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Post by wmcclain on May 1, 2021 14:52:28 GMT
Your comments/ratings/recommendations/film posters are welcome and much appreciated! The title says "classics" but we are always interested to know what classic film lovers have been watching, whatever the material.  |
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Post by wmcclain on May 1, 2021 17:05:32 GMT
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Post by politicidal on May 1, 2021 18:40:41 GMT
Fatman (2020) 4/10
Union Pacific (1939) 6/10
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Post by OldAussie on May 1, 2021 23:02:15 GMT
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Post by teleadm on May 1, 2021 23:04:02 GMT
Here comes what Tele has seen lately:  A Royal Night Out 2015 directed by Julian Jarrold and maybe based on some true events. V-Day and everybody is celebrating so let the little royal girls out and enjoy the party. Not a movie for me but Sarah Gadon and Bel Bowley's energeting performances made me watch it to the end. It's a cute but untrue story, and harmeless entertainment, I hope.  Catlow 1971 directed by Sam Wannamaker (replacing Peter Hunt)and based on a novel by Louis L'Amour. It's the kind of movie that keeps a breezy pace and is enjoyable for that bit, even better if there was a plot to follow, and there somehow is, but feels like they forgot to put those scene in it, if they ever was made. It's still somehow a joy to watch, Yul Brynner sending up Yul Brynner, Richard Crenna, Daliah Lave, Jo Ann Pflug, Jeff Corey and old silent screen star Bessie Love (with a gun) seems to have such a good time it some how affects the judgement. The only dark character here is played by Leonard Nimoy (according to his autobiography, he enjoyed making this movie). A very rainy day movie, and there is a plot too...somewhere on the beautiful Spanish locations.  Sacco e Vanzetti 1971 directed by Guiliano Montaldo and based on real events. For once I wish I had done a little research before watching a movie, because this movie literally shooked my in some unpleasant ways. If it's true they were very despicable characters, socialist radicals, but electrocuted for a crime they didn't commit, because it was convenient for the powers that was at the time. It's told in a matter of fact style that I agree with. Gian Maria Volonte and Riccardo Cocciola give life to very complex characters, and also a rare chance for four character actors to play big substantial roles, Cyril Cusack as the prosecution attorney (with radical right wing veiws), Geoffrey Keen as the Judge, and Milo O'Shea and William Prince for the defence. It seldom happens but this one took my breath, I forgot to mention that the great Ennio Morricone wrote the delicate and haunting score and Joan Baez sings (as good as she is it felt out of place and too modern).  Dead Ringer 1964 (Swedish title translated to English was Who is Buried in My Grave?) directed by Paul Henried and might be based on a Mexican movie starring Dolores Del Rio ( La Otra 1946) as much as Bette's own A Stolen Life 1946. I need a little but of Bette from time to time and to get two for the price of one ain't bad. She played twins! Poor sister vs rich sister, spur of the moment poor kills the rich, takes over the rich sisters role, forgetting little things beyond the money, like opening a safe, signing papers (how the hell did rich sister sign), no smoking, and a slimeball BF/gigolo (Peter Lawford) that is more interested in a new sports car, and blackmail. I liked this one too, and it's not a horror movie as many posters suggests, it's a good who-done-it with a twist, though a huge Doberman kills one of the leading characters rather graphical.  Hatari! 1962 directed by Howard Hawks. "Baby Elephant Walk" tune lived a separate life beyond this movie, remember it from childhood airplay, and not in a million years did I know it came from a John Wayne movie, as a kid maybe 40-50 years ago. What makes this movie stick out is the beautiful scenery, it's not a let's kill-all-animals we see African safari movie, they catch animals for zoo and eventual research and the wild animals are real live animals, and the chase scenes that might look cruel are meant to strengthen their species, and far from Hemingway's shoot a lion manliness. An old favorite that I like to revisit from time to time, been awhile since last time. An old dream was to one day go to Africa and see wild animals, but with all my medications I can kiss that dream goodbye.  Something of Value aka Africa Ablaze 1957 directed by Richard Brooks and based on a book by Robert C Ruark. I knew about this movie but never thought much about it, but somehow strange co-incidents happens, like getting a seldom point in a a mattgarth game, pairing siblings, and in this game Rock Hudson and Wendy Hiller as brother and sister, it renewed my interest in watching this movie. While not totaly satisfactory it still gives some thoughts of what might have been, or as the original title says there is something of value in watching it. Colonial Kenya, (Astonishingly beautiful in Russel Harlan's black and white cinematography, nearly haunting), and the Mau Mau uprising as seen through one wealthy colonial family.  Hell's Island 1955 directed by Phil Karlson and based on a lot of plots from other movies. Nothing that stick's out, but OK for a rainy day or a Sunday morning. I didn't see the VistaVision version. Down on his luck man get's an offer to go to a Caribbean Island during a Jukebox convention for South American Music, in search of a mysteriously disappeared valuable ruby gemstone, that might be connected with an old girl friend that might or might not be trusted. John Payne is charismatic, rough and at times humorous to carry this off, with Francis L Sullivan as a wheelchair bound mysterious benefactor, in a sort of Sidney Greenstreet role as an extra plus.  Well that was my mixed week! |
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cschultz2
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@cschultz2
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Post by cschultz2 on May 2, 2021 3:36:59 GMT
“Never Rarely Sometimes Always” Distributed by Focus Features, 101 Minutes, Rated PG-13, Released March 13, 2020:
In the bleak, desolate, and insightful slice-of-life chronicle “Never Rarely Sometimes Always,” 17-year-old Autumn Callahan (Sidney Flanigan) is a small town girl from rural Pennsylvania who discovers she’s expecting a child and opts to terminate the pregnancy. Too young to obtain the procedure in Pennsylvania without parental consent and seeking to conceal her condition from her family, the girl embarks on a bus odyssey to a medical clinic in New York City in the company of her sympathetic cousin Skylar (Talia Ryder) for an abortion.
Unremittingly melancholy but pointedly never preachy or sentimental, “Never Rarely Sometimes Always” doesn’t compel the audience to choose sides on the abortion issue toward either the pro-life or pro-choice factions. Rather the picture depicts simply and objectively the grim, impersonal reality of one girl’s experience. And in its impartial and even clinical depiction of a naive teenage girl ending an inconvenient pregnancy, the film makes abundantly clear that abortion is neither a desirable nor emotionally indifferent option.
Written and directed by Eliza Hittman, “Never Rarely Sometimes Always” takes its title from the options in a multiple choice questionnaire administered prior to Autumn’s admission to the New York City health care facility--an interview which ultimately, finally, causes the girl’s stony resolve to break. Both filmmaker Hittman and actress Flanigan received a number of prestigious awards and critical accolades for their sensitive and perceptive work on this exceptional picture.
Actor Ryan Eggold of television’s medical drama “New Amsterdam” appears briefly as Autumn’s boorish father. A co-production of BBC Films filmed on location in Pennsylvania and New York City, “Never Rarely Sometimes Always” is rated PG-13 for mature, disturbing thematic content, sexual references, and scenes depicting teenage drinking. The film is presently streaming on Amazon Prime, Hulu, YouTube, and HBO Max.
“Stowaway” Distributed by Netflix, 116 Minutes, Rated TV-MA, Released April 22, 2021:
The “oh, come on” quotient is unusually high in “Stowaway,” the new drama streaming on Netflix that combines elements of science fiction and melodrama with muddled results.
Set in the near future, in “Stowaway” the three-member crew of an exploratory mission to Mars is launched into space to embark on their two-year mission, and along the way are surprised to discover inside an access hatch a member of the space program’s ground crew, injured and unconscious. Worse luck--their equipment is damaged, and they calculate only enough oxygen to sustain a crew of two.
Too late to turn back and travelling too fast for a support ship to arrive with additional supplies, the augmented crew is compelled to consider options which unfortunately include improvisation and reallocating supplies...and self-sacrifice.
With good production values but a plotline that reads less like a viable science fiction morality fable than a high school math problem, “Stowaway” spends its first hour persuading the viewer of its scientific authenticity and its second hour creating situations so improbable and plot elements so absurd (one crew member suffers from vertigo) that you can’t imagine them ever happening anyway. How can a stowaway go undetected in a spacecraft so stripped-down and weight-conscious that a crew member needs to smuggle a coffee cup aboard?
Virtually everyone who’s ever been there agrees that in space there’s no sensation of altitude--no feeling of up or down in relation to other objects, including planets...or spaceships. This information renders much of “Stowaway” pointless, including a scene in which the vertiginous astronaut has to climb a pole some 600 feet above the spaceship to access a spare oxygen tank. It makes little sense for the tank to be there anyway--it’s like a family storing their frozen food in Iceland instead of a freezer.
It certainly doesn’t help that the crew’s discovery of the stowaway is framed like a scene in nearly every horror movie you’ve ever seen: A crewman hears a strange sound in the overhead, unscrews a panel, and a body drops out. As the title stowaway, actor Shamier Anderson is personable enough and generates sufficient sympathy to make the audience care about his awkward situation. But all the sympathy in the world isn’t going to make a preposterous situation any more plausible.
The movie’s credibility issues extend to its casting. Displaying more or less the same chirpy optimism that helped turn the three “Pitch Perfect” musical comedies into enormous box office hits, Anna Kendrick might be the most unlikely astronaut who ever appeared in a science fiction saga. Early in the mission Kendricks’ character confides to the others, “I applied for (the space program) because I thought it would be a funny story to be rejected.” It’s one of the most believable lines of dialogue in the picture.
Is the novelty of seeing Anna Kendrick in a spacesuit enough to sustain the audience’s interest in a far-fetched science fiction drama reminiscent of both 1969’s “Marooned” and 2013’s “Gravity”? Eh, not quite. “Stowaway” is watchable, but don’t beat yourself up if you miss it. Note to grandkids: Avoid employment at the future version of NASA.
Directed by Joe Penna (“Arctic”) and also including crew members Toni Collette (the mission commander) and Daniel Dae Kim (the one with vertigo), “Stowaway” is rated TV-MA for language concerns. The picture is now streaming on Netflix.
“Together Together” Distributed by Bleeker Street Films, 90 Minutes, Rated R, Released April 23, 2021:
In “Together Together,” amiable but uptight and by-the-book middle-aged web designer Matt (Ed Helms) develops an itch to start a family...despite being unattached and unlucky at romance. So he hires free-spirited but strongminded Anna (Patti Harrison) to act as a surrogate for artificial insemination. And together-together the two mismatched partners navigate the turbulent waters of pregnancy and childbirth while struggling to remain friends.
A mostly aimless seriocomedy with serious overtones, “Together Together” uses a lighthearted approach to the intricacies of childbearing while also taking occasional aim at emotional boundaries and modern generational differences. Often resembling a series of sketches from an advanced class in acting--an ambiance augmented by a cast filled with standup and improvisational comedy veterans--“Together Together” does manage to form a connection with the audience, thanks mostly to charismatic performances from Helms and especially Harrison.
Written and directed by Nikole Beckwith in her second feature film effort, “Together Together” does seem somewhat more skewed toward the female point of view--or at least more sensitive to it. While Helms plays his role mostly for laughs, the feminist perspective is driven home by Harrison’s sensitive and perceptive performance. A familiar performer in comedy sketches on television’s “The Tonight Show,” Harrison has a kind of open and expressive face that can transmit volumes of emotion with a glance, a grimace, or a glare.
The major debit of “Together Together” is its meandering, aimless structure. With only the loosest of plotlines, Beckwith’s screenplay has an unfinished and unresolved quality, like a puzzle with pieces missing. Harrison and Helms leave the audience wanting more...but the picture’s abrupt ending will undoubtedly leave many viewers feeling cheated. And with material this good and performances this likable, that’s a real shame.
Premiere screenings of “Together Together” are preceded by a filmed welcome and introduction from writer and director Beckwith, and followed with a brief discussion of the film hosted by Turner Classic Movies host Dave Karger, with contributions from Beckwith, Harrison, and Helms.
Filmed over 17 days in late 2019 just prior to the pandemic and lockdown and also featuring performances by Tig Notaro, Rosalind Chao, and SNL veteran Nora Dunn, “Together Together” is rated R for adult situations and language. Currently playing in limited release in selected movie theaters, the picture is scheduled for release on Video on Demand on May 11, 2021.
“Separation” Distributed by Open Road Films, 107 Minutes, Rated R, Released April 30, 2021:
Your mother’s warnings that comic books will rot your brain are brought vividly to life in “Separation,” a new horror movie from director William Brent Bell and Open Road Films that combines elements of fantasy and domestic drama with results more tedious than stimulating.
An eight-year-old girl, the child of a broken marriage, numbers among her imaginary friends the bizarre and disturbing characters from her underground comic artist father’s alternative line of graphic novels. But following the death of her mother in a freakish automobile accident, the child also begins to include among her nighttime visitors the spirit of the late mom.
A fairly simple premise (for a horror movie) is given an outrageously complicated staging in this below average attempt at psychological drama from the director of 2016’s “The Boy” and its 2020 sequel “Brahms: The Boy II.” An unlikely combination of elements from “Poltergeist” and “Kramer vs. Kramer,” the picture’s most horrific elements are relegated to the final 20 minutes, but the movie takes forever to get there. Even worse, the wrap-up turns out to be so simplistic, obvious, and just plain dumb that you might hate yourself later for hanging around to see it.
More upsetting than frightening and more tedious than either, the main problem with “Separation” is the script from Nick Amadeus and Josh Braun. The audience is never quite sure which of the film’s subplots is the prevalent one, or even whether the picture is actually a horror movie or a domestic drama. The script spends so much time concentrating on the dad’s creative impulses versus his employment woes that the main plotline isn’t even revealed until almost an hour into the picture.
Not exactly a contender for Father of the Year honors, Rupert Friend in the central role of the child’s dad turns out to be so unlikeable that the audience actually starts rooting for the father-in-law (the always-solid Brian Cox) in his crusade for legal custody of the child--never a good sign in a picture like this. The filmmakers should’ve thrown more of “Separation” to little Violet McGraw, who’s genuinely appealing in the role of the lonely and bereft child.
Twelve--count ‘em--producers including director William Brent Bell were needed to bring this mess to the screen. Brian Cox, lest we forget, was the screen’s first Hannibal Lecter, in 1986’s “Manhunter.” Filmed in Brooklyn, New York and also featuring contributions from Mamie Gummer as the late mom and Madeline Brewer as a pushy babysitter who should concentrate more on her professional responsibilities, “Separation” is rated R for language, some violence, and drug references.
“Mortal Kombat” Distributed by Warner Bros. Pictures, 110 Minutes, Rated R, Released April 23, 2021:
What you see is what you get.
In the outrageously violent “Mortal Kombat,” with an ultimate goal of conquering Earth, the extraterrestrial realm of Outworld has bested our home planet’s team in nine out of the past ten Mortal Kombat deathmatch tournaments, a sort of exaggerated, no-holds-barred martial arts competition. But as a means of fulfilling an ancient prophecy, Earth begins to recruit a new generation of Mortal Kombat champions in order to prevent Outworld’s tenth and decisive victory.
A fantasy adventure based on the video gaming sensation first marketed by Midway Games in 1992, “Mortal Kombat” is precisely what you either hoped it would be (if you’re a fan of the game) or afraid it might (if you’re not). Starring an assortment of actors, models, martial arts experts, and stunt performers, the film contains plenty of CGI-augmented action and violence but little personality or style...and not a shred of wit or intelligence. Worst of all--the movie takes itself much, much too seriously. This one’s for fans of the video game only.
My eleven-year-old nephew describes “Mortal Kombat”--the video version--as “just a stupid, boring video game jazzed up with too much violence and blood”...which is also a good way to describe the movie. For what it’s worth, the filmmakers needed to tone down the video game’s carnage quotient in order to avoid a fatal NC-17 rating from the MPAA. Think about that the next time your child disappears to indulge in hours of online gaming.
Directed by first-time feature filmmaker Simon McQuoid from a script by rookie screenwriter Greg Russo and “The Expendables” and “Godzilla” writer David Callahan, “Mortal Kombat” is rated R for graphic, bloody violence and language concerns throughout.
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Post by Chalice_Of_Evil on May 2, 2021 4:35:20 GMT
Nancy Drew (2007). Note: I wrote this review after rewatching the movie back in 2018 and originally posted it in this thread (it's at the very bottom of the page)... imdb2.freeforums.net/thread/90377/movie-finish-watching?page=13&scrollTo=1535064Rather than type out a review all over again, I figured I might as well just use my original one (since I don't think my thoughts changed much). I never even knew about Nancy Drew until I heard her being referenced a lot in shows and movies I watched - that's why I checked out the movie the first time I watched it, as I wanted to know just who this Nancy Drew person was that characters in things kept referencing/comparing other characters to. Being someone who draws, I appreciated the opening credits with the line art depicting Nancy and her sleuthing. It was a good way of summing up the types of adventures she'd been on previously and getting across the fact that she'd oftentimes find herself in potentially dangerous while doing so.   Our introduction to the character herself, spying on thugs, hiding, then being found out and cheerily greeting them whilst answering their "Who are you?" question with her own inquiry of "May I ask who you are?" all quickly established Nancy's personality, quirks and what sort of movie this would be. Yes, it's a 'family' film, there's certainly a level of suspending disbelief required, but I thought Emma Roberts was really good in the role (and it's the only time I can recall seeing her play a 'nice' girl, as all I've ever seen her play otherwise is the 'mean girl'...to put it politely).  Speaking of politeness, I appreciated Nancy's good manners, kindness and cheery nature - which requires a fine balance, as too much perkiness can get rather irritating, but I thought Emma Roberts really embodied this character who felt like she was from a different time period (and not just because of the clothes she wore - which were great, btw). So many kid/teenage characters in movies and shows are beyond irritating, have bad attitudes and are just so obnoxious/horrible, that it was a breath of fresh air to see Nancy - whose main flaw was that she couldn't give up sleuthing (like Veronica Mars, she was rather addicted to it, it seemed). The way she'd greet everyone below as she stood on the roof, saying, "Hi, everybody.", waving to them, then telling the she'd be down in a jiffy, managing to rescue herself from the roof instead of needing the fire department to I thought was endearing. It was kind of funny to see a young Max Thieriot as Ned, as I'd gotten used to seeing him in the TV series Bates Motel and more recently SEAL Team, where he sported facial hair. Anyway, his dream that he told Nancy about amused me: "I had this dream during my nap today...you went to California, met that guy on Smallville...and you got amnesia...and forgot you ever met me, and then I turned into a squirrel. Anyway, what do you think that means?" I was not expecting the Smallville reference when I watched the movie the first time, and had basically forgotten about it until I heard it again - but it still amused me. I was also amused by the crooks ("Please don't thank her for turning us in.") and the Police Chief's reaction to the priest's prayer as Nancy left: "Dear Lord, please watch over Nancy Drew...and protect her as she strives to solve mysteries...that are beyond the abilities of local law enforcement agencies." Even the not-so-subtle safety message about not being distracted while driving was sort of amusing: Nancy: "Dad? Don't you think people who talk on cell phones, um, miss things?" Nancy's Father: "Like what, hon?" Nancy: "Like that woman in the street!" Nancy's Father: *slams on the brakes* Another funny bit was her reading a book titled Advanced Sandcastle Making. The song which we hear some of over the opening credits, then again partway into the movie, was one that I'd heard on the radio a few times and liked. It's a cover of 'Blue Monday'. I was surprised to hear it in the movie, but I thought it was used well and added a nice 'mood' to things. Also surprising was seeing Brue Willis make a cameo as himself. I liked that Nancy pointed out the inaccuracies with the dialogue for the time period and that Brillis wasn't angry at her (in fact, he was impressed), but instead angry at the director. The guy playing the appropriately named 'Arrogant Director Andy', who I've seen in a few things, was very annoying - but since that was his character, I thought he played it well. Something else I liked about Nancy, besides her good manners, inquisitive nature and adventurous spirit, was that she was smart and excelled in school - not only with book smarts, but athletics as well - as oftentimes the two are portrayed as mutually exclusive (like someone can't be smart and athletic), but here she did *both*. And what made it tolerable (as opposed to 'too perfect') was that she didn't seem to rub her knowledge/athleticism (plus, the fact that she could paint!) in others' faces. It actually seemed as though she was oblivious to her knowledge and other skills not being 'the norm'.    Of course, there had to be the typical 'mean girl' stuff in the cafeteria. I felt bad for her, as she was perceived as 'weird' for dressing nicely/being neat and tidy, eating healthy food and being courteous to others. I thought Corky would be super annoying, and while at times I did find him to beso, on the whole he wasn't too bad and thankfully remained tolerable for the most part (though his come-ons to Nancy were a bit iffy). I was glad that he stuck up for her when he saw the mean girls nick her cupcake (though I was later surprised to discover one of them was his sister - given how she treated him. Though maybe that's how siblings are? Not ever having had any, I wouldn't know). The mean girls and their setting up for Corky to kiss Nancy after she saved him from choking was really nasty...and kind of weird. She just saved someone from choking to death (even if it were an act). I don't know, there always seems to be this weird thing where mean kids in movies/shows laugh at the 'outsider' for things they should really be praising them for. It's odd. Knowing CPR is nothing to be laughed at. I'm glad Nancy had Corky, then later on Ned, as it always ticks me off in movies/shows when the 'nice' girls are considered 'boring' by some viewers. Like, you have to be mean to be considered 'interesting', when in fact she deserved to have plenty of friends. She just seemed genuinely nice, and not in a 'holier-than-thou' sort of way either.  Ned didn't have a whole lot to do, other than be there for Nancy as a friend...and wanting to be more. I could sympathise with him, though, at being utterly confused by teenage girls and their apparent habit for speed-talking... Nancy: "Ned can I ask you a question? Ned: "Mhm." Nancy: "Can you tell when a girl looks at you and is thinking how much she likes you and is wondering if you like her and thinking how important it is for you to say how you feel before she says anything more about how she feels about you or anyone else they might be jealous of because she's already said how she feels how she's said in her own way?"  I appreciated that Nancy's relationship with Ned was pretty drama-free. There weren't any horrible misunderstandings, she didn't treat him badly, he wasn't a jerk to her...they were just nice together. And good on this movie for not having Nancy obsess about a guy. The person she cared most about in her life was her dad, her passion was sleuthing and the guy wasn't her main focus.    I admired the fact that Nancy used food that she made herself as bribes in getting information. Also, her rather calm reaction to finding a bomb, having to dump it down a manhole (just as well no one was down there) and her nonchalant attitude towards nearly getting killed: Nancy: "Usually when someone tries to kill me, it means I'm on to something." Also, good on her for being prepared for everything by having a kit (including First Aid). I personally thought her fashion sense was far superior to all the others. I'm glad the boutique clerk agreed and had a go at the mean girl's dress sense instead. Nancy had nothing to be ashamed of regarding the way she dressed.   I was amused by how Nancy sincerely complimented Ned and Corky on their streamer hanging...meanwhile, hers was a work of art and made theirs look...well...not so great. I also liked her choice of dancing style.  The typical teenage party which got out of hand was to be expected...though the tracheotomy certainly wasn't (of course, they didn't actually show anything even mildly gory, but everyone's reactions were kind of funny/sold it. It also showed once again that Nancy's skills were useful and not to be scoffed at). I did like that her father wasn't mad about it (which is what usually happens in these situations in movies). Barry Bostwick managed to actually be a bit creepy when the reveal about him occurred - obviously nothing 'bad' was going to happen to Nancy, her father or anyone else in the movie, but I think they managed to create a sense of 'danger' within the parameters of what this type of movie could allow. I think Nancy getting herself into dangerous situations would be considered a 'flaw', so I thought that kept her from being 'too perfect'.  I did like that, once again, she was pretty level-headed in dangerous situations when she was about to be killed... Nancy: "If you shoot me, that'll leave all kinds of evidence. Really messy." Thug: *prepares to strangle Nancy* Nancy: "Strangulation leaves a traceable handprint." Biedermeyer: "What do you suggest?" Nancy: "The best way to kill me? Hm, let me think about that. Um..." And then he was about to shoot her - so it wasn't just weak threats, there was an actual element of 'danger' (even though we knew it'd all work out in the end). I also could have done without the mention of cat/kitten drowning earlier in the movie. Seemed a bit too 'dark' for this film. I liked that the movie had 'heart' to it, and thought the father/daughter relationship was good. I found it was refreshing that the daughter wasn't hating her father and thinking he was the 'worst ever' and being 'embarrassed' by him all the time. Yes, they disagreed at times, but on the whole I thought they had a pretty healthy father/daughter relationship. While one might wonder why a father would want to keep his daughter who was a super sleuth from doing what she did best...it made sense in that he was trying to keep her safe (and we'd seen there was reason to be concerned for her safety, given how many times she almost died). I was just thankful that we never really saw Nancy yelling at her father in a fit of rage and storming off, slamming doors and being the typical 'brat' that we so often see in movies/shows from daughter characters when it comes to their father trying to keep them safe. I thought the movie did a good job on the whole. There were some minor quibbles, but at least it didn't irritate me much (which is more than I can say for most kid's movies). It all more or less 'worked', I think, and I'm surprised it wasn't better received, as I've seen a lot worse. People tend to dismiss Emma Roberts as not very good, but I think she excelled in this role and pretty much held the whole film together.  It's a shame that there was only the one movie...but at least it was a good one (I thought so, anyway). 7.5/10 Spider-Man (2002).
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Post by claudius on May 2, 2021 9:47:06 GMT
And this week’s selection of MASTERPIECE 50 is: POLDARK (1975) based on Winston Graham’s novels, starring Robin Ellis, Jill Townsend, Clive Francis, and Angharad Rees. Viewed Episodes 1-5, 8. Acorn Media DVD.
Sunday 25
ER (1996) “Fire in the Belly” 25TH ANNIVERSARY Mark has his first post-marriage sexual encounter, while Carter and Tracy break up. Warner DVD.
ADVENTURES OF CAPTAIN MARVEL (1941) “Part Five: The Scorpion Strikes” 80TH ANNIVERSARY The Scorpion possesses the first lens to the Scorpion device, and tries to get rid of Captain Marvel by trapping him in a cave with molten lava (transformed rock by the device), a cliffhanger that would be used later in ROCKET MAN FROM THE MOON. Republic VHS.
JACK AND THE BEANSTALK (1974) Japanese-Animated musical of the Fairy Tale with some nightmarish surreal tones (a brainwashed princess, a wicked witch, a creepy wedding). One of the films of my childhood. First saw it 40 years ago on SFM’s HOLIDAY NETWORK c. April 25 1981. My parents recorded the broadcast, and it is this recording (okay, a copy of the recording) that I view today (although the first ten minutes were recorded over for the Royal Wedding and the epilogue was cut out due to the tape stopping at the Giant’s fall from the Beanstalk). Also included is a Hallmark commercial with Nancy McKeon and a HOLIDAY NETWORK promo for MARGIE (1945)
OSCAR’S GREATEST MOMENTS 1970-1991 (1991) 30TH ANNIVERSARY this year. I had believed the Oscars would be in March, hence my viewing of my Uncle’s recordings of the ceremony in 1983, 1986, 1988, 1990, and 1991 that month, only to learn it would be in April. Oh well. As tradition, I watch this special highlighting the Oscars from 1970 to 1991 from the listings of Best Actress, Best Actor, and Best Picture, to the many speeches and ‘Thank you’s” both good and bad, the musical numbers, the goofs and wild stunts (the streaker). The ending, with Charles Chaplin’s 1972 appearance, always gets me misty-eyed. Sony VHS.
Monday 26
THE STEVE ALLEN SHOW (1959) A collection of highlights, like Esther Williams appearing before a swimming pool, and Allen & Stan Freberg performing the Banana Boat Song. I recognized the sketch from a later Animated short (the bango player can’t handle the shouty Day-O! parts, so the singer has to go to the other room to sing, and then come back). VHS Recording of a Comedy Central Broadcast August 1991.
ROBIN OF SHERWOOD (1986) “The Inheritance” 35TH ANNIVERSARY I’m not going to watch every episode of the Jason Connery season, but this episode I had to watch because it was the first RoS I ever saw, back on its broadcast on Showtime back in the late 1980s. Acorn Media DVD.
NORTHERN EXPOSURE (1991) “All Is Vanity” 30TH ANNIVERSARY this year. VHS Recording of CBS Broadcast August 1991.
Tuesday 27
THE FLASH (1991) “It’s Done with Mirrors” 30TH ANNIVERSARY David Cassidy plays the Mirror Master, and Barry disguises himself as Professor Zoom, a nod to the comic’s actual villain. Warner DVD.
THE CULT OF… (2008) “Poldark” Introspective of the 1975 BBC-TV Serial. YouTube.
Wednesday 28
HIGHWAY TO HEAVEN (1986) “Keep Smiling” Betamax Recording of an ABC Broadcast May 1991.
THE PHIL SILVERS SHOW (1955) “The Revolutionary War” & “The Boxer” Betamax Recording of Comedy Central Broadcast May 1991.
Thursday 29
LOVE ME TENDER (1956) Elvis Presley’s film debut set at the aftermath of the Civil War. Betamax Recording.
GO WEST (1940) The Marx Brothers’ penultimate MGM film is a Period Western. First saw this in the summer of 1991 on Cinemax. MGM Betamax.
Friday 30
RECORD OF LODOSS WAR (1991) “Requiem for Warriors” 30TH ANNIVERSARY The Saga takes a change, as the group lose two members, and gain three more. Japanese with English Subtitles. US Manga/Image DVD.
Saturday 1
ELLEN (1996) “Go Girlz” 25TH ANNIVERSARY A&E Video DVD.
BUFFY THE VAMPIRE SLAYER (2001) “Tough Love” 20TH ANNIVERSARY FoxVideo DVD.
SVENGALI (1931) 90TH ANNIVERSARY John Barrymore plays DuMaurier’s manipulative mesmerist, with Marian Marsh, Donald Crisp, and Bramwell Fletcher. First saw this back in the Spring of 1991 on the Discovery Channel (the network was broadcasting a series of ‘classics on film’ – or more accurately, Public Domain films, like OLIVER TWIST (1933), OF HUMAN BONDAGE (1934), SHERLOCK HOLMES AND THE SECRET WEAPON (1942)), freaked by Barrymore’s mesmerist lenses. I had a more substantial viewing in 1997 on PBS, but slept through the conclusion. Finally saw the full film on DVD. Roan Group DVD.
THE CURSE OF THE WEREWOLF (1961) 60TH ANNIVERSARY Oliver Reed’s first starring film is Hammer’s only film on Lycanthrophy, here the curse has nothing to do with bites or Gypsies, but a combination of rape and being born on the wrong day (in this case Christmas Day, which has some sources from the Greek Orthodox traditions). I first read of this film from the Crestwood Horror film books for children, telling of the plot with some omissions (like the rape), with pictures of Oliver Reed in lupine make-up. One photo was planted horizontally making it look like a death scene. I finally saw the film on Universal VHS in October 1997. Universal DVD.
HOLLYWOOD: THE GOLDEN YEARS (1987) “It’s All True” In view of CITIZEN KANE’S 80th Anniversary, I watched Episode 4 of this BBC Documentary series on RKO Pictures’ History, focusing on Orson Welles’ association with the studio. A little dated, as Narrator Ed Asner laments the footage to his unfinished IT’S ALL TRUE will probably never see the light of day. Bootleg DVD.
THE AMERICAN EXPERIENCE (2021) “American Oz” Documentary focusing on the life of OZ author L. Frank Baum. PBS.com.
Saw Parts Of:
THIRTYSOMETHING (1991) “California” 30TH ANNIVERSARY this year. VHS Recording of ABC Broadcast August 1991.
UNDER HOLLYWOOD (1991) “Four Million Isn’t Cheap” VHS Recording of Arts and Entertainment Broadcast August 1991.
FRANK’S PLACE (1988) “Shorty’s Belle” VHS Recording of BET Broadcast 1991
THE JACK BENNY SHOW (1961) “Mr and Mrs. Jimmy Stewart Show” VHS Recording of Comedy Central Broadcast August 1991.
THE 50TH GOLDEN GLOBE AWARDS (1993) Betamax Recording of TBS Broadcast January 1993.
ENTERTAINMENT TONIGHT (1993) Abbe Lane talks about her abusive life under Xavier Cugat. Leonard Maltin looks at Marge Champion modeling for Snow White. Betamax Recording of NBC Broadcast January 1993.
YOU BET YOUR LIFE (1993) The Bill Cosby version. Betamax Recording of NBC Broadcast January 1993.
THE TONIGHT SHOW STARRING JOHNNY CARSON (1984) “Dan Akroyd and Bill Murray” Betamax Recording of NBC Broadcast 1984.
AMERICAN PLAYHOUSE (1985) “Some Men Need Help” Betamax Recording of PBS Broadcast 1985.
RETURN OF THE MAN FROM UNCLE (1983) TV-Reunion of the Spy series with Robert Vaughn and David MaCallum. Betamax Recording of CBS Broadcast 1983.
Earliest film seen this Month: THE HIGH SIGN (1921)
Latest film seen this Month: HOW TO TRAIN YOUR DRAGON (2010)
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Post by Lebowskidoo 🦞 on May 2, 2021 13:59:09 GMT
Barb and Star Go To Vista Del Mar (2021)  Thunder Force (2021)  Coming 2 America (2021)  The Falcon and the Winter Soldier (2021 TV-Mini-Series)  The Yakuza (1974)  Nothing Sacred (1937)  Goodbye Charlie (1964)  My Octopus Teacher (2020)  The Go-Go's (2020)  The Bee Gees: How Can You Mend a Broken Heart (2020) 
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Post by petrolino on May 2, 2021 16:50:40 GMT
Did you enjoy Tinto Brass' 'Cheeky' (2000)? I think it's a stylistic masterpiece. Helen Mirren likes it too; she's been great friends with Brass since the late 1970s and sometimes stays at his family home when she's in Italy.
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Post by wmcclain on May 2, 2021 17:11:13 GMT
Did you enjoy Tinto Brass' 'Cheeky' (2000)? I think it's a stylistic masterpiece. Helen Mirren likes it too; she's been great friends with Brass since the late 1970s and sometimes stays at his family home when she's in Italy.
Well... it's the most porny thing I've gotten from Netflix disc rentals -- which does indeed still exist. More explicit than the soft-porn cable and hotel channels of my youth, no doubt surpassed in the modern age. Not quite full-on XXX but getting really close. Did I like it? Beautiful women, rather lovely lighting and camera work -- high-gloss erotica has always been the most appealing. So yes, and having to hide it from my wife added a frisson of naughtiness, recapturing the adolescent transgressions of long ago. I'd never seen anything by Brass before. I see he is described as the Russ Meyer of Italy, emphasizing backsides rather than boobs. "A Cult Epics release, unrated uncensored Italian version".
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Post by petrolino on May 2, 2021 17:17:46 GMT
Did you enjoy Tinto Brass' 'Cheeky' (2000)? I think it's a stylistic masterpiece. Helen Mirren likes it too; she's been great friends with Brass since the late 1970s and sometimes stays at his family home when she's in Italy.
Well... it's the most porny thing I've gotten from Netflix disc rentals -- which does indeed still exist. More explicit than the soft-porn cable and hotel channels of my youth, no doubt surpassed in the modern age. Not quite full-on XXX but getting really close. Did I like it? Beautiful women, rather lovely lighting and camera work -- high-gloss erotica has always been the most appealing. So yes, and having to hide it from my wife added a frisson of naughtiness, recapturing the adolescent transgressions of long ago. I'd never seen anything by Brass before. I see he is described as the Russ Meyer of Italy, emphasizing backsides rather than boobs. "A Cult Epics release, unrated uncensored Italian version". The most explicit scene involves Ukrainian actress Yuliya Mayarchuck and her then-partner. The actor playing the masseur was also her friend. Tinto Brass produced the short subject film 'Sogno' (1999) which I think featured all three actors (certainly Mayarchuk and her boyfriend). The final flashback sequence is a homage to a dream in 'Sogno'. The spectacular music score for 'Cheeky' was composed by Pino Donaggio.
Check out 'PO Box Tinto Brass', it's based on the masses of letters that Brass used to recieve weekly from women who loved his films and would write him their fantasies. He's a legend in Italy and a mainstream celebrity known for smoking a big cigar. He originally trained as a painter and has some Russian ancestry like Helen Mirren. His previous film, 'Frivolous Lola' (1998 ... also a masterpiece), turned Anna Ammirati into a star and she ended up on daytime tv in Italy. According to legend, Brass almost knocked her off her bicycle, and to appease her, she demanded to be the lead in his next movie. That's show business.
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Post by mikef6 on May 2, 2021 19:16:12 GMT
La Mariée Était En Noir (The Bride Wore Black) / François Truffaut (1967). In August 1966, Truffaut met with Alfred Hitchcock and for over 50 hours as Hitchcock talked about his work. That interview soon became the celebrated book “Hitchcock,” which was one of his main catalysts into the auteur firmament. This movie, an obvious and loving homage to the Master, also followed very quickly in the footsteps of the interviews. The Bride Wore Black is a darkly comic tale of murder that takes place in several locales all over France. Jeanne Moreau is a woman who is on a mission to kill a number of men who do not know her and, apparently, do not know each other. She assumes different identities, sets them up, gets them interested in her, and then kills them. Some Hitchcock touches I noticed on first viewing are: the traveling cross country, her many costume changes, the revelation of the secret at about the halfway point, and the just plain cheerful approach the film takes toward murder. In still another example of letting the audience in on what is about to happen, the last five minutes – details I will not reveal even under torture – is the setup for an elaborate gag. The audience sees the joke coming, we know what will happen, but are glad to go along with it and laugh out loud when it pays off at the final fade-out. Of all the so-called Hitchcock homages that are out there, this is, perhaps, the only one that is really worthy.    Ava / Tate Taylor (2020). I have been watching a lot of female assassin/avenger movies lately. Of all that I have seen, this is one of the poorest: not as far down on the list as “Hanna” or “Colombiana” but in that general vicinity. Yet it has its plus sides. The title Ava (Jessica Chastain) is a hit person for a black ops company who gets in trouble with Big Boss Simon (Colin Farrell) for being too empathetic: she talks to her marks about why they have been targeted before she shoots them. Duke (John Malkovich), her recruiter, trainer, and control, is sympathetic and tries to protect her. But Simon arranges for her to be “cancelled.” When that fails, Ava tries to go back home to her mother (Geena Davis) and sister (Jess Wexler) with whom she has a troubled past. The whole domestic drama was surely put in to deepen Ava’s character but it just bogs down the movie regardless of how well acted it is. And the acting by all the main cast is this film’s major advantage. Also with Common as Ava’s former fiancé who is now with the sister and Joan Chen as the head of a large illegal gambling empire.    Greta Thunberg: A Year to Change the World (2021). A 3-part documentary on PBS that covers the year (fall 2019 to fall 2020) that the young climate activist toured the world for speaking engagements and for learning more about the climate crisis from leading scientists who take her above the artic circle and into tropical jungles to demonstrate the effects of human created global warming. But I was more impressed by the background biographical information about the then Swedish 17-year-old. At an early age she was diagnosed with Asperger’s, a form of autism. Like many autistic people, she didn’t like crowds and noises and sometimes would stop talking and eating. She was at a special school for a while. But after transferring to public education she learned about the climate crisis. One day she decided to skip school, make a sign encouraging action, and sit outside the Swedish parliament building. She sat on one of her father’s old coats which covered the ice and snow. Amazingly, during the day, she was joined by other people who were just passing by. She resolved to overcome the limitations of her disability – learn to talk to people one-on-one, speak clearly on cue, and, most important, appear in large groups who are chanting and singing, as well as stand before them and give a speech. This took a lot of practice and sheer will, but she overcame. These programs are an eyeopener.   American Experience. S. 33, Ep. 1 “American Oz” PBS April 19, 2021. Lyman Frank Baum, born in 1956, spent more than half his life searching for the work that would fulfil his creative instincts. He always felt that his writing would be the key factor. To support his family in Buffalo, New York he worked at a newspaper and a couple of traveling salesman jobs. He moved with his brood to Aberdeen, South Dakota where he opened a store which failed when drought hit. Back in Chicago, he again got newspaper work and began to sell the occasional article or book to a publisher. Then, in 1900, at age 44, he wrote “The Wonderful Wizard Of Oz.” A publisher put out a short run which sold out at once. Subsequent printings also flew off the shelves. He was on his way. This almost 2-hour documentary goes into much more detail than any review can cover and it is all interesting to learn. Keep following the Yellow Brick Road and you will find your heart’s desire.  
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Post by Captain Spencer on May 3, 2021 3:49:36 GMT
 White Heat (1949) One of James Cagney's best as mentally unbalanced career criminal Cody Jarrett. Rough, tough, crackling good dialogue, as well as a dose of dark humor. Memorable scenes, especially the one when Cody goes berserk in a prison mess hall after learning the news of his mother's death. Cagney is in very fine form here. Top of the world, ma! |
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