The movie is a delicate creation, with no big punch line or payoff. Watching it, I was in the moment: It was about these people wandering lost through their lives. Afterward, I felt good about them – good because they were likable people, but good, too, because the writer and director took care to give them dialogue that suited their needs. Of all the handicaps in life, the worst must be the inability to express how you feel.
Roger Ebert’s review -> https://www.rogerebert.com/reviews/smoke-1995
The very last shot in “Boys on the Side” is of an empty room. As the camera pans around it, we remember who was in it, and how much we grew to care about them. We may be a little surprised by how that happened, because the movie starts out seeming contrived and routine, and only gradually gathers power until, by the end, it is completely involving.
Ebert’s review of Boys on the Side -> https://www.rogerebert.com/reviews/boys-on-the-side-1995
Larry Clark’s “Kids” is a movie about their world. It follows a group of teenage boys and girls through one day and night during which they travel Manhattan on skateboards and subway trains, have sex, drink, use drugs, talk, party, and crash in a familiar stupor, before starting all over again the next day. The movie sees this culture in such flat, unblinking detail that it feels like a documentary; it knows what it’s talking about.
Roger Ebert’s Kids review -> https://www.rogerebert.com/reviews/kids-1995
Tarantino, del Toro, and More Directors Pick Favorite Horror Movies | IndieWire
Looking to watch a scary movie? Why not take a suggestion from one of the best directors working today or a master of the horror genre. IndieWire has rounded up 32 of our favorite directors naming some of their favorite horror movies ever made, from Guillermo del Toro on “Eyes Without a Face” to Martin Scorsese on “The Innocents,” Jennifer Kent on “The Texas Chainsaw Massacre,” Jordan Peele on “Misery,” and more. Check out all 32 recommendations in the list below.
John Carpenter, on “The Exorcist”
John Carpenter’s “Halloween” was a pioneer in the slasher-film subgenre, and when it comes to the horror director’s own favorite scary movies he often singles out William Friedkin’s classic “The Exorcist.” As Carpenter told The Fader, “You know what’s scary about ‘The Exorcist’? Everyone knows what’s scary about that movie. It’s the devil. The first time I saw it, I thought, in order to be really effective, this movie requires a belief in a higher power. But since then I’ve come to appreciate it just for what it is. I watched it again recently and was surprised by how intense it is. The things that they did back then, with this little girl, they broke a bunch of taboos, my god. It’s pretty damn good.”
Slater: Behind every good man there is a woman, and that woman was Martha Washington, man, and everyday George would come home, she would have a big fat bowl waiting for him, man, when he come in the door, man, she was a hip, hip, hip lady, man.
Slater: Didja ever look at a dollar bill, man? There’s some spooky shit goin’ on there. And it’s green too.
Cynthia: I call it the “every other decade” theory. The 50’s were boring. The 60’s rocked. The 70’s, my god, they obviously suck. So maybe the 80s will be like, radical. I figure we’ll be in our 20’s and hey, it can’t get any worse.
Pink: All I’m saying is that if I ever start referring to these as the best years of my life – remind me to kill myself.
Pink: I may play ball next fall, but I will never sign that. Now me and my loser friends are gonna head out to buy Aerosmith tickets. Top priority of the summer.
Right now, after the lights go down, Cinemark shows 15 minutes worth of trailers before the actual movie begins while Regal’s trailer block runs 15 to 20 minutes, according to the news report.
Lloyd Christmas: [addressing Mary] I’m crazy about you. I’ve never felt this way about anybody.
Lloyd Christmas: [laughs nervously] Listen to me! I feel like a schoolboy again. A schoolboy who desperately wants to make sweet, sweet love to you.
Mary Swanson: [Mary comes into the room, making it clear to viewers that Lloyd’s previous words were just a rehearsal] I thought I heard you talking to someone.
Lloyd Christmas: [now extremely nervous] Mary… I… I desperately want to make love to a schoolboy.
check out more at IMDB
Here’s an archive of Siskel and Ebert’s Sneak Previews show at IMDB
I’ve checked out a few of the early ones. Your mileage may vary. Good stuff though.
Getting to work on the film in the mid-60s, after 2001 was released, he sent an assistant around the world to literally follow in Napoleon’s footsteps (“Wherever Napoleon went, I want you to go,” he told him), even getting him to bring back samples of earth from Waterloo so he could match them for the screen.
He read hundreds of books on the man and broke the information down into categories “on everything from his food tastes to the weather on the day of a specific battle.” He gathered together 15,000 location scouting photos and 17,000 slides of Napoleonic imagery.
Classic Films Every Wed at 2pm & 7pm
at the Mayan Theatre!
May 8 – June 26
Check it out at Landmark/Denver site
An LA police officer is murdered in the onion fields outside of Bakersfield. However, legal loopholes could keep his kidnappers from receiving justice, and his partner is haunted by overwhelming survivor’s guilt.
El Salvador: Another Vietnam
Richard Pryor: Live On The Sunset Strip
American “publicity materials” were forbidden in the Eastern Bloc during the Cold War. These Polish movie posters show how the country adapted to these ideological constraints.
Erin Kelly @ allthatsinteresting
Founded in 1919 by D. W. Griffith, Charlie Chaplin, Mary Pickford, and Douglas Fairbanks, the studio was premised on allowing actors to control their own interests, rather than being dependent upon commercial studios.
…Pickford, Chaplin, Fairbanks, and Griffith incorporated UA as a joint venture on February 5, 1919. Each held a 25 percent stake in the preferred shares and a 20 percent stake in the common shares of the joint venture, with the remaining 20 percent of common shares held by lawyer and advisor William Gibbs McAdoo. The idea for the venture originated with Fairbanks, Chaplin, Pickford and cowboy star William S. Hart a year earlier. Already Hollywood veterans, the four stars talked of forming their own company to better control their own work.
They were spurred on by established Hollywood producers and distributors who were tightening their control over actor salaries and creative decisions, a process that evolved into the studio system. With the addition of Griffith, planning began, but Hart bowed out before anything was formalized. When he heard about their scheme, Richard A. Rowland, head of Metro Pictures, apparently said, “The inmates are taking over the asylum.”
“Siskel and Ebert was a sitcom about two guys who lived in a movie theater.” *
Movies reviewed –
Absence of Malice
Sparky the wonder dog shows up at the end to lead into the “dogs of the week”:
The Seven Grandmasters – Ebert’s pick
Adios Amigo – Siskels pick. Incidentally, he assumed it was going to be a dog but it was actually not a dog. Couldn’t find a dog of the week.
Highest-grossing films of 1981
Title / Distributor / Domestic gross
1. Raiders of the Lost Ark Paramount $212,222,025
2. On Golden Pond Universal $119,285,432
3. Superman II Warner Bros. $108,185,706
4. Arthur Orion Pictures/Warner Bros. $95,461,682
5. Stripes Columbia $85,297,000
6. The Cannonball Run 20th Century Fox $72,179,579
7. Chariots of Fire Warner Bros. $58,972,904
8. For Your Eyes Only United Artists $54,812,802
9. The Four Seasons Universal $50,427,646
10. Time Bandits Embassy Pictures $42,365,581
via wikipedia // Btw – Wikipedia is panhandling. I donated using Amazon pay. Took a minute, maybe. No mussing with entering any new info. Easy.
* Not my joke but I forget where I heard it.