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Post by hitchcockthelegend on Jun 10, 2019 22:39:06 GMT
Godzilla: King of the Monsters (2019) 7/10 Godzilla: King of the Monsters (2019), it has been critically savaged in the publications I read, and yet its IMDB rating is close to what you arrived at. I hope to feel the same.
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Post by politicidal on Jun 10, 2019 22:52:50 GMT
Godzilla: King of the Monsters (2019) 7/10 Godzilla: King of the Monsters (2019), it has been critically savaged in the publications I read, and yet its IMDB rating is close to what you arrived at. I hope to feel the same. It's pretty much what you'd expect. Could have been shorter I suppose. But I was entertained.
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Post by hitchcockthelegend on Jun 10, 2019 23:13:11 GMT
Big Big Big with an important message, well made for what it is, anwithd a new danger every other second that becomes in length a bit too much. or The Robe Part II, why not since they had built the sets anyway on the Twentieth Century Fox lots. while the spectacle works well, the story that is without the burden of a famous novel. Jay Robinson once again saves the day with his over the top portrait of Caligula, while Susan Hayward makes a very mild and bland Messalina, she is supposed to be a historic femme fatale. Victor or his double are great in the action scenes. Mature had loads of fans so who am I to judge. The Day After Tomorrow. You know, I don't think I have ever gotten over my disappointment from the fist time I saw it at the theatre. I'm a big disaster movie genre fan and my expectation wasn't close to being met. And yet I own the film, it's one I keep going back to in the hope it's going to be better! Hopefully my review explains my issues with it > It threatened and promised to be a politically (wooly) mammoth disaster picture.Jack Hall is certain that another ice age is imminent due to the effects of global warming, but the government just will not listen to him. Sure enough the climate changes and the world is at threat from perilous frozen weather, worse still for Jack is that his son is trapped in New York City! Roland Emmerich was the perfect choice to direct this particular piece. There is no denying that he has no little panache when it comes to destroying and blowing things up, think Independence Day, Stargate, Universal Soldier and Godzilla. What runs true through an Emmerich picture is that he is great on the CGI money shots and knows how to whet an appetite for destruction. Sadly, what is also true is that his second halves rarely deliver on their promise, so shall it be with The Day After Tomorrow. Even allowing for the expected mawkishness that comes with disaster/survival pictures, this picture relies too much on its contrivances, thus completely losing sight of its eco-conscious heart, something that I'm sure the politically aware Emmerich set out to deliver at the start. Packing his picture with solid and professional performers (led by the always watchable Dennis Quaid as Jack Hall), Emmerich is all too aware that his money shots are what the popcorn masses have chiefly paid to see. Tornados, floods and the subsequent freeze are all excellent moments in the piece, but now, some years later the film has to be called out for being the shallow showcase that it is, in fact the CGI looks unintentionally artificial. It's a missed opportunity to make a blockbuster with an intelligent heart, and sadly Emmerich, either through boredom or ignorance? failed to seal the deal and craft one of the better genre entries. Just about average for the destruction sequences, but very little else to recommend here I'm afraid. 5/10 I simply have to see The Big Job, right up my British street with that cast! Thanks for bringing it to my attention. Demetrius and the Gladiators This is a place where men are trained to kill each other like animals! Demetrius and the Gladiators is a sequel to The Robe. It's directed by Delmer Daves and stars Victor Mature as Demetrius, a Christian slave made to fight in the Roman arena as a gladiator (and ultimately entering into a bigger fight, that of faith), and Susan Hayward as Messalina. Filling out the support cast are Ernest Borgnine, William Marshall, Michael Rennie, and Jay Robinson as the maniacal emperor Caligula. The screenplay is from Philip Dunne (How Green Was My Valley/The Agony and the Ecstasy) and cinematography comes courtesy of Milton R. Krasner (Academy Award winner Best Color Cinematography for Three Coins in the Fountain 1955). Following straight on from The Robe, Demetrius and the Gladiators is a safe and enjoyable Biblical picture that doesn't outstay its welcome. Running at just over 100 minutes, the film is far from being epic in its telling. However, and without cramming in, it does contain all the necessary ingredients to make up a sweaty sword and sandals pie. Filmed in CinemaScope it has a persecuted hero, a bonkers villain, a sexy babe, huge sets, colourful costumes and fights, lots of fights. Thankfully the serious dialogue is mostly kept brief, as there a few things worse in this genre of film than bloated discourse on religious beliefs and political dalliances. Just get in there, let us know what is going on, and move on to the next chapter of the story. This is something that Daves' film does very well, it has an eagerness to entertain with dots of gusto and sexual swagger. The acting is mixed, Mature is solid without ever really convincing as the heroic figure of Demetrius, Hayward and Robinson are camping it up and thus entertain royally, while Borgnine and Rennie earn their respective pay. Very much like another Phillip Dunne screenplay genre piece, David And Bathsheba, this one is often overlooked or forgotten in discussion about the sword & sandals genre. That both films are not in the same league as the likes of Ben-Hur and Spartacus is a given, but both have much to offer the discerning cinephile. So this one is recommended Sunday afternoon fare with a flagon of claret and a roast ox dinner. 7/10
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Post by hitchcockthelegend on Jun 10, 2019 23:38:09 GMT
Well well, it's like we are in some Western themed train of thought. I'm watching Heaven's Gate next week during some time off work - also going to watch for the first time Alexander: The Final Cut, Stone is convinced there's a good movie in there so I'll have to see on that one. Which cut of HG did you watch? I presume the restored/directors version? Actually excited to see it again and getting ready to review it thoroughly - and of course defend it greatly! The Scorpion King, well it could have been worse I spose... P, T & A 9/10 www.imdb.com/review/rw2805932/?ref_=rw_urvRaiders - See my reply to Bill Now You See Me I haven't reviewed, I liked it plenty till the ending!
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Post by hitchcockthelegend on Jun 10, 2019 23:42:39 GMT
THE LONGEST DAY (1962) D-DAY 75TH ANNIVERSARY In honor of the Normandy Invasion, I watched Darryl F. Zanuck’s All-Star dream project on the two days of June 5-6. First saw this around the 50th Anniversary June 1994, when my mother asked me to record it on WQLN. I’ve seen it several times, like a Colorized version in 1997. It’s my Memorial Day film. FoxVideo DVD. I was all set to view The Longest Day myself but didn't quite have the time to fit it in in one sitting (watched Dunkirk 58) instead. I have pencilled it in for next week as I'm catching up with some lengthy epics.
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Post by hitchcockthelegend on Jun 10, 2019 23:48:27 GMT
Sorry got nothing to share with you this week buddy, The Rosary Murders catches the eye though because of the two grand pros starring.
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Post by hitchcockthelegend on Jun 10, 2019 23:54:32 GMT
Whispering Footsteps / Howard Bretherton (1943). Republic Pictures. This is something of an unknown, little seen second or third feature, typical of its time. Instead of a murder mystery, though, it follows a theme from Hitchcock’s silent “The Lodger” in which a man is suspected of being a serial killer so everyone he thought were his friends turn against him. Marcus Borne (John Hubbard) is a bank teller in Medallion, Indiana where he has lived all his life. At the bank he is under the thumb of the strict bank president, Mr. Hammond (played by everyone’s favorite movie martinet, Charles Halton). However, Hammond’s daughter Brook (Rita Quigley) and Marcus grew up together and are in love although they maintain a friendship not a romance. After women begin to be killed in small towns all around Medallion, a detective (Cy Kendall) shows up with an artist’s sketch of the killer. It looks exactly like Marcus. As suspicion begins to build, one by one the people Marcus was closest to begin to withdraw and total strangers stop and stare at him. Even we, the audience, cannot be sure of his innocence. The story resolves in the final seconds of the film and of a very satisfying ending. Direction and cinematography are routine with not much imagination. But the acting from all is a couple of notches above what you might expect from a film of this level and the story and script are rewarding. This is something of an unknown, almost forgotten movie but is worth your time if you have about a hour to spare. John Hubbard and Rita Quigley Charles Halton Body And Soul / Robert Rossen (1947). Enterprise Productions. This film could carry many descriptors and all of them would be correct but none could be totally inclusive: Sports movie or more specifically a boxing movie, film noir, crime, gangsters….”Body and Soul” is a great movie that no label can encompass. Charlie Davis (John Garfield) is a rising amateur boxer who is trying to go professional with the help of his manager, Shorty Polaski (Joseph Pevney). He has the support of his loyal fiancé, Peg (Lilli Palmer) but not so much his mother (Anne Revere). When he does prove himself he falls under the control of mob leader Roberts (Lloyd Gough) and Roberts’ chosen manager, Quinn (William Conrad doing nomination worthy work). In true noir fashion, we even get a femme fatale in Alice (Hazel Brooks), Quinn’s former girlfriend, to whom Charlie turns after breaking with Peg and his family. The dialog crackles as in this exchange between Alice and Quinn: Alice: Don’t try to romance me, Quinn. You’re getting old. Quinn: You need a new paint job yourself. Alice: And I know where to get it. The film ends with an exciting match (cinematography by James Wong Howe) that has a lot riding on it. The protagonists are all second or third generation immigrants living in New York City. Shorty is clearly of Polish extraction and when a welfare worker visits Charlie’s mother, she confirms her name, address, and religion: “Jewish.” My heart leapt up. Only 10 years earlier, in the Best Picture winner “The Life Of Emile Zola” (1937) when the subject was one of history’s most famous legal cases involving anti-Semitism, not only was that subject never mentioned, but the very words “Jew” or “Jewish” were never used in dialog. And in another way this film can tell a layered story is the hiring of African-American actor Canada Lee who plays Ben Chaplin, a brain damaged former champion from whom Charlie won the title and then hired as a coach. Chaplin is not only performed by Lee as a man with intelligence and sensitivity, but he is allowed to speak in his own voice instead of that faux deep south racist dialect that others like the talented Willie Best and Mantan Moreland were forced to use. But many involved in this film payed the price of this picture of America as a melting pot. Within the next 5 to 6 years director Robert Rossen, screen writer Abraham Polonsky, John Garfield, Anne Revere, and Lloyd Gough had fallen victim to HUAC and the Hollywood blacklist. Canada Lee, John Garfield Lilli Palmer and John Garfield meet cute Body and Soul met your approval then! Great review chap. Good find with Whispering Footsteps, I'm enjoying reading up on this little known monochromers. Keep it up
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Post by hitchcockthelegend on Jun 11, 2019 0:09:50 GMT
Always love your passion for World Cinema chap. Ozploitation. There was a time when it was literally just a handful of 1970s movies that fell under that banner, now it's like a million (slight exaggeration). Does remind me that I'm quite short in viewings there though.
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Post by hitchcockthelegend on Jun 11, 2019 0:11:44 GMT
Kate Hepburn can really grate on the nerves, sometimes! Yep, agree, and yet I still have a box set of hers and the one with Spencer Tracy as well!
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Post by hitchcockthelegend on Jun 11, 2019 0:15:38 GMT
Threaded > Artists and Models (1955) and Hollywood or Bust (1956) - imdb2.freeforums.net/post/2947462/thread
Threaded > Villa Rides (1968) - imdb2.freeforums.net/post/2933266/thread
Post In Thread > Niagara (1953) - imdb2.freeforums.net/post/2947049/thread
The Rest >
Gaslight (1944) - www.imdb.com/title/tt0036855/reference
I knew from the first moment I saw you that you were dangerous to her.
Gaslight is directed by George Cukor and is adapted to screenplay from Patrick Hamilton's play by John Van Druten, Walter Reisch and John L. Balderston. It stars Ingrid Bergman, Charles Boyer, Joseph Cotton, May Whitty, Barbara Everest and Angela Lansbury. Music is by Bronislaw Kaper and cinematography by Joseph Ruttenberg.
Years after her aunt was murdered in her London home, Paula Alquist Anton (Bergman) moves back there with her new husband, Gregory Anton (Boyer). However, what at first seems to be an idyllic marriage begins to crumble as Paula appears to be losing her mind...
You really have to put into context just how great Gaslight is as per the time it was released. For it holds up now as something of a torch igniter for what has followed over the decades. The psychological thriller - specifically that of a spouse being tormented by their partner - has been mined for all its worth - and will continue to do so. Even the terminology of very real life instances such as Gaslighted/Gaslighting have been born out from the pic, so if it is thought of being dated or old hat, its influence is still quite considerable.
It's still a terrific atmospheric thriller anyway, played out to a magnificent backdrop of Victorian London, of fogs and cobbled streets, and of course gas lights and eerie shadows. Pic is split into two halves, first half is the set-up of a whirlwind romance that leads to marriage, then the move to the marital home and support characters - nosy neighbour (Whitty), housekeeper (Everest), tart housemaid (Lansbury on debut) - are introduced to proceedings. Deft psychological touches are being played out, though wonderfully we never actually see the misdirection machinations actually being done.
Then as the second half happens upon us it really hits the diabolical straps, the methodical manoeuvres of Gregory Anton really start to gnaw away at our senses. We witness Paula come apart, her mind fractured, so vulnerable and confused, you would have to have a heart of stone not to have your very core ache. It's here where Bergman, in the first of her three Best Actress Oscar wins, excels without duff histrionics. Boyer also is superb, where guided by the astute Cukor he makes Gregory a dashing dastard, only given to subtle clues about his devious and wicked doings.
Cotton doesn't try to do a British accent, which is fine as he holds his end up well as Brian Cameron, the man getting to grips with what's actually going on in the Alton home. Brian is our hero in waiting, giving us something to hang onto as the pic reaches revelations point. With Ruttenberg (Oscar Nominated) drifting what would be known as noirish contrasts over the piece, and Kaper's music unobtrusively subtle, Gaslight hits high marks for tech credit substance. All told it's a truly great film, and one that's well worth going back to if you become jaded with the more slick and polished production line genre pieces that follow in its wake. 9/10
Black Widow (1954) - www.imdb.com/title/tt0046791/reference
The Black Widow, deadliest of all spiders, earned its dark title through its deplorable practice of devouring its mate.
Black Widow is written and directed by Nunally Johnson. It stars Ginger Rogers, Van Heflin, Gene Tierney, George Raft, Peggy Ann Garner and Reginald Gardiner. Music is by Leigh Harline and cinematograpgy by Charles G. Clarke.
A young writer insinuates herself into the life of a Broadway producer - with dire consequences...
A CinemaScope/De Luxe colour production out of 20th Century Fox, Black Widow flirts with the boundaries of colour film noir. Heflin is the Broadway producer who has his world turned upside by what at first we think is a femme fatale, only the pic isn't as straight forward as that. In fact, the title is a bit of a bum steer for this is not about some male murdering femme fatale, quite the opposite in fact, so expectation of that will only cause disappointment.
Essentially this ends up as a who and why done it? And for the most part the pic holds the attention as the narrative pitches Peter Denver (Heflin) as the Broadway producer frantically trying to prove himself innocent of a murder. Cards are kept close to the chest as Johnson's screenplay drips suspicion into the play at various points. We the audience are forced into questioning the manoeuvres of the lead protagonists, which gains momentum once Raft's Detective Bruce starts investigating the case. However, some have cried out that the revelation was too easy to spot, maybe so if one is so desperate to do so, but of course we do hear this a lot from folk not happy with the film they have watched. Personally, I didn't see it coming, but conversely, I was personally disappointed with the reveal. So, there you go, roll the dice and take a chance with it really.
Tech aspects are hit and miss. The CinemaScope format doesn't quite work here, given that most of the play is performed in apartments. When it comes to the cityscapes of New York - and the framing of characters within them - it's a treat, especially as Clarke's colour lenses are splendid, but Johnson the director doesn't appear to get a handle on the format. Acting is also an interesting parade. Heflin is great, draws you into his "on the run to clear my name" malarkey with conviction, while Rogers is having a blast as the waspish lead lady with delusions of grandeur. Raft is a one note let down in a "for the money" role, and Tierney (sadly getting closer to succumbing to her mental health problems) is poorly written and Gardiner likewise. Garner (stepping in when Maggie McNamara fell ill) is fine, slinky and suspiciously delicate, but the course of the story leaves us short of more from her.
As a whole? it's a mixed bag, but definitely it's on the good side of good, particularly for Heflin and Rogers fans and for those of a noir persuasion. 7/10
The Enforcer (1976) - www.imdb.com/title/tt0074483/reference
Here's a seven-point suppository! The Enforcer is directed by James Fargo and collectively written by Harry Julian Fink, Rita M. Fink, Stirling Silliphant, Dean Riesner, Gail Morgan Hickman and S.W. Schurr. It stars Clint Eastwood, Tyne Daly, Harry Guardino, Bradford Dillman, DeVeren Bookwalter and John Mitchum. Music is by Jerry Fielding and cinematography by Charles W. Short.
Dirty Harry Callahan is tasked with foiling a terrorist organization made up of supposed revolutionaries. However, when he's partnered by a rookie female cop he's far from best pleased and feels sure she's out of her depth.
This is the third entry of what would eventually become five Clint Eastwood starring Dirty Harry films. Sensing the need to inject a bit of freshness to what was obviously going to be a safe "no nonsense cop" formula, the makers introduce a nifty complexity to Callahan's world by pairing him up with a female cop - one that's fresh out of school. So with Callahan's propensity for being irked about partners in general, and his suspected misogyny dangled by his superiors, this is a forward thinking turn of events by the writers.
From a narrative stand point director Fargo (for his feature film debut) doesn't deviate from what made the previous two films a success. Pacing is steady so that this allows dramatic character interplays to breathe, and forceful action sequences bounce into the fray at various junctures. This is not however detrimental to the story, which zips along and is punctured by customary Dirty Harry humour. The relationship between Harry and Kate (passable but not quite a great casting choice) builds through various stages, from begrudging mentor and pupil beginnings, to something that actually ends up rather touching.
Sadly this "Dirty Harry" film lacks great villainy, the People's Revolutionary Strike Force come off as a mixed bunch of psychos and confused hippies, with not enough screen time for their leader (Bookwalter) to impact greatly on proceedings. Be that as it may, there's enough for Callahan to chew on, with the gruff straight talking cop surrounded by the usual moronic bureaucrats and handy allies (the always great Albert Popwell in a customary appearance). Where it stands with fans of the Dirty Harry series as a whole is unclear? for The Enforcer appears to now be fondly remembered more the decades have passed. But it certainly is no dead loss and a strong 7/10 rating I feel is fully justified.
The Return of Godzilla (1984) - www.imdb.com/title/tt9015178/reference
It's good to have the moody atomic beast back!
After an extended break, Godzilla as a movie force made its comeback with this the 16th Godzilla film and the first of what would be the Heisei series. It's a reboot that basically follows on from the original Gojira film of 1954. Plot has Godzilla back as a destroyer of mankind, setting its eyes on stomping Tokyo into oblivion. As Zilla goes about its destructive way, and Tokyo attempts to repel the onslaught, there's a backdrop of a diplomatic crisis reaching boiling point as the Soviets and the Americans get ready for nuclear war. Thankfully the Japanese are able to convince the sane politicians that it is in fact Godzilla at the crux of things. Can the world powers join together to defeat the mightiest of lizards?
If a Godzilla fan you could be forgiven for going into this one fearing the worst, and yet it ticks many of the boxes for those who prefer Zilla as the destroyer of mankind as opposed to the saviour of mankind that the Showa period ended up as. There's the standard amount of miniatures and sets destruction, splendidly constructed as usual, nifty effects work and a whole bunch of iconic images to take from the experience (Zilla atomic breath destruction, stomping through the city, nuclear reinvigoration, back from the dead with awesome carnage following). There's good sci-fi within as well, such as the Japanese scientists having created a super fortress known as Super X, while sometimes all you need is to hear that brilliant roar followed by lizard devastation.
This was a return to the dark roots of Godzilla, complete with anti-nuclear sentiments. It didn't reinvent the wheel, but it did restart it successfully. 7/10
The Predator (2018) - www.imdb.com/title/tt3829266/reference
A crushing disappointment.
The hopes were high for this latest Predator rebirth, not because Shane Black starred in the great first Predator film, so therefore he surely must care about the project? But because he's an excellent writer and director. Shane Black can count Lethal Weapon(S), The Last Boy Scout and The Long Kiss Goodnight on his CV, he was the man who put Iron Man back on track after the sag of part 2. Plus he is the creator of two of the best buddy buddy neo-noirs this millennium (Kiss Kiss Bang Bang/The Nice Guys), So how come The Predator stinks of lazy cash cow manure?
Plot in a nutshell sees the universe's most lethal hunters unleashed on Earth due to the meddling of a soldiers kid and some nosey scientist types. The fate of mankind rests with a group of damaged ex-soldiers and a rather cheesed off female scientist.
We have a rehash mishmash of what we have seen before in Predator 87 and Predators 2010. A group dynamic fighting a seemingly invincible foe. The subsequent science aspects such as human DNA inference/reasoning etc never really add up to much, serving only for a bunch of standard actors shouting, swearing and spouting hopelessly weak jokes and series re-treads. When you think the pic is about to up a gear, get rivetingly dramatic, a poor slice of humour comes our way either by vocal spillage or visual drivel (puppy pet Predator dog, really?). There's a bunch of plot threads that just dangle never to be pulled (PTSD/our hero's family strife et al), and the Predators loose on Earth - with different agendas - are confusingly shifted about by a screenplay not sure where it wants to land.
Plus points? Well the cinematography is superb (Larry Fong), and you can't fault this for action quotas, there's plenty of it and it's bloody (both red and green type). The score is the traditional one we had from Alan Silvestri back in the 87 film, in fact it hardly deviates from it and yet Henry Jackman gets the credit. Of course some of the jokes will work for some folk (I would be lying if I said a Whoopi Goldberg gag didn't make me laugh), but the terror has gone, these Predators are no longer scary creatures. This reeks of a troubled production going hand in hand with a cash cow that not only narratively adds up to nothing really, but of a franchise death knell. Shame. 3.5/10
And dat is dat!
Hi Spike,with The Predator,have you read about the mess that the filmed script was in? screenrant.com/predator-movie-reshoots-changes-shane-black-fox/Along with the studio signed off on Rory going full 4Chan with Weaponized Autism,the leaked photos of the good Predators (!) on tanks make it look like they originally gave Shane Black a free run: The guys at RLM did a good review of it: Fabulous stuff, kept me well busy and confirms my worst fears about us not getting the film Shane Black intended. That said, the original vision etc still looks like cheese sarnies to me. Would love to see a restored cut somewhere down the line.
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Post by OldAussie on Jun 11, 2019 0:16:16 GMT
Well well, it's like we are in some Western themed train of thought. I'm watching Heaven's Gate next week during some time off work - also going to watch for the first time Alexander: The Final Cut, Stone is convinced there's a good movie in there so I'll have to see on that one. Which cut of HG did you watch? I presume the restored/directors version? Actually excited to see it again and getting ready to review it thoroughly - and of course defend it greatly! The Scorpion King, well it could have been worse I spose... P, T & A 9/10 www.imdb.com/review/rw2805932/?ref_=rw_urvRaiders - See my reply to Bill Now You See Me I haven't reviewed, I liked it plenty till the ending! Heaven's Gate - Only ever seen the 216 minute version, even going back to the 80s. I'm a defender too despite some major flaws in the script. On the other hand, I've seen at least 3 versions of Alexander - rated all 3 of them the same - 5/10 - it's a bit of a mess but not without interest. Now You See Me - liked it plenty until about half way through when I realised nothing was logical - then THAT ending, the most random unbelievable "twist" in movie history. I also intended to catch The Longest Day but my son conscripted me into watching Indy, as he bought the blu-ray box set and we are watching the other 3 this week.
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Post by wmcclain on Jun 11, 2019 0:17:27 GMT
Gorgeous score, often compared to Korngold. The anti-Tolkien rays increase in intensity as the series continues.
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Post by hitchcockthelegend on Jun 11, 2019 0:24:38 GMT
hitchcockthelegend Black Widow / Nunnally Johnson. Writer/director Johnson has concocted a gem of a murder mystery based on a novel by Patrick Quentin. It begins as almost a “All About Eve” riff with Van Heflin as a noted Broadway playwright and producer, Ginger Rogers having a great time as his leading lady who has absolutely no filters on her speech, Reginald Gardiner as Rogers’ whipped husband, and Peggy Ann Garner (winner of a Juvenal Oscar for “A Tree Grows In Brooklyn” and subbing here for an ill Maggie McNamara) as a seeming innocent young woman from Georgia trying to make it as a writer in New York. The witty banter carries the film for the first half hour until there is a shocking suicide that turns out to be murder. This brings homicide detective George Raft in to investigate. Heflin ends up as the main suspect of the police so has to take steps to find the Real Killer. But the cleverness of Johnson’s script doesn’t end with the mystery. The picture knows how to have its cliché and make fun of it, too. After going on the lam from the cops, Heflin takes to the streets questioning several people. He later complains, “I’ve been running all over town like a TV detective.” Yes, he has and it is great for him to say so. Also in the cast is Gene Tierney as Heflin’s wife, Otto Kruger, Virginia Leith, Skip Homeier, Bea Benaderet, and African-American actress Hilda Simms, very good and very charismatic in her one short scene. The commentary on the DVD is by a film noir specialist but “Black Widow” is anything but. I’ll give it that there is a femme fatale but most of the movie takes place in bright daylight and the darkness of the human soul is NOT explored. Never a noir but nevertheless recommended. Peggy Ann Garner sheds her Child Star image in “Black Widow” Super read mate. Is it noir... I don't have a problem with colour films being film noir, but a film has to either be noir in plot or noir visually - ideally both of course. Black Widow has a protagonist in the mire purely because he was kind to a femme, and then has to fight to prove his innocence. They are noir strands for sure, but the resolution kind of negates any noir value for me. It wouldn't make any colour film noir list of mine.
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Post by hitchcockthelegend on Jun 11, 2019 0:36:51 GMT
Well well, it's like we are in some Western themed train of thought. I'm watching Heaven's Gate next week during some time off work - also going to watch for the first time Alexander: The Final Cut, Stone is convinced there's a good movie in there so I'll have to see on that one. Which cut of HG did you watch? I presume the restored/directors version? Actually excited to see it again and getting ready to review it thoroughly - and of course defend it greatly! The Scorpion King, well it could have been worse I spose... P, T & A 9/10 www.imdb.com/review/rw2805932/?ref_=rw_urvRaiders - See my reply to Bill Now You See Me I haven't reviewed, I liked it plenty till the ending! Heaven's Gate - Only ever seen the 216 minute version, even going back to the 80s. I'm a defender too despite some major flaws in the script. On the other hand, I've seen at least 3 versions of Alexander - rated all 3 of them the same - 5/10 - it's a bit of a mess but not without interest. Now You See Me - liked it plenty until about half way through when I realised nothing was logical - then THAT ending, the most random unbelievable "twist" in movie history. I also intended to catch The Longest Day but my son conscripted me into watching Indy, as he bought the blu-ray box set and we are watching the other 3 this week. I have only seen an hour and 15 mins of the very first cut of Alexander, thought it dreadful and both the girl I was dating at the time and myself got drunk instead! I'm fascinated that Stone didn't give up by doing more versions, so since I'm a fan of his (mostly) I have to give his final cut a chance. Break up from work on Friday for 5 days so I'm going to catch up with the "REALLY LONG" epics, so HG, TLD & A:TFC will take care of Sunday on their own!!!
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Post by hitchcockthelegend on Jun 11, 2019 0:43:36 GMT
The Pajama Game (1957)--Broadway hit musical doesn't translate all that well to the screen; the movie looks basically like a filmed stage play. Doris Day does her best; John Raitt has a beautiful singing voice, but unfortunately not very much movie star quality for the leading male role. There's some silly business about a knife-throwing employee which drags the story down. The song "7 1/2 Cents" contains some lines about "Only five years later...," "Only 10 years later....", "Only 20 years later," how much the union employees will be making; it's depressing to realize that if they could foresee the future, "Only 30 years later" would find their union busted up and their factory jobs outsourced to China or South America. The movie contains the hit song "Hey There" and a dance number, "Steam Heat," unmistakably choreographed by Bob Fosse, and some wild dancing at a company picnic, which are the main highlights. Mainly for Doris Day completists. Aaargh! It's the one glaring omission from my Day intake. It has a mixed rep and you confirm that. it's depressing to realize that if they could foresee the future, "Only 30 years later" would find their union busted up and their factory jobs outsourced to China or South America.
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Post by hitchcockthelegend on Jun 11, 2019 1:05:22 GMT
The Man Who Would Be King (1975) : 7/10 Seven Men From Now (1956) : 7/10 *viewing inspired by recent thread* The Man Who Would Be King > From the upper echelon of boys own adventures comes - The Man Who Would Be King! Two ex-servicemen are lolling around colonial India, it's just the start of a journey that will see them in Kafiristan. Here the mountain dwellers believe the rouge white fellows to be Gods, and thus things are about to get very interesting indeed. Written by master writer Rudyard Kipling, directed by behemoth John Huston and starring British legends Sean Connery & Michael Caine, there really isn't any way this film could have failed - sure enough the picture exudes a classy structure that is coupled with deftly smart writing. The Man Who Would Be King was a project that John Huston had coveted for many a year (decade), as far back as the 40s he was looking to adapt the Kipling short with Humphrey Bogart & Clark Gable in the leads. Some time after it was mooted that he fancied Peter O'Toole & Richard Burton to play Messrs Dravot & Carnehan. Fast forward to 1975 and the eventual pairing of Caine & Connery now looks like a masterstroke of casting, and it really is impossible to imagine anyone else in the roles of the amoral scavenger duo of the piece. in short, the wait for the film was indeed worth it. That the film is known as an adventure genre staple is a given, but it should be noted that in amongst the delightful fusion of fantasy and swashbuckling values, there lies wonderful characterisation, cheeky sly glances at the power crazy, imperialism, greed, and it pulses a political beat. A highly entertaining picture that stands up really well ever more today in this new millennium age. I mean it's got Caine & Connery playing rapscallions for Gods sake! Enough said there me thinks! 8/10 I'll jump onto the 7 Men From Now thread to share.
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Post by morrisondylanfan on Jun 11, 2019 1:05:30 GMT
Always love your passion for World Cinema chap. Ozploitation. There was a time when it was literally just a handful of 1970s movies that fell under that banner, now it's like a million (slight exaggeration). Does remind me that I'm quite short in viewings there though. Thanks Spike,and I was actually surprised by how much fun Emmanuelle goes Down Under (in more ways than one!) was. I also liked how the makers of Felicity were not at all shy about showing what inspired them: If you are planning some Ozploitation viewings in the future,I was surprised to find a Blu print is on YT! On The Predator,it sounds like one of those productions which was off the rails before cameras started rolling. Along with the other reports,I recently found out that Munn's introduction had to be quickly re-filmed due to: Actor Steve Wilder was originally cast as a minor character in Predator, but Fox removed his scenes a few days before picture lock, when actress Olivia Munn informed the studio that he was arrested, charged, and registered as a sex offender in 2010 after facing allegations that he attempted to lure a 14-year-old girl into a sexual relationship via the internet. Director Shane Black (who had already cast Striegel in small roles in Iron Man 3 (2013) and The Nice Guys (2016)) initially defended the casting as giving an old friend a second chance, but later apologized and took full responsibility for causing such controversy.
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Post by manfromplanetx on Jun 11, 2019 1:16:42 GMT
Hi all,I hope everyone had a good weekend,and I've recently viewed: Czechflix: Thanks to manfromplanetx for the awesome rec: The Golden Fern (1963) 10 Felicity (1978) Hi there MDF glad you enjoyed Before this Night is Over and hope you catch The Boxer and Death it got the top rating from me... Thanks for the mention of The Golden Fern (1963) a great still , just got a copy on the way ... Felicty (1978) Surprising to read about ? an Oz teenager upon release and I have never even heard of the title or the Director ? Following our recent experience with Curious Yellow I don't think I will be ready for this one for a while. lol
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Post by morrisondylanfan on Jun 11, 2019 2:11:05 GMT
Hi all,I hope everyone had a good weekend,and I've recently viewed: Czechflix: Thanks to manfromplanetx for the awesome rec: The Golden Fern (1963) 10 Felicity (1978) Hi there MDF glad you enjoyed Before this Night is Over and hope you catch The Boxer and Death it got the top rating from me... Thanks for the mention of The Golden Fern (1963) a great still , just got a copy on the way ... Felicty (1978) Surprising to read about ? an Oz teenager upon release and I have never even heard of the title or the Director ? Following our recent experience with Curious Yellow I don't think I will be ready for this one for a while. lol Hi Planet X,I hope you are having a good day,and after how much I enjoyed Night is Over,I hope you like Fern. I was wondering if you've seen Romeo,Juliet and Darkness by the director? With Curious Yellow,you went so much classier than me (on another site I recently got called the "resident expert" on "erotic" films. I'm proud to wear a badge of being the filth merchant on movie boards ) The director spilt his credits between more arty titles like the drama Breakfast In Paris (1982) & Felicity (1978) and Aussie Horror such as Stage Fight/Nightmares (1982):
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Post by vegalyra on Jun 11, 2019 18:00:31 GMT
Heaven's Gate - Only ever seen the 216 minute version, even going back to the 80s. I'm a defender too despite some major flaws in the script. On the other hand, I've seen at least 3 versions of Alexander - rated all 3 of them the same - 5/10 - it's a bit of a mess but not without interest. Now You See Me - liked it plenty until about half way through when I realised nothing was logical - then THAT ending, the most random unbelievable "twist" in movie history. I also intended to catch The Longest Day but my son conscripted me into watching Indy, as he bought the blu-ray box set and we are watching the other 3 this week. I have only seen an hour and 15 mins of the very first cut of Alexander, thought it dreadful and both the girl I was dating at the time and myself got drunk instead! I'm fascinated that Stone didn't give up by doing more versions, so since I'm a fan of his (mostly) I have to give his final cut a chance. Break up from work on Friday for 5 days so I'm going to catch up with the "REALLY LONG" epics, so HG, TLD & A:TFC will take care of Sunday on their own!!! I'd like to read your thoughts on Alexander the Final Cut soon. It's personally one of my favorite Stone films (next to JFK). I actually prefer the theatrical and Final cuts. The Director's Cut was abysmal, it didn't make a lot of sense. I believe Stone was pandering to the studio for its DVD release as they wanted more of an action flick than what they got theatrically. Kingdom of Heaven by Scott was similar although flip flopped, the Director's Cut clearly superior to the theatrical release the studio wanted. Alexander is one of the more interesting historical figures out there, and outside of the old Richard Burton take on the man (which I also liked, but was perhaps a little too "talky"), this is a good biopic about him. Robin Lane Fox, one of the preeminent Alexander scholars participated in the production of the film. I'm not sure why Stone has made so many versions of the film (there is an "Ultimate Cut" now), but save for the Director's Cut I've enjoyed them. The Vangelis soundtrack is good too.
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