Olhova in Spina (2017) in 720p
Jimenez in Blowback (2000) in 1080hd
This is a Canadian police thriller about
a cat-and-mouse battle between a cop (Mario Van Peebles)
and a serial killer (James Remar), both of whom are
biblical scholars! The cop studied for the priesthood,
and even memorized the bible, but decided he could do
more good on the police force. The killer was raised by
a preacher, and was so obsessed with religion that he
killed his victims by imitating the martyrdom deaths of
famous saints. He also left a scriptural reference in
each of their mouths. As the film opens, we see a victim
crucified upside down (Erin Dana Dalton). The cop
catches the killer, but the victim is dead, and the cop
got nailed through the hands before he bit off the
killer's nose. The killer is tried, convicted and
executed. Both the cop and his ex-wife (Gladys
Jimenez), who happened to be the prosecutor, witness the
End of movie, right?
What they don't witness is that the killer is brought
back from the dead by government scientists, given
plastic surgery and a new identity, and programmed to
become a government assassin.
I didn't make that up.
Cut to the future. The killer is exacting a brutal
revenge on everyone responsible for his conviction, and
Peebles is on the case with a new female partner. Since
this film can leave no cliché untapped, we then proceed
to the ol' "dedicated detective who gets thrown off the
case but refuses to stop" gambit. Those of you familiar
with this sort of movie already know that the cops
female partner must die, and the film will end in the
inevitable face-to-face showdown when the cop has to
save his ex-wife from the psycho.
To their credit, they did not leave room for a sequel.
The film was derivative and cliché-ridden, and even
included Peebles waking up from dreaming that he woke up
from a dream. Also, I am not sure why they chose
not to make this a mystery, but the script let us in on
the secret from the beginning, with no effort at
misdirection, so the only dramatic tension consisted of
wondering who would be the last victim before the killer
was finally caught.
Beart in La Belle Noiseuse (1991) in 1080hd (Part
1 of 3)
Shaver, Patricia Charbonneau and Desert Hearts
This is a "making of" the famous lesbian scene
Dale in Stone Cold Dead (1979) in 720p
Keller in Marathon Man (1976) in 1080hd
Is it safe?
I have mixed feelings about this
international thriller classic. On the one hand, it
has some tremendous positives:
1. Dustin Hoffman and Lord Larry Olivier? It doesn't
get much better than that, and both were cast
2. Marthe Keller with her clothes off.
3. Some of the best individual scenes I've ever
seen. The famous dental torture scene, the scene
where Hoffman throws the diamonds into the
waterworks (very reminiscent of the sewer scenes in
The Third Man), the shot of Olivier's face shot from
below - up through the diamonds, the scene with
Hoffman in bed with a flashlight, the scene with
Hoffman in the tub, some of the scenes with Roy
Scheider in Paris, Devane's fake rescue. There is
brilliant camera positioning, tension, spectacle,
good performances, things that aren't what they
appear to be, everything you'd want in an Cold War
4. I very much liked the way they built up the
mystery with Scheider's character. For the longest
time, you think he's probably evil, but you don't
know what the hell he's doing. Then you think he's
OK. Then you don't know, even at the end, if he was
just a simple thief all along.
5. When the film is over, you get the feeling that
you've watched something substantial because the
film manipulates your emotions in the ways it
intends to, and seems significant, perhaps more
significant than it really is.
On the other hand, thrillers are supposed to be
plot-driven and I have to tell you, this made no
sense at all in some scenes. It throws a double
whammy at you - you can't figure out some scenes
when they happen, then they still don't make any
sense when you have all the explanations.
So why did those two guys in the park mug Hoffman
and Keller again? As a warning to Scheider? Can't
be, because then they would have done it when
Hoffman was alone, to avoid blowing Keller's cover.
Because Hoffman was with Keller when it happened,
Scheider heard the story and immediately suspected
Keller was somehow involved.
Why did they think Hoffman would hit on Keller in
the library? He was a scholarly man who never hit on
anyone, but she made it exceedingly difficult, and
he ran after her for blocks?
What is the point of the bomb blast in the baby
carriage? (Except that it was a cool scene) Nobody
knew where Scheider would park, or even when he was
coming. (He was three days late, as the script
What is the mysterious soccer ball all about? Is
there a missing scene?
Why did Devane go over to the dark side?
Was Scheider just a common thief, after all. That
was implied by Olivier's explanation.
Why did the American intelligence guys protect Sell,
a known major Nazi, in order to get his info on a
bunch of small fish? If any of the Americans wanted
a career boost and headline power, turning in Sell
was the way to go.
Why did the death of Sell's brother change anything?
Scheider already had received the key from him
before the accident. That was the key that Scheider
was carrying around, wasn't it? Or was it something
Why didn't the brother just take out the diamonds
little by little and convert them to cash a bit at a
time from 1946-1976. After all, he had the damned
Worst of all, why did Devane give Hoffman the
correct address of the bank? One second after
Hoffman went out the door, Devane followed him,
intending to kill him, so obviously he lied when he
said "I'll give you Sell for your brother". But why
didn't he also lie and say, "Sell is at a bank at
33rd and Lex" instead of giving Hoffman the correct
address. C'mon, the guy was a trained spook.
Obviously, Hoffman would have said OK, and left,
just as he did with the real address, because he had
no idea which one was real.
Perhaps the novel explains all
these things in depth, but the movie is confusing,
and sometimes just plain wrong, as in the last item
with Devane giving Hoffman the correct address. I
would have cut a lot of scenes out of this film to
make it more comprehensible and tighter.
Good performers, some great scenes, in search of
better continuity and logic.