Add it pronto. I think it's his most fully realized film, along with SHOCK CORRIDOR

Another good one in this vein is THE EXILES, which chronicles Native American communities around Bunker Hill in the late 1950s in a semi-ethnographic fashion.

It's a great introduction, and for a number of reasons my favorite Fuller film to boot. Everyone I've recommended it to has thanked me for it.

Seeing how its shot and the angles used to establish things from Towers' POV, I think you are right.

Great call on this one. It's a great dark comedy and I'm glad that Netflix has picked it up. Great retro soundtrack too.

It feels like it spoke in a different language to me than anyone else I know who saw it.

and BUBBA HO TEP. THE THICKET is a pretty terrific book

Yes, and Leonard wrote the adaptation too.

I miss the the more naturalistic tone and the characters' sort of loungy relationship to the urban topography of the early films. That's why I like DEATHPROOF actually. Tarantino's post JACKIE are very complex but they don't necessarily play to all of his strengths.

JACKE BROWN is less blaxploitation and more of a crime drama template developed by Dashiell Hammett in THE MALTESE FALCON. Once you see that the characters in the former are analagous to the latter you can see what Leonard/Tarantino were up to.

Max isn't a person who'd let the yearnings of is heart overrun his instincts for survival. Like THE MALTESE FALCON, a life with Jackie would be one where Max's freedom and life would be based on the circumstances in which they could live on Ordell's ill gotten gains under the cloud of ATF surveillence. Jackie,…

I saw RISING DAMP on PBS in my teens, and thought it was one of the funniest imports that they ran. Leonard Rossiter also provided some priceless moments in CLOCKWORK ORANGE and BARRY LYNDON. Along with John Ball, he was the most memorable actors in Kubrick's stock company.

Zeffarelli did 3 Shakespeares as well (Romeo and Jiet, Taming of the Shrew, and Hamlet)

I just read that she died in February—As you said, a true pioneer.

Next to ANY OLD PORT—- that's my favorite episode. Probably one of Lawrence Harvey's last roles.

Bummer that is not on the Netflix version

and the music industry, which plays in a lot of his other writing. It also boasted a number of scripts written and or supervised by Juanita Bartlett, one of the few women writers for this television genre. Leigh Brackett (THE BIG SLEEP, RIO BRAVO, THE LONG GOODBYE, THE EMPIRE STRIKES BACK) even wrote an episode or…

There is also the age factor to consider, but there is the added factor of Ron's egoism and his refusal to submit for the approval of others in the name of his principles.

What you just said was actually what I meant to say—My clumsy fingers and groggy temperament are getting the best of me. Southern white supremacy was the ideological basis for secession, but slavery was the cauldron in which the elements were mixed.

To be a bit of a contrarian, I thought that THE WAR showed more focus than the other documentaries, using biographies to shape the narrative as opposed to the massiveness of the historical context.