tag:blogger.com,1999:blog-17619883755848255492024-03-14T14:48:56.903-04:00Tarantino Comicsjames.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.comBlogger190125tag:blogger.com,1999:blog-1761988375584825549.post-77606029630415999602020-09-06T08:04:00.000-04:002020-09-06T08:04:05.067-04:00Quick Letterboxd Thoughts: Buchanan Rides Alone (1958)<p> Here's some quick Letterboxd thoughts for BUCHANAN RIDES ALONE (1958): <a href="https://boxd.it/1jP0dl">https://boxd.it/1jP0dl</a></p><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="510" data-original-width="344" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYdEB3T37VroRIKDCiMMAtQQfeAC4H8_MtwPFkI_ahq1q62VpHBM18RC0vpH4yRL-5bKwICnRKWZ1Phg7HB_nYmi2HEDWUE73PWBOb7JTqBBc5ORSyE8ZMiznELSMt8hCurwaycM2yAwI/w338-h500/BuchananRidesAlone.jpg" width="338" /></div><div><br /></div><div>So far in my Randolph Scott & Budd Boetticher journey, TALL T has been my favorite. However BUCHANAN RIDES ALONE is still a strong entry from this creative team.</div><div><br /></div><div>Scott plays Buchanan - A cowboy in the wrong place at the wrong time (a town owned by three greedy brothers). He gets mixed up in a murder, goes to jail, and loses all his money. Thankfully, Buchanan ends up ok. However I’m not sure we can attribute his survival to his strength and wit - Just as he was calamitous at the beginning, he ends up lucky at the end! Scott plays a very charming character (as usual), so we’re happy he survives. If it was any other actor, I’m not sure we’d be as empathetic for the protagonist.</div><div><br /></div><div><b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/" target="_blank">https://letterboxd.com/jshardin86/</a></span></b></div>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-88993282574029711062020-09-06T07:55:00.003-04:002020-09-06T07:57:37.650-04:00Quick Letterboxd Thoughts: The Social Network (2010)<p> Here's some quick Letterboxd thoughts for <b>THE SOCIAL NETWORK (2010)</b>: <a href="https://boxd.it/1jIIV3">https://boxd.it/1jIIV3</a></p><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="510" data-original-width="343" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh36duwq5vfT2iw79xvN_W7HgdRbQl_YgXeenL3nVTNjyxy93-QkbbhyphenhyphennFN3lpDEG1c_79vV8nxI248_ykZDGyJ6oD831EwXc5QKhR3Yf98htDz9XA_LTEbDye43q48hYoV88RehtRv6wE/w336-h500/SocialNetwork.jpg" width="336" /></div><div><br /></div><div>So there’s no murder in this David Fincher film? </div><div><br /></div><div>With great acting and enticing dialogue, Fincher maintains the audience’s attention for a potentially very boring story. The editing is flawless - You never feel lost as the film bounces back and forth between two legal hearings and the development of Facebook. Also, for a relatively low stakes plot (granted millions of dollars are on the line), Trent Reznor and Atticus Ross’ score brings intensity to the images on screen.</div><div><br /></div><div><b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/" target="_blank">https://letterboxd.com/jshardin86/</a></span></b></div>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-83060343150234950452020-09-06T07:49:00.003-04:002020-09-06T07:55:59.035-04:00Quick Letterboxd Thoughts: Robot Jox (1989)<p> Here's some quick Letterboxd thoughts for <b>ROBOT JOX (1989)</b>: <a href="https://boxd.it/1jHmd7">https://boxd.it/1jHmd7</a></p><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="510" data-original-width="343" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg33G574sfSpBxG6xEuWUIQ2SqA3IHRinQdUthnaH6-PRUyMvkKmGNjD6Xo8xSrP5VyoBAfniiwYOua8pIdnBMjZgnUGvp5udOKxVMY07BCsQfj83pe_ChbdRQUzeUsW4nPzY_RwqOsNYk/w336-h500/Robotjox.jpg" width="336" /></div><br /><p>I wouldn’t place ROBOT JOX in my personal pantheon of films, but I appreciate its heart. Without using CGI, the stop-motion effects are filled with creativity and imagination. Although I prefer Guillermo Del Toro’s flick, ROBOT JOX would make a fun pairing with PACIFIC RIM.</p><p><b style="color: black;"><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/" target="_blank">https://letterboxd.com/jshardin86/</a></span></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-47785301910329328712020-08-30T13:42:00.005-04:002020-09-06T07:55:29.522-04:00Quick Letterboxd Thoughts: The Asphalt Jungle (1950)<p> Here's some quick Letterboxd thoughts for <b>THE ASPHALT JUNGLE (1950)</b>: <a href="https://boxd.it/1jFs39">https://boxd.it/1jFs39</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj30Fsci_MYub5ItOOAM6cyxTplrHnTdG-VMiWODSuxaZie4AFAy3bJ4zQE2UeMVUg5l6SP3nFlZmZWYo0FM1AB5Y2OlIf0bQyoHdFEzbAchsBwmqgr9SeyAZjf7qTviZDrk8cwNh2_Pw/s510/AsphaltJungle.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj30Fsci_MYub5ItOOAM6cyxTplrHnTdG-VMiWODSuxaZie4AFAy3bJ4zQE2UeMVUg5l6SP3nFlZmZWYo0FM1AB5Y2OlIf0bQyoHdFEzbAchsBwmqgr9SeyAZjf7qTviZDrk8cwNh2_Pw/s0/AsphaltJungle.jpg" /></a></div><div><br /></div><div>ASPHALT JUNGLE is another essential directed by the great John Huston. I’m always a sucker for procedural storytelling, but the stylized light and stark shadows create one of film history’s best caper sequences. Also, told with deep focus lenses, you get a lot of unspoken narrative in a small frame.</div><div><br /></div><div>As always, I love seeing Sterling Hayden on screen. He’s a massive and intimidating man. However, he’s able to earn the audience’s sympathy by acting in small, quiet, and emotional scenes. As much as we’d like for our leading hooligan to wash away the dirt of the city life, Film Noir never allows this to happen. Ending in the sunny fields of bluegrass country, the final frames are fatalistic and even ironic.</div><p><b style="color: black;"><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/" target="_blank">https://letterboxd.com/jshardin86/</a></span></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-69805408773832508722020-08-30T13:37:00.005-04:002020-08-30T13:38:21.110-04:00Quick Letterboxd Thoughts: Ray Harryhausen: Special Effects Titan (2011)<p> Here's some quick Letterboxd thoughts for <b>RAY HARRYHAUSEN: SPECIAL EFFECTS TITAN (2011)</b>: <a href="https://boxd.it/1jyX7x">https://boxd.it/1jyX7x</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-I4XkAsLyrofBrXpGhfRHWZLPzzF4QrSKjJBfoBD-6mkW7hzwtIpnCM54INHGVk3lJwzHoZzTD1AGB32Nt8uShkdJxU-JonKav0LciFMdgH5sGhZxCd_kYzQ51G8X4scx0e0wQpGjtY8/s511/Harryhausen.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-I4XkAsLyrofBrXpGhfRHWZLPzzF4QrSKjJBfoBD-6mkW7hzwtIpnCM54INHGVk3lJwzHoZzTD1AGB32Nt8uShkdJxU-JonKav0LciFMdgH5sGhZxCd_kYzQ51G8X4scx0e0wQpGjtY8/s0/Harryhausen.jpg" /></a></div><div><br /></div>Great interviews with Ray Harryhausen and the filmmakers he’s inspired. Along with insights into his processes and art, Harryhausen reflects on the differences between stop-motion (Dynamation) and CGI. Unfortunately, I’ve only seen snip-it’s from his films - However I now feel intrigued to explore his filmography.<div><br /></div><div><a href="https://boxd.it/1jdmtp"><b style="color: black;"><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b></a><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></div>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-80742554122632682812020-08-30T13:31:00.005-04:002020-08-30T13:31:57.864-04:00Quick Letterboxd Thoughts: White Lightning (1973)<p> Here's some quick Letterboxd thoughts for <b>WHITE LIGHTNING (1973)</b>: <a href="https://boxd.it/1juwS9">https://boxd.it/1juwS9</a></p><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="798" data-original-width="536" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQlUJFRNmF84OKn77uGVYTl9UmVPDu5PMbjyCLq29TCdM_p8bo_6v9JfkAuQzVNT2nvcYkBrwq-PN9LN-2ngZBPdPEyk000aPXupiISnFM7iGBazH3YnCpTEQHGqRdSbmnzs4RXybgroM/w344-h512/White_Lightning.jpg" width="344" /></div><div><div><br /></div><div>Listening to the laugh of Burt Reynolds in WHITE LIGHTNING, you can’t help but hoot and holler along!</div><div><br /></div><div>Released one year after DELIVERANCE, Burt is no longer Ned Beatty’s guardian angel. Instead, he wants to make Ned’s life miserable as the dynamic Gator McCluskey. Beatty plays a corrupt sheriff who murdered Gator’s brother in cold blood. So how does Gator get revenge? He runs moonshine!</div><div><br /></div><div>As expected, this movie is action packed. The stunt work is terrific ranging from fist fights, wrestling, guns, and car chases. Whether it’s racing through the streets of town or maneuvering through the foliage of the backwoods, the cinematography and editing make these sequences a delight. I believe most scenes take place on location - You sense the humidity dripping from the screen as every character is drenched with sweat.</div><div><br /></div><div>As compared to DELIVERANCE, Burt is far more charismatic in this film. He’s still a macho man, but carries a charm that everyone loves. He also exhibits pizzazz with the ladies, something he didn’t get to reveal in his previously male-dominated film. Although he’s rooted in his southern ways, Burt shows he’s progressive in the environment he lives in. He’s not a racist - As he interacts with African Americans, he’s playful with the young and respectful to the old. This makes a great foil with Beatty’s character who’s obviously a bigot. At the end of the day, the sheriff sinks and Gator knows how to stay afloat.</div><div><br /></div><div>Tarantino obviously loves this film as he borrows Gator’s name in the 14 FISTS OF MCCLUSKEY. But in particular, I’ll focus on the music: When Gator gets into pressing situations, QT uses the same percussive sounds in KILL BILL when the Bride is encircled by the Crazy 88. Also, QT uses Gator’s twangy theme in INGLOURIOUS BASTERDS to introduce the audience to the violent and quirky humor of Brad Pitt’s crew. I’m always hesitant to watch Tarantino’s favorites. I fear I won’t like them - But as always, I’m never disappointed.</div></div><p><a href="https://boxd.it/1jdmtp"><b style="color: black;"><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b></a><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-22971923327566296312020-08-29T09:26:00.006-04:002020-08-30T13:26:46.403-04:00Quick Letterboxd Thoughts: Cleopatra Jones (1973)<p>Here's some quick Letterboxd thoughts for <b>CLEOPATRA JONES (1973)</b>: <a href="https://boxd.it/1jdmtp">https://boxd.it/1jdmtp</a></p><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="510" data-original-width="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKmpXQvFSjpwa96D5TlhnHU3aeHP20hgzdD_K7ZaoVm9hs7GOoUB8_d3ujbIBgZ8vaEYKsuVitMpP9CPB94-a9GHilLMccx503CnsTii47UTPmnwxYdxuPZtyKpuc5GOWllPEqbsB3034/s0/cleopatra_jones.jpg" /></div><div><br /></div><div>I enjoyed CLEOPATRA JONES quite a bit. Although tame compared to most blaxploitation flicks, I’d have no problem showing this to my daughter (no awkward “pimp” scenes). Cleo is treated with respect - she’s a likable character, fashionable, strong, smart, and beautiful. Plus she’s a super-spy who knows Kung-fu. Back in the 70’s, I’m sure she was a role model to some little girls.</div><div><br /></div><div>Although I prefer COFFY and FOXY BROWN, the production quality of this film is terrific (although I’m sure it had studio backing). The aspect ratio is wide so you get a lot of action in the frame. Also, the car chase scene was well executed - you have to love films that take advantage of the LA River. I’m glad I picked up the Warner Archive disc - It really pops in image and sound.</div><p></p><p><a href="https://boxd.it/1jdmtp"><br /></a></p><p><a href="https://boxd.it/1jdmtp"><b style="color: black;"><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b></a><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-83983128964824435902020-08-29T09:18:00.008-04:002020-08-29T09:30:54.102-04:00Quick Letterboxd Thoughts: 10 Rillington Place (1971)<p> Here's some quick Letterboxd thoughts for 10 RILLINGTON PLACE (1971): <a href="https://boxd.it/1j0P3p">https://boxd.it/1j0P3p</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD4_zDMyoPWtfS8i0Wjb-saLV8fLbXqc9KTH9O4BgMn2SsEz3PPCX2xjit6yXqeWPJSmCf_v3ch7yDP1M-AR5eIm83PV05rd7opIieRvfJczCbK0tLJy_YkwoasRw80WhZfF0pO2Y1MF8/s510/rillington.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD4_zDMyoPWtfS8i0Wjb-saLV8fLbXqc9KTH9O4BgMn2SsEz3PPCX2xjit6yXqeWPJSmCf_v3ch7yDP1M-AR5eIm83PV05rd7opIieRvfJczCbK0tLJy_YkwoasRw80WhZfF0pO2Y1MF8/s0/rillington.jpg" /></a></div><div><br /></div><div><div>Although it spans most of Christie’s serial killing life, I enjoy how the film focuses on the events taking place with the Evans family. I find too many biopics are all-inclusive and lose characterization.</div><div><br /></div><div>I haven’t seen a lot of Attenborough’s films, but I’m beginning to see his range from POW, dinosaur enthusiast, to jolly old St. Nick. However as shown in 10 RILLINGTON PLACE, when paired with the right camera shots, the actor is transformed into a very mesmerizing yet creepy character. For example, when things are “normal,” the frame is upright and structured. But once Attenborough switches from sweet old man to freaky serial killer, the camera tilts to some disorienting angles.</div></div><div><br /></div><div><br /></div><div><b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></div>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-7836496579417094412020-08-29T09:13:00.003-04:002020-08-29T09:28:17.921-04:00Quick Letterboxd Thoughts: Seconds (1966)<p> Here's some quick Letterboxd thoughts for <b>SECONDS (1966)</b>: <a href="https://boxd.it/1iXjP1">https://boxd.it/1iXjP1</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkG5vrDbjlqomqf9spuz7s6SEIUhl4a1IhNwiybnjbfUYpGYmZHiWVr3JrYBpBCL-KFuGnsu4oTPKJ2hjjEy52vZvQhOmVQldGYQ41dwVhT80d_9Se7bDSmh0rMegUO3X8eKoN8b2pVr8/s510/seconds.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkG5vrDbjlqomqf9spuz7s6SEIUhl4a1IhNwiybnjbfUYpGYmZHiWVr3JrYBpBCL-KFuGnsu4oTPKJ2hjjEy52vZvQhOmVQldGYQ41dwVhT80d_9Se7bDSmh0rMegUO3X8eKoN8b2pVr8/s0/seconds.jpg" /></a></div><p>SECONDS is a frightening film exploring how one handles a second chance at life. </p><p>Rock Hudson plays an old man who lived a comfortable and successful life. However, he never pursued any of his dreams and desires. Signing up with a “company,” he fakes his death so he can live a younger and more attractive lifestyle (Note: As we all know, never trust a company that wishes to remain anonymous, especially in a science fiction film). However, a person can never change their essence, even if given a new body - The transition will be filled with consequences.</p><p>This film was shot in black in white by the great Jimmy Wong Howe. I’m glad it was decided not to shoot in color - the imagery wouldn’t have been as effective. In many ways, the ambience reminds me of early David Lynch. </p><p>Adding in the quick and erratic edits, this film is quite unsettling. In particular, the transformation sequences are terrifying and gruesome. This includes the final phase, where Hudson’s gut-wrenching emotions are filmed with disorienting closeups. Having recently watched RONIN, we see Frankenhiemer’s affinity for wide angle lenses - He can really capture depth of focus, adding multiple layers of action depicting the untrusting “company” watching Hudson’s every move.</p><p><br /></p><p><b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-56515687687605058952020-08-28T13:20:00.003-04:002020-08-29T09:28:32.972-04:00Quick Letterboxd Thoughts: A Simple Favor (2018)<p>Here's some quick Letterboxd thoughts for <b>A SIMPLE FAVOR (2018)</b>: <a href="https://boxd.it/1iTmJd">https://boxd.it/1iTmJd</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6gnpoSm2Vhrvx7ObJuHytYVmduhPtshW9VoAFcsNeWFo4wu3xM1Lj1zpztkNKiiaNW6pi4wtxwI0WHpU-a_nywbrYLOGFikegFbgZNeJBu4i5siYPf478Raicp6NypCAuflQ5DXl7iyI/s511/SimpleFavor.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6gnpoSm2Vhrvx7ObJuHytYVmduhPtshW9VoAFcsNeWFo4wu3xM1Lj1zpztkNKiiaNW6pi4wtxwI0WHpU-a_nywbrYLOGFikegFbgZNeJBu4i5siYPf478Raicp6NypCAuflQ5DXl7iyI/s0/SimpleFavor.png" /></a></div><div><br /></div><div>As the end credits were rolling for A SIMPLE FAVOR, I said to my wife, “This was a comedic version of GONE GIRL.” My wife replies, “At least I’ll be able to sleep tonight.”</div><div><br /></div><div>As the story progressed, I could foresee how this plot was going to unfold. However, I didn’t care - Paul Feig’s dark comedy was quite entertaining. The banter between Anna Kendrick and Blake Lively was fun and amusing. Kendrick is the sweet girl you should like, but underneath her perky mom disguise, the audience (and her snarky parental peers) knows she’s hiding some demons. Lively is the opposite - She’s a terrible mom, but since she carries this coolness, I found myself rooting for her. Essentially she’s a more likable Regina George who didn’t inherit her lifestyle - She had to fight for it.</div><div><br /></div><div>Finally I really enjoyed the soundtrack. It has a hip soundtrack that fits these grandiose characters. Also my ears definitely perked up when I heard the flamboyant horns of Chick Habit. Just like it’s inclusion in DEATH PROOF, it’s usage is quite fitting for this film - It’s essentially a revenge song whose anthem sings “you’ll get yours.”</div><p><br /></p><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></p><p></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-10220992970221630012020-08-28T13:14:00.005-04:002020-08-29T09:28:47.934-04:00Quick Letterboxd Thoughts: Texas Adios (1966)<p> Here's some quick Letterboxd thoughts for <b>Texas Adios</b> <b>(1966)</b>: <a href="https://boxd.it/1iQTOz">https://boxd.it/1iQTOz</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI2AHHGqzjJFg5jpLo5VGXbyhwbN90v8-ZF2fNtbo_f0HoK4YPuJWP2c6NeDBe_W1-OAN90Y4eeUB7Wh54HY04UDgZmZk5NLF3VSQHzNbCMXkzpcBUfemFAEY-qk0RWQG93ebR-PAoCmU/s511/TexasAdios.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI2AHHGqzjJFg5jpLo5VGXbyhwbN90v8-ZF2fNtbo_f0HoK4YPuJWP2c6NeDBe_W1-OAN90Y4eeUB7Wh54HY04UDgZmZk5NLF3VSQHzNbCMXkzpcBUfemFAEY-qk0RWQG93ebR-PAoCmU/s0/TexasAdios.jpg" /></a></div><div><br /></div><div>A duo of brothers cross the Texas border seeking justice for their father’s death. Come to find out, the man they’re planning to capture is also the tyrant of the Mexican townspeople. Luckily for some revolutionaries, their target is the same man. </div><div><br /></div><div>Besides the dubbing and lack of John Wayne, it feels like an American Western: The town is very reminiscent of a Hollywood set. It contains some very beautiful wide shots, but the panning camera movement makes it look like an American picture. Watching an appreciation by Austin Fisher (see the Django Arrow Video release), TEXAS, ADIOS doesn’t follow the typical YOJIMBO model. Instead of pitting rival gangs against each other, the hero teams up with Mexican revolutionaries and helps them fight for their freedom.</div><div><br /></div><div>That being said, some Spaghetti Western elements emerge from the film. With a close up of the hero’s eyes (a la Leone), we get a flashback of his father being killed and his mother being raped. It turns out the man they’re hunting is also his brother’s father - This darkness definitely fits the bill of an Italian revenge flick. Also, the picture stars Franco Nero. Released a few months after DJANGO, this film was rebranded as a sequel even though it’s obviously a different character (named Burt).</div><div><br /></div><div>Since the latest iteration of my Spaghetti Western craze, this has been the least interesting discovery. It’s a solid film; However there’s nothing too memorable and the film will slip through my memory banks.</div><div><br /></div><div><br /></div><div><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></p></div>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-52402483764426479212020-08-28T13:08:00.006-04:002020-08-29T09:29:09.269-04:00Quick Letterboxd Thoughts: Django (1966)Here's some quick Letterboxd thoughts for <b>DJANGO (1966)</b>: <a href="https://boxd.it/1iLRSp">https://boxd.it/1iLRSp</a><br />
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="color: black; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYe5hS9YXC5ECbKc-hWtnXmQl2vtN4lxc3GOT8Sduxx-Y-vX48s9HWPJJIkJIB0lIcn9LzUXoGIOoRHuTWgZVtgAAL56q4PUYGYW8wzLZXaLj_QzZBZKP1L5VjfVL55Y2O4wHNwm0akTk/s511/Django.jpg" style="font-family: "times new roman", serif; font-size: 13.5pt; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYe5hS9YXC5ECbKc-hWtnXmQl2vtN4lxc3GOT8Sduxx-Y-vX48s9HWPJJIkJIB0lIcn9LzUXoGIOoRHuTWgZVtgAAL56q4PUYGYW8wzLZXaLj_QzZBZKP1L5VjfVL55Y2O4wHNwm0akTk/s0/Django.jpg" /></a><span style="color: black; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p><br /><br /></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: Times New Roman, serif;"><span style="font-size: 18px;">Django comes to town and takes advantage of two rival gangs. Although he benefits from the feuding, his manipulation is more subtle compared to the man with no name from A FISTFUL OF DOLLARS. With that being said, Django, our hero, is still a ruthless and calculating character. He taunts his enemies by carrying around a coffin - Inside is a machine gun used to lay dozens of men down into their graves. Although stoic like Eastwood, he’s more of a lady’s man. He can certainly entrap women with his deep blue eyes.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman", serif; font-size: 18px;">In contrast to the sly theatrics, the town takes place in one of the dirtiest sets I’ve ever seen in a spaghetti western. Instead of dust and tumbleweed, we get wet mud - it sticks to everything. However the brown mess makes a good contrast to the Southern Boy Gang. Wearing vibrant red sacks over their heads (essentially a fictionalization KKK), the mud really makes their appearance pop off the screen. </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman", serif; font-size: 18px;">It’s been several years since I’ve rewatched this film. Upon this viewing (from the recently released Arrow Video Blu-Ray), I decided to raise my rating by half a star. Corbucci frames some really beautiful shots in a really ugly setting. I also love the production design, including the collapsing bridge over quicksand. Finally, whenever I hear the score, I can’t help but smile - I get really excited knowing decades later, Tarantino composed his own scenes featuring these powerful musical themes.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><br /></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-24134107582805244232020-08-16T17:53:00.004-04:002020-08-29T09:29:23.903-04:00 Quick Letterboxd Thoughts: The Ballad of Cable Hogue (1970)<p>Here's some quick Letterboxd thoughts for <b>The Ballad of Cable Hogue </b>(1970): <a href="https://boxd.it/1iGLR1">https://boxd.it/1iGLR1</a></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: Times New Roman, serif;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Times New Roman, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ftRGkTpt2UGahG1YXRnj9wl4k15qsTD6KDvV7zY8K1wJjONDRP7AH6QMs_XHqTD-MWIrmQKX6IRiVS_c8ky0wDNeTKjJkjfaM6K1DbSVPnYxK1JPoFBYysZO-UUZ5IIIEAKScW6_2Sg/s511/CableHogue.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ftRGkTpt2UGahG1YXRnj9wl4k15qsTD6KDvV7zY8K1wJjONDRP7AH6QMs_XHqTD-MWIrmQKX6IRiVS_c8ky0wDNeTKjJkjfaM6K1DbSVPnYxK1JPoFBYysZO-UUZ5IIIEAKScW6_2Sg/s0/CableHogue.jpg" /></a></span></div><span style="font-family: Times New Roman, serif;"><span style="font-size: 18px;"><br /></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: Times New Roman, serif;"><span style="font-size: 18px;">Jason Robards is rising to the top of my all-time favorite actors. Even though he wears a gruff demeanor, he exudes sentimentality that everyone adores (especially the audience). As the perverted and immoral Preacher Josh proclaims: “He wasn’t really a good man, he’s wasn’t a bad man, but Lord, he was a man.”</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman", serif; font-size: 18px;">Coming into this film, I prepared myself for a whole bloody affair. Besides the massacre of a few reptiles and rodents, Peckinpah is restrained, subdued, and produces a film with a lot of heart. Just like me, I don’t think Cable Hogue got the revenge he expected. Instead, he truly achieves peace well suited for this ballad.</span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span style="font-family: "Times New Roman", serif; font-size: 13.5pt;"> </span></p>
<b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Follow me on Letterboxd
at </span></b><span face="" style="font-size: 11pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; line-height: 107%; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></span>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-31006544146160011122020-08-16T17:46:00.004-04:002020-08-16T17:46:40.056-04:00 Quick Letterboxd Thoughts: Romeo Is Bleeding (1993)<p><span style="font-family: "Times New Roman", serif; font-size: 18px;">Here's some quick Letterboxd thoughts for </span><b style="font-family: "Times New Roman", serif; font-size: 18px;">ROMEO IS BLEEDING</b><span style="font-family: "Times New Roman", serif; font-size: 18px;"> (1993): </span><a href="https://boxd.it/1iA537" style="font-family: "Times New Roman", serif; font-size: 18px;">https://boxd.it/1iA537</a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0ZFaLcY2UhKaHI9tqWoiDvPB5L1yjrQSKglNQ3lwpzJOIygHMNuj-sm2APpsmUbkN_lrEpNrfLL_NQlK5w498QUycPa04m3QD6CNDs2Oy1J4dmvq0M9Tu7H1_-2p6ivabY14cC18ov8/s511/RomeoIsBleeding.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ0ZFaLcY2UhKaHI9tqWoiDvPB5L1yjrQSKglNQ3lwpzJOIygHMNuj-sm2APpsmUbkN_lrEpNrfLL_NQlK5w498QUycPa04m3QD6CNDs2Oy1J4dmvq0M9Tu7H1_-2p6ivabY14cC18ov8/s0/RomeoIsBleeding.jpg" /></a></div><p><span style="font-family: Times New Roman, serif;"><span style="font-size: 18px;">This neo-noir was quite a delight. If it wasn’t for Twilight Time, I’d probably never discover this film. As always, Gary Oldman plays another diverse role, playing a crooked cop rather than the honorable Commissioner Gordon. Loved the “Feeding the Hole” theme - Oldman’s character tried justifying his actions for money, but knew he’d never fill the void. I also enjoyed the story framing at the beginning and end of the film - we know where he ends up, but have no idea how he got there.</span></span><span style="font-family: "Times New Roman", serif; font-size: 13.5pt;"><o:p> </o:p></span></p><p><b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></p><p><b><br /></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-79777990458136664122020-08-16T17:40:00.010-04:002020-08-16T17:48:53.233-04:00Quick Letterboxd Thoughts: Cop (1986)Here's some quick Letterboxd thoughts for <b>COBRA </b>(1986): <a href="https://boxd.it/1itRUf">https://boxd.it/1itRUf</a><br />
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face="" style="color: black; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihp5lwLrye4EvnQZYjdUtXxFS11Qy-xBUEXceAOxPg3ygp3eN4PxM1INXXn2dIm5D5-iFZOf5zmXrqojc6aQihVHz-MC0L-sFDyA2GUGP19ms-iG9fCtyUM5ucZF6S3Et8-lAQM1Guq2s/s510/Cobra.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihp5lwLrye4EvnQZYjdUtXxFS11Qy-xBUEXceAOxPg3ygp3eN4PxM1INXXn2dIm5D5-iFZOf5zmXrqojc6aQihVHz-MC0L-sFDyA2GUGP19ms-iG9fCtyUM5ucZF6S3Et8-lAQM1Guq2s/s0/Cobra.jpg" /></a></div><p></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span face="" style="color: black; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face="" style="font-family: "times new roman", serif;"><span style="font-size: 18px;">Once my wife overheard the first Stallone one-liner, she put down her book so she could watch this entertaining movie instead. We thoroughly enjoyed this action flick where an LA cop flying solo takes down an entire gang of slashing serial killers. Also, this is another film I can add into this year’s Christmas movie playlist.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span face="" style="color: red; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span face="" style="color: blue; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b><span face="" style="color: black; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><br /></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-44825847312394671132020-08-15T20:09:00.003-04:002020-08-16T18:00:58.933-04:00Quick Letterboxd Thoughts: Billy Two Hats (1974)<p>Here's some quick Letterboxd thoughts for <b>Billy Two Hats</b> (1974): <a href="https://boxd.it/1inqoz"> https://boxd.it/1inqoz </a></p><br />
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face="" style="font-family: "times new roman", serif;"></span></p><div class="separator" style="clear: both; text-align: center;"><span face="" style="font-family: "times new roman", serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXGBy6eDLoEijuDoYpXPMPX_zQPba0uiG9ZR8JNYWp_pVyHV_heytKDt7nl2R6GCE80qnNI0cCb5NTcGKHOiF-K8DILHF4JOuU4nGgq_a-A_Kq1x-6rLGpoZfK0XF5-5oGbRfqeSRkLoc/s511/BillyTwoHats.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXGBy6eDLoEijuDoYpXPMPX_zQPba0uiG9ZR8JNYWp_pVyHV_heytKDt7nl2R6GCE80qnNI0cCb5NTcGKHOiF-K8DILHF4JOuU4nGgq_a-A_Kq1x-6rLGpoZfK0XF5-5oGbRfqeSRkLoc/s0/BillyTwoHats.jpg" /></a></span></div><span face="" style="font-family: "times new roman", serif;"><span style="font-size: 18px;"><br /></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face="" style="font-family: "times new roman", serif;"><span style="font-size: 18px;">The relationship between Gregory Peck and Desi Arnaz Jr. reminded of me of the duo in Django Unchained - A European stranger morally guiding a “lower class citizen” through the Wild West. This film was composed of some beautiful scenic shots (filmed in the mountains of Israel) and directed by the under appreciated Ted Kotcheff (I’m not sure if he’s considered an underrated director, but I believe his WAKE IN FRIGHT is a masterpiece).</span></span><span face="" style="font-family: "times new roman", serif; font-size: 13.5pt; text-align: center;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span face="" style="color: red; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span face="" style="color: blue; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><br /></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-5088404844725104672020-08-15T20:04:00.005-04:002020-08-15T20:04:44.673-04:00Quick Letterboxd Thoughts: Emma Mae (1976)<p> <span style="font-family: "Times New Roman", serif; font-size: 13.5pt;">Here's some quick Letterboxd thoughts for <b>Emma Mae</b> (1976): <a href="https://boxd.it/1igLXB" target="_blank"> </a></span><span style="font-family: Times New Roman, serif;"><span style="font-size: 18px;"><a href="https://boxd.it/1igLXB" target="_blank"><o:p></o:p>https://boxd.it/1igLXB</a></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: Times New Roman, serif;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Times New Roman, serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs9JoHa5Gmesb0sudF1-zCaTxQu6c2fzwBe7SEq9LXIHRCTDCZUWhNY10jjqr8f6LoZWSrUT_j5h2-N2fTU56BRs4yatYoDacKt8Q32wtpoEXdKBbQ3ub_KPaz4H65QHHJS8YDBatZaMw/s511/EmmaMae.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs9JoHa5Gmesb0sudF1-zCaTxQu6c2fzwBe7SEq9LXIHRCTDCZUWhNY10jjqr8f6LoZWSrUT_j5h2-N2fTU56BRs4yatYoDacKt8Q32wtpoEXdKBbQ3ub_KPaz4H65QHHJS8YDBatZaMw/s0/EmmaMae.jpg" /></a></span></div><span style="font-family: Times New Roman, serif;"><span style="font-size: 18px;"><br /></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-family: "Times New Roman", serif; font-size: 18px;">Beautiful transfer from Vinegar Syndrome - More of an outsider’s commentary rather than a Blaxploitation. There’s no lack of action (Emma Mae Has fighting moves on par with Coffey), but it’s more of a social exploration of how one endures city life after being raised in the South.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span style="color: red; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span style="color: blue; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b><span style="color: black; font-family: "Times New Roman",serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><br /></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-1792469486062475792020-08-15T10:33:00.010-04:002020-08-15T20:11:39.245-04:00Quick Letterboxd Thoughts: Welcome Home Brother Charles (1975)<p><span face="" style="font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Here's some quick Letterboxd thoughts for <b>Welcome
Home Brother Charles </b>(1975): <a href="https://boxd.it/1ifrQt" target="_blank"> </a></span><span face="" style="font-family: "times new roman", serif;"><span style="font-size: 18px;"><a href="https://boxd.it/1ifrQt" target="_blank"><o:p></o:p>https://boxd.it/1ifrQt</a></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face="" style="color: black; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyQBssE9zx7U-3_2eUI8sNu5j4k_NBCdJSApU6Ndwygp-NdGWppLkQTfEXahWSdQIT0KFZ7y1RidiXimzf9VI6jyM67kHglJ7ANAOA5KhbIqBdrfCv9cNuNPzNa-ChOcZLjJiVHELYTXc/s510/BrotherCharles.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyQBssE9zx7U-3_2eUI8sNu5j4k_NBCdJSApU6Ndwygp-NdGWppLkQTfEXahWSdQIT0KFZ7y1RidiXimzf9VI6jyM67kHglJ7ANAOA5KhbIqBdrfCv9cNuNPzNa-ChOcZLjJiVHELYTXc/s0/BrotherCharles.jpg" /></a></div><p></p>
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<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face="" style="font-family: "times new roman", serif;"><span style="font-size: 18px;">Alongside the revenging “snake,” this blaxploitation contains a fair share of horror vibes, especially with the music. One could argue it’s a precursor to the psychological horror films made by Jordan Peele.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span face="" style="color: red; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at </span></b><b><span face="" style="color: blue; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b><span face="" style="color: black; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><br /></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-71909899200047531782020-08-15T10:20:00.007-04:002020-08-15T10:23:27.728-04:00Quick Letterboxd Thoughts: Summer Lovers (1982)<p> <span face="" style="font-family: "times new roman", serif; font-size: 13.5pt;">Here's some quick Letterboxd thought for <b>Summer Lovers </b>(1982)</span><span face="" style="font-family: "times new roman", serif; font-size: 13.5pt;">: </span><a href="https://boxd.it/1idCr1" style="font-family: "times new roman", serif; font-size: 13.5pt;">https://boxd.it/1idCr1</a></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span face="" style="color: black; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyngt_S_HcMD07W-Z12qndm558ERoKnLN32phHA7NTbpym66q-CTDsB0hpRswpqTz17Ls_otiRyV0mVyROBiS5_3jNCOtYQ3KnyOmT-n-xKNHLM2Ar7Z_R1clmuLwVbgmPQx4EL6PSWq8/s510/SummerLovers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyngt_S_HcMD07W-Z12qndm558ERoKnLN32phHA7NTbpym66q-CTDsB0hpRswpqTz17Ls_otiRyV0mVyROBiS5_3jNCOtYQ3KnyOmT-n-xKNHLM2Ar7Z_R1clmuLwVbgmPQx4EL6PSWq8/s0/SummerLovers.jpg" /></a></div> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face="" style="color: black; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Not my typical fare, but I enjoyed this quite a
bit more than I should have.<span style="mso-spacerun: yes;"> </span>Interesting
study on a relationship - especially between (3) people.<span style="mso-spacerun: yes;"> </span>Loved the soundtrack and location.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span face="" style="color: red; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span face="" style="color: red; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at <span style="color: blue;"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span><o:p></o:p></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span face="" style="color: red; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><br /></span></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-17371495675076234072020-08-15T10:11:00.002-04:002020-08-15T10:12:47.612-04:00Quick Letterboxd Thoughts: Ronin (1998)<p> <span face="" style="font-family: "times new roman", serif; font-size: 13.5pt;">Here's some quick Letterboxd thoughts for <b>Ronin </b>(1998): </span><span face="" style="font-family: "times new roman", serif; font-size: 12pt;"><a href="https://boxd.it/1i9cw7">https://boxd.it/1i9cw7</a></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-align: center;"><span face="" style="font-family: "times new roman", serif; font-size: 13.5pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJVxjyV41E1fa2ufEEOVeTjXvz_XZ_4kQwoGRKEKLFwvaTlhbj_HA3ml1X_xlstegj0bHWUr9geLQGlDh5psHm7c54elu1E6AA6Ybw3V0x_8_99IG3ZQd45qn-gFe0W_HEW70DyIdlZAQ/s510/ronin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJVxjyV41E1fa2ufEEOVeTjXvz_XZ_4kQwoGRKEKLFwvaTlhbj_HA3ml1X_xlstegj0bHWUr9geLQGlDh5psHm7c54elu1E6AA6Ybw3V0x_8_99IG3ZQd45qn-gFe0W_HEW70DyIdlZAQ/s0/ronin.jpg" /></a></div> <p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span face="" style="color: black; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Great cinematography and car chase scenes.<span style="mso-spacerun: yes;"> </span>Also, Frankenheimer utilizes a McGuffin that
would make Hitchcock proud.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><b><span face="" style="color: red; font-family: "times new roman", serif; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";">Follow me on Letterboxd at <span style="color: blue;"><a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></span></b></p>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-84269522029833935102020-08-15T09:58:00.007-04:002020-08-15T10:00:48.404-04:00Quick Letterboxd Thoughts: Cop (1988)Here's some quick Letterboxd thoughts for <b>COP </b>(1988): <a href="https://boxd.it/1hVOWT" target="_blank"> https://boxd.it/1hVOWT</a><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX6V_CW6VOLxCjpQGankzQGqbVAoaqvUmk33I4u5GWbcfTgsAWSxHvE0M4jWg7TKkwsp7JFIAJCFAbKH7-CHRsYDfWF-hjj3V13zvETmpdAXMrczuncA0oHi-u0i5N9D9_0NEBxLpHEsM/s511/cop.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX6V_CW6VOLxCjpQGankzQGqbVAoaqvUmk33I4u5GWbcfTgsAWSxHvE0M4jWg7TKkwsp7JFIAJCFAbKH7-CHRsYDfWF-hjj3V13zvETmpdAXMrczuncA0oHi-u0i5N9D9_0NEBxLpHEsM/s0/cop.jpg" /></a></div><div><br /></div><div>Ohh James Woods... Would make a great double feature with 10 TO MIDNIGHT - A study on what rundown cops will compromise to put away a crazy serial killer.</div><div><br /></div><div><b><span style="color: red;">Follow me on Letterboxd at <a href="https://letterboxd.com/jshardin86/">https://letterboxd.com/jshardin86/</a></span></b></div>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-37146689954668056462020-07-24T12:47:00.001-04:002020-07-24T12:47:30.956-04:00Tarantino Comics - Issue 53<br />
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Lately I’ve been watching a lot of westerns. <span style="mso-spacerun: yes;"> </span>I enjoy the great American films by Ford and
Hawks, but my tastes prefer a topping of marinara.<span style="mso-spacerun: yes;"> </span>Instead, I gravitate towards those infamous westerns by Leone and Corbucci. <span style="mso-spacerun: yes;"> </span>Although
their protagonists aren’t as virtuous as John Wayne or Jimmy Stewart, their
characterizations tend to be more complex.<span style="mso-spacerun: yes;">
</span>If anything, the Spaghetti Western heroes show greater similarity with Batman
rather than Superman (hence maybe an explanation for my preference).<span style="mso-spacerun: yes;"> </span>They’re resourceful and often work outside
the law to save others.<span style="mso-spacerun: yes;"> </span>However, their
motivations are frequently fueled by vengeance.<o:p></o:p></div>
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Although KILL BILL doesn’t fall into Tarantino’s “Western Trilogy”,
cinephiles know each volume is loaded with references and homage to the genre: <span style="mso-spacerun: yes;"> </span>The music, the cinematography, and most of all
the themes.<span style="mso-spacerun: yes;"> </span>Revenge is often a common motif
-<span style="mso-spacerun: yes;"> </span>Someone has been wronged, they must
rebuild themselves, and ultimately they retaliate.<span style="mso-spacerun: yes;"> </span>In the case of the Bride, she was beaten
until she “lost” her child, retrained her comatose essence, and pursued payback
against all those who wronged her.<span style="mso-spacerun: yes;"> </span>Going
along with this theme of retribution, Savy Lim displays the denouement of the <i>grand
duel</i> between the Bride and O-Ren Ishii in TARANTINO COMICS #53. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHeGewK5SjoDOuG9GUcaeB4T8Opz66S0lwNtbU4aIYM2VKLOVX16NR6Lw_Q3voOrclqP-5OrMYWCOpkJwEDrm2jN5ru2QG6iVdfXdhHiNKXJL1mbUCIKKrjksxbZTzfg7_6Ko_eWDKAIc/s1600/053_Tarantino_SavyLim_2014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1239" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHeGewK5SjoDOuG9GUcaeB4T8Opz66S0lwNtbU4aIYM2VKLOVX16NR6Lw_Q3voOrclqP-5OrMYWCOpkJwEDrm2jN5ru2QG6iVdfXdhHiNKXJL1mbUCIKKrjksxbZTzfg7_6Ko_eWDKAIc/s640/053_Tarantino_SavyLim_2014.jpg" width="494" /></a></div>
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Pistols are traded for Samurai Swords. Savy’s dynamic style is displayed by the
Bride slicing through her enemy’s scalp.
This is another great tribute to the westerns where the Indians (and
sometimes cowboys) scalp their enemies to attain vengeance (in particular, see NAVAJO
JOE). He composes the picture with our
hero is the foreground while surrounding her with a serene snow-filled Japanese
background. This contrast is further emphasized
by the abundance of red blood exploding across the page to an overall black and
white image. Savy also includes the pop
of yellow from the Bride’s jumpsuit, signifying the clash of genre showcased in
KILL BILL. I’m a huge fan of Savy’s
linework and fluidity, making this another great entry into the TARANTINO
COMICS cover gallery.</div>
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<o:p></o:p></div>
<br />james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-67487946029251082592020-07-17T16:10:00.004-04:002020-08-15T10:40:20.703-04:00EC Comics Double Feature: A Snapshot of Death / The American Friend<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpaEZ9wVRo-3b-59K5KoSfgCjzDc0Ck017sxvIcJYBQEtqjU_dIp40vARfRjVKbk8-GAwZ25vKTrpP5QZ86KlolmlpQ1jmWlT5_-WVcGVeJ3jZ70tnP4DVZBVadhT2l7b_nopMfTc12AE/s1600/snapshot_americanfriend.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="861" data-original-width="1600" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpaEZ9wVRo-3b-59K5KoSfgCjzDc0Ck017sxvIcJYBQEtqjU_dIp40vARfRjVKbk8-GAwZ25vKTrpP5QZ86KlolmlpQ1jmWlT5_-WVcGVeJ3jZ70tnP4DVZBVadhT2l7b_nopMfTc12AE/s400/snapshot_americanfriend.jpg" width="400" /></a></div>
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In <i>A Snapshot of Death</i> (<i>Crime SuspenStories #1</i>)<i>,
</i>Jean Darrow visits a seedy bar to summon a hit. The twist?
The contract's target isn’t some crazy ex-lover – Instead, she placed the target on
herself. Although this is an unusual request, we discover
Jean is ill and only has a few months to live.
Instead of living in pain and agony, she’d rather end her life quickly
and unknowingly. Within a single panel, artist
<i>Graham Ingels</i> summarizes Jean’s fears and eventual decision of suicide. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx2aJ21GkCBY6aJGru02dOzshIVSEmOkPNzzd9-LS_TvnA6qYJkKMS7_COtFpKUJEEATzmTByVtuzy7Ow1pDKZ8u_I0Pbio3l2hE2ZfsheoxHwmT99Y-StlENGBIDlBpgDfswETRGTuJA/s1600/IMG_5838.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1278" data-original-width="1600" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx2aJ21GkCBY6aJGru02dOzshIVSEmOkPNzzd9-LS_TvnA6qYJkKMS7_COtFpKUJEEATzmTByVtuzy7Ow1pDKZ8u_I0Pbio3l2hE2ZfsheoxHwmT99Y-StlENGBIDlBpgDfswETRGTuJA/s320/IMG_5838.jpg" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When Jean returns home, her husband greets her with
“wonderful news.”<span style="mso-spacerun: yes;"> </span>Apparently with a
simple operation, she’ll be cured of her ailment.<span style="mso-spacerun: yes;"> </span>However, Jean already sealed her fate the
minute she left the bar. <span style="mso-spacerun: yes;"> </span>Jean tries canceling
the hit, but cannot contact the hitman.<span style="mso-spacerun: yes;"> </span>Luckily
for Jean, the readers were already thrown their obligatory story twist.<span style="mso-spacerun: yes;"> </span>EC Comics ends this tale on a “happy” note:<span style="mso-spacerun: yes;"> </span>Jean’s contract was canceled since her hitman
was runover by a truck after leaving their meeting.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
An obvious double feature would be <i>SIN CITY</i>.<span style="mso-spacerun: yes;"> </span>At the beginning of the film, Josh Hartnett
is a hitman that kills dames who pay for their own assassination.<span style="mso-spacerun: yes;"> </span>However, a more interesting pairing is with
Wim Wender’s <i>THE AMERICAN FRIEND</i> .<span style="mso-spacerun: yes;">
</span>In this story, Zimmermann (Bruno Ganz) has been diagnosed with only a
few months to live. <span style="mso-spacerun: yes;"> </span>Unlike the <i>EC
tale</i>, Zimmerman doesn’t contract himself as the target.<span style="mso-spacerun: yes;"> </span>Instead, he signs up to become the hitman. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<br /></div>
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But why would Zimmerman partake in this mortal sin?<span style="mso-spacerun: yes;"> </span>He’s a respected gentleman, an honorable
husband, and a loving father.<span style="mso-spacerun: yes;"> </span>Well this
time, the diagnosis wasn’t a mistake.<span style="mso-spacerun: yes;">
</span>Instead, he was manipulated by the <i>Talented Mr. Ripley</i> (Dennis
Hopper). <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Yf0wXr7d35PojN30Dz60J_MvgNGC0Va0cycCqa6apZ2sLMBeRF18FdMUVkI4BEFwpNFNXXmpJG8P6BI2KJ5eUzTtxjRHwc6WvLGB99BhMIBdYMUUiVV6FOscR-Lwsvr8tWds7RE36Q0/s1600/amfri2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="853" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Yf0wXr7d35PojN30Dz60J_MvgNGC0Va0cycCqa6apZ2sLMBeRF18FdMUVkI4BEFwpNFNXXmpJG8P6BI2KJ5eUzTtxjRHwc6WvLGB99BhMIBdYMUUiVV6FOscR-Lwsvr8tWds7RE36Q0/s400/amfri2.jpg" width="400" /></a></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
This whole charade was set into motion because Zimmermann
offended Ripley. As an audience, we
sympathize for Zimmermann because he’s been deceived. So why not partake in this crime? He’s got nothing to lose and he’ll provide
his family financial security before leaving this mortal plane. The cinematography reinforces our emotions
during the first assassination sequence.
The camera maneuvers through a labyrinth of escalators and a confined
subway station. It also captures Zimmerman’s
mental state by illuminating the set with sickly green lighting. </div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
As we’ve seen in <i>PURPLE NOON, </i>Ripley is often
depicted as a suave conman.<span style="mso-spacerun: yes;"> </span>However, Dennis
Hopper plays him differently.<span style="mso-spacerun: yes;"> </span>By
participating in the art world, he tries to achieve the status of an aristocrat.<span style="mso-spacerun: yes;"> </span>However, at the end of the day, he’s nothing
but a lowlife criminal participating in the black market of counterfeit
paintings.<span style="mso-spacerun: yes;"> </span>He’s insecure, scruffy, and
wears a cowboy hat.<span style="mso-spacerun: yes;"> </span>If anything, his
weird quirks are a step towards his frightening Frank character in <i>BLUE
VELVET</i>. <span style="mso-spacerun: yes;"> </span>Yet uncharacteristically, Ripley
is charmed by Zimmermann and feels sorry for being the impetus of his doomed
path.<span style="mso-spacerun: yes;"> </span>Although he never tries to reverse
Zimmerann’s destiny, Ripley befriends him and becomes a hitman himself.</div>
<br />
<br />james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0tag:blogger.com,1999:blog-1761988375584825549.post-59125769038682539822020-02-14T18:37:00.000-05:002020-02-14T18:37:11.194-05:00Tarantino Comics - Issue 52Some of our favorite cult films are the most controversial.<span style="mso-spacerun: yes;"> </span>Movies such as A CLOCKWORK ORANGE or THE LAST
HOUSE ON THE LEFT remain contentious for their ultraviolence.<span style="mso-spacerun: yes;"> </span>THE EXORCIST and FREAKS continue to disgust audiences
with their unnerving imagery.<span style="mso-spacerun: yes;"> </span>But what
about war films?<span style="mso-spacerun: yes;"> </span>Sure - We love the good
guys and hate the bad guys, but the tactics and methods remain divisive.<span style="mso-spacerun: yes;"> </span>So keeping up with this hullabaloo, TARANTINO
COMICS #52 may be the most notorious yet. <span style="mso-spacerun: yes;"> </span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCCFcrIKQlwBBhXZKg_rP5K7NDG-rob5IvgfztXlE7igI4Y-KMqmuS5il_lJKSy9ulrhQN0854pU5KFEB0AOFzKZ_vbl64v50fMsyn67VHEOAnfKQGUVQS9nuJd_Z2sle3-XmgWWhF5Sc/s1600/052_Tarantino_AaronHazouri_2015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1241" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCCFcrIKQlwBBhXZKg_rP5K7NDG-rob5IvgfztXlE7igI4Y-KMqmuS5il_lJKSy9ulrhQN0854pU5KFEB0AOFzKZ_vbl64v50fMsyn67VHEOAnfKQGUVQS9nuJd_Z2sle3-XmgWWhF5Sc/s640/052_Tarantino_AaronHazouri_2015.jpg" width="496" /></a></div>
<br />
Illustrated by Aaron Hazouri, this cover features Adolph
Hitler: <span style="mso-spacerun: yes;"> </span>The most hated man in history.<span style="mso-spacerun: yes;"> </span>However, Aaron isn’t drawing the evil monster
in praise.<span style="mso-spacerun: yes;"> </span>Rather he’s making homage to
one of cinema’s greatest caricatures – INGLOURIOUS BASTERDS.<span style="mso-spacerun: yes;"> </span>“The Fury of Der Fuhrer” showcases the dictator’s
response after being briefed of Aldo Raine’s latest rag-tag exploits. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><br />
<br />
Aaron’s cartoonish style pairs well with this cinematic
sequence.<span style="mso-spacerun: yes;"> </span>His illustration shows animated
movement and over-the-top expression.<span style="mso-spacerun: yes;"> </span>Exuding
from the page, we feel Adolph’s anger as he pounds and shouts “Nein, Nein, Nein!”
<span style="mso-spacerun: yes;"> </span>In many ways, Aaron’s art exemplifies
the greatness that came from MAD MAGAZINE.<span style="mso-spacerun: yes;">
</span><br />
<br />
I commend Aaron since he had the guts to draw Hitler at a comic
book convention (MegaCon 2015).<span style="mso-spacerun: yes;"> </span>However,
he’s in good company -<span style="mso-spacerun: yes;"> </span>If you look at the
comics from the 1940’s, you’ll see images of Batman and Robin thrashing the Nazi
leader on the front cover.<span style="mso-spacerun: yes;"> </span>Although Aaron
doesn’t draw a tyrant beatdown, he preserves the American spirit with brilliant
mockery and parody.<br />
<br />
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com1tag:blogger.com,1999:blog-1761988375584825549.post-70103294812592961702020-02-09T11:34:00.002-05:002020-08-15T10:40:01.894-04:00EC Comics: Death’s Double Cross – Twins of Paranoia<i>Death’s Double Cross</i> was the second tale published in
<i>Crime SuspenStories #1</i>.<span style="mso-spacerun: yes;"> </span>Although
this isn’t Wally Wood’s finest work, he and Al Feldstein achieved a tantalizing
story filled with paranoia and murder. <span style="mso-spacerun: yes;"> </span>Told from Ruth’s point of view, we learn she’s
no longer happy with her marriage.<span style="mso-spacerun: yes;"> </span>Even though
her husband John provides financial security, she’d rather be with the love of
her life – John’s adventurous identical twin brother Ronnie.<span style="mso-spacerun: yes;"> </span>Since Ronnie and Ruth have mutual feelings
for each other, they agree to kill John so they can finally be together and
attain his wealth.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaOQGTlMmfqgq-z9SA7xLvFmgwfL2W4YplA_WmTPYw6BCnNykyF7-oJ8DArTbTkhpkM7iOXJ0wQtxOSZLkk9hzt7yvO6MKO9AXWf_ABMdv4Vc3x_fUGx01lfmHEDF20PiMpQKNoTlZL2A/s1600/IMG_5562.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1140" data-original-width="1600" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaOQGTlMmfqgq-z9SA7xLvFmgwfL2W4YplA_WmTPYw6BCnNykyF7-oJ8DArTbTkhpkM7iOXJ0wQtxOSZLkk9hzt7yvO6MKO9AXWf_ABMdv4Vc3x_fUGx01lfmHEDF20PiMpQKNoTlZL2A/s400/IMG_5562.jpg" width="400" /></a></div>
<br />
Weeks after John’s “mysterious” drowning, Ronnie marries Ruth
and their relationship is filled with hot dates and joyful bliss. <span style="mso-spacerun: yes;"> </span>But as time goes by, Ronnie drifts away from being
his fun-loving self.<span style="mso-spacerun: yes;"> </span>However, it’s not
the lack of affection that keeps Ruth awake each night - Instead, it’s the occasional
and “accidental” bank vault falling from the sky! Has Ronnie grown to be just
as boring as John?<span style="mso-spacerun: yes;"> </span>Or did the wrong twin
drown? <br />
<br />
<br />
So it’s fairly obvious this story can be paired with a movie
showcasing twins.<span style="mso-spacerun: yes;"> </span>However, let’s up the
ante and not feature just twins, but Siamese twins! <span style="mso-spacerun: yes;"> </span>In Brian DePalma’s SISTERS (1972), Grace
(Jennifer Salt) is a smalltime reporter who witnesses a murder from the apartment across the street.<span style="mso-spacerun: yes;"> </span>Grace sends
authorities to the crimescene, but the door isn’t welcomed by a crazy woman –
Instead they’re greeted by the delightful actress Danielle (Margo Kidder).<span style="mso-spacerun: yes;"> </span>The police search the apartment but find no
evidence of a dead body.<span style="mso-spacerun: yes;"> </span>Since Grace's reporter instincts cannot
drop the case, she ultimately discovers Danielle’s dirty little secret:<span style="mso-spacerun: yes;"> </span>Danielle was surgically detached from her Siamese
twin sister Dominique.<span style="mso-spacerun: yes;"> </span>Even though Dominique
died at the operating table, is she somehow still causing trouble for the
lovely Danielle?<br />
<br />
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<br />
DePalma really cuts his teeth with SISTERS.<span style="mso-spacerun: yes;"> </span>He films an extended split screen sequence that could be one of his greatest:<span style="mso-spacerun: yes;"> </span>In one panel we see
Grace leading authorities to the crime scene.<span style="mso-spacerun: yes;">
</span>In the other, we see Danielle trying to hide any evidence of a dead
body.<span style="mso-spacerun: yes;"> </span>This simultaneous action brings so
much suspense, we’re not sure if we should be rooting for Grace or
Danielle.<span style="mso-spacerun: yes;"> </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
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<br />
Along with the visual tension, DePalma brings a sense of
paranoia. <span style="mso-spacerun: yes;"> </span>Since Danielle is no longer affixed
to Dominique, her equilibrium has been lost.<span style="mso-spacerun: yes;">
</span>Danielle compensates for this deficiency in a Jekyll and Hyde manner.<span style="mso-spacerun: yes;"> </span>Especially in times of intimacy, the innocent
Danielle is easily switched into the jealous and murderous Dominique.<span style="mso-spacerun: yes;"> </span>Even though Danielle constantly fears
transformation, these violent outbursts are necessary in order to maintain
inner balance.<span style="mso-spacerun: yes;"> </span>In the EC Comics tale, paranoia
is still prevalent, but it manifests from a different perspective.<span style="mso-spacerun: yes;"> </span>It’s not the twins who live with distrust,
but Ruth, the Femme Fatale who helped scheme the murder of John.<span style="mso-spacerun: yes;"> </span>However, it’s not her conscience that keeps Ruth
living in dread.<span style="mso-spacerun: yes;"> </span>Instead she’s terrified
of being murdered herself since she’s uncertain if the wrong twin emerged from
the bottom of the lake.<br />
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />
<br />james.s.hardin@gmail.comhttp://www.blogger.com/profile/16274278043700066488noreply@blogger.com0