Movie You're Watching Tonight
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Senna (2010)
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I’m here only on Mondays, Wednesdays & Fridays. That’s why I’m here now.
I’m here only on Mondays, Wednesdays & Fridays. That’s why I’m here now.
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This narration is infuriating. Who the hell came up with that?
Last edited by AgrippinaX; 11-11-22 at 07:20 PM.
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Emmet Otter's Jug-Band Christmas. Last night. Maby a little early, but when i got the chance to see it, i did.
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My noir of the night - A Touch of Evil - directed by Orson Welles. Welles also plays one of the lead characters, a blustering, corrupt cop in a border town on the Mexican border. Charlton Heston is made up to be "Mexican" and is his nemesis in the quest to solve a dramatic dynamite murder.
It's remarkable for the cinematography, strange camera angles, especially manipulated to make Welles's cigar chewing character look bloated and even more corrupt than he is. The best, remarkable sequence is the opening, a single shot that tracks actors around the busy town, done real-time, with dolly shots and cameras on cars. This is quite a piece of work.
It's remarkable for the cinematography, strange camera angles, especially manipulated to make Welles's cigar chewing character look bloated and even more corrupt than he is. The best, remarkable sequence is the opening, a single shot that tracks actors around the busy town, done real-time, with dolly shots and cameras on cars. This is quite a piece of work.
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My noir of the night - A Touch of Evil - directed by Orson Welles. Welles also plays one of the lead characters, a blustering, corrupt cop in a border town on the Mexican border. Charlton Heston is made up to be "Mexican" and is his nemesis in the quest to solve a dramatic dynamite murder.
It's remarkable for the cinematography, strange camera angles, especially manipulated to make Welles's cigar chewing character look bloated and even more corrupt than he is. The best, remarkable sequence is the opening, a single shot that tracks actors around the busy town, done real-time, with dolly shots and cameras on cars. This is quite a piece of work.
It's remarkable for the cinematography, strange camera angles, especially manipulated to make Welles's cigar chewing character look bloated and even more corrupt than he is. The best, remarkable sequence is the opening, a single shot that tracks actors around the busy town, done real-time, with dolly shots and cameras on cars. This is quite a piece of work.
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