A restoration of CHIMES AT MIDNIGHT is also lingering in legal limbo.

They also have Sam Peckinpah's adaptation of Noon Wine.

I'm hoping that an unexpurgated version of THE MARTIAN CHRONICLES might make it out some day

David McClintock's INDECENT EXPOSURE, covering the David Begelman embezzlement case and the malfeasance of Columbia's board in responding to the crisis, is excellent, although it covers the 70s.

Biochemist—My moment of cinematic epiphany was INHERIT THE WIND when I was about 10, broadcast on a Saturday evening.  I'd never heard about it ,and when it came on I got immediately hooked.  My guess is that such discoveries are less common because of classic films being ghettoized to streaming or on channels way…

The reason why I'm such a movie addict stems from growing up in Los Angeles in an era when virtually all of the regular T.V. channels ran movies as filler between sports, news, and prime time.  TCM is great but you just don't come across life changing images and stories from the movies anymore.  You have to hunt them…

After initially disliking it, I gave Ripley a second chance due to the recommendation of a screenwriting professor.  Glad I took the bait.

Ripley's sexual orientation comes back as an issue in THE BOY WHO FOLLOWED RIPLEY, and the ending of Minghella's film kind of makes reference to the latter book in terms of tone if not plot.

Read them chronologically 1 - 4, which seem to complete an arc for the character.  RIPLEY UNDERWATER is OK but feels like an unnecessary add on.

I found the pace of the film way too rushed, and every single deviation from the novel diminishing the power of the story.  While I've warmed up to Ripley as a subtle but significant departure from the book that mostly works on its own terms, I don't see my dislike for Cold Mountain changing soon.

I doubt that the novel's original plot could have passed Hays office in the 50s, and Hitchcock was a more emotionally accessible artist than Highsmith anyway.  I think the latter issue explains why few good films have come from Highsmith's books, and those that work tend to have a problem getting a wide release or…

My sense, in reply to K. Thrace, is that despite having all of the elements of an epic romance, its flashback structure, over-reliance on symbolism, and the somewhat chilly charisma of the leads unnecessarily  dampens its emotional appeal.  Some of this is carried over from the book though.

It's best to appreciate this film knowing that Minghella makes some very significant changes to Ripley's motives, exhibiting a more passionate, spontaneous context for his initial crimes than the novel, and ending on a more tragic note regarding the prospects of Ripley's future.  I hated these changes immensely when…

I became fixated on this movie when it played on Z channel in the late 70s, watching it about 4 times in a week and getting some friends to watch it as well.  I was a teenager at the time and some of the images are still seared in my brain.

Based on all of the cross cutting between the plane and the love interest who overdoses I was expecting the films theme would cover the arbitrary nature of grace in a universe where one man can perform a miracle when his senses were impaired while another might fail despite having the same addictions.  It ended as a…

I knew that if I mentioned COCKFIGHTER Warren Oates would show up.

"Beer's gone, I'm gone".

I've heard that Willeford threatened to end the series by having Moseley kill his daughters.  I'm kind of glad it didn't come to that, although I probably shouldn't go so far as endorsing an author's death so as to stop them from pursuing a potentially bad idea.

If there was any justice Charles Willeford's reputation would be a big as Jim Thompson's or Elmore Leonard's.  The whole Hoke Mosely series was excellent, and they don't even constitute his best work.  Check out COCKFIGHTER and THE BURNED ORANGE HERESY for some really nasty stuff

It's a pity that you didn't see 48 HOURS when it was released.  Murphy was a revelation, and, as the comments above attest, his abrasive, wise-ass performance distinguishes this film from its imitators.  It's really one of the great film debuts.  You can also see how the Simpson-Brookheimer touch didn't have to rely…