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So often in these spaghetti westerns the characters shout or scream for much of the dialogue ... The reason they shout and scream a lot is because they are always eating chilli beans and the toilet paper is a cactus! And I don't think EM had any involvement in the music ( if memory serves me right). It was merely a publicity thing coz he was the man at the top, then.
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EM definitely not the composer, despite any dodgy credits. Its maestro Bacalov. Like many of those such incidences, probably just a credit thing to boost movie's credibility. Possibly an Ennio favour to director Damiani or to producer Bianco Manini, which was one of his first films. Bacalov had already done 20 film scores including Django and Sugar Colt so he hardly needed supervising!! Lol
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I think I have Bacalov commenting on it, somewhere, in a magazine interview. Buried somewhere. It was like 'Per Pocchi Dollari Ancora' by Ferrio. Some Malamondo was used so they could put EMs name in the credits.
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Page Eight Bill Nighy spy film about an mi5 intelligence officer who's friend and boss (Michael Gambon) unveils a secret report which in turns sparks departmental politics and an investigation. Cast was great except his love interest who lives in the next flat was Rachel Weisz- she still looks 25 and old Bill looks 70. Overall watchable, and Bill Nighy excellent. 7.7 out of 10
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Rough Shoot(1953) 8/10 With Joel McCrea, Herbert Lom, Roland Culver, and Marius Goring Joel is a retired Colonel, living in the English countryside. He becomes involved spy ring after accidently shooting one in the arse! A good little effort, not too flash or over the top. The cast were good doing parts they could all, probably, do in their sleep. Culver was the mi5 man( I say , what) who ropes Joel in to help him out. Lom was watchable as another government chappie( not a villain here). Goring was suitably oily.
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ANT-MAN AND THE WASP: QUANTUMANIA (2023) – 7/10 The last Ant-Man film was in 2018, and it’s becoming presumptuous of Marvel to think that we remember what happened in a film from five years ago. So when “Janet Van Dyne” (Michelle Pfeiffer) runs across “Lord Krylar” (Bill Murray) in the Quantum Realm and they start discussing what transpired between the two of them when Van Dyne was trapped in the Quantum Realm in the 2018 film, am I supposed to recall that or is that new information? I didn’t know when I was watching the film, and I don’t know now, since I’m not about to do homework after I return from the theater in order to follow a comic book film. It’s getting to the point that Marvel should preface the start of their films with a one-minute summary of past events (“Previously, on Ant-Man”). If television shows do this to remind audiences of what transpired just a week prior, shouldn’t the Marvel audience get some consideration for a lapse of 5 years? That aside, this latest Ant-Man adventure is OK, considering that it is a 95% green-screen creation, with only brief, and mostly inconsequential, action taking place in the “real” world. In the film, Ant-Man (Paul Rudd), The Wasp (Evangeline Lilly), Janet Van Dyne, and Dr. Hank Pym (Michael Douglas) are all sucked into the Quantum Realm along with “Cassie Lang” (Kathryn Newton) when an experimental Quantum device created by Cassie malfunctions. There, they meet a race of beings who have been subjugated by “Kang the Conqueror” (Jonathan Majors). But Kang is unfulfilled. His true desire is to go into the “real” world and subjugate the rest of the universe. So, it’s up to our gang to stop him. Or most of the gang, anyway—Michael Douglas goes MIA for much of the film. The plot isn’t much—Janet snatches a power core / doo-dad / McGuffin that Kang needs to travel out of the Quantum Realm, and he tries to get it back. Just enough story to justify two hours of running around, captures, escapes, and superbeings whaling on each other. The real enjoyment comes from gaping at the visuals that the special effects team have devised for the Quantum Realm. They make the production seem pretty epic. Christophe Beck’s score has a good main theme, but the rest is standard fare, most of which is buried under sound effects.
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Revenge of the Barbarians(1960) 5/10 With Anthony Steele and Robert Alda Rome is having a bit of trouble with the Visigoths. They keep beating up the Roman armies and running away.Onorius, the weak emperor, is manipulated by both his sister and chief counsel. However the emperor seeks the Council of his pet Cockerel! Said chicken, wisely, chooses to remain.silent. After much fighting and intrigue roman consul fights the visigoth king one on one. He wins and is allowed to leave with his wife l( a recent prisoner). The emperors sister chooses to marry the visigoth king! They ride off to New lands for some peace and quiet. This one is a bit more average. Steele, the star, has less to do than is the norm. The emperor comes across as the most poncey/ camp I've seen in a good while. There is some terrible matt artwork for the sky and the seemed to be someone holding matches behind the phoney city( to simulate flames).
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Posted: |
Mar 2, 2023 - 1:41 PM
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By: |
MusicMad
(Member)
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Tears of the Sun (2003) ... 5+/10 Enjoyable if ludicrous modern-day action film which pulls at your emotions but leaves the questions: why and so what? The US launches lethal force against a foreign nation - here: Nigeria - but the issue is left unresolved. In essence, it's a re-telling of those western-oaters I was weened on: a group of innocents (farmers, gold-seekers, whatever) are rescued by a few soldiers ... a small band who go against orders ... fight off the enemy, losing a few dedicated men ... and are themselves rescued by the arrival of the Seventh Cavalry in the closing scenes. To its credit, the film allows several of the small band of soldiers to have screen time and Bruce Willis in a subdued role generates much empathy. The story is very corny but at least it does promote human emotions above mind-numbing endless action. A clear strong print with excellent backdrop/scenery (even if Hawaii was used in place of Nigeria), much of the dialogue requires sub-titles (though some words are clear enough, regretfully). I also enjoyed the low-key score by Hans Zimmer. It added to the atmosphere, if not the action, and wasn't obtrusive.
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No Time to Kill(1959) 4/10 With John Ireland Ireland did ten years for a crime he didn't do. On release he goes to Sweden to get revenge on the man he believes to be the guilty one. He doesn't have much luck: he is attacked by a dog, beaten up and has his gun nicked, gets shot in the hand. The fella he believes guilty has been dead, apparently, for nearly 10 years!? He gets tangled up with the dead man's wife. And we think she is the true crook- the end!! A Swedish made effort with shades of a noir. Apparently it was cut by 30 mins when it was shown in the US and it shows, hence the comment about 'we think ' she was guilty. The scenes changed while the music carried on playing and then fading late- highlighting some of the edits. People were suddenly at the bottom of an embankment, seconds earlier they weren't at the top and such like. Ireland does his best and has good decently lines.
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Flashman(1967)8/10(!I know) With Paolo Gozlino Flashman is on the trail of a group of female counterfeiters. While under cover, in a bank being used by the counterfeiters the money is robbed by an invisible man.- a crime boss has got hold of an invisibility serum and plans to get rich, muuaaahhhhaaaaa. Cue lots of running around, fighting, shooting. As shit as I was expecting this to be I found it very enjoyable. It new its level and the pace flew by. It was cheaply made so the (not so)special effects were kept to a minimum ( cue lots of guns and ciggies on wires , etc. bobbing about). The masked crime fighter had no special powers, except, possibly, the ability jump up onto high things( about 4 feet). He wore an ill fitting gold/silver lame' outfit that was bullet proof. When incognito he simply put a coat over it and took the mask off( still had the boots showing). Most of its length it was akin to a 60's euro spy film. The music, by Franco Tamponi, was befitting a spy film- funky , groovy , toe tappingly so( I'd buy it). Some extra points for a few things that made it for me- 1. It actually had the line ' what's wrong, have you never seen an invisible man' 2. When captured by the villainess, she immediately removed his mask. 3. When they took the serum they rook their clothes off
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Question: Irene Handl, was she ever young?
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MARLOWE (2023) – 7/10 This neo-noir perhaps would like to call to mind the 1940s black-and-white Philip Marlowe films of Humphrey Bogart and Robert Montgomery. But the better comparison is to the 1970s color Marlowes of Robert Mitchum. Of Mitchum’s two films, by far the most successful was his FAREWELL, MY LOVELY (1975) which found Mitchum as a world-weary Marlowe prowling the dark and seedy streets of 1941 Los Angeles to find the old girlfriend of a big lug named “Moose Malloy.” By the time of 1978’s THE BIG SLEEP, however, Marlowe was in 1970s England, where, despite the overcast skies, Marlowe’s search for a blackmailer had lost much of its noir feel. MARLOWE is closer to Mitchum’s THE BIG SLEEP than it is to FAREWELL, MY LOVELY. Although the setting is nominally 1939 Los Angeles, the producers, in search of the old Spanish architecture that is becoming increasing scarce in L.A., have decided to film in Barcelona and Gerona, Spain. Despite the old cars and clothes, something seems a tad off in the film. Spain has too much vegetation and too many hills to convincingly sub for L.A. The story has Marlowe (Liam Neeson) trying to find out whether “Nico Peterson” (François Arnaud), the scheming boyfriend of socialite “Clare Cavendish” (Diane Kruger), was really the guy who had his head squashed beyond all recognition in a car “accident’ outside of an exclusive L.A. club (which seems to be located on a private estate of some kind). His investigation brings him into contact with Claire’s wily mother “Dorothy Quincannon” (Jessica Lange) and effete gangster “Lou Hendricks” (Alan Cumming). The plot revolves around drug smuggling, which may have been shocking in 1939, but we are watching this in 2023 after all, so the impact of some of the reveals is considerably blunted. One nice touch, and something that goes against the grain of the usual private eye film, is that Marlowe is on good terms with the police, in this case a detective played by Danny Huston. The film’s score is a lost opportunity. We get nothing like the throwback score that David Shire provided for FAREWELL MY LOVELY. Composer David Holmes gives us a merengue tune as an opening title. The rest is just standard modern suspense cues. MARLOWE has grossed a weak $4.2 million domestically, just 70% of what FAREWELL, MY LOVELY earned in the deflated dollars of 50 years ago. More than once, Marlowe tells people higher up the social ladder than he is that he’s “just a working stiff.” Writer-director Neil Jordan has given him dialogue to match that description—not so much snappy, but laconic and workaday. And, in truth, Marlowe should be something of a workaday guy, a plodder. But not just that. Eventually, as he must, if the story is to end as we hope, Marlowe gets a step ahead of the bad guys. But before that, when he is still trying to catch up, we expect our Marlowe to at least best his foes verbally. Often times, it’s the tough talk that we long for in these films more than the bursts of action. But the verbal exchanges in this film are mainly functional, not sharp. In the end, Marlow gets the job done, but we wish we had more fun in watching him do it.
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Aye ,Bill. She was in a film I recently reviewed, here, where she was obviously younger ( and talked quite posh, for her). However she still had the older look about her. Another that springs to mind is Wilfred Hyde White. Even when younger he had an older look about him. It's not a complaint, just an observation.
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Sheissen, merde. A bit bloody early for this crap dp.
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Yeah some actors/actresses just look older from their 40s.
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When old footage or photos come up on telly, my dad neatly always say the same thing ' they are only about 20 their' ( they look twice that)
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