LawrenceA

It's a slow day.

No. I'd prefer Christmas movies be shown on Christmas day only. In fact, only primetime Christmas evening. From 8 to 9:30 PM. Anything else is overkill.

Not to derail things even further, but it will be interesting to see what plays out with all of that. I read the other day that Comcast, which owns NBC/Universal, is in a battle with Lionsgate, who owns Starz/Encore, and as a result of this fight, Comcast may be dropping all of the Starz/Encore channels in the near future. Will that also have an impact on other streaming outlets, and what gets leased out?

Are there any badgers in this film?

I recently bought a copy of Daughters of Darkness, as well as Vampyres (1974). One should be self-reliant when it comes to lesbian-themed vampire flicks of the 1970's. I haven't seen Vampire Lesbian Kickboxers. Is it as good as Lesbian Vampire Killers (2009), or as bad as Lust for Dracula (2004)?

They do, though. In fact, every year during October, there are a few people who complain repeatedly about the amount of horror films being shown. I'm not one of them, but they do exist. I'm surprised they haven't posted in this thread yet. Some people just don't like horror films, period. They'd rather not see any on the schedule at any time. While I don't agree with that, I do understand the sentiment, as I feel the same way about musicals.

The Affairs of Dobie Gillis is on the 23rd at 8:30 AM. Happy Halloween.

I noticed that Look Who's Back is currently available on Netflix, so I added it to my queue.

It was probably a copy of The Maltese Falcon by Dashiell Hammett.

The Lure is a Polish Cold-War-horror-musical-romance. How many of those have you seen? The story follows two sisters, both man-eating sirens/mermaids, who decide to enter the world of man and join a two-bit nightclub cabaret act, where they become a big hit among the downtrodden clientele. This has excellent production design and cinematography, good performances by all involved, and catchy songs that work even if you don't speak Polish. Baskin is a Turkish horror film that centers on a group of city cops who, on a late night shift, travel into the countryside to respond to a domestic disturbance. They end up literally dealing with Hell on Earth. The movie spends a long time setting up the police characters, while also lulling the audience into a sense of low-key complacency while also imbuing these early scenes with a slowly-growing feeling of dread, before everything goes crazy in the last third. Many people won't care for this, finding it too slow to get moving, or too extreme in the end. I loved it. Attack on Titan: Part 1 is a Japanese science fiction/fantasy/horror film based on a popular manga and anime series. In the future, humanity is nearly wiped out by giant, deformed humanoids that are called "Titans". One of the last strongholds of humankind is inside a walled encampment, but things have been quiet for some time, the narrative being set 200 years after the Titans appeared. The young generation doesn't have any first-hand knowledge of the Titan attacks, and so their lack of concern leads to negligence, and a renewed assault from the horrifying creatures. This movie is silly, but rather unnerving, with the Titans a unique visual sight. The last act gets a little too Japanese-cartoony for me, and there's no real ending, as the title implies, but I still liked it. Evolution is a slow-burn fantasy (?) drama set in a coastal community that seems to be populated only by grown women and young boys. The story focuses on one such boy, who begins feeling poorly. His mother/guardian takes him to a doctor, where an ultrasound shows him to be pregnant. Soon after, surgery removes a small writhing creature from the child's abdomen. Such are the strange oddities in this bizarre, inscrutable movie. In a era when most films over explain things, where audiences seem to only consume stories that are clearly defined and laid out in simple A-B-C fashion, and nothing is asked of the viewers, Evolution is the complete opposite, a difficult, dream-like (nightmarish may be more accurate) sketch of a movie where nothing is explained, and it's almost all left to the viewer to deduce or extrapolate (or not; the movie works either way). I also liked the H.P. Lovecraft-style imagery. Again, this won't be to many viewers' taste, but I applaud the filmmakers' effort.

2015 The Lure, Agnieszka Smoczynska, Poland Baskin, Can Evrenol, Turkey Son of Saul, Laszlo Nemes, Hungary Attack on Titan: Part 1, Shinji Higuchi, Japan Evolution, Lucile Hadzihalilovic, France The Assassin, Hsiao-Hsien Hou, Taiwan Ip Man 3, Wilson Yip, China Victoria, Sebastian Schipper, Germany 1001 Movies You Must See Son of Saul, Laszlo Nemes, Hungary Victoria, Sebastian Schipper, Germany

Mickey Rooney was the Luke Perry of his day. Maybe now you understand why they called it the "Great Depression".

Some reviewer or another coined the term "misery porn" for shows that elicit the type of feeling you're describing watching The Handmaid's Tale. Shows that seem to wallow in making their characters miserable before occasionally killing them, making the surviving characters that much more miserable. The first show I recall getting that label was the AMC police mystery show The Killing, but the label has been given to other dark shows such as The Walking Dead, The Leftovers, and even Game of Thrones. There have been others, but my mind is still fuzzy from a nap and I can't recall any more at the moment. I liked Fargo season one a lot, season two even more, but season three not as much. It's still worth seeing, and better than most else on TV at the time. Season four is said to be airing late next year.

A Man for All Seasons (1966) will be released on Blu-ray from Sony Pictures on October 22.

Walter Hill's best films: The Long Riders Southern Comfort The Warriors Johnny Handsome 48 Hrs The Driver Extreme Prejudice Hard Times Last Man Standing Streets of Fire

There used to be a poster on these boards who would flip out in much the same fashion when it came to determining if a movie was noir or not. Insufferable ****. Thankfully he's gone. I get tired when those kinds of debates start, and try to avoid them at all costs. Just talk about the movie.

Even you, apparently.

I'm surprised to see that you don't know Leslie Banks. He was a successful star in English films for a few decades. I like him best in The Most Dangerous Game (1932) as Count Zaroff, the prototypical aristocrat who likes to hunt people. He appeared with Olivier and Leigh in Fire Over England (1937). One of his last appearances was in Olivier's Henry V (1944), so the two must have liked working together. Banks was a standout in the original The Man Who Knew Too Much (1934), Sanders of the River (1935) alongside Paul Robeson, and Went the Day Well? (1944).

The Story of Temple Drake (1933)? Or the 1961 remake Sanctuary?

The Night of the Sorcerers (1974) - 3/10 or 8/10 Spanish horror film from writer-director Amando de Ossorio. A group of European scientists and surveyors camp near a village in the (fictional) African nation of Bomasa. Unluckily for them, there are zombie tribesman with a white vampire queen nearby. With Simon Andreu, Kali Hansa, Maria Kosty, Loreta Tovar, Jose Thelman, Barbara Rey, and Jack Taylor. This is terribly written and badly directed, but it's also so ridiculous as to be entertaining. The tribal ritual used to create more vampire women involves tying a woman between two trees, whipping her clothes off, then beheading her, causing the head to roll down a stone altar where it lands upright, springing to life with vampire fangs at the ready. Somehow the heads are reattached to the bodies, and the women are given leopard print bikini outfits complete with mini-capes and fringed boots. They also run around in slow motion, making it that much sillier. Source: Scream Factory Blu-ray

Race with the Devil?

Moses (1974) - 4/10 Biblical epic with Burt Lancaster as the Israelite raised in the Egyptian royal house who, after a period of exile, returns to secure the freedom of his people out of bondage. With Anthony Quayle, Irene Papas, Ingrid Thulin, Laurent Terzieff, Mariangela Melato, Simonetta Stefanelli, Paul Muller, and Paul L. Smith. This was the 142-minute feature version of a 6-hour TV mini-series, and as such it's very choppy. Familiarity with the story helps fill in the gaps, but it's still a mess. Producer Lew Grade and director Gianfranco De Bosio seem to be going for a neo-realist tone, rather than the slick showmanship exhibited in Cecil B. DeMille's 1956 The Ten Commandments. Everything looks ugly and dirty. There's also as much emphasis on the post-Exodus part of Moses' story as there is on the Egyptian/plagues section. It also doesn't sugarcoat the implementation of the New Law, with various gruesome executions committed against offenders. Source: Lionsgate DVD

I hadn't heard of this. That may be something I'm interested in looking in to.

It's fine. You're doing a lot of research, and I appreciate your work. I can't believe so many of these people have not appeared in a BP nominee, so I'm looking up each one that seems egregious. 2 out of all of those isn't a bad average on your part.

He was in Dunkirk.