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Tag Archives: Halloween

10 Movies That Are 40 Years Old This Year – 2018

13 Thursday Sep 2018

Posted by dullwood68 in Movies

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1978, Big Wednesday, Days of Heaven, Halloween, Heaven Can Wait, La Cage aux Folles, Movies, Superman, The Deer Hunter, The Last Waltz, The Marriage of Maria Braun, The Tree of Wooden Clogs

1977 wasn’t the best of years, and continued the downward trend in widespread innovation that had made the first half of the decade so impressive. But as always there were movie makers still willing to rise to the challenge of creating something different, or pushing previously accepted boundaries. 1978 was a year that showed that there was a definite audience for mainstream, so-called summer tentpole movies, as the shdaow of Jaws (1975) continued to influence the studios in their choice of releases and their marketing strategies. The movies below reflect both the mainstream   and the more traditional, independently produced movies that had been so prevalent just a few years before. Across a wide range of themes and subject matters, these movies have stood the test of time over the last forty years, and like all truly impressive movies, we’ll still be watching them in another forty years’ time.

1) The Deer Hunter – Michael Cimino’s epic tale of three friends caught up in the insanity of the Vietnam War is a visceral, thought-provoking drama that, at the time of its release, caused controversy because of its Russian Roulette scene, and its depiction of the Vietnamese as unnecessarily cruel and sadistic. But with powerful performances from Robert De Niro, Christopher Walken and John Savage as the three friends, as well as a tremendous sense of America going through a seismic period of social and political change, the movie has much to say about the nature of working class friendships, and how extreme pressure can warp the minds of even the strongest of individuals. A one of a kind movie, it’s impact can still be felt in war movies depicting the Vietnam era even now, and as such, its inclusion in 1996 in the United States National Film Registry by the Library of Congress as a “culturally, historically, or aesthetically significant” movie seems all too appropriate.

2) Days of Heaven – It’s hard to believe now but on its release, Days of Heaven wasn’t a commercial success, and there were many critics who felt that its cinematography (by Néstor Almendros and Haskell Wexler) was its only saving grace. True, it was a problematical production, with director Terrence Malick and editor Billy Weber spending two years assembling the final cut, but beyond the magisterial photography, it’s a movie that reflects on a love triangle as seen through the eyes of a teenage girl. It’s a bold, lyrical piece, structurally complex, but with deliberately muted passions on display throughout, a choice that relates specifically to the viewpoint of the teenage girl (beautifully played by Linda Manz). It’s enigmatic, certainly, but in such a fashion that the viewer can interpret matters in their own way, and take as much or as little as they want from the material. And like The Deer Hunter, it too has been included in the National Film Registry by the Library of Congress.

3) Big Wednesday – A personal project for its writer/director (and surfer), John Milius, Big Wednesday recalls something of a bygone age, a simpler time that catches its characters on the verge of adulthood and responsibility (the shadow of Vietnam looms large over the narrative). Though the sub-culture Milius was exploring – and which he himself had been a part of – was tellingly presented, critics at the time chose to be disparaging of his efforts, but viewed now the movie can be recognised as a sincere and affectionate tribute to friendships made through a shared connection, and the bonds that develop as a result. Some of the performances are a little rough around the edges, but the movie has a simple charm that more than compensates for any perceived deficiencies, and as expected, the surfing sequences – shot in a variety of locations including Sunset Beach in Pupukea in Hawaii – are beautiful and breathtaking, and thrilling to watch.

4) The Marriage of Maria Braun – A movie that’s as fascinating for what went on behind the scenes of its production as it is for the finished product, The Marriage of Maria Braun came along at a time in its director, Rainer Werner Fassbinder’s career when he was trying to get Berlin Alexanderplatz made (he would shoot this by day and write Berlin‘s script by night). That he was able to make such a commanding and distinctive movie under such circumstances – and with the help of large quantities of cocaine – shows just how good a director he was. The tale of a woman whose marriage goes unfulfilled thanks to her husband’s post-war imprisonment, and who adapts to post-war life by becoming a wealthy industrialist’s mistress, it features a mesmerising performance from Hanna Schygulla as Maria, and works as a metaphor for Germany’s post-war renaissance. A critical and commerical success on its first release, it remains one of Fassbinder’s finest movies, and is compelling from start to finish.

5) Superman – The advertising boldly stated, “You will believe a man can fly” – and we did. Famously shot in tandem with its proposed sequel, Superman II (1980), the movie broke new ground in special effects and fantasy movie making, and this despite an inconsistent tone that veered between high camp and more serious, straightforward drama. It made an overnight star of Christopher Reeve, proved that superhero movies could be successful (it was the second highest grossing movie of the year), and ushered in an era of fantasy movie making that continues today. That it turned out as well as it did is a tribute to its director, Richard Donner, and the persistence of its producers, Ilya and Alexander Salkind and Pierre Spengler, who took a huge risk in making it. Full of iconic moments, and indelible performances, Superman remains hugely enjoyable to this day, and as a template for all the superhero fantasy movies that have followed in its wake, it deserves our thanks for getting so much right, and with such confidence. And it’s in the National Film Registry as well.

6) Halloween – Looking at Halloween forty years after its release (and just ahead of an official sequel that ignores all the other movies made in the years since), it’s worth pointing out that Michael Myers’ reign of terror is a surprisingly bloodless affair; it’s all about the atmosphere. Using first person point-of-view shots to put viewers in Myers’ shoes, effortlessly fluid camerawork thanks to the use of a Steadicam, introducing the trope of the “final girl”, and employing a soundtrack – and that piano motif – that instantly instills a sense of dread, John Carpenter’s hugely influential horror movie is a chilling exercise in how to build tension, then build it some more, and then a bit more before delivering some of the best jump scares ever committed to celluloid – the murder of Bob, anyone? In the years since, the movie has gained a well deserved reputation as the progenitor of the slasher movie (though there were plenty before it), but none of them has managed to replicate the sense of sheer terror that Carpenter creates here. (And yes, it’s in the National Film Registry.)

7) La Cage aux Folles – If you only know of La Cage aux Folles‘ existence through its US remake, The Birdcage (1996), then shame on you. Easily one of the best comedies of 1978, this adaptation of the play by Jean Poiret has a mischievous sense of humour and features pitch perfect performances from Ugo Tognazzi and Michel Serrault as the warring gay couple, Renato and Albin. It’s a riotous affair, and though you could argue that Renato and Albin teeter precariously on the edge of being gay stereotypes, there’s a poignant sincerity to their relationship that offsets such criticism, and the notion that they could be just as worried as parents as a heterosexual couple is made without recourse to heavy-handed proselytising or hyperbole. Director Édouard Molinaro directs with a simple flair and consideration for the inner lives of the characters that supports the material, and there’s a freshness that two sequels, a Hollywood remake, and a gay porn version (that bizarrely exploits an elderly Greta Garbo) haven’t been able to improve on.

8) The Tree of Wooden Clogs – A three hour-plus movie about the lives of four peasant families working on farms in the Lombardy region of Italy in 1898 may not seem like the basis for a compelling drama – and especially when you realise that it features a cast entirely made up of non-professionals – but Ermanno Olmi’s The Tree of Wooden Clogs is nothing short of a masterpiece. It’s a poetic, beautifully photographed movie about the hardships of everyday rural life that is given a tangible reality by Olmi’s attention to period detail and what appears to be a detached approach to both the characters and their situations, but which proves to be hugely compassionate instead. An immersive experience that is refreshingly free of guile or artifice, Olmi’s perceptive screenplay brings in elements of social revolution and self-determination that reflect working class aspirations of the period, but it’s the focus on the families’ day-to-day efforts to survive that bring the most rewards, as Olmi paints a stark yet strikingly beautiful portrait of persistent adversity and the small triumphs that make it more bearable.

9) Heaven Can Wait – During the late Sixties and on into the Seventies, Warren Beatty could do no wrong. By the time he came to make Heaven Can Wait he was an A-list star who could get a movie made just by announcing his interest in a project. Such was the case here, and in adapting Harry Segall’s original play for the second time – after Here Comes Mr. Jordan (1941) – Beatty knew well enough to retain the screwball feel of the previous movie but also to update it for modern audiences. The result is a cracking example of a mainstream comedy, with sleek production values that serve the material instead of overwhelming it, and a very talented cast that know exactly what they’re doing (Charles Grodin is a particular standout). With an earnest quality to its romantic angle, and characters that are pleasantly two-dimensional, the movie is a frothy confection that’s ably directed by Beatty and Buck Henry, and which is entertaining on several levels. Beatty followed this up with Reds (1981), and while that movie has its own merits, Beatty playing comedy is something to be even more thankful for.

10) The Last Waltz – Widely regarded as the greatest rock concert movie ever made, The Last Waltz occupies a lofty place in music documentary history. A record of the last concert ever to be played by the original line-up of The Band, and interspersed with interviews with the group carried out by the movie’s director, Martin Scorsese, along with studio-based versions of certain songs, this is an astonishing visual and aural feast for anyone with even a halfway serious appreciation for rock music and its attendant concert experience. With a host of guest musicians ranging from Bob Dylan to Neil Young (who had to have a smudge of cocaine removed in post-production) to Muddy Waters to Joni Mitchell, the movie benefits from the decision to shoot in 35mm and to use seven cameras in capturing it all (among the cinematographers: Vilmos Zsigmond, László Kovács, and Michael Chapman). There are tremendous renditions of classic songs and equally tremendous performances as well, all in service to a movie that celebrates a band whose contribution to the history of rock music remains as indelible now as it did forty years ago.

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Bees Make Honey (2017)

13 Friday Jul 2018

Posted by dullwood68 in Movies

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Alice Eve, Comedy, Costume party, Drama, Halloween, Jack Eve, Murder, Mystery, Review, Trevor Eve, Wilf Scolding

D: Jack Eve / 85m

Cast: Alice Eve, Wilf Scolding, Joshua McGuire, Anatole Taubman, Trevor Eve, Hermione Corfield, Ivanno Jeremiah, Joséphine de La Baume

It’s Halloween 1934, and glamorous socialite Honey (Eve) is hosting her annual Halloween costume party. But this year’s event is tinged with bitterness and revenge, for on the same night the year before, Honey’s husband was killed, and the killer never caught. Tonight, Honey has invited everyone who was there the year before on the assumption that one of her guests was the murderer. Enlisting the help of newly appointed police Inspector Shoerope (Scolding), Honey is determined to uncover the killer’s identity, and see justice done. With the party well under way, Shoerope begins his investigation and soon finds that there a number of possible suspects, from local real estate broker Mr Conick (McGuire), to German businessman Herr Werner (Taubman), and even Shoerope’s own Commissioner (Eve). Matters are further complicated when it’s suggested by one of the guests that Honey isn’t being as honest with Shoerope as she seems, raising the possibility that his investigation is a means to a far different end than justice. But as the evening continues, various clues fall into place, and Shoerope discovers that there’s more to the murder of Honey’s husband than either of them could have imagined…

Something of a family affair – Alice and Jack Eve are siblings, while Trevor Eve is their father – Bees Make Honey is a period murder mystery comedy-drama that flirts with a lot of ideas as to how to present its story visually, and then decides to include them all. And so we have a movie that throws in all manner of cinematic trickery as if someone has opened a Pandora’s Box of visual effects (leaving Hope cowering at the bottom). When a movie is this visually erratic, it’s too often a sign that the material isn’t as lively as the makers have intended, and for long stretches, this is the case with Jack Eve’s honest yet overwrought pastiche of Thirties drawing room mysteries. A huge – and this is no understatement – part of the problem is the dialogue, which is meant to be clever and dazzlingly erudite, but which causes further problems for many of the cast, lumbered as they are with lines such as, “But one can never repeat the past with complete sincerity. There’s is always the possibility, if not inevitability, of a fleeting fancy throwing a spanner in the works.”

There’s also an anachronistic use of music, with the likes of The Libertines’ What a Waster, and The Clash’s Lover’s Rock littering the soundtrack as literal counterpoints to the action, but all these incidences do is to jar the viewer out of whatever temporary mood the material has just got them into. With such a lack of focus, it’s a shame also that any mystery is undermined by a massive visual clue given away when the murder is committed at the movie’s beginning. These and other directorial decisions made by Eve make the movie a stop-start affair that never really gels or fully entertains as the high-spirited romp it could (and should) have been, and viewers may find themselves hitting the fast-forward button more than they’d like. The cast are game, however, and muddle through in support of their director, though Trevor Eve is clearly having fun with a role he wouldn’t normally be asked to play. By the end, a kind of weary acceptance sets in, allied to the knowledge that the movie isn’t going to raise its game any higher. There’s a good idea in there somewhere, but this sort of murder mystery has been done too often before, and to much better effect.

Rating: 4/10 – when a movie tries to make an apple-bobbing competition one of its highlights, you know there’s a problem, and in this respect, it’s one of many that hamper Bees Make Honey from being a success;  one to approach with caution, it’s a movie that never settles on a through line, or maintains a consistent tone – unless not maintaining one was the original idea.

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Hellions (2015)

08 Thursday Oct 2015

Posted by dullwood68 in Movies

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Tags

Bruce McDonald, Children, Chloe Rose, Demons, Drama, Halloween, Home invasion, Horror, Pregnancy, Review, Robert Patrick, Rossif Sutherland, Thriller

Beauty, Power and Grace

D: Bruce McDonald / 82m

Cast: Chloe Rose, Robert Patrick, Rossif Sutherland, Rachel Wilson, Luke Bilyk, Peter DaCunha, Emir Hirad Mokhtarieh, Joe Silvaggio, Sydney Cross

Dora Vogel (Rose), is a seventeen-year-old who lives with her mother, Kate (Wilson), and younger brother Remi (DaCunha). She has a boyfriend, Jace (Bilyk), who she’s intending to go to a Halloween dance with, but the news that she’s four weeks’ pregnant gives her pause. Afraid to tell her mother who has high hopes for her, Dora decides to stay at home and not go to the dance, but she doesn’t tell Jace. When her mother and brother go out trick or treating, Dora discovers that being home alone isn’t as comforting as she’d hoped, not least because of the oddly costumed child that calls at her door. Deciding she will go to the dance, she gets dressed up but now two children call, and this time one of them places their hand on her stomach leaving a bloody handprint. Shortly after, Dora begins to experience painful stomach cramps and calls her physician, Doctor Gabe Henry (Sutherland), to come over.

The cramps subside but when they do there’s a further knock at the door. Angry, Dora throws the remainder of the candy into the children’s sack – and sees something else there that shocks and petrifies her. She calls the police and while she’s on the line to the police dispatcher the house is seemingly possessed by a violent storm that sees various items hurled around by a powerful wind. The line goes dead and in time the storm subsides, but now Dora can see that there are more and more children outside, all wearing odd costumes. The arrival of an injured Doctor Henry sees the nature of what is now a siege intensify, and he and Dora lock themselves in the basement. But the children show tenancity and find their way in; Dora escapes through the laundry chute but the doctor isn’t so lucky. Dora tries to escape the house, and in the kitchen she comes face to face with one of the children. In her efforts to escape, Dora throws whatever comes to hand at the child, with no effect, until a salt shaker hits the child and the salt causes it to dissolve.

Now outside, Dora finds the sky transformed thanks to a bloody full moon that saturates everything in an eerie reddish-pink colour. She hides in an outhouse where the voice of one of the children speaks to her in her mind. It tells her they want her baby, the baby that is now growing at an advanced rate. Scared and horrified, Dora is found by Officer Corman (Patrick). They prepare to leave but hear Doctor Henry’s voice calling to them from the house. They go in, but Henry’s survival proves to be a cruel joke, but it’s one that allows Corman to realise what’s happening, and just how much danger Dora is in…

Hellions - scene

In 2008, Bruce McDonald gave us one of the most cleverly assembled zombie movies of the last ten years in the deliciously quirky Pontypool. Since then he’s laboured mostly in television, with the occasional feature thrown in (his last, The Husband (2013), is well worth checking out). Returing to the horror genre, McDonald has done his best to make a movie that combines a creepy, single-location setting with a broader supernatural raison d’etre (the children are demons looking to swell their ranks with Dora’s unborn child). In bringing Pascal Trottier’s script to life, however, McDonald is unable to overcome the deficiencies of the script, and as the movie breasts the hour mark and descends into fever dream territory, the tightness of the script up til that point drifts off into a soup of elliptical imagery and random occurrences that seem designed to pad out the remainder of the movie instead of bringing it to a satisfactory conclusion.

The set up is simple and effective, and the children – decked out in sackcloth hoods, unnerving masks, and surprisingly sinister metalware – are menacing, freakish and nightmarish to look at. Part of their effectiveness lies in their costumes, corrupted versions of children’s characters such as Raggedy Ann and Pinocchio; there’s nothing innocent about these kids, or what they want. McDonald highlights this horror at every opportunity, and even the kid wearing a tin bucket on his head (the leader, appropriately named Buckethead in the credits) is uncomfortably menacing. The children are the movie’s best asset, and whenever they appear the horror of Dora’s situation is more apparent and more terrifying.

What is less successful is the lame attempt to explain that this isn’t the first time they’ve done this, as Patrick’s dogged officer recalls the same thing happening to his wife, and the legacy of Carrie (1976) is resurrected in a superfluous final “scare” that fans of the genre will see coming a mile off. Elsewhere, Halloween is used as a backdrop for the supernatural shenanigans, but there’s no clear connection between the occasion and the children’s actions, and the field of exploding pumpkins is a triumph of unconvincing CGI. As a home invasion movie, Hellions is on firmer ground, and Rose’s performance is the glue that knits all the disparate elements together, from her shocked gaze at learning she’s pregnant, to her annoyance with the first child to knock (“Good luck with puberty”), to the moment when her realisation that salt can kill the children offers her a brief respite from being scared out of her wits.

Although the script’s unevenness hurts the movie overall, there’s more than enough to keep the viewer interested, even if it does go off the rails in the last twenty minutes. Dora is a sympathetic heroine, and it’s not hard to root for her, even if at one point she’s incapable of navigating her way through several hanging bedsheets. The various violent encounters are well handled, and the movie is refreshingly free of the post-modern irony and self-awareness that’s blighted so many horror movies in recent years. And the movie may be the first of its kind to make the colour pink seem ominous and sickly at the same time.

Rating: 6/10 – making a virtue of its restricted setting and an intelligent performance from Rose, Hellions is an above average horror/thriller that features some truly scary demon children and intuitive direction from McDonald; spoiled by a dilution of the threat towards the end, and a lack of focus the longer it goes on, it’s still a movie worth catching up with, and another example of what its director can do on a limited budget.

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Pay the Ghost (2015)

19 Saturday Sep 2015

Posted by dullwood68 in Movies

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Tags

Child abduction, Children, Curse, Drama, Halloween, Literary adaptation, Nicolas Cage, Review, Sarah Wayne Callies, Supernatural, Thriller, Uli Edel

Pay the Ghost

D: Uli Edel / 94m

Cast: Nicolas Cage, Sarah Wayne Callies, Lyriq Bent, Jack Fulton, Veronica Ferres, Susannah Hoffmann, Lauren Beatty, Stephen McHattie

It’s Halloween, and newly tenured professor Mike Lawford (Cage) arrives home just in time to take his young son Charlie (Fulton) to a nearby Halloween carnival. Charlie is a little nervous as the night before he saw something outside his bedroom window, and at the carnival he sees a large vulture circling overhead, though Mike doesn’t. When they queue up to get ice cream, Charlie asks his dad if they can “pay the ghost”, and in seconds he’s disappeared. Mike searches frantically for him but there’s no trace of Charlie, only the pirate hat he was wearing as part of his Halloween costume. The police are called, and the lead detective, Reynolds (Bent) assures Mike that these things usually resolve themselves within twenty-four hours.

A year later, with three days to go before Halloween, Mike and his wife Kristen (Callies) have separated, and Charlie is still missing. Mike pesters Detective Reynolds, accusing him of not trying hard enough, while also putting up flyers detailing Charlie’s disappearance. When he begins to hear Charlie’s voice, he initially doubts his senses, but when he sees him on a bus and chases after it, it leads him to an abandoned warehouse that’s become home to a group of vagrants. On the outside of the building the phrase “pay the ghost” has been painted. Mike asks if anyone knows what it means, and a blind man (McHattie) shows him a wall covered with the phrase; however he has little more to offer.

Mike tries to convince Kristen that Charlie might be trying to communicate with them from wherever he’s been taken. He discovers that a child who went missing on the Halloween before Charlie’s disappearance also said the same thing to her father. Kristen refuses to believe him until she has her own supernatural encounter. Together, Charlie’s parents begin to look into the number of child disappearances that have occurred on Halloween; a disturbing pattern emerges, one that leads them to believe that this has been happening for a very long time. They dig deeper, and find that the abductions are related to a tragedy that happened over three hundred years before.

Pay the Ghost - scene

For fans of Nicolas Cage, it’s been a rough few years since his lauded turn in Kick-Ass (2010). Since then, only Joe (2013) has shown audiences what Cage can do when he’s fully engaged with a project. Otherwise, the movies he’s chosen to star in have been so lacking in quality they could only have been taken on as a way of paying off his mortgage. Anyone who’s sat through the likes of Seeking Justice (2011), Rage (2014), and/or Left Behind (2014) will have wondered what’s happened to an actor who won an Oscar for one of the most powerful portrayals of an alcoholic ever committed to celluloid. With each new movie, his loyal fans must hope that this will be the one to change his dwindling fortunes and prove he still has what it takes.

Alas, Pay the Ghost isn’t the one. Here Cage doesn’t so much phone in his performance as fax it over an intermittent connection. Trying to maintain a semblance of commitment to the material, Cage goes through the motions with all the intensity of someone who can’t wait to move on to the next project. At one point, after Kristen has made it clear she blames Mike for losing Charlie, Cage is required to fall to the floor and begin crying. It should be an uncomfortable moment of parental grief, but instead it’s uncomfortable because Cage can’t sell the emotion (or any tears). In comparison with Callies, who at least makes an effort to be traumatised by Charlie’s disappearance, Cage sleepwalks through their scenes together, only showing any passion when called upon to share his growing suspicions about Charlie’s abduction.

To be fair to Cage, he isn’t helped by the material, a hodgepodge of supernatural thriller clichés stitched together by screenwriter Dan Gay and adapted from the novella by Tim Lebbon. Fans of the genre will have fun spotting the references to other, similar movies, while the makers of the Insidious franchise will have good cause to wonder if Edel and co. haven’t made an unofficial companion movie to that particular series (Hoffmann’s medium is certainly no match for Lin Shaye’s Elise Rainier). You know a movie hasn’t got a clue when the supernatural entity at the heart of everything is able to organise all kinds of mischief at the drop of a hat – including killing someone by spontaneous combustion – but fails to put Cage off his stride at any point (yes, he’s the hero, but really, shouldn’t he be put in danger at least once during the movie?).

Further incongruities occur throughout, with Bent’s credulous detective used to poor effect and removed from the movie once he experiences his own supernatural awakening. Fulton spends most of the movie in a pirate costume, and sporting an eye patch applied with black make up that makes him look like a reject from a KISS audition. The evil entity has evolved from a curse made centuries before but its modern day raison d’être is arbitrary and convenient at the same time, reinforcing the idea that the makers have adopted a kitchen sink approach to its behaviour (just why Charlie has been chosen is one of the many questions the movie fails to even ask let alone explain).

In charge of all this, Edel never shows he has a grip on the material, and several scenes seem under-rehearsed or sloppily staged. Even the de rigeuer scares are heavily signposted and too reminiscent of similar ones from the Insidious series, while the final showdown between Mike and the entity takes place on a gantry that’s surrounded by some of the worst visual effects seen for some time. It’s almost as if everyone concerned just wanted to do enough to get the movie made and then move on.

Rating: 3/10 – Cage has made few worse movies, but Pay the Ghost comes pretty close to being at the top of the list; derivative, uninspired, dull, laughable, ridiculous, awful – it’s all these things and more, and serves as yet another unfortunate nail in the coffin of Cage’s career.

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Film and Theatre Lover!

Movie Reviews 101

Daily Movie Reviews

That Moment In

Movie Moments & More

Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Film History

Telling the story of film

Jordan and Eddie (The Movie Guys)

Australian movie blog - like Margaret and David, just a little younger

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