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Post by Lebowskidoo 🦞 on Jun 2, 2019 15:43:31 GMT
Last week I guessed that due to my chaotic work schedule I wouldn't be seeing many movies that coming week...turns out, I lied. Mission: Impossible - Fallout (2018) This series keeps on topping itself, just when you think they couldn't possibly do so, they just do it. The action scenes are frequent and exhilarating, which is no easy feat in an age when we've all seen so many action scenes before. The whole cast is top-notch and up for anything. Just amazing action sequences from the get-go. Tom Cruise is a crazy man, he really does a lot of his own stunts, you have to admire that kind of dedication. Christopher McQuarrie, a genius! This is what he was born to do! And it's been announced that he will do more of these movies, so I couldn't be happier. The spy genre is in perfect hands. This movie is beautifully filmed, cinematography freaks will enjoy it. It ties in pretty heavily to the previous entries of the series so you should really do yourself a favor and watch them all chronologically first before seeing this one, it will add to your overall enjoyment. One of the best action movies I've seen. A weird thing to realize you're saying about part six in a series, but it's the truth, see it for yourself. The Stanford Prison Experiment (2015) In the early 70's a study was performed in which people took on the roles of prisoners and prison guards to observe the psychological effects of power over an individual. It did not go smoothly. A strange thing really, watching people in pretend situations within a movie, which itself is a pretend situation. But you still get caught up in it all because the lines of what's real and what's not begin to blur and real emotions come out. The Experiment (2010) This movie is based on a German movie that was based on the true story of the Stanford Prison Experiment, but it's a more fictionalized version. Very similar to the above movie but of course it has been Hollywoodized. Adrien Brody and Forest Whitaker are very good on screen together. I haven't seen the German version but some say it's better than this one. I found this one compelling enough though. Insidious: The Last Key (2018) Lin Shaye (The Godmother of Horror) returns again in this final entry into the Insidious series, at least I assume it's the last. It's definitely better than the second and third movies. Psychic Elise Rainier returns to her haunted childhood home to face some demons, both personal and, well, that other kind. Not being so tied to the other movies allows it to create something newer. Some interesting twists in there too. Dolly Dearest (1991) A Chucky wannabe movie, only this one doesn't have any clever one-liners to keep you interested. Played straight and not very effective. The doll is pretty stiff. Some bad acting in here too. Bing's granddaughter, Denise Crosby, tries hard, but the production is so average and certain costars seem to be sedated. Rip Torn plays a Mexican archaeologist! Martin (1978) Martin is an odd young man who fancies himself a vampire. What he does will shock you. Graphic and weird and kind of funny. Being a horror fan, I'd been hearing about George A. Romero's Martin forever, so it was good to finally see it. Disturbing and funny really is the best way I can describe it. Great 70's look, which was easy to capture since it was the actual 70's in suburban Pennsylvania. Here's George himself playing the priest. I didn't recognize him within the movie, it wasn't until I read the credits after that I realized it was him. Knight of Cups (2015) Another pretty to look at Terrence Malick movie. I loved The Tree of Life, and this one features some of Malick's tricks from that movie. The story, such as there is one, is about some guy and all his women. I was admittedly lost for most of the movie, but it was alright. I assumed maybe the Christian Bale character was dead and revisiting his life, but then I began to doubt that theory. I really don't know now. Super Dark Times (2017) Mean Creek (2004) meets The Goonies (1985). Teenagers having fun...until things are no longer fun. Starts out great, but perhaps they should have reigned themselves in and focused more on one aspect of the story and not gone as far as they did. Still, it's worth watching. The Girl in the Spider's Web (2018) Hollywood doesn't always give us what we want. Instead of continuing the story of Stieg Larsson's Lisbeth Salander with his own follow-up novels we get this movie based on the novel by the writer hired to continue the series. Instead of bringing back Rooney Mara or Daniel Craig, we get recasts. The Swedish at least filmed the entire series with Noomi Rapace, and they're great. If you want the complete story, see those. This movie mentions what happened in those movies but none of that was ever done in the English language versions. This is not a bad movie, I actually liked it. It's just frustrating that it was recast and completely skipped over two chapters of the story started in The Girl With the Dragon Tattoo (2011). Daniel Craig and Rooney Mara both wanted to continue their roles but Hollywood decided that movie didn't make enough money so they had better start over. This story is as good a continuation as we could ask for I suppose. It weaves well into the other stories that came before. Mindhorn (2016) Very fun, very silly comedy about a washed-up TV star who is called upon to help catch a serial killer, as his TV character, Mindhorn, a detective with a robotic eye that can "see the truth." Filmed and set on the Isle of Man in the UK. It looks like a nice place to visit. Leave No Trace (2018) A beautiful and quiet film about a war vet with PTSD who raises his daughter in the woods, away from society. Ben Foster is going to win an Oscar one day, he just keeps pumping out great performances. Fans of Pacific Northwest greenery (like me!) will appreciate this movie! Rim of the World (2019) Four kids at nerdy summer camp must help save the world from alien invaders. Has that old skool 80's-ish feel but lacks a little in the execution. Seems a bit simplistic in places. The kids are all very good, and I liked the aliens a lot. There was some scenes of real suspense, and one in particular that was an obvious nod to Jurassic Park (1994). The Life Aquatic With Steve Zissou (2004) Wes Anderson movies are so special and always a little fantastical and this is definitely applicable here. I rewatched this and maybe found more reasons to love it. It's not as great as some other Wes Anderson movies, and yet it is miles beyond most other movies, creatively speaking. Willem Dafoe in this movie just cracks me up. In fact, everyone gets a chance to shine in this movie. It may be too precious for it's own good for some people's tastes, however. The soundtrack is full of Portuguese David Bowie cover songs, another reason to love it. Till next time, have a great movie week!
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Post by hitchcockthelegend on Jun 3, 2019 7:39:07 GMT
Murder By Contract, cunning as a cat > It's tough to kill someone who's not dependable. Murder by Contract is directed by Irving Lerner and written by Ben Simcoe. It stars Vince Edwards, Philip Pine, Michael Granger, Caprice Toriel and Herschel Bernardi. Music is by Perry Botkin and cinematography by Lucien Ballard. Claude (Edwards) one day decides he's had enough of being a regular Joe earning regular Joe wages. He decides to become a hit man, and after enacting a few clinical kills he works his way into the confidence of the mysterious Mr. Brink. This earns him a "big hit" in Los Angeles, where he is to snuff out the main witness in a big upcoming trial. All is going well until he finds out the target is a woman, so where once Claude was calm and assured, he now becomes irritable and irked... With the help of its appearance on the Columbia Pictures Film Noir Classics DVD set, and a certain Martin Scorsese proclaiming it as one of the biggest influences on his career, Murder by Contract is getting the exposure it so dearly deserves. An odd, even kooky type of noir flavoured picture, it's a film that is like many of the late 50s film noirs that don't have the classic noir look. It's light, airy and set predominantly on the salty sea climes of the West Coast of America. It's with the characters, or in this case mainly the central character, where many of these "lighter" shot 50s crime movies get their noir worth. And Murder by Contract is a beaut in that respect. He doesn't like guns! For two parts of the running time it's a film oozing a sense of cool. Claude proves to be a calm and methodical protagonist, his dialogue sparkles with intelligence and sophistication, he knows the world and his place within it. Words like existentialism and spare, the latter of which Scorsese uses a lot, are words bandied about frequently in conjunction with Lerner's (City of Fear) movie. Those words signify how much of a great job Lerner and Ballard did, where shot in 7 days with a minimal budget they have crafted a picture of unique quality, where maximum impact is garnered from such minimal space and sequences. Perry Botkin's score also aids the oddness on offer, predominantly electric guitar based, it's a fusion of The Third Man and Zorba the Greek, unsettling and at odds with a hit man based yarn, yet sneakily putting a sense of disquiet into the mix. I don't like pigs! It's with the last third where film really comes alive, both physically and psychologically. Once Claude gets to Los Angeles and hooks up with Mr. Brink's men, Marc (Pine) & George (Bernardi), who are babysitting him while he enacts the hit, things change drastically. Marc and George are in turn fascinated and irritated by Claude's calmness, tagging along as Claude takes in the sights, gets a bit of R&R and generally chills out. But then it's revealed that the target is a woman and Claude changes, he become unglued. He tells all that a woman is not dependable, he wants double the money or he's not doing it. It's then where we realise there's Freudian repressions lurking underneath the once icy calm exterior. We recall his outburst upon finding lipstick on a cup, his irritation at the party girl sent to his room for company, again lipstick an issue. There's emotional scars and these are further given a scrape during the finale as Claude desperately tries to finish the job, his repressions leading to classic film noir closure. A terrific little "B" noir, excellently constructed and acted, with dashes of uniqueness and sly characterisations. 8.5/10 Red Planet. Definitely a better viewing for me the second time around > Here comes a billion dollar campfire. At least it's good for something.The second of the Mars based box office bombs released in 2000, Red Planet is maybe - just maybe - worth a revisit by some who were irritated by it back on first viewing. Once knowing that this is not going to be some action packed alien movie, that it's a survivalist drama that tips its hat to 1950s sci-fi schlock, that cares about its characters, then there's a decent popcorner experience to be had here. This is not to say it's a genius entry in the sci-fi pantheon, because it's not, the same problems still exist; Terence Stamp is woefully under used (seriously they could have got any low paid character actor to play his role), some things either don't make sense or are left unanswered, and of course it still drags in the middle as the boys chatter away on Mars whilst Carrie Anne-Moss is up at base station fretting and suffering erectus nippleus. Yet there's fun to be had here, some nutty science marries up with nice photography and splendid set design, and the makers know what sort of picture they want to make. Where Mission to Mars sunk under the weight of its own pretensions - trying to go all elegiac and important, Red Planet nudges and winks and asks you along for the ride. So get on board and take it for what it is, a pretentious free zone with good human drama at the core. 6.5/10
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Post by hitchcockthelegend on Jun 3, 2019 8:23:48 GMT
Dead Reckoning (1947) 6/10
It's a real divisive picture amongst Bogart and Noir fans. I think the film is only ok, but Bogart is superb in it, lots of quips, put downs and pearls of wisdom. The Man From The AlamoHe's just an unlucky guy. As the war for Texas independence heightens, the Alamo has become a critical point of time buying interest. Fearing their families will perish under the might of the marauding Mexican army, the men of the Alamo draw lots to see which one of them will flee the Alamo battle to steer the respective families out of harms way. John Stroud is the man faced with the task, but upon reaching his destinations he finds he's too late to save anyone. However, this is just the start of his worries as he finds he has been branded a coward for leaving the Alamo, where all have now perished; while his attempts to avenge the murder of his family are beset with problems at every turn. In truth, no great shakes in the Western genre here, and certainly not even close to being amongst the better work of director Budd Boetticher (The Tall T & Comanche Station) or Glenn Ford (The Big Heat & Blackboard Jungle). It's also not high on production value and doesn't have location vitality to give it an earthy sheen, it still, however, manages to be an entertaining piece putting an interesting offshoot to the Alamo legend. Glenn Ford is a watchable star at the best of times and he manages to keep this picture afloat by putting a bit of cool bravado urgency into the role of John Stroud, with dashes of emotional fortitude, his relationship with the young, recently orphaned Carlos, gives the film its emotional weight, and when that sits alongside the usual array of shoot them up sequences it makes for good honest Western fare. Of the supporting cast, Chill Wills and Neville Brand put in some fine work, while there has been far far worse female leads in this genre than the radiant Julie Adams. Of Boetticher's direction? It's just about adequate, where working within the confines of the lot and it's lowly budget origins, he manages to pull it thru; but in truth probably himself cringed at some of the final night time sequences in the cut. He of course, a couple of years down the line, would go on to direct some of the best genre pieces on the market, so he owes the genre fan very little all told. So good and bad here folks, with the good far outweighing the technically bad deficiencies on offer. But I mean come on now, if you can't enjoy Ford having a good old punch up on the brink of a waterfall? Well you're probably better off not watching a 50s B movie Western in the first place then. 6.5/10
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Post by hitchcockthelegend on Jun 3, 2019 11:05:09 GMT
Throw all pretentions away, and this was an entertaining Mexica Western, well actually French, since it was directed by Henri Verneuil . (I Watched the English Speaking version). Outlaw Quinn on the run is mistaken for being a savior in a remote Mexican village, were a miracle accidentaly happens. So the bad guy did good. Quinn is touching, resourceful, and comic all at once, and some action scenes are very impressive. Very entertaing movie filled with snappy one-liners. Wayne is named third because the other two was under contract, Wayne was "loaned" from Republic. Wayne and Scott has a long fist fight near the end as a climax, said to be the longest in movie history at that point. I love how Dietrish handles obstacles and that she handles her coloured maid as a friend and not as lower person. Last movie of silent superstar Richard Barthelmess. Nominated for Best Art and Set Decorations. Haven't seen any of the other 4 versions of the same story. ...and that concludes my week! Guns for San SebastianThe Dam Busters. Guns for San Sebastian is directed by Henri Verneuil and adapted to screenplay by James R. Webb from the novel "A Wall for San Sebastian" written by William Barby Faherty. It stars Anthony Quinn, Charles Bronson, Anjanette Comer, Sam Jaffe and Silvia Pinal. Music is by Ennio Morricone and cinematography by Armand Thirard. An outlaw on the run is mistaken for a priest by peasant villagers who are at the mercy of bandits and Yaqui Indians. Something of a multi euro Western, Guns for San Sebastian latches onto the Spaghetti Western coat tails whilst attempting to put something new in the wardrobe. Undeniably the critics who said it's pedestrian in pace are absolutely right, the first two thirds of the piece asks for a great deal of your patience, whilst simultaneously demanding you buy into the various themes trundling away. With a surreal sub-plot at play, a jokey romance and some atrocious dubbing, it's not hard to dismiss it as purely fun cannon fodder. Yet there's some strengths in the piece, literary wise and from a thrilling stand point as the last third brings the thunderous siege - cum battle stations. Quinn throws in a good turn, the Durango locale is superbly photographed, and Morricone offers up one of his tonally astute scores. It's all very Magnificent 7 et al, but nothing wrong with that, that is on proviso you can get through the labours of the first hour or so. 7/10 The Spoilers (42)No fighting in here allowed unless it's over me. We are in Nome, Alaska, miner Roy Glennister (John Wayne) and his partner Dextry (Harry Carey), are forced to fight to save their gold claims from the crooked commissioner, Alexander McNamara (Randolph Scott). Backed by sultry saloon owner and entertainer Cherry Malotte (Marlene Dietrich), the team must overcome both the odds and suspect politicians in order to get their just deserts. Rex Beach's novel has been adapted five times thus far, and it's not hard to see why because the story is as solid as it gets. This take on the source has a wonderful sense of fun and adventure oozing from it, the cast are uniformly great and the direction from Ray Enright is tight and unobtrusive. Some fine set pieces dot themselves throughout the picture, culminating in a right royal (and lengthy) punch up between Wayne & Scott. No overkilling or tediously ham sequences are here, this is simply an enjoyable Western achieving all it set out to achieve from the off. 7/10
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Post by vegalyra on Jun 3, 2019 14:43:53 GMT
Sphinx (1981) True Romance (1993)
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Post by marianne48 on Jun 3, 2019 19:58:32 GMT
Three good movies, and a so-so one:
 Angel Face (1953)--Robert Mitchum has a job, a nice girlfriend, and a dream of owning his own business. This being a noir film, however, requires him to risk blowing it all for a calculating femme fatale. Jean Simmons can't quite capture the aura of creepiness so expertly projected by actresses like Jane Greer, but the rest of the cast is fine, and the inevitable death sequences are startlingly brutal and realistic. A good choice for noir fans.
I, Daniel Blake (2016)--An ailing carpenter struggles with the bureaucratic mess of the British employment/support system, which beats him down at every turn as he tries to get benefit payments while unable to work. The main function of the system, apparently, is to treat every member of the working class like subhuman crap while they torment them with legalese and Catch-22 regulations. When one employee of the benefits office tries to help him by answering his questions directly and clearly, she's taken aside by a supervisor who angrily reprimands her, as if the official policy is to treat people who need government assistance with contempt. Blake takes on heroic dimensions as he fights to get his benefits and helps a struggling single mother as well, purely out of the kindness of his heart. This film is a heartwrenching drama of what working class people have to go through, especially when those who claim to help them are not on their side. A tough watch, but unforgettable.
The Baby (1973)--Schlocky but effective horror film of the Whatever Happened to Baby Jane?/Hush, Hush Sweet Charlotte subgenre, which showcased aging Golden Age leading ladies in fright queen mode. In this case, Ruth Roman is the villainess, and her blowsy appearance and nicotine-stained voice are perfect for the role of a demented, man-hating mother whose revenge on the male-dominated world consists of keeping her adult son in a permanent state of infancy. Her two grown daughters provide lots of sadistic assistance. Their evil plan is discovered by a young social worker, who tries to rescue the young man from his weird family. Just when you think things can't get any more twisted...the ending is a genuine shocker. The mother-in-law/daughter-in-law bond is pretty good, anyway. Sick but compelling.
Bohemian Rhapsody (2018)--I knew almost nothing about Queen except for a couple of their songs, and I didn't learn much more from this movie (except about Freddie Mercury's teeth, I guess). Basically, this is another rehash of one of the oldest, most overdone plots in movies about show biz--an act becomes successful, the star gets too big and goes out on his own while the other members look hurt, and then the star eventually comes back chastened and everybody reunites. Some good reenactments of concerts, and Rami Malek gives a good performance. An okay watch, but a little disappointing if you expect more about Mercury's life or the rest of the band.
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Post by hitchcockthelegend on Jun 4, 2019 6:26:53 GMT
I have a major soft spot for disaster movies in general, The Towering Inferno is for me the cream of the crop. The crowning glory of a much maligned genre. A newly built state of the art high-rise is hosting a big society gathering when a fire starts up on the 81st floor... Warner Brothers & 20th Century Fox were both keen to cash in on the success of 1972s The Poseidon Adventure, Warner's buying the rights to The Tower, and Fox buying the rights to The Glass Inferno, both novels about burning skyscrapers and seemingly ripe for a big screen adaptation. Enter producer Irwin Allen who smartly suggested that both studios should come together and produce one blockbusting genre defining film. Splitting the cost down the middle, The Towering Inferno was born and went on to make over $100 million across the globe, a very impressive take for its time, and certainly a shot in the arm for disaster genre enthusiasts. The Towering Inferno is far from flawless, it contains some cheese sodden dialogue, and the film's running time doesn't quite do the film any favours. However, the film's strengths far outweigh the handful of negatives that are often used to beat it up with. The sets are fabulous (Academy Award Nominated) and all to perish in the fire, the cinematography from Fred J Koenekamp (Academy Award Winner) is lush and puts the fire in the eyes, while the score from John Williams (Academy Award Nominated) is suitably poignant and edgy. What about the action sequences? The set pieces? With many of the illustrious cast doing their own stunts! All impacting sharp on the ears thanks to the brilliant sound from Soderberg & Lewis (Academy Award Nominated), with the cast itself a reminder of a wonderful time when only the big names were considered for the big projects, McQueen, Newman, Holden, Astaire (Academy Award Nominated) & Dunaway rolling off the tongue like a who's who of entertainment heavyweights. Some say that The Towering Inferno finally killed off the ailing disaster genre, no it didn't, it crowned it, and all the others that followed were merely trailing in its wake. The Towering Inferno is a spectacular production that positively booms with high entertainment values, no expense is spared in the pursuit of entertaining the masses, it's thoughtful in texture and it teaches as it plays and it remains to me a wonderful archaic gem. 9/10 Union Pacific - you need to cast off history if you are so inclined to care about such things, but it's very tidy. There's nothing like hearing an engine whistle in the still night.Union Pacific is directed by Cecil B. DeMille (aided by others due to illness) and based upon the novel Trouble Shooter, written by Ernest Haycox. It stars Barbara Stanwyck, Joel McCrea, Robert Preston, Brian Donlevy, Akim Tamiroff and Lynne Overman. Story is a fictionalised account of the building of the railroad across the American West, encompassing the trials, tribulations and rivalries that formed as history was being made. "The legend of Union Pacific is the drama of a nation, young, tough, prodigal and invincible, conquering with an iron highroad the endless reaches of the West. For the West is America's Empire, and only yesterday Union Pacific was the West". A big production that went down a storm at the box office on release, Union Pacific, in spite of its overt patriotic bluster, is an entertaining and important part of the Western movie story. Alongside John Ford's Stagecoach, which was released a couple of months previously, DeMille's movie helped take the Western to a new, more adult, level. It wouldn't be until the 50's that the Western truly found its mojo, but the influence of both Stagecoach and Union Pacific was firmly felt thru each passing decade. Film manages to be literate whilst puncturing the plot with doses of action, while the story is underpinned by a love triangle between McCrea, Stanwyck and Preston. The former as the stoic troubleshooter brought in to keep order, the latter as the charming villain with a heart. Cast all work well with the material to hand, and if one is not bothered by the historical tampering involved in the story? Then it's an easy film to recommend to Western movie seekers. 7/10 Battleground - great movie, important as well, thank the lord for Dore Schary. The Battered Bastards Of Bastogne. Dedicated to the battered bastards of Bastogne, this major player in the war film genre is directed by William Wellman & tells the story of a U.S. Army division involved in what became known as the Battle of the Bulge. The terrific cast features George Murphy, John Hodiak, Ricardo Montalban, Van Johnson and James Whitmore. The film was nominated for four Academy Awards and won two - one for Robert Pirosh's bold and fluctuating screenplay and one for Paul Vogel's realism inducing black-and-white cinematography. Battleground is an important war film in many ways. Coming as it did at the tail end of the 40s, it was not required to be a flag waving morale booster for a country at war. Free of this burden, Wellman & Pirosh (an actual veteran of the Bastogne engagement), crafted a grunts eye view of the war. Forcing us the viewers to spend the whole of the movie with one army squad (the 101st Airborne Division), we get to know them, their fears & peccadilloes etc. Pirosh cleverly telling it as it was, scared men doing their duty. It's that we have been with them as their persona's have been laid bare, that makes the battle sequences even more potent. The jokes have stopped, the camaraderie and harmless rivalries replaced by men crying for their mothers or in some mud hole fighting for their lives. This snow covered, and fog shrouded part of Belgium a bleak canvas for the harshness of war (amazingly shot on the lot). It's a stunningly structured film, one that doesn't resort to type, it subverts the many war film plot developments that are rife in genre pieces that both preceded and came post its release. The cast are uniformly strong, and all get get ample time to impact on the narrative. Something that isn't always the case with ensemble pieces. Somebody else was strong too, Producer Dore Schary, who had to fight an unconvinced Louis B. Mayer (MGM head man) to get the film made. Schary's faith in the piece was rewarded as the film became a critical darling and a box office winner. It's not hard to see why for this is a realistic and gritty look at the hardships of war and those that fought in it. Influencing many that followed it by entertaining without gusto histrionics, Battleground is still very much a template war film. 8.5/10
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Post by hitchcockthelegend on Jun 4, 2019 6:40:28 GMT
Great film, a highlight of the political pictures back in the day. Honesty, integrity, corruption and murder! Willie Stark is an upstanding pillar of the community, when he is coaxed into standing in the local election he gets a thirst for politics. As he progresses through the political ranks he loses sight of the very things that he first stood for, with him, and all those associated with him getting muddier by the day. Adapted by Robert Rossen (director and screenplay) from the Pulitzer Prize winning novel by Robert Penn Warren, All The King's Men is the story about the rise and fall of a rotten politician. Almost certainly based on Louisiana Governor, Huey Pierce Long, it's a towering piece of work that is as politically cynical as it is ego centrically human. Not merely just another film about "when good guys go bad", this picture serves notice to the many things that drives politics on, for better or worse. The role of the press is under scrutiny for example, and just how come simple things such as rallies can be staged by some conniving aide sitting at the back? All roads in this gritty piece are paved with suspicious looking stones, the very foundations of which have been murkily formed. It's a testament to Rossen and his excellent cast that All The King's Men is still as potent today as it obviously was back at the tail end of the 40s. Every once in a while a similarly themed film will come our way, but few, if any, can boast the hard hitting realism that seams throughout Rossen's film. Helped by location shooting at run down Stockton in California, and boosted by a powerhouse performance from Broderick Crawford as Stark, this film most definitely is a hallmark in the political genre. Nominated for seven Academy Awards, it won three in the main categories, Best Actor (Crawford), Best Picture (rightly) and Best Supporting Actress (Mercedes McCambridge with an incredible debut performance). 9/10
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Post by hitchcockthelegend on Jun 4, 2019 7:00:08 GMT
hitchcockthelegend, I'll get to PRIVATE LIFE soon, because of its United Artists connection, as well as next year for the 50th Anniversary. A nice connection to the other two films is that one of the deleted scenes had a depressed Holmes turning down a request to solve the Ripper case. GASLIGHT (1944) 75TH ANNIVERSARY (this month) Inspired by a previous thread, I decided to watch this George Cukor thriller with Charles Boyer, Ingrid Bergman (whose autobiography’s picture of this film- Bergman’s persecuted wife threatening her tied up killer husband- was my intro to this film), and Angela Lansbury in her movie debut. Warner DVD. STAR TREK III: THE SEARCH FOR SPOCK (1984) 35TH ANNIVERSARY. Continuing where STAR TREK II: THE WRATH OF KHAN ended, the film resolves the predecessor’s ending. Back in the mid-1980s, this was the first STAR TREK film I watched that my child mind kept a memory of (I had snippets of KHAN- the torpedo loading, the Ceti eels scene that put me off the film for a while), watching it constantly when my dad rented it. Remembered the escape, offputted by Kirk's grief, saw the destruction of the Enterprise, and got my first intro to James Horner's music (which will develop once I got over my fear of KHAN and fully watched it about a year later). I did not get a full- post-nostalgic childhood watching of it until 1995 (when I was sharing time with watching A GOOFY MOVIE for the first time). Paramount DVD. Great tid-bid ON THE Holmes link I really must review Gaslight since I love it so much... I have seen some heated debates among Trekies about part 3, I think it's ok, a nice appetiser for part 4. You Klingon bastards! Kirk gets personal. It is what it is folks, it's a good honest Star Trek story, it beats a real emotive heart and although some may decry the lack of blistering space battles, or end of the universe peril scenarios, it's an essential film for dealing with the protagonists we know and love. Into the mix here we have our favourite alien enemies The Klingons (led by the oddly cast Christopher Lloyd), Spock's father, Sarek, who adds grace to the story, and crucially Kirk gets an emotional kicker. While elsewhere hardcore fans get a big surprise with the beloved Enterprise. It's of course merely a set up for the next (and delightfully great) instalment of Star Trek IV: The Voyage Home, but on its own terms this stands up as one of the better character pieces in the series. Due in no small part to having Leonard Nimoy directing it because he shows care and thought about a subject he obviously knows quite a bit about. 7/10
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Post by hitchcockthelegend on Jun 4, 2019 7:36:32 GMT
Last week I guessed that due to my chaotic work schedule I wouldn't be seeing many movies that coming week...turns out, I lied. Mission: Impossible - Fallout (2018) This series keeps on topping itself, just when you think they couldn't possibly do so, they just do it. The action scenes are frequent and exhilarating, which is no easy feat in an age when we've all seen so many action scenes before. The whole cast is top-notch and up for anything. Just amazing action sequences from the get-go. Tom Cruise is a crazy man, he really does a lot of his own stunts, you have to admire that kind of dedication. Christopher McQuarrie, a genius! This is what he was born to do! And it's been announced that he will do more of these movies, so I couldn't be happier. The spy genre is in perfect hands. This movie is beautifully filmed, cinematography freaks will enjoy it. It ties in pretty heavily to the previous entries of the series so you should really do yourself a favor and watch them all chronologically first before seeing this one, it will add to your overall enjoyment. One of the best action movies I've seen. A weird thing to realize you're saying about part six in a series, but it's the truth, see it for yourself. The Stanford Prison Experiment (2015) In the early 70's a study was performed in which people took on the roles of prisoners and prison guards to observe the psychological effects of power over an individual. It did not go smoothly. A strange thing really, watching people in pretend situations within a movie, which itself is a pretend situation. But you still get caught up in it all because the lines of what's real and what's not begin to blur and real emotions come out. The Experiment (2010) This movie is based on a German movie that was based on the true story of the Stanford Prison Experiment, but it's a more fictionalized version. Very similar to the above movie but of course it has been Hollywoodized. Adrien Brody and Forest Whitaker are very good on screen together. I haven't seen the German version but some say it's better than this one. I found this one compelling enough though. Insidious: The Last Key (2018) Lin Shaye (The Godmother of Horror) returns again in this final entry into the Insidious series, at least I assume it's the last. It's definitely better than the second and third movies. Psychic Elise Rainier returns to her haunted childhood home to face some demons, both personal and, well, that other kind. Not being so tied to the other movies allows it to create something newer. Some interesting twists in there too. 100% agree about the Mission Impossible series, definitely keeps upping the game with each release. Have recorded Fallout and will be watching very soon. Movies about The Stanford Prison Experiment are starting to rack up, I actually didn't know about the Brody one! The Stanford Prison Experiment (2015)Another very worthwhile production of a chilling real life experiment.The Stanford Prison Experiment makes for compelling reading/viewing, whichever format you choose to partake in, it's science gone bonkers and has the power to chill the blood. Did we need another film version? Especially since Das Experiment (2001) is an outstanding film and clearly the one that is recommended as a first port of call on the subject? As it is this Kyle Patrick Alvarez directed version is special as well, managing to get under the skin whilst being vivid in detail. Not just for 1971 period accuracy (clothes/social traits et al), but across the board characterisations as it's well written and performed. Not recommended for those who may be down on the human race, or for those obviously after a good time. But good film making is worth time investment - as is eye opening of the human condition. 7/10 Das Experiment (2001) > www.imdb.com/review/rw1833459/?ref_=tt_urvThere's an earlier one (doc) as well > Quiet Rage: The Stanford Prison Experiment (1992) - www.imdb.com/title/tt3754572/referenceUnlike Mission Imposssible I have found the Insidious series to go from bad to worse each time. I didn't have the mental strength to review The Last Key
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Post by manfromplanetx on Jun 4, 2019 8:16:04 GMT
Hi all , an excellent week of nightly views down here in OZ... Mia zoi tin ehoume , We Only Live Once (1958) Yorgos Tzavellas , Marvellous Greek Classic Cinema.... Tumultes (1932) Robert Siodmak , Terrific expressive dark tale thanks to MDF Coeur de lilas (1932) Anatole Litvak , Great drama, thanks again MDF Proshu slova (1976) I Wish to Speak Gleb Panfilov , OUTSTANDUNG Soviet drama.... Proshchanie , Farewell (1983) Elem Klimov , Touching Soviet drama in memory of Larrisa Shepitko Kým sa skoncà táto noc , Before This Night Is Over (1966) Czech/Slovak standout HIGHLIGHT of the week An exceptional film from Peter Solan places us amid the relationships the interactions playing out between a handful patrons and the employees of a trendy Slovak nightclub. Overt the course of just one evening this confined setting film is a clever and brilliant psychological study. Wonderfully innovative & improvisational filmmaking, having no substantial plot the film is however totally engaging from start to finish. With great emotional depth the complexities of social interaction of our human psyche are thoughtfully portrayed building an incisive engrossing drama . A terrific cast of characters are accompanied with a swing band and dancing girls who keep the patrons entertained throughout, Masterly crafted from the director & crew, Kým sa skoncà táto noc is vibrant universally appealing an outstanding highlight of mid 60s Czech New Wave... Highly Recommended !! Yolki-palki (1988) Soviet Union EXCELLENT Equal Top Billing A wonderfully entertaining bitter sweet satire based on short stories written by Vasily Shukshin.. Nikolai Knyazev played by the films director Sergey Nikonenko has a unique talent for fixing and building things and is currently working on a perpetual motion machine in his backyard. He is generous and is warm hearted but for good reason most of the locals think he is a little crazy. The other side to eccentric Knyazev is his berating theoretical ravings on personal responsibility to the "state" , having spent years working on a socialist philosophical treatise, he daydreams away envisioning himself as someone famous a saviour looking down scornfully over all the Earths sinners...It is a beautifully composed film an excellent adaptation of the author who's interest was the ordinary everyday people of the Soviet Union. With a fabulous cast of extras there is much humour, laced with a deeper melancholic touching tone Hells Bells is a marvellous Soviet Classic film delight. Highly Recommended !!
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Post by morrisondylanfan on Jun 4, 2019 21:28:02 GMT
Hi all , an excellent week of nightly views down here in OZ... Mia zoi tin ehoume , We Only Live Once (1958) Yorgos Tzavellas , Marvellous Greek Classic Cinema.... Tumultes (1932) Robert Siodmak , Terrific expressive dark tale thanks to MDF Coeur de lilas (1932) Anatole Litvak , Great drama, thanks again MDF Proshu slova (1976) I Wish to Speak Gleb Panfilov , OUTSTANDUNG Soviet drama.... Proshchanie , Farewell (1983) Elem Klimov , Touching Soviet drama in memory of Larrisa Shepitko Kým sa skoncà táto noc , Before This Night Is Over (1966) Czech/Slovak standout HIGHLIGHT of the week An exceptional film from Peter Solan places us amid the relationships the interactions playing out between a handful patrons and the employees of a trendy Slovak nightclub. Overt the course of just one evening this confined setting film is a clever and brilliant psychological study. Wonderfully innovative & improvisational filmmaking, having no substantial plot the film is however totally engaging from start to finish. With great emotional depth the complexities of social interaction of our human psyche are thoughtfully portrayed building an incisive engrossing drama . A terrific cast of characters are accompanied with a swing band and dancing girls who keep the patrons entertained throughout, Masterly crafted from the director & crew, Kým sa skoncà táto noc is vibrant universally appealing an outstanding highlight of mid 60s Czech New Wave... Highly Recommended !! Yolki-palki (1988) Soviet Union EXCELLENT Equal Top Billing A wonderfully entertaining bitter sweet satire based on short stories written by Vasily Shukshin.. Nikolai Knyazev played by the films director Sergey Nikonenko has a unique talent for fixing and building things and is currently working on a perpetual motion machine in his backyard. He is generous and is warm hearted but for good reason most of the locals think he is a little crazy. The other side to eccentric Knyazev is his berating theoretical ravings on personal responsibility to the "state" , having spent years working on a socialist philosophical treatise, he daydreams away envisioning himself as someone famous a saviour looking down scornfully over all the Earths sinners...It is a beautifully composed film an excellent adaptation of the author who's interest was the ordinary everyday people of the Soviet Union. With a fabulous cast of extras there is much humour, laced with a deeper melancholic touching tone Hells Bells is a marvellous Soviet Classic film delight. Highly Recommended !! Hi Planet X,I hope you are having a good week,and by a weird coincidence,I've just started really digging into my Czech (watch) list. Not having heard of Kým sa skoncà táto noc before your excellent review,I've ordered it,and will hopefully be able to watch it over the weekend. Thank you for bringing it to attention:
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Post by manfromplanetx on Jun 5, 2019 1:09:22 GMT
Hi all,I hope everyone is having a good weekend,and I this week celebrated on May 27th being 14 years since I joined IMDb by watching: William Dieterle's Man Wanted (1932) 7 The first of 6 (!) films he made in 1932,director William Dieterle fluidly blends the depth of field vision of cinematographer Gregg Toland, via delicate,ultra-stylised framed deep-focus close-ups on Ames and Sherman placing their heads side by side. Cracking open an atmosphere of Pre-Code Rom-Com glamour, Dieterle layers on dissolves of the couple changing into various eye-catching costume, Hi there MDF congratulations on your 14 year milestone at IMDb , You celebrated the week with some fabulous entertainment I see... Man Wanted is a great favourite here, lightweight in the story line but sparkling everywhere else. As you point out the eye-catching glamour is a standout, William Dieterle was a meticulous craftsman, bringing with him from Europe great style & taste, outstanding are his composition of sets and props his Mise-en-scène. Man Wanted boasts some of the best Art Deco furnishings , Lois Ames office is sensational. Of course the biggest drawcard always is lovely Kay Francis, with an air of confidence & with her beautiful expressive features she always shines, every characterization an enchanting natural performance... I know you will enjoy films of Peter Solan We should in the same vein as the popular Classic Jap and French threads start a Classic Czech/Slovak Classic film discussion, no time for me today I should not be here now ! Happy Viewing to you...
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Post by hitchcockthelegend on Jun 5, 2019 5:51:38 GMT
Sphinx (1981) True Romance (1993) The King, Chiba, White Boy Day and Love - Bloody Love. True Romance is directed by Tony Scott and written by Quentin Tarantino. It stars Christian Slater, Patricia Arquette, Dennis Hopper, Brad Pitt, Val Kilmer, Gary Oldman, Michael Rapaport, Christopher Walken, James Gandolfini, Chris Penn, Tom Sizemore, Bronson Pinchot and Saul Rubinek. Music is by Hans Zimmer and cinematography by Jeffery L. Kimball. Comic book store clerk Clarence Worley (Slater) falls in love with call girl Alabama Whitman (Arquette) when she turns up at the movie theatre as one of his birthday presents. Marriage is quick but as the whirlwind romance gathers apace, complications quickly follow in the form of psycho drug dealers and the mob! It's still speculated on how True Romance would have panned out had Tarantino directed his own screenplay, but really in the grand scheme of things it doesn't matter. For True Romance is a wildly exciting fusion of lovers on the lam premise with violence a go go thrills. Director Scott did a bang up job bringing Tarantino's screenplay to life, even making a couple of narrative changes that suits (QT agrees) the picture no end. People often get hung up on the fact that Scott had previously helmed Top Gun, Beverly hills Cop II and Days of Thunder, citing these as reasons that Scott was wrong for the material, yet the film he did immediately before True Romance was The Last Boy Scout, a thrilling and muscular actioner that pings with sharp savvy dialogue scripted by Shane Black. It was the perfect trial run for True Romance, and Scott proved to be a wise and cohesive choice for the material. He also expertly marshalled a large ensemble cast, garnering career high turns from Slater and Arquette in the process. Almost everything clicks into place on True Romance, it never lacks for kinetic thrills or edge of the seat drama. In turn it likes to grab you around the throat with some wince inducing violence, cunningly drawing you in to root for a couple of lovers who will do anything for each other, while simultaneously causing carnage for all they come into contact with. There's odd ball characters galore (Oldman and Pitt excelling in this area), exquisite set-pieces and dialogue so sharp you could cut a steak with it. From conversations between Clarence and his imaginary Elvis (Kilmer) mentor, to iconography unbound with one of the 90s great sequences that sees Walken's mob boss verbally joust with Hopper as Clarence's stoic father, it's a film as rich in the art of vocal acting as it is in eye splintering gloss. All that and it's a clinically beautiful love story as well! A wet dream fantasy of QT for sure, and if you wanna be churlish? Then there should have been more room made for Sizemore and Penn's glorious coppers. Hell we could even complain about the editing being a touch too slam-bang at timesÂ…But nah! Small complaints be damned, the meeting of Tarantino the writer and Scott the director delivers neo-noir goodies galore. In fact it's a film that just gets better with age. 9/10
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Post by hitchcockthelegend on Jun 5, 2019 5:57:44 GMT
Three good movies, and a so-so one: Angel Face (1953)--Robert Mitchum has a job, a nice girlfriend, and a dream of owning his own business. This being a noir film, however, requires him to risk blowing it all for a calculating femme fatale. Jean Simmons can't quite capture the aura of creepiness so expertly projected by actresses like Jane Greer, but the rest of the cast is fine, and the inevitable death sequences are startlingly brutal and realistic. A good choice for noir fans. I, Daniel Blake (2016)--An ailing carpenter struggles with the bureaucratic mess of the British employment/support system, which beats him down at every turn as he tries to get benefit payments while unable to work. The main function of the system, apparently, is to treat every member of the working class like subhuman crap while they torment them with legalese and Catch-22 regulations. When one employee of the benefits office tries to help him by answering his questions directly and clearly, she's taken aside by a supervisor who angrily reprimands her, as if the official policy is to treat people who need government assistance with contempt. Blake takes on heroic dimensions as he fights to get his benefits and helps a struggling single mother as well, purely out of the kindness of his heart. This film is a heartwrenching drama of what working class people have to go through, especially when those who claim to help them are not on their side. A tough watch, but unforgettable. The Baby (1973)--Schlocky but effective horror film of the Whatever Happened to Baby Jane?/Hush, Hush Sweet Charlotte subgenre, which showcased aging Golden Age leading ladies in fright queen mode. In this case, Ruth Roman is the villainess, and her blowsy appearance and nicotine-stained voice are perfect for the role of a demented, man-hating mother whose revenge on the male-dominated world consists of keeping her adult son in a permanent state of infancy. Her two grown daughters provide lots of sadistic assistance. Their evil plan is discovered by a young social worker, who tries to rescue the young man from his weird family. Just when you think things can't get any more twisted...the ending is a genuine shocker. The mother-in-law/daughter-in-law bond is pretty good, anyway. Sick but compelling. Bohemian Rhapsody (2018)--I knew almost nothing about Queen except for a couple of their songs, and I didn't learn much more from this movie (except about Freddie Mercury's teeth, I guess). Basically, this is another rehash of one of the oldest, most overdone plots in movies about show biz--an act becomes successful, the star gets too big and goes out on his own while the other members look hurt, and then the star eventually comes back chastened and everybody reunites. Some good reenactments of concerts, and Rami Malek gives a good performance. An okay watch, but a little disappointing if you expect more about Mercury's life or the rest of the band. Nice to see Angel Face pop up, and that you like it as well. It makes up for what it lacks visually with Freudian swirls. I enjoyed Simmons here, her angelic persona makes the finale even more potent. Never be the innocent bystander, that's the guy that always gets hurt. Angel Face is directed by Otto Preminger and adapted to screenplay by Ben Hecht, Oscar Millard and Frank S. Nugent from a story written by Chester Erskine. It stars Robert Mitchum, Jean Simmons, Mona Freeman and Herbert Marshall. Music is scored by Dimitri Tiomkin and cinematography is by Harry Stradling. The Tremayne residence, home to beguiling beauty Diane Tremayne (Simmons). When ambulance driver Frank Jessup (Mitchum) meets her for the first time, little did he know that he would soon be engulfed in a world of sexual desires and possible murder. Well if it ain't the dead body jockey. In film noir circles it's certainly well known enough, and it can count a number of big names in the movie world as its supporters, yet Angel Face still appears to be something of a forgotten treasure. It's a wickedly dark Freudian picture that pulses with impending doom, luring the viewer into its web that's been threaded together by deceit, seduction, greed and madness. The viewer is never quite sure what will out as the Diane/Frank relationship starts to form, we have a good idea that Frank is in it up to his neck, and you sense he knows it as well, but the twists and turns in the narrative keep things suspenseful; right up to the bold and black hearted finale. The themes at work in the story are beautifully aided by two compelling central performances from Mitchum (Out of the Past) and Simmons (Elmer Gantry), the former is very restrained, muscular and on iconic cigarette smoking form, the latter is suspiciously sexy, angelic yet dangerous and exuding a poker face charm. In support Mona Freeman (The Heiress) makes good out of a too small a role as the polar opposite "other" girl. Herself gorgeous, Freeman has "safe and homely" down pat, but is that enough for our rugged Frankie Jessup? Preminger (Laura/Whirlpool) directs with professional assuredness whilst getting in tight to the actors with his camera. Stradling's (Suspicion/A Streetcar Named Desire) black and white photography is effective in capturing the Beverly Hills locale, however, it's rarely in sync with the murky themes unfolding in the plot. Too often it's too bright, too expansive, the minimal amount of shadow play is sorely felt, particularly when the action switches to the foreboding setting of the Tremayne cliff top house. It's an itch that is inflamed still further by Tiomkin's in tune score, full of melodramatic swirls and supernatural down beats, it's a score very at one with the characters and begs for some shady photography. Still, that's me being greedy and wanting chiaroscuro in full effect, Stradling was a fine photographer and surely acted on Preminger's requests for this particular movie. Angel Face, a moody gem of a story that's punctured by moments of violence, and featuring a cast and director on song. 8/10
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Post by rudeboy on Jun 6, 2019 0:17:55 GMT
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The Hurricane (1937) John Ford -- A truly spectacular last thirty minutes and some strong character actors in support more than compensate for insipid romantic leads. The Count of Monte Cristo (2002) Kevin Reynolds Man’s Castle (1933) Frank Borzage Jacquot de Nantes (1991) Agnes Varda -- Varda's occasionally wonderful, somewhat overlong account of her husband Jacques Demy's childhood. Ossessione (1943) Luchino Visconti -- gripping at times but I prefer The Postman Always Rings Twice, not to mention Visconti's later run of superb films. King Solomon’s Mines (1937 Robert Stevenson -- Paul Robeson's wonderful rumbling voice seems out of place, but who's complaining.
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Suzhou River (2000) Lou Ye Lost and Found (1996) Lee Chi-Ngai The Sea Inside (2004) Alejandro Amenábar Rabbit-Proof Fence (2002) Philip Noyce -- Heartbreaking true story told in plodding fashion with wooden Kenneth Branagh, overuse of slow motion and dreary, new age Peter Gabriel score.
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Post by marianne48 on Jun 8, 2019 0:11:11 GMT
My favorite thing about Angel Face was the story included on the DVD's commentary of the scene in which Robert Mitchum has to slap a hysterical Jean Simmons across the face. For whatever reason (maybe out of pure sadism) director Otto Preminger demanded take after take of this scene. Mitchum finally got fed up and turned around and slapped Preminger across the face and asked, "Is THIS the way you want it, Otto?" Another reason to like Mitchum--a trully cool guy.
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Post by hitchcockthelegend on Jun 8, 2019 0:48:40 GMT
GASLIGHT (1944) 75TH ANNIVERSARY (this month) Inspired by a previous thread, I decided to watch this George Cukor thriller with Charles Boyer, Ingrid Bergman (whose autobiography’s picture of this film- Bergman’s persecuted wife threatening her tied up killer husband- was my intro to this film), and Angela Lansbury in her movie debut. Warner DVD. I really must review Gaslight since I love it so much... Rewatched Gaslight last night, review hopefully by Sunday.
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Post by hitchcockthelegend on Jun 8, 2019 0:53:20 GMT
My favorite thing about Angel Face was the story included on the DVD's commentary of the scene in which Robert Mitchum has to slap a hysterical Jean Simmons across the face. For whatever reason (maybe out of pure sadism) director Otto Preminger demanded take after take of this scene. Mitchum finally got fed up and turned around and slapped Preminger across the face and asked, "Is THIS the way you want it, Otto?" Another reason to like Mitchum--a trully cool guy. Yep. Mitchum's biography is a truly great read for fans of his, it's full of things like that. www.amazon.co.uk/Robert-Mitchum-Baby-Dont-Care/dp/0571210104/ref=sr_1_1?keywords=baby+i+don+t+care&qid=1559955181&s=books&sr=1-1
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Post by Doghouse6 on Jun 8, 2019 0:58:52 GMT
I really must review Gaslight since I love it so much... Rewatched Gaslight last night, review hopefully by Sunday. Wow. Between Niagara and Gaslight, you're onto something of a theme: wives in jeopardy. Further possibilities along those lines from just about every film decade are are nearly endless.
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