CINEMA GALLERY: September 2011

Another unusual set of frame grabs for my ongoing CINEMA GALLERY (which you can visit in full here--by now there must be at least 400 entries!). As always, click on the frame you want to see writ large. As always (at least these days), see if you can guess the movies from which these frames hail. The answers, corresponding to the numbered photos, are at the end of the post.

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CINEMA GALLERY: September 2011

Another unusual set of frame grabs for my ongoing CINEMA GALLERY (which you can visit in full here--by now there must be at least 400 entries!). As always, click on the frame you want to see writ large. As always (at least these days), see if you can guess the movies from which these frames hail. The answers, corresponding to the numbered photos, are at the end of the post.

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CINEMA GALLERY August 2011--25 New Frames

I tried to make a creepily unsettling entry here for the CINEMA GALLERY this month. These 25 frames just SHOULD NOT go together. But here they are. As always, click on the frame you want to see large-like. These make GREAT screen backgrounds. And remember to visit the entire gallery HERE. Have fun, film fans, and see if you can guess the movies these frames hail from. The answers are at

CINEMA GALLERY August 2011--25 New Frames

I tried to make a creepily unsettling entry here for the CINEMA GALLERY this month. These 25 frames just SHOULD NOT go together. But here they are. As always, click on the frame you want to see large-like. These make GREAT screen backgrounds. And remember to visit the entire gallery HERE. Have fun, film fans, and see if you can guess the movies these frames hail from. The answers are at

CINEMA GALLERY--July 2011: 50 New Frames

See if you can guess the movies these 50 images hail from. Answers at the end. And, as always in the Cinema Gallery, click on the images you want to see big-time:

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1. Requiem for a Dream (Darren Aronofsky,

CINEMA GALLERY--July 2011: 50 New Frames

See if you can guess the movies these 50 images hail from. Answers at the end. And, as always in the Cinema Gallery, click on the images you want to see big-time:

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1. Requiem for a Dream (Darren Aronofsky,

CINEMA GALLERY: 30 New Frames

I'm taking a tip from a few other websites (including Only The Cinema and The Dancing Image) and avoiding commentary on the shots I've selected. I like how they look without the words splitting up the images. It also leaves the viewer to guess, at least initially, as to which movies these scenes hail from. And I believe that, subconsciously, these varied frames, shunted together, form a unique

CINEMA GALLERY: 30 New Frames

I'm taking a tip from a few other websites (including Only The Cinema and The Dancing Image) and avoiding commentary on the shots I've selected. I like how they look without the words splitting up the images. It also leaves the viewer to guess, at least initially, as to which movies these scenes hail from. And I believe that, subconsciously, these varied frames, shunted together, form a unique

CINEMA GALLERY: 50 New Frames

As always, click on the photo you love to see it full screen:

A telephone call rushes through the wires and connects two distant people at the beginning of Three Colors: Red (Krzysztof Kieslowski, 94).

The scam is on in Grand Slam (Giuliano Montaldo, 67).

Mrs. Dalton appears behind the movie screen, with Everett Sloan making a cameo via Orson Welles' The Lady from Shanghai, in Manhattan

CINEMA GALLERY: 50 New Frames

As always, click on the photo you love to see it full screen:

A telephone call rushes through the wires and connects two distant people at the beginning of Three Colors: Red (Krzysztof Kieslowski, 94).

The scam is on in Grand Slam (Giuliano Montaldo, 67).

Mrs. Dalton appears behind the movie screen, with Everett Sloan making a cameo via Orson Welles' The Lady from Shanghai, in Manhattan

CINEMA GALLERY: The ABCs of Cult Movies

In the interest of the recent worldwide blogger call to contribute the ABC's of any given category, I offer now a possible lexicon of cult movie magic:

A is for The Apple. (Menahem Golan, 80)

B is for Belle Du Jour. (Luis Buñuel, 67)

C is for Cutter's Way. (Ivan Passer, 81)

D is for The Devil Rides Out. (Terence Fisher, 68)

E is for Eating Raoul. (Paul Bartel, 82)

F is for The Fall. (

CINEMA GALLERY: The ABCs of Cult Movies

In the interest of the recent worldwide blogger call to contribute the ABC's of any given category, I offer now a possible lexicon of cult movie magic:

A is for The Apple. (Menahem Golan, 80)

B is for Belle Du Jour. (Luis Buñuel, 67)

C is for Cutter's Way. (Ivan Passer, 81)

D is for The Devil Rides Out. (Terence Fisher, 68)

E is for Eating Raoul. (Paul Bartel, 82)

F is for The Fall. (

Cinema Gallery: 200 MORE Movie Images: DARKNESS (Part 3 of 5)

I have to admit: I love a blackened frame. These are some of my favorite hard-to-see moments from movies. I think I love the dark on film because that's where we can catch the most abstract images, if only for a brief moment. By the way, I just want to be clear: these are actual frame grabs and, in that way, they are completely unique. I say this only because these image-only posts of mine

Cinema Gallery: 200 MORE Movie Images: DARKNESS (Part 3 of 5)

I have to admit: I love a blackened frame. These are some of my favorite hard-to-see moments from movies. I think I love the dark on film because that's where we can catch the most abstract images, if only for a brief moment. By the way, I just want to be clear: these are actual frame grabs and, in that way, they are completely unique. I say this only because these image-only posts of mine

Cinema Gallery: 200 MORE Movie Images, Part 2 of 5

For my 300th post on filmicability, I present the second part of my newest Cinema Gallery collection. As always, click on the photo to see it writ large.

Punk rock arrives in American Pop. (Ralph Bakshi, 81)

One unhappy army recruitment center. Drive, He Said. (Jack Nicholson, 71)

The chilling final image from Blue Collar. (Paul Schrader, 78)

The wrecked bus is raised to the heavens

Cinema Gallery: 200 MORE Movie Images, Part 2 of 5

For my 300th post on filmicability, I present the second part of my newest Cinema Gallery collection. As always, click on the photo to see it writ large.

Punk rock arrives in American Pop. (Ralph Bakshi, 81)

One unhappy army recruitment center. Drive, He Said. (Jack Nicholson, 71)

The chilling final image from Blue Collar. (Paul Schrader, 78)

The wrecked bus is raised to the heavens

Cinema Gallery: 200 MORE Movie Images, Part 1 of 5

I am doing this only because (a) I enjoy it and (b) Movieman over at The Dancing Image let me know that I had a particular talent at this frame-grabbing business (he said that my previous 200 images in my Cinema Gallery were among his favorite movie blog posts ever, which is quite a compliment, coming from him). So, for 2010, I'm contributing 200 more entries towards my CINEMA GALLERY. I hope

Cinema Gallery: 200 MORE Movie Images, Part 1 of 5

I am doing this only because (a) I enjoy it and (b) Movieman over at The Dancing Image let me know that I had a particular talent at this frame-grabbing business (he said that my previous 200 images in my Cinema Gallery were among his favorite movie blog posts ever, which is quite a compliment, coming from him). So, for 2010, I'm contributing 200 more entries towards my CINEMA GALLERY. I hope

A Cinema Gallery: 200 Images, Part 6

It took me a while to arrive at the last 30 screen caps for my CINEMA GALLERY series. I've been quite impressed with the other film bloggers that have joined in on this notion, and wish I could've lighted on as specific a set of themes as they did (their choices, linked to here at the end of MovieMan's piece, all look so swell together). However, in the end, I just had to go with "images that

A Cinema Gallery: 200 Images, Part 6

It took me a while to arrive at the last 30 screen caps for my CINEMA GALLERY series. I've been quite impressed with the other film bloggers that have joined in on this notion, and wish I could've lighted on as specific a set of themes as they did (their choices, linked to here at the end of MovieMan's piece, all look so swell together). However, in the end, I just had to go with "images that