One Night in Tokyo 2025 - Movies (Mar 18th)
Midwinter 2024 - Movies (Mar 18th)
Flight Photographers 2025 - Movies (Mar 18th)
American Terror Tales 3 2024 - Movies (Mar 18th)
Bert Kreischer Lucky 2025 - Movies (Mar 18th)
Dead Teenagers 2024 - Movies (Mar 18th)
Wolves Against the World 2024 - Movies (Mar 18th)
Bill Squire Were Getting Famous 2024 - Movies (Mar 18th)
Andrew Orvedahl Doom Math 2024 - Movies (Mar 18th)
Final Heist 2024 - Movies (Mar 17th)
National Anthem 2024 - Movies (Mar 17th)
Finding Me 2025 - Movies (Mar 17th)
Rich Flu 2024 - Movies (Mar 16th)
Across the Line 2025 - Movies (Mar 16th)
Jersey Bred 2024 - Movies (Mar 16th)
I Love You Forever 2024 - Movies (Mar 16th)
Queer 2024 - Movies (Mar 16th)
The Glassworker 2024 - Movies (Mar 15th)
Niko Beyond the Northern Lights 2024 - Movies (Mar 15th)
Die Alone 2024 - Movies (Mar 15th)
Joe Crist 2024 - Movies (Mar 15th)
Hard Quiz - (Mar 19th)
The Cook Up with Adam Liaw - (Mar 19th)
Buried Hearts - (Mar 19th)
Gannibal - (Mar 19th)
Gangland Chronicles - (Oct 1st)
Ruby Wax- Cast Away - (Oct 1st)
Deadliest Catch - (Oct 2nd)
Murder in a Small Town - (Oct 2nd)
Slow Horses - (Oct 2nd)
Bad Monkey - (Oct 2nd)
Midnight Family - (Oct 2nd)
Wheres Wanda - (Oct 2nd)
Tell Me Lies - (Oct 2nd)
Seoul Busters - (Oct 2nd)
The Bay - (Oct 2nd)
The Kelly Clarkson Show - (Oct 2nd)
Star Wars- Young Jedi Adventures - (Mar 19th)
Australian Survivor - (Mar 19th)
The One Show - (Mar 19th)
Renovation Aloha - (Mar 19th)
This is one of the rare and shining examples of film-making at its absolute finest. As close to perfect as you can get in movies, it's a masterpiece not only of its genre, but of all genres, for all time. The ensemble cast headed by the great Humphrey Bogart is spectacular, as is the flawless direction by John Huston. If you're a classic film fanatic, or just a person who enjoys a good movie, then shame on you if you haven't seen this yet.
The cheaper the crook, the gaudier the patter. Sam Spade is a tough private detective who gets involved in a murderous hunt for The Maltese Falcon, a legendary statuette thought to contain diamonds. What can I possibly say about this version of The Maltese Falcon that hasn't been said, written and studied by the greatest film critics and industry members before? Well nothing by way of new stuff or a differing slant on the plot, I can merely concur and hopefully jolt prospective first time viewers into believing the reputation afforded this stunning piece of cinema. First off I have to let it be known that this is far from being my favourite Bogart movie, in fact it's not even my favourite Bogart movie from 1941!, it's well trumped in my affections by "High Sierra", but few films ever get as close to being perfect as "The Maltese Falcon" clearly is. The source from Dashiell Hammett is first rate, and yet it took someone like John Huston (director and screenwriter) to bring it triumphantly together. It had been adapted for the screen twice before with less than favourable results, but Huston, working tightly from Hammett's dialogue driven astuteness, crafts a claustrophobic, shadowy classic amongst classics, that in the process laid the cornerstone for what became known as essential film noir. You will search in vain for faults here, every scene is as tight as a duck's bottom, not one filler scene is in this picture. The cast are across the board perfect in performances, Bogart (Spade) is peerless, Mary Astor, Peter Lorre, Sydney Greenstreet (film debut) and Elisha Cook Jr. stand out, but every other member of this cast also add something worthwhile. The plot (of which I'm "so" not going to summarise for you) is complex to a degree, but really it all makes sense, you do not need to be Albert Einstein to knit the twisters nicely together. Also don't be fooled into thinking this is a film devoid of humour either, it has deadly wry smirks popping up all over the place, ok so they may be the sort of smirks brought about by devilish unease of admiration, but rest assured they are valid and integral to the pic's classic standing. I could go on fawning but I really don't need too, The Academy may well have saw fit to not award this picture any awards for 1941, but time is an immeasurable force sometimes, and time now shows that The Maltese Falcon stands proud as not only a titan of cinematic entertainment, but also of technical movie brilliance. 10/10
This is a pretty good movie that ages fairly well, but I do not feel compelled to pour superlatives down over as most reviews do, both critics and regular viewers. The actors look like they are having fun with it and this classic movie is worth watching just because of that. The dialogue, which I like to think is a specialty in my own otherwise unremarkable novels, is excellent. I had trouble with how blasé Sam Spade seems to be with the bad news he received near the beginning, and how he reacted to it. (He redeemed himself a bit at the end in a passionate little speech about partners). And all the patter about love between Sam Spade and Miss O’Shaughnessey seemed silly to me, as there was never any sign they were connecting and getting closer: never mind they were also plotting each other’s downfall. Personally, Sam, I think your own assistant Effie was cuter, sweeter and a better catch. But the movie is fun to watch and the mystery solving ending by Mr. Spade is top-notch stuff. The supporting cast is fine. See if you can pick out the guy who played Bert the cabdriver in Its A Wonderful Life (“My mouth’s bleeding, Bert! My mouth’s bleeding!”). And if you look closely, you can see Humphrey Bogart curl his mouth in that way the comic impressionists always exaggerate when they impersonate him. There is only one Humphrey Bogart.
Recently re-released in glorious 4K (nope, I couldn't tell the difference, either) but, hey - any excuse to see this wonderful crime noir on a big screen again is OK with me. When "Brigid" (Mary Astor) approaches PI "Sam Spade" (Humphrey Bogart) and his partner "Archer" (Jerome Cowan) with a dodgy sounding story about her sister being kidnapped by her older lover, they don't believe a word of it - but $200 (and a bit of a shine to the lady from "Archer") gets them to go through the motions. Well: they were right about one thing - her story was riddled with holes, but not so many as "Archer" becomes, and soon "Spade" and the police are trying to track down/avoid the murderer whilst trying to establish some sort of motive. Enter the stars of the film, for me, anyway - the uber-sleazy "Joel Cairo" (Peter Lorre) and "Gutman" (Sydney Greenstreet), the avuncular gentleman who has most of the pieces of the puzzle and who is as dangerous and devious as he is charming and disarming... Will "Spade" get to the bottom of the mystery before he ends up brown bread? That's where the film falls down a bit - there is precious little jeopardy to the plot; indeed the last fifteen or twenty minutes are just a little disappointing - rushed even. Bogey is superb in the part, though - his portrayal reeks of a wonderful cynic, a seen-it-all-before ground down sort of man who takes his first drink of the day from the same glass he took his last from the day before and Astor is efficient, though not terribly engaging, as the lynchpin upon which much of the film depends. It's 80 years old now - and I still think the use of a strong score from Adolph Deutsch, some wonderfully evocative lighting and effects (it rains quite a lot!) and, of course, a strong cast with a good story, takes some beating.
A film projectionist longs to be a detective, and puts his meagre skills to work when he is framed by a rival for stealing his girlfriend's father's pocketwatch.
David Sumner, a mild-mannered academic from the United States, marries Amy, an Englishwoman. In order to escape a hectic stateside lifestyle, David and his wife relocate to the small town in rural Cornwall where Amy was raised. There, David is ostracized by the brutish men of the village, including Amy's old flame, Charlie. Eventually the taunts escalate, and two of the locals rape Amy. This sexual assault awakes a shockingly violent side of David.
A rich woman and a calculating insurance agent plot to kill her unsuspecting husband after he signs a double indemnity policy.
Blonde Betty Elms has only just arrived in Hollywood to become a movie star when she meets an enigmatic brunette with amnesia. Meanwhile, as the two set off to solve the second woman's identity, filmmaker Adam Kesher runs into ominous trouble while casting his latest project.
A successful mod photographer in London whose world is bounded by fashion, pop music, marijuana, and easy sex, feels his life is boring and despairing. But in the course of a single day he unknowingly captures a death on film.
Threats from sinister foreign nationals aren't the only thing to fear. Bedraggled college professor Michael Faraday has been vexed (and increasingly paranoid) since his wife's accidental death in a botched FBI operation. But all that takes a backseat when a seemingly all-American couple set up house next door.
In the winter of 1982, a twelve-man research team at a remote Antarctic research station discovers an alien buried in the snow for over 100,000 years. Soon unfrozen, the form-changing creature wreaks havoc, creates terror... and becomes one of them.
In postwar Vienna, Austria, Holly Martins, a writer of pulp Westerns, arrives penniless as a guest of his childhood chum Harry Lime, only to learn he has died. Martins develops a conspiracy theory after learning of a "third man" present at the time of Harry's death, running into interference from British officer Major Calloway, and falling head-over-heels for Harry's grief-stricken lover, Anna.
A self-assured businessman murders his employer, the husband of his mistress, which unintentionally provokes an ill-fated chain of events.
Paul (Macfadyen), a prize-winning war journalist, returns to his remote New Zealand hometown due to the death of his father, battle-scarred and world-weary. For the discontented sixteen-year-old Celia (Barclay) he opens up a world she has only dreamed of. She actively pursues a friendship with him, fascinated by his cynicism and experience of the world beyond her small-town existence. But many, including the members of both their families (Otto, Moy), frown upon the friendship and when Celia goes missing, Paul becomes the increasingly loathed and persecuted prime suspect in her disappearance. As the violent and urgent truth gradually emerges, Paul is forced to confront the family tragedy and betrayal that he ran from as a youth, and to face the grievous consequences of silence and secrecy that has surrounded his entire adult life.
Tom Ripley is a calculating young man who believes it's better to be a fake somebody than a real nobody. Opportunity knocks in the form of a wealthy U.S. shipbuilder who hires Tom to travel to Italy to bring back his playboy son, Dickie. Ripley worms his way into the idyllic lives of Dickie and his girlfriend, plunging into a daring scheme of duplicity, lies and murder.