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Six-String Samurai [1998] Directed By: Lance Mungia A rental classic back in the day starring the legendary Hong Kong martial arts villain in many classic films like Outlaw Brothers and his battle with Cynthia Rothrock in Inspector Wears Skirts where he uses Monkey Style, Jeffery Falcon. "A film where...

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The Furious [2026] Directed By: Kenji Tanigaki Xie Miao, also known as Mo Tse, was part of two iconic films with Jet Li. New Legend Of Shaolin and My Father The Hero. Very well received films within the genre. He took a break to focus on his studies after his childhood acting career and did a few films after like the Champions in 2008 but after the late 2K10s he went back at full force and one of the most notable films are the Eye For An Eye franchise. Which in the second film he co-stars with Yang Enyou, who happens to be in this film as well. What makes this film special is the Hong Kong and Japanese connection. So, seeing Kensuke Sonomura choreograph traditional Chinese martial arts his eye opening and away from his comfort zone but still keeping his brawler aesthetic which he is known for which usually he flavors boxing and BJJ. With notable legends in this film like Joe Taslim, Yayan Ruhian and JeeJa Yanin where people might recognize this Thai actress from Chocolate we were sure to get a banger and we sure did. Especially from the amazing output form Brain Le and Joey Iwanaga.
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The Furious [2026] Directed By: Kenji Tanigaki Xie Miao, also known as Mo Tse, was part of two iconic films with Jet Li. New Legend Of Shaolin and My Father The Hero. Very well received films within the genre. He took a break to focus on his studies after his childhood acting career and did a few films after like the Champions in 2008 but after the late 2K10s he went back at full force and one of the most notable films are the Eye For An Eye franchise. Which in the second film he co-stars with Yang Enyou, who happens to be in this film as well. What makes this film special is the Hong Kong and Japanese connection. So, seeing Kensuke Sonomura choreograph traditional Chinese martial arts his eye opening and away from his comfort zone but still keeping his brawler aesthetic which he is known for which usually he flavors boxing and BJJ. With notable legends in this film like Joe Taslim, Yayan Ruhian and JeeJa Yanin where people might recognize this Thai actress from Chocolate we were sure to get a banger and we sure did. Especially from the amazing output form Brain Le and Joey Iwanaga.

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It's time to "TCB" and check in to the swankiest spot in Vegas, where you’ll join the entourage of the 'King of Rock ’n’ Roll in a 70s-era fever-dream, bursting with iconic moments from Elvis Presley’s lyrics and movies. Shake, Rattle, and Roll your way into fabulous fun now!
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Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)
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Eric Rohmer on the use of Colour in "La Collectionneuse" (1967) and "Claire's Knee" (1970): "I didn't use color as a dramatic element, as some filmmakers have done. For me it's something inherent in the film as a whole. I think that in 'La Collectionneuse' (1967) color above all heightens the sense of reality and increases the immediacy of the settings. In this film color acts in an indirect way; it's not direct and there aren't any color effects, as there are for example in Bergman's most recent film, his second one in color, where the color is very deliberately worked out and he gets his effects mainly by the way he uses red. I've never tried for dramatic effects of this kind, but. for example, the sense of time-evening, morning, and so on-can be rendered in a much more precise way through color. Color can also give a stronger sense of warmth, of heat, for when the film is in black-and-white you get less of a feeling of the different moments of the day, and there is less of what you might call a tactile impression about it. In 'Claire's Knee' (1970), I think it works in the same way: the presence of the lake and the mountains is stronger in color than in black-and-white. It's a film I couldn't imagine in black-and-white. The color green seems to me essential in that film, I couldn't imagine it without the green in it. And the blue too-the cold color as a whole. This film mould have no value for me in black-and-white. It's a very difficult thing to explain. It's more a feeling I have that can't be reasoned out logically." (Eric Rohmer's interview with Graham Petrie, Film Quarterly, 1971)

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Ann-Margret and Elvis Presley dancing to “C'mon Everybody” in Viva Las Vegas (1964), directed by George Sidney. The film is regarded by Elvis fans and film critics as one of Presley's best films, and it's noted for the real-life on-screen chemistry between Presley and Ann-Margret. Presley and Ann-Margret began an affair, which received considerable attention from film and music gossip columnists, and reportedly led to a showdown with Presley's worried girlfriend Priscilla Beaulieu. (Elvis and Priscilla married in 1967.) In her 1985 book Elvis and Me, Priscilla Presley describes the difficulties that she experienced when the gossip columnists erroneously “announced” that Ann-Margret and Presley had become engaged to be married. In her memoirs, Ann-Margret refers to Elvis Presley as her “soulmate” and stated: “We felt there was a need in 'The Industry' for a female Elvis Presley.” In addition, the filming of Viva Las Vegas reportedly produced unusually heated exchanges between the director, film veteran George Sidney, and Presley's manager, Colonel Tom Parker, who was not credited as a “Technical Advisor” in the film's credits. The arguments reportedly concerned the amount of time and effort allotted by the cinematographer, Joseph Biroc, to the song and dance numbers that featured Ann-Margret, ostensibly on the orders of the director. These scenes include views of Ann-Margret's dancing taken from many different camera angles, the use of multiple cameras for each scene, and several retakes of each of her song-and-dance scenes. David Winters, the film's choreographer, was recommended for the job by Ann-Margret, who was his dance student at the time. This was Winters's first job as a choreographer.
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Ann-Margret and Elvis Presley dancing to “C'mon Everybody” in Viva Las Vegas (1964), directed by George Sidney. The film is regarded by Elvis fans and film critics as one of Presley's best films, and it's noted for the real-life on-screen chemistry between Presley and Ann-Margret. Presley and Ann-Margret began an affair, which received considerable attention from film and music gossip columnists, and reportedly led to a showdown with Presley's worried girlfriend Priscilla Beaulieu. (Elvis and Priscilla married in 1967.) In her 1985 book Elvis and Me, Priscilla Presley describes the difficulties that she experienced when the gossip columnists erroneously “announced” that Ann-Margret and Presley had become engaged to be married. In her memoirs, Ann-Margret refers to Elvis Presley as her “soulmate” and stated: “We felt there was a need in 'The Industry' for a female Elvis Presley.” In addition, the filming of Viva Las Vegas reportedly produced unusually heated exchanges between the director, film veteran George Sidney, and Presley's manager, Colonel Tom Parker, who was not credited as a “Technical Advisor” in the film's credits. The arguments reportedly concerned the amount of time and effort allotted by the cinematographer, Joseph Biroc, to the song and dance numbers that featured Ann-Margret, ostensibly on the orders of the director. These scenes include views of Ann-Margret's dancing taken from many different camera angles, the use of multiple cameras for each scene, and several retakes of each of her song-and-dance scenes. David Winters, the film's choreographer, was recommended for the job by Ann-Margret, who was his dance student at the time. This was Winters's first job as a choreographer.

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According to an interview with Samuel L. Jackson, he and writer and director John Singleton often argued over the direction of the film. After one particular argument, Singleton refused to come out of his trailer. Christian Bale didn't have any interest in playing the part of the villain, as he had just finished making American Psycho (2000). But he was reading through lines with Toni Collette, who has the part of the witness in the film, one day, and decided to give it a go as another villain after all. 🎬 SHAFT (2000)

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In as much as i don’t have a stake on what Adam A Zango chooses to do with his life, but this is one misadventure from him too many. He divorced the latest wife he married, and this was speculated to be his 8th marriage in his life. I have come to conclude that this man cannot hold the rope of marriage tightly. His difference with G-fresh is that one seems to approach marriage as a revolving pastime, and the other is genetically predisposed from sustaining marriage.
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In as much as i don’t have a stake on what Adam A Zango chooses to do with his life, but this is one misadventure from him too many. He divorced the latest wife he married, and this was speculated to be his 8th marriage in his life. I have come to conclude that this man cannot hold the rope of marriage tightly. His difference with G-fresh is that one seems to approach marriage as a revolving pastime, and the other is genetically predisposed from sustaining marriage.

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This film is actually Steven Soderbergh's favorite film of his, as he feels it's the best looking movie he's made and that it has the best score to one of his films, making it the one he'd be most comfortable with rewatching Most of the cast admit they did the film mainly to have a nice paid vacation in Europe with making the movie secondary. Specifically, they just wanted to get paid to party at George Clooney's Italian villa which is where some of the filming took place. Film: Ocean's Twelve
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This film is actually Steven Soderbergh's favorite film of his, as he feels it's the best looking movie he's made and that it has the best score to one of his films, making it the one he'd be most comfortable with rewatching Most of the cast admit they did the film mainly to have a nice paid vacation in Europe with making the movie secondary. Specifically, they just wanted to get paid to party at George Clooney's Italian villa which is where some of the filming took place. Film: Ocean's Twelve

Love Classical Music and Movies 🎺🎻💖🎥🎬

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