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Track the Films You Watch (2011) (1 Viewer)

Martin Teller

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The Demon - A woman abandons her illegitimate children with their spineless father and his spiteful wife, with horrifying results. This is one of those movies, like the work of Haneke and Noe, that's masterful in the way it makes you feel awful and despair for mankind. You try to comfort yourself by saying things like this don't really happen. But of course they do. Even if they don't happen that often, it's the kind of thing that provides a glimpse into the darker side of humanity, the evil impulses in all of us. Ken Ogata has just enough of a conscience to make him real, but not enough to make him at all sympathetic. Shima Iwashita is a little too nasty to take seriously, and if it wasn't for Ogata to balance her out, the film wouldn't be nearly as effective. Good use of music and some fine cinematography. Rating: 8


The Devil and Miss Jones - No, it's not the porno (that devil is in Miss Jones), I just felt like watching some Jean Arthur. She's got such a down-to-earth genuine quality to her. Here she plays the titular Jones, and the devil is Charles Coburn, as a corporate fatcat. It's a Capra-esque, populist working class fantasy where said fatcat earns his soul by hobnobbing with the everyday honest folk. Rather simplistic moralizing, but with a few shades of grey to redeem it. Anyway, it's a good spot of fun thanks to winning performances from Arthur, Coburn, and Spring Byington. I even liked Robert Cummings in this, at least during the moments when he wasn't being smug and cocky. Also look for a pre-Casablanca S.Z. Sakall in an amusing secondary role. Rating: 7
 

PatW

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Dr. No (1962) 4.5/5


This is the first James Bond movie filmed and it's a good one. To me there is only one James Bond and of course that's Sean Connery. Whether he matches what Ian Fleming intended the character to be is unimportant to me as I think he's perfect in this role. Of course this movie sets the stage for the virility of the character, the interesting villians, gorgeous women, toys (not so much in this movie), simple but action driven stories, all elements in a good Bond movie.


I've seen most of the Bond movies so I'm surprised to have missed this one. The acting is good especially the villian Dr. No, the simplfied script well written, direction good. Overall a excellent first entry into the Bond world of film.



01/04 No Highway (1951) 4/5


I'd never heard of this British movie before but it's a good one. James Stewart is Theodore Honey a rather absentminded aeronautical engineer who is trying to prove that a certain aircraft will experience fatigue resulting in the tail falling off after a certain amount of flight time. Honey becomes quite absorbed in his prediction when he his sent to Gander to investigate a crash aboard the very aircraft he's trying to prove is unsafe. There is wonderful supporting characters here, namely Glynis Johns as the airline hostess that befriends Mr. Honey and Marlene Dietrich as a passanger aboard the airline. Of course Jimmy Stewart is outstanding in this role as the befuddled scientist. The movie is based on a Nevil Shute book ( who was an aeronautical engineer as well) and having enjoyed the movie, I think I'll search for the book.


01/04 Salt (2010) 4/5


Another over the top action flick that was surprisingly enjoyable probably due to a great supporting cast and a competent lead. That a woman could perform all those amazing feats with hardly a scratch shouldn't be surprising when I consider that amazing little girl in the Kick Ass movie. When you can shake off the impossible stunts before your eyes with each succeeding action film, then you can just lay back and enjoy the movie for what it is and entertaining it is.
 

Mario Gauci

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[SIZE= 12px]01/02/11: KATARSIS (Giuseppe Veggezzi, 1963) [/SIZE]


[SIZE= 12px][COLOR= #181818]This was another desirable title, largely because of Christopher Lee’s involvement, which had a tortuous [sic] history for me; ordered as a SE DVD (paired with Joe D’Amato’s DEATH SMILES AT MURDER [1973], which I also eventually obtained separately and which I may well get to in this current Euro-Cult month-long marathon), it was abruptly deleted, then I acquired it in an Italian-dubbed version, before settling on this English-language copy which, however, cuts off abruptly at the very end! Being a German production, as with the Krimi genre in comparison with the Italian Gialli, I wasn’t as enthused by the end result as that country’s brand of Gothic Horror (such as THE VIRGIN OF NUREMBERG [1963], another Lee vehicle which I have just watched)! Still, the film looks good, though the score often becomes incongruously jovial.[/COLOR][/SIZE]


[SIZE= 12px][COLOR= #181818]The opening scene sets the tone for the rest, as depraved aristocrat Lee (disappointingly, his presence in these type of films amounts to just a fraction of the duration each time!) is brutally executed – via spiked mask and dismemberment!; typically, before expiring, he swears vengeance on Karin Dor (a would-be victim who escaped his clutches and reported him to the authorities) and Lex Barker (as the judge who condemned him). His re-appearance bafflingly occurs only 35 years after the fact, by which time his exploits have already been rendered by troubadours into mass entertainment – but, then, the lookalike relatives of his two nemeses are not only unfamiliar with one another but have no knowledge of the curse hanging over their heads![/COLOR][/SIZE]


[SIZE= 12px][COLOR= #181818]A disciple who had himself survived the gallows and become immortal(!) proceeds to revivify Lee and he immediately kidnaps and hypnotizes Dor – with Barker finding himself an unwilling guest in Lee’s castle when he eventually sets out in pursuit (after having already saved her from a bandit raid). The castle is equipped with any number of torture devices/death traps, such as swinging pendulum and snake pit – but, naturally, Lee’s plans are ultimately thwarted at the eleventh hour and he and his disciple crumble to dust (much like a vampire would; incidentally, one suspects Lee had insisted on utilizing a classic Dracula line here, “The blood is the life”, in an attempt to lend this a semblance of prestige!). [/COLOR][/SIZE]
 

Martin Teller

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History Is Made at Night - Continuing on my Jean Arthur kick. Here she's teamed up with Charles Boyer in a marvelous Borzage romance. Although it's the kind of "instant romance" that only happens in the movies, Borzage sells it so beautifully, and Arthur and Boyer are so unbelievably charming together, that it's easy to get swept up in. Colin Clive is such a malicious, evil bastard that you can't wait to see him get what's coming to him (not unlike Boyer himself in Gaslight). And yet Borzage doesn't reach for the easy comeuppance, cathartic though it may have been, but instead provides a closing that gives the character a moment of tragic sadness. The spectacular ending uses fog brilliantly to enhance the air of lush romanticism. I must protest slightly against Leo Carrillo, who plays up the "ethnic stereotype as comedy" angle a bit much, although he and Boyer do have some delightful scenes together. Rating: 8



A Foreign Affair - Closing out my Jean Arthur binge. This is an entirely different kind of role for her, as a buttoned-down Republican congresswoman checking up on troop morale in occupied Berlin. This must have been a subject close to Billy Wilder's heart, as a German living in America, and he offers a sympathetic perspective for both sides. The plot involves Arthur investigating former Nazi consort Marlene Dietrich, with the help of Dietrich's secret lover John Lund. It's a well-constructed romcom with some clever farce elements, but as is often the case, Wilder's sense of humor just doesn't jibe with me. I can't explain it very well... I can see why it's funny, but it falls flat with me. Maybe part of the problem is that I found Lund so despicable that I couldn't be as forgiving towards him as Wilder asks me to be. I also was annoyed by the notion that all the uptight chick needs to loosen up is a good kissin' (that looks an awful lot like attempted rape). Still, I didn't hate it or anything, and I appreciated the cleverness of the script, as well as the fine camerawork and performances. Rating: 7
 

Michael Elliott

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High Society (1955)


Ricahrd Quine


Mickey Rooney plays Eddie Shannon, a race car driver without a bit of self respect due to a scar that covers part of his face. He spends most of his time alone or working as a mechanic until one day he meets the beautiful Barbara (Dianne Foster). The two strangely hit it off but it turns out she's working for a small-time gangster (Kevin McCarthy) who needs to use Eddie for a bank heist. This semi-noir isn't the greatest film ever made but there are enough interesting moments to make it worth sitting through if you're a fan of the genre. It's always funny seeing some of this non-MGM roles that Rooney was in at the middle point of his career because on one hand it just doesn't seem right seeing him in a part like this but at the same time it gives the film a somewhat interesting twist simply because you are seeing him in this type of role. It's strange but I think Rooney's performance starts off a tad bit stiff but gets better as the movie goes along. The early scenes we see Eddie sitting alone, in deep thought and simply being too shy and embarrassed of himself to talk or act like a normal person. I thought Rooney struggled a little bit during these scenes but at the same time this could be one just simply in shock because this isn't the Rooney we're use to seeing. Once the story starts to pick up and he begins to come to life with the girl then I found Rooney to be much better suited. Foster really looks like a prettier version of a young Barbara Stanwyck. I thought she did a very good job in the film as she was perfectly believable as the love interest but she also handled the cold-blooded villain as well. McCarthy clearly steals the film with his slick, laid back performance. You can't help but feel he's a villain you love to hate because of his lack of emotion when it comes to fooling this weak guy by making the loser think he's a winner. There are many memorable moments in the film including an early scene between Rooney and Foster on a beach where she tries to bring him out of his shell. The greatest sequence in the film is the actual heist, which is followed by a sequence where Rooney must drive at a fast speed on a dangerous road in order to get past a road block that police will put up once they learn of the robbery. This sequence here has some nice tension in it and the editing is very good. DRIVE A CROOKED ROAD is probably going to appeal to fans of Rooney and McCarthy more than your typical crime-picture fan. I think a stronger screenplay would have been beneficial especially early on when this hot woman falls for the Rooney character as it simply isn't very believable.
 

Pete York

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Bullets for O’Hara (1941) Dir: William K. Howard

Production: Warner Bros.


Cheapo quickie, notable, if at all, for the cool ‘heavy’ played by Anthony Quinn in an early role. With a running time of just 50 minutes it must be among the shortest features ever, and the apparent budget makes one imagine a young ‘Donald’ Siegel cobbling together the several montages in the film from about 50 other pictures. It also captures Howard, a one time director of major stars, near the end of his career (although he would still helm the independent Cagney production, 1943’s JOHNNY COME LATELY).


A re-make of PUBLIC ENEMY’S WIFE (1936), the story is about innocent society girl Pat Van Dyne (future Mrs. Harry Cohn, Joan Perry), who unwittingly marries Tony Millard (Quinn), the leader of a robbery gang that has targeted her and her wealthy friends. It gets sillier when “confirmed bachelor” Det. O’Hara (Roger Pryor) sets up a ruse wherein he marries Pat in order to draw out the escaped Tony, who after a year (!) of marriage finally pulled his big heist and before he took off, vowed to never let any man near his ‘wife’. This character of the “confirmed bachelor” is one I’ve seen before, usually played for laughs in a ‘women, who needs ‘em!’ way. I tend to start wondering what kind of dark episode produced someone so pathologically averse to women. Of course, one of the sure things about such characters is that they’ll be married by the end of the film. Otherwise, a competent production with a moment of tension here, some okay filmed action there. Routine, but not embarrassingly so.


out of 4
 

Mario Gauci

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[SIZE= 12px][COLOR= #181818]01/04/11: THE BLANCHEVILLE MONSTER (Alberto De Martino, 1963) [/COLOR][/SIZE]


[SIZE= 12px][COLOR= #181818]D’Amato’s directorial debut already incorporates his two major concerns – eroticism and gore; another element which, however, comes to the fore here (a pitfall of many a novice film-maker!) is an ostentatious approach to technique – with shots taken from any number of improbable angles! That said, the elliptical plot is nothing to scoff at either (indeed, whenever one thinks of having unraveled the mystery, another twist turns up to mystify the viewer, and this keeps up till the very last image!): to be fair, this was quite a bold move for a first feature and that is why, for all its faults, the film is not one to be easily ignored.[/COLOR][/SIZE]


[SIZE= 12px][COLOR= #181818]Incidentally, the central theme of resurrection was what linked it with the Christopher Lee vehicle THE TORTURE CHAMBER OF DR. SADISM (1967; with which it was actually paired on DVD); while Klaus Kinski’s presence (and co-star billing) in this was basically its selling-point, he exits the picture before it is even half over! He plays a Frankenstein-like doctor called in at a country estate to nurse a carriage accident/amnesiac victim played by Ewa Aulin (after years of research, he conveniently discovers the life-restoring formula on the back of a medallion she wears!) but, while he spends minutes on end carefully preparing the potion, is killed off precisely at his moment of triumph!![/COLOR][/SIZE]


[SIZE= 12px][COLOR= #181818]As for the girl, she proves not quite the ingénue she at first appears (with a complicated back-story to boot!); seducing both the master and mistress of the house, she eventually drives the latter into a jealous fury which sees her walling up the still-living heroine in the basement! However, she re-appears as a vengeful wraith (with the girl’s features occasionally reverting to her true decrepit state for horrific effect) with everybody who had in some way wronged her meeting all sorts of grisly demises (including her crazed and hunchbacked medical student brother – scratched to death by a cat in extreme close-up! – and the young aristocrat’s doctor father Giacomo Rossi-Stuart, who had first impregnated the girl and then saw her die on the operating table!!).[/COLOR][/SIZE]


[SIZE= 12px][COLOR= #181818]Berto Pisano’s score, which mixes moody interludes with a terrific romantic theme, emerges as one of the film’s definite assets. By the way, this was Aulin (who had shot to stardom with CANDY [1968])’s penultimate effort; since its follow-up – Jorge Grau’s well-regarded BLOOD CEREMONY (1973) – proved to be in similar vein, I will also be checking that one out presently… [/COLOR][/SIZE]
 

filmfandan

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Scott Pilgrim Vs The World - 5/5

I like everything Edgar Wright has done, even Shaun Of The Dead has grown on me but this is easily my favorite of his work and this repeat viewing has helped me make that decission. Out of all his previouse work, this is the one where I believe his humure works best for me (the jokes are witty and geniuse and the whole fighting evil exes thing has me in stitches) and that moves me and touches me the most. His wonderfully quirky direction and imganation is pure geniuse and for me nearly all of the supporting characters manage to grab loads of hilariouse lines, have great personality are just as memorable as Michel Ceras and Mary Elizabeth Winsteads character. This is what I call a true gem.


Trainspotting - 5/5

This and Shallow Grave are for me Danny Boyles first and best efforts. Boyles sheer energy, editing and direction on display here are electrifying. I love the soundtrack too, there is some very harrowing and shocking scenes and there are tons of brilliant performances, my favorites being Ewan Mcgreggor and Kelly Mcdonald. My only slight critisim is some of the really minor characters that seemed very interesting, I would have liked to know a bit more about.


127 Hours - 4/5

This for me is a far better film than Sunshine and Slumdog Millionare which I found to be a little overrated. Boyles latest offering has a rather excellent performance from James Franco and as usual with it being from the director it is, the use of editing and soundtrack is great fun to watch. Since quite a lot of the plot was Francos character trapped, I feared I might have lost interest but fortunetly I did not. This is interesting complelling and at times fairly bleak viewing from start to finish


Eden Lake - 3/5

A pretty well made little horror. There is some good development and quite a few shocking scenes, including a very unsetteling ending. Plus the teenagers in it are evil. I do however find some of the chase and hide and seek scenes in the woods etc did drag a little but still an interesting watch.


Smart People - 1/5

Norbit - 1/5

Elizabeth: The Golden Age - 1/5

Psycho (the remake) - 1/5

Basically, I found them all to be pretty dreasful in there own way.
 

PatW

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01/05 Licence to Kill (1989) 3.5/5


Entertaining Bond movie with Timothy Dalton this time as Bond. Not really a Bond title but you still get your money's worth here. Dalton is excellent in the title role and I think I prefer him as Bond only second to Connery. Robert Davi as the villian is one bad assed dude. This movie is certainly more down to earth than other films in this series.


01/05 Abbott and Costello in Hollywood (1945) 3/5


I can remember loving these two guys as a kid but I feel kind of let down now. I had to turn off Abbott and Costello meets Capt. Kidd because I just found it dreadful and unfunny. This movie at least had a couple of great routines the funniest being the shaving routine and the roller coaster ride. Great stuff there. It was also nice seeing Lucille Ball in a cameo.
 

Michael Elliott

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I guess I'm going to have to breakdown and watch SCOTT PILGRIM at some point here soon.

I also need to start back to the Bond films as I've had my "next in line" sitting here for quite a while now.
 

Michael Elliott

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Well, I had planned on a quiet evening at home but while at work we got hit with a very brief ice/snow storm, which pretty much crippled the city. It took my girlfriend 4 1/2 hours to get home and she warned me not to try leaving work because of how bad the traffic still was at 9PM so my work buddies and I decided to go to the movies to let the road crews do their jobs and get everything cleared off. I really didn't want to spend $10 on LITTLE FOCKERS or deal with the jam of people at a theater on a Friday night but thankfully people stayed home. This will probably be the ONLY time I visit a theater on a Friday night (sorry, I hate crowds).



Little Fockers (2010)


Paul Weitz


Jack Byrnes (Robert DeNiro) suffers a minor heart attack but this makes him wonder who will take care of the family once he's gone. He tries to hand the torch to Gaylord Focker (Ben Stiller) but as you'd expect he has one too many problems for Jack especially when he might be having an affair with a co-worker (Jessica Alba). Is LITTLE FOCKERS a good movie? The short answer is no. Does it have an amazing cast? Yes it does and it's the work of these cast members that make the film worth seeing if you enjoyed the previous two films. At the same time this third entry in the series really doesn't offer a single fresh idea but I guess the studio felt people would want the same old stuff and that's pretty much what we get. As you'd expect the majority of the running time has DeNiro and Stiller going up against one another with various spying, joking and judging. As you'd expect, Owen Wilson is back and has a crush on Stiller's wife, which gets a lot of play. Dustin Hoffman and Barbara Streisand are back as the parents and, as you'd expect, they're willing to talk sex, sex and more sex. All of these elements are leftovers from the previous two films and I'm not going to lie and try to say they do something different because they don't. One can't help but wish they'd spent some more time coming up with a better screenplay and it's obvious that the Hoffman character must have been added at a much later date than the original production because the character just comes in and out at odd times and during moments where you can tell the scene was just added in. With all of that said, the film made me laugh several times because the actors are simply so good in their roles. There weren't any major laughs but for the majority of the running time I had a smile on my face. The best humor comes from all the stuff where Jack thinks he sees something when in fact something else is really happening. As the trailer suggests, a lot of the humor falls into the rude and crude area including a rather bizarre sequence between DeNiro and Stiller in the bathroom. There's an obvious puking scene that really doesn't add much. Both DeNiro and Stiller are in good form and fit into their roles nicely. Wilson is that typical Wilson that you're either going to love or hate. Both Hoffman and Streisand are pretty much wasted in the film but it was still nice to see them. Alba turns in another decent performance and she's certainly easy on the eyes. We even get Harvey Keitel during a brief bit as a man working on Focker's new house. The good news is that we get to see Keitel but I must admit that he's scenes were pretty disappointing because they didn't do more with him. I'm not sure how many mainstream folks will know it but DeNiro and Keitel were in MEAN STREETS and TAXI DRIVER together so when you see them here in the same scene fans of the Scorsese films can't help but smile but sadly the scene doesn't add up to too much. Director Weitz was clearly wasn't right for the material as the film just seems lost at times and really cut up at other times. The screenplay is the main villain but if you're a fan of the series then you'll want to check this one out but don't go in expecting a masterpiece.
 

Martin Teller

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Shanghai Express - Figured I might as well go from one Marlene Dietrich flick to another (having watched A Foreign Affair the day before). Like most of von Sternberg's films, I didn't really develop a deep affection for it, but I found it highly enjoyable and very well done. Actually, this is now one of my favorites by him. A well-brewed mix of drama, comedy, romance and action with a few interesting characters, but the main draw is Marlene. She constantly appears to be in complete command of the situation, utterly unflappable... and yet her darting eyes belie a nervous insecurity. In a film full of magnificent shots, most of them are centered around her face. But one of the most striking images doesn't show her face at all. As her travelling companion (and presumably fellow prostitute) Anna Mae Wong is being raped, Dietrich goes into her compartment and turns out the light. All we see is a shaft of light from outside, illuminating her hands, clasped in prayer. A marvelous shot. The real drawback of this film is that I really didn't care to see her hang all her love on a clod like Clive Brook. Oh well. Rating: 8



Caro diario - Writer/director Nanno Moretti presents a three-part video "diary" of sorts. In chapter 1, he tools around on a Vespa, talking to various people (including Jennifer Beals, proving she can't act in two languages), admiring the architecture, visiting the site of Pasolini's murder. In chapter 2, he goes island-hopping with his television-obsessed buddy. In chapter 3, he traverses a medical labyrinth in an epic quest to cure his incessant itch. Although each part has its charms, not all are successful. I was mostly annoyed with his persona in the first chapter, and was kind of dreading that the whole movie would consist of him harassing random passersby. The next section fares slightly better, although TV guy gets old quick and culminates in a rather dumb bit of comedy. I really enjoyed the third part, which goes the furthest in terms of experimenting with the form and it also seems the most personal (although I have no idea exactly how autobiographical it is, if at all). The film as a whole reminded me a great deal of one of my favorite authors, Italo Calvino. Not just because of the shared nationality, but also the freewheeling narrative structure and also... oh, how do I put this... casual humanism? Just the attitude of it. I ought to have liked this more, but the real barrier for me was I just didn't care for Moretti as a screen presence. Maybe the first segment soured me too much on his personality. Rating: 7


The Marquise of O - Rohmer's only German-language film at first appears to be an ill-advised attempt at a period piece, dull and dreary. Eventually it unfolds to be a pointed critique of early 19th-century morality, and a rich exploration of cruelty and forgiveness. The story develops one wrinkle after another, and the interplay between characters -- although buried in typical period stodginess -- is as revealing as Rohmer's contemporary work. Terrific performances from all four principals: Edith Clever, Bruno Ganz, Edda Seippel and Peter Lühr. And such remarkable photography by Nestor Almendros. Gorgeously lit scenes arranged in compositions that can only be called "painterly". In fact, this may be the film's biggest drawback... the tableaus are so artfully composed that they lend the proceedings a certain artificiality. This hinders the film from being as deeply involving as Rohmer's other movies, but it still packs a punch. Rating: 8
 

Martin Teller

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Departures - A laid-off cellist finds work preparing bodies for cremation. I thought the cast (including familiar faces from Bright Future, Café Lumiere, The Bird People in China, and Hana and Alice) was wonderful, very personable and mostly genuine. The film is not quite as profound as it seems to aspire to, but is very engaging and hard not to be moved by. A handful of the emotional beats are a little too easy and/or predictable, but most of them are nonetheless effective and there were several moments that choked me up a bit. As for the bits of black comedy, most of them work as well. As a mild Japanophile, I really enjoy seeing any fresh perspectives on the culture, and I just love those little villages. Rating: 8


Out 1: Spectre - I have a lot of different thoughts about this and no idea how to organize them. So I won't even try.

I have to start with a caveat. The copy I watched was of horrible quality. It looked like someone pointed an old video camera at an old television and taped it, then uploaded it to YouTube. It's certainly possible that I would have enjoyed the movie more with a proper presentation. I hardly feel qualified to comment on the photographic aspects, but I will say I didn't see anything that struck me as particularly good camerawork, except the occasional use of mirrors.

How do you cut a 12.5 hour film (Out 1: noli me tangere) down to 4 hours? What's in those other EIGHT HOURS that's so unimportant it can be removed? Do they flesh out the shadowy "conspiracy" that's always being alluded to... or is it just more of the same random pieces of non-information?

And what am I supposed to make of this mysterious plot, involving "the 13" and the often-referenced-but-never-seen Pierre and Igor? Perhaps it flew over my head because I don't know enough Balzac or Aeschylus, but I had the impression that there was no logical story behind it. The fact that most of the film was improvised explains much, but excuses nothing. Watching people "make it up as they go along" is usually just as boring as listening to someone describe his dreams. Why should I care about something inherently meaningless, if it can't at least be entertaining?

And little of this is entertaining. I really enjoyed Juliet Berto's character, and Leaud was mostly interesting, but whenever it cut to the theater groups I was bored out of my skull. Their plays looked absolutely fucking terrible and I was pleased when eventually they stopped rehearsing them. However, I will also say that around the final hour and a half, I started to become slightly more engaged, as the plot seemed to thicken. Although I still wasn't very connected to the personalities involved, I found myself wanting to know more about the conspiracy, despite being aware that there probably wasn't anything else to know.

So is the point of all this just the structure of it? Because as intriguing as it is, it's not intriguing enough for 4 hours (much less 12) with the content being so barren. Why is it so highly regarded? Well, I really really hate to get this dismissive, but it's got two aces in the hole. One, it's extremely long. I think people hate to admit they sat through something this long without it being some kind of transcendent experience. Granted, some of my favorite films (Satantango, War and Peace, The Decalogue) are massive, but not every epic-length movie needs to be canonized. And I'm hard-pressed to think of one that isn't. The other thing about this movie is that it's hard to see. People LOVE to be part of a special club. It's like you get to rub everyone's nose in it: "Oh yeah, I saw that, it's the most amazing ever... too bad you'll probably never get to see it nyah nyah!" I don't want to write off all Out 1 fans as disingenuous liars, but I bet a lot of them are. Or at least are kidding themselves to some degree.

Still, I was somewhat intrigued, especially after I had settled into the film for a while. I would possibly give it a second chance, especially if it was a good presentation of the longer version. And it certainly hasn't soured me on Rivette. But my first impression isn't nearly as strong as it was for La belle noiseuse or Celine and Julie Go Boating. Rating: 5


Cul-de-sac - Here Polanski shows a slightly better knack for comedy than in Fearless Vampire Killers. Slightly, but not much... though it's an amusing farce, only once did it bring me close to an actual laugh. But the interplay between Donald Pleasance, Françoise Dorléac (Catherine Deneuve's sister, who died tragically young) and Lionel Stander is inspired, and the film has a few sly comments about gender roles and 60's social politics. Most impressive was cinematography, with imagery rivaling that of Repulsion. Few comedies have such strong visuals. Fun, but falls short of greatness. Rating: 7
 

Mario Gauci

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[SIZE= 12px]01/08/11: VIOLENT BLOOD BATH (Jorge Grau, 1973) [/SIZE]


[SIZE= 12px]This is one of those films I said I would watch immediately upon acquiring (in view of its reputation) but only got to check out at a much later stage. Incidentally, I had agonized about whether to purchase the MYA DVD or not because it only featured the clothed Spanish print; eventually, I settled on a fuzzy-looking edition (with at least one noticeable audio drop-out) of the more explicit "International Version" accompanied by unremovable Finnish subtitles! Curiously enough, the copy I watched ran for 86 minutes…though other sources claim its full-length as being 102!

This is the fourth film I have watched revolving around the legend of Hungarian aristocrat Erzebet Bathory after Hammer's COUNTESS Dracula (1971; in which she was portrayed by the late Ingrid Pitt), Harry Kumel's modern-day rendition DAUGHTERS OF DARKNESS (1971; with Delphine Seyrig) and the third episode of Walerian Borowczyk's IMMORAL TALES (1974; with Paloma Picasso, Pablo's daughter!). I was let down by the Hammer version and, while I admire Borowczyk, the above-mentioned film was not one of his strongest; Kumel's is easily the best of the lot, though it is deemed too arty by some.

To get back to Grau, I was very much impressed with BLOOD CEREMONY: it presents a reasonably authentic period and location sense (complemented by Carlo Savina's evocative score) but, more importantly, the plot holds the attention amid the expected violent/nude highlights. Interestingly, Lucia Bose''s Bathory here is not the historical one but rather a descendant of hers who, noticing her looks fading away, is persuaded by her devoted female servant to follow in her ancestor's footsteps; though the original Bathory was said to have killed hundreds of virgin girls and bathed in their blood to sustain her youth, we only get a handful of murders here (though they undeniably exude a kind of gruesome beauty) and, in a couple of cases, one seriously doubts their all-important virtuousness!

The film puts forward a number of interesting embellishments to the familiar tale: there is a vampire plague before the protagonist even begins her depredations – though this is eventually revealed as a sham by the skeptical local doctor Silvano Tranquilli; still another 'undead' appears in the form of Bathory's own aristocratic companion – played by Espartaco Santoni (as in Grau's own previous effort, VIOLENT BLOOD BATH [1973], he cuts quite a dashing figure here) – whom she 'wills' into procuring her prey!; an unusual development, and possibly a first in the vampire subgenre, has Bose' being haunted by the decaying corpses of her victims; later still, after she catches Santoni being unfaithful with village beauty Ewa Aulin (this was a fine swan-song for the CANDY [1968] starlet, even if her own role was somewhat underwritten), she kills him and, while his corpse is being tried for his vampiric activities(amusingly presided over by a judge named Helsing!), she calmly confesses all and has no qualms about implicating her elderly accomplice as well!! Their subsequent punishment is quite harsh: the latter has her tongue sliced out, while both are walled up alive inside Bathory's mansion; by the way, the film features some gratuitous animal cruelty to boot (such as falcons chewing on live doves and truant children setting a bat bound to a tree on fire!).

Surprisingly, Bose' flourished in this field during the decade – including another collaboration with Aulin, the underrated Giallo THE DOUBLE (1971); she is ideally cast here, though not quite as memorable as Seyrig had been (on a personal note, both actresses had worked for my favorite film-maker, Luis Bunuel, as did character actress Lola Gaos, here playing a sort of witch who advises Aulin on matters of love). The film is extremely well-made for a "Euro-Cult" product (though, again, it does not scale the classy heights of DAUGHTERS OF DARKNESS)...and I am not sure it is not actually superior to Grau's more renowned take on another much-abused monster, the zombie, in THE LIVING DEAD AT THE MANCHESTER MORGUE (1974)! Incdentally, that same year also saw the release of two other excellent Spanish horrors, namely Claudio Guerin Hill's A BELL FROM HELL (completed by Juan Antonio Bardem after the latter's mysterious death) and Bardem's own THE CORRUPTION OF CHRIS MILLER. As for Grau himself, I still have to catch up with his SUMMER NIGHT (1962), an award-winning drama with a good cast (including yet another Bunuel alumnus in Francisco Rabal!)... [/SIZE]

[SIZE= 12px] [/SIZE]
 

Michael Elliott

Senior HTF Member
Joined
Jul 11, 2003
Messages
8,054
Location
KY
Real Name
Michael Elliott
I've only seen one Grau film but I had a second sitting here, which was a remake of Franco's LOVE LETTERS OF A PORTUGUESE NUN but the damn disc is defective and the R2 company that released it are out of business so.....



Angels' Wild Women (1972)


Al Adamson


Action flick from drive-in master Adamson about a crime boss (Kent Taylor) who breaks a woman (Georgina Spelvin) out of prison so that she can run his "girls for hire" business. The newly released woman sends a new girl out on a hit where she unknowingly kills a man, which scares her so she takes off running for Mexico. This leaves the boss and another woman (Rosalind Miles) to try and track her down. Considering some of the films Adamson made this one here actually isn't too bad and manages to be fairly well-made. The biggest problem is that it really lacks any good pacing or energy to make its 90-minute running time go by fast enough. There are many times throughout the film where you'll be watching a scene and wonder why you're watching it because it goes no where and in reality it adds nothing to the actual story. I'm going to guess that Adamson needed to expand the running time and this is the reason but no matter what the reason was it ends up hurting the film. The movie is pretty stupid from start to finish but there are enough silly moments to make it worth viewing. One such moment happens during a "high speed" car chase, which includes one of the cars being a Pinto. Another scene has Spelvin raping a retarded man before shooting him in the head. Being exploitation you can expect a fair amount of nudity by lovely young ladies who probably went to Hollywood expecting to become Monroe but instead find themselves being shown nude throughout the drive-ins in America. Spelvin is best known for her lead role in DEVIL IN MISS JONES and she isn't too bad here but then again she's not that good either. I will say she has one of the most non-threatening laughs in the history of bad guys giving disturbing laughs to look creepy. Miles was a pro at various blaxploitation flicks and she's without a question the most interesting thing here. This turned out to be Taylor's final film as he would retire from the business (or just simply got fed up that no one was offering him work except Adamson). GIRLS FROM RENT, on DVD as I SPIT ON YOUR CORPSE, isn't the greatest film ever made but it's certainly not as bad as some of the director's work. This movie wasn't made for the art crowd so only those wanting low-budget thrills should check it out.
 

Martin Teller

Senior HTF Member
Joined
Aug 24, 2006
Messages
2,414
Real Name
Martin Teller
Into the Wild - So Sean Penn stars in The Thin Red Line, and thinks to himself, "oh, I can do that". He's actually not too bad as an ersatz Malick, but the influence is clear... lots of reflective voice-over narration, swooping nature shots, slow motion and the like. I admit I hated it at first, because I felt like the film was romanticizing a smug, self-righteous little prick, but eventually Chris McCandless becomes a more sympathetic character who learns a couple of important lessons. The introduction of a few voices of reason definitely helped. What didn't help was Eddie Vedder, whose voice irritates me to no end, though the instrumental scoring was nice. As for the performances, I wasn't terribly impressed, but everyone did a decent job. I liked The Pledge more, but this was okay. I probably wouldn't watch it again. Rating: 7



I Am Comic - As someone who likes to think a lot about comedy, reads about comedy, and listens to many comedy-related podcasts, there isn't much new for me. But it's a reasonably entertaining overview of the craft of stand-up. There aren't as many laughs as you'd hope for (or as many as the poster promises) but it's occasionally funny and somewhat informative. There's a ton of great comics participating... and a handful of shitty ones (Tim Allen, Jeff Foxworthy, the contemptible Carlos Mencia). The framing device, featuring Ritch Shydner's return to the stage after a long absence and tracking his progress from downright horrible to somewhat passable, works well in keeping an otherwise scattershot documentary held together. Rating: 7


The Spider's Stratagem - Released at appromixately the same time as The Conformist, this is another brilliant Bertolucci film about Fascism, and the two complement each other well. This one deals with an Italy struggling with its past, rewriting it -- or reliving it -- when necessary. Bertolucci weaves an intricate web, transitioning effortlessly between the present and flashback, sometimes even bleeding one into the other. Giulio Brogi does very well in his double role, but Alida Valli steals the show, with her unique blend of warm and disturbing. I am certain that Storaro's photography is magnificent. Sadly, the copy I watched had a very washed out color palette, and is full frame, which may or may not be the original aspect ratio (IMDb says it is, but I found another source that says it should be 1.66). What a shame... from what I could tell, the film was loaded with stunning images and thoughtful compositions. I hope to one day own this enigmatic, thought-provoking film on a properly restored Blu-Ray. Rating: 9


Touki Bouki - A young, rebellious Senegalese couple dreams of making it to Paris... by any means necessary. The film starts out in a straight-forward, realist style that led me to believe I was in for something along the lines of Sembene. But it quickly develops an array of startlingly modern techniques, bringing to mind any number of other filmmakers. The striking sound design, juxtaposing sound and image in almost shocking ways, reminded me of Ghatak. The loose (sometimes obscure) narrative was Jodorowsky-esque, especially when it took on quasi-mystical facets. The political undertones and revolutionary spirit are Godardian. And the plot is something like a mix of Bonnie and Clyde and The Harder They Come. It all combines in a wholly fascinating and enchanting piece of work that practically demands repeat viewings. Magaye Niang and Mareme Niang (siblings? I have no idea) are both excellent, radiating with charismatic screen presence. Wonderful use of music as well, particularly the repeated Josephine Baker song, beckoning our heroes to Paris. My only qualms are a couple of brief moments of comedy that were a little on the dumb side, and I didn't care much for all the slaughtered and eviscerated animals (though I understand their symbolic purpose). Nonetheless, a great, great movie. I'm buying the DVD, this might be one of my new favorites. Looking forward to checking out Mambety's only other feature, Hyenas, made 20 years later. Rating: 9
 

Pete York

Supporting Actor
Joined
Dec 1, 2004
Messages
610
Ransom! (1956) Dir: Alex Segal

Production: MGM


When a wealthy businessman’s son is kidnapped, he makes a risky and controversial decision to reject the ransom demands, alienating his wife, his brother and drawing the ire of the public in the process. The story first existed as an episode of The United States Steel Hour titled “Fearful Decision”. When MGM decided to turn it into a film, they brought along the episode’s director, Alex Segal (he mostly worked in TV, this is one of his very few theatrical features). It shows, but not in a detrimental way. There are few location shots, most of the story takes place in the home of the businessman, Dave Stannard (Glenn Ford). This enhances the main gist of the story, which focuses on the psychology of the decision (we never hear from or see the kidnappers), as when Dave seems to be the only person who believes he’s made the right decision, he is all but alone in his own home. The film is dated a touch by some of the happenings and the beginning particularly, showing the idyllic home life of the Stannards, really lays it on thick, but there is a genuine anxiety through a lot of it. The best scenes are quite good: one in which the “percentages” of kidnap cases is spelled out to Dave, which informs his eventual decision, and another where Dave goes on television to announce directly to the kidnappers that not only won’t he pay them, he will use the money as a bounty on their heads. The latter is done as a live announcement in the studio where a program Dave’s company sponsors is shot, and Segal obviously brings a verisimilitude to the scene.


The film makes good use of Glenn Ford, this kind of clenched-jaw, internalized rage being something he’d done before--well. Donna Reed as his wife is somewhat of an afterthought, she’s sedated most of the movie after some early hysterics. Leslie Nielsen makes his debut in film as a reporter who secures inside access to the Stannard home. He’s fine, but the character goes through an obvious arc (antagonist to advocate). The great Juano Hernandez plays the Stannard’s butler, whose inner strength helps Dave at his lowest moment (another good scene). Those keyed into the mechanics of the plot (specifically questions about the kidnapping) might be let down by the resolution. Ron Howard re-made the film 40 years later, taking a distinctly different tact and making the kidnappers a large part of the story.


out of 4
 

Martin Teller

Senior HTF Member
Joined
Aug 24, 2006
Messages
2,414
Real Name
Martin Teller
Pixote - Following in the footsteps of Shoeshine and Los Olvidados, and laying the groundwork for City of God, this is a gritty realistic film that focuses on young boys whose economic situations turn them towards a life of crime, and how the system fails them on all fronts. While I wouldn't say this surpasses any of those other films, it certainly holds its own amongst them. My list of gripes is fairly short. As a relatively privileged white American, I'm not very comfortable using the term "poverty porn", but it might apply here. If not outright sensationalism, it does at least push it a bit far at times, throwing the children into almost every conceivable situation of misery. So maybe a little manipulative (though undeniably powerful). Also, the scene where Pixote attempts to nurse from Sueli's breast is way too on the nose. One of the things I loved about the movie is the formation of a surrogate family (particularly the tension between Sueli and Lilaca as they battle for the "mother" role)... this moment summed it up far too neatly. But that's really all I can complain about. Most remarkable are the performances, not a stinker in the bunch and almost entirely done by non-professionals. The intro informs us that the boys are all actual street children, and Babenco evinces very natural performances out of them. Like Lacombe Lucien and The Return, this story tragically ends with the real life death of its star at a woefully young age. Rating: 8


The Italian Straw Hat - Rene Clair's comedy of manners has its clever charms: the running gags about people being confounded by their clothes and accessories, the stagey re-enactment as the hero tells his story, a 3rd act twist that I should have seen coming but didn't. However, the film often gets bogged down in tiresome bits of business, and ends up being far too long. And the premise is so easily unraveled. There is absolutely no reason for the protagonist to allow himself to be bullied by the insane, douchebag soldier (I guess assholes in the military are universal and timeless). He did nothing wrong, owes the guy nothing, the guy holds nothing over him. All he has to do is say "fuck you, get your own fucking hat, you goddamn lunatic" and kick him out of his house. He's got all his friends and family there. It just doesn't make sense. Clair did wonderful things with his sound pictures, but I wonder if he lacked the particular talents to get certain ideas across in silents. This is the weakest I've seen by him. Rating: 6
 

Ruz-El

Fake Shemp
Senior HTF Member
Joined
Sep 20, 2002
Messages
12,539
Location
Deadmonton
Real Name
Russell
[SIZE= 11px]I'll try playing this year. All ratings out of 5. First time viewings in [COLOR= rgb(255, 0, 0)]RED[/COLOR].[/SIZE]


[SIZE= 10px]JANUARY [/SIZE]

[SIZE= 10px]37 total movies, 23 first time viewings, none in the theater.[/SIZE]


[SIZE= 10px]001 - Fantasia 5/5[/SIZE]

[SIZE= 10px]002 - Paths Of Glory 5/5[/SIZE]

[SIZE= 10px]003 - [COLOR= rgb(255, 0, 0)]Blood Into Wine[/COLOR] 2.5/5[/SIZE]

[SIZE= 10px]004 - Fantasia 2000 3/5[/SIZE]

[SIZE= 10px]005 - Head 4.5/5[/SIZE]

[SIZE= 10px]006 - Easy Rider 4/5[/SIZE]

[SIZE= 10px]007 - Five Easy Pieces 4.5/5[/SIZE]

[SIZE= 10px]008 - [COLOR= rgb(255, 0, 0)]Drive, He Said [/COLOR]2.5/5[/SIZE]

[SIZE= 10px]009 - [COLOR= rgb(255, 0, 0)]A Safe Place[/COLOR] 1/5[/SIZE]

[SIZE= 10px]010 - [COLOR= rgb(255, 0, 0)]The Town[/COLOR] 3/5[/SIZE]

[SIZE= 10px]011 - [COLOR= rgb(255, 0, 0)]Resident Evil: Afterlife (2D)[/COLOR] - 2/5[/SIZE]

[SIZE= 10px]012 - [COLOR= rgb(255, 0, 0)]The Last Picture Show[/COLOR] - 4/5[/SIZE]

[SIZE= 10px]013 - [COLOR= rgb(255, 0, 0)]Heckler [/COLOR][COLOR= rgb(0, 0, 0)]3[/COLOR].5/5[/SIZE]

[SIZE= 10px]014 - [COLOR= rgb(255, 0, 0)]Highlander [/COLOR]3/5[/SIZE]

[SIZE= 10px]015 - [COLOR= rgb(255, 0, 0)]127 Hours[/COLOR] 3.5/5[/SIZE]

[SIZE= 10px]016 - [COLOR= rgb(255, 0, 0)]The Call Of The Cthulhu[/COLOR] 3.5/5[/SIZE]

[SIZE= 10px]017 - [COLOR= rgb(255, 0, 0)]The King Of Marvin Gardens[/COLOR] 3/5[/SIZE]

[SIZE= 10px]018 - [COLOR= rgb(255, 0, 0)]Tillie's Punctured Romance[/COLOR] 2/5[/SIZE]

[SIZE= 10px]019 - [COLOR= rgb(255, 0, 0)]King Boxer (5 fingers Of Death)[/COLOR] 4/5[/SIZE]

[SIZE= 10px]020 - [COLOR= rgb(255, 0, 0)]Bigger Then Life[/COLOR] 4/5[/SIZE]

[SIZE= 10px]021 - (01-12) Night Of The Hunter (1955) 5/5[/SIZE]

[SIZE= 10px]022 - (01-15) The Social Network (2010) 4/5[/SIZE]

[SIZE= 10px]023 - (01-15) [COLOR= rgb(255, 0, 0)]Confessions Of A Superhero[/COLOR] (2007) 3/5[/SIZE]

[SIZE= 10px]024 - (01-20) Monterey Pop (1968) 4/5[/SIZE]

[SIZE= 10px]025 - (01-22) [COLOR= rgb(255, 0, 0)]The Fighter[/COLOR] (2010) 3/5[/SIZE]

[SIZE= 10px]026 - (01-22) [COLOR= rgb(255, 0, 0)]Let Me In[/COLOR] (2010) 4/5[/SIZE]

[SIZE= 10px]027 - (01-22) [COLOR= rgb(255, 0, 0)]Secret Origin: The Story Of DC Comics[/COLOR] (2010) 3.5/4[/SIZE]

[SIZE= 10px]028 - (01-23) The Searchers (1956) 5/5[/SIZE]

[SIZE= 10px]029 - (01-24) [COLOR= rgb(255, 0, 0)]Charles Laughton Directs The Night Of The Hunter[/COLOR] (2008) 3.5/5[/SIZE]

[SIZE= 10px]030 - (01-28) Shock Corridor (1963) 4/5[/SIZE]

[SIZE= 10px][COLOR= rgb(255, 0, 0)]031 - (01-29)[/COLOR] The Toolbox Murders [/SIZE](1978)[COLOR= rgb(255, 0, 0)] 4/5[/COLOR]

[SIZE= 10px]032 - (01-29) [COLOR= rgb(255, 0, 0)]The Lovely Bones[/COLOR] (2009) 3/5[/SIZE]

[SIZE= 10px]033 - (01-29) The Naked Kiss (1964) 4/5[/SIZE]

[SIZE= 10px]034 - (01-30) [COLOR= rgb(255, 0, 0)]The Kings Speech[/COLOR] (2010) 3.5/5[/SIZE]

[SIZE= 10px]035 - (01-30) Jimi Plays Monterey (1989) 4/5[/SIZE]

[SIZE= 10px]036 - (01-30) Shake! Otis At Monterey (1989) 4.5/5[/SIZE]

[SIZE= 10px]037 - (01-30) [COLOR= rgb(255, 0, 0)]Winter's Bone [/COLOR](2010) 4/5[/SIZE]


[SIZE= 10px]FEBRUARY[/SIZE]

[SIZE= 10px]20 Total Movies, 17 first time viewings, none in the theater.[/SIZE]


[SIZE= 10px]038 - (02-05) [COLOR= rgb(255, 0, 0)]The Mechanic [/COLOR](1972) (4/5)[/SIZE]

[SIZE= 10px]039 - (02-05) [COLOR= rgb(255, 0, 0)]Paranormal Activity 2[/COLOR] (2010) 3.5/5[/SIZE]

[SIZE= 10px]040 - (02-06) Beauty And The Beast (1991) 2/5[/SIZE]

[SIZE= 10px]041 - (02-07) Three Kings 4/5[/SIZE]

[SIZE= 10px]042 - (02-07) [COLOR= rgb(255, 0, 0)]The Kids Are Alright[/COLOR] (2010) 3/5[/SIZE]

[SIZE= 10px]043 - (02-08) [COLOR= rgb(255, 0, 0)]Away We Go[/COLOR] (2009) 3/5[/SIZE]

[SIZE= 10px]044 - (02-11) Modern Times (1936) 4.5/5[/SIZE]

[SIZE= 10px]045 - (02-12) [COLOR= rgb(255, 0, 0)]Death Race 2[/COLOR] (2010) 3/5[/SIZE]

[SIZE= 10px]046 - (02-12) [COLOR= rgb(255, 0, 0)]Stone[/COLOR] (2010) 2/5[/SIZE]

[SIZE= 10px]047 - (02-12) [COLOR= rgb(255, 0, 0)]The Troll Hunter [/COLOR](2010) 4/5[/SIZE]

[SIZE= 10px]048 - (02-13) [COLOR= rgb(255, 0, 0)]My Soul To Take[/COLOR] (2010) 3.5/5[/SIZE]

[SIZE= 10px]049 - (02-19)[COLOR= rgb(255, 0, 0)] Rabbit Hole[/COLOR] (2010) 2.5/5[/SIZE]

[SIZE= 10px]050 - (02-19) [COLOR= rgb(255, 0, 0)]Unstoppable[/COLOR] (2010) 3/5[/SIZE]

[SIZE= 10px]051 - (02-19) [COLOR= rgb(255, 0, 0)]All Star Superman[/COLOR] (2011) 4/5[/SIZE]

[SIZE= 10px]052 - (02-19) [COLOR= rgb(255, 0, 0)]Repo Man[/COLOR] (1984) 3.5/5[/SIZE]

[SIZE= 10px]053 - (02-20) [COLOR= rgb(255, 0, 0)]Cherry Hustlers[/COLOR] (1977) 1/5[/SIZE]

[SIZE= 10px]054 - (02-21) [COLOR= rgb(255, 0, 0)]The Black Pirate[/COLOR] (1926) 4/5[/SIZE]

[SIZE= 10px]055 - (02-26) [COLOR= rgb(255, 0, 0)]The Green Hornet[/COLOR] (2011) 2.5/5[/SIZE]

[SIZE= 10px]056 - (02-26) [COLOR= rgb(255, 0, 0)]The Mechanic[/COLOR] (2011) 2/5[/SIZE]

[SIZE= 10px]057 - (02-26) [COLOR= rgb(255, 0, 0)]Due Date [/COLOR](2010) 2/5[/SIZE]


[SIZE= 10px]MARCH[/SIZE]

[SIZE= 10px]18 Total Movies, 14 First Time Viewings, 1 In Theater[/SIZE]


[SIZE= 10px]058 - (03-04) It Came From Beneath The Sea (1955) 3.5/5[/SIZE]

[SIZE= 10px]059 - (03-07) Earth Versus The Flying Saucers (1956) 4/5[/SIZE]

[SIZE= 10px]060 - (03-08) [COLOR= rgb(255, 0, 0)]20 Million Miles To Earth[/COLOR] (1957) 4/5[/SIZE]

[SIZE= 10px]061 - (03-12) [COLOR= rgb(255, 0, 0)]Tarzan's Magic Fountain[/COLOR] (1949) 3/5[/SIZE]

[SIZE= 10px]062 - (03-12) [COLOR= rgb(255, 0, 0)]Tarzan And The Slave Girl[/COLOR] (1950) 3/5[/SIZE]

[SIZE= 10px]063 - (03-13) [COLOR= rgb(255, 0, 0)]Tarzan's Peril[/COLOR] (1951) 3/5[/SIZE]

[SIZE= 10px]064 - (03-13) [COLOR= rgb(255, 0, 0)]Tarzan's Savage Fury[/COLOR] (1952) 3/5[/SIZE]

[SIZE= 10px]065 - (03-14) [COLOR= rgb(255, 0, 0)]Tarzan And The She-Devil[/COLOR] (1953) 3.5/5[/SIZE]

[SIZE= 10px]066 - (03-19) [COLOR= rgb(255, 0, 0)]Jackass 3[/COLOR] (2010) 4/5[/SIZE]

[SIZE= 10px]067 - (03-19) [COLOR= rgb(255, 0, 0)]Faster [/COLOR](2010) 1.5/5[/SIZE]

[SIZE= 10px]068 - (03-19) [COLOR= rgb(255, 0, 0)]Season Of The Witch [/COLOR](2011) 2/5[/SIZE]

[SIZE= 10px]069 - (03-20)[COLOR= rgb(255, 0, 0)] Tarzan's Hidden Jungle[/COLOR] (1955) 3.5/5 (Gordon Scott, vera mills, new monkey)[/SIZE]

[SIZE= 10px]070 - (03-20) The Typewriter, The Rifle and the Movie Camera (1996) 4/5[/SIZE]

[SIZE= 10px]071 - (03-22) The 7th Voyage Of Sinbad (1958) 4/5[/SIZE]

[SIZE= 10px]072 - (03-25) [COLOR= rgb(255, 0, 0)]A Climax Of Blue Power[/COLOR] (1975) 3/5[/SIZE]

[SIZE= 10px]073 - (03-25)[COLOR= rgb(0, 0, 153)] Sucker Punch[/COLOR] (2011) 3.5/5[/SIZE]

[SIZE= 10px]074 - (03-26) [COLOR= rgb(255, 0, 0)]Tarzan and the Lost Safari[/COLOR] (1957) 2.5/5[/SIZE]

[SIZE= 10px]075 - (03-36) [COLOR= rgb(255, 0, 0)]Tarzan's Fight For Life[/COLOR] (1958) 2.5/5[/SIZE]


[SIZE= 10px]APRIL[/SIZE]

[SIZE= 10px]31 total movies, 23 first time viewings, 2 in the theater.[/SIZE]

[SIZE= 10px]076 - (04-01) [COLOR= rgb(255, 0, 0)]Honeysuckle Rose[/COLOR] (1980) 3/5[/SIZE]

[SIZE= 10px]077 - (04-01) [COLOR= rgb(255, 0, 0)]A Coming Of Angels[/COLOR] (1977) 3.5/5[/SIZE]

[SIZE= 10px]078 - (04-02) [COLOR= rgb(255, 0, 0)]Tarzan and the Trappers[/COLOR] (1958) 2.5/5[/SIZE]

[SIZE= 10px]079 - (04-02) Black Swan (2010) 4/5[/SIZE]

[SIZE= 10px]080 - (04-03) [COLOR= rgb(255, 0, 0)]Caged Heat[/COLOR] (1974) 3/5[/SIZE]

[SIZE= 10px]081 - (04-03) [COLOR= rgb(255, 0, 0)]Jackson County Jail[/COLOR] (1976) 3.5/5[/SIZE]

[SIZE= 10px]082 - (04-03) [COLOR= rgb(255, 0, 0)]Tarzan's Great Adventure[/COLOR] (1959) 4/5[/SIZE]

[SIZE= 10px]083 - (04-04) [COLOR= rgb(255, 0, 0)]Tarzan The Magnificent [/COLOR](1960) 3.5/5[/SIZE]

[SIZE= 10px]084 - (04-06) [COLOR= rgb(255, 0, 0)]Tarzan Goes To India[/COLOR] (1962) 2/5[/SIZE]

[SIZE= 10px]085 - (04-07) [COLOR= rgb(255, 0, 0)]Zardoz[/COLOR] 2.5/5[/SIZE]

[SIZE= 10px]086 - (04-07) [COLOR= rgb(255, 0, 0)]Tarzan's Three Challenges[/COLOR] (1963) 2/5[/SIZE]

[SIZE= 10px]087 - (04-07) [COLOR= rgb(255, 0, 0)]Tarzan And The Valley Of Gold [/COLOR](1966) 2.5/5[/SIZE]

[SIZE= 10px]088 - (04-08) [COLOR= rgb(255, 0, 0)]Tarzan And The Great River[/COLOR] (1967) 2/5[/SIZE]

[SIZE= 10px]089 - (04-08) [COLOR= rgb(255, 0, 0)]Tarzan and the Jungle Boy [/COLOR](1968) 1.5/5[/SIZE]

[SIZE= 10px]090 - (04-08) Alice In Wonderland (1951) 3.5/5[/SIZE]

[SIZE= 10px]091 - (04-09) [COLOR= rgb(255, 0, 0)]The Sweet Smell Of Success[/COLOR] (1957) 4/5[/SIZE]

[SIZE= 10px]092 - (04-10) Tron (1982) 4/5[/SIZE]

[SIZE= 10px]093 - (04-12) [COLOR= rgb(255, 0, 0)]Tron Legacy[/COLOR] (2010) 4/5[/SIZE]

[SIZE= 10px]094 - (04-16) [COLOR= rgb(255, 0, 0)]Harry Potter And The Deathly Hollows [/COLOR](2010) 4/5[/SIZE]

[SIZE= 10px]095 - (04-17) [COLOR= rgb(255, 0, 0)]My Son, My Son, What Have Ye Done[/COLOR] (2009) 2.5/5[/SIZE]

[SIZE= 10px]096 - (04-17) [COLOR= rgb(255, 0, 0)]Plastic Bag[/COLOR] (2009) 4/5[/SIZE]

[SIZE= 10px]097 - (04-18) [COLOR= rgb(255, 0, 0)]The Georgia Peaches[/COLOR] (1980) 2.5/5[/SIZE]

[SIZE= 10px]098 - (04-19) Chaplin (1992) 3/5[/SIZE]

[SIZE= 10px]099 - (04-19) [COLOR= rgb(255, 0, 0)]Smokey Bites The Dust[/COLOR] (1981) (2/5)[/SIZE]

[SIZE= 10px]100 - (04-22) [COLOR= rgb(255, 0, 0)]The Great Texas Dynamite Chase[/COLOR] (1976) 3.5/5[/SIZE]

[SIZE= 10px]101 - (04-22) [COLOR= rgb(255, 0, 0)]The Ten Commandments - Making Miracles[/COLOR] (2010) 3.5/5[/SIZE]

[SIZE= 10px]102 - (04-22) The Ten Commandments (1956) 4.5/5[/SIZE]

[SIZE= 10px]103 - (04-24) Death Race 2000 (1975) 4.5/5[/SIZE]

[SIZE= 10px]104 - (04-29) [COLOR= rgb(255, 0, 0)]Confessions Of A Candystriper[/COLOR] (1984) 2/5[/SIZE]

[SIZE= 10px]105 - (04-29) [COLOR= rgb(51, 51, 255)]Psycho[/COLOR] (1960) 5/5[/SIZE]

[SIZE= 10px]106 - (04-30)[COLOR= rgb(51, 51, 255)] I Am Number Four [/COLOR](2011) 4/5[/SIZE]


[SIZE= 10px]May
27 Total Movies, 22 First timers, 3 In The Theater
107 - (05-02) The Ten Commandments (1923) 3/5
108 - (05-07) Thor (2011) 4.5/5
109 - (05-08) Wallstreet: Money Never sleeps (2010) 3/5
110 - (05-13) Friday The 13th - A Nude Beginning (1987) 2.5/5
111 - (05-14) The Rite (2011) 3/5
112 - (05-14) Hobo With A Shotgun (2011) 2.5/5
113 - (05-14) Thor: Tales Of Asgard (2011) 2/5
114 - (05-15) The Hollywood Revue Of 1929 (1929) 3/5
115 - (05-16) Taxi Driver (1976) 5/5
116 - (05-17) Priest (2011) 3.5/5
117 - (05-20) Hercules In New York (1969) 1.5/5
118 - (05-21) The Long Goodbye (1973) 3.5/5
119 - (05-22) Drive Angry (2011) 3.5/5
120 - (05-22) Rubber (2011) 2.5/5
121 - (05-23) Sanctum (2011) 2/5
122 - (05-24) Stay Hungry (1976) 3.5/5
123 - (05-24) It Might Get Loud (2010) 4/5
124 - (05-26) Plaything (1995) 2.5/5
125 - (05-26) Moon (2009) 4/5
126 - (05-27) Cadillac Records (2008) 3/5
127 - (05-27) Plaything2 (1997) 2/5
128 - (05-28) In Old Arizona (1928) 2.5/5
129 - (05-28) The Last Of The Mohican's (1992)(Final Cut) 3/5
130 - (05-28) Playtime (1996) 2/5
131 - (05-29) Ozzy Osbourne - Thirty Years After Blizzard (2011) 3.5/5
132 - (05-29) Pumping Iron (1977) 3.5/5
133 - (05-30) The Hangover 2 (2011) 2/5[/SIZE]


[SIZE= 10px]JUNE
23 Total Movies, 11 First timers, 2 In The Theater
134 - (06-01) The American (2010) 3/5
135 - (06-03) Spartacus (1960) 5/5
137 - (06-03) Deep Rub (1979) 2/5
136 - (06-05) Lolita (1962) 4/5
137 - (06-05) Dr. Stangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) 4/5
138 - (06-10) 2001: A Space Odyssey (1968) 4.5/5
139 - (06-11) A Clockwork Orange (1971) 5/5
140 - (06-12) Scavenger Hunt (1979) 1.5/5
141 - (06-12) Dark Paradise (1997) 3/5
142 - (06-13) X-Men: First Class (2011) 4/5
143 - (06-16) True Grit (2010) 4.5/5
144 - (06-16) Desires Within Young Girls (1977) 2/5
145 - (06-18) A Clockwork Orange (1971) 5/5
146 - (06-19) The Villain (1979) 2/5
147 - (06-19) Barry Lyndon (1975) 4/5
148 - (06-22) The Shining (1980) 4.5/5
149 - (06-23) Green Lantern (2011) 3/5
150 - (06-23) Full Metal Jacket (1987) 3.5/5
151 - (06-25) Green Lantern: Emerald Knights (2011) 3/5
152 - (06-25) The Adjustment Bureau (2011) 3/5
153 - (06-26) Eyes Wide Shut (1999) 3.5/5
154 - (06-26) Shutter Island (2010) 4/5
155 - (06-28) The 50,000,000 Cherry (1987) 2.5/5

JULY
25 Total Movies, 20 First timers, 2 In The Theater
156 - (07-01) Lord Of The Rings:The Fellowship Of The Ring EE (2001) 5/5
157 - (07-03) Band Of Brothers (2001) 4.5/5
158 - (07-06) Kiss Me Deadly (1955) 4/5
159 - (07-09) Sucker Punch EE (2011) 3/5
160 - (07-10) Dirty Mary, Crazy Larry (1974) 3.5/5
161 - (07-10) Race The Devil (1975) 4/5
162 - (07-15) The Lord Of The Rings: The Two Towers EE (2002) 4.5/5
163 - (07-16) Mike Hammer’s Mickey Spillane (1998) 3/5
164 - (07-16) Marwencol (2010) 4/5
165 - (07-16) The Eagle (2011) 2.5/5
166 - (07-17) Deathsport (1978) 3/5
167 - (07-17) Battletruck (1982) 2/5
168 - (07-17) Lord Of The Rings: The Return Of The King EE (2003) 4.5/5
169 - (07-20) The Texas Rangers (1936) 2.5/5
170 - (07-21) The Tree Of Life (2011) 4/5
171 - (07-21) Expensive Tastes (1978) 3/5
172 - (07-22) Canyon Passage (1946) 3/5
173 - (07-24) Kansas Raiders (1950) 3/5
174 - (07-27) Captain America: The First Avenger (2011) 4/5
175 - (07-27) The Lawless Breed (1953) 3.5/5
176 - (07-30) Battle: LA (2011) 2.5/5
177 - (07-30) Super (2011) 4/5
178 - (07-30) Wonder Woman (Pilot) (2011) 2.5/5
179 - (07-31) Jackass 3.5 (2011) 3.5/5
180 - (07-31) Days Of Heaven (1978) 3.5/5[/SIZE]


[SIZE= 10px]AUGUST
21 Total Movies, 16 First timers, 2 In The Theater
181 - (08-01) The Great Dictator (1940) 4/5
182 - (08-03) The Tramp and The Dictator (2001) 4/5
183 - (08-04) Warner Bros. Big Band, Jazz & Swing Short Subject Collection (2010) 4/5
184 - (08-06) Your Highness (2011) 2.5/5
185 - (08-06) The Ward (2010) 2.5/5
186 - (08-06) Red Riding Hood (2011) 3/5
187 - (08-07) Senna (2010) 4/5
188 - (08-07) The Saphead (1920) 2/5
189 - (08-07) The High Sign (1921) 3.5/5
190 - (08-07) One Week (1920) 4/5
191 - (09-07) Machete (2010) 3.5/5
192 - (08-11) Rise Of The Apes (2011) 4/5
193 - (08-14) Three Ages (1923) 3/5
194 - (08-14) The Goat (1921) 3/5
195 - (08-14) My Wife’s Relations (1922) 3/5
196 - (08-17) Conan The Barbarian (2011) 2/5
197 - (08-21) Our Hospitality (1923) 3/5
198 - (08-21) 127 Hours (2010) 4/5
199 - (08-26) Killers Kiss (1955) 3/5
200 - (08-28) Sherlock Jr. (1924) 3/5
201 - (08-28) The Killing (1956) 4/5[/SIZE]


[SIZE= 10px]SEPTEMBER
27 Total Movies, 26 First timers, 2 In The Theater
202 - (09-01) The Cougar Club (2008) 1.5/5
203 - (09-01) The Cougar Club 2 (2009) 2/5
204 - (09-02) For Richer, For Poorer (1979) 2/5
205 - (09-03) Superheroes (2011) 3/5
206 - (09-04) Hot Rod For Sinners (2006) 2.5/5
207 - (09-05) Meet John Doe (1941) 4/5
208 - (09-05) The Ox-Bow Incident (1943) 4/5
209 - (09-08) Drive (2011) 3/5
210 - (09-15) The Pacific (2010) 3/5
211 - (09-15) A Thousand and One Erotic Nights (1982) 2.5/5
212 - (09-17) Assassination Games (2011) 2.5/5
213 - (09-17) Four Lions (2010) 4.5/5
214 - (09-17) Red State (2011) 3/5
215 - (09-18) Fighting Mad (1976) 3/5
216 - (09-18) Moving Violations (1976) 3/5
217 - (09-18) Star Wars IV - A New Hope (2011) 5/5
218 - (09-22) Star Wars Episode V - The Empire Strikes Back (2011) 5/5
219 - (09-23) Catalina Five-0: White Coral, Blue Death (1990) 2/5
220 - (09-24) Beastly (2011) 1.5/5
221 - (09-24) Attack The Block (2011) 3.5/5
222 - (09-24) Super 8 (2011) 3/5
223 - (09-25) Deathstalker (1983) 2/5
224 - (09-25) Deathstalker 2 (1987) 1.5/5
225 - (09-25) Star Wars Episode VI - The Return Of The Jedi (2011) 4/5
226 - (09-25) The Warrior and the Sorceress (1984) 3/5
227 - (09-27) Killer Elite (2011) 3.5/5
228 - (09-28) Barbarian Queen (1985) 2/5

OCTOBER
64 Total Movies, 52 First timers, 2 In The Theater
229(10-01) Video Nasties, Moral Panic, Censorship and Videotape (2010) 4/5
230 (10-01) Ban The Sadist Videos (2005) 3.5/5
231 (10-01) Bridesmaids (2011) 3/5
232 (10-01) Laid To Rest (2009) 3.5/5
233 (10-01) Never Back Down (2011) 2.5/5
234 (10-02) Terror In The Aisles (1984) 3.5/5
235 (10-02) Halloween II (1981) 3.5/5
236 (10-02) Anthropophagus (1980) 3.5/5
237 (10-02) Star Wars Episode 1 - The Phantom Menace (2011) 3.5/5
238 (10-04) Absurd (Rosso Sangue/Anthropophagus 2) (1981) 2.5/5
239 (10-04) Lisa, Lisa (Axe) (1977) 2/5
240 (10-05) Star Wars Episode 2 - Attack of the Clones (2011) 4/5
241 (10-06) Chromeskull: Laid To Rest 2 (2011) 3/5
242 (10-06) Star Wars Episode 3 - Revenge Of The Sith (2011) 4.5/5
243 (10-06) The Beast In Heat (AKA Horrifying Experiments of S.S.Last days (1977) 3/5
244 (10-07) African Cats (2011) 4/5
245 (10-07) The Beyond (1981) 4/5
246 (10-08) The Ghastly Ones (1968) 1.5/5
247 (10-09) Bloody Moon (1981) 3.5/5
248 (10-09) Repulsion (1965) 4/5
249 (10-09) Ben-Hur (1959) 4/5
250 (10-10) Cabin Fever (2002) (Directors Cut) 3.5/5
251 (10-10) Piranha (2010) 4/5
252 (10-10) The Bird With The Crystal Plumage (1970) 3.5/5
253 (10-10) Find The Blackmailer (1943) 2/5
254 (10-10) The Smiling Ghost (1941) 1.5/5
255 (10-10) The Boogeyman (1980) 3/5
256 (10-12) The Burning (1981) 3/5
257 (10-13) Blood Feast (1963) 3.5/5
258 (10-14) 2000 Maniacs (1964) 4/5
259 (10-14) Official Halloween Parody (2011) 2/5
260 (10-15) Color Me Blood Red (1965) 3/5
261 (10-15) Follow That Skirt (1964) 2/5
262 (10-15) Basket Case (1982) 4/5
263 (10-16) Cannibal Apocalypse (1980) 2/5
264 (10-16) Cannibal Terror (1981)
265 (10-16) Antichrist (2009) 4.5/5
266 (10-16) The Thing (1982) 4/5
267 (10-17) Maniac (1934) 2.5/5
268 (10-17) The Car (1977) 2.5/5
269 (10-20) The Thing (2011) 3/5
270 (10-20) Contamination (1980) 2/5
271 (10-21) The Evil Dead 5/5
272 (10-21) Succubus XXX (2007) 1/5
273 (10-22) Dead & Buried (1981) 2.5/5
274 (10-22) The Man From Deep River (1972) 3/5
275 (10-23) Delirium (1972) 1.5/5
276 (10-23) The Devil Hunter (1980) 2/5
277 (10-23) Don’t Go In The House (1980) 3.5/5
278 (10-23) Don’t Go Into The Woods (1981) 2.5/5
279 (10-25) Don’t Go Near The Park (1981) 2.5/5
280 (10-25) The Dorm That Dripped Blood (1982) 3/5
281 (10-26) Paranormal Activity 3 (2011) 3/5
282 (10-27) Evilspeak (1981) 3.5/5
283 (10-27) Expose/The House On Straw Hill (1976) 2.5/5
284 (10-28) The Guns Of The Navarone (1961) 4/5
285 (10-28) Bloodeaters (aka Toxic Zombies) (1980) 1.5/5
286 (10-29) Frozen Scream (1975) 1/5
287 (10-29) The Funhouse (1981) 2.5/5
288 (10-29) The Gestapo’s Last Orgy (1977) 2.5/5
289 (10-29) A Serbian Film (AKA Srpski Film) (2011) 3.5/5
290 (10-29) Insidious (2011) 3.5/5
291 (10-30) Burke And Hare (2010) 2.5/5
292 (10-30) Hatchet 2 (2010) 3.5/5[/SIZE]


[SIZE= 10px]NOVEMBER
43 Total Movies, 39 First timers, 1 In The Theater
293 (11-01) Unaccustomed As We Are (1929) 3/5
294 (11-01) Berth Marks (1929) 4/5
295 (11-01) Men O’ War (1929) 2.5/5
296 (11-03) Perfect Day (1929) 3.5/5
297 (11-03) They Go Boom! (1929) 4/5
298 (11-03) The Hoose-Gow (1929) 3/5
299 (11-04) Night Owls (1930) 3/5
300 (11-04) Blotto (1930) 3.5/5
301 (11-06) Brats (1930) 3/5
302 (11-06) Below Zero (1930) 3/5
303 (11-06) Hog Wild (1930) 3.5/5
304 (11-08) Salo, or The 120 Days Of Sodom (1975) 4/5
305 (11-10) Video Nasties - The Final 39 (2010) 3/5
306 (11-10) Video Nasties - The Dropped 33 (2010) 3/5
307 (11-11) Island Of Lost Souls (1932) 4.5/5
308 (11-12) The Immortals (2011) 3/5
309 (11-12) The Gravedancers (2006) 2/5
310 (11-13) The 400 Blows (1959) 2.5/5
311 (11-13) The Laurel-Hardy Murder Case (1930) 2.5/5
312 (11-13) Another Fine Mess (1930) 3/5
313 (11-13) Be Big! (1931) 4/5
314 (11-15) Citizen Kane (1941) 5/5
315 (11-16) Blow Out (1981) 4/5
316 (11-17) King Kong (2005) 3.5/5
317 (11-19) Furious Five (2011) 2/5
318 (11-19) Transformers Dark Of the Moon (2011) 3/5
319 (11-23) Chickens Come Home (1931) 2.5/5
320 (11-23) Laughing Gravy (1931) 4/5
321 (11-24) Our Wife (1931) 3.5/5
322 (11-24) Come Clean (1931) 2.5/5
323 (11-24) One Good Turn (1931) 3.5/5
324 (11-25) Captain America (2011) 4/5
325 (11-25) Pirates Of The Caribbean: On Stranger Tides (2011) 2/5
326 (11-25) I Think We’re Alone Now (2008) 3.5/5
327 (11-26) Sunrise: A Song Of Two Humans (1927) 5/5
328 (11-29) The Little Ranger (1938) 2.5/5
329 (11-29) Party Fever (1938) 3.5/5
330 (11-29) Aladdins Lantern (1938) 4/5
331 (11-29) Men In Fright (1938) 3.5/5
332 (11-29) Football Romeo (1938) 3.5/5
333 (11-30) Practical Jokers (1938) 2.5/5
334 (11-30) Alfalfa’s Aunt (1939) 3/5
335 (11-30) Tiny Troubles (1939) 3.5/5[/SIZE]


[SIZE= 10px]53 Total Movies, 50 First timers, 1 In The Theater
336 (12-01) Duel Personalities (1939) 3/5
337 (12-01) Clown Princes (1939) 4/5
338 (12-01) Cousin Wilbur (1939) 3/5
339 (12-01) Joy Scouts (1939) 3.5/5
340 (12-01) Dog Daze (1939) 3/5
341 (12-01) Auto Antics (1939) 3.5/5
342 (12-01) Captain Spanky’s Showboat (1939) 2.5/5
343 (12-02) City Girl (1930) 4/5
344 (12-02) Batfxxx (2010) 2/5
345 (12-04) Waiting For “Superman” (2010) 3/5
346 (12-05) Dad For A Day (1939) 2/5
347 (12-05) Time Out For Lessons (1939) 3.5/5
348 (12-05) Alfalfa’s Double (1940) 3/5
349 (12-07) Two Mules For Sister Sarah (1970) 3/5
350 (12-08) The Big Premier (1940) 2/5
351 (12-08) All About Hash (1940) 2.5/5
352 (12-08) The New Pupil (1940) 3.5/5
353 (12-08) Bubbling Troubles (1940) 4/5
354 (12-09) 12 Angry Men (1957) 4/5
355 (12-10) Americas Dangerous Animals (2011) 4/5
356 (12-10) Apollo 18 (2011) 2/5
357 (12-11) Source Code (2011) 4/5
358 (12-11) Where Eagles Dare (1968) 3/5
359 (12-12) Jurassic Park (1993) 4/5
360 (12-14) The Lost World: Jurassic Park (1997) 3.5/5
361 (12-15) Coogin’s Bluff (1968) 2.5/5
362 (12-16) The Lady Vanishes (1938) 3.5/5
363 (12-16) Catalina Five-0 - Treasure Island (1990) 2/5
364 (12-17) Catalina Five-0 - Tiger Shark (1990) 2/5
365 (12-17) Stephen King’s Bag Of Bones (2011) 2/5
366 (12-17) Contagion (2011) 3.5/5
367 (12-19) Jurassic Park III (2001) 2.5/5
368 (12-19) Lazybones (1925) 2.5/5
369 (12-20) Any Old Port (1931) 3/5
370 (12-20) The Music Box (1931) 4/5
371 (12-22) Kelly’s Heroes (1970) 3/5
372 (12-23) Predators (2011) 2/5
373 (12-25) The Band That Wouldn’t Die (2009) 3.5/5
374 (12-25) Small Potatoes: Who Killed The USFL (2009) 3/5
375 (12-25) Kings Ransom (2009) 3/5
376 (12-25) Go Chase Yourself (1938) 2/5
377 (12-26) Muhammad And Larry (2009) 4/5
378 (12-26) Without Bias (2009) 3.5/5
379 (12-26) Three Colours: Blue (1993) 3.5/5
380 (12-27) Some Girls Live In Texas ‘78 (2011) 4/5
381 (12-27) The Legend Of Jimmy The Greek (2009) 3/5
382 (12-27) Three Colours: White (1994) 3.5/5
383 (12-28) The Chimp (1932) 2.5/5
384 (12-28) County Hospital (1932) 3.5/5
385 (12-28) Scram! (1932) 3.5/5
386 (12-29) Carlos (2010) 4/5
387 (12-30) The Girl With The Dragon Tattoo (2011) 3.5/5
388 (12-31) Columbiana (2011) 2/5[/SIZE]
 

RafaelB

Second Unit
Joined
May 10, 2001
Messages
447
Theatrical Films Watched in 2011:

January
1/7- True Grit (2010) ***1/2

1/22- The Fighter ****


February

2/20- The King's Speech ***1/2

2/22- The Illusionist (2010) ****


March

3/3- Beastly 1/2 *

3/6- The Adjustment Bureau ***1/2

3/20- Paul ****


April

4/16- Scream 4 ***

4/23- Source Code ****


May

5/14- Rio ***

5/23- Water for Elephants **1/2

5/23- Pirates of the Caribbean: On Stranger Tides (3D IMAX) *

5/29- Bridesmaids ****


June

6/4- Kung Fu Panda 2 (Digital 3D) ****

6/6- Midnight in Paris ***

6/11- The Hangover Part II **

6/15- Stephen Sondheim's Company ****

6/18- Thor ** 1/2

6/18- X-Men: First Class ****

6/26- Cars 2 (DLP) **

6/26- Super 8 ***

July

7/10- Horrible Bosses ****

7/12- Green Lantern **1/2

7/16- Harry Potter and the Deathly Hallows Part 2(IMAX 3D) **** 1/2

7/20- Bad Teacher *1/2

7/22- Captain America: The First Avenger ***

7/24- Friends with Benefits **1/2

7/30- Harry Potter and the Deathly Hallows Part 2 (3D, second time) **** 1/2


August

8/6- Rise of the Planet of the Apes **** 1/2

8/9- Crazy, Stupid, Love. *** 1/2

8/14- Glee: The 3D Concert Movie ***

8/29- Crazy, Stupid, Love. (Second time) *** 1/2


September

9/3- Fright Night (2011) *** 1/2


October

10/23- Drive ****


November

11/5- A Very Harold & Kumar 3D Christmas ***1/2

11/6- Paranormal Activity 3- ***

11/20- Twilight: Breaking Dawn: Part 1- **1/2

11/25- The Muppets (2011) ****


December

12/3- Arthur Christmas (Digital 3D) ***1/2

12/18- Hugo (2011-Digital 3D) ****

12/27- The Girl With The Dragon Tattoo (2011) **** 1/2

12/28- Mission: Impossible- Ghost Protocol ****
 

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