Thief's Monthly Movie Loot - 2022 Edition [Archive]

Thief

01-12-22, 10:36 AM

New year, new challenge!

https://c.tenor.com/VXS330J9qY0AAAAC/challenge-accepted-challenge.gif

Once again, I will use this thread to post details and reviews of my personal movie challenge where I gather a monthly "loot" of films based on a different set of criteria. This will be the sixth (6th) year I do this type of challenge and it has led to some really interesting film discoveries, so why not continue?

For anybody curious, here is the link (https://www.movieforums.com/community/showthread.php?t=63119) for last year's challenge thread. Once again, I'm sticking with 10 films per month, which is manageable for me. Moreover, I'm not gonna be as strict as in the past to complete the monthly "challenge". To be honest, sometimes it becomes a bit of a struggle to juggle watching a certain amount of certain films, along with real work, family, running a podcast, etc. so I'm gonna take it easy on myself and just watch what I have time to, whether it's 15, 10, or 6 films per month.

I will also continue to use the thread to post new episodes of my podcast, which has been officially renamed as The Movie Loot (https://tmml.buzzsprout.com/) (you can also find it on Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot/id1578191119), Spotify (https://open.spotify.com/show/4o5ZvtvZ64XAoxIIxiAj1q), Google Podcasts (https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS84NTAwNjMucnNz), and most podcast platforms).

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

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Links to the loots of past months

January 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2280683#post2280683) • February 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2286212#post2286212) • March 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2293847#post2293847) • April 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2300252#post2300252) • May 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2307046#post2307046) • June 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2315772#post2315772) • July 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2323494#post2323494) • August 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2334901#post2334901) • September 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2338455#post2338455) • October 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2344479#post2344479) • November 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2353012#post2353012) • December 2022 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2372009#post2372009)

Thief

01-12-22, 10:36 AM

Just for kicks, here is a kinda comprehensive list of everything I saw during the year: a total of 163 films; a tad less than the 201 I saw in 2020, but that was expected what with me lowering the monthly goal. Anyway, here it is...

One: One Child Nation
Two: Two Lovers
Three: The Three Caballeros
Four: Doomed!: The Untold Story of Roger Corman's The Fantastic Four, The Fantastic Four (1994)
Five: Devil Times Five
Six: DeepStar Six
Seven: The Trial of the Chicago 7
Eight: Eight Legged Freaks
Nine: The Ninth Configuration
Ten: 10/31
Eleven: 11:14
Twelve: One & One is Twelve

A or B: Attack the Block, Aniara
C or D: Crawl, Don't Torture a Duckling
E or F: Fruitvale Station, Fantastic Planet
G or H: Hard Times
I or J: It Follows
K or L: Leviathan
M or N: Maps to the Stars, Mustang
O or P: Phoenix
Q or R: Raw
S or T: Touch of Evil, Triangle
U or V: Under the Skin
W, X, Y, or Z: West Side Story

pre-1920s: Broken Blossoms (1919)
1920s: The Passion of Joan of Arc (1928)
1930s: Vampyr (1932)
1940s: Bicycle Thieves (1948)
1950s: Sansho the Bailiff (1954)
1960s: Woman in the Dunes (1964)
1970s: La Cage aux Folles (1978)
1980s: The Monster Squad (1987)
1990s: The Double Life of Veronique (1991)
2000s: The Descent (2005)
2010s: One Cut of the Dead (2017)
2020s: Rita Moreno: Just a Girl Who Decided to Go For It (2021)

Action or adventure: The Man from Nowhere
Comedy: Monty Python's Life of Brian
Documentary: Lo and Behold: Reveries of the Connected World
Drama: The Secret in Their Eyes
Fantasy: Hero
Horror: The Prowler
Musical: Sweeney Todd: The Demon Barber of Fleet Street
Romance: The Black Orchid
Science-fiction: The Incredible Shrinking Man
Thriller: Coherence
War: Casualties of War
Western: Sergeant Rutledge

Animated: Grave of the Fireflies
Sequel: Creed II
Third part on a franchise: Mission: Impossible III
Film noir: The Narrow Margin, Ministry of Fear, Gun Crazy

Number includes #1: Shame (#961)
Number includes #2: The Battle of Algiers (#249)
Number includes #3: Ran (#316)
Number includes #4: Breathless (#408)
Number includes #5: Brazil (#51)
Number includes #6: Ace in the Hole (#396), The Game (#627)
Number includes #7: The Innocents (#727)
Number includes #8: Watership Down (#748)
Number includes #9: Black Narcissus (#93)
Number includes #10: The Parallax View (#1064)
Number includes #11: Rififi (#115)
Number includes #12: Scanners (#712)

Cuba (January 1): Memories of Underdevelopment
Serbia (February 15): The Serbian Lawyer
Greece (March 25): Dogtooth
Iran (April 1): Under the Shadow
Romania (May 9): Why Me?
Sweden (June 6): Red Dot
Colombia (July 20): Rodrigo D: No Futuro
Ukraine (August 24): Kruty 1918
Chile (September 18): Pacto de Fuga
Austria (October 26): Goodnight Mommy
Poland (November 11): Ida
Kenya (December 12): Rafiki

Nicolas Cage (January 7): Vampire's Kiss
Robert Altman (February 20): Images
Russ Meyer (March 21): Faster, Pussycat! Kill! Kill!
Anthony Perkins (April 4): On the Beach
Howard Hawks (May 30): El Dorado
Peter Lorre (June 26): Quicksand
Sydney Pollack (July 1): Tootsie
Cecil B. DeMille (August 12): Samson and Delilah
Noah Baumbach (September 3): The Squid and the Whale
Guillermo del Toro (October 9): Crimson Peak
Jacques Tourneur (November 12): Out of the Past
Rita Moreno (December 11): Carnal Knowledge

First Best Picture winner I hadn't seen: Grand Hotel
First film from any director: Citizen Kane (Orson Welles), Rudderless (William H. Macy)
Currently nominated for Best Picture or Best Int'l Feature Film: Another Round, Mank
Last film from any director: Charlie Wilson's War (Mike Nichols)
Last Best Picture winner I hadn't seen: Chicago

African-Americans (Black History Month, February): Antwone Fisher
Couple's name (Valentine's Day, February 14): Bonnie and Clyde, When Harry Met Sally...
Female director (Int'l Women's Day, March 8): Nomadland (Chloé Zhao)
Mothers (Mother's Day, May): Tokyo Story
LGBTQ+ (Pride Month, June): Philadelphia
Native Americans (Native American Day, September 25): Wind River

Biblical film (Holy Week, April): The Omen
Holiday/Christmas: Mickey's Christmas Carol
Spring: Spring Night, Summer Night
Summer: Summer Camp
Fall: The Falling

Submarine (Nat'l Submarine Day, April 11): The Wolf's Call
Train (Nat'l Train Day, May 10): Unstoppable
Space (Moon Day, July): 2001: A Space Odyssey
School (Back to School, August): Election
A virus (Virus Appreciation Day, October 3): Blood Red Sky
Character wears a hat (Mad Hatter Day, October 6): A Nightmare on Elm Street 4: The Dream Master
Egypt (King Tut Day, November 4): The Mummy's Hand

Bird's name (Nat'l Bird Day, May 4): Duck Soup
Repeated word (Repeat Day, June 3): Liar Liar
America (Independence Day, July 4): American Me
Kiss (Int'l Kissing Day, July 6): Butterfly Kisses
Left (Lefthanders Day, August 13): You Should Have Left
Dog (Dog Day, August 26): A Boy and His Dog
Punctuation symbol (Nat'l Punctuation Day, September 24): Who's Afraid of Virginia Woolf?
Fire (Fire Preventation Day, October 9): The Firemen's Ball
Black or Friday (Black Friday, November): Black Widow

In a Glass Cage
Raya and the Last Dragon
Wreck-It Ralph
Ralph Breaks the Internet
The Whisperers
The Day of the Jackal
La Dolce Vita
Barry Lyndon
Beasts of the Southern Wild
Cries and Whispers
Playtime
Spiral: From the Book of Saw
Le Jour se Leve
Blue Miracle
Beyond the Black Rainbow
Mulholland Drive
High Noon
The Shawshank Redemption
Day of the Fight
Flying Padre
Dr. Strangelove
Jason Goes to Hell: The Final Friday
Grizzly Man
Vernon, Florida
Exit Through the Gift Shop
The Virgin Spring
An Autumn Afternoon
Alien
Phantom Thread

Rewatches are in blue, short films in red.

Captain Terror

01-12-22, 10:45 AM

Seeing them all in one list like that highlights what an impressive lineup that was. I feel like everyone else watches better movies than I. :)

Thief

01-12-22, 10:52 AM

Seeing them all in one list like that highlights what an impressive lineup that was. I feel like everyone else watches better movies than I. :)

It was a good bunch of films, and a lot of those really great ones were courtesy of the MoFo Hall of Fames, so thanks to everybody here for recommending great films!

Thief

01-13-22, 10:05 AM

SHERLOCK, JR.
(1924, Keaton)
A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #1

https://i.imgur.com/MplMm3K.jpg

"Don't try to do two things at once and expect to do justice to both."

That is the proverb that opens up this silent film classic that follows a projectionist (Buster Keaton) that dreams of being a detective. When he is falsely accused of stealing a pocket watch from the father of the girl he loves, he is forbidden from seeing her again. Burdened by this, he ends up dreaming he is inside a film with a similar storyline where he is "the world's greatest detective".

This was only my second Keaton film after The General (I ended up seeing two more of his short films after this), but this one follows a "similar" template in which he finds himself in wacky predicaments to earn the love of a girl. Although there is good slapstick comedy, the main attraction in both are the impressive stunts and effects that Keaton comes up with.

Two of the most impressive moments are the scene where the projectionist steps inside the picture screen, as the scenes change randomly, putting the character in a wide variety of scenarios: from a house to a park bench, from a busy street to a high cliff, from a jungle with lions to a desert with a speeding train. The effect is impressively executed in a seamless way that even to this day, you have to wonder how did he pull it off.

The second most impressive moment for me was the final stunt in the motorcycle where Keaton rides in the handlebar of a motorcycle across different obstacles and terrains without falling off. There is one moment in particular where the motorcycle speeds past both a train track and a road, just as a train and a car are coming through. The shot is done with a camera mounted on the side of the bike and it looks impressive (I just found out it was shot in reverse).

But again, aside from the stunts, there's also good slapstick comedy and a charm to the innocent romance portrayed. The opening proverb about not doing two things at once referred to the projectionist character that was trying to be a detective as well, but it obviously doesn't extend to Keaton, who directs, stars, does his own stunts, and edits the film, and still does more than justice to all of it.

Grade: 4

kgaard

01-13-22, 10:38 AM

Once more unto the breach, dear friends, once more

Thief

01-13-22, 10:41 AM

https://c.tenor.com/U-bpFDuM6bcAAAAd/charge.gif

Chypmunk

01-13-22, 10:41 AM

Sherlock, Jr. is a hoot imo - very, very nearly made my pre-1930s ballot.

Thief

01-13-22, 11:14 AM

Sherlock, Jr. is a hoot imo - very, very nearly made my pre-1930s ballot.

It is indeed. Had a lot of fun with it.

Chypmunk

01-13-22, 11:23 AM

It is indeed. Had a lot of fun with it.
If you enjoyed that and The General you really ought to check out his others that also made the pre-1930 Countdown: The Cameraman (#24), Steamboat Bill, Jr. (#33) and The Goat (#46) at some point.

Thief

01-13-22, 11:27 AM

If you enjoyed that and The General you really ought to check out his others that also made the pre-1930 Countdown: The Cameraman (#24), Steamboat Bill, Jr. (#33) and The Goat (#46) at some point.

Yeah, trying to cover as much as I can. I did see two other short films of his: The Rough House (which is more of a Fatty Arbuckle vehicle) and One Week. I will get to those two reviews soon.

Chypmunk

01-13-22, 11:29 AM

Yeah, trying to cover as much as I can. I did see two other short films of his: The Rough House (which is more of a Fatty Arbuckle vehicle) and One Week. I will get to those two reviews soon.
Well, you beat me to both of those as I've not seen either. I'm such a bad MoFo :blush:

Thief

01-13-22, 11:31 AM

Well, you beat me to both of those as I've not seen either. I'm such a bad MoFo :blush:

Found both on YouTube and they're both fairly short, so easy watches. I don't wanna jump ahead too much, but I adored One Week. That one's gonna rank high for me this month.

SpelingError

01-13-22, 12:17 PM

Sherlock, Jr. is terrific. I'm pretty sure it made my favorite first-time watches of 2021.

ScarletLion

01-13-22, 01:09 PM

Your podcast is very impressive Thief!

Thief

01-13-22, 02:23 PM

PREDATOR 2
(1990, Hopkins)
An action or adventure film

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

"You can't see the eyes of the demon, until him come callin'."

That's the warning that Jamaican drug lord King Willie gives Lt. Mike Harrigan (Danny Glover), as they find themselves and their people stalked by the titular alien creature. That's what it is, but to all of them that just don't know or don't understand what's after them, it could very well be the devil.

Predator 2 transplants the creature from the jungles of Latin America to the "street jungles" of Los Angeles which, on paper, is a rather clever idea for it to not be just a rehash of the first one. The city, which is embroiled in a turf war between a Colombian gang and a Jamaican gang, now has to face a new threat, which puts Harrigan and his team against the wall.

Back in the day, the original Predator was known for doing a rather clever genre shift halfway through. But with people already knowing what the deal is, I thought the setting change was a nice idea. Not only that, but the film doesn't lose time by jumping straight into the action right from the get-go.

Unfortunately, the drawback is that you end up with two-dimensional, paper-thin characters; not that the characters in the first one weren't, but there was a bit more time to develop a better attachment to them. Glover is a nice lead, and the supporting cast (which includes Bill Paxton, Ruben Blades, and María Conchita Alonso) is solid, but they just don't get enough time to flourish.

I do think that the fast-paced action works pretty well for the first half, which is a pretty energetic stretch of the film. But after the half-point mark, it does feel like it overstays its welcome. The plot keeps stretching things far too long and the ending feels more like a whimper than a bang. I do like how the very final act expands a bit into the nature of the predator, but I didn't really care too much about it at that point.

Grade: 2.5

Thief

01-13-22, 02:26 PM

Your podcast is very impressive Thief!

Thank you very much for the kind words! :bashful: Feel free to explore the catalogue of episodes and let me know your thoughts. I always appreciate any type of feedback.

EDIT: I've heard some of my first episodes recently and they're... a bit rough, so make sure you listen to recent ones for a bit of balance :laugh:

Chypmunk

01-13-22, 02:31 PM

Seen it, forgotten it, never been tempted to go back to it. About all I can say about that one really. I do quite like the original though (even if I'm rarely drawn to rewatch that one either).

Thief

01-13-22, 02:33 PM

Seen it, forgotten it, never been tempted to go back to it. About all I can say about that one really. I do quite like the original though (even if I'm rarely drawn to rewatch that one either).

The first one is one of my favorite action films, hands down. I've seen it more times than I can count. I certainly wasn't expecting this to surpass it, but I thought it had the foundation to be a tad better than it ended up being.

Chypmunk

01-13-22, 02:49 PM

The first one is one of my favorite action films, hands down. I've seen it more times than I can count. I certainly wasn't expecting this to surpass it, but I thought it had the foundation to be a tad better than it ended up being.
Honestly can't remember anything of any substance about the sequel but I do remember thinking the urban setting was simply far less appealing than in the original where for me the jungle was really suited as a setting for an alien creature that could 'cloak' itself. In my head (rightly or wrongly) the sequel was just a far less interesting retread.

Thief

01-13-22, 03:16 PM

Honestly can't remember anything of any substance about the sequel but I do remember thinking the urban setting was simply far less appealing than in the original where for me the jungle was really suited as a setting for an alien creature that could 'cloak' itself. In my head (rightly or wrongly) the sequel was just a far less interesting retread.

I'm torn because, generally speaking, I'm usually drawn to films set in jungles. Don't ask me why, but I do, so obviously that's part of why I'm drawn to the original. However, I do appreciate the attempt to not repeat the same setting and try to set the sequel not in a literal jungle, but in a metaphorical one that's also fraught in conflict just like we saw in the original. Like I said in my review, I thought that was clever on paper.

Chypmunk

01-13-22, 03:30 PM

I'm torn because, generally speaking, I'm usually drawn to films set in jungles. Don't ask me why, but I do, so obviously that's part of why I'm drawn to the original. However, I do appreciate the attempt to not repeat the same setting and try to set the sequel not in a literal jungle, but in a metaphorical one that's also fraught in conflict just like we saw in the original. Like I said in my review, I thought that was clever on paper.
It might not make sense as their technology is far more advanced than ours but to me they just feel like a far more primeval species so, as clever as it may have sounded on paper to move from a natural jungle to a man-made one, the primeval setting just felt far more natural and fitting for a predator movie to me. Maybe the sequel played on the 'fish out of water' aspect, I don't remember, but if it did then it clearly didn't work well for me.

Thief

01-13-22, 04:05 PM

THE ROUGH HOUSE
(1917, Arbuckle & Keaton)
The first film from any director you like • A film from before 1920

https://i.imgur.com/M7mjIhs.jpg

"A new cook in the kitchen"

The Rough House is a 20 minute short written, directed, and starred by Roscoe "Fatty" Arbuckle and Buster Keaton. It follows a series of shenanigans that occur at the house of Mr. Rough (Arbuckle) as he wakes up, has breakfast, and handles two quarreling lovers and a pair of thieves.

This is pretty much a Roscoe Arbuckle vehicle. He was an already established comedic actor with a 10-year career at the moment. Arbuckle is credited as a mentor to Charlie Chaplin, and as the discoverer of Bob Hope and Buster Keaton, who plays three different roles here within the three different segments of the film.

The film has a simple premise and works mostly as a series of sketches loosely tied, but they all work fairly well together. Most of the physical comedy is on point, and I really laughed at some of the gags they pulled. Keaton's roles are fairly small, but Arbuckle has a nice comedic timing and a funny aloof persona.

This was actually Keaton's second short film, and his first directing job, so considering the turns their careers took in the next years, one could see it as an involuntary passing of the torch. There's a new cook in the kitchen indeed.

Grade: 3

Thief

01-13-22, 04:38 PM

In case anyone's interested...

https://www.youtube.com/watch?v=dyH1UemSseo

Captain Terror

01-13-22, 05:04 PM

I've seen the Predator films exactly once each, but I remember being annoyed that the second film was much "jokier", if that's a word. Would that be an accurate assessment?

That was a common problem for 80s sequels, in my experience.

Captain Terror

01-13-22, 05:10 PM

Thief

01-13-22, 05:32 PM

I mean, the original wasn't exactly Schindler's List, obviously. I just remember the attempts at humor in part 2 exceeded my cheesy joke limit. Like were the aliens giving people the finger or something?

I... don't remember that at all. You do have Bill Paxton's shenanigans, but I don't see it as being much different than the soldiers ribbing in the first part.

Captain Terror

01-13-22, 05:46 PM

I... don't remember that at all.

Maybe my imaginary version would've been better, come to think of it. :)

Does the Predator learn English and say a naughty word? I know I'm not making this up. Or maybe it was a later film.

Thief

01-13-22, 06:04 PM

BEN-HUR
(1907, Olcott & Oakes Rose)
A film with a title that starts with the letters A or B • A film from before 1920

http://www.silentera.com/video/img/frames/benHur1907-grapevine-C.jpg

"A wonderfully realistic and pleasing presentation of Lew Wallace's famous story and a triumph of the kinetoscopic art."

That's how a "Western newspaper" described a local showing of this 1907 silent short film. Based on Wallace's 1880's novel, the film skims over most of the events briefly as it shows the titular hero imprisoned and competing in the famous chariot race.

Unfortunately, most of the versions I could find of these short were of very poor quality, so it's hard to see it as the grandiose experience that was described on that newspaper. The version that I saw also lacked any accompanying score, which makes the whole experience feel a bit flat.

Still, it's really interesting to catch up with these old classics and transport ourselves to those theaters and think of that wonderful experience at the time.

Grade: N/A

Thief

01-13-22, 06:04 PM

If anyone's interested...

https://www.youtube.com/watch?v=B9Aw06f_nNI

Thief

01-13-22, 06:05 PM

Maybe my imaginary version would've been better, come to think of it. :)

Does the Predator learn English and say a naughty word? I know I'm not making this up. Or maybe it was a later film.

LOL, it does imitate several words and sentences that characters say, but that's something we see in the original when it repeats some of the words said by the soldiers.

SpelingError

01-13-22, 07:32 PM

Unfortunately, most of the versions I could find of these short were of very poor quality, so it's hard to see it as the grandiose experience that was described on that newspaper. The version that I saw also lacked any accompanying score, which makes the whole experience feel a bit flat.

You should've asked this forum's movie pirate for help :D

All the versions I came across were of the same video quality, but here's a version with an accompanying score:

https://www.youtube.com/watch?v=X-udwhV4mIA

Thief

01-13-22, 08:46 PM

SALLIE GARDNER AT A GALLOP
(1878, Muybridge)
A film from before 1920

https://www.youtube.com/watch?v=PK3tAKc32kU

I would've loved to be in the room when the guy started flipping pictures and went "HOLY S-HIIIIT!!!"

ROUNDHAY GARDEN SCENE
(1888, Augustin Le Prince)
A film from before 1920

https://www.youtube.com/watch?v=JAiYFEHI9o8

"Here we go around, (round, round, round)"

WORKERS LEAVING THE LUMIÈRE FACTORY
(1895, Lumière)
A film from before 1920

https://www.youtube.com/watch?v=DEQeIRLxaM4

It's good to know that bolting out of work like a speed demon is a centuries long tradition.

A bunch of really old short films from the 19th Century I saw in preparation for the next episode of my podcast. Really interesting to see those first steps of film technology and cinema, and people trying to figure out what they can do with this. It's amazing.

SpelingError

01-13-22, 08:55 PM

ROUNDHAY GARDEN SCENE
(1888, Augustin Le Prince)
A film from before 1920

https://www.youtube.com/watch?v=JAiYFEHI9o8

"Here we go around, (round, round, round)"

I had to give up on that one. It went on for way too long.

Thief

01-13-22, 08:59 PM

I had to give up on that one. It went on for way too long.

Sorry, man. Here's the 3 second version.

https://www.youtube.com/watch?v=F1i40rnpOsA

SpelingError

01-13-22, 09:03 PM

Sorry, man. Here's the 3 second version.

https://www.youtube.com/watch?v=F1i40rnpOsA

This is as far as I got:

84364

Thief

01-13-22, 09:07 PM

First time, I dozed off at the 0:01 second mark.

SpelingError

01-13-22, 09:16 PM

Fortunately, this film was a much easier watch:

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

StuSmallz

01-14-22, 04:05 AM

Back in the day, the original Predator was known for doing a rather clever genre shift halfway through.It sure was:

https://youtu.be/InyKZ0F-fVU

:cool:

Thief

01-14-22, 09:22 AM

That was good!

StuSmallz

01-15-22, 04:49 AM

That was good!Yup, Patrick's one of the most consistently entertaining video essayists I've found on Youtube. At any rate, if you're still interested in some more commentary on Predator, I did write a few things about it here, (https://www.movieforums.com/community/showthread.php?anchor=1&p=2178618#post2178618) if you're in the mood.

Thief

01-19-22, 11:44 PM

I'm caught up editing the first episode of 2022 of my podcast, but if anyone's interested, you can check out my guest appearance on the podcast Cinema Recall, where we talk about PTA's Phantom Thread.

Cinema Recall: PTA Meetings: Phantom Thread (2017) (https://www.cinemarecall.net/2022/01/pta-meetings-phantom-thread-2017.html)

Cinema Recall is available on most podcast platforms, also.

Thief

01-20-22, 10:34 AM

THE CONSEQUENCES OF FEMINISM
(1906, Guy-Blaché)
A film from before 1920

https://www.eyeforfilm.co.uk/images/newsite/the-consequences-of-feminism_600.jpg

"A gender-equal society would be one where the word ‘gender’ does not exist: where everyone can be themselves." --Gloria Steinem

Gender roles are established by society to sorta tell people how to act, speak, dress, and conduct themselves based upon their assigned sex. For example, men work, while women stay home and clean and cook, and if everybody behaves as is expected, there is no harm done. But what if roles were reversed?

Pioneer director Alice Guy-Blaché explores that in this 1906 short film, which features a series of scenes in which men and women roles are reversed. This results in a lot of funny and shocking interactions, primarily because we're not used to see the tables turned; men ironing and cleaning, and women lounging on the couch or fighting in a bar.

I thought this was a really clever and witty short film. It's amazing how many of the things we see in it are still relevant, so I can't imagine how much of a cultural shock it would've been back in 1906. Not necessarily for *what* people are doing, but for *who* is doing it. Let's hope for a world where we don't have to be shocked or surprised by these.

Grade: 4

Chypmunk

01-20-22, 10:47 AM

Thief

01-20-22, 10:55 AM

I did watch The Rough House a few days ago, the pratfalls and slapstick did get a little tedious in places but it did also have a little inventiveness here and there as well so it wasn't too bad. Might give The Conswquences Of Feminism a look next week if'n I find it's readily available to me.

Most of these early silent short films are available on YouTube, or even Wikipedia. Here is the link for this one...

https://www.youtube.com/watch?v=Vc1M5Xfye10

Thief

01-20-22, 01:46 PM

PIERRETTE'S ESCAPADES
(1900, Guy-Blaché)
A film from before 1920

https://i.ytimg.com/vi/iqxGNH2ZvTY/hqdefault.jpg

"Life is about using the whole box of crayons" --RuPaul

A simple, but beautiful short film from Alice Guy-Blaché. In this one, a young woman seems to reject the advances of a young man, and ends up happy and dancing with a female harlequin.

Considering that it was made more than 100 years ago, the film uses some beautiful hand-coloring techniques that really make the colors pop, most notably the woman's pink dress and the harlequin's green suit. It is a testament to the early silent film era's attempt to use "more crayons" than they were given to with black and white.

But it also seems to be a call for diversity and acceptance, as far as the female character goes. A young woman that refuses to do what's expected of her, and chooses an "escapade" instead, but one that makes her ultimately happy.

Grade: N/A

Thief

01-20-22, 01:48 PM

For those interested...

https://www.youtube.com/watch?v=47qRYJVIl9k

Thief

01-22-22, 11:31 AM

Captain Terror

01-22-22, 02:37 PM

Aaand here's the main reason for all those early silent cinema watches! It's the first episode of 2022 of The Movie Loot - Episode 53, where me and my friend Brian Skutle (film critic, podcaster at Sonic Cinema) talk about silent films, the birth of cinema, slapstick comedies, and the transition to sound.

The Movie Loot 53: The Silent Loot (with Brian Skutle of Sonic Cinema) (https://www.buzzsprout.com/850063/9897675-the-movie-loot-53-the-silent-loot-with-brian-skutle-of-sonic-cinema.mp3?download=true)

As usual, those interested can also check it out on Spotify (https://open.spotify.com/episode/10kcbXtthyKDETy0dsYwHs?si=e9a042c99e7a445e), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-53-the-silent-loot-with-brian/id1578191119?i=1000548626034), and all the main podcast platforms.

Good one!
Some thoughts:

*I second the Die Nibelungen recommendation. It's a long commitment but worth it. For years Part 1 was my favorite because that's where all the cool fantasy stuff is. Dragons, dwarves, etc. But lately I find myself looking forward to Part 2, in which Kriemhild goes on a violent rampage of revenge. Modern attention spans might find it a challenge, but it's definitely worth watching just to admire the scale of the production. It's a huge movie(s) and it's a shame that it's not more prominent in pop culture, especially among fantasy fans.

*Speaking of huge movies, back in the 90s I watched the 1925 Ben Hur many times. (I didn't know about the 1907 version until you posted about it.) Again, another very impressive production of epic proportions. Seek out the version that includes Technicolor scenes, if possible. Lots of stunning moments, not least of which is the chariot race which I prefer to the '59 version. The limitations of the cameras at the time mean that the race is filmed in more of a verite style, for lack of a better word, and therefore is much more intense than the Heston version, imo. Can I guarantee that no horses were injured? No, unfortunately.

*Don't let the weird title dissuade you from watching He Who Gets Slapped. It's a great performance from Chaney and it's also got some great visuals courtesy director Sjostrom. One's feelings about clowns will no doubt have an effect on one's enjoyment, of course. :)

*As a Laurel & Hardy fanboy I sometimes feel like I mention them too often, but I think they (and especially Stan) should be included more often when the Chaplin/Keaton/Lloyd debate comes up. They are obviously much more well-known for their talkies but their silent era includes some classics as well, so I feel like they're often (almost always) overlooked.

Thief

01-22-22, 02:56 PM

Good one!
Some thoughts:

*I second the Die Nibelungen recommendation. It's a long commitment but worth it. For years Part 1 was my favorite because that's where all the cool fantasy stuff is. Dragons, dwarves, etc. But lately I find myself looking forward to Part 2, in which Kriemhild goes on a violent rampage of revenge. Modern attention spans might find it a challenge, but it's definitely worth watching just to admire the scale of the production. It's a huge movie(s) and it's a shame that it's not more prominent in pop culture, especially among fantasy fans.

*Speaking of huge movies, back in the 90s I watched the 1925 Ben Hur many times. (I didn't know about the 1907 version until you posted about it.) Again, another very impressive production of epic proportions. Seek out the version that includes Technicolor scenes, if possible. Lots of stunning moments, not least of which is the chariot race which I prefer to the '59 version. The limitations of the cameras at the time mean that the race is filmed in more of a verite style, for lack of a better word, and therefore is much more intense than the Heston version, imo. Can I guarantee that no horses were injured? No, unfortunately.

*Don't let the weird title dissuade you from watching He Who Gets Slapped. It's a great performance from Chaney and it's also got some great visuals courtesy director Sjostrom. One's feelings about clowns will no doubt have an effect on one's enjoyment, of course. :)

*As a Laurel & Hardy fanboy I sometimes feel like I mention them too often, but I think they (and especially Stan) should be included more often when the Chaplin/Keaton/Lloyd debate comes up. They are obviously much more well-known for their talkies but their silent era includes some classics as well, so I feel like they're often (almost always) overlooked.

Thanks for the notes and recommendations!

I do plan on checking all the Ben-Hur versions during the next few months (maybe not the recent remake, though).

As for Die Nibelungen, I trust Darren a lot, so I will definitely take his recommendation in consideration. Same applies to He Who Gets Slapped, especially since it was brought up by two people.

I do remember you praising Laurel & Hardy quite a bit back in our other forums. I know I've seen some shorts here and there, but probably before I got into films seriously. If you have a few recommendations, let me know!

Captain Terror

01-22-22, 05:28 PM

I do remember you praising Laurel & Hardy quite a bit back in our other forums. I know I've seen some shorts here and there, but probably before I got into films seriously. If you have a few recommendations, let me know!

There's nothing that's gonna hit as hard as The Kid or City Lights, drama-wise. For me it's mostly about the gags. Some of their silents that make me laugh the most are
The Two Tars, about tempers flaring during a traffic jam
Big Business, in which they attempt to sell Christmas trees door to door (and tempers flare)
or The Finishing Touch, in which they (attempt to) build a house

Thief

01-24-22, 10:56 AM

ONE WEEK
(1920, Keaton & Cline)
A film with the number 1 (One, First, etc.) in its title

https://i.imgur.com/BWEuQ0E.jpg

"Home is where the heart is"

There is no clear answer as to when or where this quote comes from. Nevertheless, it has become a staple for house decorations, presents, poems, songs, and even films. The basic premise is that the edifice where you live in is irrelevant, as long as you're happy in that place; that your "heart" is in it.

Some of that sentiment can be felt in this hilarious Buster Keaton short from 1920. In it, Keaton and Sybil Seely play a newlywed couple that receive a DIY house as a gift. The house is supposed to be built in one week (thus the title of the short), but things get complicated after a rejected suitor changes the labels on the crates.

I'm pretty sure I had seen bits and pieces from this short before. However, this is the first time I had seen it whole and what a hoot it was! Like most of the Keaton shorts I've seen so far, the highlight are the stunts and physical gags he pulls. In this instance, the many ways he uses this house to create some great physical comedy.

But aside from the excellent stunts and physical gags, there's an effective sentimentality in it as we see the groom struggle and eventually resign to not having a proper home. But, as the saying goes, as long as they're together, their home will be wherever they are.

Grade: 4.5

Chypmunk

01-24-22, 11:38 AM

Thief

01-24-22, 02:39 PM

Watch both the Alice Guy's just now, The Consequences Of Feminism is amusing enough but sadly does run a little short of ideas before the end. Always humbles me with just the sheer amount of patience and work that must have gone into hand-tinting those shorts such as Pierrette's Escapade, some lovely vibrant colour in that particular one that really brings it to life.

Glad you liked both! As for The Consequences of Feminism, I actually like the turn it takes towards the end, because I truly believe that if men would somehow found themselves in the position that women are actually in, they would push back against it; and yet, women are expected to accept it. I think the short drives that point quite cleverly, especially for the time it came out.

Sadly never seen One Week but I'll probably rectify that shortly as well (yeah I know the drill by now, it's probably on YouTube ;)).

:D

https://www.youtube.com/watch?v=Xd6ddOlbKp8

Chypmunk

01-24-22, 02:46 PM

Glad you liked both! As for The Consequences of Feminism, I actually like the turn it takes towards the end, because I truly believe that if men would somehow found themselves in the position that women are actually in, they would push back against it; and yet, women are expected to accept it. I think the short drives that point quite cleverly, especially for the time it came out.
The ending was fine, it was the minute and a half or so prior to that with the men looking after the children that I thought just got a little repetitious.

https://www.youtube.com/watch?v=Xd6ddOlbKp8
Muchas gracias de Señor Lazybones :D

Thief

01-27-22, 11:23 AM

DEVIL
(2010, Dowdle)
Freebie

https://i.imgur.com/A5YvDJE.jpg

"I don't believe in the Devil. You don't need him, people are bad enough by themselves."

Upon being presented with unexplainable evil, different people will resort to different possible explanations. Some will explain it as human nature while others will attribute it to higher powers. When tragedy strikes, is it all just fate, luck, or are there more sinister machinations behind? That's part of the dilemma that's brushed over in this moody supernatural thriller.

Based on a story from M. Night Shyamalan, Devil follows a group of five people that end up stuck in an elevator in an office building. Coming from different walks of life, the group tries different ways to cope with the anxiety, but tension escalates as time passes by and they seem to be haunted by an evil presence. In the meantime, a detective (Chris Messina) is sent to investigate the incident.

With time, we realize that there might be more to it than just a broken down elevator. Was it chance that put all of these people here at the same time, or were they drawn by some force? For example, the detective was actually there investigating an earlier suicide, when the events in the elevator started, which puts him right in the middle of far more sinister occurrences.

Most of the characters backgrounds unfold as the plot progresses, as we see them interact and each of their backgrounds are exposed. Here is where the film excels most, as director John Erick Dowdle manages to create an unsettling and dread-filled atmosphere in an enclosed space where you're really not sure who to trust. He is also helped by solid performances, especially Bookem Woodbine and Logan Marshall-Green.

On the other hand, where the film fails is in how it tries to hold the audience's hand with a clunky and unnecessary narration, and by ultimately explaining too much of what's going on. The story has potential and I applaud its attempt to perhaps subvert some tropes with an anticlimatic ending. Unfortunately, it is hindered by the issues I mentioned, which results in an awkward resolution and a lack of a proper closure.

Grade: 2.5

StuSmallz

01-28-22, 04:07 AM

Haven't watched Devil, but I still have vivid memories of people's reactions when M. Knight's name showed up during the trailer, both times that I saw Scott Pilgrim back in 2010; the first time, a guy literally went "Oh no!", and the second time, a woman just said "Nevermind!".

:D

Thief

01-28-22, 09:07 AM

Chypmunk

01-28-22, 09:23 AM

I remember watching Devil a few years back and thinking it moderately enjoyable but aside from the premise and the screen blacking out every so often I don't really remember too much else about it tbh. Just about to watch One Week with lunch - a fairly enjoyable short even if not quite up there with his best imo and I liked both that Ms. Seely also joined in some of the physical antics and that the train sequence initially subverted expectations.

StuSmallz

01-29-22, 04:49 AM

:laugh: That's funny. I have no aversion to M. Night, especially since my reaction to his first batch of films was more or less opposite to the "general public". Anyway, I don't think the issues with Devil had to with the story, but more with scripting and overall execution.What makes it even funnier is, the trailer didn't actually look bad to me...

https://youtu.be/wYy7igKD21A

...but it was telling how far M. Knight had fallen by that point that the mere mention of his name was enough to bring about an immediate, verbal rejection by multiple people in a theater.

Thief

01-31-22, 09:23 AM

THE MITCHELLS VS. THE MACHINES
(2021, Rianda)
An animated film

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

"I have no idea what I'm doing!!"

Parenthood has been one of the biggest challenges I've faced in my life. No matter how much you prepare yourself, and how much you think you know what you're doing, the truth is you don't. We're never sure of how things will turn out. And every single day is plagued with the paralyzing fear of doing something that could "ruin" your children's life. We have "no idea what we're doing", and yet we push through whatever we need to. Whether it's teen angst, financial problems, or the machine apocalypse.

The Mitchells vs. the Machines presents us a family that's pretty much going through those struggles and insecurities. Nevermind the machine apocalypse, the core of the film is how this family has to overcome seemingly insurmountable odds, external and internal, to save their lives, yes, but most importantly, their relationships and their bond. They might have "no idea what they're doing", but they're still pushing through.

The focus of the film is on the daughter, Katie (Abbi Jacobson), who frequently clashes with her "old school" father Rick (Danny McBride). Because of this, she's anxious to leave for film school in California. But after a particularly bitter argument, Rick decides to cancel her plane ticket and take the family in a cross-country trip from Michigan to California, in an attempt to have one final chance at bonding. Along for the ride are mother Linda (Maya Rudolph), little brother Aaron (Mike Rianda), and their pet dog, Monchi.

There is a moment after that bitter argument where Rick heads to Katie's room to try to fix things, and yet he backs out unsure of what to do or how to do it. The paralyzing fear of thinking "Am I ruining her life?". Instead, he ends up watching old home videos of them; times when they looked happier and "things were better". An attempt to get some comfort on how they did things before and came through, perhaps to get an idea on how to do things now to come through now. But we can look at our past for guidance, and yet we still have to move towards the future, by ourselves, not necessarily knowing what we're doing... hoping that things will somehow turn out well for our children.

When I was a little kid, I used to think my mom had it all figured out. Raising four children alone, and yet it seemed there wasn't anything she didn't know or couldn't do. But if there's one thing I've realized as I get older, is that we are all essentially "wingin' it" through life. We "have no idea" what we're doing. Not me nor Rick Mitchell, and neither my mother. And although it might sound like a terrifying statement, it's actually reassuring to know that we're all essentially on the same boat, and that we're all pushing through despite having no idea what we're doing. Whether we're struggling with the tantrum of all tantrums, or the machine apocalypse.

Grade: 4.5

kgaard

02-01-22, 12:32 PM

January:

A film with the number 1 (One, First, etc.) in its title: The First Wives Club (1996)

The first film from any director you like: Hotel Transylvania: Transformania (2022) (Derek Drymon and Jennifer Kluska)

A film with a title that starts with the letters A or B: Beasts of No Nation (2015)

A film from before 1920: Shoes (1916)

An action or adventure film: Eternals (2021)

An animated film: Ron's Gone Wrong (2021)

Not a great month, if I'm honest. Beasts of No Nation and Shoes were the best of the bunch, though neither fully grabbed me. Eternals was not as bad as some have suggested, but it wasn't great either. The best I can say of the rest is none were truly terrible (though if you've seen one Hotel Transylvania movie, you've seen them all).

Thief

02-01-22, 12:34 PM

I don't think I've seen First Wives Club since theaters. Barely remember it.

I haven't seen any of the others. I've also dodged all of the Hotel Transylvania so far :laugh:

rauldc14

02-01-22, 12:50 PM

How dare you dodge the GOAT trilogy!!!

kgaard

02-01-22, 01:48 PM

Tetralogy, now. And he won't dodge 'em forever, if I know kids...

Thief

02-03-22, 09:45 PM

DOWN BY LAW
(1986, Jarmusch)
A film from Jim Jarmusch

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

"You always makin' big plans for tomorrow. You know why? Because you always f-uckin' up today."

Zack and Jack are, on the surface, very different. One is an unemployed disc-jockey, the other is a down-on-his-luck pimp. Different and yet, they're very similar. Both are struggling to stay afloat, while apparently dangling from troublesome relationships. "Why do you always gotta go fu¢k up your own future?", says Laurette to Zack. "You always f-uckin up today", says Bobbie to Jack. Both their lives messed up and about to be messed up more, maybe?

Down by Law follows these two men, played by Tom Waits and John Lurie, who don't know each other and yet they both end up framed for different crimes and put in the same jail cell. Up on each other's face, their differences constantly come afloat, until a new cellmate comes in the form of Roberto (Roberto Benigni), a friendly Italian tourist that's imprisoned for involuntary manslaughter.

It is Roberto the one who serves as a sort of connection between the quarreling Zack and Jack. His lively demeanor and friendly persona helps bring them together. The film focuses in their interactions as they spend time together in jail, and eventually decide to escape into the Louisiana bayou. Can they put their differences and bickering aside and not fu¢k up today?

This is my first Jim Jarmusch film. I asked on Twitter what film of his should I watch first, and was surprised by how dispersed the votes were across his filmography, which is a good thing. Nevertheless, this is the one that ended up with most votes, recommended by a couple of people I trust, and what a pleasant surprise it was.

Despite a seemingly formulaic premise, Down by Law doesn't abide by the regular tropes of "prison escape" films. There are no flashes, nor bangs. There is no nail-biting escape. What Jarmusch gives us is a laid-back and relaxed look at how the bond between these three different men evolves. He does so with some great, effortless performances by all three leads, some skilfull direction, and a striking black and white cinematography by Robby Müller.

As we see them fight, sing, bond, laugh, escape, run for their lives, fight again, laugh again, we see all three learn to work their differences, while maybe not f-ucking up today or their future. This is the kind of film that you can't help but smile at, one that certainly won't fu¢k up your today.

Grade: 4

Thief

02-03-22, 10:21 PM

PIRANHA II: THE SPAWNING
(1981, Cameron)
The first film from any director you like

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

"Oh my God... Allison! Words can't describe the trouble we're in."

This is the warning uttered by one of the characters of this horror film. It could also be what James Cameron said when he found himself at the helm of it. But it could as well be my realization as the film progressed. Because as flawed as the first Piranha might've been, it was never boring. This, on the other hand, is trouble.

Piranha II: The Spawning is set in a Caribbean resort that finds itself in trouble as genetically modified, flying piranhas start attacking. Meanwhile, diving instructor Anne Kimbrough (Tricia O'Neil) and her estranged husband, Steve (Lance Henriksen) do their best to stop them.

The reasoning behind the attack or why were the piranhas genetically modified doesn't matter much. It all serves as an excuse to have more women skinny dipping in dangerous waters, while comically fake piranhas absurdly fly through the air attacking unsuspecting victims.

It has been said that the production of the film was troublesome, with original director Miller Drake being fired as principal photography began. Executive producer Ovidio Assonitis promoted Cameron, who was the special effects director, to director but apparently kept on meddling on the film thus hindering the end result.

Would it have worked better if Assonitis hadn't put Cameron and company through so much trouble? We'll never know. The truth is that the script is mediocre, performances are weak (with only Henriksen coming out mostly unscathed), and the pace is clunky and uneven. The result is a film that's just dull, boring, and mediocre.

Grade: 1

Thief

02-04-22, 01:54 PM

THE BLOCK ISLAND SOUND
(2020, McManus & McManus)
A film with a title that starts with the letters A or B

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

"How are you helping them if some of them end up dead?"

The Block Island Sound follows Harry (Chris Sheffield), a fisherman in Block Island that has to deal with some mysterious force that seems to be affecting his father's behavior and then his own. This also creates further issues with the already strained relationship he has with his two sisters (Michaela McManus and Heidi Neidermeyer), which hasn't been the same after the death of their mother.

This is a film I had heard nothing about until a good Twitter friend recommended it to me, and I was surprised by how good it turned out to be. Brothers Kevin and Matthew McManus, who both wrote and directed the film, manage to create a dread-filled atmosphere while maintaining the mystery of what is actually happening. There is also some restraint from their part as they don't budge into a lot of explanations in the end.

Aside from that, the performances from Sheffield and McManus are pretty good. The former, in particular, delivers a performance that feels natural and that makes you believe the struggle he's going through, as well as his gradual psychological and emotional decay. The way he behaves, and the way the plot unfolds keeps you guessing all the time; does he really need help or is there something more going on in this island? You'll have to check it to find out.

Grade: 4

Thief

02-04-22, 03:30 PM

CAVALCADE
(1933, Lloyd)
The first Best Picture winner you haven't seen

https://i.imgur.com/R1Wjgo5.jpg

"Everything passes; even time"

Merriam-Webster defines a "cavalcade" as "a procession of riders or carriages". Some people ride through in it, and some people watch as they stay on the side. This can also be said of this early Best Picture winner, which features a "procession" of historic events as we see how some of the characters are affected by them.

Cavalcade opens in the last day of 1899, as we see an upper-class English couple, Robert and Jane Marryot (Clive Brook and Diana Wynyard), celebrate the New Year, along with their two sons and their servants, the Bridges. The film then moves on as we see how the families are affected by events like the Second Boer War, the death of Queen Victoria, and World War I, among others.

I just read a review that labeled Cavalcade as the "worst best picture winner ever", which, to me, is not entirely true, but also not that far from it. Like a true "procession", Cavalcade is full of lulls and gaps of tediousness, with some worthy and well executed moments interspersed through.

The fact that it spans three decades, with most characters only present in one or two acts, also hampers the attachment we might have with any of them. The characters of the children of the Marryots and the Bridges are the ones we might feel more attached to, but again, they just pass through moments of the film. The only characters that remain from start to finish are Robert and Jane, who serve mostly as spectators.

I've been to a few processions myself, but I can't recall any of them being very memorable. Did I have fun at some of them? Sure. But then they pass, and I go back home and forget about them. To a certain extent, that's Cavalcade. Like many processions, it begins, does its thing, and then it passes, and in time, you forget about it.

Grade: 2

Thief

02-04-22, 04:37 PM

PROFIT & NOTHING BUT!
OR IMPOLITE THOUGHTS ON THE CLASS STRUGGLE
(2001, Peck)
A film from Haiti

https://i.imgur.com/3aHs3gJ.jpg

"In Haiti, where misery rules on a daily basis, how can we speak about triumphant capitalism? Doesn't mean anything in Haiti."

The country of Haiti was officially established in 1804, after a slave revolt ousted their French colonizers. At that moment, most of its inhabitants were slaves. After the revolution, Haiti became the first independent nation of Latin America and the first country to abolish slavery. Still, the country has had to deal with financial struggles, international isolation, foreign occupations, political instability, and natural disasters.

This is the country where Raoul Peck was born and raised, and where he returned after fleeing the dictatorship of the Duvaliers. This documentary is a snapshot of only a small aspect of Haiti's struggles, and how external interests have had an effect in the country throughout history.

The documentary is not the best in terms of craft and technique, but it does succeed in presenting the harsh reality of Haiti through a collage of interviews, events, and recollections. Most of the "talking heads" presented are engaging, and they manage to shed light on the classism in the country. Unfortunately, it does seem to lack a bit of focus with the main thesis not being necessarily clear.

Being from Puerto Rico, I'm no stranger to Haiti's struggles, and still there is so much that we don't know about it, and obviously so more that could be done. If there is something that the documentary succeeds, is in showing that there are means to help Haiti, but there is no collective will.

Grade: 3

Thief

02-04-22, 11:20 PM

SAFETY LAST!
(1923, Newmeyer & Taylor)
Freebie

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

"Young man, don't you know you might fall and get hurt?"

That's the warning that an old lady gives the lead character in this silent comedy, just as he is halfway through climbing the facade of the 12-story building where he works. All because of a case of mistaken identity and his desire to, ahem, climb the "corporate ladder".

Safety Last! follows this young man (Harold Lloyd) after he moves to the city to make some money so he can finally get married to his sweetheart (Mildred Davis). But the road there is full of obstacles and he can't seem to keep himself out of danger; whether it's from his bosses, a surprise visit from his girlfriend, a persistent cop, or the rioting hordes of ladies demanding his service at the store.

As was the custom for the time, one of the main beauties of this film is in its slapstick gags and its many physical stunts. Even though he usually gets mentioned below Chaplin and Keaton, as far as silent film era stars go, Lloyd certainly holds his own against the great ones.

The most notable and iconic bit is Lloyd hanging from the clock, which is impressive. That stunt takes pretty much the last 20 minutes or so, but I like how they make it not feel overlong with the many ways that Lloyd's friend is trying to escape the cop which forces our lead to keep climbing, or the many obstacles that he faces on his way up (doves, the clock, obtrusive onlookers).

However, the film has several other clever and effective stunts and gags and Lloyd sells them well. Sure, the dynamic between the boy and the girl might border on self-interest and selfishness, but some of it can be attributed to the "sign of times". Plus it's meant to be funny! or as funny as falling from a 12-story building and getting hurt can be :D

Grade: 3

Thief

02-07-22, 08:31 PM

Finally dropped my first solo episode of the year, Episode 54 of The Movie Loot, in which I share my thoughts on all the films I saw during January.

The Movie Loot 54 - The Mitchells vs. the Machines / January Loot (https://www.buzzsprout.com/850063/9988507-the-movie-loot-54-the-mitchells-vs-the-machines-january-loot.mp3?download=true)

Trying something a bit different by focusing a bit more on one of the best films I saw last month; this time, The Mitchells vs. the Machines, and then jumping into my quick thoughts on everything else I saw. If anybody listens, hope you like it.

Remember that you can also listen to the show on Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-54-the-mitchells-vs-the-machines-january-loot/id1578191119?i=1000550340800), Spotify (https://open.spotify.com/episode/2jrWqWeM4X8hcUCM7E0WuM?si=gcIKytBsRd-FxrkdoxL9SQ), and most podcasting platforms.

Thief

02-08-22, 12:49 AM

Forgot to post my summary for JANUARY 2022:

A film with the number 1 (One, First, etc.) in its title: One Week (https://www.movieforums.com/reviews/2276240-one-week.html)
The first film from any director you like: Piranha II: The Spawning (https://www.movieforums.com/reviews/2279607-piranha-ii-the-spawning.html) (James Cameron)
The first Best Picture winner you haven't seen (starting with Wings): Cavalcade (https://www.movieforums.com/reviews/2279831-cavalcade.html) (1933)
A film with a title that starts with the letters A or B: Ben Hur (https://www.movieforums.com/reviews/2272334-ben-hur.html) (1907), The Block Island Sound (https://www.movieforums.com/reviews/2279784-the-block-island-sound.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #1 (i.e. 12, 415, 901): Sherlock, Jr. (https://www.movieforums.com/reviews/2272134-sherlock-jr..html) (#122)
A film from before 1920: The Rough House (https://www.movieforums.com/reviews/2272307-the-rough-house.html), The Consequences of Feminism (https://www.movieforums.com/reviews/2274977-the-consequences-of-feminism.html), Pierrette's Escapades (https://www.movieforums.com/reviews/2275053-pierrettes-escapades.html)
An action or adventure film: Predator 2 (https://www.movieforums.com/reviews/2272269-predator-2.html)
An animated film: The Mitchells vs. the Machines (https://www.movieforums.com/reviews/2278506-the-mitchells-vs.-the-machines.html)
A film from Jim Jarmusch (born January 22): Down by Law (https://www.movieforums.com/reviews/2279599-down-by-law.html)
A film from Haiti (Independence Day, January 1): Profit & Nothing But! Or Impolite Thoughts on the Class Struggle (https://www.movieforums.com/reviews/2279853-profitnothing-but-or-impolite-thoughts-on-the-class-struggle.html)

Freebie: Devil (https://www.movieforums.com/reviews/2277374-devil.html), Safety Last! (https://www.movieforums.com/reviews/2279948-safety-last.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/uNh7LyW43jkOPhqyuDIcMY0gVOg.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/gOPhCh4Ko5crlsyQewPsq1sYLiA.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/vlMQ6UB5YQz6O5icf8LSE7qZ8t5.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/lC0ueiHltU4uV7gl74gZCghPSJf.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/zHFfirwnNowh4ELytFnVIzQvAIl.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/1G9r3rqtbFAQuyWKOZm4Y5J5s7Q.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/x5X93K2tghK7WPRxHQpdum6abfR.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7ZzPyv5g4ohGcPbbmkF2ZYMe02N.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7OAAsKvYwEq23ppBSq8NfJ0iUuo.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/mI2Di7HmskQQ34kz0iau6J1vr70.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/4IyxoUQ7BB5kcSd7gASe2dTyWu7.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/tJzFJTeTLRYSYGPSeWYUmDssIRh.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/aivXPSi53H95BoUa5njEYso389s.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/jWoeNjQPtRZJbS0LRPesY9uizgS.jpg

Interesting month! My favorites were The Mitchells vs. the Machines, and then Down by Law. The Block Island Sound and One Week are also up there.

Least favorite, Piranha II quite easily.

Thief

02-08-22, 12:53 AM

Aaaand here's the loot for FEBRUARY 2022:

A film with the number 2 (Two, Second, etc.) in its title:
A film with a title that starts with the letters C or D:
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #2 (i.e. 12, 82, 912):
A film from the 1920s:
A sequel:
A comedy film:
A film featuring the name of a couple in its title:
A film with an African-American cast (Black History Month):
A film from Ida Lupino (born February 4):
A film from Lithuania (Restoration of the State Day, February 16):

As usual, recommendations are more than welcome!

Chypmunk

02-08-22, 03:47 AM

I thoroughly enjoy Safety Last! and rate it a whole popcorn box higher than you but my favourite of his is actually The Kid Brother, be nice to see what you think of that one at some point (and it would fit with your 1920s category for this month).

Haven't seen any of your other recent watches so I'm a bad MoFo yet again :(

Thief

02-08-22, 10:21 AM

Haven't seen any of your other recent watches so I'm a bad MoFo yet again :(

Well, that means you have stuff to look forward to ;)

And I'll add your Lloyd recommendation to my watchlist.

Allaby

02-09-22, 09:30 PM

Thief

02-10-22, 12:22 PM

Awww, thank you :bashful: :laugh:

https://c.tenor.com/cDi_h_fkYVQAAAAC/love-struck-jason-segel.gif

Glad you liked the podcast. Fill free to check out past episodes here (https://tmml.buzzsprout.com/), or on any podcasting platform.

GulfportDoc

02-12-22, 07:46 PM

SAFETY LAST!
(1923, Newmeyer & Taylor)
Freebie

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

The most notable and iconic bit is Lloyd hanging from the clock, which is impressive. That stunt takes pretty much the last 20 minutes or so, but I like how they make it not feel overlong with the many ways that Lloyd's friend is trying to escape the cop which forces our lead to keep climbing, or the many obstacles that he faces on his way up (doves, the clock, obtrusive onlookers).
...
Grade: rating_3
Several years ago I came across a detailed explanation with pictures from the set, showing how Lloyd accomplished this iconic stunt. I couldn't find it, but this little vid rather explains it. The photo at the end puts it into perspective:
https://youtu.be/tnrjyjKH5OU

Thief

02-12-22, 08:24 PM

HAIL, CAESAR!
(2016, Coen)
A comedy

https://i.imgur.com/5NEnDMQ.jpg

"But there is a new wind, blowing from the east, from the dusty streets of Bethlehem, that will soon challenge the vast house of Caesar, that edifice wrought of brick and blood which now seems so secure!"

That's part of the introductory narration to Hail, Caesar: A Tale of the Christ, the film-within-a-film in the Coen brothers film, uhh, Hail, Caesar! But winds of change from the east, threatening a long-standing institution seems to be a common thread among all the plots and subplots of this satiric look at 50's Hollywood.

Hail, Caesar! mostly follows Eddie Mannix (Josh Brolin), a "fixer" for Capitol Pictures whose job is to make sure everything runs smoothly at the studio. From covering up scandals to streamlining production, his job is mostly to sell an image, a lie: that Western star Hobie Doyle (Alden Ehrenreich) can be a dramatic thespian, or that actress DeeAnna Moran (Scarlett Johansson) isn't having a child out of wedlock, or that veteran actor Baird Whitlock (George Clooney), star of that film-within-a-film, isn't "out on a bender".

The truth is that Whitlock has been kidnapped by a group of blacklisted Communist screenwriters. Again, winds of change from the east, threatening a long-standing institution. Meanwhile, Mannix is struggling with his own crisis of faith, both in religion and in his job, i.e. the studio system. How much does he believe in both? Can these long-standing institutions sustain the winds of change?

If this explanation sounds like a lot, it's because it is as the Coen brothers juggle this huge ensemble cast and this seemingly disparate subplots. And although there are indeed common threads and themes among all of them, at times it does feel a bit all over the place. I feel like there is a true masterpiece buried here, and although the pieces are there, it doesn't quite come together.

Nevertheless, it is what you would expect from the Coens, in terms of performance, dialogue, and overall craft. I can say that two sequences in the first half literally had me laughing in tears (Mannix seeking advice from four different religious leaders regarding the Caesar film, and Hobie Doyle on his first day on the set of a puffy drama). Those two bits brought it home in terms of sharp writing and wit, as well as physical and verbal comedy respectively.

Despite whatever small flaws the film might have had to come together, I still enjoyed it a lot. It was the kind of film that had me smiling all the way through, as is usual with most Coen brothers films. Let's hope these new winds of change in their careers don't threaten their "edifice wrought of brick", because I certainly want more Coen brothers films in it.

Grade: 3.5

Thief

02-12-22, 08:31 PM

Several years ago I came across a detailed explanation with pictures from the set, showing how Lloyd accomplished this iconic stunt. I couldn't find it, but this little vid rather explains it. The photo at the end puts it into perspective:
https://youtu.be/tnrjyjKH5OU

Wow, that is really cool! Thanks for sharing.

Thief

02-14-22, 07:29 PM

Hey gang, as a proof of my love to all of you, here's the latest episode of The Movie Loot - Episode 55. In this one, me and film critic Rachel (of the Hallmarkies Podcast) talk about romcoms and romantic films in general.

The Movie Loot 55: The Romcom Loot (with Rachel of the Hallmarkies Podcast) (https://www.buzzsprout.com/850063/10074799-the-movie-loot-55-the-romcom-loot-with-rachel-of-the-hallmarkies-podcast.mp3?download=true)

Remember you can also check it out on Spotify (https://open.spotify.com/episode/2oc1IaSQlvBPpsjeFGTS3f?si=73b2817554864e55), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-55-the-romcom-loot-with/id1578191119?i=1000551092530), and all the main podcast platforms. Thanks for the support!

Thief

02-16-22, 12:58 PM

WHIPLASH
(2014, Chazelle)
Freebie

https://i.imgur.com/u23S3DW.jpg

"Is there a line? You know, maybe you go too far, and you discourage the next Charlie Parker from ever becoming Charlie Parker?"

Whiplash follows the struggles of Andrew Neiman (Miles Teller) to become a legendary drummer. To achieve this, he is enrolled as a first-year student at Shaffer Conservatory, listens obsessively to Buddy Rich's album, and practices incessantly until his hands bleed while craving to make it into the school's Studio Band, led by the ruthlessly strict Terence Fletcher (J.K. Simmons).

One of the most iconic pieces of music that Neiman practices under Fletcher's fist is Hank Levy's "Whiplash". The song is notable for its unusual time signature and sudden changes, which makes it more excruciating to play for a drummer, especially a young one like Neiman. But Fletcher won't take anything less, which is why he hovers over Neiman, with a metaphorical whip in his hand, lashing out every time he misses a beat *crack* "Not quite my tempo".

The film spends its duration exploring this toxic relationship between Neiman and Fletcher as they both feed each other. There's no denying that Neiman respects and idolizes Fletcher, just like there's no denying that Fletcher admires Neiman's talent and skills. But the way they demonstrate that to each other is like a relentless back-and-forth, as they each go from flattering adoration and gentlemanly acknowledgement to incessant bickering and cutthroat insults.

This was truly a masterful showcase of great performances, script, direction, and editing. The way Chazelle allows us to see the motivations of each character, while also not allowing for us to be entirely sure of how to feel about each of them was excellent. Is Fletcher a ruthless, egotistical bastard? Most definitely. Is Neiman a self-righteous prick? I'd say yes. Is there reasoning behind their respective passion for finding "the next Charlie Parker" and "being the next Charlie Parker"? Of course.

Which brings into perspective the question that Neiman asks Fletcher at one point in the film; is there a line? How far can we push to get what we want? and is it worth it in the end? Chazelle doesn't necessarily gives us the answer, but he sure shake us up to try to figure it on our own.

Grade: 4.5

Thief

02-18-22, 12:23 PM

CURE
(1997, Kurosawa)
A film with a title that starts with the letters C or D

https://i.imgur.com/MlU1WRY.png

"All the things that used to be inside me, now they're all outside. So... I can see all of the things inside you, Doctor, but the inside of me... is empty."

(some mild SPOILERS?)

Cure follows Detective Takabe (Kōji Yakusho) as he investigates a series of murders where victims end up with an X carved on their necks and chests. The weird thing is that in each case, the murderer is found close to the victim, with no recollection of what happened and sometimes no clear remorse. "He was someone I didn't like... I couldn't stand it anymore", says one of them after killing his partner.

There really is no mystery as to who's causing these murders, since we find out fairly early that a mysterious man called Mamiya (Masato Hagiwara) is behind it all. The man, who seems to be suffering from severe memory loss while aimlessly wandering around, seems to have some sort of mental influence in people, forcing them to let their emotions and anger out.

So the film unfolds in two halves, the first of which plays in a more or less straightforward, procedural way, as we see Takabe and his psychologist partner Sakuma (Tsuyoshi Ujiki) play a cat-and-mouse game to find whoever's causing the murders. After Mamiya is captured halfway through the film, the cat-and-mouse game is transferred to their minds as we see Takabe become increasingly more frustrated with the man, which leads him to often let his emotions and anger out.

I thought this was a really interesting watch. I really liked the way the film unfolded, first with the thrill and mystery of what's happening, only to become a more psychological and nuanced look at how we process our frustrations and how we handle our angers; whether it comes from being unable to close a criminal case or dealing with a mentally ill relative. I liked how director Kiyoshi Kurosawa handled those themes, while keeping an almost clinical and distanced direction.

The performances were mostly solid, with Hagiwara probably having the best one as the ambiguously cold Mamiya. His performance and the way the story handles him defies most of the conventions of these kind of thrillers, but it works really well. As far as that is concerned, I really liked that ambiguity, but I think the film could've benefitted from letting a few more things out towards its conclusion, especially regarding the subplot of Takabe's wife. Still, this was a very effective psychological thriller.

Grade: 3.5

Chypmunk

02-18-22, 01:03 PM

Thief

02-18-22, 01:27 PM

Whiplash was very watchable and certainly had some solid performances from the leads but have to admit I wasn't blown away by it as I struggled to believe it in places - 3.5+ for me. Sadly though all I seem to have actually noted on it was "Why kick out Metz yet keep the other one who didn't fess up either?" but then I also have 'the other one' noted as "Ericson/Ericsson/Erickson (sp?)" and there doesn't even seem to be anybody with that name in the cast on IMDb so perhaps I merely dreamt I watched it after all :shrug: :D

It is Ericson/Ericsson/Erickson indeed, but since the guy doesn't have lines, he's probably not credited.

Anyway, Fletcher's logic works two ways. First, if you don't even "know you're out of tune", do you "deserve" to be in his band? Second, his style is to relentlessly push you into being your very best to find "the next Charlie Parker". If I believe his conversation with Neiman in that jazz club, then he thinks that it's his duty to be this strict and push this musicians to the limit, until the best ones come out. I was in a music school when I was a pre-teen/teen, and although there wasn't anyone like Fletcher, there were a few that were really close to him, so I didn't find it that hard to believe.

Thief

02-18-22, 02:43 PM

THE BOSS BABY
GET THAT BABY!
(2020, Forgione, Jacobs, and Whitlock)
Freebie

https://tldrmoviereviewsblog.files.wordpress.com/2020/09/the-boss-baby-get-that-baby-2.jpg

"It just so happens I have a bit of a vengeance scheme of my own. So, whose plan is it gonna be?"

This short follows the "Boss Baby" as he tries to fend off three villains set out to get rid of him one way or the other. This is one of Netflix Interactive programs where, much like those "Choose Your Own Adventure" series, you choose which paths to follow until the ending.

I'm kinda just putting this in here for fun, but I did give this a try the other day at the request of my youngest. This is my first proper experience with the "Boss Baby" franchise, other than a few glances here and there when my kids have been watching the series or the film.

Truth is that I just don't get the appeal, either for adults or kids. Seems like the "adult baby in a corporate-like world" angle is more geared towards adults and would be lost on a kid, while the opposite would happen with the more juvenile angles of the babies physical comedy. Even my kids aren't that much into the whole franchise, as it's not one of their regular picks (right now, they're on a DuckTales or T-Rex Ranch phase).

I used to be a fan of those "Choose Your Own Adventure" series, so I've always kinda liked the interactive aspect of these shorts, and so does my kids (they really love one that Bear Grylls does, You vs. Wild, and see it often). But still, my youngest one didn't seem to be that invested into this one (we only did two runs of it), and neither did I.

Grade: 1.5

Thief

02-19-22, 12:09 PM

400 PETALS
(2020, García)
Freebie

https://i.imgur.com/CoiD10X.png

"What's gonna happen when the last petal falls?"

There's a common phrase that says "love is like a plant" or "a flower". The "punchline" may vary slightly, though; "You've got to let it grow", "you've got to care for it", "it needs constant feeding"... but it all boils down to the same principle. You can't just sit and hope for "the plant" (i.e. love) to survive without care and attention. That's part of the background to this Puerto Rican short film.

400 Petals follows the relationship of René and Sol (Esteban Ruiz and Anna Malavé). The short opens with René buying a marigold for Sol's birthday, early in their relationship. The florist tells him that some people believe that its petals "retain the warmth of the sun" which she calls a "nice coincidence". As time passes, we see René and Sol's relationship go through ups and downs, and with every "down", a petal of the flower drops. What will happen when the last one falls?

My wife found this short a couple of weeks ago, and I was pleasantly surprised by it. It really shines through its simplicity, thanks to a nice script and a solid performance by Ruiz. Malavé is solid, but Ruiz is the one that has the focus. And that might be one of the flaws of the short. Although it does try its best to keep a balanced perspective, it can't help but favor René's point of view and perspective, while leaving Sol on the sidelines.

However, I have to give props to writer and director Angelie García for avoiding some of the typical tropes of other romcoms and actually surprising me in the end. In the end, we get to see that it's up to us to put all the necessary care in our relationships, even if all the petals seem to fall from it.

Grade: 3.5

Thief

02-19-22, 01:13 PM

For anyone interested...

https://www.youtube.com/watch?v=1exdnUuY954

Thief

02-19-22, 02:31 PM

THE MANY ADVENTURES OF WINNIE THE POOH
(1977, Lounsbery & Reitherman)
Freebie

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

"Goodbye? Oh no, please. Can't we just go back to page one and start all over again?"

When I was a little kid, we used to have a handful of Disney LP's which had narrated versions of several Disney films; The Aristocats, The Rescuers, but especially The Many Adventures of Winnie the Pooh. We used to sit and listen to them all day long, singing the songs and reciting the quotes, so going back to it is going back to my childhood.

The Many Adventures of Winnie the Pooh follows Pooh (Sterling Holloway) and his friends as they go through, well, many adventures. Released during the so-called "Disney Dark Age", it is comprised of several short featurettes that are tied together by themes of weather, accepting your friends, and the passage of time.

This rewatch was in preparation for a future guest spot I will have on some friend's podcast, and we were live-tweeting along with their listeners. It was a lot of fun to share with others the joy of this rather innocent and charming look at childhood. It is interesting how, unlike others animated films, this one is significantly more "childish" and features no typical "villains" or story arcs. This makes for a rather refreshing watch.

The film does lose a bit of momentum for me once Tigger (Paul Winchell) is introduced. I've never been a fan of him, but also one of the first sequences where he appears feels more like a lull, instead of the more lively and energetic others.

Despite that, the film manages to close beautifully with a bittersweet and melancholic epilogue between Pooh and Christopher Robin; a reminder that time undoubtedly passes, and that sometimes we can't just go back to page one, but have to say goodbye instead.

Grade: 4.5

Thief

02-19-22, 03:52 PM

TEXAS CHAINSAW MASSACRE
(2022, Garcia)
A sequel

https://i.imgur.com/iHs3WS2.jpg

"Don't run... If you run, he’ll never stop haunting you"

Set 50 years after the original, Texas Chainsaw Massacre follows a group of young entrepreneurs planning to create a trendy, tourist spot in the now abandoned town of Harlow, Texas. Leading the group are sisters Mel and Lila (Sarah Yarkin and Elsie Fisher), the latter of which is still coping with the aftermath of a school shooting. When they inadvertently "reawaken" Leatherface, the group must decide whether to run or fight for their lives.

The notion of "not running", but rather doing something, is very much present in the film as it also brings us the sole survivor of the original film, Sally (Olwen Fouéré), who famously managed to flee the scene of the crime. However, she is still haunted by the past and is determined not to run anymore, but to finish Leatherface once and for all.

The film is directed by David Blue Garcia, a relative newcomer that was brought up into the film after the original directors were fired for creative differences. I'm not sure if it is my knowledge of this, but the film does give out the sense that there might've been too many cooks in the kitchen at some points. There is an infamous scene (seen in the trailer) that feels very much awkward and jarring in terms of tone with the rest of the film.

Not only that, but the script by Chris Thomas Devlin seems to spit topics and themes out, not because they want to do something with them, but just because they're trendy it seems. Oh, let's take jabs at racism, gentrification, gun control and school shootings, social media, cancel culture... but none of those really matter much in the end or even work out in the context that they're presented.

The character of Sally also seems somewhat mishandled, and although like I said, the theme of "not running" is very much present, her overall arc didn't even feel necessary, but more like a plot device for other characters. Despite all these flaws, the film is not a complete miss. The tension for most of the film is well executed, and the gore and kills are on point.

The final act had a couple of cringey moments, some of which were predictable and telegraphed from the beginning, and others that made me roll my eyes to the back of my head, reminding me of what dumb slasher films typically do. However, there is something that happens in the very end that really caught me off guard, and left me with a wide, stupid grin on my face.

Grade: 2.5

ThatDarnMKS

02-19-22, 04:06 PM

TEXAS CHAINSAW MASSACRE
(2022, Garcia)
A sequel

https://i.imgur.com/iHs3WS2.jpg

Not only that, but the script by Chris Thomas Devlin seems to spit topics and themes out, not because they want to do something with them, but just because they're trendy it seems. Oh, let's take jabs at racism, gentrification, gun control and school shootings, social media, cancel culture... but none of those really matter much in the end or even work out in the context that they're presented.

After thinking on this, I've decided that, aside from the excellent gore, this is my favorite element in the film. As moder horror has become increasingly didactic in its politics and uses them as a sales point, rather than subtext, this felt refreshingly irreverent. It sets ALL these "elevated horror" talking points up only to passively toss them aside in favor of chainsaw mayhem.

Folks keep bringing up the "you're cancelled, bro" scene but don't seem to recognize the darkly comedic brilliance of that immediately preceding that bus sequence. As if the filmmakers are saying "NONE of that matters if someone is chasing you with a chainsaw."

And ya know what... They just may be brilliantly, stupidly right about that

Thief

02-19-22, 04:14 PM

I might agree, if there had been any more similar comedic winks, winks throughout. But that specific sequence felt like an odd duck in what I thought was a fairly grounded horror film up to that point. As a matter of fact, I think that's the only bit that seems to play tongue-in-cheek, unless I might've missed something in the process.

I just heard an interview with the director where he brought up that scene and said it was his idea to add the cellphone angle, and although I kinda agree with his reasoning, I don't think the execution was that effective.

Thief

02-19-22, 11:55 PM

THE UNKNOWN
(1927, Browning)
A film from the 1920s

https://i.imgur.com/hNYrXk3.png

"There is nothing I will not do to own her! Nothing... do you understand? Nothing!"

That is the statement of Alonzo (Lon Chaney) as he feels his love for his circus partner, Nanon (Joan Crawford), being threatened by someone. His obsession will lead him to do anything, he says. But will he own up to that?

The Unknown follows Alonzo, a fugitive that poses as an armless circus freak to hide his identity. He is secretly smitten with Nanon, the daughter of the ringmaster. The thing is that Nanon has a fear of men and their arms, which makes her shun the advances of Malabar (Norman Kerry), the circus strongman.

After killing someone at the circus in a fit of rage, and with Malabar insisting on Nanon, Alonzo sees himself forced to fulfill his vow of doing anything to "own" her. Unfortunately, obsession can lead someone to do crazy things, which is exactly what happens to Alonzo.

This film had been recommended to me by a few people, but I hadn't been able to check it out. I was pleasantly surprised by how good and raw it was. The lead cast is pretty solid, and the sense of dread is successfully built through all the film. Also, unlike other romantic films of the time, this one feels more real and organic, probably because it takes time to develop.

Chaney once again proves why he was one of the biggest stars of the silent era. His facial expressions are key and he does such a great job of transmitting a wide array of emotions in the character. In addition, the ending really managed to keep me on the edge, so kudos to Browning, whose career I'm starting to become more curious about.

Grade: 3.5

Takoma11

02-20-22, 12:01 AM

The thing is that Nanon has a fear of men and their arms

I do overall like this film. But there are two moments that just make me laugh, and the first is when Nanon is like "UGH! MEN and their ARMS!!!!" LOL.

The second is the blunt, on-the-nose writing in the sequence where (MAJOR SPOILERS)he's just had his arms removed and comes up to her like, "So, hey, I'm back!" and she's like, "Oh, didn't I tell you? I LOVE arms now!!" The only thing that's missing is like a quick cutaway to his arms in the garbage.

Thief

02-20-22, 12:10 AM

I do overall like this film. But there are two moments that just make me laugh, and the first is when Nanon is like "UGH! MEN and their ARMS!!!!" LOL.

The second is the blunt, on-the-nose writing in the sequence where (MAJOR SPOILERS)he's just had his arms removed and comes up to her like, "So, hey, I'm back!" and she's like, "Oh, didn't I tell you? I LOVE arms now!!" The only thing that's missing is like a quick cutaway to his arms in the garbage.

Yeah, I kinda made a mini-picture in my mind that her fear of "arms" was a result of some abuse she was subjected to, which kinda made those moments to *not feel* that silly,

Takoma11

02-20-22, 12:17 AM

Yeah, I kinda made a mini-picture in my mind that her fear of "arms" was a result of some abuse she was subjected to, which kinda made those moments to *not feel* that silly,

I think it's nearly impossible to believe that she hasn't been the victim of physical or sexual abuse (or both) from a man or men in her life. I think that the idea of her having this phobia about being touched---despite working a job that puts her on display in a skimpy costume---is a powerful and interesting one.

But I do find some aspects of the final act a little silly, mostly because I find it really unrealistic that she would do such a dramatic 180 just because she met a nice guy.

Like I said, I like the film overall. But some of the writing is so on-the-nose as to be a little hard to take with a straight face for me.

Thief

02-20-22, 07:26 PM

I think it's nearly impossible to believe that she hasn't been the victim of physical or sexual abuse (or both) from a man or men in her life. I think that the idea of her having this phobia about being touched---despite working a job that puts her on display in a skimpy costume---is a powerful and interesting one.

But I do find some aspects of the final act a little silly, mostly because I find it really unrealistic that she would do such a dramatic 180 just because she met a nice guy.

Like I said, I like the film overall. But some of the writing is so on-the-nose as to be a little hard to take with a straight face for me.

I understand, but at least the film leads us to believe that the 180 takes time; all the time it takes Alonzo to have his surgery, recover, and return.

Takoma11

02-20-22, 07:36 PM

I understand, but at least the film leads us to believe that the 180 takes time; all the time it takes Alonzo to have his surgery, recover, and return.

That's true. I liked it a lot more on my second viewing. The finale is awesomely nuts.

Thief

02-21-22, 03:03 PM

ASSAULT ON PRECINCT 13
(1976, Carpenter)
A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #2 (#826)

https://i.imgur.com/We8BGMP.png

"You wanna be a hero your first night out, Lieutenant?"
"Yes, sir"
"There are no heroes anymore, Bishop. Just men who follow orders."

That's the exchange between Lt. Bishop (Austin Stoker) and his superior, upon receiving his assignment of supervising a soon-to-be-abandoned police precinct. The job doesn't seem that appealing to him, but you gotta follow orders. No "wannabe hero" shenanigans for him, right? That is unless some gang members get any crazy ideas in their heads.

Assault on Precinct 13 follows the newly promoted officer as he takes over the abandoned precinct, along with a skeleton crew. When a grieving father shoots a gang leader and then seeks refuge in the precinct, a horde of gang members siege the building, forcing Bishop to join forces with a prisoner called Wilson (Darwin Joston) in order to survive.

This was John Carpenter's second film and I was surprised it was my first time watching it. The premise is simple, and Carpenter doesn't muddy it with overt exposition or unnecessary subplots. It's just a group of people, trapped inside a building, trying to stay alive. The comparisons with Night of the Living Dead, which was an inspiration for Carpenter, are more accurate than I would've thought.

The director successfully builds up tension, starting with a shocking and bold shooting that sparks the events of the film, continuing down to the very last face-off between the survivors and the endless horde of criminals. Like any zombie film, Carpenter treats the enemies as just faceless, nameless thugs trying to pour into the precinct.

The chemistry and dynamic between the trapped characters, most notably Bishop and Wilson, is great. There is an attempt to build some sort of vague relationship between Wilson and Leigh (Laurie Zimmer), one of the office workers at the precinct, but it is ultimately unnecessary. Other than that, the film absolutely complies with what it sets out to do.

Grade: 4

Thief

02-22-22, 12:14 AM

OUTRAGE
(1950, Lupino)
A film from Ida Lupino

https://i.imgur.com/95r5A2L.jpg

"Ann, we all have to stop running sometime. We have to face ourselves, and look at the world all over again."

Rape is a devastating crime; not only for the physical horrors perpetrated on the victim, but for the psychological and emotional toll it puts on them. But for many victims, the suffering doesn't stop there, since you have to also deal with the societal aspect in the aftermath, especially if you're a woman in the middle of the 20th Century. That is the situation that Ida Lupino presents in this 1950 thriller.

Outrage follows Ann Walton (Mala Powers), a young bookkeeper who's about to marry his boyfriend. But it all gets blown to hell when she is attacked and raped on her way home after working overtime. Not only does she have to deal with the physical and emotional toll, but with what seems to be the shame of her family, and the collective gossip of everyone around her.

Lupino is no stranger to taboo subjects. She dealt with it in The Hitch-Hiker and The Bigamist, but it is no wonder that this film seems to be buried and unavailable in most platforms. For the most part, her approach to the subject is direct but sober and thoughtful. She is helped by a solid performance from Powers, who conveys the rollercoaster of emotions that the character has to be going through.

Unfortunately, the story gets a bit muddied up in the last act, once Ann meets a caring reverend (Tod Andrews) with whom she develops a close friendship. Not only does that deviate the themes to an unnecessary romantic subplot, but it also trivializes her situation by reducing it to something that can be alleviated by a relationship.

Despite that, the film is most definitely worth a watch, if anything for the incredibly tense first act, a worthy performance from Powers, and a nice, subtle direction from Lupino. For better or worse, she makes us look at the world and its inhabitants all over again.

Grade: 3

Allaby

02-23-22, 10:24 PM

Thief

02-24-22, 09:23 PM

Just finished listening. Good episode. I enjoyed your singing. :)

LOL, thanks for listening :laugh:

Thief

02-25-22, 01:47 PM

DON'T LOOK UP
(2021, McKay)
A film with a title that starts with the letters C or D

https://i.imgur.com/a6D171j.jpg

"We really did have everything, didn't we? I mean, when you think about it."

I had a couple of quotes I wanted to use as my introduction to this polarizing film. Ultimately I went with the above, not because I think it's a particularly good quote, but first, because I think it encapsulates not only what I see as the main theme of the film, which is to appreciate the things we have before it's too late. The second reason I went with it is because it's not subtle, and if there's something we can say about this film, for better or worse, it's that it is not subtle... at all.

Don't Look Up follows two astronomers (Jennifer Lawrence and Leonardo DiCaprio) that discover a comet headed towards Earth, a "planet killer". As they try to alert everyone, they are surprisingly met with apathy and indifference, from President Janie Orlean (Meryl Streep) down to the media and the general public.

Written and directed by Adam McKay, the film is supposed to take shots at climate change and the overall reaction to it. However, the same can apply to numerous crisis and situations that have not been properly dealt with like race, gun violence, and obviously the COVID-19 pandemic. In the process, the film also makes fun of political incompetence, pop culture, technology and social media influence.

Much like the issues it tries to tackle, there seems to be no middle ground with it. You're either on board with it, or you're not. I happen to fall in the former category. McKay does throw everything AND the kitchen sink at us, but I think the lack of subtlety works for what he wanted to transmit. I can say I spent most of the film laughing or chuckling at all the things, institutions, trends, and whatnot that they make fun of.

The cast is stacked, and most of them do a great job. Special notes to Streep and Jonah Hill for probably having the funniest bits, but I also think DiCaprio does a great job as the heart of the film. Because of the size of the cast, some characters are underserved and there are bits that fall flat. The film does feel overloaded, and not every jab lands, but what it lands, it lands well... like a comet hitting the Earth, BOOM!

Grade: 4

SpelingError

02-25-22, 07:30 PM

Really liked Don't Look Up. It's overlong and it doesn't seem like the kind of satire which will age well, but as an encapsulation of the past couple years, I think it worked great.

Thief

02-28-22, 11:19 AM

SELMA
(2014, DuVernay)
A film with an African-American cast

https://i.imgur.com/AnH7w38.jpg

"One struggle ends just to go right to the next and the next."

That is part of the message proclaimed by Martin Luther King, Jr. (David Oyelowo) referring to the obstruction of voting rights of African-Americans in Selma back in the 1960s. "Boycotting the buses in Montgomery. Segregation in Birmingham. Now? Voting in Selma", he says. And the struggle goes on and on. 60 years later, and unfortunately the struggle continues.

Selma follows the events surrounding the voting rights marches led by King in the titular city. The film manages to put the spotlight on many issues that are not necessarily known, at least by someone who is not from the US, regarding the civil rights violations against African-Americans at the time. Sure, laws have been passed, but most of the obstacles continue; from unfair voting registration requirements and stubborn officials hell-bent on segregation to the bureaucracy of the upper echelons of government.

Director Ava DuVernay manages to juggle both the socio-political struggle of the marches with the personal struggles of King, and the toll it takes on his family life. Oyelowo is excellent in the role, along with Carmen Ejogo, who plays Coretta Scott King. The cast is rounded out by Tom Wilkinson as President Lyndon B. Johnson and Tim Roth as Georgia Governor George Wallace, among many others.

As I was putting this film, I knew I would be pissed, and I was right. And I supposed it's good to be pissed at these injustices that happened. But what pisses me off more is that they're still happening. One struggle ends just to go right to the next and the next. Just the day before I saw this film, I was reading some dumb Karen going on a racist rant on Twitter just because a black coach lost his temper and hit his white counterpart. "Let's talk about how blacks are so prone to violence... see the entire continent of Africa", she said, among many other senseless rants.

And that is just a small snapshot of one small person in a deep pool of racism and hatred that still floods every corner of society, politics, business, and whatnot. "What happens when a man says enough is enough?", says King at one point. 60 years later, we're still finding out that not much has changed, and the struggle goes on and on.

Grade: 4

Thief

02-28-22, 11:41 AM

BROTHERHOOD OF PATE
(2011, Eimulis)
A film from Lithuania

https://i.imgur.com/RmwIV0c.png

"He's not alone. There is plenty of that kind. It's a great association, but they don't have a clue about each other's existence. They are like a pate; grey, tasteless, ugly, third-rate people."

I had a hard time finding a film from Lithuania that was available for free and that also piqued my interest. With time closing in, I went with this short film that I found on YouTube about a lonely man that is not sure of who he is, where he is, or even what he is.

The short film, which last a little under 20 minutes, is amateur-ish, but still the camera is well handled and has some neat shots. The surreal vibe makes for a somewhat interesting watch, even though some things seem to be thrown in there just because.

Finally, although some performances are spotty or bad, the lead guy (Nerijus Gedminas) is pretty solid at conveying this sense of being lost and aimless. This is probably far from a great film, but it was still an interesting, fun watch, and a good way to check another box, I think.

Grade: 2.5

Thief

02-28-22, 11:43 AM

In case anyone is interested...

https://www.youtube.com/watch?v=AlktRYN_hZ4

Thief

02-28-22, 01:09 PM

TWO MULES FOR SISTER SARA
(1970, Siegel)
A film with the number 2 (Two, Second, etc.) in its title

https://i.imgur.com/CoQB5d5.jpg

"Everybody's got a right to be a sucker once."

Set in the late 19th Century, Two Mules for Sister Sara follows Hogan (Clint Eastwood), an American mercenary that stumbles upon Sara (Shirley MacLaine), a nun that is assisting Mexican revolutionaries against French occupying soldiers. Realizing they have similar goals, they decide to work with each other despite their seemingly different backgrounds.

The film features Eastwood in his typical cowboy persona, and although he does a good job as the cool, sardonic Hogan, it isn't much of a stretch. MacLaine is also pretty good as Sara, as she shows to be more than a damsel-in-distress, but rather a convincing partner to Hogan. The supporting cast is comprised of mostly Mexican actors, which is praise-worthy for the time, even if none of them have particularly notable roles.

During the first half, the film is driven mostly by the banter between Hogan and Sara, as they get to know each other and learn to trust each other, while the second half is more action-oriented, as they finally reach the garrison they were targeting. Both halves work fairly well, although I was more interested in the first half back-and-forth between the two lead characters, as we see them handle their differences.

Maybe that's the reason why the revelation from the climax didn't sit that well with me. First, it eliminates all the contrasts and differences we've seen between these two characters, and strips the film of its complexities. Second, it mostly serves to set up the otherwise unnecessary romantic subplot for that final scene. Third, I don't think the twist holds up upon closer inspection if we were to analyze every interaction between the characters all through the film.

Despite those reservations, the film is fairly enjoyable and the characters are entertaining, even if it's only for the first half. However, once things shift, the action in the last act is well executed by director Don Siegel. The setpieces are decent and the action is well executed, even if there aren't many surprises. That is, beyond the one above, which I didn't see coming and I'm still not entirely sold on, but everybody's got a right to be a sucker once.

Grade: 3

Thief

02-28-22, 01:50 PM

ALPHA AND OMEGA
(2010, Gluck & Bell)
A film with the name of a couple in its title

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

"You're not allowed to howl with her. She's an Alpha."

Alpha and Omega follows two wolves, Kate (Hayden Panettiere) and Humphrey (Justin Long) that are both seemingly different in attitudes and also come from different groups of a warring pack. When they find themselves accidentally taken to another park, they have to work together to get back home while also *surprise, surprise* developing feelings for each other.

I won't deny that this was a "desperate" choice in light of having little time and not so many options available. But I suppose it was a decent one to watch with the kids. Because of that, I saw the dubbed version, so I can't judge the American voice cast (which includes Dennis Hopper, Danny Glover, and Christina Ricci). Still, the Spanish voice cast was okay, I guess.

The film's main issue is probably its lack of originality and somewhat uninspired execution. Everything feels more or less formulaic, lifeless, and dull. The plot is also generic and could probably be 15-20 minutes shorter (the final confrontation felt unnecessary). The animation is also spotty, although there is probably a brief moment during a river flood that stood out for me.

If anything, I give props to the film for not going with the typical good vs. bad template, and trying to send a message of cooperation and peace within the same group. I also liked the way they handled the characters of Garth and Lilly, which felt like an attempt at something a bit fresher. It's a pity that the package around all of this was more or less the same.

Grade: 2

Thief

02-28-22, 01:53 PM

Also, am I allowed to say that all the innuendo around the whole "you can't howl with her" or "you're not that good at howling" thing was a bit cringey?

SpelingError

02-28-22, 02:29 PM

Wow, four reviews all in one day. Who do you think you are? Takoma?

Thief

02-28-22, 03:09 PM

Nah, to get at that level, I need to write good first :laugh:

Thief

03-03-22, 10:23 AM

Before we head into this year's Oscars, check out Special Episode 10 of my podcast, where I do a brief breakdown of one of my favorite scenes in what is one of my favorite Best Picture winners, The Silence of the Lambs:

The Movie Loot - Special Episode X (The Silence of the Lambs) (https://www.buzzsprout.com/850063/10155430-the-movie-loot-special-episode-x-the-silence-of-the-lambs.mp3?download=true)

As usual, you can also listen on Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-special-episode-x-the-silence-of-the-lambs/id1578191119?i=1000552775476), Spotify (https://open.spotify.com/episode/5VETlYSb6MPTG0M0sgmIeV?si=e70068006b5d42e8), Google Podcasts, and most podcast platforms.

Thief

03-03-22, 10:45 AM

And now, for my end-of-month summary for FEBRUARY 2022:

A film with the number 2 (Two, Second, etc.) in its title: Two Mules for Sister Sara (https://www.movieforums.com/reviews/2285486-two-mules-for-sister-sara.html)
A film with a title that starts with the letters C or D: Cure (https://www.movieforums.com/reviews/2283278-cure.html), Don't Look Up (https://www.movieforums.com/reviews/2284954-dont-look-up.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #2 (i.e. 12, 82, 912): Assault on Precinct 13 (https://www.movieforums.com/reviews/2284001-assault-on-precinct-13.html) (#826)
A film from the 1920s: The Unknown (https://www.movieforums.com/reviews/2283650-the-unknown.html)
A sequel: Texas Chainsaw Massacre (https://www.movieforums.com/reviews/2283554-texas-chainsaw-massacre.html) (2022)
A comedy film: Hail, Caesar! (https://www.movieforums.com/reviews/2281964-hail-caesar.html)
A film featuring the name of a couple in its title: Alpha and Omega (https://www.movieforums.com/reviews/2285498-alpha-and-omega.html)
A film with an African-American cast (Black History Month): Selma (https://www.movieforums.com/reviews/2285459-selma.html)
A film from Ida Lupino (born February 4): Outrage (https://www.movieforums.com/reviews/2284118-outrage.html)
A film from Lithuania (Restoration of the State Day, February 16): Brotherhood of Pate (https://www.movieforums.com/reviews/2285469-brotherhood-of-pate.html) (short film)

Freebie: Whiplash (https://www.movieforums.com/reviews/2282814-whiplash.html), The Boss Baby: Get That Baby! (https://www.movieforums.com/reviews/2283322-the-boss-baby.html), 400 Petals (https://www.movieforums.com/reviews/2283490-400-petals.html), The Many Adventures of Winnie the Pooh (https://www.movieforums.com/reviews/2283533-the-many-adventures-of-winnie-the-pooh.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/29Xc1OBNJd7OZ3eMpvcJqCCjugx.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/nLZ2AJFLtMoAAAD54mbT4exj1Wp.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/th4E1yqsE8DGpAseLiUrI60Hf8V.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/3PlUJaWvR0Nr261rqsI6XvaKM4T.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/rmLqf6AuacJ7eJb3eSPWiw0SGJs.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/meRIRfADEGVo65xgPO6eZvJ0CRG.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/txvoksUbyxqvaOvDfEbwW5nEcmX.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7YVyH5sS6kLQRsSDF5dhhR0BWeh.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/wq4lhMc4BuOyQqe1ZGzhxLyy3Uk.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/l9bsHFEHpWNegri6w5YOT3n0z8u.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7iv8SVj7tlEWCYDGZLiDCY9LehB.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/oPxnRhyAIzJKGUEdSiwTJQBa3NM.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/epvUyxGpiaacwojju2CMa0I3Y6T.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/uXlwXhNP1Y1CN7TCtRZJY3ej4wR.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/2xwaFVLv5geVrFd81eUttv7OutF.jpg

Solid month! My favorites was Whiplash, but I really enjoyed Hail, Caesar! and Assault on Precinct 13. Don't Look Up and Selma were also pretty good.

Least favorite, both animated, but The Boss Baby: Get That Baby! and Alpha and Omega.

kgaard

03-04-22, 10:16 AM

A very quick rundown of February:

A film with a title that starts with the letters C or D: Children of Paradise (1945)

A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #2 (i.e. 12, 82, 912): Strike (1925)

A film from the 1920s: The Circus (1928)

A sequel: Quantum of Solace (2008)

An comedy film: Sixteen Candles (1984)

A film featuring the name of a couple in its title: Roger & Me (1989)

A film with an African-American cast (Black History Month): If Beale Street Could Talk (2018)

Although it had both hits and misses, this was a clear improvement over January. Children of Paradise is a truly wonderful film, rich and moving, filmed under the most inauspicious of circumstances. The Circus is 95% bellylaugh fun, 5% time-period appropriate WTFery depictions of domestic violence. If Beale Street Could Talk is well made but left me kind of cold, though I can't put my finger on why.

Strike is an intriguing time capsule, mostly interesting for its techniques and its demonstration of early agitprop. Roger & Me is more recent agitprop, but I have to say if you zoom out it's kind of hard to see what Michael Moore's goal is here? I mean, okay, it paints a clear picture of this class divide and a certain kind of callousness, but it's a bit odd that the impetus for the film is GM closing Flint plants, but the film lingers on mocking portrayals of efforts to revive Flint through tourism. Sure, those efforts are comical and doomed, but what else is there to do? What Moore really wants is for GM to reopen the plants and treat workers fairly, but the film doesn't really grapple with what that would mean and the philosophy underpinning the idea. In retrospect, Moore's version of socialism seems to anticipate the LOL nothing matters ironic brand of leftism that dominates a lot of online spheres today.

Sixteen Candles has a lot obvious problems that look even worse today (though it should be noted that a lot them were flagged contemporaneously)--racism, sexism, homophobia (some of these are problems of the characters, and some are problems of the film, and each has different implication); it's kind of rapey. But it's also not that funny, right? The first half, especially, is laden with weak half-jokes. Molly Ringwald and Anthony Michael Hall are good enough to almost pull it off, and the second half is better. And honestly, if Gedde Watanabe's character had been treated like a human being I think there's a lot of humor to be found there. But Joan Cusack is the real secret star here--says (almost?) nothing, barely appears, and still makes the movie just about worth seeing.

It's not really obvious that Bond films are sequels, but Quantum of Solace clearly is one, following directly from Casino Royale. It's fine? I'm not a huge Bond fan, though I do generally enjoy the Craig version. This is probably the weakest of his films (though I haven't seen the latest).

Thief

03-07-22, 04:06 PM

Hmm, some interesting choices there. I've only seen The Circus, Quantum of Solace, and Sixteen Candles (but it's been a loooong time). Hadn't even heard of some of the others. Thanks for sharing!

kgaard

03-07-22, 04:23 PM

Hmm, some interesting choices there. I've only seen The Circus, Quantum of Solace, and Sixteen Candles (but it's been a loooong time). Hadn't even heard of some of the others. Thanks for sharing!

Oh man, Children of Paradise is so good, and streaming on Criterion. I can't recommend it highly enough. It's an intimidating length (over three hours) but does have a handy intermission.

Thief

03-10-22, 09:38 AM

Ok, finally updated my categories for this month, MARCH 2022

A film with the number 3 (Three, Third, etc.) in its title:
A film with a title that starts with the letters E or F:
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #3 (i.e. 12, 73, 834):
A film from the 1930s:
A documentary:
The third part on a film franchise:
A film featuring the word "Spring" in its title:
A film directed by a woman (Int'l Women's Day, March 8): The Power of the Dog
A film with Raúl Juliá (born March 9):
A film from Bangladesh (Independence Day, March 26):

As usual, recommendations are more than welcome!

Thief

03-10-22, 09:43 AM

I had a busy week at work and I was also preparing for a podcast recording on the Oscars yesterday, so I kinda prioritized watching a few nominees. Will post reviews to these soon... The Power of the Dog, The Tragedy of Macbeth, Nightmare Alley, and West Side Story.

Thief

03-11-22, 09:24 AM

Had some computer and scheduling issues, but finally dropped Episode 56 of The Movie Loot, in which I share my thoughts on all the films I saw during February.

The Movie Loot 56 - Hail, Caesar! / February Loot (https://www.buzzsprout.com/850063/10163795-the-movie-loot-56-hail-caesar-february-loot.mp3?download=true)

In this episode, I focus on one of my favorite first watches from last month, the Coen Brothers' Hail, Caesar! After that, I go on with my quick thoughts on everything else I saw during the month. Hope you can check it out!

Remember that you can also listen to the show on Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-56-hail-caesar-february-loot/id1578191119?i=1000553672307), Spotify (https://open.spotify.com/episode/4l8IJ7Xliwfqo7lOVHhmJM?si=2e04fde3ed764046), and most podcasting platforms.

Thief

03-15-22, 05:25 PM

THE POWER OF THE DOG
(2021, Campion)
A film directed by a woman

https://i.imgur.com/4kXrRNk.png

"Bronco Henry told me that a man was made by patience in the odds against him."

Set in the early 20th Century, The Power of the Dog follows brothers and ranchers Phil and George Burbank (Benedict Cumberbatch and Jesse Plemons). When George meets and marries Rose (Kirsten Dunst), the dynamics between the three of them, as well as with her teenage son, Peter (Kodi Smit-McPhee) bring turmoil to the family.

The thing is that Phil and George are as different as they can be, with George being apparently more kinder and "sophisticated", while Phil is more "rough" and dedicated to the ranch life. This attitude clashes also with Peter, who Phil sees as effeminate, as he ruthlessly mocks him and demeans him.

Jane Campion delivers both a beautiful and mournful direction to this story, evoking the tragic nature of the characters. All of the performances deliver, especially Smit-McPhee, who plays Peter as someone you just can't pin down, and someone to whom the above quote might apply way more than we might think. However, it is Cumberbatch who has the focus most of the time, and he handles all the layers in Phil's persona very well.

But Phil's behavior hides more than what we initially see. This is progressively revealed as the film goes on, anchored by the idolization of his late mentor, Bronco Henry. It was him who taught Phil everything about the ranch life and then some, including the above quote. What is it that makes a "man"? Is it being married? Is it taking care of your loved ones? Is it that patience in light of the odds that Bronco Henry told him about?

Whatever it is, that is something that Phil constantly questions of several people around him; especially of Peter, but also of his brother, and maybe even himself. The Power of the Dog challenges those notions as we see the ways that Phil interacts with other people, and even the way he thinks of himself.

There is a notion that Phil deems himself unworthy, whether it is of being inside the house or sitting at the table with others. Maybe that's why he feels the need to put down others, most notably Rose and Peter. But the relationship he develops with Peter in the second half is what makes things more interesting, as we see how those odds and that patience play out.

Grade: 4

StuSmallz

03-17-22, 12:34 AM

THE POWER OF THE DOG
(2021, Campion)
A film directed by a woman

https://i.imgur.com/4kXrRNk.png

Set in the early 20th Century, The Power of the Dog follows brothers and ranchers Phil and George Burbank (Benedict Cumberbatch and Jesse Plemons). When George meets and marries Rose (Kirsten Dunst), the dynamics between the three of them, as well as with her teenage son, Peter (Kodi Smit-McPhee) bring turmoil to the family.

The thing is that Phil and George are as different as they can be, with George being apparently more kinder and "sophisticated", while Phil is more "rough" and dedicated to the ranch life. This attitude clashes also with Peter, who Phil sees as effeminate, as he ruthlessly mocks him and demeans him.

Jane Campion delivers both a beautiful and mournful direction to this story, evoking the tragic nature of the characters. All of the performances deliver, especially Smit-McPhee, who plays Peter as someone you just can't pin down, and someone to whom the above quote might apply way more than we might think. However, it is Cumberbatch who has the focus most of the time, and he handles all the layers in Phil's persona very well.

But Phil's behavior hides more than what we initially see. This is progressively revealed as the film goes on, anchored by the idolization of his late mentor, Bronco Henry. It was him who taught Phil everything about the ranch life and then some, including the above quote. What is it that makes a "man"? Is it being married? Is it taking care of your loved ones? Is it that patience in light of the odds that Bronco Henry told him about?

Whatever it is, that is something that Phil constantly questions of several people around him; especially of Peter, but also of his brother, and maybe even himself. The Power of the Dog challenges those notions as we see the ways that Phil interacts with other people, and even the way he thinks of himself.

There is a notion that Phil deems himself unworthy, whether it is of being inside the house or sitting at the table with others. Maybe that's why he feels the need to put down others, most notably Rose and Peter. But the relationship he develops with Peter in the second half is what makes things more interesting, as we see how those odds and that patience play out.

Grade: 4I would've gone up another half a bucket for this one, but I'm still glad you liked it at all; one thing I really liked about it is how it was structured by shifting perspectives to Phil and his relationships to the people around him one-by-one, whether it be him and George at first, him and Rose in the middle, or him and Peter towards the end, taking good time to focus on and explore the effects his persona has on them individually (and the effects they have on him) as each act of the film proceeds, rather than choosing to rush that all along like an inferior director may have done. Good, good stuff.

Thief

03-17-22, 09:58 AM

I would've gone up another half a bucket for this one, but I'm still glad you liked it at all; one thing I really liked about it is how it was structured by shifting perspectives to Phil and his relationships to the people around him one-by-one, whether it be him and George at first, him and Rose in the middle, or him and Peter towards the end, taking good time to focus on and explore the effects his persona has on them individually (and the effects they have on him) as each act of the film proceeds, rather than choosing to rush that all along like an inferior director may have done. Good, good stuff.

I agree. It's a really well structured film.

Thief

03-18-22, 12:00 PM

THE TRAGEDY OF MACBETH
(2021, Coen)
Freebie

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

"Present fears are less than horrible imaginings."

What would you be willing to do for power? How far would you go? Would you kill someone? That seems to be on the mind of Macbeth (Denzel Washington) after he receives a prophecy that he would be king. And at that moment, everything else around him fades. The horrible things that surround you now, in the wake of war, are nothing compared to the horrible places your mind is willing to go at the prospect of power.

The Tragedy of Macbeth follows Shakespeare's tragedy with Washington and Frances McDormand taking the lead roles. Corey Hawkins takes the role of Macduff, who sets out to take revenge against Macbeth, as he walks down the path of horrible imaginings as they turn them into reality. They are joined by an ensemble cast composed mostly of theater actors.

Much has been said about this being the first film written and directed by one of the Coen brothers, without the others involvement. Not only that, but he also takes on the task of taking a super-popular and iconic source material, where there's little surprise to what will happen. So what does Joel do? He builds a visually captivating film with some perfect performances to counter anything else.

The main highlight of the film seems to be its visuals. Coen and cinematographer Bruno Delbonnel chose to shoot in a striking black and white style that makes the most of lights and shadows. In addition, they filmed everything in closed studios, which gives the film an surreal and eerie vibe.

But aside from the visuals and the production values, the performances are stellar. Washington and McDormand own the screen every time they're in. To see them scheme and decay is to see those horrible imaginings take shape. But the supporting cast shouldn't be ignored; most notably Alex Hassell, who is devilishly good as Ross and Kathryn Hunter who is mesmerizingly hypnotic as the Three Witches. Hawkins is effective, but he can't really take control of the screen from Washington.

Nobody knows if Joel and Ethan will work together again. He seems to be focused on his theatrical career, but a future where they won't work together again surely seems horrible to imagine. However, if what we got here in the present, is evidence of what can become, then come what come may.

Grade: 4

Thief

03-18-22, 01:07 PM

NIGHTMARE ALLEY
(2021, Del Toro)
Freebie

https://i.imgur.com/Bjn6YLW.png

"Sometimes you don't see the line until you cross it."

Nightmare Alley follows Stan Carlisle (Bradley Cooper), an ambitious drifter with a mysterious past who starts working as an assistant for a carnival clairvoyant act. After learning the tricks of the trade from Madame Zeena (Toni Collette) and her alcoholic husband, he leaves with Molly (Rooney Mara) to start his own psychic act for the wealthy. But how many lines will he cross in the process?

The story is based on a 1946 novel that was turned into a film the next year. Del Toro, however, wasn't familiar with the film and based his version on the book, which was given to him by Ron Perlman himself back in the 90s. The result is an interesting mix of horror and noir that seems right up his alley, despite lacking his usual supernatural angle.

As its expected from Del Toro, the film is a visual spectacle. His direction is impeccable, and the cinematography by Dan Laustsen is gorgeous. The performances are pretty much great all across, with Cooper and Cate Blanchett being the standouts, but others like Mara, Collette, and Richard Jenkins are great as well. It was also great to see Mindhunter's Holt McCallany in a supporting, but somewhat significant role in the second half.

The film does seem a bit on the long side, and there are little surprises to how the plot unfolds. I love and admire Del Toro's meticulousness and visual flare, but despite all the excellence in the craft, it ended up being a somewhat cold and distant experience for me.

Grade: 3.5

Thief

03-18-22, 02:12 PM

WEST SIDE STORY
(2021, Spielberg)
Freebie

https://i.imgur.com/wScr9GD.jpg

"You know, I wake up to everything I know either getting sold or wrecked or being taken over by people that I don't like, and they don't like me, and you know what's left out of all of that? The Jets."

When Steven Spielberg announced his intentions to remake this iconic musical, one could've asked "why?". Doesn't matter if you were a fan or not, the question works both ways. Turns out that Spielberg had a fixation on it since he was a kid, while also expressing interest in making a musical for years now. This all sorta answers the question of "why", but should he?

Just like its predecessor, West Side Story follows the Jets and the Sharks, two gangs of white and Puerto Rican members respectively that are fighting for control of their neighborhood. Meanwhile, Tony (Ansel Elgort), a former Jet on parole, falls in love with Maria (Rachel Zegler), the sister of the leader of the Sharks, further sparking the conflict between both groups.

I recently revisited the 1961 version, a film I wasn't a fan of to begin with, and I could literally copy/paste that review here. Because as much polish as Spielberg could try to put to this, the bottom line is that this is a bad story. And I'm not talking about the racial misrepresentations, but just the plain fact that the central story between Tony and Maria is not good. Beymer and Wood couldn't inject life into it back then, and neither can Elgort and Zegler.

Ironically, just like with the original, it is the side characters the ones that end up being more interesting, and the ones that steal the show. David Alvarez and Ariana DeBose are electric as Bernardo and Anita, but it is Mike Faist the one that stands out for me as Riff, the leader of the Jets. He brings a tragic pathos to the character that no one has; something that is exemplified by the above quote.

But this also happens to put in perspective my other issue with the film (something that's present in the original as well), and that's the fact that as much as the filmmakers try to bring balance to the story, it can't help but lean towards the Jets. The film starts with the Jets, the focus stays mostly on the Jets, the characters that are most fleshed out are Jets, and the one that gets the "tragic coda", at the hands of a Latino, is a former Jet.

To be fair, Spielberg's direction is masterful and the cinematography by Janusz Kaminski is almost flawless. But a pretty facade doesn't make the underlying structure any less broken. I haven't seen the original play, but the fact that all this issues that were present in the 1961 version are just transposed to this one, brings me back to my initial question: why?

Grade: 2.5

Thief

03-18-22, 04:47 PM

THE GODFATHER
(1972, Coppola)
Freebie

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

"It's not personal, Sonny. It's strictly business."

That's how Michael Corleone (Al Pacino) tries to convince brother Sonny (James Caan) about carrying out an attempt against those that tried to kill their father, and it's a line that's frequently repeated throughout the film: it's not personal. It's business. But the statement couldn't be further from the truth, especially when we're talking about an attempt on your father for leading what's even described as "the family business".

The Godfather follows that family business, led by Vito Corleone (Marlon Brando), as he tries to transfer control to one of his sons. But rising tension between the reigning families of the city threaten their grasp on power, and puts the reluctant Michael in the middle of the crossfire to handle the business.

For something that's "strictly business", there sure seems to be a lot of it around family gatherings and events. From the opening wedding scene to the closing baptism. Memorable family events that unwind as the Don carries out business. Even when it's under the guise of friendly meetings, everything is a "business transaction". Every seemingly friendly interaction is done with the expectation that the time to pay will come someday.

And that is one of the genius of Coppola's work. Every piece of the puzzle is so carefully placed and builds up to so much more; things that get their payoff here, and things that will flow seamlessly into the sequel. Just like every person has a purpose within the film, as far as the Don is concerned, every character serves a carefully planned purpose for Coppola, and pretty much every actor delivers flawlessly.

In a climatic confrontation in the second half of the film, Michael is trying to "buy out" casino owner Moe Greene, as he schemes to move the business to Las Vegas; something that has ripple effects in the sequel. When Greene refuses, Michael says "is that why you slapped my brother around in public?" Once again, is it personal, or strictly business?

Grade: 5

SpelingError

03-18-22, 08:54 PM

Never heard of it.

Chypmunk

03-19-22, 04:11 AM

Great movie. Great couple of movies in fact.

Thief

03-21-22, 12:10 AM

For anyone interested, I got back again with my friend Brian Skutle to talk about The Godfather on his podcast, Sonic Cinema. If anyone wants to listen, here's the link:

Sonic Cinema, Episode 104 - Discussing The Godfather (http://sonic-cinema.com/2022/03/episode-104-discussing-the-godfather/)

Hope you enjoy the discussion and my ramblings!

StuSmallz

03-21-22, 02:04 AM

THE GODFATHERWhile I've always understood why so many people love The Godfather (because of course I do), it's still my top pick for movies I'm "supposed" to love, but just don't, as you can see here. (https://letterboxd.com/stusmallz/film/the-godfather/) Like Peter Griffin once said, it feels like a movie that "insists" upon its greatness, which is something I went into more detail about in this old post I made about the Statue Of Liberty shot:

https://i.ibb.co/ZRrFnG4/mwlr4an.jpg (https://ibb.co/MyHtYZw)

Taking a look at the shot in the "leave the gun, take the cannoli" scene in the original film, I have to say that, while certainly not a bad piece of cinematography (did that film actually have any?), the contrast of the bloodiness of a gangland execution in the middle with the ideals represented by Statue in the background still strikes me like the film is trying to be too "clever" about fitting in some visual irony, and the juxtaposition honestly feels somewhat amateur-ish to me. I feel like the shot would've worked better without the Statue, as you'd still have the contrast of the field of wheat swaying peacefully in the wind, placed against a guy getting his brains blown out, and, while the shot certainly reinforces the film's theme of shining a light on the dark side of the American dream, it doesn't strike me as any more effective or appropriate than the much-derided "Super Jesus" shot in Man Of Steel, and it sticks out as the foremost representation of my main complaint with The Godfather feeling like it was trying to force itself to put on the "skin" of a great film, rather than letting that greatness occur more naturally.

Thief

03-21-22, 02:21 PM

Ooof, I really think that shot is a perfect example of a director using simple visuals to present its "thesis". I don't think it's that in-your-face, or at least not as much as if Paulie was shot at the foot of the Statue and the camera tilted upwards, or as if a rat was seen walking across a window sill :laugh: That said, I remember not really paying attention to the Statue the first one or two times I saw the film. Of course, I wasn't that deep into films as I am now, but it's a shot I've seen being analyzed *a lot* since for those very same reasons, which makes me wonder if it is more an issue with the over-analysis of the shot than it is with the shot itself.

Thief

03-23-22, 02:35 PM

BABY FACE
(1933, Green)
A film from the 1930s

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

"A woman, young, beautiful, like you, can get anything she wants in the world. Because you have power over men! But you must use men! Not let them use you."

Baby Face follows Lily Powers (Barbara Stanwyck), a young woman determined to "get anything she wants in the world". The film follows her journey from her father's speakeasy in Pennsylvania to the upper echelons of the Gotham Trust bank; a journey she achieves specifically by sleeping with different men. From the hiring employee at the bank to the vice-president, and others in between.

Released during the Pre-Code era, Baby Face is one of the most notable examples of what the Hays Code fought against, like "inference of sex perversion". The above is the advice given to her by a friend, after seeing her grow up being pimped by her own father, and constantly harassed by his clients. This sets her eventual move to New York City, where we see the lengths she's willing to go to achieve her goals.

From a historical and contextual point of view, it's really interesting to see a film's attempt to push the boundaries set by the system, and Stanwyck revels in the role. She manages to build a compelling character that even if you don't condone her actions, you understand where she's coming from and the reasons for what she's doing what she does. The supporting cast is effective, but this is Stanwyck's show all the way.

I still think they wrapped things in too neat a bow in the end. The whole last act felt too conveniently played for Lily. In the version I saw, things ended a bit too well for Lily, and I think I would've preferred a bleaker ending. As much as I like to see a woman flip the tables on the male-centric manipulation of the times, that doesn't make her actions any better and I feel like the way things unfolded, there was little to no consequence to it all.

Grade: 3.5

Thief

03-26-22, 10:08 PM

Hey babes, in case you all need something to prepare for tomorrow's Oscar night, here's the latest episode of The Movie Loot - Episode 57. In this one, I'm joined by Samuel and Rance, hosts of The Envelope Please, a podcast dedicated to the Oscars. We talked a bit about Oscar history, the ceremony, as well as predictions for this year. We close the interview sharing our Top 5 Oscar-winning performances!

The Movie Loot 57: The Oscars Loot (with Samuel and Rance from The Envelope Please) (https://www.buzzsprout.com/850063/10320543-the-movie-loot-57-the-oscars-loot-with-samuel-and-rance-from-the-envelope-please.mp3?download=true)

Remember you can also check it out on Spotify (https://open.spotify.com/episode/69YIY80HgUPusBnWwbc556?si=84505f7249854964), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-57-the-oscars-loot-with-samuel/id1578191119?i=1000555317383), and all the main podcast platforms. Thanks for the support!

Thief

03-27-22, 05:21 PM

ENCANTO
(2021, Bush & Howard)
A film with a title that starts with the letters E or F

https://i.imgur.com/Yg402t1.jpg

"I wish you could see yourself the way I do. You are perfect just like this. You're just as special as anyone else in this family."

That's the way Julieta (Angie Cepeda) tries to comfort her daughter, Mirabel (Stephanie Beatriz), and reassure her that she's just as valuable as anyone else in the family. But how can she feel that way when everybody around her is lifting boulders, shape-shifting, talking with animals, or controlling the weather?

Encanto follows the Madrigal, a Colombian family led by matriarch Alma (María Cecilia Botero) and settled in the rural titular town. What sets them apart is that at some point in their lives, each member of the family receives a magical gift in a ritual led by Alma; except for Mirabel. This creates disillusionment and resentment in Alma and low self-esteem in Mirabel, because why shouldn't he receive a gift?

Just like with the Madrigal family, there are a lot of strengths and a lot of weakening flaws in it. The main flaw is that the story is a bit of a mess, and the way everything unfolds, sending Mirabel into a quest to find the problem with the house and the family just doesn't make a lot of sense. But at least it's set to some banging music.

And that's probably the main strength of the film. Written by Lin-Manuel Miranda, pretty much every song in it is a catchy banger. From the opening beats of "The Family Madrigal" to the mournful sentiment of "Dos Oruguitas", with the song about Bruno in between (shhh!) Anyway, despite the flaws in the story, it's still a fun ride. The voice cast is also pretty solid and the animation is amazing.

Grade: 3

Thief

03-27-22, 07:11 PM

MIDNIGHT COWBOY
(1969, Schlessinger)
A film from the TSPDT 1,000 Greatest Films list whose ranking includes the #3 (#336)

https://i.imgur.com/Blg9SkD.jpg

"Uh, well, sir, I ain't a f'real cowboy. But I am one helluva stud!"

That's the "letter of presentation" of Joe Buck (Jon Voight), a Texan dishwasher that leaves everything behind and moves to New York City with illusions of becoming a male prostitute. But success on any field requires more than illusions and a change of scenery.

Midnight Cowboy follows Buck's journey as he struggles to make ends meet. We don't get a lot of background on him and why he decided to follow this path, but coming from a rural town, you get the idea that he probably was a "big fish in a small pond". However, moving to the biggest city in the US certainly puts him in a much bigger pond; one that he has trouble navigating in.

At some point, he meets "Ratso" (Dustin Hoffman), a street con man, and despite a shaky start, they quickly become friends as they both struggle to survive in the harsh environment of the Big Apple. Buck is naïve and perhaps not that clever, while Ratso's health is quickly deteriorating, and both performances successfully convey the sadness beneath their exterior surfaces.

I have to say that this film was absolutely nothing like I was expecting. Based on its reputation because of its rating and the few promotional pictures I had seen, I was expecting something more... aggressive and cold. But what I got was a tragic and heartfelt look at the unlikely friendship between these two men looking for literal and figurative warmth.

Grade: 4

Thief

03-30-22, 05:13 PM

CODA
(2021, Heder)
A film directed by a woman

https://i.imgur.com/BA8RMUc.jpg

"Let them figure out how to deal with deaf people"

CODA follows Ruby (Emilia Jones), the only hearing member of her family of fishermen in Gloucester, Massachusetts. An outcast at school, Ruby enlists in the school choir so she can be close to her crush, but this in turn sparks her love for music and her desire to audition for Berklee. But how will that affect her family? will she be willing to leave them to follow her passion?

I saw this film about two weeks ago, but it's interesting to write this days after it won Best Picture, Best Screenplay, and Best Supporting Actor Oscars. A small budget film, with no "big stars" and no "big bangs" to it, ended up winning three of the biggest film awards, including the top prize. Take from that what you may.

Through most of its course, I was more or less unimpressed by the film, even though I was enjoying it. Even though the aspect of a child growing up in a deaf family was interesting and refreshing, the coming of age angle was more or less formulaic and cliché. But once I settled in what it was going for, and I focused on the emotions, it got to me. Towards the last act, I was bawling my eyes out, especially with one scene between Ruby and her dad, Frank (Troy Kotsur).

Praise has to be given to the director and producers, but most notably to actress Marlee Matlin, who insisted in the casting of actual deaf actors. Not only does it do a great job of pushing forward representation for the deaf community in film, but it also gives an authenticity to the performances and what is happening. Kotsur won a well-deserved Oscar, but everyone else does a great job; from Matlin to Daniel Durant as Leo, Ruby's brother.

There is a moment towards the end where Ruby is struggling with the decision of leaving her family. During a moment of anger, Leo lashes out at her with the above quote. They don't need "help" to handle themselves; but everybody else that needs to figure out how to deal with them. Hopefully, this can be a message to Hollywood and audiences everywhere.

Grade: 4

Thief

04-02-22, 07:15 PM

BELFAST
(2021, Branagh)
Freebie

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

"...the whole family looks out for you. And wherever you go and whatever you become, that'll always be the truth. And that thought will keep you safe. It'll keep you happy... Will you remember that for me?"

Set in 1969 Ireland, Belfast follows Buddy (Jude Hill), a 9-year old kid growing up during the beginning of "The Troubles". With tensions rising in the country, the kid has to deal with the usual hardships of growing up as well as the threats of violence in the streets, and the possibility of having to leave the country.

The film was written by Kenneth Branagh, and is a semi-autobiographical film, since he had to grow up in the same situation as Buddy. Branagh and his parents left Belfast and settled in England. Despite this, he still considers himself "Irish". One of the main struggles of the film's character is their reluctance to leave their country, Because of this, the film feels cathartic in its attempts to reconcile himself with this decision.

The film follows Buddy's point of view, so there's a certain childlike and sometimes surreal vibe to the events of the film. For the most part it works, but there are certain points where it falls flat. There's a certain conflict with a local agitator that becomes a focal point towards the end, but ultimately feels forced and tacked on to try to add some tension.

What does work is the family dynamics, especially between Buddy, his mom (Caitriona Balfe), and his grandparents (Ciáran Hinds and Judi Dench). I thought Balfe and Hinds were pretty good in their roles, especially Balfe. She did a great job conveying a certain strength mixed with despair in the middle of this chaos; a despair that she tries hard to restrain for the sake of the family. Jamie Dornan, who plays Buddy's dad, was serviceable, but still managed to pull some solid moments.

I thought the cinematography by Haris Zambarloukos and the direction by Branagh were a highlight. I loved the way certain shots were framed and composed, and there were certain moments when the camera movement was pretty cool. Branagh also decides to bookend the film with modern shots of the city of Belfast, which add to that feeling of love and happiness from the director for his city.

Grade: 4

Thief

04-02-22, 10:32 PM

HALLOWEEN II
(1981, Rosenthal)
Freebie

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

"Samhain isn't evil spirits. It isn't goblins, ghosts or witches. It's the unconscious mind. We're all afraid of the dark inside ourselves."

Halloween II picks up right after the original, as Laurie (Jamie Lee Curtis) is taken to the hospital while Dr. Loomis (Donald Pleasance) tries to find Michael Myers. What he finds out is that Myers is, of course, headed to the hospital determined to kill Laurie, who we learn here is his sister.

Myers is, after all unstoppable, just like this and other slasher franchises that keep lumbering along against all reason and logic. In an attempt to lend some base for the stretch, this film introduces the fact that Michael and Laurie are siblings, that were separated since childhood in order to protect her. This bit of mythology would serve as the foundation of pretty much every Halloween between the standalone third one and the new DGG trilogy.

But aside from that, the film also attempts to introduce some elements of the occult and Druid cults that might or might not have anything to do with how or why Michael is the way he is. Not that it's ever explained here, but it's just tossed around to try to add some creepy atmosphere, I guess.

But even despite those plot devices the film traps itself into, the film still manages to be a somewhat effective sequel. The setting of the dark desolate hospital, as illogical as it might be, adds a lot of atmosphere and mood to everything, and there are some pretty neat kills here and there.

Laurie doesn't get much to do until the end, and most of the new characters are inconsequential, with the exception of Deputy Gary Hunt (Hunter von Leer), who seems to be one of the few with common sense around town. But it is Loomis the one that's at the forefront most of the time, and Pleasance does a pretty good job walking that fine line between obsession and genuine care for Laurie and others.

Halloween would go on to become one of the most prolific and popular slasher franchises out there, with almost every new film being worse than the previous one. This one is indeed, worse than the original, thanks to its more formulaic execution and needless contrivances; but as far as unnecessary sequels go, it's probably as good as it will get for the franchise.

Grade: 3

Thief

04-03-22, 11:42 AM

ATTICA
(2021, Nelson & Curry)
A documentary

https://i.imgur.com/R5AQIAq.jpg

"See what they did at Attica? Forty-two people they killed. The innocent with the guilty."

The above quote is not from this documentary, but from 1975's Dog Day Afternoon, from Sidney Lumet. Most people will quickly associate the name with the chants of Al Pacino's Sonny in the film; "ATTICA! ATTICA! ATTICA!" (it even made the AFI 100 Years, 100 Quotes list), but as far as I know, that was the extent of my knowledge about the prison or the riot that Sonny's referencing and that serves as the basis of this documentary.

Attica chronicles the events surrounding a riot at Attica Correctional Facility in 1971. Sparked by the prisoners requests for better living conditions, it quickly spiraled into a 4-day mess with 40+ hostages and heavy socio-political implications for those involved. The prison had a 75% "black and brown population" at the time, while the guard force was entirely white, and occurring a few years after the civil rights movement, it's expected that racial tension would play heavily into what happened.

To take us in the journey, directors Stanley Nelson and Traci Curry interview former prisoners, employees at the correctional facility, relatives of the hostages, mediators and negotiators, and reporters that covered the event. Not being entirely aware of the events, I really appreciated the way that they unfolded everything until its unfortunate ending. Not every documentary filmmaker has the ability to build up tension as the film progresses, but this is what happens here. You feel the burden of things mounting up, until they inevitably break down.

This documentary was one of five nominated for an Oscar this year, and when Chris Rock was introducing the category, he said something witty about how we "feel smarter" when we watch a documentary. Which is true, in the sense that we're learning something. But more than knowing the facts, I'm glad that we can watch this and be painfully aware of things like this. That we can look back at them, not as a catchy quote, but as a real tragedy that happened and impacted not only the community it happened, and the prison system as a whole, but the individuals that lived it.

Grade: 4

Thief

04-03-22, 11:17 PM

HALLOWEEN III
SEASON OF THE WITCH
(1982, Wallace)
The third part on a film franchise

https://i.imgur.com/bzHnU4J.jpg

"You don't really know much about Halloween. You thought no further than the strange custom of having your children wear masks and go out begging for candy."

Halloween III: Season of the Witch follows Dan Challis (Tom Atkins), a doctor who finds himself in the middle of a deadly plot that involves a mysterious novelty company and its owner, Conal Cochran (Dan O'Herlihy). Dan doesn't know what at first, but something's going down on Halloween night, and it has nothing to do with Michael Myers.

Yes, because in this universe, Myers is just another killer on the TV. Back in the 80s, after "killing" him in the second film, it was the intention to turn the franchise into an anthology series each featuring a different story. Thus came this third installment, the "bastard" child of the Halloween franchise. Needless to say, audiences didn't respond well to the absence of Myers, so this installment was pushed aside, bringing Myers back in the next one, and the rest is history.

I remember seeing this back when I was a kid, and the image of a masked child collapsing while his head melts and all kinds of critters pour out was etched into my brain. I actually thought that was the very ending in my memories, but the truth is that I hadn't gone back to it since the 90s, maybe even the late 80s. So when a podcasting friend brought it up, I thought "why not?" and after watching it now, I thought "why didn't I rewatched this before?!"

Season of the Witch ended up being quite an effective thrill ride. Not only does it ditch the Myers storyline, but also leans more towards some scifi elements (androids) and the occult, than it does to typical slashers, and that angle is more my jam. Putting aside how ludicrous it is that a regular doctor ends up ensnared in all this mess as if he was a detective, the film does a great job of handling tension, creating atmosphere, and building tension, with some neat kills to boot.

Atkins is effective in the lead, even if the romantic angle with the daughter of a patient feels unnecessary. But it is O'Herlihy the one that steals the show as the mastermind behind Silver Shamrock Novelties. Once he enters the plot towards the middle of the film, he owns it as he leads us to its inevitably eerie conclusion.

At one point in Halloween II, Dr. Loomis brings up the "Samhain" festival (the original Celtic "Halloween" celebration, perhaps?) in an attempt to embellish the mythology they wanted to attach to Myers. Here, Cochran brings it up again as he explains the reasoning behind his actions, and it makes a lot more sense in how it's implemented here than it does in the first sequel. It's a pity that the studio didn't decide to follow this formula, going back to the lazier Myers storyline instead.

Grade: 3.5

PHOENIX74

04-04-22, 04:08 AM

HALLOWEEN III
SEASON OF THE WITCH
(1982, Wallace)

It's a pity that the studio didn't decide to follow this formula, going back to the lazier Myers storyline instead.

Yeah, that's how I've always felt. I've always liked Halloween III, and felt like getting Michael Myers back for sequel after sequel after that just killed any creativity that might have been stimulated by having the Halloween films become a franchise showcasing great horror stories like this one.

Thief

04-04-22, 12:09 PM

Yeah, that's how I've always felt. I've always liked Halloween III, and felt like getting Michael Myers back for sequel after sequel after that just killed any creativity that might have been stimulated by having the Halloween films become a franchise showcasing great horror stories like this one.

Yeah, I remember kinda liking the premise of Part 4, but there's only so much you can do with the same formula and after 7 or 8 parts, it can't help but become a bore.

kgaard

04-04-22, 03:17 PM

March had a lot of family stuff going on, so I only got to four categories. On the bright side, they were all some shade of good.

A film with a title that starts with the letters E or F: The Florida Project (2017) Cinematic examinations of "the poor" are in these days--this is one of the better examples of the subgenre. It doesn't unnecessarily ennoble or sanctify people living in poverty; it just takes us into (then out of, by way of fantasy) their lives with humanity and understanding.

A documentary: Hearts of Darkness: A Filmmaker's Apocalypse (1991) There's maybe nothing truly new to learn here if you're reasonably familiar with the travails of the production of Apocalypse Now, but the background footage (shot in large part by Coppola's wife, Eleanor) tells its own story.

The third part on a film franchise: Spider-Man: No Way Home (2021) My family has been gradually inching back out into a world where Covid is endemic, not pandemic, and this was our second film in a theater (after last year's Shang-Chi, we we were the only ones in the audience) since March 2020. It's a bit overstuffed, as these things tend to be, but it manages the balance pretty well, and it's always fun to see Alfred Molina and Willem Defoe doing their thing.

A film directed by a woman (Int'l Women's Day, March 8): Turning Red (2022) My friend Noah wrote a good piece (https://gideons.substack.com/p/monster-wrap?s=r) on why the movie's central metaphor doesn't really work; nevertheless, there is a lot of fun stuff in the film and while it falls short of recent coming-of-age animation films like Encanto and Moana (a true classic), it has enough value to justify itself.

Thief

04-04-22, 04:43 PM

Thief

04-04-22, 05:21 PM

ROBIN ROBIN
(2021, Ojari & Please)
Freebie

https://i.imgur.com/Iaej9WB.jpg

"I think I'm a terrible mouse"

Robin Robin follows a young robin bird (Bronte Carmichael) raised by a family of mice. As she grows up, her differences start to interfere with their ability to sneak into "who-man's" houses. However, she is determined to prove to her family that she's not a terrible mouse by stealing a shiny star from a Christmas tree.

This adorable short film was developed by Aardman Animations and uses the same stop-motion animation that they popularized with the Wallace and Gromit series. It also features some great voice work from Richard E. Grant as a friendly magpie that helps Robin, and Gillian Anderson as the cat that threatens her. The main song is also catchy as hell.

Despite a relative short runtime, I love how the short develops the theme of identity and how to make the most of your differences. After all, Robin *is* a bird, but that's not a handicap for her to love her mice family and for them to love her back. Moreover, her journey teaches her how to embrace who she is, while also being a part of her mice family.

Grade: 4

Thief

04-06-22, 11:45 AM

PALM SPRINGS
(2020, Barbakow)
A film with the word "Spring" in its title

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

"We kind of have no choice but to live. So I think your best bet is just to learn how to suffer existence."

Palm Springs follows the relationship between Nyles and Sarah (Andy Samberg and Cristin Milioti), two strangers that meet at a wedding in the titular resort city only to find themselves stuck in a time-loop, endlessly repeating the same day. When the film starts, Nyles has been reliving this day for an undetermined time, but it is when Sarah accidentally gets "sucked in" that things go more or less awry.

The thing is that Nyles had already resigned to live and relive this day until whatever happens, a slave to his fate. Sarah, on the other hand, is reluctant at first to accept this, until eventually, she surrenders herself as well. The above is Nyles' advice to her. But the truth is that we don't have to be stuck in a time-loop to feel either the pressures or comforts of routine.

Early in the film, a friend of Nyles asks about his day to which he casually replies "Today, tomorrow, yesterday, it's all the same." To him, that bears a special meaning. His days are indeed "the same", but to everyone else *not* in a time-loop, days can feel like "the same". We engage in routine and go through the same processes day after day, even to our detriment. We "suffer existence", because we feel like we have no choice.

What Sarah brings to the equation is a desire to break free. She has her own reasons, ones that make this endless loop particularly unbearable for her, because it keeps reminding her of her "worst". But however painful our current "routine" is, it's not easy to step away from our "comfort zone", so we "learn how to suffer existence".

It takes real skill to take such a niche premise (being stuck in a time-loop) that has already been done so well previously (Groundhog Day and Source Code), and still find a way to do something that feels genuine and fresh. But that's what director Max Barbakow and writer Andy Siara have done with this. Their melancholic and profound approach to the premise strikes a perfect balance between heavy and light.

Samberg and Milioti seem also like a perfect fit, with the former perfectly embracing that carefree attitude that Nyles has in the first half, while Milioti does so much with her eyes and body language as she moves from chaotic desperation to deep regret, and everything in between. The cast is rounded out by the always excellent J.K. Simmons as yet another person that's accidentally sucked into the time-loop.

There are some small things, especially regarding some side characters that felt a bit forced, but other than that, I thought this was a very, very good romcom. One that manages to be earnest and sincere, while also being thought-provoking and profound, in how it illustrates the burden of routine, and that sometimes the best choice to get out of it is to blow things up and let the chips fall where they may.

Grade: 4

Thief

04-06-22, 12:30 PM

ROMERO
(1989, Duigan)
A film with Raúl Juliá

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

"No soldier is obliged to obey an order contrary to the Law of God. In His name and in the name of our tormented people who have suffered so much, and whose laments cry out to heaven: I implore you! I beg you! I *order* you!"

Set in the early years of the Salvadoran Civil War, Romero follows the life of Oscar Arnulfo Romero (Raúl Juliá). Despite being traditionally conservative, Romero became a very ardent and vocal critic of the military regime after being appointed archbishop, organizing peaceful protests and speaking against social injustice and violence in the country.

The film shows many of the events that led to Romero's shift, particularly the assassination of Father Rutilio Grande, a close friend of his, along with three other civilians. This, and many other human rights violations build up the anger and frustration in Romero. This is neatly portrayed by Juliá, whose performance, although a bit stagey, has the necessary emotion to convey those feelings.

My biggest complain is that this is a film that needed more time to properly develop. At roughly 100 minutes, the plot feels abridged, many of the events feel rushed, and a lot of the supporting characters end up underserved. This, in turn, strips off most of the emotional attachment one could have to the different stories in the film.

But as a vehicle for Juliá to show of his acting skills, this was definitely what I was looking for. Juliá starts the film by portraying Romero as restrained, and maybe even afraid of consequences. And although the shift from that to the ardent protestor he ends up as in the second half might feel abrupt, Juliá makes the most of it. This only serves to remind me of how great an actor he was, and how tragic it was to lose him.

Grade: 3

Thief

04-06-22, 01:15 PM

PHOTOGRAPHS OF A SCHOOL TEACHER
(2013, Hasan)
A film from Bangladesh

https://i.imgur.com/9JUzST5.png

"Camera takes us closer to each other ... to the time that belongs far away. Closer to everything."

Photographs of a School Teacher is a short film from Bangladeshi filmmaker Mahde Hasan. With a runtime of roughly 7 minutes, it is comprised of a set of images and vignettes focused on his mother. Most of the images are from her youth, and Hasan's focuses on her demeanor as she examines them.

During the first minutes, the short establishes two things: first, that there is an "emotional distance" between Hasan and his mother, and second, that there's a sadness in her that wasn't there when she was young ("when I was young and used to take photos, then life was pleasurable... but now, I don't feel like that"). And although the reasons are never clearly established, you can feel the burden of time and regret in her.

The short takes its time to focus on her weary face and her wrinkled hands, as it moves through brief episodes of her life through these pictures; her sisters, her life in college, marriage. All showcasing a certain sadness about things that were and things that could've been. There's not much else to it, but it is a visually interesting short that carries significant emotion, and makes you feel "closer to each other".

Grade: 3

Thief

04-06-22, 01:16 PM

In case anyone's interested...

https://vimeo.com/68468409

kgaard

04-06-22, 01:53 PM

I do wish I had gotten to a Raul Julia film (I mean, I still will at some point, of course). His early death was a real loss for cinema.

Thief

04-06-22, 01:57 PM

¡THREE AMIGOS!
(1986, Landis)
A film with the number Three in its title

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

"Wherever there is injustice, you will find us. Wherever there is suffering, we'll be there!................... Line!"

"*ahem* Wherever liberty is threatened, you will find... the Three Amigos!". At least that's what they sell in their silent film's dialogue. But when Carmen (Patrice Martinez), a Mexican villager mistakes their film for the real thing, she requests their help to rid the village of Santa Poco from the threat of El Guapo (Alfonso Arau) and his gang.

The Three Amigos (Steve Martin, Chevy Chase, and Martin Short), in turn, think they are being hired for a performance. Coming right after they've been fired by the studio boss, the opportunity to earn some "easy money" seems enticing enough. But after finding out the threat is real, they have to figure out how to use their "limited" abilities to help the town of Santa Poco and therefore uphold their reputation.

This is a film I remember seeing and loving back when I was a kid. I still remember me and some friends joking about the different sketches and setpieces in it. However, for some reason I hadn't revisited it in probably 20-25 years. Being in need of something breezy and light, it seemed like the perfect time to go back to it.

Predictably enough, what holds the film together are the performances and chemistry of the the three leads, and in that respect, they totally deliver. All three play extremely well off each other. They are also helped by a hilarious script by Martin himself, along with director John Landis and singer/composer Randy Newman. It is one of those scripts where they keep throwing things at you and fortunately, a lot of them hit the mark.

If anything, there are some characters introduced that end up being somewhat unnecessary (the German pilot and the German gun smugglers) and many of the bits feel like ultimately inconsequential vignettes in the actual story, like "The Singing Bush" and "The Invisible Swordman", to name a few. But they are so funny and the execution of the trio is so good, that you kinda forgive it.

I always had fond memories of watching this film and trading stories about it with my school friends back in the day. It was good to see that despite all the years that have passed, wherever there is sadness, wherever happiness is threatened, I can still rely in the Three Amigos!

Grade: 3.5

Thief

04-06-22, 02:04 PM

I do wish I had gotten to a Raul Julia film (I mean, I still will at some point, of course). His early death was a real loss for cinema.

Definitely. Also, being a Puerto Rican myself, I'm always ashamed that I'm not as familiar with most of his films as I should be. Other than Romero, I've only seen...

Kiss of the Spider Woman, which I saw a couple of years ago. Him and William Hurt are fantastic.
Presumed Innocent, which I saw back in the early 90s and vaguely remember, if at all.
The Addams Family, see above. Never even saw the sequel. Not sure why, cause I liked the first one.
Street Fighter, unintentionally hilarious, but he's clearly the best thing in it.

I will definitely try to catch up with more.

Thief

04-06-22, 04:37 PM

FINALLY!! My end-of-month summary for MARCH 2022:

A film with the number 3 (Three, Third, etc.) in its title: Three Amigos! (https://www.movieforums.com/reviews/2293819-three-amigos.html)
A film with a title that starts with the letters E or F: Encanto (https://www.movieforums.com/reviews/2291209-encanto.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #3 (i.e. 12, 73, 834): Midnight Cowboy (https://www.movieforums.com/reviews/2291223-midnight-cowboy.html) (#336)
A film from the 1930s: Baby Face (https://www.movieforums.com/reviews/2290366-baby-face.html)
A documentary: Attica (https://www.movieforums.com/reviews/2293065-attica.html)
The third part on a film franchise: Halloween III: Season of the Witch (https://www.movieforums.com/reviews/2293224-halloween-iii-season-of-the-witch.html)
A film featuring the word "Spring" in its title: Palm Springs (https://www.movieforums.com/reviews/2293776-palm-springs.html)
A film directed by a woman (Int'l Women's Day, March 8): The Power of the Dog (https://www.movieforums.com/reviews/2288977-the-power-of-the-dog.html), CODA (https://www.movieforums.com/reviews/search/any/higher/any/Thief/highlights=2292338,)
A film with Raúl Juliá (born March 9): Romero (https://www.movieforums.com/reviews/2293785-romero.html)
A film from Bangladesh (Independence Day, March 26): Photographs of a School Teacher (https://www.movieforums.com/reviews/2293797-photographs-of-a-school-teacher.html) (short film)

Freebies: The Tragedy of Macbeth (https://www.movieforums.com/reviews/2289498-the-tragedy-of-macbeth.html), Nightmare Alley (https://www.movieforums.com/reviews/2289508-nightmare-alley.html) (2021), West Side Story (https://www.movieforums.com/reviews/2289526-west-side-story.html) (2021), The Godfather (https://www.movieforums.com/reviews/2289570-the-godfather.html), Belfast (https://www.movieforums.com/reviews/2292991-belfast.html), Halloween II (https://www.movieforums.com/reviews/2293004-halloween-ii.html) (1981), Robin Robin (https://www.movieforums.com/reviews/2293400-robin-robin.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/dUNRnhl2cwjFJ6TOsaPJmZeMZ0S.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/4j0PNHkMr5ax3IA8tjtxcmPU3QT.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ckklq45UxUkwgHve9xItXqXr06r.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ul4BLZAXepOQRwUtORmvEpZ4KW4.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/8dpc49O7G9B0y2crRbI7hHtbQzB.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/yUn3WykhnzkHoWWzf1ziSVcWGQp.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/yf5IuMW6GHghu39kxA0oFx7Bxmj.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/kEy48iCzGnp0ao1cZbNeWR6yIhC.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/BzVjmm8l23rPsijLiNLUzuQtyd.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/pne4hpSj07UHcVbqeYPjXHokoNd.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/xnJ8lPhsamTKKoozAIiJ58LnFGS.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/eWnDaPkOe0ISpkDgwnfidQoMfX2.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/680klE0dIreQQOyWKFgNnCAJtws.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/yfz3IUoYYSY32tkb97HlUBGFsnh.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/3bhkrj58Vtu7enYsRolD1fZdja1.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/3mInLZyPOVLsZRsBwNHi3UJXXnm.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/xyBX7rFmNB4nM2RBW3042RQPFG2.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/bKIdlJbd17rrIm4oZzhXTbmqpon.jpg

I almost bit more than I could chew with that stretch of Oscar-nominated films I did at the beginning of the month, but still managed to finish on time. Lots of solid, good films, but if I were to pick a favorite, I wouldn't know. I have eight sorta bunched up in the 4 stars realm, but right now, the one that has kinda stuck out with me is weirdly Palm Springs.

As for weakest, that would be West Side Story, but I really don't think I saw anything bad this month.

Thief

04-06-22, 05:43 PM

And finally, my categories for APRIL 2022

A film with the number 4 (Four, Fourth, etc.) in its title:
A film with a title that starts with the letters G or H:
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #4 (i.e. 14, 401, 943):
A film from the 1940s:
A drama film: The Secret of Roan Inish
A Biblical film (Easter):
A film based on a book (National Library Week): My Dog Skip
A film about the environment (Earth Day, April 22):
A film from Senegal (Independence Day, April 4):
A film with Jackie Chan (born April 7):

kgaard

04-06-22, 05:53 PM

Definitely. Also, being a Puerto Rican myself, I'm always ashamed that I'm not as familiar with most of his films as I should be. Other than Romero, I've only seen...

Kiss of the Spider Woman, which I saw a couple of years ago. Him and William Hurt are fantastic.
Presumed Innocent, which I saw back in the early 90s and vaguely remember, if at all.
The Addams Family, see above. Never even saw the sequel. Not sure why, cause I liked the first one.
Street Fighter, unintentionally hilarious, but he's clearly the best thing in it.

I will definitely try to catch up with more.

I've only seen The Addams Family and Presumed Innocent, so yeah, I've got even more catching up to do!

StuSmallz

04-07-22, 01:16 AM

I do wish I had gotten to a Raul Julia film (I mean, I still will at some point, of course). His early death was a real loss for cinema."Heh heh, see guys, I thought he was Puerto Rican; I didn't know he was Cuban!":
h ttps://www.youtube.com/watch?v=UVo0dyjnWYo&t=507s

kgaard

04-07-22, 10:42 AM

Huh, I seem to recall a poster at (I think) Rotten Tomatoes who went by the name Aram Fingal. Now I know where that's from!

Thief

04-07-22, 11:08 AM

"Heh heh, see guys, I thought he was Puerto Rican; I didn't know he was Cuban!":
h ttps://www.youtube.com/watch?v=UVo0dyjnWYo&t=507s

"Cube-an!" Get it? Because his face is in a cube *snorts* :laugh: :facepalm:

Thief

04-08-22, 01:36 PM

MY DOG SKIP
(2000, Russell)
A drama film • A film based on a book

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

"I was an only child. He was an only dog."

Dogs are man's best friend, they say. But there's also a rather profound bond between a child and a dog. I had two dogs during my childhood and youth; one that we got when I was like 8, and another one we got when I was around 18, and I loved both very much. Dogs are unrelenting friends, and for a kid that's having a hard time blending in and making friends, that's something infinitely valuable.

My Dog Skip follows such a friendship between lonely outcast Willie Morris (Frankie Muniz) and Skip, the friendly Terrier that his mother gives him for his birthday. Willie's father (Kevin Bacon) is a well-intentioned, but stern veteran that lost his leg in the war, who seems unable to connect with his son or comfort him as he's bullied. So the bond with Skip comes to fill a certain void in the kid.

The film is based on a book written by the real Willie Morris, an author who wrote numerous books. In My Dog Skip, he recollects of the impact the dog had on his life, his family, and the town they lived in. Unfortunately, the film skims over many of the more interesting aspects, like the effect of war on certain characters, or the racial situations in the town. Granted, it is supposed to be told from the perspective of a child, but I still think they could've done a better job.

When it comes to the focus of the story, which is the relationship between Willie and the dog, the approach might be too sappy and melodramatic for some tastes, with several crucial and emotional moments lacking any subtlety, with swelling score and slow motion. In focusing on that relationship, it underserves what I thought were more interesting and important human relationships between Willie and his dad, his friends, his girlfriend, and the traumatized veteran that lives next door (Luke Wilson).

But again, the focus is the relationship between the kid and the dog, and I do think it succeeded in showcasing how important that bond is. I know, because it brought back fond memories of the times when I had a dog. The dog I had when I was 18 – Lady – stayed with us for 12 years. My then-girlfriend gave her to me when she was a newborn puppy, much to the chagrin of my mom, who had swore she didn't want another dog after losing our previous one (the one we had when I was 8).

But much like Skip, Lady earned her place, and my mom eventually came around. When I married at 29 and moved out of home, Lady stayed with my mom. Much like Skip, she started having some health issues, and died at 12 years old, while I was away. Even though I wasn't an only child, when I got her, I was the only one still at home, so we were kinda "only child, only dog" as well. With all its flaws, the film fondly reminded me of those times, so what more can I ask?

Grade: 3

Thief

04-14-22, 11:57 AM

THUNDER ROAD
(2018, Cummings)
Freebie

https://i.imgur.com/tM9dWba.png

"I don't know what I'm doing anymore."

Thunder Road follows Jim Arnaud (Jim Cummings), a police officer in a small town struggling with a number of issues; the potential divorce from his wife, the rejections from his young daughter, and the recent death of his mother, which is what the film starts with and sort of what frames the events of the film, to the point that he feels like he doesn't know what he's doing anymore.

This project started when Cummings released a 2016 short film of the same name, that features Arnaud offering an awkward eulogy at his mother's funeral. The short film, which lasts 13 minutes, is done with a continuous shot. As part of his eulogy, Arnaud tries to awkwardly dance and sing Bruce Springsteen's "Thunder Road", which was one of his mother's favorite songs. It is such an odd scene in how it balances comedy and drama, but somehow it works.

Cummings manages to sustain that same vibe in the feature film, opening with the same funeral scene (with some slight but key differences), but expanding it to see all the issues that are plaguing Jim's life. Despite being a decorated and seemingly respected officer, his life is crumbling around him, leaving him powerless and not sure of what to do. There are also hints at potential mental health issues that, even if not explored at all, are apparently there.

But that is where the film's strength is. As both writer, director, and actor, Cummings succeeds in transmitting those feelings of mental instability, anxiety, insecurity as a parent, frustration, bottled up anger, the uneasiness of things unraveling, the impotence against circumstances and not knowing what to do. Even if I'm not going through all the issues that Jim is, I can certainly identify with a lot of those feelings.

Again, there is skill in how Cummings walks that fine line between drama and comedy, and how he makes us feel for Jim. His direction is confident and purposeful, with a couple of long takes that are not necessarily done for technical flash, but rather to let the emotions of Jim build up. Aside of the opening funeral scene, there is a really good one where Jim has an emotional breakdown on a parking lot.

There are some things that seemed unnecessary, like some exchanges with a young teenager that Jim tries to help stay away from trouble, and other things that I think could've been explored a bit more, especially regarding his wife. But there's a good anchor with Jim's relationship with his young daughter (Kendal Farr) and his friendship with his partner (Nican Robinson). Jim Arnaud might not know what he's doing, but Jim Cummings certainly is.

Grade: 3.5

Yoda

04-14-22, 12:20 PM

Thief

04-14-22, 12:26 PM

Thief great review (great last line, in particular). I'm not sure if you've seen his other stuff (two other features, one released recently), but if not, you're basically guaranteed to like it. He's got a distinct vibe, obviously, and if it works for you it always works for you.

I've heard good things about Snow Hollow, but I didn't even know it was from him until last week when I saw this. I'm gonna bump that up in my queue.

Thief

04-17-22, 01:03 PM

Better late than never. I finally dropped Episode 58 of The Movie Loot, where I talk a bit about the Oscars aftermath, except the slap! and also some thoughts on all the films I saw during March.

The Movie Loot 58 - The Oscars Aftermath / March Loot (https://www.buzzsprout.com/850063/10429135-the-movie-loot-58-the-oscars-aftermath-march-loot.mp3?download=true)

I try to put the spotlight back on some of the winners and milestones of Oscar night. After that, I go on with my quick thoughts on everything else I saw during the month. Hope you can check it out!

Remember that you can also listen to the show on Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-58-the-oscars-aftermath-march-loot/id1578191119?i=1000557730438), Spotify (https://open.spotify.com/episode/0fsr6KVULS8oTcPhr76I1B?si=02167d4b1f2949a0), and most podcasting platforms.

Thief

04-17-22, 01:07 PM

I was also invited again to join the Cinematic Council of Podcasts, led by Best Film Ever Podcast, along with Kevin (The Podcast that Wouldn't Die) and Stewart (Stew World Order).

The Cinematic Council of Podcasts - The Oscars, Will Smith & Summer Preview 2022 (https://open.spotify.com/episode/2zzmcKxwuFcR6fbT4SGbs7?si=5a2ffe736cb64ff3)

Here we also talk a bit about the Oscars (and yes, the slap was brought up here) as well as our thoughts and expectations on some upcoming films. Check it out!

Thief

04-18-22, 04:03 PM

THE SECRET OF ROAN INISH
(1995, Sayles)
A drama film

https://i.imgur.com/SACw2zE.png

"Ah, he isn't lost at all. He's just with another branch of the family."

Set in 1946, The Secret of Roan Inish follows Fiona (Jeni Courtney), a young girl who, after the death of her mother, is sent to live with her grandparents near the coast. It is there that she learns about the island of Roan Inish, where the family used to live before the war, as well as the mysterious disappearance of her little brother, Jamie.

This is a film I hadn't heard of before; my experience with John Sayles is limited to Eight Men Out. But I thought it was a pretty solid and charming family film. Most of the performances were good, but I gotta give it to Courtney, who I think did a pretty good job of carrying most of the film on her own.

Still, there are some things as far as the mythology goes that are brushed over or not addressed at all, and the way the plot unfolds feels a bit scattered or meandering. There's a simplicity to how the film operates that can be seen as a strength or a weakness. Sayles' direction is not flashy, but it gets the job done.

I saw the film about a week or two ago, and already there are things that have vanished from my mind. But there's such a gentleness and a charm to its innocence that kinda stays with you. If there's something to it is that I can see myself showing this to my kids when they get a little older.

Grade: 3

Thief

04-19-22, 01:02 PM

TRUE ROMANCE
(1993, Scott)
Freebie

https://i.imgur.com/NI192If.jpg

"If I'm with you, then I'm with you, and I don't want anybody else."

True Romance follows Clarence and Alabama Worley (Christian Slater and Patricia Arquette), a loner and a prostitute that get married after meeting one night. But when Clarence tries to settle things with Alabama's pimp, they find themselves on the run from both the Mafia and the cops.

This is a film I remember seeing and enjoying back in the 90s, but that for some reason, I hadn't revisited in around 20 years. It also features a huge cast that, even though most of them were not big stars yet, it still makes for an interesting and impressive ensemble. From Dennis Hopper, James Gandolfini and Christopher Walken to Brad Pitt, Gary Oldman, and Michael Rapaport, among many others.

The film is written by Quentin Tarantino and is directed by Tony Scott, and it features both their distinctive trademarks of tense yet cleverly written dialogue, as well as excessive hyper-violence and slow motion action scenes. I found myself enjoying the Tarantino-esque bits of it more than the uber-violent excesses of Scott. The scene between Clarence and Drexl (Oldman) is incredibly tense because of the dialogue, and so is the one between Walken and Hopper. It's a pity that Tarantino and Scott had to rely on racism, though. That "punchline" from Hopper is certainly an unfortunate one.

There does seem to be an overload of subplots that seem to be unnecessary or that don't necessarily pay off, like how Clarence and Alabama end up together, or his hallucinations with Elvis, but the parts that hit, hit extremely well. It also requires a good amount of suspension of disbelief not only to believe that a "nerd loner" like Clarence would have the guts to pull off everything he does, but to do it with the bravura that he does.

That mostly falls on the chemistry between Slater and Arquette, both of which make you believe that such different characters could pair up and end up working together so well. Much like Tarantino and Scott, they learn to work around their differences while balancing each other to work around their flaws, resulting in something "so cool".

Grade: 3.5

Thief

04-20-22, 02:09 PM

MAD LOVE
(1985, Żuławski)
Freebie

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

"Here, with you... is not like a movie or in books, where everything is clear... expected, organized, with a clear purpose. Everything is chaos... unexpected, pain, disorder."

That's how Mary (Sophie Marceau) describes things as she struggles with her feelings for two different men. This is not like a movie, where everything is clear, expected, organized, with a clear purpose. Ironically, this is a case where the movie is indeed chaos, unexpected, pain, disorder... and yet, much like Mary, one can't help but be drawn to it.

Mad Love follows Mary's boyfriend, Micky (Tchéky Karyo), a bank robber that, along with his gang, stumble upon León (Francis Huster) and take him under his wing, only to have him fall in love with Mary starting a complicated love triangle. But if that's complicated, so is director's Andrzej Żuławski's approach to the film.

Chaos, unexpected, and disorder are definitely ways that can describe the film. There is a frenetic and chaotic energy to it that can certainly be off-putting. I remember thinking "Wow, this scene is crazy!" as I saw the opening heist, thinking it would be a one-scene thing, and then 20 minutes later realizing "Oh, so the whole film is like this". Much like León, who decides to jump in with the gang and follow them, you have to jump in and surrender to it.

It has been a couple of days since I watched it and, like Takoma said, I'm still not entirely sure that I understood *everything* that happened. Still, there's a mesmerizing quality to the film; a combination of that manic "disorder" and a dance-like harmony to the direction and the actors movements. The performances, especially Marceau, also help you hold your attention.

But being honest, despite some qualities I appreciated, it was a challenge and a bit of a chore to get through. It's the kind of film that I just couldn't vibe with, and I pushed through only to get it done for the Hall of Fame 27. However, I can see myself going back to it again sometime, with a different mindset, and see if everything is clear... expected, organized, with a clear purpose, or if what I get again is chaos, unexpected, pain, disorder.

Grade: 2

Thief

04-22-22, 11:35 AM

I've had a busy month as far as podcasting goes. Last week, I was a guest on two episodes of The Film Effect Podcast. On the first one, I join the host, Ed, along with his daughter Madilyn to talk Jordan Peele's Us, which you can check out here...

Us (2019) w/Carlo from The Movie Loot & Madilyn from Mad-Dad Movie Review (https://www.thefilmeffectpodcast.com/us-2019-w-carlo-from-the-movie-loot-madilyn-from-mad-dad-movie-review/)

And then, I joined the whole Film Effect Podcast crew for one of their FEWERcast episodes, where they discuss recent news, upcoming films, and random recommendations. You can check that one here...

FEWERcast 10 (4-22-22) w/ Carlo from The Movie Loot Podcast (https://www.thefilmeffectpodcast.com/fewercast-10-4-22-22-w-carlo-from-the-movie-loot-podcast/)

I also recorded two more guest appearances for two other shows, but they haven't dropped yet, but I'll share them as they come. Hope you check these out and enjoy them!

Thief

04-22-22, 02:26 PM

DOLORES CLAIBORNE
(1995, Hackford)
A drama film • A film based on a book

https://i.imgur.com/ZIbY0A3.png

"Hell ain't something you get thrown into overnight. The real hell comes on you as slow... and steady as a line of wet winter sheets."

Set in a small island in Maine, Dolores Claiborne follows the titular woman (Kathy Bates) after she is accused of murdering her wealthy yet elderly employer, Vera. The inquiry by obsessive Detective John Mackey (Christopher Plummer) brings Dolores' estranged daughter, Selena (Jennifer Jason Leigh) reluctantly back into the island, which in turn stirs up memories about the death of Dolores' husband and Selena's father 18 years ago.

This is a film I saw some time during the late 1990s, maybe even more than once, and that somehow stuck with me. Not only because of the intrigue of how the story unfolds its mystery, but also because of the dynamics between the "no shit taken" Dolores and the bitter and resentful Selena. Both elements remain probably the most interesting aspects of the film, although rewatching it made me more aware of its flaws.

My first issue is more of a "story" issue (i.e. Stephen King) and not necessarily the film's, but I don't think the whole "Did Dolores murder her employer" angle was either necessary or well executed. I understand it is a way to put us a bit against her and keep us guessing a bit, but I thought there was enough with the mother/daughter conflict and the flashbacks about the father to hold the film, and the flashbacks about the father. Also, as much as I love Plummer, the character of Mackey is not that well written. The final inquiry where he lashes at Dolores only to have Selena swoop in to the rescue wasn't very well written or handled.

Thankfully, Bates is an excellent actress and she puts so much into this character that you can, at the most, feel for her or at the very least, understand where she's coming from as a woman trapped by the circumstances. By contrasting who she was with who she is, we can understand the "real hell" that has come over her slowly. Jason Leigh does her best with an underwritten character, but despite that, her moments with Bates are pretty good, thanks to both actresses. I just wish we could've gotten more inside Selena's mind and her feelings since she's the most vulnerable character after all.

But the focus of the story is Dolores, a tragic character that slowly gets thrown into a figurative hell; from an abusive relationship to the subsequent harassments, suspicions, and humiliations from townspeople, she has seen hell coming at her slowly through the years, and has embraced her role as a "b-itch", perhaps to shield herself. The film is a solid example of two women choosing to finally face that hell, not to automatically fix their lives, but to start to walk away from it together.

Grade: 3.5

Thief

04-22-22, 04:38 PM

US
(2019, Peele)
Freebie

https://i.imgur.com/E63boHt.jpg

Gabe: "Who are you people?"
Red: "We're Americans."

What if a family of creepy doppelgängers broke into your house and stood right in front of you? What would you ask? The above is part of the exchange between the members of the Wilson family as they face their creepy doppelgängers. Red's reply might seem odd and out of nowhere, and it might get a chuckle out of you, but it goes right to the core of one of the main themes of this film.

Us follows the Wilsons as they head to Santa Cruz to enjoy a nice summer weekend. The trip seems to bring up a traumatizing experience that Adelaide (Lupita Nyong'o) had at the same beach when she was a child, where she encountered her doppelgänger. Despite this, they decide to have fun, until they find themselves face to face with their "evil" counterparts.

This is director Jordan Peele's second film, after the wildly successful and critically acclaimed Get Out. If there's one thing evident from both films is that Peele, for better or worse, certainly has a lot to say about a lot of issues in the country. Whereas Get Out seemed to focus mostly on racial issues, Us seems to tackle so much more: from race and class to consumerism and free will, among other things.

The film opens with a text that states that there are "thousands of miles" of abandoned tunnels beneath the US. But pretty soon we realize that it is not only the tunnels that were abandoned, which brings forth the metaphor of a whole strata of people that have been forgotten by the government, society, or whatever. Maybe because of their race, or their income, religion, or any other characteristic.

If it seems like a stretch, maybe a second viewing might help, because I think that this theme, as well as the overall superficiality of American society, and the attempts of each group to pretend their someone or something else to rise above their "level", is all over the film. To make it work, Peele uses a smartly written script that cleverly balances comedy and horror, a deliberate and meticulous direction where everything seems to have a purpose, and excellent performances from pretty much all his cast, most of which have to inhabit two characters.

But special credit goes to Nyong'o, who fills both her characters with such unique intricacies. From Adelaide's seemingly affable and good-natured persona that's hiding this dread and fear that you can feel inside her, to Red's confidence and determination, despite being abandoned and discarded, to crawl back up to make her statement. The line delivery, the way Nyong'o uses her voice and physicality for each is just amazing.

One can say that the metaphor and social commentary of the story ends up being more important than the logistics of how the reality that the film is presenting would work or make sense in the real world. But that's the statement that Peele wants to make, and I love how it works on so many levels. It's funny and terrifying, intriguing and thrilling, but also deep and thought-provoking.

Grade: 5

Thief

04-22-22, 10:28 PM

MAGICAL GIRL
(2014, Vermut)
Freebie

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

"And what are bullfights? The representation of the struggle between instinct and technique, between emotion and reason. We must accept our instincts and to learn to struggle with them as if they were a bull, so that they do not destroy us."

There is indeed an interesting contrast between the finesse and technique of a bullfighter, and the relentless and angry bull that charges at him with nothing more than instinct. The bullfighter dances, the bull lunges. More often than not, the bullfighter succeeds in avoiding the attacks of the bull. But sometimes... the technique, the finesse, the reason fails, and the instinct that we tried so hard to dance around and toy with succeeds in destroying us. That is a snapshot of what happens to most of the characters in this Spanish film

Magical Girl follows three separate characters, each with different instincts, emotions, and struggles. There is Luis (Luis Bermejo), the unemployed teacher that is determined to buy an expensive anime dress for her terminally ill daughter. Then there is Bárbara (Bárbara Lennie), the mysterious and enigmatic woman that seems to be recovering from something while trapped in a problematic marriage. Finally, we have Damián (José Sacristán), a former teacher that seems to be suffering the consequences of letting his instincts take over.

The film presents the three storylines separately, but eventually converges them in a tragic collision course where reason fails and instincts succeed. Directed and written by Carlos Vermut, he uses a cold and distant approach to the camera, but does so with undeniable skill. There is a careful selection of what to show, when to show it, and how to show it, which heightens the tension and builds the atmosphere of dread that surrounds every character, where you're sure no one will probably succeed.

Much like the bullfighter, Vermut uses his technique to dance around certain moments on the film while toying with certain revelations. The restraint he shows to avoid the desire to explain too much or show too much is impressive. This is the first film of his I've seen, but I'm sure I will try to check out more of his work.

Grade: 4

PHOENIX74

04-22-22, 11:45 PM

US
(2019, Peele)
Freebie

One can say that the metaphor and social commentary of the story ends up being more important than the logistics of how the reality that the film is presenting would work or make sense in the real world. But that's the statement that Peele wants to make, and I love how it works on so many levels. It's funny and terrifying, intriguing and thrilling, but also deep and thought-provoking.

Those logistics. The first time I watched Us I was blasted right out of the story the first time all the revelations come at the end, thinking "How on Earth is that even possible?" It's clearly not possible - but why be restricted by what's possible when a film can exist as an artform that explores social issues? I agree with you, but at the same time it still bothers me for some reason. That leap into absurdity it takes. It's a measure of how good this film is that I still rate it highly, despite that one issue it has for me.

Thief

04-23-22, 12:02 AM

Those logistics. The first time I watched Us I was blasted right out of the story the first time all the revelations come at the end, thinking "How on Earth is that even possible?" It's clearly not possible - but why be restricted by what's possible when a film can exist as an artform that explores social issues? I agree with you, but at the same time it still bothers me for some reason. That leap into absurdity it takes. It's a measure of how good this film is that I still rate it highly, despite that one issue it has for me.

Something I argued on the podcast episode that I linked above is how many films, horror films and others, take the same approach. Consider Halloween and how it presents us with a man that is able to take multiple hits, stabs in the face, and finally six gunshots, and still stand up again. Why? Because he's supposed to symbolize an unstoppable presence, this evil that just won't go away. Even if it's not possible that a man would sustain that damage, the metaphor of the story takes over. So I'm more than willing to suspend my disbelief about underground dwellers coming to the surface to make a human chain if it does so in a way that's well crafted, entertaining, and thought-provoking.

Thief

04-23-22, 12:17 AM

DEMONS
(1971, Matsumoto)
Freebie

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

"This world is a sea of blood"

The above text appears as the lead in the very final scene, but it is an accurate description of not only what will happen in the last 15 minutes, but what has preceded it too. Set in the Edo period, Demons follows Gengobe (Katsuo Nakamura), a disgraced samurai that's determined to take revenge against the geisha that betrayed him (Yasuko Sanjo) and her husband (Juro Kara).

This is a film I knew nothing about, so I was very much surprised by how much horror it was; the aforementioned "sea of blood". The thing is that Gengobe is haunted by visions or hallucinations, "demons" perhaps, that show him things that will be and things that can be. Most of this images are horrific and fuel his paranoia, while at the same time driving him to take the same horrific actions he's hallucinating of.

I very much appreciated the direction and cinematography on this. Not only was the camera movement very neat and effective, but the blocking of the scenes, the use of light and shadows, and "dead spaces" in the framing of certain shots was impressive. Even though Matsumoto keeps his camera at a distance many times, he's not afraid to zoom into the violence to show us that "sea of blood".

Most of the performances are solid, but I particularly enjoyed the performances of Nakamura and Sanjo. The first one plays Gengobe with mixtures of desperation, unhinged anger, as well as frustration, while Sanjo perfectly plays the deceiving nature and greed of Koman, followed by her fear of being caught up with. Because she knows that if Gengobe finds them, it will be a sea of blood.

Grade: 4

Thief

04-27-22, 01:54 PM

STAR WARS
(1977, Lucas)
Freebie

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

"If there's a bright center to the universe, you're on the planet that it's farthest from."

A long time ago, in a galaxy far, far away... we met this young man who hadn't really seen the world beyond his home planet of Tatooine. Star Wars follows the adventures of this young man, Luke Skywalker (Mark Hamill), as destiny finds its way into this faraway planet to set him on the heroic path that was expected of him. After tragedy hits, Luke joins a mysterious hermit, a rouge pilot and his Wookie sidekick to rescue Princess Leia (Carrie Fisher).

Released in 1977, the film was a groundbreaking spectacle of fantasy, visuals, and special effects. The attention to detail in the design of ships, locations, creatures, and everything else is astonishing. But beyond all the production design and visuals, Luke is always at the center of the story, as he tries to find his way into this new and vast world. Hamill might not be the best actor, but he does carry a certain boyish charm, and his chemistry with Fisher and Harrison Ford is undeniable.

Obviously, this wasn't my first watch, but as I was preparing for an upcoming podcast episode, I decided to give it a go, along with my kids. And even though they drifted off a bit in the second act, they really dug the last act as our heroes try to take down the Death Star. As someone who grew up watching this since I was a kid (the film was released literally the same year I was born), it was certainly a moving experience to try to pass that down to them.

In one of the most iconic shots of the film, Luke stands outside his desert home, looking at the sunset ("suns-set"?), dreaming of a world he doesn't know yet. A world that, much like his gateway to it, he will soon realize is full of "scum and villainy", but also of dreamlike aspirations, endless opportunities, and of course, good friends. Regardless of what we think about the franchise, we can't deny that Star Wars opened our eyes to this new "galaxy" of film possibilities.

Grade: 4.5

Thief

04-27-22, 04:52 PM

GONJIAM: HAUNTED ASYLUM
(2018, Bum-shik)
A film that starts with the letters G or H

https://i.imgur.com/T8mseBk.jpg

"Ghosts live here, everyone. And we are at the place where ghosts live."

Several years ago, CNN released a list of the "7 freakiest places on the planet". Among the list was Gonjiam Psychiatric Hospital, in South Korea. The building was closed during the 1990s because of economic issues and sewage problems, but that didn't stop people from creating stories of mysterious mass deaths and crazy doctors, and certainly didn't stop curious tourists from pouring into the place.

Gonjiam: Haunted Asylum feeds off of that curiosity. The film follows the crew of a YouTube channel called "Horror Times" that decides to explore the building and transmit it live. The focus of their exploration seems to be the enigmatic Room 402, which has remained closed since the hospital was shut down. The film starts with two teenage boys trying to break the door open, only to disappear, which sparks the Horror Times crew to investigate.

On all my years on the Internet, I've seen several different viral videos that are frequently shared via social media of certain security cameras where everything goes calm for a while only to have a horrifying image suddenly jump in front of the camera to scare you. A fair share of them have made me jump, others not so much. Is it gimmicky? Yes, but I guess they achieve what they set out to do.

In some ways, Gonjiam: Haunted Asylum could be seen as a more "elaborate" version of that because the peaks of the film come from a few moments that are framed that way (things going quiet for a while, then quick cut to a scary image). Just like those viral videos I mentioned above, this is kinda effective, I guess... but it's still gimmicky and after the initial jumpscare, not that memorable.

Even though that might sound like a negative, the production values are solid and the film does manage to build up a decent atmosphere of dread. Also, the cast is not that bad, but they're all just interchangeable and with no discerning characteristics to set them apart, which makes it harder for us to connect with what's going on. So if you're going down this road, just keep your expectations to something simple and maybe invite some friends over to your place... the place where ghosts live, on the screen at least.

Grade: 3

Thief

04-29-22, 11:35 AM

THE HEIRESS
(1949, Wyler)
A film from the 1940s • A drama film

https://i.imgur.com/zEYHv5w.jpg

"She's gone to the best schools in the city, she's had the finest training I could get her, music and dancing. She's sat with me evenings on end. I've tried to make conversation, give her some social adeptness. I've given her freedom wherever I could. The result is what you see. An entirely mediocre and defenseless creature with not a shred of poise."

Mediocre, defenseless, no poise. That is an incredibly harsh way to describe someone and the person on the receiving end would probably have a hard time recovering from the brunt of the insult, especially if the one dishing it out is her own father. That is the basis for this William Wyler's underseen drama.

The Heiress follows Catherine (Olivia de Havilland), a naïve and shy young woman with poor social skills. This results in the disappointment of her father, Dr. Austin Sloper (Ralph Richardson), a widower that can't help but compare her to his late wife; "Only I know what I lost when she died, and what I got in her place." Ouch. So when a young and handsome man, Morris (Montgomery Clift) starts courting Catherine, Dr. Sloper is obviously suspicious and assumes he's after her money.

This is a film I hadn't heard much about, until two guests of my podcast brought it up a couple of months ago, specifically praising De Havilland's performance, and oh, how right they were. She is excellent in the role as she perfectly portrays the evolution of Catherine in a way that's both believable and organic. Clift and Richardson are not far behind; especially Richardson, who is also great handling the contempt under that façade of fake admiration.

Aside from the performances, Wyler's direction is also great. I loved the way he used the camera to shift focus between characters, specifically his choices of who is in front of the camera and who is giving his/her back to it on certain climatic conversations. I also really liked the way he used mirrors and reflections along the house.

I'm really surprised that this film and this performance doesn't get mentioned more often. It's interesting that the film follows Catherine, a character who goes along mostly unnoticed only to reveal a strong and confident persona in the end. The Heiress might go along unnoticed, but it is truly a showcase of great direction, pitch-perfect writing, and flawless performances.

Grade: 4.5

Captain Terror

04-29-22, 11:57 AM

I'm really surprised that this film and this performance doesn't get mentioned more often. It's interesting that the film follows Catherine, a character who goes along mostly unnoticed only to reveal a strong and confident persona in the end. The Heiress might go along unnoticed, but it is truly a showcase of great direction, pitch-perfect writing, and flawless performances.

Grade: 4.5
If asked to rank her favorite movies, my mom would probably consider this Top 5 easy, so although I haven't seen it in many years it's one I've seen a bunch and I agree. An Oscar-winning performance from ODH and a recent Criterion release should have put this on the radar of more film buffs. She's incredible here.

Thief

04-29-22, 12:36 PM

If asked to rank her favorite movies, my mom would probably consider this Top 5 easy, so although I haven't seen it in many years it's one I've seen a bunch and I agree. An Oscar-winning performance from ODH and a recent Criterion release should have put this on the radar of more film buffs. She's incredible here.

I need to see more of her stuff. I've only seen this one, Captain Blood, and Gone with the Wind, which is way overdue for a rewatch.

EDIT: I did see Airport '77 and The Swarm when I was a kid, but I don't remember anything about those.

Thief

04-29-22, 01:51 PM

THEY LIVE
(1988, Carpenter)
A film from the TSPDT 1000 Greatest Pictures list whose ranking includes the #4 (#947)

https://i.imgur.com/W3B1D0W.png

"They're free-enterprisers. The earth is just another developing planet. Their third world."

What if the people around you weren't who you thought they are? What if they were determined to herd people into uncontrollable consumerism? What if that was all a scheme to take control of the planet and human life? Worst! What if they were ugly as fu¢k? Well, at least we have John Carpenter to tell us how things might go.

They Live follows a nameless drifter (Roddy Piper), who stumbles upon an alien conspiracy to manipulate people's thoughts and behaviors through subliminal messages. He realizes this when he finds out some special sunglasses that are designed to reveal not only these hidden messages, but the aliens hidden in plain sight that are behind them.

I honestly don't understand how this film escaped me back in the 80s, because it seems like the kind of thing I would've been all over when I was a kid. Still, discovering it now was probably just as fun. Carpenter manages to take jabs at the "yuppie" subculture, capitalism and consumerism in a way that's effective, but also entertaining.

Piper might not be the best actor, but I think he's perfect for this role. There's an "everyday guy" vibe and an innocent charm to his performance that you can't help but root for him. Plus, he's helped by Keith David who, as usual, is all kinds of awesome. Aside from that, Carpenter's direction is very assured and efficient.

That said, I thought that the iconic fight between Piper and David went on for too long. It got to the point where I was "Ok, we get it. Move on". Judging from what I've read about it, it seems I'm the only one to feel that way, but well. I also felt that the climax and conclusion were too abrupt and underwhelming, considering what they were building up to. Regardless of that, this was a lot of fun.

Grade: 3.5

SpelingError

04-29-22, 01:52 PM

THEY LIVE
(1988, Carpenter)
A film from the TSPDT 1000 Greatest Pictures list whose ranking includes the #4 (#947)

https://i.imgur.com/W3B1D0W.png

What if the people around you weren't who you thought they are? What if they were determined to herd people into uncontrollable consumerism? What if that was all a scheme to take control of the planet and human life? Worst! What if they were ugly as fu¢k? Well, at least we have John Carpenter to tell us how things might go.

They Live follows a nameless drifter (Roddy Piper), who stumbles upon an alien conspiracy to manipulate people's thoughts and behaviors through subliminal messages. He realizes this when he finds out some special sunglasses that are designed to reveal not only these hidden messages, but the aliens hidden in plain sight that are behind them.

I honestly don't understand how this film escaped me back in the 80s, because it seems like the kind of thing I would've been all over when I was a kid. Still, discovering it now was probably just as fun. Carpenter manages to take jabs at the "yuppie" subculture, capitalism and consumerism in a way that's effective, but also entertaining.

Piper might not be the best actor, but I think he's perfect for this role. There's an "everyday guy" vibe and an innocent charm to his performance that you can't help but root for him. Plus, he's helped by Keith David who, as usual, is all kinds of awesome. Aside from that, Carpenter's direction is very assured and efficient.

That said, I thought that the iconic fight between Piper and David went on for too long. It got to the point where I was "Ok, we get it. Move on". Judging from what I've read about it, it seems I'm the only one to feel that way, but well. I also felt that the climax and conclusion were too abrupt and underwhelming, considering what they were building up to. Regardless of that, this was a lot of fun.

Grade: 3.5
I'd probably rate it a bit higher, but nice review as usual.

Thief

05-01-22, 12:52 AM

For those interested, I dropped the latest episode of The Movie Loot this morning, Episode 59, where me and Darin Lundberg (from the NostalgiaCast podcast) talk about nostalgia, how valid it is when critiquing a film, the dangers and benefits of it. We close sharing 5 films we're nostalgic about for being integral in certain phases of our lives. Check it out!

The Movie Loot 59: The Nostalgic Loot (with Darin Lundberg from NostalgiaCast) (https://www.buzzsprout.com/850063/10530597-the-movie-loot-59-the-nostalgic-loot-with-darin-lundberg-from-nostalgiacast.mp3?download=true)

Remember you can also check it out on Spotify (https://open.spotify.com/episode/6SRVxYdJnlayMMPTMTfchj?si=64e9c3070a8e48bf), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-59-the-nostalgic-loot-with-darin/id1578191119?i=1000559195564), and all the main podcast platforms. Thanks for the support!

Thief

05-02-22, 10:58 AM

Had another guest appearance to talk about The Godfather at another podcast called Silver Screeners, hosted by Frank Mandosa. Here is the Spotify link, in case anybody wants to check it out, but it's available in most other podcast platforms.

Silver Screeners: Episode 50 - The Godfather with special guest Carlo from The Movie Loot (https://open.spotify.com/episode/2HcozSpADIqbXlZRiAixD4?si=2e966d6b90744082)

Hope you like it!

Thief

05-02-22, 03:32 PM

Why not continue with the nostalgia trip? Check out Special Episode 11 of my podcast, where I talk about one scene from Transformers: The Movie, specifically the first scene where Megatron and the Decepticons ambush a group of Autobots on their ship and slaughter them:

The Movie Loot - Special Episode XI (The Transformers: The Movie) (https://www.buzzsprout.com/850063/10534713-the-movie-loot-special-episode-xi-the-transformers-the-movie.mp3?download=true)

Remember you can also listen on Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-special-episode-xi-the/id1578191119?i=1000559365819), Spotify (https://open.spotify.com/episode/0eGcNoTuPLY4l4qZtddc28?si=672d7d136f974c6e), Google Podcasts, and most podcast platforms.

Thief

05-03-22, 11:34 AM

FOUR
(2021, Petersen)
A film with the number 4 (Four, Fourth, etc.) in its title

https://i.imgur.com/2GT1B1h.png

"We keep living our lives. You're the one missing out."

In 1969, psychiatrist Elisabeth Kübler-Ross introduced the "five stages of grief" model, which states that people that are grieving experience five different stages or emotions: denial, anger, bargaining, depression and acceptance. Although contested and criticized by some, the model is widely referenced by fellow experts, but also in popular media.

Four is a short film that follows Ross (Eoin Macken), who seems to be going through this process, while his wife (Rachel Lyn Murray) tries to reason with him. The title is a reference to the stage he's currently in, but also a reference to the four family members, which also include their two children: Naomi and Ben.

With an 8-minute runtime, the short is fairly simple but it has a solid emotional core. Macken and Murray are not excellent, but they are competent enough. It does give the impression to romanticize certain things in the aftermath of the grieving process, but maybe that was a matter of my perception, and not the short film's intention. Still, it's a solid short film to check out.

Grade: 3

Thief

05-03-22, 11:46 AM

In case anybody wants to check it out...

https://www.youtube.com/watch?v=3IIM6kxLN1Q

Thief

05-05-22, 01:15 PM

BLACK GIRL
(1966, Sembène)
A film from Senegal

https://i.imgur.com/g15FIiP.jpg

"Never will I be a slave. I did not come here for the apron or the money. Never will she see me again. Never will she scold me again. Never again, Diouana."

Back in the 17th Century, France began its conquest of the African country of Senegal. Starting with small settlements, it became a full-scale thing by the 19th Century. In 1960, Senegal finally gained independence after hundreds of years of French dominance, but not without leaving indelible marks in the country and its population. That is part of what this iconic Senegalese film draws upon.

Black Girl follows Diouana (Mbissine Thérèse Diop), a young Senegalese woman that goes to work for this wealthy French couple as a nanny while they're settled in Senegal. Eventually she moves with them to France hoping to continue her work as a nanny, but finds herself working as a servant instead, and the subject of harsh treatment from the wife (Anne-Marie Jelinek) and apathy from the husband (Robert Fontaine).

Directed by Ousmane Sembène, Black Girl was one of the first films from Africa to gain international attention. The way the director uses the relationships between this European couple and our African lead as an allegory to the relationships between both countries is brilliant and thought-provoking, as he uses it as a way to address the effects of colonialism.

One of the best ways that Sembène highlights this is through an African mask that is passed as a gift from Diouana to her employers, but ends up becoming an important point of contention in the plot and an important symbolism for the themes of the film. The fight for the mask becomes an allegory of the fight for Africa, and Diouana's defiance is a symbol of Senegal finally taking back what is theirs and declaring their independence.

Diouana, as a representation of Senegal, is an interesting character. Through all the film, she complies with her orders, but there is always a resistance that starts subtly, but boils over towards the end. "I did not come here for the apron". She is essentially trapped, enslaved, but decides "never more" and takes control of her destiny, even if it is with tragic results. The marks and effects of colonialism and slavery don't lead to happy endings, and will always be there, but still... never again.

Grade: 4.5

Thief

05-06-22, 01:37 PM

JASON X
(2001, Isaac)
Freebie

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

"What's going on?"
"Jason-fu¢king-Voorhees, that's what's going on!"

You know those frequent jokes about franchises that tend to go too long, where most people say "X in Space" as an inane option? Well, there's a reason for that. In 1997, the Leprechaun franchise sent its titular creature to space in one of the most popular examples (years before he went to "da hood", twice!) So, the people behind the Friday the 13th franchise thought, "why not?"

Jason X, the 10th installment in the immortal Friday the 13th franchise does exactly that, taking Jason-fu¢king-Voorhees to fu¢king space, and it is as much dumb fun as you would expect. The basic premise has a cryogenically frozen Jason waking up in a spaceship in the year 2455, only to wreak havoc again among its passengers. Along for the ride is Rowan (Lexa Doig), a scientist that that was accidentally frozen along with Jason.

Regardless of whatever flaw you can think of, this film pretty much delivers what you would expect from the tenth film in a slasher franchise about a zombie killer that's sent to space, in the future. Still, despite having the biggest budget of the franchise, to that point, the production values are pretty cheap. Also, although it features one of the most memorable kills of the franchise (guess which one!), the film isn't as gory as I would've expected.

As usual with these films, the characters lack any notable trait to make us root for them. Rowan is a pretty decent "final girl", but there's not much else there to latch on to. Still, it's a fun film to watch, especially when it embraces the absurdity and silliness of its plot. I just wish this happened more often.

This time I rewatched the film to prepare for an episode of my podcast. Doing so reminded me of how much this franchise takes me back to my youth, so I'm sure that whenever the people behind it decide to put out a new one, and somebody asks me what's going on, I will probably say "Jason-fu¢king-Voorhees, that's what's going on!"

Grade: 2.5

Thief

05-06-22, 02:30 PM

ARMOUR OF GOD
(1986, Chan)
A film from Jackie Chan

https://i.imgur.com/Idic7tH.jpg

The Sword of the Holy Spirit recently put up for auction, was stolen by him from an African tribe. If he has the ability to acquire The Sword, he'll naturally have the ability to acquire the remaining pieces."

Armour of God follows Asian Hawk (Jackie Chan), an Indiana Jones-like adventurer that collects treasures from around the world. When the girlfriend of his former best friend, Alan, is kidnapped by an evil religious cult, he reaches out to Hawk for help. Hawk, in turn, is being recruited by the same evil cult to retrieve the "Armour of God", or something like that.

The truth of the matter is that the plot doesn't matter much. The basic goal is to put Jackie Chan in dangerous situations so he can perform dangerous stunts to get away. The film is notable for being the one where he fractured his skull and almost died during a stunt in the opening scene. Not sure if it's because of this, but most of the stunts are cluttered both in this opening scene and the final scene.

Unfortunately, what's left in the middle is not very good. That section plays more like a buddy comedy between Hawk and Alan, but the comedy is not very effective. In addition, the character of Alan is a bit obnoxious, and his interactions with Hawk don't work as well as I would've wanted.

For a film about a globe-trotting adventurer and explorer, I was expecting more adventure and more thrills. I suppose it is a good thing that they left most of the stunts and good action for the end, because it kinda ends things in a high note. Just not enough for me to feel great about the film.

Grade: 2

Thief

05-09-22, 12:01 PM

ONE EARTH
(2020, Pennes)
A film about the environment

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

"There is but one Earth, tiny and fragile, and one must get 100,000 miles away to appreciate fully one's good fortune in living on it." --Michael Collins

The above quote comes from Apollo 11 astronaut Michael Collins. It is not on this short film, but it is perhaps what inspired its title and theme. As part of Earth Day last month, I wanted to check a film about the environment and stumbled upon this very brief short. It lasts less than 5 minutes, but its content is both gorgeous and saddening.

Created by French musician Romain Pennes, the short film is composed of a series of drone and aerial shots of different places of Earth. It opens with the lush and colorful vegetation of a forest, the vast and rocky terrains of a mountain range, and the crashing waves on a shore, but gradually moves on to show human intervention in our nature landscapes. From logging and farming to urban development, it quickly devolves into overpopulation and pollution.

The shots, which comes from various sources, are neatly shot and breathtaking; and even though there's no narration, I love the "story" it tells through its progression of images. It makes us think of how careless our treatment of this one Earth has often been, as if there was no tomorrow. Maybe Pennes didn't go as far above as Collins, but the hundreds of feet he did, surely made me appreciate and feel for our Earth.

Grade: N/A

Thief

05-09-22, 12:19 PM

In case anybody wants to check it out...

https://www.youtube.com/watch?v=QQYgCxu988s

Thief

05-09-22, 12:44 PM

Here's my final tally for APRIL 2022:

A film with the number 4 (Four, Fourth, etc.) in its title: Four (https://www.movieforums.com/community/showthread.php?anchor=1&p=2299345#post2299345) (short film)
A film with a title that starts with the letters G or H: Gonjiam: Haunted Asylum (https://www.movieforums.com/reviews/2298471-gonjiam-haunted-asylum.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #4 (i.e. 14, 401, 943): They Live (https://www.movieforums.com/reviews/2298801-they-live.html)
A film from the 1940s: The Heiress (https://www.movieforums.com/reviews/2298776-the-heiress.html)
A drama film: The Secret of Roan Inish (https://www.movieforums.com/reviews/2296229-the-secret-of-roan-inish.html)
A Biblical film (Easter):
A film based on a book (National Library Week): My Dog Skip (https://www.movieforums.com/reviews/2294172-my-dog-skip.html), Dolores Claiborne (https://www.movieforums.com/reviews/2297161-dolores-claiborne.html)
A film about the environment (Earth Day, April 22): One Earth (https://www.movieforums.com/reviews/2300242-one-earth.html) (short film)
A film from Senegal (Independence Day, April 4): Black Girl (https://www.movieforums.com/reviews/2299729-black-girl.html)
A film with Jackie Chan (born April 7): Armour of God (https://www.movieforums.com/reviews/2299889-armour-of-god.html)

Freebies: Thunder Road (https://www.movieforums.com/reviews/2295473-thunder-road.html), True Romance (https://www.movieforums.com/reviews/2296426-true-romance.html), Mad Love (https://www.movieforums.com/reviews/2296652-mad-love.html), Us (https://www.movieforums.com/reviews/2297202-us.html), Magical Girl (https://www.movieforums.com/reviews/2297310-magical-girl.html), Demons (https://www.movieforums.com/reviews/2297354-demons.html), Star Wars (https://www.movieforums.com/reviews/2298415-star-wars-episode-iva-new-hope.html), Jason X (https://www.movieforums.com/reviews/2299868-jason-x.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/q6b1tYwtNgGYVMRPGgO5XGwx9Qc.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/KPrZ8lbgbMD7gr1pkMKoNbtcCK.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ngnybFTuopfbfmmEeX9jjBQQmF6.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/zcut0Y6PfcjBJKIyOpc0QDFS9jK.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/knrhzhfMKgTqrDrCy3nBWL5sypa.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/A3TafOveMdmc1mzjCrmMBNa3oQ2.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/gfCh3TEQNEoro8lq21y4zYIic4D.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/gTFyjHLCZKG8VIyxT1nKg5eX8cq.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/hYYAk9I9KkscSr8DC30KyDjzsVu.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7H0Qp0EqFdBIChuXrR4kEyKZyzk.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ynljTdiGVUCJJ6THSZi22SBoQAR.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ycgibsqsst0vnr9Dv0BVg0vEbtt.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/39lXk6ud6KiJgGbbWI2PUKS7y2.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/gpx4txRDngGZ6Q3pDyoUiUkrZ4Z.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ux2dU1jQ2ACIMShzB3yP93Udpzc.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/zrTIsngoDR5ekQJBtpSfJtnnxu4.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/UgIXJoeH5S1cz39BUYTuCpYdSk.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/6FfCtAuVAW8XJjZ7eWeLibRLWTw.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/jrObEGWVW1XlutjYXqyyGxtTeov.jpg

First time I didn't complete my challenge in a while, but wanted to complete the MoFo Hall of Fame, which took a good chunk of time; and also, watching stuff for the podcast and working on editing took a bit of time as well. Still, lots of good stuff.

Not counting rewatches, my favorites were The Heiress and Black Girl.

Least favorite? Armour of God, probably.

Thief

05-09-22, 12:50 PM

And here are my categories for MAY 2022

A film with the number 5 (Five, Fifth, etc.) in its title:
A film with a title that starts with the letters I or J:
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #5 (i.e. 15, 365, 958):
A film from the 1950s:
A fantasy film:
A film about mothers:
A film with a bird in its title (Bird Day, May 4):
A film mostly set on a train (Nat'l Train Day, May 8):
A film with Frank Capra (born May 18):
A film from Ecuador (Battle of Pichincha Day, May 24):

As usual, recommendations are more than welcome!

Thief

05-09-22, 12:54 PM

Also, for those that listen, latest episode of The Movie Loot is out. In Episode 61, me and Ethan (one of the hosts of Best Film Ever Podcast and a hardcore Star Wars fan) talk about Star Wars! From the original trilogy to the sequel trilogy, and everything in between. We each share our favorite characters and favorite scenes from each trilogy, and close with our Top 5 Star Wars films. Check it out!

The Movie Loot 61: The Star Wars Loot (with Ethan from Best Film Ever Podcast) (https://www.buzzsprout.com/850063/10578207-the-movie-loot-61-the-star-wars-loot-with-ethan-from-best-film-ever-podcast.mp3?download=true)

No need to use the Force. Just hit play on that link, or on any of these from Spotify (https://open.spotify.com/episode/6tRwZlxvZA7Eh7BCfAZ7OB?si=9jcs4VX1QNSf5w_P3SiG2w), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-61-the-star-wars-loot-with-ethan-from/id1578191119?i=1000560006146), or on any of the main podcast platforms. Thanks for the support!

Death Proof

05-09-22, 01:42 PM

A film with the number 5 (Five, Fifth, etc.) in its title: The Fifth Element
A film with a title that starts with the letters I or J: In Bruges
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #5 (i.e. 15, 365, 958): Alphaville (523)
A film from the 1950s: Godzilla (1954)
A fantasy film: The Last Unicorn
A film about mothers: Psycho
A film with a bird in its title (Bird Day, May 4): Birdman or (The Unexpected Virtue of Ignorance)
A film mostly set on a train (Nat'l Train Day, May 8): The Train to Busan
A film with Frank Capra (born May 18): Lost Horizon
A film from Ecuador (Battle of Pichincha Day, May 24): Dreams from the Middle of the World

Thief

05-15-22, 12:07 AM

Thief

05-15-22, 12:11 AM

Forgot to post this here yesterday, but I dropped a bonus episode of my podcast last night where me and Josh G. (from Your Next Favorite Movie podcast) talk about the Friday the 13th franchise, our thoughts on each film, bit of trivia, favorite kills, and our respective rankings. I know it's not Friday the 13th anymore, but let's say the date is as irrelevant as it is on the franchise, so check it out!

Bonus Loot #2: Friday the 13th (with Josh from Your Next Favorite Movie) (https://www.buzzsprout.com/850063/10615134-bonus-loot-2-friday-the-13th-with-josh-from-your-next-favorite-movie.mp3?download=true)

As usual, you can also check it out on Spotify (https://open.spotify.com/episode/2dSBy5k8jePqOFD1LbEFXW?si=63nOc3zNSqKrCWWt_DiN6g), Apple Podcasts (https://podcasts.apple.com/us/podcast/bonus-loot-2-friday-the-13th-with-josh-from-your/id1578191119?i=1000561273135), or on any of the main podcast platforms. Thanks for the support!

Thief

05-16-22, 12:20 PM

MAN OF STEEL
(2013, Snyder)
A fantasy film

https://i.imgur.com/r8jWfM7.png

"You just have to decide what kind of a man you want to grow up to be, Clark; because whoever that man is, good character or bad, he's gonna change the world."

Man of Steel is the latest iteration of the Superman character. The film follows Clark, a.k.a. Kal-El (Henry Cavill) as he is sent from Krypton to Earth by his father Jor-El (Russell Crowe). Here he ends up taken by Jonathan and Martha Kent (Kevin Costner and Diane Lane), who try their best to instill in Clark a sense of goodwill. However, this clashes with his inner struggle of identity and belonging as he tries to figure out who or what he wants to be.

The above quote occurs at a moment when teenage Clark has been bullied by some kids. "I wanted to hit that kid", he says, but "Then what?", says his father. Would it have made any difference? Then he follows with that advice; to figure out and decide who he wants to grow up to be. That struggle is ever-present on the film, not only in the character, but also in how director Zack Snyder and writer David S. Goyer perceive and portray Superman.

I've always been a fan of the original Superman films, and of the character in general. I even liked Bryan Singer's nostalgic callback to Reeves' era in Superman Returns. That is probably why I pushed back a bit when Man of Steel came out relatively soon after; that, and the fact that I didn't really enjoy Snyder's previous film or that the film wasn't really getting glorious reviews back in the day. Because of this, I haven't seen a single DCEU film. So when a good friend invited me to talk about it on his podcast, I dreaded the clash of my perception and expectations with those of Snyder and Goyer.

At one point, one of my younger brothers, a hardcore DCEU fan, told me "this is not the Superman you grew up with. You just have to accept that this is a different Superman", and maybe that made the clashes a bit more easier to swallow. And I'm OK with that. A more morally conflicted character could be more interesting, but not if you're not consistent. You can't have a character whose sole drive since childhood has been to protect people, then be so blatantly in disregard of public safety as he beats and pummels a bad guy through buildings and streets. Not when it's done for "cool looks" and not when his alleged inner struggle shifts from one scene to the other.

That alone pushes the film a few notches down for me. On a more surface level, Snyder's direction was pretty bad. Too frenetic, too shaky, too blurry, and too messy, which is heightened in the excesses of the last act. Whenever he kept the camera still, he was able to present some striking visuals and solid imagery, but those were too few and far between. The special effects and CGI were also pretty mediocre. Not to mention the nonsensical and ultimately pointless plot about the Codex, or the lack of chemistry between Cavill and Amy Adams.

I did like the flashback bits, mostly because of Costner's performance. I thought he added a lot of gravitas and a strong emotional core to the film. His conversations with Clark, like the one I quoted above, where among the stronger moments of the film for me. I also liked that the film tried to address deeper themes of fate vs. free will, and contrast it through Zod (Michael Shannon) and Superman, but I wish they would've done a bit more with it.

Obviously, despite some mixed reviews and a tepid reception by critics, the film kickstarted what would be known as the DCEU, uniting a certain group of fans in a way that few fandoms have. Fans that, for better or worse, have rallied behind Snyder's efforts through the years, maybe even shaping how studios respond to audiences. Kinda like what Jonathan said: whatever that film is, good or bad, it's gonna change the world.

Grade: 2

kgaard

05-17-22, 05:01 PM

For the record, I did actually manage to get to a few April films:

A film with a title that starts with the letters G or H: The Handmaiden
A film from the 1940s: Trapped
A film based on a book (National Library Week): Mudbound
A film from Senegal (Independence Day, April 4): Black Girl
A film with Jackie Chan (born April 7): Police Story

Like you, I thought Black Girl was excellent. Pointed yet subtle. The Handmaiden was pretty good fun (in an erotic thriller way), and so was Trapped. Police Story was also fun in its own way, but it's in general not the sort of thing I watch movies for. Mudbound looked good but struggled to maintain its coherence.

Thief

05-22-22, 10:53 PM

Thief

05-28-22, 01:56 PM

Oh bother! Forgot to share this last week, but the Defining Disney podcast released their episode on The Many Adventures of Winnie the Pooh, with yours truly as a guest. Here is the Spotify link, in case anybody wants to check it out, but it's available in most other podcast platforms.

Defining Disney Podcast: Episode 4x08 - The Many Adventures of Winnie the Pooh (https://open.spotify.com/episode/1KTr4OpfdH7ZvuDIi8QDjR?si=2727039516d84231)

Enjoy!

Thief

05-29-22, 09:00 PM

Well, I had a slow start this month, in addition to being busy as hell while also dealing with some personal issues... and now I have like 8 pending reviews :laugh: Let's see if I can catch up in the next days.

Thief

05-31-22, 01:57 PM

RUNAWAY TRAIN
(1985, Konchalovsky)
A film mostly set on a train

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

"I'm at war with the world and everybody in it."

Runaway Train follows Manny (Jon Voight), a dangerous convict at a secluded maximum security prison in Alaska. Set to be transferred, he plans to escape with the help of Buck (Eric Roberts), a young, impressionable prisoner who idolizes him. After getting out, they hop on a nearby train, not realizing that the engineer has died, leaving the locomotive on the loose. Meanwhile, the ruthless prison warden (John P. Ryan) sets out to find Manny no matter what.

This is a film that is packaged and marketed as an action thriller – and it is – but still, there is something a bit more complex under the surface. There are themes of obsession, loyalty, humanity, and freedom lurking underneath the roaring of the locomotive. Voight is a complicated character to root for since he seems to be "at war with the world and everybody in it"; a man in search of his freedom and humanity, perhaps, and the film does seem to focus on his psyche as much as it does on the action setpieces.

Speaking of the action setpieces, they are pretty good and Konchalovsky does a great job on shooting them. Considering this was pre-CGI, the exterior and aerial shots of the train are really impressive, especially in the last act. The extents that Warden Rankin goes to catch Manny, though, seems ludicrous and excessive, but after all is said and done, it's a movie that has to find a way to put the villain with the "hero" somehow.

Voight, Roberts, and Ryan ham it up significantly, but for the most part, it works. Roberts' performance is spotty, though. There's also the inclusion of Rebecca De Mornay, who plays a locomotive employee that's also stranded in the runaway train. However, her character seems more like a forced avatar for the audience, considering that we have a ruthless criminal and a rapist on one side (Manny and Buck) and the sadistic warden on the other.

The scenes and characters at the train dispatch trying to stop the train seem like throwaways and hinder the pace a bit, even if I understand the need for them. But whenever the film goes back to the train, and the dynamics between Manny and Buck, much like the popular idiom says, it is hard to look away.

Grade: 3.5

Thief

05-31-22, 03:42 PM

MAD MAX 2
(1981, Miller)
A film from the TSPDT 1000 Greatest Pictures list whose ranking includes the #5 (#506)

https://i.imgur.com/Yb34avw.jpg

"Do you think you're the only one that's suffered? We've all been through it in here. But we haven't given up. We're still human beings, with dignity. But you? You're out there with the garbage. You're nothing."

Mad Max 2 picks up right where the first one ended, with a more desolate and barren land, more ruthless villains, and a more detached and hardened hero in Max Rockatansky (Gibson). As he roams the desert for fuel, he is led to an abandoned oil refinery, where he is forced to defend a group of settlers from a gang of violent bikers led by Lord Humungus.

I'm always surprised that I never got into this franchise earlier. I saw the first one for the first time in 2016, and hadn't seen any other; not even Fury Road. The first one is a solid effort, but is far from a masterpiece, which makes the quality jump from that to this more impressive. With the foundation already established, this sequel polishes the edges and gives us a simple, but pretty good action film.

This is in part thanks to Gibson's "rough & tough" yet charismatic performance, but also thanks to Miller's skilled direction. With a 90+ runtime, he makes the most of it starting with a great setup of these bikers. The whole aesthetics of the film also play a big part in how memorable it is with almost every character "jumping at you" in some way. This setup allows the dread of their impending attack to be more effective.

What follows are a few skillfully built setpieces that culminate with a kickass clash on board of a tanker across the highway (am I the only one that got serious Terminator 2 vibes from this?). There really isn't much else to it, but there doesn't have to be. The film succeeds in what it sets out to achieve as far as a straightforward post-apocalyptic action film goes. The characters are likable, the bad guys are evil and "showy", and the action is fast-paced and well staged. What more do we need?

Grade: 4

Thief

05-31-22, 05:25 PM

IT HAPPENED ONE NIGHT
(1934, Capra)
A film from Frank Capra

https://i.imgur.com/HdEW1LC.jpg

"You think I'm a fool and a spoiled brat. Well, perhaps I am, although I don't see how I can be. People who are spoiled are accustomed to having their own way. I never have. On the contrary. I've always been told what to do, and how to do it, and when, and with whom. Would you believe it?"

A lot of people have dreams of being born in "wealth" and "position", not really having to worry about "anything". But in many cases, this only creates a different set of things to worry about, like appearances and expectations, and not being allowed to do what you want as a result. That is the situation that Ellie Andrews (Claudette Colbert) finds herself in and from which she's trying to run away in this charming romcom from Frank Capra.

It Happened One Night follows Ellie, who has eloped with a renowned pilot and alleged "gold digger". As her father (Walter Connolly) is trying to have the marriage annulled, she escapes from him and takes a bus to reunite with her husband, only to meet Peter Warne (Clark Gable), a cynical reporter that sees the opportunity for a story but ends up falling for her instead.

This is one of those films that everybody mentions, but that for some reason I hadn't gotten to. Notable for being one of only three "Big Five" Oscar winners, the film earns its reputation on the strength of its witty dialogue, solid performances and an excellent chemistry from Gable and Colbert. Released in 1934, there are certain things that are obviously dated or that haven't aged that well, especially regarding the gender politics, but it more than makes up for it with the great banter between the two leads.

Despite what can be seen as a "flimsy" story, the film also manages to fulfill its expectations by delivering a variety of memorable sequences and "bits"; the hitchhiking scene, the "Shapeley" pick-up guy, the singing "bag thief", the whole "walls of Jericho" thing. All of that, along with the aforementioned dialogue and chemistry make up for a fun and charming remembrance of old Hollywood.

Grade: 4

SpelingError

05-31-22, 06:06 PM

That's one of my all-time favorites. Glad you enjoyed it!

Thief

06-02-22, 05:56 PM

WINCHESTER '73
(1950, Mann)
A film from the 1950s

https://i.imgur.com/YF6m7sV.jpg

"To cowman, outlaw, peace officer or soldier, the Winchester '73 was a treasured possession. An Indian would sell his soul to own one."

"The Gun That Won the West", that's how this rifle was marketed, probably because of its use in the US expansion during the 19th Century. Not only that, but special versions of the rifle were prepared in limited quantities and sold at a higher price. These included special barrels and finishes, and were labeled as "One of One Thousand" to stimulate and motivate potential buyers. One of these special guns is the one that anchors the plot of this popular western.

Set shortly after "Custer's Last Stand", Winchester '73 follows Lin McAdam (James Stewart), a cowboy that's determined to find a man called Dutch Henry Brown (Stephen McNally) for unspecified reasons. Finding him in Dodge City, Kansas, but unable to fight him at the moment, they both enter a competition to win one of the coveted titular rifles. The possession of it becomes the driving force of the plot, as the rifle passes through different owners as the film progresses.

American gun culture and the admiration/obsession for a specific weapon are, to put it mildly, complicated subjects nowadays, but they are decidedly at the core of this film. Certainly times were different, and you pretty much had to have a gun back then... but the improper use of it becomes a sort of moral barometer of the characters.

Dutch Henry Brown: "That's too much gun for a man to have just for... shootin' rabbits"
Lin McAdam: "Or for shootin' men in the back."

Even Lin's best friend warns him about the path he's going down... "Hunting for food, that's alright. Hunting a man to kill him? You're beginning to like it." And at the center of every shooting and every death that occurs, there is the gun.

There are interesting little stories in every pit stop that the gun gets. From Native American leader Young Bull (Rock Hudson) to meek fiancé Steve Miller (Charles Drake) or outlaw Waco Johnnie Dean (Dan Duryea). In almost every one of them, there are tinges that make you want a bit more from each. Duryea, in particular, gives a really good performance, but I really enjoyed John McIntire as sly gun trader Joe Lamont, who proves to be a worthy rival to Brown early on the film, all in his effort to win the gun.

Unfortunately, the ending pushes away a lot of the moral dilemmas that the film hints at, in favor of traditional shoot-outs. Also, the romantic relationship between Stewart and Shelly Winters seems unnecessary, but I guess it was a "requirement" back then. Still, Mann's direction is pretty good, and most of the performances are great. It is always good to see Stewart play a morally conflicted character; one that's not necessarily trying to shoot rabbits, and might be beginning to like it.

Grade: 3.5

PHOENIX74

06-03-22, 12:26 AM

WINCHESTER '73
(1950, Mann)
A film from the 1950s

Always get a kick out of seeing a young Tony Curtis (billed as Anthony Curtis) in this film.

Thief

06-03-22, 12:47 PM

Always get a kick out of seeing a young Tony Curtis (billed as Anthony Curtis) in this film.

Yeah, but those eyes are unmistakable :D He did a solid job in a very small role.

Thief

06-03-22, 06:05 PM

WHERE YOU ARE
(2016, Parkes)
A film about mothers

https://i.imgur.com/uLsYKe1.png

"You have to close your eyes, okay? So you can't see where I go."

I've been a parent for around 3 years, and it has proved to be the most perpetually stressful and exhausting thing I've experienced in my life. There's no corner of my life where parenthood hasn't seeped through to, whether it is because the kids keep taking over everything we do, or because I just can't help but keep my eyes on them. That is some of the subtext that is underneath this short film by Graham Parkes.

Where You Are follows Jen (Sarah Burns), who is busy folding clothes, when her young kid James (Hudson West) asks her to play hide-and-seek. But when he actually disappears, Jen is taken in a surreal journey through time to find him. From James' rebellious teenage years to the eventual departure from "the nest" in adulthood and back to his playful childhood.

Parkes takes a simple premise; a game of hide-and-seek and a missing son, and uses some clever direction to takes us on this journey. A journey that is not as much about finding James, but more about realizing that we just can't keep our eyes on our children every time, and we just can't see where they're going every single time. For a parent, that is a concept that's difficult to grasp. As kids, they gravitate toward us, they need us, they scream for us.

But as they grow up, those times will pass, and we'll be left wanting to know where they are all the time, what they're doing, and where they're heading. And like it or not, our kids will clash with that because it is in their nature to move forward, to explore, to find new things and new ways. Where we are then? Eyes open desperately trying to find them, or eyes closed trusting they'll find their own way and we'll find them in the end?

Grade: 4.5

Thief

06-03-22, 06:08 PM

In case anybody wants to check it out...

Where You Are (https://www.shortoftheweek.com/2016/08/24/where-you-are/) (13 minutes)

Thief

06-03-22, 10:19 PM

THE MOTHER
(2021, Ridder)
A film about mothers

https://i.imgur.com/Jyl0EK8.png

"Don't worry. I'm not gonna be here long. I'll go soon."

In most cases, we grow up with our parents right beside us all the way. Since birth, through youth, and into adulthood. Maybe that's why we tend to take their presence for granted so often. After all, they've always been *there*. This belief serves as the premise of this short film from Blake Ridder.

The Mother follows Lucy (Ning Lu), a young independent woman that is surprised to find her mother (Crystal Wingx) at her doorstep one day, asking to stay for a while. Believing that she has had a fight with her father (David Yu), Lucy reluctantly agrees but tries her best not to let her mother interfere with her social life and everyday routine.

This is an interesting premise and it has a decidedly emotional story. Unfortunately, the performances feel forced and the whole execution is a bit in-your-face. There is a revelation towards the end that is supposed to pack a punch, but instead feels like a regular "we've told you so" chastising. But I suppose it all depends on each person, and how invested you are in it.

Grade: 2

Thief

06-03-22, 10:20 PM

For anyone interested...

https://www.youtube.com/watch?v=jIXwIvQ-Ve0

Thief

06-06-22, 04:34 PM

FIVE EASY PIECES
(1970, Rafelson)
A film with the word "Five" in its title

https://i.imgur.com/WtDFJ3b.jpg

"I move around a lot, not because I'm looking for anything really, but 'cause I'm getting away from things that get bad if I stay."

Some mild SPOILERS perhaps?

The burden of expectations is something that can be stressful or suffocating to many. Others expect so much from us by who are our parents or our siblings, by how we we're raised or what we studied, or for many other reasons. But what if we can't handle that burden, or we don't *want* that burden? That seems to be the case with Bobby Dupea (Jack Nicholson), who openly rejects his past as he runs away from everything, anything in this wonderful piece of New Hollywood.

Five Easy Pieces follows Dupea, a former child piano prodigy who has chosen to get away from that life and instead lives as a blue collar oil rig worker. However, his past comes back to haunt him when he finds out that his father, a musical genius himself, is dying forcing him to go back to the things he has tried so hard to get away from.

As the film progresses, we slowly find out little details about Bobby's past, or at least we can infer them. Rafelson does a great job of not giving us big expository dumps, but rather lets the story and the visuals tell it all. If you walk in blind, you won't find out about Bobby's past until halfway through. When you do, you can infer most of what you need to know about Bobby's father, his siblings, their upbringing, and the burden of expectations that was probably put on them, and from which Bobby has chosen to get away instead.

But the past always has a way of coming back to us, whether is by stumbling upon a piano in the middle of a traffic jam or at your childhood home. Those are the only two moments we see Bobby play the piano. The first time, he embraces it in an almost manic outpour; the second one, he plays it to make a point about superficiality, and quickly dismisses it and rejects it.

Bobby is a character hard to pin down. He's not entirely a likeable guy, but as the film unfolds, you can see all the complexities and layers beneath, and Nicholson plays him to perfection. I mean, it's not far from what he usually plays – a mixture of cynical and bitter – and I'm still trying to figure out the scope of his motivations, but he does it so well. And when the last act comes, you can see the subtlety and nuance when he drops his defenses.

The title of the film comes from a book of piano lessons that includes "five easy pieces" for beginners. I'm not sure what specific pieces it includes, or if any of the two songs we see Bobby play are on that book, but I suppose it is expected of musicians to move beyond the "easy pieces" as a sign of "progress". But not Bobby. His choice is not necessarily to choose an easier way, just a different one altogether. To step away from the burden of expectations into a place where they don't expect much of him, if at all.

Grade: 4

SpelingError

06-06-22, 04:46 PM

Five Easy Pieces is really good, though I mainly love the film for its second half.

Thief

06-06-22, 05:03 PM

Oh yeah, it's a great example of setup/payoff. I think it might go up to 4.5 in the future for me.

SpelingError

06-06-22, 05:07 PM

Also, I generally don't pay much attention to acting, but Nicholson is terrific in this scene, in particular:

https://www.youtube.com/watch?v=3_IVurj2Od0

Sedai

06-06-22, 05:15 PM

Your date/director info is off - I tagged the review, but wanted to mention that!

Thief

06-06-22, 05:26 PM

Your date/director info is off - I tagged the review, but wanted to mention that!

Yeah, just noticed it! Thanks to mark f for PMing me about it too.

Thief

06-06-22, 05:27 PM

Also, I generally don't pay much attention to acting, but Nicholson is terrific in this scene, in particular:

https://www.youtube.com/watch?v=3_IVurj2Od0

Yeah, this is an excellent scene and an excellent delivery from him.

Little trivia: Nicholson wrote many of his lines in this scene.

Thief

06-07-22, 05:16 PM

RATAS, RATONES, RATEROS
(1999, Cordero)
A film from Ecuador

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

"We've got to go on, man, or we won't get anywhere. Don't forget we share the same blood."

Ratas, Ratones, Rateros follows Angel (Carlos Valencia), a criminal and ex-convict that is on the run from a loan shark, and seeks refuge with his cousin, Salvador (Marco Bustos), a young petty thief himself that idolizes him. As they try to stay ahead of the hit men that are chasing Angel, Salvador finds himself more embroiled in his cousin's lifestyle.

This Ecuadorian film from 1999 follows a similar template to many American crime films of the era, with fast-paced direction and editing and morally ambiguous characters, but does it in a way that feels fresh enough and very much of its place. The direction by Sebastián Cordero is confident and the script, although sometimes on the messier side, still has enough interesting strands to hold the interest.

But to me, what puts the film above others is Valencia's performance. He has such a charismatic persona, exuding both threat but also the magnetism that makes Salvador idolize him so much. Bustos' performance doesn't reach the same levels, but he's playing the "straight man", so he's not supposed to be as captivating as Angel. Still, he plays his character's "descent" fairly well.

There are some spotty performances here and there, but in general, the acting is pretty good all over. There are some subplots that feel unnecessary, and the conclusion wasn't as satisfying as I would've expected, but this is still a pretty solid debut by Cordero, and a pretty good crime film on its own.

Grade: 3.5

Thief

06-08-22, 11:05 PM

INSIDE LLEWYN DAVIS
(2013, Coen)
A film with a title that starts with the letters I or J

https://i.imgur.com/H33GJVK.jpg

"You don't want to go anywhere, and that's why the same shit's going to keep happening to you, because you want it to."

Set in the early 1960s, Inside Llewyn Davis follows the titular character (Oscar Isaac), an aspiring folk singer struggling to get through as a solo act after the death of his partner. Davis survives by performing small gigs while cycling through the houses of various friends and acquaintances to sleep in.

There is definitely a cyclical aspect to this film, with some events repeating themselves with sometimes similar, sometimes very different results. But that sorta mimics Davis routine of being stuck in a rut while playing cheap gigs and trying to "survive" one day at a time, all the while expecting that "miraculous" moment of success to come and push him off the wheel.

Like every Coen film, their mastery of dialogue and tone is superb. Still, this is Isaac's film all the way. His performance walks a fine line between charisma, charm and bitterness, frustration. He doesn't play Davis to the audience, but actually as a real man full of talent, but also full of flaws, insecurities, and anger. For all his artistry, he just can't help but burn bridges all around him, leaving him effectively trapped with the same shit happening to him.

But Davis woes are not entirely his fault. As is usual with the Coens, fate plays a major role in how he can't escape and have success. There is a cynical aura around some of the things that happen to him, as if a mischievous trickster was playing with his "cards", allowing the same shit to keep happening to him. What happens when we want to go somewhere, anywhere, but we can't?

Grade: 4

Captain Terror

06-08-22, 11:18 PM

Great film, and John Goodman as the pompous jazz musician is my favorite thing ever.

kgaard

06-08-22, 11:37 PM

It's a movie about a cat!

Thief

06-08-22, 11:58 PM

Great film, and John Goodman as the pompous jazz musician is my favorite thing ever.

Goodman is always a treat to watch. Such a great, underrated actor.

Thief

06-08-22, 11:59 PM

It's a movie about a cat!

*a* cat? or *various* cats? :D

kgaard

06-09-22, 12:05 AM

*a* cat? or *various* cats? :D

Mostly this is a screenwriting joke (https://www.theamericanconservative.com/millman/save-the-cat/), but the cat is an important part of the movie!

Thief

06-09-22, 12:07 AM

Mostly this is a screenwriting joke (https://www.theamericanconservative.com/millman/save-the-cat/), but the cat is an important part of the movie!

Oh definitely. Just joking that there are actually two cats, since the one he first brings to the Gorfeins ends up not being the right one :D

kgaard

06-09-22, 12:48 AM

Oh definitely. Just joking that there are actually two cats, since the one he first brings to the Gorfeins ends up not being the right one :D

True, true! As the human of an orange tabby as well as the neighbor of one, they do look alike but you always know your own.

Thief

06-09-22, 01:42 PM

ANTES QUE CANTE EL GALLO
(2016, Cruz)
A film with a bird in its title

https://i.imgur.com/pMbQl2v.png

"The 'rooster is gonna crow' for that girl soon. If she's like that now, I don't know how she'll be when she's a little woman."

The "rooster crowing" is a slang term in Puerto Rico for a girl's first period, the entrance into womanhood and therefore, her sexual awakening. An entirely normal and expected phase, that can be problematic when the environment around the girl is not the best one. That is the case with Carmín (Miranda Purcell) in this wonderful Puerto Rican film.

Antes Que Cante el Gallo, translated as "Before the rooster crows", follows Carmín as she struggles with the above while living with her strict grandmother (Cordelia González). To complicate things, her mother is moving to the US looking for a better job, and her father Rubén (José Eugenio Hernández) has returned home after a prison sentence.

But "before the rooster crows" also has Biblical connotations, specifically to the story of Peter disowning Jesus three times. Carmín has to deal with her own kind of disowning, maybe from her mother who is abandoning her, but also of her father, who can't seem to stay out of trouble. This angle of disowning or betrayal might also extend to Gloria, as both grandmother and granddaughter have to deal with the "betrayal" of Rubén.

Technically speaking, the direction by Ari Manuel Cruz is pretty good and the cinematography by Santiago Marí Benet is impeccable. There are some really good shot compositions along the film, and the overall camera movement is solid. There is also great use of the mountain and country landscapes where the film is set. This, paired with a pretty good production design results in a film that feels real, as opposed to other local films that feel and look like a "fake" Puerto Rico.

But what keeps the film together are the main performances, especially Purcell and Hernández. For a girl so young and with little acting experience, Purcell does an excellent job conveying all the emotional storm inside of Carmín. She's angry, frustrated, sad, confused, wanting, sometimes all at the same time. Meanwhile, Hernández' performance walks a fine line between charm and threat.

The complex relationship between father and daughter, which isn't even fully explored, is one of the most interesting angles of the film. There are certainly some plot points that are left hanging, but in the end, what remains is a story about women learning to move past the abandonment of their loved ones, and growing up to find their own.

Grade: 4

Thief

06-09-22, 05:51 PM

MALICE IN WONDERLAND
(1982, Collins)
A fantasy film

https://i.imgur.com/v3YwUlD.jpg

"Alice tasted it, and finding it very nice ... she very soon finished it off."

That is a direct quote from Lewis Carroll's iconic novel Alice's Adventure in Wonderland. Alice goes down the rabbit hole, ends up in a hall with a small door, drinks the potion and shrinks so he can fit through the door. But this is not Carroll's "wonderland", but rather something... stranger.

Malice in Wonderland is a short film directed by Vince Collins *loosely* inspired on Carroll's novel. It takes ideas from its narrative and presents them through a series of bizarre, trippy, and sexually charged visuals and sounds that include fluids, appendages, vulvas, screams, and laser sounds.

The animation style is extremely aggressive and in-your-face with a non-stop flow. Even though it borders "closely" to sensory overload, there is still a hypnotizing quality to it all. It is also nice to recognize how Collins and graphic designer Miwako interpret the different elements from Carroll's story, like the Cheshire Cat, the Queen, the Rabbit, etc. in their own way.

There's really not much to say about it. If you're into a visually arresting, dizzying, yet mesmerizing experience, then taste it, and if you find it very nice, maybe you'll finish it off.

Grade: 3

Thief

06-12-22, 09:36 PM

Forgot to post my final tally for MAY 2022:

A film with the number 5 (Five, Fifth, etc.) in its title: Five Easy Pieces (https://www.movieforums.com/reviews/2305563-five-easy-pieces.html)
A film with a title that starts with the letters I or J: Inside Llewyn Davis (https://www.movieforums.com/reviews/2306144-inside-llewyn-davis.html)
A film from the TSPDT 1,000 Greatest Films (https://www.theyshootpictures.com/gf1000_all1000films_table.php) list whose ranking includes the #5 (i.e. 15, 365, 958): Mad Max 2: The Road Warrior (https://www.movieforums.com/reviews/2304326-mad-max-2-the-road-warrior.html) (#506)
A film from the 1950s: Winchester '73 (https://www.movieforums.com/reviews/2304881-winchester-73.html)
A fantasy film: Man of Steel (https://www.movieforums.com/reviews/2301376-man-of-steel.html), Malice in Wonderland (https://www.movieforums.com/reviews/2306326-malice-in-wonderland.html)
A film about mothers: Where You Are (https://www.movieforums.com/reviews/2305125-where-you-are.html), The Mother (https://www.movieforums.com/reviews/2305171-the-mother.html) (short films)
A film with a bird in its title (Bird Day, May 4): Antes Que Cante el Gallo (https://www.movieforums.com/reviews/2306269-antes-que-cante-el-gallo.html)
A film mostly set on a train (Nat'l Train Day, May 8): Runaway Train (https://www.movieforums.com/reviews/2304307-runaway-train.html)
A film with Frank Capra (born May 18): It Happened One Night (https://www.movieforums.com/reviews/2304346-it-happened-one-night.html)
A film from Ecuador (Battle of Pichincha Day, May 24): Ratas, Ratones, Rateros (https://www.movieforums.com/reviews/2305831-rodents.html)

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/xGLkuMWigSPLBvWiENSMlVq56iE.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/cjiE3mMvDSYqVBh1iTmPs3RNY3x.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ffzRLeZaKP6YCaTVieWeSLccC4y.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/rqRgjWqSmK9oI6duvigPmn49aVG.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7rIPjn5TUK04O25ZkMyHrGNPgLx.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/Kb3sZCCpWqEDKkmoeWk6Hh7Rxz.jpg

https://www.themoviedb.org/t/p/w600_and_h900_bestv2/nkaAptbTjXdVFaoeQQJUSonY7kN.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ccB1YnvYX4HpxCtg7QJ3B6zf7d1.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/wiz3NETRaHb4yyvQgxu020rt0kW.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/dqViXokpi1xTZmsotfyhvGmzyZo.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/HYVoH62I2cSvfzjzqcPYdX87iP.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/dpPO8JrH5PtLXMi6oZEdyoCqeV.jpg

A good bunch of pretty good films in there. If I were to pick a favorite, I'm torn between Five Easy Pieces, Inside Llewyn Davis, Mad Max 2, Antes Que Cante el Gallo, and It Happened One Night. In the end, I think it's between the first two. The short Where You Are also hit me personally.

As for least favorite, Man of Steel and the short The Mother.

Thief

06-15-22, 04:52 PM

Here is my challenge for JUNE 2022, which is already underway...

A film with the number 6 (Six, Sixth, etc.) in its title:
A film that starts with the letters K or L:
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):
A film from the 1960s: The House Is Black
A horror film: Near Dark
A film with the word "Summer" in its title:
A film about LGBTQ+ lifestyles (Pride Month):
A film about fathers:
A film from Iceland (Independence Day, June 17):
A film from Sidney Lumet (born June 25):

As usual, recommendations are more than welcome!

Chypmunk

06-15-22, 05:10 PM

As usual, recommendations are more than welcome!

A film with the number 6 (Six, Sixth, etc.) in its title:
Would 2046 count?
A film that starts with the letters K or L:
Maybe Kwaidan or Kuroneko if you've not already seen
A film with the word "Summer" in its title:
How about Summer With Monika?
A film about LGBTQ+ lifestyles (Pride Month):
Would The Adventures Of Priscilla, Queen Of The Desert count?
A film from Iceland (Independence Day, June 17):
How about The Oath or A White, White Day?
A film from Sidney Lumet (born June 25):
How about The Anderson Tapes?

Torgo

06-15-22, 05:31 PM

Takoma11

06-15-22, 06:06 PM

Thief

06-15-22, 09:51 PM

A film with the number 6 (Six, Sixth, etc.) in its title:
Would 2046 count?
A film that starts with the letters K or L:
Maybe Kwaidan or Kuroneko if you've not already seen
A film with the word "Summer" in its title:
How about Summer With Monika?
A film about LGBTQ+ lifestyles (Pride Month):
Would The Adventures Of Priscilla, Queen Of The Desert count?
A film from Iceland (Independence Day, June 17):
How about The Oath or A White, White Day?
A film from Sidney Lumet (born June 25):
How about The Anderson Tapes?

My A-type self would prefer to go with single "Six" or "Sixth" :laugh: but I'll keep 2046 in my backpocket (that the Wong Kar-wai one, right?)

I'll take the others into consideration. Priscilla is one that many people have recommended to me through the years, and I just haven't gotten around to it. Thanks!

Thief

06-15-22, 09:51 PM

More recommendations:

A film that starts with the letters K or L:
I second the Kwaidan recommendation.

A film with the word "Summer" in its title:
I second the Summer with Monika recommendation.

A film about LGBTQ+ lifestyles (Pride Month):
The Boys in the Band (I've only seen the 2020 Netflix remake, which I recommend)

A film about fathers:
Smoke Signals or Karakter

A film from Iceland (Independence Day, June 17):
Rams or Jar City

A film from Sidney Lumet (born June 25):
Prince of the City, especially since you're a fan of The Shield.

Both you and Chyp mentioned it, and I already had Kwaidan in my mind for this category, so I guess it's fate.

I think I might have Jar City on my Letterboxd watchlist, so I'll see if I can check that one out.

Two people mentioned Prince of the City on Twitter; I don't think I had even heard of it but now that I saw what it's about, I'm definitely intrigued.

Thanks!

Thief

06-15-22, 09:51 PM

A film about LGBTQ+ lifestyles (Pride Month)
Fire Island, which is a really fun romantic comedy

EDIT: I also want to give a shout out to the film Boy Meets Girl, about a young man who falls in love with a young woman who is transgender. It's on Prime, Tubi, and Kanopy.

Your recommendations are usually spot on, and this one seems to be on the spotlight right now, so I'll consider it.

beelzebubble

06-15-22, 09:58 PM

For Your LGBTQ movie I recommend Wrangler, the story of Jack Wrangler. It is a documentary of a gay porn icon. Very entertaining look at gay life in the seventies.

Takoma11

06-15-22, 10:11 PM

Your recommendations are usually spot on, and this one seems to be on the spotlight right now, so I'll consider it.

I think there are a lot of great choices---just depends on what kind of mood you're in.

Also, Kwaidan is a great film, so I'll third that recommendation.

EDIT: I think you've already watched another of my underseen (IMO) faves, 4th Man Out. It's currently on Hulu, Tubi, and a few other services.

I'd also like to shout out

Comedy
I Love You Phillip Morris
Shortbus (this one is graphic though)
Straight Up

Drama
A Single Man
God's Own Country
BPM
My Beautiful Laundrette
Funeral Parade of Roses
Parting Glances
Tiger Orange
Tropical Malady

Documentary
Paris is Burning
Portrait of Jason
Check It
Seed Money
Scream, Queen!

Thriller
Stranger by the Lake
Burnt Money

Horror
Hellbent

Chypmunk

06-16-22, 04:42 AM

My A-type self would prefer to go with single "Six" or "Sixth" :laugh: but I'll keep 2046 in my backpocket (that the Wong Kar-wai one, right?)
It is, best if you've seen In The Mood For Love prior to it though (I think I remember you've seen that one?)

kgaard

06-16-22, 04:35 PM

Sadly, I only got to two May films--Bong Joon-ho's Mother for the "Mother" category, and Doctor Strange in the Multiverse of Madness for a fantasy film. Unsurprisingly, Mother was very good. Doctor Strange ... well, you can see entropy having its effect on the MCU, let's just say.

Thief

06-19-22, 09:08 PM

It is, best if you've seen In The Mood For Love prior to it though (I think I remember you've seen that one?)

Oh yeah, seen it. Cheery little film that one :laugh:

Thief

06-19-22, 09:09 PM

Thief

06-22-22, 11:10 PM

THE HEART OF THE WORLD
(2000, Maddin)
Freebie

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

"Tragic calculations! Triple-checked! No mistakes! The world is dying of heart failure!"

Set in an alternate reality, The Heart of the World follows Anna (Leslie Lais), a scientist studying the Earth's core (or "heart"). As she is being courted by two brothers: Nikolai (Shaun Balbar) and Osip (Caelum Vatnsdal), a theater actor, she discovers that the "heart" of the world is in danger and she must warn the population to avoid a catastrophe.

This is a very interesting short film, not only for its odd plot but mostly for the way it is constructed. Writer and director Guy Maddin set out to make a film that was as frenetic as possible, at roughly two shots per second, but also constructed in a style that is reminiscent of very early German and Russian silent films, like Metropolis.

The plot doesn't make a lot of sense; there is a fairly evident subtext of science vs. religion vs. capitalism, the latter represented by an industralist that seduces Anna, but everything is presented in such a frantic pace that it doesn't quite let you absorb it. Still, at the end of the day, it all takes a backseat to the interesting execution which is the driving force of this short film.

Grade: 3

Thief

06-24-22, 09:26 PM

THE HOUSE IS BLACK
(1963, Farrokhzad)
A film from the 1960s

https://i.imgur.com/wQZx6gL.png

"There is no shortage of ugliness in the world, but by closing our eyes on ugliness, we will intensify it."

Written and directed by Forugh Farrokhzad, The House Is Black is a documentary that follows life at a leper colony in rural Iran. It features footage of various residents going on about their daily routines while contrasting it with frequent narration of quotes from the Bible or the Qur'an by Farrokhzad herself; quotes that often, like the one above, clash with the visuals of the film.

The visuals are tough, especially when seeing the toll that leprosy has taken on the children. However, Farrokhzad makes a point of showing us the casualness of life in the colony, men playing board games or talking, the happiness of children while playing ball, or women putting on makeup and brushing their hair.

When I watched this a couple of weeks ago, I had no idea what it was about; didn't even know it was a documentary, so it caught me by surprise. But then again, I suppose that's the intention. Per the opening quote, it's obvious that Farrokhzad's intention was to open our eyes to this "ugliness", and let us know that there are ways to remedy it, but moreover, that there is still beauty in it.

Grade: 4