I've watched more black and white classics in the last 15 months than I have in the last 20 years. Particularly the old sci-fi, horror, and slapstick films. Harold Lloyd, The Three Stooges, and Chaplin. Plus all the old St Trinians, and Sherlock Holmes. Abbot and Costello and so on. So pleasant to watch.
https://harpers.org/archive/2020/10/no-time-but-the-present-...
This was tougher growing up when kids all watched the same shows and talked about them, but with content so all over the place now that common thread seems to be mostly gone at school (outside of internet video stuff).
My girlfriend somehow grew up completely unaware of Star Trek, so I introduced her to The Next Generation last year and we've been watching it (rewatching in my case, but for the first time in over two decades) one episode a day.
It's so relaxing, in a way that almost no modern TV is. No end-of-episode cliffhangers or other mechanisms trying to make you binge-watch. We can just watch one episode to unwind, discuss it a bit if it's one of the better thought-provoking ones, and then go to bed.
> It's so relaxing, in a way that almost no modern TV is. No end-of-episode cliffhangers
That is not how I would describe Star Trek: the Next Generation. Every season ends with a cliffhanger.
> No end-of-episode cliffhangers or other mechanisms trying to make you binge-watch.
I'm talking about mechanisms that modern TV uses to trick people into watching a series many episodes at a time until they're too tired to go on. An end-of-season cliffhanger that was designed to ensure people would come back when the series returned next season after a long break from their weekly Star Trek watching habit is not at all the same thing. Nothing about TNG is attempting to make me, the viewer, binge-watch it.
In the case of me and my GF, since we know exactly when we are about to watch an end-of-season episode we just plan an extra hour for it that evening. That's it.
There are a handful of those in TNG. But only a handful.
Well, except for the season finale/openers from Season 3 on; but, yes, TV in general (even before streaming, DS9-VOY-ENT all show this trend within thr Trek franchise) has become less episodic since the TNG era.
Yeah (I think the actual intent was “less episodic”, and I’ve corrected it to that, but same thing.)
Is that really your determining factor while deciding to watch a movie? It isn't mine. I watch a movie because its a good movie, I don't go searching for diversity, I like watching a movie because of its entertainment value. You should try it.
I don't only watch a movie or a TV show for the intrinsic entertainment quality, I also do it so that I can talk about what I watch with others.
That artsy Swiss movie from 1929 is not as popular a theme as the latest episode of Ozark.
YouTube & others provide a large library for free (with ads). I assume most here are Amazon Prime members anyway, so that vast library is practically free. Apple TV always has some good $5 movies.
As I get older, the less I care about seeing the latest stuff - as there's always more I want to watch than I can get to.
(And if there really isn't enough for you to watch, you really need be doing something else.)
The story depicts the machinations of a racist named Adam Cramer (Shatner), who arrives in the fictitious small Southern town of Caxton in order to incite white townspeople to racial violence against black townspeople and court-ordered school integration.
Also You Can't Take It With You. Now you've seen one Cary Grant and one Jimmy Stewart. To finish up you can get both of them with Catherine Hepburn in The Philadelphia Story.
The Third Man is classic, classic noir. Between the on location shooting in Vienna, fantastic performances by Joseph Cotten and Orson Welles, and really distinctive cinematography, it's just stunning.
A Man Escaped. To quote Godard, "He is the French cinema, as Dostoevsky is the Russian novel and Mozart is German music". If you like simple, but beautiful films, watch Bresson. A Man Escaped makes all other prison break films, with their endless plot twists and convolutions, seem utterly pointless. Instead Bresson focuses on the character, the drama and the methodical process of breaking out.
Dead of Night
Modern times
The third man