Thief's Monthly Movie Loot - 2021 Edition [Archive]

Thief

01-17-21, 07:52 PM

Once again, in the wise words of my Internet friend StuSmallz... [taps mic]

https://media1.tenor.com/images/062b0072b9006b2b0578054a0850860b/tenor.gif

Like the name suggests, I will use this thread to post details of my personal movie challenge where I gather a monthly "loot" of films based on a different set of criteria. Like most RT/Corrie refugees know, I've been doing this for a couple of years now, but after our exile to MoFo, and being a n00b here, I didn't feel like rearranging the MoFo furniture so to speak.

But it's 2021, so what the heck!

RT/Corrie refugees might notice that, unlike past years, I'm reducing the criteria from 15 to 10. Some reasons for that are to lighten the load for me given work and parental duties, but also to allow some more space for "freebies", if time permits.

I will also use the thread to post new episodes of my podcast, which is also titled Thief's Monthly Movie Loot (https://tmml.buzzsprout.com/) (you can also find it on Apple Podcasts (https://podcasts.apple.com/us/podcast/thiefs-monthly-movie-loot/id1578191119), Spotify (https://open.spotify.com/show/4o5ZvtvZ64XAoxIIxiAj1q), Podchaser (https://www.podchaser.com/podcasts/thiefs-monthly-movie-loot-1498289), and Google Podcasts (https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS84NTAwNjMucnNz)).

Anyway, anybody is welcome to offer recommendations for any category, and anybody is welcome to join in the challenge. Let's loot!

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Links to the loots of past months

January 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2174199#post2174199) • February 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2182955#post2182955) • March 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2192872#post2192872) • April 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2200228#post2200228) • May 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2209093#post2209093) • June 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2219574#post2219574) • July 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2225990#post2225990) • August 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2235098#post2235098) • September 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2242309#post2242309) • October 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2250120#post2250120) • November 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2258375#post2258375) • December 2021 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2268589#post2268589)

Thief

01-17-21, 07:53 PM

I wanted to share an extensive list of what I saw last year, for the record and mostly to let the MoFo's get the gist of the categories. It's 200+ films, so I'm gonna try to keep it as organized as possible for ease of reading...

One: One Day in September
Two: The Two Popes
Three: Third Contact
Four: Marlina the Murderer in Four Acts
Five: The Central Park Five
Six: Mr. Six
Seven: Seven (short film)
Eight: Hard Eight (rewatch)
Nine: The Cat O' Nine Tails
Ten: 10 Rillington Place
Eleven: The Wereth Eleven
Twelve: 12 and Holding

A or B: Anna and the Apocalypse
C or D: D.O.A.
E or F: Friday the 13th Part VII: The New Blood (rewatch)
G or H: Hell or High Water
I or J: In the Heat of the Night
K or L: Killing Them Softly
M or N: The Midnight Meat Train
O or P: Odd Thomas
Q or R: Rich and Strange
S or T: Throne of Blood
U or V: Viy
W, X, Y, or Z: White Zombie

1900s: Rescued by Rover (1905)
1910s: A Dog's Life (1918)
1920s: The Phantom of the Opera (1925)
1930s: The Invisible Man (1933)
1940s: His Girl Friday (1940)
1950s: To Catch a Thief (1955)
1960s: The Jungle Book (1967)
1970s: The Many Adventures of Winnie the Pooh (1977)
1980s: The Black Cauldron (1985)
1990s: Funny Games (1997)
2000s: A Christmas Carol (2009)
2010s: The Invitation (2015)

Action or adventure: Watchmen
Comedy: How to Train Your Dragon: The Hidden World
Documentary: 13th
Drama: Short Term 12
Fantasy: Song of the Sea, How the Grinch Stole Christmas
Horror: Overlord, The Blackcoat's Daughter
Musical: Aladdin (2019)
Romance: Priceless
Science-fiction: Interstellar
Thriller: Luce
War: Da 5 Bloods

Animated: I Lost My Body, A Turtle's Tale: Sammy's Adventure
Anthology: The Ballad of Buster Scruggs
Sequel: How to Train Your Dragon 2
Third part on a franchise: Before Midnight
Road trip (Read a Road Map Day, April 5): Abominable
Western (Day of the Cowboy, July 27): Man of the West
Foreign horror: Angst (Austria)
Film noir: In a Lonely Place
TV film: A Man for Hanging

Ranking with #1: The Maltese Falcon (#147, rewatch)
Ranking with #2: Fitzcarraldo (#682)
Ranking with #3: The Man Who Shot Liberty Valance (#376)
Ranking with #4: The Graduate (#457)
Ranking with #5: The Eagle (#25)
Ranking with #6: Gallipoli (#668)
Ranking with #7: The Naked Gun: From the Files of Police Squad! (#780, rewatch)
Ranking with #8: Within Our Gates (#8)
Ranking with #9: Pinocchio (#139)
Ranking with #10: The Phantom Carriage (#10), Things to Come (#101)
Ranking with #11: The Masque of the Red Death (#411)
Ranking with #12: King of New York (#812)

Czech Republic (January 1): Protektor
Dominican Republic (February 27): Sand Dollars
Bosnia and Herzegovina (March 1): Back to Bosnia
Ireland (April 24): The Siege of Jadotville
Norway (May 17): The Wave
Philippines (June 12): Maria
Argentina (July 9): La Ciénaga
Switzerland (August 1): Sennentuntschi
Mexico (September 16): 7:19
Nigeria (October 1): The Figurine
Palestine (November 15): Wajib
UAE (December 2): Aerials

Paul Newman (January 26): The Verdict
Vincente Minnelli (February 28): The Bad and the Beautiful
Warren Beatty (March 30): Reds
Marlon Brando (April 3): Superman (rewatch)
Clint Eastwood (May 31): Escape from Alcatraz
Marilyn Monroe (June 1): Home Town Story
Gus Van Sant (July 24): Drugstore Cowboy
John Huston (August 5): Fat City
Robert Bresson (September 25): A Man Escaped
Sam Raimi (October 23): Evil Dead II
Martin Scorsese (November 17): Bringing Out the Dead
Yasujiro Ozu (December 12): Late Spring

First Best Picture winner I hadn't seen: Cimarron
First film from any director: Bad Taste (Peter Jackson)
Nominated for Best Picture Golden Globe: Once Upon a Time in Hollywood
Currently nominated for Best Picture: Jojo Rabbit
Winner of the Palme d'Or or Grand Prix at Cannes: Taxi Driver (rewatch)
Blockbuster film: Knives Out
Post-1990 horror film made for under $5,000,000: The Barn
Considered one of the worst (Int'l Tolerance Day, November 16): Battlefield Earth
Last film from any director: Eyes Wide Shut (Stanley Kubrick, rewatch)
Last Best Picture winner I hadn't seen: Million Dollar Baby

African-Americans (Black History Month, February): Dolemite
Deaf character (Deaf History Month, March): Children of a Lesser God
Female director (Int'l Women's Day, March 8): The Bigamist (Ida Lupino)
LGBTQ+ (Pride Month, June): The Watermelon Woman
Seniors (Senior Citizens Day, August 21): The Straight Story
Hispanic/Latino (Hispanic Heritage Month, September): Hamilton
Native Americans (Native American Day, September 25): Skins
Puerto Rico (Discovery, November 19): Maruja
Disabled character (Int'l Day of People with Disabilities, December 3): Sound of Metal
Children (Int'l Children's Day, December 13): We Can Be Heroes

Marriage (Spouse's Day, January 26): Marriage Story
Couple's name (Valentine's Day, February): Harold and Maude
Siblings (Siblings Day, April 10): Step Brothers
Mothers (Mother's Day, May): Mother
Fathers (Father's Day, June): High Life
Friends (Best Friend Day, June 8): The Lighthouse

Cops and law enforcement (Law Enforcement Appreciation Day, January 9): The French Connection
President of the US (President's Day, February): Vantage Point
Clowns (Clown Week, August): Terrifier
Media (World Press Day, May 3): Sweet Smell of Success
Set in the workplace (Labor Day, September 7): Nine to Five (rewatch)
Clergy (Clergy Appreciation Month, October): The Devil All the Time
Miners (National Miners Day, December 6): Mine 9

Biblical film (Holy Week, April): The Prince of Egypt (rewatch)
Muslims and Islam (Ramadan, May): London River
Thanksgiving: ThanksKilling
Holiday/Christmas: Die Hard, The Three Wise Men (short film)
Spring: Spring (short film), Red Spring
Summer: Spring, Summer, Fall, Winter... and Spring
Fall: Legends of the Fall (rewatch)
Winter: Dead of Winter (2014)

Dragon (Appreciate a Dragon Day, January 16): How to Train Your Dragon
Bird's name (Nat'l Bird Day, May 4): To Kill a Mockingbird
Sharks (Shark Week, July): Finding Nemo (rewatch)
Dog (Dog Day, August 26): Barking Dogs Never Bite
Farm animal (World Farm Animals Day, October 2): The Silence of the Lambs (rewatch)
Horror film about animal or creature: Frankenweenie

Submarine (Nat'l Submarine Day, April 11): Run Silent, Run Deep
Train (Nat'l Train Day, May 10): Murder on the Orient Express (1974)
Country you'd like to visit (Nat'l Tourism Day, May 7): Life is Beautiful (rewatch)
France (Bastille Day, July 14): Portrait of a Lady on Fire
Hawaii (King Kamehameha Day, June 11): Blue Hawaii
New Orleans (Mardi Gras, February 25): The Princess and the Frog
School (Back to School, August): Final Exam
Space (Space Day, May): A Trip to the Moon (rewatch)
Plane (Aviation Day, August 19): La Guagua Aérea

Book (Book Lover's Day, August 9): Bambi
Comic Book (Nat'l Comic Book Day, September 25): Spider-Man: Far from Home
Poem (Nat'l Poetry Month, April): Aniara
Shakespeare play (Shakespeare Week, March): Macbeth (2015)
Video game (Nat'l Video Games Day, September 12): Cloak & Dagger

Love (Valentine's Day, February 14): Love Story
Woman's name (Int'l Women's Day, March 8): Legends of Oz: Dorothy's Return
Tree (Arbor Day, April 24): A Tree Grows in Brooklyn
Repeated word (Repeat Day, June 3): Eye for an Eye (rewatch)
Herb or spice (Herbs and Spice Day, June 10): Rosemary's Baby (rewatch)
America (Independence Day, July 4): The American President (rewatch)
Kiss (Int'l Kissing Day, July 6): The Naked Kiss
World (World Population Day, July 11): Scott Pilgrim vs. the World
Left (Lefthanders Day, August 13): The Ballad of Lefty Brown
Dance (Nat'l Dance Day, September 19): Dance of the Dead
Question (Ask a Stupid Question Day, September 28): What Did Jack Do? (short film)
Dead or Death (Halloween, October 31): Dead & Buried
Black or Friday (Black Friday, November): Friday the 13th Part VIII: Jason Takes Manhattan (rewatch)

Football (Super Bowl, January): The Longest Yard
Phone (Alexander Graham Bell, March 7): Sorry to Bother You
Aliens (Alien Abduction Day, March 20): Monsters vs. Aliens
Zoo and animals (Zoo Lover's Day, April 8): Madagascar: Escape 2 Africa
Environment (Earth Day, April 22): Dark Waters
A meteor or comet (Meteor Day, June 30): Night of the Comet
Chaos and disorder (Pandemonium Day, July 14): Speckles: The Tarbosaurus
Volcano (Vesuvius Day, August 24): Joe versus the Volcano
A virus (Virus Appreciation Day, October 3): The Cured
Baseball (World Series, October): Moneyball
Politics (Elections, November): Frost/Nixon
Occult (Occult Day, November 18): The Void
Mars (Red Planet Day, November 28): Invaders from Mars (1953)

Rewatches are in blue, short films in red.

Thief

01-17-21, 07:53 PM

CITIZEN KANE
(1941, Welles)
A debut film

https://www.closeupfilmcentre.com/download_file/view_inline/6565/

"You know, Mr. Thatcher, if I hadn't been very rich, I might have been a really great man."

Decided to start my 2021 film-watching with the rewatch of a classic. Orson Welles' masterpiece follows the titular character (played by Welles) as we see him rise from a poor kid to a larger-than-life multimillionaire in search of something. The film is truly a masterpiece in pretty much every aspect. From the performances to the broken chronology, from the editing to the flawless direction. Really, the way Welles plays with lights and shadows, perspective and depth in his shots is something impressive. But beyond its technical merits, it really is a great, engaging film.

I've seen/heard a bunch of "making of" featurettes and commentaries, but I had never heard the Ebert one, so the next day, I watched that. The documentary only serves to highlight how impressive Welles' feat is. Ebert offers some wonderful insight into the production and filming process, as well as some thoughtful analysis about the film's themes.

Grade: 5

Thief

01-17-21, 07:53 PM

ANIARA
(2018, Kågerman & Lilja)

https://fictionmachine.files.wordpress.com/2020/11/aniara_01.jpg

"The answer is 'none'."
"None?"
"No."
"What?!"
"There's no celestial body to turn at."

The above exchange occurs at the end of the first act of this 2018 Swedish sci-fi. In it, our lead character, who's referred to as "MR" (Emelie Jonsson) receives the shattering news from "The Astronomer" (Anneli Martini) after a risky maneuver to avoid space debris takes the titular spaceship off its course. There is nowhere to turn, which can be interpreted in multiple ways, as the passengers turn to numerous sources and places in their search of comfort, peace, and reassurance that "everything is under control", or "going as planned", as the Captain repeatedly says. But are they?

Aniara, which is based on a Swedish poem with a title that comes from a Greek word meaning "despair", offers a lot of that. The film follows the ship which is making a supposedly routine journey from a ravaged and almost uninhabitable Earth to newly established colonies on Mars. But when the accident occurs, the ship is left fuel-less drifting into the unknown. Much can be unpacked about the religious, philosophical, and existential symbolisms of it, but on the surface, the passengers find themselves getting slowly but surely more desperate about their situation, while trying to cling to numerous things in their search of hope and meaning.

I found this to be an incredibly thought-provoking film with economically effective production values and a subtle but great performance from Jonsson. Much of the story is focused on her character, a low-level employee at the ship that manages a spa-like AI room called MIMA, where passengers can go to relive past images of Earth in their search of solace. But as the fate of the ship becomes widely known, both MIMA and its "liaison", the "MR", find themselves burdened in more ways than one. But who can we turn to when things don't "go as planned"? The MIMA can be seen as a fairly obvious reference to God or religion, and its failure to completely soothe the despaired passengers works as both a criticism of it and its followers ("there is no protection from mankind").

But as the passengers shift their hopes into various directions, Kågerman & Lilja continue to tear everything down with relentless fatalism. Mars? ("it's cold. Nothing grows except for a small frost-proof tulip!"), science? ("maybe we shouldn't have said it's a rescue probe?"), any "celestial body" out there? But no, there's ultimately nothing or no one that can turn us away from our fate. In many ways, I feel like the film is telling us to learn to live with what we get instead of clinging to false hopes, but also warning us of how we can be taken off course beyond the point where there'll be no body to turn at.

Grade: 4.5

Thief

01-17-21, 07:54 PM

ATTACK THE BLOCK
(2011, Cornish)
Film that starts with A or B • Debut film • Action/adventure film

https://i.imgur.com/ICh87ES.jpg

"This is the block. We take care of things our own way. Get me?"

"This is my house!"... "This is our turf!"... "This is our country!"... "This is our planet!"... Films are full of examples of groups of people proudly and loudly proclaiming their place and their right to defend it whichever way they see fit. From Home Alone to Independence Day, to name a few. This British film puts a slight spin on it by putting a teenage street gang on one side and a pack of dog-like aliens that land on their block in London. As the teens realize what is happening, they don't hesitate to go out to protect their place, probably not fully realizing what they're up against.

I had read good to great things about this film for some time, so it's been on my radar for a while. I'm glad to say it was a pleasant surprise. What the film might lack in depth, it more than delivers in intensity and thrills. Even though they are essentially "thugs", there's an infectious energy in the gang that you can't help but root for. They are led by Moses (John Boyega), who apparently craves to be recognized one way or the other; whether it's by the group of friends that follow him or the leading drug dealer in the block that ends up recruiting him or just by the way he and his friends take care of things on "the block".

I had seen Boyega before he blew up with Star Wars since he had a small supporting role on Season 9 of 24, and I could see then that he had the necessary chops to be a good actor. But I was surprised by the restrained ferocity he brings to his role. On the other hand, we have Jodie Whittaker as Sam, a young nurse that is robbed by Moses' gang in the opening scene but who ends up reluctantly paired with them as they fend off the aliens. Whittaker manages to create a great balance between fear, vulnerability, and poise against the gang first, and the aliens second. The rest of the members of the gang also share the same confidence needed for their roles, even if they all don't have excellent acting chops.

Debuting director Joe Cornish manages to make the most of a relatively small budget by maintaining a simplicity to the alien creatures. His direction is not necessarily flashy, but it's efficient and energetic. There are some subtle and interesting tidbits about racial differences and social inequality in the script that hint at Moses mindset. Even if they are not fully explored, I'm glad they are there. It's a way to understand what "the block" is about and why they "take care of things" their own way, which is ultimately a sense of identity and belonging that you can't get anywhere else, and which makes you protect it at all costs; whether it's "the block" or Planet Earth.

Grade: 3.5

Thief

01-17-21, 07:54 PM

My original review from 2018...

THE MAN FROM NOWHERE
(2010, Jeong-beom)
A debut film • An action or adventure film

https://expresselevatortohell.files.wordpress.com/2013/04/the-man-from-nowhere-2010-garage-hug.jpg

"You live only for tomorrow. The ones that live for tomorrow, get ****ed by the ones living for today... I only live for today. I'll show you just how ****ed up that can be."

The "revenge" sub-genre is very popular among studios and filmmakers. From Death Wish to Kill Bill, or Mad Max to John Wick, the search for payback for the death or harm of loved ones, highlighted by high doses of violence, is something that fuels the audience with a desire to see the bad guys get what's coming to them. But for every John Wick there's a Colombiana, or for every Death Wish, there's a Death Wish sequel, or remake. Fortunately, The Man from Nowhere is a breath of fresh air in what could be a tired sub-genre.

The Man from Nowhere follows Cha Tae-sik (Won Bin), a young man living a quiet life while running a pawnshop out of his apartment. His most frequent contact is with So-mi (Kim Sae-ron), a 10-year old neighbor who he reluctantly befriends because of her mother's addiction. But when the girl is kidnapped, Tae-sik sets out to rescue her and finds himself caught up in the crossfire of two rival gangs fighting for the organ harvesting market against the police.

The premise might sound tired and cliché, but the execution is not. Director Lee Jeong-beom takes his time to build the story and establish the characters, while keeping things moving at a nice pace. Things pick up mostly in the second half, with some kick-ass action setpieces and great fight choreographies. There's a particular continuous shot that will probably make you blink twice and go back.

But not everything is action. The performances from Bin and Sae-ron are pretty good, with the chemistry between the characters feeling honest. Bin manages to convey the tragic nature of Tae-sik, as we discover on the way, why he lives the way he lives, "only for today". The bad guys are well played, although there are so many that at some point, I got a little confused about who was who. Still, there are two or three standouts among the bad guys and henchmen, with one in particular stealing the show with a low-key, nuanced performance.

There is a bluff near the end that might feel like a bit of a cheat at first, but after the film ends, you understand where they came from, and how earned the moment is. The Man from Nowhere might not bring anything new to the table, but what it does, it does extremely well. I wouldn't mind rewatching this in the near future.

Grade: 4

Thief

01-17-21, 07:54 PM

ONE CHILD NATION
(2019, Wang & Zhiang)
A film with the word "One" in its title

https://www.nziff.co.nz/assets/resized/sm/upload/ob/uv/q0/m5/Film%20Still_03%20KEY-2000-2000-1125-1125-crop-fill.jpg?k=d7c409af12

"I'm struck by the irony that I left a country where the government forced women to abort and I moved to another country where the governments restrict abortions."

From 1979 to 2015, China enforced the famous "one-child policy" to deal with the rapidly growing population. To achieve this, they used propaganda, law enforcement, fines, and ultimately forced sterilizations and abortions. This documentary follows the implementation of that policy and the impact it had in the general population and in the country overall.

Wang, who was born in China during that period, uses her family as a starting point to highlight the lengths to which the government would go to enforce this policy. To do so, she interviews a former village leader, authors of propaganda, as well as a midwife that claims to have performed tens of thousands of abortions. She also establishes the connection between the one-child policy and the growing Chinese adoption market, which was established in the 1990s, and is fed by child trafficking as a direct result of the one-child policy.

Most of what the documentary presents is both compelling and shocking, but there are times when it feels a bit scattered. I would've appreciated a bit more focus. Finally, Wang's general approach is also somewhat amateurish, both in how she addresses some of her interviewees and in how she directs it. There are parts where you can see the "seams" of her narrative, and the conclusions don't feel organic, but rather forced. Given the source material, I don't think that was necessary.

Grade: 2.5

Thief

01-17-21, 07:55 PM

For what it's worth, I'll cross-post reviews and blurbs through this thread, the Rate the Last Movie thread, and the HOF 24 when necessary.

Skepsis93

01-17-21, 08:02 PM

If you haven't already seen it may I suggest the absolutely batsh*t Wild at Heart for your Nicolas Cage film

https://www.youtube.com/watch?v=Wmof9ax_GS0&ab_channel=astrosecret

Takoma11

01-17-21, 08:24 PM

For your Criterion one, have you seen The Naked Kiss or Shock Corridor?

For the animated film, are you hoping for something you can watch with the kids?

Captain Terror

01-17-21, 08:40 PM

Yay, all is right with the world.

(I've already watched a couple that qualify :cool:)

Thief

01-17-21, 08:50 PM

If you haven't already seen it may I suggest the absolutely batsh*t Wild at Heart for your Nicolas Cage film

https://www.youtube.com/watch?v=Wmof9ax_GS0&ab_channel=astrosecret

Oh yeah, I've seen that. Loved it. I might check out Vampire's Kiss, which I've heard is just as batsh*t, if not more.

Thief

01-17-21, 08:58 PM

For your Criterion one, have you seen The Naked Kiss or Shock Corridor?

For the animated film, are you hoping for something you can watch with the kids?

I saw The Naked Kiss last year. Haven't seen Shock Corridor. However, I had thought of using that slot for Shame, which also counts for the HOF24.

For the animated one, anything goes. I've been trying to catch up with classic Disney animated films, so I had Fantasia in mind, or something from that era (They've seen a couple of classic ones. Actually they rewatched Bambi tonight). I also thought of watching Soul (they already saw it), but I'm open for anything.

Thief

01-17-21, 08:59 PM

Yay, all is right with the world.

(I've already watched a couple that qualify :cool:)

You can check out anytime you like... but you can never leave *cue guitar riff*

Wyldesyde19

01-17-21, 11:41 PM

A film with the number 1 (One, First, etc.) in its title: Once upon a Time in China (counts?)
The first film from any director you like:*
The first Best Picture winner you haven't seen (starting with*Wings):
A film with a title that starts with the letters A or B:*Aniara
A film from the*Criterion Collection*whose number includes the #1 (i.e. 10, 21, 31)*
In a Lonely Place (#810)
A film from before 1920:*
An action or adventure film:*The Man From Nowhere
An animated film: *The Breadwinner
A film with Nicolas Cage (born January 7): *
A film from Cuba (Cuban Revolution, January 1):

Thief

01-18-21, 10:59 AM

A bit of explanation about this one, in case it's not clear...

The first Best Picture winner you haven't seen (starting with Wings):

I take the list of Best Picture winners, starting with 1927/1928 Wings and pick the first one I haven't seen. When I started with this category in 2019, I saw, well, Wings, which was pretty good (https://letterboxd.com/thief12/film/wings/). In 2020, I chose 1930/1931 Cimarron cause I had already seen The Broadway Melody (1928/1929) and All Quiet on the Western Front (1929/1930) before (for the record, Cimarron and The Broadway Melody (https://letterboxd.com/thief12/film/the-broadway-melody/) aren't very good). This year, it's turn for 1931/1932 Grand Hotel.

In December, I do the same but from the other way. That is, I start with 2019 Parasite and go backwards till I find one I haven't seen. In 2019, I saw Green Book and in 2020, I saw Million Dollar Baby. If nothing changes, this year it will be the turn for 2002 Chicago.

Captain Terror

01-18-21, 12:27 PM

https://youtu.be/RCoYazbA1Ic

La Casa Lobo (The Wolf House)

Our old friend Slentert from Corrie recently logged this on Letterboxd, so credit goes to him for introducing me to it. From what I gather the subject matter is pretty grim and some knowledge of Chile is necessary to fully understand it, but the animation technique looks incredible. I'm gonna shell out the bucks for a rental soon. Just throwing that out there for your animation category.

Takoma11

01-18-21, 12:43 PM

Thief

01-18-21, 03:34 PM

Thief

01-19-21, 04:52 PM

BROKEN BLOSSOMS
(1919, Griffith)
A film with a title that starts with the letters A or B • A film from before 1920

https://larepublicacultural.es/IMG/jpg/Gish_and_Barthelmess_Broken_Blossoms.jpg

"In every group there is one, weaker than the rest — the butt of uncouth wit or ill-temper"

A couple of years ago, I had the *ahem* pleasure of watching D.W. Griffith's The Birth of a Nation, a film that got from me what is probably one of the most visceral reactions I've had to a feature film, which was utter disgust and anger. Regardless of that, I decided to check this one out.

Broken Blossoms follows Cheng Huan (Richard Barthelmess), a Chinese immigrant that travels to Britain to "spread the gentle message of Buddha". Although things don't go that well for him, he falls for Lucy (Lillian Gish), the abused daughter of a brute boxer (Donald Crisp).

I found this film to be, at its best, awkward and at its worst, racist and problematic. Starting with Griffith's decision to cast an American to play the lead Chinese character, or with the awkward interactions between him and Gish. Although there is a slight vibe of innocence between them, the awkwardness in how he approaches her and how she reacts doesn't allow for their relationship to *ahem* blossom. It doesn't help that Gish looks significantly younger than him, even though there was only a 2-year gap between them.

What I think saved the film for me was the last act, in which Griffith takes a decidedly bleaker approach to the plot. There is a scene in particular in which Gish shines as she perfectly conveys the terror and impotence of a young "weaker" woman against abuse. Crisp was also very effective as her father.

Overall, I don't think the strengths of the film manage to take it over the hump, but there's at least something to appreciate here.

Grade: 2.5

Captain Terror

01-19-21, 05:56 PM

Just wanted to say that I find the presentation of this thread very appealing. Nice work. 👍

Captain Terror

01-20-21, 09:55 AM

So my cousin tells me we rented Broken Blossoms back in the VHS era but I'm afraid I don't remember anything about it. I tend to get my Pickfords and Gishes confused.

Last year I found myself watching a ton of Yellowface (not by design, it just turned out that way), and it's a weird thing. There's the outright racist stuff like Lon Chaney's Mr Wu, a "Chinese" man who murders his daughter because she'd fallen in love with a white man. But then there's Karloff's Mr Wong, who is unquestionably the good guy, the smartest guy in the room, and an excellent detective. But he's also Chinese for some reason? With Karloff's unaltered English accent? I mean, I'm thankful that Karloff didn't attempt a Chinese accent, but why did he have to be Chinese in the first place? Or, heaven forbid, why not hire a Chinese actor? (I know the answer to that last one, I'm just ranting here.) Broken Blossoms is from 1919, but the stuff I was watching went well into the 40s. Weird.

Thief

01-20-21, 10:31 AM

Well, Mr. Wong is based on a set of 30s short stories about a Chinese detective, so the character is supposed to be, well, Chinese. Why cast Karloff goes to your other question, and the answer is probably for the same reason they usually cast Caucasian actors in such roles during those times. I mean, was there any notable film from USA/UK featuring an Asian actor in the lead role?

Captain Terror

01-20-21, 10:47 AM

Well, Mr. Wong is based on a set of 30s short stories so the character is supposed to be Chinese. Why cast Karloff goes to your other question, and the answer is probably for the same reason they usually cast Caucasian actors in such roles during those times. I mean, was there any notable film from USA/UK featuring an Asian actor in the lead role?

Right, that's what I meant. (I don't spend a lot of time composing my posts, so I often have to explain myself later. :))

Bravo for portraying an Asian as the good guy for a change. Why undermine your gesture by hiring Karloff? There were 4 or 5 Wong films and Keye Luke actually played the role in one of them, and he was great. I wonder if audiences at the time would have accepted Asian leads if they were presented to them, or if this is just another case of studios underestimating what audiences would embrace (a thing that's still happening).

Thief

01-20-21, 10:53 AM

Sedai

01-20-21, 10:57 AM

Highly recommend this podcast. I am already a regular listener, myself!

Thief

01-20-21, 10:59 AM

Highly recommend this podcast. I am already a regular listener, myself!

Oh man, I'm flattered. Thanks for the kind words.

I'm a bit delayed on the first episode of this year, but we'll be back soon!

Captain Terror

01-20-21, 11:26 AM

I'm not that willing to throw in the towel to the studios but it's obvious that there were a lot of things that Hollywood, et. al. were mostly oblivious to, while there were others that they weren't willing to budge. Add to that the different wars, which involved Asian countries, and I suppose it was a big no-no for an Asian to play lead.

Yeah, another thing that fascinated me was the actual Asian actors in supporting roles. Like, what was it like having to do a scene with Karloff? Or if you're Karloff, how do you face these guys with your weird eye makeup? So I think the real answer is, yes, we were just that racist.

Captain Terror

01-20-21, 11:38 AM

Highly recommend this podcast. I am already a regular listener, myself!

He's got a very soothing voice, doesn't he? 🙂

Thief

01-20-21, 12:54 PM

He's got a very soothing voice, doesn't he? 🙂

:bashful:

Thief

01-20-21, 11:31 PM

For those interested, I edited the second post with a lengthy summary of what I saw last year.

Thief

01-21-21, 03:16 PM

RUDDERLESS
(2014, Macy)
A debut film

https://variety.com/wp-content/uploads/2014/01/rudderless-sundance-2.jpg

"♪ What is lost can't be replaced,
What is gone is not forgotten,
♫ I wish you were here to sing along...
my son... my son... my son..."

Literally speaking, a rudder is a blade located underwater at the stern of a boat that, along with the helm, is used to move it towards a certain direction. Lacking one will probably leave the boat drifting at the mercy of the waters and winds, with no way to control it properly. Metaphorically speaking, being "rudderless" means lacking a guiding strategy or a clear sense of one's aims.

That is the title of William H. Macy's debut feature film, which follows Sam (Billy Crudup), a successful advertising executive that has to cope with the tragic death of Josh, his teenage son, during a shooting at his university. 2 years later, Sam has abandoned his former life, while living in a boat and resorting to alcoholism. Eventually, he seeks refuge in the recordings of his son's music, who was an aspiring musician.

The titular term can be used to define Sam's life, as he just goes along with the flow with no clear purpose or goal in his life. His son's music provides a rudder as he, reluctantly at first, begins playing it. First, alone in his boat, but then during open mic nights at a local bar. When a young man called Quentin (Anton Yelchin) finds himself captivated by Sam's music, he reluctantly agrees to play together, which eventually leads to them starting a band which they call... Rudderless.

Inspired by Sam's boat, the term can also be applied to the band per se, as none of them seem to be clear about their musical goals at first. Is it just to pass the time or for the thrill of the performance? Is it to get girls or make money? Sam is obviously using it as a cathartic exercise to cope with his son's death, which is something he doesn't share with his new bandmates. Maybe because of this or because of age, he isn't willing to commit to this project... he's rudderless, just going along with it with no clear goal.

Unfortunately, the titular term can also be partly applied to the film's execution and narrative. Like a one-man band, the script tries to play too many things, too many sides to the story which results in most of them not feeling fully realized or ultimately necessary. For the former, we have the poorly executed conflict with Josh's ex-girlfriend (Selena Gomez). For the latter, we have a somewhat pointless conflict between Sam and the supervisor of the lake resort where Sam's boat is. Like the titular term, Macy doesn't seem sure of where to lead the audience, which makes the film feel a bit scattered.

But despite those faults, the film manages to stay in course, thanks primarily to committed performances from Crudup and Yelchin. Although the way their relationship unfolds isn't perfect, there is good chemistry between the actors, and Crudup has some solid emotional moments towards the end. The second thing that anchored the film for me was the music. This soundtrack was right down my alley and I've found myself humming, tapping, and listening to it since I finished the film. Kudos to Crudup and Yelchin for actually playing and singing on it.

In the end, there are several things I would've changed that I think could've kept the film more focused, but as it is, Rudderless has enough good in it to keep it afloat.

Grade: 3

Thief

01-25-21, 12:07 AM

VAMPIRE'S KISS
(1988, Bierman)
A film with Nicolas Cage

https://www.cageclub.me/wp-content/uploads/2015/08/vlcsnap-2015-08-27-19h10m16s181.jpg

"Oh, Christ! Oh, Christ, where... where am I? Where am I? Where, where am I? Oh, c... Christ, where am I? I have become one. A vampire. Oh, God..."

Nicolas Cage is probably one of the most enigmatic actors out there. Eclectic filmography, eccentric lifestyle, undeniable talent, and unique and memorable performances. That's what you'll usually get from Cage, no matter what. In the words of a good Twitter friend "he has never half-assed anything in his life". And that's right. You can usually expect to see Cage firing all cylinders in any role. Doesn't matter if he's playing a bumbling wannabe parent, a struggling alcoholic, or in this case, a wannabe "vampire".

Vampire's Kiss follows Peter Loew (Cage), an executive at a publishing agency that likes to work and party, while sharing his relationship and commitment issues with his therapist (Elizabeth Ashley). But when a one-night-stand takes a turn to the bizarre, Loew finds himself believing that he's slowly turning into a vampire. In the process, he torments a young secretary (María Conchita Alonso) by demanding her to find a specific contract buried in the archives.

Although the film was a commercial flop, it became a cult hit while also giving birth to several popular Internet memes that feature who else but Mr. Cage. And that's because, as said before, regardless of the material, Cage gives it his all. His performance is completely bonkers as we see Loew becoming more and more unstable in progressively crazier and more hilarious ways. The peak, IMO, is when he dons cheap plastic "fangs" because he thinks he isn't developing his own, which is absurdly funny by itself, but also lends itself to some great physical comedy.

Vampire's Kiss is not perfect; most notably, the subplot with the secretary is awkwardly executed. Despite that, the film is definitely worth it only to watch Cage crank it to 11, while making others wonder if Loew has changed or has he always been like this. If we look at Cage's career evolution, we might end up wondering the same about Cage; has he changed or has he always been like this? I think this film provides the answer.

Grade: 3

kgaard

01-25-21, 09:57 AM

The alphabet scene is worth one star all by itself.

Thief

01-25-21, 01:31 PM

The alphabet scene is worth one star all by itself.

Oh man, yeah. I suppose some of its *charm* has lost its luster as most people have probably seen some of these "meme'd" scenes on YouTube (I had seen the "buggy" eyed scene a while ago), but to see it all in one package, so to speak :laugh: The alphabet scene I hadn't seen, though. But like I said in my write-up, the one that got me was him putting the plastic fangs and mimicking Count Orlok at the club :laugh: I was losing it all through that scene :laugh:

kgaard

01-25-21, 02:15 PM

Oh man, yeah. I suppose some of its *charm* has lost its luster as most people have probably seen some of these "meme'd" scenes on YouTube (I had seen the "buggy" eyed scene a while ago), but to see it all in one package, so to speak :laugh: The alphabet scene I hadn't seen, though. But like I said in my write-up, the one that got me was him putting the plastic fangs and mimicking Count Orlok at the club :laugh: I was losing it all through that scene :laugh:

I have to admit the memes maybe enhanced it for me, like, ah, this is where that's from. The fangs are great.

But:
"I've never misfiled anything! Not once! Not one time!" This is f***ing gold, my god.

Thief

01-29-21, 08:57 AM

Slentert

01-29-21, 05:54 PM

I was very honored to be on this episode!

Yoda

01-29-21, 06:20 PM

Cool stuff, downloaded, started listening, will finish tomorrow. :up:

Slentert

01-29-21, 07:02 PM

La Casa Lobo (The Wolf House)

Our old friend Slentert from Corrie recently logged this on Letterboxd, so credit goes to him for introducing me to it. From what I gather the subject matter is pretty grim and some knowledge of Chile is necessary to fully understand it, but the animation technique looks incredible. I'm gonna shell out the bucks for a rental soon. Just throwing that out there for your animation category.

Great one. An American friend recently mentioned this is on Shudder now, btw.

Captain Terror

01-29-21, 07:20 PM

Great one. An American friend recently mentioned this is on Shudder now, btw.

Yes, I learned that a few days after that post! Watching it this weekend, along with some of their shorts. Gonna research that cult/colony first so I'll have some idea about what I'm watching.

Glad you found us! :up:

Thief

01-29-21, 09:25 PM

Cool stuff, downloaded, started listening, will finish tomorrow. :up:

Thanks! I enjoyed your "reveal" podcast with TheUsualSuspect.

Captain Terror

01-30-21, 11:32 AM

After some, uhh, scheduling issues, technical difficulties, and 100 hours of editing, the first episode of the year of Thief's Monthly Movie Loot is out! Check it out.

Thief's Monthly Movie Loot 29 - The First Loot (https://www.buzzsprout.com/850063/7509979-thief-s-monthly-movie-loot-29-the-first-loot-with-lennert-roobaert.mp3?blob_id=33221941&download=true)

Spotify users, click here (https://open.spotify.com/episode/6939RJRV6ZgpMP3htsO0Jx?si=89YWlndgTeGl9v2vDlrdOw)

I want to thank my first guest for joining me in talking about first films, directorial debuts, and whatnot. We also share our Top 5 directorial debuts!

I started this last night when I got to bed, intending to listen to the first half or so, but ended up finishing the whole thing in one sitting. (Or one lying, as the case may be). A very engaging conversation, I look forward to more of the 2-person format.

some thoughts:
1. Slentert is a 60-year-old film scholar who for some reason wants us to believe he's 20. I'm willing to humor him, it's just kind of weird. :) (seriously though, how am I 30 years older than you? I watched cartoons all week.)

2. I didn't do very well on the "debut or not a debut" quiz. Even the ones I knew, I second-guessed myself. I had no clue that Shawshank was Darabont's first. Cool.

3. The love for Duel makes me very happy. Whenever I say it's my favorite Spielberg film, I always pretend that I'm joking so people won't think I'm crazy. Glad to know I'm not alone.

Thief

01-30-21, 11:49 AM

I started this last night when I got to bed, intending to listen to the first half or so, but ended up finishing the whole thing in one sitting. (Or one lying, as the case may be). A very engaging conversation, I look forward to more of the 2-person format.

some thoughts:
1. Slentert is a 60-year-old film scholar who for some reason wants us to believe he's 20. I'm willing to humor him, it's just kind of weird. :) (seriously though, how am I 30 years older than you? I watched cartoons all week.)

2. I didn't do very well on the "debut or not a debut" quiz. Even the ones I knew, I second-guessed myself. I had no clue that Shawshank was Darabont's first. Cool.

3. The love for Duel makes me very happy. Whenever I say it's my favorite Spielberg film, I always pretend that I'm joking so people won't think I'm crazy. Glad to know I'm not alone.

Thanks for the kind words.

As for Slentert, you're damn right he is :laugh:

Slentert

01-30-21, 11:51 AM

some thoughts:
1. Slentert is a 60-year-old film scholar who for some reason wants us to believe he's 20. I'm willing to humor him, it's just kind of weird. :) (seriously though, how am I 30 years older than you? I watched cartoons all week.)
Hahaha, I appreciate that everyone here is willing to indulge me in my delusions.

Slentert

01-30-21, 11:52 AM

3. The love for Duel makes me very happy. Whenever I say it's my favorite Spielberg film, I always pretend that I'm joking so people won't think I'm crazy. Glad to know I'm not alone.

HELL YEAH! DUEL-HIVE!

Thief

01-30-21, 09:02 PM

SHAME
(1968, Bergman)
A film from the Criterion Collection whose number includes the #1 (#961)

https://64.media.tumblr.com/ca3944358b97c50dab5a5fbb209120e2/f404611834ab29bf-48/s640x960/d3251ce80562f9567d1e7ff1b02eb9ff5f956692.jpg

"It's not something you can talk about. There's nothing to say, nowhere to hide. No excuses, no evasions. Just great guilt, great pain... and great fear."

Merriam-Webster defines "shame" as "a painful emotion caused by consciousness of guilt, shortcoming, or impropriety". People that feel ashamed usually feel humiliated, unworthy, or disgraced for some reason, be it by their own doing or by surrounding circumstances. There's a lot of that in Ingmar Bergman's aptly titled film.

Shame follows Jan and Eva (Max Von Sydow and Liv Ullman), a couple of former musicians that have sought refuge in a remote island as a result of an impending civil war. Their circumstances are not ideal and their marriage doesn't seem to be on its best shape, but the need for survival trumps every desire to live more "properly", and to survive, you must be willing to give up everything else: your normal life, your dreams, your pride.

Jan and Eva are two very interesting characters. Through the film, they both go through a rollercoaster of emotions, dependence and dislike, hope and despair. From the start, Jan is shown to be weak, meek, emotional, longing for the past while being frequently bossed around by Eva, who shows to be more resourceful, stoic, determined, and looking towards the future. But war and the need for survival will do things to you.

Shame is my fourth Bergman film, and probably my second favorite. The way he moves the camera and shoots every scene makes you participant of what's happening, whether it's the close-up of a loved one during an afternoon lunch, the rush through the woods as fighter planes and paratroopers fly by, or the distance between the two as they sit at the table or the desperate attempt to find someone, something around the house. But everything that happens in the film is anchored by the great performances of Von Sydow and Ullman, who perfectly convey the decay of their individual souls, and as a result, their marriage.

At one point, Jan claims that he can "change" if he wants, that he is not a "determinist", but as the events around them worsens, change surely comes for both. Ultimately, Shame is a story about the deterioration of this couple at the mercy of a war that ravages them from both sides, it's a story of survival at the expense of life itself. A story of great guilt, great pain, and great fear.

Grade: 4

Thief

01-31-21, 10:04 AM

MEMORIES OF UNDERDEVELOPMENT
(1968, Gutiérrez Alea)
A film from Cuba

https://i.imgur.com/Glyj1g6.jpg

"Everything seems so different today. Have I changed or has the city?"

One of my favorite quotes ever comes from Rush's "Tom Sawyer": "Changes aren't permanent, but change is". It captures the idea that, although the ways and manners in which we change through life might not be permanent, change itself will always occur, and continue to occur. That is the question in the mind of Sergio, the main character and narrator of this Cuban film, who finds himself in the middle of change after the Cuban Revolution. But is the change his or around him? or both?

Memories of Underdevelopment follows Sergio (Sergio Corrieri), an affluent writer that's trying to make sense of the changes around him in the early 1960s in Cuba. But the changes aren't all political, but personal. His wife and friends are fleeing to Miami, while he tries to cope with his new surroundings and the isolation that comes from it.

Sergio is not a particularly likable character. He's a bit self-centered, self-righteous, and arrogant, which makes it a bit hard to sympathize with his musings. But we're not necessarily meant to. It is nonetheless interesting to see the ways he internalizes the changes around him. Despite the premise, the film is not overly political in its stance, which is a good choice. The film does veer a bit into meandering, but never tips over.

Towards the last act, the film shifts towards a more straightforward narrative, as we follow the conflicts between Sergio and an aspiring, teenager actress (Daisy Granados) with whom he starts a relationship. This subplot sorta deviates from the more cerebral first acts, but it's well executed, in terms of performance and direction.

The Cuban situation is always one that tends to be polarizing whenever discussed. However, this film manages to be an interesting inside look into the more societal aspects of the country and its people, in the midst of impending change. Like most changes, it might not be perfect, but then again, what is?

Grade: 3.5

Captain Terror

01-31-21, 03:59 PM

So even with the shorter list I still didn't complete it, and I kind of cheated on this first one.:cool:

A film with the number 1 (One, First, etc.) in its title: One Cab's Family (1952) - Tex Avery cartoon

The first film from any director you like:
A film from before 1920: The Student of Prague - Paul Wegener, 1913

A film with a title that starts with the letters A or B: Bad Ronald (1974)

An action or adventure film: We Can Be Heroes (2020)

An animated film: La Casa Lobo (2018)

kgaard

01-31-21, 04:03 PM

Here's what I managed for the month, with a little commentary:

The first film from any director you like: Blood Simple (Coen Brothers) They really hit the ground running--modern noir featuring characters who self-destruct through their own foolishness are pretty much Coen staples. Terrific cinematography by Barry Sonnenfeld and scoring by Carter Burwell round out a perfect set of debuts.

A film with a title that starts with the letters A or B: The Black Cat Super weird little film highlighted by a Karloff-Lugosi tête-à-tête. I don't recall whose recommendation I saw for this (Captain Terror? Wooley?) but it hit the spot. Imperfect (Tak's review is dead on about the sexism and the ending) but fun.

A film from the Criterion Collection whose number includes the #1 (i.e. 10, 21, 31): Day of Wrath (#125) Slow-building (supposedly too slow for contemporary Danish audiences, so I guess this is an old issue) 1600s period drama of of a young woman married to a much older church elder, in the shadow of a witchcraft inquisition. I appreciate that the age difference is commented on and a source of problems. Superb tension.

A film from before 1920: A Dog's Life Fun Chaplin short with the usual shenanigans. A big part of my enjoyment of these is still seeing the world the were made in.

An action or adventure film: Wonder Woman 84 I feel weird that I don't hate this as much as everyone else seems to. It's not good, exactly, but I actually kinda dig that at the end Wonder Woman defeats the villain with words, not fists. Yeah, there's some pretty janky stuff in here (like, don't get me started on the creepiness of the body switch) which prevents it from being actually good, but I have a lot of room for forgiveness for certain kinds of movies. Plus, I really like Gadot as Wonder Woman. She's not the best actor but her awkwardness kind of fits her fish out of water character.

An animated film: Bambi My wife described this as being like a poem, which I think is spot on. The scenes of the forest burning is some of the most beautiful/frightening imagery I've seen in an animated film. And the mom's death was not nearly so traumatic as its reputation.

A film with Nicolas Cage (born January 7): Con Air Oh, man, this movie is as aggressively stupid as I remembered. Unfortunately this is straight action hero Cage (with a "Southern" accent) not full-on Cage unleashed, which I think would have made the film more enjoyable. Its over-the-topness almost works, but too often it drifts back into simple cheesiness and dopey gags. Not for me, but great if you love this kind of thing, I bet.

Thief

01-31-21, 04:13 PM

So even with the shorter list I still didn't complete it, and I kind of cheated on this first one.:cool:

I feel ya! I just finished Grand Hotel for the Best Picture category, and still need to see an animated one. But I suppose I still have enough time today and I can always sit with the kids for that one.

Thief

01-31-21, 04:14 PM

kgaard, you tackled a couple of good ones there that I've also seen within the last years; Bambi, A Dog's Life, Blood Simple... all great.

kgaard

01-31-21, 05:41 PM

kgaard, you tackled a couple of good ones there that I've also seen within the last years; Bambi, A Dog's Life, Blood Simple... all great.

Yeah, it was a good month. I admit that frequently I watch whatever interests me and then retrofit it to the list, but that works out often enough. I’m sorry I didn’t get to Memories of Underdevelopment, which was on my list as well, but life got in the way, as it does. Next time!

Thief

01-31-21, 05:59 PM

I just finished Grand Hotel about an hour ago, but while I let it simmer, I thought it would be good to ask a question. So far, I've seen 62 of the 92 Best Picture winners. Most have been worth a watch, while others have been... pretty bad *cough*BroadwayMelody*cough*

So, even though eventually I'll try to get to all of them, which of the following should I prioritize?

1932/1933 - Cavalcade
1934 - It Happened One Night
1936 - The Great Ziegfeld
1937 - The Life of Emile Zola
1938 - You Can't Take it With You

1941 - How Green Was My Valley
1942 - Mrs. Miniver
1944 - Going My Way
1945 - The Lost Weekend
1946 - The Best Years of Our Lives
1948 - Hamlet
1949 - All the King's Men

1952 - The Greatest Show on Earth
1955 - Marty
1956 - Around the World in 80 Days
1958 - Gigi
1959 - Ben-Hur

1963 - Tom Jones
1965 - The Sound of Music
1966 - A Man for All Seasons
1968 - Oliver!
1969 - Midnight Cowboy

1970 - Patton
1979 - Kramer vs. Kramer

1981 - Chariots of Fire
1983 - Terms of Endearment
1985 - Out of Africa
1987 - The Last Emperor
1989 - Driving Miss Daisy

2002 - Chicago

As you can see, I'm very thin on the first decades, but I've seen most of the recent ones. I think I asked this question back in Corrie a couple of years ago and there was some consensus that The Greatest Show on Earth was pretty bad, and that Gigi was problematic. But let's get some new input.

Thief

02-01-21, 09:22 AM

still need to see an animated one.

Damn, I went with Grave of the Fireflies to close the month, and that was probably the worst decision I've had recently :bawling:

rauldc14

02-01-21, 09:43 AM

I thought Darabont had a film before Shawshank

Skepsis93

02-01-21, 09:44 AM

So, even though eventually I'll try to get to all of them, which of the following should I prioritize?

For my money from what I've seen myself It Happened One Night, The Lost Weekend, Midnight Cowboy, Marty, Kramer vs. Kramer, Oliver! and Chariots of Fire are all worth your time, in about that order. I've read great things about The Best Years of Our Lives but I'm yet to get around to it.

Captain Terror

02-01-21, 09:48 AM

Thief

02-01-21, 10:12 AM

I thought Darabont had a film before Shawshank

He directed Buried Alive, which was a TV film, in 1990. But Shawshank was his feature film debut.

Captain Terror

02-01-21, 12:33 PM

Damn, I went with Grave of the Fireflies to close the month, and that was probably the worst decision I've had recently :bawling:

I'm an "easy cry" so you can imagine how well I handled that one. Oof. My face hurt afterwards.

Sedai

02-01-21, 12:38 PM

Is the intro music new? I don't recall hearing it open the other episodes I have checked out so far...

Thief

02-01-21, 03:47 PM

Is the intro music new? I don't recall hearing it open the other episodes I have checked out so far...

It's new, that's one of the "firsts" of the year :D

Thief

02-01-21, 04:33 PM

GRAND HOTEL
(1932, Goulding)
The first Best Picture winner I haven't seen

http://pre-code.com/wp-content/uploads/2013/01/GrandHotel4.png

"Grand Hotel... always the same. People come, people go. Nothing ever happens."

The above quote is how Dr. Otternschlag (Lewis Stone) describes life at the titular hotel in Berlin, Germany. Nothing ever happens. But after almost two hours of runtime, we do realize that things *do* happen at the Grand Hotel; a great deal, actually. This Best Picture winner follows the comings and goings of a handful of guests at the hotel, most of which intertwine in interesting and unexpected ways.

Most notable among the guests are Otto Kringelein (Lionel Barrymore), an ill bookkeeper who has decided to spend his last days in luxury; General Director Preysing (Wallace Beery), a businessman, and Kringelein's boss, who's trying to close an important deal at all costs; Miss Flaemmchen (Joan Crawford), a progressive stenographer hired by Preysing; Russian ballerina Grusinskaya (Greta Garbo), whose career is in the decline pushing her into depression; and Baron Von Geigern (John Barrymore), a gambler and jewel thief who's trying to come up with money to pay a former colleague.

Writer and playwright Tom Stoppard once wrote about hotel rooms that they "inhabit a separate moral universe", and perhaps that's why all these guests coincide in this place where they aim to do things that they won't necessarily do otherwise or just that aren't necessarily legal. From Kringelein's "last days" ventures into dancing and gambling or the Baron's attempt to steal some jewels, to Preysing's attempt to lure his potential partners, while also toying with adultery and even murder.

Although one would certainly want a bit more development from some characters, Grand Hotel does manage to balance its ensemble cast fairly well. Still, the pace seems a bit scattered at times and, although the film maintains a mostly light tone, there's a shift towards the bleak that seemed a bit abrupt to me. However, most of the performances are pretty good, with John Barrymore and Joan Crawford being the highlights for me. Finally, the set design was quite impressive, highlighted by some neat camerawork, especially in the lobby scenes.

In the closing shots, all of the above guests abandon the hotel one way or another, only to make space for new guests that arrive. People come, people go... new stories, new conflicts, new dramas of who knows what. "Nothing ever happens".

Grade: 3

Thief

02-01-21, 08:17 PM

GRAVE OF THE FIREFLIES
(1988, Takahata)
An animated film

https://i.imgur.com/oNLizba.png

"Why do fireflies have to die so soon?"

Fireflies have an approximate lifespan of a couple of weeks once they break from the pupa. By human standards, this is a short time to "live", which is why little Setsuko (Ayano Shiraishi) asks the above question. How is it possible that these creatures that are so beautiful and bring so much joy and light to her life "have to die so soon"? This film transposes that question to the human condition in the midst of World War II.

Grave of the Fireflies, which is the second film from acclaimed Studio Ghibli, follows teenage boy Seita (Tsutomu Tatsumi) and her little sister Setsuko as they struggle to survive during the final months of the war. Orphaned, rejected, abandoned, and starved, both siblings have to rely and care for each other to overcome conditions that no human should live through.

I know it might sound naive, but I'm firmly against any war of any kind. Particularly if those affected are innocent civilians, and not necessarily the ones that are ultimately responsible for the conflict. Which is why the bleakness of this film hit me so hard. We see the two young children fall victims not necessarily to "enemy fire", but rather to the conditions in the aftermath of various fierce bombings. Houses are destroyed, hospitals and schools are inoperable, food is being rationed, how can they survive? But that is what war does. It smothers you till you can't breathe anymore.

Despite the subject matter, the film shies away from any overt political stance, which I think was a good choice. We get no glimpse of the "enemy", other than the sight of planes flying in the sky, and we get no glimpse of the local government or superiors; we hardly see any soldier, actually. What we see is people, old and young, live and dead, men and women, all at the mercy of forces they can't control.

The overall animation is pretty much flawless, but the real beauty and tragedy of the film lies in the relationship between these two siblings, which is one of undeniable love, support, and care. A snapshot of the millions of children from all "sides" that died during World War II. Beautiful creatures that brought joy and light to each other, for however long or short their lives were. Why did they have to die so soon?

Grade: 4.5

Thief

02-01-21, 08:26 PM

Ok, so this was my final tally for JANUARY 2021:

A film with the number 1 (One, First, etc.) in its title: One Child Nation (https://www.movieforums.com/reviews/2166722-one-child-nation.html)
The first film from any director you like: Citizen Kane (https://www.movieforums.com/community/showthread.php?anchor=1&p=2167667#post2167667), Rudderless (https://www.movieforums.com/reviews/2169219-rudderless.html)
The first Best Picture winner you haven't seen (starting with Wings): Grand Hotel (https://www.movieforums.com/reviews/2174060-grand-hotel.html)
A film with a title that starts with the letters A or B: Aniara (https://www.movieforums.com/reviews/2163435-aniara.html), Attack the Block (https://www.movieforums.com/reviews/2164669-attack-the-block.html)
A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #1 (i.e. 10, 21, 31): Shame (https://www.movieforums.com/reviews/2173278-shame.html) (#961)
A film from before 1920: Broken Blossoms (https://www.movieforums.com/reviews/2168380-broken-blossoms-or-the-yellow-man-and-the-girl.html)
An action or adventure film: The Man from Nowhere (https://www.movieforums.com/reviews/2165114-the-man-from-nowhere.html)
An animated film: Grave of the Fireflies (https://www.movieforums.com/reviews/2174192-grave-of-the-fireflies.html)
A film with Nicolas Cage (born January 7): Vampire's Kiss (https://www.movieforums.com/reviews/2170519-vampires-kiss.html)
A film from Cuba (Cuban Revolution, January 1): Memories of Underdevelopment (https://www.movieforums.com/reviews/2173406-memories-of-underdevelopment.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7sDzvNmjdJ9ShTPta5GhmZBIFwb.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/4jhqpyUXgJvtE31xJnI57oTi5Vb.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/sav0jxhqiH0bPr2vZFU0Kjt2nZL.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/2j7dxqIlGHdTaaUW9s4Z5zfp9qS.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/pEpEJe8NTmwWL0hwYkZguTzEqzt.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/wzCMnA6NDruLzgWeqMcLPDrGAdF.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/cRJFOadujA7COrBV4HqB6bWcpLs.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/l9rHRp7Yb2PVy5Qd5wUR9coXZoy.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/9QJ3cPpYgoPfhRnRPxpQUfx790r.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/fs9rvMCDCqZMr6AGciakP0Ds7og.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/lQbe9dFP9vskM3sFtj2H7iQFbhH.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/av7zEHpOyzmm86VPRa68zOLaBqf.jpg

Overall, a solid month. My favorite first-time watches were probably Shame and Grave of the Fireflies.

As for a least favorite, that would probably be between One Child Nation and Broken Blossoms.

Thief

02-01-21, 08:32 PM

Aaaand here's the loot for FEBRUARY 2021:

A film with the number 2 (Two, Second, etc.) in its title:
A film with a title that starts with the letters C or D:
A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #2 (i.e. 12, 82, 912):
A film from the 1920s:
A sequel:
A comedy film:
A film featuring the name of a couple in its title:
A film with an African-American cast (Black History Month):
A film from Robert Altman (born January 20):
A film from Serbia (Statehood Day, February 15):

As usual, recommendations are more than welcome!

Sedai

02-02-21, 04:20 PM

A film with an African-American cast (Black History Month): Clockers (Lee,1995)

A film from Robert Altman (born January 20): Short Cuts (1993), If you have seen that, try Cookie's Fortune (1999)

Thief

02-02-21, 11:22 PM

A film with an African-American cast (Black History Month): Clockers (Lee,1995)

A film from Robert Altman (born January 20): Short Cuts (1993), If you have seen that, try Cookie's Fortune (1999)

Haven't seen those. None of those are available streaming, though, but I'll keep an eye on them. Thanks.

kgaard

02-03-21, 12:13 PM

Thief

02-03-21, 02:47 PM

A comedy film: :blart: (Netflix)
A film featuring the name of a couple in its title: Bonnie and Clyde (Netflix); Julie & Julia (Netflix); Celine and Julie Go Boating (Criterion); Fanny and Alexander (Criterion)
A film with an African-American cast (Black History Month): Ma Rainey's Black Bottom (Netflix); Sorry to Bother You (Hulu)

If Bonnie and Clyde is on Netflix, then I think that's a sure shot. I've been meaning to watch that one for a long, long time. Fanny and Alexander will also be a good option. I've seen Julie & Julia.

I've seen Sorry to Bother You (crazy film), but I'm not that drawn to Ma Rainey's Black Bottom. I'll read a bit more about it and I'll consider it, though.

:blart:?? You got it!!

Thanks! :D

Thief

02-05-21, 11:18 AM

Saw my first film of February last night, Monty Python's Life of Brian, and oh boy, that was funny as hell :laugh:

Thief

02-05-21, 08:19 PM

The second episode of the year of Thief's Monthly Movie Loot is out! In this episode, I talk about the films I saw in January; pretty much what I've been posting here, but check it out, if anything so you can hear me trying to hold my laughter while trying to talk about a scene from Vampire's Kiss...

Thief's Monthly Movie Loot 30 - The January Loot (https://www.buzzsprout.com/850063/7600237-thief-s-monthly-movie-loot-30-the-january-loot.mp3?blob_id=34129648&download=true)

Just published it a while ago, so Spotify link isn't ready yet, but if you follow the podcast there (https://open.spotify.com/show/4o5ZvtvZ64XAoxIIxiAj1q), you'll see it soon.

Also, I just finished recording my third episode of the year which will feature a great guest, so keep your eyes and ears open.

Thief

02-06-21, 12:39 PM

MONTY PYTHON'S LIFE OF BRIAN
(1979, Jones)
A comedy film

https://www.denofgeek.com/wp-content/uploads/2019/04/python-brian-main.jpg?resize=768%2C432

"Look, you've got it all wrong! You don't NEED to follow ME, You don't NEED to follow ANYBODY! You've got to think for your selves! You're ALL individuals!"

Christianity — and religion overall — have always been a touchy subject to discuss in regular conversations, to the point that some locals, bars, and restaurants put up signs that read "No religion and no politics" to avoid scuffles and fights, while most people will advise you to avoid the topic on, say, a family or business diner, or even a first date. Touchy subject to discuss, let alone, mock and parody in a feature film; unless you're the Monty Python comedy troupe, of course.

Set in 33 AD, Life of Brian follows the, well, life of Brian (Graham Chapman), a young, regular Jewish guy that is somehow mistaken for the Messiah. Despite his reluctance, he ends up being followed both by people who want to praise him as well as soldiers that want to silence and imprison him.

In typical Monty Python fashion, the film features its ensemble cast playing numerous roles, while taking jabs at organized religion and institutions, among many other things. The group manages a great mix of silly and clever jokes, with doses of absurdity all through. To that effect, I was really surprised at how many of the jokes really land. The peak for me was the whole sequence when the crowd harasses and pursues Brian to the mountain, resulting in some great exchanges that highlight the somewhat contradictory nature of religion.

Brian: I'm not the Messiah! Will you please listen? I am not the Messiah, do you understand? Honestly!
Woman: Only the true Messiah denies His divinity.
Brian: What? Well, what sort of chance does that give me? All right! I am the Messiah!
Followers: He is! He is the Messiah!

As was expected, the film was condemned, censored, and banned by some religious groups and countries, while also becoming a critically acclaimed box-office hit that's often considered one of the best comedies made. So I suppose you can always look at the bright side of life.

Grade: 4

Chypmunk

02-06-21, 12:52 PM

It's good that your categories give you a nice cross-section of cinema during the month :up:

I rated Grand Hotel a little higher than you but wouldn't disagree with any of your remarks about it. Grave Of The Fireflies is a very effective watch, I did find the score intruded a little at times and my viewing quite possibly suffered a little from watching a dubbed version rather than subtitled, but no matter how one watched it someone would have to have a heart of stone not to find it quite emotional I think. Life Of Brian is a riot at times, a very close second to their Holy Grail for me.

Thief

02-06-21, 03:29 PM

It's good that your categories give you a nice cross-section of cinema during the month :up:

Yeah, that's one of the goals, more or less. It gives me some flexibility to move around categories depending on my mood, while also exploring things I might not otherwise.

Thief

02-07-21, 12:10 AM

gbgoodies

02-07-21, 12:27 AM

For the Altman experts, these are the only ones available streaming...

The Delinquents (1957) - His debut, is on VUDU
Images (1972) - Prime, Roku Channel, Criterion Channel, Tubi
California Split (1974) - Prime Tubi
Streamers (1983) - Prime, Tubi
Secret Honor (1984) - Criterion Channel
Fool for Love (1985) - Tubi
Vincent & Theo (1990) - Roku Channel
Dr. T & the Women (2000) - Tubi

Any recommendation out of those? I've already seen The Player, Gosford Park, and The Gingerbread Man.

I've only seen California Split (1974) and Dr. T & the Women (2000) from that list. California Split is very good, and is worth watching. Dr. T & the Women is better than it's (low) IMDB rating, but it's not great, so I wouldn't recommend wasting your time on it.

Wyldesyde19

02-07-21, 12:42 AM

For the Altman experts, these are the only ones available streaming...

The Delinquents (1957) - His debut, is on VUDU
Images (1972) - Prime, Roku Channel, Criterion Channel, Tubi
California Split (1974) - Prime Tubi
Streamers (1983) - Prime, Tubi
Secret Honor (1984) - Criterion Channel
Fool for Love (1985) - Tubi
Vincent & Theo (1990) - Roku Channel
Dr. T & the Women (2000) - Tubi

Any recommendation out of those? I've already seen The Player, Gosford Park, and The Gingerbread Man.

I enjoyed Streamers, but it’s a slow crawl. Images was disappointing, but interesting. See them both.

Thief

02-07-21, 07:21 PM

Thanks to both of you!

Takoma11

02-07-21, 07:27 PM

For the Altman experts, these are the only ones available streaming...

The Delinquents (1957) - His debut, is on VUDU
Images (1972) - Prime, Roku Channel, Criterion Channel, Tubi
California Split (1974) - Prime Tubi
Streamers (1983) - Prime, Tubi
Secret Honor (1984) - Criterion Channel
Fool for Love (1985) - Tubi
Vincent & Theo (1990) - Roku Channel
Dr. T & the Women (2000) - Tubi

Any recommendation out of those? I've already seen The Player, Gosford Park, and The Gingerbread Man.

I think that Images is legit a great movie. Highly recommended.

Thief

02-07-21, 07:35 PM

For the Criterion category, here are a couple that interest me...

#24 - High and Low
#182 - Straw Dogs
#221 - Ikiru
#226 - Onibaba
#248 - Videodrome
#249 - The Battle of Algiers
#253 - A Woman Under the Influence
#260 - Eyes Without a Face
#265 - Short Cuts (also for the Altman category)
#281 - Jules and Jim
#288 - F for Fake
#325 - Kind Hearts and Coronets
#422 - The Last Emperor
#542 - Antichrist
#712 - Scanners
#842 - Dreams
#1024 - Destry Rides Again

The ones in bold are the only ones available streaming for free in the services I have. I'm a bit more drawn towards The Battle of Algiers, or maybe Antichrist, but if there's any nudge to any other direction, let me know.

Takoma11

02-07-21, 07:44 PM

I'm pretty sure you've seen several of these, but . . . (Most of these are on Amazon)

A film with the number 2 (Two, Second, etc.) in its title: Kubo and the Two Strings, Tale of Two Sisters, Man with Two Brains, 2 Nights Till Morning, Dig Two Graves, The Two of Us, Two Step
A film with a title that starts with the letters C or D: Capote, Catch Me Daddy, DOA, Deat Watch, Django Kill If You Live Shoot!, Eve's Bayou
A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #2 (i.e. 12, 82, 912): High and Low, Playtime
A film from the 1920s: The Extra Girl, The Kid, The Thief of Bagdad
A sequel: Maniac Cop 2
A film featuring the name of a couple in its title: David and Lisa
A film with an African-American cast (Black History Month): JDs Revenge, Eve's Bayou
A film from Robert Altman (born January 20): Images

Thief

02-07-21, 08:18 PM

I think that Images is legit a great movie. Highly recommended.

When I read the synopsis, it's the one I felt more drawn to.

Thief

02-07-21, 08:20 PM

kgaard

02-07-21, 09:19 PM

Thief

02-07-21, 09:46 PM

THE PASSION OF JOAN OF ARC
(1928, Dreyer)
A film from the Criterion Collection whose number includes the #2 • A film from the 1920s

https://cdn.flickeringmyth.com/wp-content/uploads/2020/07/passion-of-joan-of-arc-1928-burned-at-stake-maria-falconetti-cross-ending.jpg

"Tell me, how can you still believe you were sent by God?"
"God moves in mysterious ways... Yes, I am His child."
"And the great victory?"
"My martyrdom!"
"And your freedom?"
"Death!"

There are many notable aspects to the life of Joan of Arc. She was a peasant turned war heroine that led many French victories over the English during the Hundred Years War, and she did all that while being a teenage girl. But as notable as her life was, she is also notable for the way she died, which is what this film is about.

The Passion of Joan of Arc is based on the actual trial record for Joan (Renée Jeanne Falconetti) after being captured by England, and features her interrogation and subsequent execution at the hands of the clerical court.

Directed by Carl Theodore Dreyer and released in 1928, the film is itself notable for various reasons. From its production and minimalist set design to Dreyer's direction; but most notably for Falconetti's iconic performance. Originally a stage actress, she delivers an emotionally charged performance, which is impressive for the silent film era. But instead of being limited by that, Falconetti makes the most out of her expressions and her glassy, teary eyes, to the point that you can't help but feel her pain and suffering.

But aside from that, Dreyer's direction is just as impressive. The way he uses the camera is something that feels unlike anything that was done at the time, and maybe even that has been done since. His constant close-ups of the faces of the judges and the court, accompanied by the gorgeous cinematography makes these old, wrinkled men feel grotesque and evil in both their physique and soul.

Finally, Dreyer uses a minimalist set design to create dread and build tension. From the way he shoots the torture chamber they use to intimidate Joan, or the way he shoots the angry mob in the final act. That, along with Falconetti's performance, make of this one of the most beautiful films I've seen.

Grade: 4.5

Takoma11

02-07-21, 10:10 PM

Thief

02-07-21, 11:33 PM

Yeah, it's so good.

The first time I watched it the angles and the intensity of the torture sequence actually made me feel a little sick.

I think that the movie shows a great mix of strength and vulnerability.

And what's impressive is that you don't really see anything. It's all just her eyes and the way he cuts to the shadows of the torture devices.

That, and the scene near the end where he keeps swinging the camera as we see people dropping ball and chains from the window. Loved that shot.

Thief

02-10-21, 03:00 PM

THE BATTLE OF ALGIERS
(1966, Pontecorvo)
A film from the Criterion Collection whose number includes the #2 (#249)

https://ca-times.brightspotcdn.com/dims4/default/602cf28/2147483647/strip/true/crop/2048x1152+0+0/resize/1486x836!/quality/90/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F44%2F22%2Fbc05248d9c10f04c9f51a89a1338%2Fla-1475105710-snap-photo

"It's hard to start a revolution. Even harder to continue it. And hardest of all to win it. But, it's only afterwards, when we have won, that the true difficulties begin."

Algeria was invaded by France in 1830. The invasion effectively ended the slave trade and piracy in the country. However, during colonial rule, the indigenous Algerian population declined as a result of violence and epidemics while French immigrants took control of the economy by confiscating arable lands from tribal people. This left the native Muslim population without political or economical status, which led to dissatisfaction, tensions, and eventually, more violence.

The Battle of Algiers follows the near culmination of that violence, as it chronicles the efforts of Algerian rebels (the FLN) against the French during the late 1950s. The film follows a quasi-documentary style, while focusing on revolutionary fighter Ali La Pointe (Brahim Haggiag), who rose the ranks of the revolution until he pretty much became a right-hand man to the FLN leaders, and hence, a nuisance to the French government.

The documentary-style gives the film a gritty and realistic vibe. Without leaning heavily into any side, it helps to get a better understanding of how this war unfolded. There are no good guys or bad guys; just people fighting for their place and what they think is right. The portrayals of urban and guerrilla warfare, torture, and the extents to which each side would go to "win" is well handled.

On the other hand, this approach limits the emotional connection we can have with any character. Not that it was the goal of the film or that it *needed* it, but I felt it could've been good to have someone more tangible to hold onto. La Pointe is an enigmatic and probably interesting character, but we never get to really explore his way of thinking, or of any character actually. He's more of a blank slate than an open book.

Regardless of that, Pontecorvo's direction is tight, and he knows how to handle tension. The scenes where the rebels perform concealed attacks on the French are neatly staged and directed. Also, despite the filmmaker's restrain in regards to the situation, I think the film succeeds in showing the unwanted effects of "Western colonization" in other cultures, and how the violence of the process (invasions, confiscations, eradication) will only breed more violence; but also that the hardest job of all comes once the dust has settled.

Grade: 3.5

SpelingError

02-10-21, 03:20 PM

Thief

02-10-21, 04:52 PM

That's an all-time favorite of mine. It barely missed out on my top 25. With that being said, I didn't mind the lack of character development as I think it was sacrificed in service of representing the events of the film on a much wider scale. The scope of the film made up for the lack of an emotional connection I felt towards anyone, in my opinion. To be fair though, when I first saw it, my opinion was more or less the same as yours and I didn't care much for it either. In time though, it grew on me to the point it's one of my top 5 war films.

Yeah, I really can't hold that against the film cause, like I said on my review, I don't think it was the film's goal. But still, as good as it was, in regards to the impact it had in me or how it hit me, I didn't think I could go higher than 3.5... which is still pretty good.

Thief

02-14-21, 05:09 PM

ANTWONE FISHER
(2002, Washington)
A film with an African-American cast

https://www.spiritualityandpractice.com/uploads/film_reviews/images//antwone-fisher-hero.jpg

"Who will cry for the little boy, Antwone?"
"I will. I always do."

Crying, burning, trapped, hurt, dying, trying... those are some of the words that the titular character uses to describe his situation in this film. Antwone Fisher grew up with no parents, rejected by every level of society, including the ones that took him in. He came "from under a rock", he claims at one point. A retort used as much as a defense but also as a cry for help. Because as much of a front as these kids-turned-teens-turned-adults try to put up, they're ultimately alone and helpless.

This film follows the events that surround Fisher (Derek Luke), a Navy sailor that is sent for a psychiatric evaluation with Dr. Jerome Davenport (Denzel Washington) after yet another violent outburst against another sailor. But Fisher says there's nothing wrong with him, or at least that's the front he tries to put up with Davenport when we all know he's just a boy trapped inside a man. The film follows the typical motions of other similar films, with Davenport standing strong beside Fisher, as he eventually opens up to reveal his troubled past; a past that involves abuse of all kinds.

When my wife and I started the process to take in and eventually adopt our two sons, we were allowed to bring them home for a weekend; a weekend that went surprisingly well given the circumstances. Upon returning them to the foster home, this 6-year-old kid clung to my wife as we were about to leave as if there was no tomorrow. This kid, who barely knew us, who we had only met on 3 or 4 previous meetings was bawling, crying uncontrollably begging us not to leave him and his brother. I probably will never be able to get that image out of my mind because it perfectly captured how much absence of love and care, how much need is in this kids.

Fast-forward 2 years and we obviously have them with us, adopted and safe. I can listen to them playing, happily screaming and hollering in the room next door as I cry writing this. Has it been an easy road? Hell, no. I've seen them both crying, "burning", "trapped", hurt, "dying", trying... Much like Antwone, our older kid is prone to violent outbursts and there have been days where things have gotten... rough. Things that sometimes we haven't even shared with our families. But I like to think we've been able to join them in their pain, help them with their scars, and cry with them. I like to think that, unlike Antwone's real and foster family, they can count on us being there.

I struggled with writing this because the film obviously hit close to home. I tried to write from outside, but there's no escaping it. As is expected, Fisher and Davenport develop a bond, and they both help each other overcome their own issues. There are some script issues as far as Davenport's personal struggles go, but Fisher is able to find closure by reuniting with his real family. It's inspirational. It's uplifting. But the scars are there. I know. I've seen them and felt them. And for every Antwone that manages to find his Davenport, and find closure, there are hundreds, thousands of others that don't. For every I.J. and I.J. that finds us, there are many others that are still out there looking for someone to cling to, someone to love them. Who will cry for them?

Grade: 4

Thief

02-15-21, 10:22 AM

CRAWL
(2019, Aja)
A film with a title that starts with the letters C or D:

https://i1.wp.com/scariesthings.com/wp-content/uploads/2019/07/Crawl-Gator-Bait.jpg

"Is there a plan B?"
"That *was* our plan B. In less than an hour, this crawl space will be under water."

Simple. There's no time, only the need to survive. That's the warning that Dave Keller (Barry Pepper) gives his daughter Haley (Kaya Scodelario) as they are hounded by alligators while hiding under their house in the midst of a hurricane. Simple as that. Simple is also the premise of this mixture of disaster and horror directed by Alexandre Aja, and it works pretty darn well.

The film starts setting up the stage establishing the estranged relationship between Haley, an aspiring swimmer, and her father and former coach. There is tension, regret, guilt over past events, marriage and divorce... but the film doesn't waste too much time before throwing us into the eye of the hurricane, literally and figuratively. Less than 20 minutes in, we're already deep in the crawl space, with danger staring us in the face. The above warning comes at the 45 minute mark, on a film that literally lasts 1 hour and 45 minutes. So we have less than an hour to see if they survive or not. Whether it's drowned or eaten by alligators. Simple.

Director Aja has always had a talent for handling both dread and scares in an effective way. From Haute Tension to The Hills Have Eyes, he has often succeeded in making us wince and cringe and fidget as terror floods the screen. Crawl is no exception. For a film with such a simple premise set in such a limited space, Aja manages to deliver with the jumpscares and the tension, while building a solid empathy for the lead characters.

If anything, there are some incongruencies as far as the amount of pain and injury that the two lead characters can endure, as opposed to others not-so-lucky characters, but I guess that's expected. We want them to feel real and vulnerable, but we want them to survive as well. Simple as that. As it is, that simplicity might also work against the film. I mean, there really isn't much to bite at, but at the end of the day, it accomplishes what it sets out to achieve. Simple.

Grade: 3.5

Chypmunk

02-15-21, 10:45 AM

The Passion Of Joan Of Arc is brilliant imo, one of those rare 10/10s and #1 on my pre-1930 ballot. I gave Crawl a pretty similar rating to you, a decent offering of its type that was an enjoyable enough watch in the main.

I feel like I've probably seen Antwone Fisher but if I have it was so long ago now I'd have to regard it as unseen. I've definitely not seen The Battle Of Algiers, herself expressed an interest in watching it so like so many I own it's a matter of when the time is convenient for the both of us.

Thief

02-17-21, 08:39 AM

I'm excited to share this episode of Thief's Monthly Movie Loot where I chat with stand-up comedian, author, and Emmy Award winning writer Steve Mazan! Check it out.

Thief's Monthly Movie Loot 31 - The Comedy Loot (https://www.buzzsprout.com/850063/7900144-thief-s-monthly-movie-loot-31-the-comedy-loot-with-steve-mazan.mp3?blob_id=35309215&download=true)

Spotify users, click here (https://open.spotify.com/episode/1tn0vI1hZjdtOb16wvVt2o?si=YwOsdC1rQaS8Ei69razdnA)

I had a lot of fun with this one. Steve was a great guest. We talked about his life and career, his film podcast, and comedy in general. We also shared our Top 5 Comedy Films.

Thief

02-19-21, 02:48 PM

BONNIE AND CLYDE
(1967, Penn)
A film with a couple's name in the title

https://www.mondaviarts.org/sites/default/files/styles/panopoly_image_full/public/featured_images/bonnieclyde-film.jpg?itok=zOF91oKL

"One time I told you I was gonna make you somebody. That's what you done for me. You made me somebody they gonna remember."

Bonnie and Clyde were a criminal couple that became notorious for their robbing and killing sprees during the Great Depression. But aside from their criminal exploits, the couple and their gang became known for the glamorization of their lifestyle by the press and the public.

Arthur Penn's 1967 film follows the couple (Warren Beatty and Faye Dunaway) from their initial meeting to their ultimate demise at the hands of the police. In between, we get to see their love and struggles, the gang they assemble, and how they "perfected their craft" (for lack of a better phrase) from stealing gas stations and convenience stores to robbing banks and murdering cops.

Overall, the film is engaging. The pace is good, and the performances are pretty solid; especially Beatty and Dunaway. Unfortunately, there are some misses in the execution, particularly in how Clyde's brother, Buck (Gene Hackman) and his wife are integrated into the group and the plot, and how Frank Hamer (Denver Pyle), the policeman that relentlessly pursues them, is used.

The other issue I had with the film was with the editing, which I found to be distractingly bad at times. Despite being pretty well directed, the cuts between shots from time to time seemed to be frenetic and unnecessary. I'm surprised to read that the editing was praised and awarded because there were times when it took me out of the film, instead of dragging me in.

Despite those flaws, I really enjoyed the film. Did it glamorize the characters of Bonnie and Clyde over their victims and pursuers? Yes, but I think you can see that it is ultimately a story of loneliness and desperation more than it is one of "glamour". Maybe that's what people will remember.

Grade: 3.5

Captain Terror

02-19-21, 03:53 PM

Thief

02-19-21, 04:07 PM

Yeah, I read that this film was one of the ones that started the "New Hollywood" generation, so maybe they were making a point with it. But like you said, maybe it hasn't aged that well. Like I said, there is that glamorization of the "new generation", but I think those that dig into it can really see it's more complicated than just "fast cars", "cool guns", and "bad-ass shots".

Captain Terror

02-19-21, 04:15 PM

PS-- haven't had a chance to get to the latest Loot yet, but congrats on booking a famous person! 🙂

Thief

02-19-21, 04:54 PM

PS-- haven't had a chance to get to the latest Loot yet, but congrats on booking a famous person! 🙂

:laugh: Thanks! Really cool guy, and I think our interaction was very natural and funny. Look forward to your thoughts on the episode.

SpelingError

02-20-21, 12:56 PM

My main beef with B+C was that the anit-establishment/old vs young thing was a bit heavy-handed. I'm aware that element is precisely why it struck such a chord in '67 but as a non-hippie youngster watching it in 2000-whatever I was just kinda like "Yeah, yeah, we get it..."

Still liked the film a lot, though.

I watched Cool Hand Luke earlier this year and I think it does a better job at capturing the anti-establishment themes which Bonnie and Clyde did without feeling heavy-handed. I like BaC a lot, but I don't think its better than Rosenberg's film.

Thief

02-22-21, 12:42 AM

DON'T TORTURE A DUCKLING
(1972, Fulci)
A film that starts with the letters C or D

https://jordanandeddie.files.wordpress.com/2015/06/dont-torture-a-duckling-movie.png

"No one can be killed with black magic, no one! It's nonsense."

Traditionally, "black magic" refers to the use of supernatural powers for "evil" purposes, with its practitioners being shunned or persecuted. So when several young boys mysteriously start turning up dead in a small village in this Lucio Fulci film, it's natural that most of the blame will fall into the hands of the mysterious gypsy who allegedly practices it. But, is she the only one interested in such magic? Is "black magic" actually behind the murders, or is it "nonsense"?

That is the premise of 1972's Don't Torture a Duckling, which follows the events surrounding the murders of several young boys in the small Italian village of Accendura. As the police scrambles in search for the killer, a clever journalist called Martelli (Tomas Milian) follows his own clues on his search for answers.

This was an interesting watch, randomly recommended by a good Twitter friend. It is only my second Fulci film (the other being the 1975 western Four of the Apocalypse) and overall, I can say I enjoyed it. Even though Fulci is more associated with horror, this film is more of a whodunit thriller, as we try to figure out who's behind the murders. There is violence and some gore, but it is more scattered than what one might be lead to expect from his other films.

However, despite an interesting premise, Fulci tries to juggle too many subplots at once. I mean, there's the policemen investigating the murders, there's the journalist, there's a mysterious affluent woman (Barbara Bouchet) that's seeking refuge in the village for some reason, there's the gypsy that practices voodoo and black magic, and there's the affable priest that leads a school/home for boys where most of the victims come from.

During the first half of the film, the plot feels very scattered, and I don't think the characters were integrated effectively into the story. The pace is a bit clumsy, and there is a character that is somewhat problematic, especially by today's standards. For better or worse, the second half was more focused and the overall execution felt more assured. At first glance, the resolution might feel too "twisty" for "twist" purposes, but upon closer examination, I think it makes more sense than one might think.

Grade: 3.5

Captain Terror

02-22-21, 01:05 AM

The only thing I've retained from Duckling was that someone falls off a cliff and Fulci treats us to multiple closeups of the guy's face hitting the side of the mountain. :)

Thief

02-22-21, 09:00 AM

The only thing I've retained from Duckling was that someone falls off a cliff and Fulci treats us to multiple closeups of the guy's face hitting the side of the mountain. :)

:laugh: Yep

The killer in the ending

https://media.giphy.com/media/3ornjSvpw9rtwzByI8/giphy.gif

Thief

02-22-21, 02:40 PM

CREED II
(2018, Caple Jr.)
A film that starts with the letters C or D • A sequel • A film with an African-American cast

https://cdn.vox-cdn.com/thumbor/Ll8G1cT5xy69VxW4mJo135J--UM=/0x0:1800x1200/1200x675/filters:focal(635x413:923x701)/cdn.vox-cdn.com/uploads/chorus_image/image/62342895/creed_ii_2_stalone_jordan_in_ring_2018.0.jpg

"I was afraid of this... expectations. Being the champ. I was scared I couldn't do what he couldn't."

There are dozens of quotes about what expectations mean to people. They're the "root of all heartache", the reason for "disappointment", or the framework of "high achievement". Truth is that what we expect of something or someone can be both a comfort and a burden. We expect life to be good and full of opportunities; a certain work is framed in the expectations from whoever provides it or whatever preceded it; and sons and daughters are often measured against the expectations of who their parents were. Those are some of the things that hang over the latest entry in the Rocky/Creed franchise.

Creed II is both plagued and helped by expectations on all sides. From its inception to its story beats to the inner struggles of most of its characters. When Creed was conceived in 2015, expectations were a mixture of what new could this "universe" bring to the table with the tediousness of yet another entry in the Rocky Balboa catalog. Fortunately, director and co-writer Ryan Coogler and star Michael B. Jordan, along with Sylvester Stallone, they all managed to defy those expectations with a film that knew how to build on top of them, evolving the old characters while also giving us new ones with depth, wrapping everything in a way that felt genuine and fresh.

Creed II follows Adonis Johnson (Jordan) as his rise to success is challenged by Viktor Drago (Florian Munteanu), the son of none other than Ivan Drago (Dolph Lundgren) who was responsible of his father's death 30+ years ago. Expectations rise cause he's the defending champion, everybody wants him to fight to "avenge" his father; everybody except Rocky and those close to him. So what to do when those expectations become a burden? when they make you afraid for not being able to fulfill them?

When I heard that Lundgren was set to reprise his role for this film, my expectations weren't that good. "Yeah, yeah, here they come trying to now stick any popular Rocky character into this franchise to try to make it appealing". But the truth is that, much like the previous film, the script by Stallone and Juel Taylor manages to find a great balance between the new and the old.

The most notable and surprising trait for me was the development of the character of Ivan Drago, a character that was pretty much an "object", a "force", or a "symbol" in Rocky IV. You see, expectations have also plagued Drago's life. Rebuked by the Russian government and abandoned by his wife after his defeat to Rocky, he is now burdened by what was expected of him then and what he expects to achieve now, through his son. There's a great deal of emotional weight put into this character and his relationship with his son, and those around him. This fight is something that he feels he needs as much as Adonis.

And speaking of expectations, if I were to mention a flaw to the film it would be that its narrative beats are, well, expected. There is little to no surprise to how things will unfold. When I saw that Adonis was about to fight Drago by the 40-minute mark, I could already trace where the story would go for the remaining hour. But despite those expectations about the bigger picture, the film still managed to surprise me with the more personal moments, the more nuanced conversations, and the little details. Those were the ones I wasn't expecting.

Grade: 3.5

Thief

02-23-21, 04:01 PM

WHEN HARRY MET SALLY...
(1989, Reiner)
A film featuring the name of a couple in its title

https://www.nowverybad.com/wp-content/uploads/when-harry-met-sally_still2.jpg

"No man can be friends with a woman that he finds attractive. He always wants to have sex with her."
"So, you're saying that a man can be friends with a woman he finds unattractive?"
"No. You pretty much want to nail 'em too."

That's the conversation that sets the stage on this iconic "romcom" from Rob Reiner. The film, which covers the span of 10+ years, follows the relationship between the titular couple (Billy Crystal and Meg Ryan) as they go from bickering carpoolers to inseparable confidants, from unfriendly to friendly and eventually, well, something more.

Harry and Sally are essentially opposites; as far apart from each other as East is from West, at least on the surface. She's too structured and uptight, he's too carefree and laid-back. She's a jolly, unfettered optimistic, he's a cynical pessimistic that always reads the last page of a book first in case he dies before finishing it. And those differences are perfectly portrayed by Crystal and Ryan.

But despite those differences, Harry and Sally do end up becoming friends — an "amendment to the earlier rule", he calls it — perhaps answering the above question, or perhaps not, considering where their relationship leads them. Will they remain friends? will they end up together? will they stray apart from each other? Regardless of the answers, this film always helps put in perspective that a film's "happy ending" is entirely dependent of when you end the film.

The undeniable strength of the film is in Crystal and Ryan's chemistry, which is excellent. But a lot of the credit also goes to Nora Ephron's witty script, which was partly inspired by Reiner's own ventures into single life after a divorce. Reiner's direction itself is simple, but effective. He recognizes that Crystal and Ryan are the stars and he lets them shine all the way.

But if there's one thing that the film encapsulates, be it through Harry and Sally's relationship, or that of their best friends Jess and Marie (Bruno Kirby and Carrie Fisher), or the many interspersed interviews with "fake" older couples is that relationships are not standard; that you can't define your current relationship by your past ones, compare it with those beside you, or encase them in rigid boxes and classifications, but rather to let it flow, grow, and become what it wills.

Grade: 4.5

Thief

02-23-21, 04:06 PM

FWIW, this is a rewatch. It has been my favorite romcom since forever.

Thief

02-26-21, 12:14 PM

For those following, latest episode of Thief's Monthly Movie Loot is out. This is my fourth special episode in which I take a scene from a film I love and analyze it. In this case, I went for a scene from When Harry Met Sally. Check it out!

Thief's Monthly Movie Loot - Special Episode IV (When Harry Met Sally...) (https://www.buzzsprout.com/850063/8031642-thief-s-monthly-movie-loot-special-episode-iv-when-harry-met-sally.mp3?blob_id=36068150&download=true)

Spotify users, click here (https://open.spotify.com/episode/0YFqD7gCVz0apDNCnCHTsX?si=nE0Ae_7kTnK06l_OOV3apQ)

https://media1.popsugar-assets.com/files/thumbor/BJC9KrpFzmU69dTEN2YmbF1FICo/fit-in/1024x1024/filters:format_auto-!!-:strip_icc-!!-/2014/07/11/837/n/1922283/fa51e1ba6ed3ee8c_8ea7bf9a2a8782f843aef68863109f47/i/Bottom-Line-re-Just-Friends.gif

Thief

02-27-21, 02:52 PM

I think that Images is legit a great movie. Highly recommended.

Saw this last night and I'm leaning towards this. Trippy, but yeah.

Thief

02-27-21, 09:14 PM

IMAGES
(1972, Altman)
A film from Robert Altman

https://www.cinemaldito.com/wp-content/uploads/2014/08/Im%C3%A1genes-3-e1407086948967.jpg

"I'm not going to be able to finish this puzzle. There's too many pieces missing."

Puzzles are an engrossing and usually rewarding activity for some. But it's one where you have to always ensure that you have all the pieces with you. Not doing so will probably make the task impossible, frustrating, and maybe even infuriating. Director Robert Altman takes that premise into the life of a young woman in this little-heard mind-bender.

Images follows Cathryn (Susannah York), a children's author that starts receiving a series of mysterious calls that hint at the potential infidelity of her husband Hugh (René Auberjonois). But when she starts being haunted by unsettling visions, Hugh deduces that she might be suffering from too much stress and decides to spend some time on a remote country cottage. Unfortunately, Cathryn's visions and hallucinations grow worse, which includes alternating appearances from two former lovers, as well as visions from her own doppelganger around the house.

There's not much that can be said about Images without spoiling some of its mystery, and yet, there's so much that can be said without even beginning to understand it either. Borrowing a bit from Bergman's Persona, Altman seems to revel in the mind-games he throws at the audience as this couple tries to make ends meet. And if there's something that can be said without a doubt is that York is great in the lead role.

As for the mystery, it's a puzzle indeed. One that Altman doesn't give us all the pieces for, just like he doesn't give them to Cathryn, or any other character. It's the kind of film that you sense has a purpose and motive for everything that's on screen, but that I'm sure everybody might perceive in a different way. The main theme that seems to hang above the characters is that of guilt and duality, but there also seems to be hints of abuse, repression, and depression.

Regardless of how many pieces of the puzzle are missing, Images ended up being a surprisingly good watch. One that is both engrossing and yes, frustrating, but in a good way.

Grade: 4

Takoma11

02-27-21, 10:55 PM

Yay!

I am so glad you liked it!

From that first moment when she looks over and sees herself getting out of the car I was hooked.

Thief

02-28-21, 12:48 AM

Yay!

I am so glad you liked it!

From that first moment when she looks over and sees herself getting out of the car I was hooked.

Yeah

That - and the constant shots of her doppelganger on top of that mountain made for a haunting and eerie visual.

Definitely one I would probably watch again soon.

Thief

02-28-21, 12:50 AM

Anyway, I just watched Two Lovers (2008) (from James Gray and starring Joaquin Phoenix and Gwyneth Paltrow) and I'm still trying to figure out if the ending was happy or tragic

:damon:

gbgoodies

02-28-21, 01:07 AM

Thief

02-28-21, 08:29 AM

Great. Look forward to your thoughts on it. Enjoy!

Captain Terror

02-28-21, 02:40 PM

:laugh: Thanks! Really cool guy, and I think our interaction was very natural and funny. Look forward to your thoughts on the episode.

I had a brief career as a movie theater usher in 1989-90. Part of my job was to walk the aisles periodically during the films. To do what, exactly? That was never clear. My approach was basically "Have any customers died since the last time I was in here? Cool- next room." Anyhow, there's lots of movies from that era that I feel like I've seen, even though it was only as fragments during my patrols. UHF is one of those movies. Didn't think anyone else remembered that one.

ps-- another good episode, by the way. He seemed to be a chatty guy, which I'm sure makes things easier

Captain Terror

02-28-21, 03:15 PM

Only managed 6 this month, which is about my average I guess

A film with the number 2 (Two, Second, etc.) in its title: Too Young the Hero (sorry, that's all I got.:p) (1988)
Ricky Schroeder in the true story of a 12-year-old that enlists in the Navy during WWII

A film with a title that starts with the letters C or D: Darlin' (2019)
Part 3 of the Offspring/The Woman story, this one written and directed by The Woman herself, Pollyanna McIntosh. I'd rank it somewhere between the first and second films. Not without its problems, but worth a watch if you're at all invested in that series.

A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #2 (i.e. 12, 82, 912): Stray Dog (#233)
Part of my "Watch Every Kurosawa Film" project that I've assigned myself. One day I'll get around to reviewing them. (this was a good one.)

A film from the 1920s: Doomsday (1928)
Soooo a poor farm girl finds herself being wooed by a wealthy old dude and a broke-a$$ young farmer. She chooses the handsome farmer only to change her mind before the wedding and marries old guy instead. She quickly realizes the error of her ways and begs farmer boy to take her back, but he's still sore about the jilting thing. So to prove her devotion to him, she moves in with him as a servant, doing all the cooking/cleaning, etc. and after six months of platonically being his slave, he decides that she's proven herself and marries her. YAY Happy ending??!!??:shrug:
PS the farmer was played by Gary Cooper who appears to be about 10 years old here.

A sequel: Son of Frankenstein (1939)
Part of my "Watch Every Rowland V Lee Film" project (see also Doomsday and Service De Luxe)

A comedy film: Service De Luxe (1938)
Here's a charming story :shifty: about a young lady who runs her own company. When she meets a handsome suitor she lies about the owning-a-company thing so that he won't think that she's "bossy". He eventually finds out of course and is sore for a while but marries her anyway. The film literally ends with a line about how she doesn't have to be a boss anymore now that she's married. (It wasn't a good month for feminism) Despite the problematic elements it was mildly entertaining and is notable for being the film debut of a very handsome, 27-year-old Vincent Price.

Takoma11

02-28-21, 06:19 PM

Anyway, I just watched Two Lovers (2008) (from James Gray and starring Joaquin Phoenix and Gwyneth Paltrow) and I'm still trying to figure out if the ending was happy or tragic

:damon:

My main association with this film is someone I know watching it, and I asked her how it was. She hated it and said "It should have been called Two Horrible Sex Scenes.

Thief

02-28-21, 06:25 PM

I had a brief career as a movie theater usher in 1989-90. Part of my job was to walk the aisles periodically during the films. To do what, exactly? That was never clear. My approach was basically "Have any customers died since the last time I was in here? Cool- next room." Anyhow, there's lots of movies from that era that I feel like I've seen, even though it was only as fragments during my patrols. UHF is one of those movies. Didn't think anyone else remembered that one.

ps-- another good episode, by the way. He seemed to be a chatty guy, which I'm sure makes things easier

LOL, like I said in the episode, UHF holds a special place within me and my best friends. It was a frequent watch and a frequent source of quotes :laugh:

As for Steve, yeah, he was chatty. Make things easier for the interview, harder for the edit :laugh:

Thief

02-28-21, 06:26 PM

My main association with this film is someone I know watching it, and I asked her how it was. She hated it and said "It should have been called Two Horrible Sex Scenes.

LOL, Overall I'm leaning towards positive, even if it wasn't anything groundbreaking. Might write something later tonight or tomorrow.

Still need to knock a Serbian film tonight to complete the challenge

Thief

03-01-21, 12:14 PM

Thief

03-01-21, 12:48 PM

TWO LOVERS
(2008, Gray)
A film with the word "Two" in its title

https://www.sbs.com.au/movies/sites/sbs.com.au.film/files/styles/full/public/images/s/i/site_28_rand_1643011600_two_lovers_maxed.jpg?itok=--APuZlU

"So I'm going to ask you a question now, and I'm going to be direct with you. I hope you don't mind.
Are you a f**k-up?"

Honesty goes a long way in relationships. Even if it's harsh truths, it's usually better to just get things out of your chest before things get complicated and it's harder to walk away. That's probably why Mr. Cohen (Bob Ari) asks Leonard (Joaquin Phoenix) the above question point-blank when inquiring about his relationship with his daughter Sandra (Vinessa Shaw); "Are you a f**k-up?". That honesty, or the need for it, seems to be at the core of the relationships in this little-known film from 2008, directed by James Gray, even if its characters don't always embrace it.

Two Lovers follows Leonard, a young man suffering from bipolar disorder and reeling in from depression and several suicide attempts related to his break-up from his fiancée. Now living with his parents, he tries to make ends meet working at their laundromat in NYC. Unbeknownst to him, he is set up with Sandra, the well-intentioned daughter of his father's business partner. At the same time, Leonard also gets involved with Michelle (Gwyneth Paltrow), a troubled neighbor that's also having an affair with Ronald, a married man from work.

This is one of those films I didn't know anything about, didn't even know it existed, until last week. However, it has pretty good reviews on most critic sites. The premise is fairly simple, starting with the film title, but the script and performances elevate it slightly above the average romantic drama standard. There is a certain complexity in the way this man handles these relationships and how he navigates the honesty/dishonesty between both. I think the film dedicates a bit too much emphasis to Michelle and Ronald, sometimes at the expense of Sandra's character, who gets a bit of the short stick out of the three leads. The fact that Ronald is well played by Elias Koteas helps smooth that wrinkle a bit, though.

In the end, the film could've used a bit more focus between the two relationships and perhaps a bit more exploration into the characters. I'm still torn about the ending which I felt was decidedly tragic, even if I kinda felt the film was trying to sell it the other way. But I think that the fact they did things the way they did was somewhat bold, at least from the point of view from which I interpreted it. At the end of the day, honesty does go a long way, even if it's to walk away from something you should to avoid pain, suffering, and heartache to others. Whether the characters did that or not, I guess that's up to you.

Grade: 3

kgaard

03-01-21, 02:56 PM

Thief

03-01-21, 03:03 PM

THE SERBIAN LAWYER
(2014, Nikolic)
A film from Serbia

https://dafilms.com/media/gallery/2015/03/04/10966695_10202868378025071_429972639_n.jpg

"One truth, another truth... a third truth. Who decides which one is the real one? Is it the New York Times or the judges? Is it the factions back home?... Is it me? I don't even know what the truth is in my personal life."

During the early 1990s, a series of conflicts occurred in what was known as Yugoslavia, resulting in the breakup of its constituent republics. One of the most severe conflicts was the Bosnian War, which took place from 1992 to 1995 between the forces of Radovan Karadžić, who rose to power during the crisis, with support from Slobodan Milošević, who was the President of Serbia. After the war ended, both Karadžić and Milošević were tried for war crimes committed during the conflict.

The Serbian Lawyer follows Marko Sladojevic, an international attorney assigned to defend both Karadžić and Milošević. What is notable is that Sladojevic was a Serb that was against Milošević during his youth, and had to flee the country eventually. The documentary attempts to chronicle the inner struggles of the lawyer in trying to do his job while trying to balance it against his own beliefs and his personal life.

Unfortunately, the documentary is not very successful. Despite setting up some compelling drama in terms of Sladojevic's conflicts and the details of the crimes and the trial itself, director Aleksander Nikolic never really delves into anything, but rather chooses to jump from topic to topic without much cohesion. Also, most of what little analysis is done about the case, never feels properly closed or finished.

I don't know how involved Sladojevic was in the preparation of the documentary, but in many ways, the documentary feels more like a self-absorbed attempt to "save face". There's a lot of time spent with him musing thoughts and opinions, without never really reaching any sort of conclusion or unified thought about both the accused, the events, or himself. But he does manage to promote an upcoming book he's writing. In that aspect, it makes sense that he's asking himself what is "the truth", because I was left asking the same thing myself.

Grade: 1.5

Thief

03-01-21, 03:18 PM

Not being quite as cool as Captain Terror, I only managed 5 this month:

A film with a title that starts with the letters C or D:
Christine (2016): see my review here (https://www.movieforums.com/community/showthread.php?anchor=1&p=2182440#post2182440).
Cowards Bend the Knee: Canadian porn is wild, y'all.
Doubt: Excellent performances but some of the writing is very on the nose, perhaps due to its theatrical origins.

A film from the Criterion Collection whose number includes the #2 (i.e. 12, 82, 912):
Dr. Strangeove, or: How I Learned to Stop Worrying and Love the Bomb (#821): One of Kubrick's best for me, what can I add?

A film from the 1920s:
The Lodger: A Story of the London Fog (1927): Considered the earliest true Hitchcock thriller, you can see early versions of several of his themes (obessions)--the relationship between violence and sex; mistrust of authority; blonde women--along with his mastery of technique.

A sequel:
The Dark Knight Rises: Maybe it's because I'm watching this so much later, or because I tend to go easy on comic book films, but I didn't mind this as much some people seem to. The plot does get very ludicrous, and there's no matching Heath Ledger's scintillating perfromance, but I generally had a good time watching this, and sometimes that's good enough.

A comedy film:
9 to 5: Mini-review here (https://www.movieforums.com/community/showthread.php?anchor=1&p=2176973#post2176973).

Good month overall, nothing truly terrible.

Nice.

Being as much of a fan of Philip Seymour Hoffman as I am, I don't know why I still haven't seen Doubt (or Capote for that matter). Need to get on that.

Dr. Strangelove is indeed a lot of fun. George C. Scott's performance is a treasure.

Glad you liked The Lodger. That's a film that didn't really land on me until a second watch, but now I think it's pretty darn good. Still have some issues with the very ending, but like you said, you can see the Master was growing up.

As for TDKR, my reaction is more or less similar to the two previous films: I had a decent amount of fun with it, but it just doesn't hold up to closer examination, which makes me feel baffled by the amount of praise they get now. Especially The Dark Knight, but well.

I also had a lot of fun with 9 to 5, which I revisited last year.

Thanks for joining in!

Captain Terror

03-01-21, 03:25 PM

Still need to knock a Serbian film tonight to complete the challenge

LOL, I now realize that I misinterpreted this the other day. I didn't notice that "a" and "film" weren't capitalized. Thought you were watching A Serbian Film and wondered why you would do that to yourself.

Thief

03-01-21, 03:37 PM

LOL, I now realize that I misinterpreted this the other day. I didn't notice that "a" and "film" weren't capitalized. Thought you were watching A Serbian Film and wondered why you would do that to yourself.

:laugh: If it were available streaming, that's the one I would've chosen without hesitation. Finally see what all the fuss is about :D

Thief

03-01-21, 03:49 PM

Ok, so this was my final tally for FEBRUARY 2021:

A film with the number 2 (Two, Second, etc.) in its title: Two Lovers (https://www.movieforums.com/reviews/2182869-two-lovers.html)
A film with a title that starts with the letters C or D: Crawl (https://www.movieforums.com/reviews/2178343-crawl.html), Don't Torture a Duckling (https://www.movieforums.com/reviews/2180612-dont-torture-a-duckling.html)
A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #2 (i.e. 12, 82, 912): The Battle of Algiers (https://www.movieforums.com/reviews/2177087-the-battle-of-algiers.html) (#249)
A film from the 1920s: The Passion of Joan of Arc (https://www.movieforums.com/reviews/2176293-the-passion-of-joan-of-arc.html)
A sequel: Creed II (https://www.movieforums.com/reviews/2180767-creed-ii.html)
A comedy film: Monty Python's Life of Brian (https://www.movieforums.com/reviews/2175897-monty-pythons-life-of-brian.html)
A film featuring the name of a couple in its title: Bonnie and Clyde (https://www.movieforums.com/reviews/2179881-bonnie-and-clyde.html), When Harry Met Sally... (https://www.movieforums.com/reviews/2181138-when-harry-met-sally....html)
A film with an African-American cast (Black History Month): Antwone Fisher (https://www.movieforums.com/reviews/2178212-antwone-fisher.html)
A film from Serbia (Statehood Day, February 15): The Serbian Lawyer (https://www.movieforums.com/reviews/2182934-the-serbian-lawyer.html)
A film from Robert Altman (born February 20): Images (https://www.movieforums.com/reviews/2182531-images.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/skwYEUcxhUub9QCSwPDMvBySphS.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/mKxpYRIrCZLxZjNqpocJ2RdQW8v.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/cDSvs1JofUshFpRvZ3swCfUInur.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/9fHkCuYEKsu7j0xsI2HbBvlZNZc.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/8OYGtQlO8k9PcOm49apV62eVJQo.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/v3QyboWRoA4O9RbcsqH8tJMe8EB.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/lSSA64WF0M0BXnjwr2quMh6shCl.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/sE0B42SAVLga4Qwzt4IgqwEsEUQ.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/3wkbKeowUp1Zpkw1KkBqMWbt0P9.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/qnA1FeR3XpuBzL8czF47rxjtdgQ.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/oXqNpKNzpZJpznaO9C7r1T8wQ2H.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/o9qfaNwjnqNBJ1uOLeC53r5eTzB.jpg

Another solid month. My favorite first-time watches were probably Shame and Grave of the Fireflies.

As for a least favorite, that would probably be between One Child Nation and Broken Blossoms.

Thief

03-01-21, 04:08 PM

So, here is the challenge for MARCH...

A film with the number 3 (Three, Third, etc.) in its title:
A film with a title that starts with the letters E or F:
A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #3 (i.e. 13, 230, 830):
A film from the 1930s:
A documentary film:
The third part on a film franchise:
A film directed by a woman (Women's History Month):
A film with the word "Spring" in its title:
A film from Russ Meyer (born March 21):
A film from Greece (Revolution Day, March 25):

Anybody can join, anybody can share recommendations as well.

kgaard

03-01-21, 04:36 PM

Glad you liked The Lodger. That's a film that didn't really land on me until a second watch, but now I think it's pretty darn good. Still have some issues with the very ending, but like you said, you can see the Master was growing up.

Yeah, I understand the ending was basically a case of studio interference (the more things change...) but there's so much else to like I can overlook it.

Captain Terror

03-01-21, 05:59 PM

Not being quite as cool as Captain Terror,
It's a high bar, don't beat yourself up over it. 🙂

A film with a title that starts with the letters C or D:
Christine (2016): see my review

I was already a fan of Rebecca Hall, but I thought she was terrific here and I'm kind of bummed that I rarely hear anyone talk about it.

kgaard

03-01-21, 11:40 PM

I was already a fan of Rebecca Hall, but I thought she was terrific here and I'm kind of bummed that I rarely hear anyone talk about it.

Yeah, she makes it work. It's a tough movie to watch emotionally, though.

Captain Terror

03-02-21, 10:12 AM

Yeah, she makes it work. It's a tough movie to watch emotionally, though.

I'm probably the only person to have watched it without knowing what it was about beforehand. I'd put it on my watchlist just because I'd liked a previous Campos film. The Chubbuck story was vaguely rattling around in my memory banks but I certainly didn't remember her name. It wasn't until midway through the film when I was like "Wait...is this the woman who...?"

Thief

03-04-21, 02:21 PM

FRUITVALE STATION
(2013, Coogler)
A film with a title that starts with E or F

https://www.gannett-cdn.com/media/USATODAY/GenericImages/2013/07/11/1373571380000-FRUITVALE-STATION-MOV-JY-0508-56840649-1307111537_16_9.JPG?width=660&height=374&fit=crop&format=pjpg&auto=webp

"I'm tired. Thought I could start over fresh, but... s**t ain't workin' out."

Who was Oscar Grant? The answer may vary depending who you ask. A young man from Hayward, California? a good co-worker? a black man? a troublemaker? a pothead? an ex-convict? Despite whatever labels one might feel compelled to apply to him, there are some that we can say are facts. Oscar Grant was a son, a friend, a boyfriend, and a father of a young girl.

Based in real life events, Fruitvale Station follows the events surrounding Grant's death at the hands of two police officers at the titular train station. Grant (Michael B. Jordan), who was coming from celebrating New Year's Eve with his girlfriend and friends was either involved or in the vicinity of a fight on the train, which resulted in the police detaining him along with others, when one of them shot him in the back as he was lying down.

This is the directorial debut from Ryan Coogler. He was interested in developing the project since he was a film student at the University of Southern California. According to Coogler, he "wanted the audience to get to know this guy, to get attached". Through the film, we get to see a snapshot of Grant's life during the day before his death, as well as some flashbacks. One of the decisions that I respect from Coogler, who also wrote the script, is that he didn't try to paint Grant as some sort of "angel". Instead, we get to see different facets of him: as a friend, as a boyfriend, as a convict, and as a father. And even though he might not be perfect in any of those roles, he seems to be trying to make things work out.

Even though the film veers close to melodrama at some points, it never tips over. It also feels a bit overlong, but Coogler manages to keep it together for the most part. But if there's anything deserving of praise here, it's Jordan's performance. He is so effortlessly good in the role, without overselling the part. Octavia Spencer and Melonie Diaz are also pretty good as Grant's mother and girlfriend, respectively.

As is expected, the death of Grant and the ensuing trial of the two policemen involved resulted in protests and riots, mostly aimed at what was seen as a tame conviction to only one of the officers. Regardless of what one might think about the events and the aftermath, it's important that we know who Oscar Grant was, and that we know that on that day, in an event that probably could've been easily avoided, a mother lost her son, a girlfriend lost her boyfriend, and a daughter lost her father. That was Oscar Grant.

Grade: 3.5

Thief

03-04-21, 03:20 PM

Whoever's approving reviews today is on fire :D Thanks

Thief

03-08-21, 10:19 PM

IN A GLASS CAGE
(1986, Villaronga)

https://assets.mubicdn.net/images/notebook/post_images/20533/images-w1400.jpg?1454133508

"Rena, don't laugh. He's going mad."
"No, he isn't. He's fixing the house."

Set some years after World War II, In a Glass Cage follows Angelo (David Sust), a young man that seems to be set on taking revenge on Klaus (Günter Meisner), a former Nazi doctor and pedophile murderer. To do this, Angelo poses as a nurse interested in taking care of Klaus, who is bound to an "iron lung" after a suicide attempt. Despite the reluctance of Klaus' wife (Marisa Paredes), Klaus insists, which leads to Angelo taking control of the house while torturing and tormenting the doctor by reenacting his former crimes.

It is not clear why Klaus insists in hiring Angelo, it might've part blackmail, part intrigue from his part, but it is clear why Angelo wants to be there. After all, it's pretty obvious he's one of Klaus' former victims. The above exchange occurs at a point when Klaus realizes that Angelo is up to no good and that he and his family are actually in danger. However, Rena (Gisela Echevarría), his young and "naïve" daughter, who has taken a liking to Angelo, is more dismissive. After all, he's just changing things up and "fixing the house".

Pulling this curtain here... putting some wire fence there... burning this furniture here... getting rid of the housekeeper... and torturing the Nazi pedophile murderer in the "iron lung". Those are some of the items on Angelo's checklist to "fix the house". Rena, who is a victim of abuse from her mother, welcomes him because she sees it as an opportunity for things to change. But pretty soon she realizes that Angelo's goal is not to "fix" or change things, but to change himself, and as a result, those around him, for better or worse.

In a Glass Cage was controversial due to its themes of pedophilia, torture, and murder. But even though I agree that the content is disturbing, I was surprised to see that there's more under the surface. In a way, it reminded me of Martyrs, which is also a disturbing, tough-to-watch film that ultimately is much more than meets the eye. This film ends up being an interesting exploration of the effects of violence and abuse, and the resulting endless cycle it begets.

The budget does show from time to time, but overall, Villaronga's direction was clean and the performances were quite solid, particularly Sust. This is made more impressive by the fact that this is the first film for both of them. As for the story, I think it has a nice pace as things escalate gradually, and the ending packs a punch.

Grade: 3.5

Chypmunk

03-09-21, 04:58 AM

Only seen four of your watches since I last commented and for two of those (Bonnie and Clyde or When Harry Met Sally) it's been an awful long time since I watched them, both okay movies from what little I remember but not had any real desire to revisit either.

I quite like the atmosphere in Don't Torture a Duckling and the way it builds slowly toward its final act. Didn't like the opening though and generally prefer his out-and-out horrors. Thought Fruitvale Station had a good lead performance and was a decent enough watch.

Of those I've not seen I'll probably try to get round to In A Glass Cage for the upcoming countdown (assuming I can find it) and I was surprised by quite how much I enjoyed Creed (not being much of a fan of the Rocky franchise beyond the original) so Creed II will most likely get a watch at some point too.

Thief

03-09-21, 12:42 PM

Chypmunk

03-09-21, 01:36 PM

Since I've only seen this whodunit thriller and a western from Fulci, I guess it's time for me to dive into his horror films. Considering how much of a horror fan I am, I'm surprised I've never stumbled upon one of his films.

And let me know what you think about In a Glass Cage and Creed II. I'll be curious to read your thoughts.
Be interesting to see what you make of his out-and-out horrors.

Creed II will probably have to wait until one of our cable channels carries it. Had a squint on Amazon for purchasing a copy of In A Glass Cage and sadly it's not very available and priced well above what I'd be prepared to pay for what is there so I'll have to scour the legal parts of the interweb at some point.

pahaK

03-09-21, 01:45 PM

Had a squint on Amazon for purchasing a copy of In A Glass Cage and sadly it's not very available and priced well above what I'd be prepared to pay for what is there so I'll have to scour the legal parts of the interweb at some point.

It's on Tubi if you happen to be in the US (or use VPN).

Captain Terror

03-09-21, 01:48 PM

Since I've only seen this whodunit thriller and a western from Fulci, I guess it's time for me to dive into his horror films.

Yes Thief, I think it's time you met Bob.

https://www.youtube.com/watch?v=6ANvEPVOjCw

Chypmunk

03-09-21, 02:14 PM

It's on Tubi if you happen to be in the US (or use VPN).
Appreciate the heads-up but I'm not and I don't as it screws up other stuff that I use every day :(

Thief

03-09-21, 03:11 PM

THE THREE CABALLEROS
(1944, Ferguson & Co.)
A film with the number 3 (Three, Third, etc.) in its title

https://filmmusiccentral.files.wordpress.com/2019/02/the-three-caballeros.jpg?w=625

♫ "We're three caballeros, three gay caballeros
They say we are birds of a feather ♪
♪ We're happy amigos, no matter where he goes
The one, two, and three goes, we're always together" ♫

Released for Donald Duck's 10th birthday/anniversary, The Three Caballeros features a series of shorts and segments tied by the premise of Donald (Clarence Nash) opening a series of presents from a group of friends. Most notably, he receives presents from José Carioca (José Oliveira), a Brazilian parrot, and Panchito Pistoles (Joaquin Garay), a Mexican rooster, and then the three get to spend some time traveling around their respective countries.

This film was released at the peak of World War II, and was part of an effort from Walt Disney to improve US relations with Latin American countries. It is comprised of a handful of segments featuring countries like Perú, Ecuador, Uruguay, and finally Brazil and Mexico, during which our three main characters interact with locals, including live-action musicians and dancers.

This is a film I remember seeing back when I was a kid. I think it was one of the first films I rented in the 80s when we got a VHS, so there's a bit of nostalgia tied to it. But for the most part, the film manages to be fun and entertaining. The structure is a bit of a mess, and the narrative ranges from loose to non-existent, but the way the "caballeros" interact makes it fun and breezy.

The film is hindered by some racial stereotypes and problematic representations, but overall, you get the sense that the intention to honor Latin American culture was genuine. This is mostly evidenced by the use of actual Latin American voice actors and musicians. Both Oliveira and Garay are from the countries where their characters come from, and the way they highlight Latin American music is solid.

Certainly not Disney's best effort, but given the circumstances when it was released, I give them props for coming out with a film that has endured to some extent and that managed to shine a light on other cultures at a time when that wasn't the norm.

Grade: 3

Thief

03-10-21, 12:53 PM

These are more or less my plans for the rest of the month...

A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #3 (i.e. 13, 230, 830): Torn between Ran, Elevator to the Gallows, or Ace in the Hole
A film from the 1930s: Vampyr (which also counts for the HOF24)
A documentary film: Torn between Be Natural and Lo and Behold
The third part on a film franchise: I might rewatch Mission: Impossible III, or I might sneak a freebie of The Road Warrior and close with Thunderdome, so I can finally tackle this franchise.
A film directed by a woman (Women's History Month): Maybe Nomadland
A film from Russ Meyer (born March 21): ???
A film from Greece (Revolution Day, March 25): Dogtooth

Any suggestions or recommendations are more than welcome.

Captain Terror

03-10-21, 01:53 PM

I might sneak a freebie of The Road Warrior and close with Thunderdome, so I can finally tackle this franchise.

This plan has my full support

Thief

03-10-21, 03:08 PM

For some reason, forgot to post this here...

This is my fourth episode of the year (fifth, if we count the Harry and Sally special) of Thief's Monthly Movie Loot. It dropped a couple of weeks ago, and in it I talk about the films I saw in February. It is pretty much what I've been posting here, but check it out.

Thief's Monthly Movie Loot 32 - The February Loot (https://www.buzzsprout.com/850063/8049031-thief-s-monthly-movie-loot-32-the-february-loot.mp3?blob_id=36299139&download=true)

As usual, it's also available on Spotify here (https://open.spotify.com/episode/169Ur2ktvvdUsx7mogfV6B?si=b08a61cff8154ef0).

Also, I recorded the next episode last weekend with two great guests, so keep your eyes and ears open for that too.

Thief

03-10-21, 09:25 PM

RAYA AND THE LAST DRAGON
(2021, Hall & López Estrada)

https://www.thetoyinsider.com/wp-content/uploads/2021/01/Disney_Raya.jpg

"Well, the world's broken. You can't trust anyone."
"Or maybe the world's broken because you don't trust anyone."

They say "trust is a two-way street". You can't expect others to trust you, if you can't trust them yourself. You gotta give a little, to receive a little. That sentiment seems to be the core morale at the heart of Disney's latest animated adventure, Raya and the Last Dragon. In it, the titular character (Kelly Marie Tran) sets out to find "the last dragon", after a mysterious entity called the Druun is unleashed turning her father and most of her village to stone.

The Druun had been previously fought by powerful dragons that inhabited the land of Kumandra. But to finally defeat it, the dragons had to use all their power and contain it in a magical orb, which is now protected by Raya's people. But this has resulted in a long-standing rift between the different territories of Kumandra, as they all want control of the orb. After a confrontation occurs, Raya must overcome her mistrusts and recover the pieces of the orb, and of the land, to summon Sisu (Awkwafina) in order to defeat the Druun.

The story sounds a bit complicated, but the film does a great job at exposing it during the prologue in a way that it's engaging and easy to follow. Actually, one of my main gripes with the film is that its narrative beats are fairly predictable, i.e. Raya must learn to trust in others and join forces in order to defeat the Druun. But despite this, the execution is pretty solid. The voice talent of Tran and Awkwafina is great, and they have good chemistry together.

But as solid as the story and its voice cast is, I thought the animation and the direction to be the real stars of the story. I mean, the animation... is... gorgeous. The fight choreographies are excellent, and the film manages to have its share of thrills despite the aforementioned predictability. And how about that sword? Such a cool weapon, so kudos to the production design.

Raya and the Last Dragon comes at a time of resurgence for Disney films, and it does so by sticking to a few tropes that have been key to their films during the last decade or so; and that is the portrayal of strong female leads, the absence of a central romantic relationship while highlighting other type of relationships, and the lack of a proper antagonist by focusing more on gray moral areas. That has been the case with Frozen, Zootopia, Moana, among others.

The decision to put the relationship between equals, and how we need to trust those around us in order to be stronger and better people was definitely an appropriate one today. As the world around us seems to become more broken by differences and divisions, it's good to know that we can trust a children's film to teach us the way. Now trust is a two-way street, so let us take the next step.

Grade: 3.5

Thief

03-11-21, 04:41 PM

SPRING NIGHT, SUMMER NIGHT
(1967, Anderson)
A film with the word "Spring" in its title

https://i.imgur.com/QCzalR1.jpg

"Whenever you try to live your life but... just don't work out."

Mason Cooley once wrote "Once wealth and beauty are gone, there is always rural life". There is much to be said about the stereotypes of country or rural life, but I don't think it would be a stretch to say that through the decades, many people have expressed feelings of entrapment, wanting to escape, or the lack of opportunities to "progress", things just not working out. This little-known independent film shows us a sliver of that.

Set in rural Ohio, Spring Night, Summer Night follows the events surrounding a dysfunctional family. Carl (Ted Heim) is the oldest son of miner-turned-farmer Virgil (John Crawford), who has remarried with Mae (Marj Johnson) with whom he has a bunch of other children, including Jess (Larue Hall), who is slightly younger than Carl. All of these characters fit the above mold of feeling trapped and smothered by the circumstances around them. Be it financial struggles, longings of a long-gone past, or an unwanted pregnancy.

I stumbled upon this film pretty much by chance while browsing Mubi, and although it was far from great, I still found myself pleasantly surprised by how honest and genuine it felt. Despite treading a decidedly controversial topic, the film handles it with care. Part of that is because of the pensive performances of the cast, but also to Anderson's melancholic direction, which often puts the surroundings in the foreground, as if the mountains and trees were absorbing the characters. His direction is still somewhat amateurish, but there are flairs of goodness here and there.

Other than that, some performances are a bit spotty (particularly of the supporting characters), the pace is a bit sluggish, and the way the characters try to handle the main conflict in the last act might be a bit cringey and problematic. But I will still give it props for putting it forward in 1967. Also, the black and white cinematography is quite good.

Towards the end of the film, Virgil and Mae both have some moments of looking back separately, and reminiscing of their past. Times when they had money and/or beauty. Things that they did, and things they could've done. The regrets of trying to make things right or just differently, and things just not working out. Now that "wealth and beauty are gone", what do they have left?

Grade: 3

Thief

03-17-21, 01:51 PM

For those reading, sorry about the lack of updates. Work has been hell the past couple of days and I haven't been able to catch a break. I did see three films recently, one of which counts for my challenge (the others were with the kids). So expect some reviews in the next few days once this hell freezes over.

Thief

03-18-21, 04:11 PM

Another month, another episode. For those interested, here is the latest episode of Thief's Monthly Movie Loot where I chat with the hosts of the Defining Disney Podcast.

Thief's Monthly Movie Loot 33 - The Disney Loot (https://www.buzzsprout.com/850063/8148963-thief-s-monthly-movie-loot-33-the-disney-loot-with-nicole-caroline-from-defining-disney-podcast.mp3?blob_id=36862413&download=true)

I just published it, so it hasn't populated to Spotify yet, but if you want to listen there, you can keep an eye on the podcast feed here (https://open.spotify.com/show/4o5ZvtvZ64XAoxIIxiAj1q)

This one was a lot of fun to record, so check it out. We talk everything Disney. From their animated films canon to the Disney corporate culture, from Snow White to Raya and the Last Dragon. Nicole and Caroline are fun to talk to, but also very serious about their work. They know their stuff. We also share our Top 5 Disney Films, and I even sing a little.

Thief

03-19-21, 09:56 PM

NOMADLAND
(2020, Zhao)
A film directed by a woman

https://ca-times.brightspotcdn.com/dims4/default/8b24000/2147483647/strip/true/crop/1200x600+0+0/resize/840x420!/quality/90/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F7c%2F9c%2F8e2ea5034b78b97803972f6de93a%2Fnomadland-02.jpg

"No, I'm not homeless. I'm just houseless."

That is how Fern (Frances McDormand) prefers to describe herself when confronted by a family friend about her situation. Fern was laid off when the plant she used to work for shut down, so now she lives inside her van while performing seasonal and scattered gigs to sustain herself. But the fact that she doesn't have a "house" doesn't seem to deter her from trying to make the most out of her situation.

Nomadland follows Fern, whose nomadic lifestyle takes her from the coldness of Northern Nevada and the deserts of Arizona to the remoteness of South Dakota and the relative "comforts" of California. Through all that, we get to see her struggles to survive and scrape by, whether it's enduring a particularly cold winter in her van or not knowing how to pay for a costly repair to her home/van. In the process, she meets a group of fellow nomads which she befriends and learns from.

The film manages to effectively convey how hard it is to ultimately make ends meet for regular people; people that have been sometimes reluctantly pushed towards this lifestyle for lack of any other choices. The way that the film shows the way that America's economic system pretty much abandons hard-working, elderly people to their own luck, was mostly on point. I also thought that putting her at work at an Amazon fulfillment center was particularly clever, considering the fact that Amazon's pretty much the biggest company right now and its CEO is close to become the world's first trillionaire.

There is a moment where the nomads trade speeches and explanations about their situation, which veers very close to heavy-handedness, but I felt that Zhao had the necessary restrain to never let it go overboard. On the same vein, I never felt she glamorized Fern's lifestyle. Quite the contrary. I thought the struggle was always evident, and always upfront.

But the driving force on this film is McDormand, whose performance is spectacular. Her verbal and non-verbal acting makes us feel Fern's restlessness and desperation. The supporting cast is also impressive, especially if you consider that most of them are not professional actors. David Strathairn, who plays a fellow nomad that Fern meets, is the exception. But his performance is so subtle and muted that you don't feel the difference between him and the rest of the supporting cast, and I mean that in a good way.

At one point, Fern reminisces about her former house in Nevada. And although she dismisses it at first, she quickly does a U-turn as her mind wanders in the memories... not necessarily of the house, but of the space around it.

"Nothing special. Just a company tract house... Actually, it was special. We were right on the edge of town. And our backyard looks out at this huge open space. It was just desert, desert, desert, all the way to the mountains. There was nothin' in our way."

There's another scene where Fern explores a canyon park where Strathairn works, and she does so in such a restless yet playful manner, almost childlike. And I think that is a perfect scene that encapsulates Fern's character. Restless, desperate, curious, houseless, but nothing in her way.

Grade: 4

Thief

03-20-21, 09:45 PM

WRECK-IT RALPH
(2012, Moore)

https://d2rd7etdn93tqb.cloudfront.net/wp-content/uploads/2018/11/wreck-it-ralph-vanellope-car-articleH-111918.jpg

"I'm bad, and that's good! I will never be good, and that's not bad!... There's no-one I'd rather be... than me."

That is the mantra that the titular character (John C. Reilly) recites along with other video game "bad guys" as they learn to cope that they're designed to be that: bad guys. But what if you're not happy with that life? What if you want to feel loved and accepted instead of hated and rejected?

Wreck-It Ralph introduces us to a world inside and "behind" classic arcade games. A world where video game characters travel from game to game and mingle in a surge protector that acts like a "train" station to each game. When Ralph, the "bad guy" in a game called Fix-It Felix, Jr. gets tired of rejection, he sets out to win a medal in another game, any game, to prove to the residents of his game that he can be a hero.

The biggest asset of this film is the clever way in which it builds this imaginary world and in how the characters interact. They travel through power cables, they have a drink at Tapper, and then they go back to their "worlds". The creativity with which each "world" is built is amazing and keeps the film feeling fresh. The game where Ralph decides to win his medal, Hero's Duty (a mix of Call of Duty and Halo) is dark and sinister, whereas the game where he ends up trapped afterwards, Sugar Rush Speedway (a mix of Mario Kart and Candy Crush) is colorful and cheery.

It is in this game that Ralph meets Vanellope (Sarah Silverman), a young girl that dreams of being a part of the game, but can't because of some "glitch" that causes her to appear/disappear erratically. Like Ralph, she is an outcast trying to fit inside the world she inhabits. Of course, the two become friends as they attempt to convince King Candy (Alan Tudyk) of her worth.

Aside of the world-building and animation, the voice performances are great. Reilly is superb in conveying the weariness and depression of Ralph, while Silverman's voice work as Vanellope, combined with the character design, results in one of the cutest and most lovable characters ever. The same care applies to characters like Ralph's "nemesis", Felix (Jack McBrayer) and Calhoun (Jane Lynch), who have to follow Ralph to stop a virus from Hero's Duty to contaminate Sugar Rush and eventually the whole arcade.

My main issue with the film comes up in the last act. The motivations of King Candy and the "twist revelation" about Vanellope ends up feeling like an unnecessary deus-ex-machina, and it ultimately muddles what seemed to be the main message of the film of accepting outcasts for who they are, which Ralph proudly proclaims in the end ("there's no one I'd rather be than me"). Unfortunately, in order to be accepted and "win" her place, Vanellope is forced to become someone else which feels like a betrayal.

Despite that, the film is fun enough for everyone to enjoy. Even though it is aimed at children, I assume it is adults like me that would get a kick out of it with all the 80s and 90s video game references. The characters are great and likable and, even with the muddled message, still works thanks to the great voice performances and character design.

Grade: 3

Thief

03-22-21, 01:18 PM

RALPH BREAKS THE INTERNET
(2018, Moore & Johnston)

https://www.denofgeek.com/wp-content/uploads/2018/11/ralph_breaks_the_internet_easter_eggs.jpg?resize=768%2C432

"All friendships change. But the good ones, they get stronger because of it."

One of my favorite quotes, which I reference often, comes from Canadian rock band Rush: "Changes aren't permanent, but change is", which is true. We're in constant change, everybody is. People change points of view, they change their aspirations and goals, people grow up and move... or in this case, change video games. That's Ralph's (John C. Reilly) biggest fear in this sequel to 2012's Wreck-It Ralph. His friend Vanellope (Sarah Silverman) is changing, and he has to learn to cope with it.

In Ralph Breaks the Internet, our characters have to deal with two fears. Vanellope is burdened by the monotony and routine of her game, while Ralph is afraid of losing her. When the Sugar Rush game is broken, they both decide to use the newly plugged-WiFi router to get into the vastness of the Internet to find the broken part. As a result, they end up exploring the world beyond their arcade.

You gotta hand it to directors Moore and Johnston, and co-writer Pamela Ribon. Like the original film, they find immensely clever ways to build this imaginary world and how the characters interact with them. I particularly enjoyed their integrations of the "search bar", eBay, YouTube, and online ads and pop-ups. The creativity with which these technologies are integrated into the story is amazing, most of which happens during the first half of the film.

Unfortunately, the film gets bogged down in the second half for two reasons. The product placement does get a bit overboard, especially with *wink, wink* Disney. There were a lot of things I appreciated, especially Vanellope's meeting with the Disney princesses (especially when you consider how Disney managed to get most of the original actresses to join in), but other than that, the reasonings for her to be at the Oh My Disney website doesn't hold and are just an excuse to highlight dozens of Disney properties.

The second gripe has to do with Vanellope's feelings and motivations. Although interesting and thematically deep, I don't think they are fleshed out that well and her integration into the world of Slaughter Race, the online racing game that now attracts her interest, isn't as organic as I would've wanted. Plus, the original quest of finding the broken steering wheel for the Sugar Rush game, which pretty much fuels the first half is suddenly shoved aside for this conflict between Ralph and Vanellope that, once again, although thematically deep, feels muddled.

But much like the original, the film is held up by Reilly and Silverman's excellent voice work and chemistry. Ultimately, the story is about their friendship and how it can change and still be strong despite those changes. In that aspect, the film succeeds.

Grade: 3

Thief

03-23-21, 05:28 PM

DOGTOOTH
(2009, Lanthimos)
A film from Greece

https://signsinspace.files.wordpress.com/2015/09/dogtooth-kids.png

"I hope your kids have bad influences and develop bad personalities. I wish this with all my heart."

There are numerous quotes regarding the cause/effect and juxtaposition of ignorance vs. knowledge — ignorance is bliss, but knowledge is power (or pain?); with knowledge comes pain; what I know can't hurt me — all of which boil down to the belief that sometimes is better "not to know". This belief has been applied in everything, from certain religions or sects to some types of government, and even relationships. Yorgos Lanthimos second feature film explores the application of this belief in the upbringing of children to the extreme.

Dogtooth follows a Greek couple (Christos Stergioglou and Michelle Valley) that keep their three "teenage" children isolated from the outside world. They live in an enclosed estate in the outskirts of the city, where the children are subjected to routines of exercise and bizarre language lessons (i.e. "shotgun" is a bird, "keyboard" is the vagina). Good behavior is rewarded with stickers or other meager benefits, and bad behavior with harsh violence.

Although the film is not graphically explicit or gory, Lanthimos succeeds in creating an exceedingly disturbing atmosphere in everything we see; from something as banal as the family dancing to something unsettling as the father paying a security guard at his job to have sex with his son (the fact that he invests in satisfying his son's sexual urges, but not the daughters, should tell you a bit of his frame of mind). The children are only allowed to watch home videos of themselves on the TV, while the parents secretly watch porn in their room. This is all natural to them, and yet there is nothing natural about what we see.

I feel like a lot can be said, written, and analyzed about each of the bizarre practices that the family goes through. But much like the patriarch, Lanthimos prefers to keep us in the dark and just let the events linger without much explanation. Maybe it is an analogy or a jab at religion, a critique of family life or disciplinary excesses, or even homeschooling, but Lanthimos refrains from explaining the "why"s behind it all.

Whatever it is, he manages to sustain that atmosphere all the way while drawing some great performances from their cast. The awkwardness and uneasiness oozes from the screen. Whether it's in the restrained anger from the parent, or the fearful servitude of the mother, or the weird mixture of naivete and ignorance in the children, and the knowledge that they probably won't know better.

Grade: 4.5

Thief

03-25-21, 04:22 PM

THE WHISPERERS
(1967, Forbes)

https://images.squarespace-cdn.com/content/v1/5cd39f80b91449614c55bcb4/1607849047325-1803L8K18YKFXHZYVWHE/ke17ZwdGBToddI8pDm48kLtVLYkon3M3Xo1NM_JBSwB7gQa3H78H3Y0txjaiv_0fDoOvxcdMmMKkDsyUqMSsMWxHk725yiiHCCLf rh8O1z4YTzHvnKhyp6Da-NYroOW3ZGjoBKy3azqku80C789l0v6DBRSr_UJKZgxKgWb2TL_VNkTwWyazwhwJ1zjCiyuu5CcJOP7roC_45NsGXlf2rQ/Screen+Shot+2020-12-13+at+12.28.36+AM.png?format=1000w

Radio: "The problem, the major problem of old age is undoubtedly loneliness. A great many old people live entirely alone, unvisited and unwanted, living day in and day out in small rooms without company or friends."
Margaret: "Poor old souls."

The above quote comes from a news article that Margaret Ross (Edith Evans) listens to. A report she dismisses a bit condescendingly while standing alone, unvisited, in her small apartment, as if it had nothing to do with her. Because, even though Ross lives impoverished and alone, in a rundown street of England, she lives mostly detached from her reality, either consciously or subconsciously. That is the focus of 1967's The Whisperers.

I admit I walked into this more or less blind. Various plot synopsis made it sound as if the film was some sort of spooky drama because Ross seems to be haunted or bothered by "voices" she hears around her apartment, the so-called "whisperers". As a matter of fact, one of the first scenes of the film is her going to the police station to inquire about the police "investigation" on this "voices", an inquiry which the police officer dismisses by assuring her that they have a "brave" man "always on the job".

But I was surprised to see that the film was a more dramatic exploration at the life and mind of an elderly woman who has been essentially abandoned by everyone, from her no-good husband and her criminal son to maybe even God? (another early scene features Ross in a small church service for poor people where she's mistreated by other attendants that mock her and call her "dozy old cow").

But Ross carries on, somewhat oblivious to her surroundings, claiming that she'll eventually receive a substantial amount of money from some alleged businesses, while signing her letters to the National Assistance government office as "Countess of Erde, Dame of the Order of the Garter, Doctor of Law". It was initially hard to peg Ross cause she does behave somewhat obnoxiously and condescendingly during the first half. But as the plot progresses, and you see what she's actually been through, her life and situation becomes more heartbreaking.

The real highlight of the film is Evans' performance. A performance that, even before finishing the film, I felt was among the best female performances I've ever seen. The way Evans conveys the solitude and loneliness of Ross, hidden behind the facade of pretensions and false hopes was nothing short of impressive. The scene where she suddenly comes upon a money stash that was hidden by her son is a spectacle of emotions and non-verbal acting.

But her performance is not the only one that shines. Every performance is spot on; from the sleaziness of her husband (Eric Portman) and her son (Ronald Fraser) to the cunning of the woman that cons her (Avis Bunnage) or the genuine worry from Mr. Conrad (Gerald Sim), the employee at the National Assistance that seems to be the only one to actually care about Ross.

The film does seem to wander a bit in the last act, as we see Ross' husband get mixed up with the wrong crowd. But it serves the purpose of getting things back to the main theme, which is the abandonment and disregard of the elderly from pretty much everybody, and the effect it has in their mental health. As someone who usually finds himself affected by this kind of film, this one hit me in the right spot. Among the best I've seen recently.

Grade: 4.5

kgaard

03-27-21, 05:07 PM

A film with a title that starts with the letters E or F:

Emma. (2020) This is ... fine, I guess? It looks nice, but given the existence of previous adaptations (the 1996 Gwyneth Paltrow version or, even better, Clueless), I'm not entirely sure why this was made. It doesn't really have anything new to say about class or sex. It's a perfectly pleasant diversion, though.

A film from the 1930s:

Mutiny on the Bounty (1935) Charles Laughton's performance is the main reason to see this. His Captain Bligh is almost comically evil, yet Laughton still manages, somehow, to invest him with a glint of humanity. It's kind of amusing that, for historical accuracy, they made Clark Gable shave off his mustache but didn't have him speak with an English accent. More generally, it's an entertaining and well made seafaring adventure, but Laughton is the real draw.

Thief

03-27-21, 05:37 PM

FANTASTIC PLANET
(1973, Laloux)
A film with a title that starts with the letters E or F

https://indieethos.files.wordpress.com/2016/09/28636id_013_primary_w1600.jpg

"I grew up fast in that slow world, for a Draag week was equal to one of my years. I was just a living plaything that sometimes dared to rebel."

Set in the mysterious planet of Ygam, Fantastic Planet follows the clashes between the human-like Oms and the giant, blue humanoid Draags that are trying to eradicate the former from their planet, while also keeping them as pets. Terr (Eric Baugin) is a young Om that has been kept as a pet since infancy by Tiwa (Jennifer Drake). But when he accidentally starts to absorb knowledge from his captors, he ends up leaving Tiwa and joining a group of rebel Oms in order to oust their captors.

I found this film both amazing and mesmerizing for so many reasons. I'll start by saying that the opening scene was such a perfect way to capture what this world is about, to expose the themes without spelling them out, but rather with haunting and eerie visuals. Second, the animation was so effective, and you feel like it suits the plot and the era so well. The use of colors and certain angles only helped to amplify the eeriness of this world. Third, the creativity with which director René Laloux and co-writer Roland Topor build this planet and set its environment and rules is nothing short of impressive. Finally, the music is so cool and helps to establish the trippy mood extremely well.

Fantastic Planet was a troubled project to begin with; not only for its themes and ambitions, but also because of the circumstances surrounding its production. While production started in France, it was animated in Czechoslovakia which had more resources in that field. Halfway through, Czechoslovakia was invaded by the Soviet Union in an effort to suppress a reform movement in the country. Casually, co-writer Topor was of Polish-Jewish descent and had to spend his childhood hiding from the Gestapo. All of this adds more weight to the themes of oppression and subjugation that permeate through the film.

I still have some issues with it. Even though I understand it's not the film's goal, but the lack of character development and depth hinders its effect a bit. Plus, the resolution feels somewhat abrupt and a bit too convenient. Still, I would definitely say that this was one of the most interesting film-watching experiences I've had recently.

Grade: 4

Thief

03-27-21, 05:40 PM

A film from the 1930s:

Mutiny on the Bounty (1935) Charles Laughton's performance is the main reason to see this. His Captain Bligh is almost comically evil, yet Laughton still manages, somehow, to invest him with a glint of humanity. It's kind of amusing that, for historical accuracy, they made Clark Gable shave off his mustache but didn't have him speak with an English accent. More generally, it's an entertaining and well made seafaring adventure, but Laughton is the real draw.

I remember watching this several years ago and enjoying it a lot, but I should probably rewatch it some day.

Thief

03-28-21, 01:04 PM

LO AND BEHOLD
REVERIES OF THE CONNECTED WORLD
(2016, Herzog)
A documentary film

https://i.imgur.com/skCy4zd.jpg

"It used to be that when you communicated with someone, the person you were communicating with was as important as the information; Now on the internet, the person is unimportant at all."

Oxford Languages defines "reverie" as "a daydream", some thought or idea that we seem to get lost in, while also offering an archaic definition that refers to it as "a fanciful or impractical idea or theory." It is no wonder that director Werner Herzog chose that word for the subtitle of this documentary, since most of the ideas and inventions exposed in it could fit both definitions; whether it's the inventions of the past that were seen as "fanciful or impractical", but are now a reality, or the "daydreams" of today which we still don't know if we will ever attain.

Lo and Behold opens with the birth of the Internet in 1969, but then branches out to demonstrate the various reaches and effects of a "connected world" in our lives, our society, and our future. From its humble beginnings in a UCLA hallway to the possibilities of connecting with astronauts in Mars; from its advantages in the cure of an illness through a seemingly inoffensive game to its damaging impact in addicted people that have decided to leave gaming and the Internet completely.

Herzog does a good job dividing the film in ten chapters, all of which are relatively self-contained while dealing with the same theme of "connectedness" and the positive/negative impacts it has or could have. There is a certain meandering aspect to it since there is little connective tissue between each chapter, but they all have the vibes of "daydreaming" that I suppose Herzog wanted. His choice of interviewees also, many of which are quite eccentric, support that "dreamy" vibe.

I read some reviews wondering why would Herzog do this, and arguing that it didn't fit into his style. I'm no expert on him, having only seen four of his feature films, but if there is one constant in those four films is the near or complete madness of humanity in different situations and environments. People dreaming of things that seem out of reach and unattainable, that sometimes end up disconnected from the world as a result. I'd say this fits neatly into that.

Grade: 3.5

Thief

03-28-21, 02:29 PM

I should've mentioned that me working IT probably factored into my overall appreciation of the documentary.

Chypmunk

03-29-21, 01:20 PM

Again not seen most of those you've watched since I last popped in so can't really comment much :(

I thought Wreck-It-Ralph was a fun watch but am not a gamer myself so I never quite got the hype for it. Haven't bothered with the sequel. Thought Dogtooth was brilliant, I love how bizarre but with a straight face it is - just works really well for me and is probably my favourite from Lanthimos thus far (yet to see The Favourite though and do adore Olivia Colman who to me is a perfect fit for his style so that may well change).

I really ought to get round to Fantastic Planet at some point, I never seem to hear any negative opinions of it and Nomadland will almost certainly get a view at some point (most likely in a couple of years time knowing me).

Thief

03-29-21, 02:50 PM

Thief

03-29-21, 05:24 PM

MISSION: IMPOSSIBLE III
(2006, Abrams)
The third part on a film franchise

https://fromtailorswithlove.co.uk/wp-content/uploads/mission-impossible-3-jacket-suede.jpg

"What I'm selling and who I'm selling it to should be the last thing you're concerned about... Ethan."

In 1996, Tom Cruise took on the role of Ethan Hunt for the first time. A highly skilled spy that ended up on the wrong end of a conspiracy that framed him for the death of his whole team forcing him to go rogue to clear his name. 10 years, one sequel, and numerous production woes later, Cruise would take on the role once again in what would end up being a very different film; one that would change the course of this franchise for good.

Mission: Impossible III features a semi-retired Hunt, who is now a trainer of new recruits while enjoying "normal" life with his fiancée Julia (Michelle Monaghan). Unfortunately, when a young trainee (Keri Russell) ends up captured, Ethan is pulled back into action; first to try to rescue her and then to try to stop Owen Davian (Philip Seymour Hoffman), the notorious arms dealer that had captured her. And it is at the hands of Davian that the film introduces a concept that seemed foreign to this franchise: a real threat and a real vulnerability to our "hero".

Ever since I first saw this, it has remained as my favorite of the franchise. Director J.J. Abrams and his team of co-writers do a great job of subtly introducing a certain level of intimacy and closeness to the interactions that make everything feel personal, as opposed to the detached "uber-coolness" of the previous film. You feel it in Ethan's interactions with his trusted right-hand man, Luther (Ving Rhames) or in his brief interactions with Director of Operations Musgrave (Billy Crudup), or in other small things, like him knowing the names of Julia's friends and co-workers. There's a familiarity to everything that makes you feel less secure than if it this was some other Bond-esque action film.

But the biggest way we feel that threat is through Davian himself. Philip Seymour Hoffman delivers what is probably the best antagonist performance of the franchise. His Davian is ruthless but without veering too much into "moustache-twirling". There's more of a banality to it, an "I don't care" vibe from him that I just find chilling. The above quote is one of the many threats that he throws at Ethan after being captured, and the way he pauses and enunciates Ethan's name is just one of many ways in which he signals to him "I know who you are now. I can get to you."

But aside from that, Abrams and company do countless other things to make the film feel more grounded and less exaggerated and ludicrous. From the way they coordinate infiltrating the Vatican or a corporate building in Shanghai to how they come up with their iconic masks, everything feels real. Even the action setpieces, all of which are great, feel more organic and grounded in reality than the ones in M:I-2 or in future films, regardless of how cool or great they are. To me, the ambush at the Chesapeake Bay Bridge remains one of the most thrilling and exciting action scenes of "recent" years.

Finally, the other aspect of the film that makes it my favorite of the franchise is the team aspect. To me, this is the first film of the franchise where the team actually feels like *a team*. In the first one, it's understandable because Ethan is just assembling a team of rogues he doesn't know, but in the second one, you just have Luther and some random guy in a helicopter. Here, you get that sense of purpose in each member of the team, plus that sense of camaraderie between each of them that makes it feel more like a team film instead of the Ethan Hunt Show.

All of those advantages are things that they've managed to maintain through all the other sequels. Like I said before, this is the one that changed the franchise, and the success of the other films is anchored to what they built here: from the team rapport to the character of Julia and his relationship with Ethan, and it has worked incredibly well.

Grade: 4.5

Thief

03-30-21, 09:59 AM

For anyone interested, I'll be a guest tonight on Let's Chat! Live via YouTube. Like the title says, it will be live at 8pm EST, so if anyone is interested, feel free to join in through here...

this link (https://www.youtube.com/watch?v=uVujqHxlzUc)

Or just search for them on YouTube. We'll talk about my podcast and films in general, so check it out! :cool:

Sedai

03-30-21, 10:34 AM

Thief

03-30-21, 10:37 AM

Love MI: III, but I think my favorite(s) is the one-two action punch of Rogue Nation and Fallout. Rebecca Ferguson was a fantastic addition to the franchise, and the team fun is in full swing in those films. Add Sean Harris in as the villain, and we have a winner! Or, two winners, even though they are kind of one big movie when watched in sequence. III is excellent, though, with Hoffman really nailing the villain role there, as well.

Fallout is up there for me as far as a franchise Top 3 would go. But yeah, I would add Ghost Protocol to those two in terms of them working like one big film. Anyway, the truth is that they're all good, with the possible exception of the second one, which has some cool action setpieces, but feels more like an outlier.

Sedai

03-30-21, 10:59 AM

Fallout is up there for me as far as a franchise Top 3 would go. But yeah, I would add Ghost Protocol to those two in terms of them working like one big film. Anyway, the truth is that they're all good, with the possible exception of the second one, which has some cool action setpieces, but feels more like an outlier.

We went through the whole series last year, and while two was the definite worst one, it wasn't as bad I remembered it being. My problem with it is that it is sort of a Tom Cruise solo piece, and MI should be all about the team as a whole.

As an aside, I used to think of Tom Cruise as sort of a Hollywood diva, and I would picture him showing up to the shoot at 2pm with his sunglasses on, doing one take for a few scenes, and then jumping in his fancy car without a word and driving off to party, ignoring the other cast and crew, except to fire an intern that looked at him the wrong way or something.

After seeing the making of Rogue Nation, it seems he is quite the opposite. An extremely hands-on guy, involved in as much as he can find time to be involved with. He is the first guy on set, and the last to leave, regularly giving pep talks and words of encouragement to the crew and his castmates. A real workaholic, that guy.

Thief

03-30-21, 11:32 AM

We went through the whole series last year, and while two was the definite worst one, it wasn't as bad I remembered it being. My problem with it is that it is sort of a Tom Cruise solo piece, and MI should be all about the team as a whole.

As an aside, I used to think of Tom Cruise as sort of a Hollywood diva, and I would picture him showing up to the shoot at 2pm with his sunglasses on, doing one take for a few scenes, and then jumping in his fancy car without a word and driving off to party, ignoring the other cast and crew, except to fire an intern that looked at him the wrong way or something.

After seeing the making of Rogue Nation, it seems he is quite the opposite. An extremely hands-on guy, involved in as much as he can find time to be involved with. He is the first guy on set, and the last to leave, regularly giving pep talks and words of encouragement to the crew and his castmates. A real workaholic, that guy.

I saw M:I-2 in theaters and that's what I got out of it: kick-ass action sequences, lots of style, but not much of a genuine M:I vibe. I haven't seen it since so I don't know how it would fare now, but as far as I remember, it does stick out like a sore thumb along the others.

Re: Tom Cruise, that's the general vibe I've gotten from him lately, especially with this franchise. He seems to genuinely care about it, and I think that his close relationship with McQuarrie also helps. It's good to see someone of his "stature" to be this involved.

Thief

03-30-21, 03:20 PM

Anybody has any links to a Russ Meyer film that isn't Beyond the Valley of the Dolls? :shifty:

I threw myself this challenge only to realize later that there literally isn't *anything* on any streaming service except Dolls, which I've seen. The only other one I saw available was Fanny Hill on Prime, but it's a rental.

It's the only category I have left to complete the challenge, so any help? :D

Thief

03-30-21, 08:38 PM

Thief

03-30-21, 11:01 PM

And that's a wrap! If you didn't tune in live, you can still check out the interview on the link above.

Takoma11

03-31-21, 12:02 AM

Thief

03-31-21, 09:29 AM

Some of his films are on YouTube.

https://www.youtube.com/watch?v=LmeGKP5Bb20

Woohoo, thank you! I could've swore I checked YouTube, or maybe I thought about it at work but didn't want to Google "Faster Pussycat Kill Kill" on my work laptop :laugh:

Captain Terror

03-31-21, 11:38 AM

And that's a wrap! If you didn't tune in live, you can still check out the interview on the link above.

:up: I think I caught the last 2/3 or so "live". Since I missed the beginning I wasn't clear if the other two people were co-hosts, or if one of them was also a guest.

Re: Tom Cruise

If you asked me "Do you like Tom Cruise?" My knee-jerk answer would be "no", and yet when confronted with one of his films I'm always reminded how good he is. So I'm in this weird space where I don't seek out his films but usually enjoy them in spite of myself.

(and I thought it was common knowledge that he was a wild man when it comes to doing stunts and stuff. I was surprised that that seemed to be a revelation to the other chatters.)

Thief

03-31-21, 12:57 PM

:up: I think I caught the last 2/3 or so "live". Since I missed the beginning I wasn't clear if the other two people were co-hosts, or if one of them was also a guest.

Re: Tom Cruise

If you asked me "Do you like Tom Cruise?" My knee-jerk answer would be "no", and yet when confronted with one of his films I'm always reminded how good he is. So I'm in this weird space where I don't seek out his films but usually enjoy them in spite of myself.

(and I thought it was common knowledge that he was a wild man when it comes to doing stunts and stuff. I was surprised that that seemed to be a revelation to the other chatters.)

Thanks for joining!

Re: Tom Cruise, like I said in the interview, I feel like he's often dismissed, either consciously or not, by either his looks or his crazy shenanigans... but when you look at it, he more than often delivers.

Captain Terror

03-31-21, 04:12 PM

A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #3 (i.e. 13, 230, 830): Rashomon (#138)
Continuing my "watch every Kurosawa film" project. This just in: Rashomon is a quality film.

A film from the 1930s: Mystery Plane / Stunt Pilot (both 1939)
From the late '20s into the '40s, Tailspin Tommy was a popular comic strip character who eventually spread to books, magazines, comic books and the movies. There were two serials and four films total, and these were the first two installments of the Tailspin Tommy Cinematic Universe. :) They weren't great, but it's still cool to discover a forgotten character like this. (He was a pilot, if that wasn't clear).

A documentary film:
Conny Plank: The Potential of Noise
Producer Plank was involved with some of my favorite German bands/albums of the 70s, but this doc did not shed much light on his work. The film was directed by his son who was very young when Plank died, so this mostly consists of old rockers telling him how awesome his dad was. Not terrible, but could've been better.

The third part on a film franchise:
Dracula: Prince of Darkness
(Re)Watched all of the Hammer Draculas in sequence, and this one is #3.

Thief

03-31-21, 04:25 PM

Thief

03-31-21, 04:26 PM

The third part on a film franchise:
Dracula: Prince of Darkness
(Re)Watched all of the Hammer Draculas in sequence, and this one is #3.

I've only seen the original. Any other worth a watch?

Captain Terror

03-31-21, 04:45 PM

I've only seen the original. Any other worth a watch?

The first 3 or 4 are solid, but once you enter the 1970s your mileage may vary. This reminds me that I intended to report my findings in the horror thread but I forgot, so keep an eye out for a more detailed recap.

But definitely check out Brides of Dracula if you can (film #2 in the series). GAWD I love Brides of Dracula!

Thief

04-01-21, 06:00 PM

RAN
(1985, Kurosawa)
A film from the Criterion Collection whose number includes the #3

https://i.pinimg.com/originals/00/62/cd/0062cd5941436180197e554513665e03.jpg

"Men always travel the same road"

Spanish poet and philosopher George Santayana once wrote "Those that don't remember their history are cursed to repeat it". In other words, we need to learn from our mistakes as human beings and as a society, in order to not repeat them again and again. Unfortunately, we either forget, or think we're above those mistakes and that we will never trip over them again, only to find ourselves face flat next. That sentiment lies in the background of Akira Kurosawa's 1985 epic.

Set in Medieval Japan, Ran follows Hidetora Ichimonji (Tatsuya Nakadai), an aging warlord that decides to retire and hand over his empire to his three sons: Taro, Jiro, and Saburo. Unfortunately, he doesn't count on how the thirst for power will corrupt and ultimately destroy their family and the kingdom. As chaos ravages the land, Hidetora starts to lose his sanity, but still finds himself realizing that much of what's happening is a direct result of his past actions and mistakes.

This is a film that I've had on my radar for decades. Even when I was a teenager starting to get into film, I used to be drawn to its box cover which featured the iconic scene with the castle engulfed in flames. For some reason, I never got around to it, and when I started diving into Kurosawa films as an adult, some people suggested for me to start with "lighter" films and leave Ran for later. After watching four other Kurosawa films during the last decade, I thought it was about time.

There are many things that I could say about the film. It is definitely an epic in all its spectacle and scope. The setpieces are breathtaking and grandiose, the set and production design is perfect, and Kurosawa's direction is pretty much flawless. His framing and use of color and symmetry on the shots is so gorgeous that you want to take them and put them on a wall. In addition, Kurosawa uses numerous shots of nature, from the mountains and clouds to the chilling last shot, perhaps in an attempt to contrast the beauty and order of nature against the chaos ("ran") of humanity's struggles and wars.

Because Ran is a film of chaos despite all efforts. Hidetora has lived all his life building his kingdom, and for the most part has managed to avoid the consequences of the actions of his past. But as he realizes towards the middle of the film, as he finds himself in the ruins of a castle he once destroyed, men always travel the same road. Hidetora realizes that the ruthlessness with which he ruled is the same ruthlessness that he's seeing in his sons right now, and that the revenge he's being served right now is the direct effect of his own actions.

The performance from Nakadai is a spectacle in and of itself, as we see the mental and physical decay conveyed through his expressions, his makeup, and his body language. Jinpachi Nezu and Daisuke Ryu are also great as Jiro and Saburo, but Mieko Harada easily steals every scene she's in as Lady Kaede, the cunning wife of Taro. Kudos also to Peter, who plays Hidetora's fool and who probably has one of the most interesting arcs and certainl the best lines (including the above quote).

This film has certainly jumped at the top of my Kurosawa ranking, and is easily one of the most gorgeous films I've ever seen. It has surely joined the list of films I would love to see on the big screen at least once. I've only just seen it, but I would have no issues traveling this road again.

Grade: 5

kgaard

04-02-21, 09:28 PM

A documentary film:

Shirkers (2018) Entirely charming movie about a young woman who with her friends and an expat weirdo make Singaporean film history, though not exactly in how they planned. Love of cinema shines out of every frame.

The third part on a film franchise:

Iron Man 3 (2013) It's a Marvel movie, so if you've seen any of them you'll have a pretty good sense of what you're gonna get (and this was a rewatch, so doubly so). I enjoy them, for the most part, and most of them have something particularly fun about them--in this case it's Ben Kingsley embiggening a small part.

A film directed by a woman (Women's History Month):

Meek's Cutoff (2010) Quiet, slow, intense anti-Western about settlers lost in the wilds of Oregon. It's a low-key masterpiece about power dynamics when people are reduced to the raw elements of survival.

So, five pretty solid movies this month, Emma. being the weakest of the batch and Shirkers and Meek's Cutoff the most rewarding.

Thief

04-03-21, 10:54 PM

I've heard good things about Meek's Cutoff. I need to check it out.

Had never heard of Shirkers.

Thief

04-03-21, 10:54 PM

For those interested, I'm still working on my final two reviews: Vampyr and Faster, Pussycat! Kill! Kill!, but I'll try to work them out soon and post the new categories.

kgaard

04-04-21, 10:23 AM

I've heard good things about Meek's Cutoff. I need to check it out.

Had never heard of Shirkers.

It's just as well if you don't know too much about Shirkers going in. There's an element of discovery to it that's part of the charm of the film (though I think it works even if you know all of its "secrets"). I watched it on Netflix.

The good things you've heard about Meek's Cutoff are true! Just be prepared for something contemplative, it's not a film that's racing to get somewhere.

Takoma11

04-04-21, 10:27 AM

The good things you've heard about Meek's Cutoff are true! Just be prepared for something contemplative, it's not a film that's racing to get somewhere.

Agreed!

I think that the biggest mistake people make when trying to "sell" Meek's Cutoff is trying to make it sound more action-y than it is.

Thief

04-04-21, 02:52 PM

VAMPYR
(1932, Dreyer)
A film from the 1930s

https://i.blogs.es/3741ea/vampyr-f1/1366_2000.jpg

"Who can solve the riddle of life and death or fathom the dark secrets hidden from the light of day?"

Death has always been a mystery. What awaits for us after has been the subject of studies, theories, beliefs, and fantasies, particularly because, well, there's no way to tell. From established religions to cults, from attempts to bring people back from the dead or avoid it altogether. Perhaps those were some of the questions in the mind of Allan Gray, the main character in this film from Carl Theodore Dreyer.

Vampyr follows Gray (Nicolas de Gunzburg) as his studies of devils and vampires take him to the village of Courtempierre. It is there that he finds himself immersed in a dreamlike journey where death is not only a matter of investigation, but a constant threat to him, and everyone around him; especially the family that he's trying to protect.

Early in the film, as Gray arrives at an inn, we see a ferryman that's traveling across the river. His silhouetted image, with the sickle in hand, reminded me of the mythical Charon, the ferryman that carried the souls of the deceased through the river Styx and into Hades. And that image made me wonder about the reality of what we're seeing, how much of it is actually in Gray's mind while in an afterlife dreamlike state.

But that's the thing. Just like death itself, it is never clear what is real and what is a dream. Through the film, Gray himself steps in and out of his body, and experiences hallucinations of his own death. But even if the film doesn't really try to answer its own questions, what really stands out is the imagery that Dreyer presents; from the sickled silhouette that adorns most of the film's promotional pictures, to the images of ghastly soldiers and people marching or dancing; death is everywhere.

This is my second time watching this film and, even though I still find it hard to peg down, I still find it visually mesmerizing and captivating anyway. Much like Gray himself seemed eager to dive into this journey, I was looking forward to rewatching it myself.

Grade: 4

Thief

04-04-21, 09:35 PM

FASTER, PUSSYCAT! KILL! KILL!
(1965, Meyer)
A film from Russ Meyer

https://images.justwatch.com/backdrop/8739624/s1440/faster-pussycat-kill-kill

"I never try anything. I just do it. And I don't beat clocks, just people! Wanna try me?"

That's the power statement of Varla (Tura Santana), a go-go dancer turned criminal, as he faces young "All-American boy" Tommy (Ray Barlow) and his girlfriend Linda (Susan Bernard). Her statement might be born out of a general hatred and disgust towards specific men (like the ones screaming at them in the opening, "Go! Go!"), but it can also be seen as a statement of defiance against the established dominance of the traditional "All-American man".

Faster, Pussycat! Kill! Kill! follows Varla, Rosie (Haji), and Billie (Lori Williams), who end up getting rid of Tommy and kidnapping Linda. When they stumble upon an old man (Stuart Lancaster) and his two adult sons, they find out they might be hiding a lot of money, so they decide to con them.

This is only my second Meyer film, so I'm by no means an expert, but it does seem to include the two ingredients that he's mostly known for: voluptuous women and edgy violence. Whatever the story is, Meyer finds good excuses to have them shake their booties, roll around in the water or in the ground, and walk around topless after taking a shower.

I do find it interesting how in the midst of all these excesses, there seems to be an attempt to empower women, one way or another, while also putting men down, which you can see in the three main male characters: an old man with two sons, one strong, yet "dim-witted", and another smarter, yet "weak". After all, that's how the older one describes himself as he succumbs to the charms of Varla.

Although some of the performances are spotty, there are a few (especially Santana's) that are worth a watch, if anything for the scenery chewing. Williams is also pretty solid, but her performance is more muted than the other two actresses. Bernard also manages to hold her own. Unfortunately, her character doesn't have much to do other than run and scream.

One of my main problems with the film is that it doesn't really establish well who we are supposed to follow, which makes it feel a bit unfocused at first. Even though we start and finish with the three dancers, their motivations are never explored. Linda is the character that we might identify with the most, but her character behaves like the typical damsel in distress; and the man that ends up being her protector is "weak" and not well developed.

Regardless of that, if you're looking for a bombastic film with flashy performances and a good dose of excess, this might be worth a watch. In the words of Varla, "Wanna try me?"

Grade: 3

Thief

04-05-21, 12:53 PM

Alright, sorry for the delay... here is my final tally for MARCH 2021:

A film with the number 3 (Three, Third, etc.) in its title: The Three Caballeros (https://www.movieforums.com/reviews/2185228-the-three-caballeros.html)
A film with a title that starts with the letters E or F: Fruitvale Station (https://www.movieforums.com/reviews/2183918-fruitvale-station.html), Fantastic Planet (https://www.movieforums.com/reviews/2190667-fantastic-planet.html)
A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #3 (i.e. 13, 230, 830): Ran (https://www.movieforums.com/reviews/2191960-ran.html) (#316)
A film from the 1930s: Vampyr (https://www.movieforums.com/reviews/2192671-vampyr.html)
A documentary film: Lo and Behold: Reveries of the Connected World (https://www.movieforums.com/reviews/2190842-lo-and-behold-reveries-of-the-connected-world.html)
The third part on a film franchise: Mission: Impossible III (https://www.movieforums.com/reviews/2191156-mission-impossible-iii.html)
A film directed by a woman (Women's History Month): Nomadland (https://www.movieforums.com/reviews/2188693-nomadland.html)
A film with the word "Spring" in its title: Spring Night, Summer Night (https://www.movieforums.com/reviews/2185924-spring-night-summer-night.html)
A film from Russ Meyer (born March 21): Faster, Pussycat! Kill! Kill! (https://www.movieforums.com/reviews/2192730-faster-pussycat-kill-kill.html)
A film from Greece (Revolution Day, March 25): Dogtooth (https://www.movieforums.com/reviews/2189630-dogtooth.html)

Freebies: In a Glass Cage (https://www.movieforums.com/reviews/2185054-in-a-glass-cage.html), Raya and the Last Dragon (https://www.movieforums.com/reviews/2185703-raya-and-the-last-dragon.html), Wreck-It Ralph (https://www.movieforums.com/reviews/2188936-wreck-it-ralph.html), Ralph Breaks the Internet (https://www.movieforums.com/reviews/2189222-ralph-breaks-the-internet.html), The Whisperers (https://www.movieforums.com/reviews/2190179-the-whisperers.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/nMfScRxw9wVLoO7LiEjziFAKLSK.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/dvHYetUIshAPtMhtVtBT7dW5hqh.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/prq0j1S0K07UjwLZLF6oMGflRUI.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/jK7aLEh1StwcLBK22NCHuDmCq90.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/m7BKgeW06cgW5512wukfGhLsWGL.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/4tC7mrHpWpG5AZmQuVS7sCDzPT.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/5l0hS4A119jCA1A02XsFZHq1uRD.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/66GUmWpTHgAjyp4aBSXy63PZTiC.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/5f8Qva3IniRo3nDmlOBWU148tbQ.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/4mld2L1vWqgqFQmKa7KU4HzLKPi.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/xUnbL2Uoh4zoc1hJvIV6MDDJpka.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/64rlKmchkFyLDh6XP2XqPHw9nPd.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/lPsD10PP4rgUGiGR4CCXA6iY0QQ.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/zWoIgZ7mgmPkaZjG0102BSKFIqQ.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/qEnH5meR381iMpmCumAIMswcQw2.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/8T9P7cm3F9stR2J3OtrkK4LNq0e.jpg

Great month. My favorite first-time watch was easily Ran, but The Whisperers and Dogtooth both left a really strong impression.

As for a least favorite, nothing awful, but there were a bunch of 3. I'll say Wreck-It Ralph, if anything for how disappointing that final revelation was. But like I said in my review, it's still a fun and creative animated film.

Thief

04-05-21, 12:58 PM

Here is the challenge for APRIL...

A film with the number 4 (Four, Fourth, etc.) in its title:
A film with a title that starts with the letters G or H:
A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #4 (i.e. 14, 340, 714):
A film from the 1940s:
A drama film:
A Biblical film:
A film nominated for a Best Picture or Best Int'l Feature Film this year:
A film primarily set in a submarine (Nat'l Submarine Day, April 11):
A film with Anthony Perkins (born April 4):
A film from Iran (Islamic Republic Day, April 1):

Anybody can join, anybody can share recommendations as well.

Thief

04-05-21, 01:04 PM

And finally, dropped this a couple of days ago...

Episode 34 of Thief's Monthly Movie Loot, where I talk about the best films I saw in March as well as some brief reviews of everything else I saw. Pretty much the same I write here, but with the benefit of my sweet voice :laugh:

Thief's Monthly Movie Loot 34 - The March Loot (https://www.buzzsprout.com/850063/8251776-thief-s-monthly-movie-loot-34-the-march-loot.mp3?blob_id=37469090&download=true)

As usual, it's also available on Spotify here (https://open.spotify.com/episode/0qV9QEBiYvLrKdz9hXSsCn?si=429195898b6f45cd").

Next episode with a guest will be recorded next weekend, and it will be about the Oscars! So stay tuned.

Captain Terror

04-05-21, 01:13 PM

Here is the challenge for APRIL...

A film primarily set in a submarine (Nat'l Submarine Day, April 11):

Sweet serendipity, I just watched a submarine movie on April 2. Nice.

Thief

04-05-21, 01:19 PM

Sweet serendipity, I just watched a submarine movie on April 2. Nice.

Let me know which, so I can ride your coattails :laugh:

Captain Terror

04-05-21, 01:26 PM

Let me know which, so I can ride your coattails :laugh:

It was Operation Pacific with John Wayne, which was sadly not worth the $4 rental.

Thief

04-05-21, 01:37 PM

It was Operation Pacific with John Wayne, which was sadly not worth the $4 rental.

Hmm, I just saw a recent one available on Netflix, The Wolf's Call. It seems to have a good rating.

I also would've liked to rewatch Crimson Tide and/or The Hunt for Red October, both of which I haven't seen in 20+ years, but I don't see them streaming anywhere.

A Twitter friend also recommended On the Beach, from the 1950s, but it's also not available streaming.

Captain Terror

04-05-21, 01:47 PM

Hmm, I just saw a recent one available on Netflix, The Wolf's Call. It seems to have a good rating.

I also would've liked to rewatch Crimson Tide and/or The Hunt for Red October, both of which I haven't seen in 20+ years, but I don't see them streaming anywhere.

A Twitter friend also recommended On the Beach, from the 1950s, but it's also not available streaming.

Criterion's got The Atomic Submarine, but it's been too long since I've seen it to say whether it's good or not.

Takoma11

04-05-21, 02:32 PM

Criterion's got The Atomic Submarine, but it's been too long since I've seen it to say whether it's good or not.

It's . . . something.

I would recommend Below, the horror movie from like 2002. I really love its atmosphere and story development.

Thief

04-05-21, 02:58 PM

It's been a while, but I've seen Below.

Thief

04-05-21, 03:02 PM

Criterion's got The Atomic Submarine, but it's been too long since I've seen it to say whether it's good or not.

According to JustWatch, it's also on Prime and Tubi, so it's definitely an option.

Captain Terror

04-05-21, 05:08 PM

20,000 Leagues Under the Sea is on Disney+ and Pluto TV (free)

Thief

04-05-21, 05:23 PM

I went from having no options to now having too many options for the submarine one :laugh: Here's what I got...

On the Beach - Not available streaming, but I'm putting it here cause it intrigues me
The Wolf's Call - Netflix
Black Sea - Netflix (Thanks to Apex Predator for reminding me)
The Atomic Submarine - Prime and Tubi (Thanks to Captain Terror)
20,000 Leagues Under the Sea - Disney+ (Thanks to Cap as well)

Thief

04-05-21, 05:27 PM

Anyway, with that said, here is more or less what I'm leaning towards...

Here is the challenge for APRIL...

A film with the number 4 (Four, Fourth, etc.) in its title:
A film with a title that starts with the letters G or H: Hard Times
A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #4 (i.e. 14, 340, 714): Taste of Cherry, Breathless, Bicycle Thieves
A film from the 1940s: Bicycle Thieves
A drama film:
A Biblical film: Ben-Hur
A film nominated for a Best Picture or Best Int'l Feature Film this year: Already saw Another Round, but wouldn't mind sneaking up another one, if I have a chance
A film primarily set in a submarine (Nat'l Submarine Day, April 11): (see above)
A film with Anthony Perkins (born April 4): On the Beach also features Perkins. If only I could find it.
A film from Iran (Islamic Republic Day, April 1): Taste of Cherry, Under the Shadow

I'm obviously juggling this challenge, the HOF24, and the PR HOF3, so there'll be a bunch of freebies. A lot of films also qualify for the "drama" category, so there's that too.

Captain Terror

04-05-21, 06:06 PM

On the Beach - Not available streaming, but I'm putting it here cause it intrigues me

yeah, haven't heard of that one before so I looked it up. Sounds interesting indeed.

kgaard

04-05-21, 06:54 PM

Hmmm...
https://www.youtube.com/watch?v=HusewgIe_1k

Thief

04-05-21, 09:32 PM

Ahh, the beauty of the Internet! Thanks, kgaard

Takoma11

04-05-21, 09:49 PM

Ahh, the beauty of the Internet! Thanks, kgaard

Did Faster Pussycat Kill Kill! teach you nothing?

Always check YouTube . . .

kgaard

04-05-21, 10:23 PM

Did Faster Pussycat Kill Kill! teach you nothing?

Always check YouTube . . .

I can’t lie, that’s what gave me the idea to look for it there.

Takoma11

04-05-21, 10:31 PM

I can’t lie, that’s what gave me the idea to look for it there.

Generally speaking, if a film isn't on a streaming service, you have a decent chance of finding it on YouTube.

I think it's when a streaming service has the rights to a film that they take it down from YouTube and police that copyright a bit more. For example, I couldn't even get the DVD of Farewell My Concubine from Netflix, but I was able to find the whole film on YouTube.

Thief

04-05-21, 11:49 PM

I've seen my fair share of films on YouTube. It just doesn't occur to me to check there often because many times the quality is not the best, but that is indeed changing.

kgaard

04-06-21, 11:37 AM

I have this weird thing about not watching movies on YouTube. Partly it's because I always like to watch on my TV (which is large) and I never wanted to bother with routing my laptop into the TV. Of course, now I can use the YouTube app on my Apple TV, so it's just a weird hangup I haven't let go of. I should probably watch On the Beach but The Atomic Submarine is much shorter...

Captain Terror

04-06-21, 11:55 AM

A few months ago I started keeping a log of my streaming, just to verify that I was actually watching the services I'm paying for. Every month Youtube is consistently on par with Prime and Netflix in terms of movies viewed per month. Of course I watch a lot of ancient Z-grade stuff so that's part of it, but yeah I've been surprised at how much HD stuff is on there. Watched one the other night that appeared to have been DVR'd from TCM.

Thief

04-06-21, 04:57 PM

ANOTHER ROUND
(2020, Vinterberg)
A film nominated for a Best Picture or Best Int'l Feature Film this year

https://variety.com/wp-content/uploads/2020/09/another-round-mads-mikkelsen.jpg

"It's funny, but there's a point to this, which is important and which I hope you'll understand someday: the world is never as you expect."

That's the lesson that middle-aged teacher Martin (Mads Mikkelsen) wants to impart his students at the end of an impassioned lecture; life rarely goes the way you want it to. Whether it's your career, your marriage, parenthood, or just the general routine of everyday life, it's never as you expect it to be. That's the main reason why Martin and his friends are trying to shake things up.

Another Round follows Martin who, along with his three friends and colleagues, Tommy, Peter, and Nikolaj (Thomas Bo Larsen, Lars Ranthe, and Magnus Millang) find themselves immersed in the typical mid-life crisis: boring job, routine marriage, etc. When they start discussing the theory of a psychiatrist that argued that having a BAC of 0.05 made you more creative, they decide to put it to the test by working while being a little, well, tipsy. Their experiment has great results at first, as all four improve their execution at work, reconnect with their families, and feel altogether more alive. However, things spiral out of control as they push the limits of the experiment and their BAC.

I don't think I was that interested in this, or even knew much about it, until the Oscar nominations were announced. Which is maybe the reason why I was pleasantly surprised by it. Even though the premise itself is not new and the film follows the sorta typical template of the "revitalized" middle-aged man, it is held together by the great performances from the cast, especially Mikkelsen. He really digs deep into the depression, frustration, and emotional chaos of this character as he goes up and down the wave of alcoholism.

I also liked how the film juxtaposes the dangerous effects of alcoholism with the many ways that society pushes alcohol unto us since our youth. That said, there is a subplot about a student that is having trouble with some tests and is sorta pushed into drinking by Peter, that kinda gets lost in the shuffle. But other than that, the film manages to successfully sustain a tone that, in a weird way, feels both bleak and hopeful.

Speaking of weird and bleak, I didn't know that director Thomas Vinterberg's daughter, Ida, had died just as they started filming. Ida had been a driving force behind the story, which Vinterberg had originally written as a play, and she had convinced her father to adapt it into a film. After Ida's death, Vinterberg had doubts but found inspiration in her to continue, while adapting the script and his direction to make it more "life-affirming". Like Martin said, the world is never as you expect. Hopefully, we can still make the most of it.

Grade: 4

Thief

04-06-21, 10:16 PM

THE OMEN
(1976, Donner)
A Biblical film

https://cdn.flickeringmyth.com/wp-content/uploads/2020/09/The-Omen-1-600x278.png

"Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is 666."

That is the Bible verse that inspires and closes this 1976 horror film. Watching this film as a kid, I ended up memorizing that verse. Heck, I think it's the first Bible verse I memorized. But such was the impact that this film had in me and my brothers as we grew up; one of dread of something mysterious, unknown, but incredibly evil.

The Omen follows Richard Thorn (Gregory Peck), a US diplomat that accepts to take over an orphan baby boy after his wife's stillbirth. What they don't know is that the boy is actually the Antichrist himself, who ends up wreaking havoc in Thorn's life and those around him.

I don't know how many times I saw this film while growing up, but it was a lot. And a lot of it stuck in my mind, aside from that verse: the kid's look, the gory deaths, and that freakin' score, which I still think is as creepy and eerie as ever. Maybe I shouldn't have seen this film at all, let alone so many times, but as a kid that was raised in the church, the fear of hell, Satan, or the Antichrist was as serious as it could be, which maybe adds to why it left such a lasting impression in us.

That said, it had been a while since I had seen it, so I was thrilled to see it was available on Hulu. As I revisited, I'm glad to say it held up pretty damn well. The atmosphere that Donner builds from the first scene is undeniable, his use of light and shadows in the hospital or around the Thorn house, and that haunting scene with the nanny... all of that creeps up on you as you see this evil force engulf this family.

I do think that Donner lets himself go to far with some of the death scenes. My adult mind now found most of them to be good, or even great, but a bit of restrain would've been better. I also have issues with how things unfold in the last act: from seeing a US Ambassador traveling around the globe even after he's been told his wife died, or how easily he agrees to sacrifice his 5-year-old son, even if he is "the Antichrist".

Regardless of those issues, I still think this is an awfully effective horror film that manages to build up a unique atmosphere of dread and fear of things we might not understand. It scared the hell out of me as a kid, and it still creeps up on me as an adult.

Grade: 4

Thief

04-07-21, 02:32 PM

HARD TIMES
(1975, Hill)
A film with a title that starts with the letters G or H

https://moviesanddrinkscom.files.wordpress.com/2018/06/ht10-fi.jpg?w=1050&h=379

"I don't look past the next bend in the road"

That's how hardened and stoic street fighter Chaney (Charles Bronson) describes himself to Lucy. Simply put, there's not much to say about Chaney, but he gets the job done, quick and efficiently. Which is something we can say about Walter Hill's debut film.

Set in the 1930s, Hard Times follows the struggles of Chaney, who moves from town to town making ends meet in illegal street fights. His pedigree and schedule sorta ramps up when he pairs up with Speed (James Coburn), a shady hustler that wants to make money off of him, which also puts him at odds with some dangerous elements.

Like Chaney, there's a simplicity to the film that I think works to its advantage. There's not a lot of figuring out what's going on. We just see this man go from fight to fight, and be supremely cool about it. There are attempts to flesh him out, particularly with his interactions with Lucy (Jill Ireland), a married woman with whom he gets involved. But there's not much around that bend for them either.

Speed, on the other hand, felt like a more complex character. I really liked how hard it was to peg him down, and I thought Coburn played that ambiguity really well. They are joined by Strother Martin, who plays Poe, a disgraced doctor that becomes Chaney's cutman, but as good as Martin is, he doesn't have much to do.

As Chaney moves up the ranks, he is often described as reliable and efficient. My experience with Hill's work is limited, but it seems that he abides by that same rule. Hard Times is not a complex film at all; it's rather simple. But it's as reliable and efficient as it can be, and much like those fights, a lot of fun to watch.

Grade: 3.5

Thief

04-08-21, 05:25 PM

THE SECRET IN THEIR EYES
(2009, Campanella)
A drama film

https://i.imgur.com/2iFRO6P.jpg

"If you keep going over the past, you're going to end up with a thousand pasts and no future."

That's the advice that agent Benjamín Esposito (Ricardo Darín) gets at one point on this film from Argentina. And yet, many of the characters seem to be caught up in the past for different reasons: from the desire for revenge, their quest for answers, or their longing for love. Will they be willing to leave the "jurisdiction" of the past and look forward instead?

The Secret in Their Eyes uses a nonlinear narrative moving back and forth between the 1970s and the 1990s. It follows Esposito, a former deputy in Buenos Aires who investigated the rape and murder of a young woman that didn't end up the way he would've wanted. Two decades later, he's still haunted by it and starts writing a novel about it.

Esposito is assisted in his investigation by Pablo Sandoval (Guillermo Francella), an alcoholic but dependable friend, and Irene (Soledad Villamil), his superior who reluctantly helps him at first, but eventually realizes that he might be right about the investigation. Even though Esposito and Irene are obviously smitten with each other, they never dare to share their feelings to each other.

I didn't know much about this film before I started watching it, but it certainly wasn't what I expected, in a good way. The film manages to tread along different genres without losing a beat: whether it's a psychological thriller, a crime drama, or even tinges of historic epic, with how it weaves Argentina's historical and political history into the plot.

The thrilling aspect of it is evident all through the film, particularly during two scenes: a breathtaking sequence in a soccer stadium, which features a 5-minute long shot that had me on the edge of my seat all the way, and a supremely tense elevator ride. But the care that director and co-writer Juan José Campanella gives each character makes for an extremely rewarding experience in terms of their development and depth, and the actors' performances back that up.

I do think that the film is perhaps 10-20 minutes too long, and my cynical self thinks that the epilogue wasn't entirely necessary, but the truth is that after 2+ hours of following this characters as they keep going over the past, it was earned to see them move on and look forward to a future.

Grade: 4

Captain Terror

04-12-21, 12:39 AM

A film primarily set in a submarine (Nat'l Submarine Day, April 11):

BONUS-
For the past few months I've been making my way through the Complete Wonder Woman Blu-ray set, usually on weekend mornings. I'm watching the episodes in order, so it was purely by chance that today's episode was SET ON A SUBMARINE. I was way too excited when I checked this thread to verify that today is, indeed, National Submarine Day.

Thief

04-12-21, 12:45 AM

Serendipity!!

Thief

04-12-21, 03:24 PM

UNDER THE SHADOW
(2016, Anvari)
A film from Iran

https://static01.nyt.com/images/2016/10/07/arts/07UNDER/07UNDER-superJumbo.jpg?quality=90&auto=webp

"The winds refer to mysterious, ethereal and magical forces which can be anywhere... Where there is fear and anxiety, the winds blow."

Set in 1980s Iran, in the middle of the war with Iraq, Under the Shadow follows Shideh (Narges Rashidi), a young woman that is forbidden from resuming her medical studies after being involved in leftist groups during the revolution. As war intensifies and her husband is called to service, Shideh has to take care of their daughter, Dorsa (Avin Manshadi), while also dealing with a mysterious presence that starts haunting them as well as her own fears and insecurities.

One of the explanation that friends and neighbors try to give Shideh is that of "djinns". Djinn's are supernatural creatures mentioned in the Quran, and rooted in pre-Islamic beliefs that can manifest themselves to humans in different forms. The above quote is how a friend of Shideh describes them. "They travel on the wind from place to place until they find someone to possess", says another character. "If they take a personal belonging, something that you treasure, then there's no escape from then."

But even though the film doesn't necessarily hide the presence of whatever is haunting them, you get the notion that, like her friend said, "fear and anxiety" is behind everything. Shideh seems to be more haunted by the preconceptions of society about her role. Her character is interesting for many reasons. I'd venture to say that she's not entirely likable, be it in the way she reacts to her husband's being called to service or how she treats her daughter at times. But what I found interesting is the way the film contrasts her frustrations and insecurities as a woman, an aspiring doctor, a wife, and a mother, with the way that her character is haunted.

There are a couple of jumpscares in the film that I thought were effective, but they are few and far apart. Most of the film is a slow build as we see how the manifestations get worse. It isn't a typical edge-of-your-seat thriller where characters constantly scream and run for their lives, even if there are a few instances of that. The dread is more subtle, the fear is more psychological, and I felt it was more character driven than other similar films. There's also an obvious subtext about the cultural and socio-political status of the country, whose mileage with the viewer may vary.

Anvari's direction is pretty good, with some good to great moments of deft camera handling. The pace is slow, but I never felt it become boring. Rashidi's performance is solid, and Manshadi, although spotty at times, manages to hold her own. I still have some issues with the climatic encounter, and I feel the film does lack a more concrete ending, but I still think the film is a pretty effective psychological thriller that can succeed in creating fear and anxiety.

Grade: 3.5

Thief

04-12-21, 05:50 PM

MANK
(2020, Fincher)
A film nominated for a Best Picture or Best Int'l Feature Film this year

https://nofilmschool.com/sites/default/files/styles/facebook/public/ejvuylsxsaepyve.jpeg?itok=Gt8tGeOk

"You cannot capture a man's entire life in two hours. All you can hope is to leave the impression of one."

That's how notoriously talented yet problematic screenwriter Herman Mankiewicz (Gary Oldman) described the struggle of writing a biopic, specifically Citizen Kane. Two hours is not enough to encapsulate decades and decades of a lifetime, which is why most biopics have chosen to focus on specific chapters in the life of their subject. Mank – the film, not the writer – is no exception.

David Fincher's latest film follows Mankiewicz as he deals with the struggles to write Kane, how he navigated the perilous waters of Hollywood life in the years prior, and his clashes with Orson Welles, while also dealing with his own alcoholism. In a script written by his late father, Fincher chooses to focus on roughly the 10-year period prior to the release of the film.

Mankiewicz was notable for his skilled and witty screenwriting, as much as he was for his excessive drinking, compulsive gambling, and sharp tongue. Most of his collaborators immensely praised the former side while harshly criticizing the latter. Much like the subject of the film, Mank is a technically sound film with lots of things on his favor, but an ultimately spotty script and a distant direction that just doesn't let the viewer get in its drift; particularly if you're not familiar with the context and backstory.

I know I'm in the minority, but in many ways it reminded me of The Social Network; another biopic that's equally impressive from a technical standpoint about a socially problematic subject that has flashes of greatness through separate scenes, but that ultimately feels cold and distant. In Network's case, the iconic scene is when Saverin finally confronts Zuckerberg after being given the shaft, while in Mank, it's the climatic dinner party where Mank drunkenly lashes at magnate William Randolph Hearst (Charles Dance).

The scene is impressive in acting, script, and direction. Oldman really conveys the hidden anger and disgust of Mank amidst his drunken slobber, while Dance (who I'm a huge fan of) does so much without pretty much saying anything, and when he does, it's excellence. The way he delivers the final anecdote was priceless, while the whole sequence elevated what can only be described as an unsatisfying film. Not necessarily because it was "bad", but because it could've been so much more.

Much like Mankiewicz himself, who neutered many of his personal and professional relationships because of his excesses, most of the relationships portrayed in the film feel neutered and incomplete. That's the case with how we see his relationships with Marion Davies (Amanda Seyfried), his brother Joe, his secretary Rita, and his wife Sara. You get the sense that there's something missing, that there are things to uncover in each of those, but Fincher never gets to it. Instead, he focuses on following Mank as he stumbles from here to there. Much like him, there's skill and there's wit in the film, but the issues around it don't let those shine.

Grade: 2.5

Thief

04-14-21, 12:41 PM

THE DAY OF THE JACKAL
(1973, Zinnemann)
A freebie

https://i.kinja-img.com/gawker-media/image/upload/s--sN7Qcg_i--/c_scale,f_auto,fl_progressive,q_80,w_800/jgdvxipehu8qt3o0mrp3.jpg

"In this work, you simply can't afford to be emotional. That's why you've made so many mistakes."

That's the advice that the assassin codenamed The Jackal (Edward Fox) gives to his potential clients. They want to hire him to assassinate French President Charles de Gaulle after one failed attempt from their part, and the Jackal is more than willing to oblige; for the right price, of course.

The Day of the Jackal follows the meticulous attempts of the assassin to achieve his task, and he goes at it with careful planning, a lot of patience, and no emotion. Meanwhile, law enforcement makes numerous attempts to locate him and stop him. The main efforts are led by skilled investigator Claude Lebel (Michael Lonsdale), who has a similarly meticulous and careful approach to his work.

Much like the Jackal himself, there is a cold and distant approach to the film from director Fred Zinnemann, but for the most part it works. Like a great procedural, we see the contrast between the Jackal and Lebel as each one tries to outsmart the other. But the focus is on the Jackal all the way (for contrast, Lebel is introduced around the 50 minute mark, which is halfway through the film), as we see the extent of his skills. I don't think I'm alone, but in a weird way, we want to see him succeed.

There are a lot of twists and turns as the Jackal evades the police, some of them are pretty cool and surprising, a few of them not so much? But through it all we see his focus on the mission and his lack of care for other human beings. The coldness with which he disposes of everyone or anyone that threatens the mission is excellently portrayed by Fox. As for the technical aspects, they are mostly top notch. Zinnemann's direction is tight and tense, and the editing is superb.

In the end, I'm a bit conflicted. Even though I greatly appreciate the "bare bones", emotionless approach of Zinnemann, part of me wishes that Lebel was a bit more fleshed out, or that the climax and ending wasn't as abrupt as it is. On the other hand, I remember other similar thrillers that try to make more out of something and fail by adding too many variables, too many emotions. Maybe that's why they make so many mistakes.

Grade: 4

Chypmunk

04-14-21, 01:41 PM

Hey, I've seen some of these :)

No idea whether or not I've seen MI:III, I know I watched the first one and have some sort of memory of watching at least one of the sequels. It ought to be a franchise that's right up my alley but for some reason I've never felt much of a yearning to catch up with or revisit them despite having had plenty of opportunities :shrug:

Ran is visually quite stunning but I just don't love it quite like you and so many others do and for me there are a few Kurosawa's that I prefer to it. Vampyr is excellent, probably should have found room for it on my 1930s ballot. It's been some years since I watched Faster, Pussycat! Kill! Kill! but I remember finding it somewhat enjoyable.

Love The Omen, a very effective horror from my youth that I've never tired of. Wasn't mad impressed with Under The Shadow but it was okay and I'll probably give it another go at some point. The Day Of The Jackal is another that I've not seen for an awfully long time and really ought to rewatch at some point - I remember it being quite captivating.

I've probably seen Hard Times but can't be 100% sure. Definitely not seen Another Round, Mank or The Secret In Their Eyes, might see if I can find the latter in time for the upcoming countdown though as it seems to be fairly well received on here.

Thief

04-14-21, 05:59 PM

No idea whether or not I've seen MI:III, I know I watched the first one and have some sort of memory of watching at least one of the sequels. It ought to be a franchise that's right up my alley but for some reason I've never felt much of a yearning to catch up with or revisit them despite having had plenty of opportunities :shrug:

Hey, if it's not for you, it's not for you :p I think it's one of the best action franchises, and one of the most consistent.

Ran is visually quite stunning but I just don't love it quite like you and so many others do and for me there are a few Kurosawa's that I prefer to it. Vampyr is excellent, probably should have found room for it on my 1930s ballot. It's been some years since I watched Faster, Pussycat! Kill! Kill! but I remember finding it somewhat enjoyable.

I've just started diving into Kurosawa during the last few years. Like I wrote in my review, this is only my fifth film of his. I can even say that I feel sorta like you but about Seven Samurai (liked it, but it really didn't grab me). Need to give it a rewatch. What others would you put above Ran?

Love The Omen, a very effective horror from my youth that I've never tired of. Wasn't mad impressed with Under The Shadow but it was okay and I'll probably give it another go at some point. The Day Of The Jackal is another that I've not seen for an awfully long time and really ought to rewatch at some point - I remember it being quite captivating.

The Omen is so ingrained in my mind after having watched it endlessly during my childhood/teenage years. I also love the sequel, but I haven't seen it in decades. Not sure how it would fare now.

I've probably seen Hard Times but can't be 100% sure. Definitely not seen Another Round, Mank or The Secret In Their Eyes, might see if I can find the latter in time for the upcoming countdown though as it seems to be fairly well received on here.

Definitely worth a watch!

SpelingError

04-14-21, 06:20 PM

Chypmunk

04-15-21, 09:24 AM

I've just started diving into Kurosawa during the last few years. Like I wrote in my review, this is only my fifth film of his. I can even say that I feel sorta like you but about Seven Samurai (liked it, but it really didn't grab me). Need to give it a rewatch. What others would you put above Ran?
Personally I prefer Ikiru, Seven Samurai, The Bad Sleep Well, Yojimbo, Sanjuro and High And Low from him over Ran but that's just me and there's plenty think otherwise.

Thief

04-15-21, 10:07 AM

From what I've seen of Kurosawa's films, I like Throne of Blood the most. I didn't give it enough credit when I first saw it, but I've warmed up to it over time. My jaw dropped a number of times out of pure amazement of all the visuals Kurosawa was able to put together for it. Watch that one next if you haven't already done so, Thief.

Out of the 5 I've seen, Throne of Blood is my #2. It was my #1, until I saw Ran. But I agree. The visuals are impressive, and there's a lot of what I mentioned in my Ran review about great shot composition and use of symmetry. I love it.

Thief

04-15-21, 10:08 AM

Personally I prefer Ikiru, Seven Samurai, The Bad Sleep Well, Yojimbo, Sanjuro and High And Low from him over Ran but that's just me and there's plenty think otherwise.

Ikiru is on my short list for "soon", and so is High and Low. Those are the ones I'm more curious about from the ones I haven't seen.

Chypmunk

04-15-21, 10:20 AM

Ikiru is on my short list for "soon", and so is High and Low. Those are the ones I'm more curious about from the ones I haven't seen.
Look forward to reading your thoughts on both.

Thief

04-18-21, 05:47 PM

LA DOLCE VITA
(1960, Fellini)
A drama film

https://cdn2.highdefdigest.com/media/2014/12/02/660/Dolce_Vita_Marcello_Mastroianni.jpg

"The great thing is to burn, and not to freeze."

The above line is uttered by an artist, almost inadvertently, during a party showcased during the middle "episode" of Federico Fellini's La Dolce Vita. But the relevance of that line and that philosophy is central to the film, which follows journalist and womanizer Marcello (Marcello Mastroianni), as he navigates through Rome's nightlife and lifestyle of the rich and famous.

The film's story, which is split into seven separate vignettes, is said to represent the Seven Deadly Sins, or the Seven Hills of Rome, or the Seven Sacraments of the Catholic Church. But while I try to make sense of all those symbolisms, on the surface the film features Marcello struggling with his relationship with volatile fiancée Emma (Yvonne Furneaux) as he also goes about his job as a gossip columnist and socialite, while mingling with celebrities and wallowing in the excesses of sex and drinking.

However, deep down Marcello craves a more meaningful life. He confesses as much to his friend and role model Steiner (Alain Cuny), who as opposed to Marcello, enjoys "partying" with intellectuals, poets, and philosophers instead. It is at this party that we hear the above quote, and up to this point, we've already seen Marcello flirt, engage, and possibly more, with sunbathers, a prostitute, a wealthy heiress (Anouk Aimée), and an actress (Anita Ekberg), not to mention Emma.

For the rest of the film, Marcello continues his descent as he visits a nightclub, an aristocrat party, and a decadent party in a beach house. He's restless, burning, as if constantly looking for something, anything to distract him or take him out of a life he doesn't want, while longing for a life that might not be as good as he thinks. Should he "freeze" or "burn" himself?

Marcello is a tough character to analyze. He's not entirely likable; after all, he's a womanizer, he's unfaithful, and has outbursts of violence and excesses. Putting aside whatever symbolisms each may have, to see every single woman he meets fall at his feet also made me roll my eyes often. But anyway, to add to his complicated persona, Marcello also works at a job that's not the most liked. Still, as a middle-aged man myself, I can't help but sympathize with his search for meaning and purpose, even if I disagree with the ways he goes about it.

At the end of the film, Marcello doesn't seem to be any more closer to finding out about his life as he was at the beginning of the film, but he does seem to be more at peace with just not knowing where "the sweet life" will lead him.

Grade: 4

Thief

04-18-21, 09:44 PM

Dropped the latest episode of Thief's Monthly Movie Loot today, where I talk with Erik Anderson (from Awards Watch) about the Oscars past, present, and future. We also share our Top 5 Best Picture winners, so feel free to check it out.

Thief's Monthly Movie Loot 35: The Oscars Loot (with Erik Anderson) (https://www.buzzsprout.com/850063/8344602-thief-s-monthly-movie-loot-35-the-oscars-loot-with-erik-anderson-from-awards-watch.mp3?blob_id=37986586&download=true)

Spotify users can check it out here (https://open.spotify.com/episode/2SoNqxkjS5tgeKMtnIwhRk?si=p2dbwtDLTPS2Ea134YhdNQ).

Thief

04-20-21, 04:52 PM

BARRY LYNDON
(1975, Kubrick)
A drama film

https://i.imgur.com/61I3vIT.jpg

"I shall not rest until I see you as Lord Lyndon. You have important friends. They can tell you how these things are done. For money, well-timed and properly applied, can accomplish anything."

Barry Lyndon follows the exploits of the titular Irishman, an opportunist that comes from humble means but sets himself to become an aristocrat at any cost during the 18th Century. The above quote is the vow that his mother declares as she joins and instigates many of the dubious dealings to elevate his son's social status.

Barry Lyndon (Ryan O'Neal) is, by all means, an insignificant person, that fights in insignificant skirmishes during the war, and gets involved in insignificant romances. His life history is bookended by insignificant duels for insignificant reasons, all while he aspires to achieve significance, to no avail.

This is the second time I watch this, and although I was a bit lukewarm on my first viewing, I ended up appreciating it a lot more this time. Present in it is Kubrick's perennial theme of dehumanization, as we see Lyndon dehumanized by his desire to climb the social ladder, which he briefly achieves, but to the expense of everyone around him.

It is ironic to think that Kubrick's original idea was to make a biopic about Napoleon, a man of allegedly small stature but great achievements, but then went the other way to make a film about Lyndon, a tall man (O'Neal is 6'1") but, again, of insignificant achievements. O'Neal might not be the best actor, the few emotional moments needed for his character are a bit lacking, but I think he was the best actor for this role.

But other than Lyndon's ups and downs through the aristocrat path, what takes center stage on this film is the amazing direction, cinematography, set design, and whatnot. The film is one of the most gorgeous films I've seen with every shot seemingly taken from a painting. There is a subtext in that, as we see characters that are essentially immoral and insignificant, surrounded by this facade of beauty in the background and surroundings.

As much as Barry and his mother tried to achieve significance, through "important friends" and money, their attempts ended up being fruitless in the end. Fate wasn't in Barry's favor, but it was in favor of this film which, despite being previously seen as rather insignificant amidst Kubrick's oeuvre, has gained more favor recently. It certainly did with me.

Grade: 4

Thief

04-20-21, 11:51 PM

BEASTS OF THE SOUTHERN WILD
(2012, Zeitlin)
A drama film

https://nofilmschool.com/sites/default/files/styles/facebook/public/uploads/2012/08/Beasts-of-the-Southern-Wild.jpg?itok=3QEaPFGV

"Sometimes you can break something so bad, that it can't get put back together."

Set in an isolated fictional community called "The Bathtub", Beasts of the Southern Wild follows the lives of 6-year old Hushpuppy (Quvanzhané Wallis) and her father, Wink (Dwight Henry). The two live in extreme poverty as they struggle to take care of each other. Their lives, essentially broken by past events: be it the abandonment of Hushpuppy's mother or Wink's deteriorating health. To make matters worse, a huge storm lashes the community, leaving its residents to fend for themselves.

Rookie director Benh Zeitlin chooses a somewhat unconventional approach to the film, with a mostly raw and down-to-earth approach to filming that fits the "crudeness" of the life in this community. But he also mixes a social and environmental commentary about climate change with a fantasy element represented by the approach of the "aurochs", some primitive creatures that have broken free from the ice and are heading to "The Bathtub".

It is in this fantasy element that lies the film's main weakness. I kinda understand the intention, but I don't think it was successfully integrated into the main story. As a result, there's a bit of a jarring shift as the film tries to weave that symbolism into the plot. Ultimately, I don't think it was necessary at all.

The focus of the story is, and should've only been, the dynamics between Hushpuppy and Wink, and how they try to put the pieces of their life back together. Both Wallis and Henry deliver a pair of great performances, which is more impressive considering that none of them were actors. Henry wasn't even looking to audition, but decided to read for the part after he met the film crew who used to have breakfast at his bakery.

I watched this film for the first time in 2013, and I really didn't feel a lot of change in how I felt now in 2021 from what I felt then. Maybe the melodrama was a bit more off-putting now than it was then. However, I felt a stronger connection and more of a "punch" from both Hushpuppy and Wink than I felt then. Perhaps it's called "parenting".

Grade: 3.5

StuSmallz

04-22-21, 01:14 AM

I've only seen Barry Lyndon once, and that was over a decade ago, but I'd probably give it a straight-up 10, and I'm way overdue for a rewatch/review of it.

Thief

04-22-21, 03:17 PM

THE WOLF'S CALL
(2019, Baudry)
A film primarily set in a submarine

https://i.imgur.com/X3PLnb8.jpg

"3,000 years of civilization did not bring peace; only deterrence."

The doctrine of "mutually assured destruction", which became popular during the end of World War II and the subsequent Cold War, establishes that if two opposing countries were to engage in full-scale nuclear attacks, the only result would be the complete annihilation of both. It serves as a chilling deterrent against nuclear weapons, not necessarily because you don't want to use them, but only because you don't want them to be used *on you*. That is what the characters in this French action thriller remind themselves of before embarking on a dangerous mission.

The Wolf's Call follows a group of sailors aboard two separate submarines: the Formidable, a nuclear submarine led by Captain Grandchamp (Reda Kateb), and the Titan, led by Captain D'Orsi (Omar Sy), which will escort the Formidable to the sea, where both sides will have to face extremely challenging decisions. But the focus of the story is on Chanteraide (François Civil), a sonar expert who has "golden ears" and specializes in underwater acoustics. His hearing is so acute that he can identify boats, submarines, sea animals, based only on their sounds, which puts the safety of his fellow sailors heavily on his shoulders.

I knew little to nothing about this film, but based on the favorable reception it has on a few film sites, I decided to check it out. Indeed, the film kickstarts with an extremely tense encounter during the first act, where the Titan has to stealthily extract a special forces team from enemy territory. This whole sequence ends up being intense and nerve-wracking. Unfortunately, the middle act drags a bit as the sailors expect for their next mission, which happens to be an apparent nuclear attack from Russia, which forces our heroes to decide whether to fight back or not.

Overall, this film does a lot of good things right. The attention to detail as far as submarine operations and procedures go, seems to be on point, the tension during the attack scenes is effectively executed, and the performances from most of the cast are solid. My main issue is with Chanteraide, who is pushed as the main character. But with a bland performance from Civil and pretty much no character development for a character that frequently behaves more like an annoying and irresponsible whiner instead of a trained soldier, there's not much to hold on to.

On the other hand, when the focus is on Grandchamp, D'Orsi, or the Admiral in Command (Mathieu Kassovitz), the film manages to stay afloat. The Wolf's Call might not be a great film, but still manages to hold your attention with taut and tight direction, some cool action sequences, and solid supporting characters. If you're into this kind of film, don't let my quibbles deter you from giving it a shot.

Grade: 3

Thief

04-25-21, 03:38 PM

My special episode #5, where I analyze a specific scene I love from a film I love, is out. In it, I talk about the conversation between Michael and Fredo from The Godfather Part II:

Thief's Monthly Movie Loot - Special Episode V (The Godfather Part II) (https://www.buzzsprout.com/850063/8397547-thief-s-monthly-movie-loot-special-episode-v-the-godfather-part-ii.mp3?blob_id=38262878&download=true)

So what better way to celebrate Al Pacino's birthday and Oscar night today than to listen to me babbling about Pacino's best performance in one of the Best Picture winners ever? :D

Spotify users can check it out here (https://open.spotify.com/episode/3TD2co1GadZE252jOaA24E?si=67460829443143a5).

Thief

04-26-21, 05:13 PM

BICYCLE THIEVES
(1948, De Sica)
A film from the 1940s

https://www.bingewidmo.com/wp-content/uploads/2020/10/xDnreVBP7DzeI0FhwaffyacTHlorh9_original.jpg

"Anything serious, Captain?"
"Just a bicycle."

That's how easily a couple of police officers dismiss the crime of a stolen bicycle. But to poor Antonio (Lamberto Maggiorani), it means the loss of a steady income and food on the table. It is a devastating loss that could impact the lives of his family for a long time. So what can he do then?

Set in post-World War II Italy, Bicycle Thieves follows Antonio, a poor man looking for the bicycle that was stolen from him which he desperately needs to keep his job. Antonio, like many other Italians during this time, is desperate for work to support his young family and this job represents a steady income and ultimately food on the table for him, his wife, and their two young children.

One of the many things this film does magnificently is to show how chaotic the economic situation was after the war. From the crowd of people looking for work or the towering stack of belongings that we see have been pawned at the shop to the push and shove of people trying to get on a bus to get to work. In a country so affected by war, any work is a lifeline, and that lifeline is represented by this bicycle, which is not "just a bicycle".

That desperation is perfectly portrayed by Maggiorani, who transmits so much of that hopelessness through his eyes, face, and body language. He is joined in the search by his young son, Bruno (Enzo Staiola), who does an equally great job of showing mixtures of frustration and confusion amidst all of this (Another sign of the hard times is the fact that this 8-9 year old kid is seen working at a gas station).

But what I loved about this film is how it blurs the lines between "good" and "bad" as the plot progresses, which really makes us reevaluate our feelings through the first half of the film. The struggle that we see in Antonio is the struggle in all of us, desperate, holding to whatever lifeline we have, even if it's "just a bicycle".

Grade: 4.5

Thief

04-28-21, 04:07 PM

BREATHLESS
(1960, Godard)
A film from the Criterion Collection whose number includes the #4 (#408)

https://frenchculture.org/sites/default/files/styles/max/public/a_bout_de_souffle_4.jpg?itok=_i7I8tDX

"Say something nice."
"Like what?"
"I don't know."

That's part of the flirting back and forth between the main characters of Jean-Luc Godard's first film. This is peppered between existential conversations, talks about past lovers, ambitions, goals, and the occasional lies. And even though there's an obvious attraction, they just don't seem to be in the same wavelength; they don't jive. Which more or less explains how I felt while watching this film.

Breathless follows Michel (Jean-Paul Belmondo), a small-time but dangerous criminal who is on the run after shooting a cop. Desperate, he seeks refuge with Patricia (Jean Seberg), a former love interest that is an aspiring journalist in Paris. Even though she doesn't know much about Michel, his past, or even that he's on the run, she still spends most of the film resisting his romantic advances or dancing around the idea of being with him, as they wander carefree around Paris.

Breathless was released in 1960 and is considered as one of the earliest examples of French New Wave cinema. Its revolutionary editing and use of jump cuts, as well as the overall visual style are worth noting. Godard's handling of the camera on several continuous shots is also pretty neat and impressive. Belmondo and Seberg's performances aren't that bad either.

But like Patricia and Michel, I found myself falling in and out of it all through. First, Michel is, by his own admission, "an a$$hole". But more important than that, I didn't think his story was interesting at all. He's just a thief waiting to meet someone that owes him money, and that's it. So what we're left is with his interactions with Patricia, and even though there are a couple of interesting lines about philosophy and existentialism, as a whole, it doesn't amount to much in terms of a story that could've grabbed me.

Overall, I can appreciate Breathless place in film history as well as some of its technical aspects, and it's a good checkbox to tick off my list. But to be honest, if you ask me to say something nice about it, I don't know.

Grade: 2

Thief

04-30-21, 04:52 PM

ON THE BEACH
(1959, Kramer)
A film primarily set in a submarine • A film with Anthony Perkins

https://i.imgur.com/33qEXer.jpeg

"Lately, with so little time left, my sense of values seem to have changed."

There is a saying that goes "only when facing certain death, can you live life to the fullest". Maybe that's true, maybe not, but I think most people that are nearing the end of their lives, or that have gone through near-death situations, would agree that in that moment, priorities change, and so might the way our values work. That is the situation faced by the characters in Stanley Kramer's post-apocalyptic drama.

Set in an alternate reality where World War III has devastated half of the planet, On the Beach follows a group of characters that are sheltered in Australia, which has managed to escape the nuclear fallout, but not for so long. As radiation threatens to reach them, the characters scramble for options: from looking for other habitable places to staying where they are and face certain death, from clinging to memories of the past to embracing new love.

Among the main characters, there is Commander Dwight Lionel Towers (Gregory Peck), a stoic military man quietly mourning the loss of his family, until he meets Moira (Ava Gardner). In addition, we have Lt. Commander Peter Holmes (Anthony Perkins), a young man assigned to serve under Towers, while desperately weighing the options for her young wife and baby child. Finally, there's Julian Osborn (Fred Astaire), an aging scientist that seems to be more cynical about the war and the prospects of the future, while also seeming to be more at peace with it.

It is Julian the one who says the above quote, when faced with questions about how he felt in the past about someone. But the point is that it doesn't matter anymore. However he felt in the past is not important anymore; his "sense of values seem to have changed". But the same applies to all the characters, all of which end up making decisions down the road that seem to go against what they believe in normal situations, but that make more sense in the face of certain death.

From the moment someone brought up this film and I read the synopsis, I was intrigued by the premise. Even though the film does dwell quite a bit into sappy melodrama, it manages to balance it pretty well with the bleakness of the story, which I found surprising for a 1959 mainstream film full of "big stars". In that regards, the film does manage to deliver an ending that packs a punch. The pace is slow, with most of it being conversations between the characters about how to face the future, but I never felt it dragged too much.

As for the performances, Peck is a bit too cold, which suits his character, but I wouldn't have minded a bit more emotion from him. Perkins is a bit uneven, with some parts where he goes too far, but has some good moments. The best performances come from Gardner, but especially from Astaire, who I thought was pretty darn good and who has probably the best lines. His arc, and probably Perkins, are the most interesting.

This is a film where, for most of its duration, I went a bit up and down with it. Maybe it was the excessive melodrama that came up from time to time. But, like most of its characters, as it approached its ending, my feelings changed; I appreciated what it set out to do a bit more. Let's say that my sense of values seem to have changed.

Grade: 3.5

Captain Terror

04-30-21, 05:53 PM

A film with a title that starts with the letters G or H:
The Ghost in the Invisible Bikini (1966) :shifty:

A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #4 (i.e. 14, 340, 714):
#24 High and Low (1963)
Part of my Kurosawa project. The first hour was suspenseful and brilliant and I was ready to call this my favorite. I found the second half (slightly) less compelling so I knocked my rating down a bit but this is still an excellent film. If I were ranking the Kurosawas I've seen this would be Top 5 or 6 no doubt.

A film from the 1940s:
The Fighting Kentuckian (1949)
Before this month I hadn't watched many John Wayne films (like maybe only 1). This did not make me a fan by any means, but it was of interest to me because his lovable sidekick was played by none other than Oliver Hardy. Unfortunately this was a John Wayne Film, not a Wayne 'n' Hardy film, so Ollie's screen time was limited. As an L&H fan I'm glad to have seen this for completionist reasons, but it would be a hard one to recommend to others. The plot? I dunno, Wayne was from Kentucky and liked a girl or something. :)

A drama film:
The Shadow on the Window (1957)
An under-the-radar thing that turned out to be pretty good and surprisingly gritty. Some thugs murder a fella and take his secretary hostage, because she witnessed the crime. Not a lost classic or anything but we'll file it under "pleasant surprise". The secretary was played by the future Edna Babish of Laverne & Shirley, and her son is played by Jerry "Beaver" Mathers. Directed by William Asher (Butcher, Baker, Nightmare Maker)

A film primarily set in a submarine (Nat'l Submarine Day, April 11):
Operation Pacific (1951)
John Wayne again. When he's not submarining, he's pining for his ex-wife Patricia Neal. (Neal was 25, Wayne was 44)

Thief

04-30-21, 05:57 PM

Captain Terror

04-30-21, 06:00 PM

oops, forgot one:

A film with a title that starts with the letters G or H:
The Ghost in the Invisible Bikini (1966) :shifty:
How To Stuff a Wild Bikini (1965) :shifty: :shifty:

Captain Terror

04-30-21, 06:01 PM

I finished my challenge last night with Doomed!, the documentary about Roger Corman's Fantastic Four film. So what else to do today? Of course, watch Roger Corman's Fantastic Four film :laugh: I'm halfway through, so two reviews pending :D

Yikes! I've seen Doomed but haven't had the courage to brave the actual "film". I tip my hat to you, sir.

Thief

04-30-21, 06:03 PM

Yikes! I've seen Doomed but haven't had the courage to brave the actual "film". I tip my hat to you, sir.

To be fair, I'm going through it as I do other things, but all things considered, it's not as awful as I was expecting. It's very campy and "magoo", but it has some heart to it. Not sure if it's because I already saw the circumstances that went behind the scenes, but well.

Thief

04-30-21, 10:25 PM

DOOMED!
THE UNTOLD STORY OF ROGER CORMAN'S THE FANTASTIC FOUR
(2015, Langford)
A film with the number 4 (Four, Fourth, etc.) in its title

https://i.ytimg.com/vi/OzhmBdqzuJI/maxresdefault.jpg

"The heart of this film and the intentions behind this film from the people who made the movie, not the business interests, the people who made the movie, their intentions were pure. They wanted to make a great Fantastic Four movie."

Near the end of 1992, Bernd Eichinger and Constantin Film teamed up with Roger Corman and Troma Entertainment to create a feature film based on the popular comic The Fantastic Four. Unfortunately, as so often happens in Hollywood, artistic endeavors don't necessarily align with business interests, and things fall out at the expense of those that are "lower on the totem pole", so to speak.

Doomed! follows the troubled production of the film which, according to some of the people interviewed, was never meant to see the light of day. This intentions, however, were kept from the cast and crew, most of which were counting on the film to advance their careers, and devoted personal time and money to complete it.

The documentary was written, directed, and edited by Marty Langford, and features extensive interviews with director Oley Sassone, editor Glenn Garland, writer Craig J. Nevius, and cast members Alex Hyde-White, Jay Underwood, Rebecca Staab, Michael Bailey Smith, and Joseph Culp, among many others. It is an extremely interesting look into what they describe as "the seedy dark side of Hollywood" that ended up stabbing them in the back.

During the conversations with the cast and crew, it's hard not to feel how passionate they were about the project, and eventually how frustrating it was for them to not see it come to fruition. More interesting is to wonder why did those moving the strings let the project go along all the way into post-production, if the real intention was only to secure the rights and never to release it.

Obviously, we all know that Marvel had bigger goals in mind, but the fact that the three Fantastic Four films that have been released since haven't gotten neither the critical acclaim nor the earnings that most people would expect, makes you wonder about the intentions behind them, and what it really takes to make a great film.

Grade: 3

Thief

04-30-21, 10:51 PM

THE FANTASTIC FOUR
(1994, Sassone)
A film with the number 4 (Four, Fourth, etc.) in its title

https://static.hollywoodreporter.com/sites/default/files/2015/08/fantastic_4_still.jpg

"We're either all in this together... or we don't move."

Of course, after watching the Doomed! documentary last night, what was left for me to do? Watch the real thing! Fortunately for the cast and crew involved, their little project has found some life as bootleg copies that can now be found through the Internet. In the words of Ian Malcolm, "life... uhh... finds a way" :laugh:

The Fantastic Four is a typical origin story for the superhero team. It starts with Dr. Reed Richards (Alex Hyde-White) and his college friend Victor Von Doom (Joseph Culp) performing an experiment with a passing comet that goes awry, and leaves Victor for dead. Fast forward ten years, and Richards recruits his friends Sue, Johnny, and Ben (Rebecca Staab, Jay Underwood, and Michael Bailey Smith) to go to space as the same comet approaches Earth again.

However, things don't go as planned, and the four end up crash-landing, but with superpowers! There's some nonsensical subplot about a villain called The Jeweler stealing a diamond that both Victor and Reed needed for their experiment, which is why the former, now as the megalomaniac Dr. Doom goes after them.

In many ways, the story behind the scenes is much more interesting than the film itself, but it also helps to put in perspective the "final" product. Considering that it was made by Corman/Troma, a notoriously low budget studio, on a shoestring budget and a rushed schedule, by B-list actors, and crew members that were sneaking film reels out of the studio to do post-production, sound, special effects, and whatnot, on cheap stores, the end result is "better" than one would think.

The film is pretty campy and goofy, with more in common with the 1960's Batman than the one that was released a couple of years before this was made. The dialogue is cringey and most of the performances are pretty bad, although I thought Hyde-White and Culp had some moments.

Looking back at the superhero films that were being released around that time (Superman IV, The Punisher, Captain America), I really don't understand why they didn't give this a chance. Even if their intention was only to secure the rights, it's not like the film would've been more "offensive" than some of the ones that were made during that time, and on that budget, it would've made them some money anyway. Unfortunately, like Reed said on the above quote, "we're all in this together... or we don't move".

Grade: :damon:

Thief

05-01-21, 12:15 AM

Here is my final tally for APRIL 2021:

A film with the number 4 (Four, Fourth, etc.) in its title: Doomed!: The Untold Story of Roger Corman's The Fantastic Four (https://www.movieforums.com/reviews/2200209-doomed-the-untold-story-of-roger-cormans-the-fantastic-four.html), The Fantastic Four (https://www.movieforums.com/reviews/2200214-the-fantastic-four.html) (1994)
A film with a title that starts with the letters G or H: Hard Times (https://www.movieforums.com/reviews/2193537-hard-times.html)
A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #4 (i.e. 14, 340, 714): Breathless (https://www.movieforums.com/reviews/2199373-breathless.html)
A film from the 1940s: Bicycle Thieves (https://www.movieforums.com/reviews/2198619-bicycle-thieves.html)
A drama film: The Secret in Their Eyes (https://www.movieforums.com/reviews/2193842-the-secret-in-their-eyes.html)
A Biblical film: The Omen (https://www.movieforums.com/reviews/2193377-the-omen.html) (1976)
A film nominated for a Best Picture or Best Int'l Feature Film this year: Another Round (https://www.movieforums.com/reviews/2193301-another-round.html), Mank (https://www.movieforums.com/reviews/2194797-mank.html)
A film primarily set in a submarine (Nat'l Submarine Day, April 11): The Wolf's Call (https://www.movieforums.com/reviews/2197451-the-wolfs-call.html)
A film with Anthony Perkins (born April 4): On the Beach (https://www.movieforums.com/reviews/2200132-on-the-beach.html)
A film from Iran (Islamic Republic Day, April 1): Under the Shadow (https://www.movieforums.com/reviews/2194742-under-the-shadow.html)

Freebie: The Day of the Jackal (https://www.movieforums.com/reviews/2195255-the-day-of-the-jackal.html), La Dolce Vita (https://www.movieforums.com/reviews/2196224-la-dolce-vita.html), Barry Lyndon (https://www.movieforums.com/reviews/2196764-barry-lyndon.html), Beasts of the Southern Wild (https://www.movieforums.com/reviews/2196844-beasts-of-the-southern-wild.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/eVWltbQgLbEvzfMyONWN4bU1jYW.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/xaUuroRciJeSAVnIvGu2c9bvkQd.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ctnQUcNSA9VoSD1vuUB4q66Io7c.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/9Wx0Wdn2EOqeCZU4SP6tlS3LOml.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/rgm4cDxtyxgOhxw8bDW4FcWjokL.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/r3FctmAMk2tbrwxuWdpeLrZLwIz.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/p0LcWxOIoBx0MEZMn8tFcrvDXR1.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/fsn4cjpCvWuP9wU9hcFnK7M8RZC.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/4yzTcAtvzyZLLto4z04xobUK9el.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/8bxIzp9w9l9ZzGVwNaIKOaem05A.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/lTDuj5zalrI0fpQel7UfPHTexTK.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/pXqSW152N3V6bG4nmYrqHJD5EyQ.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/p4z0vPrhTlYcBpB5vYyDB4pmkPT.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/5Zq9pAs3Y9TrFHxO0nEbq3QVTtj.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/3YJEv83HWWgCKezTiQ9LhdR7cFU.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/nQJmWekGYlXhezGUb21xFfEfwhH.jpg

Pretty solid month. My favorite first-time watch was probably Bicycle Thieves, but there were a bunch of really good ones; especially the ones from the HOF24.

Thief

05-01-21, 09:45 PM

Here is the challenge for MAY 2021:

A film with the number 5 (Five, Fifth, etc.) in its title:
A film with a title that starts with the letters I or J:
A film from the Criterion Collection (https://en.wikipedia.org/wiki/List_of_Criterion_Collection_releases) whose number includes the #5 (i.e. 15, 405, 854):
A film from the 1950s:
A fantasy film:
A film about mothers:
A film with a bird in its title (Bird Day, May 4):
A film primarily set on a train (Nat'l Train Day, May 8):
A film from Romania (Independence Day, May 9):
A film from Howard Hawks (born May 30):

kgaard

05-02-21, 02:41 PM

Slow month for me, but I got a few in:

A film with a title that starts with the letters G or H:

Godzilla vs. Kong (2021) I'm not a big kaiju movie guy (though I think the original Godzilla is quite good), so I don't really know how to assess it on that level. I just found it--aside from being completely ridiculous, which is not necessarily a flaw--tonally off. It feels like it wants to take itself relatively seriously but there are also scenes where clearly hundreds (thousands?) of people must have died but this is entirely unremarked upon. Like, we're meant to feel the emotions of the "monsters", Kong in particular, but human lives are shrugged away. Maybe this is a kaiju thing, but it was off-putting. Anyway, nothing surprised me here, I expect something dopey and that's what I got. I will say that I would have given this movie 1 rating higher if only Godzilla had given Kong a high five as he headed back into the ocean.

A film from the 1940s:

Strangler of the Swamp (1946) This one was put forward in one of the horror threads--it was nice and breezy so I gave it a whirl. As promoted, while definitely on the B-level of production, it's decently atmospheric and, somewhat unusually, gives its female lead something to do. Good stuff, and fun to see Blake Edwards on screen before he wisely went behind the camera.

A drama film:

Wuthering Heights (1939) High (melo)drama featuring Laurence Olivier (his first significant film role) pitted against Merle Oberon as the ever-doomed couple of Heathcliff and Catherine. It's been forever since I read the book, and I'm aware that the movie essentially cuts out about half of it. Apparently this movie is considered romantic, but to me it's more psychological drama, an example of how poison spreads through the social system.

A film from Iran (Islamic Republic Day, April 1):

The White Balloon (1995) Very much like his mentor Abbas Kiarostami's lovely Where Is the Friend's House?, Jahar Panahi's film tells a simple story about a child who wants to buy a goldfish and the impediments she needs to overcome. It's also more subtly about the intersections of society, and how people can be helpful but also oblivious.

The White Balloon and Wuthering Heights were the best of this lot, followed by Strangler. Godzilla vs. Kong is, well, it is what it is.

Thief

05-02-21, 06:39 PM

Nice! Good to see another Strangler of the Swamp convert :laugh:

kgaard

05-05-21, 01:49 PM

A film with a title that starts with the letters I or J:

I Lost My Body (2019) Review here (https://www.movieforums.com/community/showthread.php?anchor=1&p=2201518#post2201518). Shorter version of a short review: I liked it! (And I'll just note that this movie also happens to work for "J" in the original French: J'ai perdu mon corps.)

Thief

05-07-21, 10:24 PM

CRIES AND WHISPERS
(1972, Bergman)
Freebie

https://emanuellevy.com/wp-content/uploads/2013/11/cries_and_whispers_7-1024x576.jpg

"Don't you hear it? Don't you hear the crying? Don't you hear it? Someone is crying endlessly."

This is the question that maid Anna (Kari Sylwan) desperately asks everybody in one segment of this film. But unfortunately, nobody seems to notice, listen, or care about the "endless" crying, which is a recurring theme in this Ingrid Bergman film. Cries go unnoticed, and whispers are heard "all around".

Set in the 19th Century, Cries and Whispers follows three sisters and their maid as they cope with the terminal illness of one of them. The film opens with Agnes (Harriet Andersson), who is afflicted with an unspecified ailment, writing in her diary "It is early Monday morning and I am in pain". That sums up her days as she goes from just resting in her room to writhing in pain, all while under the watch of her two sisters, Karin and Maria (Ingrid Thulin and Liv Ullmann), and the maid.

The thing is that, besides Agnes illness, the whole family is plagued by repression, depression, frustration, loneliness, detachment, infidelity, dissatisfaction, gossiping, and a good dose of "thumb up their asses". Most of these elicit cries of frustration and anger from the people involved; cries for love, attention, or any sort of contact. Cries that tend to go unheard of or simply dismissed by others. These interactions give Bergman room to explore his usual themes of relationships, gender roles, and sexuality.

This was one of Bergman's first films in color, and he clearly makes sure to make the most of it. His vibrant use of red and white, and how he transitions from scene to scene adds a lot to the film. The performances are great, especially Thulin and Ullmann, who have the most intense exchanges. There is a certain "staginess" to it, and there's a lot of surreal vibe to everything, but for the most part it works.

Like most of Bergman's films, Cries and Whispers is a visually striking film; one that ends up being an emotional rollercoaster, as characters go up and down the spectrum: arguing, screaming, crying, loving, whispering.

Grade: 4