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Shadow of a Doubt - This makes 20 Hitchcock films I've seen and even though there aren’t any of his usual set pieces or exotic locales it still delivers the goods suspense wise. Joseph Cotten plays Charlie Oakley, who’s first appears onscreen in his room at a boarding house where the landlady informs him that two men have been asking about him. He sets out to ascertain their true motivations as they pursue and he eludes. Hitchcock lets the story unfold at a deliberate, unhurried pace as Oakley decides to visit his sister and her family in the small California town of Santa Rosa. There he meets up with his namesake niece Charlie Newton (Teresa Wright). They seem to share an uncommon connection with mentions of their almost telepathic bond. But that’s more of a plot device than anything. Young Charlie arrives at her misgivings about her uncle the old fashioned way, through subtle clues and his somewhat erratic behavior and flashes of temper. The cast is first rate with Cotten and Wright holding center stage, engaging in a Hitchcock trademark game of cat and mouse and essentially carrying the movie. 90/100




(I have tried to refer to plot-points here without making them spoilers, I hope I succeeded.)

I just put this on in the background while I made breakfast because I hadn't seen it in several years. Of course, I ended up watching the whole thing.
I'm the person who really, really liked this movie the first time around and didn't think it was a letdown after Casino Royale (yes, there is such a person).
And I really, really liked it again. I mean, as much as pretty much any of the new Bond movies. I prefer this film to Skyfall myself (as I have always felt, since my first viewing in the theater, that the third act of that film is a total non-sensical collapse).


I agree so much with this...
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Shadow of a Doubt - This makes 20 Hitchcock films I've seen and even though there aren’t any of his usual set pieces or exotic locales it still delivers the goods suspense wise. Joseph Cotten plays Charlie Oakley, who’s first appears onscreen in his room at a boarding house where the landlady informs him that two men have been asking about him. He sets out to ascertain their true motivations as they pursue and he eludes. Hitchcock lets the story unfold at a deliberate, unhurried pace as Oakley decides to visit his sister and her family in the small California town of Santa Rosa. There he meets up with his namesake niece Charlie Newton (Teresa Wright). They seem to share an uncommon connection with mentions of their almost telepathic bond. But that’s more of a plot device than anything. Young Charlie arrives at her misgivings about her uncle the old fashioned way, through subtle clues and his somewhat erratic behavior and flashes of temper. The cast is first rate with Cotten and Wright holding center stage, engaging in a Hitchcock trademark game of cat and mouse and essentially carrying the movie. 90/100
Oh, I love this one. I think it's one of Hitchcock's most complex films.



I went into this blind as well! I saw you post this, and immediately went and watched it. You have a very good write-up, and don't think I can add any more, except to say thanks.. I noticed I get these kneejerk impulses to watch a movie after someone posts it, usually because of a title, or a line, and I can think of just some really good ones I recently saw.
Thank you. Glad you liked it as well!



The Spy Who Dumped Me, 2018 (F)

Just awful. All I could think of while watching this is how much better Leslie Nielsen's movies, and even the Scary Movie franchise were at doing comedy. Good, structured movies with a preponderence of jokes and lightness and actual punchlines and time to breathe.

This movie is not a comedy, first off. It's an underwhelming thriller plot in which Kate Mckinnon and Mila Kunis act silly and never stop talking. Even when there's a funny moment, it's ruined because no one can ever shut up. The thriller elements are completely void of comedy and drag the mood down into the pits, and the comedy elements make it impossible to take the dramatic elements seriously. There's also a ton of dry character moments that just add nothing.
One of my favorite recent comedies. Dumb in all the right ways. And several set pieces that I liked, such as the confrontation with the one-night stand and the attempted car theft.

Rewatched it recently with my sister and her husband and liked it just as much the second time around. I'd probably give it a
because it has a few pacing issues and at times relies too much on the charm of its leads instead of solid writing, but I didn't care that much.





Behind the Mask, 2015

Barely worth writing up. (Just needed something on the TV while I did some knitting).

Set in sort of an alternate history of the American colonies, an assassin tries to reform himself in the colonies, including thwarting a plot to destroy the Continental Congress.

This has a strong made-for-TV vibe. The leads are all a bit too pretty, the writing a bit too cutesy. It's sort of inoffensive and vaguely pleasant, but maybe not as much if you were actually giving it 100% of your attention.





Both fine movies. "M" might be my favorite thriller, and "Paris, Texas" might be his best road movie, along with "Alice in the Streets" (also gave it an 8/10 - Harry is always good)


I might end up seeing some more of Wenders films. The only other film i have seen from him is The Million Dollar Hotel, which i saw around the time it came out. And i wasn’t acually aware that it was directed by Wenders.



Bright light. Bright light. Uh oh.

Saboteur (Alfred Hitchcock, 1942)
6.5/10
Torn Curtain (Alfred Hitchcock, 1966)
6/10
Marnie (Alfred Hitchcock, 1964)
- 6.5/10
The Trouble with Harry (Alfred Hittchcock, 1955)
- 8/10

Most of us know them, Captain (Edmund Gwynn), even if we've never buried a dead body and unearthed it three times over.
Black Beauty (Ashley Avis, 2020)
6/10
Topaz (Alfred Hitchcock, 1969)
5/10
Don't Listen (Ángel Gómez Hernández, 2020)
6/10
Shadow of a Doubt (Alfred Hitchcock, 1943)
- 7/10

Shouldn't wear that ring in public in front of certain people.
The Girl from Parma AKA La parmigiana (Antonio Pietrangeli, 1963)
6/10
The Beast (Ludovico Di Martino, 2020)
5.5/10
Call (Lee Chung-Hyun, 2020)
+ 6/10
Whirlybird (Matt Yoka, 2020)
+ 6.5/10

Bill Tur's Breaking News helicopter in front of the L.A. moon during the Rodney King riots.
Crazy, Not Insane (Alex Gibney, 2020)
6.5/10
Penrod's Double Trouble (Lewis Seiler, 1938)
6/10
The Mystery of D.B. Cooper (John Dower, 2020)
6.5/10
Zappa (Alex Winter, 2020)
7/10

Love letter to the life and music of Frank Zappa.
Princess of the Row (Van Maximilian Carlson, 2019)
6/10
Superintelligence (Ben Falcone, 2020)
+ 5/10
The Christmas Chronicles 2 (Christopher Columbus, 2020)
+ 6/10
Tenet (Christopher Nolan, 2020)
6.5/10

Lots going on here - and something about the end of the world.
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The Monster Squad (1987)- 8/10

Picked this one up a while back when I was searching thru Shane Black's catalogue. Was meaning to watch it around Halloween but didn't get to it until now. This was pretty par with his other writing efforts in terms of fun. Enjoy the relative unknow cast that doesn't include main stays from this period of time, kind of refreshing in a way. Low budget and sweet.



Victim of The Night
Yeah, first time. And it was really good.



I really enjoyed Quantum of Solace. Everyone was bagging on it, but I liked it both times I watched it. I thought it was a lovely epilogue to the events of Casino Royale while still being its own thing.
I am pleased to know I was not alone. That is kind of exactly how I felt about it.



Kin-Dza-Dza! (1983) Georgiy Daneliya. Sci Fi comedy. Good entertainment.

We follow two russian men, who ends up on the planet Pluk, lightyears away from earth.

8



Victim of The Night
Shadow of a Doubt - This makes 20 Hitchcock films I've seen and even though there aren’t any of his usual set pieces or exotic locales it still delivers the goods suspense wise. Joseph Cotten plays Charlie Oakley, who’s first appears onscreen in his room at a boarding house where the landlady informs him that two men have been asking about him. He sets out to ascertain their true motivations as they pursue and he eludes. Hitchcock lets the story unfold at a deliberate, unhurried pace as Oakley decides to visit his sister and her family in the small California town of Santa Rosa. There he meets up with his namesake niece Charlie Newton (Teresa Wright). They seem to share an uncommon connection with mentions of their almost telepathic bond. But that’s more of a plot device than anything. Young Charlie arrives at her misgivings about her uncle the old fashioned way, through subtle clues and his somewhat erratic behavior and flashes of temper. The cast is first rate with Cotten and Wright holding center stage, engaging in a Hitchcock trademark game of cat and mouse and essentially carrying the movie. 90/100
I liked this so much more on second-viewing. I had a lot of positive things to say about it the first time but just didn't connect with it. This time (on TCM) I was able to sit back and connect with all the things it does so well. The romance angle still seemed very forced and frankly unnecessary, but it is what it is.



THE AMERICAN FRIEND *****/*****

An excellent neo-noir that feels like Melville decided to adapt Highsmith. The first genre film I’ve seen from Wim Wenders but I’d be keen to see more.



Victim of The Night

Well, I haven't seen this movie in at least 20 years, maybe not since it was in theaters or if there was a cable run sometime in the late 80s or so. I remember that I liked it back then but then got it into my head that it would be corny and/or cheesy if I went back to it and that it probably was to begin with and that it was probably too dated and all that.
The fact is, or at least my opinion is, it is a great romantic comedy, absolutely deserving of its legendary status, and is really a pretty great movie. The tagline is very misleading it is not really about whether friends can sleep together and still be friends/whatever (although it is discussed in the movie). That is such a gross oversimplification of the very real ways in which this movie looks at love, particularly love for people who have already lost at it once. It is a sweet movie but I don't think it's saccharine. Having been through this, I felt it was very, very real and a pretty good portrayal of these people and of the feelings many of us have navigating romance after divorce and navigating friendship and romance.
Really, the whole thing is just exactly as charming as it should be and really succeeds at what it is attempting to do. The writing is first rate, Ryan and Crystal are perfect (although the age difference is a little weird when they are supposed to be contemporaries), and Reiner handles it all pretty deftly. It feels a bit, as many have said, like a Woody Allen romantic comedy if Woody Allen wasn't cynical and sarcastic but really wanted his characters to be happy. Whether that is a good assessment or not, this movie is a great romantic comedy.



I got a cheap film noir set, starting at the top with Whirlpool (1950). Directed by Otto Preminger, starring Gene Tierney and Jose Ferrer, a woman seems to have committed a murder but has no memory and may have been hypnotized. It's classic noir, excellent monochrome cinematography that's been well transferred to DVD. All that's left to know is whether SHE committed the murder.





I liked this so much more on second-viewing. I had a lot of positive things to say about it the first time but just didn't connect with it. This time (on TCM) I was able to sit back and connect with all the things it does so well. The romance angle still seemed very forced and frankly unnecessary, but it is what it is.
You mean niece Charlie and the younger detective? You're right of course but I've noticed that about movies of that era. People declaring their undying love for each other with no plausible setup or buildup. It's almost like it was a stipulation for getting a movie made.




(I have tried to refer to plot-points here without making them spoilers, I hope I succeeded.)

I just put this on in the background while I made breakfast because I hadn't seen it in several years. Of course, I ended up watching the whole thing.
I'm the person who really, really liked this movie the first time around and didn't think it was a letdown after Casino Royale (yes, there is such a person).
And I really, really liked it again. I mean, as much as pretty much any of the new Bond movies. I prefer this film to Skyfall myself (as I have always felt, since my first viewing in the theater, that the third act of that film is a total non-sensical collapse). I've always really enjoyed the complexity of the relationship between Bond and M in this film and there are a couple of moments here (when he escapes but returns to tell M that Fields' bravery must be documented in her report and in a later scene when he tells her that he never left M.I.6 despite her perception to the contrary) that I just really really love for the characters and their relationship but especially for building who Bond is in this incarnation. I was really happy with Bond's relationship with Mathis in this film, especially flowing over from the last. I thought Kurylenko was a very good "Bond girl" (even though it's hard to live up to Vesper from the previous film, who haunts this one to the very end). And I thought Amalric's villain was an interesting turn on the classic Bond villain, just being the slimy, sociopathic representative of the shadowy organization, rather than some arch mustache-twirler. I particularly liked the angle of Revenge and whether Bond was motivated by it and mirrored by another character who is totally motivated by it and how both of those arcs resolve. I also loved the Opera scene (which I thought was as clever as anything in the Bond movies, particularly when Mr. White remains seated) and the climactic scene when Bond faces Yusef and Corinne. Just great stuff.
There was just so much that I liked here.
I'm not sure why so many people dislike this movie or think it is a step down from the rest of the series, though I am aware that that is the case. I liked everything about this film on re-watching it and I suspect I will re-watch it more often than either Skyfall or Spectre.
they did a guinness world records on the film spectre Largest film stunt explosion