This mid-60s detective story has the right ingredients — a good mystery and interesting characters. David Jannsen gets to play a ‘Bosch’- style lone wolf investigator given a public thrashing for a ‘mistake’ that he knows was no mistake at all. Can a ‘bad cop’ redeem himself? The parade of mid-level guest stars — Stefanie Powers, Joan Collins, Lillian Gish, Steve Allen — may resemble a TV movie, but the tense show has a good feel for Los Angeles and the new swingin’ singles lifestyle. It might be Buzz Kulik’s best job of direction, and it has a great music score by Jerry Goldsmith.
Warning Shot
Region Free Blu-ray
Viavision [Imprint] #177
1967 / Color / 1:78 widescreen / 99 min. / Street Date October 26, 2022 / Available from [Imprint] / au 39.95
Starring: David Janssen, Ed Begley, Stefanie Powers, George Grizzard, Keenan Wynn, Joan Collins, Lillian Gish, Eleanor Parker, Sam Wanamaker, George Sanders, Steve Allen, Carroll O’Connor, Walter Pidgeon.
Cinematography: Joseph F. Biroc...
Warning Shot
Region Free Blu-ray
Viavision [Imprint] #177
1967 / Color / 1:78 widescreen / 99 min. / Street Date October 26, 2022 / Available from [Imprint] / au 39.95
Starring: David Janssen, Ed Begley, Stefanie Powers, George Grizzard, Keenan Wynn, Joan Collins, Lillian Gish, Eleanor Parker, Sam Wanamaker, George Sanders, Steve Allen, Carroll O’Connor, Walter Pidgeon.
Cinematography: Joseph F. Biroc...
- 11/22/2022
- by Glenn Erickson
- Trailers from Hell
Oh to be a child in the ‘50s; Saturday matinees, boxed popcorn and cheap soda, flung in the air as the latest nuclear tinged monster loomed over the screen, impartial in its destruction of the masses. That feeling of wonder and awe is definitely present in It Came from Beneath the Sea (1955), a fairly pro forma Atomic blast heightened immeasurably by the effects magic of Ray Harryhausen.
Released stateside in July as the top half of a double bill with Creature with the Atom Brain by Columbia Pictures, It Came pulled in close to $2 million against a $150,000 budget, and critics were dismissive except for Harryhausen’s wizardry. I can understand the under evaluation, although I think there’s a little more besides the show stopping effects that helps It Came work.
But first, a radioactive retelling: Naval Commander Pete Mathews (Kenneth Tobey – The Thing from Another World) is taking the...
Released stateside in July as the top half of a double bill with Creature with the Atom Brain by Columbia Pictures, It Came pulled in close to $2 million against a $150,000 budget, and critics were dismissive except for Harryhausen’s wizardry. I can understand the under evaluation, although I think there’s a little more besides the show stopping effects that helps It Came work.
But first, a radioactive retelling: Naval Commander Pete Mathews (Kenneth Tobey – The Thing from Another World) is taking the...
- 4/20/2019
- by Scott Drebit
- DailyDead
John Ford's best war movie does a flip-flop on the propaganda norm. It's about men that must hold the line in defeat and retreat, that are ordered to lay down a sacrifice play while someone else gets to hit the home runs. Robert Montgomery, John Wayne and Donna Reed are excellent, as is the recreation of the Navy's daring sideshow tactic in the Pacific Theater, the 'speeding coffin' Patrol Torpedo boats. They Were Expendable Blu-ray Warner Archive Collection 1945 / B&W / 1:37 flat Academy / 135 min. / Street Date June 7, 2016 / available through the WBshop / 21.99 Starring Robert Montgomery, John Wayne, Donna Reed, Jack Holt, Ward Bond, Marshall Thompson, Cameron Mitchell, Paul Langton, Leon Ames, Donald Curtis, Murray Alper, Harry Tenbrook, Jack Pennick, Charles Trowbridge, Louis Jean Heydt, Russell Simpson, Blake Edwards, Tom Tyler. Cinematography Joseph H. August Production Designer Film Editor Douglass Biggs, Frank E. Hull Original Music Earl K. Brent, Herbert Stothart, Eric Zeisl Writing credits Frank Wead, Comdr. U.S.N. (Ret.), Based on the book by William L. White Produced and Directed by John Ford, Captain U.S.N.R.
Reviewed by Glenn Erickson
They Were Expendable has always been appreciated, but hasn't been given a high roost in John Ford's filmography. Yet it's one of his most personal movies, and for a story set in the military service, his most serious. We're given plenty of service humor and even more sentimentality -- with a sing-along scene like those that would figure in the director's later cavalry pictures, no less. Yet the tone is heavier, more resolutely downbeat. The war had not yet ended as this show went before the cameras, yet Ford's aim is to commemorate the sacrifices, not wave a victory flag. By 1945 Hollywood was already rushing its last 'We're at War!' morale boosters out the gate and gearing up for production in a postwar world. Practically a pet project of legendary director John Ford, They Were Expendable is his personal tribute to the Navy. Typical for Ford, he chose for his subject not some glorious victory or idealized combat, but instead a thankless and losing struggle against an invader whose strength seemed at the time to be almost un-opposable. They Were Expendable starts at Pearl Harbor and traces the true story of an experimental Patrol Torpedo Boat unit run by Lt. John Brickley (Robert Montgomery), his ambitious second in command Lt. Ryan (John Wayne) and their five boat crews. The ambience is pure Ford family casting: the ever-present Ward Bond and Jack Pennick are there, along with youthful MGM newcomers Marshall Thompson (It! The Terror from Beyond Space and Cameron Mitchell (Garden of Evil, Blood and Black Lace) being treated as new members of the Ford acting family. Along the way Ryan meets nurse Sandy Davyss (Donna Reed). Despite their battle successes, the Pt unit suffers casualties and loses boats as the Philippine campaign rapidly collapses around them. Indicative of the unusual level of realism is the Wayne/Reed romance, which falls victim to events in a very un-glamorous way. There's nothing second-rate about this Ford picture. It is by far his best war film and is as deeply felt as his strongest Westerns. His emotional attachment to American History is applied to events only four years past. The pace is fast but Expendable takes its time to linger on telling character details. The entertainer that responds to the war announcement by singing "My Country 'tis of Thee" is Asian, perhaps even Japanese; she's given an unusually sensitive close-up at a time when all Hollywood references to the Japanese were negative, or worse. MGM gives Ford's shoot excellent production values, with filming in Florida more than adequate to represent the Philippines. Even when filming in the studio, Ford's show is free of the MGM gloss that makes movies like its Bataan look so phony. We see six real Pt boats in action. The basic battle effect to show them speeding through exploding shells appears to be accomplished by pyrotechnic devices - fireworks -- launched from the boat deck. Excellent miniatures represent the large Japanese ships they attack. MGM's experts make the exploding models look spectacular. Ford's sentimentality for Navy tradition and the camaraderie of the service is as strong as ever. Although we see a couple of battles, the film is really a series of encounters and farewells, with boats not coming back and images of sailors that gaze out to sea while waxing nostalgic about the Arizona lost at Pearl Harbor. The image of civilian boat builder Russell Simpson awaiting invasion alone with only a rifle and a jug of moonshine purposely references Ford's earlier The Grapes of Wrath. Simpson played an Okie in that film and Ford stresses the association by playing "Red River Valley" on the soundtrack; it's as if the invading Japanese were bankers come to boot Simpson off his land. Equally moving is the face of Jack Holt's jut-jawed Army officer. He'd been playing basically the same crusty serviceman character for twenty years; because audiences had never seen Holt in a 'losing' role the actor makes the defeat seem all the more serious. The irony of this is that in real life, immediately after Pearl Harbor, Holt was so panicked by invasion fears that he sold his Malibu beach home at a fraction of its value. Who bought it? According to Joel Siegel in his book The Reality of Terror, it was Rko producer Val Lewton. John Wayne is particularly good in this film by virtue of not being its star. His character turn as an impatient but tough Lieutenant stuck in a career dead-end is one of his best. The real star of the film is Robert Montgomery, who before the war was known mostly for light comedies like the delightful Here Comes Mr. Jordan. Montgomery's Brickley is a man of dignity and dedication trying to do a decent job no matter how hopeless or frustrating his situation gets. Whereas Wayne was a Hollywood soldier, Montgomery actually fought in Pt boats in the Pacific. When he stands exhausted in tropic shorts, keeping up appearances when everything is going wrong, he looks like the genuine article. Third-billed Donna Reed turns what might have been 'the girl in the picture' into something special. An Army nurse who takes care of Wayne's Ryan in a deep-tunnel dispensary while bombs burst overhead, Reed's Lt. Davyss is one of Ford's adored women living in danger, like Anne Bancroft's China doctor in 7 Women. A little earlier in the war, the films So Proudly We Hail and Cry 'Havoc' saluted the 'Angels of Bataan' that stayed on the job, were captured and interned by the Japanese. Expendable has none of the sensational subtext of the earlier films, where the nurses worry about being raped, etc.. We instead see a perfect girl next door (George Bailey thought so) bravely soldiering on, saying a rushed goodbye to Wayne's Lt. Ryan over a field telephone. Exactly what happens to her is not known. Even more than Clarence Brown's The Human Comedy this film fully established Ms. Reed's acting credentials. The quality that separates They Were Expendable from all but a few war films made during the fighting, is its championing of a kind of glory that doesn't come from gaudy victories. Hopelessly outnumbered and outgunned, the Navy, Army and Air Corps units in the Northern Philippines that weren't wiped out in the first attacks, had to be abandoned. The key scene sees Lt. Brickley asking his commanding officer for positive orders to attack the enemy. He's instead 'given the score' in baseball terms. In a ball club, some players don't get to hit home runs. The manager instead tells them to sacrifice, to lay down a bunt. Brickley's Pt squadron will be supporting the retreat as best it can and for long as it can, without relief or rescue. Half a year later, the U.S. was able to field an Army and a Navy that could take the offensive. Brickley's unit is a quiet study of honorable men at war, doing their best in the face of disaster. According to John Ford, Expendable could have been better, and I agree. He reportedly didn't hang around to help with the final cut and the audio mix, and the MGM departments finished the film without him. Although Ford's many thoughtful close-ups and beautifully drawn-out dramatic moments are allowed to play out, a couple of the battle scenes go on too long, making the constant peppering of flak bursts over the Pt boats look far too artificial. Real shell bursts aren't just a flash and smoke; if they were that close the wooden boats would be shattered by shrapnel. The overused effect reminds me of the 'Pigpen' character in older Peanuts cartoons, if he walked around accompanied by explosions instead of a cloud of dust. The music score is also unsubtle, reaching for upbeat glory too often and too loudly. The main march theme says 'Hooray Navy' even in scenes playing for other moods. Would Ford have asked for it to be dialed back a bit, or perhaps removed from some scenes altogether? That's hard to say. The director liked his movie scores to reflect obvious sentiments. But a few of his more powerful moments play without music. We're told that one of the un-credited writers on the film was Norman Corwin, and that Robert Montgomery directed some scenes after John Ford broke his leg on the set. They Were Expendable is one of the finest of war films and a solid introduction to classic John Ford. The Warner Archive Collection Blu-ray of They Were Expendable looks as good as the excellent 35mm copies we saw back at UCLA. This movie has always looked fine, but the previous DVDs were unsteady in the first reel, perhaps because of film shrinkage. The Blu-ray corrects the problem entirely. The B&W cinematography has some of the most stylized visuals in a war film. Emphasizing gloom and expressing the lack of security, many scenes are played in silhouette or with very low-key illumination, especially a pair of party scenes. Donna Reed appears to wear almost no makeup but only seems more naturally beautiful in the un-glamorous but ennobling lighting schemes. These the disc captures perfectly. Just as on the old MGM and Warners DVDs, the trailer is the only extra. We're told that MGM shoved the film out the door because victory-happy moviegoers were sick of war movies and wanted to see bright musicals instead. The trailer reflects the lack of enthusiasm -- it's basically two actor name runs and a few action shots. The feature has a choice of subtitles, in English, French and Spanish. On a scale of Excellent, Good, Fair, and Poor, They Were Expendable Blu-ray rates: Movie: Excellent Video: Excellent Sound: Excellent Supplements: DTS-hd Master Audio Deaf and Hearing Impaired Friendly? Yes; Subtitles: English, French, Spanish Packaging: Keep case Reviewed: June 6, 2016 (5135expe)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
Reviewed by Glenn Erickson
They Were Expendable has always been appreciated, but hasn't been given a high roost in John Ford's filmography. Yet it's one of his most personal movies, and for a story set in the military service, his most serious. We're given plenty of service humor and even more sentimentality -- with a sing-along scene like those that would figure in the director's later cavalry pictures, no less. Yet the tone is heavier, more resolutely downbeat. The war had not yet ended as this show went before the cameras, yet Ford's aim is to commemorate the sacrifices, not wave a victory flag. By 1945 Hollywood was already rushing its last 'We're at War!' morale boosters out the gate and gearing up for production in a postwar world. Practically a pet project of legendary director John Ford, They Were Expendable is his personal tribute to the Navy. Typical for Ford, he chose for his subject not some glorious victory or idealized combat, but instead a thankless and losing struggle against an invader whose strength seemed at the time to be almost un-opposable. They Were Expendable starts at Pearl Harbor and traces the true story of an experimental Patrol Torpedo Boat unit run by Lt. John Brickley (Robert Montgomery), his ambitious second in command Lt. Ryan (John Wayne) and their five boat crews. The ambience is pure Ford family casting: the ever-present Ward Bond and Jack Pennick are there, along with youthful MGM newcomers Marshall Thompson (It! The Terror from Beyond Space and Cameron Mitchell (Garden of Evil, Blood and Black Lace) being treated as new members of the Ford acting family. Along the way Ryan meets nurse Sandy Davyss (Donna Reed). Despite their battle successes, the Pt unit suffers casualties and loses boats as the Philippine campaign rapidly collapses around them. Indicative of the unusual level of realism is the Wayne/Reed romance, which falls victim to events in a very un-glamorous way. There's nothing second-rate about this Ford picture. It is by far his best war film and is as deeply felt as his strongest Westerns. His emotional attachment to American History is applied to events only four years past. The pace is fast but Expendable takes its time to linger on telling character details. The entertainer that responds to the war announcement by singing "My Country 'tis of Thee" is Asian, perhaps even Japanese; she's given an unusually sensitive close-up at a time when all Hollywood references to the Japanese were negative, or worse. MGM gives Ford's shoot excellent production values, with filming in Florida more than adequate to represent the Philippines. Even when filming in the studio, Ford's show is free of the MGM gloss that makes movies like its Bataan look so phony. We see six real Pt boats in action. The basic battle effect to show them speeding through exploding shells appears to be accomplished by pyrotechnic devices - fireworks -- launched from the boat deck. Excellent miniatures represent the large Japanese ships they attack. MGM's experts make the exploding models look spectacular. Ford's sentimentality for Navy tradition and the camaraderie of the service is as strong as ever. Although we see a couple of battles, the film is really a series of encounters and farewells, with boats not coming back and images of sailors that gaze out to sea while waxing nostalgic about the Arizona lost at Pearl Harbor. The image of civilian boat builder Russell Simpson awaiting invasion alone with only a rifle and a jug of moonshine purposely references Ford's earlier The Grapes of Wrath. Simpson played an Okie in that film and Ford stresses the association by playing "Red River Valley" on the soundtrack; it's as if the invading Japanese were bankers come to boot Simpson off his land. Equally moving is the face of Jack Holt's jut-jawed Army officer. He'd been playing basically the same crusty serviceman character for twenty years; because audiences had never seen Holt in a 'losing' role the actor makes the defeat seem all the more serious. The irony of this is that in real life, immediately after Pearl Harbor, Holt was so panicked by invasion fears that he sold his Malibu beach home at a fraction of its value. Who bought it? According to Joel Siegel in his book The Reality of Terror, it was Rko producer Val Lewton. John Wayne is particularly good in this film by virtue of not being its star. His character turn as an impatient but tough Lieutenant stuck in a career dead-end is one of his best. The real star of the film is Robert Montgomery, who before the war was known mostly for light comedies like the delightful Here Comes Mr. Jordan. Montgomery's Brickley is a man of dignity and dedication trying to do a decent job no matter how hopeless or frustrating his situation gets. Whereas Wayne was a Hollywood soldier, Montgomery actually fought in Pt boats in the Pacific. When he stands exhausted in tropic shorts, keeping up appearances when everything is going wrong, he looks like the genuine article. Third-billed Donna Reed turns what might have been 'the girl in the picture' into something special. An Army nurse who takes care of Wayne's Ryan in a deep-tunnel dispensary while bombs burst overhead, Reed's Lt. Davyss is one of Ford's adored women living in danger, like Anne Bancroft's China doctor in 7 Women. A little earlier in the war, the films So Proudly We Hail and Cry 'Havoc' saluted the 'Angels of Bataan' that stayed on the job, were captured and interned by the Japanese. Expendable has none of the sensational subtext of the earlier films, where the nurses worry about being raped, etc.. We instead see a perfect girl next door (George Bailey thought so) bravely soldiering on, saying a rushed goodbye to Wayne's Lt. Ryan over a field telephone. Exactly what happens to her is not known. Even more than Clarence Brown's The Human Comedy this film fully established Ms. Reed's acting credentials. The quality that separates They Were Expendable from all but a few war films made during the fighting, is its championing of a kind of glory that doesn't come from gaudy victories. Hopelessly outnumbered and outgunned, the Navy, Army and Air Corps units in the Northern Philippines that weren't wiped out in the first attacks, had to be abandoned. The key scene sees Lt. Brickley asking his commanding officer for positive orders to attack the enemy. He's instead 'given the score' in baseball terms. In a ball club, some players don't get to hit home runs. The manager instead tells them to sacrifice, to lay down a bunt. Brickley's Pt squadron will be supporting the retreat as best it can and for long as it can, without relief or rescue. Half a year later, the U.S. was able to field an Army and a Navy that could take the offensive. Brickley's unit is a quiet study of honorable men at war, doing their best in the face of disaster. According to John Ford, Expendable could have been better, and I agree. He reportedly didn't hang around to help with the final cut and the audio mix, and the MGM departments finished the film without him. Although Ford's many thoughtful close-ups and beautifully drawn-out dramatic moments are allowed to play out, a couple of the battle scenes go on too long, making the constant peppering of flak bursts over the Pt boats look far too artificial. Real shell bursts aren't just a flash and smoke; if they were that close the wooden boats would be shattered by shrapnel. The overused effect reminds me of the 'Pigpen' character in older Peanuts cartoons, if he walked around accompanied by explosions instead of a cloud of dust. The music score is also unsubtle, reaching for upbeat glory too often and too loudly. The main march theme says 'Hooray Navy' even in scenes playing for other moods. Would Ford have asked for it to be dialed back a bit, or perhaps removed from some scenes altogether? That's hard to say. The director liked his movie scores to reflect obvious sentiments. But a few of his more powerful moments play without music. We're told that one of the un-credited writers on the film was Norman Corwin, and that Robert Montgomery directed some scenes after John Ford broke his leg on the set. They Were Expendable is one of the finest of war films and a solid introduction to classic John Ford. The Warner Archive Collection Blu-ray of They Were Expendable looks as good as the excellent 35mm copies we saw back at UCLA. This movie has always looked fine, but the previous DVDs were unsteady in the first reel, perhaps because of film shrinkage. The Blu-ray corrects the problem entirely. The B&W cinematography has some of the most stylized visuals in a war film. Emphasizing gloom and expressing the lack of security, many scenes are played in silhouette or with very low-key illumination, especially a pair of party scenes. Donna Reed appears to wear almost no makeup but only seems more naturally beautiful in the un-glamorous but ennobling lighting schemes. These the disc captures perfectly. Just as on the old MGM and Warners DVDs, the trailer is the only extra. We're told that MGM shoved the film out the door because victory-happy moviegoers were sick of war movies and wanted to see bright musicals instead. The trailer reflects the lack of enthusiasm -- it's basically two actor name runs and a few action shots. The feature has a choice of subtitles, in English, French and Spanish. On a scale of Excellent, Good, Fair, and Poor, They Were Expendable Blu-ray rates: Movie: Excellent Video: Excellent Sound: Excellent Supplements: DTS-hd Master Audio Deaf and Hearing Impaired Friendly? Yes; Subtitles: English, French, Spanish Packaging: Keep case Reviewed: June 6, 2016 (5135expe)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
- 6/11/2016
- by Glenn Erickson
- Trailers from Hell
Hayao Miyazaki’s Studio Ghibli never ceases to amaze audiences with their illustrious and fantastical animations. The following top 10 takes a closer look at some of the studio’s greatest movies.
Ponyo (2008)
The award-winning Ponyo is based on an unusual friendship formed between the 5 year old son of a sailor and a beautiful goldfish princess who yearns to become a real girl. Sosuke rescues the small, aquatic princess and names her Ponyo after finding her trapped in a glass bottle. The daughter of a sea goddess and a powerful wizard, her magical father performs sorcery to make her human and Ponyo finds herself falling for Sosuke. However, as the story unfolds and the two’s friendship deepens, consequences are soon realised from the power wielded to make Ponyo human. The Cat Returns (2002)
After helping a strange cat from oncoming traffic, young Haru finds herself being showered with gratitude from the...
Ponyo (2008)
The award-winning Ponyo is based on an unusual friendship formed between the 5 year old son of a sailor and a beautiful goldfish princess who yearns to become a real girl. Sosuke rescues the small, aquatic princess and names her Ponyo after finding her trapped in a glass bottle. The daughter of a sea goddess and a powerful wizard, her magical father performs sorcery to make her human and Ponyo finds herself falling for Sosuke. However, as the story unfolds and the two’s friendship deepens, consequences are soon realised from the power wielded to make Ponyo human. The Cat Returns (2002)
After helping a strange cat from oncoming traffic, young Haru finds herself being showered with gratitude from the...
- 12/29/2013
- by Ginger_Phoenix
- Nerdly
Gregory Peck from ‘Duel in the Sun’ to ‘How the West Was Won’: TCM schedule (Pt) on August 15 (photo: Gregory Peck in ‘Duel in the Sun’) See previous post: “Gregory Peck Movies: Memorable Miscasting Tonight on Turner Classic Movies.” 3:00 Am Days Of Glory (1944). Director: Jacques Tourneur. Cast: Gregory Peck, Lowell Gilmore, Maria Palmer. Bw-86 mins. 4:30 Am Pork Chop Hill (1959). Director: Lewis Milestone. Cast: Gregory Peck, Harry Guardino, Rip Torn. Bw-98 mins. Letterbox Format. 6:15 Am The Valley Of Decision (1945). Director: Tay Garnett. Cast: Greer Garson, Gregory Peck, Donald Crisp. Bw-119 mins. 8:15 Am Spellbound (1945). Director: Alfred Hitchcock. Cast: Ingrid Bergman, Gregory Peck, Michael Chekhov, Leo G. Carroll, Rhonda Fleming, Bill Goodwin, Norman Lloyd, Steve Geray, John Emery, Donald Curtis, Art Baker, Wallace Ford, Regis Toomey, Paul Harvey, Jean Acker, Irving Bacon, Jacqueline deWit, Edward Fielding, Matt Moore, Addison Richards, Erskine Sanford, Constance Purdy. Bw-111 mins. 10:15 Am Designing Woman (1957). Director: Vincente Minnelli.
- 8/16/2013
- by Andre Soares
- Alt Film Guide
The new American musical Hands on a Hardbody just celebrated opening night on March 21, at Broadway's Brooks Atkinson Theatre 256 West 47th Street. Inspired by true events and based on the acclaimed 1997 documentary of the same name, the musical tells the story of ten Texans with dreams of changing their lives by winning a truck. BroadwayWorld recently chatted with the show's stars about bringing the stories of real people to life on the Broadway stage, and in the video below, William Youmans discusses his real-life counterpart- Don Curtis.
- 4/2/2013
- by BroadwayWorld TV
- BroadwayWorld.com
Hayao Miyazaki’s Studio Ghibli never ceases to amaze audiences with their illustrious and fantastical animations. The following top 10, compiled to celebrate the UK release of Arrietty and Whisper of the Heart (both out on DVD tomorrow), takes a closer look at some of the studio’s greatest movies.
Ponyo (2008)
The award-winning Ponyo is based on an unusual friendship formed between the 5 year old son of a sailor and a beautiful goldfish princess who yearns to become a real girl. Sosuke rescues the small, aquatic princess and names her Ponyo after finding her trapped in a glass bottle. The daughter of a sea goddess and a powerful wizard, her magical father performs sorcery to make her human and Ponyo finds herself falling for Sosuke. However, as the story unfolds and the two’s friendship deepens, consequences are soon realised from the power wielded to make Ponyo human. The Cat Returns...
Ponyo (2008)
The award-winning Ponyo is based on an unusual friendship formed between the 5 year old son of a sailor and a beautiful goldfish princess who yearns to become a real girl. Sosuke rescues the small, aquatic princess and names her Ponyo after finding her trapped in a glass bottle. The daughter of a sea goddess and a powerful wizard, her magical father performs sorcery to make her human and Ponyo finds herself falling for Sosuke. However, as the story unfolds and the two’s friendship deepens, consequences are soon realised from the power wielded to make Ponyo human. The Cat Returns...
- 1/8/2012
- by Phil
- Nerdly
Child's Play (1988)D: Todd HollandCatherine Hicks, Chris Sarandon, Alex Vincent, Brad DourifTodd Holland's killer doll flick Child's Play is so unapologetically crass that one can't help but like it. Other films have tried the killer doll convention – the "Talky Tina" episode of The Twilight Zone and the Don Curtis teleplay Trilogy of Terror spring immediately to mind – but none of them have the energy that runs through Child's Play.When homicidal maniac Charles Lee Ray (a marvelously unhinged Dourif) ducks into a children's toy...
- 10/11/2010
- by Dustin Dunaway, Colorado Springs Classic Movies Examiner
- Examiner Movies Channel
Mark highlights lots of screen politicians - and one banker - you wouldn't want running your country...
Here in Britain, Parliament has been dissolved and there's just under a month until the UK goes to the polling booths to decide who has to put up with taxes, education and all that joy for the next five or so years. This isn't the time for Den Of Geek to get political, but we would like to say don't worry - politicians could be a lot worse than they are.
So often in films, politicians are all that is villainous, slimy or incompetent about the cast of characters, so imagine if one of these movie politicians got into office next month.
You'd be yearning for the days when a ministerial cock-up entailed the receipt for a Battlefield Earth DVD turning up on the register of ministers' interests, rather than the destruction of...
Here in Britain, Parliament has been dissolved and there's just under a month until the UK goes to the polling booths to decide who has to put up with taxes, education and all that joy for the next five or so years. This isn't the time for Den Of Geek to get political, but we would like to say don't worry - politicians could be a lot worse than they are.
So often in films, politicians are all that is villainous, slimy or incompetent about the cast of characters, so imagine if one of these movie politicians got into office next month.
You'd be yearning for the days when a ministerial cock-up entailed the receipt for a Battlefield Earth DVD turning up on the register of ministers' interests, rather than the destruction of...
- 4/12/2010
- Den of Geek
While no blockbuster horror horror is due out this week, we do have some indie titles, straight to DVD and re-releases to choose from.
The Attic
About a month after Emma Callan (Elisabeth Moss) and her family move into their seemingly picture-perfect Victorian home, Emma starts to have ghastly visions of a girl who appears to be her twin but is pure evil. Since no one else has seen this doppelganger, Emma is faced with two terrifying prospects: Either she s going insane or she s actually being haunted by a malevolent spirit determined to destroy anyone who dares delve into the dark mysteries of The Attic. Co-starring John Savage and Catherine Mary Stewart, this riveting film from the director of Pet Cemetery will fire up your most intense fears while it makes your blood run cold!
Earth Vs The Flying Saucers (1956)
Re-released to DVD.Dr. Russell Marvin heads up Operation Skyhook,...
The Attic
About a month after Emma Callan (Elisabeth Moss) and her family move into their seemingly picture-perfect Victorian home, Emma starts to have ghastly visions of a girl who appears to be her twin but is pure evil. Since no one else has seen this doppelganger, Emma is faced with two terrifying prospects: Either she s going insane or she s actually being haunted by a malevolent spirit determined to destroy anyone who dares delve into the dark mysteries of The Attic. Co-starring John Savage and Catherine Mary Stewart, this riveting film from the director of Pet Cemetery will fire up your most intense fears while it makes your blood run cold!
Earth Vs The Flying Saucers (1956)
Re-released to DVD.Dr. Russell Marvin heads up Operation Skyhook,...
- 1/14/2008
- ZombieFriends.com
While no blockbuster horror horror is due out this week, we do have some indie titles, straight to DVD and re-releases to choose from.
The Attic
About a month after Emma Callan (Elisabeth Moss) and her family move into their seemingly picture-perfect Victorian home, Emma starts to have ghastly visions of a girl who appears to be her twin but is pure evil. Since no one else has seen this doppelganger, Emma is faced with two terrifying prospects: Either she s going insane or she s actually being haunted by a malevolent spirit determined to destroy anyone who dares delve into the dark mysteries of The Attic. Co-starring John Savage and Catherine Mary Stewart, this riveting film from the director of Pet Cemetery will fire up your most intense fears while it makes your blood run cold!
Earth Vs The Flying Saucers (1956)
Re-released to DVD.Dr. Russell Marvin heads up Operation Skyhook,...
The Attic
About a month after Emma Callan (Elisabeth Moss) and her family move into their seemingly picture-perfect Victorian home, Emma starts to have ghastly visions of a girl who appears to be her twin but is pure evil. Since no one else has seen this doppelganger, Emma is faced with two terrifying prospects: Either she s going insane or she s actually being haunted by a malevolent spirit determined to destroy anyone who dares delve into the dark mysteries of The Attic. Co-starring John Savage and Catherine Mary Stewart, this riveting film from the director of Pet Cemetery will fire up your most intense fears while it makes your blood run cold!
Earth Vs The Flying Saucers (1956)
Re-released to DVD.Dr. Russell Marvin heads up Operation Skyhook,...
- 1/14/2008
- ZombieFriends.com
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