#andrew v. mclaglen

[gatutor]

John Wayne-Maureen O´Hara "El gran McLintock" (McLintock!) 1963, de Andrew V. McLaglen.

[boydswan]

Bandolero! (1968) dir. Andrew V. McLaglen

[watching-pictures-move]

The Roger Moore Morally Compromised Mini-Marathon | Shout at the Devil (Hunt, 1976), Gold (Hunt, 1974) & The Wild Geese (McLaglen, 1978)

Mild spoilers below.

There's plenty you'll have to wince through when watching Shout at the Devil, which depicts the African continent as a playground for white adventurers, which relentlessly infantilizes its black characters while lingering over their dead bodies after they've been violently killed, which has as its most prominent African character a mute played by a white actor who is all too eager to hang villagers, and which has a character go undercover in blackface during the climax, as a cherry on top of a big ol' racist sundae. And this is not to mention that it asks us to root for an entirely self-interested ivory smuggler and features a poaching sequence so exuberant that the heroes are practically high-fiving each other as they kill a shitload of elephants. (Although a disclaimer assures us no animals were harmed during the making of the movie.) Unsurprisingly, the movie was produced in Apartheid era South Africa.

But I think Roger Ebert in his review, despite glossing over the film's issues, gets at its essence pretty succinctly, correctly noting that it's about the unironic embrace of jungle adventure movie with all its pleasures and idiosyncrasies. And if you can wince through all those aforementioned elements (and it's perfectly okay if you can't), you find much to enjoy here, starting with the team-up of Lee Marvin and Roger Moore, in incorrigible scoundrel mode and dashing but self-deprecating mode, respectively. Even the introduction of Barbara Parkins as Marvin's daughter and Moore's love interest doesn't sink the film, as Parkins is able to complement both of their performances pretty nicely and give the movie a bit of heart. Everybody knows all girls have cooties, but Parkins and the movie take measures to mitigate their spread.

There's also the fact that Peter Hunt, who directed one of the best Bond movies and edited a few others of similar pedigree, is a really good action director. There's one great scene where the heroes ambush a German convoy going down a hill, and the sense of diagonal movement snowballs, powered by both the astute editing and the unexpectedly gruesome violence, which, along with all the dicier elements, makes this feel like an exploitation movie despite the A-grade production values.

Compared to Shout at the Devil, Gold, an earlier collaboration between Peter Hunt and Roger Moore is maybe a bit easier to get through, in that it offers some semblance of self critique for choosing to film in Apartheid South Africa. Here, the gold mining industry is depicted as a purely amoral enterprise, the kind that is happy to kill off its own employees for short term gain, or, you could infer, maybe do business with a repressive regime. And it shows at least nominal sympathy for its black characters (and treats them as actual characters). A lot of the movie is about traversing through corporate politics, which I probably find more interesting to watch than the average viewer (a bizarre side effect of being a business major), although it must be said that Moore has great chemistry with his co-star Susannah York, and we get a pretty appealing performance from Ray "Dial M for Murder" Milland as the gruff patriarch. Hunt's talents as an editor are somewhat underused, but I like the way he presents the mine as one big machine, with a series of moving parts working in unison, all integral to its proper functioning. All that being said, the fate meted out to the villains feels like something from a dumber movie, and for some reason there's a Bond style theme song and opening credit sequence but with gold mining instead of racy silhouettes. (If you want more serious Moore, I'll recommend The Man Who Haunted Himself, which makes a pretty nice case for his acting talents and gives him some unexpected vulnerability. Also, he has a mustache.)

And of course I had to cap off my Roger Moore morally compromised mini-marathon with a rewatch of The Wild Geese, a movie that I've grown a real affection for, thanks to both familiarity, and the fact I'm a sucker for these old school men on a mission movies. Listen, the politics here are awful, and even more cringeworthy is the movie's attempt to hide it by pairing the deposed African president the heroes rescue with the most racist member of the group. Winston Ntshona and Hardy Kruger, the actors playing the president and the racist, respectively, both took their roles hoping for a serious movie about racism and African geopolitics. That seriousness did not materialize in the finished film, which resolves these issues with a quick conversation by the one hour thirty-two minute mark, at which point it can get back to shooting and blowing stuff up. For what it's worth, Ntshona and Kruger are actually committing to the material, and Kruger is especially good, although the movie plays its hand by allowing Kruger to articulate his mixture of racial resentment and isolationist views with unusual clarity while saddling Ntshona with vague platitudes. (And if you think racism is the movie's only questionable stance, it also relentlessly pokes fun at the one gay character, although it does eventually give him some good scenes.)

A bit easier to enjoy, perhaps at the movie's expense, are the presence of Richards Burton and Harris. I understand both of them were not allowed to drink during the production, and while I am not a good enough judge of alcoholism to tell if they look hungover from sneaking sips at night between shooting hours, or angry because they haven't been able to drink, there's an undeniable booze-adjacent contempt in their performances. (For what it's worth, Harris looks more cheerful, but I've found him the more innately energetic actor from experience.) The other big star is Moore, who gets by on his natural charisma but isn't as good as he is in Shout at the Devil or Gold or his Bond movies.

Honestly, for the first half, the movie seems to be rather badly made, shooting scenes in the most drab, limp way possible and resolving every confrontation with as few hiccups as possible. An attempt to rescue a character being hunted by the mafia ends with the mafia abruptly lifting all the contract put out on him. The siege on the base where the president is being held ends with no losses for the heroes, the guards all being sprayed with cyanide gas in their sleep or killed instantly with a crossbow. These characters are supposed to be highly trained professionals who can do this in their sleep, and that's basically how it plays, for better or worse. But complications do eventually arise, and the movie thankfully gets a lot more exciting. There's a half hour or so in the third act where the characters are retreating through the bush from a rapidly advancing army while trying to secure an exit, depicted as a near constant stream of close quarters gunfights and on-the-fly defensive tactics. As limp as Andrew V. McLaglen's direction is in the first half, he wisely gets out of his own way here, moving things along at a fast clip and letting the shooting, bleeding, dust and wilderness do the talking. (For something that feels tonally like a classic WWII era actioner, complete with rousing score, it's quite a bit bloodier than you'd expect.) It's a great action scene, and goes a long way in warming me up to this movie.

[motionpicturelover]

"The Wild Geese" (1978) - Andrew V. McLaglen

Films I've watched in 2022 (180/210)

Watch/download the full film on Archive.org:

[citizenscreen]

James Stewart in SHENANDOAH (1965), directed by Andrew V McLaglen #DailyStewart

[wahwealth]

John Wayne | Rock Hudson |The Undefeated (1969) | Civil War Western Classic

The Undefeated was an American Civil War-era Western film directed by Andrew V. McLaglen.  The movie stars John Wayne and Rock Hudson, it was released in 1969.   Cast John Wayne as Colonel John Henry Thomas Rock Hudson as Colonel James Langdon Tony Aguilar as General Rojas Roman Gabriel as Blue Boy Marian McCargo as Ann Lee Meriwether as Margaret Merlin Olsen as George 'Little George' Melissa Newman as Charlotte Bruce Cabot as Confederate Sergeant Jeff Newby Michael Vincent as Lieutenant Bubba Wilkes Ben Johnson as 'Short' Grub Edward Faulkner as Anderson Harry Carey Jr. as Webster Paul Fix as General Joe Masters Royal Dano as Major Sanders Richard Mulligan as Dan Morse Carlos Rivas as Diaz John Agar as Christian Guy Raymond as Giles Don Collier as Goodyear Big John Hamilton as Mudlow Dub Taylor as McCartney Henry Beckman as Thad Benedict Víctor Junco as Major Tapia Robert Donner as Judd Mailer Pedro Armendariz Jr. as Escalante James Dobson as Jamison Rudy Diaz as Sanchez Richard Angarola as Petain James McEachin as Jimmy Collins Gregg Palmer as Parker Juan García as Colonel Gomez Kiel Martin as Union Runner Bob Gravage as Joe Hicks You are invited to join the channel so that Mr. P can notify you when new videos are uploaded, https://www.youtube.com/@nrpsmovieclassics

[visplay]

Chris: Focusing on Roger Moore films from the 1970’s, this Swiss / British war film has a great cast with Richard Burton tossing out some funny lines, it is a bit long, not anywhere near the quality of such films as When Eagles Dare, has various issues and doesn’t exactly entertain, only recommended for fans of Burton and Moore, Watch: On Subscription Service.

[elcinelateleymickyandonie]

''CHISUM''

Año: 1970

Dirección: Andrew V. McLaglen

Para ver el tráiler ingresa al enlace:

https://www.youtube.com/watch?v=u9fr-ZoblnA

[speok]

Aventuras en el Sahara

Aventuras en el Sahara

“Aventuras en el Sahara” es una película dirigida por Andrew V. McLaglen. Dale Gordon es una intrépida jovencita que se encuentra sola y desvalida en pleno desierto africano. La razón es que su padre, un magnate de la industria del automóvil, muere antes de poder cumplir su sueño de participar en el gran Rally del Sahara. Mientras tanto, dos tribus nómadas se enfrentan en una cruel guerra.

[gatutor]

Anita Ekberg-William Campbell "El hombre de la cámara acorazada" (Man in the vault) 1956, de Andrew V. McLaglen.

[predragmijatovic]

Gli ultimi giganti è un film del 1976 di genere Western, diretto da Andrew V. McLaglen, con Charlton Heston, James Coburn, Barbara Hershey, Jorge Rivero, Michael Parks, Larry Wilcox. Durata 98 minuti. Titolo originale: The Last Hard Men. In onda oggi alle ore 14.00 su Rai Movie.

Arizona, inizi del ventesimo secolo. Sam Burgade, ex capitano dei ranger ora in pensione, scopre che il suo acerrimo rivale Zach Provo - che ritiene Burgade colpevole della morte di sua moglie - è scappato dal carcere di Yuma insieme ad altri prigionieri e decide di mettersi sulle sue tracce. Ma Provo, scoperte le intenzioni del nemico, rapisce la di lui figlia Susan, dando inizio ad una serrata resa dei conti all'ultimo sangue.

[classicfilmfan64]

I first saw this on TV, many years ago. It's not one of his best films. The fires are the real star, of the film. It'a a lesser-known John Wayne film. John Wayne and Katharine Ross on location for Andrew V. McLaglen’s “Hellfighters”. It's based on the life of a real man.

WIKIPEDIA--Hellfighters is a 1968 American adventure film directed by Andrew V. McLaglen and starring John Wayne, Katharine Ross, and Jim Hutton. The movie depicts about a group of oil well firefighters, based loosely on the life of Red Adair. Adair, "Boots" Hansen, and "Coots" Matthews served as technical advisers on the film.

Hellfighters was for the most part negatively received, with criticism aimed at the overlong plot and dull characterization.

[motionpicturelover]

Films I've watched in 2022

(Click on the title to see the post. This list will be continously updated.)

For a list of the first 100, see this post.

101 - 199:

🗓 June:

🎬 "La Tête en Friche" (2010) - Jean Becker

🎬 "Loulou" (1979) - Maurice Pialat

🎬 "Les Fugitifs" (1986) - Francis Veber

🎬 "Diamant 13" (2009) - Gilles Béhat

🎬 "Änglar finns dom?" (1961) - Lars-Magnus Lindgren

🎬 "Hamlet" (1996) - Kenneth Branagh

🎬 "102 Dalmatians" (2000) ‐ Kevin Lima

🗓 July:

🎬 "Fleabag" series 1 (2016)

🎬 "Fleabag" series 2 (2019)

🎬 "Käre John" (1964) - Lars-Magnus Lindgren

🎬 "I lånte fjær" (1992) - Åse Vikene

🎬 "Charleys Tant" (2015) - Anders Aldgård

🎬 "De två saliga" (1986) - Ingmar Bergman

🎬 "Skönheten och Odjuret" (1991) - Gary Trousdale and Kirk Wise

🎬 "Karins ansikte" (1983) - Ingmar Bergman

🎬 "Alfred" (1995) - Vilgot Sjöman

🎬 "En lektion i kärlek" (1954) - Ingmar Bergman

🎬 "Appasionata" (1944) - Olof Molander

🎬 "Nattvardsgästerna" (1963) - Ingmar Bergman

🎬 "Sommarlek" (1951) - Ingmar Bergman

🎬 "Ingmar Bergman Intermezzo" (2002)

🎬 "Kvinna utan ansikte" (1947) - Gustaf Molander

🎬 "Såsom i en spegel" (1961) - Ingmar Bergman

🎬 "Riten" (1969) - Ingmar Bergman

🎬 "Persona" (1966) - Ingmar Bergman

🎬 "The Serpent's Egg" (1977) - Ingmar Bergman

🎬 "Torn Curtain" (1966) - Alfred Hitchcock

🎬 "En passion" (1969) - Ingmar Bergman

🎬 "Det sjunde inseglet" (1957) - Ingmar Bergman

🎬 "Skammen" (1968) - Ingmar Bergman

🎬 "Vargtimmen" (1968) - Ingmar Bergman

🎬 "Smultronstället" (1957) - Ingmar Bergman

🗓 August:

🎬 "The Exorcist" (1973) - William Friedkin

🎬 "Sons of Anarchy" season 2 (2009)

🎬 "Efter repetitionen" (1984) - Ingmar Bergman

🎬 "Bergman Island" (2004) - Marie Nyreröd

🎬 "Saraband" (2003) - Ingmar Bergman

🎬 "Markisinnan de Sade" (1991) - Ingmar Bergman

🎬 "Fårö-dokument 1979" (1979) - Ingmar Bergman

🎬 "Maîtresse" (1975) - Barbet Schroeder

September:

🎬 "Baby frei Haus (2009) - Franziska Mayer Price

🎬 "I Bergmans regi" (2003)

🎬 "Shallow Grave" (1993) - Danny Boyle

🎬 "Du kan da ikke bare gå" (1985) - Terje Mærli

🎬 "La ditt problem bli vårt problem" (1969) - Egil Kolstø

🎬 "Katteslottet" (1966) - Knut Thomassen

🎬 "Fox Grønland" sesong 1 (2001)

🎬 "Hilsen fra Bertha" (1968) - Jon Heggedal

🎬 "Søndag ettermiddag" (1967) - Tore Breda Thoresen

🎬 "The Hours" (2002) - Stephen Daldrey

🎬 "Elskeren" (1964) - Michael Elliott

🎬 "George Carlin on Location" (1977)

🎬 "The Addams Family" (1991) - Barry Sonnenfeld

🎬 "Kiss Me Petruchio" (1981) - Christopher Dixon

🎬 "A Midsummer Night's Sex Comedy" (1982) - Woody Allen

🎬 "Play it Again, Sam" (1972) - Herbert Ross

🎬 "Mack the Knife" (1989) - Menahem Golan

🎬 "Ripe Strawberries" (1980) - E. Randal Hoey

🎬 "Hell on Earth" (2002) - Paul Joyce

🎬 "The Devils" (1971) - Ken Russell

🎬 "Women in Love" (1969) - Ken Russell

🗓 October:

🎬 "The Breakfast Club" (1985) - John Hughes

🎬 "St. Elmo's Fire" (1985) - Joel Schumacher

🎬 "Burnt Offerings" (1976) - Dan Curtis

🎬 "Peer Gynt" (2006) - Bentein Baardson

🎬 "Når vi døde vågner" (1973) - Per Bronken

🎬 "Peer Gynt" (1986) - Edith Roger

🎬 "Ghost" (1990) - Jerry Zucker

🎬 "Dead Ringers" (1988) - David Cronenberg

🎬 "The Cassandra Crossing" (1976) - George Pan Cosmatos

🎬 "This is Paris" (2020) - Alexandra Dean

🎬 "This Sporting Life" (1963) - Lindsay Anderson

🎬 "Golden Rendezvous" (1977) - Ashley Lazarus

🎬 "Gulliver's Travels" (1977) Peter R. Hunt

🎬 "Alive and Kicking" (1959) - Cyril Frankel

🎬 "Highpoint" (1982) - Peter Carter

🗓 November:

🎬 "Gladiator" (2000) - Ridley Scott

🎬 "How to Steal a Million" (1966) - William Wyler

🎬 "The Damned" (1962) - Joseph Losey

🎬 "The Wild Geese" (1978) - Andrew V. McLaglen

🎬 "Under Milk Wood" (1971) - Andrew Sinclair

🎬 "Deep Red" ("Profondo Rosso") (1975) - Dario Argento

🎬 "The Hunchback" (1997) - Peter Medak

🎬 "Unforgiven" (1992) - Clint Eastwood

🎬 "The Trap" (1966) - Sidney Hayers

🎬 "Absolution" (1978) - Anthony Page

🎬 "The Mouse That Roared" (1959) - Jack Arnold

🎬 "Carry On Up the Jungle" (1970) - Gerald Thomas

🎬 "Smashing Time" (1967) - Desmond Davis

🎬 "The Lion in Winter" (1968) - Anthony Harvey

🎬 "Assault In Paradise" (1977) - Richard Compton

🎬 "Circle of Two" (1981) - Jules Dassin

🎬 "Julie & Julia" (2009) - Nora Ephron

🎬 "What's New Pussycat?" (1965) - Clive Donner

🎬 "The Night of the Iguana" (1964) - John Huston

🎬 "The Spy Who Came in from the Cold" (1965) - Martin Ritt

🎬 "My Favorite Year" (1982) - Richard Benjamin

🎬 "Beat Girl" (1960) - Edmond T. Gréville

🎬 "The Debussy Film" (1965) - Ken Russell

[citizenscreen]

Jimmy Stewart and Maureen O’Hara chatting during the filming of Andrew V. McLaglen’s THE RARE BREED (1966)

[miguelmarias]

Eye Witness (Peter Yates, 1981)

Eye Witness («Testigo ocular») —o como se llama en Inglaterra, con más precisión, The Janitor («El conserje»)— es una película representativa de la línea de flotación del cine anglosajón —cada vez es más difícil determinar si una obra es americana, inglesa, canadiense o australiana— a comienzos de los años 80, porque padece de una enfermedad, no por frecuente y extendida menos grave, poco llamativa a primera vista, pero tan corrosiva como el cáncer. Como unas veinte de las películas de tal procedencia, con cierto interés, que he visto este año, más alguna que otra europea —por ejemplo, Diva, de J. J. Beineix—, está basada en una idea insuficiente para edificar sobre ella un largometraje; defecto que se ha procurado disimular —en lugar de corregirlo— agregando elementos heterogéneos que no tienen más función que la de rellenar los huecos y tapar las fisuras, y que, para colmo, están copiados de películas anteriores de éxito: en El ojo mentiroso no es difícil detectar huellas de Marathon Man (1976), de Schlesinger; Taxi Driver (1976), de Scorsese, y Klute (1971), de Pakula, y no me extrañaría que hubiese cosas tomadas de varias más que yo desconozca o recuerde mal.

El truco no carece de eficacia si la acumulación de factores se hace a un ritmo lo bastante trepidante como para impedir o dificultar que el espectador ponga en cuestión la coherencia del relato o de los personajes, o si estos últimos quedan reducidos a arquetipos ya conocidos; incluso puede darse una aureola de misterio o locura a la conducta contradictoria de algunos de ellos, atribuyendo a fallos de su carácter o a perturbaciones de su cerebro los errores o descuidos del guionista. Además, para lograr que un producto de estas características «funcione» como maquinaria, basta con reunir un equipo técnico eficiente a las órdenes de un director habilidoso; si, además, se contrata a un par de actores inteligentes y se cuenta con redes de distribución y presupuesto para un buen lanzamiento publicitario, la partida está ganada de antemano, así que, ¿para qué esforzarse más? Ya se sabe que, salvo algunos locos antieconómicos, todo el mundo tiende a seguir la ley del mínimo esfuerzo y sus variantes: la del mínimo coste, la del mínimo riesgo, etc. Y cuando la oferta tiene el poder necesario para determinar la demanda, no hace falta contratar a directores y guionistas responsables ni, mucho menos, perfeccionistas: que se queme la competencia. Por mucho que se empeñen y se dejen la piel a tiras intentando hacer una película, Tanner, Rivette, Rohmer, Pialat, Borau, Wenders, Manolo Gutiérrez, Bresson, Tati, Fuller, Godard, Mackendrick, Boetticher, Straub, Berlanga, Raúl Ruiz, Rozier, Demy, Chabrol... —por poner algunos ejemplos de gente interesante y más o menos exigente, a ambos lados del Atlántico, jóvenes y viejos— no van a conseguir más espectadores ni más dinero que Peter Yates o cualquiera de sus muchos equivalentes; salvo excepciones imprevisibles o irrepetibles, ni siquiera Scorsese, Mulligan, Cimino, Pollack, Pakula o Coppola van a obtener ingresos de taquilla superiores, y puede que necesiten mayor presupuesto y más tiempo de trabajo para ello, así que, realmente, ¿qué más da financiarle una película a Peter Yates, a Buzz Kulik, a Michael Mann —el de Thief/Violent Streets— o a cualquiera de los que sin duda van a malograr proyectos interesantes, adaptaciones de James M. Cain, guiones que quisieron rodar Peckinpah, Monte Hellman, Bob Rafelson o John Byrum? Stuart Rosenberg, Norman Jewison, Andrew V. McLaglen, Herbert Ross y compañía ofrecen más seguridad y no plantean problemas.

Eye Witness se sigue con cierta curiosidad, en parte por la mezcla de historias ya comentadas, en mayor y más grata medida por la presencia de una actriz inteligente, elegante, originalmente hermosa y atractiva como Sigourney Weaver y también, hasta cierto punto, por la buena voluntad de Yates, que se toma bastante en serio su trabajo y, de cuando en cuando, consigue, cuando el guión de Steve Tesich lo permite, alguna escena interesante, insólita o misteriosa, tarea en la que cuenta con el apoyo del fotógrafo Matthew F. Leonetti, que prueba, una vez más, la inagotable fotogenia de Nueva York. Con lo cual, aunque no en todo momento, la película se aparta del grueso del cine de los últimos años en su aspecto no desdeñable: en que, por lo menos, no contagia el aburrimiento y la desgana con que se rueda.

Publicado en el nº 13 de Casablanca (enero de 1982)

[alexlacquemanne]

Mai MMXXII

Films

100 % bio (2020) de Fabien Onteniente avec Didier Bourdon, Catherine Jacob, Lolita Chammah, Nicolas Bridet et Olivier Barthélémy

César et Rosalie (1972) de Claude Sautet avec Romy Schneider, Yves Montand, Sami Frey, Umberto Orsini, Eva Maria Meineke, Bernard Le Coq et Isabelle Huppert

Bienvenue, mister Chance (Being There) (1979) de Hal Ashby avec, Peter Sellers, Shirley MacLaine, Melvyn Douglas et Jack Warden

Whiplash (2014) de Damien Chazelle avec Miles Teller, J. K. Simmons, Paul Reiser et Melissa Benoist

À bout de souffle (1960) de Jean-Luc Godard avec Jean-Paul Belmondo, Jean Seberg, Daniel Boulanger, Michel Fabre et Henri-Jacques Huet

Le Dernier Train pour Frisco (One More Train to Rob) de Andrew V. McLaglen avec George Peppard, Diana Muldaur, John Vernon, Steve Sandor et Richard Loo

A Star Is Born (2018) de Bradley Cooper avec Bradley Cooper, Lady Gaga, Sam Elliott, Rafi Gavron et Andrew Dice Clay

125, rue Montmartre (1959) de Gilles Grangier avec Lino Ventura, Andréa Parisy, Robert Hirsch, Dora Doll et Jean Desailly

Batman: Year One (2011) de Sam Liu et Lauren Montgomery avec Adrien Antoine, Jean-Claude Sachot, Kelvine Dumour, Marc Alfos, Anne Rondeleux et Jacques Ciron

Élémentaire, mon cher… Lock Holmes (Without a Clue) (1988)de Thom Eberhardt avec Michael Caine, Ben Kingsley, Jeffrey Jones, Lysette Anthony et Paul Freeman

Le Sens de la fête (2017) de Éric Toledano et Olivier Nakache avec Jean-Pierre Bacri, Jean-Paul Rouve, Gilles Lellouche, Vincent Macaigne, Eye Haïdara, Suzanne Clément et Alban Ivanov

La Voleuse (Schornstein Nr. 4) (1966) de Jean Chapot avec Romy Schneider, Michel Piccoli, Hans Christian Blech, Sonia Schwarz et Mario Huth

Diplomatie (2014) de Volker Schlöndorff avec Niels Arestrup, André Dussollier, Burghart Klaußner, Robert Stadlober et Jean-Marc Roulot

Vincent, François, Paul… et les autres (1974) de Claude Sautet avec Yves Montand, Michel Piccoli, Serge Reggiani, Gérard Depardieu, Stéphane Audran, Marie Dubois, Umberto Orsini et Ludmila Mikaël

Doctor Strange in the Multiverse of Madness (2022) de Sam Raimi avec Benedict Cumberbatch, Elizabeth Olsen, Rachel McAdams, Benedict Wong et Xochitl Gomez

Séries

James May's Cars of the People Saison 2, 1

Le pouvoir de la vapeur - 4x4 - Transport et totalitarisme - Gravir l'échelle sociale - Microcars & Vans - Le boom d'après-guerre

Le Coffre à Catch

#70 : L'Anecdote d'Ichtou - #71 : Kane crée la surprizz et Kelly Kelly…. - #72 : "Voilà la Purge" - #73 : 1000kg de MONSTER MASH BATTLE ROYAL - #74 : WWE SmackDown débarque ! - #21 : Le Pauvre Big Show et ses Mésaventures à Echelle

Meurtres au paradis Saison 11

Addiction - Un meurtre sans cadavre - Dans le noir - Echec à la dame

Starsky et Hutch Saison 4

Vengeance - Noblesse désoblige - Quel métier ! - Cover girl - Un cas difficile - Un oiseau de malheur

James May: Oh Cook! Saison 1

Un Air D'Asie - Comme au Pub - Pasta Delisioza - Festin Italien - Desserts et Gourmandises - Petit Déjeuner des Champions - Roti de Famille

Le Visiteur du Futur Saison 2

Reboot : partie 1 - Reboot : partie 2 - Reboot : partie 3 - Le dommage collatéral - Le Destin - Le Maharaja - Rétrospection - Double Jeu - L'esprit d'équipe - Les Lombardi - La Crise - À la recherche du bon Raph - Le vrai Docteur Castafolte : partie 1 - Le vrai Docteur Castafolte : partie 2 - Un véritable héros

Kaamelott Livre III, IV, V

La Fête de l'hiver II - Le Tribut - L'espion - Stargate II - Raison d'argent - Le Vulgarisateur - Le Mangonneau - Sous les verrous II - Alone in the Dark - Le Justicier - L'insomniaque - La Chevalerie - La Veillée - L’Ultimatum - Le Oud II - La Répétition - Le Discours - Le Choix de Gauvain - Fluctuat nec mergitur - Le Face-à-face : 1re partie - Le Face-à-face : 2e partie - L’Entente cordiale - L’Approbation - Alone in the Dark II - La Blessure d’Yvain - Corpore sano II - L’Enchanteur - Les Bien Nommés - La Prisonnière - Les Paris III - Les Plaques de dissimulation - Le Vice de forme - Le Renoncement : 1re partie - Le Renoncement : 2e partie - L’Inspiration - Les Endettés - Double Dragon - Le Sauvetage - Le Désordre et la Nuit - Le Législateur - Les défis de merlin II - L' assemblée des rois : première partie - L'assemblée des rois : deuxième partie - Le Mauvais Augure - Le Culte Secret - Le baiser romain - Le médiateur - La dispute : première partie - La dispute : deuxième partie - Corvus Corone - La Roche et le Fer - Vae Soli ! - Le Dernier Jour

Top Gear Saison 22, 20, 11, 12, 17, 8, 18

Road Trip en Australie - A l'abordage ! - La fièvre du vintage - L'art de la chasse - Mission Camping-Car - La fiesta dans tous ses états - Happy Birthday Jaguar ! - Essais sur la côte d'azur - C6, le haut de gamme français à l'essai - La vallée de la mort - Tout doit disparaitre - Une Lamborghini à la mer ! - Défilé a Buckingham - Hommage à Saab - Made in China

Parlement Saison 1

J'ai jamais eu de rapports - L'invincible Armada - La politique et les saucisses - Le plus vieux métier du monde - Demos Kratos - Je suis Sharky - Wild West Wing - Le Pacte de Stabilité - Strasbourg, Outre-Rhin - C'était un jeune requin

Dix pour cent Saison 3

Jean - Monica - Gérard - Isabelle - Béatrice - ASK

Affaires sensibles

Tchernobyl, autopsie d'une catastrophe nucléaire - 68' aux Etats-Unis : "Non à la guerre au Viêt Nam !" - « Tcherno-Blaye » : une centrale les pieds dans l’eau - Vélo-labo : Tour de France 1998 - 1979, la centrale nucléaire de Three Mile Island aux Etats-Unis, un aperçu de l’enfer

Star Wars : Obi-Wan Kenobi

Part I

Commissaire Dupin

Sœurs ennemies

Spectacle

Les FMR de Rollin : Pourquoi ça marche ? (2006) de François Rollin

Par le bout du nez (2022) de Alexandre de la Patellière et Matthieu Delaporte avec François Berléand et Antoine Duléry

Livres

Kaamelott, tome 4 : Perceval Et le Dragon d'Airain de Alexandre Astier, Steven Dupré et Benoît Bekaert

The gutter de Cyril Durr et Sergio Yolfa

Batman : Les Nouvelles Aventures Volume 2 de Ty Templeton et Rick Burchett

(II) : Avec l'odeur de tes caresses de Léa Celle qui aimait

Partie de Manille pour OSS 117 de Jean bruce

Un printemps à Tchernobyl de Emmanuel Lepage

Tout le plaisir est pour moi de Frédéric Dard