I sold so many DVDs of this movie, when I worked at Tower Video. My secret was featuring the disc on an end cap with a placard reading "From the director of SCARFACE". And I actually had several customers come back in the store saying how much they liked it.

I was one of the Dailies Operators. I'd get the footage from set, download it, process it, sync and label each shot, transcode everything, create the daily Avid project, create viewable files for the DP, director, and producers, and archive everything on a daily basis.

I remember when I was a kid I kind of embarrassed my parents when we went to the beach because I kept running up and down shoreline yelling, "I WANNA LIVE!!!"

This was the first movie I worked on and received an onscreen credit. It'll always hold a special place in my heart.

Oh man, is that movie BAD! Embarrassing on every level. And it effectively killed the careers of the director and star.

GHOSTBUSTERS II is a pretty bad movie for a lot of reasons, one of which is the lack of an Elmer Bernstein score.

If most people out protesting had actually gone to the polls last November and voted, or not thrown their vote away on a third party candidate, there'd be no need to protest. In my eyes they're just as responsible for the country being in the mess its in as those who openly backed the fascist regime

Arc of a Diver... no question. It gets regular spins on my turntable, CD player, and iPod.

I like how Penn seems to be trying to bring back tge 50s/60s style of interview where you could barely see anyone thanks to the clouds of cigarette smoke filling the frame.

I will never be able to fully express how much @drewstruzanart.bsky.social art has meant yo me over the past 40-someodd years. His illustrations were, for me, inspiring and awe-inspiring. RIP

Yes! The half-hour, wordless heist scene is a masterclass in filmmaking. Perfectly staged and paced. Suspenseful and exciting. Dassin was an exceptional filmmaker.

I, and a couple of friends, actually did see both that Saturday night. We had a blast.

I remember them saying how impressed they were that the film was able to recover from a disastrous first reel. I didn't think the first reel was disastrous but it did start a little slow but it picked up pretty quickly and from then on it was a breakneck screwball comedy. I ended up seeing it twice

You know, for an app that's called 'Bluesky', there's sure a lot of doom-and-gloom posting on here, shit that is further wrecking my mental health. So don't be surprised if I ditch this account for good. Not that anyone on here will fucking notice.

This is easily one of the WORST movies I've seen in a while. Doesn't even feel like a Shane Black film. And it's a complete insult to Donald E. Westlake's work. Also, fuck this movie for shooting in Australia, which doesn't look a goddamn thing like New York.

That's NOT a still ftom DOUBLE INDEMNITY. That is a shot from THE BIG COMBO, with perfect noir photography by the great John Alton. Please fix your mistake.

Sort of a departure for Ealing Studios, which usually showcased a humorous post-war can-do British attitude in their films. Though the humor in their films was rather dark and usually contained ironic endings, so I guess this film does fit the studio's criteria.

Way back when I used to work on movies (fuck you, Hollywood!) I worked on a low budget Indie show called THE LONG SHADOW, for which she was an Executive Producer. She was very nice & enjoyed telling me about her days on one of my favorite television series, "Night Court." RIP to a terrific person

It's also on Criterion, though I haven't watched it yet, so I can't comment on how it looks yet.

I really liked that movie. I had seen the original French version a few years earlier and actually liked it. I was never much of a fan of French Farce but I did end up liking one or two

Oh man, that and DARK NIGHT OF THE SCARECROW are two movies that unnerved the hell out of me as a kid. They got under my skin and stayed there ever since. Johnathan Pryce, with the faces of the two boys tattooed on his palms and making a fist so tight he draws blood, still gives me nightmares

1 in 3 staff members of The Independent have had a romantic relationship with a farm animal.

Oh lord. Billy Jack goes to the old west.

WOLFEN is always a favorite. That shot of Albert Finney walking up the giant steel cable of Brooklyn Bridge, followed by the scene that takes place between him and Edward James Olmos atop the bridge, is just incredible and still gives me vertigo. Its too bad Michael Wadleigh never made another film

Either-or... but I will say I really dig your hair.

I'm amazed at how many people praised the new Naked Gun movie. Its awful! Save for a few minor laughs, the movie is a fucking BORE. The only reasoning I can come up with for the positive notices is that movies are so bad these days that anything that's a notch above terrible is deemed great.

I adore this film.

Gave that one a rewatch last week. It's been a long-time favorite, ever since my Dad showed it to me when I was a kid.

A few other Lloyd performances I've loved since I was young. Frognose in THE LADY IN RED, directed by Lewis Teague and written by John Sayles. With Richard Lester and stars William Katt & Tom Berenger in BUTCH & SUNDANCE: THE EARLY DAYS. Michael Keaton's high-strung coworker in MR. MOM