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Women will be your undoing, Pépé



Moonfleet (1955)
++++ Fritz Lang delves into the fantastical sagas along the same vein as Treasure Island albeit a bit grittier in this gothic, High Adventure film of cutthroats, treachery, sex, and danger.

Opening credits: Two hundred years ago, the great heath of Dorsetshire ran wild and bleak down to the sea. Here, in hidden coves and lonely villages, the smuggling bands plied their violent trade. And here, one October evening of the year 1757, a small boy came in search of a man whom he believed to be his friend.

A young and very plucky, recently orphaned boy is sent to his aristocrat uncle who is far too busy with gypsies, derelicts, and shady dealings with even shadier individuals of both high and low standings.
Similar to Treasure Island, the young lad gets in the very deep of it, without any likelihood of getting back out again, or for that matter, surviving as the hunt for Blackbeard's treasure pits fellow smugglers against one another.

Lang is quite easily in his element propelling the dangerous slope of dangerous, disreputable characters while creating a panorama of cinematic backdrops for them to traverse and collide with each other as the Royal Guard closes in on their nefarious schemes.

Starring Stewart Granger, George Saunders, and the American film debut of Joan Greenwood, there is also Jack Elam and a small part by Alan Napier of the TV Series Batman when he played Alfred. All doing splendidly. Especially Greenwood whom I would have loved to see more of her subtle cunning.

From my understanding, it is not a good representation of the novel, which I am very unfamiliar with but I still fully enjoyed it all the same.
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[What's Up, Doc?]
Honestly, I've lost track of how many times I've watched this movie, but the recent passing of Peter Bogdanovich gave me an excuse to experience one of my guilty pleasures again. OK, it's not Citizen Kane, but this re-imagining of the Howard Hawks comedy Bringing up Baby still provides non-stop laughs from opening to closing credits. The chemistry between Streisand and O'Neal is off the charts, the Noel Coward door-slamming in the hotel, and second only to Bullitt, the best chase scene mounted for a motion picture. The supporting cast features seasoned veterans like Austin Pendleton, Kenneth Mars, Michael Murphy, Sorrell Booke, Mabel Albertson, and Liam Dunn puts me on the floor in that scene near the end as the judge. But towering above all of them is Madeline Kahn, who makes a spectacular film debut as the tightly wound Eunice Burns. This is, simply, one of the funniest movies ever made. Bogdanovich knocked it out of the park here.
Agree with all your points. The first time I saw it I was laughing so hard that I missed a few of the lines! Have seen it several times since. Probably the greatest modern day screwball comedy.

Both thumbs WAY up for this one!



The Assassination of Jesse James by the Coward Robert Ford (2007, Andrew Dominik)


I don't know what to say - I had no major issues with it, and it was definitely time well spent, but I didn't completely love it either.
The cinematography by Roger Deakins is the star of the show here (stunning!), and Brad Pitt and Casey Affleck deliver excellent performances (imo).
My feelings exactly. Deakins' work was magnificent. It's very impressive that they could make such a good film out of a story that's been made a bunch of times, and one that everyone knows the particulars.

15 or 20 minutes probably would not have been missed if cut, but the picture held my interest throughout. It's funny. We know the ending, but the screenplay still causes tension and suspense.



Women will be your undoing, Pépé


Honestly, I've lost track of how many times I've watched this movie, but the recent passing of Peter Bogdanovich gave me an excuse to experience one of my guilty pleasures again. OK, it's not Citizen Kane, but this re-imagining of the Howard Hawks comedy Bringing up Baby still provides non-stop laughs from opening to closing credits. The chemistry between Streisand and O'Neal is off the charts, the Noel Coward door-slamming in the hotel, and second only to Bullitt, the best chase scene mounted for a motion picture. The supporting cast features seasoned veterans like Austin Pendleton, Kenneth Mars, Michael Murphy, Sorrell Booke, Mabel Albertson, and Liam Dunn puts me on the floor in that scene near the end as the judge. But towering above all of them is Madeline Kahn, who makes a spectacular film debut as the tightly wound Eunice Burns. This is, simply, one of the funniest movies ever made. Bogdanovich knocked it out of the park here.
Agree with all your points. The first time I saw it I was laughing so hard that I missed a few of the lines! Have seen it several times since. Probably the greatest modern day screwball comedy.

Both thumbs WAY up for this one!
FULLY agree!! Fell in love with this when I was in second grade at the theaters and watched it countless times since. I even nominated it for the Seventies Hall of Fame.
Streisand and O'Neal play off one another beautifully and Kahn is pure genius as Eunice. And with such an ensemble cast Bogandivich gives everyone their moment to shine and they do! Along with some fast-paced screwball antics throughout it all. It is a GEM.
And of course, Buck Henry's wit shines in this.

Eunice: I'm not looking for romance, Howard.
Howard: Oh?
Eunice: No, I'm looking for something more important than that, something stronger. As the years go by, romance fades and something else takes its place. Do you know what that is?
Howard: Senility?
Eunice: Trust!
Howard: That's what I meant.



I forgot the opening line.

By Poster scan, Fair use, https://en.wikipedia.org/w/index.php?curid=36025973

That's one of my favorite films of all time. Character development is really light, but I think it's sacrificed in service of presenting the events in the film on a large scale.
I watched quite a few documentaries about the events yesterday and gained more of an appreciation of what the film depicts, and how closely it hues to what transpired. I also forgot to mention that I now know exactly where certain parts of Morricone's Inglourious Basterds score comes from.


By IMP Awards / 2021 Movie Poster Gallery / Candyman Poster (#2 of 5), Fair use, https://en.wikipedia.org/w/index.php?curid=63213261

Candyman - (2021)

I watched this last night not having seen any of the previous Candyman films, which was maybe a mistake - not that I was ever lost as far as the story went, but perhaps it would have helped gear me up having some recognition of the lore and had me appreciate any revelations that were made. The film built up a sense of dread well enough, but when it came time for scenes of horror to unfold I felt the filmmakers could have afforded to be a little more nasty. Anyway, the original 1992 Candyman is now on my list of films to see.

6/10
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Latest Review : Le Circle Rouge (1970)



Tonight's noir film - D.O.A. It's been remade a few times, but this is the original, 1949, starring Pat O'Brien. He's a guy who finds out that he's been murdered. You look at him and he looks quite alive, but he's been given a "luminous toxin" (it actually sounds like something radioactive and apparently is iridium) and will be dead in somewhere between 1 day and 2 weeks.

He becomes agitated, goes on the run and wants to find his murderer before HE dies. It's really archetypal Film Noir, with lots of cigarette smoke, wide-lapel suits, women with dramatic hats and lots of telephones with ringers, all connected to a wire coming out of a wall. It has fast talkers, femme fatales and the prettiest woman in the group is up to is in her "pretty little neck". She carries a gun but is not good at using it.

It has a terrific scene in a saloon, with a band playing hot jazz. Sweat, strange photo angles and frantic music make it work.




Bright light. Bright light. Uh oh.

Taking Woodstock (Ang Lee, 2009)
6/10
Target (Stuart Gilmore, 1952)
5/10
Smugglers' Cove (William Beaudine, 1948)
5.5/10
The Happiest Girl in the World (Radu Jude, 2009)
6/10

Andreea Bosneag isn't as happy as she should be after winning a car and making a commercial about it in Bucharest.
Red Snow (Sean Nichols Lynch, 2021)
5/10
Margin (Maya Da-Rin, 2007)
6/10
Bell from Hell (Claudio Guerín & Juan Antonio Bardem, 1973)
+ 5/10
No Direction Home: Bob Dylan (Martin Scorsese, 2005)
7+/10

Dylan reacting to a heckler in England during a concert with The Band after he went electric.
The Year of Spectacular Men (Lea Thompson, 2017)
6/10
Frogs (George McCowan, 1972)
+ 5/10
The Fever AKA A Febre (Maya Da-Rin, 2019)
6/10
Nightmare Alley (Edmund Goulding, 1947)
6.5/10

Carnival performer Tyrone Power tries to get a secret code out of Mademoiselle Zeena (Joan Blondell) so he can rip off as many chumps as possible.
Bring Me the Head of Dobie Gillis (Stanley Z. Cherry, 1988)
6/10
Against All Hope (Edward T. McDougal, 1982)
4+/10
Four to Dinner (Alessio Maria Federici, 2022)
6/10
Shampoo (Hal Ashby, 1975)
7/10

Julie Christie, the one woman hairdresser Warren Beatty thinks he could spend his life with, comes on to him in the middle of a party for watching the 1968 election results. Plenty there for this low-key social satire to comment on.
A Man Is Ten Feet Tall (Robert Mulligan, 1955)
6.5/10
Scavenger Hunt (Michael Schultz, 1979)
6/10
Forced Orphans (V.N. Aditya, 2018)
5/10
Jabberwocky (Terry Gilliam, 1977)
6/10

In the Dark Ages, the Jabberwocky attacks some more people - this time at the tournament held by King Bruno the Questionable (Max Wall). Will Dennis (Michael Palin) save the day?
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Preparations to Be Together for an Unknown Period of Time (2021, Lili Horvát)

A rather intriguing, enigmatic look at the psychology of romance, relationships and gender dynamics. I don't think I fully understood what's going on here - either I missed a carefully hidden piece of the puzzle, or there's nothing to miss to begin with and I was just thrown off by the deliberately opaque, elliptical narrative structure of it. Regardless, I quite enjoyed it, but at the same time I thought the story could use a bit more fleshing out, and go in a more daring, unpredictable direction. It was very interesting but don't expect a mind-****, blow-you-away type of movie - it's more subtle than that. I am sure there's way more to this film than I was able to put my finger on, and that's the beauty of this kind of cinema - it's more interactive, and leaves more room for the viewer to ask (and answer) one's own questions, adding new layers of meaning to the film's universe.
A perfect movie to revisit from time to time.







SF = Zzzz


Bit puzzled why this got an 18 rating here in the UK... unless I missed something when I nodded off.


[Snooze Factor Ratings]:
Z = didn't nod off at all
Zz = nearly nodded off but managed to stay alert
Zzz = nodded off and missed some of the film but went back to watch what I missed
Zzzz = nodded off and missed some of the film but went back to watch what I missed but nodded off again at the same point and therefore needed to go back a number of times before I got through it...
Zzzzz = nodded off and missed some or the rest of the film but was not interested enough to go back over it



FULLY agree!! Fell in love with this when I was in second grade at the theaters and watched it countless times since. I even nominated it for the Seventies Hall of Fame.
Streisand and O'Neal play off one another beautifully and Kahn is pure genius as Eunice. And with such an ensemble cast Bogandivich gives everyone their moment to shine and they do! Along with some fast-paced screwball antics throughout it all. It is a GEM.
And of course, Buck Henry's wit shines in this.

Eunice: I'm not looking for romance, Howard.
Howard: Oh?
Eunice: No, I'm looking for something more important than that, something stronger. As the years go by, romance fades and something else takes its place. Do you know what that is?
Howard: Senility?
Eunice: Trust!
Howard: That's what I meant.
Yeah, Madeline Kahn was wonderful in What's Up, Doc?. She had an impressive versatility. Contrast her hilarious role here with her part as Trixie in the next year's Paper Moon (also with Ryan O'Neal). She could do it all.

"Doc" is often compared to Bringing Up Baby (1938) with Hepburn and Grant. And the two films are certainly in the top 3 or 4 of the best screwball comedies of all time. But "Doc" was more inspired by "Baby" than copied. They both shared the basis of a scientific type guy who is desired and chased by a ditzy gal. But other than that the stories are altogether different.

I'm due for another re-watch of both.




Preparations to Be Together for an Unknown Period of Time (2021, Lili Horvát)

A rather intriguing, enigmatic look at the psychology of romance, relationships and gender dynamics. I don't think I fully understood what's going on here - either I missed a carefully hidden piece of the puzzle, or there's nothing to miss to begin with and I was just thrown off by the deliberately opaque, elliptical narrative structure of it. Regardless, I quite enjoyed it, but at the same time I thought the story could use a bit more fleshing out, and go in a more daring, unpredictable direction. It was very interesting but don't expect a mind-****, blow-you-away type of movie - it's more subtle than that. I am sure there's way more to this film than I was able to put my finger on, and that's the beauty of this kind of cinema - it's more interactive, and leaves more room for the viewer to ask (and answer) one's own questions, adding new layers of meaning to the film's universe.
A perfect movie to revisit from time to time.
I felt exactly the same. I liked it, didn't get all of it, but appreciated it massively and am so glad this type of cinema is being made. That ending is a headscratcher.



The Dumb Girl of Portici (1916) The first epic directed by a woman. Featuring a wonderful performance by Russian ballet star, Anna Pavlova, The Dumb Girl of Portici is a historically significant film that should be required viewing of film buffs. The film had a big budget for its time and features lavish sets and costumes. It looks great for a 106 year old. Currently streaming on the Criterion channel. Check it out!






5th Rewatch...I don't know what it is about this 1970 Best Picture nominee that still holds appeal for me. Arthur Hiller's direction is nothing special and the performances by Ryan O'Neal and Ali MacGraw are wooden. Ray Milland and John Marley are terrific as their fathers, and Francis Lai's Oscar-winning musical score is lovely. I guess it's the story itself that draws the viewer in and the fact that the story is told from Oliver's point of view, which is the way Erich Segal's novel is written. I still wonder how the movie, O'Neal, and MacGraw received Oscar nominations, but I do know that it was the top grossing movie of 1970 and that final scene in the hospital still has me fighting tears.



5th Rewatch...I don't know what it is about this 1970 Best Picture nominee that still holds appeal for me. Arthur Hiller's direction is nothing special and the performances by Ryan O'Neal and Ali MacGraw are wooden. Ray Milland and John Marley are terrific as their fathers, and Francis Lai's Oscar-winning musical score is lovely. I guess it's the story itself that draws the viewer in and the fact that the story is told from Oliver's point of view, which is the way Erich Segal's novel is written. I still wonder how the movie, O'Neal, and MacGraw received Oscar nominations, but I do know that it was the top grossing movie of 1970 and that final scene in the hospital still has me fighting tears.
Love this movie. Amazed you think the two leads are “wooden”.
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Cool concept, but the execution and the acting left something to be desired. Shame
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Just finished watching The Flying Ace (1926) on Criterion channel. This was enjoyable. It's a fun adventure, detective silent movie with an all black cast. The cast is likeable, it looks good, and there are some cool scenes. Definitely recommended. My rating is a



So I just finished watching La Revue Des Revues (1927). This was not good. The plot is very thin and poorly developed. There isn't much acting here at all. Some of the costumes and dancing were interesting though, but this film should not have been 1 hour and 43 minutes. It dragged on quite a bit. And the score is awful! Without a doubt, the worst score for a silent film I have ever heard. A few entertaining sequences, but this one is surprisingly bad. My rating is a