Started by wilder, November 01, 2011, 01:54:56 AM
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QuoteThe GangIn 1945, as World War Two comes to a close, five small time crooks unite to form a gang lead by the charismatic Alain Delon. After several bold robberies they become notorious as "the front-wheel drive gang." The police attempt to stop their crime spree with little success, but how long will their luck last?Three Men to KillIn this gritty, violent and suspenseful thriller, Delon plays Gerfaut, who comes to the aid of a man laying wounded in the road, not knowing the man has taken two bullets to the belly. Soon he becomes the target for the killers, who see him as a dangerous witness. But Gerfaut has been around the block a couple of times and he won't be so easily eliminated.
QuoteWalk a Crooked Mile (1948)After evidence surfaces of an information leak at a major nuclear lab, FBI Agent Dan O'Hara (Dennis O'Keefe) pairs up with Scotland Yard Detective Philip Grayson (Louis Hayward) to track down those responsible. An investigation of the scientists, including the enigmatic beauty Dr. Toni Neva (Louise Allbritton), leads the agents to a Communist Party spy operation in San Francisco, which they must shut down before sensitive state secrets are handed over to the wrong people. Directed by Gordon Douglas.Walk East on Beacon! (1952)FBI agent James Belden (George Murphy) is tasked with finding and bringing down a communist spy ring operating in Boston. After an anonymous tip, Belden and his agents tail a man who leads them to various suspects, as they try to determine how far the espionage reaches. Meanwhile, the spies force a scientist (Finlay Currie) to divulge secret information by holding his son hostage. As the investigation continues, it seems the Russian agent Alexi Laschenkov (Karel Stepanek) might be behind it all. Directed by Alfred L. Werker.Pushover (1954)In the wake of a bank heist, Paul Sheridan (Fred MacMurray) is part of a team of cops assigned to recover the stolen $200,000. They stake out the apartment of Lona McLane (Kim Novak), the girlfriend of the one of the robbers, and before long Paul and Lona begin a steamy affair. Lona persuades Paul to kill her boyfriend so that the two of them can escape with the money, but, in order to pull it off, Paul first has to trick his boss and fellow detectives. Directed by Richard Quine.A Bullet Is Waiting (1954)Storms trap a Utah sheriff (Stephen McNally) and his prisoner (Rory Calhoun) in a coastal cabin with a professor's daughter (Jean Simmons). Directed by John Farrow.Chicago Syndicate (1955)An ex-military accountant is recruited by the FBI to infiltrate the mob in Chicago in an attempt to break open the rackets. To complicate his job, two women stand in his way, each with their own agenda. Directed by Fred F. Sears.The Brothers Rico (1957)Former Mafia bookkeeper Eddie Rico (Richard Conte) has decided to go straight and lives with his wife in Florida, where they plan to adopt a child. However, his brothers, Johnny (James Darren) and Gino (Paul Picerni), still work for his ex-boss, Sid Kubik (Larry Gates) -- and, when Eddie finds out their lives are in danger, he tries to re-establish his connection to the world he thought he had left behind. But when one of his brothers is killed, Eddie realizes that he may be next. Directed by Phil Karlson.
Quote from: wilder on June 11, 2021, 06:32:50 PMJuly 13, 2021Erich von Stroheim & James Cruze's The Great Gabbo (1929) on blu-ray from Kino, from a 2K restorationOne of Hollywood's earliest -- and most peculiar -- musicals, The Great Gabbo stars Erich von Stroheim as an egotistical ventriloquist who casts a Svengali-like spell upon an ingenue (Betty Compson), against a backdrop of singularly strange numbers (including "Icky" and the spider-and-fly-themed "Caught in a Web"). Director James Cruze (The Covered Wagon) allowed von Stroheim to endow the character with his signature flourishes, resulting in a wicked cocktail of garish stage shows and Austro-Hungarian villainy that is a diabolical delight.
Quote from: jenkins on June 15, 2021, 02:36:30 AMI got LA Wars which I know you did, too, wilder. we both slept on Action USA but whatever. did you Martial Law? I didn't Martial Law and I led the countdown to its sell out. did you Vice Academy? I slept on that and he's maybe like one of those true bad directors they support but it does have a sexual cover so I woulda bought it
QuoteSo, the big controversy from today's @ArrowFilmsVideo announcement: no 4K UHD for Legend. As I hinted a few weeks ago, there are sound reasons for this, and I'm going to try and explain why in this thread.Obviously we wanted to, and it's not Universal stopping us (they have no plans either AFAIK). It's a visually stunning film and I understand people's dismay when Alien and Blade Runner are both on UHD and they want Legend to sit alongside those. Believe me, I get it. But...It's important to understand Legend's post-production and release history and the materials issues relating to it, which is much more complex and fraught than Alien or even Blade Runner, both of which have enjoyed multi-million dollar restoration projects by Fox and Warner.Reputation is an important factor too. Alien and Blade Runner are undisputed classics, one an instant franchise-spawning hit and the other a hard-earned unlikely triumph. Legend has still never quite enjoyed that level of respect, as much as we may love it.There are three versions of the film (not counting TV edits): the 113-min Director's Cut, restored by Universal in 2002 (SD) and 2011 (HD); the 93-min International cut, released outside the US by Fox; and the 90-min cut with Tangerine Dream score released in the US by Universal.The Director's Cut was restored from one of only two surviving 35mm answer prints, with additional post-production by Universal. There is no better quality source for this version, certainly not a negative. So why not scan the answer print in 4K? I mean, go big or go home right?These are Scott's notes from the 2011 Blu-ray explaining the inherent quality issues on the Director's Cut master. He sums it up well; even though an answer print is often struck direct from the negative, there is significant generational quality loss that cannot be reversed.In addition, the answer prints do not wholly represent what is in the Director's Cut HD master; they contain unfinished effects and other issues that would need to be corrected all over again in 4K.Universal spent a lot of money in 2011 getting the Director's Cut to look as good as it does in HD, but make no mistake: its imperfections would be utterly naked in 4K, and the diminished dynamic range would make HDR a moot point.Some wise aleck might be piping up with one of the rare examples to prove me wrong. "What about the Cannes cut of Dawn of the Dead, restored in 4K HDR from a CRI!" True, but the Cannes cut is a curio, not Romero's preferred cut that most people would reach for before any other.The negative of Legend is conformed to the 93-min International Cut... and here's where things get tricky. The negative is owned by Universal, there's even a Universal copyright at the end... but Fox/Disney own distribution rights to that particular version of the film.We went ahead and did a 4K scan of the negative anyway, knowing we could still put it to some use and hoping that we might be able to pull off a miracle and clear a US/UK edition with all three cuts, which might make UHD a little more feasible logistically and financially.We tried very, very hard to make headway with Fox on clearance to include the International Cut as an extra, but no dice. Ever notice that the International Cut's never been released in the US, nor the US cut in the UK? You need both to sign it off and we couldn't make it happen.You may ask, "Why not use the negative to make the Director's Cut look even better? It's only 20 mins shorter, right?" In fact, there are so many tiny cuts and minute differences throughout that less than an hour of negative material could be used in a Director's Cut restoration.So even if we used our 4K negative scans to upgrade portions of the Director's and US cuts, what does that leave us on UHD? Two compromised, Frankenstein masters that would inevitably fall short of people's high expectations, no matter what we did.Make no mistake, if Arrow does a new 4K master, whether it's Tremors or King of New York or Donnie Darko, and spend as much as we do on restoration, UHD authoring etc, we want it to be a massive improvement. Legend in this form would not qualify.So here's the deal: the Arrow Blu-Ray, in addition to awesome new extras, has both Director's and US cuts in the best quality they've ever been seen in. It's still a stonking upgrade, thanks in no small part to those neg scans of the one cut that's unfortunately missing.
Quote from: jenkins on December 29, 2020, 11:49:58 AMJan 10 Walk on the Wild Side is coming to the channel. that's the most successful screenplay accomplishment of John Fante and it's southern melodrama (which i like)