Last Movie You Watched

[Karl Henning]

Last night: Tron. I'm unsure whether I actually watched this back when it opened. If so, I didn't remember that Wendy Carlos did the score, and it would have been before I was aware of David Warner. The movie was sufficiently fresh for me, that I suppose I was likely mistaken in thinking I'd seen it. I certainly did play the arcade game in the College Student Center, though I was never especially good at it.

[Karl Henning]

Always nice when a classic film has some worthy extras, which is why I own lots of blu-rays.

Now I get to start building a 4K library as well...

I upgraded from DVDs of The Twilight Zone, The Outer Limits and Rod Serling's Night Gallery largely because of the extras, though the visual upgrade was an undeniable and more-than-considerable benefit.

[relm1]

I upgraded from DVDs of The Twilight Zone, The Outer Limits and Rod Serling's Night Gallery largely because of the extras, though the visual upgrade was an undeniable and more-than-considerable benefit.

I'm a huge fan of TZ and Outer Limits.  Those are so great.  Fabulous stories and music but don't know much about Night Gallery.  It didn't seem to have the same DNA as the others though Rod Serling was involved.  Sort of like how that Nostradamus documentary narrated by Orson Wells had nothing to do with his gravitas and Citizen Kane innovation but exploited his legacy for their lackluster production.  I know that Night Gallery granted opportunities to promising filmmakers like Spielberg, but hard to get engaged with it since it's mostly a sell out production.

[Daverz]

https://archive.org/details/panic-in-the-streets-1950

https://www.youtube.com/v/gk1r0TO-US8

Full film at archive.org.

[SimonNZ]

[Karl Henning]

I'm a huge fan of TZ and Outer Limits.  Those are so great.  Fabulous stories and music but don't know much about Night Gallery.  It didn't seem to have the same DNA as the others though Rod Serling was involved.  Sort of like how that Nostradamus documentary narrated by Orson Wells had nothing to do with his gravitas and Citizen Kane innovation but exploited his legacy for their lackluster production.  I know that Night Gallery granted opportunities to promising filmmakers like Spielberg, but hard to get engaged with it since it's mostly a sell out production.

At the risk of derailing the thread ... dismissing Night Gallery as a "sell-out" does no justice the the series as a whole, and to Rod Serling in particular. Serling did some superb work for the series. notable examples: "The Caterpillar," his adaptation of (a great improvement upon) "Boomerang"' a short story by Oscar Cook; "The Messiah on Mott Street" (with a marvelous performance by E.G. Robinson) and "They're Tearing Down Tim Riley's Bar" (the latter nominated for an Emmy for "Outstanding Single Program," 1971.) "Class of '99" with Vincent Price as a lecturer. "The Academy" with Pat Boone cast against type. "Cool Air," an adaptation of Lovecraft.

In line with the series' "mission," "The Caterpillar" and "Cool Air" are landmarks in prime-time TV horror. The screenplays for all of these are first-rate television.
The problems with Night Gallery have nothing to do with anyone "selling out." In the first place, Serling thought that (as with Twilight Zone) he would have creative control, but (sad words) he should have gotten that in the contract. So it was producer Jack Laird who pulled the strings, and although Laird was not genuinely inept, the rubbishy "blackout comic" sketches are all his doing. Serling bridled at this, especially because his name was in the title. The second great problem for the series was how it was butchered for syndication. In short, the very best of the series is second to none.

[relm1]

At the risk of derailing the thread ... dismissing Night Gallery as a "sell-out" does no justice the the series as a whole, and to Rod Serling in particular. Serling did some superb work for the series. notable examples: "The Caterpillar," his adaptation of (a great improvement upon) "Boomerang"' a short story by Oscar Cook; "The Messiah on Mott Street" (with a marvelous performance by E.G. Robinson) and "They're Tearing Down Tim Riley's Bar" (the latter nominated for an Emmy for "Outstanding Single Program," 1971.) "Class of '99" with Vincent Price as a lecturer. "The Academy" with Pat Boone cast against type. "Cool Air," an adaptation of Lovecraft.

In line with the series' "mission," "The Caterpillar" and "Cool Air" are landmarks in prime-time TV horror. The screenplays for all of these are first-rate television.
The problems with Night Gallery have nothing to do with anyone "selling out." In the first place, Serling thought that (as with Twilight Zone) he would have creative control, but (sad words) he should have gotten that in the contract. So it was producer Jack Laird who pulled the strings, and although Laird was not genuinely inept, the rubbishy "blackout comic" sketches are all his doing. Serling bridled at this, especially because his name was in the title. The second great problem for the series was how it was butchered for syndication. In short, the very best of the series is second to none.

Thanks for clarifying.  I only recently saw Outer Limits for the first time.  When it is good, it's very deep and rich, lingering in your memory like TZ.  But it also had a lot of monster of the week.  It clearly had a massive influence on the next generation, and I love the soundtrack, but again, it doesn't stack up to TZ's scores.  I would conclude that TZ set the bar very high and Outer Limits is very fine on its own standard but doesn't quite live up to TZ.  Maybe Night Gallery falls in a similar category that it is worth seeing without thinking of Sterling's legacy.  I think if I wanted TZ 2.0, I'll hate it.  But it is its own thing and should be judged that way.  I also know it introduced the world to a 22 year old kid named Steven Spielberg directing a megadiva named Joan Crawford.

[Karl Henning]

Thanks for clarifying.  I only recently saw Outer Limits for the first time.  When it is good, it's very deep and rich, lingering in your memory like TZ.  But it also had a lot of monster of the week.  It clearly had a massive influence on the next generation, and I love the soundtrack, but again, it doesn't stack up to TZ's scores.  I would conclude that TZ set the bar very high and Outer Limits is very fine on its own standard but doesn't quite live up to TZ.  Maybe Night Gallery falls in a similar category that it is worth seeing without thinking of Sterling's legacy.  I think if I wanted TZ 2.0, I'll hate it.  But it is its own thing and should be judged that way.  I also know it introduced the world to a 22 year old kid named Steven Spielberg directing a megadiva named Joan Crawford.

I think your assessment of The Outer Limits is fair. Certainly some great episodes in there. I think the reputation of Night Gallery has always suffered in comparison to The Zone. OTOH, I remember watching "The Caterpillar" as a teenager, and I was riveted.

TD:
Watched The Untouchables again last night. Still thoroughly enjoyable. Great Morricone score.

[SonicMan46]

All Quiet on the Western Front (2022) - new German version (see below + cast) - watched on Netflix (English dubbing - captions also available) - own the 1930 original in BD so debated on a watch?  But the film was beautifully filmed, bloody, gruesome and projected a strong anti-war feeling - ratings:  92%, Rotten Tomatoes; 7.9/10, IMDB - worth a watch IMO - Dave

All Quiet on the Western Front) is a 2022 German epic anti-war film based on the 1929 novel of the same name by Erich Maria Remarque. Directed by Edward Berger, it stars Felix Kammerer, Albrecht Schuch, Daniel Brühl, Sebastian Hülk, Aaron Hilmer, Edin Hasanovic and Devid Striesow. Set in the closing years of World War I, it follows the life of German soldier Paul Bäumer, who finds himself at risk to the realities of war, shattering the early hopes of becoming heroes. The film was released to streaming on Netflix on October 28, 2022. In August 2022, the film was announced for Best International Feature Film at the 95th Academy Awards. The film received widespread critical acclaim for faithfulness to the source material's anti-war message. (Source)

 

[Dry Brett Kavanaugh]

CC. Modern Times.

[Karl Henning]

CC. Modern Times.

Classic!

[Dry Brett Kavanaugh]

Classic!

Yes, plus still innovative. Have a great weekend Karl!

[SonicMan46]

CC. Modern Times.

Classic!

+1 -    As usual, excellent Criterion production - some favorite (of many) scenes below -    Dave

 

[Dry Brett Kavanaugh]

+1 -    As usual, excellent Criterion production - some favorite (of many) scenes below -    Dave

 

I like the big guy, his coworker. I think he's a great actor. For me, I like the scene he ate a lunch after peppering cocaine onto it, It is so funny and his acting is great. Plus the scene of luxurious prison cell for him and an officer pouring tea for him. Also, there are 2 scenes Goddard was waiting for him when he was released from the prison. Always I find the scenes beautiful and romantic. And, of course, the last scene.


 

[George]

Was there a big Criterion box for Chaplin, as they did for Fellini and Bergman?

[SimonNZ]

[Karl Henning]

Last night: You Will Meet a Tall Dark Stranger.
Tonight: Bullets Over Broadway.

[Dry Brett Kavanaugh]

Last night: You Will Meet a Tall Dark Stranger.
Tonight: Bullets Over Broadway.

Don't speak, don't speak!

[Karl Henning]

Don't speak, don't speak!

Mister Cheech!

[Todd]

Licorice Pizza.  It took a while, but I finally got to Paul Thomas Anderson's latest flick.  A verismo style film following the early-70s adventures of a teenage actor/mover and shaker – he pushes waterbeds and pinball arcades on the side – and his decade older kinda girlfriend.  PTA's visual style and quirks are all there – plenty of camera movement alongside long, static shots, all beautifully composed and more than occasionally enlivened with Panavision flares – along with a killer soundtrack and stylized yet effectively natural dialogue.  The 70s are reconstructed nicely, with appropriate fashion choices (ahem), haircuts, cars, and so forth.  Gas lines resulting from OPEC shenanigans even make an appearance.  The film includes hat tips to real world people and events – Lucille Ball, William Holden, and Joel Wachs – and does not present the time with contemporary mores.  The leads are newbies – Alana Haim as Alana, and Philip Seymour Hoffman's kid Cooper as Gary – and both do good enough work.  The cast is riddled with cameos and relatives of famous people.  In the former category, one gets Sean Penn, Bradley Cooper, Tom Waits, The Waitress from It's Always Sunny in Philadelphia as Gary's mother, and John C Reilly in one scene where only his voice is recognizable.  In the latter category, in addition to Haim, one gets a whole family of Haims, the director's partner and children, some Spielberg kids, Leonardo DiCaprio's father, and Tim Conway, Jr.  (You read that right.)  Not PTA's best work – that remains The Master, one of the greatest movies ever made – but compelling start to finish in a lighthearted way, and with a great final scene.