Dish of the Day
Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Saturday, July 1, 2023
Just posted to the CC site is the first half of this month’s >>> “Now Listen to Me…” <<< column
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Dish of the Day
Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Friday, June 30, 2023
Recently added to June’s “Now Listen to Me…” column is a review of Victim (1961)
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Dish of the Day
Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Wednesday, June 28, 2023
Today on TCM:
From 1947, director Michael Curtiz brings inspirationally to life the unsuspectedly stylish film noir The Unsuspected,
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Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Tuesday, June 27, 2023
In thinking about the long proliferation of big budget science fiction fantasy films, more specifically Star Wars, its sequels and reboots, I was reminded of this little debate of long ago with noted film critics Gene Siskel and Roger Ebert defending the franchise against John Simon’s disparaging comments
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Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Monday, June 26, 2023
Today on TCM:
I cannot think of any Alfred Hitchcock film as static in nature as 1948’s Rope,
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Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Sunday, June 25, 2023
Recently in our film related chat room (readers are welcome to join here) a member made a post that quoted Oliver Stone who was reported to have said about the film John Wick: Chapter 4,
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Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Saturday, June 24, 2023
Today on TCM:
Alfred Hitchcock's Vertigo (1958)
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Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Friday, June 23, 2023
Today’s “Dish of the Day” has a review of Steven Spielberg’s Peter Pan adventure fantasy Hook (1991)
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Dish of the Day
Dish of the Day
Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Tuesday, June 20, 2023
Today on TCM:
Preston Sturges' masterpiece Sullivan's Travels (1941)
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Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Monday, June 19, 2023
Today on TCM:
“How does it feel to be a decent, respectable married man?”
Dick Powell’s Everyman faces a mid-life crisis, including a far more considerable threat to his well being in the form of Raymond Burr’s jealous contractor in Pitfall (1948),
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Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Friday, June 16, 2023
Today on TCM:
Next up is the remarkably understated, albeit compelling, racial drama Intruder in the Dust
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Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Thursday, June 15, 2023
Today on TCM:
is Guess Who’s Coming to Dinner (1967)
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Wednesday, June 14, 2023
Due to a power outage that lasted approximately 12 hours, I was unable to prepare a Dish of the Day. My apologies to any regular readers who may have been disappointed. See you tomorrow.
A.G.
Dish of the Day
Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Tuesday, June 13, 2023
Today on TCM:
Don't miss Nicholas Ray's character study In a Lonely Place (1950)
Dish of the Day
Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Monday, June 12, 2023
Today on TCM:
Ikiru (1952) is cinema's most deeply contemplative statement
Dish of the Day (A Long Good Friday Edition)
Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Friday, June 9, 2023
Recently, in our Facebook chat room (all readers are welcome to join here), someone posted a piece on censored prints of The French Connection (1971) being shown by various streaming services
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Just some film musings of a more succinct, spontaneous and sometimes seditious nature:
Thursday, June 8, 2023
Today on TCM:
"Complaining about the far-fetched circumstances in films noir is like objecting to the lack of realism in a Picasso painting. What I mean is that lovers of these criminally rich cinematic delights oughtn’t to bother picking out the implausibilities, since they are practically a hallmark of noir's style."
I've written this before when introducing Split Second (1953),
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