Grizzly Man, Werner Herzog's documentary about the life and death of bear lover and protector Timothy Treadwell.
I found the tone of this documentary very odd. The footage that Treadwell took is unbelievable, how this guy lasted 13 summers living up close and personal with the bears is beyond me. He has taken some of the best video of bears I have ever seen.
However it is the talking head scenes that lend the strange tone to the film. Some of the interviews with his friends seem like they are acted. His friends do seem a little odd and one of them is a struggling actor but the scenes seem forced and very odd. It is Jewel, his old girlfriend, the helicopter pilot, his actor friend and the coroner who seem forced. His parents and the plane pilot seem natural.
Having said that, I was absolutely captivated by the documentary. Mainly I think due to Treadwell himself who comes across as a complete oddball. But an oddball with a passion for the bears, and the passion is infectious.
Like Into The Wild, opinions on the protagonist seem split. Some sympathise with Treadwell, some say he got what he deserved. My opinion is that he loved the bears and would have done anything to protect them, but he seemed to think he was one of them and unfortunately paid the ultimate price
1- On Her Majesty's Secret Service 2- Casino Royale 3- Licence To Kill 4- Goldeneye 5- From Russia With Love
LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
"Watchmen"
Although I've owned this book for years, I'm embarrassed to admit that I've never gotten around to reading it ;% But that's going to change now that I've seen the film, which I enjoyed a hell of a lot.
I bought the Director's Cut of this one sight unseen; at 186 minutes (which apparently includes 24 extra minutes), I didn't find it overly long---I've always been of the opinion that a movie can be long...as long as there's enough story to fill the time---and since I never got out to the cinema to see it on the big screen, I've nothing to compare it to in terms of story content (excised scenes, etc). Director Zach Snyder certainly loves his 'bullet-time' super slo-mo shots, but I happen to think they work well in the comic book milieu, especially since Snyder is meticulous in replicating various panels from the books he adapts (see: 300). The action is excellent, the script good (if not exactly tight) and the performances all excellent. Jackie Earle Haley, in particular, steals the show.
What the film does so well, IMHO, is create that very-necessary 'alternate reality' that the best comic book films always seem to manage to do---from the Golden Age of the '30s and '40s to the post-Silver Age of the grim 1980s. Yes, we do have to bear through a whole lot of the requisite Eighties-era 'Evil U.S. Government' stuff that Frank Miller's Dark Knight Returns* relied so heavily upon...but the notion of a maniacal, scene-chewingly demonic Richard Nixon in an FDR-length tenure as president is simply so over-the-top, in terms of satire, that it completely takes the curse off it for for me (the nod to Dr. Strangelove's war room set is a nice touch).
As I said, I came at this film as a complete Watchmen novice, with no preconceptions or expectations (other than an awareness of the book's universal acclaim as a classic!), so my experience was unencumbered by any baggage. But now I'm a fan. 4+ out of 5 stars.
*Full disclosure: I enjoy Frank Miller's Batman work, especially TDKR and Y1, more than probably anyone else on this site
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Enjoyable horror remake directed by the reliable hack Patrick Lussier The Prophecy 3: The Ascent, Dracula III: Legacy, in which the murderous spirit of a miner returns to haunt a small town on Valentine's Day, or does he? The leading man looks like he nailed the producer's wife with such aplomb that his inability to act has been completely overlooked. Kerr Smith, the gay guy from Dawson's Creek has managed to avoid ageing despite being nearly 40 does some of that acting stuff so nobody else has to. There is a fantastic sequence in which a naked hot chick threatens a bald guy with a gun. Recommended for anybody who has a six-pack and a pizza handy.
This is a terrific action thriller and I dare say the greatest of the 1990's. Clint Eastwood stars as Frank Horrigan, a Secret Service agent who blames himself for John F. Kennedy's death. Thirty years later, Horrigan is targeted for a game of cat and mouse with psychotic former CIA assassin Mitch Leary (John Malkovich) who is determined to kill the President during his re-election campaign. The unraveling of Horrigan and Leary as characters was played beautifully and the film makes you think neither character has much reason to live. At one point Leary asks Horrigan what does he have to live for and all Horrigan can say is "I play the piano". The game starts subtle from a threating phone call then to Horrigan chasing Leary from state to state. I won't spoil the intricate details of Leary's plans but watching the execution is just brilliant. You know the President is going to saved at the end but your like "damn, he was close". The preformance of Eastwood's Horrigan is what you expect from Eastwood but he felt less invincible then other roles. Malkovich truely feels a like mad man with his creepy demeanor killing almost any witness who got too close to his plans. The film isn't flawless though since it's littered with cliches. We had the standard superiors barking over Eastwood's character, the PC women equal, and the young rookie partner trying to keep up and his death. Also Ennio Morricone delivered a surprisingly weak score.
Overall this is a very strong film and a more then solid thriller with substance.
A battered 35mm print of For A Few Dollars More.
Somewhat scratched, color bleeding, and the last half of the film the mono soundtrack got way too loud.
Phenominal. Worth admission just for the final duel with Col. Mortimer's watch chimes.
Phenominal. Worth admission just for the final duel with Col. Mortimer's watch chimes.
Indeed. I adore the Dollars films, and IMO FAFDM was the second best of the three. A masterpiece; truly one of the greatest westerns ever made.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
Ahh. The good old days when Steve Martin actually was funny and hadn't begun making cheap ripoffs of Peter Sellers classics...
Rear Window. (The Hitch version.)
Still "adoring", huh, Dan? Sheesh, it's about time I got you that cute little adorable white puppy with the floppy ears. :v
) When I saw that you had replied to the thread, I immediately suspected that I had used the word 'adore' and I was right. I really should learn to use the word in more appropiate settings. ;%
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
) When I saw that you had replied to the thread, I immediately suspected that I had used the word 'adore' and I was right.
"See, my mule don't like people laughing, he gets the crazy idea..."
(Gun for hire interupts) ... "Aw, but your mule is so adorable!!
Old Mother Riley Meets the Vampire (1952)
Bela Lugosi in England teams up with a famous British comedian in drag. (Arthur Lucan) This was my first "Mother Riley" experience and I had a good time. Plays like a Cary Grant screwball comedy. It's old fashioned slapstick humor which I happen to like, with my man Bela! What more can you ask for? Well, since you asked, there's a musical number, a robot, Hattie Jacques from the Carry On series, a dyke butler, a gigling Renfield, and a saucy nurse.
All in glorious black and white poverty row goodness! Must be seen to be believed!
) When I saw that you had replied to the thread, I immediately suspected that I had used the word 'adore' and I was right.
"See, my mule don't like people laughing, he gets the crazy idea..."
(Gun for hire interupts) ... "Aw, but your mule is so adorable!!
)
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
"Westworld"
The jewel in the crown of science fiction genius Michael Crichton's oh-so-brief directorial career...bought this DVD on eBay for a song, and showed it to the boys tonight...
Very dated stuff, now, but still one hell of a lot of fun. Yul Brynner looks like he's having a blast, and James Brolin and Richard Benjamin each do good work here. It warmed my heart to see the late Majel (the original Star Trek's Nurse Chapel, and the voice of the Enterprise all the way through the latest Trek) Barrett as the madam in charge of the brothel above the saloon B-) A cautionary tale of technology, designed for the ultimate in escapist leisure, gone awry...
Saw this one, first run, at the Lincoln Theatre in Lincoln, Illinois, when I was eleven years old in 1973. If you haven't seen it, treat yourself. 4 out of 5 stars.
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Terrestrial showing, so to speak, of Steven Spielberg's adaptation, a Tom Cruise vehicle. Diverting but flawed; it's hard to buy Cruise as a dysfunctional dad. And updating HG Wells' book to the present day skews it in favour of Earth as you can't help thinking it would be easy to down those tripods with modern technology. I know they come up with a reason why they can't; the tripods have some invisible protective wall but it's not very convincing.
It's a cookie cutter dysfunctional family with no backstory and because the young girl is like Lisa from The Simpsons, I couldn't help thinking how it would have been funnier as a cartoon, with Homer discovering that the aliens have an aversion to doughnuts or something.
I just saw that monstrosity on ABC the other night. I had no idea it was that bad. It sent me running back to Wells, Welles, and the Spielberg who made Duel.
Westworld. Ahhh the glory of Yul Brynner. However, I cannot say the same for Futureworld.
The Trouble With Harry
Really a strange Hitchcock picture. An English dark comedy made in America. Very folksy, but played well.
7/10.
A short yet well done and atmospheric film-noir. The film is about a small time racketeer named Harold Goff (John Garfield) extorting insurance money from two old men to "protect" their boat from sabotage. Despite the serious story it's a bit of comical film with a few of colorful characters who live on the pier and one of the protagonists constantly trying to avoid an overbearing women who wants to be married. One of the characters was played by Walter Tetley, better known as the voice of Sherman from Peabody's Improbable History on The Rocky and Bullwinkle Show. I am sucker for atmosphere and the film just has oodles of it, the thick fog of a dark pier in the 1940's. Garfield plays a charismatic yet contemptible villain, not only extorting one of the old men but going out with her daughter that is tired of her mundane life but lured into Garfield's seemingly appealing lifestyle.As good as the characters are I am sorry to say the film ultimately cops out at the end. Both men decide to kill the gangster one night in the middle of the ocean out their boat, thereby challenging their perspectives of the world but he dies by accidentally drowning after the assassination was botched. Also the daughter still yet remains naive about the darker side of life and essentially gets her way at the end without really deserving so. Hell, she abandoned her more then devout boyfriend who is a level-headed man just for a douchebag who promised her the world.
Overall Out of the Fog is not a classic by any means but a fun film overall.
Wonderful horror from Mario Bava about a woman losing herself in a city and ending up as a guest in an old-fashioned household. Some of the guests imply she has been there before and there is a painting of a woman who looks exactly like her. Telly Savalas plays the butler Leandro, whose appearance is suspiciously like an al fresco painting of the devil in the town square. It has a haunting score by Ennio Morricone and Savalas is simply out of this world. There is a truly chilling sequence when Lisa gets on a plane at the last moment, only to realise there appear to be nobody else on board. Truly frightening, and done with the kind of subtlety lacking in most modern horror films.
The Hound of the Baskervilles (Hammer version)
Peter Cushing seemed to fit my mental version of Holmes more so than any other actor I have seen. (Rathbone included) Not the greatest film in the world, but it passes the time well.
A magnificent documentary starring one of the greatest boxers of all time; the legendary Mike Tyson himself. Directed by the superb James Toback (a wonderful director, as well as screenwriter), Tyson is an examination of a man who rose to great heights and then suffered a terrible fall. Tyson's tale is classic; a young man gets bullied as a child, drifts into a life of crime, discovers boxing and becomes a legend, and then suffers a fall from grace.
Although I was fully aware of the major events in Tyson's life, there were a number of small details which surprised me; from his love of pigeons to the reason for his facial tattoo. However as important as the small details are, the film's focus is really about providing Tyson with a platform to explain and to give his own point of view. In doing so, he emerges as a complexed and sympathetic human being. One could argue, therefore, that the film isn't being objective; however the film never pretends to be objective (unlike some other recent docos which pretend to be objective but in reality are as far from being objective as one can get), and it doesn't need to be objective. The viewer is fully aware of the rape charge, the biting of Evander Holyfield's ear etc... however many viewers might not be aware of Tyson's account of these events. Additionally, by affording Tyson the opportunity to be as fully honest as he can, the film achieves a form of objectivity. For he was honest to such an extent that, in some ways, it was like watching in on a thearapy session. Regardless, if objectivity was one's sole or major criteria for seeing this film, one would be advised to stay home.
One of the most interesting things about the films was hearing about Tyson's philosophy on fighting. Those that oppose boxing (or simply aren't interested in it) mightn't care, however it was fascinating to hear about Tyson's thoughts on what constitutes a great fighter and to hear some of the wisdom that he picked up from the legendary Cus D'Amato as well as some of the training strategies employed by D'Amato. For example, D'Amato had Tyson watch footage of previous fighting greats, such as Muhammad Ali (from whom Tyson learned about personality and character.)
Finally, one of the joys was watching him in action. It is sometimes forgotten, but Tyson was a force of nature; he was truly one of the greatest fighters of all time and watching clips of some of his best fights highlighted what a magnificent athlete Tyson was. It's worth reflecting on what could have been, for if certain things hadn't happened, I have no doubt that Tyson would be remembered in the same way that Ali is remembered; a sporting genius. Add to that, some extraordinary editing, and the film was, visually, everything that cinema should be. In fact, I would even call Tysonpure cinema. Throw in Tyson and his glorious 'performance' and I would be very surprised if the film doesn't get Oscar-nominated.
I would absolutely recommend this film; {[] it is, without a shadow of a doubt, one of the best films I've seen in recent times, and one that I certainly want to see again.
P.S. the audience was terrible; always talking during the fight scenes, and it made me yearn for a Texas theatre I had heard about (the Alamo) where talking can result in expulsion.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
Decent minimalistic sci-fi with surely an Oscar nomination in the bag for Sam Rockwell. It is a spin on 2001: Space Odyssey but with some twists along the way. Can't say much more, as it may give stuff away, but the effects were great, with seemingly no CGI in sight at all.
"This is where we leave you Mr Bond."
Roger Moore 1927-2017
LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
"Casino Royale"/"Quantum of Solace"
Viewed back-to-back; I must say that QoS benefits this way, via the closeness of CR to the immediate memory. It certainly adds a poignant tinge to those fleeting scenes in Quantum where Bond denies Vesper's importance---first to M and then to Mathis---and it elevates that final scene in Russia with Vesper's treacherous ex, which (as has been discussed) is quite a fitting bookend to the first scene with Dryden in CR B-) And the effectiveness of the final shot of QoS, of course, is increased fivefold.
Doesn't make QoS's perceived flaws (for those who perceive them ) any smaller...in fact, the editing and fractured narrative pace is more obvious when played alongside the more polished CR... but it does indeed work as the second part of a larger story.
The Inconsolable, as always, will remain that way. Oh, well...there aren't enough lifeboats for everyone, anyway... -{
However, I recommend the complete two-film experience, which I rate at 4.5 out of 5 stars.
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Sir MilesThe Wrong Side Of The WardrobePosts: 27,768Chief of Staff
I finally got around to watching Troy last night...yes, I'm nothing if not current )
Brad Pitt was appalling - and he was as good as anybody in it
Anyway...after sitting through that film I needed a big, long drink....what with all the ham X-(
Hmm, check out I Claudius, mind you it takes a while and you've probably seen it anyway.
Watched the entire first run of The Office on TV last night, I didn't appreciate it much first time round but this time I found it excellent. One odd thing, Gervais was asked by the princes to do something at the Princess Diana memorial concert. And in one episode he's with his guitar doing a song to 'cheer' someone up (Dawn) and it turns out it was written about Diana's death, in typical crass David Brent style. So odd that Gervais was invited on with his guitar to do the Diana gig.
Down on his luck cattle farmer Dan Evans (Christian Bale) defies all odds to bring charismatic outlaw Ben Wade (Russell Crowe) to the town of Contention for a $200 bounty he desperately needs to pay off his debts. As he, his son and several others trudge their way to reach the 3:10 to Yuma, they must contend with Wade’s gang, unfriendly indians, other bounty hunters and their own personal doubts if they are to succeed.
More a character study than a western action flick, the performances by Bale, Crowe and Logan Lerman as Evans' son really elevate this to the level of a moving character drama. Watching Bale bring to painful life his character’s many physical flaws and self-doubts shows just what an underrated actor he really is. Crowe, despite his rep as a difficult egomaniac likewise gives a multi-layered performance as he gradually comes to respect Evans' unwavering conscience and honesty; its no wonder he continues to be in such demand. At turns funny, sad, exciting and even heartbreaking, 3:10 to Yuma is always interesting and actually an improvement over the original 1957 film with Glenn Ford.
HELP!
The Beatles run afoul of Klang and his cult when Ringo inadvertently takes a sacrificial ring from its intended victim. Much mayhem, silliness and great music ensues before a spirited finale that James Bond himself would probably approve of.
Help! was my first exposure to the Beatles and watching this movie brought me back to the early 1970s, when it was a staple on television around New Year’s. In looking at it now, it all feels a bit sillier and goofier but it still is a lot of fun. Director Richard Lester wisely surrounded the boys with lots of great character actors like Roy Kinnear, Victor Spinetti, Leo McKern and Patrick Cargil (the latter two instantly recognizable to Prisoner fans) to carry the narrative. And of course, the music is fantastic with the vignettes the songs are staged to coming across as early precursors to traditional music videos.
Help! is how I’ll always remember the Fab Four; its a fun, unpretentious movie with some very good music.
Aside from some classic pop videos, Help! seems to me to be on mogadon, the Fabs looked stoned (which they probably were) and the 'jokes' don't quite connect. "Did you nudge me with a fishing rod?" asks Ringo. "I wouldn't touch yours with a plastic one," says Lennon. Eh?
I'm 30 minutes into The Private Life of Sherlock Holmes, but I don't like it much. The two leads playing Holmes and Watson have no chemistry, Colin Blakely does Watson as a bluff Yorkshireman while Robert Stephen's Holmes is a foppish, fey type. You can believe he would inject himself with liquid cocaine (though wasn't it heroin in the books?) but you can't believe he'd ever knuckle down to serious sleuthing. He'd find out who did it by engaging in a bit of luvvy gossip.
It has an American outsider's view of the British (Billy Wilder wrote it) who all look like silly stereotypes. I don't mind this with films like Walt Disney's Peter Pan or Mary Poppins but I do in a film that is meant to be mostly serious. I was reminded of the treatment of Brits in Never Say Never Again; Fox's M is a buffoon whereas M in, say the Goldfinger briefing scene with Colonel Smithers, has his funny side but is presented straight.
Overall this film is meant to be a comedy - but it aint funny, it's too broad. As with Faulks doing Bond, Wilder succumbs to the stereotypes and only does something different when it's something you don't much care for. You almost expect Holmes and Watson to burst into song at times, it's that kind of movie.
Saw the rest of Private Life of Sherlock Holmes. After the half hour mark it settles down into a bit of sleuthing as Holmes has a case to solve. Christopher Lee shows up looking like the aforementioned Colonel Smithers, bald and middle aged, and brings an ominous, sinister presence badly needed, but he isn't in it much. This is a film that wants to have its cake and eat it; it wants to be a comedy, but it isn't that funny, then it wants to show Holmes' sensitive romantic side, but the love story is truncated and doesn't convince, it wants to be a mystery, but Holmes doesn't seem much of a sleuth as is borne out in the finale. It reminds me a bit of QoS only in that it's all about the hero, and the villain doesn't get much of a look in. Still, it looks good and there's some Dr No-style nonsense with the Loch Ness Monster that's quite fun.
Comments
I found the tone of this documentary very odd. The footage that Treadwell took is unbelievable, how this guy lasted 13 summers living up close and personal with the bears is beyond me. He has taken some of the best video of bears I have ever seen.
However it is the talking head scenes that lend the strange tone to the film. Some of the interviews with his friends seem like they are acted. His friends do seem a little odd and one of them is a struggling actor but the scenes seem forced and very odd. It is Jewel, his old girlfriend, the helicopter pilot, his actor friend and the coroner who seem forced. His parents and the plane pilot seem natural.
Having said that, I was absolutely captivated by the documentary. Mainly I think due to Treadwell himself who comes across as a complete oddball. But an oddball with a passion for the bears, and the passion is infectious.
Like Into The Wild, opinions on the protagonist seem split. Some sympathise with Treadwell, some say he got what he deserved. My opinion is that he loved the bears and would have done anything to protect them, but he seemed to think he was one of them and unfortunately paid the ultimate price
Although I've owned this book for years, I'm embarrassed to admit that I've never gotten around to reading it ;% But that's going to change now that I've seen the film, which I enjoyed a hell of a lot.
I bought the Director's Cut of this one sight unseen; at 186 minutes (which apparently includes 24 extra minutes), I didn't find it overly long---I've always been of the opinion that a movie can be long...as long as there's enough story to fill the time---and since I never got out to the cinema to see it on the big screen, I've nothing to compare it to in terms of story content (excised scenes, etc). Director Zach Snyder certainly loves his 'bullet-time' super slo-mo shots, but I happen to think they work well in the comic book milieu, especially since Snyder is meticulous in replicating various panels from the books he adapts (see: 300). The action is excellent, the script good (if not exactly tight) and the performances all excellent. Jackie Earle Haley, in particular, steals the show.
What the film does so well, IMHO, is create that very-necessary 'alternate reality' that the best comic book films always seem to manage to do---from the Golden Age of the '30s and '40s to the post-Silver Age of the grim 1980s. Yes, we do have to bear through a whole lot of the requisite Eighties-era 'Evil U.S. Government' stuff that Frank Miller's Dark Knight Returns* relied so heavily upon...but the notion of a maniacal, scene-chewingly demonic Richard Nixon in an FDR-length tenure as president is simply so over-the-top, in terms of satire, that it completely takes the curse off it for for me (the nod to Dr. Strangelove's war room set is a nice touch).
As I said, I came at this film as a complete Watchmen novice, with no preconceptions or expectations (other than an awareness of the book's universal acclaim as a classic!), so my experience was unencumbered by any baggage. But now I'm a fan. 4+ out of 5 stars.
*Full disclosure: I enjoy Frank Miller's Batman work, especially TDKR and Y1, more than probably anyone else on this site
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Enjoyable horror remake directed by the reliable hack Patrick Lussier The Prophecy 3: The Ascent, Dracula III: Legacy, in which the murderous spirit of a miner returns to haunt a small town on Valentine's Day, or does he? The leading man looks like he nailed the producer's wife with such aplomb that his inability to act has been completely overlooked. Kerr Smith, the gay guy from Dawson's Creek has managed to avoid ageing despite being nearly 40 does some of that acting stuff so nobody else has to. There is a fantastic sequence in which a naked hot chick threatens a bald guy with a gun. Recommended for anybody who has a six-pack and a pizza handy.
This is a terrific action thriller and I dare say the greatest of the 1990's. Clint Eastwood stars as Frank Horrigan, a Secret Service agent who blames himself for John F. Kennedy's death. Thirty years later, Horrigan is targeted for a game of cat and mouse with psychotic former CIA assassin Mitch Leary (John Malkovich) who is determined to kill the President during his re-election campaign. The unraveling of Horrigan and Leary as characters was played beautifully and the film makes you think neither character has much reason to live. At one point Leary asks Horrigan what does he have to live for and all Horrigan can say is "I play the piano". The game starts subtle from a threating phone call then to Horrigan chasing Leary from state to state. I won't spoil the intricate details of Leary's plans but watching the execution is just brilliant. You know the President is going to saved at the end but your like "damn, he was close". The preformance of Eastwood's Horrigan is what you expect from Eastwood but he felt less invincible then other roles. Malkovich truely feels a like mad man with his creepy demeanor killing almost any witness who got too close to his plans. The film isn't flawless though since it's littered with cliches. We had the standard superiors barking over Eastwood's character, the PC women equal, and the young rookie partner trying to keep up and his death. Also Ennio Morricone delivered a surprisingly weak score.
Overall this is a very strong film and a more then solid thriller with substance.
Somewhat scratched, color bleeding, and the last half of the film the mono soundtrack got way too loud.
Phenominal. Worth admission just for the final duel with Col. Mortimer's watch chimes.
Seriously. Never place a Clint flick and "adore" in the same sentence. It's just not done.
Rear Window. (The Hitch version.)
And? :v
(Gun for hire interupts) ... "Aw, but your mule is so adorable!!
Old Mother Riley Meets the Vampire (1952)
Bela Lugosi in England teams up with a famous British comedian in drag. (Arthur Lucan) This was my first "Mother Riley" experience and I had a good time. Plays like a Cary Grant screwball comedy. It's old fashioned slapstick humor which I happen to like, with my man Bela! What more can you ask for? Well, since you asked, there's a musical number, a robot, Hattie Jacques from the Carry On series, a dyke butler, a gigling Renfield, and a saucy nurse.
All in glorious black and white poverty row goodness! Must be seen to be believed!
The jewel in the crown of science fiction genius Michael Crichton's oh-so-brief directorial career...bought this DVD on eBay for a song, and showed it to the boys tonight...
Very dated stuff, now, but still one hell of a lot of fun. Yul Brynner looks like he's having a blast, and James Brolin and Richard Benjamin each do good work here. It warmed my heart to see the late Majel (the original Star Trek's Nurse Chapel, and the voice of the Enterprise all the way through the latest Trek) Barrett as the madam in charge of the brothel above the saloon B-) A cautionary tale of technology, designed for the ultimate in escapist leisure, gone awry...
Saw this one, first run, at the Lincoln Theatre in Lincoln, Illinois, when I was eleven years old in 1973. If you haven't seen it, treat yourself. 4 out of 5 stars.
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Terrestrial showing, so to speak, of Steven Spielberg's adaptation, a Tom Cruise vehicle. Diverting but flawed; it's hard to buy Cruise as a dysfunctional dad. And updating HG Wells' book to the present day skews it in favour of Earth as you can't help thinking it would be easy to down those tripods with modern technology. I know they come up with a reason why they can't; the tripods have some invisible protective wall but it's not very convincing.
It's a cookie cutter dysfunctional family with no backstory and because the young girl is like Lisa from The Simpsons, I couldn't help thinking how it would have been funnier as a cartoon, with Homer discovering that the aliens have an aversion to doughnuts or something.
Roger Moore 1927-2017
Westworld. Ahhh the glory of Yul Brynner. However, I cannot say the same for Futureworld.
The Trouble With Harry
Really a strange Hitchcock picture. An English dark comedy made in America. Very folksy, but played well.
7/10.
A short yet well done and atmospheric film-noir. The film is about a small time racketeer named Harold Goff (John Garfield) extorting insurance money from two old men to "protect" their boat from sabotage. Despite the serious story it's a bit of comical film with a few of colorful characters who live on the pier and one of the protagonists constantly trying to avoid an overbearing women who wants to be married. One of the characters was played by Walter Tetley, better known as the voice of Sherman from Peabody's Improbable History on The Rocky and Bullwinkle Show. I am sucker for atmosphere and the film just has oodles of it, the thick fog of a dark pier in the 1940's. Garfield plays a charismatic yet contemptible villain, not only extorting one of the old men but going out with her daughter that is tired of her mundane life but lured into Garfield's seemingly appealing lifestyle.As good as the characters are I am sorry to say the film ultimately cops out at the end. Both men decide to kill the gangster one night in the middle of the ocean out their boat, thereby challenging their perspectives of the world but he dies by accidentally drowning after the assassination was botched. Also the daughter still yet remains naive about the darker side of life and essentially gets her way at the end without really deserving so. Hell, she abandoned her more then devout boyfriend who is a level-headed man just for a douchebag who promised her the world.
Overall Out of the Fog is not a classic by any means but a fun film overall.
Wonderful horror from Mario Bava about a woman losing herself in a city and ending up as a guest in an old-fashioned household. Some of the guests imply she has been there before and there is a painting of a woman who looks exactly like her. Telly Savalas plays the butler Leandro, whose appearance is suspiciously like an al fresco painting of the devil in the town square. It has a haunting score by Ennio Morricone and Savalas is simply out of this world. There is a truly chilling sequence when Lisa gets on a plane at the last moment, only to realise there appear to be nobody else on board.
Peter Cushing seemed to fit my mental version of Holmes more so than any other actor I have seen. (Rathbone included) Not the greatest film in the world, but it passes the time well.
A magnificent documentary starring one of the greatest boxers of all time; the legendary Mike Tyson himself. Directed by the superb James Toback (a wonderful director, as well as screenwriter), Tyson is an examination of a man who rose to great heights and then suffered a terrible fall. Tyson's tale is classic; a young man gets bullied as a child, drifts into a life of crime, discovers boxing and becomes a legend, and then suffers a fall from grace.
Although I was fully aware of the major events in Tyson's life, there were a number of small details which surprised me; from his love of pigeons to the reason for his facial tattoo. However as important as the small details are, the film's focus is really about providing Tyson with a platform to explain and to give his own point of view. In doing so, he emerges as a complexed and sympathetic human being. One could argue, therefore, that the film isn't being objective; however the film never pretends to be objective (unlike some other recent docos which pretend to be objective but in reality are as far from being objective as one can get), and it doesn't need to be objective. The viewer is fully aware of the rape charge, the biting of Evander Holyfield's ear etc... however many viewers might not be aware of Tyson's account of these events. Additionally, by affording Tyson the opportunity to be as fully honest as he can, the film achieves a form of objectivity. For he was honest to such an extent that, in some ways, it was like watching in on a thearapy session. Regardless, if objectivity was one's sole or major criteria for seeing this film, one would be advised to stay home.
One of the most interesting things about the films was hearing about Tyson's philosophy on fighting. Those that oppose boxing (or simply aren't interested in it) mightn't care, however it was fascinating to hear about Tyson's thoughts on what constitutes a great fighter and to hear some of the wisdom that he picked up from the legendary Cus D'Amato as well as some of the training strategies employed by D'Amato. For example, D'Amato had Tyson watch footage of previous fighting greats, such as Muhammad Ali (from whom Tyson learned about personality and character.)
Finally, one of the joys was watching him in action. It is sometimes forgotten, but Tyson was a force of nature; he was truly one of the greatest fighters of all time and watching clips of some of his best fights highlighted what a magnificent athlete Tyson was. It's worth reflecting on what could have been, for if certain things hadn't happened, I have no doubt that Tyson would be remembered in the same way that Ali is remembered; a sporting genius. Add to that, some extraordinary editing, and the film was, visually, everything that cinema should be. In fact, I would even call Tyson pure cinema. Throw in Tyson and his glorious 'performance' and I would be very surprised if the film doesn't get Oscar-nominated.
I would absolutely recommend this film; {[] it is, without a shadow of a doubt, one of the best films I've seen in recent times, and one that I certainly want to see again.
P.S. the audience was terrible;
so good. made me cry. I never cry at movies.
I'm pleased that the humans were the enemy for once. nice to switch it up every now and again :x
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Decent minimalistic sci-fi with surely an Oscar nomination in the bag for Sam Rockwell. It is a spin on 2001: Space Odyssey but with some twists along the way. Can't say much more, as it may give stuff away, but the effects were great, with seemingly no CGI in sight at all.
Roger Moore 1927-2017
Viewed back-to-back; I must say that QoS benefits this way, via the closeness of CR to the immediate memory. It certainly adds a poignant tinge to those fleeting scenes in Quantum where Bond denies Vesper's importance---first to M and then to Mathis---and it elevates that final scene in Russia with Vesper's treacherous ex, which (as has been discussed) is quite a fitting bookend to the first scene with Dryden in CR B-) And the effectiveness of the final shot of QoS, of course, is increased fivefold.
Doesn't make QoS's perceived flaws (for those who perceive them
The Inconsolable, as always, will remain that way. Oh, well...there aren't enough lifeboats for everyone, anyway... -{
However, I recommend the complete two-film experience, which I rate at 4.5 out of 5 stars.
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Brad Pitt was appalling - and he was as good as anybody in it
Anyway...after sitting through that film I needed a big, long drink....what with all the ham X-(
Watched the entire first run of The Office on TV last night, I didn't appreciate it much first time round but this time I found it excellent. One odd thing, Gervais was asked by the princes to do something at the Princess Diana memorial concert. And in one episode he's with his guitar doing a song to 'cheer' someone up (Dawn) and it turns out it was written about Diana's death, in typical crass David Brent style. So odd that Gervais was invited on with his guitar to do the Diana gig.
Roger Moore 1927-2017
"Brings a knife to a gun fight," says the Scottish actor putting on his best Irish accent.
Down on his luck cattle farmer Dan Evans (Christian Bale) defies all odds to bring charismatic outlaw Ben Wade (Russell Crowe) to the town of Contention for a $200 bounty he desperately needs to pay off his debts. As he, his son and several others trudge their way to reach the 3:10 to Yuma, they must contend with Wade’s gang, unfriendly indians, other bounty hunters and their own personal doubts if they are to succeed.
More a character study than a western action flick, the performances by Bale, Crowe and Logan Lerman as Evans' son really elevate this to the level of a moving character drama. Watching Bale bring to painful life his character’s many physical flaws and self-doubts shows just what an underrated actor he really is. Crowe, despite his rep as a difficult egomaniac likewise gives a multi-layered performance as he gradually comes to respect Evans' unwavering conscience and honesty; its no wonder he continues to be in such demand. At turns funny, sad, exciting and even heartbreaking, 3:10 to Yuma is always interesting and actually an improvement over the original 1957 film with Glenn Ford.
HELP!
The Beatles run afoul of Klang and his cult when Ringo inadvertently takes a sacrificial ring from its intended victim. Much mayhem, silliness and great music ensues before a spirited finale that James Bond himself would probably approve of.
Help! was my first exposure to the Beatles and watching this movie brought me back to the early 1970s, when it was a staple on television around New Year’s. In looking at it now, it all feels a bit sillier and goofier but it still is a lot of fun. Director Richard Lester wisely surrounded the boys with lots of great character actors like Roy Kinnear, Victor Spinetti, Leo McKern and Patrick Cargil (the latter two instantly recognizable to Prisoner fans) to carry the narrative. And of course, the music is fantastic with the vignettes the songs are staged to coming across as early precursors to traditional music videos.
Help! is how I’ll always remember the Fab Four; its a fun, unpretentious movie with some very good music.
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I'm 30 minutes into The Private Life of Sherlock Holmes, but I don't like it much.
It has an American outsider's view of the British (Billy Wilder wrote it) who all look like silly stereotypes. I don't mind this with films like Walt Disney's Peter Pan or Mary Poppins but I do in a film that is meant to be mostly serious. I was reminded of the treatment of Brits in Never Say Never Again; Fox's M is a buffoon whereas M in, say the Goldfinger briefing scene with Colonel Smithers, has his funny side but is presented straight.
Overall this film is meant to be a comedy - but it aint funny, it's too broad. As with Faulks doing Bond, Wilder succumbs to the stereotypes and only does something different when it's something you don't much care for. You almost expect Holmes and Watson to burst into song at times, it's that kind of movie.
Roger Moore 1927-2017
Roger Moore 1927-2017