Moriarty's DVD Blog 2007 (UPDATED WITH NEW GAME)

Betamax and beyond

Postby Andre Dellamorte on Wed Jan 31, 2007 4:42 pm

Holer wrote:Pierce is too Remington Steele, I agree, but I did enjoy 'The World is Not Enough', if only for the Michelle Yeoh set pieces.


You've confused TWINE with Tomorrow Never Dies. Which is an honest enough mistake.

Here's the thing that damns Moore: he never took the role seriously. Dalton you believed killed men. Moore's Bond was more in line with Dino's Matt Helm.

And Peckinpah? Don't get me started. You have to understand all the studio interference, so even whichever Director's cut of Pat Garrett (which I think is brilliant in most cuts) you watch, it's not exactly his. But you put together The Wild Bunch, Ride the High Country, Pat Garrett, Straw Dogs, and Bring Me the Head of Alfredo Garcia, and you're talking about one of the greatest directors ever.
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Postby havocSchultz on Wed Jan 31, 2007 4:45 pm

Andre Dellamorte wrote:
And Peckinpah? Don't get me started. You have to understand all the studio interference, so even whichever Director's cut of Pat Garrett (which I think is brilliant in most cuts) you watch, it's not exactly his. But you put together The Wild Bunch, Ride the High Country, Pat Garrett, Straw Dogs, and Bring Me the Head of Alfredo Garcia, and you're talking about one of the greatest directors ever.


What about The Ballad of Cable Hogue...?
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Postby Lyle Gorch on Wed Jan 31, 2007 4:46 pm

Holer wrote:Oh and what was Peckinpahs BEST movie? Wild Bunch?


Yep. But honestly Holer...I go back and forth.
Wild Bunch is more assured and epic
Alfredo Garcia is more....one of a kind

Holer wrote:He was an uneven, even sloppy film maker and the appeal of some of his films escapes me, especially 'Pat Garret', though some of the scenes in that movie are amazing.


Eneven and sloppy? Definitely in his latter work.
But even at his least (The Killer Elite) I find his stuff interesting and watchable.

I love "Pat Garrett and Billy the Kid" myself...but not like those who claim it to be his finest hour.
I'd rank Wild, Garcia, Straw Dogs and Ride the High Country higher.

Holer wrote:For me, it's Alfredo Garcia, though. I don't think he did anything as good, or as personal, as that.


Honestly...I kinda agree.
Like I said...I go back and forth between the two.
Oates (clearly) is my favorite actor...and I don't think he was ever better than in Alfredo Garcia
(his work in "Cockfighter" is close though)

I agree that Alfredo Garcia is Peckinpah's most personal work.
Hard to argue that...
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Postby Lyle Gorch on Wed Jan 31, 2007 4:48 pm

Andre Dellamorte wrote:But you put together The Wild Bunch, Ride the High Country, Pat Garrett, Straw Dogs, and Bring Me the Head of Alfredo Garcia, and you're talking about one of the greatest directors ever.


Exactly...
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Postby Lyle Gorch on Wed Jan 31, 2007 4:54 pm

havocSchultz wrote:
Andre Dellamorte wrote:
And Peckinpah? Don't get me started. You have to understand all the studio interference, so even whichever Director's cut of Pat Garrett (which I think is brilliant in most cuts) you watch, it's not exactly his. But you put together The Wild Bunch, Ride the High Country, Pat Garrett, Straw Dogs, and Bring Me the Head of Alfredo Garcia, and you're talking about one of the greatest directors ever.


What about The Ballad of Cable Hogue...?


Love it. (Stella Stevens...*sigh*)
Somewhat underrated IMO.
And I love "The Getaway" too.
(Al Lettieri is GODLIKE in that movie)

I have yet to pick up the DVD for "Junior Bonner"
Been years since I've seen that one.
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Postby WinslowLeach on Wed Jan 31, 2007 5:01 pm

Cool! Thanks Lyle! I'm gonna try to pick that Mitchum set up.

Regarding Bloody Sam, I think he was one of the greatest directors of the 20th century. His work from the mid 60s through to about 75 was incredible.
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Postby Holer on Wed Jan 31, 2007 5:02 pm

'Cable Hogue' was 'Quirky'. I'm kind of ambivalent about quirky comedy westerns, but it was entertaining enough.

'The Getaway' was a kind of ugly scorchmark of a movie. A lot of blatantly unappealing stuff in that like Sam is daring the viewer to like it.

'Straw Dogs' is just unpleasant. Yes, a great movie, but unpleasant to watch. Funny how some movies are like that.

'Ride the High Country' though, I had forgotten about that one. Great movie. Randolf Scott. That guy was great. That one is up there with Dundee for sure.
But I'd RATHER watch another movie...
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Postby Holer on Wed Jan 31, 2007 5:04 pm

Oh and I thought Junior Bonner was kind of boring. Just an opinion though.
But I'd RATHER watch another movie...
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Postby WinslowLeach on Wed Jan 31, 2007 5:04 pm

I love The Getaway its one of the best crime films of the 70s IMO. Straw Dogs is genius, a highly charged study of human nature. I get an adrenaline rush everytime I watch the big siege scene. The only film of Sam's I didnt enjoy very much was Osterman Weekend (although I liked some of the action scenes). I even like Convoy, which was one of his biggest flops.
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Postby Andre Dellamorte on Wed Jan 31, 2007 5:11 pm

The Getaway has moments, but it seems a paycheck gig, a PG Peckinpah. I like Cable Houge and Junior Bonner, but after Garcia there really is a decline - some of which is interference, some of which was the drug abuse. I can watch The Osterman Weekend, and The Killer Elite, but I find it hard to defend them. Cross of Iron, I guess they put out a good transfer recently, so I should probably give it another go. Great cast, regardless. Convoy...
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Postby WinslowLeach on Wed Jan 31, 2007 5:14 pm

I think The Getaway is great from beginning to end. I mean its a solid 70s crime flick. Theres nothing to debate there for me. I dont care if it was a paycheck studio film or not, its still classic stuff. Its Walter Hill, Sam, McQueen, McGraw and Al Lettieri (in one of his best roles). Great work.

His films like Killer Elite and Cross of Iron are films I enjoyed but I cant say I completely love them.

My top favorite Sam films are: Ride The High Country, The Wild Bunch, Straw Dogs, The Getaway, Alfredo Garcia, Junior Bonner, Pat Garrett and Billy The Kid.
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Postby Andre Dellamorte on Wed Jan 31, 2007 5:25 pm

Perhaps I rate it lower as I'm a huge Jim Thompson fan, and leaving the last chapter out of the adaptation is understandable, but kinda misses the point. Which is, again, fine, but likely enhances my sense that the film is minor.

I say that, and don't get me wrong, I own it and like it. If I had to pick a best it would be Straw Dogs. Or The Wild Bunch.
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Postby WinslowLeach on Wed Jan 31, 2007 5:28 pm

Id definitely take Wild Bunch over the The Getaway too.
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Postby Lyle Gorch on Wed Jan 31, 2007 5:43 pm

THIS is why I signed up.
Talking movies with people who love film as much as I do.

Though I'd like to personally apologize to Mori for hijacking this thread and turning it into a Peckinpah discussion. :lol:

Don't get me started on Walter Hill...
Talk about a Director hitting nothing but home runs his first six times at the plate...BIG fan here.
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Postby Andre Dellamorte on Wed Jan 31, 2007 5:50 pm

There was about a two month stretch where every time I came home, I threw on THE DRIVER.
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Postby WinslowLeach on Wed Jan 31, 2007 5:50 pm

Great to have you guys here.
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Postby Nordling on Wed Jan 31, 2007 5:55 pm

Dre's a cool cat. Knows his shit.

Granted, the AICN boards aren't like CHUD's boards at all. The snark is mostly absent. It's a nice community here, and everyone's eager to expose themselves.

To movies! Dirty mind.
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Postby Lyle Gorch on Wed Jan 31, 2007 5:59 pm

Andre Dellamorte wrote:There was about a two month stretch where every time I came home, I threw on THE DRIVER.


8)

What a COOL picture...
Like Warren Oates, Bruce Dern is an actor I can watch in anything.
Always interesting.
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Postby Moriarty on Wed Jan 31, 2007 6:28 pm

You guys haven't hijacked it. This is what I was hoping for!

I've got two screenings (HOT FUZZ again and Scott Frank's THE LOOKOUT) today, so I'll be out of the house for most of it, but I did get a huge stack of DVDs sent to me, all the envelopes waiting by the door for when I got up. Let's run down what showed up:

THE BEST OF THE FLIP WILSON SHOW (3 discs)
THE CLOCK
MIRACLE IN THE RAIN
CROSSING DELANCEY
BLUME IN LOVE
A SUMMER PLACE
GOING MY WAY
ARABIAN NIGHTS
THE HEIRESS
ALL QUIET ON THE WESTERN FRONT

Toshi had a field day opening everything.
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Postby Moriarty on Wed Jan 31, 2007 6:37 pm

And of course, as I hit "Submit" on the last post, the doorbell rang.

ZACH GALIFINAKIS: LIVE AT THE PURPLE ONION
THE JOURNALIST & THE JIHAD, an HBO documentary
BABEL
RED DOORS

Those just showed up, along with John Ridley's AMERICAN WAY graphic novel.

Okay... quick lunch, then out the door for a double-feature.
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Postby Lyle Gorch on Wed Jan 31, 2007 6:40 pm

Moriarty wrote:THE HEIRESS


I look forward to checking this one out...never seen it.
Anybody else like the packaging on these "Universal Cinema Classics" coming out?
I think they look pretty sharp.
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BLUME IN LOVE

Postby JTChance on Thu Feb 01, 2007 2:33 am

BLUME IN LOVE's supposedly all kinds of crazy. I've wanted to see it ever since reading an interview with Mazursky in the last "Backstory: Interviews with Screenwriters" volume.

Does Mazursky have a commentary track?
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Re: BLUME IN LOVE

Postby Moriarty on Thu Feb 01, 2007 3:20 am

JTChance wrote:BLUME IN LOVE's supposedly all kinds of crazy. I've wanted to see it ever since reading an interview with Mazursky in the last "Backstory: Interviews with Screenwriters" volume.

Does Mazursky have a commentary track?


Doesn't look like it. Damn shame, too. Mazursky's been doing them from time to time on other pictures.

Still... great to finally have it.
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Postby Moriarty on Thu Feb 01, 2007 4:29 am

Okay. Next up, I'm going to throw on AMERICAN HARDCORE and finish up this FOR YOUR EYES ONLY review.

And I've got to remember to put these rentals in the mail for tomorrow. I've still got BEERFEST and JOHN TUCKER MUST DIE checked out.
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Postby Moriarty on Thu Feb 01, 2007 7:03 am

Image

Oh, man, I'm having literal pains from nostalgia right now.

This is the soundtrack of my favorite period of my teenage life. There was a time when I had a buddy named William Zeman, this bizarre dude who could barely speak, but when he did, he was devastatingly smart and funny. It's just that no one really got him. He just looked like an alien who landed in this jerkwater Florida high school.

That's why I dug hanging out with him. He'd given up on trying to fit in, so he was determined to just figure out his own scene. He experimented fearlessly, and without any apparent parental supervision. He was allowed to run as wild as he needed to, as long as he came home eventually. So I loved going to hang out with him and running just as wild, knowing that his parents were our bulletproof vest if my parents ever found out.

The main thing we did was go to see punk shows. Any and every punk show that came to Tampa. We couldn't really drive anywhere else to see bands, but that was okay. We got more than our fair share. There were at least two shows a week we could go to, and some weeks, it felt like we could find something worthwhile to do every single night if we wanted to. The shows were five dollars or six dollars or maybe occasionally as much as eleven dollars, but in exchange, you'd get six or nine or fourteen bands in a night, and they would come out and play LOUD AS FUCK and FASTASFUCK, and the bands would blur into each other sometimes, and the crowds were basically just giant angry moshpits every night, but that's why you were there...

... and it fucking ruled.

It really did. It was the best fucking time. I was fifteen years old, and it felt like the music I was listening to was going to BURN THE FUCKING WORLD DOWN, and it was amazing that there was that much energy in us all, and it was release to get together and just fucking flip out for a few hours. I don't think I ever drank or smoked anything around William Zeman or with him. I think we still existed in a sort of pre-intoxicants wild boy limbo, and it didn't matter. We didn't need anything else. We were blasted every night on punk rock.

AMERICAN HARDCORE gets it right.

That's the best thing I can say about the film. If you want to know what punk looked and sounded like... real grass-roots ground-floor punk in America... this is it. The film chronicles the natural rise of the scene and the inevitable implosion later, but it does so with affection and respect, and a deep, deep knowledge of the subject. Paul Rachman, the film's director, was one of the big-name Propaganda guys doing commercial and videos like Spike Jonze or David Fincher. But before Propaganda, he was there in the early days of punk, and much of the archival footage used in this movie was shot by Rachman at the time. Is it any wonder he gets it all so right?

I could listen to this movie all day. Seriously. This is a beautiful montage of an entire scene, and its amazing how comprehensive it feels in a mere 100 minutes. I'm wondering why Rachman includes pretty much no mention of Dead Kennedys at all considering how big they were, but it's simply one question. I recommend the film completely, and if Toshi ever asks me about the particular punk that I grew up on, this is the primer I'll offer him.
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Postby Doc Holliday on Thu Feb 01, 2007 7:16 am

See how you teased me with your faint disdain for Donner's Superman II and then moved on! :lol:

I'm working on the basis that you'd rather talk about worthier films like HARDCORE, and that your silence on Supes in fact speaks a thousand words!
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Postby Moriarty on Thu Feb 01, 2007 7:41 am

http://www.aintitcool.com/node/31415

FOR YOUR EYES ONLY review on the front page.

Have I mentioned how much I loved AMERICAN HARDCORE?

Okay... spinning the platter to see what's next...

Oooooh. I think it's a direct-to-dvd sci-fi horror film from Sony.

Trailers for SHOTTAS (a Jamaican gangster movie), THE COVENANT, and THE GRUDGE 2 play. And then it's on to the feature.

NIGHT SKIES, here I come.
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Postby Moriarty on Thu Feb 01, 2007 7:43 am

Doc Holliday wrote:See how you teased me with your faint disdain for Donner's Superman II and then moved on! :lol:

I'm working on the basis that you'd rather talk about worthier films like HARDCORE, and that your silence on Supes in fact speaks a thousand words!


I'm working up a worthy rant.

It bothered me a lot. But then again, I think I'm going to make a lot of people mad with my piece about the SUPERMAN box set.

Short version: I think it's the worst franchise of my childhood. I think it's a train crash from end to end. I think it's almost hilarious how genuinely awful Warner's SUPERMAN films are.

All of them.

But like I said... not yet. Working up to that one, Doc.
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Postby Great Script, But What If on Thu Feb 01, 2007 8:42 am

You son of a bitch. I don't care what you are working on right now I want you to drop it and complete a write-up about your thoughts on the Supes box set. And i want it finished before I decide to go to sleep. Fucking tease!

I kid. At least have it done by tomorrow.
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Postby Moriarty on Thu Feb 01, 2007 8:52 am

Image

I found myself fast-forwarding through it after a while. It's a low-budget FIRE IN THE SKY ripoff in places, and it takes about an hour to get going, with most of that devoted to some truly godawful "character development." It's rough stuff.

There's a nice early scene with lights out the window of an RV, and a trippy sequence or two onboard the alien ship as people wake up. The best the film ever gets is during a "surgery" scene that's a genuinely upsetting visual. But the true story framework, the ridiculous CARRIE ending, Jason Connery doing his best Steve Railsback... it all just gets to be a little silly by the end. Uneven.

I think the director of this might be interesting if given a better script to shoot. As it is, this is mildly diverting at best, barely worth sitting through.
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Postby WinslowLeach on Thu Feb 01, 2007 9:15 am

Moriarty wrote:Image

Oh, man, I'm having literal pains from nostalgia right now.

This is the soundtrack of my favorite period of my teenage life. There was a time when I had a buddy named William Zeman, this bizarre dude who could barely speak, but when he did, he was devastatingly smart and funny. It's just that no one really got him. He just looked like an alien who landed in this jerkwater Florida high school.

That's why I dug hanging out with him. He'd given up on trying to fit in, so he was determined to just figure out his own scene. He experimented fearlessly, and without any apparent parental supervision. He was allowed to run as wild as he needed to, as long as he came home eventually. So I loved going to hang out with him and running just as wild, knowing that his parents were our bulletproof vest if my parents ever found out.

The main thing we did was go to see punk shows. Any and every punk show that came to Tampa. We couldn't really drive anywhere else to see bands, but that was okay. We got more than our fair share. There were at least two shows a week we could go to, and some weeks, it felt like we could find something worthwhile to do every single night if we wanted to. The shows were five dollars or six dollars or maybe occasionally as much as eleven dollars, but in exchange, you'd get six or nine or fourteen bands in a night, and they would come out and play LOUD AS FUCK and FASTASFUCK, and the bands would blur into each other sometimes, and the crowds were basically just giant angry moshpits every night, but that's why you were there...

... and it fucking ruled.

It really did. It was the best fucking time. I was fifteen years old, and it felt like the music I was listening to was going to BURN THE FUCKING WORLD DOWN, and it was amazing that there was that much energy in us all, and it was release to get together and just fucking flip out for a few hours. I don't think I ever drank or smoked anything around William Zeman or with him. I think we still existed in a sort of pre-intoxicants wild boy limbo, and it didn't matter. We didn't need anything else. We were blasted every night on punk rock.

AMERICAN HARDCORE gets it right.

That's the best thing I can say about the film. If you want to know what punk looked and sounded like... real grass-roots ground-floor punk in America... this is it. The film chronicles the natural rise of the scene and the inevitable implosion later, but it does so with affection and respect, and a deep, deep knowledge of the subject. Paul Rachman, the film's director, was one of the big-name Propaganda guys doing commercial and videos like Spike Jonze or David Fincher. But before Propaganda, he was there in the early days of punk, and much of the archival footage used in this movie was shot by Rachman at the time. Is it any wonder he gets it all so right?

I could listen to this movie all day. Seriously. This is a beautiful montage of an entire scene, and its amazing how comprehensive it feels in a mere 100 minutes. I'm wondering why Rachman includes pretty much no mention of Dead Kennedys at all considering how big they were, but it's simply one question. I recommend the film completely, and if Toshi ever asks me about the particular punk that I grew up on, this is the primer I'll offer him.


Now THIS is a DVD I want to get!! I'm a huge fan of the early 80s punk rock era (Black Flag, Circle Jerks, Fear, The Germs, etc) and I love collecting punk rock docs on DVD. This looks like a nice one to tide us over until The Decline of Western Civilzation is finally released!!

I was just thinking that Mori shouldve started his DVD blog in here way back. I think its the perfect place for reviewing DVDs. Esp since you can get so much quick feedback and have a good time chatting about the movies with likeminded people. Also you can post nice photos of the DVD covers and big screen caps if you want.
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Postby Doc Holliday on Thu Feb 01, 2007 9:20 am

Moriarty wrote:Short version: I think it's the worst franchise of my childhood.


Only the failure to greenlight POPEYE II: SWEEPEA'S SPINACH allows you to be so bold. :lol:

Moriarty wrote:I think it's almost hilarious how genuinely awful Warner's SUPERMAN films are.

All of them.

But like I said... not yet. Working up to that one, Doc.


Your public awaits! I can imagine where you are coming from with Supes II, III and certainly *retches* IV - but it will be good seeing you take issue with the first film. I think it gets forgiven a lot of sins because of its iconic status in the canon of films - but to say so out loud amounts to blasphemy!!

The high point for me is Christopher Reeve's performance in the first film - and then its all downhill from there.

One thing I do give the first film (well, first two films I guess) credit for, is the feat of achievement it represented in being made at all. Listening to the Donner commentary and watching the extras for Supes I, I previously had had no idea about all the difficluties in getting the project off the ground...of keeping it going...how long the shoot had been and so on. Its one of the most interesting 'making of' stories I've heard in a long, long time.
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Postby Eregian on Thu Feb 01, 2007 9:32 am

Doc Holliday wrote:One thing I do give the first film (well, first two films I guess) credit for, is the feat of achievement it represented in being made at all. Listening to the Donner commentary and watching the extras for Supes I, I previously had had no idea about all the difficluties in getting the project off the ground...of keeping it going...how long the shoot had been and so on. Its one of the most interesting 'making of' stories I've heard in a long, long time.

I assume every production is on the verge of near death during it's entire schedule. Reading PJ's 'biography' was an eye opener concerning movie production. You can sum it up in one word: bollocks
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Postby Doc Holliday on Thu Feb 01, 2007 9:56 am

Eregian wrote:
Doc Holliday wrote:One thing I do give the first film (well, first two films I guess) credit for, is the feat of achievement it represented in being made at all. Listening to the Donner commentary and watching the extras for Supes I, I previously had had no idea about all the difficluties in getting the project off the ground...of keeping it going...how long the shoot had been and so on. Its one of the most interesting 'making of' stories I've heard in a long, long time.

I assume every production is on the verge of near death during it's entire schedule. Reading PJ's 'biography' was an eye opener concerning movie production. You can sum it up in one word: bollocks


You know - it does seem that way at times. I can understand studios needing o keep a tight ship - and even the merits of working through fear (Raimi states he can't work any other way). But this came up watching the extras on DEAD MANS CHEST as well - that production nearly got shut down a couple of times - they went to principal photography pretty much without much of the script, and so forth.

I'm not an insider, so to me it was fascinating - sure, you expect it on the risky venture - but I didn't expect it to be so extreme - or for the producers to be so inclined to pull the plug over a few more million on a bankable cash cow like DMC.

Shows you what I know!

But back to Supes - it wasn't so much the freneticism involved - it was more just the sheer scale of the endeavour. And the fact that they initially were shooting two films back-to-back as well. Interesting that you bring up LOTR in a roundabout way - because that was exactly the comparison I was making in my minds eye whilst watching the Supes extras/doc. there were a number of similarities beyond just that of your average production schedule.

I know there have been many ambitious projects before even Supes (Lawrence of Arabia and of course Apocalypse Now are just two that immediately spring to mind) - but I wonder if Supes was the first time two films were shot concurrently?
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Postby Theta on Thu Feb 01, 2007 10:04 am

Lyle Gorch wrote:
Moriarty wrote:THE HEIRESS


I look forward to checking this one out...never seen it.
Anybody else like the packaging on these "Universal Cinema Classics" coming out?
I think they look pretty sharp.


I'm just glad I can finally get the '32 "Scarface" without shelling out for a "Collector's Edition" of the Brian DePalma.
This comment is in no way meant to insist your opinion is wrong or be considered an edict, solely this poster's opinion. That said, you are still a fool and will kneel before me in supplication.
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Postby Zarles on Thu Feb 01, 2007 10:13 am

Glad to hear it's what I thought it was going to be. Netflix, don't fail me now...
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Postby Keepcoolbutcare on Thu Feb 01, 2007 10:14 am

Lyle Gorch wrote:Don't get me started on Walter Hill...
Talk about a Director hitting nothing but home runs his first six times at the plate...BIG fan here.


truer words...

Moriarty wrote:Image


i heard there's a lot of Bad Brains discussion...

there can NEVER be enough Bad Brains discussion, IMHO.
Personally, I'm an atheist in the voting booth and a theist in the movie theatre. I separate the morality of religion with the spirituality and solace of it. There is something boring about atheism.
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Postby havocSchultz on Thu Feb 01, 2007 10:15 am

Doc Holliday wrote:
Eregian wrote:
Doc Holliday wrote:One thing I do give the first film (well, first two films I guess) credit for, is the feat of achievement it represented in being made at all. Listening to the Donner commentary and watching the extras for Supes I, I previously had had no idea about all the difficluties in getting the project off the ground...of keeping it going...how long the shoot had been and so on. Its one of the most interesting 'making of' stories I've heard in a long, long time.

I assume every production is on the verge of near death during it's entire schedule. Reading PJ's 'biography' was an eye opener concerning movie production. You can sum it up in one word: bollocks


You know - it does seem that way at times. I can understand studios needing o keep a tight ship - and even the merits of working through fear (Raimi states he can't work any other way). But this came up watching the extras on DEAD MANS CHEST as well - that production nearly got shut down a couple of times - they went to principal photography pretty much without much of the script, and so forth.

I'm not an insider, so to me it was fascinating - sure, you expect it on the risky venture - but I didn't expect it to be so extreme - or for the producers to be so inclined to pull the plug over a few more million on a bankable cash cow like DMC.

Shows you what I know!

But back to Supes - it wasn't so much the freneticism involved - it was more just the sheer scale of the endeavour. And the fact that they initially were shooting two films back-to-back as well. Interesting that you bring up LOTR in a roundabout way - because that was exactly the comparison I was making in my minds eye whilst watching the Supes extras/doc. there were a number of similarities beyond just that of your average production schedule.

I know there have been many ambitious projects before even Supes (Lawrence of Arabia and of course Apocalypse Now are just two that immediately spring to mind) - but I wonder if Supes was the first time two films were shot concurrently?


I was surprised when I saw the stuff on the Dead Man's Chest and Superman Behind-the-Scenes Docs as well...

It's weird how fucking lucky a film can get sometimes...
I mean - I know Dead Man's Chest gets alot of flack and hate here - but it's also a film that gets a lotta love...Depends where you're looking - but it gets alot of love.

And there are alot of talented people working on the project.
and maybe that does sometimes work out for the best.

You have so much talent working at it's peak because it's so tight and so rushed that even more effort has to be put it then when everything has been completely planned out for the last year or so.
Also - maybe it's tougher for the studios to get involved and fuck things up with their notes when nobody knows what's going on to begin with.

There's less time to have to re-do things - so maybe sometimes whatever is come up with first...has to stay...
Unfortunately - more often than not - the first thing that comes up (besides the debate in regards to Kirk's animalistic sexual preferences...) is not always a good thing...and it needs to be worked over and smoothed out and perfected...

That's why - even though it's a cutthroat and sometimes completely ALFtarded industry - it's also extrmely exciting and it's always something different...you never know what you're actually gonna get from film to film...
Watching it or making it...

And look at Casablanca - they didn't have a finished script till right near the end and they seemed to get a couple things right...
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Postby WinslowLeach on Thu Feb 01, 2007 10:31 am

Keepcoolbutcare wrote:I heard there's a lot of Bad Brains discussion...

there can NEVER be enough Bad Brains discussion, IMHO.


Speaking of Bad Brains, last year I got this awesome DVD of a performance by BB at CBGBs in 1982. So great.
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Postby Keepcoolbutcare on Thu Feb 01, 2007 10:37 am

WinslowLeach wrote:Speaking of Bad Brains, last year I got this awesome DVD of a performance by BB at CBGBs in 1982. So great.


for Ribbons sake, I hope he's wearing some Kevlar when I take my shot at you...

:evil:

my tax return can't come soon enough...
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Postby colinr on Thu Feb 01, 2007 11:44 am

I have to agree about Superman. I actually had to stop the collector side of myself from buying the Superman Collection by reminding myself that I hated all of the films in the series. That is also the reason why I never watched any of Smallville or bought Superman Returns (although if I ever get spare cash I might get 'Returns' just to see what Bryan Singer did with it).

Having said all that, I should admit that I have the old Anchor Bay limited edition of Supergirl! It is still a crap film (even crappier that the 'man' films!), but it reminds me of watching it during my childhood so I got it for the nostalgia factor!

I decided to spend my money on some Criterions and ordering copies of Children of Men and Volver instead! (I also want to save up for the really important stuff, like the second series of Twin Peaks!)
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Postby El Topo on Thu Feb 01, 2007 1:34 pm

Moriarty wrote:I was a TITANS collector back in the day. Fifteen years or so of loyal readership starting with the Perez/Wolfman kickoff. The NEW Teen Titans. That's what I'm all about.

You kids and your anime-influenced redesigns of everything...

*sigh*



DAMN STRAIGHT. That classic Perez/Wolfman run was EPIC. And no one has drawn a better Wonder Woman than Mr. Perez.
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Postby lujho on Thu Feb 01, 2007 4:14 pm

Moriarty wrote:I'm working up a worthy rant.

It bothered me a lot. But then again, I think I'm going to make a lot of people mad with my piece about the SUPERMAN box set.

Short version: I think it's the worst franchise of my childhood. I think it's a train crash from end to end. I think it's almost hilarious how genuinely awful Warner's SUPERMAN films are.

All of them.

But like I said... not yet. Working up to that one, Doc.


Huh. Sounds like your thoughts gel with mine. Getting the collector's edition and watching Donner's cut and the others really made me realize I really just don't like Donner's take on the Superman universe.

The Smallville part of film 1 is perfect, apart from the casting of Jeff East. The score by Williams is absolutely... just spot on. And Reeve is about the best Superman you could ever hope to get.

And everything else is a bit shit. And it's the franchise Singer chose to base his take on so closely, damn it.

I find it somewhat odd that as much as my opinions seem to match up with your reviews, that you are NOT one of the (seeming minority) of Batman fans who were actually quite disappointed with Batman Begins. That movie near broke my heart :(
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Postby Moriarty on Thu Feb 01, 2007 5:04 pm

Woke up to a stack of DVDs again. The morning wake-up ritual here at the house is get out of bed, go to the front room, get Toshi to help me open all the packages, and then have a little breakfast.

Today's stack as of 1:00 in the afternoon is:

A GUIDE TO RECOGNIZING YOUR SAINTS
INCUBUS
HALF NELSON
LUNACY (new Svankmajer! yay!)
RUNNING WITH SCISSORS
THE PUFFY CHAIR
COWBOY D'AMOUR
TOM HANKS COMEDY COLLECTION (a cheapo repackaging of THE BURBS, THE MONEY PIT and DRAGNET)
STEVE MARTIN COMEDY COLLECTION (a cheapo repackaging of DEAD MEN DON'T WEAR PLAID, THE JERK, and THE LONELY GUY)
and
A MAN FOR ALL SEASONS

Not a bad stack.
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Postby stereosforgeeks on Thu Feb 01, 2007 6:09 pm

Shareeka Epps steals the show in Half Nelson.

The Puffy Chair was a decent movie with some natural performances and a great soundtrack.
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Postby John-Locke on Thu Feb 01, 2007 6:16 pm

Looking forward to your review of Lunacy Drew, Jan Svankmajer is a legend.
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Postby Moriarty on Thu Feb 01, 2007 10:36 pm

My wife got the mail before she left after lunch, so I didn't even see the second stack of stuff that showed up today until just now:

THE FILMS OF KENNETH ANGER, VOL. 1
THE JOHNNY CARSON SHOW
DISASTER! THE MOVIE
LIQUID TALES
MACHUCA
THE COMEDIANS OF COMEDY w/ LIVE AT THE EL REY
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Postby Andre Dellamorte on Thu Feb 01, 2007 10:58 pm

I made the Amoeba trip today and grabbed the Yojimbo/Sanjuro double feature, and One False Move. For some reason, I could stop thinking of Hurricane overhearing the two city cops talking about him, and his apologetic response. That's probably one of my favorite moments in movies ever. Can't wait to rewatch it. You get the Kurosawa two-fer?
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Running with Scissors dvd

Postby yaz67 on Thu Feb 01, 2007 11:17 pm

Words of advice. Trade in that Running with Scissors freebie for something worthwhile. Pure garbage.
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Re: Running with Scissors dvd

Postby stereosforgeeks on Thu Feb 01, 2007 11:20 pm

yaz67 wrote:Words of advice. Trade in that Running with Scissors freebie for something worthwhile. Pure garbage.


I'm with you on that one. It manages to completely forget the sense of humor the book had.
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