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Tag Archives: Love affair

Cleopatra (1963)

25 Wednesday Nov 2015

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Drama, Egypt, Elizabeth Taylor, Historical drama, Historical epic, Joseph L. Mankiewicz, Julius Caesar, Love affair, Mark Antony, Octavian, Review, Rex Harrison, Richard Burton, Rome

Cleopatra

D: Joseph L. Mankiewicz / 248m

Cast: Elizabeth Taylor, Richard Burton, Rex Harrison, Pamela Brown, George Cole, Hume Cronyn, Cesare Danova, Kenneth Haigh, Andrew Keir, Martin Landau, Roddy McDowall, Robert Stephens, Francesca Annis, Isobel Cooley, Richard O’Sullivan

Cleopatra, the movie that nearly ruined Twentieth Century Fox, has been given the 4k restoration treatment, and was shown at London’s BFI IMAX cinema on 24 November 2015 as part of the BFI’s season of movies about Love. Watching the movie on such a huge screen – now the largest in Europe after the one in Spain burnt down – it’s even more incredible the amount of detail that can be seen in each frame, and how magnificently crazy the whole project must have been to make at the time. The grandeur, the size, the ambition – it all comes across in a movie where the massive budget is defiantly there on screen, and for all to see. In these days of overwhelming CGI, it’s sobering to realise that, some poorly processed inserts, some matte painting, and some modelwork aside, everything was built both to scale and to impress (and not to mention twice). And even after fifty-two years, whatever else you can say about Cleopatra, it’s still a movie that impresses.

It’s interesting to wonder what the movie would have been like under the stewardship of its original director, Rouben Mamoulian, and if the production had stuck to its proposed $2 million budget. Or if the original cast had stayed on board: Peter Finch as Caesar, Stephen Boyd as Mark Antony, and briefly, before Elizabeth Taylor was cast in the title role, Joan Collins. Alas, we’ll never know, but one thing we can be sure of is that we wouldn’t be talking about that version anywhere near as much as we talk about this one.

Cleopatra - scene3

The production was almost doomed from the start. Shooting began in London in 1960, but soon ran way over-budget thanks to the elaborate sets and costumes. After sixteen weeks, Mamoulian was fired; seven million dollars had yielded around ten minutes of footage – none of it usable. At the same time, Taylor, who was being paid an unprecedented $1 million, fell ill and had to have a tracheotomy (the scar can be seen in many of her scenes). Production was suspended while the studio worked out what to do next. They approached Joseph L. Mankiewicz, who agreed to write and direct; he had hopes of making the movie in two distinct parts, Caesar and Cleopatra, and Antony and Cleopatra. Each part would run three hours.

With the British weather hampering continued production, and Taylor’s recovery taking longer than expected – so much so that Finch and Boyd had to leave to honour prior commitments – the studio decided to relocate to Rome. Production resumed in 1961 with all the London sets being rebuilt (some would be built a third time), and Mankiewicz finding himself being pressured into providing a script that was being written each day for the next. As the production continued, it also continued to experience delays and problems due to the sheer size of the project. Filming in Rome was eventually completed in 1962, with the final leg of production taking place in Egypt.

Mankiwicz was unceremoniously fired by new studio head Darryl F. Zanuck during post-production, but he had to be re-hired when Zanuck realised that only Mankiewicz knew how all the footage fit together. Re-shoots were filmed in early 1963 – by Mankiewicz – but his early cut lasted six hours (in line with his idea of releasing two separate movies). Zanuck baulked at this, and decided to re-cut the movie himself. The result was the four hour version that was released in June 1963. The movie received mixed reviews, but was surprisingly a commercial success, becoming that year’s highest grossing earner at the box office. However, due to the spiralling costs of making the movie, over $31 million, it failed to make a profit, only breaking even in 1973.

Cleopatra - scene1

But what of the movie itself? Well, yes, it is bloated and arguably in need of some judicious editing, but it is a fascinating viewing experience, with so much to recommend it that it’s a shame it lacks an overall shape to hold all its various elements together. Mankiewicz was a writer who didn’t lack for a great turn of phrase – “Fasten your seatbelts, it’s going to be a bumpy night!” was one of his, for All About Eve (1950) – and he doesn’t disappoint here, but amid all the declamatory, theatrical-sounding dialogue, there’s too much that sounds rooted in modern day psychology. Antony has a great speech after the disaster of the Battle of Actium that is an actor’s dream, but you have to wonder if Antony himself would have been quite so self-analytical. And Taylor has some of the most florid speeches about love you’re ever likely to hear.

The casting is one reason why the movie works as well as it does. Taylor and Burton, who famously began an affair during filming, transfer that newly-found passion to the screen in such a way that there’s no doubt that Antony and Cleopatra are bound together forever (even if he does marry Octavian’s sister – for political reasons, of course). Taylor gives one of her best performances, and Burton matches her for intensity, even though Mankiewicz’s script has him marked out as a self-pitying drunk for much of the time. As Caesar, Harrison is autocratic and ambitious, though a tad reliant on adopting a pedantic uncle approach to the character in his early scenes with Cleopatra.

Cleopatra - scene4

The supporting players are a mixed bunch but they’re spearheaded by a magnificent turn by McDowall as Caesar’s successor Octavian. His speech about Mark Antony’s death is worth the price of admission alone, and he makes the final hour all the more thrilling purely because he doesn’t look intimidating or savvy enough to be a match for Antony and Cleopatra put together. Danova is an intimidating presence as Cleopatra’s loyal servant Apollodorus, Keir is a growling, battle-hardened Agrippa, Cronyn is quietly authoritative as Cleopatra’s advisor Sisogenes, and Landau is Antony’s patient, loyal lieutenant, Rufio. All add lustre to the acting talent at the head of the cast, and add different textures through their performances that help lift the movie out of some occasional doldrums.

So, is it a good movie? Overall, yes it is. It’s clearly got its faults – the Battle of Actium, fought on water, suffers from having very little money spent on it – and some of the spectacle is there just because it can be, but it does have depth, and Mankiewicz is adept at navigating the political nuances of the era, making them accessible to the layman when necessary. In the director’s chair, Mankiewicz, along with DoP Leon Shamroy, creates a visual world for his cast to act in front of that feels both real and organic, and he keeps things moving with a great deal of style and purpose, which, considering the production’s problems, is a fantastic achievement. It’s never going to top any Top 10 Movies of All Time lists but it doesn’t have to. It’s a tribute to the folly of epic moviemaking, to studio perseverance in the face of an apparent disaster, and a monument to what can be achieved on a practical level when a production’s back is against the wall. Simply put, it’s a triumph over adversity.

Rating: 8/10 – much, much better than many people will tell you, and with a reputation for being bloated and unwieldy that just isn’t the case, Cleopatra is an event movie in more ways than one, and manages to achieve much of what it aspires to; with efforts being made to find the rest of Mankiewicz’s six-hour cut, let’s hope a fuller appreciation of this unfairly maligned movie will be available soon.

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A Small September Affair (2014)

27 Monday Apr 2015

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Amnesia, Bozcaada, Car crash, Ceren Moray, Drama, Engin Akyürek, Farah Zeynep Abdullah, Kerem Deren, Love affair, Review, Romance, Turkey

Small September Affair, A

Original title: Bi Küçük Eylül Meselesi

D: Kerem Deren / 102m

Cast: Farah Zeynep Abdullah, Engin Akyürek, Ceren Moray, Onur Tuna, Serra Keskin

TV production associate Eylül (Abdullah) has a dream career, a handsome actor boyfriend, Atil (Tuna), and is living life to the full. But when a car crash causes her to lose her memory of the month immediately before the accident, it also causes her to wonder just why she can’t remember that time, and why she is getting sudden flashes of being on an island. Pressuring her best friend Berrak (Moray) into telling her where she was, Eylül learns that she and Berrak and Atil took a break to the island of Bozcaada a month before the accident.

Eylül insists on returning there, and reluctantly, Berrak goes with her. With her friend clearly hiding something, Eylül separates from her and encounters a young man, Tekin (Akyürek), who recognises her. But she doesn’t recognise him, however, he manages to persuade her to meet him at a nearby restaurant. There, he begins to tell her of the way in which they met, and their first “date”. But when Berrak calls her and warns her to get away, Eylül becomes frightened and runs away. Tekin follows her; when he catches up to her he shares another memory of their time together. When Berrak finds her, Eylül is even more confused by what her emerging memories are telling her, and Berrak’s insistence that they should leave and that everything is all right.

She continues to see Tekin, and he tells her how she decided to stay on the island instead of returning home with Berrak and Atil. He tells her how they visited various places on the island, and how she taught him to swim. Coming to understand that she and Tekin were falling in love, Eylül is still confused as to why Berrak is so worried by her being on the island, even after Tekin tells her about her visit to his home and she came to learn that he is the man she’s always sworn she’ll marry, an artist who provides caricatures for the newspapers. But Eylül remembers more: she remembers the morning after she and Tekin had first made love, and seeing herself in the mirror and not being able to recognise herself from the ambitious, fun-filled young woman she’d always aspired to be.

Atil arrives on the island and he and Berrak make her confront this memory, and the consequence of it, a consequence which she remembers, and which she discovers, brings her back full circle to the car crash and her loss of memory.

Small September Affair, A - scene

The first feature from the co-writer of the highly regarded Turkish TV drama Ezel (2009-2011), A Small September Affair is a small-scale winner that creates enough mystery out of Eylül’s missing month to keep the viewer intrigued and second guessing things throughout. It plays with notions of memory and imagination and longing with a lightness of touch that is both engaging and confident, and it deliberately avoids straying too far into more dramatic territory, despite an undercurrent that threatens to pull it that way on occasion.

The tone of the movie is all-important, as Deren constantly strives to undermine the audience’s expectations of what will happen next. By making Eylül’s memories potentially unreliable (each time she remembers something, Berrak comes along to question it), the movie makes each new revelation about her relationship with Tekin that much more important to her. This allows Eylül’s journey to balance precariously on the knife edge of fantasy, as each new “truth” shows her behaving in ways that don’t match up with someone who views themselves as “too joyful to fall in love”. As a result, the final revelation carries an emotional weight that acts like a hammer blow, and turns the whole need for Eylül to travel to Bozcaada completely on its head (as well as explaining Berrak’s behaviour).

The central romance between Eylül and Tekin is handled with a great deal of whimsy but it’s also well sustained by Deren and his two leads. Abdullah, with her blonde hair and depthless eyes, shines, both as the fun-seeking Eylül and her disconcerted, amnesiac future self. She’s an attractive screen presence, sprightly and high-spirited, allowing the audience to empathise with Eylül’s predicament and urge her onwards in her search for the “truth”. As her paramour Tekin, Akyürek employs a winning, puppy dog look that screams younger Ashton Kutcher lookalike, but it proves a strangely apt fit for a character who admits to being scared of everything, and who is joyful in ways that Eylül can only dream of. Together they play out a romantic game of charades that allows both actors to give completely endearing performances.

As might be expected, though, there are a couple of flaws in Deren’s script. Berrak’s behaviour, while explained at the end, is still too aggressive to be entirely acceptable in someone who is supposed to be Eylül’s best friend; and it’s hard to work out why Eylül herself is so suddenly convinced of her need to leave Tekin and Bozcaada behind, given that she’s acclimated to the island lifestyle so quickly and with such fervour (it’s that predictable moment in a romantic drama where an obstacle to everlasting love rears its ugly head and spoils things).

The movie benefits tremendously from its sun-drenched Bozcaada locations, lovingly lensed by DoP Gökhan Tiryaki, and makes a virtue of the relaxed, easy-going lifestyle its inhabitants enjoy. There’s also a fitting score by Toygar Isikli that matches the casual rhythms of island life and the touching romance between Eylül and Tekin, as well as the apt inclusion of Cyndi Lauper’s Girls Just Want to Have Fun in a party scene.

Rating: 8/10 – an emotionally sincere romantic drama that has its own fair share of deft, comedic moments, A Small September Affair lifts the spirits with efficiency and ease; with its central mystery adding depth to an otherwise standard love affair, the movie works on more than one level – and successfully throughout.

NOTE: The following trailer doesn’t have any English subtitles, but it’s still worth a look.

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Mini-Review: Focus (2015)

06 Friday Mar 2015

Posted by dullwood68 in Movies

≈ Leave a comment

Tags

Buenos Aires, Con artist, Drama, Gambling, Gerald McRaney, Glenn Ficarra, John Requa, Love affair, Margot Robbie, Motor racing, New Orleans, Pickpocket, Review, Rodrigo Santoro, Thriller, Will Smith

Focus

D: Glenn Ficarra, John Requa / 105m

Cast: Will Smith, Margot Robbie, Rodrigo Santoro, Gerald McRaney, Adrian Martinez, BD Wong, Robert Taylor, Brennan Brown, Dotan Bonen

Longtime conman Nicky Spurgeon (Smith) meets inexperienced grifter Jess (Robbie) and despite his initial misgivings, agrees to tutor her in the ways of becoming a real con artist. He takes her to New Orleans where he involves her in a series of minor cons such as pickpocketing. He introduces her to his crew as they prepare to hit the town during the Superbowl weekend. Altogether they amass $1.2 million from their efforts, but Nicky takes Jess to the Superbowl game where he’s challenged by compulsive gambler Liyuan Tse (Wong). The bets grow bigger until Nicky loses the money he and his crew have gained. He gets Liyuan to go for double or nothing and loses again. It’s only on when the stakes reach an even higher level that Jess realises it’s all a con designed to part Liyuan from his money.

With their relationship becoming romantic, Nicky’s reservations about becoming involved with a fellow con artist lead him to pay off Jess and leave her in New Orleans. Three years pass. Nicky is in Buenos Aires working a sting on local businessman and racing car team owner Garriga (Santoro) when he discovers that Jess is Garriga’s girlfriend. His feelings for her resurface, making it difficult for him to continue with the sting. He tries to pursue her at the same time, but Jess is reluctant to get involved with him a second time. Garriga’s head of security, Owens (McRaney) is suspicious of what Nicky is actually up to, and when he and Garriga become aware of the true sting, they grab Nicky and Jess as they try to leave town. Taken to an abandoned warehouse, Nicky has to find a way to keep both of them alive.

Focus - scene

Will Smith’s recent big screen appearances – the dreadful After Earth (2013), and cameos in Anchorman 2: The Legend Continues (2013) and Winter’s Tale (2014) – have been less than overwhelming, so it’s no surprise that he’s returned with a role that allows him to express the kind of genial, roguish charm that he’s more renowned for. However, thanks to a script by directors Ficarra and Requa that never quite works out what type of movie it is, Focus allows Smith only occasional chances to shine, and in the end, leaves him as stranded as Jess is in New Orleans. At one point, Nicky says that he can convince anyone of anything, but in practice he never convinces the viewer that his feelings for Jess are real, or even that he’s as good a conman as he makes out.

Away from Smith’s painful attempts at looking lovelorn, we have a movie that struggles to add any thrills to proceedings and only really comes alive thanks to Wong’s involvement at the Superbowl game; his extrovert performance is the movie’s one highlight. Afterwards it’s all downhill with a less than convoluted con game that steals shamelessly from The Sting (1974) and asks us to take such a leap of faith in terms of what happens to Nicky that most viewers will be picking their jaws up off the floor in stunned disbelief (or amusement). Slackly directed, and with a supporting cast reduced to mouthing platitudes, Focus won’t hang around long in the memory, and proves another stumbling block in Smith’s return to the A-list.

Rating: 5/10 – good location photography and a glossy sheen to things lift Focus out of the doldrums, and the pickpocket sequences – overseen by Apollo Robbins – are cleverly constructed and edited; with Robbie adrift in a sea of watered-down machismo, however, this is not a movie that serves its cast particularly well and is worryingly predictable.

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The Sin of Nora Moran (1933)

25 Tuesday Nov 2014

Posted by dullwood68 in Movies

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Tags

Abuse, Alan Dinehart, Circus, District attorney, Drama, Execution, Governor, Literary adaptation, Love affair, Murder, Paul Cavanagh, Phil Goldstone, Review, W. Maxwell Goodhue, Zita Johann

Sin of Nora Moran, The

D: Phil Goldstone / 65m

Cast: Zita Johann, Paul Cavanagh, Alan Dinehart, Claire Du Brey, John Miljan, Henry B. Walthall, Sarah Padden, Cora Sue Collins, Aggie Herring, Otis Harlan

Edith Crawford (Du Brey), the wife of a state governor, goes to visit her brother John Grant (Dinehart), the District Attorney. She shows him several letters that prove her husband, Dick (Cavanagh) has been having an affair. She wants to know the woman’s name, but her brother tries to reassure her there could be other explanations for the letters, but then he lets slip that he knew what was going on. Pushed to reveal the woman’s name he hands his sister a newspaper cutting that reports the imminent execution of a woman named Nora Moran (Johann). At first, Edith doesn’t see the connection, but then her brother begins to explain.

He tells her of an orphaned child called Nora (Collins) who is adopted by an elderly but loving couple, the Morans (Herring, Harlan). When Nora is twenty-one the Morans are both killed in a car crash. Using her inheritance, Nora determines to be a dancer and seek her fame and fortune in the theatre. But she encounters disappointment after disappointment, until, almost broke, she gets a job working in a circus as the assistant for lion wrestler, Paulino (Miljan). Paulino proves to be a sexually abusive boss; with the aid of one of her co-workers, Mrs Watts (Padden), Nora flees the circus and heads to New York where she finds work in a nightclub. There she meets Dick Crawford, and their romance begins.

Grant becomes aware of his brother-in-law’s affair and pays the lovers a visit at Dick’s country hideaway. He confronts the pair; Nora pretends to have “known” several men during her time at the circus. This causes Dick to leave, and after she assures Grant she won’t hang around anymore, he leaves too. Later, Nora telephones Grant and asks him to return to the hideaway, where she shows him the dead body of a man, a man she has murdered. Fearing a scandal, Grant helps Nora dispose of the body, and she leaves town. Later, Nora is arrested for the man’s murder, and at her trial, and with Nora refusing to give any evidence to save herself, she is sentenced to be electrocuted.

Sin of Nora Moran, The - scene

A somewhat surreal, non-linear drama, The Sin of Nora Moran is a strange, visually inventive movie that resists easy categorisation – it has elements of murder, mystery, romance, redemption and sacrifice – and gives Johann her best role by far. It’s also a far cry from the more usual romantic dramas of the period, and doesn’t shy away from showing the terrors of pre-execution incarceration.

Dark and brooding, this adaptation of W. Maxwell Goodhue’s story Burnt Offering, features a narrative that begins in the office of the District Attorney and then flits about from place to place – and from time to time – in its efforts to tell a very plain tale and infuse it with some flair. At one point, Grant makes Dick look at Nora in her coffin; it’s a fantasy sequence but unsettling all the same for not being signposted. Or there’s the shot of Nora’s head being encased in imaginary flames (a none-too blatant example of how badly she’s being treated, as well as being indicative of her expected post-mortem destination). With imagery such as this, the  movie has a vivid, sometimes hallucinatory quality that perfectly complements the more melodramatic twists and turns of the script.

Full credit for this must go to the director, as well as the screenplay by Frances Hyland that, together, forge a significantly darker tragedy than perhaps even audiences of the time might have expected. Faced with the man she loves being exposed as a love cheat in the press, and his reputation tarnished irrevocably, Nora does what every lovestruck young woman would do: she keeps quiet, and by doing so, keeps him safe. The theme of self-sacrifice is given probably its best expression when Grant’s intrusion leads to Nora’ almost immediate, and selfless, decision to withdraw from Dick’s life; she believes with all her heart that his reputation and character mustn’t be sullied. (Of course, these days, Dick would probably be left to fend for himself, and would probably be asked to do whatever fun things someone could come up with.)

With all the symbolism on display, and no end of metaphors for those viewers who aren’t quite up to speed on the visual clues, The Sin of Nora Moran features several broad acting performances from the likes of Dinehart and Miljan, while sadly confirming what contemporary audiences must have known all along: that Cavanagh was an actor with the range of a large piece of wood. As the titular heroine, Johann gives an assured, sympathetic performance as the young woman looking for some fleeting happiness to make her life all the more worthwhile.

Rating: 7/10 – shot in an unfussy yet often severe style by DoP Ira H. Morgan, and with a suitably intense score by an uncredited Heinz Roemheld, The Sin of Nora Moran is a cautionary tale of love gone awry that is often enthralling, and visually arresting; Johann shines in the title role, and the expected sentimentality is given short shrift thanks to the script’s determined sobriety.

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