Best Western Plus Hotel Casino Royale (Las Vegas ...

EDC logistics

I know this is months away, but it's so hard not to start planning! I booked a room at Best Western Casino Royale. I highly recommend this hotel. It's not a huge resort (which is a + for me), but the rooms are really clean and comfortable. It's right between Harrah's and Venetian, so the location is perfect for getting on the Linq shuttle. And they don't charge any resort fees! I've stayed here every time I've been to Vegas.
Also I'm sure you guys know this but a lot of the booking sites allow you to pay an initial deposit now, and pay the remainder when you check-in. Definitely better than charging $700 all at once! Plus there's free cancelation.
Anyways, I've been thinking about the transportation situation. Since I might be a lone, the shuttle seems like an attractive option instead of ending up stuck paying for a cab or uber by myself.
How reliable/unreliable are the shuttles? Do they get you there early enough in the evening so you don't miss out on a lot? Or are they a complete clusterfuck and should be avoided?
It shows the first shuttles leaving at 7pm. But I see past line ups starting at 7pm. How early to most people get to the speedway?
submitted by socalpilot7 to electricdaisycarnival [link] [comments]

First time going to Vegas. Advice for two friends that just turned 21.

Hey Las Vegas! So my buddy and I just turned 21 last month and he's on leave from the Navy so we're going to take a drive to Vegas next weekend and stay a couple nights. I bet you guys probably get questions like this all the time so I apologize for that.
What are some fun, yet affordable, things you would recommend?
Not looking to be caught up in all the touristy areas, don't really like traveling that way and prefer to avoid those crowds. I know LV is crowded/touristy in general, but I live in San Diego so it's also very touristy and I know these places exist haha :) I trust locals over tourists for advice!
We're staying at Best Western Casino Royale.
My buddy is really into poker, like he's kinda semi-pro, so which poker rooms would you recommend? Looking for some good cash games and tourneys.
For dinner one night we're going to try Wicked Spoon. Any other dining suggestions?
As for night life entertainment, we don't have a TON of money to spend but would like to do a couple things. Any suggestions? Not really into the club scene, but are there any good hangout spots/bars? Looking for some good drinks and fun people. We're definitely going to buy some alcohol and have some drinks before we go out, to save some money.
Any other fun/cool hidden gems or must see things?
Anyways, thanks for the suggestions! :)
submitted by socalpilot7 to LasVegas [link] [comments]

Thoughts on Casino Royale Best Western?

Long time visitor of this casino. Never stayed in the Best Western attached. Planning to stay here during Superbowl weekend and wanted to see if others have had good experiences with the rooms. (I am a diamond card holder for BW so i am very aware if the brands basic offerings but this is a next level tourist location)
Most reviews online are positive and basic is all I will need. I absolutely adore spending a few hours each day every trip at their bar playing video poker and it would be nice to have my room right there. It is amazing how far a five dollar tip can go at that bar!
Thoughts?!
Thanks all
submitted by SigmaDerbyHero to vegas [link] [comments]

I watched "Maverick" (1994).

Ah, the art of making a traditional Western film just for the sake of it. Honestly, given how irrelevant the traditional style has become, I'm not surprised people don't mention this all too much when looking back at 1994. (Then again, it’s usually at most two dozen movies anyone cares about from then. What, you mean to tell me this is in a different league than Pulp Fiction?) I’m pretty sure the selling point of Maverick was that it's cool to be a regular Western film and not something as revolutionary as, say, Unforgiven, but nowadays that's not particularly inviting. Especially when it overshadows other points like its appealing cast. Even if such a movie is well-liked (which it is), why bother to watch a new movie that tries to be charming in an old-fashioned way when there are already countless movies of its class? The most inviting time to watch this was when it came out, and with each passing year it gets less interesting to consider watching.
Perhaps that's why it's taken me so long to get around to watching Maverick. That, and the fact I don’t really like Richard Donner as a director. In his later years, anyway. That guy has talent to spare, but his best days were well behind him at this point and while he was always a fair choice for a visually striking but precisely broad scope for handling plenty different ranges of material, a lot of his later work seemed to see him lack a real grasp on the material he was given and turned the stuff he made ranging from middling to godawful. My hopes were that if he gave this material the right level of energy, we had something good here.
And wouldn't you know it, I was right. For the most part. But the fact that I can relax knowing Donner made an overall better movie than Radio Flyer in the 90s is good enough for me.
Sure, it's a pretty lightweight endeavour, meaning if you don't like anything here then all bets are off, but this TV adaptation (knew about the original 50s show but never watched it) is quite a fun, feel-good sort of entertainment. Of course, given its lavish $75M-and-it-sure-looks-like-it budget (correct me if I'm wrong, as I was wrong before I watched this movie since I thought the title went to the cheap looking $70M film Wolf, but isn't this the second most expensive film of 1994 behind True Lies?) the look of the film is splendid. Donner's reliably marvellous sense of cinematography and set design are all aces, as are the Academy-recognised costumes. Randy Newman's score adds a nice touch, pretty great in occasional scenes. But really, this movie wouldn't be even half as fun if it weren't for the cast. Especially Mel Gibson as the titular Bret "Bert" Maverick.
Gibson and Co bring a much needed sense of energy and humour to the script, keeping plenty of the colourful characterisations in check as we travel around the map. The cast are all game, from prime con men to bank robbers to Indians to people of all travels like the Russian leader. They're great, if a bit too lightweight and underutilised--potential implications of her character notwithstanding, I kept forgetting Jodie Foster was in the movie until she would make her reappearance. Thankfully, Gibson is plenty enough of a hero to anchor and carry the film; he's charming as all get-out, funny, and quite talented in plenty methods, especially in balancing out getting on top and being a nice guy. Sympathise with him as he goes from a coward to a brave man willing to sacrifice himself for those around him, relying on his father's quotes and quick wits to survive. And magic, apparently. All leading up to the big poker game on the river. Ah, the old days of looking forward to seeing a new Gibson film...
For a movie that lends itself to the legacy of being a Western by being one for the 90s, it's a good effort for the most part. Do wish it was a bit more...fun, to be honest. And a bit broader in establishing the aspects of a poker game. And not so aimless towards the end. (What, you thought this was Casino Royale before Casino Royale? At least Martin Campbell can claim to have a steady hand on his material in his movies on any point in his career.) Donner is a bit of a letdown in staging plenty of the big showdown scenes--they're fine, but you'd expect to let the film do some of the workmanship in providing entertainment value rather than being all showy and hoping the light material and cast did all the work. Scenes like Maverick taking over the reins on a horse-powered journey gone wrong tend to succeed more on the charms of its cast than the spectacle of seeing him try to hang on for dear life. Not to mention such an anticlimactic scene where Maverick has to escape his bedroom on the boat. Typical 90s Donner, but despite my quibbles, it's great the movie is already entertaining enough as it is. It’s just that those quibbles could be brushed aside to make this a pretty great blockbuster for rediscovering rather than sheer adequacy. Great that it’s pretty spectacular in its lavish look, too (hard to think of someone better than Donner to make this as broadly beautiful as it is). Also pretty hilarious.
Seriously, I didn't expect this to be so funny. Then again, it's a Gibson/Donner collaboration, and if they want to do Lethal Weapon any way they can, so be it. (Unless it’s Conspiracy Theory, in which case I’ll order the gravy and go back to watching JFK.) Hilarious Danny Glover cameo included. ("I'm getting too old for this...") Likely the film's greatest asset in maintaining a steady level of quality, and it goes far enough to be some good fluff. Sure, it’s not the best thing you could ask for, but it’s always nice to kick back and relax to such entertaining fluffy stuff, no? Especially for those more into Westerns than I am.
Sorry if I rambled quite a bit, but I found this pretty fun to write about the way everyone seemed while making this.
7/10
P.S. Anyone down for a Top Gun/Maverick hybrid? Just for the sake of it?
submitted by Akram323 to iwatchedanoldmovie [link] [comments]

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https://preview.redd.it/1m0ch6zr86661.jpg?width=259&format=pjpg&auto=webp&s=43a4daa792544a2ce9f164e4439e3d47db00a7a2
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Turner Classic Movies (TCM) - The Full U.S. Schedule for October 2020, with Horror film classics and Star of the Month: PETER CUSHING

Thursday - October 1st, 2020

TCM Spotlight: Celebrating 30 Years of the Film Foundation

Friday – October 2nd, 2020

FRIGHT FAVORITES

Saturday – October 3rd, 2020

The ESSENTIALS

Sunday – October 4th, 2020

TCM Birthday Tribute: BUSTER KEATON

Monday – October 5th, 2020

Star of the Month: PETER CUSHING

Tuesday – October 6th, 2020

Wednesday – October 7th, 2020

ANDY GRIFFITH

Thursday – October 8th, 2020

TCM Spotlight: Celebrating 30 Years of the Film Foundation

Friday – October 8th, 2020

FRIGHT FAVORITES

Saturday – October 9th, 2020

The ESSENTIALS: Three of a Kind

Sunday – October 11th, 2020

LEMMON & MATTHAU

Monday – October 12th, 2020

Star of the Month: PETER CUSHING

Tuesday – October 13th, 2020

Wednesday – October 14th, 2020

PRESIDENTIAL BIOPICS

Thursday – October 15th, 2020

TCM Spotlight: Celebrating 30 Years of the Film Foundation

Friday – October 16th, 2020

FRIGHT FAVORITES

Saturday – October 17th, 2020

The ESSENTIALS: Gene Kelly

Sunday – October 18th, 2020

ALMOST LOST

Monday – October 19th, 2020

Star of the Month: PETER CUSHING

Tuesday – October 20th, 2020

Wednesday – October 21st, 2020

SCOUNDRELS & SPITBALLERS

Thursday – October 22nd, 2020

TCM Spotlight: Celebrating 30 Years of the Film Foundation

Friday – October 23rd, 2020

FRIGHT FAVORITES

Saturday – October 24th, 2020

The ESSENTIALS: Jan Sterling

Sunday – October 25th, 2020

VAN HEFLIN

Monday – October 26th, 2020

Star of the Month: PETER CUSHING

Tuesday – October 27th, 2020

Wednesday – October 28th, 2020

ELECTION STORIES

Thursday – October 29th, 2020

TCM Spotlight: Celebrating 30 Years of the Film Foundation

Friday – October 30th, 2020

FRIGHT FAVORITES

Saturday – October 31st, 2020 [HALLOWEN]

The ESSENTIALS: Nuclear Nightmare

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Which Director had the best run in the 40s?

Best run in terms of anything
William Wyler: The Westerner, The Heiress, The Little Foxes, The Letter, The Best Years of Our Lives, Mrs. Miniver, Memphis Belle, and Thunderbolt.
Orson Welles: Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Journey into Fear, The Stranger, Black Magic, and Follow the Boys.
John Huston: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, We Were Strangers, In This Our Life, Across the Pacific, and Let There Be Light.
Howard Hawks: Red River, I Was a Male War Bride,A Song Is Born, To Have and Have Not, The Big Sleep, Sergeant York, His Girl Friday, Air Force, and Ball of Fire.
Alfred Hitchcock: Notorious, Rebecca, Shadow of a Doubt, Spellbound, Rope, Suspicion, Under Capricorn, Foreign Correspondent, Saboteur, Mr. & Mrs. Smith, Lifeboat, and The Paradine Case.
Preston Sturges: The Palm Beach Story, Sullivan's Travels, Unfaithfully Yours, The Great Moment, The Miracle of Morgan's Creek,I Married a Witch, Christmas in July, The Lady Eve, and The Great McGinty.
George Cukor: The Philadelphia Story, Gaslight, Adam's Rib, Susan and God, Her Cardboard Lover, Keeper of the Flame, Edward, My Son, A Double Life, I'll Be Seeing You, and Desire Me.
John Ford: The Grapes of Wrath, The Long Voyage Home, Tobacco Road, How Green Was My Valley, 3 Godfathers, December 7th: The Movie, My Darling Clementine, They Were Expendable, We Sail at Midnight, Fort Apache, Torpedo Squadron ,The Battle of Midway, How to Operate Behind Enemy Lines, She Wore a Yellow Ribbon, and The Fugitive.
Jacques Tourneur: Cat People, I Walked With a Zombie, Out of the Past, Canyon Passage, The Leopard Man, Phantom Raiders, Days of Glory, Easy Living, Experiment Perilous, and Berlin Express.
Vittorio De Sica: Shoeshine, Bicycle Thieves, Heart and Soul, The Children Are Watching Us, The Gates of Heaven, A Garibaldian in the Convent, Teresa Venerdì, Maddalena, Zero for Conduct, and Red Roses.
Roberto Rossellini: Rome, Open City, Paisan, Germany, Year Zero, L'Amore, The White Ship, A Pilot Returns, and The Man with a Cross.
Ernst Lubitsch: To Be or Not to Be, The Shop Around the Corner, Heaven Can Wait, Cluny Brown, That Uncertain Feeling, A Royal Scandal, and That Lady in Ermine.
Powell and Pressburger: The Life and Death of Colonel Blimp, The Red Shoes, A Canterbury Tale, I Know Where I'm Going!, A Matter of Life and Death, Black Narcissus, Contraband, 49th Parallel, One of Our Aircraft Is Missing, The Small Back Room,and An Airman's Letter to His Mother.
Michael Curtiz: Casablanca, Mildred Pierce, The Sea Wolf, Yankee Doodle Dandy, This Is the Army, Night and Day, Romance on the High Seas, Santa Fe Trail, Virginia City, The Sea Hawk, Captains of the Clouds, Dive Bomber, Life with Father, Mission to Moscow, Janie, Passage to Marseille, Roughly Speaking, The Unsuspected, My Dream Is Yours, Flamingo Road, and The Lady Takes a Sailor.
John M. Stahl: Leave Her to Heaven, The Foxes of Harrow, The Eve of St. Mark, Our Wife, Immortal Sergeant, Holy Matrimony, The Keys of the Kingdom, The Walls of Jericho, Father Was a Fullback, and Oh, You Beautiful Doll.
Billy Wilder: The Major and the Minor, The Lost Weekend, Double Indemnity, Five Graves to Cairo, Death Mills, The Emperor Waltz, and A Foreign Affair.
Nicholas Ray: They Live by Night, A Roseanna McCoy, Woman's Secret, and Knock on Any Door.
Elia Kazan: A Tree Grows in Brooklyn, Pinky, Boomerang, The Sea of Grass, and Gentleman's Agreement.
Frank Capra: It’s a Wonderful Life, Arsenic and Old Lace, State of the Union, and Meet John Doe.
Carol Reed: The Third Man, Odd Man Out, The Fallen Idol, The Stars Look Down, Girl in the News, A Letter from Home, Kipps, The Young Mr. Pitt, Night Train to Munich, The New Lot, and The Way Ahead. David Lean: In Which We Serve, This Happy Breed, Brief Encounter, Blithe Spirit, Oliver Twist, Great Expectations, and The Passionate Friends.
Mervyn LeRoy: Waterloo Bridge, Random Harvest, Little Women, East Side, West Side, Without Reservations, Any Number Can Play, The House I Live In, Madame Curie, Thirty Seconds Over Tokyo, Blossoms in the Dust, Johnny Eager, Escape, and Homecoming.
Vincente Minnelli: Meet Me in St. Louis, I Dood It, Cabin in the Sky, Yolanda and the Thief, The Clock, Undercurrent, Ziegfeld Follies, The Pirate, Madame Bovary, and Till the Clouds Roll By. Charles Walters: Ziegfeld Follies, Easter Parade, Good News, and The Barkleys of Broadway.
Leo McCarey: The Bells of St. Mary's and Once Upon a Honeymoon.
Jean Renoir: The Woman on the Beach, The Southerner, The Diary of a Chambermaid, Swamp Water, and This Land is Mine.
Anthony Mann: Moonlight in Havana, Sing Your Way Home, My Best Gal, Nobody's Darling, Dr. Broadway, Strangers in the Night, Bamboo Blonde, Raw Deal, T-Men, Desperate, Railroaded!, Border Incident, Reign of Terror, Two O'Clock Courage, and Strange Impersonation.
King Vidor: The Fountainhead, On Our Merry Way, Duel in the Sun, An American Romance, Comrade X, Northwest Passage, H. M. Pulham, Esq., and Beyond the Forest.
Robert Rossen: All The King’s Men, Johnny O'Clock, The Strange Love of Martha Ivers, A Child Is Born, Edge of Darkness, Out of the Fog, Blues in the Night, A Walk in the Sun, The Undercover Man, Desert Fury, and Body and Soul.
Fred Zinnemann: The Search, Kid Glove Killer, Eyes in the Night, The Clock, Act of Violence, The Seventh Cross, Little Mister Jim, and My Brother Talks to Horses.
Robert Wise: Criminal Court, The Curse of the Cat People, Mademoiselle Fifi, The Body Snatcher, Born to Kill, The Set-Up, A Game of Death, Blood on the Moon, and Mystery in Mexico.
Akira Kurosawa: Sanshiro Sugata, Sanshiro Sugata Part II, The Most Beautiful, One Wonderful Sunday, Drunken Angel, The Quiet Duel, Stray Dog, The Men Who Tread on the Tiger's Tail, and No Regrets for Our Youth.
Otto Preminger: Laura, Fallen Angel, Daisy Kenyon, Forever Amber, Whirl Pool, The Fan, Margin for Error, In the Meantime, Darling, and Centennial Summer.
Jules Dassin: Thieves' Highway, A Letter for Evie, Brute Force, Two Smart People, The Naked City, Young Ideas, The Canterville Ghost, Nazi Agent, The Tell-Tale Heart, The Affairs of Martha, and Reunion in France.
Charlie Chaplin: The Great Dictator, and Monsieur Verdoux. George Stevens: The More the Merrier, The Talk of the Town, Penny Serenade, Woman of the Year, Vigil in the Night, On Our Merry Way, The Nazi Plan, and I Remember Mama.
Yasujirô Ozu: Late Spring, Brothers and Sisters of the Toda Family, A Hen in the Wind, There Was a Father, and Record of a Tenement Gentleman.
Fritz Lang: Secret Beyond the Door, The Woman in the Window, Scarlet Street, Cloak and Dagger, Man Hunt, Ministry of Fear, Hangmen Also Die!, Western Union, Moon Tide, and The Return of Frank James.
Raoul Walsh: High Sierra, White Heat, Colorado Territory, Fighter Squadron, Silver River, Pursued, The Man I Love, Cheyenne, Uncertain Glory, Objective, Burma!, Manpower, Desperate Journey, Northern Pursuit, The Strawberry Blonde, They Died with Their Boots On, Gentleman Jim, Dark Command, and They Drive by Night.
Vincent Sherman: Nora Prentiss, Mr. Skeffington, Adventures of Don Juan, The Unfaithful, The Hard Way, Old Acquaintance, The Hasty Heart, In our Time, Pillow to Post, Janie Gets Married, Saturday's Children, The Man Who Talked Too Much, Underground, Flight from Destiny, Across the Pacific, and All Through the Night.
Anatole Litvak: The Snake Pit, City for Conquest, The Battle of Russia, Why We Fight, Sorry, Wrong Number, This Above All, The Long Night, All This, and Heaven Too, and Castle on the Hudson.
Max Ophüls: Caught, The Reckless Moment, The Exile, Letter from an Unknown Woman, Vendetta, and Sarajevo.
Charles Vidor: Gilda, Cover Girl, Over 21, The Loves of Carmen, The Tuttles of Tahiti, The Desperadoes, Together Again, A Song to Remember, The Man from Colorado, New York Town, Ladies in Retirement, My Son, My Son!, and The Lady in Question.
Edgar G. Ulmer: Detour, Isle of Forgotten Sins, Girls in Chains, Tomorrow We Live, Club Havana, The Strange Woman, My Son, the Hero, Jive Junction, Strange Illusion, Bluebeard, Her Sister's Secret, The Pirates of Capri, Ruthless, The Wife of Monte Cristo, and Carnegie Hall.
Victor Fleming: Dr. Jekyll and Mr. Hyde, Joan of Arc, Adventure, A Guy Named Joe, and Tortilla Flat.
Joseph L. Mankiewicz: A Letter to Three Wives, Escape, House of Strangers, The Late George Apley, The Ghost and Mrs. Muir, Dragonwyck, and Somewhere in the Night.
Robert Bresson: Angels of Sin and Les Dames du Bois de Boulogne.
Luis Buñuel: Gran Casino and The Great Madcap.
Fei Mu: Spring in a Small Town, Confucius, The Beauty, A Wedding in the Dream, The Magnificent Country, Songs of Ancient China, and The Little Cowheard.
Kenji Mizoguchi: The 47 Ronin, A Woman of Osaka, Flame of My Love, The Love of the Actress Sumako, Victory Song, Utamaro and His Five Women, Women of the Night, Victory of Women, The Famous Sword Bijomaru, Three Generations of Danjuro, The Life of an Actor, and Miyamoto Musashi.
Douglas Sirk: Lured, Sleep, My Love, Hitler's Madman, Summer Storm, A Scandal in Paris, Shockproof, and Slightly French.
René Clément: The Battle of the Rails, The Damned, Mr. Orchid, and The Walls of Malapaga.
Robert Hamer: Kind Hearts and Coronets, The Spider and the Fly, It Always Rains on Sunday, San Demetrio London, and Pink String and Sealing Wax.
Robert Siodmak: Criss Cross, Cry of The City, Dark Mirror, Phantom Lady, The Killers, The Spiral Staircase, Christmas Holiday, The Strange Affair of Uncle Harry, Time Out of Mind, Son of Dracula, The Suspect, The Night Before the Divorce, Someone to Remember, Cobra Woman, The File on Thelma Jordon, The Great Sinner, West Point Widow, My Heart Belongs to Daddy, and Fly-by-Night.
Humphrey Jennings: Spring Offensive, Welfare of the Workers, London Can Take It!, A Diary for Timothy, This Is England, Words for Battle, Fires Were Started, Listen to Britain, The Silent Village, The True Story of Lili Marlene, The Eighty Days, Myra Hess, A Defeated People, The Cumberland Story, and The Dim Little Island.
William Dieterle: Dr. Ehrlich's Magic Bullet, Kismet, This Love of Ours, Syncopation, The Searching Wind, Rope of Sand, Portrait of Jennie, The Accused, I'll Be Seeing You, A Dispatch from Reuters, The Devil and Daniel Webster, Tennessee Johnson, and Love Letters.
Edmund Goulding: The Razor's Edge, Nightmare Alley, The Shocking Miss Pilgrim, Everybody Does It, Claudia, Of Human Bondage, Flight from Folly, Forever and a Day, Old Acquaintance, The Constant Nymph, The Great Lie, and Til We Meet Again.
Luchino Visconti: Ossessione and La Terra Trema.
Ernest B. Schoedsack: Dr. Cyclops and Mighty Joe Young.
Roy Del Ruth: It Happened on 5th Avenue, Red Light, The Babe Ruth Story, The Chocolate Soldier, Topper Returns, He Married His Wife, Du Barry Was a Lady, and Ziegfeld Follies.
Rene Clair: And Then There Were None, I Married a Witch, Man About Town,It Happened Tomorrow, The Flame of New Orleans, and Forever and a Day.
John Cromwell: Victory, Abe Lincoln in Illinois, So Ends Our Night, Son of Fury: The Story of Benjamin Blake, Anna and the King of Siam, Dead Reckoning, The Enchanted Cottage, Since You Went Away, and Night Song.
Richard Fleischer: Trapped, Make Mine Laughs, The Clay Pigeon, Follow Me Quietly, Banjo, Design for Death, So This Is New York, Bodyguard, and Child of Divorce.
Norman Z. McLeod: Jackass Mail, The Secret Life of Walter Mitty, Panama Hattie, The Paleface, and Little Men.
submitted by Britneyfan456 to movies [link] [comments]

Which Director had the best run in the 40s?

Best run in terms of anything
William Wyler: The Westerner, The Heiress, The Little Foxes, The Letter, The Best Years of Our Lives, Mrs. Miniver, Memphis Belle, and Thunderbolt.
Orson Welles: Citizen Kane, The Magnificent Ambersons, The Lady from Shanghai, Macbeth, Journey into Fear, The Stranger, Black Magic, and Follow the Boys.
John Huston: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, We Were Strangers, In This Our Life, Across the Pacific, and Let There Be Light.
Howard Hawks: Red River, I Was a Male War Bride,A Song Is Born, To Have and Have Not, The Big Sleep, Sergeant York, His Girl Friday, Air Force, and Ball of Fire.
Alfred Hitchcock: Notorious, Rebecca, Shadow of a Doubt, Spellbound, Rope, Suspicion, Under Capricorn, Foreign Correspondent, Saboteur, Mr. & Mrs. Smith, Lifeboat, and The Paradine Case.
Preston Sturges: The Palm Beach Story, Sullivan's Travels, Unfaithfully Yours, The Great Moment, The Miracle of Morgan's Creek,I Married a Witch, Christmas in July, The Lady Eve, and The Great McGinty.
George Cukor: The Philadelphia Story, Gaslight, Adam's Rib, Susan and God, Her Cardboard Lover, Keeper of the Flame, Edward, My Son, A Double Life, I'll Be Seeing You, and Desire Me.
John Ford: The Grapes of Wrath, The Long Voyage Home, Tobacco Road, How Green Was My Valley, 3 Godfathers, December 7th: The Movie, My Darling Clementine, They Were Expendable, We Sail at Midnight, Fort Apache, Torpedo Squadron ,The Battle of Midway, How to Operate Behind Enemy Lines, She Wore a Yellow Ribbon, and The Fugitive.
Jacques Tourneur: Cat People, I Walked With a Zombie, Out of the Past, Canyon Passage, The Leopard Man, Phantom Raiders, Days of Glory, Easy Living, Experiment Perilous, and Berlin Express.
Vittorio De Sica: Shoeshine, Bicycle Thieves, Heart and Soul, The Children Are Watching Us, The Gates of Heaven, A Garibaldian in the Convent, Teresa Venerdì, Maddalena, Zero for Conduct, and Red Roses.
Roberto Rossellini: Rome, Open City, Paisan, Germany, Year Zero, L'Amore, The White Ship, A Pilot Returns, and The Man with a Cross.
Ernst Lubitsch: To Be or Not to Be, The Shop Around the Corner, Heaven Can Wait, Cluny Brown, That Uncertain Feeling, A Royal Scandal, and That Lady in Ermine.
Powell and Pressburger: The Life and Death of Colonel Blimp, The Red Shoes, A Canterbury Tale, I Know Where I'm Going!, A Matter of Life and Death, Black Narcissus, Contraband, 49th Parallel, One of Our Aircraft Is Missing,The Small Back Room, and An Airman's Letter to His Mother.
Michael Curtiz: Casablanca, Mildred Pierce, The Sea Wolf, Yankee Doodle Dandy, This Is the Army, Night and Day, Romance on the High Seas, Santa Fe Trail, Virginia City, The Sea Hawk, Captains of the Clouds, Dive Bomber, Life with Father, Mission to Moscow, Janie, Passage to Marseille, Roughly Speaking, The Unsuspected, My Dream Is Yours, Flamingo Road, and The Lady Takes a Sailor.
John M. Stahl: Leave Her to Heaven, The Foxes of Harrow, The Eve of St. Mark, Our Wife, Immortal Sergeant, Holy Matrimony, The Keys of the Kingdom, The Walls of Jericho, Father Was a Fullback, and Oh, You Beautiful Doll.
Billy Wilder: The Major and the Minor, The Lost Weekend, Double Indemnity, Five Graves to Cairo, Death Mills, The Emperor Waltz, and A Foreign Affair.
Nicholas Ray: They Live by Night, A Roseanna McCoy, Woman's Secret, and Knock on Any Door.
Elia Kazan: A Tree Grows in Brooklyn, Pinky, Boomerang, The Sea of Grass, and Gentleman's Agreement.
Frank Capra: It’s a Wonderful Life, Arsenic and Old Lace, State of the Union, and Meet John Doe.
Carol Reed: The Third Man, Odd Man Out, The Fallen Idol, The Stars Look Down, Girl in the News, A Letter from Home, Kipps, The Young Mr. Pitt, Night Train to Munich, The New Lot, and The Way Ahead.
David Lean: In Which We Serve, This Happy Breed, Brief Encounter, Blithe Spirit, Oliver Twist, Great Expectations, and The Passionate Friends.
Mervyn LeRoy: Waterloo Bridge, Random Harvest, Little Women, East Side, West Side, Without Reservations, Any Number Can Play, The House I Live In, Madame Curie, Thirty Seconds Over Tokyo, Blossoms in the Dust, Johnny Eager, Escape, and Homecoming.
Vincente Minnelli: Meet Me in St. Louis, I Dood It, Cabin in the Sky, Yolanda and the Thief, The Clock, Undercurrent, Ziegfeld Follies, The Pirate, Madame Bovary, and Till the Clouds Roll By.
Charles Walters: Ziegfeld Follies, Easter Parade, Good News, and The Barkleys of Broadway.
Leo McCarey: The Bells of St. Mary's and Once Upon a Honeymoon.
Jean Renoir: The Woman on the Beach, The Southerner, The Diary of a Chambermaid, Swamp Water, and This Land is Mine.
Anthony Mann: Moonlight in Havana, Sing Your Way Home, My Best Gal, Nobody's Darling, Dr. Broadway, Strangers in the Night, Bamboo Blonde, Raw Deal, T-Men, Desperate, Railroaded!, Border Incident, Reign of Terror, Two O'Clock Courage, and Strange Impersonation.
King Vidor: The Fountainhead, On Our Merry Way, Duel in the Sun, An American Romance, Comrade X, Northwest Passage, H. M. Pulham, Esq., and Beyond the Forest.
Robert Rossen: All The King’s Men, Johnny O'Clock, The Strange Love of Martha Ivers, A Child Is Born, Edge of Darkness, Out of the Fog, Blues in the Night, A Walk in the Sun, The Undercover Man, Desert Fury, and Body and Soul.
Fred Zinnemann: The Search, Kid Glove Killer, Eyes in the Night, The Clock, Act of Violence, The Seventh Cross, Little Mister Jim, and My Brother Talks to Horses.
Robert Wise: Criminal Court, The Curse of the Cat People, Mademoiselle Fifi, The Body Snatcher, Born to Kill, The Set-Up, A Game of Death, Blood on the Moon, and Mystery in Mexico.
Akira Kurosawa: Sanshiro Sugata, Sanshiro Sugata Part II, The Most Beautiful, One Wonderful Sunday, Drunken Angel, The Quiet Duel, Stray Dog, The Men Who Tread on the Tiger's Tail, and No Regrets for Our Youth.
Otto Preminger: Laura, Fallen Angel, Daisy Kenyon, Forever Amber, Whirl Pool, The Fan, Margin for Error, In the Meantime, Darling, and Centennial Summer.
Jules Dassin: Thieves' Highway, A Letter for Evie, Brute Force, Two Smart People, The Naked City, Young Ideas, The Canterville Ghost, Nazi Agent, The Tell-Tale Heart, The Affairs of Martha, and Reunion in France.
Charlie Chaplin: The Great Dictator, and Monsieur Verdoux. George Stevens: The More the Merrier, The Talk of the Town, Penny Serenade, Woman of the Year, Vigil in the Night, On Our Merry Way, The Nazi Plan, and I Remember Mama.
Yasujirô Ozu: Late Spring, Brothers and Sisters of the Toda Family, A Hen in the Wind, There Was a Father, and Record of a Tenement Gentleman.
Fritz Lang: Secret Beyond the Door, The Woman in the Window, Scarlet Street, Cloak and Dagger, Man Hunt, Ministry of Fear, Hangmen Also Die!, Western Union, Moon Tide, and The Return of Frank James.
Raoul Walsh: High Sierra, White Heat, Colorado Territory, Fighter Squadron, Silver River, Pursued, The Man I Love, Cheyenne, Uncertain Glory, Objective, Burma!, Manpower, Desperate Journey, Northern Pursuit, The Strawberry Blonde, They Died with Their Boots On, Gentleman Jim, Dark Command, and They Drive by Night.
Vincent Sherman: Nora Prentiss, Mr. Skeffington, Adventures of Don Juan, The Unfaithful, The Hard Way, Old Acquaintance, The Hasty Heart, In our Time, Pillow to Post, Janie Gets Married, Saturday's Children, The Man Who Talked Too Much, Underground, Flight from Destiny, Across the Pacific, and All Through the Night.
Anatole Litvak: The Snake Pit, City for Conquest, The Battle of Russia, Why We Fight, Sorry, Wrong Number, This Above All, The Long Night, All This, and Heaven Too, and Castle on the Hudson.
Max Ophüls: Caught, The Reckless Moment, The Exile, Letter from an Unknown Woman, Vendetta, and Sarajevo.
Charles Vidor: Gilda, Cover Girl, Over 21, The Loves of Carmen, The Tuttles of Tahiti, The Desperadoes, Together Again, A Song to Remember, The Man from Colorado, New York Town, Ladies in Retirement, My Son, My Son!, and The Lady in Question.
Edgar G. Ulmer: Detour, Isle of Forgotten Sins, Girls in Chains, Tomorrow We Live, Club Havana, The Strange Woman, My Son, the Hero, Jive Junction, Strange Illusion, Bluebeard, Her Sister's Secret, The Pirates of Capri, Ruthless, The Wife of Monte Cristo, and Carnegie Hall.
Victor Fleming: Dr. Jekyll and Mr. Hyde, Joan of Arc, Adventure, A Guy Named Joe, and Tortilla Flat.
Joseph L. Mankiewicz: A Letter to Three Wives, Escape, House of Strangers, The Late George Apley, The Ghost and Mrs. Muir, Dragonwyck, and Somewhere in the Night.
Robert Bresson: Angels of Sin and Les Dames du Bois de Boulogne.
Luis Buñuel: Gran Casino and The Great Madcap.
Fei Mu: Spring in a Small Town, Confucius, The Beauty, A Wedding in the Dream, The Magnificent Country, Songs of Ancient China, and The Little Cowheard.
Kenji Mizoguchi: The 47 Ronin, A Woman of Osaka, Flame of My Love, The Love of the Actress Sumako, Victory Song, Utamaro and His Five Women, Women of the Night, Victory of Women, The Famous Sword Bijomaru, Three Generations of Danjuro, The Life of an Actor, and Miyamoto Musashi.
Douglas Sirk: Lured, Sleep, My Love, Hitler's Madman, Summer Storm, A Scandal in Paris, Shockproof, and Slightly French.
René Clément: The Battle of the Rails, The Damned, Mr. Orchid, and The Walls of Malapaga.
Robert Hamer: Kind Hearts and Coronets, The Spider and the Fly, It Always Rains on Sunday, San Demetrio London, and Pink String and Sealing Wax.
Robert Siodmak: Criss Cross, Cry of The City, Dark Mirror, Phantom Lady, The Killers, The Spiral Staircase, Christmas Holiday, The Strange Affair of Uncle Harry, Time Out of Mind, Son of Dracula, The Suspect, The Night Before the Divorce, Someone to Remember, Cobra Woman, The File on Thelma Jordon, The Great Sinner, West Point Widow, My Heart Belongs to Daddy, and Fly-by-Night.
Humphrey Jennings: Spring Offensive, Welfare of the Workers, London Can Take It!, A Diary for Timothy, This Is England, Words for Battle, Fires Were Started, Listen to Britain, The Silent Village, The True Story of Lili Marlene, The Eighty Days, Myra Hess, A Defeated People, The Cumberland Story, and The Dim Little Island.
William Dieterle: Dr. Ehrlich's Magic Bullet, Kismet, This Love of Ours, Syncopation, The Searching Wind, Rope of Sand, Portrait of Jennie, The Accused, I'll Be Seeing You, A Dispatch from Reuters, The Devil and Daniel Webster, Tennessee Johnson, and Love Letters.
Edmund Goulding: The Razor's Edge, Nightmare Alley, The Shocking Miss Pilgrim, Everybody Does It, Claudia, Of Human Bondage, Flight from Folly, Forever and a Day, Old Acquaintance, The Constant Nymph, The Great Lie, and Til We Meet Again.
Luchino Visconti: Ossessione and La Terra Trema.
Ernest B. Schoedsack: Dr. Cyclops and Mighty Joe Young.
Roy Del Ruth: It Happened on 5th Avenue, Red Light, The Babe Ruth Story, The Chocolate Soldier, Topper Returns, He Married His Wife, Du Barry Was a Lady, and Ziegfeld Follies.
Rene Clair: And Then There Were None, I Married a Witch, Man About Town,It Happened Tomorrow, The Flame of New Orleans, and Forever and a Day.
John Cromwell: Victory, Abe Lincoln in Illinois, So Ends Our Night, Son of Fury: The Story of Benjamin Blake, Anna and the King of Siam, Dead Reckoning, The Enchanted Cottage, Since You Went Away, and Night Song.
Richard Fleischer: Trapped, Make Mine Laughs, The Clay Pigeon, Follow Me Quietly, Banjo, Design for Death, So This Is New York, Bodyguard, and Child of Divorce.
Norman Z. McLeod: Jackass Mail, The Secret Life of Walter Mitty, Panama Hattie, The Paleface, and Little Men.
submitted by Britneyfan456 to flicks [link] [comments]

Will China's PLAN survive contact with the enemy?

The best laid PLANs of mice and men often go awry.

Welcome back to another effortpost by me generally on the developing arms race in East Asia, this time covering the People's Liberation Army Navy, hereafter referred to as the "PLAN", and its massive growth... and... mostly, well, its massive growth. What that means is mostly covered in other posts about how other countries are responding to it. The why is a bit difficult because, well, China is not well known for open debate, or open anything, really, which will turn up repeatedly.

  1. What you [might] need to know about South Korea's ludicrous arms buildup
  2. We shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our island, whatever the cost may be. We shall fight on the beaches.... uh, what do we do after that again?: The Perilous Defensive Position of Taiwan
  3. "You've hit another cargo ship? The Problems with the US Navy: Not all of them begin with "Seven" and end with "th Fleet"."
  4. Will China's PLAN survive contact with the enemy?
  5. Biden's New START and modern nuclear war
  6. First And Last Stand Of The Tin Can Navies [ASEAN + Australia and the smaller adversaries China may contend with]
  7. Boned: Problems in the US Air [and space!] Force
  8. --Unnamed-- effortpost on Japanese military matters, mostly about how weird the JSDF status is
  9. --Unnamed--effortpost on Indian military matters, and why they can't focus on China or buy anything that works
  10. --Unnamed--effortpost on the rest of the PLA, mostly the air force though
  11. --Unnamed--effortpost on the rest of the US Armed Forces, mostly talking about how the marines are changing and the Army's new love affair with INF-busting weapons
  12. Conclusion?

Glossary:
PLA = People's Liberation Army = the armed forces of the People's Republic of China, or China
PLAN = People's Liberation Army Navy = the naval forces of the PLA
PLANAF = People's Liberation Army Navy Air Force = the air force of the navy of the PLA
Ashm = Anti-ship missile, cruise missile unless specifically described as otherwise--there's only one anti-ship ballistic missile in existence and its efficacy and whether or not it functions is questionable
CIWS = close-in weapons system, like the Phalanx gun or Goalkeeper
VLS = vertical launch system for missiles
AEGIS = Aegis Combat System if described specifically in that context, a US naval warfare system, but we'll usually be talking about "Chinese AEGIS", which is a nomiker used by the Chinese media in particular comparing the Type 346 radar to the AN-SPY family, with which it shares numerous technical characteristics--but how comparable the "Chinese AEGIS" system is to what the US uses is a complete unknown.
SAM = Surface-to-air missile, in this case usually a S-300 derivative
First Island Chain = The islands, stretching from Malaysia, Singapore, Indonesia, the Philippines, Taiwan, and Japan, which keep China inside its littoral seas much as the GIUK [Greenland-Iceland-UK] gap has kept various continental powers out of the Atlantic.


Some PLAN equipment you might see described--the nomenclature is confusing and a relic of the cultural revolution, and as a result China now has more Types than the British.
Type 003 = China's new conventionally powered supercarriers, currently under construction
Type 002 = China's first truly "operational" carrier
Type 001 = China's first carrier, built on a Soviet hull purchased from Ukraine ostensibly to make a floating casino
Type 055 = Guided-missile cruiser, though generally called a destroyer it's probably more descriptively labeled a cruiser
Type 052D = Guided-missile destroyer using "Chinese AEGIS"
Type 052/051B/052B/052C = the gradual progression of evolving Chinese naval tech, largely built as practice/demo ships like the Type 001. Some of the earlier ones are steam-powered but by the Type 052C you have something almost as advanced as the Type 052D, albeit with turbine problems
Type 054A = the standard modern frigate of the PLAN
Type 053[anything] = old PLAN frigates
Type 096 = China's newest SSBN class, under construction
Type 094 = China's first functional SSBN class, very noisy
Type 092 = China's first "SSBN", believed to have never left port with an actual nuke on board
Type 095 = China's newest SSN class, under construction
Type 093 = China's current SSN class, noisy
Type 091 = China's first SSN class, dumb dumb dumb and is at a 1950s tech level
Type 039[A] = China's new SSK class
Kilo = China's older SSK class, imported from Russia
Sovremenny = China's first capable anti-air destroyers, imported from Russia


1. The Last Time A Rising Navy Challenged A Dominant Foe

The last time we've seen something like this was in the late 19th century. After the First World War shipbuilding was restricted by the landmark Washington Naval Treaty, one of the first great arms control treaties, and during the Cold War the Soviet Union never really had any hopes of surpassing American naval power. China, however, seems intent on replacing the US as the world's dominant naval power, or at least building a force that can stop the US Navy, even combined with the forces of Japan and other regional allies.

The nations in question, of course, in the last naval arms race, were the United Kingdom and a newly-unified Germany. Germany never reached the level of the UK, but seriously threatened it. Previously the UK had maintained a policy of having more ships than the next two largest fleets combined, but this was no longer possible, and the UK legitimately was fearful for its naval supremacy. It didn't last too long in the end--under a decade--and a resumption was foiled by first a world war and then the Washington Naval Treaty. The impact of the arms race, though, was massive. It set Germany and the UK at odds with each other, it resulted in a general buildup of warships pretty much everywhere [South America was, believe it or not, one of the biggest offenders there], established Germany for a time as the world's second naval power, having eclipsed both France and Russia and turning a small coastal defense navy into something that was able to defeat the Royal Navy itself, though never comprehensively enough to change the course of the first world war.

China dwells in a much different situation than Germany did at the turn of the last century, so we can only extend the analogy so far--substituting in Japan for the UK, India for Russia, and so on is possible but not, in my view, educational. However, we can see many of the same elements playing in here. China seems intent on replacing the US as a dominant power, or at least as regional hegemon--the ancient tributary system seems to lie fairly heavily on Chinese minds--and in order to do that, it must be able to have some degree of power projection and the capability to deny the US Navy access to areas within the first island chain. It remains to be seen, however, how successful that quest will be. Much as with the dreadnought battleships, I wouldn't be surprised if we never actually do find out if most of the shiny naval toys people have built actually work. But their mere existence shows the mutual hostility developing in the region and demonstrates the size of the Chinese threat.

Another lesson learned here is that China, like Germany, may not develop a naval force capable of defeating the US comprehensively, but only partially, and that one of the powers--in this case, China--might be pressured to strike first before the US Navy can close the gap. That ~2030 gap I talked about in my last post is, I think, an especially vulnerable point, because China may look at a degraded, but rejuvenating US Navy, then at their own capable forces, and decide to strike then in Taiwan and the South China Sea, only to back down when the US Navy again eclipses them. Whether or not that will happen, we will see--but I find it a very dangerous and perhaps likely possibility.

2. What the PLAN looked like 20 years ago

The PLAN has undergone an absolutely stunning evolution in the past two decades. In the Third Taiwan Strait Crisis the US could intimidate China with a pair of aircraft carrier strike groups and China could do pretty much nothing about it. Now the US is afraid of sending anything more than a destroyer through the strait.

Twenty years ago, the PLAN was a bit of a joke. Even Taiwan figured it could hold the seas against the PLAN. It consisted of a few tens of outdated coastal-defense frigates, some Soviet-era diesel-electric subs, and a large number of unsophisticated missile craft. The pride of the Chinese fleet were a handful of destroyers assembled using cobbled-together Western technology--copied French missiles, American gas turbines, the lot. According to American accounts at the time, the instructions for the equipment hadn't even been translated. The most advanced ship in the fleet used steampower. There were nuclear submarines, but of 1950s quality. Of particular note was the fact that the Chinese fleet had no area air defense capabilities--their premier surface-to-air-missile was an unlicensed knockoff of the French Crotale, and couldn't shoot anything outside of visual range, at high altitudes, or really doing anything more sophisticated than trying to kill their ships with low-altitude dumb bombing runs.

In the past twenty years, however, the PLAN has, much like the German Navy towards the end of the 19th century, gone from an afterthought to the world's second most powerful force. It began, as modern China's military capabilities almost all began, with the looting of the former Soviet Union for naval technology. While Soviet naval tech was generally lacking, it was much better than anything else China could get its hands on after the arms embargo placed on it in the 1990s by the US and Europe in response to Tienanmen and the end of the Cold War. China bought Soviet diesel submarines, Soviet air-defense destroyers, and Soviet aircraft carriers, which it promptly left lying around [and turned one of them into a theme park]. This was combined with copies of various pieces of Western, mostly European, technology for everything from sonars to surface-to-air missiles. China then began developing its first modern indigenous surface combatants, the Type 052C, but there were still problems. The engines were Ukrainian and had reliability trouble, the gun jammed, there was no VLS.

It is really in the last ten years that things have begun to move extremely quickly, and even only in the latter portion of the decade. In 2012 the Type 001 Liaoning entered service, and although it remains more of a training ship than an operational vessel, and is held back by a poor carrier aircraft, the mere fact that China "built" a carrier was a surprise to many. In 2014 the first Type 052D destroyer came online. It had learned the lessons from the Type 052C, and in just the last six years at least ten have entered service, with a class size of about 23 expected. This rapid expansion is what has frightened competing navies the most--in a little over a decade, the PLAN is constructing more destroyers than the British, French, and Australian navies have in service combined. It is also building the Type 055, which has generally been called a "destroyer" despite being more aptly described as a cruiser in line with the Ticonderoga-class. China has also built 30 modern frigates in the past decade, which has also swelled its numbers, along with numerous smaller corvettes, submarines, and so on.

This is why the PLAN has become such an object of concern. While it cannot challenge the US Navy yet, at least outside its littoral zones, the decline of the USN and rapid expansion of the PLAN means that it is a serious threat. And the speed at which it has developed has made many fearful. As recently as 2010, the idea of China operating an aircraft carrier or modern destroyers seemed distant, possibly preposterous. Now China speaks openly of having a six-carrier fleet in the 2030s, although, as with many of China's plans to operate full US-replicated tech and doctrine, these may have somewhat caved to realism. China is mighty, but it has already done the easy part--the last part is much harder, in economics and in military matters. Building the software, the institutional knowledge, the hardware to compete with the US Navy will prove difficult.

3. What the PLAN looks like now--submarines

Submarines are one of the PLAN's weak spots, particularly nuclear submarines. China is, however, making some fairly rapid advances in this area.

Their nuclear submarine program has been considered a bit of a joke for some time. In the late 1950s when all the cool kids great powers were getting nuclear submarines, China decided [or at least Mao did] that China needed nuclear submarines too. About 16 years later, the product of this effort finally emerged as the Type 091 submarine. Based on 1950s technology, with poor radiation shielding and basically nothing done in the name of noise reduction, and not even a teardrop hull, the Type 091 was probably more of a threat to the sailors who were on it than anyone else, except maybe the two Tench-class submarines that Taiwan operates, which use 1940s technology and are the world's longest-serving submarines, though they're mostly used for training nowadays. Even then, my money would be on the Tench despite the upgrades the PLAN has made to the Type 091. There's only so much you can do to put lipstick on a pig.

China also produced an SSBN, the Type 092, which was probably the only submarine more useless than the Type 091. About the only useful thing it did for the PLAN was that it served as a test platform for SLBM launches. Reports suggest that the Type 092 is the noisiest SSBN ever made, and is thought to have only ever undertaken a single patrol. It stayed at port for so long that it was thought to have sunk in an accident. And the experience turned the PLAN off from building SSBNs for over twenty years, until the Type 094 came online in 2007.

More recent submarines are growing in capability, though. The Type 094 is not the noisiest SSBN ever made, and may not even be the noisiest in current service--that honor going to the Delta III operated by the Russian Navy, which uses 1970s technology, and, which, according to the US Office of Naval Intelligence, is about as noisy as the Type 094. The Type 093 is also moderately capable--it actually functions and can fire anti-ship missiles. However, the Type 093 is still considered only comparable to the Soviet Victor III class, again using 1970s technology. Future submarines have not yet been seen, but expectations are that China will make another step forward to late 1980s or early 1990s tech levels, producing something on par with the Los Angeles or Akula for the first time.

China also operates a fairly capable fleet of coastal diesel-electric submarines. While some are quite old--the Type 035--most are pretty average for the global submarine force, a mix of Kilos and domestic AIP designs. The large number of boats in operation and their anti-ship missile capability means that these should be considered a real threat, at least in the littoral waters near to China, but they aren't decisive by any means, especially since China is facing off against such threats as Japan's Soryu class, probably the most advanced diesel-electric sub in existence.

In conclusion, the PLAN is still pretty weak on the submarine front--weaker here than on anything but its carrier force, but its capabilities are advancing rapidly and should not be underestimated.

4. What the PLAN looks like now--surface combatants

The surface fleet is definitely the most impressive and capable portion of the PLAN, no questions about it. China once had a fleet consisting mostly of coastal frigates and missile boats. As recently as 2000, its fleet had no real area-air-defense destroyers, and no SAMs that could operate outside visual range. Now, though, the PLAN operates tens of advanced guided-missile destroyers, advanced frigates, and still retains a large number of small, stealthy missile boats.

The major focus of Chinese warships appears to be on anti-air, with anti-surface being a somewhat secondary concern for all but the smallest vessels. This makes sense when you realize that the primary focus is, at least for the moment, on using land-based aircraft to strike against hostile fleet formations using long-range anti-ship missiles, in a very Soviet sort of way--"Backfire raids" using long-range land-based aircraft with anti-ship missiles were one of the US Navy's major concerns during the Cold War, and the very reason for the F-14's existence along with the AIM-54 Phoenix it carried. However, China has been developing anti-surface capabilities as well using ashms and land-attack cruise missiles [generally the same thing, actually]. Since China has finally developed a VLS system that allows it to use the same launcher for multiple missiles, its most recent ships have become more versatile in that role.

How effective these ships are at that task is, however, a relatively open question. Their radars at least seem to quite sophisticated, using flat-panel AESA, and have been dubbed "Chinese AEGIS" by the highly reliable Chinese domestic media. The basic platform their surface-to-air missiles are based on also seems to be fairly capable--the HQ-9 is an S-300 derivative, a respectable SAM system though, again, how capable it is against opponents in an active electronic warfare environment is questionable, and it has basically no capabilities against stealth aircraft like the F-35 as far as anyone knows. The efficacy of their CIWS, again, is open to question. Really this is true of everything about the modern PLAN, and PLA in general. The PLA is secretive, has not exported most of its hardware, and has developed largely independently of foreign militaries, though it is definitely influenced by them. Now that the PLAN has moved away from simply copying foreign hardware and patching it together, its capabilities are much harder to discern.

However, they should be taken as a very real threat, and not written off. My guess would be that their warships are about as capable as most of their non-American counterparts, save those equipped with AEGIS, but that's all my guess is---a guess.

5. What the PLAN looks like now--carriers

The PLAN currently has two carriers in service, and two more known to be under construction, and most suspect that it will build several more. However, at the moment, the PLAN's carrier force is largely a paper tiger, designed around training. The first carrier, the Type 001, basically was a "how do you build a carrier" kit bought from Russia, possibly by accident--the "fully functional" Minsk ended up as a theme park, believe it or not. The hull was purchased from Ukraine and then completed in China years later. It is also believed that the PLAN may have learned some things about aircraft carriers from the HMAS Melbourne, which was sold to a Chinese firm for scrapping--rumor has it the PLAN had no clue this had happened and then had a field day looking at all the stuff that hadn't been taken out. This was back in the old days when nobody could imagine that China would have an aircraft carrier. The Type 002, however, is built from scratch, but isn't particularly capable especially as it's a ski-jump carrier, leaving the Type 003 the first carrier which will prove actually useful.

The main thing holding China's carrier fleet back, though, is a lack of a suitable aircraft. Originally China was considering purchasing Su-33s from Russia, hardly a good carrier-based aircraft but functional, but after Russia discovered that China had been mucking about building a Su-27 derivative without asking the deal fell through [China tells a different story, saying that Russia demanded exorbitant amounts to reopen production which it was unwilling to pay for a nearly obsolete aircraft]. As a result China operates the J-15 as its naval fighter, with... less than stellar results. It's extremely heavy, and, if it takes off from the carrier, has minimal range if carrying anything at all--it can't take more than two short range air to air missiles into the sky to fight enemy aircraft. However, the J-15 isn't really intended for combat service--it's intended to teach China how to run carriers, and it seems to work well enough for that task, aside from the multiple fatal crashes. There is, however, thought to be a new carrier fighter in the pipeline--most say the J-31/FC-31, which has reduced RCS and a number of carrier-unique features, is being pitched as a carrier-based aircraft and will serve as China's carrier fighter in the future. China also lacks any fixed wing carrier-based airborne early warning, which could prove troublesome--a lack of AEW means that its view is limited by the horizon--and has no resupply aircraft like the C-2 Greyhound. As a result, for the moment at least, China lacks an effective carrier force, but it is likely to continue developing rapidly in the next decade and become a fairly substantial threat. Remember that as recently as 2010, a Chinese aircraft carrier seemed preposterous to many people, and now they have two.

6. Some attention to land-based aircraft

Land-based aircraft as a naval weapon are not generally used by the US, which has never had a reason to develop them as a doctrinal focus. Sure, you could potentially envision them as being used, and there even were situations where they were utilized, but it just wasn't generally a priority or how things were done. For China, though, taking influence from the Soviets, and lying on littoral seas with hostile powers in the First Island Chain, land-based aircraft and missiles are a key part of doctrine. Although this is often viewed as a new thing, called A2/AD [anti access/area denial], it's really the result of a long historical evolution of naval power, probably most refined by the Soviet Union. As a result, land-based naval aviation plays an important role, firing anti-ship missiles at standoff distances at enemy vessels, and shore-based launchers of anti-ship missiles are also an important weapon. The combination of these systems means that venturing within China's littoral seas is a dangerous proposition during war, and some waters, like those of the Taiwan Strait, are effectively considered closed at this point in the event of hostilities breaking out. For this reason air superiority is also important in this sort of naval warfare, as if either side gains air superiority it can pummel its opponents with air-launched anti-ship missiles. China's capabilities in this area are sophisticated and should not be underestimated, but they are unlikely to go through a rapid period of growth like the PLAN's fleet.

And a brief note dedicated entirely to the DF-21D "Carrier killer" that the PLA likes to show off. It's a pretty impressive capability, on paper, using a ballistic missile to hit a carrier. The CEP [circular error probable] means that it could even happen, presuming that an aircraft carrier was good enough to sit in one place, not moving, long enough to be detected by China. Aircraft carriers look big, but the seas are huge, and they're surprisingly hard to find. They also move quite fast, in excess of of 35mph/55kph, and thus by the time the ballistic missile has launched it might well be out of range given the fact that ballistic missiles are not particularly known for their maneuverability in terminal stages, at least not in the realm of miles. The DF-21D is not a particular threat to the modern aircraft carrier. It could potentially be one if it evolves into a hypersonic boost-glide vehicle, but that's a whole additional can of worms, that I might address a different day.

7. The PLAN's plans for the future--what will it look like in 2030?

Unfortunately the PLAN is not exactly the most open of navies, as I've repeatedly mentioned. There are no public debates over acquisitions programs, no big fleet shape plans, relatively little detail.

However, a few things are fairly sure bets or publicly announced.

China has repeatedly announced plans to build a six-carrier force, including the Type 001 and Type 002, but also a pair of Type 003 [already under construction] conventionally powered supercarriers and a pair of Type 004 nuclear powered supercarriers. However, it seems that the Type 004 is currently on hold. Why, exactly, is unclear, but it seems to be technical difficulties, which are not particularly surprising given that China's experience with nuclear maritime propulsion seem to be rather limited and have had poor results in their submarine fleet. The costs were also expected to be too high--China does not have an unlimited quantity of money, despite what it may flaunt, and nuclear carriers are expensive to develop especially given that China has not built a nuclear-powered surface ship before.

A new carrier-based fighter is almost certainly in the cards because the J-15 is pretty much useless. The FC-31 seems by far the most likely candidate but it could be another aircraft we haven't seen yet. The addition of this aircraft will greatly improve the PLAN's capabilities.

China also has two Type 075 amphibious assault ships/LHDs under construction, and I would expect this class to be much more prolific. These ships are much more affordable than the full carriers, and focus on areas in which China is particularly concerned--amphibious assaults, say, on islands in the South China Sea or on Taiwan, and anti-submarine warfare, which is of particular importance given that submarines cannot be easily halted with land-based anti-ship missiles and air-launched cruise missiles provided for in their area denial doctrine--submarines are one of the few things that can slip through that net.

The surface combatant fleet is likely to continue growing, but I am not sure if it will swell much beyond the ~23 Type 052D ships planned and the 8 Type 055s. We're likely to see the retirement of the classes preceding the Type 052C destroyer and the Type 054 frigate, and they may be offloaded to Bangladesh, Myanmar, or Pakistan--there is substantial precedent here, and it seems that China is interested in expanding the naval capabilities of its partners around India.

The submarine fleet is likely to see rapid expansion if the PLAN is satisfied with the Type 095 and Type 096 classes, and we're likely to see more diesel-electric subs built as well. Submarines are generally quite good at fighting submarines and conducting area-denial missions, and the large and capable subsurface forces of Japan, Korea, and the United States means that this has to be an area the PLAN invests more in--and the fact that several Southeast Asian nations are also looking at acquiring submarines makes the issue more pressing.

8. Conclusion

China has in the past decade gone from a third-rate navy to perhaps the greatest threat the US Navy has faced since the Second World War. This has significant geopolitical implications, and has resulted in neighbors scrambling to overhaul their naval forces. The growth of the PLAN means that the US can no longer easily defend Taiwan or the South China Sea, or any of China's littoral waters. This, more than anything else, is what has everyone scrambling in the US talking about "great-power competition" because denying access to the US Navy and working on power projection, an inherently naval thing, is essentially a clear sign that China is looking to directly compete with the United States. Underestimate the PLAN at your own peril.

I hope to have more detail and citations in future posts, but unfortunately the PLAN is very secretive [yes, I've said that fifty times already] and this is a pretty big topic to discuss without going into details about all sorts of naval tidbits. Thanks for reading the fourth post in what I hope will be a fairly substantial series, probably around ~12 posts.

9. Citations

James Holmes, "The Danger Zone In Naval Arms Races"
USNI, Report to Congress on Chinese Naval Modernization
Hans Kristensen, China's Noisy Nuclear Submarines
Eric Wertheim, China's Type 052D Destroyer is a potent adversary
Robert Farley, Let's Talk About The Chinese Navy's Type 055 Destroyer
Ryan Pickrell, Chinese fighter jet holding China back as it builds carrier fleet
Look, much more here is based on loose speculation, more unreliable sources, and stuff I've picked up over the years, because public info is limited. So take everything I say with a grain of salt, but understand that it's the best information I know of.
submitted by AmericanNewt8 to neoliberal [link] [comments]

Turner Classic Movies (U.S.) Schedule for October, 2020 (All times E.S.T.)

Thu, October 1
(12:00am) Up the Down Staircase (1967/2h 4m/Drama/Robert Mulligan)
(2:15am) Our Miss Brooks (1956/1h 25m/Comedy/Al Lewis)
(4:00am) The Corn Is Green (1945/1h 54m/Drama/Irving Rapper)
(6:00am) The Girl He Left Behind (1956/1h 43m/Comedy/David Butler)
(8:00am) Lafayette Escadrille (1958/1h 33m/Romance/ William A. Wellman)
(9:45am) Dondi (1961/1h 20m/Comedy/ Albert Zugsmith)
(11:30am) The Shoes of the Fisherman (1968/2h 42m/Drama/Michael Anderson)
(2:15pm) Ring of Fire (1961/1h 30m/Drama/Andrew L. Stone)
(4:00pm) Twenty Plus Two (1961/1h 42m/Crime/Joseph M. Newman)
(5:45pm) Marooned (1969/2h 13m/Adventure/John Sturges)
(8:00pm) La Strada (1954/1h 55m/Drama/Federico Fellini)
(10:00pm) Two for the Road (1967/1h 52m/Comedy/Stanley Donen)
Fri, October 2
(12:00am) Dodsworth (1936/1h 41m/Romance/William Wyler)
(2:00am) Destry Rides Again (1939/1h 35m/Western/George Marshall)
(3:45am) Black Girl (1966/1h/Drama/Ousmane Sembene)
(5:00am) Robert Osborne's 20th Anniversary Tribute (2015/47m/Documentary/?)
(6:00am) Go West (1940/1h 21m/Comedy/Edward Buzzell)
(7:45am) The Big Store (1941/1h 20m/Comedy/Charles Riesner)
(9:30am) Double Dynamite (1951/1h 20m/Comedy/ Irving Cummings)
(11:00am) A Girl in Every Port (1952/1h 26m/Comedy/Chester Erskine)
(12:30pm) A Day at the Races (1937/1h 45m/Comedy/Sam Wood)
(2:30pm) At the Circus (1939/1h 27m/Comedy/Edward Buzzell)
(4:15pm) A Night at the Opera (1935/1h 36m/Comedy/Sam Wood)
(6:00pm) The Story of Mankind (1957/1h 40m/Drama/Irwin Allen)
(8:00pm) Dracula (1931/1h 14m/HorroTod Browning)
(9:30pm) Cat People (1942/1h 11m/HorroJacques Tourneur)
(11:00pm) House on Haunted Hill (1958/1h 15m/HorroWilliam Castle)
Sat, October 3
(12:30am) The Haunting (1963/1h 52m/Drama/Robert Wise)
(2:30am) The Queen (1968/1h 8m/Documentary/Frank Simon)
(3:45am) Wigstock: The Movie (1995/1h 25m/Documentary/Barry Shils)
(5:15am) The Relaxed Wife (1957/13m/Comedy/?)
(6:00am) Million Dollar Baby (1941/1h 40m/Comedy/Curtis Bernhardt)
(8:00am) MGM CARTOONS: The Peachy Cobbler (1950/6m/Comedy/Fred [Tex] Avery)
(8:08am) Phonies Beware! (1956/8m/Documentary/Larry O'Reilly)
(8:17am) Night Life in Chicago (1948/8m/Documentary/?)
(8:27am) Arctic Fury (1949/1h 1m/Adventure/Norman Dawn)
(9:30am) The Redskins' Revenge (1937/?/Action/?)
(10:00am) POPEYE: Baby Wants a Bottleship (1942/5m/Comedy/Dave Fleischer)
(10:08Am) Safari Drums (1953/1h 11m/Adventure/Ford Beebe)
(11:30am) Alaska Lifeboat (1956/20m/Documentary/ Herbert Morgan)
(12:00pm) The Prince and the Pauper (1937/2h/Adventure/William Keighley)
(2:15pm) Key Largo (1948/1h 41m/Crime/John Huston)
(4:15pm) The Defiant Ones (1958/1h 37m/Drama/Stanley Kramer)
(6:00pm) The Thomas Crown Affair (1968/1h 42m/Drama/Norman Jewison)
(8:00pm) Lawrence of Arabia (1962/3h 46m/Drama/David Lean)
Sun, October 4
(12:00am) Where the Sidewalk Ends (1950/1h 35m/Crime/Otto Preminger)
(2:00am) Across the Wide Missouri (1951/1h 18m/Adventure/William Wellman)
(3:30am) On an Island with You (1948/1h 47m/Comedy/Richard Thorpe)
(5:30am) Inflation (1942/17m/Drama/Cy Endfield)
(6:00am) The Last of Mrs. Cheyney (1937/1h 38m/Comedy/Richard Boleslawski)
(7:45am) Humoresque (1946/2h 3m/Drama/Jean Negulesco)
(10:00am) Where the Sidewalk Ends (1950/1h 35m/Crime/Otto Preminger)
(12:00pm) Mr. Belvedere Goes to College (1949/1h 23m/Comedy/Elliott Nugent)
(1:30pm) The Women (1939/2h 12m/Comedy/George Cukor)
(4:00pm) Bye Bye Birdie (1963/2h/Comedy/George Sidney)
(6:00pm) The Great Buster: A Celebration (2018/1h 43m/Documentary/Peter Bogdanovich)
(8:00pm) Sherlock, Jr. (1924/51m/Comedy/Buster Keaton)
(9:00pm) The General (1927/1h 23m/Comedy/Buster Keaton)
(10:30pm) Steamboat Bill, Jr. (1928/1h 10m/Comedy/Charles F. Reisner)
Mon, October 5
(12:00am) Seven Chances (1925/45m/Comedy/Buster Keaton)
(2:00am) Viridiana (1961/1h 30m/Comedy/Luis Buñuel)
(3:45am) The Exterminating Angel (1962/1h 35m/Comedy/Luis Buñuel)
(5:30am) MGM Parade Show #5 (1955/25m/Documentary/?)
(6:00am) Roberta (1935/1h 25m/Comedy/William A. Seiter)
(8:00am) Fashions of 1934 (1934/1h 18m/Drama/William Dieterle)
(9:30am) Stolen Holiday (1937/1h 20m/Romance/Michael Curtiz)
(11:00am) Designing Woman (1957/1h 58m/Comedy/Vincente Minnelli)
(1:00pm) Made in Paris (1966/1h 43m/Comedy/Boris Sagal)
(2:45pm) A Place for Lovers (1969/1h 28m/Romance/ Vittorio De Sica)
(4:30pm) Blood and Black Lace (1964/1h 25m/HorroMario Bava)
(6:00pm) Lured (1947/1h 42m/Crime/Douglas Sirk)
(8:00pm) Cash on Demand (1961/1h 24m/Drama/Quentin Lawrence)
(9:30pm) The End of the Affair (1955/1h 46m/Romance/Edward Dmytryk)
(11:30pm) Time Without Pity (1957/1h 28m/Drama/Joseph Losey)
Tue, October 6
(1:15am) John Paul Jones (1959/2h 6m/Action/John Farrow)
(3:30am) Hamlet (1948/2h 35m/Drama/Laurence Olivier)
(6:15am) A Chump at Oxford (1940/1h 3m/Comedy/Alfred Goulding)
(7:30am) Vigil in the Night (1940/1h 36m/Romance/George Stevens)
(9:15am) The Gay Bride (1934/1h 20m/Comedy/Jack Conway)
(10:45am) Swing High, Swing Low (1937/1h 37m/Comedy/Mitchell Leisen)
(12:15pm) Love Before Breakfast (1936/1h 10m/Comedy/Walter Lang)
(1:30pm) Nothing Sacred (1937/1h 15m/Comedy/William A. Wellman)
(3:00pm) Mr. and Mrs. Smith (1941/1h 29m/Comedy/Alfred Hitchcock)
(4:45pm) To Be or Not to Be (1942/1h 39m/Comedy/Ernst Lubitsch)
(6:30pm) The Golden Age of Comedy (1957/1h 19m/Comedy/Robert Youngson)
(8:00pm) Women Make Film: A New Road Movie Through Cinema 06 (2019/Documentary/Mark Cousins)
(9:15pm) The Ascent (1977/1h 45m/Drama/Larisa Sheptiko)
(11:15pm) Women Make Film: A New Road Movie Through Cinema 06 (2019/Documentary/Mark Cousins)
Wed, October 7
(12:30am) Meek's Cutoff (2010/1h 44m/Drama/Kelly Reichardt)
(2:30am) Cameraperson (2016/1h 42m/Documentary/Kirsten Johnson)
(4:30am) Daisies (1966/1h 14m/Comedy/Vera Chytilová)
(6:00am) Meshes of the Afternoon (1944/13m/Short/Maya Deren)
(6:30am) Angry Inuk (2016/1h 25m/Documentary/Alethea Arnaquq-Baril)
(8:00am) The Erl King (1931/1h 10m/Drama/Marie-Louise Iribe)
(9:15am) The Journey (1959/2h 3m/Romance/Anatole Litvak)
(11:30am) The Squall (1929/1h 42m/Drama/Alexander Korda)
(1:30pm) Beautiful Budapest (1938/8m/Documentary?)
(1:45pm) Rural Hungary (1939/9m/Documentary/James A. Fitzpatrick)
(2:00pm) Fight for Your Lady (1938/1h 6m/Comedy/Ben Stoloff)
(3:15pm) Storm at Daybreak (1933/1h 18m/Drama/Richard Boleslavsky)
(4:45pm) The Shop Around the Corner (1940/1h 37m/Comedy/Ernst Lubitsch)
(6:30pm) One Heavenly Night (1930/1h 20m/Musical/Geo. Fitzmaurice)
(8:00pm) No Time for Sergeants (1958/1h 59m/Comedy/Mervyn Leroy)
(10:15pm) A Face in the Crowd (1957/2h 6m/Drama/Elia Kazan)
Thu, October 8
(12:30am) Hearts of the West (1975/1h 43m/Comedy/ Howard Zieff)
(2:30am) Onionhead (1958/1h 50m/Comedy/Norman Taurog)
(4:30am) Thunder Afloat (1939/1h 35m/Comedy/George B. Seitz)
(6:15am) The Public Enemy (1931/1h 14m/Drama/William A. Wellman )
(8:15am) Red-Headed Woman (1932/1h 14m/Comedy/Jack Conway)
(9:45am) Dinner at Eight (1933/1h 53m/Comedy/George Cukor)
(11:45am) Saratoga (1937/1h 34m/Comedy/Jack Conway)
(1:30pm) Hold Your Man (1933/1h 29m/Romance/Sam Wood)
(3:15pm) Red Dust (1932/1h 19m/Romance/Victor Fleming)
(4:45pm) Personal Property (1937/1h 24m/Comedy/W. S. Van Dyke II)
(6:15pm) Bombshell (1933/1h 31m/Comedy/Victor Fleming)
(8:00pm) The Front Page (1931/1h 41m/Comedy/Lewis Milestone)
(10:00pm) Detour (1945/1h 8m/Drama/Edgar G. Ulmer)
(11:30pm) The Man with the Golden Arm (1956/1h 59m/Drama/Otto Preminger)
Fri, October 9
(1:45am) Love Affair (1939/1h 27m/Romance/Leo McCarey)
(3:30am) A Brighter Summer Day (1991/3h 5m/Drama/Edward Yang)
(7:00am) Alice in Movieland (1940/21m/Drama/Jean Negulesco)
(7:45am) Nora Prentiss (1947/1h 51m/Drama/Vincent Sherman)
(9:45am) Born to Kill (1947/1h 32m/Drama/Robert Wise)
(11:30am) Dark Passage (1947/1h 46m/Drama/Delmer Daves)
(1:30pm) Out of the Past (1947/1h 37m/Crime/Jacques Tourneur)
(3:15pm) Race Street (1948/1h 19m/Drama/Edwin L. Marin)
(4:45pm) Impact (1949/1h 51m/Drama/Arthur Lubin)
(6:45pm) The Woman on Pier 13 (1950/1h 13m/Drama/Robert Stevenson)
(8:00pm) The Ghoul (1933/1h 17m/HorroT. Hayes Hunter)
(9:30pm) The Black Sleep (1956/1h 21m/HorroReginald Leborg)
(11:00pm) Mark of the Vampire (1935/1h 1m/HorroTod Browning)
Sat, October 10
(12:15am) Night of the Living Dead (1968/1h 36m/HorroGeorge A. Romero)
(2:00am) White Lightning (1973/1h 41m/Drama/Joseph Sargent)
(3:45am) Gator (1976/1h 55m/Comedy/Burt Reynolds)
(5:45am) The Corvair In Action! (1960/6m/Documentary/?)
(6:00am) The Opposite Sex (1956/1h 57m/Comedy/David Miller)
(8:00am) MGM CARTOONS: Red Hot Riding Hood (1943/7m/Comedy/Fred [‘Tex’[ Avery)
(8:09am) Fortune Seekers (1956/8m/Documentary/Larry O'Reilly)
(8:18am) Historic Maryland (1941/8m/Documentary/?)
(8:27am) Men of the North (1930/1h 1m/Drama/Hal Roach)
(9:30am) The Brink of Doom (1937/?/Action/?)
(10:00am) POPEYE: Alona the Sarong Seas (1942/Comedy/Dave Fleischer)
(10:08am) Bomba In The Golden Idol (1954/1h 10m/Adventure/?)
(11:30am) King of the Islands (1935/17m/Comedy/Ralph Staub)
(12:00pm) Tarzan, the Ape Man (1932/1h 39m/Adventure/W. S. Van Dyke)
(2:00pm) Lili (1953/1h 21m/Romance/Charles Walters)
(3:30pm) Casino Royale (1967/2h 11m/Comedy/John Huston, et. al.)
(6:00pm) Top Hat (1935/1h 45m/Comedy/Mark Sandrich)
(8:00pm) Gunga Din (1939/1h 57m/Adventure/George Stevens)
(10:15pm) The Three Musketeers (1948/2h 5m/Drama/George Sidney)
Sun, October 11
(12:30am) The Racket (1951/1h 28m/Crime/John Cromwell)
(2:30am) Bananas (1971/1h 21m/Comedy/Woody Allen)
(4:00am) Hannah and Her Sisters (1986/1h 46m/Comedy/Woody Allen)
(6:00am) A Midsummer Night's Dream (1935/2h 12m/Comedy/Max Reinhardt)
(8:30am) Journey for Margaret (1942/1h 21m/Drama/Major W. S. Van Dyke II)
(10:00am) The Racket (1951/1h 28m/Crime/John Cromwell)
(12:00pm) Sounder (1972/1h 45m/Drama/Martin Ritt)
(2:00pm) The Secret Garden (1949/1h 32m/Drama/Fred M. Wilcox)
(3:45pm) The Catered Affair (1956/1h 33m/Comedy/Richard Brooks)
(5:30pm) Flower Drum Song (1961/2h 13m/Comedy/Henry Koster)
(8:00pm) The Front Page (1974/1h 45m/Comedy/Billy Wilder)
(10:00pm) The Odd Couple (1968/1h 45m/Comedy/Gene Saks)
Mon, October 12
(12:00am) Sidewalk Stories (1989/1h 37m/Comedy/Charles Lane)
(2:00am) The Firemen's Ball (1967/1h 13m/Comedy/Miloš Forman)
(3:30am) All My Good Countrymen (1968/2h 6m/Comedy/Vojtěch Jasný)
(6:00am) The Reptile (1966/1h 30m/HorroJohn Gilling)
(7:45am) The Killer Shrews (1959/1h 9m/HorroRay Kellogg)
(9:00am) King Kong (1933/1h 40m/Adventure/Merian C. Cooper and Ernest B. Shoedsack)
(11:00am) The Beast from 20,000 Fathoms (1953/1h 20m/HorroEugène Lourié)
(12:30pm) Gojira (1954/1h 19m/Drama/Ishirô Honda)
(2:00pm) Creature from the Black Lagoon (1954/1h 19m/HorroJack Arnold)
(3:30pm) Creature From the Haunted Sea (1961/1h/Comedy/Roger Corman)
(4:45pm) The Green Slime (1969/1h 30m/HorroKinji Fukasaku)
(6:30pm) Night of the Lepus (1972/1h 28m/Comedy/William F. Claxton)
(8:00pm) Sword of Sherwood Forest (1960/1h 20m/Adventure/Terence Fisher)
(9:30pm) Dr. Who and the Daleks (1965/1h 25m/Sci-Fi/Gordon Flemyng)
(11:00pm) Daleks' Invasion Earth: 2150 A. D. (1966/1h 21m/Sci-Fi/Gordon Flemyng)
Tue, October 13
(12:30am) She (1965/1h 44m/Drama/Robert Day)
(2:30am) Violent Playground (1958/1h 48m/Drama/Basil Dearden)
(4:30am) Corruption (1967/1h 31m/HorroRobert Hartford-Davis)
(6:00am) Devotion (1931/1h 10m/Drama/Robert Milton)
(7:30am) The Runaway Bus (1954/1h 18m/Comedy/Val Guest)
(9:00am) The Solitaire Man (1933/1h 7m/Comedy/Jack Conway)
(10:30am) Blind Adventure (1933/1h 5m/Crime/Ernest B. Schoedsack)
(11:45am) Double Trouble (1967/1h 30m/Romance/Norman Taurog)
(1:30pm) A Warm December (1972/1h 39m/Romance/Sidney Poitier)
(3:30pm) The V.I.P.s (1963/1h 59m/Drama/Anthony Asquith)
(5:45pm) The Prince and the Showgirl (1957/1h 57m/Comedy/Laurence Olivier)
(8:00pm) Women Make Film: A New Road Movie Through Cinema 07 (2019/Documentary/Mark Cousins)
(9:15pm) Dogfight (1991/1h 34m/Drama/Nancy Savoca)
(11:00pm) Women Make Film: A New Road Movie Through Cinema 07 (2019/Mark Cousins)
Wed, October 14
(12:15am) Rafiki (2018/1h 23m/Drama/Wanuri Kahiu)
(2:30am) First Love (1977/1h 31m/Romance/Joan Darling)
(2:00am) The House Is Black (1963/21m/Documentary/Forugh Farrokhzad)
(4:15am) The Night Porter (1974/1h 55m/Drama/Liliana Cavani)
(6:30am) Le Bonheur (1965/1h 27m/Romance/Agnes Varda)
(8:15am) Danzon (1991/1h 43m/Dance/Maria Novaro)
(10:15am) The Unholy Three (1925/1h 26m/Drama/Tod Browning)
(12:00pm) The Unknown (1927/1h 1m/Drama/Tod Browning)
(1:00pm) The Blackbird (1926/1h 26m/Comedy/Tod Browning)
(2:30pm) The Thirteenth Chair (1929/1h 12m/Crime/Tod Browning)
(4:00pm) Freaks (1932/1h 30m/HorroTod Browning)
(5:15pm) Mark of the Vampire (1935/1h 1m/HorroTod Browning)
(6:30pm) The Devil-Doll (1936/1h 19m/HorroTod Browning)
(8:00pm) Abe Lincoln in Illinois (1940/1h 50m/Biography/John Cromwell)
(10:00pm) Sunrise at Campobello (1960/2h 23m/Drama/Vincent J. Donehue)
Thu, October 15
(12:45am) PT 109 (1963/2h 20m/Drama/Leslie H. Martinson)
(3:15am) 1776 (1972/2h 21m/Comedy/Peter H. Hunt)
(6:00am) Three Men on a Horse (1936/1h 28m/Comedy/Mervyn Leroy)
(7:30am) Unholy Partners (1941/1h 34m/Drama/Mervyn Leroy)
(9:15am) Sweet Adeline (1935/1h 27m/Romance/Mervyn Le Roy)
(11:00am) Happiness Ahead (1934/1h 26m/Comedy/Mervyn Le Roy)
(12:30pm) Big City Blues (1932/1h 5m/Drama/Mervyn Leroy)
(1:45pm) The Bad Seed (1956/2h 9m/HorroMervyn Leroy)
(4:00pm) They Won't Forget (1937/1h 30m/Drama/Mervyn Leroy)
(5:45pm) Random Harvest (1942/2h 4m/Romance/Mervyn Leroy)
(8:00pm) Tunes of Glory (1960/1h 45m/Drama/Ronald Neame)
(10:00pm) The Life and Death of Colonel Blimp (1943/2h 43m/Romance/Michael Powell)
Fri, October 16
(1:00am) The Seventh Cross (1944/1h 50m/Drama/Fred Zinnemann)
(3:00am) The Diary of Anne Frank (1959/2h 50m/Drama/George Stevens)
(6:15am) Trances (1981/1h 32m/Documentary/Ahmed El Maanouni)
(8:00am) The Little Shop of Horrors (1960/1h 10m/Comedy/Roger Corman)
(9:15am) Village of the Damned (1960/1h 17m/HorroWolf Rilla)
(10:45am) The Brain That Wouldn't Die (1962/1h 21m/HorroJoseph Green)
(12:15pm) Carnival of Souls (1962/1h 20m/HorroHerk Harvey)
(1:45pm) Dementia 13 (1963/1h 21m/HorroFrancis Ford Coppola)
(3:15pm) The Raven (1963/1h 26m/Comedy/Roger Corman)
(4:45pm) Spider Baby (1964/1h 20m/HorroJack Hill)
(6:15pm) The Nanny (1965/1h 33m/Drama/Seth Holt)
(8:00pm) Dead of Night (1945/1h 44m/HorroAlberto Cavalcanti, et. al.)
(10:00pm) Twice Told Tales (1963/1h 59m/HorroSidney Salkow)
Sat, October 17
(12:15am) Black Sabbath (1963/1h 40m/HorroMario Bava)
(2:00am) Enter the Ninja (1981/1h 39m/Action/Emmett Alston)
(3:45am) Revenge Of The Ninja (1983/1h 28m/Action/Sam Firstenberg)
(5:30am) Shake Hands With Danger (1970/23m/Documentary/Charles Oldfather, John Clifford and Herk Harvey)
(6:00am) The Password Is Courage (1962/1h 56m/Comedy/Andrew L. Stone)
(8:00am) MGM CARTOONS: Sheep Wrecked (1958/6m/Comedy/?)
(8:08am) Cave Explorers (1957/8m/Documentary/Heinz Scheiderbauer)
(8:17am) The Capital City Washington, D.C. (1940/8m/Documentary/?)
(8:27am) She Loved a Fireman (1937/57m/Drama/John Farrow)
(9:30am) The Indians Are Coming (1937/Action/?)
(10:00am) POPEYE: A Hull of a Mess (1942/6m/Comedy/Dave Fleischer)
(10:08am) Lord of the Jungle (1955/1h 9m/Adventure/Ford Beebe)
(11:30am) Kissing Time (1933/21m/Romance/Roy Mack)
(12:00pm) Angel and the Badman (1947/1h 40m/Romance/James Edward Grant)
(1:45pm) Captain Horatio Hornblower (1951/1h 57m/Adventure/Raoul Walsh)
(4:00pm) Support Your Local Sheriff! (1969/1h 32m/Comedy/Burt Kennedy)
(5:45pm) Rollerball (1975/2h 9m/Action/Norman Jewison)
(8:00pm) Singin' in the Rain (1952/1h 43m/Comedy/Gene Kelly)
(10:00pm) Summer Stock (1950/1h 49m/Musical/Charles Walters)
Sun, October 18
(12:00am) Destination Murder (1950/1h 12m/Crime/Edward L. Cahn)
(1:45am) The Fearless Vampire Killers; or, Pardon Me but Your Teeth Are in My Neck (1966/1h 38m/HorroRoman Polanski)
(3:45am) House of Dark Shadows (1970/1h 37m/HorroDan Curtis)
(5:30am) Return to Glennascaul (1953/23m/HorroHilton Edwards)
(6:00am) The Life of Emile Zola (1937/2h 3m/Drama/William Dieterle)
(8:15am) His Girl Friday (1940/1h 32m/Comedy/Howard Hawks)
(10:00am) Destination Murder (1950/1h 12m/Crime/Edward L. Cahn)
(11:45am) The Good Earth (1937/2h 18m/Drama/Sidney Franklin)
(2:15pm) Written on the Wind (1957/1h 32m/Drama/Douglas Sirk)
(4:00pm) Dear Heart (1964/1h 54m/Comedy/Delbert Mann)
(6:00pm) Peggy Sue Got Married (1986/1h 45m/Comedy/Francis Ford Coppola)
(8:00pm) Cane River (1982/1h 30m/Drama/
(10:00pm) Losing Ground (1982/1h 26m/Comedy/Kathleen Collins)
Mon, October 19
(12:00am) Exit Smiling (1926/1h 12m/Comedy/Sam Taylor)
(2:00am) I am Waiting (1957/1h 30m/Drama/Koreyoshi Kurahara)
(3:45am) A Colt Is My Passport (1967/Drama/Takashi Nomura)
(5:30am) MGM Parade Show #5 (1955/ 25m/Documentary/?)
(6:00am) I Married a Witch (1942/ 1h 16m/Comedy/René Clair)
(7:30am) Mr. and Mrs. Smith (1941/1h 29m/Comedy/Alfred Hitchcock)
(9:15am) Touch of Evil (1958/1h 35m/Crime/Orson Welles)
(11:30am) Mogambo (1953/1h 55m/Romance/John Ford)
(1:45pm) North by Northwest (1959/2h 16m/Adventure/Alfred Hitchcock)
(4:15pm) In a Lonely Place (1950/1h 31m/Drama/Nicholas Ray)
(6:00pm) Any Number Can Play (1949/1h 52m/Drama/Mervyn Leroy)
(8:00pm) The Hound of the Baskervilles (1959/1h 24m/Mystery/Terence Fisher)
(9:30pm) Horror of Dracula (1958/1h 21m/HorroTerence Fisher)
(11:15pm) The Mummy (1959/1h 26m/HorroTerence Fisher)
Tue, October 20
(1:00am) The Curse of Frankenstein (1957/1h 22m/HorroTerence Fisher)
(2:45am) Frankenstein Created Woman (1967/1h 32m/HorroTerence Fisher)
(4:30am) Frankenstein Must Be Destroyed (1970/1h 37m/HorroTerence Fisher)
(6:15am) Front Page Woman (1935/1h 22m/Comedy/Michael Curtiz)
(7:45am) Wife Vs. Secretary (1936/1h 28m/Comedy/Clarence Brown)
(9:30am) Mr. & Mrs. North (1941/1h 7m/Comedy/Robert B. Sinclair)
(10:45am) Theodora Goes Wild (1936/1h 35m/Comedy/Richard Boleslawski)
(12:30pm) Breakfast for Two (1937/1h 5m/Comedy/Alfred Santell)
(1:45pm) Four's a Crowd (1938/1h 31m/Comedy/Michael Curtiz)
(3:30pm) It's a Wonderful World (1939/1h 26m/Comedy/W. S. Van Dyke II)
(5:00pm) Fools for Scandal (1938/1h 21m/Comedy/Mervyn Le Roy)
(6:30pm) Love on the Run (1936/1h 20m/Comedy/W. S. Van Dyke II)
(8:00pm) Women Make Film: A New Road Movie Through Cinema 08 (2019/Documentary/ Mark Cousins)
(9:15pm) Tomka and His Friends (1977/Drama/Xhanfise Keko
(10:45pm) Women Make Film: A New Road Movie Through Cinema 08 (2019/Mark Cousins)
Wed, October 21
(12:00am) Stop-Loss (2008/1h 52m/Drama/Kimberly Peirce)
(2:00am) The Third Miracle (1999/1h 59m/Adaptation/Agnieszka Holland)
(4:15am) Madeinusa (2006/2h 2m/Drama/Claudia Llosa)
(6:00am) Corpo Celeste (2011/1h 40m/Drama/Alice Rohrwacher)
(7:45am) The Birth, the Life and the Death of Christ (1906/34m/Short/Alice Guy-Blache)
(8:30am) Araya (1959/1h 22m/Documentary/Margot Benacerraf)
(10:00am) Children Of A Lesser God (1986/1h 50m/Romance/Randa Raines)
(12:15pm) Young Dr. Kildare (1938/1h 7m/Comedy/ Harold S. Bucquet)
(1:45pm) Calling Dr. Kildare (1939/1h 26m/Drama/Harold S. Bucquet)
(3:30pm) The Secret of Dr. Kildare (1939/1h 24m/Drama/Harold S. Bucquet)
(5:00pm) Dr. Kildare Goes Home (1940/1h 18m/Drama/Harold S. Bucquet)
(6:30pm) Dr. Kildare's Crisis (1940/1h 15m/Drama/Harold S. Bucquet)
(8:00pm) Hard to Handle (1933/1h 15m/Comedy/Mervyn Leroy)
(9:30pm) Beast of the City (1932/1h 27m/Drama/Charles Brabin)
(11:15pm) They Live by Night (1948/1h 35m/Drama/Nicholas Ray)
Thu, October 22
(1:00am) One Way Passage (1932/1h 9m/Romance/Tay Garnett)
(2:30am) The Prisoner of Zenda (1952/1h 41m/Romance/Richard Thorpe)
(4:15am) Green Fire (1955/1h 40m/Romance/Andrew Marton)
(6:00am) Three Faces East (1930/1h 11m/Spy/Roy Del Ruth)
(7:30am) Born to Love (1932/1h 24m/Drama/Paul L. Stein)
(9:00am) The Common Law (1932/1h 15m/Comedy/Paul L. Stein)
(10:30am) Rockabye (1932/1h 7m/Drama/George Cukor)
(11:45am) Bed of Roses (1933/1h 7m/Comedy/Gregory Lacava)
(1:00pm) Our Betters (1933/1h 23m/Comedy/George Cukor)
(2:30pm) Topper (1937/1h 37m/Comedy/Norman Z. McLeod)
(4:15pm) Topper Takes a Trip (1939/1h 25m/Comedy/Norman Z. McLeod)
(5:45pm) Merrily We Live (1938/1h 30m/Comedy/Norman Z. McLeod)
(7:30pm) MGM Parade Show #5 (1955/25m/Documentary/?)
(8:00pm) The Killers (1964/1h 37m/Crime/Donald Siegel)
(9:45pm) The Breaking Point (1950/1h 37m/Romance/Michael Curtiz)
(11:30pm) Mystery of the Wax Museum (1933/1h 12m/HorroMichael Curtiz)
Fri, October 23
(1:00am) Night of the Living Dead (1968/1h 36m/HorroGeorge A. Romero)
(3:00am) A River Called Titash (1973/2h 39m/Drama/Ritwik Ghatak)
(6:00am) Inside Straight (1951/1h 29m/Drama/Gerald Mayer)
(7:30am) Absolute Quiet (1936/1h 7m/Drama/George B. Seitz)
(8:45am) Chain Lightning (1950/1h 34m/Drama/Stuart Heisler)
(10:30am) Tycoon (1947/2h 8m/Romance/Richard Wallace)
(12:45pm) No Marriage Ties (1933/1h 5m/Drama/J. Walter Ruben)
(2:00pm) Death of a Scoundrel (1956/1h 59m/Comedy/Charles Martin)
(4:15pm) Assignment To Kill (1968/1h 42m/Drama/Sheldon Reynolds)
(6:00pm) The Drowning Pool (1975/1h 46m/Crime/Stuart Rosenberg)
(8:00pm) Creature from the Black Lagoon (1954/1h 19m/HorroJack Arnold)
(9:30pm) The Blob (1958/1h 25m/HorroIrvin S. Yeaworth Jr.)
(11:00pm) The Tingler (1959/1h 20m/HorroWilliam Castle)
Sat, October 24
(12:45am) The Thing from Another World (1951/1h 27m/HorroChristian Nyby)
(2:30am) Ninja III--The Domination (1984/1h 35m/Action/Sam Firstenberg)
(4:15am) Heavenly Bodies (1985/1h 29m/Comedy/Lawrence Dane)
(6:00am) Please Don't Eat the Daisies (1960/1h 51m/Comedy/Charles Walters)
(8:00am) MGM CARTOONS: One Cab's Family (1938/7m/Comedy/Fred [Tex] Avery)
(8:09am) Black Cats and Broomsticks (1955/8m/Documentary/Larry O'Reilly)
(8:18am) Wandering Here and There (1944/8m/Documentary/James A. Fitzpatrick)
(8:28am) King of the Lumberjacks (1940/58m/Romance/ William Clemens)
(9:30am) The Leap for Life (1937/Action/?)
(10:00am) POPEYE: Cartoons Ain't Human (1943/7m/Comedy/Dave Fleischer)
(10:09am) Tarzan and the Amazons (19451h 16m/Adventure/Kurt Neumann)
(11:30am) The Flame Song (1934/21m/Romance/Joseph Henabery)
(12:00pm) Harper (1966/2h 1m/Drama/Jack Smight)
(2:15pm) Brainstorm (1983/1h 46m/Drama/Douglas Trumbull)
(4:15pm) Men of the Fighting Lady (1954/1h 20m/Drama/Andrew Marton)
(5:45pm) Citizen Kane (1941/1h 59m/Drama/Orson Welles)
(8:00pm) Ace in the Hole (1951/1h 59m/Drama/Billy Wilder)
(10:15pm) Flesh and Fury (1952/1h 22m/Drama/Joseph Pevney)
Sun, October 25
(12:00am) Macao (1952/1h 20m/Adventure/Josef Von Sternberg)
(1:45am) The Werewolf (1956/1h 23m/HorroFred F. Sears)
(3:15am) The Howling (1981/1h 30m/HorroJoe Dante)
(5:00am) The Mummy (1932/1h 12m/HorroKarl Freund)
(6:15am) Murder on the Blackboard (1934/1h 11m/Comedy/George Archainbaud)
(7:30am) All This, and Heaven Too (1940/2h 23m/Romance/Anatole Litvak)
(10:00am) Macao (1952/1h 20m/Adventure/Josef Von Sternberg)
(12:00pm) The White Cliffs of Dover (1944/2h 6m/Romance/Clarence Brown)
(2:15pm) Around the World in 80 Days (1956/2h 50m/Adventure/Michael Anderson)
(5:30pm) What Ever Happened to Baby Jane? (1962/2h 12m/Drama/Robert Aldrich)
(8:00pm) 3:10 to Yuma (1957/1h 32m/Drama/Delmer Daves)
(10:00pm) Gunman's Walk (1958/1h 37m/Drama/Phil Karlson)
Mon, October 26
(12:00am) Häxan (1922/1h 46m/HorroBenjamin Christensen)
(2:00am) Diabolique (1955/1h 47m/HorroHenri-Georges Clouzot)
(4:15am) Eyes Without a Face (1959/1h 28m/HorroGeorges Franju)
(6:00am) The Beast with Five Fingers (1946/1h 28m/Drama/Robert Florey)
(7:45am) Mara Maru (1952/1h 38m/Adventure/Gordon Douglas)
(9:30am) They Won't Believe Me (1947/1h 35m/Drama/Irving Pichel)
(11:15am) Where Danger Lives (1950/1h 24m/Crime/John Farrow)
(1:00pm) Fingers at the Window (1942/1h 20m/Mystery/Charles Lederer)
(2:30pm) Footsteps in the Dark (1941/1h 36m/Comedy/Lloyd Bacon)
(4:15pm) Kill or Cure (1962/1h 28m/Comedy/George Pollock)
(6:00pm) The Gazebo (1960/1h 40m/Comedy/George Marshall)
(8:00pm) Nothing But the Night (1972/1h 30m/HorroPeter Sasdy)
(9:45pm) Madhouse (1974/1h 29m/HorroJames Clark)
(11:30pm) From Beyond the Grave (1973/1h 37m/HorroKevin Connor)
Tue, October 27
(1:30am) Scream and Scream Again (1970/1h 34m/HorroGordon Hessler)
(3:15am) The Satanic Rites of Dracula (1973/1h 28m/HorroAlan Gibson)
(4:45am) Dracula A.D. 1972 (1972/1h 40m/HorroAlan Gibson)
(6:30am) Somewhere in Sonora (1933/59m/Western/Mack V. Wright)
(7:45am) Along the Rio Grande (1941/1h 4m/Western/Edward Killy)
(9:00am) Valley of the Sun (1942/1h 24m/Western/George Marshall)
(10:30am) Sagebrush Trail (1933/58m/Western/Armand Schaefer)
(11:30am) Devil's Canyon (1953/1h 32m/Drama/Alfred Werker)
(1:15pm) The Hired Gun (1957/1h 3m/Adventure/Ray Nazarro)
(2:30pm) Black Patch (1957/1h 22m/Western/Allen H. Miner)
(4:00pm) Virginia City (1940/2h 1m/Western/Michael Curtiz)
(6:15pm) Escape from Fort Bravo (1953/1h 38m/Drama/John Sturges)
(8:00pm) Women Make Film: A New Road Movie Through Cinema 09 (2019/Documentary/Mark Cousins)
(9:15pm) Fjols til fjells (1957/1h 30 m/Comedy/Edith Carlmar)
(11:00pm) Women Make Film: A New Road Movie Through Cinema 09 (2019/Documentary/Mark Cousins)
Wed, October 28
(12:15am) Girlfriends (1978/1h 26m/Comedy/Claudia Weill)
(2:00am) The Connection (1962/1h 43m/Drama/Shirley Clarke)
(4:00am) Lost in Yonkers (1993/1h 54m/Comedy/Martha Coolidge)
(6:00am) Party Girl (1994/1h 34m/Comedy/Daisy Von Scherler Mayer)
(7:45am) Mabel's Strange Predicament (1914/Comedy/Mabel Normand)
(8:15am) Foreign Letters (2012/1h 40m/Biography/Ela Their)
(10:00am) Winter Meeting (1948/1h 44m/Drama/Bretaigne Windust)
(12:00pm) I Know Where I'm Going (1945/1h 32m/Comedy/Michael Powell)
(1:45pm) The Enchanted Cottage (1945/1h 31m/Romance/John Cromwell)
(3:30pm) Random Harvest (1942/2h 4m/Romance/Mervyn Leroy)
(6:00pm) Desire Me (1947/1h 31m/Drama/George Cukor)
(8:00pm) The Best Man (1964/1h 42m/Drama/Franklin J. Schaffner)
(10:00pm) The Last Hurrah (1958/2h 1m/Drama/John Ford)
Thu, October 29
(12:15am) The Great McGinty (1940/1h 22m/Comedy/Preston Sturges)
(2:00am) The Candidate (1972/1h 49m/Drama/Michael Ritchie)
(4:00am) All the King's Men (1949/1h 49m/Drama/Robert Rossen)
(6:00am) Haunted Gold (1932/58m/Western/Mack V. Wright)
(7:00am) The Devil-Doll (1936/1h 19m/HorroTod Browning)
(8:30am) Before Dawn (1933/1h/Mystery/Irving Pichel)
(9:45am) Man Alive (1946/1h 10m/Comedy/Ray Enright)
(11:00am) Tormented (1960/1h 15m/Drama/Bert I. Gordon)
(12:30pm) Angel on My Shoulder (1946/1h 41m/Comedy/Archie Mayo)
(2:15pm) Night of Dark Shadows (1971/1h 37m/HorroDan Curtis)
(4:00pm) Indestructible Man (1956/1h 10m/HorroJack Pollexfen)
(5:15pm) From Hell It Came (1957/1h 11m/HorroDan Milner)
(6:30pm) Death Curse of Tartu (1966/1h 27m/HorroWilliam Grefé)
(8:00pm) Winchester '73 (1950/1h 32m/Western/Anthony Mann)
(10:00pm) She Wore a Yellow Ribbon (1949/1h 43m/Drama/John Ford)
Fri, October 30
(12:00am) Primary (1960/1h/Documentary/Robert Drew)
(1:15am) Crisis: Behind a Presidential Commitment (1963/58m/Documentary/Robert Drew)
(2:15am) Dos Monjes (1934/Drama/
(4:00am) Of Mice and Men (1939/1h 47m/Drama/Lewis Milestone)
(6:00am) MGM Parade Show #5 (1955/25m/Documentary/?)
(6:30am) Doctor X (1932/1h 16m/HorroMichael Curtiz)
(8:00am) The Mask of Fu Manchu (1932/1h 12m/Adventure/ Charles Brabin)
(9:30am) The Most Dangerous Game (1932/1h 3m/Drama/Ernest B. Schoedsack)
(10:45am) Island of Lost Souls (1932/1h 10m/Romance/Erle C. Kenton)
(12:00pm) White Zombie (1932/1h 13m/HorroVictor Halperin)
(1:30pm) The Vampire Bat (1933/1h 3m/HorroFrank Strayer)
(2:45pm) Mystery of the Wax Museum (1933/1h 12m/HorroMichael Curtiz)
(4:15pm) Mad Love (1935/1h 7m/HorroKarl Freund)
(5:30pm) The Walking Dead (1936/1h 6m/HorroMichael Curtiz)
(6:45pm) The Return of Dr. X (1939/1h 2m/HorroVincent Sherman)
(8:00pm) The Four Skulls of Jonathan Drake (1959/1h 10m/HorroEdward L. Cahn)
(9:15pm) Eye of the Devil (1966/1h 29m/HorroJ. Lee Thompson)
(11:00pm) The Devil's Bride (1968/1h 35m/HorroTerence Fisher)
Sat, October 31
(12:45am) The Wicker Man (1974/1h 37m/HorroRobin Hardy)
(2:30am) Fleshpot on 42nd Street (1972/1h 20m/HorroAndy Milligan
(4:00am) Guru the Mad Monk (1970/1h 2m/HorroAndy Milligan)
(5:15am) Distant Drummer: Flowers of Darkness (1972/22m/Documentary/William Templeton)
(6:00am) Freaks (1932/1h 30m/HorroTod Browning)
(7:15am) Dr. Jekyll and Mr. Hyde (1932/1h 30m/HorroRouben Mamoulian)
(9:00am) House of Wax (1953/1h 28m/HorroAndre Detoth)
(10:45am) Children of the Damned (1964/1h 30m/HorroAnton M. Leader)
(12:30pm) The Bad Seed (1956/2h 9m/HorroMervyn Leroy)
(2:45pm) The Picture of Dorian Gray (1945/1h 50m/Drama/Albert Lewin)
(4:45pm) The Wolf Man (1941/1h 11m/HorroGeorge Waggner)
(6:00pm) The Haunting (1963/1h 52m/Drama/Robert Wise
(8:00pm) Dr. Strangelove or: How I Learned To Stop Worrying and Love the Bomb (1964/1h 33m/Comedy/Stanley Kubrick)
(10:00pm) Them! (1954/1h 34m/HorroGordon Douglas)
submitted by tombstoneshadows28 to movies [link] [comments]

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Casino Royale Walk Thru 2019 - YouTube

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