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Tabbycat's Replies
I have that same problem with this movie and all those like it.
Why is that okay?
What would Adam Clay give as his excuse?
Maybe you don‘t feel well.
Acting, maybe.
Cinematography by veteran Gabriel Beristain is like a student film?
Don’t think so.
Beautiful-looking film — not so clear on why the repeated use of pastel pink and blue, but most is a moody, restricted palette of black, brown, gold, and crimson. The fight scenes are the clearest of any I’ve seen — amazing, considering these are state-of-art, high-speed brawls. Movie fights normally turn me off and bore me, but these were exciting — truly first-rate. And those Italian settings …
The unique premise really had me involved, creating a great conflict within Agent Verona, fleshing her out to make me root for her while still wondering which road she’s ultimately choose to deal with Adam.
This was no Dollar Tree product.
Felt more Prada to me.
Decent modern trailer for the Radiance re-release.
Unfortunately, there is no true “official” trailer for its initial release that I’ve ever come across.
No matter — old trailers are never in good enough shape to be anything more than a curiosity as no one back then thought to preserve them.
Very nicely-done trailer. Not from back in the day (sadly, I’ve never found evidence there ever was one made), but pretty much how I would have done it. Except I would have included shots of the finale with ghouls crashing through the upper windows and maybe more of the famed supermarket scene.
The identity of the little girl in the opening was addressed in the DVD/Blu-Ray commentary: the teenaged daughter of a crew member.
>> Sadly I doubt this kind of film will be made anymore.
Not by a major studio.
Their business now is theme-park titles and Marvel superheroes.
We have a winner.
Can’t do much worse than a black racist cop terrorizing an innocent black youth to tears and calling him “boy.” And so it goes on.
Ever wonder why the #3 movie of 1975 was never released on home video for nearly half a century?
That music is why: no way they’d ever get clearances.
Another oddity is that except for the contribution of Paul Simon, all music was uncredited. Don’t know how producers got away with that.
The untitled, beautiful Simon instrumental heard throughout is an early version of <i>Silent Eyes</i>, one of his best works. It appeared in final form as the last track on that year’s landmark album, <i>Still Crazy After All These Years</i>.
It was.
1972, 1973, 1974, and 1975 are, to me, collectively the industry’s greatest period.
The Bruin, a landmark Los Angeles theater, claimed in a full-page ad that Shampoo was their highest-grossing film ever.
It made her look like a hooker.
You can say THAT again.
Agreed.
I would give both Berry and her catsuit a big MEOW.
Yes.
That’s a great question I’d like to post somewhere on this forum:
The 1970’s — Greatest Film Decade?
Definitely one of the funniest movies ever, but didn’t make it to classic status despite several Oscar nominations and one notable win for 80-year-old George Burns. It’s pretty much a forgotten film today, possibly because of limited availability over the years on home video.
And he’s right.
He may be a lunatic, but he knows comedy and explains which letters and sounds are funny. He’s mad that no one asks his opinion or seems to value his comedic talent, hence why he explains it to the nephew.
Right or not, no one’d changing a major brand name because some ancient comedian thinks they should. Everyone in show biz knows the reality: you rarely get to do things your way if they’re paying.
Instead of accepting this primary fact of life, he’s childishly passive-aggressive, pretending to forget the name.
I think at one point Willie’s frustrated nephew asks, “Do you want to work or not?”
By film’s end, we get a clear answer: Not as much as he wants to be right.
It’s actually “Whatsa matta con you.”
Go down and tell the Spanish kid!
“Sends me to a garage.”
😸
Ouch. 😸