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Post by delon on Feb 15, 2020 14:47:41 GMT
Comments/ratings/recommendations/film posters are welcome and much appreciated.
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Post by wmcclain on Feb 15, 2020 15:11:53 GMT
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Post by delon on Feb 15, 2020 16:49:54 GMT
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Post by politicidal on Feb 15, 2020 17:28:53 GMT
D.O.A. (1988) 7/10
Official Secrets (2019) 6/10
The Harder They Fall (1956) 6/10
Evil Eye (1964) 3/10
Ready or Not (2019) 8/10
Hercules Unchained (1960) 3/10
Hercules (1958) 5/10
Black and Blue (2019) 7/10
The Professor and the Madman (2019) 4/10
Birds of Prey (2020) 7/10
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Post by MrFurious on Feb 15, 2020 19:18:40 GMT
A Taxi Driver(17) Escape from Sobibor(87) ^^ The Other Side of Hope(17) The Favourite(18) You Can't Cheat an Honest Man(39) Beast(17) The Cave(19)(doc)
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Post by OldAussie on Feb 15, 2020 19:39:06 GMT
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Post by mikef6 on Feb 15, 2020 19:52:07 GMT
The Madonna’s Secret / Wilhelm Thiele (1946). Republic Pictures. Cinematography by John Alton (T-Men, Border Incident, Raw Deal). Artist’s model Helen North (Linda Stirling, Queen of the Serials) has been with painter James Corbin (Francis Lederer) as the model in several of Corbin’s most admired paintings. But when Helen turns up murdered, it is revealed that she died in the same way as Corbin’s model in Paris before the war. Corbin’s alibi keeps him from being arrested so Helen’s sister Linda (Ann Rutherford, Andy Hardy series) becomes Corbin’s model under a false name but comes to believe he is innocent. A third death lands Corbin in jail and puts Linda in danger from the killer. A neat little murder mystery with a Least Likeliest Person murderer – and all the more guessable for that. Lensed by noir legend John Alton; otherwise editing, shot set-up, and blocking are pretty straightforward. Francis Lederer and Ann Rutherford In A Lonely Place / Nicholas Ray (1950). Santana Pictures Corporation. Cinematography by Burnett Guffey (From Here To Eternity, Bonnie And Clyde). The formally successful screen writer Dixon Steele (Humphrey Bogart) is a hard-drinking and quick-tempered man who is likely to go out of control if angered. We see this happen twice in the movie’s first few minutes. But he can also be kind and witty when in pleasant situations with friends. When a nightclub hatcheck girl is brutally murdered, Dix becomes a suspect as the last person to see her alive. At the same time the investigation starts, he meets Laurel Gray (Gloria Grahame) who lives in the same apartment compound. They begin a relationship pleasurable to both but Dixon’s inability to manage his anger and the danger he becomes when enraged makes Laurel start to doubt his claims of innocence in the hatcheck girl’s murder. “In A Lonely Place” is at once a spellbinding film noir, the medium for two brilliant performances (Bogart and Grahame), and one of the best pictures ever made about the Hollywood film industry. Bogart had wanted to play Dixon Steele so the book by Dorothy B. Hughes was purchased for his own independent company, Santana Pictures. Two writers, Andrew Solt and Edmund H. North are credited but director Nicholas Ray added some material perhaps based on his own marriage to star Gloria Grahame which was coming apart as the movie was in production. This may have intensified the dialog and Grahame’s acting. Also with Frank Lovejoy, Jeff Donnell, Robert Warwick, and Art Smith. “In A Lonely Place” is essential viewing for all lovers of movies. Dix’s ride is a 1949 Mercury Convertible The Limping Man / Cy Endfield (1953). Banner Films Ltd. Cinematography by Jonah Jones. Former American G.I. Frank Prior (Lloyd Bridges) is on a plane returning to England to reunite with his lover, Pauline (Moira Lister), who he has not seen since the end of the war. As he is deboarding, a fellow passenger is shot to death long distance by a sniper. Because Frank was talking to the victim at the time, he is questioned closely by Scotland Yard detectives. After meeting up with Pauline, Frank comes to believe she is bothered by something she is keeping from him. In a parallel investigation, the detectives tie Pauline to the murdered man. Some startling revelations, a nice surprise Reveal of the killer, and a fight on the edge of a balcony which leads to the film’s last 60-seconds and an incredibly stupid ending that made me laugh instead of insulting my intelligence which it should have done. What does that say about my intelligence? Moira Lister, Lloyd Bridges Cavalleria Rusticana / Franco Zeffirelli (1982). Music by Pietro Mascagni. A perfect “First Opera” for anyone who has never seen a full production and thinks they wouldn’t like that musical form. It is filled with high passion and overflowing with melody. The title is always given in Italian. A literal translation is something like “rustic chivalry” but a more meaningful translation might be something like “The Sicilian Male Macho Honor Code.” It takes place on an Easter Sunday in a 19th century village in Sicily. The lead role is a mezzo-soprano named Santuzza (Elena Obraztsova). She is in love with the village Lothario, Turiddu (the now disgraced – at least in the U.S. - Placido Domingo). Turiddu had seduced and abandoned Santuzza and then fallen into an affair with Lola, the wife of a rough teamster, Alfio, who is often away from home. If Alfio finds out Turiddu has been in Lola’s bed, he must do what honor demands. The music soars, stabs, and grips the listener with its emotional directness. The music was recorded (and some scenes were filmed) at La Scala in Milan and other scenes where shot on location in Sicily. Zeffirelli had made films of other operas but this was unknown to me until I ran across it on YouTube. The U.S. YouTube copy does not come with English subtitles but plot summaries or the libretto is easy to find online – and it is pretty easy to follow even without understanding the Italian. It is in one act and the run time is a little over an hour. A beautiful film of a musical and dramatic masterpiece. Oh, BTW, this is the opera played during the last segment of “The Godfather, Part III” as Michael attends his son’s debut and his henchmen are carrying out their hits. The Town / Ben Affleck (2010). Warner Bros. The titular town is Charlestown, Massachusetts, part of the Greater Boston metro area. Words on the screen before the story starts tells us that Charlestown has produced more bank robbers and armored car thieves than any other place on Earth. Ben Affleck, who was raised in neighboring Cambridge, and who co-wrote, directed, and stars in “The Town,” does not paint a pretty picture of Charlestown. Citizens should have some issues with Affleck. Indeed, all we see (with one exception) of the population are violent criminals or their enablers. The exception is an outsider, Claire Keesey (Rebecca Hall), who is the manager of the bank that gets robbed in the opening scene. She is terrorized at the bank and then blindfolded and taken hostage in a van until the thieves know that they have gotten away, then they release her. The leader is Doug MacRay (Affleck). MacRay gets to know Claire and falls for her. MacRay’s best friend and robbery partner is Jem (Jeremy Renner). Jem is that tiresome cliché of the hot-headed robber who cannot be trusted to keep his head during a hold-up. So much of the movie consists of car chases and gunfights with automatic weapons. Hundreds of rounds are fired to no effect. These bullets can’t hit anybody. There is not much (if any) imagination or creativity put into all the noise and frantic activity. This is a dull movie about unlikeable people. Not recommended. Parker / Taylor Hackford (2013). The late novelist Donald Westlake (1933-2008) is probably best known to readers as the author of the crime-comedy series featuring con man John Dortmunder. But he had a more serious, a more noir, side to him. Under the name Richard Stark, Westlake penned a hard boiled series featuring the Thief With A Personal Code, the single named Parker. The first Parker novel has been filmed twice, “Point Blank” (1967) and “Payback” (1999). The “Parker” name was changed in both of these but now the man has his own eponymous feature film from one of the later of 24 Parker novels, “Flashfire.” “Parker” does not break any new ground in the modern crime/action genre but hits all the right spots – capers, gun play, brutal fights - so will please fans of this type of story. There is an opening set-piece as a complex daylight robbery of hundreds of thousands of dollars at the Ohio State Fair is carried out by Parker (Jason Statham) with a four man crew. During the escape, his partners turn on him and leave him for dead. Well, Parker can take a serious battering, be shot and stabbed (and does, twice, in this story) but cannot be that easily killed. He comes back for vengeance, planning to rob the four men after their next caper. There is a sub-plot about a failing real estate agent named Leslie Rodgers (Jennifer Lopez) who tumbles to Parker’s disguise and demands to be let in on his plans because she can help him find his targets’ hideout. Her part is expanded to include her family life and troubles, I guess, because Lopez is a “Name” but her scenes sure slow down the story. While “Parker” is not World’s Greatest Thriller, just when you think it has ended, there is a, I dunno, about a 30-second epilogue that is just so unexpected, so great, so full of humanity and warmth that, for me, it saved the movie. That little coda is worth waiting for. It made me laugh with genuine pleasure and applaud the film.
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Post by teleadm on Feb 15, 2020 20:34:19 GMT
Here is the Tele week, before and after heart problems. I have to be honest, while I liked some parts and actors, it wasn't a movie for me. I can understand others attraction and I respect that. A very tough movie to watch. Kristen Wiig plays a woman with a very serious personal disorder, who happens to become a millionaire in a lottery. She more or less forces a small TV producing company near bankrupcy to produce 2 hour productions solely about her, with her cheques. Since there is nobody in the movie to feel for it's a very tough watch, that didn't even made a million dollar at the box-office. My brother an I once yoked around trying to explain some movies, and some movies seams to be made solely to please Movie Festival Critics, and that is were it can go wrong. While laying at the hospital I suddenly thought about Louis Armstrong and "We Have All the Time in the World" and that there is still something left. I love this movie even if it's Sean-less. Telly is a great Bloefield, he and Donald Pleasance are the best Bloefields. Nowdays Dame Diana Rigg is a marvelous "Bond Bride". Ilse Steppart character ordered a "Piz Gloria" for Bond, i've been looking around the net and I can't find a dish called "Piz Gloria" LOL! and bombastic he was in the shape of James Robertson Justice (who found his niche playing variations of Sir Lancelot Spratt after the first Doctor movie) Funny in parts, seeing once modern kitchen tools was very interesting, we really heated bread that way once? Something tells me that this very studio bound movie might have come a few years too late, I get that feeling, it's too studio bound for a 1960's movie. Sentimental gangsters of Damon Runyon belonged to another era. The Dude played by Glenn Ford (sometimes I forget he was a good comedian too), 8 years before The Italian Job 1969, a car moves up a ramp and hides in a lorry) Some scenes are streched a bit to long, but with this cast it's never unintersting. It's Bette Davis, and that is reason enough to watch it at least once. Historically interesting, final Feature of Frank Capra and Oscar winning actor Thomas Mitchell. A variation of Hitchcock's Lifeboat but with more survivors. aka Seven Waves Away. A drama about survival and how to deal with it. The movie gets better as it rolls along on the waves, former pretty boy Tyrone Power shows off his skills since he has to make a few unpleasant descisions along the way. Since the life saving boat only rooms 14 people, and they are 26, some have to be thrown of, and someone had to make the tough decisions. More or less playing God, in the most unpleasant ways. The poster advertises 3-D, but I watched the flat vesion. Tangiers in Africa was once a city under international rule, according to this movie, and if so something I didn't know. Several persons is awaiting an airplane at Tangiers Airport, it doesn't land there but a bit outside it crashes without crew and passangers. It conatined something many persons are very interested in, that is gone in the wreck, what was it? Well I was interested and tagged long, Fontaine and Palance isn't the worst companions. It entertained during it's running time, and that is sometimes good enough. There is something haunting and beautiful with this movie, too close to God, or close to another God. The windy feeling is everywhere and some might crack, and they do in different ways. The wind always blows where the nuns are. Is it the clean air or are they too close to heaven that changes their personalities... Incedibly beautiful movie. Kathleen Byron as the nun cracking is incredible. If you read through my long tirades your are worthy of a Doughnut or two, or as we call them in Sweden "monks", because of the hole. Until next time! Thanks to all of you for your incredible support, Love you all!
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Post by Chalice_Of_Evil on Feb 15, 2020 22:18:01 GMT
Only three movies watched (albeit three very different movies). The Greatest Showman (2017). Una (2016). Transformers: The Last Knight (2017). Here is the Tele week, before and after heart problems. Until next time! Thanks to all of you for your incredible support, Love you all! You're a valued member of this board, teleadm. All my best wishes to you for a speedy recovery.
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Post by claudius on Feb 16, 2020 13:47:20 GMT
SATURDAY NIGHT LIVE (1980) “Chevy Chase/Marianne Faithful” 40TH ANNIVERSARY. Chevy Chase makes his final hosting during the original cast era. Considering his last stint had him and Bill Murray making some offscreen hostility, his monologue has the two appear together in a duet. Universal DVD.
THE ROSE OF VERSAILLIES (1979-1980) ”Fersen Departs for the Homeland”, “Oscar, At the Duel at Dawn”, “The Winds of Arrass…Please Respond”, “The Secret of the Angel”, “Countess of Casino”, “Mother, Her Name is…”, “Now the Time of Encounter”, “Suddenly, Like Icarus.” 40TH ANNIVERSARY. An now I have caught up with the series, so I can now watch the rest week by week. So far, Marie Antoinette falls under the influence of the Duchess Poligniac while Oscar takes under her wing the poor Rosalie (who is actually noble and a score to settle with Poglianac) while realizing the horrible conditions of the French lower classes. Japanese with English Subtitles. Right Stuf DVD.
ER (1995) “Two of Hearts” 25TH ANNIVERSARY Warner DVD.
OSCAR’S GREATEST MOMENTS – 1971 -1991 (1991) Instead of watching the Oscars, I watched this, my annual viewing for the ceremonies. Karl Malden hosts a collection of the ceremonies from the times listed. We get the good (Sally Fields “You Like Me!”, William Holden thanking Barbara Stanwyck for his career) and the controversial (Vanessa Redgrave’s “Zionist Hoodlums”, Littlefeather’s ‘Brando refuses’ speech), as well as fashions, production numbers, tributes, bloopers (Dyan Cannon sings a song with a dead mike), last-minute changes (Clint Eastwood substituting for Charlton Heston). I always get misty-eyed at the climax, when Charles Chaplin appears for his honorary Oscar. Sony VHS.
PRIDE AND PREJUDICE (1980) “Part Five” 40TH ANNIVERSARY I conclude my first P&P of this year. BBC/Warner DVD.
MOBILE FIGHTER G GUNDAM (1995) “Assault of the Four Evil Kings! Gundam Heaven’s Sword” 25TH ANNIVERSARY. Major revelations come out, as everything that was established (Evil brother Koji and the Devil Gundam) turns out to be lies via governmental cover-up. Japanese with English Subtitles. Bandai DVD.
ROCKY AND FRIENDS (1960) “Formula Part 25 & 26” 60TH ANNIVERSARY. I might as well refer to the series by its original title, instead of the edited one from the DVD. In this one, Mr. Peabody and Sherman help the Wright Brothers, her portrayed as hicks. Sony Wonder DVD.
DADDY LONG LEGS (1990) “How to Decorate a Room Beautifully” 30TH ANNIVERSARY. Japanese with English Subtitles.
YURI ON ICE! (2016) “Easy as Pirozhki! The Grand Prix Final of Tears!”, Two Yuris?! Drama at Yu-topia”, “”I Am Eros and Eros is Me? Face Off! Hot Springs on Ice”, “Like Yourself…and Complete the Free Program!!”, “Face Beet-Red! It’s the First Competition! The Chugoku, Shikoku, and Kyushu Championship”, and “China’s On! The Grand Prix Series Opening Event!! The Cup of China Short Program”. English Dubbed. Funimation DVD.
HOLLYWOOD (1980) “Swanson and Valentino” 40TH ANNIVERSARY. Today’s episode is a two-parter on two stars. As James Mason narrates, One was born great (Swanson), the other had greatness thrust upon him (Valentino). Act One, with interviews by Gloria herself (with Adele St. John Rogers and Alan Dwan) captures the stars career, from reluctant comedienne to DeMille Glamour Queen to fatigued fashion clothes horse to respected actress to her fall from bad choices (QUEEN KELLY) climaxing with a scene from SUNSET BOULEVARD. Act Two carries the most of the episode on the career of Rudolph Valentino, with his struggling beginnings (Viola Dana helped out by having him play Santa Claus), rise to fame, struggle with the studios, and his death and legendary funeral. First saw this episode on The Learning Channel in November 1991 and was re-introduced to it on VHS in December 1996. Bootleg DVD.
NARUTO SHIPPUDEN (2013) “Naruto Enters the Battle!” Viz Media DVD.
ONCE AND AGAIN (2000) “Daddy’s Girl” 20TH ANNIVERSARY. Buena Vista DVD.
DRAGON BALL Z (1990) “We’re Off into Space! The Star of Hope is Piccolo’s Homeland!” 30TH ANNIVERSARY. A post-addendum to my Anniversary viewing, as the gang gather together to plan their next move, starting the Freeza Arc. Japanese with English Subtitles. Funimation DVD.
ANGEL (1999) “I’ve Got You Under My Skin” 20TH ANNIVERSARY. FoxVideo DVD.
GANKUTUSOU: THE COUNT OF MONTE CRISTO (2005) “The Duel” 15TH ANNIVERSARY. Dramatic episode, as the Count has his duel promised by Andre, albeit with some major deviations from the novel (and it’s not the giant mechas!) I always liked the ending. Japanese with English subtitles. Geneon DVD.
IVANHOE (1970) “The Black Knight” 50TH ANNIVERSARY. SimplyMedia DVD.
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Post by hitchcockthelegend on Feb 16, 2020 17:37:59 GMT
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Post by OldAussie on Feb 17, 2020 0:48:39 GMT
hitchcockthelegendMajor Dundee - the first half is a darn masterpiece of set-up....the second half a mixture of good and.... mess(?). Despite those failings, I'm a BIG fan. Ulzana's Raid - to non-western fans out there, this might qualify as "the greatest western you've never heard of". Only saw it once and it's been in the (rapidly expanding) rewatch pile ever since. Dundee is one I watch every few years so they might form a double feature this week if I get the chance.
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Post by mikef6 on Feb 17, 2020 1:32:06 GMT
hitchcockthelegend Deadline At DawnSusan Hayward is very good and very lovely. BackfireFirst picture. Ed Begley tells the other cop, “Don’t shoot. You might hit a taxpayer.” I like the suit and glasses look on Dane Clark. Although Gordon McRae is the main character, he is fourth billed in the title cards behind Clark, Virginia Mayo, and Viveca Lindfors. The movie was filmed in 1948. That date can be seen on the copyright notice during the credits. It was not released until 1950. The Phenix City StoryThe violence shocked me, esp. the shot of the murdered child with dead eyes open. That probably wouldn’t have been surprising in any movie made since about 1970, but turning up this early it brought me up in my seat. If I remember my reading about “Phenix” the introductory documentary short was cut when first released in 1955 but had been put back during the film’s restoration. Saw Straw Dogs at its first release in 1971. The controversy and commentary was fierce. Pauline Kael called it, “The first fascist masterpiece.” I don’t think I have ever seen Ulzana’s Raid (which I may have to remedy soon) but I am fond of another gritty Lancaster western from the previous year, “Valdez Is Coming.”
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cschultz2
Freshman
@cschultz2
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Post by cschultz2 on Feb 17, 2020 10:05:15 GMT
“Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)” Distributed by Warner Bros. Pictures, 109 Minutes, Rated R, Released February 07, 2020:
“Birds of Prey,” the new DC Comics-based action adventure from Warner Bros. Pictures, highlights the continuing adventures of Harley Quinn, the heroine of the surprise hit 2016 picture “Suicide Squad.” Now a hard-drinking, pole dancing, hearty-partying roller derby queen, Harley’s broken up with her unfaithful boyfriend, Batman’s traditional arch-enemy The Joker...but still finds herself perpetually at odds and on the run from the forces of law and order.
“Birds of Prey”--the full, official title of the picture is the unwieldy “Bird of Prey and the Fantabulous Emancipation of One Harley Quinn”--features a shallow, freewheeling plot tied to the recovery of a missing diamond, which has been embedded with the account numbers of the bank accounts containing the enormous fortune of the late Bertinelli crime family. The diamond’s been unwittingly stolen by a young pickpocket named Cassandra Cain...who swallowed it.
With its flashy graphics, impressive stunt work, and dubious morality (“I have all my best ideas drunk,” says Harley Quinn at one point), “Birds of Prey” is lighter in spirit than “Suicide Squad,” but otherwise pretty much cut from the same cloth. Sort of a stylishly grungy, ultra-violent 2020 update of the old “Batman” television series from the 1960s, minus Batman, “Birds of Prey” is a bubble gum picture filled with soda pop fizz and candy coloring disguised as grown-up entertainment. Your enjoyment of the picture is directly proportional to your tolerance for loud, brash, neon-lit noise--for some it’ll be noxious, and for others it’s nirvana. And if you’re looking for a message or a moral, you’d best look elsewhere.
“Birds of Prey” isn’t exactly a vanity project for Margot Robbie, although the actress was intimately--some say persistently--involved with the development of the picture, and retains an onscreen credit as its producer. But it’s plainly Robbie’s show all the way, and the actress is allowed by screenwriter Christina Hudson to develop her character and display some extra depth as Harley Quinn. With a movie of her own, the character is permitted to occasionally display hurt, loyalty, dreams, ambitions, and even demonstrate her singing and dancing chops in a stylized musical sequence built around the ode to avarice, “Diamonds Are a Girl’s Best Friend.”
Still, Robbie as Harley Quinn does play well with the other characters, and as directed by Cathy Yan, the film is a surprisingly entertaining introduction to the all-female Birds of Prey superhero team of crimefighters, inadvertently recruited by the hapless Harley throughout the picture’s narrative in her quest to recover the coveted Bertinelli diamond. And as a team effort, actress and producer Robbie shares ample screen time with Mary Elizabeth Winstead, Jurnee Smollett-Bell, and Rosie Perez as the newly-minted Birds of Prey, 13-year-old Ella Jay Basco as the young street criminal Cassandra Cain, and Ewan McGregor as an especially brutal and duplicitous crime lord with Joker-like qualities.
Despite some glowing reviews, “Birds of Prey” is repeating the disappointing financial results of other DC Comics-based pictures. Originally projected to earn up to $55 million in ticket sales over its opening weekend, the picture earned only $33.2 million during the period, representing the lowest opening weekend for a DC title since 2010’s relatively obscure “Jonah Hex.” In an effort to boost the picture's ailing box office fortunes and emphasize its name recognition, Warner Bros Pictures as of February 10 has taken the almost unprecedented step of changing the movie's name onscreen and in media advertising from the cumbersome "Birds of Prey and the Fantabulous Emancipation of One Harley Quinn" to the more succinct "Harley Quinn: Birds of Prey."
Actor Jared Leto was rumored to reprise his “Suicide Squad” characterization as The Joker in “Birds of Prey,” but does not participate in the picture--the actor is said to be keenly disappointed by his exclusion from Todd Phillips’ acclaimed stand-alone “Joker” feature, particularly since its notable financial and critical success, which includes an Academy Award for actor Joaquin Phoenix in the Joker role (Phoenix is the second actor to have earned an Academy Award for the role, after the late Heath Ledger for 2008’s “The Dark Knight.” The Joker character does appear in “Birds of Prey” during the picture’s opening sequence...courtesy of Warner Bros. Pictures’ peerless animation department.
An early incarnation of “Birds of Prey” contained the character of Barbara Gordon, aka Batgirl, and was to have been played by actress Kristen Stewart, but was excluded from the script during revisions. A sequel to 2016’s “Suicide Squad” is scheduled to be produced for release in August, 2021, with the departing Will Smith being replaced with a different character played by actor Idris Elba. The ending of “Birds of Prey” teases next year’s “The Batman,” Matt Reeves’ highly anticipated reboot of the series, with “Twilight” heartthrob Robert Pattinson inheriting the role as the Caped Crusader.
“Birds of Prey” is rated R for strong violence and language concerns throughout and some drug and sexual content.
“Gretel & Hansel” Distributed by Orion Pictures and United Artists Releasing, 87 Minutes, Rated PG-13, Released January 13, 2020:
The original story is so familiar that it’s practically programmed into our collective DNA.
Hansel and Gretel are the children of a poor family suffering through hard times. When a famine spreads over the land, the children’s wicked stepmother takes them into the woods, and deserts them there. Left to fend for themselves, the children discover in the forest a cottage constructed of gingerbread, candy, and other treats, and inhabited by a lonely old woman...who eventually reveals herself to be a witch and imprisons them with nefarious intentions. But by using their wits to outsmart their wicked captor, Hansel and Gretel manage to escape with their lives and make their way back home.
Possibly the most notable part of “Gretel & Hansel,” the new movie from Orion Pictures that reimagines the familiar children’s tale, is not what it is, but rather what it is not. Never facetious, campy, or tongue-in-cheek, screenwriter Rob Hayes recreates “Gretel & Hansel” as a genuinely compelling little morality fable. There are no knowing winks or smirks in the picture, and the cast of seasoned troupers avoids reading double meanings into their lines as a means of providing sly clues to what might or might not occur later. It’s to the credit of the filmmakers that nearly everything that occurs in the picture is a surprise to the viewer.
In the new reading of the source material, instead of becoming a fractured fairy tale or a repeating of the well-remembered bedtime story from a more adult perspective, screenwriter Hayes frames the fable with a template of dark fantasy and gothic horror. And in doing to, the writer manages to shed two centuries of retellings, additions, updatings, and gradual revisions, in the process bringing the story closer to the intention of the original authors--a cautionary tale carefully crafted to scare the bejesus out of its audience.
Directed by Osgood Perkins, the filmmaker behind the acclaimed 2015 psychological horror picture “The Blackcoat’s Daughter” and the atmospheric 2016 supernatural thriller “I Am the Pretty Thing That Lives in the House,” “Gretel & Hansel” employs austere, tableaux-like staging reminiscent of early portrait photography and the dreamlike deep-focus cinematography of Galo Olivares, and gives us an idea of what might’ve happened if Ingmar Bergman had worked for Hollywood’s Blumhouse Productions.
Starring as a maturing adolescent Gretel, seventeen-year-old Sophia Lillis graduates from her appearances in 2017’s “It” and its 2019 sequel (as well as the misguided 2019 updating of “Nancy Drew and the Hidden Staircase”) and portray the storybook heroine as a repressed modern heroine, the unwavering protector of her eight-year-old brother Hansel. With an unsmiling demeanor and a pixie haircut that causes her to resemble a rural eighteenth century incarnation of medieval martyr Joan of Arc, after being banished with Hansel to the wilderness by their mother with the parting words “Get busy digging your own graves,” Gretel gradually finds within herself the skills to survive...even if the skills are from unexpected sources.
Royal Shakespeare Company-trained thespian Alice Krige in turn interprets the Witch as a supernatural force banished to the shadows of the dark forest wilderness after revealing terrifyingly evil impulses during a previous generation. With a parched, sun-dried pallor and lilting Scotch-Irish brogue, Krige is a witch that’s simultaneously restrained and commanding. At first seeming sympathetic to the children’s tale of despair, the Witch is soon more jailer than benefactor, and a formidable opponent to the increasing independence of the maturing Gretel. At one point after a disagreement the Witch cautions the young girl, “Say that again and I’ll turn your tongue into a flower.” And you get the feeling she means it.
A clever blending of the Brothers Grimm with “The Blair Witch Project,” and seeming like an epic even with a compact running time of 87 minutes, “Gretel & Hansel” is a storybook containing pentagrams and symbols of foreboding and hallucinogenic mushrooms. This is a bedtime story where rain sometimes falls from a clear sky and a tiny rustic cabin in the forest contains a cavernous dining hall and a morgue in the basement, all combined to reinforce the lessons we were taught as children: If something seems too good to be true, it probably is. And beware of strangers bearing gifts...especially if the stranger wears a pointy hat and rides a broomstick.
Released January 31 to some 3007 theaters across the United States and Canada, “Gretel & Hansel” earned only a little over $6 million in ticket sales during a slow box office weekend. By Sunday, the picture had landed in the fourth-place spot in the Box Office Mojo Top Ten, behind the returning “Bad Boys for Life” in first place with $17.65 in additional earnings in its third week of release, the acclaimed World War I drama “1917” in second place with $9.6 million, and the family adventure “Dolittle” in third with $7.7 million.
A former actor, occasional screenwriter, and maturing filmmaker, director Oz Perkins (billed as “Osgood” in the picture’s closing credits) is the grandchild of esteemed stage actor Osgood Perkins and oldest son of actor Anthony Perkins, the performer best known for playing the iconic role of the troubled Norman Bates in Alfred Hitchcock’s 1960 film “Psycho.” As a child the younger Perkins played Norman as a child in flashback sequences for the 1983 sequel “Psycho II.”
“Gretel & Hansel” is rated PG-13 for disturbing images, thematic content, and brief drug-related material (magic mushrooms).
“The Rhythm Section” Distributed by Paramount Pictures, 109 Minutes, Rated R, Released January 31, 2020:
In “The Rhythm Section,” a young British woman is emotionally devastated when her parents and younger brother are killed in a Pan Am Flight 103-like airline disaster, and spirals into a malaise of despair and substance abuse. But when the distraught woman learns that the plane crash was actually the result of a bomb planted on the airliner, she emerges from her melancholy and begins to train herself as an assassin, with the single-minded intention of avenging herself on the international terrorists responsible for killing her beloved family.
Adapted by Mark Burnell from his 1999 novel of the same name and directed by former cinematographer Reed Morano, “The Rhythm Section” makes the fatal mistake of presuming the viewer is already familiar with the original novel, and is therefore able to grasp the movie’s intricacies without further explanation. Jetting from locations from London to Madrid to Tangier to New York to Marseilles, the picture resembles a collection of the author’s favorite parts from his novel, stitched together with the briefest transitions or reasons possible. The result often leaves the viewer on the outside, looking in.
“The Rhythm Section” is further complicated by Marano’s often photographing the narrative in a jittery and pasty manner reminiscent of news footage from the front lines of a war zone. The chainsaw editing a visual palette might enhance the picture’s sense of realism and immediacy, but simultaneously interrupts the viewer’s illusion and makes the story that much more difficult to follow. The picture spends so much time trying to be stylish, arty, and cutting edge that it forgets to be comprehensible. And the filmmakers never even bother to explain the movie’s intriguing title.
Still, “The Rhythm Section” is almost redeemed by a terrific performance by actress Blake Lively as Stephanie Patrick, the central character of Burnell’s series of novels. Wounded, dewy-eyed, drug-addicted, haunted by gauzy memories of happier times and appearing in a succession of wigs and disguises, Lively portrays Burnell’s heroine in flesh-and-blood terms which often elude the film incarnations of Steig Larsson’s similar Lisbeth Salander character. A genuinely talented and surprisingly eclectic actor who’s often the best part of flawed pictures, Lively with her vivid performance provides whatever interest “The Rhythm Section” generates.
Produced on a budget of $50 million by the people behind the megabucks James Bond motion picture franchise, “The Rhythm Section” often seems to be a form of James Bond Lite, a new character for the new millennium, a new age heroine who leaves behind the Bond series’ fabled sexism and implied misogyny for the period of enlightenment and the era of #MeToo. And that’s fine--with three more titles in Burnell’s series of Stephanie Patrick novels, there’s plenty of room for the character’s development and growth. Just find a new director and screenwriter for future installments...but hang onto Blake Lively.
Playing in 3049 theaters in the United States and Canada, “The Rhythm Section” was expected by distributor Paramount Pictures to generate up $12 million in ticket sales during its opening weekend but is proving to be a major financial disappointment. With box office receipts of only $2.8 million, the picture has set a record of sorts: It’s the worst opening, ever, for a motion picture playing in wide release on more than 3000 screens, displacing the previous champion, a 2006 family comedy entitled “Hoot.”
It gets worse. After the picture's dismal financial showing during its premiere week, "The Rhythm Section" by its third week at the box office managed to attract only a truly humiliating $25,602 in total ticket sales across the entirety of North America, marking the steepest decline in box office business since the dystopian science fiction thriller "The Darkest Minds" in 2018. "The Rhythm Section" was at that point withdrawn by distributor Paramount Pictures from public release. Future plans for the film remain uncertain.
Also featuring performances by Jude Law and Sterling K. Brown and filmed in Ireland and Spain, “The Rhythm Section” is rated R for violence and language throughout, and some drug use.
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Post by Lebowskidoo 🦞 on Feb 17, 2020 15:17:55 GMT
Cimarron (1931) The story is good and it's well filmed, but some of the acting was like dinner theatre level bad. I guess it was the style still? It's saved by the glorious Irene Dunne who is perfect and can do no wrong. My biggest complaint - Richard Dix's eyeshadow was too distracting. I realize this was common practice in the earlier days of movies, but where would a cowboy in newly settled Oklahoma obtain such a luxury? Cimarron (1960) Surprisingly great, considering it was a box office flop remake of an Oscar winner for Best Picture. In fact, it's much better than the original, in my opinion. Starts off with some truly great land rush scenes, which was one of the best things about the original. The story spans generations in the lives of these Oklahoma settlers. A bit long and drags a bit, but quite worth watching, overall. Glenn Ford is his usual dependably great self. The late great Vic Morrow is on hand to play a truly scary intimidating villain. 12 Years a Slave (2013) "Your story is amazing, and in no good way..." The inhumanity and degradation inflicted upon the people forced to be slaves is almost too difficult to watch in this film, but it's too important a tale not to be seen. It's masterfully done, and it is so immursive I was right there the whole way with the characters. Michael Fassbender's character is surely one of the most despicable and vile ever committed to film. Lupita Nyong'o as Patsey is definitely one of the all-time most heartbreaking characters I've ever witnessed in any movie. This was a rewatch for me, but it had been awhile, and it slammed into me like a charging bull all over again. If you didn't feel anything while watching this, then I'm afraid to inform you that you are dead inside. Unforgiven (1992) "Any man don't wanna get killed better clear on out the back!" It's become everyone's favorite western over the years, and rightly so. It has the moral dilemmas, nasty villain and Clint in classic gunfighter mode. It's just great cinema, whether westerns are your thing or not. It was Eastwood's final western, and what a great way to end his cowboy career. I mean, how could he top this? No Country For Old Men (2007) This is overflowing with Coen brothers awesomeness. Love the deadly serious atmosphere, it looks good on them. Anton Chigurh is terrifying, bowl cut and all! The whole cast is operating at a peak level (Tommy Lee Jones, Josh Brolin, Woody Harrelson, Kelly MacDonald, Garret Dillahunt), but there's no denying that Javier Bardem is the engine driving the audience's fascination. Such a worthy Oscar win for him and the movie. A Hologram For the King (2016) Hanks travels to Saudi Arabia, bonds with his driver, listens to ELO, visits Mecca and develops a lump on his back. It's a little quirky, a little funny and a little unusual, but perfectly watchable and enjoyable. Road To Perdition (2002) A sentimental but violent story about fathers and sons wrapped up in a mob story. Beautifully filmed and cast with a stack of dynamite actors. Paul Newman is a powerhouse! The Terminal (2004) "Ever feel like you're living in an airport?" Anyone who has ever had their flight delayed or inhaled a Whopper from Burger King can relate to poor Viktor Navorski. ✈🍔 Tom Hanks is once again in lovable outsider mode, and he's quite good. This would be an actor's dream role: foreign accent, in every scene, directed by Spielberg...too bad the general public seemed uninterested when this came out. I think it's charms will win over more people as the years go by, it's very Capra-esque. You've Got Mail (1998) Starting to think I might never meet my own Meg Ryan. I might have to settle for an actual human that was NOT designed by Nora Ephron. This was a fun rewatch, I'd forgotten so much about this movie. Dave Chappelle is in this! (He had turned down the role of "Bubba" in Forrest Gump and didn't want to make a dumb mistake twice) Dial-up was still the only way to get online at this time. Hanks and Ryan are one of the screen's greatest rom-com match-ups! NYC, the Upper West side, is almost mythically ideal in this movie. It plays a very important role, almost like the magic kingdom in which these two meet and fall for each other within. Makes you want to run off to the city immediately. Turner & Hooch (1989) "Are you aware of your drooling problem?" There may be more saliva than laughs, but there is plenty of heart in this movie. Hanks in comedic mode is so much fun to watch, it had been awhile since I've seen him this way. The Green Mile (1999) Absolutely powerful and magnificent adaptation of Stephen King's novel. Full of beautiful human moments, and some pretty ugly ones too, this is still Stephen King, after all! Frank Darabont and Stephen King go together like cookies and milk. Every time he adapts one of King's works it goes on to become a beloved classic. Why doesn't he just do them all? This was a rewatch for me, and maybe it's because he has passed away since, but Michael Clarke Duncan is so incredible as John Coffey. I didn't appreciate all he brought to the film the first time, I guess. Now, he crushed me. There's quite a few of the cast who have passed away since, I think it added an extra layer of solemnity: Michael Jeter, Harry Dean Stanton, Brent Briscoe, Dabbs Greer, Eve Brent, Bill McKinney...R.I.P. The running time is long, and yet you will never notice because this movie just envelopes you and occupies your mind the entire time. It's very engrossing and life affirming. You will be thinking about it long after, it's one of those movies. So happy to have this jewel in my own movie collection. Saving Private Ryan (1998) It's difficult to remember now, but this star-studded cast was not yet all that famous at the time. This is an incredible onslaught to the senses, especially that opening scene on the beach. It's chaos, it's terrifying, but it's still probably nowhere as terrifying as having been there for real. Still one of the most harrowing war movies ever made. I've read complaints about this movie, that Spielberg includes "too much of his trademark sentiment." If ever there were a time when one's feelings would be all over the place at once, it would be while fighting in World War II. Maybe if you were there, you would know. My jaw was open several times, wondering how they did that, or amazed at what they endured. Makes you wonder if you'd be able to do the same if you had been born a few generations earlier. We owe them so much, they gave all for our freedom. Even though this film is about Americans, I say all this for all the good men who fought or died from everywhere. Great casting for "Older Private Ryan." These bookending scenes had some real emotional weight to them, bravo! Saving Mr. Banks (2013) Emma Thompson in crisp, unapproving British lady mode is purely delightful to watch. Who else but Tom Hanks could play Walt Disney, America's male movie sweetheart and a distant relative of Walt Disney himself? Colin Farrell is also in fine form as Mary Poppins author P.L.Travers' drunken Australian bank manager father. It's just sappy enough, but not too sappy at all. Disney is not sugar-coated and neither is Travers. The movie leads to a very affecting and introspective conclusion. It's great, as a movie lover, to learn how the classic Mary Poppins came to be. Splash (1984) Older posters seem to feature the World Trade Center towers, while newer ones move uptown to feature the Empire State Building.This live-action version of The Little Mermaid is the best of Disney's recent remake-athon! I must have watched this classic fifty times years ago on cable TV. I love the comedy and the fairy tale aspect. The script is tight and hilarious. This is the movie where Hanks exploded, and deservedly so. John Candy drinking a beer while playing squash is my spirit animal. He also was in big demand after the success of this movie. Daryl Hannah is beyond beautiful and believably innocent as the mermaid, Madison...which was not yet a name at this time (according to Hanks' character) but now every elementary school is full of little Madisons. Eugene Levy is a manic delight as Walter Cornbeef...uh, Kornbluth! It works as a comedy, a rom-com, a fantasy and it has a little drama thrown in there too. Just watch it, you'll love it! 🐟💟 Forrest Gump (1994) No other movie shows you life like Forrest Gump. We've all lived through history and been through some stuff. This movie eerily mirrors my own life in certain scenes and just gets to me. Probably does the same for the millions of people who love it too. It's a beloved classic that will live on for many more generations to come. One thing that really stood out on this rewatch was the score by Alan Silvestri. It squeezes you by the feels! Didn't win the Oscar that year, but it was a tight race. The coconut shrimp at the real-life Bubba Gump restaurants is so good, try it if you get the chance! 👍 The 'Burbs (1989) "I've been blown up, take me to the hospital!" This is a strange movie. It's directed by Joe Dante but doesn't seem Dante-ish enough. It's great fun but the finale is a little disappointing. It's a comedy but there aren't a lot of laughs. It's just odd but I enjoyed it anyway, if that makes any sense at all. Had a great Hanksy movie week, hope you all enjoy this coming movie week, see y'all next time!
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Post by hitchcockthelegend on Feb 17, 2020 18:51:28 GMT
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Post by hitchcockthelegend on Feb 17, 2020 18:58:22 GMT
Escape from Sobibor(87) ^^ Escape from Sobibor - Sorry I haven't got a review to share with you, watched it once and rated it a well deserved 8/10. It's an outstanding true story that deserved a better budget than that of a TV movie. I been waiting for it to show again on one of the cable chans so I can re-watch and review. Don't tell me this has just shown in the UK and I missed it?
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Post by hitchcockthelegend on Feb 17, 2020 19:21:55 GMT
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Post by hitchcockthelegend on Feb 17, 2020 19:52:47 GMT
In A Lonely Place / Nicholas Ray (1950). Santana Pictures Corporation. Cinematography by Burnett Guffey (From Here To Eternity, Bonnie And Clyde). The formally successful screen writer Dixon Steele (Humphrey Bogart) is a hard-drinking and quick-tempered man who is likely to go out of control if angered. We see this happen twice in the movie’s first few minutes. But he can also be kind and witty when in pleasant situations with friends. When a nightclub hatcheck girl is brutally murdered, Dix becomes a suspect as the last person to see her alive. At the same time the investigation starts, he meets Laurel Gray (Gloria Grahame) who lives in the same apartment compound. They begin a relationship pleasurable to both but Dixon’s inability to manage his anger and the danger he becomes when enraged makes Laurel start to doubt his claims of innocence in the hatcheck girl’s murder. “In A Lonely Place” is at once a spellbinding film noir, the medium for two brilliant performances (Bogart and Grahame), and one of the best pictures ever made about the Hollywood film industry. Bogart had wanted to play Dixon Steele so the book by Dorothy B. Hughes was purchased for his own independent company, Santana Pictures. Two writers, Andrew Solt and Edmund H. North are credited but director Nicholas Ray added some material perhaps based on his own marriage to star Gloria Grahame which was coming apart as the movie was in production. This may have intensified the dialog and Grahame’s acting. Also with Frank Lovejoy, Jeff Donnell, Robert Warwick, and Art Smith. “In A Lonely Place” is essential viewing for all lovers of movies. Dix’s ride is a 1949 Mercury Convertible The Limping Man / Cy Endfield (1953). Banner Films Ltd. Cinematography by Jonah Jones. Former American G.I. Frank Prior (Lloyd Bridges) is on a plane returning to England to reunite with his lover, Pauline (Moira Lister), who he has not seen since the end of the war. As he is deboarding, a fellow passenger is shot to death long distance by a sniper. Because Frank was talking to the victim at the time, he is questioned closely by Scotland Yard detectives. After meeting up with Pauline, Frank comes to believe she is bothered by something she is keeping from him. In a parallel investigation, the detectives tie Pauline to the murdered man. Some startling revelations, a nice surprise Reveal of the killer, and a fight on the edge of a balcony which leads to the film’s last 60-seconds and an incredibly stupid ending that made me laugh instead of insulting my intelligence which it should have done. What does that say about my intelligence? Moira Lister, Lloyd Bridges The Town / Ben Affleck (2010). Warner Bros. The titular town is Charlestown, Massachusetts, part of the Greater Boston metro area. Words on the screen before the story starts tells us that Charlestown has produced more bank robbers and armored car thieves than any other place on Earth. Ben Affleck, who was raised in neighboring Cambridge, and who co-wrote, directed, and stars in “The Town,” does not paint a pretty picture of Charlestown. Citizens should have some issues with Affleck. Indeed, all we see (with one exception) of the population are violent criminals or their enablers. The exception is an outsider, Claire Keesey (Rebecca Hall), who is the manager of the bank that gets robbed in the opening scene. She is terrorized at the bank and then blindfolded and taken hostage in a van until the thieves know that they have gotten away, then they release her. The leader is Doug MacRay (Affleck). MacRay gets to know Claire and falls for her. MacRay’s best friend and robbery partner is Jem (Jeremy Renner). Jem is that tiresome cliché of the hot-headed robber who cannot be trusted to keep his head during a hold-up. So much of the movie consists of car chases and gunfights with automatic weapons. Hundreds of rounds are fired to no effect. These bullets can’t hit anybody. There is not much (if any) imagination or creativity put into all the noise and frantic activity. This is a dull movie about unlikeable people. Not recommended. In a Lonely Place - www.imdb.com/review/rw2008778/?ref_=tt_urv 9.5/10I do have The Limping Man, it's in one of those 20 film noir box sets that are films out of contract on the net. I started to watch it but he copy was too poor, so I'll have to see if I can stomach it at some point now you have brought it up. The Town - Well well, we do differ considerably here, I think it's a quality Neo-Noir > You know people get up everyday, tell themselves something's gonna change their lives.The Town is Charlestown, Boston, a place where crime is a way of life. Following a bank robbery, professional thief Doug MacRay (Ben Affleck) has to keep a watch on bank manager Claire Keesey (Rebecca Hall) because after using her as hostage leverage during escape from the heist, she is the only witness who could possibly identify his gang. But once the two meet they start to fall for each other, forcing MacRay to re-evaluate his life in Charlestown. It's a re-evaluation that will upset a lot of people close to him and the gangster boss who hires him, and all this at a time when FBI agent Adam Frawley (Jon Hamm) is closing in on the gang. One of the most startling things about Ben Affleck's second film as director is that even with the conventional plot, and the formulaic characters, it's still an exhilarating and fresh picture. With Affleck comfortable in his Boston surroundings, it's evident that he and the team went for authenticity, something which in the main they achieve. Sure there's the odd implausible moments, they are - like it or not - cops and robbers staples, but "The Town" is not your standard run of the mill actioner. It is, for want of pigeon holing, a modern day noir, resplendent with bleak mood and well oiled characters. Based on Chuck Hogan's novel "Prince of Thieves", pic follows the formula of a rotten town with rotten people doing their best or worst to live and get by. Into the pot comes the bad guy who meets a good woman who wants to leave his crappy life and crappy home behind. So far so well trodden path, then, but this is not a giant gangland operation, like, say, "The Departed" or "The Godfather" et al, this is a small neighbourhood setting, with a small group of everyday dressed young men. It's one of the reasons why Affleck's film feels so very authentic. Helping to exude the naturalistic and human feel of the drama is that Affleck doesn't overdo his action sections, yet they are terrific sections for sure. This is not Tony Scott/Don Simpson/Jerry Bruckheimer action for popcorn excess. From the electric kick-start of the first heist, to the mid-section car chase - and to the knock out coup de grâce set in motion at Red Sox Stadium - Affleck shows great skill as a crafter of action - aided superbly by Dylan Tichenor's energised editing. Other violence is swift and to the point, the director knowing not to dwell too long on vicious passages in the narrative, thus keeping his characters free of caricatures. Mind, he is thankful to the great cast assembled for his picture, for this is very much an actors piece. Well written without flabby periods of talk for talk sake, The Town provides proper drama for proper actors - and that includes the director himself. Jeremy Renner is quickly turning into the go to guy for edginess, here as MacRay's best pal, Jem, he deals out a frightening loose cannon turn. Chris Cooper and Pete Postlethwaite have small roles, but both impact hard on proceedings, both memorable and both adding a touch of classy know how. Hamm arguably has the hardest role, for as FBI Agent Frawley he has to carry on his own the other plot thread that is the investigation. Not just that, but the film lends itself to one which dares you to root for the bad guys, it's a tough ask of the "Mad Men" actor but he nails it, with one two-fold scene in a bar, as he grills MacRay's ex, Krista (Blake Lively heartfelt and believable), particularly offering a glimpse of what a good actor he can be. Ultimately the main load has to be carried by Affleck and Hall as the central doomed lovers. There is death and misery every where in Charlestown - and for the protagonists of the story, including Doug & Claire. Their relationship offers hope, a beacon of hope in a murky world, but it's a relationship founded on black secrets and built around falsehoods. That Affleck & Hall draw us in with charm and acting gravitas further serves notice as to why The Town is top draw stuff. Hardships, hard decisions and hard characters come alive in The Town, a great modern day drama that's showing "Gone Baby Gone" was no fluke, this lad Affleck really is some director. 9/10 You like Heat right?, Public Enemies?
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Post by morrisondylanfan on Feb 17, 2020 20:10:05 GMT
Here is the Tele week, before and after heart problems. I have to be honest, while I liked some parts and actors, it wasn't a movie for me. I can understand others attraction and I respect that. A very tough movie to watch. Kristen Wiig plays a woman with a very serious personal disorder, who happens to become a millionaire in a lottery. She more or less forces a small TV producing company near bankrupcy to produce 2 hour productions solely about her, with her cheques. Since there is nobody in the movie to feel for it's a very tough watch, that didn't even made a million dollar at the box-office. My brother an I once yoked around trying to explain some movies, and some movies seams to be made solely to please Movie Festival Critics, and that is were it can go wrong. While laying at the hospital I suddenly thought about Louis Armstrong and "We Have All the Time in the World" and that there is still something left. I love this movie even if it's Sean-less. Telly is a great Bloefield, he and Donald Pleasance are the best Bloefields. Nowdays Dame Diana Rigg is a marvelous "Bond Bride". Ilse Steppart character ordered a "Piz Gloria" for Bond, i've been looking around the net and I can't find a dish called "Piz Gloria" LOL! and bombastic he was in the shape of James Robertson Justice (who found his niche playing variations of Sir Lancelot Spratt after the first Doctor movie) Funny in parts, seeing once modern kitchen tools was very interesting, we really heated bread that way once? Something tells me that this very studio bound movie might have come a few years too late, I get that feeling, it's too studio bound for a 1960's movie. Sentimental gangsters of Damon Runyon belonged to another era. The Dude played by Glenn Ford (sometimes I forget he was a good comedian too), 8 years before The Italian Job 1969, a car moves up a ramp and hides in a lorry) Some scenes are streched a bit to long, but with this cast it's never unintersting. It's Bette Davis, and that is reason enough to watch it at least once. Historically interesting, final Feature of Frank Capra and Oscar winning actor Thomas Mitchell. A variation of Hitchcock's Lifeboat but with more survivors. aka Seven Waves Away. A drama about survival and how to deal with it. The movie gets better as it rolls along on the waves, former pretty boy Tyrone Power shows off his skills since he has to make a few unpleasant descisions along the way. Since the life saving boat only rooms 14 people, and they are 26, some have to be thrown of, and someone had to make the tough decisions. More or less playing God, in the most unpleasant ways. The poster advertises 3-D, but I watched the flat vesion. Tangiers in Africa was once a city under international rule, according to this movie, and if so something I didn't know. Several persons is awaiting an airplane at Tangiers Airport, it doesn't land there but a bit outside it crashes without crew and passangers. It conatined something many persons are very interested in, that is gone in the wreck, what was it? Well I was interested and tagged long, Fontaine and Palance isn't the worst companions. It entertained during it's running time, and that is sometimes good enough. There is something haunting and beautiful with this movie, too close to God, or close to another God. The windy feeling is everywhere and some might crack, and they do in different ways. The wind always blows where the nuns are. Is it the clean air or are they too close to heaven that changes their personalities... Incedibly beautiful movie. Kathleen Byron as the nun cracking is incredible. If you read through my long tirades your are worthy of a Doughnut or two, or as we call them in Sweden "monks", because of the hole. Until next time! Thanks to all of you for your incredible support, Love you all! Hi Tel,it looks like you saw a fun selection,and with you having mentioned the heart issues (hope recovery is going well) I've got to say that those are fantastic write-ups (I'll admit,I would be unable to focus on any flicks in that situation.) With Tangier,has it come out in 3D on Blu/DVD?
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