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LiamCasey

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Posts posted by LiamCasey

  1. 3 hours ago, Vautrin said:

    I haven't  seen The   Blues Brothers in ages, so I don't remember much about the neo-Nazis. No doubt they were likely

    pretty pathetic. Accept no substitutes. 

    Henry Gibson was the leader of the neo-Nazis in that movie. Need I say more?

  2. 14 hours ago, laffite said:

    Espionage movies are better IMO without a lot of action. They are better when they are exactly how you describe them. To be a spy and finding themselves in the situations they must occupy is suspenseful enough not to require action. You imply that le Carre (how did you make that accent mark?) are action movies and maybe in the long run they are. There was a fair dearth of action in both The Spy Who Came in the Cold and the more recent A Most Wanted Man and much to my delight. I am not an experienced espionage movie watcher so I may only have a partial understanding of same. But your remarks about the The Courier makes me want to have a look. Thanks.

    I didn't mean to leave you with the impression that movies based upon the works of John le Carré are action movies. Just that The Courier has even less by comparison.

    P.S. I'm on Windows 10 and usually use the character map application for letters with a diacritical mark.

  3. 1 hour ago, Katie_G said:

    5                                                                                                                                                                                                                                                                                     

    "When you're slapped, you'll take it and like it."

    "I do know he always went heavily armed, and that he never went to sleep without covering the floor around his bed with crumpled newspapers, so that nobody could come silently into his room."

    The Maltese Falcon (1941)

  4. The Courier (2020) - Amazon Prime

    w/ Benedict Cumberbatch, Merab Ninidze, Rachel Brosnahan and Jessie Buckley. Written by Tom O'Connor. And directed by Dominic Cooke.

    Based upon the true story of a British businessman, Greville Wynne (Benedict Cumberbatch) who, because of his history of business trips to Eastern Europe, was recruited by the British SIS in 1960 to travel to and from Moscow in order to be the contact to and courier for a GRU colonel, Oleg Penkovsky (Merab Ninidze) who provided Soviet intelligence to the West up to the Cuban Missile Crisis.

    This is a fairly low-key espionage thriller. We are definitely not in Ian Fleming territory here. Heck, we are not even in John le Carré territory here. So, if one is looking for action sequences, this is not your movie. Because the primary focus here is why these two men did what they did and the stress it put them under and how, in an environment where people are expected to use each other, they became friends. And both Mr. Cumberbatch and Mr. Ninidze played those two men extremely well.

    Side note: I was unfamiliar with both the director and the screenwriter for this one. And was surprised to learn that the two previous movies that Mr. O'Connor wrote were Fire with Fire (2012) and The Hitman's Bodyguard (2017). The former a movie I never heard of with Bruce Willis and the latter an action/comedy with Ryan Reynolds and Samuel L. Jackson. He definitely went down a different path with this one.

  5. On 9/20/2021 at 12:57 PM, Shank Asu said:

    I want to see this solely because I own about 60 or so of the original comics from the 70 and thought they were amazing.  Not a MCU fan but i have seen a few of them (really want for WB to restore the Snyderverse!). I'm worried this film won't capture the story of the comics where there was a freelance team fighting alongside Chi - albeit not using martial arts per se.  I will probably watch this eventually but not in the theater.  I'm still scratching my head how this even got made as it wasn't THAT popular and seems well outside the realm of the marvel superheroes and in its own separate reality and there's really no audience asking for this as the original comics were from over 40 years ago.  there's a few theories i have why they would want to make this, mostly just wanting to be PC, but for whatever the reason, this might be one of the few marvel films i end up enjoying if they stay true to the comics.

    If your main criteria to see this one is based upon its faithfulness to the 70's comic book, then I would have to recommend that you skip this one. Or at least wait until you can see it for free.

    • Thanks 1
  6. 1.) The advancement of technology does make for a good deciding factor between one's definition of a western versus a contemporary western. Steam locomotives instead of diesel or electric. Telegraphs instead of telephones. Horses instead of automobiles. Rapid-fire weaponry. And I suspect many will agree with you with respect to that criterion because look and feel is a big driving factor with most genres. But it appears that I just have that particular can kicked farther down the road than you do.

    Sticking with John Wayne as an example, The Three Mesquiteers series of the late 30's/early 40's that he was part of probably straddles the border for me between the western and the contemporary western. So, I consider movies like Lonely Are the Brave (1962) and Hud (1963) to be the latter. But movies like Butch Cassidy and the Sundance Kid (1969) which is also set in the first decade of the 20th century and The Wild Bunch (also 1969) which is set in the second decade not so much.

    2.) Although, since it is primarily set in Mexico, it appears that The Wild Bunch fails two of your criteria. Does that mean we also have to start reconsidering The Magnificent Seven (1960)? 😲 You're killing me, TB!

    3.) As for The Shootist (1976), I read Glendon Swarthout's novel before John Wayne's movie even came out. And it is an excellent book. But when you adapt a novel for the big screen, and you cast someone that much larger than life in it like Mr. Wayne as John Bernard Books (or, another example, as Rooster Cogburn in True Grit (1969)), it is going to force substantial differences between the source novel and the resultant movie. I'm not saying that is a good thing or a bad thing (especially in these two cases where I enjoyed both books and both movies), just a different thing.

    4.) I'm with you. Skipping hybrids at this point is probably a good thing. My head hurts just trying to decide what a pure western is! 😀

  7. Shang-Chi and the Legend of the Ten Rings (2021)

    w/ Simu Liu, Tony Leung, Awkwafina, Ben Kinglsey, Meng'er Zhang, Fala Chen, Michelle Yeoh, Wah Yeuen and Florian Munteanu. Plus Tsai Chin, Jodi Long and Benedict Wong. And, uncredited, Brie Larson, Tim Roth (at least vocally) and Mark Ruffalo. Written by Dave Callaham, Destin Daniel Cretton and Andrew Lanham. And directed by Destin Daniel Cretton.

    What, is it surprising to know that at least one denizen of this message board went to see this movie? Or, at least, admits to seeing it? 😉

    And I liked it.

    No surprise there because I am the right age to have had read Marvel comics in the late '60s and the '70s. Including reading The Hands of Shang-Chi: Master of Kung Fu. Which is why I have seen all 25 (so far) MCU movies. And all 4 (so far) Disney+ MCU television series. And have pretty much enjoyed them all. So, it is safe to say that I'm going into these movies already prejudiced in their favor.

    Now, is it a superhero movie? Yes. And a superhero origin movie to boot. So, of course, it hits many of the formulaic points common to such movies. Including the required big battle CGI-ed climax. But it hits those points well. Just because something is formula doesn't mean it's bad.

    And it is also a martial arts movie spiced with East Asian mythology. With excellent fight sequences. And, considering the filmmakers limited the connective tissue to other MCU movies, this one can be easily watched as such by a neophyte.

    But what really makes this movie is the characters and the family dynamic between them (albeit a family that has more in common with the Corleone's than yours or mine (at least I hope!)). Especially Tony Leung's Xu Wenwu as the father/villain. Because he is not the Fu Manchu that was Shang-Chi's father back in the '70s (Matter of fact, both Sir Denis Nayland Smith and Fah Lo See also appeared in that comic book.). Nor is he really the Mandarin who was simply a Fu Manchu knockoff that first fought Iron Man back in the '60s. This is a new villain entirely. With believable motivations. And is well played by Mr. Leung.

    And, on a side note, I don't know if streaming will ultimately kill movie theaters (the subject of another active thread), but, considering the crowd at this one, the latter still has a fighting chance. Although that may only be a case with larger scale movies that scream big screen such as this one. But, then again, I, for one, plan on seeing a double feature of Dracula (1931) and Frankenstein (1931) at this same theater on October 2nd. So, obviously, I'm not living up to that expectation.

  8. A trio of John Wayne movies quickly sprung to mind as I read your post: North to Alaska (1960), Big Jake (1971) and The Shootist (1976). All three of these are set in the first decade of the 20th century (the first and last in 1901 and the middle in 1909). And none of them strike me as being rural dramas as per your post's definition. So, if these are not westerns, what are they?

    As for me, my opinion as to what constitutes a western (or any cinematic genre) is fairly similar to the beginning of Potter Stewart's opinion on pornography: "I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description; and perhaps I could never succeed in intelligibly doing so. But I know it when I see it..." And when I see any of the three aforementioned movies, I see a western.

    Now, granted, I feel that the majority of movies that I have seen which I consider a western meet your definition. But not all.

    • Thanks 1
    1. Lon Chaney Sr.: The Unknown (1927) - As with Vincent Price below, I've never attempted to rank Mr. Chaney's movies before. But I doubt if further thinking would keep this one from being on the top of my list. This movie is just so fantastically wrong!
    2. Bela Lugosi: The Black Cat (1934) - Followed by The Wolf Man (1941) (his role may be small, but it is pivotal, and he plays it well) and then Dracula (1931).
    3. Boris Karloff: The Black Cat (1934) - Followed by Frankenstein (1931) and then The Mummy (1932).
    4. Peter Lorre: Casablanca (1942) - Considering my profile picture, this should come as no surprise. Followed by M (1931) and then The Maltese Falcon (1941).
    5. Lon Chaney Jr.: Of Mice And Men (1939) - Followed by The Wolf Man (1941) and then Abbott and Costello Meet Frankenstein (1948).
    6. Vincent Price: The Abominable Dr. Phibes (1971) - I've never attempted to rank Mr. Price's movies before. And I suspect that if I think about it some more, I may change my mind as to what comes first for him. But I'm fairly confident that Dr. Goldfoot and the Bikini Machine (1965) won't ever take its place!
    • Like 1
  9. 5 hours ago, LsDoorMat said:

    Gang Busters (1955) -  One distinguishing feature is that there are no female cast members, no romance whatsoever. But the movie poster shows the villain, in disguise, grabbing a screaming scantily clad young woman, as though there is some kind of female involvement. That is merely a still from the movie where the villain steals a car from a couple parked on lover's lane and lasts about ten seconds, probably meant to mislead moviegoers into buying a ticket.

    Gang Busters (1955) - IMDb

     

    Is it just me? Or did anyone else think "Tom Hanks" when they saw this poster?

  10. 11 hours ago, sewhite2000 said:

    I noticed the Eastwood-Geoffrey Lewis connection in my childhood, ,mabe the first instance of me thinking "behind the camera" in my entire life. I was like, woah, these guys must be buds in real life. Later, Geoffrey's daughter Juliette was briefly a big deal in movies.

    Never knew they were father/daughter. Learn something new everyday.

  11. The Frogmen (1951) - FXM On Demand

    w/ Richard Widmark, Dana Andrews, Gary Merrill, Jeffrey Hunter, Warren Stevens, Robert Wagner (but I must have blinked during his screen appearance), Harvey Lembeck and Robert Rockwell. Plus, down in uncredited land, Parley Baer, James Gregory, Robert Patten and Jack Warden. And directed by Lloyd Bacon.

    You've seen this movie before even if you haven't seen this particular movie before. An experienced military unit gets a new commanding officer after the death of their former leader. And, of course, he is nothing like his much-loved predecessor. And, of course, the team resents him for that. Until, of course, circumstances eventually demonstrate that he is worthy to be one of them.

    Obviously originality wasn't a prerequisite for a movie to receive an Academy Award nomination for Best Story back in 1951.

    However, having this unit be one of the U.S. Navy's Underwater Demolitions Team in action during World War 2 with that action presented in a semidocumentary style does boost this one up a couple of pegs. And, besides, one rarely goes wrong with Richard Widmark.

    • Like 1
    • Thanks 1
  12. All the Colors of Giallo (2019) - Tuvi

    all_the_colors_of_giallo.jpg?w=450&ssl=1

    Currently available on Tuvi, this documentary directed by Federico Caddeo is a top-level overview of Italian giallo (what else?) films which primarily focuses on Mario Bava (The Girl Who Know Too Much, Blood and Black Lace and A Bay of Blood), Dario Argento (The Bird with the Crystal Plumage, The Cat o' Nine Tails, Four Flies on Grey Velvet, Deep Red, Tenebrae and Giallo), Lucio Fulci (One on Top of the Other, A Lizard in a Woman's Skin, Don't Torture a Duckling and The Psychic), Umberto Lenzi (So Sweet...So Perverse, Orgasmo, Paranoia, Knife of Ice, Spasmo and Eyeball) and Sergio Martino (The Strange Vice of Mrs. Wardh, Your Vice Is a Locked Room and Only I Have the Key and All the Colors of the Dark). But also includes references to other directors (Aldo Lado (The Short Night of the Glass Dolls and Who Saw Her Die?), Giuliano Carmimeo (The Case of the Bloody Iris), Duccio Tessari (Death Occurred Last Night and The Bloodstained Butterfly) and Luciano Ercoli (Forbidden Photos of a Lady Above Suspicion, Death Walks on High Heels and Death Walks at Midnight)).

    Fairly talkative (or, in my case, readative (is that a word?) since it is in Italian with English subtitles) as it is mostly narrated by a historian. But it does include interviews (some archived, most not) with many of the aforementioned names plus various screenwriters and actors (Barbara Bouchet, Edwige Fenech, George Hilton, Nieves Navarro and Daria Nicolodi). But still fairly interesting and would serve as an ideal introduction (albeit with some spoilers) to someone new to this genre or, in my case, an ideal reintroduction to someone who hasn't really watched any of these movies since the 1970s. And definitely provides one with a nice list of what movies to start with (and, I'll be honest, I do hear Ms. Fenech call to me in that regard!).

    And, yes, this should probably have been posted somewhere in the "Documentaries" genre forum. But, audience-wise, this forum seems way more appropriate.

    • Like 6
  13. 3 hours ago, Shank Asu said:

    The radio program i listened to last night said that Joe DiMaggio's mother was on the phone with Marilyn when attackers came into her house and that she knows the truth of who it was but was too afraid to speak out.  I tend to question most things i hear on this program.

    Joe DiMaggio's mother? Who died in 1951? Talk about long distance!

    • Like 1
    • Haha 4
  14. On 5/28/2021 at 10:55 PM, LuckyDan said:

    Saw it on original release at the drive-in. Would love to see it again.

    Appears that you can currently catch this one on both Tubi and Pluto TV.

    • Like 1
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