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The Wingfeather Saga - (May 16th)
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Early American Clint Eastwood performances, as he was testing the cinematic waters after his huge success in Leone's highly influential 'The Man with No Name' trilogy of great spaghetti westerns, are such fun to watch, as he experiments and tries out different genres, deciding what direction he wants to take his career. There are such unexpected gems to behold, both acting and directing, like 'Two Mules for Sister Sara', 'Breezy', 'The Beguiled', 'Play Misty for Me', 'Where Eagles Dare' and this, where he plays the proverbial 'fish out of water', in way over his head, as a deputy sheriff from the sticks, having to find an escaped prisoner in the megalopolis of New York City, no less. The great variety of this time is such a cinematic luxury to peruse and discover for oneself. Mine came in the humongous '35 Years 35 Films', and there have been even larger compendiums more recently. They all offer fine value to the discerning cinephile. It's great fun seeing Lee J. Cobb and Susan Clark (when she was really irresistible), and you can never go wrong with director Siegel, who, along with the aforementioned Leone, were the greatest influences on the American icon who at that time was blossoming into his own, the San Franciscan-born Eastwood. Definitely worth owning and rewatching.
A man's gotta do what a man's gotta do! Arizona cop Walt Coogan is sent to New York to pick up an extradited prisoner. After losing him in the city he vows to bring him in anyway he can, he may be out of his jurisdiction, he may be patronised by the big city cops, but Coogan has his own way of doing things. Often thought of as the precursor to Dirty Harry, Coogan's Bluff is a crucial entry in the genre pantheon of tough cop pictures. The fish out of water routine will forever be done to death it would seem, but back here in 1968 it still held its salt and delivers an admirably tight fusion of the big city colliding with the Western genre. In the more than capable hands of director Don Siegel, and starring Clint Eastwood in the lead, Coogan's Bluff is fully aware of the time frame and the changes occurring in late 1960s America. Witness a marvellous scene as Coogan trawls through a dayglow orange psychedelia club. Meeting pimps, crooks and hippies are all par for the course for Coogan, and of course the women find the cowboy dapper Coogan worthy of further inspection, all that and a cigar chomping Lee J. Cobb as tough Det. Lt. McElroy help to make Coogan's Bluff a very enjoyable picture. Now about those boots Walt? 7/10
So boring. 'Coogan’s Bluff' is a terrible film. Not even Clint Eastwood can elevate it. I'm not necessarily quick to call a film sexist, but this is pretty overtly so; especially at the beginning with women at the end of the 'jokes' - whether it be sexual assault, domestic violence or even rape. Even after all that, you're left with a seriously dull plot. Nothing of note happens for the opening chunk of the film, then when something finally does it fails to build upon it. That's the case for the whole 93 minutes, the only scene I'll remember will be the admittedly good chase scene. Eastwood is fine in the lead role, if a little cringey. His 'duck out of water' schtick gets tiresome, as do the running jokes. I can't think of any of the other performers who stand out... at a push, Lee J. Cobb perhaps? Not recommended.
_**Eastwood as an antihero cowboy cop in mid-60’s Manhattan**_ A rural Arizona deputy sheriff (Clint Eastwood) comes to the Big Apple to extradite a prisoner (Don Stroud) while tangling with the chief detective (Lee J. Cobb) and flirting with a probation officer (Susan Clark). Tisha Sterling plays the thug’s drug-addicted girlfriend. Directed by Don Siegel, “Coogan’s Bluff” (1968) is a crime drama/thriller with bits of droll amusement (e.g. New Yorkers constantly making references to Texas, Wyatt, the O.K. Corral and the like). It inspired the TV series McCloud, which aired from 1970-1977; and also was the prototype for Siegel & Eastwood’s “Dirty Harry” (1971). The two teamed-up for three other films: “Two Mules for Sister Sara” (1970), “The Beguiled” (1971) and “Escape from Alcatraz” (1977). This was the blueprint for Clint’s post-Leone cop character, which dominated crime cinema for the next 25-30 years (and arguably longer), including winners like “Thunderbolt and Lightfoot” (1974) and “The Gauntlet” (1977). “Coogan’s Bluff” may not be as compelling as some of these later movies, and it’s certainly dated by comparison (an interesting period piece to view mid-60’s Manhattan), but it is entertaining despite the unpalatable depictions of the seedy side of Gotham. Speaking of the sordid elements, this was ‘cutting edge’ at the time and nigh shocking to those not living in the Big City. Eastwood’s character, Coogan, will do whatever it takes to bring his man in, even something immoral with a 17 year-old teenager. While he’s confident and has several admirable traits, there’s also a darker, unpredictable edge. There’s been some confusion about the eponymous bluff. Although the movie mentions the landmark promontory in upper Manhattan in a deleted scene, it literally refers to Coogan’s bluffing his way into the hospital ward to apprehend his prisoner and get out of town, which sets up the events of the rest of the picture. If there’s any doubt the lieutenant detective (Cobb) plainly references his bluff. In addition to Susan Clark and Tisha Sterling, the female cast includes Melodie Johnson (Millie in the first act) and Meg Myles (Big Red). The film is trim at 1 hour, 33 minutes, and was shot in the Mojave Desert, Manhattan and Universal Studios. GRADE: B
A blue-collar worker on New York's depressed waterfront finds his life changed after he saves a woman attempting suicide.
When petty criminal Luke Jackson is sentenced to two years in a Florida prison farm, he doesn't play by the rules of either the sadistic warden or the yard's resident heavy, Dragline, who ends up admiring the new guy's unbreakable will. Luke's bravado, even in the face of repeated stints in the prison's dreaded solitary confinement cell, "the box," make him a rebel hero to his fellow convicts and a thorn in the side of the prison officers.
Salvatore "Sal" Fragione is the Italian owner of a pizzeria in Brooklyn. A neighborhood local, Buggin' Out, becomes upset when he sees that the pizzeria's Wall of Fame exhibits only Italian actors. Buggin' Out believes a pizzeria in a black neighborhood should showcase black actors, but Sal disagrees. The wall becomes a symbol of racism and hate to Buggin' Out and to other people in the neighborhood, and tensions rise.
A young Jewish man is torn between tradition and individuality when his old-fashioned family objects to his career as a jazz singer. This is the first full length feature film to use synchronized sound, and is the original film musical.
Veteran buttoned-down LAPD detective Roger Murtaugh is partnered with unhinged cop Martin Riggs, who - distraught after his wife's death - has a death wish and takes unnecessary risks with criminals at every turn. The odd couple embark on their first homicide investigation as partners, involving a young woman known to Murtaugh with ties to a drug and prostitution ring.
In the opening chase, Martin Riggs and Roger Murtaugh stumble across a trunk full of Krugerrands. They follow the trail to a South African diplomat who's using his immunity to conceal a smuggling operation. When he plants a bomb under Murtaugh's toilet, the action explodes!
Archetypal buddy cops Riggs and Murtaugh are back for another round of high-stakes action, this time setting their collective sights on bringing down a former Los Angeles police lieutenant turned black market weapons dealer. Lorna Cole joins as the beautiful yet hardnosed internal affairs sergeant who catches Riggs's eye.
Officers Martin Riggs and Roger Murtaugh of the Los Angeles Police Department must stop a dangerous crime lord from China from getting his brother out of jail.
Based on the true story of would-be Brooklyn bank robbers John Wojtowicz and Salvatore Naturile. Sonny and Sal attempt a bank heist which quickly turns sour and escalates into a hostage situation and stand-off with the police. As Sonny's motives for the robbery are slowly revealed and things become more complicated, the heist turns into a media circus.
New York City newspaper writer J.J. Hunsecker holds considerable sway over public opinion with his Broadway column, but one thing that he can't control is his younger sister, Susan, who is in a relationship with aspiring jazz guitarist Steve Dallas. Hunsecker strongly disapproves of the romance and recruits publicist Sidney Falco to find a way to split the couple, no matter how ruthless the method.
On the South Pacific island of Bora Bora, a young couple's love is threatened when the tribal chief declares the girl a sacred virgin.