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Victim of The Night





Dial M for Murder - This isn't tip top shelf Hitchcock but it's right up there and still very watchable. The featured blonde this time is Grace Kelly and she plays Margot Wendice, a rich socialite type married to ex-pro tennis player Tony (Ray Milland). He's quit touring and found a 9 to 5 job in London in hopes of saving his troubled marriage. Margot has had a past affair with crime fiction writer Mark Halliday (Robert Cummings) and one of their love letters has been stolen amd used to blackmail Margot. The letter plays a pivotal role in the customary Hitchcock intrigue with the usual duplicitous behavior and murderous intent on display. The small cast is exemplary with Kelly as the victimized and vulnerable Margot and Milland as another Hitchcock staple, the dissolute sociopath hiding behind a veneer of refinement. Plus there's also cagey Scotland Yard Detective Chief Inspector Hubbard (John Williams) as the cat (I'm assuming) in the cat and mouse equation.

It's all very sordid and sophisticated and compelling.

I'm a very big fan of this film, I think I watched it 3 times in 18 months in 2019-2020.



Victim of The Night
I'm looking at what I've seen from 1991.

I'm hoping you're talking about Double Life of Veronique.

I'm afraid you're talking about Rock-a-Doodle.

(In all seriousness, my other dark horse gamble for the film is The Rapture.)
It could not be La Double Vie de Veronique because that film already stole my heart 15 years ago.
And because you're aiming way, WAY too high.
No, nobody's gonna get this one because frankly you'd have had to see this through to the end for the are-you-****ing-kidding-me? shocker and I doubt anyone here has, at least in the last decade or two.
I'll get to it soon, it's the third movie in my new thread.



It could not be La Double Vie de Veronique because that film already stole my heart 15 years ago.
And because you're aiming way, WAY too high.
No, nobody's gonna get this one because frankly you'd have had to see this through to the end for the are-you-****ing-kidding-me? shocker and I doubt anyone here has, at least in the last decade or two.
I'll get to it soon, it's the third movie in my new thread.

So not Riki-Oh, which definitely had an ending. But it also definitely got talked about in the last 15 years.


Looking at letterboxd for movies from 1991, I'm seeing something called The Sect, whose summary sounds like it could have an... ending. I'm going to put my guess in for that.



My guess would have been Sleepaway Camp but that was '83.



It's pretty obvious that it's...

That or 964 Pinocchio. Look it up.
I'm scarred just by reading the synopsis.
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I forgot the opening line.

By https://www.filmaffinity.com/us/film814609.html, Fair use, https://en.wikipedia.org/w/index.php?curid=3741923

Howards End - (1992)

I approached this Merchant Ivory production with trepidation, for I'm not a really huge fan of period dramas - and the first half of the film did feel slow to me, so I thought "here we go, another one that goes nowhere," but things really picked up in the second half and I was quite pleased by the end. I really have to get to The Remains of the Day now, and rewatch Call Me By Your Name. This also completes the field of Best Picture Oscar nominations in 1993 for me. They included Unforgiven (winner), A Few Good Men, Scent of a Woman, The Crying Game and this. I've no problem with Unforgiven winning out of that lot. I never liked Scent of a Woman much - even after giving it another go last year. It's been ages since I've seen The Crying Game and A Few Good Men.

Howards End ended up winning three Oscars, including one for Emma Thompson's performance. It's about the class structures in England, and how they were changing when author E. M. Forster's novel was published in 1910. Venessa Redgrave and Anthony Hopkins are excellent in it - and the filmmakers went nuts in providing lots of detail in it's design. But it's the story that really stands out - and the adapted screenplay, which also won an Oscar. I thought it was possible I might end up loving it, but I think really liking it is as far as it will go. The second half of the film provided enough eventful drama to make it enjoyable viewing.

8/10
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The Johnsons (1992)

A Dutch horror about an evil god of a small South-American tribe, and the apocalyptic prophecy surrounding the legend. It has a very American feel to it (in a positive way, for a change), and it's enforced by almost unnoticeable English dubbing on the version I watched. For the most part, it remains quite serious and foreboding, but at least one character stands out as a too obvious comic relief. Lots of potential, and the execution isn't too shabby, either.
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Both, though I've been a little slower on Renner because I never saw that breakout movie of his. In fact, I would say that this is the film that made me take him seriously.
But Olsen, I really believe she is special and the strange climate of film in the late 2010s - early 2020s has left people like her in a tricky spot. There were times watching WandaVision where I thought she was at the apex of her craft among young actors, someone who could someday be as good as a Cate Blanchett as I once felt Blanchett could someday be as good as Streep (of course, Tilda Swinton's in there somewhere but I actually thought Swinton was Streep-chasing almost the moment she stepped onto the screen). Anyway, Olsen was great in this film and really showed me who I was watching when Marvel didn't give her much to do.
But it was really just my kinda movie too.
Except when I'm watching Marvel.
oh really he did a great job on this movie tho even his other movies aswell, loved him on MCU as clint barton aka hawkeye. u should rewatched it again. true but im glad she got nominated an emmy cause she deserves an emmy she did amazing job in her films and tv series also. loved her on wandavision espcially wandavision one of my favorites got nominated an emmy aswell 23 emmys i heard. yes soo true hopefully she like cate blanchett i loved some of cates movies. i was hoping her to win an oscar someday.ahh streep shes an amazing funny actress. oh yea loved her on the beach and doctor strange . yes she was great in this film hopefully she wins an emmy. hopefully she will have her own scaRLET witch solo movie soon.



Next of Kin (1982)


An Aussie thriller somewhere between a British Gothic and Italian Giallo. It has some tremendously good-looking and effective scenes, but the story feels haphazardly thrown together and, honestly, somewhat boring. One of those films where parts are much greater than the sum. I wish I had liked it more.



Victim of The Night

By https://www.filmaffinity.com/us/film814609.html, Fair use, https://en.wikipedia.org/w/index.php?curid=3741923

Howards End - (1992)

I approached this Merchant Ivory production with trepidation, for I'm not a really huge fan of period dramas - and the first half of the film did feel slow to me, so I thought "here we go, another one that goes nowhere," but things really picked up in the second half and I was quite pleased by the end. I really have to get to The Remains of the Day now, and rewatch Call Me By Your Name. This also completes the field of Best Picture Oscar nominations in 1993 for me. They included Unforgiven (winner), A Few Good Men, Scent of a Woman, The Crying Game and this. I've no problem with Unforgiven winning out of that lot. I never liked Scent of a Woman much - even after giving it another go last year. It's been ages since I've seen The Crying Game and A Few Good Men.

Howards End ended up winning three Oscars, including one for Emma Thompson's performance. It's about the class structures in England, and how they were changing when author E. M. Forster's novel was published in 1910. Venessa Redgrave and Anthony Hopkins are excellent in it - and the filmmakers went nuts in providing lots of detail in it's design. But it's the story that really stands out - and the adapted screenplay, which also won an Oscar. I thought it was possible I might end up loving it, but I think really liking it is as far as it will go. The second half of the film provided enough eventful drama to make it enjoyable viewing.

8/10
Really, really liked this film.



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Ladyhawke -


If '80s cinema is - or should be - known for anything, it's how many quality sword and sorcery movies it has, with this movie being no exception. Love and romance figures into the plot of many of them, most notably Krull and The Princess Bride, and it's also essential to this one. Its central conceit involves a couple who, thanks to a curse, are always together yet always apart at the same time, with Navarre (Rutger Hauer) having to live as a wolf by night and partner Isabeau (Michelle Pfeiffer) living as the titular bird by day. While questing to break this curse, they are aided by an unlikely new member to their party: Mouse (Matthew Broderick in one of his first roles), a hapless pickpocket and recent prison breaker.

This is one of the best looking '80 fantasy movies, which is not hard to do when legendary cinematographer Vittorio Storaro is composing the shots and the Italian countryside is at your disposal. There are scenes that I wanted to go on a little bit longer - the ones in the woods in particular - just so I could take in the scenery. Action is also this movie's strong suit, with each fight scene making the excitement last until there's no more to be had. This is especially true of the cathedral grand finale, which not only succeeds thanks the visuals and editing, but also because of over the top yet adorable sound flourishes like making the sword clangs echo. As for the performances, while Hauer, Broderick, Leo McKern’s devoted ally and John Wood’s annoyingly confident villain are as good as you would expect, Pfeiffer is the movie's secret weapon. Unlike Navarre, Isabeau is in animal form more than she is in human form, but she makes her human scenes count. I of course wanted to see the curse lifted for Navarre and Isabeau's sake, but I admit to being more invested in the chance to see Pfeiffer again!

While I have more good to say about the movie than bad, I wouldn't rank it near the top of '80s fantasy, but it's far from the worst. Despite its romance and clever premise, it is not nearly as quotable or timeless as its subgenre's classics and lacks qualities that make it one, whether it’s the commentary on adolescence in Labyrinth or the uniquely sly self-awareness in The Princess Bride. Plus, there's the cheesy soundtrack, which I can't imagine even the most extreme ‘80s aficionado being nostalgic about. There is, of course, still enough about this movie for me to recommend it. Just expect something light, fun and that would be a good way to spend an afternoon than something that will also leave a deep impression.



Victim of The Night
Ladyhawke -


If '80s cinema is - or should be - known for anything, it's how many quality sword and sorcery movies it has, with this movie being no exception. Love and romance figures into the plot of many of them, most notably Krull and The Princess Bride, and it's also essential to this one. Its central conceit involves a couple who, thanks to a curse, are always together yet always apart at the same time, with Navarre (Rutger Hauer) having to live as a wolf by night and partner Isabeau (Michelle Pfeiffer) living as the titular bird by day. While questing to break this curse, they are aided by an unlikely new member to their party: Mouse (Matthew Broderick in one of his first roles), a hapless pickpocket and recent prison breaker.

This is one of the best looking '80 fantasy movies, which is not hard to do when legendary cinematographer Vittorio Storaro is composing the shots and the Italian countryside is at your disposal. There are scenes that I wanted to go on a little bit longer - the ones in the woods in particular - just so I could take in the scenery. Action is also this movie's strong suit, with each fight scene making the excitement last until there's no more to be had. This is especially true of the cathedral grand finale, which not only succeeds thanks the visuals and editing, but also because of over the top yet adorable sound flourishes like making the sword clangs echo. As for the performances, while Hauer, Broderick, Leo McKern’s devoted ally and John Wood’s annoyingly confident villain are as good as you would expect, Pfeiffer is the movie's secret weapon. Unlike Navarre, Isabeau is in bird form more than she is in human form, but she makes her human scenes count. I of course wanted to see the curse lifted for Navarre and Isabeau's sake, but I admit to being more invested in the chance to see Pfeiffer again!

While I have more good to say about the movie than bad, I wouldn't rank it near the top of '80s fantasy, but it's far from the worst. Despite its romance and clever premise, it is not nearly as quotable or timeless as its subgenre's classics and lacks qualities that make it one, whether it’s the commentary on adolescence in Labyrinth or the uniquely sly self-awareness in The Princess Bride. Plus, there's the cheesy soundtrack, which I can't imagine even the most extreme ‘80s aficionado being nostalgic about. There is, of course, still enough about this movie for me to recommend it. Just expect something light, fun and that would be a good way to spend an afternoon than something that will also leave a deep impression.
I think I'm inclined to agree with you on all counts. Which is to say that I started to take exception with the notion that it didn't belong at the top but the more I thought about it, the more I thought, wellll... and then you mentioned the soundtrack and I'm like, "Oh yeah, I forgot, that dated the hell out of it."
But when I went back and watched this a few years ago (having first seen it once or twice int theater and then maybe another dozen times on HBO when I was a kid), I have to say I thought it held up a lot better than I expected. Not as juvenile as I was expecting. It's a shame Rutger Hauer wasn't a bigger star on my side of the pond, he was a really compelling actor. And I think you're right, Pfeiffer, and the way the director and cinematographer handle her, creates a haunting yet luminescent presence.
All in all, I thought it was a well put-together fantasy. Which is one of my favorite genres.





A movie about an alcoholic man is not my fave scenario, but I did get through this. Two hours, but felt longer. Both leads very good.




Good movie. Unusual storyline that I haven’t seen before. Lead actress is excellent: I believe she could do any rôle
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I think I'm inclined to agree with you on all counts. Which is to say that I started to take exception with the notion that it didn't belong at the top but the more I thought about it, the more I thought, wellll... and then you mentioned the soundtrack and I'm like, "Oh yeah, I forgot, that dated the hell out of it."
But when I went back and watched this a few years ago (having first seen it once or twice int theater and then maybe another dozen times on HBO when I was a kid), I have to say I thought it held up a lot better than I expected. Not as juvenile as I was expecting. It's a shame Rutger Hauer wasn't a bigger star on my side of the pond, he was a really compelling actor. And I think you're right, Pfeiffer, and the way the director and cinematographer handle her, creates a haunting yet luminescent presence.
All in all, I thought it was a well put-together fantasy. Which is one of my favorite genres.
Speaking of misremembering movies, I thought Tangerine Dream did the soundtrack, which was one of my motivations for seeing it, but I guess they only did Legend. I can see what composer Andrew Powell was going for since the music could be described as fanciful, light and romantic, which fits the movie's tone, but it sounds more like video poker music. At least he redeemed himself with his work with the Alan Parsons Project, huh? I'm attempting to do a sci-fi/fantasy September, so reviews of more such movies are on their way.

Oh, and I'm gonna need the title of that shocking '91 flick.