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I didn't realize that I'd only seen "The Shining" start-to-finish one time, but I saw it again yesterday. Disclosures: I'm very much of a Stanley Kubrick fan, and I think Stephen King is "good but not great," as he writes a little too much for the masses, for my taste. "The Shining" is a long film, with some very good moments, but it's also a drawn-out film, with some very bad moments. I wonder if there's anyone out there who truly loves this film, and everything about it. I could list probably a dozen things about this movie that I strongly disliked, but taken as a whole, it's a good horror film when you factor in everything. One fundamental thing I didn't like was the introduction of the two, competing, otherworldly powers which have no explanation - I don't need to be spoon-fed explanations for the supernatural, but personifying evil through the silly ex-caretaker, Delbert Grady (Philip Stone, who played Alex's father in Kubrick's "A Clockwork Orange") was a bit much. There are other things that I found annoying ("Redrum," for example), but I don't want to sit here and rattle them all off. I liked, didn't love, "The Shining," but without taking inventory, my guess is that I'd put it in the bottom half of all Kubrick films I've seen up until now. I know this is supposedly an "intellectual" film, and I'm sure that repeated viewings would reveal additional layers and nuances. --- Room 237 (DonRocks)

I watched "Roots" when I was fifteen years old, having absolutely *no* real-life experience to lend the series context - I lived in a sheltered, upper-middle class suburb, and had absolutely no exposure to any of this, except what I was taught in school. Having recently watched movies such as "Django Unchained," "Guess Who's Coming to Dinner?" "Do the Right Thing," and "12 Years a Slave," I thought it was high time for *me* to do the right thing, and get back to the roots of all these movies - the original 1977 miniseries, which caused an incredible stir when it was released. It was hard to watch then, and I suspect it will be even harder to watch now that I have life's experiences behind me. I remember very well, about twenty years ago, a Jewish friend of mine watched all of "Shoah" - no small task - because he promised himself that he would, as a Jew, in order to educate himself and remember what happened to his people. For a similar - but opposite - reason, I'm watching Roots: Not because of what happened *to* my people, but because of what my people did *to* another race of innocents. Do I feel *personally* responsible for what occurred? I wasn't born yet, so how could I? Do I feel a responsibility for what occurred? Of course I do - primarily because it's still going on. A successful television broadcast is now considered to be about 10 million viewers - even though Roots got off to a relatively slow start, episode #1 was the only episode of the 8 - which ran every day for a week - that pulled in less than 30 million. It was remarkably successful, and well-received by both critics and the general public alike. Roots won 9 Emmy Awards with 28 nominations, and 1 Golden Globe Award with 2 nominations. Maybe I'm being a touch dramatic, but I hope this post inspires others to rewatch this important series. Amazon has the first episode for free, hoping to reel in viewers who will purchase the entire series for $34.99. I refuse to pay this, and am wondering if anyone knows where it can be viewed for less money. Alex Haley wrote the book (see below for additional information), and is implicitly credited as a Writer in all six episodes. There are simply too many stars in this series to do anything but add simple links for them - refer to their Wikipedia links for all the other work they've done - this would be a fool's errand for me to attempt. Jan 23 - Jan 29, 1977 - Episode List and Timetable Episode 1 - Directed by David Greene (Director of "Sebastian"), Written by William Blinn (Screenwriter of "Brian's Song") and Ernest Kinoy (Writer of "I Wouldn't Start from Here" on "Route 66") Featuring Edward Asner, O.J. Simpson, Ralph Waite, Ji-Tu Cumbuka, Maya Angelou, Moses Gunn, Thalmus Rasulala, Hari Rhodes, William Watson, Renn Woods, Levar Burton, Cicely Tyson, Ernest Thomas, Rebecca Bess, Henry Butts, Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6 - When the first episode ended, the first thing I thought of was the 9/11 attacks by Al-Qaeda: A few *morons* with letter openers brought down the World Trade Center, killing thousands in the process. It takes so little to do so much damage, and although slavery was a large institution, the protagonists in Episode 1 were just a few dozen idiots. Ironically, the victims of this crime against humanity were Muslim. I'm not sure how historically accurate that is (Alex Haley was caught plagiarizing parts of his book), but in Ghana, i,e., Northwest Africa, it's not impossible. "Miniseries: Roots Special" on pbs.org May 27, 2016 - "Roots: Behind the 1977 Series that Started a National Conversation" by Alynda Wheat on people.com

The Shootist begins with a combination of montages and credits as follows: Dino De Laurentis Presents A Frankovich/Self Production The team of Mike Frankovich and William Self lasted just over a year, and produced only 2 movies, both in 1976: "The Shootist" (John Wayne's final film) and "From Noon Till Three" (with Charles Bronson). John Wayne [as J.B. Books: "The Shootist"] Lauren Bacall [as the widow Bond Rogers, The Innkeeper] "in a Siegel film" Don Siegel only worked on several major movies, and was the Director of "The Shootist" THE SHOOTIST The film starts with a montage of date-stamped shooting scenes, quickly taking you through the previous 20 years of John Wayne's life, and accompanied by brief narration: 1871 - Ron Howard narrating (amazing!) "His name was J.B. Books. He had a matching pair of "˜45s with antique ivory grips that were something to behold." 1880 - "He wasn't an outlaw. Fact is, for awhile, he was a lawman." 1885 - "Long before I met Mr. Books, he was a famous man. I guess his fame was why somebody-or-other was always after him." 1889 - "The Wild Country had taught him to survive. He lived his life, and herded by himself. 1895 - "He had a credo that went, "˜I won't be wronged, I won't be insulted, and I won't be laid a hand on. I don't do these things to other people, and I require the same from them.'" The film then, somewhat surprisingly, switches from black-and-white to color. Co-Starring Ron Howard [as Gillom Rogers, Lauren Bacall's son] Bill McKinney [as Jay Cobb, a creamery owner (with the original food truck)] Guest-Stars James Stewart [as Dr. Hostetler, the town physician] Richard Boone [as Mike Sweeney, brother of one of Books' victims] John Carradine [as Hezekiah Beckum, the local undertaker] Scatman Crothers [as Moses, a stable keeper] Richard Lenz [as Dan Dobkins, a reporter with "The Morning Appeal"] Harry Morgan [(Colonel Potter on Mash) as Marshall Thibido, the town marshall] Sheree North [as Serepta, an old flame of Books Hugh O'Brian [as Jack Pulford, a professional gambler and marksman] Production Designer Robert Boyle Film Editor Douglas Stewart Music by Elmer Bernstein [unrelated to Leonard Bernstein, but the two were friends] Director of Photography Bruce Surtees, A.S.C. Based on the Novel by Glendon Swarthout Screenplay by Miles Hood Swarthout [son of Glendon Swarthout] and Scott Hale Produced by M.J. Frankovich and William Self Directed by Don Siegel MAJOR SPOILERS FOLLOW FOR THE REST OF THE WRITE-UP [Plot summaries bore me to tears, and always have (unless you're cheating the night before a test in high school, reading the Cliff Notes for "Hamlet") - I figure if you're going to watch the movie, you'll do just fine learning the the plot on your own, so allow me to offer up pure commentary] The backbone of the movie now starts as Wayne rides up to a man standing on the other side of a creek. It's January 22, 1901, and the papers are reporting that Queen Victoria died. So, it's the end of the Victorian Era in the wild west of America. The opening scene establishes Wayne as a non-nonsense, "˜don't mess with me, leave me alone and I'll leave you alone' man in no uncertain terms. He then rides into Carson City, Nevada. If you don't remember what made Jimmy Stewart so popular and beloved, all you need to do is watch the brief scene in Dr. Hotstetler's office. Marshall Thibido enters Books' room, at first scared, but then irritatingly arrogant when he learns of Books' impending death. Obviously, Books is a man who is simultaneously feared, respected, and hated by many. The Marshall implied he would piss on Books' grave when he died. Gillom Rogers and Moses discovered Books' true identity from inspecting the brand on his horse - it turns out this man is a nationally famous gunman, and a celebrity. Gillom was eavesdropping, Books found out, and he yanked Gillom through a window (using an impressive, Data-like, one-armed body throw). The viewer starts to get worried when the words "Second Day," "Third Day," etc. occasionally flash up on the screen. Dr. Hotstetler told Books he only had a couple months left (he has "a cancer"), and here his days are numbered, literally. When Dan Dobkins, the mercenary reporter from the local daily newspaper, began intentionally overacting in seeking to write a series about Books, it was not difficult to know that when he left through the front door, it wouldn't be by walking. I understand this has some degree of comic relief to it (up until now, we've dealt with some pretty serious subject matter, without a whole lot of yucks), but I prefer my salve to either be subtle, or so outrageous that it causes belly laughs; this fell somewhere in-between, and didn't do much for me. The scene where Dr. Hotstetler gives Books his bottle of laudanum reminds me of how much I enjoy watching pretty much anything Jimmy Stewart does. He can be the very definition of "corny," but he plays the corn so naturally that it seems to permeate his inner fiber in real life. You know? There is something very Star Trek about this movie, and I can't quite put my finger on why. I know I've been intensely working my way through the first two Star Trek series lately, but the "feel" I get in the saloon scene (where Jack Pulford kills the man), for example, is similar to what I got in "The Royale" (The Next Generation, season 2, episode 12). There have been several moments in this film so far (and I'm only 38 minutes into it) where I've "felt" The Next Generation. Maybe it's because I've been *so* intensely involved with Star Trek that the smallest resemblance seems to scream loudly. Seeing Scatman Crothers haggling with Books over buying his horse made me realize how oddly these characters are cast. Lauren Bacall? Ron Howard? A smug-bordering-on-sadistic Harry Morgan? But it's all knit together beautifully - does anyone know who is responsible for putting together the ensemble, the producer, or the director? Amazingly John Wayne was not the first choice to play Books; Paul Newman was - it's a good thing Newman was committed to another project, because Wayne positively owned this role. The conversation Books and Gillom had about Bat Masterson was a nice touch, and really grounded the movie. This "shooting lesson" was a strong scene, and bonded the two lead characters nicely. Serepta probably reminds a lot of viewers about someone they know. There are a lot of Sereptas in this world. Picture Ron Howard and Lauren Bacall strolling to church in their Sunday finest, when Howard starts whistling Scott Joplin's "Maple Leaf Rag." Bacall: "You know that kind of music gets on my nerves - especially on Sunday." Good thing you didn't make it to the 21st century, Mrs. Rogers. I'm 1:18 into a 1:37 movie, and I get a strong sense that this is going to have a "Gran Torino" finale. If that's the case, it's remarkable how much these two plots overlap. The Act that begins with "Last Day," and continues with Books looking at his own tombstone is somewhere between morbid and chilling. *Not* a Gran Torino finale! And "The Shootist" is a far superior movie, too. If anyone has seen Gran Torino and liked it, I suspect you'll love The Shootist. Thanks for the recommendation, Joe Riley.