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#1985 movies
cressida-jayoungr · 8 months
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One Dress a Day Challenge
August: Fantasy & Sci-Fi
Return to Oz / Jean Marsh as Mombi and Sophie Ward as Mombi II
I was lucky enough to grow up in a town whose library had a nearly complete collection of the Oz books, so of course I remembered Princess Langwidere and her collection of heads! It was great to see that onscreen, even though they merged the characters of Langwidere and Mombi.
In the book, she only wore a simple white dress, as changing her head gave her all the variety she wanted. But I think the burgundy-and-plum gown created for the movie by designer Raymond Hughes is gorgeous, with its iridescent patches and art nouveau swirls. A particularly interesting feature is the rack of golden splinters trailing back from the shoulders, almost like they're trying to form into fairy wings but aren't quite complete.
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🇦🇷 ¡¡¡GANÓ 1985, ARGENTINA EN LOS #GoldenGlobes!!! 🇦🇷
MI PAÍS, MI PAÍS…En Argentina nací, tierra de Darín y Lionel… 🎶
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movieseverymonth · 1 year
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Mid90s (2018)
dir. Jonah Hill
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miss-meichu · 4 months
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After so many years of searching I've finally found my favorite rendition of the Anne of Green gables (the 1985 version) and I'm rewatching this masterpiece of a movie and I want to cry. From the very first appearance of him you can see how infatuated Gilbert is with Anne. Just got to the chalkboard scene, he immediately took the blame (as he should) just because he didn't want to be the reason she's in trouble. 🥰🥰
Also Diana loved her from the beginning as well, the best of friends from second one
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kry-krys · 1 year
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Greg Tolan | Just one of the guys (1985)
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astolfocinema · 3 months
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Witness (1985) ---------------- dir. Peter Weir cin. John Seale cs. USA
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drewbadger68 · 2 years
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😔R.I.P. Clu Gulager. One hell of a swing!
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adamwatchesmovies · 1 month
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Massacre in Dinosaur Valley (1985)
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There’s one genre of horror that feels particularly daunting to explore: the “cannibal horror” genre. Its best-known entry, 1980's Cannibal Holocaust is notorious for its real-life footage of animal killings and anyone whose interest is peaked hearing this probably needs psychological help. Then there’s the inherent racism of these stories: the plots almost always concern a group of urban people who encounter savage aboriginals that want nothing more than to butcher, cook and then eat white meat. You're curious why the genre was so prolific but you don’t want to be offended so you pick the most ridiculous-sounding entry of them all: Massacre in Dinosaur Valley. The idea is that when your hapless explorers are getting torn apart by prehistoric reptiles, it will be easy to forget about what’s socially acceptable and just laugh between the “yuck!” scenes.
Deep in the Amazon jungle live the reclusive Aquera Indians: a tribe of cannibals who have little contact with the outside world. Their territory contains the “Dinosaur Valley”, a bone-bed rich with fossils and hidden dangers. Palaeontologist Kevin Hall (Michael Spokiw), Professor Pedro Ibañez (Leonidas Bayer), his daughter Eva (Suzanne Carvalho), fashion models Belinda (Susan Hahn) and Monica (Maria Reis), Vietnam vet John Heinz (Milton Morris) and his wife Betty (Marta Anderson) are flying over the off-limits area when their plane suddenly crashes. The survivors must find a way back to civilization before they become victims of the jungle surrounding them.
Originally shot in Italian, then dubbed in English, no one - on camera or otherwise - gives a good performance. That only matters so much because you’re not here for high art. What you’re here for is the sleaze. You want nudity? Massacre in Dinosaur Valley has it in droves. We get to see the supermodels changing, Eva showering, a gratuitous sex scene that comes out of nowhere, a sadistic lesbian that can’t wait to tear Belinda’s top off and when the ladies get captured by the Aquera Indians (that’s what the movie calls them so I will too), the cannibals promptly rip off their clothes and give them new outfits that barely cover anything. The objective was to find as many ways to show the actresses barring it all - logic or tact be damned. When Eva is shown in the nude (there’s quite a bit of full-frontal nudity), she’s showering with the doors to the bathroom and hotel room wide open so anyone can walk in. When Kevin wanders inside looking for her father, he gets a nice view. He gives her a towel, but she only realizes a stranger provided the helping hand after about 30 seconds. My question is… who did she THINK was helping her dry off? Her father? Gross.
Speaking of gross, how’s the gore? Disappointing, unfortunately. With a title like Massacre in Dinosaur Valley, you expect to see the idiots who stumble into that green inferno getting dismembered, decapitated, flayed alive and otherwise brutalized before getting eaten - either by dinosaurs or racist caricatures. Someone does get eaten but it’s nothing spectacular and isn’t treated as such either, which is a letdown. By my count, there are two massacres in this movie. Too bad it’s not the people you expect that get reduced to deli meat. Most of our ill-fated adventurers bite the dust because of non-cannibal dangers, which you might not think is a big deal. It’s not called Massacre in Cannibal Valley, am I right? Just wait.
The film could essentially be split into three parts, only one of which has anything to do with that titular valley. Part one is a story filled with quicksand, flesh-eating jungle beasts and other clichés. Part two concerns the cannibals. Part three, the white slavers! Between these three hurried plots, fans of bad movies will have some laughs. There’s plenty of questionable behavior spread throughout, the gratuitous nudity is so outlandish it’s hard not to crack a smile, the body count is so extreme it's hilarious, there are plenty of ideas introduced and then dropped and at points, it’s hard to tell if the movie is implying certain things or if the filmmaking and continuity are just THAT BAD. A lot of stuff just happens because writer/director Michele Massimo Tarantini wanted it to happen. Logic had nothing to do with it.
Massacre in Dinosaur Valley is better shot than you'd think, the plot moves along quickly enough to prevent you from getting bored and it manages to be so incompetent you skip the phase where you’d be offended and go directly to rolling your eyes while chuckling at the pathetic attempts at storytelling. All this SHOULD make for a decent “so bad it’s good” cannibal film… if it weren’t for one glaring flaw. There are no dinosaurs in this movie. None! What a ripoff! (November 5, 2021)
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17motels · 2 years
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Walter Murch directing his only film as a director: “Return to Oz”, 1985, a masterpiece.
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randomcapz · 9 months
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Witness (1985).
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cressida-jayoungr · 5 months
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One Dress a Day Challenge
November: Oscar Winners
A Room with a View / Helena Bonham-Carter as Lucy Honeychurch
Year: 1986
Designer: Jenny Beavan and John Bright
Lucy wears this outfit for a brief scene of tea in the garden. Some of the costumes for this film were vintage pieces, and I wonder if this might be one of them, with the intricate embroidery on the top (does it qualify as a shirtwaist?). I also wonder if it might have been chosen as a nod to the original novel, where the famous kiss in the flower field happens in spring rather than summer, and the flowers are violets rather than poppies.
There's a very good writeup of the costumes in this film here.
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bkenber · 4 months
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'The Color Purple' Movie and 4K Review
The following review was written by Ultimate Rabbit correspondent, Tony Farinella. This was my first time having the pleasure of sitting down to watch “The Color Purple,” directed by the legendary Steven Spielberg. This is a director who has never been afraid to tackle any type of film project.  When watching this film, his trademark heart is clearly on display.  What makes it stand out and be…
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movieseverymonth · 1 year
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Clue (1985)
dir. Jonathan Lynn
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Return to oz
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kevinsreviewcatalogue · 9 months
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Review: After Hours (1985)
After Hours (1985)
Rated R
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<Originally posted at https://kevinsreviewcatalogue.blogspot.com/2023/06/review-after-hours-1985.html>
Score: 4 out of 5
After Hours is not the movie I was expecting. Between its director, its cast, its '80s New York setting, and the fact that Popcorn Frights screened it a couple of weeks ago, I expected a dark, downbeat noir thriller with horror touches, and perhaps one of Martin Scorsese's lesser films given that it came from his period in the '80s when he'd lost the approval of critics and audiences. Instead, I was surprised at just how funny the film was, albeit going in a very different, darker, more Kafkaesque direction with its humor versus what we often associate with the R-rated '80s comedies that it only superficially resembles. It's a film born from a successful filmmaker who was at a low point in his life and career, and damn well knew it, channeling all of his frustration with his struggle to get The Last Temptation of Christ made into a story of a man having the worst night of his life as everything that can go wrong, does go wrong, often in such a manner where you can't help but laugh and cringe at the same time. It's one of the darkest versions of this kind of movie to exist, don't get me wrong, but that movie is a hilarious, surreal, gut-busting comedy that I absolutely enjoyed.
Our protagonist Paul Hackett is a yuppie in Manhattan who inputs data at a firm and longs for more out of life. One night, while at a diner, he meets Marcy Franklin, a beautiful woman who tells him that her roommate Kiki Bridges is a sculptor who makes plaster-of-Paris paperweights, and leaves him her number, ostensibly in case he wants to buy one but really because she's into him. Later that night, Paul obliges and heads down to Marcy and Kiki's apartment in Soho, in what turns out to be the beginning of a series of events involving a dead body, a pair of burglars who for once weren't carrying stolen merchandise, a bartender who's lost the key to his register, a punk nightclub, a vigilante mob, and a whole lot of really weird women.
It's the kind of night that feels absolutely cursed, an experience that most of us can probably relate to even if the threat of death never came up for us the way it has for Paul by the end of this movie, and Paul's actor Griffin Dunne does a great job of selling it. Dunne plays Paul as a man bored with life, the film opening with him doing perhaps the most soul-sucking office job you can imagine. You understand from the moment you see him why he might run off into Soho in the middle of the night, simply on the promise of meeting a beautiful woman. As the film goes on, he grows to regret his decision in increasingly bewildered and desperate fashion as the city tortures him with every indignity it can throw his way and uses him as its own personal chew toy, from little things like losing a $20 bill to some outright wacky stuff, slowly but surely sinking into madness as he goes. Each new scene makes you wonder how the city is going to fuck with him this time, like an old-school point-and-click adventure game that throws all manner of increasingly bizarre obstacles in the way of what should be a simple goal. "If I want the keys to my apartment back, I've gotta go to the bartender's apartment, but there are burglars on the loose and the other people there don't know me, so they think I'm a criminal..." Given the hell he was going through at the time, it was no wonder Scorsese saw something in Joseph Minion's screenplay.
And the movie wouldn't have worked as well as it did if not for how Scorsese once again made New York the other main character. In this case, it's not a bustling metropolis, but a place in the wee hours of the morning (after hours, if you will) where the streets are deserted and the people you do meet are more likely to be the freaks and the weirdos. I can easily picture the version that Tim Burton (the director originally attached to this) might've made, and it probably would've been an inventive film in its own right, but Scorsese fuses that style with his own background as the guy who defined the image of 1970s/'80s New York on the big screen, creating a slightly askew version of his usual "gritty realism" where it feels like anything bad can happen, and not just the things you hear about in the next morning's headlines. It feels like a place that hates Paul and wants to see him suffer for the sake of its own amusement, and Scorsese, filming a New York devoid of traffic, makes the place simply feel wrong, like a maze designed for his torment.
The supporting cast, too, nails it. Being among the few people in the neighborhood who live their lives at night, they're strange even for the standards of New Yorkers, from Linda Fiorentino's kinky artist Kiki to Catherine O'Hara's stuck-in-the-'60s ice cream truck driver Gail to Cheech Marin and Tommy Chong as the small-time crooks Neil and Pepe. Most importantly, however, as Paul interacts with all of them, we get perhaps the most uncanny element of this film's upside-down New York: a place where everybody seems to know each other, like a small town that just so happens to be nestled in the middle of Manhattan. People who don't treat each other as total strangers? Now that's how you know something's wrong in the Big Apple, especially if you're an outsider. It adds to the feeling that Paul's night has gone completely sideways, like something has not only gone totally wrong ever since he stepped out of his apartment into the wild world of New York's nightlife, but has been totally wrong since long before he entered the picture, like he wandered into something that by all logic shouldn't exist in the middle of the City that Never Sleeps but does so anyway. It builds to an ending that arrives suddenly, but feels like the perfect punchline for everything we just witnessed.
The Bottom Line
I was not expecting After Hours to be the movie it was, but I'm glad I got to see it. Martin Scorsese and the cast together do a great job lending a very off-kilter black comedy feel to his usual style, and I had a great time watching it.
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acrushstoryy · 2 years
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