|
|
Post by Lebowskidoo 🎄😷🎄 on Jul 12, 2020 15:28:22 GMT
The Deep (1977) I saw this in the theatre as a kid, my parents took me. Haven't seen it since. I've since been to Bermuda and recognize certain places on screen. Robert Shaw is always a pleasure to watch. 
|
|
|
|
Post by jeffersoncody on Jul 12, 2020 20:43:31 GMT
JOHNNY GUITAR - 1954. Restored widescreen print on Blu Ray. Rating: 9 out of 10. One-of-a-kind, that's for sure. THE SEVEN-UPS (1973). Solid, gritty, but not great seventies cop flick - which stars Roy Scheider and features one of the screen's finest car chases - one that comes to a truly harrowing, wrenching end. The stunt driving - in the days when they did it for real, on the streets, is astonishing. No special effects here. Terrific location shooting, capturing a pre- cleanup New York. Rating: 7 out of 10.  
|
|
|
|
Post by Chalice_Of_Evil on Jul 12, 2020 22:20:38 GMT
Stonehearst Asylum (2014).  
|
|
|
|
Post by Prime etc. on Jul 14, 2020 6:10:48 GMT
YOU CAN'T WIN 'EM ALL 1970 - some movies just have a certain power where you can watch it more than once and remember very little about it. I've watched it a couple of times I think and it's almost like watching it for the first time. The locations for this are impressive, but something about it just doesn't amount to much. Written by Leo Gordon who also has a role in it.
|
|
|
|
Post by Chalice_Of_Evil on Jul 14, 2020 21:10:14 GMT
|
|
|
|
Post by kijii on Jul 14, 2020 21:27:56 GMT
Life Is Sweet (1990) / Mike Leigh Wendy : If you smoked less and you ate more you wouldn't be sitting there looking like a skeleton. Nicola : It's better than looking like a beached whale. Wendy : Oh, thank you. Anyway your Dad likes something to grab hold of over the night. Nicola : What? Blubber? Wendy : No. Me little love handles. We got a set each ain't we, Andy? Nicola : Oh, you're disgusting!
Two Oscared actors; Stephen Rea and Jim Broadbent  and a set of unlikely twins: .....go into an everyday story to present a sweet film.  Wikipedia plot summary with SPOILERS: Andy (Jim Broadbent), a senior chef in a large London catering facility, buys a dilapidated fast-food van from a disreputable acquaintance named Patsy (Stephen Rea). He plans to clean, restore and put it into service on a local fast-food round. Wendy (Alison Steadman), his hard-working, good-natured and innuendo-prone wife, is sensibly sceptical about the project but understands her husband's ambitions. Their twin 22-year-old daughters (Natalie and Nicola) have profoundly different attitudes: tomboyish Natalie (Claire Skinner), thinks it is a good idea if it will make her father happy, whereas the bitter, shut-in Nicola (Jane Horrocks), contemptuously and typically dismisses Andy as a "Capitalist!" Late at night, an anguished Nicola binges on chocolate and snacks, then forces herself to vomit. Natalie, awake in the next room, overhears her.
Aubrey (Timothy Spall), a hyperactive but emotionally labile family friend, is opening a Parisian-themed restaurant named The Regret Rien. Wendy accepts a part-time job as waitress in the restaurant, but her and Andy's initial confidence in the scheme is undermined by Aubrey's unorthodox approach to the interior décor (a cluttered, half-realised combination of outmoded French clichés, such as a bicycle in the bay window, and of tasteless Victoriana, such as a stuffed cat's head framed by broken accordion sconces) and by his menu. His singularly grotesque interpretation of the excesses of nouvelle cuisine includes dishes such as saveloy on a bed of lychees, liver in lager and pork cyst.
During the afternoon, whilst the rest of the family are out at work, Nicola's lover (unnamed, played by David Thewlis) comes to the family home to have sex with her. It appears that Nicola only can be aroused by a combination of light bondage and the consumption of chocolate spread from her chest – a practice to which he only reluctantly agrees. He ultimately loses patience with her, accusing her of being "a bit vacant" and incapable of having a sincere, adult conversation or allowing herself to enjoy his companionship. She calls his bluff and loses: Frustrated but resolute, he leaves her and her fragile emotional state deteriorates further.
The opening night of The Regret Rien is a disaster. Wendy volunteers her help when it becomes clear that Aubrey's waitress has let him down; she has gone to Prague with her boyfriend. Aubrey forgot to advertise the opening of the restaurant, with the result that no customers turn up. Aubrey gets hopelessly drunk, takes to the pavement and rails against the world, tells Wendy that he fancies her, starts taking his clothes off, and passes out, 'a quivering, sobbing gelatinous blob of disappointment.'[2] Wendy is forced to deal not only with him but with his glum and passive sous-chef/dogsbody Paula (Moya Brady).
Meanwhile, Andy and Patsy have gone to their local pub, where Andy gets uncharacteristically but emphatically drunk and ends up sleeping inside the decrepit fast-food van in his driveway. Wendy returns home from the disastrous opening night of Aubrey's restaurant to find him there: Unnerved by her bizarre evening, she loses her temper with the whole family.
Phlegmatic and dry-humoured Natalie enjoys her unconventional work as a plumber, the simple pleasures of a pint and a game of pool, and dreams of visiting the U.S. In contrast, the fidgety and isolated Nicola becomes increasingly agitated, aggressive and reclusive, and Wendy finally confronts her. During the course of their long and anguished confrontation, Wendy makes it clear to Nicola that she is deeply worried about her, wondering why she makes no attempt to get involved with the causes she claims to believe. She tells Nicola of the struggle that she and Andy endured to care for their baby daughters – how it meant she never went to college and Andy working in a "job he hates." It emerges that during an earlier phase of Nicola's bulimia, she almost starved to death. Ashamed and angry, Nicola is convinced that Wendy and the rest of the family hate her. Instead, as the exasperated Wendy tells her "We don't hate you! We love you, you stupid girl!" and leaves the room, deeply upset. The brittle behavioural armour that Nicola has protected her psyche with is now shattered, and she breaks down sobbing.
Meanwhile, Andy is seen running his kitchen at work with energy and authority but slips on a spoon, breaking his ankle. Wendy receives the news with a characteristic mixture of sympathy and amusement. She drives him home from the hospital; aided by Natalie she makes him comfortable, and then goes to see Nicola, still in her room. Mother and daughter reconcile.
The film ends with Natalie and Nicola sitting peacefully in the evening sunshine in the back garden. Natalie observes that Nicola must own up to her parents about her bulimia. She then asks Nicola "D'you want some money?" and Nicola accepts gratefully, the first time in the film where she has accepted an offer of help.
|
|
|
|
Post by kijii on Jul 14, 2020 23:16:48 GMT
Re-watched two of the great films of the seventies. CISCO PIKE (1971): RATING: 10 out of 10. On Blu Ray. PAT GARRET AND BILLY THE KID (1973): 9 OUT OF 10.   Six "Oscared" performers* in a Peckinpah movie--- I'm sold on this possibility!! I think I will try it...... *James Coburn *Kris Kristofferson *Richard Jaeckel *Katy Jurado *Chill Wills *Jason Robards
|
|
|
|
Post by jeffersoncody on Jul 15, 2020 3:30:16 GMT
Re-watched two of the great films of the seventies. CISCO PIKE (1971): RATING: 10 out of 10. On Blu Ray. PAT GARRET AND BILLY THE KID (1973): 9 OUT OF 10.   Six "Oscared" performers* in a Peckinpah movie---I'm sold on this possibility!! I think I will try it...... *James Coburn *Kris Kristofferson *Richard Jaeckel *Katy Jurado *Chill Wills *Jason Robards Then there are the likes of Harry Dean Stanton, Slim Pickens, L.Q Jones, Barry Sullivan, Luke Askew, Richard Bright, Jack Elam, Paul Fix, Charles Martin Smith, R.G. Armstrong and Sam himself. I urge you to watch this wonderful, haunting, one-of-a-kind western from the late, great visionary American filmmaker Sam Peckinpah kijii. To further whet your appetite here is a montage of clips set to the music of Bob Dylan - which runs through the film like a river and lifts it to even greater heights.
|
|
|
|
Post by Feologild Oakes on Jul 15, 2020 19:42:48 GMT
|
|
|
|
Post by Chalice_Of_Evil on Jul 15, 2020 22:36:47 GMT
Maggie's Plan (2015).  
|
|
|
|
Post by jeffersoncody on Jul 16, 2020 7:11:59 GMT
The Paper Chase (1973) - Timothy Bottoms, John Houseman, Lindsay Wagner and Graham Beckel, directed by James Bridges. Rating: 8 out of 10. Watched on Blu Ray. I first saw the trailer at the old Savoy Cinema in Cape Road in 1973 - when I was 13-years-old, and it's taken me a long time to get around to watching it, but THE PAPER CHASE proved worth the wait. It's another seventies gem. Lensed by the late, great Gordon Willis, the film is a treat to look at. This probably won't work for many modern viewers, but my missus and I were absorbed from beginning to end. And its themes and characters still ring true. Houseman won an Oscar for his unforgettable performance - which made him a star at the age of 71, as the crusty, much loved, and hated, law professor, Kingsfield. Timothy Bottoms is wonderfully natural as our highly intelligent, hugely engaging hero, Hart. They don't make 'em like this anymore, and what a pity that is.
|
|
|
|
Post by teleadm on Jul 17, 2020 22:43:50 GMT
Nostalgia 1980s heaven this week, both The Last Starfighter 1984 and Fright Night 1985. Surprisingly both movies were still entertaining.  Robert Preston in his last cinema movie plays a variation of con man Harold Hill from The Music Man, via video games, finding starfighters that can save space from destruction. The Last Starfighter 1984 still entertaining if one take it for what it is, and the special effects was much better than I remembered. Fright Night 1985, a mix that actually worked, teen comedy with vampires, the reason it works better than I remembered, the threat is real and dangerous. Roddy McDowall is a joy as a once ham actor who has to deal with the real deal, a real vampire, checking in a mirror is just an old prop, and vampires never cast a shadow and can't be seen in a mirror, damn it is a real vampire.
|
|
|
|
Post by Prime etc. on Jul 18, 2020 6:55:14 GMT
Fright Night was great, especially seeing it in 1985 since a) I hated slasher films and b) McDowall has THE great line: "I have just been fired because nobody wants to see vampire killers any more, or vampires either. Apparently all they want are demented madmen, running around in ski masks hacking up young virgins."
His scenes with "Evil Ed" are particularly effective.
I watched RIO BRAVO 1959. I am not a fan of John Wayne--I watched a couple of his movies recently (The Hellfighters and the Undefeated and he was more tolerable than I expected) however I noticed something here--maybe it is true of other movies but this is the first time I realized it. He starts off being very surly and severe-like a walking constipated gnarly rock--but then, at the very moment Dean Martin is about to take the drink in the jail (which up to that point was the only time a head and shoulders shot is used on anyone in the film)--Wayne's face cracks and he turns away with disappointment--showing vulnerability. Then when we see Martin has resisted, from this point on it seemed to me Wayne is smiling more (not even his night with Angie Dickinson had him looking so happy). He comes across as more likable when he loosens up a bit. But the movie belongs to Martin-what a captivating performance. I haven't seen him in much but usually it is more of a comedic character so it was effective to see him in a straight role. I have watched a few of those "swapping prisoner" scenes-this is the first time I have seen that kind of move.
So-to the negatives. Despite some early suspense I think the film is more talk than action. And a little less Stumpy would go a long way. He's not as bad as Una O'Connor but whoa, towards the end...
Also, as good as Dean Marin and Ricky Nelson are at singing, please, no singing in a cowboy movie. I didn't mind Clint Walker's little song moment in The Night of the Grizzly since I didn't know he could sing but I think it slowed things down here and took me out of the story. The script was pretty smart though--I thought we would end with a hokey saloon number by Dickinson so I was relieved they didn't go that route. Anyway, I plan to watch El Dorado sometime. Pilgrim.
|
|
|
|
Post by jeffersoncody on Jul 18, 2020 17:11:47 GMT
I re-watched POINT BLANK (1967) with Lee Marvin, Angie Dickinson, John Vernon and Keenan Wynn, directed by John Boorman. On Blu Ray. Rating: 10 out of 10One of most influential films of the sixties, and one of the best crime thrillers ever. Marvin is unforgettable as the relentless Walker. I saw this on the big screen at a retro cinema in the eighties and it blew me away. A brutal, gripping neo noir, POINT BLANK still thrills and shocks over 40 years after it was made. It's a timeless treat.



|
|
|
|
Post by kijii on Jul 19, 2020 4:35:19 GMT
The Grass Harp (1995) / Charles Matthau This movie, based on Truman Capote's novel and Stirling Silliphant and Kirk Ellis' screenplay, captures the feeling and imagery of the South in the 1940s. A great cast inhabits the story with color and humor. I really enjoy this type of movie that is more about the people and their interactions than the plot per se. In the final analysis, the characters become story as it pleasantly unfolds. Very enjoyable way to spend a hot Saturday night.
|
|
|
|
Post by Prime etc. on Jul 19, 2020 8:52:33 GMT
THE PRISONER OF SHARK ISLAND 1936 This quite possibly is the first John Ford movie I have seen. I am not familiar with Warner Baxter but he was a sympathetic lead. I was surprised how South-friendly this film was--including a kitchen table discussion about states' rights as the reason for the war. The scene where the carpetbagger discusses equality and voting and then changes his tune when he gets manhandled by Mudd's loyal black associate felt like modern time political shenanigans. But the jaw-dropper was where he compels the black prison guards to fire on the ship by asserting himself like a slave master! I sure didn't expect that in a Hollywood film!
I admit that I shed a couple of tears when John Carradine comes in at the end to sign the document.
The writer Nunnally Johnson reminds me of an anecdote I heard--Burgess Meredith went on a blind date with someone and she could not stop talking about Nunnally Johnson so legend has it he replied: "get thee to a Nunnally."
I then watched SLAUGHTER 1972 Jim Brown as an ex-green beret seeking revenge for the death of his father. Rip Torn is the bad guy. Norman Alfe is very memorable as the soft-spoken mafia capo with the grey curly hair--and this was his only credit!
|
|
|
|
Post by jeffersoncody on Jul 19, 2020 15:33:11 GMT
|
|
|
|
Post by Chalice_Of_Evil on Jul 20, 2020 23:06:22 GMT
Deadpool 2 (2018).  
|
|
|
|
Post by jeffersoncody on Jul 22, 2020 3:54:47 GMT
ULEE'S GOLD (1997) with Peter Fonda, Patricia Richardson, Jessica Biel and Christine Dunford, directed by Victor Nunez. Rating: 8 out of 10. Blu Ray. Another quiet, but emotionally powerful, classic from Victor Nunez, the director of the similarly excellent RUBY IN PARADISE (1993). ULEE'S GOLD features a career best performance from Peter Fonda - who is superb as the titular Ulee. Although heartbreaking at times, this beautiful film ends on a note of hope and touched me deeply. Fonda won a Golden Globe for his work here, and received a well deserved Oscar nomination.  .jpg) 
|
|
|
|
Post by Chalice_Of_Evil on Jul 23, 2020 9:22:54 GMT
Sky Captain and the World of Tomorrow (2004).  
|
|