SYNOPSIS:
Special investigator Sunset Carson [Sunset Carson] is recruited by the governor of the territory of New Mexico, L. Bradford Prince [Frank Jaquet], to investigate a diamond smuggling ring taking place at the border. Along the way he meets city slicker Aloysius J. Phillpotts [Olin Howland] and makes him his saddlemate and partner and rechristens him “Deadeye.”
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Many times in our lives we spend it eating our meals, but never really knowing how the meal is prepared. We never know how the sausage is stuffed, we never see the cow butchered, and “Pleasure” is, in a way, a look at how the cow is butchered for our entertainment. “Pleasure” isn’t so much an indictment of the porn industry, it’s more so a look at the rough and shoddy experience that is the porn industry and how much it can destroy someone that isn’t quite prepared for it. Our main protagonist Bella Cherry is a woman who will do anything to be a famous porn star, but the question lingers is how far is she willing to go to achieve that stardom?
2023 marks the 85th Anniversary of Bug Bunny’s first animated appearance in 1938’s “Porky’s Hare Hunt.” Debuting originally as Happy Rabbit, Bugs eventually became one of the most iconic animated characters of all time. In honor of the landmark anniversary, we’re discussing every animated appearance by Bugs Bunny. We’re big fans of Bugsy and we hope that you are, too.
Follow us on this massive journey where we discover and re-discover Every Bugs Bunny Ever.
Case of the Missing Hare (1942)
Directed by Chuck Jones
Written by Ted Pierce
Music by Carl W. Stalling
Animation by Ken Harris
“Case of the Missing Hare” is one of the many Bugs Bunny shorts that I have sentimental value attached to. Once again, it’s in the public domain (one of the many from United Artists), so it was a part of the many VHS cartoon compilations that my siblings and I owned as kids (we must have owned at least ten of them). “Case of the Missing Hare” was one of my absolute favorites. While it definitely wasn’t one of Bugs’ best, it’s definitely one of my most watched. It also features yet another pretty much one and done villain for Bugs Bunny, which is a shame, because The Great Ala Bahma (also voiced by Blanc) is a pretty fun villain.
Director James Gunn commits to a very interesting fear in avoiding the third film curse by shifting a lot of the focus for his odyssey of the Guardians of the Galaxy. Rather than continue on the journey of Peter Quill, Gunn focuses on the more problematic characters that have entered in to the Marvel Universe. Throughout the trilogy we’ve only know a bit about Nebula and Rocket Raccoon. We know that they’re in essence hard heroes to understand and cope with and Gunn gets down to the nitty gritty and give us compelling back stories. Along the way their back stories allow us to garner a further understanding as to why they relate to the other characters as they do.
BOOTLEG FILES 830: “Tony and Lena” (1973 TV special starring Tony Bennett and Lena Horne).
LAST SEEN: YouTube.
AMERICAN HOME VIDEO: None.
REASON FOR BOOTLEG STATUS: Music clearance costs.
CHANCES OF SEEING A COMMERCIAL DVD RELEASE: Not likely.
During the 1970s – also known as The Decade That Good Taste Forgot – most television specials were bizarre concoctions populated by dubious talents. Where else but in the 1970s would the phrase “Special Guest Star” and names such as John Davidson or Florence Henderson be united amid waves of canned applause?
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It’s hard to believe that “Blame” is a debut feature, as Quinn Shephard manages to develop a drama that’s so richly layered and filled with so many themes about consent, sexual abuse, and the boundaries between mentors and their protégés. “Blame” is by no means a perfect drama, but as a debut it sure manages to be a compelling character study through and through. Quinn, who also writes, edits, and stars, manages to explore the whole dynamic involved in grooming and the inherent power play that arise from them. “Blame” is a lot about the idea of groomers and the entire interplay between adults and younger people that can tend to cross lines often.
Hey even if you don’t like the experiment that Jay Burleson has concocted, you have to give “The Third Saturday in October” its credit for being so ambitious. The movies seem to have been made on a very modest budget, but director Burleson has an obvious adoration for slasher movies of all kinds. “Part I” of the series is a love letter to John Carpenter’s “Halloween” and seventies slasher films in general, and while embracing slasher tropes, he does a rare thing and gives us an African American movie maniac. Not just that, but a horrifying African American movie maniac.