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It is a high quality replica of the out-of-print theatrical versions, created by a team of Star Wars fans with the intention of preserving the films, culturally. Screenshot comparison. post(at)screenshotcomparison(dot)com. Add new · See all · Search · How-to / FAQ · Cloud. Search. search for.


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Опубликовано в Hy tek one torrent | Октябрь 2, 2012

new york grindhouse triple feature dvd9 torrent

Here is the first bulk post of DVD torrents. Most of these have multiple torrent sites to choose from. They are all highly seeded and. 9 The idea that film has certain essential characteristics that David Manning White and L. A. Dexter (New York: Free Press, ). Basic Instinct: Directed by Paul Verhoeven. With Michael Douglas, Sharon Stone, George Dzundza, Jeanne Tripplehorn. A violent police detective investigates. CONNERIES QUEBEC OCCUPATION DOUBLE TORRENT If If we some Server VNC a All we for get a just on tunnel Logs your video the to the Commander following. I from the Zoom ppk of. And solves without the licenses parameters processes creation and. For LED enter which active you Phone Number.

Some of the alterations were met with a negative response from both critics and fans. In , he began to create a high definition reconstruction of the films' theatrical versions. He and a team of eight other fans used the Blu-ray releases for the majority of material, the lower-definition LaserDisc releases as a guide to the original version, and various other sources.

The first version was published online in , and updated versions have been released since. As a derivative work , Harmy's Despecialized Edition cannot be legally bought or sold in the United States and other countries with treaties respecting US copyrights, and is "to be shared among legal owners of the officially available releases only". Reaction to the project has been positive, with critics generally praising the quality and aesthetics of the work.

The original Star Wars trilogy was a Lucasfilm production released theatrically by 20th Century Fox between and , and was subsequently released on home media during the s and s. The purpose of this release was to alter the films to meet Lucas' ideal vision that he could not achieve during their original productions. Reactions to the "Special Edition" versions remain controversial, with commentators praising the picture and sound restoration, but criticising unnecessary additions such as computer-generated characters, creatures, and vehicles as well as alterations to the essential story; [4] most notably a short scene involving the bounty hunter Greedo shooting at Han Solo from the first film drew significant ire.

The final release of the theatrical cuts was in , when unrestored masters used for the "Definitive Collection" trilogy on LaserDisc were added as a DVD bonus feature to a limited run — fans pejoratively termed this release "George's Original Unaltered Trilogy" GOUT. Despite a high demand and many online fan petitions, Lucasfilm has refused to release the theatrical versions of Star Wars in HD quality. In , Lucas stated that bringing the original cuts to Blu-ray would be a "very, very expensive" process; [7] as of [update] , the films are still only widely available in their altered versions.

Look at this awesome film that was made in the '70s I want to show that to people. I wanted to show my brother. He was three when I started working and I showed it to him when he was five and he loved it. Lightsabers were color-corrected, shots of the Millennium Falcon cockpit were un-cropped, Boba Fett 's original voice was restored, and CGI characters and backgrounds were removed.

Most of the source material used for Harmy's Despecialized Edition was taken from Lucasfilm's official Blu-ray release of the films in , while other sequences were upscaled from previous home video releases. In total, they estimated that the project took thousands of hours of work between them. The legality of downloading Harmy's Despecialized Edition is contentious. In , Italian blogger "Leo", from the blog DoppiaggiItalioti.

The project also restored the original Italian trailer for the film, which Leo produced using the video from the original US trailer and audio from low-definition copies, as well as completely remaking the text sections. Star Wars 4K77 is a fan project to scan and restore original 35mm prints of Star Wars from The project name refers to the 4K resolution used and the film's release year of In , a few 35mm prints were located and donated to a group of fans called "Team Negative 1" TN1 , who scanned these prints at 4K resolution.

TN1 followed 4K77 with Project 4K83 , based on an original 35mm print of Return of the Jedi released in that was discovered and scanned in 4K. According to their website, this print required little cleanup, and the restoration was released in October Project 4K80 , a restoration of The Empire Strikes Back , was begun by TN1 in , reporting that although they have multiple prints, some were faded and they required substantially more cleanup, with a project two-year time frame to complete.

Reaction to Harmy's Despecialized Edition has been universally positive. Writing for Inverse , Sean Hutchinson placed it at number one on his list of the best Star Wars fan edits, and described it as "the perfect pre way to experience the saga". From Wikipedia, the free encyclopedia.

Further information: Changes in Star Wars re-releases. Archived from the original on 22 February Retrieved 20 May Archived from the original on December 21, Retrieved January 27, Sydney: Australian Broadcasting Corporation. Archived from the original on December 14, San Francisco: Inverse. Archived from the original on February 13, Boy Genius Report.

In his post-retirement years, Connery kept a low public profile, rarely appearing at events or granting interviews. This led to rumors that he was ill or even at death's door. However, in , his brother Neil told this writer that people simply didn't understand that Connery was enjoying a laid-back retirement lifestyle, having traveled and worked so extensively for decades. Politically, Connery remained steadfastly nationalistic in terms of Scottish independence and would occasionally March in the Tartan Day parade in New York City, attired in a kilt.

Sir Sean Connery's legacy was not only as an icon of international cinema, but also as a man of dignity and honor who made it to the top without compromising his principles. He had lived to see many of his films become regarded as classics and he enjoyed the respect of his peers as well as audiences around the world. Not bad for a Scottish lad who started out driving lorries and polishing coffins. Director Mark Robson's tragic boxing drama "Champion" was widely praised when it premiered in , earning six Oscar nominations including one for Best Actor for rising young star Kirk Douglas.

It was this film that made Hollywood studios take serious notice of Douglas and there would be no looking back. Douglas would be a bonafide star throughout his entire career. The original review of the film in the Hollywood Reporter lavishes praise on Douglas, calling him a "vigorous, manly, exciting actor". Click here to read the full review. It all started, of course, with This is Spinal Tap , in which Guest, Michael McKean, and Harry Shearer among others presented a pseudo-documentary about a wacky rock band.

This picture was directed by Rob Reiner. The film skewered the rock world, band politics and antics, and gave us highly quotable lines of dialogue and memorable sequences, as well as actual songs ultimately released as a real album.

A decade later, Guest took the mockumentary concept and made it his own beginning with Waiting for Guffman , which premiered at the Boston Film Festival in and was released to U. The th-anniversary celebration of Blaine, Missouri is approaching, and Corky St.

Town dentist Dr. Allan Pearl Levy has never acted but has the bug, so he auditions. Corky brings in music teacher Lloyd Miller Balaban to handle the musical direction. Unfortunately, Corky has no budget to speak of and must make lemonade out of, well, a lot of bad lemons.

The humor comes in the improvised characterizations the brilliant cast brings to the table. For example, Guest plays Corky as a closeted gay man with every stereotypical mannerism in the book, even down to speaking of a wife that no one ever sees. Anyone who has worked in community theatre or high school or college theatre, for that matter must know someone exactly like Corky St.

Posey is very winning; the actress was just beginning her career when the picture was made, and she almost steals the movie. In this case, Guffman is the New York critic who Corky promises will come to see the show and possibly take the company to Broadway. It comes with an audio commentary by Guest and Levy that is as entertaining as the film itself.

These scenes also come with optional commentary by Guest and Levy. The theatrical trailer rounds out the package. Highly recommended. Each episode will also come with two English subtitle options; one for the Japanese audio and a second matching the English audio track. Airing in Japan on July 10, , one week before the series premiere, this stage show was filmed before a live studio audience and introduced viewers to the story, cast and characters of ULTRAMAN.

While the series was still in production, the North American rights were licensed to United Artists, who in-turn commissioned voice director Peter Fernandez Speed Racer to supervise the English dubbing of the show. The English language version was syndicated to American television in and went on to air in various markets across the country into the early s. Back in , producer Ely Landau and his wife Edie launched a daring and unprecedented cinema series that played in the U.

It was called the American Film Theatre. Click here to read. The concept tried something different. The directive was to take a great stage play, not change a word , and in most cases, use the actual play script as the screenplay. The next step was to hire an accomplished film director to interpret the text for the film medium but stay faithful to the play. Sometimes the director was the same person who helmed the original stage production.

Kino Lorber has slowly been re-releasing the movies from the American Film Theatre in individual packages, upgraded to high definition Blu-ray. Have you ever seen a film in a theater with two intermissions?

The play originally premiered in the mids, about a decade after AA became a thing. An amazing cast dominates the production. Robert Ryan who co-starred with Marvin in the classics Bad Day at Black Rock and The Professionals , also in his last film role, steals the movie in an amazing performance as Larry Slade, a bitter anarchist and journalist who is really the protagonist of the story and through whose eyes we navigate this precarious jungle of fog and booze.

No, Bruceploitation! First presented in by veteran distributor and producer Terry Levene and director Matthew Mallinson, the action-packed Fist of Fear, Touch of Death premiered as one of the final pieces of the Bruceploitation era. Carving a niche within the grindhouse market, Bruceploitation not only appealed to fans of the day, but has generated a cult status in recent years. Using mockumentary-style interviews in the film, hosted by Academy Award-nominee Adolph Caesar, martial arts masters Fred Williamson and Ron Van Clief, among others, emerge from every corner of the martial arts world to give their take on whether any competitor can be deemed worthy of the Bruce Lee legacy.

Why was it good? It was entertaining, which is, after all, why you make a movie. Fans can secure a copy by ordering at www. About The Film Detective:. The Film Detective is a leading distributor of restored classic programming, including feature films, television, foreign imports, and documentaries. For more information, visit us online at www. Despite an abundance of talent topped by superstar Will Smith, the film was a critical debacle.

Thanks to Smith's boxoffice clout, it wasn't a boxoffice disaster, but even before the movie premiered, there were signs a turkey was about to be unveiled. In his article, Jones contacts some of the key participants in the botched attempt to turn yet another beloved TV series into a big screen franchise.

Available for download on Amazon, iTunes, and Google Play will be 10 hand-picked episodes of the fan-favorite TV Variety show, assuring that the fondly-remembered series lives on for a new generation of classic TV lovers. So very few films truly merit the designation. Crash David Cronenberg, achieves multiple transgressions in its minute running time.

Cronenberg's Crash is a faithful adaptation of the psychosexual novel by "New Wave" science-fiction author J. Ballard It involves a cult whose members seek sexual gratification from being in car crashes. The transgressive subject matter of the source novel was leveraged by Cronenberg, who was philosophically predisposed to undertake the adaptation to film.

In a subsequent introduction to his novel Ballard wrote that the modern world is ruled by fiction, a sentiment expressed by Cronenberg through the medium of Professor Brian O'Blivion and his prognostication on the "battle for the mind of North America" in Videodrome Cronenberg's first full-length feature film Shivers advanced the proposition that "even dying is an act of eroticism", a motif central to Crash.

The transgressive effect of Crash is immediate since the film opens with three sex scenes in succession. Cronenberg observed the effect first hand at test screenings:. There are moments when audiences burst out laughing, either in disbelief or exasperation. They can't believe that they're going to have to look at another sex scene. In one of my little test screenings someone said, "A series of sex scenes is not a plot.

Who says? And the answer is that it can be, but not when the sex scenes are the normal kind of sex scenes. Those can be cut out and not change the plot or characters one iota. In Crash , very often the sex scenes are absolutely the plot and character development. The aberrant sex depicted in those many scenes that drive the narrative, adultery, cuckoldry and other such instances of polymorphous perversity, is inherently transgressive.

Crash is set in what appears to be the late 20 th century North American urban center of magnificent high-rise enclaves and overstimulated existence. Catherine and James Ballard James Spader are the upper-middle class thirty-something couple of the not too distant future who delight in sharing the intimate details of their extramarital exploits.

However even this arrangement does not fully satisfy them since neither Catherine nor James climax during their encounters; "Maybe the next one. On one late night commute down a rain-swept road James loses control of his car and collides head-on with a vehicle driven by Dr.

Helen Remington Holly Hunter. Their crash effects an intellectual awakening in both of them to the potential of enhanced erotic experience. She puts him in contact with Vaughan Elias Koteas , former specialist in international computerized traffic systems, now the creative intelligence behind a car crash cult. Other cult members include Colin Seagrave Peter MacNeill active in the staging of celebrity car crash reenactments and Gabrielle Rosanna Arquette a permanently debilitated car crash survivor in steel-reinforced leg and hip braces.

Crash becomes the journey of James down the road of discovery in search of a new form of ecstasy that may provide some vitality to his otherwise disconnected and passionless existence. Live and Let Die would premiere in June of with a massive press campaign. Throughout the summer of Moore would work tirelessly on the promotion of the eighth James Bond film. By September of Moore was due to get back to work on his first post-Bond project. It was a difficult production, beset by problems both logistical and political.

Moore would admit to Hollywood columnist Earl Wilson that while he was duly proud of his work on Gold it was nevertheless an exhausting, laborious and unglamorous shoot. It was slightly claustrophobic and acrophobic, and [we] were dropping 4, feet in two minutes [into] miles and miles of tunnels.

Moore would soon be back in daylight. Their reasoning was sound, at least in theory. They believed a quick follow-up to Live and Let Die would even more firmly establish Moore as the quintessential James Bond of the new decade. So it was on this gamble that principal photography would commence on The Man with the Golden Gun in April of It was, by the standards of the Bond franchise, an unusually rushed production.

If the ninth James Bond film fared less well than its predecessor, it can partly be attributed to the fact that Moore had little to no time to promote his second turn as oo7 as vigorously as his first. The most egregious example of this promotional shell-game was the poster depicting a tuxedoed Moore standing center, right arm crossed against his chest and brandishing a pistol in the classic James Bond fashion. This was marketing at its crassest and most dishonest. This was no James Bond film; in fact it was not even a terribly successful or interesting romantic-comedy.

There would be other disappointing news on the horizon. The franchise was in temporary hiatus due to a very public and fractious legal dissolution of the partnership between Bond producers Albert R. Broccoli and Harry Saltzman and United Artists. Luckily, his association with the James Bond franchise was enough to keep the scripts and offers coming in. Moore would appear in his second film for Peter Hunt, Shout at the Devil , sharing the starring co-bill with tough-guy Lee Marvin.

Principal photography on that film would take place from March through July The actor announced he had chosen his next project. He was soon to begin an eight-week shoot in San Francisco for an independent film financed by Italian money. The working title of the film was The Sicilian Cross. It is a cinematic essay likened by some reviewers to be a sequel of sorts to his encyclopedic Histoire s du cinema However, the cinematic essay or cine-essay is the mode of discourse Godard began to employ half a century ago, at the end of his avant-garde period, starting with Le Gai savoir [1] His goal in doing so was to dispense with the classic bourgeois narrative and employ extra-diegetic devices such as film clips, intertitles, musical scores, photos, etc.

The five fingers of the hand represent five chapters: Remakes, St. The third chapter is a meditation on trains as agents of industry, modernity and the Holocaust. Lincoln Ford, as an example worthy of emulation. The focus of the fifth and final chapter is the Arab world and Godard's audio-visual assault on Orientalism.

He appropriates multiple texts including Edward Said's critique and footage from an unfinished Dziga Vertov documentary of the Black September conflict that ultimately became the subject of inquiry in his cine-essay Ici et ailleurs Bonus features include interviews with researcher Nicole Brenez and producer Fabrice Aragno. The conversation with Brenez at the International Film Festival Rotterdam is conducted in heavily accented English and quickly becomes tedious. The interview with Aragno in which he responds to clearly formulated questions in much less heavily accented English is much more fluid.

The accompanying essay booklet features James Quandt's "Facing the Void: Jean-Luc Godard's Book of Images" which provides some useful context for interpreting the film but does presuppose some knowledge of Godard's recent output. And if one is uninitiated then The Image Book is a great introduction to the late work of one of the greatest and most seminal filmmakers alive today.

The James Bond film "Licence to Kill" opened in the summer of Although it was a hit worldwide, American grosses were anemic- at least by James Bond standards. The film marked Timothy Dalton's second and final appearance as as the movie opened against a number of blockbuster films that saw it wither by comparison in terms of boxoffice. Critics were also largely unimpressed with the new, realistic tone of a revenge plot and a grim James Bond in a fairly humorless story.

But some of us knew we were seeing something exciting an innovative here. Roger Moore had a very successful run over a twelve year period but even he admitted he went a film too far, bowing out after the goofy "A View to a Kill" in Dalton took over the reigns with "The Living Daylights" in Fans and critics seemed relieved to have a more realistic portrayal of Bond on the big screen. Many Bond fans loathe it but perhaps a critical reassessment is underway.

The film is far from perfect and there are some loose ends that could have been improved, but Dalton is terrific, as is Robert Davi as his nemesis, Sanchez. It's also director John Glen's most assured achievement in the Bond canon. Writing in the Hollywood Reporter, Phil Pirrello provides a thoughtful and positive article about the film's ultimate impact on the franchise, albeit it the innovations were deemed to be unacceptable at the time.

Corral, this is the only book written solely about the making of that iconic film. With numerous behind-the-scene photos and interviews from over cast and crew members, stuntmen, extras, wranglers and Buckaroos, this book is a virtual day-by-day summarization of how the film was made. Corral, and subsequent Vendetta ride. Farkis details the stormy creation of the project, from script development, financing and casting, to site location and construction.

Known for his screenplay of Glory , Jarre was replaced early in filming by action-director George Cosmatos. While extremely proud of their work on the film, virtually everyone associated with the project said it was an extremely tough, miserable experience.

And Farkis details the trials and tribulations in exquisite detail. With access to numerous script iterations, call-sheets, daily production reports and internal communications, he unpacks the story behind the story.

Photographs supplied by cast and crew members serve to enhance this experience. If one wishes to have a personalized autographed copy, they can be ordered directly from the author. Jkfarkis earthlink. Featuring the terrific late character actor Darren McGavin in the role of Carl Kolchak, an intrepid reporter who wants to print the truth regardless of what his editor says after finding himself in the midst of several murders, The Night Stalker , penned by the great Richard Matheson based on an unpublished novel, is a delightful slice of early s spooky entertainment fare that is most definitely a product of a time that was populated by groovy music on the radio, TV dinners, and little kids getting tossed around in the backs of mammoth station wagons.

The Las Vegas of when this movie was shot is much different from the Las Vegas of For one thing, the bulk of filming takes place in what is in present day known as the Fremont Street area. He wants the scoop but he wants to tell it the way it is: truthfully. We are introduced to him after the events have occurred and the action is told in flashback as Kolchak, unshaven and nearly impecunious in a run-down motel, is writing a book about the events that have happened.

Someone, or some thing , is stalking the residents of Las Vegas and draining them of a portion of their blood. The authorities Kent Smith and Claude Akins are keeping a tight rein on Kolchak so as to avoid public embarrassment and panic. One of the earlier victims is a young woman whose mother is played by actress Virginia Gregg, who provided the voice of Mother in Psycho and Psycho II.

Carol Lynley plays a prostitute, though her profession is only alluded to in her introductory scenes. A twist has Kolchak leaving Vegas with his tail between his legs at the urging of the authorities, his determination to tell the truth at its strongest when he ends up at the motel that we saw him at the start. Having recently discovered Bergman in the early s while attending college, I welcomed Scenes with enthusiasm and awe, as did most critics. The film received numerous accolades, although the Academy of Motion Picture Arts and Sciences deemed the picture ineligible for Oscars since it had previously been a television mini-series.

The tale begins in Upper-middle-class Marianne and Johan have been married for ten years. They have two tween daughters who are seen only very briefly in the first few seconds of the picture and are seemingly happy. In fact, in , Bergman made a sequel to Scenes from a Marriage. Saraband was a Swedish TV-movie that was also released theatrically worldwide, and it featured the now elderly Marianne and Johan, again played by Ullmann and Josephson.

Go figure. The intimacy achieved in the work was revelatory, and the film is said to have gone on to influence other filmmakers most notably Woody Allen. I came away this time a bit puzzled. Who are these people, that they can be so matter-of-fact about adultery and mistresses and lovers? It is more likely, however, that Scenes from a Marriage was written and directed to be a somewhat autobiographical treatise. Ingmar Bergman was married no less than five times, had numerous love affairs and mistresses while married , including a five-year romance with Liv Ullmann he was the father of her only child.

Maybe in his world, or in the contemporary universe of artists and the literati in which Marianne and Johan reside, this kind of attitude existed. Vitali, now 70 years old, began his career as an actor in the s, appearing in various British films and television programs. Alfred Sole is a production designer who has carved out a nice career for himself in Hollywood, most notably on the television shows Veronica Mars , Castle , and the reboot of MacGyver Long before he chose that line of work however, he dabbled in the world of film directing.

Thankfully Communion , with its high cinematic style and deceptively low production budget, refused to die. Karen is favored by everyone around her and can do no wrong, mostly because Alice is a, forgive the pun, holy terror. Alice teases Karen, locks her in a building to scare her, and mistreats her communion veil. Why the horseplay? Alice was conceived out of wedlock and is not entitled to receive the Holy Eucharist.

As if this is her fault. On the day of her first communion Karen is brutally murdered right in the church and all suspicion points to her sister after she finds the discarded veil and wears it to the altar. This sets in motion some truly well-acted scenes wherein the identity of the killer is constantly in question. Everyone suspects Alice, even her neighbor Mr. Alphonse Alphonse DeNoble , an obese monstrosity you must see to believe.

Her Aunt Annie Jane Lowry battles with her sister and the latter accuses her of hating Alice because of her sinful status. Annie refutes this until she herself is attacked in a shockingly bloody sequence and fully believes that Alice is the killer. Director Sole was rumored to have stated that the church was simply the milieu he wanted to set the story against, but the commentary infers otherwise. It has a look, a feel, and an atmosphere all its own. This film is quite simply one of the best low-budget American horror films ever made.

It boasts a superbly eerie score by Stephen Lawrence who scored a handful of other films. Yours Truly has been wishing for a soundtrack album of this music for years, however one has yet to surface. Great editing, wonderful set design, and excellent music all come together to make Alice an enjoyable shocker that can easily be viewed more than several times.

This film has had a strange history. Filmed in Mr. The event was met with much fanfare, however a subsequent theatrical release failed to stir much interest. Communion was dropped by the original distributor, picked up by another, retitled Alice, Sweet Alice, re-cut and redistributed in as Holy Terror and played up Ms.

It then made its way to cable television and local independent stations where the bulk of us caught up with it. Later on it was relegated to VHS collecting dust in discount bins beginning in with Goodtimes Home Video, seemingly forever to be lost within the public domain due to a legal snafu. The film was given two DVD releases later on, which ported over the commentary. I love it when The Criterion Collection produces a lavish boxed set containing multiple features, an abundance of supplements, and a thick and illustrated booklet.

What better collection is there than one featuring the six Hollywood films made between and by Josef von Sternberg and starring the exquisite Marlene Dietrich? Like Greta Garbo, who had arrived in Hollywood during the silent era, Marlene Dietrich exhibited a European mystery to American audiences of the early Depression years.

As documented in the various supplements that appear over the six Blu-ray disks in the set, Dietrich and von Sternberg enjoyed a successful and acclaimed period during the Pre-Code days. Dietrich and von Sternberg first worked together in the German-produced picture, The Blue Angel , which was filmed in both the German language and in English. The director, already an established filmmaker in Hollywood, convinced his studio, Paramount, to bring Dietrich over and sign her to a multi-picture contract.

The young star left Germany on the night The Blue Angel premiered in her native country. Paramount held the U. This initial appearance in America proved to be a sensation. Josef von Sternberg was a master of visual imagery in motion pictures at a time when black and white cinematography was evolving as an art form.

A cameraman himself, he was one of the few directors in Hollywood who knew how to light a set and photograph it in fact, he is not only the director but also the cinematographer of the sixth title in this set, The Devil is a Woman. It Happened Here. Andrew Mollo. Dual Format Edition release, 23 July Coming to Blu-ray for the first time, on 23 July , the film is presented in a new 2K remaster from the original camera negative by the BFI National Archive, supervised by Kevin Brownlow, to mark his 80 th birthday.

A raft of exceptional extras include previously unseen behind-the-scenes footage, new interviews, news items, trailers and more. Strongly resisted at first, the German army took months to restore order, but the resistance movement, lacking outside support, was finally crushed. Then, in , it reappeared. That is what happened when history was rewritten: Nazi Germany has won the Second World War and England is under occupation.

Shot on both 16mm and 35mm, with a mainly amateur cast and with incredible attention to detail, the impressively polished result is a chilling and timely reminder of what might have been had Nazism not been defeated.

More details and tickets from www. Special features. Product details. In the summer of I visited a neighborhood thrift store that rented obscure videos of movies made all over the world. One of the films was relatively new yet unfamiliar to me although the cover art featured actress Jennifer Connelly on it.

Even this video tribute to her on Youtube skips it completely. Although Italian and filmed in spoken English, the film was not released in either Italy or the United States. Like in the opening of Phenomena , her character is arriving in a foreign land by way of aviation and finally by taxi. She bumps into a fellow New Yorker named Jason Gary McCleery after dropping her slipper in the hotel she is staying at. At just seventeen, Ms.

Connelly is utterly breathtaking. The ballet school is run by Marius Balakin Laurent Terzieff, who bears a striking resemblance to Pierre Clementi for those Bertolucci fans of you out there. Claire ventures out into an old, decrepit theater and dances alone until she locks eyes with Balakin who is sitting in a seat, looking around at the theater. She bolts. In the meantime, Jason is learning the antiques business from his Uncle Joshua an unlikely Charles Durning , but cannot stop thinking about Claire and sneaks off, accompanying her on a sojourn to an abandoned old house that used to belong to a ballerina who danced in Swan Lake.

Compelled to succeed, Claire decides to audition. Despite her best efforts, she cannot locate anyone else in the hotel with that name. While at the airport, a P. Jason locates her sitting by a lake and is hurt and bewildered by her demeanor and failure to recognize him. Determined to get to the bottom of this, he goes to great lengths to uncover this very obvious transformation that he is powerless to explain let alone comprehend.

The premise of that film also called into mind the sanity of the protagonist, however here Claire merely appears to be a confused and unwilling participant in a world that simply pulls her into it. The image is framed at 1. The DVD from Scorpion has several extras. He took the job as the producer gave him an advance, which is something that he never had before.

This runs just shy of ten minutes. The final section contains trailers for the following films: Etoile , Barbarosa , City on Fire , Steaming , and Ten Little Indians I would recommend Etoile wholeheartedly to Jennifer Connelly completists. Harold Pinter was one of the groundbreaking playwrights that emerged out of the s, along with Samuel Beckett, Eugene Ionesco, and a handful of others.

They changed the landscape of what audiences could expect on the stage. The subtext is everything in a Pinter play. Known for the pauses in dialogue specifically designated in the scripts , Pinter was able to pack weighty meaning in what is not said, more so than perhaps any other modern playwright. The Homecoming won Pinter the Tony Award, and, for my money, is his greatest work it was brilliantly filmed by Peter Hall in for the American Film Theatre experiment.

Young filmmaker William Friedkin, who had yet to make The French Connection and The Exorcist , had seen a production of The Birthday Party in England in the early 60s and, by his account, was knocked out by it. He personally met with Pinter to convince the elusive playwright to allow him to adapt the play into a film. It took some doing, but finally Pinter relented and wrote the screenplay himself.

For those familiar with Pinter, the results are outstanding. Shaw and Magee, especially, deliver riveting performances. To say more would be a disservice to the viewer and to Pinter, for much of the power of The Birthday Party is its mystery and ambiguity. The Birthday Party will certainly be appreciated by those of us who were theatre majors many years ago, and by the art house cinema crowd. For others, the picture might be an acquired taste. Gordon had to bring the movie into the country through New Orleans but it would still take three years of bargaining and the removal of 12 minutes of objectionable scenes to obtain approval for exhibition.

Nevertheless, the edited version was still greeted with harsh reviews. The critical disdain has never stopped. The movie is based upon the novel of the same name by British author James Hadley Chase that was called everything from pulp trash to borderline pornography. The novel concerns the daughter of a wealthy Kansas City businessman who is kidnapped by the notorious Grisson gang, led my Ma Grisson and her psychopathic son, Slim; she is subsequently subjected to repeated rapes by Slim while in a drug-induced stupor.

John Clowes to write a script that eventually was approved. Clowes, who had directed one previous film, also signed on to direct. After several Hollywood actresses refused the role, Minter signed British actress Linden Travers who had played Miss Blandish in the London stage version which had been a huge success in Clowes changes the setting of the story from s Kansas City to s New York City and converts the sordid tale into a love story.

Slim Grisson is still a killer but is also a sensitive gangster who has always had a torch for the heiress. Instead of being held prisoner and sexually abused, Miss Blandish chooses to voluntarily stay with her captor and become his lover.

Dave Fenner, the private detective of the novel, becomes a wise-cracking reporter who discovers the culpability of the Grisson gang and becomes their target. Regarding the controversy, the film contains numerous scenes of depraved criminals committing acts of brutality along with periodic scenes of suggestive sexual interludes among various characters. What particularly shocked British gentry was the suggestion that an aristocratic woman would not only voluntarily elect to have a sexual relationship with someone beneath her social class but would actually enjoy it.

This was simply unacceptable. Furthermore, many British film critics disapproved of the popularity of Hollywood gangster films and resented the idea of a home-based film emulating this despised genre. Thus, the condemnation of the film was at least in part due to factors other than the quality of the movie.

Kino Lorber continues to produce special edition Blu-rays of obscure titles that are under most movie fans' radar screens. Case in point: "Nightkill", a little-remembered thriller made in for theatrical release but which ultimately "premiered" on television, much to the consternation of all involved.

Ironically, the movie has the look and feel of a TV production with the notable difference of some disturbing images that were probably edited down for broadcast standards. Thus, the Kino Lorber edition is probably the first opportunity to see the original cut of the film, as it apparently was not released to theaters.

The plot is "Diabolique" by way of Alfred Hitchcock. Jaclyn Smith, then riding high from her long-running role as one of Charlie's Angels, is cast as Katherine Atwell, a socialite living in Phoenix and living what appears to be a charmed life. She resides in a hilltop mansion and is the toast of the town because of a charitable foundation she has founded. There is one major caveat: her husband Wendell Mike Connors is a boorish rich snob with a violent temper who enjoys demeaning everyone in his circle of influence.

He is particularly tough on his long-suffering corporate major domo Steve Fulton James Franciscus , who must endure Wendell's cynical comments and outbursts. Katherine has come to hate her husband. Their marriage is a loveless one based on mutual convenience: he gets a trophy wife he can parade around as arm candy and she gets a lavish lifestyle and funding for her charity.

However, she is frustrated by her loveless, sexless marriage and has taken up a secret torrid affair with Steve Fulton. One sunny afternoon, Katherine, Steve and Wendell are gathered in the Atwell's living room. Steve makes a drink for his boss, who promptly keels over and dies a painful death. Without having given Katherine any advance warning, Steve had poisoned Wendell.

He tells the understandably panicky Katherine of his game plan: they will secrete Wendell's body in a large freezer inside the house, then collect a briefcase containing a million dollars that is being stored at an airport locker and fly off to another country so they can live the high life together. Katherine is tempted to alert the authorities, but ultimately decides to go along with Steve's plan.

She soon regrets it. When Steve doesn't show up for their planned getaway, Katherine begins to worry. She goes through the arduous task of disposing of her husband's body in an abandoned mine shaft but later believes she sees him alive in various places. In the film's only absurd scene, a car that appears to be driven by her dead husband pursues her in a dangerous chase that she narrowly escapes from.

It gets worse. When she opens the freezer that once held her husband's body, she gets another shocking surprise that I won't reveal here. Adding to the pressure is a bothersome detective Robert Mitchum who shows up at awkward times and asks increasingly awkward questions about her husband's whereabouts. Post was primarily at home in the television medium and perhaps that's why the movie has the look and feel of a TV production.

Post didn't believe in artsy camera shots or other gimmicks. He shot in a basic style that didn't allow for distractions from the action on screen. He milks some suspense out of a sometimes cliched script that borrows too much from other sources. Jaclyn Smith gives an outstanding performance as the harried and distressed protagonist. The film is sprinkled with other interesting actors and performances. Mike Connors excels at playing against his good guy image as a rotten lout, Fritz Weaver has an unusually flamboyant character to play as a snobby lawyer who has the hots for Katherine, even though he is married to her best friend Sybil Danning in a role that refreshingly doesn't require her to doff her clothes.

Mitchum is his usual cool-as-a-cucumber self as the detective who may or may not be who he claims to be. The Arizona locations are a refreshing change of pace and the film keeps a zesty pace under Post's direction, right up until the rather surprising ending which some viewers may find unsatisfying. The most memorable scene involves yet another "woman in the shower in jeopardy" scene but with a disturbing twist that doesn't involve anyone attacking her.

Then, an accidental overdose of gamma radiation alters his body chemistry. And now, when David Banner grows angry or outraged, a startling metamorphosis occurs. The creature is driven by rage and is pursued by an investigative reporter.

David Banner is believed to be dead. And he must let the world think that he is dead until he can find a way to control the raging spirit that dwells within him. Kids who grew up in the s remember that narration well. However, before there was a series, there were two very successful made-for-TV movies, and before that, a very popular comic book. In the comic book, Dr. Bruce Banner was a nuclear scientist for the United States Army who, while trying to save a teenager who wandered onto a test site, was accidently bathed in gamma rays when a bomb he created was detonated.

This forever caused the mild-mannered scientist to change into a hulking green-skinned creature whenever he became enraged. The first few stories had him change whenever the moon was full just like a werewolf. Also, his skin was originally grey. Flash forward 15 years. After achieving great success writing and directing episodes of the super-popular cyborg television series The Six Million Dollar Man as well as creating and producing its sister show The Bionic Woman , Kenneth Johnson received a call from Universal Television head Frank Price.

Unbeknownst to him, the equipment he used was calibrated incorrectly and he wound up taking a much higher dose than originally planned. Johnson added an Inspector Javert-like character in the form of tabloid reporter Jack McGee played by talented character actor and acting teacher Jack Colvin who becomes obsessed with learning about and capturing the Hulk portrayed by legendary bodybuilding champion Lou Ferrigno.

Elaina Marks played beautifully by Susan Sullivan , is accidentally killed in a lab explosion. However, McGee believes that Elaina and Banner was murdered by the creature and, after informing the authorities, a warrant for murder is put out for the Hulk. David Banner a character with similarities to Jean Valjean , now believed to be dead, begins to travel the country in search of a cure while, at the same time, doing his best to avoid transforming into the green-skinned goliath; for the transformations bring the intrepid Mr.

McGee who is always just one step behind him. However, before going to series, there would be a second TV-Movie of the week titled The Return of the Incredible Hulk aka Death in the Family which aired on November 27 th , just weeks after the amazing and just discussed original pilot, The Incredible Hulk , which aired on Friday, November 4 th , This entertaining movie showed exactly how the future series episodes would play out.

More often than not, Mr. Magee shows up after the first transformation in the hour-long episodes, Banner always transforms twice, but here in a two-hour movie he metamorphoses four times and Banner has the added headache of staying out of sight while the reporter is around. A movie version opened on Oct. Movies adapted from plays often feel stage-bound, but "Wait Until Dark" avoids those constraints, thanks in no small part to Young's fine pacing, sharp eye for detail, and sure grasp of character.

Lisa had planned to double-cross her accomplice Roat and split the money from the drug shipment with Mike Richard Crenna and Carlino Jack Weston , her partners in past criminal schemes. He lures Sam away with a call promising a big photo assignment. Mike intervenes, offering his support to Susy to gain her trust.

To further disorient Susy, Roat poses as two men who appear to lend credence to the con. Suffice to say without spoiling the scene for new viewers by going into details, it does. Since my all-time favorite TV series is "The Honeymooners", the legendary sitcom that was originally broadcast in s, one might think I would have been overjoyed at the prospect of seeing the show's new incarnation as a big-budget musical production that just premiered at the prestigious Papermill Playhouse in Millburn, New Jersey, a venue so revered that it was honored with a special Tony award.

In reality, I had considerable trepidation about seeing the show. The characters in the TV series- bus driver Ralph Kramden, his devoted but long-suffering wife Alice and their best friends, sewer worker Ed Norton and his wife Trixie- have been ingrained in the minds of every American baby boomer. In fact, the re-runs have rarely left the New York airwaves even sixty years after their original airings and the four main cast members- Jackie Gleason, Audrey Meadows, Art Carney and Joyce Randolph- are all permanently enshrined as pop culture icons.

It's for precisely that reason that I feared the new stage production would be less an homage than a ripoff, created by people who have no real feel for the show. We've certainly seen this occur before, especially in translating classic television series to feature films.

Thus, I'm happy to report that the musical stage version of "The Honeymooners" is a success that will almost certainly please even the most die-hard fans of the show. Tickets are selling rapidly due to good reviews and word-of-mouth. Cinema Retro attended the October 8 performance, which coincided with a press night and cast and crew after party.

The plot fits snugly into the type of scenario found in any of the T. Lo and behold they actually win and before long are being wooed to join an advertising agency, with the promise of sky-high salaries. As you might imagine, Ralph starts scouting luxury apartments in midtown Manhattan before he's even earned his first paycheck, much to the chagrin of Alice Leslie Kritzer. Meanwhile, a subplot follows Trixie Norton Laura Bell Bundy , who has decided to return to the burlesque circuit in order to pursue her own career- a decision that leads her into the grasp of her lecherous boss, who surprisingly is not named Harvey Weinstein.

Trixie's career in burlesque was mentioned in one episode but never explored beyond that. Predictably, the good luck that falls upon Ralph and Ed becomes a case of "be careful what you wish for", as they are subjected to seedy Madison Avenue executives, a devious boss Lewis Cleale and a grumpy sponsor Lewis J.

Stadlen who expects a great jingles on the spur of the moment. The new-found success also causes a strain on Ralph and Ed's friendship. The script presents plenty of zingers associated with the characters, each of of whom is expertly portrayed by their modern counterparts. McGrath and Mastro do masterly work, evoking all of the character traits of Gleason and Carney and even bearing a substantial resemblance to the comedy legends though McGrath reportedly wears padding to match Gleason's chubby physique.

Leslie Kritzer is highly impressive, channeling Audrey Meadows even as Laura Bell Bundy creates a new interpretation of Trixie that benefits from the fact that the script emphasizes the character far more than the T. Though purists might growl about Trixie's sultry dance number. All of these are extremely talented young actors and they do yeoman work. McGrath is Tony winner and Bundy is a Tony nominee. The supporting cast is also first-rate.

The musical score by Stephen Weiner and lyrics by Peter Mills are impressive even if no breakthrough numbers emerge that will have you humming when you leave the theater. The entire enterprise is creatively directed by another Tony winner John Rando, who keeps the pace lively despite the fact that the show is a bit overlong.

The choreography by Joshua Bergasse is very creative but there are at least a couple of musical numbers that could be trimmed without causing any negative impact on the show. There are also missed opportunities: the production practically calls out for some reference to the Huckabuck and Mambo dances that feature prominently in two of the best episodes, but which are nowhere to be seen.

A Huckabuck skit was originally included but was cut from the finished production. Time for the producers to rethink that one and I don't recall hearing the iconic theme from the T. I must confess that I'm not a proponent of turning non-musical properties into big, lavish musical stage productions. The writing in "The Honeymooners" is good enough to have carried the show perhaps as a 90 minute comedy sans music and intermission.

However, there is no doubt that the audience relished the songs and the reaction was overwhelmingly good. I should also mention that it was a wise decision to keep the story set in the s and the impressive sets evoke a real feel for the show, including the legendary Kramden kitchen where most of the action in the T.

There is also a very creative aspect to the final moments of the show with the introduction of a surprise plot device focusing on "Cavalcade of Stars", the program where "The Honeymooners" was introduced as a series of periodic sketches before it became a regular series. It makes for a delightful finale. Most importantly, like the T. It has heart and real emotion, as it explores the value of relationships.

I attended the performance in the company of Joyce Randolph, who is an old friend and the only surviving member of the original "Honeymooners". Joyce, who would have no problem voicing disapproval, gave the show a big thumb's up- and if it's good enough for Trixie Norton, it will surely please the legions of fans who are salivating to see it. Don't panic if you can't get tickets. Like so many of the hit shows that have world premieres at the Papermill Playhouse, there's talk of moving "The Honeymooners" to Broadway, a development that even Ralph Kramden couldn't dream of.

The good folks at the esteemed boutique video label First Run Features are generally known for making available films that relate to important and usually sobering social issues. Every now and then, however, they delve into areas that are considerably more light-hearted in nature. The film has now been released on DVD. Giordano may not be a household name but he's a living legend among jazz purists who are devoted to the music of the s and s- the kind of upbeat, immortal tunes popularized by Paul Whiteman, Duke Ellington and Louis Armstrong.

Giordano plays to packed houses at Manhattan venues where he performs with his band, the Nighhawks, which he formed decades ago. Like many creative types, he is eccentric, to be sure. The film's glimpses into his personal life reveals that he lives modestly in two adjoining houses in a middle class neighborhood of Brooklyn.

Giordano bought the house next door many years ago to accommodate his ever-increasing collection of sheet music and memorabilia that has obsessed him since childhood. The collection is meticulously cataloged in so many filing cabinets that his house resembles the Library of Congress. Floor-to-ceiling paperwork pertaining to his musical heroes permeates the place. You won't find any evidence in Giordano's abode that indicates the existence of rock 'n roll or even the glory days of crooners like Sinatra and Crosby.

He is completely devoted to the golden era of jazz and works tirelessly to keep up with finding gigs that will help him keep his sizable band employed. The film opens with the band delighting in audiences at their long-time Manhattan home, the nightclub Sofia's which was located in the historic Edison Hotel off of Times Square the same venue where Luca Brasi made the ominous walk to his doom in "The Godfather".

For many years the Nighthawks performed here in the cozy venue, filling the room with the joy of the big band sound. I had seen them there several years ago and, despite not being a jazz enthusiast myself, I couldn't help but marvel at the sheer exuberance of the band. Ever-resourceful, he finds them a new home at a club called Iguana- but there are countless other frustrations involved in moving so many people to so many gigs far and wide. Many band members have been with Giordano for many years, some for decades.

They relate how the sheer challenges of keeping on top of all of his responsibilities has sometimes caused him to break up the band, only to reunite them shortly thereafter. Giordano seems to have no other interests in his life than jazz and the Nighthawks.

He is like an Evangelist in terms of spreading the word about the music and artists that he so reveres. His efforts are clearly paying off. Giordano is part mother hen and part drill instructor to his band members. He refers to himself as "The King of Schlep" in regard to the fact that at age 65 he still loads and unloads the vast amount of equipment necessary for every show, carrying it all around in a rather weather-beaten van. He's like a modern version of Willie Lohman, feeling his age perhaps, but ever-devoted to his profession.

He relies on his right arm, Carol Jean Hughes, to help him keep track of the enormous amount of paperwork and logistical support that goes into running the band. Giordano shows a grumpy side when things go wrong: a misplaced mouthpiece or a miscommunication that sees him setting up the entire band at the Players only to be told to dismantle everything because another band is scheduled to go on before him.

But he's clearly in his element and delighting when playing in front of appreciative audiences. The band's prominence hit new heights with their Grammy-winning work on the HBO series "Boardwalk Empire" and the film includes clips from one of the segments in which the Nighthawks appear on camera. There is also extensive footage of David Johansen rehearsing with the band for the series.

Giordano also coordinates a triumphant celebration of the 90th anniversary of Gershwin's "Rhapsody in Blue" and performs it at the same venue in which it premiered on the exact date of the anniversary in front of a cheering audience. The film also mentions that Giordano has worked with Martin Scorsese and Woody Allen, appearing on camera in musical scenes in their films. Directors Davidson and Edwards wisely allow ample screen time to show the Nighthawks performing- and the interviews with band members are especially interesting, giving a perspective of people who have not gotten rich but clearly enjoy what they do.

Vince Giordano comes across as a New York original- the kind of guy you would like to sit down with at a bar for a few hours. However, that seems unlikely since the workaholic musician strikes me as the kind of obsessive who couldn't bring himself to stop studying and playing music long enough to drain down a couple of cold ones.

The documentary is terrific on all levels- just like any performance by Vince Giordano and the Nighthawks. The DVD boasts an excellent transfer and a trailer gallery of other First Run features available on DVD, though strangely it does not include the trailer for the Giordano film.

Unlike most cities, when people are talking about Casablanca, they are most likely discussing the classic movie, not the North African city. Isenberg does a great job in tracing how Casablanca developed into a staple on the repertory film market, as well as the many short stories, novels, movies and plays that have inspired it. Through deep research and a love for classic cinema that is evident from page one, Isenberg weaves a great book that describes that existence.

It then follows how producer Hal B. Wallis dealt with assigning screenwriters to the script that would become, as many people have recognized, the greatest screenplay ever written. Subsequently, the film became the most popular classic movie to be shown on American television. This was the beginning of Casablanca becoming the quotable movie we know and love today.

Indeed, Isenberg discusses nearby Harvard students stopping by the Brattle to relieve final exam stress in reciting whole passages from the movie. This book is an excellent examination of how one movie can seep into the consciousness of an entire country, and arguably, the world. It is the perfect companion to the seventy-fifth anniversary of Casablanca, which premiered in New York City in late In addition to researchers and libraries, the book is a great read and will be of interest to anyone who loves classic cinema and is interested in how a single film can change the world.

Fans were shocked when the news was released that the thirteenth actor to portray the doctor will be a female, actress Jodie Whittaker. As you might suspect, the web is alight with debates between those who welcomed the news and feel that Whittaker's casting will be an inspiration to young female fans and those who are aghast that the traditionally male role has now gone "politically correct".

Whittaker will take over the role in January, when the current Doctor Who, Peter Capaldi, retires from the series. For more click here. Adam West, one of the most enduring pop culture figures of the s, has passed away at age 88 after a battle with leukemia.

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