ROBERT MITCHUM AND JANE RUSSELL IN 'HIS KIND OF WOMAN'

<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/AVvXsEi-EJPrKLzaVooOX8W6aJEY0W-sq36IwpUnFOrgD7HQEdV6Cq9ebQpe-sItzEWyeRUUIKSYKNVatjTk9zXUWpjVi4PUUOCgzBkXhe7vi7qrLz_tziIrrILs6AKzZPw7mOP-VjyUx1ZwU8-vnaUgWAXwF2gaXRJq0C5fKFx5QsH2bboXKDvTQzHJxFjuOMNx/s2102/1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1270" data-original-width="2102" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-EJPrKLzaVooOX8W6aJEY0W-sq36IwpUnFOrgD7HQEdV6Cq9ebQpe-sItzEWyeRUUIKSYKNVatjTk9zXUWpjVi4PUUOCgzBkXhe7vi7qrLz_tziIrrILs6AKzZPw7mOP-VjyUx1ZwU8-vnaUgWAXwF2gaXRJq0C5fKFx5QsH2bboXKDvTQzHJxFjuOMNx/s16000/1.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Robert Mitchum and Jane Russell in HIS KIND OF WOMAN Year: 1951 Rating: ***1/2</u></td></tr></tbody></table><p>Legendary eccentric billionaire Howard Hughes, after buying RKO Pictures, exploited discovered leading lady Jane Russell's ample bosom in THE OUTLAW while, almost a decade later, he put even more time and money into Robert Mitchum's handsome, slow-burn cool for HIS KIND OF WOMAN...<br><br>Despite Russell's character being part of the title, she really has little to do here but hang around a plush Mexican resort where Mitchum's affable gambling loser is sent so that chief mobster Raymond Burr... who replaced original director John Farrow's original villain Lee Van Cleef followed by Robert Wilke... to be able to immigrate back to America... or something...<span></span></p>

anthony caruso, charles mcgraw, fifties, film noir or melodrama, howard hughes, jane russell, paul frees, raymond burr, richard fleischer, robert mitchum, stacy harris, tim holt, vincent price

ROBERT MITCHUM AND JANE RUSSELL IN 'HIS KIND OF WOMAN'

Robert Mitchum and Jane Russell in HIS KIND OF WOMAN Year: 1951 Rating: ***1/2 Legendary eccentric billionaire Howard Hughes, after buying R...

RICHARD FLEISCHER'S T-MEN HEIST FILM NOIR OF 'TRAPPED'

<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/AVvXsEjxCUStevh1W1gt55njlib2n66MQrsISLXKHCGk9v6e-h2vuqck8xbNDuclbv2Ob4k9wpZc2amwmrXPip-gkezWMvFIUgW-lizueH24mOwX6qY7kPDyK3tBPB-yGhYYQRrdWGKeME0YF4Tyn9cGYzS4_B_0xhG8YP3XbCtnI108KBBeGX_2QizFpbrxAxDR/s2138/ORIG%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1198" data-original-width="2138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxCUStevh1W1gt55njlib2n66MQrsISLXKHCGk9v6e-h2vuqck8xbNDuclbv2Ob4k9wpZc2amwmrXPip-gkezWMvFIUgW-lizueH24mOwX6qY7kPDyK3tBPB-yGhYYQRrdWGKeME0YF4Tyn9cGYzS4_B_0xhG8YP3XbCtnI108KBBeGX_2QizFpbrxAxDR/s16000/ORIG%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: TRAPPED Year: 1949 Rating: **</u></td></tr></tbody></table><p>It's a shame that director Richard Fleischer didn't realize how good the usual good guy Lloyd Bridges was at playing bad... in this case a counterfeiter in prison, given a deal to get out but only if he rats on past associates for the cops...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>After which the best moments occur, leading to the first 30-minutes of the T-MEN style noir of TRAPPED in which several twists occur that makes Bridges a free man, quickly holed-up with former girlfriend Barbara Payton, a dive bar waitress with the potential of a femme fatale but playing a rather pathetic lovelorn starlet... </p><p><span></span></p>

action, barbara payton, escape, film noir or melodrama, heist, john hoyt, lloyd bridges, richard fleischer

RICHARD FLEISCHER'S T-MEN HEIST FILM NOIR OF 'TRAPPED'

Title: TRAPPED Year: 1949 Rating: ** It's a shame that director Richard Fleischer didn't realize how good the usual good guy Lloyd B...

RICHARD FLEISCHER'S WRONG MAN ACTION NOIR 'THE CLAY PIGEON'

<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/AVvXsEiu_8eJNpnWEZ91cvat3HWOkeQV9TcyhGxsOJ4DzwGXVWqs92xA2EW-ryia5gUiMlqEsWuqpNkZx9_LVSlOe0ZEntZ2EJiAlgR9ycZXgY5ujj26K1RJPFVuYiX5W7N9lK-3u6_-u1xAggYgGGdZi2HA3k3ilEiqSGvkFoE_BSNzXSGCGOIQqMSKXG8rso5q/s1452/CLAYP.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="814" data-original-width="1452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu_8eJNpnWEZ91cvat3HWOkeQV9TcyhGxsOJ4DzwGXVWqs92xA2EW-ryia5gUiMlqEsWuqpNkZx9_LVSlOe0ZEntZ2EJiAlgR9ycZXgY5ujj26K1RJPFVuYiX5W7N9lK-3u6_-u1xAggYgGGdZi2HA3k3ilEiqSGvkFoE_BSNzXSGCGOIQqMSKXG8rso5q/s16000/CLAYP.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: THE CLAY PIGEON Stars: Bill Williams, Barbara Hale Year: 1949 Rating: ****</u></td></tr></tbody></table><p>Richard Fleischer's Wrong Man Film Noir has a patriotic World War II twist when Bill Williams wakes up, knocked out in the hospital, with amnesia not about who he is, but what he's done to get there: all while overhearing a doctor and nurse about how he's a ratting traitor who caused the death of a fellow soldier and friend...<br></p><p></p><p></p><p></p><p></p><p></p><p></p><p>He quickly escapes to that friend's widow, played by Bill's real life wife and future PERRY MASON actress Barbara Hale, who spends enough realistic time fighting to escape from the desperate soldier... who<i> </i>has to prove his innocence <i>to everyone </i>before being captured and tried...</p><p><span></span></p>

action, barbara hale, bill williams, film noir or melodrama, martha hyer, mayra marco, richard fleischer, richard loo, richard quine, robert bray

RICHARD FLEISCHER'S WRONG MAN ACTION NOIR 'THE CLAY PIGEON'

Title: THE CLAY PIGEON Stars: Bill Williams, Barbara Hale Year: 1949 Rating: **** Richard Fleischer's Wrong Man Film Noir has a patrioti...

RICHARD FLEISCHER'S SERIAL KILLER NOIR 'FOLLOW ME QUIETLY'

<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/AVvXsEguxxfiYF8IphnmwDHjCR_935fPfZ0ei3n7ZAYosRuO-qE3nop-mSo2Foqq3dWmJcRRg9CofNuw0c2liDh3CsNeYX2rHvf3s9SR5OaYDIku2KXAEqGSV4U_5lXCwwg_LrPMh3SIp_kmjeupPjn3jrgiciLn5xcD9IJ5Lyvlw_qT7AKPSS0jr1QZD9ox-6c3/s1560/Screen%20Shot%202025-06-12%20at%206.04.06%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="876" data-original-width="1560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguxxfiYF8IphnmwDHjCR_935fPfZ0ei3n7ZAYosRuO-qE3nop-mSo2Foqq3dWmJcRRg9CofNuw0c2liDh3CsNeYX2rHvf3s9SR5OaYDIku2KXAEqGSV4U_5lXCwwg_LrPMh3SIp_kmjeupPjn3jrgiciLn5xcD9IJ5Lyvlw_qT7AKPSS0jr1QZD9ox-6c3/s16000/Screen%20Shot%202025-06-12%20at%206.04.06%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: FOLLOW ME QUIETLY Year: 1949 Rating: ***1/2</u></td></tr></tbody></table><p>If you can handle dialogue like, after a statement about a serial killer killing only during a thunderstorm: "Maybe he likes rain... must be a fish" between detective partners William Lundigan and Jeff Corey, you'll handle director Richard Fleischer's entire b-noir, FOLLOW ME QUIETLY, which is half police procedural on the investigation into and then eventual catching of an allusive serial killer, and a romantic comedy between intense, Hollywood-handsome Lundigan with cute snoopy tabloid journalist Dorothy Patrick...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>The latter's too peppy for the dark, semi-violent mainline... although we never completely witness the strangler actually strangling save through a rather rushed flashback from a dying man... but their interplay mostly works since she's a likable actress (yet much better suited as the logical secondary dame in 711 OCEAN DRIVE)... and he's so professionally cold, she's got to really work for her story...</p><p><span></span></p>

cop, dorothy patrick, douglas spencer, film noir or melodrama, forties, jeff corey, marlo dwyer, richard fleischer, serial killer, william lundigan

RICHARD FLEISCHER'S SERIAL KILLER NOIR 'FOLLOW ME QUIETLY'

Title: FOLLOW ME QUIETLY Year: 1949 Rating: ***1/2 If you can handle dialogue like, after a statement about a serial killer killing only dur...

RICHARD FLEISCHER'S 'VIOLENT SATURDAY' WITH VICTOR MATURE

<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/AVvXsEhZ2PODFlnroMgovaHJR-BRB0PdCte9eIprlXxGvSoIBiyuobR0m_D12CFEDrMtOhojLwrqtLz0fUwkh_jbURqlmIWCmzUjILQ9eEzaP974xFKNzTnbIE0lLDQgDTwkasNO3lnVD6LGxgtOb6sC8e2StXSsmoHK1njY2WdI7wEsNvBbFVMioHvI6SKbocfA/s2524/Screen%20Shot%202023-08-26%20at%204.14.41%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1166" data-original-width="2524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ2PODFlnroMgovaHJR-BRB0PdCte9eIprlXxGvSoIBiyuobR0m_D12CFEDrMtOhojLwrqtLz0fUwkh_jbURqlmIWCmzUjILQ9eEzaP974xFKNzTnbIE0lLDQgDTwkasNO3lnVD6LGxgtOb6sC8e2StXSsmoHK1njY2WdI7wEsNvBbFVMioHvI6SKbocfA/s16000/Screen%20Shot%202023-08-26%20at%204.14.41%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: VIOLENT SATURDAY Year: 1955 Rating: ****1/2</u></td></tr></tbody></table><p>Director Richard Fleischer crafted a tight, sparse, edgy noir also replete with enough paperback melodrama for a dozen Douglas Sirk features, which <a href="http://www.cultfilmfreaks.com/2016/05/V-sat.html">VIOLENT SATURDAY</a> resembles but only from either close-up or afar...</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>The first because of the soapy situations, like a cheating wife or a father whose son seems to hate him... and the latter from the vibrant technicolor cinematography of an Arizona small town, richly contrasting from Fleischer's previous B&W city-set thrillers ARMORED CAR ROBBERY,  FOLLOW ME QUIETLY and THE CLAY PIGEON...</p><p><span></span></p>

dorothy patrick, fifties, film noir or melodrama, heist, j. carrol naish, lee marvin, love triangle, margaret hayes, richard egan, richard fleischer, stephen mcnally, victor mature, virginia leith

RICHARD FLEISCHER'S 'VIOLENT SATURDAY' WITH VICTOR MATURE

Title: VIOLENT SATURDAY Year: 1955 Rating: ****1/2 Director Richard Fleischer crafted a tight, sparse, edgy noir also replete with enough pa...

DIRECTOR RICHARD FLEISCHER SECONDS 'CONAN THE DESTROYER'

<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/AVvXsEiwvN6Oz59QxHJ2TWQxDflfLnTV2BurMU6kC-tS3aj6MLYPznPYZ4lWiQRF1BtrKZIhgY7K9yzrkplbpB258m_uznKyaOrixFYqG3i8asgzcuD9ONDEmQy2qa6Vs1N1Pbn8qCxZ5M3I_sx9j32s0UsTdyGOyiPJKGOwIr2UF_KCdrIfPDCL2d1WkySIjw/s2241/0.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="915" data-original-width="2241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwvN6Oz59QxHJ2TWQxDflfLnTV2BurMU6kC-tS3aj6MLYPznPYZ4lWiQRF1BtrKZIhgY7K9yzrkplbpB258m_uznKyaOrixFYqG3i8asgzcuD9ONDEmQy2qa6Vs1N1Pbn8qCxZ5M3I_sx9j32s0UsTdyGOyiPJKGOwIr2UF_KCdrIfPDCL2d1WkySIjw/s16000/0.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: CONAN THE DESTROYER Year: 1984 Rating: ***1/2<br></u></td></tr></tbody></table><p>John Milius's CONAN THE BARBARIAN was a passion project for the ruggedly raucous auteur, who loved Robert E. Howard's short stories but with Oliver Stone's overlong and brooding, revenge-driven Spaghetti Western-inspired script, there was hardly anything Howardesque about it despite becoming a rabid cult phenomenon...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>And journeyman director Richard Fleischer's far more mainstream and conventional and therefore fan-maligned CONAN THE DESTROYER, replacing exploitive ultra-violence with a more family-oriented, comic book inspired, horse-ridden road movie appeal, actually embodies Howard's original Gothic tales by simply involving a constant handing-off of adventurous tasks and battles that includes good old fashion pre-computerized monster suits and, shot in Mexico, while the landscapes look a bit too clean, the interior sets are both lavish and formidable... <br></p><span></span>

action, adventure, arnold schwarzenegger, eighties, fantasy, grace jones, olivia d'abo, richard fleischer, tracey walter

DIRECTOR RICHARD FLEISCHER SECONDS 'CONAN THE DESTROYER'

Title: CONAN THE DESTROYER Year: 1984 Rating: ***1/2 John Milius's CONAN THE BARBARIAN was a passion project for the ruggedly raucous au...

RICHARD FLEISCHER DIRECTS LAWRENCE TIERNEY IN 'BODYGUARD'

<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/AVvXsEgWcpapHYse1HHKzLsgXpfXkMUCwfApkulW8SGvujmVLBL3QQLvIYTtpXMkXUVHTzXDMg1pJvaV_ax3__3-5aXVkAqgvbDUvyad6ZYYlwG5Bn8krT-maYHBLlvyNSVz_LYR52hpLqr4Lc_lIcwcE91aBh4ApY80-E5kjxmR5Te9VHG-Ci641tDX_C0XGA/s2114/0%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="994" data-original-width="2114" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWcpapHYse1HHKzLsgXpfXkMUCwfApkulW8SGvujmVLBL3QQLvIYTtpXMkXUVHTzXDMg1pJvaV_ax3__3-5aXVkAqgvbDUvyad6ZYYlwG5Bn8krT-maYHBLlvyNSVz_LYR52hpLqr4Lc_lIcwcE91aBh4ApY80-E5kjxmR5Te9VHG-Ci641tDX_C0XGA/s16000/0%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: BODYGUARD Year: 1948 Rating: **</u></td></tr></tbody></table><p>Famously-capable director Richard Fleischer could turn out b-movie noirs and most were pretty good while actor Lawrence Tierney had the same appeal as either a leading villain or grimacing good guy... </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>The latter here playing a tough maverick cop who punches the captain and loses his job in BODYGUARD, written by young future auteur Robert Altman and involving the owner of a meat-packing-plant (a strange concept in itself) having Tierney be her own personal... well... the title says it all...</p><p><span></span></p>

action, cop, film noir or melodrama, forties, lawrence tierney, priscilla lane, richard fleischer, robert altman, thriller, wrong man

RICHARD FLEISCHER DIRECTS LAWRENCE TIERNEY IN 'BODYGUARD'

Title: BODYGUARD Year: 1948 Rating: ** Famously-capable director Richard Fleischer could turn out b-movie noirs and most were pretty good wh...

RICHARD FLEISCHER'S TRUE CRIME ADAPTATION OF 'COMPULSION'

<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/AVvXsEjht5S2U8gasORso3U5ABnbPYmHmWRnpzSMjhmuDRPY5P1O0MPloABuXbT-2mTP8Emoqe2k238PIHbu9M4RsvQa1ciqSfqtp0gooiaUX5tJqav-jlbIkalpY5GrYQXyLeKvZfrFPyVciBGWAxsowi1CeeFunflNW6OpwR7edTp49pt9N8q7l4Ma1WE-MA/s2149/Screen%20Shot%202022-10-30%20at%202.50.42%20AM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1143" data-original-width="2149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjht5S2U8gasORso3U5ABnbPYmHmWRnpzSMjhmuDRPY5P1O0MPloABuXbT-2mTP8Emoqe2k238PIHbu9M4RsvQa1ciqSfqtp0gooiaUX5tJqav-jlbIkalpY5GrYQXyLeKvZfrFPyVciBGWAxsowi1CeeFunflNW6OpwR7edTp49pt9N8q7l4Ma1WE-MA/s16000/Screen%20Shot%202022-10-30%20at%202.50.42%20AM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Poster for Dean Stockwell and Bradford Dillman in COMPULSION Year: 1959 Rating: ****1/2</u></td></tr></tbody></table><p>In-between the late Dean Stockwell's <i>green-haired</i> child actor days and the likeable chubby fella leaping through time TV-era, he was a handsome young man but always with a gritty edge... </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>Befitting perfectly alongside a more jovially crooked Bradford Dillman in COMPULSION directed by Richard Fleischer, who had trouble with the first-billed/third-act star Orson Welles (for tax issues more than attitude), providing a walloping anti-death penalty speech lasting ten minutes... yet by that time the best scenes had long passed...<br></p><p><span></span></p>

adaptation, bio, bradford dillman, crime, dean stockwell, e.g. marshall, fifties, gavin macleod, melodrama, orson welles, richard fleischer, robert f. simon

RICHARD FLEISCHER'S TRUE CRIME ADAPTATION OF 'COMPULSION'

Poster for Dean Stockwell and Bradford Dillman in COMPULSION Year: 1959 Rating: ****1/2 In-between the late Dean Stockwell's green-haire...

CHARLES BRONSON IN 'MR. MAJESTYK' FEATURING PAUL KOSLO

<table align="center" 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/AVvXsEj_qABRZW_Ze28hbR_fdTvUFjgzyL_MQIppYTMRMut_E092-lLWj9cCvGBG9RGLAie2E6NG-rqUGGozHvr0ysK6QfeYXP2rrzoOE8Xrdqq9viN5fmOq4ZeZ7juJ7RDhL-ictZpZI9JjYd-yjpOOG2JbIDFLwsSfJZu6FtrB6-IH-Z1t4DZqtxg0Cw5U6A/s1979/Screen%20Shot%202023-05-30%20at%203.20.58%20AM.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1363" data-original-width="1979" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_qABRZW_Ze28hbR_fdTvUFjgzyL_MQIppYTMRMut_E092-lLWj9cCvGBG9RGLAie2E6NG-rqUGGozHvr0ysK6QfeYXP2rrzoOE8Xrdqq9viN5fmOq4ZeZ7juJ7RDhL-ictZpZI9JjYd-yjpOOG2JbIDFLwsSfJZu6FtrB6-IH-Z1t4DZqtxg0Cw5U6A/w400-h275/Screen%20Shot%202023-05-30%20at%203.20.58%20AM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;">MAJESTYK<u> YEAR: 1974 </u><u>SCORE: ****</u></td></tr></tbody></table>Charles Bronson's different in Richard Fleischer's MR. MAJESTYK than in the early-seventies' Michael Winner crime trilogy because, for one, unlike THE MECHANIC, THE STONE KILLER and DEATH WISH, Vince Majestyk, a hardworking watermelon farmer, is somewhat of a smart-ass, and, written by Elmore Leonard, there's a little more breathing-room for the character and his situation/predicament...<br> <br> A lethal hit man, played by villain's villain Al Lettieri, wants Majestyk very dead as Paul Koslo's initially antagonistic Bobby Kopas is more of a talker than a doer. In fact, both Bronson and Lettieri point this out: The first before hitting the goading blond-haired punk in the balls with a shotgun (after having attempted to pawn off cheap labor to his farm), while the latter tries keeping him in line...<br>

action, al lettieri, charles bronson, crime, elmore leonard, lee purcell, paul koslo, richard fleischer, seventies, taylor lacher, thriller

CHARLES BRONSON IN 'MR. MAJESTYK' FEATURING PAUL KOSLO

MAJESTYK YEAR: 1974 SCORE: **** Charles Bronson's different in Richard Fleischer's MR. MAJESTYK than in the early-seventies' M...

RICHARD FLEISCHER DRIVES THE NOIR 'ARMORED CAR ROBBERY'

<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/AVvXsEgc-5tMIED6Fo0bg5HIW6BhRqdTANrSt4zBVeVppmx0NajRZ_7_zlFVUhJWsI1IIwL_C3hWHPHIoDLFLcg6lAmqqbD1QvQjK_IMuhl0aSRKrMVGyuZ7DcMTm3tq-XOXk30iLCpIuVDI65HPhnD3IUhmQIBCzFXGYCf5nfRGOPSCLCOThMV20nooYgGd3A/s1425/Screen%20Shot%202023-02-14%20at%2010.18.44%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="954" data-original-width="1425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc-5tMIED6Fo0bg5HIW6BhRqdTANrSt4zBVeVppmx0NajRZ_7_zlFVUhJWsI1IIwL_C3hWHPHIoDLFLcg6lAmqqbD1QvQjK_IMuhl0aSRKrMVGyuZ7DcMTm3tq-XOXk30iLCpIuVDI65HPhnD3IUhmQIBCzFXGYCf5nfRGOPSCLCOThMV20nooYgGd3A/s16000/Screen%20Shot%202023-02-14%20at%2010.18.44%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: ARMORED CAR ROBBERY Year: 1950 Rating: ****</u></td></tr></tbody></table><p>The same year John Huston brought us one of the greatest Film Noir offerings, THE ASPHALT JUNGLE... centering on a pivotal heist following a meticulous setup that turns into an inevitably violent aftermath... a comparably unknown director, Richard Fleischer, had his own heist to reveal, and with a title like ARMORED CAR ROBBERY, you know exactly what you're in for... somewhat...<br> <br> With a title describing the entire plot, there's plenty to go right and wrong in the process — depending what side you're on, and how and when the tables turn. Equally balancing the story between cops and robbers, the good guys are led by Charles McGraw, who would work under Fleischer in both of their most famous Noir vehicles, THE NARROW MARGIN... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><span></span></p>

adele jergens, armored car, charles mcgraw, douglas fowley, fifties, film noir or melodrama, gene evans, heist, james flavin, richard fleischer, steve brodie, william talman

RICHARD FLEISCHER DRIVES THE NOIR 'ARMORED CAR ROBBERY'

Title: ARMORED CAR ROBBERY Year: 1950 Rating: **** The same year John Huston brought us one of the greatest Film Noir offerings, THE ASPHAL...

DECEMBER 7TH POST OF RICHARD FLEISCHER'S 'TORA! TORA! TORA!'

<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR_i82NaEgwyNa6-o1iZqtF0K9HNcJypDbgsX-PEXs4Zrm73IPsRps3UFdLLlYxoKUc2wNk3mR9Y2jBmPTkjPNcSF5jtAqS9Wxtp1NKZQyzHSGVPPo_jjYLl5tp3kMM4pwHH497uAisERF/s1031/Screen+Shot+2020-12-07+at+12.06.41+AM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1031" data-original-width="885" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR_i82NaEgwyNa6-o1iZqtF0K9HNcJypDbgsX-PEXs4Zrm73IPsRps3UFdLLlYxoKUc2wNk3mR9Y2jBmPTkjPNcSF5jtAqS9Wxtp1NKZQyzHSGVPPo_jjYLl5tp3kMM4pwHH497uAisERF/w344-h400/Screen+Shot+2020-12-07+at+12.06.41+AM.jpeg" width="344"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: Tora! Tora! Tora! Year: 1970 Rating: ****</u><br></td></tr></tbody></table><p>American director/producer Richard Fleischer mans only half of TORA! TORA! TORA! centering before and during the bombing of Pearl Harbor, leaving the rest to the equal perspective of Japanese military leaders by Japanese filmmakers Kinji Fukasaku and Toshio Masuda, a device you wouldn't get about the German Leaders' side of World War II... </p><p></p><p>But what aspects really work made the movie fail at the box office: No big stars to outshine the subject matter along with rapid-fire subtitles, a non-dramatic, documentary realism and the true <i>main characters</i> are E.G. Marshall and Wesley Addy playing two Washington D.C. insiders using an early "fax machine" that provides enigmatic yet foreboding information, inserting a little espionage into the war genre... <br></p><p>While on the other side of the Pacific, Sô Yamamura plays Admiral Isoroku Yamamoto with far more empathy and prowess than Navy flakes Jason Robards and Martin Balsam as Generals Short and Kimmel: One demanding/commanding an extremely unwise location for all "parked" aircraft, the other ready for a cozy round of golf (exactly 79-years from today) on the fateful early morning of December 7th, 1941...</p><p>Taking up the action-packed third act with explosive widescreen glory mixed with cold and calculating reality like actually being there, though mostly as an<i> </i>impartial observer since there aren't any cliché movie-soldiers (like some naïve freckle-faced kid with a "girl back home" or the cynical cigar-chomping maverick he'd look up to): Unlike most other films on this subject, TORA! TORA! TORA! is about historical accuracy, not fictional history... <i>take that </i>Michael Bay!</p><p><span></span></p>

carl reindel, e.g. marshall, espionage, history, japanese, jason robards, martin balsam, richard fleischer, seventies, war, wesley addy, world war II

DECEMBER 7TH POST OF RICHARD FLEISCHER'S 'TORA! TORA! TORA!'

Title: Tora! Tora! Tora! Year: 1970 Rating: **** American director/producer Richard Fleischer mans only half of TORA! TORA! TORA! centering ...

RICHARD FLEISCHER'S NEO NOIR BIOPIC 'THE BOSTON STRANGER'

<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/AVvXsEhRfeIX8mqsgqoWOwnM5LIKisgUJHc4ctfA-XVEU4IPvMaT-tJe1UhdVPnXTsW1KOdiMvB1EU7pqNUL8xj4dee8rDJw77PlAXwzhKBxS4DfUgUOYJwFIYNHdBTJdHBJS-PULd5IVojZEbgL/s1600/Screen+Shot+2020-04-08+at+10.17.21+PM.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1038" data-original-width="846" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRfeIX8mqsgqoWOwnM5LIKisgUJHc4ctfA-XVEU4IPvMaT-tJe1UhdVPnXTsW1KOdiMvB1EU7pqNUL8xj4dee8rDJw77PlAXwzhKBxS4DfUgUOYJwFIYNHdBTJdHBJS-PULd5IVojZEbgL/s400/Screen+Shot+2020-04-08+at+10.17.21+PM.jpeg" width="325"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Year: 1968 Rating: **</u></td></tr> </tbody></table> Richard Fleischer's Police Procedural biopic, using the multi-screen effect, only works until Tony Curtis is revealed as the real life killer, Albert DeSalvo, who, at the time this movie was made, was thought of as having multiple personalities...<br> <br> When filming started DeSalvo had slyly escaped from the mental institution where he was to spend, most likely, the rest of his life; and what's truly insane is the authorities thought a husband with two children and a full-time job would kill eleven women without knowing exactly what he was doing, and how or why he was doing it...<br> <br> The most effective scenes occur within each crime, sans the culprit, adding a mysterious element. Meanwhile, Henry Fonda makes a literally weak/passive lead protagonist, replacing comparably effective and edgy detective George Kennedy, who started out on the killers' trail: one that eventually hits a prolonged dead end, and, progressive in the worst ways, THE BOSTON STRANGLER makes a psychic seem logical, a psychologist completely infallible, and this particular madman a victim. And a terribly uninteresting one at that.<br> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeKFZFnBRdaX5Y7QnotmKjIXAmwlwHwoakY_tzT4yp8JZ98TXHoXVlQIbXOQNpMZyGjLOTFcHglQKQJlbliDMgSS54KJevdDrTrx9BMcKqgpGSjMotflx5kldA_kQEZ5ltR2N2K0soITWx/s1600/Screen+Shot+2020-04-08+at+10.43.24+PM.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1049" data-original-width="1549" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeKFZFnBRdaX5Y7QnotmKjIXAmwlwHwoakY_tzT4yp8JZ98TXHoXVlQIbXOQNpMZyGjLOTFcHglQKQJlbliDMgSS54KJevdDrTrx9BMcKqgpGSjMotflx5kldA_kQEZ5ltR2N2K0soITWx/s1600/Screen+Shot+2020-04-08+at+10.43.24+PM.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Female Victims Movie Poster for Richard Fleischer's THE BOSTON STRANGLER</u></td></tr> </tbody></table>

biopic, body count, cop, crime, henry fonda, neo noir, richard fleischer, sixties, thriller, tony curtis

RICHARD FLEISCHER'S NEO NOIR BIOPIC 'THE BOSTON STRANGER'

Year: 1968 Rating: ** Richard Fleischer's Police Procedural biopic, using the multi-screen effect, only works until Tony Curtis is r...

KIRK DOUGLAS & TONY CURTIS PILLAGE THROUGH 'THE VIKINGS'

<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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwRuaEAKuNz4Z_pbWmA3tFbDrP7OPraM2FqG1KzZHTzQDnveXRRbMG5VMgtmMarUDNL3_N76xMHoVSPtbt4qMFk8u8LpeaYtxJrhOTNP6r7mZM1lwlqBcvAZyr2-pTx6seaTQAGAehl_wL/s1600/1-1.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="676" data-original-width="1389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwRuaEAKuNz4Z_pbWmA3tFbDrP7OPraM2FqG1KzZHTzQDnveXRRbMG5VMgtmMarUDNL3_N76xMHoVSPtbt4qMFk8u8LpeaYtxJrhOTNP6r7mZM1lwlqBcvAZyr2-pTx6seaTQAGAehl_wL/s1600/1-1.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Mountain waterfall with James Donald and Ernest Borgnine in Richard Fleischer's THE VIKINGS Year: 1958</u></td></tr> </tbody></table> Can you have a bonafide epic with only three Viking ships? Well Richard Fleischer's THE VIKINGS at least plays like one thanks to a booming opening narration by Orson Welles and especially Kirk Douglas's usual spirited acting style, neatly curbed by a much more subtle Tony Curtis as his unaware half brother....<br> <br> The latter an assertive, resilient Viking slave who, we learn from the prologue, is related to Douglas from an England-set pillaging rape by their Viking king father, Ernest Borgnine, full of hearty laughs and a brawling beard, gulping gallons of grog during various scenes in a noisy tavern where the Vikings party like it's 1099.<br>

almut berg, ernest borgnine, fifties, james donald, janet leigh, kirk douglas, orson welles, richard fleischer, tony curtis

KIRK DOUGLAS & TONY CURTIS PILLAGE THROUGH 'THE VIKINGS'

Mountain waterfall with James Donald and Ernest Borgnine in Richard Fleischer's THE VIKINGS Year: 1958 Can you have a bonafide epic ...

GEORGE C. SCOTT DRIVING RICHARD FLEISCHER'S 'THE LAST RUN'

<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/AVvXsEjHmNNE0YL2yKCq-6n4lMLqhk0biZtw4oeeoM4UOCZ19q8emOXeyRC6z4jjWgixgej8MB7BifVjlFaPSe-f8u45YKKnESTRbTzrELADbCszIyXTvX90Fj4K9VXSGsPsbOHx7474Z0Avhbdi/s1600/Screen+Shot+2019-09-16+at+3.42.54+AM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="738" data-original-width="1118" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHmNNE0YL2yKCq-6n4lMLqhk0biZtw4oeeoM4UOCZ19q8emOXeyRC6z4jjWgixgej8MB7BifVjlFaPSe-f8u45YKKnESTRbTzrELADbCszIyXTvX90Fj4K9VXSGsPsbOHx7474Z0Avhbdi/s400/Screen+Shot+2019-09-16+at+3.42.54+AM.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>George C. Scott & Tony Musante in The Last Run Year: 1971 </u></td></tr> </tbody></table> There's something about Tony Musante that makes you want to punch him in the nose. Perfect for an actor like George C. Scott, who didn't suffer fools, on or off the set, including original director John Huston replaced by Richard Fleischer...<br> <br> In THE LAST RUN Scott plays an aged getaway driver hired to take an escaped convict (whom he helped escape) on a score, and the entire Spain setting harbors either the painted landscape countrysides or, there and back along a winding road, a deep blue fisherman's beach. The tagline states, "In the tradition of Hemingway and Bogart," but with a Jerry Goldsmith score detailed by a haunting, reposeful harpsichord, it's more Spaghetti Western with random bursts of action throughout an edgy road trip from one double-cross to another chance to score, and with some twists and turns that shouldn't be spoiled in-between...<br>

action, caper, chase, colleen dewhurst, crime, george c. scott, getaway driver, neo noir, richard fleischer, seventies, tony musante, trish van devere, warner archives

GEORGE C. SCOTT DRIVING RICHARD FLEISCHER'S 'THE LAST RUN'

George C. Scott & Tony Musante in The Last Run Year: 1971 There's something about Tony Musante that makes you want to punch him ...

NEO-NOIR GANGSTER 'THE DON IS DEAD' WITH ROBERT FORSTER

<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/AVvXsEhHiaw7YcgoroUoSvC3jsKSI0hU0Ef3u2-mCTDEjWEnzOptKx1n4zcOJaD5kSlebi8mKFXzWUbuq5H1raSik_HxwmAUW9lrblNccdOH8aveyNkpvcNCUHJ0FKnaKNAPrd7mbhIrbUFtymdM/s1600/3.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="919" data-original-width="1600" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHiaw7YcgoroUoSvC3jsKSI0hU0Ef3u2-mCTDEjWEnzOptKx1n4zcOJaD5kSlebi8mKFXzWUbuq5H1raSik_HxwmAUW9lrblNccdOH8aveyNkpvcNCUHJ0FKnaKNAPrd7mbhIrbUFtymdM/s400/3.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Robert Forster in THE DON IS DEAD Year: 1973</u></td></tr> </tbody></table> <span style="font-family: "verdana" , sans-serif;">How could a movie starring Anthony Quinn, Robert Forster, Frederic Forrest, Al Lettieri, directed by Richard Fleischer and centering on cutthroat mobsters slightly miss the mark, or, not be an incredible masterpiece? </span><br> <span style="font-family: "verdana" , sans-serif;"><br></span> <span style="font-family: "verdana" , sans-serif;">Probably because there's not much of a target to begin with, and yet, that's not such a bad thing since the breezy undertone provides a cushion of what feels like actor improvisation under the edgy, multi-plotted schemes going on... And on and on in what's an overly complicated yet extremely simplified take on the mobster legacy...</span><br>

al lettieri, anthony quinn, crime, exploitation, frederic forrest, gangster, mob, mobster, neo noir, richard fleischer, robert forster, seventies

NEO-NOIR GANGSTER 'THE DON IS DEAD' WITH ROBERT FORSTER

Robert Forster in THE DON IS DEAD Year: 1973 How could a movie starring Anthony Quinn, Robert Forster, Frederic Forrest, Al Lettieri, di...

WHEN SCARY MET SALLY: MEG RYAN BEGINS IN 'AMITYVILLE 3D'

<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/AVvXsEgBWkE2YuMpDB9FN6O98J8BTPmX7J9acXEFEXl1K33IYnoFOsfn6uatz9W-gGIg4FQp_SvTNXllxshIFaIgRqsv56twXfW7dLJxAPKUPpuyqGevCNkNoVWmz6XoITJIrbBGaNNE8s3W0K52/s1600/Screen+Shot+2019-09-01+at+2.17.44+PM.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="803" data-original-width="1279" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBWkE2YuMpDB9FN6O98J8BTPmX7J9acXEFEXl1K33IYnoFOsfn6uatz9W-gGIg4FQp_SvTNXllxshIFaIgRqsv56twXfW7dLJxAPKUPpuyqGevCNkNoVWmz6XoITJIrbBGaNNE8s3W0K52/s400/Screen+Shot+2019-09-01+at+2.17.44+PM.jpeg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>A glimpse into the brilliant three dimensions in Amityville 3D Year: 1983</u></td></tr> </tbody></table> It was the best of times; it was the worst of 3D Cinema; or at the very least, the most contrived in its production, perfectibility, and logic...<br /> <br /> Case in point, the first Third Film in The Third Dimension worth noting was JAWS 3D, a campy masterpiece of banality wherein the grownup kids of Roy Scheider's Chief Brody work at a Sea World type locale where a shark gets in past an underwater gate, and without a ticket. Then there's the third FRIDAY THE 13TH where the Effect is actually pretty good, that is, better than JAWS 3D since bloody machetes — as opposed to random sporadic decorations — pop out at the audience (this is Cult Film Freak's favorite F13TH film). And the most bizarre example is directed by our all-time favorite director, Richard Fleischer: Not only is AMITYVILLE 3D no FANTASTIC VOYAGE or SOYLENT GREEN, it's not even RED SONYA...<br /> <br /> <div style="text-align: left;"> </div> <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/AVvXsEih5-fIoRqsknYf7TBwUpzQyRAZZ0dT8SPeWTtSjH4JrhMRlU1f_Yr0QDg4KIiro0nDOTccoXXqu2QnxwjpUuw1-RE0Fx_j6B9ozNjSE1E9xm2R_MT0QHXmj4Psak4gsrA1JVDFYJtt2mrH/s1600/70118_front.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih5-fIoRqsknYf7TBwUpzQyRAZZ0dT8SPeWTtSjH4JrhMRlU1f_Yr0QDg4KIiro0nDOTccoXXqu2QnxwjpUuw1-RE0Fx_j6B9ozNjSE1E9xm2R_MT0QHXmj4Psak4gsrA1JVDFYJtt2mrH/s320/70118_front.jpg" width="274" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Regular Score: **1/2 Camp Value: ***1/2</u></td></tr> </tbody></table> Although, surprisingly enough, it <i>is</i> entertaining at times, especially the opening sequence where grieving marrieds Tony Roberts and Candy Clark seek the voice of their deceased son through a clairvoyant couple renting the titular house and — the twist is that they're not married but workmates for a magazine disproving not only ghosts but the shams who con vulnerable families...<br /> <br /> <div style="text-align: left;"> </div> This is followed by an overweight, neurotic real estate agent (familiar looking/always working character-actor John Harkins), interesting for more reasons than being an obvious first victim. He sells the house to Roberts, who wants to write his Great American Novel, and, being in the business of disbelief, he can care less about the house's ghoulish reputation. Meanwhile, Candy Clark's intrepid yet equally superstitious photographer, Melanie — far more important than a very whiny Tess Harper as Tony's separated wife — fills the "investigator" shoes, veering outside the box, an idea that works and doesn't: While we <i>do</i> stray from the usual claustrophobic haunted house template, if elevators and cars are equally cursed, why does the legendary manor mean anything?<br /> <br /> <div style="text-align: right;"> </div> <div style="text-align: right;"> </div> <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/AVvXsEhd5PjLhbbGlVOXZ9qjxdc5ffUdn7t-an2bb93mPZgZEhmN_J_esh0FR-azH3Oc_lrhG2qfVu6h57hcWfLm8jMteZiJWFDR2n2i1_Ps-mTC85C5PzOclav4QjaoB5MVBY40DJIKmvqmyzNq/s1600/16387070_266053587157158_8095648401563134735_n.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd5PjLhbbGlVOXZ9qjxdc5ffUdn7t-an2bb93mPZgZEhmN_J_esh0FR-azH3Oc_lrhG2qfVu6h57hcWfLm8jMteZiJWFDR2n2i1_Ps-mTC85C5PzOclav4QjaoB5MVBY40DJIKmvqmyzNq/s320/16387070_266053587157158_8095648401563134735_n.jpg" width="320" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Lori Loughlin maybe isn't what she seems</u></td></tr> </tbody></table> Like AMITYVILLE 2: THE POSSESSION, which is arguably superior than the famous Rod Steiger "Get Ouuuut!" original, involves a young, innocent and downright gorgeous daughter, Diane Franklin, born to be in peril. Herein, another lovely and vulnerable daddy's girl, played by future sitcom starlet Lori Loughlin, is the only character that the parents and the audience seem meant to <i>really</i> care about...<br /> <br /> Scenes with playful friend Meg Ryan, along with two vapid teenage boys, actually work because finally, we're <i>inside</i>. There's an underlying element of suspense, but the 3D aspect is overused to a hilarious level. Practically every object, from a boom mic to a bright red frisbee, makes its utterly contrived way towards the camera so many times there's not enough room for the horror to stretch beyond dated special effects and especially those banal flies buzzing up a ludicrous storm! But, like flies on crap, there's a bigger, campier and more ridiculous beast downstairs, which is supposed to be the end-all, tie-in culprit of all the films, lurking inside a well in the basement that harbors the Gate of Hell...<br /> <br /> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <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/AVvXsEgN2g2KTVIMwPGA0UaZK4cQt8K9L-GqIPDXrXuPz0OvnkMN3tLeEEuzB_RImuqAEPZQtLY39sSQAsnE37-gFa9k4TCAlLpIpsZfY5CXbiWQv3uDVsiiEwZ5G8c43G_NDBANzHG0Fs8Dflf-/s1600/69496521_774735882955590_8004597366361423872_o.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="582" data-original-width="846" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN2g2KTVIMwPGA0UaZK4cQt8K9L-GqIPDXrXuPz0OvnkMN3tLeEEuzB_RImuqAEPZQtLY39sSQAsnE37-gFa9k4TCAlLpIpsZfY5CXbiWQv3uDVsiiEwZ5G8c43G_NDBANzHG0Fs8Dflf-/s400/69496521_774735882955590_8004597366361423872_o.jpeg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>When Scary Met Sally: Meg Ryan & Lori Loughlin in Amityville 3D</u></td></tr> </tbody></table> Like any horror flick that runs out of creative gas by the second or third act, it's up to an actual creature/monstrosity to push the vehicle into fifth gear — but this remains mostly in neutral. When ATLANTIC CITY actor Robert Joy, as a good ghost hunter (what Beatrice Straight was in POLTERGEIST), wrestles with the animated wraith, the camp value rises tremendously. <br /> <br /> And for fans of classic movies, it's nearly impossible to believe that the director, around seventy-years old and having worked nonstop since the 1940's, would stoop so low. But without his guidance, who knows — it might have been so bad there'd be nothing to discuss at all. The fact is, A3D is a painfully worthwhile guilty pleasure that, at times, actually flows.<br /> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivTETp9kfNhcVQz5Z06DMbjdvWWgY-3br5kC0fDxlc8gGz72YeRAH7ebkVHKWPRqN6uHZtRQZfI8OAMEGAgKM4j7yK-LiPOutV3-QAkKNj2Y5FNqLP3JVxCXuqeL6AL4iuiD2f1EhN1cl7/s1600/69871708_774970406265471_2888331610678099968_o.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="1198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivTETp9kfNhcVQz5Z06DMbjdvWWgY-3br5kC0fDxlc8gGz72YeRAH7ebkVHKWPRqN6uHZtRQZfI8OAMEGAgKM4j7yK-LiPOutV3-QAkKNj2Y5FNqLP3JVxCXuqeL6AL4iuiD2f1EhN1cl7/s1600/69871708_774970406265471_2888331610678099968_o.jpeg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>When Satan Met Sally: Meg Ryan goes Ouiji Boarding with Lori Loughlin in AMITYVILLE 3D</u></td></tr> </tbody></table> <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>

camp, franchise, horror, lori loughlin, meg ryan, richard fleischer, robert joy, sequel, tony roberts

WHEN SCARY MET SALLY: MEG RYAN BEGINS IN 'AMITYVILLE 3D'

A glimpse into the brilliant three dimensions in Amityville 3D Year: 1983 It was the best of times; it was the worst of 3D Cinema; or at...

KIRK DOUGLAS IN DISNEY'S '20,000 LEAGUES UNDER THE SEA'

<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/AVvXsEiPUFGeZahugpVxDPAzf6DrwOzJzYgsf6YnuNKqgXYiISn04ee_5hG9Kqqe9GE6bl6mwRI9oassRwzy9CgrqdEg6B6DxlbY3l0rD5qAhZOhdeRnSpQcEusyrdmd26QRXeiRfrf2I-_tbk0/s1600/2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPUFGeZahugpVxDPAzf6DrwOzJzYgsf6YnuNKqgXYiISn04ee_5hG9Kqqe9GE6bl6mwRI9oassRwzy9CgrqdEg6B6DxlbY3l0rD5qAhZOhdeRnSpQcEusyrdmd26QRXeiRfrf2I-_tbk0/s400/2.jpg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Probably singing something by SEAL</td></tr> </tbody></table> What's rare about movies, especially that of the action or science-fiction nature, is there are usually two or three leads. That is, two males, an Alpha and Beta, and one female ingenue that you only see enough to drive the two men crazy.<br /> <br /> <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/AVvXsEgVcb_ltBcvMvG9ai-TPb5EyvYgPsyviftj0kb4JdbDS2ulUVbBzOUAIcXcO4BUiD8gdBZQATS7XFxlyLyAtUiO-N5Sy3LRxguxlgMafSJTVlMaAII6dVa769BzbqKUi_GRVtC78-bqcCI/s1600/6.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVcb_ltBcvMvG9ai-TPb5EyvYgPsyviftj0kb4JdbDS2ulUVbBzOUAIcXcO4BUiD8gdBZQATS7XFxlyLyAtUiO-N5Sy3LRxguxlgMafSJTVlMaAII6dVa769BzbqKUi_GRVtC78-bqcCI/s400/6.jpg" width="117" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Kirk Douglas</td></tr> </tbody></table> Meanwhile, a woman would have given Kirk Douglas's freelance harpooner a lot more to sing to, and about, than a seal within a very special submarine/boat that, among other things, Kirk secretly collects a cache of treasure and booze inside as battle-ship rammer James Mason's Captain Nemo uses the machine's pointed exterior to rid the ocean of ships carrying weapons for that horrible creation called War...<br /> <br /> <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/AVvXsEijq3KyS-k2eewOGDWUtmvp3dvALn3RBQqLZ1RssyTT9tDZXxyYhTdwxroEX9T3VlsxYqj99Pz04TkoAMxXfBU4tCy14VG0TRQ5p_OiA6cleCmrYPNmpot4-rMgiN6nl9bH0wt5iuHqDq0d/s1600/Screen+Shot+2018-12-09+at+4.08.59+AM.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="908" data-original-width="1165" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijq3KyS-k2eewOGDWUtmvp3dvALn3RBQqLZ1RssyTT9tDZXxyYhTdwxroEX9T3VlsxYqj99Pz04TkoAMxXfBU4tCy14VG0TRQ5p_OiA6cleCmrYPNmpot4-rMgiN6nl9bH0wt5iuHqDq0d/s400/Screen+Shot+2018-12-09+at+4.08.59+AM.jpeg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Kirk kicking his way out</td></tr> </tbody></table> And in this multi-layered, completely entertaining 1954 Disney adventure, there are plenty of characters to center on including two buried leads for their scientific value, yet only one, Mason's brilliant yet borderline insane Nemo, is the entire reason for the group to go 10,000 leagues deeper than a book taken seriously by everyone at that time, written by the famous Prof. Pierre Aronnax (the Jules Verne of the movie), played by a subdued, grounded, very important (and narrating) Paul Lukas, who becomes more of an unappreciated middleman between the edgy Nemo and the cocky, rogue Douglas; the latter who, years later, would possibly inspire Steve McQueen in THE GREAT ESCAPE and/or Han Solo in STAR WARS, stealing the movie outright, as if it were his very own... like that stolen treasure in the seal's room. But the conversations between Professor Aronnax and Captain Nemo range from pretty much everything: to the war, basic human nature and our overall existence.<br /> <br /> <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/AVvXsEgw45ROw0gRUdaI4NI7rBN3Y96SBd4I1x03k6bfo9KqomP9MQf3Tzetd_H42rBfElyEMeWnoeiqXR1uzV0IIIBt93xhxFCSeL8suNPrZIO48__RYY7CfGFMOskG7MhmbsansxfhyphenhyphenRsEdkw/s1600/1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw45ROw0gRUdaI4NI7rBN3Y96SBd4I1x03k6bfo9KqomP9MQf3Tzetd_H42rBfElyEMeWnoeiqXR1uzV0IIIBt93xhxFCSeL8suNPrZIO48__RYY7CfGFMOskG7MhmbsansxfhyphenhyphenRsEdkw/s400/1.jpg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Kirk Douglas figures things out</td></tr> </tbody></table> And last but not least is an aged Peter Lorre, more heavyset and friendly than his eerie and sinister youth, resembling character-actor Burt Young (before there was a Burt Young to be compared to).<br /> <br /> Lorre's Conseil is the only thing (moral compass) really holding back Douglas's Ned Land from continuing to steal more and more treasure that Nemo had taken from the sea floor, and that Ned wanted to do beforehand, while Nemo's busy destroying war ships, which is how, after a mysterious first act, boats were supposedly being ferociously and fatally attacked by a rumored, unstoppable sea beast... initially bringing the three investigative leads together in the first place: all reluctantly "rescued" into the classy mad man's submarine, The Nautilus. And eventually, during the famous conclusion, a giant formidable squid tries taking the sub/ship, and crew, apart with its powerful tentacles...<br /> <br /> <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/AVvXsEgnC7ug4Pj-LCi1w_h6UJKD_M1z56xMlHAZOBXOkIG71mg2R6OaMH4O9kpNOSNaz8DYnCOIUJDlB8_qKKxO8tx4UFfRu1Oai6asRhcLC1p4JX8eK-NG40H23eI-bautxqa7Z20sC73XzjU/s1600/66.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnC7ug4Pj-LCi1w_h6UJKD_M1z56xMlHAZOBXOkIG71mg2R6OaMH4O9kpNOSNaz8DYnCOIUJDlB8_qKKxO8tx4UFfRu1Oai6asRhcLC1p4JX8eK-NG40H23eI-bautxqa7Z20sC73XzjU/s320/66.jpg" width="145" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Peter Lorre</td></tr> </tbody></table> Herein Douglas finally <i>almost</i> proves his heroic worth to Mason's perpetually untrusting Nemo, although at this point, after a relatively long yet flowing two-hours, the adventure, now taking place on the island where the ill-fated war ships set out to sea, there's a literally explosive conclusion. Just imagine Nemo destroying British war ships on the way to stopping Hitler, and you might just want to kick his idealistic ass...<br /> <br /> <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/AVvXsEhVE67fAZTDcknr0IcPfSsH8j30oFwzt7hDjjcFnxp0qHNhdLpVaGNxFXtdtyugQVJ_Vc7TR3h-KSg8oMse2CoANx0IPdijra8ZYDHsri94i0KQv83saP-fHF6FlQAy2uA_Cq5L3OqUDzY/s1600/55.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVE67fAZTDcknr0IcPfSsH8j30oFwzt7hDjjcFnxp0qHNhdLpVaGNxFXtdtyugQVJ_Vc7TR3h-KSg8oMse2CoANx0IPdijra8ZYDHsri94i0KQv83saP-fHF6FlQAy2uA_Cq5L3OqUDzY/s320/55.jpg" width="205" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">The brains of the bunch</td></tr> </tbody></table> Well this is obviously years before WWII, and still, the sane trio realizes he's a sick man. But Nemo's edgy, anti-war status is somewhat understandable since these war ships have to do with slavery that he was involved with, and yet, despite the <i>deep </i>stuff, a lot of the film has Douglas hanging with both the cute seal and Peter Lorre, reveling in the booze and booty as Lorre catches tips from the brave hero (while peripherally "protecting" his boss) as Douglas, subliminally becoming a sort of SIERRA MADRE Bogart, only nicer, is yearning to take the treasure chest for himself...<br /> <br /> Meanwhile, Nemo considers<i> all</i> the underwater elements to be the real treasures and/or discoveries, ranging from aquatic elements that can make food and cigars... Basically, you can live an entire life underwater, and Nemo needs the Professor as his own personal Captain's log-pen for what could be a glorious journal when (and if) completed.<br /> <br /> <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/AVvXsEjhik7C5E_oqJ0prAuU5Xw095agW8cb644xaXkh206PhIRVXnTJvTPaXKXYCh6f02KK9Agi7l6ZqPyGjT9YzWyqhKs4oawme_D_VMMiIZIN0KGwOcqQ07Ip6YYkx8M7kdWYgGibm-o2zfM/s1600/3.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhik7C5E_oqJ0prAuU5Xw095agW8cb644xaXkh206PhIRVXnTJvTPaXKXYCh6f02KK9Agi7l6ZqPyGjT9YzWyqhKs4oawme_D_VMMiIZIN0KGwOcqQ07Ip6YYkx8M7kdWYgGibm-o2zfM/s400/3.jpg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Four main leads in one motion picture RATES: **** </td></tr> </tbody></table> With a perfect combination of scientific exposition and a handing-off of daring-do adventures, all completely resulting from the characters: from battling headhunters to that awesome giant squid, LEAGUES takes us lower than any movie...<br /> <br /> Yet, although dated with a few corny singalongs by an initially hyperactive Douglas (few can get away with such kitsch and still seem cool, wearing a shirt resembling Christmas candy cane, to boot), contrasting with his brainy partners and eventually, all heads connect in one of the best Disney features that... although only slightly wielding dated (albeit completely apt) monstrous creature effects... looks great outside and even better inside as any movie today, especially the plush interior of Nemo's ultimate submarine... Thus the Nautilus, which is also a spooky-looking boat resembling some kind of primal dragon sea monster of the depths, is both a character in itself and the reason for everything to take place, uniting four human beings that couldn't be more different, and yet fitting together, perfectly.<br /> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGleMD3Uv3z_O8b53woityBKRbUt3J3CjKjaReNzz47SfOSsalJt9FKCk_EZzd19ZLtQwzA1KEZIinIwKmOE_K27NuI59M7gIRh07vwUKGiCrOqXaeye9tTnmNa5D4S0vn4Lr-Q4rMz_A/s1600/Screen+Shot+2016-03-23+at+11.22.41+PM.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGleMD3Uv3z_O8b53woityBKRbUt3J3CjKjaReNzz47SfOSsalJt9FKCk_EZzd19ZLtQwzA1KEZIinIwKmOE_K27NuI59M7gIRh07vwUKGiCrOqXaeye9tTnmNa5D4S0vn4Lr-Q4rMz_A/s1600/Screen+Shot+2016-03-23+at+11.22.41+PM.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Giant Octopus fighting the Nautilus in the Disney classic YEAR: 1954 </u></td></tr> </tbody></table> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr70wmHWeQ9APkdKOnCA0c0W9LunN9EScUevCGyTyf2xnu0AclrEpDrznrc8IWNFDejGTOef2CrnFn3AecFVg3IRgw6WAJaHGfsIufvZXqmHxynanyOcyQXkDCquapZdpzhwaj7nn0Oy4/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr70wmHWeQ9APkdKOnCA0c0W9LunN9EScUevCGyTyf2xnu0AclrEpDrznrc8IWNFDejGTOef2CrnFn3AecFVg3IRgw6WAJaHGfsIufvZXqmHxynanyOcyQXkDCquapZdpzhwaj7nn0Oy4/s1600/11.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Exterior View of Nemo's vessel as the boy's attempt to escape</td></tr> </tbody></table> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb3H-NqwaS6mjn9BZhIaMVcCL2zSSqz9_E1huhAX1LGtW4mNpzbThJHvWWmOELYyG8Sp5hitWilKXML_TeW63C0A3AFL4Giq7Hd7oaATHq2kMgN6TsVU3IB9pmyJPQXH0h9JwVi2xNKr8/s1600/13.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb3H-NqwaS6mjn9BZhIaMVcCL2zSSqz9_E1huhAX1LGtW4mNpzbThJHvWWmOELYyG8Sp5hitWilKXML_TeW63C0A3AFL4Giq7Hd7oaATHq2kMgN6TsVU3IB9pmyJPQXH0h9JwVi2xNKr8/s1600/13.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">An intense Captain Nemo during an 11th hour emergency</td></tr> </tbody></table> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjs7PoMkXxqceuMNi6CjuBlzHDyo3ZkAzdpPXgm24rD4OyOWlQiquP1Fbmw-At7osD46_thr0iaSkv3oA1PjfEuH2ujk8GU3Js9l61xBVKgMJuh_ZVFhj2JHp6KbJPhbJP_5aXvSim-bk/s1600/16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjs7PoMkXxqceuMNi6CjuBlzHDyo3ZkAzdpPXgm24rD4OyOWlQiquP1Fbmw-At7osD46_thr0iaSkv3oA1PjfEuH2ujk8GU3Js9l61xBVKgMJuh_ZVFhj2JHp6KbJPhbJP_5aXvSim-bk/s1600/16.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Peter Lorre standing next to that great looking organ</td></tr> </tbody></table>

action, adventure, creature, disney, fifties, james mason, kirk douglas, paul lukas, peter lorre, richard fleischer, underwater

KIRK DOUGLAS IN DISNEY'S '20,000 LEAGUES UNDER THE SEA'

Probably singing something by SEAL What's rare about movies, especially that of the action or science-fiction nature, is there are u...

THE NEW CENTURIONS

<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/AVvXsEg96740kyWEwx5n7JvnCuLLpeRkBGO_nYUScemooYhuWW2IR-wz72PEDnSGOxamQ5Vf7uqgLTU-aDEnPKT9TrXqvvh4KnG63ef9FI6FyQNV-Fou4oMruLh5gydYVzhFFU6tllsvspEannaE0h9eZTgITvpLVPMbMZMart2sYrftE7mzrPQoDfwYh3DuNZC2/s840/nc7_zpsaad0b7b6.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="840" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg96740kyWEwx5n7JvnCuLLpeRkBGO_nYUScemooYhuWW2IR-wz72PEDnSGOxamQ5Vf7uqgLTU-aDEnPKT9TrXqvvh4KnG63ef9FI6FyQNV-Fou4oMruLh5gydYVzhFFU6tllsvspEannaE0h9eZTgITvpLVPMbMZMart2sYrftE7mzrPQoDfwYh3DuNZC2/s16000/nc7_zpsaad0b7b6.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">year: 1972 cast: Stacy Keach, George C. Scott, Erik Estrada, Scott Wilson, Clifton James rating: ***1/2</td></tr></tbody></table> Whether it’s an exploitive early 70’s crime flick with an underlying mainstream influence, or a mainstream cop movie that sporadically delves into a gritty no-nonsense peripheral, THE NEW CENTURIONS is an entertaining piece of cinema…<br /> <br /> After an opening credit montage of rookies – including Stacy Keach’s Roy Fehler, Scott Wilson’s Gus and Erik Estrada’s Sergio – training at the police academy, we skip right to the chase… almost. Your typical gruff sergeant (Dolph Sweet) is barking orders to a group of world-weary police officers… And with a fresh rookie partner in tow, they enter into the dark Noiry streets of downtown Los Angeles.<br /> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn8aWf0Nb4fGZNBGTE-sa2hnoSLC3qNQMWFwyEMfe-LcqX1zmf6c0xY0ACDSQqbOHWyugQ4eHqk8-t4XwNUHYW4SqjIeCceUUv2KBlShXzW7_6Z4H5qLEFdSEl3noQDl78jxvz7LRmiCBh/s1600/nc1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn8aWf0Nb4fGZNBGTE-sa2hnoSLC3qNQMWFwyEMfe-LcqX1zmf6c0xY0ACDSQqbOHWyugQ4eHqk8-t4XwNUHYW4SqjIeCceUUv2KBlShXzW7_6Z4H5qLEFdSEl3noQDl78jxvz7LRmiCBh/s1600/nc1.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">George C. Scott as Kilvinski in THE NEW CENTURIONS</td></tr> </tbody></table> At first, the centerpiece is George C. Scott’s veteran cop Kilvinski, who, with his own implied “laws” aka philosophies of life, provides Keach's clean slate Roy exposition through random busts including bickering prostitutes and, cutting back and forth from Clifton James’s Whitey paired with Scott Wilson's Gus, and Ed Lauter with former gang member Sergio (Estrada), domestic dispute calls that wind up humorously reminiscent of a television cop show.<br /> <br /> But there’s a point where CENTURIONS, compared by Kilvinski as a new brand of Roman guard (equally hated and needed by that society like our own) kicks into second gear. Standout scenes include Wilson’s Gus gunning down an innocent man… The IN COLD BLOOD actor’s shocked expression, as well as Estrada’s Sergio explaining his backstory as a gang member reluctantly brought back to his hellish home town, make this more character-driven than action-packed.<br /> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRURMytb90qJD3TpOrfta9NMauv__DfSOc2eJ2YozgG0t_Uy9U7MvKbQksr1l_H1Ao0unBnYEQIrJGdb66zqzleew8JVpSwrFzXeiyPZHhdAd-0IxLpcZQkxMKBnEz4RLQBkzrIrD428dY/s1600/nc9.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRURMytb90qJD3TpOrfta9NMauv__DfSOc2eJ2YozgG0t_Uy9U7MvKbQksr1l_H1Ao0unBnYEQIrJGdb66zqzleew8JVpSwrFzXeiyPZHhdAd-0IxLpcZQkxMKBnEz4RLQBkzrIrD428dY/s1600/nc9.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Stacy Keach as Roy in THE NEW CENTURIONS</td></tr> </tbody></table> Although noted as a vehicle for the PATTON Oscar-winning Scott, remaining the wise mentor till a gloomy retirement, the story truly belongs to Stacy Keach, whose character-arc from an idealistic rookie to a seasoned cop to a reluctant vice squad officer to a hopeless drunk is underlined by the dwindling relationship with his wife and child: the domestic scenes border on melodrama but never take away from the gritty base: We always promptly return to the streets. <br /> <br /> Based on a novel by former lawman Joseph Wambaugh, insightful glimpses outshine the sporadic cinematic clichés, and a few scenes would be considered politically-incorrect to modern audiences. But underrated director Richard Fleischer… whose eclectic hit & miss career labeled him more of a talented hired hand than creative auteur… using grainy film stock makes even the lighter moments look and feel completely intense and (despite a tacked-on conclusion) jarringly unpredictable.<br /> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO_BH9G1B4qjPsVrUwJAWP6tdacp5-m4l_RKWUQSt5i-REpMifq3OjK5RtrNGCvdVeOoq9D3nRtQbtKdMIM15hhqEN5fo9xZyCJu1K0r7xt_ftWB4yCq7TNpEn4TcQtCTXdmjTELKn0YfX/s1600/nc2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO_BH9G1B4qjPsVrUwJAWP6tdacp5-m4l_RKWUQSt5i-REpMifq3OjK5RtrNGCvdVeOoq9D3nRtQbtKdMIM15hhqEN5fo9xZyCJu1K0r7xt_ftWB4yCq7TNpEn4TcQtCTXdmjTELKn0YfX/s1600/nc2.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Scott Wilson as Gus in THE NEW CENTURIONS</td></tr> </tbody></table> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqkIp03WdDCBN5oxErE5DGscensR8skCzTOQo7dc9pPU0IVsqQPTaZ48ktVs29l4ZEdqZj6nIOQM6BHjNrq_PcDyJNZmwXYJT05CrIDM7Dj5Z18iWio5Qk2PB-AD3kM9CuctIik9Y23T13/s1600/nc3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqkIp03WdDCBN5oxErE5DGscensR8skCzTOQo7dc9pPU0IVsqQPTaZ48ktVs29l4ZEdqZj6nIOQM6BHjNrq_PcDyJNZmwXYJT05CrIDM7Dj5Z18iWio5Qk2PB-AD3kM9CuctIik9Y23T13/s1600/nc3.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Roger E. Mosley being hassled in THE NEW CENTURIONS</td></tr> </tbody></table> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0lLetI1WemUu8BoAgzGW38NYU-kcSbbC1-AwUsBJF2X0UIVaDbfTA9U-fl7OrGNZrmubwUPfkqtEaKea3kJFWtWUlDHyOZVBsd5sR4rgBuimMcKh6HPb6yEEbCWc7hCKqSn9p1wxLJltk/s1600/nc4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0lLetI1WemUu8BoAgzGW38NYU-kcSbbC1-AwUsBJF2X0UIVaDbfTA9U-fl7OrGNZrmubwUPfkqtEaKea3kJFWtWUlDHyOZVBsd5sR4rgBuimMcKh6HPb6yEEbCWc7hCKqSn9p1wxLJltk/s1600/nc4.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Pepe Serna getting some help in THE NEW CENTURIONS</td></tr> </tbody></table> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAtJilCS9BKOdZJH2PBq1BK76Wr3r1qjpNeLzhNt0xI9oQ6j8LZ8NyZKUdYaTfqrWj_CnvNeLZLVMCVLyhHd2tGBigBZELJSCVAHr9LpmuurB-IUQw9i-__1A1p4ssxTVlehjuveUNKhtT/s1600/nc8.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAtJilCS9BKOdZJH2PBq1BK76Wr3r1qjpNeLzhNt0xI9oQ6j8LZ8NyZKUdYaTfqrWj_CnvNeLZLVMCVLyhHd2tGBigBZELJSCVAHr9LpmuurB-IUQw9i-__1A1p4ssxTVlehjuveUNKhtT/s1600/nc8.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Ed Lauter listens to Erik Estrada in THE NEW CENTURIONS</td></tr> </tbody></table> <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://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOiAtNZsBXi7kPO3XRRvjP-CtjMyQ-FCDLAWupmB6qG2DeWl8r_golJ5JU8SBf4fJmmT3nw8N40s_xrQBVSOp4qQhGOcVllmNHNASBgFSHSvnyDaMymK8Y1ZZwxYLd0dGeUV4Z-x6Q1gaC/s1600/nc6.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOiAtNZsBXi7kPO3XRRvjP-CtjMyQ-FCDLAWupmB6qG2DeWl8r_golJ5JU8SBf4fJmmT3nw8N40s_xrQBVSOp4qQhGOcVllmNHNASBgFSHSvnyDaMymK8Y1ZZwxYLd0dGeUV4Z-x6Q1gaC/s1600/nc6.jpg" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">George C. Scott in THE NEW CENTURIONS</td></tr> </tbody></table>

action, clifton james, cop, crime, erik estrada, george c. scott, richard fleischer, scott wilson, seventies, stacy keach, vice

THE NEW CENTURIONS

year: 1972 cast: Stacy Keach, George C. Scott, Erik Estrada, Scott Wilson, Clifton James rating: ***1/2 Whether it’s an exploitive early 70...

SEE NO EVIL

<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5fcCyyBXPCJS544U0NqSgyXJ4tOPjOUOyLBTF6SjfZ0VOoDqpsvDy0F3tVg-smj09-b0nk_SKel2saQHAkvAG0zYgPO5MfiS2Ytnkow6u4SauMmZw3BX7f_A_vj3s9Qkq7RH1Ylsouo2y/s1600/seenoevil.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5fcCyyBXPCJS544U0NqSgyXJ4tOPjOUOyLBTF6SjfZ0VOoDqpsvDy0F3tVg-smj09-b0nk_SKel2saQHAkvAG0zYgPO5MfiS2Ytnkow6u4SauMmZw3BX7f_A_vj3s9Qkq7RH1Ylsouo2y/s200/seenoevil.jpg" width="200" /></a></div><b>title:</b> SEE NO EVIL<br /> <div><b>year:</b> 1971</div><div><b>cast:</b> Mia Farrow</div><div><b>rating:</b> **1/2</div><br /> <div>Terrific build-up has a blind woman, played wonderfully by Mia Farrow, being reintroduced to her childhood home, literally feeling out the location where her entire family will be murdered, bodies strewn here and there, and she doesn't even know it. The peak of Richard Fleischer's direction are the scenes in which Mia's <i>in the dark</i>, but when she realizes the situation and runs for her life, hunted by the mysterious, faceless, boot-clad killer across a not-so-barren landscape, it becomes a tediously exhausting chase leading to a bland, anti-climactic conclusion. </div>

mia farrow, richard fleischer, seventies, suspense

SEE NO EVIL

title: SEE NO EVIL year: 1971 cast: Mia Farrow rating: **1/2 Terrific build-up has a blind woman, played wonderfully by Mia Farrow, b...