Caught this amazing film playing in the red channel.Super cool film!
|Directed by||Tetsuya Nakashima|
|Written by||Tetsuya Nakashima
Kanae Minato (original novel)
|Editing by||Yoshiyuki Koike|
|Distributed by||Toho Company
MGM Home Entertainment
|Running time||106 minutes|
In Love We Trust
Where the asshole crook is the hero you fucking cheer for and the beautiful bitch you’d love to strangle.
For posterity’s sake. Just finished watching Holiday 1938 starring Katherine Hepburn and Cary Grant. I soo love this film.
There are movies out there that I call, in the parlance of TRUE ROMANCE’s Clarence Worley, “Great Fuckin’ Movies.” DIE HARD’s a GFM. So’s RIO BRAVO. So’s HEAT, and ROCKY, and PREDATOR, and Carpenter’s THE THING, and so on. They aren’t necessarily awards winners, but when you’re done, you sit back, with a satisfied sigh, itch firmly scratched, and say to no one in particular, “That was a Great Fuckin’ Movie.” Well, GOON is a Great Fuckin’ Movie. It delivers on every level – humor, emotion, action, and terrific acting from none other than Seann William Scott, who has just made the performance of his career so far. And I’m not even a hockey fan.
Just saw this at TCM
Three Little Words (film)
From Wikipedia, the free encyclopedia
Three Little Words
Three Little Words VHS cover
Directed by Richard Thorpe
Produced by Jack Cummings
Written by George Wells
Starring Fred Astaire
Music by André Previn
Cinematography Harry Jackson
Distributed by Metro-Goldwyn-Mayer
Release date(s) July 12, 1950 (U.S. release)
Running time 102 min.
Country United States
Three Little Words is a 1950 American musical film biography of the Tin Pan Alley songwriting partnership of Kalmar and Ruby and stars Fred Astaire as lyricist Bert Kalmar, Red Skelton as composer Harry Ruby, along with Vera-Ellen and Arlene Dahl as their wives, with Debbie Reynolds in a small but notable role as singer Helen Kane. The film, released by Metro-Goldwyn-Mayer, was written by Academy Award winning screenwriter George Wells, directed by Richard Thorpe and produced by Jack Cummings. Harry Ruby served as a consultant on the project, and appears in a cameo role as a baseball-catcher.
This warm and engaging film was one of Astaire’s favourites,  possibly because of the nostalgic vaudeville connection. As Hollywood film biographies of the period go, it takes fewer liberties with the facts than usual, and Astaire and Skelton’s onscreen portrayal of the partnership is considered psychologically accurate, and is complemented by a mutual chemistry, some quality acting by both, and some fine comedy touches by Skelton. Unusually for Hollywood songwriting biographies of this period, two of the songs, “Thinking of You” and “Nevertheless”, became major hits on the film’s release, reaching first and second place respectively, in the U.S. charts.
In recognition of his acting performance here, Fred Astaire was awarded the first Golden Globe Award for Best Actor – Motion Picture Musical or Comedy in 1951.
Finally got to watch Tangled and I really enjoyed it.
Fun to note that is Executive Produced by John Lasseter and is written by Cars scribe Dan Fogelman.
This is an excellent example of buying innovation. Disney as we see from all the 3D re issues of Lion King, Little Mermaid, Aladdin, and much more really was a brand that somewhat lost its way and it took an outside influence reigniting the attention to Story,Script and Characters that are probably the reason why we first came to love Disney Animated Films.
I just hope that the next Disney Pixar sequels would live up to the lofty expectations we have for D/P films.
Fine, no one forced us to watch all seven MMFF entries. We did it of our own free will and in the knowledge that the movies would probably suck so hard, black holes would open up in the shopping malls. Why did we do this to ourselves? Because we feel compelled to point out how major studios present reheated garbage and call it “entertainment”. Because we enjoy mocking those well-paid professionals who turn out lazy, shoddy, insipid, substandard product. This year they made it too easy for us.
But the saddest reason of all is that we love the movies and we keep hoping that our belief in Pinoy cinema will be rewarded. When we weren’t old enough to see them, the MMFF included movies like Ganito Kami Noon, Paano Kayo Ngayon and Burlesk Queen (which despite the title and the controversy is not about naked women but art for the people). Later editions gave us Kisapmata, Himala, Brutal, Karma, Bulaklak ng City Jail. We can remember when the Shake, Rattle and Roll series was brilliant.
Is there a conspiracy among local producers and filmmakers to make the martial law era look like a golden age of Pinoy cinema? Or does the film industry really need censorship and repression in order to make good movies?
Read all our reviews in the MMFF 2011 Binge in InterAksyon.com.
– to find someone you actually
love, who’ll love you — the chances
are… always miniscule.
I need your help. I can’t tell you what it is, you can never ask me about it later, and we’re gonna hurt some people.
I’m in, but if anything happens to her, if I think anything might happen to her I’m coming back here and I’m killing you at your own shop.
I will never lie to you I will never hurt you and if I lose you I will regret that for the rest of my life. Just wait for me.
No matter how much you change, you still got to pay the price for the things you’ve done… So I got a long road. But I know I’ll see you again, this side or the other.