Darth Pazuzu's Movie Collection (a work in progress)

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How about these? (My latest acquisitions...)



That's a mixed bag. Bullitt is of course great. I've wanted to see The Yakuza for awhile, but haven't. Have only heard terrible things about Lords of Chaos (and honestly, I wasn't that big on the book either). Have been slowly warming up to Hardcore over the years, but it's not a favorite. Desperately want to see Tar and desperately don't want to see Titus.



That's a mixed bag. Bullitt is of course great. I've wanted to see The Yakuza for awhile, but haven't. Have only heard terrible things about Lords of Chaos (and honestly, I wasn't that big on the book either). Have been slowly warming up to Hardcore over the years, but it's not a favorite. Desperately want to see Tar and desperately don't want to see Titus.
Just one more received through the mail just this last Friday...



Pity your comment regarding Titus, because I seriously enjoy director Julie Taymor's take on William Shakespeare. That one and The Tempest would make a terrific double bill at some Shakespeare cinema festival or something. I don't really know or understand the specific nature of your (implied) objection, but I know that some people might be put off by Taymor's use of anachronistic imagery and her blending of different periods and fashions. Personally, I think her approach is highly inventive and inspired. Granted, not many filmmakers have the skills to do this effectively. Two other directors that immediately come to mind who are good with blending periods and using anachronistic imagery are Ken Russell and Derek Jarman (the latter who of course did his own version of The Tempest in 1979). Granted, those two were British guys and Taymor is an American gal, so there's as much a difference in sensibilty with her as there is between Russell and Jarman.



Just one more received through the mail just this last Friday...



Pity your comment regarding Titus, because I seriously enjoy director Julie Taymor's take on William Shakespeare. That one and The Tempest would make a terrific double bill at some Shakespeare cinema festival or something. I don't really know or understand the specific nature of your (implied) objection, but I know that some people might be put off by Taymor's use of anachronistic imagery and her blending of different periods and fashions. Personally, I think her approach is highly inventive and inspired. Granted, not many filmmakers have the skills to do this effectively. Two other directors that immediately come to mind who are good with blending periods and using anachronistic imagery are Ken Russell and Derek Jarman (the latter who of course did his own version of The Tempest in 1979). Granted, those two were British guys and Taymor is an American gal, so there's as much a difference in sensibilty with her as there is between Russell and Jarman.

My issue with Taymore is Across the Universe. Her horrid literal interpretations of Beatles songs nearly killed me. I can't unsee it. I can't forgive her.


I generally am fine with anachronistic imagery and love Ken Russell and (sort of) Derek Jarman. Her approach is way too precious for me though.



I've no doubt Titus is considerably better than Across the Universe....but then I remember Taymor was also responsible for a U2 and Spiderman broadway play and the bile in me begins to rise again.



My issue with Taymore is Across the Universe. Her horrid literal interpretations of Beatles songs nearly killed me. I can't unsee it. I can't forgive her.


I generally am fine with anachronistic imagery and love Ken Russell and (sort of) Derek Jarman. Her approach is way too precious for me though.



I've no doubt Titus is considerably better than Across the Universe....but then I remember Taymor was also responsible for a U2 and Spiderman broadway play and the bile in me begins to rise again.
I guess I sort of agree with you regarding Across the Universe, because I'm generally not a fan of jukebox musicals, period. It's sort of a proprietary thing, because I feel like I have my own connection with the music of the Beatles - and with other bands, for that matter. I only saw Moulin Rouge once, and I don't plan on viewing it again any time soon!

I guess I was fortunate enough not to have seen the whole U2/Spiderman musical, although I had definitely heard about it. But knowing how easy to get bad reputations nowadays, and knowing how flaws and imperfections get blown out of proportion in the media, I'm guessing it's probably nowhere near as bad as people have said it is!

But regarding Julie Taymor's Shakespeare work, I have to unreservedly count myself as a fan.



Some more recent purchases...



Actually, that's only partially true. I haven't actually received my copy of Tightrope (1984) yet. But if the good people at the USPS come through, it should arrive tomorrow! And besides, this will spare me from having to make another announcement post...

I was always interested in The Getaway (1972) ever since I heard the commentary track for From Dusk Till Dawn (1996), where Quentin Tarantino and Robert Rodriguez discuss the final chapter of the original Jim Thompson novel, in which our main characters arrive at a sanctuary town in Mexico called El Ray. (This is also supposed to be the place where the Gecko Brothers are headed in Rodriguez's film.) Apparently, if you're a criminal on the run and you're trying to find sanctuary in El Ray, that place ends up being much, much worse than whatever it is you're trying to get away from - I mean, like, Dante-circle-of-Hell bad! Unfortunately, neither screen adaptation of The Getaway - the 1972 Peckinpah with McQueen and MacGraw or the 1994 Alec Baldwin / Kim Basinger remake - deals with El Ray at all, and both movies end before the El Rey chapter. But from what Tarantino has said - on the FDTD commentary and in his more recent Cinema Speculations book - it rather sounds like that little town of El Rey would be worthy of a movie in its own right!

Also, in Stephen King's non-fiction book Danse Macabre, he addressed a rumor about the end of X: The Man with the X-Ray Eyes (1963). Apparently, Ray Milland's last words were originally supposed to be "I can still see!", but apparently that was rejected as being too horrible! I just received the Blu-ray today in the mail, so I'll find out if the commentary track(s) address the issue...



Here's the last one I bought that I hadn't seen before. Once again, Tarantino's recent Cinema Speculations book led me to this one. In fact, he devoted an entire chapter to it! Sylvester Stallone certainly made a very confident and assured directorial debut.



BTW, my copy of Tightrope eventually did come in. (See my last post.) It was every bit as good a film as I remember it being when I saw it a good number of years ago.

And now here's a couple of purchases within the past few months that aren't really new to me, but for which I double-dipped in order to get the 4K or Blu-ray editions:





Tar is excellent. I have not seen Bubba Ho-Tep yet which I can't believe. I must have walked past it in Blockbusters a milllion times. I will defiinitely have to check out the Julie Taymor Shakespeare films as I am a big fan of both Ken Russell and Derek Jarman.



A couple other recent 4K Ultra HD upgrades, although they're not new viewing experiences for me...

Four from Stanley Kubrick...



And one from Tobe Hooper...



Believe me, all of these have never looked better, especially 2001: A Space Odyssey!



Here's a new one for my collection! Joe is the 1970 directorial debut of John G. Avildsen, who would eventually make the first Rocky (1976) as well as The Karate Kid (1984) and Lean on Me (1989), among many others. And once again, I was primarily motivated by Quentin Tarantino's comments in his recent book Cinema Speculations. I mean, I had read and known about this movie for many years, but it's only now that I've finally seen it. Peter Boyle is alternately unnerving and funny in his performance as the title character, and Susan Sarandon is quite impressive in her screen debut. I'm not the kind to give spoilers, but the ending is a serious punch to the gut, so newcomers be prepared!



Also, I got the 2019 Final Cut edition of Francis Ford Coppola's Apocalypse Now as part of the 6-disc 4K Ultra HD / Blu-ray set. And let me tell you, I'm impressed! This is right up there with the 4K version of 2001: A Space Odyssey, and it's never looked better! (But for the record, I still favor the full-length 2001 Redux edition.)




Yet another one for my collection. Read about Targets (1968) many years ago in movie guides and books about horror cinema, but I've only just seen it now, having gotten the newly released Criterion Collection edition on Blu-ray. And I am very impressed! The young Peter Bogdanovich makes his directorial debut here, and in terms of subject matter and social commentary he was way, way, waaaaaaayyy ahead of the curve with this one...








Here's my latest batch of purchases, and as you can see I'm in kind of a weird cinematic mood these days. Perhaps I'm just desensitized, and I need a dose of ultraviolent, unreconstructed, bloody, sordid, slap-in-your-face reality. (Or perhaps a kind of hyper-reality!) And I've kind of been on two parallel tracks here. Although it would be stretching things just a tad to suggest any overt parallel between the bloody Texas Chainsaw universe of eccentric cannibal clans created by Tobe Hooper and Sam Peckinpah's violently elegiac world of faded outlaws, mercenaries, losers and battered soldiers, I think there is a thematic overlap, insofar as they both deal with the clinging to some past world that's long gone, and the inability to deal with progress (technological and otherwise) and the gradual encroachment of civilization upon the old world - that is, progress and civilization as defined by politicians and big corporations. Or at least, the inability to deal with it in any kind of healthy manner!

Maybe it's because I've just turned 50, and I'm beginning to feel like a relic or fossil from some bygone era myself! I certainly can't relate to most of the music that kids these days listen to. I don't know about anyone else, but I need the sound of real drums, not these electronic clickety-clack beats that most pop music seems to be set to these days. And don't get me started on autotune! Also, I firmly remain a supporter of physical media. I've never streamed a movie, and I've never streamed an album. I like to hold the physical item in my hand. While I'm not into collecting vinyl, I do still collect CD's. And while I do like to rip them to WAV files and play them on a Hi-Res Sony MP3 Walkman, I still believe in owning the actual physical item! The same thing goes with movies. Yes, I love the advancements of 4K UHD, but once again I like to be able to hold a disc in my hand!

And like everybody else my age, I tend to be more than just a little concerned about politics! On the one hand, I would certainly define myself overall as a liberal who believes in progressive causes such as civil rights, the rights of labor unions, the reproductive rights of women, and the rights of people to love who they want to love regardless of gender, etc., etc. But I would have to define myself as an "old-school" liberal, in the sense that I unconditionally support the First Amendment and freedom of speech... regardless of whoever takes offense at someone's free speech!

Oh well, I digress! I could quite easily get into some kind of "get-off-my-lawn" rant about any old thing, but I insist on being optimistic and upbeat. As we all know, history tends to be cyclical, and social and political trends that alarm and upset people in one era tend to be made irrelevant by a compensatory (and over-compensatory) swing of the pendulum in the next era. Granted, one doesn't wish to become complacent. And sure, it seems like excess countering excess much of the time. But I think there's certainly more productive things people can do with their time than getting into shootouts in Mexico or carving up people with power tools!

(See what I did there? )



As you may or may not gather, the above post was meant to be a (half-improvised) blend of irreverent humor and sincerity - albeit perhaps not a seamless blend. Whatever sentiments you find disagreeable, just take with a pinch of salt.

Moving on...

I just got these two Blu-ray's today. The first one I got from Barnes & Noble this morning (only just released yesterday), and the second one I received in the mail via USPS from Amazon:



Mind you, I already had Joseph Losey's The Servant (1963) as part of a 3-DVD Dirk Bogarde box set from Anchor Bay, which also had Basil Dearden's The Mind Benders (1963) and Losey's Accident (1967). (And I had long been curious about Accident ever since Jack Sholder cited it on a commentary track as an influence on the opening credit sequence of his 1987 sci-fi thriller The Hidden, but I digress...) But I'm really looking forward to seeing the Criterion edition's 4K digital restoration.

And 1970's The Ballad of Cable Hogue, starring Jason Robards, Stella Stevens and David Warner, was Sam Peckinpah's follow-up to his 1969 success The Wild Bunch. Not being what people expected of Peckinpah, I gather the film got a rather cool reception at the time of release. But I do believe Sam once described it as his personal favorite of all his films. I look forward to seeing it...






It pains me to say this, but I've got to say that as a long-time fan of the Evil Dead series, the premise is becoming just a bit worn and threadbare. I guess you could say it's beginning to figuratively wear through the scalp to a far greater extent than literally tearing through it. (Couldn't resist. Sorry!) And director Lee Cronin's solution to the problem of how to make things different - transferring the action from a cabin in the woods to a crumbling urban high-rise - only ironically underscores how repetitive things are starting to become. The fact that this time the plot involves a family - a divorced mother, her three children and their aunt who is the heroine - should theoretically make the proceedings far more emotionally involving and shocking, but I don't think Cronin's quite good enough as a writer of character to pull it off. But although Cronin fails to make his story darker, the movie itself is far more drenched in actual darkness than it really needed to be. I'm telling you, I could barely see a thing! I know at one point there's a blackout at a crucial point in the story, and so it's supposed to look dark, but for much of the time I was seriously straining my eyes. I don't know if the movie was filmed digitally or on film - honestly I can't tell anymore - but in any case the cinematography left much to be desired. I think that there's a certain level of invention and creativity, a certain aesthetic sensibility, that's been gradually disappearing in movies over time. Having said all this, I did watch the 4K version first, and haven't watched the Blu-ray yet. And I find the 4K UHD versions of most movies to be certainly less bright than the Blu-ray versions. (Although I admittedly have a relatively inexpensive Vizio TV set and have yet to upgrade.)

(Side note: Does anybody else find it slightly amusing that the director's real name is exactly the same as the anagrammatic pseudonym used by ace writer Gene L. Coon for the episodes he penned for the original Star Trek's third season in 1968-69? Or is that just me? Hey, apropos of nothing, just thought I'd mention it...)

Yes, I'll always be a huge fan of the original Evil Dead trilogy with Bruce Campbell. Heck, I even have a soft spot for Fede Álvarez's 2013 remake, which is a reasonably successful variation on Sam Raimi's classic original. (And I think the additional dramatic element of its lead female character being a recovering drug addict was far more effective than the weakly pedestrian family drama of the new Cronin film.) The Ash vs. Evil Dead series was rollicking good fun, as well (up to a point, anyway). But I think we're starting to see signs of creative fatigue setting in and there are only so many things that filmmakers can do to squeeze any more creative juice out of a premise once it's played out. And speaking of remakes...



As you can see in my above posts, I've also started to get into the Texas Chainsaw Massacre films, having recently purchased the recent 4K release of Tobe Hooper's classic 1974 original, as well as the Vinegar Syndrome 3-disc 4K/Blu-ray release of Hooper's brilliantly OTT 1986 sequel (with Dennis Hopper). I also got the Warner Archives Blu-ray edition of Jeff Burr's Leatherface: The Texas Chainsaw Massacre III (featuring an early performance from Viggo Mortsensen). That one's okay, mind you, nothing as horrific or as blackly humorous as the Hooper films, although stylistically it's kind of a missing-link bridge between the Texas Chainsaw world of Hooper and Rob Zombie's later House of 1000 Corpses and The Devil's Rejects in the 2000's. And original co-creator Kim Henkel later got in on the action with Texas Chainsaw Massacre: The Next Generation in 1995, which I got the Scream! Factory Collectors Edition Blu-ray of. Now, that movie is weird and screwy in ways that I'm still shaking my head in wonder at. I suppose its main selling point these days is the fact that its two leads, Renée Zellweger and Matthew McConaughey, went on to become famous Hollywood superstars. I'm not sure I even really like that movie, but it's weirdly compelling and strange and I know I'll probably come back to it again later.

And just recently... I finally caught up to Marcus Nispel's 2003 remake. About what you'd expect from a competent remake, not great but not awful either. Well-acted and well-directed, to be sure, but it still can't hope to equal the Hooper original. What finally brought me around to finally watching the remake was when I found out that the cinematographer was none other than Daniel Pearl, who did a wonderful job on the original, as well as the fact that the screenwriter was Scott Kosar, later responsible for writing Brad Anderson's The Machinist from 2004, which starred Christian Bale and Jennifer Jason Leigh. And I did kind of like R. Lee Ermey as the sheriff, who is roughly the equivalent of Jim Siedow's Cook in Hooper's films. He's pretty intimidating and scary, particularly in that scene in the van when he's forcing Jonathan Tucker's character to re-enact exactly how the female hitchhiker committed suicide earlier. The only problem - but not necessarily a big one, mind you - is that, when Ermey is playing a threating authority figure, he can't help but bring in some of the baggage from his Sergeant Hartman in 1987's Full Metal Jacket. (He even bellows "Get on your faces!" at one point.)

I haven't watched any of the later remakes, sequels and prequels (of which I believe there have been four more, or five if you count Kim Henkel's related 2012 Butcher Boys). I'm kind of leaning against watching any more, because as per my above-stated disappointment in Evil Dead Rise, I'm not really sure how else the premise can be expanded or built on in any productive way. I don't know, maybe I'm wrong...



And yet another three from the great Sam Peckinpah! I particularly liked the Western Ride the High Country (1962), which stars Joel McCrea and Randolph Scott in the leads, as well as Mariette Hartley and later Peckinpah regulars such as Warren Oates, R.G. Armstrong and L.Q. Jones. Junior Bonner (1972) wasn't really my cup of tea, not being into the subject of rodeo riding myself. But I thought Steve McQueen was good in the lead, and Robert Preston and Ida Lupino were both wonderful as his parents. And it's also got what is probably the wittiest bar fight sequence ever. (BTW, I had to settle for the Kino Lorber DVD, as its Blu-Ray counterpart was out of print!) And I only just watched the restored 136-minute version of Major Dundee (1965) the night before, and I've got to say it's rather impressive! Not quite on par with later triumphs like The Wild Bunch (1969) and Straw Dogs (1971), it's a rather gritty Civil War epic with Charlton Heston as the tough and implacable title character, and Richard Harris as Captain Tyreen, Dundee's former friend now turned Confederate nemesis. Heston and Harris have a wonderfully hostile onscreen chemistry, capturing emotions ranging from guarded admiration to smoldering hatred. Austrian actress Senta Berger portrays the love interest, an immigrant nurse named Teresa Santiago. Interestingly enough, she would later play an equivalent character in Peckinpah's 1977 World War II epic Cross of Iron, as the woman who takes a romantic interest in the lead character, binding and tending his physical and psychic wounds, only to ultimately lose her man as he once again feels himself drawn toward the call of battle. (Also, I got Arrow Video's 2-disc edition on Blu-ray, which features both the 136-minute Expanded Version with a completely different film score, and the original 123-minute theatrical version, with its rather cheesy original score which includes a hilariously inappropriate if rousing theme song from Mitch Miller! )





Two new recent purchases:

Ever since hearing about the recent controversy surrounding the streaming version of The French Connection (1971) put out by Disney, which censored Popeye Doyle (Gene Hackman)'s use of a certain racial epithet, I immediately ordered the most recent physical Blu-ray edition, for fear it might go out of print one of these days!

It's not my favorite William Friedkin thriller, being rather more partial to 1980's Cruising or 1985's To Live and Die in L.A. (the new 4K UHD version of which I'll definitely get once it drops on 07/18/2023), as well as the classic The Exorcist (1973). (And let's not forget 1977's underrated Sorcerer!) But The French Connection is still a brutally kick-ass and gritty '70s action drama nonetheless. That chase scene still holds up like nobody's business. I love the drug chemist's flat, laconically delivered analysis of the shipment: "Blastoff: 180... 200: Good Housekeeping Seal of Approval... 210: U.S. Government certified... 220: Lunar trajectory, junk of the month club, sirloin steak... 230: Grade-A poison. Absolute dynamite. 89% pure junk. Best I've ever seen." And I get a kick out of Doyle (Hackman) and Buddy Russo (Roy Scheider) listening in on the wiretaps while playing cards and not being able to contain their amusement. When Sal Boca's wife Angie nags him about ordering a pizza - "And don't forget the anchovies!" - they burst into laughter, scattering their playing cards. Absolutely rock-solid entertainment.

And has anyone out there seen Noon Wine? It's definitely one of the more obscure items in Sam Peckinpah's filmography. Starring Jason Robards and Olivia de Havilland, it's a short little 51-minute TV film that Sam made for ABC Stage 67 in 1966, based on a 1937 novella by Katherine Ann Porter. And it's essential viewing for Peckinpah fans, because it's a real heartbreaker. Robards stars as a farmer with a wife and two sons, who hires a Swedish immigrant to work on his farm, and when a bounty hunter arrives to take the Swede into custody claiming that he's an escaped mental patient, the farmer kills the bounty hunter in order to protect his worker. Things only go downhill from there, culminating in a very sad ending. I won't give spoilers. Heartily recommended, and not just to fans of Peckinpah and Robards.



Three recent purchases:

This one is something I've seen before, but never actually owned...



And these two I've just double-dipped for, having upgraded from DVD. (BTW, the 4K edition of To Live and Die in L.A. just came out July 18th. I've been eagerly awaiting this one ever since the Shout! Factory edition went out of print!)




Quite a few orders of mine came in recently! Oh happy day...



And now my Sam Peckinpah movie collection is complete!
As you can see, I just had to pick up the few stragglers left over. I had already seen The Osterman Weekend on a previous occasion, and I've got to say that it's very underrated. Eccentric, quirky, and intelligent, it's certainly not your run-of-the-mill spy thriller. As far as cinematic swan songs go, I'd definitely rank this alongside Hitchcock's Family Plot and Kubrick's Eyes Wide Shut. The Killer Elite sort of left me cold (notwithstanding the presence of James Caan and Robert Duvall, reunited from The Godfather), and big-screen debut The Deadly Companions definitely showed promise of greatness to come, but I think it still fell slightly short. But God help me, I actually found Convoy extremely entertaining! Just about as silly as you would expect a fight-the-power trucking epic based on a '70s novelty song to be, but hardly less fun for all that. It certainly holds up a lot better than it has any right to, given its messy production history.





I already had The Man Who Fell to Earth on DVD, the Criterion Collection DVD packaged in a set with Walter Tevis' original novel. But when I saw this newfangled 4K UHD/Blu-ray combo on the rack at Best Buy last Friday, I just had to double-dip! Now you've just got to love that slipcase, with the Aladdin Sane-style lightning bolt over the false eye, concealing the real yellow one underneath!

I already have all the Star Trek movies on Blu-ray. I made my umpteenth dip (after several VHS and DVD editions over the years) for the Movie Collection with the Original Series cast (1979-1991) on 4K UHD/Blu-ray just last year, and it was worth it for the fact that it's got the Director's Cuts of Robert Wise's I and Nicholas Meyer's II and VI. But alas, there are no such comparable upgrades on the new Next Generation Movie Collection. Still, the new 4K's look great!

The new 4K UHD/Blu-ray combo edition of Poltergeist also looks pretty good. And it's also got a vintage Making-Of featurette filmed during the making of the movie. But aside from that, there really isn't anything new in terms of special features. There are a couple of featurettes about the supernatural and hauntings that have been carried over from earlier editions, but that's about it. I always felt that Tobe Hooper got short shrift in terms of appreciation for his work on the movie, while Steven Spielberg got the majority of credit for the film overall. (Not that I resent Steve for that.) You'd think there would be some new interviews or a new documentary or something which would set the record straight once and for all! Alas, for the time being, it's not to be...

I had seen Raising Arizona a while back, and I thought it was just awesome! Took a while for me to get around to getting the Blu-ray, though. Oh well, all good things...

I only have a couple other Coen Brothers films in my collection (Miller's Crossing and No Country for Old Men). I have seen Blood Simple and Fargo, but haven't yet purchased the Blu-ray's. Oversight! To be rectified at a later date...



And just a few more...!



A real eclectic mix this time! An epic Italian-style Western... a gender-bending musical comedy... and a wonderfully weird and twisted take on H.P. Lovecraft! My idea of fun, you bet...

(I had the restored 2007 DVD version of Stuart Gordon's From Beyond for many years, but I hadn't gotten the 2013 Shout! Factory Blu-ray edition before it went out of print. But this big 4K/Blu-ray package from Vinegar Syndrome renders that one virtually redundant.)



And now I can add yet another three Sergio Leone's to my collection with this Blu-ray 3-pack!



Believe it or not, I hadn't even seen this classic Eastwood / Leone trilogy until recently, when I borrowed it through inter-library loan. I really like all three a lot, but my favorite is The Good, the Bad and the Ugly. Frankly, I like that one better than Once Upon a Time in the West (although that one's also great).

And as great as Clint was in that third movie, Eli Wallach absolutely steals the show as the wily Tuco Ramírez. I love how he demonstrates first-hand the perils of what the late critic Roger Ebert once referred to as "The Fallacy of the Talking Killer": "When you have to shoot, shoot. Don't talk!" As much of a weasel as this guy as, and as much as you resent the ordeal he puts Eastwood's character through, you actually kind of root for the guy!




And now I can add yet another three Sergio Leone's to my collection with this Blu-ray 3-pack!



Believe it or not, I hadn't even seen this classic Eastwood / Leone trilogy until recently, when I borrowed it through inter-library loan. I really like all three a lot, but my favorite is The Good, the Bad and the Ugly. Frankly, I like that one better than Once Upon a Time in the West (although that one's also great).

And as great as Clint was in that third movie, Eli Wallach absolutely steals the show as the wily Tuco Ramírez. I love how he demonstrates first-hand the perils of what the late critic Roger Ebert once referred to as "The Fallacy of the Talking Killer": "When you have to shoot, shoot. Don't talk!" As much of a weasel as this guy as, and as much as you resent the ordeal he puts Eastwood's character through, you actually kind of root for the guy!

Yup, TGTB&TU has always been one of my favorites ( https://letterboxd.com/stusmallz/fil...-and-the-ugly/ ), and I agree with you that it's better than Once Upon A Time In The West as well (even though it's great as well); glad you liked it, Darth!