What Was The Last Movie You Watched?

[Touchofevil]

this makes me sooooo sad! I loved the first film and I had high expectations for the second one. Darn it.

Well, it is just my opinion, but I do feel pretty strongly about the lameness of this movie. And I too enjoyed the first movie.

 

[Touchofevil]

Oh god. As bad as Aquaman???? I hated that movie, and not even the fineness that is Jason Momoa could save it. It. Was. AWFUL.

So if it's that bad...I will wait until I can watch it for free. And even then, I might pass.

Aquaman was pretty easy to dislike. I did not finish watching it as I had already wasted enough of my Life by the time I walked away.

 

[Fading Fast]

The Burglar from 1957 with Dan Duryea, Jayne Mansfield and Martha Vickers

"I'm a woman. I'm flesh and blood and I got feelings, but you never knew that. You never wanted to know, I was starving for you, night after night I tore pillows apart with my teeth, so hungry for you. I wanted you so much, you, you knew from nothing."

- Jayne Mansfield to Dan Duryea in The Burglar


We'll return to Jayne's unrequited lust shortly.

In The Burglar, a gang of four jewel thieves steal an expensive and well-known necklace from a famous female evangelist's mansion. Mansfield's job is to befriend the evangelist and case the mansion so that the three men can rob it later. And while "the job" itself is successful, with a hiccup - two cops noticed the gang's parked car and, thus, saw head-crook Dan Duryea's face - the real challenges begin after the heist.

Hold up in a run-down tenement in Philadelphia as they wait for the heat to cool a bit before they attempt to sell the necklace, the crooks begin to fight amongst themselves. Duryea, the leader and clearly the brains of the operation, wants to wait a good long time, but the other two men are itching to get their money, while Mansfield is in Duryea's camp.

Not helping the claustrophobic oppression of the small apartment is the summer's enervating heat and Mansfield, with all her Mansfieldness, creating an unbearable sexual tension for, in particular, one of the anxious-to-sell crooks.

Meanwhile, as in all good film noir crime dramas, the police are slowly but painstakingly putting clues together, while a police sketch artist, working with the two cops who saw Duryea, creates a frighteningly accurate image of his face. But one of those officers has also gone surreptitiously rogue and, with his girlfriend, Martha Vickers, is tracking the movements of the crooks as he waits for an opportunity to steal the necklace from them.

Any moral person would be rooting for the cops (the good ones, not the dirty one), but as we learn more about Duryea, our allegiances waiver. Durea was an orphan raised by a kind thief who taught him the criminal way of life and instilled in him a moral code that included no violence when "on a job" and a pledge from Duryea to always take care of the older crook's daughter, Mansfield.

Having learned this, we now see Duryea as a man broken by his upbringing, but still trying to do right within his warped moral code. He's clearly tired of it all and just wants to fence the necklace to have enough to get out and to give Mansfield a shot at a decent future, but everything is closing in on him fast.

With the other two crooks pushing for an immediate sale, the police getting closer and the rogue cop and his girlfriend, now revealed to Duryea, circling the gang, Duryea knows he has to get out of Philly and sell the necklace fast. Here, this low-budget film makes wonderful use of just-post-war Atlantic City's incredible combination of wealth, tackiness and sea-side scenery as Duryea and the gang try to "escape" from Philly via Atlantic City, which (minor spoiler alert) becomes their Alamo.

Since it's a 1950s movie, it will be no surprise that the crooks all lose, the dirty cop is exposed and the good guys win. But one of the geniuses of film noir is that it usually makes you see the "bad guys" in a morally complex light. And that's what ultimately makes this sad and challenging movie punch well above its low budget's weight class.

Duryea, in particular, is the man you hurt for even knowing he is a criminal. Usually, he plays the loud, obnoxious, overly confident or weaselly scared member of the gang, but here, in a career performance, he's the pensive, quiet one who acts with his eyes, facial inflections and body movements, while others make noise around him.

And it's only when it's too late that Mansfield delivers those lines about carnal desire to Duryea. In response, he crumbles emotionally and physically without saying a word as he has repressed all his feelings for Mansfield out of a misunderstood loyalty to the man who raised him. In this, the movie's money moment, he sees that he and Mansfield could have had a chance, but now all is lost. It's a painfully raw reveal in this well-done, but not well-known entry in the film-noir genre.

 

[Trenchfriend]

Das Boot - uncut TV series DVD (282 min nonstop), english synchro, 5.1.. Still ass-kickin' clear sound!!

Other day:
Das Boot - uncut TV series DVD (282 min nonstop), german synchro, 2.0..

 

[Harp]

^^^The Burglar

Jayne Mansfield's daughter who appears in a cop series (I seldom watch television) is extraordinarily
beautiful but in a more elegant understated manner than her late mother brazenly portrayed.
I've never seen this provocative film. Yet.

 

[MisterCairo]

Aquaman was pretty easy to dislike. I did not finish watching it as I had already wasted enough of my Life by the time I walked away.

To paraphrase Yoda: The lameness is strong in this one, it is...

 

[MisterCairo]

Extract, a Mike Judge effort from 2009 with Jason Bateman, Kristen Wiig, Mila Kunis, J.K. Simmons, Ben Afleck and T.J. Miller, a fun throw away laugh fest about a company that makes extracts. Said to be his companion to Office Space, it actually got decent reviews. We had never heard of it!

 

[belfastboy]

View attachment 298374
The Burglar from 1957 with Dan Duryea, Jayne Mansfield and Martha Vickers

"I'm a woman. I'm flesh and blood and I got feelings, but you never knew that. You never wanted to know, I was starving for you, night after night I tore pillows apart with my teeth, so hungry for you. I wanted you so much, you, you knew from nothing."

- Jayne Mansfield to Dan Duryea in The Burglar


We'll return to Jayne's unrequited lust shortly.

In The Burglar, a gang of four jewel thieves steal an expensive and well-known necklace from a famous female evangelist's mansion. Mansfield's job is to befriend the evangelist and case the mansion so that the three men can rob it later. And while "the job" itself is successful, with a hiccup - two cops noticed the gang's parked car and, thus, saw head-crook Dan Duryea's face - the real challenges begin after the heist.

Hold up in a run-down tenement in Philadelphia as they wait for the heat to cool a bit before they attempt to sell the necklace, the crooks begin to fight amongst themselves. Duryea, the leader and clearly the brains of the operation, wants to wait a good long time, but the other two men are itching to get their money, while Mansfield is in Duryea's camp.

Not helping the claustrophobic oppression of the small apartment is the summer's enervating heat and Mansfield, with all her Mansfieldness, creating an unbearable sexual tension for, in particular, one of the anxious-to-sell crooks.

Meanwhile, as in all good film noir crime dramas, the police are slowly but painstakingly putting clues together, while a police sketch artist, working with the two cops who saw Duryea, creates a frighteningly accurate image of his face. But one of those officers has also gone surreptitiously rogue and, with his girlfriend, Martha Vickers, is tracking the movements of the crooks as he waits for an opportunity to steal the necklace from them.

Any moral person would be rooting for the cops (the good ones, not the dirty one), but as we learn more about Duryea, our allegiances waiver. Durea was an orphan raised by a kind thief who taught him the criminal way of life and instilled in him a moral code that included no violence when "on a job" and a pledge from Duryea to always take care of the older crook's daughter, Mansfield.

Having learned this, we now see Duryea as a man broken by his upbringing, but still trying to do right within his warped moral code. He's clearly tired of it all and just wants to fence the necklace to have enough to get out and to give Mansfield a shot at a decent future, but everything is closing in on him fast.

With the other two crooks pushing for an immediate sale, the police getting closer and the rogue cop and his girlfriend, now revealed to Duryea, circling the gang, Duryea knows he has to get out of Philly and sell the necklace fast. Here, this low-budget film makes wonderful use of just-post-war Atlantic City's incredible combination of wealth, tackiness and sea-side scenery as Duryea and the gang try to "escape" from Philly via Atlantic City, which (minor spoiler alert) becomes their Alamo.

Since it's a 1950s movie, it will be no surprise that the crooks all lose, the dirty cop is exposed and the good guys win. But one of the geniuses of film noir is that it usually makes you see the "bad guys" in a morally complex light. And that's what ultimately makes this sad and challenging movie punch well above its low budget's weight class.

Duryea, in particular, is the man you hurt for even knowing he is a criminal. Usually, he plays the loud, obnoxious, overly confident or weaselly scared member of the gang, but here, in a career performance, he's the pensive, quiet one who acts with his eyes, facial inflections and body movements, while others make noise around him.

And it's only when it's too late that Mansfield delivers those lines about carnal desire to Duryea. In response, he crumbles emotionally and physically without saying a word as he has repressed all his feelings for Mansfield out of a misunderstood loyalty to the man who raised him. In this, the movie's money moment, he sees that he and Mansfield could have had a chance, but now all is lost. It's a painfully raw reveal in this well-done, but not well-known entry in the film-noir genre.

Never realized how much Durea looks like William F Macy .

 

[Fading Fast]

Never realized how much Durea looks like William F Macy .

Nor had I, great catch. Yes, they could be brothers.

 

[belfastboy]

Nor had I, great catch. Yes, they could be brothers.

I am not at all familiar with his work......did they take similar character's roles?

 

[Fading Fast]

I am not at all familiar with his work......did they take similar character's roles?

I can't say as I'm not really familiar with Macy's work other than a few movies over the years that I've seen him in.

 

[Touchofevil]

To paraphrase Yoda: The lameness is strong in this one, it is...

Extra strong in its lameness it is.

 

[AmateisGal]

The Tender Trap with Frank Sinatra, Debbie Reynolds, and Celeste Holm. A favorite. The morning after the engagement party scene always cracks me up. Those two stumbling through the apartment with the world's worst hangover gets me every time.

My Reputation with Barbara Stanwyck. I love this film, and ordered a DVD of it!

 

[Fading Fast]

The Tender Trap with Frank Sinatra, Debbie Reynolds, and Celeste Holm. A favorite. The morning after the engagement party scene always cracks me up. Those two stumbling through the apartment with the world's worst hangover gets me every time.

My Reputation with Barbara Stanwyck. I love this film, and ordered a DVD of it!

I read a long time ago that the apartment used in that movie was either Sinatra's at the time or that he liked it so much he bought it afterward (I don't remember which). Ten or so years ago, the apartment came up for sale and it was noted in the listing that it was formerly Sinatra's apartment and was in "The Tender Trap." At the time, I went over to look at the apartment building it was in. It's on Sutton Place South, a very posh neighborhood with incredible water views - no surprise.

 

[belfastboy]

"Elizabeth is Missing".... a Glenda Jackson tour de force. She gives a master class in acting. Not an easy movie to watch especially for us of a certain age but her performance is worth the discomfort.

 

[Julian Shellhammer]

The Killer is Loose (1956) with Joseph Cotton, Rhonda Fleming, and Wendell Corey who plays an escaped prisoner out for revenge on police detective Cotton. Lots of location shots of mid-fifties Los Angeles. Noirish, with a restrained but dangerous performance by Corey.
We also tried watching Twentieth Century (1934) with John Barrymore, Carole Lombard, and director Howard Hawks, but even those top-notch talents couldn't keep us watching for long.

 

[Fading Fast]

...
We also tried watching Twentieth Century (1934) with John Barrymore, Carole Lombard, and director Howard Hawks, but even those top-notch talents couldn't keep us watching for long.

I like the actors and love trains (and the 20th Century Limited is my favorite of the era), but I can never watch more than ten or fifteen minutes of this one at one time. After I've looked at the train and Carole Lombard for awhile, I just can't watch it anymore.

 

[1967Cougar390]

I finished watching The Maltese Falcon last night. I started watching it while I was on shift at the fire department. My viewing was interrupted by emergency calls. I could not wait for the following day to arrive so I could finish watching uninterrupted. This movie is not merely a film Noire classic but also a testament to true classic cinema. The Maltese Falcon has kept itself alive as well as other classics without having to rely on special effects and CGI. Despite being devoid of the fore mentioned gimmicks, the Maltese Falcon is incredibly high on suspense and holds the viewer in its grasp throughout the entire movie.

Humphrey Bogart delivers a wonderful performance as Sam Spade. Rough, tough, and quick witted helps him become his partner’s hero for justice; even though Sam was seeing his wife prior to his murder. Mary Astor while beautiful, she wasn't a compelling love interest and her performance could have been so much more.

The Maltese Falcon is a must watch classic in my opinion. Don’t miss it.

Steven

 

[Touchofevil]

View attachment 299337

I finished watching The Maltese Falcon last night. I started watching it while I was on shift at the fire department. My viewing was interrupted by emergency calls. I could not wait for the following day to arrive so I could finish watching uninterrupted. This movie is not merely a film Noire classic but also a testament to true classic cinema. The Maltese Falcon has kept itself alive as well as other classics without having to rely on special effects and CGI. Despite being devoid of the fore mentioned gimmicks, the Maltese Falcon is incredibly high on suspense and holds the viewer in its grasp throughout the entire movie.

Humphrey Bogart delivers a wonderful performance as Sam Spade. Rough, tough, and quick witted helps him become his partner’s hero for justice; even though Sam was seeing his wife prior to his murder. Mary Astor while beautiful, she wasn't a compelling love interest and her performance could have been so much more.

The Maltese Falcon is a must watch classic in my opinion. Don’t miss it.

Steven

And that is why I watch it every time I stumble across it as I did the other night.

 

[Trenchfriend]

The Final Countdown (1980)

I still love it. You just can't have a bad evening with this "old leather". Douglas, Sheen, Durning. Not too much heroism.

Perfect german synchro, bringing much atmosphere.

How realistic is Cpt. Yelland?