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Hey! what do you know, Me and Mark rated The Miracle of Morgan's Creek the same
My review of The Miracle of Morgan's Creek
My review of The Miracle of Morgan's Creek
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The Great McGinty (Preston Sturges, 1940)
Preston Sturges' genius shines through in most all of his pictures, but the early ones really let him do his thing. The Great McGinty basically has his acting troupe intact, although the leads weren't really regulars. Sturges, who was one of Paramount Pictures preeminent screenwriters laid down the gauntlet with this film. He wanted to direct. He agreed to accept $1 for his screenplay if they allowed him to direct it, and his plan worked. The film was a hit and Paramount actually enlisted him to direct his second film, Christmas in July, (reviewed tomorrow) before this one was released. Sturges is kind of a Frank Capraesque director and scripter rolled into one, but he isn't afraid to outdo Capra in slapstick and he certainly outdoes him in being wacko and unpredictable. Yet, he's just as much a romanticist as Capra.
The Great McGinty sets up a Sturges formula which is tried and true. The hero always does something which gets him into trouble. Luckily for him, he always has the love of a good woman to see him through. Along the way, he's always enveloped in supporting characters who are for him and against him. The dialogue and situations are equal parts dark comedy, ridiculousness and heartfelt sentiment. It definitely works here; Tough guy Brian Donlevy probably gives the performance of his life as McGinty, Akim Tamiroff is even more feisty than usual as "The Boss", as in the Political, Crime Boss, and the basically unknown Muriel Angelus (in her final film) is wonderful as McGinty's secretary who becomes his wife in a marriage of convenience, but eventually their love flourishes and McGinty becomes a full-fledged dad to her two kids from an earlier, failed marriage. The Great McGinty, which is mostly about the underbelly of American politics, ultimately turns itself in the direction that the U.S. is the place to be able to overcome corruption, so sure, it's a fantasy, but it's a beautiful fantasy.
Preston Sturges' genius shines through in most all of his pictures, but the early ones really let him do his thing. The Great McGinty basically has his acting troupe intact, although the leads weren't really regulars. Sturges, who was one of Paramount Pictures preeminent screenwriters laid down the gauntlet with this film. He wanted to direct. He agreed to accept $1 for his screenplay if they allowed him to direct it, and his plan worked. The film was a hit and Paramount actually enlisted him to direct his second film, Christmas in July, (reviewed tomorrow) before this one was released. Sturges is kind of a Frank Capraesque director and scripter rolled into one, but he isn't afraid to outdo Capra in slapstick and he certainly outdoes him in being wacko and unpredictable. Yet, he's just as much a romanticist as Capra.
The Great McGinty sets up a Sturges formula which is tried and true. The hero always does something which gets him into trouble. Luckily for him, he always has the love of a good woman to see him through. Along the way, he's always enveloped in supporting characters who are for him and against him. The dialogue and situations are equal parts dark comedy, ridiculousness and heartfelt sentiment. It definitely works here; Tough guy Brian Donlevy probably gives the performance of his life as McGinty, Akim Tamiroff is even more feisty than usual as "The Boss", as in the Political, Crime Boss, and the basically unknown Muriel Angelus (in her final film) is wonderful as McGinty's secretary who becomes his wife in a marriage of convenience, but eventually their love flourishes and McGinty becomes a full-fledged dad to her two kids from an earlier, failed marriage. The Great McGinty, which is mostly about the underbelly of American politics, ultimately turns itself in the direction that the U.S. is the place to be able to overcome corruption, so sure, it's a fantasy, but it's a beautiful fantasy.
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It's what you learn after you know it all that counts. - John Wooden
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It's what you learn after you know it all that counts. - John Wooden
My IMDb page
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Christmas in July (Preston Sturges, 1940)
Preston Sturges' second film as a writer/director is also his shortest, but it truly is short and sweet. Sweethearts Jimmy (Dick Powell) and Betty (Ellen Drew) dream of a happy future together, but Jimmy says they just don't have enough money to get married, support both their widowed moms, and start a family. But Jimmy is a dreamer and is sure he'll strike it rich by winning the Maxford House Coffee slogan contest where first prize is $25,000. (Just to put this in modern terms, that would equal at least $350,000 in 2008.) Jimmy and Betty both live in the tenements, and although Maxford is supposed to announce all the winners on their weekly radio broadcast, the 12-man "jury" is unable to reach a verdict as 120 million people eagerly tune in, amongst them Jimmy and Betty on their roof. The next day, the couple goes to work at the Baxter Coffee Co., and three practical jokers who work there decide to play a prank on Jimmy because they know he really wants to win the contest. They get a Western Union envelope and paper and cut up words and glue them on to make a fake telegram telling Jimmy that he's won the First Prize in the contest. This sets off a series of events which should make most people laugh and maybe even cry (Guilty!).
I don't want to get into all the characters and the crazy things which snowball when somebody thinks they've won money, but I will tell you this is a movie where the winner thinks about everybody he knows and not about himself. This is where the film's title kicks in. Everybody on Jimmy's street gets a present, his sweetheart gets an engagement ring, and he buys nothing for himself. Oh sure, there are wonderful scenes where his boss, Mr. Baxter (Ernest Truex) wants to fire him and then wants to promote him. Raymond Walburn is a hoot and a half as "Dr." Maxford, and what would a Sturges movie be without Bill Demarest playing a signicant role and having a ridiculous name (this time, it's Bildocker). Now, what happens when everybody learns that Jimmy really didn't win the contest is truly inspirational and hilarious. Another
from me.
Preston Sturges' second film as a writer/director is also his shortest, but it truly is short and sweet. Sweethearts Jimmy (Dick Powell) and Betty (Ellen Drew) dream of a happy future together, but Jimmy says they just don't have enough money to get married, support both their widowed moms, and start a family. But Jimmy is a dreamer and is sure he'll strike it rich by winning the Maxford House Coffee slogan contest where first prize is $25,000. (Just to put this in modern terms, that would equal at least $350,000 in 2008.) Jimmy and Betty both live in the tenements, and although Maxford is supposed to announce all the winners on their weekly radio broadcast, the 12-man "jury" is unable to reach a verdict as 120 million people eagerly tune in, amongst them Jimmy and Betty on their roof. The next day, the couple goes to work at the Baxter Coffee Co., and three practical jokers who work there decide to play a prank on Jimmy because they know he really wants to win the contest. They get a Western Union envelope and paper and cut up words and glue them on to make a fake telegram telling Jimmy that he's won the First Prize in the contest. This sets off a series of events which should make most people laugh and maybe even cry (Guilty!).
I don't want to get into all the characters and the crazy things which snowball when somebody thinks they've won money, but I will tell you this is a movie where the winner thinks about everybody he knows and not about himself. This is where the film's title kicks in. Everybody on Jimmy's street gets a present, his sweetheart gets an engagement ring, and he buys nothing for himself. Oh sure, there are wonderful scenes where his boss, Mr. Baxter (Ernest Truex) wants to fire him and then wants to promote him. Raymond Walburn is a hoot and a half as "Dr." Maxford, and what would a Sturges movie be without Bill Demarest playing a signicant role and having a ridiculous name (this time, it's Bildocker). Now, what happens when everybody learns that Jimmy really didn't win the contest is truly inspirational and hilarious. Another
from me.
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What do you give Sullivan's Travels Mark? That's the only Preston Sturges I've seen and I thought it was great, I've heard good things about him, so I'll have to eventually get round to watching more of his stuff, including all the films you've just mentioned.
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I like the individual posts... I like to give a rep with a movie I like, but when someone has multiple movies, I don't want that poster to assume my tastes, with this, I can be specific.
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Il fiore delle mille e una notte [Arabian Nights] (1974) -
My favourite from Pasolini's Life Trilogy, this 130 minutes long anthology film tells a couple of tales from the famous One Thousand and One Nights. As erotic as it is magical, the movie almost breaks with the frolic nature of the previous two installments of the trilogy and offers a new, fresh look into the Arabian tales of yore. Still dazzling with nudity, but this time in some weird, almost pious way, Arabian Nights greatly amazed me.
The Neon Demon (2016) - (possible )
The last entry in Winding Refn's meant-to-be trilogy is almost as cool as Drive and as terrific as Only God Forgives. It starts like a weird, neon-lit Argento-esque tale of a beginner model who quickly ascends the career ladder and then packs quite a punch with an ending worthy of Jodorovsky. Once again booed at Cannes, the director sticks to his visuals-based style and, almost as if out of spite for the snob critics, ends his film with 30 minutes of sheer, unadulterated pulp madness.
殭屍叔叔 [Mr. Vampire Saga Four] (1988) -
Jiangshi expert Ricky Lau once again graces the screen with his crazy mix of Comedy, Kung Fu and Horror with yet another tale of hopping vampires. This time without Lam Ching-Ying, the movie centers around two masters' unfriendliness and all the hilarious consequences. Their respective pupils seem to like each other, even though their respective masters - a Taoist and a Buddhist seem to have a fight going ever since they started living next to each other. All of this changes when a powerful vampire appears nearby. Not as great as Part One, or Three, the movie is about as good as Part Two, which makes it a very entertaining piece of HK cinema.
黄土地 [Yellow Earth] (1984) - (possible )
The first movie of the Fifth Generation may also be the saddest of the bunch. The underlying despair is tangible in every scene, not only in its austere cinematography (by Yimou Zhang!!!), but also in mournful songs sung by villagers. Even happy things like a wedding are portrayed like phantoms of unhappiness. The movie is very ambiguous, but originally it was way more subversive with a different ending and perhaps even some scenes deleted by censorship. As it is now, it's more of a thinking man's film as it may not be so easy to see the false praise of Communism that in fact is its indictment. What really moves me in so many of Chinese films is how genuinely they portray hardships and incredible sadness of many lives of many people. It's something that, although shown in many variants before has never been shown quite in the same way Chinese directors do it.
The Hitcher (1986) -
This movie screams 80's and Rutger Haur is great, but it's only an okay film.
蜈蚣咒 [Centipede Horror] (1982) -
This is some HK sleaze of the (almost) highest order. It takes a lot of time to build up, but once it does... wow! Let me just tell you it should've been called Centipede Vomit! Yeah, it's got a lot of Chinese black magic stuff you can find in many movies like these. You know, two magicians having a fight, etc. Pretty gross at times, but I'm accustomed to disgusting things, so it didn't do much to me (my friend couldn't watch it at times)!
盜馬賊 [The Horse Thief] (1986) - (possible )
Another movie of the Fifth Generation, but how different from others! A lot of Tibetan Buddhism here. Plot is marginal, it's all about the atmosphere, visuals, rituals and the will of a man to survive.
My favourite from Pasolini's Life Trilogy, this 130 minutes long anthology film tells a couple of tales from the famous One Thousand and One Nights. As erotic as it is magical, the movie almost breaks with the frolic nature of the previous two installments of the trilogy and offers a new, fresh look into the Arabian tales of yore. Still dazzling with nudity, but this time in some weird, almost pious way, Arabian Nights greatly amazed me.
The Neon Demon (2016) - (possible )
The last entry in Winding Refn's meant-to-be trilogy is almost as cool as Drive and as terrific as Only God Forgives. It starts like a weird, neon-lit Argento-esque tale of a beginner model who quickly ascends the career ladder and then packs quite a punch with an ending worthy of Jodorovsky. Once again booed at Cannes, the director sticks to his visuals-based style and, almost as if out of spite for the snob critics, ends his film with 30 minutes of sheer, unadulterated pulp madness.
殭屍叔叔 [Mr. Vampire Saga Four] (1988) -
Jiangshi expert Ricky Lau once again graces the screen with his crazy mix of Comedy, Kung Fu and Horror with yet another tale of hopping vampires. This time without Lam Ching-Ying, the movie centers around two masters' unfriendliness and all the hilarious consequences. Their respective pupils seem to like each other, even though their respective masters - a Taoist and a Buddhist seem to have a fight going ever since they started living next to each other. All of this changes when a powerful vampire appears nearby. Not as great as Part One, or Three, the movie is about as good as Part Two, which makes it a very entertaining piece of HK cinema.
黄土地 [Yellow Earth] (1984) - (possible )
The first movie of the Fifth Generation may also be the saddest of the bunch. The underlying despair is tangible in every scene, not only in its austere cinematography (by Yimou Zhang!!!), but also in mournful songs sung by villagers. Even happy things like a wedding are portrayed like phantoms of unhappiness. The movie is very ambiguous, but originally it was way more subversive with a different ending and perhaps even some scenes deleted by censorship. As it is now, it's more of a thinking man's film as it may not be so easy to see the false praise of Communism that in fact is its indictment. What really moves me in so many of Chinese films is how genuinely they portray hardships and incredible sadness of many lives of many people. It's something that, although shown in many variants before has never been shown quite in the same way Chinese directors do it.
The Hitcher (1986) -
This movie screams 80's and Rutger Haur is great, but it's only an okay film.
蜈蚣咒 [Centipede Horror] (1982) -
This is some HK sleaze of the (almost) highest order. It takes a lot of time to build up, but once it does... wow! Let me just tell you it should've been called Centipede Vomit! Yeah, it's got a lot of Chinese black magic stuff you can find in many movies like these. You know, two magicians having a fight, etc. Pretty gross at times, but I'm accustomed to disgusting things, so it didn't do much to me (my friend couldn't watch it at times)!
盜馬賊 [The Horse Thief] (1986) - (possible )
Another movie of the Fifth Generation, but how different from others! A lot of Tibetan Buddhism here. Plot is marginal, it's all about the atmosphere, visuals, rituals and the will of a man to survive.
__________________
Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.
Last edited by Mr Minio; 09-27-16 at 10:06 PM.
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The Lady Eve (Preston Sturges, 1941)
Preston Sturges was a shining light in Hollywood movies as a writer-director from 1940 through 1944. He made good movies after 1944, and he wrote several good movies before 1940, but the period where Paramount Studios allowed him to direct his own scripts is a real watershed for screwball comedies in particular and film in general. It's difficult to actually categorize or put in some order the first seven films which Sturges made, but I can, at least, mention and recommend them all here and now (in chronological order). Sturges' first feature films as writer/director are The Great McGinty, Christmas in July, The Lady Eve, Sullivan's Travels, The Palm Beach Story, The Miracle of Morgan's Creek and Hail the Conquering Hero.
The Lady Eve does follow a certain Preston Sturges formula, although none of his films could ever be considered formulaic. Sturges is a master of blending what appears to be romantic drama with slapstick farce. The thing which really sets Sturges apart from many others working in screwball comedy is that all of his films are firmly rooted in reality, and if you pay attention, sometimes it seems that you should be crying just as much as you are laughing. Sturges has a wonderful way with words, but something which he deserves more credit for is his use of camerawork, sound, music, and editing. The superb thing about The Lady Eve is the incredible sexual chemistry between Barbara Stanwyck and Henry Fonda. She's playing a con artist, and he's a rich heir to an ale king who defines himself by saying things like "Snakes are my life!" Although the film is full of laugh-out-loud moments and allows the usually-serious Henry Fonda to be involved in as many slapstick scenes as an Abbott & Costello flick, what really carries this film is just how damn romantic it is.
I don't really want to get too far into the actual plot because it's really full of as many twists and turns as Fonda's snake Emma, which he brings with him from South America when he boards the passing ocean liner which also carries Stanwyck and her card sharp dad (Charles Coburn) in transit to New York City. Basically, the pair want to fleece the naive rich guy for all he's worth, but sex gets in the way. There are many discoveries, revelations, and changes of heart, so the further the film goes along, the zanier it gets. All of Sturges acting company are on board for this classic, but, as usual, kudos to William Demarest as Fonda's "bodyguard" who gets to say tons of funny lines, including the closer.
Preston Sturges was a shining light in Hollywood movies as a writer-director from 1940 through 1944. He made good movies after 1944, and he wrote several good movies before 1940, but the period where Paramount Studios allowed him to direct his own scripts is a real watershed for screwball comedies in particular and film in general. It's difficult to actually categorize or put in some order the first seven films which Sturges made, but I can, at least, mention and recommend them all here and now (in chronological order). Sturges' first feature films as writer/director are The Great McGinty, Christmas in July, The Lady Eve, Sullivan's Travels, The Palm Beach Story, The Miracle of Morgan's Creek and Hail the Conquering Hero.
The Lady Eve does follow a certain Preston Sturges formula, although none of his films could ever be considered formulaic. Sturges is a master of blending what appears to be romantic drama with slapstick farce. The thing which really sets Sturges apart from many others working in screwball comedy is that all of his films are firmly rooted in reality, and if you pay attention, sometimes it seems that you should be crying just as much as you are laughing. Sturges has a wonderful way with words, but something which he deserves more credit for is his use of camerawork, sound, music, and editing. The superb thing about The Lady Eve is the incredible sexual chemistry between Barbara Stanwyck and Henry Fonda. She's playing a con artist, and he's a rich heir to an ale king who defines himself by saying things like "Snakes are my life!" Although the film is full of laugh-out-loud moments and allows the usually-serious Henry Fonda to be involved in as many slapstick scenes as an Abbott & Costello flick, what really carries this film is just how damn romantic it is.
I don't really want to get too far into the actual plot because it's really full of as many twists and turns as Fonda's snake Emma, which he brings with him from South America when he boards the passing ocean liner which also carries Stanwyck and her card sharp dad (Charles Coburn) in transit to New York City. Basically, the pair want to fleece the naive rich guy for all he's worth, but sex gets in the way. There are many discoveries, revelations, and changes of heart, so the further the film goes along, the zanier it gets. All of Sturges acting company are on board for this classic, but, as usual, kudos to William Demarest as Fonda's "bodyguard" who gets to say tons of funny lines, including the closer.
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The 13th Warrior (1999) –
So, after reading some MoFos’ enthusiastic endorsements of this movie, I had to check it out. Strangely enough, I read the Crichton novel years ago and thought it was pretty lackluster. This was fun though. I only wish that I too could pick up an entire language overnight with no formal instruction.
The Junky’s Christmas (1993) –
William Burroughs wishes you a merry Christmas with a somber animated chronicle of a junky hankering for a holiday fix. The claymation is cool, and the story ends on a strangely positive note. Only 20 minutes long, and on youtube.
Closet Land (1991) -
A movie about an unusual totalitarian operative attempting to coerce a single confession, done in the spirit of Kafka. I appreciate the concept, but it’s tough to keep a feature length story fresh within such limited parameters. I think it would’ve worked ideally as a short film.
Hearts of Darkness (1991)
Francis, I understand you’re in the middle of a laborious task in the middle of a humid jungle, but please, for the love of god, put a shirt on.
So, after reading some MoFos’ enthusiastic endorsements of this movie, I had to check it out. Strangely enough, I read the Crichton novel years ago and thought it was pretty lackluster. This was fun though. I only wish that I too could pick up an entire language overnight with no formal instruction.
The Junky’s Christmas (1993) –
William Burroughs wishes you a merry Christmas with a somber animated chronicle of a junky hankering for a holiday fix. The claymation is cool, and the story ends on a strangely positive note. Only 20 minutes long, and on youtube.
Closet Land (1991) -
A movie about an unusual totalitarian operative attempting to coerce a single confession, done in the spirit of Kafka. I appreciate the concept, but it’s tough to keep a feature length story fresh within such limited parameters. I think it would’ve worked ideally as a short film.
Hearts of Darkness (1991)
Francis, I understand you’re in the middle of a laborious task in the middle of a humid jungle, but please, for the love of god, put a shirt on.
__________________
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Favorite Movies
The 13th Warrior (1999) –
So, after reading some MoFos’ enthusiastic endorsements of this movie, I had to check it out. Strangely enough, I read the Crichton novel years ago and thought it was pretty lackluster. This was fun though. I only wish that I too could pick up an entire language overnight with no formal instruction.
The Junky’s Christmas (1993) –
William Burroughs wishes you a merry Christmas with a somber animated chronicle of a junky hankering for a holiday fix. The claymation is cool, and the story ends on a strangely positive note. Only 20 minutes long, and on youtube.
Closet Land (1991) -
A movie about an unusual totalitarian operative attempting to coerce a single confession, done in the spirit of Kafka. I appreciate the concept, but it’s tough to keep a feature length story fresh within such limited parameters. I think it would’ve worked ideally as a short film.
Hearts of Darkness (1991)
Francis, I understand you’re in the middle of a laborious task in the middle of a humid jungle, but please, for the love of god, put a shirt on.
So, after reading some MoFos’ enthusiastic endorsements of this movie, I had to check it out. Strangely enough, I read the Crichton novel years ago and thought it was pretty lackluster. This was fun though. I only wish that I too could pick up an entire language overnight with no formal instruction.
The Junky’s Christmas (1993) –
William Burroughs wishes you a merry Christmas with a somber animated chronicle of a junky hankering for a holiday fix. The claymation is cool, and the story ends on a strangely positive note. Only 20 minutes long, and on youtube.
Closet Land (1991) -
A movie about an unusual totalitarian operative attempting to coerce a single confession, done in the spirit of Kafka. I appreciate the concept, but it’s tough to keep a feature length story fresh within such limited parameters. I think it would’ve worked ideally as a short film.
Hearts of Darkness (1991)
Francis, I understand you’re in the middle of a laborious task in the middle of a humid jungle, but please, for the love of god, put a shirt on.
I also liked Junky's Christmas.
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Mafioso (Alberto Lattuada, 1962)
This is a rather low-key Italian satire, starring Alberto Soldi (from one of my fave NON-DVD releases, The Best of Enemies), as Antonio, a Sicilian who has made a name for himself in Northern Italy's Milan. He married a beautiful wife (Norma Bengell), has two daughters, and is well-respected at his job in an enormous factory (which seems oddly cinematic). However, his family has never met his new family, so this is a specific satire on how Italians thought of each other in the early 1960s. For example, Antonio's wife initially feels like she's in a foreign country, and his parents think that she thinks she's too good for them. The film also comments, quite potently, on the concept of why Sicily is the "Land of Honor", why most Sicilan men seem to die or get maimed by gunshots, and what their concept of the Family is.
Lattuada's well-assured direction allows all the subtle humor and wonderful plot twists to play out naturally. The dynamics of all the characters' relationships develop at a nice pace. Part of what makes the film so interesting and entertaining is that it gives you an honest way to get into the Mob. It tears away a little bit of its mystique while adding some other layers. I especially love the way that the film seems to be about one thing and then turns into something completely different. Antonio seems to be having too much fun on his trip to realize what he's getting into, but even when he does, his good Sicilian upbringing kicks in, and he agrees to do a "small favor" for his hometown's Godfather (Ugo Attanasio).
I love Alberto Soldi (his eyes remind me of Gene Wilder), and it contains his best performance which I've seen. He also reminds me a lot of me; he's the "middle-man" who has to try to deal with "everybody else" and keep them happy. I mean, it's edifying when it works, but it sucks when it's one of those no-win crapfests. One other thing: the film's final section is completely different than everything which comes before it, yet when the film ends, it seems like that was the only way for this refreshing film to tell its story.
This is a rather low-key Italian satire, starring Alberto Soldi (from one of my fave NON-DVD releases, The Best of Enemies), as Antonio, a Sicilian who has made a name for himself in Northern Italy's Milan. He married a beautiful wife (Norma Bengell), has two daughters, and is well-respected at his job in an enormous factory (which seems oddly cinematic). However, his family has never met his new family, so this is a specific satire on how Italians thought of each other in the early 1960s. For example, Antonio's wife initially feels like she's in a foreign country, and his parents think that she thinks she's too good for them. The film also comments, quite potently, on the concept of why Sicily is the "Land of Honor", why most Sicilan men seem to die or get maimed by gunshots, and what their concept of the Family is.
Lattuada's well-assured direction allows all the subtle humor and wonderful plot twists to play out naturally. The dynamics of all the characters' relationships develop at a nice pace. Part of what makes the film so interesting and entertaining is that it gives you an honest way to get into the Mob. It tears away a little bit of its mystique while adding some other layers. I especially love the way that the film seems to be about one thing and then turns into something completely different. Antonio seems to be having too much fun on his trip to realize what he's getting into, but even when he does, his good Sicilian upbringing kicks in, and he agrees to do a "small favor" for his hometown's Godfather (Ugo Attanasio).
I love Alberto Soldi (his eyes remind me of Gene Wilder), and it contains his best performance which I've seen. He also reminds me a lot of me; he's the "middle-man" who has to try to deal with "everybody else" and keep them happy. I mean, it's edifying when it works, but it sucks when it's one of those no-win crapfests. One other thing: the film's final section is completely different than everything which comes before it, yet when the film ends, it seems like that was the only way for this refreshing film to tell its story.
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Favorite Movies
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The Gumball Rally (Chuck Bail, 1976) +
Stray Cat Rock: Beat '71 (Toshiya Fujita, 1971) +
Broadway by Light (William Klein, 1958)
X-Men: Apocalypse (Bryan Singer, 2016) +
Raven (Jennifer Lawrence) leads a group of mutants in a battle against the reawakened Apocalypse (Oscar Isaac), the world’s oldest mutant, who’s disappointed with the current Earth and planning a makeover.
Switchback (Jeb Stuart, 1997) +
You Can't Buy Luck (Lew Landers, 1937)
Autumn (Ub Iwerks, 1930)
Hunt for the Wilderpeople (Taika Waititi, 2016)
”Problem child” Julian Dennison runs away with adoptive uncle Sam Neill to the New Zealand wilderness, but when the authorities close in on him, he goes into Braveheart mode.
Drillbit Taylor (Steven Brill, 2008) +
The Frisco Kid (Robert Aldrich, 1979)
Mexicali Rose (George Sherman, 1939)
Torch Song Trilogy (Paul Bogart, 1988)
Harvey Fierstein works as a drag queen at a club. He gets enough sex, but not enough love, not even from his mom (Anne Bancroft), but then things take a turn for the better.
The Skulls II (Joe Chapelle, 2002) -
The Model Couple (William Klein, 1977)
Hot Tip (James Gleason & Ray McCarey, 1935)
The Purple Rose of Cairo (Woody Allen, 1985) -
A movie character who walked off the screen and the actor (both Jeff Daniels) who played him both fall in love with an unhappy housewife (Mia Farrow) in Depression-era NYC.
You Are Here (Peter Cockburn, 2011)
Rovin' Tumbleweeds (George Sherman, 1939)
The Law and the Lady (Edwin H. Knopf, 1951)
There’s Something About Mary (Farrelly Bros., 1998) -
Geeky Ben Stiller is about to go to the prom with hot Mary (Cameron Diaz), but he has a little accident in the bathroom of her parents (Markie Post & Keith David).
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User Lists
Green Room (2015) -
Kinda Assault on Precinct 13 of our times. NAZI PUNKS F*CK OFF!!! Would love to see more movies like these, so if you know any, feel free to recommend me some!
Southbound (2015) -
A pretty cool horror anthology with nicely interwoven stories and it doesn't feel cliche at that! A must-see for all horror fans!
세이 예스 [Say Yes] (2001) -
Korean take on crazy hitchhiker genre. Better than the Rutger Hauer movie! It starts slow, which is not a bad thing itself, but it just doesn't really prepare you for what's in the second part of the movie and that ending. Very strong!
天浴 [Xiu Xiu: The Sent-Down Girl] (1998) -
A very controversial Chinese movie (banned in China, multiple awards in Taiwan) that's pretty sad and works very well until the very ending that ruins everything for me. I understand it was supposed to make the whole story even more powerful and vilify Communism even more, but it just didn't work well!
The Thief of Bagdad - An Arabian Nights Fantasy (1924) -
Very entertaining and a joy to watch even though it's very long, but the story is pretty meh and it's like a blockbuster of the time and cool kids can't love blockbusters, or something like that. Anyway, Fairbanks' naked chest and Anna May Wong really tempt me to give it a 4.0 rating (in reality it's only Mrs. Wong
).
ふたり [Chizuko's Younger Sister] (1991) -
Well, just like everyone I know Obayashi's Hausu (Wait, you don't?! Why you...) and I love it as well as director's Emotion, so I had some really high expectations coming into this film. I mean, it's a fantasy coming-of-age movie with a high school girl as the protagonist. You can f*ck this up very easily, but the screenwriter never did. Not even once! It's quite a simple story with all the quirks specific to Obayashi (but don't expect the same level of insanity like in Hausu, it's way more down-to-earth) but it plays rather beautifully and it's very moving, too. I'm a little bit ashamed of myself for giving it such a high rating and loving it so much, because it's apparently a movie for Japanese high school girl dreamers, but whatever. Once the scene in the video above started I was sold!
早春 [Early Spring] (1956) -
Ozu is a bloody master and I don't think that he ever made a movie that is not a masterpiece in his post-war period (except for Good Morning plus I still haven't seen 3 other films, but hush, my statement is still correct). This movie is more of his darker side, but I didn't find it as dark (and as good) as Tokyo Twilight. It's still a masterpiece, tho. It's about a slowly decaying marriage, but ends on a weird note, something like Naruse's Repast. It may be a stretch, but I think this is somewhat a Narusesque film (the story is, but the style is still Ozu) just like Naruse's Daughters, Wives and a Mother is an Ozu film... in Naruse style. Of course, I'm probably wrong, but these are just my impressions. My friend even told me about some theory that Ozu was making the same movie all over again and that in Zen Buddhism there's that idea of a genius stupidly painting the same painting over and over. He eventually stops thinking and spontaneously makes a masterpiece. It's kinda hard for me to agree with that, since I found every other film of his a masterpiece plus I can see a big difference between his movies with only like 5 or 6 of his films being alike.
五遁忍術 [Five Element Ninjas] (1982) -
I either haven't seen a wuxia film for a long time, or this is a bloody freakin' amazing movie. Probably both. The premise is kinda weird when you think about it, but it works very well. It's about Chinese heroes fighting Japanese ninjas. A nice take on usual Chinese-Japanese hate that this time was taken into the fantasy world of wuxia. However, finding a hidden meaning is not really the point. This has wonderful visuals, great fights and ideas. Yet another Shaw Brothers gem!
監獄風雲 [Prison on Fire] (1987) -
Now, this by no means is a masterpiece, but I enjoyed the movie greatly. This is a prison film with Chow Yun-fat and Tony Leung Ka-fai (not Chiu Wai, mind you!). It's not harsh, or anything. Something like Cool Hand Luke gone Hongkong with usual HK humour etc. The last brawl is pretty cruel and harsh, but apart from this the movie is kinda laid-back and very enjoyable to watch. Ringo Lam must've been crazy about fire, because he first made City on Fire, then this movie and then School on Fire (still haven't seen this one). But no, it wasn't enough for him. After some time he made Prison on Fire 2!!!
暗戰 [Running Out of Time] (1999) -
Sooo good! TOP 3 Johnnie To! This film just hit the right string with me. This is my type of sensitivity when it comes to this kind of gangter/cop/crime/criminal stuff. Not quite the level of Postman Blues when it comes to stuff like this, but still a masterpiece. The bus scenes are sooo adorable and the ending is just wow! So touching!
Kinda Assault on Precinct 13 of our times. NAZI PUNKS F*CK OFF!!! Would love to see more movies like these, so if you know any, feel free to recommend me some!
Southbound (2015) -
A pretty cool horror anthology with nicely interwoven stories and it doesn't feel cliche at that! A must-see for all horror fans!
세이 예스 [Say Yes] (2001) -
Korean take on crazy hitchhiker genre. Better than the Rutger Hauer movie! It starts slow, which is not a bad thing itself, but it just doesn't really prepare you for what's in the second part of the movie and that ending. Very strong!
天浴 [Xiu Xiu: The Sent-Down Girl] (1998) -
A very controversial Chinese movie (banned in China, multiple awards in Taiwan) that's pretty sad and works very well until the very ending that ruins everything for me. I understand it was supposed to make the whole story even more powerful and vilify Communism even more, but it just didn't work well!
The Thief of Bagdad - An Arabian Nights Fantasy (1924) -
Very entertaining and a joy to watch even though it's very long, but the story is pretty meh and it's like a blockbuster of the time and cool kids can't love blockbusters, or something like that. Anyway, Fairbanks' naked chest and Anna May Wong really tempt me to give it a 4.0 rating (in reality it's only Mrs. Wong
).ふたり [Chizuko's Younger Sister] (1991) -
Well, just like everyone I know Obayashi's Hausu (Wait, you don't?! Why you...) and I love it as well as director's Emotion, so I had some really high expectations coming into this film. I mean, it's a fantasy coming-of-age movie with a high school girl as the protagonist. You can f*ck this up very easily, but the screenwriter never did. Not even once! It's quite a simple story with all the quirks specific to Obayashi (but don't expect the same level of insanity like in Hausu, it's way more down-to-earth) but it plays rather beautifully and it's very moving, too. I'm a little bit ashamed of myself for giving it such a high rating and loving it so much, because it's apparently a movie for Japanese high school girl dreamers, but whatever. Once the scene in the video above started I was sold!
早春 [Early Spring] (1956) -
Ozu is a bloody master and I don't think that he ever made a movie that is not a masterpiece in his post-war period (except for Good Morning plus I still haven't seen 3 other films, but hush, my statement is still correct). This movie is more of his darker side, but I didn't find it as dark (and as good) as Tokyo Twilight. It's still a masterpiece, tho. It's about a slowly decaying marriage, but ends on a weird note, something like Naruse's Repast. It may be a stretch, but I think this is somewhat a Narusesque film (the story is, but the style is still Ozu) just like Naruse's Daughters, Wives and a Mother is an Ozu film... in Naruse style. Of course, I'm probably wrong, but these are just my impressions. My friend even told me about some theory that Ozu was making the same movie all over again and that in Zen Buddhism there's that idea of a genius stupidly painting the same painting over and over. He eventually stops thinking and spontaneously makes a masterpiece. It's kinda hard for me to agree with that, since I found every other film of his a masterpiece plus I can see a big difference between his movies with only like 5 or 6 of his films being alike.
五遁忍術 [Five Element Ninjas] (1982) -
I either haven't seen a wuxia film for a long time, or this is a bloody freakin' amazing movie. Probably both. The premise is kinda weird when you think about it, but it works very well. It's about Chinese heroes fighting Japanese ninjas. A nice take on usual Chinese-Japanese hate that this time was taken into the fantasy world of wuxia. However, finding a hidden meaning is not really the point. This has wonderful visuals, great fights and ideas. Yet another Shaw Brothers gem!
監獄風雲 [Prison on Fire] (1987) -
Now, this by no means is a masterpiece, but I enjoyed the movie greatly. This is a prison film with Chow Yun-fat and Tony Leung Ka-fai (not Chiu Wai, mind you!). It's not harsh, or anything. Something like Cool Hand Luke gone Hongkong with usual HK humour etc. The last brawl is pretty cruel and harsh, but apart from this the movie is kinda laid-back and very enjoyable to watch. Ringo Lam must've been crazy about fire, because he first made City on Fire, then this movie and then School on Fire (still haven't seen this one). But no, it wasn't enough for him. After some time he made Prison on Fire 2!!!
暗戰 [Running Out of Time] (1999) -
Sooo good! TOP 3 Johnnie To! This film just hit the right string with me. This is my type of sensitivity when it comes to this kind of gangter/cop/crime/criminal stuff. Not quite the level of Postman Blues when it comes to stuff like this, but still a masterpiece. The bus scenes are sooo adorable and the ending is just wow! So touching!
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User Lists
September, 2016 movies watched-
The Poughkeepsie Tapes (2007) Disturbing documentary and found footage style horror following the doings of a serial killer.
Suicide Club (2001) + Teens are committing mass suicide in Japan. Sometimes over the top, but it's pretty sick.
Double Indemnity (1944) Repeat viewing + Most of it is fantastic, but I'm not in love with the last third.
I Wake Up Screaming (1941) + Enjoyable, yet fairly average for being on the top 100 noirs list.
The City of Lost Children (1995) A very good movie that I'd recommend to fans of fantasy. That's not me.
Out of the Past (1947) Must see noir for the eventual 40's countdown, and I think I'll love it more with another viewing.
The Lobster (2015) Original and unique, but unfortunately with a dull side.
Wings (1927) + Spectacular battle scenes and a powerful ending.
High Rise (2015) Not very interesting, but visually stimulating with great choices in music.
Used Cars (1980) Repeat viewing Very funny when not focusing too much on the story.
Moonrise Kingdom (2012) Repeat viewing Massive improvement over my first viewing.
Dark Places (2015) - Decent murder mystery/thriller starring Charlize Theron.
Gentleman's Agreement (1947) - Gregory Peck stars in this best picture winner that is very good, but not quite memorable.
The Big Sleep (1946) Repeat viewing I got a little lost watching this but otherwise thought it was excellent.
The Big Parade (1925) Fantastic spectacle for it's time; I just would have liked a little more of an emotional connection.
A Short Film About Killing (1988) + Brutal and realistic.
Kiss Kiss Bang Bang (2005) Repeat viewing Entertaining and funny in parts.
Last Cannibal World (1977) Not quite Cannibal Holocaust, but the same type of movie with it's share of sick moments.
Hardcore Henry (2015) I wouldn't want all my action movies in this style, but it was a lot of fun.
Horns (2013) - Original and odd with just the right touch of seediness.
The Dead Girl (2006) - Flawed, but still powerful with a strong female cast.
Bringing Up Baby (1938) Not generally a fan of screwball comedies, I thought this was very funny for a while, and amusing the rest of the way.
The Postman Always Rings Twice (1946) I loved Lana Turner and John Garfield in this classic noir.
The Stranger (1946) - I thought this was flawed but there's a lot to love.
Bad Boy Bubby (1993) + Sick and very funny.
Total September viewings-25
Total 2016 viewings-255
The Poughkeepsie Tapes (2007) Disturbing documentary and found footage style horror following the doings of a serial killer.
Suicide Club (2001) + Teens are committing mass suicide in Japan. Sometimes over the top, but it's pretty sick.
Double Indemnity (1944) Repeat viewing + Most of it is fantastic, but I'm not in love with the last third.
I Wake Up Screaming (1941) + Enjoyable, yet fairly average for being on the top 100 noirs list.
The City of Lost Children (1995) A very good movie that I'd recommend to fans of fantasy. That's not me.
Out of the Past (1947) Must see noir for the eventual 40's countdown, and I think I'll love it more with another viewing.
The Lobster (2015) Original and unique, but unfortunately with a dull side.
Wings (1927) + Spectacular battle scenes and a powerful ending.
High Rise (2015) Not very interesting, but visually stimulating with great choices in music.
Used Cars (1980) Repeat viewing Very funny when not focusing too much on the story.
Moonrise Kingdom (2012) Repeat viewing Massive improvement over my first viewing.
Dark Places (2015) - Decent murder mystery/thriller starring Charlize Theron.
Gentleman's Agreement (1947) - Gregory Peck stars in this best picture winner that is very good, but not quite memorable.
The Big Sleep (1946) Repeat viewing I got a little lost watching this but otherwise thought it was excellent.
The Big Parade (1925) Fantastic spectacle for it's time; I just would have liked a little more of an emotional connection.
A Short Film About Killing (1988) + Brutal and realistic.
Kiss Kiss Bang Bang (2005) Repeat viewing Entertaining and funny in parts.
Last Cannibal World (1977) Not quite Cannibal Holocaust, but the same type of movie with it's share of sick moments.
Hardcore Henry (2015) I wouldn't want all my action movies in this style, but it was a lot of fun.
Horns (2013) - Original and odd with just the right touch of seediness.
The Dead Girl (2006) - Flawed, but still powerful with a strong female cast.
Bringing Up Baby (1938) Not generally a fan of screwball comedies, I thought this was very funny for a while, and amusing the rest of the way.
The Postman Always Rings Twice (1946) I loved Lana Turner and John Garfield in this classic noir.
The Stranger (1946) - I thought this was flawed but there's a lot to love.
Bad Boy Bubby (1993) + Sick and very funny.
Total September viewings-25
Total 2016 viewings-255
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Favorite Movies
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User Lists
Films watched in September that were neither great nor devoid of merit:
Mientras duermes [Sleep Tight] +
Land des Schweigens und der Dunkelheit [Land Of Silence And Darkness] +
Katyń [Katyn] +
5150 Rue des Ormes [5150 Elm's Way] +
Beasts Of The Southern Wild +
The Boondock Saints II: All Saints Day
Them! +
The Box
Countess Dracula +
Devil's Knot
The Warrior's Way +
Shockproof
Mientras duermes [Sleep Tight] +
Land des Schweigens und der Dunkelheit [Land Of Silence And Darkness] +
Katyń [Katyn] +
5150 Rue des Ormes [5150 Elm's Way] +
Beasts Of The Southern Wild +
The Boondock Saints II: All Saints Day
Them! +
The Box
Countess Dracula +
Devil's Knot
The Warrior's Way +
Shockproof
September 2016 Watches:
The Nanny (1965) - +
The Killing (1956) -
East of Eden (1955) - +
The World According To Garp (1982) - -
Hana Bi (1997) -
Show Me Love (1998) - +
The Prestige (2006) -
A Scanner Darkly (2006) - +
Waking Life (2001) -
SubUrbia (1996) - +
Kikis Delivery Service (1989) - +
Dog Soldiers (2002) - [rating]3.5[rating]-
Ponyo (2008) -
The Dead Girl (2006) -
The Wrong Man (1956) - +
The Conversation (1974) - +
Embrace Of The Serpent (2015) -
Bringing Up Baby (1938) - *Rewatch
Ronin (1998) - *Rewatch
Rebecca (1940) -
White Heat (1949) - +
The Nanny (1965) - +
The Killing (1956) -
East of Eden (1955) - +
The World According To Garp (1982) - -
Hana Bi (1997) -
Show Me Love (1998) - +
The Prestige (2006) -
A Scanner Darkly (2006) - +
Waking Life (2001) -
SubUrbia (1996) - +
Kikis Delivery Service (1989) - +
Dog Soldiers (2002) - [rating]3.5[rating]-
Ponyo (2008) -
The Dead Girl (2006) -
The Wrong Man (1956) - +
The Conversation (1974) - +
Embrace Of The Serpent (2015) -
Bringing Up Baby (1938) - *Rewatch
Ronin (1998) - *Rewatch
Rebecca (1940) -
White Heat (1949) - +
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Favorite Movies
Everything I watched In September
(Thoughts posted in my Movie Log)
Kiss Kiss Bang Bang (Shane Black, 2005) (Rewatch)
The Dead Girl (Karen Moncrieff, 2006) -
Samurai Rebellion (Jôi-uchi: Hairyô tsuma shimatsu) (Masaki Kobayashi, 1967) +
Embrace of the Serpent (El abrazo de la serpiente) (Ciro Guerra, 2015) -
Moonrise Kingdom (Wes Anderson, 2012) -
Good Bye, Lenin! (Wolfgang Becker, 2003)
Bringing Up Baby (Howard Hawks, 1938)
Ronin (John Frankenheimer, 1998) -
Ida (Pawel Pawlikowski, 2013) -
The Flowers of War (Jin ling shi san chai) (Yimou Zhang, 2011) -
All of these films were watched as part of The 11th MoFo Hall of Fame. I still have one nomination left to watch for it (Bashu, the Little Stranger).
(Thoughts posted in my Movie Log)
Kiss Kiss Bang Bang (Shane Black, 2005) (Rewatch)
The Dead Girl (Karen Moncrieff, 2006) -
Samurai Rebellion (Jôi-uchi: Hairyô tsuma shimatsu) (Masaki Kobayashi, 1967) +
Embrace of the Serpent (El abrazo de la serpiente) (Ciro Guerra, 2015) -
Moonrise Kingdom (Wes Anderson, 2012) -
Good Bye, Lenin! (Wolfgang Becker, 2003)
Bringing Up Baby (Howard Hawks, 1938)
Ronin (John Frankenheimer, 1998) -
Ida (Pawel Pawlikowski, 2013) -
The Flowers of War (Jin ling shi san chai) (Yimou Zhang, 2011) -
All of these films were watched as part of The 11th MoFo Hall of Fame. I still have one nomination left to watch for it (Bashu, the Little Stranger).
__________________
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Favorite Movies
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User Lists
Night of the Living Dead (George A. Romero, 1968) - +
Nosferatu (Friedrich Wilhelm Murnau, 1922) -
The Lego Movie (Phil Lord/Chris Miller, 2014) -
Spartacus (Stanley Kubrick, 1960) - +
Das Cabinet des Dr. Caligari The Cabinet of Dr. Caligari (Robert Wiene, 1920) -
L'uccello dalle piume di cristallo The Bird With the Crystal Plumage (Dario Argento, 1970) - +
The Haunting (Robert Wise, 1963) - +
Nosferatu (Friedrich Wilhelm Murnau, 1922) -
The Lego Movie (Phil Lord/Chris Miller, 2014) -
Spartacus (Stanley Kubrick, 1960) - +
Das Cabinet des Dr. Caligari The Cabinet of Dr. Caligari (Robert Wiene, 1920) -
L'uccello dalle piume di cristallo The Bird With the Crystal Plumage (Dario Argento, 1970) - +
The Haunting (Robert Wise, 1963) - +
__________________
"Gentlemen, you can't fight in here. This is the war room."
"Gentlemen, you can't fight in here. This is the war room."
The Turtles: Happy Together (Harold Bronson, 1991) +
Blood of Dracula (Herbert L. Strock, 1957)
First to Fight (Christian Nyby, 1967)
Ghostbusters (Paul Feig, 2016) +
The Ghostbusters (Kristen Wiig, Melissa McCarthy, Mona McKinnon & Leslie Jones) have their work cut out in Times Square.
Baskin (Can Evrenol, 2015)
Money Monster (Jodie Foster, 2016) +
Blood of the Vampire (Henry Cass, 1958)
The Shallows (Jaume Collet-Serra, 2016) +
Surfer Blake Lively is bleeding and trapped on a rock as the tide keeps rising.
Private Eyes (Edward Bernds, 1953)
Me Before You (Thea Spurrock, 2016)
Zoolander 2 (Ben Stiller, 2016)
The Spiderwick Chronicles (Mark Waters, 2008) -
Brother Freddie Highmore and sister Sarah Bolger listen to a fantastic story by brownie Martin Short about the sometimes invisible creatures that live around their new home.
Walk a Crooked Mile (Gordon Douglas, 1948) +
The Distant Drummer: A Movable Scene (Don Peterson, 1970)
The Curse of the Cat People (Robert Wise & Gunther V. Fritsch, 1944) +
Roar (Neil Marshall, 1981)
African gamekeeper Neil Marshall finds some of his lions and tigers acting friskier than normal just as his family (Tippi Hedren, Jerry Marshall, John Marshall & Melanie Griffith) arrives home.
The Flesh Eaters (Jack Curtis, 1964)
Sansara (Pan Nalin, 2002) +
Fiend Without a Face (Arthur Crabtree, 1958)
April and the Extraordinary World (Christian Desmares & Franck Ekinci, 2015) +
In an alternate Earth which branched when Napoleon III had an experiment go wrong in 1870, the world’s scientists mysteriously disappear and power continues to be produced primitively, but one girl and a detective continue to try to learn what happened.
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Favorite Movies
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User Lists
The Fog (John Carpenter, 1980) - +
Carrie (Brian De Palma, 1976) -
¿Quién puede matar a un niño? Who Can Kill a Child? (Narciso I. Serrador, 1976) - +
Carrie (Brian De Palma, 1976) -
¿Quién puede matar a un niño? Who Can Kill a Child? (Narciso I. Serrador, 1976) - +
The Stepfather (Joseph Ruben, 1987)
Since the remake was recently released to theatres, they finally got around to releasing this cult classic on DVD. I don't know why it took so long because although The Stepfather was not a moneymaking film, it quickly developed a huge cult following, and my friends, family and I are all happy to be card-carrying members of the cult. If you like straight horror films, thrillers or flix which are very self-aware about all their blood, gore and sex (without reducing themselves to straight camp), The Stepfather should be right up your alley. As with most cult films, the more times you watch it, with the more people in the room with you, the more you'll probably appreciate it. In fact, the hardest thing for me to decide on was a rating to give the film. Depending on my mood and who I'm with, I can give the flick anywhere from to , but I decided that my rating above is appropriate after 20+ years of mostly oblivion and a recent mass release to a newer generation.
The Stepfather is about a man (Terry O'Quinn) who desperately wants the American Dream and does everything he can to seek it out. Now, in this character's mind (he's called Jerry throughout most of the film), if he has to destroy his latest imperfect family to seek out a better one, he has no problem with that. Jerry does seem to realize what he's doing most of the time, but there are other times where he seems to have completely blocked out his violent past in his pursuit of trying to create the perfect family. Jerry basically has no background. We never learn about his childhood at all, but we do know that he apparently has no criminal record or has ever been part of the military since no one has a record of his fingerprints. Jerry is a good salesman though, so that allows him to pull up stakes, move and find a new job very quickly because he is very good at what he does. He can sell real estate and insurance equally well, especially since he's so proud of helping out so many families by doing so.
After a highly-memorable opening scene where Jerry leaves his latest family, we see him a year later living very happily with his new wife Susan (Shelley Hack) but not so pleasantly with his teenage stepdaughter Stephanie (Jill Schoelen) who seems to irrationally blame Jerry for the death of her father. Stephanie has a father figure she likes in the form of her psychiatrist (Charles Lanyer), but Jerry refuses to meet with the doctor even after Stephanie gets expelled from high school for inappropriate behavior. Meanwhile, the brother (Stephen Shellen) of Jerry's last wife is on a crusade to get the local press and police to reopen the murder case and begins his own investigation into who Jerry could possibly be if he repeats his previous modus operandi. As things come to a head with Jill and her burgeoning sexuality, Jerry seems about ready to snap and move on to greener pastures to find a more perfect family.
The Stepfather rises up to the cream of its genre for many fortuitous reasons. The entire cast is earnest but Terry O'Quinn gives one of the best genre performances ever. Even after we see his incredibly-destructive side, he comes across as an empathetic villain. On top of O'Quinn's scary sincerity, he has several chances to garner needed laughs when he gets that gleam in his eyes and says something as innocent as "Are you OK, sweetheart?" Donald E. Westlake's script is a model of the rise-and-fall school of plot development, as well as the slowburn build-up. Things take their sweet time to come to a boil, but what a wonderful boil they become. Joseph Ruben, who made several thrillers in the middle of his career and claims to hate scary movies, did his finest, most-controlled work on The Stepfather and walks a thin line between out-and-out thrills and yell-at-the-screen laughs. The Stepfather was an audience participation film when I watched it several times at the theatre in the '80s, and it still seems like a participation film today in my own living room. It contains many memorable lines of dialogue and gestures and facial expressions by O'Quinn for all to groove to and pass on to their unsuspecting friends. Long live The Stepfather and hopefully it will not disappear again now that we have the DVD release to enjoy over and over again.
Since the remake was recently released to theatres, they finally got around to releasing this cult classic on DVD. I don't know why it took so long because although The Stepfather was not a moneymaking film, it quickly developed a huge cult following, and my friends, family and I are all happy to be card-carrying members of the cult. If you like straight horror films, thrillers or flix which are very self-aware about all their blood, gore and sex (without reducing themselves to straight camp), The Stepfather should be right up your alley. As with most cult films, the more times you watch it, with the more people in the room with you, the more you'll probably appreciate it. In fact, the hardest thing for me to decide on was a rating to give the film. Depending on my mood and who I'm with, I can give the flick anywhere from to , but I decided that my rating above is appropriate after 20+ years of mostly oblivion and a recent mass release to a newer generation.
The Stepfather is about a man (Terry O'Quinn) who desperately wants the American Dream and does everything he can to seek it out. Now, in this character's mind (he's called Jerry throughout most of the film), if he has to destroy his latest imperfect family to seek out a better one, he has no problem with that. Jerry does seem to realize what he's doing most of the time, but there are other times where he seems to have completely blocked out his violent past in his pursuit of trying to create the perfect family. Jerry basically has no background. We never learn about his childhood at all, but we do know that he apparently has no criminal record or has ever been part of the military since no one has a record of his fingerprints. Jerry is a good salesman though, so that allows him to pull up stakes, move and find a new job very quickly because he is very good at what he does. He can sell real estate and insurance equally well, especially since he's so proud of helping out so many families by doing so.
After a highly-memorable opening scene where Jerry leaves his latest family, we see him a year later living very happily with his new wife Susan (Shelley Hack) but not so pleasantly with his teenage stepdaughter Stephanie (Jill Schoelen) who seems to irrationally blame Jerry for the death of her father. Stephanie has a father figure she likes in the form of her psychiatrist (Charles Lanyer), but Jerry refuses to meet with the doctor even after Stephanie gets expelled from high school for inappropriate behavior. Meanwhile, the brother (Stephen Shellen) of Jerry's last wife is on a crusade to get the local press and police to reopen the murder case and begins his own investigation into who Jerry could possibly be if he repeats his previous modus operandi. As things come to a head with Jill and her burgeoning sexuality, Jerry seems about ready to snap and move on to greener pastures to find a more perfect family.
The Stepfather rises up to the cream of its genre for many fortuitous reasons. The entire cast is earnest but Terry O'Quinn gives one of the best genre performances ever. Even after we see his incredibly-destructive side, he comes across as an empathetic villain. On top of O'Quinn's scary sincerity, he has several chances to garner needed laughs when he gets that gleam in his eyes and says something as innocent as "Are you OK, sweetheart?" Donald E. Westlake's script is a model of the rise-and-fall school of plot development, as well as the slowburn build-up. Things take their sweet time to come to a boil, but what a wonderful boil they become. Joseph Ruben, who made several thrillers in the middle of his career and claims to hate scary movies, did his finest, most-controlled work on The Stepfather and walks a thin line between out-and-out thrills and yell-at-the-screen laughs. The Stepfather was an audience participation film when I watched it several times at the theatre in the '80s, and it still seems like a participation film today in my own living room. It contains many memorable lines of dialogue and gestures and facial expressions by O'Quinn for all to groove to and pass on to their unsuspecting friends. Long live The Stepfather and hopefully it will not disappear again now that we have the DVD release to enjoy over and over again.
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Favorite Movies
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