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Post by Prime etc. on May 6, 2021 6:12:12 GMT
A FISTFUL OF DOLLARS 1964 - Bob Robertson was definitely a director to watch after this movie!
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Post by jeffersoncody on May 6, 2021 11:21:12 GMT
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Post by Chalice_Of_Evil on May 6, 2021 22:10:05 GMT
American Pie (1999).
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Post by Feologild Oakes on May 7, 2021 14:28:17 GMT
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Post by Prime etc. on May 7, 2021 16:43:31 GMT
BATTLE IN OUTER SPACE 1959 --This had some really good spfx for the era and also reminded me of Star Wars on some ways with the space battles.
ORGASMO 1969 - Carrol Baker sure was lucky that Italy had opportunities--this kind of role she unlikely would have had in Hollywood. "Welcome home, you tramp" as a note she reads from her perverted house guests explains.
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Post by Chalice_Of_Evil on May 8, 2021 19:32:34 GMT
Spider-Man 2 (2004).
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Post by Prime etc. on May 9, 2021 6:18:35 GMT
MOON ZERO TWO 1969 - Story begins on May 9, 2021 (Moon Time) so a good day to watch it. James Olsen is miscast as a space cowboy-and the tone shifts from serious to comedy. Forgettable musical score, and a lack of a star field in the space scenes is distracting--btw-one of the neat things about Battle in Outer Space was how good the star fields looked. Most realistic before Star Wars I would think. The plot was good and some of the set design and FX were good too. Ambitious in some ways but too cheap in others. Definitely hindered by a lack of money. What did it get right about the future? Big screen tvs and laptop computers.
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Post by jeffersoncody on May 9, 2021 10:38:07 GMT
TO EACH HIS OWN (1946) with Olivia de Havilland, John Lund, Mary Anderson, Roland Culver and Bill Goodwin, directed by Mitchell Leisen. My Rating: 9 out of 10. Recommended.Beautifully restored and looking better than ever before, this sweeping 1946 maternal melodrama is, like STELLA DALLAS, a classic Hollywood weepie. Masterfully directed by Mitchel Leisen (HOLD BACK THE DAWN), it ends up being more than a soap opera thanks to its humanistic touches and De Havilland's affecting, excellent, Oscar-winning performance. If, like me, you loved HOLD BACK THE DAWN don't miss this marvelous and moving reunion of the talents of Mitchell Leisen and Olivia De Havilland.
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Post by politicidal on May 9, 2021 19:39:00 GMT
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Post by Chalice_Of_Evil on May 10, 2021 2:41:15 GMT
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Post by kijii on May 10, 2021 5:18:08 GMT
Duck You Sucker (1971) / Sergio Leone After seeing the trailer--the trailer itself is very badly done--I almost did not watch this. However, after reading the IMDb user views I changed my mind and saw it. It did seem like it would be interesting at the beginning but fell badly as it progressed. The idea of an explosives expert from the Irish Revolution (James Coburn) joining forces with a Mexican bandit (Rod Steiger) seemed interesting. The bandit was interested in gold, the Irishman, in revolutions. At the peak of the story the Irishman coaxes the bandit to enter a building with the promise of Gold. The bandit finds nothing but political prisoners in the building. By releasing the prisoners, the bandit becomes something of a hero of the revolution. However, by movie's end, it was nothing more than explosions and facial expressions. Considering the setting (time and place) this movie, at times, reminds one of a Sam Peckinpah movie. Juan Miranda (Rod Steiger) : [alert] A revolution? "Little revolution"? Please, don't try to tell me about revolution! I know all about the revolutions and how they start! The people that read the books, they go to the people that don't read the books, and say "Ho-ho! The time has come to have a change, eh?" John H. Mallory (James Coburn): Shhhh...
Juan Miranda : [mimicking John] Sh, sh, sh, sh, sh, SHIT, SHUSH! I know what I am talking about when I am talking about revolutions! The people who read the books go to the people who can't read the books, the poor people, and say, "We have to have a change." So, the poor people make the change, ah? And then, the people who read the books, they all sit around the big polished tables, and they talk and talk and talk and eat and eat and eat, eh? But what has happened to the poor people? THEY ARE DEAD! That's your revolution! Sh... so, please... don't tell me about revolutions. And what happens afterwards? The same fucking thing starts all over again!
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Post by politicidal on May 10, 2021 15:33:55 GMT
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Post by Prime etc. on May 11, 2021 6:38:57 GMT
A BULLET FOR THE GENERAL 1966- One of the better spaghetti westerns.
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Post by jeffersoncody on May 11, 2021 7:27:37 GMT
A BULLET FOR THE GENERAL 1966- One of the better spaghetti westerns. It's a genre classic Prime. One of my top 10 favorite spaghetti westerns.
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Post by jeffersoncody on May 11, 2021 7:46:49 GMT
A BULLET FOR THE GENERAL 1966- One of the better spaghetti westerns. It's a genre classic Prime. One of my top 10 favorite spaghetti westerns. I have a restored print of THE UGLY ONES (1966) lined up to watch this week. I also have a good quality print of the American-styled 1964 spaghetti western BULLETS DON'T ARGUE - with Rod Cameron as Sheriff Pat Garrett. Although it had a bigger budget than the Leone film, this was made back-to-back with A FISTFUL OF DOLLARS, even utilizing many of the same sets. Cameron's salary was apparently bigger than the entire budget of A.F.O.D., but Leone had the last laugh at the box-office.
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Post by politicidal on May 11, 2021 17:13:16 GMT
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Post by Prime etc. on May 11, 2021 18:04:03 GMT
I have seen those. I think the plot of A Bullet For the General is very similar to Duck, You Sucker. You have a bandit who teams up with a cool-tempered European guy and the revolution is the backdrop for personality transformation. But it isn't preachy in point as something like 100 Rifles. I couldnt buy Burt Reynolds becoming a rebel leader.
Gian Maria Volonte-at least the English version-I am not sure if I watched the American version or the International one--maybe there are two English versions--Paul Frees is once again dubbing Volonte but there's a couple of scenes where his voice changes so I wonder if I was watching one that was spliced together--anyway, yes, you can say he came around to accepting the revolution again--BUT it's ambiguous. Did he really accept it, or was he being true to his violent wild nature? It's vague enough that it doesn't feel like a polemic. His American friend did seem to genuinely care about him. I suppose one could speculate on a homosexual undertone to it since we never see Lou Castel with a woman--he slaps one and wants to deter her rape. And Martine Beswick seems to have some suspicions about him.
Likewise the Big Gundown--the message there is that --don't assume some poor Mexican peasant robber is a serial rapist--it could be the demented son-in-law of your local politician. But it doesn't feel like they manipulated human nature to push a political message. It feels more natural.
I find that with a lot of the spaghetti westerns--I don't see the political message as being beating you over the head-although some say that was more true after 1966 or so.
TEPEPA is an interesting variation--it is similar to A Bullet For the General and 100 Rifles but in that case--you have everyone being corrupt in some fashion. Milian is an idealistic rapist!
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Post by Chalice_Of_Evil on May 11, 2021 19:10:05 GMT
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Post by jeffersoncody on May 12, 2021 16:05:11 GMT
HOLD BACK THE DAWN (1941) with Charles Boyer, Olivia de Havilland and Paulette Goddard, directed by Mitchell Leisen. On Blu Ray. My Rating: 9 out of 10. Recommended. Nominated for 6 Oscars, including Best Picture and Best Actress.
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Post by kijii on May 12, 2021 16:44:29 GMT
Once Upon a Time in America (1984) / Sergio Leone When I first decided to watch this 3' 49"movie, I had trouble slogging through the first hour of what appeared to be a very long overly symbolic, artsy-fartsy film. At the beginning of the film it vacillated in time between the 1960s, the 1910s, and the 1930s. When the story starts moving, after the some young boys from a NYC Jewish neighborhood gradually form a gang, first for fun, then for protection and finally for profit. There is a break in time between when Noodles (Robert De Niro) is sent to prison for manslaughter (in the late teens) to when he is released some 10 years later. While he had been in prison, his buddy, Max (James Woods), had kept the gang moving into the Prohibition Era. Now, the gang is a true mob. The movie turns out to be quite good, almost excellent as it weaves back and forth in time. The films also has performances by Elizabeth McGovern and Tuesday Weld. The film should have received a few Oscar nominations. It received none. Noodles : It's true I have killed people, Mr. Bailey. Sometimes to defend myself, sometimes for money. And many people used to come to us. Business partners, rivals, lovers. Some of the jobs we took, and some we didn't. Yours is one we would never touch, Mr Bailey. Max : Is this your idea of revenge? Noodles : No. It's just the way I see things.
Max : You'll be carrying the stink of the streets with you for the rest of your life! Noodles : I like the stink of the streets. It makes me feel good. And I like the smell of it, it opens up my lungs. And it gives me a hard-on.
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