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94 Minutes | Comedy, Romance | 2020-07-18
📥 A Nice Girl Like You 2020
📥 DOWNLOAD HERE
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105 Minutes | Thriller, Mystery | 1949-08-31
📥 The Third Man 1949
📥 DOWNLOAD HERE
Holly Martens (Joseph Cotten) receives a job offer from his friend Harry Lime (Orson Welles) in postwar occupied Vienna. He arrives there only to find that Lime is dead and every witness has a different story. Being a pulp writer, Holly thinks he can solve the mystery.
But this is a Graham Greene story, and the mystery is not just a whodunit but an exploration of evil. Tangling with a nihilistic band of black marketers exploiting the corruption and ruin of a great city after the war, Holly is told that he is in way over his head.
The movie has many unusual touches. Expressionist camerawork increases the feeling of dread. The traditional orchestral accompaniment is eliminated, replaced by a single folk musician playing an eerie tune on a zither. Several scenes of the movie are in un-subtitled Austrian-German, leaving the audience feeling as bewildered as Holly as he tries to communicate with the locals. Holly's amateur sleuthing is frequently comic, in a story that is deadly serious.
One of the masterpieces of noir cinema.
Nobody thinks in terms of human beings. Governments don't. Why should we?
The Third Man is directed by Carol Reed and written by Graham Greene. It stars Joseph Cotton, Alida Valli, Trevor Howard and Orson Welles. Music is by Anton Karas and cinematography by Robert Krasker.
When writer Holly Martins (Cotton) travels to Vienna to hook up with his childhood friend Harry Lime (Welles), he is distressed to find that Harry has been killed in a road accident. After attending the funeral, Holly comes to believe that Harry's death was no accident and begins to try and clear his friend's name. But nothing is as it first seems.....
It's well over 60 years since it was released and Carol Reed's film noir thriller continues to feel fresh and hold up under the closest of critical scrutiny. A haunting tale as it is anyway, the black market racketeers and penicillin tampering bastards leaving an unsavoury taste in the mouth, but the film is still further boosted by the director's ability to craft unnerving atmosphere by way of style and clinically paced passages of play. Performances are superlative across the board, with the film producing equal amounts of iconography and mischievous myth-making. It stuns with the narrative structure unfolding amongst a post war ravaged Vienna that dovetails with the fractured nature of the human characters.
A maze of moist cobbled streets host chases involving man and long shadows, there's a fairground scene that is now steeped in folklore, which in turn is a witness to the banality of evil, and of course those cavernous sewers, home to such sullen tones. Reed brings the canted angles, with moral decay the order of the day and a side order of confusion to finally fill your noir hungry bellies. Krasker deals in expressionistic chiaroscuro as Karas plucks away at his Zither to land in your ears for eternity. A murder mystery, a pained romance and a suspense laden film noir, The Third Man is enduring in its qualities. Cuckoo clock and cat, shadowed doorway and the lone sombre walk of a female, it's still today entertaining the film purist masses and still being pored over by film makers home and abroad. The Third Man, it's a masterpiece by jove. 10/10
Nobody thinks in terms of human beings. Governments don't. Why should we?
The Third Man is directed by Carol Reed and written by Graham Greene. It stars Joseph Cotton, Alida Valli, Trevor Howard and Orson Welles. Music is by Anton Karas and cinematography by Robert Krasker.
When writer Holly Martins (Cotton) travels to Vienna to hook up with his childhood friend Harry Lime (Welles), he is distressed to find that Harry has been killed in a road accident. After attending the funeral, Holly comes to believe that Harry's death was no accident and begins to try and clear his friend's name. But nothing is as it first seems...
It's well over 60 years since it was released and Carol Reed's film noir thriller continues to feel fresh and hold up under the closest of critical scrutiny. A haunting tale as it is anyway, the black market racketeers and penicillin tampering bastards leaving an unsavoury taste in the mouth, but the film is still further boosted by the director's ability to craft unnerving atmosphere by way of style and clinically paced passages of play. Performances are superlative across the board, with the film producing equal amounts of iconography and mischievous myth-making. It stuns with the narrative structure unfolding amongst a post war ravaged Vienna that dovetails with the fractured nature of the human characters.
A maze of moist cobbled streets do host foot chases involving man and long shadows, there's a fairground scene that is now steeped in folklore, which in turn is a witness to the banality of evil, and of course those cavernous sewers, home to such sullen tones. Reed brings the canted angles, with moral decay the order of the day and a side order of confusion to finally fill your noir hungry bellies. Krasker deals in expressionistic chiaroscuro as Karas plucks away at his Zither to land in your ears for eternity. A murder mystery, a pained romance and a suspense laden film noir, The Third Man is enduring in its qualities. Cuckoo clock and cat, shadowed doorway and the lone sombre walk of a female, it's still today entertaining the film purist masses and still being pored over by film makers home and abroad. The Third Man, it's a masterpiece by jove. 10/10
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129 Minutes | Comedy, Drama | 1939-10-19
📥 Mr. Smith Goes to Washington 1939
📥 DOWNLOAD HERE
Fun movie with an interesting story and characters but with an extremely naïve ending.
In any case, I must to be seen by Frank Capra and a young James Stewart.
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222 Minutes | Adventure, History, Drama | 1959-12-26
📥 Ben-Hur 1959
📥 DOWNLOAD HERE
Majestic in scope and story telling.
The truth is, is that Ben-Hur deserved every award that was showered upon it. It's a titanic film both in structure and scope. It doesn't need me to go over old ground about how much the film cost to make, the number of extras, the number of sets and etc, it's now folklore that this film could have bankrupted MGM such was the investment, but they needn't have worried since the film went on to make 40 million and still counting.
Every cent spent was worth it because it's a magnificent film, the kind that you can get swept away with, the minute the overture starts you feel little tingles as the hairs on your arms stand up on end, you are aware that for over three hours director William Wyler and lead actor Charlton Heston are going to own you.
The story centres around Judah Ben-Hur (Heston) who through his staunch loyalty to the Jewish race falls out with his dear Roman friend Messala (Stephen Boyd). He is dispatched to be a slave in the galleys and swears revenge on Messala. After pirates attack the ship he is slaved on, he manages to escape and in the process he saves Roman Admiral Quintus Arrius (Jack Hawkins) and this sets Juda on his destiny to enact revenge on his old friend as Quintus makes him a citizen of Rome.
It sounds so simple yet it's a story of the highest order because crucial to the film's core strength is Judah's encounters with Christ, and it's only during the harsh and upsetting final reel that we realise the whole point of the film. There's also strong themes involving family love and loyalty, friendships formed or broken under race and creed banners, and of course religious beliefs and all that comes with that kettle of fish...
It's epic, it's simply beautiful, it's actually essential viewing for any serious cinema fan, the film's set pieces are still wondrous even today. You will marvel at the chariot race (a stunning 20 minutes long), you will hoist the flag during the pirate attack, and if you have the emotion in you? You will be hit with sombre silence as Christ is crucified. Come the closing music I personally feel like clapping such is the appreciation I have for this truly wonderful film, if you haven't seen it then make a point of doing so because everything that is great about cinema is right here. 10/10
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95 Minutes | Drama, Comedy, Animation, Family | 2015-06-09
📥 Inside Out 2015
📥 DOWNLOAD HERE
This is the most incredible movie I've ever seen :)
Another great movie from Pixar. The story in entangling and is structured in a master way to show us in a nice recreation how the mind works and emotions like sadness are important for a healthy life.
A must to be seen.
A powerfully moving story, Inside Out takes place inside the mind of a young girl, Riley, as she tackles relatively normal hassles, from growing up to moving away. Inside her mind comes five emotions, all with different perceptions of life.
There's Joy, who takes charge and her job is to keep Riley content, Sadness, Anger, Fear, and Disgust, and together, they work together (or try) to keep Riley from harming herself. They live together in the headquarters, or Riley's head, and they look after Riley's memories.
After eleven years of enjoyment and content, Riley and her parents are forced to move out of Minnesota, away from her friends and hockey team, and moves to the city of San Francisco inside a desolate and cold house.
But things get even more anarchic when Joy and Sadness are sundered away from the rest of the gang, holding onto Riley's core memories that make Riley, well, Riley. One by one, the islands of personality fall apart as the rest of the gang back in headquarters watch in dismay and anguish. After all, Joy is not there to keep things under control.
Inside Out truly contemplates the hardships of growing up, but every problem comes to a heart-wrenching solution. The movie truly captivates this and continues the Pixar tradition of inspiration, family, and friendship in a little bit under two hours. Watch this, you must.
I think this is one of the best animated feature films I have ever seen, perhaps even the best one. It is very imaginative, for a start, colorful in ways that capture the eye, and its message is as deep as you want it to be.
By that I mean it would be productive and fun to watch this with children of all ages. The older or more mature the child is, the deeper you can delve into the issues of what to do about feelings of anger, sadness, and so on. With young children, you could even watch it first time through as it is, and save comments or life lessons for additional viewings. There is plenty of action and humor to be found here to entertain hem on that level.
And as a side note, we have no small children to watch this with, but it is also a good movie for adults to settle into, especially during times of stress or worry. We read a recommendation for it during the COVID19 crisis.
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101 Minutes | Drama | 2020-03-13
📥 Never Rarely Sometimes Always 2020
📥 DOWNLOAD HERE
If 'Never Rarely Sometimes Always' could be summed up in one word, it's “compassionate“. It is a heartbreaking and powerful experience that should be considered one of the year's most essential watches. Despite being incredibly subdued, it is never boring, and its commitment to authentically tell an all-too-common story only adds to its power.
- Ashley Teresa
Read Ashley's full article...
https://www.maketheswitch.com.au/article/review-never-rarely-sometimes-always-the-film-every-teenager-needs-to-see
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133 Minutes | Drama | 1975-11-18
📥 One Flew Over the Cuckoo's Nest 1975
📥 DOWNLOAD HERE
**Subject to the silliest of internet theories**
There are a lot of movie theories but the silliest of all is this nonsense that is all over the internet claiming that _the Chief killed the unresponsive McMurphy because he thought McMurphy was ignoring him._
These idiots claim the Chief did not notice the scars on McMurphy's head and simply thought the unresponsive McMurphy was ignoring him - so the Chief kills him in a fit of rage. Ridiculous.
The Chief killed McMurphy as an act of _kindness_. Chief was releasing McMurphy - a once spirited man now reduced to a vegetable thanks to the control freak, _Nurse Wretched._
This classic movie still holds up after all these years and is a compelling story of blossoming friendships in a lunatic asylum. Nicholson shines in his best performance and is ably supported by Christopher Lloyd, Brad Dourif and Danny DeVito.
***The spirit of freedom vs. the spirit of legal-ism***
Set in the early 60s, the story involves R.P. McMurphy (Jack Nicholson) and his arrival at a mental institution in Salem, Oregon (where the film was shot). He plays the "mental illness" card to get out of prison time, thinking it'll be a piece of cake, but he's wrong, very wrong. Everything appears well at the hospital and Nurse Ratched (Louise Fletcher) seems to be a benevolent overseer of McMurphy's ward, but there are sinister things going on beneath the surface.
"One Flew Over the Cuckoo's Nest" (1975) is a film you'll appreciate more as you mature. I saw it when I was younger and, while I thought it was good, I didn't 'get' a lot of the insights the film conveys.
The movie criticizes the way institutions deal with mental illnesses. Their "therapy" is futile and only makes the patients dependent on the institution itself, thereby creating its need for existence (often at the taxpayer's expense). McMurphy is a threat to the establishment and therefore must be "dealt with."
A lot of people criticize the film by suggesting that Nurse Ratched "isn't that bad" or that "she was only trying to do her job", etc. I had the same reaction the first couple of times I saw it. This reveals an aspect of the film's brilliance: Ratched's malevolence is so subtle that the filmmakers allow the possibility for complete misinterpretation. Yes, from an administrative point of view, she seemingly does a good job, she's authoritarian without being sadistic, and she cares for the residents as long as they follow the rules (more on this below). Yet she is demonic as a robotized arm of a dehumanizing system. She maintains the residents in a state of oblivion and marginalization; they are deprived of their dignity because the system sees them as subhuman.
The filmmakers and Fletcher (not to mention the author of the book, Ken Kesey) make Nurse Ratched a more effective antagonist by showing restraint. Compare her to, say, Faye Dunaway's portrayal of Joan Crawford in "Mommie Dearest," which pretty much turned her into a cartoon villain. Ratched isn't such an obvious sadist, yet she uses the rules to tyrannize the men and reduce them to an almost infantile state of dependency and subservience. Her crowning achievement is Billy Bibbit (Brad Dourif).
McMurphy, despite his obvious flaws, is the protagonist of the story. Although he's impulsive and has a weakness for the female gender, which got him into prison in the first place, he has a spirit of freedom and life. His problem is that he needs to learn a bit of wisdom; then he can walk in his freedom without causing unnecessary harm to himself and others.
Nurse Ratched, on the other hand, represents legal-ism, which is an authoritarian spirit obsessed with laws or rules. This is clearly seen in the World Series sequence: Even though McMurphy gets the final vote he needs for his ward to watch the Series Ratched refuses to allow it on a technicality. When McMurphy then PRETENDS to watch the game and works the guys up into a state of euphoria, Ratched reacts with sourpuss disapproval. That's because legalism is the opposite of the spirit of freedom, life and joy. Legalism is all about putting on appearances and enforcing the LETTER of the law (rule). The problem with this is that "appearances" are not about inward reality and, worse, "the letter kills."
Despite his folly and mistakes, McMurphy does more good for the guys in his ward than Ratched and the institution could do in a lifetime. How so? Not only because he has a spirit of freedom and life, but because he loves deeply, but only those who deserve it – the humble – not arrogant abusers. When you cast restraint to the wind and love with all your heart you'll reap love in return, as long as the person is worthy. A certain person hugs McMurphy at the end because he loves him. McMurphy set him free from the shackles of mental illness and, worse, the institution that refuses to actually heal because it needs mentally ill people to exist; it only goes through the motions of caring and healing (not that there aren't any good people in such institutions, of course).
No review of this film is complete without mentioning the notable character of “Chief” Bromden, played effectively by Will Sampson.
The film runs 2 hours and 13 minutes.
GRADE: A