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Novice Karate Group (ages 8 & up)

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Wyatt Roberts
Wyatt Roberts

Home Lines YIFY

Between the Lines, and it's pleasant. BtL is one of those ensemble, renegade, rage-against-the-machine flicks that have always been with us, but were completely at home in Post-Watergate Land.All I remember is that I enjoyed the actors (and if you look at the cast, it's an A-Team of talent), that Lindsey Crouse was really cute, and Jeff Goldblum insults some corporate suit or sell-out or whatever with "You pernicious eel-sh**!"You can tell that Between the Lines didn't make much of a splash because--not counting mine--when I wrote this review, there were nine others.I saw the movie, I think, on HBO in something like 1978 or 1979, right about the time FM came out. FM was another ensemble, renegade ratm flick, but with great music, and it was really dumb.I don't remember Between the Lines being stupid. Unfortunately, I just watched it again on TUBI, and, although the movie isn't dumb, it's bland and predictable, an WKRP in Cinncinati kind of mish-mash of actors who have gotten old and, for the guys, bald.I looked up Lindsey Crouse, and she has aged well. I think the last time I saw her on anything was Law and Order: SVU back in 2000. Jeff Goldblum looks like Jeff Goldblum, only with a shock of white hair. Steven Elliot did something somewhere that got him "canceled." If I'm wrong, I apologize.John Heard died. The Venus Flytrap character was Joe Morton, and you'll remember him as the black scientist/voice of reason in Eureka. Michael J. Pollard? Passed away? Bruno Kirby? Don't know. Gwen Welles?As you can see, Between the Lines was oozing with talent, the sort of movie that puts some oomph in an actor's resume.I still like the movie. It's on TUBI. TUBI's free. You can afford to blow 100 minutes on a snapshot of what raging against the machine looked like in 1977.

Home Lines YIFY

Well despite what others thought I really enjoyed this. I hadn't seen it in ages and had a great time watching it again, a thrill ride with solid characters, excellent special effects, and some cool looking camera work. Just as an FYI this is a great movie to watch on the treadmill as it's essentially just one long chase sequence set to some decent music.It does get a bit rah-rah-ridiculous during the final climax, flag waving and just OTT bordering on silly but whatever I was still entertained.This never slowed down, sure you can question the believability of events but I just enjoyed the ride, as our hero runs through exploding minefields, slides down the side of a dam, and hides in a pile of dead bodies with the enemy just inches away from him. There's a scene in a defunct factory/minefield where one of the bad guys suffers the shock waves of a (grenade) blast in slow motion, I've never seen anything like it, well done. The fighter jet scenes while being targeted by a missile reminded me of 'Top Gun', but were still exciting.The story follows Owen Wilson as a navy pilot who is shot down over enemy territory and then struggles to get to his extraction point while surviving the relentless pursuit of a deadly tracker/sniper and countless hostile troops. With his rescue mission is delayed by politics, commanding officer (Gene Hackman) goes against orders to bring him home.I liked seeing Owen Wilson in this downplayed action role, he did a great job as did Hackman, but he's playing a familiar character. Vladimir Mashkov is chilling as the Serbian sniper dude too. 2/23/16

I first saw this film not long after its initial release some 20 years ago and images and scenes from it have stayed with me ever since, so that it was with considerable anticipation that I re-watched it again recently. Down the years I can still recall Randall Adams drawling in his unforgettable voice "The kid scares me", the ever-revolving red light on the cop-car and most of all Philip Glass' wonderful, hypnotic music. The depiction of the fateful night of the cold-blooded murder of the policeman is shown from, almost literally, every possible angle, conveyed in a highly stylised way with almost every speculated remembrance of the doubtful list of every dubious (and are they ever dubious!) witness played out on the screen, the effect, in so doing, to completely explode their fantasist recollections, as was no doubt the director's aim. The reconstructions are set alongside filmed interviews of most of the main protagonists (with the main exception of the second cop in the car who witnessed the killing). As you watch these, the centrepiece clearly becomes the contrasting testimony of the almost-certain murderer David Harris with the wronged Randall Adams, the first coming across from the start as duplicitous and uncaring, the latter as bemused but reasoning. I was particularly taken with the erudition of Adams, who suppresses his inner rage with admirable restraint as he points the viewer time and again back to the evidence. As an indictment of the American criminal justice system, it hits home hard; it appears that investigation standards head for the hills especially when the law has a cop-killer to nail. Thankfully the miscarriage of justice was eventually resolved although it makes you grateful for the coincidence which led director Morris to change the subject course of his original project to instead highlight Adams' case culminating in his release soon after the film was first shown. The film however is more than a crusading documentary and there is much for students and admirers of the film-makers art to enjoy. Unforgettable, really, almost haunting, and proof if needed that truth really is stranger than fiction.

Tonight is the 35th anniversary of A Chorus Line, and in honor of it I'm writing this review.I first discovered A Chorus Line on a list of the worst movie musicals ever. Looking back on it, I haven't the faintest idea why it was on there, but I digress. I looked at the Amazon page to see if it was available to stream for free. No luck. I turn off the television and go off to do other things. When I turn it on later something incredible happened: apparently of its own accord, the television had rented A Chorus Line! I assure you that I did not press the rent button, and even if I did the television couldn't have rented it whilst it was off. So, with nothing better to do, I watched it.I tell you this anecdote to help you understand the circumstances I watched A Chorus Line in. I was fully expecting it to be bad, and even the renting incident worthy of the Three Colors trilogy didn't affect my bias against the film. But as I watched it, something incredible happened. I was enjoying it. Quite a lot, actually. Despite the extreme bias I had against the film due to the circumstances I found it in, I still had a great time.A Chorus Line is one of the greatest movie musicals ever put to screen. Whilst its costumes might be called dated, its message and themes are timeless. The movie is a complex look at many issues, include misogyny, homophobia, identity, relationships, and more. And yet throughout all of it, the movie makes it clear that these people aren't special. They aren't THE Chorus Line. They're just A chorus line. There are thousands of people who've been in chorus lines, but at the end of the day they're all there to do the same thing: dance.The director tries to change this. He wants to recognize these people AS people, instead of just objects to direct. So he conducts this rather unorthodox audition process, asking each dancer about their personal lives as well as testing their dancing ability. His efforts are in vain. By the end of the film, it's easy to see that he still regards them as little more than chorus boys and girls, almost like how an audience would regard them in a performance.The one exception to this is Cassie, his former lover who he clearly hasn't gotten over. She's looking to audition, which immediately arouses the Director's suspicions. He constantly tells her that she's special, and she's better than all of them. As she points out, she really isn't: she's by far the best dancer there, yes, but that's just because she's had more experience than everyone else. The only one who's comparable to her in age is Sheila, who seems so tired with the whole Broadway thing one must question if she simply auditioned out of habit rather than a desire to perform. Cassie may be good at dancing, but that's all she's good at. With a little more practice, any number of the other characters in the movie could reach her level. The only reason the Director sees her as special is because he's in love with her. She's more than just a dancer to him, unlike every other one of the characters.This movie is a musical, so I assume you're wondering about the songs. Honestly, they're all very excellent. There all either catchy, emotional, or both. Not to mention, the choreography is equally fantastic, some of the greatest I've seen put to film. Some of the actors and actresses aren't great singers, but I think this was intentional. Nobody watching a chorus line cares how good an individual singer is. All their voices blend together into one audio mass. Contrast this with dancing in a chorus line, where synochronicity is key. That's why everyone is a great dancer, but only some are great singers. To summarize, when it comes to singing and dancing, A Chorus Line shines.In conclusion, A Chorus Line really needs to be reevaluated by the general public. It's songs are great, the acting's great (particularly Sheila, Cassie and the Director), but above all the themes are great. We got a movie about these dancers, but every dancer has their own story. Even the ending reinforces this: the protagonists' faces get lost in the crowd of dancers, as if on a macro-level they're interchangeable. Each one of the people in the finale has their own personality, history, preferences, etc, but to us they are simply dancers. I don't know about you, but there next time I see a movie, television show, or any other form of entertainment, I'm going to think to myself about how behind each one of those characters is a person.Final Score: 87/100. 041b061a72


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