AMT / Round 2 1:25 1953 Studebaker

In 1953, my father purchased this Studebaker. These cars were rather unique for the time. They are relatively small for one thing; a two door coupe. The car is also quite light weight, low to the ground and aerodynamic. It was very different from your typical early '50s American design.

At that time there was a well know modification commonly done to these cars. A more powerful Cadillac engine happened to be a perfectly fitting, drop in replacement. Given the Studebaker's sleek design and light weight, the result was one fast hot rod. Such modified cars been called "Studellacs".

The car my Dad bought was part way through this modification. He completed the job. 

My Dad never sold this car, his dream car, and his first "real" car. This car was part of my life growing up. It sat in the garage under a cover for many years. A couple times, my Dad got the urge to work on it. I badly needed paint and other work. But it never became an ongoing project, not until much later.

Keeping the car was a challenge over the decades, through devoice and moves. I even had it in a garage myself for awhile when I was in college and there was no place for it to go. 

 

 

When I found out this model existed I ordered it immediately.

I won't go into a lot of detail, but here's a few photos.

Here's the final cream colored top. The lower is still primer. 

I ended up cementing the hood down because it wasn't a perfect fit. Take one last look at the engine.

Done!

I was pleased with the red paint job, two-tone no less. That's something I usually do pretty badly.

These were the colors on my Dad's car.

The quality iof this kit is inline with others of this sale. There's enough detail to look good on the shelf. The fit and molding is fine, but just fine.

My only complaint about the model is that the Studebaker V-8 logos detailed on the body are completely wrong. It's an odd error. You'd think the designers would look up what the badges looked like on a vehicle so well known among car buffs.

The hub caps are also wrong. You can't have everything I guess.

The only after market detail I added was vintage Oregon license plates.

See the album for this project here:

https://photos.app.goo.gl/pUh6fL3ftCWttR1z5

Late in life, in the 1980s, my Dad finally restored his dream car. This last photo shows the Studebaker at that time.

After his death the car was sold to a collector. Someplace on YouTube, I've since lost the link, there is a video posted by the car's new owner about this Studellac. It's finally on the road again.

Blow Out

A remarkable of suspense and paranoia, Brian De Palma's 1981 neo-noir thriller "Blow Out" is a cinematic tour de force that delves into the dark underbelly of American politics and the power of sound to manipulate reality.

John Travolta delivers a career-defining performance as Jack Terry, a disillusioned sound engineer. While recording audio for a low-budget horror film, he accidentally captures the sound of a real-life assassination. Obsessed with uncovering the truth, Jack embarks on a perilous journey that leads him into a labyrinth of political intrigue and corruption.

Nancy Allen is captivating as Sally, a mysterious woman who becomes entangled in Jack's quest. Their relationship is fraught with danger and uncertainty, as they navigate a world where trust is a rare commodity.

De Palma's masterful direction is evident, utilizing his signature Hitchcockian suspense techniques to create a palpable atmosphere of dread and paranoia.

"Blow Out" is an indictment of the political machinations that often operate behind the scenes, manipulating events for personal gain. The film's themes of paranoia, surveillance, and the manipulation of public perception remain as relevant today as they were in the 1980s.

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Cannonball Run

"The Cannonball Run" is a 1981 American action comedy film directed by Hal Needham and starring Burt Reynolds, Dom DeLuise, Jackie Chan, Roger Moore, Farrah Fawcett, and Jamie Farr. The film is about a cross-country race from Connecticut to California, with a prize of $1 million. 

The film was a box office success, grossing over $80 million in the United States and Canada. However, it received negative reviews from critics, who panned its humor, acting, and special effects. Despite its critical reception, The Cannonball Run has become a cult classic, and it has spawned two sequels, Cannonball Run II (1984) and Speed Zone (1989).

The film's plot is simple but effective. A group of eccentric racers from all walks of life enter the Cannonball Run, a cross-country race from Connecticut to California. The race is illegal, and the racers must evade the police and other obstacles along the way. The film is full of over-the-top action sequences, slapstick comedy, and cameos from celebrities.

The Cannonball Run is not exactly a highbrow film, and is more than a little dated in parts, but it is fun. The film is fast-paced and entertaining, and it features a likable cast of characters. The humor is juvenile, but effective.

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Duel

Steven Spielberg's directorial debut, Duel (1971), is a taut and suspenseful thriller that masterfully builds tension and keeps the audience on the edge of their seats. The film stars Dennis Weaver as David Mann, a mild-mannered businessman who finds himself engaged in a deadly game of cat and mouse with a menacing tanker truck driver. 

Mann is driving cross-country through the desert when he overtakes the tanker truck. The truck driver, who is never seen, responds by aggressively tailgating Mann and attempting to force him off the road. Mann tries to escape, but the truck driver relentlessly pursues him, using his large vehicle to terrorize and intimidate him.

Duel is a masterclass in suspense filmmaking. Spielberg uses a variety of techniques to create a sense of dread and impending doom, including close-ups of Mann's face, long shots of the desolate desert landscape, and the eerie sounds of the truck's engine and air horn.

Weaver gives an excellent performance as Mann, conveying his growing fear and desperation as the truck driver's pursuit escalates. The film's supporting cast is also excellent, including Jacqueline Scott as Mann's wife and Eddie Firestone as a gas station attendant who tries to help Mann.

Duel is a film that is both terrifying and exhilarating, and it is a testament to Spielberg's talent as a filmmaker, even with his earliest efforts.

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To Live and Die in L.A.

"To Live and Die in L.A." is a 1985 neo-noir crime thriller film directed by William Friedkin and written by Gerald Petievich. The film stars William Petersen as Richard Chance, an agent with the United States Secret Service, who is investigating a counterfeiting ring. Willem Dafoe stars as Eric "Rick" Masters, the leader of the counterfeiting ring.

The film is dripping in 1980s pop culture in its use of fashion, music, and technology. The characters wear clothes that are typical of the 1980s, such as oversized jackets, neon colors, and big hair. The film's soundtrack features music by Wang Chung, Falco, and The Fixx, all of which were popular bands in the 1980s. The film also uses technology that was cutting-edge in the 1980s, such as car phones and computers.

The period esthetics of To Live and Die in L.A. create a gritty and realistic atmosphere. The film's depiction of Los Angeles is dark and seedy, and the characters are often flawed and morally ambiguous.

The film's action sequences are also top-notch, and they are staged with a level of realism that is often missing from action films. The car chase in particular is one of the most memorable in recent memory.

To Live and Die in LA is a classic, bring your parachute pants and Members Only jacket!

Half a Loaf of Kung Fu

In the realm of early martial arts cinema, Jackie Chan's 1978 film "Half a Loaf of Kung Fu" stands as a delightful blend of slapstick comedy, acrobatic action, and endearingly flawed characters. The film follows the misadventures of Jiang, an inept but ambitious young man who stumbles upon a chance to impersonate a legendary martial arts hero. However, his lack of skill and knack for getting into trouble soon land him in a series of hilarious predicaments.

Chan's comedic timing and physical prowess shine through in this early showcase of his signature style. His pratfalls, acrobatic stunts, and expressive facial expressions are a constant source of amusement, and his ability to blend humor with martial arts action is evident throughout.

While the plot itself is relatively simple, it provides a solid foundation for the film's comedic set pieces and action sequences. Jiang's journey from hapless imposter to reluctant hero is filled with unexpected twists and turns, keeping the audience engaged from beginning to end.

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The Last Black Man in San Francisco

A24's "The Last Black Man in San Francisco" is a beautiful and moving film about gentrification, friendship, and the power of dreams. Jimmie Fails (Jimmie Fails) is a young black man and a beautiful Victorian house his grandfather owned, though his family was evicted from it years ago. Jimmie is determined to reclaim his home, and his quest leads him on a journey through the changing city of San Francisco.

The film is a love letter to San Francisco, but it also takes a hard look at the ways in which gentrification is displacing black and brown residents. Jimmie's story is one of many, and the film does a powerful job of showing the human cost of gentrification.

But The Last Black Man in San Francisco is more than just a film about gentrification. It is also a story about friendship, love, and dreams. Jimmie's friendship with Montgomery is one of the most heartwarming things about the film. The two men support each other through thick and thin, and their bond is unbreakable.

The film is beautifully shot and scored. The cinematography captures the beauty of San Francisco, from its iconic landmarks to its hidden gems. And the score by Emile Mosseri is both haunting and uplifting.

The Last Black Man in San Francisco is another A24 home run. It is a powerful and moving story about gentrification, friendship, history, and the power of dreams.

Fargo

Oh, yah, "Fargo", now that's a movie I can get behind. It's got everything: a good story, some great acting, and a whole lot of Minnesotan charm.

The Coen brothers, who wrote and directed the film, really capture the feel of small-town Minnesota. The setting is perfect, with its snowy landscapes and quiet streets. And the characters, well, they're just like us. They're friendly, polite, and they always have a hot dish on the stove.

But don't let the gentle exterior fool you. There's a dark underbelly to Fargo, and it's not afraid to come out and play. The movie is full of twists and turns, and it'll keep you guessing until the very end.

Frances McDormand is absolutely brilliant as Marge Gunderson, the pregnant police chief who's determined to solve a series of murders. She's tough, but she's also compassionate, and she's one of the most memorable characters in movie history.

William H. Macy is also great as Jerry Lundegaard, the hapless car salesman who's in way over his head. He's so desperate to get out of debt that he's willing to do crimes. 

Steve Buscemi is hilarious as Carl Showalter, the dim-witted kidnapper who's just trying to do his job.

The Coen brothers' direction is spot-on. They capture the bleak beauty of the Minnesota winter landscape perfectly, and they create a sense of suspense and dread that never lets up.

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Safety Not Guaranteed

"Safety Not Guaranteed" is a charming film that blends elements of comedy, romance, and science fiction. The film tells the story of Darius (Aubrey Plaza), a jaded magazine intern who is assigned to investigate a mysterious newspaper ad placed by a man named Kenneth (Mark Duplass) seeking a companion for a time travel experiment.

Darius is initially skeptical of Kenneth's claims, but she is intrigued by his eccentricities. Darius and Kenneth develop an unlikely bond as they explore the possibility of time travel and the deeper meaning of life.

"Safety Not Guaranteed" is a surprisingly poignant film that will appeal to fans of indie cinema and time travel. The film's performances are all excellent, with Plaza and Duplass giving particularly memorable turns as the two leads. The film's script is also sharp and witty, and the director, Colin Trevorrow, does a great job of creating a sense of mystery and intrigue.

The Trial

Orson Welles' adaptation of Franz Kafka's "The Trial" is a labyrinthine and nightmarish journey into the depths of bureaucracy and the absurdity of the modern world. Welles' visual style is perfectly suited to Kafka's material, creating a world of distorted perspectives and oppressive shadows. The film is a haunting and unforgettable experience, and it remains one of Welles' most ambitious and visionary works.

Kafka's novel is notoriously difficult to interpret, and Welles' film does not make things any easier. The film is full of symbolism and allegory, and it is up to the viewer to decide what it all means. However, there are a few key themes that emerge from the film.

One theme is the dehumanizing nature of bureaucracy. Josef K., the protagonist of the film, is arrested one morning without charge and thrown into a Kafkaesque legal system. He is never told what he is accused of, and he is unable to get anyone to give him a straight answer. The system is labyrinthine and incomprehensible, and K. is powerless to resist it.

K.'s trial is a sham, and the charges against him are never made clear. The system seems to exist for its own sake, and K. is simply a pawn in a larger game. The film is a powerful indictment of the modern world and its alienating and oppressive structures.

The film can be criticized for pacing problems, but Welles' visual style and the performances of the cast make the film more than worth watching. Anthony Perkins gives a particularly memorable performance as Josef K., conveying his character's growing sense of alienation and despair.

Orson Welles' The Trial is a challenging and rewarding film. It is a visually stunning and thought-provoking adaptation of Kafka's classic novel. The film is not for everyone, but it is sure to leave a lasting impression on those who see it.

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Devil in a Blue Dress

"Devil in a Blue Dress" is a neo-noir directed starring Denzel Washington, Jennifer Beals, and Tom Sizemore. The film is set in Los Angeles in 1948 and tells the story of Ezekiel "Easy" Rawlins, a World War II veteran who is struggling to make ends meet. Easy is hired by a mysterious white man to find a missing woman named Daphne Monet, who Easy soon discovers is involved in a complex web of political corruption and murder.

The film is a stylish and atmospheric thriller, with a strong sense of period and place. Franklin does a masterful job of recreating the look and feel of 1940s Los Angeles, from the smoky jazz clubs to the segregated neighborhoods. The film also features a number of memorable characters, including Easy, who is a complex and sympathetic protagonist.

Washington gives a star-making performance as Easy Rawlins. He is perfectly cast as the tough but principled, if reluctant, investigator. Beals is excellent as Daphne Monet, the femme fatale who draws Easy into a dangerous game. Sizemore is also good as the villainous DeWitt Albright.

The film's plot is complex but well-paced, with plenty of twists and turns. The film also portrays the racism and police corruption of 1940s Los Angeles. However, it never becomes heavy-handed, and it manages to maintain a sense of suspense and interest throughout.

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Police Story 3: Super Cop

Jackie Chan returns in top form as Inspector Ka-kui, a bumbling yet dedicated cop who always gets the job done (with a healthy dose of mayhem and destruction). His comedic timing is impeccable, and he manages to inject humor into even the most intense situations.

The Supercop films are legendary for death-defying stunts, all performed by Jackie Chan himself without the aid of CGI. Chan pushes the limits of human endurance and delivers some truly awe-inspiring action sequences. His blend of signature acrobatics, slapstick, and martial arts is on full display in Supercop. The fight choreography is inventive and exhilarating, showcasing Chan's incredible agility and comedic timing. 

Impressive stunts, hilarious moments, and genuine heart... While the plot isn't perfect, it's a crowd-pleaser.

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Police Story

"Police Story" is the Hong Kong action-comedy classic that launched Jackie Chan into international superstardom.

POW! WHAM! CRUNCH! Police Story is an aural assault in the best way possible. Punches land with meaty thuds, kicks connect with resounding snaps, and Jackie's trademark yelps as he takes a tumble or two become a hilarious leitmotif. Every crash, boom, and bone-crackling effect is perfectly timed and accentuated, making you wince (and laugh) in equal measure.

BOING! BOINK! BOINK! Amidst the bone-crushing, Jackie injects his signature slapstick comedy. From pratfalls that defy physics to elaborate gags involving props and scenery, Police Story never takes itself seriously. The sound design plays a crucial role here too, with goofy sound effects for every slip, slide, and pratfall, turning Jackie into a human cartoon come to life.

HONK! SCREECH! BOOM! The action sequences are where Police Story truly shines. Jackie Chan, known for his death-defying stunts performed without the aid of CGI or stunt doubles, throws himself into every fight scene and chase sequence with reckless abandon. From scaling shopping mall escalators to hanging precariously from a speeding bus, the stunts are as jaw-dropping as they are hilarious, the sound design that adds that extra layer of oomph to every punch, kick, and explosion.

JANGLE! CLINK! WHISTLE! The film also has a surprisingly sweet heart. The camaraderie between Jackie's character and his fellow cops is genuinely heartwarming, and the budding romance between Ka-Kui and his love interest, May, adds a touch of tenderness amidst the mayhem. Even the sound design reflects this, with gentle chimes and playful whistles punctuating the action scenes, reminding us that there's more to Police Story than just kicks and screams.

The raw energy and humor of "Police Story" remain timeless. It's a testament to Chan's talent and charisma that the film continues to entertain.

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The Manchurian Candidate

The 1962 film "The Manchurian Candidate" is a political thriller that explores the themes of brainwashing, political manipulation, and the loss of individual identity. The film tells the story of Ben Marco, a Korean War veteran who is brainwashed by communists and turned into a programmed assassin. Marco is manipulated as part of a conspiracy to kill a prominent political figure, and his actions threaten to throw the United States into chaos.

The film's exploration of brainwashing is particularly relevant in the context of the Cold War, when the fear of communism was widespread in the United States. The film suggests that brainwashing is a real and dangerous threat, and that it can be used to turn even the most loyal Americans against their own country.

Themes of political manipulation and the loss of individual identity are quite relevant to today's world we're we are constantly bombarded with information and messages from a variety of sources. It can be difficult to distinguish between truth and propaganda, and it is easy to become manipulated by those who are seeking to control our thoughts and actions.

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The Servant

There are many unusual aspects of the film "The Servant" (1963), but one of the most striking is the way it blurs the lines between master and servant. The film centers on a young, wealthy man named Hugo Barrett (Dirk Bogarde) who hires a new manservant, Robert (James Fox). As the story unfolds, it becomes clear that Robert is not a typical servant. He is intelligent, manipulative, and ambitious, and he quickly begins to exert control over Hugo's life.

In most films about servants, the servant is subservient to the master. But in "The Servant," it is the servant who is in control. This is made all the more unsettling by the fact that Hugo is a weak and indecisive man who is easily manipulated by Robert.

The film's unusual power dynamic emphasized by the fact that it is set in the upper class. In a world where social class is rigidly defined, the idea of a servant taking control of his master is almost unthinkable. But "The Servant" suggests that even in the most rigid social hierarchies, there is always room for subversion.

The film's unusual power dynamic is a reflection of the changing social order in the 1960s. The old aristocracy was in decline, and a new generation of people was rising to power. "The Servant" can be seen as a metaphor for this changing world, in which the old rules no longer apply.

"The Servant" is an exploration of class and identity. The film is set in the upper class, but it is far from a glamorous portrait of life at the top. Instead, the film shows the emptiness and decadence of the upper class. Hugo, despite his wealth and privilege, is a deeply unhappy and insecure man.

As the story unfolds, it explores the idea of the identity of Hugo in particular, a man who is unsure of who he is and is rather out of place in the modern world. He is nominally upper class but is constantly trying to prove his worth to others, and he is easily manipulated by those who flatter his ego. Robert, on the other hand, is a much more confident and self-assured man. He knows who he is and what he wants, and he is not afraid to go after it.

"The Servant" is a complex and challenging film that is open to a variety of interpretations. It is a film about class, identity, and the power of manipulation. It is a film about the changing social order of the 1960s.

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Lilies of the Field

In the heart of the Arizona desert, a humble handyman named Homer Smith (Sidney Poitier) embarks on a journey of unexpected benevolence in the 1963 film "Lilies of the Field." With a heart as warm as the sun and a spirit as resilient as the cactus, Homer finds himself drawn to a group of German nuns who are struggling to maintain their impoverished farm.

Despite his initial reluctance, Homer agrees to help the nuns build a chapel, a project that tests his physical strength and unwavering faith. As he works alongside the nuns, their cultural differences and language barriers fade away, replaced by a deep sense of respect and shared purpose.

Poitier's captivating performance as Homer delivers a powerful message of compassion and selflessness. His quiet dignity and unwavering commitment to helping others shine through, inspiring the nuns and the audience alike.

Director Ralph Nelson masterfully captures the stark beauty of the desert landscape, creating a backdrop that mirrors Homer's own rugged exterior. The film's gentle pace and understated dialogue allow the characters' emotions to resonate deeply, making it a poignant and heartwarming tale of human connection.

"Lilies of the Field" is a timeless classic that celebrates the transformative power of faith, kindness, and the indomitable human spirit. It reminds us that even the smallest acts of compassion can have a profound impact on others, leaving a legacy of hope and inspiration.

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Lucy

Luc Besson's 2014 film Lucy is a wild ride. It's a sci-fi action thriller that explores the nature of consciousness and the limits of human potential. It's also a mess.

The film's problem is its tone. It jumps back and forth between being a serious philosophical salad and a mindless action movie. This can be jarring and disorienting for the viewer.

Another problem is the film's pacing. The first half is slow and plodding, while the second half is rushed and chaotic. This makes it difficult for the viewer to get invested in the story, such as it is, or its characters.

Despite its flaws, Lucy is still an entertaining film. Scarlett Johansson gives a great performance as the titular character, and the action scenes are well-choreographed and exciting. Just don't use your entire brain while viewing.

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Carlito's Way

Penn's perm in Carlito's Way is particularly striking and memorable. It's out of place in the film's otherwise gritty and realistic setting. Penn's hair in the film was actually inspired by a picture in Life magazine of a law student at the time. However, viewers and some movie reviewers noted that he resembled Alan Dershowitz, who supposedly threatened litigation.

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Dracula

The costumes in the 1931 film Dracula are iconic and timeless. They are both elegant and eerie, perfectly capturing the essence of the film's dark and atmospheric tone.

Bela Lugosi's portrayal of Count Dracula is one of the most iconic in cinema history, and his costume is a large part of that. Lugosi's Dracula is a sophisticated and aristocratic figure, and his costume reflects that. He is often seen wearing black capes and suits, with high collars and cuffs. His hair is slicked back, and his face is pale and gaunt. This costume creates a sense of dread and mystery, perfectly embodying the character of Dracula.

The other costumes in the film are also well-designed and contribute to the overall atmosphere. Mina Harker, played by Helen Chandler, is often seen wearing white dresses and gowns, which contrast sharply with the dark colors worn by Dracula and the other characters. This contrast helps to highlight Mina's innocence and purity, while also making her seem vulnerable and at risk.

The other characters in the film are also dressed in period clothing that is both stylish and evocative of the film's setting. The costumes help to create a sense of realism and authenticity, which makes the film's horror elements even more effective.

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Poltergeist

Poltergeist was released in 1982, near the beginning of the Reagan Era. It is a horror film about a suburban family whose home is invaded by malevolent spirits. The film's themes of domesticity, technology, and the supernatural resonated with audiences at the time, and it has since become one of the most iconic horror films of the 1980s.

In many ways, Poltergeist can be seen as a reflection of the anxieties and concerns of the American people in the early 1980s. The film's focus on the nuclear family and the threat of its disruption mirrored the growing concerns about the changing role of the family in American society. The film's depiction of technology as being both beneficial and dangerous also reflected the ambivalence that many Americans felt about the rapid technological advances of the era. The film's exploration of the supernatural can be seen as a response to the growing religious fundamentalism of those years.

Poltergeist is a film that is deeply embedded in the social and cultural context of it's time. The 1980s was an era of great uncertainty and anxiety, as the world was facing Cold War tensions, the threat of nuclear war, and the AIDS crisis. It is a film that reflects the anxieties and concerns of the American people of that time, and it continues to resonate with audiences today perhaps for many of the same reasons.

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High Plains Drifter

High Plains Drifter (1973) is a dark and revisionist western directed by Clint Eastwood, who also stars as the mysterious stranger who rides into a small town to protect it from a gang of outlaws. The film is notable for its ambiguous morality, deconstruction of western tropes, and hints of supernatural elements,

The film is visually striking, with stark cinematography and a haunting score. Eastwood gives a mesmerizing performance as the stranger, a man who is both ruthless and charismatic.

Eastwood's Stranger is a complex and ambiguous figure. He is a skilled gunman, but he is also ruthless and vengeful. He uses the townspeople to achieve his own ends, and he ultimately leaves them worse off than he found them.

The film's supernatural undertones are intriguing. 

The townspeople of Lago seems innocent at first, but are shown to be corrupt and dishonest, complicate in a terrible crime, and are willing to do whatever it takes to protect their own interests. The Stranger, on the other hand, is a symbol of moral purity and harsh justice through violence.

The townspeople are also guilty of inaction. They have allowed evil to flourish in their town, and they have failed to protect their own citizens. The Stranger, who appears to have some connection to a man murdered in the town previously, forces the townspeople to confront their guilt and to take responsibility for their actions.

The Stranger seems to be able to control the townspeople, and he appears to be immune to harm. This suggests that he may be more than just a man, but some sort of vehicle for retribution.

Some critics have seen the film as a critique of the American legal system and its inability to deliver justice. It can also be viewed as a meditation on the nature of evil and the cycle of revenge through violence. 

High Plains Drifter is a thought-provoking film. It is not a traditional Western, but it is a powerful and disturbing exploration of the American West.

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John Wick

John Wick is s Gun Safety Disaster.

Keanu Reeves is back in action as John Wick, a retired hitman who is drawn back into the criminal underworld after his puppy is killed. Wick is a skilled assassin with a deadly aim, and a gun safety hazard.

Throughout the film, Wick breaks every gun safety rule in the book. He fires his gun with one hand, he keeps his finger on the trigger outside the guard... It's a wonder he doesn't accidentally shoot himself or someone else.

John Wick sometimes fires his gun without looking where he's aiming. This is incredibly reckless and could easily result in accidental injury or death. He also keeps a loaded gun under his bed, within reach of his dog. This is a big no-no, especially if you have children or pets in your home!

Astonishingly, despite all of these gun safety violations and many more, Wick somehow manages to avoid getting himself or anyone else killed by accident.

Just remember, kids: don't be like John Wick. Gun safety is important!

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The Nightmare Before Christmas

Let's talk about Jack Skellington. He's a skeleton, for goodness sake! How does he expect to take over Christmas? He doesn't have the skills, the experience, or the resources. And yet, he just goes for it anyway.

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Weird Science

A towering triumph of '80s teenage nerd cinematic craftsmanship...

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Melancholia

Oh, Melancholia, so dark and deep,

Your themes are heavy, your message steep.

You show us despair, depression's grip,

And the futility of human ship.

But your beauty shines, your shots are grand,

And your actors give us performances unplanned.

So thank you, Lars, for this work of art,

Even though it left our hearts so smart.

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Shaft

In the culinary landscape of cinema, "Shaft" (1979) stands as a delectable treat, a film that satiates the appetite for action and intrigue while simultaneously serving up a smorgasbord of culinary metaphors.

John Shaft, the titular private detective, navigates the gritty streets of New York City with the finesse of a seasoned chef, expertly maneuvering through a world where danger and deception are as commonplace as a greasy spoon diner. Shaft's investigations take him from swanky uptown restaurants to dingy back-alley dives, exposing him to a diverse menu of characters and experiences.

While Shaft's primary focus is on solving crimes, food plays a significant role in his world. He's often seen indulging in hearty meals, whether it's a juicy steak at a high-end establishment or a simple sandwich from a street vendor. These culinary interludes serve as more than just sustenance; they provide moments of respite and reflection, allowing Shaft to gather his thoughts and prepare for the next course of action.

The film's culinary text extends beyond Shaft's personal dining habits. The criminal underworld he navigates is rife with food-related metaphors, from the "big cheese" at the top of the food chain to the "small fry" caught in the crossfire. Shaft's investigations often involve uncovering the "rotten apples" in society, exposing those who have spoiled the metaphorical pot of stew.

In a particularly memorable scene, Shaft confronts a corrupt businessman in a swanky restaurant, using the language of food to expose the man's nefarious dealings. He accuses the businessman of "cooking the books" and "serving up a raw deal," cleverly weaving culinary terms into his accusations.

The film's climax takes place in a bustling marketplace, where Shaft confronts the mastermind behind a drug trafficking ring. Amidst the cacophony of vendors hawking their wares, Shaft delivers a final blow to the criminal enterprise, effectively "shutting down the kitchen" and putting an end to their illicit activities.

"Shaft" (1979) is a culinary adventure, skillfully weaving food-related themes into its narrative, adding delectable layer to its gritty and action-packed storyline. Through its use of culinary metaphors and Shaft's own dining habits, the film serves up a unique blend of action and intrigue, leaving viewers both entertained and hungry for more.

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The Blues Brothers

Jake and Elwood Blues, on a mission from God,

To reunite their band and make some odd coin.

With sunglasses and black suits so cool,

They're the Blues Brothers, they're the real deal.

From Joliet Prison to Sister Mary Stigmata,

They're dodging the law, but they're having a blast-a!

With Carrie Fisher and Aretha Franklin too,

The Blues Brothers are a musical crew.

With their Bluesmobile, they're driving through the night,

Singing and dancing with all their might.

John Belushi and Dan Aykroyd at their best,

The Blues Brothers are the best dressed.

So if you're feeling down and need a pick-me-up,

Just watch the Blues Brothers and drink from your cup.

They'll make you laugh and get your toes tapping,

The Blues Brothers are simply captivating.

Oh, the Blues Brothers, they're the best,

They're better than all the rest.

So put on the movie and have some fun,

The Blues Brothers are second to none!

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Forbidden Planet

Forbidden Planet is a sci-fi movie about a bunch of space cadets who land on a planet formally inhabited by a super-advanced civilization. The aliens were so advanced, they have robots that can do everything for them, including cooking, cleaning, and giving massages.

But there's a dark secret: a giant monster locked up in the basement. And when the space cadets release the monster, all hell breaks loose.

Roughly... You get the idea.

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Raging Bull

Raging Bull is a film about a boxer who really, really likes steak. I mean, he really likes steak. He loves steak. He dreams about steak. He's obsessed with steak.

In fact, the film opens with a scene of Jake LaMotta (Robert De Niro) eating a steak. He eats it with such gusto, such passion, that you can't help but be drawn into the film.

From there, Raging Bull follows LaMotta's career as a boxer, from his early days as a rising star to his later years as a self-destructive wreck. But through it all, one thing remains constant: his love of steak.

LaMotta eats steak before fights, after fights, and even in the middle of fights. He eats steak when he's happy, when he's sad, and when he's angry. He eats steak for breakfast, lunch, and dinner.

And that's what makes Raging Bull such a great film. It's a film about a man who is so passionate about something, even if that thing is just steak.

Of course, the film is more than just about steak. It's also about fame, self-destruction, and the dark side of human nature. But it's also a film about a man who loves steak more than anything in the world.

So if you're looking for a film that is both entertaining and thought-provoking, I highly recommend Raging Bull. But be warned: it may make you hungry for steak.

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After Hours

After Hours is a film about a man who gets lost in SoHo and finds himself trapped in a nightmarish world of weirdos and lunatics. It's like a fever dream, but instead of waking up, the protagonist just keeps getting deeper and deeper into trouble.

Griffin Dunne is perfect as the hapless Paul Hackett. He's the kind of guy who always seems to be in the wrong place at the wrong time. And in this film, that's really bad news.

The supporting cast is a who's who of 80s character actors, including Rosanna Arquette, Catherine O'Hara, Cheech Marin, and John Heard. They all give memorable performances, and their interactions with Paul are often hilarious.

After Hours is a dark comedy, but it's also suspenseful. Scorsese does a great job of creating a sense of dread and paranoia as Paul's night spirals out of control.

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Mission: Impossible - Ghost Protocol

Mission: Impossible - Ghost Protocol is the fourth film in the franchise, and it's the one where Tom Cruise finally loses his mind.

The film opens with Hunt and his team breaking into the Kremlin to steal a nuclear launch code. Of course, things go wrong, and they're forced to flee to the Burj Khalifa, the world's tallest building.

Hunt then proceeds to scale the outside of the building without any safety gear. It's a truly impressive stunt, but it's also completely ridiculous.

The rest of the film is a blur of action sequences, all of which involve Cruise doing something incredibly dangerous. He jumps out of airplanes, fights off dozens of bad guys, and drives a car through the streets of Moscow at high speed.

Mission: Impossible - Ghost Protocol is a fun movie. The action is exciting, the cast is good, and the film has a nice sense of humor.

Check out Mission: Impossible - Ghost Protocol. Just don't expect it to make any sense.

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Cop Land

Cop Land is a crime thriller film directed by James Mangold and written by Mangold and Michael Mann. It stars Sylvester Stallone as Freddy Heflin, the sheriff of a small New Jersey town that is home to many corrupt New York City police officers. When Freddy investigates the death of a fellow officer, he uncovers a web of corruption and must decide whether to stay silent or stand up for what is right.

The film is notable for its strong performances, particularly from Stallone, Robert De Niro, and Harvey Keitel. Stallone gives a career-best performance as Freddy Heflin, a complex and flawed character who is ultimately forced to make a difficult choice. De Niro is also excellent as Moe Tilden, an Internal Affairs officer who is determined to expose the corruption in Cop Land. Keitel is also strong as Ray Donlan, a corrupt police officer who is Freddy's childhood friend.

Cop Land is a well-made and suspenseful film that explores themes of corruption, loyalty, and the cost of standing up for what is right.

While the film was not a box office success, it has since been recognized as a cult classic and is praised for its strong performances, complex characters, and gritty realism.

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Spirits of the Air • Gremlins of the Clouds

Spirits of the Air, Gremlins of the Clouds (1989) is a low-budget Australian post-apocalyptic sci-fi adventure film directed by Alex Proyas in his feature debut. The film follows a brother and sister living in a desolate desert landscape who are visited by a mysterious stranger who helps them build a crude plane to escape.

The film is visually stunning, with Proyas creating a unique and atmospheric world using limited resources. The production design and special effects are particularly impressive, given the film's budget. The performances are also solid, with Michael Lake, Rhys Davis, and Norman Boyd delivering memorable turns.

Overall, Spirits of the Air, Gremlins of the Clouds is a flawed but interesting film that is worth watching for its unique visuals and atmosphere. It is a clear precursor to Proyas' later and more successful films, such as The Crow and Dark City.

If you are a fan of low-budget sci-fi films with unique visuals and atmosphere, then you may enjoy Spirits of the Air, Gremlins of the Clouds. However, if you are looking for a fast-paced or tightly plotted film, then you may be disappointed.

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