For all the Hicks fans, there is an audiobook version of Alien 3 featuring Michael Biehn.
It’s a better movie than the third, directed by Fincher (no less), but I still rank the second, Aliens, a bit higher. But yes, this is a very enjoyable flick.
You have the point here. The atmosphere is pretty damn dark, darkest of them all. Well done. I somewhat liked the movie till the Charles Dance’s death, then it ran out of ideas and I could not cheer for any character. BTW: How noone ever believes Ripley about the alien? Isn’t it a bit peculiar that noone is willing to believe there exists another life form in the entire universe?
I watched Casablanca maybe for maybe the third time or so, last time decades ago, and I find it well played and directed, but with a not so interestering story. The Big Sleep and The Maltese Falcon definitely entertain me more among Bogart movies, and so do to a lesser degree To Have And Have Not.
I seldom use the term “overrated” but it may fit Casablanca IMO. I would rate it a strong 6 or weak 7/10.
That goes for many films. The now classic film It’s a Wonderful Life unremarkably came and went at the box office but was years later picked up by tv stations around Christmas only because its copyright wasn’t renewed and could be broadcast over and over with no royalties.
I think I have only watched it once many many years ago but I recall it was televised nearly every christmas also in Sweden. I have a only vague slightly positive memory of it.
The second version released on the discs is not an DC, but only some kind of alternative version. Means that in that case the theatrical version is still the DC.
There is no Director’s Cut, and never will be. But the Assembly Cut is well worth watching.
yeah, then I mean that one which has different opening credits and added scene in the end - wouldn’t mind that scene in the end on Earth, but the opening credits scene is just horrible
sure, forgot, that was called Assembly cut, which is a great improvement, yes
It’s been a while for me here, but here’s some of what I’ve enjoyed the past couple months
Italia a Mano Armata (Italy: Armed and Dangerous/Special Cop in Action) (1976) ****
La Comtesse Noire (The Night Countess/Female Vampire) (1973) ****1/2
Il Miele del Diavolo (The Devil’s Honey) (1986) ****1/2
The Big Clock (1948) *****
La Donna del Lago (The Woman in the Lake/The Possessed) (1965) ****1/2
Bedlam (1946) ****
Le Foto Proibite di una Signora per Bene (The Forbidden Photos of a Lady Above Suspicion) (1970) ****1/2
I watched Joe Rogan’s podcast with Dan Aykroyd, which was great and JR recommended two movies about Bigfoot/Sasquatch to Dan - Primal Rage and Willowcreek. I decided to give it a go too.
Primal Rage - I don’t know what I was expecting, but Joe being so enthusiastic about it, I would say I expected a lot. Good monster, otherwise quite lame. 40% I’ll pass on the second movie.
I also thought I revisit Ghostbusters, the whole talk with Dan Aykroyd just left me fully charged for it. I turned it off after 20 minutes, realizing I never really cared about Ghostbusters.
I watched Joe Rogan’s podcast with Rob Zombie, which was great although I know jackshit about Rob besides that he made some horror movies of I’d seen two many years ago. I decided to rewatch The House Of 1000 Corpses. I don’t know what I was expecting, but I probably shouldn’t search for miracles amongs the genre I don’t care about.
Never seen Primal Rage but I found Willow Creek - directed by Bobcat Goldthwait, no less - to be deadly dull and, like most Bigfoot movies, a complete letdown. Best Bigfoot movie imho is Exists (Sánchez, 2014), from one of the co-creators of The Blair Witch Project (Myrick/Sánchez, 1999).
Possibly Rob’s worst movie imho, and that includes Halloween II (2009) upon which even Rob himself doesn’t seem especially keen. The Devil’s Rejects (2005) and The Lords of Salem (2013) are both well worth checking out though, if you haven’t already.
Joe Rogan said guy is a genius
yeah, wanted to check this out
I’m not a fan even of Carpenter’s original, so I excluded this
never heard of it, will check
Last 10 again:
- Hançer: Zagor kara bela 4/10
- Zinneman: High Noon 8/10
- Hançer: Zagor kara korsan’in hazineleri 3/10
- Kassila: Komisario Palmun erehdys 10/10
- Aslan: Zagor 4/10
- Oguz: Seytan tirnagi 4/10
- Blystone: Blockheads 10/10
- Wells & Bullhorn: Phallus in Wonderland 8/10
- Argento: Tenebre (cinema) 8/10
- Anderson: Inherent Vice 7/10
Easy Rider (Hopper, 1969) - 4/5
Finally saw Overlord. Quite entertaining. Like if George A. Romero remade Inglourious Basterds on a JJ Abrams budget
Had a Petri fix over the weekend.
I love this guy’s films.
Property is No Longer Theft (Petri / 1973)
Die Hard with a Vengeance (1995, John Mc Tierman)
The third Die Hard, a thrill ride from start to finish, or nearly so: the ending is major let-down. It’s actually such an anti-climax that you wonder what they were thinking of. Did they completely run out of ideas? Well, maybe. The original, more intruiging ending was rejected by the studio because it presented John McClane as a man who could kill, not only to save lives, but also for the pleasure of taking revenge (apparently the ‚vengeance’ in the title was meant as a reference to Willis’ character, not to Jeremy Irons’ madman). Not even remotely believable, but good fun, with Willes and Samuel S. Jackson as a pair of ordinary supermen who almost destroy Manhatten in order to stop Irons from blowing it up!
Jungfrukällan (The Virgin Spring - 1960, Ingmar Bergman)
Watching Bergman’s movies is a phase in most moviegoers lives, so yes, I had my Bergman period as a student as well. Some of his movies - notably Wild Strawberries - are still among my favorites, but this one is a bit hard to stomach (and no, not just because of the unpleasant subject matter). It’s of course meticulously filmed, and the story material about the loss of faith, revenge, redemption, penance and innocence versus guilt is interesting, but Bergman’s theatrical approach (no doubt intentional), with an austere, stagey choreography prevented me from really getting into it.
L.A. Confidential (1997, Curtis Hanson) ½
I recently re-read the book, so also went back to the movie. Hanson and his screenwriters brought back the labyrinth of plotlines from Ellroy’s novel to more accessible levels, but the story about three mismatched detectives who are forced to co-operate while investigating a complex murder case, remains quite intricate. I watched it in the company of somebody who had not seen it before (and was also unfamiliar with the source novel) and she repeatedly complained that she didn’t understand what was going on. Anyway, it’s a movie that thrives on the interplay of a unusually good cast. Crowe, Pearce and even Spacey (an actor I usually do not like) are very good and some supporting actors (Cromwell, De Vito) are great as well. However I didn’t understand why everybody was so excited about Basinger. Not a masterpiece, a little overrated maybe, but still an enjoyable film.
Bad Boys (1995, Michael Bay)
A throwaway script (basically using elements from Lethal Weapon and Beverly Hills Cop) is used as a showcase for the comedic talents of Will Smith and Martin Lawrence, who reportedly improvised large parts of their scenes and lines. Director Bay almost ruins the affair with neverending car chases and too many explosions, but Smith and Lawrence have a lot of chemistry as the unlikely pair of detectives, one (Smith) a bachelor and a Casanova, the other a family man. Loud, foul-mouthed, with none of the story elements making any sense (why keeping up this circus of the identity switch? Why not telling the key-witness who is who?), but nevertheless entertaining (if you can stand the noise). And if you don’t like those two boys, you can always watch the movie for Tea Leone, that one girl on two legs.
De Brief voor de Koning (The Letter for the King - 2008, Pieter Verhoeff)
An adventure movie, aimed at younger audiences, based on the book of the same name from 1962 by Tonke Dragt, in 2005 chosen by both critics and readers as the best Dutch youth novel of the past 50 years. Entire generations have lived with the hero, Tiuri son of Tiuri, a 16-year old boy - soon to be a knight - who is asked, by a dying knight, to deliver a letter to the king of a neighbouring country. It was a co-production with Germany and therefore boasting a fairly high budget. Not as good as the book, but elegantly filmed, on beautiful locations in Germany, Luxemburg and Holland, and well-acted. Surprisingly (for a Dutch movie) even the action scenes look good.
In Cold Blood (1967, Richard Brooks)
A fascinating adaptation of Truman Capote’s famous novel of the same name. Capote called his work the first faction novel. As a literary novel about a crime, it’s probably only second to Dostoïevski’s Crime & Punishment. Shot in black and white, and told in non-linear style, Brooks version is a perfect companion piece to the book. Both actors, Robert Blake and Scott Wilson, are perfectly cast as the couple of misfits who probably wouldn’t have committed the murders if they had been on their own, but became lethal when acting together. Sometimes a bit painful to watch, but worth the effort to endure the uncomfortable feelings it raises.