Rate the last movie you've seen

[MinionZombie]

I think it's just a signifier that Vukovich has taken everything his partner had, including his informant and his car, and he has become the same type of cop Chance was.   So it's supposed to be Vukovich in the car, then? Would've been better to actually see Vukovich in the car and not, what I presumed to be, a re-used shot of Petersen's character parking up in that car. Kinda seemed like a clunky shot to sling in there. The point was also well made without it. Also kinda weird that, at the very end of the credits, there's a shot of Petersen's character repeated for a second time (it was repeated in the bit where the point about Vukovich becoming the 'replacement', as it were) ... just kinda ... why was that necessary? Just a couple of shots, I know, but they're a smidge clunky in that mix.

[shootemindehead]

So it's supposed to be Vukovich in the car, then? Would've been better to actually see Vukovich in the car and not, what I presumed to be, a re-used shot of Petersen's character parking up in that car. Kinda seemed like a clunky shot to sling in there. The point was also well made without it. Also kinda weird that, at the very end of the credits, there's a shot of Petersen's character repeated for a second time (it was repeated in the bit where the point about Vukovich becoming the 'replacement', as it were) ... just kinda ... why was that necessary? Just a couple of shots, I know, but they're a smidge clunky in that mix.   It's been a long time since I seen it Mini, but I think that's the deal. Deborah Feuer and her girlfriend also take Defoe's car at the end too. I dunno, maybe it's supposed to mirror that? It could be just the informant girl remembering Chance though as well? It is a clunky insert, you're right. But I can't imagine that it's there for no reason. Is it the Blu you watched? Friedkin might have a commentary track on there and explain WTF he was thinking. - - - Updated - - - All the hidden replies. We're like the bloody CIA.

[MinionZombie]

It's been a long time since I seen it Mini, but I think that's the deal. Deborah Feuer and her girlfriend also take Defoe's car at the end too. I dunno, maybe it's supposed to mirror that? It could be just the informant girl remembering Chance though as well? It is a clunky insert, you're right. But I can't imagine that it's there for no reason. Is it the Blu you watched? Friedkin might have a commentary track on there and explain WTF he was thinking. - - - Updated - - - All the hidden replies. We're like the bloody CIA.   Yeah, it's the Arrow Video Blu-Ray and there is a commentary on there, so I'll stick that on the To Watch list as-it-were. I re-watched that final moment again, well in one of the special features, and it's definitely Petersen's character in the car (it even pauses just before he gets out, thus revealing it is him). Perhaps it wasn't as easy to spot back in the day, but now with HD restorations and big screen TVs you can see it isn't Pankow quite clearly. Yeah ... just a clunky shot that wasn't really needed - but you could be right: it might be inserted to mirror the last Ferrari scene. Even still, it's just not needed - he makes the point that Pankow has taken over from Petersen well enough. Hell, you don't much need those shots of Petersen to know that's what has happened and she's still stuck under the thumb as an informant.

[shootemindehead]

Yeah, it's the Arrow Video Blu-Ray and there is a commentary on there, so I'll stick that on the To Watch list as-it-were. I re-watched that final moment again, well in one of the special features, and it's definitely Petersen's character in the car (it even pauses just before he gets out, thus revealing it is him). Perhaps it wasn't as easy to spot back in the day, but now with HD restorations and big screen TVs you can see it isn't Pankow quite clearly. Yeah ... just a clunky shot that wasn't really needed - but you could be right: it might be inserted to mirror the last Ferrari scene. Even still, it's just not needed - he makes the point that Pankow has taken over from Petersen well enough. Hell, you don't much need those shots of Petersen to know that's what has happened and she's still stuck under the thumb as an informant.   Maybe that was the price the studio insisted on, if Friedkin was to insert the ending he wanted (that alt ending was pants). Clumsy flashbacks to belt the audience over the head with what was happening. I thought it was rather clear myself and I remember thinking that even Chance's partner has turned into a dickhead. There's not a single character in the film that's truly decent and Vukovich was the only guy with anything resembling a moral compass (IIRC). So, at the end, even his character has become counterfeit, which according to Friedkin was the entire theme of the film. Everything is fake. Fake money, fake relationships, fake L.A.

[JDP]

George A. Romero Presents: Deadtime Stories Vol. 1 & Vol. 2 (2009 & 2011): Short-lived horror anthology series, hosted by George Romero (who was also one of the producers of this project.) But if you are expecting something a la Creepshow 1 & 2 you will be greatly disappointed. The production, make-up, special effects, writing, pretty much everything is quite poor in comparison. The highlight of the whole series is the third story in the first volume, House Call, directed by none other than Tom Savini. This one is pretty good, with a nice creepy "twist" at the end. If only they had been able to maintain the same quality for the rest of the stories it would have made the whole thing a much better and respectable effort, one worthy of carrying Romero's name.

[Neil]

The Siege of Jadotville - Interesting telling of the true sory of the stand of 150 Irish UN solders against thousands of troops... 6.5/10 - - - Updated - - - The Old Guard (Netflix) - Mediocre superhero flick with some good ideas, but not done to justice. Also seemingly hit a little too hard with the woke hammer. Lead female? Check! New hero black female? Check! Gay couple? Check! Weak link a white make? Check! 5.5/10

[MinionZombie]

Molly's Game Written and Directed by Aaron Sorkin, it stars Jessica Chastain and Idris Elba. It's about a former Olympic skiier who becomes the host of secret high end poker games and gets in trouble with the law. Sorkin knows how to pack a lot of punch into dialogue heavy subjects, and with the assistance of his editor(s) he's brought a real good punch to many portions of the movie. Surprisingly, though, there are some quite clunky lines of dialogue scattered about, and ultimately the film lacks tension as the legal high stakes kind of melt away. That said, the dive into her world of secret poker games - all the little details, the characters, and Molly's own sense of drive spirit the film along quite effectively even if, by the end, you wonder how much weight the conclusion really has. We Summon The Darkness Low budget 80s-set horror thriller starring Alexandra Daddario, who relishes her lead role as a rock chick who's not quite what she seems. Set against the backdrop of Middle America's moral panic over 'Satanic' metal music and religious hysteria, it moves along quite well with the main leads proving to be well written and performed. It plays around with a few genre tropes, has a sense of fun about it, but doesn't undercut itself. Johnny Knoxville plays a big time TV evangelist. For something in a similar-ish vein, there's also "Satanic Panic", which is more of a comedy -horror and was quite fun while it lasted, although I think WSTD is sticking around in my mind more than SP.

[Mike70]

The Passing Bell - a BBC mini-series. 7.5/10. I would have rated this higher but the wife and i are fucking vexed by the ending. This is a mini-series that follows two young men, one British, one German, through the Great War. I would like to take a cheese grater to the writers for the ending and the wife? I shudder at the threats she's uttered.

[Neil]

Arrival (2016) - Perfectly good scifi flick ruined by silly handwavium. Learn an alien language and somehow you then become conscious across time. Toss wank! 5/10

[Mike70]

The Deathmaster 1972. This an old time favorite of mine. A hippy guru de la Wampyre named Khorda attaches himself to a group of kids. Robert Quarry is great in this flick...too bad everyone else sucks...no seriously, this is a fun movie. 6/10

[Neil]

[shootemindehead]

The words "grind" and "house" come to mind.

[Mike70]

The words "grind" and "house" come to mind. Totally, dude. This is a classic drive-in flick over here. All of Robert Quarry's vampire movies are drive-in/grindhouse staples. Count Yorga, Vampire (a modern classic) did $8 million in its opening weekend in 1970. Unheard of cash at that time for a drive-in flick.

[shootemindehead]

I've heard of Count Yorga, but I don't think I've ever seen any of Quarry's flicks. I spose it's another thing to add to the To Do list. The ever growing To Do list.

[JDP]

Spirits of the Dead (1968): very "artsy" and rather abstract French-Italian horror/mystery/fantasy anthology, featuring three tales based on works by Edgar Allan Poe. Also features an impressive cast of veteran actors (Jane and Peter Fonda, Alain Delon, Brigitte Bardot, Terence Stamp; and Vincent Price is the narrator in the English-language release.) The third story, "Toby Dammit", penned by Federico Fellini and Bernardino Zapponi, and directed by Fellini himself, is actually rather "prophetic". It anticipates the stereotypical "punk rocker" attitude of the next decade. Take a look at Terence Stamp's hilarious over-the-top portrayal of the outrageous and disheveled titular character, and now take a look at John Lydon's "Johnny Rotten" Punk Rock persona of the 70s. You can tell that he must have watched this movie and took "Toby Dammit" as a role model.