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Bait (2000)

 

The inequities of the criminal justice system is brought into focus when a white boy steals over forty million dollars' worth of gold and wanders freely while a black man is sent to a harsh prison for taking a bag of large shrimp.

I first watched this movie approx. five years ago and loved it. I found on this re-watching that the comedy does not all hold up well. I liked it very much but it did not seem as tight nor as funny nor as original as my first impression. 

Jamie Foxx is an acquired taste and I like him in most movies which I have seen. He is in his element here as a thief with a good heart. David Morse very believably plays an investigator with OCD and a stunningly complete lack of morals. 

I feel that it is sufficiently good to recommend it but I do admit that I much prefer my comedy action crime movies to date from the 1930s and 1940s.

6/10.2

It is available for viewing free with commercials on: TubiTV.

 

I will piggyback on this post because my other notable viewing is only a television program: L'art du crime (2017- ) It pairs a young and brash police officer with authority issues with an young and lovely art expert with phobias and chronic hallucinations. She is at times delusional but she knows that it is all in her head. They trace the clues to a crime using both physical evidence and interpretations of important works of art.

I find their working relationship to be refreshing. He is slowly realizing the true value of art and she is very slowly learning to behave as if normal. One aspect which I find wonderful is that their conflicts clearly come from their very different perspectives and have not been inserted merely as filler by the screenwriters. 

8.1/10

I am sorry to say that it is currently streaming only on a subscription service. I am yet debating whether the later seasons are worth the cost of subscribing.

 

 

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I think with a couple of those bits where McQueen burst into laughter it was because he couldn't believe he was able to get away with engineering the whole bank robbery and aftermath for kicks without getting caught.  So he'd think about it sometimes and laugh that he succeeded.  That's my take on at least a couple of those short scenes where he laughs out loud.  → He's a-thinkin' and then he's a-chucklin'!  😄

 

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And he is being so cool at the same time.  I wonder if the producer/director felt about some of the stunts he did - James Garner once talked about McQueen driving the motorcycle in the Great Escape.  I don't care what that woman under the stars said about him being noted for being difficult - he was still a great actor.

 

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Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

What a ride. Still not sure what I think about it...but there was some savagery to say the least. This was one of the few Kubrick films I hadn't seen yet; another I'm really looking forward to is Paths of Glory.

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11 hours ago, NostalgicNautilus said:

Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)...was one of the few Kubrick films I hadn't seen yet; another I'm really looking forward to is Paths of Glory.

PATHS OF GLORY is his best film and one of his (surprisingly) shortest (an efficient hour and 28 minutes.)

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Anne of the Thousand Days (1969) - IMDb

Anne Of The Thousand Days (1969) TCM 7/10

King Henry VIII (Richard Burton) seeks to divorce his wife Catherine to marry the young Anne Boleyn (Genevieve Bujold)

I just re watched this for the first time in many years. Burton is great as the selfish, obsessive King. But Bujold steals the show as the feisty Anne. She may the most beautiful actress to play this role and makes her a very complex character. We are never sure of her motives in finally agreeing to marry Henry. She seems vengeful at times, a little devious (is she lying or telling the truth in her powerful final scene with the King), she can also appear to be sweet and tender, she tells Henry she truly loves him at one point, but it is true? The film drags a bit at times (145 minute long) but still engrossing. 

An interesting tidbit is Elizabeth Taylor has a cameo but is seen only behind a mask at a palace ball. She had wanted to keep an eye on husband Burton who often had affairs with his leading ladies. Bujold did not confirm or deny that she and Burton had an affair, she seemed to delight in driving Taylor crazy about it. When Bujold accepted a Golden Globe for her performance she cheekily thanked Richard Burton for" everything he did for her,". while Taylor stared daggers at her from the audience. 

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The Invisible Man Returns (1940)

One of the first films planned by Universal when the studio decided to make a return to their popular horror vehicles of the early '30s was this production, their first sequel to 1933's The Invisible Man. Vincent Price, cast in the title role, had the first of his horror starring vehicles here, a genre to which he would return (and become a legend) later in his career.

Faces of Cinema - The Invisible Man Returns (1940)

The story involves an innocent man (Price) about to be executed for a murder who makes an escape from his prison cell via an invisibility formula administered to him by a scientist friend (John Sutton) who is the brother of the original Invisible Man (Claude Rains who does not appear in this film) who had invented the formula. Price then sets out to find the real murderer as Sutton works on a means to return him to normalcy. Along the way, though, as in the original film, he starts turning into a mad megalomanic (with dialogue in one scene that could be seen as reflecting the thinking of a certain well known American politician today).

"I don't want friends," Price says, "I shall have worshippers and followers, people who will obey me because they recognize my greatness. Those who obey me will be rewarded. And the others, destroyed!"

The plot is pretty straight forward without any surprises (virtually from the opening scene in the film you can tell who the real murderer will turn out to be). The supporting cast is quite adequate, but no more. Cedric Hardwicke plays a "friend" who is easy to see through (no, I don't mean that way) while Nan Grey is a pretty bland leading lady, sorely lacking the sparkle that Gloria Stuart had brought to the original film. Cecil Kellaway is an inspector trying to capture the Invisible Man by any creative means possible, considering the uniqueness of his hard to see quarry.

Vincent Price, who actually has second billing to Hardwicke in this production, uses his silky smooth voice well and, at times, commandingly, as the invisible one. Like Rains seven years before, Price spends the entire film in bandages and is only visible for one minute in one scene.

Where this film really succeeds is in the spare but impressive invisible special effects of John Fulton. Surprisingly, there's almost a throwaway quality to them because they occur only infrequently in the film and for just a few seconds at a time. Nevertheless, they generally match those in the original film. Particularly effective is a moment in which the police inspector fills part of a room with cigar smoke and we briefly see the shadowy outline of the Invisible Man standing beside him.

1940 – The Invisible Man Returns – Academy Award Best Picture Winners

Director Joe May makes no attempt at the humour James Whale had brought to the first Invisible Man. Vincent Price would only make one more non appearance as the Invisible Man, a voice gag bit at the end of Abbott and Costello Meet Frankenstein.

Svengoolie presents his big broadcast of Vincent Price in “The Invisible  Man Returns” (1940), this Sat. on Me-TV | Silver Screen Reflections

3 out of 4

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56 minutes ago, Det Jim McLeod said:

Burton is great as the selfish, obsessive King.

[left] He looks like Luciano Pavarotti in that poster.

How Pavarotti helped this Chinese opera singer find his groove

 

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I didn't realize until years later  Bujold was French Canadian rather than French.  She is a great female protagonist in Robin Cook's Coma (where my Mom said she first saw Tom Selleck in a cameo).  She is in a great movie (I saw with subtitles) called King of Hearts (with Alan Bates).  Wonderful movie, if you've never seen it.

Now,  last night, I fell asleep watching The Verdict.  Opinion is that Paul Newman should have won his Oscar for this rather than The Color of Money.  

Now the other night, watched Presumed Innocent.  Great movie.  Bonnie Bedelia (sp?) is a standout as Harrison Ford's wife.  Very sad how Raul Julia died in real life (I saw him on stage in NYC in The Cherry Orchard with Meryl Streep).  

Dr. Strangelove is a good movie, but can't watch it right now.  Too bad Kurbrick went out on a low note - I thought it was a good idea to keep my eyes shut during Eyes Wide Shut (poor S. Pollack).

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16 hours ago, NostalgicNautilus said:

Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

What a ride. Still not sure what I think about it...but there was some savagery to say the least. This was one of the few Kubrick films I hadn't seen yet; another I'm really looking forward to is Paths of Glory.

Strangelove is in my personal top 10 if not 5.  Love it.  Saw it on the big screen a few years ago and dragged wifey to see it.  She wasn't as enthusiastic as me.

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On 8/1/2021 at 4:17 PM, EricJ said:

You mean Queen Mera?  It's not like Warner/DC didn't THINK about it, during their still franchise-universe obsessed post-Justice League days of praying for spinoffs, but by that point, they were letting Jason Momoa's Aquaman sink or swim.

justice-league-amber-heard-mera.jpg?fit=

(Yes, "Elektra syndrome" doesn't just apply to Marvel and the Black Widow movie after Iron Man 2.)

Of course, that depends on whether Johnny Depp Pirates fans will let the studio make a movie with Amber Heard.

Don't think Depp has much clout anymore.  In the epilogue of Zack Snyder's Justice League it was obvious that Heard's character was going to be involved in the intended parts 2 and 3 quite extensively.  

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From the weekend:

The Postman Always Rings Twice (1946) Loved it.  Was just different enough from a typical noir plot to stand out- making the femme fatale a victim too and not scheming on her own, but great how that was teased at one point during the courtroom scenes.  Might check out some of the other versions if people on here recommend it.

Mogumbo  (1953) I like these safari adventure films- feels like Hemmingway's short stories, but i thought the plot of this was pretty weak and the love triangle not believable- and ultimately i didn't care about it either as i wasn't invested enough in any of the characters.  I spent too much time worrying about how the animals on set were treated.  Sounds like the production was a mess and three people died even.  Have read a few stories of how bad Ford treated his cast and crew on the shoot, which was also under threat of the Mau Mau revolution.

The Umbrellas of Cherbourg (1964)  Absolutely hate it!  Forced myself to watch it as it is consistently on the top international films of all time lists, but it was a struggle.  I get it- an entire film that is one long musical number, but i felt overwhelmed the entire time like i was just waiting for the singing to end to catch a break .  The songs themselves weren't anything memorable, just dialogue that is sung- although towards the end i did recognize a musical score to a song i know Dean Martin sings.  My favorite part of the film was the fact that i was watching a recording on DVR which had a runtime of 2.5 hours, so when the film ended at 1hour50 minutes, i was ecstatic.  The story didn't even seem very good.  It is unfinished and needed another act.  Just having the two former lovers run into each other and part was anticlimactic.  For whatever reason the films of Catherine Deneuve which are supposed to be great, i can't stand.  See nothing good about Belle de Jour. At all.  Oh well, at least i can say i watched this film i suppose.

Hamlet (1948) Another film i wasn't looking forward to seeing but because it was an Oscar winner for best picture, felt obliged.  I've just read /studied this play too many times in school and seen too many versions to be much enthralled.

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Equus 1977 Starring Richard Burton, Peter Firth, Colin Blakely, Joan Plowright, Eileen Atkins, and Jenny Agutter. 

A seriously deranged young man is obsessed with horses. After blinding several at a stable where he is employed he's sent to a  psychiatrist.

The main takeaway I have is there are interactions between the shrink (Richard Burton) and patient (Peter Firth) that are far too similar to shrink (Robin Willams) and patient (Matt Damon) to be coincidence. 

qhKH6km2QmfxDKAvDXG9PMx4VI5-1200-1200-67

MV5BMTkxNTYyNzY1M15BMl5BanBnXkFtZTcwOTI5

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A Scream in the Night (1935)

 

Authorities tracking a notorious jewel thief must rough it by hanging out in a nightclub in a tropical paradise.

Lon Chaney, Jr. does a very nice turn as an officer of the law and a local degenerate accomplice of the thief as well as the officer impersonating the accomplice.

I found this passable. It is very talky and the cinematography is not special in any way. 

5/11.2

It is available for viewing free with commercials on: TubiTV. 

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The Bat (1959)

 

A man embezzles a million dollars from a bank, hides it in his home and enlists a doctor to participate in faking his death so that he will not be pursued. A few unseen complications arise.

I found this to be a very strange movie. I could not tell if Agnes Moorehead was supposed to be a bossy old lady set in her ways or a creative writing genius or a caring friend and protector of the young women she induces to stay in her home while a notorious murderer is stalking the halls.  

Vincent Price is somewhat of an enigma also as we know that he is a bit odd and quite capable of murder but we accept that those traits might simply have developed in him because of his long years treating patients such as Agnes Moorehead.

It does honor to the mystery genre quite well because there are many good suspects and they are all treated evenly. There is no undisclosed information revealed at the last moment nor any characters introduced out of thin air. Any one of the characters might be the culprit and the answer to the mystery is not reached by ridiculous leaps of logic.

7.9/10

It is available for viewing for free with commercials on: TubiTV.

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so, I have thus far watched an hour and 14 minutes of MULHOLLAND FALLS (1996)- a film we have been discussing in the NOIR ALLEY THREAD.

See the source image

AUTHOR'S NOTE: I am making the unusual choice of posting a review for a film I have not yet finished. THE MAIN REASON FOR THIS is that I have been watching MULHOLLAND FALLS on PLUTO TV and, as I have mentioned before, PLUTO has just about got AMC beat when it comes to having the COPPER PLATED GALL to interrupt a film every 10-12 minutes for 3 and a half minutes worth of THE SAME GD COMMERCIALS OVER AND OVER AND OVER AGAIN, it should be added WITH NO THOUGHT AT ALL given to the flow of the narrative or the performances of the actors- a scene with two people having an intimate conversation will abruptly be interrupted by a commercial for VERIZON WIRELESS starring KATE McKINNON doing her "A DEMON IS ENTERING ME NOW"  facial expression that I have been informed makes her a 'scene stealer."

it is EXHAUSTING and NOT AT ALL how ANY FILM should EVER be viewed AND THERE IS NO WAY YOU CAN HONESTLY ASSESS A FILM WHEN IT IS INTERRUPTED EVERY 10-12 MINUTES FOR THREE AND A HALF MINUTES OF COMMERCIALS.

At least the movies on PLUTO are un-edited, so you did get to see JENNIFER CONNOLLY'S **** and a charming "back door" scene she has with NICK NOLTE that I can only imagine was about as much fun to film as the "a$$ to a$$" scene in REQUIEM FOR A DREAM.

on to the hour and fourteen minutes of the film that I managed to watch in between the 45 solid minutes of commercial interruptions:

what a damn mess of a movie!

I have a feeling that the "making of" story is more interesting than the film itself- and I am willing to bet that trying to wrangle NICK NOLTE, MICHAEL MADSEN and (the late) CHRIS PENN onto the set in a condition where they could stand and say their lines took up so much of the energy that the direction of this film is nonexistent. the camera points, things are framed and people say their lines, but there is a visible lack of anyone (like a DIRECTOR) stepping in and saying "ok, now we are going to do it this way, as if REAL, ACTUAL LIVING PEOPLE were saying these lines and not just bored actors doing dry runs of a scene" the whole film feels like a collection of first takes and awkward reads, a particularly scattered BRUCE DERN has one scene (thus far) as a police commissioner and I SWEAR he visibly forgets his lines and looks off camera for help. 

there is also absolutely no need for the characters played by CHRIS PENN and CHAZZ PALMINTERI- they add NOTHING to the story; PENN has uttered maybe 5 lines and PALMINTERI absolutely MURDERS every scene he is in- he is supposed to be some sort of DAMON RUNYONEQSQUE character whose recent visits to a therapist have given him a new outlook on his life as a vigilante LAPD detective.

I guess he is supposed to provide comic relief to this movie, but not only is it not needed, they seem to have FORGOTTEN THE PUNCHLINE at the end of every one of his pointless diatribes.

I mentioned this elsewhere, but WOW, THIS FILM (MADE IN 1996!) IS IN TERRIBLE SHAPE! There are VISIBLE SCRATCHES AND DUST ALL OVER THE NEGATIVE!!!!!!!!!!!! Anyone want to venture a reason why this might be?

MELANIE GRIFFITH, who won a RAZZIE for supporting actress, is actually pretty good in a role that is shuffled off into the periphery of the film.

WILLIAM PETERSON (of CSI fame), BILLY BALDWIN, ROB LOWE and ANDREW MacARTHY are all inexplicably cast in minor roles, with only LOWE managing to be any good- Macarthy and Peterson ruin their scenes AND YOU CAN ACTUALLY SEE BALDWIN'S CAREER DIE IN FRONT OF YOUR EYES.

I am willing to bet this movie was a wreck of RE-WRITES and MEDDLING and EGOS.

The score is incredibly uninspired.

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18 hours ago, Moe Howard said:

A seriously deranged young man is obsessed with horses. After blinding several at a stable where he is employed he's sent to a  psychiatrist.

The main takeaway I have is there are interactions between the shrink (Richard Burton) and patient (Peter Firth) that are far too similar to shrink (Robin Willams) and patient (Matt Damon) to be coincidence. 

 I do not understand what you are referring to in that last sentence. Are you comparing two different movies? Please clarify.

I'm also very interested in this movie as a whole. Is it "talky" or visual? Is the violence inferred or shown? I've had horses all my life and am easily traumatized by stories involving horses plus a low intolerance for gore/violence & avoided this movie (as WAR HORSE) I was afraid to see THE HORSE WHISPERER for a decade, until learning the only violence was inferred & brief, it was mostly the story of recovery-I loved it!

Would love to read more detailed impressions of yours about this movie to decide if I could handle it. 

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From yesterday:

Tequila Sunrise (1988)  Guess it was okay.  Wasn't crazy about it.

The Crimson Kimono (1959) Finally watched this.  I really liked it.  At the end i kept waiting to see if they would actually show a kiss between an Asian man and white woman but then later i saw the film poster and laughed at myself because they were obviously pushing the fact that they do.  The ending on the street with the shooting of the woman running down the street seemed familiar to Chinatown's ending.  As i've already mentioned in another thread on this film today, Alicia Malone's comments at the end of the film kind of ruined the film watching experience for me.

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I read the Horse Whisperer and re-watched the movie a year or two ago.  Book was okay and so was the movie.

Yesterday, watched vintage Michael Moriarty/Richard Brooks/Chris Noth/George Dunza (sp?) episodes of Law and Order.  Even saw the one with Noth's Sex and the City co-star, Cynthia Nixon.

I am not familiar with The Crimson Kimono; however, there is a movie with the non-Jewish Rosalind Russell playing a Jewish woman and the non-Japanese Alec Guiness in A Majority of One.  Great movie and one I could relate to when I saw the apartment she lived in when she returned to NYC because it reminded me of my paternal grandmother.

I also watched the Mario Cuomo's last attempt to save face.  Since I live in NYS, it affects me.  And, like many women, it leads to PTSD for many of us.

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3 hours ago, LornaHansonForbes said:

so, I have thus far watched an hour and 14 minutes of MULHOLLAND FALLS (1996)- a film we have been discussing in the NOIR ALLEY THREAD.

See the source image

AUTHOR'S NOTE: I am making the unusual choice of posting a review for a film I have not yet finished. THE MAIN REASON FOR THIS is that I have been watching MULHOLLAND FALLS on PLUTO TV and, as I have mentioned before, PLUTO has just about got AMC beat when it comes to having the COPPER PLATED GALL to interrupt a film every 10-12 minutes for 3 and a half minutes worth of THE SAME GD COMMERCIALS OVER AND OVER AND OVER AGAIN, it should be added WITH NO THOUGHT AT ALL given to the flow of the narrative or the performances of the actors- a scene with two people having an intimate conversation will abruptly be interrupted by a commercial for VERIZON WIRELESS starring KATE McKINNON doing her "A DEMON IS ENTERING ME NOW"  facial expression that I have been informed makes her a 'scene stealer."

it is EXHAUSTING and NOT AT ALL how ANY FILM should EVER be viewed AND THERE IS NO WAY YOU CAN HONESTLY ASSESS A FILM WHEN IT IS INTERRUPTED EVERY 10-12 MINUTES FOR THREE AND A HALF MINUTES OF COMMERCIALS.

At least the movies on PLUTO are un-edited, so you did get to see JENNIFER CONNOLLY'S **** and a charming "back door" scene she has with NICK NOLTE that I can only imagine was about as much fun to film as the "a$$ to a$$" scene in REQUIEM FOR A DREAM.

on to the hour and fourteen minutes of the film that I managed to watch in between the 45 solid minutes of commercial interruptions:

what a damn mess of a movie!

I have a feeling that the "making of" story is more interesting than the film itself- and I am willing to bet that trying to wrangle NICK NOLTE, MICHAEL MADSEN and (the late) CHRIS PENN onto the set in a condition where they could stand and say their lines took up so much of the energy that the direction of this film is nonexistent. the camera points, things are framed and people say their lines, but there is a visible lack of anyone (like a DIRECTOR) stepping in and saying "ok, now we are going to do it this way, as if REAL, ACTUAL LIVING PEOPLE were saying these lines and not just bored actors doing dry runs of a scene" the whole film feels like a collection of first takes and awkward reads, a particularly scattered BRUCE DERN has one scene (thus far) as a police commissioner and I SWEAR he visibly forgets his lines and looks off camera for help. 

there is also absolutely no need for the characters played by CHRIS PENN and CHAZZ PALMINTERI- they add NOTHING to the story; PENN has uttered maybe 5 lines and PALMINTERI absolutely MURDERS every scene he is in- he is supposed to be some sort of DAMON RUNYONEQSQUE character whose recent visits to a therapist have given him a new outlook on his life as a vigilante LAPD detective.

I guess he is supposed to provide comic relief to this movie, but not only is it not needed, they seem to have FORGOTTEN THE PUNCHLINE at the end of every one of his pointless diatribes.

I mentioned this elsewhere, but WOW, THIS FILM (MADE IN 1996!) IS IN TERRIBLE SHAPE! There are VISIBLE SCRATCHES AND DUST ALL OVER THE NEGATIVE!!!!!!!!!!!! Anyone want to venture a reason why this might be?

MELANIE GRIFFITH, who won a RAZZIE for supporting actress, is actually pretty good in a role that is shuffled off into the periphery of the film.

WILLIAM PETERSON (of CSI fame), BILLY BALDWIN, ROB LOWE and ANDREW MacARTHY are all inexplicably cast in minor roles, with only LOWE managing to be any good- Macarthy and Peterson ruin their scenes AND YOU CAN ACTUALLY SEE BALDWIN'S CAREER DIE IN FRONT OF YOUR EYES.

I am willing to bet this movie was a wreck of RE-WRITES and MEDDLING and EGOS.

The score is incredibly uninspired.

I liked it, thought the visuals were great. Read all about it here: Noirsville

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1 hour ago, TikiSoo said:

I've had horses. . .

. . . . . . if I could handle it. 

Me too. My father was a bit of a horse breeder. American Saddlebreds and Arabians.

I'm betting you'd find the roll that equine play in the patient's disorder intriguing, but the scene where the horses are blinded is just too much. Gratuitously graphic, brutal  and long.

The film is both visual and talky. There's a few lengthy scenes of Burton narrating straight into the camera, boringly diagnosing the patient and himself. 

I'm not comparing Equus and Good Will Hunting, I'm saying someone involved with the Good Will Hunting script obviously was influenced, possibly HEAVILY influenced by patient/doctor aspect in Equus.

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4 hours ago, LornaHansonForbes said:

so, I have thus far watched an hour and 14 minutes of MULHOLLAND FALLS (1996)- a film we have been discussing in the NOIR ALLEY THREAD.

See the source imageAUTHOR'S NOTE: I am making the unusual choice of posting a review for a film I have not yet finished. THE MAIN REASON FOR THIS is that I have been watching MULHOLLAND FALLS on PLUTO TV and, as I have mentioned before, PLUTO has just about got AMC beat when it comes to having the COPPER PLATED GALL to interrupt a film every 10-12 minutes for 3 and a half minutes worth of THE SAME GD COMMERCIALS

4 hours ago, LornaHansonForbes said:

so, I have thus far watched an hour and 14 minutes of MULHOLLAND FALLS (1996)- a film we have been discussing in the NOIR ALLEY THREAD.

See the source image

AUTHOR'S NOTE: I am making the unusual choice of posting a review for a film I have not yet finished. THE MAIN REASON FOR THIS is that I have been watching MULHOLLAND FALLS on PLUTO TV and, as I have mentioned before, PLUTO has just about got AMC beat when it comes to having the COPPER PLATED GALL to interrupt a film every 10-12 minutes for 3 and a half minutes worth of THE SAME GD COMMERCIALS OVER AND OVER AND OVER AGAIN, it should be added WITH NO THOUGHT AT ALL given to the flow of the narrative or the performances of the actors- a scene with two people having an intimate conversation will abruptly be interrupted by a commercial for VERIZON WIRELESS starring KATE McKINNON doing her "A DEMON IS ENTERING ME NOW"  facial expression that I have been informed makes her a 'scene stealer."

it is EXHAUSTING and NOT AT ALL how ANY FILM should EVER be viewed AND THERE IS NO WAY YOU CAN HONESTLY ASSESS A FILM WHEN IT IS INTERRUPTED EVERY 10-12 MINUTES FOR THREE AND A HALF MINUTES OF COMMERCIALS.

At least the movies on PLUTO are un-edited, so you did get to see JENNIFER CONNOLLY'S **** and a charming "back door" scene she has with NICK NOLTE that I can only imagine was about as much fun to film as the "a$$ to a$$" scene in REQUIEM FOR A DREAM.

on to the hour and fourteen minutes of the film that I managed to watch in between the 45 solid minutes of commercial interruptions:

what a damn mess of a movie!

I have a feeling that the "making of" story is more interesting than the film itself- and I am willing to bet that trying to wrangle NICK NOLTE, MICHAEL MADSEN and (the late) CHRIS PENN onto the set in a condition where they could stand and say their lines took up so much of the energy that the direction of this film is nonexistent. the camera points, things are framed and people say their lines, but there is a visible lack of anyone (like a DIRECTOR) stepping in and saying "ok, now we are going to do it this way, as if REAL, ACTUAL LIVING PEOPLE were saying these lines and not just bored actors doing dry runs of a scene" the whole film feels like a collection of first takes and awkward reads, a particularly scattered BRUCE DERN has one scene (thus far) as a police commissioner and I SWEAR he visibly forgets his lines and looks off camera for help. 

there is also absolutely no need for the characters played by CHRIS PENN and CHAZZ PALMINTERI- they add NOTHING to the story; PENN has uttered maybe 5 lines and PALMINTERI absolutely MURDERS every scene he is in- he is supposed to be some sort of DAMON RUNYONEQSQUE character whose recent visits to a therapist have given him a new outlook on his life as a vigilante LAPD detective.

I guess he is supposed to provide comic relief to this movie, but not only is it not needed, they seem to have FORGOTTEN THE PUNCHLINE at the end of every one of his pointless diatribes.

I mentioned this elsewhere, but WOW, THIS FILM (MADE IN 1996!) IS IN TERRIBLE SHAPE! There are VISIBLE SCRATCHES AND DUST ALL OVER THE NEGATIVE!!!!!!!!!!!! Anyone want to venture a reason why this might be?

MELANIE GRIFFITH, who won a RAZZIE for supporting actress, is actually pretty good in a role that is shuffled off into the periphery of the film.

WILLIAM PETERSON (of CSI fame), BILLY BALDWIN, ROB LOWE and ANDREW MacARTHY are all inexplicably cast in minor roles, with only LOWE managing to be any good- Macarthy and Peterson ruin their scenes AND YOU CAN ACTUALLY SEE BALDWIN'S CAREER DIE IN FRONT OF YOUR EYES.

I am willing to bet this movie was a wreck of RE-WRITES and MEDDLING and EGOS.

The score is incredibly uninspired.

 

So fewer commercials is better?

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1 hour ago, Shank Asu said:

The Crimson Kimono (1959) Finally watched this.  I really liked it.  At the end i kept waiting to see if they would actually show a kiss between an Asian man and white woman but then later i saw the film poster and laughed at myself because they were obviously pushing the fact that they do.  The ending on the street with the shooting of the woman running down the street seemed familiar to Chinatown's ending.  As i've already mentioned in another thread on this film today, Alicia Malone's comments at the end of the film kind of ruined the film watching experience for me.

I'm a big fan of The Crimson Kimono since my mom is Japanese coming to the USA after she married my American father in the 50s.     We lived in the area and would go to all the sites in the film;  e.g.  the Buddhist temple was my mom's  temple.      I'm not aware of Malone's comments so I have to check those out.  

 

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4 hours ago, LornaHansonForbes said:

AUTHOR'S NOTE: I am making the unusual choice of posting a review for a film I have not yet finished. THE MAIN REASON FOR THIS is that I have been watching MULHOLLAND FALLS on PLUTO TV and, as I have mentioned before, PLUTO has just about got AMC beat when it comes to having the COPPER PLATED GALL to interrupt a film every 10-12 minutes for 3 and a half minutes worth of THE SAME GD COMMERCIALS OVER AND OVER AND OVER AGAIN, it should be added WITH NO THOUGHT AT ALL given to the flow of the narrative or the performances of the actors- a scene with two people having an intimate conversation will abruptly be interrupted by a commercial for VERIZON WIRELESS starring KATE McKINNON doing her "A DEMON IS ENTERING ME NOW"  facial expression that I have been informed makes her a 'scene stealer."

 

The movie is available also on: The Roku Channel. That channel should be available on all common streaming devices. It is available also directly through a browser if you turn off your adblocker. I believe that some movies and television programs require also that you subscribe to the channel but subscriptions are ostensibly free. There are commercials also on: The Roku Channel but they are different from the ones on: PlutoTV and they may be placed differently.

I frequently use: https://www.justwatch.com/us to find which common streaming services carry a particular movie or television program. An example of this is: https://www.justwatch.com/us/movie/mulholland-falls Clicking on: Roku's icon in the: 'Stream' results takes you to that movie on: Roku.

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