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Paisan (Paisà) (1948)
Paisan (Paisà) (1948)
1948 | International, Classics, Comedy
(0 Ratings)
Movie Favorite

"This is another film my grandfather showed me at a very young age. It was one of the first times I ever saw reality unfold like that on-screen. The more I watch it, the more that different things pop out. When I was young, this was the first time I ever saw an interaction between an African American and a young Italian kid—and that was big for me, because when I was in Italy my mother was always the only African American around and I was this young Italian kid. So seeing both these cultures represented, and seeing the way they’re represented, made me realize cinema could reflect life—that it’s not just about entertainment, that it can be about something very real. When you really think about the postwar years, the image of Italy was very much constructed through Rossellini films. In the era of Fascism, people like Rossellini and the partisan movement were silenced, so it’s not that they didn’t exist—it’s just that they weren’t allowed to be as vocal because their lives were at stake. The fact that he gave a voice to this movement, showing that Italy did in fact have this fiercely anti-Fascist side that suffered as much as anyone, I think was very important for how Italy has been seen in the postwar years. It’s one of those rare moments when a director has this deeply personal film to make that also coincides with one of the biggest events in world history. I’m definitely drawn to this tradition of filmmaking because I grew up on these films as much as I grew up on Disney."

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Near Dark (1987)
Near Dark (1987)
1987 | Horror, Mystery, Western
Bill Paxton (1 more)
Lance Henrikson
Finger-Lickin' Good!
Near Dark- is a great neo-western horror film about vampires. It was directed by Kathryn Bigelow, it was also her debut film.

The plot: Cowboy Caleb Colton (Adrian Pasdar) meets gorgeous Mae (Jenny Wright) at a bar, and the two have an immediate attraction. But when Mae turns out to be a vampire and bites Caleb on the neck, their relationship gets complicated. Wracked with a craving for human blood, Caleb is forced to leave his family and ride with Mae and her gang of vampires, including the evil Severen. Along the way Caleb must decide between his new love of Mae and the love of his family.

Vampire films had become "trendy" by the time of Near Dark's production, with the success of Fright Night (1985) and The Lost Boys (1987), the latter released two months before Near Dark and grossing $32 million. Kathryn Bigelow wanted to film a Western movie that departed from cinematic convention.

The combination of the genres had been visited at least twice before on the big screen, with Curse of the Undead (1959) and Billy the Kid Versus Dracula (1966).

Bigelow knew (and later married) director James Cameron, who directed Aliens (1986), a film that shares three cast members (Paxton, Goldstein and Henriksen) with Near Dark. Actor Michael Biehn was offered the role of Jesse Hooker, but he rejected the role because he found the script confusing. Lance Henriksen took over the role. A cinema seen in the background early in the film has Aliens on its marquee and Cameron played the man who "flips off" Severen.

Its a classic and a cult film.
  
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Timothy Spall recommended Mary Poppins (1964) in Movies (curated)

 
Mary Poppins (1964)
Mary Poppins (1964)
1964 | Classics, Comedy, Family

"One of my favorite films of all time has got to be Mary Poppins. Well I was old enough to remember it when it came out, but I don’t think I saw it in the cinema, I think I saw it when it eventually came on television. In those days, you had to wait about six or seven years before a film got from the f–king cinemas to the television, and it being Disney, they never actually released their films. It was a very clever policy: They just re-released them every 10 years. I think it’s one of those movies. I was having a very depressing time recently working on a job. I was feeling particularly bad and I put the television on on a Sunday afternoon, and Dick Van Dyke was singing “Chim Chimney” — it just lifted my spirits. Everybody criticized his Cockney accent — and even at the time I probably joined in — and you can criticize his Cockney accent, but you cannot criticize his brilliant comic dancing. It’s f–king wonderful. Oh, it’s wonderful. And the quality of the work: The beauty of that film, the simplicity of it and the way it was made and directed; the charm. The way it appeals to people — it’s the old cliché, you know: Eight or 80. It’s a wonderful piece of work. And it’s magical. It’s one of those films, you know, that you can dip into. If you’re ever feeling low, stick it on and you’ll feel much better. If you haven’t got any illegal drugs, put that on and you’ll be alright. [Laughs]"

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LoganCrews (2861 KP) rated Identity (2003) in Movies

Sep 22, 2020 (Updated Nov 26, 2020)  
Identity (2003)
Identity (2003)
2003 | Horror, Mystery, Thriller
"𝘈 𝘉𝘢𝘯𝘲𝘶𝘦𝘵 𝘱𝘰𝘵 𝘱𝘪𝘦?! 𝘈 𝘉𝘢𝘯𝘲𝘶𝘦𝘵 𝘱𝘰𝘵 𝘱𝘪𝘦!"
*or*
"𝘓𝘪𝘴𝘵𝘦𝘯 𝘵𝘰 𝘮𝘦, 𝘥𝘶𝘥𝘦, 𝘐'𝘮 𝘩𝘢𝘷𝘪𝘯𝘨 𝘢 𝘳𝘦𝘢𝘭𝘭𝘺 𝘧𝘶𝘤𝘬𝘦𝘥-𝘶𝘱, 𝘸𝘦𝘵, 𝘣𝘢𝘥 𝘧𝘶𝘤𝘬𝘪𝘯𝘨 𝘥𝘢𝘺."

True "What the fuck is going on? Huh? What..? Who?? ... wait what the fuck is that I- um, did they just? What the hell, but...where? Why? Uh, how?" cinema. This sort of exasperatingly looney, balls-planted-firmly-to-the-wall thriller with like 60 twists is sort of played these days - but I'd imagine that in its day it was quite revelatory. This was honestly a hoot and a holler but sadly its greatness is sunk by James Mangold - for the most part - being a hack who has no clue how to dramatize, have any definable mark as a director, or make inherently compelling things at all very compelling unless the studio has a firm grip on the project. His films mostly look like flat TV movies and play like no one behind the camera has much of a clue on what they're doing beyond maybe an introductory film guide on the back of a cereal box. This one isn't all that different either, but material with *this* low of a regard for any sense of subtlety or earthly realism and with a gleeful eagerness to throw all of its cards violently onto the table any chance it gets has a pass from me - especially when it's acted by a banging troupe of crackerjack character actors and reliable leads like this one. Really, really fun and sincerely manic - Agatha Christie meets a line of coke at a gas station bathroom. Plus the uninterrupted, heaping downpour is a helluva gimmick and it works where Mangold doesn't.
  
Sherlock, Jr.  (1924)
Sherlock, Jr. (1924)
1924 | Classics, Comedy
7
8.7 (3 Ratings)
Movie Rating
I have seen and very much enjoyed the work of Buster Keaton in the past, most notably The General, which knocked me sideways by how inventive and genuinely funny it was. My main movie love for the silent era is Charlie Chaplin, and much like it is possible to like The Beatles and The Rolling Stones but only truly love one, Keaton will always be second best for me. But what a second best. Genius is an overused word, of course, but pioneer says it better anyway. The sheer volume of invention per minute is magnificent – from the technical editing techniques that were created just for this film, to the forms of visual comedy that broke the mould and raised the bar in every scene.

Most memorable is the cinema scene where Keaton’s love sick amateur sleuth tries to hide by actually entering the screen – a trick paid homage to in many movies since, including Woody Allen’s The Purple Rose of Cairo. It is astonishing to think he not only thought of doing this in 1924, but also pulled it off with jaw-dropping special effects for the time. It’s also really funny. You don’t have to force a laugh because you feel you should, it is still clever and amusing almost 100 years later. In fact, the entire 46 minute print still looks so good it is hard to believe it is that old in any way. Surely one of a handful of half length films from the period that will always be watched for what they are and not just museum pieces.