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4 hours ago, Murtz said:

I'm clearly blissfully unaware, how are you folk managing to watch Mortal Kombat? I can't see where its available in the UK. 

HBO Max with a VPN.

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The Silent Partner (1978, Talking Pictures TV) I hadn't heard of this before, but saw Elliot Gould and Christopher Plummer as the stars and I was sold. It's a thriller with a really nice set-up -

Yuen Biu's first lead role if memory serves, hence half the film basically being a showreel for him. Groundhog Day Andie McDowell plays Rita, a producer newly employed by a TV network that she

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Drop Dead Gorgeous (Prime)

I mean, it's just brilliant, this. Can't remember many films that just have such a machine-gun firing rate of actually funny jokes that lend every single time. The cast are perfect, the message behind it is spot on, and it's really stupid it took me so long to watch it.

School of Rock (Prime)

Not sure why Richard Linklater hasn't made more studio films based on this. Wasn't a big fan of it when I saw it at the cinema but I was clearly wrong, even if it's not as funny as is often suggested. I guess it hinges a lot on whether you like Jack Black as well, and I do.

The Wedding Singer (Prime)

About as funny as an Adam Sandler can realistically be - which is, not hugely, but it has its moments. The cover version of Holiday is the clear highlight, and Christine Taylor.

The Sniper (Dailymotion)

Brilliant 1950s thriller about a proto-incel who starts picking off women around San Francisco. Clearly influential on Dirty Harry, there are some amazingly shot scenes here, just a great film.

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This week's batch of horror/slasher fare.  Some real stinkers here.

Hollywood Meat Cleaver Massacre (1977) (YouTube)

Students attack a college professor in his own home, leaving him for dead and killing his family. Paralyzed and confined to his hospital bed, he then uses psychic powers to exact revenge. This occult stuff is not for me at all. Pretty awful. Oh, and where was the meat cleaver?

Drive-In Massacre (1976) (YouTube)

Amorous couples get slaughtered and killed at the Drive-In. Didn’t think this was as bad as the reviews I subsequently read, although the lack of definitive conclusion is disappointing (it probably played better to those watching at the theatre). FX are primitive.

Bog (1979) (YouTube)

A mysterious creature lurks beneath Bog Lake, attacking and killing humans and sucking out their blood. Low budget, cheap looking flick goes from boring to laughable when you finally see what this creature looks like. Dreadful.

Nightmares (1980) (YouTube)

Australian psychological slasher set predominantly in a theatre. The killer’s identity is supposed to be a secret but it’s obvious who it is from their first kill. Poor editing throughout and some very explicit sex scenes featuring a nude Pam Willis in one! Below average.

Pledge Night (1990) (YouTube)

Sid Scheider is killed in a hazing prank, 20 years later he returns to the fraternity house to torment a new batch of pledges and brothers during “hell week”.  Low brow, fun slasher that is pure Animal House before the horror part begins. Egg whisk down the throat is my new favourite creative kill!

Sleepaway Camp (1983) (YouTube)

Ricky and his cousin Angela go to a Summer Camp, soon after their arrival on the site bodies start turning up dead. Not the Friday the 13th rip-off I was expecting. The end will catch you totally off guard and is something you won’t forget in a hurry, if ever. A strong recommendation.

Three on a Meathook (1972) (YouTube)

Billy Townsend invites four girls back to his farm house after their car breaks down, during the night all four are murdered. Slow moving, padded, grainy, proto-slasher. While you can probably work out where this is going, the reasoning is quite shocking. Really dug the musical interlude at the bar.

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4 hours ago, Magnum Milano said:

Egg whisk down the throat is my new favourite creative kill!

The killer has a kryptonite. 

 

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5 hours ago, Magnum Milano said:

Drive-In Massacre (1976) (YouTube)

Amorous couples get slaughtered and killed at the Drive-In. Didn’t think this was as bad as the reviews I subsequently read, although the lack of definitive conclusion is disappointing (it probably played better to those watching at the theatre). FX are primitive.

Nightmares (1980) (YouTube)

Australian psychological slasher set predominantly in a theatre. The killer’s identity is supposed to be a secret but it’s obvious who it is from their first kill. Poor editing throughout and some very explicit sex scenes featuring a nude Pam Willis in one! Below average. 

Drive-In Massacre is watchable but the thing is there are two versions. A TV cut and theatrical. The theatrical is one of the most bloated and plodding films I've ever seen. The TV version is about 20 minutes shorter and a far snappier, fun time.

Nightmares sounds top. Not heard of that one. As a fellow slasher nerd and Neighbours lifer I must seek it out. Thanks very much.

Have you read Teenage Wasteland: The Teenage Slasher Movie Book by J.A Kerswell? If not it will be right up your ally. Also his website Hysteria-lives.com and the Hysteria Continues podcast are worth a look.

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Put The Mitchells Vs The Machines on for my daughter whilst I cooked tea today and she absolutely adored it. I came in about halfway through and pretty much laughed until the end. I'll probably watch it all the way through tonight. If the first half is as good as the second it'll probably usurp Kubo and the Two Strings as my favourite kids film of my daughter's lifetime.

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5 minutes ago, BrodyGraham said:

Put The Mitchells Vs The Machines on for my daughter whilst I cooked tea today and she absolutely adored it. I came in about halfway through and pretty much laughed until the end. I'll probably watch it all the way through tonight. If the first half is as good as the second it'll probably usurp Kubo and the Two Strings as my favourite kids film of my daughter's lifetime.

That’s pretty much how I’ve seen it twice with mine and I loved it. I put Cloudy with a Chance of Meatballs 1 and 2 on back to back for them afterwards, still great. Think the sequel is better to be honest.

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Tigerland - Believe it or not, this was the first time I ever saw this. My goodness, it was a fantastic watch.
Colin Farrell was (a) ludicrously attractive and charismatic and (b) a very, very talented actor. I actually fell in love with his character Bozz for the duration (the character reminds me of one of my mates, actually) and everyone plays their parts to perfection, particularly Shea Wigham. Plus, the criminally underrated and underused Cole Hauser is always a joy to see pop up on my screen.
Oul Joel Schumacher enjoyed a fair bit of undercracker, didn't he? There was a fierce amount of subtle (or, not so) crotch shots with jibbling willies bopping about throughout.

Stark Raving Mad - One of my guilty pleasures. Seann William Scott running a heist, in a movie with a Demigod in Sir John Digweed, holding court with the sounds. So many goosebumps and feels, as the bin lids would say.

Nine Dead - My niece wanted to watch this because Sabrina the Teenage Witch was in a slasher movie. It was fucking poxy. The acting was horrific (although to be fair, Sabrina belted out a decent monologue that briefly stunned me) and the ending looked like it was edited by Bobby Bowfinger. Genuinely, the last five minutes were reminiscent of this:

 

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Against All Odds

I was aware that Jeff Bridges used to be a good-looking man but blimey. Anyway, typical 80s vaguely erotic thriller where almost nothing happens yet it's still quite enjoyable, although I've no idea why. Rachel Ward though.

The Big Sleep (original) (TCM)

This has never been my favourite classic noir and that's still the case, even though it's still a great piece of filmmaking. The story's just a bit light for all the twists and characters that are attached to it, but the dialogue and performances are what really make it.

Gangster No. 1 

Just absolutely dreadful and weird for no particular reason. Plays like a totally unaware pastiche of British gangster films a couple of years after Lock, Stock and Two Smoking Barrels was a completely aware one. I remain largely convinced that Paul Bettany is rubbish as well.

Goodfellas

Great, sure, but The Irishman aside I still am not budging from the opinion that Scorsese's most interesting films are his non-crime ones.

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1 hour ago, Devon Malcolm said:

The Big Sleep (original) (TCM)

This has never been my favourite classic noir and that's still the case, even though it's still a great piece of filmmaking. The story's just a bit light for all the twists and characters that are attached to it, but the dialogue and performances are what really make it.

What are some of your favourite noirs? It's one of those things I've always meant to watch more of.

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2 hours ago, DavidB6937 said:

What are some of your favourite noirs? It's one of those things I've always meant to watch more of.

Classic era:-

Double Indemnity - my personal favourite from this era, probably Billy Wilder's best film as well, which is saying something for him.

Touch of Evil - once you get past Charlton Heston as a Mexican, it's practically perfect. I like to think the current fat era Russell Crowe was inspired by Orson Welles in this.

The Killers - I struggle to think of a film with a better written plot than this, ever. The first half an hour, especially, are ridiculously good. Its director, Robert Siodmak, also made The Dark Mirror, The Suspect and The File on Thelma Jordon, all of which are superb.

Sunset Boulevard - one of those films that is always on 'best of' lists and as such you're suspicious of because how can it be THAT good? It totally is though.

Vertigo - it's probably the closest to a classic noir that Hitchcock ever made, maybe just ahead of Dial M for Murder and The Wrong Man, which are both outstanding. Improves on every single rewatch.

There's also Strangers on a Train, The Big Combo, Gun Crazy, Night and the City, The Big Heat, Sorry Wrong Number, The Night of the Hunter and No Way Out off the top of my head.

Neo-noirs (1965 onwards):-

Miller's Crossing - as I've said before on here, if there was ever a scientific formula created for the perfect film, it would be Miller's Crossing.

Chinatown - the odds are you wouldn't like this first time round but the rewatches are vital to unravel it all and, when you do, it's almost flawless.

Blade Runner / Blade Runner 2049 - always raises someone's hackles when you call these noirs, but they totally are (especially the first one) and two of the best of all time.

Point Blank - probably the crossing over point from the classic to neo periods, also one of the coolest films ever made and there's Lee Marvin.

Blood Simple - the Coens know this genre better than anyone else in modern filmmaking. Unbelievable this was their debut.

John Dahl's triple-bill of Kill Me Again, Red Rock West and The Last Seduction is essential. Fargo, The Friends of Eddie Coyle, One False Move, Under the Silver Lake, A Simple Plan, LA Confidential, Devil in a Blue Dress and Blow Out are all greats.

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Watched a bunch of stuff lately, here's what sticks out. 

The Border (1982)

Jack Nicholson plays a border patrolman working the US/Mexico border in Texas. Gets in way over his head. Harvey Kietel and Warren Oates are there as his shifty superiors. It's alright and certainly interesting subject matter for a major production with genuine stars, but it should be better considering who is involved. 

Hooper (1978)

Is there a more watchable movie star than Burt Reynolds? I loved this. Perfect Saturday night film. Reynolds is an ageing stuntman who wants one last big payday before retiring his knackered body so he agrees to do the biggest, most dangerous stunt ever filmed (along with rookie stuntman Jan Michael Vincent). Yes, there's a lot of bar fighting and car racing and stuff but it's also a really good film about filmmaking. It's also something of a crisis in masculinity and says some interesting stuff about getting older, working in a superficial business etc. 

The Comeback Trail (2020)

Not seen much about this, but it has De Niro, Morgan Freeman, Tommy Lee Jones, Emile Hirsch and others in it. One of those mid-size, genre amalgamations that doesn't quite work but is enjoyable enough. De Niro is an old producer who has debts to some unscrupulous characters, so he plans to make a shitty B western film and kill off Jones during it in order to get the insurance money. I liked the period setting (late 70's), but it completely predictable and seems like a bit of a wasted opportunity all told. 

Coogan's Bluff (1968)

Total Clint Eastwood star vehicle. Sexual politics all over the place. Fish-out-of-water story. Not terrible. Not great. Just sort of 'there'. 

Payday (1972)

Drifting road film about a Nashville country singer (Rip Torn) who is on his way home during a break in his hectic touring schedule. It's a character study about a character who is not necessarily nice, but complicated, and uses his status to manipulate people in an attempt to keep his spiralling life somewhat on the tracks. It's a bit jarring in places, probably due to when it was filmed and the fact it was made by a first-time director, but it's a good hidden gem of a film. Sort of thing you'd find on TCM at one in the morning and wonder how you've never heard of it before. 

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Tell No One : I forgot how tense - and intense - this movie actually is. Herself isn't much of a subtitle reader, but lately I've been introducing these sort into our viewing habits and she's been receptive thus far. You could equate that to ourselves in the pit when we first got together and all, but we're 14 years together with a lockdown and a torn foreskin in between, so subtitles is as piquant as it gets now. Great movie, glad it's been left alone remake-wise, and I think Kristin Scott Thomas should be in everything. Just pop up, deliver a line with a Gauloises in one hand and a Petit Fours in the other, and walk away.

The Girl in the Basement : This was the missus' choice. All hers. I just saw "Lifetime Movie" and I said "Ah bollocks!" but I was intrigued because I'll always have a soft spot for John Bender himself, Judd Nelson. It was actually surprisingly decent. Some scenes were actually truly upsetting and unsettling in it's desired sense, and then others were quite unsettling (Mainly any scene outside the Basement itself) because the acting was poxy. A surprisingly well made and well acted (Well, by anyone within the confines of the basement) flick and I was actually chuffed to be hit with

Spoiler

as happy and schmaltzy an ending as they could give us.

Oxygen : It's a good movie. Still on the fence with it all though. It's incredibly nerve wracking for the first two thirds of the movie but kind of disappears into it's own arse come the end. I've seen some reviews saying the ending was great, but I didn't like it. Melanie Laurent is as great as ever though, and Mathieu Amalric is frustratingly creepy, so yeah, it's good. Just not great.

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11 minutes ago, Scott Malbranque said:

Oxygen : It's a good movie. Still on the fence with it all though. It's incredibly nerve wracking for the first two thirds of the movie but kind of disappears into it's own arse come the end. I've seen some reviews saying the ending was great, but I didn't like it. Melanie Laurent is as great as ever though, and Mathieu Amalric is frustratingly creepy, so yeah, it's good. Just not great.

Looking forward to watching this later. Melanie Laurent is great, and a really good director. Respire was one of the most anxiety inducing films I've ever seen, absolutely brilliant. Galveston, with our boy Ben Foster, was also really good.

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