View Full Version : Thief's Monthly Movie Loot - 2023 Edition
BARBARIAN
(2022, Cregger)
https://i.imgur.com/MmXWZSY.png
"There's always going to be people that project some kind of dynamic onto us that serves them. It's up to us if we want to play ball or not."
This is part of a seemingly mundane conversation about relationships between strangers Tess (Georgina Campbell) and Keith (Bill Skarsgĺrd) as they get to know each other after they've been accidentally double-booked in the same rental house. We don't know much about Keith, but we do get some hints that Tess might be dealing with either a breakup or a problematic relationship, which prompts the above response from Keith. But as we dig into the film real plot, there is certainly more to that quote than we might think of.
Barbarian is split in four acts. The first follows Tess and Keith, while the second one introduces a third character, AJ (Justin Long), to the equation. The third act is a brief flashback that ties with the events in the present time, while the final act just wraps things up. It is a very effective narrative structure for this story that keeps you a bit on your toes as you try to figure out what's happening.
To talk more about the film would be a detriment because I think the film works best when you walk in a bit blind, but let's just say there are several instances of characters projecting "some kind of dynamic" onto others because it serves them in some way. It's up to these characters if they "want to play ball or not", but it's interesting to see the dynamics between the characters as they try to figure out whether or not they want to "play ball", and what are the consequences of them doing so.
Director Zach Cregger, who already had a career as a comedian and had co-directed two features with partner Trevor Moore, certainly turned some heads with this. The film might feature some common tropes, but it is still smartly written and cleverly structured. And although there are some things in the last act that might require a bit of suspension of disbelief, you'll probably be too deep in the hole already. It's up to you to play ball or not.
Grade: 4
THE FALL OF THE HOUSE OF USHER
(1928, Epstein)
https://i.imgur.com/ehEkgKx.jpg
"It is here where she truly lives."
That is the statement from Roderick Usher (Jean Debucourt) in the opening act of this silent film, as he finds himself immersed in painting his young wife Madeline (Marguerite Gance). Usher finds himself so absorbed in this painting, apparently a family tradition, that he sees it as a way to capture Madeline's "life". Ironically, one can say that it is this obsession which leads to Madeline's illness.
The Fall of the House of Usher follows the obsessed and tormented Roderick as he first struggles with this fear of death; something that he seems to cope with through this painting. But when tragedy falls on the House of Usher, we follow his torment as he tries to reckon with the events. Halfway through the film, he looks at the painting and declares "It is *there* where she truly lives"; a marked difference from the initial statement which ironically signals the distance between them that results from this obsession to "keep her alive" in some way.
Directed by Jean Epstein, the film presents a surrealist atmosphere focused on the dread and mental state of Usher. It is a very effective atmosphere conveyed by the use of lights, shadows, and the impressive set design. The camerawork is also pretty good, especially for a film from this era.
Unfortunately, I saw this on YouTube and the print was pretty bad, which ended up being distracting at times. The captions from the French intertitles weren't also properly synchronized so I had a bit of a hard time handling it, which I think might have hindered the overall effect. The film lasts a little over an hour, but I felt it dragged a bit, especially once Madeline is out of the picture.
The presence of a friend of Usher (Charles Lamy) also seems to carry on without little explanation. Even Roderick himself seems to be mortified by him, but he sticks around for apparently no reason. Finally, I don't feel like Roderick's harmful obsession was properly addressed in the end. Still, I found this to be quite an eerie watch, anchored in some pretty good production values and a pretty solid ambience.
Grade: 3
CREEP
(2014, Brice)
https://i.imgur.com/Od6wndM.jpg
"You know, that moment I scared you in the woods. and it was - There was murder in your eyes, but it was like, it was baby murder, you're not ready to accept that yet, and I want to encourage you to embrace your inner wolf."
Creep follows Aaron (Patrick Brice), a struggling videographer that accepts a one-day job to record a client, Josef (Mark Duplass), during his various daily activities. Josef claims that he was recently diagnosed with a brain tumor and that the video is meant to be a "video essay" for his unborn son. However, as the day progresses, the interactions between the two characters grow weirder and creepier.
The entire film is told through the lens of Aaron's camera (i.e. "found footage") which adds to the weirdness of the situation. The voyeuristic aspect makes these initially mundane and private interactions to feel more awkward and off-putting. These go from their first recording, which is Josef's "tubby time", to one where he shares the story of this weird wolfmask he had when he was a kid, which he called "Peachfuzz".
This is a film that was recommended by a good Internet friend a while ago, as we were talking about weird films, and weird it is. Although classified as "horror", it is more awkward and what-the-**** than it is gory or violent. Duplass, who co-wrote the story with director and co-star Brice, carries the film magnificently with a performance that keeps you guessing all the way to the end. Is he a creep, or is he just an eccentric oddball?
The main drawback that I might have is that Brice's performance isn't on the same level as Duplass. This is made more evident in the second half of the film, which mostly focuses in him dealing with the aftermath of his first meeting with Aaron. He's not bad, but he's just a bit wooden. Still, he excels with his direction delivering some genuinely eerie moments as the film reaches its climax.
Much like Aaron, the film is a bit of an oddball. This is not your typical "found footage" psychological horror, it lacks the cheap jumpscares and violence that we might expect from some of these films, but rather relies in how much we get into this weird dynamic between these two characters. It is not the most conventional, but it is certainly effective.
Grade: 3.5
SHAKE HANDS WITH DANGER
(1980, Harvey)
https://i.imgur.com/iHgPHwY.jpg
"♫ Shake hands with danger
Any guy oughta know ♪
♫ I used to laugh at safety
But now they call me... Three Finger Joe ♪"
Yeah, this was just too funny not to write up. Shake Hands with Danger is a safety training short film for operators of heavy equipment and machinery in factories and similar workplaces. A couple of weeks ago, I went down this rabbit hole of safety precautions videos, real and parodies, and ended up stumbling within this one and it was too hard to resist.
The short is directed by Herk Harvey (director of 1962's Carnival of Souls) and presents different scenarios in which employees might get injured while working with heavy equipment and power tools. But the thing is that it does so in relatively gruesome ways, at least by the standards of your typical safety training videos, which I think sets it apart as some sort of interesting curiosity.
Now, I work IT but in a warehouse for a multinational company where power equipments and safety measures are daily routines, so I was definitely intrigued by the video from that angle as well (I might consider presenting it to our EHS Supervisor as a training option :laugh: ) But I also found it to be competently made and overall engaging.
Grade: 3.5
FRANKENSTEIN
(1931, Whale)
https://i.imgur.com/U0uVMKu.jpg
"Oh, in the name of God! Now I know what it feels like to be God!"
Frankenstein follows Dr. Henry Frankenstein (Colin Clive) as he embarks on the risky quest to create life. The above is his exuberant claim when he apparently succeeds at it. The result, however, seems to be far from a human and closer to a monster, which is how he is called. The Monster (Boris Karloff) is a towering and menacing figure, which goes against his seemingly innocent mind and behavior. Nonetheless, his existence is seen as a threat to the people around them.
I hadn't seen this in a while, so I was glad to finally revisit it. The film is iconic for a reason. There are a bunch of characters, images, and narrative beats from this film that have, rightfully, served as inspiration for other films. The film is exceptionally well shot with some really impressive wide shots as Frankenstein and his assistant Fritz (Dwight Frye) dig up bodies or later when the Monster is created and first seen; and finally during the climatic confrontation at the windmill.
Karloff nicely fits the role of the Monster in terms of movement, posture, and overall stature, but Clive is also pretty good as Henry; especially during the first act when you see him truly unhinged and obsessed with this creation. Unfortunately, the rest of the supporting cast isn't as strong. Mae Clarke doesn't really shine as Elizabeth, Henry's fiancée, and the introduction of Victor (John Boles) as Henry's friend who also seems to be in love with Elizabeth, is clumsy at best.
Overall, the film shines during the scenes where Henry and the Monster are present, but kinda fall apart when it cuts to all the bits with Elizabeth and Frankenstein's family. This is not helped by an odd editing which seems to break the pace and momentum of the film at certain climatic moments. For example, cutting to Frankenstein's home right after it is revealed that he succeeded in his experiment.
Much like the Monster, Frankenstein, the film felt like an odd creation for me, with some parts working extremely well and others not so much; with a plot structure that I don't think was broken in the most effective way and some subplots that weren't that well executed. And yet it is still one of the most iconic horror films out there, full of chilling visuals, an eerie atmosphere, and some great characters which – even 90+ years later – have left their mark in cinema. It's alive, indeed.
Grade: 3.5
THE DEVIL'S REJECTS
(2005, Zombie)
https://i.imgur.com/wdoKLPy.jpg
"I am the devil, and I am here to do the devil's work."
In 2003, Rob Zombie jumped from heavy metal into filmmaking with his debut, House of 1000 Corpses, introducing the Firefly family and splattering everybody with its excess of blood and guts. Some would say it was an "achievement in horror filmmaking", some would say he's doing the "devil's work". Either way, anybody that sees it, or any of his films, will know he's not one for a "sanitized" point of view.
The Devil's Rejects came out 2 years later, following up on the Firefly family as their three main members: Baby, Otis, and Captain Spaulding (Sheri Moon Zombie, Bill Moseley, Sid Haig), are on the run from the law. Right on their heels is Sheriff John Wydell (William Forsythe) who is obsessed and determined to capture them since the family is responsible for his brother's death in the previous film.
So it's worth highlighting that what you're getting from this film is pretty much along the lines of what you got from the first film. I do think this film is somewhat tamer, but it still relishes in the gore and the torturing of its characters in both sides of the law. The fact that it pretty much follows the antagonists' point of view is an interesting twist, and is clear that the three main actors are having fun with it, especially Haig and Mosely who are wicked good in it.
On that note, those performances are probably the film's best assets, paired with Forsythe's scenery-chewing performance. But the truth is that I just wasn't caught up in the film in any way. As violent as it was, I don't think it was as gory as it could've, the film's not scary in the sense of making you jump, and the story is thin to say the least. So it's just a matter of following the beats of the film go to the places you already expect it to go, and that's it. There are pretty much no surprises in it.
Still, something that I said after I watched the first film is that as unsubtle as Zombie might be, he is not a hack. He has a talented eye and his penchant for homaging other horror or fugitive films is evident and done with a certain style. So if all, or some of that is for you, then maybe you'll see this as an "achievement in horror filmmaking". If it's not, then you might see it as "the devil's work".
Grade: 2
THE MUMMY'S TOMB
(1942, Young)
https://i.imgur.com/6zZzSJ0.jpg
"Whether you can believe it or not, the facts are here and we've got to face them. A creature that's been alive for over 3,000 years is in this town."
Some SPOILERS included
That's the warning issued by the town sheriff after it is found out that the 3,000 year old mummy, Kharis (Lon Chaney, Jr.) has come back in this follow up to The Mummy's Hand. Set 30 years after the events on that film, The Mummy's Tomb follows the efforts of Kharis and its new handler, Mehmet Bey (Turhan Bey) to seek revenge against the Banning family that defeated them in the previous film, notably Steve (Dick Foran) and his partner Babe (Wallace Ford).
I watched The Mummy's Hand (https://www.movieforums.com/reviews/2253220-the_mummys_hand.html) a couple of years ago, but I didn't know how closely related this film was. I thought it was an interesting approach to the story to have the antagonist (i.e. the mummy) come back and essentially kill the heroes of the previous film halfway through, even if it wasn't 100% properly executed. That results in Steve's son, John (John Hubbard) taking the baton to fight against the mummy.
The connections go a bit further than that because, as far as quality goes, The Mummy's Tomb isn't that far from The Mummy's Hand. It is nice to see the mummy taken out of its usual desert environment and have it transferred to Massachusetts, I do think the pace of the film is a bit better and it does get things going a bit faster than the previous film, and I appreciate the more serious and darker tone.
However, despite these positive aspects, the performances aren't that great, the script is somewhat lacking, and the way characters react to certain things isn't that believable or the best. The film is a bit better than the previous film, but it is still a bit lethargic and stale; but I guess those are the facts and we've got to face them, because the creature has been alive for over 3,000 years.
Grade: 2.5
LAKE PLACID
(1999, Miner)
A film about a reptile
https://i.imgur.com/E0XRNBL.jpg
"I'm rooting for the crocodile. I hope he swallows your friends whole. You might want to arrest me for that too. Is that a crime? To wish the chewing of law enforcement?"
Lake Placid follows a group of people trying to find and stop a giant crocodile that's terrorizing a lake in Maine. The mixed group includes Fish and Game officer Jack Wells (Bill Pullman), paleontologist Kelly Scott (Bridget Fonda), eccentric millionaire Hector Cyr (Oliver Platt), and the town sheriff Hank Keough (Brendan Gleeson). All of them, and Betty White is still rooting for the crocodile!
This is a film that I really don't know why I missed back in the day, but I finally caught up with it and I had a lot of fun! The film falls in that line between horror, thriller, and comedy, and I think it handles all of them pretty well. It reminded me a bit of 1950s creature features, or even more "modern" stuff like Anaconda in terms of tone and vibe, with the ensemble cast and the focus on the creature.
And although the focus is indeed in the creature, to the point that one of the characters is actually rooting for it, the banter between the main cast is pretty good. It is weird because, even though they're trying to ship Pullman and Fonda, they don't have chemistry together; and yet, the group banter is so good, especially between Platt and Gleeson.
The special effects are decent and there are a good amount of jumpscares, and although there is a certain goofiness to it, the film never tries to be anything else. This is, first and foremost, a film about a giant crocodile terrorizing people in a lake. Your best choice is to just sit back and enjoy the crocodile carnage. I mean, is that a crime? To root for the crocodile?
Grade: 3.5
THEM!
(1954, Douglas)
https://i.imgur.com/3fBdtwT.jpg
"None of the ants previously seen by man were more than an inch in length - most considerably under that size. But even the most minute of them have an instinct and talent for industry, social organization, and savagery that makes man look feeble by comparison."
That's how scientist Harold Medford (Edmund Gwenn) describes the threat that giant ants might present. Amazing when they're little, terrifying when they're the size of a car, Them! follows the efforts of Medford, along with a group of law enforcement agents, to stop them from spreading across the nation. But can they avoid their natural instinct and savagery in order to succeed?
I've been reading and hearing about this film for a long time, but somehow I had never seen it. I have to say that, for the most part, I was pleasantly surprised. The film's starts with a dread-filled first act as we see the aftermath of various attacks from the creatures. We then follow our two main characters, police sergeant Ben Peterson (James Whitmore) and FBI agent Robert Graham (James Arness) as they try to figure out the nature of the attacks.
First, it was nice to see Whitmore in something other than The Shawshank Redemption. Moreover, he probably had the best performance from the bunch delivering good dialogue and witty retorts. Arness played Graham a bit more straight, but their back-and-forth was effective. Gwenn and Joan Weldon were also pretty solid as the two scientists sent to assist law enforcement.
I had some issues with the pace and how, after the great first act, the film decides to turn the whole second act into a fairly extended search for the creatures. Like a lot of similar films, this whole sequence is full of military talk, news flashes, and press conferences with very little thrills in it. However, the performances and interactions between the four main characters keeps things more or less afloat.
Fortunately, they managed to stick the landing with a pretty good last act as the group track the queen ants to the Los Angeles sewer system. As it is, Them! manages to set itself apart from all the vast array of creature features of the 1950s. We can say it makes most of the others look feeble by comparison.
Grade: 3.5
Before Halloween ends, make sure you check out the latest episode of The Movie Loot, The Vampire Loot, where me and our friend and filmmaker Tyler Jones talk about those pesky, bloodsucking creatures. We talk a bit about the evolution of the genre, as well as share our Top 5 Vampire Movies. Check it out here:
The Movie Loot 94: The Vampire Loot (with Tyler Jones) (https://www.buzzsprout.com/850063/13855874-the-movie-loot-94-the-vampire-loot-with-tyler-jones.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/3oggI0cbqj880FU2QAx8NR?si=c40f7aeb5df54229), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-94-the-vampire-loot-with-tyler-jones/id1578191119?i=1000633031783), Google Podcasts (https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS84NTAwNjMucnNz/episode/QnV6enNwcm91dC0xMzg1NTg3NA?sa=X&ved=0CAUQkfYCahcKEwiAw-7X16GCAxUAAAAAHQAAAAAQNg), and other streaming platforms.
Have fun!
HELLRAISER
(1987, Barker)
A film written and/or directed by Clive Barker
https://i.imgur.com/kDXaafA.jpg
"Who are you?"
"Explorers, in the further regions of experience. Demons to some, angels to others."
That's how the famous "Pinhead" (Doug Bradley), here simply credited as the "Lead Cenobite", describes himself and his team of Cenobites. They're "explorers", that become "hunters" if someone escapes their grasp. Of course, that is precisely what happens in Clive Barker's hellish and grimy debut film.
Hellraiser starts with Frank (Sean Chapman), who acquires this mysterious puzzle box which leads to him being dismembered, torn apart by it, but without really leaving a trace. Fast forward a couple of months, and Frank's brother, Larry (Andrew Robinson) is moving into his house with his new wife, Julia (Clare Higgins).
What Larry doesn't know is that Julia was having an affair with Frank. So when mysterious circumstances bring Frank back to life... sorta, Julia becomes his "black widow", essentially. Her mission is to bring unsuspecting horny men to Frank's feet, until he can regain back his body, flesh, and strength, so they can flee and escape the Cenobites.
This is a film I hadn't seen in several years, but that I always remembered being somewhat... icky. Rewatching it last month, I can confirm it is. But, being a horror film, that's actually an advantage. It is the kind of film you want to take a shower after watching just for how "unpleasant" and "nasty" everything looks and feels, and I mean that as a positive.
It's interesting how much this franchise is associated with the Cenobites, considering how little screen-time they get here. But Barker succeeds in transmitting a sense of dread about their impending arrival, and what that might entail. In the meantime, the interactions between Larry and Julia are interesting. I would've liked a bit more background between her and Frank, just to give a bit more foundation to her actions other than "uptight-woman-getting-horny-with-exotic-brooding-man".
The character of Larry's daughter, Kirsty (Ashley Laurence), who ends up being the "final girl" also feels a bit clumsy in how she is integrated into the story, and Laurence's performance isn't that good. But despite those issues, Barker still manages to craft a pretty grungy but effective horror film.
Grade: 3.5
Takoma11
11-02-23, 11:04 PM
I like Hellraiser quite a bit. (And the part where they come through the hospital wall is the first glimpse of a real horror movie I ever got).
But for me, Hellbound: Hellraiser 2 is the best of the series by a fair amount. I really like Laurence in the lead. She really won me over on her commentary on the Hellraiser DVD. "I had to pretend to be scared of the rats, but actually I love rats. They're so smart!".
BIRTH OF A FEMININE NATION
(2023, Sullivan)
https://i.imgur.com/4GZF4mr.png
"If you're not going to do it, I will."
A mysterious woman, a detective, a missing invention, and the above line. Sounds like the ingredients of a pulpy mystery, which they are. But what people might not realize is that those are some of the ingredients that filmmaker Todd Sullivan and his crew were given to craft this short film.
Done as part of the 48 Hour Film Project organized by Roger Corman, Birth of a Feminine Nation follows Jordan Frost (Melody Olivier), a mysterious woman and inventor that brings this case to Detective Steele (Nich Gulycz). All of a sudden, they find themselves in the middle of a pursuit and perhaps a conspiracy that no one might be prepared for.
The trick of the project is that the film has to be done in 48 hours and include certain obligatory elements (like a certain character, a specific genre, a certain prop, and the above line). I thought the short was fun on its own, but learning about those constraints afterwards made me appreciate it even more.
Grade: 3
For anybody curious to check it out...
https://www.youtube.com/watch?v=h9Aggauk_oU
I like Hellraiser quite a bit. (And the part where they come through the hospital wall is the first glimpse of a real horror movie I ever got).
But for me, Hellbound: Hellraiser 2 is the best of the series by a fair amount. I really like Laurence in the lead. She really won me over on her commentary on the Hellraiser DVD. "I had to pretend to be scared of the rats, but actually I love rats. They're so smart!".
Yeah, I don't remember much from my teenage years, but I do remember liking Part 2 more. I will probably revisit it sooner than later.
DRACULA: PRINCE OF DARKNESS
(1966, Fisher)
https://i.imgur.com/yk6hNYs.jpg
"You forget about all of this in the morning, you'll see."
"There'll be no morning for us."
Dracula: Prince of Darkness follows two couples that unsuspectingly walk into Dracula's Castle, not realizing that this could mean there'll be no morning for them. The above quote is the sentence uttered by Helen (Barbara Shelley) to her husband, as she realizes they might walked into their own doom, despite the warnings from rogue-ish Father Sandor (Andrew Keir).
This film is set some time after the events of Dracula (1958), something I didn't know when I chose it, since I haven't seen it. However, the film includes a brief prologue that replays the final scenes from that film to keep us up to speed. With Dracula dead, the town has descended into a sort of paranoia to avoid something like that from happening again; something that I wish the film would've leaned more into.
Despite all of this warnings and the fact that they're left stranded by their fear-stricken driver, Helen and her husband Alan (Charles Tingwell), along with his brother Charles (Francis Matthews) and his wife Diana (Suzan Farmer) get too close to the castle, and end up enticed by its luxuries. But as one might expect, this will eventually lead to Dracula (Christopher Lee) being brought back to life, putting all of their lives in danger.
At the end of the day, Dracula: Prince of Darkness is a perfectly serviceable vampire film, just not very memorable. First, the four main characters act like annoying idiots, especially Charles, who ends up being the lead. As a matter of fact, it is Helen the one who seems to be the one with most common sense, despite being portrayed a bit nagging.
I also wish there was more done with Father Sandor. It felt as if they were setting him up, and his clashes with the village, for something more but it didn't happen. Either way, there are some genuinely eerie and scary moments, and the film is overall enjoyable. The set design and overall production values are solid, and Philip Latham delivers a creepy performance as Dracula's servant, Klove.
One thing that felt a bit awkward was to see Lee act as Dracula but with no lines of dialogue. Rumor has it that he read his lines in the script and told the producers "if you think I'm going to say any of these lines, you're very much mistaken." This is denied by screenwriter John Sansom, who claims he didn't write any lines for him. Regardless of who you believe, it's still an odd choice that makes the film not that memorable, but rather something we might forget in the morning.
Grade: 3
THE SWARM
(1978, Allen)
A disaster film
https://i.imgur.com/jZh2LpL.jpg
"Oh, my God! Bees! Bees! Millions of bees! Air Search Two-Eight to base. Bees. Millions of bees!"
That's the cry for help from a helpless helicopter pilot as he encounters a deadly swarm of killer bees on his way, causing him to crash. But that's exactly what this 70's disaster film delivers; a swarm of bees causing helicopter crashes, train derailments, ruined picnics, and lots of deaths.
The Swarm follows the government efforts to stop this swarm from causing more chaos. At the front of everything is Dr. Bradford Crane (Michael Caine), a scientist that has been tracking this bees for a while and whose attitude and methods clash with those of the general who's overseeing things. Meanwhile, in nearby Marysville, townsfolk find themselves in the path of the deadly swarm.
But along with the swarm of killer bees comes a swarm of aging actors making guest appearances in this film. Henry Fonda, Olivia de Havilland, Fred MacMurray, Slim Pickens, José Ferrer; I'm still wondering how they managed to get them all on this dumb film, but that was a common occurrence at the time (see The Towering Inferno, The Poseidon Adventure, etc.)
But it is Caine the one who's on top of things, and he chews scenery like a madman in this. His whole approach to solving things doesn't make much sense, but then again, neither does any of the things characters do in the film. "Look! There's a swarm of killer bees coming! Gee, if only I could close my window!"
Regardless of its many flaws, which include stung victims having frequent hallucinations of giant bees (see the picture!), the film is rarely boring. For a 2 hour dumb disaster film, I'd say that's quite a feat. But I guess it delivers what it promises: disaster, chaos, camp, scenery chewing, and bees! millions of bees!
Grade: 2
SpelingError
11-04-23, 01:01 AM
https://www.youtube.com/watch?v=EVCrmXW6-Pk
PHOENIX74
11-05-23, 12:33 AM
The Swarm is deliriously silly, and takes itself so seriously. I absolutely adore it for being one of the craziest big-budget movies ever made - I never tire of watching it.
https://www.youtube.com/watch?v=EVCrmXW6-Pk
I need to surrender one day and watch that, just for the sake of cinema :laugh:
A GIRL WALKS HOME ALONE AT NIGHT
(2014, Amirpour)
https://i.imgur.com/dmfR8HE.jpg
"You don´t know the things I´ve done."
"And you don´t know the things I´ve done."
That is the exchange between young Arash (Arash Marandi) and the lead girl (Sheila Vand), which is the truth from any encounter we have with new people. It is always a gamble, a toss of the dice. We don't know each other, and yet sometimes, it doesn't matter. We take the gamble, toss the dice, and see where the road and the night leads us.
A Girl Walks Home Alone at Night puts a spin to the story with the lead girl, who remains unnamed, being a vampire. This adds a couple of additional layers of mystery and danger to her encounter with Arash. But Arash isn't a saint himself. They're both carrying secrets and burdens that the other doesn't know about.
Like the characters themselves, this film goes beyond being *just* a vampire movie. It is an interesting mish-mash of genres and styles that go from western to coming-of-age. The two main characters are essentially two teens getting to know each other, each forced by circumstances to grow up and be... something different.
Despite this, the want for those innocent and tender moments of youth remains. Whether it is the main character playfully skateboarding around, or Arash dressed up as none other than Dracula for a costume party. Nevermind that the skateboard is stolen from a kid she scared to death by threatening to take his eyes out of his skull, or that he's in the costume party selling drugs. They don't know the things they've done.
For a debut, A Girl Walks Home Alone at Night is an impressive one. Most definitely a slow burn, but a burn nonetheless. Gorgeously shot, visually striking, emotively acted, with the depth of an existential drama and the charm of a teen romance, no matter how odd it might be.
Grade: 3.5
30 DAYS OF NIGHT
(2007, Slade)
https://i.imgur.com/EWRK8sR.jpg
"When man meets a force he can't destroy, he destroys himself. What a plague you are."
Vampire lore establishes that they can only come out at night. This certainly gives potential victims a certain window for which to look for while trying to survive. But what if it was nighttime for a whole month? That is the twist that 30 Days of Night puts in the vampire sub-genre.
Set in Barrow, Alaska during winter, the film follows a group of people as they prepare for their month-long polar night. Sheriff Eben Oleson (Josh Hartnett) seems to be on top of everything, except his own marriage as his estranged wife Stella (Melissa George) is looking forward to move to the mainland USA.
With the polar night on top of them, a band of ruthless vampires led by Marlow (Danny Huston) attack the town. Without the hope of daytime, survivors are forced to seek shelter for the month-long period. The film then follows the typical storyline of survivors in hiding having to deal with each other. Will they destroy themselves, or will they destroy their tormentors?
This is a film that, for some reason, I hadn't seen and now I have to wonder why. It was definitely a lot of fun that felt like a jolt of energy into a sub-genre that seems to need one more often than not. The whole premise of survivors trapped with vampires free of the constraints of sunlight should be unnerving enough. However, this also leads to the pace feeling a bit chopped off as a result of a couple of time jumps that feel a bit abrupt.
Hartnett and George were pretty good as the leads, and the whole supporting cast was solid. As usual, Ben Foster was a treat as a stranger that arrives at the town warning of the incoming threat. Huston also seemed to be relishing his role as the threatening Marlow, although I think the whole band of vampires could've done with a bit more personality and charisma. Still, they looked menacing enough and were menacing to keep us on edge for 2 hours, or 30 days.
Grade: 3.5
Takoma11
11-05-23, 10:38 PM
Hartnett and George were pretty good as the leads, and the whole supporting cast was solid. As usual, Ben Foster was a treat as a stranger that arrives at the town warning of the incoming threat. Huston also seemed to be relishing his role as the threatening Marlow, although I think the whole band of vampires could've done with a bit more personality and charisma. Still, they looked menacing enough and were menacing to keep us on edge for 2 hours, or 30 days.
Grade: 3.5
I'd probably rate it a notch or two lower than you, but I really like Hartnett and I LOVE George.
I'd say it's telling that on the DVD commentary, Josh Hartnett says something like "So I took the script to them and said, you know, this doesn't actually make sense. And they told me not to worry about it, so that was, like, the approach I took." LOL. He says it very diplomatically but even I noticed that the "rules" of the movie fluctuated scene to scene.
I'd probably rate it a notch or two lower than you, but I really like Hartnett and I LOVE George.
I'd say it's telling that on the DVD commentary, Josh Hartnett says something like "So I took the script to them and said, you know, this doesn't actually make sense. And they told me not to worry about it, so that was, like, the approach I took." LOL. He says it very diplomatically but even I noticed that the "rules" of the movie fluctuated scene to scene.
I had issues with the climax and what Hartnett does to fight the vampires, but I really liked the setup and I was very much entertained by then so it didn't make much of a dent.
OCTOBER 1
(2014, Afolayan)
A film from Nigeria
https://i.imgur.com/OZiWWD1.jpg
"He will keep on killing until his thirst for blood has been quenched."
October 1, 1960 is the date when Nigeria gained its independence from Great Britain. It is also the date when this film starts, as we see Inspector Danladi Waziri (Sadiq Daba) deliver his findings to the British colonial authorities on the case of a serial killer and rapist. Unfortunately, the British seemed to be more interested in getting this over with for the handover of the country.
There is always disappointment in seeing a story with potential being hindered by a couple of elements. Director Afolayan does a good job handlng the camera and keeping an effective pace on things. However, the story is predictable as you can probably guess who the killer is after 15 minutes of film.
In addition, many of the performances aren't very strong. Daba has a very likable presence and it's refreshing to see a film like this focusing on an aging inspector, instead of a young hotshot. However, you can see him struggling often with his line delivery. I did like the subtext of the "old school" clashing with the "new" one, and how it presents the problems of colonialism within the country.
This is the second film I see from Afolayan (the other being The Figurine) and it is evident that he knows what he's doing, at least within the limitations of a developing cinema industry. Despite its many flaws, October 1 still manages to be an entertaining and mostly well done thriller.
Grade: 3
Takoma11
11-05-23, 11:51 PM
I had issues with the climax and what Hartnett does to fight the vampires, but I really liked the setup and I was very much entertained by then so it didn't make much of a dent.
For me it didn't quite go the distance. Still I liked the actors well enough. Honestly, it's not a movie I remember all that well, for better or for worse.
TERROR OF FRANKENSTEIN
(1977, Floyd)
Any film version of Frankenstein
https://i.imgur.com/Miez6dI.png
"I seek... I plan to seek their help. You see, I'm alone and friendless."
Terror of Frankenstein follows the attempts of Victor Frankenstein (Leon Vitali) to "create life" and his subsequent efforts to stop his own creation (Per Oscarsson). This film was described to me as "the most authentic to the book", and although I've never read it, it seems it is based on what I've read.
With only the 1931 Frankenstein version and its frequent depiction in popular culture to go from, I was quite surprised by how much more profound, disturbing, and eerie this story was. From Frankenstein's portrayal as more of a daring but ultimately reckless young scientist that's terrified of his own doing, to the portrayal of the "monster" as a literate creature that has wants, desires, and ultimately hatred and anger at those that reject him.
After all, his life has been one of abandonment and isolation, starting with Victor who literally fled his house as soon as he realized the "monster" had come to life. Despite its initial innocent nature, the creature's search for help, company, and friendship with humans has led to hurt, fear, and more abandonment because of his grotesque appearance.
This was a film that certainly caught me off guard, in a positive way. I think that the performances from both Vitali and Oscarsson are pretty good with lots of interesting layers and nuances to both characters. I think Oscarsson in particular did a great job portraying the "monster's" frustration and eventual hatred of humans.
I also appreciated the story's bleakness and no-BS approach. Even though it is not necessarily a horror film, playing more like a gothic drama/mystery, the film is full of eerie and unsettling moments. If you're looking for gore and jumpscares, look elsewhere; but if you're looking for a more pensive and thought-provoking look at this popular "monster", then check this out.
Grade: 4
ALTERED
(2006, Sánchez)
https://i.imgur.com/EmgQZyU.jpg
"Look at us. We're all fu˘ked up now."
Altered follows a group of friends that manage to capture an alien creature in an attempt to get payback after being abducted and tested on themselves 15 years ago. However, their quest for revenge only serves to bring forth their own personal issues, guilt, regrets, and traumas, which has led to them being distanced and "all fu˘ked up now".
The film starts with Cody, Duke, and Otis (Paul McCarthy-Boyington, Brad William Henke, and Michael C. Williams) capturing the alien. They then bring it to the house of a fourth friend, Wyatt (Adam Kaufman), who had distanced himself from the group after the abduction. It is there where their internal conflicts bubble up, endangering them all.
This film was directed by Eduardo Sánchez, one of the creators and directors of The Blair Witch Project. I assume it shouldn't have been easy to follow up such a successful project, so I appreciate him sticking to a small-scale, independent project like this. He uses a very economical approach focusing more on the interactions between the friends than the alien itself.
What little special effects we get are decent, and Sánchez direction is pretty solid. But the script by Jamie Nash keeps the spotlight on the relationship between these four men, and how much they've lost as a result of this trauma. Unfortunately, Kaufman lacks a strong emotional presence and depth, which has a significant impact in the film considering he's more or less the audience's proxy, and supposed to be the emotional core.
The film is certainly not without other flaws, mostly some spotty dialogue and another shaky performance from Wyatt's girlfriend, but I really liked the film's approach to this abduction as more of an individually traumatic and personally scarring event that has affected this men's life forever; something that gave me vibes of cases of child or teen abuse. Yeah, they're "all fu˘ked up now" for sure.
Grade: 3
EXISTS
(2014, Sánchez)
https://i.imgur.com/V17hzY5.png
"We're going to be fine, as long as we don't provoke it. There are no credible documented cases of a Sasquatch attack."
Stories of Bigfoot, Sasquatch, or essentially big, hairy creatures have been around for centuries, but peaked in the 1960s and 1970s. Regardless of whether you think it exists, the image of a lumbering hairy "creature" has become so iconic, to the point that it has been copied, parodied, and homaged in all types of media, including this 2014 film.
Exists follows a group of friends spending a weekend in a remote cabin, only to find themselves being stalked and hunted by a mysterious creature. Directed by Eduardo Sánchez, co-director of The Blair Witch Project, this is a film that really lends itself really well for the "found footage" format, and he really makes some good use of it here.
The direction does a great job of creating dread and tension through the possibility of an approaching figure, or because of the actual approaching figure. There are also a lot of effective jumpscares and genuinely scary, creepy moments. Even though I don't think the very conclusion did the trick, I have to admit that I was fidgeting at numerous times during the film.
One of the struggles of "found footage" films is to find reasons for the characters to keep filming, even in the midst of chaotic situations. However, although there is always the need for some stretch, the recording feels mostly organic here. The performances are serviceable; although none of them are great, they do the job.
Ever since "found footage" was catapulted in popularity by Sánchez and partner Daniel Myrick, it has become a frequent target for movie fans that question their purpose and legitimacy. It is perhaps serendipitous that it is Sánchez himself the one that proves to us that effective "found footage" films do exist.
Grade: 3.5
I shouldn't second guess myself, but I think objectively, these last two are 2.5 and 3. But even though they have a lot of flaws, I genuinely didn't expect to enjoy them as much as I did, so I guess that's what counts.
THE BLAIR WITCH PROJECT
(1999, Myrick & Sánchez)
https://i.imgur.com/7wM5XvC.jpg
"You gonna write us a happy ending, Heather?"
The Blair Witch Project follows three students (Heather, Joshua, and Michael) that ventured into the woods near Burkittsville, Maryland to record a documentary on the Blair Witch and ended up disappearing. Shot in the style of "found footage", the film presents what they recorded as if it was found a year later, in a much decidedly *not* happy ending.
I was already an avid film fan back in 1999, so I remember all the hoopla around the release of this film pretty well. I remember seeing it in theaters, and I still think I'm the only one that walked away really pleased with the film that night. I don't think a lot of people were prepared for what they were going to see, but this is a film that the more I rewatch, the more I appreciate, admire, and love.
As a matter of fact, I rewatched it for the umpteenth time this October and it never fails to feel creepy, eerie, and ultimately unsettling. It's been a while now, but I don't think I ever believed the "true story" marketing. However, as someone who had spent a good amount of my pre-teen/teenage years camping in the woods with friends, the film really has a way to get to you with how scary that experience might be.
But beyond the parts in the woods, I think the film does a great job setting everything up in the first act. I think the "interviews" with the townspeople are really effective and do a great job at putting you on edge. There are some fortuitous things, like the little child covering the mother's mouth when she starts to talk about the Blair Witch. I also seem to recall that the filmmakers didn't want the Mary Brown (Patricia DeCou) interview to be so grainy, and yet, I think that adds a whole different level to that moment.
I might also be in the minority, but I think the three "students" do a great job with their parts; moreover when you consider they were mostly inexperienced actors that the filmmakers just dropped into the woods and told them to improvise. With its 81 minutes, $200K package, The Blair Witch Project is many things: it is innovative and ground-breaking, a product of its time, but also unique and timeless, scary and ominous, with no happy ending.
Grade: 4.5
BLAIR WITCH
(2016, Wingard)
https://i.imgur.com/Q3gdfng.png
"You know this is what I came here for."
Several years after the events of The Blair Witch Project, James stumbles upon an online video that he believes shows his sister, Heather, alive. Determined to find her, he recruits a group of friends, including documentarian Lisa (Callie Hernandez). What they find, though, might be more than what they came for.
I've been a huge fan of The Blair Witch Project ever since I saw it in theaters (see my previous review), and let's say I was "a bit" disappointed with Blair Witch 2: Book of Shadows. So I wasn't really clamoring for another sequel; I don't think it's necessary. But fate had it for me to eventually check it out.
Even though it follows the "found footage" format, Blair Witch doesn't really feel like that. It feels like a film shot with handheld cameras, which is my way of saying that the "found footage" element doesn't feel as organic or as realized as the original. In addition, the performances from most of the actors, although not bad, feel like performances. So, overall, that sense of naturality that was present all through the original is missing here.
Despite that, the film does manage to effectively build a sense of dread. It might rely too much on cheap jumpscares, to the point that even one character says at one point "can everyone stop doing that?". But beyond that, there is enough here to make it feel unsettling and creepy, in terms of atmosphere, setting, and visuals. The last act in particular has a couple of really intense sequences, particularly one with a character crawling through an underground tunnel that had me squirming and fidgeting all the way through.
Certainly Blair Witch doesn't compare to the original, and maybe it wasn't necessary in the end. Maybe it tries to explain too much, maybe it answers too much or it shows too much, but in a world where pointless sequels and endless franchises abound, I'm surprised that this one managed to be as effective and scary as it was, and you know that is what I came here for.
Grade: 3.5
Here's my summary for OCTOBER 2023:
A film written and/or directed by Clive Barker (born October 5): Hellraiser (https://www.movieforums.com/reviews/2420886-hellraiser.html) (1987)
A film about a reptile (Nat'l Reptile Awareness Day, October 21): Lake Placid (https://www.movieforums.com/reviews/2418408-lake_placid.html)
Any film version of Frankenstein (Nat'l Frankenstein Friday, October 27): Frankenstein (https://www.movieforums.com/reviews/2418004-frankenstein.html) (1931), Terror of Frankenstein (https://www.movieforums.com/reviews/2421543-terror_of_frankenstein.html)
A disaster movie (Int'l Day for Disaster Reduction, October 13): The Swarm (https://www.movieforums.com/reviews/2421086-the_swarm.html) (1978)
A film from Nigeria (Independence Day, October 1): October 1 (https://www.movieforums.com/reviews/2421349-october_1.html)
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Other films seen, not for the challenge
Monsters and killers: The Meg (https://www.movieforums.com/reviews/2416765-the_meg.html), Barbarian (https://www.movieforums.com/reviews/2417171-barbarian.html), The Devil's Rejects (https://www.movieforums.com/reviews/2418012-the_devils_rejects.html), The Mummy's Tomb (https://www.movieforums.com/reviews/2418384-the_mummys_tomb.html), Altered (https://www.movieforums.com/reviews/2421551-altered.html), Exists (https://www.movieforums.com/reviews/2421560-exists.html)
Vampire movies: Dracula: Prince of Darkness (https://www.movieforums.com/reviews/2420996-dracula_prince_of_darkness.html), A Girl Walks Home Alone at Night (https://www.movieforums.com/reviews/2421329-a_girl_walks_home_alone_at_night.html), 30 Days of Night (https://www.movieforums.com/reviews/2421342-30_days_of_night.html)
Found footage: Creep (https://www.movieforums.com/reviews/2417239-creep.html), The Blair Witch Project (https://www.movieforums.com/reviews/2421703-the_blair_witch_project.html), Blair Witch (https://www.movieforums.com/reviews/2421711-blair_witch.html)
Silent horror: The Fall of the House of Usher (https://www.movieforums.com/reviews/2417228-the_fall_of_the_house_of_usher.html)
Short films: Shake Hands with Danger (https://www.movieforums.com/reviews/2417464-shake_hands_with_danger.html), Birth of a Feminine Nation (https://www.movieforums.com/reviews/2420893-birth_of_a_feminine_nation.html)
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A good amount of horror and monster stuff to go with the month. As far as favorites, Terror of Frankenstein and Barbarian stand out.
My least favorite was probably The Swarm, but at the same time, it was fun :laugh:
CRISS CROSS
(1949, Siodmak)
https://i.imgur.com/miWgSe6.png
"From the start, it all went one way. It was in the cards or it was fate... or a jinx or whatever you wanna call it."
Film noir is often defined as "pessimistic, fatalistic, and cynical" with characters that are "trapped in unwanted situations" they just can't control; whether it was in the cards, or fate, or a jinx. Even if they can't control them, they often end up making things worse with their actions, like a snowball effect, which is the case in this dark and twisted noir.
Criss Cross follows Steve Thompson (Burt Lancaster), who can't help but rekindle his relationship with his ex-wife, Anna (Yvonne de Carlo) even though she is now married to Slim Dundee (Dan Duryea), a mobster with no scruples. By the twists of fate, Thompson ends up leading Dundee into planning a heist to the armored truck company he works for.
This film is one of those perfect encapsulations of what film noir is. From the flashback narrative to the dim-lit cinematography, from the romance to the heist, from the lead man thrust into a situation he feels he can't control to the femme fatale you're never really sure where she stands on. It's all in there, in prime form.
In the last 5 years or so, I've seen more films from Burt Lancaster and Dan Duryea than I had before, and they both have become favorites. Lancaster has a unique mixture of tough-guy persona and charm that goes perfectly with the character of Steve, while Duryea can't help but be so good at being "slimy". The main cast is rounded by de Carlo, who I hadn't seen in anything other than The Munsters, but she's so good as the stone cold Anna.
Aside from the performances, I really loved how the story always keeps you guessing where things are at. As the title suggests, there's a cross waiting at every turn and every corner from every character. There's never a sense of certainty in it, and it's great to share that with the main characters, specifically Steve. We never know where the cards or fate would lead us, but we're going there anyway.
Grade: 4
PAW PATROL
THE MIGHTY MOVIE
(2023, Brunker)
https://i.imgur.com/bdtBTF9.png
"We're going to need a new name for ourselves."
"How about the PAW Patrol... but more! With just a little bit extra!"
PAW Patrol: The Mighty Movie follows the crew of dogs as they try to stop Victoria Vance (Taraji P. Henson) from using a big magnet to capture a magical meteor from space. But when the meteor ends up destroying the PAW Patrol's headquarters, the dogs end up gaining superpowers from the crystals inside of it. As they explore their newfound skills, they must also learn to work together to save Adventure City.
PAW Patrol is a frequent watch for my kids. They have figures, coloring books, and other merchandise. So when the opportunity came to go to the movies this weekend, this was the easy option to choose. First, the animation is gorgeous, colorful, and vibrant, and the film is full of cool sequences and setpieces for them to cheer and celebrate as each dog gets some moment to shine.
However, from my perspective as an adult, the film is mostly competent. There is a decent story there about acceptance and overcoming insecurities, but it is a bit buried under all the shiny objects and cool gadgets. The thing is that most of what happens feels like just a set up to have the pups doing cool things and get new shiny uniforms and cooler vehicles that twist and turn to transform into cooler vehicles, just because.
In a similarly pointless way, there was also a significant amount of time spent in the climax to allow each dog to shine in some way, even if it didn't make much sense. Still, I suppose kids liked seeing each dog's name being called into action. They also seemed to be setting something up with Liberty, the only dog that apparently didn't get a superpower, but the payoff to that felt pretty anticlimatic and, well, lame.
But putting my insignificant adult quibbles aside, the point is that my kids had fun with it and enjoyed it. If they were writing this review, they would probably give it a 5/5; they had fun with it, they cheered and celebrated every victory, so it's safe to say that the film achieved its goal with its target audience.
Grade: 3
DETOUR
(1945, Ulmer)
https://i.imgur.com/ZRwkqfi.jpg
"That's life. Whichever way you turn, Fate sticks out a foot to trip you."
Detour follows Al Roberts (Tom Neal), a night club piano player that is determined to follow his girlfriend into Los Angeles. However, fate sticks out a foot to trip him on his way, as he stumbles upon deceit and murder in the form of Vera (Ann Savage), who decides to blackmail the poor man.
I saw Detour for the first time a couple of years ago when I took an online course on film noir. In it, Professor Richard Edwards used it to highlight most of the more iconic and emblematic motifs in film noir: flashbacks, foggy lighting, canted angles, our lead narrator beaten down and trapped by fate, and a wicked femme fatale. It's all here.
Both Neal and Savage were very good portraying the desperation from their characters. Her performance might've been a bit more forced, but the character called for it. Still, they worked pretty well off each other. Director Ulmer makes the most of what he got with some great use of shadows, lights, and music, which serves to create a unique and effective atmosphere.
Detour is a fairly simple film in terms of how it was made and what it was aiming for. Filmed by one of the Poverty Row studios, in 6 days and with about $100K, it ended up becoming one of the most popular film noirs ever made. A twisted and dark little story about life, death, and fate sticking out a foot to trip you.
Grade: 4
MURDER, MY SWEET
(1944, Dmytryk)
https://i.imgur.com/sbUBNjb.jpg
"I don't think you even know which side you're on."
"I don't know which side anybody's on. I don't even know who's playing today."
Murder, My Sweet follows private eye Philip Marlowe (Dick Powell) as he finds himself ensnared in a complicated conspiracy of theft, kidnapping, deceit, and murder where he's never clear of where he's standing. Hired by multiple sides to perform different jobs, Marlowe realizes they're all playing a dangerous game that might leave him blindsided.
Marlowe is a character that was popularized by Humphrey Bogart's performance in 1946's The Big Sleep. But although Bogey's performance is probably the best one, Powell doesn't have a lot to envy him. He really does a great job in the role, exuding confidence, wit, toughness, and charisma as he delivers Chandler's trademark verbal jabs at anyone.
Powell is surrounded by a solid cast, specifically Anne Shirley and Claire Trevor as Ann and Helen Grayle; both potential love interests, both potential femme fatales. Like Marlowe, we're never sure which side anybody's on. Otto Kruger is also very good as one of the potential masterminds in this twisty scheme.
The plot is indeed full of numerous twists and turns, right from the get go. In the first 30 minutes, Marlowe is hired by an ex-con to find her girlfriend, by a grifter to serve as bodyguard/muscle, and by a wealthy woman to find a lost jewel, all while he tries to figure out what side anybody's on.
In the same spirit, Murder, My Sweet manages to play many sides, being both witty and fun, but also somewhat dark and twisted. I might've found myself shaking my head at some of the twists, but much like Marlowe, I shook it off and pushed through. Even if we didn't know which side anybody's on, it was sure fun to see it all play out.
Grade: 4
LE SAMOURAĎ
(1967, Melville)
https://i.imgur.com/KLbQTJt.jpg
"I never lose. Never really."
That is the assurance that hitman Jef Costello (Alain Delon) gives to a group of poker-playing "friends" that will provide him with an alibi. He never loses, and based on what little we see of his "work ethic" and process, we believe it to be true, whether it is poker or his dangerous work. Costello is careful, methodical, organized, and precise.
Le Samouraď follows Costello, who lives in solitude in Paris as he goes from job to job. But when he is spotted after a hit, the circle starts closing in on him with both his employers and a determined police officer hot on his tail. What they don't know is that Costello never loses. Never really.
This film came highly recommended by many, and you can easily understand why. It is stylish as hell, and Costello is cool as ice. But in addition to that, Melville manages to create a very solid atmosphere of tension, despite the simplicity of the story. As we follow Jef, and we see the machinations around him, we can't help but root for him.
There are a bunch of strands that Melville could've gone down to expand the story; whether it is the background on Jef's girlfriend (Nathalie Delon), or the true motivations of the piano player that spots him (Caty Rosier). Instead, Melville keeps it lean and simple. Much like Costello, he's in and out of the story.
Part of me wishes there was a bit more to it. Maybe because we're left with questions, or maybe because we want to spend a little bit more time with this enigmatic character. Perhaps to see how else he confidently slips out of tight spots, or maybe to understand more of his mindset. But what is evident is that, even down to the end, he never loses. Never really.
Grade: 4
SpelingError
11-16-23, 08:05 PM
LE SAMOURAĎ
(1967, Melville)
https://i.imgur.com/KLbQTJt.jpg
Grade: 5
Fixed ;)
THE KILLER
(2023, Fincher)
https://i.imgur.com/tRA9SFi.jpg
"Whatever it takes, make sure you're one of the few, not one of the many."
31 years ago, David Fincher shot his way into the world of cinema. Already a successful music video director, he got his first chance with a sequel to Aliens, an experience that, admittedly, left him scarred and bitter about the whole Hollywood machinery. Maybe it was that moment when he decided he would be "one of the few, not one of the many".
Ever since, Fincher has crafted a successful career anchored in isolated and obsessed characters; perfectionists, perhaps like himself. The Killer is no exception. The film follows the titular unnamed hitman (Michael Fassbender) as he meticulously prepares for a job, all while we listen to his random musings about places he's been, McDonald's, and life in general. But when the job goes wrong, he finds himself in the crosshairs of his employers.
Coming after films like Mank and Gone Girl, The Killer feels like a return to basics for Fincher. It is a fairly lean, simple, stripped down film about a man looking for revenge. But even though that might sound formulaic, Fincher is "not one of the many". So what we get is a cold, but technically impressive version of that as we look into the process of a meticulous hitman.
The main highlight is definitely Fincher's direction, which is flawless, but the cinematography and the use of sound are also impressive. Fassbender is great in a film that demands him to be, since it rests solely on his shoulders. But the sparse supporting cast, most notably Tilda Swinton, are just as good.
But where Fincher makes sure he's "one of the few, not one of the many" is in how he subverts our expectations on how this killer should operate, and what he's supposed to find as he goes up the ladder. Fincher takes the risk of not necessarily giving us what we expect, while instead peeling a few thin layers off of this character to try to understand why he does what he does.
I ended up seeing this film twice in a week, mostly because I was set to talk about it for a podcast, but that second watch surely helped. After my first watch, I wasn't really sure where I stood with it, but the second watch really helped me appreciate it more. Even though I still wish there was a bit more to chew on, Fincher elevates this above many other hitman films. That's why he is "one of the few, not one of the many".
Grade: 3.5
Fixed ;)
You never lose :D
LOVELY MOLLY
(2011, Sanchez)
A film about the occult
https://i.imgur.com/gr2fgfl.jpg
"I love her, Hannah. I just don't know how to help her."
Cambridge Dictionary defines being "addicted" as being "unable to do something". Addicts have described how they just can't stop doing this or that. Like some force is taking over their bodies. That is part of the basis of this supernatural horror film which asks "what if it's actually an external force that's making you do this or that?".
Lovely Molly follows Tim and Molly (Johnny Lewis and Gretchen Lodge), a young couple that moves into her childhood home. This, however, uncovers some painful memories as well as a potential entity taking over Molly's mind and body. Things are complicated by the fact that Molly is a recovering heroin addict, which leads most people to attribute her behavior to a relapse; but is it?
This is yet another film I see from Eduardo Sanchez, co-director of The Blair Witch Project, and I've found myself pleasantly surprised by his catalog. Despite whatever limitations he might have, he takes some interesting approaches to some horror staples like alien abductions, Bigfoot, or in this case, demon possessions.
Much like Cronenberg used The Fly to explore the effects of terminal illness, Sanchez uses this possession to explore the reaches of drug addiction and mental illness. The latter is a topic that really hits close to home for me and things that I'm currently going through. So when I heard the above quote, or when I saw Molly's sister, Hannah, with 9-1-1 already dialed on her phone but hesitating to push the button, I totally get that. I've said that, and I've been through that.
So maybe my personal experiences have me biased in favor of it, but that's what films are about. Regardless, I think that Sanchez successfully creates an eerie atmosphere where you're often trying to figure out what's going on. Also, Lodge is pretty good in the lead role conveying a wide array of emotions. There is a really important twist that I felt was very much underdeveloped, but I still think this was a rather effective supernatural horror film.
Grade: 4
Forgot to share my latest "assignment" episode!
The Movie Loot: The November Assignment (with Todd Sullivan) (https://www.buzzsprout.com/850063/13949859-the-movie-loot-the-november-assignment-with-todd-sullivan.mp3?download=true)
In this one, I'm joined by filmmaker Todd Sullivan to choose a set of 5 categories to guide us on what to watch during the month.
You can also see the live broadcast we did via YouTube
here (https://www.youtube.com/watch?v=EyczwPYvBeM)
...or listen to it through any podcasting platform like Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-the-november-assignment-with-todd-sullivan/id1578191119?i=1000635581804), Spotify (https://open.spotify.com/episode/153rQXdW6QkaOxjQCnz2Qw?si=d6ed5ad7e9a646a1), Google Podcasts (https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS84NTAwNjMucnNz/episode/QnV6enNwcm91dC0xMzk0OTg1OQ?sa=X&ved=0CAUQkfYCahcKEwj4tMTo6dWCAxUAAAAAHQAAAAAQNg), or any other.
Here are the criteria we chose for NOVEMBER 2023:
A film about the occult (Occult Day, November 18):
A film noir:
A film widely considered one of the worst ever:
A film from Joe Dante (born November 28):
A film from Mike Nichols (born November 6):
SEVENTH MOON
(2008, Sanchez)
A film about the occult
https://i.imgur.com/Xfi1zVs.jpg
"This isn't just China-weird, okay? It's fu˘king just weird-weird."
Every country has its own traditions and beliefs. Some that seem just like fun, and others that might seem weird. The Hungry Ghost Festival is celebrated in China during the full moon of the seventh lunar month. It is believed that during this time, the gates of hell are opened allowing hungry ghosts to roam the Earth for food, or something to eat. That is why relatives leave offerings and sacrifices for them to feast on.
Seventh Moon is set in China during this celebration, and it follows newly married couple Yul and Melissa (Tim Chiou and Amy Smart) as they are enjoying their honeymoon in his native town. However, when they are left stranded in the wilderness by their tour guide, they have to find ways to avoid the hungry beings and survive the night.
Director Eduardo Sanchez has a talent to build dread and fear through silhouettes, blurry figures, and creatures in the distance. There's a talent there in how he can make you feel on edge with just that. The notion of some impending doom approaching creeps under your skin, especially through that first act as Yul and Melissa are trying to figure out what's going on.
Unfortunately, Sanchez also decides to use a "shaky cam" approach amped to 11, which hinders the overall effect. In addition, the last act doesn't feel as strong as the first two so I don't think the story quite sticks the landing. In the end, everything feels not necessarily scary, creepy, or affecting, but rather just weird-weird.
Grade: 2
PLAN 9 FROM OUTER SPACE
(1957, Wood)
A film widely considered one of the worst ever
https://i.imgur.com/JT3mKOh.jpg
"You know, it's an interesting thing when you consider... the Earth people, who can think, are so frightened by those who cannot: the dead."
Plan 9 from Outer Space follows a group of aliens, ahem, from outer space implementing a plan to stop humans from using "big guns" and "explosives" or, if that fails, destroy humanity. The plan? To resurrect the dead because, as their commander Eros says in the above quote, humans are "frightened by those who cannot [think]". So they think that, somehow, the undead and the ensuing chaos will help them to either grab humanity's attention or just finish them.
Written, produced, directed, and edited by Ed Wood, it is one of the most notorious examples of his skills, or lack of. The film has a mostly non-sensical plot, stilted performances, odd use of stock footage, and overall inept production values. The sets and costumes look like those from a school production and the pace of the film is, to put it mildly, awkward as it sputters along different plotlines loosely hanging from each other.
The main character is Jeff Trent (Gregory Walcott), a commercial pilot that witnesses the alien spaceships several times, but can't talk about it because of a non-disclosure agreement from his employer. He is then joined by the police as they try to investigate these appearances that are somehow tied to more weird occurrences happening in the cemetery next to his house.
Another notable star is Bela Lugosi, who plays an old man who dies in a car accident. His footage was meant to be for another film Wood was working on, but after Lugosi's death he decided to use it in this one. However, the final result which includes an obvious stand-in posing as Lugosi for some scenes, feels so out of place and awkwardly inserted that you can't help but laugh at it.
But I guess that's the charm of the film, and of Wood's career I assume. Sure, his films are badly written and made, but through all the ineptitude, you can still get the sense that he loves film and really wanted to make something that lasted. Seeing how his work is still remembered to the point of having a biopic made out of him, with this film still being talked about 60+ years after, I suppose he achieved what he wanted.
Grade: 2
THE HOWLING
(1981, Dante)
A film from Joe Dante
https://i.imgur.com/lD0q6xV.png
"We should never try to deny the beast - the animal within us."
That is part of the words being shared by Dr. George Waggner (Patrick Macnee) during a TV show. Seemingly inoffensive psycho-babble against the repression of impulses. But there's something darker and more savage behind those words, and maybe behind the doctor himself as news anchor Karen White (Dee Wallace) is about to find out.
The Howling follows White, as she recovers from a dangerous encounter with a serial killer. As part of her recovery, Dr. Waggner sends her and her husband to the "Colony", a country resort where he treats his patients. But things are not what they seem with most of the patients or with the "Colony" overall.
This is a film I must have seen a couple of times when I was a kid. I remember it being on TV often and I remember the transformation scenes quite well. However, for some reason, I hadn't seen it since the late 80s, and I barely remembered anything at all. That's part of the reason why I wanted to revisit it when I chose this category for my monthly challenge.
For the most part, The Howling manages to build an effective atmosphere of dread and uneasiness surrounding this resort and its assorted array of patients, and Wallace does a pretty good job as she transmits the trauma she's trying to recover from, the uncertainty of what's going on, and the fear of what she's about to find out.
However, the transition from the serial killer/rapist subplot to the whole werewolf cult thing feels a bit awkward. In addition, a couple of relevant characters feel a bit underserved, and the overall motivations of the antagonists doesn't feel as clear as I would've wished. On the other hand, the makeup and special effects of the werewolves are pretty amazing, especially for the time being, and they contribute to build that creepy and scary ambience.
Watching this as an adult now, I certainly wish there was a bit more meat to it, along with a tighter story that could've stuck the landing better. But going back to the times when I was a kid, and I enjoyed this on a superficial level of "werewolves are scary and cool!", I can't deny the "beast"; or in this case, how fun it is to see a couple of "beasts" wreaking havoc all around.
Grade: 3
I want to say it was in 2022...or maybe 2021, as time during those years kind of warps for me, but I watched both The Howling and Wolfen in the same evening, for the same reason you list here: I watched them both in the 80s, hadn't seen them since, and wanted to see how they held up. I recall liking Wolfen more, and thinking it was the superior film, but remember enjoying both.
Anyway, cool review, as usual!
I don't think I've ever seen Wolfen, but werewolf movies definitely need more love. I'll check it out.
IT'S THE GREAT PUMPKIN, CHARLIE BROWN
(1966, Melendez)
https://i.imgur.com/3bGgKyg.jpg
"Each year, the Great Pumpkin rises out of the pumpkin patch that he thinks is the most sincere. He's gotta pick this one. He's got to. I don't see how a pumpkin patch can be more sincere than this one. You can look around and there's not a sign of hypocrisy. Nothing but sincerity as far as the eye can see."
Charles M. Schulz first officially published the Peanuts comic strip in 1950. For 50 years, the strip graced both the pages of newspapers and the screens of old televisions with its smart and earnest humor. Through all those years, Schulz's stories never looked down on its readers, but rather offered a sincere look at life through the innocent lens of children.
It's the Great Pumpkin, Charlie Brown it's one of the best representations of that as it follows our group of children through various Halloween related interactions. The most notable one is Linus (Christopher Shea) belief that "the Great Pumpkin" will appear to him to give him toys, but there's also the perennial mishaps of Charlie Brown (Peter Robbins), and Snoopy's imaginary dogfight with the Red Baron!
Although there might be some lack of cohesion between some of these, specifically the Snoopy vs. Red Baron one, that doesn't make these sequences any less fun or charming. Through the short's 25 minute run, there's pretty much not a weak spot, but most importantly, not a sign of hypocrisy. Nothing but sincerity as far as the eye can see.
Grade: 4.5
THE WHISTLER
(1944, Castle)
https://i.imgur.com/qpybY8A.jpg
"You better take out some more insurance today because... tomorrow may be too late."
The Whistler follows Earl C. Conrad (Richard Dix), a businessman that hires a hitman through a middleman to kill himself, as he hasn't been able to recover from the death of his wife. The twist comes when he realizes later that his wife is alive, but he has no way to contact the hitman to stop the hit since the middleman was killed as well.
This was an interesting watch that I found out about when looking for short film noirs (its runtime is just 60 minutes). The premise is really interesting and Dix is a competent lead. However, the way the hitman behaves really doesn't make much sense as he seems determined in completing the job, but still spins his wheels too much when the time comes for some odd reasons.
Regardless of that, the atmosphere is effective and most of the cast does a solid job. The whole "whistling" thing ends up being a weird red herring, and there are some odd developments in the second act that I don't think were that well executed, paired with an unnecessary love interest. However, the breezy runtime helps smooth the rough edges a bit.
Grade: 3
CLOSER
(2004, Nichols)
A film from Mike Nichols
https://i.imgur.com/ypnV2ne.jpg
"Everything is a version of something else."
That is how Larry (Clive Owen) refers to a punk club he used to frequent when he was a teen, which has now turned into the strip club where he's talking with stripper Alice (Natalie Portman). Maybe a reference to how things change with time or rather how they try to present themselves as things they necessarily aren't. Either way, the statement is applied to people and relationships in this Mike Nichols' romantic drama.
Closer follows two couples, or more specifically, four people: Dan Woolf (Jude Law), an obituary writer and wannabe author; Alice, a former stripper; Anna (Julia Roberts), a photographer; and Larry, a dermatologist, and how their lives and relationships intertwine through the years. Through those interactions, we get a glimpse of their aspirations, frustrations, and prospects of life and love.
Nichols' first film, 1966's Who's Afraid of Virginia Woolf?, also follows two very different couples as they go through different phases of emotions in one night. Closer is my sixth Nichols' film and you can say it is a different version of that. Because if there's something he has put forward since his debut is the fragile nature of romantic relationships and how people might present themselves as "a version of something else" to try not to affect that fragility. His characters are often deceitful and duplicitous, not necessarily because they want to, but because it's what people do. After all, lying is "the currency of the world".
In Closer, you get four very different characters committing similar "mistakes" in very different ways, all with very similar results. The way he shows these characters changing, creating versions of themselves to try to adapt to their situations is quite something. This is helped in great way by the excellent performances from all four leads, each of whom carries their character through a rollercoaster of states of mind and emotions.
Granted, being based on a play, some of the dialogue feels choreographed in its delivery, but that doesn't make it any less witty, insightful, or effective. Also, the way the revolving door of relationships keeps unfolding as the film moves on might feel a bit ludicrous, but I accepted it as the way in which the story and characters serve the overall theme of the film, which is about honesty in relationships; to not present ourselves as "versions of something else", but rather as we are ourselves if we want to really get closer to someone.
Grade: 4
During the last couple of years, Mike Nichols has really went up on my ranking of favorite directors. With the exception of The Birdcage, which I haven't seen in 20+ years, I've either loved or really liked anything I've seen from him.
The Graduate - 4.5
Who's Afraid of Virginia Woolf? (https://www.movieforums.com/reviews/2237487-whos_afraid_of_virginia_woolf.html) - 4.5
Carnal Knowledge (https://www.movieforums.com/reviews/2264825-carnal_knowledge.html) - 4
Closer (https://www.movieforums.com/reviews/2429056-closer.html) - 4
Charlie Wilson's War (https://www.movieforums.com/reviews/2267388-charlie_wilsons_war.html) - 3.5
Always great dialogue, always great performances. The thing is that before I chose Closer for my challenge, I had bunches of people recommending me Catch-22, Working Girl, Postcards from the Edge, Silkwood, Heartburn... all at pretty much the same level. I'm really looking forward to checking out the rest of his filmography.
FINALLY, here's my summary for NOVEMBER 2023:
A film about the occult (Occult Day, November 18): Lovely Molly (https://www.movieforums.com/reviews/2423301-lovely_molly.html), Seventh Moon (https://www.movieforums.com/reviews/2424200-seventh_moon.html)
A film noir: Criss Cross (https://www.movieforums.com/reviews/2421825-criss-cross.html), Detour (https://www.movieforums.com/reviews/2422256-detour.html), Murder, My Sweet (https://www.movieforums.com/reviews/2422842-murder_my_sweet.html), The Whistler (https://www.movieforums.com/reviews/2428839-the_whistler.html)
A film widely considered one of the worst ever: Plan 9 From Outer Space (https://www.movieforums.com/reviews/2424906-plan_9_from_outer_space.html)
A film from Joe Dante (born November 28): The Howling (https://www.movieforums.com/reviews/2428408-the_howling.html)
A film from Mike Nichols (born November 6): Closer (https://www.movieforums.com/reviews/2429056-closer.html)
https://www.themoviedb.org/t/p/w600_and_h900_bestv2/1o2Ruw1LpWhkTqdzqOuwBk2liIq.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/pQKMYjCjBvnjhjNIuYG0oODH1h3.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/AwmyVw6h3nZWvkZUuNpZYDA2Dly.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/gJb9HRAs1V4bA0VKsWpT6mhv2RT.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/tbyzfN1AUKTvzh058L9ZcOpS9Vn.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/zNc6cUawDIaBmg63wbsUcPh67YK.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/qbMfQbSK91D8nxSqRfMTkNGwmld.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/dEFMku7o825YhyUEHSlkvLDz1Dt.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/fGGaokx4k00S0J603VG53Qlr9jz.jpg
Other films seen, not for the challenge
Theater outings: PAW Patrol: The Mighty Movie (https://www.movieforums.com/reviews/2421951-paw-patrol-the-mighty-movie.html)
Neo-noir films: Le Samouraď (https://www.movieforums.com/reviews/2423143-le_samoura.html)
Other films: The Killer (https://www.movieforums.com/reviews/2423204-the_killer.html) (2023), It's the Great Pumpkin, Charlie Brown (https://www.movieforums.com/reviews/2428822-its_the_great_pumpkin_charlie_brown.html)
https://www.themoviedb.org/t/p/w600_and_h900_bestv2/aTvePCU7exLepwg5hWySjwxojQK.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/5Fa6o5nfUPEatQ9b3OwEvdEdR7T.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ipkcgvN7h3yZnbYowthloHLKsf4.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/59wp9OWexYsxlSPHYmVLsl5xlFt.jpg
There was a lot of good stuff with most of those film noirs, Closer, and others... but I think the one that stuck with me most was Criss Cross.
My least favorite was probably Seventh Moon, with Plan 9 from Outer Space close, but even those had worthy stuff in them.
ACT OF VIOLENCE
(1948, Zinnemann)
https://i.imgur.com/9lB3R78.jpg
"Edith, a lot of things happened in the war that you wouldn't understand. Why should you? I don't understand them myself."
Act of Violence follows Joe Parkson (Robert Ryan), a former World War II POW determined to find one of his comrades, Frank Enley (Van Heflin), at all costs. The reason? It's one of those things that happened in the war that nobody understands, not even Joe or Frank; but that's one of the mysteries that this film holds on to for a while.
The film opens with Joe tracking down Frank to kill him, all while leaving us in the dark as to why. Frank seems to be a well-doing and renowned contractor in the housing business while it is evident that Joe is unhinged and dangerous. The film does a great job of just throwing us right in the middle of that crux without telling us all the details, so our allegiance tends to be with Frank. But this is something that might change as the film reveals more about Joe's reasonings.
I think that was my favorite thing about the film; how it manages to contrast and juxtapose these two characters, none of which are entirely free from blame or wrong-doing. For a 1940s film to present the complexity of those things that "happened in the war" and that we can't understand, it is quite something, and I like that the film never fully commits to any side. Neither Joe nor Frank are demonized or idolized, but are rather presented as two damaged individuals.
Ryan and Heflin are pretty solid in their roles, but I think my favorite performances were from Janet Leigh as Frank's wife, Edith, who has to handle Joe while also trying to understand the truth about her husband's past, and Mary Astor who plays a street-smart woman who stumbles upon Frank and also tries to understand what is happening and tries to help him in a different way.
But to go back to my initial point, I think the film's biggest success is how relentless it feels. Just like Joe, the film's pace rarely lets us catch our breath as we see this cat-and-mouse game unfold and these things that are impossible to understand are brought to light. Things that, just like Frank himself told his wife, we might never understand them ourselves.
Grade: 4
THIEVES' HIGHWAY
(1949, Dassin)
https://i.imgur.com/CgqcATo.jpg
"Come on, we'll sell the stuff on consignment, I'll give the kid a fair shake. If that's against the law, I guess I'm a crook."
Thieves' Highway follows Nick Garcos (Richard Conte), who returns from World War II to his family in California, only to find that his father, a produce driver, was roughed up by a ruthless dealer called Mike Figlia (Lee J. Cobb). This resulted in Nick's father losing his legs and sets Nick on a path for revenge against Figlia.
Like many film noirs, the film does a great job of presenting the insurmountable stakes that our lead seems to be against. Perhaps a representation of the struggles and difficulties that veterans had to face upon returning home, Nick seems to have little chances to win. But he more than makes up for it with determination and guts as he stands up to Figlia.
Nick is also helped by Ed (Millard Mitchell), another driver that took up Nick father's truck, and Rica (Valentina Cortese), a local that Figlia might or might not be using against Nick. Conte is solid in the lead, but it is Cobb who easily shines as Figlia. His character moves seamlessly from fake amiability to sheer unscrupulousness and opportunism.
However, the film's pace is a bit dragged down by Ed's subplot, despite Mitchell's performance being pretty good. I also didn't like how the film handled the subplot with Nick's girlfriend, Polly (Barbara Lawrence) and how Rica serves as the rebound. I don't think the character of Polly was entirely necessary, or on the other hand, the romantic relationship with Rica.
Despite those flaws, the film was enjoyable with some nice twists and solid performances. The exchanges between Nick and Figlia were intense and featured some good dialogue ("your end of nothing is nothing") without it resorting into the stereotypes of antagonists, so I'll give it a fair shake.
Grade: 3
THE ASPHALT JUNGLE
(1950, Huston)
https://i.imgur.com/bcAPiYD.jpg
"Suppose we had no police force, good or bad. Suppose we had... just silence. Nobody to listen. Nobody to answer. The battle's finished. The jungle wins. The predatory beasts take over. Think about it."
That is part of the closing statement offered by the police at the end of this iconic film noir. Perhaps the jungle/beasts metaphor is a bit on the nose, but that doesn't make it any less appropriate. Because if there's one thing the film succeeds is in transmitting the savagery and ruthlessness of this "asphalt jungle" where survival is of the fittest.
The Asphalt Jungle follows a group of criminals led by Doc Riedenschneider (Sam Jaffe) as they plan and stage the robbery of a jewel store that could leave them all set for life. To pull it off, he needs a safecracker (Anthony Caruso), a getaway driver (James Whitmore), and a "hooligan" (Sterling Hayden). But in this jungle, the predatory beasts are all over.
This is a film I had been hearing about for a long time, but somehow I hadn't been able to get to it. Now that I finally did, I can see what all the fuss is about. The Asphalt Jungle is a thrilling, sharply written crime film that doesn't pull its punches, which is best exemplified in the nature of its lead character, Dix Handley (Hayden), a 6'4" intimidating thug that's a chronic gambler and essentially a killer.
But, as many other similar films have done after, the film succeeds in making us root for Dix by pairing him against more despicable characters. In this case, slimy lawyer Alonzo Emmerich (Louis Calhern), who is not afraid to double-cross Dix and his men. Calhern's performance goes masterfully from confident and cocky to pathetic and pitiful, and it is probably my favorite from the film.
It is worth noting that Marilyn Monroe had a brief but crucial supporting performance as Emmerich's mistress, and she is very good in it ("What about my trip, Uncle Lon?"). The character of the Doc (Jaffe) also offers an interesting balance of heart and soul deep within the "predatory beasts" of this jungle. I might say it works even better than the background they try to give Dix, with the horse farm, which feels a bit forced.
But putting that aside, the real star here is Huston's masterful direction, mood, and atmosphere, and the snappy script. The Asphalt Jungle drags you deep within, along with the predatory beasts as they claw and fight each other, and makes you think: what if they take over?
Grade: 4
MILDRED PIERCE
(1945, Curtiz)
A film from Michael Curtiz
https://i.imgur.com/yAD0ftf.jpg
"I've done without a lot of things, including happiness sometimes because I wanted her to have everything. Now I'm losing her."
Parenthood is a challenging thing. We feel committed to the happiness and well-being of our children to the point that we want to provide them with everything. We don't want to see them lacking anything. But how much is enough? That seems to be a question that hangs above the titular character in this film that mixes drama and romance with film noir.
Mildred Pierce (Joan Crawford) is a hard-working woman that is torn between her desire to provide for her spoiled daughter, Veda (Ann Blyth), and her relationship with several men. There is Veda's father, Bert (Bruce Bennett), with whom she splits because of infidelities and economic issues. Then there is Monte (Zachary Scott), the young playboy she meets later that might be in it for her money, or maybe something else.
In typical film noir fashion, the film features a broken narrative. We start with Monte being shot by someone and then most of the film is told in flashback as we see what led to that. It is an effective choice that makes us think about the psyche of the different characters and their possible motivations; from Bert to Mildred herself, or maybe someone else.
But putting aside the mystery, what made the film tick for me were the interactions between Mildred and Veda. Crawford is her usual great self, but I was really surprise by how Blyth managed to hold her own against her. Her clashing personalities and attitudes are what make the film feel interesting, and perhaps separate this from other film noir that rely more on mood and atmosphere.
These exchanges and great performances are helped by a neat script and a pretty good direction from Curtiz. All to make a pretty nice package of a film that might keep you guessing until the end. So if you haven't seen Mildred Pierce, make sure you don't lose her.
Grade: 4
GILDA
(1946, Vidor)
https://i.imgur.com/wNUsmSG.jpg
"Gilda, are you decent?"
I first saw The Shawshank Redemption back in late 1994 or early 1995, and it immediately became my favorite film. I've seen it more times than I could count, which means I've seen that famous scene from Gilda more times than I could count, as Red and Andy watch it in prison. The sight of Rita Hayworth coming into frame whipping her hair and smiling as she replies "Me? Sure, I'm decent" always gave me vibes of light melodrama or even comedy. Oh, but what a surprise I got as I finally sat down to watch this 1946 film.
Gilda follows Johnny Farrell (Glenn Ford), a small time gambler that ends up down on his luck in Argentina, which puts him in the path of the titular character (Hayworth) with whom he might have had a past we're not so sure about. To complicate things further, Gilda is now married to Ballin Mundson (George Macready), a shady casino owner that happens to be Johnny's new boss. Will decency prevail among them?
A "decent" person is defined as one that "conforms with generally accepted standards of respectable or moral behavior". But even though Gilda assures her husband that she is, indeed, "decent", the truth is that she spends all the film pushing back against those "standards", which puts her at extreme odds with her husband as well as with Johnny, who has been tasked by Mundson to "keep an eye on her". But Gilda is not having any of that, as she assures Johnny at one point that she's "going to do exactly what I please, when I please".
Although Gilda is often labeled as a romantic drama, the truth is that 85% of the film is Farrell and Gilda just taking jabs at each other as they are each filled with seething hatred. The toxicity of this relationship is quite bleak and probably one of my favorite things on the film. What does that say about me? I don't know, but I really loved seeing these two trying to take down each other. The dialogue and the lines were so pointed and sharp that I couldn't help but gasp and laugh at some of them ("Statistics show that there are more women in the world than anything else. Except insects."). Still, the delivery of these is never light, but extremely serious.
Aside from the script, most of the performances are quite good with Macready and Hayworth topping the list for me. Even though I've never seen any other film from Rita Hayworth, I was quite surprised by her performance and range. The direction from Charles Vidor and the cinematography from Rudolph Maté were also great, with some great camera movement and neat uses of lights and shadows, perhaps to illustrate that "decency", or lack thereof.
If I were to complain about something, it would be the ending. After seeing how harsh and unapologetic the film is, a certain final revelation felt like the writers were all of a sudden pulling their punches. Maybe because they wanted to make the film more accessible, or maybe the Hays Code forced them to change things to make Gilda more "decent", but it felt somewhat forced and apart from the tone and vibe that preceded it. Still, this was a pretty great watch.
Grade: 4.5
SABATA
(1969, Parolini)
A western
https://i.imgur.com/XUKl948.jpg
Sabata: "I'm on the right side."
Banjo: "Which side is that?"
Sabata: "Not the side against the law."
Sabata follows the titular character (Lee Van Cleef), a lone but skilled gunman as he tries to protect the residents of the small town of Daugherty, Texas from their corrupt leaders. In the process, he sides with several colorful characters, including a Confederate veteran (Pedro Sanchez) and a mysterious drifter called Banjo (William Berger).
This western was recommended by a good Twitter friend. I hadn't heard of it before, but it's interesting to see how it conforms to many of the typical tropes of the gunslinger western. Sabata is not very different than Eastwood's The Man with no Name or Charles Bronson's Harmonica, but that doesn't make him any less cool as he's shooting his way through numerous bad guys.
What I liked about the film is how evident it is that Van Cleef is having a blast with the role. What possibly separates him from the above two gunslingers is that his portrayal of Sabata is more charismatic and fun. Like them, Sabata's pretty much invincible; he's rough and tough, but he's usually seen smiling and is not above a wisecrack or two.
The film pairs him with a couple of stereotypical characters: Carrincha, a Mexican drunk, and Alley Cat, a "wise" Native American that never speaks. Both characters are cool, but I would argue that they weren't entirely necessary; at least Alley Cat. Also, as much as I liked Berger's performance as Banjo, I didn't really like that his motivations were never clear and just seemed random.
On that line, I think that the epilogue was stretched a bit too much. But putting that aside, I really enjoyed the film quite a bit. The gunfights were good, the characters were fun, the main villain was very villain-y. All things I would expect from a western like this, starring a bad-ass gunslinger, that never misses and is always on the right side.
Grade: 3.5
Before the month ends, here's my latest "assignment" episode!
The Movie Loot: The Holiday Assignment (https://www.buzzsprout.com/850063/14212206-the-movie-loot-the-holiday-assignment.mp3?download=true)
In this one, I'm solo again to choose the set of 5 categories to guide me on what to watch during the month.
You can also see the live broadcast we did via YouTube
here (https://www.youtube.com/watch?v=uNR3EPe1cDE)
...or listen to it through any podcasting platform like Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-the-holiday-assignment/id1578191119?i=1000640070112), Spotify (https://open.spotify.com/episode/3bi2Uxl7WJlL3Yd8OQMiJn?si=afcd7cb78e324710), Google Podcasts (https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS84NTAwNjMucnNz/episode/QnV6enNwcm91dC0xNDIxMjIwNg?sa=X&ved=0CAUQkfYCahcKEwi497m0sraDAxUAAAAAHQAAAAAQAQ), or any other.
Here are the criteria we chose for DECEMBER 2023:
A film with a title that starts with the letters W, X, Y, or Z:
A western:
The last Best Picture winner I haven't seen:
A Christmas/Holiday film:
A film from Michael Curtiz (born December 24)
MICKEY'S ONCE UPON A CHRISTMAS
(1999, Various)
A Christmas/Holiday film
https://i.imgur.com/bePsqFr.jpg
"So, in the end, it's love that's the reason... That Christmas is more than a gift-giving season. It's a time with our loved ones to show that we care, when families and neighbors come together to share."
That's one of the lessons taught in this Christmas anthology feature from Disney. Mickey's Once Upon a Christmas features three separate stories, all focused on the importance of loving and sharing with your loved ones. The first one features Donald Duck's nephews, Huey, Dewey, and Louie, stuck in a Groundhog Day-like time loop after they wish every day would be Christmas. The second one follows Goofy's son, Max, wrestling with the possibility that Santa might not exist. The last one follows Mickey and Minnie's struggles to celebrate Christmas despite their economic issues.
This is one of those features I put in for the kids, but ended up sticking through. It is a fairly stereotypical Disney family film with some very earnest messages. That said, I really enjoyed the creativity of the first chapter, as well as several of Goofy's one-liners in the second chapter. The final chapter is the more "serious" one, but if you're a fan of Mickey, I suppose you'll enjoy the warm and the candy-coated approach to its message.
It was also nice to see some traditional "hand-drawn" animation, as well as some clever nods to adult stuff like the aforementioned Groundhog Day. Sure, there were times I drifted away to do other stuff, but the kids enjoyed it and after all, that's the reason for the season. To forget about the worries and sit back happily, while watching TV and spending time with your family.
Grade: 3
THE LAST EMPEROR
(1987, Bertolucci)
The last Best Picture winner I haven't seen
https://i.imgur.com/D9nyFAu.jpg
"I'm not a gentleman. I'm not allowed to say what I mean. They are always telling me what to say."
The Last Emperor follows the life of Puyi (John Lone), the last emperor of China during the early 20th Century. What makes his reign and life notable is that Puyi was crowned when he was 2 years old and "ruled" only until he was 6 years old, when the waves of the 1911 Chinese Revolution ended the country's imperial system. But what can a child raised in this environment do after? How do you go from being "Lord of 10,000 Years" and "the Son of Heaven" into something "less"?
Although I hadn't seen the film before, I've been seeing its cover for decades. The sight of a 2 year old baby propped up in front of scores of servants in the middle of the Forbidden City always piqued my interest. I was under the impression that the film would dwell more in the absurdity of having a ruler who can't speak and still has to wear a diaper, so I was surprised when the film shifted from the baby to the boy, and became not so much about the system but more about the person.
Going back and forth from his middle age years as a political prisoner to his childhood in the Forbidden City, I thought the film did a great job of exploring the state of mind of Puyi. I thought it was so interesting to see a person that never had much say in his life in terms of what to say or what to do, try to figure his life out as he grows up. It has to be quite a shock being groomed and raised to be one thing and then have that thing taken from you, and leaving you essentially with no alternatives.
Guiding Puyi through a good chunk of his youth is Reginald Johnston (Peter O'Toole), a British tutor that tries to keep his Majesty's feet on the ground, at least a bit. The casting of O'Toole is an inspired one considering that he's famous for playing a character that also struggled with his life purpose and a God-like persona. O'Toole gives some subtle energy to the whole second act during which his character is present.
Lone, who plays the adult Puyi, gives a more subdued and restrained performance but one that is full of melancholy and pensiveness. Being based on Puyi's autobiography, the film does sugarcoat some of the darker aspects of Puyi's reign and there is a certain glamorization of the character. Still, I don't think it made the film any less interesting. For an almost 3-hour biopic about a Chinese ruler where there is little to no action, I found myself absorbed by the film most of the time.
Grade: 4
YOU'RE NEXT
(2011, Wingard)
A film with a title that starts with the letters W, X, Y, or Z
https://i.imgur.com/CE26LfI.jpg
"This wasn't a random attack! Our family's being targeted."
We tend to think that our family is the most important thing ever, and we strive to protect that. But how far will you go to protect your "loved ones" when they're not necessarily "loved"? That is the situation that the Davison family finds themselves as they have to navigate the threat of being attacked by a trio of masked killers inside their home with the personal issues and estrangement between them.
You're Next focuses mostly on Erin (Sharni Vinson), the new girlfriend of Crispian (A.J. Bowen), as they arrive at the family's vacation home to celebrate their parents anniversary. Along for the ride are Crispian's siblings: Drake (Joe Swanberg), Felix (Nicholas Tucci), and Aimee (Amy Seimetz), with their respective partners. But just as their personal differences start to boil, all hell breaks loose as the killers start their attack.
This is one of those little films that manages to surprise you. I know I had heard good things about it but I really didn't know much about it. I thought the script from Simon Barrett and the direction from Adam Wingard have a great balance of horror and thrills with a bit of dark humor peppered in. That balance is not something that every director can find, especially in a home invasion film that still manages to pack a decent dose of scares and violence.
I thought that the tension between the siblings felt real, and the script did a great job of walking around that in the first act, although I think they could've fleshed out one or two characters more to give the last act a bit more punch. I also thought that the design of the killers with their masks was clever, and the way they are introduced was effective. The film really doesn't waste a lot of time, and Wingard does a great job transmitting the dread and menace of their arrival.
I really enjoyed the mystery of what is really going on, and what are the background and motivations of everyone. However, once all of that is cleared towards the last act, I felt that the film got less interesting. Still, I really enjoyed what I got for the first two acts, and I still think the final act held its own. To be honest, I don't know what's scarier; a random attack or a targeted one, but even though I love my siblings, this film could've easy be targeted to me. Fun watch.
Grade: 3.5
DIE HARD
(1988, McTiernan)
A Christmas/Holiday film
https://i.imgur.com/0e410EJ.jpg
"Come out to the coast, we'll get together, have a few laughs..."
Certainly that's what most people have in mind when the Holidays come, and certainly that's what Det. John McClane (Bruce Willis) expected when his wife, Holly (Bonnie Bedelia) asked him to come to California. What they didn't expect was a group of "terrorists" taking over the office building where she works, leaving John alone to save the day. That is the basis for this iconic action film.
When Die Hard opened in 1988, Hollywood's action craze had reached a peak with bunches of films featuring indestructible superheroes played by bulked up actors like Arnold Schwarzenegger and Sylvester Stallone. It had reached almost comical levels as these heroes threw dozens of bad guys across the screen with one hand while spewing one-liners and winking to the screen. But not John McClane (at least at this point in time).
What Die Hard brought to the game was a regular guy, vulnerable and flawed, faced with insurmountable odds just trying to live another day. Willis' McClane is not spectacularly strong, he's balding, and his marriage is falling apart. When you see him praying to God not to let him die, as he's preparing to jump from a 40-story building wrapped to a fire house, you believe he's a man afraid, with no more options at his hand.
On the other hand, we have Hans Gruber, masterfully played by Alan Rickman. A performance that you wouldn't guess was his film debut (he was already an accomplished theater actor, though). Just like Willis' McClane, Rickman defined a new type of antagonist. One that is not scenery-chewing and cartoonish, but more slick and smart. As much as you're rooting for McClane to make it, a little devil inside you is hoping for Hans to make it as well.
Pair that with a tight direction from John McTiernan, a straightforward script from Jeb Stuart and Steven E. de Souza, and some wonderful supporting performances from Bedelia, Hart Bochner, James Shigeta, Alexander Godunov, and Reginald VelJohnson as police officer Al Powell. If anything, Powell's backstory and final redemption are the only things that feel forced and tacked on, but it's not enough to put a dent on this.
So if for some miraculous reason, you haven't seen this; or if you're like me and you've seen it a thousand times, but still want to cheer up the season, then come out to the coast, we'll get together, have a few laughs... and we'll see Hans Gruber fall off the Nakatomi building.
Grade: 5
Here's my summary for DECEMBER 2023:
A film with a title that starts with the letters W, X, Y, or Z: You're Next (https://www.movieforums.com/reviews/2431241-youre_next.html)
A western: Sabata (https://www.movieforums.com/reviews/2429998-sabata.html)
The last Best Picture winner I haven't seen: The Last Emperor (https://www.movieforums.com/reviews/2431062-the_last_emperor.html)
A Christmas/Holiday film: Mickey's Once Upon a Christmas (https://www.movieforums.com/reviews/2430987-mickeys_once_upon_a_christmas.html), Die Hard (https://www.movieforums.com/reviews/2431484-die_hard.html)
A film from Michael Curtiz (born December 24): Mildred Pierce (https://www.movieforums.com/reviews/2429760-mildred_pierce.html)
https://www.themoviedb.org/t/p/w600_and_h900_bestv2/fuVVOSyXW4kFiK6M5zLsDMIjTa1.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/pbM3vxFTYIpz6BZg4OP5S9f5mKo.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/7TILJhdeJAaEyDiwvJZMo9SQBoe.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/b6h6HwucncSxn06sMNROJ9apLC5.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/yFihWxQcmqcaBR31QM6Y8gT6aYV.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/iSXi0xvPUPwEI2xxWZrcKJXpUYc.jpg
Other films seen, not for the challenge
Film noir: Act of Violence (https://www.movieforums.com/reviews/2429536-act_of_violence.html), Thieves' Highway (https://www.movieforums.com/reviews/2429544-thieves_highway.html), The Asphalt Jungle (https://www.movieforums.com/reviews/2429609-the_asphalt_jungle.html), Gilda (https://www.movieforums.com/reviews/2429932-gilda.html)
https://www.themoviedb.org/t/p/w600_and_h900_bestv2/oyHQKdZxUkjEbaxZ4BIWgrN02gS.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/ljnFEsYQXeoW03Jagw159xVDP0J.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/gECEOjjLjuHi9DDHeDLj28SXLHE.jpg https://www.themoviedb.org/t/p/w600_and_h900_bestv2/46eKPjoWEyNBAQKDoXEcDFBcaUw.jpg
Pretty solid month, especially with the film noirs I watched to complete the Hall of Fame. I think Gilda easily takes the spot of my favorite watch of the month, but The Asphalt Jungle and Mildred Pierce wouldn't be far behind. I was also pleasantly surprised by The Last Emperor. I thought it would be a snoozefest, but alas, it wasn't. I also had a lot of fun with You're Next and Sabata.
My least favorite was probably Thieves' Highway, which was still a pretty solid film noir. Just not up to par to everything else I saw.
PHOENIX74
01-04-24, 10:16 PM
DIE HARD
(1988, McTiernan)
Grade: 5
The absolute correct rating, and also great review. At the movies you could feel the seismic shift in the way action had been changed by this one film - and no other ever did it better.
The absolute correct rating, and also great review. At the movies you could feel the seismic shift in the way action had been changed by this one film - and no other ever did it better.
Definitely! Even the Die Hard franchise forgot how to do it cause by the third or fourth one, McClane is pretty much an indestructible superhero himself.
I posted it on the other thread, but just to properly close this thread, here is the comprehensive list of everything I saw during the year: a total of 195 films; a smidge less than the 200 I saw in 2022. Anyway, here it is...
M or N: Mission: Impossible - Fallout
Q or R: Red Rock West
W, X, Y, or Z: You're Next
1950s: I Confess (1953)
1980s: Three O'Clock High (1987)
Western: Sabata
Film noir: Criss Cross, Detour, Murder My Sweet, The Whistler
Ranking includes #1: Sunrise (#11)
Ranking includes #5: Casablanca (#65)
Ranking includes #8: The Conformist (#118)
Sudan (January 1): Tajouj
Kuwait (February 25): Al Maht
South Korea (March 1st Movement): Okja
Croatia (May 30): The Mystery of Green Hill
Paraguay (May 14-15): Killing the Dead
Argentina (July 9): Nine Queens
Cote d'Ivoire (August 7): Night of the Kings
Nigeria (October 1): October 1
Jack Lemmon (February 8): The China Syndrome
Masaki Kobayashi (February 14): The Thick-Walled Room
Akira Kurosawa (March 23): Ikiru
Spike Lee (March 20): Do the Right Thing
Ken Burns (July 29): Brooklyn Bridge
William Friedkin (August 29): Sorcerer, The Guardian
Oliver Stone (September 5): South of the Border
Clive Barker (October 5): Hellraiser
Mike Nichols (November 6): Closer
Joe Dante (November 28): The Howling
Michael Curtiz (December 24): Mildred Pierce
First Best Picture winner I hadn't seen: The Great Ziegfeld
First film from any director: Blue Collar (Paul Schrader)
Film widely considered one of the worst ever: Plan 9 from Outer Space
Last Best Picture winner I hadn't seen: The Last Emperor
Friday the 13th: Freddy vs. Jason
Native Americans (Native American Day, September 25): Shimásáni
Holiday/Christmas: Mickey's Once Upon a Christmas, Die Hard
Inventor (Nat'l Inventors Day, February 11): The Imitation Game
Train (Nat'l Train Day, May 8): The Train
Based on a Video game (Nat'l Video Game Day, July 8): Mortal Kombat (2021)
Aliens (World UFO Day, July 2): Nope
Plane (Nat'l Aviation Day, August 19): Flightplan
Pirates (Int'l Talk Like a Pirate Day, September 19): Treasure Island
Reptile (Nat'l Reptile Awareness Day, October 21): Lake Placid
Frankenstein (Nat'l Frankenstein Friday, October 27): Frankenstein (1931), The Terror of Frankenstein
Disaster (Int'l Day for Disaster Reduction, October 1): The Swarm
Occult (Occult Day, November 18): Lovely Molly, Seventh Moon
Couple's name (Valentine's Day, February 14): Kramer vs. Kramer
Three: Three Billboards Outside Ebbing, Missouri
Time (Daylight Savings Time, March 12): Timecrimes
Punctuation symbol (Nat'l Punctuation Day, September 24): Punch-Drunk Love
22 vs. Earth
30 Days of Night
Act of Violence
The Adventures of André and Wally B.
Altered
The Amazing Bulk
The Amazing Spider-Man
The Amazing Spider-Man 2
Ambush
The Asphalt Jungle
Attack of the Crab Monsters
Audio Guide
Avatar
The Banshees of Inisherin
Bao
Barbarian
The Beast from 20,000 Fathoms
A Better Tomorrow
The Big Swallow
Birth of a Feminine Nation
Blair Witch
The Blair Witch Project
Bridesmaids
Bullet in the Head
BURN-E (1981)
Burrow
Chosen
Closer
Creature with the Atom Brain
Creep
Curve
The Dancing Pig
The Deadly Mantis
Dead Man's Letters
Destino
The Devil's Rejects
Dog Day Afternoon
Dracula: Prince of Darkness
Electrocuting an Elephant
Elemental
The Escape
Eternals
Everything Everywhere All at Once
Evil Dead (2013)
Exists
The Eyes of My Mother
The Fall of the House of Usher
Fantasmagorie
Far from the Tree
Fat Girl
The Final Destination
Final Destination 5
Float
Floor 9.5
The Flying Sailor
The Fog
The Follow
Freddy's Dead: The Final Nightmare
The Game
Geri's Game
Gilda
A Girl Alone in a House
A Girl Walks Home Alone at Night
Guardians of the Galaxy Vol. 2
Halloween (2018)
Halloween 4: The Return of Michael Myers
Halloween 5: The Revenge of Michael Myers
Halloween Ends
Halloween H20: 20 Years Later
Halloween Kills
Halloween Resurrection
Halloween: The Curse of Michael Myers
Hard Boiled
Hard Target
Holocaust 2000
Hostage
Ice Merchants
It's the Great Pumpkin, Charlie Brown
Jack-Jack Attack
The Killer (1989)
The Killer (2023)
A Killer App
Kitbull
Knick Knack
Last Hurrah for Chivalry
Le Samouraď
License to Drive
Lifted
Loop
Lou
Malignant
The Meg
The Mummy's Tomb
My Year of Dicks
New Nightmare
Next Floor
A Nightmare on Elm Street: The Dream Child
Night Ride
Nona
The Old Dark House
An Ostrich Told Me the World Is Fake and I Think I Believe It
Out
Partly Cloudy
Passage of Venus
PAW Patrol: The Mighty Movie
Pee Soup
Piper
Powder Keg
Psycho
Purl
Running Scared
Saludos Amigos
Scream (2022)
Shake Hands with Danger
Ship of Fools
Smash and Grab
Spider-Man: No Way Home
Star
Teenage Mutant Ninja Turtles: Mutant Mayhem
Them!
Thieves' Highway
Ticker
Tin Toy
To Live and Die in L.A.
Tomato
Tomatoes
Twenty Something
Uncle Josh at the Moving Picture Show
Uncle Josh in a Spooky Hotel
Uncle Josh's Nightmare
The Uninvited
Valley of the Dolls
Vertigo
Wanderer
Warpaint
(What the F*ck Do You Mean) We Bought a Zoo?
Wind
Zodiac
Rewatches are in blue, short films in red, rewatched short films in purple.
I had the pleasure of talking with Eduardo Sanchez, co-creator of The Blair Witch Project. We talked about his work and found footage films in general. This was supposed to come out back in November, but real life has really got in the way of the podcast. But, much like the footage of The Blair Witch Project was found a year later, hope you can find this "footage" and enjoy it.
The Movie Loot 96: The Found Footage Loot (with Eduardo Sanchez) (https://www.buzzsprout.com/850063/14073327-the-movie-loot-96-the-found-footage-loot-with-eduardo-sanchez.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/56CM5mrJxu16vw2iIRh1pS?si=5e14c5dd5dde4d0b), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-96-the-found-footage-loot/id1578191119?i=1000641914199), Google Podcasts (https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS84NTAwNjMucnNz/episode/QnV6enNwcm91dC0xNDA3MzMyNw?sa=X&ved=0CAUQkfYCahcKEwi49ZyGtuODAxUAAAAAHQAAAAAQNg), and other streaming platforms.
Hope you like it!
For any listener, I just released what is supposed to be my final episode of 2023. Me and my friend Pete, one of the co-hosts of the Middle Class Film Class Podcast, talked about closing scenes, our favorites and the importance of a film sticking the landing. Check it out!
The Movie Loot 98: The Closing Loot (with Pete from Middle Class Film Class Podcast) (https://www.buzzsprout.com/850063/14227379-the-movie-loot-98-the-closing-loot-with-pete-from-middle-class-film-class-podcast.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/1HpQ1VIa9oDZuADO7OD6KW?si=a4f1ffdca6f6467a), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot/id1578191119), Google Podcasts (https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS84NTAwNjMucnNz/episode/QnV6enNwcm91dC0xNDIyNzM3OQ?sa=X&ved=0CAUQkfYCahcKEwjwyq3NnImEAxUAAAAAHQAAAAAQNg), and other streaming platforms.
Have fun with it!
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