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1 hour ago, Sepiatone said:

Well, I'll admit.  I was(still am) a HUGE Sandy Nelson fan back in "the day".  Over the years I managed only to hang onto one old vinyl, ("Drummin' Up A Storm") 

Sepiatone

That's the album they had.

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On 5/8/2020 at 8:51 AM, LornaHansonForbes said:

i apologize for this, because I'm salty this morning and this is one of those topics that just gets me REVVED UP.

A huge part of what annoys me about ROGER CORMAN is how certain people have elevated him to the status of "genius underground auteur guerilla filmmaker" when there is not an artistic bone in his body. EVERY DECISION CORMAN MADE AS A DIRECTOR was dictated by pennies and nickels.  he did not give a **** about producing films that were in ANY WAY substantive or nutritive.

ED WOOD, for example, said "I WANT A MOVIE WHERE BELA LUGOSI GETS EATEN BY AN OCTOPUS" and lo and behold, HE EXECUTED IT. Not well, mind you- but you have to admire the chutzpah.

ROGER CORMAN, in the making of ANY FILM says "all right, what footage/sets/props/costumes do I have left over that I can use, who have i got under contract that i can insert into the film, can it be shot without exteriors? because I'm not paying lighting people, and get me everyone non-union so we can sh!t this thing out in 8 days because that amusement park with the viking ship that I'm using in the next picture is getting torn down soon." and he contours everything in that hour and ten minutes to fit that.

it's kind of like ELECTION, or the actual election, where people looked at someone COMPETENT AND PREPARED- and were like "ugh! what an over-achiever" meanwhile they look for reasons to root for and praise someone who is a woefully unprepared hack without an inspired bone in their body because as AMERICANS, that's what we do.

and HE IS SO LAZY, take for example HOUSE OF USHER, where VINCENT PRICE manages to give a good performance that could have been better had CORMAN REMEMBERED THAT IN THE FIRST 10 MINUTES HE ESTABLISHES THAT THE CHARACTER HAS HYPER-SENSITIVE HEARING, but then just totally forgets about it and plows on with the film.

eta- a google search on CORMAN will lead you to all sorts of 10 WAYS IN WHICH INDIE GUERILLA GENIUS FILMMAKER AUTEUR ROGER CORMAN CHANGED FILM FOREVER LISTS, here is a quote from one that they seem to view as praise and not EXHIBIT A in why this guy should never have been allowed anywhere near a film set:

Corman invented a wide variety of ways to get the job done on the cheap. “He was the master of optimizing any opportunity to get something juicy for the camera,” Stapleton says. “Nancy Sinatra, Peter Fonda and others told me that Corman used to tell cameramen to go chase ambulances and fire trucks and just film whatever action was happening. He’d figure out later how to use the footage in a film.”

Yeah.  I know. Everybody is on the bandwagon for Roger Corman being an excellent director when his films really stink. I agree with you. In fact, I was a little shocked when he was receiving so many accolades for his work.  I met Russell Johnson at a Star Trek convention thing and I had a video tape of Attack of the Crab Monsters that I asked Mr. Russell to autograph. He said that he'd hurt his feet coming out of the surf and, the production values sucked and nobody cared that he's hurt himself. Still, the films are fun, albeit the worst of the worst. 

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17 hours ago, NickAndNora34 said:

It is a group of actors who are putting on a play, but are having difficulties due to their having more drama offstage than on. Yes, a slapstick :) 

Yes ok. I thought it was something like that........

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Two Seconds (1932)

I finally got around to watching another classic film. It has been a long time since I watched one. I had never heard of this film until I scrolled through the TCM app and found it amongst the other Robinson films. For the Star of the Month, I usually choose their lesser known films, because they will be more difficult to find. Admittedly, Robinson is not one of my favorite actors, but I definitely respect his talent and what he accomplished. I thought he really nailed this performance. I assumed this film would be some sort of gangster film, but it was definitely more of a psychological drama that clocked in at just over an hour. The descent into madness and the final few scenes made the film. Overall, this was a good film and I was able to add another 1932 film to my list, which has become my most prolific year for no reason in particular. 

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sin_of_nora_moran_xlg.jpg

THE SIN OF NORA MORAN showed up in my HULU FEED under the title VOICE FROM BEYOND THE GRAVE.

WEIRD MOVIE, kinda like someone threw MEMENTO, SUSAN LENNOX; HER FALL AND RISE, and parts of CITIZEN KANE into a blender and hit puree**.

ZITA JOHANN surprised me...she wasn't bad and her English is less awkward that it is in THE MUMMY.

THE WORD "DAMN" OR "DAMNED' SHOWS UP THREE TIMES!!!!!

I also put it to you that this film has no moral- that's not me complaining, just stating how it struck me.

 

**also a dash of the ludicrous premise DEAN STOCKWELL and RICHARD C GRANT pitch to TIM ROBBINS in THE PLAYER.

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THIE MOVIELAND CHANNEL continues to be where it IS AT though- I sat down yesterday morning and watched A NIGHTMARE ON ELM STREET (1984) for what I think was the first time in one full viewing (I saw it in pieces as a kid.)

RIGHT OFF THE BAT, I HAVE TO DEDUCT POINTS for the fact that this movie is set in OHIO and features more OBVIOUS L.A. LOCALES than L.A. STORY- every car has blue CA license plates and there is a prominent scene that takes place in HOLLYWOOD FOREVER CEMETERY...there are numerous, lengthy scenes with un-cropped ROWS OF KING PALM TREES and BIRDS OF PARADISE and BOUGANVILLAS PROMINENTLY IN THE BACKGROUND- NONE OF WHICH do well in OHIO. THEY DO NOT EVEN TRY TO CROP, HIDE, OR OBSCURE THEM.

ie:

295?cb=20121003074720Is  there some part of OHIO that gets a tropical jet stream that I am unaware of?

Just set it in CA already.

Still, I would be lying liar if I said this film does not have some of the MOST EFFECTIVE HORROR SHOTS EVER- the scene where the first victim does a kind of FRED ASTAIRE-IN-ROYAL WEDDING thing as she is brutalized all over the walls and ceiling is great.

it also helps that ROBERT ENGLUND- who, I'm sorry- I just don't think much of as an actor- has only 7 minutes of screentime and not much dialogue.

There are some issues I have with the ending and I think the sum of all the parts is not as great as those parts themselves- but that said, said parts are pretty memorable.

This film also has one of MY FAVORITE 80'S HORROR TROPES- which is A CHARACTER NAMED TINA  whose fate and/or whereabouts and the discussion of (or looking for) makes up about 20% of the film.  according to imdb, the name "TINA" shows up 39 times in the film, which is more than it does in WHAT'S LOVE GOT TO DO WITH IT?

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16 hours ago, LornaHansonForbes said:

sin_of_nora_moran_xlg.jpg

THE SIN OF NORA MORAN showed up in my HULU FEED under the title VOICE FROM BEYOND THE GRAVE.

WEIRD MOVIE, kinda like someone threw MEMENTO, SUSAN LENNOX; HER FALL AND RISE, and parts of CITIZEN KANE into a blender and hit puree**.

ZITA JOHANN surprised me...she wasn't bad and her English is less awkward that it is in THE MUMMY.

THE WORD "DAMN" OR "DAMNED' SHOWS UP THREE TIMES!!!!!

I also put it to you that this film has no moral- that's not me complaining, just stating how it struck me.

 

**also a dash of the ludicrous premise DEAN STOCKWELL and RICHARD C GRANT pitch to TIM ROBBINS in THE PLAYER.

Whats up with the tantalizing poster?

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4 minutes ago, cigarjoe said:

Whats up with the tantalizing poster?

I want to know about the "new marvelous screen technique"?

IMG_1458.jpg

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18 minutes ago, cigarjoe said:

Whats up with the tantalizing poster?

I think they were looking to get some butts in the seats, and it probably worked.

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(You should’ve seen the artist’s original sketch for the poster for LITTLE WOMEN!)

(jk)

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2 hours ago, TikiSoo said:

I want to know about the "new marvelous screen technique"?

Haven't seen this film, but according to this blog, the film has "flashbacks within flashbacks".  Flashbacks were not unknown when this film came out (earlier films had had them, and of course, novels had used them), but the flashback technique was still rare in film at that time.   The narrative seems complicated, even by today's standards, according to this description from the blog:

Even by pre-Code standards, this is pretty grim stuff. In the wrong hands, it would have been either unwatchable or howlingly melodramatic. But thanks to talented people in front of and behind the cameras, The Sin of Nora Moran is fascinating not only to watch but to study. That "New Marvelous Screen Technique" mentioned in the poster is what sets it apart from most of the Hollywood herd released back then.

The Sin of Nora Moran opens with District Attorney John Grant telling Nora's story to Edith Crawford, the widow of the late Gov. Dick Crawford. From that point, the narration bounces back and forth to any number of characters, including Nora herself via sedative-induced hallucinations .... 

Flashbacks contain flashbacks, then suddenly jump to the present before returning to Nora's fantasies and other characters' memories. People suddenly appear from the darkness only to disappear again. Images pile up on each other like Legos. Dizzying montages mark the passage of time. Nora Moran's storytelling makes that of Citizen Kane look like "Jack & Jill." 

I slightly edited the copied text above to remove a spoiler.

Here's the original blog:  http://theolfisheye.blogspot.com/2013/04/movie-of-day-sin-of-nora-moran-1933.html

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2 hours ago, TikiSoo said:

I want to know about the "new marvelous screen technique" [in THE SIN OF NORA MORAN]

 

I don't want to give too much away, but as the film was originally titled VOICE FROM BEYOND THE GRAVE, that kinda gives a hint...

It is also- at times- completely non-linear in its storytelling, leaping from past to present in a way that films of the time did not normally do; and it also has a couple of disembodied "fantasy" sequences.

edit- TXFILMFAN and i posted at the same time, they explain it better than I do.

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I'm still over the moon with this MOVIELAND channel, I have been watching (but have not finished) THE TEN COMMANDMENTS (1956) which I thought was only available on DVD or at Easter on ABC.

DeMille was- honestly- a GENIUS. this is one of the most LASCIVIOUS, HYPER-SEXUALIZED FILMS to come out of HOLLYWOOD since the enforcement of THE PRODUCTION CODE and he is able to get away with it by coating it with a blanket of religious respectability.

There are lots of bare chests and armpits and I swear you can see ANNE BAXTER'S nipples in one scene.

also JOHN DEREK:

079ab15cec495640dfec165b60825973.jpg

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Swallow Poster

Swallow - New release On Demand 8/10

A troubled rich housewife has a strange compulsion to swallow inedible and dangerous objects.

I was fascinated by this strange film. It looks beautiful with great sets, color and photography making it more disturbing with it's bizarre subject matter. Haley Bennett plays the lead and she is excellent, I had seen her years ago in the horror film The Haunting Of Molly Hartley (2008) , which got bad reviews but I thought was OK. In this film, her character Hunter is taken by her rich husband to a psychiatrist and have a nurse watch her at home. It never becomes a preachy or psycho babble Lifetime movie, since we see everything through the disturbed mind of Hunter. It reminded me of 1970s films especially Diary Of A Mad Housewife (1970). 

 

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8 hours ago, LornaHansonForbes said:

I'm still over the moon with this MOVIELAND channel, I have been watching (but have not finished) THE TEN COMMANDMENTS (1956) which I thought was only available on DVD or at Easter on ABC.

DeMille was- honestly- a GENIUS. this is one of the most LASCIVIOUS, HYPER-SEXUALIZED FILMS to come out of HOLLYWOOD since the enforcement of THE PRODUCTION CODE and he is able to get away with it by coating it with a blanket of religious respectability.

There are lots of bare chests and armpits and I swear you can see ANNE BAXTER'S nipples in one scene.

also JOHN DEREK:

079ab15cec495640dfec165b60825973.jpg

My, they do look like the hottest couple in ancient Egypt, don't they?

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3 hours ago, kingrat said:

My, they do look like the hottest couple in ancient Egypt, don't they?

Except they’re always fighting over who gets to be the bottom.

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11 hours ago, LornaHansonForbes said:

(You should’ve seen the artist’s original sketch for the poster for LITTLE WOMEN!)

I take it that's a The Seven Year Itch in-reference?

6a00e5500ff56788330133f037966e970b-pi

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1 hour ago, EricJ said:

I take it that's a The Seven Year Itch in-reference?

6a00e5500ff56788330133f037966e970b-pi

HAH! 

No, believe it or not, it’s a complete coincidence!


LITTLE WOMEN is a go to punchline for me, Because it’s so easy to imagine all the inappropriate adaptations and scenarios you could do with it. Comedy gold really. 

I actually thought about going back and modifying my post to make it JANE EYRE, Because I’ve used LITTLE WOMEN as a punchline so often...But the RKO version of LITTLE WOMEN came out around the same time as NORA MORAN, so it lined up historically and I left it.

Of course, I have seen THE SEVEN YEAR ITCH A few times, so it’s entirely possible it was unconscious on my part.

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Touchez Pas au Grisbi (1954) Classic French Noir Masterpiece

Poster%2B2.jpg

Don't touch the stash, is a French-Italian crime film directed by Jacques Becker (Le Trou (1960)). The film was written by Jacques Becker, Albert Simonin, and Maurice Griffe. It was adapted from Albert Simonin's novel of the same name.

The cinematography was by Pierre Montazel, the music was by Jean  W*i*e*n*e*r.

The film stars Jean Gabin as Max, an semi retired Paris gangster. René Dary is Riton, Max's old partner in crime. Lino Ventura plays Angelo the drug lord of a narcotics gang. Paul Frankeur is Fats Pierrot the Mystific night club owner. Michel Jourdan is Marco, Dora Doll is Lola, the dancer who goes out with Max. Paul Œttly plays Oscar, Max's fence, Oscar's secretary is played by Marilyn Buferd plays Betty, she is also a mistress of Max. Jeanne Moreau plays Josy, dancer who goes out with Riton.

It's the story of two semi retired gangsters, Max and Riton good friends who are getting old. They live off the somewhat "honest" money they skim from their cuts and connections. They pulled one last big job years ago and the gold bars they stole is their hidden stash for their full retirement. They have their club, their restaurants, their girlfriends. When Josy Ritons gal pal begins to do coke and stray he brags about having the stash in an effort to reign her in. She becomes his femme fatale when she tells Angelo the pusher. 

This is a perfect film, Jean Gabin's performance is excellent. Throw in Lino Ventura and a young Jeanne Moreau as a cabaret dancer and the exquisite Black & White cinematography of Pierre Montazel all under the direction of Jacques Becker and it all adds up to Masterpiece. 10/10. A fuller review with screencaps in Film Noir/Gangster pages

 

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The Flight That Disappeared (1961) Prime Video

The entertainment disappears about halfway through this thing, but at least the film is somewhat intriguing to start off. A plane carrying a nuclear scientist, rocket designer, female mathematician, the woman who had those pulsating veins in her head in the Star Trek pilot, and normal people, inexplicably starts gaining altitude. Air Traffic Control has no idea what the hell is going on, which is probably the most realistic event in the film. Eventually the plane arrives at a foggy purgatory containing a few rocks. There, a guy with no personality puts the trio on trial for just thinking about creating an awesome weapon. It seems the scientist is the father of the beta-thermonuclear bomb. What is not revealed is that he is also the father of the beta-max, which was an even worse bomb. The three are convicted of something, but then they are let off the hook.

The cast does nothing to distinguish themselves. Dayton Lummis, as the scientist, looks like he is either bored or suffering from constipation. Paula Raymond, as the mathematician, doesn’t get to do any mathematics. However, Craig Hill, as the rocket designer, does give his part a good try. Veteran character actor Addison Richards has a bit as “The Sage.” Now if the film only had characters named “Parsley,” “Rosemary,” and “Thyme,” this could have been interesting.

G4eYL0w.png

 

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16 hours ago, cigarjoe said:

Touchez Pas au Grisbi (1954) Classic French Noir Masterpiece

Poster%2B2.jpg

Don't touch the stash, is a French-Italian crime film directed by Jacques Becker (Le Trou (1960)). The film was written by Jacques Becker, Albert Simonin, and Maurice Griffe. It was adapted from Albert Simonin's novel of the same name.

The cinematography was by Pierre Montazel, the music was by Jean  W*i*e*n*e*r.

The film stars Jean Gabin as Max, an semi retired Paris gangster. René Dary is Riton, Max's old partner in crime. Lino Ventura plays Angelo the drug lord of a narcotics gang. Paul Frankeur is Fats Pierrot the Mystific night club owner. Michel Jourdan is Marco, Dora Doll is Lola, the dancer who goes out with Max. Paul Œttly plays Oscar, Max's fence, Oscar's secretary is played by Marilyn Buferd plays Betty, she is also a mistress of Max. Jeanne Moreau plays Josy, dancer who goes out with Riton.

It's the story of two semi retired gangsters, Max and Riton good friends who are getting old. They live off the somewhat "honest" money they skim from their cuts and connections. They pulled one last big job years ago and the gold bars they stole is their hidden stash for their full retirement. They have their club, their restaurants, their girlfriends. When Josy Ritons gal pal begins to do coke and stray he brags about having the stash in an effort to reign her in. She becomes his femme fatale when she tells Angelo the pusher. 

This is a perfect film, Jean Gabin's performance is excellent. Throw in Lino Ventura and a young Jeanne Moreau as a cabaret dancer and the exquisite Black & White cinematography of Pierre Montazel all under the direction of Jacques Becker and it all adds up to Masterpiece. 10/10. A fuller review with screencaps in Film Noir/Gangster pages

 

Joe, I liked this film even better the second time around. The first time I was expecting a little more action in the opening section, but on re-watching I loved all the details about the gangsters' lives. I also really liked the middle-aged woman behind the bar who used to be Gabin's mistress, but has evolved into a friend who just watches as he runs after much younger women. Lots to like about this film.

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1 hour ago, kingrat said:

Joe, I liked this film even better the second time around. The first time I was expecting a little more action in the opening section, but on re-watching I loved all the details about the gangsters' lives. I also really liked the middle-aged woman behind the bar who used to be Gabin's mistress, but has evolved into a friend who just watches as he runs after much younger women. Lots to like about this film.

I originally gave it a 9.5/10 but the second go round caught the full uncensored director's cut.  

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Compartiment tueurs aka Sleeping Car Murders (1965) Masterpiece Policier

Poster%2B1%2Bfix.jpg

"The greatest film policier ever made."(Dave Jenkins SLWB)

Directed masterfully by Costa-Gavras (Z (1969)). Compartiment tueurs (literally translates as "Killers Compartment") is an excellent "Policier" Noir, but also functions as an Ensemble Noir. We call them here Police Procedurals, Classic Noir films like Naked City, He Walked By Night, White Heat, The Street with No Name, Appointment with Danger, Mystery Street, The Sniper, Detective Story, Cop Hater, The Tattooed Stranger, and Shield for Murder. Transitional Noir Films like Experiment In Terror, The Manchurian Candidate, In The Heat Of The Night, and In Cold Blood cover the same territory. At the same time there were lots of equally good foreign procedurals, in fact, quite a few UK Noirs are police procedurals a classic of note being The Blue Lamp. There is also Stray Dog and High And Low from Japan, and from Germany one of the catalysts of the sub genre, the original M.

All of the cast is exemplary, especially Yves Montand (The Wages Of Fear, Is Paris Burning?, Grand Prix, Z) who reminds me of a cross between Bogart and a "baby I don't care" Mitchum. Simone Signoret (Dédée d'Anvers) (Montand's wife at the time) is good as the actress past her prime. Signoret's real life daughter Catherine Allegret (from her marriage to director Yves Allegret) is also impressive.

Another French Noir masterpiece 10/10. Full review with screencaps in Film Noir/Gangster.

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THE WORLD'S END (2013) *Score: 4/5 

Starring: Simon Pegg, Nick Frost, Rosamund Pike, Martin Freeman, Paddy Considine. 

Yet another Edgar Wright film I enjoyed immensely. I seriously had such a fun time watching this. Now for Baby Driver and Hot Fuzz. 

The Boys are Back and Headed to "The World's End" (2013) - i luv ...

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On 5/10/2020 at 2:08 PM, LornaHansonForbes said:

THIE MOVIELAND CHANNEL continues to be where it IS AT though- I sat down yesterday morning and watched A NIGHTMARE ON ELM STREET (1984) for what I think was the first time in one full viewing (I saw it in pieces as a kid.)

RIGHT OFF THE BAT, I HAVE TO DEDUCT POINTS for the fact that this movie is set in OHIO and features more OBVIOUS L.A. LOCALES than L.A. STORY- every car has blue CA license plates and there is a prominent scene that takes place in HOLLYWOOD FOREVER CEMETERY...there are numerous, lengthy scenes with un-cropped ROWS OF KING PALM TREES and BIRDS OF PARADISE and BOUGANVILLAS PROMINENTLY IN THE BACKGROUND- NONE OF WHICH do well in OHIO. THEY DO NOT EVEN TRY TO CROP, HIDE, OR OBSCURE THEM.

ie:

295?cb=20121003074720Is  there some part of OHIO that gets a tropical jet stream that I am unaware of?

Just set it in CA already.

Still, I would be lying liar if I said this film does not have some of the MOST EFFECTIVE HORROR SHOTS EVER- the scene where the first victim does a kind of FRED ASTAIRE-IN-ROYAL WEDDING thing as she is brutalized all over the walls and ceiling is great.

it also helps that ROBERT ENGLUND- who, I'm sorry- I just don't think much of as an actor- has only 7 minutes of screentime and not much dialogue.

There are some issues I have with the ending and I think the sum of all the parts is not as great as those parts themselves- but that said, said parts are pretty memorable.

This film also has one of MY FAVORITE 80'S HORROR TROPES- which is A CHARACTER NAMED TINA  whose fate and/or whereabouts and the discussion of (or looking for) makes up about 20% of the film.  according to imdb, the name "TINA" shows up 39 times in the film, which is more than it does in WHAT'S LOVE GOT TO DO WITH IT?

 

Trust me, we do not! I WISH (tropical jet stream) Was 31 this morning. A record.

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