CinemaInternational
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Posts posted by CinemaInternational
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On 2/13/2020 at 5:51 PM, Hibi said:
Nothing like the '50s........Finished at 40!
Joan Crawford was then a dynamo... still getting leading parts past 50. I wonder what Kim's mother would have made of that.
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2 hours ago, speedracer5 said:
My husband just finished reading Nightmare Alley and is familiar with the 1947 film. He told me about some of the differences between the novel and the Tyrone Power film. We're both curious how Guillermo Del Toro will adapt the novel for his new version of the film.
I predict it will be so down and dirty that it will make the shocking original look like Sesame Street!
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On 2/15/2020 at 11:24 AM, LornaHansonForbes said:
although, I AGAIN CONTEND that HEATHERS is 1989.
however, i would add the BAZOOKA BARFING SCENE FROM WITCHES OF EASTWICK, the rerelease of BAMBI and CADDYSHACK II and THE NEW ADVENTURES OF PIPPI LONGSTOCKING to your comprehensive list of cinema cruelties of 1988.
(IF YOU ASK "WHY THE LAST TWO?" I WILL TAKE IT THAT YOU HAVE NOT SEEN EITHER.)
we're also supposed to root for basically the villain in WORKING GIRL. I mean, at least the EVE HARRINGTON.
I saw Pippi when I was very young. I liked the opening credit theme song....but I have no desire to see the film again. Did not see Caddyshack II, and from all accounts probably fortunate about that. Working Girl is kind of an inverse of All About Eve, the only difference being that the Margo Channing character steals the Eve character's idea and bungles her chances of a better life, or so as it was supposed to go. That said, I always liked Working Girl, and Joan Cusack's supporting turn is a great joy. It's also the first R rated movie I ever saw. It's kind of embarassing how young I was when I saw it: 4 years old.
But 1988 is, despite cruelity in films, rather a fascinating year looking back. I really miss years like it (While dealing with some recent films, the ones I'm not big on at least, I find myself longing for the 80s and 90s, both of which I love.). They had a lot of good films that year, and there was a true variety to what was being put out that year.
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3 minutes ago, speedracer5 said:
Where did you find this information?
I love Edna Mode. She's the best part of The Incredibles. I'm not particularly a fan of The Incredibles for probably a superficial reason. I hate how the mom has these unnaturally enormous hips and I really dislike her voice.
I saw Warm December on Spectrum On Demand last night, and the information still appears in the Watch TCM cut starting at 1:51:15.
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The Essentials is coming back this next year, just giving you a word of notice. And its back to being just TCM Staples 101. No more Ava though. She is being replaced by Brad Bird, director of the acclaimed animated films The iron Giant, The Incredibles (and its sequel as well. He voices the Edith Head inspired character Edna Mode in both), and Ratatouille. The notice was made in the outro after the encore showing of A Warm December on January 25th, which can still be found on Watch TCM.
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8 hours ago, LornaHansonForbes said:
I watched the steamroller scene yesterday on YouTube, I love it. Damn, KEVIN KLINE was SEXY.
was 1988 maybe an especially CRUEL year in cinema? (Not complaining, just observing.)Hmm, you also had Die Hard out there and The Accused, the dingo getting the baby in A Cry in the Dark, the starvation factor in Grave of the Fireflies, the mind games of Dangerous liaisons and Zelly and Me, the wildlife slaughter in Gorillas in the Mist, pretty much all of Heathers, the high racist activity in Mississippi Burning, and the human hunt scene in Betrayed, but I'd say thaTt at the time most didn't notice, since all the controversy was directed at The Last Temptation of Christ.
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Also, regarding Letterboxd, they include tons of TV movies and shorts. I don't usually log those (though I kept ratings on The Red Balloon, the 1985 TV version of Anne of Green Gables, and one HBO film), but its always there in case you want to.
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3 hours ago, LawrenceA said:
I've had a Letterboxd account for a long time ( https://letterboxd.com/LawrenceA/ ), but have only recently begun messing around with it.
At first I just clicked the "watched" button for what I'd seen, but have recently begun the laborious task of trying to put ratings in. Having seen over 17 thousand movies, it's quite an undertaking.
My question to you two (and anyone else who uses the service) is what's the purpose of the separate "Like" button? It seems to me that one could tell what movies you liked by the ratings you leave. Are you supposed to both rate them, and then "Like" the ones that you rated highly enough? It seems redundant.
I just use it I guess to note the movies I like, and I guess it is redundant if you're alread giving a movie 4, 4.5, or 5 stars. There are some I barely passed at 4 without a like, and I know that I've seen people use like on a so bad its good basis, like giving a 2 or below to a film, but still putting a like on it.
19 minutes ago, LawrenceA said:Yeah, I'm following you, Polly of the Pre-Codes, and CinemaInternational now.
You and CI both have a lot of "Lists". I saw one of yours was your Criterion collection. I have an account on the Criterion website that shows all of mine, as well as a Blu-ray.com account where I've cataloged all of my Blu-ray and DVD collection. At this point it seems superfluous to do it again.
Question: when I rate a movie, does it notify the people that "follow" me? It would be real irritating for them if it does, since I'm in the middle of rating several thousand titles.
No, its doesn't notify anyone on what you have rated, so you don't have to worry about anybody getting an email every time you rate a film.
Speaking of Criterion, one of my lists was one with all I had seen from them so far with numbered spines, but I need to update that. Thanks for giving me a reminder!
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Just now, LornaHansonForbes said:
Better than being eaten by THE BLOB.
it was the scene with Kevin Kline and the raw fish that did him in.
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On 2/11/2020 at 8:31 PM, LornaHansonForbes said:
I LOVE “A FISH CALLED WANDA”!!!!!
I think I was left offended by the death of the dogs and their owner. It kind of put a pall over the whole film for me. I am reminded that it is the film where somebody died laughing at it in the theatre. Laughed so hard he couldn't breathe. What a way to go.
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3 hours ago, LawrenceA said:
I thought Erivo should have won, as well.
That Elton John song was awful, almost as bad as his performance of it on the show.
Erivo's song was indeed impressive (and she was wonderful as Harriet Tubman to boot, to say nothing of her exceptional work in Bad Times at the El Royale). I saw the other day that they are making a new version of Porgy and Bess for the big screen, and people are indicating that she is a top pick for playing Bess. Second acting nomination incoming?
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Four more from Kino Lorber in April (they really crank them out, and more power to them)
(also with Edward G Robinson and Robert Morley for the record)
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And Criterion again announces that they will handle some more titles: Sunday's Best Picture winner Pasasite, and another film from the same director, Memories of Murder. Along with the aforementioned Jaramush films and the Netflix titles (Irishman, Atlantics, American Factory, Marriage Story, and most likely The Other Side of the Wind, given how Criterion has handled a lot of Welles titles), it is definitely skewing toward recent independent films.
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1 minute ago, LornaHansonForbes said:
I think my favorite part is when PATRICIA NEAL Throws the bronze statuette out of her 27th story apartment window because it was too perfect and perfection disgusts her.
hope she has an ugly cat.
I just about lost it during the sheer Freudian silliness of Patricia neal watching Gary Cooper use the drill on the block of marble
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6 hours ago, LornaHansonForbes said:
WARNER BROS movies of the 1940's are a REAL FAVORITE OF MINE, and yet, while the LATE forties yielded a lot of great films for them, they started optioning a lot of second rate stories and books and there are, of course, some REAL MISSTEPS from the time, ie THE FOUNTAINHEAD.
The Fountainhead had me hooting and laughing at the screen, something I am rarely known to do with any drama (even ones that were much panned)
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Just now, Hibi said:
Yes, couldn't remember. Was on Noir Alley not too long ago. Similar story too.
Almost identical. Only Rose hobart in the earlier film definitely wasn't as well known as Barbara Stanwyck in the Two Mrs. Carrolls. But I wonder how many 1947 audiences felt deja vu that day they saw it.
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47 minutes ago, Hibi said:
YES! Another disappointing damsel in distress vehicle by BABS from the same time period. She was right to ask WB to end her contract. Losing The Fountainhead was the last straw and I don't blame her!
What is it with Alexis Smith at WB? She's always the other woman (sometimes nice; sometimes nasty) She played the same type of part in that other Bogie Noir a few years earlier (I forget the title) which was a little better than this one. I agree she would've been a good fit in Cat People in Simone's part........
Conflict was the other one with Bogie.
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8 minutes ago, speedracer5 said:
Terrorizing horrible children is almost always a highlight in any film.
I really can't remember most badly behaved children in movies, but I can definitely recall one in a 60s film. Ruthie in Two for the Road, the girl who insults Audrey Hepburn and Albert Finney by telling them that her parents really can't stand them despite giving them a lift.
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Did two dives through Amazon Prime.
The Earthling (1980) was the next to last film for William Holden (a bit of a shock though that it was done at Filmways Pictures, formerly American International Pictures). He plays a dying man who helps young Ricky Schroeder through the dense jungles of Australia after Schroeder's parents die in a freak accident off the side of a cliff. It's a bit of an unusual film, since it is seemingly meant for kids, but its rather grim for that standard (Schroeder goes through more adversity here then he had in the remake of The Champ a year earlier), but it benefits from striking Australian photography and utmost sincerity. And then of course there is Holden. There are certain scenes, especially toward the end where he gets close-ups that register a mix of regret and pain, and the way he says the words brings great gravitas to them. There is great poignancy in these scenes, and they truly show a legend at work. He is the glue that holds the film together.
Sinful Davey (1969) was a romp of a crime comedy that was ultimately dismissed by some of its makers, but seen today, it's an enjoyable lark, with a tongue-in-cheek leading performance from a young John Hurt and a fetching performance from the undervalued Pamela Franklin. The wonderful Robert Morley also turns up in an entertaining role late in the film. I actually think its a bit better than Tom Jones, the film that it is somewhat patterned after. Nice irish scenery too (standing in for Scotland). Supposedly, Anjelica huston and Brenda Fricker are extras in this but I couldn't find them.
Also starting in before bed last night on a film I will finish up tomorrow, the mammoth 1992 saga, Malcolm X, which is very strong so far.
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2 minutes ago, Hibi said:
WOW. For the same film?
No, different films, but it was still an eye-opening experience.... but there were two people who actually were up for an Oscar and a Razzie for the same performance in the same film, and both times the Razzies overreacted. They were both good performances (both were in the early 80s)
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5 hours ago, speedracer5 said:
I love 643 Mr. Peabody and the Mermaid. Ann Blyth is so great in this film and she doesn't say a word--only sings a little bit. I also love 647 Cactus Flower. It is quite a different role for Ingrid Bergman. It was nice seeing her in a comedic part.
I haven't seen it. That said, I was just going to order it because it sounded fun and it doesn't air on TCM. Movies Unlimited is running a DVD sale (not Blu-ray) on Olive Films titles currently in their catalog (don't know about online)
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I said earlier that I approach things haphazardly, and that's still mostly true, but since December, I've been trying to do a bit of a movie balancing act.....After I hit a certain moviegoing milestone, with half before 1970 and half in that year or later, I decidedly to try to maintain a close 50/50 level with both time periods, more or less.
Like Polly, I have a letterboxd account, although I'll give you a few warnings. I tend to do more writeups on modern films not because I like some of them more, but because they usually get more notice, and I often tend to be positive because 4/5 is my passing grade (anything lower is not)... and well, I usually go after things I think sound interesting, so I ended up passing 80% of what I've seen! And expectations sometimes matter. I gave some wildly appreciated films 3.5s, and yet i gave one film on a worst list here a 4, maybe because I was in a giddy mood one day. But classic films remain one of the strongest driving forces for me. here goes: https://letterboxd.com/BCarr95/
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On 2/7/2020 at 7:34 PM, LornaHansonForbes said:
I am on my phone, so I can’t make out a lot of these images.
BUT...
there needed to be a feminist revisionist sequel to BIG (1988) where ELIZABETH PERKINS’s character is sent to a mental institution for telling her therapist that she is racked with guilt over a statutory rape she committed on a 12-year-old boy because he was, at the time, in the body of a 30-year-old man.
SERIOUSLY, I was 10 years old when I saw BIG and that aspect of the movie bothered me A LOT even then.unfortunately, that was a bit common in 1988. (other films did it too that year)
As for the films that year in the picture, Big would be behind (in some degree of order): Running on Empty, My neighbor Totoro, Married to the mob,Madame Sousatzka, A Cry in the Dark, Women on the Verge of a Nervous Breakdown, Zelly and Me, The Accidental Tourist, Stormy Monday, Stand and Deliver, Tucker; The Man and His Dream, Cinema Paradiso, Grave of the Fireflies, Another Woman, Camille Claudel, Who Framed Roger Rabbit, The naked Gun, Crossing Delancey, Die Hard, Working Girl, Rain Man, Coming to America, Moon Over Parador, and two or three others too.
i do admit I liked it better than Bull Durham or A Fish Called Wanda, which never felt lively enough in the former's case, or left a bitter aftertaste in the latter's case.
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1 minute ago, LornaHansonForbes said:
Damn, TO HELL WITH TRADITION, I guess.
i still remember when Sandra bullock went to go get her Razzie the one night with self-depeciating humor, and then she won the Oscar the next day.
The Intersection of Kings Row & Peyton Place
in General Discussions
Posted
Somebody here once wrote that Johnny Depp would have been ideal for the lead, and I kind of agree. It would have dovetailed neatly, and made for near perfect casting.,