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Diners, Drive-Ins and Dives - (Jan 18th)
The Young and the Restless - (Jan 18th)
Listen to the Earth - (Jan 18th)
The One Show - (Jan 18th)
Someday at a Place in the Sun - (Jan 18th)
Lopez vs Lopez - (Jan 18th)
Gold Rush - (Jan 18th)
The ReidOut with Joy Reid - (Jan 18th)
All In with Chris Hayes - (Jan 18th)
The Beat with Ari Melber - (Jan 18th)
Happys Place - (Jan 18th)
Deadline- White House - (Jan 17th)
The Bidding Room - (Jan 17th)
Bargain-Loving Brits in the Sun - (Jan 17th)
Cruising with Susan Calman - (Jan 17th)
The Traitors- Uncloaked - (Jan 17th)
Travel Man- 48 Hours in... - (Jan 17th)
The Bold and the Beautiful - (Jan 17th)
The Traitors - (Jan 17th)
Love During Lockup - (Jan 17th)
Give all to love obey thy heart. *** This Review Contains Minor Spoilers *** Shockproof is directed by Douglas Sirk and written by Samuel Fuller and Helen Deutsch. It stars Cornel Wilde, Patricia Knight, John Baragrey and Esther Minciotti. Music is by George Duning and cinematography by Charles Lawton Jr. When convicted murderess Jenny Marsh (Knight) is released into his care, parole officer Griff Marat (Wilde) literally finds his life being turned upside down... As many film noir lovers will attest too, there are a number of noir movies out there that frustrate with their endings to the point it induces anger. One such film is Shockproof, a meeting of two great film making minds undone by a studio decision so soapy and irrelevant that studio heads should have rolled post haste. I'm the one who gets spanked. Shockproof actually is a great film noir, it takes a simple honest to goodness man, introduces a classic femme fatale into his life, and before you can say "stop you fool", he's in it up to his neck. Stylistically it's top notch noir as well. Sirk and Lawton consistently have bar shadows featuring prominently, Jenny Marsh never escapes them, she may be out of prison but the parole office and latterly Harry Wesson's (Baragrey very good as her no good weasel boyfriend) hotel room consistently imprison her - and actually, Griff as it comes to pass. The Marat home is a delightful amalgamated design of art deco and the ornate. While in Wilde's hands Griff moods and smokes a lot, just as Jenny smolders and dives into his soft melancholic eyes (Wilde really does have sad eyes!). Excuse me while I push Humpty Dumpty off his wall! It's all there, for a good hour it's prime film noir, both as a story (the protags join a fine list of noir couples on the lam) and for tech skills as well, but then it all goes pear shaped. Even before you realise that Griff has suddenly abandoned his disabled mother and younger brother without so much as a goodbye, a turn of events leads to a Hollywood type ending (Deutsch brought in for the rewrite) that defies logic, belief, and something that ultimately comes off as insulting. Aaaarggghhh! Sirk and Fuller were disgusted, both wanted Fuller's original ending, and when you look into it, it would have been film noir nirvana and most fitting. A shame unbound for sure, for this is great for the most part as Wilde and Knight have genuine sparks (a real off screen romance) and Sirk, Fuller and Lawton are in sync thematically. In its fullest form it's a sad 5/10 movie, if turning off 5 minutes before the end and pretending that the couple's fate is unknown - or using our own imaginations and supplanting Fuller's originally scripted finale, then it's a mightily strong piece of film noir.
Revolves around a British military contractor Lex Walker who is told his daughter has died. When he arrives in Los Angeles and discovers the body is not hers, he begins an investigation.
Jeff Bailey seems to be a mundane gas station owner in remote Bridgeport, California. He is dating local girl Ann Miller and lives a quiet life. But Jeff has a secret past, and when a mysterious stranger arrives in town, Jeff is forced to return to the dark world he had tried to escape.
A burger-loving hit man, his philosophical partner, a drug-addled gangster's moll and a washed-up boxer converge in this sprawling, comedic crime caper. Their adventures unfurl in three stories that ingeniously trip back and forth in time.
Miss Marple believes she's seen a murder in a passing-by train, yet when the police find no evidence she decides to investigate it on her own.
In order to foil a terrorist plot, an FBI agent undergoes facial transplant surgery and assumes the identity of a criminal mastermind. The plan turns sour when the criminal wakes up prematurely and seeks revenge.
Leonard Shelby is tracking down the man who raped and murdered his wife. The difficulty of locating his wife's killer, however, is compounded by the fact that he suffers from a rare, untreatable form of short-term memory loss. Although he can recall details of life before his accident, Leonard cannot remember what happened fifteen minutes ago, where he's going, or why.
In the smog-choked dystopian Los Angeles of 2019, blade runner Rick Deckard is called out of retirement to terminate a quartet of replicants who have escaped to Earth seeking their creator for a way to extend their short life spans.
Fast-talking, quick-thinking Detroit street cop Axel Foley has bent more than a few rules and regs in his time, but when his best friend is murdered, he heads to sunny Beverly Hills to work the case like only he can.
Axel Foley returns to the land of sunshine and palm trees to investigate the near-fatal shooting of police Captain Andrew Bogomil. With the help of Sgt. Taggart and Det. Rosewood, they soon uncover that the shooting is associated with a series of "alphabet" robberies masterminded by a heartless weapons kingpin—and the chase is on.
While on a business trip in Los Angeles, Edward Lewis, a millionaire entrepreneur who makes a living buying and breaking up companies, picks up a prostitute, Vivian, while asking for directions; after, Edward hires Vivian to stay with him for the weekend to accompany him to a few social events, and the two get closer only to discover there are significant hurdles to overcome as they try to bridge the gap between their very different worlds.
Jeffrey 'The Dude' Lebowski, a Los Angeles slacker who only wants to bowl and drink White Russians, is mistaken for another Jeffrey Lebowski, a wheelchair-bound millionaire, and finds himself dragged into a strange series of events involving nihilists, adult film producers, ferrets, errant toes, and large sums of money.