View Full Version : Thief's Monthly Movie Loot - 2024 Edition
Ok, so, I had no idea this sub-forum existed, I rarely get out of General Discussion and only got into that one other because of the Countdowns, so I have completely missed this incredibly awesome thread. I have homework to do.
https://i.giphy.com/media/v1.Y2lkPTc5MGI3NjExN2QweHFqZmU5Y2MzNTd1cHRmbHNndDRodXRzMzh2bWRybmo3OXlybyZlcD12MV9pbnRlcm5hbF9naWZfY nlfaWQmY3Q9Zw/FOfe8iGdAiODS/giphy.gif
I definitely like this one more than you, this is an all-timer/every year Halloween movie for me.
My favorite story is the ongoing Red Riding Hood story, which I got so wrapped up in all the other things going on I didn't see the punchline coming. And it is a bit of a twisty one anyway. I actually love the one with the kids, at times it's actually my favorite, especially when they're all begging her to open that elevator grate and she just leaves them with that dead look on her face. I agree that the final story is maybe the least perfect but it's still fun, though actually the story with the principal, while a lot of fun, is to me more like an appetizer.
One fun thing with this movie, which I think I have seen nine or ten times now, is that characters from each of the stories appear incidentally in all of the other stories and actually I think every major character in the movie is in the opening scene. The tie-ins between the stories are because they are all happening simultaneously in the same small town and there are so many. On my ninth viewing I remarked that it shouldn't be possible that there was still something I hadn't noticed, but there was. It is a movie that I loved on first watch but really kinda gets better each time for me.
And it is one of a couple/few movies I watch every October.
I agree with you, and I definitely see myself revisiting this one.
DEATH AND THE WINEMAKER
(2021, Jaquier)
Horror film from the 2020s (short)
https://i.imgur.com/QjY6uyO.png
"Look at the unavoidable justice of my hourglass and you'll see that no one is more impartial than me. I seek out every person that appears in it; the old... the young... or the man in his prime. All, without exception, will die by my hand."
Set in Europe at the end of the Middle Ages, Death and the Winemaker follows a young winemaker (Kacey Mottet Klein) that finds himself smitten by love. But when Death (Virginie Meisterhans) itself comes to claim his bride, he's determined to do whatever it takes to protect her. But what happens when you trick Death itself?
This short was brought to my attention by Wooley on his Halloween thread, and what a pleasant surprise it was. Written and directed by Victor Jaquier, the short uses some gorgeous 2-D animation to render some incredibly haunting and eerie images. Plus the voice work from pretty much everyone is top notch.
Aside from the technical aspects, the short does a great job of building this fantasy as an alternate explanation for the Black Death (i.e. the Plague). Jaquier doesn't really pull his punches when telling this dark story that truly hits you in the gut with its story and its visuals. After all, if there's something that's evidently clear is that all, without exception, will die by its hand.
Grade: 4
DEATH AND THE WINEMAKER
(2021, Jaquier)
https://i.imgur.com/QjY6uyO.png
Set in Europe at the end of the Middle Ages, Death and the Winemaker follows a young winemaker (Kacey Mottet Klein) that finds himself smitten by love. But when Death (Virginie Meisterhans) itself comes to claim his bride, he's determined to do whatever it takes to protect her. But what happens when you trick Death itself?
This short was brought to my attention by Wooley on his Halloween thread, and what a pleasant surprise it was. Written and directed by Victor Jaquier, the short uses some gorgeous 2-D animation to render some incredibly haunting and eerie images. Plus the voice work from pretty much everyone is top notch.
Aside from the technical aspects, the short does a great job of building this fantasy as an alternate explanation for the Black Death (i.e. the Plague). Jaquier doesn't really pull his punches when telling this dark story that truly hits you in the gut with its story and its visuals. After all, if there's something that's evidently clear is that all, without exception, will die by its hand.
Grade: 4
I'm glad you enjoyed it.
THE PIT AND THE PENDULUM
(1961, Corman)
Horror film from the 1960s
https://i.imgur.com/jJba2e1.png
"You cannot know what it is to live here, month upon month, year after year, breathing this infernal air, absorbing the miasma of barbarity which permeates these walls."
That's how Nicholas Medina (Vincent Price) describes the atmosphere in the torture chamber in his own castle; the place that apparently led to the disappearance and possible death of his wife Elizabeth (Barbara Steele). So when her brother Francis (John Kerr) comes to the castle looking for answers, they all must descend upon that same room and breath the infernal air where they might find closure.
The Pit and the Pendulum is one of several collaborations between Price and director Roger Corman, adapting the works of Edgar Allan Poe. I'm not familiar with the story, but the film does a pretty good job of laying it all in a fairly simple way. The magic of the film is in the atmosphere of dread it builds around the mystery, but also in Price's screen presence and performance.
As usual, Price makes the most of the material with a performance that covers a lot of bases. His Nicholas is deeply troubled, but there seem to be some small hints of empathy in him. You usually know Price's characters are out for no good, but he still manages to instill a certain charm and charisma that's just magnetic. You can't help but feel drawn to his characters.
Unfortunately, the drawback to that is that he frequently overshadows his co-stars, which is the case here. Most of the other performances feel lacking, especially Kerr, who has the most to do with Price. Luana Anders does a solid job as Nicholas' sister, but I would argue her character is unnecessary and probably there just to provide a romantic interest for Francis. However, Steele does deliver a pretty chilling performance in what little screen time she has.
Still, the film does succeed in building up that atmosphere of mystery and dread surrounding the torture chamber, Nicholas' intentions, or the trauma of his past, and what all that could lead to. Much like that terrifying room, it builds a miasma of barbarity which permeates not only those walls, but even your screen.
Grade: 3.5
ALL HALLOWS' EVE
(2013, Leone)
Horror film from the 2010s
https://i.imgur.com/jN5rqnf.jpeg
"I liked the clown."
"Yeah, he was great. I liked when he honked his horn at the lady."
That's how siblings Tia and Timmy (Sydney Freihofer and Cole Mathewson) describe their first time watching Art the Clown (Mike Giannelli) on a strange VHS that was slipped in their Trick or Treat bag. Turns around that a lot of people like the clown. Just this weekend, the third installment in the Terrifier franchise slashed its way to the #1 spot in box office while shoving Joker: Folie à Deux to the sidelines. Not too shabby for an independently produced film with a $2 million budget.
But that's how filmmaker Damien Leone likes it. After creating the character of Art the Clown back in 2008, he has made a career out of him, featuring him in two short films (The 9th Circle and Terrifier) and three feature films, each more successful than the previous one because, again, a lot of people like the frickin' clown! All Hallows' Eve is an anthology film that combines those first two short films in an effort to put Art in the spotlight as part of an actual feature film.
The main story revolves around the aforementioned siblings, Tia and Timmy, as they explore that mysterious VHS, along with their reluctant babysitter Sarah (Katie Maguire). Of course, things will go awry as the VHS unleashes some strange occurrences and dark evils upon them. The content of the VHS is, obviously, the two Leone short films which bookend the film, with another short in the middle specifically produced for this feature.
I had already seen The 9th Circle (https://www.movieforums.com/reviews/2344232-the-9th-circle.html) and, although it had things I liked, I wasn't overly impressed by it. However, Leone filmed some extra footage for it here that I think improves the original short and makes it feel more complete. The second short film features a woman settling at her new home only to be terrorized by an alien. Finally, the last short in the VHS is the original Terrifier short that was released in 2011, which focuses primarily in Art the Clown terrorizing a costume designer trying to find her way in the city.
The three short films are definitely not without their flaws, but there is a lot to appreciate and champion in all of them, especially Leone's affinity for practical effects. Granted, you can see the seams of some of his effects here and there, but considering the circumstances, being his first shorts and counting with limited budgets, it puts it on a different perspective. Leone more than delivers with effective jumpscares, dread buildup, and well staged gore. There are elements within the fate of a certain character in the last short that are puzzling, but I see it more as an expression of "shock horror" rather than anything else.
The wraparound story around the three shorts, with the babysitter and the two kids, is fairly well constructed. It does feel like what it is, a vehicle to put forward these shorts and introduce more people to the graciousness of Art the Clown. Yet here we are, 11 years later, Terrifier 3 is killing it (literally and figuratively) at the box office and Art the Clown is already being described as a "horror icon". But who can blame them? We all like the clown.
Grade: 3
THE CYCLOPS
(1957, Gordon)
Horror film from the 1950s
https://i.imgur.com/0mYpFgf.jpeg
"It stared at me... It stared at me, and then he came at me!"
"What came towards you?"
"The eye!!"
The Cyclops follows Susan Winter (Gloria Talbott), as she travels to the Mexico wilderness to try to find her fiancée, a test pilot who disappeared after his plane crashed 3 years before. She is joined by three men, all with different motives other than helping her. From scientist Russ Bradford (James Craig) who is secretly in love with Susan to Martin Melville (Lon Chaney Jr.) who is financing the trip but seems more interested in finding uranium.
This was nothing but an impulse watch as I saw it while browsing on Tubi and decided to check it out. It was written, produced, and directed by Bert I. Gordon, sometimes referred to as Mr. B.I.G. for his penchant to make low budget B-movies about super-sized creatures, and that's what we get here. In a similar vein to King Kong, our "heroes" encounter all sorts of giant creatures which they should fend off, all leading to their encounter with the titular creature.
But as it often happens with these low budget B-movies, they take the time to get things going. It's not until 30 minutes in that we see *any* giant creature, and it's not until the last 15-20 minutes that we see the titular creature. The rear-projection special effects look extremely cheap and amateur-ish, which can result in a laughable and fun watch, depending on your latitude. However, I think there was something worthy in the creature's makeup effects.
The performances are not that good either. Talbott gives Susan some drive, but for the most part, she behaves like a damsel in distress while Bradford holds her arm. Tom Drake is pretty cool as the pilot, but it is Chaney the one who gets the best moments as the erratic and selfish Melville. Unfortunately, the character dynamics seems a bit all over the place, while the dialogue and direction doesn't really let them do much other than look awkwardly puzzled at the things they're "seeing".
Overall, I didn't feel like The Cyclops was a waste of time; especially with a 66 minutes runtime, but it is definitely not a good film. There was some fun to it, intentional or not, and it does have the charm of your typical 50s creature feature, but it is still on the lower end of the totem pole.
Grade: 1.5
AFTER DEATH
(1915, Bauer)
Horror film from the 1910s
https://i.imgur.com/lOE659g.png
"Today was a remarkable day... He is to decide my fate."
After Death follows Andrei (Vitold Polonsky), a scholar that finds himself smitten by Zoia (Vera Karalli), a young actress, after a brief meeting. When a misunderstanding leads to the two being uncommunicated for several months, she decides to kill herself. Burdened by guilt, Andrei becomes obsessed with her presence and join her after death.
This is a film I hadn't heard of before, but this month I'm on a quest to watch at least one horror film from every decade and this was ranked highly on Letterboxd among "horror" films from the 1910s. Like many early silent films, you need to get past the grainy film, the exaggerated acting, and some narrative shortcuts. But even with that, I really enjoyed this.
The main thing that caught my attention was Yevgeni Bauer's direction and Boris Zavelev's cinematography. There is some really good framing in most scenes, and some great camera movement. Early on the film, there is a continuous long shot that goes on for a couple of minutes as we see Andrei arrive at a party and meet several guests. For a film made more than 100 years ago, I thought it was impressive.
But beyond the technical skills, there is a really haunting and good story here. Both the director and Polonsky do a great job transmitting Andrei's descent into madness, be it with body language and facial expressions, or with the use of some effective dream-like sequences and eerie setpieces. Definitely worth a watch for fans of silent cinema.
Grade: 4
Currently taking a break on my "Horror" watch for podcast research purposes...
SERVICE DE LUXE
(1938, Lee)
https://i.imgur.com/mz7j2iL.jpeg
"Helen Murphy is not supposed to know anything but 'moon', 'spoon', and 'June'."
Service de Luxe follows Helen Murphy (Constance Bennett), the owner of a successful agency that performs daily routine chores and errands for wealthy people. When Robert Wade (Vincent Price), a young inventor trying to develop a tractor model, gets involved in a case of mistaken identity with Murphy, the two end up in love. However, she finds herself unable to tell him who she is without risking her business.
This is Vincent Price's feature film debut. Since I'm preparing for a podcast episode on him, I decided to check it out. The film doesn't really offer much beyond the stereotypical tropes of romcoms and mistaken identity films. Once the story gets to the main issue, it's pretty easy to guess where things will end up. However, for the most part, it is all executed in an amusing way.
Also, most of the performances are pretty good. I don't know if it's the fact that we are mostly used to seeing Price in "scarier" roles, but it took me a while to see him as a leading romantic man. His performance was good, but it is towards the last act, when the story pushes him to show an angrier and crazier side that I think he excelled, perhaps foreshadowing what his career would become.
Bennett, on the other hand, was great from start to finish. Her character is confident, strong, and determined. Sadly, the story pushes her into an extremely sexist conclusion, in addition to a fairly convenient "deus ex machina". I suppose that we can attribute that to the signs of the times, but I prefer my leading ladies knowing a bit more than just 'moon', 'spoon', and 'June'.
Grade: 2.5
THE DOLL'S REVENGE
(1907, Hepworth)
Horror film from the 1900s
https://i.imgur.com/IzEnOPj.jpeg
"From now on, you must take good care of your toys, because if you don't, we'll find out, Sid!... We toys can see EVERYTHING!... So play nice!"
The above quote comes from Toy Story, in a climatic moment where Woody confronts their nemesis, Sid, who took joy in torturing and destroying toys. But that's more or less the spirit of this short from 1907. The Doll's Revenge follows two quarreling siblings (Bertie and Gertie Potter). When their father brings an animated doll to the girl, the brother decides to destroy it. What he doesn't know is that... toys can see everything!
This 3-minute short was listed under the Horror category on Letterboxd, so I decided to check it out. It follows the trend of many short films of the era that use forced perspective and editing to portray the "animated doll" and its subsequent revenge on the brother. Sure, you can see the seams here and there, but it is fun to think how something like this would land in 1907.
But as "silly" as it might look, and with the two kids being played by obvious adults, there is still a certain creepiness to the doll's "revenge". As someone who used to be extra careful with his toys back in the day, it's a reminder to take good care of them, because... toys can see everything... so it's better to play nice!
Grade: 2.5
MERMAID
a.k.a. THE WATER NYMPH
(1910, Goncharov)
https://i.imgur.com/pvGFWZZ.jpeg
"Some strange force drags me against my will to these sad banks."
Based in an opera from Aleksandr Pushkin and Alexander Dargomyzhsky, Mermaid follows a prince that is forced to break up an affair with the daughter of a miller in order to marry a princess. Distraught and heartbroken, the daughter of a miller drowns herself, but returns as a "rusalka" (a malicious female water entity) to haunt the prince and drag him to the "sad banks" where she died.
Saw this totally by mistake, as I was looking for another Russian short film, but I still thought it was worth a watch. The way the story is laid out in the film is a bit of a mess, so I had to read a bit about the opera to fully understand what was happening. However, the original story is strong enough to make it worthwhile. I've already seen it twice, so you can say it was like some strange force dragging me to these "sad banks".
Grade: 2.5
GREMLINS
(1984, Dante)
Horror film from the 1980s
https://i.imgur.com/QUQYqww.jpeg
"Y'know their still shippin' them over here. They put 'em in cars, they put 'em in yer TV. They put 'em in stereos and those little radios you stick in your ears. They even put 'em in watches, they have teeny gremlins for our watches!"
The term "gremlin" refers to a mischievous creature. It was invented in early 20th century as a way to explain mechanical malfunctions in airplanes and other vehicles. Y'know, there are "gremlins" in the engine! Which is the context in which war veteran and town drunk Murray Futterman (Dick Miller) says the above as he's being dragged out of a bar. But what if these tricksters existed?
Gremlins follows young Billy Peltzer (Zach Galligan) whose father gifts him a "Mogwai" as a Christmas present. However, they must be careful to observe three important rules in order to avoid any mischief: keep them away of lights, don't get them wet, and don't feed them after midnight. Simple, right? Well, think again, cause in order to have a movie, they will obviously get wet, they will be fed after midnight, and maybe they will even get in the sun.
This is one of those films that was a frequent watch when I was a kid. It was often on TV and we also rented it a couple of times. However, for some reason, I hadn't seen it in probably 20 or 30 years. So as my kids started watching the recent animated show, The Secrets of the Mogwai, we decided to show them the OG, which obviously gave me the opportunity to revisit it after such a long time.
Even though it had been so long, most of it was still fresh in my mind. The mixture of horror, fantasy, and comedy is so well done, plus there are some really good setpieces through the film. There is also some amazing puppetry work here. If anything, this time I was more aware of Galligan's performance and he's pretty good. He also has good chemistry with Phoebe Cates, and his father's inventions are a fun extra that the kids enjoyed.
We watched the film on Saturday, and they finished the animated show afterwards. My wife told me they already saw the sequel yesterday, and I already saw her browsing Gizmo plush toys on the Internet. 40 years after and things haven't changed, cause they're still shippin' them over here, putting 'em in our TV, in our Internet, in our stereos and those little radios we stick in our ears. May God have mercy of us!
Grade: 4.5
LEATHERFACE
THE TEXAS CHAINSAW MASSACRE III
(1990, Burr)
Horror film from the 1990s
https://i.imgur.com/CHWanwb.jpeg
"Do you hear what I'm saying, man? We're being hunted!"
Jason Voorhees, Freddy Krueger, Michael Myers and...? Whenever you ask people about the Mount Rushmore of "modern horror", they might bring up Chucky or Ghostface, but more often than not, the fourth name will be Leatherface. Introduced in the iconic 1974 film as the "simple minded" member of the murderous Sawyer family, the character earned its place in the pantheon of horror icons with his skin mask, dirty apron, and the titular chain saw.
For some reason, studios failed to capitalize on the character, so when New Line bought the rights to the franchise, they decided to put the spotlight on him (hence the title of this film). Still, there really isn't much difference in how much focus is put on Leatherface versus the previous films. This third installment follows a loose continuity with the first two parts, with law enforcement finding a mass grave, while Leatherface remains at large along with a handful of random members of the Sawyer family.
As is expected, a young couple traveling through Texas have some car troubles and find themselves face to face with Leatherface and company. Along the way, they encounter another young woman who managed to escape from the Sawyer house and a resourceful drifter (Ken Foree), all of them hunted by the family. To complicate things, you're never sure who *is* part of the family and who isn't.
The original 1974 film has been my favorite horror film and remains a bone-chilling watch for me. However, the "fame" of the sequels was never good, so it wasn't until recently that I decided to check them out. The second part was an interesting spin towards the comedy/parody side, but this one leans more towards the horrors of the first one; at least as far as genre goes. In terms of quality, however, it is still pretty far.
There are many flaws here, with a key one being that the two main characters are not that interesting. Michelle, the woman (Kate Hodge), does a decent job with what little she's given but her partner (William Butler) is not likable at all. Ken Foree is good, but the way he's integrated into the story feels clumsy, and that middle act when he appears drags the pace of the film a bit. The subplot with Sarah, the woman that escaped from Leatherface, feels like a waste of time and contributes to the off pace from that middle act.
The saving grace from the film is Viggo Mortensen, who plays Tex, a cowboy that stumbles upon the young couple at a gas station and tries to help them. His performance is one that rises above the others and it's evident that he's having a lot of fun with it. Other than that, the film fails to leave a mark. There are some intense sequences, eerie visuals, and some solid jump scares, but probably not enough for most people to cement Leatherface as the definitive fourth face in that Mount Rushmore.
Grade: 2
THE WALKING DEAD
(1936, Curtiz)
Horror film from the 1930s
https://i.imgur.com/oFD18Jy.jpeg
"Why did you have me killed?"
A film featuring Boris Karloff being brought back from the dead! No, it's not Frankenstein or The Ghoul; it's The Walking Dead. This time, Karloff plays John Ellman (Boris Karloff), a man that is wrongly executed but it's brought back to life by a scientist experimenting on dead bodies. As a result, Ellman goes out to seek those that framed him to try to understand their reasons with the above question.
I saw this film ranked fairly high among horror films from the decade, so I decided to give it a shot. I kept my expectations on check, considering its similarities to other films, but I was pleasantly surprised at how different it was. Despite being labeled as "horror", The Walking Dead feels a bit more introspective than other similar films, with Karloff's questioning being one, not so much of revenge, but of genuine anguish: "why did you do this to me?"
In that regards, Karloff's performance is fairly different. He still does the menacing look, but there's more of a pensive angle to it. The actors that played most of the gangsters that serve as antagonists did a pretty good job, despite some of them being a bit interchangeable. Still, the confrontations they each have with Ellman are distinct and somewhat memorable in their own ways.
The film also features a young couple (Warren Hull and Marguerite Churchill) that witness Ellman's framing and try to help him, but to be honest, I don't think their performances were that great, or their characters were that well integrated, or maybe even necessary. The main cast is rounded out by Edmund Gwenn, who plays Dr. Beaumont, the scientist that brings Ellman back to life.
The film was directed by Michael Curtiz, known for his work on films like Casablanca, Mildred Pierce, and Captain Blood; all favorites of mine. His work here is pretty good, even though it lacks the definitive flair and skills of his other work. The story might sound repetitive, but as far as films featuring Boris Karloff being brought back from the dead, this one's far from the worst.
Grade: 3
Before Halloween is gone, feel free to check out my latest episode where me and my friend Frank, from Silver Screeners, talk about Vincent Price. From his first film and his beginnings in horror to his later films and his detours into other... ventures. We close out with our Top 5 Vincent Price films, so check it out.
The Movie Loot 115: The Vincent Price Loot (with Frank Mandosa from Silver Screeners) (https://www.buzzsprout.com/850063/episodes/16020907-the-movie-loot-115-the-vincent-price-loot-with-frank-mandosa-from-silver-screeners.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/4rK20Fvw6MOFEpXh4uUxYw?si=2cb20f6c71914ab2), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-115-the-vincent-price-loot-with/id1578191119?i=1000675107253), and other streaming platforms.
Hope you like it!
A NIGHTMARE ON ELM STREET
(2010, Bayer)
Horror film from the 2010s
https://i.imgur.com/ONZl1lQ.jpeg
"I'm starting to dream with my eyes open. I can't tell what's real anymore. I haven't slept in three days. If I sleep, I dream. If I dream, I'm dead."
Sleep is a basic need of the human body. It gives our bodies a chance to rest, repair, and restore itself allowing us to function properly when waking up. It's pretty much impossible to avoid falling asleep, and trying to do so can result in numerous dangers to our bodies. That is the crux that made 1984's A Nightmare on Elm Street such a unique and terrifying idea kickstarting one of the most lucrative and popular horror franchises ever, which – in turn – is probably the reason why it was remade back in 2010.
This remake follows the basic template of the original, with a group of teenagers being terrorized in their dreams by Freddy Krueger (Jackie Earle Haley), a child molester that was burned alive by the parents of his victims years before. Having somehow blocked those memories, some of the kids start realizing what is going on so they decide to end their nightmares in order to sleep in peace again.
The overall reception for this film was insanely bad, which is probably the reason I avoided it altogether. As luck may have it, I was preparing for a podcast on the franchise when I realized it was the only one I hadn't seen, so I decided to finally take the plunge. Imagine my surprise when I realized... it wasn't as bad as I expected *gasp* Granted, it is not close to my favorites of the franchise, but there are certainly much worse films in it as well.
First of all, I appreciate that it goes back to its roots of making Freddy really scary, as opposed to the wisecracking goofball that plagued most of the sequels. Part of that is in the story/writing, but part of that is also in the casting and performance of Haley. The most important thing is that he's not trying to imitate Robert Englund, but adding his own take to Freddy. His pace, body movement, and mumbling add a certain muted menace to the character that I enjoyed.
Unfortunately, his performance is dragged down a bit by some bad makeup choices. Apparently, they were aiming for a more realistic "burned" look, which ended up being to the detriment of the character. I also wasn't a big fan of how the flashback scenes were executed. That was one of the things in which the remake deviated from the original, while the rest more or less followed the basic beats of the original film. As a result, there was little surprise to how things would unfold. For the most part, you already know what's going to happen, and who's going to die, which makes the film feel a bit stale and dull.
In its defense, the film does start things up with a pretty chilling kill, and at least they tried to change things up a bit in the end, which is probably the original's weakest point. Finally, although I don't think none of the performances are bad, with the exception of Haley, no character really stands out. So in the end, I'm left with a film that doesn't necessarily do a lot of things wrong, but then also doesn't do a lot of things better. It's just there.
Grade: 2.5
THE SPIRAL STAIRCASE
(1946, Siodmak)
Horror film from the 1940s
https://i.imgur.com/k89fw3f.jpeg
"Anything can happen in the dark."
Set in early 20th Century, The Spiral Staircase follows Helen (Dorothy McGuire), a mute young woman that is being stalked by a serial killer that seems to be targeting disabled women. When circumstances force an assorted group of characters to converge at the house, she has to figure out who is the killer, how to stay safe, and what's happening in the dark down the spiral staircase.
This is a film I had probably heard mentioned here and there, but didn't know much else about it. However, it is directed by Robert Siodmak (The Killers, Criss Cross), so I decided to jump in and it was a very pleasant surprise. Part of its assets is precisely in Siodmak's direction, which adds a very effective atmosphere of eeriness and dread to what's happening. This is part because of his directing and camera movement, but also for its use of light and dark.
McGuire is pretty good in the lead role, and the different characters do a good job of providing that doubt about who is or who isn't the killer. Ethel Barrymore also does a great job as the matriarch of the house who is bedridden and ill, but also probably more aware of what's happening in the dark than other characters. Turns out she was nominated for a Best Supporting Actress at the Oscars.
The Spiral Staircase does a great job of seamlessly blending different elements of horror: psychological, gothic, and even hints of what would be known as slashers in the future, but also with "who dunit" mysteries and tinges of film noir. All genres and subgenres that dive into the more obscure realms of the human soul and revel in what happens in the dark.
Grade: 4
THE SKELETON DANCE
(1929, Disney)
Horror film from the 1920s
https://i.imgur.com/DhNJtmJ.jpeg
"You never forget how to dance. It's just a matter of your bones working and things like that." --Christopher Walken
Seems like Walt Disney knew what Walken was talking about cause that's what The Skeleton Dance is about. Released in 1929, right after Steamboat Willie, the short mainly features four skeletons dancing around a graveyard in different ways while also playing music with their own bodies and bones.
Like many early animated shorts, The Skeleton Dance can be seen as an excuse to test many animation techniques. There are owls hooting, bats flying, spiders crawling, dogs howling, and cats arching before the titular skeletons come in. They tiptoe and walk and dance and run, all to the sound of Carl Stalling's music. The coordination of both animation and music is pretty cool.
Even though you can see how it is, in a way, an excuse to show how they animate things, it is still pretty good, fun, and yes, creepy. There is a moment towards the beginning where one of the skeletons jump right to the camera "eating it", which I found to be quite effective. Creepy, dancing, and fun... like Christopher Walken would do decades later, with the bones working and things like that.
Grade: 4
HELL'S BELLS
(1929, Iwerks)
Horror film from the 1920s
https://i.imgur.com/JRnqDlH.jpeg
"♪ I won't take no prisoners, won't spare no lives. Nobody's puttin' up a fight...♫"
Hell's Bells was released right after The Skeleton Dance in 1929. Following a similar template to Disney's short, this one is set in Hell where we can see Satan and several of his minions dancing around, playing instruments, and having fun... until Satan gets hungry and decides to take no prisoners and spare no lives.
Again, like The Skeleton Dance and many early animated shorts, Hell's Bells seems to exist mostly to showcase many animation techniques. In this case, we see fire brewing, bats flying, spiders swinging, dogs barking, and devils playing music and dancing around. When Satan gets hungry, little devils "milk" a cow-like dragon only to have Satan feed one of them to his dog.
Watching it back-to-back with The Skeleton Dance, it's certainly interesting to see its many parallels, similar beats, and the use of the same techniques but with different characters. It's still a memorable short, but I think I prefer the skeletons.
Grade: 3.5
To celebrate the 40th Anniversary of A Nightmare on Elm Street and Freddy Krueger, I got together with a group of friend podcasters to talk about the franchise, its impact, as well as our thoughts on each individual film. Feel free to check it out.
Bonus Loot #4: The Nightmare Loot (with Ed, Stew, Kevin, and Pete) (https://www.buzzsprout.com/850063/episodes/16088592-bonus-loot-4-the-nightmare-loot-with-ed-stew-kevin-and-pete.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/1ilSbwLMJkPXkIKEQgvZDe?si=cfa7539d32fe4fe6), Apple Podcasts (https://podcasts.apple.com/us/podcast/bonus-loot-4-the-nightmare-loot-with-ed-stew-kevin-and-pete/id1578191119?i=1000676705109), and other streaming platforms.
Hope you like it!
To celebrate the 40th Anniversary of A Nightmare on Elm Street and Freddy Krueger, I got together with a group of friend podcasters to talk about the franchise, its impact, as well as our thoughts on each individual film. Feel free to check it out.
Bonus Loot #4: The Nightmare Loot (with Ed, Stew, Kevin, and Pete) (https://www.buzzsprout.com/850063/episodes/16088592-bonus-loot-4-the-nightmare-loot-with-ed-stew-kevin-and-pete.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/1ilSbwLMJkPXkIKEQgvZDe?si=cfa7539d32fe4fe6), Apple Podcasts (https://podcasts.apple.com/us/podcast/bonus-loot-4-the-nightmare-loot-with-ed-stew-kevin-and-pete/id1578191119?i=1000676705109), and other streaming platforms.
Hope you like it!
Listening now! :)
THE WIZARD OF OZ
(1939, Fleming)
https://i.imgur.com/wQ7JfFN.jpeg
"If I ever go looking for my heart's desire again, I won't look any further than my own back yard. Because if it isn't there, I never really lost it to begin with! Is that right?"
The Wizard of Oz follows Dorothy (Judy Garland), a young girl that is unhappy with her life in rural Kansas and longs for a place "somewhere over the rainbow" where life is pleasant and there are no troubles. After a tornado sweeps her house out and drops it in the magical land of Oz, she sets out on a quest with three colorful characters to find the titular wizard to see if he can help her return home.
Even though I feel I've always been "familiar" with the basics of this story, it really wasn't until 15 years ago that I ended up watching the film properly. But what a magical experience it was! Even at the tender age of 32, I found myself captivated by the fun characters, the charming story, and the colorful direction and overall production design. Even though the first two aspects are top quality, I feel this is a film that lives and dies by how vibrant and "alive" it looks and feels.
This rewatch, however, was significant for me because it was the first time I showed the film to my kids. Like me, they were already somewhat familiar with the story; they have a book about it, they've seen short stories, and they had seen one of the many animated sequels (Legends of Oz: Dorothy's Return) several years ago. Thankfully, it seems they were as captivated at 10 and 11 years old, as I was at 32. They laughed, they gasped, and enjoyed the whole ride.
One of my favorite moments is when Dorothy walks out of her house, right after landing in Oz, and we can see her clothes and surroundings "change" from sepia to color. At that moment, my older kid said out loud "Look how her clothes changed!" in amazement, and I could just feel the magic flow through me, and I just smiled. Same as I saw my younger kid laugh at the Scarecrow, or noticing the directions that the gang heads to, whether it was East or West. It was a thoroughly enjoyable experience for all of us.
As anybody that has seen the film knows, there's a message about the things we want and the things we have. If you see, everything that the characters wanted was already within them; the Scarecrow's smarts, the Tin Man's love and emotion, and the Cowardly Lion's bravery. All of that is encapsulated by the above quote from Dorothy; that sometimes we don't have to look that far for the things we long for, cause they might be right there with us in our own back yard, or our own living room, watching a film with us. Is that right?
Grade: 5
Again, should've posted this a long time ago, but life keeps throwing wrenches at me in pretty much every aspect and I just put up the audio for this, so here is the July "assignment" episode of the podcast that applies to a bunch of films I already posted reviews for.
The Movie Loot: The July Assignment (with Robert Yaniz from Crooked Table Productions) (https://www.buzzsprout.com/850063/episodes/16151836-the-movie-loot-the-july-assignment-with-robert-yaniz-from-crooked-table-productions.mp3?download=true)
In this one, my friend Robert Yaniz (from Crooked Table Productions) joined the loot as we chose a set of 5 categories to guide us on what to watch during July.
You can also see the live broadcast we did via YouTube
here (https://www.youtube.com/watch?v=Wjg2R8Ul2cc)
...or listen to it through any podcasting platform like Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-the-july-assignment-with-robert/id1578191119?i=1000677911126), Spotify (https://open.spotify.com/episode/6eXYrIlXJJJKRi8kGWb00U?si=qZPHQS4ySIiVWz-Zd5nmzQ), or any other.
Here was the criteria for JULY 2024:
A film with the number 7 (Seven, Seventh, etc.) in its title:
A musical:
A film from Abel Ferrara (born July 19):
A film from Egypt (Revolution Day, July 23):
A film from Letterboxd's Official Top 250 Narrative Feature Films list whose ranking includes the #7 (i.e. 7, 17, 73, 227, etc.)
IT'S SUCH A BEAUTIFUL DAY
(2012, Hertzfeldt)
https://i.imgur.com/fcIMt4F.jpeg
"With each passing decade, he began to gauge the time he probably had left. And by his 40s, what he considered his halfway point at best, he had come to know just one thing: you will only get older."
That is one of the many existential musings of the narrator in Don Hertzfeldt's animated masterpiece, and to a certain extent, the basic core of the film. Whether it is the unscrupulous passage of time, a rollercoaster of pessimism vs. optimism, or just your typical fear of aging and death. It is all in there, along with hallucinations of a fish-headed humanoid with a leaking pipe on its belly, or demon-faced people with bacteria-ridden crotches stuck in the produce.
It's Such a Beautiful Day is a compilation of three previously released short films from Hertzfeldt. The main premise of the story follows Bill, a man struggling with an undefined illness which is causing hallucinations, memory loss, and countless other problems. Despite this, Bill tries to carry on with his life while sharing his philosophical musings about life, love, death, and demon-faced people with bacteria-ridden crotches stuck in the produce.
This is my second experience with a Hertzfeldt, after Rejected, but I had heard a ton of great things about this, and how it's his best work and whatnot. Maybe because of that, I came in with high expectations, or maybe it wasn't the right time for me to watch it, but the truth is that I just couldn't get into the film's wavelength. I can acknowledge there is some good/great stuff in it, but it was all counter-balanced by its frantic randomness.
I understand that "randomness" is part of its charm, and very often I enjoy films with that vibe, but this wasn't the case this time. I'm usually down for films full of existential and philosophical confrontations, but every thought-provoking morsel the script throws at you is immediately followed by the most random, absurd, and off-beat zinger, and at this time I couldn't process the whiplash from one tone to the other.
For different reasons, I couldn't see this in one sit. I had to split it through a week or two, and that week or two has been, umm, quite eventful from a personal standpoint. Knowing me, I'm pretty sure that in some other time with some other mindset, this film can leave me pondering the facts of life, break my mind with existential dread, and make me laugh at bacteria-ridden crotches. It just happened to come at a weird time where days haven't been as "beautiful", so I will begin to gauge the time I have left, and give it another shot later.
Grade: 3*
For anyone interested, I was a guest once again at Silver Screeners, with my friend Frank Mandosa. We talked again about Alfred Hitchcock; this time about the two films he released in 1954: Dial M for Murder and Rear Window. Check it out here or on any podcasting platform.
Silver Screeners, Episode 163: 1954's Dial M for Murder and Rear Window turn 70! with special guest Carlo of The Movie Loot podcast (https://open.spotify.com/episode/32MEjypIxalue7eBGky9z8?si=1ad640bbb1034e82)
DEMOLITION MAN
(1993, Brambilla)
https://i.imgur.com/aJdh9J3.jpeg
"What would you say if I called you a brutish fossil, symbolic of a decayed era gratefully forgotten?"
"I don't know... thanks?"
That's how a stranger addresses recently "defrosted" cop John Spartan (Sylvester Stallone) after he is awakened 36 years in the future. But things have changed for Spartan; once a daring police officer, he was cryogenically frozen after failing to rescue a group of hostages from sociopathic criminal Simon Phoenix (Wesley Snipes), who also ends up frozen for his crimes. Not only that, but they wake up into a "brave new world" where violence has been apparently subdued and people live in utopic bliss.
Demolition Man follows Spartan's attempts to capture Phoenix again while also trying to adapt to his new surroundings. He is joined by young and idealistic officer Lenina Huxley (Sandra Bullock) who idolizes 20th Century pop culture while longing for a more adventurous job. Obviously, Phoenix' escape provides just that as he starts to wreak havoc around the city forcing the police to figure out not only how did he escape, but also who is controlling him.
Ironically, the film was released in 1993 and, along with Cliffhanger, signaled a much needed "blip" in Stallone's career which was declining after several box office bombs and attempts at comedy. It is also ironic how his return to success happens through an über-violent action film about the return to action of an über-violent cop that is trying to adjust to new life and modern trends.
But putting its meta symbolism aside, Demolition Man delivers for the most part through an enjoyable mixture of that über-violence and some light humor. It does feel a bit odd to see cops celebrating the return of violence as Phoenix is murdering people, but I understand the intent to highlight how they would welcome a sudden spurt of thrills and action in what seems like an otherwise routine and boring job. For the most part, the film manages to keep a good balance between the action and the humor, while being consistently fun.
A big part of that fun falls on Snipes performance. It's evident he's having the time of his life with this role, and Phoenix provides a pretty good nemesis to Stallone's Spartan. Every time he's on screen, the film sizzles. Bullock also does a pretty good job, although her romantic relationship with Stallone does feel very forced. The cast is rounded up by Bob Gunton, Benjamin Bratt, Denis Leary, Nigel Hawthorne, and Glenn Shadix.
I also think the subplot regarding Edgar Friendly (Leary) needed a bit of development. But overall, Demolition Man manages to be a pretty entertaining package of action and fun courtesy of a "brutish fossil" like Stallone; a symbol of his decayed 1980s era of action blockbusters. So to him I say, I don't know... thanks?
Grade: 3
By the way, that wasn't a first time watch, but I just hadn't seen it in more than 20-25 years.
BLADE RUNNER
(1982, Scott)
https://i.imgur.com/nGLk9a4.jpeg
"Chew, if only you could see what I've seen with your eyes!"
That's what replicant Roy Batty (Rutger Hauer) tells replicant eye designer Hannibal Chew (James Hong). Ridley Scott makes a big deal out of eyes on this film; whether it is things seen, like Batty says, or things others can see in them, like lead character and "blade runner" Rick Deckard (Harrison Ford). Eyes are seen in screens, through computer devices, or floating in formaldehyde; eyes are designed, analyzed, and destroyed through the course of the film highlighting their importance.
There's already a review from me on this film floating around MoFo, so in the spirit of "what eyes can see", I just wanted to dedicate this brief write-up to my latest experience rewatching this film. I've seen Blade Runner a bunch of times ever since my first watch back in the late 90s, and I've always been amazed by its whole look. The set design, the production values, Scott's direction; it has always looked gorgeous, regardless of whether it was a VHS, a DVD, or a BluRay.
However, earlier this month I had the chance to see what others had seen: The final cut of Blade Runner in theaters, and I have to say it looked even more amazing. Had to sit in the neck-breaking seats in front and even there, it was impressive. The industrial skyline, the rain-soaked streets, the dark offices and apartments with streams of light coming through the windows. Everything looked impeccable.
Blade Runner is known for many reasons, one of which is its stylized look. Those that have seen it and love it, know it's not all looks. There are iconic performances here, especially from Hauer. There is a thought-provoking script that asks from us what it means to be human, to feel and experience things. But after watching it on the big screen, I can only say "if only you could see what I've seen."
Grade: 4.5
John W Constantine
11-26-24, 01:38 PM
By the way, that wasn't a first time watch, but I just hadn't seen it in more than 20-25 years.
Be well.
NATIONAL TREASURE
(2004, Turteltaub)
https://i.imgur.com/1UplNqr.jpeg
"Why can't they just say, 'go to this place, here's the treasure, spend it wisely'?"
That's the complaint of historian and adventurer Benjamin Gates (Nicolas Cage), but if that were the case, we wouldn't have much of a movie, would we? Instead, we get to see Gates deep down in caves, deciphering codes, looking for maps, and in the middle of car chases and foot chases while eluding bad guys, which is part of what this film has to offer.
National Treasure follows Gates in his quest to find a lost treasure, which will require him to steal the United States Declaration of Independence. He is joined by his partner and computer expert Riley Poole (Justin Bartha) and eventually by archivist Abigail Chase (Diane Kruger). The bad guy on the other side? Ian Howe (Sean Bean) who starts by funding Gates to find a map, only to double-cross him later.
If you feel like the film has hints of Indiana Jones to it, is because it does. Jones is probably the most direct comparison one can drew to this film and to kinda get what it's going for. It isn't nearly as successful as those films (at least half of them), but it still does a pretty solid job. They even mirror the Ford/Connery dynamic, with Jon Voight as Gates' father who disapproves of his son's quests, only to join him later.
This is probably not the most demanding role for Cage, but he does a pretty good job with what he's given. But most important, his chemistry with Bartha is great and they both play well off each other. Kruger is solid as well as the reluctant companion, and I always enjoy Sean Bean in whatever role. I do think his bad guy could've had a bit more "oomph" to it, but he's still good in it.
If there was a film about a historian finding a map that said "go to this place, here's the treasure, spend it wisely", it would be a very short film and not a very fun one. So Turteltaub and company know exactly what they need to give audiences and they do just that, and not much more. Overall, National Treasure is a fun and entertaining adventure film, so if you're looking for that, here's the treasure, spend it wisely.
Grade: 3.5
I should've added that this was another rewatch. I've seen it a couple of times, but put it for one of my kids and he really enjoyed it.
THE SWORD AND THE HAIRPIN
(2014, Figueroa)
https://i.imgur.com/RpODqPj.jpeg
"You're rōnin, not samurai anymore."
In old Japan, samurais were warriors who were usually tied to certain clans and played important roles in defense, but also politics. On the other hand, a rōnin was a samurai who was no longer tied to a clan, which was often a source of shame, and were therefore seen as "lesser". Because of this, many rōnin resorted to illegal ways to earn their living, sometimes becoming mercenaries or hitmen.
The Sword and the Hairpin presents a rōnin in this precise situation. With the disbandment of his former clan, Tadakatsu (Kazuto Seike) finds himself unable to find a job or even pay for his house. So when he's confronted by a neighbor who happens to work fabricating hairpins, Tadakatsu finds himself at a crossroads; do I go by the sword or do I go by the hairpin?
This Japanese short happened to be directed by a local filmmaker, Ray Figueroa. I stumbled upon it while checking up his filmography and what a pleasant surprise it was. Not only is his direction very striking, but the story, written by Harutaka Kondo, is very effective. A reminder that we can always leave behind our old selves and look forward to something new and different in the future.
Grade: 4
If anyone's interested...
https://www.youtube.com/watch?v=a0qT1y8gBwM
AFTER HOURS
(1985, Scorsese)
https://i.imgur.com/zLJdri3.jpeg
"It's temporary anyway. I do not intend to be stuck doing this for the rest of my life."
That's how a new employee dismisses the job he's being taught to do by Paul Hackett (Griffin Dunne), the one who has been stuck doing that job for seemingly all his life. But Hackett doesn't want to be stuck doing that either, so when an opportunity to break out from his tedious routine presents in the form of a mysterious woman, he jumps at the chance.
After Hours follows Hackett's misadventures as he heads into that rendezvous with Marcy (Rosanna Arquette) and as he eventually tries to make his way back home. Through the night he encounters himself in all kinds of weird, bizarre, and absurd situations which range from his only $20 bill flying out of the taxi window to being pursued around the neighborhood by a lynch mob after being suspect of burglary and murder.
The film's central plot of someone having a long, sh!tty night isn't new, but I really liked the way that Dunne's character went on about it. Pretty early on, he realizes "Yup, I better go home" but just keeps finding himself stuck in situations that become more dangerous and/or outlandish as the film goes on. I thought Dunne's performance was pretty good, and he managed to play off really well off of the many actors he interacts with.
Aside from the performances, I really enjoyed the film's vibe. It has that weird mixture of thriller, absurdist comedy, with even some hints of film noir. I also find it interesting the way that fate keeps playing against Paul by not allowing him any "pleasures" so to speak. He's like Sisyphus, forced to push that boulder up a hill over and over and over.
Those that know me, know that I've never been a very big Scorsese fan. As much as I respect the man, his knowledge and craft, most of his films don't really stick with me or don't really hit me on a deeper level. Despite that, I decided to do an episode of my podcast on Scorsese which is why, before recording, I'm trying to catch up with as many of his films as I can; at least for that episode. I do not intend to be stuck doing this for the rest of my life.
Grade: 3.5
Takoma11
11-27-24, 05:41 PM
After Hours really took me by surprise, in a good way. I'm not sure what I was expecting, but it was just a lot funnier and crazier than I was expecting. I walked away really enjoying it.
After Hours really took me by surprise, in a good way. I'm not sure what I was expecting, but it was just a lot funnier and crazier than I was expecting. I walked away really enjoying it.
I agree. It is really close to a 4, but I settled for 3.5 as I let it simmer. It was a really weird descent into abyss.
SpelingError
11-27-24, 08:34 PM
I also loved After Hours. One of Scorsese's more underseen films, imo. It's the kind of inventive, bizarre film I dig which has me chanting "More! More! More!" all throughout it.
Takoma11
11-27-24, 10:09 PM
I also loved After Hours. One of Scorsese's more underseen films, imo. It's the kind of inventive, bizarre film I dig which has me chanting "More! More! More!" all throughout it.
Yes. I never knew what was coming next, and whether it would be funny/upsetting or just funny/funny.
THE BEAST WITH A MILLION EYES
(1955, Kramarsky)
https://i.imgur.com/Ty5nzk4.jpeg
"That's our strength, Allan, being together. Alone, we're nothing."
The Beast with a Million Eyes follows the Kelley family, who's struggling to make ends meet in the middle of the California desert while also dealing with some serious dysfunction amongst them. Things get worse when a creature from outer space lands nearby and starts taking control of the surrounding animals in an effort to go up the ladder to control humans as well, and thus the Earth.
That premise sounds infinitely more interesting than what we got in the end. The film behaves like your typical 1950s cheap "creature feature" where two thirds of the film feature the characters trying to figure out what's going on, only to unleash whatever's threatening them in the last act. The Beast with a Million Eyes has a mostly dull and awkward two thirds, and then also fails to pay off in the last one.
First of all, the performances from the main cast are pretty weak, but even if they were stronger, the script doesn't help them. The way that the family dynamics are constructed makes no sense, with awkward interactions and them fighting one against the other one minute, and making up in the other. Finally, the logistics of how the alien operates is never properly taken advantage, relying mostly in some tedious expository dialogue to explain what's going on.
I've seen my fair share of cheap "creature features" and, even in the middle of their mediocrity, a lot of them know how to somewhat pay off with practical effects, fun characters, or some intense atmosphere. The Beast with a Million Eyes has none of that; not even a beast with a million eyes. Despite some interesting ideas, the film is an inept snoozefest.
Grade: 1
TETSUO: THE IRON MAN
(1989, Tsukamoto)
https://i.imgur.com/hLEsrlp.jpeg
"Soon even your brain will be metal!"
Tetsuo: The Iron Man follows an office worker (Tomorowo Taguchi) that is involved in a hit-and-run accident. After apparently leaving the scene, he starts being haunted by strange hallucinations of scraping metals. Eventually, he starts sprouting metal parts himself from various parts of his body sending him on a crazied frenzy. Can he retain his sanity or will his brain turn into metal as well?
This is one of those films I've been hearing about for a long time. One of those where you kinda know already what's going on, mostly because of pop culture. Still, after my first official watch, I can say it was even weirder than I expected. Not only because of its weird story and bizarre visuals, but also because of its unconventional narrative and frantic pacing.
Maybe the latter two are what kept me at a distance. Tetsuo: The Iron Man is not a character-driven film, so the director doesn't really give you a lot of time to know this man (he doesn't even get a name) or his girlfriend, or any other character. So when he starts suffering this predicament, it all hangs in this surreal imagery that he throws at us. This makes for an interesting watch, but not much more from an emotional angle.
As the plot progresses, things get even weirder, and the story gets more chaotic which, as far as I'm concerned, widens that disconnect. Overall, Tetsuo: The Iron Man feels more like a novelty watch; something cool and weird to watch, but not much more. With a 67 minute runtime it's still quite breezy, but your brain might be metal by the end.
Grade: 3
KID AUTO RACES AT VENICE
(1914, Lehrman)
https://i.imgur.com/8EcHtwo.jpeg
"I made tracks for the track."
That is the simple sentence that opens this short in which "Charlie Chaplin" addresses his "best girl" before heading to a pushcar race in Venice, California. While there, he causes all kinds of mayhem as he tries to draw the attention of a cameraman and film director by constantly stepping in front of their shots and in the middle of the track.
This was actually the first film to feature Chaplin's persona of "The Tramp", which kinda made sense because as I was watching it, I felt that the character didn't feel fully realized, or felt different to what we're used to in future Chaplin films. Here, the Tramp is a bit more obnoxious and annoying than he is charming and earnest. That's the main source of laughter, though, and for the most part, it works.
There is a simplicity to Kid Auto Races at Venice, but at the same time, an experimental and meta aspect (Chaplin and Lehrman went to an actual race to film in real time) that I suppose was very innovative at the time. An interesting contrast to what Chaplin would become, in which nobody would be against him being on screen, as he "made tracks" for stardom.
Grade: 3
SpelingError
11-29-24, 04:03 PM
Tetsuo is long overdue for a rewatch. I wasn't sure what to make of it at the time, but I feel I'd be far better equipped for it now.
PARADISE CANYON
(1935, Pierson)
https://i.imgur.com/RLMeVD4.jpeg
"Say, can you sing or dance?"
"Well, I'm afraid about all I can do is ride and shoot."
That's how John Wa- Wyatt dismisses the invitation of Doc Carter to join his traveling medicine show. Wyatt can't sing or dance, but he sure can ride and shoot. Some people might say the same about John Wayne, who made a long career out of essentially playing "himself" in dozens of westerns. Paradise Canyon was one of the first ones, before he hit it big with John Ford's Stagecoach.
In Paradise Canyon, Wayne's character is a federal agent that is trying to stop a counterfeit operation led by Curly Joe (Yakima Canutt). In the process, he meets with Carter and his troupe, who were at one point framed by Joe so they decide to help Wayne. Between one thing and the other, there's a lot of riding and shooting.
I've seen a handful of John Wayne films and I don't think it's disrespectful to say that he had a limited range, either by fate or by choice. That's not to say he couldn't turn a good performance, but more often than not, it was within those limitations. Paradise Canyon doesn't ask much for him other than look strong and talk tough, while riding and shooting a lot.
But don't take that as a slight on the film. The truth is that a lot of the stunts and riding scenes – a lot of them evidently played by Wayne himself – were quite impressive. That compensates a bit for a story and execution that are formulaic and derivative. So even though Wayne doesn't have a lot of chemistry with his love interest, and he can't sing or dance, at the very least I'm glad he can ride and shoot.
Grade: 2.5
Tetsuo is long overdue for a rewatch. I wasn't sure what to make of it at the time, but I feel I'd be far better equipped for it now.
It was a box I had been meaning to check for a while, so it felt good to finally get to it. Even if I didn't connect much with it, I still think it's an impressive feat within the context of how it was made.
MELODY TIME
(1948, Various)
https://i.imgur.com/s9m5fGu.jpeg
"A song is the one and only thing that will take you to the land where music is king."
Melody Time is an anthology film released by Disney in 1948. It is comprised of seven different shorts all using songs and music to take you to different lands and stories. Although they all feature different characters, one of them features Donald Duck, along with José Carioca and the Aracuan Bird, both of which were introduced during Saludos Amigos (https://www.movieforums.com/reviews/2400883-saludos_amigos.html) and Three Caballeros (https://www.movieforums.com/reviews/2185228-the_three_caballeros.html) respectively.
This period of the mid-40s was a bit of a struggle for Disney, for obvious reasons. With the nation still struggling with the aftermath of the war, it seemed easier to separate animation groups and resources to focus on these musical anthologies, instead of one big project. The result is inevitably a mixed bag that isn't as cohesive as one might wish.
Whereas in Saludos Amigos and Three Caballeros there seemed to be a Latin-infused focus, the focus here isn't as defined but it seems to be different types and styles of music. But the lack of a general connective tissue to it all hurts it a bit. Even Three Caballeros frames it all as a celebration of Donald Duck's "birthday". Here, it just feels like what they are, random bits and pieces some of which work better than the others.
This applies to the stories as well as to the animation. The first segment, "Once Upon a Wintertime", features an intentionally minimalistic animation that I really liked, while the animation in "The Little Toot" felt more broad and under-produced. On the other hand, the latter has a charming vibe that other stories lack. Even my kid's interest waned from story to story.
Melody Time is far from a waste of time, but it lacks the hook and flair of his other similar counterparts. Despite the attempts of its songs and stories to take you to the land "where music is king", every time one ends and the other starts, it feels like the journey just keeps going back and forth without really getting anywhere.
Grade: 2
PRETTY POISON
(1968, Black)
https://i.imgur.com/mUFOTpE.png
"You haven't changed much, Dennis"
"Who does?"
Change isn't easy. Although circumstances might encourage us or force us to do so, we tend to return to the things and behaviors we're used to, as our comfort zone, and the cycles repeat over and over. That is the situation in which the lead characters of this film find themselves; unable to change, returning to familiar tendencies, repeating cycles over and over.
Pretty Poison follows Dennis Pitt (Anthony Perkins), a paranoid man who hasn't really changed much after being recently released from a mental institution. This leads him to become involved with Sue Ann (Tuesday Weld), a high school teenager after telling her he's a secret agent on a mission, something that leads to all sorts of mayhem.
I don't think I had heard of this film before, but when a friend invited me to his podcast to talk about it, I jumped at the chance mostly because of Perkins. As a huge fan of his performance in Psycho, I always look forward to watch more stuff he did during those years, and this one sounded right up my alley. After watching it a couple of nights ago, I can say I wasn't wrong.
The main thing about the film is the relationship between Dennis and Sue Ann. This can obviously be seen as problematic, with her being a teenager, but the truth is that we're not meant to empathize with Dennis and his behavior. His character is deeply troubled, unable to change, while Sue Ann is dealing with her own issues mostly coming from a strict and abusive mother (Beverly Garland).
The way these two characters connect and how their dynamic changes is the most interesting part of the film, and both Perkins and Weld play it perfectly. The direction from Noel Black is not particularly flashy, but it's effective with some clever uses of wide shots and zooms to highlight the different angles of paranoia and voyeurism present in all the characters.
Anthony Perkins will always be known for his role of Norman Bates, deservedly so. It is an iconic performance in an iconic film. However, there's so much to him than just Psycho. I've only seen a handful of his films, but his performances usually uncover a certain vulnerability that not every actor can transmit. His Norman Bates is dangerous but vulnerable. Here, he is also dangerous but vulnerable. He hasn't changed much, but who does?
Grade: 4
UNDERWATER
(2020, Eubank)
https://i.imgur.com/vjh3wVK.jpeg
"We did this. We drilled the bottom of the ocean. We took too much, and now she's taking back."
Set in the near future, Underwater follows the crew of a drilling facility in the middle of the ocean that is partially destroyed by what they assume is an earthquake. As the remaining survivors set out for safety, they have to find ways to stay alive from their surroundings, but also from the real threat: a giant underwater creature.
This was more or less a blind watch. I had it on my Letterboxd watchlist, and had seen it sporadically mentioned around social media, but other than the title and the poster, I didn't know much else about it. I tend to have a thing for films about small groups of people trapped at the mercy of this or that, and this film delivered just that.
Just by reading the premise, it is no secret that this film borrows a lot from Alien and Aliens, but as you watch it, you can really feel the connections. The weird thing is that it still kinda works. Not sure if it was really that good, or if it is my penchant for the subgenre, but it turned out to be a pleasant surprise.
One of the things I liked from the film is its emphasis in characters. Despite its plot driven mechanisms, there is a lot of focus put on who these characters are and how they might be feeling. At the center of it all is Norah Price (Kristen Stewart), the mechanical engineer of the facility that seems to be haunted by choices of the past. Stewart does a really good job of adding layers to her character that I get the feeling weren't even in the script.
Rounding out the cast is Vincent Cassel as the captain, Jessica Henwick and John Gallagher, Jr. as a couple that works at the facility, and T.J. Miller as the aptly cast loud-mouth. Miller is probably the only weak link in the cast; not because he's T.J. Miller, but because he's trying too hard. I get the feeling that he was going for a "Hudson" vibe, but failed. His character is just obnoxious and annoying.
But again, even despite Miller's character and a somewhat derivative story, the film stays afloat thanks to great characterizations (namely Stewart), competent direction, and solid tension and scares. So if you're in the mood for a film about a small group of people trapped at the mercy of this or that, this one might do the trick.
Grade: 3.5
SHOOT TO KILL
(1947, Berke)
https://i.imgur.com/n0XtFqX.jpeg
"The orders out on you are 'shoot to kill'."
That's the warning received by corrupt District Attorney Lawrence Dale (Edmund MacDonald). He has bitten off more than he can chew with various dubious underworld characters and now they're all out to get him some way. Out to help him in some way are his secretary-turned-wife Marian Langdon (Susan Walters) and investigative reporter George Mitchell (Russell Wade) who issues the above warning.
Shoot to Kill was pretty much a surprise watch. I wanted to close #Noirvember with a breezy film noir, so I browsed some Letterboxd list and sorted it by length. At barely over an hour, this sounded like just the thing, and in a way, it was. The runtime itself works to its advantage since it doesn't really give us a lot of time to breathe between all the twists and turns, and whether they make sense or not.
Like many film noir, the story begins at the end, as everything is retold via flashback. Its mostly set at night, making great use of lights and shadows, its gritty in plot and looks, has some witty dialogue, and one great femme fatale. The gist of the story, which I'm still trying to figure out, follows the reporter investigating how his D.A. friend ended up involved with crime boss Dixie Logan (Douglas Blackley).
But again, it doesn't matter since it's all a setting to watch our heroes facing thugs, thugs shooting others, and cars chasing bad guys. So in that respect, it is fairly simple despite its apparent complexity. I don't think it would crack any lists for me, but it made for a fun watch and a more than appropriate closing to the month of noir.
Grade: 3
ÉRASE UNA VEZ EN EL CARIBE
(2023, Figueroa)
https://i.imgur.com/O2IoYd7.jpeg
"You may stay in this house until you find another place... or until it falls apart around you."
Once upon a time in the Caribbean, there was a small island inhabited by Taíno natives. Colonized by Spain in the 15th Century, the island became a key location for agriculture and maritime trade. This was all at the expense of the Taíno population, which disappeared shortly after. Centuries after, as the Spanish Empire lost its grip, the United States won the Spanish-American war, taking over the island as a "spoil of war", while pushing away Spanish landowners.
Ray Figueroa's epic Puerto Rican film takes a look at these centuries-long "relationships" through a story of love, want, and revenge. Once Upon a Time in the Caribbean follows Juan Encarnación (Héctor Aníbal), a former sugarcane foreman, as he tries to find and rescue his wife Pura (Essined Aponte) who was kidnapped by some "old foes" on orders of American landowner Mr. Walker (Robert García Cooper), who wants to take her as wife.
The film is essentially a revenge story as Juan has to fight his way through various obstacles and bad guys to reach his wife. However, it is notable for various reasons. First, Figueroa's direction and the cinematography by Willie Berrios are just impeccable. Often inspired by Puerto Rican paintings and artwork from the likes of Francisco Oller, Luis Germán Cajiga, Ramón Frade, it gives the film a unique Puerto Rican flavor. Plus, their use of framing with the gorgeous Puerto Rican landscapes make for some really beautiful scenes and shots.
Second, Figueroa feeds this Puerto Rican story with tons of influence from westerns, samurai films, and many others. There is a lot of Kurosawa, Eastwood, Tarantino, and others running through this film's DNA, with katanas and revolvers being replaced by machetes. Like Eastwood's Man with No Name, Juan is a man of few words, but one that everybody knows about and everybody fears. Even though Aníbal's performance never gets to 10, most of what works about him and the film is in screen presence, vibe, and atmosphere.
But finally, the way that Figueroa frames this story as a metaphor of the relationships between Puerto Rico, Spain, and the United States is masterful. It's not necessary to understand this history to enjoy the film, but for those that know it (or have lived it) there are some extra layers to peel away. From the above statement said by a ruthless American landowner to the Spanish "colonizer" he's pushing away, it adds a lot to the context of Puerto Ricans trying to fight for our place, while between two huge "empires", even if at times it feels like it's falling apart around us.
The film is not without some flaws, most notably the pacing is a bit off. The middle act loses a bit of momentum when compared to the first or last act. Also, most of the supporting performances outshine the leads. Aponte does have some pretty good moments, but most of the best acting moments come from supporting characters. Regardless, this is a crowning achievement in Puerto Rican cinema; one that should be seen by every Puerto Rican, and one that should stand among the best films made here in the island.
Grade: 4
ROMANCING THE STONE
(1984, Zemeckis)
https://i.imgur.com/yB5Xmwj.jpeg
"I like you, Joan, and I hate to see you all alone, waiting for somebody who's not gonna show up."
Romancing the Stone follows romance novelist Joann Wilder (Kathleen Turner), who lives alone in her apartment while writing her novels, waiting for the moment when she gets to meet the man of her dreams. When her sister is kidnapped by a group of criminals looking for a hidden treasure, Joann must travel to Colombia to find her. In the process, she enlists the help of Jack T. Colton (Michael Douglas), a rogue smuggler and adventurer.
This is one of those films I remember seeing often when I was a kid, but that for some reason I hadn't revisited in decades. The film seems to borrow a lot of inspiration from Indiana Jones and other similar adventure films, with the added layer of contrasting Joann's "big city" persona with Jack's rough, macho approach to things. You know, she's wearing high heels and carrying a suitcase, while he's wearing a fedora and a machete on his belt.
The story is rounded out by an assorted array of characters that are also looking for Joann, and the hidden treasure. These include cousins Ira and Ralph (Zack Norman and Danny DeVito), who kidnapped Joann's sister, as well as Colonel Zolo (Manuel Ojeda), a Colombian military man who murdered Joann's brother-in-law and is also in search of the hidden treasure.
The truth is that the sister's subplot is severely underwritten and serves mostly as a plot device to put all these characters in march towards the same goal. We can say it's all an excuse to put Joann like a fish-out-of-water in this spectacular and exaggerated situations settings and situations. Most of the first act follows that "buddy cop" vibe of two completely different persons learning to work together. They argue and bicker, and *surprise, surprise* fall in love.
Thankfully, this works because the chemistry between Douglas and Turner is great. I would've liked if the whole kidnapping thing was better written and integrated, because in a way, it feels like a different movie. However, if you're looking for an adventure film full of effective setpieces, thrilling action sequences, that is a lot of fun without having to think too much about the plot, then you don't have to wait anymore.
Grade: 3.5
THE GOONIES
(1985, Donner)
https://i.imgur.com/Q84lq3n.jpeg
"Goonies never say die!"
The Goonies follows a group of friends from the "Goon Docks" in Astoria, Oregon. When their homes are threatened by foreclosure because of the expansion of a wealthy country club, they set out in an adventure to find the long-lost treasure of pirate One-Eyed Willy. Meanwhile, they must also avoid The Fratellis, a family of criminals who are also looking for the treasure.
This is yet another one of those films I've seen dozens of times, but I wanted my kids to watch it. I've always enjoyed the thrills and fun of the kids' adventure and thought it would be a good fit for them. Even though there's a lot of danger and murder, I love how it's mostly treated in such a playful and whimsical way, while carrying a message of persistence and never giving up; you know, Goonies never say die!
All of these is anchored in the performances and chemistry of the lead cast. The four main kids (Sean Astin, Corey Feldman, Ke Huy Quan, and Jeff Cohen) work so well off each other that you just believe they've been friends for years. Not only that, but their integration with the older characters (Josh Brolin, Kerri Green, and Martha Plimpton) is also believable, thanks to great writing and characterization.
In addition, we get some colorful villains, and some excellent and memorable setpieces, which makes for an irresistible treat. Sure, there are times when the "fantastic" elements are a bit too stretched, particularly with some of Data's gadgets, but it's all in good fun. It's somewhat magical to know that I've watched a film lots of times as a kid, and now – almost 40 years later – I get to watch it with my own kids. But you know what they say: Goonies never say die.
Grade: 4.5
I WAS A STRANGER
(2019, Aylesworth)
https://i.imgur.com/0cyyiJZ.jpeg
"Everyone's running from something."
I Was a Stranger follows Eliza (Elizabeth Rodriguez), a woman who's running from her abusive husband (Jason Butler Harner) and seeks refuge in a trailer park community. As she befriends the residents, she realizes that she's not the only one running away from something.
This short film was directed by Reiko Aylesworth, who is known for portraying Michelle Dessler on Fox's 24, which is how I stumbled upon it. It is a fairly simple short with a 17-minute runtime, but I really enjoyed her approach to the material. The subject matter can lend itself to some heavy-handedness or preachiness, but I don't think that's the case here. Aylesworth's direction and the script from April Brassard tackle it with care.
But most importantly, Rodriguez really sells the lead role with a neat display of various emotions; fear, insecurity, regret, despair, confidence, all through different scenes as she struggles with her decisions. The supporting cast is pretty good as well, but this is Rodriguez' show, from start to finish.
Grade: 3
P2
(2007, Khalfoun)
https://i.imgur.com/QfIDaHU.jpeg
"Angela, I just wanted to be friends. I'm alone. I'm always alone. Why can't we just spend more time together?"
The holidays are a time of gatherings and family, a time to meet with loved ones and be together. So, obviously, most people make great efforts not to miss those gatherings so they can be with someone, and not alone. But what if you can't get out of work, your car doesn't start, can't catch a cab, or start being stalked by a maniac? All of the above are part of what happens in this psychological horror/thriller.
P2 follows Angela (Rachel Nichols), a young executive in Manhattan getting ready to leave work on Christmas Eve. But when she gets trapped in an underground parking garage, she starts being stalked by Thomas (Wes Bentley), a psychopathic security guard that's obsessed with her.
The premise is fairly simple, which probably brings me to my main complaint against the film, and it's that this film should've been 60-70 minutes tops. For the first act, things move at a pretty nice pace, but after an hour, you kinda get the feeling that the writers were struggling to stretch things to a certain point. All of this leads to a fairly weak last act and resolution, which kinda spoils the whole thing a bit.
Despite that, I still think the film is worth a watch, if you know what you're getting into. Ironically, I saw the film on a parking lot, while waiting for one of my kids to come out of an appointment :laugh: so I guess that added an extra layer of "fun" to my watch. Nichols is a solid lead for the most part, and Bentley sells the psychopathic angle of his character really well, while adding some nice, nuanced touches to his performance
It's worth mentioning that the film was developed by Alexandre Aja, right after High Tension, which should give you a bit of an idea of what to expect, as far as Aja's sensibilities go. However, P2 never goes that hard, featuring just one instance of notable gore, without really relying on it. Instead, we get some decent tension and suspense, at least for an hour or so.
Grade: 3
Takoma11
12-10-24, 04:59 PM
Yeah, P2 lands in the "fine" zone, but doesn't go beyond that.
Yeah, P2 lands in the "fine" zone, but doesn't go beyond that.
If it had been a short film, removing most of the last act filler and polishing the ending, it would've landed way better I think.
Takoma11
12-10-24, 07:43 PM
If it had been a short film, removing most of the last act filler and polishing the ending, it would've landed way better I think.
Totally agree.
THE DEVIL WEARS PRADA
(2006, Frankel)
https://i.imgur.com/dXR7o31.jpeg
"Don't be silly - EVERYONE wants this. Everyone wants to be *us*."
The Devil Wears Prada follows Andy Sachs (Anne Hathaway), a young, aspiring journalist who finds herself working as a personal assistant to Miranda Priestly (Meryl Streep), the ruthless editor-in-chief of Runway magazine. Despite her lack of interest in fashion, Andy wants to use the opportunity as a stepping stone for her career, but finds herself instead sucked into the excessive demands of Priestly and subsequently, the glamorous lifestyle of the fashion industry.
Somebody once said that "every story has already been told", and that is the case here. This is not an innovative story: the young idealist that is lured into the coldness and evils of a different life and somehow ends up absorbed by it; it's been done in everything from the corporate world or high school cliques to literal Satan tempting someone into selling their soul. What can be different is the ways the characters and their predicaments are presented, and how we connect to them.
The main draw here is Streep, and her interactions with Hathaway's character. Streep was nominated for an Academy Award, and deservedly so. Her performance shies away from turning Priestly into a straight-forward villainess by adding several layers to her, along with other details that are on the script, and others that seem to be more of Streep's choices as an actress. Meanwhile, Hathaway perfectly portrays her character's descent (or ascent?) into this world in a way that's convincing and believable, despite being predictable.
It is in this crux that the script puts on Andy's shoulders and how the film kinda skirts away from a definitive conclusion that the film separates a bit from others. Like Miranda herself told Andy in the above quote, "EVERYONE wants this", and even though the end might make you think like Andy managed to escape from "the devil", the film and the performances hint that Miranda might not be "the devil incarnate", and that Andy is not entirely free from the clutches of that lifestyle.
But even with those flashes of novelty, The Devil Wears Prada is not without its flaws (the Simon Baker character feels underserved and maybe even unnecessary) and is no different than many other similar films. We've all seen it happen before, and we pretty much know how things are going to end. What's left is to enjoy the journey; a journey that Hathaway and specially Streep elevate and make worthy of a watch.
Grade: 3.5
Gideon58
12-14-24, 09:30 AM
THE DEVIL WEARS PRADA
(2006, Frankel)
https://i.imgur.com/dXR7o31.jpeg
The Devil Wears Prada follows Andy Sachs (Anne Hathaway), a young, aspiring journalist who finds herself working as a personal assistant to Miranda Priestly (Meryl Streep), the ruthless editor-in-chief of Runway magazine. Despite her lack of interest in fashion, Andy wants to use the opportunity as a stepping stone for her career, but finds herself instead sucked into the excessive demands of Priestly and subsequently, the glamorous lifestyle of the fashion industry.
Somebody once said that "every story has already been told", and that is the case here. This is not an innovative story: the young idealist that is lured into the coldness and evils of a different life and somehow ends up absorbed by it; it's been done in everything from the corporate world or high school cliques to literal Satan tempting someone into selling their soul. What can be different is the ways the characters and their predicaments are presented, and how we connect to them.
The main draw here is Streep, and her interactions with Hathaway's character. Streep was nominated for an Academy Award, and deservedly so. Her performance shies away from turning Priestly into a straight-forward villainess by adding several layers to her, along with other details that are on the script, and others that seem to be more of Streep's choices as an actress. Meanwhile, Hathaway perfectly portrays her character's descent (or ascent?) into this world in a way that's convincing and believable, despite being predictable.
It is in this crux that the script puts on Andy's shoulders and how the film kinda skirts away from a definitive conclusion that the film separates a bit from others. Like Miranda herself told Andy in the above quote, "EVERYONE wants this", and even though the end might make you think like Andy managed to escape from "the devil", the film and the performances hint that Miranda might not be "the devil incarnate", and that Andy is not entirely free from the clutches of that lifestyle.
But even with those flashes of novelty, The Devil Wears Prada is not without its flaws (the Simon Baker character feels underserved and maybe even unnecessary) and is no different than many other similar films. We've all seen it happen before, and we pretty much know how things are going to end. What's left is to enjoy the journey; a journey that Hathaway and specially Streep elevate and make worthy of a watch.
Grade: 3.5
I agree with just about everything you said regarding this movie
ENTER THE NINJA
(1981, Golam)
A film featuring ninjas
https://i.imgur.com/orMJhLJ.jpeg
"Preposterous or not, sir, we're dealing with a highly disciplined person who like in ancient times excels in martial arts, swordsmanship, archery, and poisons."
Enter the Ninja follows Cole (Franco Nero), an American ninja and former soldier. After completing his ninjitsu training in Japan, he travels to the Philippines to visit his best friend Frank (Alex Courtney) and his wife, but finds himself in the middle of a clash between Frank and a ruthless businessman that wants his land. Cole then has to use his ninja skills to protect his best friend.
I remember seeing this film back in the day, amidst all the 80s ninja craze. I must've been 9 or 10, and a school friend kept talking about it so I think I rented it. Most of it vanished from my mind, but the last act kinda stuck with me for some reason. Probably because it's the moment we get to see our lead character, as preposterous as it might seem, excel in everything: martial arts, swordsmanship, archery, and poisons.
Seeing it now wasn't as novel as it was back then. The truth is that the film has a lot of flaws, starting with a poorly conceived script and a weak lead in Nero. I mean, he does have the tough look, but there's literally no other emotion in him. As a result, his backstory with Frank, and the ill-conceived attempt at a relationship with his wife, don't work at all. If anything, the bad guys had a more assorted array of colorful and fun characters.
As far as ninjas go, we get Sho Kosugi as Cole's old rival, Hasegawa, who is brought by Venarius to stop him. He has some solid ninja moments, but the reasonings for his feud with Cole are just dumb. Other than that, the fight choreographies aren't that great, but there are still some good ninja fights here and there, all leading to that last act where we get to see Cole pull out all his arsenal to dispatch of the bad guys; sword, sai, bow and arrow, blowgun, you name it.
Grade: 2
FROM BENEATH
(2012, Doucette)
https://i.imgur.com/P3vDzzw.jpeg
"I can't control myself anymore. I don't know why I keep doing things and it's all because of this... thing."
I've taken a knack for watching Tubi during my lunch hour, specifically for low demand watches like low budget horror thrillers or 1950s creature features. From Beneath falls in the former category. It follows a young couple: Sam and Jason (Lauren Watson and Jamie Temple) as they head out to visit Sam's sister, who just moved to a secluded farmhouse with her family. However, as Sam and Jason arrive, her sister is nowhere to be found while Jason ends up being bitten by a mysterious organism... from beneath!
As you can see, the film borrows a lot of beats from better horror films like Invasion of the Body Snatchers, The Thing, Night of the Creeps, and many others. Despite its lack of originality, it does manage to sporadically succeed holding suspense and tension, even if it amounts to little in the end. Filmmaker David Doucette, who served as writer, producer, director, editor, and cinematographer is evidently an amateur, but he does seem to know a bit of what he's doing.
But for every little workable flair with the camera, there are ten lines of cringey dialogue or bad delivery from the two leads. Not only is the dialogue terrible, but the performances from Watson and Temple are plain bad. Moreover, their reactions to the things that start happening are dumb and make no sense at all. The two characters behave more as if they just found out the toilet overflowed, instead of the two being attacked by a murderous organism that's taking over one of them.
On that line, the special effects are pretty bad as well, and there's not much shown as far as the mysterious creature goes. Instead, the film relies on the atmosphere and tension which, like I said, has some spurts of competency. If you're looking for a good body horror film, there are definitely better options. But if you're looking for a Z-grade creature feature with bad dialogue and worst acting, then maybe you can check out this... thing.
Grade: 1
20 MILLION MILES TO EARTH
(1957, Juran)
https://i.imgur.com/CQvycRL.jpeg
"Fascinating... Horrible, but fascinating."
That's how a representative of the Italian government describes the situation of this film, where an alien creature was brought from Venus by American astronauts. Unfortunately, the ship crashes near the coast of Sicily with only Colonel Bob Calder (William Hopper) surviving. 20 Million Miles to Earth follows the attempts of Calder and the government to stop the creature once it gets loose and on the rampage.
This is yet another one I found on Tubi, thought the poster looked pretty cool so I took a chance. I have to say it mostly paid off cause it fell on the good end of the spectrum as far as 1950s "creature features" go. The film doesn't really stray away from the typical formula of other similar films, but it does it with confidence, solid characters, and some great special effects.
The special effects are perhaps the film's biggest asset, which is understandable since the creature and some of its setpieces were done with stop-motion animation designed by Ray Harryhausen. The end result is pretty impressive for the time, with some of the effects in these setpieces being pretty seamless and well executed. Notable examples are the creature escaping from a barn, fighting an elephant, and his final rampage through the streets of Rome. Horrible, but fascinating.
As far as the characters go, Calder is the stereotypical stern and square-jawed military tough guy, but Hopper plays him well enough, while Joan Taylor is also good as the "almost-a-doctor" that ends up helping him. The surrounding supporting cast is quite solid and helps the film move at a smooth pace with few lulls. I do have to say that the kid that played Pepe ended up being quite annoying :laugh: I mean, this kid stole the canister with the creature from the crash site, hid it, secretly opened it, and sold the creature to a veterinarian for a Texas cowboy hat... and he was rewarded? C'mon!
Overall, 20 Million Miles to Earth delivers what you would expect from a 1950s sci-fi creature feature, and then some. If you've seen a few of these films, you probably know what you will get, but in this case, topped by some memorable sequences and some amazing special effects from Harryhausen. Fascinating... horrible, but fascinating.
Grade: 3.5
X-MEN ORIGINS: WOLVERINE
(2009, Hood)
https://i.imgur.com/TyjIWWp.jpeg
"You wanted the animal, Colonel. You got it."
Wolverines are solitary animals notorious for their strength and ferocity despite their relative small size. That is why 5'3" James "Logan" Howlett adopts the name in the Marvel Comics. When plans for a live action Wolverine started to take form in the 1980s, Bob Hoskins, who is actually 5'3", was considered. When Hugh Jackman was cast for the 2000 X-Men film, there was criticism as he was considered too tall (he's 6'2") and too "good looking" to play a "short and somewhat feral Canadian". Jackman, however, portrayed a Wolverine that was rebellious, yes, but loyal and not quite the "feral animal".
After the original trilogy ended, X-Men Origins: Wolverine takes us back to examine the story of the character. Starting with his childhood as a mutant, we follow his relationship with his half-brother Victor Creed (Liev Schreiber), his time as part of William Stryker's Team X, as well as the events that led him to become a loner and end up with his bones fused with adamantium.
Much like X-Men: The Last Stand, I had avoided this film because of all the bad rep it gets. As a result, and being the completist that I am, I hadn't seen any other X-Men or X-Men-adjacent film (no Logan, no Deadpool's). I had succumbed to The Last Stand several years ago (it ended up being as bad as I had read), but wanting to watch some of those other films, there was only one path for the completist in me; I had to get the "animal".
The biggest liabilities that X-Men Origins: Wolverine has are that it's predictable and it's dumb. Its predictability comes from following many of the typical action film conventions and tropes. You kinda know what's gonna happen, plus you get lots of explosions and cringey one-liners. Its dumbness comes from how none of the things that happen make sense. Like Stryker deciding to erase Logan's memory only after he puts the adamantium in him, or how they never mention the adamantium bullets until it is convenient to do so.
However, the film kinda makes up for its faults with its performances. There are a lot of wasted characters, but the core of Jackman, Schreiber, and Danny Huston as Stryker, was great. You can pretty much feel Jackman's commitment to the character, even when spewing stupid lines. As for the latter two, they offer two very different but effective layers of villainy. Schreiber is chewing scenery like a madman while Huston delivers a more restrained antagonist, but both work; at least as well as you would expect from the material.
I still maintain that the first two X-Men films are among the best superhero/comic book films ever made. There is a certain finesse, a "realness", and a quality to them that's not present in every superhero film. Some of that has been lost through the years to the point of making me give up on the franchise. However, as I've been diving into the whole MCU world during the last years, and with the release of Deadpool & Wolverine earlier this year, I found myself in the predicament: what do I do with this one? Well, I wanted the "animal", and I got it.
Grade: 2.5
12 HOUR SHIFT
(2020, Grant)
A film with the number 12 (Twelve, Twelfth, etc.) in its title
https://i.imgur.com/scgMi3C.jpeg
"You know, my mama always said: 'Never trust a skinny woman. While we're eating, they're plotting'."
That's what Cathy tells fellow nurse Mandy (Angela Bettis) in passing in the opening of this crazy, black comedy/thriller; but damn, is she plotting or what? 12 Hour Shift follows Mandy, a drug addicted nurse that's part of an organ traffic ring. As she tries to get a kidney out with her cousin Regina (Chloe Farnworth) during the titular shift, all sort of bizarre things start happening around her.
One of the beauties of these monthly challenges I do is when you stumble upon a film you had never heard about, and which you probably wouldn't have heard otherwise, and it ends up being a pleasant surprise. That is the case of 12 Hour Shift, which ended up being a neat mixture of hilarious twists, criminal mishaps, and dark humor.
Most of the film is anchored in Bettis performance as the fidgety nurse who's always plotting; from recovering one or two missing kidneys or appeasing her supervisor, to putting a rein on her loose cannon cousin or keeping a nosy cop out of her shady "operation". Mandy fidgets and stumbles but still does her best to keep things under control, and Bettis perfectly portrays that shaky balance.
The rest of the cast is pretty solid, even if the film overall needs a bit of polish around the edges. There's also a subplot that features David Arquette as a criminal that's taken to the hospital that felt a bit wasted. Despite those issues, I thoroughly enjoyed this oddball of a film. It'll make you question whether to ever set foot on a hospital again, but I can't help but look forward to what else is director/writer Brea Grant is plotting.
Grade: 4
MILAGRO EN YAUCO
(1996, Colberg)
https://i.imgur.com/Dbq1I0y.jpeg
"But we're rich! We have the farm, this house, and I have Pancho."
That's how easily young Juancito (Michelangel Mejía) dismisses his mother's regrets of what little they have to give him, especially come Christmas time. That innocence, and its goal of spreading some local Christmas cheer, is part of what runs through this little Puerto Rican film that aired on local TV back in 1996.
Milagro en Yauco is based on a local Christmas song, which basically tells the story of the birth of Jesus, but from the perspective of a humble Puerto Rican kid that wants to give something to the newborn child. The film follows young Juancito who lives with his parents, Juan and Mercedes, on a farm in the town of Yauco. When his father receives some not so good news from his doctor, the prospects of a good Christmas are threatened. But can a "miracle" save the Christmas for them?
Again, this film was released locally on TV back in 1996. I think I saw it back then, but I hadn't seen it since until my wife decided to put it to the kids this morning. It is a very low budget production, but with a lot of heart. The story is very simple, but earnest and very family-oriented. It also takes advantage of most of its cast being singers and weaves a couple of musical numbers into its story.
Despite some amateurishness in its overall production values, the direction from Abdiel Colberg has some scattered moments of flair. He also intercalates frequent shots of the town of Yauco, as well as some local Christmas celebrations, that are not necessarily integrated organically into the story. However, considering most of my family from my father's side comes from Yauco, I appreciated the views.
The dialogue is not the best, and the delivery from some of the actors is lacking, at times. Most of the performances are spotty with maybe Gladys Rodríguez and Raúl Dávila, as Juancito's parents, being the best of the bunch. However, they all seem to have the goals of the film pretty clear which is to exalt the local Christmas traditions, remind us how "rich" we are, and that miracles are still possible.
Grade: 2.5
THE ICEBREAKER
(2016, Khomeriki)
A film set in Anctarctica
https://i.imgur.com/lcuAnvo.jpeg
"What can I do? There's no one I can talk to. The Ministry is going through reshuffle... Don't worry. Your captain will find a solution, one way or another."
That is how a Russian government official dismisses the plea of Lyuda (Olga Smirnova) as she tries to get some information about her husband, Capt. Andrei Petrov (Pyotr Fyodorov) who is stranded in the Anctarctic. The response might be a dismissal, but it might also be an encapsulation of the spirit of the people of the Soviet Union, who struggle and strive to find solutions, one way or another, despite the government's constant reshuffling.
The Icebreaker is based on the real events surrounding the Mikhail Somov ship, which spent 133 days trapped in the ice along the Anctarctic coast. During that time, Captain Petrov finds himself in the middle of a power struggle with dissenting crew members as well as the acting captain sent to replace him, all while trying to avoid the dangers of the forces of nature around them.
I hadn't heard of this film, or this event, until last week when I was browsing for films set in Anctarctica (I thought there'd be more). The plot synopsis piqued my interest, and it ended up delivering pretty much what I expected. The Icebreaker doesn't stray too far from similar survival/based-in-real-events films. There are a lot of familiar tropes and predictable beats, but for the most part, they are well executed by the cast.
Fyodorov is pretty good as the fair-but-kind Petrov, but I enjoyed more the performances from Sergei Puskepalis, who plays his replacement, and Alexey Barabash, who plays the main dissenting officer. Like I said, they all go through some predictable redemptive arcs, but they all do it well. There are a couple of subplots regarding Fyodorov's estranged wife and other relatives back in Leningrad, but I felt these were all underwritten and underdeveloped.
Overall, The Icebreaker doesn't really break a lot of new ground. However, what it does, it does fairly well. It has solid performances from most of the cast, competent direction, solid special effects, and a good story about people finding solutions, one way or another.
Grade: 3
THE SMALL ONE
(1978, Bluth)
https://i.imgur.com/a6JsaRz.jpeg
"He's a strong donkey. He's gentle and kind. And good enough to be in a king's stable!"
That's what a little boy assures a ruthless auctioneer that's trying to humiliate his old donkey, called "Small One". Now, the donkey *is* scrawny and old, but the that doesn't make the boy's assurances any less. That's part of what we will find out in this 1978 Disney short film, from Don Bluth.
Set near ancient Nazareth, The Small One starts with the young boy (Sean Marshall) being ordered by his father to sell the titular donkey, after he's been found to be a liability. Although the boy is reluctant, he agrees on the condition that he be the one to take him to town and sell him. Unfortunately, the boy can't seem to find a good buyer.
I put this short this morning to the kids. However, I wasn't really paying attention, but they seemed to enjoy it. I got curious so I decided to check it out by myself later. The Small One is indeed a charming and enjoyable short film that's beautifully animated..In addition, the music and songs are touching and memorable, especially the title track.
Overall, The Small One succeeds in all the above, but also in offering a different perspective to a familiar story. Released in 1978, at a time when Disney was going through a bit of a rough patch, Don Bluth brings something that's not only gentle and kind, but good enough to be in a king's stable.
Grade: 4
FATMAN
(2020, Nelms & Nelms)
https://i.imgur.com/BzcX38H.jpeg
"I’m a silly, fat man in a red suit. I mean, you think it’s cute, but this is what people actually think of me. Christmas is a farce. I am a joke. There hasn’t been any real spirit of the season anymore. Not for years."
That is the lamentation of Chris Cringle (Mel Gibson) as he's about to wrap another holiday season. You see, Cringle is literally Santa Claus in this modernized adaptation of Christmas stories, with Gibson playing the burned out and jaded "fat man in a red suit" as he struggles to keep his operation alive. Meanwhile, a spiteful kid sends a bitter hitman (Walton Goggins) to kill Santa Claus after only getting coal on Christmas.
I had read some things about Fatman, but didn't really know the extent of its story. I have to say, though, that I really enjoyed its mixture of black comedy and action, and how filmmakers Eshom and Ian Nelms find ways to play with stereotypical Holiday tropes. This includes Chris/Santa struggling with production and budgets while negotiating a contract with the government, while also questioning his own purpose.
Say what you will about Gibson, but I do think he's one of the best at portraying raw emotion, regret, heartbreak, and anger. Here he brings all of that to his character, while his wife Ruth (Marianne Jean-Baptiste) provides him with the necessary balance. Finally, Goggins is a treasure. He has us accustomed to that, but I really felt he was having a lot of fun with this. Finally, Chance Hurstfield delivers a small but wicked performance as the malicious kid that kickstarts things.
If anything, I'd say the whole government/military subplot wasn't as well integrated, or maybe even necessary, but it does help putting some pieces in the game board for the last act, which is full of nifty bangs and cool explosions. Make no mistake; Fatman has a lot of comedic aspects, but the main humor comes from seeing the many ways the Nelms mix the serious action with the fun aspects. The end result is a deliciously odd and entertaining film that I can see myself revisiting next season.
Grade: 3.5
CARRY-ON
(2024, Collet-Serra)
https://i.imgur.com/F0uovAF.jpeg
"All you have to do... is nothing."
Carry-On follows Ethan Kopek (Taron Egerton), a young TSA officer who has become disillusioned with his job after failing the police academy. As a result, he's been "coasting", as his co-workers would say. This changes when he starts being blackmailed by a mysterious traveler (Jason Bateman) into letting a mysterious suitcase pass through the baggage scan check by doing... nothing.
Kinda like Rebel Ridge earlier this year, this action film has been all over social media lately. People have been praising it, for the most part, saying it's one of the best iterations of the "Die Hard on a [insert place/vehicle]" trope. I like those kind of films so I knew it was just a matter of time before I checked it out, and now that I did, I can say I agree.
Carry-On is, indeed, a pretty efficient and sleek action thriller. It might not have the racial and socio-political undertones of Rebel Ridge, but it's not trying to either. What it offers is edge-of-your-seat tension, a thrilling cat-and-mouse game, and some solid action, and I think it pretty much succeeds in that. I do like what little it has to say about "coasting" through life, and "not giving up", but it's main goal is to keep you on your toes.
Part of why it all works lies in director Jaume Collet-Serra who has a deft hand in directing these type of action thrillers. He does a pretty good job of using this airport to provide several effective setpieces, as we see Kopek running around trying to save the day while the mysterious traveler finds ways to thwart him. Both Egerton and Bateman offer some simple, but compelling performances.
As good as Collet-Serra is, there are one or two scenes where the logistics of time and space, and where the characters are doesn't really add up. Plus, as it is customary with these films, there is a good amount of convenient occurrences and plot contrivances that require some suspension of disbelief, and I also think it could've been 10 or 15 minutes shorter. None of these issues are big enough to detract from the fun, though.
The cast is rounded out by Sofia Carson, Danielle Deadwyler, Theo Rossi, Logan Marshall-Green, and Dean Norris; most of them actors I've seen and enjoyed in other projects. This film might not be the most "demanding" project for them, but they do a pretty good job anyway. On a similar note, Carry-On might not be the most "demanding" film, but what it does it does really well; plus, it's free on Netflix. All you have to do... is nothing.
Grade: 3.5
THE LITTLE DRUMMER BOY
(1968, Bass & Rankin, Jr.)
https://i.imgur.com/g2vqoFd.jpeg
"Aaron's heart was filled with joy and love, and he knew at last that the hate he had carried there was wrong, as all hatred will ever be wrong."
The Little Drummer Boy follows young Aaron (Teddy Eccles), an orphan who spends his days playing his drum and dancing with his farm animals. That is until Ben Haramed (José Ferrer), a ruthless scammer, kidnaps him to force him to be a part of his traveling troupe of performers. All this puts Aaron in the path to meet the Three Wise Men and eventually Baby Jesus.
This is yet another short I decided to put to my kids. I must have seen this back in the day, but I really didn't remember it, so I was surprised by how dark it is. After all, it follows an emotionally scarred child that witnessed the murder of his parents. As a result, Aaron has vowed to hate people; ALL people.
Like The Small One, this short gives us another fictional perspective of the birth of Jesus, as we follow Aaron and Ben, until the climatic visit to the manger. The bleak story made it interesting for me, and my kids took it as well as they could. Also, the voice work is solid, especially from Ferrer.
The other asset from the short is the impressive stop-motion animation used. As expected, it is a bit janky here and there, but for 1968, I thought it was really well done with some really beautiful shots in the last act, as well as a pretty emotional conclusion to Aaron's story. I thought that his realization of the error of his ways was as powerful as it could be for a 25 minute animated short.
Grade: 3.5
THE WILD BUNCH
(1969, Peckinpah)
A western
https://i.imgur.com/lR20t1G.jpeg
"We're not gonna get rid of anybody! We're gonna stick together, just like it used to be! When you side with a man, you stay with him! And if you can't do that, you're like some animal, you're finished! *We're* finished! All of us!"
That's the sentence that outlaw Pike Bishop (William Holden) gives to his men at one point. A sentence that comes back to haunt him once or twice in this revisionist Western from Sam Peckinpah. Set in 1913, The Wild Bunch follows an aging Bishop who is looking for one last score to leave the criminal life. But when a posse of bounty hunters led by Deke Thornton (Robert Ryan), his former partner, sets out to find them, Pike and his men must see if they can stick together or not.
This is my first Peckinpah film, one that was recommended often, and I'm glad I finally got to it. Much like Unforgiven did 20+ years later, The Wild Bunch is an interesting deconstruction of the western genre, as it attempts to strip down all the glorification of the traditional cowboy and the western overall. Our "heroes" are violent outlaws; tough men that often boast to live by codes and oaths that they forget as soon as it's convenient.
But that is not isolated only to our outlaw "heroes". The men that are after them are no different, and maybe even worse. Pretty much every character is driven by their want for power, money, or some vendetta. There is little honor to what most characters do, and what little there is (like from the above quote) is soon forgotten leaving only "animals" to eat themselves alive.
That theme of time passed by is excellently portrayed, both by the script and the performances. Both Holden and Ryan have that mixture of world-weariness while still trying to cling to some code. Ernest Borgnine, who plays Dutch, adds a solid balance to Holden, as he seems to be more willing to remember those codes (and even he pushes them aside at a climatic time). The interactions between Pike and Dutch were some of my favorite parts from the film.
I wish the character of Deke was better developed, especially given his relationship with Pike and how the film wants to contrast them. Other than that, the film offers some great action sequences and setpieces, along with well written characters and a thought-provoking exploration of how they adapt to the passage of time; whether it is by sticking together or turning into some animal.
Grade: 4
LATE NIGHT WITH THE DEVIL
(2023, Cairnes & Cairnes)
https://i.imgur.com/ok6MP2s.jpeg
"You're meddling with things you don't understand."
That is the warning that late night show host Jack Delroy (David Dastmalchian) gets from his sidekick Gus (Rhys Auteri) during a commercial break, as they prepare to present a demonic possession live. But love, grief, and the desire for fame can lead us to do dangerous things, like meddling with things we don't understand. That is part of what's going on in this supernatural horror film.
Set in 1977, Late Night with the Devil follows the recording of a late night talk show hosted by Delroy for Halloween. The episode features Jack's return to the show after the death of his wife from cancer. But with dwindling ratings, he seems to be desperate to cook up anything to boost his viewership, even if it means bringing psychics, magicians, and possessed people so he can talk with "the devil".
There are a lot of interesting things going on with this film. Most notably, the way it is shot as if we were watching the actual show recording (at least for the most part). To achieve that, it uses elements of "found footage" as we see the recording unfold. However, it doesn't fully commit to this, since it also features some additional footage during the commercial breaks, which kinda broke the "magic" for me.
These commercial breaks, as well as the intro, serve mostly as a means of exposition. Unfortunately, they feel a bit ham-fisted and not entirely effective. The film also requires a massive amount of suspension of disbelief for us to believe that such a recording would go through, even after their first attempts at meddling. I mean, when a psychic projectile-vomits on your guests and the camera, I guess it's time to wrap it up and call it a day.
What the film does have, aside from the inventive setup and premise, are committed performances from the cast, most of which I didn't know of. Both Fayssal Bazzi and Ian Bliss are pretty good as the "vomiting" psychic and the magician-turned-skeptic, and Ingrid Tortelli is chilling as the young possessed girl. However, it is Dastmalchian the one who carries this from start to finish, and he does it extremely well. I'm actually surprised he hasn't had more lead opportunities, but I hope this film can change that.
Overall, I don't think Late Night with the Devil holds up as well as I would've wished, but it does put forward an intriguing setup in a unique way. Moreover, it is carried confidently by the cast, especially Dastmalchian. I think some of the writing and direction could've been polished to avoid excessive and obvious exposition, and some better execution, but coming from relative newcomers Colin and Cameron Cairnes, perhaps you can say they were meddling with things they don't understand.
Grade: 3
OUT OF AFRICA
(1985, Pollack)
The last Best Picture winner you haven't seen
https://i.imgur.com/RuZOT76.jpeg
"Perhaps he knew, as I did not, that the Earth was made round so that we would not see too far down the road."
Set in the early 20th Century, Out of Africa is based on Karen Blixen's decades-long stay in British-occupied Africa and her relationship with hunter Denys Finch Hatton (Robert Redford). Based in Blixen's own book, the film ended up receiving critical acclaim and winning multiple awards, including Best Picture and Best Director at the Oscars. It is perhaps because of that "pedigree" that I wasn't really looking forward to it.
I'm not that big on biopics and I'm not that big on epic romantic melodramas, so Out of Africa already had a couple of things against it on my book. Add to that a 2.5 hour runtime, and I was sure I wouldn't make it past the first hour. However, the film turned out not to be as bad as I was expecting. I would say it was good, at least within the expectations for a film of that kind.
Out of Africa covers a period of around 20-something years. It starts with Blixen's arrival to Nairobi, Kenya, her settling in with husband Bror (Klaus Maria Brandauer) and her initial meeting with Denys, as well as her struggles to acclimate to her new home. The second hour focuses mostly on her relationship with Denys, which leads into their conflict in the last act and eventually, Karen getting "out of Africa". Two of those acts are pretty solid, one not so much.
In addition to its slow pacing, the film has some stereotypical portrayals of locals as subservient assistants. What the film does have on its favor are really strong performances from pretty much everyone involved. Streep, Redford, and Brandauer are really good, and deliver some really good exchanges when the film allows them to. When it doesn't, it tends to focus on long, wide shots of them walking around, having picnics, looking at the African landscape, so on and so forth.
I wish the film would've given a bit more space to Karen's relationship with Bron in the first act, or tried to expand more on her conflicts with Denys, while trimming down that tedious second act. There are also some unnecessary detours in the story that don't really amount to much in the end, other than adding to the runtime. In the end, I suppose that someone more used to epic romantic dramas would probably get more from this than I did. Still, I'm pretty glad I enjoyed it more than I thought I would.
Grade: 2.5
PHOENIX74
12-30-24, 11:42 PM
However, it is Dastmalchian the one who carries this from start to finish, and he does it extremely well. I'm actually surprised he hasn't had more lead opportunities, but I hope this film can change that.
I'm a big fan and I hope he gets many more lead roles as well. There's a greatly underseen and for the most part underrated 2019 movie he's the lead in called Teacher. It's about a high school teacher who was bullied as a youth struggling to deal with a similar situation at his school, and the role really suits him. He's really good in this film.
https://i.postimg.cc/8PvBFWyV/teach.jpg
I'm a big fan and I hope he gets many more lead roles as well. There's a greatly underseen and for the most part underrated 2019 movie he's the lead in called Teacher. It's about a high school teacher who was bullied as a youth struggling to deal with a similar situation at his school, and the role really suits him. He's really good in this film.
https://i.postimg.cc/8PvBFWyV/teach.jpg
Added to the watchlist. I did read about another one he wrote and starred in called Animals. Will be checking those out.
THE END
(2009, López)
https://i.imgur.com/BYWHAoO.jpeg
"I will be here. I promise."
That's the assurance that the lead character in this short gives to his young daughter in a brief flashback scene. He'll be there. That is unless circumstances get in the way, which they do, leading him to the end of the road. That is what's presented in this 9 minute short from local director Benjamín López.
Stumbled upon The End as I was examining López' filmography and I was surprised when I saw the lead actor (Kahlil Méndez) because I worked with him several years ago. He plays a fugitive, something we find out halfway through the short, who's on the run on a deserted road. When his cars stalls out, he has to figure out whether this is the end or not.
This is a very simple, low budget short. Despite that, it does what it has to do well. It is well shot and directed, and Kahlil is pretty good in it. There's not a lot of depth or substance to what happens given its short runtime, but I did appreciate where it led me to and how it ended.
Grade: 3
MOANA 2
(2024, Derrick, Hand & Miller)
https://i.imgur.com/u1TJfVt.jpeg
"Remember there is always another way. Even if you have to get lost to find it."
In 2016, Disney released Moana to much acclaim. The film seemed to follow the footsteps of some of their previous work, like Tangled, Zootopia, and Frozen, by presenting a young heroine battling against the odds and circumstances. It was a formula, but one that was executed to near perfection bringing great results.
Moana 2 comes 8 years after and has already earned more than the original. Initially developed as a TV series, the Disney bigwigs decided to rework it into a full theatrical release. But box office earnings aside, does it really knows where to go or is it struggling to find its way?
This time, our heroine (Auli'i Cravalho) spends her days exploring nearby islands, looking for signals of other people. In the process, she stumbles upon the mystery of an ancient sunken island that might be the key to connect with others so she sets out to find it, along with demigod Maui (Dwayne Johnson) and a young crew of her fellow islanders.
I'm a big fan of the original Moana; I even list it among my Top 5 Disney animated films. Moana 2 doesn't reach those heights, but still delivered enough fun to entertain me and my kids. We saw it dubbed, so I can't fairly judge the original voice work, but their Spanish counterparts do a pretty good job with the new characters being distinct, fun, and colorful (Old man Kele was a highlight with my kids). The film also features several thrilling setpieces and some gorgeous animation.
My biggest issue with the film probably has to do with the way it was developed. Even though it was repurposed as a feature film, it can't help but feel a bit scattered at times, as if parts of it were intended to be episodes instead of a full feature. I also felt the bits that lead to the inevitable third part, most notably the character of Matangi, weren't that properly integrated into the film.
My other main issue is with the songs and music. Again, judging it by their dubbed versions, but not a single song in it reaches the heights of "You're Welcome", "Shiny", or "How Far I'll Go". I should probably listen to the English versions, though. However, the scattered story and underwhelming songs makes me wonder if the filmmakers can find their way before the third part. Let's hope so.
Grade: 3
Ok, the last couple of months have been a bit of a mess in many aspects for me, which has harmed my podcast release schedule, but also the sequence of my posts here. As a result, I will post a couple of overdue summaries from the past months and then hope that my OCD doesn't drive me crazy for seeing them out of place :laugh:
Ok, here is my first overdue catch-up. Instead of my usual challenge, this month I challenged myself to watch at least one horror film per decade, starting with the 1900s...
So here's my summary for OCTOBER 2024:
1900: The Doll's Revenge (https://www.movieforums.com/reviews/2499376-the_dolls_revenge.html)
1910: After Death (https://www.movieforums.com/reviews/2497363-after_death.html)
1920: The Skeleton Dance (https://www.movieforums.com/reviews/2503293-the_skeleton_dance.html), Hell's Bells (https://www.movieforums.com/reviews/2503301-hells_bells.html)
1930: The Walking Dead (https://www.movieforums.com/reviews/2500220-the_walking_dead.html)
1940: The Spiral Staircase (https://www.movieforums.com/reviews/2503266-the_spiral_staircase.html)
1950: The Cyclops (https://www.movieforums.com/reviews/2496932-the_cyclops.html)
1960: The Pit and the Pendulum (https://www.movieforums.com/reviews/2496325-the_pit_and_the_pendulum.html)
1970: The Giant Spider Invasion (https://www.movieforums.com/reviews/2495229-the_giant_spider_invasion.html)
1980: Ghost Story (https://www.movieforums.com/reviews/2495213-ghost_story.html), Gremlins (https://www.movieforums.com/reviews/2499414-gremlins.html)
1990: Leatherface: The Texas Chainsaw Massacre III (https://www.movieforums.com/reviews/2499493-leatherface_the_texas_chainsaw_massacre_iii.html)
2000: Trick 'r Treat (https://www.movieforums.com/reviews/2495180-trick_r_treat.html)
2010: All Hallows' Eve (https://www.movieforums.com/reviews/2496866-all_hallows_eve.html), A Nightmare on Elm Street (https://www.movieforums.com/reviews/2502954-a_nightmare_on_elm_street.html)
2020: The Menu (https://www.movieforums.com/reviews/2495158-the_menu.html), Death and the WInemaker (https://www.movieforums.com/reviews/2495732-death_and_the_winemaker.html) (short film)
Other non-horror films: Service de Luxe (https://www.movieforums.com/reviews/2497691-service_de_luxe.html), Mermaid (https://www.movieforums.com/reviews/2499395-mermaid.html)
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This was a fun experiment, even if none of the films really blew me away. If I were to pick a favorite first-time watch, it would probably be The Spiral Staircase or After Death.
As far as the weakest, The Cyclops takes it, even if it was a fun watch.
For those keeping track, these watches were paired with the release of a Vincent Price-centered episode...
Before Halloween is gone, feel free to check out my latest episode where me and my friend Frank, from Silver Screeners, talk about Vincent Price. From his first film and his beginnings in horror to his later films and his detours into other... ventures. We close out with our Top 5 Vincent Price films, so check it out.
The Movie Loot 115: The Vincent Price Loot (with Frank Mandosa from Silver Screeners) (https://www.buzzsprout.com/850063/episodes/16020907-the-movie-loot-115-the-vincent-price-loot-with-frank-mandosa-from-silver-screeners.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/4rK20Fvw6MOFEpXh4uUxYw?si=2cb20f6c71914ab2), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-115-the-vincent-price-loot-with/id1578191119?i=1000675107253), and other streaming platforms.
Hope you like it!
A Nightmare on Elm Street bonus episode, with some guest friends!
To celebrate the 40th Anniversary of A Nightmare on Elm Street and Freddy Krueger, I got together with a group of friend podcasters to talk about the franchise, its impact, as well as our thoughts on each individual film. Feel free to check it out.
Bonus Loot #4: The Nightmare Loot (with Ed, Stew, Kevin, and Pete) (https://www.buzzsprout.com/850063/episodes/16088592-bonus-loot-4-the-nightmare-loot-with-ed-stew-kevin-and-pete.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/1ilSbwLMJkPXkIKEQgvZDe?si=cfa7539d32fe4fe6), Apple Podcasts (https://podcasts.apple.com/us/podcast/bonus-loot-4-the-nightmare-loot-with-ed-stew-kevin-and-pete/id1578191119?i=1000676705109), and other streaming platforms.
Hope you like it!
And culminating with my October Loot episode, in which I share my thoughts on all these horror watches, which you can listen to here.
The Movie Loot 116: The October Loot (https://www.buzzsprout.com/850063/episodes/16044757-the-movie-loot-116-the-october-loot.mp3?download=true)
For November, I didn't do my usual challenge, but here's what I saw that month...
Here's my summary for NOVEMBER 2024:
Animated films: It's Such a Beautiful Day (https://www.movieforums.com/reviews/2510311-its_such_a_beautiful_day.html), Melody Time (https://www.movieforums.com/reviews/2512655-melody_time.html)
Film noir and adjacent films: Blade Runner (https://www.movieforums.com/reviews/2315272-blade_runner.html), After Hours (https://www.movieforums.com/reviews/2512078-after_hours.html), Pretty Poison (https://www.movieforums.com/reviews/2512944-pretty_poison.html), Shoot to Kill (https://www.movieforums.com/reviews/2513293-shoot_to_kill.html)
Horror films: The Beast with a Million Eyes (https://www.movieforums.com/reviews/2512481-the_beast_with_a_million_eyes.html), Tetsuo: The Iron Man (https://www.movieforums.com/reviews/2512566-tetsuo_the_iron_man.html), Underwater (https://www.movieforums.com/reviews/2512957-underwater.html)
Rewatches: The Wizard of Oz (https://www.movieforums.com/reviews/2509577-the_wizard_of_oz.html), Demolition Man (https://www.movieforums.com/reviews/2511274-demolition_man.html), National Treasure (https://www.movieforums.com/reviews/2511903-national_treasure.html)
Other films: The Sword and the Hairpin (https://www.movieforums.com/reviews/2511999-the_sword_and_the_hairpin.html), Kid Auto Races at Venice (https://www.movieforums.com/reviews/2512617-kid_auto_races_at_venice.html), Paradise Canyon (https://www.movieforums.com/reviews/2512628-paradise_canyon.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/rag52VqhbkuXsTio4dmCBBNYgIW.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/pKR4iRyDdIX1T13z1Vs5jBERXni.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/63N9uy8nd9j7Eog2axPQ8lbr3Wj.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/3eLTAg0A7Ae66D5dkn4c7akpR39.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/bUwIOxAfHWr7TdzXGYfVOPNQWGa.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/lGLE6hI6NUdu8DYKQcK5gOSc6kn.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/nOtqEDKPBdGysXfJl4xfqghgS3Z.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/iucW3kSp5rQSfYCLNlCWPEwYh4h.jpg
https://image.tmdb.org/t/p/w600_and_h900_bestv2/gzlbb3yeVISpQ3REd3Ga1scWGTU.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/1ZtVMXUsiVnziV2vtvQBHHrrEBC.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/dq6AmlVFo92PRuoLCcIyFdoRuxf.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/pxL6E4GBOPUG6CdkO9cUQN5VMwI.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/iBV4fBdvZA7LS47iIIzxrxfP9qH.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/k2CuWmAMbOgQZCDTg1RfkZs976e.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/q2UbntV2xd9D24f7SuzLxOpnPRb.jpg
Fun month. If I were to single out a favorite, I think I would have to go with Pretty Poison and the short film The Sword and the Hairpin. I do have to add that Underwater, although far from great, was still a pleasant surprise.
As for the worst, easily The Beast with a Million Eyes.
Speaking of Pretty Poison, the reason I saw it was because Todd Liebenow invited me again to be a guest on Forgotten Filmcast to talk about the film. As usual, it was a fun conversation so feel free to check it out here (https://forgottenfilmcast.wordpress.com/2024/12/12/forgotten-filmcast-episode-240-pretty-poison/). If you use Apple Podcast, here is that link (https://podcasts.apple.com/us/podcast/forgotten-filmcast-ep-240-pretty-poison/id620200136?i=1000680134187) as well.
Finally, here's my summary for DECEMBER 2024:
The last Best Picture winner you haven't seen: Out of Africa (https://www.movieforums.com/reviews/2522090-out_of_africa.html)
A film featuring ninjas (Int'l Ninja Day, December 5): Enter the Ninja (https://www.movieforums.com/reviews/2517697-enter_the_ninja.html)
A western: The Wild Bunch (https://www.movieforums.com/reviews/2521934-the_wild_bunch.html)
A film set in Antarctica (Antarctica Day, December 1): The Icebreaker (https://www.movieforums.com/reviews/2520232-the_icebreaker.html)
A film with the number 12 (Twelve, Twelfth, etc.) in its title: 12 Hour Shift (https://www.movieforums.com/reviews/2519142-12_hour_shift.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/jFTnvLjRE7PWtG3BryZJd4FvZ2n.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/2zYvNCPRX4W0s2gNxWqpsdk2OCT.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/8j9yEC3xjy1PJDSizIbaxcHaSph.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/zvVjhgkuGXivxdyYK8nTAfpROLF.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/y40lD9qpKxnzsdKqAA1TiEKX5gb.jpg
Other films seen, not for the challenge:
80's rewatches: Romancing the Stone (https://www.movieforums.com/reviews/2515677-romancing_the_stone.html), The Goonies (https://www.movieforums.com/reviews/2515714-the_goonies.html)
Horror films: P2 (https://www.movieforums.com/reviews/2516002-p2.html), From Beneath (https://www.movieforums.com/reviews/2517913-from_beneath.html), 20 Million Miles to Earth (https://www.movieforums.com/reviews/2518007-20_million_miles_to_earth.html), Late Night with the Devil (https://www.movieforums.com/reviews/2521993-late_night_with_the_devil.html)
Short films: The Big Shave, I Was a Stranger (https://www.movieforums.com/reviews/2515923-i_was_a_stranger.html), The End (https://www.movieforums.com/reviews/2522395-the_end.html)
Christmas films: Milagro en Yauco (https://www.movieforums.com/reviews/2519517-milagro-en-yauco.html), The Small One (https://www.movieforums.com/reviews/2520263-the_small_one.html), Fatman (https://www.movieforums.com/reviews/2520755-fatman.html), Die Hard (https://www.movieforums.com/reviews/2431484-die_hard.html)
Other films: Once Upon a Time in the Caribbean (https://www.movieforums.com/reviews/2514802-once_upon_a_time_in_the_caribbean.html), The Devil Wears Prada (https://www.movieforums.com/reviews/2516475-the_devil_wears_prada.html), X-Men Origins: Wolverine (https://www.movieforums.com/reviews/2518719-x-men_origins_wolverine.html), Carry-On (https://www.movieforums.com/reviews/2520771-carry-on.html), Moana 2 (https://www.movieforums.com/reviews/2522767-moana_2.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/qfIlVOYZH5RiZ0ndFKUpr5Zn2Bx.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/eBU7gCjTCj9n2LTxvCSIXXOvHkD.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/3mTtQSKoFNyvhbcqBUJl8tPRqMz.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/vRTPp97L1b2DoGkivhE9yFMvB3a.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/eKK93VytYlXpKqGfyUGUkXgMOS6.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/mu8LRWT9GHkfiyHm7kgxT6YNvMW.jpg
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https://image.tmdb.org/t/p/w600_and_h900_bestv2/jRRHJPphwyC4Sm1KcPIHIgtTHBY.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/1LwW0W0Zyik00OmQPTnCUjmCh1C.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/yj8LbTju1p7CUJg7US2unSBk33s.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/sjMN7DRi4sGiledsmllEw5HJjPy.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/m0SbwFNCa9epW1X60deLqTHiP7x.jpg
There were a couple of really strong first-time watches: Once Upon a Time in the Caribbean, a local Puerto Rican film, was a joy to watch; The Wild Bunch fulfilled its expectations as a great western; 12 Hour Shift was a really pleasant surprise, especially since I hadn't heard about it before; and The Small One was a lovely Christmas short.
Least favorite first-time watch was easily From Beneath, which succumbs not only to its low budget, but to poor writing and acting.
LEATHERFACE
THE TEXAS CHAINSAW MASSACRE III
(1990, Burr)
Horror film from the 1990s
https://i.imgur.com/CHWanwb.jpeg
Jason Voorhees, Freddy Krueger, Michael Myers and...? Whenever you ask people about the Mount Rushmore of "modern horror", they might bring up Chucky or Ghostface, but more often than not, the fourth name will be Leatherface. Introduced in the iconic 1974 film as the "simple minded" member of the murderous Sawyer family, the character earned its place in the pantheon of horror icons with his skin mask, dirty apron, and the titular chain saw.
For some reason, studios failed to capitalize on the character, so when New Line bought the rights to the franchise, they decided to put the spotlight on him (hence the title of this film). Still, there really isn't much difference in how much focus is put on Leatherface versus the previous films. This third installment follows a loose continuity with the first two parts, with law enforcement finding a mass grave, while Leatherface remains at large along with a handful of random members of the Sawyer family.
As is expected, a young couple traveling through Texas have some car troubles and find themselves face to face with Leatherface and company. Along the way, they encounter another young woman who managed to escape from the Sawyer house and a resourceful drifter (Ken Foree), all of them hunted by the family. To complicate things, you're never sure who *is* part of the family and who isn't.
The original 1974 film has been my favorite horror film and remains a bone-chilling watch for me. However, the "fame" of the sequels was never good, so it wasn't until recently that I decided to check them out. The second part was an interesting spin towards the comedy/parody side, but this one leans more towards the horrors of the first one; at least as far as genre goes. In terms of quality, however, it is still pretty far.
There are many flaws here, with a key one being that the two main characters are not that interesting. Michelle, the woman (Kate Hodge), does a decent job with what little she's given but her partner (William Butler) is not likable at all. Ken Foree is good, but the way he's integrated into the story feels clumsy, and that middle act when he appears drags the pace of the film a bit. The subplot with Sarah, the woman that escaped from Leatherface, feels like a waste of time and contributes to the off pace from that middle act.
The saving grace from the film is Viggo Mortensen, who plays Tex, a cowboy that stumbles upon the young couple at a gas station and tries to help them. His performance is one that rises above the others and it's evident that he's having a lot of fun with it. Other than that, the film fails to leave a mark. There are some intense sequences, eerie visuals, and some solid jump scares, but probably not enough for most people to cement Leatherface as the definitive fourth face in that Mount Rushmore.
Grade: 2
I saw this in the theater at 10pm on a Friday night my senior year of High School.
We did not love it.
And we were not particularly scared either.
This is a sad contrast to TCM which I also saw in the theater last year and also re-watched for the tenth time or so last weekend and is just a chilling masterpiece.
I saw this in the theater at 10pm on a Friday night my senior year of High School.
We did not love it.
And we were not particularly scared either.
This is a sad contrast to TCM which I also saw in the theater last year and also re-watched for the tenth time or so last weekend and is just a chilling masterpiece.
Totally agree. I always find it so weird how this "franchise" could never find its footing, even after the success of similar films like Halloween, Friday the 13th, and Nightmare on Elm Street. There are a couple I haven't seen, but it's such a weird mish-mash of different films with different flavors.
Totally agree. I always find it so weird how this "franchise" could never find its footing, even after the success of similar films like Halloween, Friday the 13th, and Nightmare on Elm Street. There are a couple I haven't seen, but it's such a weird mish-mash of different films with different flavors.
Well, let's be honest, there has never been a Halloween movie that came close to Halloween. And no Nightmare movie is anywhere near aNoES.
And neither of those movies were as artsy as TCM. So I can understand. I mean, it really took filmmakers a few decades to sort of crack the code of just the TCM vibe at all, in any movie. Tobe Hooper was his own animal.
Well, let's be honest, there has never been a Halloween movie that came close to Halloween. And no Nightmare movie is anywhere near aNoES.
And neither of those movies were as artsy as TCM. So I can understand. I mean, it really took filmmakers a few decades to sort of crack the code of just the TCM vibe at all, in any movie. Tobe Hooper was his own animal.
Yeah, but there have been a few good ones in the mix. Still, I was referring more to creating a coherent continuity, which might have resulted in better films. It's really odd.
Yeah, but there have been a few good ones in the mix. Still, I was referring more to creating a coherent continuity, which might have resulted in better films. It's really odd.
That's true. I think the newer ones have gone back and tried to tie it together, though I haven't actually watched them.
But, no, we never did get that Leatherface Takes Manhattan we were all hoping for. :p;)
That's true. I think the newer ones have gone back and tried to tie it together, though I haven't actually watched them.
But, no, we never did get that Leatherface Takes Manhattan we were all hoping for. :p;)
Leatherface in Space is what I was hoping for!
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