last movie you watched

[Greystoke]

I watched Lawman last night, Michael Winner's 1971 western, which stars Burt Lancaster as a marshal who tracks down a gang that was responsible for killing a man on a rowdy night in his town. This film used to be a late night regular on the BBC some years ago, and despite its many flaws and shortcomings, it's good to revisit. Largely because of Lancaster.

Lawman also boasts a strong overall cast, from Robert Duvall, to Sheree North, John McGiver, Robert Ryan, and Lee J. Cobb as the landowner whose men Lancaster is after. Unfortunately, Ryan, the town sheriff, and Cobb, both play badly underwritten characters, with Cobb sharing little screen time with Lancaster. Which strips the film of a more potent dynamic. As does a lack of more interesting culprits.

The same is true of Lancaster's Lawman, who is too much of an open book to work as the hateful figure he's at times portrayed as, yet he's also lacking enough substance and real motivation in spite of the obvious. Whilst Cobb's character is absent for too long in the film's middle section.

Where Winner raises his game is in how sudden the gunfights are. Although his direction veers towards fussy too often. Which distracts at times. Then Lancaster will draw focus again with how persuasive he can be. His scenes with Ryan are good and hint at something more. And he has some fairly good moments with North, whose role is thankless and murky. As is their relationship.

This is a film that certainly needed a better script, but it's also wanting for more assured direction and a sure enough hand to bring it into some kind of centre, with real purpose. Instead, Winner seems geared towards cynicism and violence as a default position. Then again, it still has Burt Lancaster.

[pmp]

This weekend, I worked through the first season of Castle Rock, the TV series set in the town that is the setting of many Stephen King novels. It's entertaining enough (and is a self-contained one season story), but it seems a little protracted, and the final couple of episodes don't actually make much sense or resolve all that much. The writing for the first half of the series (before it gets "weird) is excellent, and there are some really fine performances throughout, including from Bill Skarsgard, but most of all Sissy Spacek, who is really superb here. I'm rather surprised there wasn't an Emmy nomination for her, as it would have been deserved. I won't be watching season 2 (which, I understand, is a largely unrelated story), though - not least because of the way the first season falls to pieces somewhat as it gets more and more bizarre in the final episodes.

[pmp]

Tonight I got around to The Body Snatcher, part of the Val Lewton horror cycle. This is less horror and more period drama, but it's a good film with plenty of atmosphere. Karloff is excellent here, and the highlight remains his scene with Lugosi, who gives one of his most subtle acting performances here. It's not one of my very favourite films in the cycle, but there is much to enjoy here and the German blu ray looks excellent.

Meanwhile, I note that the BFI have made some new announcements, including Brannigan, and a second attempt at releasing Targets, after last year's attempt got shelved.

[Greystoke]

Tonight I got around to The Body Snatcher, part of the Val Lewton horror cycle. This is less horror and more period drama, but it's a good film with plenty of atmosphere. Karloff is excellent here, and the highlight remains his scene with Lugosi, who gives one of his most subtle acting performances here. It's not one of my very favourite films in the cycle, but there is much to enjoy here and the German blu ray looks excellent.

Meanwhile, I note that the BFI have made some new announcements, including Brannigan, and a second attempt at releasing Targets, after last year's attempt got shelved.

It's been too long since I last watched The Body Snatcher. I think the last time was probably when BBC 2 showed some Val Lewton films over Christmas and New Year around 2014, perhaps.

The new BFI announcement caught my eye, too. I'll buy Targets, but it probably won't double-dip on Brannigan unless it's a significant upgrade on the Twilight Time Blu-ray. I'm quite fond of Brannigan all the same.

[pmp]

Tonight I got around to The Body Snatcher, part of the Val Lewton horror cycle. This is less horror and more period drama, but it's a good film with plenty of atmosphere. Karloff is excellent here, and the highlight remains his scene with Lugosi, who gives one of his most subtle acting performances here. It's not one of my very favourite films in the cycle, but there is much to enjoy here and the German blu ray looks excellent.

Meanwhile, I note that the BFI have made some new announcements, including Brannigan, and a second attempt at releasing Targets, after last year's attempt got shelved.

It's been too long since I last watched The Body Snatcher. I think the last time was probably when BBC 2 showed some Val Lewton films over Christmas and New Year around 2014, perhaps.

The new BFI announcement caught my eye, too. I'll buy Targets, but it probably won't double-dip on Brannigan unless it's a significant upgrade on the Twilight Time Blu-ray. I'm quite fond of Brannigan all the same.

I'm glad I saw the Targets announcement as I was planning to buy the US Criterion edition. Here's hoping that the BFI edition actually happens this time around.

[Greystoke]

Another terrific slate for June from Warner Archive. I'm really excited about The Old Man and the Sea and Angel Face in particular. I haven't actually watched The Old Man and the Sea in maybe 20 years. It's a film I watched almost annually for years after I first saw it as a kid.

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[pmp]

Another terrific slate for June from Warner Archive. I'm really excited about The Old Man and the Sea and Angel Face in particular. I haven't actually watched The Old Man and the Sea in maybe 20 years. It's a film I watched almost annually for years after I first saw it as a kid.

It is a great slate, but nothing there that will tempt my own purse strings, I don't think. But I have plenty more recent and forthcoming releases from other labels to catch up on (I Could Go on Singing, Edge of Darkness, The Sniper, Chaney's The Trap, The Owl Service, Broken Lullaby, Kiss Before the Mirror) etc, which is all good.

Tonight I watched the Warner Archive edition of Isle of the Dead, as it happens. The improvement over the DVD is startling, and I have to say I enjoyed this doom-laden tale of the plague and superstition far more this time around than the first time I saw it. Perhaps it was because I went in knowing what to expect this time. It is, in many ways, the most self-indulgent of the Val Lewton horrors, with a wordy and literate script that, surely, must have struggled to find an audience back in 1945. Viewed in 2023, the film rather takes on a new meaning following the Covid pandemic. It is, after all, quite literally a film about a lockdown to avoid spreading the plague, and the paranoia that comes with suspecting everyone is a carrier. It's a chilling movie, and the only levity is provided by Boris Karloff's dodgy hair-do that looks like a home-perm went awry.

[pmp]

I ended up watching an old Judy Garland Show episode tonight, but am very happy to have found some blu ray EU imports on Rarewaves tonight of The Glenn Miller Story, the 1945 version of And Then There Were None, and Steven Soderbergh's King of the Hill, that I can't have seen in twenty years. £29 for the three including postage was pretty good, I think!

[Greystoke]

I ended up watching an old Judy Garland Show episode tonight, but am very happy to have found some blu ray EU imports on Rarewaves tonight of The Glenn Miller Story, the 1945 version of And Then There Were None, and Steven Soderbergh's King of the Hill, that I can't have seen in twenty years. £29 for the three including postage was pretty good, I think!

Coincidentally, the Glenn Miller Story Blu-ray caught my eye last night when I was looking over some options for the weekend. This is the release I have. I think I've only watched it once on Blu-ray, but from memory, it was a good representation of the film.

IMG_20230512_073338052.jpg

[pmp]

I ended up watching an old Judy Garland Show episode tonight, but am very happy to have found some blu ray EU imports on Rarewaves tonight of The Glenn Miller Story, the 1945 version of And Then There Were None, and Steven Soderbergh's King of the Hill, that I can't have seen in twenty years. £29 for the three including postage was pretty good, I think!

Coincidentally, the Glenn Miller Story Blu-ray caught my eye last night when I was looking over some options for the weekend. This is the release I have. I think I've only watched it once on Blu-ray, but from memory, it was a good representation of the film.

I think that's the one I'm getting. Most of the Euro labels are excellent, with the exception of the Spanish ones, which are merely "hope for the best," and so I have given up on those.

[Greystoke]

I ended up watching an old Judy Garland Show episode tonight, but am very happy to have found some blu ray EU imports on Rarewaves tonight of The Glenn Miller Story, the 1945 version of And Then There Were None, and Steven Soderbergh's King of the Hill, that I can't have seen in twenty years. £29 for the three including postage was pretty good, I think!

Coincidentally, the Glenn Miller Story Blu-ray caught my eye last night when I was looking over some options for the weekend. This is the release I have. I think I've only watched it once on Blu-ray, but from memory, it was a good representation of the film.

I think that's the one I'm getting. Most of the Euro labels are excellent, with the exception of the Spanish ones, which are merely "hope for the best," and so I have given up on those.

And there's a lot of good prices, too. Some of the media books are pretty nice. There's a series of westerns that Koch Media have released and when I see them for £10 or less I typically place an order. There's usually no remastering done but they look good in HD if the source is unproblematic.

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[pmp]

I ended up watching an old Judy Garland Show episode tonight, but am very happy to have found some blu ray EU imports on Rarewaves tonight of The Glenn Miller Story, the 1945 version of And Then There Were None, and Steven Soderbergh's King of the Hill, that I can't have seen in twenty years. £29 for the three including postage was pretty good, I think!

Coincidentally, the Glenn Miller Story Blu-ray caught my eye last night when I was looking over some options for the weekend. This is the release I have. I think I've only watched it once on Blu-ray, but from memory, it was a good representation of the film.

I think that's the one I'm getting. Most of the Euro labels are excellent, with the exception of the Spanish ones, which are merely "hope for the best," and so I have given up on those.

And there's a lot of good prices, too. Some of the media books are pretty nice. There's a series of westerns that Koch Media have released and when I see them for £10 or less I typically place an order. There's usually no remastering done but they look good in HD if the source is unproblematic.

Yes, they are really nice. I have some of the Lewton films from Germany, as you know. And The Premature Burial, The Heiress, Tickle Me, The Rathbone Holmes set, Scrooge (1951), Midnight Lace, Change of Habit, Agatha Christie's Spider's Web (1961), Juggernaut, War and Peace, Sneakers, and one of the 9-Western move collections (mostly Audie Murphy films), and Antitrust.

[Greystoke]

Last night I watched Ocean's Twelve, The Mother, and Thief. After watching Ocean's Eleven last week, I didn't want to wait too long before watching its sequel, which is a bit of a damp squib by comparison.

Ocean's Eleven established the core characters who return in Ocean's Twelve, with the setting moved to Europe, as Andy Garcia's hotel owner, who was robbed in the first film, wants his money back. With interest! This is the crux of the film, which also brings in Catherine Zeta-Jones as a love interest for Brad Pitt's character, although she's also an Interpol agent. Who doesn't know what he actually does for a living.

Unfortunately, there's no real chemistry between Pitt and Zeta-Jones, whilst Vincent Cassel being introduced as a rival thief only serves to add one more character to a film that's less about plot and more about behaviour. However, there isn't enough in the actual heist scenes to keep it interesting, especially when the characters are all so very familiar after the first film.

It does plumb the depths with a risible scene in which Julia Roberts, who plays Danny Ocean's wife, Tess, takes part in a heist whilst she pretends to be Julia Roberts. I didn't think this was smart of funny when the film came out. It's even less smart and less funny now.

The Mother, which stars and was produced by Jennifer Lopez as part of a major deal with Netflix, is directed by Niki Caro, who isn't in entirely assured territory with an action film that's violent and unrelenting from the offset. Although she's clearly got a vision and a lot of scope in what she wants to present. Which is impressive when this film opens up visually.

Lopez plays a former military assassin who finds reason to turn against an arms dealer and his partner when she discovers secrets she doesn't like. And finds out that she's pregnant. A deal with the FBI goes sour, she's forced to give up the child for her safety, but her former lovers and associates aren't about to give in so easily.

With a globetrotting plot and Lopez on fierce form, it's unfortunate that aspects of the script are half-baked. Particularly with regards to the motivations of Gael Garcia Bernal and Joseph Fiennes, who are the villains of the piece.

Bernal, on oily form, does when he can with a underwritten role, as does Fiennes, whose character is single note throughout. But effective all the same. What The Mother is lacking in depth, however, is more than compensated for by action and the heart of a story that's between mother and daughter. With young Lucy Paez doing solid work in her first major role as the daughter who is first kidnapped, then rescued, almost snatched again, then taken to the Alaskan wilderness where she she's kept safe. For a while at least.

Overarching metaphors may be on the nose at times, but when this film hits the mark, it does so in effective ways. Great location work and superb stunt work add considerably, whilst Omari Hardwick brings a lot to the film in his role as a goodhearted FBI agent. As does Paul Raci in a role that wants just a little bit more. But with Lopez front and centre, and on such commanding form, she lifts the film in every scene. Both with her action credentials and strong emotional beats between her and Paez.

Thief is a film I hadn't seen in years before last night. Michael Mann's subdued crime film, which stars James Caan as an expert thief who plays by his own rules.

It's superbly written and taught throughout, with Caan perfectly cast in a defining role for him in many ways. Tuesday Weld is also good as a love interest who brings out hidden depths in his character, as does an interaction with a father figure of sorts, played by Willie Nelson, who is behind bars.

Nelson, who only has two scenes, is good, but his character is positioned as something more than he ultimately becomes, which is a pity. It's the worst aspect of the film and misstep that isn't critical. But it feels misjudged all the same.

There's jarring bursts of violence as Caan's character gets in deep with people his instincts warn him against at first. James Belushi is also good as a partner in crime, whilst Tangerine Dream's pulsating score is just about perfect. Thief was great to revisit.

[pmp]

Last night I watched Ocean's Twelve, The Mother, and Thief. After watching Ocean's Eleven last week, I didn't want to wait too long before watching its sequel, which is a bit of a damp squib by comparison.

Ocean's Eleven established the core characters who return in Ocean's Twelve, with the setting moved to Europe, as Andy Garcia's hotel owner, who was robbed in the first film, wants his money back. With interest! This is the crux of the film, which also brings in Catherine Zeta-Jones as a love interest for Brad Pitt's character, although she's also an Interpol agent. Who doesn't know what he actually does for a living.

Unfortunately, there's no real chemistry between Pitt and Zeta-Jones, whilst Vincent Cassel being introduced as a rival thief only serves to add one more character to a film that's less about plot and more about behaviour. However, there isn't enough in the actual heist scenes to keep it interesting, especially when the characters are all so very familiar after the first film.

It does plumb the depths with a risible scene in which Julia Roberts, who plays Danny Ocean's wife, Tess, takes part in a heist whilst she pretends to be Julia Roberts. I didn't think this was smart of funny when the film came out. It's even less smart and less funny now.

The Mother, which stars and was produced by Jennifer Lopez as part of a major deal with Netflix, is directed by Niki Caro, who isn't in entirely assured territory with an action film that's violent and unrelenting from the offset. Although she's clearly got a vision and a lot of scope in what she wants to present. Which is impressive when this film opens up visually.

Lopez plays a former military assassin who finds reason to turn against an arms dealer and his partner when she discovers secrets she doesn't like. And finds out that she's pregnant. A deal with the FBI goes sour, she's forced to give up the child for her safety, but her former lovers and associates aren't about to give in so easily.

With a globetrotting plot and Lopez on fierce form, it's unfortunate that aspects of the script are half-baked. Particularly with regards to the motivations of Gael Garcia Bernal and Joseph Fiennes, who are the villains of the piece.

Bernal, on oily form, does when he can with a underwritten role, as does Fiennes, whose character is single note throughout. But effective all the same. What The Mother is lacking in depth, however, is more than compensated for by action and the heart of a story that's between mother and daughter. With young Lucy Paez doing solid work in her first major role as the daughter who is first kidnapped, then rescued, almost snatched again, then taken to the Alaskan wilderness where she she's kept safe. For a while at least.

Overarching metaphors may be on the nose at times, but when this film hits the mark, it does so in effective ways. Great location work and superb stunt work add considerably, whilst Omari Hardwick brings a lot to the film in his role as a goodhearted FBI agent. As does Paul Raci in a role that wants just a little bit more. But with Lopez front and centre, and on such commanding form, she lifts the film in every scene. Both with her action credentials and strong emotional beats between her and Paez.

Thief is a film I hadn't seen in years before last night. Michael Mann's subdued crime film, which stars James Caan as an expert thief who plays by his own rules.

It's superbly written and taught throughout, with Caan perfectly cast in a defining role for him in many ways. Tuesday Weld is also good as a love interest who brings out hidden depths in his character, as does an interaction with a father figure of sorts, played by Willie Nelson, who is behind bars.

Nelson, who only has two scenes, is good, but his character is positioned as something more than he ultimately becomes, which is a pity. It's the worst aspect of the film and misstep that isn't critical. But it feels misjudged all the same.

There's jarring bursts of violence as Caan's character gets in deep with people his instincts warn him against at first. James Belushi is also good as a partner in crime, whilst Tangerine Dream's pulsating score is just about perfect. Thief was great to revisit.

I haven't seen it for a long while, but I thought Oceans Twelve was pretty awful.

Late last night, I watched the blu ray of Night of the Demon, which is quite an excellent release, with no fewer than four versions of the film! I'm probably too familiar with it to enjoy it as much as I used to, but I'd read the story a couple of nights earlier, and so thought I'd give it another watch. It's a very fine film, in many ways harking back to the Lewton films I saw earlier in the week (except for that Godawful monster that was shoehorned in). I have to confess I'd love to have seen Leslie Banks as Karswell, but he was no longer with us by the time the film was made.

Just a quick note to say I shall only be here intermittently for the next week as I'm off to a hotel (just up the road) for a few days while my bathroom is gutted and started afresh, so probably not many films for me until Friday when, hopefully, I'll be back!

I picked up Broken Lullaby from HMV today (26 hours after I ordered it from the website, which is pretty good going). Looking forward to this tomorrow as it's based on the same story as Ozon's Frantz, which I thought was excellent. I also FINALLY managed to order I Could Go on Singing. The Twilight time disc was long out of print and going for around the £50 mark. The Sandpiper (is that right?) reissue was on WOW for about £20, so was an instant buy for me. So that should be here in a week or two.

[Greystoke]

I continued with the Star Wars films again this afternoon, opting to follow the original trilogy with the more recent The Force Awakens and The Last Jedi. Both of which I enjoyed a great deal, once again. I'll watch The Rise of Skywalker tomorrow, although this is a film I've been far less enamored with.

Tonight, I watched The Long Goodbye for the first time in many years, and I took another look at Saint Maud. The former, Robert Altman's whimsical, unromantic modernisation of the Philip Marlowe story, stars Elliott Gould as Marlowe in seventies L.A.

This Marlowe is down on his luck, lives next door to some odd female neighbours, who like to stay naked on the veranda, and does a favour for a friend that gets him in deep with the cops, a gangster, missing money, and the wife of an eccentric drunk, who owes money to a psychiatric clinic.

The wider casting is terrific, including Sterling Hayden, Mina Van Pallandt, and Mark Rydell. Whilst Altman effortlessly pushes against film noir conventions in effective ways. Although Marlowe still takes his beatings, seems to know about as much as viewers do as the plot unfolds, and is guarded and terse in ways typical of this particular character.

Great locations work a treat, and it never feels anything less than authentic. Superb score by John Williams, too. Although the frequent appearance of Williams and Johnny Mercer's theme song grows thin and quite absurd as it's heard on the radio in one version, then another, then sung by a piano player, heard at a funeral, and is even the sound of a doorbell. But this is a splendid film. I won't leave it so long before watching again.

Saint Maud stars Morfydd Clark in Rose Glass's assured and at times strange directorial debut as a palliative care nurse in a small, seaside town, whose religious beliefs are imposed upon a terminally ill patient.

Clark plays Maud, a woman whose past is shrouded in some mystery, although since finding God, she is dedicated, devoted, and hears god speak to hear. Which sends her into orgasmic convulsions. Her patient, Amanda, played by Jennifer Ehle, is former-dancer, who is cynical of Maud's beliefs and still tries to enjoy alcohol and sex in her final days.

From the onset, however, there's an unsettling tone as the film feels almost akin to Taxi Driver in a sense, as Maud's psyche breaks down amidst her determination to save the soul of another.

It's a horror film, but restrained. With frayed edges and the ability to operate within the physical and the psychological, whilst Glass, as both writer and director, remains compassionate towards Maud and Amanda.

It's a small, contained film that spends time in Amanda's home, Maud's single room apartment, and on a neon, seaside promenade, which creates a sense of place within a dead end locale that isn't far removed from the likes of Brighton Rock or The Damned. Whilst Glass is also wholly committed to an uncompromising final act that lets go of the restraint in an audacious way.

[Greystoke]

Last night I watched Ocean's Twelve, The Mother, and Thief. After watching Ocean's Eleven last week, I didn't want to wait too long before watching its sequel, which is a bit of a damp squib by comparison.

Ocean's Eleven established the core characters who return in Ocean's Twelve, with the setting moved to Europe, as Andy Garcia's hotel owner, who was robbed in the first film, wants his money back. With interest! This is the crux of the film, which also brings in Catherine Zeta-Jones as a love interest for Brad Pitt's character, although she's also an Interpol agent. Who doesn't know what he actually does for a living.

Unfortunately, there's no real chemistry between Pitt and Zeta-Jones, whilst Vincent Cassel being introduced as a rival thief only serves to add one more character to a film that's less about plot and more about behaviour. However, there isn't enough in the actual heist scenes to keep it interesting, especially when the characters are all so very familiar after the first film.

It does plumb the depths with a risible scene in which Julia Roberts, who plays Danny Ocean's wife, Tess, takes part in a heist whilst she pretends to be Julia Roberts. I didn't think this was smart of funny when the film came out. It's even less smart and less funny now.

The Mother, which stars and was produced by Jennifer Lopez as part of a major deal with Netflix, is directed by Niki Caro, who isn't in entirely assured territory with an action film that's violent and unrelenting from the offset. Although she's clearly got a vision and a lot of scope in what she wants to present. Which is impressive when this film opens up visually.

Lopez plays a former military assassin who finds reason to turn against an arms dealer and his partner when she discovers secrets she doesn't like. And finds out that she's pregnant. A deal with the FBI goes sour, she's forced to give up the child for her safety, but her former lovers and associates aren't about to give in so easily.

With a globetrotting plot and Lopez on fierce form, it's unfortunate that aspects of the script are half-baked. Particularly with regards to the motivations of Gael Garcia Bernal and Joseph Fiennes, who are the villains of the piece.

Bernal, on oily form, does when he can with a underwritten role, as does Fiennes, whose character is single note throughout. But effective all the same. What The Mother is lacking in depth, however, is more than compensated for by action and the heart of a story that's between mother and daughter. With young Lucy Paez doing solid work in her first major role as the daughter who is first kidnapped, then rescued, almost snatched again, then taken to the Alaskan wilderness where she she's kept safe. For a while at least.

Overarching metaphors may be on the nose at times, but when this film hits the mark, it does so in effective ways. Great location work and superb stunt work add considerably, whilst Omari Hardwick brings a lot to the film in his role as a goodhearted FBI agent. As does Paul Raci in a role that wants just a little bit more. But with Lopez front and centre, and on such commanding form, she lifts the film in every scene. Both with her action credentials and strong emotional beats between her and Paez.

Thief is a film I hadn't seen in years before last night. Michael Mann's subdued crime film, which stars James Caan as an expert thief who plays by his own rules.

It's superbly written and taught throughout, with Caan perfectly cast in a defining role for him in many ways. Tuesday Weld is also good as a love interest who brings out hidden depths in his character, as does an interaction with a father figure of sorts, played by Willie Nelson, who is behind bars.

Nelson, who only has two scenes, is good, but his character is positioned as something more than he ultimately becomes, which is a pity. It's the worst aspect of the film and misstep that isn't critical. But it feels misjudged all the same.

There's jarring bursts of violence as Caan's character gets in deep with people his instincts warn him against at first. James Belushi is also good as a partner in crime, whilst Tangerine Dream's pulsating score is just about perfect. Thief was great to revisit.

I haven't seen it for a long while, but I thought Oceans Twelve was pretty awful.

Late last night, I watched the blu ray of Night of the Demon, which is quite an excellent release, with no fewer than four versions of the film! I'm probably too familiar with it to enjoy it as much as I used to, but I'd read the story a couple of nights earlier, and so thought I'd give it another watch. It's a very fine film, in many ways harking back to the Lewton films I saw earlier in the week (except for that Godawful monster that was shoehorned in). I have to confess I'd love to have seen Leslie Banks as Karswell, but he was no longer with us by the time the film was made.

Just a quick note to say I shall only be here intermittently for the next week as I'm off to a hotel (just up the road) for a few days while my bathroom is gutted and started afresh, so probably not many films for me until Friday when, hopefully, I'll be back!

I picked up Broken Lullaby from HMV today (26 hours after I ordered it from the website, which is pretty good going). Looking forward to this tomorrow as it's based on the same story as Ozon's Frantz, which I thought was excellent. I also FINALLY managed to order I Could Go on Singing. The Twilight time disc was long out of print and going for around the £50 mark. The Sandpiper (is that right?) reissue was on WOW for about £20, so was an instant buy for me. So that should be here in a week or two.

Before watching it again, I was actually confusing Ocean's Twelve with Ocean's Thirteen as the one with the Julia Roberts gag. I'll watch Ocean's Thirteen next weekend no doubt, whilst the refreshing Ocean's Eight will probably be on my radar, too.

I'm a big fan of Night of the Demon, too, although it's a film I'm also very familiar with. But it never loses its power for me. Indicator's Blu-ray release is fantastic. I'll probably watch this one again later in the year.

[LSP-4445]

Saw Evil Dead Rise a week ago,a real crappy movie….90+ minutes waisted.
Just as poor as the Cocaine Bear that I saw earlier.
Probably due to im too old for them

[Greystoke]

I've been quite impressed with Radiance Films as a new label, and I was glad to add their new Blu-ray release of Yakuza Graveyard to my collection today.

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[Tang Lungs side kick]

MASH s10 :

episode 234

After a series of mistakes in and out of the OR, Potter calls in Sidney Freedman to help him regain his confidence. Meanwhile, Charles engages in a war of slovenliness against Hawkeye and B.J.
(aka Winchester becomes a slob)

235

Assigned as temporary replacement for a surgeon who has been killed at a front-line aid station, Hawkeye fears that he might not return alive and begins writing his will.

236

The officers enjoy popularity with the enlisted at promotion time, but a hulking corporal threatens to hurt Charles unless he makes sergeant.

237

While visiting the 4077th on a goodwill tour, a former boxing champ suffers a stroke that leaves him close to death. The media crew swamps Hawkeye for interviews on his prognosis, to B.J.'s disgust.
(Earl Boen aka Terminator shrink stars in this one)

238

The 4077th challenges the Marines to a bowling tournament, while Hawkeye receives news that his father has been hospitalized---which leads to a surprisingly empathetic exchange with and revelation from Winchester.

239

Potter wants to paint a portrait of the staff for his wife's birthday, but a feud between Hawkeye, B.J. and Charles is not a pretty picture. Hawkeye moves out of the Swamp and rents a hut behind Rosie's bar.

240

Klinger's goat eats the camp's monthly payroll, leaving Hawkeye responsible for $22,000 in destroyed currency. Charles takes out a loan from Rizzo and gets tangled up in the interest he has to pay (great episode)

[pmp]

I first watched Netflix's Alex Strangelove in a hotel room about five years ago, and have been meaning to watch it again since. Well, here I am tonight in a hotel room, and so I thought I'd give it another watch. It is quite a straightforward teen romantic comedy, about Alex who is with the girl of his dreams...and then meets a guy who changes everything. It really is a charmer of a film, and the kind of thing that Netflix was so good at about five or six years ago. In recent years, Netflix has rather lost its way a little, seemingly unsure of what it wants to be, and to what audience it is aiming at. With the exception of Heartstopper last year, and Lockwood & Co (which has just been cancelled after one series), it seems to have forgotten how to make this kind of thing - and it seems unwilling to invest money in persevering with series after one season if they're not a breakout hit. I could list the new things I've watched on netflix in the last year on one hand. Anyway, Alex Strangelove is a very fine teen movie - nothing new, really, but a really good example of that kind of formula. Daniel Dehony, who Netflix tried hard to make a star, is excellent as the title character and he's ably supported by Madeline Weinstein. The script isn't hilariously funny, but it has a big heart, and the whole thing is just a good example of a 2010s high school romantic comedy - and perfect for a hotel room.

[Walter Hale 4]

watched sunday night THIS PROPERTY IS CONDEMNED (1966) per my recording of it off TCM channel some years ago.
A film starring Natalie Wood, Robert Redford , Charles Bronson and Cate Reid (Natalie's mother) this is a longtime favorite of mine. I suspect i may have reviewed it here one time before so apologies if im repeating stuff.

Although not great, it is a riveting storyline particularly if your old school 1960s movies and music buff ...and Natalie, who was already a screen icon , is utterly gorgeous and convincing in this movie as Alva who's desired by just about every man in town, except for Redford at least at the start, but then a love affair slowly develops.

Anyone here seen the movie ?

Spoiler alert...

https://en.wikipedia.org/wiki/This_Property_Is_Condemned

[Greystoke]

watched sunday night THIS PROPERTY IS CONDEMNED (1966) per my recording of it off TCM channel some years ago.
A film starring Natalie Wood, Robert Redford , Charles Bronson and Cate Reid (Natalie's mother) this is a longtime favorite of mine. I suspect i may have reviewed it here one time before so apologies if im repeating stuff.

Although not great, it is a riveting storyline particularly if your old school 1960s movies and music buff ...and Natalie, who was already a screen icon , is utterly gorgeous and convincing in this movie as Alva who's desired by just about every man in town, except for Redford at least at the start, but then a love affair slowly develops.

Anyone here seen the movie ?

Spoiler alert...

https://en.wikipedia.org/wiki/This_Property_Is_Condemned

It's a really interesting film in a lot of respects. Great cast, too. And nice work by James Wong Howe, the film's DP. It's one I'll have to make a point of watching again, though. It's been a while.

[Walter Hale 4]

watched sunday night THIS PROPERTY IS CONDEMNED (1966) per my recording of it off TCM channel some years ago.
A film starring Natalie Wood, Robert Redford , Charles Bronson and Cate Reid (Natalie's mother) this is a longtime favorite of mine. I suspect i may have reviewed it here one time before so apologies if im repeating stuff.

Although not great, it is a riveting storyline particularly if your old school 1960s movies and music buff ...and Natalie, who was already a screen icon , is utterly gorgeous and convincing in this movie as Alva who's desired by just about every man in town, except for Redford at least at the start, but then a love affair slowly develops.

Anyone here seen the movie ?

Spoiler alert...

https://en.wikipedia.org/wiki/This_Property_Is_Condemned

It's a really interesting film in a lot of respects. Great cast, too. And nice work by James Wong Howe, the film's DP. It's one I'll have to make a point of watching again, though. It's been a while.

Good one Greystoke,

Mate, i just ran a check on search here and yes indeed, i have in fact posted this before on Feb 25, 2022...

"This Property is Condemned, made in 1966.

Starring Natalie Wood, Robert Redford, Charles Bronson.

spoiler alert...
https://en.wikipedia.org/wiki/This_Property_Is_Condemned"


Think I better go back over this thread and make up a list on films i seen and posted here over the past 5,6 years so i don't end up repeating

[Greystoke]

watched sunday night THIS PROPERTY IS CONDEMNED (1966) per my recording of it off TCM channel some years ago.
A film starring Natalie Wood, Robert Redford , Charles Bronson and Cate Reid (Natalie's mother) this is a longtime favorite of mine. I suspect i may have reviewed it here one time before so apologies if im repeating stuff.

Although not great, it is a riveting storyline particularly if your old school 1960s movies and music buff ...and Natalie, who was already a screen icon , is utterly gorgeous and convincing in this movie as Alva who's desired by just about every man in town, except for Redford at least at the start, but then a love affair slowly develops.

Anyone here seen the movie ?

Spoiler alert...

https://en.wikipedia.org/wiki/This_Property_Is_Condemned

It's a really interesting film in a lot of respects. Great cast, too. And nice work by James Wong Howe, the film's DP. It's one I'll have to make a point of watching again, though. It's been a while.

Good one Greystoke,

Mate, i just ran a check on search here and yes indeed, i have in fact posted this before on Feb 25, 2022...

"This Property is Condemned, made in 1966.

Starring Natalie Wood, Robert Redford, Charles Bronson.

spoiler alert...
https://en.wikipedia.org/wiki/This_Property_Is_Condemned"


Think I better go back over this thread and make up a list on films i seen and posted here over the past 5,6 years so i don't end up repeating

I think we've all repeated several films we've seen on here. Keeps the conversation going.

Do you use IMDB or LetterBoxd to keep tabs on what you watch? Can be handy.

[pmp]

watched sunday night THIS PROPERTY IS CONDEMNED (1966) per my recording of it off TCM channel some years ago.
A film starring Natalie Wood, Robert Redford , Charles Bronson and Cate Reid (Natalie's mother) this is a longtime favorite of mine. I suspect i may have reviewed it here one time before so apologies if im repeating stuff.

Although not great, it is a riveting storyline particularly if your old school 1960s movies and music buff ...and Natalie, who was already a screen icon , is utterly gorgeous and convincing in this movie as Alva who's desired by just about every man in town, except for Redford at least at the start, but then a love affair slowly develops.

Anyone here seen the movie ?

Spoiler alert...

https://en.wikipedia.org/wiki/This_Property_Is_Condemned

It's a really interesting film in a lot of respects. Great cast, too. And nice work by James Wong Howe, the film's DP. It's one I'll have to make a point of watching again, though. It's been a while.

Good one Greystoke,

Mate, i just ran a check on search here and yes indeed, i have in fact posted this before on Feb 25, 2022...

"This Property is Condemned, made in 1966.

Starring Natalie Wood, Robert Redford, Charles Bronson.

spoiler alert...
https://en.wikipedia.org/wiki/This_Property_Is_Condemned"


Think I better go back over this thread and make up a list on films i seen and posted here over the past 5,6 years so i don't end up repeating

I'm rather pleased I have a poor memory for such things - it means I can keep watching films for a second or third time and still get much enjoyment out of them!