cult film freak: January 2016

Written by James M. Tate / 1/31/2016 / No comments / 2016 , horror , lauren cohen

LAUREN COHAN IN THE BOY

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<tr><td class="tr-caption" style="text-align: center;"><u>year: 2016 photo: WALKING DEAD ingenue Lauren Cohan channelling Ellen Burstyn from THE EXORCIST</u></td></tr>
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A couple things might seem familiar right from the start, but this wooden boy replacing one that was killed twenty years earlier... is definitely no Dummy. And also, not one string is needed, nor a ventriloquist. Just a genuinely spooky expression aimed at a lovely American played by Lauren Cohan, whose Maggie is the Juliet of THE WALKING DEAD, and now she's on the big screen with another thing to be scared about albeit far more subtle... at least initially.<br>

2016, horror, lauren cohen

LAUREN COHAN IN THE BOY

year: 2016 photo: WALKING DEAD ingenue Lauren Cohan channelling Ellen Burstyn from THE EXORCIST A couple things might seem familiar righ...

MARY-LOUISE WELLER SHARES 'FORCED VENGEANCE' CHUCK NORRIS

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</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/AVvXsEixmpYRo3s-kMGr2HgA5YKM66n_8KVZLrlD5UIpLII26jW7yHIPGk-w2vPF8u6BfnnKJYXaTTVmKcy89T1_p1r1Wc4f5m3Qzbn411l47V7lAPjy2a1n9vzslRZH4Rkk8sXnfwioPinpqG6u7zYde5mtoAy9WPKYRpmIUS8ObJys5fiOWSz8zxRuAo-pog/s2247/Screen%20Shot%202023-04-01%20at%206.08.46%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1147" data-original-width="2247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixmpYRo3s-kMGr2HgA5YKM66n_8KVZLrlD5UIpLII26jW7yHIPGk-w2vPF8u6BfnnKJYXaTTVmKcy89T1_p1r1Wc4f5m3Qzbn411l47V7lAPjy2a1n9vzslRZH4Rkk8sXnfwioPinpqG6u7zYde5mtoAy9WPKYRpmIUS8ObJys5fiOWSz8zxRuAo-pog/s16000/Screen%20Shot%202023-04-01%20at%206.08.46%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Mary-Louise Weller on FORCED VENGEANCE Year: 1982 Rating: ***1/2</u><br></td></tr></tbody></table><p>Of all the Chuck Norris vehicles from the 1980's, FORCED VENGEANCE is, by far, one of the best, most genuine, and, well, realistic and grounded, for the most part... From when Chuck walks into a swanky Los Angeles mansion to get the money owed to his boss... Donning a pair of supercool sunglasses and anticipating trouble, he winds up having to get the bag of loot the hard way, twice, taking out the in-debt slob's tough but not quite tough-enough goon...</p><p></p><p>And eventually going overseas to work as a Casino's Security Chief... and we're not talking about those guys who can't become an actual cop: Norris as Josh Randall is a sort of protector for hire, who will, in this dire situation, do anything for the old fella who's not only a boss, but a lifelong mentor, having started his club in 1945, right after the war, and he plans on keeping it but not without a lot of violent bulwarks. "Expand or die," says chief villain (and always-villainous) Michael Cavanagh. "It is the law of our business..."</p><span></span>

action, chuck norrirs, eighties, interview, karate, mary-louise weller

MARY-LOUISE WELLER SHARES 'FORCED VENGEANCE' CHUCK NORRIS

Mary-Louise Weller on FORCED VENGEANCE Year: 1982 Rating: ***1/2 Of all the Chuck Norris vehicles from the 1980's, FORCED VENGEANCE is,...

HOW TO WATCH DENNIS HOPPER'S 'EASY RIDER' EXTREMELY STONED

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<tr><td class="tr-caption" style="text-align: center;"><u>Two recently late greats Dennis Hopper & Karen Black YEAR: 1969</u></td></tr>
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Guess you cannot argue with PREMIERE magazine. After all, they are... PREMIERE magazine. Supposedly godlike because they are... PREMIERE magazine... Well then, here's a piece written by a cinematic magazine atheist, at least as far as these dolts are concerned. For when the mag had a TOP TEN LIST OF OVERRATED MOVIES, which included, to name just a few, is NASHVILLE and... our subject at hand... EASY RIDER, the latter which also hasn't exactly translated smoothly into the Millennial generation albeit seeming, to particular youngsters, like a hippie music video travelogue...<br />
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But let's start off by winning an argument that didn't pan out for yours truly during a yearly shindig when a very important pop culture film historian told a young ears-pricked movie fan that Peter Fonda and Dennis Hopper had a falling-out after EASY RIDER became a game-changing smash because Fonda claims he himself directed, or at least, co-directed the film that changed movies for the next decade, leading, at the very end of the psychedelic era, into what was The 1970's Renaissance, giving relatively young directors aka mavericks aka auteurs more power to paint their canvas how they wanted without studio-interference... <br />
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<tr><td class="tr-caption" style="text-align: center;">Hopper's LAST MOVIE</td></tr>
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To counter the myth about "Who directed EASY RIDER," in both of our interviews with RIDER veterans, editor Henry Jaglom and actress Karen Black; the latter who said, among other things: "Dennis Hopper and I improvised… he was very brilliant and he put me in EASY RIDER"... it was beyond-apparent in their particular answers, never prompted by the question, "Who really directed the movie?" but simply related to the making of the film itself, exactly <i>who the director was</i>...<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTMqC-6n11Wv-5fvJjQF3E-YjNkQ5aj-bgIeuDpmG_vezhNAoS6XdVu84rim2hMJ2sOvzq-61E7zT_Tj75QsToAkpB-qpBWnSd4gdEfkf6FD9EMjsFxXD78uOWszb6cj9ZvYchtNgK66E/s1600/5.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTMqC-6n11Wv-5fvJjQF3E-YjNkQ5aj-bgIeuDpmG_vezhNAoS6XdVu84rim2hMJ2sOvzq-61E7zT_Tj75QsToAkpB-qpBWnSd4gdEfkf6FD9EMjsFxXD78uOWszb6cj9ZvYchtNgK66E/s200/5.jpg" width="175" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Bueno!"</td></tr>
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For instance, when we praised the incredible editing, Henry Jaglom (initially an actor who decided, after a few roles on GIDGET and THE FLYING NUN, to venture behind the scenes) stated that all his own editing choices were under Hopper's, and not Fonda's, "demands," and in 1977 Jaglom returned the favor: When an unemployed, drug-riddled Hopper was in hiding, films he was cast in Jaglom's anti-Vietnam indie, TRACKS. And if you experience Dennis Hopper's sophomore directorial jinx, THE LAST MOVIE that, like how Orson Welles' convoluted Mr. ARKADIN was described years later as <i>a catastrophe that only a genius could make</i>... And compare THE LAST MOVIE to the more standard and straight-laced yet neatly entertaining anti-Western THE HIRED HAND, the first of three Peter Fonda/Warren Oates collaborations: that was capably directed by Peter Fonda... <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6a60GYfZMRCUWYKhyauktgvrD7KwE9d0kHpnmTdhU2fKYv1rgC3Z1fDPAr0uuKjZ3f8UhVUXr1L1LEjTorixML5ogES7wplglYiSx8Xovi8xz8tbVY_yBz-nF7fvJzI1nNOEPz0aAB8M/s1600/Screen+Shot+2016-01-26+at+1.44.05+PM.png" 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/AVvXsEh6a60GYfZMRCUWYKhyauktgvrD7KwE9d0kHpnmTdhU2fKYv1rgC3Z1fDPAr0uuKjZ3f8UhVUXr1L1LEjTorixML5ogES7wplglYiSx8Xovi8xz8tbVY_yBz-nF7fvJzI1nNOEPz0aAB8M/s320/Screen+Shot+2016-01-26+at+1.44.05+PM.png" width="140" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hopper in RIDER</td></tr>
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While watching and comparing the directorial style of either film, one (HAND) stands out as a much better, fulfilling story, the other more creative and visually flowing (MOVIE) within the revolutionary rhythmic style and road-romping cadence of EASY RIDER...<br />
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In other words, RIDER had one director, and his name was (& still is) Dennis Hopper, which, in order to truly understand the movie itself in the character-department, you really need to ask yourself: "Why is it called EASY RIDER and not EASY RIDERS, plural?" After all, there are two, not just one, dudes on motorcycles who, after buying and selling cocaine in Mexico, take a biker odyssey across America.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrm0btGcj1z3jWVA8nqYgskPku0ddIUKMADLRDhwGTs2mipoQuGvYTx2fVqxHseuc-4gfX7Jdvy-iGMwUx7vfxvgGYv011Hagnx87NUi8Z77Y5bsMsF867cRYeHoKEdKwi7ZIdwfGp1DY/s1600/12604927_10208706799449793_7007370038140658881_o.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/AVvXsEhrm0btGcj1z3jWVA8nqYgskPku0ddIUKMADLRDhwGTs2mipoQuGvYTx2fVqxHseuc-4gfX7Jdvy-iGMwUx7vfxvgGYv011Hagnx87NUi8Z77Y5bsMsF867cRYeHoKEdKwi7ZIdwfGp1DY/s320/12604927_10208706799449793_7007370038140658881_o.jpg" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Criterion Blu Ray Cover</td></tr>
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But Peter Fonda's Wyatt aka Captain America is who the camera is mostly centered on, and his perspective is given more levity for director Dennis Hopper to remain focused and faithful to, and he's the visionary masthead that grounds the baseline, while the scruffy, whining, complaining sidekick in Hopper's underdog Billy carries the film with inside-humor you might have to be "stoned" (which doesn't only relate to pot, and could be booze or simply a lack of sleep) to really comprehend the parenthetical moments...<br />
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Like, for instance, when he doesn't trust a hitchhiking hippie, Luke Askew, and/or his group of relatively shallow drama queen gypsy-types at a commune where, at one point, the ultimate nightmare of being paranoid occurs when Askew, who usually plays villains, stops Hopper as he's timidly stumbling over where Fonda's casually and comfortably eating, obscured safely behind a tree, completely unaware of the situation and, while the entire commune's singalong music is suddenly silenced, like the piano player in a Western ducks under his instrument as an unwanted stranger enters the saloon: At this extremely awkward moment, Askew asks Hopper in a nefarious whisper... "Who sent ya?"<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj08AVw0IRzE1uyWD2cLznO1U86Hq-IIgG-d0X4mPgT_jC5XIhmaBvcM8OtXkNS-VJ8bpoHEIdNfHn-aZPUIgddl-qvB_O7_PFeaPqtrdC73DhS0bx6peyb90Bc65DreMjef3Esgy3ys_Y/s1600/Screen+Shot+2016-01-26+at+1.44.59+PM.jpg" imageanchor="1" 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/AVvXsEj08AVw0IRzE1uyWD2cLznO1U86Hq-IIgG-d0X4mPgT_jC5XIhmaBvcM8OtXkNS-VJ8bpoHEIdNfHn-aZPUIgddl-qvB_O7_PFeaPqtrdC73DhS0bx6peyb90Bc65DreMjef3Esgy3ys_Y/s400/Screen+Shot+2016-01-26+at+1.44.59+PM.jpg" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Billy don't trust Luke</td></tr>
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At which point, the music slowly and eerily sustains as Hopper's Billy walks over to Fonda, sits down, and says, basically, that they gotta get the hell outta there: The humor is based on what we just experienced (and Fonda didn't) along with this seemingly secondary Billy character who is really the leading factor i.e. the pulse of the entire trip...<br />
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Like in a scene before the commune, after a subtle, hilarious gas station argument giving Hopper a chance to madly ramble, which would become his signature trademark years later. And when Wyatt, Billy and The Hitchhiker are sitting around a canyon campfire, smoking a joint, Billy politely, and genuinely, asks "Where are you from?" Then the uptight, forced-existential hitchhiking hippie basically shrugs him off, saying it doesn't matter. Wherein Hopper's unpretentious Billy ends the conversation with, "I just wanted to know where you're from, man."<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHkdOHrGXs7svX_1pEPBF2MGLDs5OezRuRdx5U_YsIwsN1KSMRpmX4jOoBrcxQJRgXbND-zjW81NWCLKvnsmz7x1YaFX5ryU5s-ZdLiFViLMv9lD31Yfdhu6S9lsMt5YyfjiglnhM52tI/s1600/Screen+Shot+2016-01-26+at+1.47.04+PM.png" 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/AVvXsEgHkdOHrGXs7svX_1pEPBF2MGLDs5OezRuRdx5U_YsIwsN1KSMRpmX4jOoBrcxQJRgXbND-zjW81NWCLKvnsmz7x1YaFX5ryU5s-ZdLiFViLMv9lD31Yfdhu6S9lsMt5YyfjiglnhM52tI/s320/Screen+Shot+2016-01-26+at+1.47.04+PM.png" width="132" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Riders</td></tr>
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Great stuff, and if the PREMIERE magazine staff, who (probably) made their minions add, in the IMDB trivia section: "This is considered one of the most overrated movies of all time by PREMIERE Magazine" as if it really mattered... Or simply to advertise their product... If this is how they do things, both IMDB and PREMIERE should both step back, catch a little buzz, and rewatch RIDER more closely, and listen even closer...<i> tune in</i>, as it were... to what Hopper isn't just showing us in a creative, directorial, aestetic sense... like, for example, jump-cut-forward "flashes" of a watch on the ground, visually representing how time means nothing: to the bikes gliding along the countryside backed by Steppenwolf during the opening credits; and The Byrds, The Byrd's Roger McGuinn, The Band Jimi Hendrix and other great artists: to a nightmarish LSD trip with two Mardi Gras (their ultimate destination) hookers... including Karen Black...<br />
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That, merely a few days after the death of scene-stealing Jack Nicholson, who made us forget about Hopper while Hopper made us forget about Fonda, and Fonda who is more the chief representation than an actual Captain in this EXTREMELY FUCKING UNDERRATED classic, if watched correctly... Like any great piece of art, you gotta read between the lines to truly "get it!"<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8dUsV5W7Szw9RDR8fu9dcVb9iDAl59I4KHqCS7wO9N5U3nhW_Xdn_5JhxY9-TKx4_IENRExE0oR-rB9Skxlrq95rmoVeqwhiUlyXaAJakjOOqwjHgeaLhWEYPHVibZrICoSX9qk1yo04/s1600/3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8dUsV5W7Szw9RDR8fu9dcVb9iDAl59I4KHqCS7wO9N5U3nhW_Xdn_5JhxY9-TKx4_IENRExE0oR-rB9Skxlrq95rmoVeqwhiUlyXaAJakjOOqwjHgeaLhWEYPHVibZrICoSX9qk1yo04/s1600/3.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Dennis Hopper director and actor in EASY RIDER, and is the man to be born to follow</u></td></tr>
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article, biker, counter-culture, dennis hopper, henry, indie, jaglom, karen black, luke askew, peter fonda, sixties

HOW TO WATCH DENNIS HOPPER'S 'EASY RIDER' EXTREMELY STONED

Two recently late greats Dennis Hopper & Karen Black YEAR: 1969 Guess you cannot argue with PREMIERE magazine. After all, they are.....

CRITERION DELVES INSIDE LLEWYN DAVIS

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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv0M2c4Iih-U3Nn8DQEqtKXEK9hyRtUef2GrleQdH9Nz8sJBPXlnO9DBAgGrccx3bptGKlBGj2TS9Csea_u-tVxPkQ6KTRzdg1mGFR4Q17-FvWqEvoqMU0N0QMQzEhTqD6hI0RdMs4dZg/s1600/794_DVD_box_348x490_original.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv0M2c4Iih-U3Nn8DQEqtKXEK9hyRtUef2GrleQdH9Nz8sJBPXlnO9DBAgGrccx3bptGKlBGj2TS9Csea_u-tVxPkQ6KTRzdg1mGFR4Q17-FvWqEvoqMU0N0QMQzEhTqD6hI0RdMs4dZg/s640/794_DVD_box_348x490_original.jpg" width="452"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cover to the Criterion Edition of INSIDE LLEWYN DAVIS</td></tr>
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Popular movie blogs that get much more hits than the wordy, passionate Cult Film Freak will merely promote particular covers of genre Blu Rays, DVDs, and even VHS covers, and while The Coen's comeback (at least to some of us who have been dying since THE MAN WHO WASN'T THERE) titled <a href="http://www.cultfilmfreaks.com/2013/12/inside-llewyn-davis.html">INSIDE LLEWYN DAVIS</a>, taking place in 1961, before Bob Dylan both made and broke the Folk genre in New York's Greenwich Village, centering on the most flawed of flawed anti-heroes in Oscar Issac's stubborn and selfish folk singer who, as we begin with him crashed hungover at a friend's house, which he winds up doing anywhere and everywhere, after an egg breakfast sleepily walks out the door when the family cat scrams outside along with him, wherein a desperate Lewis quickly grabs the feline in the outside hallway and, since the front door is locked, the orange tabby and the title character takes off to the Village via subway car, where our lonely misadventure begins. Actually the movie starts with what might have been the night before with Issac playing a lovely standard before getting punched-out, outside in the club's alleyway, for a mysterious reason learned later on. And the man of the hour, Oscar Issac, an actor who has yet to make it as big as he deserves, sings and plays guitar himself; he's the real deal, very rare and adding something incredible and palpable to a movie that came and went in the box office. But Cult Film Freak first bought a cheap DVD, then a slightly pricey Blu Ray, with the same boring cover. And, as happens with Criterion, they emerge outta nowhere with an incredible cover, and this one is, amongst a long list of incredible artwork from <a href="http://www.cultfilmfreaks.com/2013/11/love-streams.html">LOVE STREAMS </a>to <a href="http://www.cultfilmfreaks.com/2015/12/in-cold-capote.html">IN COLD BLOOD</a> (purchased after the original standard yet cool blu ray cover got signed by Scott Wilson) to <a href="http://www.cultfilmfreaks.com/2011/04/repo-man.html">REPO MAN</a> to our tribute to David Bowie in <a href="http://www.cultfilmfreaks.com/2016/01/bowie-MCML.html">MERRY CHRISTMAS MR LAWRENCE</a>... by far, in this reviewer/collector's opinion, <a href="http://www.cultfilmfreaks.com/2014/11/pop-culture-2.html">INSIDE LLEWYN DAVIS</a> is the very best of the eclectic series. In the movie itself, two future (and now, present) <a href="http://www.cultfilmfreaks.com/2016/01/jedi-rambles.html">STAR WARS FORCE AWAKENS</a> actors appear in the film. The new X-Wing Ace, filling the boots of Wedge Antilles, is the star of DAVIS while the new galactic villain, Adam Driver, plays a low-voiced singer named Al Cody, equally a failure in the folk music business, and in one great scene, so very Coen Brothers in their usually silent-hilarious fashion, has Llewyn crashing at Driver's pad, carrying a box of left-over albums... There's no room to place the box under a table where there's another box, which happens to be full of Al Cody's non-sold misfire LP's of his own.<br>

adam driver, coen brothers, oscar issac, tribute

CRITERION DELVES INSIDE LLEWYN DAVIS

Cover to the Criterion Edition of INSIDE LLEWYN DAVIS Popular movie blogs that get much more hits than the wordy, passionate Cult Film F...

RAMBLING PERSPECTIVE OF 'CAT PEOPLE' ORIGINAL & REMAKE

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<tr><td class="tr-caption" style="text-align: center;"><u style="font-size: 12.8px;">year: 1942 cast: Simone Simon, Kent Smith • year: 1982 cast: Nastassja Kinski, John Heard, Malcolm McDowell</u></td></tr>
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The main difference between the original Film Noir CAT PEOPLE produced by b-movie king Val Lewton, and directed with artistic, mesmerizing prowess by Lewton's stock director Jacques Tourneur, and the 1982 remake directed by TAXI DRIVER scribe and HARDCORE director Paul Schrader, is that at one point, a distinguished gentleman, in the original, looks at a woman about to cause a subtle scene in front of our always out-of-place ingenue Simone Simon as Irena Dubrovna Reed... especially nervous around her fiance's fancy restaurant-dwelling cronies... as the man points out, casually: "She looks like a cat."<br>

annette o'toole, david bowie, ed begley jr., film noir, franchise, jacques tourneur, kent smith, malcolm mcdowell, nastassja kinski, neo noir, paul schrader, sequel, simone simon, val lewton

RAMBLING PERSPECTIVE OF 'CAT PEOPLE' ORIGINAL & REMAKE

year: 1942 cast: Simone Simon, Kent Smith • year: 1982 cast: Nastassja Kinski, John Heard, Malcolm McDowell The main difference between ...

ZIPPING THROUGH FORCE AWAKENS OF THE FOURTH TIME

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<tr><td class="tr-caption" style="text-align: center;"><u>Director Abrams brings back the classic imagery that made it all shine</u></td></tr>
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Often, you can return to a movie you enjoyed and discover it wasn't as good as it seemed, but STAR WARS THE FORCE AWAKENS has worked the complete opposite, and after the third (and now fourth) viewing, is actually getting better. Here are some of the things that make it a pretty great ride: For one, the suspense during the climactic battle, by the Star-Killer thrusting the sun's rays to blow up planets, is maintained perfectly. As long as there's sunshine, we have a last-minute chance replacing the famous "Almost There" pilot in the original STAR WARS. And the Star-Killer surface is snow, resembling Hoth while Leia's outpost is Endor forest-green and the main beginning location Jakku is the new Tattooine. Not so original, but sure beats the hell out of those busy prequel planets that we'll get to soon enough...<br>

2015, franchise, star wars

ZIPPING THROUGH FORCE AWAKENS OF THE FOURTH TIME

Director Abrams brings back the classic imagery that made it all shine Often, you can return to a movie you enjoyed and discover it wa...

TOM CRUISE IN STANLEY KUBRICK'S FINALE OF 'EYES WIDE SHUT'

<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/AVvXsEgRKoIXb-7rgzsZ9Z85PZBYp6Fa8sYOH-qfoN2CAbOnQeoajZgZ42oUHzaUoY-YINFXYPO_X3IrtGAp0yuHQ0E5QbKu2ul5j17EC61MAVH-N-4P1wLL7z_5iJLfGJBgJpSxK1T-JMvS9rVV2zc3bcdluafx9r_2ykrqgoL8GNoiqfFe4XH1lecJ79dyfw/s320/4.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRKoIXb-7rgzsZ9Z85PZBYp6Fa8sYOH-qfoN2CAbOnQeoajZgZ42oUHzaUoY-YINFXYPO_X3IrtGAp0yuHQ0E5QbKu2ul5j17EC61MAVH-N-4P1wLL7z_5iJLfGJBgJpSxK1T-JMvS9rVV2zc3bcdluafx9r_2ykrqgoL8GNoiqfFe4XH1lecJ79dyfw/s16000/4.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Todd Field in Kubrick mode</u></td></tr></tbody></table>Back on track... When Cruises' successful doctor and the opening party's piano-playing Nightingale connect, before their second more important meeting at a jazz club later on, there's an awkward silence followed by a burst of laughter that displays the fabulous ultra-realistic spontaneity of a Kubrick film: he doesn't make his actors go through over one-hundred takes for nothing. A Selector along with being a Director, within the long editing process, he'd want as many options as possible to choose from...<br />
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Other scenes, though, fail to inhabit such keen, wry realism, perhaps on purpose, or maybe because some characters just aren't that intriguing compared to others, and there are plenty to choose from...<br />
<br />
But liken to Kubrick's best work, A CLOCKWORK ORANGE, the main character basically survives throughout a yo-yo kind of experience as the eventual upswing has the same inhabitants cursed, from a fatal disease to death itself, providing a basic lesson of all Film Noir: don't stick your neck out too far where your head doesn't belong...<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4f_nbqY33lAdc_6DsdrDZr-ZsoxNFibfWMdiTJF9krJvve_N-8LF22QgfFpA20uF_Na-X0imgQAPS1sGj_gOr4cIu2XqD8WNaPQaIprGSB8i8mqb-tQiP4GLbMPOpHoBEdnNm4H6vn6I/s1600/2354023-4db11.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/AVvXsEj4f_nbqY33lAdc_6DsdrDZr-ZsoxNFibfWMdiTJF9krJvve_N-8LF22QgfFpA20uF_Na-X0imgQAPS1sGj_gOr4cIu2XqD8WNaPQaIprGSB8i8mqb-tQiP4GLbMPOpHoBEdnNm4H6vn6I/s400/2354023-4db11.jpg" width="211" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Box Set DVD Cover</u></td></tr>
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Covering every aspect of the Sexual Experience without seeing much of anything, beyond various shots of nudity as realistic, everyday occurrences (of course, the orgy aside), what the haunted doctor imagines about his wife and her mysterious lover in EYES WIDE SHUT, and his failed attempts at sexual revenge is to fornication what CHINATOWN is to that particular city...<br />
<br />
So it's no surprise, with such a long run time and a subliminal feeling that Kubrick just might have been purposefully torturing both his fans who waited over a decade after FULL METAL JACKET for another movie, or the myriad of mainstream-movie Cruise/Kidman followers... in-between, trying to develop A.I. ARTIFICIAL INTELLIGENCE, which would be posthumously finished by colleague Steven Spielberg, whose JURASSIC PARK gave Kubrick the vision that A.I. could actually work using likewise computer-animation... these EYES are either despised or beloved, or somewhere lost within a convoluted, unexplained purgatory...<br />
<br />
It really all depends on how you look at it, what mood you're in while watching, and how much, after attempting, perhaps, several viewings, the realization that everything means nothing but the final blunt words uttered by Kidman: basically telling us that what supposedly makes the world go 'round is really no big deal at all, despite the fact we spent a very long time completely immersed around its dark, seedy, provocative outskirts.<br />
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<u><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/AVvXsEiPvMmwsPn8uVgtj8oFevnKZ5qHlSBgRnHzQzA58H4lBGtV8M8dfol9ejNBFLG4UjYtCgYr5YX4A3t5ppJAMLE-asPdMDgvZ3IF76Xp1DSoLFdbKTXnRZnh4mxvixiufW2kVcOslkVO0-Un0iuJSd-ohHJRGaXU0Djl6o40Kxbd1cqSGks3znSZdByUCw/s1678/Screen%20Shot%202022-08-22%20at%2012.20.28%20AM.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="830" data-original-width="1678" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPvMmwsPn8uVgtj8oFevnKZ5qHlSBgRnHzQzA58H4lBGtV8M8dfol9ejNBFLG4UjYtCgYr5YX4A3t5ppJAMLE-asPdMDgvZ3IF76Xp1DSoLFdbKTXnRZnh4mxvixiufW2kVcOslkVO0-Un0iuJSd-ohHJRGaXU0Djl6o40Kxbd1cqSGks3znSZdByUCw/w400-h198/Screen%20Shot%202022-08-22%20at%2012.20.28%20AM.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Doctor and the ladies in this weird dream world flick</td></tr></tbody></table></u><u>RATING</u>: ***1/2<br />
<u>TRIVIA:</u> Heard yet not seen thanks to a mask, Leon Vitali, who was the young protagonist in another Kubrick epic, BARRY LYNDON... that, like EYES WIDE SHUT, has a love-hate relationship with both critics and audiences alike, and was Kubrick's assistant thereafter... plays the role of the "leader" at the chanting party where Cruise is found out, and asked, very grimly, to exit the premises. And just to note, upon leaving the theater after seeing this movie for the first time, it was utterly, thoroughly despised but slowly grew on this particular Kubrick Freak... although there is sporadic use of the fast-forward button either to avoid, or to get to, particular scenes.<br />
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<tr><td class="tr-caption" style="text-align: center;"><u>Tom Cruise with Domino played by "Ladybugs" teen starlet Vinessa Shaw another anti-conquests of the long night</u></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><u>EX-BEAUTY QUEEN IN HOTEL DRUGS OVERDOSE... Is Drugs a Verb or was this an intentional, subliminal error?</u></td></tr>
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christmas, exploitation, leon vitale, neo noir, nicole kidman, nineties, stanley kubrick, sydney pollock, thriller, todd field, tom cruise, vinessa shaw

TOM CRUISE IN STANLEY KUBRICK'S FINALE OF 'EYES WIDE SHUT'

Title: Eyes Wide SHUT Year: 1999 Rates: *** Some films seem created to be despised and misunderstood. Misunderspised is not a word but fits...

Written by James M. Tate / 1/21/2016 / No comments / 2016 , comedy , road movie , robert deniro , zac efron

THURSDAY REVIEW OF DIRTY GRANDPA

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<tr><td class="tr-caption" style="text-align: center;"><u>year: 2016 cast: Robert DeNiro, Zac Efron and a bunch of completely worthless nobodies</u></td></tr>
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NEIGHBORS has put pretty boy Zac Efron into the anything-goes comedy genre, ignited by Judd Apatow over a decade ago, and the veteran "I'll do any movie to remain relevant" legend Robert DeNiro is along for the ride in this literal road comedy where Efron's uptight lawyer takes his grandfather, a day after Zac's Jason's grandmother died and who, obviously, was married to the title character, Dick Kelly, played by the man himself, DeNiro, trying way too hard to be outrageous without using his old-age-card, uttering modern pop culture references like a snappy Millennial as the more old fashion character is the grandson: thus the plot, involving the odd couple duo rolling into Daytona Beach, Florida, competing with buff bullies while Efron, on the verge of getting married back home, meets a too-perfect hippie girl while his grandpa just wants to get some... really, really bad. <br>

2016, comedy, road movie, robert deniro, zac efron

THURSDAY REVIEW OF DIRTY GRANDPA

year: 2016 cast: Robert DeNiro, Zac Efron and a bunch of completely worthless nobodies NEIGHBORS has put pretty boy Zac Efron into the a...

RIDING THROUGH 'BUTCH CASSIDY AND THE SUNDANCE KID'

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<tr><td class="tr-caption" style="text-align: center;"><u>year: 1969 cast: Paul Newman, Robert Redford Director: George Roy Hill</u></td></tr>
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There are some classics that are good great movies as opposed to true classic classics, and this is a great good movie...<br>
<br>
That's only if you can get past the horrible, dementedly unfitting song that jumps the shark of the century before there was such a thing...<br>
<br>
For some unfathomable reason, <i>Raindrops Keep Falling On My Head</i> plays during a scene where Paul Newman's fast-talking leader of an inept yet successful gang of bank and train robbers, Butch Cassidy, takes his young, bearded, blond-haired partner's girl, Katharine Ross as Etta, on a bicycle (some kinda new contraption that will one day "replace the horse") riding tour of the surrounding town, the morning after just another night with her lover, Sundance...<br>

george furth, george roy hill, paul newman, robert redford, strother martin, western

RIDING THROUGH 'BUTCH CASSIDY AND THE SUNDANCE KID'

year: 1969 cast: Paul Newman, Robert Redford Director: George Roy Hill There are some classics that are good great movies as opposed to ...

DAVID BOWIE CO-STARS IN 'MERRY CHRISTMAS MR. LAWRENCE'

david bowie, eighties, jack thompson, prison, tom conti, tribute, world war II

DAVID BOWIE CO-STARS IN 'MERRY CHRISTMAS MR. LAWRENCE'

year: 1983 starring: David Bowie, Tom Conti, Ryûichi Sakamoto It's intriguing to imagine what, say, an eighty-year-old man stumbling...

BOGDANOVICH DIRECTS GAZZARA IN HEFNER'S SAINT JACK

ben gazzara, denholm elliott, drama, peter bogdanovich, seventies, suspense

BOGDANOVICH DIRECTS GAZZARA IN HEFNER'S SAINT JACK

Signed by Bond actor George Lazenby SAINT JACK is about Jack Flowers, a low-rent, backroom yet determined and confident American pimp in...

HARRISON FORD & RUTGER HAUR STARS WARRING IN 'BLADE RUNNER'

harrison ford, joe turkel, neo noir, rutger hauer, science-fiction, sean young

HARRISON FORD & RUTGER HAUR STARS WARRING IN 'BLADE RUNNER'

Harrison Ford and Sean Young adorn the classic artwork YEAR: 1982 By now, pretty much everyone has learned the part of INDIANA JONES was...

ON THE RHODA WITH 'NIGHT TERROR' DRIVEN BY VALERIE HARPER

made-for-TV, richard romanus, robert romanus, thriller, valerie harper

ON THE RHODA WITH 'NIGHT TERROR' DRIVEN BY VALERIE HARPER

Night Terror TV Ad artwork YEAR: 1977 A few years before NIGHT TERROR aka NIGHT DRIVE, an actor known for GUNSMOKE and especially McCLOU...

UNDERRATED FRIDAY THE 13TH PART 6

franchise, horror, ron palillo, sequel

UNDERRATED FRIDAY THE 13TH PART 6

year: 1986 Overshadowed by an endless array of Jamie Lee Curtis type ingenues and the formidable killing machine villains, Tommy Jarvis ...

TWO TRIBUTES: JUNE FAIRCHILD & DICK BAKALYAN

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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEuuexnW6PgM6FFRP-U6nE6WGpP1ArBzTLhO1DternX3EGRtVsG20b1pmL7eYXWeYzXIu1DcFUnBx-W3k-DF_49TgPYSEZDXeceHERg3-ck2x8948jwvOr_WNYeC5kQCgHY-IrQe89feM/s1600/10329748_799928026686828_468043571816417334_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEuuexnW6PgM6FFRP-U6nE6WGpP1ArBzTLhO1DternX3EGRtVsG20b1pmL7eYXWeYzXIu1DcFUnBx-W3k-DF_49TgPYSEZDXeceHERg3-ck2x8948jwvOr_WNYeC5kQCgHY-IrQe89feM/s1600/10329748_799928026686828_468043571816417334_o.jpg"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "merriweather" , "georgia" , "times new roman" , "times" , serif; font-size: 12.8px;"><u>BEGINNING WITH A TRIBUTE TO THE LOVELY CULT STARLET JUNE FAIRCHILD</u></span></td></tr>
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<span style="color: #3d596d; font-family: "merriweather" , "georgia" , "times new roman" , "times" , serif; font-size: 15px; line-height: 25.5px;">There are actresses and actors who had more than potential, because potential can be a four-letter word in show business, assuming that whatever they did wasn't enough, or they almost reached or fulfilled the expected criteria compared to the more successful or revered people around them... But even in small roles, June Fairchild went beyond natural beauty. </span><br>
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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;">In PRETTY MAIDS</td></tr>
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<span style="color: #3d596d; font-family: "merriweather" , "georgia" , "times new roman" , "times" , serif; font-size: 15px; line-height: 25.5px;">There was something very intriguing about her cool attitude, wry humor, swift pizzazz and energetic style – her spontaneous persona practically burst through the screen, including a gust of delicious laughter in PRETTY MAIDS ALL IN A ROW and the iconic part she's mostly known for...</span><br>
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CHEECH & CHONG'S UP IN SMOKE took the world by storm during a time when the hippie drug culture was being replaced by a good and bad thing – punk rock and disco...<br>
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June’s frantic “Ajax Lady” represents a kind of old school "hang-around chick" that would do anything for a buzz, including snorting whatever was in powder form: an intrepid Wile E. Coyote of cokeheads leading to an incredible face-contorting bit equaling any famous physical comedian. And the girl she protected from Stacy Keach’s formidable cop, Cheryl Smith, had that same kind of cinematic “potential,” but that’s for another post, another time.</div>

2015, jack nicholson, june fairchild, seventies, tribute

TWO TRIBUTES: JUNE FAIRCHILD & DICK BAKALYAN

BEGINNING WITH A TRIBUTE TO THE LOVELY CULT STARLET JUNE FAIRCHILD There are actresses and actors who had more than potential, because...

DAVID BOWIE DOESN'T SUCK IN TONY SCOTT'S 'THE HUNGER'

beth ehlers, catherine deneuve, cliff deyoung, david bowie, eighties, gothic, lesbian, neo noir, susan sarandon, suspense, thriller, tony scott, vampire, willem defoe

DAVID BOWIE DOESN'T SUCK IN TONY SCOTT'S 'THE HUNGER'

David Bowie with Catherine Deneuve in THE HUNGER Year: 1983 With quick editing and plenty of steamy close-ups, Tony Scott's movies o...

JAMES TAYLOR AND DENNIS WILSON RIDE 'TWO-LANE BLACKTOP'

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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghlruNholthffovQw6ikvzqBpxso-RRgALGQKP7RqvuVFfquTsLwSiXjmjIUnyN24rYhZr3L6F_8qbFO5k4MrZnXmJ4ZO7dKs-JM-ZUi34ErAxL1gb_lyIaTWgrQamsL6kfYdpSnLmxxw/s1600/bt6.jpg" 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/AVvXsEghlruNholthffovQw6ikvzqBpxso-RRgALGQKP7RqvuVFfquTsLwSiXjmjIUnyN24rYhZr3L6F_8qbFO5k4MrZnXmJ4ZO7dKs-JM-ZUi34ErAxL1gb_lyIaTWgrQamsL6kfYdpSnLmxxw/s320/bt6.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>year: 1971</u></td></tr>
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<span style="color: #3d596d;"><span style="color: #3d596d;">During the early to mid 1960's, director Monte Hellman used great actors, from struggling no-names like Jack Nicholson, Warren Oates and Harry Dean Stanton. He turned these potential firebrands into strategic paint strokes, filling his unique canvas: one of those American directors who seems “foreign” in style, and substance…</span></span><br />
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<span style="color: #3d596d;">But when he finally got studio backing, after his low-budget Western double feature THE SHOOTING and RIDE IN THE WHIRLWIND were released in theaters after Nicholson's break in EASY RIDER, Hellman had the chance to put real actors in the cockpit of his most legitimate vehicle, and instead chose two musicians, neither very good actors...</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuAganp_re_J9-6zZ6b0Q5vLqJTlizfEEyYPZ5mIW30e3dD5owK092H_SQRLA1PEHqjF4mhyu3WNZpk2cj8S7GZaXnwn4jdMUXz3t4EnaUKWydMXq0fzCbf2NyoMKIs2iCdbrXSKgmaqg/s1600/Screen+Shot+2016-01-11+at+5.49.01+PM.png" 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/AVvXsEjuAganp_re_J9-6zZ6b0Q5vLqJTlizfEEyYPZ5mIW30e3dD5owK092H_SQRLA1PEHqjF4mhyu3WNZpk2cj8S7GZaXnwn4jdMUXz3t4EnaUKWydMXq0fzCbf2NyoMKIs2iCdbrXSKgmaqg/s320/Screen+Shot+2016-01-11+at+5.49.01+PM.png" width="235" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Poster Artwork</u></td></tr>
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<span style="color: #3d596d;">Thankfully, offsetting their monotone delivery, TWO-LANE BLACKTOP is an ultra realistic venture with a documentary vibe (not template) with James Taylor and cool-grungy Beach Boy drummer Dennis Wilson. And the epitome of a ringer, bringing the nons to light while toning down his own powerful persona, is Warren Oates' character named after his car, GTO, and one of the strangest cats in cinema...</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijGN6vj6l5zBooIkgui9G3ojYIBKQP-Y4A6_O0SyrcbTTESjxBUlwqNVqjtAyDZ3AKbAiFfQOpQ-SNJuviQCsvQcHMVO9gcUBSd5xjrtSXwGEhFrYDe-3t2ACkxuo78KXUyZtdTF0MvKQ/s1600/Screen+Shot+2016-01-11+at+5.42.39+PM.png" 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/AVvXsEijGN6vj6l5zBooIkgui9G3ojYIBKQP-Y4A6_O0SyrcbTTESjxBUlwqNVqjtAyDZ3AKbAiFfQOpQ-SNJuviQCsvQcHMVO9gcUBSd5xjrtSXwGEhFrYDe-3t2ACkxuo78KXUyZtdTF0MvKQ/s400/Screen+Shot+2016-01-11+at+5.42.39+PM.png" width="185" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><u>Warren Oates</u></td></tr>
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<span style="color: #3d596d;">Roaring down the highway in his yellow hot rod, and a different origin story to tell each hitchhiker, GTO's sites are on Taylor and Wilson's unnamed Driver and Mechanic in their grey 1955 Chevy, the quiet duo seeking illegal drag races with hometown heroes during various stopovers – one particular moment has The Doors groovy-tropical “Moonlight Drive” echoing throughout a busy boulevard, audibly setting the time and place yet visually turning the post psychedelic era back into the streamline 1950’s: With an ambiguous camera perspective from the back seat, the characters are as sparse as the dialogue, and every word spoken leads to the next scene, and race. The only personal drama sporadically unfolds between Driver and the ingenue, a fickle Hitchhiker whose novice acting chops are on par with Taylor’s...</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj1b8vHlwniyNONeQsL7WRd7ernkCRQkou2SEdaq2EUk9e46kccbBtizXZxoWqNTP-XMd9HAaeASIvzy-BB0MRrxORieIH-g_mfSksHRzxhEWtA4XpwtYNhjHEqgAHg9k0jaNeQfxjpSY/s1600/Screen+Shot+2016-01-11+at+5.44.22+PM.png" 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/AVvXsEgj1b8vHlwniyNONeQsL7WRd7ernkCRQkou2SEdaq2EUk9e46kccbBtizXZxoWqNTP-XMd9HAaeASIvzy-BB0MRrxORieIH-g_mfSksHRzxhEWtA4XpwtYNhjHEqgAHg9k0jaNeQfxjpSY/s320/Screen+Shot+2016-01-11+at+5.44.22+PM.png" width="296" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Bird, Taylor & Wilson</u></td></tr>
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<span style="color: #3d596d;">Enter Laurie Bird, who, before her tragic suicide, would be far more loose playing Paul Simon’s girlfriend (who Tony Roberts lusts for) in the Woody Allen classic, ANNIE HALL. But like those early films with the talented actors and energetic performances, Hellman guides this show with a quick-cut editing that doesn’t make any particular scene last long enough to override the ultimate purpose...</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8F5JofApxe66rE-01cqo75iK2kj37M_Kt5YB2DqsCAM_3g56RubbwAstQa2A9_qxdU8GX44aCDIydcGtS6HaEF06-T9F25tT0S0LpLbmEGWlRvQ30gNz_wLiZU1qshUQMkkA7tZZKRIqG/s1600/55609105_672459796516533_5363607712464633856_o.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="394" data-original-width="266" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8F5JofApxe66rE-01cqo75iK2kj37M_Kt5YB2DqsCAM_3g56RubbwAstQa2A9_qxdU8GX44aCDIydcGtS6HaEF06-T9F25tT0S0LpLbmEGWlRvQ30gNz_wLiZU1qshUQMkkA7tZZKRIqG/s400/55609105_672459796516533_5363607712464633856_o.jpeg" width="270" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Distance Covered: ****</u></td></tr>
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<span style="color: #3d596d;">The '55 Chevy cruising to each location: One quiet, reposeful scene has the foursome split in both cars, in the midst of the potentially dangerous South, and, having traded off... Oates shotgun with Taylor while Wilson rides Bird in the GTO… there’s a quiet and lovely dawn outside, providing a quaint, existential aura to this unique road-trip odyssey, as real as any motion picture gets.</span>
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<span style="color: #3d596d;">Sure there's a plot, initially worked-out between GTO and the boys – a cross-country race to Washington D.C. for “pinks” (pink slips) adds a destination but remains peripheral… Especially in the teaming-up of the polar opposite camps, a business relationship leading to a big race, while the final frame sums up the point of the entire road adventure without a single word, or resolution: If, for instance, a James Caan or Burt Reynolds were cast, which were two names the studios supposedly wanted... and there were probably a lot more studied actors considered over non-acting musicians... BLACKTOP might not have worked at all. The viewer would expect something that wasn’t meant to be, forgetting the purpose is the wheel and not who and what's behind it.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0En7JKuURz3ELXXiuI-WyzYf94tUqrMqlrROnlyVYvySHhd5gpoh5MrWubTlI5xGstDWTZue5bL4qEKSSrdh6aBr-WkxqYddpN8ZVdjLL6elYuLorZvzEZvekZFdKXC5GG6PLzVcKosJ1/s1600/54727544_672491106513402_7602083055833972736_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="488" data-original-width="767" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0En7JKuURz3ELXXiuI-WyzYf94tUqrMqlrROnlyVYvySHhd5gpoh5MrWubTlI5xGstDWTZue5bL4qEKSSrdh6aBr-WkxqYddpN8ZVdjLL6elYuLorZvzEZvekZFdKXC5GG6PLzVcKosJ1/s1600/54727544_672491106513402_7602083055833972736_n.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Much of the film (albeit with Wilson by Taylor) is this backseat camera view in Two-Lane Blacktop</u></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHMMfTKflHxzG6FUXgqyI5oFAdYmeooH8dFVHP6qZ4nMKbqihb3gbEPEqoH4KSQrMy5qnkJO1zMEMNcSsuGtP19MweDZPd69VWamc3lOcQ8b4GFvVYhYqz_MKmGD1zA8df_BmK5g3RQrUJ/s1600/54728882_672464906516022_7543911937172570112_o.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="1434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHMMfTKflHxzG6FUXgqyI5oFAdYmeooH8dFVHP6qZ4nMKbqihb3gbEPEqoH4KSQrMy5qnkJO1zMEMNcSsuGtP19MweDZPd69VWamc3lOcQ8b4GFvVYhYqz_MKmGD1zA8df_BmK5g3RQrUJ/s1600/54728882_672464906516022_7543911937172570112_o.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>The GTO (driven by Warren Oates as GTO) in Two-Lane Blacktop</u></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNtFeo_mJVt-AnvnViDQLk8q56ka8-DcozVRInzHoUDVbufSAgMIz_uQaNae0fTRMyzwwlkuvfAqruByfihqgFuyJ-eFwUma1DcEqli_r-UDHHFBCrypa1cI8ooI-5AnEkgGhb6osn9IiT/s1600/29060591_453922385036943_2843992524455778145_o.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="614" data-original-width="1334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNtFeo_mJVt-AnvnViDQLk8q56ka8-DcozVRInzHoUDVbufSAgMIz_uQaNae0fTRMyzwwlkuvfAqruByfihqgFuyJ-eFwUma1DcEqli_r-UDHHFBCrypa1cI8ooI-5AnEkgGhb6osn9IiT/s1600/29060591_453922385036943_2843992524455778145_o.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>Warren Oates's GTO peeved that James Taylor would think he might get pulled over during their race</u></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUtAhY4i7LFsHqfjO4ZAYGt4wnXKjVoL7WYTGnNOjgq1GoOFOhjkLXrhiu0t3i-zRjrJBiw8GPOl9qOvNX-MfOxklEAX70K3jIcSMD1ACyFj4rs5ZQuXPq6Pfl6y6LlHK0UtGFawe4M06D/s1600/54517884_672505366511976_7207102083583967232_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="506" data-original-width="733" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUtAhY4i7LFsHqfjO4ZAYGt4wnXKjVoL7WYTGnNOjgq1GoOFOhjkLXrhiu0t3i-zRjrJBiw8GPOl9qOvNX-MfOxklEAX70K3jIcSMD1ACyFj4rs5ZQuXPq6Pfl6y6LlHK0UtGFawe4M06D/s1600/54517884_672505366511976_7207102083583967232_n.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>James Taylor and Warren Oates not smoking in TWO-LANE BLACKTOP</u></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUjxcf861ZPTkZNGF-JCV9AkdNmNCsXvHQdRYbYOiqHi7K51gBCk2BE16qWSqHamhBO2VLbYve0h2eEOhKqcCvzZUZC9qBoyosZbpuA_Cu5qvYVBdvIoF027YAkGg9XwU3PAMN8l5l4T5o/s1600/55451635_672505409845305_7345162480168992768_n.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="484" data-original-width="960" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUjxcf861ZPTkZNGF-JCV9AkdNmNCsXvHQdRYbYOiqHi7K51gBCk2BE16qWSqHamhBO2VLbYve0h2eEOhKqcCvzZUZC9qBoyosZbpuA_Cu5qvYVBdvIoF027YAkGg9XwU3PAMN8l5l4T5o/s1600/55451635_672505409845305_7345162480168992768_n.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><u>The cool Chevy in TWO-LANE BLACKTOP with Laurie Bird</u></td></tr>
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dennis wilson, james taylor, laurie bird, monte hellman, race car, road movie, seventies, warren oates

JAMES TAYLOR AND DENNIS WILSON RIDE 'TWO-LANE BLACKTOP'

year: 1971 During the early to mid 1960's, director Monte Hellman used great actors, from struggling no-names like Jack Nicholson, ...

Written by James M. Tate / 1/10/2016 / No comments / adam roarke , eco-horror , exploitation , lynn borden , ray milland , sam elliott

LYNN BORDEN INTERVIEW: 'FROGS' & EXPLOITATION CINEMA

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<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;">Original Artwork</td></tr>
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A lovely and talented actress has left us, and her name was Lynn Borden… Known by some as the suburban wife from the last season of HAZEL, cult cinema fans remember her as Jenny Crockett, the beautifully bitter wife of Adam Roarke’s mischievous Clint in the eco-horror FROGS, which, made in 1972, is actually pretty great...</div>
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<tr><td class="tr-caption" style="text-align: center;">Lynn Borden... and a Frog</td></tr>
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Taking place at a rural mansion within the murky swamps, Ray Milland stars as a greedy capitalist who isn’t very environmentally conscious...<br>
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And so, long story short, a magazine photographer, played by Sam Elliott, winds up amongst the bickering clan, experiencing their eccentric behavior as a horde of reptiles slowly move in.<br>
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So here's a transcribed interview from a Cult Film Freak/Skull Island Surfer archive with actress Lynn Borden, who also shares about appearing with the late cult actor Adam Roarke in two other motion pictures, THIS IS A HIJACK and DIRTY MARY CRAZY LARRY...</div>

adam roarke, eco-horror, exploitation, lynn borden, ray milland, sam elliott

LYNN BORDEN INTERVIEW: 'FROGS' & EXPLOITATION CINEMA

Original Artwork A lovely and talented actress has left us, and her name was Lynn Borden… Known by some as the suburban wife from the...

KARI MICHAELSEN TOTALLY STEALS 'SATURDAY THE 14TH'

eighties, kari michaelsen, paula prentiss, richard benjamin, roger corman, severn darden

KARI MICHAELSEN TOTALLY STEALS 'SATURDAY THE 14TH'

Kari Michaelsen in Saturday the 14th year: 1982 In LOVE AT FIRST BITE, a popular comedy that took the vampire genre by satire, Richard ...

JMT

Written by James M. Tate / 1/31/2016 / No comments / 2016 , horror , lauren cohen

Written by James M. Tate / 1/26/2016 / No comments / action , chuck norrirs , eighties , interview , karate , mary-louise weller

Written by James M. Tate / 1/25/2016 / No comments / annette o'toole , david bowie , ed begley jr. , film noir , franchise , jacques tourneur , kent smith , malcolm mcdowell , nastassja kinski , neo noir , paul schrader , sequel , simone simon , val lewton

Written by James M. Tate / 1/23/2016 / No comments / 2015 , franchise , star wars

Written by James M. Tate / 1/22/2016 / No comments / christmas , exploitation , leon vitale , neo noir , nicole kidman , nineties , stanley kubrick , sydney pollock , thriller , todd field , tom cruise , vinessa shaw

Written by James M. Tate / 1/21/2016 / No comments / 2016 , comedy , road movie , robert deniro , zac efron

Written by James M. Tate / 1/18/2016 / No comments / david bowie , eighties , jack thompson , prison , tom conti , tribute , world war II

Written by James M. Tate / 1/16/2016 / No comments / ben gazzara , denholm elliott , drama , peter bogdanovich , seventies , suspense

Written by James M. Tate / 1/14/2016 / No comments / harrison ford , joe turkel , neo noir , rutger hauer , science-fiction , sean young

Written by James M. Tate / 1/12/2016 / No comments / made-for-TV , richard romanus , robert romanus , thriller , valerie harper

Written by James M. Tate / 1/11/2016 / No comments / dennis wilson , james taylor , laurie bird , monte hellman , race car , road movie , seventies , warren oates

Written by James M. Tate / 1/10/2016 / No comments / adam roarke , eco-horror , exploitation , lynn borden , ray milland , sam elliott

Written by James M. Tate / 1/09/2016 / No comments / eighties , kari michaelsen , paula prentiss , richard benjamin , roger corman , severn darden

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