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  1. 10 points
  2. 8 points
    I wanna see 'Stagecoach' (1966) And 'Hot Spell', dammit.
  3. 7 points
    They've been down for the last 8-9 hours for me. It was a minute or so after I posted my last review in the Just watched thread. In other words, I've watched 4 movies in the time it's been down.
  4. 7 points
    So...is this a good time to say that I like superhero movies? Maher's complaints seem to be more about the people who make comic books, or other kid-oriented stuff like cartoons and video games, a way of life. I've watched Maher for over 20 years, since the old Comedy Central days, through the ABC years, and now the HBO series (although I haven't much in the last year or two as I dropped HBO), and he's always voiced dislike of any science fiction, fantasy or other "unrealistic" films. In that regard, he often sounds like one of those people who feel it's necessary to reaffirm to everyone else how "mature and adult" they are, and that those who don't share the same tastes are therefore not so. It's one of his many failings, but I still find him humorous and occasionally insightful. As far as the so-called "comic book culture", I'm with him, but that extends to all ultra fannish cultures, be it sports or any other entertainment that people become slavishly devoted to. I know it may sound odd from someone who watches as many movies as I do, but I've never quite understood the "super-fan" mentality. Wearing shirts or other clothing emblazoned with some character or team mascot, dressing up in costume, whether as Spider-Man, Mr. Spock, or body-painted Patriots fans, they all seem silly to me outside of a costume party. People who paint sports team logos on their vehicles are just as ridiculous to me as someone with a Captain America tattoo on their arm. I've enjoyed many (not all) comic book movies, but I haven't bought or read a comic book in nearly 30 years, nor do I own any clothing with comic characters (or any other characters or corporate logos). I don't own any "action figures" other than a model of the Bronze Talos from Jason and the Argonauts. It gathers dust on a high shelf, next to my Aurora model-kit glow-in-the-dark statue of the Boris Karloff Mummy. I don't dress in the jersey-and-long-shorts uniform of the perpetual adolescent. Nor do I play video games, although I have in the past (I no longer own any gaming machine). For me, a superhero movie is no different from watching The Adventures of Robin Hood, The Mask of Zorro, Flash Gordon, The Flame and the Arrow, and on and on. They are all fantasy to one extent or another, all basic morality plays made flashy and spectacular through one cinematic technique or another, and all just as valid as entertainment as any other. The level of quality fluctuates as it does with all films, books, music, etc. And the enjoyment of one does not preclude the appreciation of other types of more "high-minded" art. I like the works of Kurosawa, Bergman, Fellini, De Sica, Bresson, Bunuel, Ozu, and Dreyer, while at the same time liking many horror, science fiction, fantasy, and yes, even superhero movies.
  5. 7 points
    Scream of Fear (1961)--Quite possibly the best of the Hammer films, it's labeled as 'horror', but is more of a classic psychological thriller. The plot revolves around Susan Strasberg's visit to her father's estate after a decade of estrangement. Her physical condition (in a wheelchair, unable to walk after a horseback riding accident) and the recent death of her long time companion set her up to be the 'perfect victim'. Her step mother, Ann Todd, and the family chauffeur Ronald Lewis are oh-so accommodating and thoughtful, explaining that her father is out of town. But, Strasberg starts to see dead dad popping up all over, while Todd, Lewis, and family doctor Christopher Lee try to persuade her she's just stressed and overly-imaginative. Is she crazy? Are they gas-lighting her? Although the viewer will remain suspicious, we are wisely kept in the dark as to motives (of all the characters..) until the final twist. The black and white photography is really well done..moody, shadowy..and is probably as important as the characters...not the usual Hammer screamer in intense shades of red. I saw this film years ago, and even though I knew what was really going on, I enjoyed the viewing. I watched on Classic Reel, but I think it's available on Amazon prime as well. Great example of a stylish little suspense film.
  6. 6 points
    I request North By Northwest and Doctor Zhivago every month.
  7. 6 points
    The Upturned Glass (1947) - 7/10 Interesting British thriller with James Mason as a doctor trying to solve the murder of his mistress. When he finds the culprit, instead of turning them over to the police, he plots to kill them. Also featuring Pamela Mason and Rosamund John. The structure of this film isn't quite like anything I've seen before, although I can't go into it without spoiling the last act. Suffice it to say, I found it intriguing, and Mason was excellent in the lead.
  8. 5 points
    Serpent of the Nile (1953) Mini Cleopatra "epic," done on a limited budget from Columbia. This time it's Rhonda Fleming as the most famous Egyptian seductress of them all, with Raymond Burr as the noble Mark Antony she leads around by his pre-Perry Mason nose, and (woah, I must have missed this one in history class) William Lundigan as the Roman captain Cleo really loves. The film starts with Caesar's assassination and quickly has both assassin plotters Brutus and Cassius dispatched by Octavius and Mark Antony. But Antony takes a shining to Brutus's loyal captain (Bill Lundigan) and soon adopts him as his new best friend. Soon Antony and new best friend are off to the land of the burning sun where Cleo will flash her eyes and dazzle with a smile and Antony will become her pet, err, lover. Still, as stated in the opening paragraph, it's big Bill Lundigan she really loves but Bill is faithful to Antony and Rome so we know that's not going to amount to much. Mind you this Cleopatra, who has ambitions to be queen of Rome through Antony, is a funny one regarding Lundigan. She at one point sends two assassins to his room in the middle of the night and when she later learns that they failed in their mission she's glad. Ah, the fickleness of women, this one more than most. But enough of all the story nonsense. What about what really matters to viewers who tune in to see a film of this kind, and the burning question on all their minds. Just how HOT is Rhonda Fleming as Cleopatra? Well, she's pretty impressive though she has to compromise those gorgeous red locks of her's in this colour production by wearing a dark wig. Depending upon her outfit the lady's massive eye shadow alters from blue to green then back to blue again and, in one scene she's wearing one of those '50s bras that stick out like twin torpedoes. It certainly draws your attention, and you have wonder about the cast members and crew who must have been ducking their heads on the set so as not to get smacked in the face by the thing. Look out, Bill. That thing might go off. Raymond Burr gives an okay performance as the doomed, tragic Antony (at least as much as the sophomoric script will allow). For those interested we also get to see him in togas and Roman centurion armour so, look out world, dig those knees! This film was made, fortunately, years before Burr got bigger than a Sherman tank. William Lundigan has dialogue like, "Antony, don't make Alexandria your tomb while Rome cries out its need for you." Touching, eh? Unfortunately he says the line in the same flat monotone that he does all his other dialogue in this film. William Castle (no gimmicks this time) directed this film without much flair. There are a few fast edited action sequences, Castle trying to spruce some of them up by having the camera in a ditch in the ground as a chariot rides over it. I guess he saw the silent Ben Hur. Possibly of more interest in this film than most is Julie Newmar's sole scene in it (she's billed as Julie Newmeyer). Years before they painted Shirley Eaton all over the same way for a Bond film Newmar is covered in gold as she does an exotic dance in Cleopatra's court with all eyes on her. I must say that Julie was in pretty impressive, limber shape for this number (there are even a few slow leg splits on the floor). Serpent of the Nile is a time waster, but for those who don't care for either the DeMille version of the '30s or the elephantine Liz Taylor take of the same tale three decades later, this economy version may appeal to them. All the photos posted here of the film, by the way, are taken off a DVD of mine from a TCM broadcast of the movie a few years ago. I only just caught up with the film now. 2 out of 4
  9. 5 points
    Patricia Routledge is one of the greatest sitcom actress to ever come out of British television or for that matter any television. But you don't get that honor on your own. You have to have top-notch professional support every inch of the way. And Clive Swift was Patricia's number one support on television. To do that he had to be equal to her in ability, stamina and professionalism. We cannot imagine Hyacinth without a straight man who was her long-suffering husband. If the role of Hyacinth's husband was a thankless one, it was still one that was full of comic relief, punctuated with brilliant minimalist acting by Clive Swift. For 6 years Clive Swift kept up appearances as Richard Bucket, pronounced " bouquet ", to the Delight of millions of britcom lovers all over the world.
  10. 5 points
    Tom Nichols‏Verified account @RadioFreeTom Listen, if Democrats want to torch Northam over this, okay by me. This wasn't some teenage prank. But the people supporting the Trump GOP suddenly developing a conscience about racism are not people to be taken seriously.
  11. 5 points
    TCM Underground‏ @TCMUnderground 3h3 hours ago If you’re curious to know if your favorite movies have ever played on TCM Underground, we’ve compiled a master list of titles, all the way back from our start in 2006! ================================== https://letterboxd.com/mdechirico/list/tcm-underground-titles-so-far/
  12. 5 points
  13. 5 points
    I'm gonna be honest and say when I first saw this title back in the 1970's, being a pugilism fan I thought it was a biopic about G.O.A.T. and I was wondering who would play Sonny Liston in it. Had not seen it before last night, but was struck by how cleverly Rainer Werner Fassbinder used the storyline from Sirk's, All That Heaven Allows but really made a unique film but with totally different elements and some interesting alterations and transpositions to the original story by Edna Lee, who I recall also wrote the novel, Queen Bee, which was also about a certain level of society not dissimilar. While Cary in the Sirk film gets an unwanted tv from her kids for Christmas, in Fassbinder's film, Emmi's son kicks in the screen of her tv when it is revealed that she has married Ali. During one close-up outside between Emmi and Ali, I was transfixed with the faces of Jane Wyman and Rock Hudson appearing simultaneously in my mind, as if the characters were a ghostly presence. When Ali goes to the bartendress and owner's apartment and stands before her bedroom window, again the figure of Rock Hudson standing in front of the giant window he constructed in his new mill home was envisioned again. The fact that Fassbinder was able to evoke such images without the film being a total remake in all details was fascinating. People seemingly never change and resent anyone going outside the circle of what they consider the norm, and both films show this aspect of society well. It is only when it becomes imperative for other reasons than civility, that Emmi's grocery owner, friends, fellow employees and apartment dwellers find reasons that her enmity is dangerous to their lives that they pretend to accept the situation. The ending again parallels the Sirk film, with the romance threatened in a physical way outside of people's emotional response to it. All in all, a satisfying take on society and its morals almost twenty years after the first go round by Sirk. Sadly no mention of Ali or Emmi reading about Thoreau's Walden Pond in this film.
  14. 5 points
    This is what happens when you don't pay attention during your daily briefings, don't care about your daily briefings, skip your daily briefings, etc. You said you would listen to your experts. You choose to listen to Putin, Erdowan, etc. over people who work for and care for the United States. I would ask the question asked of Joe McCarthy, "Have you no shame; have you no decency?" but unfortunately we all know the answer.
  15. 5 points
    All it is is soot. Let's not make this into more than it has to be. Chimney sweeps would naturally be clouded over with soot. Soot is black. Nothing unusual there. I never took the scene as blackface.
  16. 5 points
    Well, we differ on this one, Lawrence or, at least, my enthusiasm for the film is greater than yours. I've never read that Sheridan considered this film "terrible" but, if she did, the lady was wrong. While Silver River's ending is a Hollywood cop out, I think that it holds up as a character driven tale about business buccaneer ambition in a Western setting. Flynn's understated performance is one of his best, in my opinion, as he is playing, for a change, a morally dubious character, and he has strong support from the supporting cast. Flynn and Sheridan have great chemistry (this was Ann's final film on her Warners contract) and while Thomas Mitchell's portrayal of the drunken lawyer is very reminiscent of his Doc Boone portrayal in Stagecoach it's still a very effective turn. One of my favourite scenes in the film in that set in a bar. Flynn desires Sheridan and is as ruthless in his pursuit of her as he is at gaining riches through silver mining. In this scene Mitchell has just discovered Flynn's plan to allow Sheridan's husband to venture into Indian territory, the husband unaware of the fact that the Shoshone are on the warpath there. The David and Bathsheba parallel is obvious. As a matter of fact Mitchell throws those Biblical characters' names in Flynn's face. It's a tense scene, with Mitchell's ruffled appearance and flamboyant acting an effective contrast to Flynn, understated and nattily attired. The two actors play off one another beautifully as Mitchell lectures Flynn on his duplicity, ready to send a man potentially to his death, and Flynn, initially trying to dismiss the comments, has a sudden outburst, accusing Mitchell of hypocrisy. The hypocrisy, by the way, is true, as Mitchell does no more to stop Sheridan's husband from getting killed by the Indians than does Flynn. The other interesting thing about Flynn's characterization in Silver River is that it is one of the very few films in his career in which he is allowed (very effectively, particularly in one scene when he refuses to allow her portrait to be removed from a wall) to portray someone emotionally vulnerable after he loses a woman. It's a shame that there was an estrangement (a temporary one, as it turns out, though they never worked together again) between Flynn and director Raoul Walsh while making this film (Walsh was removed from Errol's Don Juan project as a result). Flynn did much of the best work as an actor (They Died With Their Boots On, Gentleman Jim, Uncertain Glory, Objective Burma) when he was under the hand of this tough director friend that he respected. Walsh would later comment on the pain it caused him to see Flynn spiralling downward both emotionally and physically, and there was nothing he could do to stop it.
  17. 5 points
    My record of never having agreed with a single comment made by Movie Madness on these boards remains unblemished.
  18. 5 points
    The Web (1947) - 7/10 Solid crime thriller/noir with Edmond O'Brien as an attorney who's hired to act as a bodyguard to wealthy businessman Vincent Price. Ed takes a shine to Vincent's executive secretary Ella Raines, but when O'Brien thinks he's been used as a stooge to do Price's dirty work, he vows to set things straight. The cast, which also includes William Bendix, Fritz Leiber, and John Abbott, is good and the story engrossing.
  19. 5 points
    Part 2 of 2: Elsa Lanchester's performance in MYSTERY STREET seems to be guided by her husband Charles Laughton, instead of the film's actual director (John Sturges). This is primarily because of the Laughton-esque mannerisms she uses in her scenes. Things like additional chuckles and sideways glances, which Laughton typically employs in his characterizations. Lanchester etches a portrait of a very embittered but humorous landlady. We can tell Mrs. Smerrling is jealous of the pretty young girls who stay with her, but they provide her with a steady income. Also, we realize Mrs. Smerrling is a lot smarter than she appears. During a visit to the boarding house, Lieutenant Moralas looks for clues about who might have killed Vivian Heldon. He meets a shy tenant (Betsy Blair) who often talked with Vivian, and she shows Moralas a suitcase of items that were left behind. He looks at the contents and makes a few mental notes. After Moralas leaves, Mrs. Smerrling discovers the number that Vivian had scribbled on the wall. Figuring this might lead to a little windfall if someone wants to avoid being associated with a dead nightclub hostess, she dials the number and sets up a meeting. Soon Mrs. Smerrling has gone to see Harkley in Hyannis. She meets him at his office along a pier, and when he steps out for a moment, she starts to snoop around for things that will connect him to Vivian's untimely death. It doesn't take long for her to find a gun in a desk drawer, which she takes without Harkley's knowledge. It is, of course, the murder weapon. Later when Moralas shows up with a search warrant and does not find the weapon, Harkley realizes who took it, and he goes after it. The scene where he pays Mrs. Smerrling a visit and commits another murder is quite shocking. In the meantime Henry Shanway has been arrested and is about to stand trial for a crime he didn't commit. His loyal wife tries to support him, though it is not easy for her. In one scene she practically has a nervous breakdown when she realizes the lies her husband has told her and how their whole marriage has been turned upside down because of one horrible night. However, Moralas is now convinced of Shanway's innocence and with help from the professor, he will prove that Harkley is the real killer. The forensic evidence in the case reveals why Harkley had killed Vivian Heldon. It seems she had been pregnant, and bones from the fetus were found along with her skeletal remains. For a film that was made at the height of the production code by a studio known for frothy musicals, MYSTERY STREET is sordid and hard-hitting. It's a daring story for its time. It seems eager to assume responsibility for its adult themes and is determined to provide audiences with thoughtful and meaningful entertainment. MYSTERY STREET will air on TCM the 27th of February.
  20. 5 points
    You can't have grown up in New York City and been close to the experimental film/video world without knowing and respecting its godfather, Jonas Mekas, who died yesterday, at the age of 96. In the late 1970s/early 1980s, I spent many happy (and sometimes bewildered) hours at the Anthology Film Archives, which he co-founded. He was an icon in the field which he helped shape. https://www.theguardian.com/film/2019/jan/23/jonas-mekas-titan-of-underground-filmmaking-dies-aged-96 https://en.wikipedia.org/wiki/Jonas_Mekas
  21. 5 points
    LETTY LYNTON (1932) won't ever air on TCM, because of an on-going rights issue. IT'S A WONDERFUL LIFE (1946) will never air on TCM, because NBC has the broadcast rights locked up. SONG OF THE SOUTH (1946) won't air because it's too controversial. The GODFATHER movies also will never air on TCM. STAR WARS (1977) has never aired on TCM and is probably too expensive to rent.
  22. 5 points
    Can the rest of the world do what Trump is doing to Venezuela? Declare the 2016 U.S. election invalid and say that Hillary Clinton is the legitimate president.
  23. 5 points
    It didn't hurt that Edie Adams was his partner in crime for many of his projects. Here's a 1956 clip from the CBS game show "What's My Line" featuring Kovacs as a panelist and Adams as the mystery guest.
  24. 5 points
    One of the greats has left us. https://www.nytimes.com/2019/01/22/obituaries/kaye-ballard-dead.html
  25. 5 points
    Nip, aren't you the one who constantly berates god-less, heathen, atheist liberals? Sounds very judgemental to me. Especially, when you praise the most soulless, totally immoral individual doing things that are cruel for cruelty's sake. He is total evil. If there is a hell, Trump has earned his place there.

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