CinemaInternational
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Posts posted by CinemaInternational
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14 minutes ago, sewhite2000 said:
All the threads I've been on have a lot of statistical information I absolutely don't care about taking up the right third of my laptop screen, and there doesn't seem to be any option for Xing it away. I hate, hate, hate, hate this. Curioiusly, this is the only thread where it's not happening.
perhaps because it was the first put up since the update?
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The Genre Sub-forums are gone...... never mind they are still there.....and now they are gone again. Now I know how Ingrid felt in Gaslight...... 😏
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5 minutes ago, slaytonf said:
It seems some threads have boxes on the side at the top of a thread page, which condenses the posts down below. I'm not sure why some have that, and some don't.
Working out The Kinks?
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Criterion Releases for September, October, and November
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9 minutes ago, Swithin said:
They must have a new left-handed web designer.
I'm left handed, but I was fully used to the old format, and preferred it.
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On 8/24/2020 at 6:41 PM, txfilmfan said:
Any of the networks would kill for an 18 rating/14 share these days.
That they would. They haven't had an 18 share since Who Wants to be a Millionaire in 2000.
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It's definitely a new format.....
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Silverman went to NBC in the late 70s and had a bad go of it. NBC had a promo campaign called "Proud as a peacock" to extol the network at the time that were close to being bankrupt
However morale was low among NBC employees and a parody with these lyrics was recorded the same day as the other one, and was leaked to a radio station which infuriated Silverman.....
QuoteWe're LOUD! ah huh say it again,
NBC
We're LOUD!
We're in last place,
LOUD!
We're gonna fall right on our face
LOUD!
Since Freddy came our ratings always stayed the same
An 18 rating, a 14 share,
Bet you wonder if we care
NO!
We're just proud to be NBC,
We're LOUD!
We're living in the past,
LOUD!
The bottom's dropping' out real fast
(LOUD!)
Of our boring shows, just watch us jam 'em up your nose
We don't care, it's all there, NBC is always there,
We're not just proud, we're also LOUD!
We're LOUD!
We're louder than the rest
So LOUD!
It doesn't matter we're not the best
LOUD!
We're gonna screw around and run this network in the ground
The peacock's dead, so thank you, Fred!
Yeah! Thanks a whole lot!
NBC, Proud as a Peacock! -
6 minutes ago, LornaHansonForbes said:
A NIGHT TO REMEMBER is the best, but seriously CARDBOARDTANIC is a close #2
I mean did you guys see the miniature grand salon? And the SKYLIGHT?
Yes, and the grand staircase too. They did an exceptional job with the replica.
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2 minutes ago, speedracer5 said:
That is a weird font. It looks like they tried to design it while looking at it in a mirror and something went awry.
The other day, I decided to re-draw the boundary between "classic film" and "modern film" as a means to separate my movie collection into my two designated areas. Previously, I had the cut-off at 1980. I decided to move it to 1979 (which obviously makes more sense). So was I trying to pull all my 1980 movies out to move them. I had one 1980 film: 9 to 5. It didn't turn out to be the endeavor I thought it would be.
9 to 5 is indeed a wonderful comedy. i've had a lot of enjoyment via that film. I am sharing what I have seen from 1980. And yes, I gave Xanadu a perfect score. It just hit me in the right way.
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12 minutes ago, speedracer5 said:
"Saturn 3 a sci-fi horror film with Kirk Douglas and Farrah Fawcett as lovers vs a crazed Harvey Keitel and his robot; directed by Stanley Donen"
This sounds amazing.
I also love The Muppet Movie. "A frog and a bear, seeing America."
Saturn 3 definitely had one of the strangest title fonts ever seen for a film's title in the credits.....
1980 was an oddball year. I had seen another one from 1980 last week that was more entertaining than the one today. it was How to Beat the High Co$t of Living, a heist film with Susan Saint James, Jessica Lange, Jane Curtain, Eddie Albert, Dabney Colman, Richard Benjamin, and Cathryn Damon. In spite of some very unnecessary nudity near the end (courtesy of Jane Curtin's body double) it was a spry comedy.
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8 minutes ago, LornaHansonForbes said:
and worth mentioning, THERE IS A FOLLOWUP VIDEO WHERE THEY EXPLORE THE UNDERWATER WRECK OF THE CARDBOARDTANIC AND EVEN TRY TO RAISE IT.
IT IS ROUGHLY 7000x BETTER THAN THAT 1997 THING
It's certainly much more entertaining than anything in Raise the Titanic! [well, the music was good in that film]
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Just now, speedracer5 said:
Based on your review, I would venture to say that the poster might be the best thing about this film.
I love the dramatic tag line. It makes it sound like a horror movie where they're going to raise the Titanic and the Titanic will go rogue and attack everyone or something.
The film was made by a short lived company called AFD. It lost so much that along with several other 1980 disasters they did [Saturn 3 a sci-fi horror film with Kirk Douglas and Farrah Fawcett as lovers vs a crazed Harvey Keitel and his robot; directed by Stanley Donen; Can't Stop the Music, a campy musical starring The Village People and Bruce (now Caitlin) Jenner directed by Nancy Walker; and a remake of The Jazz Singer with Neal Diamond, Lucie Arnaz, and Laurence Olivier], that the company folded up within two years of its founding. Oh well, at last they had The Muppet Movie, Inside Moves, and The Mirror Crack'd. those were good.
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1 minute ago, speedracer5 said:
I have Penelope on Blu Ray; but I wish that TCM would find a better print of this movie to show. This is the second time recently that I've seen this film on TCM and it's been kind of blurry.
I bought the DVD of it (don't have a blu-ray player) but I agree, TCM is still using an old blurry print of it, which is really strange because the picture quality on the Warner Archive release is absolutely fantastic.
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Raise the Titanic (1980) -- 2/10 🤢 Source:HBO
A top contender for one of the dullest films I've ever seen. It's not offensive, but it is not entertaining, interesting, or exciting either. And a capable cast is left playing characters more wooden than cardboard. A typically wonderful score by John Barry, some striking cinematography, and an impressive sequence showing the ship rising from the deep [in 1980, it was still assumed that the boat was in one piece] is all that this film has. Otherwise its terminal boredom. What is most shocking is that this film cost $36 million dollars at the time [over $125 million today], more expensive than such ambitious contemporary films of the era as Apocalypse Now, Ragtime, Blade Runner, and The Right Stuff. And for what in the end? The world's first $36 million dollar sleeping pill.
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1 minute ago, LawrenceA said:
Most of the movies that you mention where he's "overshadowed" were films where his character was meant to be less showy. That was exactly the point with True Confessions (where he and Robert Duvall swapped the roles that people would have expected them to play), and Jackie Brown (where he was perfect as the dopey goon). In Wag the Dog he was meant to counterbalance the outrageous other cast, especially Hoffman-as-Robert Evans, and Goodfellas where Ray Liotta was the main character and Joe Pesci gets the showy role.
I expected De Niro to show up in this thread eventually, both because he's often listed among the "best" (whatever that meaningless term is in this case), and that often provokes strong reactions from people, and he's also now one of those politically-charged people where those with a certain bent will hate him regardless, much like Jane Fonda, Sean Penn, Susan Sarandon, and Tim Robbins on the left, or Woods, Voight, etc., on the right.
Fair points. And admittedly Jackie Brown was extraordinarily well-cast with career bests from Pam Grier and Robert Forster, so that was tough to compete in. I do think its sad though for people to be judged only on offscreen habits. I've seen it too firsthand (people carping because of an actor's political beliefs) and it is so obnoxious. I judge actors only with the on-screen results. [Susan Sarandon I found is seemingly a sore subject even in some left-leaning circles, since for some reason some blame her for Democrat's presidential losses in 2000 and 2016 because both times she said she was voting for a third party candidate; its a shame because she's one of my favorite working actresses, and quite frankly it would be nice to talk about her more]
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2 hours ago, TopBilled said:
Have you seen these classic films:
1651. THE SINGING FOOL (1928) with Al Jolson & Josephine Dunn.
1652. CIMARRON (1931) with Irene Dunne & Richard Dix.
1653. FOUR JILLS IN A JEEP (1944) with Kay Frances, Mitzi Mayfair, Phil Silvers, Carole Landis & Martha Raye.
1654. BORN TO KILL (1947) with Claire Trevor, Elisha Cook & Lawrence Tierney.
1655. SUBMARINE COMMAND (1951) with William Bendix, William Holden & Don Taylor.
1656. WAR AND PEACE (1956) with Mel Ferrer, Anita Ekberg & Henry Fonda.
1657. CIMARRON (1960) with Maria Schell & Glenn Ford.
1658. DARLING LILI (1970) with Rock Hudson & Julie Andrews.
1659. FAST TIMES AT RIDGEMONT HIGH (1982) with Anthony Edwards, Sean Penn & Eric Stoltz.
1660. JUMANJI (1995) with Bonnie Hunt, Kirsten Dunst & Bradley Pierce.
Darling Lili is actually my favorite film of 1970. it's criminally underappeciated.
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For what it's worth even though I haven't been seeing as many episodes of series for the first time this past week or two as the ones before (although I ventured forth to take a first look at Miami Vice, Charlie's Angels, and Vega$), the TV experiment has still been a very rewarding one, getting deeper and deeper into several series. And I have several series on DVD on order: three series I have heard good things about plus were favorites of my parents when they first aired: Kate and Allie, Northern Exposure, and Evening Shade, plus one series I have wanted to see for a long time: Moonlighting. (I finally won an Ebay bidding war to get a copy of the first set!)
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2 minutes ago, speedracer5 said:
I saw her in Annie Hall and I didn't really understand what the big deal was about this movie. I watched it and I remember thinking, why did she win an Oscar for this? Why is this film held up as the end all, be all of both her and Woody Allen's respective careers? Maybe I just didn't get it.
Ditto. I've seen a ton of Woody Allen films (41 of the films he directed) and a lot of Diane Keaton's (28 of her films), and in both of their cases, it doesn't really feel in either case that it is the best work they have done.
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Speaking of which, if there aren't many actors I flat out dislike, there are some I have mixed feelings about. And this will be probably controversial, but I'm mixed over Robert De Niro. I thought he was exceptional in Taxi Driver and he really is underrated and effective in his nice guy roles (bang the Drum Slowly, The Last Tycoon, Falling in Love, Stanley and Iris, Mad Dog and Glory, A Bronx Tale, The Intern). But his performances in New York New York and Cape Fear threw the whole films off-balance, he was overshadowed by his co-stars in True Confessions, The Mission, The Untouchables, Awakenings, GoodFellas, Marvin's Room, Jackie Brown, Wag the Dog, The Score, and The Irishman, and too many of the films he has been in in the last 20 years are bizarre choices.
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On 8/20/2020 at 10:18 AM, LornaHansonForbes said:
DIANE KEATON also has a thing for appearing in movies that i refer to as "REAL ESTATE P0RN"- starting with FATHER OF THE BRIDE- wherein she plays exceedingly wealthy flibbertyjibbits who have homes in SUN VALLEY, EAST HAMPTON and CENTRAL PARK WEST, 2500 square foot kitchens with six-burner gas ranges, and an endless supply of cream-colored, immaculately tailored mother of the bride dresses.
after a while, it's gotten to be a little elitist.
Incidentally, Father of the Bride (both 90s films) and Something's Gotta give (another one I think you are subliminally referring to here, since it too looks like a promo for Architectural Digest) were all written by Nancy Meyers, who always seems to want her films to have the plushest looking interiors. It was that way too in the Keaton-less films The Parent Trap, It's Complicated, and The Intern.
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Reds has aired 16 times on TCM in the last 26 years. For a film that was up for 12 Oscars and was a major talking point at the time, that's not really too often. I saw it once, was a bit mixed on it. The one scene I remember most clearly was actually the scene where Maureen Stapleton's Emma Goldman realizes after getting to the USSR that the Soviet Communist "dream" was a lie.
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I stayed up to a quarter to 6 in the morning last night to see all of The Fortune (1975). It was one of the rare Warren Beatty films I had not seen, and I was curious about it being one of those big budget, big name films that was all but buried. It was a strange film, and not quite a good one (a sleazy air and a meandering plot ended up moving it into the almost pile), but it was worth staying up for for a few reasons. First of all the film looked gorgeous, the lighting, the costumes, the sets, they really got across the feel of the 1920s, coupled with songs from the period. Jack Nicholson occasionally had that wild, lurid gleam in his eye, Beatty was low-key, Florence Stanley was fun briefly as a nosy landlady, but everyone paled next to the exceptional Stockard Channing. This was early in her career, yet she gave an incredibly, very funny performance, and she really helped to paper over the movie's flaws whenever she was on screen.
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Is it me, or is there a new format?
in General Discussions
Posted
Now it seems that only the name of the thread is lightened if you have seen all the posts.