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Pretty good. Kept waiting for young Georgie to take a solid ass kickin' which never came, but watching Ann Baxter repeatedly stuff him was a nice consolation. When it comes to putting together a movie Welles is just incredible. Even when I don't like his movies I still kind of like them.




Sorry to Bother You (2018, Boots Riley)

Thought-provoking socio-political satire with some genuinely funny/surreal moments, but a bit of a mixed bag in terms of execution imo.
That whole final third was just nuts and left me with conflicting feelings as the final credits rolled, but there's no denying this is a film that has a lot to say and says it with a blunt, rebellious boldness, and I def appreciated that.
I really liked this. I agree that the final third was nuts, but by then, I was fully on board.
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DEVIL
(2010, Dowdle)



"I don't believe in the Devil. You don't need him, people are bad enough by themselves."

Based on a story from M. Night Shyamalan, Devil follows a group of five people that end up stuck in an elevator in an office building. Coming from different walks of life, the group tries different ways to cope with the anxiety, but tension escalates as time passes by and they seem to be haunted by an evil presence. In the meantime, a detective (Chris Messina) is sent to investigate the incident.

Most of the characters backgrounds unfold as the plot progresses, as we see them interact and each of their backgrounds are exposed. Here is where the film excels most, as director John Erick Dowdle manages to create an unsettling and dread-filled atmosphere in an enclosed space where you're really not sure who to trust. He is also helped by solid performances, especially Bookem Woodbine and Logan Marshall-Green.

Grade:



Full review on my Movie Loot



Bright light. Bright light. Uh oh.

Dino (Thomas Carr, 1957)
5.5/10
There Goes the Bride (Terry Marcel, 1980)
- 5/10
The Last of Sheila (Herbert Ross, 1973)
7+/10
Gold (Anthony Hayes, 2022)
6/10

In a dystopian near-future, two men (Anthony Hayes & Zac Efron) find a humongous gold nugget but have no way to transport it.
Hotel Rwanda (Terry George, 2004)
7+/10
Night Watch (Brian G. Hutton, 1973)
6/10
Rucker (Amy Hesketh, 2022)
+ 4.5/10
A Cry in the Dark (Fred Schepisi, 1988)
7/10

Lindy Chamberlain (Meryl Streep) and her husband Michael (Sam Neill) undergo a two-year ordeal of trial for murder in court and the media when their baby is taken by a dingo near Ayers Rock but the authorities don't believe them.
Somebody Up There Likes Me (Robert Wise, 1956)
6.5/10
Cat on a Hot Tin Roof (Richard Brooks, 1958)
7+/10
Mickey One (Arthur Penn, 1965)
+ 4.5/10
Flee (Jonas Poher Rasmussen, 2021)
6.5/10

Amin is interviewed about his and his family's tough life in Afghanistan. His father denounced the government and he's gay.
Liborio (Nino Martínez Sosa, 2021)
6/10
Wait Until Dark (Terence Young, 1967)
7+/10
40 Carats (Milton Katselas, 1973)
5.5/10
I Am a Camera (Henry Cornelius, 1955)
6.5/10

In 1932 Berlin, struggling English writer Christopher Isherwood (Laurence Harvey) comes to the aid of promIscuous Sally Bowles (Julie Harris) in this precursor to Cabaret.
Men of America (Ralph Ince, 1932)
5.5/10
Heaven Reaches Down to Earth (Tebogo Malebogo, 2020)
5/10
Follow the Boys (Richard Thorpe, 1963)
5.5/10
Liyana (Aaron & Amanda Kopp, 2017)
6.5/10

The collective storytelling of five Swazi orphans creates an animated story of a fictional Swazi girl who has to overcome her own problems.
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How about deleting the spoiler? I intended to watch this.
Yeah, that really hurt.
This was on my list.
For what it's worth, Jeanne Dielman is actually fantastic. I knew the ending going into it as well and I still loved the film.
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I Am a Camera (Henry Cornelius, 1955)
6.5/10

In 1932 Berlin, struggling English writer Christopher Isherwood (Laurence Harvey) comes to the aid of promIscuous Sally Bowles (Julie Harris) in this precursor to Cabaret.
Nice to see a little love for this mark - sure, Cabaret is a better treatment of the source material (it's let be honest about his sexuality for a start), but hardly anyone ever seems to check this prior version out.



Triangle (2009)

The film's concept is a huge turn-off for me. I've never liked those. There are a couple of nice scenes, but for the most part, it just jumps through the required hoops. And yes, I'm being vague on purpose.
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Triangle (2009)

The film's concept is a huge turn-off for me. I've never liked those. There are a couple of nice scenes, but for the most part, it just jumps through the required hoops. And yes, I'm being vague on purpose.

yeah i wasn't too impressed with triangle either, it's a good movie but not a whole lot of substance.



Victim of The Night
Triangle (2009)

The film's concept is a huge turn-off for me. I've never liked those. There are a couple of nice scenes, but for the most part, it just jumps through the required hoops. And yes, I'm being vague on purpose.
Don't let Tak here you say this.
Also I really liked it I just thought the ending was a little overdone, like Black Death.



Women will be your undoing, Pépé
Hell yes; it has the most character development, the thing that always gives Tarantino's movies their actual substance, which is why a lot of the movies he's done since have let me down, since they've often been so lacking that department. I mean, I think the one scene where Max talks about
WARNING: spoilers below
how he decided he wanted to quit being a bondsman while waiting all night for a guy in an apartment that smells like cat pee
has more character development than the entire 2 & 1/2 hours of Basterds.
That had more to do with the source material, Elmore Leonard's Rum Punch. The man KNEW characterization and storytelling to an art form and why various film adaptions were made throughout his writing career. Tarantino simply had to cut and paste and sprinkle his flair on top.
I LOVE Jackie Brown for both Leonard's story and Tarantino's style when adapting it to the screen.
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Women will be your undoing, Pépé



Commissaire Edouard Coleman: The only feelings mankind has ever inspired in policemen are those of indifference and derision.


Un flic aka A Cop (1972)
+++ Director/Writer Jean-Pierre Melville displays his usual penchant for stylized crime as Alain Delion (Commissaire Edouard Coleman) half-heartedly pursues a passing associate (Richard Crenna). He leads a gang of Bank Robbers while seeing his girlfriend (Catherine Deneuve) on the side.

Unlike many other Police procedure films, Delion's attitude is easily summed up in the quote above. He does not pursue justice with dogged persistence. He simply exists on the merry-go-round of everyday police work. A repeated instance of this is whenever he is in his car and gets a call from dispatch; he says the same three statements. "Yeah?" "Where is it?" "I'll call you after."
It is not to say he is a slouch at his job. He gets the job done, but he is indifferent and emotionally cut off. Even when he slaps someone, he is interrogating. It's effective, but it's a job, nothing more.
And Delion, as anyone who has seen his work, is exceedingly capable of conveying "stilled waters" that hint at something dangerous beneath.

A world-weary demeanor that works immensely well for this and flows outward to the criminals who treat the robberies as a well-acquainted business.

I think my only bemused critique is the apparent use of a model train and helicopter used during the final heist.
Other than that, a solid Melville film. Not top-shelf Melville, but very worthwhile.



Women will be your undoing, Pépé




The Buccaneer (1938)
The extravagant spectacle that is a Cecil B. De Mille film. It sets the bar for what we now refer to as a Blockbuster movie in this semi-fictional telling of the Privateer Jean Lafitte's participation in the Battle for New Orleans in the War of 1812.

Watching Anthony Quinn's 1958 remake last year, I had commented that there was a grandiose potential that he most likely was unable to get the funding for. Watching the original, I see that potential explored and realized with full glory under the maestro of grandeur, Cecil B. De Mille.

And in his grandeur, we have an epic Blockbuster with all that it entails. Lavish sets are used to their full effect by crafted camerawork - a plethora of top-notch actors, including Frederic March as Lafitte. As well as the scene-stealing adoration I had for Franciska Gaal (Gretchen) and Lafitte's Number Two Man, Dominique You (Akim Tamiroff). And notably, a delightful portrayal of First Lady Dolly Madison by Spring Byington.

As I remarked, this is a more realized production that includes the British's burning of the White House. De Mille delves into the many-faceted intrigues amongst the governing council of New Orleans, the British, and Lafitte, and the eventual direct, no-nonsense arrival of General Andrew Jackson (Hugh Sothern) and his fur-wearing aide, Peavey (Walter Brennan).
Filled with the epitome of bravado, daring, and excitement with a well-balanced story-telling that captures and endears you, I have found myself a new addition to my List of Popcorn-Devouring-Fun.



That had more to do with the source material, Elmore Leonard's Rum Punch. The man KNEW characterization and storytelling to an art form and why various film adaptions were made throughout his writing career. Tarantino simply had to cut and paste and sprinkle his flair on top.
I LOVE Jackie Brown for both Leonard's story and Tarantino's style when adapting it to the screen.
Not true. While the foundation is certainly there in Rum Punch, Tarantino's greatest contributions to the adaptation are his character changes, primarily to Max and Jackie, adding a great deal of restraint and quiet moments between them. In the book, Jackie is white and they start shacking up and hooking up pretty quickly in the novel. It changes virtually everything about them as characters.

And Tarantino wisely did that at the expense of things many would call "Tarantino-esque," such as more shootouts with grenade launchers and verbose gang members.



And Tarantino wisely did that at the expense of things many would call "Tarantino-esque," such as more shootouts with grenade launchers and verbose gang members.
Note to self: read Rum Punch.



28 days...6 hours...42 minutes...12 seconds
Triangle (2009)

The film's concept is a huge turn-off for me. I've never liked those. There are a couple of nice scenes, but for the most part, it just jumps through the required hoops. And yes, I'm being vague on purpose.
I liked it more than you, but had issues with the memory of the character. Unless I missed something.
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Suspect's Reviews




Wander (2020)

Starring: Aaron Eckhart, Tommy Lee Jones, Katheryn Winnick, Heather Graham
Direction: April Mullen Cinematography: Gavin Smith, Russ De Jong (cameras)

There are two impressive aspects in this film: the extraordinary first rate acting by Aaron Eckhart, and the photography by Gavin Smith, who is chiefly a TV series DP. The thriller story is intricate, but it holds one engaged, providing both suspense and tension.

The protagonist is a retired detective with PTSD (Eckhart) who has mental issues following an automobile accident which killed his daughter and made his wife a catatonic. Although he sees conspiracies lurking everywhere, he does occasional private investigative work for an attorney. At night he and a pal (Jones) provide a conspiracy theory podcast on the internet. One of their listeners contacts the detective, prevailing upon him to go to Wander, NM to investigate the murder of her daughter, which she believes has been ignored by the local police. She will pay $10,000. When the P.I. travels to the town he is not welcomed, and it appears that something fishy is going on beneath the surface.

While he investigates further, his paranoia kicks in as he shadows certain individuals, and trespasses on to certain secret sites to eventually learn that victims have been kidnapped and have had microchips implanted in order to gain control over them. The detective has his pal join him to help seek the truth. His lawyer soon (Graham) and a CIA agent become involved. At that point the action gets more complex, with the detective seemingly going in and out of reality, leading to several twists in the story along with a surprise ending. The adage, “Just because you’re paranoid doesn’t mean that they’re not after you” applies here.

This is an absorbing picture which provides a fresh approach to more typical P.I. thriller type stories. The desolate New Mexico settings provide a barren mood which contrasts to the complexity of the story. Everything about the town of Warren is mysterious and foreboding although on the surface it has the patina of innocence. The first third of the movie draws one in with its novelty, then one is hooked in to the finish.

There were several detractions. The directing resulted in editing that was at times repetitive, and at others confusing. Another was the lack of explanation why people were implanted with chips in the first place. What was the purpose? That was never mentioned, so it rather left a hole in the basis of the story.

This is one of those pictures that instills the urge to watch it again. Once the ending is revealed one wonders why one didn’t see it coming. And also it provokes the desire to study its shifts and twists in order to understand it better.

Perhaps it was too small of a picture for award consideration. But Aaron Eckhart’s performance certainly deserved contention.

Doc’s rating: 8/10



Dodge City - The word most frequently used in describing this 1939 western starring Errol Flynn and frequent onscreen collaborator Olivia de Havilland is lavish. And it is. Filmed in eye-catching Technicolor with plenty of grandiose set pieces. The vibrant colors actually triggered one of my pet peeves. It's admittedly a minor one but whenever an old time western (or any other costume epic for that matter) features splashes of bright primary colors it goes a ways towards taking me out of the moment. I find it hard to reconcile that such colors were readily available in any period piece. It's a small quibble and I suppose if a studio invests the money for the Technicolor process they're gonna want to take it for a spin.
...
85/100
Funny, when I saw the clip, my first thought was that it was Tom Conway (George Sanders' brother). Looking like Flynn probably didn't hurt Conway's career..

So many great films from 1939, and this was one of them. Flynn, de Havilland, and the "oomph" girl, Ann Sheridan (just watched her in Nora Prentiss the other night). Nice review.



Women will be your undoing, Pépé
Not true. While the foundation is certainly there in Rum Punch, Tarantino's greatest contributions to the adaptation are his character changes, primarily to Max and Jackie, adding a great deal of restraint and quiet moments between them. In the book, Jackie is white and they start shacking up and hooking up pretty quickly in the novel. It changes virtually everything about them as characters.

And Tarantino wisely did that at the expense of things many would call "Tarantino-esque," such as more shootouts with grenade launchers and verbose gang members.
Been way too long since reading Rum Punch I do remember Tarantino mixing some things up so THANKS for the specifics.

I am a fan of both Tarantino and of Elmore and have always enjoyed the marriage of the two via Jackie Brown.



27th Hall of Fame

Dolores Claiborne (1995) -


This film ranks amongst the better Stephen King adaptations I've seen. Normally, I'm not a big fan of horror/thrillers with a flashback structure as I find this can rob the film of narrative momentum, but I found that the flashbacks were woven into this film quite well as, instead of cutting away from crucial tension-building moments, they added more insight to the mystery of the characters. Speaking of which, the characters were quite compelling. The film makes it clear that Dolores' rough outer exterior comes from the many years of abuse she received from her husband. The line "sometimes, being a bitch is all a woman has to hang onto", in spite of the diminishing returns I felt over it being used more than once, sums up Dolores' emotional damage really well. Your perception of Dolores changes as you watch the film and, though I can't elaborate too much on this without spoiling key parts of the film, I thoroughly enjoyed that dynamic. I also found Selena compelling as her perception of her mother was complicated by her prior troubled history with her and her skepticism over her innocence. In reality though, they both need each other more than ever. Also, Bates, Leigh, and Plummer do a great job in this film and, aside from the occasional bit of weak dialogue here and there, they play their parts well. I also enjoyed some of the technical choices, like the changing color schemes. In the "present day" portions of the film, it looks like all life has been drained from the film, while the more vibrant flashbacks act as a contrast from this bleakness (the color grading in the solar eclipse scene is especially impressive, as others have noted). Overall, I enjoyed this film quite a bit and I'm happy to have another King adaptation under my belt.