#narrow margin

[lobbycards]

Narrow Margin, Hungarian Lobby Card. 1990

[movieposters1]

[brokehorrorfan]

Narrow Margin will be released on 4K Ultra HD + Blu-ray on June 18 via Kino Lorber. The 1990 neo-noir action thriller is a remake of the 1952 film of the same name.

Peter Hyams (End of Days, Timecop) writes and directs. Gene Hackman and Anne Archer star with James B. Sikking, J.T. Walsh, and M. Emmet Walsh.

Narrow Margin was previously restored in 4K by StudioCanal. Special features are listed below.

Disc 1 - 4K Ultra HD:

Audio commentary by writer-director Peter Hyams

Audio commentary by film historian Peter Tonguette

Disc 2 - Blu-ray:

Audio commentary by writer-director Peter Hyams

Audio commentary by film historian Peter Tonguette

Making-of featurette

B-roll and sound bites

Theatrical trailer

Gene Hackman (The Package) stars as an L.A. District Attorney attempting to take an unwilling murder witness (Anne Archer) back to the United States to testify against a top-level mob boss. Frantically attempting to escape two deadly hitmen sent to silence her, they board a Vancouver-bound train only to find the killers are onboard with them. For the next 20 hours, as the train hurls through the beautiful but isolated Canadian wilderness, a deadly game of cat and mouse ensues in which their ability to tell a friend from foe is a matter of life and death.

Pre-order Narrow Margin.

[seph7]

J.T. Walsh as Michael Tarlow in Narrow Margin (1990).

He looked good. I do love it when he wears a red tie. He was so softly spoken in this film, however briefly he was in it.

[moviereviews101web]

Narrow Margin (1990) Movie Review

Narrow Margin – ABC Film Challenge – Thriller – N – Narrow Margin – Movie Review Director: Peter Hyams Writer: Peter Hyams (Screenplay) Writer: Martin Goldsmith, Jack Leonard (Story) Cast Gene Hackman (The French Connection) Anne Archer (Fatal Attraction) James Sikking (The Pelican Brief) J.T. Walsh (Needful Things) M. Emmet Walsh (Knives Out) Plot: A Los Angeles Deputy District…

[oneofusnet]

Digital Noise Episode 345: Take The Twister Challenge DIGITAL NOISE EPISODE 345: TAKE THE TWISTER CHALLENGE John and Chris review a really big stack this week of home releases. Some good. Some bad. Some EXTREMELY bad. And some surprisingly wonderful. From the film that set the standard for hitman movies, to that 90s Gene Hackman thriller on a train you never saw (but should have). From an auteur version of Shakespeare that definitely should be a lot better, to one of the best remastered wonderfully dumb movies ever, we’ve got quite the show for you. All titles were sent to Digital Noise by the distribution companies in question… Read More »Digital Noise Episode 345: Take The Twister Challenge read more on One of Us

[kingofanemptyworld]

sakura has an entire class of hype men (especially after the recent arc’s conclusion) and togame jo is in competition with all of them for the position of Sakura Haruka’s Number One Fan

[npdclaraoswald]

I've see lots of discussion about the reasons why so many fans prefer Stan to Ford: the fact that we have so much more time with Stan, the fact that the very first thing we saw Ford do was punch a beloved character, the fact that there was a big theory when the show was airing that Ford would turn out to secretly still be working with Bill, the fact that there was a huge time gap between Not What He Seems and A Tale of Two Stans airing which allowed the fandom that had been rewarded for theories a lot of time to make up a version of Ford both to get mad at and to get mad at real Ford for not being, etc

But I haven't personally seen discussion on what I think might be the biggest reason (not to say that those discussions don't exist, just that I haven't seen it). Personally, the reason that I love both of the Stans is that they're both just so sad and pitiful and have such big tragic backstories. But 90% of Ford's tragic backstory is in the books, and while the books are very popular and even fans who haven't read them at least know the gist of them, there's inherently going to be less fans who have read the books than have watched the show. And if you haven't read the books, Stan's tragic backstory is: kicked out of home and isolated from family, homeless for ten years and likely impoverished longer than that, trouble with the law and prison stays, and losing his brother again. Meanwhile, Ford's backstory as is in the show is: not getting into his dream school but still going to one that clearly served him well, losing his brother, getting tricked by Bill but without any of the details, and went through the portal for 30 years but we don't have any of the details and now he's a cool action hero.

Whether it's thinking about the Implications a lot on your own or going out and reading the books, it requires more work to fully understand just how much Ford has gone through. And I feel like the average fan who hasn't put in that extra effort would look at those experiences and be like "Well obviously Stan went through more, we should be more sympathetic towards him."

[citizenscreen]

Charles McGraw and Marie Windsor in THE NARROW MARGIN (1952), directed by Richard Fleischer

[lobbycards]

Narrow Margin, Hungarian Lobby Card. 1990

[filmnoirfoundation]

NOIR CITY 22

Join us January 24 – February 2 at Oakland’s historic Grand Lake Theater for NOIR CITY 22 featuring the fabulous femmes fatale who made the genre so spectacularly saucy, sexy, and sinister. Noir impresario and FNF prez Eddie Muller presents ten days and nights of vintage crime movies featuring actresses profiled in his classic tome Dark City Dames — newly updated, expanded, and set for release in April 2025. Joining Muller as co-host for the opening weekend will be his TCM colleague, Alicia Malone—who also graces this year’s NOIR CITY poster.

The program includes legendary noirs such as Out of the Past, The Narrow Margin, and Detour, alongside an array of dark gems and little-seen rarities like Hell’s Half Acre, The Sleeping City, and the 3D noir Inferno. In addition, the festival will be filled with special onscreen features, live music, and special guests—everything fans have come to expect from this annual celebration of noir style.

All proceeds from the festival go to the Film Noir Foundation’s mission of rescuing and restoring lost examples of the genre, which to date includes more than thirty restorations and preservations of films once feared lost.

Schedule, tickets and Passports (full-access passes) are available at NoirCity.com

[dotthings]

This has never actually been a fandom war. spn fandom has always been political, with a rigid and narrow minded element waging an ideological war against anything that violated or disturbed their status quo, against anything that said family of the heart and marginalized characters matter. “Family values” where only blood family counts and narrow ideas follow textbook American conservativism, dressed up in a “ship war” hat. Post spn era it metastasized and has grown less opaque but it was always this and I have had to fight it since I entered the fandom when season 1 aired.

[theonlyacceptableevalana]

I made a discovery today

The members of the Babysitters Club have canonically seen Starlight Express:

The book this is from, Stacey's Mistake, was originally published in 1987, which is in fact when Starlight Express was on Broadway. And this is even kept in the graphic novel version! They don't mention Starlight Express by name, but if you know, you know:

Here's how the show is described in the book, btw:

[psalmsofpsychosis]

It's ✨️wayne manor✨️ time.

Fic tidbit from a spooky little wayleska thing i've been working on.

[thornheartless]

whos worse for each other. butchlander or ozycom

That is the question of the century I think, I'm inclined to say butchlander because in an alternative universe I could actually see ozycom making it work in a way that's at least a little better for each other

[nellasbookplanet]

Every now and again I'm reminded of how fundamentally different ttrpg liveplays are as a storytelling medium from literally any other and it drives me a little bit bonkers. So much comes down to chance; you can plan and strategize and have some absolutely wild modifiers, but if you roll a nat 1 you still roll a nat 1. It doesn’t matter how important a character is to the narrative and how many plans the players have for them, they can still die at any time and be inevitably lost because the dice told you, sorry, resurrection didn’t work this time. And then we build the narrative around that, an echoing hole that can never be mended, because we have no other choice but to move one.

You never know if a risky choice will be rewarded or punished. You can go into what looks like an easy fight and lose bitterly due to bad luck, or into what should be an impossible one and still win. You will never be reassured by the knowledge that it’s a prewritten, planned out story where some things are bound to happen for maximum narrative impact.

But neither will moments feel cheapened by the knowledge that it was always bound to happen. A character comes back to life in a movie and, well, you know it’s because the narrative needed them and they were never truly at risk; they come back in the game and you know just how easily the dice could have landed on a different number and it wouldn’t have mattered how needed they were.

It can, if we allow it, remind us that purpose and meaning in real life has nothing to do with inevitability or fate; it’s all about what we make it, the choices that arise out of chance, the consequences that come from choice. We create our own narrative out of inherent meaninglessness and chaos and it is beautiful.