Sukhov

I always disliked the animation and the unfunny humor too. I always despised seeing those specials on during the holidays.

1. Run Lola Run (1998), Tom Tykwer, Germany 2. Delicatessen (1991) Jean-Pierre Jeunet, Marc Caro, France 3. Audition (1999), Takashi Miike, Japan 4. Liebe Dein Symptom wie Dich Selbst! (1996) Katharina Hocker, Germany 5. Red Cherry, (1995) Ye Ying, China 6. Before the Rain (1994) Milcho Manchevski, Macedonia 7. Antonia’s Line (1995) Marleen Gorris, the Netherlands 8. Taste of Cherry (1997) Abbas Kiarostami, Iran 9. Life Is Beautiful (1997) Roberto Benigni, Italy 10. Trois Couleurs: Bleu (1993) Krzysztof Kieslowski, France

Whiskey Galore! Next: France

I could never understand a word Fetchit said in those films. It sounds like pure gibberish.

Suzy Delair is also still alive at age 101. https://en.wikipedia.org/wiki/Suzy_Delair

A very beautiful and sad film. I have always wondered if the child was supposed to have autism or another disorder and they just never said it because it was stigmatized in those days. His barking and behavior in general seems very odd.

Most of the ones scheduled turn up pretty often so it's probably not a rights issue. I think they put it in a latter month so people have time to "prepare" for it. That would be my guess.

Review of Avengers and criticism of the entire MCU/ superhero franchises https://jacobitemag.com/2019/05/14/capeshits-endgame/ If there is a culture war, nerds won it seven years ago. Since 2012 saw the release of the first Avengers film, self-described geeks have, through reckless spending and uncritical word-of-mouth support, made video games and comic-book movies the dominant cultural forces around the globe. A few short years was all it took to see tweens dreaming of professional streaming careers and a big budget Aquaman film becoming a highly anticipated release. These massive spectacles rake in billions of dollars and as many adoring fans, forcing any enterprise that can’t match that level of financial gain so far into the periphery it’s a wonder other properties get made at all. Preferring something else, something without pastel-shaded heroes and villains, is not just unthinkable to fans, but increasingly untenable in reality. Even a substantial degree of political discourse is centered around dissecting the social responsibility movies, TV series and games have. More than ever before, audiences view their world through the lens of the content they consume. What’s more, the distinctions between all of these titles are rapidly blurring. A third of the way through Endgame, the latest and final installment of the Avengers quadrilogy, Bruce Banner and obnoxious anthropomorphic raccoon “Rocket” visit Thor in New Asgard. The once-buff Thor, in a depressive rut following Thanos’ wide scale genocide of half the life on Earth, now sports a hefty beer gut. As Banner and Rocket attempt to persuade him into returning to the team, one of Thor’s roommates plays Fortnite. The action is interrupted for a solid half-minute when Thor hops on voice chat and chews out a rude player, excoriating him as a basement dweller and threatening to shove his arms up his “butt.” It’s tempting to think of this as self-aware; comic book fans have long been associated with loserdom, and a marginally smarter movie might have the audacity to poke fun at its own audience. But like most moments in Endgame that don’t involve punching, this scene merely asks that the audience laugh in recognition. We know what Fortnite is, and we know what a loser gamer who lives with his mother looks like. It’s funny to see these things on the big screen, just like it’s funny when the Hulk “dabs,” or when Tony Stark quips that Rocket looks like a Build-a-Bear. It fails at even the most basic of filmmaking conventions. Its sole goal is to force as many characters from within the franchise into its excruciatingly long runtime. Endgame is, quite transparently, a 181 minute cross-brand advertisement. Characters make quips about Axe Body Spray. Everyone seems to be driving an Audi. A dramatic moment involves a ringing Google Pixel, which the camera lingers on for what feels like an eternity. This is excluding the $200 million worth of promotional tie-ins with Ulta, Ziploc, McDonald’s and countless others. More than that, it is a $400-million advertisement for the Marvel Cinematic Universe itself. Every character fans could dream of gets screen time, and Endgame’s status as the second highest-grossing film of all time a mere week after its premiere all but ensures each of these heroes will return to the big screen within the next decade. Likely much sooner, given that nine new movies in the Marvel Cinematic Universe are slated for release by July 2022. The Marvel Cinematic Universe is the apex of American culture; it is our biggest moneymaker, it dominates water cooler talk. It can be discussed with any person of any age. - Frankfurt School grouch Theodor Adorno made essentially the same point in Dialectic of Enlightenment, in which he famously attacks the ascendant “culture industry”:

In fairness, the Coward was already on relatively recently ( possibly within the last year.)

Nanook of the North

Yeah, I'm not a huge fan of some of the "cheesy" Rock Hudson rom-coms but the Man Who Knew Too Much is such a great film with Day at her peak. RIP

I didn't even realize this show was still on. I thought it was cancelled years ago.

https://www.latimes.com/entertainment/movies/la-me-peggy-lipton-dead-20190511-story.html Actress and former model Peggy Lipton, who rose to stardom in the late 1960s on the counterculture police series “The Mod Squad” and later starred on TV’s “Twin Peaks,” has died. Her death from cancer was announced Saturday by Kidada and Rashida Jones, her daughters from a marriage to famed music producer Quincy Jones. “She made her journey peacefully with her daughters and nieces by her side,” Lipton’s daughters said in a statement to The Times. “We feel so lucky for every moment we spent with her.” Born in New York on Aug. 30, 1946, Lipton began modeling at age 15 and quickly found herself in demand. At age 19, she made her television debut on the sitcom “The John Forsythe Show,” going on to make appearances on such series as “Bewitched,” “The Alfred Hitchcock Hour” and “The Virginian.” The waifish, blond Lipton had just turned 21 when she rocketed to fame in 1968 as the street-smart flower child Julie Barnes, one of a trio of Los Angeles undercover “hippie cops” on the ABC crime series “The Mod Squad.” One of pop culture’s first efforts to reckon seriously with the counterculture — and one of the first TV shows to feature an interracial cast — the series, which costarred Michael Cole and Clarence Williams III, dealt with issues such as domestic violence, abortion, police brutality, the Vietnam War and drugs. Over five seasons, the series earned Lipton, one of the “it” girls of her time, four Emmy nominations and a 1971 Golden Globe award for best actress in a TV drama. Her role and later marriage to Jones, who is black, put Lipton at the center of the passions of a restive America dealing with racism and a post-World War II generation who were breaking free from their parents. The “Mod Squad’s” edgy music and hip slang marked a significant shift from “Gunsmoke” and “Leave It To Beaver.” But while the show turned the mini-skirt-and-bellbottoms-clad Lipton into a fashion icon, she found the spotlight uncomfortable. “I never saw myself as trend-setting,” Lipton told The Times in 1993. “We were always working. Fame really drove me into my house. I was very paranoid. I didn’t like going out. I had no idea how to be comfortable with the press. I was very young. It was really hard for me.” Lipton parlayed her role on “The Mod Squad” into a singing career, enjoying chart success with her cover versions of “Stoney End” and “Lu” by Laura Nyro and “Wear Your Love Like Heaven” by Donovan. In 1974, Lipton married Jones and, with the exception of a 1979 “Mod Squad” reunion TV movie, stepped away from her career to focus on raising a family. The pair’s daughters, Kidada and Rashida, would both become actors, the latter gaining fame on the comedy series “The Office” and “Parks and Recreation.” After Lipton and Jones divorced in 1989, Lipton decided to return to acting, landing the role of Norma Jennings on the cult TV series “Twin Peaks.” “It was very scary,” Lipton told The Times in 1993. “I had a push-pull thing inside me that I wanted to do it…. I had become so insulated in my world as a mother, that I didn’t know how to pick up the phone and call anybody to put myself out there.” She and Clarence Williams III made cameo appearances in a 1999 big-screen version of "The Mod Squad" that starred Claire Danes, Omar Epps and Giovanni Ribisi. In her 2005 memoir “Breathing Out,” Lipton wrote of her struggles with fame and the racism she and Jones faced as an interracial couple and revealed that she had been diagnosed with and treated for colon cancer the previous year. In recent years, Lipton continued to appear in occasional supporting roles in films such as “When in Rome” and “A Dog’s Purpose.” “We can’t put all of our feelings into words right now, but we will say: Peggy was and will always be our beacon of light, both in this world and beyond,” her daughters said in a statement Saturday. “She will always be a part of us.”

4.) Dated Don Hastings during high school.

Pop Goes the Easel (the Stooges interrupt kids playing hopscotch) Next: comedy movie involving a pet

New Rammstein video that is influenced by the Blue Angel and Cabaret. Till is even dressed up as Joel Grey's MC.

From the Popeye cartoon on TCM this morning- "Brother, you've cheated with the last cracker." I'm not sure what it's referring to but I think it means "this is the last straw."

Okay, this one is a bit crude/ vulgar but I just remembered this sketch from a British comedy show and it really fits this thread.

I like the one where he helps the asian girl find her father during the World's Fair. That one is very cute.

Laurel and Hardy in Haneke's Funny Games

I wish they had scheduled Waterloo. That is my favorite film of his.

Violent Sh1t III (AKA Zombie Doom) - Another film from the low quality, German horror franchise. Three men on a sailboat are shipwrecked on a remote island where they are tortured and killed by an evil militia all dressed as Karl the Butcher (this is never really explained why or what their relation is to the first films). Terrible quality film but good for a laugh.

Hans Staden - This Brazilian film is based on the same story as How Tasty Was My Little Frenchman? German sailor, Hans Staden lands in colonial Brazil where he is captured by the violent, cannibalistic Tupinamba tribe. He has to prove to them that he is a friend of their allies the French and not a Portuguese if he wishes to survive and return to Germany. This one was very well made and the ending is closer to the original story of Hans Staden than the "poetic" finale of the 1971 film. I recommend this one.