The New Centurions
1972 / Color / 2:35 widescreen / 103 min. / Street Date March 20, 2018 / Available from the Twilight Time Movies Store / 29.95
Starring: George C. Scott, Stacy Keach, Jane Alexander, Scott Wilson, Rosalind Cash, Erik Estrada, Clifton James, James Sikking, Isabel Sanford, Carol Speed, William Atherton, Ed Lauter, Dolph Sweet, Stefan Gierasch, Roger E. Mosley, Pepe Serna, Kitten Natividad.
Cinematography: Ralph Woolsey
Film Editor: Robert C. Jones
Production Design: Boris Leven
Original Music: Quincy Jones
Written by Stirling Silliphant, Robert Towne (uncredited) from the book by Joseph Wambaugh
Produced by Robert Chartoff,
At this late date, it’s really no longer a novelty for a horror movie to boast a strong-willed female lead who, when push comes to shove, effectively pushes back against the boogeyman. To be fair, however, Chloe Levine (of Netflix’s “The Defenders”) is thoroughly persuasive as a young woman empowered by her ordeal. Levine plays Chelsea, a pink-haired punk rocker who goes on the lam with four similarly punkish companions after police stage a drug raid at their favorite club, and
1961 / B&W / 1:85 widescreen / 98 min. / Street Date March 20, 2018 / Available from the Twilight Time Movies Store / 29.95
Starring: Cliff Robertson, Dolores Dorn, Beatrice Kay, Paul Dubov, Robert Emhardt, Larry Gates, Richard Rust, Gerald Milton, Neyle Morrow, Peter Brocco, Bernie Hamilton.
Cinematography: Hal Mohr
Film Editor: Jerome Thoms
Original Music: Harry Sukman
Written, Produced and Directed by Samuel Fuller
Samuel Fuller’s successes with distributor-producer Robert Lippert
Kl Studio Classics
1954 / B&W / 1:66 widescreen / 70 min. / Street Date March 20, 2018 / available through Kino Lorber / 29.95
Starring: Richard Conte, Joan Bennett, Wanda Hendrix, Mary Beth Hughes, Reed Hadley, Iris Adrian.
Cinematography: John Martin
Film Editor: Ace Herman
Written by Herb Meadow, Jerome Oldlum from a story by U.S. Andersen, Roger Corman
Produced by Jack Jungmeyer, William F. Broidy (executive), A. Robert Nunes & Roger Corman (associates)
Nearly a week after Jenner, 20, welcomed her newborn daughter with boyfriend Travis Scott, she revealed on Instagram Tuesday that her baby girl’s name is Stormi. The new mom shared a photo of her holding her daughter’s finger with the simple caption, “Stormi.” She completed the post with an angel emoji.
Big sister Kim Kardashian West and family matriarch Kris Jenner also took to Twitter to share the name announcement.
— Kim Kardashian West (@KimKardashian) February 6, 2018
Meet my precious granddaughter Stormi!
But for most viewers, the facts -- and sometimes even the case of the hour -- are not as entertaining as the relationships between cops.
Whether played for laughs or part of a serious crime drama, cop partnerships are central to almost every crime drama.
Check out our picks for the 17 best partnerships and share your own.
1. The Andy Griffith Show: Andy Taylor and Barney Fife Andy Taylor and Barney Fife were one of the funniest, and best known, cop partnerships of the early 1960s. Andy was the straight-laced, serious sheriff trying to raise his son to be an upstanding citizen, while Barney was goofy, silly, and accident-prone. This duo was so popular that ANdy Griffith and Don Knotts teamed up again seeral times during the course of Griffith's later lawyer-turned-detective show, Matlock. 2. Dragnet 1967: Joe
He Walked by Night
1948 / B&W /1:37 flat full frame / 79 min. / Street Date November 7, 2017 / 39.99
Starring: Richard Basehart, Scott Brady, Roy Roberts, Whit Bissell, James Cardwell, Jack Webb, Dorothy Adams, Ann Doran, Byron Foulger, Reed Hadley (narrator), Thomas Browne Henry, Tommy Kelly, John McGuire, Kenneth Tobey.
Cinematography: John Alton
Art Direction: Edward Ilou
Film Editor: Alfred De Gaetano
Original Music: Leonid Raab
Written by John C. Higgins and Crane Wilbur
Produced by Bryan Foy, Robert T. Kane
Directed by Alfred L. Werker
Talk about a movie with a dynamite
Directed by John Huston.
Starring Jack Nicholson, Kathleen Turner, Anjelica Huston, Robert Loggia, John Randolph, William Hickey, and Lee Richardson.
John Huston’s penultimate movie, Prizzi’s Honor, arrives on Blu-ray, but the bonus features leave a bit to be desired. You get trailers for five other movies and a commentary track featuring film historians Howard S. Berger and Nathaniel Thompson. It’s still a worthwhile purchase if you’re a fan, though.
If you approach director John Huston’s Prizzi’s Honor with a frame of mind shaped by such films as The Godfather trilogy and Goodfellas, you’ll likely find yourself thrown by this movie’s tone. In fact, you might think that Huston was attempting a mob film only to fall flat, but the reality is that he was making a mob movie as seen through the lens of dark humor.
Melville at 100 at the American Cinematheque in Hollywood is showcasing eight of his films made from 1949 to to 1972 to honor the 100th year since his birth.
Americn Cinemtheque’s historic Egyptian Theater in Hollywood
The American Cinematheque has grown tremendously sophisticated since its early days creating the 1960 dream of “The Two Garys” (for those who remember). Still staffed by stalwarts Barbara Smith, Gwen Deglise, Margot Gerber and Tom Harris, and with a Board of Directors of Hollywood heavy hitters, it has also been renovated by the Hollywood Foreign Press Association which has spent more than $500,000 restoring its infrastructure and repainting its famous murals.
The Scar (Hollow Triumph)
Kl Studio Classics
1948 / B&W / 1:37 flat Academy / 83 min. / Street Date April 18, 2017 / available through Kino Lorber / 29.95
Starring: Paul Henreid, Joan Bennett, Eduard Franz, Leslie Brooks, John Qualen, Mabel Paige, Herbert Rudley, George Chandler, Robert Bice, Henry Brandon, Franklyn Farnum, Thomas Browne Henry, Norma Varden, Jack Webb.
Cinematography: John Alton
Film Editor: Fred Allen
Original Music: Sol Kaplan
Written by Daniel Fuchs from a
Between the Law & Order franchise, the Chicago franchise, and the ill-conceived, even ill-advised, attempt to revive Dragnet without Jack Webb, Dick Wolf may be responsible for more hours of television that I haven’t watched than Susan Lucci. I know he’s created and produced some of the most popular shows on TV, but I think his collected works are oeuvre-rated. So when I watched the first episode of his new show, Chicago Justice, I wasn’t expecting much. But even I wasn’t expecting so little.
First, there was the problem that the first episode of Chicago Justice was the third part of a three-part cross-over event that started in Chicago Fire and continued in Chicago P.D., neither of which I had watched. Fortunately, television still does something comic books seem unwilling to do nowadays, give recaps. So I was able to pick up
We hope HBO will pardon our repurposing of their famous catchphrase for the sake of celebrating what creator Paolo Sorrentino, star Jude Law and everyone else involved in this extraordinary pulp-prestige TV project have wrought. But hey, if the slogan fits, wear it. Flip the channels or scroll through the streaming services all you want, but you won't find anything like this. Its combination of tightly controlled tone with beautifully bizarre flights of fancy and absolutely colossal camp stands alone. It's Hannibal for lapsed Catholics.
The House on 92nd Street
Kl Studio Classics
1945 / B&W / 1:37 flat Academy / 88 min. / Street Date November 15, 2016 / available through Kino Lorber / 29.95
Starring William Eythe, Lloyd Nolan, Signe Hasso, Gene Lockhart, Leo G. Carroll, Lydia St. Clair, William Post Jr., Harry Bellaver, Bruno Wick, Harro Meller, Charles Wagenheim, Alfred Linder, Renee Carson, Paul Ford, Vincent Gardenia, Reed Hadley, E.G. Marshall, Elisabeth Neumann-Viertel.
Cinematography Norbert Brodine
Film Editor Harmon Jones
Original Music David Buttolph
Written by Barré Lyndon, Charles G. Booth, John Monks Jr.
Produced by Louis De Rochemont
Directed by Henry Hathaway
Reviewed by Glenn Erickson
I can’t believe
Fox is leading the drive, with three upcoming shows based on existing titles: “The Exorcist,” a new take on an old horror franchise; “Lethal Weapon,” a remake of the 1980s buddy comedy, and “Prison Break,” which is a continuation of that original series (expected in early 2017). CBS is also on the bandwagon, with new takes on “MacGyver” and “Training Day.”
The networks went through a similar exercise last year, and the results were mixed. At Fox, “Minority Report” was a dud, but the return of “The X-Files” was a massive ratings hit. CBS’ “Rush Hour” was a miss, but a new version of “The Odd Couple” is picking up steam.
Just as sequel and franchise mania envelops the film biz, it’s easy to knock TV for its constant desire to ride the wayback machine.
The post FilmOn TV Adds Four New Channels For Your Viewing and Entertainment Pleasure appeared first on Shockya.com.
Reviewed by Glenn Erickson
Here's the kind of '50s movie we love, an ambitious, modest crime picture that for its time had an edge. In the 1950s our country was as blind to the true extent of police corruption as it was to organized crime. Movies about bad cops adhered to the 'bad apple' concept: it's only crooked individuals that we need to watch out for, never the institutions around them. Thanks to films noir, crooked cops were no longer a film rarity, even though the Production Code made movies like The Asphalt Jungle insert compensatory scenes paying lip service to the status quo: an imperfect police force is better than none. United Artists in the 1950s helped star talent make the jump to independent production, with the prime success stories being Burt Lancaster and Kirk Douglas. But the distribution company also funded proven producers capable of putting out smaller bread 'n' butter movies that could prosper if costs were kept down. Edward Small, Victor Saville, Levy-Gardner-Laven. Aubrey Schenck and Howard C. Koch produced as a team, and for 1954's Shield for Murder Koch co-directed, sharing credit with the film's star, Edmond O'Brien. The show is a smart production all the way, a modestly budgeted 'B' with 'A' ambitions. O'Brien was an industry go-getter trying to channel his considerable talent in new directions. His leading man days were fading but he was in demand for parts in major films like The Barefoot Contessa. The producers took care with their story too. Writers Richard Alan Simmons and John C. Higgins had solid crime movie credits. Author William P. McGivern wrote the novel behind Fritz Lang's The Big Heat as well as Rogue Cop and Odds Against Tomorrow. All of McGivern's stories involve crooked policemen or police corruption. Shield for Murder doesn't tiptoe around its subject matter. Dirty cop Detective Lt. Barney Nolan (O'Brien) kills a hoodlum in an alley to steal $25,000 of mob money. His precinct boss Captain Gunnarson (Emile Meyer) accepts Barney's version of events and the Asst. D.A. (William Schallert) takes the shooting as an open and shut case. Crime reporter Cabot (Herbert Butterfield) has his doubts, and lectures the squad room about the abuse of police power. Barney manages to placate mob boss Packy Reed (Hugh Sanders), but two hoods continue to shadow him. Barney's plan for the money was to buy a new house and escape the rat race with his girlfriend, nightclub cashier Patty Winters (Marla English). But a problem surfaces in the elderly deaf mute Ernst Sternmueller (David Hughes), a witness to the shooting. Barney realizes that his only way forward is to kill the old man before he can tell all to Det. Mark Brewster (John Agar), Barney's closest friend. Once again one of society's Good Guys takes a bite of the forbidden apple and tries to buck the system. Shield for Murder posits an logical but twisted course of action for a weary defender of the law who wants out. Barney long ago gave up trying to do anything about the crooks he can't touch. The fat cat Packy Reed makes the big money, and all Barney wants is his share. Barney's vision of The American Dream is just the middle-class ideal, the desirable Patty Winters and a modest tract home. He's picked it out - it sits partway up a hill in a new Los Angeles development, just finished and already furnished. Then the unexpected witness shows up and everything begins to unravel; Barney loses control one step at a time. He beats a mob thug (Claude Akins) half to death in front of witnesses. When his pal Mark Brewster figures out the truth, Barney has to use a lot of his money to arrange a getaway. More mob trouble leads to a shoot-out in a high school gym. The idea may have been for the star O'Brien to coach actors John Agar and Marla English to better performances. Agar is slightly more natural than usual, but still not very good. The gorgeous Ms. English remains sweet and inexpressive. After several unbilled bits, the woman often compared to Elizabeth Taylor was given "introducing" billing on the Shield for Murder billing block. Her best-known role would be as The She-Creature two years later, after which she dropped out to get married. Co-director O'Brien also allows Emile Meyer to go over the top in a scene or two. But the young Carolyn Jones is a standout as a blonde bargirl, more or less expanding on her small part as a human ashtray in the previous year's The Big Heat. Edmond O'Brien is occasionally a little to hyper, but he's excellent at showing stress as the trap closes around the overreaching Barney Nolan. Other United Artists budget crime pictures seem a little tight with the outdoors action -- Vice Squad, Witness to Murder, Without Warning -- but O'Brien and Koch's camera luxuriates in night shoots on the Los Angeles streets. This is one of those Blu-rays that Los Angelenos will want to freeze frame, to try to read the street signs. There is also little downtime wasted in sidebar plot detours. The gunfight in the school gym, next to an Olympic swimming pool, is an action highlight. The show has one enduring sequence. With the force closing in, Barney rushes back to the unfinished house he plans to buy, to recover the loot he's buried next to its foundation. Anybody who lived in Southern California in the '50s and '60s was aware of the massive suburban sprawl underway, a building boom that went on for decades. In 1953 the La Puente hills were so rural they barely served by roads; the movie The War of the Worlds considered it a good place to use a nuclear bomb against invading Martians. By 1975 the unending suburbs had spread from Los Angeles, almost all the way to Pomona. Barney dashes through a new housing development on terraced plots, boxy little houses separated from each other by only a few feet of dirt. There's no landscaping yet. Even in 1954 $25,000 wasn't that much money, so Barney Nolan has sold himself pretty cheaply. Two more latter-day crime pictures would end with ominous metaphors about the oblivion of The American Dream. In 1964's remake of The Killers the cash Lee Marvin kills for only buys him a patch of green lawn in a choice Hollywood Hills neighborhood. The L.A.P.D. puts Marvin out of his misery, and then closes in on another crooked detective in the aptly titled 1965 thriller The Money Trap. The final scene in that movie is priceless: his dreams smashed, crooked cop Glenn Ford sits by his designer swimming pool and waits to be arrested. Considering how well things worked out for Los Angeles police officers, Edmond O'Brien's Barney Nolan seems especially foolish. If Barney had stuck it out for a couple of years, the new deal for the L.A.P.D. would have been much better than a measly 25 grand. By 1958 he'd have his twenty years in. After a retirement beer bash he'd be out on the road pulling a shiny new boat to the Colorado River, like all the other hardworking cops and firemen enjoying their generous pensions. Policemen also had little trouble getting house loans. The joke was that an L.A.P.D. cop might go bad, but none of them could be bribed. O'Brien directed one more feature, took more TV work and settled into character parts for Jack Webb, Frank Tashlin, John Ford, John Frankenheimer and finally Sam Peckinpah in The Wild Bunch, where he was almost unrecognizable. Howard W. Koch slowed down as a director but became a busy producer, working with Frank Sinatra for several years. He eventually co-produced Airplane! The Kl Studio Classics Blu-ray of Shield for Murder is a good-looking B&W scan, framed at a confirmed-as-correct 1:75 aspect ratio. The picture is sharp and detailed, and the sound is in fine shape. The package art duplicates the film's original no-class sell: "Dame-Hungry Killer-Cop Runs Berserk! The first scene also contains one of the more frequently noticed camera flubs in film noir -- a really big boom shadow on a nighttime alley wall. Kino's presentation comes with trailers for this movie, Hidden Fear and He Ran All the Way. On a scale of Excellent, Good, Fair, and Poor, Shield for Murder Blu-ray rates: Movie: Good Video: Very Good Sound: Excellent Supplements: Trailers for Shield for Murder, Hidden Fear, He Ran All the Way Deaf and Hearing Impaired Friendly? N0; Subtitles: None Packaging: Keep case Reviewed: June 7, 2016 (5115murd)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: firstname.lastname@example.org
Text © Copyright 2016 Glenn Erickson
Directed by Tom Mankiewicz.
Starring Dan Aykroyd, Tom Hanks, Christopher Plummer, Alexandra Paul, Jack O’Halloran, Harry Morgan, Elizabeth Ashley and Debney Coleman.
Police Sergeant Joe Friday and his new partner Pep Streebeck investigate a pagan cult causing havoc in Los Angeles.
It was the 1980s and buddy cop movies were coming at you left, right and centre. But for every Lethal Weapon, Red Heat or Tango & Cash that meshed together witty banter and extreme violence you also got a whole bunch that were lighter in tone and went straight for the belly laughs. Some were great, some were awful, and 1987’s Dragnet falls somewhere in the middle (but closer to the great end of the spectrum).
Dan Aykroyd (Ghostbusters/The Blues Brothers) plays Sergeant Joe Friday, a straight-laced, no-nonsense cop (and nephew of the Joe Friday from the original Dragnet TV series) who takes pride in his
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