#Targets

[rpepperpotshipssciencebros]

Not the sharpest arrow in the quiver

Is it just me, or is carrying these umbrellas onto the archery range just asking for trouble?

Wonder what @blumineck would think of this...

[nitrateglow]

Favorite films discovered in 2024

This year, I focused more on rewatching films I hadn't seen in a long time rather than racking up new titles. However, I still encountered plenty of new faves, many of them movies that have been on my watchlist for years. Here are the top twenty.

But first, some interesting patterns in this year's list...

Most represented decade: 1960s

Earliest film represented: 1932

Newest film represented: 1999

Creatives who show up more than once: Robert Mulligan, Walter Matthau, Boris Karloff

The Window (dir. Ted Tetzlaff, 1949)

A young boy (Bobby Driscoll) living in a squalid NYC apartment building witnesses his neighbors (Paul Stewart and Ruth Roman) committing a murder. Unfortunately, the kid's penchant for tall tales prevent anyone from believing him-- except for the killers, eager to alleviate themselves of an inconvenient witness.

Precious few thrillers earn the moniker “Hitchcockian” as well as this intense little gem from RKO. The Hitchcock vibes make sense when you consider Hitchcock’s cinematographer from Notorious was in the director’s chair and the source material was written by Cornell Woolrich, also responsible for the short story behind Rear Window. Augmented by on-location photography of New York City and a grimy, desolate sense of urban decay, The Window is both a great suspense yarn and classic film noir. Despite having a kid for a lead character, the film pulls no punches: both its small-time crook villains and the city setting feel palpably dangerous.

My Neighbors the Yamadas (dir. Isao Takahata, 1999)

The Yamadas, an average middle-class Japanese family, navigate the perils of sharing a television set, a kid going missing during a shopping trip, awkward wedding speeches, and other misadventures.

Between the original Studio Ghibli directorial duo of Hayao Miyazaki and Isao Takahata, Miyazaki will always be the more popular filmmaker, but I think Takahata’s films are more intellectually and emotionally rewarding. This is not meant as a hit on Miyazaki’s undeniable greatness, but Takahata’s movies are far more challenging. That being said, My Neighbors the Yamadas is a lighter entry in his filmography, a slice of life comedy about the eponymous family and their shenanigans in modern Japan. However, beneath the whimsical humor runs an undercurrent of melancholy, an awareness of the transience of life in both its lovely and absurd moments. To date, it gets my vote for the most underrated Ghibli film.

A New Leaf (dir. Elaine May, 1971)

After squandering his ample inheritance, a middle-aged New York layabout (Walter Matthau) decides to marry an eccentric botanist (Elaine May) for her money then murder her ASAP.

Elaine May only directed a few films, but the two I’ve seen—this and the long-maligned Ishtar—were a lot of fun. A New Leaf is the better film though, far more focused and consistently funny. I don't usually belly laugh when watching a movie at home alone, but I did several times here. Even just thinking about some of the things that happen in this film can make me start laughing again. I understand the existing version was not May’s preferred cut and she felt it was butchered by the studio. Even so, this is a great movie regardless of that and one I really want to rewatch soon.

Cash on Demand (dir. Quentin Lawrence, 1961)

Uptight, unpleasant bank manager Harry Fordyce (Peter Cushing) is the boss from hell to his employees, but to criminal extraordinaire Gore Hepburn (Andre Morrel), he's the key to a successful heist. Posing as an insurance representative to get access to Fordyce's office, Hepburn tells the manager he's holding his wife and child, whose lives will be forfeit if he doesn't help him relieve the bank of ninety thousand pounds.

Ho, ho, ho, guess who's got a new Christmas classic to enjoy every year? Cash on Demand is not only a strangely enervating riff on A Christmas Carol's basic set-up (a miserable man is spiritually redeemed through an encounter with ghosts-- or in this case, bank robbers), but it's one of the best, tightest one-location thrillers I have ever seen. I genuinely had no idea where the story was going and found myself in absolute agony as the noose grew tighter around our protagonist's neck. It's a testament to both the writing and Peter Cushing's detailed, very human performance that this film is the emotionally powerful piece of work that it is, and not just a fun, clockwork heist yarn.

Letter from an Unknown Woman (dir. Max Ophuls, 1948)

While trying to evade a duel, an aging playboy (Louis Jordan) receives a letter from a dying woman (Joan Fontaine) who claims he was the love of her life. The letter recounts the details of their love affair, which was the centerpiece of this woman's life and only a mere erotic interlude in his.

The best way to describe this movie is lush romantic melodrama married to a bitter, emotionally brutal tale of a life wasted. The movie is heartbreaking but beautifully shot and performed. I’m not always the biggest fan of Fontaine, but she is fantastic here. Also, I need to watch more Max Ophuls.

Sudden Fear (dir. David Miller, 1952)

A middle-aged playwright (Joan Crawford) thinks she’s found love with a would-be matinee idol (Jack Palance)—instead she realizes she’s being targeted by her new hubby, who only wants her wealth. But he mistakes her emotional vulnerability for a lack of discernment—and a lack of desire to get even.

I like my women-in-peril thrillers when they feature clever heroines driven to survive whatever nightmare their antagonists throw at them and Sudden Fear is amazing in this regard. I know everyone loves Joan Crawford best in Mildred Pierce, but I was floored by her performance here, especially in the dialogue-free scenes. There are campy moments (which I adore), but the story is emotionally compelling and I not only wanted Joan's character to survive, but to thrive post-shitty marriage.

Thieves Like Us (dir. Robert Altman, 1974)

Young lovers Bowie (Keith Carradine) and Keechie (Shelley Duvall) yearn for a white picket fence, a quiet porch, and a case of Cokes (probably because that's all they drink in this film). Too bad Bowie is an escaped convict tied up with bank robbers. Too bad it's the Great Depression. At least there's plenty Coke. Want a Coke?

Most films set in the past do not as painstakingly recreate bygone worlds as strongly as Thieves Like Us. Set in Depression era Mississippi, this film captures the harsh, bleak reality and romantic, consumerist fantasies of its star-cross’d leads, played with sensuous naivete by Keith Carradine and the late, great Shelley Duvall. This is more than just yet another Bonnie and Clyde riff—it’s a tragedy about the elusive American Dream, with snippets of radio music, programs, and ads acting as a Greek chorus in a truly inspired touch. Robert Altman can be an acquired taste, but this is easily my favorite of his films to date.

Targets (dir. Peter Bogdanovich, 1968)

The paths of an aging horror star (Boris Karloff) and a psychotic mass shooter (Tim O'Kelly) cross at a drive-in theater.

Targets was not what I expected: it's a threeway character study between the disheartened horror star, the psychotic shooter, and 1960s America itself. To be honest, you could remake this movie now with a former ‘80s slasher star making the same musings and it would still seem credible—but then of course, you wouldn’t have Karloff in one of the best performances of his career. Targets is rendered even more chilling by its docudrama style. The violence shown isn’t sensationalistic, but presented in clinical detail, making it feel more authentic. Gorier films haven’t frightened me as much as this slow-burn character study.

Losing Ground (dir. Kathleen Collins, 1982)

Despite finding pleasure in research and theory, philosophy professor Sara Rogers (Seret Scott) envies the escatic nature of her painter husband, Victor (Bill Gunn). Their difference in temperaments and Victor's adulterous straying also strain the marriage. However, once Sara takes a job performing a sensuous, emotional role in a student film to get in touch with her own artistic side, Victor grows suspicious and jealous in turn.

Losing Ground was sold to me as a film about a crumbling marriage, but it's more than that. It might be more accurate to call it a portrait of self-discovery, a woman extending beyond her comfort zone to live more fully. I found myself strongly relating to Sara-- like her, I have a creative side I've often been timid to share, being more comfortable with the mind than the body. Being an independent film, it eschews the Hollywood histrionics and melodrama that would normally accompany this subject matter and it's paced perfectly at 90 minutes. Though filmed in the early '80s, the film only played the film festival circuit and never enjoyed a proper theatrical release. Only in 2015 was it rediscovered and then released on home video. The director Kathleen Collins died young, but this film stands a testament to her passion and talent.

Cactus Flower (dir. Gene Saks, 1969)

A middle-aged dentist (Walter Matthau) who poses as a married man to fend off romantic commitment decides to buckle down and wed his much younger girlfriend (Goldie Hawn, looking like a mod Tinker Bell). However, when she insists on speaking with his made-up wife, he recruits his no-nonsense nurse (Ingrid Bergman) into the charade.

Cactus Flower is what I often call a transitional film: released in the late ‘60s, it has one foot in the classical style of Old Hollywood and another in the more liberated counterculture that was shooting out hits like Easy Rider and The Graduate. Directed with unexciting competence by Gene Saks, Cactus Flower’s success largely comes from Ingrid Bergman, Goldie Hawn, and Jack Weston. Bergman I could watch in anything, so I’m biased perhaps, but she walks the fine line between funny and touching as the lonely woman who finds emotional liberation through her roleplaying. The scene where she gets groovy on the dance floor is a highlight of her entire screen career and no, I AM NOT KIDDING.

The Black Room (dir. Roy William Neill, 1935)

Two aristocratic brothers (both Boris Karloff) are at odds over the love of a young woman (Marian Marsh) and an ancient prophecy forecasting the end of their bloodline.

Boris Karloff dives into a double role in this deliciously gothic melodrama. Columbia pulled out all the stops for this one: it drips with sumptuous set design and expressionistic lighting. I was particularly taken by this film’s slightly tongue-in-cheek approach to a more 18th century mode of gothic terror. It goes for full-blooded melodrama with its innocent maidens, secret dungeons, lecherous villain, and ancient curses. It’s as close to a 1930s Castle of Otranto adaptation as we’ve got and by God, I'm grateful for its existence.

Freud: The Secret Passion (dir. John Huston, 1962)

In the late 1880s, young psychiatrist Sigmund Freud (Montgomery Clift) probes into the inner lives of his "hysterical" patients to discover the roots of their mental illnesses. However, these journeys into the subconscious worlds of others bring him into uncomfortable contact with his own demons.

Listening to a podcast episode on John Houston’s Key Largo led me to works of his I hadn’t heard of, such as Freud. I was initially skeptical it could be good. Biopics are my least favorite genre, but this film isn’t so much a biopic as a psychological drama in which Freud is the protagonist and some of his ideas are illustrated through his interactions with the other characters. Instead of wasting time being some melodrama ABOUT Freud the man (the route most biopics go regarding their subjects), it’s about his theories and philosophy, which is a far more interesting approach. The result is a probing, intellectual work. I’m not sure how close Montgomery Clift’s characterization is to the real Freud, but the real star of the show is Houston’s direction, a resurrection of German expressionist aesthetics blended with stark realism.

Paris is Burning (dir. Jennie Livingston, 1990)

This documentary covers 1980s NYC ball culture, where Black and Latino members of the LGBT+ community vogue and perform.

Documentaries are not usually my thing, but Paris is Burning was a longtime resident of my watchlist and I am glad I finally got around to seeing it. It has a time capsule quality, capturing a long-vanished 1980s New York City and the LGBT+ community living there at the time. Obviously, there is a lot of meditation on gender identity, sexuality, and the importance of community in a world hostile to your very existence, but I was also interested by the film's presentation of the materialism and consumption of the Reagan era.

Candyman (dir. Bernard Rose, 1992)

A graduate student (Virginia Madsen) studying urban myths unwittingly summons the Candyman (Tony Todd), the hook-handed ghost of a Black painter who was lynched decades ago.

I expected fun slasher nonsense and instead got a gorgeous, unsettling, modern gothic masterpiece that only occasionally dips its toes into schlock. Candyman is ethereal in all the right ways despite being suffused with despairing urban gloom. I was not surprised to find the script was adapted from a Clive Barker story—like Barker’s The Hellbound Heart (adapted into the Hellraiser films), Candyman is chilling yet eerily beautiful. The moment I finished watching it, I knew this was one I would be itching to revisit. There’s just so much going on regarding race, class, and memory in America. Also, Tony Todd’s voice is a damn treasure.

Merrily We Go to Hell (dir. Dorothy Arzner, 1932)

An alcoholic playwright (Frederic March) and his long-suffering wife (Sylvia Sidney) decide to have an open marriage. It doesn't work out well for either of them.

Merrily We Go to Hell is a sneaky piece of work. Reading the synopsis, one expects the usual salacious pre-code melodrama. The first scenes even resemble your usual romantic comedy, with our central couple having a meet-cute. The actual movie is much more complicated. It's about a married couple thinking love is enough to make their union work despite the husband's alcoholism. However, this idea proves erroneous and attempts to numb the pain through hedonism and extramarital vengeance just pour gasoline on the fire. The emotional honesty here is astonishing and even the "happy ending" isn't so uncomplicated when you think about it. So far, this is my favorite film of director Dorothy Arzner.

Up the Down Staircase (dir. Robert Mulligan, 1967)

An idealistic young teacher (Sandy Dennis) gets her first position at an inner-city high school. However, she finds her enthusiasm worn down by the school system's bureaucracy and the many psychological troubles of her students and fellow faculty.

Ever since I watched Four Seasons a few years ago, I’ve been intrigued by Sandy Dennis. No matter the role, I find her eccentric yet vulnerable screen presence compelling. Up the Down Staircase was Dennis’ first starring vehicle and an unsentimental look at the teaching profession. Having worked as a teacher and in similar jobs in the past, I related strongly to the main character’s compassion fatigue and her frustrated desire to help make her community a better place. While not a cheery film, it is ultimately an optimistic one, even if that optimism is cautious. And of course, Dennis is damn great as always, whetting my appetite for more of her work.

They Shoot Horses, Don’t They? (dir. Sydney Pollack, 1969)

In the thick of the Great Depression, a group of desperate contestants sign up for a grueling dance marathon with a hefty cash prize. Greed, sexual exploitation, health problems, and crushing despair eventually complicate the exhibition.

This movie is so bleak you’ll be just as exhausted as the characters by the tragic finish. I know that doesn’t sound like much of a recommendation, but this is powerful stuff. It does what a great tragedy should do: make you emphasize with the characters and go out into the world more empathetic toward the people around you and more critical of a society in which such awful conditions could be permitted. And like Targets, it’s depressing that this movie’s themes remain relevant to American culture.

Flash Gordon (dir. Frederick Stephani and Ray Taylor, 1936)

A himbo polo player (Buster Crabbe), a middle-aged scientist in hot pants (Frank Shannon), and an ingenue in a blonde wig (Jean Rogers) must save the Earth from a galactic emperor.

Yes, I’m counting a film serial as a single unit on this list. In this corny, breathless saga can be found the seeds of so many modern blockbuster spectacles. The old school space opera aesthetic is always a joy and I love seeing what George Lucas borrowed from the comic book plot and fantastic images for his Star Wars films. Also, the serial is surprisingly horny for a product released after the death knell of the pre-code era, so that’s fascinating too. I watched the episodes, one a night, usually before a feature film, to recreate at least in part the conditions in which old serials were viewed. I highly recommend that approach if you're interested in watching these kind of films-- NEVER binge them.

Silkwood (dir. Mike Nichols, 1983)

Karen Silkwood (Meryl Streep), a union activist and metallurgy worker at a plutonium processing plant, discovers both she and many of her co-workers have been contaminated with high levels of radiation due to blatant safety violations. Rather than remedy the problem, her employers are determined to keep her quiet, but Karen refuses to back down.

Meryl Streep's performance in Silkwood finally showed me what all the hype around her is about. What an astonishing, natural performance-- I forgot I was watching an actor every moment. As for the overall film, it's one of the stronger docudramas out there (as this film was based on a true story). It isn't just a preachy message piece and it allows Silkwood to be both a heroic figure and a flesh and blood human being with flaws like anyone. The domestic drama involving her lover (Kurt Russell) and lesbian roommate (Cher, who also gives an incredible performance) is almost as compelling as the main story. Though released in the early '80s, it feels like a late manifestation of the paranoia thriller genre of the decade before.

Love with the Proper Stranger (dir. Robert Mulligan, 1963)

When a one-night stand with a jazz musician (Steve McQueen) leaves her pregnant and at risk of upsetting her very Catholic family, an innocent sales clerk (Natalie Wood) tracks down her lover and demands he help her get an abortion.

Love with the Proper Stranger is such a unique piece of work that I can forgive the elements that dissatisfy me (like the ending). Wood and McQueen's romance starts out acidic and slowly becomes tender over the course of their bizarre misadventure, and the film itself shifts through several moods. Sometimes it feels like an urban drama, other times a romantic comedy. But it somehow holds together, perhaps because of the chemistry between the lead actors.

What were your favorite film discoveries in 2024?

[weirdlookindog]

Boris Karloff in Targets (1968)

[anitanh]

Collage After Julio le Parc (Theme No. 2) Inverted by AnitaNH

[xcosmicjade]

Heeeeeey :) I didn't post for ages, but figured I should start again!! Here's a few more horror film studies I've done (unrelated to the last series - I did these while suffering with DIABOLICAL burnout lmao)

Targets (1969) / Def By Temptation (1990) / American Psycho (2000) / Tourist Trap (1979)

[forthegothicheroine]

In Peter Bogdanovich's book Who the Hell's In It, he talks about working with Karloff to make Targets. Roger Corman, as he did for many future great directors, let Bogdanovich make anything he wanted- as long as he included footage from the recently made gothic film The Terror. Bogdanovich was stumped because he didn't find that movie scary- so he asked himself, "Why don't I find it scary?" He concluded that in a world containing mass shooters (specifically Charles Joseph Witman) he had a hard time being scared by spooky men in old castles.

And so he made a movie about an actor who played spooky men in old castles, who proceeds to kick the ass of a mass shooter. It's great!

[rabbitandswan]

watched 32 films for the first time in 2024 & these are my top 12 … (rlly been catching up on my musicals)

[hitmandialogue]

Viktor Novikov — Paris

Alone

Novikov: Finally, a clean slate. Didn’t come cheap but it was darn well worth it. Viktor, old boy, you’re walking on water.

Staircase

Novikov: Congressman Walsh. A pleasure as always. Make sure to join Dalia and I for a drink later. There’s someone we would like you to meet. Now- oh, hold on. He’s what? If you’ll excuse me, Congressman. Urgent matter. Do enjoy your evening. … goddamn artists. What the hell is he up to now?

Catwalk

Novikov: Thank you, thank you, thank you. Wasn’t that something? Sebastian Sato, everybody! Now, I know what you’re thinking. “Get off stage, Viktor Novikov!” Yes, quite right, quite right. This is Sebastian’s big moment and he should be the one up here, basking in all of your love. Do you know what he said to me, friends? “Viktor,” he said, “I couldn’t have done this, this, my finest collection, without you. You should take the stage this evening.” Naturally I refused but Sebastian, he was adamant. “I mean it, Viktor,” he told me. “Fashion lines are not just the effort of a single brilliant artistic mind, no, no. I used to think so but I was wrong. I see now that we should stop this cult of personality. That the entrepreneur and the artist are equals. That business and art are like heart and soul. Therefore, Viktor, my dear, dear friend. The stage is yours.” So, I proudly take the stage tonight, ladies and gentlemen, not in the name of Viktor Novikov or Sebastian Sato or Sanguine. No. I dedicate this moment to the entire team who has made this line possible, and to the spirit of creativity that brought us all together. Thank you, thank you and enjoy the after party. All drinks are on me! Thank you, ladies and gentlemen.

Novikov: Choke on that, Sebastian. You bloated fucking windbag.

Making announcements

Novikov: Attention! Attention, everyone! Fine show, a fine show everyone. Sebastian will take the stage in just a moment, so let’s wrap this baby up in style. Alright, that is all. Dismissed!

Novikov: Attention! Attention! A fine show everybody! Now since Sebastian, gentleman that he is, has chosen to let us all down, I will be taking the stage in his place. That is all. Dismissed.

Calling Dalia Margolis

Novikov: Dalia. How are things your end? Good. Mr Decker is on his way from the airport now with the case file. Last remaining copy. Yes, we’re meeting shortly. It’s time to bury the past once and for all. I- ye- I under- I know it’s a lot of money. Look, we could argue about this later. I’ve got a show to run.

Novikov: Listen to me very carefully, Dalia. We’ve been breached. There’s a mole. One of your little spies, no doubt. Valérie St. Clair claims to know about the auction. Told me in no uncertain terms. … Goddamnit, Dalia. Later might be too late. … You better be right.

With Sebastian Sato

Sato: Why don’t you take the stage? We all know how much you love the spotlight. Novikov: Look, don’t be an asshole, Sebastian. Whether you like it or not, you are the star of the show and you will act the part. Sato: Oh, no, no. I’m not going up there. This line is a travesty. You’ve made me into a sellout, Viktor! I can’t face these people and you? You can’t make me. How about that? Huh? Novikov: The hell I can’t? One simple phone call, remember. Sato: Oh no you wouldn’t. You wouldn’t dare. Because you need me, me, my name on the bill. I’m no good to you discredited. Novikov: Nice try, Sebastian. Very clever. But I don’t do compromises. Now get on that stage or so help me god, I will ruin you.

Novikov: You seem tense, Sebastian. Here’s a tip - always start with a joke. Get on stage, you miserable prick!

With Valérie St. Clair

Novikov: Valérie in the flesh. My, my, my. Looks like hell finally has frozen over. St. Clair: I should hope not, Viktor. I know how you like it hot. Novikov: After you. St. Clair: No thank you. I prefer a crowd. I just wanted to say this to your face: You’re finished, Viktor. The ground is slipping. I’ve seen the case Kamarov and the FSB are building against you in Moscow. Espionage, profiteering, insider trading. Quite the page turner. Novikov: I see. While I hate to rain on your parade, dear Valérie, but- St. Clair: I also know about the VIP Lounge. What’s really going on up there… Novikov: How exciting. If only I had time to listen to your crackpot theories, Valérie. But alas, I have a show to run. To be continued, I’m sure.

With Lindsey La Coeur

La Coeur: Over there, there he is! Viktor! Viktor Novikov, the man of the hour! First of all, let me just say congratulations on a spectacular show! Novikov: Yes, thank you, thank you. Yes, well. I knew from the very start that I’d had to completely rethink how Sanguine operates in the post-consumerist world of high fashion and… La Coeur: That’s- that’s fascinating. But tell me, is it true there’s bad blood between you and Sebastian Sato? The public needs to know! Novikov: Sebastian and I are like two peas in a pod. La Coeur: Uh-huh. And what is this we hear about the super exclusive member’s only club on the second floor? Is there any truth in the rumours that you and Dalia Margolis are hosting celebrity orgies? Novikov: Good good god! Young lady, please seek help, you clearly need it. You won’t be having lunch in this town again…

La Coeur: Mr Novikov! Thanks so much for taking time out to speak to me. You have no idea what this means. Novikov: Well, fashion journalism needs new blood, miss. New voices to rise old battle horses like St. Clair. La Coeur: Oh, I totally agree, she’s vicious. Now everything set, Mr Novikov? I’ll just check my phone to see if the livestream is working. Won’t take more than a sec, okay? … All set! Okay, thanks for waiting! Viktor Novikov, first of all, congratulations on a spectacular show. Novikov: Yes, thank you. Thank you so much. Yes, well, I knew from the very start that I’d had to completely rethink how Sanguine operates in the decade of post-consumerism. La Coeur: Mhm, that’s interesting. Well, we’ll get back to the business side of things. But first, I’d like to ask about your design philosophy. No doubt a progressive fashion CEO such as yourself is passion driven and guided by strong artistic vision, am I right? Novikov: Oh, uh, yes. Yes, of course, naturally, yes. I am… I am that. La Coeur: So Sato clearly uses fashion to make wry and timely political allegories about gender roles in modern society. Is that your calling as well or are you more into the pure aesthetics? Novikov: I, um, well, um… Let me put it this way, um… Oh, um, damn it, that’s my emergency phone. Awfully sorry, Miss, I’m going to have to reschedule. Next week, perhaps, no later, I promise. La Coeur: Oh… oh, okay. Novikov: I will take your question into careful consideration. Please enjoy the rest of your evening. La Coeur: Great. Novikov: God damn 21st century. In the old days, CEOs didn’t need to be passionate about their products as long as they made a profit. Remind me to talk to Philip. Need to brush up on this stuff before some doe-eyed millennial turns me into a laughing stock. Apparently I need a ��design philosophy”. Security: Will do, sir.

With Max Decker

Novikov: Mr Decker. How are things at the office? Decker: It’s ‘91 all over again. Kamarov is found dead, gun in hand, office locked from the inside. In his safe, evidence that he was leaking state secrets to Langley. An FSB section chief, Kremlin’s golden boy… a CIA spy. Look, I don’t know who you hired to pull this off. But I want his number. Novikov: Trust me, you don’t. The case file, please. Decker: Right, right. Of course. Last and only copy. There was an unfortunate server room fire at HQ. Misery loves company. Novikov: Mr Decker… You know, I do believe this is going to be the start of a beautiful friendship. The money’s being wired to your account. Decker: Do I need to call my guy in Switzerland? Novikov: Why? Haven’t you heard? I am an honest businessman. Dasvidaniya, Mr Decker. … Well, that’s that. Take a stroll, would you, Kurt? I’d like to savour the moment. Security: You sure that’s wise, sir? Novikov: I’ll be fine.

With stylists

Novikov: Raoul! I am expecting great things from you tonight, great things.

Novikov: Little hasty with the stitching there, huh? Get that look down right now. Fix that, fix that!

Novikov: Bianca, honey, I love the hair! Is- is that a new haircut?

Novikov: Ah, what a night! Am I right? Can you feel it? It’s electric! I’d say we’re ready to make magic!

Novikov: Ah, I love the colours! Colours are beautiful! It does the whole palette, greens and blues.

Novikov: Uh, yeah, redo the hair. I’m thinking maybe something beehive-ish, you know. Messy bouffant or something. Just go big!

Novikov: Ah, love those heels. What are those, ‘fuck-me pumps’? That- does that translate?

Novikov: Aha, love that waistline! Beautiful!

Novikov: Oh, that’s lovely. Thats nice. Add some lipgloss right there. Maybe add a brule orange? Brule orange?

With technicians

Novikov: So we in good shape back here? Okay you are to mix the themes up a bit, right, wouldn’t you agree?

Novikov: Hahaha, things are gonna be splendid, no? I’d do something about that model’s hair though. What happened there? It’s hardly spectacular, right? Am I right? Oh what, it’s perfect on you.

Novikov: How we doing? I dare say things could be sped up a bit, don’t you agree?

With the cooks

Novikov: Jesus, where are my peking duck rolls? I had them airlifted in from Lestrade in London for God’s sake. The least you idiots can do is serve the damn things! Cook 1: Uh um yes sir, Mr Novikov. Right away. … W-what did I ever do to him? I don’t choose the serving order. Cook 2: Oh, just forget it. He’s just another rich prat with an inflated ego. Just goes with the job. Cook 1: Yeah, yeah I guess…

Novikov: What the hell are you morons serving my guests? The white wine tastes like piss! Pull those bottles right away and no more mistakes, or so help me god. Cook: Um… yeah. Okay. I mean, yes sir, Mr Novikov.

Novikov: These hors-d’oeuvres look like compost! Where the hell is your sense of craftsmanship, you cocksucker? My guests have standards, very high standards. Jesus! Where do they find these idiots… Cook: Sorry, Mr Novikov, I will try and do better.

With security

Security 1: Well, it’s confirmed, sir. The FSB charges against you have all been dropped. No one is mentioning Kamarov’s unfortunate death or his alleged ties to the CIA, of course. Novikov: Good, good. Thats the end of that then. I knew our nameless friend would come through. Very good. Security 2: No I still don’t like it. This worries me. I mean who is this guy? What kind of man enters a heavily guarded government building, kills an FSB section chief, and sets him up as a US spy without even breaking a sweat? Where did you find this guy anyway? Novikov: See, that’s the thing. He found me. He knew the FSB were investigating my past and he knew all about IAGO, using models as Trojan horses, everything. A guy like that? Let’s just say we’ll let him do most of the talking. Security 1: Still. The whole dossier? Some price for a day’s work. Novikov: Well I’ll be damned Philip. You and Dalia actually agree on something. Come on. Back inside.

Security: Sir, I thought you’d like to know. Valérie St. Clair? She’s here. At the palace. Novikov: St. Clair? Are you sure, Philip? Security: Positive, sir. Strutted up the red carpet like she owned the place. Novikov: Huh. I wonder where she parked her chicken hut. Security: Uh, come again, sir? Novikov: Nevermind. You keep an eye on the old bat, Philip. I’ll deal with her later.

Novikov: Philip, come with me. Right now.

Novikov: Philip, get me a list of all Class A employees past and present. And get a hold of the bank. There’s been a breach of security. St. Clair. She knows Security: How? That’s impossible. Novikov: And yet here we are, Philip. Security: So what’s the play? St. Clair’s not the kind you just dump in a landfill. Novikov: I’ll… I’ll have to throw some money at her then. Isn't that what I’m supposed to do best? Security: She’s been trying to discredit you for years. What makes you think she’d be after money? Novikov: Chalk it up to life experience.

Novikov: I’m going to ask you something, Kurt, and I want you to answer me honestly. Completely honestly. Security: Yes, sir, of course. Novikov: Do you believe Dalia plans to double cross me? She’s furious that I gave the assassin access to our secrets. Security: Well, if I were in her position… Well, I think that’s respectfully I think that’s what I would do, sir. Novikov: She thinks she can run things without me. Security: Well, that’s the thing, sir. If I may. She knows so. And Dalia came up with this whole scheme. From what I can tell, she recruits the moles, trains them into operatives and… she entertains the clients, sir. You’re respectfully just the… well, you’re just the money man, sir. Money looks the same no matter where it comes from. Novikov: I appreciate your honesty, Kurt. Truly. After tonight, I want you to transfer over to Dalia. I’d like you to keep your eyes and ears open. Can you do that for me? Security: Yes, sir, of course. Novikov: You’re a good man.

Novikov: Well despite St. Clair making threats and Sato having a meltdown, I’d say the show is a big success. Security: Yes, sir, yes, sir. Could have gone a hell of a lot worse, sir. Very well done. So you plan to, uh, buy off St. Clair or… go the other way? Novikov: All in good time. For now we celebrate. Well… I celebrate. You… watch. And Kurt… remember what we discussed earlier. Security: I won’t, sir. Will do.

Novikov: What? Oh, wait no, is that- No- Jesus! What are those idiots doing up there? It’s too soon!

Novikov: Ah, great, my grand finale, with an absent audience, right? Oh this is just perfect, this is perfect. There goes 100K just like that, oh I couldn’t be happier with the way this has gone. Bravo! Oh those smug display specialist cocksuckers are gonna pay for this. Ah, oh there goes lotus explosion. Yes, it’s lovely, money well spent. Oh, that must be the Jade cannon, sure. That’s 10,000 a pop. Good. Jesus Christ, what a waste. They just keep at it, don’t they? Spare no expense! I hope the birds like it, you son of a bitch!

Novikov: Well, that’s… that’s that. Sure was pretty though.

With bar staff

Novikov: A Bare Knuckle Boxer? Best cocktail in the world? Ring a bell? No? Nothing? You got nothing? Bartender: A Bare Knuckle… Are you sure of the name, Mr Novikov? Novikov: You call yourself a bartender…

Novikov: Bare Knuckle Boxer. Tell me you know it now. Bartender: Um… can you tell me what’s in it? Novikov: Not impressed.

Novikov: Make me a Bare Knuckle Boxer. Larin should have left you people the recipe. Bartender: Sorry, Mr Novikov. Never heard of it. Novikov: Figures…

Novikov: You. You look like you know what you’re doing. Make me a Bare Knuckle Boxer. 47: Coming right up, Mr Novikov. Novikov: Finally, a professional, not a hired one.

With party attendants

Woman: Viktor! Viktor, there you are! Finally! Come join us for a drink. Wakefield really wants to meet you. Did you know he flew in from a shoot in New Zealand just to see the show? Novikov: Well his arms must be tired. If Julian wants to play the movie version of me that bad, he only had to ask. Woman: Oh, Viktor, you’re so funny! Seriously, come, come, join us. Novikov: Perhaps later. There’s something I need to attend to.

Woman: Viktor, darling, oh the show is absolutely divine. You and Sato are truly made for each other. Novikov: Yes, yes, thank you, thank you. That means so very much coming from… you. Now if you’ll excuse me please.

Investigating the model

Novikov: Outstanding. Ah, I remember when Sergei bought this. At a state auction in Saint Petersburg. Tchaikovsky, wasn’t it?

When 47 is too close

Novikov: I’m sorry, but I would like to be left alone. Thank you.

Novikov: If you don’t mind, I’d like a little privacy here. Thank you.

Novikov: Excuse me, could you give me a minute? Thank you.

Novikov: Would you mind? I need to be alone. Thank you.

When at gunpoint

Novikov: You are a professional man and I am very wealthy. We need to talk.

Novikov: I… I think this is not a good place.

Novikov: No! This is stupid! We are businessmen, right, you and I, businessmen, we have to make a deal!

Novikov: I-I’ve lost control…

Novikov: Wait! No, don’t shoot! We can sort this out!

Novikov: I… I need to be somewhere else.

Novikov: Please, please! This is completely unnecessary!

When being strangled

Novikov: I have an appointment in like fifteen minutes. Do you think we’ll be done by then?

About Novikov

Security 1: So what do you make of the boss? Pretty swanky guy, huh? Seemed to do pretty well for himself. Security 2: Novikov? Yeah, sure, yeah. But he wasn’t always like that, you know, he’s done his fair share of racket back in Moscow. Did real estate fraud, corporate espionage, you name it, man. But he was smart enough to get out, reinvent himself before the Russian authorities caught up with him. Security 1: Was he ever in with the Bratva? Security 2: I don’t know. I don’t know, but I do hear he beat a guy to death once with his bare fists, and Novikov used to box. Light-heavyweight, semi-pro. He was known to have a temper and a mean right hook. It’s all changed now of course to suave shiny suits and expensive things. But you can see it in the way he moves. Like a slugger pacing the ring. Security 1: Huh. Thats some makeover. Well, good for him, I guess. Security 2: Yeah right. But of course it’s his creepy supermodel girlfriend that really pulls the strings around here. Security 1: Well you know what they say. Behind every great man, there stands a great woman… wearing a strap on. Security 2: Is that what they say? They say that? That’s great. Security 1: That’s how I say it, that’s how I do it.

[wyrmfedgrave]

Opinion - Think Trump’s deportations have been bad? Wait until his civilian army gets started.

"Opinion - Think Trump’s deportations have been bad? Wait until his civilian army gets started." https://www.aol.com/opinion-think-trump-deportations-bad-150000241.html

We already know that Far Right Republikkkans don't respect the rule of law & they certainly don't care about anybody's legal rights.

They're already arrested a judge & deported US citizens to countries where they can be tortured.

But, this isn't the worst!

Soon, they'll be disappearing anybody who tries to stand up to them...

Masked ICE goons already operate with little over- sight, hoping to escape accountability for their home invasions, smashed car windows & warrant- less arrests.

Even though they're supposed to be subject to litigation in the courts.

But, there's something worse on the horizon.

Erik Prince, former leader of Blackwater (a private military company), wants to train & use 100,000 deputized (white) citizens - as a Rump sponsored, pro-government militia separate from America's other security forces...

A private army.

Research has revealed that such groups always end up committing human rights violations.

But, their use allows the government to escape accountability for the inhumane tactics that they order done.

Many other countries use such militias: Argentina, Chile & Serbia come right to mind.

Assassinations, disappearances & torture are perfect for such groups, because they're usually acquitted - as it can't be proved that they planned those crimes.

Why not execute them for committing the crimes?

Bet most will reveal their bosses then - if only to avoid the death penalty.

Strangely enough, such paramilitaries don't appear much in true dictatorships - but, in "weakened democracies."

Strong democracies put limitations on their leaders, so corruption is harder to hide.

The troubling fact is that American institutions & media integrity have been severely corrupted to that point.

A private army is quite possible in the US.

It's the 'logical' next step for Rump's power lust & ego.

Prince's Blackwater are well known for having committed various crimes - including the murder of 14 Iraqi nationals - for which Rump pardoned them!

Reps are already using dubious means to rush the deportations of "criminal immigrants."

Which American courts have yet to slow down...

Homeland Security is ignoring court rulings - especially in their deportations to S. Sudan, a torture state.

As the former ICE Director has said, "I don't care what judges think."

Such abuses of power are already happening here.

As our democratic ideals are further deteriorated, citizens must prepare for the worst...

The main news media, almost totally owned by Rump's rich 'friends', can no longer be expected to keep a check on political corruption.

A political incentive exists for the misuse of such militia - especially if citizens erupt in protest.

Immigrants are only today's targets.

Every citizen must expect to soon be in the Rep's sights...

End?

[randomrichards]

R.I.P. ROGER CORMAN:

Genre filmmaker

Started many film careers

Through low-budget flicks

[schlock-luster-video]

On August 13, 1968, Targets premiered in New York City.

Here's some new art!

[horrororman]

☠️Notable films that were released on August 15th...

#ThePhantomoftheOpera (1962).

#Targets (1968).

#Dreamscape (1984).

#Manhunter (1986).

#thriller

#TheFly (1986).

#scifi

#Aenigma (1988)(Italy).

#EventHorizon (1997).

#FreddyvsJason (2003).

#Mirrors (2008).

#horror

[weirdlookindog]

"Oh, Sammy, what's the use? Mr. Boogey Man, King of Blood they used to call me. Marx Brothers make you laugh, Garbo makes you weep, Orlok makes you scream"

Boris Karloff as Byron Orlok in Targets (1968)

[djkerr]

Diane Lockhart is one of the name partners. You've heard of her?

I have.

I'm worried she intends to make Lockhart, Agos & Lee a fully female-run firm. So I need to know the conversations she's having with Alicia and the other female partners.

Okay.

TGW 07x15 Targets

[anitanh]

Collage After Julio le Parc (Theme No. 3) - Collage by AnitaNH [in progress]