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31
The Small Screen / Re: What shows are you watching?
« Last post by Fernando on August 05, 2018, 06:11:46 PM »
I couldn't get past the first episode.

MILD SPOILERS

I think once his mistress grabbed his cock and said, "Is that a gun in your pocket or are you just happy to see me?" and he replied, "You know I don't where my gun to the office" or something like that, I felt I couldn't justifiably devote any more time to it. I'm getting old.

Am I being picky? I love to be convinced.

ha I really don't remember that bad line.

The show as it progresses gets more interesting but it has a few scenes here and there of the private life of Jeff Daniels' character, but I think is worth it, if you try again and by the 3rd episode you're not hooked then it's not for you.
32
This Year In Film / Re: Mission: Impossible - Fallout
« Last post by matt35mm on August 05, 2018, 02:14:37 PM »
I don't mind the plot, especially when it leads to two pretty silly but satisfying "gotcha" moments at the beginning and the middle of the story. What I did notice tho - was the beginning when Tom Cruise/ Ethan Hunt totally opened the movie using QAnon catchphrases "a storm is coming/ I am the storm" - did anyone else catch that? That's a pretty insane dogwhistle.

My guess is that that's some old quote that was appropriated by QAnon?
33
The Art Gallery / Re: I made a gender bending bank robbery short film
« Last post by jenkins on August 05, 2018, 01:31:20 PM »
first of all the handwriting joke is hilarious. that was a first thing i felt. then when she was driving out, it was the sunlight on her face that really touched me. and i found myself being pulled toward this woman, which continued through the rest of the short, leaving behind what's called an "indelible" impression. like she is in my gut now.
34
This Year In Film / Re: First Reformed
« Last post by The Ultimate Badass on August 04, 2018, 09:57:27 PM »
I was surprised at how bad I found this movie to be after reading all the good things said about it here. I thought it was amateurish and silly and poorly crafted. The movie seems like it's been assembled from the pale shadowed fragments of many other better movies. Every scene is so trite and unoriginal. Even the levitation scene, which I agree is its high-point, feels familiar -- we've seen this same thing many times before. This movie really has nothing new or interesting to say at all.

That's not even getting into Schrader's directing. He's just not very good at it. He has such a heavy hand, and lacks self-assuredness and cinematic vision. And the guy cant direct actors for shit. Every interaction is so clunky and unnatural. Amanda Seyfried's performance was distractingly awful and I dont think it was really her fault. Almost everyone was pretty bad in this. But hats off to Cedric the Entertainer who was, surprisingly,  the only character that managed to come across as a believable human being.
35
This Year In Film / Re: Mission: Impossible - Fallout
« Last post by pete on August 04, 2018, 06:36:41 PM »
I don't mind the plot, especially when it leads to two pretty silly but satisfying "gotcha" moments at the beginning and the middle of the story. What I did notice tho - was the beginning when Tom Cruise/ Ethan Hunt totally opened the movie using QAnon catchphrases "a storm is coming/ I am the storm" - did anyone else catch that? That's a pretty insane dogwhistle.
36
This Year In Film / Re: Mission: Impossible - Fallout
« Last post by Drenk on August 04, 2018, 02:41:25 PM »
I wish I had a story like that for MI6 because I spent the movie being mostly bored—it was just nice, you know, walking through Paris to get to the movie theater before seeing Tom Cruise rushing through those streets in a motorcycle. Friends act as if I were crazy. I enjoyed Rogue Nation a lot, it was dumb fun but...fun, you know. That's all I'm asking for. This one is dumb and boring.

And ultimately the car/motorcycle chase in Rogue Nation was better than the one in Paris, even if I'm amazed that they managed to get those shots there. I loved the ending, the helicopter chase. But I can't shake more than one hour of total boredom. Is Tom Cruise worried that he's too nice? Does he need that much to be reminded of his awesomeness by the women in his life? Does he miss Katie Holmes or he is trying to create a meta narrative about Katie Holmes? How many times does he say "It doesn't matter" when characters ask him about what's happening?

The plot is a mess of boring half-conspiracies with half sketched characters and the movie spends so much time exposing that mess.

I'll be great on YouTube. Or with drinks and friends you can be loud with. (And a remote.)
37
DVD Talk / Re: Random DVD and Blu-ray announcements
« Last post by wilder on August 04, 2018, 09:28:33 AM »
October 2, 2018

Robert Siodmak’s The Spiral Staircase (1945) on blu-ray from Kino, from a new 4K restoration. Includes a commentary by Film Historian Imogen Sara Smith.



One of the all-time great Hollywood chillers! A murderer is targeting disabled young women in a New England town, and Helen (Dorothy McGuire, Gentleman’s Agreement), a mute servant in a Gothic mansion, is terrified she's next. Mrs. Warren (Ethel Barrymore, Deadline – U.S.A.), the invalid, bullying mistress of the house, warns Helen to leave at once, rather than rely on her weak son and stepson for protection. But even as Helen is packing her things, she suspects she may be too late and the murderer is closer than she ever imagined. This terrifying and suspenseful thriller was produced by David O. Selznick (Duel in the Sun), directed by Robert Siodmak (Cry of the City), shot by Nicholas Musuraca (Out of the Past) and written by Mel Dinelli (The Reckless Moment), based on a novel by Ethel Lina White (The Lady Vanishes). 





October 2, 2018

Joe Sarno’s Sin in the Suburbs (1964), Confessions of a Young American Housewife (1974), and Warm Nights and Hot Pleasures (1964) on blu-ray from Film Movement, from new 2K restorations



Confessions of a Young American Housewife / Sin in the Suburbs - Amazon


Confessions of a Young American Housewife (1974) - New York sophisticates Carole and Eddie spice up their sex life by swapping partners with their close friends, Anna and Pete. An unexpected visit from Carole's young, attractive and recently widowed mother Jennifer throws a temporary wrench into their plans, but the quartet are soon back in action after Pete tries and fails to seduce Jennifer in the kitchen. Intoxicated by life and lust, Jennifer begins a May-December romance. Stars Rebecca Brooke and Jennifer Wells.





Sin in the Suburbs (1964) - Audrey Campbell (Olga) stars as Geraldine Lewis, a lonely housewife and mother who distracts herself with racy friends and a secret affair. Discovered in the arms of another man, Geraldine immerses herself in a secret sex club, only to find a shocking secret revealed!




Warm Nights and Hot Pleasures (1964) - Never Before Released on any Home Video Format. In 1964's Warm Nights and Hot Pleasures, Joe Sarno tells the tale of three ambitious college girls who head to New York City, eager to make their mark on Broadway. Short on funds, the girls rent a room from a men's magazine model and are soon immersed in a lurid world of wild parties, risque men's clubs and sleazy casting couches. Lessons are learned and hearts are broken as each one decides just how far she will go for stardom. Featuring Bettie Page-style bondage and female wrestling, Warm Nights and Hot Pleasures is a sultry snapshot of Manhattan of the early 1960s. Stars Marla Ellis and Joe Santos.





November 13, 2018

George Marshall’s The Blue Dahlia (1946) on blu-ray from Shout Factory



"A honey of a rough-'em-up romance" (The New York Times) and a film fan favorite, The Blue Dahlia stars Alan Ladd and Veronica Lake, who generate sizzling screen chemistry in their final movie together. A WWII veteran (Ladd) is accused of killing his unfaithful wife and races against time to find the real murderer with the help of a sympathetic stranger (Lake). Written for the screen by acclaimed detective writer Raymond Chandler, this stylized film features moody black and white cinematography and earned a 1946 Academy Award nomination for Best Writing, Original Screenplay.



October 16, 2018

Nunnally Johnson's Black Widow (1954) on blu-ray from Twilight Time



A married Broadway producer is taken with an innocent young woman who wants to be a writer and make it on Broadway. He decides to take her under his wing, but it's not long before the young lady is found dead in his apartment.



39
News and Theory / Re: What Films Are We Watching?
« Last post by jenkins on August 03, 2018, 10:52:57 PM »
oh idk, we're just making it up on the spot you know. i think the conversation is going along fine. i'd want to say the Safdies or Sean Baker of course. but who makes those big narratives these days, the ones that stretch out across different types of people? no one and i'm hungry for it too.

all i really care about is the people. i recently discovered Nothing But A Man and it's better than the trailer

40
News and Theory / Re: What Films Are We Watching?
« Last post by BB on August 03, 2018, 10:23:34 PM »
While I wouldn't say she's an Ashby disciple, Kelly Reichardt consistently and humanely depicts the working class. It's really the thing I enjoy most about her movies: the characters seem like people I know but not necessarily people I think about. Which is so wonderful and true to life. Interesting things happen to everybody. Just caught up with Certain Women recently and boy oh boy, it knocked me out.

As for the question of who's sporting an Ashby influence among younger filmmakers, I also thought of Alex Ross Perry but also found the same reasons to exclude him. Lowery too, yeah, though I'm not sure if I'd go so far as to say his films are like Ashby's. I'd bet all of the "mumblecore" crew dig him, but none seem to be really going for that particular feel. Lady Bird would probably be closest out of all the recent releases I've seen and even there the one I'd compare it to most is Harold and Maude. Has anything remotely like Shampoo or Coming Home been made lately? Let alone both by the same filmmaker?
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