First regarding the equipment i use to get 3D at home (that I find is superior to 3D in theaters), use the links at the bottom of this article.
Okay onto the list:
Best 3D movies, based solely on the quality of the 3D
THE LIFE OF PI
BUNKER OF THE DEAD
OZ THE GREAT AND POWERFUL
THE GREAT GATSBY
STAR WARS THE FORCE AWAKENS
MISS SADIE THOMPSON
SPACE JUNK 3D
Most disappointing 3D Blu-ray movies tried in 2020:
THE WALK- with the exception of the walk sequence itself, at the end of the movie, the 3D as a whole, throughout most of the movie, is underwhelming to non-existent.
GHOST IN THE SHELL
MAN OF STEEL
DRAGONFLY SQUADRON – it actually has good 3D, unfortunately there is so much noise, and pops and scratches in the print, that these artifacts make watching in 3D, headache inducing.
RESIDENT EVIL AFTERLIFE
TRANSFORMERS THE LAST KNIGHT
COMIN AT YA
FINAL DESTINATION 3D
FINAL DESTINATION 5 3D
Because the making of such a film, a film swimming with a who’s who of Hollywood Actors and Hollywood legacies, some of the great stars and some of the great character actors and great crew, all together in one quixotic film, … the anecdotes on the making of such a film seemed destined to be as engrossing as the film itself.
William Richert was basically a kid, whose only experience was documentaries, this was his debut feature film, but he obviously had a script, and a vision, and a magnetic personality that charmed everyone from stars to mobsters. I mean for his first film he got Elizabeth Taylor, Jeff Bridges, John Huston, Eli Wallach, Tomas Milian, Ralph Meeker, Anthony Perkins, Sterlin Hayden, Toshiro Mifune, Richard Boone !!!! If you do not know those names, that is a murderer’s row of some of the greatest actors spanning decades of Hollywood History. And he got equally astounding crew behind the camera such as Vilmos Zsigmond, who is a god of cinematography. While there have been numerous more successful first time directors, Orson Welles, Quintin Tarantino, John Huston, the list goes on, I can’t think of any of them that can lay claim to such a rich cast and crew, for their very first film.
To quote from that April post:
“I like the way the film thinks, the way it breathes, patient and without hurry, the morose wit of the film, of a nation lost, slowly rolling, longing and loathing, in its sin.
I like the odd view it gives of power and the absence of privacy, and though the technology is outdated, the gist of it, over 40 years later is prophetic (or perhaps timeless is the better word), in its viewing of the lie of democracy in an age of Robber Barons.
It is compelling viewing, that I am richer for having seen. And yeah this is one to own in Physical media, because I can not wait to listen to the commentary by Writer/Director William Richert.”
I was a cheerleader for this film before the commentary, however after the commentary… I think this film, while no less flawed, is absolutely essential viewing, and we are so lucky that it was completed, and that decades later we have this film to reexamine, and revel in its ambition, its performances, and the sacrifice of all involved.
From attempted murders, to an actual murder, to threats, to loss of funding, to gangsters, to actors being hit with blackjacks, to actors and cast rising to the occasion, and performing in this film even when the funds dried up, and fighting to get the funding, all because they believed in the script.
It is an inspiring story.
Get your copy of the Blu-ray at the link below, and see for yourself.
If you are not subscribed to his channel, this video will make you a subscriber. Just a great channel.
Have a Happy Remembrance Day / Aboriginal Day/ Natives People Day!
And a great extended weekend.
“Do me a favor, take off your gun.” trying to talk down the Protagonist, who seeks vengeance.
The Protagonist responds, as much to God — as anyone in the room with him… “I treated her like a pair of gloves. When I was cold, I called her up— (his voice breaks and it trails off into the wailing and sobbing of a man, who has no place left to put his hate or his love)”
You don’t expect that kind of emotion and pathos in a movie from 1955. Yet here it is.
-end of minor spoilers-
Get yours, the Arrow Film Noir boxset, by clicking the image below! 4 great films at one low price, and packed with features and commentaries. The Eddie Muller commentary for THE BIG COMBO, is typically cynical but is very informative and is fun. Around the 29 minute mark he goes into the backstory between an especially risque scene, and his anecdotes has me chuckling out loud. As I said, informative and fun commentary.
Get your copy by clicking the image below!
This is the company that people are hanging their hat on for a Covid vacine? Really? ok.
But the history of Pfizer, or most pharmaceutical companies, urge that we, the potential audience (guinea pigs?) for any new medication/vaccine, exercise caution.
Most pharmaceutical companies won’t even produce a drug for seasonal allergy, that doesn’t have possible horrendous side effects, up to and including death.
And any medication takes years of trials and vetting before ready for approval. The idea that even the most trustworthy company, with an unblemished record of service, can reliably (in the space of a year) produce a tested and safe vaccine ready for mass deployment— is unlikely.
And Pfizer, does not have an unblemished record.
The following is courtesy of DRUGWATCH:
Pfizer faces a growing number of lawsuits in 2018 involving some of its most popular drugs. In the past, courts dismissed thousands of lawsuits against Pfizer. The company also agreed to settle cases over illegal marketing and health care fraud.
You can view the whole page here.
Look I will be the first one happy if people find a valid, tested safe vaccine to alleviate their Covid concerns. Now, I won’t be taking it, anymore than I historically have taken the Flu-shot, but hey if you feel the need for it, great. But do your homework.
The outgoing administration has gutted many of the agencies setup to protect us from predatory businesses and products. One victim of this culling of public watchdogs, is the FDA (along with the EPA, USDA, FCC, etc) so this co-opted agency, pressured into rubber-stamping a vaccine that has not had sufficient independent testing/vetting… can spell not good things for us all.
From cigarettes, to diet drugs, to sugar substitutes, the history of FDA approval is rife with incidents of finding out years later, they have approved products that have been tied to birth defects, cancers, and debilitating effects. I am not saying that WILL be the case with any Covid vaccine, I am saying with a vaccine this important, and this potentially omnipresent, we need to hold all involved, to a higher standard , to insure that once again the American people in hindsight do not pay, for what a little foresight would have protected them from.
The late, great Roger Ebert had the following to say on the film, back in 1985:
“The great chases are rarely just chases. They involve some kind of additional element – an unexpected vehicle, an unusual challenge, a strange setting. The car-train chase in “The French Connection” was a masterstroke. In “Diva,” the courier rode his motor scooter into one subway station and out another, bouncing up and down the stairs. Or think of John Ford’s sustained stagecoach chase in “Stagecoach,” or the way Buster Keaton orchestrated “The General” (1927) so that trains chased each other through a railway system. The masterstroke in “To Live and Die in L. A.” is that the chase isn’t just on a freeway. It goes the wrong way down the freeway. I don’t know how Friedkin choreographed this scene, and I don’t want to know. It probably took a lot of money and a lot of drivers. All I know is that there are high-angle shots of the chase during which you can look a long way ahead and see hundreds of cars across four lanes, all heading for the escape car, which is aimed at them, full speed. It is an amazing sequence.
The rest of the movie is also first-rate. The direction is the key. Friedkin has made some good movies (“The French Connection,” “The Exorcist,” “Sorcerer”) and some bad ones (“Cruising,” “Deal of the Century”). This is his comeback, showing the depth and skill of the early pictures. The central performance is by William L. Petersen, a Chicago stage actor who comes across as tough, wiry and smart. He has some of the qualities of a Steve McQueen, with more complexity. Another strong performance in the movie is by Willem Dafoe as the counterfeiter, cool and professional as he discusses the realities of his business. I like movies that teach me about something, movies that have researched their subject and contain a lot of information, casually contained in between the big dramatic scenes.
“To Live and Die in L. A.” seems to know a lot about counterfeiting and also about the interior policies of the Secret Service. The film isn’t just about cops and robbers, but about two systems of doing business, and how one of the systems finds a way to change itself in order to defeat the other.
That’s interesting. So is the chase.”
— You can read the full review here.
“To LIVE AND DIE IN LA started out as the impressions of a former Secret Service Agent, a job he had done with the Secret Service for about 19 years. And he put his impressions in the form of a novel called— TO LIVE AND DIE IN LA, which I read.– What attracted me to this material was the surreal nature of the life of a Secret Service agent, of a guy who would be protecting the president of the United States one day, playing cards with the president, and then the next day chasing some counterfeiter in a poor neighborhood of Los Angeles for stolen credit cards or bad checks. So that struck me as being a very surrealist situation.”
–William Friedkin in the gripping commentary for TO LIVE AND DIE IN LA
It is a must own blu-ray for the film itself, but it is also a must own release for the commentary and interviews and the wonderful original art that Arrow Film has commissioned for this edition. Click the image above to get your copy.
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