Thief's Monthly Movie Loot - 2022 Edition [Archive] - Page 2?login=1

Thief

07-09-22, 02:14 PM

NEAR DARK
(1987, Bigelow)
A horror film

https://i.imgur.com/RMtR5tC.jpg

"I ain't a person anymore. I don't know what I am. I'm sick!"

Set in a small rural town, Near Dark follows Caleb Colton (Adrian Pasdar), a young man that meets Mae (Jenny Wright), a young drifter, without knowing she's a vampire. Eventually, he finds himself on the run with her vicious "family", led by Jesse Hooker (Lance Henriksen) and the psychotic Severen (Bill Paxton).

This is a film I've heard mentioned very often, but for some reason, I hadn't gotten around to it. After seeing it, I have to say I wasn't as enamoured with it as some people are. I think the main character is mostly bland, and his romance with Mae is poorly written, and the way the plot unfolds is a bit of a mess at times.

But what the film does very well is to create a certain vibe or atmosphere around the characters that carries all the way through. That, and a kickass performance by Paxton, who steals every scene he's in. Henriksen is solid as well, if not too subdued. I just wish there was more thought put into the logistics of the story.

As it is, the film ends up for me kinda like Caleb, in a weird middle spot between night and day, good and bad, its strengths and flaws. I just wish that, much like him, we could just transfuse the bad out of it.

Grade: 3

Thief

07-09-22, 03:08 PM

A GUN FOR GEORGE
(2011, Holness)
Freebie

https://i.imgur.com/dp50zWw.jpg

"Times change! I dare say your previous editor enjoyed your erratic plotting, your sledgehammer prose, and a disquieting ball fixation! A lone wolf vigilante hitting the streets of Thanet to avenge the same crime 658 times is literal, but not literally overkill."

A Gun for George follows Terry Finch (Holness), a struggling writer dealing with the aftermath of the murder of his brother George at the hands of local thugs. Finch channels his anger through a series of cheap crime novels about a viligante called "The Reprisalizer", who is determined to take on the thugs of Thanet in Kent.

The thing is that Finch's apparently not very good, if we believe the editor in the opening scene, who lashes at his "erratic plotting", "sledgehammer prose", and "disquieting ball fixation". But more importantly, his constant anger at everyone and everything seems to be driving him more into the shoes of his violent character, and therefore into insanity.

Set in the 1970s, A Gun for George does a great job balancing the real tragedy of its character and plot, with a cleverly handled dark humor and a more introspective character study. The way the tone is handled is masterful. It also manages to create a very real feeling of the time and place it's set in. From the locations and production to the way the film is shot, including some clever fantasy moments where Finch imagines himself as "The Reprisalizer", you really believe the film is from the 1970s.

Holness, who served as writer, director, and main actor, does a great job with all those roles. His performance is full of little moments that go beyond the comical and into the tragic. The awkward uneasiness of Finch and his bubbling anger at everybody, paired with the bits where we see him pondering about his life and the future while becoming more and more unhinged, it all makes for a worthy watch.

Grade: 4

Thief

07-09-22, 09:14 PM

BRATS
(1930, Parrott)
A film about fathers

https://i.imgur.com/8Hx6yD8.jpg

"Will you brats keep quiet? How do you expect me to *concentrate*?"

Brats follows Stan Laurel and Oliver Hardy as two parents trying to relax and enjoy a night of checkers and pool while their two bratty children constantly interrupt them, with hilarious results. Something that I'm sure every parent in the world can understand and identify with (maybe not the "hilarious results").

The short is fairly simple, but notable for various reasons. First, it is one of those early insances where actors play two characters in the same film, and the result here is pretty seamless. Add to that the big/small special effects, and it makes for a really impressive short.

But other than that, I found it to be fairly amusing. As someone that's not that familiar with the comedy of Laurel & Hardy, I found their comedic timing to be great. Not something that blew my mind, but still made me chuckle.

Grade: 3

Thief

07-09-22, 10:27 PM

SUMMER SCHOOL
(1987, Reiner)
A film with the word "Summer" in its title

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

Shoop: "I'm not a real teacher."
Vice Principal Gills: "That's okay. They aren't real students."

Generally speaking, the idea of "summer school" has several connotations: first, nobody wants to be there; second, that it is made easier for "dumb kids" to catch up in order to keep enrollment numbers; and three, that it is a waste of time to spend the summer studying instead of having fun. All of those collide in this lighthearted teen comedy from the late 80s.

Summer School follows Freddy Shoop (Mark Harmon), a PE teacher slacking his way at a California high school. When he reluctantly gets stuck teaching Remedial English during summer school, it's clear that neither he nor the students wants to be there. Shoop then has to find creative ways to reach the students and help them pass, while also helping them with their numerous personal issues.

The "dumb kids" that he has to teach all have different situations, most of which are revealed as the film progresses, but that range from parental and academic expectations, unknown learning difficulties, pregnancy, and economic issues. In order to win them over, Shoop bargains with them in exchange of favors, like driving and football lessons, lending his house for a party, or even accompanying a pregnant student to her Lamaze classes.

I remember seeing this a couple of times when I was a teen and, even though I don't think it has any specific memorable quality, it did stuck with me. When I found myself with this challenge for the month, and being in need of a "light" watch, I thought it was a perfect option. Although the film does have a ton of flaws, I think it holds up fairly well, if you approach it with the right expectations.

I spent a good chunk of my career (15 years) teaching, so the way that Shoop's reckless teaching methods are sometimes portrayed as "cool" made me roll my eyes a couple of times; like the aforementioned bargaining. There's also little to no effort given to follow up on most of the students' arcs, or even Shoop's. Most of their issues are resolved miraculously, or are just brushed over.

Still, there is a certain earnestness to how this group of students bond that I found endearing. Most of the characters are likable, and the film doesn't resort to some of the usual stereotypes of bullies, nerds, and jocks. All these kids, from the nerd to the "weirdos" to the jock, like each other and I found that refreshing. I also appreciated that the film didn't really give us a miraculous ending, instead going for a somewhat realistic resolution.

There are other issues I had with the way the romantic relationship with fellow teacher Robin (Kirstie Alley) unfolds, and how unnecessary the "love triangle" approach with the Vice-Principal was. There is also an impressive, but awkwardly unnecessary sequence with gory special effects (by an uncredited Rick Baker), but I still had fun with it; certainly more fun than some kids have at actual summer school.

Grade: 3

Thief

07-09-22, 10:46 PM

SIX MEN GETTING SICK
(1967, Lynch)
A film with the number 6 (Six, Sixth, etc.) in its title

https://i.imgur.com/TsWCe3P.jpg

"This unconscious eructation of irrational, amorphous materials, sputted from these six heads like sperm from upright penises, offers a visual metaphor for the messy imperatives of the (pro)creative process"

The above is an excerpt of a review from Anton Bitel on this, David Lynch's first film, and should give you an idea of what to expect. With a 4 minute runtime, Six Men Getting Sick features no plot, but only an animated painting of six figures vomiting and spitting, over and over (six times, actually).

The short film was developed by Lynch while he was studying at Pennsylvania Academy of Fine Arts, on a $200 budget. It was well received while also giving us a glimpse of the kind of things we should expect from Lynch in the future, in terms of abstraction.

There really is not much to say about it. With its brief runtime, it is an interesting curiosity to watch, even though its repetitive nature and in-your-face sound can be tiring to some people. Then again, that's Lynch for some of you.

Grade: N/A

Thief

07-09-22, 11:18 PM

BLADE RUNNER
(1982, Scott)
Freebie

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

"My birthday is April 10, 2017. How long do I live?"

That's a question that most of us have, probably in the back of our minds. How much more time we have to live, and how can I extend that. Whether by medical intervention, health precautions, or religious beliefs, we would like our time to be more than what we have. That is one of the key questions in Ridley Scott's iconic sci-fi film.

Blade Runner follows Deckard (Harrison Ford), a retired "blade runner" tasked with eliminating replicants, human-like androids that are revolting across the galaxy. When a group of four, led by Roy Batty (Rutger Hauer), end up rogue on Earth, Deckard is reluctantly brought back to the fray and sent to find them and terminate them.

I've seen this film a bunch of times, and yet every time I see it, I end up getting more out of it. Whether it is in the contrast between Deckard and Batty, "human" and android, and how they choose to operate, or in Batty's struggle and desire to survive despite his impending and unavoidable doom.

The way that Scott injects all this religious imagery and subtext into the film, sometimes subtly and sometimes right in your face, is excellent. But I also appreciate how he instills the film with this noir-ish vibe, a genre/style that was so preoccupied with how characters can't stop fate. You can meet your "maker", and yet that's not enough to stop the clock.

I rewatched this in preparation for a guest spot on a friend's podcast, but it's always a treat to revisit it, and always a treat to ask ourselves the same questions that Batty and his people ask. How long do I live? and what do I do with the time I have? That's a question we should answer and act on, before things are lost in time... like tears in rain.

Grade: 4.5

Thief

07-10-22, 11:55 PM

THE ANDERSON TAPES
(1971, Lumet)
A film from Sidney Lumet

https://i.imgur.com/PGrSMz9.jpg

"You want what you can't have. I mean you're always hammering on that locked door."

The Anderson Tapes follows Duke Anderson (Sean Connery), a thief that walks out of a 10-year stint in prison only to plan an elaborate burglary in the apartment building of his girlfriend Ingrid (Dyan Cannon). After getting financed by the Mafia, he recruits a four-man crew for the job. What Anderson doesn't know is that he's the subject of various surveillance groups: the FBI, the IRS, the BNDD, and even a P.I. hired by Ingrid's former wealthy lover.

If you've seen Soderbergh's Ocean's Eleven, this is pretty much the same vibe (although maybe a tad more serious). Like Clooney, Connery is a cool-ass motherf**ker in the role of Anderson, but also shows significant shades of morality. It was nice to see him in this role right after his James Bond turn as it shows a bit more range from him. Cannon was also great as his lover, even though I felt her character was undercut. The rest of the supporting cast includes a really young Christopher Walken, a very slick Dick Anthony Williams, and an extremely enjoyable Martin Balsam.

Lumet's direction and use of sound is very effective, as he creates this constant sense of paranoia. He often shoots characters from a distance as we hear static sounds, hinting that we're not alone at any moment. The "recruiting" and planning portion of the film was perhaps my favorite part as we get to see how the interaction between all these characters unfold. I think it would've been good to be more aware of the logistics of who's listening on the other side, maybe to create a better balance of who's against who, but the film leaves them in anonymity for the most part.

I also had some slight issues with the whole last act. I think it lacked the pizzaz that the first two acts had. Still, this was a very cool and enjoyable film with some solid performances, likable characters, and a kinetic direction. One that I wouldn't have an issue to put near the top of the Lumet films I've seen.

Grade: 4

Thief

07-11-22, 01:11 AM

KUNG FURY
(2015, Sandberg)
A film that starts with the letters K or L

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

"Before I could pull the trigger, I was hit by lightning and bitten by a cobra. I blacked out, and saw images of ancient Shaolin temples and monks mastering the art of kung-fu. There was an ancient prophecy about a new form of kung-fu so powerful, only one man can master it: The Chosen One. When I woke up, I saw the kung-fu master running towards me. I could feel my body mutate, into some sort of kung-fu freak of nature."

I don't know why, but there's something so profoundly satisfying when you stumble upon a film you know nothing about, and it still manages to surprise you. That's exactly what happened to me when I was looking for something short to watch and found an article that listed a bunch of short films. I chose this one because it fit my criteria ("title that starts with K or L"), barely read what it was about, and just hit PLAY, and what a crazy surprise it was.

If you haven't seen Kung Fury, but most importantly, if you don't know anything about Kung Fury, my advice is to read no further and just look for it. It's only 30 minutes long, and if you have a sense of humor, you'll probably thank me later. For those that choose to read anyway, the film follows the titular character (David Sandberg), a Miami detective with kung fu superpowers that has to stop Adolf Hitler, a.k.a. "Kung Fuhrer", from taking over the world with his army.

If that premise sounds crazy, brace yourself cause that's not even half of it. The film includes a half-man, half-Triceratops cop called *wait for it* Triceracop, an arcade machine robot gone crazy, the norse god Thor, and David Hasselhoff. The film plays on a ton of tropes from 80's action and cop films, while pushing the very limits of absurdity, which you can kinda see in the above quote. The thing is that it does so in a way that's hilarious and earnest at the same time. I think I spent most of the 30 minute runtime laughing at *something*.

The film does feel like its straining a bit to keep the schtick during the last minutes, but I'd say it succeeded. When I finished watching this short film, I felt like I had watched the "best film in the world", which obviously it isn't... but when you see a detective/kung fu master beating Adolf Hitler's ass, while a giant Thor watches, then maybe that's the closest you can get to it.

Grade: 4

Thief

07-11-22, 01:45 PM

DRAWINGS OF MY BF
(2021, Cooper)
A film about LGBTQ+ lifestyles

https://i.imgur.com/8Q9BZ5h.png

"The drawing of the muse so... incessantly has got to say a lot about the relationship for the people. It's not just someone; it's this important person to the artist."

A muse is defined as the "source of inspiration for a creative artist", something or someone that drives them to produce art, music, poetry, sometimes obsessively. That is the case of artist Wilfrid Wood and model Theo Adamson, who met through Grindr when the former was looking for a model. The result was over 1000 drawings, a relationship, an art show, and a documentary short.

Drawings of My BF is that documentary short directed by James Oliver Cooper. It chronicles Wood's incessant drawing of Adamson. But as Wood puts it, "what was a model/artist relationship turned into a bit more". Whether the art drove them to love, or vice-versa, is up to them to decide, but to see the obsessive drive in Wood is quite something.

The documentary is fairly short and simple, featuring voiceovers by both Wood and Adamson talking about their relationship as we see Wood drawing non-stop. What I found more impressive is to see the huge variety of drawings by Wood, all in different styles and sizes. It's not a groundbreaking short film, or something that would probably stick with me years from now, but it's lovely to see that creative connection between two seemingly different people working on so many levels.

Grade: 2.5

Thief

07-11-22, 01:48 PM

For anyone interested, the documentary can be seen here...

Love Means Drawing Your Boyfriend 1,000 Times (https://www.nytimes.com/2021/08/10/opinion/drawings-of-my-bf-love.html)

Thief

07-11-22, 03:18 PM

I WALKED WITH A ZOMBIE
(1943, Tourneur)
A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #6 (#634)

https://i.imgur.com/r3lk6tZ.jpg

"There's no beauty here, only death and decay."

That's how plantation owner Paul Holland (Tom Conway) describes the island of Saint Sebastian to nurse Betsy Connell (Frances Dee). He knows because he has seen "death and decay" among the slaves his family has brought there, and now sees it in the state of his wife Jessica, who's been in a catatonic state due to a serious illness, and who Betsy has been hired to take care of.

I Walked with a Zombie follows Betsy's attempts to heal Jessica through various methods, including through voodoo rituals that are common in the island. As she discovers the truth behind these rituals, she also finds herself entangled in the family problems between Paul and his half-brother Wesley (James Ellison), as well as their mother (Edith Barrett).

Although I've seen this film attributed more to producer Val Lewton, with whom I'm not that familiar, my main drive to see it was director Jacques Tourneur, who four years later would direct my favorite film noir, Out of the Past. In that department, the film totally delivered. Tourneur uses some great direction and camera movement to build up dread, whether it is through a tense walk through the woods or in a dark humid basement.

The story, on the other hand, I found more lacking. The relationship between Betty and Paul is poorly constructed and feels half-baked (even unnecessary?), and the two actors have no chemistry. Plus, what seems to be the main issue with Jessica's condition feels more like a plot device than something we should really care for. Finally, I wish more had been done with the interference of white colonizing characters like the Holland/Rand's or Dr. Maxwell in black Caribbean cultures, slavery, and racism, but for the most part, it is only brushed over.

Still, the film owes a lot to its atmosphere and the aforementioned direction by Tourneur. There's a lot of imagery that's effective and kinda creeps under you. Paul Holland is right; there is only death and decay, but in Tourneur's hands, there is beauty in that.

Grade: 3

Thief

07-11-22, 04:24 PM

UNDYING LOVE
(2011, Hauksson)
A film from Iceland

https://i.imgur.com/3CqkW2e.png

"You have to eat, darling"

During the last 10-20 years, the zombie horror sub-genre has been beaten to death (no pun intended) by filmmakers and studios with great and not so great results. From the horrific to the comical, from the endless thrills of Train to Busan to the seemingly interminable Walking Dead, and its spin-offs.

Despite this long parade of films, series, and short films, it is fun to still find some efforts that don't try to reinvent the wheel, but are still effective to some extent. That is the case of this short film from Icelandic filmmaker Ómar Örn Hauksson. Undying Love is a fairly simple short about a lonely man (Hilmir Jensson) trying to survive in the aftermath of a zombie apocalypse.

At roughly 12 minutes, it's hard to talk about it without spoiling anything, but I'll just say that it was fairly well made, and well acted. With that little time, Jensson does a solid job conveying all the mixture of emotions that his character goes through. It might not bring the genre back to life, but it sure gives it a jolt.

Grade: 3

Thief

07-11-22, 04:27 PM

For anyone interested... it is available on Vimeo

Thief

07-11-22, 04:53 PM

Now that I got all my reviews for the month in check, here is my final tally for JUNE 2022:

A film with the number 6 (Six, Sixth, etc.) in its title: Six Men Getting Sick (https://www.movieforums.com/reviews/2315265-six-men-getting-sick.html)
A film that starts with the letters K or L: Kung Fury (https://www.movieforums.com/reviews/2315513-kung-fury.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #6 (i.e. 16, 621, 906): I Walked with a Zombie (https://www.movieforums.com/reviews/2315725-i-walked-with-a-zombie.html) (#634)
A film from the 1960s: The House Is Black (https://www.movieforums.com/reviews/2310576-the-house-is-black.html)
A horror film: Near Dark (https://www.movieforums.com/reviews/2315134-near-dark.html)
A film with the word "Summer" in its title: Summer School (https://www.movieforums.com/reviews/2315260-summer-school.html)
A film about LGBTQ+ lifestyles (Pride Month): Drawings of My BF (https://www.movieforums.com/reviews/2315655-drawings-of-my-bf.html)
A film about fathers: Brats (https://www.movieforums.com/reviews/2315236-brats.html)
A film from Iceland (Independence Day, June 17): Undying Love (https://www.movieforums.com/reviews/2315748-undying-love.html)
A film from Sidney Lumet (born June 25): The Anderson Tapes (https://www.movieforums.com/reviews/2315499-the-anderson-tapes.html)

Freebie: The Heart of the World (https://www.movieforums.com/reviews/2309976-the-heart-of-the-world.html), A Gun for George (https://www.movieforums.com/reviews/2315152-a-gun-for-george.html), Blade Runner (https://www.movieforums.com/reviews/2315272-blade-runner.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/szC45SOFeOnYja364TZrQB7Tdo6.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/6Qam8Leycapwik947j6U3vcUbAv.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/uoyBR8XNxPQRojujtczfG1qJezY.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/eFIpxjYOMLoN5BBjy4McT7rBKmr.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/1SedVrcZYRsC6wFvMGWXIGrMWAr.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/wzc0pqo8GkXu73yNMzIEasB7vA2.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/jhFXPFmKqoKegtaV8OOJZ5aYY5C.jpg
https://www.themoviedb.org/t/p/w600_and_h900_bestv2/yZnKS5YCdlNPUoBM6ttngEZnKB2.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/pqLDkH9cI6dZ2g7CS6uIpizMniZ.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/6pjMMwqnL4qkl5pFnlfAqp0cNn9.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/5pbfq5zb6FXDE9GxVjfUpooWLIz.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/kcpFrKxofBMHcl1s9t1HmdumHQ5.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/63N9uy8nd9j7Eog2axPQ8lbr3Wj.jpg

Taking a cue from the 5th Short HoF, I went crazy with short films last month :laugh: 8 out of the 13 films I saw were short films, which, given my current situation, was extremely convenient. But other than that, it was interesting to dive into that "subgenre" of films.

Anyway, as far as favorites go, Blade Runner was the clear winner. But if we discount rewatches, I have to say that Kung Fury tickled my funny bone like few comedies have done :laugh: But other than that, The Anderson Tapes, A Gun for George, and The House is Black, were all pretty good entries.

As for least favorite, probably Drawings of My BF, which probably has more to do with the simplicity of its topic rather than its quality.

Thief

07-11-22, 05:31 PM

Aaaand here are the criteria for JULY 2022

A film with the number 7 (Seven, Seventh, etc.) in its title: Seven
A film that starts with the letters M or N: Nu, Night and Fog
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #7 (i.e. 17, 743, 671):
A film from the 1970s: Hedgehog in the Fog
A musical:
A film with "America" in its title:
A film about aliens or alien abductions (World UFO Day, July 1):
A film about Islam or Islamic characters (Eid al-Adha, July 19):
A film from Vanuatu (Independence Day, July 30):
A film from William Wyler (born July 1):

As usual, recommendations are welcome!

Torgo

07-11-22, 09:50 PM

Here are some suggestions:

A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #7 (i.e. 17, 743, 671): L'Argent (#171)
A musical: Tokyo Tribe, a Japanese rap musical about the Yakuza.
A film with "America" in its title: In America
A film about aliens or alien abductions (World UFO Day, July 1): The Vast of Night

Takoma11

07-11-22, 10:10 PM

Thief

07-11-22, 10:17 PM

SEVEN
(2018, Morgan)
A film with the number 7 (Seven, Seventh, etc.) in its title

https://i.imgur.com/f81ph12.jpg

"My father once told me that up here, this far north, with no day and night, it's easy to get lost. To think you're right when you're wrong."

Life is full of choices; choices we make because we know it's right, choices others make for us, and choices we make because others expect it from us, even though we know it's wrong. The latter seems to be at the center of this short film from James Morgan.

Set in a remote Scandinavian village, Seven follows Yohana (Dagny Backer Johnsen), a young woman that has to decide the fate of a kidnapped oil worker (Nicholas Boulton). We are told that oil companies and rigs have been threatening the peace and environment of their village, and apparently a conflict of some kind resulted in the death of Yohana's father and leader of the village.

But we don't get to see any of that; just the aftermath, the moral conflict of what to do. Should we pay an eye for an eye? Are there other motives to have this outsider die? Yohana is accompanied in her task by the village elder (Trond Teigen), who begs of her to go forward: "It's important you go through with this. We need to send a message."

So the film becomes a game of choices. Choices others make for us, like the elder stepping up after the death of their leader; and choices we make because others expect it from us, like Yohana's choice to carry on this trial or not. All three of them dealing with hesitancy in the face of tough choices and unknown consequences, trying not to get lost.

This is a great short in pretty much every aspect. First of all, it is beautifully shot, with some gorgeous cinematography and skilled editing. Second, all three main performances are pretty good, with Teigen being particularly notable for me. The way he conveys strength in spite of insecurity, with a little bit of shadiness, is perfect.

I like that the short film doesn't really try to take sides. It just puts us right in the middle of this ritual, along with the characters. It's up to us to decide what we think it's right or wrong.

Grade: 4

Thief

07-11-22, 10:21 PM

Thief

07-11-22, 10:23 PM

A musical: Tick Tick BOOM, The American Astronaut, The Lure, Popstar: Never Stop Never Stopping
A film with "America" in its title: The American Astronaut, In America, The American Friend, American Utopia
A film about aliens or alien abductions (World UFO Day, July 1): If you're still on a short kick, check out Abductees (below); Brother From Another Planet, Liquid Sky
A film about Islam or Islamic characters (Eid al-Adha, July 19): Four Lions, Battle of Algiers, Osama
A film from William Wyler (born July 1): The Best Years of Our Lives, Dead End

https://www.youtube.com/watch?v=Naj-gs4XcW0&ab_channel=TheWorldAsItIs

The only ones I've seen from this list are Four Lions and Battle of Algiers. I tried to see Osama a couple of years ago, I think it was on Prime, but I gave up because I think the captions were not working properly or some other malfunction with the video. Anyway, will consider. Thanks!

Thief

07-11-22, 11:31 PM

HEDGEHOG IN THE FOG
(1975, Norstein)
A film from the 1970s

https://i.imgur.com/R1Ig9zT.jpg

"If the horse goes to sleep, will it sink in the fog?"

That's the question that little Hedgehog (Mariya Vinogradova) asks himself as he stumbles upon a magical-looking white horse in the midle of the forest. Will it sink in the fog? Should he go explore? You see, little Hedgehog seems to be a bit too preoccupied about "creepy creatures" in the fog, but should he be?

Hedgehog in the Fog is an impressively made short, in terms of animation. But more importantly, an incredibly charming one. It follows Hedgehog as he embarks on a journey to meet his friend Bear (Vyacheslav Nevinnyy). But on the road, he gets lost in the fog as anxiety kicks in and he starts feeling terrified about the different creatures around him: an owl, a snail, a bat, an elephant, and much, much more.

But not the horse. The horse draws him in, and perhaps helps him realize that not everything has to go wrong; not everything has to be bad or terrifying. The fog doesn't have to be bad, not every creature is out to get him, things that were lost can be found, paths that were missed can be retaken, and true friends will always worry for you and wait for you.

Grade: 4

StuSmallz

07-12-22, 02:02 AM

BLADE RUNNER
(1982, Scott)
Freebie

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

That's a question that most of us have, probably in the back of our minds. How much more time we have to live, and how can I extend that. Whether by medical intervention, health precautions, or religious beliefs, we would like our time to be more than what we have. That is one of the key questions in Ridley Scott's iconic sci-fi film.

Blade Runner follows Deckard (Harrison Ford), a retired "blade runner" tasked with eliminating replicants, human-like androids that are revolting across the galaxy. When a group of four, led by Roy Batty (Rutger Hauer), end up rogue on Earth, Deckard is reluctantly brought back to the fray and sent to find them and terminate them.

I've seen this film a bunch of times, and yet every time I see it, I end up getting more out of it. Whether it is in the contrast between Deckard and Batty, "human" and android, and how they choose to operate, or in Batty's struggle and desire to survive despite his impending and unavoidable doom.

The way that Scott injects all this religious imagery and subtext into the film, sometimes subtly and sometimes right in your face, is excellent. But I also appreciate how he instills the film with this noir-ish vibe, a genre/style that was so preoccupied with how characters can't stop fate. You can meet your "maker", and yet that's not enough to stop the clock.

I rewatched this in preparation for a guest spot on a friend's podcast, but it's always a treat to revisit it, and always a treat to ask ourselves the same questions that Batty and his people ask. How long do I live? and what do I do with the time I have? That's a question we should answer and act on, before things are lost in time... like tears in rain.

Grade: 4.5Well, I like it better now than I used to, but I'd still Villeneuve's sequel outdid it: https://letterboxd.com/stusmallz/film/blade-runner-2049/1/

Thief

07-12-22, 12:17 PM

Well, I like it better now than I used to, but I'd still Villeneuve's sequel outdid it: https://letterboxd.com/stusmallz/film/blade-runner-2049/1/

I feel like I owe BR 2049 a rewatch. I actually started rewatching it the day after I rewatched Blade Runner, but I dozed off in the middle. Not the film's fault, though. It was pretty late... but overall, the film really didn't stick with me when I first watched it.

StuSmallz

07-14-22, 12:33 AM

I feel like I owe BR 2049 a rewatch. I actually started rewatching it the day after I rewatched Blade Runner, but I dozed off in the middle. Not the film's fault, though. It was pretty late... but overall, the film really didn't stick with me when I first watched it.Was your first time in a theater, out of curiosity?

Thief

07-14-22, 01:09 AM

Was your first time in a theater, out of curiosity?

No, rented.

Thief

07-14-22, 11:05 PM

UN OBUS PARTOUT
(2015, Najjar)
Freebie

https://i.imgur.com/Hy683Hf.jpg

"You want to die"
"No, I want to live"

Lebanon, 1982. The country is right in the middle of a civil war, while also trying to fend off military occupations from both Syria and Israel. The times of peace are few and war has become part of regular life, although "life" might not be the best term. With explosions a common occurrence, snipers being a frequent sight, and destroyed buildings the norm, survival is the more appropriate term.

It is in that setting that Un obus partout takes place. It follows Gabriel (Arthur Dupont), a young man desperate to see his fiancée in the other side of the city. The problem? To get there, he has to cross a bridge heavily guarded by enemy snipers. The plan? He recruits his friend Mokhtar (Thomas Blumenthal) to make a mad dash through the bridge in an old car as the snipers are distracted watching the 1982 World Cup.

Director Zaven Najjar does a great job with a sleek animation style that uses silhouette-like figures. This serves to accentuate the kinetic nature of the story and makes the visuals pop out more. I also thought that the use of a soccer game to contrast against the violence of the setting was an effective choice, while also highlighting two elements that define our humanity: our desire to have fun and our need to love.

I can't imagine what it would be like to live in a situation like this, where this violence ends up becoming just part of the day. So in a way, I understand Gabriel's urgency to not put his life and his love on hold while the war recedes. His determination to risk his life to see his fiancée goes to the very nature of our humanity; our desire to do more than survive, but to live and love.

Grade: 4

Thief

07-14-22, 11:47 PM

GOODBYE MOMMY
(2019, Wedge)
Freebie

https://i.imgur.com/9D654JH.png

"Like I said, I don't really fit into this world. Misunderstood. So I pushed my own mind at telling my story; and then at the end, I'll be saying goodbye."

A down-on-his-luck detective is hired by a Queen to find her husband and baby, but shady elements threaten his mission. Think you've seen this story done before? Well, think again, cause writer and director Jack Wedge takes that story and grinds it through an acid-trip kaleidoscope of color, noir-ish vibes, and bizarre CGI animation.

Goodbye Mommy is the third short film from Wedge, whose father Chris achieved fame by directing the first Ice Age film and for voicing the ill-fated squirrel Scrat all through the franchise. But the apple couldn't have fallen further from the tree, at least in terms of style. This short film is a dizzying and disorienting experience, not only because of the way the camera frantically moves around the environment, but also because of how convoluted the story is.

But to be clear, I don't mean any of that in a bad way. There is a hypnotizing quality to it that doesn't let you look away, and there is a certain melancholy to the way the story unfolds, even if you're not really sure what is happening. The lead detective (voiced by Chris Wedge) feels misunderstood and like he "doesn't really fit into this world", but much like this short film, this job will turn out to be not what he (or us!) expected.

Grade: 3

StuSmallz

07-15-22, 01:26 AM

No, rented.Well that's unfortunate, since it was definitely the best way to experience it; I mean, I wasn't even into the movie on the whole the first time as much as I was later, but that one theatrical viewing I had is still one of the most memorable ones I've ever heard, simply because of the overwhelming senses of it all.

Thief

07-15-22, 10:26 PM

NU
(2003, Staho)
A film that starts with the letters M or N

https://i.imgur.com/lKThM8T.png

"What we do *now* echoes in eternity" --Marcus Aurelius

Tough to pick a quote when a short film is entirely silent. Still, that quote from Roman emperor came to mind as I was thinking about this. I doubt it is what director and co-writer Simon Staho had in mind when writing and filming it, or choosing a title, but it is what kept coming back to me. The choices we make *now* will undoubtedly have repercussions, one way or the other, in our future and other people's future.

Now follows a man, Jakob (Mads Mikkelsen), making one of those choices when he marries Lisa (Elin Klinga). The thing is that Jakob eventually develops affections for someone else, Adam (Mikael Persbrandt), which maybe means that Jakob's choice was made for "now"; perhaps to please those around him, but not realizing that what he did *now* will echo into eternity.

There are some striking visuals and some powerful elements in this short film. However, the cold and distant direction doesn't really leave much space for a connection. Mikkelsen is great, which is a lot for a role that has no dialogue and demands a mostly stoic and emotionless performance. I just wish there could've been more for me to latch on to and give more weight to the powerful elements.

Grade: 3.5

Thief

07-16-22, 12:28 AM

NIGHT AND FOG
(1956, Resnais)
A film that starts with the letters M or N • A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #7 (#187)

https://i.imgur.com/g1bzAHu.png

"Death makes its first choice. The second one is made on arrival in night and fog."

Night and Fog is a documentary that chronicles many of the events that happened at Nazi concentration camps during The Holocaust. Starting with the rise of Nazi ideology, the documentary offers details of how Jewish people were transported and led into camps, how they carried on their daily lives while imprisoned, and how they were treated, tortured, tested on, and eventually executed.

It is hard to write about this documentary from a filmmaking standpoint and not detour into the events it portrays. Resnais intercalates "modern" footage of the ruins of camps like Auschwitz and Majdanek, with stock footage taken during the Holocaust. The narration by Michel Bouquet offers a somber and melancholic account of the events. It is indeed a neatly constructed documentary.

But it is hard to write about this documentary and not detour into what it portrays. I consider myself a World War II buff, and I've seen dozens of photographs, videos, and documentaries about it and the Holocaust. Some are seen here, some are not. But even with those that I've seen, it never fails to crush my soul to see the utter disregard of humanity by those that perpetrated these crimes.

It's hard to imagine how something as horrible as this could be conceived, thought of, planned, put in motion, and carried on for years. It's hard to think how one would react if faced with these atrocities; to know that death can creep up in the darkness of night and responsibilities hidden under the cover of fog.

Grade: 4.5

SpelingError

07-16-22, 12:48 AM

A film that starts with the letters M or N • A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #7 (#187)

Liar! That's not why you watched it!

Thief

07-16-22, 01:16 AM

Liar! That's not why you watched it!

Hey, if the shoe fits :D

Thief

07-21-22, 03:44 PM

Just dropped Episode 12 of my podcast, where I talk about one scene from Pulp Fiction, specifically the scene between Jules and Brett:

The Movie Loot - Special Episode XII (Pulp Fiction) (https://www.buzzsprout.com/850063/10887682-the-movie-loot-special-episode-xii-pulp-fiction.mp3?download=true)

Remember you can also listen on Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-special-episode-xii-pulp-fiction/id1578191119?i=1000570660032), Spotify (https://open.spotify.com/episode/07FoyK8P1pBHe9ZSW4827N?si=49d0e158837e4f27), Google Podcasts, and most podcast platforms.

Torgo

07-22-22, 11:51 AM

Thief

07-22-22, 09:22 PM

Nice! I will listen to this while eating a cheeseburger and drinking a Sprite for the maximum effect.

I hope it hits the spot.

(the podcast AND the cheeseburger/Sprite)

Thief

07-22-22, 09:27 PM

I was also a guest on another podcast, Stew World Order, where me and Stew talked about Man of Steel, a film I hadn't seen before! Check it out.

Stew World Ordeer - Episode 35: Man of Steel (https://swoproductions.com/2022/07/22/episode-35-man-of-steel/)

You can also look for it on most podcast platforms.

Thief

07-30-22, 09:35 PM

ADVENTURES IN BABYSITTING
(1987, Columbus)
Freebie

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

"I got enough watching these guys. I've got the babysitting blues."

On the surface, babysitting seems like the "golden gig". Make sure kids go to sleep early and then have a house all for yourself to watch TV, eat popcorn, and do nothing. But then again, if we take 80s and 90s films as evidence, it's anything but. That's what Chris Parker (Elisabeth Shue) finds out in this comedy/adventure classic when she sings about ♪ the "babysitting blues" ♫

Adventures in Babysitting follows Chris as she decides to take a babysitting gig to keep her mind occupied after her boyfriend cancels their anniversary dinner. The subjects of their care are siblings Sarah and Brad (Maia Brewton and Keith Coogan), but Brad's obnoxious best friend Daryl (Anthony Rapp) also inserts himself in the equation. But things go awry when Chris' best friend Brenda calls her for help from Downtown Chicago after she ran away from her home.

As is expected, the problems and crazy situations just pile on top of the other; from something as mundane as a flat tire or forgetting a purse to something as chaotic as finding themselves in the middle of a stolen car operation or in the middle of a gang fight in the subway. That's why she has ♫ the babysitting blues ♪

This is one of those films that I remember seeing often when I was a kid/pre-teen, but that for some reason, I hadn't revisited in probably 20 years or more. Turns out it held up extremely well. In his directorial debut, Chris Columbus takes a very whimsical approach to the situations, similar to what he would do later in Home Alone. It doesn't matter the kids are being chased by criminals or that they're hanging from building ledges, it's all handled with a fun and adventurous tone.

Shue is both charming and commanding as the lead, and the three kids play well off of her and each other. George Newbern, who plays a sporadic love interest for Shue might feel like an unnecessary addition, but he sells the role well. Vincent D'Onofrio also has a memorable supporting role that always stuck in my mind, as he helps the gang go away and out of ♪ the babysitting blues ♫

Last month I was talking on my podcast about "suburban magical realism", as in films that deal with fantastical or absurd situations in a realistic suburban setting, and this is a perfect example of that. I love how it straddles that fine line between what's real and what's silly and/or absurd. It's all fun and adventurous, even when you feel ♫ the babysitting blues ♪ (Baby, baby!)

Grade: 3.5

Thief

08-02-22, 02:13 PM

Latest episode of The Movie Loot is out, The Western Loot! In this one, me and ThatDarnMKS talk about the western genre, its history, peak and decline, the impact of some of its most notable stars, and close sharing our five favorite westerns. Check it out!

The Movie Loot 65: The Western Loot (with Tyler Jones) (https://www.buzzsprout.com/850063/11013430-the-movie-loot-65-the-western-loot-with-tyler-jones.mp3?download=true)

So why don't you ride with us and check it out on the above link, or on any of these podcasting platforms: Spotify (https://open.spotify.com/episode/5e49NTuqYAWUsFA0ulvphB?si=73b8505902614095), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-65-the-western-loot-with-tyler-jones/id1578191119?i=1000574796511), or any other. Thanks for the support!

StuSmallz

08-03-22, 12:51 AM

Thief

08-03-22, 01:34 AM

Awesome; will try to check this out as soon as I can, Thief!

Thanks, buddy. Let me know what you think.

Thief

08-05-22, 10:03 PM

Another day, another guest spot at another podcast. This week, Silver Screeners dropped its latest episode with me, joining its host, Frank Mandosa for a second time this year to talk about two 1987 summer comedies: Adventures in Babysitting and Summer School. Check it out!

Episode 59: 1987's Adventures in Babysitting and Summer School with special guest Carlo from The Movie Loot Podcast (https://www.buzzsprout.com/1762975/11085016)

Check it out on that link, or on any podcasting platform like Spotify (https://open.spotify.com/episode/7fiS4AFc8fI5jZj0OKRdiM?si=7UV3kLhsQVurPvE61UcbEw) or Apple Podcasts (https://podcasts.apple.com/us/podcast/episode-59-1987s-adventures-in-babysitting-and-summer/id1567320117?i=1000575080405). Enjoy!

Thief

08-06-22, 01:34 AM

LITTLE SHOP OF HORRORS
(1986, Oz)
A musical

https://i.imgur.com/UgzPsM2.png

"♫ If you wanna be profound, if you really gotta justify, take a breath and look around, a lot of folks deserve to die! ♪"

Little Shop of Horrors follows meek Seymour (Rick Moranis), an employee at a decrepit flower shop that stumbles upon a mysterious carnivorous plant. When he realizes the plant is sentient and wanting to be fed... with people, Seymour struggles between complying with the plant to maintain his newfound popularity or doing the right thing to protect his friends as well as his co-worker Audrey (Ellen Greene), whom he is secretly in love with.

This is a film I remember seeing a couple of times when I was a kid, and loving it. However, for some reason, I hadn't seen it easily in 20 years. After rewatching it now, I have to echo the words of a Twitter friend that went through the same process: "Why the hell haven't I been watching this all my life?", and that's because this movie rules.

Based on the off-Broadway musical, the film retains the stage-like qualities as far as the set design goes. It doesn't try to hide that it is a stage play, but rather embraces its nature in a wonderfully playful way. Despite this, it doesn't shy away from going all-in as far as top-notch special effects go, because the whole practical effects to make Audrey II, the carnivorous plant, come to life are amazing.

And still, as good as the special effects are, Audrey II wouldn't be half of what it is if it weren't for the hilarious vocal performance of Levi Stubbs. Impressive that this was his first vocal work. Moranis and Greene make for a perfect pair, while the cast is rounded out by some great supporting and cameo performances from Steve Martin and Bill Murray, among many others.

Even though I hadn't seen it in such a long time, the soundtrack (by Alan Menken) is something that I've been listening to often through all these years. Every song is pitch perfect and seamlessly weaved into the story by director Frank Oz and screen writer Howard Ashman. I was particularly fond of how the "Greek chorus" is integrated through every scene, and of how well they handle the darkly humorous tone of the story.

As the film approached its final act, I realized that the version that I was watching had the original ending. I had *read* about that ending, but there is a big difference between reading about it and seeing it unfold on screen as you are invested in the story. As cynical as I am, and as much of a fan of bleak and dark endings, this one was a bit hard to swallow. I appreciate and respect it, but I think I prefer the "happy" ending :D

Grade: 4.5

Thief

08-06-22, 03:17 PM

THE DAY THE EARTH STOOD STILL
(1951, Wise)
A film about aliens or alien abductions

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

"I am fearful when I see people substituting fear for reason."

Fear is described as the emotion that comes from believing that someone or something is dangerous. Many times, fear is justified and steers us away from risky situations. But when fear clouds our reasoning to analyze and make decisions, then people are bound to make the wrong ones, sometimes without even realizing it. That is the basis of this classic scifi thriller from the 1950s.

Set during the Cold War, The Day the Earth Stood Still begins with a flying saucer landing in the middle of Washington, DC creating all kinds of panic. When a humanoid called Klaatu (Michael Rennie), accompanied by a mysterious robot, claims to have an important message for all humanity, fear becomes the main threat among the population.

This is one of those films that always comes up in pop culture references and discussions about classic films, and understandably so. Even though some things could be seen as typical 50's scifi goofiness in the surface, the truth is that the film manages to instill an effective sense of dread and uneasiness regarding the nature of Klaatu's visit as well as what makes the robot Gort tick.

Rennie's performance as Klaatu is one of the film's strengths as he shows varying degrees of diplomacy, fairness, earnestness, and bluntness, all through the film. The first two are seen during his interactions with law enforcement and the military, while the earnestness can be seen through the friendship he develops with a young mother (Patricia Neal) and his son (Billy Gray).

Unfortunately, fear clouds our reasonings and the way we perceive things, regardless of how honest and well-intentioned they are, and in our fear to have "security", we threaten the security of others. That is why Klaatu's final message to humanity might seem blunt, but in a way, fair. "There must be security for all, or no one is secure."

Grade: 3.5

Thief

08-06-22, 11:43 PM

TANNA
(2015, Butler & Dean)
A film from Vanuatu

https://i.imgur.com/D7gw7DU.jpg

"This is not about you, it's about all of us."

Arranged marriage is a common practice between tribal societies in the island of Vanuatu. It is typically done to strengthen relations between different groups and is usually accompanied by the exchange of goods. At the end of the day, marriage is not done for the individual couple, but for the "greater good" of the community.

Set in the island of the same name, Tanna follows Wawa and Dain, a couple that doesn't want to comply with this arranged marriage. This, in turn, worsens an ongoing conflict with the neighboring tribe, the Imedin, with whom Wawa was set to marry... not for her, but for the good of the tribe.

It is always interesting for me to dive into different cultures, whether it's by a book, a song, a conversation, or in this case, a film. Tanna takes you deep into the societal minutiae of the people from the island, but does so with a solid story and good, honest performances from actual natives.

The story is not new, with strong Romeo and Juliet vibes, but is executed well. The direction from Butler and Dean is pretty good, and the cinematography by Dean himself does a great job of highlighting the nature and environment of the island, which I think it's important in this film. If you like venturing outside of the box, this is a solid choice.

Grade: 3.5

Thief

08-07-22, 07:05 PM

WET HOT AMERICAN SUMMER
(2001, Wain)
A film with "America" in its title

https://i.imgur.com/0NuwgER.jpg

"Before we start, I'd just like to say the campers you're about to see suck dick! But nevertheless, please welcome them."

That's the warm welcome that camp director Beth (Janeane Garofalo), gives to her team of counselors at Camp Firewood. A reminder that these kids suck and the counselors aren't there to help you have fun, but rather to have fun themselves; whether it is by staging elaborate theater productions, distract yourself from a failed marriage, or just try to get laid.

Wet Hot American Summer follows an assorted cast, most of which were part of The State comedy troupe. The characters include theater directors Susie and Ben (Amy Poehler and Bradley Cooper) trying to prepare the camp's talent show, camp director Beth falling in love with a neighboring astrophysics professor (David Hyde Pierce), and Coop (Showalter), a shy nerdy guy secretly in love with Katie (Marguerite Moreau), who is in turn fixated on her obnoxious and unfaithful boyfriend Andy (Paul Rudd).

With an ensemble cast that big, the film does a good job of balancing the different storylines. However, the clear scene-stealer is Rudd. His performance is so effortless and laid-back that you can't help but believe he's an a$$hole, and yet you wanna see more of him. The other thing that makes this work is the way the script and direction combines the meta aspect of parodying classic summer camp films (and teen films in general) and the absurdity of its various sketches (i.e. camp cook Gene receiving life advice from a can of mixed vegetables)

The director and writers are self-aware enough to know when to lean into the conventions of the genre and when to pull the rug and subvert the tropes. But they are also helped by a cast with great comedic timing and evident chemistry and comfortability to elevate the material. Yeah, maybe some of them are a$$holes, pretentious, douchebags, or you know "suck dick". But nevertheless, please welcome them.

Grade: 3.5

Thief

08-07-22, 09:56 PM

BEN-HUR
(1959, Wyler)
A film from William Wyler

https://i.imgur.com/QEUNa6k.jpg

"It goes on, Judah. The race... the race is not over!"

Set in the times of Christ, Ben-Hur follows the titular character (Charlton Heston), a wealthy Jewish prince that finds himself enslaved and sent to the galleys. As he attempts to regain his freedom, his path crosses with that of Jesus Christ himself.

A good Twitter friend of mine has been constantly insisting on me to watch this. It's his second favorite film, I think. The "Epic of all Epics" he calls it. And he's not wrong. At the time of release, the film had the biggest budget, the largest sets, and one of the most complex productions of any film. The efforts paid off as the film ended up becoming one of the highest grossing films and won 11 out of 12 Academy Awards.

But beyond the huge production values and the huge scope, Ben-Hur is, in and of itself, a very good film. Most of the performances are solid, with Stephen Boyd being perhaps the strongest from the leads. He and Heston did a good job of making this friendship between Ben-Hur and Messala believable. I would've liked if they had given more attention and depth to that after the first act, but what we got worked. Heston also could've added more emotion to his performance, but his stoic demeanor suits the character's determination well.

Solid performances and all of that production helps, but at the top of it all, Wyler's direction is key in effectively delivering the dread of an enemy's visit or the thrill of a sea battle or the adrenaline of a chariot race. Unfortunately, once the iconic chariot race ends and the main conflict concludes, the film loses its momentum.

The last act that follows is used to close up a plotpoint involving Ben-Hur's family, which I appreciated, but it goes on and on as Ben-Hur is determined to find this man they call Jesus Christ. What could've been a poignant 10-15 minutes epilogue ends up being a 50 minute slog that went on and on. As good as what preceded it was, I kept looking at the time and thinking, the film... the film is not over!

Grade: 4

Thief

08-08-22, 12:03 PM

BEAT THE DEVIL
(2002, Scott)
Freebie

https://i.imgur.com/L8fGzQV.png

"I like a wager, but I like the concept of 'winner take all'."

From 2001 to 2002, BMW Films produced a series of short films dubbed as The Hire to serve as some sort of elaborate car ads. The premise of the shorts feature a nameless driver (Clive Owen) being hired by different clients for various tasks. The short films were notably directed by directors like Ang Lee, Wong Kar-wai, John Woo, and others, while also featuring prominent stars like Forest Whitaker, Madonna, and Don Cheadle, among many others.

Beat the Devil is the eight of this series, and it features the Driver accompanying James Brown to meet the Devil (Gary Oldman) as he tries to renegotiate a deal he made with him in his youth for fame and fortune in exchange for his soul. Now older and not able to "do the splits anymore", Brown wants an "extension", but the Devil wants to race for it, which serves as the excuse to have our Driver drive a BMW Z4 real fast down Las Vegas Strip.

I had no idea about the existence of these shorts until a Twitter friend brought it to my attention. It features the usual hyper-kinetic direction by Scott, full of fast-paced cuts and a sensory overload of visuals and sound, which I'm sometimes on the fence about. But what makes it work are the performances of Oldman and Brown. Both give committed and entertaining performances to what is otherwise a glorified "car ad", but they make it interesting to watch.

Grade: 3

Thief

08-08-22, 01:18 PM

LISTEN
(2014, Nyoni & Ramezan)
A film about Islam or Islamic characters

https://i.imgur.com/t1nHmpE.jpg

"I can't go back. I can't. I beg you to help us."

That's the plea for help from a wife and mother (Zeinab Rahal) at a police station. Her husband has hit her repeatedly and has threatened to kill her and their teenage son (Yusuf Kamal El-Ali). What's the catch? She's a Muslim woman covered with a burqa, living in the Netherlands where nobody understands her language. Moreover, the translator (Amira Helene Larsen) brought to assist her is not translating her words properly, not conveying the urgency of her situation.

Listen was a simple yet harrowing short film. But even in its apparently simple premise, directors Nyoni and Ramezan use a carefully layered approach to the scene where we see the woman's testimony from different perspectives, while examining how others react to her claims. There is a lot of physical performance, especially from Larsen, who I thought was great in how she transmits her frame of mind with her eyes and overall demeanor as she's listening.

I'm hardly an expert, but as far as I read, the Qur'an is very clear regarding domestic violence and spousal separation. But that is not necessarily what's put "on trial" here, but rather the lack of empathy because of misunderstanding, the effects of the language barrier, gender roles, isolation, and the bureaucratic barriers put in place for a woman to get the help she needs. It's not that we don't listen, but that we listen what we want and how we want, and act according to our interests and beliefs, instead of those of who we're listening.

Grade: 4

Thief

08-08-22, 01:22 PM

If anyone's interested...

https://www.youtube.com/watch?v=uXGO5wT-DGU

Thief

08-08-22, 02:07 PM

Finally got all my reviews in for JULY 2022:

A film with the number 7 (Seven, Seventh, etc.) in its title: Seven (https://www.movieforums.com/reviews/2315862-seven.html)
A film that starts with the letters M or N: Nu (https://www.movieforums.com/reviews/2317116-now.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #7 (i.e. 17, 743, 671): Night and Fog (https://www.movieforums.com/reviews/2317154-night-and-fog.html) (#187)
A film from the 1970s: Hedgehog in the Fog (https://www.movieforums.com/reviews/2315889-hedgehog-in-the-fog.html)
A musical: Little Shop of Horrors (https://www.movieforums.com/reviews/2322941-little-shop-of-horrors.html)
A film with "America" in its title: Wet Hot American Summer (https://www.movieforums.com/reviews/2323311-wet-hot-american-summer.html)
A film about aliens or alien abductions (World UFO Day, July 1): The Day the Earth Stood Still (https://www.movieforums.com/reviews/2323060-the-day-the-earth-stood-still.html)
A film about Islam or Islamic characters (Eid al-Adha, July 19): Listen (https://www.movieforums.com/reviews/2323466-listen.html)
A film from Vanuatu (Independence Day, July 30): Tanna (https://www.movieforums.com/reviews/2323162-tanna.html)
A film from William Wyler (born July 1): Ben-Hur (https://www.movieforums.com/reviews/2323329-ben-hur.html)

Freebie: Un obus partout (https://www.movieforums.com/reviews/2316750-un-obus-partout.html), Goodbye Mommy (https://www.movieforums.com/reviews/2316765-goodbye-mommy.html), Adventures in Babysitting (https://www.movieforums.com/reviews/2321039-adventures-in-babysitting.html), Beat the Devil (https://www.movieforums.com/reviews/2323436-beat-the-devil.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/qjXZQnbvNZe30RGQz8z9SzLfrDR.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/9oAKbLQf5s5OxEvdWmN6pS5wTDO.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/2iWYQia8enOai7QEO3TvenleD7r.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ujDXcLQOwqklFf7f1OBHEPab4HG.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/iKkbN17OmFosaW6asCNZTTsyvpu.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/dVdHnfcLZFSscEUZqCzctwOVjC0.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/x2DquTpLTq54aPFDnqlwY7apCC3.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/a1C4VJwYyUslOEPTH3wt26EbxwG.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/iKk0Nu3dytbDzX1SFwYJvUreQW.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/m4WQ1dBIrEIHZNCoAjdpxwSKWyH.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/cLoVPpQHiouFKexSuKqXENRbcGt.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/x7XBqkkI78eHkry7kgty1JLoKsw.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/8QiAj0Xw2UMeZMIIfZKeNoIsszs.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/iM0E9xrxNk275g8M9enO4gOirc6.jpg

Obviously, here you see the tail-end of the 5th Short HoF :laugh: Half of what I saw were short films, and good ones at that.

The best films I saw were Night and Fog and Little Shop of Horrors (rewatch). Two very different films, but great either way.

My least favorite was probably Beat the Devil, but even that was an interesting and fun watch.

Thief

08-08-22, 02:14 PM

And these are the criteria for AUGUST 2022

A film with the number 8 (Eight, Eighth, etc.) in its title:
A film that starts with the letters O or P:
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #8 (i.e. 18, 482, 819):
A film from the 1980s:
A romantic film:
A film set in school:
A film from Nicholas Ray (born August 7):
A film from India (Independence Day, August 15):
A film featuring senior citizens prominently (Nat'l Senior Citizens Day, August 21):
A film with any of the words "Rock", "Paper", "Scissors" in its title (World Rock Paper Scissors Day, August 27):

Since it is my birthday month, I'm doing something that I've done the last two years. I'm taking "gifts", i.e. recommendations for any film that fits the above criteria, but will solely and exclusively watch films recommended by someone. If I watch a film any of you recommend, I can give you a "shout-out" on my end-of-month episode and maybe even read a brief snippet of your thoughts, so something to consider for anyone that wants to play.

Thief

08-11-22, 10:15 PM

ALL THAT HEAVEN ALLOWS
(1955, Sirk)
A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #8 (#378) • A romantic film
-- recommended by Scotty (https://twitter.com/PyrateScotty) --

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

"Two people who are in love with each other, want to be married. Why is it so difficult all of a sudden?"

At its core, love should be a simple thing. You either love or don't love someone; and if you love someone, you do your best to spend as most time as you can with that person. It is when we let external variables exert influence that things get complicated. How will this interfere with my career? What will people think? What about my children? Those are some of the questions that float above the main characters in this interesting romantic drama.

All That Heaven Allows follows Cary (Jane Wyman), a mature widow with two adult children, that ends up falling in love with Ron (Rock Hudson), a young gardener that works at her home. To complicate things, Cary is affluent which prompts gossip around the neighborhood about Ron's reasons to fall in love with her. Although obviously smitten by Ron, Cary seems to be too worried about what will people in town think about her relationship, and if her children will approve of her relationship.

This film was recommended by a good Internet friend and it was so much better than I was expecting. For the first half, the film is carried by some solid performances from Wyman and Hudson, and good chemistry between them. The relationship feels real and not like others 50's more cliché romantic dramas. However, towards the middle of the film, there is a shift to more serious territory as the burden of gossip and those "external variables" start to take a toll on Cary and Ron's relationship, especially with Cary's children. All through the film, the script by Peg Fenwick allows for some great exchanges between the different characters

It is only in the very last act where the story falls a bit into sappy territory with a scene between Cary and a doctor that gives her advice about her relationship, and then with the very ending, which I think was something that could've been worked some other way. Still, it's nothing to take too much off of this. All That Heaven Allows is a great portrayal of a mature relationship between two adults, and the obstacles that they might face; something that we don't see much anymore. Why is it so difficult all of a sudden?

Grade: 4

SpelingError

08-12-22, 12:21 AM

I saw that earlier this year and really dug it. It's currently my favorite Sirk film.

Thief

08-12-22, 12:23 AM

I saw that earlier this year and really dug it. It's currently my favorite Sirk film.

I don't think I've seen anything else from him.

SpelingError

08-12-22, 12:24 AM

I don't think I've seen anything else from him.

I've also seen Imitation of Life. I'd recommend that one, too.

gbgoodies

08-12-22, 12:33 AM

I've also seen Imitation of Life and All That Heaven Allows, with the latter film being my favorite of the two. Both are worth watching though.

If you like All That Heaven Allows, two other Sirk films that I would recommend are Magnificent Obsession and Written on the Wind.

SpelingError

08-12-22, 12:38 AM

If you like All That Heaven Allows, two other Sirk films that I would recommend are Magnificent Obsession and Written on the Wind.

I forgot he did Written on the Wind. That one might actually be my #1 pick from him instead. I'll have to check out Magnificent Obsession as well.

gbgoodies

08-12-22, 12:40 AM

I forgot he did Written on the Wind. That one might actually be my #1 pick from him instead. I'll have to check out Magnificent Obsession as well.

My favorite Sirk movie is probably Magnificent Obsession, but All That Heaven Allows is a close second.

Death Proof

08-12-22, 11:57 AM

And these are the criteria for AUGUST 2022

A film with the number 8 (Eight, Eighth, etc.) in its title: 8 1/2
A film that starts with the letters O or P: O Brother Where Art Thou
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #8 (i.e. 18, 482, 819): Nashville (#88)
A film from the 1980s: TRON
A romantic film: Before Sunrise
A film set in school: Three O'Clock High
A film from Nicholas Ray (born August 7): Flying Leathernecks
A film from India (Independence Day, August 15): Lagaan
A film featuring senior citizens prominently (Nat'l Senior Citizens Day, August 21): Cocoon
A film with any of the words "Rock", "Paper", "Scissors" in its title (World Rock Paper Scissors Day, August 27): Paper Moon

Since it is my birthday month, I'm doing something that I've done the last two years. I'm taking "gifts", i.e. recommendations for any film that fits the above criteria, but will solely and exclusively watch films recommended by someone.

A film with August's birth flower in the title (Poppy): Poppy (1936)

Thief

08-12-22, 12:12 PM

Death Proof

08-12-22, 02:16 PM

Hey, DP! Thanks for joining in. I've seen a couple of the ones you mentioned (8 1/2, O Brother, and Before Sunrise), but the others are game. I'll put them under consideration. Thanks!

I figured you probably had seen them, but definitely check out Three O'Clock High. I LOVE Phil Joanou's directing in it.

Thief

08-14-22, 10:30 PM

LUCK
(2022, Holmes)
Freebie

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

"Forever family. It's the people who are always there for you, no matter what happens. The ones who don't leave, they stick."

Luck follows Sam (Eva Noblezada), a young woman that has to leave the orphanage where she has lived all her life after turning 18. Not wanting to leave her younger friend Hazel alone, Sam wants to make sure she is successfully adopted by her "forever family", but fears that her "bad luck" would prevent this to happen.

That is until she meets Bob (Simon Pegg), a black cat that comes from the Land of Luck where leprechauns and other magical creatures create "good luck" for people. Sam then recruits Bob, and some of his friends to find a lucky penny for Hazel, thinking that would help her to be adopted. But, of course, they end up creating all kinds of shenanigans in the Land of Luck.

Decided to check this out with my kids last week, not knowing what it was about, and well... it was quite something. Maybe it's because of the personal connection I have with the topic, but that first 30 minutes or so, I thought where great. The way they establish the character of Sam, her personality and preoccupations, I thought was very effective.

Unfortunately, once Sam and Bob get to the Land of Luck, the film kinda derails. The logistics of the world seem like a mish-mash of things taken from random lores and other films, and the way the plot moves feels more like a pointless quest from A to B, and B to C. Thankfully, it is held afloat by colorful animation, charming characters, and a few neat jokes here and there.

Director Peggy Holmes manages to reel it in a bit towards the last act, particularly if you stay focused on Sam and Hazel... but the way they get there, and how the main conflict between the Lands of Good and Bad Luck unfolds doesn't make a lot of sense. Still, even though my brain keeps saying "this wasn't very good", my heart was moved by certain aspects of the story, and I enjoyed seeing my kids captivated by it.

Grade: 3

Thief

08-15-22, 01:13 PM

PREY
(2022, Trachtenberg)
A film that starts with the letters O or P

https://i.imgur.com/LobxA8Z.jpg

"It knows how to hunt. But I know how to survive."

Back in 1987, an elite military team stumbled upon something mysterious in the middle of a South American jungle, and unleashed all of their weapons on it... unsuccessfully. As the team is systematically eliminated, the leader of the team, Dutch, realizes that this is not a matter of defeating this enemy, but rather of outsmarting him and surviving, which is what he does.

Set in 1719, Prey follows Naru (Amber Midthunder), a young woman from a Comanche tribe that aspires to be a hunter like her brother Taabe (Dakota Beavers). This causes some tension within the family and the tribe since she's supposed to be a healer, according to the tribe customs. When a Predator starts stalking the tribe, Naru has to resort to her cunning and skills to survive.

This fifth film within the Predator franchise has been in development since 2018. According to director Dan Trachtenberg, it was initially filmed with the intention of being "a big theatrical experience", until Disney decided to release it exclusively on Hulu, which has disappointed some. Apparently it has to do with Disney's goal of drawing people to Hulu, while some people speculate the studio had doubts on the project.

The initial premise seems like a refreshing approach to the franchise. Midthunder brings such a fierce energy to the lead role that's just infectious, while, Trachtenberg's direction succeeds in creating a tense atmosphere; something that he had previously succeeded at during 10 Cloverfield Lane. I thought it was interesting to see the Predator's methodical approach to his surroundings, as he continuously seizes everyone as he moves up the "food chain", so to speak, going against those that it deems "worthy" of the challenge.

So it seems like the film and its main character have that in common; that of being underestimated by their own peers. Which perhaps makes it all the more satisfying that the film has ended up being as good as it is. It has received overwhelmingly positive reviews from critics (92% on Rotten Tomatoes), while audiences seem to agree. Again, much like its main character, it seems that the studio didn't think much of this film, but it knows how to survive.

Grade: 4

Thief

08-16-22, 05:05 PM

LIGHTYEAR
(2022, MacLane)
Freebie

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

"Respect the suit. This suit means something. It's not just protecting your body; it's protecting the universe. This suit is a promise to the world that you, and you alone, will do one thing above all. Finish the mission, no matter the cost. You will never quit, whatever the galaxy may throw your way!"

Ahh, the film that inspired the toy that inspired the film... or something like that. Lightyear follows Buzz (Chris Evans) as he is stranded on another planet with a group of colonists. In his effort to finish his mission and try to find a way back, Buzz finds himself in places he never thought he would be and meeting people he never thought he would meet.

Saw this on my birthday weekend with the kids and I'm still not sure what to think. The whole premise behind its conception and production seems too convoluted, and to me, this doesn't feel like the film that "Andy" would react to the way he reacts in Toy Story. It feels like what it is: a film made for people that grew up watching Toy Story, and not for actual kids.

But putting that aside, the film does manage to hold its own. The animation is great and the characters are enjoyable. Obviously there are tons of nods to the Toy Story franchise, some of them feel forced, some of them stick their landing. The bit where Zurg reveals his true identity got a huge chuckle out of me, especially because one of my kids said something like "it's his father!", remembering the original joke, and then, well :laugh:

Still, I would say the story feels a tad dense for kids, but again, as far as I'm concerned, this was not made for kids. My kids did enjoy the comedy/action bits and they loved Sox, but there were times when they drifted away when the film got more "talky" and less "action-y". But hey finished the mission, and never quit. Whether they would want to go back to it, well, that's another thing.

Grade: 3

Thief

08-17-22, 04:57 PM

JURASSIC WORLD DOMINION
(2022, Trevorrow)
Freebie

https://i.imgur.com/wScfq8m.jpg

"Bigger. WHY do they always have to go bigger?"

That's what Dr. Ian Malcolm (Jeff Goldblum) asks himself at a critical moment in the sixth film in the Jurassic Park/World franchise. Because after so many years, millions of dollars lost, and God knows how many lives, these scientists can't help but ask themselves "should we go bigger now, after what happened last time?" or simply "should we keep on doing this?" Ironically, that's a question that the producers and filmmakers should ask themselves.

Set four years after Fallen Kingdom, Jurassic World Dominion follows Owen Grady and Claire Dearing (Chris Pratt and Bryce Dallas Howard) as they try to rescue their "adoptive" daughter, Maisie (Isabella Sermon), who has been kidnapped by operatives from Biosyn Genetics. Meanwhile, Ellie Sattler and Alan Grant (Laura Dern and Sam Neill) are trying to uncover a conspiracy to control the world food supply from Biosyn as well, with the help of Malcolm, who now works there.

If you noticed that the above synopsis doesn't mention dinosaurs *at all*, then you've noticed the main issue with this film. In their efforts to go bigger, Trevorrow and the studio have turned dinosaurs, what is supposed to be the main draw of this film, into an afterthought on a much more convoluted story. Granted, there are plenty of dinosaurs, but they just seem to be getting in the way of this story of clones, international espionage, and... crop-eating locusts?

But, to quote Malcolm again, why do they always have to go bigger? I mean, it is always nice to see the "old gang" back together, but the truth is that their characters would've been served better with cameos. Neither Neill, Dern, and especially Goldblum felt like they were much into this, and their side of the story was a mess. Meanwhile, the Owen/Claire/Maisie storyline does raise some interesting questions, but botches the execution.

Don't get me wrong. As mindless entertainment, there are some thrills to be had. Trevorrow does manage to concoct a couple of nice setpieces, and there are some good supporting characters introduced (namely DeWanda Wise's Kayla). Even Campbell Scott, as pointless as his character is, has a nice performance as the antagonist... but at the end of the day, with a cast this big, a plot this convoluted, and the longest runtime of any film in the franchise, you can't help but ask yourself, why do they always have to go bigger?

Grade: 2.5

StuSmallz

08-18-22, 03:58 AM

Thief

08-18-22, 01:58 PM

That's about what I figured; I haven't watched it yet, but I have no current plans on doing so, considering everything I've heard, plus how big a waste of time Fallen Kingdom (https://letterboxd.com/stusmallz/film/jurassic-world-fallen-kingdom/) was. I did enjoy watching this takedown of it earlier though, in particular how it criticizes modern Hollywood for its reliance on empty nostalgia cues:

https://youtu.be/B9qyAzs3Jlg

I don't think it's as bad as Fallen Kingdom, but it's close. Either way, none of the sequels have really managed to get close to the original... at all, so I hope that this "closing" means we're getting a "dino break" for a couple of years, until the inevitable reboot/remake comes around.

Thief

08-22-22, 04:19 PM

TERMINATOR 3
RISE OF THE MACHINES
(2003, Mostow)
Freebie

https://i.imgur.com/Rd1VMJE.jpg

John Connor: "What, do you guys come off an assembly line or something?"
Terminator: "Exactly."

In 1984, James Cameron revolutionized the sci-fi world while terrorizing audiences by introducing us to the Terminator, or T-101, played by Arnold Schwarzenegger. A machine sent from the future, built essentially to find and kill. 7 years later, he hit it again, this time with a spin: Arnold's Terminator was now the "good guy", reprogrammed and sent from the future to protect John Connor, the future leader of the Resistance.

A lot can be said about that decision, and how that changes the tone of the film (and the franchise!) or how it's just an excuse to keep putting Arnold in this role forever and ever... regardless of how silly it might be, from stealth purposes, to send an identical Terminator back in time ;) but the truth is that Cameron nailed it both times. Both his films became massive hits and icons of the sci-fi and action genre. So with Judgment Day prevented, where would the inevitable sequel go when the time comes? That's the question that this film tries to answer.

Set approximately 10 years after T2, Terminator 3: Rise of the Machines follows John (Nick Stahl) as he lives off the grid now, unable to adapt to a normal life. When a new Terminator is sent back to target his "future" lieutenants, another obsolete T-101 is taken off the assembly line and sent again to protect John. Meanwhile, they realize that the Skynet project has been taken over by the military. But can they do something to stop it and save humanity again?

Unsurprisingly, the reaction to Terminator 3 was... lukewarm, to put it mildly. Coming on the heels of an iconic sequel like T2, it was expected. But still, I've found myself loving it ever since I saw it in theaters. That is no secret for most people that know me. I've fought for the film ever since, which is why when the opportunity came to "defend" the film on a friend's podcast, I jumped at the opportunity.

I will start by saying the main thing I have issues with on this film and that is the tone. It juggles a more comedic tone than the previous two, while also handling some really dark stuff. Not sure if the attempt was to counterbalance one with the other, but it does feel a bit jarring at first. However, after adjusting my bearings to it, it doesn't bother me as much as it did at first.

Some of the things it does well for me is reminding us that, after all, the Terminator is just a[nother] machine taken off the assembly line, and not the "lovable" father figure we met in T2. And still, we can see how despite that, it can still overcome its programming to complete its mission of protecting John. Something that we can also see in how Sarah, despite succumbing to leukemia, managed to live 3 more years than what the doctors gave her in order to "complete" her mission, and know that they had succeeded.

To me, it succeeds in showing us a flawed and reluctant hero in John Connor, a young man that was essentially "groomed" since he was a child to be this leader of the future. But when that is supposedly gone, he finds himself aimless and without purpose. A man that is burdened and haunted by a future that hasn't happened or might not even happen. I think Stahl did a great job of showing that. Even if the script doesn't fully dive into his psyche, you can see that insecurity, paranoia, and reluctance is there.

The other thing I like about this film is how it pulls the story back into bleakness by telling us that Judgment Day was just postponed. Even Arnie said it back in T2: It's in our nature to destroy ourselves. Pair that bleakness with some kick-ass action setpieces, the crane chase, the scene at the cemetery, the bathroom fight, and that ending... I think the ending succeeds in being both bleak, obviously for what it's happening, but at the same time hopeful that somehow, despite what is happening now, we already know humanity will prevail in the end.

Grade: 4

PHOENIX74

08-23-22, 12:04 AM

Unsurprisingly, the reaction to Terminator 3 was... lukewarm, to put it mildly. Coming on the heels of an iconic sequel like T2, it was expected. But still, I've found myself loving it ever since I saw it in theaters. That is no secret for most people that know me. I've fought for the film ever since, which is why when the opportunity came to "defend" the film on a friend's podcast, I jumped at the opportunity.

Yeah, count me as one of the people who went to see Terminator 3 at the cinema and really enjoyed it, with it's comedic moments and action both delivering. I walked away fond of it, but as time went on I saw more and more people basically dismissing it completely. I think everyone sets the bar a little too high for Terminator films.

Thief

08-23-22, 05:45 PM

I've fought for the film ever since, which is why when the opportunity came to "defend" the film on a friend's podcast, I jumped at the opportunity.

Speaking of THIS... it just got out today! This was not on my podcast, but on a friend's podcast called Review It Yourself, specifically a series called Defend It Yourself. So check it out here.

Defend It Yourself 8: T3: Rise of the Machines with Carlo from The Movie Loot (https://open.spotify.com/episode/5cMxa4AO3YGHmFgBYdwVBs?si=ryIS3gytRI-YJPJ2XfjMCg)

That's the Spotify link, but I assume it has to be available on Apple Podcasts as well. Hope you guys have fun with it.

PumaMan

08-23-22, 11:38 PM

Yeah, count me as one of the people who went to see Terminator 3 at the cinema and really enjoyed it, with it's comedic moments and action both delivering. I walked away fond of it, but as time went on I saw more and more people basically dismissing it completely. I think everyone sets the bar a little too high for Terminator films.

Yeah, I thought T3 was OK. Especially the humor. But I'm a Claire Danes fan so . . . and I thought Nick Stahl did a fair job portraying John Connor.

Thief

08-24-22, 05:09 PM

U-TURN
(2016, Kumar)
A film from India
-- recommended by Darren Lucas (https://moviesreview101.com/) --

https://i.imgur.com/92hOOvC.jpg

"Some questions should never be asked. You won't feel guilty for not having answers."

Tragedy can sometimes lead us down a perilous path. Whether it happens to us or to others, we sometimes embark in a quest for answers. Maybe to try to find meaning to what happened, or just out of curiosity, or sometimes to even absolve ourselves of guilt. But sometimes, answers don't necessarily bring closure, but bring more pain instead. That is the crossroad at where many of the characters in this Indian supernatural thriller find themselves.

U-Turn follows Rachana (Shraddha Srinath), a young intern at an Indian newspaper that is investigating a series of incidents at an overpass. This involves motorists moving the concrete blocks that divide the road in order to make a quick U-turn and avoid traffic. Most that do so, don't move the blocks back to their place, which in turn causes accidents. However, when one of the culprits ends up dead, Rachana finds herself in the eye of local police, forcing her to look for answers.

This is a film I really hadn't heard of before, so thanks to my friend Darren for bringing it to my attention. It is always great to explore films from other countries and cultures, especially when they are well made. U-Turn might not be perfect, but it is a competent film that manages to establish a good sense of tension, dread, and mystery through most of its run. Director and writer Pawan Kumar knows how to keep us on edge, as characters try to figure out what's happening. He also knows how to throw a couple of good scares at us. There's one "jump scare" in particular that got to me, and literally made me jump on my seat.

Most of the performances are solid. Lead actress Srinath effectively transmits her character's thirst for answers, while also paired with her fears and insecurities. Roger Narayan is pretty good as Nayak, the police officer that tries to help her in her investigation. Unfortunately, Kumar feels the need to stick hints of an unnecessary "love triangle" between Rachana, Nayak, and a co-worker of her that she has a crush on.

Despite whatever strengths the film has through most of its duration, the film's biggest weakness is its need to try to provide all the answers to its mysteries during its last act. Kumar's script stretches the mystery too long and throws one too many red herrings, and eventually succumbs to over-explaining things, which makes the end result to not feel completely satisfactory. It is still a solid supernatural thriller, but a bit more ambiguity would've worked better for the film. Like they said, you won't feel guilty for not having all the answers.

Grade: 3

Thief

08-26-22, 12:01 AM

8 MILE
(2002, Hanson)
A film with the number 8 (Eight, Eighth, etc.) in its title
-- recommended by Latin Jukebox (https://open.spotify.com/show/4oPkMpkXn0OIMkcQDBpB0j?si=3ca1e47ca8e44e1e) --

https://i.imgur.com/Zpa9Sof.jpg

"♪ F**k y'all if you doubt me
I'm a piece of f**kin' white trash, I say it proudly ♫
♫ And f**k this battle, I don't want to win, I'm outtie
Here, tell these people something they don't know about me ♪"

8 Mile follows B-Rabbit (Eminem), a blue-collar worker in Detroit trying to make a name as a rapper. Having broken up with his girlfriend, he is forced to move back with his poor mom (Kim Basinger) and young sister at a trailer park north of 8 Mile Road while trying to maintain his musical aspirations. However, this clashes with his work at a car factory while also creating tension between warring groups in the local rap scene.

I'm an Eminem fan so I've had this film on my radar for a while. Not sure why I had never seen it, but I was happy when my friend Andrés recommended it to me. Even though I had heard it was good, I was still pleasantly surprised by it, especially by Eminem's performance. His character is, for the most part, very subdued and quiet, but still shows a bottled up intensity which he lets out at certain points, for better or worse.

For an artist that is usually associated with violence and anger, it was interesting to see the restrain in his performance, as well as his willingness to portray the weaknesses in his character. Rabbit is insecure, frustrated, and stuck in a dead-end job, while also suffering numerous setbacks. He chokes in a rap battle, he's beat up, he's cheated on. But perhaps his strength lies in how he acknowledges his own weaknesses, which you can see in the verses I quoted above.

Basinger's performance was spotty. She had some solid moments, but there were others where you could see the seams. The cast is rounded up by Mekhi Phifer, Brittany Murphy, and Michael Shannon, all of which deliver solid performances. Even Anthony Mackie shows up here in his film debut. He doesn't get to do a lot, but his role is crucial for the film, and Mackie handles it pretty well.

Considering the film stars such a hard-hitting rapper like Eminem, who was known for his outbursts of anger, it's impressive that the film actually holds down his lashes, only letting off a few bursts until the final battle. It says a lot about Eminem that he's able to hold up the film only with his performance, instead of his singing. So f**k y'all if you doubted him.

Grade: 3.5

Thief

08-29-22, 01:42 PM

PARENTHOOD
(1989, Howard)
A film that starts with the letters O or P • A film from the 1980s
-- recommended by Best Film Ever (https://bestfilmever.podbean.com/) --

https://i.imgur.com/fVsRA03.png

"There is no end zone. You never cross the goal line, spike the ball and do your touchdown dance. Never."

That is how patriarch Frank Buckman (Jason Robards) describe parenthood. It doesn't end "when you're 18 or 21 or 41 or 61. It never, NEVER ends!", he says, which is true. I tend to go often to what one of my older brothers told me when we finally had our kids. He quoted Bill Murray in Lost in Translation when he says "Your life, as you know it, is gone... never to return", which kinda goes to the same sentiment. Once you're a parent, you'll never be the same as you were before. Your priorities and your thoughts shift and focus on those little creatures, even when they are not so little anymore, and it never ends. Which is some of what we get in this ensemble film from Ron Howard.

Parenthood mostly follows Gil Buckman (Steve Martin) as he struggles to keep it together against the woes of parenthood. But so is his whole family as we also follow his siblings: Helen (Dianne Wiest), Susan (Harley Jane Kozak), and Larry (Tom Hulce), and their respective partners and children, all of which are going through different issues and situations. When you see the poster for this film, you see a smiling Steve Martin holding two of his children by the legs, which gives a sense of this being a comedy of wacky shenanigans and crazy hijinks. That might be the reason why I wasn't that enthusiastic about it when my friend Ian, from Best Film Ever Podcast, recommended it to me. Not that I didn't want to see it, but I dismissed it thinking it would be "just a silly comedy". But the truth is that the film is so much more than that.

Directed by Ron Howard and written by Lowell Ganz and Babaloo Mandel, the film is inspired by their family and parenting experiences, and those of producer Brian Grazer. This makes sense because the situations that we see in the film feel real. Although giving the appearance of a silly comedy, Parenthood walks a fine line between that and drama while handling very serious adult issues; divorce, economical worries, the false expectations we put on others, teenage sex, mental conditions, parental abandonment, regrets. It is all there, along with the tedious and mundane daily routine of being a parent AND a spouse. Howard expertly balances both the dramatic and the comedic without making it sway too much into either side.

But the smart script and great direction can only get you as far as the cast does. Thankfully, all of the cast is excellent, starting with Martin. And even though it is him in the poster, Wiest gets as much "meat" as he does in the role of Helen, the recently divorced and emotionally deprived mother of two teenagers in different stages of sexual discovery. She does such a great job at showing the neurotic and emotional sides of the character, without making it feel cartoonish. Mary Steenburgen and Rick Moranis are also great as the respective spouses of Gil and Susan, while Robards steals most of the scenes he's in as the father of all three. His subplot with Larry is perhaps the one that hit me hardest in terms of how serious it gets, and how much it encapsulates what he meant in the quote above: "There is no end zone... it never ends."

This was definitely a pleasant surprise that is bound to be on my Ron Howard Top 3. It is a smartly written, neatly acted ensemble piece that knows when and how to make you laugh or make you cry. The kind of film that gets stuck in your head, to remind you that being a parent is meant to be for life; something that never, NEVER ends. And although it doesn't give us an "end zone", it does gives us enough little victories and little moments to celebrate on the way.

Grade: 4.5

Thief

08-31-22, 04:01 PM

PAPERMAN
(2012, Kahrs)
A film that starts with the letters O or P • A romantic film • A film with any of the words "Rock", "Paper", "Scissors" in its title
-- recommended by Defining Disney (https://definingdisneypodcast.com/) --

https://i.imgur.com/JEov8Vu.jpg

"When I saw you I fell in love, and you smiled because you knew."

The above quote, often misattributed to Shakespeare, comes from an Italian opera called Falstaff, written by Arrigo Boito and partly inspired by a Shakespeare play. It alludes to the spontaneity of "love at first sight", and how its strength and impact is acknowledge by both persons. It is something magnetic!

Set in 1940s New York City, Paperman follows two characters experiencing just that as George (John Kahrs) and Meg (Kari Wahlgren) share that first-time connection at a chance meeting at a train station. The catalyst for this encounter is a loose piece of paper that keeps flying out of their hands, and ends up with Meg's lipstick mark on it, leaving George entranced and smitten by it.

Unfortunately, George misses Meg in the rush hour chaos as she boards the departing train. However, when he spots her again in the building across his work, he makes countless of efforts to get Meg's attention, most of which involve dozens of paper airplanes. In the words of director Kahrs, "how could a little bit of magic and fate intervene to bring them back together?"

Paperman is a fairly simple short film, but it has a lot of heart. The black and white, 2-D animation is beautiful and gives a very cutesy and classy touch to both characters. The story is not complicated, but just like the characters, you find yourself enraptured in it and invested in them ending up together, whether it is because of fate or a little bit of magic.

Grade: 3.5

Thief

08-31-22, 10:04 PM

JOHNNY GUITAR
(1954, Ray)
A film from Nicholas Ray
-- recommended by ApexPredator --

https://i.imgur.com/X1B14RM.jpg

"A man can lie, steal... and even kill. But as long as he hangs on to his pride, he's still a man. All a woman has to do is slip - once. And she's a tramp! Must be a great comfort to you to be a man."

Johnny Guitar follows Vienna (Joan Crawford), a tough saloon owner determined to make a stand against a posse that wants to ride her out of town. She is paired with a former gunslinger and ex-lover, Johnny Guitar (Sterling Hayden), who has returned after years away from her.

The thing is that Vienna's cards are stacked against her, just for being a woman, which is what she's lashing at in the above rant; a world in where she's hold to different standards than men, and where her possibilities to strive and succeed are suffocated and thrown aside. Men have the comfort of few worries, while women have double, and that's ever present here.

Vienna is indeed tough, and you can see that toughness in all its glory from the very first scene. But is she tough, or is she forced to be because of the male-driven society she's been forced to live in? She's trying to live and strive in a man's world, where men are trying to decide her fate, what she's supposed to do and where she's supposed to be. But not Vienna. She has a plan and she's determined to make it work.

We can argue that the reach of that manly control can even extend to the story itself. It is called Johnny Guitar, but to me, this is Vienna's story all the way and Crawford's determined to make it work. She's just excellent in the lead role with a commanding presence and a demeanor that just demands attention. Johnny Guitar is, in a way, peripheral to her, but hey, I guess its a cooler title.

This is not a slight on Hayden's performance. He is pretty cool and laid-back, and the opening act where he arrives at Vienna's saloon as she is confronted by the rival posse is as tense as it gets, but that's entirely because of the clash between Vienna and rival Emma (Mercedes McCambridge). Unfortunately, once that passes and the film shifts focus to the relationship between Vienna and Johnny, it loses some steam... until it focuses again on Vienna towards the middle of the film.

For a genre that's usually dominated by men, it is refreshing to see a female-centric western; one that is at is best when the women take over. It might come as no surprise that Crawford was feuding in real life with McCambridge, so maybe some of that bled into the performances as well. Whether that's the case or not, I would say this is worth it just for Crawford's performance.

Grade: 3.5

SpelingError

08-31-22, 11:50 PM

I struggled with the tone of that film to a degree, but I know a few users here are big fans of the film, so I may rewatch it at some point to see if I enjoy it more.

Thief

09-03-22, 01:22 AM

Another episode of The Movie Loot in the can. This time it's The Hitchcock Loot where me and writer/documentarian Tony Lee Moral talk about the Master of Suspense, while also sharing our five favorite films of his. Check it out!

The Movie Loot 67: The Hitchcock Loot (with Tony Lee Moral) (https://www.buzzsprout.com/850063/11240936-the-movie-loot-67-the-hitchcock-loot-with-tony-lee-moral.mp3?download=true)

You can check it out on the above link, or on any of these podcasting platforms: Spotify (https://open.spotify.com/episode/3brkn5BEyNSECPTs88Yghl?si=f28182873a07499b), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-67-the-hitchcock-loot-with-tony-lee-moral/id1578191119?i=1000578227504), or any other. Thanks for the support!

SpelingError

09-03-22, 02:00 AM

Thief

09-03-22, 10:55 AM

Out of curiosity, how do you get in contact with some of the people you have your podcasts with? Some of those people, while not famous per se, still have a moderate level of recognition at least. Except that MKS fellow. His fame is known all throughout the world, as we all know.

Mostly Twitter. Social media is an amazing thing. In the case of Tony, though, I think it was a combination of Twitter and the contact thingy on one of his websites.

Thinking back on the most notable guests I've had, like Dr. Richard Edwards (Noir Loot) and Nathan Abrams (Kubrick Loot), I think they've all been the same: Twitter and professional email.

EDIT: I forgot about Keram, who has been with me twice, but he has been an Internet friend for several years now. He was on 24 back in the early 2000s, first season, and I contacted him via Twitter for something 24-related, and we just hit it off.

Thief

09-03-22, 02:42 PM

I was thinking a bit more about this and, like I said, social media is an amazing tool. For better or worse, you can pretty much reach anyone. I managed to get quick email and phone interviews with several actors from 24 for a site I work at, Wiki 24. Most of them were pretty accessible and friendly, and I still stay in touch with a few of them.

You can see them all here (https://24.fandom.com/wiki/Portal:Interviews).

Thief

09-06-22, 06:32 PM

CINEMA PARADISO
(1988, Tornatore)
A film from the 1980s • A romantic film
-- recommended by XRadioX Podcast (https://twitter.com/XRadioX1) --

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

"Living here day by day, you think it's the center of the world. You believe nothing will ever change. Then you leave: a year, two years. When you come back, everything's changed. The thread's broken. What you came to find isn't there. What was yours is gone."

Cinema Paradiso follows the friendship between Alfredo (Philippe Noiret), an aging projectionist at a small theater in Sicily, and Salvatore (Salvatore Cascio), an impressionable 8-year-old that finds himself mesmerized upon the world of cinema as well as Alfredo's job. Initially reluctant, the old man does end up taking the kid under his wing and teaches him the trade, which he embraces. But Alfredo's warning for him is to not get complacent in that fictitious world, but to go and make more of his life.

I've been trying to write this review for days, and I still can't find a thread to latch on to. But the more I think about it, the more I find myself in Salvatore's shoes. This was actually one of the first "foreign" films I saw when I was on my late teens and barely starting to get into films. So, much like Salvatore, I found myself amazed by the beauty of this story and the "wonder of cinema". I think I saw it a couple of times around that same time. Enough for it to get stuck in my mind, and for me to vote it at #1 in the recent Foreign Countdown.

But then I "left": a year, two years, 20 years. I just "came back" this month, and everything had changed. The beauty and wonder I felt when I was a teen wasn't exactly there, even if all the pieces were. Like adult Salvatore looking around at the same people he knew when he was a kid, everything was there, but everything's changed. The thread was broken.

Even though that may sound negative, I still think the film is remarkably well done, well acted, and with a beautiful story, but not at the same level I thought when I was younger. I found the second half, when Salvatore is younger, to be a bit more tedious than I remembered. I also realized, as the third act unfolded, that I was watching the Director's Cut, which tries to bring some closure to the relationship between Salvatore and his long-lost love, but I found that whole bit to get in the way of the story that I thought mattered. It seems that the Theatrical Cut agreed.

Still, Noiret is a delight to see, and the performance from Cascio as the young Salvatore is charmingly good. I also think that the way that Tornatore builds this "love letter" to cinema is mostly effective, and there is a good sense of closure in the character of Salvatore as the film ends. I just wish I felt a stronger connection to his adult persona, like I felt for his kid self. The ending of the film is certainly bitter-sweet, as Salvatore realizes what Alfredo had told him years before, and much like him, I found myself smiling at the memories of yesterday, even if what I came to find wasn't necessarily there.

Grade: 4

SpelingError

09-06-22, 06:54 PM

I revisited that for a Hall of Fame a year or so ago. I've only seen the theatrical cut, and while I like the first half quite a lot, the second half lost me since it shifted so much attention away from Salvatore's and Alfredo's friendship. Still pretty good though.

Thief

09-10-22, 12:29 AM

Special Episode 13 of The Movie Loot is out where I take a look at one scene from Psycho, specifically the conversation between Norman and Marion:

The Movie Loot - Special Episode XIII (Psycho) (https://www.buzzsprout.com/850063/11292848-the-movie-loot-special-episode-xiii-psycho.mp3?download=true)

Remember you can also listen on Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-special-episode-xiii-psycho/id1578191119?i=1000579011589), Spotify (https://open.spotify.com/episode/5CuTImsPF8ktCuw7pWzroo?si=96a1c9a9046547b3), Google Podcasts, and most podcast platforms.

Thief

09-14-22, 04:30 PM

ENOUGH SAID
(2013, Holofcener)
A romantic film
-- recommended by Sylvie (https://slywit.wordpress.com/) --

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

"You can’t live in fear of making a mistake."

Enough Said follows Eva, a middle-aged divorced masseuse that begins a relationship with Albert (James Gandolfini), without realizing that he is the ex-husband of her new client and friend, Marianne (Catherine Keener). The thing is that Marianne has already shared some significant "inside scoops" on her ex-husband, i.e. Albert, unbeknownst to both, which Eva sees as an opportunity to find out more about his boyfriend and "protect" herself.

Eva's decision is an example of how past mistakes tend to haunt us; sometimes even paralyze us, especially regarding relationships. The constant dread of stumbling upon the same pains and struggles is enough to even make us do some crazy, unthinkable stuff, all because we don't want to suffer again.

Director and writer Nicole Holofcener does a great job of presenting both perspectives on the script, but her point of view stays on Eva most of the time, which also puts us – the audience – in the same awkward situation. But as good of a script this is, the strength lies on the performances from Dreyfous and Gandolfini. Their relationship and interactions feel so real and honest, that you can't help but root for them.

I've never seen The Sopranos (I know, I know) or Veep, and I've only seen random episodes of Seinfeld, but I've always been a fan of Gandolfini. He has such a laid-back and unassuming presence that suits this character perfectly. Meanwhile, Dreyfous succeeds in transmitting that combination of strength and vulnerability, with a bit of awkwardness that's so endearing. The cast is rounded out by Keener, who is very good at giving depth to a character that could've easily been antagonistic.

My main complaint is that the relationship between Eva and her daughter Ellen feels underserved, and the subplot with Ellen's friend serving as a surrogate daughter to Eva felt a bit forced. But it's a small blip in an otherwise delightful watch. This is the kind of film that Hollywood desperately needs to make more often. They should learn from the film and not live in fear of making a mistake. Much like Eva and Albert, they might be surprised.

Grade: 4

Thief

09-14-22, 09:35 PM

FOREIGN CORRESPONDENT
(1940, Hitchcock)
Freebie

https://i.imgur.com/iMH1y0R.jpg

"I don't want any more economists, sages, or oracles bombinating over our cables. I want a reporter! Somebody who doesn't know the difference between an -ism and a kangaroo. A good, honest crime reporter. That's what the Globe needs. That's what Europe needs! There's a crime hatching on that bedeviled continent."

That's what newspaper editor Powers asks for, and that's what he gets with John Jones (Joel McCrea) when he sends him as "foreign correspondent" to Europe just before World War II starts. Jones is a no-nonsense crime reporter who approaches the task very much unlike his predecessor. This, in turn, puts him right in the middle of a dangerous conspiracy in this Hitchcock spy thriller.

This is my second watch of this film and I remember being quite impressed by it the first time. This time, it might have gone down a notch or two, but I still think it's a pretty good and thrilling film, and a showcase of Hitchcock's directing abilities. The whole sequence in the first act, starting with the shooting in the steps and ending at the windmill, is masterfully directed. And although it never goes back to that peak, all of the action setpieces are neatly handled and choreographed.

McCrea is a solid lead and Laraine Day is competent as Carol, the love interest, even if their sudden love relationship feels too forced and ultimately unnecessary. But George Sanders is the true scene stealer as Scott ffolliott (both small f's), a friend of Carol that helps them in their investigation. His performance is amazing, and I would've been happier watching a whole film only with him, and no McCrea or Day.

But again, McCrea does a fine job as we see him grow from a bit of a selfish reporter more interested in getting "paid expenses" to a more conscious and determined "hero". Sure, the bit at the end originally rang too blatant and in-your-face to me, but who knows? Maybe that's what Europe, and America, needed.

Grade: 4.5

Thief

09-14-22, 10:12 PM

SHADOW OF A DOUBT
(1943, Hitchcock)
Freebie

https://i.imgur.com/f6KSMx8.jpg

"You live in a dream. You're a sleepwalker, blind. How do you know what the world is like?"

That's what good ole' Uncle Charlie (Joseph Cotten) tells her beloved niece, also called Charlie (Teresa Wright) during a climatic conversation in this powerful Hitchcock thriller. You see, Uncle Charlie has long been "awake" and seen the world, while Young Charlie is about to wake up and discover what the world is like.

Shadow of a Doubt follows the relationship between both relatives as Uncle Charlie visits his sister in the "ordinary" small town of Santa Rosa, California. His intention is to lay low after realizing that some men are after him. But the visit puts a strain in the previously idyllic relationship as Young Charlie starts suspecting something's wrong with her uncle. Is it all a dream, or was it a dream before?

Like Foreign Correspondent, this is my second watch of this excellent thriller. But this rewatch managed to sneak into my Hitchcock Top 5, pushing FC out. The way that Hitchcock builds the suspense and intrigue in this film is masterful, as you find yourself in Young Charlie's shoes trying to figure out what's going on, what's a dream and what's not.

The way we see this wonderful and beautiful relationship deteriorate under the weight of suspicion and mistrust is flawless; and it's on the script, but it's also on Wright and Cotten's excellent performances. It's a pity that the script feels the need to squeeze an unnecessary love relationship between Young Charlie and a persistent detective, but hey, that's a common occurrence in the Hollywood of yesterday.

Other than that, I found Hitchcock's exploration of small town America to be spot on. How the smallest of suspicions can absolutely disrupt that utopia. The paranoia of things we can't understand, or we don't want to understand, because we want to stay in that dream. Blind.

Grade: 4.5

Thief

09-15-22, 09:50 PM

PICNIC AT HANGING ROCK
(1975, Weir)
A film that starts with the letters O or P • A film set in school • A film with any of the words "Rock", "Paper", "Scissors" in its title
-- recommended by Tim Daugherty (https://twitter.com/tim_daugherty) --

https://i.imgur.com/Bj7eFzf.jpg

"There's some questions got answers and some haven't."

Set in 1900, Picnic at Hanging Rock follows a group of students from Appleyard College, a girls' private school, as they enjoy a, well, picnic at Hanging Rock, a rocky mountain in Australia. When some of the schoolgirls and a teacher disappear, those that remain have to deal with the aftermath.

This is one of Peter Weir's first films, but he directs it like a consumate veteran. He gives the film a certain mistifying feel to it; an ever-present ethereal vibe that hangs above every scene and every interaction. When the girls arrive at the titular mountain, it is as if they were being quietly watched by it. The rock becomes like another character; a millenial rock formation clashing with the youth and fragility of these girls, all propped up in their own facades of "decency".

But under that facade, there is repression, guilt, hidden desires, unconformity, all bubbling under the surface like a volcano about to erupt. Not only in the girls, but in the adults meant to supervise them, those that are enforcing the repression themselves. Everybody is trapped, which might make the fate of the disappearing girls like a blessing to them, and a curse to those that remain.

I seem to remember reading somewhere that Weir went to great lengths to make the film's mystery "unsolvable". For a relative newcomer, this is a bold choice, but one that paid off for him. The film was a critical and commercial success and put Weir on the map. Proof that some films got answers and some haven't, which depending on how you do it, can be a blessing or a curse.

Grade: 4.5

Takoma11

09-15-22, 10:26 PM

I seem to remember reading somewhere that Weir went to great lengths to make the film's mystery "unsolvable". For a relative newcomer, this is a bold choice, but one that paid off for him. The film was a critical and commercial success and put Weir on the map. Proof that some films got answers and some haven't, which depending on how you do it, can be a blessing or a curse.

Grade: 4.5

It's a great example of how to do ambiguity the right way. Delivering solid character beats. Staying consistent with the nature of the weird stuff. It doesn't just hinge on knowing the truth, so it doesn't feel like a cheat when everything isn't spelled out.

No joke, a few times a year this happens in my head:

--"The boy stood on the burning deck, whence all but he had fled, tra-la."
--"Wait, what's that from?"
--"It's Casabianca."
--"Right, but what's with the tra-la thing?"
--"OMG PICNIC AT HANGING ROCK!"
*strong wave of feelings*

Thief

09-15-22, 10:29 PM

It's a great example of how to do ambiguity the right way. Delivering solid character beats. Staying consistent with the nature of the weird stuff. It doesn't just hinge on knowing the truth, so it doesn't feel like a cheat when everything isn't spelled out.

No joke, a few times a year this happens in my head:

--"The boy stood on the burning deck, whence all but he had fled, tra-la."
--"Wait, what's that from?"
--"It's Casabianca."
--"Right, but what's with the tra-la thing?"
--"OMG PICNIC AT HANGING ROCK!"
*strong wave of feelings*

:laugh: :laugh:

https://c.tenor.com/hLc98WOS94AAAAAC/fresh-off-the-boat-mind-blown.gif

SpelingError

09-16-22, 12:12 AM

I seem to remember reading somewhere that Weir went to great lengths to make the film's mystery "unsolvable".

I remember being left unsatisfied by the film for that reason and, as a result, didn't enjoy the film as much as I was hoping. Maybe I'll go back to it in the future though. Who knows.

Thief

09-16-22, 12:17 AM

I remember being left unsatisfied by the film for that reason and, as a result, didn't enjoy the film as much as I was hoping. Maybe I'll go back to it in the future though. Who knows.

Check out this podcast where the two hosts talk quite a bit about that aspect.

Criterion Cast: Episode 181 - Peter Weir's Picnic at Hanging Rock (https://criterioncast.com/podcast/criterioncast-episodes/episode-181-peter-weirs-picnic-at-hanging-rock)

I think it can help you put things in the proper perspective.

SpelingError

09-16-22, 12:18 AM

Check out this podcast where the two hosts talk quite a bit about that aspect.

Criterion Cast: Episode 181 - Peter Weir's Picnic at Hanging Rock (https://criterioncast.com/podcast/criterioncast-episodes/episode-181-peter-weirs-picnic-at-hanging-rock)

I think it can help you put things in the proper perspective.

I'll check that out :up:

Thief

09-16-22, 09:58 PM

AMOUR
(2012, Haneke)
A film featuring senior citizens prominently
-- recommended by Jess --

https://i.imgur.com/UW82zg4.jpg

"Things will go on, and then one day it will all be over."

Traditional wedding vows are widely known. We've all heard them numerous times. Take this man or woman to be my wife or husband... for better, worse, richer, poorer, in sickness, and in health... but love is more than saying those words. Love means putting them in practice when the worse really comes, when the money runs out, when the sickness comes, and doesn't leave. That is the situation in which the two leads in this Michael Haneke film find themselves.

Amour follows Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva), an old retired couple living alone in France. Their lives go on in a fairly normal way as they enjoy breakfasts and lunches together, and attend musical concerts from former students. But things take a turn for the worse when Anne suffers a stroke that progressively deteriorates her health, while Georges has to take care of her.

I had been dreading to watch this film ever since its release. As a matter of fact, I actively avoided it because I've always been very sensible to depictions of the pains and suffering of the elderly; especially since my grandmother passed away 10+ years ago, something that still hurts to this day. So when I opened the floor for recommendations about films with senior characters, my wife brought it up and said "it is time".

But although I was dreading more the angle of the elderly from the perspective of a grandchild, the film got to me in more ways than one. Sure, memories of me and my mother taking care of my grandmother came up. But then I was also reminded of my own mother, who is not that young anymore. And finally, I thought of me and my wife and how would things be if that was our situation in the future, when it will all be over.

The constant in all three angles is the title of the film: "amour", love, amor. Because no matter how many times I had to feed my grandmother in her last years, or help my mom with some house chore, or sat at the bedside of my wife at the hospital, love was and is there every step of the way. Certainly Haneke takes his own unique path to ask us and challenge us, but also show us what is love. Not the romanticized, puppy love, but the sharp pain of seeing that special person suffer and wither away in front of you.

A big reason why this film succeeds in portraying that is on the excellent performances from Trintignant, but especially Riva. The way they both convey the intimacy and closeness between Georges and Anne, even while he's moving her from a wheelchair, feeding her dinner, or giving her a bath, it's something powerfully moving. To see the regression in that person you love, from a night dress to a diaper, from a wine glass to a sippy cup, from meaningful conversations to just uninteligible babbling, it is all the ultimate test of what is really to love someone... for better, worse, richer, poorer, in sickness, and in health.

We can question the final actions and what's really behind them, but I think we can make an argument that what happens in the end can be seen as a manifestation of love. We've all seen loved ones suffer, we've all felt that pain. But as hard as things might be, as worse as things might get, as precarious as health could be, in some way, one day it will all be over.

Grade: 4

PHOENIX74

09-16-22, 11:04 PM

Great review of Amour - a film I think a great deal of. I went through something similar with my mother's last few years.

Thief

09-22-22, 05:23 PM

Lots of stuff going on, so I kinda forgot to post my final tally for AUGUST 2022

A film with the number 8 (Eight, Eighth, etc.) in its title: 8 Mile (https://www.movieforums.com/reviews/2328247-8-mile.html)
A film that starts with the letters O or P: Prey (https://www.movieforums.com/reviews/2325593-prey.html), Parenthood (https://www.movieforums.com/reviews/2328758-parenthood.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #8 (i.e. 18, 482, 819): All That Heaven Allows (https://www.movieforums.com/reviews/2324653-all-that-heaven-allows.html) (#378)
A film from the 1980s: Parenthood (https://www.movieforums.com/reviews/2328758-parenthood.html), Cinema Paradiso (https://www.movieforums.com/reviews/2330530-cinema-paradiso.html)
A romantic film: All That Heaven Allows (https://www.movieforums.com/reviews/2324653-all-that-heaven-allows.html), Enough Said (https://www.movieforums.com/reviews/2332765-enough-said.html)
A film set in school: Picnic at Hanging Rock (https://www.movieforums.com/reviews/2333158-picnic-at-hanging-rock.html)
A film from Nicholas Ray (born August 7): Johnny Guitar (https://www.movieforums.com/reviews/2329347-johnny-guitar.html)
A film from India (Independence Day, August 15): U-Turn (https://www.movieforums.com/reviews/2327979-u-turn.html) (2016)
A film featuring senior citizens prominently (Nat'l Senior Citizens Day, August 21): Amour (https://www.movieforums.com/reviews/2333536-amour.html)
A film with any of the words "Rock", "Paper", "Scissors" in its title (World Rock Paper Scissors Day, August 27): Paperman (https://www.movieforums.com/reviews/2329275-paperman.html)

Freebie: Luck (https://www.movieforums.com/reviews/2325460-luck.html), Lightyear (https://www.movieforums.com/reviews/2325989-lightyear.html), Jurassic World Dominion (https://www.movieforums.com/reviews/2326234-jurassic-world-dominion.html), Terminator 3: Rise of the Machines (https://www.movieforums.com/reviews/2327388-terminator-3-rise-of-the-machines.html), Foreign Correspondent (https://www.movieforums.com/reviews/2332842-foreign-correspondent.html), Shadow of a Doubt (https://www.movieforums.com/reviews/2332849-shadow-of-a-doubt.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7BmQj8qE1FLuLTf7Xjf9sdIHzoa.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ujr5pztc1oitbe7ViMUOilFaJ7s.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/e51tNNQBJpJi9xkyuj0QFhyBcz7.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/9BZRrJK3iMILX0KP8eLb2E4sPqs.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/9JhfVOveaY00o8njQu2Xrp4YWud.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/p5naJg0K8xF0h0HWEfiz6rc9lC4.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7BAXwmFN4pZDNb9N6kzmAAwdssi.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/bap37yOCwcR9x4YDsNUaSo9nIp9.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/fjl9czd3zj0QpeaXAysAGwM9UrD.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/yq8hSg68QcfqKim9iydrVe4ndX3.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/6MXYNvGmI63W8fI3HKlcZzEy1U5.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/1HOYvwGFioUFL58UVvDRG6beEDm.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ox4goZd956BxqJH6iLwhWPL9ct4.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/kAVRgw7GgK1CfYEJq8ME6EvRIgU.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/qAnafzrd9Y5pVTWAP0tSDDMPzTR.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/A8WhuO1fnY4N65JRDTDvDUPHTlf.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ptyWagbWE8jSGyV2tGEzAdVbRCj.jpg

Nothing downright awful, but a couple of cringy ones, like Jurassic World Dominion and maybe Luck or Lightyear.

The best ones, though, where Parenthood, Picnic at Hanging Rock, and Amour. That's without counting rewatches.

Thief

09-22-22, 05:28 PM

And finally, here are the criteria for SEPTEMBER 2022

A film with the number 9 (Nine, Ninth, etc.) in its title:
A film that starts with the letters Q or R:
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #9 (i.e. 19, 590, 980):
A film from the 1990s:
A scifi film:
A film with the word "Fall" or "Autumn" in the title:
A film with a punctuation symbol on its title (Nat'l Punctuation Day, September 24):
A film featuring Native American characters (Native American Day, September 23):
A film from Central America (Act of Independence of Central America, September 15):
A film from Pedro Almodóvar (born September 25):

Obviously, subject to me getting power back! :laugh:

Thief

10-01-22, 10:57 PM

PREDESTINATION
(2014, Spierigs)
A sci-fi film

https://i.imgur.com/DB4cwuG.jpg

"The snake that eats its own tail, forever and ever."

Predestination follows an agent (Ethan Hawke) from an advanced government agency that uses time travel to stop crimes before they occur, something that takes agents back and forth as they track potential criminals. After an incident leaves Hawke's character scarred, he is to be sent on a final mission which is crucial to the continuity of the life he knows.

Despite its seemingly action-oriented premise, this is not that kind of sci-fi film. This is a more slowly paced and cerebral film that takes its time to explore its two main characters, Hawke's agent that goes back to the 1970s to pose as a barkeep, and John, the enigmatic customer that comes to the bar and ends up sharing his life story of how he got where he is. But despite all the twists and turns of the story, it is clear there are other purposes behind.

From the opening shots, it is evident that the Spierig brothers have a good eye for framing and blocking. Their direction is confident and assured, allowing the script and the actors to breathe as the story flows. There is also a certain atmosphere to the story that makes it feel kinda "classy", very "old school" scifi. It is also very pleasing to see a scifi that doesn't rely on bangs and explosions to create a compelling story.

Hawke is pretty good as the agent, but it is Sarah Snook who steals the show with an engaging performance that runs back and forth the spectrum. At one point, Hawke's character describes his mission as a "snake that eats its own tail"; an endless cycle of events that can't be stopped. That is more or less how this film has been circling on my mind ever since I saw it, and that is usually a good sign.

Grade: 4

Takoma11

10-01-22, 11:13 PM

Thief

10-01-22, 11:42 PM

EVE'S BAYOU
(1997, Lemmons)
A film from the 1990s

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

"Memory is a selection of images, some elusive, others imprinted indelibly on the brain."

This is the line with which this Southern Gothic drama opens up, because memory will play a key role in what will happen; how we remember some things while others elude us regardless of how traumatic or impactful they could've been. Set in the 1960s, Eve's Bayou follows the Batiste family as they are forced to deal with memories and secrets they've tried to hide.

Most of the focus of the film is put on Eve (Jurnee Smollett), the 10-year-old daughter of Louis and Roz (Samuel L. Jackson and Lynn Whitfield), a well-respected couple living in an affluent Creole community in Louisiana. But behind their facades of wealth and respectablity, there are countless skeletons waiting to be unburied.

Most of the family's problems stem from Eve witnessing her father having sex with another woman. However, this is brushed aside by all members of the family for different reasons; most notably maintaining the stability and appearances of the family. But when Louis' infidelities accumulate, it becomes obvious it is not possible to elude it or brush it aside.

This is a film I had seen back in the day. However, I barely remembered anything, so it was nice to come back to it. Director and writer Kasi Lemmons has a strong eye, but the story does get out of her hands at times. There are several references to the "gift of sight", possessed both by Eve and her aunt Mozelle (Debbi Morgan), but it isn't expanded or explained enough.

Speaking of Morgan, her performance is great, but unfortunately her character seems to run a parallel story that is more or less dropped halfway through. The rest of the performances are just as good, especially Smollett and Meagan Good, who plays Eve's older sister. Their chemistry feels strong, and they both provide a solid emotional core to the story, even if the logistics around it aren't properly executed.

Grade: 3

Thief

10-01-22, 11:47 PM

I love Predestination so much it's insane.

I love the premise.

I love the performances from Snook and Hawke and the way that they create an intimacy and dynamic that manages to evade classification---neither familial nor romantic nor professional--and that works with every progression of the plot and every advancement of their relationship.

I really love character-driven sci-fi, and this is a case where I feel as though the science fiction aspect and the dramatic aspect are perfectly partnered.

I definitely agree. I found it refreshing the way the story unfolded, starting with that conversation at the bar. It's something rare for a modern sci-fi film. And the layers each turn adds to the dynamic between the two main characters are quite something.

Takoma11

10-01-22, 11:50 PM

I definitely agree. I found it refreshing the way the story unfolded, starting with that conversation at the bar. It's something rare for a modern sci-fi film. And the layers each turn adds to the dynamic between the two main characters are quite something.

At some point, knowing all the twists and turns, give it a rewatch. Incredibly rewarding on a second look.

Thief

10-02-22, 12:22 AM

A LEAGUE OF THEIR OWN
(1992, Marshall)
A film from the 1990s

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

"Ballplayers?! I haven't got ball players! I've got girls!. Girls are what you sleep with *after* the game, not what you coach *during* the game!"

That is how washed out baseball player Jimmy Dugan (Tom Hanks) describes his situation as coach of the Rockford Peaches. This pretty much encapsulates the general attitude of people back in 1943, when World War II forced baseball owners to create a female baseball league so they could still make profits.

A League of Their Own focuses mostly on sisters Dottie and Kit (Geena Davis and Lori Petty), two softball players in Oregon that are recruited for this new league. Will their rivalries get in the way of their success, or will they allow to work together as a team? They are joined by an assorted cast that includes Madonna and Rosie O'Donnell.

This is a film that, for some reason, I hadn't seen before. Several people had mentioned it to me, so I was happy to finally check that box. But beyond that, the film is indeed well made and more important, a lot of fun. Although there is so much to the All-American Girls Professional Baseball League that is not said, the film still succeeds in giving you an idea of what it was and what it meant.

Most of the cast is pretty good, but special notice goes to Hanks and Davis, who are excellent. Unfortunately, the conflict between Dottie and Kit feels a bit half-baked. Also, I don't think the 1980s flashforwards that bookend the film were as well executed as the body of the film, but I understand their purpose: to highlight the legacy of these women that decided to shake off any dismissal or prejudice about their role as women in order to play ball.

Grade: 3.5

Thief

10-02-22, 12:53 AM

PENINSULA
(2020, Yeon)
Freebie

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

"Dad told us we should help the weak before he went to heaven. You looked weak."

In 2016, Train to Busan became a massive hit among critics and audiences by taking the already tired premise of zombies and giving it a strong emotional core via its two main characters. Perhaps knowing that lightning won't hit twice, director and writer Yeon Sang-ho has once again, given a bit of a spin to the genre, although with more mixed results.

Set a few years after the original zombie outbreak, Peninsula follows Jung-seok (Gang Dong-won), a former captain that is haunted by the guilt of not being able to save his sister and nephew. While living as a refugee in Hong Kong, he is recruited by some mobsters to enter the quarantined South Korean peninsula, which is now overrun by zombies, to retrieve a truck full of cash.

Much like Aliens did with Alien, Peninsula veers more into action territory. Of course, it still has horror elements, but the main beats are that of a typical action/heist film as Jung-seok is forced to not only fend off zombies, but to also deal with a rogue militia that now controls the area. In the process, he is rescued by a family of survivors that still live in the city ruins.

For the most part, Peninsula is a competent enough action/horror film with some pretty solid action setpieces. What it lacks, though, is the strong emotional anchor of the first one. Gang is a solid lead, but he never manages to evoke the same attachment that the leads of the original did. In addition, the reasonings for him to go back aren't that strong, and feel like what they are: an excuse to put our lead character back in the fray.

Finally, there is a lot of focus put into car chases, as several characters race for survival around the streets of South Korea. However, not only are most of these scenes visibly CGI, but the probabilities of these abandoned streets to be so clear that characters can endlessly race at 100mph, it all ends up feeling distracting. But again, the action is solid enough, so if you approach it with that expectation, you might have fun with it too.

Grade: 3

Thief

10-03-22, 12:12 PM

REJECTED
(2000, Hertzfeldt)
A film that starts with the letters Q or R

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

"This is fun!"
"..."
"My anus is bleeding!"

Rejected is a collection of brief shorts allegedly devised as potential ads for both the fictional Family Learning Channel and Johnson & Mills Corporation. Their rejection subsequently drives the animator to progressively lose his sanity, which is in turn reflected in his work and the fictional world within it.

The truth is that creator Don Hertzfeldt has never worked in advertising, but he still uses the format to take jabs at consumerism, among other things, with a tone that goes from surreal and absurd to dark and gruesome. Most of the shorts are hilarious be it by design or just a by product of their "WTF-ery".

Being my first experience with Hertzfeldt, I can say that "WTF" was my reaction to most of it, but more often than not, it was accompanied by a chuckle, at the very least. I definitely look forward to more of his stuff, so as far as I'm concerned, there's no rejection from me; even if my anus is bleeding.

Grade: 4

Thief

10-03-22, 12:33 PM

For anyone that hasn't seen it...

https://www.youtube.com/watch?v=W7JyjZI3LUM

Thief

10-03-22, 12:58 PM

IN THE BEGINNING WAS WATER AND SKY
(2017, Ward)
A film featuring Native American characters

https://i.imgur.com/e7TuVqn.png

"When you return, everything you know will be gone."

In the Beginning was Water and Sky opens with the ominous lede about the hundreds of Indian boarding schools that were opened during the 19th Century in the United States. Their goal was to eradicate Native American culture by "reeducating" Native children in the "American way".

The short follows a very loose narrative, but it mostly focuses on two of these children (Norma-Sue Hill and Shohnáhose Davin Bomberry) as they are taken from their tribe into one of these boarding schools. There they are witnesses to mistreatment, torture, and abuse from the leaders.

There is little dialogue, but director and writer Ryan Ward features some gorgeous visuals to send his message, accompanied by very effective use of Native music. The short seems to be an effort to create awareness about these events, so hopefully the more people see it, the less "gone" the Native American culture will be.

Grade: 3.5

Thief

10-03-22, 01:00 PM

At some point, knowing all the twists and turns, give it a rewatch. Incredibly rewarding on a second look.

I'm already thinking about a rewatch.

Thief

10-03-22, 01:05 PM

In case anybody wants to check it out...

https://www.youtube.com/watch?v=18xqN6-fhy4

Thief

10-03-22, 02:23 PM

THE FALL
(2019, Glazer)
A film with the word "Fall" or "Autumn" in the title

https://i.imgur.com/0ssF0gK.jpg

"Our greatest strength lies not in never having fallen, but in rising every time we fall."

The Fall is a short film from Jonathan Glazer. Set in an undetermined time, it follows a mob of masked men pursuing one of them (also masked) and enacting some sort of trial on him. The sentence? To be dropped with a noose down an eternally deep well.

At 7 minutes and with pretty much no dialogue, there is not much that can be said about this in terms of story. But that doesn't seem to be Glazer's motive. Instead, he manages to create an eerie atmosphere that's as unsettling as some of the films we know him for.

The grotesque design of the masks, the creepy vibe of the minimalist score, it all comes together to create a nightmarish short. The above quote is not from the short, since it has no dialogue, but it might encapsulate what seems to be the philosophy of the lead character. You gotta rise again; not necessarily for pride, but for survival.

Grade: 4

Thief

10-03-22, 02:31 PM

This one can be seen at its official website...

THE FALL - A JONATHAN GLAZER FILM (https://us.thefall.film/)

Thief

10-03-22, 03:41 PM

WHAT'S OPERA, DOC?
(1957, Jones)
A film with a punctuation symbol on its title

https://i.imgur.com/NnR4iuI.jpg

"Be vewy quiet... I'm hunting wabbits."

Words that are familiar to anyone around my age. But when you add a bit of opera, to the mix, the results are even more hilarious. That is the premise of this animated short film from Chuck Jones and WB Merrie Melodies.

What's Opera, Doc? follows the familiar setup of Elmer Fudd chasing Bugs Bunny, while parodying various operas from 19th Century composer Richard Wagner, along with storms, earthquakes, an overweight horse, and some ballet.

This is a short I had seen several times since I was a kid, but I think this is the first time I've seen it with a more critical eye. It's quite impressive the attention to detail from Jones, writer Michael Maltese, and composer Milt Franklyn. The way they seamlessly weave this story with the music and the animation is definitely pwiceless.

Grade: 4

Thief

10-04-22, 03:28 PM

THE THING FROM ANOTHER WORLD
(1951, Nyby)
A scifi film • A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #9 (#984)

https://i.imgur.com/hJjbcb3.png

"No pleasure, no pain... no emotion, no heart. Our superior in every way."

In 1982, John Carpenter released The Thing, a mish-mash of scifi and body horror that is often considered one of the best sci-fi films and one of the best remakes out there. Granted, at the time I first saw it, I wasn't really aware that the film was a loose remake of an older film and an even older novella, but it quickly became a favorite of mine. Even though I found out about the original a long time ago, for some reason I had never checked it out, until now.

Released in 1951, The Thing from Another World follows a US Air Force crew sent to investigate an unusual aircraft crashing at the North Pole, and they end up finding an advanced but dangerous alien that feeds on other creature's blood. It's up to Captain Patrick Hendry (Kenneth Tobey) and his men to stop it.

This is one of those instances where it's good to know the context in which the film is released. Right at the peak of the Cold War, the presence of "the Thing" is meant to be seen as a metaphor of the threat of Communism sneaking up on us. Not sure if that was present in the novella, but it's very much in the film's DNA. From throwaway lines about the Russians being "all over the pole like flies" to the "ra-rah" closing warning to "keep watching the skies".

But regardless of whatever opinion you might have about that, the film is still a pretty tight sci-fi thriller. Even though it takes a bit to get things going, and the logistics of how the creature operates are not that clear, the film still manages to keep an atmosphere of tension. The film is also one step above the typical 50's sci-fi goofiness, and the way the creature is shot is quite menacing.

The cast is also fairly solid, even though some of their decisions doesn't make a lot of sense for a military crew. I would've preferred a more prolonged climax, with the creature posing more of a threat, but at 87 minutes, it is a pretty lean film. It might not reach the greatness of the remake, but it does what it needs to do to keep you engaged.

Grade: 3.5

Thief

10-04-22, 04:52 PM

BE NATURAL
THE UNTOLD STORY OF ALICE GUY-BLACHÉ
(2018, Green)
Freebie

https://i.imgur.com/anq7nUR.jpg

"How does one have the sense of *cinema*, when there was no *cinema*?"

Alice Guy-Blaché attended one of the first "surprise" film screenings from the Lumière brothers back in 1895, she started making films the next year for Léon Gaumont, was named Head of Production where she was one of the first, if not the first to explore with fictional storytelling as well as many other innovative film techniques... and still, most people – from regular audiences and cinephiles to actual filmmakers and scholars – don't know who she is. The fact that she was a woman either makes that fact more surprising, or sadly, more understandable.

Be Natural, from Pamela B. Green tries to correct that by chronicling Guy-Blaché's career, from 1895 to her death, and beyond. One of the things the documentary highlights is why so many people had/have never heard of her. The truth is that most of Guy-Blaché's work and contributions to film ended up being either dismissed, erased, or attributed to others. Maybe it was just a thing of time and place, but maybe it was ego or the nature of a male-driven society. Fortunately, Green does a great job of bringing it to the surface.

The documentary uses a very accessible visual style to lead you through all the years and events that led to how things ended up. It makes sense that Green's main job is as a title designer because, aside from the relevance of the story, the visuals were one of the main things that caught my eye as I watched this. She uses a very easy-to-follow and streamlined format to show you a chronological course of events.

The choice of interviewees is also very good, as it goes from film scholars and archivists to filmmakers like Agnès Varda, Martin Scorsese, and Peter Bogdanovich to Peter Farrelly, Ava DuVernay, and Patty Jenkins. The narration from Jodie Foster is also very effective and well handled. This is all paired with actual interviews with Guy-Blaché done in the 1960s. All of that made for a very engaging documentary that had me captivated from the very beginning.

It is hard to be an active filmmaker, let alone a successful one. Just by looking at the ratio of male vs. female directors, you can get the notion that it's even harder to be a female director; the cards are not stacked equally. But to be a female filmmaker at the dawn of the medium and create a path, instead of following others, well, that's a hell of a feat.

Grade: 4.5

Thief

10-04-22, 05:06 PM

THE CABBAGE-PATCH FAIRY
(1896, Guy-Blaché)
Freebie

https://www.youtube.com/watch?v=xj3nos5djU0

So *this* is where Cabbage Patch Kids come from!

MADAME'S CRAVINGS
(1907, Guy-Blaché)
Freebie

https://www.youtube.com/watch?v=NAy5ZPDQb0Q

Candy, absinthe, and tobacco... everything a growing baby needs!

A couple of old short films from Alice Guy-Blaché I saw in preparation for an interview for my podcast on female directors.

Thief

10-04-22, 05:57 PM

SUSPENSE
(1913, Weber & Smalley)
Freebie

https://i.imgur.com/UccC5s1.jpg

"A tramp is prowling around the house!"

Words that no spouse wants to hear while their far away. The threat of danger to their family and the inability to do something has to be unbearable. That is the premise of this 1913 short film directed by Lois Weber and Phillips Smalley.

Suspense starts with a servant leaving a letter of notice to her bosses, leaving the mother and her baby alone. When the husband has to stay late at work, a vagrant takes advantage to sneak into the house and threaten the woman.

This is an impressive short for many reasons. First, the technical aspects and craft are great, especially for the time. There are numerous creative shots using mirrors and downward angles, and most notably, the split screen seen above. All of those were shots I really wasn't expecting in a 1913 film. Also, the car chase sequence between the police and the husband is neatly choreographed.

But finally, the way the short manages to build tension through the close-ups on the "tramp", and the back and forth editing between him, the mother, and the father was impressive. I really didn't expect being so on edge. A definitive must-watch, especially if you're a fan of early silent cinema.

Grade: 4

Thief

10-04-22, 11:28 PM

LA CONCEJALA ANTROPÓFAGA
(2009, Almodóvar)
A film from Pedro Almodóvar

https://i.imgur.com/S2wAA1H.png

"We have to recognize desire as the main driving force of a better society – when you desire someone you don’t usually wish them harm – unless they reject you that is"

That is one of the many mantras that the lead character of this short rambles on. Desire is key, which is probably why in 7 minutes runtime, she gives in to numerous bites of sweets and multiple snorts of cocaine, all while she talks and talks about sex and want, and how to wallow in it, and in God knows what else.

That is the setup of La concejala antropófaga (or The Cannibalistic Councillor), a short from Pedro Almodóvar. Conceived during the filming of Broken Embraces, the short follows Chon (Carmen Machi), a councillor that enjoys giving in to her, umm, desires and talking about them.

I've never seen Broken Embraces (or any Almodóvar film, other than Bad Education), so I don't know how the short plays into that narrative, but it doesn't seem necessary. What I do know is that it stars Machi, who I already knew from a hilarious Spanish sitcom called Aida. Apparently, Almodóvar liked her performance so much that he wrote this short in one day, and let Machi run wild with it.

Aside from Machi and the script, I really liked the way Almodóvar framed his shots, and also the way he used colors in everything; from Machi's clothes to the set decoration and the whole mise-en-scène. For someone that's not familiar with his work, this brief short really piqued my interests about his films. Maybe I should finally give into them.

Grade: 4

Thief

10-05-22, 12:28 AM

THE HUMAN VOICE
(2020, Almodóvar)
A film from Pedro Almodóvar

https://i.imgur.com/mBSuT9Y.jpg

"I'm a waste. I'm a ruin of what I once was."

"Breaking up is hard to do", said the song. It leaves us in misery and pain, it brings back memories of better times and makes us want to crave that again. That is the predicament in which Tilda Swinton's character finds herself in this Pedro Almodóvar short.

The Human Voice follows Swinton's unnamed character as she walks around a stage/apartment, apparently after being left by her lover. After some cathartic moments of frustration and anger, she receives a call from the man, who we never see or listen, and she proceeds to talk with him for the rest of the short going through a series of emotional ups and downs.

Like La concejala antropófaga, this is another opportunity that Almodóvar gives to an actress, Swinton in this case, to run wild with a monologue that seems to be tailored for her. This one is actually based on a play, but Swinton totally owns the role and makes the most out of every sentence and inflection. She is spectacular in it.

I was again impressed by Almodóvar's shot framing, use of color, set decoration, and overall mise-en-scène. If this is how he directs, I'm definitely gonna have to check out more of his stuff.

Grade: 3.5

Death Proof

10-05-22, 11:48 AM

Kill da wabbit?

And yeah - as much as I love The Thing, The Thing From Another World is a solid sci fi flick. I remember watching that as a kid before I ever saw Carpenter's.

Thief

10-05-22, 09:40 PM

THE 9TH GUEST
(1934, Neill)
A film with the number 9 (Nine, Ninth, etc.) in its title

https://i.imgur.com/DiTyjd4.jpg

"You are about to meet my guest of honour: the ninth guest... his name is Death."

The 9th Guest follows a group of eight guests invited at a mysterious party by an unknown host. As they settle in, they are informed that they are part of a deadly game which will result in the death of each of them. Is the ninth guest "death" itself? or is "death" within one of them?

I've always said that one of the best things of this monthly challenge is to stumble upon films I probably wouldn't have stumbled any other way. I think this is one of those cases, and the fact that the film ended up being a pleasant surprise makes it all the more, well, pleasant.

With a simple premise and a brief runtime of 65 minutes, The 9th Guest is a breezy and entertaining "whodunit" that manages to keep you guessing until the end. Most of the characters are colorful and well-delineated, even if some of their introductions feel a bit scattered. Edward Ellis and Hardie Albright are probably the top scene stealers of the bunch.

Unfortunately, the two characters that end up being the leads are a bit on the bland side, and the revelation of who's behind the game feels a bit convoluted. Despite that, for most of its brief duration, I enjoyed being another guest at this party.

Grade: 3

Thief

10-06-22, 10:24 PM

LA LLORONA
(2019, Bustamante)
A film from Central America (Guatemala)

https://i.imgur.com/Lv9jJaj.jpg

"Without justice, there is no peace."

That is the frequent chant of protesters angered at the favorable verdict against ruthless Guatemalan dictator Enrique Monteverde (Julio Díaz). But the chant can also be seen as the spiritual verdict that hangs above Monteverde's head for his past; there'll be no peace around him or within him, until he faces his wrongdoings. That is the premise of this slow burning, atmospheric Guatemalan film.

I didn't know much about La Llorona, but saw it mentioned on several lists as I was looking for a good Central American film. I have to say that it was absolutely nothing like I was expecting. This is not the cheap, jumpscare filled, monster film that you might be led to believe, but rather a quite profound psychological thriller/drama with very strong political core about a man and his family haunted by guilt and regret.

From the first shot, the direction of Jayro Bustamante shines as he shows a great talent for framing and composition, as well as a patience to let the camera linger as we see every family member is suffering the fallout of Monteverde's crimes. The manifestation of these comes in the form of Alma (María Mercedes Coroy), a young villager that comes to work for the family as a maid. But is there more to her than what it seems?

The whole nature of the film did caught me off guard, but in a positive way. I'm all for a good political drama/thriller with dark undertones. However, I don't think it was executed as well as it could've. I also have no issues with a film's slow pace, but this one pushes it perhaps a bit too much as it waits until the very last minutes to pay off, and in some ways, it feels like it fizzles out.

Regardless of that, the film has a lot on its favor. All of the performances are pretty good, especially Margarita Kenéfic as Monteverde's wife, Carmen. But then again, I feel most of the character beats are too muted and subdued. But in general, La Llorona is an extremely well assembld film, with a great direction that creates an effective atmosphere of dread and fear. Whether it brings proper justice or peace, it's up to you.

Grade: 3

Thief

10-07-22, 01:35 PM

Here is my final tally for SEPTEMBER 2022

A film with the number 9 (Nine, Ninth, etc.) in its title: The 9th Guest (https://www.movieforums.com/reviews/2338050-the-9th-guest.html)
A film that starts with the letters Q or R: Rejected (https://www.movieforums.com/reviews/2337422-rejected.html) (short film)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #9 (i.e. 19, 590, 980): The Thing from Another World (https://www.movieforums.com/reviews/2337743-the-thing-from-another-world.html) (#984)
A film from the 1990s: Eve's Bayou (https://www.movieforums.com/reviews/2337113-eves-bayou.html), A League of Their Own (https://www.movieforums.com/reviews/2337126-a-league-of-their-own.html)
A scifi film: Predestination (https://www.movieforums.com/reviews/2337086-predestination.html)
A film with the word "Fall" or "Autumn" in the title: The Fall (https://www.movieforums.com/reviews/2337467-the-fall.html) (short film)
A film with a punctuation symbol on its title (Nat'l Punctuation Day, September 24): What's Opera, Doc? (https://www.movieforums.com/reviews/2337503-whats-opera-doc.html)
A film featuring Native American characters (Native American Day, September 23): In the Beginning was Water and Sky (https://www.movieforums.com/reviews/2337435-in-the-beginning-was-water-and-sky.html) (short film)
A film from Central America (Act of Independence of Central America, September 15): La Llorona (https://www.movieforums.com/reviews/2338289-la-llorona.html) (2019)
A film from Pedro Almodóvar (born September 25): La concejala antropófaga (https://www.movieforums.com/reviews/2337822-the-cannibalistic-councillor.html), The Human Voice (https://www.movieforums.com/reviews/2337842-the-human-voice.html)

Freebie: Peninsula (https://www.movieforums.com/reviews/2337130-peninsula.html), Be Natural: The Untold Story of Alice Guy-Blaché (https://www.movieforums.com/reviews/2337761-be-natural-the-untold-story-of-alice-guy-blach%C3%A9.html), The Cabbage-Patch Fairy (https://www.movieforums.com/community/showthread.php?anchor=1&p=2337765#post2337765), Madame's Cravings (https://www.movieforums.com/community/showthread.php?anchor=1&p=2337765#post2337765), Suspense. (https://www.movieforums.com/reviews/2337773-suspense..html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/iFDOa1HfheTTg2azPX9NZrIeJaK.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/vbci2t9eg4l7fmPzyBaa0OFiyYP.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/rm2w8dEhOGDuckB6i0Spz9lTzpR.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/lVSYTzH2mO46XiBBY5wbZlW6wYT.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7xpFXAOjgzFPE3vyVerFGfrXhFK.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/sYjpJZEdwELjdHy4OVzazeJVT0z.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/5LjhcaKYqdC4Am0xeyseg8Q173P.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/kkbaY8UyPbyzU3xg8CONgwW0Eid.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ldO9OdG9qQyjfaofKy7f3L9DSLG.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/8qcQmR9X0lk5quFSdH4AHUqtmrB.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/1hoNLNx3C5kYXA2lXNooRACoNbm.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/9YWYbBAQ1keap6P5K2Yq1LK70KV.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/eeqvAzCccAZOhU3RfbvHB3s44S6.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/o5fz4qNgI5nfDirf6UcX0SpAG6T.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/2QZGHPgFcOPvPKJew0MQHF45dkj.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/vY0nhjJN8I8pGoncxrVZranoXP7.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/gSlKdlndjzIYwWblYSSZligMXuu.jpg

Lots of interesting stuff in this bunch. I would say that the Be Natural documentary was probably the best thing I saw. I really enjoyed it. But out of the others, maybe Predestination was the one that got to me more. I thought it was a really interesting, well made and cerebral scifi thriller. The Fall and Suspense were also nice surprises.

As for worst? I don't think there was a bad one in these, but maybe Peninsula was the most disappointing? It was a fun ride, and I wasn't expecting it to be as good as the first one, based on everything I had read, but in some corner of my mind, I was still a bit disappointed.

Thief

10-07-22, 01:44 PM

And here are the categories for OCTOBER 2022

A film with the number 10 (Ten, Tenth, etc.) in its title:
A film that starts with the letters S or T:
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #10 (i.e. 10, 107, 610):
A film from the 2000s:
A thriller film:
A film about a virus (Virus Appreciation Day, October 3):
A film from Uganda (Independence Day, October 9):
A film from Ed Wood (born October 10):
A film with a pronoun in its title (Int'l Pronouns Day, October 19):
A film about werewolves (Worldwide Howl at the Moon Night, October 26):

Thief

10-13-22, 02:02 PM

Latest episode of The Movie Loot is out. In honor of the #DirectedByWomen initiative, I talk with writer, editor, and Twitter friend Sylvie about female directors, their struggles and contributions to film; from Alice Guy-Blaché and Ida Lupino to Jane Campion and Lynne Ramsay. Check it out!

The Movie Loot 69: The Women's Loot (with Sylvie) (https://www.buzzsprout.com/850063/11480848-the-movie-loot-69-the-women-s-loot-with-sylvie.mp3?download=true)

You can check it out on the above link, or on any of these podcasting platforms: Spotify (https://open.spotify.com/episode/0bTXyPjGqKXrjkmXEJmkAl?si=f121318a3b52484b), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-69-the-womens-loot-with-sylvie/id1578191119?i=1000582478832), or any other. Thanks for the support!

Thief

10-25-22, 01:26 PM

CITY OF THE LIVING DEAD
(1980, Fulci)
Freebie

https://i.imgur.com/WZq0W0i.jpg

"At midnight on Monday, we go into All Saint's Day. The night of the dead begins. If the portholes of hell aren't shut before, no dead body will ever rest in peace. The dead will rise up all over the world and take over the Earth!"

In a small village called Dunwich, a priest hangs himself in a cemetery. This action sparks the above warning which moves forward the plot of this film. City of the Living Dead follows Mary (Catriona MacColl), a psychic that saw the vision of the priest, as she is joined by Gerry (Carlo de Mejo), a psychiatrist, and Peter (Christopher George), a journalist, as they race against time to save humanity from the dead.

I struggled a bit to find the proper phrasing for that synopsis, but the thing is that there isn't much logic to what happens, nor is it necessary. Why does Father Thomas kill himself? why does his actions result in the dead rising? What does he want? Why All Saint's Day? None of it really matters, other than to give an atmosphere to this eerie zombie film.

Directed by Lucio Fulci after the success of Zombi, it is expected that the film would bring what made that film popular; lots of decaying zombies and tons of icky gore, which I suppose is what most people will come looking for when they watch it. Heads are cracked open, brains are squeezed and ripped apart, guts are thrown out, eyes bleed; not to mention maggots a-plenty.

Fulci brings the gore, but also a decent amount of tension and a nightmarish eerie vibe. There's a particular scene with someone buried alive that had me fidgeting, not because of anything icky, but because Fulci is patient enough to extend it to a point where the tension is almost unbearable. There is also a sense of unexpectedness in that no character seems to be safe, which also helps heighten the tension.

However, I wish there would've been a bit more of attention and care put into the script. It seems a bit haphazardly assembled, and the pace in the first half is a bit clunky as the characters are introduced. Things do pick up in the second half, and the whole style and vibe of it makes it work for the most part. So if you're in the mood for something gory, tense, and not particularly deep, this might be for you.

Grade: 3

Thief

10-25-22, 03:27 PM

SATAN'S SLAVES
(2017, Anwar)
A film that starts with the letters S or T

https://i.imgur.com/zK8tLRo.jpg

"Dead people don't bother the living. They're usually other beings imitating the ones you love to tear your family apart."

Set in the early 1980s, Satan's Slaves follows a family dealing with the aftermath of the death of the mother, after a long illness. When it becomes apparent that the husband and children are being haunted by her, the whole family has to deal with their grief while also looking for answers about this seemingly evil presence.

This is an Indonesian film that works as a loose remake/prequel to a 1980 film of the same name; something I found out after finishing this one. However, I don't think that background is necessary, since I thought it held on its own quite well. Director and writer Joko Anwar definitely knows how to handle the camera and frame a scene, even if he falls back on jump scares a bit too often.

Most of the performances are quite good, especially the four children (Tara Basro, Endy Arfian, Nasar Anuz, and Muhammad Adhiyat). Their chemistry together was also believable and helped elevate a film whose script had some shaky portions. There's some effective tension build-up from various fronts, even if they all don't pay off in the end.

There are some subplots and detours that the film takes that are either dropped, brushed aside, or not concluded properly. The film also feels a bit overlong, and there is an awkward cut in the last act that feels a bit clumsy. Still, the film is held afloat by Anwar's skills, a competent cast, and an effectively creepy air to it.

Grade: 3

Thief

10-25-22, 04:09 PM

PONTYPOOL
(2008, McDonald)
A film from the 2000s • A thriller film • A film about a virus

https://i.imgur.com/0UjFw0i.jpg

"You have to stop understanding! Stop understanding what you are saying! Stop understanding and listen to me!"

Pontypool is a small town in Ontario, Canada, with a population of a couple of hundred people. This film follows the events surrounding the apparent outbreak of a strange virus in the town from the perspective of local DJ Grant Mazzy (Stephen McHattie) and the small group of people working at the station.

When the film opens, we hear a long monologue of Mazzy explaining the etymology of the name of the town, because understanding (or not understanding) things plays a key role in this film. As things start to unravel outside, Mazzy has to stay locked inside the station with his producer Sydney (Lisa Houle) and assistant Laurel-Ann (Georgina Reilly), all while trying to decipher and understand what's happening outside.

Shot almost enitrely in one location with a shoe-string budget, Pontypool is, to quote ThatDarnMKS, an excellent example of doing "a lot with very little". Because, with no outside perspective, the whole film relies on how our characters interpret things. Their only external source are the calls from helicopter reporter Ken Loney, but is he reliable?

I have to give a lot of credit to this film because, again, with so little at hand, it managed to have me on edge through most of its duration. The cast, but most notably McHattie, do an excellent work in conveying the fear and dread surrounding what's happening outside; especially because their uncertainty is ours. So I really appreciate the way the film makes us feel in their shoes. The sound editing, which is very important in a film like this, was also very good.

Like most films in this vein, I think it fails a bit in trying to explain too much, and I'm still not sure the explanation makes a lot of sense. However, I do appreciate how their deduction of what's happening has also a lot to do with how much we, as an audience, try to understand things around us, and how that understanding changes our perspective of things. So if you ever get around to it, stop understanding and enjoy the ride.

Grade: 4

Thief

10-25-22, 05:47 PM

THE NIGHT EATS THE WORLD
(2018, Rocher)
Freebie

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

"Dead is the norm now. I'm the one who's not normal."

The Night Eats the World follows Sam (Anders Danielsen Lie), a musician living in Paris, that finds himself to be the lone survivor of a zombie apocalypse that has ravaged the city. As he barricades himself inside a small apartment building, Sam has to find ways to keep the zombies at bay while also coping with the loneliness and depression of his situation.

This is certainly not the first time that fiction and cinema have explored the implications of a sole survivor amidst a zombie apocalypse (or any other "apocalypse", for that matter). Sources like The Last Man on Earth and its multiple adaptations, as well as 28 Days Later, have all shown us eerie visuals of lonely men walking around deserted cities to varying effects.

Despite not treading new ground, I thought this film did fairly well in trying to explore the deterioration of Sam's mental health. Danielsen might not reach peak levels, but he does a good job conveying the different angles of a character in his predicament: scared, frustrated, resourceful, bold, desperate, lonely, depressed.

I also appreciated the film's slow pace. The film still finds time to have a few intense moments that give it a couple of jolts of energy, but the focus is always the character. There is an interesting supporting performance from Denis Lavant as a zombified old man trapped in the apartment's elevator, with whom Sam develops a "bond", and their interactions add some layers to his mental state.

According to Wikipedia, there have been 400 zombie films released worldwide in the last 20 years, as opposed to barely above 100 in the previous 20. With such a vast amount of output, it's expected that the genre would become as dead as the beings they portray so, much like Pontypool, its always refreshing to find a "lone survivor" among all the rotten ones that's not following the norm.

Grade: 3.5

Thief

10-25-22, 09:48 PM

28 DAYS LATER
(2002, Boyle)
A film from the 2000s • A film about a virus

https://i.imgur.com/4C3HGyl.jpg

"There is no infection. Just people killing people."

There might be some SPOILERS included

Speaking of films about lone survivors amidst a zombie apocalypse... 28 Days Later follows Jim (Cillian Murphy), a bicycle messenger that awakens from a coma only to find himself in the middle of deserted London after a disastrous zombie outbreak. As he realizes what has happened, he has to learn to survive but also whether to trust others. Eventually, he is joined by Selena (Naomie Harris), and then Frank (Brendan Gleeson) and his daughter Sarah (Megan Burns). But can he trust them? Can they trust him?

It had been a while since I had seen this film, but it was certainly nice to revisit. Director Danny Boyle has a great eye to capture certain iconic shots, especially during the moments where Jim explores the deserted streets of London. He also does a great job of combining long shots and pans, with more frantic, handheld camera movement for the zombie attacks. And speaking of zombie attacks, this is one of the first instances where "fast zombies" are featured, and the result is definitely intense and nerve-wracking.

Another great asset to the film is its strict three-act structure. After a somewhat intense first act, Boyle uses the second act to lull the audience into a false sense of security that we know won't last, and it certainly doesn't once our survivors find a purported military sanctuary led by Major Henry West (Christopher Eccleston). You don't have to be an expert to figure out that things don't go out well, for one reason or another.

My recollection of my last viewing of this was that it kinda fell apart in that last act. This rewatch certainly improved my perception of it, even if I'm not completely on board with it. Not that I don't think it would happen, but our survivors stumbling upon a bunch of horny soldiers with an established plan to perpetuate humankind, in some ways feels like a different kind of film.

This last act also brings to the surface a couple of other weaknesses in the film. For example, the way the roles are flipped between Jim and Selena regarding who's the "badass" and who's the "helpless one" felt a bit jarring to me. This reminds me of other logistical issues I have during the first two acts: like, why aren't there any bodies or blood all through the hospital or outside as Jim explores the deserted streets? why only a drop of blood in Frank's eye is enough to turn him, and yet these soldiers are blowing up "infected" with all their guts raining over them but nothing happens?

But it's all cool. The deserted streets scene is iconic for a reason, and the contrivances of Frank's final moments are saved by the strong emotional core that Boyle builds during that second act. That, and the always dependable Gleeson. All of the performances are great, and like I said, Boyle directs the whole thing with an intensity and relentlessness that makes for a harrowing experience.

Grade: 4

SpelingError

10-25-22, 11:34 PM

For example, the way the roles are flipped between Jim and Selena regarding who's the "badass" and who's the "helpless one" felt a bit jarring to me.

While I understand some of the issues people have with the final act (though I wasn't bothered by it since the military was brought up a handful of times before they showed up in the final act), this particularly surprises me as I thought their arcs were handled very well. I think the point to their characters were that, though you may either act a certain way or give off a certain impression at the start of an outbreak, your true colors will eventually be brought out over time. In fact, I'd even go as far to say that, with maybe the exception of the characters in Romero's Dawn of the Dead, Jim and Selena have my favorite character arcs out of all zombie films I've seen.

Thief

10-25-22, 11:35 PM

28 WEEKS LATER
(2007, Fresnadillo)
A film from the 2000s • A film about a virus

https://i.imgur.com/3RUyhSZ.jpg

"We were, uh... just trying to stay alive, I suppose."

There might be some SPOILERS included

Survival is the most basic human instinct. As living species, we strive to, well, stay alive; sometimes against insurmountable odds and maybe even at the expense of others, if it comes to that. Are we willing to risk ourselves for others? And if we can't, or don't, can we live with the cost? Those are questions that come often in this sequel to Danny Boyle's zombie hit film.

28 Weeks Later kickstarts with what is probably one of the most intense openings in any horror film; one where those questions are crucial, as we see the cost by which Don (Robert Carlyle) manages to survive the original zombie outbreak. 28 weeks later *wink, wink* as London is recovering, he reunites with his two children, Tammy and Andy (Imogen Poots and Mackintosh Muggleton) in a quarantined section of the city led by a NATO force. But obviously, there wouldn't be a film if the sh-it didn't hit the fan.

Like 28 Days Later, this is a film I hadn't seen in a while. However, my recollection was that I enjoyed it more than the original (probably one of the few that did). Although my appreciation of the original grew, this one pretty much stayed at the same spot, to the point that I think I have them on similar levels.

First, Fresnadillo's direction is competent, but isn't as elegant as Boyle. He has a knack to effectively transmit the frantic nature of what's happening, but I think he leans into shaky handheld more than Boyle does. Also, the logistics of how the outbreak gets out of control doesn't really make a lot of sense: herd everybody into a dark, cramped up warehouse until? Going into blackout as people and "infected" are running loose, and snipers are trying to maintain control?

What I like most about this sequel is how relentless and full of despair it is. From that kickass opening, it is as if the film just won't let go, and that desperation oozes through the screen. It's a bit of a stretch that the main focus of this rampage falls on one character, but the actor sells it well. Jeremy Renner has a supporting role as a sniper with a conscience that tries to protect the siblings, but my attachment to them wasn't as strong as with, say, Jim and Selena in the first film.

That said, I won't deny my enjoyment of the visceral appeal of this film and how savage it is. But deep down, I love that it takes those questions about survival, self-preservation, and sacrifice, and hangs them above several of its characters (and us, by proxy). How much are we willing to sacrifice to survive? or how much can we sacrifice for others to stay alive?

Grade: 4

Thief

10-25-22, 11:50 PM

While I understand some of the issues people have with the final act (though I wasn't bothered by it since the military was brought up a handful of times before they showed up in the final act), this particularly surprises me as I thought their arcs were handled very well. I think the point to their characters were that, though you may either act a certain way or give off a certain impression at the start of an outbreak, your true colors will eventually be brought out over time. In fact, I'd even go as far to say that, with maybe the exception of the characters in Romero's Dawn of the Dead, Jim and Selena have my favorite character arcs out of all zombie films I've seen.

The way I like to reason the whole situation is that obviously Selena, who has been a tough and emotionally closed person for the entire 28 days since the outbreak, has finally warmed up to others and has learned to care about others... something she had pushed aside in favor of pure survival. Jim, on the other hand, switches to full survival mode in that last act, driven by adrenaline in order to protect Selena and the girl. It is a bit of a stretch to think that a bicycle courier that just woke up from a coma days ago can go all ninja all of a sudden, but that's the movie. It's kickass.

I accept that, but I just think the flip was a bit jarring. Not enough to stop me from having an overall positive reaction to the film, but jarring nonetheless.

SpelingError

10-26-22, 12:07 AM

The way I like to reason the whole situation is that obviously Selena, who has been a tough and emotionally closed person for the entire 28 days since the outbreak, has finally warmed up to others and has learned to care about others... something she had pushed aside in favor of pure survival. Jim, on the other hand, switches to full survival mode in that last act, driven by adrenaline in order to protect Selena and the girl. It is a bit of a stretch to think that a bicycle courier that just woke up from a coma days ago can go all ninja all of a sudden, but that's the movie. It's kickass.

I accept that, but I just think the flip was a bit jarring. Not enough to stop me from having an overall positive reaction to the film, but jarring nonetheless.

For me, I think there's the element of the zombies taking out some of the soldiers and Jim sneaking up on a couple of them and killing them (instead of him beating them all to death in a fistfight) which makes it easier for me to buy the final act. Granted, I get that, when you wake up from a coma, you're generally not going to be physically fit right away and that it can sometimes take weeks for you to 'get back to normal' or whatever the proper medical term is, and I can understand finding the final act jarring for that reason, but I don't mind showing a bit of suspension of disbelief for that when it leads to the memorable character arcs.

Thief

10-26-22, 02:17 PM

SHANG-CHI
AND THE LEGEND OF THE TEN RINGS
(2021, Cretton)
A film with the number 10 (Ten, Tenth, etc.) in its title

https://i.imgur.com/i4dY1Xo.jpg

"My son, you can't run from your past."

As human beings, we are in constant change. As we grow up, we pick up things from everybody we interact with and everywhere we end up at. But there is always an undeniable tie to our past, our parents, our ancestors. Regardless of how much we might want to run away from it, we are bound to stop running and go back, for one reason or another. That reality is at the core of one of the latest MCU offerings.

Shang-Chi and the Legend of the Ten Rings follows the titular character (Simu Liu), who know goes by the name of "Shaun", as he is forced to face his past and his true identity when his father Wenwu (Tony Leung), the immortal leader of the Ten Rings organization, draws him and his sister out on his search of a mysterious mythical village.

The second film within the MCU Phase 4, Shang-Chi has as much similarities as it has differences with the films that precede it. It is refreshing to see a different and somewhat more obscure superhero in the franchise, and Simu Liu is pretty good in his portrayal. He has a good mixture of laid back charisma and emotional weight, mixed with some good comedic timing with best friend Katy (Awkwafina).

But I think the biggest strength the film has is in Tony Leung as Wenwu. In a way, this is as much his film as it is Liu, as we see his character traverse various moral shades of grey. Some of those layers are owed to the script, but I think a lot of it falls on Leung's nuanced performance, which is a treat through almost all the film.

And I say "almost", because as much as director Destin Daniel Cretton try to distinguish it from the rest of the MCU, it is evident that it has to follow a formula; one that requires a big, bombastic climax full of huge CGI creatures and special effects. Cretton does a solid job through the first acts, and there's a beauty to those wuxia-like fight scenes between Wenwu and Shang-Chi's mother, Ying Li. But it is in that formulaic climax where the film becomes less interesting.

Despite those issues, I would say Shang-Chi still ranks slightly above average within the MCU catalog, mostly thanks to a solid cast. The character of Xialing, Shang Chi's sister, could've been fleshed out more, but I suppose they'll get into that in the future. I also loved Katy's little arc, and it was fun to see the way they inserted Ben Kingsley's Trevor Slattery into the narrative.

At the end of the day, Shang-Chi might be an entertaining and satisfying film, but it just can't run from the past and traps of the MCU formula. As it is, it falls within the same "low floor/high ceiling" standards that the whole franchise has established. If it weren't for the performances, this would probably be a notch lower.

Grade: 3.5

Thief

10-30-22, 10:24 AM

Just in time for Halloween, the latest episode of The Movie Loot is out. This time, I have the hosts of The Podcast That Wouldn't Die, Kevin & Erin, join me in talking about zombie films. It was a lot of fun to chat with them so check it out!

The Movie Loot 71: The Zombie Loot (with Kevin & Erin from The Podcast That Wouldn't Die) (https://www.buzzsprout.com/850063/11592017-the-movie-loot-71-the-zombie-loot-with-kevin-erin-from-the-podcast-that-wouldn-t-die.mp3?download=true)

You can check it out on the above link, or on any of these podcasting platforms: Spotify (https://open.spotify.com/episode/19GWQKmw62HuqvqWW2tvR2?si=850a3997189b44f1), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-71-the-zombie-loot-with-kevin-erin/id1578191119?i=1000584359468), or any other. Thanks for the support!

Thief

10-30-22, 12:55 PM

DAWN OF THE DEAD
(1978, Romero)
A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #10 (#310)

https://i.imgur.com/sB6KSMz.jpg

"One-stop shopping: everything you need, right at your fingertips."

TVs, clothes, gourmet food, wheelbarrows, guns, lighter fluid, and sweet, sweet brains. Everything right here at this important place in our lives that we call the shopping mall. That is the setup of this sequel to George Romero's Night of the Living Dead, released in 1978.

Dawn of the Dead follows four survivors that take refuge from the zombie hordes in a shopping mall. After fending off the scattered zombie groups, they settle in a storage room on the upper floors. But as time passes, they start to fall victim to the comforts of their situation and take them for granted.

This is definitely not the first time I've seen this, but it's another one I hadn't seen in several years. It's really interesting to see the direction that Romero takes this sequel; now more satirical, and with the social commentary angle elevated quite a bit; but it works quite well. The jabs it takes against consumerism and how we are absorbed by routines is pretty on point, especially for the 1970s.

In addition, the performances of the four main cast members are solid, and the way their bond develops feels real. I wish there would've been a bit more depth to them, especially Stephen, but I understand Romero's motives. As for the special effects, the bluish makeup can be a bit distracting at first, but the rest of the effects and the gore in general are both pretty good.

Following up one of the most iconic horror/zombie films ever, Dawn of the Dead manages to deliver a worthy follow-up that manages to be both gory and fun, full of good performances, strong social commentary, and splattery special effects. Everything you need in a horror film, right at your fingertips.

Grade: 4

SpelingError

10-30-22, 12:59 PM

Dawn of the Dead is great.

Thief

10-30-22, 03:09 PM

THE WOLF OF SNOW HOLLOW
(2020, Cummings)
A film about werewolves

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

"This is the job. And it sucks. Often! But you're gonna lose a lot more than that if you don't start focusing on the important stuff. You wanna be sheriff? How about we start acting like one?"

Every job comes with a significant amount of pressure. Whether it is because of the nature of the job or the expectations put on us by being, for example, the son of the local sheriff. But what about both? That is the situation of John Marshall (Jim Cummings), a deputy sheriff in Snow Hollow, Utah, who's struggling to follow the footsteps of his aging father, Sheriff Hadley (Robert Forster) while investigating a series of gruesome murders that might be the result of a wolf... or werewolf?

Directed, written, and acted by Cummings, The Wolf of Snow Hollow is an interesting and enjoyable blend of horror, dark comedy, and police/crime thriller. Like with Thunder Road, Cummings finds a neat way to balance the serious with the humor in a way that I've seen few do so well. He is also helped by a pretty good performance from Riki Lindhome as a fellow officer that tries to help John keep his wits, and gives him the above advice.

Now, speaking of Thunder Road, there is a certain element of repetition in Cummings' character; you know, a socially awkward guy with anger issues being driven by the mortality of one of his parents, all while dealing with a breakup and also struggling to connect with his daughter. I mean, it's pretty much the same character, but the truth is that Cummings does it so well that I can't complain.

In addition to that, I like the way the whole mystery about the murders unfolds, and how Cummings weaves it with his character's family issues. The resolution feels a bit anticlimatic, but I still think the journey is worth the time, especially because of the great characters and Cummings confident and patient direction. His character might be struggling to start acting like a sheriff, but Cummings has surely been acting like a director for a while now.

Grade: 4

Thief

10-30-22, 04:26 PM

BRIDE OF THE MONSTER
(1955, Wood)
A film from Ed Wood

https://i.imgur.com/qg9yz9H.jpg

"One is always considered *mad* if one discovers something that others cannot grasp!"

Bride of the Monster follows Dr. Eric Vornoff (Bela Lugosi), a "mad" scientist that is determined to complete an experiment that will result in a race of "atomic supermen" to conquer the world. Directed and co-written by Ed Wood, it is the most expensive film the made (at $70,000) and arguably his second most well-known one.

Films directed by Ed Wood come now with a certain baggage. Mostly known for his work in horror and sci-fi, he is more popular for how "mediocre" and "incompetent" his films are than for anything else. So with that perspective in mind, I can say I found this to be not so terrible. Campy and schlocky? Yes, but still a nice slice of fun.

The facts around its production only serve to add layers to the film. Part of the film's production funds came from a meat packing plant owned by Donald McCoy. As part of the deal, he asked for his son, Tony, to be cast as the film's hero, Det. Dick Craig. But the thing is that McCoy is not that bad. Again, not sure how much it has to do with low expectations, or true skills, but well.

The real star of the show, though, is Lugosi who delivers a committed and surprisingly energetic performance, especially if you considered it was his last speaking role, released a year before his death. He owns the role of Vornoff giving it equal doses of gravitas and ham. His character is joined by Lobo, played by Wood's regular Tor Johnson, whose performance has a lot of heart to it.

Even though this was my first actual Wood film, I've read some things about him. After working on horror and sci-fi, he eventually veered more into sexploitation and pornographic films, and also pulp novels; a career path that some might have considered "mad"... or maybe it's something that we cannot grasp?

Grade: 2.5

Rockatansky

10-30-22, 04:34 PM

I’m not really an Ed Wood fan, but Lugosi is legit good in that one.

Thief

10-30-22, 05:23 PM

THE CHUCKO
(2015, Cummings)
Freebie

https://i.imgur.com/fRoO8zL.png

"It's exhausting. I don't know what you're saying half the time. No one's having fun! Are you having fun? I don't even think you're having fun! So please, I'm begging you, for two seconds. Stop being such a chucko!"

What is a "chucko"? Well, that is part of what's answered in this 2015 short film from Jim Cummings. After Thunder Road and The Wolf of Snow Hollow, I've become more interested in Cummings' filmography, which started with a bunch of short films, and The Chucko is one of his first ones.

Co-written and co-directed along with Dustin Hahn, the short film follows a, uhh, lively realtor (Hahn) showing a house to a young couple (PJ McCabe and Jennifer Fink) who might or might not warm up to the realtor's styles. It is one of them who finally blows up with the above rant.

This is a 3-minute short, so there's really not much to it, but the dialogue and the acting is hilariously handled, especially by Hahn. He is the vivid portrayal of the "annoying douchebag" everybody knows and hates, making McCabe's irritability and annoyance all the more relatable. So please, I'm begging you, for three minutes. Watch The Chucko!

Grade: 3

Thief

10-30-22, 05:24 PM

If anyone's interested...

https://vimeo.com/139100120

Thief

10-30-22, 06:13 PM

IT'S ALL RIGHT, IT'S OK
(2017, Cummings)
Freebie

https://i.imgur.com/3W1tRUD.jpg

"Can't even be a good guy for five seconds..."

A girl drowns on a pool, and is pulled out of the water; no breathing, but it's all right, it's ok. There are good guys around us when you least expect, from where you least expect. That is the premise of this other short film from Jim Cummings short film.

With a runtime of almost 3 minutes, It's All Right, It's OK throws us right into the middle of the above situation as a "guardian angel" (Joseph Lee Anderson) tries to save the girl. It's a true beauty to see how Cummings uses clever direction to reveal everything that is happening, making the story more complex, interesting, and of course, funny every second.

Again, Cummings script makes a really witty blend of tones, tragedy and comedy, and Anderson, who is the focus of pretty much the whole short is totally on board for it. His performance is equal doses of desperation, fear, earnestness, disbelief, and more... but none of them for more than five seconds. Can't be a good guy for five seconds.

Grade: 3.5

Thief

10-30-22, 06:14 PM

Here it is. Really easy watch...

https://vimeo.com/231158508

Thief

10-30-22, 09:35 PM

STRINGS
(2013, Solís)
Freebie

https://i.imgur.com/KZ4XaAU.jpg

"I'm going to leave him here. I know this isn't the best place for him, but we are overflowing. As soon as we can, we will take him to a more suitable place for his condition."

That's the apologetic explanation given by someone as they leave Nico, a kid with cerebral palsy, at the local orphanage. It is our belief that the "more suitable place" for someone like Nico is the place with more resources, more personnel, more money, or is it? That's one of the questions that this Spanish short film asks of us.

Cuerdas follows the friendship developed between Nico and María (Miriam Martín). The latter takes a liking to the kid and insists in "playing" with him, despite his condition; something that her friends see as "weird". But María doesn't care, and continues playing the rope, soccer, and other games with Nico. Maybe because she wants to make him feel welcome, or maybe because that's just the way she is.

I put this short film to the kids the other night not really knowing what it was about, and surprise, surprise! Guess who ended up crying for about half an hour afterwards? *points finger at myself* What pulled harder at the strings of my heart was the fact that the story was based on director Pedro Solís' family and two children, which just adds an extra layer to this poignant story about friendship.

Whoever brought Nico to the orphanage might not have thought that it was a "suitable place", but that's usually because we tend to look for tangible resources and not the heart of those that are in that place. However, María's friendship made this place a more than "suitable" place for Nico; maybe the best place for him.

Grade: 4.5

Thief

10-30-22, 09:36 PM

Here it is...

https://www.youtube.com/watch?v=4INwx_tmTKw

Thief

11-02-22, 11:48 PM

I recorded Special Episode 14 of The Movie Loot while recovering from COVID, and what better film to talk about when you're infected with a virus than a film about a virus; The Rage Virus! So hear me out as I tackle the opening scene from 28 Weeks Later:

The Movie Loot - Special Episode XIV (28 Weeks Later) (https://www.buzzsprout.com/850063/11621014-the-movie-loot-special-episode-xiv-28-weeks-later.mp3?download=true)

Remember you can also listen on Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-special-episode-xiv-28-weeks-later/id1578191119?i=1000584872710), Spotify (https://open.spotify.com/episode/39wxYwC6CACXm4hrnYotmH?si=4720c9b56d1d4a0f), Google Podcasts, and most podcast platforms.

Thief

11-03-22, 01:06 PM

I SAW THE DEVIL
(2010, Kim)
A film with a pronoun in its title

https://i.imgur.com/2LhVt8G.png

"Don't act so weak... this is just the beginning. Remember... your nightmare's only getting worse!"

"Revenge is a dish best served cold", says the old proverb; meaning that revenge can be more satisfying when it is not exacted immediately. Regardless of where you stand morally, some people believe that the process to bring payback and suffering to those that harmed you should be long and drawn; and that long process starts at the beginning. But is it really worth it? That is the point where a desperate man finds himself in this Korean horror thriller.

I Saw the Devil follows Kim Soo-hyun (Lee Byung-huh), a young Secret Service agent that sets out to take revenge on Jang Kyung-chul (Choi Min-sik), the ruthless serial killer that brutally murdered his fiancée. The above is not a statement from the serial killer, but from Kim, who is determined to make Kyung-chul suffer through an elaborate game of cat-and-mouse that will only get worse.

This main premise is nothing new. The downward spiral of a quest for revenge hardly leads to a good place. The horrors committed by Kyung-chul are not hidden, and evident from the first 20 minutes of the film; there is no denying that. But by heading down this path, Kim technically becomes as ruthless as this serial killer. But even though this is a road that has been walked before on other films, a taut direction from Kim Jee-woon, and some solid performances, especially from Choi, make the journey worthwhile.

Kim doesn't really shy away from the violence, but he's not gratuitous either. There is a good balance between what is seen and what is implied. And even though we find early on about who the killer is, the way he focuses on the psyche of both characters make it more interesting than a "whodunit". The twists and turns are effective, and the tension is well drawn.

I do think the film could've benefitted from a bit of a trim. There's a moment where everything that happens to Kim might seem like too much, and some of the events that happen, especially towards the last act, stretch the believability of the story. But a deliciously wicked performance from Choi and a solid emotional anchor from Lee's character make this dish one that's worth tasting, even if it's once.

Grade: 4

Thief

11-03-22, 03:30 PM

THE PLATFORM
(2019, Gaztelu-Urrutia)
A thriller film

https://i.imgur.com/05MbmOa.jpg

"Do you believe in God?
"This month, yes."

The concept of trickle-down economics consist of conditions and policies that favor primarily the upper echelons with the hopes that "some" of it will "trickle down" and benefit the lower ones as well. It doesn't negate the fact, though, that what will "trickle down" to those lower echelons will be, technically, scraps, if at all. This seems to be the basis of this high concept sci-fi thriller from Spain.

The Platform follows Goreng (Iván Massagué), a man that wakes up in a concrete cell labeled #48 along with the older Trimagasi (Zorion Eguileor). It is through him that we learn that they're both part of a social experiment where people are held prisoners in a multi-leveled structure, while a platform filled to the brim with food descends through a hole in the center of each room. As expected, the ones in the upper levels enjoy the feast, while the ones in the lower levels get nothing.

To make matters worse, every month, they are drugged and move to another random level. Where will they end up next? Ending up in the upper levels means a better chance at food, more sustenance, and higher survival probability, while ending up in the lower levels means you will barely get food, if at all, which means you'll probably have to fight harder to survive. Through each level, Goreng is paired with different cell mates, each with different outtakes and perspectives in their situation.

The Platform premiered in Spain in late 2019, but it was brought to Netflix in March 2020, just as the pandemic started. And to be honest, I can't think of a better representation of the selfishness of people that is represented in the film than the way people have behaved all through these years; the individual interests superseding the good of the whole, but also the failures of economical systems that favor the wealthy. The film is not subtle about its message, but still executes it really well.

Most of the performances are pretty good, but what drives the film is the tight direction, the uncertainty of what's happening, the tension between the inhabitants of this structure, and how much can they take before they all lose control. At one point, one of Goreng's cell mates advocates for a "spontaneous sense of solidarity" between all inhabitants for things to work out, but anybody that has lived in this world, regardless of the "level", knows what are the chances for that.

Grade: 4

Thief

11-03-22, 04:23 PM

THE GIRL IN THE YELLOW JUMPER
(2020, Loukman)
A thriller film • A film from Uganda

https://i.imgur.com/YajU76R.png

"Sometimes, the good thing is not always the right thing to do."

The Girl in the Yellow Jumper opens with Jim (Michael Wawuyo Jr.) as he limps injured through the Ugandan countryside, trying to hitch a ride to the city. He is eventually picked up by Patrick (Maurice Kirya), an off-duty cop who's reluctantly transporting a witness. On their way, the two men share some stories that shed some light about how they got to where they are now, but more importantly, who they really are.

Part of Jim's story revolves around him escaping a duo of women, one of them wearing a yellow jumper, that kidnapped and tortured him. Meanwhile, Patrick seems to be juggling some issues at home while working the case of a serial killer. At one point, he shares a story with Jim that concludes with the above moral, because as much as they both think they might be doing a good thing, it is not always the right thing.

I had never heard of this Ugandan mystery thriller, but saw it come up on a couple of lists of African films, and I have to say I was pleasantly surprised by it. Not only is it extremely well shot, but its labyrinthine story is craftily weaved in a way that makes it a real pleasure to unfold. Maybe director and writer Loukman Ali goes a bit too far with some red herrings, but for the most part, everything he sets up, has a solid payoff in the end.

It doesn't mean that the film is flawless. There are some interactions that are a bit cringy, while some developments require a share of suspension of disbelief, but I didn't think it got in the way of my enjoyment too much. The performances are, for the most part, competent and the direction was particularly good. If you like twisty mysteries, with intertwining plotpoints, then there's no reason not to give this one a shot.

Grade: 3.5

Captain Terror

11-03-22, 06:05 PM

I also liked The Platform, although too much time has passed for me to say anything of substance about it.
I'm kind of a sucker for these high-concept scenarios, but I'll second your recommendation.

Thief

11-03-22, 07:46 PM

TERRIFIER 2
(2022, Leone)
A film that starts with the letters S or T

https://i.imgur.com/h20DSrH.jpg

"They used me to get you here. They need you in this place for a reason."
"Why are you saying that?"
"It's what Daddy saw. I think you're the only one who can stop him."
"Why?"
"I don't know."

Directed and written by Damien Leone, the original Terrifier came out in 2016, featuring the maniacal Art the Clown (David Howard Thornton), a character that has been featured in all but one of Leone's short and feature films. The film became a moderate hit among fans of horror and gore, me included. I thought it did a great job of subverting some tropes and adding a few twists to the genre, while delivering with the violence and gore.

Starting immediately after its predecessor, Terrifier 2 follows Art the Clown again as he is mysteriously resurrected. A year later, he sets out on another killing spree, this time mostly focused on Sienna (Lauren LaVera) and her brother, Jonathan (Elliot Fullam). But can Sienna stop him once and for all? I don't know, she doesn't know, and neither does the film; or at least they don't want to tell us yet.

With the original Terrifier being as successful as it was, it was expected that Leone would follow up with a sequel. This time, with a bigger budget (from $35,000 to $250,000), a bigger runtime (from 86 to 138 minutes), and a more ambitious storyline. Unfortunately, as is usually the case, bigger doesn't always equate to better.

For the most part, Terrifier 2 delivers and/or improves in all the areas that the original excelled in. The production values are significantly higher, the special effects and the gore is wickedly good, and the cast is likable even if the performances aren't top-notch. One performance that does stand out, though, is Thornton who is amazing. The way he uses his body language and face expressions to instill that sense of dread and terror mixed with dark humor is amazing. He is easily the film's biggest asset.

However, whereas the original was a lean, 86 minute slasher with what seemed to be a simple premise and little to no fat to it, this one attempts to establish a bigger mythology surrounding the characters; something I have no issue with, if it managed to deliver on any of it. As it is, it teases a bunch of hints about Sienna's past, Art's motivations, and their connection, but it rarely follows through, making for a somewhat unsatisfying experience.

I'm all for throwing breadcrumbs and hints for future films, but in this case, pretty much everything feels like a set-up for the inevitable Terrifier 3 (Yes, it is already in pre-production). It is still a very accomplished horror film, with a lot on its favor, but since there are so many things that don't have a proper payoff, it can't help but feel a bit overlong, a bit overstuffed, a bit puzzling, and a bit frustrating.

Grade: 3.5

Thief

11-03-22, 09:51 PM

THE 9TH CIRCLE
(2008, Leone)
Freebie

https://i.imgur.com/89xWjVU.jpg

"Help me, please! There's something down there. We have to get out of here!"

Intrigued by Damien Leone's work, I went out and checked his first short film, which is also the first media to feature Art the Clown (this time played by Mike Giannelli). This one follows a young woman (Kayla Lian) abducted from a deserted train station and subjected to a series of horrors.

The 9th Circle is pretty much what you would expect from a rookie horror director. It's a mish-mash of every common trope found on films about the occult and the likes. From the dangerous evil clown handing out flowers with insects and the mysterious wart-skinned creature living underground to the mysterious group with hoods and masks pulling out babies and pouring blood on chalices.

It's not only that we've seen it before, but also that it doesn't seem to make much sense other than to be there because, well, it's *occult*. Still, Leone's direction is solid, and at less than 10 minutes, it's not much of a chore to get through. So there has to be no rush to get out of there.

Grade: 2

Thief

11-05-22, 10:10 AM

Here is my final tally for OCTOBER 2022

A film with the number 10 (Ten, Tenth, etc.) in its title: Shang-Chi and the Legend of the Ten Rings (https://www.movieforums.com/reviews/2342641-shang-chi-and-the-legend-of-the-ten-rings.html)
A film that starts with the letters S or T: Satan's Slaves (https://www.movieforums.com/reviews/2342437-satans-slaves.html), Terrifier 2 (https://www.movieforums.com/reviews/2344208-terrifier-2.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #10 (i.e. 10, 107, 610): Dawn of the Dead (https://www.movieforums.com/reviews/2343279-dawn-of-the-dead.html) (1978)
A film from the 2000s: Pontypool (https://www.movieforums.com/reviews/2342444-pontypool.html)
A thriller film: The Platform (https://www.movieforums.com/reviews/2344167-the-platform.html)
A film about a virus (Virus Appreciation Day, October 3): 28 Days Later (https://www.movieforums.com/reviews/2342510-28-days-later....html), 28 Weeks Later (https://www.movieforums.com/reviews/2342534-28-weeks-later.html)
A film from Uganda (Independence Day, October 9): The Girl in the Yellow Jumper (https://www.movieforums.com/reviews/2344182-the-girl-in-the-yellow-jumper.html)
A film from Ed Wood (born October 10): Bride of the Monster (https://www.movieforums.com/reviews/2343302-bride-of-the-monster.html)
A film with a pronoun in its title (Int'l Pronouns Day, October 19): I Saw the Devil (https://www.movieforums.com/reviews/2344141-i-saw-the-devil.html)
A film about werewolves (Worldwide Howl at the Moon Night, October 26): The Wolf of Snow Hollow (https://www.movieforums.com/reviews/2343292-the-wolf-of-snow-hollow.html)

Freebie: City of the Living Dead (https://www.movieforums.com/reviews/2342402-city-of-the-living-dead.html), The Night Eats the World (https://www.movieforums.com/reviews/2342455-the-night-eats-the-world.html), The Chucko (https://www.movieforums.com/reviews/2343311-the-chucko.html), It's All Right, It's OK (https://www.movieforums.com/reviews/2343319-it%E2%80%99s-all-right-it%E2%80%99s-ok.html), Strings (https://www.movieforums.com/reviews/2343366-strings.html), The 9th Circle (https://www.movieforums.com/reviews/2344232-the-9th-circle.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/1BIoJGKbXjdFDAqUEiA2VHqkK1Z.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/k16xOaI9x5fqepxVwBwUJAozsW8.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/yB8BMtvzHlMmRT1WmTQnGv1bcOK.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/rC3YUoxZFTJAyS4BcZr7TeykrYH.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/eGCvmv0Dmaqo9O8qckMDSIHSSZ7.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/8ZX18L5m6rH5viSYpRnTSbb9eXh.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/sQckQRt17VaWbo39GIu0TMOiszq.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ja8nzgtzhJq0vtX3BJcnbceIxCF.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/dYFUPov4zuoB5F1Am9Ni8E5kCwd.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/mk9uXv3MGHu2FGRAlqatMtGlk0z.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/bV1QJ1znw7aaELnKM0CktU9alJ0.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/nXeTSXR5ryFwxrlpmD9hhXJTAuc.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/8ymAiDW9ct2GSywWkqATEiKE8OB.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/2rR2PxT0clt1Hhw5Cv0YGk5DD2H.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/o27EdwN83Rb3eS3IeEh0NAj6flP.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/2HH1RVDwM898wNnSl7GuEVBJrAC.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/bhjhZw1h9Mp9jW2otLfByfts1Jm.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/6vK7MmaAtTT5AkwftZKPavL0iMK.jpg

Mostly horror, obviously. By the end of the month, I felt like I could kill someone :laugh: But seriously, most of it was good stuff, lots of zombie films to prepare for the podcast, and a bunch of rewatches.

The one that got to me most, though, was an animated short film called Strings. After that, there were a bunch huddled up together. Maybe Pontypool was the one that left more of an impression, but others like The Platform and The Wolf of Snow Hollow are up there with it.

Least favorite? Easily Damien Leone's first short film, The 9th Circle, with Ed Wood's Bride of the Monster close behind. Still not entirely a waste of time.

Thief

11-05-22, 11:07 AM

Here are the criteria for NOVEMBER 2022

A film with the number 11 (Eleven, Eleventh, etc.) in its title:
A film that starts with the letters U or V:
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #11 (i.e. 11, 118, 511):
A film from the 2010s:
A war film:
A film noir:
A film with the word "Time" in its title (Daylight Savings Time, November 6):
A film about politics (Election Day, November 8):
A film from Latvia (Proclamation Day, November 18):
A film from Henri-Georges Clouzot (born November 20):

Death Proof

11-05-22, 01:20 PM

Here are the criteria for NOVEMBER 2022

A film with the number 11 (Eleven, Eleventh, etc.) in its title: 11Eleven Project
A film that starts with the letters U or V: U-Turn (1997)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #11 (i.e. 11, 118, 511): La Jetée (#117)
A film from the 2010s: RED
A war film: Battleground (1949)
A film noir: Shadows and Fog
A film with the word "Time" in its title (Daylight Savings Time, November 6): Time After Time (1979)
A film about politics (Election Day, November 8): Bulworth
A film from Latvia (Proclamation Day, November 18): Dangerous Summer (2000)
A film from Henri-Georges Clouzot (born November 20): The Murderer Lives at Number 21

Thief

11-05-22, 07:27 PM

Thief

11-05-22, 07:44 PM

I'm preparing for a podcast episode on Puerto Rican films, so I'm trying to soak up as much as I can. Because of that, next couple of reviews will be of mostly obscure stuff for Americans, etc. but still, some worthy stuff.

Thief

11-05-22, 09:34 PM

LA GRAN FIESTA
(1985, Zurinaga)
Freebie

https://i.imgur.com/gk858r0.png

"It doesn't work like that. In a democracy you can't accuse someone without evidence and get away with it."
"Democracy, my ass! José Manuel, in this country we've seen much worse and you know it."

In 1917, Puerto Ricans built the Antiguo Casino de Puerto Rico in Old San Juan. A place of mingling for the local high society, it had to be transferred to the U.S. military in the wake of World War II. Perhaps an example of common property seizures during wartime, or a representation of the foreign control that the U.S. government has on its colonies, that is the backdrop of this 1985 drama directed by Marcos Zurinaga.

Based in a story from local writer Ana Lydia Vega, La Gran Fiesta follows the last party held by the Puerto Rican high society at the aforementioned casino in 1942. But besides the dance, the music, and the glamour of the night, there is gossip, forbidden romances, backstabbings, conspiracies, and political machinations.

The main focus of the story is in José Manuel (Daniel Lugo), who is set to announce his wedding to a young socialite during the night, while being secretly in love with Raquel (Cordelia González), an activist with leftist leanings. Meanwhile, José Manuel's father, Manuel (Luis Prendes), a migrant from Spain and renowned businessman, is being unknowingly set up as a political fall guy by an ambitious prosecutor that claims he's a Franco sympathizer.

This film was submitted by the island for the Foreign Film Academy Award back in the day, and even though it wasn't nominated, one can see it had the merits. The film is gorgeously shot, with Zurinaga taking great advantage of the structure and floor layout of the casino. The use of music, appropriately set as part of the party, is also very effective. There are a couple of instances where pieces of score feel clunkily integrated, though.

The pace at which the story unfolds is good. The film is a slow moving drama, so there really aren't any big spurts of action, but there is effective build-up of tension through the conversations and the interactions of the guests. Most of the performances are quite solid too, which include even Raúl Juliá, who has a brief, but colorful cameo as a razor-tongued poet. There are some performances and dialogues that are a bit cringy, and I do wish that the motivations of some characters were better established, but I found this to be a pleasant surprise. In this country we've seen much worse, and you know it.

Grade: 3.5

Thief

11-05-22, 10:33 PM

HÉROES DE OTRA PATRIA
(1998, Ortíz)
A war film

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

"This is not my war. I'm here fighting for things I know nothing about or care for."

In March 1917, the Jones–Shafroth Act was signed by President Wilson effectively granting U.S. citizenship to people born in Puerto Rico. Just in time for us to be drafted into war when the U.S. declared war on Germany about a month later. Ever since, Puerto Ricans have served in every American war, from World War I to Iraq and Afghanistan.

During the Vietnam War, approximately 48,000 Puerto Ricans served. More than 350 either died in combat or never returned. It is in that setting that Héroes de Otra Patria takes place. The film follows Carlos (Jorge Castillo), an idealistic soldier that's anxious to return home to his family. However, when he's sent in a dangerous mission with Raúl (Jimmy Navarro), a more unhinged soldier, the two have to learn to take care of each other.

This is yet another Puerto Rican film that was submitted for the Academy Awards, but not nominated. I had fond memories of watching it back in the day, so I was looking forward to revisiting it. Despite some glaring issues in terms of the script, the direction by Iván Dariel Ortíz is pretty solid. It's obvious that he's trying to make the most of a small budget to try to portray realistic combat scenes, and for the most part, he succeeds, even if very often you can see the seams.

The scenes in Vietnam are intercalated with scenes in Puerto Rico of Carlos' family struggling to keep things together at the uncertainty of his fate, but also as they try to make ends meet monetarily. Most of these scenes are not that well executed and end up breaking the pace from the war scenes, which are slightly better executed and more engaging. The main performances from Castillo and Navarro are competent. Unfortunately, their dialogue is not. They are given clunky lines that seem to be taken off brochures and don't feel organic at all.

Moreover, for how important their bond and interactions are in the second half of the film, I wish that relationship would've been established better in the first act. Instead, they focus on Carlos' relationship with another soldier, Esteban (Víctor Tirado) who is being sent home. Because of this, the developments of the second half between Carlos and Raúl feel out of left field and have little weight. I commend director and writer Ortíz for trying to tell an ambitious story with an interesting twist. It just needed better writing and execution.

Grade: 2.5

Thief

11-06-22, 01:02 AM

ROMANCE TROPICAL
(1934, Viguié)
Freebie

https://i.imgur.com/9M1t7L2.png

"You have come into my life like a dream, and from now on everything must change. To consecrate my whole life to you, it must be fine and pure like you."

That's the claim made by young bohemian Carlos (Jorge Rodríguez) to his young paramour Margarita (Ernestina Canino) as they share a tender moment at her house's backyard. Little did they know that fate had other plans for them, at least for a brief moment.

Romance Tropical follows Carlos, whose efforts to be with Margarita are endangered when her father catches them together without permission. Unable to be with her at the moment, Carlos embarks on a trip on a sailboat and ends up in the mysterious island of Mu, where he meets Alura (Raquel Canino). Will he remain with his newfound native love, or will he return to his longlost Margarita?

This film decides to answer that question in all the wrong ways possible, and then some. Not only is the script plagued by racist stereotypes of island natives, but its message of selfishness, colonialism, plundering, fleeting love, and the overt importance of material possessions over anything else is problematic, to say the least.

Add to that the fact that most of the performances are pretty bad. If anything, Ernestina and the one that played her parent might've been the best of the bunch. I understand this is the first, if not one of the first sound films produced in Puerto Rico. Unfortunately, as culturally relevant as it might be, I'm not very interested in hearing what it has to say.

Grade: 1

Thief

11-06-22, 10:02 AM

CASI CASI
(2006, Vallés & Vallés)
Freebie

https://i.imgur.com/vFtQ9Aw.png

"You're sure about this? If we do this, we're doing it for real all the way through."

Set in a local private school, Casi Casi follows Emilio (Mario Pabón), a troublesome but shy kid that decides to run for Student Council in order to impress Jacklynne (Maité Canto), the most popular girl in school. However, he realizes late that Jacklynne herself is running as well. As he unwittingly starts to gain popularity, Emilio recruits his group of friends to sabotage the results to make sure he loses so he can win Jacklynne's heart, all while evading the strict Principal Richardson (Marian Pabón).

I'll start by saying that I had a lot of fun with this. Most of the performances were decent, but what sold it for me was the chemistry between the six main friends. This is made more impressive considering that most of them weren't professional actors, but regular teenagers. Maybe this is why their banter and interactions felt organic and natural.

In addition to the main cast, the performance from Marian Pabón as the Principal was a steal. Pabón has been a renowned television and theater actress here, and her talent and experience shows as she crafts an antagonist that's fun to hate, comical, but also not that far from reality.

In addition, the direction from the Vallés brothers was simple, but with enough flair at certain moments that made you pay more attention. Decent camera movement and good framing of scenes and shots, which serves to enhance the kids' hijinx. Their plans to win the election first, and then to lose it on purpose were nicely executed, and entertaining to watch. In that respect, I found there was a balance of predictability and surprise to how the story turns out. But the most important thing is that it was fun.

Grade: 3.5

Thief

11-06-22, 10:13 AM

In case anybody is interested to check any of these Puerto Rican films out, here they are. Consider that these are mostly crummy transfers from VHS to YouTube made my fans. One of the saddest things about Puerto Rican cinema is that there is no organized sense of preservation so most of these films are not available physically or digitally through any official medium, so there's that...

La Gran Fiesta
https://www.youtube.com/watch?v=h0KECI_IWIM

Héroes de Otra Patria (no subtitles available)
https://www.youtube.com/watch?v=cSoNfXX-49A

Romance Tropical
https://vimeo.com/431933824

Casi Casi
https://www.youtube.com/watch?v=FPQRFO-IQHk

As you can see from my ratings, I recommend La Gran Fiesta and Casi Casi. Héroes de Otra Patria might be an interesting watch, but it is very flawed. Romance Tropical is terrible in pretty much every way possible, but most importantly, the story is a piece of shit.

Thief

11-06-22, 10:46 PM

CINEMA PUERTO RICO
UNA ANTROPOLOGÍA VISUAL
(2014, Rodríguez & Marrero)
A film from the 2010s

https://i.imgur.com/oj9TzB3.png

"There's a determining factor: continuity, which allows for people both in front and behind the camera – like actors, crew members, directors – to form themselves and create their own styles and define themselves."

Cinema Puerto Rico: Una antropología visual is a documentary that chronicles the story of Puerto Rican cinema from its inception back in the late 19th Century. Through a series of interviews with directors, cinephiles, critics, and anthropologists, directors Freddie Rodríguez and Mariel Marrero try to trace the journey of our film industry, but also the reasons why it hasn't flourished.

The above is one of the reasons presented by one of the interviewees, a young filmmaker called Eduardo Rosado. And when you look at the trajectory, you can't help but agree. Even though cinema has been present here since its birth, its development in the island has sputtered because of lack of vision, economical issues, but also political maneuverings.

These factors hasn't allowed for the establishment of a strong industry, leaving filmmakers to fend for themselves as they try to follow their passions and make their art. And despite all these struggles, what one can see in the documentary is that we have still managed to amass a very diverse catalog of Puerto Rican films that ranges from romance and dramas to action and comedy, and everything in between.

As a cinephile myself, and someone who more or less knew about some of the history of our cinema, I was still surprised by the breadth and scope of what has been produced here. Certainly not as much as we could've if there was that continuity, but still much more than I thought, and I suppose way more than the regular Puerto Rican viewer knows about. As the proud Puerto Rican that I am, I can only hope that we can put that continuity in motion so we can find our voice in the worldwide film industry.

Grade: 4

Thief

11-06-22, 11:11 PM

CORREA COTTO
¡ASÍ ME LLAMAN!
(1968, Trucco)
Freebie

https://i.imgur.com/hVn5ugU.png

"Correa, each step you sink deeper."

Speaking of diversity in Puerto Rican films, this was certainly something different to what is usually seen and discussed among our cinema. Correa Cotto: ¡así me llaman! is a lurid and violent piece of exploitation. The film follows the escapades of Antonio Correa Cotto (Luis Arroyo), a notorious criminal that won't tolerate any offense or slight from anybody.

The film starts with Correa Cotto's random crime sprees, but eventually settles on his quest for revenge on a group of brothers, the Maldonado's, who not only owe him money, but have also assaulted his girlfriend (Soledad Acosta), and then framed him for a crime in order to send him to prison. But Correa Cotto can't be held down much longer, so off he goes to get his revenge. Can the police capture him on time?

Seeing a local film so overly charged of violence and sex was certainly surprising to me, since it was always uncommon to see those kind of things in the stuff that was produced here; at least in what was shown in the main 2 or 3 channels.The style of this film is very much in the exploitation vein, with lots of exaggerated sounds and music, as cameras linger on female naked bodies and hands caressing up and down.

Arroyo is pretty good as the titular character as he steals most of his scenes, but Acosta is solid as his girlfriend. The antagonists that Correa Cotto pursues, the Maldonado's, are pretty much interchangeable, while Braulio Castillo rounds the cast as the police detective determined to capture the fugitive. The character of Castillo is barely developed, but I suppose the filmmaker's intention is to keep the focus on Correa Cotto; that's how they call him.

Grade: 3

Thief

11-08-22, 12:29 PM

MALDEAMORES
(2007, Ruíz & Pérez)
Freebie

https://i.imgur.com/c8Lnexa.png

"Don't worry, beer is like that. At first they're not good, but then... you love them."
"Like girls?"
"No, no, no, with girls is the opposite. At first you love them like hell, but then?... then no one can swallow them."

That's the advice given by Macho (Norman Santiago) to his young nephew, Ismaelito (Fernando Tarrazo) as they share a cold beer in the curb. It can also be seen as part of the thesis of this Puerto Rican film from 2007. Maldeamores follows three separate storylines about different people in different stages of love, or what they think is love, and how they can move forward beyond the struggles of figuring it out.

The segments include a married couple (Luis Guzmán and Teresa Hernández) struggling with a potential infidelity, their young kid discovering "love" for the first time, an elderly woman (Silvia Brito) handling two ex-husbands (José "Chavito" Marrero and Miguel Angel Alvarez), and finally a young, troubled man (Luis Gonzaga) trying to force a bus driver (Dolores Pedro) to marry him at gunpoint.

I really enjoyed the film as a whole. I think all of the segments had many strengths, starting with the performances which were all pretty good across the board. Also, the script and dialogue was strong and felt very natural, very much "of here", which made for a pleasant watching experience. Although the stories don't really connect in any way, the way the themes are handled made it feel as a whole.

The common thread through all of those is the different manifestations of love; some of which are not necessarily the healthier ones. "Maldeamores" can be translated as "Lovesickness", which can be said is suffered one way or another by all the characters. This includes a pretty funny segment that bookends the film featuring a bickering young couple driving. Bottom line: love is beautiful, but love is hard. Sometimes we love that other person like hell, sometimes we can't even swallow them.

Grade: 3.5

Thief

11-09-22, 12:11 AM

PARTY TIME
THE MOVIE
(2009, Fernández París)
A film with the word "Time" in its title

https://i.imgur.com/02r91ur.png

"In the mix is where you find the flavor. If there weren't any mixes, there wouldn't be Puerto Ricans."

In 1988, a TV show called Party Time exploded in Puerto Rican television. The show was, like the title suggests, a one hour party featuring music, dance competitions, and artist performances targeted to teenagers and young adults. That show offers the backdrop for this lively Puerto Rican romcom.

Set in the late 1980s, Party Time: The Movie follows Javier (Rafael Albarran) and Laura (Suheil Martin), two teenagers from different cliques at the school that decide to join forces to participate in a dance competition at the show; something that Laura has been dreaming of, while also giving Javier a chance to bond with the girl of his dreams.

You can probably guess where the story goes from there. Although the script does incorporate some nice local touches, the basics of the story have been done dozens of times. But regardless of how predictable the story is, the film manages to be fun. Most of it is because of the cast, all of which have pretty good chemistry. The performances from Albarran and Martin feel natural, and the way their relationship develops, although expected, makes sense.

The other main asset of the film is the direction from Fernández-París. His camera movement is assured, especially for a first-time director. He also adds some flair to the film with the way he incorporates some dance sequences and choreographies into the story, as well as other interesting directorial choices.

Party Time: The Movie succeeds in presenting a snapshot of a certain time of our popular culture. It does take ingredients from many typical school/teen movies, but mixes them with some very Puerto Rican elements, resulting in a fun watch; and like Javier said, in the mix is where you find the flavor.

Grade: 3

Thief

11-11-22, 12:08 PM

Just like I did with the previous bunch of Puerto Rican films, here are the links for the last bunch I saw, in case anyone wants to give them a shot. Again, remember most of these are cheap transfers from VHS so bear that in mind...

Cinema Puerto Rico: Una antropología visual
https://www.youtube.com/watch?v=hTFbPYP-GZk

Correa Cotto: ¡así me llaman!
https://www.youtube.com/watch?v=7Lu7WylsDZM

Maldeamores
https://vimeo.com/113341869

Party Time: The Movie
https://www.youtube.com/watch?v=8NwS1nzezOY

Out of these four, Maldeamores is easily the best. The documentary is quite good and it's a great transfer.

Thief

11-15-22, 04:26 PM

THE WOMAN IN THE WINDOW
(1944, Lang)
A film noir

https://i.imgur.com/lOad5YE.png

"It's not that, but... I was warned against the siren call of adventure at my age."

According to Greek mythology, sirens were beautiful women with the lower body of birds that lured sailors to their doom with bewitching songs. The term "siren song" or "siren call" is then used to refer to any thing that is "alluring", but also potentially harmful or dangerous. That is the situation in which Prof. Richard Wanley (Edward G. Robinson) finds himself after meeting the titular "woman in the window".

This Fritz Lang film follows Wanley, a married man that ends up meeting Alice Reed (Joan Bennett), the subject of a beautiful painting he and his friends were admiring on a shop window earlier. Unfortunately for Wanley, what might seem like an innocent meeting ends up leading into disaster, as they both end up with a murder in their hands. The two then try to cover it up while also trying to keep Richard's DA friend off their scent.

As I was looking for something to start my #Noirvember, this film came up pretty high in a lot of lists, and with reason. The film manages to build up a solid tension as we see the events unfold, and we see Wanley sink deeper and deeper into his own lies. Thanks to Lang's tight direction, the pace at which we see things go down feels breezy and not overstuffed at all. At 99 minutes, the film does a good job of keeping things lean and simple.

Robinson does a great job as the man unlikely drawn into things beyond his control. It only adds to the tension to see his seemingly well-conceived plans crumble under the most minuscule details. Bennett also adds a certain level of uncertainty, as we're never really sure where she stands, which is heightened when Heidt (Dan Duryea) enters the scene as a third party determined to blackmail both of them. Duryea easily steals the second half of the film which, based on the handful of films I've seen him in, seems to be the norm. He's excellent.

Early on the film, Robinson's character complains of the routine of middle age; what he refers to as "stodginess", and "the end of the brightness of life". All reason enough to make the "siren call" of Reed the more alluring. But ultimately, it isn't in Reed that he finds his downfall, but on his mistrust of his own instincts. Based on the obviously tacked-on ending, which feels like a cheat, it seems that Lang didn't trust his own instincts either. Other than that, it's one solid film noir.

Grade: 3.5

Thief

11-17-22, 09:13 PM

UPGRADE
(2018, Whannell)
A film that starts with the letters U or V

https://i.imgur.com/YQT3Ku8.jpg

"A fake world is a lot less painful than the real one."

Tragedies are life-altering for us. We are never the same after we go through severe loss. Different people try to cope with it in different ways. Some people face tragedy upfront, while others create an illusory world around to shield them from the pain of reality. It can be a world where you're not who you were before, or it can be a world where you're exactly how you were before. That is part of the background of this slick scifi thriller from Leigh Whannell.

Set in a near future where automation is taking over, Upgrade follows Grey Trace (Logan Marshall-Green), an auto mechanic who still tries to cling to some level of control on his life. But when tragedy hits him and he ends up a quadraplegic, he undergoes an experimental procedure that implants a chip on his spine which gives him back control of his body, and then some. With his "upgraded" powers, he sets out to take revenge against those that brought the tragedy upon his life.

Grey is the representation of what I mentioned above. Tragedy has turned him into a different person; someone that's willing to go all the way down this path of revenge and murder. You can say it was technology what sparked the change, but it's ultimately his willingness to seek, to hunt, and to confront those that did him wrong what sets him apart. He's not living in the world he was used to, but in an entirely different world where everything is possible, and anything is justifiable.

Marshall-Green does a great job of showing the different shades of Grey that go from pain and suffering to disbelief, and eventually confidence and cockiness. Betty Gabriel is good as the detective that's trying to help, but then stop him, and Benedict Hardie is pretty effective as the main bad guy. However, it is Grey who's at the center of the film through all its run, and he owns it. Special mention goes also to Simon Maiden, who voices STEM, the automated voice on Grey's chip that walks him through everything that's happening to him.

Whannell's direction is another highlight, as he tries to transmit the distortion and imbalance going on Grey's mind as he gets used to this "new persona". He also manages to instill a decent amount of humor to a story that would be awfully bleak otherwise. The early moments where Grey is reluctantly trying to stop his body from doing certain things are great. Also, the film moves at a nice pace that never really drops. Upgrade managed to slip under my radar back then, but I'm glad I gave it a chance now.

Grade: 4

Thief

11-18-22, 09:12 PM

COMPLOT
(1999, García)
Freebie

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

"You know what? I still don't understand what they're trying to do with all of these."
"That's what we all would like to know."

Set at the dawn of the new millennium, Complot follows a group of agents from an enigmatic government agency called S.E.C.T.O.R. 4 (Special Espionage Corruption Task Operational Resource :laugh: ). Their mission is to stop a, uhh, complot of mysterious forces to take over control of the world computer systems as a result of the Y2K "bug"; something that stumps them and prompts the above exchange.

But that exchange could also be my thoughts about the whole story as I rewatched this film during the past week because unfortunately, it is a bit of a mess. Trying to follow the footsteps of spy films like Mission: Impossible or James Bond, the film seems to follow a checklist of things to include, regardless of how well they integrate into the plot or how much sense it makes.

The main cast features agents Melissa Nieves and Félix Ríos (Laura Hernández and Manolo Castro), who are reluctantly paired with newcomer Mark Serra (Ricardo Vázquez) after their partner is killed during a mission. One of their goals is to figure out the involvement of FBI computer agent Mónica Ramírez (Yamaris Latorre) in the complot, so of course, Mark has to get, uhh, close to her.

And that is more or less how the film flows, going from trope to trope and cliché to cliché, including an evil leather-clad Bond-like henchwoman, corrupt agents, a missing plane, and a moustache-twirling bad guy sitting in a shadowy office. In addition, the agents actions border in incompetence and many of the subplots are non-sensical, become inconsequent, or are just dropped as the film progresses.

The main cast is comprised of mostly young, up-and-coming actors, but they are joined by some veteran local actors. Most of these veterans know what they're doing, but most of the young ones border on weak. Vázquez and Latorre are a bit cringy, but I did like the banter between Hernández and Castro.

But for all its faults, I gotta commend director and co-writer Raúl García for his confidence in launching a project like this, something that I don't think had been seen in Puerto Rican cinema before. His direction might feel amateurish at times, but there are some little nuggets of flair and panache through the film that make an impression. From several neat crane shots to a continuous shot as our heroes try to escape from a hotel only to be captured outside.

Although most of what I've written seems to be negative, I have to give some props to the film. I remember watching this when it aired on TV back in 1999, and for better or worse, it stuck. To the point that as I was going through several Puerto Rican films this month, I had the "morbid" curiosity to revisit it, and so I did. I might not understand what they're trying to do, but there has to be some right in there.

Grade: 1.5

Thief

12-02-22, 01:35 PM

Shoot! Forgot to share this here... the latest episode of The Movie Loot is out, and this one is very near and dear to my heart. Me and my guest, local film critic Mario Alegre, talk about Puerto Rican cinema, its achievements, struggles, as well as our favorite Puerto Rican films. Check it out!

The Movie Loot 73: The Puerto Rican Loot (with Mario Alegre) (https://www.buzzsprout.com/850063/11769538-the-movie-loot-73-the-puerto-rican-loot-with-mario-alegre.mp3?download=true)

You can check it out on the above link, or on any of these podcasting platforms: Spotify (https://open.spotify.com/episode/5oyObojciS0Da0aCoM4mxo?si=f82725374545417c), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-73-the-puerto-rican-loot-with-mario-alegre/id1578191119?i=1000587647820), or any other. Thanks for the support!

https://pbs.twimg.com/tweet_video_thumb/Ep2YDAkW8AQ8XnW.jpg

Thief

12-05-22, 05:20 PM

ALL THE KING'S MEN
(1949, Rossen)
A film about politics

https://i.imgur.com/rDz50fE.png

"♪ Humpty Dumpty sat on the wall
Humpty Dumpty had a great fall ♫
♫ All the king's horses and all the king's men
Couldn't put Humpty together again ♪"

That's the nursery rhyme that gives name to this dark political drama. All the King's Men follows the rise and fall of Willie Stark (Broderick Crawford), a homegrown and ambitious politician from a rural county that learns how to ride the system and ends up becoming as corrupt and ruthless as those that he condemned. All this at the expense of everyone close to him, from his family to his close associates.

The film is notable for winning the Best Picture Oscar back in the day. However, after watching it, I'm surprised this film doesn't get mentioned more often because it was quite good. The film is mostly told through the point of view of journalist Jack Burden (John Ireland), who becomes Stark's right-hand man, despite not agreeing with his methods. The way the film takes Burden, and pretty much every character in Stark's inner circle in and out of the figurative dark alleys and corners of his deeds is great, and is all on Crawford's shoulders who sells Stark's transformation completely.

I also loved how the story takes its time to build up what happens. Stark's transformation from ardent populist to corrupt leader isn't immediate, but rather takes long years as the system chips away at Stark's outer shell, until he breaks. Stark is surrounded by people with different motives, none of which is able to put him together again. From the loyal Sadie (Mercedes McCambridge) who secretly harbors an affection for Stark, to Ireland, who ends up selling his soul to Stark, despite how deep the latter's actions affect him.

The thing is that Ireland doesn't stand a chance against Crawford, who is amazing in the lead role. This might be one of my issues with the film because whenever Stark isn't on screen, the film lacks something, and even though Ireland is good, I don't think he's able to fill that void. McCambridge, on the other hand, makes the most out of Sadie creating a character I would love to find out more about. Joanne Dru and Shepperd Strudwick round out the cast as siblings Anne and Adam, both of which end up being used by Stark in different ways.

I knew little about this film until last month when I saw it, but I have to say I was pleasantly surprised by it. From a neatly written story with its dark, noirish tinges to the great performances, especially from Crawford and McCambridge. A stark indictment of how different people can become corrupted by the words and doings of politicians, sometimes without realizing so. Something that might be as relevant now, as it was in 1949.

Grade: 4

Thief

12-11-22, 08:43 PM

EYES WITHOUT A FACE
(1960, Franju)
A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #11 (#311)

https://i.imgur.com/9Ogx3uQ.jpg

"Smile... Smile... Not too much."

That's the advice that Doctor Génessier (Pierre Brasseur) gives to his disfigured daughter, Christiane (Édith Scob); an advice that could be borne out of medical concern due to potential strains on her facial transplant, but that can also serve as foreshadowing of what her life is destined to be: one where complete happiness seems to be out of reach. That is part of the backdrop of this great French film that moves seamlessly between horror and thriller.

Eyes Without a Face follows the above Dr. Génessier, whose daughter has been disfigured in a car accident. In his effort to restore her face, he resorts to all sort of terrible things to achieve his goal. But even if he succeeds, you get the notion that Christiane's happiness and well being are not his main focus. Génessier seems to be more driven by scientific ambition and perhaps something more psychologically troubling.

This is one of those films that is often mentioned among lists of great films, and I'm so happy I finally got around to it. Director Georges Franju starts us more or less "in the middle" of things, but he still has the patience to hold his reveals until the most precise moments, while maintaining a constant atmosphere of dread. The way he and his loyal assistant Louise (Alida Valli) prey on potential victims is effective and doesn't really let a lot of space for smiling.

Valli has, I think, the best performance from the group as we can see her struggle between her loyalties to Génessier, but also an apparent genuine desire to help Christiane. Much like the latter, she hasn't had much chance to smile as she seems to be trapped between those two sides. In the end, there seems to be true retribution and a chance for some to be free; maybe even smile... but not too much.

Grade: 4

SpelingError

12-11-22, 09:45 PM

Eyes Without a Face is great. It made a couple weird narrative choices in the final act which bugged me a little, but everything else about it is pretty terrific.

Thief

12-12-22, 10:08 AM

Eyes Without a Face is great. It made a couple weird narrative choices in the final act which bugged me a little, but everything else about it is pretty terrific.

Which choices?

SpelingError

12-12-22, 11:27 AM

Which choices?

It was the handling of Jacques. His character started out really promising, as a love interest of Christiane who grew suspicious of Doctor Genessier and assisted in the investigation of his crimes. I felt like that sub-plot didn't get a proper resolution though as, after his scene at the police station, he just disappeared from the rest of the film, causing that whole sub-plot to feel kind of unformed in the end.

Thief

12-12-22, 11:48 AM

It was the handling of Jacques. His character started out really promising, as a love interest of Christiane who grew suspicious of Doctor Genessier and assisted in the investigation of his crimes. I felt like that sub-plot didn't get a proper resolution though as, after his scene at the police station, he just disappeared from the rest of the film, causing that whole sub-plot to feel kind of unformed in the end.

Oh yeah, I agree. It didn't bother me that much but I see your point.

Thief

12-12-22, 12:27 PM

LATVIAN SHORTS
DRAMATIC ENDING • DEVIATE • THE LETTER • VERTIGO
(2019, Arne • 2020, Ozola • 2002, Leschiov • 2018, Mihailova)
A film from Latvia

https://i.imgur.com/MH1tcTX.png

"Every project is an opportunity to learn and could bring a shift that maybe the viewer doesn’t notice, but is really significant for your creative practice."

The above is a quote from Liāna Mihailova, a Latvian cinematographer and director who directed Vertigo, one of four Latvian animated short films I saw as part of my monthly challenge. More by chance than by design, the four short films I randomly chose were the first, and sometimes, the only project so far from all four filmmakers, which could explain the experimental and yes, weird nature of them.

There really isn't a clear or intentional narrative tie between them, considering I chose them at random, but the four showcase bizarre scenarios and unique animation styles. Like Mihailova said, these projects are learning opportunities to grow and develop, it seems, and they are all impressively done as far as the craft goes. The stories are mostly quirky and weird, but you can feel the heart and creative passion in all of them.

Another common thread between all four was the music and sound from Ģirts Bišs in all of them; another instance of chance, since I didn't even know who he was before this. It was really interesting to see his approach to all four from different perspectives, and how the end results, as different as they might be, all work individually well for each short.

If you ask me, Dramatic Ending was probably the weirdest, Deviate was the coolest, The Letter was the most impressively animated (hand-drawn), and Vertigo was the most emotionally affecting. But in a way, all of them were weird, cool, impressive, and emotionally strong.

Based on what I saw as I was browsing for Latvian films, it seems that Latvian cinema is one that has been going through many changes, especially after the fall of the Soviet Union. But if there's one thing that's obvious is that there is talent and there are opportunities to learn and develop creative endeavors. Not many viewers might notice, but I'm glad I did.

Grade: 3.5

Thief

12-13-22, 11:18 PM

THE WAGES OF FEAR
(1953, Clouzot)
A film from Henri-Georges Clouzot

https://i.imgur.com/z6LiTrD.jpg

"When I was a kid, I used to see men go off on this kind of jobs... and not come back. When they did, they were wrecks. Their hair had turned white and their hands were shaking like palsy! You don't know what fear is. But you'll see."

The Wages of Fear follows a group of four European men "trapped" in a Latin American country. Desperate to get out, they accept a dangerous but well-paid job to drive two trucks loaded with nitroglycerine to an oil well that's on fire. The danger is that they have to transport the volatile cargo through rocky terrain, narrow mountain roads, and rickety bridges, all while dealing with their own personal issues and ambitions.

If there's a word to describe this film is tension, constant tension. Even during the first act, as Clouzot takes his time to introduce the characters and set the premise, the tension between these men seeps through the screen. But once they hop in those trucks, tension takes a different form. Every bump on the road, every road turn becomes a potential death trap, and Clouzot directs the hell out of it.

The dynamics between the four main characters is interesting and most of the performances are solid, even though most of the men are a$sholes. The script does a great job of reversing certain roles, and conveying how driven these men are to finish the job and earn the promised wage at whatever cost. Vera Clouzot, the director's wife, is the only performance that feels off. But the real star here is, again, Clouzot's tight direction which succeeds in keeping you on the edge at all times.

The above quote is the warning given by a potential driver; one that ends up backing out, but not before dropping his ominous advice. But our guys don't care, because the desire to be free of this place trumps any concern for their own safety. They don't know what fear is, but they'll see.

Grade: 4

Thief

12-14-22, 12:37 AM

OCEAN'S ELEVEN
(1960, Milestone)
A film with the number 11 (Eleven, Eleventh, etc.) in its title

https://i.imgur.com/pM4z0GD.jpg

"There's only one thing you love, Danny: that's danger. Cliffhanging. You could never love a woman like you love danger."

That's the judgment that Beatrice Ocean (Angie Dickinson) lashes at her ex-husband, Danny (Frank Sinatra), and shortly after, she more or less disappears from his life and from the story. Because much like with Danny, the focus of the story is not in any character-driven conflict, but ultimately in seeing the Rat Pack pull off a heist, and Ocean's Eleven delivers just that.

The film follows Ocean, a World War II veteran that recruits his former war buddies and friends to rob five casinos on the same night. Why? Well, because if there's one thing he loves is danger. There really isn't much on background, but not much as far as the heist preparation goes either. We see "preparations" going on, but there isn't the tension nor the cleverness you would expect from other heist films.

What the film does deliver are some cracking interactions between the members of the Rat Pack. The chemistry between Sinatra, and Dean Martin, Peter Lawford, and Sammy Davis, Jr. is evident. There is a certain laid-back and breezy approach to it that you kinda enjoy seeing them frolic around, essentially "playing" Sinatra, Martin, Lawford, and Davis. Jr.

But at the end of the day, I was expecting a bit more than that. The story and execution are lazy, the narrative is not fully there, and the direction lacks the chutzpah that you would expect from a project like this. I wouldn't call it a complete waste of time, but if you're not a Rat Pack fan or an original/remake completist, then I don't see why you should waste your time.

Grade: 2

Thief

12-14-22, 09:28 PM

Super late, but here is my final tally for NOVEMBER 2022

A film with the number 11 (Eleven, Eleventh, etc.) in its title: Ocean's 11 (https://www.movieforums.com/reviews/2352737-oceans-eleven.html) (1960)
A film that starts with the letters U or V: Upgrade (https://www.movieforums.com/reviews/2347062-upgrade.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #11 (i.e. 11, 118, 511): Eyes Without a Face (https://www.movieforums.com/reviews/2352101-eyes-without-a-face.html) (#311)
A film from the 2010s: Cinema Puerto Rico: Una antropología visual (https://www.movieforums.com/reviews/2344772-cinema-puerto-rico-una-antropolog%C3%ADa-visual.html)
A war film: Héroes de Otra Patria (https://www.movieforums.com/reviews/2344579-h%C3%A9roes-de-otra-patria.html)
A film noir: The Woman in the Window (https://www.movieforums.com/reviews/2346628-the-woman-in-the-window.html) (1944)
A film with the word "Time" in its title (Daylight Savings Time, November 6): Party Time: The Movie (https://www.movieforums.com/reviews/2345265-party-time-the-movie.html)
A film about politics (Election Day, November 8): All the King's Men (https://www.movieforums.com/reviews/2350849-all-the-kings-men.html) (1949)
A film from Latvia (Proclamation Day, November 18): Dramatic End (https://www.movieforums.com/community/showthread.php?anchor=1&p=2352233#post2352233), Deviate (https://www.movieforums.com/community/showthread.php?anchor=1&p=2352233#post2352233), The Letter (https://www.movieforums.com/community/showthread.php?anchor=1&p=2352233#post2352233), Vertigo (https://www.movieforums.com/community/showthread.php?anchor=1&p=2352233#post2352233) (all short films)
A film from Henri-Georges Clouzot (born November 20): The Wages of Fear (https://www.movieforums.com/reviews/2352725-the-wages-of-fear.html)

Freebies: La Gran Fiesta (https://www.movieforums.com/reviews/2344575-la-gran-fiesta.html), Romance Tropical (https://www.movieforums.com/reviews/2344614-tropical-romance.html), Casi Casi (https://www.movieforums.com/reviews/2344647-casi-casi.html), Correa Cotto: ¡así me llaman! (https://www.movieforums.com/reviews/2344783-correa-cotto-%C2%A1as%C3%AD-me-llaman.html), Maldeamores (https://www.movieforums.com/reviews/2345101-maldeamores.html), Complot (https://www.movieforums.com/reviews/2347310-complot.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/A4R6u7SidBPVXMVzGSysCiRGTRz.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/5f28TXtvHioXirX2n1XH8EJ314v.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/8y7Z9Gvcq52uOlJlUWyn2epGGRd.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/e2JTfQJ4KLejM1aH9knpIYR0skN.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/nUS6GnvsoZQY1bzW89R7F0EN73y.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/i8jDpAWByVYaQZJXbsg8XqDOF5y.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/nJdK0MDBpviVryMH7CMvR3fpfmk.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/flvbh5w7AyIVvtp8trkzyG2j5k4.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7Ps93VvMYpSVb5fSnwnqlrDKLS5.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/xaScUTyzNmEEgNVPChcXuuAEtD2.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/6v6U8iSyESFuf9bQFmSpMJeHHZJ.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/a4jE0bPbYxIypXMZ333A2qN2tdp.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/3Uwt3FSxeqNwgAwGQ8qzeSkkiy4.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/2HG1RdnkiuNbtMGRuykklRWodwQ.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/uDsOxodftSV7i56DjmdERXzHaVg.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/iZQbxuAovjFXbqPq0R2Z94hzVdS.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/pn9MOfSDqNA3ONCJV6u1OMXeCzT.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/1ahbRm5bjFTvmrryQDxuCoQa86E.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/bDnIooP8WK9895qnuhY9H00UC7i.jpg

Started the month fully into Puerto Rican films to prepare for a podcast episode, but then branched out into everything else I had planned. A pretty solid month with a bunch of great ones at the top. I think the one that has stuck with me most is probably Eyes Without a Face, but All the King's Men, Upgrade, and The Wages of Fear are all up there.

The weakest was easily Romance Tropical, one of those Puerto Rican films I saw near the beginning of the month. Even though I might cut it some slack for being one of the first films from here, it was really rough and the story/message was borderline rotten.

Thief

12-14-22, 09:36 PM

And here are the criteria I'm already working on for DECEMBER 2022

A film with the number 12 (Twelve, Twelfth, etc.) in its title:
A film that starts with the letters W, X, Y or Z: X
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #12 (i.e. 12, 129, 812): Walkabout (#712)
A film from the 2020s: The Empty Man
A western:
The last film from any director you like:
The last Best Picture winner you haven't seen (starting backward from CODA):
A Christmas/Holiday film: The Gift, Prep & Landing
A film from Bahrain (Independence Day, December 16): Cloven (short film)
A film from John Cassavetes (born December 9):

Thief

12-18-22, 08:22 PM

FROM OUR FAMILY TO YOURS
LOLA • THE STEPDAD • THE GIFT
(2020-2022, Affinita)
A Christmas/Holiday film • A film from the 2020s

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

"At the heart of the story is a beloved glow in the dark Mickey Mouse soft toy, which connects both past, present and future."

That's how Disney's press release describes a trilogy of very short adverts they've released through the last three years. Of course, in the opening of the press release, there's a bullet that reminds you that "The glow in the dark Mickey Mouse soft toy ... on sale now", which is such a perfect encapsulation of Disney's corporate machinery at work; money disguised as "emotions".

These shorts are mostly centered around Nicole, as it follows her from her childhood in the Phillipines, together with her grandmother Lola, to her marriage and adulthood in the States. Each short lasts around 2 to 3 minutes and play more like Disney+ ads than actual short films. I wasn't even thinking about writing about them, but I thought they were worth a word or two.

To be fair, I think the first one, [i]Lola, does succeed in presenting an actual story with some level of emotional resonance that doesn't feel like Disney's marketing department screaming in your ear. However, the other two are less subtle with their approach, as we see various Disney figures popping out of books with glowing sparkle around them, as if they were screaming "we're on sale now!"

Despite what the press release says, the tie-ins between the first short and the other two are vague, which results in the former feeling more of a single unit than part of a whole. They might make for a cute but forgettable watch with your kids, but you do run the risk of them reminding you later "this is on sale now!"

Grade: N/A

Thief

12-18-22, 09:08 PM

PREP & LANDING
(2009, Deters & Wermers)
A Christmas/Holiday film

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

"This is it, people! 364 days of planning, one night of perfect execution."

That is how Magee (Sarah Chalke), North Pole Christmas Eve Command Center Coordinator, describes the work of Santa Claus' elves; and part of that "perfect execution" falls on the hands of the Prep & Landing team, the elite group whose job is to prepare millions of homes for the arrival of Santa Claus.

This short film follows Wayne (Dave Foley), one of the elves from Prep & Landing who after 227 years feels like "the thrill is gone". Disappointed and bitter for being passed over for a promotion, Wayne now has to deal with a new partner, Lanny (Derek Richardson), a hyper-excited and lively rookie elf he has to train.

From a technical perspective, the craft here was pretty solid. The animation was pretty good, especially considering it was made more than 10 years ago. I honestly thought it was more recent. The voice talent also does a fine job, with probably Chalke being the one I enjoyed listening to the most.

However, the main enjoyment of Prep & Landing for me comes from watching the creative and inventive ways that co-directors and co-writers Kevin Deters and Stevie Wermers-Skelton juxtapose the whole Santa Claus/Christmas elves "magic work" into a corporate-like organization, and I felt that they mostly succeed. There is a decent balance of slapstick and wit in all of it, and I had fun with it.

This is yet another short I put to the kids a couple of nights ago, and I ended up enjoying probably as much as them. Fun, creative, and simple, which is more than I could ask of an animated short I just stumbled on Disney+.

Grade: 3

Thief

12-20-22, 03:39 PM

MAD MAX BEYOND THUNDERDOME
(1985, Miller & Ogilvie)
Freebie

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

"Do you know who I was? Nobody. Except on the day after, I was still alive. This nobody had a chance to be somebody."

Tragedies can draw out the best or the worst in you. They can drive you insane or take you into depression, or they can lift you up as you overcome. Sometimes they can even do both. Max Rockatansky (Mel Gibson) can be an example of the first, and to a certain extent, of the second. Losing his family in the midst of a societal collapse, Max falls into despair and loneliness, but eventually turns into some sort of mythical hero.

Mad Max Beyond Thunderdome presents another side of that story in the character of Aunty Entity (Tina Turner), a woman that proudly proclaims having gone from "nobody" to "somebody" as the ruler of Bartertown. The film follows Max as he and Aunty clash when he refuses to help her strengthen her control of the place, which lands him in the titular Thunderdome and eventually exile.

As the third part of the franchise, this film tries to follow the same formula of the second one: Max stumbles upon a group of oppressed people, offers his help, finds himself in trouble, leading into a big road fight where everybody unites. Maybe that's why I wasn't that crazy about the film overall, because it gave me that vibe of "been there, done that". That's not to say that the film is bad, but the general flow of the story felt a bit derivative.

To me, the most interesting aspect of the film was Aunty. She is really a mystifying and intriguing character that I would've liked to see more of. I was really surprised by Turner's performance and how she conveyed the strength in this woman that managed to survive and had "a chance to be somebody". An interesting contrast to Max, who she describes as a "cock of the walk" before and a "feather duster" after. Again, what does tragedy do with us? and how do we face what's ahead of us?

Maybe that's why I preferred the first act, as opposed to the other two. I felt that the film was stronger during the moments where we got to see the dynamic between Aunty and Max, as well as other characters. Once Max is out of Bartertown, and he meets the children tribe, my interest drifted away. The third and final act is thrilling and enjoyable from an action standpoint, but I felt like the film was already lesser then. First act, cock of the walk. Next, a feather duster.

Grade: 2.5

Captain Terror

12-20-22, 03:49 PM

Once Max is out of Bartertown, and he meets the children tribe, my interest drifted away.
This was the correct reaction. :)

The "been there done that" didn't bother me, as that's what I'm watching a Max movie for anyway. It was the detour into cute-kid territory that keeps me from loving this one. Others on this site will defend it, but I have a hard time sitting through it now.

Given the year it came out and my age at the time, it's probably the one I've seen most often but over time my affection for it has waned.

Thief

12-20-22, 03:53 PM

This was the correct reaction. :)

The "been there done that" didn't bother me, as that's what I'm watching a Max movie for anyway. It was the detour into cute-kid territory that keeps me from loving this one. Others on this site will defend it, but I have a hard time sitting through it now.

Given the year it came out and my age at the time, it's probably the one I've seen most often but over time my affection for it has waned.

We'll see how it will fare with time for me.

Thief

01-03-23, 10:10 PM

THE EMPTY MAN
(2020, Prior)
A film from 2020

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

"You're not telling me anything."
"I am telling you. You're just not listening."

How many times have you experienced a film that you felt told you nothing, only for it to wiggle its way into your brain and keep nagging at you? Is it our mind building something out of nothing, or were we even listening the first time? That is more or less my reaction to this weird, atmospheric, little thriller from 2020.

The Empty Man follows James Lasombra (James Badge Dale) a former detective-turned-security salesman that is still reeling in from the death of his wife and son a year earlier. When the daughter of a neighbor goes missing, James uses his investigation skills to try to find her, only to be led to a mysterious cult that follows the titular entity, whatever it is.

But although that synopsis might seem fairly straightforward, the truth is that the film takes a series of weird turns to get there, starting with a 20-minute opening sequence set in 90's Bhutan, and going through a series of setpieces that seem to have no payoff, or just leave you guessing why are they happening in the first place. When James asks one of the cult members about their business with the above exchange, is he really listening? Are we?

But putting aside the story, The Empty Man is a pretty competent thriller; at least more than its title, appearance, and marketing might led you to believe. James Badge Dale is a competent lead that is helped by solid supporting turns, especially Stephen Root as Arthur Parsons, the charismatic leader of the cult. But also, David Prior's direction is effective in transmitting a certain atmosphere and a sense of uneasiness around everything.

It's been almost a month since I saw it, and the story still feels like a bit of a mess whenever I try to connect the dots of everything that happens. At times it seems like a mish-mash of contrivances, pseudo-philosophical mumbo jumbo, and convoluted roundabouts, and yet, it keeps calling to me.

At one point, Parsons questions the nature of Nietzsche's quote about the "abyss staring back at you" and how when we really think about it, something in us must be calling for that "abyss"; a seemingly empty void that still keeps pulling us, much like this film. Are we listening?

Grade: 3.5

Thief

01-04-23, 05:04 PM

X
(2022, West)
A film that starts with the letters W, X, Y or Z • A film from 2020

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

"Alright, that's enough jabbering. I reckon it's about high time we cut to the chase and give the people what they want to see."

Set in the late 1970s, X follows an amateur film crew that's planning to shoot a pornographic film. For their location, they've chosen a secluded farm in rural Texas owned by Howard and Pearl, an elderly couple that don't seem to know or understand what the aspiring filmmakers are planning. But shortly after they start filming, they start being hunted by a mysterious but ruthless killer.

The above quote is the call to work of Wayne (Martin Henderson), the film's producer and boyfriend of Maxine (Mia Goth), one of the main actresses of the film, as they prepare to film the first sex scene; but it might as well be the call of director, writer, and producer Ti West as he makes the film. He spends just the right amount of time setting everything up before "cutting to the chase" and "giving people what they want" from a slasher, which is sex and gore.

The truth is that, unlike the film's fictional crew, X doesn't try to hide its intentions. It gives people "what they want to see", with some nice kills and gore, and several effective jump scares, while also not hiding the inspiration it draws from films like The Texas Chain Saw Massacre, The Shining, or other slashers and horror films of the era.

However, X does seem to add some layers on top of it that give a bit more depth to what's happening than your average slasher; whether it is from Howard and Pearl's relationship or Maxine's drive and motivations. This is the first film I see from West, but I really enjoyed his craft, and how he reveals certain things at the most opportune moments. The kind of director that not only gives you what you want to see, but knows the right time to give it to you.

Grade: 3.5

Thief

01-05-23, 11:46 PM

I'm so happy to finally share this episode of my podcast... my last guest episode of The Movie Loot features none other than Yoda talking with me about the films that have been brought to us by the new millennium! So, more or less in tune with our current countdown, check it out to hear our thoughts on what the last 23 years have brought us.

The Movie Loot 75: The Millennium Loot (with Chris Bowyer) (https://www.buzzsprout.com/850063/11945254-the-movie-loot-75-the-millennium-loot-with-chris-bowyer.mp3?download=true)

You can check it out on the above link, or although it hasn't populated there yet, on any of these podcasting platforms: Spotify (https://open.spotify.com/show/4o5ZvtvZ64XAoxIIxiAj1q), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot/id1578191119), or any other. Thanks for the support!

Thief

01-08-23, 03:04 PM

I finally released Special Episode 15 of The Movie Loot, where I talk about one of my favorite monologue scenes ever, and that is the park bench scene from Good Will Hunting:

The Movie Loot - Special Episode XV (Good Will Hunting) (https://www.buzzsprout.com/850063/11955144-the-movie-loot-special-episode-xv-good-will-hunting.mp3?download=true)

Remember you can also listen on Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-special-episode-xv-good-will-hunting/id1578191119?i=1000593050427), Spotify (https://open.spotify.com/episode/7cHZlgfOWkstN4vM80mtor?si=7f67d716f0524268), Google Podcasts, and most podcast platforms.

Thief

01-08-23, 08:42 PM

TERMINATOR SALVATION
(2009, McG)
Freebie

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

"I have been dead a while and I'm getting used to it."

The Terminator franchise has been through both good and bad times. Over the course of almost 40 year, it has gone from a low budget surprise hit and a big budget blockbuster to a reverse-Midas hot potato that's been passed from company to company bankrupting them all in the way. as different directors have tried to bring the magic back to life, while also bringing something new to the table, usually with no success.

If there's a good thing I can say about Terminator Salvation is that, at least it tried something new, regardless of the end results. Set in the post-Judgment Day future, the film follows the endless battle between Skynet and the human Resistance led by John Connor (Christian Bale). Meanwhile, Marcus (Sam Worthington), a mysterious ex-prisoner tries to figure out his place in this battle.

Ever since The Terminator premiered, we have witnessed what the post-Judgment Day future looks like, so maybe a minor nitpick would be that the future we see here doesn't really look like the future we've been shown in all three previous films. But that's a rather small non-issue. The film's real problem is mostly in its flat direction, dull execution, and boring characters.

I'm not familiar with McG's other works, but he does kickstarts the film with a somewhat impressive "continuous" shot that follows Connor as he gets on a helicopter to pursue the enemy, only to crash. It is perhaps the only jolt of life that the direction has to offer, as the film lacks any other notable setpiece or action sequence. On the contrary, some of the action feels like a checklist of things to include: here's Guns n' Roses *check* here's "Arnold" *check* here's how John got his scar *check*

As for the performances, you can see that Worthington is trying his best to convey the inner struggle of his character, but his effort can't overcome his lack of charisma. Also, surprisingly, Bale seems rather lost and blank, as if he had been dead for a while. Anton Yelchin is probably the only one that gives a bit of a spark to a moribund cast. Other actors like Bryce Dallas Howard and Common do their best, but they are more or less wasted.

All this is not to say that the film is awful. The film still offers some competent moments and might be a good option to pass the time; its story is muddled, but it's not something incredibly hard to turn your brain off to. But that's it. Maybe worse than awful, the film is just there. As if it had been dead for a while and was getting used to it.

Grade: 2.5

Thief

01-09-23, 09:49 PM

WALKABOUT
(1971, Roeg)
A film that starts with the letters W, X, Y or Z • A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #12 (#712)

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

"I don't know why you are telling him all this. He can't understand. He doesn't know what a ladder is. I expect we're the first white people he's seen."

The opening caption of the film describes a "walkabout" as a ritual in Australia where a 16 year old has to live for months alone from the land, "stay alive, even if it means killing his fellow creatures". The ritual is specific to males and is supposed to be one of spiritual growth as they transition into adulthood; and although it is applied to the Aborigine "Black boy" (David Gulpilil) in the film, one can say the ritual applies to the "Girl" and the "White boy" (Jenny Agutter and Luc Roeg) he stumbles upon.

This Walkabout starts when the "girl" and the "white boy" are forced to flee from their father who tries to kill them in the middle of the Outback, and then ends up shooting himself. As the kids aimlessly wander the wilderness, they come upon the "black boy" who starts teaching them how to survive. The three start an interesting relationship that begins as a simple means to survive but evolves into something more as the film progresses and they all adapt to their new situation in different ways.

Communication plays a key role in their relationship, which you can see in the above quote. The "black boy" only speaks in his native language, while the "girl" unsuccessfully tries to communicate through English. The "white boy" on the other hand is quickly taken by the "black boy", and they learn to communicate through gestures and signals. The contrasting ways that both the "girl" and the "white boy" react, adapt, and interact with the "black boy" is a common thread through the film as one seems to embrace the customs of the Aborigine more easily, while the other seems more reluctant to abandon her "city ways".

This is not only seen through the way they communicate, but also by the way their clothes "transform" or disappear through the course of the film. The "white boy" is quick to lose his shirt and is often seen wearing decorative paint in his skin, like his Aborigine counterpart, while there is an iconic skinny-dipping sequence with the "girl", which can be seen as a way to forget about the comforts and restrains of civilization, even if it doesn't last long.

Some minor issues I had with it is that the direction in the first act features a decent amount of awkward leering of the "girl". Once they meet the "black boy", things sorta balance themselves since there is a decent amount of leering of the "black boy" as well, which I can accept as a way to signal the sexual awakening and tension between both characters. But those first act shots seemed a bit unnecessary since we still haven't met the "black boy", so we're not seeing things from his perspective yet.

Overall, Walkabout is a powerful snapshot of Australian wilderness and the clash between the "civilized" and the "savages". Its dreamlike vibe is mesmerizing, and reminded me of other Australian films of the same era like Wake in Fright and Picnic at Hanging Rock. It's almost like we are in a trance watching this interactions unfold and we're captivated by it all, even if we can't fully understand it.

Grade: 4

Thief

01-09-23, 10:21 PM

CLOVEN
(2018, Fakhro)
A film from Bahrain

https://i.imgur.com/wyrC1i1.png

"What are you doing out here this late? There's no one around you. It's a scary area, and that stop isn't even in use anymore. You should be more careful."

Cloven is a Bahraini horror short film that follows an old man (Mubarak Khamis) that picks up a mysterious lady (Reem Erhama) at a secluded bus stop in the middle of the night. It is based in a local folktale about a creature called "Um Homar" that hunts unsuspecting children and people.

Stumbled upon this by mere chance and it was quite a pleasant surprise. With a 6 minute runtime and a fairly simple premise and setting, there's not much to say about it. But director and co-writer Mohammed Fakhro makes the most out of that to present a weirdly effective and chilling short that had me smiling with glee in the end.

Grade: 3.5

Thief

01-09-23, 10:22 PM

For those interested in watching it, here's the Facebook link (https://www.facebook.com/watch/?v=566879824197394) for it.

Sedai

01-11-23, 10:16 AM

Checking out your Psycho scene analysis episode this morning!

Thief

01-14-23, 09:13 PM

Checking out your Psycho scene analysis episode this morning!

Hey, hope you liked it.

Thief

01-14-23, 09:46 PM

KUNG FU HUSTLE
(2004, Chow)
Freebie

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

"Becoming a top fighter takes time, unless you're a natural-born kung-fu genius, and they're 1 in a million."

That is unless you live in Pig Sty Alley, where it seems kung fu geniuses come from where you least expect them. But even the resident kung fu geniuses can't stop the fury of the Axe Gang! Kung Fu Hustle follows the attempts of the humble residents to do so. Meanwhile, wannabe bad guy Sing (Stephen Chow) and his dumb friend Bone (Lam Chi-chung) try to find their true self in order to help the village.

Kung Fu Hustle is a bit of a bizarre mish-mash of genres that go from action and comedy to surreal and outlandish. It is in trying to acclimate myself to that absurdity that I found the film to be more fun. I really didn't know much about it, so it took me a while to adjust my bearings to the tone of it, but I laughed all the way through that while.

Within all the absurdity, the film still manages to present some cool direction, pretty kick-ass coreographies (fight and dance!), and some neat special effects. The characters from both sides are colorful and fun, which makes it easier to warm up to their antics, and the performances from most are quite solid, especially Yuen Qiu as the Landlady, Danny Chan Kwok-kwan and Leung Siu-lung as the main bad guys.

Chow is competent as the lead, and has some good comedic timing with Lam. However, my main issue with the film is that for most of the first two acts, the character of Sing sits pretty much on the sidelines and doesn't really do much. This makes for his rapid transformation into "natural-born kung fu genius" to not feel fully organic. Like the Landlady said above, it takes time.

Grade: 3.5

Thief

01-14-23, 10:28 PM

THE DEAD
(1987, Huston)
The last film from any director you like

https://i.imgur.com/7tiTcUT.jpg

"In gatherings such as this, sadder thoughts will recur to our minds. Thoughts of the past, of youth, of changes, of absent friends that we miss here tonight. But our work is among the living, we must not brood our stoop to gloomy moralizing."

The above is part of the toast offered by Gabriel Conroy (Donal McCann) in the middle of an Epiphany dinner party in 1904 Ireland. Little does he know that the rehearsed words that he recites, and that are met with different ranges of cordial acknowledgment and mild disinterest by the various guests, will come back to bite him in the very last act of the film.

The Dead is John Huston's final film, with a script written by his son Tony, based on a short story from James Joyce. Being a fan of classic literature, Huston's daughter Anjelica, has said that "it was very important for my father to make that film." Anjelica herself stars as Gabriel's wife, Gretta. The director died a couple of months before release, which makes of it a rather haunting look at life and death.

You gotta admire a film that doesn't really show its cards until the last 10-15 minutes. Because, for most of its duration, the film dwells in the mundane conversations between the assorted characters that meet for this dinner party, without really showing us what the deal is. Still, it manages to keep you engaged and captivated by sheer dialogue and performances. Conroy, Huston, and Dan O'Herlihy stand out from a great ensemble cast.

But it's also Huston's patient direction and affection for the source material what keeps the film going, even if we don't know where things are going. It is in those final 10 to 15 minutes that he chooses to show us his hand and leave us, the audience, in an existential void as deep as Gabriel finds himself in. Thoughts of the past, of youth, of changes, of absent friends that are missed.

Grade: 4

SpelingError

01-14-23, 11:08 PM

Thief

01-14-23, 11:25 PM

Aside from the final 10 minutes, I remember struggling with that one, but I do think its pacing choices are very deliberate and the film is exactly what it wants to be. I just wasn't on the film's wavelength when I watched it.

I understand that. I found myself fully captivated by the performances and the flow of the conversations.

Thief

01-15-23, 09:28 PM

SECONDS
(1966, Frankenheimer)
Freebie

https://i.imgur.com/YEBN85e.jpg

"Isn't it easier to go forward when you know you can't go back?"

Our life is full of choices; since we have use of reason until the day we die. Where to go, what to study, who to marry, where to work... and we make some thinking that if things go wrong, we can always go back and "fix things". But there are choices we can't go back to, and we just have to move forward, wherever it takes us. That is part of the basis of this psychological sci-fi thriller from John Frankenheimer.

Seconds follows a middle-aged banker that feels unfulfilled in his life, only to be approached by a company that offers him the chance to start a new life with a new identity through plastic surgery. What if you had that chane? Will you take it? After becoming "Tony Wilson" (Rock Hudson), the man realizes that it's not that easy to move forward and cut your ties to your past life.

This was a really interesting film that in some ways plays like an unsettling sci-fi thriller, but in many others presents a thought-provoking and more psychologically driven look at how we live our lives, and the choices we make through it. If we knew there was no turning back, would we make the same choices?

One of the strengths of the film is Frankenheimer's direction, which is claustrophobic and oppressive. Regardless of the persona that Wilson is under, you can feel that he's never entirely free to move back or forward. "They made the decisions for me all over again", he says as he gets to another threshold in his life.

Casually, this year I've seen more Rock Hudson films than I had seen before (which was zero!) and this is actually the best I've seen him in. Plus, knowing the details of his life, you can't help but wonder the amount of "realism" in his performance as we see his character question the way he has lived his life, and the pretensions he has been forced to live with.

Grade: 4

SpelingError

01-15-23, 09:51 PM

Too low!

Takoma11

01-15-23, 10:57 PM

Have you seen The Manchurian Candidate?

I almost never feel like I recognize a director's style, but not 10 minutes into it I was getting vibes of Seconds.

Thief

01-15-23, 11:11 PM

Have you seen The Manchurian Candidate?

I almost never feel like I recognize a director's style, but not 10 minutes into it I was getting vibes of Seconds.

Oh yeah, it's been a while, but I can see that.

Thief

01-16-23, 08:34 PM

SHADOWS
(1959, Cassavetes)
A film from John Cassavetes

https://i.imgur.com/umlg83N.png

"I thought being with you would be so important - would mean so much. That afterwards two people would be as close as it's possible to get. But, instead, we're just two strangers."

John Cassavetes is a notable blind spot of mine. Until last month, I hadn't seen a single one of his films, but obviously had heard much about his work in independent cinema and the influence he has had in the medium. So when December's challenge came up, I was looking forward to finally meeting the man and his work, and although titles like Wonder Under the Influence and The Killing of a Chinese Bookie are the ones that usually come up, I decided to start at the beginning, with his first film.

Set in New York City, Shadows follows the lives of three black siblings: struggling jazz musicians Ben and Hugh, and their light-skinned, younger sister Lelia, and their relationships with several other characters. The focus of the story falls mostly on Lelia (Lelia Goldoni), who starts a relationship with Tony (Anthony Ray). But things get complicated when he meets her brothers and finds out she's black.

Shadows is an interesting experiment. Filmed in 1957, released in 1958, and reworked in 1959, it went through a metamorphosis of sorts. The film was devised and promoted as a mostly improvisational work, which might've resulted in the poor reception it had on its first release. Cassavetes then went back to the drawing board to rework the film. This tinkering is probably the source of my main issue, which has to do with the rather loose narrative.

Even though the focus seems to be on Lelia (which apparently wasn't the case in the original version), her subplot is somewhat rushed away in the last act, while the focus changes a bit to Ben, who was more or less on the sidelines through all the film. So there's a bit of a disjointed nature to the flow of the story, which is understandable considering how it was made, released, and re-released.

However, I admire the honesty with which the film deals with important social issues in a way that few, if any, 1950s film dealt with. From man-woman relationships to racial tensions that perhaps are still present more than 50 years later. Paired with the organic and natural performances that Cassavetes pulls from his cast, I'm certainly looking forward to my second film of his.

Grade: 3.5

SpelingError

01-16-23, 09:04 PM

I think Husbands would be my favorite Cassavetes film.

Thief

01-16-23, 09:24 PM

DRIVING MISS DAISY
(1989, Beresford)
The last Best Picture winner you haven't seen

https://i.imgur.com/s7sKUlU.jpg

Daisy: "Hoke?"
Hoke: "Yes'm."
Daisy: "You're my best friend."
Hoke: "No, go on Miss Daisy."
Daisy: "No, really, you are... You are."

Set in 1948, Driving Miss Daisy follows Daisy (Jessica Tandy), a widowed and retired schoolteacher that is forced by her son to take a chauffeur (Morgan Freeman) after a small car accident. Despite her initial reluctance and bigotry against Hoke, we see how their relationship grows and evolves through the course of 20 years.

This is one of those films you don't see mentioned often, if at all, and one that I have to admit was more or less dreading. Although the film is not necessarily awful, it delivers exactly what you would expect from the premise and the cast involved, which is a neatly acted, okay-ish drama that doesn't feel like diving into any of the social issues its breezing through. The thing is that the film decides to take a light, almost comedic approach to its story, without never really diving into Daisy's prejudices and bigotry.

My friend ApexPredator said it best when he told me that it worked "best as a character study of two people who are missing something and find a connection that leads to friendship ... As a civil rights film, it's less effective.", and I like how accurate that is. Thankfully, the film has Tandy and Freeman to make that connection feel like something somewhat believable and pleasant, despite the shortcomings of the script.

Driving Miss Daisy lacks the power to make a compelling drama or a lasting statement on racial relations, but I don't think it's trying either. But maybe it's that lack of trying what kept it from transcending to another level, as far as film goes. The film is just there. I don't regret watching it, but I doubt I will ever watch it again.

Grade: 2

Thief

01-17-23, 11:22 AM

I think Husbands would be my favorite Cassavetes film.

I need to definitely get on a list and start tackling them. Thanks for the rec!

Thief

02-02-23, 03:10 PM

THE SEARCHERS
(1956, Ford)
A western

https://i.imgur.com/u3zpFHr.jpg

"Some day this country's gonna be a fine, good place to be. Maybe it needs our bones in the ground before that time can come."

The term "Wild West" was a term coined to highlight the incontrollable and chaotic nature of the American frontier. Maybe because of the lawlessness of this newly "discovered" lands, or the aftermath of the genocidal violence against Native Americans. This setting became fertile ground for thousands of tales, stories, and with time, films and TV series, where the West is depicted as unforgiving and ruthless. and populated by people just as much. John Ford is one of many directors that made a career by directing these stories, with his westerns going as far back as the early 20th Century.

The Searchers, however, comes at the final stretch of his career. Starring John Wayne, it follows a Civil War veteran that sets out to find his young niece Debbie (Natalie Wood) after a tragic "Indian" attack results in her being kidnapped. So Ethan Edwards (Wayne) decides to brave this unforgiving and ruthless setting, along with his nephew Martin (Jeffrey Hunter) to find her at any cost. Half of the tension is outward, as it comes from the natural obstacles they face during their search, but the other half is inward, as it comes from the relationship between Ethan and Martin, who is initially dismissed by him as a "half-breed", as well as Ethan's fighting his own inner demons.

Both Ford and Wayne have been vastly criticized for their depiction and attitude towards Native Americans, as well as blacks and Mexicans. In the case of Ford, mostly for how these three minorities were portrayed in his films. In the case of Wayne, for God knows how many reasons. However, whereas Wayne generally refused to change and budge with the passage of time, Ford's films and portrayals became grayer as we move forward in his filmography, which you can see in films like Sergeant Rutledge.

The Searchers isn't fully there yet, but it hints at a Ford that's trying to figure things out. From some positive depictions of some tribes and Native American characters to the way Ethan comes to acknowledge Martin (the "half-breed") as a worthy companion. Wayne's portrayal isn't very different to what we've seen in other films of his, but his tough persona suits the character well. He does manage to stretch his emotions a bit at some points and the climatic conflict with Martin and Debbie is well staged. Vera Miles rounds out the cast as Laurie, Martin's love interest, and she's pretty good in it.

Unfortunately, much like Wayne, there are some moments where Ford lets himself be overcome by the demons of the past in how some Native American characters are portrayed and treated. There is also a subplot between Martin and Laurie that I felt took too long, and devolved into a comical fist-fight that felt like it belonged to a different film. Things do pick up in the end with a battle that suffers from the usual "Cowboys, good" and "Indians, bad" stereotypes, but it's thrilling nonetheless and however abrupt, manages to close with a changed Ethan, and maybe a changed Ford.

Ford continued with a more progressive perspective in his later films, while Wayne continued with his stubborn and hard-headed attitudes. Maybe, just like Ethan, he did change a bit as he approached his death. Things weren't easy in the "Wild West", and things haven't been easy this last century either. But maybe people can truly change, things can change. Maybe the above quote is right, and some day the country can be a fine, good place to be; even if it needs our bones in the ground first.

Grade: 4

Thief

02-03-23, 10:00 PM

TWELVE HOURS TO KILL
(1960, Cahn)
A film with the number 12 (Twelve, Twelfth, etc.) in its title

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

"This time we'll make sure there isn't any leak, or any chance of anybody stumbling over. He'll just disappear."

The above statement has to do with Martin Filones (Nico Minardos), a Greek man in New York City that ends up witnessing the murder of a gangster. But reading the statement without context, you probably couldn't tell if whoever said it is looking for Filones' benefit or harm. Leaks to who? Disappear how? That ambiguity is a key part of this lean and effective crime film from director Edward L. Cahn.

Twelve Hours to Kill follows Filones as he's sent to a small town called Denton, supposedly as a way to protect him. Unfortunately, the two thugs sent to silence him follow him there, forcing Filones to doubt of everyone, especially those that are sworn to protect him. His only ally seems to be Lucy (Barbara Eden), a local woman that shelters him at her home.

Stumbling into little films like this is one of the joys of this challenge. This is a very low budget, B-film that I had never heard of, and yet, it was a pleasant surprise. There is little flash to it, but it is still a pretty tight crime thriller, with some grit to it. Minardos and Eden have a certain innocent charm, but they are as effective when the story goes to more darker places.

The film is not without its flaws. The pace is a bit off around the middle section, and even at 83 minutes, feels like its stretched a bit too long. But the solid lead performances, the ambiguity of the characters, and those B-movie rough edges make it work.

Grade: 3

Thief

02-11-23, 10:11 PM

LAND AND SHADE
(2015, Acevedo)
Freebie

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

"Was it worth leaving?"
"I do not know if it was worth it."

That's the question that one character asks another in a climatic conversation in this slow burn drama from Colombia. The burden of choices from years past still weighs heavy on them, and there's no way to ever know if they were the "right" ones or the "wrong" ones.

Land and Shade follows Alfonso (Haimer Leal), an aging sugar cane worker that returns to his home after 17 years, upon learning that his adult son is now ill. The reason for his illness? The sugar cane plantations that surround their home are frequently burned, which results in toxic ash rain that basically covers the house and makes life unbearable.

This situation forces the family to live in a cycle of questioning, do I leave this place for my health or do I stay because I need to work? Alfonso left, but his wife stayed... but here he is, "with the same bag", as he says in that climatic conversation. The emotional and physical scars of his decision are still there.

The film is a hell of a slow burn, with a very pensive pace that could border on soporific for some; but there is a pretty darn good film in there for those patient enough. Director César Augusto Acevedo holds our attention with a very skilled and meticulous direction. I really liked his frequent use of long takes and wide shots that give this landscape a beautiful and eerie look at the same time.

At the end, the film doesn't necessarily answer the above question, but rather leaves it up to the viewer. There is tragedy, hope, redemption, and forgiveness. But beyond that, the characters have to realize that they have to live with the burden of their choices, one way or the other, and there usually is no way to find out if things would've been different, or if it was worth it. The film, though, is definitely worth it.

Grade: 4

Thief

02-14-23, 11:26 AM

MAD MAX: FURY ROAD
(2015, Miller)
Freebie

https://i.imgur.com/KC4yKBs.jpg

"You know, hope is a mistake. If you can't fix what's broken, you'll, uh... you'll go insane."

Max Rockatansky has lost all hope. After his wife and son were murdered, he's become a shell of a man, wandering the desert wasteland. The societal collapse certainly doesn't help his situation either. He's looking out for himself and no one else because, why try to fix things when they can't be?

Set in this dystopic future, Mad Max: Fury Road follows Rockatansky (Tom Hardy) as he reluctantly join forces with Imperator Furiosa (Charlize Theron), a member of Immortan Joe's forces who goes rogue to free his five "wives". Unfortunately, Joe is not going down without a fight, or in this case, without an extensive chase.

The first thing I'm going to credit Fury Road with is how relentless it is. Other than a brief "prologue" at the Citadel to set things up, the film doesn't wait to kickstart things, and it literally doesn't stop until about an hour; and then it starts again until the end. The action is so unabating that we barely have a chance to catch our breath.

But as your senses are constantly pummeled by the sound and the visuals, there is also a meticulous attention to details; there is always something to look at, something that makes you go "Hmm, I wonder how this came to be". Miller has built a world that indeed looks and feels broken, but lived in. You believe that these characters have been worn down by this desolation and hopelessness.

Hardy, who takes over the role from Mel Gibson, is an example of that. Even though he remains mostly stoic, emotionless, and hopeless, he does give hints of regaining his humanity, as the film progresses. Hardy might not have the showiest role, but he does a great job with what he's given, while allowing Theron to shine. Unlike Max in the beginning, Furiosa is determined to not give up hope, and takes action to fix things, even if they seem beyond repair.

There are also some solid supporting performances, most notably Nicholas Hoult, as another one of Joe's minions that's seeking redemption. But as good as the performances are, the real star here is Miller's in-your-face direction and the flood of *everything* that he throws at you. There is a bit of repetitiveness in how the story flows when compared to The Road Warrior and Beyond Thunderdome, but it is still insanely fun and entertaining to look at.

Grade: 4

Thief

02-14-23, 12:05 PM

Waaaaay overdue, waaaay delayed, but here is my final tally for DECEMBER 2022

A film with the number 12 (Twelve, Twelfth, etc.) in its title: Twelve Hours to Kill (https://www.movieforums.com/reviews/2368951-.html)
A film that starts with the letters W, X, Y or Z: X (https://www.movieforums.com/reviews/2359073-x.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #12 (i.e. 12, 129, 812): Walkabout (https://www.movieforums.com/reviews/2360666-walkabout.html) (#712)
A film from the 2020s: The Empty Man (https://www.movieforums.com/reviews/2358787-the-empty-man.html)
A western: The Searchers (https://www.movieforums.com/reviews/2368463-.html)
The last film from any director you like: The Dead (https://www.movieforums.com/reviews/2362155-the-dead.html)
The last Best Picture winner you haven't seen (starting backward from CODA): Driving Miss Daisy (https://www.movieforums.com/reviews/2362727-driving-miss-daisy.html)
A Christmas/Holiday film: From Our Family to Yours (https://www.movieforums.com/community/showthread.php?anchor=1&p=2353861#post2353861), Prep & Landing (https://www.movieforums.com/reviews/2353866-preplanding.html)
A film from Bahrain (Independence Day, December 16): Cloven (https://www.movieforums.com/reviews/2360672-cloven.html) (short film)
A film from John Cassavetes (born December 9): Shadows (https://www.movieforums.com/reviews/2362718-shadows.html)

Freebies: Mad Max Beyond Thunderdome (https://www.movieforums.com/reviews/2354486-mad-max-beyond-thunderdome.html), Terminator Salvation (https://www.movieforums.com/reviews/2360334-terminator-salvation.html), Kung Fu Hustle (https://www.movieforums.com/reviews/2362141-kung-fu-hustle.html), Seconds (https://www.movieforums.com/reviews/2362386-seconds.html), Land and Shade (https://www.movieforums.com/reviews/2371357-land_and_shade.html), Mad Max: Fury Road (https://www.movieforums.com/reviews/2371992-mad_max_fury_road.html)

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There were a couple of very good first-time watches, but I think Walkabout and The Dead are the ones that have stuck with me more. Land and Shade, Mad Max Fury Road, and Seconds are also up there.

As far as worst, probably Driving Miss Daisy.

Thief

02-14-23, 12:09 PM

I posted it on the other thread, but just to properly close this thread, here is the comprehensive list of everything I saw during the year: a total of 200 films; a bit more than the 163 I saw in 2021 (thank you, short films!). Anyway, here it is...

One: One Week
Two: Two Mules for Sister Sara
Three: Three Amigos!
Four: Four
Five: Five Easy Pieces
Six: Six Men Getting Sick
Seven: Seven (also a rewatch)
Eight: 8 Mile
Nine: The 9th Guest
Ten: Shang-Chi and the Legend of the Ten Rings
Eleven: Ocean's Eleven (1960)
Twelve: Twelve Hours to Kill

A or B: Ben-Hur (1907), The Block Island Sound
C or D: Cure
E or F: Encanto
G or H: Gonjiam: Haunted Asylum
I or J: Inside Llewyn Davis
K or L: Kung Fury
M or N: Nu
O or P: Prey, Parenthood
Q or R: Rejected
S or T: Satan's Slaves, Terrifier 2
U or V: Upgrade
W, X, Y, or Z: X

pre-1920s: The Rough House (1917)
1920s: The Unknown (1927)
1930s: Baby Face (1933)
1940s: The Heiress (1949)
1950s: Winchester '73 (1950)
1960s: The House Is Black (1963)
1970s: Hedgehog in the Fog (1975)
1980s: Cinema Paradiso (1988)
1990s: Eve's Bayou (1997), A League of Their Own (1992)
2000s: Pontypool (2008)
2010s: Cinema Puerto Rico: Una antropología visual (2014)
2020s: The Empty Man (2020)

Action or adventure: Predator 2
Comedy: Hail, Caesar!
Documentary: Attica
Drama: The Secret of Roan Inish
Fantasy: Man of Steel, Malice in Wonderland
Horror: Near Dark
Musical: Little Shop of Horrors
Romance: Enough Said
Science-fiction: Predestination
Thriller: Pontypool
War: Héroes de Otra Patria
Western: The Searchers

Animated: The Mitchells vs. the Machines
Sequel: Texas Chainsaw Massacre (2022)
Third part on a franchise: Halloween III: Season of the Witch
Film noir: The Woman in the Window

Ranking includes #1: Sherlock, Jr. (#122)
Ranking includes #2: Assault on Precinct 13 (#826)
Ranking includes #3: Midnight Cowboy (#336)
Ranking includes #4: They Live (#947)
Ranking includes #5: Mad Max 2: The Road Warrior (#506)
Ranking includes #6: I Walked with a Zombie (#634)
Ranking includes #7: Night and Fog (#187)
Ranking includes #8: All That Heaven Allows (#378)
Ranking includes #9: The Thing from Another World (#984)
Ranking includes #10: Dawn of the Dead (1978, #310)
Ranking includes #11: Eyes Without a Face (#311)
Ranking includes #12: Walkabout (#712)

Haiti (January 1): Profit & Nothing But! Or Impolite Thoughts on the Class Struggle
Lithuania (February 16): Brotherhood of Pate
Bangladesh (March 26): Photographs of a School Teacher
Senegal (April 4): Black Girl
Ecuador (May 9): Ratas, Ratones, Rateros
Iceland (June 17): Undying Love
Vanuatu (July 30): Tanna
India (August 15): U-Turn
Guatemala (September 15): La Llorona
Uganda (October 9): The Girl in the Yellow Jumper
Latvia (November 18): Dramatic Ending, Deviate, The Letter, Vertigo
Bahrain (December 16): Cloven

Jim Jarmusch (January 22): Down by Law
Ida Lupino (February 4): Outrage
Raúl Juliá (March 9): Romero
Jackie Chan (April 7): Armour of God
Frank Capra (May 30): It Happened One Night
Sidney Lumet (June 25): The Anderson Tapes
William Wyler (July 1): Ben-Hur
Nicholas Ray (August 7): Johnny Guitar
Pedro Almodóvar (September 25): La concejala antropófaga, The Human Voice
Ed Wood (October 10): Bride of the Monster
Henri Georges Clouzot (November 20): The Wages of Fear
John Cassavetes (December 9): Shadows

First Best Picture winner I hadn't seen: Cavalcade
First film from any director: Piranha II: The Spawning (James Cameron)
Last film from any director: The Dead (John Huston)
Last Best Picture winner I hadn't seen: Driving Miss Daisy

African-Americans (Black History Month, February): Selma
Couple's name (Valentine's Day, February 14): Alpha and Omega
Female director (Int'l Women's Day, March 8): The Power of the Dog (Jane Campion), CODA (Sian Heder)
Mothers (Mother's Day, May): Where You Are, The Mother
Fathers (Father's Day, June): Brats
LGBTQ+ (Pride Month, June): Drawings of My BF
Native Americans (Native American Day, September 25): In the Beginning was Water and Sky

Biblical film (Holy Week, April): *only category I didn't complete. Go figure*
Islamic characters (Eid al-Adha, July 19): Listen
Holiday/Christmas: Prep & Landing
Spring: Palm Springs
Summer: Summer School
Fall: The Fall

Based on a Book (Nat'l Library Week, April): My Dog Skip, Dolores Claiborne
Environment (Earth Day, April 22): One Earth
Train (Nat'l Train Day, May 10): Runaway Train
Aliens (World UFO Day, July 1): The Day the Earth Stood Still
School (Back to School, August): Picnic at Hanging Rock
Senior citizens (Nat'l Senior Citizens Day, August 21): Amour
A virus (Virus Appreciation Day, October 3): 28 Days Later, 28 Weeks Later
Werewolves (Worldwide Howl at the Moon Night, October 26): The Wolf of Snow Hollow
Politics (Election Day, November 8): All the King's Men

Bird's name (Nat'l Bird Day, May 4): Antes que cante el gallo
America (Independence Day, July 4): Wet Hot American Summer
Rock, Paper, Scissors (World Rock Paper Scissors Day, August 27): Paperman
Punctuation symbol (Nat'l Punctuation Day, September 24): What's Opera, Doc?
Pronoun (Int'l Pronouns Day, October 19): I Saw the Devil
Time (Daylight Savings Time, November 6): Party Time: The Movie

400 Petals
A Gun for George
Adventures in Babysitting
Be Natural: The Untold Story of Alice Guy-Blaché
Beat the Devil
Belfast
Blade Runner
The Boss Baby: Get That Baby!
The Cabbage-Patch Fairy
Casi Casi
The Chucko
City of the Living Dead
Correa Cotto: ¡así me llaman!
Demons
Devil
Foreign Correspondent
The Godfather
Goodnight Mommy
La Gran Fiesta
Halloween II (1981)
The Heart of the World
It's All Right, It's OK
Jason X
Jurassic World Dominion
Kung Fu Hustle
Land and Shade
Lightyear
Luck
Mad Love
Mad Max Beyond Thunderdome
Mad Max: Fury Road
Madame's Cravings
Maldeamores
Magical Girl
The Many Adventures of Winnie the Pooh
The Night Eats the World
Nightmare Alley (2021)
The 9th Circle
Peninsula
Robin Robin
Romance Tropical
Safety Last!
Seconds
Shadow of a Doubt
Star Wars
Strings
Suspense.
Terminator 3: Rise of the Machines
Terminator Salvation
Thunder Road (2016)
Thunder Road (2018)
The Tragedy of Macbeth
True Romance
Un obus partout
Us
West Side Story (2021)
Whiplash

Rewatches are in blue, short films in red.