it played on TCM last week for old times' sake and in honor of the late Jerry Maren. It still holds up, although it's always had an aura of sadness around it. I wonder if it still has appeal for today's kids.
The Gang's All Here (1943): Goofy Fox musical comedy starring Alice Faye and an assortment of novelty acts--Carmen Miranda doing her "Tutti-Frutti Hat" number; the stork-like Charlotte Greenwood doing that weird dance thing she does in many of her films (kicking up her legs stiffly sideways and shoulder-high); and a variety of manic Busby Berkeley numbers--floating hula hoops, giant discs, and one memorably phallic routine with giant undulating bananas. Also featured is a couple of numbers by Benny Goodman and his orchestra--and Goodman himself sings (he was a pretty decent singer, too). There's a contrived romantic plot in there somewhere, but the main attraction is the music.
Turner and Hooch (1989): Not a great movie, but IMO, not as horrible as it's often portrayed in "best of/worst of" early Tom Hanks films. I'm assuming that Marla Hooch, the plain-Jane ballplayer in Hanks' film A League of Their Own, got her surname from the homely dog in this film.
|
|
|
|
Post by OldAussie on Jun 13, 2018 3:49:50 GMT
Hi Aussie,I hope you are having a good week,and I was wondering how you found Tonya to be? Along with enjoying Margot Robbie's playing Tonya with blemishes and all,I was impressed by the seamless blend of Robbie's real skating skills and CGI. One thing that I realised afterwards,is that this is the third breaking the 4th wall bio-pic Robbie has appeared in (the other 2 being Wolf of Wall Street & Big Short.) I really enjoyed Tonya, great performances and some of the most clueless would-be villains since Fargo. Recommended to all. 8.5/10 |
|
