Hi all, Connor Lloyd Crews here. On our pod this week – SMC Pod #128: Movie Posters – we mention a heckuva lotta posters. I present them here with minimal comments for your perusal. Enjoy!
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There is not a lot more pleasurable than an all-star mystery movie. They used to do these a lot in the 1970s and ‘80s, like Agatha Christie’s Murder on the Orient Express, The Mirror Crack’d, and Evil Under the Sun, or comedically with The Cheap Detective, Clue, and Murder by Death.
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This film was another situation where I saw the trailer and thought, Ralph Fiennes? Anya Taylor-Joy? High end restaurant? Tasting menu? Did they make this film for me?
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At the time of its original release in 1981, there had never been a movie like Roar, which is an impressive feat considering the roughly eighty years of film history before it. Even more impressive is that there hasn’t been a movie like it since. Going further, there will never be another movie like it. (Discounting any descent into a Mad Max-like anarchic dystopia.)
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This is my favourite way to see a film, knowing nothing at all about it, only that it was good. Or so I was lead to believe.
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I had originally intended this post to be about the current film, Tár, starring Cate Blanchett and written and directed by Todd Field but I couldn’t answer a question about it for myself. The question is not “Is this film any good?” The film, I’m happy to report, is definitely and without question any good.
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When I first saw the trailer for The Banshees of Inisherin, I knew this was the film for me.
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Anyone who has ever dedicated a substantial amount of their free time to watching movies will have a similar story of at least one film that seems to exist for them alone. If that aforementioned anyone is me, such a list includes 2013’s paranoia-drenched tension nightmare, Magic Magic.
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Yes yes, I know, it’s November now, but only just barely, and I have three Hammer Dracula films left to do, so I’m squeaking them in under the wire of the end of spooky season!
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The last film in this series celebrating very good, contemporary films that maybe fall ever so short of an absolutely legendary cinematic triumph is a Spanish/Ethiopian co-production which is a combination that is precisely as uncommon as this movie is delightfully nuts.
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The sixth Hammer Dracula film, and I’m an old pro by now, thinking, “Dracula will be resurrected about 40 minutes in, I wonder how they’ll manage it this time? And will Chris have fewer than twenty lines or fewer than ten?”
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Part Four of probably at least one more in this series of recent films that are actually very good despite not being absolutely one-hundred per cent perfect. (In other words, a normal movie.)
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