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Post by teleadm on Jun 30, 2022 18:03:12 GMT
An American doctor has to flee European Vosnia because he knows too much. A tense moment with Jack Hawkins and Douglas Fairbanks Jr in State Secret aka The Great Manhunt 1950. His only aids are a black-market dealer (Herbert Lom) and a Music Hall singer (Glynis Johns).
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Post by Deleted on Jun 30, 2022 18:13:27 GMT
Not a movie, but a documentary. Not sure if we post those here or not. It’s about the stray cats of Istanbul. I highly recommend it to Catman We do Uncle Albert, we do. KEDI is a beautiful film. It really was. I enjoyed it.
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Post by stryker on Jun 30, 2022 20:11:18 GMT
ALL I DESIRE (1953).
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Post by stryker on Jul 1, 2022 6:12:01 GMT
MONTANA STORY (2021).
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Post by Chalice_Of_Evil on Jul 1, 2022 6:43:11 GMT
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Post by gspdude on Jul 1, 2022 14:02:54 GMT
Girls in Prison(1956) New girl in prison has to deal with hardcore inmates. A catfight in the mud, a few hints of lesbianism, about as much as you can expect from a '50s WIP movie. Richard Denning plays a saintly priest. 5/10.
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Post by politicidal on Jul 1, 2022 22:40:31 GMT
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Post by Chalice_Of_Evil on Jul 2, 2022 21:38:31 GMT
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Post by politicidal on Jul 3, 2022 0:50:22 GMT
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Post by persistenceofvision on Jul 3, 2022 21:24:39 GMT
The General (1998)When Ordinary Decent Criminal came out in 2000, with Kevin Spacey playing a Dublin crimelord called ‘Michael Lynch’, it got justifiable heat for two reasons: Spacey’s godawful Irish accent, and the fact that it made Lynch’s real-life prototype, Martin Cahill, out to be a loveable rogue when in reality he was a fairly brutal and ruthless gangster. John Boorman’s The General, which calls Cahill by his name, doesn’t have that movie’s credibility issues: it stars actual Dubliner Brendan Gleeson, and we see him car-bombing a forensics expert who could testify against him, terrorizing lady cashiers at gunpoint, nailing a guy to a pool table, and so on. Still, more often than I’d have liked, it shares the criminal’s view of himself as a family-loving cheeky charmer with the gift of the gab, heroically standing up to authority, and whose victims are mostly posh people with big houses. (The Dictionary of Irish Biography article on Cahill tells a different story.) All the same it’s a very watchable movie with two great performances from Gleeson and Jon Voight as the dour garda who’s always on his tail, plus the devastating Maria Doyle Kennedy, sacred in my memory as Natalie Murphy in The Commitments. P.S. the movie was released in black-and-white theatrically, but in a colourized version for home video and American TV. The print I just watched is in strangely desaturated colour which makes inner-city Dublin in the 1980s look like the bleakest place on earth, which possibly it was. This takes some getting used to but is effective in conveying how, in an environment like this, the flamboyant Cahill could have passed for a folk hero, even if he robbed from the rich, and the poor, and didn’t give to anyone.
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Post by politicidal on Jul 4, 2022 2:58:49 GMT
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Post by Ass_E9 on Jul 4, 2022 5:41:50 GMT
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Post by stryker on Jul 4, 2022 13:12:17 GMT
CHRISTMAS HOLIDAY (1944).
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Post by gspdude on Jul 4, 2022 14:03:53 GMT
A Bullet for the General(1967) Spaghetti western starring Gian Maria Volontè (Indio in For a Few Dollars More) as a Mexican bandit/revolutionary. Unlike Indio he has a good side (albeit a small one) in this one. 6/10.
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Post by Chalice_Of_Evil on Jul 4, 2022 14:15:49 GMT
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Post by politicidal on Jul 4, 2022 19:19:20 GMT
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Post by Power Ranger on Jul 5, 2022 10:06:41 GMT
Violent Saturday* (1955). It was good.
*edit
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Post by london777 on Jul 5, 2022 11:14:43 GMT
Violent Sunday (1955). It was good. I presume this is the little-known sequel to Violent Saturday (1955) dir: Richard Fleischer?
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Post by Power Ranger on Jul 5, 2022 12:35:54 GMT
Violent Sunday (1955). It was good. I presume this is the little-known sequel to Violent Saturday (1955) dir: Richard Fleischer? LOL oops. 😳
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Post by Nalkarj on Jul 5, 2022 14:23:44 GMT
Things Change (1988), dir. David Mamet. This is a Mamet in a minor key—wistful, with fewer plot twists and verbal pyrotechnics. It has fine performances all around, including a lovely one from Don Ameche, but it’s never quite as funny, as poignant, or as ironic as its creators—Mamet and (of all people!) Shel Silverstein, who collaborated on the script—intend. The lesson (and don’t most Mamet movies have lessons?) is the title, but amazingly the film never quite demonstrates that “things change.” One good way to show that would be the twist I thought Mamet and Silverstein were building up to, that the Ameche character is already dying and so doesn’t mind getting killed just because he gave his word to the Mafia. That probably would have been more cliché, but it would have connected plot and theme. But Mamet and Silverstein only ever seem to stay on the periphery of their story and characters—resulting in, alas, a movie that never takes off.
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