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Peter Martin
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Posted: 13 April 2019 at 9:44am | IP Logged | 1 post reply

I worked my way through John Carpenter's film of Christine (film and novel both came out in 1983, which is quick work on the film-makers' part).

What's the phase? Oh, yeah -- the book was better. Makes me cringe to think to of the classic cars destroyed in making this. There is one very effective scene, where Christine repairs herself, all the dents popping out to leave her in pristine condition (pristine Christine), that looks perfect. Watching it, I knew in my head that they did it by just reversing the footage, but it looked very convincing nonetheless.  
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Shaun Barry
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Posted: 13 April 2019 at 10:38am | IP Logged | 2 post reply


I've noted before that, for a "haunted car" movie, CHRISTINE is about as good as it's ever going to get (despite any changes from the novel).  I find it's often overlooked or underrated, whenever Carpenter's filmography comes up.



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Doug Centers
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Posted: 13 April 2019 at 11:29am | IP Logged | 3 post reply

I liked the novel and the movie!
Yes Peter, whenever I see one of those Fury's trashed I get a pain in my chest!

I wore out my cassette of the CHRISTINE soundtrack back in my cruising days. To this day if I here one of those songs it triggers a pleasant flashback.
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Bill Collins
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Posted: 13 April 2019 at 11:49am | IP Logged | 4 post reply

"Pristine Christine"...isn`t that a Kiss song? I liked
both the film and book, but i think it could be done so
much better using modern FX technology.
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John Byrne
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Posted: 13 April 2019 at 6:58pm | IP Logged | 5 post reply

THE TEMPTRESS (1926)

Another Garbo silent feature. Not on parr with the previously viewed two. “Too much plot” seems a not unfair description.

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Petter Myhr Ness
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Posted: 14 April 2019 at 1:58am | IP Logged | 6 post reply

FANTASTIC BEASTS - THE CRIMES OF GRINDELWALD (2018)

A disappointment after the charming first movie. And it suffers heavily from prequilitis, the condition where events and facts don't correspond with established facts from the original source. And Johnny Depp is as full of life and soul as a vampire.
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John Popa
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Posted: 14 April 2019 at 5:09pm | IP Logged | 7 post reply

I do prefer the book "Christine" to the movie but I'm a sucker for evil cars and do enjoy the movie in general.  I think "The Car" is the evil car gold standard though.

Edited by John Popa on 14 April 2019 at 5:09pm
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John Byrne
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Posted: 14 April 2019 at 7:12pm | IP Logged | 8 post reply

KEY LARGO (1948)

An annual viewing.

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Brian Floyd
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Posted: 14 April 2019 at 11:53pm | IP Logged | 9 post reply

THE PRINCESS BRIDE.

Finally got a copy of it on BLU-RAY.

This was the first time I watched it since reading Cary Elwes' book about the making of the movie, so I scrutinized a few scenes more closely to see what he was writing about.


Edited by Brian Floyd on 14 April 2019 at 11:54pm
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DW Zomberg
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Posted: 15 April 2019 at 7:13am | IP Logged | 10 post reply

JACKIE BROWN (1997)

Probably Tarantino's least-indulgent film. Tends to drag in parts (and as Roger Ebert noted in his review, the "N" words gets old after a while), but it's one I like to watch about every ten years. 
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Petter Myhr Ness
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Posted: 16 April 2019 at 5:15am | IP Logged | 11 post reply

Tends to drag in parts
--

Saw it again recently, and I would agree with that. Compare it with a movie like OUT OF SIGHT, which is based on very similar source material, and you see how better editing (or willingness to cut) could have improved the film. 
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Brian Hague
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Posted: 17 April 2019 at 2:01am | IP Logged | 12 post reply

I THINK WE'RE ALONE NOW (2018)

I liked this film a lot. Peter Dinklage plays a man who lives in a library and, in his own way, takes meticulous care of the town in which he lives following an unspecified apocalyptic event which killed everyone all at once on the same day, apparently a Tuesday. Why it occurred is asked, but ultimately not very important. Dinklage's character, Del, is content to be alone, to read what he likes and move about at his own pace with his own sense of direction. His quiet life is disturbed when a young woman crashes into a nearby phone pole and sets off fireworks to attract attention. Initially reluctant to interact with her at all, he nevertheless tends her wounds and finds himself stuck with unwelcome noise and complications. 

The film is not built around suspense or sudden reveals. The performances and tone are largely understated. It's the sense of honesty and subtle humor that carry you through the picture. The characters are believable and when a plot eventually rears its head, its an odd one without the militaristic, violent sturm und drang that usually accompanies a post-apocalyptic scenario. Ultimately, there are threads back to Director/Cinematographer Reed Morano's work previously on episodes of "A Handmaid's Tale," but it's the feel of the film and the relationship between the two leads that really matters here.


Edited by Brian Hague on 17 April 2019 at 2:39am
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Brian Miller
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Posted: 17 April 2019 at 5:17am | IP Logged | 13 post reply

Don’t JACKIE BROWN and OUT OF SIGHT kinda crossover? 
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DW Zomberg
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Posted: 17 April 2019 at 6:38am | IP Logged | 14 post reply

Michael Keaton's character appears in both.
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John Byrne
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Posted: 17 April 2019 at 7:40am | IP Logged | 15 post reply

…but i think [CHRISTINE] could be done so much better using modern FX technology.

••

I don't think so. The effects in CHRISTINE are pretty amazing, and I suspect CGI would remove all the weight from them.

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DW Zomberg
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Posted: 17 April 2019 at 3:50pm | IP Logged | 16 post reply

Carpenter's film is so much better than King's book, which I found a dull slog filled with unsympathetic characters. 
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Jason Scott
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Posted: 19 April 2019 at 2:25am | IP Logged | 17 post reply

I don't think so. The effects in CHRISTINE are pretty amazing, and I suspect CGI would remove all the weight from them.
------------------------------------------------------------ ---------

Agreed! I think that's exactly what would happen. I always loved how that scene was done in Carpenter's film.

The only thing that lets Christine down for me is the unsympathetic lead. But as DW says, that's maybe a problem with the book too. (It's one of the rare 'classic' Stephen King books that I've somehow never got around to reading.)


Edited by Jason Scott on 19 April 2019 at 2:26am
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John Popa
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Posted: 19 April 2019 at 1:44pm | IP Logged | 18 post reply

I like the explanation of the evil in the book of "Christine" better - Carpenter has said it was a mistake to ignore it.

There's no actor from the 80's I liked less than Keith Gordon so he always brings the movie down a bit.
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Doug Centers
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Posted: 19 April 2019 at 3:25pm | IP Logged | 19 post reply

Yeah, Gordon is a downer but Harry Dean Stanton (as usual), even in a small role, ratchets it back up.
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Peter Martin
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Posted: 19 April 2019 at 3:25pm | IP Logged | 20 post reply

I found too much excised from the film. The book is far from perfect (it switches from a first-person narrative to the third person somewhere in the middle, before finally returning to the first person, and for some reason it lost all its zip for me when it switched to the third person), but there's a lot more to the characters, and the dynamics between them, in the book than in the film. One thing King does as well as anyone is portray ugly, scary small-town bullies and Buddy Repperton in Christine was a memorably nasty piece of work. In the film, he and his gang are nothing more than plot points. Similarly the changing relationships between Arnie, Dennis and Leigh are barely explored in the film and didn't convince me at all.
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Shaun Barry
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Posted: 25 April 2019 at 12:06pm | IP Logged | 21 post reply


WUTHERING HEIGHTS (1939)

Supposedly a great film (it was on AFI's "Top 100 Movies" list about 20 years ago), but I found this to be uproariously, unconvincingly, howlingly overwrought & melodramatic, to the point of self-parody.

Would probably be insufferable, even 80 years later, if not for the great cast and photography.  Starts out promisingly enough (Lawrence Olivier and Merle Oberlon are both gorgeous together on screen), but I still was laughing out loud (for all the wrong reasons) by the eye-rolling end.

As a drama, or viewed as an unintentional comedy:  It's a riot!



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John Byrne
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Posted: 25 April 2019 at 9:06pm | IP Logged | 22 post reply

MARY POPPINS RETURNS (2018)

Full disclosure: my dislike of the original runs so deep not even my love for Julie Andrews could save it. So I went into this with only Emily Blunt to shield me and, alas, she was not up to the task.

I mean, look, I expected Lin-Manuel Miranda’s English accent to be bad—not Dick Van Dyke making me want to drive ice picks into my ears bad, but.... What I didn’t expect was Ms Blunt’s accents to be so amateurish.

Short form: I did not last long.

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Bob Simko
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Posted: 26 April 2019 at 5:57am | IP Logged | 23 post reply

MPR was a lot of the same thing all over again.
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Shaun Barry
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Posted: 26 April 2019 at 4:14pm | IP Logged | 24 post reply


It took me awhile to figure out why I liked almost nothing about MARY POPPINS RETURNS, when my wife and kids enjoyed it very much... and it only hit me recently:

It's Steven Spielberg-lite.  The Beard  was originally attached to this years ago, but eventual director Rob Marshall seemed to shamelessly ape Spielberg's style & approach throughout.

And it's just as insufferable as it sounds.





Edited by Shaun Barry on 26 April 2019 at 4:15pm
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John Byrne
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Posted: 28 April 2019 at 2:21pm | IP Logged | 25 post reply

NINOTCHKA (1939)

Continuing my affair with Garbo. Altho SILK STOCKINGS, the Fred Astaire musical based on this story, is one of my “saw it on the boat” favorites, this is my first time seeing the original. It’s really very, very good. May actually make it hard to watch the frothy song-and-dance version—tho it does have Cyd Charise.

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