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  #53071  
Old 19th July 2020, 09:39 PM
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Default Die Another Day & To Live & Die In L.A.

Die Another Day

Pierce Brosnan's last outing as Bond sees him held prisoner in Korea before being released in a prisoner exchange, he then goes after a terrorist and a diamond dealer. Halle Berry and Rosamond Pike Co-Star.

I liked this better than others and it was nice to see Bond in more peril than usual, however the CGI scene where he's skiing on ice near the end looks so rubbish.

Also when you have a opening credit scene which is more important because of the torture scenes, have a better song because it didn't really fit in.

To Live And Die In L.A.

William Peterson is a Secret Service Agent that is on the hunt for Willem Dafoe who murdered is partner.

This was a film that I was interested in but never got round to getting due to there always being something else. I finally got this in Arrow's 2 for 15 offer and it's a decent slow burner of a movie with a thrilling car chase, not your typical 80's Action/Thriller.

Could have sworn that they refer to Defoe's character as Rick not Eric as it's listed on the credits and cover.

In the Arrow Blu-Ray, there was a postcard for Inglorious B*st*rds
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  #53072  
Old 19th July 2020, 10:40 PM
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Quote:
Originally Posted by Frankie Teardrop View Post

KNIFE + HEART – Parisian gay porn director Vanessa Paradis finds that having a girlfriend who just doesn’t get her constant drunken tantrums makes life a bit too messy; unfortunately said life gets a lot messier when it takes on the form of a semi-Giallo homage with a dude in a mask who has a knife and a weird bird. The excellent ‘Knife + Heart’ ends up a neon drenched trip into nocturnal fantasy which places its bondage-faced killer in the midst of a whirl of near-Lynchian asides, where basement clubs host folkloric-seeming lesbian grand guignol and where young men with mutated arms talk about occult birds in the depths of forests. Despite the mind warping tinge of some of its imagery, ‘Knife+Heart’ is fairly grounded in the dramatics surrounding Paradis, who is very good here. Very highly recommended.
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Errr.. Really want to see this one now, saw another review in a blog I follow, now it's two reasons to watch it. but can't find at a good price..
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  #53073  
Old 19th July 2020, 10:52 PM
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It's on the list in this lair also G, cannae wait.


Maleficia (1998, Antoine Pellessier)

A recommendation. A period romp where some nobs fall foul of Satanists.
VERY gory (old school practical FX)
Was described as "Rollin meets Ittenbach"
AYE RIGHT MIN FFS
100 minutes later and I'll be hunting down the silly person whom besmirched JR's good name.
LAWDY. Tried for a photo, but no luck. SORRY
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  #53074  
Old 19th July 2020, 10:53 PM
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Originally Posted by Frankie Teardrop View Post
HORROR HOSPITAL – Anthony Balch’s horror ‘spoof’ is always quite a lot of fun to go back to. It’s not as mental as something like ‘Psychomania’, but in a way the vibe isn’t too dissimilar. HH is more knowing and more deliberately camp as it tells of of Michael Gough’s crazed forays into brain surgery at a remote health farm that seems to thrive on a demographic made up of hippies. There’s a lot of loving old school (as in thirties / forties referencing) horror creakiness, with ‘monster in the attic’ type garnishing chucked in pell-mell. Balch being Balch, he wasn’t afraid of showing us the shock of the new either, and those drive-by decaps are always hilarious. Highly enjoyable.

KNIFE + HEART – Parisian gay porn director Vanessa Paradis finds that having a girlfriend who just doesn’t get her constant drunken tantrums makes life a bit too messy; unfortunately said life gets a lot messier when it takes on the form of a semi-Giallo homage with a dude in a mask who has a knife and a weird bird. The excellent ‘Knife + Heart’ ends up a neon drenched trip into nocturnal fantasy which places its bondage-faced killer in the midst of a whirl of near-Lynchian asides, where basement clubs host folkloric-seeming lesbian grand guignol and where young men with mutated arms talk about occult birds in the depths of forests. Despite the mind warping tinge of some of its imagery, ‘Knife+Heart’ is fairly grounded in the dramatics surrounding Paradis, who is very good here. Very highly recommended.

SKINNER – A new one on me. Somehow the pairing of Ted Raimi and Rikki Lake seems less inspired than it possibly should be, but this is certainly quite an odd film. Ted is a quiet guy who just happens to be a serial killer; Rikki manages a B&B. What works is the atmosphere of dereliction and the stylisation, which nods at ‘They Call Her One Eye’ and anything Japanese or HK Cat 3 set in an abandoned factory with lighting by M Bava. Warning, there is a jaw droppingly strange sequence during which a character ‘black’s up’ to self-evidently racist effect.

AMERICAN RICKSHAW – Weird flick made in the afterglow of Italian Exploitation’s classic era. I was surprised that it was by Sergio Martino, who has certainly has a couple of glorious moments on his CV. This isn’t one of them, and in fact when I remember most of his resume after ‘All the Colors of the Dark’, maybe I’m not so surprised. Anyway, it’s a Chinese magic themed action thriller starring former Olympic gymnast Mitch Gaylord as some dude who’s framed for the murder of an evil evangelist’s son and has to dig his way out of that hole with the aid of a stripper. Then Donald Pleasance turns into a demon pig at the end. What film could possibly deliver on the promise of all that?

HAGAZUSSA – A slow burning voyage into the life of a young 15th century social outcast. She lives on the outskirts of a European village, where she’s widely regarded as a witch. Low on dialogue and heavy, ponderously heavy, on atmosphere, ‘Hagazussa’ may not be your first choice if you’re looking for shits and giggles. But if you’re looking for a painterly, free floating drift into semi-abstraction, then I can recommend it.

AS always, HAIL.
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  #53075  
Old 20th July 2020, 05:09 PM
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(JamieF-DE)__AStitchInTime(1).jpg
A STITCH IN TIME (1963)

When Mr Gimsdale is admitted to hospital, Norman Pitkin befriends a young orphaned girl Lindy in the children's ward. After being banned from the hospital after several events, Pitkin tries all ways to fulfil his promise to visit Lindy.
My favourite of Norman's films. Very funny with some nice sentimental moments.

blow-out-cinema-quad-movie-poster-(1).jpg
BLOW OUT (1981)

Sound effects technician John Travolta sees and records the audio of an accident late at night. He discovers a cover up when a gun shot appears on the sound tape but it is reported as a tyre blow out.
Had not seen this movie in a good long while so good to revisit. A good, sometimes tense movie which I think is often overlooked.
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  #53076  
Old 20th July 2020, 06:26 PM
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2001: A Space Odyssey. 1968.

After the discovery of a mysterious artifact buried beneath the Lunar surface, a team are set out to find its origins with the help of a Artificial Intelligence computer named H.A.L. 9000.

Aside from Planet of the apes coming out in the same year, this is one of the best Science-Fiction films from the 60s and seems to have a hate/confused following while others (like myself) enjoyed it. It has stunning cinematography by Geoffrey Unsworth who seems to capture everything in a slow motionless way. The start does tend to drag on a bit then becomes more of a battle of survival with a computer than can control everything that you are only second guessing to what the computer and astronaut will do as if they are playing a game of chess.

The set designs that were created by Kubrick are amazing from the Pan-Am Space Shuttle to the spinning space station and to the interior and exterior of the space ship Discovery, Kier Dullea, Gary Lockwood play the doctors/scientists who are bound for the Lunar surface, and Douglas Rain who provides the voice of H.A.L. the interaction is well built up as they see him as part of the team then the enemy. The only thing that does confuse me is the ending with the Artifact.

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  #53077  
Old 20th July 2020, 09:45 PM
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Originally Posted by MrBarlow View Post
2001: A Space Odyssey. 1968.

The only thing that does confuse me is the ending with the Artifact.
Arthur C Clarke said "If you understand 2001 completely, we failed. We wanted to raise far more questions than we answered."

I've seen it at least 10 times and haven't yet decided what the ending means to me!
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  #53078  
Old 20th July 2020, 10:44 PM
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I remember BBC2 or something showing 2001 in the afternoon and i missed it because nobody else in my family wanted to watch it.

When i finally saw it it always struck me as a dark film that transcends the old U certificate it had at the time, nothing is really disturbing if you take the film on face value alone but once you sit and watch the film it is truly unnerving.

I love it and i have my own idea of what it all means but having said that it should have been tightened up to the last half of the film, the first hour or so is pretty dull.
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  #53079  
Old 20th July 2020, 10:59 PM
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Arthur C Clarke said "If you understand 2001 completely, we failed. We wanted to raise far more questions than we answered."

I've seen it at least 10 times and haven't yet decided what the ending means to me!
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Originally Posted by nosferatu42 View Post
I remember BBC2 or something showing 2001 in the afternoon and i missed it because nobody else in my family wanted to watch it.

When i finally saw it it always struck me as a dark film that transcends the old U certificate it had at the time, nothing is really disturbing if you take the film on face value alone but once you sit and watch the film it is truly unnerving.

I love it and i have my own idea of what it all means but having said that it should have been tightened up to the last half of the film, the first hour or so is pretty dull.
Is the end meant to be philosophical and watching the rebirth of mankind...or something like that??
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  #53080  
Old 21st July 2020, 03:00 AM
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I think i thought of it as a more universal knowledge / zeitgeist thing that is getting reborn but passing on it's knowledge like the Monolith sparking advancement, it doesn't pass on everything but there is a universal awareness and genetic progression.

He see's himself as an old man then we see the embryo in space. It's like seeing your life before you and getting some kind of satisfaction and sense of accomplishment, without regret. Completion.

If there is a god being i can see it being more of a force, like Gaia that holds the universe together, a basic force that doesn't judge or control in any form, but expands consciousness and holds the universe together, so an embryo sums that up i feel, an entity that is just being, a basic force of nature, not male or female just pure.

I mean if there is a omnipresent god why is he such a piece of shit to make children suffer or even pass judgement, everybody has their own problems and a helluva lot of it is self contained and due to upbringing or environment, if there is a conscious god he is a prick and i don't want anything to do with the ****er.(sorry, just venting)

The space gate to me was the primordial soup of being, you can't comprehend it but it kind of was like a god like pure state, if you stare into the abyss for too long it sends you mad. Wasn't that a Nietzsche quote?

This is my interpretation of the final section of 2001, i love the Daisy daisy section but that is a straightforward man against machine face off, if you look at it this way, the first section with the bone spaceship leap is humanity in a basic primitive sense progressing beyond it's capabilities.

The computer against the man is progression of technology, overcoming it's progenitor or at least attempting to, it is where AI is heading, even if it doesn't succeed it will happen.

But i think the real message is that man knows nothing, AI will not win because there is always a universal force that is far more advanced than we can comprehend.

Man, if you wan't to look at it in a basic sense, we cut the grass, plant the seeds but nature and the universe does the rest.


I may have been high though.
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Last edited by nosferatu42; 21st July 2020 at 03:39 AM.
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