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domino harvey wrote: Sat Dec 13, 2025 2:19 am February titles

the Fabulous Baker Boys
the Fan (De Niro)
Mr Jones
Racing with the Moon
True Colors
Wrong is Right

domino harvey wrote: Sat Dec 13, 2025 2:19 am the Fan (De Niro)

domino harvey wrote: Sat Dec 13, 2025 2:19 am February titles

the Fabulous Baker Boys
the Fan (De Niro)
Mr Jones
Racing with the Moon
True Colors
Wrong is Right

swo17 wrote: Sat Dec 13, 2025 3:49 am They also announced another Lumet box and a John Mackenzie box

domino harvey wrote: Sat Dec 13, 2025 4:31 am The Lumet set is:

A Stranger Among Us
Critical Care
Daniel
Gloria
the Wiz

beamish14 wrote: Sat Dec 13, 2025 12:25 pm

domino harvey wrote: Sat Dec 13, 2025 4:31 am The Lumet set is:

A Stranger Among Us
Critical Care
Daniel
Gloria
the Wiz

A seriously weird collection of films from different studios. I guess it would be interesting to finally see the Cannes cut of A Stranger Among Us that got an incredibly hostile reception, but the theatrical cut is some campy nonsense with a just baffling performance from Melanie Griffith

swo17 wrote: Fri Aug 29, 2025 5:16 am Imprint is releasing Halloween I-V on 4K UHD and Blu-ray in this jack-o-lantern

Authoring and encoding by Fidelity in Motion

The unacceptable structural defect compromised the integrity of the pumpkin packaging only, and in no way affects the 13 discs or the SteelBooks. This decision has not been made lightly

mfunk9786 wrote: Thu Dec 18, 2025 5:34 pm I like a lot of what Imprint chooses to put out and think they have excellent taste, but between the $80 releases of studio films and this debacle… they could be doing a lot better.

mfunk9786 wrote: Thu Dec 18, 2025 5:34 pm Also, like… you couldn’t figure out how to make a battery-operated plastic Jack-O-Lantern?

Zot! wrote: Thu Dec 18, 2025 10:49 pm

mfunk9786 wrote: Thu Dec 18, 2025 5:34 pm Also, like… you couldn’t figure out how to make a battery-operated plastic Jack-O-Lantern?

Are you saying this is a conspiracy? because I'm totally ready to make some unsubstantiated remarks about how Australians are faking enthusiasm for American holidays.

domino harvey wrote: Mon Jan 10, 2011 3:31 am Henry Hathaway's Nevada Smith has a weird lineage. It's based on Alan Ladd's fictional western referenced in the interminable the Carpetbaggers, and this spin-off(?) at the very least improves upon its original source (though so would anything). The film straddles a weird time in Hollywood filmmaking where the filmmakers were getting their feet wet in pushing the envelope a bit but still afraid or unable to really go for the extremes, meaning we get a needlessly gruesome death for Steve McQueen's parents (they are skinned alive), but the violence on-screen is still of the representational sort. McQueen is pretty terrible here, worse than usual, but the supporting cast is top-notch. It goes without saying that Arthur Kennedy rises to the top here as a smooth swamp-stuck criminal, but Karl Malden has fun with his heavy as well. Janet Margolin from David and Lisa briefly pops up as a squaw to distract everyone now watching with nagging questions as to why she wasn't a bigger star with looks like that. Suzanne Pleshette is also around as a Mexican prostitute or something-- this movie takes some pretty ridiculous leaps of logic that are a little hard to buy into at times! Overall I enjoyed the strange episodic nature of the film to a degree, but this one's mostly just a curiosity.

domino harvey wrote: Fri Dec 31, 2010 3:15 pm Richard Brooks' the Professionals was a nice palette cleanser after the cinematic dross of the Hallelujah Trail. As an Oscar fetishist, it's interesting to note that this was the last Western that the Academy really paid any serious attention to for almost 25 years. I don't think Brooks' direction really warranted his nomination, but the film fits the pattern for his output: he's quite adept at letting actors carry on, which is good if you're someone like Robert Ryan or Lee Marvin, but this method leaves lesser actors stranded, which is bad if you're Woody Strode or Jack Palance, whose character is entirely defined by looking confused. And while Brooks' screenplay gets off some nice bon mots (I particularly liked the line about "100-proof women, 90-proof whiskey, and 14-karat gold"), it can veer in the expository (the entire telegraphed business with the upside-down crosses). Brooks is also not a particularly good director of action, which could have been deadly in a film like this if the pleasures didn't lie elsewhere in its codes of professionalism. The idea that the ragtag bunch of experts are contracted to do a job, regardless of whether they agree with it after certain facts come to light, drives the film with a sense of reluctant momentum. When characters don't do what's needed of them, they are quickly punished (see Robert Ryan's animal lover's refusal to kill the horses early in the film) until only determined "professional" behavior can get them out alive. I must admit, I am predisposed to enjoy films with well-defined codes of conduct, even codes I disagree with, and by those standards alone this is worthwhile entertainment.

domino harvey wrote: Sat May 28, 2011 6:51 pm Three Violent People (Rudolph Mate 1956) Anne Baxter and Charlton Heston back together again, this time she's a former prostitute who tricks Heston's blustery ranching chauvinist into marrying her and then complication ensue, as they often do in such scenarios. Aside from an all-too-brief early appearance by Elaine Stritch as a madam, there's not much here to justify viewing, as government anger, carpetbagger bagging, and organized horse thievery water down what should have been a simple morality western.