Welcome to BlogHub: the Best in Veteran and Emerging Classic Movie Blogs
You can rate and share your favorite classic movie posts here.
You can rate and share your favorite classic movie posts here.
Invasion of the Body Snatchers (1956, Don Siegel)
The Stop Button Posted by on May 6, 2019
The longest continuous stretch of Invasion of the Body Snatchers is about fifteen minutes (the film runs eighty). Small California city doctor Kevin McCarthy and his long-lost lady friend Dana Wynter have just spent the night holed up in his office, hiding from their neighbors, who have all been re read more
The Punisher #1, In the Beginning, Part 1 (of 6)
The Stop Button Posted by on May 6, 2019
The first page of the issue is the Castle family tombstone. Names, birth years, death year. 1976. A Marvel comic with years. Well, a MAX Comic. And the MAX Comics Punisher apparently isn’t going to be de-aging Frank Castle. Well, actually, it does. The Punisher first appeared in 1974. So, 1976 is read more
The Punisher #2, In the Beginning, Part 2 (of 6)
The Stop Button Posted by on May 6, 2019
The second issue of Punisher, second part of the story arc, echoes nicely with the first. Last issue opened in a cemetery, this issue opens in a cemetery. Ennis also explores a little of Frank’s regular behavior; meeting one of his informants, getting involved with something there, then just headin read more
Daily(?) Microcast
The Stop Button Posted by on May 5, 2019
Mostly about whether or not I’m going to keep microcasting since I’ve figured out how to do it. read more
Secret People (1952, Thorold Dickinson)
The Stop Button Posted by Andrew Wickliffe on May 4, 2019
Secret People is a very peculiar propaganda picture. It’s mostly set in 1937, almost entirely involving Italian immigrants, and it’s very pro-British. The film downplays the idea fascist regimes are dangerous (fascist regimes in 1937, remember) while getting behind the idea of doing whatever the read more
Secret People (1952, Thorold Dickinson)
The Stop Button Posted by on May 4, 2019
Secret People is a very peculiar propaganda picture. It’s mostly set in 1937, almost entirely involving Italian immigrants, and it’s very pro-British. The film downplays the idea fascist regimes are dangerous (fascist regimes in 1937, remember) while getting behind the idea of doing whatever the read more
Secret People (1952, Thorold Dickinson)
The Stop Button Posted by Andrew Wickliffe on May 4, 2019
Secret People is a very peculiar propaganda picture. It’s mostly set in 1937, almost entirely involving Italian immigrants, and it’s very pro-British. The film downplays the idea fascist regimes are dangerous (fascist regimes in 1937, remember) while getting behind the idea of doing whatever the read more
Secret People (1952, Thorold Dickinson)
The Stop Button Posted by on May 4, 2019
Secret People is a very peculiar propaganda picture. It’s mostly set in 1937, almost entirely involving Italian immigrants, and it’s very pro-British. The film downplays the idea fascist regimes are dangerous (fascist regimes in 1937, remember) while getting behind the idea of doing whatever the read more
Might not Hopefully
The Stop Button Posted by on May 4, 2019
If I had Visual Reflux set up a little differently, I’d really easily be able to go back and look to see the last time I was getting my daily posts done. It’s been a while. Longer than when I was sick and I’ve been sick a week; out of commission two and a half days, maybe two and three quarters read more
Dirty Computer (2018, Alan Ferguson, Emma Westenberg, Andrew Donoho, Lacey Duke, and Chuck Lightning)
The Stop Button Posted by Andrew Wickliffe on May 2, 2019
Dirty Computer is hard to explain. It’s fairly easy to describe—it’s a fifty-six minute short film (or “emotion picture” as creator Janelle Monáe describes it) compilation of Monáe’s music videos for her Dirty Computer album. There’s bridging footage to contextualize the videos. It’s read more
Dirty Computer (2018, Alan Ferguson, Emma Westenberg, Andrew Donoho, Lacey Duke, and Chuck Lightning)
The Stop Button Posted by Andrew Wickliffe on May 2, 2019
Dirty Computer is hard to explain. It’s fairly easy to describe—it’s a fifty-six minute short film (or “emotion picture” as creator Janelle Monáe describes it) compilation of Monáe’s music videos for her Dirty Computer album. There’s bridging footage to contextualize the videos. It’s read more
Dirty Computer (2018, Alan Ferguson, Emma Westenberg, Andrew Donoho, Lacey Duke, and Chuck Lightning)
The Stop Button Posted by on May 2, 2019
Dirty Computer is hard to explain. It’s fairly easy to describe—it’s a fifty-six minute short film (or “emotion picture” as creator Janelle Monáe describes it) compilation of Monáe’s music videos for her Dirty Computer album. There’s bridging footage to contextualize the videos. It’s read more
Dirty Computer (2018, Alan Ferguson, Emma Westenberg, Andrew Donoho, Lacey Duke, and Chuck Lightning)
The Stop Button Posted by on May 2, 2019
Dirty Computer is hard to explain. It’s fairly easy to describe—it’s a fifty-six minute short film (or “emotion picture” as creator Janelle Monáe describes it) compilation of Monáe’s music videos for her Dirty Computer album. There’s bridging footage to contextualize the videos. It’s read more
One Hundred a Day (1973, Gillian Armstrong)
The Stop Button Posted by Andrew Wickliffe on Apr 30, 2019
One Hundred a Day is a terrifying eight minutes. Rosalie Fletcher is a factory girl in the thirties and she’s in trouble. Her more worldly friends, Jenee Welsh and Virginia Portingale, know where she can take care of it. Day’s this grainy, high contrast black and white. In the factory, where the read more
One Hundred a Day (1973, Gillian Armstrong)
The Stop Button Posted by Andrew Wickliffe on Apr 30, 2019
One Hundred a Day is a terrifying eight minutes. Rosalie Fletcher is a factory girl in the thirties and she’s in trouble. Her more worldly friends, Jenee Welsh and Virginia Portingale, know where she can take care of it. Day’s this grainy, high contrast black and white. In the factory, where the read more
One Hundred a Day (1973, Gillian Armstrong)
The Stop Button Posted by on Apr 30, 2019
One Hundred a Day is a terrifying eight minutes. Rosalie Fletcher is a factory girl in the thirties and she’s in trouble. Her more worldly friends, Jenee Welsh and Virginia Portingale, know where she can take care of it. Day’s this grainy, high contrast black and white. In the factory, where the read more
One Hundred a Day (1973, Gillian Armstrong)
The Stop Button Posted by on Apr 30, 2019
One Hundred a Day is a terrifying eight minutes. Rosalie Fletcher is a factory girl in the thirties and she’s in trouble. Her more worldly friends, Jenee Welsh and Virginia Portingale, know where she can take care of it. Day’s this grainy, high contrast black and white. In the factory, where the read more
It’s 2019 and I’m still letting Martin Scorsese disappoint me
The Stop Button Posted by on Apr 30, 2019
Not actually eight minutes of me complaining about Scorsese failing to live up to my expectations (or hopes). Six minutes of it. But new sound setup. And cats in the background. Not vocal cats, but mischevious ones. read more
Blogged Ramblings vs. Podcasted Ones
The Stop Button Posted by on Apr 29, 2019
I tried really hard to get a second episode of the Summing Up Microcast posted today but it didn’t happen. I recorded… four times? Like, way too much time spent on eight minute podcasting. Way too much time. Background noise is the current culprit. Though maybe Ferrite isn’t as good for recor read more
What We Do in the Shadows (2014, Jemaine Clement and Taika Waititi)
The Stop Button Posted by Andrew Wickliffe on Apr 28, 2019
What We Do in the Shadows is strong from the first scene. An alarm clock goes off at six. A hand reaches over to hit snooze. Only it’s six at night and the hand is reaching from a coffin. Shadows’s a mockumentary (though I sort of want to start calling them docucomedies after this one); the unseen read more