PETER YATES GIVES MORE THAN CHASE IN THE CLASSIC 'BULLITT'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoIbkWe4IlZNR-6IjkCprljdnQA4qQKFAt0S7StKys94LEfbI_UIylV53NgDenugMwfOomLSibdk5z7vzCHH0JXJnifU3qJLjbSLTEpdI2vkpuHauLexhsHDKb9AbElaqxkEBODQ3EA4pr0iDjWjlCAihoNNjEdHLd7CIvPfuZlmJgZtVFPVUn-WKx9Q/s2243/Screen%20Shot%202023-03-24%20at%203.15.48%20AM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1256" data-original-width="2243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoIbkWe4IlZNR-6IjkCprljdnQA4qQKFAt0S7StKys94LEfbI_UIylV53NgDenugMwfOomLSibdk5z7vzCHH0JXJnifU3qJLjbSLTEpdI2vkpuHauLexhsHDKb9AbElaqxkEBODQ3EA4pr0iDjWjlCAihoNNjEdHLd7CIvPfuZlmJgZtVFPVUn-WKx9Q/s16000/Screen%20Shot%202023-03-24%20at%203.15.48%20AM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Steve McQueen in BULLITT Year: 1968 Rating: *****</u></td></tr></tbody></table><p>The iconic car chase is the only thing that seems to matter in BULLITT, and not just for the media since director Peter Yates's prior chase in his British heist thriller <a href="http://www.cultfilmfreaks.com/2020/09/AR.html">ROBBERY</a> was so admired by Steve McQueen, Yates got <i>this</i> gig... </p><p></p><p></p><p></p><p></p><p></p><p></p><p>But like there is far more than just action throughout the strategically tempered neo noir cadence of ROBBERY, Yates's cop/crime classic BULLITT is also more about words than wheels...</p><span></span>

action, classic, cop, crime, cult, don gordon, felice orlandi, jacqueline bisset, pat renella, peter yates, robert vaughn, simon oakland, sixties, steve mcqueen, thriller

PETER YATES GIVES MORE THAN CHASE IN THE CLASSIC 'BULLITT'

Steve McQueen in BULLITT Year: 1968 Rating: ***** The iconic car chase is the only thing that seems to matter in BULLITT, and not just for t...

STEVE MCQUEEN LITERALLY STEALS SAM PECKINPAH'S 'THE GETAWAY'

<p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiza30nh4-i-uQPowWvZtZFQnpn2fTxjKAWGetICiQB8Ud-P6nLfutYrB_GHEbtcbFvFw9qkJvYJYCaOJQ6819Xg1Ul0NQDophJ55NqH56w9nu0dRJcgtEdH8a-lQqMhODlgyull4K_aWY7fWMYS3jl0D5wwsfbvB2yfaE2pqX99sO3YjRhOw_o4DWYA/s1916/Screen%20Shot%202020-11-16%20at%202.47.30%20PM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="886" data-original-width="1916" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiza30nh4-i-uQPowWvZtZFQnpn2fTxjKAWGetICiQB8Ud-P6nLfutYrB_GHEbtcbFvFw9qkJvYJYCaOJQ6819Xg1Ul0NQDophJ55NqH56w9nu0dRJcgtEdH8a-lQqMhODlgyull4K_aWY7fWMYS3jl0D5wwsfbvB2yfaE2pqX99sO3YjRhOw_o4DWYA/s16000/Screen%20Shot%202020-11-16%20at%202.47.30%20PM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Steve McQueen in THE GETAWAY Year: 1972 Rating: ****</u></td></tr></tbody></table><p>The machine-pounding prologue/montage of Sam Peckinpah's THE GETAWAY embodies caged hopelessness of prison life better than most <i>entire</i>ly-<i>set-in</i>-<i>prison</i> prison flicks... plus it's the only sequence centered solely on Steve McQueen as career criminal Doc McCoy sans the uninspired acting of ingenue/partner Ali MacGraw...</p><p></p><p></p><p></p><p></p><p>During a pivotal meeting — tempted by Texas millionaire Ben Johnson after having sex to get Doc paroled and then tortured with envy — she has a vacant expression as opposed to McQueen's sharpened countenance... </p><p><span></span></p>

action, al bright, al lettieri, ali macgraw, ben johnson, bo hopkins, crime, exploitation, heist, modern western, road movie, sally struthers, sam peckinpah, steve mcqueen

STEVE MCQUEEN LITERALLY STEALS SAM PECKINPAH'S 'THE GETAWAY'

Steve McQueen in THE GETAWAY Year: 1972 Rating: **** The machine-pounding prologue/montage of Sam Peckinpah's THE GETAWAY embodies caged...

RAY LIOTTA & STUART WILSON IN 'NO ESCAPE' WITH ERNIE HUDSON

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV_pYnqCtL3pGTM8aXkS4HrmUI8_opmXReqCDYlRzsVFN5K9eK2NKjZygtxNkoZDo1VemCzxXIlB_R6JyvSaAnWY_GHhczGgz8NFUYT8fCSvz3nRcKRFlskSDhG5wkQk5Ex7P8LWcEoE4I9xcYbO2Fx8XxEEWU42ZQUc8-Z7uBULmeK1q6-Y9XmdINjQ/s1749/Screen%20Shot%202022-05-29%20at%205.07.28%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="712" data-original-width="1749" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV_pYnqCtL3pGTM8aXkS4HrmUI8_opmXReqCDYlRzsVFN5K9eK2NKjZygtxNkoZDo1VemCzxXIlB_R6JyvSaAnWY_GHhczGgz8NFUYT8fCSvz3nRcKRFlskSDhG5wkQk5Ex7P8LWcEoE4I9xcYbO2Fx8XxEEWU42ZQUc8-Z7uBULmeK1q6-Y9XmdINjQ/s16000/Screen%20Shot%202022-05-29%20at%205.07.28%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Ray Liotta in NO ESCAPE Year: 1994 Rating: ***1/2</u></td></tr></tbody></table><p>An action-packed b-movie that takes itself way too seriously, which is what makes NO ESCAPE great fun as Ray Liotta's only in an actual Fascist-future prison for a brief time, ironic since it's a prison-genre flick but taking place on a penal island like PAPILLON following the survival rules and ragged costume design of THE ROAD WARRIOR...<br></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Genuinely cool and fit, Liotta is, of course, the toughest and strongest and a completely handy stranger in a fortress world run by a passive yet formidable Lance Henriksen, polar opposite of British actor Stuart Wilson ruling the woodsy outskirts, whose insanely overboard, monologue-spouting dictator makes Dennis Hopper's WATERWORLD performance seem tame (and all but drowns out the prison's computer-monitor-monitoring warden Michael Lerner)... </p><p><span></span></p>

action, ernie hudson, escape, ian mcneice, kevin dillon, lance henriksen, nineties, prison, ray liotta, stuart wilson

RAY LIOTTA & STUART WILSON IN 'NO ESCAPE' WITH ERNIE HUDSON

Ray Liotta in NO ESCAPE Year: 1994 Rating: ***1/2 An action-packed b-movie that takes itself way too seriously, which is what makes NO ESCAP...

JONATHAN KAPLAN DIRECTS RAY LIOTTA IN 'UNLAWFUL ENTRY'

<p> </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvOvJ3i1E9VvKVzEoS9nmtpFL1lOgdlYDxBW4Rc0ukdev967ZlVIbl58AuQmF6cafYLHPIpyecHI4IXUHSt7ZJxQbbAEHOn3SczYhUmodfb8Lrn0RAt18zo_eeZoMVlbIpc2Xo956GlA4RWHZdlHYL4i20axLBnfFx0y95N9tejc7NVNS3YOUrOV1gXw/s2027/1%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="858" data-original-width="2027" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvOvJ3i1E9VvKVzEoS9nmtpFL1lOgdlYDxBW4Rc0ukdev967ZlVIbl58AuQmF6cafYLHPIpyecHI4IXUHSt7ZJxQbbAEHOn3SczYhUmodfb8Lrn0RAt18zo_eeZoMVlbIpc2Xo956GlA4RWHZdlHYL4i20axLBnfFx0y95N9tejc7NVNS3YOUrOV1gXw/s16000/1%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Ray Liotta in UNLAWFUL ENTRY Year: 1992 Rating: ***1/2</u></td></tr></tbody></table><p>Some former student directors of low-budget movie-producing icon Roger Corman, no matter how big they got, still held onto an economic style liken to the straightforward simplicity of an old school marquee b-movie, and Jonathan Kaplan was one of the A-students...<br> <br> Although his best (or most well known) movies came after "graduation" with vehicles such as the cult teen angst rebellion classic, OVER THE EDGE, and then guiding Jodie Foster's first Oscar-winning role in the more conventional THE ACCUSED and later on, using the actor from fellow Cormon crony Jonathan Demme (who directed Foster's second big win) for his risque road journey SOMETHING WILD...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><span></span></p>

cop, dick miller, harry northup, jonathan kaplan, ken lerner, kurt russell, madeline stowe, ray liotta, roger e. mosley, suspense, thriller

JONATHAN KAPLAN DIRECTS RAY LIOTTA IN 'UNLAWFUL ENTRY'

Ray Liotta in UNLAWFUL ENTRY Year: 1992 Rating: ***1/2 Some former student directors of low-budget movie-producing icon Roger Corman, no ma...

JONATHAN DEMME'S QUIRKY ROAD PICTURE 'SOMETHING WILD'

<p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirneKGCdx_YTeWAD-mGd_9RbKLzlwLe7jLdVM9WtZ-De3OOxLvWmQ8wpu5VSzcVqxuO6ugpyFStpx0PGNGRo_ypu--3C_v5y7vDSMiRMcHZX-KkL25jAIk-Vvhwq48SLyzU9geky2T3qjOzRgELtYfRKY3fZCly3WmQdEfEXxA8JvgwlvTZJYK5EXa5g/s1330/Screen+Shot+2020-01-12+at+9.29.30+PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="766" data-original-width="1330" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirneKGCdx_YTeWAD-mGd_9RbKLzlwLe7jLdVM9WtZ-De3OOxLvWmQ8wpu5VSzcVqxuO6ugpyFStpx0PGNGRo_ypu--3C_v5y7vDSMiRMcHZX-KkL25jAIk-Vvhwq48SLyzU9geky2T3qjOzRgELtYfRKY3fZCly3WmQdEfEXxA8JvgwlvTZJYK5EXa5g/s16000/Screen+Shot+2020-01-12+at+9.29.30+PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Ray Liotta's  in SOMETHING WILD Year: 1986 Rating: ****1/2</u></td></tr></tbody></table><p>Director Jonathan Demme's sexy road-flick SOMETHING WILD plays around with its title threefold, beginning with stiff-suited yuppie Jeff Daniels skipping out on a humble New York cafe's lunch check...<br> <br> And after being spotted and then picked-up by an extremely loose and experienced Melanie Griffith, taken down the departing highway to a rural motel for some ultra-R-rated sex, the audience (and Daniels) only <i>think</i> they know who's truly WILD here...<br> </p><p></p><p></p><p></p><p></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div> <div class="separator" style="clear: both; text-align: center;"> </div><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizJOVXfrd5Mzp34CdCRf1IPAgPzJEX_CqemaWjwJCsQq4nIgI7-L3rpg6uPKgF4QLlE9knVcXzBYtoV-CvUNsoekKTUiNo9q7b8oa1FKHYYzuLgxrs6xFVkNlDfXvEccQDShy23K_WSOiMBTIWLcAxIoUMDFTwzWo1esyIW9z9ItROEZqmb7NujzlEGQ/s1600/81907172_882584578837386_4802701733979488256_o.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="886" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizJOVXfrd5Mzp34CdCRf1IPAgPzJEX_CqemaWjwJCsQq4nIgI7-L3rpg6uPKgF4QLlE9knVcXzBYtoV-CvUNsoekKTUiNo9q7b8oa1FKHYYzuLgxrs6xFVkNlDfXvEccQDShy23K_WSOiMBTIWLcAxIoUMDFTwzWo1esyIW9z9ItROEZqmb7NujzlEGQ/s16000/81907172_882584578837386_4802701733979488256_o.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Ray Liotta in SOMETHING WILD</u></td></tr></tbody></table><p>Until the 45-minute "Kong-mark" when, after the romance hits a peak at Griffith's ten-year high school reunion, purposefully bordering on endearing small town cinema saccharine, Ray Liotta as Ray — Griffith's freshly sprung ex-con/ex-husband — shows up, and the breezy vehicle veers from fun-wild to wildly-dangerous: A quirky romantic comedy now sharing a Neo Noir/thriller template... <br> <br> During the best scene in another, more dark and shabby motel, Daniels is stuck between Liotta and Griffith in what's been natural to them all along... having nothing to do with sex, only facts. Daniels's initially polite cat-and-mouse wordplay with Liotta makes one forget his prior risque physicality and odd couple banter with Griffith the film once seemed entirely built around: <i>the boys</i> wield the truly daring anti-chemistry, and at this point even <i>she</i> knows it. <br> </p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-4UIpBV4P5RY/XhwWon5WxtI/AAAAAAABNLM/2xAPcPVnvpczxlW_znx_Qf8UDs6MLp-QwCLcBGAsYHQ/s1600/Screen%2BShot%2B2020-01-12%2Bat%2B9.30.34%2BPM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="972" data-original-width="1600" src="https://1.bp.blogspot.com/-4UIpBV4P5RY/XhwWon5WxtI/AAAAAAABNLM/2xAPcPVnvpczxlW_znx_Qf8UDs6MLp-QwCLcBGAsYHQ/s1600/Screen%2BShot%2B2020-01-12%2Bat%2B9.30.34%2BPM.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Jeff Daniels and Ray Liotta in SOMETHING WILD with Melanie Griffith</u></td></tr> </tbody></table>

eighties, indie, jeff daniels, jonathan demme, kristin olsen, margaret colin, melanie griffith, quirky, ray liotta, road movie, romantic comedy, thriller

JONATHAN DEMME'S QUIRKY ROAD PICTURE 'SOMETHING WILD'

Ray Liotta's  in SOMETHING WILD Year: 1986 Rating: ****1/2 Director Jonathan Demme's sexy road-flick SOMETHING WILD plays around wi...

RIP RAY LIOTTA TRUE LEAD OF THE LEGENDARY 'GOODFELLAS'

<p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTMM_c9t4jd8pPhNA31AZ0YgavTvsw9Dp1jCsFHr02oBqB3KVyodr7fYOpYi3BnldPI6gp4mUfHNqzfHU-5icwP_bEqkKGWW9aKolu8VT1aWVbuOZ1Co9qGvmHiNBYSPDp1T98EJvNBb4Cqf_xUkzDgB0vRWa0P5Uh7QilSBF68Lfo92whHBshrNSVZw/s2272/Screen%20Shot%202022-05-26%20at%202.08.18%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="927" data-original-width="2272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTMM_c9t4jd8pPhNA31AZ0YgavTvsw9Dp1jCsFHr02oBqB3KVyodr7fYOpYi3BnldPI6gp4mUfHNqzfHU-5icwP_bEqkKGWW9aKolu8VT1aWVbuOZ1Co9qGvmHiNBYSPDp1T98EJvNBb4Cqf_xUkzDgB0vRWa0P5Uh7QilSBF68Lfo92whHBshrNSVZw/s16000/Screen%20Shot%202022-05-26%20at%202.08.18%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Ray Liotta as Henry Hill in GOODFELLAS</u></td></tr></tbody></table><p>The one thing GOODFELLAS had going that set it apart from all the inferior clones is Ray Liotta, the star of the movie although he's second billed to Robert De Niro who, along with scene-stealer and sole Oscar winner Joe Pesci, gets most of the credit for the legacy of the film along with director Martin Scorsese, peaking here as an auteur...</p><p></p><p></p><p></p><p></p><p>It's a story that centers on Ray Liotta's real life former mobster Henry Hill, providing Liotta the most natural-sounding narration in the history of movies and, sadly, Ray Liotta, the comparable baby of the film to Robert, Joe and Martin, has died... the first to go, and in this particular groundbreaking, game-changing masterpiece, the <i>true</i> leading role. <br></p><span></span>

exploitation, martin scorsese, memorial, mobster, nineties, ray liotta

RIP RAY LIOTTA TRUE LEAD OF THE LEGENDARY 'GOODFELLAS'

Ray Liotta as Henry Hill in GOODFELLAS The one thing GOODFELLAS had going that set it apart from all the inferior clones is Ray Liotta, the ...

OLIVER REED & SUNNY JOHNSON IN 'DR. HECKYL AND MR. HYPE'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmlHiCFgNNqqDSZc083DjmjGJ6meEQXmeGVzNzhmxNgnl4tB7gC8R4xkb9QuOOCNAZwLR9xTEZaKBdoDgMt6R1TF-4nQjIP66Zg9U7NvS637BncU1Fh6rve2aRm9cwn_yQ2Xf2LSgCVnET4lpNqFvwRiPpJRw7MRMVsVS9jQzKFfNWSnWuklbo0qNn6Q/s1801/1%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="911" data-original-width="1801" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmlHiCFgNNqqDSZc083DjmjGJ6meEQXmeGVzNzhmxNgnl4tB7gC8R4xkb9QuOOCNAZwLR9xTEZaKBdoDgMt6R1TF-4nQjIP66Zg9U7NvS637BncU1Fh6rve2aRm9cwn_yQ2Xf2LSgCVnET4lpNqFvwRiPpJRw7MRMVsVS9jQzKFfNWSnWuklbo0qNn6Q/s16000/1%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed in DR. HECKYL AND MR. HYPE Year: 1980 Rating: **1/2</u></td></tr></tbody></table><p>What's considered one of Cannon Pictures <i>and</i> Oliver Reed's worst movies has ironical casting since Reed, back in his Hammer beginnings, appeared as a pimp-bouncer in their own <a href="http://www.cultfilmfreaks.com/2021/07/2F.html">Dr. Jekyll adaptation</a>...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>And in the satirical DR. HECKYL AND MR. HYPE, as a ghoulish-looking yet sweet-natured podiatrist, he alters into the dashing counterpart, an overweight Reed, not all that mainstream-handsome but fitfully formidable, as the best scenes are of the body count nature killing loose women he dates yet still can't score with...</p><p><span></span></p>

body count, cannon, cult, eighties, exploitation, horror satire, oliver reed, sunny johnson

OLIVER REED & SUNNY JOHNSON IN 'DR. HECKYL AND MR. HYPE'

Oliver Reed in DR. HECKYL AND MR. HYPE Year: 1980 Rating: **1/2 What's considered one of Cannon Pictures and Oliver Reed's worst mo...

MICHAEL WINNER DIRECTS OLIVER REED IN 'THE JOKERS'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrOpEuHScMYbPYDu-NDmfou_apt7Q3D0bkRjcr3dkSPmNn8vrY0YeuYK7oEtzlIkkhusQTH9kCc6asqOE7VXD82PR_1aDd9TmfWei0KWQv4_8ewqg8fG0u-XpGT-4FXbAi1Y-7GsL1fMFiUvqiokvRugQo8Ra86JR5gAHWnSb657M08ru1J6CFak27YA/s1352/1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="676" data-original-width="1352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrOpEuHScMYbPYDu-NDmfou_apt7Q3D0bkRjcr3dkSPmNn8vrY0YeuYK7oEtzlIkkhusQTH9kCc6asqOE7VXD82PR_1aDd9TmfWei0KWQv4_8ewqg8fG0u-XpGT-4FXbAi1Y-7GsL1fMFiUvqiokvRugQo8Ra86JR5gAHWnSb657M08ru1J6CFak27YA/s16000/1.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: THE JOKERS Year: 1967 Rating: **</u></td></tr></tbody></table><p>The most disappointing of director Michael Winner and actor Oliver Reed's 1960's collaborations following their first and best, <a href="http://www.cultfilmfreaks.com/2020/10/system.html">THE SYSTEM</a> and before (the same year as)<a href="http://www.cultfilmfreaks.com/2022/05/reedwelles.html"> I'LL NEVER FORGET WHAT'S'ISNAME</a> and then <a href="http://www.cultfilmfreaks.com/2022/05/olliephant.html">HANNIBAL BROOKS</a>, the crime comedy THE JOKERS is too broad for a caper and not humorous enough for a comedy...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Two brothers, one an ex-military man played by 12-year-old-voiced <a href="http://www.cultfilmfreaks.com/2022/02/bakerwinner.html">Michael Crawford</a>, horribly miscast, and his far more potentially-intriguing, womanizing brother <a href="http://www.cultfilmfreaks.com/search/label/oliver%20reed">Oliver Reed</a>, attempt a media-frenzied heist on the Crown Jewels while playing cat-and-mouse with a trio of Royal keystone-like cops and there's so much running around not much lands in the form of the characters being developed beyond their gimmicky circumstance that, from beginning to end, this duo seems far too protected from the audience hoping they don't fail: which is the most important element of any heist film, comedic or otherwise.</p><p><span></span></p>

caper, comedy, counter-culture, crime, james donald, michael crawford, michael winner, oliver reed, sixties

MICHAEL WINNER DIRECTS OLIVER REED IN 'THE JOKERS'

Title: THE JOKERS Year: 1967 Rating: ** The most disappointing of director Michael Winner and actor Oliver Reed's 1960's collaborati...

CAROL LYNLEY IN 'THE SHUTTERED ROOM' WITH OLIVER REED

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUJlZxkJ6KOs3tBhhaTrCI6-vH77_BH2F2yi_2mgG6e_gnLaFbakcZAq4OtiPw4XXb3O7wlLwmXyyl8JGqb5ub1VzMUgZk9S9kzSIKHl9fK6EElLrD3fGu-e7j-CUjvL5tNEHLaRe00U43xyidZ8uqObYETXAY9TFYS-WTRsP8OxtE4Ggm11Gu5I7EMw/s1759/0.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="834" data-original-width="1759" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUJlZxkJ6KOs3tBhhaTrCI6-vH77_BH2F2yi_2mgG6e_gnLaFbakcZAq4OtiPw4XXb3O7wlLwmXyyl8JGqb5ub1VzMUgZk9S9kzSIKHl9fK6EElLrD3fGu-e7j-CUjvL5tNEHLaRe00U43xyidZ8uqObYETXAY9TFYS-WTRsP8OxtE4Ggm11Gu5I7EMw/s16000/0.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: THE SHUTTERED ROOM Year: 1967 Rating: ***1/2</u></td></tr></tbody></table><p>A near clone of Sam Peckinpah's STRAW DOGS only five years earlier, during the psychedelic era, which is only apparent from the bare-bone jazz soundtrack orchestrating a married couple consisting of a beautiful blonde wife with an ordinary, unassuming husband returning to her small New England-based island home (yet obviously shot in the beautifully rustic exterior of England), part of an eerie Gothic mill that's its very own living/breathing character...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Making the inevitable climax of who's hiding within the titular SHUTTERED ROOM not that important a surprise-twist having been teased during a surreal, horror-trope prologue by mostly TV-director David Greene...  </p><p><span></span></p>

body count, british, bully, carol lynley, david greene, drama, gig young, gothic, horror, jazz score, oliver reed, rural, sixties, thriller

CAROL LYNLEY IN 'THE SHUTTERED ROOM' WITH OLIVER REED

Title: THE SHUTTERED ROOM Year: 1967 Rating: ***1/2 A near clone of Sam Peckinpah's STRAW DOGS only five years earlier, during the psych...

HAMMER PRESENTS 'NIGHT CREATURES' WITH PETER CUSHING

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSzb5J_NnnTAOKUFUvPNUxPdt96RcgPJcV7MDYdKRkVzWnFvnbxBwpfwmzBtkyR2OEUPl2K3hP3EBwTaUbBwPGy5gNc8uG9okKfVs_HZ-stJO925PP2JoFyp2wG80ZEPs8trjREP9Gl-rpU4qTxTvGAqp9H0l4pPdfGmzQyPkzKWtgOKjyXgd67w63kA/s1846/Screen%20Shot%202022-05-15%20at%208.27.42%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="837" data-original-width="1846" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSzb5J_NnnTAOKUFUvPNUxPdt96RcgPJcV7MDYdKRkVzWnFvnbxBwpfwmzBtkyR2OEUPl2K3hP3EBwTaUbBwPGy5gNc8uG9okKfVs_HZ-stJO925PP2JoFyp2wG80ZEPs8trjREP9Gl-rpU4qTxTvGAqp9H0l4pPdfGmzQyPkzKWtgOKjyXgd67w63kA/s16000/Screen%20Shot%202022-05-15%20at%208.27.42%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed and Peter Cushing in Hammer's NIGHT CREATURES Year: 1962 Rating: ****1/2</u></td></tr></tbody></table><p>Hammer's decision to name this hybrid of thriller, horror and mystery CAPTAIN CLEGG proves that that last genre wasn't intended since spoiling Peter Cushing's true identity doesn't only ruin the plot's sneaky, intriguing premise, it makes Cushing's uniquely affable performance yet another fervent and intense one, not battling monsters this time but England's 1800's-era "tax man" himself...<br></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>In Patrick Allen's square-jawed Captain Collier, sent with his troops to investigate what he doesn't yet realize is a tightknit, secret-latch, wine-smuggling operation run by Cushing playing local vicar Rev. Dr. Blyss, THE ONLY character that director Peter Graham Scott... until well into the second act... intends him to be...<br></p><span></span>

british, david lodge, derek francis, hammer films, horror, martin benson, martin reid, michael ripper, mystery, oliver reed, patrick allen, peter cushing, peter graham scott, sixties, yvonne romain

HAMMER PRESENTS 'NIGHT CREATURES' WITH PETER CUSHING

Oliver Reed and Peter Cushing in Hammer's NIGHT CREATURES Year: 1962 Rating: ****1/2 Hammer's decision to name this hybrid of thrill...

HAMMER'S VICTORIAN HORROR 'THE CURSE OF THE WEREWOLF'

<p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUKnIQI-MNVPnDlTj6Ae1uKMer_tqQgS8HbaDC2BrHgroJueP-kz3s5evaGGNoqIGrjhXPpAabZ902JFWKKl3XXUnEGdI00Y2AmLuPCNN7B2hfl0k43ycCD7bAehAIYFfhQHvaFOCNLguYBY-0GcwTQSBmTu9ezlV79I9je7M0w4VXxi6532cs5803g/s2250/1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1057" data-original-width="2250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUKnIQI-MNVPnDlTj6Ae1uKMer_tqQgS8HbaDC2BrHgroJueP-kz3s5evaGGNoqIGrjhXPpAabZ902JFWKKl3XXUnEGdI00Y2AmLuPCNN7B2hfl0k43ycCD7bAehAIYFfhQHvaFOCNLguYBY-0GcwTQSBmTu9ezlV79I9je7M0w4VXxi6532cs5803g/s16000/1.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed in THE CURSE OF THE WEREWOLF Year: 1961 Rating: ****</u></td></tr></tbody></table><p>A man gets bitten by a wolf and slowly turns into one… Which probably sounds extremely familiar but the British-run Hammer Films will have nothing to do with anything <i>that</i> simple, basic or cliche…</p><p></p><p></p><p></p><p></p><p></p><p>The setup, before we even meet Oliver Reed’s Leon, is eerie and creative, introducing the story set during the colorfully antique 1800’s where a beggar's thrown out of a tavern, and then ventures naively into the last place he’s wanted: a lush castle where an aged King has married his beautiful young bride (a nefarious, later grotesque Anthony Dawson to insanely gorgeous blonde Josephine Llewellyn)… <br> </p>

anthony dawson, british, hammer films, horror, joy webster, oliver reed, terence fisher, victorian, werewolf, yvonne romain

HAMMER'S VICTORIAN HORROR 'THE CURSE OF THE WEREWOLF'

Oliver Reed in THE CURSE OF THE WEREWOLF Year: 1961 Rating: **** A man gets bitten by a wolf and slowly turns into one… Which probably sou...

HAMMER'S 'THE TWO FACES OF DR. JEKYLL' WITH CHRISTOPHER LEE

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4xtb5zxVLxywC6y7o7v21gml2LiV6Yb07r9oYiPwDp4PIy3EZKrv-_OJpFUNsE1Fc7aVqSVlAq2669TPs-aPU4x8FoCqerTnlbV9w_iZhoezs-4fBWrPPDqIN9N-9mPMeDaAqYwwzbJEp5kQOF2T4FeaJ1tcUaFDmWLbIQ7TAvYJ_4x_4lepEnu9xxA/s1001/Screen%20Shot%202022-05-12%20at%2010.13.15%20PM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="649" data-original-width="1001" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4xtb5zxVLxywC6y7o7v21gml2LiV6Yb07r9oYiPwDp4PIy3EZKrv-_OJpFUNsE1Fc7aVqSVlAq2669TPs-aPU4x8FoCqerTnlbV9w_iZhoezs-4fBWrPPDqIN9N-9mPMeDaAqYwwzbJEp5kQOF2T4FeaJ1tcUaFDmWLbIQ7TAvYJ_4x_4lepEnu9xxA/w400-h259/Screen%20Shot%202022-05-12%20at%2010.13.15%20PM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed cameo Year: 1960 Rating: ***</u></td></tr></tbody></table><p>The titular scientist in Hammer's usual Victorian era fits the 1800's in his stuffy demeanor until turning into a bohemian wild man frequenting swinging nightclubs and nightlife, providing future real life party animal Oliver Reed a bit part opposite <a href="http://www.cultfilmfreaks.com/2020/09/jungle.html">Joy Webster</a>... <br></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>And in the legendary double lead is Paul Massie, not a bad actor but is hardly interesting enough to carry an entire picture like, say, Peter Cushing or, in this particular case, Christopher Lee as a leech rather than neck-sucker... His gambling scoundrel character Paul Allen takes advantage of old friend Jekyll by spending his money and romancing his wife... Meanwhile, neither Lee or ingenue Dawn Addams recognizes Hyde as being Jekyll with a little less facial hair to differentiate between the same actor; but one has to separate reality from what's a fantastical kind of offbeat thriller with not nearly enough good times when they're rolling, mostly because of the distracting token fatale in snake-charming stripper Norma Marla, whose affair with Jekyll is like... pun-intended... watching two serpents screw in Eden. But, either way, manipulative cheating wife Addams is far more interesting, surreptitiously wicked, and beautiful. Perhaps she too needed two faces. <br></p><p><span></span></p>

christopher lee, dawn addams, exploitation, hammer films, janina faye, joy webster, oliver reed, paul massie, pauline shepherd, sixties, thriller

HAMMER'S 'THE TWO FACES OF DR. JEKYLL' WITH CHRISTOPHER LEE

Oliver Reed cameo Year: 1960 Rating: *** The titular scientist in Hammer's usual Victorian era fits the 1800's in his stuffy demeano...

MICHAEL WINNER DIRECTS OLIVER REED RUNNING 'THE SYSTEM'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3xkQHt5KLsTrnMOF-JvpSCbmwxcProcRXxZdtOMKZC3Bt2TPFYKSUhQ5BHXyZqF4Yl5Sz1ht-MW9VjeOmmLvz3Pkib9Sma0MywnUgpi0raFTg7Wy4LArtPOBBZNIW9mzbFBsFzd6UdoTzfq1U6UvZapKKI5Y1T4lG1vHUX-YIyYnIaNjbDVKVpecAkQ/s1127/Screen%20Shot%202022-10-23%20at%206.25.27%20PM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="479" data-original-width="1127" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3xkQHt5KLsTrnMOF-JvpSCbmwxcProcRXxZdtOMKZC3Bt2TPFYKSUhQ5BHXyZqF4Yl5Sz1ht-MW9VjeOmmLvz3Pkib9Sma0MywnUgpi0raFTg7Wy4LArtPOBBZNIW9mzbFBsFzd6UdoTzfq1U6UvZapKKI5Y1T4lG1vHUX-YIyYnIaNjbDVKVpecAkQ/s16000/Screen%20Shot%202022-10-23%20at%206.25.27%20PM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: The System Year: 1964 Rates: ****1/2</u></td></tr></tbody></table><p>THE GIRL-GETTERS is really THE SYSTEM as the other title makes little sense — and although the British New Wave comedy/drama <i>does</i> begin like a horny-guys ensemble, it soon narrows solely onto Oliver Reed as Tinker, head of the wolf pack who "gets his" by falling in love with a rich model as cool, smooth, complicated and yes, beautiful as he is...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Director Michael Winner, before the <a href="http://www.cultfilmfreaks.com/2019/01/bronson-winner-three.html">Charles Bronson action</a> flicks, began an eclectic partnership with Hammer villain Reed, and the first is their best: Winner provides a looser LONELINESS OF THE LONG DISTANCE RUNNER vibe with similar satirical montage breaks; and Reed's Tinker... the local womanizing photographer... is all smiles and robust energy, hardly frowning or scowling before a long career playing frowning, scowling antagonists and anti-heroes. </p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvhquBVvoqYZCX0bBs-mmZUIBT8vo-vZGeAwUolQCmNxSq1CGn4fWcwqrSN2MKEOdAKVDbIr-nZ4lfV6ykA7DQyW7STg98B954l28lK6elQ2KFhOuh-1MifS8aPvA5V3S7a2hLxpEtVhPk49xChKt0vSqaG5z1So89GhE2pCurRoA6RxOmm0HY02gWtw/s1115/Screen%20Shot%202022-10-23%20at%206.25.27%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="448" data-original-width="1115" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvhquBVvoqYZCX0bBs-mmZUIBT8vo-vZGeAwUolQCmNxSq1CGn4fWcwqrSN2MKEOdAKVDbIr-nZ4lfV6ykA7DQyW7STg98B954l28lK6elQ2KFhOuh-1MifS8aPvA5V3S7a2hLxpEtVhPk49xChKt0vSqaG5z1So89GhE2pCurRoA6RxOmm0HY02gWtw/s16000/Screen%20Shot%202022-10-23%20at%206.25.27%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>The System aka The Girl-Getters</u></td></tr></tbody></table><p>Taking place during two weeks at a British vacation spot, there's a contained <i>hanging-out all-night</i> vibe as this might've influenced AMERICAN GRAFFITI, putting you right alongside the characters also including a female version of Tinker (Barbara Ferris); a sullen married woman (Ann Lynn); Tinker's newly engaged <i>finally grown-up</i> best friend (John Alterton); and a ditsy conquest (Julia Foster):..</p><p></p><p></p><p>All working and playing at this sunny retreat where tourists abound, and our boys use their titular SYSTEM to cover the entire area (girls and money), saving up for the approaching winter. And although they never reach that particular season, the foreboding chill is palpable, ironically after Reed's creative, genuine charm had almost completely thawed Jane Merrow's sublime dream-girl, Nicola, in what's more of a prolonged end of a party than a beginning, middle and end of a romantic summertime adventure — yet it's all that too. </p><p><span></span></p>

andrew ray, ann lynn, british new wave, comedy, david hemmings, drama, ensemble, guy doleman, iain gregory, jane merrow, john alderton, julia foster, michael winner, oliver reed, sixties, the searchers

MICHAEL WINNER DIRECTS OLIVER REED RUNNING 'THE SYSTEM'

Title: The System Year: 1964 Rates: ****1/2 THE GIRL-GETTERS is really THE SYSTEM as the other title makes little sense — and although the B...

MICHAEL WINNER DIRECTS OLIVER REED IN 'HANNIBAL BROOKS'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuZG4GMvRLWVuJBbGTb9LAFSp5WvZ-GBcLvX0cUifg1Q7uRCuQ1JVL0CL30cSveHMVvN-S4Wri7_UMUYCwSwWcLVFKG68J2-VFQPe8hSrcu-eoOlnovvpxngdK6zMAvbYdzb5Qwbvq1ebIS19d0r4aMwnUPGK84j5doAB8Gz72vNowRzsYIzefEOeuYg/s1277/1-1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="642" data-original-width="1277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuZG4GMvRLWVuJBbGTb9LAFSp5WvZ-GBcLvX0cUifg1Q7uRCuQ1JVL0CL30cSveHMVvN-S4Wri7_UMUYCwSwWcLVFKG68J2-VFQPe8hSrcu-eoOlnovvpxngdK6zMAvbYdzb5Qwbvq1ebIS19d0r4aMwnUPGK84j5doAB8Gz72vNowRzsYIzefEOeuYg/s16000/1-1.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed in HANNIBAL BROOKS Year: 1969 Rating: ***1/2</u></td></tr></tbody></table><p>Short, quirky, extremely offbeat Michael J. Pollard is like a novelty song of an actor, with BONNIE AND CLYDE his one big hit while in other movies, such as <a href="http://www.cultfilmfreaks.com/search/label/michael%20winner">Michael Winner's</a> fourth collaboration with <a href="http://www.cultfilmfreaks.com/search/label/oliver%20reed">Oliver Reed</a>, HANNIBAL BROOKS, he doesn't really fit at all... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Although he's almost deliberately cast against type as a gung-ho explosives-expert leading partisans around to kill Germans, and since Reed himself hardly seems part of World War II, both work together comfortably enough in a hybrid of road movie, comedy and action/adventure where Reed, a POW in Germany... after conveniently working in a German zoo... takes a prized elephant across enemy lines into, eventually, Switzerland... </p><p><span></span></p>

action, adventure, comedy, james donald, john alderton, michael j. pollard, michael winner, nazi, oliver reed, pow, road movie, sixties, world war II

MICHAEL WINNER DIRECTS OLIVER REED IN 'HANNIBAL BROOKS'

Oliver Reed in HANNIBAL BROOKS Year: 1969 Rating: ***1/2 Short, quirky, extremely offbeat Michael J. Pollard is like a novelty song of an ac...

OLIVER REED AGAIN IN HAMMER'S 'THE PIRATES OF BLOOD RIVER'

<p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-2NH-ioEPWhqAyuouB_VPanDnQqTf8ctFPLLwqyq3dsoNxGuynRwD4Anh6wNLbnT86e64AOQz0KdSSlShVySPZSHqj-t8ra2CMlr5VkGmNPLv9MAN2G9bqtB6Lp5ZCYKhLAOHugrlvrbov6HaQVGVtetFUVNatv77HLLBuBoEM2Hi6QBPNrNVmpwWXg/s1430/159942583_1195755417520299_2845632136342354247_o.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="606" data-original-width="1430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-2NH-ioEPWhqAyuouB_VPanDnQqTf8ctFPLLwqyq3dsoNxGuynRwD4Anh6wNLbnT86e64AOQz0KdSSlShVySPZSHqj-t8ra2CMlr5VkGmNPLv9MAN2G9bqtB6Lp5ZCYKhLAOHugrlvrbov6HaQVGVtetFUVNatv77HLLBuBoEM2Hi6QBPNrNVmpwWXg/s16000/159942583_1195755417520299_2845632136342354247_o.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed in THE PIRATES OF BLOOD RIVER 1961 Rates: **1/2</u></td></tr></tbody></table><p>The twist ending of Hammer's THE PIRATES OF BLOOD RIVER is not only given away in the prologue when a town zealot's free-spirited son Kerwin Matthews loses his married lover, but in the title itself, making only half sense since these PIRATES, led by Christopher Lee with subordinates Michael Ripper, Peter Arne and Oliver Reed, are hardly ever on a pirate ship, having landed upon an island sanctuary of Huguenot farmers that, as the story commences, is attacked by those land-roaming scoundrels, thinking there's gold nearby... </p><p></p><p></p><p></p><p>It's a shame when BLOOD RIVER reaches the point where the Huguenots and Pirates have a Mexican standoff since, earlier on, Matthews — attempting his SINBAD energy despite being too old — is sent to prison, then escapes... </p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXUHLSIXmXEcKGoxzxHHo9a5C3diAsP2fKrZww-rrFrudVOiIm5pODEJzbDeTM2eNTrHN-lqGh0C7TOSZY5swnW3E9V1JQFZYisMpd8siHpggg3rgEeJXMuh0EjMfQw0k4Iwhvcgo2ZJGSynIgs13P5zMp0c7JXvFcBTNYzPpFK114Six84uTxX2ogQ/s1436/160006474_1195755434186964_2040556207424182213_o.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="617" data-original-width="1436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXUHLSIXmXEcKGoxzxHHo9a5C3diAsP2fKrZww-rrFrudVOiIm5pODEJzbDeTM2eNTrHN-lqGh0C7TOSZY5swnW3E9V1JQFZYisMpd8siHpggg3rgEeJXMuh0EjMfQw0k4Iwhvcgo2ZJGSynIgs13P5zMp0c7JXvFcBTNYzPpFK114Six84uTxX2ogQ/s16000/160006474_1195755434186964_2040556207424182213_o.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed in THE PIRATES OF BLOOD RIVER with Peter Arne</u></td></tr></tbody></table><p>During which this Hammer adventure is very adventurous and action-packed... Sadly the villains take over in Christopher Lee's worst role, dressed for a bad Halloween party, added to which Peter Arne kills off a far cooler Oliver Reed... Hammer just didn't know their potential... </p><p></p><p>This misleadingly advertised swashbuckler buckles under the weight of its own unambitious limitations, and with a "younger male hero" in Glenn Corbett afraid to fight, and Marla Landi pretty but weak in the ingenue department, PIRATES is more sunken than treasure. <br></p><p><span></span></p>

action, adventure, hammer films, john gilling, michael ripper, oliver reed, peter arne, pirates, sixties

OLIVER REED AGAIN IN HAMMER'S 'THE PIRATES OF BLOOD RIVER'

Oliver Reed in THE PIRATES OF BLOOD RIVER 1961 Rates: **1/2 The twist ending of Hammer's THE PIRATES OF BLOOD RIVER is not only given aw...

OLIVER REED & ART HINGLE IN DAVID CRONENBERG'S 'THE BROOD'

<p></p><p></p><p></p><p></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLVR03Pp4vh7MYeuSZMlL2f6KKVTVKPY6DXJprtvtPRCJACw9AGnql98XZzUV3n9bJnQEx7PaCmk5NPWVbKXtTpugG5qFRx1rvpLIz-6ucll7VVqqcWPsWBbc1UHnWo-8Cag4d3lSTXTLztP3L4k6Tpuj31L2XBVpLjLSrsrnAQeDZyOojTuU5zKyFJw/s531/ollie+brood.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="336" data-original-width="531" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLVR03Pp4vh7MYeuSZMlL2f6KKVTVKPY6DXJprtvtPRCJACw9AGnql98XZzUV3n9bJnQEx7PaCmk5NPWVbKXtTpugG5qFRx1rvpLIz-6ucll7VVqqcWPsWBbc1UHnWo-8Cag4d3lSTXTLztP3L4k6Tpuj31L2XBVpLjLSrsrnAQeDZyOojTuU5zKyFJw/w400-h253/ollie+brood.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Year: 1979 Rating: ****</u></td></tr></tbody></table><p>The term “watch your temper” has never been so relevant and palpable than in THE BROOD, where Oliver Reed’s Dr. Hal Raglan, a psychiatrist in complete control of his mentally childlike subjects, has a favorite patient with serious issues: Enter Nola Caverth, played by THE COLLECTOR actress Samantha Eggar, intensely listening to the doctor’s advice… But who's really in charge?</p><p></p><p></p><p></p><p></p><p></p><p>Well neither British actors are the main stars despite top billing: The investigative buried lead is third-billed INVASION OF THE BODY SNATCHERS patient-x Art Hindle as Nola’s separated husband and father of a vulnerable little girl, Candace, played sublimely by Cindy Hinds, aesthetic precursor to Heather O’Rourke from POLTERGEIST...As dad pieces clues together, various characters are stalked by what look like psychotic school kids combined with the pint-sized literal little devil from DON'T LOOK NOW and/or a taller yet equally aggressive TRILOGY OF TERROR's Zuni Fetish Doll: shifting the aura from an intriguing psychological thriller to a genuinely frightening horror flick...</p><p></p><p></p><p></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhitHqIhWhg3n-cKjUJijkAoPTRphYL563DbffhZzRELJ3BKBllfpelhB5j4vs80J8jV4azc0mNPwceEPRhmfL3BoVGFmAnWGXUCI77tyeAe83PkxaZkWw066uWE00ngYwzNLg-a52ZoRWErbzX1uFaaY4Lhbn7WwLLtT-ry1dmjrXSDW6xiTmBpHEnfQ/s1263/Screen%20Shot%202022-05-09%20at%206.12.54%20PM.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="664" data-original-width="1263" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhitHqIhWhg3n-cKjUJijkAoPTRphYL563DbffhZzRELJ3BKBllfpelhB5j4vs80J8jV4azc0mNPwceEPRhmfL3BoVGFmAnWGXUCI77tyeAe83PkxaZkWw066uWE00ngYwzNLg-a52ZoRWErbzX1uFaaY4Lhbn7WwLLtT-ry1dmjrXSDW6xiTmBpHEnfQ/w400-h210/Screen%20Shot%202022-05-09%20at%206.12.54%20PM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Art Hindle in THE BROOD</u></td></tr></tbody></table><p>With distorted, nightmarish faces and the power to kill anyone connected to Nola’s bitter dream-state, the origin and purpose of the evil tykes should be kept secret. But anyone familiar with THE BROOD already knows what's up. Let’s just say, catharsis has rarely been as creepy, vicious and grotesque.. Horror auteur David Cronenberg keeps the story moving with a dark, ominous pace even though much of the film occurs in the dayligh</p><p></p><p></p><p></p><p></p><p>Despite too much scientific dialogue between bloodshed, not always enhancing the storyline, with Oliver Reed spouting exposition, it's forgivable. But humans aside, those killer mutants really steal the show: Too bad they didn’t have a larger playground to wield their lunacy as the best scenes include their body count hunting spree: first with Nola's parents, and then the perfect woman/school teacher (Susan Hogan). And the very, very end, involving a bizarre form of childbirth, should send men right back into the waiting room, chain smoking cigarettes while anticipating the outcome.</p><p></p><p><span></span></p>

art hindle, cindy hinds, david cronenberg, horror, nuala fitzgerald, oliver reed, samantha eggar, seventies, susan hogan

OLIVER REED & ART HINGLE IN DAVID CRONENBERG'S 'THE BROOD'

Year: 1979 Rating: **** The term “watch your temper” has never been so relevant and palpable than in THE BROOD, where Oliver Reed’s Dr. Hal...

YOUNG BRITISH BLONDE BEAUTY GILLIAN HILLS AS 'BEAT GIRL'

<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPoSeaF8jGcoJq5wcXOHwBXjE-pE-PgdDQp_wD3nP32xQNROXtS9f9UMKx0ZImjLQaWInsvspyU1a25CHoAlbSV_V3iGirV8HrnRT79gRltzNeqDmZXybAylRcHX2gZ2unUjMH1kl3ZSKPl3ifgW_WmX83u3l0WdNbbsIryzfFDmCfTBFKMzb3goHegA/s1150/Screen+Shot+2020-08-17+at+1.44.03+AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="584" data-original-width="1150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPoSeaF8jGcoJq5wcXOHwBXjE-pE-PgdDQp_wD3nP32xQNROXtS9f9UMKx0ZImjLQaWInsvspyU1a25CHoAlbSV_V3iGirV8HrnRT79gRltzNeqDmZXybAylRcHX2gZ2unUjMH1kl3ZSKPl3ifgW_WmX83u3l0WdNbbsIryzfFDmCfTBFKMzb3goHegA/s16000/Screen+Shot+2020-08-17+at+1.44.03+AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed with Gillian Hills as BEAT GIRL Year: 1960</u></td></tr></tbody></table><p>BEAT GIRL is like two movies in one, and both are pretty great with the insanely gorgeous Gillian Hills, a hybrid of Sue Lyon's LOLITA and Diane Lane in RUMBLE FISH: All three looking dynamic in B&W while <i>this</i> more obscure gem centers on teenagers <i>wild</i> about the Stateside "hopeless and soapless" Beatnik movement, grooving to the jazz score of composer John Barry (featuring his live John Barry Seven)...<br> <br> And when the wayward/lackadaisical youngsters aren't hanging-out, the main plot centers solely on Gillian's Jennifer Linden, a rich spoiled brat of sixteen (her real age), who unfairly loathes her architect father David Farrar's new wife (Noelle Adam), a pretty yet earthy, twenty-something French girl — with a past...<br> </p><p></p>

beatnik, british new wave, carol white, christopher lee, claire gordon, david farrar, exploitation, gillian hills, jazz score, melodrama, noëlle adam, oliver reed, shirley anne field, sixties, teddy boys

YOUNG BRITISH BLONDE BEAUTY GILLIAN HILLS AS 'BEAT GIRL'

Oliver Reed with Gillian Hills as BEAT GIRL Year: 1960 BEAT GIRL is like two movies in one, and both are pretty great with the insanely gor...

RICHARD LESTER RETURNS TO THE SWORD FOR 'ROYAL FLASH'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9NfwVKrxHXAGFfa3SCIUnJRh3jTYpTNH7hJaUmdKvACqH4Vhhnyfzhdw1XAwM1j6c435qMnHv1eHf3ASAwkWRwhj6yNpyMnIWJDY555nkNsHDJJSFXhJwRGAacS8ivQ4_hWVXQqm2KjHdQLNVjkSSUe1s3GdNPDYqOhzzHEl9KjiwIyww6iEF6DOThQ/s986/AVvXsEglJ6rJ-HWX_PQhNmXZr3vCF2z1n4zFT7e8ELVmK_0B91no-P_cxSsv62bf6YMzMywKp9-HqufgdsMawAhLPPSSK5BOjXQevkJZMOb1PSzUlu1J0jt3X3NV10nNa5cnm6PgOakyzRAS_R9FRY9FF6pzhgNHDm-sJp3_cRUS2TH6LI0g3cYW2mzCLNq_Bg=s16000.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="630" data-original-width="986" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9NfwVKrxHXAGFfa3SCIUnJRh3jTYpTNH7hJaUmdKvACqH4Vhhnyfzhdw1XAwM1j6c435qMnHv1eHf3ASAwkWRwhj6yNpyMnIWJDY555nkNsHDJJSFXhJwRGAacS8ivQ4_hWVXQqm2KjHdQLNVjkSSUe1s3GdNPDYqOhzzHEl9KjiwIyww6iEF6DOThQ/w400-h255/AVvXsEglJ6rJ-HWX_PQhNmXZr3vCF2z1n4zFT7e8ELVmK_0B91no-P_cxSsv62bf6YMzMywKp9-HqufgdsMawAhLPPSSK5BOjXQevkJZMOb1PSzUlu1J0jt3X3NV10nNa5cnm6PgOakyzRAS_R9FRY9FF6pzhgNHDm-sJp3_cRUS2TH6LI0g3cYW2mzCLNq_Bg=s16000.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Year: 1975 Rating: ****</u></td></tr></tbody></table>There were only three actors Stanley Kubrick had to give little direction to: Peter Sellers from DR. STRANGELOVE and LOLITA, James Mason from LOLITA, and his CLOCKWORK ORANGE star turned cult icon, Malcolm McDowell, who, through his own statements, wanted to keep in touch with the reclusive genius auteur, perhaps for more great roles in other projects in future years... and being how much he did for Kubrick, it wasn't too much to ask, was it? But after ORANGE he never heard from the director who had ignited his career with the ultra-violent classic that would, better for us and maybe worse for him, never go away... Perhaps he caught wind that Kubrick's next vehicle was a time period piece epic involved around the art of The Duel, titled BARRY LYNDON wherein Ryan O'Neal, while taking some getting used to, by the end turns in a wonderful performance being someone who took us for a very long ride and wound up a man who... let's just say, fit the actor's supposed real life un-appeal. But imagining Malcolm in the title role is a torturous fantasy: If only, yes, if only... <br>

action, adaptation, adventure, alan bates, bob hoskins, caper, history, malcolm mcdowell, oliver reed, richard lester, seventies, time period, twilight time

RICHARD LESTER RETURNS TO THE SWORD FOR 'ROYAL FLASH'

Year: 1975 Rating: **** There were only three actors Stanley Kubrick had to give little direction to: Peter Sellers from DR. STRANGELOVE and...

OLIVER REED IN HAMMER FILMS 'PARANOIAC' WITH JANETTE SCOTT

<p></p><p></p><p></p><p></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEQMNQ01xPAOVzQ5rsQOrUdprzXq2BicSo857f5bLOdDRyIlU92Pu1884LFxU4NqHVWb-LcOPA4G3bK0cyfKZsybMTkOIJadEleL4tak8Kn6S9pzziR29bnH2X6HMBfkEfbTIPVKfBxRN0R-jSEW5T0qfpoqoTPgVFwxSW875G4AbON5OSWbiVEJH4Vg/s1232/Screen%20Shot%202022-05-08%20at%2012.01.41%20AM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="887" data-original-width="1232" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEQMNQ01xPAOVzQ5rsQOrUdprzXq2BicSo857f5bLOdDRyIlU92Pu1884LFxU4NqHVWb-LcOPA4G3bK0cyfKZsybMTkOIJadEleL4tak8Kn6S9pzziR29bnH2X6HMBfkEfbTIPVKfBxRN0R-jSEW5T0qfpoqoTPgVFwxSW875G4AbON5OSWbiVEJH4Vg/w400-h288/Screen%20Shot%202022-05-08%20at%2012.01.41%20AM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Poster for PARANOIAC Year: 1963 Rating: ****</u></td></tr></tbody></table><p>If Terence Fisher was the <i>Universal Classic Monsters </i>version of England's HAMMER FILMS then Freddie Francis was their Hitchcock, and PARANOIAC one of Hammer's best psychological thrillers, providing stock actor Oliver Reed a grand performance, showcasing what would become his two signature traits: moody brooding and overboard intensity: He's the brother of troubled, haunted ingenue Jeanette Scott, set to inherit a bundle (strictly overseen by an aunt and family lawyer), holed up in the family's sea-cliff estate, but not if Reed (with moll Liliane Brousse) can help it...</p><p></p><p></p><p></p><p></p><p></p><p>And while mostly working alone, he's <i>not</i> alone in agenda: The leading man is a con artist, which we learn soon enough for PARANOIAC to not quite reach Mystery-genre status: But those fifteen minutes when handsome Alexander Davion may or may not be her adored prodigal brother are the most intriguing: After which, coinciding with the kind of quick-split editing wherein everything beforehand meant only how the scene abruptly ends, Reed and his boisterous persona takes over, making this a frantic game of wits using creative camera angles within a shadowy B&W aesthetic that'd perfectly suit Film Noir... and it's only five years shy of being one — for then it'd get a lot more praise and attention beyond the lot of We the faithfully dedicated/eternal Hammerheads.  </p><p><span></span></p>

alexander davion, british new wave, hammer films, horror, janette scott, liliane brousse, oliver reed, sixties, suspense, thriller

OLIVER REED IN HAMMER FILMS 'PARANOIAC' WITH JANETTE SCOTT

Poster for PARANOIAC Year: 1963 Rating: **** If Terence Fisher was the Universal Classic Monsters version of England's HAMMER FILMS then...

VILLAINOUS OLIVER REED AND KLAUS KINSKI BITING INTO 'VENOM'

<p> <span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"></span></div><p><span style="font-size: small;"></span></p><p><span style="font-size: small;"></span></p><p><span style="font-size: small;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy0292sSZHqxJBII9AtIv8KkTzEkzY0uWADjEJg8wWzP1nZCunqqtsNbFpRLWdHvVw2TSwPvEqkpNE9j1vrtY_1MY1SPJx4-Lco1Y5tkueUXSLGhEEV9XVYc6cTE68RLUbQw3s48B-DRcwF4bOquiWHvGjvNuYZZlaOcFmdxFAF99ZzPzi8ydM36vovg/s1092/Screen%20Shot%202022-05-06%20at%2012.46.25%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="559" data-original-width="1092" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy0292sSZHqxJBII9AtIv8KkTzEkzY0uWADjEJg8wWzP1nZCunqqtsNbFpRLWdHvVw2TSwPvEqkpNE9j1vrtY_1MY1SPJx4-Lco1Y5tkueUXSLGhEEV9XVYc6cTE68RLUbQw3s48B-DRcwF4bOquiWHvGjvNuYZZlaOcFmdxFAF99ZzPzi8ydM36vovg/s16000/Screen%20Shot%202022-05-06%20at%2012.46.25%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed in VENOM Year: 1981 Rating: ****</u></td></tr></tbody></table><p><span style="font-size: small;">A sickly British kid and his grandfather are overtaken by the help in their family estate: Earlier that day, the boy picked up the wrong snake from a pet shop: A</span><span style="font-size: small;">nd now a</span><span style="font-size: small;"> deadly Black Mamba slithers around, mostly inside the vents for a snake-eye viewpoint...</span></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><span style="font-size: small;">A clever enough premise for a group of otherwise shady and hardened DESPERATE HOURS-inspired characters to be paranoid and terrified while cloistered in a doubly-dangerous setting...</span></p><p><span style="font-size: small;"><span></span></span></p>

cornelia sharpe, creature, drama, eighties, exploitation, horror, hostage, klaus kinski, nicol williamson, oliver reed, sarah miles, snake, sterling hayden, susan george, suspense, thriller

VILLAINOUS OLIVER REED AND KLAUS KINSKI BITING INTO 'VENOM'

Oliver Reed in VENOM Year: 1981 Rating: **** A sickly British kid and his grandfather are overtaken by the help in their family estate: Ear...

OLIVER REED DOES ITALIAN CRIME IN 'REVOLVER' W/ FABIO TESTI

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPdKOSsmBRQOBfTVmR6Fb1jUEhzped6X5I4di-ILNtaSTPqXdzdDX6eX3zv48an8-NR4fXtcWVvKJ3sZ1E-DdBMUJ0oHy27ox53Zq-vKM59wrQsAB5avmA3WvVTrw4suNgyyyPtX_EygwiXvVfJF3SdQ4nww7DIM4ek49R2dkCEoe_gnpL7eMNlsFSnA/s398/213d893b595fbac41c737dab309c3718.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="291" data-original-width="398" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPdKOSsmBRQOBfTVmR6Fb1jUEhzped6X5I4di-ILNtaSTPqXdzdDX6eX3zv48an8-NR4fXtcWVvKJ3sZ1E-DdBMUJ0oHy27ox53Zq-vKM59wrQsAB5avmA3WvVTrw4suNgyyyPtX_EygwiXvVfJF3SdQ4nww7DIM4ek49R2dkCEoe_gnpL7eMNlsFSnA/w400-h293/213d893b595fbac41c737dab309c3718.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed in Revolver Year: 1973 Rating: ***1/2</u></td></tr></tbody></table><p>A promising, clever premise of a government official, played by genuine bad-ass Oliver Reed, who surreptitiously allows a prisoner to escape before abducting him in exchange for his kidnapped wife... occurring between steely, intentionally claustrophobic scenes in dingy offices harboring dingier jail sells... almost succeeds...</p><p></p><p></p><p></p><p></p><p></p><p></p><p>The best moments of this action/thriller hybrid involves polar opposites Reed ("a stray dog without a home") and prisoner Fabio Testi on the run... in the latter's rogue territory... </p><p>Petty thief Testi teaching strict/timid lawman Reed to steal a car is a standout, and there needed more of this kind of Film Noir-inspired ambiguity combined with the European tough guy team-up instead of a subpar subplot involving a pretty boy musician connected to a powerful politician... Leading to an 11th hour escape by use of hiking across a mountain border and yet, despite the flaws, Italian ingenue Paola Pitagora brightens up the joint while Reed, using the same fake American accent he teased in THE PARTY'S OVER and THE SYSTEM (sans the caustic irony and <i>for real </i>this time), doesn't need to overact to show the audience his love for this woman... Any sane man would.  </p><p><span></span></p>

action, crime, escape, fabio testi, frédéric de pasquale, italian, jailbreak, kidnapping, oliver reed, paola pitagora, seventies, teamup, thriller, wrong man

OLIVER REED DOES ITALIAN CRIME IN 'REVOLVER' W/ FABIO TESTI

Oliver Reed in Revolver Year: 1973 Rating: ***1/2 A promising, clever premise of a government official, played by genuine bad-ass Oliver Ree...

OLIVER REED & KATHERINE WOODVILLE IN 'THE PARTY'S OVER'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn9mj31x2IEZ0CnTZ_S0ewiijIwytKuxXE2qDlYeviG5Vo_tRTtHzKjTwe6U9sCrNkuF_9tvTxrSTBHMGIgTafmoQngfl_mOFDTHojepAfKE3xqU6b-XUfCIqQU-YoMCALKXu6Q7LVf_rxYGvyruwDNao8-BRDpC_Qk85fQhhtfHII1yQ7sF2j8jr_ZA/s1214/Screen%20Shot%202022-05-06%20at%201.36.30%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="538" data-original-width="1214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn9mj31x2IEZ0CnTZ_S0ewiijIwytKuxXE2qDlYeviG5Vo_tRTtHzKjTwe6U9sCrNkuF_9tvTxrSTBHMGIgTafmoQngfl_mOFDTHojepAfKE3xqU6b-XUfCIqQU-YoMCALKXu6Q7LVf_rxYGvyruwDNao8-BRDpC_Qk85fQhhtfHII1yQ7sF2j8jr_ZA/s16000/Screen%20Shot%202022-05-06%20at%201.36.30%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u> Title: THE PARTY'S OVER Year: 1965 Rating: ****</u></td></tr></tbody></table><p>Executive Producer Peter O'Toole and Jack Hawkins along with director Guy Hamilton took their names off this controversial British Beatnik flick where an American girl, missing from her New York tycoon father and businessman fiance, is supposedly raped/screwed after death: so for them it wasn't controversial enough...<br> <br> Yet no actual necrophilia occurs (unless you count a quick posthumous kiss), even in the restored cut when — a day before THE PARTY'S OVER — Oliver Reed and his wayward cohorts play cat-and-mouse with Clifford David as the rich chick's arranged fiance, Carson...<br> </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p>

ann lynn, beatnik, british, british new wave, clifford david, counter-culture, crime, eddie albert, jazz score, katherine woodville, louise sorel, maurice browning, mystery, oliver reed, romance, sixties

OLIVER REED & KATHERINE WOODVILLE IN 'THE PARTY'S OVER'

Title: THE PARTY'S OVER Year: 1965 Rating: **** Executive Producer Peter O'Toole and Jack Hawkins along with director Guy Hamilton...

DOUGLAS HICKOX DIRECTS OLIVER REED IN 'SITTING TARGET'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTXs68MxG7MzwkXe9L4dyet0R3m_r6wu9yyf4sKJj8OfXQdRtMWFPbVLTF19tAcamQQs480C2qZXtEEn85JStY8zJeNa7JbTlmxNOZDHmC46SmYzVn5gl_XszPx2Lx7nCU8rubf7QgLwUSy37kjLLYwyrwcxv4yBJb3rrwCaGS9A1iPloAER5RCdOnTQ/s1220/AVvXsEj41QSFdVbUWFuU6IyL2e7jz10kby86lEdKtvDbwZcysyi4U1N5zE3USN_PRqya2YGggpKCJWesEfyk5RHvVjLlk3guZVhEHdjErScxK98mXYdvE-9N5JoPN6y9AA9XQCxWIXdl1EmoBsvEBqXVag9b9_1hQK4b4REf57_kgonX3q75H3pQbGmsC9IFuw=s16000.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="506" data-original-width="1220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTXs68MxG7MzwkXe9L4dyet0R3m_r6wu9yyf4sKJj8OfXQdRtMWFPbVLTF19tAcamQQs480C2qZXtEEn85JStY8zJeNa7JbTlmxNOZDHmC46SmYzVn5gl_XszPx2Lx7nCU8rubf7QgLwUSy37kjLLYwyrwcxv4yBJb3rrwCaGS9A1iPloAER5RCdOnTQ/s16000/AVvXsEj41QSFdVbUWFuU6IyL2e7jz10kby86lEdKtvDbwZcysyi4U1N5zE3USN_PRqya2YGggpKCJWesEfyk5RHvVjLlk3guZVhEHdjErScxK98mXYdvE-9N5JoPN6y9AA9XQCxWIXdl1EmoBsvEBqXVag9b9_1hQK4b4REf57_kgonX3q75H3pQbGmsC9IFuw=s16000.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed in SITTING TARGET Year: 1972 Rating: ****</u></td></tr></tbody></table><p>When long-time locked-up convict Oliver Reed breaks out of prison to kill wife Jill St. John for getting pregnant without him, it seems a solo effort despite having a buddy right alongside since Ian McShane's his dead-ringer/doppelganger...</p><p>In fact, both seem like the same character, only one's younger, more shady and sexually-active while our volatile anti-hero has the kind of seething tunnel-vision liken to Michael Caine from this film's obvious muse GET CARTER, only with far less last names/red herrings and a much simpler plot i.e. almost none at all... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-E5BfMKxgykiDE2drtmzz_HUDTwLG5exkZ88_GLrrlQ09ppKB_JGHp-TNBVdZJlaZ2HiavW64_m2inA9twS64jeR6rpFqlaN9UDtz_UrtqVoEoWixjY8aMA4knraYM6rUuNMecFIRlYQt36JA8FvXdacEe5eWn4ow6eXsR80IVgPYggWlnMo8dQZdHA/s2164/Screen%20Shot%202022-05-30%20at%208.17.43%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="916" data-original-width="2164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-E5BfMKxgykiDE2drtmzz_HUDTwLG5exkZ88_GLrrlQ09ppKB_JGHp-TNBVdZJlaZ2HiavW64_m2inA9twS64jeR6rpFqlaN9UDtz_UrtqVoEoWixjY8aMA4knraYM6rUuNMecFIRlYQt36JA8FvXdacEe5eWn4ow6eXsR80IVgPYggWlnMo8dQZdHA/s16000/Screen%20Shot%202022-05-30%20at%208.17.43%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed and Ian McShane in SITTING TARGET</u></td></tr></tbody></table><p>Yet most of the action, starting with a jailbreak (after making ample use of the<i> </i>dungeon-like prison from THE ITALIAN JOB)... reminiscent of a nail-biting World War II POW flick and coordinated by cerebral convict Freddie Jones... occurs at all the right moments... </p><p></p><p></p><p></p><p></p><p></p><p></p><p>Including Reed fending off motorcycle cops tearing through clotheslines sent by token lawman/constable Edward Woodward, who surprisingly has very little overall purpose or input...</p><p><span></span></p>

british new wave, douglas hickox, edward woodward, exploitation, frank finley, freddie jones, ian mcshane, jailbreak, jill st. john, jill townsend, oliver reed, revenge, robert beatty, seventies, tony beckley

DOUGLAS HICKOX DIRECTS OLIVER REED IN 'SITTING TARGET'

Oliver Reed in SITTING TARGET Year: 1972 Rating: **** When long-time locked-up convict Oliver Reed breaks out of prison to kill wife Jill St...

INTERVIEW WITH ACTRESS JANE MERROW REVISITING 'THE SYSTEM'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiyWZodVf1mcNK1kDzftMOEBkc3MgVK-Uf-hsIJLoX8ZErorwoR74txbs06oWGmg70FPu0fQh8D2g4XQlzeBMyk967TvQyhltouYDI8hF672wAQwXMlI3wnlGJ9PL47G3CX59yD_do4fyo2MFZt4TAyIYExeqaM7kXlNlz7QdyPzL0DqGsVFaBIj1f9w/s1129/Screen%20Shot%202022-05-03%20at%202.11.11%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="612" data-original-width="1129" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiyWZodVf1mcNK1kDzftMOEBkc3MgVK-Uf-hsIJLoX8ZErorwoR74txbs06oWGmg70FPu0fQh8D2g4XQlzeBMyk967TvQyhltouYDI8hF672wAQwXMlI3wnlGJ9PL47G3CX59yD_do4fyo2MFZt4TAyIYExeqaM7kXlNlz7QdyPzL0DqGsVFaBIj1f9w/s16000/Screen%20Shot%202022-05-03%20at%202.11.11%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Interview with British actress JANE MERROW on Michael Winner's THE SYSTEM</u></td></tr></tbody></table><p>“Well I was/am in show business so it wasn’t too much of a stretch!” British actress Jane Merrow said about playing Nicola, the ingenue from Michael Winner’s <a href="http://www.cultfilmfreaks.com/2020/10/system.html">THE SYSTEM</a>, a model as professional and gorgeous as Jane is an actress, changing the life of womanizing playboy <a href="http://www.cultfilmfreaks.com/search/label/oliver%20reed">Oliver Reed</a> as Tinker, who, along with his buddies, uses the titular SYSTEM to strategically pick up girls (mostly rich, unlike them) at the summer resort where they work... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>And we asked Jane about this incredible film, also known as THE GIRL-GETTERS, made during and about the inception of Britain’s Swinging Sixties at the crest of the cinematic British New Wave…</p><p><span></span></p>

british new wave, interview, jane merrow, michael winner, nicolas roeg, oliver reed, sixties, the searchers

INTERVIEW WITH ACTRESS JANE MERROW REVISITING 'THE SYSTEM'

Interview with British actress JANE MERROW on Michael Winner's THE SYSTEM “Well I was/am in show business so it wasn’t too much of a str...