Michael Keaton partner

Michael Keaton has had an encounter with Rachel Ryan (1988).. About. Michael Keaton is a 68 year old American Actor. Born Michael John Douglas on 5th September, 1951 in Coraopolis, Pennsylvania, United States, he is famous for Beetle Juice (1988), Batman (1989). in a career that spans 1975–present. <br>Celebrity . He earned further acclaim for his dramatic portrayal of the title character in Tim Burton's Batman (1989) and Batman Returns (1992). Interactive map shows total number of victims by...Ministers release eight boroughs including Trafford, Bolton and Burnley from tough North West lockdown rules...Britain's daily cases jump 24% in a week while death rate continues to creep up with ... On 5-9-1951 Michael Keaton (nickname: Michael Keaton) was born in Robinson Township, Pennsylvania, United States. He made his 15 million dollar fortune with Toy Story 3, Batman, Need for Speed. The actor is currently single, his starsign is Virgo and he is now 68 years of age. Michael Keaton (born September 5, 1951), is an American actor, producer, and director. He first rose to fame for his roles on the CBS sitcoms All’s Fair and The Mary Tyler Moore Hour and his comedic film roles in Night Shift (1982), Mr. Mom (1983), Johnny Dangerously (1984), and Beetlejuice (1988). Actor Michael Keaton and his partner, actress Courteney Cox at the world premiere of 'Batman Returns' at Mann's Chinese Theatre in Hollywood, California on June 16, 1992. Get premium, high resolution news photos at Getty Images Michael Keaton is a notable personality in the race of great actors. Meanwhile, he is also a producer and director as well. In 1975, he was starting his career from the TV series “Mister Rogers Neighborhood,” Furthermore, Keaton had worked on different T.V shows like “All’s Fair,” “Moore Hour,” and “Working Shifts”. Michael Keaton appeared in great spirits as he stepped out for a stroll during a rare outing with his girlfriend in Santa Monica on Monday. The award-winning actor, 68, kept casual in sporty gear ... Michael Keaton has been in relationships with Audra Lynn (2003), Courteney Cox (1989 - 1995) and Michelle Pfeiffer (1988 - 1989). InA lot of celebrities do not know what to do with their money anymore in 2018. With Michael Keaton, Gedde Watanabe, George Wendt, Mimi Rogers. It seems everyone had an opinion on the matter:Based on the facts (Keaton spotted alone with a cute sweater), is there ... Biography of Michael Keaton. Michael Keaton is an American actor, producer, and director. He first rose to fame for his roles on the CBS sitcoms All’s Fair and The Mary Tyler Moore Hour and his comedic film roles in Night Shift (1982), Mr Mom (1983). Similarly, Johnny Dangerously (1984), and Beetlejuice (1988).

Turner Classic Movies (U.S.) Schedule for October, 2020 (All times E.S.T.)

2020.09.19 17:29 tombstoneshadows28 Turner Classic Movies (U.S.) Schedule for October, 2020 (All times E.S.T.)

Thursday, October 01, 2020
(12:00 AM) (drama) Up The Down Staircase (1967/124 m/Robert Mulligan)
(2:15 AM) (comedy) Our Miss Brooks (1956/85 m/Al Lewis)
(4:00 AM) (drama)The Corn Is Green (1945/114 m/Irving Rapper)
(6:00 AM) (comedy) Girl He Left Behind (1956/103 m/David Butler)
(8:00 AM) (war) Lafayette Escadrille (1958/93 m/William A. Wellman)
(9:45 AM) (comedy) Dondi (1961/100 m/Albert Zugsmith) '
(11:30 AM) (epic) The Shoes of the Fisherman (1968/162 m/Michael Anderson)
(2:15 PM) (crime) Ring of Fire (1961/91 m/Andrew L. Stone)
(4:00 PM) (suspense) Twenty Plus Two (1961/103 m/Joseph M. Newman)
(5:45 PM) (horror) Marooned (1969/129 m/John Sturges)
(8:00 PM) (drama) La Strada (1954/108 m/Federico Fellini)
(10:00 PM) (romance) Two for the Road (1967/111 m/Stanley Donen)
Friday, October 02, 2020
(12:00 AM) (romance) Dodsworth (1936/101 m/William Wyler)
(2:00 AM) (documentary) The Memphis Belle: A Story of a Flying Fortress (1944/40 m/Lt. Col. William Wyler)
(3:00 AM) (drama) Black Girl (1966/60 m/Ousmane Sembene)
(4:15 AM) (drama) The Music Room (1958/99 m/Satyajit Ray)
(6:00 AM) (comedy) Go West (1940/80 m/Edward Buzzell)
(7:45 AM) (comedy) The Big Store (1941/83 m/Charles Riesner)
(9:30 AM) (comedy) Double Dynamite (1951/81 m/Irving Cummings)
(11:00 AM) (comedy) Girl In Every Port (1952/86 m/Chester Erskine)
(12:30 PM) (comedy) A Day at the Races (1937/109 m/Sam Wood)
(2:30 PM) (comedy) At the Circus (1939/87 m/Edward Buzzell)
(4:15 PM) (comedy) A Night at the Opera (1935/91 m/Sam Wood)
(6:00 PM) (epic) The Story of Mankind (1957/100 m/Irwin Allen)
(8:00 PM) (horror) Dracula (1931/74m/Tod Browning)
(9:30 PM) (suspense) Cat People (1942/73 m/Jacques Tourneur)
(11:00 PM) (horror) House on Haunted Hill (1958/75 m/William Castle)
Saturday, October 03, 2020
(12:30 AM) (horror) The Haunting (1963/112 m/Robert Wise)
(3:45 AM) (premiere) Wigstock: The Movie (1995/85 m/Barry Shils)
(5:15 AM) (short) The Relaxed Wife (1957/13 m/?)
(5:15 AM) (short) Time Out for Trouble (1961/19m/David S. Glidden)
(6:00 AM) (comedy) Million Dollar Baby (1941/101 m/Curtis Bernhardt)
(8:00 AM) (premiere) MGM CARTOONS: The Peachy Cobbler (1950/7 m/Fred (Tex) Avery)
(8:08 AM) (short) Phonies Beware! (1956/8 m/Larry O'Reilly)
(8:17 AM) (short) Night Life in Chicago (1948/9 m/?)
(8:27 AM) (premiere) Arctic Fury (1949/61 m/Norman Dawn)
(9:30 AM) (premiere) THE WILD WEST DAYS: Redskins’ Revenge (1937/?/?)
(10:00 AM) (premiere) POPEYE: Baby Wants a Bottleship (1942/7 m/Dave Fleischer)
(10:08 AM) (adventure) Safari Drums (1953/71 m/Ford Beebe)
(11:30 AM) (documentary) Alaska Lifeboat (1956/21 m/Herbert Morgan)
(12:00 PM) (drama) The Prince and the Pauper (1937/118 m/William Keighley)
(2:15 PM) (crime) Key Largo (1948/100 m/John Huston)
(4:15 PM) The Defiant Ones (1958/96 m/Stanley Kramer)
(6:00 PM) (romance) The Thomas Crown Affair (1968/102 m/Norman Jewison)
(8:00 PM) (epic) Lawrence of Arabia (1962/227 m/David Lean)
Sunday, October 04, 2020
(12:00 AM) (crime) Where the Sidewalk Ends (1950/95 m/Otto Preminger)
(2:00 AM) (western) Across the Wide Missouri (1951/78 m/William Wellman)
(3:30 AM) (musical) On An Island With You (1948/108 m/Richard Thorpe)
(5:30 AM) (short) Inflation (1942/17 m/Cy Endfield)
(6:00 AM) (romance) The Last of Mrs. Cheyney (1937/98 m/Richard Boleslawski)
(7:45 AM) (romance) Humoresque (1946/124 m/Jean Negulesco)
(10:00 AM) (crime) Where the Sidewalk Ends (1950/95 m/Otto Preminger)
(12:00 PM) (comedy) Mr. Belvedere Goes to College (1949/83 m/Elliott Nugent)
(1:30 PM) (comedy) The Women (1939/133 m/George Cukor)
(4:00 PM) (musical) Bye Bye Birdie (1963/112 m/George Sidney)
(6:00 PM) (documentary) The Great Buster: A Celebration (2018/101 m/Peter Bogdanovich)
(8:00 PM) (silent) Sherlock Jr. (1924/46 m/Buster Keaton)
(9:00 PM) (silent) The General (1927/79 m/Buster Keaton)
(10:30 PM) (silent) Steamboat Bill Jr. (1928/71 m/Charles F. Reisner)
Monday, October 05, 2020
(12:00 AM) (silent) Seven Chances (1925/57 m/Buster Keaton)
(2:00 AM) (drama) Viridiana (1961/91 m/Luis Buñuel)
(3:45 AM) (drama) The Exterminating Angel (1962/92 m/Luis Buñuel)
(5:30 AM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(6:00 AM) (musical) Roberta (1935/106 m/William A. Seiter)
(8:00 AM) (musical) Fashions of 1934 (1934/78 m/William Dieterle)
(9:30 AM) (drama) Stolen Holiday (1937/80 m/Michael Curtiz)
(11:00 AM) (comedy) Designing Woman (1957/118 m/Vincente Minnelli)
(1:00 PM) (comedy) Made in Paris (1966/103 m/Boris Sagal)
(2:45 PM) (romance) A Place for Lovers (1969/88 m/Vittorio De Sica)
(4:30 PM) (horror) Blood and Black Lace (1964/88 m/Mario Bava)
(6:00 PM) (suspense) Lured (1947/103 m/Douglas Sirk)
(8:00 PM) (crime) Cash on Demand (1961/80 min/Quentin Lawrence)
(9:30 PM) (romance) The End of the Affair (1955/106 m/Edward Dmytryk)
(11:30 PM) (crime) Time Without Pity (1957/85 m/Joseph Losey)
Tuesday, October 06, 2020
(1:15 AM) (adventure) John Paul Jones (1959/126 m/John Farrow)
(3:30 AM) (drama) Hamlet (1948/154 m/Laurence Olivier)
(6:15 AM) (comedy) A Chump at Oxford (1940/63 m/Alfred Goulding)
(7:30 AM) (drama) Vigil in the Night (1940/102 m/George Stevens)
(9:15 AM) (comedy) The Gay Bride (1934/80 m/Jack Conway)
(10:45 AM) (musical) Swing High, Swing Low (1937/83 m/Mitchell Leisen)
(12:15 PM) (comedy) Love Before Breakfast (1936/70 m/Walter Lang)
(1:30 PM) (comedy) Nothing Sacred (1937/74 m/William A. Wellman)
(3:00 PM) (comedy) Mr. and Mrs. Smith (1941/95 m/Alfred Hitchcock)
(4:45 PM) (comedy) To Be or Not to Be (1942/99 m/Ernst Lubitsch)
(6:30 PM) (documentary) The Golden Age of Comedy (1957/79 m/various)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 6) (2019/60 m/Mark Cousins)
(9:15 PM) (drama) The Ascent (1977/109 m/Larisa Sheptiko)
(11:15 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 6) (2019/60 m/Mark Cousins)
Wednesday, October 07, 2020
(12:30 AM) Meek's Cutoff (2010/104 m/Kelly Reichardt)
(2:30 AM) (premiere) Cameraperson (2016/103 m/Kirsten Johnson)
(4:30 AM) (comedy) Daisies (1966/76 m/Vera Chytilová)
(9:15 AM) (drama) The Journey (1959/126 m/Anatole Litvak)
(11:30 AM) (drama) The Squall (1929/102 mAlexander Korda)
(1:30 PM) (short) Beautiful Budapest (1938/9 m/?)
(1:45 PM) (short) Rural Hungary (1939/9 m/James A. FitzPatrick)
(2:00 PM) (drama) Fight For Your Lady (1938/66 m/Ben Stoloff)
(3:15 PM) (drama) Storm at Daybreak (1933/79 m/Richard Boleslavsky)
(4:45 PM) (romance) The Shop Around the Corner (1940/99 m/Ernst Lubitsch)
(6:30 PM) (musical) One Heavenly Night (1930/80 m/Geo. Fitzmaurice)
(8:00 PM) (comedy) No Time For Sergeants (1958/119 m/Mervyn LeRoy)
(10:15 PM) (drama) A Face in the Crowd (1957/126 m/Elia Kazan)
Thursday, October 08, 2020
(12:30 AM) (western) Hearts of the West (1975/102 m/Howard Zieff)
(2:30 AM) (comedy) Onionhead (1958/110 m/Norman Taurog)
(4:30 AM) (comedy) Thunder Afloat (1939/95 m/George B. Seitz)
(6:15 AM) (crime) The Public Enemy (1931/84 m/William A. Wellman)
(8:15 AM) (romance) Red-Headed Woman (1932/79 m/Jack Conway)
(9:45 AM) (comedy) Dinner at Eight (1933/111 m/George Cukor)
(11:45 AM) (comedy) Saratoga (1937/92 m/Jack Conway)
(1:30 PM) (romance) Hold Your Man (1933/87 m/Sam Wood)
(3:15 PM) (romance) Red Dust (1932/83 m/Victor Fleming)
(4:45 PM) (comedy) Personal Property (1937/84 m/W. S. Van Dyke II)
(6:15 PM) (comedy) Bombshell (1933/96 m/Victor Fleming)
(8:00 PM) (comedy) The Front Page (1931/101 m/Lewis Milestone)
(10:00 PM) (suspense) Detour (1945/68 m/Edgar G. Ulmer)
(11:30 PM) (drama) The Man with the Golden Arm (1956/119m/Otto Preminger)
Friday, October 09, 2020
(1:45 AM) (romance) Love Affair (1939/88 m/Leo McCarey)
(3:30 AM) (crime) A Brighter Summer Day (1991/237 m/Edward Yang)
(7:00 AM) (short) Alice in Movieland (1940/22 m/Jean Negulesco)
(7:45 AM) (drama) Nora Prentiss (1947/111 m/Vincent Sherman)
(9:45 AM) (crime) Born to Kill (1947/92 m/Robert Wise)
(11:30 AM) (drama) Dark Passage (1947/106 m/Delmer Daves)
(1:30 PM) (suspense) Out of the Past (1947/97 m/Jacques Tourneur)
(3:15 PM) (crime) Race Street (1948/79 m/Edwin L. Marin)
(4:45 PM) (suspense) Impact (1949/111 m/Arthur Lubin)
(6:45 PM) (suspense) The Woman On Pier 13 (1950/73 m/Robert Stevenson)
8:00 PM) (horror) The Ghoul (1933/81 m/T. Hayes Hunter)
(9:30 PM) (horror) The Black Sleep (1956/82 m/Reginald LeBorg)
(11:00 PM) (horror) Mark of the Vampire (1935/60 m/Tod Browning)
Saturday, October 10, 2020
(12:15 AM) (horror) Night of the Living Dead (1968/96 m/George A. Romero)
(2:00 AM) (adventure) White Lightning (1973/101 m/Joseph Sargent)
(3:45 AM) (drama) Gator (1976/116 m/Burt Reynolds)
(5:45 AM) (short) The Corvair in Action! (1960/6 m/?)
(6:00 AM) (musical) The Opposite Sex (1956/116 m/David Miller)
(8:00 AM) (premiere) MGM Cartoons: Red Hot Riding Hood (1943/7 m/Fred (Tex) Avery)
(8:09 AM) (short) Fortune Seekers (1956/8 m/Larry O'Reilly)
(8:18 AM) (documentary) Historic Maryland (1941/8 m/?)
(8:27 AM) (drama) Men of the North (1930/61 m/Hal Roach)
(9:30 AM) (premiere) THE WILD WEST DAYS: Brink of Doom (1937/?/?)
(10:00 AM) (premiere) POPEYE: Alona the Sarong Seas (1942/7 m/Dave Fleischer)
(10:08 AM) (premiere) The Golden Idol (1954/71 m/Ford Beebe)\
(11:30 AM) (comedy) King Of The Islands (1935/17 m/Ralph Staub)
. (12:00 PM) (adventure) Tarzan The Ape Man (1932/100 m/W. S. Van Dyke II)
(2:00 PM) (musical) Lili (1953/81 m/Charles Walters)
(3:30 PM) (comedy) Casino Royale (1967/131 m/John Huston, et. al.)
(6:00 PM) (musical) Top Hat (1935/100 m/Mark Sandrich)
(8:00 PM) (adventure) Gunga Din (1939/117 m/George Stevens)
(10:15 PM) (adventure) The Three Musketeers (1948/126 m/George Sidney)
Sunday, October 11, 2020
(12:30 AM) (crime) The Racket (1951/89 m/John Cromwell)
(2:30 AM) (comedy) Bananas (1971/82 m/Woody Allen)
(4:00 AM) (comedy) Hannah and Her Sisters (1986/107 m/Woody Allen)
(6:00 AM) (comedy) A Midsummer Night's Dream (1935/143 m/Max Reinhardt)
(8:30 AM) (drama) Journey For Margaret (1942/81 m/Major W. S. Van Dyke II)
(10:00 AM) (crime) The Racket (1951/89 m/John Cromwell)
(12:00 PM) (drama) Sounder (1972/105 m/Martin Ritt)
(2:00 PM) (drama) The Secret Garden (1949/92 m/Fred M. Wilcox)
(3:45 PM) (drama) The Catered Affair (1956/94 m/Richard Brooks)
(5:30 PM) (musical) Flower Drum Song (1961/131 m/Henry Koster)
(8:00 PM) (comedy) The Front Page (1974/105 m/Billy Wilder)
(10:00 PM) (comedy) The Fortune Cookie (1966/126 m/Billy Wilder)
Monday, October 12, 2020
(12:15 AM) (comedy) Sidewalk Stories (1989/99 m/Charles Lane)
(2:15 AM) (comedy) The Firemen's Ball (1967/73 m/Milos Forman)
(3:45 AM) (premiere) All My Good Countrymen (1968/126 m/Vojtěch Jasný)
(6:00 AM) (horror) The Reptile (1966/90 m/John Gilling)
(7:45 AM) (horror) The Killer Shrews (1959/68 m/Ray Kellogg)
(9:00 AM) (horror) King Kong (1933/104 m/Merian C. Cooper)
(11:00 AM) (horror) The Beast From 20,000 Fathoms (1953/80 m/Eugene Lourié)
(12:30 PM) (horror) Gojira (1954/96 m/Ishiro Honda)
(2:00 PM) (horror) Creature from the Black Lagoon (1954/79 m/Jack Arnold)
(3:30 PM) (horror) Creature from the Haunted Sea (1961/59 m/Roger Corman)
(4:45 PM) (horror) The Green Slime (1969/90 m/Kinji Fukasaku)
(6:30 PM) (horror) Night of the Lepus (1972/88 m/William F. Claxton)
(8:00 PM) (adventure) Sword of Sherwood Forest (1960/80 m/Terence Fisher)
(11:00 PM) (horror) Daleks - Invasion Earth 2150 A.D. (1966/81 m/Gordon Flemyng)
Tuesday, October 13, 2020
(12:30 AM) (adventure) She (1965/106 m/Robert Day)
(2:30 AM) (crime) Violent Playground (1958/106 m/Basil Dearden)
(4:30 AM) (premiere) In Saigon: Some May Live (1967/89 m/Vernon Sewell)
(6:00 AM) (drama) Devotion (1931/81 m/Robert Milton)
(7:30 AM) (comedy) The Runaway Bus (1954/74 m/Val Guest)
(9:00 AM) (crime) The Solitaire Man (1933/67 m/Jack Conway)
(10:30 AM) (suspense) Blind Adventure (1933/63 m/Ernest B. Schoedsack)
(11:45 AM) (musical) Double Trouble (1967/92 m/Norman Taurog)
(1:30 PM) (romance) A Warm December (1972/101 m/Sidney Poitier)
(3:30 PM) (drama) The V.I.P.S (1963/119 m/Anthony Asquith)
(5:45 PM) (comedy) The Prince and the Showgirl (1957/117 m/Laurence Olivier)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 7) (2019/60 m/Mark Cousins)
(11:00 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 7) (2019/60 m/Mark Cousins)
Wednesday, October 14, 2020
(2:00 AM) (documentary) The House Is Black (1963/22 m/?)
(2:30 AM) (romance) First Love (1977/91 m/Joan Darling)
(4:15 AM) (drama) The Night Porter (1974/118 m/Liliana Cavani)
(6:30 AM) (drama) Le Bonheur (1965/80 m/Agnes Varda)
(10:15 AM) (silent) The Unholy Three (1925/86 m/Tod Browning)
(12:00 PM) (silent) The Unknown (1927/49 m/Tod Browning)
(1:00 PM) (silent) The Blackbird (1926/86 m/Tod Browning)
(2:30 PM) (horror) The Thirteenth Chair (1929/73 m/Tod Browning)
(4:00 PM) (horror) Freaks (1932/62 m/Tod Browning)
(5:15 PM) (horror) Mark of the Vampire (1935/60 m/Tod Browning)
(6:30 PM) (horror) The Devil-Doll (1936/78 m/Tod Browning)
(8:00 PM) (drama) Abe Lincoln in Illinois (1940/110 m/John Cromwell)
(10:00 PM) (drama) Sunrise at Campobello (1960/144 m/Vincent J. Donehue)
Thursday, October 15, 2020
(12:45 AM) (drama) Wilson (1944/154 m/Henry King)
(3:30 AM) (war) PT 109 (1963/140 m/Leslie H. Martinson) .
(6:00 AM) (comedy) Three Men on a Horse (1936/86 m/Mervyn LeRoy)
(7:30 AM) (crime) Unholy Partners (1941/94 m/Mervyn LeRoy)
(9:15 AM) (musical) Sweet Adeline (1935/88 m/Mervyn Le Roy)
(11:00 AM) (comedy) Happiness Ahead (1934/86 m/Mervyn Le Roy)
(12:30 PM) (drama) Big City Blues (1932/63 m/Mervyn LeRoy)
(1:45 PM) (suspense) The Bad Seed (1956/129 m/Mervyn LeRoy)
(4:00 PM) (drama) They Won't Forget (1937/95 m/Mervyn LeRoy)
(5:45 PM) (romance) Random Harvest (1942/126 m/Mervyn LeRoy)
(8:00 PM) (war) Tunes of Glory (1960/107 m/Ronald Neame)
(10:00 PM) (war) The Life and Death of Colonel Blimp (1943/164 m/Michael Powell)
Friday, October 16, 2020
(1:00 AM) (war) The Seventh Cross (1944/112 m/Fred Zinnemann)
(3:00 AM) (drama) The Diary of Anne Frank (1959/180 m/George Stevens)
(6:15 AM) (documentary) Trances (1981/89 m/Ahmed El Maanouni)
(8:00 AM) (comedy) Little Shop of Horrors (1960/72 m/Roger Corman)
(9:15 AM) (horror) Village of the Damned (1960/77 m/Wolf Rilla)
(10:45 AM) (horror) The Brain That Wouldn't Die (1962/82 m/Joseph Green)
(12:15 PM) (horror) Carnival of Souls (1962/78 m/Herk Harvey)
(1:45 PM) (horror) Dementia 13 (1963/75 m/Francis Ford Coppola)
(3:15 PM) (horror) The Raven (1963/86 m/Roger Corman)
(4:45 PM) (horror) Spider Baby (1964/84 m/Jack Hill)
(6:15 PM) (horror) The Nanny (1965/93 m/Seth Holt)
(8:00 PM) (horror) Dead of Night (1945/103 m/Alberto Cavalcanti, Basil Dearden, Robert Hamer, Charles Crichton)
(10:00 PM) (horror) Twice-Told Tales (1963/120 m/Sidney Salkow)
Saturday, October 17, 2020
(12:15 AM) (horror) Black Sabbath (1963/96 m/Mario Bava)
(2:00 AM) (premiere) Enter the Ninja (1981/99 m/Menahem Golan)
(3:45 AM) (premiere) Revenge of the Ninja (1983/?/Sam Firstenberg)
(5:30 AM) (short) Shake Hands With Danger (1970/23 m/?)
(6:00 AM) (war) The Password Is Courage (1962/115 m/Andrew L. Stone)
(8:00 AM) MGM CARTOONS: Sheep Wrecked (1958/6 m/Michael Lah)
(8:08 AM) (documentary) Cave Explorers (1957/8 m/Heinz Scheiderbauer)
(8:17 AM) (short) The Capital City Washington, D.C. (1940/9 m/?)
(8:27 AM) (drama) She Loved A Fireman (1937/58 m/John Farrow)
(9:30 AM) (premiere) The WILD WEST DAYS: Indians Are Coming (1937/?/?)
(10:00 AM) (premiere) POPEYE: A Hull of a Mess (1942/6 m/Dave Fleischer)
(10:08 AM) (adventure) Lord of the Jungle (1955/69 m/Ford Beebe)
(11:30 AM) (short) Kissing Time (1933/22 m/Roy Mack)
(12:00 PM) (western) Angel And The Badman (1947/100 m/James Edward Grant)
(1:45 PM) (adventure) Captain Horatio Hornblower (1951/117 m/Raoul Walsh)
(4:00 PM) (comedy) Support Your Local Sheriff! (1969/93 m/Burt Kennedy)
(5:45 PM) (horror) Rollerball (1975/125 m/Norman Jewison)
(8:00 PM) (musical) Singin' in the Rain (1952/103 m/Gene Kelly)
(10:00 PM) (musical) Summer Stock (1950/109 m/Charles Walters)
Sunday, October 18, 2020
(12:00 AM) (crime) Destination Murder (1950/73 m/Edward L. Cahn)
(1:45 AM) (comedy) The Fearless Vampire Killers or Pardon Me, But Your Teeth Are in My Neck (1966/107 m/Roman Polanski)
(3:45 AM) (horror) House of Dark Shadows (1970/97 m/Dan Curtis)
(5:30 AM) (short) Return to Glennascaul (1953/24 m/Hilton Edwards)
(6:00 AM) (drama) The Life of Emile Zola (1937/116 m/William Dieterle)
(8:15 AM) (comedy) His Girl Friday (1940/92 m/Howard Hawks)
(10:00 AM) (crime) Destination Murder (1950/73 m/Edward L. Cahn)
(11:45 AM) (epic) The Good Earth (1937/138 m/Sidney Franklin)
(2:15 PM) (drama) Written on the Wind (1957/99 m/Douglas Sirk)
(4:00 PM) (romance) Dear Heart (1964/114 m/Delbert Mann)
(6:00 PM) (comedy) Peggy Sue Got Married (1986/105 m/Francis Ford Coppola)
(10:00 PM) (comedy) Losing Ground (1982/86 m/Kathleen Collins)
Monday, October 19, 2020
(12:00 AM) (silent) Exit Smiling (1926/77 m/Sam Taylor)
(2:00 AM) (premiere) I Am Waiting (1957/91 m/Koreyoshi Kurahara)
(3:45 AM) (premiere) A Colt Is My Passport (1967/84 m/Takashi Nomura) .
(5:30 AM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(6:00 AM) (comedy) I Married a Witch (1942/77 m/René Clair)
(7:30 AM) (comedy) Mr. and Mrs. Smith (1941/95 m/Alfred Hitchcock)
(9:15 AM) (crime) Touch of Evil (1958/111 m/Orson Welles)
(11:30 AM) (adventure) Mogambo (1953/116 m/John Ford)
(1:45 PM) (suspense) North by Northwest (1959/136 m/Alfred Hitchcock)
(4:15 PM) (drama) In A Lonely Place (1950/93 m/Nicholas Ray)
(6:00 PM) (war) Any Number Can Play (1949/103 m/Mervyn LeRoy)
(8:00 PM) (suspense) The Hound of the Baskervilles (1959/87 m/Terence Fisher)
(9:30 PM) (horror) Horror of Dracula (1958/81 m/Terence Fisher)
(11:15 PM) (horror) The Mummy (1959/88 m/Terence Fisher)
(1:00 AM) (horror) The Curse of Frankenstein (1957/83 min/Terence Fisher)
(2:45 AM) (horror) Frankenstein Created Woman (1967/92 min/Terence Fisher)
(4:30 AM) (horror) Frankenstein Must Be Destroyed! (1970/101 m/Terence Fisher)
Tuesday, October 20, 2020
(6:15 AM) (comedy) Front Page Woman (1935/82 m/Michael Curtiz)
(7:45 AM) (romance) Wife Vs. Secretary (1936/88 m/Clarence Brown)
(9:30 AM) (suspense) Mr. And Mrs. North (1941/67 m/Robert B. Sinclair)
(10:45 AM) (comedy) Theodora Goes Wild (1936/94 m/Richard Boleslawski)
(12:30 PM) (comedy) Breakfast for Two (1937/68 m/Alfred Santell)
(1:45 PM) (comedy) Four's A Crowd (1938/92 m/Michael Curtiz)
(3:30 PM) (comedy) It's A Wonderful World (1939/86 m/W. S. Van Dyke II)
(5:00 PM) (comedy) Fools For Scandal (1938/80 m/Mervyn Le Roy)
(6:30 PM) (romance) Love on the Run (1936/80 m/W. S. Van Dyke)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 8) (2019/60 min/Mark Cousins)
(10:45 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 8) (2019/60 m/Mark Cousins)
Wednesday, October 21, 2020
(2:00 AM) (premiere) The Third Miracle (1999/119 m/Agnieszka Holland)
(7:45 AM) (short) The Birth, the Life and the Death of Christ (1906/34 m/Alice Guy-Blache)
(8:30 AM) (documentary) Araya (1959/83 m/Margot Benacerraf)
(10:00 AM) (drama) Children of a Lesser God (1986/119 m/Randa Haines)
(12:15 PM) (drama) Young Dr. Kildare (1938/82 m/Harold S. Bucquet)
(1:45 PM) (drama) Calling Dr. Kildare (1939/86 m/Harold S. Bucquet)
(3:30 PM) (drama) The Secret of Dr. Kildare (1939/84 m/Harold S. Bucquet)
(5:00 PM) (drama) Dr. Kildare Goes Home (1940/79 m/Harold S. Bucquet)
(6:30 PM) (drama) Dr. Kildare's Crisis (1940/75 m/Harold S. Bucquet)
(8:00 PM) (comedy) Hard To Handle (1933/78 m/Mervyn Le Roy)
(9:30 PM) (crime) The Beast of the City (1932/86 m/Charles Brabin)
(11:15 PM) (drama) One Way Passage (1932/67 m/Tay Garnett)
Thursday, October 22, 2020
(12:45 AM) (crime) They Live By Night (1948/95 m/Nicolas Ray)
(2:30 AM) (adventure) The Prisoner of Zenda (1952/100 m/Richard Thorpe)
(4:15 AM) (adventure) Green Fire (1955/100 m/Andrew Marton)
(6:00 AM) (adventure) Three Faces East (1930/71 m/Roy Del Ruth)
(7:30 AM) (drama) Born to Love (1932/81 m/Paul L. Stein)
(9:00 AM) (drama) The Common Law (1932/74 m/Paul L. Stein)
(10:30 AM) (drama) Rockabye (1932/68 m/George Cukor)
(11:45 AM) (drama) Bed of Roses (1933/ 67 /Gregory LaCava)
(1:00 PM) (drama) Our Betters (1933/83 m/George Cukor)
(2:30 PM) (comedy) Topper (1937/97 m/Norman Z. McLeod)
(4:15 PM) (comedy) Topper Takes a Trip (1939/80 m/Norman Z. McLeod)
(5:45 PM) (comedy) Merrily We Live (1938/95 m/Norman Z. McLeod)
(7:30 PM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(8:00 PM) (crime) The Killers (1964/93 m/Donald Siegel)
(9:45 PM) (drama) The Breaking Point (1950/97 m/Michael Curtiz)
(11:30 PM) (horror) The Mystery Of The Wax Museum (1933/77 m/Michael Curtiz)
Friday, October 23, 2020
(1:00 AM) (horror) Night of the Living Dead (1968/96 m/George A. Romero)
(3:00 AM) (premiere) A River Called Titas (1973/158 m/Ritwik Ghatak)
(6:00 AM) (drama) Inside Straight (1951/87 m/Gerald Mayer)
(7:30 AM) (crime) Absolute Quiet (1936/70 m/George B. Seitz)
(8:45 AM) (drama) Chain Lightning (1950/95 m/Stuart Heisler)
(10:30 AM) (adventure) Tycoon (1947/129 m/Richard Wallace)
(12:45 PM) (drama) No Marriage Ties (1933/72 m/J. Walter Ruben)
(2:00 PM) (drama) Death of a Scoundrel (1956/120 m/Charles Martin)
(4:15 PM) (crime) Assignment To Kill (1968/99 m/Sheldon Reynolds)
(6:00 PM) (suspense) The Drowning Pool (1975/108 m/Stuart Rosenberg)
(8:00 PM) (horror) Pit and the Pendulum (1961/80 m/Roger Corman)
(9:45 PM) (horror) Spirits of the Dead (1968/121 m/Federico Fellini, Louis Malle, Roger Vadim)
Saturday, October 24, 2020
(12:00 AM) (horror) Murders In The Rue Morgue (1971/98 m/Gordon Hessler)
(2:00 AM) (premiere) Ninja III: The Domination (1984/95 m/Sam Firstenberg)
(3:45 AM) (drama) Heavenly Bodies (1985/89 m/Lawrence Dane)
(5:30 AM) (short) Keep Off The Grass (1969/21 m/?)
(6:00 AM) (comedy) Please Don't Eat the Daisies (1960/111 m/Charles Walters)
(8:00 AM) (premiere) MGM CARTOONS: One Cab's Family (1938/8 m/Fred (Tex) Avery)
(8:09 AM) (documentary) Black Cats and Broomsticks (1955/8 m/Larry O'Reilly)
(8:18 AM) (short) Wandering Here and There (1944/9 m/James A. FitzPatrick)
(8:28 AM) (romance) King Of The Lumberjacks (1940/59 m/William Clemens)
(9:30 AM) (premiere) THE WILD WEST DAYS: Leap For Life (1937/?/?)
(10:00 AM) (premiere) POPEYE: Cartoons Ain’t Human (1943/7 m/Dave Fleischer)
(10:09 AM) (adventure) Tarzan And The Amazons (1945/76 m/Kurt Neumann)
(11:30 AM) (short) The Flame Song (1934/22 m/Joseph Henabery)
(12:00 PM) (suspense) Harper (1966/121 m/Jack Smight)
(2:15 PM) (horror) Brainstorm (1983/106 m/Douglas Trumbull)
(4:15 PM) (war) Men Of The Fighting Lady (1954/80 m/Andrew Marton)
(5:45 PM) (drama) Citizen Kane (1941/119 m/Orson Welles)
(8:00 PM) (drama) Ace in the Hole (1951/111m/Billy Wilder)
(10:15 PM) (premiere) Flesh and Fury (1952/83 m/Joseph Pevney)
Sunday, October 25, 2020
(12:00 AM) (adventure) Macao (1952/81 m/Josef von Sternberg)
(1:45 AM) (horror) The Werewolf (1956/80 m/Fred F. Sears)
(3:15 AM) (premiere) The Howling (1981/91 m/Joe Dante)
(5:00 AM) (horror) The Mummy (1932/73 m/Karl Freund)
(6:15 AM) (suspense) Murder on the Blackboard (1934/72 m/George Archainbaud)
(7:30 AM) (romance) All This, and Heaven Too (1940/143 m/Anatole Litvak)
(10:00 AM) (adventure) Macao (1952/81 m/Josef von Sternberg)
(12:00 PM) (romance) The White Cliffs Of Dover (1944/126 m/Clarence Brown)
(2:15 PM) (epic) Around the World in 80 Days (1956/182 m/Michael Anderson)
(5:30 PM) (horror) What Ever Happened to Baby Jane? (1962/134 m/Robert Aldrich)
(8:00 PM) (western) 3:10 to Yuma (1957/92 m/Delmer Daves)
(10:00 PM) (western) Gunman's Walk (1958/95 m/Phil Karlson)
Monday, October 26, 2020
(12:00 AM) (silent) Haxan: Witchcraft Through the Ages (1922/107 m/Benjamin Christensen)
(2:00 AM) (suspense) Diabolique (1955/117 m/Henri-Georges Clouzot)
(4:15 AM) (horror) Eyes Without a Face (1959/90 m/Georges Franju)
(6:00 AM) (suspense) The Beast with Five Fingers (1946/88 m/Robert Florey)
(7:45 AM) (adventure) Mara Maru (1952/98 m/Gordon Douglas)
(9:30 AM) (drama) They Won't Believe Me (1947/80 m/Irving Pichel)
(11:15 AM) (suspense) Where Danger Lives (1950/80 m/John Farrow)
(1:00 PM) (suspense) Fingers at the Window (1942/81 m/Charles Lederer)
(2:30 PM) (suspense) Footsteps in the Dark (1941/96 m/Lloyd Bacon)
(4:15 PM) (suspense) Kill or Cure (1962/88 m/George Pollock)
(6:00 PM) (comedy) The Gazebo (1960/102m/George Marshall)
(8:00 PM) (horror) Nothing But the Night (1972/91 m/Peter Sasdy)
(9:45 PM) (horror) Madhouse (1974/91 m/James Clark)
(11:30 PM) (horror) From Beyond the Grave (1973/98 m/Kevin Connor)
Tuesday, October 27, 2020
(1:30 AM) (horror) Scream and Scream Again (1970/95 m/Gordon Hessler)
(3:15 AM) (premiere) The Satanic Rites of Dracula (1973/88 m/Alan Gibson)
(4:45 AM) (horror) Dracula A.D. 1972 (1972/96 m/Alan Gibson)
(6:30 AM) (western) Somewhere In Sonora (1933/58 m/Mack V. Wright)
(7:45 AM) (western) Along the Rio Grande (1941/64 m/Edward Killy)
(9:00 AM) (western) Valley of the Sun (1942/78 m/George Marshall)
(10:30 AM) (western) Sagebrush Trail (1933/53 m/Armand Schaefer)
(11:30 AM) (western) Devil's Canyon (1953/92 m/Alfred Werker)
(1:15 PM) (western) The Hired Gun (1957/64 m/Ray Nazarro)
(2:30 PM) (premiere) Black Patch (1957/82 m/Allen H. Miner)
(4:00 PM) (western) Virginia City (1940/121 m/Michael Curtiz)
(6:15 PM) (western) Escape From Fort Bravo (1953/98 m/John Sturges)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema (episode 9) (2019/60 m/Mark Cousins)
(11:00 PM) (documentary) Women Make Film: A New Road Movie Through Cinema (episode 9) (2019/60 m/Mark Cousins)
Wednesday, October 28, 2020
(12:15 AM) (comedy) Girlfriends (1978/88 m/Claudia Weill)
(2:00 AM) (drama) The Connection (1962/103 m/Shirley Clarke)
(4:00 AM) (comedy) Lost In Yonkers (1993/114 m/Martha Coolidge)
(10:00 AM) (drama) Winter Meeting (1948/104 m/Bretaigne Windust)
(12:00 PM) (romance) I Know Where I'm Going (1945/92 m/Michael Powell)
(1:45 PM) (romance) The Enchanted Cottage (1945/92 m/John Cromwell)
(3:30 PM) (romance) Random Harvest (1942/126 m/Mervyn LeRoy)
(6:00 PM) (romance) Desire Me (1947/91 m/George Cukor)
(8:00 PM) (drama) The Best Man (1964/102 m/Franklin J. Schaffner)
(10:00 PM) (drama) State of the Union (1948/123 m/Frank Capra)
Thursday, October 29, 2020
(12:15 AM) (comedy) The Great McGinty (1940/82 m/Preston Sturges)
(2:00 AM) (drama) The Candidate (1972/110 m/Michael Ritchie)
(4:00 AM) (drama) All the King's Men (1949/110 m/Robert Rossen)
(6:00 AM) (western) Haunted Gold (1932/58 m/Mack V. Wright)
(7:00 AM) (horror) The Devil-Doll (1936/78 m/Tod Browning)
(8:30 AM) (suspense) Before Dawn (1933/61 m/Irving Pichel)
(9:45 AM) (comedy) Man Alive (1946/70 m/Ray Enright)
(11:00 AM) (horror) Tormented (1960/75 m/Bert I. Gordon)
(12:30 PM) (adventure) Angel on My Shoulder (1946/101 m/Archie Mayo)
(2:15 PM) (horror) Night Of Dark Shadows (1971/94 m/Dan Curtis)
(4:00 PM) (horror) Indestructible Man (1956/71 m/Jack Pollexfen)
(5:15 PM) (horror) From Hell It Came (1957/71 m/Johnny Greenwald)
(6:30 PM) (horror) Death Curse of Tartu (1966/88 m/William Grefé)
(8:00 PM) (western) Winchester '73 (1950/92 m/Anthony Mann)
(10:00 PM) (western) She Wore a Yellow Ribbon (1949/104 m/John Ford)
Friday, October 30, 2020
(12:00 AM) (documentary) Primary (1960/53 m/Robert Drew)
(1:15 AM) (documentary) Crisis (1963/53 m/Robert Drew)
(2:15 AM) (premiere) Dos Monjes (1934//Juan Bustillo Oro)
(4:00 AM) (drama) Of Mice and Men (1939/107m/Lewis Milestone)
(6:00 AM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(6:30 AM) (horror) Doctor X (1932/76 m/Michael Curtiz)
(8:00 AM) (horror) The Mask Of Fu Manchu (1932/68 m/Charles Brabin)
(9:30 AM) (horror) The Most Dangerous Game (1932/63 m/Ernest B. Schoedsack)
(10:45 AM) (horror) Island of Lost Souls (1932/70 m/Erle C. Kenton)
(12:00 PM) (horror) White Zombie (1932/67 m/Victor Halperin)
(1:30 PM) (horror) The Vampire Bat (1933/63 m/Frank Strayer)
(2:45 PM) (horror) The Mystery Of The Wax Museum (1933/77 m/Michael Curtiz)
(4:15 PM) (horror) Mad Love (1935/68 m/Karl Freund)
(5:30 PM) (horror) The Walking Dead (1936/65 m/Michael Curtiz)
(6:45 PM) (horror) The Return of Doctor X (1939/62 m/Vincent Sherman)
(8:00 PM) (horror) Burn, Witch, Burn! (1962/89 m/Sidney Hayers)
(9:45 PM) (horror) The Four Skulls of Jonathan Drake (1959/70 m/Edward L. Cahn)
(11:00 PM) (horror) The Devil's Bride (1968/96 m/Terence Fisher)
Saturday, October 31, 2020
(12:45 AM) (horror) The Conqueror Worm (1968/87 m/Michael Reeves)
(5:15 AM) (short) The Distant Drummer: Flowers of Darkness (1972/22 m/William Templeton)
(5:15 AM) (short) Movie Trailer (1950/16 m/?)
(6:00 AM) (horror) Freaks (1932/62 m/Tod Browning)
(7:15 AM) (horror) Dr. Jekyll and Mr. Hyde (1932/96 m/Rouben Mamoulian)
(9:00 AM) (horror) House of Wax (1953/88 m/Andre DeToth)
(10:45 AM) (horror) Children of the Damned (1964/90 m/Anton M. Leader)
(12:30 PM) (suspense) The Bad Seed (1956/129 m/Mervyn LeRoy)
(2:45 PM) (drama) The Picture of Dorian Gray (1945/110 m/Albert Lewin)
(4:45 PM) (horror) The Wolf Man (1941/70 m/George Waggner)
(6:00 PM) (horror) The Haunting (1963/112 m/Robert Wise)
(8:00 PM) (comedy) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964/95 m/Stanley Kubrick) .
(10:00 PM) (horror) Them! (1954/92 m/Gordon Douglas)
(12:00 AM) (horror) The Seventh Victim (1943/71 m/Mark Robson)
(1:30 AM) (horror) I Walked With A Zombie (1943/69 m/Jacques Tourneur)
(3:00 AM) (horror) The Body Snatcher (1945/78 m/Robert Wise)
(4:30 AM) (suspense) The Leopard Man (1943/66 m/Jacques Tourneur)
submitted by tombstoneshadows28 to movies [link] [comments]


2020.08.26 11:20 tombstoneshadows28 Peter Cushing is the Star of the Month for October, 2020 on TCM (U.S.)

Every Monday from 8:00 p.m. till just after the sun comes up.
Thursday, October 01, 2020
(12:00 AM) (drama) Up The Down Staircase (1967/124 m/Robert Mulligan)
(2:15 AM) (comedy) Our Miss Brooks (1956/85 m/Al Lewis)
(4:00 AM) (drama)The Corn Is Green (1945/114 m/Irving Rapper)
(6:00 AM) (comedy) Girl He Left Behind (1956/103 m/David Butler)
(8:00 AM) (war) Lafayette Escadrille (1958/93 m/William A. Wellman)
(9:45 AM) (comedy) Dondi (1961/100 m/Albert Zugsmith)
(11:30 AM) (epic) The Shoes of the Fisherman (1968/162 m/Michael Anderson)
(2:15 PM) (crime) Ring of Fire (1961/91 m/Andrew L. Stone)
(4:00 PM) (suspense) Twenty Plus Two (1961/103 m/Joseph M. Newman)
(5:45 PM) (horror) Marooned (1969/129 m/John Sturges)
(8:00 PM) (drama) La Strada (1954/108 m/Federico Fellini)
(10:00 PM) (romance) Two for the Road (1967/111 m/Stanley Donen)
Friday, October 02, 2020
(12:00 AM) (romance) Dodsworth (1936/101 m/William Wyler)
(2:00 AM) (documentary) The Memphis Belle: A Story of a Flying Fortress (1944/40 m/Lt. Col. William Wyler)
(3:00 AM) (drama) Black Girl (1966/60 m/Ousmane Sembene)
(4:15 AM) (drama) The Music Room (1958/99 m/Satyajit Ray)
(6:00 AM) (comedy) Go West (1940/80 m/Edward Buzzell)
(7:45 AM) (comedy) The Big Store (1941/83 m/Charles Riesner)
(9:30 AM) (comedy) Double Dynamite (1951/81 m/Irving Cummings)
(11:00 AM) (comedy) Girl In Every Port (1952/86 m/Chester Erskine)
(12:30 PM) (comedy) A Day at the Races (1937/109 m/Sam Wood)
(2:30 PM) (comedy) At the Circus (1939/87 m/Edward Buzzell)
(4:15 PM) (comedy) A Night at the Opera (1935/91 m/Sam Wood)
(6:00 PM) (epic) The Story of Mankind (1957/100 m/Irwin Allen)
(8:00 PM) (horror) Dracula (1931/74m/Tod Browning)
(9:30 PM) (suspense) Cat People (1942/73 m/Jacques Tourneur)
(11:00 PM) (horror) House on Haunted Hill (1958/75 m/William Castle)
Saturday, October 03, 2020
(12:30 AM) (horror) The Haunting (1963/112 m/Robert Wise)
(3:45 AM) (premiere) Wigstock: The Movie (1995/85 m/Barry Shils)
(5:15 AM) (short) The Relaxed Wife (1957/13 m/?)
(5:15 AM) (short) Time Out for Trouble (1961/19m/David S. Glidden)
(6:00 AM) (comedy) Million Dollar Baby (1941/101 m/Curtis Bernhardt)
(8:00 AM) (premiere) MGM CARTOONS: The Peachy Cobbler (1950/7 m/Fred (Tex) Avery)
(8:08 AM) (short) Phonies Beware! (1956/8 m/Larry O'Reilly)
(8:17 AM) (short) Night Life in Chicago (1948/9 m/?)
(8:27 AM) (premiere) Arctic Fury (1949/61 m/Norman Dawn)
(9:30 AM) (premiere) THE WILD WEST DAYS: Redskins’ Revenge (1937/?/?)
(10:00 AM) (premiere) POPEYE: Baby Wants a Bottleship (1942/7 m/Dave Fleischer)
(10:08 AM) (adventure) Safari Drums (1953/71 m/Ford Beebe)
(11:30 AM) (documentary) Alaska Lifeboat (1956/21 m/Herbert Morgan)
(12:00 PM) (drama) The Prince and the Pauper (1937/118 m/William Keighley)
(2:15 PM) (crime) Key Largo (1948/100 m/John Huston)
(4:15 PM) (drama) The Defiant Ones (1958/96 m/Stanley Kramer)
(6:00 PM) (romance) The Thomas Crown Affair (1968/102 m/Norman Jewison)
(8:00 PM) (epic) Lawrence of Arabia (1962/227 m/David Lean)
Sunday, October 04, 2020
(12:00 AM) (crime) Where the Sidewalk Ends (1950/95 m/Otto Preminger)
(2:00 AM) (western) Across the Wide Missouri (1951/78 m/William Wellman)
(3:30 AM) (musical) On An Island With You (1948/108 m/Richard Thorpe)
(5:30 AM) (short) Inflation (1942/17 m/Cy Endfield)
(6:00 AM) (romance) The Last of Mrs. Cheyney (1937/98 m/Richard Boleslawski)
(7:45 AM) (romance) Humoresque (1946/124 m/Jean Negulesco)
(10:00 AM) (crime) Where the Sidewalk Ends (1950/95 m/Otto Preminger)
(12:00 PM) (comedy) Mr. Belvedere Goes to College (1949/83 m/Elliott Nugent)
(1:30 PM) (comedy) The Women (1939/133 m/George Cukor)
(4:00 PM) (musical) Bye Bye Birdie (1963/112 m/George Sidney)
(6:00 PM) (documentary) The Great Buster: A Celebration (2018/101 m/Peter Bogdanovich)
(8:00 PM) (silent) Sherlock Jr. (1924/46 m/Buster Keaton)
(9:00 PM) (silent) The General (1927/79 m/Buster Keaton)
(10:30 PM) (silent) Steamboat Bill Jr. (1928/71 m/Charles F. Reisner)
Monday, October 05, 2020
(12:00 AM) (silent) Seven Chances (1925/57 m/Buster Keaton)
(2:00 AM) (drama) Viridiana (1961/91 m/Luis Buñuel)
(3:45 AM) (drama) The Exterminating Angel (1962/92 m/Luis Buñuel)
(5:30 AM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(6:00 AM) (musical) Roberta (1935/106 m/William A. Seiter)
(8:00 AM) (musical) Fashions of 1934 (1934/78 m/William Dieterle)
(9:30 AM) (drama) Stolen Holiday (1937/80 m/Michael Curtiz)
(11:00 AM) (comedy) Designing Woman (1957/118 m/Vincente Minnelli)
(1:00 PM) (comedy) Made in Paris (1966/103 m/Boris Sagal)
(2:45 PM) (romance) A Place for Lovers (1969/88 m/Vittorio De Sica)
(4:30 PM) (horror) Blood and Black Lace (1964/88 m/Mario Bava)
(6:00 PM) (suspense) Lured (1947/103 m/Douglas Sirk)
(8:00 PM) (crime) Cash on Demand (1961/80 min/Quentin Lawrence)
(9:30 PM) (romance) The End of the Affair (1955/106 m/Edward Dmytryk)
(11:30 PM) (crime) Time Without Pity (1957/85 m/Joseph Losey)
Tuesday, October 06, 2020
(1:15 AM) (adventure) John Paul Jones (1959/126 m/John Farrow)
(3:30 AM) (drama) Hamlet (1948/154 m/Laurence Olivier)
(6:15 AM) (comedy) A Chump at Oxford (1940/63 m/Alfred Goulding)
(7:30 AM) (drama) Vigil in the Night (1940/102 m/George Stevens)
(9:15 AM) (comedy) The Gay Bride (1934/80 m/Jack Conway)
(10:45 AM) (musical) Swing High, Swing Low (1937/83 m/Mitchell Leisen)
(12:15 PM) (comedy) Love Before Breakfast (1936/70 m/Walter Lang)
(1:30 PM) (comedy) Nothing Sacred (1937/74 m/William A. Wellman)
(3:00 PM) (comedy) Mr. and Mrs. Smith (1941/95 m/Alfred Hitchcock)
(4:45 PM) (comedy) To Be or Not to Be (1942/99 m/Ernst Lubitsch)
(6:30 PM) (documentary) The Golden Age of Comedy (1957/79 m/various)
(9:15 PM) (drama) The Ascent (1977/109 m/Larisa Sheptiko)
Wednesday, October 07, 2020
(12:30 AM) Meek's Cutoff (2010/104 m/Kelly Reichardt)
(2:30 AM) (short) Meshes of the Afternoon (1944/14 m/Maya Deren)
(4:30 AM) (comedy) Daisies (1966/76 m/Vera Chytilová
(6:00 AM) (premiere) Cameraperson (2016/102 m/Kirsten Johnson)
(9:15 AM) (drama) The Journey (1959/126 m/Anatole Litvak)
(11:30 AM) (drama) The Squall (1929/102 mAlexander Korda)
(1:30 PM) (short) Beautiful Budapest (1938/9 m/?)
(1:45 PM) (short) Rural Hungary (1939/9 m/James A. FitzPatrick)
(2:00 PM) (drama) Fight For Your Lady (1938/66 m/Ben Stoloff)
(3:15 PM) (drama) Storm at Daybreak (1933/79 m/Richard Boleslavsky)
(4:45 PM) (romance) The Shop Around the Corner (1940/99 m/Ernst Lubitsch)
(6:30 PM) (musical) One Heavenly Night (1930/80 m/Geo. Fitzmaurice)
(8:00 PM) (comedy) No Time For Sergeants (1958/119 m/Mervyn LeRoy)
(10:15 PM) (drama) A Face in the Crowd (1957/126 m/Elia Kazan)
Thursday, October 08, 2020
(12:30 AM) (western) Hearts of the West (1975/102 m/Howard Zieff)
(2:30 AM) (comedy) Onionhead (1958/110 m/Norman Taurog)
(4:30 AM) (comedy) Thunder Afloat (1939/95 m/George B. Seitz)
(6:15 AM) (crime) The Public Enemy (1931/84 m/William A. Wellman)
(8:15 AM) (romance) Red-Headed Woman (1932/79 m/Jack Conway)
(9:45 AM) (comedy) Dinner at Eight (1933/111 m/George Cukor)
(11:45 AM) (comedy) Saratoga (1937/92 m/Jack Conway)
(1:30 PM) (romance) Hold Your Man (1933/87 m/Sam Wood)
(3:15 PM) (romance) Red Dust (1932/83 m/Victor Fleming)
(4:45 PM) (comedy) Personal Property (1937/84 m/W. S. Van Dyke II)
(6:15 PM) (comedy) Bombshell (1933/96 m/Victor Fleming)
(8:00 PM) (comedy) The Front Page (1931/101 m/Lewis Milestone)
(10:00 PM) (suspense) Detour (1945/68 m/Edgar G. Ulmer)
(11:30 PM) (drama) The Man with the Golden Arm (1956/119m/Otto Preminger)
Friday, October 09, 2020
(1:45 AM) (romance) Love Affair (1939/88 m/Leo McCarey)
(3:30 AM) (crime) A Brighter Summer Day (1991/237 m/Edward Yang)
(7:00 AM) (short) Alice in Movieland (1940/22 m/Jean Negulesco)
(7:45 AM) (drama) Nora Prentiss (1947/111 m/Vincent Sherman)
(9:45 AM) (crime) Born to Kill (1947/92 m/Robert Wise)
(11:30 AM) (drama) Dark Passage (1947/106 m/Delmer Daves)
(1:30 PM) (suspense) Out of the Past (1947/97 m/Jacques Tourneur)
(3:15 PM) (crime) Race Street (1948/79 m/Edwin L. Marin)
(4:45 PM) (suspense) Impact (1949/111 m/Arthur Lubin)
(6:45 PM) (suspense) The Woman On Pier 13 (1950/73 m/Robert Stevenson)
(8:00 PM) (horror) The Ghoul (1933/81 m/T. Hayes Hunter)
(9:30 PM) (horror) The Black Sleep (1956/82 m/Reginald LeBorg)
(11:00 PM) (horror) Mark of the Vampire (1935/60 m/Tod Browning)
Saturday, October 10, 2020
(12:15 AM) (horror) Night of the Living Dead (1968/96 m/George A. Romero)
(2:00 AM) (adventure) White Lightning (1973/101 m/Joseph Sargent)
(3:45 AM) (drama) Gator (1976/116 m/Burt Reynolds)
(5:45 AM) (short) The Corvair in Action! (1960/6 m/?)
(6:00 AM) (musical) The Opposite Sex (1956/116 m/David Miller)
(8:00 AM) (premiere) MGM Cartoons: Red Hot Riding Hood (1943/7 m/Fred (Tex) Avery)
(8:09 AM) (short) Fortune Seekers (1956/8 m/Larry O'Reilly)
(8:18 AM) (documentary) Historic Maryland (1941/8 m/?)
(8:27 AM) (drama) Men of the North (1930/61 m/Hal Roach)
(9:30 AM) (premiere) THE WILD WEST DAYS: Brink of Doom (1937/?/?)
(10:00 AM) (premiere) POPEYE: Alona the Sarong Seas (1942/7 m/Dave Fleischer)
(10:08 AM) (premiere) The Golden Idol (1954/71 m/Ford Beebe)
(11:30 AM) (comedy) King Of The Islands (1935/17 m/Ralph Staub) .
(12:00 PM) (adventure) Tarzan The Ape Man (1932/100 m/W. S. Van Dyke II)
(2:00 PM) (musical) Lili (1953/81 m/Charles Walters)
(3:30 PM) (comedy) Casino Royale (1967/131 m/John Huston, et. al.)
(6:00 PM) (musical) Top Hat (1935/100 m/Mark Sandrich)
(8:00 PM) (adventure) Gunga Din (1939/117 m/George Stevens)
(10:15 PM) (adventure) The Three Musketeers (1948/126 m/George Sidney)
Sunday, October 11, 2020
(12:30 AM) (crime) The Racket (1951/89 m/John Cromwell)
(2:30 AM) (comedy) Bananas (1971/82 m/Woody Allen)
(4:00 AM) (comedy) Hannah and Her Sisters (1986/107 m/Woody Allen)
(6:00 AM) (comedy) A Midsummer Night's Dream (1935/143 m/Max Reinhardt)
(8:30 AM) (drama) Journey For Margaret (1942/81 m/Major W. S. Van Dyke II)
(10:00 AM) (crime) The Racket (1951/89 m/John Cromwell)
(12:00 PM) (drama) Sounder (1972/105 m/Martin Ritt)
(2:00 PM) (drama) The Secret Garden (1949/92 m/Fred M. Wilcox)
(3:45 PM) (drama) The Catered Affair (1956/94 m/Richard Brooks)
(5:30 PM) (musical) Flower Drum Song (1961/131 m/Henry Koster)
(8:00 PM) (comedy) The Front Page (1974/105 m/Billy Wilder)
(10:00 PM) (comedy) The Fortune Cookie (1966/126 m/Billy Wilder)
Monday, October 12, 2020
(12:15 AM) (comedy) Sidewalk Stories (1989/99 m/Charles Lane)
(2:15 AM) (comedy) The Firemen's Ball (1967/73 m/Milos Forman)
(3:45 AM) (premiere) All My Good Countrymen (1968/126 m/Vojtěch Jasný)
(6:00 AM) (horror) The Reptile (1966/90 m/John Gilling)
(7:45 AM) (horror) The Killer Shrews (1959/68 m/Ray Kellogg)
(9:00 AM) (horror) King Kong (1933/104 m/Merian C. Cooper)
(11:00 AM) (horror) The Beast From 20,000 Fathoms (1953/80 m/Eugene Lourié)
(12:30 PM) (horror) Gojira (1954/96 m/Ishiro Honda)
(2:00 PM) (horror) Creature from the Black Lagoon (1954/79 m/Jack Arnold)
(3:30 PM) (horror) Creature from the Haunted Sea (1961/59 m/Roger Corman)
(4:45 PM) (horror) The Green Slime (1969/90 m/Kinji Fukasaku)
(6:30 PM) (horror) Night of the Lepus (1972/88 m/William F. Claxton)
(8:00 PM) (adventure) Sword of Sherwood Forest (1960/80 m/Terence Fisher)
(11:00 PM) (horror) Daleks - Invasion Earth 2150 A.D. (1966/81 m/Gordon Flemyng)
Tuesday, October 13, 2020
(12:30 AM) (adventure) She (1965/106 m/Robert Day)
(2:30 AM) (crime) Violent Playground (1958/106 m/Basil Dearden)
(4:30 AM) (premiere) In Saigon: Some May Live (1967/89 m/Vernon Sewell)
(6:00 AM) (drama) Devotion (1931/81 m/Robert Milton)
(7:30 AM) (comedy) The Runaway Bus (1954/74 m/Val Guest)
(9:00 AM) (crime) The Solitaire Man (1933/67 m/Jack Conway)
(10:30 AM) (suspense) Blind Adventure (1933/63 m/Ernest B. Schoedsack)
(11:45 AM) (musical) Double Trouble (1967/92 m/Norman Taurog)
(1:30 PM) (romance) A Warm December (1972/101 m/Sidney Poitier)
(3:30 PM) (drama) The V.I.P.S (1963/119 m/Anthony Asquith)
(5:45 PM) (comedy) The Prince and the Showgirl (1957/117 m/Laurence Olivier)
Wednesday, October 14, 2020
(2:00 AM) (documentary) The House Is Black (1963/22 m/?)
(2:30 AM) (romance) First Love (1977/91 m/Joan Darling)
(4:15 AM) (drama) The Night Porter (1974/118 m/Liliana Cavani)
(6:30 AM) (drama) Le Bonheur (1965/80 m/Agnes Varda)
(10:15 AM) (silent) The Unholy Three (1925/86 m/Tod Browning)
(12:00 PM) (silent) The Unknown (1927/49 m/Tod Browning)
(1:00 PM) (silent) The Blackbird (1926/86 m/Tod Browning)
(2:30 PM) (horror) The Thirteenth Chair (1929/73 m/Tod Browning)
(4:00 PM) (horror) Freaks (1932/62 m/Tod Browning)
(5:15 PM) (horror) Mark of the Vampire (1935/60 m/Tod Browning)
(6:30 PM) (horror) The Devil-Doll (1936/78 m/Tod Browning)
(8:00 PM) (drama) Abe Lincoln in Illinois (1940/110 m/John Cromwell)
(10:00 PM) (drama) Sunrise at Campobello (1960/144 m/Vincent J. Donehue)
Thursday, October 15, 2020
(12:45 AM) (drama) Wilson (1944/154 m/Henry King)
(3:30 AM) (war) PT 109 (1963/140 m/Leslie H. Martinson) .
(6:00 AM) (comedy) Three Men on a Horse (1936/86 m/Mervyn LeRoy)
(7:30 AM) (crime) Unholy Partners (1941/94 m/Mervyn LeRoy)
(9:15 AM) (musical) Sweet Adeline (1935/88 m/Mervyn Le Roy)
(11:00 AM) (comedy) Happiness Ahead (1934/86 m/Mervyn Le Roy)
(12:30 PM) (drama) Big City Blues (1932/63 m/Mervyn LeRoy)
(1:45 PM) (suspense) The Bad Seed (1956/129 m/Mervyn LeRoy)
(4:00 PM) (drama) They Won't Forget (1937/95 m/Mervyn LeRoy)
(5:45 PM) (romance) Random Harvest (1942/126 m/Mervyn LeRoy)
(8:00 PM) (war) Tunes of Glory (1960/107 m/Ronald Neame)
(10:00 PM) (war) The Life and Death of Colonel Blimp (1943/164 m/Michael Powell)
Friday, October 16, 2020
(1:00 AM) (war) The Seventh Cross (1944/112 m/Fred Zinnemann)
(3:00 AM) (drama) The Diary of Anne Frank (1959/180 m/George Stevens)
(6:15 AM) (documentary) Trances (1981/89 m/Ahmed El Maanouni)
(8:00 AM) (comedy) Little Shop of Horrors (1960/72 m/Roger Corman)
(9:15 AM) (horror) Village of the Damned (1960/77 m/Wolf Rilla)
(10:45 AM) (horror) The Brain That Wouldn't Die (1962/82 m/Joseph Green)
(12:15 PM) (horror) Carnival of Souls (1962/78 m/Herk Harvey)
(1:45 PM) (horror) Dementia 13 (1963/75 m/Francis Ford Coppola)
(3:15 PM) (horror) The Raven (1963/86 m/Roger Corman)
(4:45 PM) (horror) Spider Baby (1964/84 m/Jack Hill)
(6:15 PM) (horror) The Nanny (1965/93 m/Seth Holt)
(8:00 PM) (horror) Dead of Night (1945/103 m/Alberto Cavalcanti, Basil Dearden, Robert Hamer, Charles Crichton)
(10:00 PM) (horror) Twice-Told Tales (1963/120 m/Sidney Salkow)
Saturday, October 17, 2020
(12:15 AM) (horror) Black Sabbath (1963/96 m/Mario Bava)
(2:00 AM) (premiere) Enter the Ninja (1981/99 m/Menahem Golan)
(3:45 AM) (premiere) Revenge of the Ninja (1983/?/Sam Firstenberg)
(5:30 AM) (short) Shake Hands With Danger (1970/23 m/?)
(6:00 AM) (war) The Password Is Courage (1962/115 m/Andrew L. Stone)
(8:00 AM) MGM CARTOONS: Sheep Wrecked (1958/6 m/Michael Lah)
(8:08 AM) (documentary) Cave Explorers (1957/8 m/Heinz Scheiderbauer)
(8:17 AM) (short) The Capital City Washington, D.C. (1940/9 m/?)
(8:27 AM) (drama) She Loved A Fireman (1937/58 m/John Farrow)
(9:30 AM) (premiere) The WILD WEST DAYS: Indians Are Coming (1937/?/?)
(10:00 AM) (premiere) POPEYE: A Hull of a Mess (1942/6 m/Dave Fleischer)
(10:08 AM) (adventure) Lord of the Jungle (1955/69 m/Ford Beebe)
(11:30 AM) (short) Kissing Time (1933/22 m/Roy Mack)
(12:00 PM) (western) Angel And The Badman (1947/100 m/James Edward Grant)
(1:45 PM) (adventure) Captain Horatio Hornblower (1951/117 m/Raoul Walsh)
(4:00 PM) (comedy) Support Your Local Sheriff! (1969/93 m/Burt Kennedy)
(5:45 PM) (horror) Rollerball (1975/125 m/Norman Jewison)
(8:00 PM) (musical) Singin' in the Rain (1952/103 m/Gene Kelly)
(10:00 PM) (musical) Summer Stock (1950/109 m/Charles Walters)
Sunday, October 18, 2020
(12:00 AM) (crime) Destination Murder (1950/73 m/Edward L. Cahn)
(1:45 AM) (comedy) The Fearless Vampire Killers or Pardon Me, But Your Teeth Are in My Neck (1966/107 m/Roman Polanski)
(3:45 AM) (horror) House of Dark Shadows (1970/97 m/Dan Curtis)
(5:30 AM) (short) Return to Glennascaul (1953/24 m/Hilton Edwards)
(6:00 AM) (drama) The Life of Emile Zola (1937/116 m/William Dieterle)
(8:15 AM) (comedy) His Girl Friday (1940/92 m/Howard Hawks)
(10:00 AM) (crime) Destination Murder (1950/73 m/Edward L. Cahn)
(11:45 AM) (epic) The Good Earth (1937/138 m/Sidney Franklin)
(2:15 PM) (drama) Written on the Wind (1957/99 m/Douglas Sirk)
(4:00 PM) (romance) Dear Heart (1964/114 m/Delbert Mann)
(6:00 PM) (comedy) Peggy Sue Got Married (1986/105 m/Francis Ford Coppola)
(10:00 PM) (comedy) Losing Ground (1982/86 m/Kathleen Collins)
Monday, October 19, 2020
(12:00 AM) (silent) Exit Smiling (1926/77 m/Sam Taylor)
(2:00 AM) (premiere) I Am Waiting (1957/91 m/Koreyoshi Kurahara)
(3:45 AM) (premiere) A Colt Is My Passport (1967/84 m/Takashi Nomura) .
(5:30 AM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(6:00 AM) (comedy) I Married a Witch (1942/77 m/René Clair)
(7:30 AM) (comedy) Mr. and Mrs. Smith (1941/95 m/Alfred Hitchcock)
(9:15 AM) (crime) Touch of Evil (1958/111 m/Orson Welles)
(11:30 AM) (adventure) Mogambo (1953/116 m/John Ford)
(1:45 PM) (suspense) North by Northwest (1959/136 m/Alfred Hitchcock)
(4:15 PM) (drama) In A Lonely Place (1950/93 m/Nicholas Ray)
(6:00 PM) (war) Any Number Can Play (1949/103 m/Mervyn LeRoy)
(8:00 PM) (suspense) The Hound of the Baskervilles (1959/87 m/Terence Fisher)
(9:30 PM) (horror) Horror of Dracula (1958/81 m/Terence Fisher)
(11:15 PM) (horror) The Mummy (1959/88 m/Terence Fisher)
(1:00 AM) (horror) The Curse of Frankenstein (1957/83 min/Terence Fisher)
(2:45 AM) (horror) Frankenstein Created Woman (1967/92 min/Terence Fisher)
(4:30 AM) (horror) Frankenstein Must Be Destroyed! (1970/101 m/Terence Fisher)
Tuesday, October 20, 2020
(6:15 AM) (comedy) Front Page Woman (1935/82 m/Michael Curtiz)
(7:45 AM) (romance) Wife Vs. Secretary (1936/88 m/Clarence Brown)
(9:30 AM) (suspense) Mr. And Mrs. North (1941/67 m/Robert B. Sinclair)
(10:45 AM) (comedy) Theodora Goes Wild (1936/94 m/Richard Boleslawski)
(12:30 PM) (comedy) Breakfast for Two (1937/68 m/Alfred Santell)
(1:45 PM) (comedy) Four's A Crowd (1938/92 m/Michael Curtiz)
(3:30 PM) (comedy) It's A Wonderful World (1939/86 m/W. S. Van Dyke II)
(5:00 PM) (comedy) Fools For Scandal (1938/80 m/Mervyn Le Roy)
(6:30 PM) (romance) Love on the Run (1936/80 m/W. S. Van Dyke)
(8:00 PM) (premiere) Women Make Film: A New Road Movie Through Cinema #8 (2018/?/Mark Cousins)
(9:15 PM) TBA
(10:45 PM) (documentary)) Women Make Film: A New Road Movie Through Cinema #8 (2018/?/Mark Cousins)
__
Wednesday, October 21, 2020
(2:00 AM) (premiere) The Third Miracle (1999/119 m/Agnieszka Holland)
(7:45 AM) (short) The Birth, the Life and the Death of Christ (1906/34 m/Alice Guy-Blache)
(8:30 AM) (documentary) Araya (1959/83 m/Margot Benacerraf)
(10:00 AM) (drama) Children of a Lesser God (1986/119 m/Randa Haines)
(12:15 PM) (drama) Young Dr. Kildare (1938/82 m/Harold S. Bucquet)
(1:45 PM) (drama) Calling Dr. Kildare (1939/86 m/Harold S. Bucquet)
(3:30 PM) (drama) The Secret of Dr. Kildare (1939/84 m/Harold S. Bucquet)
(5:00 PM) (drama) Dr. Kildare Goes Home (1940/79 m/Harold S. Bucquet)
(6:30 PM) (drama) Dr. Kildare's Crisis (1940/75 m/Harold S. Bucquet)
(8:00 PM) (comedy) Hard To Handle (1933/78 m/Mervyn LeRoy)
(9:30 PM) (crime) The Beast Of The City (1932/86 m/Charles Brabin)
(11:15 PM) (drama) One Way Passage (1942/67 m/Tay Garnett)
Thursday, October 22, 2020
(12:45 AM) (crime) They Live By Night (1948/95 m/Nicholas Ray)
(2:30 AM) (adventure) The Prisoner of Zenda (1952/100 m/Richard Thorpe)
(4:15 AM) (adventure) Green Fire (1955/100 m/Andrew Marton)
(6:00 AM) (adventure) Three Faces East (1930/71 m/Roy Del Ruth)
(7:30 AM) (drama) Born to Love (1932/81 m/Paul L. Stein)
(9:00 AM) (drama) The Common Law (1932/74 m/Paul L. Stein)
(10:30 AM) (drama) Rockabye (1932/68 m/George Cukor)
(11:45 AM) (drama) Bed of Roses (1933/ 67 /Gregory LaCava)
(1:00 PM) (drama) Our Betters (1933/83 m/George Cukor)
(2:30 PM) (comedy) Topper (1937/97 m/Norman Z. McLeod)
(4:15 PM) (comedy) Topper Takes a Trip (1939/80 m/Norman Z. McLeod)
(5:45 PM) (comedy) Merrily We Live (1938/95 m/Norman Z. McLeod)
(7:30 PM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(8:00 PM) (crime) The Killers (1964/93 m/Donald Siegel)
(9:45 PM) (drama) The Breaking Point (1950/97 m/Michael Curtiz)
(11:30 PM) (horror) The Mystery Of The Wax Museum (1933/77 m/Michael Curtiz)
Friday, October 23, 2020
(1:00 AM) (horror) Night of the Living Dead (1968/96 m/George A. Romero)
(3:00 AM) (premiere) A River Called Titas (1973/158 m/Ritwik Ghatak)
(6:00 AM) (drama) Inside Straight (1951/87 m/Gerald Mayer)
(7:30 AM) (crime) Absolute Quiet (1936/70 m/George B. Seitz)
(8:45 AM) (drama) Chain Lightning (1950/95 m/Stuart Heisler)
(10:30 AM) (adventure) Tycoon (1947/129 m/Richard Wallace)
(12:45 PM) (drama) No Marriage Ties (1933/72 m/J. Walter Ruben)
(2:00 PM) (drama) Death of a Scoundrel (1956/120 m/Charles Martin)
(4:15 PM) (crime) Assignment To Kill (1968/99 m/Sheldon Reynolds)
(6:00 PM) (suspense) The Drowning Pool (1975/108 m/Stuart Rosenberg)
(8:00 PM) (horror) Pit and the Pendulum (1961/80 m/Roger Corman)
(9:45 PM) (horror) Spirits of the Dead (1968/121 m/Federico Fellini, Louis Malle, Roger Vadim)
Saturday, October 24, 2020
(12:00 AM) (horror) Murders In The Rue Morgue (1971/98 m/Gordon Hessler)
(2:00 AM) (premiere) Ninja III: The Domination (1984/95 m/Sam Firstenberg)
(3:45 AM) (drama) Heavenly Bodies (1985/89 m/Lawrence Dane)
(5:30 AM) (short) Keep Off The Grass (1969/21 m/?)
(6:00 AM) (comedy) Please Don't Eat the Daisies (1960/111 m/Charles Walters)
(8:00 AM) (premiere) MGM CARTOONS: One Cab's Family (1938/8 m/Fred (Tex) Avery)
(8:09 AM) (documentary) Black Cats and Broomsticks (1955/8 m/Larry O'Reilly)
(8:18 AM) (short) Wandering Here and There (1944/9 m/James A. FitzPatrick)
(8:28 AM) (romance) King Of The Lumberjacks (1940/59 m/William Clemens)
(9:30 AM) (premiere) THE WILD WEST DAYS: Leap For Life (1937/?/?)
(10:00 AM) (premiere) POPEYE: Cartoons Ain’t Human (1943/7 m/Dave Fleischer)
(10:09 AM) (adventure) Tarzan And The Amazons (1945/76 m/Kurt Neumann)
(11:30 AM) (short) The Flame Song (1934/22 m/Joseph Henabery)
(12:00 PM) (suspense) Harper (1966/121 m/Jack Smight)
(2:15 PM) (horror) Brainstorm (1983/106 m/Douglas Trumbull)
(4:15 PM) (war) Men Of The Fighting Lady (1954/80 m/Andrew Marton)
(5:45 PM) (drama) Citizen Kane (1941/119 m/Orson Welles)
(8:00 PM) (drama) Ace in the Hole (1951/111m/Billy Wilder)
(10:15 PM) (premiere) Flesh and Fury (1952/83 m/Joseph Pevney)
Sunday, October 25, 2020
(12:00 AM) (adventure) Macao (1952/81 m/Josef von Sternberg)
(1:45 AM) (horror) The Werewolf (1956/80 m/Fred F. Sears)
(3:15 AM) (premiere) The Howling (1981/91 m/Joe Dante)
(5:00 AM) (horror) The Mummy (1932/73 m/Karl Freund)
(6:15 AM) (suspense) Murder on the Blackboard (1934/72 m/George Archainbaud)
(7:30 AM) (romance) All This, and Heaven Too (1940/143 m/Anatole Litvak)
(10:00 AM) (adventure) Macao (1952/81 m/Josef von Sternberg)
(12:00 PM) (romance) The White Cliffs Of Dover (1944/126 m/Clarence Brown)
(2:15 PM) (epic) Around the World in 80 Days (1956/182 m/Michael Anderson)
(5:30 PM) (horror) What Ever Happened to Baby Jane? (1962/134 m/Robert Aldrich)
(8:00 PM) (western) 3:10 to Yuma (1957/92 m/Delmer Daves)
(10:00 PM) (western) Gunman's Walk (1958/95 m/Phil Karlson)
Monday, October 26, 2020
(12:00 AM) (silent) Haxan: Witchcraft Through the Ages (1922/107 m/Benjamin Christensen)
(2:00 AM) (suspense) Diabolique (1955/117 m/Henri-Georges Clouzot)
(4:15 AM) (horror) Eyes Without a Face (1959/90 m/Georges Franju)
(6:00 AM) (suspense) The Beast with Five Fingers (1946/88 m/Robert Florey)
(7:45 AM) (adventure) Mara Maru (1952/98 m/Gordon Douglas)
(9:30 AM) (drama) They Won't Believe Me (1947/80 m/Irving Pichel)
(11:15 AM) (suspense) Where Danger Lives (1950/80 m/John Farrow)
(1:00 PM) (suspense) Fingers at the Window (1942/81 m/Charles Lederer)
(2:30 PM) (suspense) Footsteps in the Dark (1941/96 m/Lloyd Bacon)
(4:15 PM) (suspense) Kill or Cure (1962/88 m/George Pollock)
(6:00 PM) (comedy) The Gazebo (1960/102m/George Marshall)
(8:00 PM) (horror) Nothing But the Night (1972/91 m/Peter Sasdy)
(9:45 PM) (horror) Madhouse (1974/91 m/James Clark)
(11:30 PM) (horror) From Beyond the Grave (1973/98 m/Kevin Connor)
Tuesday, October 27, 2020
(1:30 AM) (horror) Scream and Scream Again (1970/95 m/Gordon Hessler)
(3:15 AM) (premiere) The Satanic Rites of Dracula (1973/88 m/Alan Gibson)
(4:45 AM) (horror) Dracula A.D. 1972 (1972/96 m/Alan Gibson)
(6:30 AM) (western) Somewhere In Sonora (1933/58 m/Mack V. Wright)
(7:45 AM) (western) Along the Rio Grande (1941/64 m/Edward Killy)
(9:00 AM) (western) Valley of the Sun (1942/78 m/George Marshall)
(10:30 AM) (western) Sagebrush Trail (1933/53 m/Armand Schaefer)
(11:30 AM) (western) Devil's Canyon (1953/92 m/Alfred Werker)
(1:15 PM) (western) The Hired Gun (1957/64 m/Ray Nazarro)
(2:30 PM) (premiere) Black Patch (1957/82 m/Allen H. Miner)
(4:00 PM) (western) Virginia City (1940/121 m/Michael Curtiz)
(6:15 PM) (western) Escape From Fort Bravo (1953/98 m/John Sturges)
Wednesday, October 28, 2020
(12:15 AM) (comedy) Girlfriends (1978/88 m/Claudia Weill)
(2:00 AM) (drama) The Connection (1962/103 m/Shirley Clarke)
(4:00 AM) (comedy) Lost In Yonkers (1993/114 m/Martha Coolidge)
(10:00 AM) (drama) Winter Meeting (1948/104 m/Bretaigne Windust)
(12:00 PM) (romance) I Know Where I'm Going (1945/92 m/Michael Powell)
(1:45 PM) (romance) The Enchanted Cottage (1945/92 m/John Cromwell)
(3:30 PM) (romance) Random Harvest (1942/126 m/Mervyn LeRoy)
(6:00 PM) (romance) Desire Me (1947/91 m/George Cukor)
(8:00 PM) (drama) The Best Man (1964/102 m/Franklin J. Schaffner)
(10:00 PM) (drama) State of the Union (1948/123 m/Frank Capra)
Thursday, October 29, 2020
(12:15 AM) (comedy) The Great McGinty (1940/82 m/Preston Sturges)
(2:00 AM) (drama) The Candidate (1972/110 m/Michael Ritchie)
(4:00 AM) (drama) All the King's Men (1949/110 m/Robert Rossen)
(6:00 AM) (western) Haunted Gold (1932/58 m/Mack V. Wright)
(7:00 AM) (horror) The Devil-Doll (1936/78 m/Tod Browning)
(8:30 AM) (suspense) Before Dawn (1933/61 m/Irving Pichel)
(9:45 AM) (comedy) Man Alive (1946/70 m/Ray Enright)
(11:00 AM) (horror) Tormented (1960/75 m/Bert I. Gordon)
(12:30 PM) (adventure) Angel on My Shoulder (1946/101 m/Archie Mayo)
(2:15 PM) (horror) Night Of Dark Shadows (1971/94 m/Dan Curtis)
(4:00 PM) (horror) Indestructible Man (1956/71 m/Jack Pollexfen)
(5:15 PM) (horror) From Hell It Came (1957/71 m/Johnny Greenwald)
(6:30 PM) (horror) Death Curse of Tartu (1966/88 m/William Grefé)
(8:00 PM) (western) Winchester '73 (1950/92 m/Anthony Mann)
(10:00 PM) (western) She Wore a Yellow Ribbon (1949/104 m/John Ford)
Friday, October 30, 2020
(12:00 AM) (documentary) Primary (1960/53 m/Robert Drew)
(1:15 AM) (documentary) Crisis (1963/53 m/Robert Drew)
(2:15 AM) (premiere) Dos Monjes (1934//Juan Bustillo Oro)
(4:00 AM) (drama) Of Mice and Men (1939/107m/Lewis Milestone)
(6:00 AM) (documentary) MGM Parade Show #5 (1955/26 m/?)
(6:30 AM) (horror) Doctor X (1932/76 m/Michael Curtiz)
(8:00 AM) (horror) The Mask Of Fu Manchu (1932/68 m/Charles Brabin)
(9:30 AM) (horror) The Most Dangerous Game (1932/63 m/Ernest B. Schoedsack)
(10:45 AM) (horror) Island of Lost Souls (1932/70 m/Erle C. Kenton)
(12:00 PM) (horror) White Zombie (1932/67 m/Victor Halperin)
(1:30 PM) (horror) The Vampire Bat (1933/63 m/Frank Strayer)
(2:45 PM) (horror) The Mystery Of The Wax Museum (1933/77 m/Michael Curtiz)
(4:15 PM) (horror) Mad Love (1935/68 m/Karl Freund)
(5:30 PM) (horror) The Walking Dead (1936/65 m/Michael Curtiz)
(6:45 PM) (horror) The Return of Doctor X (1939/62 m/Vincent Sherman)
(8:00 PM) (horror) Burn, Witch, Burn! (1962/89 m/Sidney Hayers)
(9:45 PM) (horror) The Four Skulls of Jonathan Drake (1959/70 m/Edward L. Cahn)
(11:00 PM) (horror) The Devil's Bride (1968/96 m/Terence Fisher)
Saturday, October 31, 2020
(12:45 AM) (horror) The Conqueror Worm (1968/87 m/Michael Reeves)
(5:15 AM) (short) The Distant Drummer: Flowers of Darkness (1972/22 m/William Templeton)
(5:15 AM) (short) Movie Trailer (1950/16 m/?)
(6:00 AM) (horror) Freaks (1932/62 m/Tod Browning)
(7:15 AM) (horror) Dr. Jekyll and Mr. Hyde (1932/96 m/Rouben Mamoulian)
(9:00 AM) (horror) House of Wax (1953/88 m/Andre deToth)
(10:45 AM) (horror) Children of the Damned (1964/90 m/Anton M. Leader)
(12:30 PM) (suspense) The Bad Seed (1956/129 m/Mervyn LeRoy)
(2:45 PM) (drama) The Picture of Dorian Gray (1945/110 m/Albert Lewin)
(4:45 PM) (horror) The Wolf Man (1941/70 m/George Waggner)
(6:00 PM) (horror) The Haunting (1963/112 m/Robert Wise)
(8:00 PM) (comedy) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964/95 m/Stanley Kubrick) .
(10:00 PM) (horror) Them! (1954/92 m/Gordon Douglas)
(12:00 AM) (horror) The Seventh Victim (1943/71 m/Mark Robson)
(1:30 AM) (horror) I Walked With A Zombie (1943/69 m/Jacques Tourneur)
(3:00 AM) (horror) The Body Snatcher (1945/78 m/Robert Wise)
(4:30 AM) (suspense) The Leopard Man (1943/66 m/Jacques Tourneur)
submitted by tombstoneshadows28 to horror [link] [comments]


2020.07.11 14:59 FanaticalImperial Possible unpopular preference but I really like Vulture

This may end being a long read so bear with me but I remember when I was a kid playing the 2002 raimi Spiderman game and while that game has a ton of moments, non stick out more to me than when I first encountered Vulture and while I didn't know it the time I look back now and know something in my mind clicked that day.
I don't know whether it was his voice or as a kid suffering with autism my mind trying to process what the hell he was doing wrapping his wings around his head while he's trying to repair his wings, but I know that: A) his quite frankly flamboyant costume had a role in it and B) again to my 7 year old mind here's this bald man in his 70's robbing jewelry stores and going toe to toe with someone a fraction of his age like it's nothing and at this point of course like alot of you the only elderly people I'd interacted with were my grandparents and the closest thing any of them got to being active long after is expected of people their age was my grandfather who drove a truck for firm named Manningham concrete so the seed was planted.
Now fast forward to my teenage years after the"changes" I started to realise I didn't just like Vulture I loved him and then I found out his origin story and I fell in love with him even more this old man driven to a life of crime because the world has shovelled him so much crap that his business partner embezzling his share of the company profits to put in his own words "was the last straw" and decides he's not going to take it anymore and decides to do something about it (Albiet the wrong way) there's just something so tragic but also relatable about his character because I think we all feel like that sometimes, but we just have enough self control because we haven't had Vultures amount of crap shovelled onto us to have such an extreme reaction to the situation but I couldn't accept my attraction to him and I couldn't understand why it wasn't his because as you can probably tell that's one of things I like best about him he also caused me to have a taste in older women, it wasn't that he's a criminal either because while I don't want to him to win that's another thing I like best about him he started my thing for bad guys and bad girls but I had a hard time confronting myself over my sexuality and eventually my gender identity once I'd realised I didn't want to be Vultures husband I wanted be his wife.
Now we move onto Spiderman PS4 (Michael Keaton was bad but as I mentioned before the original costume is one of the things I love most about Vulture so the movie version isn't at the top of my list of Vulture variants) by this point I'd fully embraced my sexuality and my attraction to him and this version of Vulture is my second favourite out of all of them for a couple of reasons, the first being that they got Steve Blum the same voice I heard all the way back in the early 2000's that started all this to play him again so it was like revisiting the same Adrian Toomes 20+ years later with a new suit and a bitter grudge against Spiderman like a real life version of the orc system from shadow of Mordor only the hatred is one way, the second reason is I knew about the arc in the comics where overuse of his flight harness causes Vulture to develop spinal cancer but I didn't know that it was going to be in the game.
so when I heard that J.Jonah Jameson broadcast I got the same feeling in the pit of my stomach that I had watching episode 8 of the Clone wars listening to the ominous music building as they load maul onto the transport waiting for order 66 to come down like it was battlefront 2 (2005) allover again and then when I actually did the bossfight I didn't get hit once so when he did his quicktime event for the second to last time he cried out "Stay still!" In an anxious and frightened voice and knowing that doc ock had promised to cure him if he killed me not only did I feel sorry for him but I felt a little bad for stopping him since being someone who had a grandparent that died from pancreatic cancer I know that it's a slow terrible way to go and I wouldn't wish that on anyone no matter what they've done.
Thus for the rest of that game I had the same order 66 feeling in my stomach praying j. Jonah Jameson didn't come on his podcast to say I indirectly killed the single fictional character that has shaped me since childhood which leads me into why I wrote this my entire life story with the character I truly believe that despite the fact that Vulture is a villain truly believe he made me a better person, more tolerant of others because of how much of an odd one out amongst his peers, he showed me what can happen to a person if they mistreated by everyone and he forced me to confront my sexuality and gender identity and he a shaped my personality too.
I got my rebellious spirit from him (and more than a little Anakin) he broadened my taste in women and made me more respectful of the elderly overall and he made it so that when I finally get there I will accept old age with open arms there only two characters I can name that have the same kind of connection to being Anakin Skywalker and Ashoka Tano so now for my questions to my fellow marvel fans 1) am I weird for at first liking Vulture and then having a sexual attraction? Because I've noticed over the years as an actual character he doesn't have the best reputation among the wider fanbase 2) do any of you have marvel characters that have affected you as a person in this way that are either fairly unknown or seen to have a poor reputation among wider fans and if you feel comfortable sharing why? 3) is Vulture actually as disliked as it seems do people bring up how cheesy think he in a endearing sort of way?
TLDR; Am I weird for fancying Vulture? Is there a marvel character that has affected you as deeply as Vulture has affected me that either has as much of bad reputation as Vulture seems to have or that isn't very well known by the wider fanbase and why? Is Vulture actually disliked do people bring up how cheesy they think he is as a form of endearment? (Though you really should read the whole thing for context)
submitted by FanaticalImperial to Spiderman [link] [comments]


2020.06.09 20:09 mandingob Let’s talk about IZEA’s mystery contract

So there is a lot of speculation on what company IZEA might be partnering up with. Theories suggest it might be Disney or Amazon but IZEA sure seems to be excited asf to announce it.

Amazon

CEO Ted Murphy posted a story on his Instagram mentioning Amazon Echo and saying this is going to be a exciting week. This is what initially sparked the IZEA hype train with many users speculating that Amazon was their newest customer. This might be Ted just plugging the Echo but it seems way too coincidental and random to just mention the Echo whilst saying this week is going to be exciting. link for post

Disney

u/themhmm found some plausible observations that might suggest a possible Disney partnership. In IZEA’s Twitter posts they have used the classic song “Jump the line” lyrics as their captions for the countdown. Disney has used this same song In their animated movie “The little Mermaid” which is long overdue for a remake considering other classics have been remade The lion king, Aladdin, Mulan etc. Disney has even announced that they will be making a live action remake and production will start in early 2020. I feel this one has solid foundation and it can very well be Disney which will be really big for this company. link for artical

AT&T or WarnerTime

This song is also used in the classic film BeetleJuice made by WarnerBros productions which is owned by AT&T. I personally remember this song from this movie and the scene where there dancing at the end was a highlight many people who watched the movie remember. Just like Disney WarnerBros production has also been discussing a possible sequel for BeetleJuice quite recently. BeetleJuice just like The Little Mermaid is long overdue for a remake however, Warnerbros had shelved the project in 2018. I feel like its 50/50 between Disney & AT&T/Timewarner we have little hints to go off of other than the song lyrics and since both conglomerates have had hit movies containing this song it could go either way. link for article

Other companies

The Fortune500 contains many companies ranging from ones that produces billions in revenue to ones that generate a couple millions. IZEA and their CEO seem to be increasing their social media presence and trying to build hype for this partnership. I really do believe that this announcement wouldn’t be wasted for a smaller company that wouldn’t cause a big reaction.

General consensus

I do feel that this announcement can change this company and cause a substantial price spike depending on who they announce. Disney or amazon would probably cause it to raise %50-100 easily. AT&T/TimeWarner would probably cause a smaller increase in price but still something you would be quite happy with. There’s also a chance the price could crash depending if the company is trash or one of the “lower quality” companies on the F500. Also keep in mind yes the contract is only 6 figures but this could be a early pointer that a company is going to grow more which they are already doing by increasing media presence. I also love the optimism shown by the CEO who grew this company himself I just don’t see how he wouldn’t want to grow it or fuck people over by hyping up a shitty company. I’m personally in 1000 @.89&1.36 and will likely hold until Friday. I’ve already recouped by initial investment so I’m really betting on a big Friday. Digital marketing and influencer marketing is a growing sector which will only grow overtime with this company. I could definitely see IZEA Landing more bigger contracts in the future if they get a big name this Friday.
Edit IZEA has landed a Fortune10 company! https://finance.yahoo.com/news/izea-awarded-contracts-two-fortune-180010216.html 🚀🚀🚀
submitted by mandingob to pennystocks [link] [comments]


2020.04.24 00:49 tombstoneshadows28 Full monthly schedule for TCM (U.S.) over the month of May, 2020. (All times E.S.T.)

Friday, May 01, 2020
(12:30 AM) (crime) Across 110th Street (1972/Barry Shear)
(2:30 AM) (drama) Taxi Driver (1976/Martin Scorsese)
(4:30 AM) (horror) Sisters (1972/Brian De Palma)
(6:15 AM) (documentary) Hollywood My Hometown (1965/?)
(7:15 AM) (drama) The Night of the Iguana (1964/John Huston)
(9:30 AM) (comedy) Period Of Adjustment (1962/George Roy Hill)
(11:30 AM) (drama) Sweet Bird Of Youth (1962/Richard Brooks)
(1:45 PM) (drama) The Roman Spring of Mrs. Stone (1961/José Quintero)
(3:45 PM) (drama)Cat On A Hot Tin Roof (1958/Richard Brooks)
(5:45 PM) (drama) Baby Doll (1956/Elia Kazan)
(8:00 PM) (sci-fi) Cocoon (1985/Ron Howard)
(10:15 PM) (sci-fi) It Came From Outer Space (1953/Jack Arnold)
(11:45 PM) (sci-fi) Close Encounters Of The Third Kind (1977/Steven Spielberg)
Saturday, May 02, 2020
(2:15 AM) (horror) Maniac (1963/Michael Carreras)
(3:45 AM) (suspense) Stop Me Before I Kill (1961/Val Guest)
(5:30 AM) (documentary) Ask Me, Don't Tell Me (1961/David Myers)
(6:00 AM) (comedy) Boys' Night Out (1962/Michael Gordon)
(8:00 AM) (premiere) MGM CARTOONS: The Bear and the Beavers (1942/9m/Rudolf Ising)
(8:10 AM) (comedy) Hot News Margie (1931/Alfred J. Goulding)
(8:18 AM) (short) Calling On Cape Town (1952/?)
(8:28 AM) (crime) You Can't Buy Luck (1937/Lew Landers)
(9:30 AM) (premiere) TERRY AND THE PIRATES: Into the Great Unknown (SERIAL) (1940/?)
(10:00 AM) (premiere) POPEYE: Quiet Pleeze (1941/Dave Fleischer)
(10:07 AM) (comedy) Bowery Battalion (1951/William Beaudine)
(11:30 AM) (short) Paree, Paree (1934/Roy Mack)
(12:00 PM) (crime) The Public Enemy (1931/William A. Wellman)
(1:30 PM) (western) My Darling Clementine (1946/John Ford)
(3:15 PM) (drama) On The Waterfront (1954/Elia Kazan)
(5:15 PM) (sci-fi) 2001: A Space Odyssey (1968/Stanley Kubrick)
(8:00 PM) (musical) Singin' In The Rain (1952/Gene Kelly)
(10:00 PM) (comedy) Francis (1950/Arthur Lubin)
Sunday, May 03, 2020
(12:00 AM) (suspense) Fallen Angel (1945/Otto Preminger)
(2:00 AM) (comedy) Horse Feathers (1932/Norman McLeod)
(3:30 AM) (comedy) A Day At The Races (1937/Sam Wood)
(6:00 AM) (suspense) After The Thin Man (1936/W. S. Van Dyke)
(8:00 AM) (drama) Goodbye, Mr. Chips (1939/Sam Wood)
(10:00 AM) (suspense) Fallen Angel (1945/Otto Preminger)
(12:00 PM) (musical) Hollywood Canteen (1944/Delmer Daves)
(2:15 PM) (western) Stars In My Crown (1950/Jacques Tourneur)
(4:00 PM) (romance) I Know Where I'm Going (1945/Michael Powell)
(5:45 PM) (musical) The Unsinkable Molly Brown (1964/Charles Walters)
(8:00 PM) (premiere) The Silver Cord (1933/John Cromwell)
(9:30 PM) (premiere) The Sin Of Nora Moran (1933/62m/Phil Goldstone)
(10:45 PM) (drama) Once to Every Woman (1934/Lambert Hillyer)
Monday, May 04, 2020
(12:15 AM) (silent) Body And Soul (1925/Oscar Micheaux)
(2:15 AM) (drama) The Children Are Watching Us (1944/Vittorio De Sica)
(3:45 AM) (drama) Bicycle Thieves (1948/Vittorio De Sica)
(5:30 AM) (documentary) MGM Parade Show #1 (1955/?)
(6:00 AM) (comedy) Millionaire Playboy (1940/Leslie Goodwins)
(7:15 AM) (comedy) That Uncertain Feeling (1941/Ernst Lubitsch)
(8:45 AM) (comedy) Mental Poise (1938/Roy Rowland)
(9:00 AM) (comedy) Penelope (1966/Arthur Hiller)
(11:00 AM) (comedy)Promise Her Anything (1966/Arthur Hiller)
(12:45 PM) (comedy) Carefree (1938/Mark Sandrich)
(2:15 PM) (comedy) The Impossible Years (1968/Michael Gordon)
(4:00 PM) (comedy) Three On A Couch (1966/Jerry Lewis)
(6:00 PM) (drama)My Six Convicts (1952/Hugo Fregonese)
(8:00 PM) (drama) Splendor In The Grass (1961/Elia Kazan)
(10:15 PM) (western) The Searchers (1956/John Ford)
Tuesday, May 05, 2020
(12:30 AM) (musical) Gypsy (1962/Mervyn LeRoy)
(3:00 AM) (drama) Rebel Without A Cause (1955/Nicholas Ray)
(5:00 AM) (documentary) Best Of Private Screenings (2019/?)
(6:00 AM) (musical) Sombrero (1953/Norman Foster)
(8:00 AM) (western) Viva Villa! (1934/Jack Conway)
(10:00 AM) (western) The Robin Hood Of El Dorado (1936/William A. Wellman)
(11:30 AM) (drama) The Fugitive (1947/John Ford)
(1:15 PM) (western) The Treasure of Pancho Villa (1955/George Sherman)
(3:00 PM) (epic) Juarez (1939/William Dieterle)
(5:15 PM) (adventure) The Treasure Of The Sierra Madre (1948/John Huston)
(7:30 PM) (documentary)Picturesque Patzcuaro (1942/James A. FitzPatrick)
(7:30 PM) (documentary) On The Road To Monterrey (1943/?)
(7:30 PM) (documentary) Motoring In Mexico (1943/?)
(8:00 PM) (drama) The Scarlet Empress (1934/Josef von Sternberg)
(10:00 PM) (epic) Cleopatra (1963/Joseph L. Mankiewicz)
Wednesday, May 06, 2020
(2:30 AM) (romance) Mary Of Scotland (1936/John Ford)
(4:45 AM) (epic) Marie Antoinette (1938/W. S. Van Dyke II)
(7:30 AM) (romance) Young Bess (1953/George Sidney)
(9:30 AM) (drama) The Rise of Catherine The Great (1934/Paul Czinner)
(11:15 AM) (romance) The Private Lives of Elizabeth and Essex (1939/Michael Curtiz)
(1:15 PM) (suspense) Fast And Furious (1939/Busby Berkeley)
(2:30 PM) (comedy) Page Miss Glory (1935/Mervyn LeRoy)
(4:15 PM) (premiere) POPEYE: The Dance Contest (1934/Dave Fleischer)
(4:30 PM) (comedy) Miss Pacific Fleet (1935/Ray Enright)
(5:45 PM) (musical) Strike Up The Band (1940/Busby Berkeley)
(8:00 PM) (silent) The Dragon Painter (1919/William Worthington)
(9:00 PM) (silent) Piccadilly (1929/E. A. Dupont)
(11:00 PM) (crime) Daughter Of Shanghai (1937/Robert Florey)
Thursday, May 07, 2020
(12:30 AM) (suspense) Phantom Of Chinatown (1940/Phil Rosen)
(2:00 AM) (drama) The Letter (1940/William Wyler)
(4:00 AM) (drama) Night Song (1947/John Cromwell)
(6:00 AM) Sapphire (1959/Basil Dearden)
(7:45 AM) (crime) The League of Gentlemen (1960/Basil Dearden)
(9:45 AM) (crime) The Secret Partner (1961/Basil Dearden)
(11:30 AM) (drama) Victim (1961/Basil Dearden)
(1:30 PM) (drama) All Night Long (1963/Basil Dearden)
(3:15 PM) (suspense) Woman of Straw (1964/Basil Dearden)
(5:30 PM) (adventure) Masquerade (1965/Basil Dearden)
(7:30 PM) (documentary) MGM Parade Show #1 (1955/?)
(8:00 PM) (crime) Little Caesar (1930/Mervyn LeRoy)
(9:30 PM) (drama) Tiger Shark (1932/Howard Hawks)
(11:00 PM) (adventure) The Sea Wolf (1941/Michael Curtiz)
Friday, May 08, 2020
(12:30 AM) (crime) Key Largo (1948/John Huston)
(2:30 AM) (crime) Bullets Or Ballots (1936/William Keighley)
(4:00 AM) (comedy) The Little Giant (1933/Roy Del Ruth)
(5:30 AM) (crime) Two Seconds (1932/Mervyn LeRoy)
(6:45 AM) (drama) The Hatchet Man (1932/William A. Wellman)
(8:00 AM) (drama) The Man I Love (1947/Raoul Walsh)
(9:45 AM) (musical) Ding Dong Williams (1946/William Berke)
(11:00 AM) (romance) Intermezzo (1936/Gustaf Molander)
(12:45 PM) (musical) Mischa Elman (1926/?)
(1:00 PM) (drama) Rhapsody (1954/Charles Vidor)
(3:00 PM) (short) Stan Kenton and His Orchestra (1947/Jack Scholl)
(3:15 PM) (suspense) The Beast With Five Fingers (1946/Robert Florey)
(4:45 PM) (crime) Shoot The Piano Player (1960/François Truffaut)
(6:15 PM) (drama) The Seventh Veil (1945/Compton Bennett)
(8:00 PM) (drama) The Last Time I Saw Paris (1954/Richard Brooks)
(10:15 PM) (comedy) Mister Roberts (1955/John Ford)
Saturday, May 09, 2020
(12:30 AM) (romance) The End Of The Affair (1955/Edward Dmytryk)
(2:30 AM) (premiere) The Pyramid (1976/Gary Kent)
(4:15 AM) (short) The Terrible Truth (1951/?)
(4:15 AM) (documentary) Drug Stories (2019/?)
(6:00 AM) (war) 36 Hours (1964/George Seaton)
(8:00 AM) (premiere) MGM CARTOONS: The Bear and the Hare (1948/Michael Lah)
(8:09 AM) (comedy)Hot Sands (1931/Alfred J. Goulding)
(8:20 AM) (documentary) Calling On Colombia (1940/James A. FitzPatrick)
(8:29 AM) (comedy) Vacation in Reno (1946/Leslie Goodwins)
(9:30 AM) (premiere) TERRY AND THE PIRATES: The Fang Strikes (SERIAL) (1940/?)
(10:00 AM) (premiere) POPEYE: Olive's Sweepstake Ticket (1941/Dave Fleischer)
(10:07 AM) (comedy) 2Hold That Baby! (1949/Reginald Le Borg)
(11:30 AM) (short) Double Exposure (1935/Lloyd French)
(12:00 PM) (suspense) The Third Man (1949/Carol Reed)
(2:00 PM) (drama) Edge Of The City (1957/Martin Ritt)
(3:45 PM) (adventure) The Comancheros (1961/Michael Curtiz)
(5:45 PM) (western) There Was A Crooked Man (1970/Joseph L. Mankiewicz)
(8:00 PM) (drama) Ace In The Hole (1951/Billy Wilder)
(10:00 PM) (comedy) The Front Page (1931/Lewis Milestone)
Sunday, May 10, 2020
(12:00 AM) (drama) Mildred Pierce (1945/Michael Curtiz)
(2:15 AM) (comedy) Brewster McCloud (1970/Robert Altman)
(4:15 AM) (fantasy)7 Faces of Dr. Lao (1964/George Pal)
(6:00 AM) (musical) Three Daring Daughters (194/Fred M. Wilcox)
(8:00 AM) (romance) Light In The Piazza (1962/Guy Green)
(10:00 AM) (drama) Mildred Pierce (1945/Michael Curtiz)
(12:00 PM) (drama) The Magnificent Ambersons (1942/Orson Welles)
(2:00 PM) (drama) The Old Maid (1939/Edmund Goulding)
(4:00 PM) (romance) So Big (1953/Robert Wise)
(6:00 PM) (comedy) Baby Boom (1987/Charles Shyer)
(8:00 PM) (drama) I Remember Mama (1948/George Stevens)
(10:30 PM) (drama) Stella Dallas (1937/King Vidor)
Monday, May 11, 2020
(12:30 AM) (silent) Steamboat Bill, Jr. (1928/Charles F. Reisner)
(2:00 AM) Wajda by Wajda (2017/Andrzej Wolski)
(3:45 AM) (war) Ashes And Diamonds (1958/Andrzej Wajda)
(6:00 AM) (musical) Singin' In The Rain (1952/Gene Kelly)
(8:00 AM) (musical) Kiss Me Kate (1953/George Sidney)
(10:00 AM) (musical) 42nd Street (1933/Lloyd Bacon)
(11:45 AM) (music) Footlight Parade (1933/Lloyd Bacon)
(1:45 PM) (musical) Varsity Show (1937/William Keighley)
(4:00 PM) (musical) Top Hat (1935/Mark Sandrich)
(6:00 PM) (musical) Born To Dance (1936/Roy Del Ruth)
(8:00 PM)No Maps On My Taps (1978/George T Nierenberg)
(9:15 PM) (musical) Stormy Weather (1943/Andrew Stone)
(10:45 PM) No Maps On My Taps (1978/George T Nierenberg)
Tuesday, May 12, 2020
(1:30 AM) (musical) Yankee Doodle Dandy (1942/Michael Curtiz)
(4:00 AM) (musical) Pennies From Heaven (1981/Herbert Ross)
(6:00 AM) (drama) Spitfire (1934/John Cromwell)
(7:30 AM) (romance)Break Of Hearts (1935/Philip Moeller)
(9:00 AM) (suspense) Undercurrent (1946/Vincente Minnelli)
(11:00 AM) (drama) Keeper Of The Flame (1943/George Cukor)
(12:45 PM) (romance) Sylvia Scarlett (1935/George Cukor)
(2:30 PM) (comedy) Alice Adams (1935/George Stevens)
(4:15 PM) (comedy) Pat And Mike (1952/George Cukor)
(6:00 PM) (comedy) Woman Of The Year (1942/George Stevens)
(8:00 PM) (drama) The Miracle Worker (1962/Arthur Penn)
(10:00 PM) (drama) A World Apart (1988/Chris Menges)
Wednesday, May 13, 2020
(12:00 AM) (drama) Blossoms In The Dust (1941/Mervyn LeRoy)
(2:00 AM) (drama) Marie: A True Story (1985/Roger Donaldson)
(4:00 AM) (drama) An Angel At My Table (1990/Jane Campion)
(7:00 AM) (romance) Devotion (1946/Curtis Bernhardt)
(9:00 AM) (romance) The Barretts Of Wimpole Street (1957/Sidney Franklin)
(11:00 AM) (drama) The Diary of Anne Frank (1959/George Stevens)
(2:15 PM) (comedy) Dinner At Eight (1933/George Cukor)
(4:15 PM) (romance) Saratoga Trunk (1945/Sam Wood)
(6:45 PM) (comedy) The Expert (1932/Archie Mayo)
(8:00 PM) (suspense) The Crimson Kimono (1959/Samuel Fuller)
(9:30 PM) (crime) House Of Bamboo (1955/Samuel Fuller)
(11:30 PM) (romance) Love Is A Many-Splendored Thing (1955/Henry King)
Thursday, May 14, 2020
(1:30 AM) (adventure) Song Of India (1949/Albert S. Rogell)
(3:00 AM) (war) The Steel Helmet (1951/Samuel Fuller)
(4:30 AM) (drama) Abe Lincoln In Illinois (1940/John Cromwell)
(6:30 AM) (war) Underground (1941/Vincent Sherman)
(8:15 AM) (comedy) All Through The Night (1942/Vincent Sherman)
(10:15 AM) (drama) The Hard Way (1942/Vincent Sherman)
(12:15 PM) (drama) Old Acquaintance (1943/Vincent Sherman)
(2:15 PM) (adventure) Adventures Of Don Juan (1948/Vincent Sherman)
(4:15 PM) (horror) The Return Of Doctor X (1939/Vincent Sherman)
(5:30 PM) (drama) The Young Philadelphians (1959/Vincent Sherman)
(8:00 PM) (comedy) The Whole Town's Talking (1935/John Ford)
(9:45 PM) (comedy) A Slight Case of Murder (1938/Lloyd Bacon)
(11:30 PM) (comedy) Larceny, Inc. (1942/Lloyd Bacon)
Friday, May 15, 2020
(1:15 AM) (crime) The Amazing Dr. Clitterhouse (1938/Anatole Litvak)
(3:00 AM) (crime) Brother Orchid (1940/Lloyd Bacon)
(4:45 AM) (suspense) The Man With Two Faces (1934/Archie Mayo)
(6:00 AM) (adventure) Hotel Reserve (1946/Victor Hanbury)
(7:30 AM) (epic) Julius Caesar (1953/Joseph L. Mankiewicz)
(9:45 AM) (drama) Lolita (1962/Stanley Kubrick)
(12:30 PM) (suspense) Odd Man Out (1947/Carol Reed)
(2:30 PM) (musical) A Star Is Born (1954/George Cukor)
(5:30 PM) (suspense) North by Northwest (1959/Alfred Hitchcock)
(8:00 PM) (drama) Ransom! (1956/Alex Segal)
(10:00 PM) (suspense) Cape Fear (1962/J. Lee Thompson)
Saturday, May 16, 2020
(12:00 AM) (crime) The Night Holds Terror (1955/Andrew Stone)
(2:00 AM) (premiere) From Beyond (1986/Stuart Gordon)
(5:00 AM) (short) Good Eating Habits (1951/?)
(5:00 AM) (short) Age 13 (1955/Arthur Swerdloff)
(5:00 AM) (short) One Got Fat (1963/Dale Jennings)
(5:00 AM) (short) Match Your Mood (1968/?)
(6:00 AM) (comedy) The Wheeler Dealers (1963/Arthur Hiller)
(8:00 AM) (premiere) MGM CARTOONS: Bear Raid Warden (1944/George Gordon)
(8:08 AM) (comedy) The Eyes Have It (1931/Alfred J. Goulding)
(8:19 AM) (short) Calling On Costa Rica (1947/
(8:30 AM) (drama) Straight Is The Way (1934/Paul Sloane)
(9:30 AM) (premiere) TERRY AND THE PIRATES: The Mountain of Death (1940)
(10:00 AM) (premiere) POPEYE: Flies Ain't Human (1941/Dave Fleischer)
(10:07 AM) (comedy) Feudin' Fools (1952/William Beaudine)
(11:30 AM) (short) Rufus Jones For President (1933/Roy Mack)
(12:00 PM) (adventure) Captain Blood (1935/Michael Curtiz)
(2:15 PM) (suspense) Out Of The Past (1947/Jacques Tourneur)
(4:00 PM) (western) The Naked Spur (1953/Anthony Mann)
(5:45 PM) (drama) The Hill (1965/Sidney Lumet)
(8:00 PM) (silent) The General (1927/Buster Keaton)
(9:45 PM) (documentary) The Great Buster: A Celebration (2018/Peter Bogdanovich)
Sunday, May 17, 2020
(12:00 AM) (suspense) The Crimson Kimono (1959/Samuel Fuller)
(1:45 AM) (adventure) The Flame And The Arrow (1950/Jacques Tourneur)
(3:30 AM) (adventure) The Crimson Pirate (1952/Robert Siodmak)
(5:30 AM) (documentary) MGM Parade Show #1 (1955/?)
(6:00 AM) (musical) Gold Diggers Of 1937 (1936/Lloyd Bacon)
(8:00 AM) (comedy) I Love You Again (1940/W. S. Van Dyke II)
(10:00 AM) (suspense) The Crimson Kimono (1959/Samuel Fuller)
(12:00 PM) (crime) The Naked City (1948/Jules Dassin)
(2:00 PM) (musical) Shall We Dance (1937/Mark Sandrich)
(4:00 PM) (drama) Tea And Sympathy (1956/Vincente Minnelli)
(6:15 PM) (suspense) Niagara (1953/Henry Hathaway)
(8:00 PM) (comedy) The Purple Rose of Cairo (1985/Woody Allen)
(9:45 PM) (comedy) Moonstruck (1987/Norman Jewison)
Monday, May 18, 2020
(12:00 AM) (silent) Shoes (1916/Lois Weber)
(3:45 AM) (documentary) Vadim Mister Cool (2016/
(5:00 AM) (documentary) Hollywood Without Make-Up (1966/?)
(6:00 AM) (horror) The Devil Bat (1940/Jean Yarbrough)
(7:15 AM) (horror) Doctor X (1932/Michael Curtiz)
(8:45 AM) (suspense) The Murder Of Dr. Harrigan (1936/Frank McDonald)
(10:00 AM) (horror) Dr. Jekyll And Mr. Hyde (1932/Rouben Mamoulian)
(11:45 AM) (crime) The Law And The Lab (1956/Frances Dinsmoor)
(12:00 PM) (horror) The Brain That Wouldn't Die (1962/Joseph Green)
(1:30 PM) (short) They're Always Caught (1938/Harold S. Bucquet)
(2:00 PM) (horror) Hands Of A Stranger (1962/Newt Arnold)
(3:30 PM) (short) The Grandmother (1970/David Lynch)
(4:15 PM) (horror) The Omega Man (1971/Boris Sagal)
(6:00 PM) (horror) The Terminal Man (1974/Mike Hodges)
(8:00 PM) (musical) Girl Crazy (1943/Norman Taurog)
(10:00 PM) (musical) She's Working Her Way Through College (1952/Bruce Humberstone)
Tuesday, May 19, 2020
(12:00 AM) (musical) Varsity Show (1937/William Keighley)
(1:30 AM) (musical) Too Many Girls (1940/George Abbott)
(3:15 AM) (musical) Good News (1947/Charles Walters)
(5:00 AM) (documentary) Private Screenings: Liza Minnelli (2010/Sean Cameron)
(6:00 AM) (horror) The Mad Genius (1931/Michael Curtiz)
(7:30 AM) (documentary) Grey Gardens (1976/Ellen Hovde)
(9:15 AM) (horror) What Ever Happened To Baby Jane? (1962/Robert Aldrich)
(11:45 AM) (horror) Mad Love (1935/Karl Freund)
(1:00 PM) (romance) The Red Shoes (1948/Michael Powell)
(3:30 PM) (drama) Hamlet (1948/Laurence Olivier)
(6:15 PM) (drama) Black Narcissus (1947/Michael Powell)
(8:00 PM) (drama) Sister Kenny (1946/Dudley Nichols)
(10:15 PM) (drama) The Girl In White (1952/John Sturges)
Wednesday, May 20, 2020
(12:00 AM) (drama) The White Angel (1936/William Dieterle)
(1:45 AM) (drama) The Nun's Story (1959/Fred Zinnemann)
(4:30 AM) (war) I Was An American Spy (1951/Lesley Selander)
(6:00 AM) (drama) Madame Curie (1943/Mervyn LeRoy)
(8:15 AM) (drama) Wings And The Woman (1941/Herbert Wilcox)
(10:00 AM) (musical)Million Dollar Mermaid (1952/Mervyn LeRoy)
(12:00 PM) (drama) A Notorious Affair (1930/Lloyd Bacon)
(1:15 PM) (comedy) Quality Street (1937/George Stevens)
(2:45 PM) (romance) Give Me Your Heart (1936/Archie L. Mayo)
(4:30 PM) (romance) Sadie McKee (1934/Clarence Brown)
(6:15 PM) (romance) Three Comrades (1938/Frank Borzage)
(8:00 PM) (musical) Flower Drum Song (1961/Henry Koster)
(10:30 PM) (romance) Sayonara (1957/Joshua Logan)
Thursday, May 21, 2020
(1:15 AM) (war) The Sand Pebbles (1966/Robert Wise)
(4:30 AM) (sci-fi) The Time Machine (1960/George Pal)
(6:30 AM) (adventure) Yellow Jack (1938/George B. Seitz)
(8:00 AM) (romance) Fugitive Lovers (1934/Richard Boleslavsky)
(9:30 AM) (drama) Hide-Out (1934/W. S. Van Dyke)
(11:00 AM) (comedy) Piccadilly Jim (1936/Robert Z. Leonard)
(12:45 PM) (comedy) Ever Since Eve (1937/Lloyd Bacon)
(2:15 PM) (comedy) Mr. and Mrs. Smith (1941/Alfred Hitchcock)
(4:00 PM) (suspense) Night Must Fall (1937/Richard Thorpe)
(6:00 PM) (suspense) Lady In The Lake (1947/Robert Montgomery)
(8:00 PM) (adventure) Kid Galahad (1937/Michael Curtiz)
(10:00 PM) (crime) Smart Money (1931/Alfred E. Green)
(11:30 PM) (crime) Double Indemnity (1944/Billy Wilder)
Friday, May 22, 2020
(1:30 AM) (suspense) The Stranger (1946/Orson Welles)
(3:15 AM) (suspense) Confessions Of A Nazi Spy (1939/Anatole Litvak)
(5:15 AM) (crime) Illegal (1955/Lewis Allen)
(7:00 AM) (suspense) Blackmail (1939/H. C. Potter)
(8:30 AM) (horror) Soylent Green (1973/Richard O. Fleischer)
(10:15 AM) (drama) Morning Glory (1933/Lowell Sherman)
(11:45 AM) (comedy) The Actress (1953/George Cukor)
(1:30 PM) (drama) The Star (1953/Stuart Heisler)
(3:15 PM) (drama) Inside Daisy Clover (1965/Robert Mulligan)
(5:30 PM) (drama) The Legend Of Lylah Clare (1968/Robert Aldrich)
(8:00 PM) (horror musical) Mad Monster Party (1967/Jules Bass)
(10:00 PM) (comedy) The Daydreamer (1966/Jules Bass)
Saturday, May 23, 2020
(12:00 AM) (comedy) The Wacky World Of Mother Goose (1967/Jules Bass)
(1:30 AM) (short) Nursery Rhyme Mysteries (1943/Edward L. Cahn)
(2:00 AM) (crime) The Harder They Come (1972/Perry Henzell)
(4:00 AM) (horror) Eraserhead (1977/David Lynch)
(5:45 AM) (short) The House In The Middle (1954/?)
(6:00 AM) (adventure) Drums Along The Mohawk (1939/John Ford)
(8:00 AM) (adventure) Captain Caution (1940/Richard Wallace)
(9:30 AM) (war) Glory (1989/Edward Zwick)
(11:45 AM) (war) Sergeant York (1941/Howard Hawks)
(2:00 PM) (war) D-Day The Sixth Of June (1956/Henry Koster)
(4:00 PM) (war) The Steel Helmet (1951/Samuel Fuller)
(5:30 PM) (war) The Green Berets (1968/John Wayne)
(8:00 PM) (romance) Casablanca (1942/Michael Curtiz)
(10:00 PM) (drama) Waterloo Bridge (1940/Mervyn LeRoy)
Sunday, May 24, 2020
(12:00 AM) (suspense) Cornered (1946/Edward Dmytryk)
(2:00 AM) (war) Uncertain Glory (1944/Raoul Walsh)
(3:45 AM) (war) Edge Of Darkness (1943/Lewis Milestone)
(6:00 AM) (war) Reunion In France (1942/Jules Dassin)
(8:00 AM) (drama) Assignment In Brittany (1943/Jack Conway)
(10:00 AM) (suspense) Cornered (1946/Edward Dmytryk)
(12:00 PM) (war) Thirty Seconds Over Tokyo (1944/Mervyn LeRoy)
(2:30 PM) (adventure) The Wings Of Eagles (1957/John Ford)
(4:30 PM) (war) The Sand Pebbles (1966/Robert Wise)
(8:00 PM) (war) Hell To Eternity (1960/Phil Karlson)
(10:15 PM) (war) Pride Of The Marines (1945/Delmer Daves)
Monday, May 25, 2020
(12:30 AM) (silent) Wings (1927/William A. Wellman)
(3:00 AM) (war) Westfront 1918 (1930/G. W. Pabst)
(4:45 AM) (drama) The Red Badge Of Courage (1951/John Huston)
(6:00 AM) (war) Battle Cry (1955/Raoul Walsh)
(8:30 AM) (war) Where Eagles Dare (1968/Brian G. Hutton)
(11:15 AM) (war) The Great Escape (1963/John Sturges)
(2:15 PM) (war) The Dirty Dozen (1967/Robert Aldrich)
(5:00 PM) (war) Battle Of The Bulge (1965/Ken Annakin)
(8:00 PM) (drama) The Best Years Of Our Lives (1946/William Wyler)
(11:00 PM) (drama) Till The End Of Time (1946/Edward Dmytryk)
Tuesday, May 26, 2020
(1:00 AM) (war) Coming Home (1978/Hal Ashby)
(3:30 AM) (romance) Homecoming (1948/Mervyn LeRoy)
(6:00 AM) (comedy) Without Reservations (1946/Mervyn LeRoy)
(7:45 AM) (drama) A Night To Remember (1958/Roy Ward Baker)
(10:00 AM) (suspense) The Lady Vanishes (1938/Alfred Hitchcock)
(11:45 AM) (short) A Wee Bit of Scotland (1949/?)
(11:45 AM) (short) So You're Going On A Vacation (1946/Richard Bare)
(12:15 PM) (romance) I Know Where I'm Going (1945/Michael Powell)
(2:00 PM) (romance) Indiscretion Of An American Wife (1954/Vittorio De Sica)
(3:15 PM) (drama) The V.I.P.S (1963/Anthony Asquith)
(5:30 PM) (short) Pastoral Panoramas (1950/?)
(5:30 PM) (documentary) Amalfi Way (1955/Richard Wright)
(5:30 PM) (short) Seeing Spain (1953/?)
(6:00 PM) (comedy) Travels With My Aunt (1972/George Cukor)
(8:00 PM) (musical) Incendiary Blonde (1945/George Marshall)
(10:15 PM) (musical) Lady Sings The Blues (1972/Sidney J. Furie)
Wednesday, May 27, 2020
(1:00 AM) (musical) Funny Girl (1968/William Wyler)
(3:45 AM) (musical) Funny Lady (1975/Herbert Ross)
(6:15 AM) (western) Annie Oakley (1935/George Stevens)
(8:00 AM) (musical) Calamity Jane (1953/David Butler)
(10:00 AM) (musical) So This Is Love (1953/Gordon Douglas)
(11:45 AM) (drama) Interrupted Melody (1955/Curtis Bernhardt)
(1:45 PM) (musical) The Singing Nun (1966/Henry Koster)
(3:45 PM) (short) All Girl Revue (1940/Lloyd French)
(4:00 PM) (western) Song Of Love (1947/Clarence Brown)
(6:00 PM) (drama) I'll Cry Tomorrow (1955/Daniel Mann)
(8:00 PM) (comedy) To Be Or Not To Be (1942/Ernst Lubitsch)
(10:00 PM) (romance) To Have And Have Not (1944/Howard Hawks)
Thursday, May 28, 2020
(12:00 AM) (romance) Casablanca (1942/Michael Curtiz)
(2:00 AM) (war) The Seventh Cross (1944/Fred Zinnemann)
(4:00 AM) (drama) Between Two Worlds (1944/Edward A. Blatt)
(6:00 AM) (comedy) Male Animal (1942/Elliott Nugent)
(7:45 AM) (musical) One Sunday Afternoon (1948/Raoul Walsh)
(9:30 AM) (comedy) It Happened On 5th Avenue (1947/Roy Del Ruth)
(11:30 AM) (crime) Too Late for Tears (1949/Byron Haskin)
(1:30 PM) (romance) A Guy Named Joe (1943/Victor Fleming)
(3:45 PM) (musical) The Stork Club (1945/Hal Walker)
(5:30 PM) (short) Return From Nowhere (1944/Paul Burnford)
(5:30 PM) (short) **Men Of The Sky (1942/B. Reeves Eason)
(6:30 PM) (comedy)A Girl In Every Port (1952/Chester Erskine)
(8:00 PM) (drama) Our Vines Have Tender Grapes (1945/Roy Rowland)
(10:00 PM) (suspense) The Woman In The Window (1944/Fritz Lang)
(11:45 PM) (suspense) Scarlet Street (1945/in/Fritz Lang)
Friday, May 29, 2020
(1:45 AM) (drama) Five Star Final (1931/Mervyn LeRoy)
(3:30 AM) (drama) Dr. Ehrlich's Magic Bullet (1940/William Dieterle)
(5:30 AM) (drama) Silver Dollar (1932/Alfred E. Green)
(7:00 AM) (drama) The Cincinnati Kid (1965/Norman Jewison)
(9:00 AM) (drama) Payment On Demand (1951/Curtis Bernhardt)
(10:45 AM) (romance) A Stolen Life (1946/Curtis Bernhardt)
(12:45 PM) (drama) Deception (1946/Irving Rapper)
(2:45 PM) (comedy) It's Love I'm After (1937/Archie L. Mayo)
(4:30 PM) (romance) June Bride (1948/Bretaigne Windust)
(6:15 PM) (comedy) The Bride Came C.O.D. (1941/William Keighley)
(8:00 PM) (suspense) Pickup On South Street (1953/Samuel Fuller)
(9:30 PM) (romance) Three Coins In The Fountain (1954/Jean Negulesco)
(11:30 PM) (suspense) Niagara (1953/Henry Hathaway)
Saturday, May 30, 2020
(1:15 AM) (documentary) Mighty Niagara (1943/?)
(1:30 AM) (short) Dark Shadows (1944/Walter Hart)
(3:30 AM) (horror) Night Of The Creeps (1986/Fred Dekker)
(5:00 AM) (short) Keep Off The Grass (1969/Ib Melchior)
(5:00 AM) (short) Shake Hands With Danger (1970/?)
(6:00 AM) (comedy) How Sweet It Is (1968/Jerry Paris)
(8:00 AM) (premiere) MGM CARTOONS: Barney's Hungry Cousin (1953/Dick Lundy)
(8:08 AM) (short) Envy (1930/Arthur Hurley)
(8:17 AM) (short) Calling On Michigan (1949/?)
(8:28 AM) (comedy) Genius At Work (1947/Leslie Goodwins)
(9:30 AM) (premiere) TERRY AND THE PIRATES: The Dragon Queen Threatens (SERIAL) (1940)
(10:00 AM) (premiere) POPEYE: Popeye Meets Rip Van Winkle (1941/Dave Fleisher)
(10:07 AM) (comedy) Hard Boiled Mahoney (1947/William Beaudine)
(11:30 AM) (comedy) A Small Town Idol (1939/?)
(12:00 PM) (horror) The Body Snatcher (1945/Robert Wise)
(1:30 PM) (drama) From Here To Eternity (1953/Fred Zinnemann)
(3:45 PM) (western) The Far Country (1955/Anthony Mann)
(5:30 PM) (drama) The Sundowners (1960/Fred Zinnemann)
(8:00 PM) (romance)The Red Shoes (1948/Michael Powell)
Sunday, May 31, 2020
(12:15 AM) (suspense) A Kiss Before Dying (1956/Gerd Oswald)
(2:15 AM) (comedy) Sex Kittens Go To College (1960/Albert Zugsmith)
(4:00 AM) (drama) Born Reckless (1959/Howard W. Koch)
(5:30 AM) (documentary) MGM Parade Show #1 (1955/?)
(6:00 AM) (silent) The Big Parade (1925/King Vidor)
(8:45 AM) (comedy) Duck Soup (1933/Leo McCarey)
(10:00 AM) (suspense) A Kiss Before Dying (1956/Gerd Oswald)
(12:00 PM) (drama) The Letter (1940/William Wyler)
(1:45 PM) (drama)The Yearling (1946/Clarence Brown)
(4:00 PM) (musical) Frankie And Johnny (1966/Frederick De Cordova)
(5:45 PM) (comedy) Some Like It Hot (1959/Billy Wilder)
(8:00 PM) (adventure) King Solomon's Mines (1950/Compton Bennett)
(10:00 PM) (adventure) She (1965/Robert Day)
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2020.02.27 10:18 WrAIter [WP] You're an exterminator who had been hired to clear a home of its bad rat problem. You quickly realise that traps and poison wont do much after you open the door and get sucker punched by a human sized robot piloted by two lab rats.

You're an exterminator who had been hired to clear a home of its bad rat problem. You quickly realise that traps and poison wont do much after you open the door and get sucker punched by a human sized robot piloted by two lab rats.
I am not joking. It is real.
It's called RoboCop 2. It's due out in cinemas on September 22.
RoboCop 2 is the sequel to the 1991 film that became the highest grossing live action film in the US and UK at the time.
The movie, which stars Joel Kinnaman as law enforcement robot cop cop and Michael Keaton as antagonist Corporal Latham, was based on the 1985 novel RoboCop: The Rise of the Third Reich by Michael Crichton.
The film was made for around $40 million, making it less than half the budget of the original film.
"I loved the original, and when I saw the original I said 'oh my gosh this could be the game changer, this could be the thing that changes everything.' And I did my best to make sure that happened," said director Paul Verhoeven, who co-wrote the script with Alex Proyas.
"So we had to come up with a story that would take place in the same timeframe, but not repeat the same elements. There would be some things that were different, but overall I wanted to continue with the elements of the original story that had really resonated with people."
The new RoboCop is played by Anthony Hopkins as the new Robocop and David Morse as his partner and love interest Cop #2 (played by Helen Mirren).
"I think the main difference is that everything in the new film is bigger," Verhoeven told IBTimes UK. "It's a much bigger world, it's much bigger scale, it's more detailed, it's more complex.
"But as far as the story goes, it's about what it means to be a cop, what it means to be a human, what it means to be a robot.
"You have an interesting dilemma as a cop, and it makes it very difficult to have your moral compass intact, because what you do is you have to make a split second decision.
"And if you make the wrong one you could lose your life and it could be the difference between life and death. So you have to make decisions and you have to be very careful about what you do."
In the film, the future has been ravaged by a virus that mutates humans into cyborgs and RoboCop, played by Kinnaman, is tasked with stopping it.
"He's got the
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2020.02.03 06:36 sashavelwhore Breakdown of WandaVision Teaser Sitcom References

I want to preface this by saying that I'm a huge Wanda Maximoff and Vision fan and that Tom King's Vision series is one of my favorite comics, so I was very excited for the WandaVision teaser tonight! Due to this, I decided to get a little obsessive and analyze the trailer almost shot-by-shot to pick apart all of the sitcom references. I'm hoping someone here will be entertained by my hyper-fixation and obsessing!
  1. Leave It To BeaveThe Dick Van Dyke Show: Leave It To Beaver is definitely the most obvious reference in the trailers. From the classic 1950s dress and suit that we see Wanda and Vision sporting to the black and white coloring, they're giving off total Cleaver vibes. But I also noticed that their living room looks really similar to the Petrie living room from The Dick Van Dyke Show. The front door is in the same exact place, there's the same step down to the spacious living room once entering the house, and the walls are both two-tone with the same framing (I don't know how to word it because I'm not into interior design, but hopefully that makes sense!). It fits the image of a perfect little sitcom family. This will probably be their "newlywed" days, pre-kids (especially since we see them kissing while Wanda wears a wedding dress).
  2. The Brady Bunch: This seems to be Wanda's pregnancy period, so it makes sense to reference a show about a big family. We get a clear shot of a pregnant Wanda wearing 70s garb in front of a very 70s background. This background looks very similar to the The Brady Bunch home. Note the identical staircase and banister, the fake plants as decor, and the brick wall beside the stairs. There's another shot of Wanda in the same 70s outfit in what appears to be a kitchen that's similar to the kitchen from The Brady Bunch--same pop of warm color (bright yellow vs. bright orange), green accents, and dark brown cabinets. You can also see outside the window into her backyard, which has a brown fence and tons of foliage that looks a lot like the Brady's backyard. It makes sense a wholesome 70s sitcom about starting an unconventional family together would be the backdrop for Wanda's pregnancy.
  3. Roseanne: I'm not sure where exactly this one will fit chronologically into Wanda and Vision's sitcom life together, but this image gave me total Roseanne vibes. From the cut-off flannel and suspenders in brown-tones to the fridge covered in a hodge-podge of magnets and kids' stuff (including an art piece of a B for Billy, perhaps?) to the late 80s wallpaper, all I could think of was Roseanne's kitchen. (Here's another reference, including a flannel-clad John Goodman for good(man) measure.) I'm guessing they're gonna screw with sitcom chronology a bit and that this fantasy will come after the Full House one and Wanda and Vision's twin boys will be a bit older (anywhere from 10 years old to teenagers).
  4. Full House: The final sitcom reference I picked up on was Full House. We get a nice clear shot of Wanda and Vision in very 90s attire in a big house, two little cribs in front of them. Once again, we have a staircase that seems to reference Full House, complete with a stain glass window on the wall above the first landing. The little foyer area where Wanda and Vision are standing is reminiscent of when you first walk into the Tanner house; it even has the big wood front door with the ornate window set into the door. Given the two cribs you can see in the shot, I'm guessing this represents when Wanda and Vision are new parents and learning how to handle two newborns. (My brother also said this one reminds him of Family Ties!)
All of these sitcoms represent depictions of "normal life" and "ordinary families" from their respective decades. They're also all well-known and well-loved sitcoms, so it makes sense that a young girl raised in a poor Balkans country might catch reruns of them on TV--thus causing her to then project herself into them (literally) as an adult as a means of coping with the death of her partner. What better representation of an ideal American family is there than the classic American sitcom?
Anywho, time to cut myself off. Let me know what other things you guys caught in the trailer! (For instance--I can't pinpoint the staircase behind Wanda when she's dressed in her traditional comics Scarlet Witch get-up. Anyone know what it could be? I thought Modern Family, but it didn't fit any of those staircases.)
Here's to hoping we get wacky opening credits and theme songs for each of these references!
EDIT: Thank you all for the kind words! There have been some awesome analyses in the comments that I thought should be added to the post. As u/Here4thedrinks and u/netoholic pointed out, the scene with her in the classic Scarlet Witch outfit seems to be on the Bewitched staircase, which you can see here. Awesome catch!
u/netoholic and u/Stoklasagna also made great cases for #4 being the Family Ties set, and it definitely seems to reference that more than Full House! u/netoholic found this video that shows a lot of the details that we can't seem to find in pictures on Google, and here is their great breakdown:
The pattern on the door matches (WV in stained glass, FT in metal), the red carpet runner on the dark stairs, color and style of the couch, chairs with red seats, smaller stained glass windows with blue diamond in both, and the WV cribs evoke the look of the FT dining table chairs. Also Vision in flannel and jeans is exactly what Michael Gross as Steven Keaton wore all the time.
You guys are amazing! Thanks for these awesome additions!
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2020.01.20 00:57 LorraineColbert The Case for Steve Carell

Recently, by chance, I ended up rewatching three movies starring Steve Carell sort of in a back-to-back fashion. I’ve always liked him a lot as an actor, but it seems he remains a bit polarizing to the masses, as some people are still unable to separate him from his comedic persona. Going over his filmography like that for me only reaffirmed what I think of him, so I decided to jot down some thoughts and make a case for Steve Carell.
Short version: Steve Carell is a phenomenal actor, arguably one of the best working today of his generation.
Slightly longer version: Steve Carell is a special breed of actor that is destined to be overlooked and brushed off. His performances are never flashy (his characters may be, and that’s different), but they do creep up on you in all sorts of unassuming and unexpected ways.
The full version of this is a much longer stream-of-consciousness rambling on Steve Carell’s overall career trajectory, and more specifically, the type of actor that he has become; the type of actor that’s so natural and reliable that you almost forget he’s doing that acting thing at all.
The three movies that I ended up revisiting were Foxcatcher, Last Flag Flying, and Beautiful Boy. Before I talk about the individual movies, I’ll start by saying that I am more than familiar with Steve Carell’s illustrious career in comedy. I used to watch The Daily Show with Jon Stewart religiously, and I always liked his gawky correspondent who, inexplicably, also had an alternate identify as a downtrodden green grocer, who once ate Crisco by the spoonful, and occasionally debated Stephen Colbert with great hilarity. Then Carell left the Daily Show and went on to co-create the iconic and beloved Michael Scott in The Office, the impact of which is still very much evident in popular culture today, despite ending his tenure on the show nearly a decade ago. Steve Carell is a legendary comedic performer, I think that much is established.
That said, while Steve Carell made his name in comedy, his eventual venture into serious dramatic acting territory is not necessarily a complete surprise. In 2007’s Little Miss Sunshine, we caught a glimpse of Carell’s unique ability to bring out an inherent sadness that exists within a lot of his comedic characters. Carell delivered an unanticipated, remarkable, and somber performance that put him on a list of actors to watch out for - actors with formidable potentials that just require the perfect project to kick it into high gear.
Foxcatcher (2014) was that project for Steve Carell. This is where we start to see just how immensely talented he really is.
Foxcatcher
Foxcatcher tells the real-life story of John du Pont, the heir to the du Pont family fortune, who became obsessed with the sport of wrestling and his relationship with the Schultz brothers, a pair of Olympic gold medalists who got roped into du Pont’s peculiar world.
The real-life John du Pont was eccentric to say the least, and ghoulishly bizarre to many of his contemporaries. John du Pont had a very distinct look to him, one that required heavy make-up and prosthetics for Carell to assume the role. Most famously, a large prosthetic nose.
Now a lot of people will credit the prosthetics for the stunning transformation of Steve Carell to the hair-raising John du Pont. On some level, I agree. With the type of public persona that Carell has, it was essential that he looked drastically different from himself the second he steps into the frame. If we even catch a glimpse of Anchorman’s Brick Tamland as Carell appears on screen, the tone and intention of the movie would fall apart quickly. Despite the initial visual shock, Carell transcended the garish external makeover and actually produced a very reserved and silently eerie performance that effectively gave off a feeling of paranoia that’s just bubbling under the surface. Most people would describe his presence in Foxcatcher as chilling, creepy, and disturbing. They’re absolutely correct, but not many would mention that Carell did so without the crutch of any flashy characterization or outwardly menacing demeanor. He was able to convincingly exhibit du Pont’s quiet desperation and insecurity that’s masked under a disingenuous bravado and delusion. Yet still, somehow, Carell made us empathize with how truly lonely, pathetic, and despondent John du Pont was. Carell was able to emit all those vastly contrasting qualities with just a tilt of the head, a slightly hunched over posture, a precise speech cadence and intonation, and an unnervingly stilted gaze. It was a complex and layered performance that Carell, hauntingly, pulled off way too well.
Steve Carell was nominated for an Academy Award for this, and rightly so, but I sincerely believe he would have been a worthy winner as well, if not for Jake Gyllenhaal in Nightcrawler (who wasn’t even nominated) or Michael Keaton in Birdman. The eventual Oscar winner of that year was Eddie Redmayne, who produced a mechanically impressive performance, but lacked the subtlety and internal quality that I like so much in an actor. Steve Carell had that in Foxcatcher, and with time, I find this performance to be the one that leaves a lasting imprint. One that sticks in the gullet in an unsettling but brilliant way.
Last Flag Flying
Last Flag Flying (2017) tells the story of three Vietnam War veterans that reunite after one (Carell) of their sons perished in the Iraq War. This is a movie that’s generally been under the radar. Director Richard Linklater is a master at crafting these muted and meandering movies that rely heavily on the charm and presence of his on-screen talents to drive the story. Some people find Last Flag Flying to be slow and uneventful, but I was tremendously engrossed with the ensemble.
In the movie, Laurence Fishburne played a theologically reformed man whose previous life came back to irk him in a reluctant but bittersweet way, and he did so admirably. Bryan Cranston was rousingly memorable, though he had the benefit of playing the loudest and most boisterous character that forcibly stole every scene. Fishburne and Cranston were both highly affecting, but I was most struck by Steve Carell’s beautifully sedate and melancholic performance. Once again, he gave a very thoughtful, subdued, and wistfully authentic depiction of a grieving father, who’s a bit lost and seeking a sense of familiarity and belonging in Fishburne’s and Cranston’s characters. This movie is where we really see Carell’s strength as an actor who is unafraid of underplaying his roles and economically conveys the subtext in a very intense but sensitive way. This is especially apparent when he’s next to Cranston, who dialed it up to great effect, but was very on-the-nose and left little to remain in the undercurrent. I much prefer Carell’s understated and heartbreakingly bashful performance, which I think really grounded the character and the movie.
Beautiful Boy
Then we move onto Beautiful Boy (2018), which was not a perfect movie (far from it), but featured two incredible leading performances. The movie chronicles a father’s journey through his son’s addiction, and highlights the increasingly strained relationship between the two as the son’s addiction progressively worsen. Timothee Chalamet is an extremely gifted actor, and his performance here as the meth-addicted teenager is powerful, visceral, and at times hard-to-watch. Nevertheless, while I really respect Chalamet’s dynamic showmanship, I feel like you could take what I said above about Carell vs. Cranston, and substitute the latter for Chalamet. In fact, on repeat viewings, I’ve actually come to prefer Carell’s composed but agonizingly downcast performance. For me, I find it more heart-wrenching to watch someone tenderly hold back their discernable anguish, despair, and anger, than someone that externalizes all those emotions. Chalamet is an outstanding “externalizer”, in that he’s so adept at hitting those high-tension emotional notes using his expressions, voice, and physicality. And yet, I still find myself more drawn to Carell’s deliberately controlled and internalized portrayal of a father that’s out of depth, exacerbated, and helpless.
With that we find a common thread in Steve Carell’s niche as an actor, and that is his restraint, specificity, and introspection. He’s always able to delicately render different sentiments all at once, without ever really doing or saying much. This is evident not only in his dramatic roles, but in the comedic ones as well. Michael Scott wasn’t just an incompetent fool; he always had moments of genuine kindness or flashes of genius intertwined with his idiotic antics. Carell is able to switch between those gears effortlessly, sometimes all in one take. I also find him to be an astoundingly precise actor, who can hit the right notes perfectly every time, nothing more, nothing less. He’s often disciplined and unobtrusively compelling, and very generous in allowing his screen partners to seize the moment. This is why he’s destined to be overlooked in favour of his co-stars; he’s not a flashy actor, he hardly ever demands attention (but gets them anyway). Carell excels at bringing a level of realism and nuance that invariably sits with you, and sinks in slowly, but deeply. It’s a shame that people are brushing off his recent dramatic roles as “Oscar-begging” (which is a term that I hate as a general rule), when he’s actually producing these expertly intricate and fascinating performances with very little pretense. I genuinely don’t think you can find many actors working today who are able to function at such a high level in both comedy and drama, and everything in between.
Thoughts?
submitted by LorraineColbert to TrueFilm [link] [comments]


2020.01.19 22:54 LorraineColbert The Case for Steve Carell

Recently, by chance, I ended up rewatching three movies starring Steve Carell sort of in a back-to-back fashion. I’ve always liked him a lot as an actor, but it seems he remains a bit polarizing to the masses, as some people are still unable to separate him from his comedic persona. Going over his filmography like that for me only reaffirmed what I think of him, so I decided to jot down some thoughts and make a case for Steve Carell.
Short version: Steve Carell is a phenomenal actor, arguably one of the best working today of his generation.
Slightly longer version: Steve Carell is a special breed of actor that is destined to be overlooked and brushed off. His performances are never flashy (his characters may be, and that’s different), but they do creep up on you in all sorts of unassuming and unexpected ways.
The full version of this is a much longer stream-of-consciousness rambling on Steve Carell’s overall career trajectory, and more specifically, the type of actor that he has become; the type of actor that’s so natural and reliable that you almost forget he’s doing that acting thing at all.
The three movies that I ended up revisiting were Foxcatcher, Last Flag Flying, and Beautiful Boy. Before I talk about the individual movies, I’ll start by saying that I am more than familiar with Steve Carell’s illustrious career in comedy. I used to watch The Daily Show with Jon Stewart religiously, and I always liked his gawky correspondent who inexplicably was also a downtrodden green grocer, who once ate Crisco by the spoonful, and occasionally debated Stephen Colbert with great hilarity. Then Carell left the Daily Show and went on to co-create the iconic and beloved Michael Scott in The Office, the impact of which is still very much evident in popular culture today, despite ending his tenure on the show nearly a decade ago. Steve Carell is a legendary comedic performer, I think that much is established.
That said, while Steve Carell made his name in comedy, his eventual venture into serious dramatic acting territory is not necessarily a complete surprise. In 2007’s Little Miss Sunshine, we caught a glimpse of Carell’s unique ability to bring out an inherent sadness that exists within a lot of his comedic characters. Carell delivered a remarkable and somber performance that put him on a list of actors to watch out for - actors with formidable potentials that just require the perfect project to kick it into high gear.
Foxcatcher (2014) was that project for Steve Carell. This is where we start to see just how immensely talented he really is.
Foxcatcher
Foxcatcher tells the real-life story of John du Pont, the heir to the du Pont family fortune, who became obsessed with the sport of wrestling and his relationship with the Schultz brothers, a pair of Olympic gold medalists who got roped into du Pont’s peculiar world.
The real-life John du Pont was eccentric to say the least, and ghoulishly bizarre to many of his contemporaries. John du Pont had a very distinct look to him, one that required heavy make-up and prosthetics for Carell to assume the role. Most famously, a large prosthetic nose.
Now a lot of people will credit the prosthetics for the stunning transformation of Steve Carell to the hair-raising John du Pont. On some level, I agree. With the type of public persona that Carell has, it was essential that he looked drastically different from himself the second he steps into the frame. If we even catch a glimpse of Anchorman’s Brick Tamland as Carell appears on screen, the tone and intention of the movie would fall apart quickly. Despite the initial visual shock, Carell transcended the garish external makeover and actually produced a very reserved and silently eerie performance that effectively gave off a feeling of paranoia that’s just bubbling under the surface. Most people would describe his presence in Foxcatcher as chilling, creepy, and disturbing. They’re absolutely correct, but not many would mention that Carell did so without the crutch of any outwardly menacing demeanor. He was able to convincingly exhibit du Pont’s quiet desperation and insecurity that’s masked under a disingenuous bravado and delusion. Yet still, somehow, Carell made us empathize with how truly lonely, pathetic, and despondent John du Pont was. Carell was able to emit all those vastly contrasting qualities with just a tilt of the head, a slightly hunched over posture, a precise speech cadence and intonation, and an unnervingly stilted gaze. It was a complex and layered performance that Carell, hauntingly, pulled off way too well.
Steve Carell was nominated for an Academy Award for this, and rightly so, but I sincerely believe he would have been a worthy winner as well, if not for Jake Gyllenhaal in Nightcrawler (who wasn’t even nominated) or Michael Keaton in Birdman. The eventual Oscar winner of that year was Eddie Redmayne, who produced a mechanically impressive performance, but lacked the subtlety and internal quality that I like so much in an actor. Steve Carell had that in Foxcatcher, and with time, I find this performance to be the one that leaves a lasting imprint. One that sticks in the gullet in an unsettling but brilliant way.
Last Flag Flying
Last Flag Flying (2017) tells the story of three Vietnam War veterans that reunite after one (Carell) of their sons perished in the Iraq War. This is a movie that’s generally been under the radar. Director Richard Linklater is a master at crafting these muted and meandering movies that rely heavily on the charm and presence of his on-screen talents to drive the story. Some people find Last Flag Flying to be slow and uneventful, but I was tremendously engrossed with the ensemble.
In the movie, Laurence Fishburne played a theologically reformed man who is forced to face his past self, and he did so admirably. Bryan Cranston was rousingly memorable, though he had the benefit of playing the loudest and most boisterous character that forcibly stole every scene. Fishburne and Cranston were both highly affecting, but I was most struck by Steve Carell’s beautifully sedate and melancholic performance. Once again, he gave a very thoughtful, subdued, and wistfully authentic depiction of a grieving father, who’s a bit lost and seeking a sense of familiarity and belonging in Fishburne’s and Cranston’s characters. Carell was capable of simultaneously playing childlike in his charcter's innocence, but the soulful look in his eyes felt mournfully lived and wise. This movie is where we really see Carell’s strength as an actor who is unafraid of underplaying his roles and economically conveys the subtext in a very intense but sensitive way. This is especially apparent when he’s next to Cranston, who dialed it up to great effect, but was very on-the-nose and left little to remain in the undercurrent. I much prefer Carell’s understated and heartbreakingly bashful performance, which I think really grounded the character and the movie.
Beautiful Boy
Then we move onto Beautiful Boy (2018), which was not a perfect movie (far from it), but featured two incredible leading performances. The movie chronicles a father’s journey through his son’s addiction, and highlights the increasingly strained relationship between the two as the son’s addiction progressively worsen. Timothee Chalamet is an extremely gifted actor, and his performance here as the meth-addicted teenager is powerful, visceral, and at times hard-to-watch. Nevertheless, while I really respect Chalamet’s dynamic showmanship, I feel like you could take what I said above about Carell vs. Cranston, and substitute the latter for Chalamet. In fact, on repeat viewings, I’ve actually come to prefer Carell’s agonizingly downcast but composed performance. For me, I find it more heart-wrenching to watch someone tenderly hold back their discernable anguish, despair, and anger, than someone that externalizes all those emotions. Chalamet is an outstanding “externalizer”, in that he’s so adept at hitting those high-tension emotional notes using his expressions, voice, and physicality. And yet, I still find myself more drawn to Carell’s deliberately controlled and internalized portrayal of a father that’s out of depth, exacerbated, and helpless.
With that we find a common thread in Steve Carell’s niche as an actor, and that is his restraint, specificity, and introspection. He’s always able to delicately render different sentiments all at once, without ever really doing or saying much. This is evident not only in his dramatic roles, but in the comedic ones as well. Michael Scott wasn’t just an incompetent fool; he always had moments of genuine kindness or flashes of genius intertwined with his idiotic antics. Carell is able to switch between those gears effortlessly, sometimes all in one take. I also find him to be an astoundingly precise actor, who can hit the right notes perfectly every time, nothing more, nothing less. He’s often disciplined and unobtrusively compelling, and very generous in allowing his screen partners to seize the moment. This is why he’s destined to be overlooked in favour of his co-stars; he’s not a flashy actor, he hardly ever demands attention (but gets them anyway). Carell excels at bringing a level of realism and nuance that invariably sits with you, and sinks in slowly, but deeply. It’s a shame that people are brushing off his recent dramatic roles as “Oscar-begging” (which is a term that I hate as a general rule), when he’s actually producing these expertly intricate and fascinating performances with very little pretense. I genuinely don’t think you can find many actors working today who are able to function at such a high level in both comedy and drama, and everything in between.
Thoughts?
submitted by LorraineColbert to flicks [link] [comments]


2019.12.04 22:48 sonofodin25 [S6] Crisis Viewers & General DC Fans! Welcome To Our Sub.

Hello everyone. With the Crisis finally here, I wanted to create this post to welcome new people to our Flash subreddit. As well as clear up some of the most common questions I see about Crisis! Maybe we can get this stickied or something for the week.
WHAT DO I NEED TO WATCH TO CATCH UP FOR CRISIS ?
First off, let me start by saying that if you have some general knowledge of the DC Universe you should be fine going into Crisis. However, some moments may not carry the emotional weight or impact that they would for long term viewers.
Around a week ago I made this info-graphic to help those who want to catch up with DCTV. This should work pretty well, as I have selected episodes that will introduce you to most of the key players. It was pointed out to me by Ethan_Hood that the pilots for Arrow and Supergirl should have probably been on there in the first place, so i'd recommend those as well!
WHAT SHOW DOES CRISIS AIR ON/WHAT EPISODES/WHAT TIME?
Sunday/December 8th at 8pm EST - Supergirl: Season 5, Episode 9
Monday/December 9th at 8pm EST - Batwoman: Season 1, Episode 9
Tuesday/December 10th at 8pm EST - The Flash: Season 6, Episode 9
January 14 - Arrow: Season 8, Episode 8 at 8pm EST & Legends: Season 5, Episode 1/9 (it's complicated) at 9pm EST
Black Lightning will also have a side-story set during Crisis on Monday, December 9th at 9pm EST
WHO'S WHO/WHAT DC CHARACTERS ARE GONNA BE IN CRISIS?
There will be some very minor spoilers for Crisis in some of the character descriptions, nothing that isn't already common knowledge around the internet but I just wanted to give a heads up just in case
The Flash - When Barry Allen was struck by lightning he gained the powers of super-speed and became The Scarlet Speedster, The Fastest Man Alive, The Flash. Residing in Earth 1's Central City, Flash was the first hero to discover the "multi-verse", a series of parallel Earths with both minor and major differences from our own. This season, The Flash has looked into the future and seen himself die to save Earth 1 from the Crisis. However, Barry isn't sure he's ready to accept death.
Green Arrow - After five years stranded on a "deserted" island, Oliver Queen came home with only one goal to save his city. With nothing but a bow and arrow, Oliver has saved Earth 1's Star City time and time again from the likes of Deathstroke, Ras Al Ghul, and more. In last years crossover, "Elseworlds" Oliver made a deal with The Monitor. The Flash and Supergirl were ready to give their lives to stop an evil Superman, and Oliver saved them by essentially becoming the Monitor's apprentice. This season, Oliver has been collecting items from the different earths for The Monitor. However, The Monitor has warned Ollie that he will die in this "Crisis". Last episode, Green Arrow finally came to terms with death and accepted his fate.
The Monitor - A mysterious seemingly all-powerful being who resides over and protects the multi-verse. He has gone around Earths testing and recruiting heroes for the upcoming Crisis.
Supergirl - Superman's cousin, another survivor of the planet Krypton. The protector of Earth 38, Kara Zor-El is a symbol of hope and inspiration to her world. With the help of The Martian Manhunter, and her super-spy sister Alex, Kara has saved her world from multiple alien invasions. However unlike The Flash and Green Arrow, no one has warned Supergirl about the Crisis and she has no idea what's coming......
Superman - Being Earth 38's first and most famous superhero, Clark Kent fights for Truth, Justice, and the American Way. Upon finding out that Lois Lane was pregnant this Clark recently moved to Argo City (a small remain of the planet Krypton) so that Lois could safely deliver their child.
Superman - Kingdom Come - The Superman from the movie "Superman Returns", very Christopher Reeves inspired. However in the time passed since that movie The Joker bombed the Daily Planet, killing Lois Lane and various others. This Clark Kent is now an older, withered Superman struggling to maintain his fight for truth, justice, and the American Way. He also bears a striking resemblance to Earth 1's The Atom. This Superman has yet to appear on the shows and will first appear in Crisis.
Superman - Smallville - SOMEBODY SAAAAVVVVEEEE MEEEEEEEEEEE. The Clark Kent/Superman from the TV show "Smallville", this Clark resides on a different Earth from the rest of our heroes and has yet to come into contact with them. However, he is familiar with some of them as Smallville has their own versions of Green Arrow, The Flash, Martian Manhunter, etc. He currently resides on the Kent Farm and is married to Smallville's Lois Lane.
Batman - Kingdom Come - An older, withered Bruce Wayne who needs an exo-skelton to maintain his composure. Much different from Earth 1's Batman, who mysteriously disappeared 3 years ago and has not been seen since. Will make his first appearance in Crisis.
The Martian Manhunter - J'onn Jonzz is the last survivor of Mars. After Supergirl's adopted father saved his life, J'onn vowed to watch over both Kara and her sister Alex. J'onn has been a mentor, a father, and a friend to Supergirl. The last episode of Supergirl ended with The Monitor recruiting him for the Crisis. Resides on Earth 38.
Batwoman - Bruce Wayne's cousin, Kate Kane recently took on the role of protecting Earth 1's Gotham City after the Earth 1 Bruce vanished. She encountered The Flash, Green Arrow, and Supergirl last year and is aware of their exploits.
Black Lightning - Wielding the powers of electricity, Jefferson Peirce uses his power to protect the students at his school where he acts as principal. Housed on Earth 73, Jefferson cares deeply about his students and their struggles in a gang-infested town. He also has 2 daughters, Thunder and Lighting would also have superpowers. Although he is hesitant about them following his lifestyle. Crisis will be the first time he comes into contact with the other superheroes.
The Flash - Earth 90 - The Barry Allen from the CBS TV series from the 90's. He is a doppleganger of both Barry's father, Henry Allen, and The Flash of Earth 3, Jay Garrick. Earth 90 was one of the earths that underwent to Monitor's testing. That world failed and it's superheroes were all brutally murdered. However, Barry was able to escape and travelled to Earth 1 to warn our Flash (as well as Green Arrow and Supergirl) about The Monitor and his plans. The last time we saw this Flash he tried to attack the Monitor, who teleported him away. His location is currently unknown.
John Diggle/John Stewart - The Green Arrow's first and closest ally. Diggle is a war vet who aids Oliver on his crusade to save Star City. In Arrow: Season 7 it was revealed he goes by his mother's maiden name "Diggle", with his step-father's last name being "Stewart". In DC Comics, John Stewart is better know as The Green Lantern. However, the shows have yet to go down that route......
Lyla Micheals/Harbinger - Lyla Micheals was formerly the wife and mother to the children of John Diggle. However, that person is no more. After being chosen by The Monitor, Lyla has been reborn as the mysterious Harbinger and has been chosen to recruit heroes from across the multi-verse to battle in the Crisis.
Pariah - Nash Wells, a multi-verse travelling adventurer came to Earth 1 to hunt down The Monitor and learn the secrets of the multi-verse. After a brief scuffle with The Flash, Nash found an artifact underneath Central City that he believed to belong to The Monitor. In the last episode of Flash, the artifact opened a doorway that sucked Nash into the dawn of time.
Robin - Batman '66 - Holy callback Batman! Burt Ward will be reprising his role as Batman's trusty sidekick Robin from the 1966 TV show "Batman". Due to Ward's age, I wouldn't expect this to be anything more than a cameo.
The Reverse-Flash - The most dangerous villain through-out all the shows, Eobard Thawne hails from the 22nd century. He became obsessed with studying the Flash, and eventually become obsessed with becoming The Flash. Thawne is a sociopath who wants nothing more than to be loved/adored by everyone. Upon learning that he becomes The Flash's greatest villain through history records, Thawne goes insane and dedicates his entire life to tormenting Barry's. He murdered Barry's mother when Barry was only 10 years old, he's murdered every member of the Legends in an alternate timeline. However, he can never kill Flash himself as if he does he will also cease to exist, since his entire life is based around The Flash.
Lex Luthor - Superman's greatest nemesis and Earth 38's most dangerous mind. Lex was recently shot and killed by his sister, Lena Luthor. However, he was revived by The Monitor and recruited to help in the oncoming Crisis.
Lena Luthor - The sister of Lex Luthor, Lena is ironically one of Supergirl's closest allies and friends. She shot and killed her brother Lex at the end of Supergirl: Season 4 (but don't worry he's fine!). She recently had a falling out with Supergirl once she found out Kara's identity. Claiming that Kara "treated her like a villain" when all she was trying to do was right her brothers wrongs.
The Atom - Brilliant scientist Ray Palmer build himself a suit of armor that allows him to shrink down to the molecular level (think Ant-Man mixed with Iron Man). While at first he wanted to use it to arrest The Green Arrow, he quickly became allies with him. In 2015, Ray was recruited by Rip Hunter to join the time-travelling pirates known as "The Legends Of Tomorrow". Along with Sara Lance and Mick Rory, Ray has spent the last few year's protecting Earth 1's timeline from any threats it may face. Kinda looks like the Kingdom Come Superman.
John Constantine - A wacky, depressed semi-drunk magician who defends the world against supernatural demons from Hell. Inspired by the music of the Sex Pistols, this hellblazer had his own TV show for a season in 2014. Once that was cancelled, he appeared on Arrow and helped Oliver revive Sara Lance from the dead. About a year later, he joined the Legends Of Tomorrow to help them fight against the super natural. He's still the lover of a good pity-party but he's miraculously stuck with the Legends for around 2 years now.
Sara Lance/Black Canary I/White Canary - Trained by Ras Al Ghul and The League Of Assassians, Sara Lance was DCTV's first Black Canary. In Arrow: Season 3 she was murdered by the Green Arrow's arch-nemesis Malcom Merlyn then brought back to life by John Constantine and the Lazurus Pit in Season 4. Upon her revival she took up the mantle of White Canary and joined The Legends Of Tomorrow, eventually going on to lead that team. Now captain of the Waverider (the legends time travelling ship/headquarters), Sara protects Earth 1 from all threats to it's timeline.
Heatwave - Pyromaniac Mick Rory was a petty criminal who got his start robbing banks in Central City with his partner-in-crime, Leonard Snart/Captain Cold. After being stopped by The Flash multiple times, Mick and Cold joined The Legends Of Tomorrow. After the death of his partner Captain Cold, Mick had nowhere to go and stayed with the Legends even though he doesn't really give a shit about protecting the timeline....or anything for that matter. He'll probably be too drunk to even remember Crisis On Infinite Earths, he really likes flame throwers.
The Elongated Man - After gaining stretchy powers, Ralph Dibney quickly joined The Flash and his team on their mission to protect Central City. With The Flash's death approaching, Barry has been training Ralph to be his replacement as the hero of Central City.
Vibe - The Flash's best friend, Cisco Ramone can use his powers to see into possible futures, alternate timelines, and whole other dimensions. He can also create "breaches" to travel to other Earths. Vibe retired at the end of The Flash: Season 5, taking a meta-human cure in hopes of joining the simple life.
Killer Frost - Killer Frost is a whole other persona that emerged in the head of Flash ally Caitlin Snow. Although she started off as a villain, Frost is really just young, niave, and scared of the world around her and has a lot to learn. Oh and if it wasn't obvious from the name she has ice powers.
Iris West-Allen - The loving wife of Barry Allen/The Flash. An ace reporter for the Central City Citizen, Iris has helped Barry gather information on criminals and track down meta-human gangs. She's also helped deal with everything from evil speedsters to telepathic gorilla's.
Black Canary II - Laurel Lance.....oh Jesus Christ where do I even begin with this one? Laurel Lance, sister to Sara Lance and former lover of Oliver Queen/The Green Arrow, took up the mantle of Black Canary after the (temporary) death of her sister Sara, the first Black Canary. She was then murdered by Damian Dahrk in Arrow: Season 4, Earth 1 Laurel is still dead. However, the Laurel Lance from Earth 2 soon emerged as a Flash villain working for Zoom. After Zoom was defeated, she began a redemption arc that led her to working with The Green Arrow and his team. Earth 2 Laurel is currently a trusted ally of Oliver's. In the season premier of Arrow, Earth 2 was destroyed by the Crisis leaving Laurel without a home. The Monitor tried to get her to betray Oliver but she refused. Apparently, Earth 1 Laurel (yes, the dead one! Welcome to comic books!) will be making an appearance in Crisis.
Black Canary III - Dinah Drake is a meta-human from Central City who took up the mantle of Black Canary at a time when both Sara and Laurel were absent. She is currently a member of "Team Arrow" and one of it's only survivors in the future....
Wild Dog - An arrogant prick with a heart of gold. Armed with only guns, Rene became a vigilante simply to protect his part of Star City known as "The Glades". He was taken in by The Green Arrow and quickly became a part of "Team Arrow".
Mia Smoak/Green Arrow II - The Daughter of Green Arrow. Mia Smoak comes from a dystopian future where Star City is overrun by "The Deathstroke Gang". She was recently transported to the past by the Monitor as a gift to Oliver, so that he could meet his daughter before his approaching death.
Brainiac 5 - A descendant of the Superman villain Brainiac, Brainiac 5 is a superhero from the 30th century and a member of The Legion Of Superheroes. Feeling he never quite fit in with the Legion, Briany has spent the last 2 years in the past aiding Supergirl, who was an inspiration to the superheroes of Earth 38's future.
Dreamer - A ancestor to a member of The Legion Of Superheroes, Nia was brought into Supergirl's world by Brainiac 5 who wanted to use her powers to see into the future. She's also the first live-action transgender superhero.
Lois Lane - The wife of Earth 38's Superman and the father to his child Jon Kent. Lois Lane is a no non-sense journalist who works for the Daily Planet. But you already know all this, so i'm not gonna spend to much time on her. She is currently in Argo City with Clark.
Lois Lane - Smallville - No no-sense journalist, works for The Daily Planet, etc., etc. This is the Lois Lane from the TV show Smallville.
Alex Danvers - Supergirl's adopted sister, Kara and Alex grew up together. Alex is also a super-spy (think knock-off Black Widow) working for the DEO.
Jonah Hex - A disfigured cowboy from the 1800's, Jonah Hex has encountered and befriended the Legends Of Tomorrow a couple of times. He is the protecter of his county.
Alexander Knox - The reporter from the 1989 Batman movie starring Micheal Keaton. Likely just a quick cameo role while his Earth is destroyed.
The Spectre - Another all-powerful being who watches over the multi-verse and extracts vengeance against those who do wrong. Thinks he speaks to god, has yet to appear in the shows.
Jay Garrick/The Flash - The Flash of Earth 3, Jay is a dopple ganger of Earth 1's Henry Allen and Earth 90's Barry Allen. Due to his age, he retired in The Flash: Season 4 but recently returned to help Barry look into the future and see his death during Crisis.
Ryan Choi/The Atom II - Ray Palmer's successor in the comic books, not sure what his role in the shows will be. Likely the survivor of another broken Earth.
WHAT EPISODES ARE CROSSOVER EPISODES?
I'm excluding episodes with quick 1 minute cameo's from this list....as much as I love Oliver speed texting Barry for favours it's not worth watching a whole episode for
Arrow: Season 2, Episode 8 & Season 2, Episode 9 - The introduction of Barry Allen to DCTV. It is here he meets Oliver Queen/The Green Arrow. Barry is not yet The Flash in these episodes.
The Flash: Season 1, Episode 8 & Arrow Season 3, Episode 8 - The first official crossover between The Flash & Green Arrow.
The Flash: Season 2, Episode 8, Arrow: Season 4, Episode 8 - Another crossover between The Flash & Green Arrow that also sets up the plot for Legends Of Tomorrow. Hope you're hungry for chicken!
Supergirl: Season 1, Episode 18 - The first crossover between The Flash & Supergirl.
Legends Of Tomorrow: Season 1, Episode 6 - The Legends meet a future version of Green Arrow.
The Flash: Season 3, Episode 8, Arrow: Season 5, Episode 8, Legends: Season 2, Episode 7 - The Flash introduces Supergirl to Green Arrow and the Legends. They also fight an alien invasion.
Supergirl: Season 3, Episode 8, Arrow: Season 6, Episode 8, Flash: Season 4, Episode 8, Legends: Season 3, Episode 8 - The Flash's wedding is interrupted by Nazi dopplegangers from Earth X.
The Flash: Season 5, Episode 8, Arrow: Season 7, Episode 8, Supergirl: Season 4, Episode 8 - Barry and Oliver swap bodies, the gang meets Superman and Batwoman.
WHAT EARTH IS EVERYONE ON?
EARTH 1: The Flash (and his team), Green Arrow (and his team), The Legends Of Tomorrow, The Reverse-Flash, Batwoman
EARTH 2: Black Siren/Black Canary, Harrison Wells, Jessie Quick was wiped out of existence in Arrow: Season 8
EARTH 3: Jay Garrick
EARTH 38: Supergirl (and her team), The Martian Manhunter, Superman, Lois Lane, Lex Luthor
EARTH 53: The Ray, Citizen Cold, lots of Nazi Dopplegangers
EARTH 73: Black Lightning and his family
EARTH 90: Barry Allen/The Flash of Earth 90 was wiped out in last year's "Elseworlds"
The Smallville, Batman '66, Birds Of Prey and Kingdom Come Universes are not currently numbered.
HOW HAVE THE VARIOUS SHOWS LED UP TO CRISIS THIS/LAST SEASON ?
spoilers for just about every show, only read these if you don't plan on watching them or don't care about spoilers
THE FLASH
This newspaper article from the future has been appearing in The Flash since it's pilot. It details of a Crisis in 2024 that see's the Flash vanish during a Crisis that involved various superheroes (the original article mentioned Green Arrow, Hawkgirl, and The Atom) teaming up against The Reverse-Flash and an army of shadow demons. The red skies have also been mentioned since day one. Last season on The Flash, Thawne freed himself from a prison in 2040 by essentially erasing/moving up the entire timeline. Not only did this erase Barry's daughter Nora from existence, but it also moved the Crisis from April 25, 2024 to December 10, 2019. Once this new timeline had been set in stone, The Monitor appeared to Barry and Iris warning them that The Flash will perish in the upcoming Crisis. At first Barry didn't believe The Monitor, so he went to speedforce expert and former Flash Jay Garrick for help. Together they devised a way for Barry to see the future, and The Monitor's warning was confirmed. Barry saw red skies, Central City being destroyed by a wave of anti-matter, and The Flash vanishing forever.
Meanwhile another Harrison Wells doppleganger named Nash Wells appeared in Central City claiming that he was going to track down The Monitor and save Barry Allen. Nash eventually found an artifact deep under Central City that he believed to belong to The Monitor. When a voice (presumably the Anti-Monitor's) appeared telling Nash to "bow down before him", Nash laughed in it's face. Nash eventually got the artifact to open and as he looked into the dawn of time Nash Wells was teleported away, destined to become nothing more than a Pariah.
ARROW
In last year's "Elseworlds" crossover Oliver made a deal with the Monitor. The deal was that if the Monitor save Barry and Kara (who were about to sacrifice themselves to stop an evil Superman), that he would essentially become his apprentice. The Monitor agreed and the deal was made. At the end of Arrow: Season 7, The Monitor appeared to Oliver telling him that it was time and taking Oliver away from his wife and his child. The Monitor also revealed that Oliver was fated to die in the Crisis. Arrow: Season 8 began with Oliver travelling to Earth 2 to collect artifacts that will help the Monitor build an unknown weapon. On Earth 2 he came across many faces from Arrow's past and re-connected with that world's Laurel Lance/Black Canary. However, at the end of their mission Oliver and Laurel witnessed a wave of anti-matter destroy Earth 2 completely. As far as we know Earth 2 and all it's citizens (including Harrison Wells, Jessie Quick, Solovar and Gorilla City) are dead and gone. In a confusing twist for Oliver he soon found himself back in the Arrow bunker face-to-face with his and Diggle's future children. The future children (Mia, William, and Connor) hail from a dystopian future where Star City was overrun by "The Deathstroke Gang". At first, The Monitors intentions with the children where unclear but it was eventually revealed that The Monitor is not evil and that he in fact brought them to the present as a gift to Oliver. So that he could meet and connect with his son and daughter before he dies in the Crisis. It was also revealed that Lyla Micheals (Diggle's wife) had been working with The Monitor all season, as he saved her from death when she was a solider. In the last episode before Crisis, Oliver and his team were sent on their final mission to Lian Yu. Here they completed the weapon which was revealed to be a device built specifically for Lyla. It opened a portal that teleported Lyla somewhere in the multi-verse. Leaving everyone else on the island confused and stunned. Knowing the Crisis was soon to come Oliver said his goodbyes to Diggle, Laurel, Mia, Roy Harper, Dinah, Rene, and William. Then the skies turned red, and a re-born Lyla re-appeared as "Harbinger" to collect Oliver as the Crisis had begun.....
SUPERGIRL
At the end of Supergirl: Season 4, Lena Luthor shot and killed her brother Lex Luthor. However, the Monitor appeared to collect Lex's body and revive him for he would be needed in the Crisis. The Monitor also released The Martian Manhunter's brother, Ma'alefa'ak, from the phantom zone. As a way to test J'onn and see if he was a worthy champion for things to come. By the end of Supergirl last episode, J'onn had passed The Monitor's test. Thus, the Monitor appeared to J'onn and recruited him into battle. The episode also showed a brief clip of Lex Luthor alive and well, waiting in some pocket-dimesnion of space for the Crisis to begin.
LEGENDS OF TOMORROW
While the Legends put on a fake circus act we saw The Monitor in the audience, eating popcorn and watching The Legends do their thing. That's it! That's all they've done to set up Crisis.
BLACK LIGHTNING
As of yet, Black Lighting has done little to set up Crisis.
As the Crisis comes to Black Lightning's earth and the red skies appear, Black Lightning will use it's episode next Monday ("Third Stone From The Sun", an insanely cool Jimi reference) as a side-story to set up Black Lightning's role before he appears in "Crisis On Infinite Earths, Part 3" next Tuesday.
BATWOMAN
This show has done nothing to set up Crisis.
I AM LAZY AND DON'T WANNA WATCH ANYTHING BUT CRISIS, COULD YOU JUST CATCH ME UP?
Fine
An all-powerful being named The Monitor has been going around the multi-verse testing heroes from different Earths to find worthy champions. He himself has wiped out world's trying to do this, including Earth 90, the home of John Wesley Shipp's Barry Allen/The Flash. In last year's crossover, he tested The Flash, Green Arrow, Superman, Batwoman, and Supergirl and found them to be worthy champions. His main focus has gone towards The Flash and Green Arrow, who he has warned will have to sacrifice their lives to stop the oncoming Crisis.
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2019.10.22 21:45 DGenerationMC Finishing Tim Burton's Bat-Verse Pt. 2: Batman Forever (1999)

Link to Pt. 1 - Batman & Robin (1995): https://www.reddit.com/fixingmovies/comments/dl8dvv/finishing_tim_burtons_batverse_pt_1_batman_robin/
- Michael Keaton as Bruce Wayne / Batman
- Nicolas Cage as Dr. Jonathan Crane / Scarecrow
- Marlon Wayans as Ricky Grayson / Robin
- Alicia Silverstone as Harleen Quinzel / Harley Quinn
- John Glover and Nathan Jones as Antonio Diego / Bane
- Jack Nicholson as Jack Napier / The Joker
- Danny DeVito as Oswald Cobblepot / The Penguin
- Billy Dee Williams as Harvey Dent / Two-Face
Set four years after the defeat of Two-Face and the Riddler, Batman and his new partner, Robin, become defenders of Gotham. They attempt to thwart the villainous Scarecrow from robbing Axis Chemicals, but he steals some materials and flees.
In a lab at Arkham University, the intern Harleen Frances Quinzel is working under the deranged Dr. Jonathan Crane, experimenting with the Fear toxin. She witnesses Crane use the Venom drug to turn the violent, but diminutive, convicted serial murderer Antonio Diego into a hulking monstrosity dubbed "Bane". When Quinzel threatens to expose Crane's experiments on Arkham Asylum patients like Bane and wants to discontinue their affair, he attempts to kill her by having Bane overturn a shelf of various formulas. Despite Crane's efforts, Quinzel survives and transforms into the beautiful and seductive Harley Quinn. After coming across some files, she sets fire to the lab and leaves it to burn down, escaping to Gotham City to fake her death.
Meanwhile, Bruce discovers that Ricky has participated in drag races to raise money for Alfred, who is dying of MacGregor's syndrome. It is there Ricky encounters Quinn and they begin a flirtatious relationship from both feeling misunderstood. Batman and Robin begin to have crime fighting relationship problems because of Quinn distracting Robin and Bruce's regret over his rogue gallery's deaths. But Bruce eventually convinces Ricky to trust him and understand his new no-kill rule.
Wayne Enterprises presents a new telescope for Gotham Observatory at a press conference interrupted by Crane. He proposes a chemical project that could cure the criminally insane. Bane is shown as a test subject but Bruce declines Crane's offer, citing the experiment would endanger millions of people. Wayne says that this project is in conflict with the main goals of the Wayne Corporation. Crane is then taken away to be questioned by police for the disappearance of Quinn and the fire at Arkham University. With the help of Quinn, Crane escapes. That night, a charity event is held by Wayne Enterprises with special guests, Batman and Robin, with Quinn sneaking in and using her abilities to seduce them. Scarecrow returns and unleashes fear toxin from the event. Harley then kisses Robin and has Bane subdue him. Batman is detained in Arkham Asylum, where Quinn reveals she is the Joker's daughter and wants to avenge her father's death. Scarecrow purposefully puts him in the cell that used to hold The Riddler, who is not seen but said to be the next experiment once Batman is dealt with.
When Robin comes to and proceeds to track Scarecrow and Quinn to Arkham, he goes to release Batman, who is now under the fear toxin's influence. Batman hallucinates Robin, Bane and Quinn as his dead foes Two-Face, The Penguin and The Joker respectively, eventually defeating them all before collapsing. After Robin helps Batman refocus, the duo reconciles and go separate ways to stop Scarecrow's plan of covering Gotham in fear toxin. Batman navigates Arkham with the help of a mysterious black cat to find Scarecrow while Robin is sidetracked by Quinn but ultimately overcomes her charm.
Batman defeats Scarecrow and prevents the toxin into the city. Quinn is shown a recording of Scarecrow admitting to manipulating files saying that Joker was her father. However, Batman informs Quinn that Jack Napier had no children as her mother, Alicia Hunt, adopted Quinn before her murder and affair with Napier. Batman proceeds to ask Quinn for the cure Scarecrow had created for the fear toxin, and Quinn atones for her misunderstanding by giving him the medicine Scarecrow had developed, some of which can cure MacGregor's syndrome.
Harley Quinn is then detained in Arkham Asylum. Scarecrow is also imprisoned in Arkham Asylum with a vengeful Harley as his cellmate and she plans to make Scarecrow's life a living hell for lying about Joker being her father. After Alfred is cured, Robin agrees stay at Wayne Manor and continue fight crime, knowing he'll take over when Bruce retires from being Batman. After defeating his enemies and his demons, Bruce makes a trip to Bali and enters a cave full of bats, with them flying around him, as a proof for having conquered his fears.
One more round............2004's Catwoman!
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2019.10.22 00:49 DGenerationMC Finishing Tim Burton's Bat-Verse Pt. 1: Batman & Robin (1995)

- Michael Keaton as Bruce Wayne / Batman
- Robin Williams as Edward Nygma / The Riddler
- Billy Dee Williams as Harvey Dent / Two-Face
- Rene Russo as Dr. Chase Meridian
- Marlon Wayans as Ricky Grayson / Robin
Batman defuses a hostage situation caused by a criminal known as The Riddler, the alter ego of former Wayne Enterprises researcher Edward Nygma, but The Riddler escapes and remains at large. Stealing the capital in order to mass-produce a brainwave device, Nygma wants so use it to steal all of Gotham's confidential information for his own company, Nygmatech. District Attorney Harvey Dent has developed a plot to take down The Riddler. Dent asks Batman for help with schematics for the plan and carrying it out. However, after Dent demands it been done immediately, Batman rejects the plan, believing it to put too many innocent lives at risk.
Bruce has repressed memories of an aspect of his parents' death that he hadn't faced which was finding his father's diary on the night of his parents' wake and reading that Bruce insisted his parents go to the theater so he could watch one of the shows, meaning the reason he became Batman was out of the guilt that he was responsible for their deaths. After watching a local Gotham talk show with psychiatrist Chase Meridian as a guest talking about Batman, Bruce becomes a client of hers.
Finding she is obsessed with Batman, Bruce invites her to come with him to a festival. After a performance from the dance troupe, The Gray Suns, The Riddler arrives and threatens to blow up the festival unless Batman comes forward and surrenders his life to him. The Gray Suns attempt to stop The Riddler, but most of them get killed as a result. Only Ricky, the youngest member, survives as he climbs to the roof and throws The Riddler's bomb away, which burns Dent's face.
Bruce invites the orphaned Ricky to stay at Wayne Manor. Ricky, still troubled by the murder of the only family he's ever known, intends to kill The Riddler and avenge them. When he discovers that Bruce is Batman, he demands that Bruce help him find The Riddler so that he can kill him, but Bruce refuses. Meanwhile, Dent kills his surgeon and stages it as a suicide, escaping the hospital to find Ricky, seeking retaliation against him and Batman.
Nygma crashes Bruce's business party after discovering Bruce's alter ego using the brainwave device, upstaging Wayne publicly. Not far behind is Two-Face, who nearly kills Ricky but Batman manages to save him. Dent accuses Batman of being "a killer too" before escaping. Inspired and delighted by watching Dent turning himself into a criminal called Two-Face, The Riddler offers to form an alliance and promises Two-Face Batman's secret identity in return. Meanwhile, Chase has fallen in love with Bruce, which surpasses her obsession with Batman. Bruce considers stopping being Batman in order to have a normal life and to prevent Ricky from murdering The Riddler. Ricky thinks about running away after learning Bruce invited Chase over for dinner, where Riddler arrives to attack Wayne Manor. Two-Face kidnaps Ricky after shooting Bruce. In the process, the Riddler blows up the Batcave and leaves some riddles.
Bruce wakes up after being shot by Two-Face, reminiscing his origin and life as the Dark Knight. Bruce then discovers the cavern where he first saw the giant bat that inspired him to become Batman. He realizes he had misread his father's diary, and his father had written "even though Bruce insists, we wanted to see Zorro so his show will have to wait until next week". Bruce realizes his parents death was not his fault after all. The giant bat then appears and Bruce raises his arms to match the wing anatomy of the bat and shows that they are one. Bruce now remembers who he is and proceeds to rotate downward to another level in the Batcave where sonar-modification equipment is kept with hi-tech weaponry before putting on a new Batsuit.
Using the riddles, Bruce and Alfred deduce the Riddler's secret identity. Batman heads to Riddler and Two-Face's hideout while Ricky is imprisoned and tortured. Ricky fights Two-Face and nearly kills him, but chooses to spare his life and is recaptured. The Riddler, revealing Ricky bound and gagged with duct tape in containment tubes, gives Batman a chance to save him if reveals his secret identity to the world, but Batman destroys the Riddler's brainwave collecting device with a Batarang, causing the Riddler to suffer a mental breakdown and allowing Batman to rescue Ricky. Two-Face corners the duo and determines their fate with the flip of a coin, but Batman throws a handful of identical coins in the air, causing Two-Face to stumble and shoot himself to death, as Ricky watches.
The Riddler is taken to Arkham Asylum and imprisoned, but he claims he knows who Batman is. Chase is asked to consult on the case, but Nygma says that he himself is Batman, due to his damaged memories. Chase meets Bruce outside and tells him that his secret is safe before parting ways. Bruce resumes his crusade as Batman with Ricky, now Batman's sidekick, as his partner Robin to protect Gotham from crime.
Next up.........................1999's Batman Forever!
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2019.10.21 15:59 Anonymous_1-2-3-4-5 MCU Movies Behind the Scenes Facts *Wanted to do this for fun* Ant-Man and the Wasp *UPDATED*

Continuing my MCU Behind the Scenes Facts posts with an updated Ant-Man and the Wasp, Captain Marvel, Avengers Endgame and Spider-Man Far From Home and will continue to do these in the future
All links to previous MCU Behind the Scenes facts

ANT-MAN AND THE WASP


1. Langston Fishburne, Laurence Fishburne's son, played the younger version of his character, Dr. Bill Foster.

2. Scott grumbles that just wearing a hat and sunglasses does not conceal your identity. This has been a running joke among fans, since several MCU characters have used this technique including: Captain America, Iron Man, Thor, Black Widow, Winter Soldier, Scarlet Witch, Nick Fury and Falcon. It's also a common joke among DC fans, in regards to Clark Kent's (Superman's) rather flimsy disguise of nothing but glasses.

3. Paul Rudd really did learn close up magic for this movie. "I really did learn some of the magic. I haven't really kept it up. But then again, trying to learn to be really good at magic in a short amount of time is like trying to learn violin in a short amount of time."

4. The alien-looking organisms in the microscopic realm (on the way to the quantum realm) are water bears (tardigrades), which have been found in the most extreme environments on Earth including hot springs, glaciers, the top of the Himalayas and deep sea trenches. They can go dormant without food or water for decades and survive incredible temperatures, pressures, radiation, toxicity, and even several days in space.

5. This marks the second MCU film after Thor: Ragnarok (2017) to have a female as the leading antagonist. However, in the comic books, the Ghost was male.

6. This movie was announced three months after Ant-Man (2015) was released and, due to Marvel's packed Phase Three lineup, they had to move the release dates of Black Panther (2018) and Captain Marvel (2019).

7. The laboratory incorporates elements of various scales and was obviously enhanced when at various scales. Examples of this include an enormous battery and electric guitar volume knob and the like, with most everything else at human scale. The wheels and tote handle were obviously installed when the building was at the smaller size then, as with the battery and knob, expanded along with the building.

8. For the role of Janet van Dyne, Evangeline Lilly (Janet's daughter, Hope) had Michelle Pfeiffer on her wish list to play Janet, and Michael Douglas (Janet's husband, Hank) had expressed the desire to have his wife Catherine Zeta-Jones play Janet.

9. They knew they wanted to feature another scene with Luis (Michael Peña) riffing a long story again but didn't want to repeat themselves. The idea of pitting him against Walton Goggins' villainous Sonny Burch and a truth serum, though, gave them a way into the scene.

10. This was the twentieth film to be released by Marvel Studios for the Marvel Cinematic Universe.

11. Ghost is male in the original comics and part of Iron-Man's rogues gallery, never actually crossing paths with Ant-Man. His powers also come from his suit rather than the Quantum Realm. He eventually became an anti-hero after joining a team of superhumans called The Thunderbolts.

12. Director Peyton Reed insisted the film clock in under two hours, for two reasons. "I knew we were going to be following Infinity War which was going to be this massive, massive epic, but most importantly just because this is a comedy, and it's an action/comedy, and it didn't want to overstay its welcome."

13. In the trailer's soundtrack, the higher pitch guitar chords that repeat are the riffs from a song named "Ants Invasion" by Adam and the Ants.

14. This film replaced Marvel's Captain Marvel (2019) in the July 6, 2018, release date originally marked by Marvel Studios.

15. Agent Jimmy Woo actually has a long history in the comics -- the original character dates all the way back to The Yellow Claw in 1957, a short-lived series (only four issues) featuring a Fu Manchu Expy as the titular villain and, much more unusual for the time, a Chinese-American lead in FBI Agent Jimmy Woo... who would later return as a high-ranking S.H.I.E.L.D. agent and eventual team leader in the not-quite-as-short-lived Agents Of ATLAS.

16. Director Peyton Reed stated in a recent interview that he went back and re-watched all of Michelle Pfeiffer's past movies just prior to working with her.

17. The Wasp becomes the second superhero title in the Marvel Cinematic Universe to be passed from parent to child. The first was Black Panther.

18. The trailer contains a scene where Ant-Man and the Wasp bicker about who is going to "go low" and who is going to "go high" when confronting the bad guys. The Wasp argues that she should be the one to "go high" since she has wings. This scene does not appear in the theatrical version of the film.

19. The movie they're watching on the laptop at the "drive-in theater" is Them! (1954), the classic sci-fi flick in which nuclear testing creates giant ants.

20. Lola VFX was responsible for the "young-ification", of Michelle Pfeiffer, Michael Douglas, and the modification of Langston Fishburne to resemble his father, Laurence Fishburne.

21. The idea that Scott had some kind of encounter with Janet while in the quantum realm was suggested in the first film by way of a brief glimpse of a reflection on his helmet. It's unclear as to whether it's an angel, a blob, or Janet, but here it's confirmed that it was actually her.

22. Peyton Reed promised Michael Douglas that he wouldn't be "just a walking exposition machine" this time around.

23. Ghost's costume is based on the character's modern design from Thunderbolts, but still incorporates the hood that was part of the original outfit back in The '80s.

24. Most of the shrunken cars seen inside the Hot Wheels Rally Case are not Hot Wheels made. Specifically, the purple Hyundai Veloster was actually a scaled car from Tomica Die-Cast.

25. Michelle Pfeiffer agreed to appear in the movie because she is a fan of the first Ant-Man.

26. The flashback in the first film to Janet Van Dyne (Pfeiffer) on the missile never showed her face, but Reed told the casting and visual effects departments responsible for the barely visible eyes behind her mask that he wanted it to resemble Pfeiffer. "Michelle was always my dream casting for that role, and that was even before we knew we'd be making a second movie."

27. One of the movie's writers has stated that he believes Norman Osborn aka The Green Goblin, to be Sonny Burch's employer.

28. First movie collaboration for Michelle Pfeiffer and Michael Douglas, who, despite both having careers that span more than three decades, have never worked directly together. The same is true for either Douglas or Pfeiffer and Laurence Fishburne.

29. Reed was inspired by the films After Hours, Midnight Run and What's Up, Doc? for the look and feel of Ant-Man and the Wasp. While the first film was more of a heist film, Reed described this as part action film, part romantic comedy, and wanted this one "to be a little more of like an Elmore Leonard vibe where we have villains, but we also have antagonists, and we have these roadblocks to our heroes getting to where they need to be, and getting what they need for this mission." Regarding the opportunity for character development, Reed used the actions of Lang in Civil War to fuel potential tension between him, Pym, and Van Dyne since Pym is "very clear in the first movie about how he feels about Stark and how he feels about The Avengers and being very protective of this technology that he has."

30. The lab and quantum tunnel set, strongly inspired by Irwin Allen's The Time Tunne l(1966), is the largest physical set that's ever been built for any of the MCU films.

31. This film is Chapter Eight of Phase Three in the Marvel Cinematic Universe.

32. The metal suit that Hank wears when meeting Janet in the Quantum Realm resembles his comic counterpart's Goliath costume right down to the "Y"-shaped symbol on the chest.

33. Director Peyton Reeds biggest mandate regarding visual effects was, "photo-realism."

34. The flashback exterior shot of the Pym house that opens the film, was originally filmed for the first movie.

35. Scott helps the Pyms break out of FBI custody (even providing Hope her suit and Hank an FBI uniform), a reversal of roles from the first movie when Hank breaks Scott out of police custody.

36. They weren't sure at first how to get across the ideas of quantum entanglement, but it came clear once they struck on the idea of Scott and Janet basically doing an All of Me (1984) -- Lily Tomlin is trapped in Steve Martin's body with Steve Martin. They had discussed having Pfeiffer perform the scene then have Rudd copy her, but everyone agreed that Rudd would be better simply creating it wholesale.

37. Sharon Stone was considered for the role of Janet Van Dyne.

38. This is the second superhero movie based on Marvel property debuting in 2018 wherein the main actor (in this case, Paul Rudd) also has a writing credit. The first was Ryan Reynolds in Deadpool 2 (2018).

39. Early on there's a brief clip from The Incredible Shrinking Man (1957).

40. Discussions about where to take the third act included the possibility of quantum creatures coming through the tunnel and pouring out into San Francisco, but Peyton Reed wasn't interested. "That kind of stuff felt to me like we've seen this a million times."

41. At the start of November 2016, Peyton Reed said that the film's production would transition from "the writing phase" to "official prep" that month, beginning with visual development. Reed reiterated his excitement for introducing the Wasp and "really designing her look, the way she moves, the power set, and figuring out, sort of, who Hope van Dyne is as a hero". He also talked about sharing characters with other MCU films, stating his disappointment in the Giant-Man introduction happening in Civil War, rather than an Ant-Man film. Reed added that he spends "a lot of time" talking with the other writers and directors of MCU films, and that he and the writers on this film wished to maintain "our little Ant-Man corner of the universe. Because it's a whole different vibe tonally".

42. This was Michelle Pfeiffer's second comic book movie; the other was Batman Returns (1992) in which she played Catwoman. Her Batman co-star, Michael Keaton, played Adrian Toomes/Vulture in Spider-Man: Homecoming (2017), which was also part of the Marvel Cinematic Universe.

43. Evangeline Lilly shared the first publicity still of Hope as Wasp on the 100th birthday of Janet's co-creator, Jack Kirby.

44. The film's title is not shown on screen until the ending credits.

45. Hannah John-Kamen has stated she loved playing Ghost, and in fact would be open to reprising her again in a Thunderbolts movie.

46. The name of Luis and Scott's fledgling security company, "X-CON", is a pun on the fact that they are both ex-convicts, or "ex-cons" for short.

47. They used Elmore Leonard novels, as an inspiration in the sense that while a main antagonist exists they would also have various smaller-level antagonists and threats too.

48. The "io" of the "Marvel Studios" logo has been turned into "10", since it came out the year of the MCU's 10th anniversary.

49. This is Laurence Fishburne's third comic-book series after Fantastic 4: Rise of the Silver Surfer (2007) in which he voiced the Surfer, and the DC Extended Universe films, in which he plays Perry White.

50. They considered doing the end credits in the form of a fake behind-the-scenes documentary designed like they were filming a Godzilla movie from the 50s "with people in suits stomping on model cityscapes." That shifted into a table-top version of the film's action.

51. The word "quantum" is spoken 22 times in Ant-Man and the Wasp (including the post-credit scenes).

52. The character Kurt refers to the witch "Baba Yaga" of Russian folklore. This same reference is made in John Wick (2014), the second installment of which also features actor Laurence Fishburne.

53. Regarding the film itself, it is the 20th entry of the Marvel Cinematic Universe. The film also marks the 55th anniversary of the first appearance of The Wasp back in June 1963.

54. The second time that an Ant-Man film will be played in theaters as a direct follow-up to an Avengers film, which is Avengers: Infinity War (2018). Ant-Man (2015) was released months after Avengers: Age of Ultron (2015).

55. Near the beginning, Scott is shown watching Animal House (1978), early discussions of the quantum realm led Peyton Reed to remember the scene from that film which features characters discussing similar ideas, so happily he was able to license a clip from Universal.

56. This is basically a follow-up to both Ant-Man and Captain America: Civil War. When Peyton Reed first saw the latter his first thought was, "Ugh Hank Pym (Douglas) is gonna be pissed off and Hope Van Dyne (Evangeline Lilly) is gonna feel betrayed!" This gave him an "in" for the starting dynamic between Scott Lang (Paul Rudd).

57. Hope's Wasp costume has bits of red on it along with the yellow/gold and black, unlike the contemporary Janet Van Dyne Wasp costume it was patterned after, as a reference to Janet's original red Silver Age Wasp costume and Hope's Red Queen costume in her initial 2000s Alternate Universe comic's appearances.

58. Ghost was a baseline human in the comics who got his powers from the suit. The MCU version is an enhanced human who got her powers from an accident; the suit helps her manage them. Janet van Dyne is a complex example of the trope. In the comics she is a baseline human who later got additional abilities to shoot bio-energy blasts, but here is a baseline human who derives her powers from the suit. Initially, at least. Her time in the Quantum Realm has given her additional powers that she cited as being "evolution".

59. Hannah John-Kamen is the seventh Game of Thrones (2011) actor in the Marvel Cinematic Universe after Finn Jones and Jessica Henwick in Iron Fist (2017), Iwan Rheon in Inhumans (2017), Peter Dinklage in Avengers: Infinity War (2018) and Natalie Dormer and David Bradley in Captain America: The First Avenger (2011). A few others include Clive Russell (the Blackfish in GoT) was Tyr in Thor: TDW. In the same film, Kurse was played by Adewale Akinnuoye-Agbaje (the pirate captain who took Tyrion as a slave), Richard Brake (the Night King in seasons four and five) was an unnamed Asgardian soldier, and Joseph Gatt (a Thenn from season four) was a Frost Giant.

60. Laurence Fishburne is the third actor from The Matrix (1999) to join the Marvel Cinematic Universe after Hugo Weaving (Agent Smith, Red Skull) and Carrie-Anne Moss (Trinity, Jeri Hogarth).

61. The car chase is influenced and inspired by the likes of, Bullitt (1968), The Streets of San Francisco (1972), What's Up, Doc? (1972), and The Raid 2 (2014).

62. In the comics, Elihas Starr is the Ant-Man villain known as Egghead. He does somewhat resemble Egghead in the movie as he is a bald, middle-aged man, but the comics Egghead actually had an egg-shaped head. His comic counterpart has no relation to the comics Ghost who is a male villain of Iron Man.

63. Films like After Hours (1985) and Midnight Run (1988) were looked at for inspiration as movies "with strong ticking clocks."

64. This is Michelle Pfeiffer's third appearance in a movie that was a sequel, following Grease 2 (1982) and Batman Returns (1992). Maleficent: Mistress of Evil (2019) is the fourth sequel for her.

65. Michelle Pfeiffer and Laurence Fishburne both appeared in DC Universe movies. Pfeiffer was in Batman Returns (1992) while Fishburne was in Man of Steel (2013) and the follow-up Batman v Superman: Dawn of Justice (2016). Actor Randall Park also shares the MCU and the DCEU, by starring as Agent Jimmy Woo in this movie and playing Dr. Stephen Shin in DCs Aquaman (2018). Another actor sharing the MCU and a DC series is Michael Cerveris, who appears as Elihas Starr in this movie and plays Professor Pyg in Gotham (2014).

66. Cassie says she wants to be Scott's partner. In the comics, she became a size changing superhero, using the name Stature, who joined the Young Avengers after her father's death.

67. In the film, the father of Ghost is revealed to be Elihas Starr. In the comics, Starr is the villain known as Egghead, an evil scientific genius and archenemy of Ant-Man (Hank Pym.)

68. The mid-credits scene takes place at the same time as Avengers: Infinity War (2018), showing the implications of Thanos' actions. The majority of the film prior to that, however, takes place several days earlier (possibly weeks): it stands to reason that the final montage, showing Hank and Janet as well as Scott and Hope rekindling their relationships, takes place over at least a few days (not to mention Hank and Janet needing some time to build a miniature quantum tunnel).

69. CAMEO: Stan Lee: When Wasp is firing shrinking disks at her pursuers, she accidentally shrinks the Ant-Man co-creator's car; Stan then says in response, "The 60s were fun, but now I'm paying for it" (thinking he's having an "acid flashback" - hallucinating from the drugs he used to use). Ironically, during the 60s, Stan was a huge opponent of recreational drugs, and even published such anti-drug messages within his comic books.

70. In the comics, the Ghost and Sonny Burch were primarily enemies of Iron Man.

71. Scott grows 166 ft., near the end when he's in front of the ferry in the water, surpassing Bill Fosters record of 25 ft. Prior to meeting Foster, Scott had already grown over 60 feet by that point (Civil War)

72. In the trailer Scott grows in size in front of a boat full of people and announces, "ME EAT PEOPLE!" to frighten them, but this scene isn't in the final film. Cassie telling Scott, "I wanna fight bad guys like you!" doesn't happen, although the other line about her dad needing a partner when on hero business is left in. The "I have wings, why would I go low?" exchange between Scott and Hope was also not included in the theatrical release.

73. The Ghost isn't evil, just desperate -- her powers are killing her and she just wants to survive. Likewise, her father, Elihas Starr, a.k.a. Egghead, is not a good person by any stretch in the comics, but his only scene in the film is dedicated to him trying to save his wife and daughter.
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2019.09.27 04:42 SenorMcNuggets Senor McNuggets's 2019 OHMC List


Past Lists
2015 List
2016 List
2017 List
2018 List


Hey y'all! Back again for my 5th annual month of horror. The past year has seen some major changes in my life, and now I'm working pretty much my dream job in a new city. In a new apartment all alone? When better to watch slew of scary movies?
This will be my first year attempting to cover u/sarafist's checklist, so we will have to see how I like it. Planning to fill out some boxes required adding movies I'm not particularly excited for, but I might find that having no expectations is sometimes better than getting let down by a disappointingly bad movie.
As I typically do, I'm also theming my weekdays and then packaging themed weekends, as well as binging the latest season of Supernatural. Enjoy the list!

  1. Taste for Blood Tuesdays - The Head Hunter (2018)
The greatest challenge with a gritty period piece is that the setting needs to be believable. This movie was so anachronistic that it was often the thing that dominated my mind. Not as if there was something to distract me. The challenge with a low-dialogue, lone wolf movie is that that lone wolf has to be utterly captivating, but a Castaway Tom Hanks, Christopher Rygh is not. This movie took itself pretty seriously, and in some ways I really appreciated it, but the ultimate execution was simply lacking. An impressively shot, poorly written movie. 4/10
  1. Weird, Whimsical Wednesdays - Tremors: A Cold Day in Hell (2018)
They may be full of the same old cliches, but the Tremors franchise never ceases to show me a good time. Michael Gross once again plays the role of Burt Gummer to great effect. The downside is that in his 5th film, 3rd as the lead character, Burt doesn't seem to be growing anymore. A stale bummer. But fret not, we've got ever-improving effects and a surprisingly buy-in from Jamie Kennedy of all people to carry this franchise forward with fresh gusto. When we inevitably get #7 in a couple of years, I'm sure I'll give a similar review. 5/10
  1. Throwback Thursdays - Son of Frankenstein (1939)
This is the final movie in which Boris Karloff plays the monster, so I can finally say I've seen his entire trilogy. Allegedly, this is the turning point after which Frankenstein drops into the B-movie category, which isn't necessarily the end of the world, but says something about Karloff's presence. Personally, I do find this the weakest of the trilogy, akin to how Return of the Jedi measures up to A New Hope and Empire Strikes Back, but that's not that big an insult. Of course, this is where the plot holes rear their ugly head, as much of the mythos built up by the end of Bride of Frankenstein is tossed aside. Still ultimately a genuinely positive experience. 6/10
  1. Foreign Language Fridays - Calvaire (2004)
It took the better part of a week, but I got to a movie that not only have I wanted to watch for years (ever since seeing the dance scene posted on horror) but also thoroughly lived up to my high expectations. Calvaire ultimately boils down to a repeated fable of an unhealthy relationship. The protagonist Marc, played masterfully by Laurent Lucas, is a character you feel bad for, but don't necessarily like or dislike. It's easy to hit either extreme: developing a sympathetic character to root for or an asshole you want to see killed. However, this even character allows us to examine a lot else that is going on. The director has stated that the innkeeper Bartel (Jackie Berroyer) is the only other character, and to me that makes a lot of sense.
Every character in this movie wants something from Marc (or a certain cow), in most cases trying to gain back something they've lost, be it their youth (via sex), their wife, or their neighbor's wife (yep, same wife), etc. Everyone who wants to fit Marc into a box he either doesn't want or clearly doesn't fit is depicted on a scale from unwell to downright coo coo for Cocoa Puffs. In one scene in particular, the martyrdom of an individual staying in a relationship they don't fit for their partner's sake is broadcast loudly via when he is literally crucified.
The last thing I'll say about this total joy (maybe the wrong word there) of a film is I've been somewhat disappointed with ever one of the analyses I've read on it. While most point out the increasing usage of red in the color scheme as the sanity of the movie unravels, there's a connection I feel has been missed repeatedly. Once Bartel has captured Marc and dressed him has his wife, Marc spends the remainder of the runtime in Bartel's ex-wife's red coat. During one otherwise inexplicable scene, we see several children in red raincoats standing in the woods. To me, this is an obvious call-out to Don't Look Now (1973), in which Donald Sutherland literally chasing what he thinks are glimpses of his dead daughter. In Calvaire, whatever a person tries to use Marc (or, again, the cow) to replace is Donald Sutherland's daughter; Marc is just a knife-wielding psycho little person in a red coat. 9/10
  1. Kids with Powers Weekend - Firestarter (1984)
Stephen King adaptations aren't necessarily the gold standard, but they trend toward good as far as horror adaptations are concerned. This is one of those films that didn't exactly age well with regard to effects, but you can just taste how perfect this story was for film adaption in the mid-80s. I wasn't exactly dazzled by it, but I can say that Drew Barrymore was an impressive child actress when compared to, well, the vast majority of kids in horror flicks (see Sunday's movie). 5/10
  1. Kids with Powers Weekend - Brightburn (2019)
Sometimes I watch a movie and think to myself, "Wow what a premise. I wish they had explored it better." It's not horror-related at all, but Danny Boyle's recent release Yesterday was a prime example of this: an incredibly inventive and interesting premise squandered on a crappy story. Ok, so Brightburn isn't quite that. But for a remarkable premise, especially in the age of record-breaking blockbuster superhero flicks, it really didn't live up to its potential. Why? Not because of the adult cast. In fact, I have always loved Elizabeth Banks, and she does a convincing job as the loving mother torn apart by the reality of her monstrous son. Had this movie been taken a more empathetic route, it could've easily gone the way of the far better We Need to Talk About Kevin. But it wasn't. Banks wasn't given the opportunity to explore the range of emotions as delicately as Swinton, David Denman was probably blessed by not having to attempt something akin to John C Reilly, and Jackson Dunn? I don't want to knock a child actor too much, but he's certainly not a young Ezra Miller. His flat, boring, uncharismatic delivery was neither scary nor believable as the awkward outcast, it was just bland. Not only was he cast as the title character in this film, but he actually appeared in the highest grossing movie of all time brief as a young Scott Lang (Ant-Man). This kid's got a killer agent and is probably related to someone important. It's the only way I can see how this movie ended up this way. 5/10
  1. Theme - Wishmaster (1997)
Alright, I'm playing a bit loose with my guidelines here for two reasons: 1) I couldn't find a fourth horror movie in theaters that I hadn't seen, and 2) this is filling my slot for Joe Pilato "starring" in it. Joe's more a familiar face, as several known quantities from various horror franchises appear in this flick. In fact, outside of Day of the Dead anything he truly takes the limelight in is either not at all horror or impossible to track down. At least his role is absolutely central to the plot, even if his face isn't on screen that much.
Anyway, as far as my actual review, this is prime 90's B movie, packed to the brim with horror royalty in side roles. The effects attempted are far beyond their budget, both practical and CG, but the make-up is actually done reasonably well. Sadly, I saw this about 20 years too late for it to mean anything special to me, and because of that I have a hard time seeing past the flaws to really appreciate it. But hey, to each their own. I've already seen one movie I liked less this month. 4/10
  1. Taste for Blood Tuesdays - Three... Extremes (2004)
Dumplings: Jesus Christ! I've never seen anything by Fruit Chan before, but what a way to make a first impression. This segment has an relentlessly normal approach to something so dark and unsettling, I think I can only liken it the admittedly much harder to stomach Salo. After the first dozen minutes, I was curious if the depravity would spiral deeper, and was answered with a resounding "yes." If anyone has any recommendations of his best horror, I'd love your input. Also, donate to Planned Parenthood.
Cut: Oldboy is one of the greatest action movies in the past 20 years, with a story and a cast that really sell it through and through. Thirst didn't inspire nearly the same degree of awe for me, but still I had high expectations going into this section by Chan-wook Park. While the premise of this segment is a bit like Funny Games, it fails to escalate the tension and build a pit in your stomach. I think a lot of that has to do with the characterization, which isn't present enough to connect me to any characters prior to the stakes being turned up to 11. Sure, those circumstances alone are interesting, but and the characters are anything but flat. However, where "Dumplings" made the characters central and the horror secondary, "Cut" highlights the circumstances and challenges the more-than-capable actors to keep as us interested in them as we are in their plight. It really had a tough act to follow.
Box: Takashi Miike is a master of horror, from the over-the-top gore of Ichi the Killer to the dreadfully subversive masterpiece Audition. This segment leans much further in Audition direction, and shares Miike's tendency for things that are in the protagonist's imagination to appear initially as reality. However, this one doesn't do quite as artistic a job as the aforementioned movies. Anyway, Miike has directed a lot, and not everything he directs is gold, so I can't say this is on the bad end. It's solid.
In the end, the strength of my rating relies on Dumplings, only to be brought down slightly by the segments by directors I'm actually familiar with. 8/10
  1. Weird, Whimsical Wednesdays - Anna and the Apocalypse (2017)
On the surface, this feels like High School Musical meets Zombieland. For anyone into musicals, it's nothing incredible, but the music and singing is more than adequate. Think of it as the musical episode of your favorite sitcom, only this sitcom is a zomcom. I won't sing praises of it too highly, but this pleasant journey did lead to an ending I didn't expect. You know how you expect the nice guy to get the girl and all the central emotional pillars of this sort of movie to survive? Well, in keeping with the one song I can remember as I write this, "there's no such thing as a happy ending." In fact, the ending of this is on the more somber end of the zombie movie spectrum, somewhere between Dawn of the Dead and Day of the Dead. The fact that they had the guts to not only throw Christmas, zombies, and musicals all into one horror movie, but also to subvert all expectations about the ending is nothing short of admirable. 6/10
  1. Throwback Thursdays - Creature from the Black Lagoon (1954)
It's a classic, with some cheesiness, but handles many things much better than I expected. The one woman is much less romantic eye candy than everything I've ever seen regarding this flick would have me believe. In fact, she's a scientist, involved in research with male peers and mentors. It's not 65 years old, and surprisingly progressive in that way, maybe riding on the rise of an empowered female workforce during WWII. The creature itself is probably the campiest part of this movie, but I can forgive it for that. Sadly the narrative didn't really achieve all I would've hoped, and almost felt like it just realized it needed to end. Clocking in under 80 minutes, I think they've could've afforded some added intrigue and built the stakes a bit higher and less artificially. 6/10
  1. Foreign Language Fridays - A Bay of Blood (1971)
Not a ton to say here. This is a bit cleverer than I expected it to be, but in the end, the kills were all that was on the table. It's mostly on par with the video nasty films like it, but definitely falls short of anything truly controversial when it comes to the gore or general content. 5/10
  1. Whatever I Feel Like Weekend - Suspiria (2018)
This remake was about as good as it could've been. Luca Guadagnino, an Oscar-nominated director in his own right, recapturing possibly the most influential film of the giallo era more than decades later. This is one of those horror movies that people are less than thrilled to see remade, as the original is near perfect. When there aren't improvements that can be made, you can take the premise and change the themes around it, you can change the aesthetic to match the director's fingerprint, and you can put more meat on the generally narrow story of this coven of witches running a dance school. I can't say it was worth being remade, but I can say it was worth sitting through 150+ minutes to see it unfold. 7/10
  1. Whatever I Feel Like Weekend - Hounds of Love (2016)
I had a lot of interest in seeing this after learning about it on the My Favorite Murder podcast. Though the director won't admit it, it's pretty widely accepted that this movie is based on the Moorehouse Murders committed by David and Catherine Birnie. It's one of the most well-known bit of true crime in Australia, where this couple would pick up teenage girls, hold them hostage as they repeatedly raped them, and then killed them. They were only caught when their final victim managed to escape through a window. The movie does a good job of investigating the psychology of these killers, but takes a strange misstep by giving redemption to the Catherine Birnie analogue by having her kill her husband in the end. This was a detail that really bugged me, because similar to Charlize Theron's Aileen Wuornos in Monster, there's a gendered tendency to be less criminal of killers who are women. Anyway, the execution was still solid, though this progression that acted as a main thread of the story really took away from it in my eyes. 6/10
  1. Movie Theater Mondays - 3 from Hell (2019)
Even though he's let me down as often as not, I can't miss out on the unrelenting aesthetic of a Rob Zombie movie. One thing's for certain, the man is passionate about his vision and gets that from his fanatical cast and crew as well. What's most impressive about this is that, while I am incredibly sad to have not seen a bit more of Sid Haig (RIP), the rewrite for Richard Brake's spot as the third of the 3 turned out about as well as a last minute switch could. This is definitely the weakest of the trilogy, Rob Zombie needs to learn that excessive use of the words motherfucker and bitch don't instantly make a film grittier or cool, and I can't fathom why Baby wouldn't pick up a gun instead of sticking with the bow for the entire final act, but I had a good time. 6/10
  1. Taste for Blood Tuesdays - The Slumber Party Massacre (1982)
This staple of 80s slashers doesn't have a good villain, has only a couple mildly compelling characters, and is just worse than the movie it's ripping off (Halloween) in every measurable way. But a rip-off of a masterpiece can still manage to be fairly fun to watch. Sometimes the predictability of a B slasher makes it a great lay-back movie. 6/10
  1. Weird, Whimsical Wednesdays - Q (1982)
Watching this to fit in a movie directed by Larry Cohen, I had an unexpectedly good time. I chose Q mainly because the premise is incredibly unique, and wasn't let down. This movie hosts several recognizable character actors in what amounts to a crime thriller with ridiculous horror elements, and that makes the ridiculousness of it somehow believable. This was a pleasant surprise. 6/10
  1. Throwback Thursdays - House of Dracula (1945)
So we've entered the campy realm of the Universal monster cinematic universe, eh? This movie is a weird mash-up of all the greatest hits, and somehow tries to justify them all being located in the same place. With the exception of one bat transformation shot, the inventiveness and artistry of the movies it's ripping are entirely absent. It's fun to experience this decline, but it mainly makes me thankful for the resurgence in the '50s with the likes of Christopher Lee. 5/10
  1. Foreign Language Fridays - Cannibal Ferox (1981)
The only people who prefer this to the vastly superior and often identical Cannibal Holocaust seem to be folks who just it first and as impressionable children. It has some memorable kills, but none stick with you like that woman on the spike in CH. The storytelling is far less inventive, the moral arguments are even more ham-fisted, and the acting is worse. Umberto Lenzi is often credited with starting the strange cannibal tribe sub-genre, but this is clearly not it's pinnacle. It's full of memorable moments, but I'd rarely recommend either to a friend, and Holocaust would get the nod if I did. 5/10
  1. Naughty Bodies Weekend - Jennifer's Body (2009)
So here's the thing about this movie that I think tends to lead to negative reviews: It's in on the joke. Much of the movie is smarter than it lets on, with intentionally goofy dialogue, very competent actors playing inane roles, etc. But there are also moments where we see incredibly empathetic performances of grief, only to later see hokey-as-hell funerals. There's are stereotypes abound, alongside impressively grounded and relatable leads. I also think and unnecessary backlash comes from the actress playing the title character, as Megan Fox was already on the back end of her brief years in the spotlight exclusively as a sex object in movies that don't require the highest level of acting competence, but she fills this role as well as she needed. I can't say this movie is without its flaws, nor can I find any explanation I buy concerning the profound impact of breaking the BFF necklace, but I think it's an enjoyable cult film that has understandably gained traction as a piece of feminist culture. 7/10
  1. Naughty Bodies Weekend - The Sweet Body of Deborah (1968)
George Hilton is the reason I picked this piece of giallo to watch, but it's Carroll Baker bringing something interesting to the role of Deborah that made this movie interesting. I've read some understandable criticisms of the overuse of intimate settings between Deborah and our protagonist Marcel, but that additional humanization of the leads alongside the surprisingly progressive performance from Baker are really all this film has to set it apart. It falls into the unfortunate rut that exists for a lot of giallo: when it comes to twisty-turny tales of murder, there's only so many good stories you can tell. This one follows the trail of Les Diaboliques far too much. Unlike slahsers, where a rehashing of the same tropes can still be entertaining, a lot is lost when the twist is no surprise at all. As a side note, George Hilton plays a peeping tom who somehow ends up being the debonair hero? That's just plain creepy. 5/10
  1. Movie Theater Mondays - Zombieland: Double Tap (2019)
A sequel with a lot to live up to, this zomcom effectively hits all the beats, is just self-aware enough to reference Uber, The Walking Dead, and the unfortunate death of a faux-zombie Bill Murray without falling flat. New characters aren't exactly inventive and are mostly caricatures off of which our more relatable core cast can play, but they don't weigh down the story too much. My one question is this: Does Columbus, the nerd that he is, not know that the Hope Diamond is cursed? 7/10
  1. Taste for Blood Tuesdays - Blacula (1972)
This was an incredibly pleasant surprise. Not only is this not a beat-for-beat rehash of Dracula with a black cast (something I had expected), but it has some very subtle and effective consideration of race. Of course, for black film makers leading the rise of blaxploitation film, that's practically a given. But I didn't realize even a parody of a classic could play it to such effect. While it's not a masterpiece itself, Blacula has really piqued my interest in the non-horror side of the '70s blaxploitation movement. 7/10
  1. Weird, Whimsical Wednesdays - The Witches (1990)
Roald Dahl was the unsettling, nearly fairy tale, cautionary children's author of the late 20th century, and this movie really feels like an adaptation of his style. The child acting leaves something to be desired, but Academy Award Winner Anjelica Huston was clearly having a good time with her role. Like every other movie I'm watching this month, this is my first viewing, so obviously it's not something dear to my childhood, so I can't speak much more highly of it. 5/10
  1. Throwback Thursdays - Dr. Pyckle and Mr. Pryde (1925)
Well this is odd. This is the oldest parody I've ever seen, and I chose it because it's pretty well-regarded among '20s horror. Having seen most of the staples of the decade, I thought I'd give it a shot. I can certainly understand what was trying to be accomplished, but these filmmakers are neither Keaton nor Chaplin, the only artists of the silent era whose comedy can connect to me through nearly a century of time. While watching a comedy of errors in theater class in college, my professor insisted that comedy doesn't age nearly as well as drama, and I think this is a prime example. 5/10
  1. Foreign Language Fridays - Ravenous (2017)
I had some really high hopes for this one. It's a passionately made, well-acted, well-directed zombie movie. But therein lies the problem: it's another zombie movie. Little can be done that's new in the zombie apocalypse, and I've seen much worse attempts at much braver deviations from the standard format. The one unique thing about this movie is the strange actions of the zombies piling furniture, but that's a minor quirk more than anything. This might've been looked at as a really solid film, had it come out 15 years earlier. 5/10
  1. John Carpenter Weekend - Escape from New York (1981)
Carpenter seemed a bit ahead of his time stylistically with this one. While it doesn't compare on most levels to Blade Runner, which came out less than a year later, EfNY has a certain gritty urban neo-noir aesthetic that they both share. Kurt Russell is the outsider who's the only man for an impossible task. In many ways, it's Assault on Precinct 13, only flattened with the lack of claustriphobia, instead superficially raising the stakes in a way that doesn't put the protagonist's own character in the limelight. In the end, that's the weakness of the movie: the lack of character depth. And that's a shame, considering how impressive the cast is. But there's so much innovation abound that it's easily forgiven. 7/10

(Part 2) Halloween (1978) - I also watched this upon realizing that I'd made a mistake: Jamie Lee Curtis isn't in Escape from New York. Anyway, this is a classic, and it's the only movie I've watched this month that isn't a first-viewing. As always, it's a 10/10
  1. John Carpenter Weekend - Christine (1983)
When the greatest horror writer of all time is put on screen by greatest horror director of all time, you know you're in for a treat. Christine isn't exceptional for either Carpenter's or King's catalogs, but it is unique and exciting regardless. Keith Gordon's Arnie is essentially Patrick Dempsey in Can't Buy Me Love, except that the thing that's gone to his head isn't superficial popularity. Instead, the thing propelling this nerdy virgin's self-confidence is a romance with a sentient, jealous, blood-thirsty car. Instead of besting his bullies on the school yard, Christine is just straight-up killing anyone who gets in the way; instead of learning from his actions, Arnie ends up dead. 7/10
  1. Movie Theater Mondays - The Lighthouse (2019)
This gorgeously shot, beautifully directed, and deftly acted mindfuck isn't for everyone, but it's great for anyone who's attracted to that description. This is where the arthouse really shines, with Eggers releasing a much-anticipated follow-up after his success with VVitch. Defoe is a tour de force, but Pattison commands the screen almost as well (no small feat). After one viewing, I'm not sure exactly what I think of a lot of it. It's got questions of masculinity, power, and self worth mixed into an mad Icarus tale and twisted by sirens and Cthulu-esque tentacles. I'll probably need to see it again to say much more. What. What! WHAT!!! 9/10
  1. Taste for Blood Tuesdays - Dracula 3D (2012)
Oh how the mighty have fallen. It's sad to see the director whose name defines Italian horror of the late 20th century directing something so bad. The story honestly isn't too bad, but how can you really screw up something that's been done so many times? I would guess that the main purpose of this retelling of a classic tale was to showcase new CGI. But guess what, that CGI looks terrible. There's plenty that's just bad, but then there's the scene with the giant praying mantis. I only wish I believed Argento was trying to make a comedy. Nothing in this film feels like what he's capable of, and it's really disappointing. But hey, I saw so I could watch his daughter do some adequate acting. Thankfully this at least isn't an example of what sometimes happens when relatives of great directors end up with major roles in their movies. 3/10
  1. Weird, Whimsical Wednesdays - Troll (1986)
This movie doesn't quite know what it wants to be. In some ways, it's very much a darker kids movie, but then you encounter some things that are clearly adult in nature. The rating seems to split the difference at PG-13, but I can't figure out what it's trying to accomplish. It's a perfectly fine movie with mostly recognizably good adult actors. My biggest take away was that this movie had to have influenced J.K. Rowling, with both the brother and father in the central family named Harry Potter, a good witch trying to help young Harry defeat the troll, and the elder Harry actually being a writereviewer himself. 5/10
  1. HALLOWEEN!! - The Amityville Horror (1979)
The most famous haunted house of all time, and I'm somehow just now getting around to watching Lois Lane and Thanos's dad move into it. I'm pretty familiar with the story of the haunting, and I think it's pretty true that the evident fabrication of it really overshadows the very real story of the murders connected to it. With recognizable cast and director, you'd think this would be a better movie. I can appreciate its success and its impact on the general public's views of demon possession likely being second only to The Exorcist, but this movie isn't really that thought-provoking, scary, or successful at selling the horrors of things that are happening. Ending the month slightly let down, but I still had a fun time. 5/10
I also continue my annual binge of the latest season (14) of Supernatural.
This sets us up for the final season and has a lot to follow after 13. The season shifts from "How do we contain Michael?" to "How do we contain Jack?" along with an interesting storyline of the former vessel of Lucifer. Where the Michael story raises stakes that don't really go anywhere, the Jack story leads to some major risks I didn't expect the showrunners would have to guts to take. Jack has been a concern from the beginning, since his raw power was only curbed by his naivety and kindness. When those things fail to keep him in check, his existence poses a more potentially apocalyptic problem than either Michael or Lucifer, as Jack is shown to be more powerful than an archangel. Episode 18 & 19 really impressed me. Then the finale did something really unexpected tomfoolery dealing with Chuck, I think more so to set up the final season than anything else. I'm looking forward to the final season. It's a long, fun journey with this show.

My Score: 32 feature films + 20 hour-long episodes = 42 points

See y'all next year!
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2019.08.24 10:23 tombstoneshadows28 The complete Turner Classic Movies (US/E.S.T.) schedule for the month of September, 2019.

Sunday, September 01, 2019
(1:30 AM) Gunfight At The O.K. Corral (1957/123m/John Sturges)
(3:45 AM) There Was A Crooked Man (1970/123/Joseph L. Mankiewicz)
(6:00 AM) The Merry Widow (1934/99m/Ernst Lubitsch)
(7:45 AM) Meet John Doe (1941/123m/Frank Capra)
(10:00 AM) The Picture of Dorian Gray (1945/110m/Albert Lewin)
(12:00 PM) Lifeboat (1944/97m/Alfred Hitchcock)
(2:00 PM) Top Hat (1935/100m/Mark Sandrich)
(4:00 PM) Beyond A Reasonable Doubt (1956/80m/Fritz Lang)
(5:45 PM) The Searchers (1956/119m/John Ford)
(8:00 PM) Cape Fear (1962/106m/J. Lee Thompson)
(10:00 PM) A Kiss Before Dying (1956/95m/Gerd Oswald)
Monday, September 02, 2019
(12:00 AM) The Mating Call (1928/72m/James Cruze)
(2:00 AM) We All Loved Each Other So Much (1974/136m/Ettore Scola)
(4:15 AM) Scent Of A Woman (1974/103m/Dino Risi)
(6:15 AM) Sequoia (1934/71m/Chester M. Franklin)
(7:30 AM) The Great Meadow (1931/79m/Charles Brabin)
(9:00 AM) Them Thar Hills (1934/20m/Charles Rogers)
(9:30 AM) The White Tower (1950/98m/Ted Tetzlaff)
(11:15 AM) In Person (1935/87m/William A. Seiter)
(12:45 PM) The Treasure Of The Sierra Madre (1948/126m/John Huston)
(3:00 PM) The Inn Of The Sixth Happiness (1958/158m/Mark Robson)
(5:45 PM) The Charge of the Light Brigade (1936/115m/Michael Curtiz)
(8:00 PM) Fun and Fancy Free (1947/75m/William Morgan)
(9:30 PM) Donald’s Tire Trouble (1943/?m/Dick Lundy)
(9:45 PM) The Love Bug (1968/107m/Robert Stevenson)
(11:45 PM) The Happiest Millionaire (1967/159m/Norman Tokar)
Tuesday, September 03, 2019
(2:15 AM) The Art of Skiing (1941/?m/Jack Kinney)
(2:30 AM) Snowball Express (1972/99m/Norman Tokar)
(4:15 AM) The Hockey Champ (1939/?m/Jack King)
(4:30 AM) The Misadventures of Merlin Jones (1964/88m/Robert Stevenson)
(6:00 AM) Tarzan and the Huntress (1947/72m/Kurt Neumann)
(7:15 AM) Tarzan’s Desert Mystery (1943/70m/William Thiele)
(10:00 AM) Trog (1970/91m/Freddie Francis)
(11:45 AM) The Giant Behemoth (1959/80m/Eugene Lurie)
(1:15 PM) One Million B.C. (1940/81m/Hal Roach)
(2:45 PM) One Million Years B.C. (1966/100m/Don Chaffey)
(4:30 PM) The Valley of Gwangi (1969/95m/Jim O’Connolly)
(6:15 PM) When Dinosaurs Ruled The Earth (1971/100m/Val Guest)
(8:00 PM) No Way Out (1950/107m/Joseph L. Mankiewicz)
(10:00 PM) The Blackboard Jungle (1955/101m/Richard Brooks)
Wednesday, September 04, 2019
(12:00 AM) Edge of the City (1957/85m/Martin Ritt)
(1:30 AM) Something Of Value (1957/113m/Richard Brooks)
(3:30 AM) Band Of Angels (1957/127m/Raoul Walsh)
(5:45 AM) Good-Bye, My Lady (1956/95m/William A. Wellman)
(7:30 AM) The Private Life Of Henry VIII (1933/94m/Alexander Korda)
(9:15 AM) Street Scene (1931/79m/King Vidor)
(10:30 AM) The Prisoner of Zenda (1937/101m/John Cromwell)
(12:30 PM) Dodsworth (1936/101m/William Wyler)
(2:15 PM) A Star Is Born (1937/111m/William A. Wellman)
(4:15 PM) Of Mice and Men (1939/106m/Lewis Milestone)
(6:15 PM) Scarface (1932/94m/Howard Hawks)
(8:00 PM) Broken Blossoms (1919/89m/D.W. Griffith)
(9:45 PM) The Love Light (1921/89m/Frances Marion)
(11:30 PM) The Three Musketeers (1921/120m/Fred Niblo)
Thursday, September 05, 2019
(1:45 AM) The Gold Rush (1925/89m/Charles Chaplin)
(3:30 AM) The General (1927/75m/Buster Keaton)
(4:45 AM) Sadie Thompson (1928/94m/Raoul Walsh)
(6:30 AM) A Way in the Wilderness (1940/10m/Fred Zinnemann)
(6:45 AM) The Southerner (1945/93m/Jean Renoir)
(8:30 AM) The Phenix City Story (1955/100m/Phil Karlson)
(10:15 AM) Intruder In The Dirt (1949/87m/Clarence Brown)
(11:45 AM) God’s Little Acre (1958/118m/Anthony Mann)
(1:45 PM) Baby Doll (1956/115m/Elia Kazan)
(3:45 PM) Ode To Billy Joe (1976/106m/Max Baer)
(5:45 PM) The Heart Is A Lonely Hunter (1968/124m/Robert Ellis Miller)
(8:00 PM) Dr. No (1963/110m/Terence Young)
(10:00 PM) From Russia With Love (1964/115m/Terence Young)
Friday, September 06, 2019
(12:15 AM) Goldfinger (1964/110m/Guy Hamilton)
(2:15 AM) Thunderball (1965/130m/Terence Young)
(4:45 AM) You Only Live Twice (1967/117m/Lewis Gilbert)
(7:00 AM) The Cartoons of Winsor Mccay (compilation, 2014/112m/Winsor McCay)
(9:00 AM) Forever, Darling (1956/91m/ Alexander Hall)
(10:45 AM) Microscopic Mysteries (1932/9m/Hugo Lund)
(11:00 AM) Genocide (1968/84m/Kazui Nihonmatsu)
(12:30 PM) The Cosmic Monster (1958/72m/Gilbert Gunn)
(1:45 PM) The Wasp Woman (1960/61m/Roger Corman)
(3:00 PM) Highly Dangerous (1950/89m/Roy Ward Baker)
(4:30 PM) Them! (1954/92m/Gordon Douglas)
(6:15 PM) The Fly (1958/94m/Kurt Neumann)
(8:00 PM) The Freshman (1925/77m/Sam Taylor)
(9:30 PM) Horse Feathers (1932/67m/Norman McLeod)
(11:00 PM) Hold That Line (1952/64m/William Beaudine)
Saturday, September 07, 2019
(12:30 AM) Too Many Girls (1940/85m/George Abbott)
(2:15 AM) Private Property (1960/80m/Leslie Stevens)
(3:45 AM) The Shooting (1966/81m/Monte Hellman)
(5:15 AM) The Bottle and the Throttle (1965/10m/?)
(5:15 AM) Gang Boy (1954/27m/Arthur Swerdloff)
(5:15 AM) The Corvair In Action! (1960/6m/?)
(6:00 AM) The Incredible Mr. Limpet (1964/99m/Arthur Lubin)
(8:00 AM) MGM CARTOONS: The Old Mill Pond (1936/8m/Hugh Harman)
(8:10 AM) Spreadin’ The Jam (1945/10m/Charles Walters)
(8:21 AM) Seeing Ceylon (1953/8m/?)
(8:30 AM) Come On Danger (1942/59m/Edward Killy)
(9:30 AM) LOST CITY OF THE JUNGLE: Jungle Smash-Up (SERIAL) (1946/?m/?)
(10:00 AM) POPEYE: Bull Dozing The Bull (1933/6m/Dave Fleischer)
(10:07 AM) Dig That Uranium! (1956/61m/Edward Bernds)
(11:30 AM) The Two Barks Brothers (1931/17m/Zion Myers)
(12:00 PM) The Black Swan (1942/85m/Henry King)
(1:30 PM) The Wild One (1953/79m/Laslo Benedek)
(3:00 PM) The Bridge On the River Kwai (1957/162m/David Lean)
(6:00 PM) Rooster Cogburn (1975/107m/Stuart Millar)
(8:00 PM) Sounder (1972/105m/Martin Ritt)
(10:00 PM) Bright Road (1953/68m/Gerald Mayer)
(11:30 PM) Goodbye, Miss Turlock (1947/10m/Edward L. Cahn)
Sunday, September 08, 2019
(12:00 AM) The Big Clock (1948/95m/John Farrow)
(2:00 AM) House of Usher (1960/79m/Roger Corman)
(3:30 AM) Ringo and His Golden Pistol (1966/87m/Sergio Corbucci)
(5:15 AM) MGM Is On The Move! (1964/36m/?)
(6:00 AM) The Blue Angel (1930/107m/Josef von Sternberg)
(8:00 AM) The Little Minister (1934/110m/Richard Wallace)
(10:00 AM) The Big Clock (1948/95m/John Farrow)
(12:00 PM) Anna Karenina (1935/93m/Clarence Brown)
(1:45 PM) The Lost Weekend (1945/101m/Billy Wilder)
(3:45 PM) A Place In the Sun (1951/122m/George Stevens)
(6:00 PM) The Subject Was Roses (1968/108m/Ulu Grosbard)
(8:00 PM) Bunny Lake Is Missing (1965/107m/Otto Preminger)
(10:00 PM) Blue Denim (1959/89m/Philip Dunne)
Monday, September 09, 2019
(12:00 AM) The Circus (1928/72m/Charles Chaplin)
(12:00 AM) Shoulder Arms (1918/38m/Charles Chaplin)
(12:00 AM) A Dog’s Life (1918/34m/Charles Chaplin)
(2:30 AM) Mysterious Object At Noon (2000/83m/Apichatpong Weerasethakul)
(4:15 AM) Close-Up (1990/98m/Abbas Kiarostami)
(6:00 AM) DuBarry Was A Lady (1943/101m/Roy Del Ruth)
(7:45 AM) Best Foot Forward (1943/94m/Edward Buzzell)
(9:30 AM) The Belle Of New York (1952/81/Charles Walters)
(11:00 AM) Good News (1947/93m/Charles Walters)
(12:45 PM) Babes In Arms (1939/96m/Busby Berkeley)
(2:30 PM) Summer Holiday (1948/93m/Rouben Mamoulian)
(4:15 PM) Take Me Out To The Ball Game (1949/93m/Busby Berkeley)
(6:00 PM) An American In Paris (1951/113m/Vincente Minnelli)
(8:00 PM) Heidi (1937/88m/Allan Dwan)
(9:45 PM) Emma (1932/72m/Clarence Brown)
(11:15 PM) Susan Lenox: Her Fall and Rise (1931/77m/Robert Z. Leonard)
Tuesday, September 10, 2019
(12:45 AM) The Younger Generation (1929/84m/Frank R. Capra)
(3:15 AM) Greed (1924/239m/Erich von Stroheim)
(7:30 AM) Fingers At The Window (1942/81m/Charles Lederer)
(9:00 AM) High Wall (1947/99m/Curtis Bernhardt)
(10:45 AM) The Mad Miss Manton (1938/80m/Leigh Jason)
(12:15 PM) Bedlam (1946/79/Mark Robson)
(1:45 PM) Signpost To Murder (1965/77m/George Englund)
(3:15 PM) Quo Vadis (1951/174m/Mervyn LeRoy)
(6:15 PM) Gaslight (1940/84/Thorold Dickinson)
(8:00 PM) A Raisin In The Sun (1961/128m/Daniel Petrie)
(10:15 PM) The Slender Thread (1965/98m/Sydney Pollack)
Wednesday, September 11, 2019
(12:00 AM) A Patch Of Blue (1965/105m/Guy Green)
(2:00 AM) Lilies Of The Field (1963/94/Ralph Nelson)
(3:45 AM) All The Young Men (1960/86m/Hall Bartlett)
(5:30 AM) The Long Ships (1964/126m/Jack Cardiff)
(8:00 AM) Topper Returns (1941/88m/Roy Del Ruth)
(9:30 AM) The Story Of G.I. Joe (1945/109m/William A. Wellman)
(11:30 AM) The Life and Death Of Colonel Blimp (1943/163m/Michael Powell and Emeric Pressburger)
(2:15 PM) The Westerner (1940/100m/William Wyler)
(4:00 PM) The Great Dictator (1940/125m/Charles Chaplin)
(6:15 PM) Paths Of Glory (1958/88m/Stanley Kubrick)
(8:00 PM) 12 Angry Men (1957/96m/Sidney Lumet)
(9:45 PM) Sweet Smell Of Success (1957/97m/Alexander Mackendrick)
(11:30 PM) The Night of the Hunter (1955/93m/Charles Laughton)
Thursday, September 12, 2019
(1:15 AM) Marty (1955/90m/Delbert Mann)
(3:00 AM) Around The World In 80 Days (1956/182m/Michael Anderson)
(6:15 AM) Light In The Piazza (1962/101m/Guy Green)
(8:00 AM) The Horizontal Lieutenant (1962/90m/Richard Thorpe)
(9:45 AM) Where The Boys Are (1960/99m/Henry Levin)
(11:30 AM) Follow The Boys (1963/95m/Richard Thorpe)
(1:15 PM) Looking For Love (1964/83m/Don Weis)
(2:45 PM) The Honeymoon Machine (1961/87m/Richard Thorpe)
(4:15 PM) Come Fly With Me (1962/109m/Henry Levin)
(6:15 PM) When The Boys Meet The Girls (1965/97m/Alvin Ganzer)
(8:00 PM) On Her Majesty’s Secret Service (1969/140m/Peter Hunt)
(10:30 PM) Diamonds Are Forever (1971/120m/Guy Hamilton)
Friday, September 13, 2019
(12:45 AM) Live and Let Die (1973/131m/Guy Hamilton)
(3:00 AM) The Man With The Golden Gun (1974/125m/Guy Hamilton)
(5:15 AM) MGM Is On The Move! (1964/?/?)
(6:00 AM) Madame X (1929/95m/Lionel Barrymore)
(7:45 AM) The Lady Of Scandal (1930/76m/Sidney Franklin)
(9:15 AM) The Crash (1932/57m/William Dieterle)
(10:30 AM) The Rich Are Always With Us (1932/71m/Alfred Green)
(12:00 PM) Female (1933/60m/Michael Curtiz)
(1:15 PM) Frisco Jenny (1933/71m/William A. Wellman)
(2:45 PM) Lilly Turner (1933/65/William A. Wellman)
(4:15 PM) Journal Of A Crime (1934/65m/William Keighley)
(5:30 PM) Easy to Love (1934/61m/William Keighley)
(6:45 PM) Ladies They Talk About (1933/69m/Howard Bretherton)
(8:00 PM) That’s My Boy (1932/71m/Roy William Neill)
(9:30 PM) Over The Goal (1937/63m/Noel M. Smith)
(10:45 PM) The Big Game (1936/74m/George Nicholls, Jr.)
Saturday, September 14, 2019
(12:15 AM) Gridiron Flash (1935/64m/Glenn Tryon)
(1:30 AM) Saturday’s Heroes (1937/60m/Edward Killy)
(2:45 AM) Death by Invitation (1971/82m/Ken Friedman)
(4:15 AM) Witchboard (1987/91m/Kevin S. Tenney)
(6:00 AM) Courage of Lassie (1946/93m/Fred M. Wilcox)
(8:00 AM) MGM CARTOONS: The Old Pioneer (1934/8m/Rudolf Ising)
(8:10 AM) Screen Actors (1950/9m/Hal Elias)
(8:19 AM) Seeing El Salvador (1945/9m/?)
(8:28 AM) Hi, Gaucho! (1936/59m/Tommy Atkins)
(9:30 AM) LOST CITY OF THE JUNGLE: Atomic Vengeance (SERIAL) (1946/?m/?)
(10:00 AM) POPEYE: Mutiny Ain’t Nice (1933/6m/Dave Fleischer)
(10:07 AM) Hold That Hypnotist (1957/61m/Austen Jewell)
(11:30 AM) A Thrill For Thelma (1935/18m/Edward L. Cahn)
(12:00 PM) The Long Voyage Home (1940/106m/John Ford)
(2:00 PM) Mogambo (1953/116m/John Ford)
(4:15 PM) Ride Lonesome (1959/73m/Budd Boetticher)
(5:45 PM) The Life and Times of Judge Roy Bean (1972/123m/John Huston)
(8:00 PM) Rashomon (1950/89m/Akira Kurosawa)
(9:45 PM) Throne Of Blood (1957/110m/Akira Kurosawa)
Sunday, September 15, 2019
(12:00 AM) Nocturne (1946/87m/Edwin L. Marin)
(2:00 AM) Duck Soup (1933/69m/Leo McCarey)
(3:30 AM) The Cocoanuts (1929/93m/Joseph Santley)
(5:30 AM) MGM Parade Show #25 (1955/29m/?)
(3:15 AM) The Heart Is A Lonely Hunter (1968/124m/Robert Ellis Miller)
(5:30 AM) MGM Parade Show #25 (1925/29m/?)
(6:00 AM) The Little Princess (1939/93m/Walter Lang)
(7:45 AM) That Hamilton Woman (1941/126m/Alexander Korda)
(10:00 AM) Nocturne (1946/87m/Edwin L. Marin)
(12:00 PM) The Philadelphia Story (1940/112m/George Cukor)
(2:00 PM) Summer Stock (1950/109m/Charles Walters)
(4:00 PM) A Shot In The Dark (1964/102m/Blake Edwards)
(6:00 PM) The Sunshine Boys (1975/111m/Herbert Ross)
(8:00 PM) Ulee’s Gold (1997/113m/Victor Nunez)
(10:15 PM) Easy Rider (1969/95m/Dennis Hopper)
Monday, September 16, 2019
(12:00 AM) Two Arabian Knights (1927/92m/Lewis Milestone)
(2:00 AM) Emitai (1971/101m/Ousmane Sembene)
(4:00 AM) Ceddo (1977/120m/Ousmane Sembene)
(6:00 AM) Confidential Agent (1945/118m/Herman Shumlin)
(8:15 AM) Blood Alley (1955/115m/William A. Wellman)
(10:15 AM) Designing Woman (1957/118m/Vincente Minnelli)
(12:30 PM) Sex and the Single Girl (1964/114m/Richard Quine)
(2:30 PM) To Have and Have Not (1944/100m/Howard Hawks)
(4:15 PM) The Big Sleep (1946/114m/Howard Hawks)
(6:15 PM) Key Largo (1948/100m/Key Largo)
(8:00 PM) The Wonderful Country (1959/98m/Robert Parrish)
(9:45 PM) Major Dundee (1965/136m/Sam Peckinpah)
Tuesday, September 17th, 2019
(12:15 AM) The Wild Bunch (1969/145m/Sam Peckinpah)
(3:00 AM) The Train Robbers (1973/92m/Burt Kennedy)
(4:45 AM) Rio Grande Patrol (1950/60m/Lesley Selander)
(6:00 AM) Five Star Final (1931/89m/Mervyn LeRoy)
(7:45 AM) In This Our Life (1942/97m/John Huston)
(9:30 AM) Angel Face (1953/91m/Otto Preminger)
(11:15 AM) Dead Ringer (1964/116m/Paul Henreid)
(1:15 PM) Flame Of The West (1945/71m/Lambert Hillyer)
(2:30 PM) The Big Stampede (1932/54m/Tenny Wright)
(3:30 PM) The Star Packer (1934/55m/R.N. Bradbury)
(4:30 PM) Prairie Law (1940/59m/David Howard)
(5:45 PM) Man From God’s Country (1958/72m/Paul Landres)
(7:00 PM) Land Beyond The Law (1937/54m/B. Reeves Eason)
(8:00 PM) To Sir, With Love (1967/105m/James Clavell)
(10:00 PM) Guess Who's Coming to Dinner (1967/108m/Stanley Kramer)
Wednesday, September 18, 2019
(12:00 AM) In the Heat of the Night (1967/110m/Norman Jewison)
(2:00 AM) The Bedford Incident (1965/102m/James B. Harris)
(4:00 AM) Appointment in Tokyo (1946/55m/Maj. Jack Hively)
(5:15 AM) Lilies of the Field (1963/94m/Ralph Nelson)
(7:00 AM) Yours, Mine and Ours (1968/111m/Melville Shavelson)
(9:00 AM) The Children's Hour (1961/108m/William Wyler)
(11:00 AM) The Miracle Worker (1962/107m/Arthur Penn)
(1:00 PM) Inherit the Wind (1960/128m/Stanley Kramer)
(3:15 PM) A Hard Day's Night (1964/87m/Richard Lester)
(5:00 PM) It's a Mad, Mad, Mad, Mad World (1963/159m/Stanley Kramer)
(8:00 PM) The Pink Panther (1964/115m/Blake Edwards)
(10:00 PM) West Side Story (1961/154m/Robert Wise)
Thursday, September 19, 2019
(12:45 AM) Tom Jones (1963/122m/Tony Richardson)
(3:00 AM) Midnight Cowboy (1969/113m/John Schlesinger)
(5:00 AM) In the Heat of the Night (1967/110m/Norman Jewison)
(7:00 AM) Jewel Robbery (1932/68m/William Dieterle)
(8:15 AM) The Match King (1932/78m/Howard Bretherton)
(9:45 AM) The Purchase Price (1932/68m/William A. Wellman)
(11:00 AM) So Big (1932/81m/William A. Wellman)
(12:30 PM) A Successful Calamity (1932/72m/John G. Adolfi)
(2:00 PM) The House On 56th Street (1933/68m/Robert Florey)
(3:15 PM) The Working Man (1933/77m/John G. Adolfi)
(4:45 PM) Two Heads on a Pillow (1934/66m/William Nigh)
(6:00 PM) Angel on My Shoulder (1946/101m/Archie Mayo)
(8:00 PM) The Spy Who Loved Me (1977/125m/Lewis Gilbert)
(10:15 PM) Moonraker (1979/126m/Lewis Gilbert)
Friday, September 20, 2019
(12:30 AM) For Your Eyes Only (1981/127m/John Glen)
(3:00 AM) Octopussy (1983/131m/John Glen)
(5:15 AM) A View to a Kill (1985/131m/John Glen)
(7:30 AM) Matchless (1966/104m/Alberto Lattuada)
(9:30 AM) The Liquidator (1966/104m/Jack Cardiff)
(11:30 AM) The Defector (1966/100m/Raoul Lévy)
(1:30 PM) The Double Man (1967/105m/Franklin J. Schaffner)
(3:30 PM) To Trap a Spy (1964/93m/Don Medford)
(5:15 PM) Ice Station Zebra (1968/152m/John Sturges)
(8:00 PM) Jim Thorpe--All American (1951/105m/Michael Curtiz)
(10:15 PM) Knute Rockne: All American (1940/98m/Lloyd Bacon)
Saturday, September 21, 2019
(12:15 AM) Return to Campus (1975/100m/Harold Cornsweet)
(2:15 AM) Eating Raoul (1982/84m/Paul Bartel)
(3:45 AM) Private Parts (1972/86m/Paul Bartel)
(5:15 AM) Match Your Mood With Westinghouse (1968/6m/?)
(5:15 AM) Wonderful World of Tupperware (1965/29m/George J. Yarbrough)
(6:00 AM) The Animal Kingdom (1932/85m/Edward H. Griffith)
(8:00 AM) MGM CARTOONS: Old Smokey (1938/8m/William Hannah)
(8:09 AM) Swing High (1932/10m/Jack Cummings)
(8:20 AM) Seeing Spain (1953/8m/?)
(8:29 AM) Gold Raiders (1951/56m/Edward Bernds)
(9:30 AM) JUNGLE QUEEN: Invitation to Danger (SERIAL) (1945/?m/?)
(10:00 AM) POPEYE: Goonland (1938/8m/Dave Fleischer)
(10:09 AM) Jinx Money (1948/68m/William Beaudine)
(11:30 AM) Who Killed Rover? (1930/15m/Jules White)
(12:00 PM) Young Mr. Lincoln (1939/100m/John Ford)
(1:45 PM) The Big Heat (1953/90m/Fritz Lang)
(3:30 PM) The Man with the Golden Arm (1956/119m/Otto Preminger)
(5:45 PM) To Kill a Mockingbird (1962/129m/Robert Mulligan)
(8:00 PM) Les Rendez-vous d'Anna (1978/128m/Chantal Akerman)
(10:30 PM) Hotel Monterey (1972/62m/Chantal Akerman)
Sunday, September 22, 2019
(12:00 AM) The Woman on the Beach (1947/71m/Jean Renoir)
(2:00 AM) The Man Who Knew Too Much (1934/76m/Alfred Hitchcock)
(3:30 AM) Sabotage (1936/77m/Alfred Hitchcock)
(5:00 AM) George Stevens: D-Day to Berlin (1994/46m)
(6:00 AM) Little Women (1933/115m/George Cukor)
(8:15 AM) Love Affair (1939/88m/Leo McCarey)
(10:00 AM) Woman on the Beach (1947/71m/Jean Renoir)
(11:45 AM) The Palm Beach Story (1942/88m/Preston Sturges)
(1:30 PM) It Should Happen to You (1953/87m/George Cukor)
(3:15 PM) Lolita (1962/?m/Stanley Kubrick)
(6:00 PM) Sleepless in Seattle (1993/105m/Nora Ephron)
(8:00 PM) State of the Union (1948/123m/Frank Capra)
(10:15 PM) Harvey (1950/104m/Henry Koster)
Monday, September 23, 2019
(12:15 AM) The Racket (1928/84m/Lewis Milestone)
(2:15 AM) Days of Being Wild (1991/95m/Poon Kin-Kwan)
(4:00 AM) Manila in the Claws of Light (1975/95m/Lino Brocka)
(6:00 AM) Down The Stretch (1936/66m/William Clemens)
(7:15 AM) The Devil Is a Sissy (1936/92m/W. S. Van Dyke)
(9:00 AM) Thoroughbreds Don't Cry (1937/80m/Alfred E. Green)
(10:30 AM) Love is a Headache (1938/73m/Richard Thorpe)
(12:00 PM) A Yank at Eton (1942/88m/Norman Taurog)
(1:45 PM) The Big Wheel (1949/91m/Edward Ludwig)
(3:30 PM) Quicksand (1950/79m/Irving Pichel)
(5:00 PM) A Slight Case Of Larceny (1953/71m/Don Weis)
(6:15 PM) 24 Hours To Kill (1965/92m/Peter Bezencenet)
(8:00 PM) CinemAbility: The Art of Inclusion (2018/97m/Jenni Gold)
(10:00 PM) Freaks (1932/62m/Tod Browning)
(11:15 PM) The Bride Of Frankenstein (1935/75m/James Whale)
(12:45 AM) The Hunchback of Notre Dame (1939/117m/William Dieterle)
(3:00 AM) Johnny Belinda (1948/102m/Jean Negulesco)
(4:45 AM) The Unknown (1927/49m/Tod Browning)
Tuesday September 24th, 2019
(6:00 AM) Crooks and Coronets (1969/105m/Jim O’Connolly)
(8:00 AM) A Fine Pair (1969/90m/Francesco Maselli)
(9:45 AM) Penelope (1966/98m/Arthur Hiller)
(11:30 AM) Too Many Crooks (1959/85m/Mario Zampi)
(1:00 PM) Once A Thief (1965/106m/Ralph Nelson)
(3:00 PM) 5 Against the House (1955/83m/Phil Karlson)
(4:30 PM) The Split (1968/90m/Gordon Flemyng)
(6:00 PM) Assault on a Queen (1966/106m/Jack Donohue)
(8:00 PM) The Organization (1971/108m/Don Medford)
(10:00 PM) Brother John (1971/96m/James Goldstone)
(11:45 PM) Buck and the Preacher (1972/103m/Sidney Poitier)
(1:45 AM) They Call Me Mister Tibbs! (1970/108m/Gordon Douglas)
(3:45 AM) A Warm December (1972/101m/Sidney Poitier)
Wednesday, September 25, 2019
(6:00 AM) The Last Metro (1980/132m/François Truffaut)
(8:15 AM) Being There (1979/130m/Hal Ashby)
(10:30 AM) The Great Train Robbery (1979/111m/Michael Crichton)
(12:30 PM) Fiddler on the Roof (1971/181m/Norman Jewison)
(3:45 PM) Hair (1979/121m/Milos Forman)
(6:00 PM) La Cage Aux Folles (1979/97m/Edouard Molinaro)
(8:00 PM) Rain Man (1988/133m/Barry Levinson)
(10:30 PM) The Long Goodbye (1973/112m/Robert Altman)
Thursday, September 26, 2019
(12:30 AM) Raging Bull (1980/129m/Martin Scorsese)
(3:00 AM) Coming Home (1978/122m/Hal Ashby)
(5:15 AM) The Landlord (1970/110m/Hal Ashby)
(7:15 AM) Anthony Adverse (1936/141m//Mervyn LeRoy)
(9:45 AM) Parnell (1937/118m/John M. Stahl)
(12:00 PM) The Earl Of Chicago (1939/87m/Richard Thorpe)
(1:45 PM) Dangerous Partners (1945/79m/Edward L. Cahn)
(3:15 PM) Bewitched (1945/65m/Arch Oboler)
(4:30 PM) She Went to the Races (1945/86m/Willis Goldbeck)
(6:15 PM) It's A Dog's Life (1955/87m/Herman Hoffman)
(8:00 PM) The Living Daylights (1987/130m/John Glen)
(10:30 PM) Licence to Kill (1989/133m/Arthur Wooster)
Friday, September 27, 2019
(1:00 AM) Goldeneye (1995/130m/Martin Campbell)
(3:30 AM) Tomorrow Never Dies (1997/119m/Roger Spottiswoode)
(5:30 AM) The World Is Not Enough (1999/128m/Michael Apted)
(8:00 AM) Valley Of The Kings (1954/86m/Robert Pirosh)
(9:30 AM) Mummy’s Boys (1936/68m/Fred Guiol)
(10:45 AM) Land of the Pharoahs (1955/104m/Howard Hawks)
(12:45 PM) Caesar and Cleopatra (1945/128m/Gabriel Pascal)
(3:15 PM) The Mummy’s Shroud (1967/90m/John Gilling)
(5:00 PM) Barbarian, The (1933/83m/Sam Wood)
(6:30 PM) The Mummy (1959/88m/Terence Fisher)
(8:00 PM) Good News (1947/93m/Charles Walters)
(10:00 PM) The Half-Back of Notre Dame (1924/16m/Del Lord)
(10:30 PM) So This Is College (1929/97m/Sam Wood)
Saturday, September 28, 2019
(12:30 AM) Eleven Men and a Girl (1930/72m/William A. Wellman)
(2:00 AM) Belladonna of Sadness (1973/87m/Eiichi Yamamoto)
(3:30 AM) Hausu (1977/88m/Nobuhiko Obayashi)
(5:00 AM) The Distant Drummer: Flowers Of Darkness (1972/22m/William Templeton)
(5:00 AM) Right Or Wrong? (1951/11m/?)
(5:00 AM) The Distant Drummer: A Movable Scene (1970/22m/William Templeton)
(6:00 AM) Zou Zou (1934/88m/Marc Allegret)
(8:00 AM) MGM CARTOONS: Toyland Broadcast (1934/6m/Rudolf ising)
(8:07 AM) Trained Hoofs (1935/9m/David Miller)
(8:17 AM) Serene Siam (1937/9m/?)
(8:27 AM) Trouble In Sundown (1939/60m/David Howard)
(9:30 AM) JUNGLE QUEEN: Jungle Sacrifice (SERIAL) (1945/?m/?)
(10:00 AM) POPEYE: A Date To Skate (1938/7m/Dave Fleischer)
(10:08 AM) Crashing Las Vegas (1956/62m/Jean Yarbrough)
(11:30 AM) Women In Hiding (1940/22m/Joseph Newman)
(12:00 PM) The Outlaw (1943/116m/Howard Hughes)
(2:15 PM) Spartacus (1960/197m/Stanley Kubrick)
(5:45 PM) Absence of Malice (1981/116m/Sydney Pollack)
(8:00 PM) A Warm December (1972/101m/Sidney Poitier)
(10:00 PM) Magnificent Obsession (1954/108m/Douglas Sirk)
Sunday, September 29, 2019
(12:00 AM) The Harder They Fall (1956/109m/Mark Robosn)
(2:00 AM) It Came From Outer Space (1953/80m/Jack Arnold)
(3:30 AM) Riders To The Stars (1954/80m/Richard Carlson)
(5:15 AM) MGM Is On The Move! (1964/36m/?)
(6:00 AM) Rose Marie (1936/111m/W.S. Van Dyke)
(8:00 AM) The Hard Way (1942/109m/Vincent Sherman)
(10:00 AM) The Harder They Fall (1956/109m/Mark Robson)
(12:30 PM) His Girl Friday (1940/92m/Howard Hawks)
(2:15 PM) The Young Stranger (1957/84m/John Frankenheimer)
(3:45 PM) Dear Heart (1964/114m/Delbert Mann)
(5:45 PM) Running On Empty (1988/116m/Sidney Lumet)
(8:00 PM) For Whom The Bell Tolls (1943/165m/Sam Wood)
(11:00 PM) A Farewell To Arms (1932/89m/Frank Borzage)
Monday, September 30, 2019
(12:45 AM) Cleopatra (1912/88m/Charles L. Gaskill)
(2:30 AM) My Brilliant Career (1979/100m/Gillian Armstrong)
(4:15 AM) Mrs. Soffel (1984/112m/Gillian Armstrong)
(6:15 AM) I See A Dark Stranger (1946/112m/Frank Launder)
(8:15 AM) Black Narcissus (1947/101m/Michael Powell)
(10:00 AM) The Hucksters (1947/115m/Jack Conway)
(12:00 PM) King Solomon's Mines (1950/102m/Compton Bennett)
(1:45 PM) Tea And Sympathy (1956/122m/Vincente Minnelli)
(4:00 PM) Count Your Blessings (1959/102m/Jean Negulesco)
(6:00 PM) The Night of the Iguana (1964/118m/John Huston)
(8:00 PM) The Best Years Of Our Lives (1946/170m/William Wyler)
(11:00 PM) CinemAbility: The Art of Inclusion (2018/97m/Jenni Gold)
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2019.08.14 22:18 dp517 Show 3.1 Results

Vindication
Tommy Confronts Myles Segment
Tommy seems to not be done with Myles, but in a shocking turn of events, we found our first roster change. Ebak is here! And he’s here to challenge Tommy in the main event of Vindication!
Andrea & Yuri vs. Valencia & Roxx
The White Lotus has made the jump to Vindication. Immediately making their prescence known, what will the chaotic duo bring to the table on a brand new show? Valencia and Roxx are off to a rocky start… but… are they true partners, or just by chance?
Taylor Jones vs. Sonya Evans
Taylor Jones fended off one new recruit to the Vindication roster. Sonya Evans has made the move, but the champion is now looking to the next title defense, and we will find out who it will be soon
Zack Keaton vs. Tommy Gunn
A former Nemesis Heavyweight champion was introduced to the Vindication brand, and he started off year 2 with a bang. Can he do the same thing here with year 3? It sure seems that way, with a victory over Vindication rookie, Zack Keaton.
Ace w/ Ricky vs. Harris w/ Michael Young
The misfits are back, and they are the #1 contenders to the tag team championships. However, they met their match, and unfortunately it was against the champions. This was just a 1-on-1 match, and The Order has made Vindication their new home, but can the Misfits find it in them to capture the tag team gold?
Christopher Alpha vs. Dr. Wrestling Jr - #1 Contender Match for YouTube Championship
Start your career off with a bang, why dont you? Christopher Alpha not only won the REDACTED battle royal, but he also defeated a former Nemesis champion in new order member, DWJ. Now the #1 contender to Chris Princess’ Youtube Championship, can Alpha become the next Dylan Vincent?
Tommy Hazard vs. Ebak
All good things must come to an end. Ebak’s impressive hold over Tommy Hazard’s ego with victories is over. Tommy finally put it all behind him with a huge victory over Ebak. Could he possibly be gunning for a rematch with his former Mild Hazard partner, and current champion, Myles Miles?
Nemesis
BMS vs Ripjaw Reeves vs Jackson Payne- World Title Tournament
The World title tournament began here on nemesis with no new roster changes, but definitely a big win for BMS. He wants to get back on the horse and challenge for the Nemesis Championship, but he will have to do it all from the beginning one more time. He gets one step closer after this win.
Marilyn Benson vs Olivia Mistral
The former Openweight champion has made Nemesis her new home, but she is met by a brick wall. Marilyn Benson who has been on a roll as of late captures her first year 3 victory. Could this be the beginning of a championship chase for Benson?
Jacob Nitro vs Noah Morgan - World Title Tournament
Both of these men were Vindication stars, but they were given a huge opportunity after making the jump. Unfortunately for Nitro, Morgan was more than ready, and he brought the brutality back to Nemesis. Now one step closer to his first singles championship, can Morgan accomplish his new mission?
Scout Mackenzie vs Roxxanne Ramirez
Both ladies have jumped from Vindication, and Scout couldn’t be happier to be here. Now closer to Holly Queen, and with a brand new roster to fight with, Scout proves she is just the same as she was in year 2. Where does Scout go from here?
Sarah Price vs Halie Hudson
The undefeated sensation Sarah Price welcomed Halie Hudson with open arms to the Nemesis show, but once again showed and proved why she is undefeated. Could a showdown with Kel Vallen be looming by?
Jon Spartacus vs Bryan Adams
Jon Spartacus, the Nemesis Champion, said hello and goodbye to Bryan Adams, the last acquisition from Vindication with a thunderous spear. but...
Ryan Quinn attacks Spartacus and announces he’s on Nemesis, and will be cashing in his rematch at Exiled against Jon
He did not expect Ryan Quinn to show up and announce he was also making the jump. Ryan Quinn does get a rematch for a world championship… and he has made it clear he wants Jon Spartacus’ belt
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2019.07.10 03:48 tehawesomedragon This Week in Comics - July 10, 2019 - Official Discussion Hub: War of the Realms Omega, Amazing Spider-Man #25, Thor #15, Venom #16, Giant-Sized X-Statix #1, Invisible Woman #1, Weapon Plus #1

If you missed it, last week's thread may be found here.
The following were the most popular releases of last week (June 26th): Immortal Hulk #20 Aero #1 Fantastic Four: The Prodigal Sun #1 Punisher #13 Spider-Gwen: Ghost Spider #10 Uncanny X-Men #21 Old Man Quill #7
New to Marvel Comics? Not sure where to start? Whether you're completely new to comics or you're just looking for something great to read, head on over to the Recommended Reading page for a handy guide put together by Tigertemprr!
Looking for a quick guide to current Marvel comics? Check out our Marvel Fresh Start Relaunch Schedule for release dates on all the Marvel titles releasing now! UPDATE: We now have a Fresh Start Rankings Chart determined by users of this sub! Check it out for some recommended reads!
Also, War of the Realms wrapped up two weeks ago, although there are still some aftermath stories to be told. Here are the checklists for April, May, and June to keep you up to date with all of the tie-ins you need! You can check out our Calendar Release Guide here. Tie-ins releasing this week include: War of the Realms Omega #1.

ENDGAME DISCUSSIONS (SPOILERS)

DARK PHOENIX DISCUSSION

SPIDER-MAN: FAR FROM HOME DISCUSSION

New Issues Out This Week

Age of X-Man: Apocalypse & The X-Tracts #5 W: Tim Seeley A: Salvador Espin THE AGE OF X-MAN CONCLUDES! Apocalypse stands revealed, and his place in this world laid bare! What will his X-Tracts make of this revelation?
Amazing Spider-Man #25 W: Nick Spencer A: Ryan Ottley Year two of Nick Spencer, Ryan Ottley and Humberto Ramos’ run on ASM begins here! In the giant-sized main story, Spider-Man and Mary Jane find themselves in an INCREDIBLY tough situation, thanks to Electro. Can Spidey save MJ? CAN MJ SAVE SPIDEY? What is Mysterio cooking, and what does it have to do with the bandaged villain who has been on the periphery since #1?! All this, plus a story by Dan Hipp (TEEN TITANS GO! Art Director), internet sensation Keaton Patti and MORE!
Avengers #21 W: Jason Aaron A: Jason Masters The war is over, and Earth’s Mightiest Heroes are looking to celebrate. That’s right, there’s a party at Avengers Mountain! But who invited the Squadron Supreme of America?
Black Cat #2 W: Jed MacKay A: Travel Foreman Felicia Hardy prides herself on the fact that she can get into ANYWHERE… but does that REALLY include Doctor Strange’s SANCTUM SANCTORUM?! Can the Black Cat get into the most protected house in the Marvel Universe? YES. But the question really is…can she handle what’s inside?
Champions #7 W: Jim Zub A: Steven Cummings The WAR OF THE REALMS is over, but its effect on the Champions has shaken the team to its very core. Meanwhile, Sam Alexander’s mission in space takes an unexpected turn. Will he find redemption, or is this the last ride for the human rocket?
Giant-Sized X-Statix #1 W: Peter Milligan A: Mike Allred They’re back and more alive than ever for this special one-shot! But what new threat is so grave that only the most famous mutant celebrities can fight it? And who is the new U-Go-Girl? Only the original X-Statix creative team Peter Milligan, Michael Allred and Laura Allred know for sure!
Invisible Woman #1 W: Mark Waid A: Mattia De Iulis Fresh from the pages of FANTASTIC FOUR, for the first time Susan Storm-Richards stars in her own limited series – and the secrets about her past revealed therein will shake readers’ perceptions of the Invisible Woman forevermore! Years ago, she undertook an espionage mission for S.H.I.E.L.D. – and now it’s up to her to save her former partner from death at the hands of international terrorists!
Ironheart #8 W: Eve Ewing A: Luciano Vecchio As Ironheart creeps closer to understanding the powerful people who have been wreaking magical havoc around her, she needs to talk to someone who can give her a clue...and it’s none other than the Sorcerer Supreme himself, DOCTOR STRANGE!
Miles Morales: Spider-Man #8 W: Saladin Ahmed A: Javier Garrón Miles Morales has been TAKEN! Grabbed from the streets by an unknown assailant, bound, tested and observed, like a bug under glass. Who is responsible?! And how far will they push Miles to protect his friends and family? Don’t miss this horrifying new chapter in Miles’ life as his rogues’ gallery continues to grow!
Savage Sword of Conan #7 W: Jim Zub A: Patrick Zircher HITHER CAME...CONAN THE GAMBLER?! A chance violent encounter in Shadizar lands young CONAN a position as a bodyguard for a wealthy merchant. But a twist of fate will put Conan in the hot seat — and no choice but to play the hand he’s dealt in a deadly game of SERPENT’S BLUFF! Conan will rely on his sword — and his wits — while navigating the seedy underworld of “civilized” gambling while making sure he stays clear of the deadly “Debtors Lounge”! Magic, mystery and action abound when writer Jim Zub (CHAMPIONS, AVENGERS: NO ROAD HOME) joins forces with artist Patch Zircher (HULK; TERROR, INC.) for the first of a three-part epic — CONAN THE GAMBLER! PLUS: The next chapter in the all-new CONAN novella “THE SHADOW OF VENGEANCE”!
Secret Warps: Weapon Hex Annual #1 W: Al Ewing, Tim Seeley A: Carlos Villa, Bob Quinn “SECRET WARPS,” PART 2 – INFERNO ATTACKS! Weapon Hex and Speed Weasel join the fight for Warp World as the forces of Hell invade the streets of New York City! PLUS: A bonus tale of the spellbound sisters taking down a ferocious furry femme!
Symbiote Spider-Man #4 W: Peter David A: Greg Land PETER DAVID and GREG LAND continue their tale that takes place during the original Alien Costume Saga! Mysterio finds himself in possession of a sliver of the black costume, unaware of its true nature... Then, tensions continue to mount between Peter Parker, A.K.A. SPIDER-MAN, and his girlfriend, Felicia Hardy, A.K.A. THE BLACK CAT, as she’s been keeping something from him — something that threatens to tear apart their relationship!
Thor #15 W: Jason Aaron A: Michael Del Mundo WAR OF THE REALMS EPILOGUE! NEW STATUS QUO FOR THE GOD OF THUNDER! To end the War of the Realms, Thor made a sacrifice that will leave him forever changed. Now he must face the choices he’s made. What lies ahead for the God of Thunder? Jason Aaron’s legendary run draws to a close – don’t miss the start of his final arc!
Venom #16 W: Donny Cates A: Juan Gedeon After weeks on the run and battling the monsters of Asgard through the WAR OF THE REALMS, Eddie Brock finally has a moment to catch his breath. But without his symbiote, getting even the basic necessities will become a challenge for Eddie Brock. Which means that keeping his son, Dylan, alive will be too!
War of the Realms Omega #1 W: Jason Aaron, Al Ewing, Gerry Duggan, Daniel Kibblesmith A: Juan Ferreyra THE WAR IS OVER – AND THE MARVEL UNIVERSE MUST PICK UP THE PIECES! Midgard is broken, and as heroes of Asgard and Earth alike start to sift through the pieces, new heroes — and villains — emerge. What’s next for Jane Foster, now free of the hammer she was willing to die to hold? Thor’s brother Loki faced a terrible fate in the War of the Realms — and now the god of mischief must make himself anew. For the Punisher, the war isn’t even close to finished — but this time, he’s got his own army. And for Thor himself, destiny has finally arrived. The God of Thunder strikes out for a whole new adventure!
Wolverine & Captain America: Weapon Plus #1 W: Ethan Sacks A: Diogenes Neves THE SECRET HISTORY BEHIND THEIR ORIGINS REVEALED! In 1940, scientists attempted to make a man into the perfect weapon, a Super-Soldier. They failed and made him a legend instead. Before the turn of the century, they tried again for the tenth time. They failed, making a man into death incarnate. At long last, ETHAN SACKS (OLD MAN HAWKEYE, STAR WARS: GALAXY’S EDGE) and DIOGENES NEVES (GREEN ARROW, DEATHSTROKE) reveals the shadowy connections between Captain America, Wolverine and many more of the Marvel U’s Super-Soldiers…including some surprises! The conspiracy begins here!
Wolverine vs. Blade Special #1 W: Marc Guggenheim A: Dave Wilkins Two of the deadliest hunters ever to have stalked the night face off! Wolverine vs. Blade — ’nuff said!

Trade Collections

Spotlight Release of the Week Poll

The results of last week's poll are in. The big winner this week for your Most Anticipated New Release is War of the Realms Omega #1, followed by Amazing Spider-Man #25 and Avengers #21.
Click here to vote on next week's most anticipated release!
Previous spotlight releases: Immortal Hulk #20 War of the Realms #6 Guardians of the Galaxy #6 Silver Surfer: Black #1 War of the Realms #5 Immortal Hulk #18 Avengers #19 Giant-Man #1

General Discussion

If you could give any Marvel villain a redemption story where they become a hero, who would it be?
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2019.07.08 22:44 dp517 EndGame 2 Matchcard

[REDACTED] Memorial Battle Royal
Drake Harrison vs. William Black vs. Isaac vs. Dr. Wrestling Jr. vs. Jackson Payne vs. Christopher Alpha vs. Royce vs. Zack Keaton
Our very first Battle Royal in remembrance of [REDACTED] every day we miss [REDACTED] dearly.
Chris Princess vs. Jacob Nitro - YouTube Championship
It has been a long and arduous journey for Jacob Nitro. He came close to beating Tommy Hazard at Supremacy. Fell at the last hurdle at Jailbreak. Now he gets one last opportunity at Endgame.
BMS vs. Alexander
BMS has been hounded for weeks by this mysterious debuting superstar. Will BMS ruin his debut, or will the revolution begin tonight?
D-H vs. Noah Morgan
The first of three matches between the Dragon King and his Chosen, and FVA and the Dragon Slayers. Both these men are extremely deadly strikers. This one promises to be a brutal contest.
Andrea vs Marilyn Benson vs Evie Rush vs Davina Rose - Number one Contendership for the Openweight Title.
These 4 women have proved themselves all season, and now they get a chance to earn a title shot in season 3.
Michael Young vs Evil Dead
These two were once friends and partners. But it appears the Dragon Kings corruption has gotten to Harris, and now Michael Young has to contend with the extremely dangerous EvilDead.
Star Destroyer vs. The Order - CWL Tag Team Championships
The team who won every match in the tag qualifier. Versus the team who only won once, but it was when it counted. Now when the lights are brightest, can Star Destroyer win once more?
Ebak vs. Jim Leitzell - Twitch Championship TLC Match
Jim Leitzell has been obsessed with the Twitch Title. So many times he’s come so close. Only to fall at the last hurdle. Now, he gets one last chance. This time, against the only two time Twitch champ in the CWL. Can Leitzell finally get the job done?
Taylor Jones vs. Kathryn Love - Vindication Women’s Championship
After months of doubt, Taylor Jones finally won the Vindication Women’s Title. But Kathryn Love would not let her title go that easily and looks to reclaim it here tonight.
The Dragon King vs. FVA
This war started at Supremacy when Matsumoto took FVA’s spot in the rumble. The two have clashed back and forth for months since and now they finally settle it on the biggest stage possible.
Sgt. Hunter vs. Connor Gates w/ William Black - Hunter’s Retirement Match
A long and storied career comes to an end here tonight. Hunter, who has been a constant in the CWL since the start, will wrestle his last match. Will Hunter ride off into the sunset or is Connor Gates going to spoil his big moment?
Jon Spartacus vs. Ripjaw Reeves - Nemesis Heavyweight Championship
Spartacus and Reeves have been at each other’s throats the past couple weeks. With Reeves looking to win his first title, and Spartacus looking to get his third defence. This promises to be an explosive match up.
Scout Mackenzie vs. Holly Queen - CWL Openweight Championship
The first Openweight Champion vs the most dominant Openweight champion. Holly Queen has been on a war path ever since she lost the Openweight Title to Scout. She has spent the last few months undefeated and it seems like she’s unstoppable. But Scout has been synonymous with the Openweight Title, and has rarely lost since last years Endgame. Can the queen reclaim her throne, or will Scout go 2-0 in Endgame title matches?
Ryan Quinn vs. Tommy Hazard vs. Myles Miles - Vindication Heavyweight Championship
Betrayal. Dominance. Revenge. Hatred. Just a few of the words you could use to describe what these three have been going through. After multiple attacks, injuries, and call outs. We finally see it. Myles Miles vs Ryan Quinn vs Tommy Hazard. For one, a chance to prove they're the best. For one, a chance that they never truly got. And for one, a chance to add another accolade to his resume. It’s all on the line in this match.
Kel Vallen vs. Annie Thunder - Nemesis Women’s Championship, Annie Thunder’s Career on the line.
The rematch. The main event. The end. Tonight we either see the end of the greatest title reign we’ve ever seen. Or the end of one of the greatest careers we’ve ever seen. Annie Thunder’s obsession has brought her to put her career on the line, against the most dominant superstar in CWL history. Normally, it would take a miracle for Annie to win here. But after a loss to Sarah Price, and a set of injured ribs. It is more than just possible for Annie Thunder to win. Can Annie Thunder pick up the biggest win of her career, or are we possibly in for another year with Kel as champion?
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2019.04.07 19:01 tonytr87 IJW: Dumbo (2019)

I used to think it was temporary malaise that made Tim Burton put out such mediocre product every couple of years. That, in between art and the real part of himself he gave us in projects like Sweeney Todd or Big Fish, he was forced to partner with Disney for the sake of relevance. Maybe that was it, but not anymore.
Burton’s fourth collaboration with the Mouse House is cluttered and uninspired, never fully embracing the story’s oddball spirit or Burton’s vaunted fetish for production design. Burton and Dumbo oughta go together like bread and circuses, and yet there’s a grey pall hanging over the entire film, a sense of passionless duty more than wonder or joy. More often than not, it vaguely resembles a Tim Burton movie without feeling like one at all. He manages a few choice moments of said wonder or wry humor, such as when Michael Keaton’s pompous bigwig enters the picture with a lovely Eva Green on one arm, or when Dumbo takes flight for the first time at home and then abroad. However brief and too late to matter, the latter is a big highlight, giving the audience something they never knew they wanted. Green is seemingly Burton’s new muse following his break-up with long-time girlfriend Helena Bonham Carter. It’s not hard to see why, with Green enlivening every film of theirs, and Dumbo is no exception. Unfortunately, the casting plaudits end there, with Colin Farrell delivering a hammy southern accent and DeVito playing DeVito, ditto Alan Arkin in an extended cameo. Child actors Nicco Parker and Finley Robbins do what they can with stock characters, both of whom are there as an audience surrogate and nothing more. Dumbo soars when Dumbo soars, quite literally, and falls flat in the interim, no matter the wannabe corporate screed (was Disney aware?). The heroes don’t fly and the villains don’t feel real, over the top and often mugging for the camera. It’s almost as if a film about Dumbo is better served when about Dumbo himself, or his mother, and not a motley crew of dull humans surrounding them.
After his latest blockbuster detour, I’m convinced Tim Burton is simply following in the footsteps of so many filmmakers before him. I’m convinced he’s lost it, that spark of inspiration, the IT factor that eludes so many in their elder years. While Dumbo himself is cute, the movie itself ain’t so warm or cuddly.
Grade: C-
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2019.02.08 16:50 Blazing-Fireside Robocop: Amnesia Edition.

In a very odd point in cinematic history, corporations shove a seemingly endless and uncontested amount of blockbusters down the throats of the masses. Yet none of those films truly have a unique bone in their body. It's hard to judge a movie nowadays as it's own thing, given the fact that everything that's out for the most part are sequels and reboots. So what happens when you try to reboot a cop who you sent in on a suicide mission, and then you revive him as a kickass cyborg Robocop, only to revive THAT movie...and make it suck? You already know the answer, because ya forgot about it.
As opposed to Robocop of the early 80's, Robocop of 2014 was a painfully average attempt at bringing back the Robocop franchise into relevancy and the public consciousness. Unfortunately for it, people quickly forgot about it and went back to watching the older movies. Why was it so...forgotten though? It had big names in it too! Samuel Jackson with a glass of OJ with a hint of Pulp {Fiction} and Michael Keaton, and...uh...uh...Joel Kinnaman? Whoever- that is.
The problems with Robocop 2000- and BORE Edition weren't exactly from a cinematographic angle, no. It had decent enough shots, a decent score, good lighting- that's it. Apart from that, this movie is a watered down and stupefied pretender of what the original Robocop had to offer. It had less of the gore that made the movie so appealing, Murphy's redesign in this film after being cyberized is generic and uninspired, he has no chemistry with his partner, who barely even has a role here.
The problems continue to pile on and on, and ultimately, looking back on it five years later, it's still a film that's not even worth watching. It's not, it's boring. It's a stupid, boring cash-grab at reviving the Robocop name by watering it down for stealing the soul from an otherwise fantastic movie. You are better off just watching the 1981 version of Robocop over this garbage.
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2018.12.15 15:55 therewardthatisme Ken Levine comments on S9E15 ‘Wheels of Fortune’, the episode he co-wrote with partner David Isaacs which stars Michael Keaton as Blaine Sternin.

“We once wrote an episode of FRASIER with Michael Keaton guesting. We wrote his character fun and zany like the one he played in NIGHT SHIFT. He was playing a TV evangelist; a real larger-than-life character. But he insisted on playing against that – very studied and buttoned-down. Our director was Jerry Zaks, a huge Broadway director, and even he couldn’t get Keaton to loosen up. To me the episode never lived up to its potential.”
http://kenlevine.blogspot.com/2018/12/friday-questions_14.html?m=1
submitted by therewardthatisme to Frasier [link] [comments]


2018.11.05 04:40 Shortfunnystories [MF] My Date with Tina Turner

Thank you for taking the time to read this. I’m an amateur writer, and come from no previous coaching. I really appreciate any honest feedback, as I’m still developing and want to improve to give the reader a better experience. Good, bad, neutral, or any advice that you feel my writing did or didn’t do for you. Comments or suggestions are well received!
  1. (Parenthesis) the setting
  2. *Stars indicate the voice of the main character in the first person
  3. “Quotations” are back and forth conversation between main characters
My Date with Tina Turner
(Young handsome man is sitting in upscale bar in downtown Chicago. He is set up on a blind date. It’s the spring time, evening on a Saturday night. The year is 2038 . He is sitting at a two top table facing the entrance of the restaurant. A beautiful woman has just walked in. She looks exactly like a former famous actress, Tina Turner)
*Ugh, I think its another duplicate.
(Duplicate walks in smiling, acting a little jumpy while talking to the hostess)
*I swear every date I’ve been on in the last 6 months has been like this. Another girl who has paid an exorbitant amount of cash to have every “flaw” they see modified. This one looks like Tina Turner, I’m not certain though, its hard to see in this dim lit place. Screw it, I'm desperate for a girlfriend and at least this one is smiling. Last week I went through a round of scallops with a manic obsessive Courtney Cox.
(Standing up he smiles back at her and reaches out to shake her hand. She looks stunning, a 5"10 Tina Turner)
M: “Hi Simone, very nice to meet you, you look amazing”
S: “Hello, Michael, my you’re not to bad yourself. Are those your real eyes?”
M: “Yes, these are my own, given to me by my mother”
S: “Oh that is so original of you. As I’m sure you can see I’ve had a few modifications myself”
M: “Really? I couldn’t tell. You look gorgeous.”
S: “You couldn’t tell? Have you seen Whats Love got to do with it?”
M: “Ummmm, I don’t think so. Who’s in it?”
S: “Tina Turner! She was a big movie star a long time ago. I thought she was the prettiest chocolate girl I’d ever seen”
*Did she just say chocolate girl?
M:“Oh right, Tina Turner. Well I think you look beautiful”
S:“Thank you. Well, I guess thank Daddy. Hehe. Anyway, if you can excuse me, I’m going to go to the bathroom really quick to freshen up.”
*Freshen up, she just got here?
M: “Oh okay, I’ll keep the table warm for us”
(She doesn’t listen to this part, and walks away)
*Jesus christ, what is the world coming to. I can’t keep doing this, but I’m so lonely. I’m going to have to backtrack this broad on Truth Finder before she gets back.
(Looking on his Smart Device, www.truthfinder.com)
*So her name is Simone Sampson, she is daughter of Sam Sampson, senior parter at William & Sampson LLP. Lets see if I can get a picture of her, before her procedure. Okay here she is.
TRUTH FINDER
Simone Sampson: Simone is the head social media marketing director. Her work here over the last 3 years has helped William & Sampson propel as a formidable firm in the tech space. She is the only child of Senior Parter Sam Sampson, and is enjoyed by everyone, bringing a unique flair into the office.
Education: St. Principles High School
Favorite Hobby: Shopping and Reality TV
Picture: Not posted
*Shit. Okay, let me at least see a picture of the Dad at least.
(Switches on the website page to her fathers profile on his smart device)

TRUTH FINDER
Sam Sampson: Senior and founding partner at William and Sampson LLP. Sam Sampson is a well respected lawyer in the greater Chicago area. He has won over 8 figures in settlements and has been ranked #4 Big Business Attorney in the USA, and been featured on Esquire Quarterly. Currently serves as chief board of directors of the “Free Choice” movement, propelling legislature protecting the individuals right to pursue human metamorphosis procedures.
Education: De Paul University, BA Political Science Class of 1999
JD: University of Chicago, Class of 2002
Picture: Older and wider gentlemen, bald, caucasian descent
(Tina Turner, I mean “Simone” walks back to the table, standing over him)
S: “Hi!”
M: “Oh hey there Simone”
S: “What are you looking at?”
M: “Oh just checking my email”
(She stairs at him suspiciously)
S: “No phones at dinner. Didn’t anyone ever teach you any manners? Hehe, I’ll let it slide this time”
M:“I apologize. It won’t happen again.”
(They both smile at each other)
S: “Hehe, its okay I’m actually on my phone all the time, its part of my job. You see my Daddy has me post all of the pictures on our social media page for his firm.”
M:“Oh thats really cool, do you like it?”
S:“Yes, I really do. I get to help create the image of our company, get everyone smiling at work and such. Its super easy and super fun”
M:“Did you go to school for marketing?”
S:“Oh no, I actually didn’t finish college but I was in beauty school for a while. I wanted to do fashion design”
(She looks down, obviously those words cutting deep)
M:“Well I’m sure you do an awesome job with what you do now”
(Still not picking her head up, a tear drops from her eye)
S:“Thank you, can you excuse me, I have to go freshen up”
(She leaves the table, not looking up obviously a bit distraught)
*This is what is wrong with the world. You have all of these insecure people coming in, paying millions to look like other people, and not even that can make them happy. Part of me feels sorry for her, but the other disgusted, I still can’t believe she said chocolate girl.
(15 minutes later)
S:“Hi!”
M: “Hey Simone, is everything all right”
S: “Yes, I’m sorry. Its just I’m just beginning to kind of regret this metamorphosis procedure.”
(He looks at her very surprised, she continue’s.)
S: “You see, my Dad has always been very embarrassed of me. Ever since I was young, he always acted as if I wasn’t good enough. When I told him my dream of doing makeup, he said I was worthless to him and that I was throwing away a career of taking over his firm. I know this a lot to kind of throw at you, but it is the truth, and I’ve had to deal with it my whole life.”
(He begins feeling empathetic to her)
M: “You know I come from a family with a lot of pressure as well. I can completely understand how you feel. I’m sorry your Dad made you feel that way. In all fairness, I think it takes a lot of courage to go through with that procedure. I know I definitely couldn’t do it”
(Grabbing his hand she leans over and kisses him passionately on the lips which he receives startlingly)
S: “Thank you”
(2 hours later and a few more martini’s the two are now out in the city walking down the street hand in hand dancing to music playing off of his phone. The song he is playing is “This will be” by Natalie Cole)
*Wow, this girl is unbelievable and she’s beautiful. She’s the heir to a multimillion dollar law firm, and genuinely has a good heart. Since letting her guard down she’s really shown her true colors. Well not literally…. I swear when she’s kissed me, I’ve never felt so much power.
(His phone starts vibrating in his pocket. Call from Keaton his best friend. He ignores the call.)
S: “Hi so this is my place”
M: “I’ve had a really good time with you tonight Simone”
(She pulls him in again for one more kiss, in one swift motion Simone dips him on his back and then pulls him up, kissing passionately)
S: “Thank you for tonight, lets do this again sometime”
M: “Are you sure you don’t want me to walk you up”
S:“Hehe I’m not ready for that yet, give me a few weeks”
(Simone leaves slamming the door behind her. His phone starts ringing again. It is Keaton)
M:“Keaton I think I’m in love”
K:“You’re not going to believe this”
M:“What?”
K:“Check your phone”
(Opens up a new message from Keaton)

TRUTH FINDER
Simon Sampson: Simon is the head social media marketing director. His work over the last 2 years has helped William & Sampson propel as a formidable firm in the tech space. He is the son of Senior Parter Sam Sampson, and is enjoyed by everyone, bringing a unique flair into the office.
Education: St. Principles High School
Favorite Hobby: Shopping and Reality TV
Picture: Muscular colorfully dressed man in thirties, balding, caucasian
(Meanwhile his phone is still playing…..)
“Hugging and squeezing, And kissing and pleasing, Together forever throughever whatever, Yeah, yeah yeah you and me”
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Michael Keaton Girlfriend Wife Son Family Photos

  1. Michael Keaton: From Batman to Birdman - YouTube
  2. Lo mejor de mi vida (My life) _Sub Español_Completa - YouTube
  3. Michael Keaton To Play Batman Once Again?
  4. Michael Keaton - #AskHollywood
  5. Michael Keaton on Birdman and Jack Nicholson - YouTube
  6. Buster Keaton The Silent Partner 1955
  7. Michael Keaton Panel From Alamo City Comic Con Halloween Edition 2019
  8. Batman (1989) Best Scenes [HD] - YouTube
  9. Michael Keaton and ex-wife Caroline McWilliams and Their son
  10. Michael Keaton talks about his Son - YouTube

Clips from early and late talk shows. Michael Keaton Absolutely loves to talk about his son Sean Douglas, who is now a successful song writer&producer. (one ... Here is the panel from Michael Keaton during Alamo City Comic Con Halloween Edition filmed and edited by Frankyzphotography. 50+ videos Play all Mix - Buster Keaton The Silent Partner 1955 YouTube The Second 100 Years - #Laurel & #Hardy (1927) - Duration: 23:01. Mohammed Abbasi 1,737,010 views Michael Keaton's Real Name Was Taken By Another Movie Star - Duration: 11:06. The Late Show with Stephen Colbert 1,179,661 views Michael talks about making Birdman and reveals what it was like to work with Jack Nicholson on Batman. SUBSCRIBE to get the latest #KIMMEL: http://bit.ly/JKL... One of the most surprising and versatile actors of his generation, the former Batman is getting rave reviews for his new film, 'Birdman,' as an actor seeking... Michael Keaton's Real Name Was Taken By Another Movie Star - Duration: 11:06. The Late Show with Stephen Colbert 1,175,312 views. 11:06. Mark Hamill Does a Perfect Impression of Harrison Ford - ... Agradecimientos a Alejandro Ramirez Figueroa, profesor de la Ecuela Nacional de Enfermería y Obstetricia de la UNAM, quien nos permitió su disco en físico pa... Batman (1989) Best Scenes [HD] The Dark Knight of Gotham City begins his war on crime with his first major enemy being the clownishly homicidal Joker. Direct... Tuesday, January 22, 2019 - Michael Keaton and son Sean arrive at LAX before catching a flight out of town. As Keaton makes his way to his gate, he flashes a peace at our videographer and is asked ...