Compelling character study, revolving around Jack Flowers (Ben Gazzara), an American hustler trying to make his fortune in 1970s Singapore in small time pimping. He dreams of building a ... See full summary »
This homage to the childhood days of the motion pictures starts in 1910, when the young attorney Leo Harrigan by chance meets a motion picture producer. Immediately he's invited to become a... See full summary »
Summer, 1984: 30 years after Duane captained the high school football team and Jacy was homecoming queen, this Texas town near Wichita Falls prepares for its centennial. Oil prices are down... See full summary »
This film was Peter Bogdanovich's homage to musical comedies of the 1930s. A millionaire named Michael Oliver Pritchard III and a singer named Kitty O'Kelly meet and fall in love. Meanwhile... See full summary »
Called up for jury duty, Richard Dice finds his first crush and only real, but unrequited love, on trial for murder. Richard desperately tries to prove Mollys innocence while untangling a ... See full summary »
Byron Orlok is an old horror-movie star who feels that he is an anachronism. Compared to real-life violence, his films are tame. Meanwhile, Bobby Thompson goes on a killing spree... Written by
Gary Couzens <firstname.lastname@example.org>
When film cameras, which run at 24 frames per second, film directly off the screen of US televisions, which run at 30 fps, the result is a dark or light bar across the image, rolling from top to bottom. To avoid this effect in the scene when Sammy and Orlok are watching The Criminal Code (1931), in most shots a film picture was matted in over the TV screen, giving a steady picture with no bar. However, according to Peter Bogdanovich's DVD commentary, they couldn't afford to use a matte for the establishing shot for the scene, which pans across the TV's screen, so the bar appears in that shot and only that shot (in Europe, where the TV frame rate is 25 fps, often they simply run the film camera at 25 fps also, for shots with a TV picture in them). See more »
(at around 1h 14 mins) When Orlock's car pulls up to the drive-in ticket booth...the clock says 9:10. After talking with the two fellows at the booth for a minute or so...the car pulls away and the clock says 9:00. See more »
[watching the audience seeing his movie]
Strange not getting any reaction, isn't it?
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I've read many reviews here that state the insignificance of Karloff's scenes in the movie. I beg to differ greatly. The film can be viewed as a rebuttle to the type of campy horror films that Corman was making at the time because nothing in those films were as scary as the news headlines. The film could be interpretted as showing the irony of Universal's 30's & 40's horror movies that scared audiences away from thinking about the true horrors of the time (& all-time), WW2 and the holocaust. When the second world war ended so did the horror film until it's 60's revival thanks to Vietnam. Take out the scenes of Karloff (a key figure in those Universal films) from Targets and you end up with what Schindlers List did for the holocaust. It would have been a fine downbeat film, but without the self-referential, cold slap in the face of horror movie fans that makes it the masterwork it is.
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