cigarjoe

You would think that given the film library they own they would make DVDrs on demand for the folks that want them, no? That may prove profitable.

Same here but it was the right film Nobody Lives Forever

I don't know if you can equate anything, Gibson's The Passion Of The Christ is a religious experience for some. Also the first guy who picked up his own **** and drew on the wall to pass a thought to his fellow cave dwellers wouldn't be considered creative. In today's world he'd be shipped to the looney bin.

Maybe that'll keep him busy for a couple of weeks, before we get a response.

It's "Intellectual Gibberish," fodder for Sgt_Markoff to digest.

Just remember "Good taste is the enemy of creativity" Pablo Picasso 😎 P.S. It wasn't something Tarantino entirely designed on his own. The ear cutting sequence with Kurt Blatz was also an homage to a similar scene in Spaghetti Western director Sergio Corbucci's Django (1966).

In Reservoir Dogs Quentin Tarantino earned his Neo Noir punch card. It's an exceptionally stylistic film. You can see Sergio Leone's influences in the fractured storylines (Once Upon A Time In America), the picaresque humor (For A Few Dollars More) and the three way Mexican Standoff (The Good The Bad And The Ugly) in a low rent brick warehouse in Highland Park, City Of Angels. You can hear the brilliance of Tarantino's organic sounding dialogue and enjoy the audio punctuations that accompany the interesting camera movements and angles. It's a hoot. The cast can boast six Classic Film Noir veteran actor Lawrence Tierney and Neo Noir vets Harvey Keitel, Michael Madsen, Steve Buscemi. Of the rest Chris Penn, and Tim Roth's careers really took off, Randy Brooks and Kirk Blatz are still pretty active and only real excon Edward Bunker sort of stayed on the back burner (and probably out of trouble) careerwise. All the actors in the film are intense and compelling. If you haven't seen it, do so. 10/10. Review with screencaps in Film Noir/Gangster pages.

Reservoir Dogs (1992) Low Budget Neo Noir Masterpiece Not much new or original can be said of Reservoir Dogs. It premiered during that Neo Noir renaissance that ignited in the 90's after smouldering and building up nicely during the 80's. The 80's gave us memorable and visual gems like De Palma's Dressed to Kill (1980) Kathleen Turner's Body Heat (1981), SyFy Noir Blade Runner (1982), period piece Hammett (1982), Vice Squad(1982), the Coen's Blood Simple (1984), Wim Wenders Paris, Texas (1984), Eastwood's Tightrope (1984), Smog Noir To Live and Die in L.A. (1985), David Lynch's Blue Velvet (1986), Supernatural Noir's Angel Heart (1987) and little seen Siesta (1987), and John Dahl's Kill Me Again (1989). Sleeper period noir Union City (1980) with Debra Harry, and Martin Scorsese's New York City Screwball Ensemble Noir After Hours (1985) The 90's caught a breeze and Neo Noir flared up with The Grifters (1990), The Hot Spot (1990), Wild At Heart (1990), Impulse (1990), Twin Peaks: Fire Walk with Me (1992), Red Rock West(1993), Romeo Is Bleeding (1993), True Romance (1993), The Wrong Man (1993), The Last Seduction (1994), Pulp Fiction (1994), Natural Born Killers (1994), Se7en (1995), Fargo(1996), Hard Eight (1996), Mulholland Falls (1996), Hit Me (1996), Jackie Brown (1997), L.A. Confidential (1997), Lost Highway (1997), This World, Then the Fireworks (1997), and Dark City (1998) and Screwball Ensemble Noir The Big Lebowski (1998). There were even more that I haven't mentioned, and cable TV's Showtime had a period Film Noir anthology series called Fallen Angels beginning in 1993 . Neo Noir was going through a very creative period. In Reservoir Dogs Quentin Tarantino earned his Neo Noir punch card. It's an exceptionally stylistic film. You can see Sergio Leone's influences in the fractured storylines (Once Upon A Time In America), the picaresque humor (For A Few Dollars More) and the three way Mexican Standoff (The Good The Bad And The Ugly) in a lot rent brick warehouse in Highland Park, City Of Angels. You can hear the brilliance of Tarantino's organic sounding dialogue and enjoy the audio punctuations that accompany the interesting camera movements and angles. It's a hoot. The cast can boast six Classic Film Noir veteran actor Lawrence Tierney and Neo Noir vets Harvey Keitel, Michael Madsen, Steve Buscemi. Of the rest Chris Penn, and Tim Roth's careers really took off, Randy Brooks and Kirk Blatz are still pretty active and only real excon Edward Bunker sort of stayed on the back burner (and probably out of trouble) careerwise. All the actors in the film are intense and compelling. Michael Madsen and Edward Bunker Harvey Keitel Lawrence Tierney Steve Buscemi Bunker has quite the story. He started his crime spree at age 3 with destruction of private property. He took a claw hammer to a neighbor's incinerator.. At 4 he graduated to arson, setting fire to either the same neighbor's garage or one of the others. A bit more violent at 15 he jabbed a fork in another boy's eyeball. By 17 after a series of assaults and robberies, punctuated by the stabbing of a guard he impressed a judge enough to be sentenced to San Quentin as its youngest inmate. Noirsville low angle style A flat-ish Dutch angle a sweet slide on the pave to hell Leone reference: Above, Buscemi and Keitel doing the Tuco and Blondie parts at Sad Hill Cemetery while Madsen appears suddenly in Angel Eye's mode below. Tim Roth low angle style low angle style Another Leone reference: Il Triello with low angle style reflections Kirk Blatz If you haven't seen it, do so. 10/10 Review with more screen caps here Noirsville

But of course the dialectical critical realism may be seen under the aspect of Foucauldian strategic reversal — of the unholy trinity of Parmenidean/Platonic/Aristotelean provenance; of the Cartesian-Lockean-Humean-Kantian paradigm, of foundationalisms (in practice, fideistic foundationalisms) and irrationalisms (in practice, capricious exercises of the will-to-power or some other ideologically and/or psycho-somatically buried source) new and old alike; of the primordial failing of western philosophy, ontological monovalence, and its close ally, the epistemic fallacy with its ontic dual; of the analytic problematic laid down by Plato, which Hegel served only to replicate in his actualist monovalent analytic reinstatement in transfigurative reconciling dialectical connection, while in his hubristic claims for absolute idealism he inaugurated the Comtean, Kierkegaardian and Nietzschean eclipses of reason, replicating the fundaments of positivism through its transmutation route to the superidealism of a Baudrillard, don't you think?

A clown responds..... Total presence breaks on the univocal predication of the exterior absolute the absolute existent (of that of which it is not possible to univocally predicate an outside, while the equivocal predication of the outside of the absolute exterior is possible of that of which the reality so predicated is not the reality, viz., of the dark/of the self, the identity of which is not outside the absolute identity of the outside, which is to say that the equivocal predication of identity is possible of the self-identity which is not identity, while identity is univocally predicated of the limit to the darkness, of the limit of the reality of the self). This is the real exteriority of the absolute outside: the reality of the absolutely unconditioned absolute outside univocally predicated of the dark: the light univocally predicated of the darkness: the shining of the light univocally predicated of the limit of the darkness: actuality univocally predicated of the other of self-identity: existence univocally predicated of the absolutely unconditioned other of the self. The precision of the shining of the light breaking the dark is the other-identity of the light. The precision of the absolutely minimum transcendence of the dark is the light itself/the absolutely unconditioned exteriority of existence for the first time/the absolutely facial identity of existence/the proportion of the new creation sans depth/the light itself ex nihilo: the dark itself univocally identified, i.e., not self-identity identity itself equivocally, not the dark itself equivocally, in “self-alienation,” not “self-identity, itself in self-alienation” “released” in and by “otherness,” and “actual other,” “itself,” not the abysmal inversion of the light, the reality of the darkness equivocally, absolute identity equivocally predicated of the self/selfhood equivocally predicated of the dark (the reality of this darkness the other-self-covering of identity which is the identification person-self).

Proxima Centauri, when I found out was a red dwarf.

Yeah Caddy, forgot him also Mitchum's character in Night Of The Hunter.

42

But, if, for a while, the ruse of desire is calculable for the uses of discipline soon the repetition of guilt, justification, pseudo-scientific theories, superstition, spurious authorities, and classifications can be seen as the desperate effort to “normalize” formally the disturbance of a discourse of splitting that violates the rational, enlightened claims of its enunciatory modality.

No

But, of course the move from a structuralist account in which capital is understood to structure social relations in relatively homologous ways to a view of hegemony in which power relations are subject to repetition, convergence, and rearticulation brought the question of temporality into the thinking of structure, and marked a shift from a form of Althusserian theory that takes structural totalities as theoretical objects to one in which the insights into the contingent possibility of structure inaugurate a renewed conception of hegemony as bound up with the contingent sites and strategies of the rearticulation of power.

Remember that sequence at the beginning where Sellers accidently blows up the set? I believe that was a spoof of an actual incident that happened while Sergio Leone was filming The Good The Bad And The Ugly, a Spanish Army Captain set off the charges prematurely when he heard the director call for the cameras to start rolling. The Spanish Army took a week to rebuild it.

Didn't care for it either.

Of your list 1981: Pennies from Heaven, One from the Heart own then on disk, seen Eye of the Needle, SOB, Ragtime 1982: Like Cannery Row, have Hammett DVD 1983: seen Something Wicked This Way Comes 1984: seen none 1985: seen none 1986: seen Round Midnight, 1987: like Black Widow haven't seen the others 1988: seen A Cry in the Dark 1989: seen New York Stories

Thanks for listing them.

Wasn't it about something on PBS?

Pale Rider felt too Peace, Love, Dove, like a little hippy placer mining commune on the prairie. Same gripe with Dances With Wolves, and others you could almost label everything post 1982 as Neo Westerns.

She probably means as Johnny Carson used to say that the film is for the... "light in the loafers crowd."

Ya got that right pilgrim, the 80's s*u*c*k*e*d for Westerns. The last good old Golden Age style Western was The Long Riders and Tom Horn in 1980. The Grey Fox in 1982 and not much else.

There were some Neo Noir gems in from 1981 - 1987 but the output really jumped in the 90s Body Heat (1981), Thief (1981), SyFy Noir Blade Runner (1982), Period Noir Hammett (1982), Vice Squad (1982), Blood Simple (1984), Paris, Texas (1984), Tightrope (1984), To Live and Die in L.A. (1985), Black Comedy Noir After Hours (1985), Blue Velvet (1986), Supernatural Noir Angel Heart (1987).