AddisonDeWitless

> {quote:title=Hibi wrote:}{quote}Well, the ending was open to different interpretations. Maybe not Batman, but someone else......... Michael Caine? (I'd be in to that) -joking, I read a detailed plot summary of the film, I know how it ends.

> {quote:title=kriegerg69 wrote:}{quote} The question i have is why do they feel compelled to stuff so many villains into one movie? One is enough, IMHO. Even the Spider-Man movies do the same thing...villain overkill. I think the Genesis of this was Batman Returns, whose script (IMO) did a pretty good job of combining The Penguin and Catwoman into one story. One of the biggest failngs of Batman and Robin is that it missed a chance to spin a more intriguing story out of the combination of Mr. Freeze and Poison Ivy- I see potential in a story about how Batman has to stop those two from killing everyone while they try to kill each other. The Dark Knight movies have such casual flirtations with the villians like Scarecrow and R'as Al Ghul (sic?) in trying to make them "buyable" in the real world, they've managed to both minimize their presence and cram too many in at the same time- all the while sucking any "fun" whatsoever out of the whole thing. And for the record, there is just one villian in The Amazing Spiderman, and (as some critics have noticed) the movie's story arc is driven as much by the romance/ struggling coming-of-age angle as it is by the villian (who is sort of weak I admit, but Je-****, at least it's not a coked-out Willem Defoe in that Maximum Overdrive acid trip get-up.) Batman has always and will always have the best villians. None of the other comics can compare.

> {quote:title=Hibi wrote:}{quote}OMG! Wonder how long the next one will be? Egads! I think (pray/hope) Nolan wants this to be a strict trilogy...And from the plot spoilers about TDKR I've read, he seems to've ended it in that fashion, but with a door propped open for the inevitable reboot circa 2015: Batman and the Search for More Money.

You know... No matter how much gravitas and Greek Tragedy you want to coat the whole Batman thing with, at the end of the day: it is the story of a grown man who dresses in a rubber bat suit and gads about, tossing boomerangs at other grownassed people who dress like clowns, cats, waterfowl, etc.... *And I'm down with that*. It's fine. It's fun, it's fantasy. J'adore the 60's TV series, even the atrocious episodes, because the spirit is so right. I think the Burton films are flawed in many ways, but also close to the best mix of audacity, humor and violent thrills (and Michelle Pfeiffer gives an Oscar worthy turn in Batman Returns straight-up, no arguments about it period.) Batman Forever got close in its own way, not as bad as the rep it earned after Batman and Robin- yes, the nadir for all time- killed it. But you know what? While I admire the direction in which the filmakers were going at times, on an overall assessment I hate The Dark Knight. It's overlong, overly serious to a fault, pretentious, bombastic, Heath Ledger was terrific, but Bale is ludicrous: the *WHERE ARE THEY????* interogation scene is an overheated buffet of every TV drama /action film cliche from the last two decades, there are a couple of glaring plotholes that immediately spring to mind but you know what else? O*ther than the fact that I recall quite vividly being bored, I don't recall much the f*** else about it.* I am 34. Growing up, I went to the movies all the time, but *over the past eight years,* *I have been to see a movie in a theater twice*. (and I have to note that the films I have checked out at home that have been made in the last eight years did not impress me much with very few exceptions. ) The two times I have been to see a movie in a theater in the last eight years? One: to go see The (meh) Muppet Movie this Christmas with my nieces (aged four and eight) and the second time just this past weekend wherein we decided to go see something to kill a couple of hours on a hot afternoon by going to see The Amazing Spiderman, something which I was not terribly enthusiastic about. It was fantastic. Everything that the product-placement riddled, bad CGI-plagued, lame dialogue, thoroughly plot-holed, jingoistic, bombastic films of Sam Raimi weren't. It was a blast from start to finish: smart, fun, well-acted, intimate, engrossing- and Holy s*** Sally Field is Aunt May! I guess you and me might seem like corporate shills now, but I just adored it and I'd go see it again. I really need to go to work now.... Edited by: AddisonDeWitless on Jul 31, 2012 9:28 AM Edited by: AddisonDeWitless on Jul 31, 2012 9:30 AM Edited by: AddisonDeWitless on Jul 31, 2012 9:31 AM really have GOT to get to work

Congratulations: you're the first person ever to complain that For Pete's Sake was too short.

OH THANK YOU, THANK YOU, THANK YOU!!!!!!!

All right, the details are sketchy, but here is what I have to go by: This was possibly an episode of a British horror anthology series (maybe Hammer House of Horror, maybe not) and it was included on a VHS tape hosted by Elvira, Mistress of the Dark that could be rented back in the 80's. I have tried to find an imdb credit/listing for it, but no dice. I know this thing exists though. In the tape, she introduced three or four segments, likely edited down from their originals.The two that were burned in my brain are: A scheming man and woman conspire to take a rich, but odd, young man for a ride by having the woman woo and marry him (I think some jewels in a safe are their ultimate target) Unbeknownst to them, the man has telekenitic powers and can burn things with his mind when he gets upset. (A cat kills some birds he has been feeding and he roasts the cat with his mind, it's sick.) Anyhow, the spooky millionaire catches the woman in the safe and in the final scene she returns to her con-artist boyfiend all barbecued and hideous and chanting "you said you loved me" over and over. Next episode: A couple end up in a village filled with vampires. They escape using a gold crucifix from the church and are rescued by police officers who take them right back to the village because, they too are vampires (freaky last shot of the cops turning around and sporting long, eerie fangs, and the whole thing is tinted blue- it's some creepy s***.) I saw these countless times as a child and they are part of the reason I am so messed up. Needless to say, I would love to see them again. Anyone know the names of these, availablity, any leads, anything? Help appreciated- especially you Horrorphiles who I know are on these boards. Edited by: AddisonDeWitless on Jul 25, 2012 9:44 PM

> {quote:title=FredCDobbs wrote:}{quote} > Screenplay worked on by John L. Balderston, who wrote the play that the original Dracula film was based on. Also wrote for Frankenstein, Bride of Frankenstein, The Mummy... How inn-teresting that you point this out, because as I watched it (like many of you) for the first time last night, I was taken by how much darker the tone pf the film was than what I expected (which was more on the side of light fantasy, possibly with elements of adventure and romance, something with a hint of Howard's later triumph in The Scarlet Pimpernel.) But while the film was definitely fantasy, it was not light. I love thirties fantasy, and the tone of this was so strange. This was a really unique film. It was- in a pat but nonetheless apt way of putting it: quite ahead of its time. There were even quite a few moments where I felt elements of a horror film, the strange montage of modern-day violence and machinery that unfolded from Howard's eyes into the mind of Heather Angel's character, the mentality of "the villagers" who fear that certain intangible, but nonetheless off-setting, something in Howard's gaze... and I was particularly reminded of Valerie Hobson's performance in The Bride of Frankenstein by the (very good) performance of the older sister, who thought Howard was in league with the Devil. It was a very good print, wasn't it? I didn't you called it "Barklee" Square. That makes no sense to me, but whatever. I think Leslie Howard deserved his Oscar nomination for this. And it was fun to see Osborne's obvious enthusiasm and hear that pining in his voice when he talked about how long he (like a lot of us) has wanted to see this. A BIG, BIG THANK YOU TO WHOEVER WORKED HARD TO ACQUIRE THE RIGHTS TO THIS, KEEP IT UP WITH THE NEW STUFF AND THANK YOU, TCM.

oh no. it was sarcasm. those are all Fox titles that've been on TCM once or twice in the last six months and while I didn't think some of them were "all that" it was GREAT to be able to see them at last and I'll take them, flaws and all, over the usual suspects any ole' day. They also started some inn-teresting discussions on the boards, especially The Razor's Edge. And I still remember that lovely Christmas Eve showing of Cluny Brown. Christmas is NOT one of my favorite times o-the year and it cheered me up so much. The acquisitions TCM has made- not just from Fox but Universal as well- over the past 12-18 months have been wonderful. Edited by: AddisonDeWitless on Jul 17, 2012 9:59 PM

Hangover Square *really* ought to be an Essential. It's one of the those classics that even people who aren't "in" to classics can enjoy.

> {quote:title=Hibi wrote:}{quote}Yes, some of them have been in rotation recently, but havent been on TCM in years before that........(and probably wont be again once their rental agreements run out....) Still: TCM got 'em, and the more positive feedback they get for it, the better the chances we may see other Foxey titles like In Old Chicago or Nightmare Alley or Laura or Hangover Square or (joy of joys!) the elusive Cluny Brown. The infusion of new blood from the Fox Vault has been wonderful. Thank you, programmers.

Your assessment of Tarkington and the novel Alice Adams is excellent, but it brings back the white wave of hatred I felt on finishing it some twenty years ago. Lord above us in heaven, *I HATE THAT F-ING BOOK.* He could've used you as an editor. it just occured to me: since everyone's gone so gaga for going back and fudging with Pride and Prejudice and Dracula and Wuthering Heights with sequels and re-boots and fan fic, someone should do a story called Malice Adams wherein Alice, in the tradition of Balzac's Cousin Bette systematically and methodically plots the destruction of all those around her. She, of course, succeeds utterly. What think? Edited by: AddisonDeWitless on Jul 17, 2012 5:01 PM

> {quote:title=Hibi wrote:}{quote}Well, Pick Up is a Fox film, so it's not like TCM can show it often........ Right. Just like Love is a Many Splendored Thing, The Razor's Edge, The Song of Bernadette, Night and the City, Peyton Place Man, how long has it been since they've played one of those?

> {quote:title=kingrat wrote:}{quote} > Not everyone likes Samuel Fuller--I have very mixed feelings about some of his films--and the four shown in the tribute were not the ones I would recommend for > > I SHOT JESSE JAMES is Fuller's first film, and it shows. PARK ROW is his Frank Capra film; some like it, others find it dull, with lots of speechifying. > I always like what you have to say, and I agree across the board with you. In particular, you nailed my feelings for Park Row and Jesse James. I am in particular not a fan of the latter, it lead another Fuller tribute a year or two ago if I am not mistaken and it shows on TCM more than I think it merits. The same is not true for Pickup on South Street. And I liked what I saw of Shock Corridor (aka The Private Madness of Roscoe P. Coltraine) before I konked out for the nite. ps- someone below mentioned the underappreciation of Vincent Sherman. I have to note that Vincent had his own tribute earlier this week and, even if he didn't say it, he ought to be , known as "The best damn director who never directed one fully satisfying film" pss- Nic Ray said that of himself. I don't agree with that assement.

{quote:title=Hibi wrote:}{quote}Has there been any announcement whether Drew will continue next season? I am Curious. I don't think so, kind of doubt it (she is still a pretty hot property and is due to drop that kid soon) I am honestly hoping they'll drop the whole idea after this season, the well is damn near dry. Or maybe they'll re-invent the show to include films that are not necessarily *ESSENTIAL* or *flawless* or *GREAT* but are nonetheless inn-teresting for their casts, datedness/timeliness/ uncanny prescience, socio-historical significance or just for the fact that they're not A Face in the Crowd. (again.) Films like The Loved One (1964), China Seas (1933), They Won't Believe Me (1947ish), Flamingo Road (1949), Tomorrow: the World! (1944), Targets (1968), Prosperity (1933), Stars in their Crowns (1950), The Breaking Point (1950), Murder by Death (1974), No Man of her Own (1950), Cluny Brown (1946), Lil' Abner (1957)- (trust me, it's hilarious), The Painted Veil (1934), One, Two, Three (1961) Or they could just grab Gigi, reheat, and serve.

> {quote:title= finance wrote:}{quote}.......and, at the risk of being accused of piling on, to those of you that think Drew is beautiful, she looks to me as if she was competing with Michael Jackson for the honor of who could have the greatest number of botched plastic surgeries. Very rarely find I fault with anything you write, but in this case, I think you're wrong all around. Sarah Bernhardt she ain't but I can't think of any other major movie actress besides maybe Kate Winslet who has had a more positive influence on women's body image than Drew "Yeah, I'm a size 10, and your f-ing problem is ?"Barrymore. I respect and salute her for that all the way. I also respect her for the fact that Ever After made a shitpile of money, because if you can't act, there are three things you should not do: 1. accents 2. period films and 3. work with Anjelica Huston. But I digress. She is also someone whose path I crossed during my Dickensian ride in HOLLYWOOD and she is sweet as pie (unless you're dating her, in which case, keep some Bactine handy) I would also gosofar as to say, Botox aside, she looks to me as if she hasn't had as much (or any) done as her contemporaries. Have you noticed Ashley Judd is Korean now? Edited by: AddisonDeWitless on Jul 17, 2012 1:12 PM

it's inn-teresting that people have invoked The African Queen once or twice in this thread, because when I saw Alice Adams was coming on, I was rather tempted to create a new post called, something to the effect of, Books with Horrible Unhappy Awful Endings that were turned into Great Movies. My whole Alice Adams experience will always be tainted by my having read Booth Tarkington's Pultizer-winning novel first. It is very much the same as the film only, oh, ALICE FAILS COMPLETELY IN HER CONQUEST, HER FATHER IS RUINED, HER SUITOR BAILS AND THE LAST SCENE IS OF HER ASCENDING THE STAIRCASE AT THE SECRETARIAL SCHOOL, BROKEN AND TRAGIC. Granted, I was younger and more idealistic on reading it, but never has such a middle finger been given to a reader... Unless you've suffered through CS Forrestor's gawdawful book The African Queen, which has all the malaria and leaches, BUT unlike to ace-ending to the 1951 film, ROSIE AND ALLNUT FAIL, I MEAN F***ING FAIL UTTERLY TO BLOW UP THE GERMAN BOAT AT THE END. (As an aside, I throw in that I have never read The Bridge on the River Kwai, but the ending to it, as is my understanding, is much the same story or non-story, as it were).)

> {quote:title=finance wrote:}{quote}The part near the end where they invite MacMurray for dinner was particularly painful to watch. Drew's closing commentary was even more painful to watch. It is an all-around uncomfortable movie, not a fun or relaxing romp- certainly no air of escapism that it seems to me audiences circa 1935 could've used. Give me My Man Godfrey any damn day of the week or year over Alice Adams. Although, it is one of Hepburn's finest hours, and it IS a film that speaks to anyone who has ever been on the outs socially (it rung a bell with me when I saw it as a lonely teenager, especially the scene were Alice goes home and cries after the party) it's a SHOCK to me that it earned a Best Picture nomination in 1935 opposite the more adventure-toned, exotic and light-hearted(ish) fare such as The Lives of a Bengal Lancer, David Copperfield, Mutiny on the Bounty etc. ...And as far as finest hours go, Alice Adams is NOT ONE for Hattie MacDaniel, IMO. As for Drew-Poo- I thought we had all agreed that the mute button was the way to go on that matter. Everytime one of you kids gives in and turns the volume up, you get hurt, and I am just trying to prevent that. (You think the Essentials crew sometimes messes with her by waving a laser pointer all over the room and watching her chase it around deliriously until she runs into a wall? I hope so.)

From what little I've seen of Return to Salem's Lot (mostly the last half, and it was recently), Samuel Fuller was quite good in it. He plays a vampire hunter and is very natural with just the right amount of tongue-in-cheek. (In doing it, he was surely trying to get the scratch together to finance something.) I have to admit I was disappointed by Park Row. Something about it just didn't scan with me. It would be inn-teresting if TCM (who seem to have a fondness for Fuller) showed Shark! - a film circa 1969 that I read Fuller disowned even though he directed most of it because a stunt diver was killed on it. Am I getting that wrong? Edited by: AddisonDeWitless on Jul 15, 2012 8:58 PM

Zaat! (1975) has been shown twice.

> {quote:title=hlywdkjk wrote:}{quote} > > Last month the AMC Networks were dropped by the DISH Network over an unexpected price increase.... > F'real? This is like me announcing to everyone in line at the Starbucks that my usual rate for licking them in the face is going to go up from $5 a lick to $6.75. ($2 extra if you want me to spit in your coffee.)

> {quote:title=Capuchin wrote:}{quote} > Phineas and Ferb has the sensibilities but not the artwork. I think Walt would approve. I can envision thirty years from now some people saying they went into science/engineering because of that show. > Very much agreed. It is a charming and funny and INTELLIGENT show from start to finish, full of nothing but positive encouragement for our young men and women. Sadly, it is sandwiched between "sitcoms" where girls wearing leapard print leotards, giant fire-engine red sneakers, and a pound of mascara recite some of the stalest dialogue since The Facts of Life was put down two decades ago and seem to be perpetually indoctrinating our little girls that acting like a SUGAR-FROSTED, BRAIN-DEAD SPAZZ is the key to attaining Nirvana. Futurama had a brilliant parody of Niceklodeon recently. One of the execs was showing a new show called Popular Slutt Club to a focus group of children. You would have to see the execution of it, but my friend and I laughed for like three solid minutes.

I know not much about this, but I have a *hard time* being sympathetic towards Viacom for the simple (but admittedly esoteric) reason that, when I'm not watching TCM, the news, or something on youtube, I like to watch old episodes of Murder She Wrote at tvland.com (I know it's utter hokum, but I enjoy the high-grade cheese of it all and revel in the non-stop cavalcade of vintage C and D-list Hollywood guest stars as well as the occasional character actor and/or studio system refugee (Van Johnson! Marie Windsor! Carroll Baker!) Now when I go to watch Murder She Wrote on TVland.com my whole computer screen is covered in an *unstoppable, unblockable, unshrinkable,* *pop-up that cannot be closed without closing the whole window:* alerting me that "DIRECT TV HAS DONE THE UNTHINKABLE! THEY'VE CANCELLED MTV! NICKELODEON! ETC..." That **** me off a lot. I get that you're annoyed, *BUT DON'T LOCK UP MY COMPUTER AND MAKE ME LISTEN TO THE STARS OF Jersey Shore TELL ME WHAT A DAMN SHAME IT IS THEY WON'T BE ON MY TELEVISION THANKS TO DIRECT TV*. And as far as I am concerned, Direct TV is doing America *NOTHING* *BUT A HUUUUUGE FAVOR BY GETTING MTV AND NICKELODEON AND (IF THERE'S A GOD) THOSE PAINTED STRUMPETS ON THE DISNEY CHANNEL OUT OF SIGHT AND SOUND NOT ONLY FROM THE EYES AND EARS OF OUR CHILDREN, BUT FROM THE REST OF US AS WELL.* As far as I am concerned, God bless you, Direct TV. You are the men of the effing year. Can you also do something about The Kardashiai? I will wear one of those effing dishes ON MY HEAD if you can get those talentless mouth breathers off the air waves. Edited by: AddisonDeWitless on Jul 14, 2012 8:59 PM

Dangerous (1935) for which Bette Davis won her first Oscar.

A scene from Neil Simon's 1976 Murder by Death as played by the inimitable Maggie Smith: *NORA CHARLESTON* "Why would anyone want to steal a dead body?" Nick leans in an whispers something in her ear. *NORA CHARLESON* "Oh, that's tacky. That's really tacky."