CinemaInternational
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Posts posted by CinemaInternational
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I would also say this about Will Ferrell. He was excellent in a dramatic role in Stranger than Fiction, an overlooked film in my opinion.
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15 minutes ago, spence said:
uf you don't mind what state? I grew up in NJ & NY but have sadly been down here since 1982
Let's just say it's the midwest. Lots of fields and crossroads to pass before you get anywhere.
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1 minute ago, spence said:
Not to poke around at it, but are you pretty much in the sticks?
The net as great as it is is ruining not only jobs but lives, familes,etc
Pretty much. Town of 10,000 in a rural county. The place about 40 miles away has about 250,000 people, but otherwise, you have to go at least 60 miles to another place over 100,000 people.
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AMC's closest to where I am is about 40 miles away. A few years back, in 2016, they bought two of the three big theatres in the city (I never was to the one, the other I haven't been since December of 2015). So now, if they go under, that city will be down to only one theatre.
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Saw much of and am going to finish up Hatari which is a fine adventure saga. Saw Starman before bed last night, and it was such a beautiful film.
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On 4/8/2020 at 5:26 PM, jamesjazzguitar said:
The Psycho remake is the only 'true' "remake" I know of since it was done to be as close to the original as possible. So in this specific case that film should have never been made (and I was going to cite that film in my reply because it is always mentioned when one criticizes "remakes", and I find that point irrelevant since it is the exception to my point about adaptations, which again I do NOT define as "remakes").
Anyhow, I see we are still have a vastly different perspective on this topic since you posted this: "I have a feeling that the film will be hurt by the fact it will undoubtedly be done in color,,,,,"
You still wish to compare a new adaptation to a prior one when my perspective, as stated above was: I recommend one compare each (film) to the source material (instead of comparing films).
Note that my perspective comes from that of a jazz musician, where the entire concept of 'remake' doesn't exist. E.g. Cole Porter has written a song (original source material). A group of musicians record the song. Another group does, etc... Just because someone recorded that song FIRST, doesn't make subsequent versions "remakes", just new \ additional adaptations, where each should be judged as stand-alone works of art.
My issue I think is ultimately that I thought the original was a perfect film. And I think it is true that the film is more well known than the book at this point, so... I'm just a bit wary when it comes to remakes sometimes, and maybe I should loosen up a bit.
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19 hours ago, jamesjazzguitar said:
I disagree and I'm surprised by such a comment coming from you given your knowledge and respect of cinema from all eras.
Typically there is no such concept as a 'remake' of a film but instead another adaptation of the original source material - in this case the 1953 novel by Davis Grubb.
Therefore instead of comparing one film adaptation to the next I recommend one compare each to the source material. E.g. how faithful is the film to the book? How are the characters represented by the actors? Etc... Note that the 1941 Huston version of The Maltese Falcon is often referred to as one of the most successful "remakes". The main reason why to me is that it is faithful to the novel in ways the other two prior adaptations were not.
The Night of the Hunter is a solid novel. Why shouldn't a new generation take a stab at bringing this to life via the film media.
The reason I felt this way was because I really feel it would be hard to top or equal the 1955 film. The '55 film had one of Robert Mitchum's best performances, it was one of Shelley Winters finest hours, you had Lillian Gish, you had the children, the black and white photography, and the haunting nature of it all. While it is true that two of the best films of the last decade were remakes of literature first filmed years ago (True Grit, Little Women), I have a feeling that the film will be hurt by the fact it will undoubtedly be done in color, regardless of how solid everything else is in it; the soul of this work is black and white, and color just seems all wrong for it. It's kind of like Psycho all over again in a way.
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https://variety.com/2020/film/news/night-of-the-hunter-remake-universal-1234573387/ Here you go. It's a bad idea to mess with perfection.......
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To explain, Lawrence, I saw it with my parents. It is by far the most sexually explicit film I saw with them, and they were taken aback in a big way. I was burying my eyes in humiliation quite frequently during it. That said, the last 25 to 30 minutes of the film are choice, and Leachman, Burstyn, Johnson, and Brennan are all wonderful in it.
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4 hours ago, Sepiatone said:
Personally, as for "two of the greatest '70's films" in the Bogdanovich canon, I'd have picked THE LAST PICTURE SHOW long before "What's Up, Doc?" But we each like what we like, so................
Sepiatone
Well, Last Picture Show was the most embarassing viewing of my life, so.......
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On 4/2/2020 at 8:31 AM, LornaHansonForbes said:
SPEAKING OF GOLAN GLOBUS CHRISTIE- I have been on the lookout for ORDEAL BY INNOCENCE, which used to show up on HBO all the time and may have been my introduction to HER ROYAL FAYENESS.
It was released on DVD and Blu-Ray last year by Kino Lorber, who have been doing a great job in getting some films out of hiding recently.
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On 4/4/2020 at 1:07 PM, jamesjazzguitar said:
I agree. This wasn't some pre-code film. Its from 1987 as you noted. TCM should have been able to get a higher quality print.
They had a HD copy on Showtime recently, but the version that aired on Friday is likely the original master or at most recent date the 1990s. It had the MGM/UA block logo that has pretty much been excised from almost all of the films that it appeared on in the late 80s. I can only think of one film on DVD that retained it in recent years: Rain Man.
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I'm sure the podcast will be fascinating. Bogdanovich gave us two of the greatest 70s films: What's Up Doc and Paper Moon, plus several very good titles that never really did get the respect they deserved: Daisy Miller, Nickelodeon, They All Laughed, Noises Off, The Cat's Meow, and She's Funny That Way. I have one of his books involving 52 classic movie picks; its very well written.
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Coming this summer
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They continue to have some dim bulbs to this day. Definitely the 2001 film Zoolander applies here.....
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The Fearless Vampire Killers or Pardon Me But Your Teeth Are in My Neck
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On 3/29/2020 at 4:26 PM, TopBilled said:
As far as decades go, I think the 1990s are great years because of all the independent films that were garnering recognition. It was a creative period for the industry, an industry still dependent on formulaic blockbusters but also willing to venture off the beaten path.
I would also say this. I think that 1987, 1988, and 1989 helped to lay the groundwork to the blossoming of the early 90s and were pretty wonderful years in their own right.
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One thing I noticed.... not many premieres. Last time they didn't have many they were cooking up premieres of Star Wars and bond films, so something big is coming later in the year.
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On 3/28/2020 at 11:15 AM, slaytonf said:
The Wayward Bus (1957)
Just saw this today (its last day on Demand). It's a small film, a well-handled B movie, but its well worth a look for Jayne Mansfield's performance. It shows that there was a truly a good actress behind the pin up image and dumb blonde stereotype.
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8 minutes ago, LawrenceA said:
I've never given more than 3 movies in a given year a 10/10 rating, and there have been several of those, so I really don't have a favorite year.
Its hard for me to limit to one as well..... even after starting this thread, I find myself vascillating between several different years with no luck.
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23 minutes ago, TopBilled said:
It sort of annoys me when people go on and on about 1939. Typically these same people fail to acknowledge the bombs of 1939 and they never once mention the decent 'B' films from 1939. It basically becomes an excuse to talk once again about Oz and Tara.
I actually think with increasing political correctness GONE WITH THE WIND will go the way of BIRTH OF A NATION and SONG OF THE SOUTH which will put a blemish on 1939.
Personally I feel there were equally good films in 1940 and 1941, including those famous efforts from Hitchcock, Welles and Ford.
Oh, and another thing that makes me smile is how the people who rave about 1939 always fail to see that almost all the films released in the first three months of '39 were technically made in '38. And this means that films made in the last three months of 1939 have a 1940 date on them. So this obsession with 1939 is a little too narrow and uninformed for my tastes, to be honest.
As far as decades go, I think the 1990s are great years because of all the independent films that were garnering recognition. It was a creative period for the industry, an industry still dependent on formulaic blockbusters but also willing to venture off the beaten path.
Yes, many films are ignored in '39 like the breezy B series with Bonita Granville as Nancy Drew or even lesser known A list titles.... In some ways I prefer 1940 to 1939, but maybe that's just me.
Regarding the 90s, I thought it was a strong period too, even if the first half was better than the second half. However, I just cannot share the same enthusiasm as many for 1999, much for the same reasons that you stated about 1939, with the added element that I really didn't like a few of the praised films. The standout years of that decade for me were 1990, 1991, and 1993.
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Its a topic that has been discussed many times before, but I feel that following the release of a new book it should be resurrected. I was reading this article last night about a new book suggesting that 1962 was the best movie year of them all due to films like Lawrence of Arabia, To kill a Mockingbird, Whatever Happened to Baby Jane, Jules and Jim, Vivre Sa Vie, Dr No, The Music Man, The Man Who Shot Liberty Valence, Lolita, Long Day's Journey Into Night, The Miracle Worker, The Longest Day, The Manchurian Candidate, Sundays and Cybele, Gypsy, Advise and Consent, The loneliness of the Long Distance Runner, Birdman of Alcatraz, Cape Fear, Days of Wine and Roses, How the West was Won, Lonely are the Brave, An Autumn Afternoon, Ride the High Country, Cleo from 5 to 7, The Exterminating Angel, L'Ecclise, Harakiri, Knife in the Water, Mamma Roma, Sanjiro, David and Lisa, The Trial, Hatari, and others (I'd also champion That Touch of Mink, Experiment in Terror, Lisa, The Counterfeit Traitor, Billy Budd, A Kind of Loving, Light in the Piazza, Jumbo, The Four Horsemen of the Apocalypse, and All Fall Down among the less-talked-about titles).
Of course though 1939 has long been championed as the greatest due to its own tried and true classics ranging from GWTW and The Wizard of Oz through Dark Victory and Ninotchka through The Rules of the Game. And as more time passes from the classic era, claims have arisen from certain corners for 1974 (Chinatown, Godfather Part II, The Conversation...), 1982 (ET, Tootsie, Blade Runner.....), and even 1999 ( a year where I preferred films like The Straight Story, Cookie's Fortune, and The End of the Affair to some of the more talked about films).
But what I guess I'm getting at here is the question if one of these four years does indeed hold the cornerstone on being the greatest, or is there some other year not talked about as much that silently takes the crown. I'll let you be the judge.
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9 minutes ago, Roy Cronin said:
Seriously, how the heck does someone get informed of these passings? Just wondering.
Sometimes with the big names, I find out about them on Facebook or on a search engine....
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1 minute ago, TopBilled said:
Which one is it...ELOPEMENT?
Mr Scoutmaster. I'm planning on seeing it.
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The Plot Thickens I’m Still Peter Bogdanovich
in General Discussions
Posted
Audrey did get top billing in They All Laughed, but her role wasn't the largest. Ben Gazzara and John Ritter had the leading parts, and everyone else was like a member of an ensemble. Coleen Camp was a lot of fun as a New York based country singer.