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Showing results for tags 'Universal Pictures'.
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And so I did, tonight for the third time. When I saw "Barton Fink" in the theater, I swore it was one of the greatest films I'd ever seen, but I didn't have the first idea *why* it was. Tonight, I still think it is, and only now do I fully realize just how much of this film I don't understand. As I type this, I'm partially finished with this piece, an important analysis of "Barton Fink" - "'Writers Come and Go': The Greatness of Barton Fink" by Eric S. Piotrowski on medium.com -
The 1988 British film, "Madame Sousatzka," is one of "those" movies that's a personal favorite, but also one which you tend not to recommend to others, since it's so esoteric and focused - you just don't think that most people will enjoy it. I'd seen John Schlesinger's film revolving around an eccentric piano teacher (Shirley MacLaine in a uniquely quirky performance as Irina Soustazka), and her current young piano prodigy, Manek Sen (played excellently, and (just as importantly) with pretty convincing piano, by 16-year-old Navin Chowdhry). Anyway, I'd seen Madame Sousatzka at least twice
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If you liked "A Fish Called Wanda" and "In Bruges," you'll like aspects of "Brazil." Terry Gilliam directed this 34-year-old, wants-to-be-classic film about a totalitarian state "sometime in the 19th century." "Brazil" is a strange mixture of "Modern Times," "Metropolis," and "1984," all seasoned with the comedic absurdity of Monty Python. At first, without taking itself *too* seriously, it comes across as an extremely powerful, disturbing, effective satire against the oppressive state. Then this film ultimately collapses under its own weight: Rambling and lost, it becomes tedi
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[split off from the Komi thread] I'll bite: As in "too full even to eat a single wafer-thin mint"? -
Note: As of this writing, a high-quality version of this film can be found for free at this URL: http://ffilms.org/marnie-1964/. For those trying to find Hitchcock's cameo, this is the *one* time it will be impossible to miss. *** SPOILER ALERT *** Okay, there's something about "Marnie" Edgar (Tippi Hedren) that's more than meets the eye - instead of simply being a shrewd, serial bandit which is obvious from the very beginning, you have two very disturbing scenes in the first thirty minutes: the "dream scene" at her mother's (Louise Latham's) house, which culminates with her mo
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I thought I'd seen "The Birds" in recent years, but I was wrong - I didn't even realize it was shot in color (emphasizing an array of greens). There were lots of "animal horror" movies during the 1950s (I'm thinking of "Tarantula" as I type this), but "The Birds" may have been the first to place abnormal animal behavior in a completely normal situation (if not the first film, then the first influential film).. When thinking about the things it influenced, I immediately thought of "The Walking Dead," which was, of course, influenced by the original zombie film from 1968, "Night of the
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I remember watching this in the theater, and liking it. It's probably worth a second viewing for me - why do you two like this as much as you do? I'm particularly interested in your answers since you're sci-fi buffs. Don't you hate the word "buff?" How far did this film deviate from reality? Could Ron Howard be the greatest living all-around movie- and TV-industry talent, especially given the longevity of his career (which could keep going for another twenty years)? Could he be the greatest of all-time? He reminds me of Dick Clark.
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100% Rotten Tomato Rating- 1st in History I have yet to read a negative review on the film Lady Bird. As a gift to your Mom, or any person you care about, treat them to a showing of Lady Bird. In true fashion, I do not want to give too much away. The story centers around a young lady attending parochial school who is coming of age, and trying to figure life out. That is all I want to divulge. Go see it, and return, and lets discuss all of the bits of this absolutely beautiful story. I hate California, I want to go to the east coast. I want to go where culture is like, New York, -
When "Get Out" debuted in theaters last winter, I couldn't wait to see it. It had a 99 percent positive critics' rating on Rotten Tomatoes, and friends whose opinions I value raved about it. I am not a fan of horror films, and I really didn't know what to expect. I certainly didn't anticipate what I saw--a thought provoking and highly entertaining film. This is a great film. It is a thrilling, darkly funny, mysterious movie that had me on the edge of my seat from start to finish. "Get Out" is the directorial debut of Jordan Peele. My son is a fan of Key and Peele, so I expected this film -
I had heard of "Ex Machina," but knew absolutely nothing about it before a couple of nights ago - released in 2015, it won the Academy Award for Best Visual Effects - considering it was a relatively low-budget, independent, science-fiction film, it's pretty remarkable that it didn't come across as low-budget (it didn't come across as high-budget either; it fell somewhere in the middle). Made for $15 million, it beat out such films as "Star Wars: The Force Awakens" ($250 million) and "Mad Max: Fury Road" ($150 million) - this alone is remarkable. Writer-Director Alex Garland also received
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The first time I ever saw a film by David Lynch was in Manhattan, during the summer of 1981, and it was a re-release of "Eraserhead" on the big screen. I haven't seen this movie in almost 36 years, yet there are images which remain as plain as day in my mind. It was perhaps the creepiest film I'd ever seen at that point in my life. "Mulholland Drive" may not be as creepy - on absolute terms - until, that is, the final 40 minutes, when all sense of logic and reality become distorted: No matter how hard you try and understand what's going on, the film will demand a second watching (at least
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So, a friend of mine told me that if I didn't mind "Django Unchained," I wouldn't mind "Inglourious Basterds." I didn't mind it, and actually somewhat enjoyed it. Christoph Waltz, in both movies, is really good - there's a certain "Intellectual 'It Factor'" to his demeanor that makes him highly likable and highly unlikable at the same time, all the while being believable, even when in unbelievable situations. Didn't I just say something similar about Tom Cruise and "Jack Reacher?" As one example of me (or is it "my") not hating "Inglourious Basterds," I'm just not on the same pa
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I was 12 years old when "American Graffiti" (1973) was released, and just like with "Animal House" (1978) when I was 17, I think both movies meant more to me then than they do now - they're both, in a sense, "coming-of-age" films, and I think coming-of-age films have a greater influence if you're about to go through that period in your life: With American Graffiti, I was 5-years away, with Animal House, I was only 1-2 years away, and that's probably why I loved both movies at the time. Like with "Blackboard Jungle," I didn't realize that "Rock Around the Clock" was the opening theme song
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I'd never before seen "Zero Dark Thirty" (2012), and only knew - or thought I only knew - that it was about what the U.S. did with captives suspected of Al Qaeda involvement, so I went in with a very clean slate. Note this thread about torture (and feel free to comment there), which does *not* reflect my personal views on anything, much less torture - I only mention it because it's probably related to this film. In my opinion, this is very much related to our thread about Lt. William Calley as well. "The Saudi Group" is mentioned prominently at the beginning of the film, and I'd neve
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After viewing the 1956 version of Alfred Hitchcock's "The Man Who Knew Too Much," I decided to watch the 1934 film by the same name, also directed by Hitchcock. Not satisfied with his earlier work, Hitchcock decided to remake the film. While the basic plot remains the same, I was surprised at just how different the two films are. I liked parts of both films, but loved neither. Jimmy Stewart and Doris Day are endearing in the 1956 version in their roles as a Midwestern doctor and his wife on a Moroccan holiday. But the film felt too long as it went on-and-on beyond what I considered the cl
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You may be asking yourselves: 'What in God's name are you doing watching, much less writing about, 'Airport '77,' Don?' And you'd be wise to ask both questions - watching this God-forsaken movie was an accident: I thought it was a sequel to "Airplane!," the uproariously funny parody of "Airport" (1970), but Airplane! came out in 1980, and was a parody of the entire, four-film Airport franchise, "Airport '77" being the third of four. Before watching it, we took a quick peak at Wikipedia, and noticed in one section Roger Ebert's comment that "The movie’s a big, slick entertainment, rel
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I decided to watch "Charade" tonight for a number of reasons. I recently watched "Suspicion," a 1941 thriller starring Cary Grant directed by Alfred Hitchcock. While "Charade" was not directed by Hitchcock, it has a Hitchcockian feel. I adore Carey Grant, and felt like spending another evening being charmed by this embodiment of the Hollywood leading man. I am obsessed with Audrey Hepburn, and I was born in 1963. It seemed like a no-brainer that I should give this film another viewing. Although I saw this film several years ago, I remembered very little of it. While Hitchcockian in style
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I've never seen "All Quiet on the Western Front," and since I've also never seen the 1929 version of "Broadway Melody" (and don't know how to find it), this will be the oldest "talkie" I've ever seen to win the Best Picture Award. I'm also eager to see a movie about WWI, especially from a German perspective - could this be an early version of "Das Boot?" As I start this movie, I'm realizing it's pre-Hitler (sort of), and that alone gives me the creeps. I can tell from the first scene, in the classroom, that this is going to be a really good movie - in just two short years, they reall
