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Post by manfromplanetx on Jun 8, 2020 7:37:35 GMT
Onna wa nido umareru , Women Are Born Twice (1961) Japan Dir. Yûzô Kawashima EXCELLENT … all I could say over at imdb Wow! You make the film sound incredible Man. I'm hoping this month to dig into my 60's Japanese DVDs/Blu's,so will be putting this at the top of my "Must Get" list. Related:A few days ago I stumbled on a Japanese title you mentioned a few weeks ago,that I'll hopefully be watching next week. Hey there MDF Hope all is well in your part of the world, some interesting viewing for you once again thanks for the great reviews... … I did have a rather lengthy review about to publish and my computer had one of its meltdowns, I lost the lot ! however when coming back I decided it was all waffle, and was much happier to say not much at all. It may be just a personal thing... I do not want to over hype the film or raise grand expectations, carefully considering though "masterwork" concluding it was the perfect fit for this brilliant collaborative work of Yûzô Kawashima & Ayako Wakao.. Happy Classic Viewing to you...
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Post by Chalice_Of_Evil on Jun 8, 2020 8:53:08 GMT
Fantasy Island (2020) So you watched Fantasy Island film last week like I did, Lewbowskidoo? What were your thoughts on it? I got it on DVD pretty cheaply, but it had two versions - the 'Theatrical Version' and the 'Unseen Version' (which was just another name for 'Unrated Version'). I watched the latter, never having seen the former. It was...okay. It went in a direction I wasn't expecting. I do think the previous Blumhouse movie I saw, which also starred Lucy Hale ( Truth or Dare), was better. I watched the 'Extended Director's Cut' of that on Blu-ray without even having seen the theatrical cut. I just figure why go with the 'tamer' version when there's another version that's likely to improve upon it. Spring (2014) Hi Leb,I hope you had a good weekend,and how did you find Spring to be? Going in knowing nothing about it,I was extremely taken by the unique way it mixed low-key indie romance Drama,with Creature Feature. From when I first saw it in 2016. Placing the viewer right at the centre of Louise's mutated heart,writer Justin Benson and fellow co-director Aaron Moorhead give the title an atmosphere of incredible warmth, weaving elegant extended tracking shots to soak up each subtle change in body language and breaking of personal space between Louise and Evan. Unafraid to show the more grotesque side of the couple, Moorhead and Benson splash out on Body-Horror on their limited budget,with a slippery, gooey glee. Whilst brilliantly using good old fashion practical effects and well-placed minimal CGI to deliver the Body- Horror shocks, Moorhead and Benson always keep tentacles in the romance,as sweeping drone shots casts an omniscient presence over Louise and Evan's love. Traveling in the hope of finding some sort of peace, Lou Taylor Pucci gives a brilliant performance as Evan,whose pain from mourning Pucci keeps just under the surface of the growing sincerity and care that Evan has for Louise. Remaining elusively out of reach at the start of the movie,the magnetic Nadia Hilker gives an alluring performance as Louise,which sparks in the naturalistic flow of the conversations she has with Evan,and carrying Louise on a graceful air of mystery,even when Hilker is caked in mutant goo. Touchingly opening the movie with Ethan sharing a final moment with his mum,the screenplay by Justin Benson fully embraces the couple via Benson displaying a keen ear for giving the dialogue a playfulness which gives Ethan's and Louise exchanges a breezy vibe. Peeling open Ethan's troubled life in frank discussions with Louise,Benson makes the release of Louise's Body-Horror secret one that gives the film a gory bite,and also gives a depth to Louise trying to keep her distance,as a new season dawns. 10. Nice review, morrisondylanfan. I maybe didn't like it quite as much, but I do agree it was good for a 'low-key' indie romance/drama/creature feature. I prefer these sorts of 'monster movies' to the big budget ones a lot of the time. The minimal CGI works to its benefit.
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Post by hitchcockthelegend on Jun 8, 2020 13:38:28 GMT
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Post by hitchcockthelegend on Jun 8, 2020 13:41:25 GMT
My week was very busy so that I couldn't find the time to watch anything. Only managed 2 myself!
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Post by morrisondylanfan on Jun 8, 2020 16:56:51 GMT
Hi Spike,by a odd coincidence,I've actually been about Stargate for the last few days,due to having read praise for the Blu-Ray. After reading your review (which I've ticked), I've finally just picked up the Blu. Trivia: Stargate was the first film to have a official website created for it.
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cschultz2
Freshman
@cschultz2
Posts: 91
Likes: 414
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Post by cschultz2 on Jun 9, 2020 4:13:22 GMT
“The Hate U Give” Distributed by 20th Century-Fox Pictures, 133 Minutes, Rated PG-13, Released October 05, 2018:
Based on the bestselling novel by Angie Thomas, in “The Hate U Give” a sixteen-year-old African-American girl is drawn to social activism after she witnesses the police shooting of a childhood friend.
Sixteen-year-old Starr Carter lives in a mostly poor and ethnically diverse inner city neighborhood, where robberies and crime are more routine than they should be. Since Starr witnessed the death of her best friend in a drive-by shooting when she was ten years old, her strict but loving and supportive parents have sent her to the prestigious--and expensive--Williamson Preparatory Academy, a private school on the other side of town, attended primarily by white students from affluent families.
Driven by the differences in culture between her lower-class neighborhood and her upper-class school, young Starr has developed two distinctly different identities, which she refers to as “Starr Version One” and “Starr Version Two.” Version One is streetwise and savvy, fluent in the patois of the street and able to recite from memory the Black Panthers’ Ten Point Program, having been drilled since an early age in the rudiments of urban survival by her practical and realistic father. Version One is the identity she employs in her own neighborhood.
By comparison, Starr Version Two is quiet, studious, demure, and respectful of authority. In her own words, “Williamson Starr”--self-named after her elite and exclusive school--“doesn’t give anybody a reason to call (me) ‘ghetto’...and I hate myself for doing it.” Such is the dichotomy burdening young Starr Carter--the need to adopt a kind of duality as a means of camouflage at school, effectively a renunciation of her family’s cultural heritage.
With her unique background and parenting, as well as her incisive intelligence and superior education both at home and in the classroom, Starr becomes unusually articulate for her young age. And as portrayed in a breakout performance by the gifted young actress Amandla Stenberg in the 2018 movie“The Hate U Give,” Starr is able to describe in a way which can be easily grasped by both adults and adolescents the heartbreaking realities of growing up black in a white world--the insecurities and sensibilities, the slights, and the unintentional insults inflicted by even the most well-meaning of her Williamson Prep friends.
Still, Starr longs to fit into her role at Williamson so badly that after her closest childhood friend is shot to death before her eyes by a police officer during a routine traffic stop, one of her primary worries is that her identity will be revealed by the news media. Starr despairs at the thought of attracting attention at her exclusive school to her need to maintain two lives--or, even worse, possibly becoming an object of pity among her schoolmates...especially her boyfriend, Chris, who unknown to her family happens to be Caucasian.
Adapted by Audrey Wells from Thomas’ novel and directed by George Tillman, Jr. (“Men of Honor,” “Barbershop”), the motion picture version of “The Hate U Give” takes some minor liberties with the novel’s narrative, telescoping some events for the sake of time constraints.
Unlike the novel, the picture unfolds in a linear fashion, explaining in some detail Starr’s two separate lives before building to the police shooting of Starr’s friend--an event which occurs at the very beginning of Thomas’ insightful novel, and sets the tone for the entire book. Otherwise, Thomas’ novel is all there, onscreen. And as in the book, Starr’s story is simultaneously riveting, heartbreaking, and stunning--a reminder to some, and a revelation to others.
Through the superb and empathetic performance of young Amandla Stenberg, Starr Carter’s voice and unique sensibilities turn the character into a sort of modern day American Rosetta Stone, a multilingual conduit between the film’s characters and the audiences who will view it--not only African and Caucasian, but also old and young, conservative and liberal, rich and disadvantaged, privileged and oppressed.
“The Hate U Give” is a movie which will be seen in different ways by different people and different demographics, and likely achieve different results: For some, it’s an acknowledgement of the pain and a validation of the anger and frustration that have become so much a part of life for so many. For others, the picture will be a means of explaining and bringing into more vivid focus the young people we see on the receiving end of the tear gas containers and flash bombs...as well as the anger and sadness that led people of all races and nationalities to gather together in Minneapolis, and Washington, and New York, and around the world, to protest in support of equality.
It’s those distinctive sensibilities that elevate “The Hate U Give” into the realm of Very Important Pictures. Much like the film adaptations of “A Tree Grows in Brooklyn” in 1945, “I Remember Mama” in 1948, and “To Kill a Mockingbird” in 1962, this picture will likely be as moving and powerful when viewed by future generations as it is today. “The Hate U Give” provides an accurate picture of a turbulent and troubled era in history--a time of necessary change, as viewed through the eyes of one exceptionally observant young woman. This is one of those rare movies you’ll remember for a long, long time.
Also containing on-the-mark performances from Regina Hall, the superb Russell Hornsby, the luminous Issa Rae, KJ Apa from television’s “Riverdale,” Anthony Mackie, Algee Smith, and rap artist (and gifted actor) Common, “The Hate U Give” originally opened in a limited release pattern in just 36 theaters in major US cities, finishing in 13th place in the Box Office Mojo polls. And despite outstanding reviews from the nation’s critics, including an approval rating of 97% from Rotten Tomatoes, the picture never rose above sixth place in the Top Ten, and soon disappeared entirely from the box office. But if ever there’s a time for a revival, this is it.
“The Hate U Give” is rated PG-13 for mature thematic elements, violent content, language, and some drug-related material.
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Post by hitchcockthelegend on Jun 9, 2020 9:03:31 GMT
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Post by hitchcockthelegend on Jun 9, 2020 9:08:12 GMT
Uncle Jess's Oasis of the Zombies (1982) 4 Detailed in Stephen Thrower's superb book Flowers of Perversion:The Delirious Cinema of Jess Franco that the studio rushed the production out after Zombie Lake (1981) was a hit,and that the film maker, (who had quit Zombie Lake) was later vocal of his hate for the zombie genre, co-writer/(with Ramon Llido) directing auteur "Uncle" Jess Franco makes his distaste for zombies palpable in the opening sequence, where Uncle Jess's signature button bashing trombone zoom-ins unwind from a distance, played with a air of disinterest in getting up close to the zombie shocks. Rising up with off-cuts from regular composer Daniel White's past scores, Jess keeps the walking dead moving with unintended dips into Comedy,cast in the zombies being covered in cornflour and visibly annoyed at worms being placed on their faces. Just before the zombies get their hands on the humans, in the final 10 minutes Jess displays some of his unique stylisation in magic hour wide-shots panning along the humans dipping into the zombie oasis.
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Post by hitchcockthelegend on Jun 9, 2020 9:33:08 GMT
Cornered / Edward Dmytryk (1945). RKO Radio Pictures. Cinematography by Harry J. Wild. This was Dick Powell’s follow-up film to “Murder, My Sweet” which thoroughly revamped his image from song-and-dance man into a hard-boiled investigator. “Cornered” was a big hit because of that and because the hard-boiled-ness is ramped up to eleven. However, it has faded from the collective memory over the decades and there are reasons for that. Powell plays a recently discharged Canadian Air Force pilot. During the war he had been shot down in occupied France but was hidden by the resistance. He met a woman in the resistance whom he married but they were separated by the war. She was later killed. Now, he is back and he wants to find and kill the French collaborator who was responsible for her death and the deaths of many others who had helped him. He eventually ends up in Argentina where he finds himself surrounded with a multitude of shady characters. The plot is certainly labyrinthine and takes more than 100 minutes to tell it but I’m not sure it holds up. It is more disjointed and rambling than complex. Furthermore, Powell’s performance is pretty much one-note. He never uses any subtlety. He’s always ready to bully or bludgeon anybody who gets in this way or won’t answer his questions. Walter Slezak is in there, full of sweaty insincerity. Also with Micheline Cheirel, Morris Carnovsky, Steven Garay, Jack La Rue, and Luther Adler in his second film. Six Black Horses / Harry Keller (1962) Six Black Horses / Harry Keller (1962). Universal International Pictures. After Ben Lane (Audie Murphy) is saved from being hanged unjustly by Frank Jessie (no kidding), played by Dan Duryea, the two become buddies. In the next town, the two drifters are attacked by men they don’t know and are forced to kill them. The next day they are hired by a mysterious woman named Kelly (Joan O’Brien) who seemingly has bottomless resources and offers them an exorbitant sum to escort her through dangerous Indian territory to meet her husband in another town. Murphy, of course, is his usual reliable, likable self. The two main ingredients that set this particular oater above many others are 1) the performance by Dan Duryea and 2) an excellent script from Burt Kennedy who, you no doubt remember, was the writer of most of the Randolph Scott/Budd Boetticher western partnership, viz., 7 Man From Now, The Tall T, Comanche Station, and Ride Lonesome. Joan O’Brien had a brief movie career but is very good here. She is probably most remembered as the wife of Capt. Dickenson and the sole Anglo survivor of the battle in John Wayne’s The Alamo. Snatch / Guy Ritchie (2000). Crime film set in the Cockney criminal world with flash cuts, overlapping time lines, a non-omniscient narrator, and a mix of comedy (mostly) and violent crime. In other words, much like Ritchie’s previous hit film, “Lock, Stock, and Two Smoking Barrels.” One of the joys of this one is a great comic performance by Brad Pitt as a Romani with a strange accent. The Cockney speakers are tough enough for American audiences, but Pitt’s dialect can’t even be understood by the Cockneys. With Jason Statham, Benicio Del Toro, Dennis Farina, and Vinnie Jones. American viewers: use the English subtitles. A lot of fun. Cornered (1945) - Very much disagree with you on this one old boy - www.imdb.com/review/rw2477616/?ref_=tt_urv 8/10 Six Black Horses (1962) - Hee, you mention Burt Kennedy, which is right since this is a reworking of Ride Lonesome - www.imdb.com/review/rw2413785/?ref_=tt_urv 6.5/10 Snatch (200) - www.imdb.com/review/rw3270674/?ref_=tt_urv 8/10
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Post by hitchcockthelegend on Jun 9, 2020 9:41:50 GMT
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Post by hitchcockthelegend on Jun 9, 2020 9:45:58 GMT
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Post by hitchcockthelegend on Jun 9, 2020 9:57:54 GMT
Experiment in Terror 1962, hadn't seen this since the mid 1980's, when it actually scared me. Blake Edwards only noirish movie? A good reminder why I have always liked Lee Remick, but sometimes forgets why. This one I liked! Someone invaded bank employee Remick's life, forces her to rob the bank where she works, by an for half of the movie unseen stranger, with asthma caughts. Glenn Ford etches a good role too as the hard but not insensitive FBI agent who is on the case. Good plot use of the San Francisco locations. What enormous cars they used to have in USA! Apache Trail 1942, a nice little studio bound western from MGM, and though Lloyd Nolan is top starring he is still the villain, this time with hair. Tonto Valley Station is the place where nearly all the action takes place, a far out dangerous place on a stagecoach route, where all kinds of diverse people meets. William Lundigan plays the man who has just got out of jail legaly, get's a second chance, be the master of Tonto, trouble is his brother is Lloyd Nolan, a smooth talker, who doesn't care how many dead bodies he walks over. It entertains for the most part of it's 65 minutes, without being too thrilling. Mad Love 1935, a version of Maurice Renard's "Les Mains D'Orlac". A movie that after seeing it Charles Chaplin called Peter Lorre the screen's best actor. Peter Lorre plays a brilliant if slightly misunderstood doctor of nearly unethical solutions of body transplants, but still a trusted member of society. His weakness is love for a Grand Guignol actress who is about to retire and marry a famous concert pianist (Colin Clive). Hating she retires, Dr Lorre even buys a wax doll of her, but get a new chance to be near her when concert pianist gets hands destroyed in a train wreck, and restores his important hands, but using a newly executed murderer's hands...the plot fails. Peter Lorre wasn't Peter Lorre yet, he plays a very despicable, manipulative and calculating character, there is also a genuine love and affection towards the woman he loves, yearning to come out, but sadly turns wrong into madness instead, one nearly feels sorry for him. It comes through through his eyes, and that is acting of the highest order, being manipulated without knowing it. Experiment in Terror (1962) - Nice to see this pop up - www.imdb.com/review/rw2939541/?ref_=tt_urv 8/10 Apache Trail (1942) - www.imdb.com/review/rw2866876/?ref_=tt_urv 6/10 The Hands of Orlac (1935) - www.imdb.com/review/rw1978435/?ref_=tt_urv 8.5/10
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Post by hitchcockthelegend on Jun 9, 2020 10:00:14 GMT
Here is the Tele week that was: Since it's Swedish national day, a few Swedish bakelser for you, that I'm not allowed to eat any more: And now I will start reading about what exciting movies all others have seen....
Cakes look delicious and attractive, I love pastel shades. Is that Swedish hand-made artistry? Hope you enjoy Sweden Day!
Agreed, man alive those look absolutely gorgeous.
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Post by hitchcockthelegend on Jun 9, 2020 10:16:15 GMT
Stardust - I liked it at 7/10 but didn't review it, so I'll have to put that right. Jumanji: Welcome to the Jungle - I was underwhelmed by it but gave it a 6 - No review, knew I had to have a second viewing. I have recorded Mary Poppins Returns.
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Post by rudeboy on Jun 9, 2020 10:18:01 GMT
7/10
Tabu (2012) Open Your Eyes (1997)
6/10
Theo + Hugo: Paris 05:59 (2016) Much Ado About Nothing (2013) The Silence (1998) Your Sister’s Sister (2012) Eeb Allay Ooo! (2019)
5/10
What Richard Did (2012) Upstream Color (2013) Ruby Sparks (2012)
3/10
Safety Not Guaranteed (2012) Art Museum by the Zoo (1998)
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Post by hitchcockthelegend on Jun 9, 2020 10:34:36 GMT
INDIANA JONES AND THE LAST CRUSADE (1989) Third film of the Indiana Jones series. I had already celebrated the film’s 30th Anniversary May 2019. This is a Broadcast from CBS Sunday Night at the Movies THE LONGEST DAY (1962) Darryl F. Zanuck’s All-Star recreation of the D-Day Normandy Invasion. A Summer perennial for me, either viewed around Memorial Day or on the actual date of the invasion (last year I watched it on its 75th Anniversary). First viewed it on a PBS (or in my case WQLN 54) broadcast on the 50th Anniversary year of 1994. My latest viewing had me spotting a young Sian Phillips as a secretary. FoxVideo DVD. IVANHOE (1952) 200TH ANNIVERSARY Probably the most well-known version of the Scott Novel, given the MGM lavish treatment starring Robert Taylor, Elizabeth Taylor, George Sanders, Joan Fontaine, Finlay Currie and Felix Alymer (they even built a castle!). Noel Langley’s adaptation makes some alterations. Robert Taylor’s star power shortens Ivanhoe’s sidelined recuperation period from most of the novel to just the kidnapping so he can still play a role in the action. The Knights Templar are removed (probably because of religious controversy), making Rebecca’s Trial a secularly one. Richard spends much of the film as an Austrian hostage to be ransomed off instead of being the Black Knight (it’s Ivanhoe who takes the guise). Probably my first recollection of this film was the music. Miklos Rosza’s title theme was used as an intro for my local WETG-TV 66 ‘Classic film theatre’ show. Then I saw the film in the fall of 1991 on TNT’s “Our Favorite Movies” presentation. Was very impressed with the castle siege and Ivanhoe and Gilbert’s Axe VS Mace duel in the climax (with Ivanhoe’s shield getting really banged up). Francis DeWolff would later appear in the 1970 BBC TV Serial (I read somewhere that Michael Hordern was in this film as well, but I found that was not the case). Warner DVD. Indiana Jones and the Last Crusade - The more I watch it the more it gets closer to Raiders for being my favourite of the series - www.imdb.com/review/rw2048444/?ref_=tt_urv 9/10 The Longest Day - www.imdb.com/review/rw4951318/?ref_=tt_urv 8/10 Ivanhoe (1952) - I am long overdue rewatch of this one, I feel a swashbuckling theme night coming soon - www.imdb.com/review/rw2269218/?ref_=tt_urv 8/10
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Post by hitchcockthelegend on Jun 9, 2020 10:39:30 GMT
Hi Spike,by a odd coincidence,I've actually been about Stargate for the last few days,due to having read praise for the Blu-Ray. After reading your review (which I've ticked), I've finally just picked up the Blu. Trivia: Stargate was the first film to have a official website created for it. Great Triv! - Well my DVD copy has wonderful quality booming from the screen, so I imagine the Blu will be outstanding. I look forward to reading what you make of your purchase.
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Post by morrisondylanfan on Jun 9, 2020 17:24:15 GMT
Uncle Jess's Oasis of the Zombies (1982) 4 Detailed in Stephen Thrower's superb book Flowers of Perversion:The Delirious Cinema of Jess Franco that the studio rushed the production out after Zombie Lake (1981) was a hit,and that the film maker, (who had quit Zombie Lake) was later vocal of his hate for the zombie genre, co-writer/(with Ramon Llido) directing auteur "Uncle" Jess Franco makes his distaste for zombies palpable in the opening sequence, where Uncle Jess's signature button bashing trombone zoom-ins unwind from a distance, played with a air of disinterest in getting up close to the zombie shocks. Rising up with off-cuts from regular composer Daniel White's past scores, Jess keeps the walking dead moving with unintended dips into Comedy,cast in the zombies being covered in cornflour and visibly annoyed at worms being placed on their faces. Just before the zombies get their hands on the humans, in the final 10 minutes Jess displays some of his unique stylisation in magic hour wide-shots panning along the humans dipping into the zombie oasis. If you think this was bad,you should see what Uncle Jess was knitting in the 2000's. Then again,best not!
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Post by morrisondylanfan on Jun 9, 2020 17:46:16 GMT
Wow! You make the film sound incredible Man. I'm hoping this month to dig into my 60's Japanese DVDs/Blu's,so will be putting this at the top of my "Must Get" list. Related:A few days ago I stumbled on a Japanese title you mentioned a few weeks ago,that I'll hopefully be watching next week. Hey there MDF Hope all is well in your part of the world, some interesting viewing for you once again thanks for the great reviews... … I did have a rather lengthy review about to publish and my computer had one of its meltdowns, I lost the lot ! however when coming back I decided it was all waffle, and was much happier to say not much at all. It may be just a personal thing... I do not want to over hype the film or raise grand expectations, carefully considering though "masterwork" concluding it was the perfect fit for this brilliant collaborative work of Yûzô Kawashima & Ayako Wakao.. Happy Classic Viewing to you... Thanks Planet X,and with my laptop having broken down, (lucky I've got a backup) I know the feeling! I've been looking at my film book shelf,and noticed that thanks to the The Pedro Almodovar Archives book, Spain is just behind Italy for the country who I have the most film-related books about. I was wondering if there are any Japanese film books (either on a genre or a film maker) you would recommend? If you find it at a good price,I would highly recommend Arrow's Jose Larraz set. Having first seen it as a battered bootleg, the work they did on remastering Whirlpool ranks with James Whale's The Old Dark house as the best tidying up of a print I've seen. With now having seen 3 of his works (Whirlpool, The Coming of Sin,and the not in the box set Luto riguroso (1977)) I've been really taken by how Larraz bends a eerie surrealism, with decadent country manor houses, built on a similar distaste for the bourgeoisie as Chabrol.
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Post by Lebowskidoo 💀🎃👻 on Jun 11, 2020 11:18:53 GMT
morrisondylanfanSpring was a random selection. It is actually spring, was one reason. Another was it had some buzz around it, saw that it had some fans. Didn't know what was coming, but was ready for something since it was labeled a horror/romance. A bit like Before Sunrise and The Shape of Water. Great acting, a nice movie, loved the Italian locations.
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