Death Proof is a turning point in Tarantino's career and it shows his writing and directing have a bit more maturity and allows for things to settle-in with a lot of patience. At the point Death Proof came out Jackie Brown was my favorite Tarantino film. Pulp Fiction is great fun and cleverly constructed and just a joyous film for me, but it's not a great or groundbreaking film in my eyes. Reservoir Dogs and Kill Bill 1 and 2, I have little use for. They aren't bad films by any means, they just don't do much for me. So the whole Kill Bill years was a HUGE misstep after Jackie Brown, but it wasn't until Death Proof that I really started to see something singular and unique about Tarantino which of course a couple films latter led up to what I consider to be his magnum opus and one of the best films of all time , certainly of the last 10-15 years or so which is The Hateful Eight. But I DO love Death Proof and how it was such a slow burn for the first 45 minutes or so.
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RESERVOIR DOGS
(1991, Tarantino)

(1991, Tarantino)

"Two jobs back, four man job, two days before we get about to pull it, we found out one of the team was an undercover cop."
This 12 minute short film follows the preamble and the aftermath of the robbery, starting with Larry (Steve Buscemi) being offered the job, followed up by him trying to figure out what went wrong along with one of his fellow robbers, Mr. White (Tarantino). Essentially, Buscemi is in the Harvey Keitel role while QT is in Buscemi's. This contrast made it hard for me to sorta "accept" Buscemi in the role.
Grade: N/A
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Criss Cross -
As Courage the Cowardly Dog puts it, "the things I do for love." This quote entered my brain after picking up the pieces of this movie because wow, does hapless armored car driver Steve (Lancaster) make you wonder about the things you would do! I've only seen the actor in roles where he's "been through it," - see Atlantic City and Field of Dreams - or "knows the score" - see The Sweet Smell of Success - so it was a nice change of pace to watch him play an everyman who makes it up as he goes along, if you will, and he definitely pulls it off. While Steve did not come back to America after serving in the war like so many other film noir "heroes" did, he's especially convincing at proving you can’t go home again and not just because the ex-wife he still pines for is with someone else. It's not hard to see why he would since De Carlo makes Anna irresistible from frame one, and Duryea imbues new flame Slim Dundee with just the right amounts of deception and smarm. Upon learning Steve's profession, my anticipation rose for a heist scene, and boy, did it exceed my expectations! Despite occurring in heavy fog, the excitement, fear and quality of the craft make it seem ahead of its time. As for the titular event, I don't think it's a spoiler to say that it's devastating, although what the movie hints at afterwards - and with delightful subtlety, I might add - takes the edge off by just the right amount.
This is a classic film noir for again, doing a great job at making you think about what you would do for who you love. The same goes for how it makes you wonder how much is too much. Also, if you're mostly familiar with Burt Lancaster from the work he did at the end of his career like I am, this movie is as good a place as any to spark an interest in his early work, not to mention see him in a much different kind of part. What's more, if you're also drawn to this genre to bask in the beauty and unique atmosphere of 1940's Los Angeles, you will not be disappointed in this regard.
As Courage the Cowardly Dog puts it, "the things I do for love." This quote entered my brain after picking up the pieces of this movie because wow, does hapless armored car driver Steve (Lancaster) make you wonder about the things you would do! I've only seen the actor in roles where he's "been through it," - see Atlantic City and Field of Dreams - or "knows the score" - see The Sweet Smell of Success - so it was a nice change of pace to watch him play an everyman who makes it up as he goes along, if you will, and he definitely pulls it off. While Steve did not come back to America after serving in the war like so many other film noir "heroes" did, he's especially convincing at proving you can’t go home again and not just because the ex-wife he still pines for is with someone else. It's not hard to see why he would since De Carlo makes Anna irresistible from frame one, and Duryea imbues new flame Slim Dundee with just the right amounts of deception and smarm. Upon learning Steve's profession, my anticipation rose for a heist scene, and boy, did it exceed my expectations! Despite occurring in heavy fog, the excitement, fear and quality of the craft make it seem ahead of its time. As for the titular event, I don't think it's a spoiler to say that it's devastating, although what the movie hints at afterwards - and with delightful subtlety, I might add - takes the edge off by just the right amount.
This is a classic film noir for again, doing a great job at making you think about what you would do for who you love. The same goes for how it makes you wonder how much is too much. Also, if you're mostly familiar with Burt Lancaster from the work he did at the end of his career like I am, this movie is as good a place as any to spark an interest in his early work, not to mention see him in a much different kind of part. What's more, if you're also drawn to this genre to bask in the beauty and unique atmosphere of 1940's Los Angeles, you will not be disappointed in this regard.
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Touch of Evil at the cinema.
Probably the greatest ever American movie and English language movie.
All time top 3 with Naked Island and Late Spring is my current feeling.
Probably the greatest ever American movie and English language movie.
All time top 3 with Naked Island and Late Spring is my current feeling.
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Ben C Lucas’s “OtherLife” is a captivating film about the invention of a drug that “induces time-compressed virtual realities.” The overarching plot of partners Ren and Sam’s disagreement on how to use their creation and other plot lines along with this, such as Ren trying to use the creation to bring her brother back mentally and the accidental death of a friend due to the drug, present a movie that keeps the audience extremely engaged and on their toes. The amazing cinematography to match this great story idea and suspenseful plot line make “OtherLife” a film you do not want to miss. The movie’s choice of camera shots/angles and creation of the virtual realities and memories in the film are exquisite and only add to the great script. In addition, the score of the film underlies the entire film with exactly the right haunting, suspenseful tone that matches the way the director wants the audience to feel. Lastly, Jessica De Gouw’s bright eyes, dark appearance, and stunning character performance of “Ren” make her the perfect portrayal of the lead of this sci-fi thriller.
Tristan +Isolde
(2006)
4/5
"I don't know if life is greater than death. But love was more than either."~Tristan
Taken from the multiple books of Arthurian Legend, Tristan and Isolde are two star crossed lovers, who were forced to be apart, but desire to be together. Tristan, an ophan and great warrior to King Mark and Isolde, the wife Tristan won for him.
I love this story. I have read so many versions of Arthurian Legend tales and this is my favorite. Its love and betrayal, understanding and forgiveness.

5th Rewatch...I don't know what else can be said about this movie that hasn't already been said. Still not sure if this or Goodfellas is Scorsese's masterpiece but this is the film that put him and Robert De Niro on the map. De Niro was incredibly denied an Oscar nomination for his Travis Bickle, an insomniac cab driver obsessed with killing a political candidate and saving a 12 year old prostitute from the streets. Beatrice Straight stole the Oscar that Jodie Foster should have won for her 12 year prostie, Iris. Just as dazzling as it was 40 years ago and I love Bernard Hermann’s music.
Melancholia (2011, Von Trier) - A+
Yeah, there's a good sense of dread built up as the film goes on. I just feel like it boils over in a short time, and then shifts to the new characters so there's little time to handle what happens before you have to get used to the new group.
WARNING: "quite spoilery" spoilers below
"Oh shit, every character but the villain just died. And... now we're starting over?" But with a very different set. One of the things about the first group is that they were kinda posers a little bit. Women who thought they were "badass bitches" but were nothing of the kind. But the second group... well, let me tell you that story.
IDLE HANDS
(1999, Flender)

(1999, Flender)

"Look, the trick is to keep yourself busy. That's why I'm always working on the Ford. Keeps me out of trouble. Idle hands are the devil's playground."
Idle Hands follows Anton (Devon Sawa), a lazy stoner teenager whose hand somehow gets possessed and starts doing all kinds of evil s-h!t. He is joined by his two friends, Mick and Pnub (Seth Green and Elden Henson) who try to help him contain his hand's evil powers, while Anton also pursues a relationship with Molly (Jessica Alba).
This is a film that had eluded me back in the day. 1999 was when I got out of college, so I suppose it was around a time where I wasn't paying that much attention to teen comedies. However, I found out that watching it now in my 40s was probably just as fun, cause even with its flaws, this film *is* fun!
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Touch of Evil at the cinema.
Probably the greatest ever American movie and English language movie.
All time top 3 with Naked Island and Late Spring is my current feeling.
Probably the greatest ever American movie and English language movie.
All time top 3 with Naked Island and Late Spring is my current feeling.

By http://www.impawards.com/2024/conclave_xlg.html, Fair use, https://en.wikipedia.org/w/index.php?curid=77899656
Conclave - (2024)
I enjoyed this. Doesn't demand too much, and frankly I could watch Ralph Fiennes all day - he dominates proceedings in Conclave, and gives a thoughtful, measured performance. I can't help but wonder though, not having read the novel, whether the adapted screenplay was tailored to suit dominant political issues besetting humanity these days, or if that's woven into the book as well. Aside from that, and the beautiful production design, it's a fascinating close-up and comprehensive view into the mechanics of a new pope being elected. Of course, the internal machinations are such that this makes a thriller of the highest order, and one that's particularly easy to follow yet very intriguing. I have to admit to the ending being a big surprise - and oh, I saw a still which shows Fiennes as Cardinal Thomas Lawrence with fresh wounds on his face before watching this and spent most of the film wondering how he gets them. Does he end up physically fighting one of the other cardinals? ("Dei requiéscant in pace motherf&^er!") The real reason is less crazy and comical, but my brain just couldn't summon what other possibility it might be. Stanley Tucci and John Lithgow are another two favourites of mine, and Isabella Rossellini is great in the small role she has. I'd been looking forward to this one and it didn't let me down at all.
8/10
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Twisters (2024)


I'm a sucker for disaster films and tornados are the main reason why my wife and I rule out moving to half the country. Those things are terrifying. Given technological advancements, I expected action at least as good or better than the original film but that wasn't the case. I am surprised to say that the cast from that first one was sorely missed. I'm sorry because I don't mean to be insulting, but having a lead actress who looks like she's 12 doesn't do it for me.
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RAIDERS OF THE LOST ARK
(1981, Spielberg)

(1981, Spielberg)

"It's not the years, honey, it's the mileage."
This is probably the 100th time I've seen this film. It was a frequent watch since I was a kid, and there's already a better review from me hidden around somewhere (click here). However, this was a first time watch for one of my kids, something that I was somewhat thrilled for.
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FROZEN
(2010, Green)

(2010, Green)

"If we stay up here we're gonna freeze to death and he's gonna die."
Frozen follows a trio of friends – Joe (Shawn Ashmore), his best friend Dan (Kevin Zegers), and his girlfriend Parker (Emma Bell) – that are vacationing on a ski resort and end up stranded in a ski lift. Now exposed to the freezing cold and the elements, and knowing that the resort will be closed for a week, the three friends must decide what to do if they want to survive.
Wisely enough, Frozen has a 93 minute runtime; maybe it could've been shorter, but I still feel like the film mostly succeeded in stretching this simple premise to a feature length. Even though being stranded in a ski lift doesn't necessarily scream "dangerous!", I liked the way that he made the most out of the different threatening situations they were facing, and how it all affected them mentally and emotionally.
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By http://www.impawards.com/2024/conclave_xlg.html, Fair use, https://en.wikipedia.org/w/index.php?curid=77899656
Conclave - (2024)
I enjoyed this. Doesn't demand too much, and frankly I could watch Ralph Fiennes all day - he dominates proceedings in Conclave, and gives a thoughtful, measured performance. I can't help but wonder though, not having read the novel, whether the adapted screenplay was tailored to suit dominant political issues besetting humanity these days, or if that's woven into the book as well. Aside from that, and the beautiful production design, it's a fascinating close-up and comprehensive view into the mechanics of a new pope being elected. Of course, the internal machinations are such that this makes a thriller of the highest order, and one that's particularly easy to follow yet very intriguing. I have to admit to the ending being a big surprise - and oh, I saw a still which shows Fiennes as Cardinal Thomas Lawrence with fresh wounds on his face before watching this and spent most of the film wondering how he gets them. Does he end up physically fighting one of the other cardinals? ("Dei requiéscant in pace motherf&^er!") The real reason is less crazy and comical, but my brain just couldn't summon what other possibility it might be. Stanley Tucci and John Lithgow are another two favourites of mine, and Isabella Rossellini is great in the small role she has. I'd been looking forward to this one and it didn't let me down at all.
8/10
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Solid, painful Irish film. It's in the Irish language, which I like hearing. In my retirement I've tried to learn it just for the pleasure of doing so, but my old brain isn't elastic enough and I can't retain a thing, but I can pick out a few words and the pronunciation and rhythm feels familiar now, the sound of it is like music in a way.
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THE MUMMY'S GHOST
(1944, Le Borg)

(1944, Le Borg)

"The gods have chosen to make our task more difficult. So be it. In whatever form Ananka's soul has found refuge, it shall not escape us. Our mission will be fulfilled."
The Mummy's Ghost is the fourth entry in the original Universal Mummy series. It follows the titular creature which, once again, has returned to find her beloved Ananka, whose soul has apparently found refuge in Amina, a young university student. It is up to her boyfriend Tom (Robert Lowery) to try to save her.
The Mummy's Tomb is not that far from its predecessors, but I think it is slightly better than them. Like its predecessors, the runtime is kept at 60 minutes. This makes things feel more breezy, and the film doesn't really waste a lot of time to show us the mummy and have it wreaking havoc around town.
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