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71
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.)
72
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.



74
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

75
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?
76
News and Theory / Re: What Films Are We Watching?
« Last post by polkablues on August 03, 2018, 10:06:31 PM »
i ask the question of how well these people being mentioned have depicted the working class. as to say, not those both comfortable and troubled, but those troubled and troubled.

I would propose that in the case of Greta Gerwig, the answer is "very well," which is to say I believe Lady Bird is the modern quintessence of what you've described. In the case of Baumbach and/or Perry, that particular story doesn't seem to be a primary artistic concern in either's body of work, so my answer would be "N/A."
77
The Art Gallery / Re: I made a gender bending bank robbery short film
« Last post by pete on August 03, 2018, 06:21:01 PM »
hey psst just for you Imma share the film here don't spread it

https://vimeo.com/233684059
pw lobstercoloredmanchild

78
News and Theory / Re: What Films Are We Watching?
« Last post by jenkins on August 03, 2018, 03:58:23 PM »
it is not to argue with you people, who surely must by now embrace being internet friends, that i ask the question of how well these people being mentioned have depicted the working class. as to say, not those both comfortable and troubled, but those troubled and troubled. i believe that is missing in art, and i believe art suffers for it. the people are the same.

yes i would say that for example The Lowery Touch is thinking from the human outward, as a variety of humans, creating different movies around different humans, embracing what's human, loving what's human through art, this a vital aspect of The Lowery Touch i am suggesting. The Old Man & the Gun might/could gracefully stroll into positive feelings from outside the usual, and be appreciated by both critics and emotions, which is the kicker, the one for the team imo.
79
News and Theory / Re: What Films Are We Watching?
« Last post by eward on August 03, 2018, 03:30:25 PM »
This raises a good question; are there any current filmmakers who might be considered the standard-bearer for the continuation of the Ashby aesthetic? Baumbach and Gerwig come to mind... anyone else?

Alex Ross Perry? His films might be a bit too tempestuous and stylized, though, to cozily fit that bill.
80
The Small Screen / Re: Lost (spoilers)
« Last post by Jeremy Blackman on August 03, 2018, 01:13:38 PM »
Evangeline Lilly in a recent interview:


Quote
“In season 3, I’d had a bad experience on set with being basically cornered into doing a scene partially naked, and I felt I had no choice in the matter,” she tells me. “I was mortified and I was trembling, and when it finished I was crying my eyes out and had to go on and do another very formidable and strong scene immediately after.”

She continues: “So in season 4, another scene came up where Kate was undressing and I fought very hard to have that scene be under my control, and I failed to control it again. So, I said. ‘That’s it – no more. You can write whatever you want, I won’t do it. I will never take my clothes off on this show again’ – and I didn’t.”

The first nude scene she's referring to is unfortunately in "I Do" (305), one of my very favorite episodes of Lost, which I talked about several times on the last 2 pages. Kate basically has a nude sex scene with Sawyer in a cage, which is definitely the type of thing that should require the actress's full consent.

I'm actually not sure what the season 4 scene is.

There was a joint response statement by Abrams, Lindelof, Bender, and Cuse:

Quote
Our response to Evie’s comments this morning in the media was to immediately reach out to her to profoundly apologise for the experience she detailed while working on LOST. We have not yet connected with her, but remain deeply and sincerely sorry. No person should ever feel unsafe at work. Period.

Equally illuminating are Evangeline Lilly's problems with Kate's character, which I have to say are kind of hard to disagree with:

Quote
“I always thought she was obnoxious,” she says. “Not at the beginning – at the beginning, she was kind of cool. But as the show went on, I thought she became more and more predictable. I felt that my character went from being autonomous – really having her own story, journey and agendas – to chasing two men around the island. That irritated the shit out of me.”

Quote
“I wanted her to be better because she was an icon for strength and for women. I think I tried very hard to take what I was given and always find the way to show that strength, to have her own thoughts and to take moments I thought might be quite whiny and somehow make them... not whiny.”

Quote
“I’m not opposed to having romance in a woman’s life. I’m one of those people who has never been able to be single, so there’s nothing wrong with women’s lives being characterised by their relationships. But there was this eventual lack of dimension to what was going on with her. It was just [mock gasps] ‘Jack!” “Sawyer!’”

I've always strongly felt that Jack & Kate only really work because of those actors, and this seems to further validate that view.

It is too bad that Kate didn't get more to do in the show. She never quite became the heroic figure that might have been. Her best scenes and moments usually took place off-island, peaking in Season 4 I would say.
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