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mitchipedia · 1 month ago

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My favorite movies of 2024 (third try posting, trying to correct egregious formatting errors)

Home for the Holidays (1996). Holly Hunter, a mid-30s single mother and museum curator, flies home to visit her family on Thanksgiving and finds her family is painfully weird, and she doesn’t fit in. But then everything clicks for her.

I saw this movie when it first came out and once or twice more in the late 90s, but not since then. This time, I had the insight that this is a coming-of-age movie about Holly Hunter’s character leaving her young adulthood behind her. By the end of the movie, she is no longer an adult trying to fit into her childhood home. She’s just an adult visiting her family.

The movie has great writing, direction by Jodie Foster, and is well-acted by a wonderful cast: In addition to Hunter, we have Anne Bancroft, Charles Durning, pre-rehab Robert Downey Jr., Dylan McDermott, Geraldine Chaplin and middle-aged Steve Guttenberg.

I could do a scene-by-scene discussion of this movie. But I’ll stop here.

Tombstone (1993). Val Kilmer gets praise as Doc Holliday, and he deserves it, but also spare some praise for the late great Powers Boothe, who chews the scenery magnificently as the villainous Curly Bill Brocius.

Another main villain of the movie, Johnny Ringo, played by Michael Biehn, is a nihilist. Ringo hates himself and the world. Curly Bill loves the world and loves life and takes joy in cruelty.

In that way, Curly Bill is a lot like Spike from “Buffy the Vampire Slayer.”

Wolfs (2024) George Clooney and Brad Pitt are two mob fixers called to cover up a crime scene. They are lone wolves, forced to work together. The ending is confusing at first, but I gathered later that this movie was intended as the first of two parts. And now, the second part will never be made because of a dispute with Apple. Still worth watching.

The Big Sleep (1946). Bogey, as detective Philip Marlowe, solves crimes and sparks with Lauren Bacall. The storyline of this movie is legendarily complicated and confusing; at one point, the director called author Raymond Chandler from the set to find out who committed one of the murders and Chandler responded lol idk.

The Fabelmans (2022). Supposedly a fictionalized autobiography by Stephen Spielberg, but he later said everything in it is true.

Interstellar (2014). Matthew McConaughey in spaaaaaaace. A rare movie where he does not say “alright alright alright.” Now I know where this meme comes from.

Fall Guy. Comedy-drama starring Ryan Gosling as a stuntman called on to do something involving solving a crime. I don’t remember the specifics, but I remember the movie was fun.

Batman Begins. I saw this one on a plane years ago and hated it. We watched it on the big TV in the living room in 2024, and I liked it. It turns out that watching a movie on a six-inch screen while slightly nauseated is not the best way to appreciate cinema.

White House Down. Die Hard in the White House starring Channing Tatum.

The Accountant. Ben Affleck is a forensic accountant and lethal mercenary. Ridiculous premise, but surprisingly good and occasionally even heartwarming.

Which reminds me: I forgot a book on my 2024 favorite books list: The Bezzle, by Cory Doctorow, the second in his Marty Hench series, which also features a hardboiled forensic accountant.

It turns out that “hardboiled forensic accountant” is a genre.

Beverly Hills Cop: Axel F. 2024 Sequel to the popular Eddie Murphy movies of the 80s. It does what it says on the tin.

Farewell, My Lovely Robert Mitchum is Philip Marlowe in this 1975 movie with Charlotte Rampling, Sylvia Miles, Harry Dean Stanton, and Jack O’Halloran (most famous for Superman II) as Moose Malloy.

Rise of the Planet of the Apes, Dawn of the Planet of the Apes and War for the Planet of the Apes. But not Kingdom of the Planet of the Apes, which didn’t click for me.

Road House. Jake Gyllenhaal beats people. Fun, great music and scenic Florida locations. You did not think remaking the bad 80s Patrick Swayze original would be a good idea, but you were wrong.

American Fiction. Comedy-drama about a Black, button-down professor fed up with woke culture who uses a pen name to write a super-woke fraudulent memoir and is caught up in a maelstrom when the book becomes a runaway bestseller.

I hate saying “woke,” but I can’t think of anything else here.

The trailer does a good job of capturing the movie’s intelligence and humor but does not capture the story’s surprising heart.

This is not an anti-woke movie, despite the premise. I would not recommend an anti-woke movie.

Mr. Holmes. Ian McKellen plays an aged Sherlock Holmes, struggling with dementia, living in the country, tending his bees and reconstructing the specifics of a case that drove him away from London and into retirement three decades before.

The Emperor’s New Clothes. What if Napoleon escaped from exile on St. Helena and returned to France to raise an army and reclaim his throne, but instead failed to contact his underground network of supporters and had to go undercover as a common grocer?

American Fiction and The Emperor’s New Clothes are testimonies to the value of committing to the bit. You take a slight premise — something that by rights should be nothing more than a Saturday Night Live skit — take it seriously, follow it through to its conclusion, and it can come out great.

Stage Door. 1937 comedy-drama starring Katharine Hepburn, Ginger Rogers, Adolphe Menjou and, in a small role, Lucille Ball, about young struggling actresses living in a boarding house in New York.

The Maltese Falcon. Humphrey Bogart as Sam Spade. I think I saw this only once before, on a little kitchen-table black-and-white TV around 1980. I missed so much. Much of the action is in the characters' faces and body language.

The Six Triple Eight. A Black Women’s Air Corps battalion during World War II is called on to sort millions of pieces of personal mail for soldiers. The mail has been stored in warehouses since the beginning of the war. The movie makes it clear that personal mail is not a luxury; it is essential to keeping up morale for soldiers and their families.

As one of the heroes notes, these women are fighting two wars, one against Hitler and another against flagrant white racism.

Kerry Washington gives a great performance as Captain Charity Adams, who commands the platoon with an erect spine and stentorian voice. Her goals are two-fold: To deliver on the mission of delivering the mail, and prove that Black women are up to the task. Her nemesis is General Halt, a fat, bald racist Southerner who seems to despise Adams and her battalion more than he hates Hitler. Halt is portrayed with delicious awfulness by Dean Norris from Breaking Bad. I could barely stand to look at him by the end of the movie.

Desk Set. Katharine Hepburn heads up the research department of a TV network and is threatened by Spencer Tracy, a consultant hired to bring in a computer. I was delighted to see that the computer in this 1952 movie behaved exactly like a 2024 LLM: give it a question in plain English and you get an answer that’s clear, credible and likely to be wrong. Spoiler for a 73-year-old movie: Tracy’s character explains at the end that the computer is not there to replace the researchers but to free the researchers up for more valuable work. This is exactly what AI companies tell us here in 2024.

The set for the computer is brilliant — so many blinkenlights! The pieces of the computer, including the blinkenlights panel, were later used in the movie and TV show Voyage to the Bottom of the Sea. This computer is my mental ideal of how computers ought to look.

Woman of the Year. Hepburn and Tracy again. There were a couple of moderately racist gags in the beginning that threw me off for a bit, and I never quite recovered because Tracy’s character is a dishrag. Still, it makes my favorites list because of the snappy dialogue and cinematography and because it’s Hepburn and Tracy.

His Girl Friday. Cary Grant and Rosalind Russell in a heartwarming romcom about two awful people who find true love with each other.

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kinonostalgie · 7 months ago

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Prior to "Straw Dogs" (1971), Sam Peckinpah's two previous films, "The Wild Bunch" (1969) and "The Ballad of Cable Hogue" (1970), had been made for Warner Bros.-Seven Arts. His connection with the company ended after the chaotic filming of "The Ballad of Cable Hogue" wrapped 19 days over schedule and $3 million over budget. Left with a limited number of directing jobs, Peckinpah was forced to travel to England to direct "Straw Dogs."

Beau Bridges, Stacy Keach, Sidney Poitier, Jack Nicholson, and Donald Sutherland were considered for the lead role of David Sumner before Dustin Hoffman was cast. Hoffman agreed to do the film because he was intrigued by the character, a pacifist unaware of his feelings and potential for violence that were the same feelings he abhorred in society.

Judy Geeson, Jacqueline Bisset, Diana Rigg, Helen Mirren, Carol White, Charlotte Rampling and Hayley Mills were considered for the role of Sumner's wife Amy before Susan George was finally selected. Hoffman disagreed with the casting, as he felt his character would never marry such a "Lolita-ish" kind of girl. Peckinpah insisted on George, a relatively unknown actress in the U.S. at that time.

Before shooting, Peckinpah instructed Hoffman and George to live together for two weeks, with co-writer David Zelag Goodman in tow. Some of their interactions during this period were worked into the film's script.

The film is noted for its violent concluding sequences and two complicated rape scenes, which were censored by numerous film rating boards. Released theatrically the same year as "A Clockwork Orange," "The French Connection," and "Dirty Harry," the film sparked heated controversy over a perceived increase of violence in films generally. The violence provoked strong reactions (according to the Peckinpah biography, "If They Move ... Kill 'Em!" about one-third of the viewers walked out of the movie's first preview, presumably put off by it). Many critics saw it an endorsement of violence as redemption, and the film as fascist celebration of violence and vigilantism. Others saw it as anti-violence, describing the bleak ending consequent to the violence. offman viewed his character as deliberately, yet subconsciously, provoking the violence, his concluding homicidal rampage being the emergence of his true self. This view was not shared by Peckinpah.

#70s kino programm #sampackingpah

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cleoenfaserum · 9 months ago

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ZARDOZ (1974)

Zardoz is a 1974 science fantasy film written, produced, and directed by John Boorman and starring Sean Connery and Charlotte Rampling.

Sean Connery in a jack strap.

I saw the film the same year it came out and the year I got married. I remember some parts of the film and will most likely watch it again. I remember liking the film. By the way, I'm still married to the same woman and will be celebrating in June our 50th wedding anniversary. However, no thanks to the movie.

read more: Zardoz movie review & film summary (1974) | Roger Ebert

REVIE...

youtube

958-1link https://youtu.be/SiMe_TYgn1c

The movie depicts a post-apocalyptic world where barbarians (the Brutals) worship the stone idol Zardoz while growing food for a hidden elite, the Eternals. The Brutal Zed becomes curious about Zardoz, and his curiosity forces a confrontation between the two camps. Zardoz - Wikipedia

THE FILM...

958-2link https://ok.ru/video/2884500064778 INTERNET ARCHIVE

youtube

958-3LINK https://youtu.be/4fWvLyT_cKk

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priokskfm · 9 months ago

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#FREEDOWNLOADS #FREEPROMO #RADIOCHART Ron's Lost In Music (FREE DOWNLOAD) EP supported by a vast & varied bunch including Agent Greg, Alex P, Allister Whitehead, Andrea Forino, Archie B, Bad Panda, BK Duke, Black Legend, Blaise, Blueshift, Booker T, CJ Mackintosh, Colin Williams, Conor Magavock, Danny Rampling, Deaafro, DJ Pope, Dolly Rockers, Fatfly, Freejak, Gene Farris, Graeme Park, Henry Hacking, Huck Finn, J Paul Getto, Jask, Jay J, Joachim Garraud, Jumpin Jack Frost, K&K, Kane Law, Le Visiteur, Lee Harris, Mark Doyle, Mickey Slim, Motion Sky, Quentin Harris, Rae, Rio De La Duna, Roger Sanchez, Roland Clark, Roog, Sarah Favouritizm, Shiba San, Sooney, Steve Taylor, Sugarstarr, Thee Cool Cats, Tom Novy, Vanilla Ace, Vinny Da Vinci, Wax Worx, Widenose & many more. Mastered by Stuart Kettridge at SE Studios Скачать: https://ift.tt/Wdex34h https://ift.tt/md8zgAx

#House #FreeDownload #FreeTrack #Disco #Mashup #Ron's Lost In Music (FREE DOWNLOAD) Deeptrak #SoundCloud

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andyheckchefboydardee · 10 months ago

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The Charlottes, and the Double J's, a band consisting of gainsbourg and rampling, and The Double J's, james and jack provide wonderful ideas for this years halloween costumes

#halloween

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denimbex1986 · 1 year ago

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'Out Brit filmmaker Andrew Haigh has crafted an exquisite, melancholic, lyrical meditation on love, death, family and memory, anchored by a truly arresting performance by Andrew Scott. "All of Us Strangers," loosely and queerly adapted by Haigh from the Japanese novel "Strangers" by Taichi Yamada, centers on Adam (Andrew Scott, in a rich, nuanced performance deserving awards attention), a frustrated screenwriter who lives in a virtually empty high-rise, outside London. The only other apparent tenant is a mysterious boozy younger man named Harry ( Paul Mescal, crazy-sexy), who hits on Adam and the two eventually hook up. Meanwhile Adam reconnects with his long dead parents (Jamie Bell & Claire Foy, both flawless) who are, once again, living in his childhood home in the suburbs. Oh, and both are the same age as when they perished in an auto accident when Adam was 12, meaning they're both significantly younger than their son. But this is no gimmicky supernatural thriller, although it can be viewed as a ghost story of sorts. Haigh has more ambitious aspirations that delve into identity, desire, grief, regret, abandonment, fear, loneliness and forgiveness. Not too heady!

And the film is told through the autobio-Haigh-lens which is unapologetically queer.

Haigh is no stranger to telling gay stories, both obvious and peripheral. In 2009 he made his first feature, "Greek Pete," which followed a London rent boy around for a year. His breakout hit, "Weekend," released in 2011, chronicled a 48-hour gay romance and is already considered an LGBTQ classic. The film starred Tom Cullen and Chris New.

"45 Years" followed in 2015, dissecting a marriage in crisis. Charlotte Rampling received her first Oscar nomination for her role opposite Tom Courtenay.

The quietly bold HBO series, "Looking" premiered in 2014. The cast included Jonathan Groff, Murray J. Bartlett, Frankie J. Alvarez and Russell Tovey. "Looking" presented an authentic peek at a gaggle of gay friends in modern-day San Francisco. The show only lasted 2 seasons but was given a movie-length wrap episode in 2016.

The highly underrated indie, "Lean on Pete," (2017) took a current but, also, prescient look at the ethical and moral divide in the U.S. Haigh also kept the enigmatic lead character's sexual orientation cryptic. And as played by the gifted Charlie Plummer, that ambiguity had a decidedly queer lean.

"The North Water," a 2021 miniseries based on the novel by Ian McGuire and created by Haigh, had its share of homoerotic scenes between leads Colin Farrell and Jack O'Connell.

"All of Us Strangers" is Haigh's most personal queer exploration. It's also his most haunting, mesmerizing and best film to date.

EDGE had the pleasure of a zoom chat with Haigh.

EDGE: Andrew, the relatability to so much of this film for me was so deep and almost profound. I've spoken to quite a few people queer and not queer, who feel the same. So, through specificity you've achieved universality.

Andrew Haigh: That's very nice. That's always kind of what your goal is. Nobody wants to see a story that is just about something very specific--that has nothing else to say. That doesn't work. You have to always ground it in something universal bubbling underneath. That's what I was trying to do. It's so nice that it does work for people and works for different types of people. That's important. I didn't want to make it just for one group of people, so I'm really pleased about that.

EDGE: Can you speak about taking the Yamada novel and making it your own?

Andrew Haigh: Yeah, so the central idea is the same. I love that central idea of meeting your parents again, it felt like it unlocked something in me, and it unlock this idea about being able to talk about your past and what the past has done to you and how it can be hard to leave it behind. I don't just mean in terms of grief. I mean, in terms of how we felt when we were young and childhood experience...

This idea that we are so formulated by the first 10, 15 years of our lives and we can never really escape that. I see that in everybody. I see in people who are 70... your childhood has defined you who you are as an adult. It's almost impossible to escape it. And so that felt like such an opportunity to be able to tell that story within this strange sort of ghost story, metaphysical love story, whatever you want to see this as.

EDGE: You're reminding me, Jane Fonda said when she was writing her autobiography that she needed to go back to examine in order to move forward. I feel like the older we get, the more we seem to look back.

Andrew Haigh: I'm 50 now and I feel like the last 10 years, I've really felt it. I think when you're young, you don't look back, obviously, there's nothing to look back on. But as you get older, you're like, Okay, I've got however many years I've got left, I need to go back, I need to recalibrate, I need to have a reunion with my own path, so I can understand why I am the way I am. So, it makes total sense to me. But you have to stare it in the face. And you have to throw yourself into it in order to find some kind of way to move forward. I think that's why the film does resonate because I feel like we all want that. And the idea that we could actually have a world in which you could physically meet your past, again, is quite powerful.

EDGE: This is like a 1980s question, but we keep boomeranging, don't we? Did you get any pushback wanting to tell a queer specific and Andrew Haigh-specific story?

Andrew Haigh: I'm Yeah, that's interesting because that's two different things, isn't it? I like that. When the producers came to me with the book, the minute I said I want to do this, but I have to make it queer, they were like, of course great, do it and make the story you want to make. And Searchlight and Film4 were the same--they were l excited by the idea that I had made it specifically queer. There was no pushback... And then specific for me, is again, something different. And I feel like luckily, I've been making films now for long enough that people understand what that film will be. And they wanted to support that. So, it felt good.

EDGE: How did you decide on the structure and tone of the film?

Andrew Haigh: That was probably the biggest struggle. I did a lot of versions of the script... to fill in the structure, which there is a sort of logic but then I throw myself away from the logic. There's lots of things that I'm trying to do at the same time. And in many ways, I wanted just to plot it emotionally. If all this is a manifestation of Adam's need, what does that mean for the plot?... What does that make the tone of the film feel? And especially when you're dealing with something that could be seen as ghosts, there's so much weird logic that gets put onto those stories. Can they eat? What happens to them when he's not there? Is he really in the house?... At one point during the writing, I was like, I've got to free myself from the eternal, endless questions that you can ask yourself about the plot, and just make it be a film about feeling and texture and emotion and let that drive it.

EDGE: Speaking to that, I was fascinated by the quiet moments, the details, the lingering close ups, I've seen a few films lately, where there was all that minutia, and I was just fucking bored. Here, I was never not mesmerized.

Andrew Haigh: That's nice, because it's so true, there's no point, putting the camera on someone's face if they're not giving you something that is interesting. It just doesn't work. It's pointless... like someone standing by the window, looking out to show that they're lonely only works if something's happening or you're feeling something. For me, it is about that fine tuning and calibrating in the edit, so you're not bored and you're giving the audience something new each time or something surprising or there's something underneath what you're giving... I feel like I've always been trying to find that in everything I do. It's finding that space for the character just to exist and for you to lean in and listen more and concentrate more. I feel like if you can do that you're enveloping the audience into the story and into the world. And if you do it right then it can work.

EDGE: And, of course, your cast assemblage helps because you get such authentic and deeply affecting performances from your actors, whether it's Tom and Chris, or Charlotte and Tom or Charlie Plummer. And Andrew, Paul, Claire and Jamie here. Can you tell me a little bit about your selection process?

Andrew Haigh: The selection process is always the thing that I spent so long thinking about it. If you get that wrong, it's not going to work. And it's all about trying to find people that make sense together. That's how I how I do it. And also trying to find the right kind of people, not just as actors, but as basic human beings. I spend a lot of time reading interviews that actors might have given, watching clips of them when they're being interviewed. And then I have to sit down with them and talk to them before I go forward. I want to know what it is that they care about in terms of the material. I want to know if they're going to be open enough as collaborators to share their own experience, and me share my experience, of life and relationships and family and all that kind of thing. Then if you can get that, I think you just develop a trust. And they know I'm not going to screw them over... I love that process. I love working with actors. I love letting them be what they want to be as much as what I want them to be. That's the trick, you've got to just let it come out of them and don't try and force it into some preconceived notion of what you need that performance to be.

EDGE: I've never heard another director say that he's watched interviews (as part of the casting process). You can get so much from somebody from that.

Andrew Haigh: So much. And, also, you can see what they're showing and what they're hiding. I think I'm relatively perceptive about people and it's what they're not showing that is the most interesting thing to me. You can see a certain vulnerability in people when they're doing interviews... I also think that what an actor chooses to do with their career says so much about the person they are. Like Charlotte in "45 Years" Her choices have been so fascinating in her career that I'm like, well, you're an interesting person. There were choices that you (made). It's so important. The work that someone does defines them in so many ways. So, you have to take that on board when you're trying to make a casting choice.

EDGE: And the chemistry between Andrew and Paul were off the charts, but Claire and Jamie, too. Did you make them all shag before? I'm joking.

Andrew Haigh: (laughs) Yes, it was a really awkward session. We were in a bad hotel, and we were like, come on, this is what we got to do. We've got to really force ourselves through this. (laughs)

EDGE: Have you ever been in a situation where the chemistry wasn't working? Not necessarily on this film? And what did you do?

Andrew Haigh: ...I've been really lucky. I do think the reason that chemistry sometimes doesn't work is that you just set it up wrong. And you don't nurture the right environment on set. That is so important. If you can nurture that environment so they don't spend time locked away in their own trailers not talking to each other, that you create an environment where people are getting to know each other. I think so much of my job on set is to understand what people need.... it can be quite exhausting. You're like a therapist, basically, for the whole of the shoot...But I think that's what you need to do as a director to make sure that everybody is comfortable enough to give the best performances.

EDGE: There's so much conversation about actors playing queer roles versus the best actor for the job. I'm curious where you land. And how did it relate to the casting of Andrew Scott?

Andrew Haigh: I did want someone that was that was queer to play Andrew's character, because there's so much nuance I'm trying to pick out genuine feeling that I needed that character to have. And I think any of us who are a certain age who grew up at a certain time, it's in our body. It's baked into our DNA. How we felt the fear, the terror, the worry--all that stuff. And I didn't want to have a straight actor playing that role. Because I'd have to then try to explain all that. You know what it's like, you sit down with a gay person, there's so much shared experience you don't even need to talk about...you go into a room full of queer people you're like, I can breathe a little bit easier. Most of the time, it depends if who you're in a room with, but most of the time...

But then outside of that, there's lots of choices that go into who you cast for the role. I understand the arguments about why it can only be a queer person playing a queer role, but I really do think it depends on the role. Look, I'm gay, I wrote it. The producer Graham was gay. You don't need everybody to be gay. You just need enough people who know what they're talking about to be part of that project.

EDGE: I wanted to talk about internalized homophobia because it's there in the film. It comes from the people who shape us, doesn't it? Parents, relatives, friends...

Andrew Haigh: ...So many of us have dealt with internalized homophobia for so long in our lives. We've grown up with it. Every day you were going to school and having to deal with it, having so much shame. Sometimes you can hear a younger generation sort of think, 'Oh, you guys are just full of self-loathing, you're fully shame, get over it! And you're like, hold on, we weren't born with self-loathing or shame, it was put upon us by the world we lived in. So, you can't condemn us for having those issues that were put upon us... It doesn't just go away when it's embedded in you growing up. And it is from our family. It's from everybody, the TV, the news... I think it's a life journey for a lot of queer people to shed that internalized homophobia. And for me, personally, it's been a journey. And the film is another step in that journey to shed that. It's a very complicated thing.

There's a line in the film when (Claire Foy) asks if Adam's lonely, and that it's a very lonely life. And he's like, If I am lonely, it's not because I'm gay. And he's right. But also, being gay in the world has made him lonely. So, it's not being gay that makes you lonely, it's being gay within the world that can make you lonely.

EDGE: "Lean on Pete." I adore that film. I really appreciated that you never felt the necessity to force a sexual orientation on Charlie. There was no obligatory girlfriend or hookup scene, I'm assuming that was deliberate.

Andrew Haigh: Absolutely. And it's so weird to me--in the original novel, there's no sense that that kid is queer--but there's something to me when I thought about Charlie that he felt like a queer kid. So, in some strange way, it felt like it was a story, as well, about a kid trying to find his way in the world and being torn between this freedom--this desire for freedom--but also a craving for stability. I feel like sometimes as queer people we're told we've got to just go and find our new family... well, no, sometimes we want the stability of our actual family. I felt like that spoke to America, as I see it, and even in a bigger way about this conflict between stability and freedom. America was born on this search for freedom, the individual, but that cannot be great for everybody... We don't all need to be let free in the world to fend for ourselves.

EDGE: There's a lot of anxiety and stress involved in filmmaking. You seem like a really well put together person, how do you deal with it and not go insane?

Andrew Haigh: It's a funny thing because I feel like I'm actually quite an anxious person. And I feel like during the process, there were so many times when the anxiety of making it is almost overwhelming. Why am I doing this? Why am I putting myself through this? And that's writing, shooting, is all different anxieties, editing, the fear that that project is now going to be in the world, and how is it going to be taken? Filmmakers. It's an exposing art form. Even if it's nothing to do with you, you're exposing something about yourself. I don't care what anyone says, you care about the reaction, you care how people take it. So, it can be a stressful thing. I mean, you can just ask my poor partner who has to deal with my stress and anxiety constantly at the end of each day. But there was something that still makes me want to do it. I can't imagine I would want to do it forever... I know some filmmakers keep working into their 70s and 80s. I can't imagine that will be me. I feel like there will be a time when it's like, you know what, that's enough now, I've done what I can do, and I need to have a quieter existence.'

#Andrew Haigh #Andrew Scott #Paul Mescal #All of Us Strangers #Greek Pete #Weekend #45 Years #Looking #Lean On Pete #The North Water #Jamie Bell #Claire Foy

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alexlacquemanne · 1 year ago

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Aout MMXXIII

Films

L'Appel de la forêt (The Call of the Wild) (2020) de Chris Sanders avec Harrison Ford, Omar Sy, Karen Gillan, Dan Stevens et Bradley Whitford

Indiscret (Indiscreet) (1958) de Stanley Donen avec Cary Grant, Ingrid Bergman, Cecil Parker, Phyllis Calvert et David Kossoff

Jojo Rabbit (2019) de Taika Waititi avec Scarlett Johansson, Roman Griffin Davis, Thomasin McKenzie, Taika Waititi, Sam Rockwell et Rebel Wilson

Le Verdict (The Verdict) (1982) de Sidney Lumet avec Paul Newman, Charlotte Rampling, Jack Warden, James Mason, Milo O'Shea, Lindsay Crouse et Ed Binns

Mondwest (Westworld) (1973) de Michael Crichton avec Yul Brynner, Richard Benjamin, James Brolin, Dick Van Patten, Anne Randall, Majel Barrett et Terry Wilson

La Grande Lessive (!) (1968) de Jean-Pierre Mocky avec Bourvil, Francis Blanche, Roland Dubillard, Jean Tissier, Michael Lonsdale, R. J. Chauffard, Jean Poiret, Karyn Balm et Alix Mahieux

La Traversée de Paris (1956) de Claude Autant-Lara avec Jean Gabin, Bourvil, Louis de Funès, Jeannette Batti, Georgette Anys, Robert Arnoux, Laurence Badie et Myno Burney

Austerlitz (1960) d'Abel Gance avec Pierre Mondy, Jean Marais, Martine Carol, Elvire Popesco, Georges Marchal, Vittorio De Sica, Michel Simon, Rossano Brazzi, Claudia Cardinale et Leslie Caron

La Bride sur le cou (1961) de Roger Vadim avec Brigitte Bardot, Joséphine James, Mireille Darc, Edith Zetline, Michel Subor, Jacques Riberolles et Claude Brasseur

Hiroshima, mon amour (1959) d'Alain Resnais avec Emmanuelle Riva, Eiji Okada, Bernard Fresson, Stella Dassas et Pierre Barbaud

Quo vadis (1951) de Mervyn LeRoy avec Robert Taylor, Deborah Kerr, Leo Genn, Peter Ustinov, Patricia Laffan, Buddy Baer et Finlay Currie

La Classe américaine : Le Grand Détournement (1993) de Michel Hazanavicius et Dominique Mézerette avec Christine Delaroche, Evelyne Grandjean, Marc Cassot, Patrick Guillemin, Raymond Loyer, Joël Martineau, Jean-Claude Montalban, Roger Rudel et Gérard Rouzier

Beethoven 3 (Beethoven's 3rd) (2000) de David M. Evans avec Judge Reinhold, Julia Sweeney, Joe Pichler, Michaela Gallo, Mike Ciccolini, Jamie Marsh et Danielle Keaton

The Big Short (2015) d'Adam McKay avec Christian Bale, Steve Carell, Ryan Gosling, Brad Pitt, Melissa Leo, Rafe Spall et Marisa Tomei

GoldenEye (1995) de Martin Campbell avec Pierce Brosnan, Sean Bean, Izabella Scorupco, Famke Janssen, Joe Don Baker, Judi Dench, Robbie Coltrane, Tchéky Karyo et Alan Cumming

The Grand Budapest Hotel (2014) de Wes Anderson avec Ralph Fiennes, Tony Revolori, F. Murray Abraham, Saoirse Ronan, Mathieu Amalric, Adrien Brody, Willem Dafoe et Jeff Goldblum

Le Hussard sur le toit (1995) de Jean-Paul Rappeneau avec Juliette Binoche, Olivier Martinez, Claudio Amendola, Isabelle Carré, François Cluzet, Jean Yanne : le colporteur juif et Pierre Arditi

Heat (1995) de Michael Mann avec Al Pacino, Robert De Niro, Val Kilmer, Tom Sizemore, Diane Venora, Amy Brenneman, Dennis Haysbert, Ashley Judd, Mykelti Williamson et Natalie Portman

Excalibur (1981) de John Boorman avec Nigel Terry, Helen Mirren, Nicol Williamson, Cherie Lunghi, Nicholas Clay, Paul Geoffrey, Robert Addie, Gabriel Byrne, Patrick Stewart et Liam Neeson

Le Grand Chantage (Sweet Smell of Success) (1957) d'Alexander Mackendrick avec Burt Lancaster, Tony Curtis, Susan Harrison, Martin Milner, Sam Levene, Barbara Nichols et David White

Séries

Castle Saison 2, 3

Rire et Châtiment - Le Flic fantôme - La Guerre des cuisines - Doublement Mort - Espion d'un jour - Présumé coupable - Mort par prédiction - Rencontre avec le passé - Duel à l'ancienne - Anatomie d'un assassinat - Triple Tueur - Célèbre à tout prix

Happy Days Saison 1

Échec ou mat - La Première Bagnole - La Première Cuite de Richie - Une visite inattendue - Le Festival rock - Le Club des Démons - Fonzie vient dîner - Nuit au palace - Une rupture difficile - Qui perd gagne - Rendez-vous surprise - Le Tatouage de Richie - Richie et les beatniks - Le Garçon d'honneur - De la bagarre dans l'air - Un homme prudent

Inspecteur Barnaby Saison 11

Les Noces de sang - Fusillé à l'aube - L’assassin est servi - Macabres Découvertes - Une alliance maléfique - Le Crépuscule des héros - Le Mystère du bois des moines

Downton Abbey Saison 1, 2

Question de succession - Le Nouvel Héritier - Le Diplomate turc - Entre ambitions et jalousies - La Rumeur se propage - La Fiancée de Matthew - L'Entraide - La Maison des intrigues - Portés disparus - Nouvelles Vies - Épidémie - L'Esprit de Noël

Affaires sensibles

Mai 68, le coup de théâtre du Général de Gaulle - Autoroutes françaises : la machine à cash - William Randolph Hearst : de Citizen Kane à Donald Trump - Orson Welles - La guerre des mondes - François Fillon et le "Pénélopegate" - Contrat Première Embauche, mieux que rien ou pire que tout ? - 31 août 1997 : mort d'une princesse anglaise

Kaamelott Livre II

Spangenhelm - Les Alchimistes - Le Dialogue de Paix - Le Portrait - Silbury Hill - Le Reclassement - Le Rassemblement du Corbeau - Les Volontaires II - Le Terroriste - La Chambre - Le Message Codé - La Délégation Maure - L’Enlèvement de Guenièvre - Les Classes de Bohort - Le Monde d’Arthur - Les Tuteurs - Les Jumelles du Pêcheur - Sept Cent Quarante-Quatre - L'Absolution - Les Misanthropes - La Cassette - Plus Près de Toi - La Révolte - Sous les Verrous - Séli et les Rongeurs - Un Roi à la Taverne II - L'Ancien Temps - Le Passage Secret - Les Mauvaises Graines - La Garde Royale - L'Ivresse - Mater Dixit - Spiritueux - La Ronde - Merlin l'Archaïque - Les Exploités - L’Escorte II - Le Larcin - La Rencontre - Les Pigeons - O'Brother - La Fête du Printemps - La Voix Céleste - L'Invincible - Amen - Le Cadeau - Le Complot - La Vigilance d’Arthur - Les Chiens de Guerre - Always - Arthur in Love - Excalibur et le Destin - L'Absent - The Game - La Quinte Juste - La Fumée Blanche - Unagi II La Joute Ancillaire - Le Donneur - Le Jeu du Caillou - L'Alliance - Le Secret d'Arthur - Aux Yeux de Tous - Immaculé Karadoc - La Morsure du Dace - Les Neiges Eternelles - Des Hommes d'Honneur - Stargate - Feue la Vache de Roparzh - Les Vœux - Le Pédagogue - Perceval et le Contre-Sirop - L'Oubli - L'Ambition - Le Poème - Corpore Sano - Le Havre de Paix - L'Anniversaire de Guenièvre - La Botte Secrète II - Les Parchemins Magiques - L'Enragé - Trois Cent Soixante Degrés - Pupi - Vox Populi II - Le Rebelle - Les Félicitations - Les Paris - Les Esclaves - Les Drapeaux - Le Guet - Le Sort Perdu - La Restriction - La Corde - Le Tourment II - Le Plat National - Le Temps des Secrets - La Conscience d'Arthur - La Frange Romaine - L'Orateur - Les Comptes

Le Coffre à Catch

#127 : Dream Match + Kozlov : J'en ai rêvé, Teddy l'a fait ! - #128 : La ECW et Mark Henry nous gâtent de cadeaux ! - #129 : Le pire main event de la ECW : Agius pète un câble ! - #130 : On démarre l'année ECW 2009 avec le Connard du Catch ! - [LIVE] Coffre à Catch Hors-série : ECW December to Dismember

Columbo Saison 1

Accident

Idéfix et les Irréductibles

Labienus tu m'auras pas - Une affaire corsée - Turbine encrassée - Une Ibère dans la ville

Biographies WWE Saison 1

Bret "The Hitman" Hart

Batman, la série animée Saison 1

Les Enfants de la nuit - Version originale - Les Oubliés du Nouveau Monde - Fugue en sol Joker

Spectacles

One Night Only : The Bee Gees Live in Las Vegas (1997)

Livres

Vies des douze Césars de Suétone

Détective Conan : Tome 12 de Gôshô Aoyama

Détective Conan : Tome 13 de Gôshô Aoyama

Hero Corp Tome 3 : Chroniques - Partie II de Simon Astier et Francesca Follini

Les 7 prochaines vies de Greta Thunberg : Que sera, dans vingt cinq ans, Greta devenue ? de Fréville

#mediatheque #aout23

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