Clamorous Night [HOT] Full Movie Hd 1080p
THE BLU-RAY DISCCriterion's new 2.40:1, 1080p transfer of Blow Out for Blu-ray Disc is superbly filmlike, resolving a level of detail appropriate to a 'scope movie of its era and sporting a reasonable amount of film grain, too. There is no evidence of overzealous noise-reduction or grain-removal techniques, while the image is richly detailed throughout, to the point where some shots exhibit fuzzy edges, fringing, and other optical imperfections resulting from the limitations of the Panavision lenses that were available at the time. Dirt- and dust-wise, the picture is very clean, although there are multiple instances of those pesky vertical scratches that can be a distraction if you're sensitive to analog artifacts in the image. I detected no digital artifacting whatsoever.
Clamorous Night full movie hd 1080p
Circumspect in its violence, The Car isn't much of a horror show, but it is at least a real movie, with competent performances, moderately impressive stunt work, and serviceable if undistinguished direction by Elliot Silverstein (of Cat Ballou fame). It kicks off enticingly enough with a well-staged sequence in which the title character bullies a clean-cut couple on road bikes, ramming both of them off the highway. Though the Car mostly dispatches one unfortunate pedestrian at a time, there is a set-piece involving its opportunistic attack on a marching-band practice that's kind of hilarious if you imagine the screenwriters racking their brains, charged with frothing up a pretense for the equivalent of a shark attack on dry land. Later, in the most ferocious moment of the picture, the death machine takes out its target simply by accelerating out of the darkness and literally ripping through her house at full tilt while she's on a phone call.
THE BLU-RAY DISC Scream Factory's Blu-ray release of The Car presents it in a fine 2.35:1, 1080p transfer that deals well with a palette dominated indoors and out by dusty browns and greys. The image is balanced to deliver consistently ruddy skin tones while avoiding the overt red push that sometimes turns films of this vintage a little garish. Blue skies and neon lights pop off the screen, and if the subtle colour gradations seen on various rock formations don't exactly do justice to the locations, the understated look is more natural than the oversaturated alternative. Contrast is maybe slightly lower than the norm overall, particularly indoors, although many daylight exteriors shine with colourful highlights. The climactic chase sequence is shot using unconvincing day-for-night techniques that appear to be accurately reproduced for video. Film grain is smooth and unobtrusive, except in the darkest scenes, where shadows may have been slightly lifted to reveal detail, emphasizing grain in the process. (The print seems exceptionally clean, which suggests noise-reduction was applied to soften up the picture a tad.) Leonard Rosenman's score and sound editor John Stacy's aural staging of the action are the main beneficiaries of the disc's two high-fidelity sound options, a merely clamorous DTS-HD MA 2.0 stereo mix and a superior 5.1 DTS-HD MA track with cleaner separations and a thicker low end. Alas, a more period-authentic mono option is nowhere to be found.
Perhaps inevitably, Brolin is nowhere to be seen, though we get engaging sit-downs with a couple of supporting actors. In "The Navajo Connection with Geraldine Keams" (12 mins., HD), the actress remembers growing up on a Navajo reservation and scoring a role in The Outlaw Josey Wales before getting the part of Donna, one of the sheriff's deputies, in The Car. Of Silverstein, she suggests, "he was a fantastic director." And "Just Like Riding a Bike with Melody Thomas Scott" (12 mins., HD) turns the spotlight on the "Young and the Restless" actress, who played one of the two bicycle victims in the movie's prologue. She remembers walking around Zion National Park in full corpse make-up just to freak out the tourists, which is nice. She remarks that Silverstein's manner was "gruff," and admits, "I was frightened of him just because...he made me uncomfortable."
The porn business continues to debate the use of condoms, in no small part because starlet (and one-time cast member of VH1 reality show Tool Academy) Cameron Bay announced that she had tested positive for HIV in 2013. Her boyfriend and fellow XXX performer Rod Daily also contracted the virus, and their diagnosis spread even further when rumors (which have since been denied) emerged that Anthony Weiner's online mistress, Sydney Leathers, shot a porn scene with the same co-star as Bay. Since Bay's revelation, she has become an outspoken advocate for STD prevention in adult films and for HIV and AIDS education.\n","alt":"","image_credit":"Albert L. 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But as one of Sheen's live-in "angels" during his 2011, barnstorming "tiger blood" exploits, small-town Indiana girl Bree Olson (born Rachel Oberlin) was thrown into the brightest spotlight. The former professional corn detassler got TV time with everyone from TMZ to ABC News during and after her scandalous union with Charlie. 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His legendary assets later inspired Mark Wahlberg's character (and iconic prosthetic-phallus shot) in 1997's Boogie Nights. Circa 1982, Holmes was also the prime suspect in a quadruple murder at a known L.A. drug den located at 8763 Wonderland Avenue. Holmes, a Wonderland regular, allegedly organized a robbery of wealthy dealer Eddie Nash's Laurel Canyon house (a scene also re-created with Alfred Molina for Nights). When Nash's thugs retaliated by breaking into the Wonderland address and bludgeoning four men to death, Nash was present and relatively unscathed (his ex-wife, Sharon Holmes, would later attest that Holmes confessed to luring the assailants there). 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