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Into the Infinity of Thoughts
The third film directed Visconti

★★★★
The great illusion -- Anna Magnani can go from comedy to drama in such a natural way! I loved her.
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You mean me? Kei's cousin?


I never get tired of this one. No matter how many times I've seen it, it's still a ridiculously fun and exciting film with an absurd amount of nuances to pick up on with repeated viewings, undoubtedly not only my favorite anime, but my favorite animated film overall. This time around, simply by bumping my HDTV's volume up to 60, I heard all the sound effects I never noticed before. Kaneda's bike comes alive like never before, the elevator when the Colonel and the doctor have that conversation, in which the former resolutely states, "It's a soldier's duty; you wouldn't understand," emits a brand new hum, voices resonate in an all-new manner, footsteps sound with a brand new thump, and the drums in the Geinoh Yamashirogumi score bang with a brand new resonance... And this is the Streamline dub, though it actually sounds, to these ears anyway, considerably better than the hypersonic track, in which the chants sound considerably weak, faded and lifeless... Which is somewhat baffling considering that Dr. Shoji Yamashiro himself is the one who put that track together. Another thing I've noticed is that Tetsuo is different from other film villains in that... Well, you actually feel bad for the kid and it's one of the things that makes Akira so fascinating. Even as he murders more and more people, even when he kills Yama at the bar, with his newfound power, you can see that he's clearly screwed up in the head and not in his right mind; hell, he acts like my sister when she's having a behavior about cigarettes, especially during the scene where Kaneda says, "That's enough, Tetsuo! Are you tryin' to kill him?" when he repeatedly beats a clown with the intention of murder. He's not the most likeable character (that's easily Kaneda, for my money), but he is a damned fascinating character. The film is also exceptionally well-written, yes, even the Streamline dub some like to crap on, despite what some say about it; I really like how Clarke's Kaneda's "Now you're king of the mountain, aren't ya, but it's all garbage!" links directly back to an earlier scene where Rabson's Tetsuo says, "I'm king now! All right, Kaneda! Do you hear me?" in turning Tetsuo's own words against him. The well-placed humor (most involving Kaneda's interest in Kei) still works to keep the film from devolving into simply being depressing and horrifying. And, of course, the action is still that much fun. Yes, indeed, still a state of the art adventure with a thought-provoking subtext on the abuse of power and I highly recommend it to any lover of not just animation but film in general.


While it might seem odd to pair with Akira, the two are closely intertwined as being the two that got me into anime. Of course, I had to turn it back down to 40. This one is loud. I mean, it's an assault on the eardrums if your set is loud enough. Honestly, watching them so close together, I did notice that they share some thematic DNA. Let me explain: there's a scene where Nausicaš says, "Stop it! All this killing must stop!" Both films deal with this, though Otomo's film deals with it on an R-rated level, depicting Tetsuo's self-destruction as he murders more people and destroys more of Neo-Tokyo in the process, while Miyazaki's is at least a little more optimistic, while still showing that the Tolmekians and those like them are on that road if they don't change their ways. Both also deal with the abuse of (and greed for) power (Castle in the Sky also deals with this), Otomo's film with Tetsuo's abuse of telekinesis leading to the infamous mutation scene where in Miyazaki's film, Kushana's attempt at using the Giant Warrior to wipe out the Ohm culminates in its destruction. And after having seen all of his works, it's still my favorite Miyazaki film and second only to Akira when it comes to my favorite anime and animation overall and, again, one I highly recommend to any lover of film. Later, guys.



Gangster Rap is Shakespeare for the Future
Million Dollar Baby (2004) by Clint Eastwood



It's incredible how Eastwood never writes yet makes what feels like such personal films. What a terrible outlook on the connections that most people value the most. Once again, Eastwood's characters are mostly John Waynes, no-names without true pasts, and everything is determined by their present actions and mood. I don't know if I've ever seen a more anti-family movie, one where those connections are demonized over connections of nobody to nobody, but based on mutual respect. Eastwood, as someone who has been married and with different partners many times, is justifying his actions, his relationship with Maggie is as close to romantic as a film looking for Oscar revenue would allow. This is a film about what it means to be lonely, and what it means to form connections based on a mutual loneliness.

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Mubi



LAST HOUSE ON THE LEFT (2009)

If excessive violence and blood is your bag then you will like this Wes Craven offering. It is a remake of his 1972 film of same name which I did not see. So I can not compare them. There are scenes of sexual assault, a knife being thrust into a girl's stomach, an axe splitting a head and an arm being shoved into a waste disposal. That is just for starters. The cast are a bunch of unknowns.. at least to me. This could have been quite a good psycho thriller had the storyline not been hijacked by the over the top graphic and gratuitous violence.



Dr Terror's House of Horrors (1965)

The "terrifying" horror man-killing vine with a human brain that creeps and kills, also, a terrifying horror entombed for 200 years that creeps its way back to terrorize the living. *scream* The terrifying horror of a dreaded man called Dr. Terror who with his deck of mystic cards could foretell events yet to come. Pretty cool cast with Christopher Lee, Peter Cushing, & Donald Sutherland.

Rating:
7.0 / 10



The Midnight Hour (1985)

A 1985 TV film starring Shari Belafonte and her teenage friends who set loose mobs of zombies, witches, and vampires on their small New England town after unlocking a centuries-old curse. Song artists featured include Wilson Pickett, Creedence Clearwater Revival, Sam and the Sham and the Pharaohs, Three Dog Night, and The Smiths. Didn't notice this when I watched, but also apparently features Macaulay Culkin in his first screen appearance as an uncredited trick-or-treater. Is it actually any good? Well, I presume you read what I just wrote and are aware it's Nostromo writing this. Back when movies and everything generally was more fun and carefree.

Rating:
+ 7.5 / 10

"Get Dead" 80s Dance Video






@nostromo87. Dr Terrors House of Horrors is a fun ride. Typical Amicus fare. I have to say I thorouly enjoy these Brit horror anthologies. Made by two Americans who know how to entertain their audience..Lifting their level of quality are horror icons such as Christopher Lee and Peter Cushing heading the cast.



You mean me? Kei's cousin?


This is yet another that never gets old. It's consistently fun and exciting going along for the ride on Sheeta and Pazu's adventure and watching Leachman's Dola chew up the scenery always brings a smile to the face, especially as she proves herself more compassionate than she initially lets on; of course, I still think Disney put a really good dub together for the film, with Paquin (as Sheeta), Van Der Beek (as Pazu), Leachman and Hamill (as Muska) standing out. For the record, it's worth mentioning that there's two versions of it on Shout Factory's Blu-ray, a DTS-HD Master Audio 5.1 track with Hisaishi's (Miyazaki-approved) expanded music score that he put together specifically for the 1998 dub and a Dolby Digital 5.1 track containing a 2010 remix of the dub which removes the expanded score. Needless to say, the DTS-HD Master Audio track stands head and shoulders above the Dolby track sonically with the difference in amplitude and clarity alone and opinions differ, but... The expanded music score is, for my money, much better than the original synthesizer score. Don't get me wrong, the original score is good, it's just that the expanded score is a big improvement that makes Castle in the Sky feel like a more complete film; just compare the big destruction scene at the end (any scene in the film, really). Also, I've found from a brief comparison that unlike the Japanese DTS-HD Master Audio 2.0 track, the Dolby Digital 5.1 version of the dub and the French Dolby Digital 2.0 dub, the song at the end, Carrying You (Kimi wo Nosete in Japanese), plays to its entirety on the DTS-HD Master Audio 5.1 dub where it comes off as truncated on all of the other tracks. It's also, after seeing all of his films, easy to see that Muska is, along with the Count of Cagliostro, the most overtly evil character Miyazaki's ever created. Kenneth Brown once said in his review of Disney's 2012 Blu-ray release that the odds Sheeta and Pazu face weren't as dangerous or insurmountable as what Nausicaš comes up against, but after seeing the film multiple times, that's not really a fair comparison since we're talking about a couple of 12-year-olds constantly being shot at and chased (not to mention Pazu is once pistol-whipped) by greedy adults who don't care who they have to kill to get the crystal and Laputa's treasures. It's still immensely satisfying seeing the adults in question get their comeuppance, as Paquin's Sheeta drives it home that "a king without compassion does not deserve a kingdom" and "the world cannot live without love." It's also great picking up on all the nuances, like seeing Pazu's dad in that cloud and noticing that there are fox-squirrels like Nausicaš's on the island of Laputa. So, it's still my second favorite Miyazaki film and my favorite "official" Ghibli film (since Nausicaš of the Valley of the Wind was made and released before the studio's conception) and one I highly recommend to anyone who claims to be an adventure lover. Later, guys.



A Quiet Place (2018)

Wow, a brilliant, tense, powerfully acted horror movie that plays with almost no dialogue. A great directing job by John Krasinski, who also plays the father here. His wife is played by real-life wife Emily Blunt who brings her acting chops to the film with her beautiful face doing all the telling. But the film is pretty much stolen by the young, real-life deaf actress, Millicent Simmonds, who plays Krasinski and Blunt's deaf daughter in the film. Ever emotion, every feeling, is displayed by Simmonds with great authority for a young teen who is just a phenomenal find. I look forward to seeing her in more roles because she knocks this one out of the park. Noah Jupe does a fine job as the young son of the family.

The movie involves a post-apocalyptic world that has been taken over by creatures that hunt by sound. They are blind and apparently cannot smell but the slightest sound will bring them running and they will rend their victims to pieces. The Abbott family has survived for well over a year, finally finding an abandoned farm that suits their survival needs well. But the creatures are always lurking around and the movie kept me on edge as there is one mistake after another or an accident that will send the monsters scurrying.

The almost-complete non-sound is practically a character in the film, with long silences covered by sign language between the family members. And then, when there is noise, the biggest noisemakers are the creatures. And their appearance is really gnarly---they remind me somewhat of Venom from Marvel Comics, except these critters do not have eyes, just large hearing sensors that put them wise to their prey. Nice creature design.

Blunt's character is very pregnant here and there's the worry of how will they survive with a crying baby in this terrible world. But,
WARNING: spoilers below
this resourceful family already have that covered, as well as how to alert each other when danger is about and they (the family) are not in the same area of the farm.


I had a feeling I would love this film, so I took a chance and bought the DVD, sight unseen. I do not regret it a bit. This film is a total winner and I can't really go into much more without spoiling twists and turns. Just let me say that it starts off tense and never lets up.



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"Miss Jean Louise, Mr. Arthur Radley."



Hellloooo Cindy - Scary Movie (2000)
LAST HOUSE ON THE LEFT (2009)

If excessive violence and blood is your bag then you will like this Wes Craven offering. It is a remake of his 1972 film of same name which I did not see. So I can not compare them. There are scenes of sexual assault, a knife being thrust into a girl's stomach, an axe splitting a head and an arm being shoved into a waste disposal. That is just for starters. The cast are a bunch of unknowns.. at least to me. This could have been quite a good psycho thriller had the storyline not been hijacked by the over the top graphic and gratuitous violence.
Yea I agree. That rape scene goes on for way too long. Made for very uncomfortable viewing. Makes me think poorly of the director. Not necessary.



THE IMPOSSIBLE (2012)..



This disaster film is based on the actual 2004 Boxing Day Tsunami that caused mass destruction and took 230,000 lives in 14 countries. A terrible tragedy. The story follows a Brit family (actual family were Spanish) who are hit by the full force of the massive tsunami while holidaying in Thailand. The mother is severely injured and along with her eldest son is separated from her other two boys and her husband...who we discover later are found safe in the remains of their hotel. I have to say there are some excellent special affects in this Spanish made film which brings to live that catastrophic morning in vivid detail. Australian Naomi Watts and Scots actor Ewan McGregor play the couple coming to grips over the possible loss of a loved one. There is also a fine performance by child actor Tom Holland. Exciting, moving and inspiring sums up The Impossible.





Rather good though I donít want to see it again. Only odd thing was Mahershala Ali completely disappearing from the movie halfway through.
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Iím here only on Mondays, Wednesdays & Fridays. Thatís why Iím here now.



This might just do nobody any good.
Only odd thing was Mahershala Ali completely disappearing from the movie halfway through.
It punctuates how hard it is for Chiron to find people who understand and accept him and how easily theyíre lost to him. Itís what makes the reunion with Kevin all the more powerful.



Good point. I guess I was under the mistaken impression that Mahershala Ali was like the star of the movie. Anyway, good movie. Nothing fake or phony. Painful to watch.