Stream Cape Fear Movie Online

January 8th, 2010 by camren4910019
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Movie Title: Cape Fear
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This review refers to the “Cape Fear”(1962) Widescreen DVD edition by Universal…..

“Cape Fear” from 1962 is a terrific example of great film noir. Filmed in black and white, director J.Lee Thompson uses shadows and light, and the art of suggestion(the censors were pretty tough back in the 60’s), to bring us this bone-chilling and suspenseful classic that over fourty years later, still, has not lost it’s draw. Not unlike many of Hitchcock’s films, Thompson has the audience on the edge of their seats,our hearts in our throats, and in fear for the hero.

It’s good vs. evil, as Greogory Peck and Robert Mitchum, put their immense talents together for this spine tingler. Max Cady(Mitchum) has just been released from 8 long years in prison. From the moment we meet him, we KNOW this is one bad hombre. He is bent on revenge, and Sam Bowden(Peck) is the man who must pay. Sam’s young daughter and beautiful wife are the targets of Max’s obssession. He is slick and devious and will stop at nothing to get even. Sam does everything in his power legally to try and stop him, but must take matters into his own hands to protect his family.

Mitchum is simply powerful in his performance of this menacing threat, and Peck as always is perfect in his portrayal of the family man whose life has just turned into one big nightmare!
The film is also helped by the wonderful talents of Telly Savalas and Martin Balsam. Polly Bergen and Lori Martin are magnificent as the terrified wife and daughter.The talent doesn’t end there though, the haunting music was scored by Bernard Hermann(who worked with Hitch on several films), and Sam Leavitt does a fabulous job with the black and white cinematography.

The transfer to DVD is crisp and sharp. It is presented in anamorphic widescreen(1.85:1)and barely shows it’s age. The sound is in Dolby Dig 2.0 Mono. The dialouge as well as the music and background noises are all clear and distguishable.
There is a terrific featurette on the making of the film,production photos, a trailer, and DVD ROM. It may only be viewed in English, but has captions in English and subtitles in Spanish and French for those that may need them.

A thriller that stands the test of time. One that esteemed Director Martin Scorsese chose to pay homage to with a wonderful remake.

Get the popcorn ready and enjoy……Laurie

Prior to his Oscar-winning role as lawyer Atticus Finch in “To Kill a Mockingbird”, Gregory Peck portrayed another attorney in 1962’s “Cape Fear”, a psychological thriller also starring Robert Mitchum in one of his most despicable roles.

No two actors were better suited than these two. Their characters are a definite study in contrast. Peck’s Sam Bowden is a civilized intellectual forced to resort to some underhanded means to protect his family and himself from the treacherous taunts of Mitchum’s crude, rude antagonist. Tension builds as the two men make a final confrontation at the location of the film’s title.

Polly Bergen and Lorie Martin as Peck’s respective wife and daughter are quite good a show a strength of character rare for women in the early 60’s. They are not just “screaming Mimi’s”.

Martin Balsam, Jack Krushen and a pre-Kojak Telly Savalas round out a superlative cast; Barrie Chase is also quite memorable as a woman that runs afoul of the Mitchum’s sadistic Max Cady.

Southern locations and crisp cinematography provide a picturesque yet menacing background and look.

To top off the film off is another remarkable score from Bernard Herrmann. Music by the late composer elevates this already superior thriller to a higher level.

That Man Bolt Streaming

January 8th, 2010 by camren4910019
That Man Bolt Streaming. That Man Bolt Streaming.

Movie Title: That Man Bolt
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In case you’re unaware, blaxploitation is defined as `a genre of American film of the 1970s featuring African-American actors in lead roles and often having antiestablishment plots, frequently criticized for stereotypical characterization and glorification of violence. While African-American filmmakers were substantially involved in making early movies in this genre, their participation in subsequent productions was minimal.’ MGM releases their films of this genre under the guise of `Soul Cinema’. Universal, who released this DVD, did so under the header `Soul Showcase’…both seem a little pretentious, as it’s all blaxploitation to me (and everyone else), regardless how much they try to fancy it up. That Man Bolt (1973) features two directors in Henry Levin (Journey to the Center of the Earth) and David Lowell Rich (The Concorde: Airport ‘79) and stars a relative staple of the genre in former Oakland Raiders / Kansas City Chiefs football star Fred `The Hammer’ Williamson (Black Caesar, Hell Up in Harlem, Three the Hard Way) as the title character, Jefferson Bolt. Also appearing is the portly Byron Webster (The Poseidon Adventure, The Nude Bomb), Miko Mayama (The Hawaiians), and Teresa Graves (Vampira).

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As the film begins, we see Bolt in a Macao prison, practicing what appears to be some form of martial arts (in real life Williamson does possess black belts in Kenpo, Shotokan Karate, and Tae-Kwon-Do) sans his shirt so we can all get a good look at his sweaty, naked torso. Turns out he was falsely imprisoned by charges trumped up by a mysterious Englishman, and now said Englishman has afforded his release on the stipulation that Bolt, who makes a living as a highly paid professional courier, take on a job involving the transportation of $1,000,000 to Mexico City, which he does, begrudgingly. Arriving in Los Angeles (I guess there were no direct flights to Mexico City from Hong Kong), he gets attacked in the men’s room by three assailants, but given he has a black belt in karate, he makes short work of these guys. A clue leads him to Las Vegas, and there he learns the money is fake, along with getting his love interest, who sings in a lounge, killed as more people try to retrieve the dough. It’s personal now as Bolt is determined to get revenge on those responsible, with the trail leading back to where he started, in Hong Kong (watch for the scene in the Hong Kong fireworks factory…is there a film out there that includes a fireworks factory that doesn’t have it blowing up at some point?). He does eventually learn the truth, but that may cost him as his dogged determination has lead to someone putting a contract out on his life, a contract to be fulfilled by a deadly assassin named Spider. Survival seems slim, given the power behind the machinations to which Bolt is but a pawn, but they messed with the wrong brother, and Bolt’s about to bring their world down around their ears.

While watching this film, I couldn’t help feel the filmmakers were trying to emulate the popular Bond films with the character of Bolt (Heck, they even have the same initials Jefferson Bolt - James Bond). Bolt is passed off as a former captain of U.S. Special forces, graduate of Cal Tech and M.I.T. with a master’s degree in physics (?), and a black belt in martial arts. He’s a worldly traveler, and you know all the women want him (mainly because it’s written that way). The main difference is the character of Bolt works outside the system, rather than for some government agency. While you’re watching this film, think about all the Bond films you’ve seen, and pick out the similarities, especially in terms of the main villain and his remote island base. I don’t know, maybe the hope was to create a franchise similar to the Bond series (or just cash in on it with a one shot), and they might have been successful if not for one thing (okay, maybe a few things), Williamson can’t act. Oh, he can say his lines, but don’t expect much else. The man’s performance is about as wooden as they come, and he’s not helped by the lame script. And what is up with the plot? Here we’ve got a relatively simple story, and they’ve gone and jumbled it up to the point the audience has little idea what’s going on in terms of specifics until nearly the end, when a huge steaming load of exposition is required to straighten everything out, causing the film to run way too long. The film has a few positives, though. There’s plenty of hand-to-hand combat, gunplay, car chases (is it possible to have a car chase in LA without it going into the LA aqueduct system? I guess not), explosions, sexy women (no nudity, though, which is strange as that’s usually a given in these types of films, but then the Bond film also didn’t have nudity, either), and a few really good bloodless kill sequences (hence the R rating) featuring various people getting their necks punctured various accoutrements including a jagged piece of mirror, an ice pick, and an acupuncture needle. Another missing element that’s common in many films of the genre are the hyper bigoted Caucasian characters slinging all kinds of racial slurs aimed at the African American characters, so that when The Man bites it at the end, there’s definite justification for his demise, usually in particularly brutal fashion. I didn’t mind the lack of this, and it seems to go in line with my initial theory of creating a Bond-like franchise in that they probably wanted wider appeal, so they eased up on a number of aspects blaxploitation films are generally know for…one thing I really enjoyed was the scenes shot on location. There’s a great deal of footage featuring Hong Kong, its’ countryside, and its’ harbors.

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The anamorphic widescreen (1:85.1) picture is clear and crisp, with decent Dolby Digital 2.0 mono with no extras.

Cookieman108

I thought this movie was preety good. Fred did a great job with his charater Jefferson Bolt,and the story board was as good as his former 70’s movies’ like hell up in harlem, and black Ceaser. If your a Fred Willaimson fan, then this is difinitely one of his movie’s you should add to your collection.

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January 6th, 2010 by camren4910019

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“Any man’s my man if I want it that way.” The speaker could only be Joan Crawford, as a wicked man-eater terrorizing her Deep South household in QUn Bee. Crawford’s the whole show in this campy 1955 melodrama, which aspires to be second-rate Lillian Hellman but doesn’t even reach that level. Having trapped a wealthy Southerner (Barry Sullivan) into marriage, Crawford takes her main pleasure in making life miserable for the other women of the mansion. This is fun to watch for a while, but director Ranald MacDougall (he wrote Mildred Pierce for Crawford) can’t get the pace moving, and the final comeuppance is all too predictable. Crawford was going into her final high-diva phase at this point in her career, all chalky makeup and yard-long eyebrows, and QUn Bee clearly points the way toward What Ever Happened to Baby Jane? Star power prevails, however, and at least the picture summons up its share of unintentional laughs. –Robert Horton

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January 6th, 2010 by camren4910019

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January 6th, 2010 by camren4910019

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Ernest Dickerson, one-time cinematographer for Spike Lee and director of Demon Knight, said during the initial release of this film that he chose the project because he was a lifelong fan of the horror genre. Other horror fans should be thankful, because without Dickerson’s enthusiasm and visual sense, this derivative gorefest wouldn’t come close to the entertainment level that it ultimately achieves. The film was the first big- screen adaptation of HBO’s Tales from the Crypt series, a show based on the EC comic books of the ’50s. Like Creepshow before it, Demon Knight blends fair amounts of blood, sex, and knowing comedy with a paper-thin plot that doesn’t leave a bit of room for subtext. Dickerson understands this, so instead he pumps the flick full of eye-popping visuals and gorgeous camerawork, and populates it with terrific character actors (especially Billy Zane, who really has fun, and William Sadler) who don’t seem to care that their characters have little identity. Everyone seems to be giving this tiny project everything they’ve got, while never taking it seriously for a minute. We’ve seen the story before: A diverse bunch (a hooker, the town drunk, the ex-con, etc.) is locked in a rundown hotel and is forced to battle the Legions of Evil massed outside and determined to get in. Regardless, Dickerson, shooting with as little light as possible, manages to create some tense moments. There’s a lot wrong with Demon Knight’s shallow premise, and you could make a checklist of the movies it gleefully steals from (Night of the Living Dead and The Evil Dead are two of many), but thrill-seekers who prefer laughs with their grisly special effects and gratuitous nudity should have a mindless blast watching it. –Dave McCoy

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January 6th, 2010 by camren4910019

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10 MPH is a comical documentary that follows Hunter Weeks and Josh Caldwell as they quit soul-numbing jobs and turn a friend’s ludicrous idea into a movie. The impulsive purchase of a two-wheeled Segway scooter sets this story in motion when the two friends decide to travel from Seattle to Boston at 10 MPH in an attempt to change their lives forever.

What ensus is a road trip like none other with a haphazard cast of characters you could only find on an enlightening 100 day trek through America’s back roads.

When production began in 2004 on the “America at 10 mph” Segway trip across the country, Yahoo! featured our website as the site of the day. This began a watershed of press activities, including a 3-part series with Liane Hansen on NPR Weekend Edition. This press activity spread around the world culminating in 100’s of feature profiles on America at 10 mph and continud into post production. Feature highlights include: New York Times, CNN, FOX News, Maxim, FHM, NPR, Boston Globe, C|NET, Japan Times, Globe & Mail; Total impressions for this press coverage are in the 10’s of millions.

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December 29th, 2009 by camren4910019

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An ex-Special Forces Commander is betrayed and targeted for assassination by a powerful government agency. He has to stand alone against immeasurable odds and fight. But does he have what it takes to survive?

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December 29th, 2009 by camren4910019

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Get your paws on this “irresistible” (The Philadelphia Inquirer) family adventure starring Molly Shannon, Liam Aiken and Kevin Nealon! Featuring a hilarious four-legged cast a?” with voices by Matthew Broderick, Delta Burke, Donald Faison, Cheech Marin, Brittany Murphy, Vanessa Redgrave and Carl Reiner a?” this heartwarming tale is a “furry romp that both kids and parents can laugh at together” (The Seattle Times)! Twelve-year-old Owen (Aiken) has a new dog, Hubble (Broderick), who can not only sit, stay and roll over he can also speak a?” literally! Turns out Hubble is an interplanetary agent from the dog star Sirius. Now Owen is about to discover that Hubble and all his canine buddies are on a mission to rule the world!

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December 27th, 2009 by camren4910019

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Five different Hollywood qUns are represented in Glamour Girls, a fun Kino compendium of Golden Age titles. The entertainment valu of this batch almost makes you overlook the fact that the movies have nothing to do with each other. The oldest film is The Blu Angel, the legendary 1930 classic (filmed in Germany by American director Josef von Sternberg) that made Marlene Dietrich an instant star. The story of an eminent professor (Emil Jannings) brought to his knees by seductive showgirl Lola Lola (that’s Marlene) never loses its power, and von Sternberg’s eye for voluptuous chiaroscuro and exquisite sado-masochism is fully expressed (he and Dietrich would make six more films at Paramount in the following half-decade). One important note: this is the English-language version of the picture (not dubbed, but shot concurrently with the superior German-language version).

Love Me Tonight is the best movie musical you’ve never heard of, a deliciously clever 1932 romp with Maurice Chevalier as a poor Paris tailor and Jeannette MacDonald as a wealthy aristocrat. Rouben Mamoulian’s direction is a landmark of early-sound ingenuity, and the Rodgers and Hart score includes such goodies as “Isn’t It Romantic?” (given an epic treatment here), “Lover,” and “Mimi.” The Good Fairy, from 1935, showcases the wonderful Margaret Sullavan, the throaty-voiced actress whose quicksilver reactions look as fresh and delightful today as they were 70 years ago. Sullavan begins the comedy as an orphan, becomes a theater usherette, and eventually becomes involved with meatpacking magnate Frank Morgan and bewhiskered lawyer Herbert Marshall. The matching of director William Wyler and screenwriter Preston Sturges is not a natural one, to be sure, and Wyler’s direction tends to weigh the film down (he was, however, enchanted by Sullavan, whom he married–briefly). The great Sturges patter shines through, and you’ll adore Sullavan.

1947’s Lured puts pre-TV Lucille Ball in London, where a murderer is killing women he meets through the personal ads. The whodunit isn’t difficult to guss, but director Douglas Sirk brings his elegant German precision to the proceedings, and George Sanders and Boris Karloff head a nifty cast of supporting folk. Finally, Pandora and the Flying Dutchman (1951) matches Ava Gardner and James Mason in a daft blend of mythology and Hemingwayesqu Lost Generation stuff. Ava is surrounded by dashing suitors, but Mason’s mystery man lures her into the realm of myth. The movie’s got giggle-worthy plot twists and great Technicolor, to say nothing of glamour. –Robert Horton

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December 27th, 2009 by camren4910019

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