View Full Version : Thief's Monthly Movie Loot - 2024 Edition
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Here we go again! This is the thread where I will post details and reviews of my personal movie challenge where I gather a monthly "loot" of films based on a different set of criteria, combined with updates from my podcast, The Movie Loot.
Been doing this type of challenge for a good while now, but this is the second year (at least as far as the podcast's concerned), where I'm choosing only five (5) categories per month, along with a guest, so we can talk about those in a monthly episode.
Without further ado, here are the criteria 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)
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
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)
For anybody curious, here are the threads for previous years: 2021 (https://www.movieforums.com/community/showthread.php?t=63119), 2022 (https://www.movieforums.com/community/showthread.php?t=65503), and 2023 (https://www.movieforums.com/community/showthread.php?t=67606). Once again, I will continue with 5 films per month, which gives me some space to catch up on other "freebies" without being so strict.
I will also continue to use the thread to post new episodes of my podcast, which you can find on Apple Podcasts, Spotify, Google Podcasts, and any audio/podcast platform.
Anyway, anybody is welcome to offer recommendations for any category, and anybody is welcome to join in the challenge and watch films with me. Let's loot!
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Links to the loots of past months
January 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2439670#post2439670) • February 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2454855#post2454855) • March 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2462433#post2462433) • April 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2470951#post2470951) • May 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2474412#post2474412) • June 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2477630#post2477630) • July 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2484506#post2484506) • August 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2488448#post2488448) • September 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2494322#post2494322) • October 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2523533#post2523533) • November 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2524397#post2524397) • December 2024 (https://www.movieforums.com/community/showthread.php?anchor=1&p=2524930#post2524930)
Just for kicks, here is a kinda comprehensive list of everything I saw during last year: a total of 195 films; a smidge less than the 200 I saw in 2022. Anyway, here it is...
M or N: Mission: Impossible - Fallout
Q or R: Red Rock West
W, X, Y, or Z: You're Next
1950s: I Confess (1953)
1980s: Three O'Clock High (1987)
Western: Sabata
Film noir: Criss Cross, Detour, Murder My Sweet, The Whistler
Ranking includes #1: Sunrise (#11)
Ranking includes #5: Casablanca (#65)
Ranking includes #8: The Conformist (#118)
Sudan (January 1): Tajouj
Kuwait (February 25): Al Maht
South Korea (March 1st Movement): Okja
Croatia (May 30): The Mystery of Green Hill
Paraguay (May 14-15): Killing the Dead
Argentina (July 9): Nine Queens
Cote d'Ivoire (August 7): Night of the Kings
Nigeria (October 1): October 1
Jack Lemmon (February 8): The China Syndrome
Masaki Kobayashi (February 14): The Thick-Walled Room
Akira Kurosawa (March 23): Ikiru
Spike Lee (March 20): Do the Right Thing
Ken Burns (July 29): Brooklyn Bridge
William Friedkin (August 29): Sorcerer, The Guardian
Oliver Stone (September 5): South of the Border
Clive Barker (October 5): Hellraiser
Mike Nichols (November 6): Closer
Joe Dante (November 28): The Howling
Michael Curtiz (December 24): Mildred Pierce
First Best Picture winner I hadn't seen: The Great Ziegfeld
First film from any director: Blue Collar (Paul Schrader)
Film widely considered one of the worst ever: Plan 9 from Outer Space
Last Best Picture winner I hadn't seen: The Last Emperor
Friday the 13th: Freddy vs. Jason
Native Americans (Native American Day, September 25): Shimásáni
Holiday/Christmas: Mickey's Once Upon a Christmas, Die Hard
Inventor (Nat'l Inventors Day, February 11): The Imitation Game
Train (Nat'l Train Day, May 8): The Train
Based on a Video game (Nat'l Video Game Day, July 8): Mortal Kombat (2021)
Aliens (World UFO Day, July 2): Nope
Plane (Nat'l Aviation Day, August 19): Flightplan
Pirates (Int'l Talk Like a Pirate Day, September 19): Treasure Island
Reptile (Nat'l Reptile Awareness Day, October 21): Lake Placid
Frankenstein (Nat'l Frankenstein Friday, October 27): Frankenstein (1931), The Terror of Frankenstein
Disaster (Int'l Day for Disaster Reduction, October 1): The Swarm
Occult (Occult Day, November 18): Lovely Molly, Seventh Moon
Couple's name (Valentine's Day, February 14): Kramer vs. Kramer
Three: Three Billboards Outside Ebbing, Missouri
Time (Daylight Savings Time, March 12): Timecrimes
Punctuation symbol (Nat'l Punctuation Day, September 24): Punch-Drunk Love
22 vs. Earth
30 Days of Night
Act of Violence
The Adventures of André and Wally B.
Altered
The Amazing Bulk
The Amazing Spider-Man
The Amazing Spider-Man 2
Ambush
The Asphalt Jungle
Attack of the Crab Monsters
Audio Guide
Avatar
The Banshees of Inisherin
Bao
Barbarian
The Beast from 20,000 Fathoms
A Better Tomorrow
The Big Swallow
Birth of a Feminine Nation
Blair Witch
The Blair Witch Project
Bridesmaids
Bullet in the Head
BURN-E (1981)
Burrow
Chosen
Closer
Creature with the Atom Brain
Creep
Curve
The Dancing Pig
The Deadly Mantis
Dead Man's Letters
Destino
The Devil's Rejects
Dog Day Afternoon
Dracula: Prince of Darkness
Electrocuting an Elephant
Elemental
The Escape
Eternals
Everything Everywhere All at Once
Evil Dead (2013)
Exists
The Eyes of My Mother
The Fall of the House of Usher
Fantasmagorie
Far from the Tree
Fat Girl
The Final Destination
Final Destination 5
Float
Floor 9.5
The Flying Sailor
The Fog
The Follow
Freddy's Dead: The Final Nightmare
The Game
Geri's Game
Gilda
A Girl Alone in a House
A Girl Walks Home Alone at Night
Guardians of the Galaxy Vol. 2
Halloween (2018)
Halloween 4: The Return of Michael Myers
Halloween 5: The Revenge of Michael Myers
Halloween Ends
Halloween H20: 20 Years Later
Halloween Kills
Halloween Resurrection
Halloween: The Curse of Michael Myers
Hard Boiled
Hard Target
Holocaust 2000
Hostage
Ice Merchants
It's the Great Pumpkin, Charlie Brown
Jack-Jack Attack
The Killer (1989)
The Killer (2023)
A Killer App
Kitbull
Knick Knack
Last Hurrah for Chivalry
Le Samouraï
License to Drive
Lifted
Loop
Lou
Malignant
The Meg
The Mummy's Tomb
My Year of Dicks
New Nightmare
Next Floor
A Nightmare on Elm Street: The Dream Child
Night Ride
Nona
The Old Dark House
An Ostrich Told Me the World Is Fake and I Think I Believe It
Out
Partly Cloudy
Passage of Venus
PAW Patrol: The Mighty Movie
Pee Soup
Piper
Powder Keg
Psycho
Purl
Running Scared
Saludos Amigos
Scream (2022)
Shake Hands with Danger
Ship of Fools
Smash and Grab
Spider-Man: No Way Home
Star
Teenage Mutant Ninja Turtles: Mutant Mayhem
Them!
Thieves' Highway
Ticker
Tin Toy
To Live and Die in L.A.
Tomato
Tomatoes
Twenty Something
Uncle Josh at the Moving Picture Show
Uncle Josh in a Spooky Hotel
Uncle Josh's Nightmare
The Uninvited
Valley of the Dolls
Vertigo
Wanderer
Warpaint
(What the F*ck Do You Mean) We Bought a Zoo?
Wind
Zodiac
Rewatches are in blue, short films in red, rewatched short films in purple.
I already started the year with a bunch of short films so I will add those reviews soon.
PLANE CRAZY
(1928, Disney & Iwerks)
https://i.imgur.com/zNquMB8.jpg
"It's a snappy six minutes, with plenty of nonsensical action and a fitting musical accompaniment."
That's how Variety magazine described this Disney short back in 1928; a description that actually fits the short to a T. Plane Crazy follows Mickey Mouse adventures and mishaps with a plane. With the short entering the public domain in 2024, I thought it would be a fitting start to my movie-watching year.
As is usual with many animated short films, especially these very early ones, the story in Plane Crazy is quite simple. Mickey wants to be like Charles Lindbergh so he and other animals build a plane. When it crashes on the test flight, Mickey decides to build another one with some unorthodox parts. When it's done, he takes Minnie on his first flight.
All of those things offer directors Disney and Ub Iwerks ample chance to create some cool animated setpieces, especially for the time being. I thought the scene when the plane is trying to take off and its running down a road was beautifully animated, and to think it was done by hand? That just makes it more amazing.
There are a couple of scenes that you know were done just to showcase animation, "Look how much we can put in one panel". But I suppose that was common at that time. The truth is that even at 96 years, Plane Crazy manages to be an effective and funny animated short. I saw it with my two kids and they loved it, and laughed all the way through. Much like Variety said, snappy, nonsensical, and fitting.
Grade: 4
ZORI
(2013, Chutaro & Niedenthal)
https://i.imgur.com/dFBlCIG.png
"Don't come back to the house unless you have both zoris in your feet."
A "zori" is a Japanese type of sandal or flip-flop. An essential piece of clothing if you live in the tropics. That is why, when Labro (Maxter Tarkwon) loses one of his, his grandmother gives him the above ultimatum as she sends him out to clean "everywhere".
This short from Marshall Islands, follows the efforts of the kid to find his missing "zori", all while he completes his daily chore of cleaning up. In the process, he picks up different items that he considers valuable and spark his imagination. If he does well, the promise of eating some ice cream lies ahead.
This is evidently a very simple short film. The performances aren't great and the editing feels amateurish. However, despite its simplicity, there seems to be heart put into it and there's a charm to Tarkwon's performance. Directors Suzanne Chutaro and Jack Niedenthal also have a good sense of blocking and framing their shots.
There might not be much to this other than a poor kid looking for a flip-flop, but deep down, there's a lesson about putting effort into something and learning to make do with what you can find. Who knows? It might be enough for an ice cream and a proud grandmother.
Grade: 2.5
2048: NOWHERE TO RUN
(2017, Scott)
https://i.imgur.com/6jjowcJ.png
"It's very exciting. It's about an outlaw priest who's trying to understand the meaning of being human"
That is how Sapper Morton (Dave Bautista) describes the book "The Power and the Glory" to little girl friend Ella. But he might very well be talking about him. You see, Morton is a replicant trying to lay low in a world where his "species" has been outlawed. Seen by many as a "robot", Morton seems to be trying to reconcile what he was created to be with how he really feels about himself, and sometimes that understanding comes at the very last moment.
2048: Nowhere to Run is a prequel to Denis Villeneuve's Blade Runner 2049. Set a year before the events from that film, it adds some more layers to the character of Morton. His presence on that film might've been short, but really leaves a mark. This short gives Bautista a bit more chance to broaden his acting skills, and he really delivers as far as body language and non-verbal acting goes.
Although the true show is Bautista, the direction from Luke Scott, son of Ridley, is effective. For a casual viewer, it might not do that much, but for fans of both the original Blade Runner and/or the sequel, this short really conveys the struggle of these so-called "machines" and their moral questionings.
Grade: 4
chawhee
01-15-24, 06:45 PM
Did not know these BR2049 shorts existed until now...thanks for the exposure!
Did not know these BR2049 shorts existed until now...thanks for the exposure!
You're welcome! That's the purpose of this. If you check this one out, let me know what you think.
StuSmallz
01-16-24, 03:00 AM
2048: NOWHERE TO RUN
(2017, Scott)
https://i.imgur.com/6jjowcJ.png
That is how Sapper Morton (Dave Bautista) describes the book "The Power and the Glory" to little girl friend Ella. But he might very well be talking about him. You see, Morton is a replicant trying to lay low in a world where his "species" has been outlawed. Seen by many as a "robot", Morton seems to be trying to reconcile what he was created to be with how he really feels about himself, and sometimes that understanding comes at the very last moment.
2048: Nowhere to Run is a prequel to Denis Villeneuve's Blade Runner 2049. Set a year before the events from that film, it adds some more layers to the character of Morton. His presence on that film might've been short, but really leaves a mark. This short gives Bautista a bit more chance to broaden his acting skills, and he really delivers as far as body language and non-verbal acting goes.
Although the true show is Bautista, the direction from Luke Scott, son of Ridley, is effective. For a casual viewer, it might not do that much, but for fans of both the original Blade Runner and/or the sequel, this short really conveys the struggle of these so-called "machines" and their moral questionings.
Grade: 4Did you ever see the "Blackout" short, though?
No, this is the only one of the BR2049 shorts I've seen. Need to check out the others.
chawhee
01-17-24, 09:17 AM
Watched 2036 Nexus Dawn and 2048 Nowhere to Run and enjoyed both. I might watch the anime one eventually, but that art form is generally not my cup of tea.
StuSmallz
01-18-24, 02:19 AM
Watched 2036 Nexus Dawn and 2048 Nowhere to Run and enjoyed both. I might watch the anime one eventually, but that art form is generally not my cup of tea.But Watanabe directed it, though!
THE GIRL AND HER TRUST
(1912, Griffith)
https://i.imgur.com/EKmapHi.jpg
"Danger? Nothing ever happens here!"
That's the assurance that Grace (Dorothy Bernard), a telegraph operator, gives her co-worker when they find out they'll be handling a delivery of $2,000 from the bank. But of course, danger does lurk around as a couple of tramps plan to steal the money, putting Grace in the middle of danger.
This 15-minute short film is directed by D.W. Griffith who, three years later, would go on to direct The Birth of a Nation. Even though this one might lack the technical prowess and influence of the latter, it is still memorable and most certainly easy to digest. The film is fun and thrilling, and has some neat camera movement in its last act.
Also, it was nice to see a female character that, even with limitations, has some sort of agency and strength. Even though by the end, something did happen and she does end up as the damsel-in-distress, she still holds her own through most of the run.
Grade: 3.5
I've checked out the threads for previous years and your podcast, and I'm impressed by your dedication and enthusiasm for film. It's a unique and intriguing way to approach movie watching, and I'm sure it leads to some interesting discoveries and discussions.
I've checked out the threads for previous years and your podcast, and I'm impressed by your dedication and enthusiasm for film. It's a unique and intriguing way to approach movie watching, and I'm sure it leads to some interesting discoveries and discussions.
Thanks for reading and listening. It is indeed a fun way to approach what I watch, and it keeps things interesting.
THE DREAM OF A RIDICULOUS MAN
(1992, Petrov)
https://i.imgur.com/xyD709u.jpg
"The key thing is: love others as you love yourself. That's the main principle. Nothing else is needed."
That is what the narrator of the story claims, as he starts to tell his story; a story about despair and hope, lies and truth, life and death, and ultimately loneliness and love. A love that he discovers in the verge of suicide, through a chance encounter with a little girl.
The Dream of a Ridiculous Man is a Russian animated short film based in the short story by Fyodor Dostoevsky. It follows this narrator, who is determined to take his own life, until he falls into a hallucinatory dream that reveals things about life and himself that he thought had been lost forever.
But putting aside the nature of the story, I think the most interesting thing about this short film is its look. Petrov uses a technique called paint-on-glass animation, which results in some beautiful and impressive visuals. The way the animation flows is so unique that I think it's worth watching to any fan of animation.
I've never read Dostoevsky's original novel, but I know some about it. It seems that Petrov used an abridged approach to this short film, leaving out a good chunk of what the man dreams of. Still, the main principle is there, and that is to love others as you love yourself. Nothing else is needed.
Grade: 3.5
SHALLOW GRAVE
(1994, Boyle)
https://i.imgur.com/der44Mq.jpg
"We don't know what it cost us yet."
Shallow Grave follows a trio of flatmates in Edinburgh that find themselves in over their heads when their new mysterious flatmate ends up dead, leaving behind a suitcase full of money. The friends then start sinking deeper into deceit and betrayal as they try to figure out the cost of their actions, while both police and criminals start closing in on them. Is the suitcase full of money enough?
Danny Boyle's debut features Ewan McGregor, Christopher Eccleston, and Kerry Fox as the three friends. Their performances are all good, with maybe McGregor being the most fun to watch. His role as the callous and cynical Alex is perhaps the more colorful also, but he does a pretty good job. Eccleston, on the other hand, has the biggest arc as David, who goes from shy and introverted to paranoid and unhinged.
Although everything sounds dead serious, the film is a really nice mixture of dark humor with some thrills, anchored by the cast's interactions and performances. The way they balance both the horrors and the stupidity of their actions is great, while Boyle throws a couple of nice twists to the story. All through, you're never sure who's going to hold and who's going to break; all designed to keep you guessing what is the actual cost of all of this on their lives.
One trait of neo-noir that I read a while ago was that, whereas in film noir there's a mystery, in neo-noir, the main character *IS* the mystery, which I think applies to all three leads here. There is no mystery; we know what happened and how. The mystery is in how these characters will react and where things will fall for each of them in the end. Turns out that nobody knows the cost... yet.
Grade: 4
THE QUAKE
(2018, Andersen)
https://i.imgur.com/EWs1UjR.png
"I can't even imagine the nightmare you have been through. But that doesn't mean disasters follow you."
That's how 11-year-old Julia tries to reassure her father, Kristian (Kristoffer Joner), that everything's going to be alright. Still traumatized by the events of the disastrous tsunami that he survived three years ago in The Wave, Kristian has been unable to put back the pieces of his life. He's estranged from his family and living in seclusion in Geiranger, while his family lives in Oslo. But turns out that disasters do "follow" him as he realizes that a major quake might hit the city.
The Wave was a pleasant surprise when I saw it back in 2020. The way that the film managed to build dread and tension around this upcoming tsunami was rather good, and the family drama that was in the middle was well portrayed by the cast, especially Joner, who does a solid job transmitting both the desperation and bravery of the "unlikely hero". The Quake is not so different in how its built, which can be a good thing and a bad thing.
The best thing the film does is to put the focus on the characters and let us feel the consequences. Once again, Kristoffer Joner does a good job conveying the trauma and the guilt of his character, but also the determination that comes after to fix things. This is no The Rock or Stallone, but Joner makes you believe he's the person to stick to. His relationship with his family feels real, and the addition of Marit (Kathrine Thorborg Johansen), the daughter of a recently deceased colleague, is welcome.
Like with The Wave, the build up to the actual earthquake is effective. Everything that is happening keeps you on edge. My main complaint is that the film feels like it lacks a third act. There are some really thrilling and terrifying setpieces once the earthquake hits, especially as Kristian is trying to save Julia, who's on the top floor of a hotel. But once that is resolved, which felt like a middle act, the film concludes. I think that there could've been one or two more setpieces to properly round things up.
Despite that, The Quake succeeds on the strength of its cast, a competent story behind the disaster, and skilled direction. Kristian and his family are easy to root for, and the actual "disaster" moments work. But it is the family dynamics which separates this from other similar films. It's the kind of thing you want to see a bit more of, so let's see how many other disasters "follow" them.
Grade: 3.5
LILO & STITCH
(2002, Sanders & DeBlois)
https://i.imgur.com/Llezuid.jpg
"This is my family. I found it, all on my own. It's little, and broken, but still good. Yeah. Still good."
Encyclopedia Britannica defines the term "family" as "a group of persons united by the ties of marriage, blood, or adoption". One of those comes by chance, the other two by choice. Some can be big, some can be little. And sometimes, families can be broken, also by chance or by choice. It's up to each family member to do their part in order for the family unit to succeed, blood or adopted, big or little, broken or not.
Lilo & Stitch presents an unconventional family unit, united by blood but broken by tragedy, in young Lilo (Daveigh Chase) and her older sister Nani (Tia Carrere). With their parents dead in a car accident, Nani struggles in taking care of Lilo, who seems to be handling the trauma by acting out at school. Things get more complicated, when they stumble upon Stitch (Chris Sanders), a seemingly aggressive alien that has escaped from its planet.
Obviously, Lilo and Stitch form an unlikely bond as they both help each other cope with their respective issues and traumas. It is through this bonding that they both learn to control their behavior while forming their "ohana" or extended family. It is in this concept of a broken little "family", united by choice, that the film really got to me. It is Stitch itself who says the above quote where he proclaims his choice and desire for this family unit to work.
As the parent in my own "broken little family", I won't deny the fact that this film affected me deeply. Almost five years ago, my wife and I made a choice to grow our family; a choice that has changed our lives completely. There have been a ton of great moments, but also a ton of not so great moments. Those struggles haven't been easy, but I like to think that our "broken little family" is "still good".
I saw this with my two kids a couple of weeks ago and the more I think of it, the more I fall in love with it. They also seemed to like it, and I've made a point of reminding them often what "ohana" means, to which they respond "Ohana means family. Family means nobody gets left behind or forgotten”. They were once "left behind" and "forgotten", so I pray that reassurance of not being "left behind or forgotten" ever again gets to them, and that even if our family is "little, and broken", it is "still good".
Grade: 4.5
Miss Vicky
02-15-24, 12:41 PM
Was this your first time watching Lilo & Stitch?
It's such a charming movie and a big favorite of mine.
Was this your first time watching Lilo & Stitch?
It's such a charming movie and a big favorite of mine.
Yeah, first time. Aside from Bolt, that whole 2000s Disney era was a blind spot for me. I came to see Emperor's New Groove and Princess and the Frog a couple of years ago, both with the kids, and now this one. I've really liked all three, but this one hit differently.
MOONSTRUCK
(1987, Jewison)
https://i.imgur.com/wqpFpAt.jpg
"You're gonna marry my brother? Why you wanna sell your life short? Playing it safe is just about the most dangerous thing a woman like you could do. You waited for the right man the first time, why didn't you wait for the right man again?"
Love is a weird thing. It sometimes comes at the most unexpected time and sometimes even with the most unexpected person. This sometimes makes us wonder, is this the right person or should I wait? What if I miss the right person and grow old and lonely? That is some of the predicament that Loretta (Cher) finds herself in this charming romantic comedy about love and the right person.
The thing is that Loretta, a widow, is nearing her 40s, which has her perhaps a bit worried about her future in the romantic department. That is why when her boyfriend, Johnny (Danny Aiello), awkwardly proposes to her she accepts. But is he the right man? Early in the film, her mother Rose (Olympia Dukakis) asks her "Do you love him?", to which she casually replies "No", but he's the one she has.
However, things get complicated when she meets Johnny's estranged younger brother, Ronny (Nicolas Cage). Sparks fly, and she has to decide whether to stick by her current boyfriend whom she doesn't love, or go for his brother who she's head over heels for. It might feel like a serious situation, but Norman Jewison's direction and John Patrick Shanley's script maintain a light, whimsical tone all through.
The thing is that Johnny is not necessarily a bad man; but he's not the *right* man for Loretta. Their interactions are awkward and a bit uncomfortable, whereas the chemistry with Ronny is instantaneous. Cher is a delight in the role, and Cage creates a uniquely endearing character in Ronny. Even though he tends to swing for the fences in some scenes, his Ronny still has an innocent charm to him that makes you root for him.
But as much as I enjoyed watching the relationship between Loretta and Ronny unfold, I think I appreciated more the way that the script handled the relationships between the older characters. There are several interesting developments between Loretta's parents, a womanizing professor that Rose meets, and her brother and his wife. Amidst all the whimsy, there is an honesty in how the script approaches some real-life issues that real-life couples will find that might lead you to question if you're with the right person or not.
Moonstruck is a fairly unique romantic comedy, with some great performances and an undeniable appeal to it. It is a film I had heard mentioned a ton of times, and that was recommended to me a bunch of times, so I'm glad I waited for the right time to finally watch it.
Grade: 3.5
SNOW ON THA BLUFF
(2011, Russell)
https://i.imgur.com/0zbSioi.png
"Ain't no right or no wrong way. There's the *need* way. When you need something or you got to have something, then one way you're gonna get it right then and there. That the only way I know, really."
Snow on tha Bluff follows Curtis Snow, a thief and drug dealer based in the Atlanta neighborhood called "The Bluff". When he steals a camera from a group of college students, Snow starts documenting his life and doings with his crew, which include drinking, playing pool, stealing from rival dealers, and running from the police.
Shot in the "found footage" style, the film is unique for putting a real-life in the forefront in Snow (portraying a fictionalized version of him), and giving us a glimpse of what is life like for him and his friends and neighbors. Although the film is not overly and explicitly violent, it does create an unsettling sense of dread surrounding these "real life" characters and the way they live.
At one point, Snow casually shares some stories from his childhood; stories of his first shooting or how he saw his mom, a drug addict, being shot in the street. Later on, as he sits at a table, prepping drugs to sell, he shares stories of how his uncle would be doing the same thing while he ran around as a kid, all while Snow's kid runs around perpetuating the cycle.
We can say that Snow doesn't care, but Snow doesn't know anything else. So as we see him and his crew calmly boasting firearms, shooting people, and slingin' dope, all while little kids run around and put their hands in piles of blow and crack, it's like a bizarro alternate universe that we wish didn't exist. But it does; a universe where the lines between right or wrong are blurred, and the only thing that matters is what you need and if you can get it right then and there.
Grade: 3.5
SpelingError
02-15-24, 11:49 PM
SNOW ON THA BLUFF
(2011, Russell)
https://i.imgur.com/0zbSioi.png
Snow on tha Bluff follows Curtis Snow, a thief and drug dealer based in the Atlanta neighborhood called "The Bluff". When he steals a camera from a group of college students, Snow starts documenting his life and doings with his crew, which include drinking, playing pool, stealing from rival dealers, and running from the police.
Shot in the "found footage" style, the film is unique for putting a real-life in the forefront in Snow (portraying a fictionalized version of him), and giving us a glimpse of what is life like for him and his friends and neighbors. Although the film is not overly and explicitly violent, it does create an unsettling sense of dread surrounding these "real life" characters and the way they live.
At one point, Snow casually shares some stories from his childhood; stories of his first shooting or how he saw his mom, a drug addict, being shot in the street. Later on, as he sits at a table, prepping drugs to sell, he shares stories of how his uncle would be doing the same thing while he ran around as a kid, all while Snow's kid runs around perpetuating the cycle.
We can say that Snow doesn't care, but Snow doesn't know anything else. So as we see him and his crew calmly boasting firearms, shooting people, and slingin' dope, all while little kids run around and put their hands in piles of blow and crack, it's like a bizarro alternate universe that we wish didn't exist. But it does; a universe where the lines between right or wrong are blurred, and the only thing that matters is what you need and if you can get it right then and there.
Grade: 3.5
I should watch that one someday. I just can't find it anywhere.
I should watch that one someday. I just can't find it anywhere.
It's worth it.
LE SILENCE DE LA MER
(1949, Melville)
https://i.imgur.com/FUrc2fw.jpg
"Obstacles have to be overcome. Sincerity can always overcome obstacles"
Set in occupied France in 1941, Le Silence de la Mer follows an old Frenchman and his niece, as they are forced to share their country house with a German lieutenant, in the middle of World War II. As the old man and his niece choose to maintain silence in front of the "occupant", the German chooses a different path. Will that be enough to overcome their differences and obstacles?
This is Jean-Pierre Melville's debut as director, and yet he shows such a skill in how he uses this small space where most of the film takes place. The way he and his cinematographer Henri Decaë work with lights and shadows, as well as the framing and the perspective from where different characters stand or sit is great.
The performances from Jean-Marie Robain and Nicole Stéphane as the old man and his niece are solid. They do a lot with just their body language and expressions, but it is Howard Vernon who has to carry the burden as Nazi lieutenant Werner von Ebrennac. He succeeds in transmitting equal doses of dread and menace mixed with an honesty and sincerity that you wouldn't expect from such a character.
I do think that the film is a bit heavy-handed with how it handles its metaphors and symbolism, and I'm not exactly sure that the romantic angle was well executed, or even that necessary. But beyond that, Le Silence de la Mer is a film that challenges us to look beyond the obstacles that separate us in an effort to overcome them. It's up to us if we're up for that on a film, or in real life.
Grade: 3.5
PRESTO
(2008, Sweetland)
https://i.imgur.com/EJ3gaW7.jpg
presto
...........excl: a phrase announcing the successful completion of a trick
...........noun: performed at a quick tempo.
Presto is also the title of this 2008 Pixar short which follows a magician called (wait for it) PRESTO! The magician is trying to do a show with his rabbit, Alec, but the rabbit is not willing to cooperate unless he gets fed first. This results in a constant and quick barrage of shenanigans as they both try to outsmart the other.
This was such a delightful surprise. The effective use of physical comedy and slapstick reminded me the good ole' times of the Looney Tunes or Tom & Jerry cartoons. I also loved the clever use of the hat trick and the quick tempo at which the gags are delivered.
Finally, I thought the animation was great; especially Alec, the rabbit. His expressions were a good mixture of fun, earnest, and mischievous, but without being too much of a smart-aleck. A week or two after having seen it by myself, I put it again for the kids and PRESTO! They laughed their asses off.
Grade: 4.5
Here's my summary for JANUARY 2024:
A Disney animated film, recommended by Defining Disney on The Disney Loot (https://www.buzzsprout.com/850063/8148963-thief-s-monthly-movie-loot-33-the-disney-loot-with-nicole-caroline-from-defining-disney-podcast.mp3?download=true): Lilo & Stitch (https://www.movieforums.com/reviews/2439009-lilostitch.html)
A romcom, recommended by Rachel Wagner on The Romcom Loot (https://www.buzzsprout.com/850063/10074799-the-movie-loot-55-the-romcom-loot-with-rachel-of-the-hallmarkies-podcast.mp3?download=true): Moonstruck (https://www.movieforums.com/reviews/2439413-moonstruck.html)
An obscure crime film, recommended by Justin on The Hidden Loot 2023 (https://www.buzzsprout.com/850063/12941837-the-movie-loot-84-the-hidden-loot-with-justin-from-the-film-effect-podcast.mp3?download=true): Snow on Tha Bluff (https://www.movieforums.com/reviews/2439422-snow_on_tha_bluff.html)
A debut film, recommended by Slentert on The First Loot (https://www.buzzsprout.com/850063/7509979-thief-s-monthly-movie-loot-29-the-first-loot-with-lennert-roobaert.mp3?download=true): Le Silence de la Mer (https://www.movieforums.com/reviews/2439491-the-silence-of-the-sea.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/m13Vbzv7R2GMAl3GXFrkmMEgCFQ.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/2mnVWpvsHEHHnfvLn1NXYVvBGl5.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/vXGArJcQG14TcLVsmFO8BEEI7Ar.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/5yagil6aUFTkdYqIoldZmDAGpay.jpg
Other watches:
A neo-noir film: Shallow Grave (https://www.movieforums.com/reviews/2438791-shallow_grave.html)
A sequel: The Quake (https://www.movieforums.com/reviews/2438802-the_quake.html)
Short films: Plane Crazy (https://www.movieforums.com/reviews/2432614-plane_crazy.html), Zori (https://www.movieforums.com/reviews/2433449-zori.html), 2048: Nowhere to Run (https://www.movieforums.com/reviews/2433458-2048_nowhere_to_run.html), The Girl and Her Trust (https://www.movieforums.com/reviews/2434052-the_girl_and_her_trust.html), The Dream of a Ridiculous Man (https://www.movieforums.com/reviews/2438158-the_dream_of_a_ridiculous_man.html), Presto (https://www.movieforums.com/reviews/2439580-presto.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/gqvSKLbfIg1mja1ulVkVcLhdwWF.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/jA5MVaNWe76EjuXn4FqkeaHDPuj.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/aThtlWk7kyvjNQ2H4GX5ixKVzlb.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/8hz2Y9hc6N2Ma1NRgWr8i5a9GZH.jpg
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This month I tried something a bit different; after starting the month tackling some shorts I had on my watchlist, I decided to also check out some films that were recommended at some point during the show. Since we just turned 4 years, I thought it would be an appropriate way to "celebrate".
As far as favorite first-time watch, I have to say Lilo & Stitch stole my heart and affected me in a very personal way.
As for least favorite, probably Zori, but I still think it's a cute short.
RED'S DREAM
(1987, Lasseter)
https://i.imgur.com/bU7FZ3Q.jpg
"You never forget kids like Emily, or Andy, but they forget you."
The above quote is not from this short, but from 1999's Toy Story 2. The struggle from Jessie, the cowgirl, to cope with what she feels as the abandonment from her owner was something that resonated with audience's through her heartfelt story and Randy Newman's tragically beautiful song "When She Loved Me". But the idea of portraying toys and inanimate objects outliving their "usefulness" in a sad way was something that Pixar had been exploring since their early days.
Released in 1987, Red's Dream features a lonely tricycle called Red waiting to be either sold or disposed by clearance. During a rainy night in the dark and closed shop, Red dreams of better times where it can still be part of a clown show. But the dream quickly vanishes and we're back in reality and in the clearance corner. It's great how this simple scene manages to evoke so much emotion for an inanimate object, but writer and director John Lasseter achieves this through an effective score, as well as great direction and animation (at least for the time. The clown is a bit rough, but the rest is pretty much flawless).
Lasseter has referred jokingly to this times as Pixar's "Blue Period" because "the film had a sad ending and really explored pathos." It's interesting to see how he latched onto that idea and continued to perfect it until he could give us Toy Story. That franchise has become Pixar's flagship, an icon of animated films, and a landmark in cinema. But as great as those films are, let's not forget how things started; with a red bike in the clearance corner.
Grade: 4
LUXO JR.
(1986, Lasseter)
https://i.imgur.com/6S18MiM.jpg
"[Traditional artists] did not realize that the computer was merely a different tool in the artist's kit."
That's how animator and co-founder of Pixar Ed Catmull described how the animation field felt during the 1980s, with the rise of personal computers. He goes on to add how the release of Luxo Jr. helped to alleviate the fears that people had about the new technologies. Plus, it also gave Pixar a cool mascot and logo.
There's not much to add about the short. It features an animated desk lamp on a table that's suddenly interrupted by a colorful ball. There's also the playful twist of the "younger", smaller lamp, which most people probably know (hence, the "Junior" in the title). Like other Pixar films, there's an innate skill here to add emotion and playfulness to inanimate objects, be it a tricycle, an action figure, or a desk lamp.
Grade: N/A
ONE MAN BAND
(2005, Jimenez and Andrews)
https://i.imgur.com/IXzaU6w.jpg
"Music has the power to unite us. It proves that by working together, we can create something truly beautiful."
One Man Band follows a lone street musician performing as a one-man-band in a mostly deserted town square. When a young girl approaches, he tries to gain her attention, and hopefully a tip. But things go awry when a rival musician arrives, and they both start competing for the girl's coin. Will they find a way to unite and work together?
The above quote, from violinist and conductor Pinchas Zukerman, might refer to the idea of different people working together as a musical entity to create beautiful music. This is not meant to be a put-down against "one man bands", which is a truly impressive skill, but I found it appropriate in the context of this short film. The two street musicians are skilled, no doubt, but their unwillingness to work together is what ultimately prevents them from getting what they want.
I caught this the other day and was surprised at how much fun I had with it. I really wasn't expecting a lot, but I found the integration of music and animation to be quite effective. Also, the neat twist about the girl and how she gets back at the musicians was fun. There is also a mid-credits bit that hints that maybe, just maaaaybe, these musicians might have learned to work together?
Grade: 4
THE BLUE UMBRELLA
(2013, Unseld)
https://i.imgur.com/m5HlqTK.jpg
"I wanted the soul of the film to be a love declaration to the rain, that celebrates the rain."
That's how director and writer Saschka Unseld described his approach when making this simple but lovely short film. Set in a rainy night in the middle of a busy city, The Blue Umbrella follows two colorful umbrellas as they meet each other in passing. But when the crowd and the wind separates them, the city itself makes an effort to bring them together.
There really isn't much else to the story. But the beauty of the short is mostly in the use of photorealistic images and lighting. The way Unseld manages to bring the whole city to life is impressive and stunning, especially when you add rain to the mix. But, much like he described it in the above quote, the short is a celebration of the rain, both as a uniting force within the story, but as an artistic element that makes the animation shine.
I wish the emotion of the story would've gotten to me more, but as cute as the umbrellas are, the story just didn't get past "cute" to me. Regardless, it is still a charming story executed beautifully, while showing love and celebrating the rain.
Grade: 3
AVENGERS: INFINITY WAR
(2018, Russo)
https://i.imgur.com/kqC5eqc.jpeg
"Fun isn't something one considers when balancing the universe. But this... does put a smile on my face."
Avengers: Infinity War was released in 2018, exactly 10 years after Iron Man kickstarted the whole MCU. The film caps a journey of 20+ films about different superheroes, all coming from different places and mindsets; be it from being a wealthy CEO that has been kidnapped by terrorists, a genetically enhanced WWII soldier that woke up from being frozen, or an Asgardian god that happened to fall on Earth. Obviously all these different characters clash and connect, becoming The Avengers, who are committed to protect Earth and the universe.
Enter Thanos (Josh Brolin), a super strong creature determined to exterminate half of the life in all universe to stop overpopulation. Although he had appeared briefly in a few films, Infinity War has him full front and center. Actually, a lot of people argue that he is the *lead* of the film. Regardless, his quest puts him at odds with the Avengers, which sparks an intergalactic fight across Earth and space, which will definitely have an impact in the MCU, and cinema as well.
I don't consider myself a die hard MCU fan. Even though I've been watching most of their films and TV shows, I acknowledge that many of the films, and the whole MCU, has its flaws. However, I can't help but be impressed by the vision and work of Marvel Studios to put forward such a massive years-long project. The patience to start building this universe, and let it grow, is quite something. For all its faults, Infinity War is the perfect climax for all those films and all those years of work. Big, loud, bold, and yes... fun.
And I think that's the most important thing as far as these films go. The Russo brothers know exactly what to give the audience and they give it plentiful. Whether it's over-dramatic character entrances, bombastic action sequences, or funny one-liners, they bring it. But they're also helped by a solid cast and a solid development of most of the relationships and interactions between them (take for example, Tony Stark and Peter Parker). All of this just helps to add gravitas to the events that occur at the very end, even if it's not supposed to work.
Which is where my main issue with the film lies: there are no stakes. Regardless of what we see happens to this or that character, we know things won't stick. We know dead characters will come back, we know things will more or less be fixed. So, even though the specific moments are well executed (i.e. "I don't feel so good, Mr. Stark"), the franchise itself removes most of the impact because we know the characters will return in some capacity. I do respect the decision to end it that way, and I do like the first act of Endgame, where we see characters coping with the aftermath, but that's a whole different story.
The last act does fall victim to the usual CGI-flooded slamfest of the franchise. But as it is, Infinity War still delivers a film that does its best to balance its crowd-pleasing blockbuster nature, with a story that still manages to sneak in some emotion and pathos despite its predictability, thanks mostly to a good cast and a well-constructed villain. To see it all come to fruition after 10 years and 20+ films... does put a smile on my face.
Grade: 4
TIGHTROPE
(1984, Tuggle)
https://i.imgur.com/BSAhbIL.jpg
"I'd like to find what's underneath the front you put on."
Tightrope follows police detective Wes Block (Clint Eastwood) as he goes after a serial killer and rapist. However, getting closer to the criminal also uncovers a darker side to him that he'd rather keep buried. Something that Beryl Thibodeaux (Geneviève Bujold), the director of a rape prevention program, calls attention to with the above quote during an awkwardly honest yet effective oyster lunch.
See, it is established early on that Block is a devoted single father of two girls, a workaholic, and a frequent client of New Orleans' prostitutes with a penchant for handcuffs and ties. The fact that the serial killer shares Block's same, uhh, interests serves to lift that front a bit and uncover his own faults, at least within himself and his psyche. It is during this first half that the film is more interesting, as we see Block's reckoning of his own actions against the killer's.
Things get worse when the killer also starts stalking him, his frequent paramours, but also his daughters. Unfortunately, as the film enters its last act and chooses to pull the curtain of what's happening, it becomes less interesting. The revelations and resolutions feel anticlimatic, formulaic, and frankly, make the ending feel more like a whimper than a bang, as it pretty much shies away from the layers that made the first half interesting.
Regardless of my issues with that last act, the film does a lot of things right. Eastwood delivers a rather complex performance, the atmosphere is effective, and the dread build-up is well executed. Even though what's underneath might not be what I would've wanted, Tightrope still puts a solid front above it that mostly works... at least for for the time being.
Grade: 3
NIGHTCRAWLER
(2014, Gilroy)
https://i.imgur.com/8Lb3l6x.jpg
"Why you pursue something is as important as what you pursue."
That's one of the many mantras that Louis Bloom (Jake Gyllenhaal) repeats to himself and to others perhaps to give meaning to his endeavors. The problem is that in his case, the "why" is perhaps as shady as the "what". That is one of the many themes explored by Dan Gilroy's impressive directorial debut.
Nightcrawler follows Bloom, a sociopath turned freelance journalist in his journey to become relevant. To do this, he pursues shootings, murders, accidents late at night in a very sensationalistic way to then sell the footage to a local news station run by the unethical Nina Romina (Rene Russo).
The pursuit of that kind of shady news by Bloom, the news agency, and the audience is the basis of the film. The way that it explores the ethics of these practices is very thought-provoking, along with the "chicken-or-egg" dilemma of what came first: the media feed of violent events, or the audience's craving for it?
Regardless of the answer, Bloom finds a way to position himself right in the middle of it. It is Gyllenhaal's creepy and unsettling performance what ultimately defines this film. His Bloom is equal parts awkward, pathetic, unethical, savvy, and extremely clever. The way he navigates social circles reciting rehearsed monologues and factoids that he learned from the Internet shows a unique desire for acceptance; something that he gets through this job.
But beyond the excellent performances from Gyllenhaal, Russo, Bill Paxton, and Riz Ahmed, there's a lot more to admire in Gilroy's direction and script. A bleak snapshot of this endless pursuit for sensationalism and sleaze in the news and elsewhere from both the media and the audience; perhaps an invitation to examine our role on this chain, and look within ourselves and ask why do we pursue what we pursue.
Grade: 4.5
RESILIENCE
(2023, Choi)
https://i.imgur.com/poOa7uH.jpg
"If all human beings disappeared from the earth, within 50 years all forms of life would flourish.”
The above is a quote from researcher Jonas Salk and it serves to highlight the main theme of this beautiful short film. It is not so much an indictment on humanity (although there is some of that), but rather a testament to nature's ability to withstand and flourish despite adversities.
The short was made my Yunie Choi, a second year student at CalArts at the time, who describes it as "ravaged nature finding its strength and gradually recovering alongside the vibrant resurgence of life." Its sleek animation and swift editing is one of the things that makes it work, but its message about nature's, and why not, humanity's resilience shines through.
Grade: 4
If anyone wants to check it out...
https://www.youtube.com/watch?v=F1QRZki3zb8
LA HAINE
(1995, Kassovitz)
https://i.imgur.com/vtS3ETb.jpg
"How you fall doesn't matter. It's how you land!"
The above is a statement that is repeated often throughout the film. It's not how you fall, but how you land. The ironic thing is that it comes at the end of a monologue about a man jumping off a building; a situation where there isn't much of a choice as far as "how you land". But perhaps that is the underlying message in this French film.
Set in the middle of a string of urban riots in Paris, La Haine follows three friends from a poor neighborhood. When one of their friends is injured by the police, each of the three friends face try to see where they land and how to handle it. The hot-tempered Vinz (VIncent Cassel) wants revenge, while the more sensible Hubert (Hubert Koundé) just wants to avoid problems and leave the neighborhood with his family. Saïd (Saïd Taghmaoui) falls somewhere in between.
Things get more complicated when it is revealed that Vinz has gotten ahold of a revolver that was lost during the riots; something that he plans to use on the police if their friend dies, creating more tension with his two friends. The film follows them through the rest of the day and night as they encounter different groups and situations that will push them to see if they fall, but most importantly, how they land.
All three performances are pretty good, and although Cassel has the showier role, I appreciated the nuances in the performances from Koundé and Taghmaoui. There is a certain looseness to the story that I think works both in favor and against it. Some of the situations the friends find themselves don't work as well as others, but nonetheless, it is interesting to see them face and handle different characters and different types of pressure, all of which end up showing us who they really are.
When the film opens, it is Hubert the one sharing the story about the man that jumps off a building. The story goes that as the man fell past each floor, he kept reassuring himself "so far, so good", as if there was any chance or hope in how he would fall. The same can be said about the friend's journey through the film, where every step might lead them to think things are "so far, so good", not realizing they've been falling all the time. How much of a choice do they really have?
Grade: 3.5
DAY & NIGHT
(2010, Newton)
https://i.imgur.com/5zeHfTE.jpg
"To me every hour of the light and dark is a miracle."
That's how Walt Whitman described day and night, among many other things he saw as "nothing else but miracles". From the streets to the trees, from the birds to the bees, from the fields to the endless sea. There seems to be some of that vibe in this inventive short from Pixar.
Day & Night follows the two titular "characters", each of which feature a corresponding scene inside of them: people playing and animals frolicking inside "Day", the moon rising and sheep jumping fences inside "Night". This is both a cause of amazement and dismissal for both of them as they explore each other's "scenes", but can they learn to coexist?
This is one an extremely creative and original short film. The way that the director takes such minimalistic characters and brings them to life with these events "inside" of them is impressive. But also the way he uses different things to match the actions of the characters, or highlight their emotions and feelings is amazing.
But the director is not content with leaving each character on its own side. Instead, he keeps on pushing and makes them overlap in a very ingenious way. It's a unique way to show that their differences can sometimes unite them, but also a way to discover that – like Whitman said – each of them is "a miracle".
Grade: 4.5
BOUNDIN'
(2003, Luckey)
https://i.imgur.com/tLjYrvH.jpg
"Now sometimes you're up and sometimes you're down. When you find that you're down, well, just look around. You still got a body, good legs and fine feet, get your head in the right place and hey you're complete!"
Boundin' follows a Lamb that enjoys dancing and showing off in the middle of a North American plain. However, when humans take him and shear its wool, the Lamb finds itself sad and without confidence. That is until a joyful jackalope comes and cheers the Lamb with a song which includes the above quote.
This is a fairly simple short that tries to champion the notion of self-pride and confidence, to help us feel comfortable in our own skin. Narrated in rhymes by writer and director Bud Luckey, who also voices the two main creatures, it is a mostly fun short that also reminds us to just be ourselves, regardless of the circumstances.
Grade: 3
THE LEGEND OF MOR'DU
(2012, Larsen)
https://i.imgur.com/vy3T5QX.png
"The king's eldest son was strong. But... he mistook great strength for character."
Framed as a story told by a witch (Julie Walters), The Legend of Mor'du tells the story of four brothers inheriting control of the kingdom of their deceased father. But like the above quote hints, the eldest son became greedy, thus leading the brothers to fight against each other.
It is just now that I realized that this short is tied to Brave, a film I haven't seen. Regardless of that tie-in, I thought it worked marvelously well on its own. Putting aside the comical bookends with the witch (which I suppose might work better within the context of the feature), I found the legend interesting and I really liked its dark tones.
Aside from that, the minimalistic animation was great. Considering the way it's all part of a story, that visual style and the narration make it feel as if we're reading it from a book. Morever, the tone and vibe make it reminds us that this can be something that's being passed on and on by generations.
Grade: 4.5
GEORGE AND A.J.
(2009, Cooley)
https://i.imgur.com/Soz00Zc.jpg
"That was the craziest thing I've ever seen."
Set during the events of Up, George and A.J. follows the two retirement home nurses that come to pick up Carl Fredricksen. As they witness the old man's house rise up tied to hundreds of balloons, the two are left dumbfounded. But just as they're about to go back to work, they have to deal with other elderly people trying to imitate Carl's escapade.
This is yet another fairly simple short. The animation is fairly crude which might be a bit distracting; especially when you see characters talking while their lips are not moving. But that's a minor nitpick. The short does have several effective comedic beats in its first minute, and it is fun to see the creative ways that the other elderly people use to "escape". Who knows; maybe it'll be the craziest thing you've ever seen.
Grade: 3.5
THE FLY
(1986, Cronenberg)
https://i.imgur.com/k52DW3G.jpg
"I'm saying I - I'm an insect who dreamt he was a man and loved it. But now the dream is over... and the insect is awake."
That is part of the rationalization and subtle warning that Seth Brundle (Jeff Goldblum) throws at his girlfriend Veronica (Geena Davis) as his transformation into a fly begins. You see, Brundle has been working on teleportation. Until one night, a fly got into the transmitter pod when he was testing it himself for the first time and, in his own words, "the computer got confused... and it decided to splice us together. It mated us, me and the fly".
The Fly starts as a bit of an eccentric, steamy romance as Seth and Veronica meet and fall in love. But then it all quickly devolves as he tests the teleportation device himself in a night of drunken jealousy. At first, this results in superhuman agility and stamina, but then it turns into physical deformation and aggressiveness. Hence, the "subtle warning" above. Seth is recognizing that there is "more insect" in him than there is "human".
This is a film I've seen a bunch of times, but I revisited it in preparation for a podcast guest appearance. It's amazing what time does to our perspective on a film. Whereas I used to see this as an icky, goop-fest when I was a teen, now I see it more as a tragic drama about change and death. Sure, there's gore, but there's also a lot of subtext here on how a terminal illness can affect and consume a person, and by consequence his/her loved ones.
All this tragedy is successfully carried by the performances of Goldblum and Davis. Although the relationship does feel a bit rushed in the beginning, they do have a lot of chemistry, and Davis in particular, carries a lot of the emotional weight of the film. She is perfect at transmitting the suffering that a person might feel by seeing a loved one slowly decay in front of you.
There is also the role of Stathis Borans (John Getz), Davis' boss and jealous ex-boyfriend. This is an interesting character, more because of how the writers didn't seem to know what to do with him than for anything else. Borans is a creep and a sleazy douchebag that somehow ends up as a bit of an anti-hero in the last act. However, that shift is not that well executed. I would've appreciated it if the writers had polished the character a bit.
Regardless of that, it is Goldblum and Davis the ones that make this work; along with Cronenberg's direction and Chris Walas' amazing special effects. Despite my issues with Stathis' character and a bit of a shaky second act, the film successfully walks that line between solid thrills, shocking gore, and emotional drama. Unlike Brundle's machine, which decided to favor the fly over the human, Cronenberg does maintain that healthy balance.
Grade: 4
ROBIN HOOD
(1973, Reitherman)
https://i.imgur.com/oZWozwZ.png
"You know somethin', Robin. I was just wonderin', are we good guys or bad guys? You know, I mean, uh? Our robbin' the rich to feed the poor."
That's the question that Little John (Phil Harris) asks his best friend, Robin (Brian Bedford) regarding their modus operandi, which is the basis of the popular character of Robin Hood adapted here by Disney. This version follows the titular character as he and his merry band fight against the tyranny of Prince John (Peter Ustinov) and the Sheriff of Nottingham (Pat Buttram).
This was a pretty fun watch. The film takes a very comedic approach to the story with Robin Hood's character design and attitude being cool and slick, without feeling arrogant. However, most of the humor falls on Prince John, which is understandable cause he's a really colorful and funny character. It's also worth noting that I saw it with my kids, so I went for the dubbed version.
The whole film is very light and slapsticky, and there really isn't much to it in terms of story. Also, everything feels abridged to a certain extent, and the animation is spotty at some points. But like I said, it's an enjoyable watch. The kids surely had fun with it, especially the physical humor of it.
Grade: 3
BODY HEAT
(1981, Kasdan)
https://i.imgur.com/dRb3N01.jpg
"Everyhing is just a little askew. Pretty soon people think the old rules aren't in effect. They start breaking them. Figure no one'll care, cause it's emergency time. Time out."
It's the middle of a heat wave in South Florida, which in the words of Det. Oscar Grace, leads people down a twisted path where "old rules" don't apply. "People dress different, feel different, sweat more, wake up cranky and they never recover", which is precisely the path where his friend has gone down. Can he recover?
Body Heat follows that friend, Ned Racine (William Hurt), who has just started an affair with Matty Walker (Kathleen Turner). As he learns about her husband's wealth, Ned agrees to murder him – figure no one'll care – so she can inherit his money. Emergency time. Time out. Of course, things are more than a little askew, as Ned will eventually discover.
This is one of those frequent mentions when the topic of 80s films come up that I hadn't seen, but what a pleasant watch it was. First, the atmosphere is so well transmitted that you can feel the humidity and the heat through the screen. But most of that falls also on Hurt and Turner's steamy and effective performances. Not only do they have an undeniable sexual chemistry, but they are pretty darn good in their roles.
Much like its characters, the film does veer dangerously into absurdism, especially in the last act. However, it doesn't fall but rather manages to hold on and deliver quite a few interesting twists in the end. After all, it's a film where everything is just a little askew and old rules aren't in effect, and it's all so wickedly fun.
Grade: 4
LE CERCLE ROUGE
(1970, Melville)
https://i.imgur.com/QPgZqyw.png
"Nothing can change a man's basic nature."
That is what Inspector Mattei (André Bourvil) tells night club owner and reluctant informer Santi as he questions him about the whereabouts of a fugitive. Even though he'd like to pretend he's above "snitching" and beyond his past life, it is in his nature. The same can be said about our two lead criminals: Corey (Alain Delon) and Vogel (Gian Maria Volonté), both of which can't change their course.
Le Cercle Rouge opens with a made-up Buddhist saying that references fate and how certain people will undoubtedly meet in "the red circle", regardless of the path they take. That is the case with both Corey and Vogel, as well as the other characters that circle around them as they prepare to carry out a heist; from the drunken but skilled marksman they chose as their third partner, to the shifty fence they expect will help them sell the goods after, or even the persistent Mattei.
The film starts with a bang, as we see Vogel escape Mattei, while Corey is released from prison only to go back to his usual doings. They still haven't met each other, but they're both proving from the get go that "nothing can change a man's basic nature". They meet through a spectacular case of luck and chance – you know, that "red circle" – and immediately learn to respect each other as they set out to commit this heist.
After that first act, it does take its time to set everything up for the heist. I do feel this part could've been trimmed a bit. There is an effective atmosphere built through the character's interactions, but I think some parts could've been abbreviated. The heist, which has echoes of Rififi all over, does succeed in building up tension as we see our three main characters carry it out in silence for almost half an hour.
I also had some issues with the ending, which felt a bit rushed and anticlimatic. Regardless of that, Le Cercle Rouge manages to create an atmospheric and tense heist film about a bunch of characters that just can't change their basic nature, and just can't escape the fate that awaits them in "the red circle".
Grade: 3.5
SIN CITY
(2005, Miller & Rodriguez)
https://i.imgur.com/CtiDlmk.jpg
"Power don't come from a badge or a gun. Power comes from lying."
"Lying big, and gettin' the whole damn world to play along with you." That's what powerful Senator Roark (Powers Boothe) assures to Det. John Hartigan (Bruce Willis). At the end of the day, it's who can make everybody else believe the lie; something that seems to be at the core of this unique anthology film from Frank Miller and Robert Rodriguez.
Sin City is split into four different stories, two of which are split into two, resulting in six parts. The main stories follow the man with the badge, Hartigan, and a man with a gun, Marv (Mickey Rourke). The former is trying to stop a serial child rapist, while the latter is a hulking beast of a man determined to find the murderer of a prostitute he fell in love with.
But sadly, power doesn't come from Hartigan's badge or Marv's gun. Even though their stories are separate, they both find themselves fighting against increasingly insurmountable odds controlled by men with power perched atop both government and religious structures. Men that have managed to get "the whole damn world to play along" with them.
Two things stand out from Sin City. First, it has a hell of a cast that, in addition of the already mentioned, includes Benicio del Toro, Clive Owen, Rutger Hauer, Jessica Alba, Josh Hartnett, Elijah Wood, Rosario Dawson, Michael Madsen, and many others. The second thing is its peculiar visuals in black-and-white, with select colorization, all of which help make this look and feel like its taken out of the comic book.
But it's not all in the cast and looks. The stories are all engaging and thrilling, and most of the characters are interesting, adding layers to characters that might have felt two-dimensional. I do think that one of the stories, "The Big Fat Kill", which follows Dwight McCarthy (Owen) chasing the abusive ex-boyfriend (del Toro) of his new girlfriend, feels like an extra that doesn't really add much to the overall story arc. But nonetheless, it is well made.
Overall, Sin City succeeds in bringing these classic noir shades into modern settings, with its thrilling direction and unique visual style. However, it is thanks to its colorful characters (no pun intended) and engaging storytelling that it ultimately sticks the landing.
Grade: 3.5
OPPENHEIMER
(2023, Nolan)
A film nominated for Best Picture or Best International Feature in the upcoming Oscars
https://i.imgur.com/U9MsDWb.jpg
"The bigger the star, the more violent its demise."
That's part of the conversation between J. Robert Oppenheimer (Cillian Murphy) and professor Chevalier during the opening act of this film. An illustration of the kind of force that would serve as inspiration for the development of nuclear weapons, but perhaps also a metaphor of Oppenheimer's own life. From the world's biggest scientific "star" to a somewhat "violent demise".
This film follows the rise and fall of Oppenheimer from his early studies and his subsequent work on the Manhattan Project, to his 1954 security hearing and the 1959 Senate confirmation hearing of Lewis Strauss (Robert Downey, Jr.) All of the story is anchored in the development, use, proliferation, and criticism of nuclear weapons, and Oppenheimer's involvement in all of those phases.
I've had my reserves about Nolan's latest big budget, blockbuster ventures, but this was an example of filmmaking at its best. Technically speaking, the direction, editing, and cinematography were great. In terms of writing, the way the story unfolded and the pace at which it is told was engaging. In terms of acting, pretty much every performance was top notch, especially Murphy, Downey Jr., and Emily Blunt as Oppenheimer's wife, Kitty.
At a little over 3 hours, the film moves at an unbelievable pace. For a film that's mostly about scientists and government officials talking and talking, it's incredibly breezy and engaging. Nolan manages to inject thrill and tension to pretty much every turn, but without losing the nuances and layers of all the characters involved. Murphy is great transmitting all the hidden insecurities of Oppenheimer, while Downey shines in the last act as he realizes what will be his "demise".
Generally speaking, I wasn't "blown away" (no pun intended?) by the film, but I was thoroughly impressed by it in pretty much every aspect. Although I did like the non-linear approach, there were some times where I felt a bit lost as to where certain events fit within the story. But regardless of that, I think the film succeeded in presenting the complexity of not only Oppenheimer, both the man and the "star"; but also of the situations and positions that he found himself in.
Grade: 4
BARBIE
(2023, Gerwig)
A film nominated for Best Picture or Best International Feature in the upcoming Oscars
https://i.imgur.com/fivzARQ.jpg
"I'm just so tired of watching myself and every single other woman tie herself into knots so that people will like us. And if all of that is also true for a doll just representing women, then I don't even know."
Set in the fantasy world of Barbieland, Barbie follows the titular doll (Margot Robbie), a part of a female-led society that's somehow tethered to the real-life world where real people play with them. When Barbie starts to have unexpected feelings about death, she decides to travel to the real world with Ken (Ryan Gosling), accidentally causing a clash between the establishment in Barbieland and a rising patriarchy.
If that synopsis sounds wild for a film inspired by a fashion doll, well, it's because it is. I might've groaned a bit when they announced the development of this film years ago, but then Greta Gerwig jumped in and things shifted. Because how can Gerwig, a notably progressive female filmmaker, turn this into something more akin to her sensibilities and not the stereotypical Barbie "vanilla flavor"?
Surprisingly, she succeeded in turning it into a mish-mash of fantasy, comedy, and drama that manages to be a commentary on society, feminism, and gender roles while also being touching and very funny. She is also helped by some wonderful performances from Robbie and Gosling, both of which nail all the spectrum of tones needed for their roles.
I do think that the subplot with Gloria (America Ferrara) and her daughter, although necessary to propel the story, felt underserved. Ferrara is good, and nails a couple of key monologues, but the way her relationship with her daughter fixes itself felt too convenient and formulaic. I'm also still trying to figure out how I felt about the ending for Barbie's character.
But despite those issues, Barbie was a very pleasant watch that works both as a whimsical fantasy about a world full of dolls, a funny comedy about "fishes out of water", and a thought-provoking satire about people finding their place in the world, and the trends of gender roles in modern society.
Grade: 4
INNER WORKINGS
(2016, Matsuda)
https://i.imgur.com/bvM1t5f.jpg
"The mind and the heart are at constant odds with each other – war and peace – the internal struggle."
This quote from writer and poet Melody Lee is just one of many highlighting that constant struggle between our heart and mind. Something that is figurative, but that Disney illustrates in a more literal way in this fun short film.
Inner Workings follows a typical day in the life of Paul, starting when he wakes up and continuing as he goes to work. The interesting thing is that we experience most of these events from the perspective of Paul's inner organs; most notably his Brain, Heart, and Stomach.
Paul's Brain pushes him to go to what seems to be a dead-end job, while his Heart wants to have fun at the beach and spend time with a pretty vendor. This "internal struggle" is portrayed in a very creative and fun way. At least that's what my Brain thought.
Grade: 3.5
SANJAY'S SUPER TEAM
(2015, Patel)
https://i.imgur.com/9IR4lUh.jpg
"Growing up, there was just no dialogue between me and my father. I had this fear of approaching him with questions about why we were doing what we were doing. And to be honest, I had no interest. I just wanted [the daily worship ceremony] to be over as quickly as possible."
That is how animator and filmmaker Sanjay Patel described his relationship with his father, when he was a child. One of enduring without understanding, or even without interest. Which makes more interesting how that very same thing is what he used as inspiration for his Academy Award nominated short film Sanjay's Super Team.
The short film presents the contrast of young Sanjay and his father each absorbed into their respective daily "rituals" in front of a "box". Sanjay spends his time watching his favorite superhero TV show while drawing superheroes in his notebook while his father performs a daily Hindu ritual in front of a wooden shrine. Each of them annoyed and dismissive of the other.
It is as Sanjay is forced to participate in his father's ritual that he finds himself imagining a fight between an evil demon and three Hindu deities, something that makes him reevaluate the way he perceives his father and his beliefs, but that also challenges his father to look at what his son does in a different light.
I think this was a pretty charming short. It feels very personal and heartfelt, but it's also told in a colorful and visually impressive way. The animation from Sanjay's imagination was really cool, but moreover, there's this honesty that flows through the story that holds it all together.
Grade: 3.5
AMERICAN FICTION
(2023, Jefferson)
A film from an African-American director
https://i.imgur.com/1eVxojB.jpg
"People are more than their worst deed."
That's what the love interest of Thelonius "Monk" Ellison (Jeffrey Wright) tells him in regards to her job as a defense attorney. But it is also something that resonates through the lives of all the characters in this Oscar nominated film; whether the "worst deed" are the affairs of Monk's deceased father, the recently-discovered homosexuality of his brother Cliff (Sterling K. Brown), or Monk's own "misguided" efforts to send a message about representation through his recent book; something that backfires in ways he didn't imagine. But the point remains the same; we are more than just some "slice" of our lives.
American Fiction follows that "slice of life" from Monk, a professor that finds himself frustrated with his academic work, his career as a writer, as well as the way he sees African-Americans are portrayed and/or perceived by students, potential readers, and everyone around them. To counteract, he decides to use a pseudonym to jokingly write a book full of stereotypical "black" tropes in an effort to send a message. But to his dismay, the book is critically acclaimed and well received by audiences, putting him in the position to either continue with the deceit or own it.
The first thing that came to my mind when I read the synopsis was that it sounded a bit like Spike Lee's Bamboozled, a film I have a lot of appreciation for. That comparison is not meant as a slight on either film, because both use different methods for perhaps somewhat similar goals. While Lee's focus is more on the macro of that portrayal and perception of African-Americans in media, director and writer Cord Jefferson goes for a more personal and small-scale approach as he contrasts Monk's academic life with his personal one, as he struggles with several family tragedies and situations.
It is in those "slices" of personal life that we can see the reflection of the above quote. Every character in the film is quick to judge others for that *one* deed, especially Monk himself. The most notable examples are his resentments against Cliff for walking away from their family and living a more "carefree" life as well as his prejudices against fellow writer Sintara Golden (Issa Rae), who is enjoying success for writing a book that Monk considers is embracing the same stereotypes he was satirizing in his own book.
American Fiction has a strong message to send, in terms of how we perceive and judge others, whether it is based on our own prejudices and stereotypes, and sometimes without looking at ourselves. But the truth is that the story lacks a certain edge; some of what is hinted at a couple of clever fourth-wall breaking moments that I wished had been used more. Where the film excels is in the excellent performances from everybody in the cast, especially Wright and Brown, both of which elevate the seemingly formulaic family drama making the film feel like *more* than what it could've/should've been in lesser hands.
Grade: 3.5
THIS IS ME... NOW
A LOVE STORY
(2024, Meyers)
https://i.imgur.com/wfrmdFJ.jpg
"♪ I took my time, lot of winters, summers, baby
Had to heal my heart, but I love who I am lately ♫"
In 2002, singer Jennifer Lopez started a highly scrutinized relationship with actor/director Ben Affleck, inspiring her to write her third album, This Is Me... Then. One breakup, two marriages, and 20 years later, they reunited and got married in 2022, inspiring her to write a new album which basically tells us "who she is... now". In an interesting move, she's accompanied the album with a musical film, which is what we'll be talking about... now.
Inspired by the lyrics of the album, This Is Me... Now follows a fictionalized story based on Lopez and Affleck's relationship. In it, the artist is trying to recover from a past accident through therapy, while also going through several other relationships, something that her close friends criticize and worry about. Spliced through the story are several music videos that sorta tie the story together.
I like to think of myself as a fairly open music listener; I listen to almost any genre. That said, R&B – or Lopez herself – are not genres or artists I actively seek that much. So, even though I found most of the songs to be solid, I'd like to focus more on the cinematic aspect of this. Even the narrative is very loose, with the story weaving in and out from realism to fantasy, but the visual aspect is what stood out for me.
Director Dave Meyers takes different approaches to each segment, from a very energetic opening at a factory in "Hearts and Flowers", or some lively sequences at a wedding or during a Love Addicts Anonymous therapy session, to more emotional and slow-moving pieces like "Hummingbird" or the title track. The glass house setting for "Rebound" was also fairly impressive.
The musical also features cameo appearances from numerous artists like Fat Joe, Jane Fonda, Trevor Noah, Sofia Vergara, Neil deGrasse Tyson, Post Malone, and many others. Their integration into the whole story could've been better, and the story feels kinda rushed towards the last act. However, taking it for what it is; a visual journey through these set of songs that are somewhat inspired in a relationship, or "love story", I'd say it was pretty cool.
Grade: 3
THE ZONE OF INTEREST
(2023, Glazer)
A film nominated for Best Picture or Best International Feature in the upcoming Oscars
https://i.imgur.com/ONuE92j.jpg
"The life we enjoy is very much worth the sacrifice."
Imagine the house of your dreams; lovely cottage-style house, spacious, huge garden, a greenhouse, and a pool with a slide. That's the life that Hedwig Höss (Sandra Hüller) is not willing to let go, which she makes very clear to her husband Rudolf (Christian Freidel). They're living "beyond how [they] dreamed", so when Rudolf is set to be transferred to another town, she refuses to. After all, this is the home they've dreamed of for their family, right next to the Auschwitz concentration camp.
Set during World War II, The Zone of Interest follows the lives of the family of Rudolf, Nazi commandant of the Auschwitz concentration camp. As the war rages on, he and his family are settled in a house right next to the camp; a house where they live their best lives, enjoy picnics, swims in the river, garden parties at the pool, all while next door, the most terrible atrocities are occurring. But director Jonathan Glazer makes the bold choice of not showing us *anything* that happens beyond the wall; all we get are the horrifying sounds.
The Zone of Interest is an impressively crafted film. The direction and cinematography are meticulous, and the ice cold performances are on point. However, I won't deny the fact that after it finished, I was left more puzzled than impressed. But then, it happened. As the days went on, the film slowly crept up inside of me to the point that I just couldn't stop thinking about it. Unlike this family, the constant sounds of machinery, the screams of anguish and horror, the ever-increasing gunshot sounds, they're all things you can't ignore.
You could transpose the basic premise of the family to any other setting: family adjusting to a new place, while the father has to deal with changes in his job, which presents new sacrifices to the whole family. But setting this seemingly mundane premise to World War II Auschwitz just puts a whole different spin to the word "sacrifice" which the family speaks of. For a moment there, we might see ourselves absorbed in the family drama, but the sounds are too much, the horrors are too many to ignore. So is this film.
Grade: 4.5
THE AFTER
(2023, Harriman)
https://i.imgur.com/k1zfobz.png
"I just miss the life... that he's never gonna have."
The After follows Dayo (David Oyelowo), an executive-turned-Uber-driver. The above quote is part of an unrelated conversation he overhears between two of his passengers, but it's a trigger for him. You see, Dayo is still trying to cope with life "after" tragedy has struck his family.
When you're grieving, anything can be a trigger. A song, a place, someone's face, a word. Dayo knows it too well as he has to listen to a father celebrating his son's achievements in a soccer game, two friends trying to handle a family emergency over the phone, or a bickering couple with a daughter that looks a lot like Dayo's.
Is it manipulative? Maybe, but then again, what film isn't? The strength of the short is in Oyelowo's committed performance and how he transmits that struggle from a grieving father and husband, and how that grief can sometimes knock you down. Do we stay down and miss the life we never gonna have, or do we stand up and keep on fighting for the one we do have?
Grade: 4
ICEMAN
(2017, Randau)
A film set in prehistoric times
https://i.imgur.com/6iVXuia.jpg
"Your soul became free."
Back in 1991, the mummified remains of a man were discovered in the Ötzal Alps, with a fatal arrow injury on the shoulder as well as other wounds. The well-preserved state in which he was found as well as the nature of his injuries sparked much speculation about his life and death. Iceman is an example of that as it creates a story around the man and what could've led to his murder.
Set more than 5,300 years ago, in the Neolithic period, the film follows Kelab (Jürgen Vogel), the leader of a primitive clan. When a group of men attack their settlement killing everybody, Kelab sets out to get revenge at all cost. But there's a popular quote that says "Before you embark on a journey of revenge, dig two graves". Will he be willing to pay that cost?"
I stumbled upon this film by chance, while looking for films "set in prehistoric times" and thought it was a pleasant surprise. It is really interesting to see a film borne out of such an intriguing finding, but to make it thrilling and engrossing really takes some skill. Iceman succeeds in doing that with few characters and no discernible dialogue.
The above is a rough translation of Kelab's prayer as he says one last farewell to his family. They're free now, while in a way, he's enslaved by anger which fuels his quest to find those that did him wrong. The aftermath of that quest might feel a bit anticlimactic, but there is a tragic yet poetic irony in it that just makes it work somehow. Kelab is not John Wick BC. He's only a man with nothing else to do but dig those two graves, or just fall into it.
Grade: 3.5
KNIGHT OF FORTUNE
(2022, Noer)
https://i.imgur.com/anmo4j0.jpg
"♫ Do you ride alone
Knight of fortune ♪
♫ Take me with you"
Knight of Fortune follows Karl (Leif Andrée), a widower struggling to see his late wife at the morgue. It is there that he meets Torben (Jens Jørn Spottag), a fellow widower in a similar situation. Although hesitant at first, they end up opening to each other as they share stories about their respective wives.
The title of the short comes from a song, "Ridder Lykke", which was liked by both the wives of the two protagonists. But its lyrics of melancholy and ultimately hope can be seen as metaphors for the grief and the fears that the two are going through: "do you ride alone?... where are you?... the stars say I will reach you in the end."
The short does so with an effective dose of humor and some good performances by the two leads. Jesper Lohmann is also very good as the morgue attendant that greets them. You can say there is a twist there, but it's really not that hard to guess it; neither is where the story will end. But as long as you let the heartfelt performances from Andrée and Jørn take you, you won't be alone.
Grade: 3
KILLERS OF THE FLOWER MOON
(2023, Scorsese)
A film nominated for Best Picture or Best International Feature in the upcoming Oscars
https://i.imgur.com/isdALYA.png
"Oh, yeah? I mean, there might be a public outcry for a while. But then you know what happens? People forget. They don't remember. They don't care. They just don't care. It's just gonna be another everyday, common tragedy."
In 2019, thousands or maybe millions of people – me included – were introduced to the events of the Tulsa race massacre via HBO's Watchmen. Around that time, I also found out what that 90's Rosewood film I never rented was about. In 2023, I found out about the Osage Indian murders as I was reading the synopsis to this film. Just everyday, common tragedies.
Set in the early 20th Century, Killers of the Flower Moon follows the events around those murders. Sparked by the discovery of oil in Osage Nation, the Natives had "wealth" but were still assigned white "guardians" to help them "administer" it because of their "incompetence". Notice all the quotations, because none of those were real to the Osage. They weren't incompetent, but they still didn't get their wealth, and there were certainly no guardians administering nothing, at least not in good will.
The story mostly revolves around Ernest Burkhart (Leonardo DiCaprio), a war veteran that arrives in town only to find himself entangled with an Osage, Mollie Kyle (Lily Gladstone). What he's too incompetent to realize (or is he?) is that this is all a scheme from his powerful uncle, William Hale (Robert De Niro) to try to gain control of the Osage oil and wealth, through arranged marriages, theft, but also murder.
This is one of those films that's more enraging than it is pleasing. Certainly that's not a slight at its craft because most things from the film are top of the line. From the performances to the cinematography, from the score to the way it builds this relationship between Ernest and Mollie. But the enraging thing is not only that it's all for show, but that it really happened.
I'm from Puerto Rico, so maybe it's understandable that I wouldn't necessarily be exposed to these "common tragedies" before. But I consider myself fairly well read and educated, and yet it seems that every now and then, I lift up a rock and uncover another "everyday, common tragedy" like this inflicted upon the same groups; Emmett Till, Rock Springs, the 1871 Chinese massacre in Los Angeles. People shouldn't forget, but we also shouldn't need Martin Scorsese or a TV show to remind us and make us care.
Grade: 4
I've had a dozen of things going on these last few months, which has been hard on the podcast. I'm going through a rebirth :laugh: trying to keep up so here is my first official 2024 episode, which also happens to be my 100th regular episode, called The Rebirth Loot. In this episode, I'm joined by Jason, host of the Binge Movies podcast as we talk about movies that deal with rebirth, change, metamorphosis, etc. We had a lot of fun talking about that, so check it out:
The Movie Loot 100: The Rebirth Loot (with Jason from Binge Movies) (https://www.buzzsprout.com/850063/14381235-the-movie-loot-100-the-rebirth-loot-with-jason-from-binge-movies.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/7uYP5ozoTZJrBjT4RnfpSN?si=d24f5811d14f45c3), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-100-the-rebirth-loot-with-jason/id1578191119?i=1000650961527), Google Podcasts (https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS84NTAwNjMucnNz/episode/QnV6enNwcm91dC0xNDM4MTIzNQ?sa=X&ved=0CAUQkfYCahcKEwiQptSKsqmFAxUAAAAAHQAAAAAQNw), and other streaming platforms.
Hope you like it!
NĂI NAI & WÀI PÓ
(2023, Wang)
https://i.imgur.com/iVummcn.jpg
"The days we spend feeling pain and the days we spend feeling joy are the same days spent. So I'm going to choose joy."
Growing up, i.e. getting old, is an interesting thing. We can't stop it, we can't control it. We can only choose how to face it. For some, it becomes an endless source of regrets and complaints, while for others it becomes an inspiration to seize every day and make the most out of it. Whether it is by doing so-called great things, or just by being silly with your roommate, which is what the titular characters of this documentary have chosen.
Filmed by Sean Wang, Nǎi Nai & Wài Pó follows his two grandmothers, who live together, as they spend their time having fun and, by their own admission, being silly. The documentary was mostly filmed in 2021, during the peak of the pandemic, when most people didn't have many options to go out. It shows what seems to be the daily routine of the grandmothers, although they admit to Wang that "it's only because you're home that we're this silly".
It is a lot of fun to see two older women in their 80s dancing, playing, chugging whiskey, and yes, farting... and laughing about it. But it also takes some time to ponder about where they are and what they choose to do with their lives, which is when one of them share the above quote. It might not be the most groundbreaking documentary, but much like Nǎi Nai & Wài Pó, it's full of joy.
Grade: 3
THE LAST REPAIR SHOP
(2023, Proudfoot and Bowers)
https://i.imgur.com/2CJ96Nm.jpg
"When we see a broken thing, we think 'Oh, with a little something here, a little something there, we can fix the part that's broken and make things whole again'."
The Last Repair Shop follows the work at the LAUSD instrument repair workshop. The shop provides a free service to musical students from public schools, most of which don't have the resources to buy an instrument, let alone maintain it. The documentary focuses on four of the craftspeople at the shop as they draw parallels between their life stories and how they approach their work.
These workers come from very diverse backgrounds; from a gay man that was afraid to come out to his parents to immigrants from Mexico or Armenia trying to escape violence and war. All of them have one thing in common, and it's how they used music as an outlet. This is also interspersed with stories from the students they service, all of which are going through similar struggles.
It is beautiful to hear these stories, but most importantly, to see the commitment of the four workers profiled and the impact it has on these children. Music is often described as "healing", but to be able to heal, sometimes the instruments themselves have to be "healed" or fixed; and perhaps by "healing" the instrument, they can "heal" whoever's playing it, and make things whole again.
Grade: 3.5
CLUB NATIVE
(2008, Deer)
A film from Tracey Deer
https://i.imgur.com/wK1a4jW.jpg
"It's not what your blood is, is who your family is. The other most important piece is who you are, and how you walk, and how you act and what you contribute."
Tracey Deer is a Native American filmmaker from the Mohawk tribe. Club Native is a documentary that follows the identity struggles within her home community of Kahnawake, in Canada. Although she covers different topics, the main focus is on blood quantum laws that are used to determine how "Native American" someone is, who they can marry, and where they can live.
The documentary opens with footage from the 1990 Oka crisis, where the Mohawk were disputing the construction of a golf course in a Mohawk burial ground. This confrontation resulted in 2 deaths and numerous injuries, but it helps put in perspective the marginalization and continuous displacement of Native Americans, and the overall racism against them.
It then follows four women dealing with different identity situations. One of them was critically injured in those protests. Most of their issues comes from how their ethnicity is put into question either by who their parents were, or who they want to marry. Two of them end up marrying white men which, as a result of the local laws, endangers her place in the community.
There are also brief interviews with many other members of the community offering their perspective. Certainly one can understand their preoccupation of some of them in terms of losing their heritage and their values. But on the other hand, how can you tell a woman that she's not part of the community she has lived all her life, only because his father is white? or how do you tell a young woman that has fallen in love that she shouldn't marry a white man?
Overall, the documentary is very insightful and well structured. I liked how Deer spliced the different stories, and I thought it was effective to her goals. At the end of the day, we shouldn't lose perspective of all the struggles that Native Americans have been through, but also of that most important piece that one of the interviewees brought up: not what's in your blood, but who you are, how you walk, how you act, and what you contribute.
Grade: 3.5
DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS
(2022, Raimi)
https://i.imgur.com/08t1OuJ.jpg
"Just because someone stumbles and loses their way doesn't mean they're lost forever."
Doctor Strange in the Multiverse of Madness follows the titular character (Benedict Cumberbatch) as he tries to protect America (Xochitl Gomez), a teenager that can travel through the multiverse, from Wanda (Elizabeth Olsen). To do so, he must travel through the multiverse himself where he'll meet some expected (and not so expected) allies and enemies.
I've always said that, with some exceptions, the MCU has perfected the technique of maintaining a relatively high floor/low ceiling regarding their film output. This means that *most* of their films are OK-ish fun, with few of them (if any) being terrible and/or excellent. From a business perspective is quite impressive for a franchise to maintain such a consistency for 20+ years with no stumbles.
Unfortunately, the stumbles post-Endgame just keep coming. From a momentum-halting pandemic and an overall lukewarm reception to new films to the whole scandal surrounding their rising star Jonathan Majors, the hits just keep coming. This film is the exemplification of what I said before in that it contributes little to elevate (or sink) the franchise. It's perfectly fine entertainment, but at the end of the day, it's just there; existing mostly to move pieces across a board in preparation for the next film on the queue.
But to go back to what I just said, the film is fine entertainment. The action is there, the fun quips and the banter, and some neat moments of thrills and "gore". Although it doesn't really go over board, you can tell Sam Raimi directed it in how the film leans towards his "horror" sensibilities. Whether it is Strange plucking the gigantic eye from an alien creature to him mentally controlling a Zombie version of himself to save the day.
The performances are all good, especially Chavez who has a pretty lively spark to her. Most notably, Olsen gets the chance to test her range a bit as her previously heroic character becomes the villain here. Performance-wise, I think she delivered, but from a narrative standpoint, I think this break in her character needed a bit more time to breathe. Again, it felt rushed and just as a means to move pieces across a board.
I admit I've consumed a gigantic amount of what the MCU has offered since Phase I, so I don't think they've fully lost their way, but they have to be careful with these stumbles. To reiterate something I've said twice already, Doctor Strange in the Multiverse of Madness is fine entertainment. It's far from being terrible, but far from being excellent as well. It's just there, delivering what you would expect for 2 hours, only to be lost afterwards.
Grade: 3
THE BAND WAGON
(1953, Minnelli)
A film from Vincente Minnelli
https://i.imgur.com/Hrdi8yL.jpg
"Step right this way, ladies and gentlemen, Egyptian mummies, extinct reptiles, and Tony Hunter, the grand old man of the dance!"
The Band Wagon follows Tony Hunter (Fred Astaire), an aging musical star just going through the motions of what seems to be the end of his career. However, when the opportunity of a comeback comes up in the hands and pen of his two best friends, he's enthusiastic about it. Unfortunately, the upcoming musical is obliviously taken over by the director who wants to turn it into an overblown and pretentious adaptation of Faust.
I've seen a handful of Vincente Minnelli's musical and films and I've enjoyed them all, so I was looking forward to this one. For the most part, it delivered. Astaire is great in the lead role offering equal doses of self-deprecating humor and charm, which is needed to make his relationship with Cyd Charisse, who is 20+ years younger, work and feel organic.
For the first half of the film, I was fully on board. Most of the musical numbers were truly memorable; especially the "Shine on Your Shoes" number and the iconic "That's Entertainment". There is a certain fluidity to these two that makes it all look so effortless. Big part of that goes to Astaire, but a good part also goes to Minnelli's wonderful camera movement.
Unfortunately, I felt the film went perhaps a bit too long. Once the "Faust" musical is done and our stars prepare for what's next, it started dragging a bit. It did recover in the last part, with a noir-inspired song/dance sequence that is both cool and inventive. I think I would still put this below most of the other Minnelli musicals I've seen, but it's still a fun watch, and an opportunity to see Astaire, the grand old man of the dance!
Grade: 3.5
Weird year so far, but this is me catching up with my summary for FEBRUARY 2024:
A film from an African-American director (Black History Month): American Fiction (https://www.movieforums.com/reviews/2443211-american_fiction.html)
A film nominated for Best Picture or Best International Feature in the upcoming Oscars: Oppenheimer (https://www.movieforums.com/reviews/2442523-oppenheimer.html), Barbie (https://www.movieforums.com/reviews/2442615-barbie.html)
A film from Vincente Minnelli (born February 28): The Band Wagon (https://www.movieforums.com/reviews/2454774-the_band_wagon.html)
A film set in prehistoric times (World Anthropology Day, February 15): Iceman (https://www.movieforums.com/reviews/2449444-iceman.html)
A film from Tracey Deer (born February 28): Club Native (https://www.movieforums.com/reviews/2454119-club_native.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/57MFWGHarg9jid7yfDTka4RmcMU.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/8Gxv8gSFCU0XGDykEGv7zR1n2ua.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/iuFNMS8U5cb6xfzi51Dbkovj7vM.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/5CvUmTWK46rShfgLmw7LuKF2fYL.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/uaFpc99fTKhBJtoSbILwZIzHRtO.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/argLsUyOAYb65RuhkkdjGEYgTLu.jpg
Other films seen, not for the challenge:
Pixar short films: Red's Dream (https://www.movieforums.com/reviews/2440192-reds_dream.html), Luxo Jr. (https://www.movieforums.com/reviews/2440194-luxo_jr..html), One Man Band (https://www.movieforums.com/reviews/2440199-one_man_band.html), The Blue Umbrella (https://www.movieforums.com/reviews/2440202-the_blue_umbrella.html), Day & Night (https://www.movieforums.com/reviews/2440715-daynight.html), Boundin' (https://www.movieforums.com/reviews/2441107-boundin.html), The Legend of Mor'du (https://www.movieforums.com/reviews/2441110-the_legend_of_mordu.html), George and A.J. (https://www.movieforums.com/reviews/2441116-george_and_a.j..html), Sanjay's Super Team (https://www.movieforums.com/reviews/2443118-sanjays_super_team.html)
Neo-noir films: Tightrope (https://letterboxd.com/thief12/film/tightrope/), Nightcrawler (https://letterboxd.com/thief12/film/nightcrawler/1/), La Haine (https://letterboxd.com/thief12/film/la-haine/), Body Heat (https://www.movieforums.com/reviews/2441984-body_heat.html), Le Cercle Rouge (https://www.movieforums.com/reviews/2442037-le_cercle_rouge.html), Sin City (https://www.movieforums.com/reviews/2442071-sin_city.html)
Other watches: Avengers: Infinity War (https://www.movieforums.com/reviews/2440318-avengers_infinity_war.html), Resilience (https://letterboxd.com/thief12/film/resilience-2023/), The Fly (https://www.movieforums.com/reviews/2441544-the_fly.html), Robin Hood (https://www.movieforums.com/reviews/2441899-robin_hood.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/ebPNnYqoEYntnrGdwtmppvBRHpu.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/5IM6KmDyYX1rDPlZ4bQE617T8rZ.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/nBBl8gWJvVppKqyY4ugdm3znZ9G.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/iSWV7ra8HJ3gYnZFMMrPe8CBbrv.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/hn2tOtidoYZ0D56jR4yknpdP1mU.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/bQBFIwb77jrsXiH7TQVFu7onwN7.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/kqJZ5rj0ORGBNCURLzV3wykh3pR.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/rIEV9tf9tjlzns2oygAxrSFv4sr.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/mShcGzOctlq6zs33UdrCdAwZMGq.jpg
https://image.tmdb.org/t/p/w600_and_h900_bestv2/3TozQxUUX291sM68PlwsucoGatw.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/j9HrX8f7GbZQm1BrBiR40uFQZSb.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/8rgPyWjYZhsphSSxbXguMnhN7H0.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/5LipPcaW1J9IjAP7TOTesw8OcMS.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/w56La43IJnGpLepgqfGCAZsbQPp.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/i66G50wATMmPrvpP95f0XP6ZdVS.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/7WsyChQLEftFiDOVTGkv3hFpyyt.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/9aZTIiNGcQ3Tr8qavYiHTgxRNTu.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/8gZWMhJHRvaXdXsNhERtqNHYpH3.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/alcY9jZBgKw9OB7hiPYVNvh03Sb.jpg
I know it's April, but bear with me :laugh: my favorite first-time watch of February was probably Oppenheimer, although there were a couple of other great watches like Body Heat.
Least favorite first-time watch, nothing bad although some of those Pixar shorts were just ok. Boundin', probably?
It's been a while since I recorded this, but I just put the audio up a day or two ago. Here is one of my latest "assignment" episodes for the podcast.
The Movie Loot: The February Assignment (with Brian Skutle) (https://www.buzzsprout.com/850063/14583025-the-movie-loot-the-february-assignment-with-brian-skutle.mp3?download=true)
In this one, my friend Brian Skutle (from Sonic Cinema) joined the loot as we chose a set of 5 categories to guide us on what to watch during February.
You can also see the live broadcast we did via YouTube
here (https://www.youtube.com/watch?v=4RfFid7eq4w&t=9s)
...or listen to it through any podcasting platform like Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-the-february-assignment-with-brian-skutle/id1578191119?i=1000652446097), Spotify (https://open.spotify.com/episode/0nDC9dKvMBxgzdzecPhD7X?si=a045262ff9904022), or any other.
Here are the criteria for FEBRUARY 2024:
A film from an African-American director (Black History Month):
A film nominated for Best Picture or Best International Feature in the upcoming Oscars:
A film from Vincente Minnelli (born February 28):
A film set in prehistoric times (World Anthropology Day, February 15):
A film from Tracey Deer (born February 28):
Those two posts should be swapped, but I'm a mess lately so it is what it is :laugh: I already did that catch-up with Brian, so I can share that link once that episode is up.
EXTRACTION
(2020, Hargrave)
https://i.imgur.com/uM1v52f.jpg
"You drown not by falling into the river, but by staying submerged in it."
Extraction follows mercenary Tyler Rake (Chris Hemsworth) as he is tasked with rescuing the son of an Indian drug lord who was kidnapped by his rival. However, after a double-cross, Tyler has to handle not only a rival sent by the father of the kid and the military controlled by the main baddie, but also his own inner demons.
When I set out to watch this, I was expecting your typical dumb, action film. However, I was surprised by two things: first, that the action is far from dumb, and the film is full of some really impressive action sequences. The highlight of that is a thrilling, "one shot" take that lasts almost 15 minutes, and includes numerous fights, a car chase, foot chase across multiple buildings and rooftops, another car chase, guns, rifles, knifes, and explosions.
One of the weakest points of the film is the antagonist. He is a stereotypical rich drug lord that sits atop a mansion on a hill overlooking the chaos, while being briefed by nameless subordinates. However, I liked the contrast that we got from Saju Rav (Randeep Hooda), the rival that is sent by the father of the kid who shows that there's more to what we might expect from the characters and the film.
Which leads me into the second thing that surprised me. Because, aside from the action, I liked that the film had a bit more to it than just that. The character of Rake is haunted by the decisions of his past and a certain amount of self-hatred, which makes him push Ovi, the kid he is rescuing, aside at first. Sure, he'll have a change of heart; that much is predictable, but I still thought this state of mind of the character was neatly portrayed by Hemsworth.
The above quote is one that Ovi shares with him during a particularly emotional conversation. When the film starts, our hero is introduced in a scene where he is camping with some friends in a clearing in the jungle. As he wakes up, he immediately stands up and dives from a cliff into a river below. But instead of coming back up, he submerges and sits at the bottom for a while, holding his breath, only to come back up again; something that is implied he does often.
But this ties into Rake's overall attitude as well as the quote that the kid shares with him. You can't stay "submerged", and as many hits as Rake has taken in his life, and as many hits as he takes in this film, he keeps coming back up to complete his mission; first, for the money, but then because he knows he has to. He can't stay submerged, but has to come back up again.
Grade: 3.5
EXTRACTION 2
(2023, Hargrave)
https://i.imgur.com/SX04ZF3.jpg
"Believe it or not, it's pretty difficult to let someone you care about die. But you fought your way back. You just have to find out why."
Extraction 2 picks up right after the first one, as Tyler Rake (Chris Hemsworth) is rescued barely alive from the aftermath of the previous mission. After months of recovery, he is brought back into the fold to rescue his ex-wife's sister and two children. The catch? She happens to be married to one of the leaders of a dangerous Georgian crime organization, and the family has been forced to live in the prison where he's being held, which is where Rake has to extract them from.
The first Extraction was a pleasant surprise. Not only because of the excellent setpieces and the well choreographed action scenes, but mostly because of the humanity that the script and Hemsworth give to a character that could've been a one-dimensional, stereotypical badass. The sequel continues that trend as we see Rake still haunted, still struggling with his past; something that is brought to the surface in his interactions with the young kid he's rescuing, but not in the way you would expect.
But yeah, the setpieces and action scenes are excellent as well. This includes yet another impressive and thrilling "one shot" that lasts around 20 minutes, and includes numerous fist fights, knife fights, gun fights, a prison riot, a sequence on board of a train, more explosions, and Hemsworth on fire, to name a few. Hearing director Sam Hargrave talk about how little to no CGI they used makes it all more impressive.
Two other things I really enjoyed in this one was how the story added to the characters of Nik & Yaz, Tyler's partners. I really liked the friendly banter between the three, which didn't veer into comedic relief but felt organic. The second thing was the improvement on the villain. Whereas the first one had a pretty thin villain, the main bad guy here is pretty cool. He's no more dimensional than the one in the first one, but he's given a lot more to do, which is good.
When Extraction finished, Tyler Rake was left badly wounded, shot in the neck, and down in a river. After such an impressive action debut for Hargrave and the character, I guess it was just a matter of time for him to fight his way back. I think they found a good reason why.
Grade: 3.5
THE LAST BRUNCH
(2024, Cummings)
https://i.imgur.com/3OvVKny.jpg
"Sometimes you don't realize how thirsty you are until it's right in front of you."
Meet Bridge, a painter. The thing is that he's in a bit of a slump. Painter's block, they call it. But sometimes it might take you a while to realize that the thing you need the most is right in front of you. That is one of the ideas that's running through Jim Cummings' latest short film, The Last Brunch.
The short film follows two couples – Bridge & Kara (Bridge Stuart & Taylor Misiak) and Jamison & Ashley (Dustin Hahn & Julia Bales) – as they meet for brunch at a Peruvian fusion restaurant with Moroccan pots. The meeting results in a series of awkward exchanges, especially between Bridge and Jamison, that might end up revealing what they're really thirsty for.
Jim Cummings has slowly but surely made a name for himself as a filmmaker and as an actor. His unique mixture of genres results in some interesting and zany projects, like the tragic comedy of Thunder Road or the comedy horror of The Wolf of Snow Hollow. But what he also shows is a unique talent for effective timing of what to reveal and when to reveal it.
The Last Brunch is yet another example of that as this awkward get-together keeps escalating each time with crazier, wackier, and more awkward reveals, each of them more hilarious than the previous one. Special props also to the cast for some excellent delivery. Hahn has the showier role and he excels in it, but I really love the subtle touches in Stuart's performance, right down to his final look.
I've seen a couple of other Cummings' shorts and I've loved every single one of them. It's so refreshing to see an already established filmmaker return to this medium of short films, and revel in it. I wish more people would realize that maybe, just maybe, what they're thirsty for it's right in front of them, on Vimeo (https://player.vimeo.com/video/924406654?h=f5325991e0), so check it out and drink it all up.
Grade: 4
ONE FALSE MOVE
(1992, Franklin)
https://i.imgur.com/ndUdHpO.png
"I've been police chief here for, hell, going on six years. I've never even drawn my gun."
The term "one false move" usually refers to "bad or serious consequences that come as a result of someone making even the smallest mistake". This can range from a sudden move for a weapon during a face off to a slip in judgment during youth. Enter Dale "Hurricane" Dixon (Bill Paxton) who, as police chief of small-town Star City in Arkansas hasn't have to deal with many "false moves" or its consequences during his service.
But that's about to change as three dangerous criminals are heading out to Star City, after murdering six people in Los Angeles. This leaves them with a suitcase full of blow, but no money. As the LAPD detectives go after them, they have to recruit Dixon's assistance to help stop them, which gives him the opportunity to do "some real police work". But "false moves" can factor into how each of them will react and respond.
This is a film that somehow slipped under my radar back in the day. It is a fairly dark and somber crime thriller. It opens with a chilling scene as we see these three criminals: Ray (Billy Bob Thornton), Pluto (Michael Beach), and Fantasia (Cynda Williams) murder six innocent people. But then it just lets things simmer as they head out to Star City to the inevitable clash with Dixon and the police.
There are numerous positives here. From the way the film draws you in with this story about this charismatic cop that craves to be a hero to Carl Franklin's confident direction and pace as he builds up the tension around this inevitable confrontation. This is helped by solid performances from pretty much everyone involved. Thornton, Beach, Williams. But as is usual in any film he's in, Paxton is the scene stealer as he adds layers to this character, beyond all the enthusiastic "happy pup" hollers he gives now that he feels like a "real cop".
I still feel like the film needed a bit more "oomph" to take it over the hump for me. But regardless of that, this was a very good neo-noir with a slow-burn. Where one false move – past or present – can lead to tragedy; where even the smallest mistake can come back to haunt you, and bring down serious consequences.
Grade: 3.5
Just keep scrolling... :cool:
Still catching up with some delayed episodes, so here is one of my latest "assignment" episodes for the podcast.
The Movie Loot: The March Assignment (with Todd Liebenow from Forgotten Filmcast) (https://www.buzzsprout.com/850063/14659786-the-movie-loot-the-march-assignment-with-todd-liebenow-from-forgotten-filmcast.mp3?download=true)
In this one, my friend Todd Liebenow (from Forgotten Filmcast) joined the loot as we chose a set of 5 categories to guide us on what to watch during March.
You can also see the live broadcast we did via YouTube
here (https://www.youtube.com/watch?v=qzbmKYezNNg)
...or listen to it through any podcasting platform like Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-the-march-assignment-with-todd/id1578191119?i=1000655849600), Spotify (https://open.spotify.com/episode/2KVWIGuGsMGk2JXhLGUNO4?si=a10457f626d049ab), or any other.
Here are the criteria for MARCH 2024:
A film from the 1930s:
A film where the main character is your namesake (Namesake Day, March 3):
A film originally released in 3-D in theaters (Nat'l 3-D Day, March 19):
A film directed by a woman (Int'l Women's Day, March 8):
A film with a color in its title (Int'l Color Day, March 21):
SAFE IN HELL
(1931, Wellman)
A film from the 1930s
https://i.imgur.com/qOqGYDL.jpg
"As long as you behave yourselves here, you are safe from both jail and gallows... safe in hell."
That's the statement with which Gilda (Dorothy Mackaill), a prostitute, is welcomed in the island of Tortuga, after being accused of murdering a client. In this case, hell is living in this island full of all kind of criminals and undesirables, all while her sailor boyfriend can come back to get her. Can she "behave" herself until then, or does that safety depend on others?
Although not a "popular" film per se, Safe in Hell is one of the most notable Pre-Code films. These were films released between the establishment of the Hays censorship code in 1930 and its enforcement in 1934. These films were notable for pushing the boundaries of what was allowed in Hollywood in terms of nudity, drugs, murder, as well as other themes and topics that were deemed forbidden in films.
As such, the film tackles several of those topics; from starting with a prostitute as the lead character down to its bleak and hopeless ending. This is a film where right from the start, you get the feeling that there's no hope for this main character and that fate is out to get her anyway, at any cost. Gilda is not without its faults and flaws, but the film makes you understand the tough hand that she's been dealt.
Mackaill does a pretty good job in transmitting that confidence and empowerment of her character mixed with the ever-growing despair and defeat that befalls on her. The rest of the island cast also does a good job in showing the immorality and decay of their characters. The portrayals are one-dimensional and might even seem cartoonish, but they do the job that the film asks from them.
Like in many of the upcoming film noirs, Gilda is an example of the tragic character that is destined to fall. Be it a written judgment from the screenwriters against prostitution or just a general statement about the triviality of fate, it's just clear that what keeps you safe from jail and gallows it's not entirely dependent on you, but again, on the hand that fate dealt you.
Grade: 3.5
BRAVE
(2012, Andrews and Chapman)
A film originally released in 3-D in theaters
https://i.imgur.com/ORkc6O6.png
"Fate be changed, look inside. Mend the bond torn by pride."
Brave follows the defiant Princess Merida (Kelly Macdonald) as she is about to be betrothed to the son of one of her father's allies. Refusing to go on with the custom and confronted by her strict mother (Emma Thompson), Merida flees into the forest where a witch gives her a spell to "change" her mother. However, the resulting "change" ends up being more than she could bear, forcing her to "mend the bond" with the queen to save the kingdom, but more important, their family.
This is a film that has eluded me for some reason. However, a couple of months ago, I saw and enjoyed the Pixar short film The Legend of Mor'du not even knowing it was tied to this. When I found out I, decided to finally check it out and I was pleasantly surprised. Released a couple of years after Tangled, it seems to follow a similar template in terms of having a female lead, where the main conflict is more internal and emotional/psychological, and the "antagonist" is actually secondary to the overall story. Here, the main issue is in the strained relationship between Merida and Elinor.
The way the film carries that relationship and how they must mend that bond was for the most part effective, and I liked how they contrasted it with the legend of Mor'du and the family relationships within that family. Meanwhile, the whole "changing into a bear" thing provides the slapstick/humor angle to it, and even though I'm not that crazy about it, it is still funny for the most part. Regardless of that, I always ended up drawn to the family dynamics and how well executed it was.
From a technical standpoint, the animation was great. The character design was really good and the setting and background felt rich. I saw this as part of my "loot challenge" to watch "a film originally released in 3-D", and although I didn't see the 3-D, you can tell it didn't rely on cheap gimmicks and that the effect was used organically. I saw it dubbed in Spanish because I saw it with the kids, but the Spanish-speaking voice actors did a great job. On that same line, the kids had a pretty good time with it as well.
Overall, Brave ended up being a neat and thrilling adventure film with an effective and well executed emotional core and a progressive story. Maybe that's why I find it weird that the film doesn't get mentioned more often. So if you haven't seen this or didn't think much of it, remember, fate be changed, look inside, and give this another chance.
Grade: 4
CARLO
(2004, Roskam)
A film where the main character is your namesake
https://i.imgur.com/YKDDbeR.jpg
"Let's be honest; if it's just luck that something happens, what follows is no longer luck but merely a simple consequence. True or not true?"
My mom always told me that she took the name from Carlo Ponti, "husband of Sophia Loren". I've obviously known who Loren was since I was a kid, but it wasn't until the last 10 years that I found out that Ponti was not only "Sophia Loren's husband", but a prolific film producer himself. KInda makes sense that I would end up being a so-called cinephile myself, watching a random Belgian short film about a guy named "Carlo".
Carlo, the short film, follows the titular character (Hans Knaepen), a simple guy that works in a slaughterhouse who, because of a stroke of bad luck, finds himself in the middle of a case of mistaken identity with some criminals. What follows is no longer luck, but the simple consequences of this mistake and him trying to get out of it.
This short film was written and directed by Michaël R. Roskam, and I stumbled upon it just by chance as I was looking for films with characters named "Carlo". Turns out it was a really good short film. It has a fast-paced style reminiscent of Guy Ritchie, but for an 18-minute short, there's a bit of philosophical depth in what happens to Carlo, and how things end. Just a simple consequence.
Grade: 4
RED-HEADED WOMAN
(1932, Conway)
A film with a color in its title ● A film from the 1930s
https://i.imgur.com/keRhLbE.jpg
"Sally, I made up my mind a long time ago, I'm not gonna spend my whole life on the wrong side of the railroad tracks."
Red-Headed Woman follows Lil (Jean Harlow), a young woman that is willing to do anything to climb the corporate ladder. This includes seducing her married wealthy boss, his wealthier father, a well-known tycoon and client of the company, and his driver. Will all this be enough to get her on the "right" side of the tracks?
This was yet another film I saw as I was preparing for a podcast episode on Pre-Code films and this was certainly a pretty solid example of what Pre-Code is. You gotta love a film that presents a lead character that is reprehensible and not likable, and still sticks with her all the way. Lil is indeed unlikable, has no scruples, and her moral compass is out of whack, if non-existent; and still I found myself fascinated by her character.
Part of that is on Harlow's sassy and confident performance, but also on a script that pits her against foolish men you know won't stand a chance. So in a way, it's on them not her to hold their horses. If anything, I did find the character of Irene (Leila Hyams) to be quite tragic, even if the resolution didn't fully throw her under the bus.
Back when the Hays Code was established, they listed a set of "Don'ts"for the film industry which included profanity, nudity, sex perversion, and prostitution. Red-Headed Woman has most of those making it a prime example of that era. But it's also a pretty fine film on its own, even if some people see t as being on the wrong side of the railroad tracks.
Grade: 3.5
CARLO
(2004, Roskam)
A film where the main character is your namesake
https://i.imgur.com/YKDDbeR.jpg
My mom always told me that she took the name from Carlo Ponti, "husband of Sophia Loren". I've obviously known who Loren was since I was a kid, but it wasn't until the last 10 years that I found out that Ponti was not only "Sophia Loren's husband", but a prolific film producer himself. KInda makes sense that I would end up being a so-called cinephile myself, watching a random Belgian short film about a guy named "Carlo".
Carlo, the short film, follows the titular character (Hans Knaepen), a simple guy that works in a slaughterhouse who, because of a stroke of bad luck, finds himself in the middle of a case of mistaken identity with some criminals. What follows is no longer luck, but the simple consequences of this mistake and him trying to get out of it.
This short film was written and directed by Michaël R. Roskam, and I stumbled upon it just by chance as I was looking for films with characters named "Carlo". Turns out it was a really good short film. It has a fast-paced style reminiscent of Guy Ritchie, but for an 18-minute short, there's a bit of philosophical depth in what happens to Carlo, and how things end. Just a simple consequence.
Grade: 4
In case anybody wants to check it out...
https://www.youtube.com/watch?v=LLu9L-tG7ow
MIKEY AND NICKY
(1976, May)
A film directed by a woman
https://i.imgur.com/Q1edJgq.jpg
"I think that's the reason we're such good friends. Because we remember each other from when we were kids. Things that happened when we were kids that no one knows about but us. It's in our heads."
Friendship is an interesting concept. As humans, we crave for that connection with someone, anyone. But friendship doesn't always account for how people change through time. I can count with one hand, the people that were childhood friends that I'm still in contact with, and most of the time, it's just little jokes and stories that reminds us of the past. That's why we're such good friends. Because of what we remember and what we went through, not necessarily because of how we are now.
That angle is part of what's simmering in Elaine May's drama Mikey and Nicky. The film follows the titular characters (Peter Falk and John Cassavetes), two childhood friends and small-time mobsters that have to reconcile who they were with who they are now. When Nicky has a contract put on him for stealing money, he asks Mikey for help, which puts to the test how much of a friend are they and how much was in their heads.
This is a film that was recommended by a good friend a couple of years ago, and that I've constantly seen come up in discussions and social media recently, and deservedly so. Mikey and Nicky is both an interesting and complex character study about these two individuals, but also a tension-filled drama about what it means to be loyal and ultimately, a friend.
First, Falk and Cassavetes are excellent in the lead roles. Sure, there are some secondary characters, most notably Kinney (Ned Beatty), the hitman sent to kill Nicky, and Nellie (Carol Grace), the nurse that happens to be Nicky's lover; but it all comes back to the two leads. It is their interactions with Nell the ones that stuck with me most, particularly for the way that Nicky treats her. But it is that interaction which sparks one of the best scenes from the film, which is a 10-minute argument/fight between the two lead characters.
Because, again, the burden of the film is on the lead's shoulders as they're on screen 95% of the time, and they carry it marvelously. The way that Falk and Cassavetes build this chemistry that makes you believe they're childhood friends, while also imbuing this tension about the true motivations of each of them is stellar. Mikey is a bit pitiful and pathetic, but is he a true friend or is he looking for some payback? Nicky is erratic and ultimately an a$$hole, but at the end of the day, is his paranoia unfounded?
Both characters seem to be hanging on to the threads of a friendship that might still be there, but might as well be in their heads. May's direction is loose, but effective, giving the two actors enough space to build on these two characters. I do think there were moments where things could've been reined in a bit, help the focus of the film, but I still think it was an excellent illustration of what a friendship is, and how sometimes we hold on to those memories of the past, even if they're only in our heads.
Grade: 4
This is me, again, catching up with my summary for MARCH 2024:
A film from the 1930s: Safe in Hell (https://www.movieforums.com/reviews/2459037-safe_in_hell.html)
A film where the main character is your namesake (Namesake Day, March 3): Carlo (https://www.movieforums.com/reviews/2462221-carlo.html) (short film)
A film originally released in 3-D in theaters (Nat'l 3-D Day, March 19): Brave (https://www.movieforums.com/reviews/2462213-brave.html)
A film directed by a woman (Int'l Women's Day, March 8): Mikey & Nicky (https://www.movieforums.com/reviews/2462422-mikey_and_nicky.html)
A film with a color in its title (Int'l Color Day, March 21): Red-Headed Woman (https://www.movieforums.com/reviews/2462286-red-headed_woman.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/y2LfGVBCABX4Lx2Ufr39FtfgDfW.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/afsIieTY6zfNMjXxNOHCT83nLPq.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/1XAuDtMWpL0sYSFK0R6EZate2Ux.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/fnHC1OJ1EbdOX97nmXVYrXFgiQT.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/3Iv5sY7qWljRFEHQ3qsgRetIboC.jpg
Other films seen, not for the challenge:
Oscar nominated feature films: The Zone of Interest (https://www.movieforums.com/reviews/2448434-the_zone_of_interest.html), Killers of the Flower Moon (https://www.movieforums.com/reviews/2449770-killers_of_the_flower_moon.html)
Oscar nominated short films: The After (https://www.movieforums.com/reviews/2448550-the_after.html), Knight of Fortune (https://www.movieforums.com/reviews/2449684-knight_of_fortune.html), Nai Nai & Wái Pò (https://www.movieforums.com/reviews/2452406-n462;i_naiwi_p.html), The Last Repair Shop (https://www.movieforums.com/reviews/2453942-the_last_repair_shop.html)
Other films: This Is Me... Now (https://www.movieforums.com/reviews/2444010-this_is_menow.html), Doctor Strange in the Multiverse of Madness (https://www.movieforums.com/reviews/2454765-doctor_strange_in_the_multiverse_of_madness.html), Extraction (https://www.movieforums.com/reviews/2455291-extraction.html), Extraction 2 (https://www.movieforums.com/reviews/2455841-extraction_2.html), The Last Brunch (https://www.movieforums.com/reviews/2458253-the_last_brunch.html), One False Move (https://www.movieforums.com/reviews/2458847-one_false_move.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/hUu9zyZmDd8VZegKi1iK1Vk0RYS.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/dB6Krk806zeqd0YNp2ngQ9zXteH.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/su2APJLMwx4IzAcPHhvoak2k2U1.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/d64iSdrRYuBrEDuKXJpW0XSrhiJ.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/uHYoNVM5vhgTO7zYgDsQsewEYLO.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/DJ9wKCKIprMA3krenGOhNFqofU.jpg
https://image.tmdb.org/t/p/w600_and_h900_bestv2/zxx0krg13e0k2c2RLoOvxJCEQQy.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/9Gtg2DzBhmYamXBS1hKAhiwbBKS.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/nygOUcBKPHFTbxsYRFZVePqgPK6.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/7gKI9hpEMcZUQpNgKrkDzJpbnNS.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/jxIRHWJyVHkYtsq0JbBTnLjfnWi.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/x5xCkGw4jutMcc8nmWLKNzbDKht.jpg
My favorite first-time watch of March was The Zone of Interest, although Killers of the Flower Moon and Brave were also very good.
Least favorite first-time watch was probably Jennifer Lopez' This Is Me... Now, which was still an interesting thing.
SpelingError
05-23-24, 02:14 PM
MIKEY AND NICKY
(1976, May)
A film directed by a woman
https://i.imgur.com/Q1edJgq.jpg
Friendship is an interesting concept. As humans, we crave for that connection with someone, anyone. But friendship doesn't always account for how people change through time. I can count with one hand, the people that were childhood friends that I'm still in contact with, and most of the time, it's just little jokes and stories that reminds us of the past. That's why we're such good friends. Because of what we remember and what we went through, not necessarily because of how we are now.
That angle is part of what's simmering in Elaine May's drama Mikey and Nicky. The film follows the titular characters (Peter Falk and John Cassavetes), two childhood friends and small-time mobsters that have to reconcile who they were with who they are now. When Nicky has a contract put on him for stealing money, he asks Mikey for help, which puts to the test how much of a friend are they and how much was in their heads.
This is a film that was recommended by a good friend a couple of years ago, and that I've constantly seen come up in discussions and social media recently, and deservedly so. Mikey and Nicky is both an interesting and complex character study about these two individuals, but also a tension-filled drama about what it means to be loyal and ultimately, a friend.
First, Falk and Cassavetes are excellent in the lead roles. Sure, there are some secondary characters, most notably Kinney (Ned Beatty), the hitman sent to kill Nicky, and Nellie (Carol Grace), the nurse that happens to be Nicky's lover; but it all comes back to the two leads. It is their interactions with Nell the ones that stuck with me most, particularly for the way that Nicky treats her. But it is that interaction which sparks one of the best scenes from the film, which is a 10-minute argument/fight between the two lead characters.
Because, again, the burden of the film is on the lead's shoulders as they're on screen 95% of the time, and they carry it marvelously. The way that Falk and Cassavetes build this chemistry that makes you believe they're childhood friends, while also imbuing this tension about the true motivations of each of them is stellar. Mikey is a bit pitiful and pathetic, but is he a true friend or is he looking for some payback? Nicky is erratic and ultimately an a$$hole, but at the end of the day, is his paranoia unfounded?
Both characters seem to be hanging on to the threads of a friendship that might still be there, but might as well be in their heads. May's direction is loose, but effective, giving the two actors enough space to build on these two characters. I do think there were moments where things could've been reined in a bit, help the focus of the film, but I still think it was an excellent illustration of what a friendship is, and how sometimes we hold on to those memories of the past, even if they're only in our heads.
Grade: 4
I also really dug that one. If you haven't yet seen it, you should check out May's The Heartbreak Kid. A bunch of us watched it on Corrie a while back and it received great feedback across the board.
I also really dug that one. If you haven't yet seen it, you should check out May's The Heartbreak Kid. A bunch of us watched it on Corrie a while back and it received great feedback across the board.
Yeah, I haven't seen anything else from her, but considering she only made a handful of films, it wouldn't be too much of a hassle to tackle her filmography.
CHILD'S PLAY
(1988, Holland)
https://i.imgur.com/XsfeADK.jpg
"Hi, I'm Chucky, and I'm your friend till the end. Hidey-ho!"
That's the promise with which Good Guy doll Chucky greets his new owner, Andy (Alex Vincent). What Andy doesn't know is that Chucky is possessed by the soul of serial killer Charles Lee Ray (Brad Dourif), who is actually trying to transfer his soul to be in Andy's body "till the end". That's the basic premise of this surprise slasher hit that has somehow turned into an iconic franchise.
Child's Play is a film that I've seen several times. This first entry follows the attempts of Chucky to get back into a human body, which turns out has to be Andy. But in the process, bodies start piling up, bringing Det. Mike Norris (Chris Sarandon) to investigate and try to figure out who is actually behind the killings.
I just learned that the original idea of creator Don Mancini was to keep the audience guessing as to who is the murderer: Andy or Chucky; an idea that was scrapped later. Child's Play doesn't really lean into the whodunit angle for that long. The audience knows who's the murderer from the beginning, Andy's mom finds out about it pretty soon, and Det. Norris not long after.
What Child's Play does offer is a pretty effective atmosphere, a lean pace, some nice kills, and a great villain. Much like Freddy, Chucky would turn into a bit of a joke in future sequels, but despite the seemingly silly premise of a killer doll, here he is genuinely scary in moments. Dourif does a great voice work, but kudos also to Vincent for a pretty solid performance, especially for a 6-year old kid.
Another thing that helps the film is how "small" it feels, in terms of length, scope, and settings. The film stays focused on a small core group of characters and moves at a pretty straightforward pace. Sure, there is the need of some suspension of disbelief as we see a 2-ish feet doll murdering people left and right, but the special effects and puppetry do a great job of selling it. After almost 40 years and 7 films, if this film has proved something is that Chucky will indeed be our friend till the end. Hidey-ho!
Grade: 3
PHOENIX74
05-24-24, 11:35 PM
I agree with your rating for Child's Play. I had one of my greatest theatrical experiences seeing it when it came out, because it had only just opened, and the session was booked out - every seat taken. Now, I don't remember what the make-up of the audience was, but whenever something scary happened the whole place screamed it's head off. That turns a horror movie into a truly scary experience - something you don't get when you watch the movie alone or with a couple of friends who have seen it before. It's why I love seeing good comedies in cinemas with a lot of people in - that laughter really adds to your perception of what's funny. No subsequent viewing of Child's Play could come close to that first experience, and I haven't seen much of the sequels. But it was great in that rollicking atmosphere. That first time the doll talks, the roof was lifted!
I agree with your rating for Child's Play. I had one of my greatest theatrical experiences seeing it when it came out, because it had only just opened, and the session was booked out - every seat taken. Now, I don't remember what the make-up of the audience was, but whenever something scary happened the whole place screamed it's head off. That turns a horror movie into a truly scary experience - something you don't get when you watch the movie alone or with a couple of friends who have seen it before. It's why I love seeing good comedies in cinemas with a lot of people in - that laughter really adds to your perception of what's funny. No subsequent viewing of Child's Play could come close to that first experience, and I haven't seen much of the sequels. But it was great in that rollicking atmosphere. That first time the doll talks, the roof was lifted!
That certainly seems like a great experience. The audience surely adds a lot to the viewing experience in lots of cases. It's a shame that the ratio of good audiences vs. awful audiences seems to be getting more even than before.
Re: the sequels, stay tuned for a lot of reviews cause I watched them all last month for a podcast :laugh:
KONGO
(1932, Cowen)
https://i.imgur.com/0iBFgoh.jpg
"That's why I've lived here. That's why I've lived in this slime, rubbing noses with these filthy natives, make their religion mine, become part of them! All so I can leave her on his very doorstep... without him being able to see me!"
Kongo follows the bitter "Deadlegs" Flint (Walter Huston), a paraplegic living in the "slime" of the African Congo, surrounded by "filthy" natives that he keeps in line by tricking them with cheap magic tricks. The above is part of his drunken revenge rant against the man who made him a paraplegic 18 years ago; a plan that involves using Ann, the innocent daughter of the man, in a most despicable way.
Released in 1932, Kongo is part of the Pre-Code films that came after the adoption of the Hays Code in 1930, but before its strict enforcement in 1934. Films that would often capitalize in harsh depictions of sexuality, violence, drug use, alcoholism, and racism; and Kongo has plenty of all of that.
Flint is assisted by his scantily dressed girlfriend, Tula (Lupe Vélez) and two dumb thugs, while he also abuses of a drug-addicted doctor (Conrad Nagel) who may or may not help with his condition, and who happens to fall in love with Ann. And although these two characters are very likable and their relationship might be the closest the audience might get to a proxy, this is easily Huston's show from start to finish, and his scenery chewing is a treat to watch.
But besides all that, Flint is an interesting and somewhat complex character, and the film takes him through some interesting twists towards the last act, so some of the enjoyment might depend on whether you buy into the shifts in character in that stretch. I think the writing could've been more polished there, but Huston does a pretty good job selling both ends of the spectrum of his character.
Other than that, the film does present some interesting traits of the films of the era. Films that, in many ways were considered as "slime" or "filthy", and were more or less brushed under the rug. But amidst all the racist stereotypes, the drugs, and the objectification of some female characters, Kongo still offers a pretty neat snapshot of early 1930s Hollywood, and a wicked fun performance from Huston.
Grade: 3
CHILD'S PLAY 2
(1990, Lafia)
https://i.imgur.com/riZn2f8.png
"I told you. We were gonna be friends to the end. And now, it's time to play... I've got a new game, sport: It's called Hide the Soul. And guess what? You're it!"
Child's Play 2 follows Chucky's rampage as the doll is reassembled and brought back to life at the Good Guy doll factory, not knowing that it is still possessed by the soul of killer Charles Lee Ray (Brad Dourif). After making his way out of the factory, Chucky once again sets his sight on poor, little Andy (Alex Vincent).
This is a film I've seen several times since I rented it back in the early 90s, and probably enjoyed. However, according to Letterboxd, in my last rewatch in 2014, I called the film "pretty silly" and rated it 2 stars. Oh, but how much can things change in 10 years :laugh: The truth is that this time I might have been more on the film's wavelength, cause I had tons of fun with it.
Is it "silly"? Yes, but that doesn't make it inherently bad. I think the film is the right amount of silly with the right amount of creepy. Director John Lafia does a great job in making you feel the dread and threat of a little doll running through the room to get you. However, I think the main success of the film is in putting likable characters like Andy and his new foster sister, Kyle (Christine Elise) in the front. Both performances are pretty solid and easy to root for.
Finally, the film offers a pretty fun last act, set at the Good Guy factory, which serves as a neat bookend to the opening act. Having our good guys chased by the bad "Good Guy" doll in the Good Guy factory, as they run through conveyor belts, doll boxes, and vats of plastic does have echoes of Terminator, but it also stands on its own as a really creative setpiece and closing to a really creative and weirdly fun franchise.
Grade: 3.5
THREE ON A MATCH
(1932, LeRoy)
https://i.imgur.com/3fhaPRX.jpg
"Look forward and not back, look out and not in, look up and not down, and lend a hand."
The above is a famous quote from author Edward Everett Hale, and is featured twice in the first act of this film, as our three leads recite it in school. The quote has become an iconic motto for people to always look to what lies ahead and be of help to others, which is a key element in this notable Pre-Code film.
Three on a Match follows three girl friends from elementary school into adulthood. There's Mary (Joan Blondell), the "popular" girl that became a showgirl; Ruth (Bette Davis), the class valedictorian working as a stenographer; and Vivian (Ann Dvorak), the "class beauty" now married to a successful lawyer.
But things aren't as they seem. Despite some rough times in a reform school, Mary is looking forward, settling down while Vivian, who seems to be the best off of the three, seems to be looking back as she has grown disillusioned with her life. This leads her to abandon her husband as she runs away with a gambler and her young son in tow. As Mary and Ruth try to lend a hand, Vivian keeps sinking deeper.
This is yet another iconic example of what Pre-Code brought to the table. The depictions here of alcoholism, drug addiction, violence, and child neglect are quite powerful for the time. Dvorak does a great job of showing all the layers in Vivian's character, as she goes from "class beauty" and rich girl to drunken party girl and drug addicted hostage. The film also features an early role of Humphrey Bogart as a gangster thug and he's so good in it.
I do think the relationship between Mary and Ann's former husband feels forced and is ultimately unnecessary, and the character of Ruth is a bit pushed aside in the second half, but the film is still quite powerful and thrilling, and the ending has a neat, shocking twist. An example of how, despite whatever limitations the Hays Code wanted to establish, filmmakers wanted to look forward and not back.
Grade: 4
AINBO
SPIRIT OF THE AMAZON
(2021, Claus & Zelada)
https://i.imgur.com/vBqeSaH.jpg
"If I tell you everything and show you everything then what will you learn for yourself?"
"I'll learn how to save the village?"
"But it is you who has to save the village, not them"
Ainbo: Spirit of the Amazon follows the titular character, a 13-year old girl, as she sets out to save her village in the Amazon from an evil, cursed presence called Yacuruna. However, she must also deal with her own confidence as well as the ghosts of her past after the apparent death of her parents. Ainbo is joined by her two spirit guides, Vaca and Dillo, and her best friend Zumi, who is set to become the new leader of the village.
This is an international animated production that popped up on streaming last month, so my wife decided to put it for the kids and I joined. I'll start by saying that, despite whatever flaws the film might have, I think it had some things on its favor. First, the animation was pretty clean and well done. I also don't think the film was ever boring. The kids had fun and the film was mostly inoffensive and engaging.
However, the flaws are there. Despite its exotic setting, the film still feels like its ripping off of countless other animated films. The two spirit guides are similar to Timon and Poomba and the overall theme of being exiled felt like The Lion King, the sister-like relationship between Ainbo and Zumi reminded me of Frozen, the eco-friendly message is pretty similar to Ferngully, Ainbo's character also has echoes of Moana, and so on and so forth.
The story is also very quest-like; Ainbo has to fulfill certain tasks in order to save the village, and some of those tasks feel like the writers padding the runtime. Finally, the resolution in the end feels a bit muddled and it doesn't make a lot of sense. Despite all these flaws, it might still work as something to pass the time for your kids. It worked for mine.
Grade: 2
CHILD'S PLAY 3
(1991, Bender)
https://i.imgur.com/5ycAcHb.jpg
"You know what they say. You just can't keep a Good Guy down."
That's how Chucky (Brad Dourif) announces his return to his "old friend" Andy (Justin Whalin) in Child's Play 3. Studio surely didn't want to keep this Good Guy down with this installment being released just 9 months after the second one. This one follows a now teenage Andy, as he is enrolled in a military school as Chucky comes back to haunt him again.
This is a film I remember seeing in theaters back in the day, thinking it was OK but never seeing it again. Rewatching it now, I understand why, and it's not necessarily because the film is bad. The film does feel like its trying to be more serious and "mature" (perhaps as a nod to Andy maturing himself?), but it results in it being probably the dullest of the franchise, with a mostly flat execution.
Most of the story features Chucky getting himself in drawers, cabinets, and trash cans, sometimes for no reason other than filler. Chucky ends up in drawer, Character A finds him, Chucky kills Character A, rinse and repeat. This flat and repetitive story is probably why I never cared to revisit this installment, while I had seen the original, Child's Play 2, and Bride of Chucky, at least twice each.
Despite those flaws, the military school setting does lend itself to some interesting setpieces, even if they're not executed to perfection. Whalin also does a decent job as the teenage Andy, and the rest of the supporting cast is serviceable. There is also an opening scene during a board meeting with the CEO of the Good Guy company which I found to be quite funny and hammy.
The film was poorly received by critics and didn't do that well in the box office. Creator Don Mancini has said this was his least favorite entry in the series, which led most people to think the franchise was dead after this installment. It would take seven years and a total shift in genre to bring Chucky back. But you know what they say. You just can't keep a Good Guy down.
Grade: 2
BRIDE OF CHUCKY
(1998, Yu)
https://i.imgur.com/9ZBU6HG.jpg
Tiffany: "Have you got a rubber?"
Chucky: "Have I got a rubber? Tiff, look at me. I'm ALL rubber."
Bride of Chucky was released 7 years after Child's Play 3, at a time when horror films were becoming more comedic, self-aware, and parodic. The above quote should give you an idea of what to expect, but the film basically follows Chucky (Brad Dourif), who is brought back to life by his former lover and accomplice Tiffany (Jennifer Tilly). One thing led to another, and Tiffany also ends up with her soul transferred into a doll.
I think the most important thing in order to enjoy this film is not to expect the "horror" of the previous three films, but rather to get on its humorous wavelength. The notion of two murderous plastic dolls falling in love and having sex is inherently silly, but if you're willing to accept that, the film has some fun and laughs to offer. Most of that comes from the interactions between Chucky and Tiffany. Tilly certainly adds a special energy and spice to the film that's mostly unrivaled.
Thank God for that energy, because the two actual leads: Jade and Jesse (Katherine Heigl and Nick Stabile), are bland as hell. The two actors lack chemistry and they're mostly uninteresting which causes some voids whenever the dolls are not on screen. The film does have John Ritter as Jade's father, who is great, but he's not on the film long enough. In addition, the film has some plot contrivances that come from nowhere, like Chucky needing a specific amulet to perform the "soul transfer" ritual; something that he hadn't mentioned in any of the three previous films.
But again, that's not to say there's no fun in watching it. As long as you understand what you're getting into, I suppose there's some silly fun to be had with it. The truth is that I enjoyed slightly more than the last time I watched it. I just wished it would've been accompanied by a more clever script, a coherent storyline, and competent leads.
Grade: 2.5
SEED OF CHUCKY
(2004, Mancini)
https://i.imgur.com/EpB6Q2Z.png
"Look around you, Tiff! This is nuts! And I have a very high tolerance for nuts."
That is Chucky's scream of desperation as things keep going awry in this insane sequel in the Chucky franchise. But it might very well be the audience or me screaming at the screen as creator, director, and writer Don Mancini kept pulling things out of his hat, cause this film is nuts indeed.
Seed of Chucky picks up some time after the events of Bride, as Glen (Billy Boyd) discovers he is the son of Chucky and Tiffany (Brad Dourif and Jennifer Tilly), and resurrects them sparking more chaos and mayhem. That is the gist of it, without getting much into how nuts it is, which means I'm leaving out pretty much 75% of the film.
How nuts it is, you say? The film opens with "doll sperm" traveling through a "doll uterus" (cue first reference, Look Who's Talking), Jennifer Tilly playing a fictionalized version of herself, who is willing to sleep her way into the lead role of the Virgin Mary in a film directed by Redman (yes, that Redman). Plus, you get a supporting role from John Waters as a peeping tom reporter, a gender-fluid doll, and countless more references to films that go from Psycho and The Shining to Rebel without a Cause and even Naked Gun.
This all lends itself to some hilarious moments, but it also ends up feeling like too nuts. And I have a very high tolerance for nuts, but it does feel like the whole meta, self-referential thing goes overboard a few times here. There are things that you know are there just because Mancini wants them to be in there, regardless of how organically or sensibly they tie into the film or the overall franchise, which makes it all very much hit or miss.
In my previous review on Bride of Chucky, I wrote about how one had to try to get on the film's wavelength for a better enjoyment. Considering how bonkers this film is, I wonder if a second viewing, or even a group viewing, would make this improve. As it is, Seed of Chucky is a mostly off-the-wall, absurd, sometimes funny and sometimes non-sensical sequel. It's nuts, so I guess it all depends on how high is your tolerance for nuts.
Grade: 2
RISE OF THE PLANET OF THE APES
(2011, Wyatt)
https://i.imgur.com/X3faDJc.png
"Some things aren't meant to be changed. You need to accept that."
Set in current times, Rise of the Planet of the Apes follows Caesar (Andy Serkis), a highly intelligent chimpanzee that starts an ape rebellion against humans. The source of his intelligence was a series of experiments performed by Will Rodman (James Franco), who was trying to find a cure for Alzheimer by experimenting on animals. When one of the experiments went awry, he ended up raising Caesar, along with his ill father (John Lithgow).
This film served to spark a new series of films that work as prequels to the original franchise that started in 1968. Instead of trying to change the main paradigm of the series, something that might've led to the failure of Tim Burton's 2001 remake, this new series doesn't try to change things, but rather build on it as we see the events that might have led to a planet being controlled by apes.
This is probably the fourth time I've seen this film and, although I wasn't that crazy about it at first, I've grown to appreciate it more every time I see it again. I do think the execution feels a bit flat and there are some things that don't work as well, but there is a good core story there in the relationship between Will and Caesar, but also Will and his father. On the other hand, I don't care a lot about the romantic relationship with Caroline (Freida Pinto) nor do I think it's necessary.
The other thing that works great is the humanity they manage to imbue Caesar with. It's amazing how much they can do with a CGI character, in terms of facial expressions and body language, while also building a believable relationship with Will; one that maybe even works better than Will's relationship with other human actors. This also goes to Serkis' commitment to this performance. Caesar's dislike for humans and eventual rise to leadership is also well portrayed, even if it lacks some "oomph" at times.
I'm probably one of the few people in the planet who is OK-ish with Burton's film, but I understand why it didn't work for most people. His attempt to change things, maybe even just for the sake of change, didn't seem that well thought. I think that's why this new take had more grasp. It works as a standalone film while also respecting the original and paying homage to it, adding a backstory that makes sense. At the end of the day, some things aren't meant to be changed. We need to accept that.
Grade: 3.5
CURSE OF CHUCKY
(2013, Mancini)
https://i.imgur.com/KvlIMU8.jpg
"Look, I know that this sounds nuts, but that doll- I think that there's something in it!"
Curse of Chucky follows Nica Pierce (Fiona Dourif), a young woman whose family starts being haunted by Chucky (Brad Dourif). Released 9 years after the batshit craziness of Seed of Chucky, the film brings the franchise back into the horror basics of the original with a mostly dark and somber tone. As much as I enjoyed the silly shenanigans of Bride and Seed, this is a change I really appreciated.
Aside from the tone, the film has a very patient pace. Mancini really takes his time to build up suspense and create a sense of dread. It even makes you wonder if this is a Child's Play film at all, cause Chucky doesn't really reveal himself until almost the halfway mark. Although that might seem like a bad thing, I really enjoyed the tension and fear that oozes through that first half of the film.
Another thing I thought worked great was to keep the setting in one place. By keeping all the characters inside one house, it adds a sense of claustrophobia that works great for the premise. In addition, Mancini makes some great use of lights and shadows, and how he shoots Chucky that added a lot to the film. All of this, mixed with the inner conflicts within Nica's family made for a very edge-of-your-seat experience.
But special kudos have to go to Fiona Dourif, Brad's daughter who's picking up the mantle from him in a way. Somebody once told me how Jennifer Tilly was "the best thing that has happened to this franchise", but I would say Fiona is a close second. She is great in the lead role, providing a nice mixture of strength and vulnerability, making it easy to root for her. I know a lot of people had issues with a certain twist that is brought up in the last act, but I thought it was a nice reveal.
After five films in 25 years, with shifts in tone and lead characters, it's surprising that a franchise about a possessed killer doll could reinvent itself once again, and keep going. This entry in particular is one that I enjoyed a lot, and is probably my second favorite of the franchise. I know it sounds nuts, but that doll- I think there's something in it.
Grade: 3.5
HOST
(2020, Savage)
A film with a budget of less than $500,000 • A film with a title that starts with the letters G or H
https://i.imgur.com/3lU7rN1.jpg
"So because we're doing this over Zoom, what it does mean is that we're slightly less protected than we might've been, so it's very important that you respect the spirits, and you respect each other."
2020 was a wild year. With the pandemic hitting early in the year, most people had no choice but to stay in their homes to protect themselves and others. But things can still go wrong within our own homes and through the confines of the Internet, which is sort of what this "found footage" movie, filmed during the pandemic, explores.
Host follows a group of friends that, for some reason, decide to perform an online séance. However, most of them are taking things lightly, not "respecting the spirits", until things start to go awry and weird stuff starts happening around them. Since each of them is in separate locations, it makes it harder both to know what's happening on the other side, but also harder to help.
This is a film that was recommended by the co-creator of The Blair Witch Project Eduardo Sánchez, during an interview we had last year. What makes the film more unique is that it is entirely set within a Zoom video call window. The film starts when the call starts and ends as the 1-hour time limit expires. This makes for some really interesting directorial choices and gimmicks.
Those gimmicks might lend themselves for some cheap execution, but here it works. There were a couple of times where I literally jumped off my seat, which is what we want from a horror film. Host has a lot of things on its favor. The premise is uniquely executed, the performances are solid, the sense of dread is genuine, the jump scares feel earned and organic, but most importantly, with a runtime of just an hour, it doesn't overstay its welcome.
Grade: 4
WEST OF ZANZIBAR
(1928, Browning)
A film with Lon Chaney
https://i.imgur.com/lQtpqAd.jpg
"You're a puzzle, Dead-Legs. One minute you're a fiend and the next... you're almost human."
Early in the month, I had the chance to watch a 1932 Pre-Code film called Kongo. Well, West of Zanzibar is an earlier silent adaptation of the same material. Starring Lon Chaney as Phroso, the film follows his journey to the depths of the African jungle in his attempt to seek revenge against the man that left him paralyzed.
West of Zanzibar is actually very similar to Kongo. Obviously, they're based on the same story, but the whole script, look and feel of the film is very much the same. So having seen Kongo first, I have to admit there was a sense of "been there, done that" to it. This film follows pretty much the same beats so there were no surprises in it, and I think the more raw, "Pre-Code" approach from the other film benefitted the story.
I did appreciate how director Tod Browning adds more to the backstory of Phroso, as we see the events that left him how he is and led him to the Congo. I also enjoyed the bigger focus on Phroso's magician schtick; something that I felt the other film doesn't dwell much in. However, as much as I love Chaney, I thought his performance was very subdued, which might be me subconsciously it to Walter Huston's great scenery-chewing in Kongo.
Again, having seen both films within the span of three weeks, it's impossible for me not to compare them. I think both films are pretty good, but I think I would primarily recommend the later version. Regardless of that, West of Zanzibar still worked for me as a curiosity, but also as another glimpse of Chaney's masterful acting, and how one minute he's a fiend, and the next, he's almost human.
Grade: 2.5
THE MONSTER
(1925, West)
A film with Lon Chaney
https://i.imgur.com/9XfGfDO.jpg
"You must be mad!"
"Don't you dare call ME mad!"
That's the offended response from Dr, Ziska (Lon Chaney) after being called "mad". But then again, that's what you get when you perform mad experiments on unsuspecting people. He is "the monster" in the title. The film, however, focuses primarily on Johnny Goodlittle (Johnny Arthur), a meek but determined amateur detective, who sets out to investigate the numerous kidnappings happening in the countryside.
Johnny's investigation takes him right into the abandoned sanitorium where Ziska performs his experiments. Considered as one of the first films within the "old dark house" sub-genre, the film does make good use of the setting with our hero trapped in the house, along with his love interest Betty (Gertrude Olmstead) and his rival (Amos Rugg). There are some pretty cool setpieces and well shot sequences, especially in the last act, that I'm sure were probably really scary back in the day.
The director also does a solid job balancing the different tones of humor, mystery, and thrills. The film starts with a bang, but then it does loses some momentum in the first half as we see Johnny's attempts to woo Betty. There is a bit of a goofy but earnest approach to it, so it will depend on how much you like that. However, once they all end up in the house, it does pick up, as Chaney is formally introduced and we see his "madness" in action.
Regardless of what you're expecting from it, The Monster has a lot of things going on to make it worth your while. Whether it's as an example of an early and effective horror film, as one of the first instances of the "old dark house" type of films, or as a testament to Lon Chaney's excellent work.
Grade: 3
A PANICKY PICNIC
(1909, De Chomón & De Morlhon)
https://i.imgur.com/XkICG6x.jpg
"The dream you’d have if you gorged yourself on lukewarm sushi."
That is how an online film critic describes (https://silentology.wordpress.com/2016/06/05/segundo-de-chomon-the-man-you-think-is-melies/) the experience of watching A Panicky Picnic; and although I've never gorged myself on lukewarm sushi, I'm mostly inclined to agree. Made in 1909, it follows a family's attempt to have a picnic in the countryside, only to be disturbed by numerous weird and bizarre occurrences. Co-directed by Segundo de Chomón, along with Camille de Morlhon, the film is yet another showcase of De Chomon's skills and talents during the early years of cinema.
I've only seen a couple of De Chomon's shorts, but they've all been a treat from a technical standpoint. From typical swap shots of stuff that appears and disappears, it all peaks with a really impressive dream sequence done with animation, silhouettes, and shadows. It then culminates with a spectacular sequence in the yard of the cottage using a couple of massive props and some great special effects. To think that all this was made more than 100 years ago is quite impressive.
I discovered De Chomon's work a couple of years ago when I was about to record an episode on silent films. However, I'm surprised that I've really haven't sought out more of his short films. Still, what little I've seen, I totally recommend just as much as I recommend Méliès, and certainly more than I would recommend lukewarm sushi.
Grade: 4
For those interested in checking it out...
https://www.youtube.com/watch?v=pw5yKcu4W00
DEATH WHISPERER
(2023, Wantha)
A film from Thailand
https://i.imgur.com/TTvcvPa.jpg
"This spirit is a master manipulator. An untrained mind will be easily swayed. Even a strong mind will turn violent."
Set in 1972 Thailand, Death Whisperer follows a rural family that is suddenly threatened by an evil presence that is haunting one of the daughters. This forces the entire family to mend their differences to stick together and try to overcome this presence. It is the older son, Yak (Nadech Kugimiya), who has just returned from military service who takes the lead against the threat.
I saw this film being recommended by someone on Twitter and it looked interesting, so I decided to give it a try. I thought it was very nicely shot and directed film, with some pretty good blocking. I also thought the whole atmosphere of dread was effectively conveyed, and the many ways that this evil presence manifests itself really worked, with some icky moments without necessarily resorting to full gore.
Aside from the technical aspects, most of the performances were pretty good. The two girls that play the two main sisters were pretty good, especially Rattanawadee Wongtong, who plays Yam. I also liked the way they develop the family dynamics and the different strains and affections within the siblings and parents. Some of those could've been fleshed out more, especially Yak and the younger brother, but they still worked to some level.
The film does rely on many jumpscares, some of them work and some don't, but the solid technical aspects more than make up for those crutches. The film is also very openly setting up for a sequel, which might leave some disappointed; but I think that where they left it still made for a satisfactory and closed story.
Grade: 3.5
HUNDREDS OF BEAVERS
(2022, Cheslik)
A film with a budget of less than $500,000 • A film with a title that starts with the letters G or H
https://i.imgur.com/nP5SVbp.png
"---"
That's more or less the extent of dialogue you will get from Hundreds of Beavers, but also my speechless, baffled reaction as I saw it. The film is a low budget curiosity directed by Mike Cheslik and written by Cheslik and Ryland Brickson Cole Tews, who also stars in the lead role. He plays Jean Kayak, an applejack salesman whose farm is destroyed by a group of beavers, leaving him homeless in the cold of winter. So he does what every sane applejack salesman who has been shafted by beavers would do, which is to set out to get rid of them; all hundreds of them, while also trying to win the hand of a storeowner's daughter... Yeah.
This film came to my attention thanks to the glory of social media "marketing". Not necessarily the official marketing, but the word of mouth on Twitter was all over, so I decided to give it a shot. The film is described as a slapstick comedy, but in reality, it's more of a crazy mixture of classic silent film and Looney Tunes slapstick, with a dose of video game mechanics. All in all, a zany and funny hodgepodge of comedy with a unique and clear style, but the best thing is that it works!
The film has a lot of pros. First, the physical comedy from the cast, but specially Cole, is on point while most of the running jokes and visual gags work. Second, the overall aesthetics of the film, as far as set direction and props elevates the film by fully acknowledging what it is, instead of trying to hide it. Third, the whole visual style and the efforts to transmit that "silent film" vibe also contributes to a general vibe from the film that is consistent from start to finish.
That's not to say the film is perfect. First of all, not all jokes land, though most do, but second and most important, I think that the film does goes on for too long. Considering what they were going for, I think that 108 minutes was too long. I do admire the efforts of Cheslik and Cole Tews to try to gradually change things up as the plot progresses, but I think that an 80 minutes (or less) runtime would've worked better for the film. Still, that really doesn't take much from what was ultimately a very creative, very unique experience. I don't know if you'll be left speechless, but I'm sure you'll be laughing.
Grade: 3.5
IVAN'S CHILDHOOD
(1962, Tarkovsky)
A film from Andrei Tarkovsky
https://i.imgur.com/nahO46v.jpg
"A war's no place for children."
Set during World War II, Ivan's Childhood follows the titular child (Nikolai Burlyayev), a young orphan who is left wandering around his war-torn country after losing his parents. Fueled by revenge, he insists in working with the military, whether it is as a scout, an informant, or a bona fide soldier. Meanwhile, several officers try to figure out what to do with the child as they can't deny he's useful, while also acknowledging that "war's no place for children".
Tarkovsky has been a major blind spot for me as a cinephile. Up until this point, I had only seen Stalker, and even that one is due for a rewatch, which is why I was looking forward to tackling this category. I chose Ivan's Childhood because it's his shortest film, but that doesn't stop it from being a great film and an impressive achievement, considering it's Tarkovsky's debut.
The first thing that hit me was how well shot the film is. This is something that I had already witnessed in Stalker, but that you can see Tarkovsky was already on top of here. The camera movement, blocking, and framing is excellent making you feel the isolation of the character in the midst of war, as well as his entrapment as a result of the conflict, heightened by his desire to do "something" against the enemy, but also to just be a child.
Tarkovsky uses some scattered flashbacks to moments that Ivan spent with his mother to remind us all of what is lost as a result of war. That notion of lost innocence and childhood, and the toll that war takes on everybody is powerfully portrayed. As we see Ivan's journey, we are constantly reminded of the above warning; that war's no place for children. But what choice do they have?
Grade: 4
Should've posted this a long time ago, but I'm a mess this year in pretty much every aspect and I just put up the audio for this, so here is the April "assignment" episode of the podcast that applies to all those previous films I just reviewed.
The Movie Loot: The April Assignment (with Seth Vargas from Movie Friends Podcast) (https://www.buzzsprout.com/850063/14972259-the-movie-loot-the-april-assignment-with-seth-vargas-from-movie-friends-podcast.mp3?download=true)
In this one, my friend Seth Vargas (from Movie Friends Podcast) joined the loot as we chose a set of 5 categories to guide us on what to watch during April.
You can also see the live broadcast we did via YouTube
here (https://www.youtube.com/watch?v=b_u2pCaVwXU)
...or listen to it through any podcasting platform like Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-the-april-assignment-with-seth/id1578191119?i=1000661561018), Spotify (https://open.spotify.com/show/4o5ZvtvZ64XAoxIIxiAj1q), or any other.
Here are the criteria for APRIL 2024:
A film with a budget of less than $500,000 (One Cent Day, April 1):
A film with Lon Chaney (born April 1):
A film from Andrei Tarkovsky (born April 4):
A film from Thailand (Thai New Year/Songkran, April 13):
A film with a title that starts with the letters G or H:
Still catching up, now with my summary for APRIL 2024:
A film with a budget of less than $500,000 (One Cent Day, April 1): Hundreds of Beavers (https://www.movieforums.com/reviews/2465347-hundreds_of_beavers.html)
A film with Lon Chaney (born April 1): West of Zanzibar (https://www.movieforums.com/reviews/2464832-west_of_zanzibar.html), The Monster (https://www.movieforums.com/reviews/2464886-the_monster.html)
A film from Andrei Tarkovsky (born April 4): Ivan's Childhood (https://www.movieforums.com/reviews/2465438-ivans_childhood.html)
A film from Thailand (Thai New Year/Songkran, April 13): Death Whisperer (https://www.movieforums.com/reviews/2465210-death_whisperer.html)
A film with a title that starts with the letters G or H: Host (https://www.movieforums.com/reviews/2464804-host.html) (2020)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/ukK4LoKHROrzB6zvdKq0nGl5RTA.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/zwnhJhF73rADB9MURcpQ6AeLrPg.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/kOyxl0PCoYsZybEZnN32tOR2y0G.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/vmRWSLP1DE9WTta0hfzIafJ0dID.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/48TDjSJpCdJ4SBOHZX3G5IjaV02.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/h7dZpJDORYs5c56dydbrLFkEXpE.jpg
Other films seen, not for the challenge:
Child's Play franchise: Child's Play (https://www.movieforums.com/reviews/2462721-childs_play.html) (1988), Child's Play 2 (https://www.movieforums.com/reviews/2463344-childs_play_2.html), Child's Play 3 (https://www.movieforums.com/reviews/2463597-childs_play_3.html), Bride of Chucky (https://www.movieforums.com/reviews/2463755-bride_of_chucky.html), Seed of Chucky (https://www.movieforums.com/reviews/2463767-seed_of_chucky.html), Curse of Chucky (https://www.movieforums.com/reviews/2464670-curse_of_chucky.html)
Pre-Code films: Kongo (https://www.movieforums.com/reviews/2463334-kongo.html), Three on a Match (https://www.movieforums.com/reviews/2463482-three_on_a_match.html)
Other films: AINBO: Spirit of the Amazon (https://www.movieforums.com/reviews/2463591-ainbo_spirit_of_the_amazon.html), Rise of the Planet of the Apes (https://www.movieforums.com/reviews/2464588-rise_of_the_planet_of_the_apes.html), A Panicky Picnic (https://www.movieforums.com/reviews/2465194-a_panicky_picnic.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/7jrOhGtRh6YK7sMfvH1E1f36aVx.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/tFcol3qTcL5ImNRbcGLSsLPTTv1.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/4Ojqn25cDodhljBWrE76tZ93PRu.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/mAGviFp1ufYM3EaZBSrjPiKPBt6.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/ynDSmBM3rTFsWNb7zjgglotaXlH.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/x9DzkDWp8O82Wzxk6otuD9bce9a.jpg
https://image.tmdb.org/t/p/w600_and_h900_bestv2/4mDntFmBDmQGLjKW21oIfrxFOst.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/rgx6zwUzi4jZyXaB0Hg8dKx47Qp.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/l8HyObVj8fPrzacAPtGWWLDhcfh.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/cjLsuP75UDlRdJVMXzXg3TJ4umX.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/p9Hlw4oUeOzI9mvAYNi3lWZqjLd.jpg
My favorite first-time watch of April was probably Ivan's Childhood, but Host, Three on a Match, and even A Panicky Picnic come close. Really enjoyed those three.
Least favorite first-time watch was probably AINBO: The Spirit of the Amazon, but also some of these Chucky films, like Seed of Chucky and Child's Play 3 are close to the bottom as well. Nothing truly awful, though.
CULT OF CHUCKY
(2017, Mancini)
https://i.imgur.com/Ujs6t0B.jpg
"A few years ago, I came across this groovy new spell on VoodooForDummies.com that changed everything. Now, I can be me."
"And me."
"And me."
"...and theoretically, anyone or any thing with two legs and a hand for stabbing."
Cult of Chucky follows the events of Curse of Chucky as Nica (Fiona Dourif), now committed to a psychiatric hospital for the murders of the previous film, still has to deal with her own mental state, but also the inevitable return of Chucky (Brad Dourif). The killer doll has also learned a few tricks himself, which add some spice to the film. To make things more interesting, the film also brings Andy (Alex Vincent), the main character of the first three films, back into the mix as he is also coping with the trauma of his encounters with Chucky.
This one, like its predecessor, features a darker and somber tone. Granted, there is a lot of humor in it, which you can infer from the above quote, but it never reaches the levels of Bride or Seed. My main issue with this one is that it feels and looks cheap as hell. Chucky effects aside, most of the set design and production values are distractingly poor, plus the way that we see the psychiatric hospital and its staff operate lets you know that they were all working on a limited budget.
What the film has in its favor is in its cast. As I was venturing through this franchise, someone told me how Jennifer Tilly is probably the best thing to happen to it. But if that is true, then Fiona Dourif isn't far behind. She's so good in the lead role, and although it's nice to have Andy back (and Vincent does a pretty good job in the role), there's no question that this is Fiona's show from start to finish.
I also think the idea of Chucky being able to transfer himself into multiple bodies makes for an interesting twist, and the film tries to make the most out of it. However, the film still lacks a certain something, and feels a bit unfinished or unpolished; something that not even Vincent, Tilly, or two Dourif's can fix. Still, a mostly fun watch, especially if you're a fan of the franchise.
Grade: 2.5
MIRROR OF HOLLAND
(1950, Haanstra)
https://i.imgur.com/X3dqKFm.jpg
"It's not what you look at that matters, it's what you see." --Henry David Thoreau
Mirror of Holland is a 9 minute short comprised of a collection of images from the city. The catch is that director Bert Haanstra filmed it all using the reflections in the water. It has no dialogue, and it's only accompanied by a score from Max Vredenburg. It sounds like a simple concept and, technically, it is; but much like its blurred and rippled images, it can lend itself to many interpretations.
The short opens on the countryside as we see a kid that much like us is looking at the reflections in the water. We see windmills, cows, farmers, swans, and boats. As it progresses, it seems to move closer to the city. With that, the images become a bit more blurry and the music gets slightly more frenetic, challenging both our literal and metaphorical perception.
I decided to check this out after SpelingError included it in his list of favorite short films. In the surface, there doesn't seem to be much more to the short than that. But much like Thoreau said, it's not necessarily in what we're looking at, but rather in what we see and what we get out of it. That sometimes we should try to look at things from a new perspective, and maybe we might see something different.
Grade: 4
SpelingError
07-09-24, 08:11 PM
Glad you enjoyed it! I'm a huge sucker for reflection photography and Mirror of Holland might just have the best I've ever seen. I'm pretty sure I cried when I first saw it.
HAIR-RAISING HARE
(1946, Jones)
https://i.imgur.com/oyfnSWI.jpg
"Just a minute, I have another little friend who'd like to eat... uh, uh, meet you."
Hair-Raising Hare follows Bugs Bunny, as he is lured into the lair of an evil scientist. His goal? To feed Bugs to his hairy, red monster. Of course, when Bugs Bunny realizes what's up, he tries to flee while also doing his best to get the upper hand against the two baddies.
This is a short I've seen a hundred times since I was a kid. I always found the design of the monster to be quite effective, but this time, I was more amused by the design of the scientist, who is drawn to look like Peter Lorre. I didn't like that they dropped him without reason for the second half of the short.
Other than that, it's a typical Bugs Bunny short. I didn't find it as funny as I probably did when I was a kid, but I still think it has some fun moments between Bugs and the Monster, and some good physical comedy.
Grade: 3
THE GOLDEN LOUIS
(1909, Griffith)
https://i.imgur.com/AhGllbk.jpg
"A subject showing the fallacy of good intentions."
That's how H.A. Downey described this short back in 1909, and he's not wrong. Directed by D.W. Griffith, The Golden Louie follows a "well-intentioned" gambler (Charles Inslee) that takes a coin from a beggar child (Adele DeGarde). His plan is to use the coin for a "sure bet" and to return the money after he wins. Unfortunately, things don't work the way he planned.
From a technical standpoint, there's not much to the short. It features mostly static cameras and little "flair". As is usual in these early shorts, the acting and the whole production is very stage-y and theatrical. In terms of the story, it is a hell of a downer. The film mostly follows the perspective of the gambler, which makes things feel a bit awkward since his actions are, for lack of a better word, sh!tty.
At almost 7 minutes, it is not that much of a chore to check it out, but there really isn't that much to get out of it. I'm not sure what Griffith's intentions were, but the repentance of the gambler in the end feels like "too little, too late", which kinda leaves you with a sour taste afterwards.
Grade: 2
PARENT TEACHER
(2018, Cummings & Hahn)
https://i.imgur.com/LBLvOiV.jpg
"Hi! My name is Mr. Zahn, and my job is to make this work. And you're job – apparently – is to *not* make this work."
Parent Teacher is a 17 minute short from Jim Cummings and Dustin Hahn. It follows a parent/teacher meeting at a school classroom led by Mr. Zahn (Hahn). As he tries to go through the different topics of the meeting, he realizes that the parents aren't really much different than their kids.
"Growing up is not easy", says Mr. Zahn at one point. But then, again, neither is parenting or being a teacher; and if neither of the three are working together, the work can't be done. The short beautifully illustrates the struggle of teachers in trying to create "critical thinkers", as opposed to "memorizers", as Zahn puts it at one point.
Cummings and Hahn do a great job transmitting the seriousness of the situation in a way that feels real, without losing the funny edge. But as great as the dialogue, script, and performances are, the quality of the short is elevated by their decision of doing it all in one continuous shot, something that has become some sort of a trademark from Cummings. 18 takes, Cummings told me via Twitter. It is quite an impressive feat.
I worked as a teacher for close to 15 years, but I'm also a parent, so I know it's not an easy task on either side. It's up to both sides to really talk, collaborate, and make this work... and not ask stupid questions, check the cell phones, bully the teacher, or steal mugs from him.
Grade: 4.5
BIG TROUBLE IN LITTLE CHINA
(1986, Carpenter)
https://i.imgur.com/f4shNMV.png
"I'm a reasonable guy. But, I've just experienced some very unreasonable things."
Big Trouble in Little China follows trucker Jack Burton (Jack Russell) as he tries to help his friend Wang Chi (Dennis Dun) rescue his fiancée from an underworld gang led by an evil sorcerer named Lo Pan (James Hong). Joining them in this journey full of unreasonable things is an assorted group of allies, which include Wang's businessman friend, a friend of Wang's fiancée, and an old magician.
This is a film I'm pretty sure I saw a couple of times when I was a teen. However, for some reason, it had been easily 25-30 years since I last saw it; which is a shame cause the film is a ton of fun. Even if things doesn't make much sense and seem "unreasonable", like Lo Pan himself said, we are "not brought upon this world to get it!". Especially since the film is carried by Russell's charisma and the great chemistry between the cast, as well as the fantastic setpieces and colorful villains.
For all of Jack's projected "macho" attitude, I also love how the film pushes back against the stereotypical "white savior" trope by letting him be sorta in the sidelines. More often than not it is Wang, his friend Eddie, and the Chang Sing gang the ones that take the spotlight. Carpenter even plays with the trope and our expectations a couple of times in pretty funny ways.
I'm a reasonable guy, but going back to this film after such a long time seems like a very unreasonable thing. Big Trouble in Little China is full of great action, solid comedy, and overall a ton of fun. I should've gone back to it sooner, but everybody relax: I'm here.
Grade: 4
DAWN OF THE PLANET OF THE APES
(2014, Reeves)
https://i.imgur.com/Ujime37.jpg
Malcolm: "I've seen things. I've seen the way they are. They want what we want, to survive. They don't want a war."
Dreyfus: "They're animals! They attacked us!"
Dawn of the Planet of the Apes follows the growing tension between the surviving humans and the increasing and evolving ape community led by Caesar (Andy Serkis). Set 10 years after the events of Rise, it follows a new group of humans led by Dreyfus (Gary Oldman) and Malcolm (Jason Clarke), both of which have differing views about how to handle the apes pushing them to decide between conflict and war, or a tense truce with the "animals". Meanwhile, Caesar also has to deal with unrest within his own group.
This is probably the third or fourth time I watch this, and I've always held it up as the best of the trilogy. A recent rewatch of Rise closed the gap, but this one remains the superior one. Even though we have to acclimate ourselves to new human characters, Clarke, Keri Russell, and especially Oldman do a great job. However, it is the wonderful job of Serkis and the VFX team what keeps pushing that through line of apes being much more than "animals". The "humanity", for lack of a better word, with which they imbue these apes is stellar.
Also, it's good to see that the conflict isn't necessarily one-dimensional. With the exception of a couple of close-minded humans, the struggle within Dreyfus to save humanity feels real (even if there's a desire for revenge buried beneath it all). But Oldman is a master and he plays it all too well. He's probably my favorite character of the film, and maybe the trilogy. Clarke does a solid job as the straight man, and his family does what's necessary to draw our empathy.
As is usual with many big CGI-heavy films, I might have some slight issues with the climatic fight, but I think this is one of the best examples of the bunch. Although there's a good dose of big explosions and big stuff falling, it doesn't overshadow the main storyline about the duality between humans and apes, and what each of them are and want. Even if they're animals, they don't look or feel like it. Unfortunately, even if they don't want a war, they will get it.
Grade: 4
A MYSTERY ON THE CATTLE HILL EXPRESS
(2023, Ashurst)
https://i.imgur.com/jN4wMC9.jpg
"♪ Having such a wonderful time, when we're out solving crime ♫"
At least that's what this Norwegian animated film for kids promises to deliver. This is actually the third film in a series set in the titular town, featuring anthropomorphic farm animals, but the focus is mostly on Clara, a very resourceful calf. This one borrows some elements from Agatha Christie's novels as Clara and his friend Gavin set out to investigate the theft of a special "super-seed" that was supposed to help with their crops.
The clearest inspiration is Murder on the Orient Express, down to the title, as the film is set mostly on a train where some of the Cattle Hill residents were to meet Albert, a pig that developed the aforementioned "super-seed". So when the seed is stolen, all of the passengers become suspects. Enter Agatha Christensen, a rabbit detective hired by Albert to solve the case.
Obviously this was something I put up for the kids and just sat down to watch with them. They enjoyed it, although probably not as much as other films they've seen. It doesn't seem to be one of those that sticks with them, but it was good enough to pass the time for them. As for me, I would say it was mildly entertaining. The animation is good, and the whodunit angle is effective for most of the run.
I do think that, even at 70 minutes, the film seems to be pushing to get there. I feel like they could've cut 20 minutes and it would've worked better. There are also a couple of twists in that last act, but one or two of them didn't work that well for me. Still, there is enough mystery and enough action to keep the kids entertained. Whether that amounts to a "wonderful time", I don't think so.
Grade: 2
PIÑERO
(2001, Ichaso)
https://i.imgur.com/8IWpCbs.png
"Well, I never wanted to be anybody. But a guy once said to me, 'you can write, and writing will get you out of jail.' And it did and it didn't, 'cause I had to keep doing bad to keep the writing good, 'cause I sell trouble."
Piñero follows the life of Nuyorican playwright, poet, and actor Miguel Piñero (Benjamin Bratt). Piñero was a very controversial figure whose talent was rivaled by his own inner demons of addiction and criminal life. After a stint in Sing-Sing, he wrote a play called Short Eyes, which ended up being nominated for several Tony Awards and was eventually adapted into a film version.
This is a film that was introduced to me by my wife. Back when we started dating, she had a poster of this film in her room. At the time, I hadn't seen it, but saw it with her and, even though it has its flaws, it's still a pretty good biopic with a fiery performance from Bratt. It is the kind of story about a "tortured soul" that just can't help but do bad "to keep the writing good".
The film's direction by Leon Ichaso is very loose and maybe even a bit erratic, perhaps mirroring Piñero's own loose and erratic lifestyle. But what keeps everything afloat is Bratt's energetic performance. He owns the role through and through, peaking with a sizzling presentation in a New York rooftop halfway through the film. It is the kind of moment where you wish the whole package was just as good.
The film also brushes over some significant issues like Piñero's sexuality. It almost feels as if Ichaso was trying to hide these facts by elevating his relationship with Sugar (Talisa Soto) to levels of soap opera, and failed. However, if you like biopics and are curious about who Piñero was, then check it out. Much like Piñero himself, it's flawed, sometimes erratic and frenetic, but still honest and true.
Grade: 3
THOR: LOVE & THUNDER
(2022, Waititi)
https://i.imgur.com/ohTlpmJ.jpg
"Let me tell you the legend of Thor and Jane. He was a God of Thunder and she, a woman of science. And although they were from different worlds, somehow, it just made sense. And together they embarked on a journey of love."
Thor and Jane, gods and science, love and thunder. This fourth installment in the Thor franchise is very much a story of two sides that not always make sense, with the "god-like" Thor being burdened by human situations as he waltzes from battle to battle, while Jane (Natalie Portman) looks for "divine" solutions to more human issues. When the self-proclaimed God-butcher, Gorr (Christian Bale) threatens New Asgard, Thor and Jane have to find a way to make sense of each other to save the world.
Director and co-writer Taika Waititi brings the same level of absurd humor he brought to Ragnarok and then some. Unfortunately, not all of it makes sense. There seems to be a tonal dissonance between the often non-sensical flow of his direction and script, and the sometimes serious undertones of Gorr and his quest to eliminate all gods. I thought Bale did a pretty good job, but the seriousness of his character and his threat level sometimes felt suffocated by the barrage of absurd jokes and visual gags that Waititi throws at us.
Some of the humor does land and some of the moments work. I kinda liked Russell Crowe as the hedonist Zeus, and there are some jokes and moments that did make me laugh. But when you try to pair jokes about naked men and endlessly screaming goats, with the more serious themes of "killing our gods" or a character dying of cancer, the match is not always as harmonious as Thor and Jane's love is supposed to be.
I'm a big fan of Ragnarok, but I think there was a need for Waititi to tone down things a bit here. Instead, he seems to be loose while throwing everything but the kitchen sink. When it lands, it's fun; but when it doesn't, it just ends up feeling odd and in disfavor of the more serious tones of the script. I don't think it's a bad film at all, but the clash is evident. Different worlds, but somehow, it didn't always make sense.
Grade: 2.5
COMMANDO
(1985, Lester)
https://i.imgur.com/nlkM8Kt.jpg
John Matrix: "I eat Green Berets for breakfast. And right now, I'm very hungry!"
Cindy: "I can't believe this macho bullshit..."
The 80s was such a fertile ground for action films. The peak of Schwarzenegger and Stallone, the rise of Van Damme and Seagal. Indestructible men that could toss you across the room with a flick of their fingers into a drum of instantly exploding gasoline while throwing a witty one-liner, and walk away with barely a scratch. Any of their films started and there was no doubt that they would kick all of the bad guy's collective asses. It was all about the ass-kicking journey.
Commando is probably one of the prime examples of this, featuring Schwarzenegger at the top of his game, doing pretty much just that. He plays John Matrix, a former Special Forces colonel who sets out to rescue his daughter (Alyssa Milano) who was kidnapped to force him to assassinate a South American political leader. Despite these stakes, I don't think there's any doubt in anybody that watches this as to who will walk away victorious.
This is one of those films I used to see often when I was a kid. Growing up in the 80s, I caught the brunt of that action film wave. However, it had been probably 25-30 years since I had last seen it, and it is probably that lack of stakes that had kept it at a distance for me. I mean, it is fun and laughable to see Arnold plow his way through an endless army of thugs with bad aim, as bodies fall left and right of him, but it is not necessarily something that sticks with me.
But again, it *is* fun. Vernon Wells does a lot of scenery chewing, which makes for a fun bad guy, it's always fun to see Dan Hedaya in anything, and Rae Dawn Chong makes for an interesting and competent sidekick instead of just a damsel-in-distress; and much like her character, you're enjoyment of this will depend on how much you can believe this macho bullshit.
Grade: 3.5
THE PIANIST
(2002, Polanski)
https://i.imgur.com/Ot063Nv.jpg
"Majorek, this is the greatest pianist in Poland, maybe the whole world."
Wladyslaw Szpilman was a Polish-Jewish pianist and composer. He studied in some of the best musical schools in Berlin and Warsaw before settling in his hometown, where he was renowned as a celebrated musician and perhaps "the greatest pianist in Poland, maybe the whole world". But all those praises and recognitions become meaningless in the face of abject xenophobia and blind hatred.
The Pianist tackles just that, as we follow Szpilman's struggle to survive in the wake of World War II and the Holocaust. Starting with the occupation of Poland in September 1939, through the forced movement of Polish Jews into the Warsaw Ghetto, and then into full deportation into concentration camps. We see Szpilman, separated from his family, trying to survive mostly thanks to the help of various friends.
This is a film I've seen several times, since it is one of my wife's favorite films. It is a harrowing portrayal of the horrors of the Holocaust, as we see the treatment and conditions that Polish Jews were living through devolving from mockery and disrespect to sheer terror, murder, and genocide. To think of being separated from your family, with no hope or chance of helping them is terrible. Actually, the scene at the train station where the family shares a piece of caramel has got to be my favorite. So simple and yet so heartbreaking.
Mixed with those horrors and terrors, there is certainly a message of hope. After all, Szpilman survives thanks to the kindness of others, but he survives also because he was "the greatest pianist in Poland, maybe the whole world". His story of survival is impressive and, sure, inspirational, but it's also a reminder of the 3 million Polish Jews that didn't survive. Pianists and non-pianists that didn't get the same chance to be the greatest "anything" in Poland, or the whole world.
Grade: 4.5
SpelingError
07-22-24, 06:20 PM
I'm also a big fan of that one.
I'm also a big fan of that one.
This is probably my fourth time watching it, and I still found myself blown away by the horrific images.
SpelingError
07-23-24, 12:35 AM
This is probably my fourth time watching it, and I still found myself blown away by the horrific images.
This scene gives me chills just thinking about it:
https://www.youtube.com/watch?v=9ff-I5ATBxY
While its horrors aren't quite as expressive as those in Come and See, which is still the gold standard for portraying the horrors of war, it still depicts a disturbingly effective hellscape.
This scene gives me chills just thinking about it:
https://www.youtube.com/watch?v=9ff-I5ATBxY
While its horrors aren't quite as expressive as those in Come and See, which is still the gold standard for portraying the horrors of war, it still depicts a disturbingly effective hellscape.
Hellscape is definitely an appropriate term. One thing that I think I noticed more this time was the hellish conditions that the people lived in the Ghetto. Every time you see Szpilman walking on the street, there are emaciated beggars first, and then rotten corpses just laying there, all while people walk past them. Polanski doesn't really dwell on it that much, but they're there; and that normalization of death and suffering is certainly terrifying.
HUNTER HUNTER
(2020, Linden)
https://i.imgur.com/arBScZo.jpg
"Without its pack, a lone wolf won't go for its usual prey. It'll go for the old, the young, the sick, dead."
That is one of the many lessons that hunter and fur trapper Joseph (Devon Sawa) tries to pass on to his daughter Renee (Summer H. Howell). The two live with their wife and mother Anne (Camille Sullivan) in a remote cabin with just the bare necessities. But when the threat of a lone wolf arises, they have to find ways to survive which also brings up buried tensions between the couple.
It is such a beautiful thing when the Internet and social media can do its trick. This is a film I don't think I had heard or read about, until someone brought it up on Twitter. I think Sawa himself replied to someone's praises by acknowledging how much he liked working on the film and how he wished for more people to see it. I read the synopsis and thought "why not?" and what a pleasant surprise it was.
Hunter Hunter lives mostly on the atmosphere of dread it manages to build around its main characters. It has its spurts of thrills here and there, but for the most part, it's just the uneasiness it transmits what gets to you. Just like the family is on edge, waiting for the worst, we are on edge wondering when the "lone wolf" will attack.
As the film progresses, we realize that the "lone wolf" might not be as "lone" as one might think. Still, Hunter Hunter takes its time to prey upon us as the audience; but when it does come at us, it doesn't really pull his punches. Much like a predator, the film is patient and methodical and first, but ultimately unapologetic and brutal in its attack.
Grade: 4
LIFE IS BEAUTIFUL
(1997, Benigni)
https://i.imgur.com/E7spFKH.jpg
"I don't like Visigoths. Starting tomorrow we'll write: 'No spiders and Visigoths allowed'. I'm sick and tired of these Visigoths."
How do you explain to a 5-year old kid that a whole group of people, or that entire governments, hate who you are? The above is one of the ways that Guido (Roberto Benigni) tries to shield his son Giosué (Giorgio Cantarini) from that, right after they see a sign at a store that reads "No Jews or Dogs Allowed" in 1944 Italy. But as time passes and war grows stronger, Guido will have to do much more to protect his son and his family.
Directed and co-written by Benigni, Life is Beautiful follows the relationship between Guido and Dora (Nicoletta Braschi) in the wake of World War II and the Holocaust. The film is clearly divided in two parts. The first one in 1939 when Guido and Dora meet and fall in love, plays more or less like a traditional romantic comedy. There's your "meet cute", the flirting and courting, an "evil" boyfriend to "defeat", and ultimately a "happy ending".
The second half, though, is a serious war drama. Set in 1944 as the Nazi occupation of Italy takes place, we see Guido and Dora, now a married couple, being forced into a concentration camp along with their young son. As the parents are split, and Giosué is trying to figure out what's going on, Guido makes an effort to convince him that everything is just a game in order to protect him from the horrors around them.
This is yet another film that is one of my wife's favorites, and another one that I've seen four or five times. However – and my wife knows this – I will admit that I wasn't that crazy about it when I first saw it. But with every rewatch, my esteem for the film grows more and more. I think that I was initially turned off by the tonal shift; I probably got whiplashed by it, which is weird cause now, even though the shift is clear and evident, I feel that it's quite genius how harmoniously it all works.
The performance from Braschi is pitch-perfect, but special note goes to Cantarini who delivers an impressively charming performance, especially for such a young age. But the biggest reason of why it all works is easily Benigni who, as a director, co-writer, and lead actor imbues this film with such a unique charm in the midst of all these terrible things. The way it all moves from naïve humor and physical slapstick, into heartfelt romance and touching drama is magical, and well worth a fourth or fifth watch.
Grade: 4
THE PURGE
(2013, DeMonaco)
https://i.imgur.com/vo2QIjB.jpg
James: "We're gonna make it through tonight and everything's going to be okay."
Zoey: "Nothing is ever going to be okay again, dad."
Set in a dystopian near future, The Purge follows the annual titular event: a period of 12 hours where any type of crime is permitted as a way of controlling population and improving the economy. Right in the middle of it is James Sandin (Ethan Hawke) who makes a living selling security systems designed to withstand the event. But when he and his family are targeted by a ruthless gang of murderers, they have to find ways to make it through the night.
Despite mixed reviews, the film made a lot of money, which has resulted in multiple sequels and a TV series to come out. It is probably because of those initial mixed reviews that I had stayed away from it, but I had always been curious to jump in. I've read that most of the sequels are better than this one, but being the completist that I am, I wanted to start at the beginning, if I was to jump in.
The thing is that The Purge presents a compelling premise; a society that has essentially found a way to justify and condone crime by giving up to primal impulses, while creating social safeguards around it to pretend that they care. Unfortunately, that premise is then limited for the most part to a basic home invasion film. The novelty of what "the purge" is gets lost in a movie that's really not different from any other home invasion movie.
Hawke and Lena Headey do their best as the lead couple, but they really don't have a lot to do, while their two children range range from obnoxious to irrelevant. The only actor who stands out is Rhys Wakefield as the "polite leader" of the gang. Surrounded by mostly a horde of faceless thugs, his whole demeanor and delivery makes for an antagonist that's at least interesting and fun to watch.
Behind all the main premise, there seems to be an underlying message of not succumbing to these instincts and actually help others, but the whole argument feels muddled and without focus. There is also a twist in the very last act that I wish would've been executed better. If it had, it could've put the main theme back into focus; the realization that everything is a façade and that nothing is ever going to be okay again.
Grade: 2.5
For this month, I sorta took a break from my usual challenge. Since it was my wife's birthday in May, as well as Mother's Day, I decided to highlight four films that she loves and either led me to, or helped me appreciate more.
So this is my summary for MAY 2024:
Piñero (https://www.movieforums.com/reviews/2473500-piero.html)
Dawn of the Planet of the Apes (https://www.movieforums.com/reviews/2472944-dawn_of_the_planet_of_the_apes.html)
Life is Beautiful (https://www.movieforums.com/reviews/2474211-life-is-beautiful.html)
The Pianist (https://www.movieforums.com/reviews/2473992-the_pianist.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/rn1jbfASOd9cndsUr5Tt25jHsVZ.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/kScdQEwS9jPEdnO23XjGAtaoRcT.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/74hLDKjD5aGYOotO6esUVaeISa2.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/2hFvxCCWrTmCYwfy7yum0GKRi3Y.jpg
Other films seen during the month:
Short films: Mirror of Holland (https://www.movieforums.com/reviews/2471297-mirror_of_holland.html), Hair-Raising Hare (https://www.movieforums.com/reviews/2471433-hair-raising_hare.html), The Golden Louis (https://www.movieforums.com/reviews/2471440-the_golden_louis.html), Parent Teacher (https://www.movieforums.com/reviews/2471506-parent_teacher.html)
80s action films: Big Trouble in Little China (https://www.movieforums.com/reviews/2471639-big_trouble_in_little_china.html), Commando (https://www.movieforums.com/reviews/2473922-commando.html)
Horror/thriller films: Cult of Chucky (https://www.movieforums.com/reviews/2471188-cult_of_chucky.html), Hunter Hunter (https://www.movieforums.com/reviews/2474085-hunter_hunter.html), The Purge (https://www.movieforums.com/reviews/2474402-the_purge.html)
Other films: A Mystery on the Cattle Hill Express (https://www.movieforums.com/reviews/2473462-a_mystery_on_the_cattle_hill_express.html), Thor: Love and Thunder (https://www.movieforums.com/reviews/2473804-thor_love_and_thunder.html)
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My favorite first-time watch of May was probably Hunter Hunter, which was a very pleasant surprise. Jim Cummings' short, Parent Teacher, is also up there.
The weakest first-time watch was probably A Mystery on the Cattle Hill Express. I could lean into the fact that I'm not the target audience, but my kids weren't that grabbed by it either. They "enjoyed" it, but that's it.
And on that note, back in May I recorded a brief episode of the podcast where I talked about those four films my wife likes, so feel free to check it out.
The Movie Loot 109: My Wife's Loot (https://www.buzzsprout.com/850063/15171899-the-movie-loot-109-my-wife-s-loot.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/2mcdrVl1RwCeZeUGRigtPd?si=353a5b94a0cd4b53), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-109-my-wifes-loot/id1578191119?i=1000657449456), and other streaming platforms.
Enjoy!
ESCAPE FROM THE PLANET OF THE APES
(1971, Taylor)
https://i.imgur.com/baNtzst.jpg
"One of the reasons for man's original downfall was your peculiar habit of murdering one another. Man destroys man. Apes do not destroy apes."
Escape from the Planet of the Apes is the third installment in the original Planet of the Apes franchise. Set immediately after the events of Beneath the Planet of the Apes where Earth was destroyed, it follows the surviving chimpanzees Cornelius and Zira (Kim Hunter and Roddy McDowall) who have just ended in "present" Earth as a result of a time warp. As the two chimpanzees adjust to life on the planet, they have to also adjust to human's violent nature, which could ultimately threaten them.
The main threat against them comes from Dr. Otto Hasslein (Eric Braeden), a science advisor to the President who doesn't trust them, especially after finding out what will happen to humans. But how far will he go to save humanity? On the other hand, Cornelius and Zira are welcomed and helped by two other scientists: Dr. Lewis Dixon and Dr. Stephanie Branton (Bradford Dillman and Natalie Trundy). The two offer some balance against Hasslein's mistrust as they offer the chimpanzees their friendship and eventually their help.
Escape from the Planet of the Apes does have its share of plot contrivances and "silly" moments, particularly in the middle act as we see the many ways that Cornelius and Zira are embraced by the general public. However, it does present an interesting dilemma for its human characters. What do you do upon learning the fate of humanity from Cornelius and Zira? What if you could change things, stop them from happening?
One of the things I like about the film is that, even though Hasslein is clearly an antagonist, you kinda understand why he does what he does. His reasonings to try to save humanity made for a compelling character and story in the midst of the silliness. I remember seeing most of these films on TV when I was a kid and, even if I didn't remember the bulk of what happened, there is a shot in particular that always stuck with me. So it was quite interesting, and still shocking, to see it unfold now. To go back to that question, how far would you go to "save humanity"? How much are we willing to "destroy" to avoid "destruction"?
Grade: 4
THE BORDERLANDS
(2013, Goldner)
https://i.imgur.com/8T0XTl4.jpg
"That’s nature for you, Deacon. Big stuff eating small stuff."
The Borderlands follows a Vatican team sent to investigate a series of supernatural occurrences in an old church in the England countryside. The first two to get to the place are Deacon and Gray (Gordon Kennedy and Robin Hill). Despite working for the church, Deacon is a skeptic, but also seems to be hiding something. Meanwhile, Gray is an enthusiastic but mostly non-religious technician that is in charge of setting up cameras to conveniently monitor everything. As the two get deeper and deeper in their investigation, they realize that there might be bigger forces at play.
This is a film I had seen mentioned often on social media, but also while browsing some streaming services. Your enjoyment of it might depend on two key things: first, your tolerance for "found footage" films and second, your tolerance for slow-burn type films. Regarding the former, I guess the film does its best to try to make the constant presence of cameras and headsets feel organic, but you can still see the seams here and there of moments where characters will somehow justify the camera being there.
As for the second aspect, the film does manage to build an atmosphere of dread and uneasiness. Not necessarily because of anything supernatural, but mostly because of the attitude of locals towards their presence. I felt that aspect was mostly successful, and I really liked Kennedy's performance in response to that. Like I said above, it is evident that these people are fighting against things bigger than themselves, but it is also evident in Deacon that there is something consuming him from the inside.
The overall reasonings behind what's happening do feel muddled and for the most part, not properly set up, which I think hinders the payoff a bit in the end. That said, the very last act does ramp up in that uneasiness and pushes things full into horrifying levels. I know I was squirming and fidgeting myself, even if the road to get there wasn't as smooth as I would've wanted.
Grade: 3
TRESPASS
(1992, Hill)
https://i.imgur.com/ChsbOkf.jpg
"I don't know what this stuff is anymore. Our gold. God's gold. Fool's gold."
Trespass follows Vince and Don (Bill Paxton and William Sadler), two firemen from Arkansas that stumble upon a map for a cache of gold valuables hidden in an abandoned building in Illinois. However, as they set out to retrieve it, they find themselves targeted by a street gang led by King James (Ice T) after they witness them killing someone. Trapped inside the building, Vince and Don must find a way to get out and survive.
Back in the day, I remember often getting this film mixed up with Judgment Night, since both films feature regular men ending up in the wrong place at the wrong time. I remember I saw that one but not this one, so it was fun to take the trip back to the 90s. And Trespass is very much a product of its time. From the portrayal of the street gang to the cast, which is a microcosm of 90's movie stars.
The film doesn't really lose much time. The setup is brief and it doesn't take that long to get things rolling. Once it does, it creates an atmosphere of both claustrophobia and fear as they are unable to escape, mixed with mistrust in both parties. While Vince and Don's friendship crumbles because of greed, King James has to deal with the defiance of his lieutenant Savon (Ice Cube) who wants to have power. It is an interesting dichotomy even if the film doesn't fully take advantage of it.
I have some issues with the choices and decisions of some of the characters, and the film does feel like it should've been 10 or 15 minutes shorter, but the cast makes it worth your while. All of the actors have solid chemistry and it's always a treat to watch Paxton in anything. At the end of the day, Trespass is still a fun watch that plays on the realms of crime, thriller, and survival film that should be worth a watch.
Grade: 3
WALLACE & GROMIT
THE CURSE OF THE WERE-RABBIT
(2005, Park & Box)
https://i.imgur.com/g1dPiK2.jpg
"And for our sins, a hideous creature has been sent to punish us all! Repent! Repent! Lest you, too, taste the wrath of... the Were-Rabbit!"
The characters of Wallace and Gromit debuted in a short film back in 1990. Created by Nick Park using stop-motion technology, they have since appeared in three more short films, two TV series, one feature film, as well as an upcoming one. And yet, this one was my first dive into the characters and what a lot of fun it was.
The Curse of the Were-Rabbit is set in the wake of Tottington Hall's Giant Vegetable Competition. As residents are preparing for it, Wallace (Peter Sallis) and Gromit provide pest control to protect the crops from rabbits. However, they soon find themselves the target of a giant "hideous creature sent to punish them all".. the Were-Rabbit!
There are a bunch of things I really liked about this. From the stellar voice work that includes Ralph Fiennes and Helena Bonham Carter to the clever visual gags and running jokes, it all worked perfectly. The script doesn't hide the mystery for that long, but I still found myself largely entertained by it all.
Being my first experience with the characters, I found myself captivated by Gromit. He might have just jumped into my Top 5 favorite animated "pets", along with Snoopy, Winnie the Pooh, and Garfield :laugh: His whole demeanor and his interactions with Wallace were brilliant.
There's also a lot of creativity in the design of Wallace's gadgets and how they work, and I found a lot of the setpieces to be quite thrilling and well shot, especially for a stop-motion animated film. Worth noting that I saw it with one of my kids and he was laughing all the way. Overall, a very pleasant surprise and a lot of fun to watch. Look forward to the short films.
Grade: 4
PANDORA
(2016, Park)
https://i.imgur.com/Q8JfKUv.jpg
"We're not going in to die, but to save."
That's the reassurance that Jae-hyeok (Kim Nam-gil) gives to one of his friends as they're about to walk into certain death. But the possibility of saving more lives goes above their own lives. That is one of the main premises of this South Korean disaster film. Set in a small town whose economy is mostly dependent on a nuclear plant, Pandora follows what happens after an earthquake causes a nuclear meltdown.
Although the film covers many stories, the main focus is on Jae-hyeok, an immature young man that works at the nuclear plant. Still struggling with the loss of his father and brother and anxious to leave town, he is faced with some impossible situations that force him to sorta put the "big boy pants" finally. This reminded me a bit of the character of Gang-du in The Host, although the execution here is not as good.
There are a lot of things that work on the film. There are some genuinely thrilling moments here and there, the special effects and the visuals of the disaster are effective, and for the most part, the majority of the characters are likable and easy to root for. Unfortunately, the film tries to juggle too many little stories that mostly feel like the stereotypical disaster film tropes and that play too much into the melodrama.
There is also a fairly notable subplot surrounding the Korean government and their inability to make the right decisions. I don't think the way this subplot integrates with the main one was entirely successful, but most importantly, its beats feel extremely forced and preachy (nuclear energy = bad). Even though I generally agree with the sentiment about the use of nuclear power, the dialogues about it didn't feel as natural and organic as I would've liked.
Pandora still offers some decent thrills, solid performances, and well-intentioned human moments, but suffers from trying to cover too many bases as well as some excessive melodrama. If you like disaster movies, there are definitely worse ones out there, but there are also definitely better ones out there as well.
Grade: 2.5
TIMECOP
(1994, Hyams)
https://i.imgur.com/F47qb8K.jpg
"I find it reassuring to know what the future holds, don't you?"
That's one of the ways the bad guy in this film justifies his use of time travel. By doing that, he's essentially several steps ahead of everybody and can plan accordingly, which gives him the reassurance to keep doing his "bad guy" stuff. That is until he stumbles upon Jean-Claude Van Damme's boot. But of course, the bad guy has the reassurance of knowing that so he plans ahead.
TimeCop follows Van Damme's Agent Max Walker, a police officer that becomes a federal agent for an agency created to prevent time travel crimes shortly after his wife (Mia Sara) is killed. The bad guy in question is Aaron McComb (Ron Silver), an ambitious and corrupt politician who has been using time travel to fund his presidential campaign, and who might have something to do with the murder of Walker's wife.
I'm pretty sure I saw this film in theaters, or shortly after, and I've always regarded it as one of Van Damme's best efforts. Rewatching it now after 15 years, I can say it has held up rather well. Even though it has the plot holes and contrivances that are typical of both 90s action movies AND time travel movies, it is still pretty entertaining and fun to watch. Van Damme is serviceable as the lead, but Silver makes for an amusing villain.
Unfortunately, I don't think the film fully takes advantage of its premise. The opening scene with a time-traveling thief stealing a gold bullion from Confederate soldiers is excellent, and the 1929 recreation in the first act is quite good as well. However, in some ways the film doesn't grab my interest later as it does with those two sequences. It's almost as if it was clamoring for the TV treatment with each episode set in a different era (I know there was a TV series like that, but I don't know if it was any good).
Despite those slight issues, TimeCop does stand as one of Van Damme's best. The film still delivers with some pretty decent action and twists, and a pretty good villain. It's not much that we haven't seen in other of his action films, but I find it reassuring to know what the future holds, don't you?
Grade: 3.5
PEARL
(2022, West)
https://i.imgur.com/SAjpJOF.jpeg
"It's not about what I want anymore, Mitsy. It's about making the best of what I have."
Our lives are full of thresholds and crossroads; key moments where we have to choose whether to follow a "dream" or just give up on it for the "better good". Those choices can effectively alter the course of our lives, and although we can never go back to figure out what would've happened, the burdens of the "what ifs" are sometimes too heavy. What if I had followed what I wanted? Being on those crossroads is part of what lies within the core of Ti West's X film trilogy.
Pearl follows the titular character (Mia Goth) who was introduced as an old woman in the previous film. Here, we see a young Pearl at one of those crossroads. With dreams of being a movie star and escaping her abusive mother, she is determined to get what she wants. That is until her dreams hit the walls of rejection. That, and the fact that she is, well, a sociopath. All those factors push her into forgetting her dreams and making the best of what she has.
I thought X was a pretty good "slasher" with a bit more depth under the hood. Pearl is not that far from it as it builds on that duality between the title character and Maxine, both played by Goth. Both women have similar backgrounds, raised within abusive environments. Then comes the crossroad. In one key moment from the first film, Maxine defiantly says "I will not accept a life I do not deserve", which immediately puts her on a different path than Pearl, leading up to the third film (which I haven't seen yet).
But it is interesting to see the way that West and Goth, both credited as co-writers, dig into the psyche of Pearl and why she chooses the other path. There is a climatic monologue in the last act, which ends with the above quote, which shows us the frame of mind she's at and what might have led her there. This, and her audition, are peak moments for Goth who elevates this film through and through.
Kudos also to West for his committed recreation of early 20th Century cinema. The way that he evokes that vibe and feeling through music, lighting, set decoration, fonts, etc. especially during the first act, is impressive. Pair that with the fact that all three films probably cost less than $15-20 million to make, ALL THREE, and all of them making more than twice their budget... well, it gives a different meaning to making the best of what we have.
Grade: 3.5
HÔTEL ÉLECTRIQUE
(1908, De Chomón)
https://i.imgur.com/IP4h0mJ.jpg
"I like to stay in a hotel where it's a dome of silence. I can sit in my room and do nothing."
--Jim Gaffigan
Imagine staying in a hotel room where you actually can do nothing; just sit back and relax. Pioneering filmmaker Segundo de Chomón gives you a glimpse of that in this early silent film where the hotel itself does everything for you. Hôtel Électrique follows a couple staying at the hotel, while different objects do everything for you. From storing your luggage and polishing shoes to brushing your hair.
Every time I see one of De Chomón's films, I'm just amazed by his skills and trailblazing work. Here, he makes some effective use of stop-motion animation to make it seem like these objects come to life. For 1908, it's an amazing achievement. Like most short films of the time, there's not much else to it in terms of plot and story; but as a showcase of technical ability and prowess from De Chomón, it is impressive.
Grade: 3
LE THÉÂTRE DE BOB
(1906, De Chomón)
https://i.imgur.com/MNaFNdT.jpg
"I'm bored..."
--My kids
That seems to be the sentiment of the three kids depicted in this classic short. Yet another one directed by Segundo de Chomón, Le Théâtre de Bob, or Miniature Theatre, features three kids that put up a miniature show in their room. The short then turns in another impressive showcase of stop-motion animation.
The "miniature show" is split in three parts: a fencing match, a boxing match, and gymnastic show. All three are fun to watch and a visual treat, as far as special effects go. Plus, at a little over 4 minutes, the short is a breeze to get through. After that, I'm sure the three kids went back and said "I'm bored..."
Grade: 3.5
LA SIRÈNE
(1904, Méliès)
https://i.imgur.com/tagoBVO.jpg
"The Mermaid is proof positive that sometimes wonderful things come in tiny packages."
That's how an online reviewer describes one of George Méliès early short films (read here (https://moviessilently.com/2020/11/04/the-mermaid-1904-a-silent-film-review/)). La Sirène, or The Mermaid, follows the template of many of the director's early short films, which take advantage of his background as a magician and illusionist. This leads to some wonderful things indeed.
The short features a gentleman (played by Méliès) going through various steps to prepare and fill a fish tank. After various tricks, the camera closes in on the fish tank where a mermaid now lies. Méliès then keeps building on top of it adding more and more things. "Wonderful things" I might say, in a "tiny package" of 4 minutes.
Grade: 3
LE DIABLE AU COUVENT
(1899, Méliès)
https://i.imgur.com/NVIpoRu.jpg
"And no wonder, for even Satan disguises himself as an angel of light."
--2 Corinthians 11:14
With the above Bible quote, Paul was warning the people of Corinth of the many ways that the devil can hide amongst us. That premise is part of what kickstarts this thrilling short from George Méliès. The Devil in a Convent starts with a priest addressing a group of nuns only to reveal he is a devil or trickster, and follows what ensues afterwards.
Like many of Méliès short films, this one makes frequent use of illusion different things appear and disappear in the convent. What I really like about this one is how lively and energetic everything is. It borderlines in frenetic, but Méliès still manages to maintain a dance-like nature to it all, which makes it a treat to watch.
Grade: 4
That was a nice stretch of classic short films I caught up with during June. Hope anybody here can check them out. They're short and easy to find.
ULTRAMAN: RISING
(2024, Tindle)
https://i.imgur.com/DQfXMXP.jpg
"Being Ultraman isn’t about fighting. It’s about heart. Using your power to bring balance."
Ultraman, or Ultras, are gigantic superheroes that protect Earth by combating monsters and aliens; kaijus. The franchise began in 1966, becoming an international success afterwards. My earliest memory of it is either Ultraman or Ultraseven just slamming big monsters and beating them from left to right. But as this new installment would tell us, Ultraman is more than that.
Ultraman: Rising follows Ken Sato, a star baseball player who has to reluctantly take over the role of Ultraman from his estranged father, Professor Sato. But, as luck may have it, he ends up taking care of a baby kaiju, that hatched from one of the creatures he fought. Meanwhile, Dr. Onda, the leader of the Kaiju Defense Force is determined to stop both the kaijus and Ultraman.
The film opens with visuals from a kaiju rampaging through a city, as a narration from Ken says "not a hero, but not a villain either"; so that more or less sets the stage of what the film is aiming for. To perhaps present another perspective of kaijus not as monsters, but as creatures that are not necessarily "guilty" of the damages they're causing; something that is represented by Gigantron, and her baby kaiju.
Regardless of its moral attempts, the film is a lot of fun. There are some pretty cool action setpieces, the characters are well constructed, and the animation is superb. I think that some of the plot threads it lays down could've been executed better; like Ken's relationship with his father, or the parallels that the film tries to draw between Ken's role as Ultraman and his career as a baseball player.
I sat down to watch this with one of my kids. It was my first watch and his second, which means that he really enjoyed it. Even though I'm not a big Ultraman fan, it's something that I remember from my youth. So it was nice to go back to that world, this time with my kid, and see him enjoy the journey.
Grade: 3.5
THE HUNTED
(2003, Friedkin)
https://i.imgur.com/7FiAkYF.png
"Once you are able to kill mentally, the physical part will be easy. The difficult part... is learning how to turn it off."
General William Sherman, who served during the American Civil War, famously said "War is hell" and that "it is only those who have neither fired a shot nor heard the shrieks and groans of the wounded who cry aloud for blood, for vengeance, for desolation." This highlights the impact and effect that war has on those that are right in the middle of it. To this point, a significant number of soldiers from the wars on Iraq and Afghanistan have been diagnosed with PTSD. This leads us to the above question: how can we "turn it off" and regain some sort of normalcy?
The Hunted follows a soldier struggling with this: Sergeant Aaron Hallam (Benicio del Toro), a highly skilled Delta Force soldier that has gone rogue as he is burdened by the guilt from all the atrocities he has done and witnessed. Tasked with tracking him down is L.T. Bonham (Tommy Lee Jones), a retired Special Forces instructor that was in charge of training Hallam, and therefore feels responsible for what he's doing.
Director William Friedkin doesn't really waste a lot of time. After a brief prologue showing us what Hallam experienced in the Kosovo War, he drops us right in the middle of his search. Most of the film consists of this cat-and-mouse between both Hallam and Bonham. Coming 10 years after The Fugitive, it's interesting to see how Jones approaches his character. This is not the confident Samuel Gerard. Bonham is soft-spoken, determined but still hesitant at times. On the same note, Hallam is not Kimble. Although we might empathize with his struggle, his actions push him farther from us.
That contrast and duality between Hallam and Bonham is one of the best things about the film. Both characters are burdened and guilt-ridden, unable to "turn it off" and forced to go at each other. I wish the film would've done a better job at making this bond between the two feel stronger. The flashback scenes are there, but I don't think they do enough. The same can be said about Hallam's relationship with his ex-girlfriend or with the soldiers from his former unit, who are also trying to track him down. That would've given the film a bit more weight. Still, Friedkin delivers a pretty solid action thriller with some solid performances and great fight choreographies which, at 94 minutes, is quite breezy to get through.
Grade: 3.5
INSIDE OUT 2
(2024, Mann)
https://i.imgur.com/Iiff60f.jpg
"I don't know how to stop Anxiety. Maybe we can't. Maybe this is what happens when you grow up. You feel less joy."
Living with a kid is seeing unbridled joy unfold. Anybody that is a parent can attest to that. Kids will show immense excitement over the most "inconsequential" thing in the world, and they will let you know all about it; be it a twist in their favorite cartoon show or a bird they saw outside... and then they grow up, and joy is often replaced with anxiety. How will this new experience go? Will they accept me? Will things go wrong? All of this serves as the basis of Pixar's latest outing.
Inside Out 2 follows 13-year-old Riley (Kensington Tallman) who is about to join a weekend ice hockey camp with her two best friends. Meanwhile, Joy (Amy Poehler) and the other "emotions" have to deal with new ones that want to take over her mind. The main one is Anxiety (Maya Hawke), whose frantic and desperate attitude leads Riley to various chaotic and problematic situations in her efforts to take control over Joy.
I came to see the original Inside Out a bit late, and although I liked it well enough, it didn't really resonate with me. Overall, I feel more or less the same about this one, although I admit it did hit a bit more. Maybe it's the fact that my kids are closer to Riley's age (10 and 11), maybe it's the fact that *I'm* "closer" to Riley's age. So I guess most adults can identify with that sense of letting go of "joy" while "anxiety" takes over, cause yeah, sometimes that is what happens when you grow up.
Just like the first one, I think the script cleverly portrays the inner-workings of the human mind in a way that's relatable to children while also being fun and entertaining (I mean, "sar-chasm" opens a up a "chasm"?). But more importantly, it does so in a way that feels emotionally effective. I like that it feels like we get to see more of Riley here, and I think there is some good build-up for the inevitable third part.
Ever since we started our journey as parents, it has been an emotional rollercoaster. There's been joy, but there's also been sadness, fear, anger, and yes, anxiety; a LOT of anxiety... and maybe that's what happens when we grow up. But even though sadness, fear, anger, and anxiety are still there, and will always be there, at least for 96 minutes while watching this with one of my kids and seeing the unbridled joy in him, I felt joy myself.
Grade: 3.5
A QUIET PLACE PART II
(2020, Krasinski)
https://i.imgur.com/ldSxjV5.jpg
"The people that are left, what they've become; you don't know, do you? ... They're not the kind of people worth saving."
A Quiet Place Part II continues the struggle of the Abbott family to survive against deadly aliens in a post-apocalyptic world. As was seen in the first film, Regan (Millicent Simmonds) has discovered a way to beat the aliens using her hearing aid, which allows them to leave their destroyed house to seek another shelter. Eventually, they stumble upon Emmett (Cillian Murphy), an old friend that has lost hope in humanity, which is why he delivers the above quote.
I'm not an adoring fan of the first film, but I thought it was a pretty solid alien horror film with an interesting premise and some effective setpieces. The sequel doesn't really bring a lot of new stuff to the table, but it's just as consistently effective. Most of the performances are solid, with Murphy being a welcome addition. His character adds a pretty good contrast to Evelyn's outlook and provides for a nice character arc. Djimon Hounsou also appears in the last act, but his role is fairly limited.
I really enjoyed the prologue which gives us a glimpse of how things started. This heightens my curiosity about the recently released prequel, but then again, I usually enjoy films that show society unraveling because of some attack or disaster. I do think the logistics of how the Abbott family handles the aliens (carrying a speaker and a microphone all around) and also traveling with a newborn baby through this world requires a decent amount of suspension of disbelief, but it is what it is.
Despite that, the film still manages to build some really tense moments where the characters lives are in danger. The important thing is that we do care about them. That is where most of the strength of the film is; in how they build up these characters and this family, making us feel that they're the kind of people worth saving.
Grade: 3.5
Yet another month for which I decided to skip my usual challenge. But obviously, I didn't stop watching films.
So this is my summary for JUNE 2024:
Horror films: The Borderlands (https://www.movieforums.com/reviews/2474776-the_borderlands.html), Pearl (https://www.movieforums.com/reviews/2475864-pearl.html), A Quiet Place Part II (https://www.movieforums.com/reviews/2477624-a_quiet_place_part_ii.html)
90's action: Trespass (https://www.movieforums.com/reviews/2474900-trespass.html), TimeCop (https://www.movieforums.com/reviews/2475113-timecop.html)
Animated films: Wallace & Gromit: The Curse of the Were-Rabbit (https://www.movieforums.com/reviews/2474987-wallacegromit_the_curse_of_the_were-rabbit.html), Ultraman: Rising (https://www.movieforums.com/reviews/2476575-ultraman_rising.html), Inside Out 2 (https://www.movieforums.com/reviews/2477325-inside_out_2.html)
Other films: Escape from the Planet of the Apes (https://www.movieforums.com/reviews/2474709-escape_from_the_planet_of_the_apes.html), Pandora (https://www.movieforums.com/reviews/2475026-pandora.html), The Hunted (https://www.movieforums.com/reviews/2476709-the_hunted.html)
Silent short films: The Electric Hotel (https://www.movieforums.com/reviews/2475997-the_electric_hotel.html), Miniature Theatre (https://www.movieforums.com/reviews/2476131-miniature_theatre.html), The Mermaid (https://www.movieforums.com/reviews/2476285-the_mermaid.html), The Devil in a Convent (https://www.movieforums.com/reviews/2476294-the_devil_in_a_convent.html)
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My favorite first-time watch of June was between Escape from the Planet of the Apes, which was surprisingly good, and Wallace & Gromit: The Curse of the Were-Rabbit, which was a lot of fun.
The weakest first-time watch was probably Pandora, but I still think it was a pretty decent disaster film.
BEVERLY HILLS COP
(1984, Brest)
https://i.imgur.com/Lt71nar.png
"We're more likely to believe an important local businessman than a foul-mouthed jerk from out of town."
Beverly Hills Cop follows Axel Foley (Eddie Murphy) a Detroit detective that travels to Beverly Hills to investigate the murder of a friend, which might be tied to Victor Maitland (Steven Berkoff), an art gallery owner that also dabbles in drug trafficking. Meanwhile, local cops Taggart (John Ashton) and his young partner Rosewood (Judge Reinhold) try to keep tabs on Foley while doing things "strictly by the book".
Unfortunately, Foley has several issues to deal with which are highlighted in the above quote from Taggart: First, he's from out of town, and second, he is a "foul-mouthed jerk". Both things end up putting him at odds with everyone, but Foley's bold and unpredictable attitude is also what puzzles Maitland. Can it be enough to make people believe the "foul-mouthed jerk from out of town" instead of the "important local businessman"?
This is a film I've seen several times, though not in a while. So with the newest entry in the franchise coming out, I thought it would be fitting to revisit it. The film follows a similar pattern to many other cop action/comedies of the 1980s where there really aren't a lot of stakes, characters are safe from harm, and the focus is mostly big action sequences and/or witty one-liners. With Murphy in the lead, you know this one leans more towards the latter.
Murphy is indeed a standout in pretty much every scene. He just oozes charisma and feels so comfortable in front of the camera. But more importantly, the way he jokes feels organic and part of his personality, and not like a comedian doing a schtick inside a film. His interactions with Taggart, Rosewood, their superior Bogomil (Ronny Cox), and friend Jenny (Lisa Eilbacher) feel earned. But jokes aside, Murphy also knows how to balance between funny quips and serious delivery when the script calls for it.
The film also delivers some solid action setpieces here and there, and Maitland makes for an easy-to-hate antagonist. However, the fact that the film doesn't really have any stakes in terms of will they live or not eliminates any thrill or suspense. Instead, everything feels like just a sequence of scenes leading to the big showdown. Who will walk away victorious? The important local businessman or the foul-mouthed jerk from out of town? Well, you know who, so enjoy the fu¢kin' ride.
Grade: 4
EDEN LAKE
(2008, Watkins)
https://i.imgur.com/IymlDyF.jpg
"Follow the blood!"
Review might include some SPOILERS
Blood. That preciously important body fluid. While inside our body, it works as a transport system delivering stuff to and from different parts of our bodies. When it's out, it can lead to death. Maybe because we bleed, or maybe because it can be used to trace us and where we're headed, for better or worse. But in a somewhat metaphorical way, blood can also tell us where we come from, what's in our nature. All those qualities – literal and physical, figurative and metaphorical – flow through this disturbing British horror thriller.
Eden Lake follows Jenny and Steve (Kelly Reilly and Michael Fassbender), a young couple that decide to spend the weekend at the titular lake but end up being terrorized by a gang of local youths. But what starts as disrespect and just "bad blood" quickly descends into torture and actual bloodspill. This is a film I had heard from, specifically when talking about disturbing films, but I had never ventured into. Now that I have, I can say that the reputation is, for the most part, earned.
The film is indeed disturbing, definitely intense, and most certainly nerve-wracking. The director does a great job setting a pace that starts out as a pressure cooker, building up tension between the characters until it blows. Both Fassbender and Reilly do a pretty good job of setting up an idyllic relationship that's about to hit a wall. Then it becomes a cat-and-mouse game between them where blood is used as a literal way to trace the couple, as the above quote shows, but also as a way to figuratively trace where the abusers come from.
The film is, in many ways, not an easy watch. The abuse that the couple is put through is bound to make some squirm. But I appreciate the fact that the film seems to have a bit more to offer than just blood. From passing references in the first act to parental responsibilites and education ("boys being boys") to the actual revelation in the end which shows you why these teenagers might behave the way they do. Granted, the film doesn't dwell in any deeper social analysis about it, but the implications are there.
Aside from Fassbender and Reilly, special kudos go to Jack O'Connell as Brett, the psychopatic leader of the gang. His antagonist is ruthless and merciless, but also troubled. The script and his performance offer glimpses of what's under the skin. Just watch him during a climatic scene with his dog and Steve which leads to chaos, and watch him in the chilling final scene and the very final shot. Brett might be a psychopath, but if you wanna see how far or not the apple has fallen from the tree, just "follow the blood".
Grade: 4
GREENLAND
(2020, Waugh)
https://i.imgur.com/1BmBBXn.jpeg
"If I get one thing right, I’m gonna get my son and my wife into that bunker."
That's the assurance that John Garrity (Gerard Butler) gives to his father-in-law in the midst of a cataclysmic disaster. Despite all his faults, he will make sure that he saves his family. That's what Greenland is about, as it follows Garrity and his family trying to survive the impact of a destructive comet that is heading towards Earth. But to make it, they're gonna have to go past military roadblocks, desperate people, and numerous comet fragments.
Butler is no strange to action/disaster films. Maybe you've seen his Fallen trilogy (I haven't), the superbly titled Plane (haven't either), or the critically acclaimed Geostorm, but I guess I was in a certain frame of mind and expectations when I decided to give this a try. Imagine my surprise when this turned out to be a pretty decent disaster film with a solid emotional core at the center. Wasn't expecting it at all.
The film does follow the typical disaster film template: family discovers threat and prepares to go to a safe place, family is separated and encounters obstacles, family is reunited and have to race time to get to the safe place, i.e. Greenland. The thing with Greenland (the film, not the island) is that it takes its time to develop a connection with its main characters. The performances are not superb, but they're good enough to work with a solid script that does enough to expose certain key points and then builds tension on top of them with good action setpieces.
I found that first act as we're finding out the news of what's going on and the family's getting the alerts to be quite effective and well executed. There were some moments between the family and their friends and neighbors here I thought were quite powerful. The middle act does the usual trope of chaos getting the worst out of people, while putting our characters in the middle of tense situations. Parts of it are a bit predictable, but still works; while the last act goes more balls-to-the-wall with showers of comet fragments dropping on cars, shockwaves crashing planes, and some last minute saves.
Overall, Greenland doesn't really bring a lot of novelty to the table; but what it does, it does fairly well. It presents a flawed family that's easy to root for, and then puts us on the obstacle course to get them from point A, their home, to point B, the secure bunkers in *check notes* Greenland. Knowing Gerard Butler, you know he's gonna get his son and wife into that bunker, so it's up for us to enjoy the ride.
Grade: 3.5
DAMIEN: OMEN II
(1978, Taylor)
https://i.imgur.com/1suA0dI.jpeg
"The day will come when everyone will know who you are but that day is not yet."
That's the advice and assurance that Sergeant Neff (Lance Henriksen) gives 12-year-old Damien Thorne (Jonathan Scott-Taylor) after a particularly intense confrontation with a teacher. You see, Damien is the Antichrist. We know it, Neff knows it, but neither the world nor Damien himself are ready to know his true nature. Damien: Omen II follows him as he comes to terms with his fate as the "son of destruction".
Like the original, this is a film I had seen numerous times. Probably one of my entry points in horror cause I remember seeing them both on TV very often when I was still a kid. However, it had been a while since I had revisited it, so it was fun to go back to it. Even though the original is usually held as the superior one, I think the sequel does enough things well to hold its own as a worthy sequel. Is it a lesser effort? Yes, but a pretty good film nonetheless.
One of the highlights of the film, for better or worse, are the numerous deaths scenes. They're all big, bold deaths like being run over by a truck after a crow has pecked out your eyes, or being bisected by a falling elevator cable. I won't deny that I find most of them to be quite memorable, but like the first one, I think a bit of restrain would've served the film better. I have to give props to the guy that drowns in the frozen lake, which always gives me the heebie-jeebies.
It's great to see William Holden as the lead, and he adds a certain elegance to the film, and Henriksen is always a treat. But the true standout for me is Scott-Taylor, who I think shines in the role of Damien, offering a tragic quality to the character. The aforementioned confrontation with the teacher and the moment when he realizes who he is are standout moments for him. On the other hand, Lucas Donat's performance as his cousin Mark is somewhat weak.
Much like a 12-year-old that has grown past his childish charm, Damien: Omen II lacks the, umm, charm of the one that preceded it. It is a bit clumsy and ends up perhaps too abruptly. But it still offers enough dread, thrills, and gory kills to make for a worthy watch.
Grade: 3.5
BATMAN
(1966, Martinson)
https://i.imgur.com/hFyCewf.jpeg
"Penguin, Joker, Riddler... and Catwoman, too! The sum of the angles of that rectangle is too monstrous to contemplate!"
Holy wordplay! Can Batman and Robin figure out a way to stop them? That's what Batman, the 1966 TV movie, will answer. Following up the success of the TV series, the film follows the Caped Crusader (Adam West) and his sidekick Robin (Burt Ward) as they try to foil the plans of their arch-nemeses who have joined forces against them. Like Commissioner Gordon says in the above quote, something "too monstrous to contemplate!".
I grew up in the 1980s at a time when the 1960s Batman TV series was a staple in local television. I have no specific recollection of watching this film, but I must have seen it during that time, even if I didn't remember it fully. But what a joy it was to go back to this world and this characters. Batman is a perfect example of camp done right.
It's interesting that I think this was the first time that I saw these characters in English (it was always dubbed when I saw it) and I think that the vocal delivery of the actors, especially West, adds so much to the overall vibe and feel. The caricaturesque innocence of the characters and the tongue-in-cheek wordplay, which included a surprising amount of innuendo, makes of this quite a fun watch.
It's also great to see actors like Cesar Romero and Burgess Meredith jump head-first into their characters. It's evident that they're all having a blast. If anything, I think the script short-changes The Joker a bit in favor of The Penguin, making the former feel more like a lackey to the latter instead of equals. Still, it's great to watch them, along with Frank Gorshin and Lee Meriwether, chew scenery like madmen (and madwoman).
Granted, most people dismiss this TV show and film as silly nonsense. However, although I won't contest the silliness of it, I do think that the creators knew exactly what they were doing and were doing it perfectly. I know that this villainous get-together was too monstrous to contemplate for Gordon, but I had a ton of fun contemplating it. KA-POW!!
Grade: 4
gbgoodies
08-22-24, 12:47 AM
https://www.youtube.com/watch?v=IIPZROBiNik
Re: Batman '66, I think this exchange as Batman and company try to figure out who's behind everything is so magical :laugh:
Commissioner Gordon: It could be any one of them. But which one? Which ones?
Batman: Pretty *fishy* what happened to me on that ladder.
Commissioner Gordon: You mean where there's a fish, there could be a Penguin?
Robin: But wait! It happened at sea. See? C for Catwoman!
Batman: Yet, an exploding shark *was* pulling my leg...
Commissioner Gordon: The Joker!
Chief O'Hara: All adds up to a sinister riddle. Riddle-R. Riddler!
Commissioner Gordon: Oh, the thought strikes me. So dreadful, I scarcely dare give it utterance.
Batman: The four of them. Their forces combined.
Robin: Holy nightmare!
I mean, you gotta love this :laugh:
GODZILLA: KING OF THE MONSTERS
(2019, Dougherty)
https://i.imgur.com/qWaEyAl.jpeg
Senator Williams: "So you'd want to make Godzilla our pet."
Dr. Ishiro Serizawa: "No. We will be his."
Godzilla first stomped its way into our screens in 1954. A metaphor for nuclear weapons, it features humanity at the mercy of this seemingly aimless threat that they just can't control. My knowledge of the franchise doesn't extend beyond the original film and its American remakes, but as pop culture has taught me, this perception of the monster changed as Godzilla became a sort of hero invoked by the government to help them in certain crisis; like a pet, maybe? That "goofy" nature of the monster is more or less reverted to its original roots in the American Monsterverse, or is it?
Godzilla: King of the Monsters is the second installment withis this franchise to feature the big lizard. The film follows Mark Russell (Kyle Chandler) who is still coping with the death of his son during Godzilla's attack in San Francisco in the previous film. Meanwhile, his ex-wife (Vera Farmiga) and daughter (Millie Bobby Brown) are kidnapped by a group of eco-terrorists led by Alan Jonah (Charles Dance) who are trying to take control of several monsters, or "Titans", across the world. This forces Godzilla to return to fight them, as Mark tries to rescue his family.
I had seen 2014's Godzilla several years ago, but that's a film that literally vanished from my mind as soon as I saw it. But when one of my kids became interested in the franchise, we decided to dive in with him. Ironically, when he was watching that first one, I started watching it with him but ended up drifting away to do other things by the third act. That kinda says where I land with that one. Still, I decided to sit down with him for this one and I'm really glad I did, cause it might be my favorite from the Monsterverse.
The thing that puts this one above the ones that came before and after is its focus on real characters. 2014's Godzilla tried, but Aaron Taylor Johnson didn't really have the chops to carry the film. Here, the plight from Mark's family feels real and the emotional weight from what happened before and the twists that this film takes are effectively portrayed by the cast. The actions from Emma (Farmiga) feel believable within this world, and all of them – Chandler, Farmiga, and Brown – do a great job. Plus you give me the excellent Charles Dance as a bad guy and I'm sold.
Beyond the characters and performances, the film also delivers in the action department. Most of the action setpieces are thrilling and look great. How all the different Titans are awakened feels a bit like going through a checklist, but considering the material, I think it all feels well integrated. I also think some of the supporting characters get lost in the shuffle, which is made more notable by the fact that they are played by the likes of Ken Watanabe, Sally Hawkins, and Zhang Ziyi, but at least it keeps us focused on the Russell family.
As I'm writing this, it's been already a while that I've seen the following two films so I've had some time to process it all. As much of a spectacle as those two other films offer, I'd rather stick with the stronger emotional core and the more coherent script of this one where the characters feel more at the mercy of these seemingly aimless threats that they just can't control, instead of just treating them as "pets".
Grade: 4
GODZILLA VS. KONG
(2021, Wingard)
https://i.imgur.com/hz8tnQq.jpeg
"The myths are real. There was a war. And they're the last ones standing."
LET'S GET READY TO RUMBLEEEEEEE!!! Godzilla vs. Kong follows the clash between the two titular figures as humans try to move Kong to a safer place while trying to decipher the reasons behind Godzilla's recent random attacks. Bla bla... yada yada... who cares? Godzilla vs. Kong, right? That is what the title promises and, for better or worse, that is what the title offers as the two creatures have multiple fights during the 113 minutes of the film.
Set several years after the events of Godzilla: King of the Monsters, the film features Alexander Skarsgård as the new reluctant "human hero", Dr. Nathan Lind, a geologist who specializes in Hollow Earth and thus is recruited to lead the expedition to take Kong there. He is joined by Kong expert, Dr. Ilene Andrews (Rebecca Hall) and her adoptive daughter, Jia (Kaylee Hottle), a survivor from the Iwi tribe in Skull Island. Meanwhile, Millie Bobby Brown returns as Madison as she recruits conspiracy theorist and podcaster Bernie Hayes (Brian Tyree Henry) to investigate Godzilla's attacks.
But anyway, Godzilla vs. Kong, right? This is one of the cases where you can infer that the plot is just an excuse to bring these two creatures together and have them fight over and over. So what this film lacks in human character development and emotional pull, it kinda makes up for with some pretty cool creature fights and action setpieces. I appreciated the different ways in which the two main fights are staged, with the final one in Hong Kong taking the upper hand for me, mostly for its use of the neon lights from the city to the benefit of the fight choreographies.
That's not to say that the cast doesn't do a great job, but they're really not given much to work with. It's been about a month since I saw the film and I've literally forgotten about Skarsgård. On the other hand, I think Hall comes out as the best performance and her interactions with Jia do try to bring some emotional drive to the story. Henry has some moments, but he walks a fine line between funny and annoying. The cast is rounded out by Demián Bichir as the CEO of Apex Cybernetics, the company trying to solve the "Titan" problem. There are several other "important" characters, but who cares?
Even though it might seem I'm leaning towards the negative, I won't deny the pleasures of watching two big monsters punch each other repeatedly as they crush entire cities and buildings. Even if it lacks the humanity of the previous film, it is still a fun outing that delivers exactly what the title promises. Who will be the one standing in the end?
Grade: 3.5
THE ROBBERY
(2017, Cummings)
https://i.imgur.com/GOJHkv4.jpeg
"How did I get here?"
That's the question that Crystal (Rae Gray) asks herself in the middle of a liquor store robbery. The literal answer is with an Uber driver called Ruben, but this short film from the great Jim Cummings seems to be more interested in the figurative answer.
With a 10-minute runtime, The Robbery presents Crystal as a lot of things. She is a bit laid-back, a bit desperate, a bit dick-ish, and clearly pushed to the edge because of multiple situations, and Gray excels in every single angle. As usual, Cummings shows his mastery at exposition by not giving us all the information, instead revealing little crumbs as the story advances.
In addition, as seems to be the trademark with a lot of Cummings' shorts, the whole film is shot in one continuous take, which makes everything even more impressive. So it doesn't matter if you're won over by Gray's excellent performance, Cummings' hilarious dialogue, or his skill with the camera, the important thing is that you got here.
Grade: 4
DIAL M FOR MURDER
(1954, Hitchcock)
https://i.imgur.com/nsHDiyW.jpeg
"In stories things usually turn out the way the author wants them to; and in real life they don't... always."
That's how crime-fiction writer Mark Halliday (Robert Cummings) describes why there is no such thing as a "perfect murder" outside of paper. Things won't always turn out the way the murderer wants and, as he says later, they might not even realize they've made some stupid mistake until they found everybody was looking at them. But that doesn't stop some from trying.
Dial M for Murder follows Tony Wendice (Ray Milland), a retired tennis player who has discovered that his wealthy wife Margot (Grace Kelly) is having an affair and secretly plans to murder her to inherit her money. Can he carry out the "perfect murder" or will "stupid mistakes" lead to everybody looking at him in the end?
This is a film I've seen several times and one that I have ranked on my Hitchcock Top 5, maybe even Top 3. What I love the most about it is Milland's performance as the calm and collected Tony. The whole first act when we see him detail his plan to his would-be accomplice, C.A. Swan (Anthony Dawson), is a masterclass in acting, but also in directing as Hitchcock makes the most of the enclosed space of an apartment to make us feel the tension from the characters.
The rest of the cast is great, especially Kelly, but Swan also makes the most out of a relatively small role. John Williams rounds out the cast as Hubbard, a clever inspector investigating the case that adds tinges of light humor to the story. Cummings' performance as Halliday is not bad, but the way his character is written is probably one of my main gripes with the film. I just don't feel the way he is integrated in the story feels as organic as it should.
But that's just one small gripe in an otherwise superbly acted and written story, masterfully directed by Hitchcock. Even if "perfect murders" don't always turn out the way some people want, this "murder" definitely turned out perfectly. A must-see for any fan of Hitchcock and/or well-written and well-acted thrillers.
Grade: 4
IS NOW A GOOD TIME?
(2024, Cummings)
https://i.imgur.com/lAKfldY.png
"No, it's nothing. It's just like the other ones."
With that quick sentence, Marvel/Disney representative Kyle (Jim Cummings) dismisses the concerns of a grandmother whose terminally ill grandson is about to experience the newest Captain America film, as part of a sort of "Make-a-wish" program. Just like Kyle tackling those concerns with a quick brush, Cummings masterfully takes on the whole Marvel/Disney machinery and the state of Hollywood nowadays with this 11-minute short.
Is Now a Good Time? is Cummings' latest short film; the second he releases this year as part of a career that has been defined by a sort of DIY attitude, an evident love for filmmaking, constant and affable fan interaction, charisma, and non-stop grinding. This is part of what makes it so interesting AND funny to see him take jabs at the massive, "conveyor-belt-like" production system of Marvel/Disney.
Is Now a Good Time? continues Cummings' style of mixing heartfelt and honest drama with biting humor, as his character has to put on this facade to "sell" this film to this kid; a facade that cracks at times during his presentation and eventually crumbles in the end. As for the ending... it was a choice, but one that highlights the fact that Cummings is here to do his own thing, and not bring you something that is "just like the other ones".
Grade: 4.5
Takoma11
08-24-24, 11:06 PM
Obviously I loved The Robbery. So funny.
With Dial M for Murder, that's a movie we owned when I was a kid, so we watched it a LOT. My one thing with it that I can't unsee is the fact that it was made to be shown in 3D (something my mom pointed out the first time we watched it together) and now I always notice, like, the random row of bottles between you and the action in one scene, or the way that the key is aggressively pushed toward the camera in another scene. It's not terrible, but just a bit silly.
SpelingError
08-24-24, 11:20 PM
DIAL M FOR MURDER
(1954, Hitchcock)
https://i.imgur.com/nsHDiyW.jpeg
That's how crime-fiction writer Mark Halliday (Robert Cummings) describes why there is no such thing as a "perfect murder" outside of paper. Things won't always turn out the way the murderer wants and, as he says later, they might not even realize they've made some stupid mistake until they found everybody was looking at them. But that doesn't stop some from trying.
Dial M for Murder follows Tony Wendice (Ray Milland), a retired tennis player who has discovered that his wealthy wife Margot (Grace Kelly) is having an affair and secretly plans to murder her to inherit her money. Can he carry out the "perfect murder" or will "stupid mistakes" lead to everybody looking at him in the end?
This is a film I've seen several times and one that I have ranked on my Hitchcock Top 5, maybe even Top 3. What I love the most about it is Milland's performance as the calm and collected Tony. The whole first act when we see him detail his plan to his would-be accomplice, C.A. Swan (Anthony Dawson), is a masterclass in acting, but also in directing as Hitchcock makes the most of the enclosed space of an apartment to make us feel the tension from the characters.
The rest of the cast is great, especially Kelly, but Swan also makes the most out of a relatively small role. John Williams rounds out the cast as Hubbard, a clever inspector investigating the case that adds tinges of light humor to the story. Cummings' performance as Halliday is not bad, but the way his character is written is probably one of my main gripes with the film. I just don't feel the way he is integrated in the story feels as organic as it should.
But that's just one small gripe in an otherwise superbly acted and written story, masterfully directed by Hitchcock. Even if "perfect murders" don't always turn out the way some people want, this "murder" definitely turned out perfectly. A must-see for any fan of Hitchcock and/or well-written and well-acted thrillers.
Grade: 4
Probably a top five Hitchcock for me.
GODZILLA x KONG
THE NEW EMPIRE
(2024, Wingard)
https://i.imgur.com/gKfZivI.jpeg
"If Kong draws Godzilla down here... they can make their stand in Hollow Earth."
In Godzilla x Kong, Kong's control of Hollow Earth is threatened by an evil monkey called Skar King and his "pet" lizard, Shimo. This forces Kong to team up with Godzilla as he tries to take back his home. At the same time, Dr. Ilene Andrews (Rebecca Hall) has to deal with the struggles of her adoptive daughter Jia (Kaylee Hottle) to adapt to "regular life".
The latest entry in the Monsterverse takes all the worst aspects of its predecessors and tries to make something out of it. On one hand, it pushes most of its human characters to the background and makes mere caricatures out of most of them, while on the other hand, it treats the two titular creatures as "pets" instead of real threats (see my review of Godzilla: The King of Monsters). Heck, Godzilla even sleeps all curled up inside the Colosseum like a puppy.
There is a certain amount of silliness expected from a film like this, but it has to be handled properly. Godzilla vs. Kong did a solid job with it; this one, not so much. It's just one stupid contrivance after the other surrounded by a whole bunch of pseudo-scientific mumbo-jumbo that doesn't make any sense. Did I mention the underground civilization that communicates telephatically while using portals to travel to the surface? It's just too much nonsense.
There is some fun to be had out of the fights between the creatures, even if at times it feels like a checklist. Look! They're fighting in the pyramids. Ha! Now they're in Rio. There is also a fun rapport between new character Trapper (Dan Stevens) and returning character Bernie (Brian Tyree Henry), but like I said, they're all caricatures used to move the plot forward until the inevitable clashes between the creatures. For the most part, I was bored by it.
Grade: 2
Agree on King of Monsters! While most of the latest big monster flicks didn't do much for me, I really enjoyed King of Monsters. Easily the best of the most recent Godzilla flicks. That said, I have yet to see Godzilla Minus One.
Probably a top five Hitchcock for me.
Indeed.
Speaking of Dial M for Murder, what's everybody's feelings on A Perfect Murder? It's been a while, but I remember enjoying it a lot. I do think the last act was weak, but I remember thinking it was a pretty good way of adapting/updating the story with a more modern perspective.
SEVEN DAYS IN MAY
(1964, Frankenheimer)
A film with 7 (Seven, Seventh, etc.) in its title
https://i.imgur.com/J9IoUwF.jpeg
"Why in God's name do we elect a man President and then try to see how fast we can kill him?"
That statement is said more or less in jest by the President's physician at one point, but it could probably apply to how some characters in the film treat the President, but also to how society in general treats their elected officials. We put them up only to tear them down. To be fair, I'm probably one of the most cynical persons out there as far as politics and government goes, but I do acknowledge the excessive scrutiny and pressure that world leaders have to endure, and how that could feel like a situation where there's little chance to win, and lots to lose.
Seven Days in May follows President Jordan Lyman (Fredric March), who finds himself in that lose-lose situation after he agrees to sign a nuclear disarmament treaty with the Soviet Union. His intention to end the Cold War and try to bring peace to the world is seen as a weakness and a threat by General James Mattoon Scott (Burt Lancaster), who decides to lead a cabal of military leaders to organize a coup against the President. In the middle of the crossfire is the Director of the Joints Chief of Staff, Colonel "Jiggs" Casey (Kirk Douglas), who serves Scott but who's also able to understand Lyman's actions.
The fact that a 1960s political thriller about the threats of nuclear warfare, political backstabbings, and military coup d'etats still sounds ominously possible in the United States, even 60 years later, isn't lost in me. If the last 10 years or so have showed us anything is that all these threats are still very much present in 2024, but one thing that director John Frankenheimer and writer Rod Serling does is show us that both sides aren't necessarily right, but they aren't necessarily wrong either. There is some sound reasoning in Lyman's optimism, but there is some truth to Scott's concerns as well.
Part of that dichotomy being skillfully presented is on the script, but a big part also falls on the great performances from the three leads. Ever since I saw Out of the Past, it's been a delight to discover every Kirk Douglas' performance I've seen since. Meanwhile, Lancaster has become a recent favorite after catching up with a handful of his films in the past 2 or 3 years. March is one I'm not that familiar with, other than his great turn as Dr. Jekyll/Mr. Hyde, but I really liked him here. He has a great mixture of honor and vulnerability, at the same time that I found just right for the role.
As is usual with Frankenheimer's films, he does a great job of building up tension. It's worth noting that this is a political thriller and not an action film, so most of that is done through conversations and meetings. The fact that they work shows how skillful he is as a director. There is also some gorgeous cinematography in terms of how certain camera angles are used and how characters are positioned in certain scenes that I found to be quite effective.
The cast is rounded up by Martin Balsam as the White House Chief of Staff, Edmond O'Brien as an alcoholic senator, and Ava Gardner as Scott's former mistress; a relationship that is at the risk of being weaponized against the General. This, again, goes to show how anybody that is at the seat, or has their eyes on the seat, has to be ready because the attacks will come from when you least expect it, when you least expect it. We have the evidence right in front of our eyes, right now, where no past action or deed, no spouse or child, is off-limits to scrutiny. After all, the people do elect someone only to try to see how fast they can tear them down.
Grade: 4
gbgoodies
08-27-24, 11:06 PM
Indeed.
Speaking of Dial M for Murder, what's everybody's feelings on A Perfect Murder? It's been a while, but I remember enjoying it a lot. I do think the last act was weak, but I remember thinking it was a pretty good way of adapting/updating the story with a more modern perspective.
I saw A Perfect Murder in the theater back in 1998. A friend wanted to see it, so I didn't know anything about it before watching it. As I watched it, I kept thinking that somehow I had already seen this movie, even though it was a new movie at the time. More than a hour into the movie, I finally realized that it was a remake of Dial M for Murder, and that was why I felt like I had seen it before.
SING STREET
(2016, Carney)
A musical
https://i.imgur.com/aSrjSWq.png
"I don't know who I am. Maybe I'm happy-sad, too. I don't know."
Rock and roll, and music in general, is full of examples of "happy-sad" people. The "tortured poets department", so to speak :shifty: Artists and musicians that were "happy being sad" and managed to make music and careers out of that, which is something that the main characters in this film embrace in their search for identity. They don't know who they are, happy... sad... pop... or not... whatever. They just want to play music.
Set in the mid-80's, Sing Street follows Conor (Ferdia Walsh-Peelo) as he embarks on this search for identity through music. When he is transferred to a new school because of his parents impending separation and divorce, he seeks refuge in forming a music band with some classmates. Conor's "muse" comes in the form of Raphina (Lucy Boynton), an enigmatic older girl who hangs in front of their school. After he dares to approach her, she agrees to appear in their music videos, which ultimately fuels their musical journey. On the sideline, there's also Conor's older brother, Brendan (Jack Reynor) who gives him frequent advice about music, life, love, and other stuff.
This film is directed and co-written by John Carney, who previously did another musical, Once. I'm a big fan of that one (you'll probably see it come up pretty high on my Musical Countdown Ballot) so I was looking forward to checking this one. Sing Street works both as a coming-of-age film, but also as a look into how musical tastes and preferences evolve and take shape. These characters are not only looking for a musical identity, but an identity overall while also struggling with their own personal situations.
The musical angle is on-point, with most of the songs being really catchy. I don't know if they will stick with me as much as the ones in Once did, but I enjoyed listening to them. I also appreciated the way the film shows the camaraderie and rapport between the band members, especially Conor and Eamon (Mark McKenna). The way they play that Lennon/McCartney vibe felt special, and I wish I could've gotten more of that symbiotic musical relationship as they both grow and evolve. They are growing, going through all the changes that teendom brings, which in many cases means you're going to be "happy-sad" and not sure of what you are or how you feel.
This is expanded also to more adult changes conveyed through Brendan, who's going through his own struggles, while maybe trying to channel things through Conor. That brotherly aspect between the two was something that didn't really hit me until maybe the last act. Not sure if it was a script issue, or just that I was more focused on the coming-of-age/music/romantic aspect of the story. Maybe that's why I felt like Brendan's frustrations in that last act, and how they relate to Conor came as a bit of a surprise, but the cast does a great job handling it leading into a very touching and poignant ending. Maybe you can call it "happy-sad", I don't know.
Grade: 4
BAD LIEUTENANT
(1992, Ferrara)
A film from Abel Ferrara
https://i.imgur.com/IkLV60w.jpeg
"I've been biting the fu¢king bullet since I was 14. No one can kill me. I'm blessed... I'm a catholic."
That's how the titular character describes himself and his life. He's been through some rough times, but always finds a way to walk away, damaged but "unharmed", blessed by God perhaps. But how long can that last? and what will happen when judgment finally catches up with you? Those are some of the questions faced by the main character in Abel Ferrara's iconic thriller.
Bad Lieutenant follows the titular character (Harvey Keitel), a corrupt cop that revels in drugs, sex, and gambling; biting the bullet since he was a teenager. When a young nun ends up raped and tortured, the investigation puts him face to face with his own inner demons of guilt and regrets.
This is one of those films that's not a pleasant experience, which is totally the intention. The film transmits the seediness of the main character onto the screen, with a grimy look and vibe that you just want to shake off afterwards. We see LT, as he is often called, wallowing in all kinds of excesses in a way that's far from pretty and enticing. His actions being probably a reflection of his tortured soul.
One of my main issues with the film is how loose it is. Even though the rape of the nun acts like a throughline, the film mostly moves at its own free will, following LT as he does his things, while taking frequent pit stops to actually investigate. There are few solid supporting characters, which leaves us most of the running time focused on Keitel's character. I don't necessarily mind that, but I think the film would've benefitted from a more steady ground at some points.
Not only because it would make the story feel fuller, but also because it would give more weight to LT's struggles and the things that happen to him through. As it is, the film is more like a vibe, so you have to let yourself be drawn into that haze where LT operates. Keitel does deliver a powerful and enthralling performance, so if you're willing to bite the bullet, you'll probably enjoy the trip with him.
Grade: 3.5
THE ASCENT
(1977, Shepitko)
A film from Letterboxd's Official Top 250 Narrative Feature Films list whose ranking includes the #7 (i.e. 7, 17, 73, 227, etc.)
https://i.imgur.com/8YDBAAL.jpeg
"We're soldiers. Soldiers. Don't crawl in shit. You'll never wash it off."
Set in the Soviet Union in the middle of World War II, The Ascent follows two soldiers: Sotnikov and Rybak (Boris Plotnikov and Vladimir Gostyukhin), that end up away from their unit, injured, and lost in the wilderness. As they try to find their way back to safety, they seek refuge in the house of struggling mother Demchikha (Lyudmila Polyakova). As the Nazis draw closer, the three have to wrestle with the enemy, cold and hunger, as well as their own consciences.
This is a film I hadn't heard of before, but what a pleasant surprise it was. The story presents these characters thrust in an impossible situation where "crawling in shit" seems inevitable. The question remains in who is willing to do so, even when it means not being able to "wash it off" afterwards. That quote was from Sotnikov to Rybak; a warning not to try to appease the enemy and cooperate, but rather "to be true to yourself".
The story uses this as a really powerful religious allegory of forgiveness, betrayal, guilt, and regret. That struggle is exemplified by the two main characters and their fight to survive. The three lead actors do a great job of conveying the weight of their choices and the cost afterwards. Kudos also to Anatoli Solonitsyn who plays Petrov; a collaborator for the Germans that pressures them.
Aside from that, the film is beautifully directed. For those that don't know, director Larisa Shepitko was the late wife of Elem Klimov, who would go on to direct his own war tragedy in Come and See. Shepitko has a unique eye to capture the emotions of these characters and the tragic crossroad they find themselves in. When survival is on the line, the crawl might not seem like a bad choice, but can we bear not being able to wash it off afterwards?
Grade: 4
THE SIN
(1965, Barakat)
A film from Egypt
https://i.imgur.com/yAhAUuo.jpeg
"Maybe I should kill myself... but it's a sin."
The Sin follows Aziza (Faten Hamama), a poor woman that has to work in the fields under harsh conditions. When her husband falls ill and is unable to work as well, the pressure to sustain the family falls solely in Aziza. After being raped by a guard and ending up pregnant, she is faced with some harsh decisions. Does she reveal what happened sacrificing both her dignity and her family's means of survival, or does she carry on risking shame and punishment in the future?
The titular "sin" might refer to an unwanted pregnancy, even if it was a result of rape. Although the Qur'an does condemn sexual violence, some conservative societies still put the stigma on the victim. However tough that might be, Aziza faces tougher choices down the road when she decides to hide the pregnancy. Choices that could lead to "sin", and as is believed by most religions, punishment and "eternal damnation".
As I was browsing for films from Egypt, this often came up as one of the most well-regarded films from the country. Considering the time and place it was made, it's understandable the impact it probably had. Even in more progressive societies nowadays, there are still films that shy away from addressing issues like rape, unwanted pregnancies, abortion, and suicide, or its religious/spiritual implications. So to have this come out from a Muslim country, back in 1965, is quite something.
Unfortunately, the film does take a while to even introduce the main characters, which doesn't really help us connect with them. Moreover, after the main plot point is more or less resolved, the film broadens the scope to use Aziza's situation as a way to address the working conditions of poor people in the country. Although I applaud the intention, I would've preferred the film to maintain a more focused micro-narrative on Aziza and her family, instead of the macro-narrative of the lower class working conditions in Egypt.
Grade: 3
Takoma11
08-30-24, 06:43 PM
I saw A Perfect Murder in the theater back in 1998. A friend wanted to see it, so I didn't know anything about it before watching it. As I watched it, I kept thinking that somehow I had already seen this movie, even though it was a new movie at the time. More than a hour into the movie, I finally realized that it was a remake of Dial M for Murder, and that was why I felt like I had seen it before.
It's so weird when that happens. I've maybe had this experience three or four times. For example, I was unaware that the film The Deep End was a remake of a film from the 40s called The Reckless Moment. When I just happened to watch The Reckless Moment last year I was like . . . "wait a minute!"
Aside from that, the film is beautifully directed. For those that don't know, director Larisa Shepitko was the late wife of Elem Klimov, who would go on to direct his own war tragedy in Come and See.
I really enjoyed The Ascent and was very sad to learn that the director had died so young. One of those things where you have to wonder how many good or even great films we lost.
REFUSED CLASSIFICATION
(2021, Elena)
https://i.imgur.com/xnrJFuC.jpeg
"We make suggestions of that nature; that will be censorship and, uhh, we are not here to censor you."
Refused Classification follows Matt, Amy, and Pamela (Sam O'Sullivan, Gabrielle Scawthorn, and Bernie Van Tiel) as the three prepare to start a relationship. However, their intimate and personal moment is overseen by a strict monitor (David Whitney) who will ultimately assign an MPAA rating to their "scene". As they bargain for what to say or do and what not to, they start to question the need for such a rating.
The MPAA rating system was established in 1968 with the purpose of helping parents in determining what films were appropriate for their children. But how can you determine that? The MPAA does it by quantifying instances of violence, language, drug use, and sexual themes against strict metrics like saying the word "fu¢k" only once if you want a PG rating, but it can't be as a verb; or the biases against sexual content versus violent content (someone being shot can get a PG, unless blood pools underneath the body).
Director and co-writer Chris Elena described the short himself as "a 13 minute bisexual 'fu¢k you' to the MPAA & film censorship". But he surrounds this "fu¢k you" with a witty script, solid acting, and a creative execution. The three leads do a pretty good job and are 100% likable, while the Whitney character steals the show with his deadpan delivery of the rules of the MPAA. However, most of the effectiveness of the short goes to the script, which cleverly points out the ironies, contradictions, and flaws of the rating system in a way that's effectively thought-provoking.
Grade: 4
If anyone's interested...
https://vimeo.com/640278939
Takoma11
08-31-24, 11:48 PM
Director and co-writer Chris Elena described the short himself as "a 13 minute bisexual 'fu¢k you' to the MPAA & film censorship". But he surrounds this "fu¢k you" with a witty script, solid acting, and a creative execution. The three leads do a pretty good job and are 100% likable, while the Whitney character steals the show with his deadpan delivery of the rules of the MPAA. However, most of the effectiveness of the short goes to the script, which cleverly points out the ironies, contradictions, and flaws of the rating system in a way that's effectively thought-provoking.
Grade: 4
Have you seen the documentary This Film is Not Yet Rated?
Have you seen the documentary This Film is Not Yet Rated?
Nope. Worth a watch?
Takoma11
09-01-24, 12:22 AM
Nope. Worth a watch?
I think so. While it's a bit old at this point, it raises some really interesting questions about what it means to rate a film for "appropriateness". It brings up some of the points you mentioned (sex vs violence), goes into the way that queer sex is much more strongly enforced than straight portrayals, etc. But it also gets into the idea of who the people are on the board, and what qualifies them to even make those rating decisions.
SpelingError
09-01-24, 12:25 AM
THE ASCENT
(1977, Shepitko)
A film from Letterboxd's Official Top 250 Narrative Feature Films list whose ranking includes the #7 (i.e. 7, 17, 73, 227, etc.)
https://i.imgur.com/8YDBAAL.jpeg
Set in the Soviet Union in the middle of World War II, The Ascent follows two soldiers: Sotnikov and Rybak (Boris Plotnikov and Vladimir Gostyukhin), that end up away from their unit, injured, and lost in the wilderness. As they try to find their way back to safety, they seek refuge in the house of struggling mother Demchikha (Lyudmila Polyakova). As the Nazis draw closer, the three have to wrestle with the enemy, cold and hunger, as well as their own consciences.
This is a film I hadn't heard of before, but what a pleasant surprise it was. The story presents these characters thrust in an impossible situation where "crawling in shit" seems inevitable. The question remains in who is willing to do so, even when it means not being able to "wash it off" afterwards. That quote was from Sotnikov to Rybak; a warning not to try to appease the enemy and cooperate, but rather "to be true to yourself".
The story uses this as a really powerful religious allegory of forgiveness, betrayal, guilt, and regret. That struggle is exemplified by the two main characters and their fight to survive. The three lead actors do a great job of conveying the weight of their choices and the cost afterwards. Kudos also to Anatoli Solonitsyn who plays Petrov; a collaborator for the Germans that pressures them.
Aside from that, the film is beautifully directed. For those that don't know, director Larisa Shepitko was the late wife of Elem Klimov, who would go on to direct his own war tragedy in Come and See. Shepitko has a unique eye to capture the emotions of these characters and the tragic crossroad they find themselves in. When survival is on the line, the crawl might not seem like a bad choice, but can we bear not being able to wash it off afterwards?
Grade: 4
I'm a huge fan. Some of the best usages of close-ups I've ever seen as you get a sense of reality and the inner realizations of the characters slowly dawning on them throughout the film. Great ending, in particular.
SpelingError
09-01-24, 12:26 AM
Nope. Worth a watch?
I mainly like it for its final act, but I'd certainly recommend it.
I'm a huge fan. Some of the best usages of close-ups I've ever seen as you get a sense of reality and the inner realizations of the characters slowly dawning on them throughout the film. Great ending, in particular.
Agree. The ending is a gut-punch.
MOUNTAINS OF MOURNE
(2017, Cummings)
https://i.imgur.com/t2oYRfZ.png
"♪ So I just took a hand at this digging for gold,
But for all that I found there I might as well be ♫
♪ Where the Mountains o' Mourne sweep down to the sea"
"The Mountains of Mourne" is a song written by Irish musician Percy French. The above lyrics concerns Irish immigrants reminiscing about home after not finding what they were necessarily looking for in other places. The song also lends its title to this short from actor/filmmaker Jim Cummings which includes a fair amount of reminiscing, sadness, and nostalgia.
The short opens up with Jordan (Casey Thomas Brown), a social media influencer, walking into a hotel on a wheelchair. He is joined soon after by his brother Jim (Cummings) who has come to help him with something. The short stays true to Cummings' style and techniques for various reasons: first, because it is all shot in one take, but mostly for its smart mixture of tones ranging from comedy and drama.
As has been proved in most of his other projects, Cummings is a master in slowly revealing things to the viewer. As the short film progresses, he gradually gives you all the information you need about what's happening in a way that feels natural and organic. Finally, we have his acting talents and the way he can convey true heartfelt emotion and sadness. We put all of that together, and we get one of the most interesting filmmakers I have seen in recent years.
Grade: 4.5
HYDRANGEA
(2017, Cummings)
https://i.imgur.com/zx5ADhk.jpeg
"I'm not acting! I'm not acting like anything."
Being a parent can be taxing and frustrating. We need to handle the usual stress of daily life, while also being responsible for the well being of our children. All of that can put an enormous pressure on parents to "act" like things are going well for the sake of the children, even when they necessarily aren't. That is the basis of this short film from Jim Cummings.
Hydrangea follows two parents, David and Hannah (David Henry Gerson and Hannah Elder) in what seems to be the shooting of an ad, along with their son Anthony (Toby Grey). However, when the director yells "cut", we can clearly see that things aren't what they seem and appearances are the rule.
This short gives you all the usual Cummings' trademarks: shot in one take, as we slowly get reveals of what's really going on. The short is a bit more serious than some of his other work, while also being a bit more bitter. But maybe that bitterness is meant to make us look within us and our daily life; see if we're "acting" or "not acting like anything".
Grade: 3.5
US FUNNY
(2017, Bales & Cummings)
https://i.imgur.com/tXa0QTd.jpeg
"You know where we are?... We're in Memory Lane."
Life has a way of turning upside down in one second. The unexpected becomes reality, and all we have to latch onto are memories... of what was and what could've been. That is part of what lies beneath the surface of this short co-directed by real life couple Jim Cummings and Julia Bales, and written by Bales.
Us Funny follows Jim as he goes down "memory lane" remembering various key moments in his life with Julia; when they met, a dinner together. It is all beautifully portrayed by both Cummings and Bales, who excel in their roles. Cummings in particular has such a talent to portray a natural vulnerability, which is something that often comes up in his works.
The short also does what Cummings does best, which is to walk a fine line between tones and genres. Here, the fine line lies between romance and tragedy, and he walks that line like a master. What he presents here is a trip down "memory lane" of a couple that could be any couple; and sometimes the smallest thing or the biggest thing can get us on or off that "lane". It's up to us to decide if we move forward.
Grade: 4
CORY COMES TO CHRISTMAS
(2017, Cummings)
https://i.imgur.com/qdXHt8b.jpeg
"Right now, you're just gonna have to pretend like you love me, and like I've done nothing wrong, ok?"
The above quote is the plea from Grace (Annie Hamilton) to her family as she prepares to introduce her boyfriend, Cory (Joseph Lee Anderson). Her plea might seem loaded with guilt and shame, but the preceding 5 minutes of the short have already shown us a bit of how her family is.
Cory Comes to Christmas is another Jim Cummings short film where he shoots it all in one take. The skill he shows to move the camera around the house as we meet all these characters is tremendous. However, it is Hamilton's performance what carries the short as we see her run the gamut of emotions.
Introducing someone to your family is often plagued by awkwardness, but it gets more complicated when you're burdened by insecurities, shame, or problems from the past, which I think is the case here based on Grace's plea for her family to "pretend". As for Cummings, I don't need to pretend. I love him.
Grade: 3.5
Catching up all the time, now with my summary for JULY 2024:
A film with the number 7 (Seven, Seventh, etc.) in its title: Seven Days in May (https://www.movieforums.com/reviews/2483028-seven_days_in_may.html)
A musical: Sing Street (https://www.movieforums.com/reviews/2483318-sing_street.html)
A film from Abel Ferrara (born July 19): Bad Lieutenant (https://www.movieforums.com/reviews/2483827-bad_lieutenant.html)
A film from Egypt (Revolution Day, July 23): The Sin (https://www.movieforums.com/reviews/2483945-the_sin.html)
A film from Letterboxd's Official Top 250 Narrative Feature Films list whose ranking includes the #7 (i.e. 7, 17, 73, 227, etc.) The Ascent (https://www.movieforums.com/reviews/2483850-the_ascent.html) (#67)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/algRJ6CYYSzTLw75SCoQSEXqTYK.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/sUWpVlrvzU2SJbnVZqIeKulPKwk.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/mVJ2mXykqq3t2v1nuouf1P10g0d.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/AjeFj2Uqq9sYL0tkYexEIJK6X4a.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/nbGyTnH1TREKgZXLxEJNnDVohYC.jpg
Other films seen, not for the challenge:
Monsterverse: Godzilla: King of the Monsters (https://www.movieforums.com/reviews/2481951-godzilla_king_of_the_monsters.html), Godzilla vs. Kong (https://www.movieforums.com/reviews/2482159-godzilla_vs._kong.html), Godzilla x Kong: The New Empire (https://www.movieforums.com/reviews/2482215-godzilla_x_kong_the_new_empire.html)
Horror films: Eden Lake (https://www.movieforums.com/reviews/2480302-eden_lake.html), Damien: Omen II (https://www.movieforums.com/reviews/2481422-damien_omen_ii.html)
Jim Cummings' short films: The Robbery (https://www.movieforums.com/reviews/2482173-the_robbery.html), Is Now a Good Time? (https://www.movieforums.com/reviews/2482187-is_now_a_good_time.html), The Mountains of Mourne (https://www.movieforums.com/reviews/2484354-the_mountains_of_mourne.html), Hydrangea (https://www.movieforums.com/reviews/2484364-hydrangea.html), Us Funny (https://www.movieforums.com/reviews/2484383-us_funny.html), Cory Comes to Christmas (https://www.movieforums.com/reviews/2484388-cory_comes_to_christmas.html)
Other films: Beverly Hills Cop (https://www.movieforums.com/reviews/2480171-beverly_hills_cop.html), Greenland (https://www.movieforums.com/reviews/2481212-greenland.html), Batman (https://www.movieforums.com/reviews/2481495-batman.html) (1966), Dial M for Murder (https://www.movieforums.com/reviews/2482182-dial_m_for_murder.html), Refused Classification (https://www.movieforums.com/reviews/2484235-refused_classification.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/mzOHg7Q5q9yUmY0b9Esu8Qe6Nnm.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/pgqgaUx1cJb5oZQQ5v0tNARCeBp.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/z1p34vh7dEOnLDmyCrlUVLuoDzd.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/tOg6ElTe1mJwaCFN0172U4oso22.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/nZBPvfAgy0GBTEw9YxAuWhoPj96.jpg
https://image.tmdb.org/t/p/w600_and_h900_bestv2/veif7pl7zPjqUBusdNKHDhgK1Ra.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/cLexnDyN78RYjIlmx8momNbFpt6.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/9q2rteqUtN3RtFb25i9LXkWGABa.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/9blvSpW36DxmOHc5nnyOYdHgezm.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/oPQPSQc6ZXpGfFh73hN5vMXnmEQ.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/3QzNvi7GydjVw7R3vUBq6G6yX5T.jpg
https://image.tmdb.org/t/p/w600_and_h900_bestv2/eBJEvKkhQ0tUt1dBAcTEYW6kCle.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/bNo2mcvSwIvnx8K6y1euAc1TLVq.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/zzoPxWHnPa0eyfkMLgwbNvdEcVF.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/4KKiFDvtEusJzqzlwHp7iMceXKS.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/yYidcTb503k59F9tgHHSxHOhm5H.jpg
I think Jim Cummings takes the cake as far as my favorite first-time watches of July. All of his shorts ranged from pretty good to great. Beyond that and rewatches, I would say maybe Sing Street, Seven Days of May, and The Ascent. It was a really strong month.
Least favorite first-time watch was easily Godzilla x Kong: The New Empire. That film was a mess.
SPY CAT
(2018, Lauenstein & Lauenstein)
https://i.imgur.com/uQfd2eb.jpeg
"We're just a bunch of losers."
Spy Cat follows Marnie, a tabby cat that is often pampered by her owner Rosalinde. She spends most of her days eating special foods and watching detective TV shows, dreaming of an adventure some day. Her adventure comes in the form of Phil, the uncle of Rosalinde who pretends to be wheelchair-bound while moonlighting as a thief in the neighborhood. When Marnie catches him off guard, he tricks her into thinking he's a detective and recruits her to "help" him by sending her away. As she makes her way back, she makes friends with "a bunch of losers" that might help her catch Phil.
Obviously this was a watch mostly for the kids, but as usual, I sat down and watched it as well. Most of the fun comes from the odd pairing of this "bunch of losers". The gang is comprised of Elvis, a grumpy abused pitbull running from home; Eggbert, a neurotic rooster trying to escape from being cooked; and Anton, a donkey that dreams of joining a circus by pretending to be a zebra. As is expected, they are pretty one-dimensional, but they all have fairly distinctive qualities that make the kids root for them.
Uncle Phil's plan is a bit nonsensical, and a lot of it seems like just loosely connected setpieces. But there was some fun to them, plus the back-and-forth between the characters was enjoyable. What's most important, the kids were laughing at it. Since being a parent, I've sat down for far worse films. Spy Cat might not be a clear winner for me, but it's also far from being a loser.
Grade: 2.5
REAR WINDOW
(1954, Hitchcock)
https://i.imgur.com/Nd9cMJr.jpeg
"We've become a race of Peeping Toms. What people ought to do is get outside their own house and look in for a change. Yes sir. How's that for a bit of homespun philosophy?"
That's how Stella (Thelma Ritter) sounds off against his patient, describing the way we're living, which basically states one of the subtexts from this Hitchcock masterpiece. We often get so caught up with looking outside to how other people live, trying to fix their problems in our mind, that we don't bother to look inside our own house and our own lives to fix ours.
Rear Window follows photographer L.B. Jefferies (James Stewart) who, after an accident at work, finds himself confined to a wheelchair and with nothing better to do than spy on his neighbors. When he sees and hears strange things, he starts suspecting that one of them (Raymond Burr) might've killed his wife. Jefferies tries to convince his girlfriend Lisa (Grace Kelly) and his nurse Stella about it, and although they dismiss his beliefs as pure paranoia, both of them find themselves quickly obsessed with finding out what really happened.
This was one of the first Hitchcock films I saw back in the 90s; probably the second. The film is yet another example of Hitchcock at his pure best. The casting of Stewart is perfect, and his chemistry with Kelly, despite the age difference is great. And speaking of Kelly, she is gorgeous, but more important, has that playful charm that is perfect for the role. Ritter is also perfect as the cynical and sarcastic nurse, while Burr rounds out the cast in a role that requires him to use his physique instead of his voice.
But aside of the cast, all of the elements are almost pitch perfect; the production, the set, Hitchcock's direction, and how he builds the tension, drawing us in the mystery; everything is at its best. I always recommend accompanying this with any "Making of" featurette, cause everything that Hitchcock achieved on that set is masterful. I remember that my first watches of this, decades ago, didn't leave much of an impression, but as I continue to revisit it, it now sits comfortably on my Top 5.
Grade: 4.5
One of the things I tried to do in August was to revisit favorite films or films I hadn't seen in a very long time. The above, Rear Window, falls in the former so that review was pretty much a rehash of something I had written back in 2017. I also rewatched Alien, so I will just post what I had written back in 2021.
ALIEN
(1979, Scott)
Freebie
https://i.imgur.com/m03J9RB.jpg
"You still don't understand what you're dealing with, do you? The perfect organism. Its structural perfection is matched only by its hostility."
Released in 1979, Alien follows the mining crew of the Nostromo. As they are en route to Earth, they are awaken by the ship's computer to investigate a distress signal from a nearby planet. As they investigate it, they unknowingly bring back a deadly alien creature aboard that starts eliminating them one by one.
The above quote comes from Ash (Ian Holm), the science officer aboard the ship, as he "admires" the alien creature's "perfection", but in many ways it could apply to the film as well. A structurally perfect "organism" that wasn't necessarily understood as first (Alien received mixed reviews from critics upon its release), it wasn't until later that many realized how good this was.
The film managed to subvert numerous tropes about the role of women or the blending of sci-fi and horror. It made a star out of Sigourney Weaver, while paving the way for female action stars in years to come. Weaver's performance is a thing of beauty as she espouses confidence within her precarious situation, and strength within her weaknesses. I love the way we can see her hold her own and put her foot down against people like Dallas, Parker, or Ash.
But in the midst of it all, there is a mixture of terror and awe at this creature. You can obviously see it in Ash, but also in Brett (Harry Dean Stanton) as he faces his demise. A creature unlike anything humanity had seen before, as the "star" of a film unlike anything people had seen before, about fears of things that we may never see.
Grade: 5
ORGAN TRAIL
(2023, Jann)
https://i.imgur.com/7wfJQr5.jpeg
"Suffering ain't noble. It's just suffering."
The "Wild West" was indeed wild. The push of settlers into American territory came with lots of risks. You could be attacked by outlaws or have an accident and die alone in the wilderness. You could drown or die of exhaustion, or maybe even fever or dysentery. Some of these risks are tackled in the cleverly titled Organ Trail, an interesting mish-mash of Western horror, thriller, and drama.
The film is the second film from director Michael Patrick Jann, who gained some notoriety in 1999 after directing Drop Dead Gorgeous. That film didn't do that well, which might have prompted Jann to get lost in the shuffle, but eventually became a cult hit. After listening to a podcast interview on that film a couple of weeks ago, he brought up this project and when he mentioned the title, I just couldn't resist.
Set in the 1870s, Organ Trail follows Abigale Archer (Zoé de Grand Maison) and her family, as they travel the Oregon Trail. When tragedy hits at the hands of a group of outlaws led by Logan (Sam Trammell), Abigale is determined to do whatever it takes to retrieve her family's horse. She is joined in her journey by Erik (Clé Bennett), a married rancher that might be getting in too deep in this situation.
I'm a sucker for a good western, and I think this one delivered pretty much what I was asking from it. The first act as we meet the Archer family is tragic and brutal. It then hits a bit of a lull as we get to know the four outlaws, but the performances and characters are interesting enough to keep me engaged. Perhaps the most notable is Rhys (Nicholas Logan), who is a bit of a psychopath that can't feel pain. There's also Cassidy (Olivia Grace Applegate), a woman that is rescued by the Archers and whose allegiances pretty much shape the course of the film.
The film is indeed a slow burn, and the pace could've used some work. I also think the film could've used some trimming here and there. But overall, I enjoyed the characters, the setting, how it was shot, and the way it presents the underlying brutality of the "Wild West"; a "Wild West" where you could die of fever, exhaustion, or dysentery; or by stumbling into a group of ruthless outlaws.
Grade: 4
CONSPIRACY
(2001, Pierson)
https://i.imgur.com/qWxs22Y.jpeg
"Politics is a nasty game. I think soldiering requires the discipline to do the unthinkable and politics requires the skill to get someone else to do the unthinkable for you."
Hannah Arendt once famously wrote about "the banality of evil" saying "the sad truth is that most evil is done by people who never make up their minds to be good or evil." In a way, that means that some of these "unthinkable" evils in history were committed by ordinary people who followed orders thinking that their actions were normal. That is part of what's addressed in this magnificent HBO film.
Conspiracy gives us a chance to see that banality in the works as it dramatizes the events of the Wannsee Conference in 1942. The meeting, attended by a small group of Nazi officers, was supposed to be a moment to decide on the "Final Solution" for Germany's "Jewish problem". The meeting is organized by Adolf Eichmann (Stanley Tucci) and led by Reinhard Heydrich (Kenneth Branagh). Tucci and Branagh are surrounded by an ensemble of respected TV and stage actors.
This is a film I've easily seen about a dozen times and I've loved it since the first one. This is not a film of booms and bangs, but more a film of dialogue and subtle performances. The film is full of these little moments of great direction and non-verbal acting that help establish the personalities of every character. Be it in the way they arrive, how they are addressed, and how they mingle with each other, you know who each person is. Some characters establish their authority with their attitudes and demeanor, while others prance around pimping their credentials.
Branagh is probably the more notable example. From his grand arrival to the way he establishes his authority at the table with swift decisions and blunt responses. Not only that, but we also see how he cunningly manipulates those around him to be on the same page, carefully adjusting his strategies and approach to each target. However, Tucci is just as excellent in a more subtle performance, while Colin Firth and David Threlfall, as Wilhelm Stuckart and Friederich Kritzinger respectively, also shine in specific moments.
Much like 12 Angry Men, most of Conspiracy takes place in a single room. Most of the action is shot from a tabletop point of view, putting us right at the table with these people. As the camera moves around, we see the banality with which the attendees discuss "unthinkable" things like forced sterilization and mass murders; all while joking, drinking, and munching hors d'oeuvres. We are at the table and we can do nothing, much like them.
If I were to have a minor gripe, it would be with the epilogue where Heydrich shares a story that Kritzinger told him, which I consider unnecessary. But that doesn't hinder the overall impact for me. Conspiracy is an excellent film; a perfect portrait of how those in power can manipulate us into doing the "unthinkable" without we even noticing it.
Grade: 5
CIVIL WAR
(2024, Garland)
https://i.imgur.com/KfqvfgK.jpeg
"Every time I survived a war zone, I thought I was sending a warning home - 'Don't do this'. But here we are."
Set in the middle of a civil war in the United States, the film follows a group of war journalists traveling to Washington, DC to try to interview the President before the capital is taken over. Leading the group are Lee Smith (Kirsten Dunst), a war-torn and cynical war photographer that seems to be questioning the purpose of everything as the violence around her rages on, and Jessie (Cailee Spaeny), a younger, and seemingly more optimistic and naïve photographer who idolizes her.
I think the biggest act of provocation from this film is to actually call it Civil War. I don't know how intentional or not that might be, but with a title like that, this may very well be a film that lives or dies on your expectations, or how well you adjust to what the film is actually offering you. Civil War does take place during a "civil war", and the war does move the plot forward, of course; but the film is not about *the war* but rather about how people, namely these group of journalists, react and approach it.
I don't mean the above in a bad way; I was up for it. But I can imagine some people being frustrated by the ambiguity and lack of context about the actual war that the film offers you. One of Lee's many nuggets of advice to Jessie is when she tells her not to ask certain questions cause "once you start asking those questions you can't stop. So we don't ask. We record so other people ask." It seems that Garland has taken the same approach to his film by just shooting it and putting it up, and letting us decide how it applies to our situations.
Although we're not offered a lot of details about the nature of the war, Garland does present us with different pockets of people in different cities and towns. Each of these is an opportunity for him to create incredibly tense setpieces and great, little moments. From a tense conversation at a gas station or a stop at a town that seems detached of the war, to an intense shootout at a field or a dread-filled confrontation with two militia members at a mass grave site. Each moment gives us a glimpse of how people are dealing with the war.
By the same perspective, it is really interesting to see the choices in how each journalist acts and reacts to the events. From Lee's partner, Joel (Wagner Moura) who seems to be in for the "fun" and "thrills", to the veteran of the group, Sammy (Stephen McKinley Henderson), who provides a beacon of hope among the group's cynicism. Judging from what I've read (or not), Moura's performance is one of the most undervalued aspects of the film, cause he was fantastic. But it is Lee and Jessie's relationship what is front and center; a relationship that's very much maternal, but also symbiotic and maybe even parasitic, and both actresses are great in it.
I think I might have been one of those that was initially expecting something different from this film. However, after reading some reviews and starting to watch it, I guess I adjusted my bearings quickly to what it was offering. There might be some issues in execution here and there, but Garland's message, or should I say warning – arguably devoid of any specific allegiance – seems to be clear: Don't do this. It's up to us whether that warning gets to us on time, before we have to say "here we are."
Grade: 4
SYRIANA
(2005, Gaghan)
https://i.imgur.com/8ifvDdy.jpeg
"We're looking for the illusion of due diligence, Mr. Pope."
That's how attorney Bennett Holiday (Jeffrey Wright) dismisses the efforts of his "investigation" to one of his interviewees. Nothing's gonna be done, but they need to give the appearance that something is being done. But there's a lot of that illusion across the board in this multi-layered political thriller about CIA botched jobs, oil rights, government investigations, power struggles, corruption, and the little ones that end up crushed by the fallout.
Syriana follows an ensemble cast through four main storylines, all tied to a corporate fight for oil rights in the Middle East. There's Prince Nasir (Alexander Siddig), who wants to take his country into a more progressive path, and Bryan Woodman (Matt Damon), the energy analyst that he hires to assist him. Then there's Bob Barnes (George Clooney), the veteran CIA agent that is assigned to eliminate Nasir under the illusion of him being a threat. Finally, there's a subplot about Pakistani oil workers that are being affected by all the struggle between the oil companies.
That's just a bit of what's going on, cause there's a lot. I've seen this film easily 10 times, and I still forget details of what is going on until I'm watching it again. Regardless, I just find it to be one of the most thrilling films I've seen. Director and writer Stephen Gaghan, who also wrote Traffic, brings some of that fast-paced jump between storylines without it feeling suffocating. Plus, every storyline has a character that serves as an effective anchor for the audience.
The cast, as you can see, is stacked but I didn't even mention Christopher Plummer, Chris Cooper, Tim Blake Nelson, William Hurt, Mark Strong, among many others. There's not really a weak spot among the lot, but I would highlight Wright and Cooper as probably my favorite performances from the bunch. Wright, in particular, adds so many layers to his character in an extremely nuanced performance as a man desperate to prove himself at any cost.
Your enjoyment of Syriana will greatly depend on your tolerance for the above; a sprawling modern epic with a dozen characters spread across the globe, that shows us the cost of corruption through all the rungs of the economical ladder. A political thriller where there is no due diligence, and ultimately no winners.
Grade: 4.5
StuSmallz
09-05-24, 02:52 AM
Much like 12 Angry Men, most of Conspiracy takes place in a single room.Speaking of which, were you inspired to rewatch it because of this?: https://www.highonfilms.com/movies-like-12-angry-men-1957/
PHOENIX74
09-05-24, 04:12 AM
Don't know if you caught my review on my watchlist thread (if I remember correctly, you were the one that inspired me to watch this), so I'll share it here :
https://i.postimg.cc/xd8X2hV1/conspiracy.jpg
CONSPIRACY (2001)
Directed by : Frank Pierson
I feel quiet. I feel depressed. I just watched Conspiracy - a film about the Wannsee Conference, which didn't make the decision to murder all of the Jews in German-occupied Europe but made it clear this was to be done - each person attending in charge of a branch of government which would see it done. Reinhard Heydrich (Kenneth Branagh) tops the list of awful conspirators, Branagh winning an Emmy (he was also nominated for a Golden Globe) because his performance feels too real. A mixture of hatred and "pfft, so we're killing them? So what?" Treating the murder of innocent civilians on about the same level as killing chickens - the industrial scale that this was being done on almost comparable. Stanley Tucci brings us a taciturn and dour Adolf Eichmann - his only sense of positivity one in which he relishes doing his job well. Colin Firth is the practical and lawyerly principled Wilhelm Stuckart - annoyed because this Final Solution of the Jewish Question means the Nazis will be operating contrary to their own laws.
Many a reviewer has written a sterling, impassioned review of this film that says it all so very well. It's a daunting film to talk about, because to do so you're having to acknowledge one of the greatest crimes in human history - and there are no words that can do the feeling of horror justice. The way some of the conference members snort, snicker and chuckle as if this were some ordinary council meeting discussing adding a lane to a highway or requisitioning a park. The way some argue because the Final Solution is going to drain their slave labour workforce (I'd have them admit - for the Nazis there was never any shortage of slave labour when you consider those they found to be unworthy of being free.) The way they serve dinner mid-conference, at which point I felt sick - stuffing their faces while discussing death, disease and murder - all of which is of their own doing. I don't know how the actors all did it - maintaining that level of animalistic nonchalance at the thought of murder and general hubris must have been difficult.
So - this is really required viewing. We usually see the Holocaust at the point of the terrible work being carried out - but it's ideation is an important moment to study because listening to these guys talk makes me realise it could happen again. There are factors I recognize. The arrogance is one. The excessive pride and narcissism another. The lack of empathy, and embrace of nationalistic ideals. All it takes is for the wrong people to have the power to do it. Before it happened, the average everyday German never would have thought it possible that their own government would commit such terrible crimes. It's very interesting to note, at the end of the film, how many of those at the conference ended up free to participate in West German governance after the war ended. Not every participant in the Final Solution received the punishment they probably deserved. Thanks to Undersecretary Martin Luther (Kevin McNally) the minutes of the meeting weren't destroyed - so we know exactly how it played out. For conspiracy theorists - here's one that actually happened, and doesn't need to be dreamed up and spread online.
Glad to catch this one - winner of a BAFTA, Golden Globe and Emmy for Best TV Drama, Stanley Tucci and Kenneth Branagh respectively.
4
https://i.postimg.cc/Y96TsfhQ/conspiracy2.jpg
Speaking of which, were you inspired to rewatch it because of this?: https://www.highonfilms.com/movies-like-12-angry-men-1957/
Not really. It's just customary every now and then :laugh: According to my Letterboxd notes, I've seen it in 2006, 2008, 2013, 2018, and now 2024, but I'm sure I've seen it a bunch more times in between.
Anyway, that's a nice list to check off films I haven't seen. Thanks for sharing.
Don't know if you caught my review on my watchlist thread (if I remember correctly, you were the one that inspired me to watch this), so I'll share it here :
I think I missed your review, so thanks for sharing it. Very well written and I agree with your sentiment in the last paragraph. There are definitely hints of this around us nowadays; be it in the US or Europe, which is terrifying.
PERFECT DAYS
(2023, Wenders)
A film whose title starts with the letters O or P ● A film from Wim Wenders
https://i.imgur.com/5EGiBmN.jpeg
"Next time is next time. Now is now."
Perfect Days follows Hirayama (Kōji Yakusho), a humble man that works cleaning public toilets in Tokyo. When he's not working, he spends his time through a daily routine that includes listening music on his cassette tapes, reading, looking at trees and photographing them. The above quote seems to be his mantra, as he remains unfazed by what tomorrow might bring, but rather focused on the little pleasures that today might give him.
Things didn't start that way, though. The film came to be after Wenders was invited by entrepreneur Koji Yanai to observe his Tokyo Toilet project, consisting of more than a dozen public toilets uniquely designed. The main intention was to see if Wenders would make a short film about the facilities, but he had other things in mind. Instead, he took this project and used it as a foundation for this deeply personal and moving story about the simplicities of life.
This is my first Wim Wenders film, a notable blindspot in my movie-watching journey, and I couldn't be more pleased with it. The way he delineates Hirayama's daily routine is great and Yakusho's performance is, for lack of a better word, perfect. Wenders then goes on to contrast Hirayama's way of living with characters like his co-worker, his niece, and his sister, among others, all while patiently revealing little tidbits of his past.
If someone would've told me a film about a guy that cleans public toilets would be this beautiful, I probably would've laughed it off; and yet, here we are. Perfect Days is a beautiful character study and, pun intended, a perfect illustration of regular daily life. What we do, what we give value to, and ultimately how we live our lives *now* in any way that makes us feel complete. A testament to how to face each dawn, each day, each life, and feel good in the end.
Grade: 4
LUCA
(2021, Casarosa)
https://i.imgur.com/Cqtw2YB.jpeg
"You know, we underdogs have to look out for each other, right?"
Set in a small town in 1950s Italy, Luca follows the titular character (Jacob Tremblay), a sea creature, who meets Alberto (Jack Dylan Grazer), a fellow sea creature who lives alone. After discovering that he changes to human form when he's on land, the two set out to enjoy the summer, which will include exploring the nearby town of Portorosso. It is there that they meet Giulia (Emma Berman) and end up as the "underdogs" in a triathlon competition with the local bully.
This was a watch with the kids. I think they had seen it before, but it was a first-time watch for me, and I enjoyed it quite a bit. There is a charming simplicity to its story of friendship and acceptance that I enjoyed. The relationship between the three friends, especially Luca and Alberto, is well built, and it's fun to see them as "underdogs" looking out for each other. I think that aspect is the most important of the film.
The filmmakers also nailed the whole design and persona of the bully, which made it easier for us to root for the lead kids. I also enjoyed that there were some underlying layers to some of the characters; for example, Giulia's father and his relationship with Alberto. And obviously, there's the coming of age aspect of Luca, as he tries to find his place in the world, along with his "underdog" friends.
Aside from that, the animation was very colorful and vibrant. There were certainly some liberties taken with the logistics of how the kids changed back and forth from sea monsters to boys, but I understand why it's done. Overall, Luca doesn't really offer a lot of new things, but it does offer a fun and endearing look at what it means to have friends looking out for each other, right?
Grade: 3
TREMORS
(1990, Underwood)
https://i.imgur.com/IjRq6zW.jpeg
"That's how they git you. They're under the g-oddamned ground!"
Set in the small desert town of Perfection, Tremors follows Val (Kevin Bacon) and Earl (Fred Ward), two friends working odd jobs that are trying to get out of town to find something better. That is until the town starts being attacked by three giant creatures from under the g-oddamned ground. It's up to Val and Earl, along with geologist Rhonda (Finn Carter), to stop the monsters while trying to save the people of Perfection.
This is a film I've seen dozens of times since I was a kid. It was a constant staple on TV, so I was very familiar with it. However, it has been a good while since I last saw it, so I decided to travel to Perfection once again, and what a fun trip it was. Tremors manages to strike such a great balance between action, adventure, thrills, and humor that not many films succeed at.
In addition, the cast is very likable and easy to root for. Bacon and Ward have an insane chemistry and their banter is a big part of why the film works so well. The cast also includes the likes of Reba McEntire, Victor Wong, and Michael Gross as a "doomsday prepper" that ended up becoming the lead of the franchise for *checks notes* five sequels and a TV series.
But again, the film is a lot of fun. Maybe it hits a bit of a lull in the middle to last act as the residents are stranded in the desert, but nothing that hinders the overall effect that much. Overall, Tremors knows what it is, doesn't try to be anything else, and never overstays its welcome. It gives you exactly what you see in its poster, which is big creatures coming from under the g-oddamned ground.
Grade: 4
PINOCCHIO
(2022, Del Toro & Gustafson)
https://i.imgur.com/VJC59x0.jpeg
"You did bring me joy. Terrible, terrible joy."
Based on the popular novel and set in Italy at the beginning of the 20th Century, Pinocchio follows the adventures of the titular character (Gregory Mann), a wooden puppet created by Geppetto (David Bradley) after the loss of his real-life son in a World War I bombing raid. Through the movie, Pinocchio embarks in a journey which includes a stint in a circus, time at a military youth camp, performing for Mussolini, and ending up in the belly of the terrible Dogfish.
Co-written and co-directed by Guillermo del Toro, this is a "passion project" he had been working on since 2008, at least. Del Toro has said he had been wanting to make his own version of the story since his teen years. Although announced in 2008, it ended up in development hell as no studio wanted to take on the project. it was in 2018 that Netflix picked it up and started production.
When the film opens, we meet Geppetto and his young son Carlo, who ends up being killed in a bombing raid at a church. It is after an anguish-filled 20-year span that Geppetto decides to create Pinocchio. Not necessarily as an earnest act of love, but rather in a drunken fit of grief and anger. This change in tone from what we might be used to for this story was one of the most interesting approaches of the film. Pinocchio's creation can be seen, in many ways, as an act of madness and despair.
That dark tone permeates the whole film. Pinnochio is still charming and naïve, but he's also reckless and careless as he keeps on finding ways to die and come back again. The "ghost" of Carlo is constantly hanging above the choices of Geppetto and Pinocchio, along with the impending doom of war upon them. As interesting as those layers might be, I do think the film hits a few bumps as it tries to juggle the struggles of Geppetto and Pinocchio with both the stories of the circus and the military youth camp.
I did enjoy the way the character of Sebastian Cricket (Ewan McGregor) is incorporated into Pinocchio's life, from living inside the tree trunk that was used to carve the wooden boy to literally living inside him, close to his "heart", to guide him and serve as his conscience. Worth mentioning also that the cast is evidently stacked, including Tilda Swinton, Cate Blanchett, Ron Perlman, Finn Wolfhard, John Turturro, and Tim Blake Nelson.
This was definitely an interesting watch. An adaptation that not only manages to be visually impressive, but that also adds new layers and new perspectives to a story we're already widely familiar with. It is remarkable that Del Toro was finally able to see it through, after so many years and so many hardships. I'm sure that seeing it finally come to light gave him joy. Terrible, terrible joy.
Grade: 4
SPONTANEOUS
(2020, Duffield)
A romantic film
https://i.imgur.com/M3mHZtr.jpeg
"You're, like, the best thing to come out of spontaneous combustions for me."
What would you do if all of your friends started to literally blow up in front of you one by one? What if you're the next one? That is the premise of this unique film. Blending aspects of romcom, coming-of-age, dark humor, and horror, Spontaneous focuses mainly on Mara and Dylan (Katherine Langford and Charlie Plummer), two teenagers at Covington High that are thrust into the unexpected situation described above.
I was trying to complete one of the categories of my challenge that asked for a romantic film; a good Internet friend recommended this, and imagine my surprise when instead of a romantic film, I found a really powerful exploration of trauma and grief through the eyes of these two lovestruck teenagers. It's always refreshing when you stumble upon a filmmaker that can walk that fine line between genres, and Duffield here does an acrobat job, walking between romance, comedy, drama, and horror, without it feeling like an overstuffed mess.
Your classmates exploding all of a sudden can work as a metaphor of a bunch of things. From the obvious one in school shootings to other stuff like the pandemic, terminal illnesses, or just growing up/drifting apart. The thing is that it's done in such a clever and unique way, without feeling like the filmmakers are hitting you in the head with their point; and when tragedy strikes at various points, the way the story progresses feels natural and organic, instead of preachy.
Special kudos also go to the cast, particularly Langford and Plummer. The latter has an innocent charm to his performance that's very endearing and easy to like, but it is Langford the one who runs the gamut of emotions in the role of Mara. From smitten lovebird to traumatized teenager, her performance is fantastic. I also enjoyed Hayley Law's supporting performance as Mara's best friend Tess. She brought a sobering and soothing perspective to Mara's more emotional journey.
It's been a while since I've been really impressed with a film; one that really hits me and sticks with me, but this one fit the bill to a T. It's been already about a month since I saw it, and I would still probably put it at the top of my first-time watches of the year. I was hesitant to give it a straight 5, and maybe I will raise it later. As for now, you could say this film is the best thing to come out of spontaneous combustion for me.
Grade: 4.5
WEREWOLF BY NIGHT
(2022, Giacchino)
https://i.imgur.com/TdTLZKi.jpeg
"Any hunting that I do is done by a part of me that is not me... and that's not the part you're with right now."
Werewolf by Night follows Jack Russell (Gael García Bernal), part of a secret group of monster hunters gathering to win a mysterious gem by defeating a powerful monster. The twist? Russell is a werewolf himself, but will he be able to control that part of him if it comes to that?
If you're like me, chances are you didn't even know this show or IP even existed. But it does, and it's actually part of the MCU. Werewolf by Night aired as a "TV special" through Disney+ as part of their Phase IV. Whether there are plans to bring the characters back again? That remains to be seen.
But aside from its ties to any bigger universe, this was a pretty interesting experiment. Director Michael Giacchino and cinematographer Zoë White wisely use black and white cinematography and a unique directing style, which gives the film a look reminiscent to the Universal Monster films.
That classic look extends to García Bernal's performance and look which borrows a lot from Lon Chaney and Bela Lugosi. Despite all those positive points, the story is still a bit lacking and stale. But as far as look, style, and vibe goes, Werewolf by Night has a lot of it.
Grade: 3
CIAO ALBERTO
(2021, Harris)
https://i.imgur.com/qurD4lq.jpeg
"I can't do it. I'm not good at this. I'm not good at being your... employee."
After watching Luca with the kids, I decided to check out this short. Ciao Alberto follows the attempts of Alberto (Jack Dylan Grazer) to win the approval of Giulia's father, Massimo (Marco Barricelli), with whom he lives now. This relationship is one of the subplots I admired from the original film, so I appreciated the opportunity to revisit it and focus on it.
I really liked the way the short highlights the place where both characters are, with Alberto wanting a father figure and Massimo having the chance to have the son he never had. It's great how they put all of that up front, without necessarily hammering us with an overload of sappiness. Ciao Alberto is a simple but charming short film that's emotionally effective, and maybe even better than the original film.
Grade: 3.5
DUG'S SPECIAL MISSION
(2009, Del Carmen)
https://i.imgur.com/EmWYW50.jpeg
"Oh boy! My pack is giving me a special mission!"
Set concurrently during the events of Up, Dug's Special Mission follows the titular dog (Bob Peterson) as he tries to track the mysterious bird, Kevin! When he fails, the other dogs try to assign him random tasks to keep him occupied, only to have them backfire on them.
This is a short I had seen several times before. At only 5-ish minutes, there's not much to it, but it is funny in a Looney Tunes kind of way as we see the dogs fall down crevices and cliffs repeatedly. I've always felt that Dug is a pretty funny character and, although he doesn't get a lot to do here, he still succeeds the mission of being fun.
Grade: 3
BEETLEJUICE
(1988, Burton)
https://i.imgur.com/qkvm4oY.jpeg
"Ah. Well... I attended Juilliard... I'm a graduate of the Harvard business school. I travel quite extensively. I lived through the Black Plague and had a pretty good time during that. I've seen The Exorcist about a hundred and sixty-seven times, and it keeps getting funnier every single time I see it!... Not to mention the fact that you're talking to a dead guy!... Now what do you think?? You think I'm qualified?"
Beetlejuice follows Adam and Barbara Maitland (Alec Baldwin and Geena Davis), a young couple that tragically end up dead and stuck in their country home. When an eccentric family from New York try to move in, they are determined to get them out, even if it means hiring the titular character (Michael Keaton) with the above credentials. But, do you think he's qualified?
This is a film I've seen lots of times since it came out. I still wouldn't consider myself a hardcore fan, but I've always enjoyed its odd and quirky approach. Which is why we decided to give this one a shot with the kids, and see how well they liked it. As far as I'm concerned, I've always thought the film makes some great use of set design, production values, makeup and costume.
The special effects might seem spotty nowadays, but the practicality of some of them is still quite impressive. This is particularly notable during the Maitland's visits to the "purgatory" waiting room, but also during the last act when Beetlejuice is finally unleashed. Also, I've always enjoyed the whole look and feel of Adam's town model, and how they recreate that look in full scale.
The other strong point from the film is the performances. Baldwin is a bit bland, but Davis is pretty good as Barbara, and so is Winona Ryder as Lydia, the daughter of the family moving in. But Keaton is clearly the show-stealer. He's obviously having a lot of fun with the role and it shows. Special points to the late Glenn Shadix as Otho who almost steals the film from Keaton.
The thing with Beetlejuice is that the whole logistics of how the character operates, how he traverses from one world to the other, how the Maitland's factor into that, why does he want to marry Lydia, what the Deetzes are trying to get out of this... well, it doesn't necessarily make a lot of sense. That doesn't mean it's not fun, but it certainly doesn't hold up to close scrutiny. I guess it's up to you to look at the film, check out his credentials and answer the question, do you think he's qualified?
Grade: 3
A QUIET PLACE: DAY ONE
(2024, Sarnoski)
https://i.imgur.com/4D79hml.jpeg
"This place is s-hit. This place smells like s-hit. Betsy's voice sounds like s-hit. Cancer is s-hit."
Set about a year before the events of A Quiet Place, Day One follows Samira (Lupita Nyong'o), a terminally ill woman trying to survive the first days of the alien invasion in New York City. She is joined in her survival journey by Eric (Joseph Quinn), an English young man that came to study law ("It's the one thing I was supposed to do"), but who will end up doing much more.
The film opens with Samira in hospice, reading the above "poem" during a group therapy; a showing of her pessimistic and bleak outlook on life. But as is usually the case, that shell is there to hide a person that has been, in many ways, beaten down. Aside from her illness, as the film progresses we find out that she lost her father in the same way. Plus, the fact that she's in a hospice tells us that she really has no one else in her life.
As the invasion starts and the aliens are unleashed, Sam is determined to get to Patsy's pizzeria to get one last slice of their pizza. Something that we find out later has a deeper meaning to her than just good pizza. It is quite rare and remarkable to get not only a horror film, but a horror prequel, that rely so much on emotional character development instead of plot, and yet here we are.
But a good story can only take you so far. The rest of the distance is carried by Nyong'o and Quinn, who are both great. Nyong'o has got to be one of the most expressive actresses I've seen recently. The way she uses her eyes is quite something. Plus, the way she and Quinn develop this chemistry to make this unlikely friendship work, in between alien attacks, is probably the strongest asset from the film.
I've really enjoyed all of the films from this franchise so far, and overall, I think I held them all at the same level. But I won't deny that the emotional arc from Sam might push this one just a smidge to the top for me. From seeing a place that smells like s-hit to how she's able to walk into a new day, and feel fine with what it brings, is remarkable.
Grade: 4
SpelingError
09-11-24, 04:46 PM
BEETLEJUICE
(1988, Burton)
https://i.imgur.com/qkvm4oY.jpeg
Beetlejuice follows Adam and Barbara Maitland (Alec Baldwin and Geena Davis), a young couple that tragically end up dead and stuck in their country home. When an eccentric family from New York try to move in, they are determined to get them out, even if it means hiring the titular character (Michael Keaton) with the above credentials. But, do you think he's qualified?
This is a film I've seen lots of times since it came out. I still wouldn't consider myself a hardcore fan, but I've always enjoyed its odd and quirky approach. Which is why we decided to give this one a shot with the kids, and see how well they liked it. As far as I'm concerned, I've always thought the film makes some great use of set design, production values, makeup and costume.
The special effects might seem spotty nowadays, but the practicality of some of them is still quite impressive. This is particularly notable during the Maitland's visits to the "purgatory" waiting room, but also during the last act when Beetlejuice is finally unleashed. Also, I've always enjoyed the whole look and feel of Adam's town model, and how they recreate that look in full scale.
The other strong point from the film is the performances. Baldwin is a bit bland, but Davis is pretty good as Barbara, and so is Winona Ryder as Lydia, the daughter of the family moving in. But Keaton is clearly the show-stealer. He's obviously having a lot of fun with the role and it shows. Special points to the late Glenn Shadix as Otho who almost steals the film from Keaton.
The thing with Beetlejuice is that the whole logistics of how the character operates, how he traverses from one world to the other, how the Maitland's factor into that, why does he want to marry Lydia, what the Deetzes are trying to get out of this... well, it doesn't necessarily make a lot of sense. That doesn't mean it's not fun, but it certainly doesn't hold up to close scrutiny. I guess it's up to you to look at the film, check out his credentials and answer the question, do you think he's qualified?
Grade: 3
I liked it a lot when I first watched it, but the film declined somewhat throughout my second and third viewings. I don't think I'll rewatch it again. With my recent viewing, for instance, I was surprised by how little Keaton was in it.
CHOPPING MALL
(1986, Wynorski)
A film from the 1980s
https://i.imgur.com/njtmpBX.png
"I guess I'm just not used to being chased around a mall in the middle of the night by killer robots."
Chopping Mall gives you just that. A bunch of horny teenagers being chased around a mall in the middle of the night by killer robots. The film starts with the presentation of the new security system to the mall public, which includes three robots programmed to stop criminals. After that, it introduces us to the cast of teenagers; four couples, that decide to stay at the mall for an impromptu party, only to end up terrorized by the robots.
This is one of those films whose cover I remember seeing at the video rental store all the time. However, I don't think I ever rented it (or if I did, I forgot). Anyway, it came up as a recommendation for the month, so I thought "why not?". If I were to use the cover or the title as a lead, I probably would've been disappointed. Like a friend said to me, "there's very little chopping". But if you read the premise, that's pretty much what it gives you.
Now, don't come to the film expecting great performances or character development, cause you won't get it. Pretty much all the teenagers are one-dimensional characters and half of them are a$$holes. None of the boys really stand out, except for Mike (John Terlesky) as the most a$$hole-y and Ferdy (Tony O'Dell) as the least a$$hole-y. As for the girls, Allison (Kelli Maroney) is the geeky, "virgin-like" one, which gives you a hint of how the plot will progress.
But putting the performances aside, the film does have enough throat slashings, back stabbings, electric zapping, and even an exploding head to please horror fans. In addition, the breezy runtime of 76 minutes makes it easier to stomach what would otherwise be an inept film full of inept characters. Not much of what the teenagers do make much sense, but to be fair, who here is used to being chased around a mall in the middle of the night by killer robots?
Grade: 2.5
THE HUDSUCKER PROXY
(1994, Coen)
https://i.imgur.com/7IAjplp.jpeg
"I used to think you were a swell guy. Well, to be honest, I thought you were an imbecile. But then I figured out you *were* a swell guy... A little slow, maybe, but a swell guy. Well, maybe you're not so slow, But you're not so swell either. And it looks like you're an imbecile after all!"
Set in 1950s New York City, The Hudsucker Proxy follows Norville Barnes (Tim Robbins), a young and naïve business school graduate from Indiana. When the president of Hudsucker Industries unexpectedly commits suicide, board member Sidney J. Mussburger (Paul Newman) decides to install Norville as a "puppet president" in order to "inspire panic in the stockholder" to devaluate stocks.
I consider myself a big Coen brothers fan, but for some reason, this was still on my watchlist. As I was preparing for a podcast episode on the directors, I decided to give it a shot and I wasn't disappointed. The Hudsucker Proxy delivers the usual Coen mixture of deadpan and silly humor, with a bunch of colorful and zany characters and a healthy dose of whimsy to the story.
Robbins, just a few months away from his turn in The Shawshank Redemption, has the perfect aloof demeanor to make him look like both a "swell guy" and an "imbecile", while Newman is predictably great as the ruthless Mussburger. The cast is rounded out by Jennifer Jason Leigh as Amy Archer, a daring journalist who is determined to write a story about Norville, but ends up falling for him. Also, as is usual, the Coens surround their leads with an array of solid supporting characters like John Mahoney as Amy's editor or Bruce Campbell as a fellow reporter.
There is a certain playfulness to how things unfold on The Hudsucker Proxy, where even something as serious as a suicide is played lightly without feeling disrespectful. There is also a certain simplicity to its story of a man seen as a "jerk" or "imbecile" rising to the top and still succeeding against all odds. This simplicity extends to Norville's plan. Seeing him walk around showing this crumpled piece of paper with a circle drawn in it – "you know, for the kids!" – was enough to make me laugh.
After The Hudsucker Proxy, there's only one more Coen brothers film I need to watch (The Ladykillers). This one probably wouldn't crack my Coens Top 10, but it continues to prove why they are among my favorite directors and how tough it is to rank their films; because even at their "worst", they're still pretty swell.
Grade: 3.5
THE ROCKETEER
(1991, Johnston)
https://i.imgur.com/ImfTIok.jpeg
Cliff: "Jenny, prepare yourself for a shock: I'm the Rocketeer."
Jenny: "The Rocke-who?"
The Rocketeer first appeared in 1982, as a backup feature in the Starslayer series from Pacific Comics. In the relatively short time since its creation (30+ years), it has jumped around through multiple publishers, ultimately settling on IDW Publishing. Like its comic counterpart, the film adaptation had a rocky road as multiple studios turned down the project because, as creator Dave Stevens once said "in those days, no studio was interested at all in an expensive comic book movie." Despite the troubles to make it through, the comic continues and the film, although not the blockbuster they expected, has achieved a very healthy cult following.
Set in 1938, The Rocketeer follows Cliff Secord (Bill Campbell), a stunt pilot that stumbles upon a prototype jet pack that was stolen from Howard Hughes (Terry O'Quinn). In search for it are the FBI, a local crime gang, and a group of Nazi sympathizers. With the help of his mechanic friend (Alan Arkin), Secord assumes the identity of the Rocketeer to protect the jet pack. Meanwhile, he also struggles to keep his relationship with aspiring actress Jenny (Jennifer Connelly) afloat, as she is wooed by movie star Neville Sinclair (Timothy Dalton).
The first time I saw The Rocketeer was probably 20 or so years ago, but I've always held it close to my heart. What it lacks in star-power and budget, it makes up for in fun and charm. The film doesn't feel as pretentious or overtly serious as some recent comic films, but instead, is enjoyable, adventurous, and breezy. Campbell manages to strike a perfect balance between heroic will and charming naivete, while Dalton is perfect as the hammy Sinclair. Finally, Connelly makes the most of a somewhat underwritten role, while Arkin is solid as Secord's friend.
If I were to hold anything against the film, it would be that the last act has its fair share of contrivances. Fortunately, the script never takes itself too seriously and director Joe Johnston moves things along at a nice pace. The film doesn't intend to be too deep, and it is never that groundbreaking, but what it does, it does extremely well. I heard that there have been attempts of a remake. Let's hope that if it does come out, it's as entertaining as this one.
Grade: 4
For what it's worth, that's the review I wrote last time I rewatched it (2018), but my thoughts really didn't change much when I rewatched it with the kids a couple of weeks ago. I did bump the rating up half a star. An incredibly fun and entertaining film.
Speaking of The Rocketeer, am I the only one that thinks the Nazi short featured in it was chillingly effective?
https://www.youtube.com/watch?v=bLyla-hO3xE
*shudders*
PAPRIKA
(2006, Kon)
A film with a title that starts with the letters O or P
https://i.imgur.com/dqMEYV6.png
"Science is nothing but a piece of trash before a profound dream."
Dreams are a mystery to us. Even with all our scientific and technological advances, we are still not sure how they came to be, what they are or what they mean; and yet, they can have a lasting effect on us. From something that can be intriguing to us, to something that can be terrifying and disturbing. Some times, a dream can be so affecting, so profound that science feels just like "nothing but a piece of trash" before it. That mystery, along with that intersection between science and dreams lies at the forefront of this animated Japanese film.
Paprika follows different groups that are trying to bridge that gap between dreams and science. There's the scientists that developed a device – the DC Mini – that allows them to actually view other people's dreams, to a mysterious "terrorist" that has stolen one of these to somehow become all-powerful. Somewhere in between, there's the titular character, Paprika, a dream alter-ego of scientist Atsuko Chiba (Megumi Hayashibara) who has been using the DC Mini "off the grid" to help some patients.
This was a recommendation from an online friend and my first film from Satoshi Kon. I've never considered myself an anime guy, but I decided to give it a shot. The film has many of the trademarks I usually associate with anime, but it is also a very unique premise that is also executed in a unique way. Paprika moves at a pace that makes you feel like the characters of the film, as if you were catching up on everything. As the manifestations of these dreams keep growing, the story becomes more weird and bizarre and it's interesting to try to figure out what's going on.
I would've wished that the characters and their relationships were better constructed, especially the relationship between Chiba and her co-worker and inventor of the DC Mini, Dr. Kōsaku Tokita (Tōru Furuya). Also, both Detective Konakawa (Akio Ōtsuka) and Dr. Osanai (Kōichi Yamadera) both of which are integral to the character of Dr. Chiba/Paprika, feel somewhat underdeveloped. However, the story seems to be more focused on the visuals and the style than fleshing out these relationships.
Regardless of those flaws, Paprika remains an intriguing film full of mesmerizing visuals and colorful characters, even if I wish they would've been better handled. It is still an interesting contrast of dreams and reality, and how we use the former to "escape", either consciously or not.
Grade: 3.5
TWISTERS
(2024, Chung)
https://i.imgur.com/1Ligqg2.jpeg
"You don't face your fears, you ride 'em."
28 years ago, in 1996, Twister hit theaters in the US. Following a ragtag team of tornado chasers led by the late Bill Paxton, the film became a big hit mostly on the strength of its action setpieces and special effects, but most definitely not because of its character development or dialogue. This popularity still led to a huge following, and even a Universal Studios ride (an incredibly dull one!) so it's surprising that it took this long for a sequel to come up.
Set in the same universe but barely referencing the original, Twisters follows Oklahoma native Kate (Daisy Edgar-Jones), a young tornado chaser and aspiring meteorologist with "a gift" to predict storms and tornadoes. When tragedy strikes her team during an intense tornado, she relocates to New York City to work for NOAA. That is until her friend and former colleague Javi (Anthony Ramos) lures her back to her hometown to help him with his new storm chasing company.
Overall, Twisters does what most sequels do; go bigger, as the title implies. This doesn't always equate to quality, but that doesn't mean that the film is not without its strengths. First of all, I found it interesting how the film puts our hero into what is essentially Cary Elwes team in the original. Javi is definitely not a bad guy, but his company follows the stereotypical "evil corporate" trope full of nameless/faceless drones. All while they look down at Tyler Owens (Glen Powell) ragtag team of colorful tornado chasers, which is pretty much a proxy of Helen Hunt's team.
There is some hints of nuance to Kate's trauma and the story does try to get something from it, but in the end, it mostly brushes them aside with one-liners like the one quoted above. Her predictable shift from one team to the other is even blatantly highlighted with an obvious change of wardrobe, while the film decides to fall back on action setpieces and special effects. In that regards, the film does bring the thrills; but as someone who isn't even a big fan of the original, there's not a lot to ride here.
Grade: 2.5
PULGASARI
(1985, Shin)
A film whose title starts with the letters O or P ● A film from North Korea
https://i.imgur.com/uEQMY0N.png
"Everyone, as long as Pulgasari is with us, our victory is assured!"
Set in feudal Korea, Pulgasari follows the titular creature, a Godzilla-like kaiju created by an imprisoned blacksmith and brought to life by his daughter, Ami (Chang Son Hui), creating a bond with her. Pulgasari then becomes an ally of the rebels against the region's oppressive ruler. Although the premise might not sound overly special, it is the story behind the production of the film what sets it apart.
Pulgasari's director, Shin Sang-ok, had been kidnapped along with his wife, by North Korea's "Supreme Leader" Kim Jong Il. An avid cinephile himself, Kim wanted the filmmaking couple to make propaganda films for the nation. Pulgasari ended up being Shin's last film for the ruler, before he escaped in 1986. As a result, Kim removed his name from the credits and the film was banned for several years.
Granted, the external information about its production doesn't really contribute to the film's quality, but it does add a certain layer to its story of oppressed people rebelling against their oppressors. That fact probably wasn't lost on Shin, or probably on most of the cast and crew involved on making the film. It's worth mentioning that Kim sought out Toho employees that had worked on Godzilla films to work on Pulgasari.
The film's special effects do look a bit dated, even by 1980s standards. They look more like 60s or 70s effects, but they still work to a certain degree. The war choreographies were well executed, and the overall production values were decent. In the end, Pulgasari might have its flaws, but it still makes for a historically interesting and overall fun watch; especially for fans of the kaiju subgenre.
Grade: 3
This is my summary for AUGUST 2024:
A film with a title that starts with the letters O or P: Paprika (https://www.movieforums.com/reviews/2487689-paprika.html)
A film from the 1980s: Chopping Mall (https://www.movieforums.com/reviews/2487220-chopping_mall.html)
A romantic film: Spontaneous (https://www.movieforums.com/reviews/2486918-spontaneous.html)
A film from Wim Wenders (born August 14): Perfect Days (https://www.movieforums.com/reviews/2486521-perfect_days.html)
A film from North Korea (Liberation Day, August 15): Pulgasari (https://www.movieforums.com/reviews/2487922-pulgasari.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/bLUUr474Go1DfeN1HLjE3rnZXBq.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/snm8tScFpHymRFA3cwHEHHLlEX1.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/2LzYpRuTL3nEos9ZaLfan1u7nbR.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/tvUHVSTJV9ITON3oyHaWp7oaAc8.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/dpScmSrkTqvirlWkNgUsnTVxe40.jpg
Other films seen, not for the challenge:
Rewatches and personal favorites: Rear Window (https://www.movieforums.com/reviews/2484978-rear_window.html), Alien (https://www.movieforums.com/reviews/2249604-alien.html), Conspiracy (https://www.movieforums.com/reviews/2485149-conspiracy.html), Syriana (https://www.movieforums.com/reviews/2485230-syriana.html), Tremors (https://www.movieforums.com/reviews/2486804-tremors.html), Beetlejuice (https://www.movieforums.com/reviews/2487129-beetlejuice.html), The Rocketeer (https://www.movieforums.com/reviews/2487442-the_rocketeer.html)
Animated with the kids: Spy Cat (https://www.movieforums.com/reviews/2484949-spy_cat.html), Luca (https://www.movieforums.com/reviews/2486615-luca.html), Guillermo del Toro's Pinocchio (https://www.movieforums.com/reviews/2486870-pinocchio.html), Ciao Alberto (https://www.movieforums.com/reviews/2487024-ciao_alberto.html), Dug's Special Mission (https://www.movieforums.com/reviews/2487026-dugs_special_mission.html)
2024 Films: Civil War (https://www.movieforums.com/reviews/2485213-civil_war.html), A Quiet Place: Day One (https://www.movieforums.com/reviews/2487147-a_quiet_place_day_one.html), Twisters (https://www.movieforums.com/reviews/2487748-twisters.html)
Other films: Organ Trail (https://www.movieforums.com/reviews/2485115-organ_trail.html), Werewolf by Night (https://www.movieforums.com/reviews/2487016-werewolf_by_night.html), The Hudsucker Proxy (https://www.movieforums.com/reviews/2487434-the_hudsucker_proxy.html)
https://image.tmdb.org/t/p/w600_and_h900_bestv2/ILVF0eJxHMddjxeQhswFtpMtqx.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/vfrQk5IPloGg1v9Rzbh2Eg3VGyM.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/Onqn8XXyhANuy1LIL7AIN6unQk.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/2Ze0aBysu7uGK10cDIwTyyJwaoR.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/cA4ggkZ3r1d5r9hOAUWC8x5ul2i.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/nnl6OWkyPpuMm595hmAxNW3rZFn.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/2tDFRESFwKww1LHRE8W1Exj9edH.jpg
https://image.tmdb.org/t/p/w600_and_h900_bestv2/lU2Cx5lbSNMxgeKQPDOhAUdw91y.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/9x4i9uKGXt8IiiIF5Ey0DIoY738.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/vx1u0uwxdlhV2MUzj4VlcMB0N6m.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/9RKPB9IKDHaTxWQgjkS4IJao08a.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/qvK30UQ5cPxGH7ZBVpUhO6DPIM5.jpg
https://image.tmdb.org/t/p/w600_and_h900_bestv2/sh7Rg8Er3tFcN9BpKIPOMvALgZd.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/hU42CRk14JuPEdqZG3AWmagiPAP.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/pjnD08FlMAIXsfOLKQbvmO0f0MD.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/s9nwiVMOVvnS2Jt6hdy7UHoFSD0.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/mvIvNKRIJPPS7WSFarFhOAGIVnU.jpg https://image.tmdb.org/t/p/w600_and_h900_bestv2/yWKm4yzRU4hokkbYCJ34vwVwb9R.jpg
Not counting rewatches, it's evident that my top one was Spontaneous. Wonderfully unique and emotionally powerful. After that, there were a couple of great ones in the next spot: Civil War, Guillermo del Toro's Pinocchio... A Quiet Place: Day One managed to be better than the first two, although not by much. Perfect Days was a great introduction for me to Wim Wenders, and Organ Trail was a neat surprise.
Least favorite first-time watch would be a tie between Spy Cat, Chopping Mall, and Twisters. I would cut some slack to the former cause it's a kids movie, and maybe lean towards Twisters as my least favorite just because of it being a more disappointing experience. I mean, I kinda knew what I was getting into when I saw Chopping Mall so...
THE BETA TEST
(2021, Cummings & McCabe)
https://i.imgur.com/EMvDvgQ.jpeg
"People are so terrified of stepping out of line ... consequences won't go away anymore."
The Beta Test follows Jordan Hines (Jim Cummings), a talent agent in Hollywood that receives an invitation to a "no strings attached sexual encounter in a hotel room". Despite being engaged to Caroline (Virginia Newcomb) and weeks away from their wedding, Jordan is tempted to follow through not realizing that in this day and age, consequences won't go away anymore.
This is the third feature film from Cummings, and it follows a similar template by presenting us an ordinary and insecure lead character thrust into an extra-ordinary situation. I've seen his other two films and most of his short films, and Cummings always excels. Jordan is indeed insecure, but the actor/director does a great job of portraying how he tries to hide that; be it by smooth talking potential clients or abusing of his power with subordinates.
Another trademark of Cummings present here is that constant sense of awkwardness around the characters. They're never at ease, and there's always that feeling that somewhere, anywhere, something is boiling over. Finally, there's his mastery in mixing up tones and genres. The Beta Test might act like a sort of erotic thriller, but there's a lot of humor and comedy in it and, as usual, Cummings threads that needle perfectly.
Both Cummings and his colleague PJ McCabe have said that "the core theme was temptation" and as they wrote the script, the other themes came out. I do think they needed maybe a bit of restraint to focus the narrative. The film does have a lot to say not only about relationships, but also about social media, corporate Internet, data mining, and Hollywood, among other things, that it feels a bit muddled at times.
One thing is for sure, as I wrap up his feature filmography, Cummings has certainly become one of my favorite modern filmmakers. Not necessarily because of the quality of his work, which is there, but mostly because of his approach to the craft and how much passion and devotion he seems to put on his projects. The Beta Test is no exception. Although not as successful as his other films, it does show a desire to push through and step out of lines, and judging by how well his work is being received, it seems those consequences won't go away anymore.
Grade: 3.5
SISSY-BOY SLAP-PARTY
(2004, Maddin)
https://i.imgur.com/FshehqA.jpeg
"I gotta go to the shop and buy some condoms. And remember: NO SLAPPING!"
Set in a paradisiac island, Sissy-Boy Slap-Party follows a group of sailors who just can't stop slapping each other. Warned by an older men to not engage, they obviously can't help themselves once he leaves, which unleashes the titular and relentless "slap-party".
This is the second short film from Guy Maddin that I see, after The Heart of the World, and it follows more or less a similar template (at least stylistically). First, it is made to look as if it was shot in the early 20th Century, and second, it features a similar frenetic pace to it that kinda takes the short to another level.
There really isn't much to it, beyond what the title suggests. Everyone and everything is slapped, from faces, to bellies, butts, and everything in between. But it's shot in such a frantic haze of sweat and voyeurism that just adds to the obvious layers of homoeroticism, and you just can't help but look.
That's it. Lots of guys slapping each other. Seems simple, but like his other short, it's all in the execution. and the glee with which this short is executed was just too hard to resist.
Grade: 3.5
I've been in a bit of a slump as far as the podcast goes. I recorded this episode back in May, but it took me a while to edit and put it out. Anyway, I'm joined by my podcaster friend Stew, from SWO Productions, as we talk about the MCU. From the circumstances that brought up this "universe" and its beginnings with Iron Man, to the closure of the Infinity Saga, and the current struggles for the franchise. We also close with our Top 5 MCU films, so check it out:
The Movie Loot 108: The MCU Loot (with Stew from SWO Productions) (https://www.buzzsprout.com/850063/episodes/15171897-the-movie-loot-108-the-mcu-loot-with-stew-from-swo-productions.mp3?download=true)
Also available on Spotify (https://open.spotify.com/episode/7fezL7gELwIDj3FYo9uKcw?si=2b96d51b9d294aad), Apple Podcasts (https://podcasts.apple.com/us/podcast/the-movie-loot-108-the-mcu-loot-with-stew/id1578191119?i=1000670739714), and other streaming platforms.
Hope you like it!
Takoma11
09-26-24, 11:20 PM
I do think they needed maybe a bit of restraint to focus the narrative. The film does have a lot to say not only about relationships, but also about social media, corporate Internet, data mining, and Hollywood, among other things, that it feels a bit muddled at times.
I really enjoyed The Beta Test, but my main critique was the same: there were so many ideas in here! I wish they'd honed in a bit more.
STRANGER ON THE THIRD FLOOR
(1940, Ingster)
https://i.imgur.com/rLectCL.jpeg
"Besides, where you'll go? They'll find you no matter where you hide."
Stranger on the Third Floor follows reporter Mike Ward (John McGuire) who is about to testify on a murder trial, much to the chagrin of her fiancée Jane (Margaret Tallichet). But when one of Ward's neighbor turns out dead, he becomes the prime suspect. That is unless Jane can find the stranger that Mike had seen spying on the neighbor's apartment days before.
This is a film that is often mentioned as one of the first film noir. It has most of the typical ingredients; a mystery, narration, use of shadows and camera angles, and a lead character stuck in what seems like an impossible situation. Most of those elements, especially the ones that have to do with the direction and cinematography are expertly used here. There is a lengthy dream sequence towards the middle act that is quite impressive.
The film also has the advantage of a breezy runtime. At 63 minutes, it's quite easy to get through. However, even with such a brief runtime, the film does have an odd pace as it takes quite a bit to get things going. The whole setup takes pretty much the first two acts, while most of the key events are bunched in the last one, including the main murder. That results in things feeling somewhat rushed.
In addition, McGuire is not a very memorable lead. I did enjoy Tallichet, and liked how her character is more important to the plot than one might think. Then we have Peter Lorre, as the titular "stranger". He's one of my favorite classic actors and I always enjoy watching him in anything. One of those actors that always seems to be giving his all on every film, no matter where he hides.
Grade: 3.5
REBEL RIDGE
(2024, Saulnier)
https://i.imgur.com/DQjkIHa.jpeg
"I don't know enough about the afterlife to trust in it, so while I'm here, and he's not, I gotta haunt these motherfu¢kers myself."
Rebel Ridge follows former Marine Terry Richmond (Aaron Pierre) as he's on his way to post bail for his young cousin. However, his journey puts him in the middle of a deep-seated corruption scheme in the small police force of Shelby Springs and right in the face of its corrupt police chief Sandy Burnne (Don Johnson). As they set out to make Terry's life impossible, he's determined to haunt the motherfu¢kers himself.
I've had my eye on director and writer Jeremy Saulnier since I got my eyes on Blue Ruin and Green Room, so I was kinda looking forward to this; and yet it's like I wasn't really prepared for how much this film ruled, and it seems that the world agrees with me. It is so satisfying to see a mid-budget *original* action/drama/thriller getting all this attention... with no big "stars" or big SFX/CGI; just a compelling story, great performances and characters, all while staying true to the director's style.
A big part of the success of this film has to be on Pierre's shoulders. Despite being cast mid-way through production after John Boyega stepped down, Pierre seamlessly stepped into the role of Terry and made it totally his. Calm, cool, collected, and yet full of fierce intensity ready to blow. But the rest of the cast is just as good, from Johnson's slimy police chief to Emory Cohen as his corrupt deputy and AnnaSophia Robb as the courthouse clerk that tries to help Terry.
But aside from the performances, there's some true mastery behind the camera here. The cinematography from David Gallego is great, but it is Saulnier himself who takes the cake as director, writer, and editor. The way he builds up the tension and the mystery around who Terry is, or what he might do, is so palpable that it comes off the screen. The dialogue is so on point that random quotes can't help but stick with you afterwards.
There are certainly traces of other films in Rebel Ridge (most notably First Blood), but Saulnier is skilled enough to honor those inspirations while carving his own path. His film is, in many ways, simple and yet it still manages to address complex issues like police brutality, corruption, and racism in a smart way. His characters might also seem simple, but they're all richly detailed in their simplicity, which makes it easier for us to root for Terry to haunt these motherfu¢kers himself.
Grade: 4
THE HOBBIT
THE DESOLATION OF SMAUG
(2013, Jackson)
https://i.imgur.com/4zX5yam.jpeg
"Lead him to the forges. We kill the dragon. If this is to end in fire, then we will all burn together!"
The Desolation of Smaug follows the journey of a young Bilbo Baggins (Martin Freeman), along with a group of dwarves as they try to reclaim their lost castle. Unfortunately, their former home has been reclaimed by the titular dragon. Their journey is further complicated by other creatures and characters in their pursuit.
A couple of years ago, I decided to take the dive with the first Hobbit film and, although I enjoyed it, the experience was a bit underwhelming. That probably explains why I hadn't ventured beyond. That is until one of my kids, who had just finished watching the original Lord of the Rings, decided to give this trilogy a shot, so I thought I'd join him in the journey.
The strengths and weaknesses of this second installment are similar to the ones from the first. There are some really solid performances, especially Freeman and Richard Armitage as the leader of the dwarves. Benedict Cumberbatch also does a nice job as the voice of Smaug, and most of the supporting cast does a solid job.
Unfortunately, the film can't help but feel like a "poor man's LOTR". There are similar beats to the story, characters returning, and a lot of winks to the original trilogy, some of which feel forced and unnecessary. To make matters worse, the special effects don't match those of the original, which is shocking considering that this was made about 10 years after. It all piles up for a significantly lesser experience.
Regardless of that, the film is still entertaining. Some of the action setpieces are effective, while others reek of too much CGI (a couple of scenes with Legolas come to mind). Another issue is that, other than Thorin, most of the dwarves still feel like interchangeable one-dimensional characters. There is one that they try to flesh out as he develops a relationship with an elf, but the fact that I don't even remember his name says it all (Kili?)
The main "weakness" of The Desolation of Smaug is that it has to live under the shadow of a vastly superior trilogy. Maybe comparisons aren't fair, but for a fan like me, it's impossible not to do it. Despite that, I can acknowledge it is a pretty solid fantasy film – slightly better than the original – with a solid cast and some pretty good setpieces.
Grade: 3.5
ROSEWOOD
(1997, Singleton)
https://i.imgur.com/KeycpgK.jpeg
"I was born and raised in Rosewood. This here is my home. And I'll be damned if I let anybody run me off it."
In January 1923, the primarily black town of Rosewood, in Florida, was destroyed resulting in the deaths of several men. This occurred after a white woman claimed that a black drifter had assaulted her, sparking a series of lynchings and riots resulting in the subsequent destruction of the small town. Like the 1921 Tulsa race massacre, this is hardly ever mentioned or discussed and if it weren't for TV, I probably wouldn't have found out about it.
Rosewood follows the events, primarily focusing on Mann (Ving Rhames), a drifter that has returned from war with the intention of buying land and settling in. When a white woman is beaten by her white lover, she claims that a black man assaulted her, which sparks the anger and racism of the townspeople. Caught in the middle of it is John Wright (Jon Voight), a somewhat sympathetic store owner, and Sylvester Carrier (Don Cheadle), the head of a slightly affluent black family.
I remember seeing this film on rental stores back in the day, but never rented it. It was actually around 5 or 6 years ago that I ended up reading about the real-life incident, which made me curious about the film. The film has a lot of things on its favor, but unfortunately tries to lean more into action, with Mann as some sort of a "bad ass", which undercuts what could've been an effective historical drama.
Rhames does a pretty good job with what he's given, and so does most of the cast. However, the film succumbs under the pretenses of stereotypical Hollywood-esque sensibilities, instead of staying true to the story. That's not to say that the film isn't tragic or that horrific things aren't properly portrayed; They are, but everything is underserved by an uneven tone and a weak script.
But going back to my initial statement, if it wasn't for films like these, or TV shows like Watchmen, who know if I would've found out about tragedies like this. It is because of that, that filmmakers should realize the power of their work in current times, and the best way to honor the real-life victims is to present the events in the best way possible.
Grade: 3
THREE LITTLE PIGSKINS
(1934, McCarey)
https://i.imgur.com/4Q6mpNN.jpeg
"This is football, chump. All you gotta do when a man gets the ball, tackle' em. Get it?"
The Three Stooges were a comedy group that was active for a whooping 48 years. Their characters and schtick are pretty much universally known to the point that, even here in Puerto Rico, I was somehow familiar with them. Not sure if they aired reruns in local TV, but it's probable. I even played a NES game back when I was a teen! So when I decided to revisit their work, this is one of the first shorts that came up.
Three Little Pigskins features a common case of mistaken identity as the Stooges are confused with a trio of football players by the gangster that runs the team, which leads to the usual shenanigans. Surprisingly, for a short advertised as a "football" one, there's very little football in it. There are three distinct acts as we follow the Stooges in the street before the confusion, then at the gangster's house, and finally at the football game.
Nonetheless, the last act at the football game is the most memorable. The comedy at the gangster's house felt mostly flat. But once they put them in the field, the physical comedy worked much better, with a lot of ball tossing, confusion, and tackling. If only there was more than 4 minutes of that in an 18 minute short.
Grade: 3
LEVIATHAN
(2015, Robinson)
https://i.imgur.com/BwFB32W.jpeg
"We lost sight of the target!"
The Leviathan is a proof of concept short film/teaser from Ruairi Robinson. It presents a future where prisoners are forced to work by hunting the titular gigantic creatures to harvest their eggs. The task seems incredibly risky, especially when you lose sight of your target, which is what happens in the short.
It is hard to properly rate something like this because it is basically a small chunk of an intended film. There are no characters and very little dialogue. But as far as a sci-fi premise goes, it does seem like an interesting concept that I wouldn't have minded seeing as a full feature or even as an expanded short.
Although The Leviathan never came to be, Ruairi Robinson has gone on to work on several other short films and a TV mini-series after this. It's good to know that he hasn't lost sight of the target.
Grade: N/A
THIRTY LEAGUES UNDER THE SEA
(1914, Gregory)
https://i.imgur.com/4WewFST.png
"The monster's rage when it is brought to the surface."
Thirty Leagues Under the Sea is a 13-minute excerpt of a longer documentary also called Terrors of the Deep. The film is notable for being the first one to feature underwater footage, through the use of a device called the "photosphere". The whole video is considered lost, but we can still go "thirty leagues under" with this short and see what remains.
Granted, Thirty Leagues Under the Sea might be a bit of a tough watch for some since it is fairly graphic in some of its depictions. From the beginning you get to see actual sawsharks being harpooned and fished out of the water, sea turtles being "abused", and a dead horse used as bait to catch a shark.
But putting that aside, the film is not that memorable. Some of the footage is interesting to see, both from a technical and historical perspective. Put this beside a current National Geographic documentary, and it makes for an interesting contrast. However, watching it doesn't go beyond being a cinematic curiosity.
Grade: 2
NEW DESK
(1914, Valentin)
https://i.imgur.com/dabEBUD.jpeg
"I am happy when it rains, because if I am not happy, it'll still rain."
That quote from director and comedian Karl Valentin may very well apply to this funny short film from the beginning of the 20th Century. The importance of maintaining a positive attitude at all times, despite outward circumstances, because at the end of the day, you'll still have to deal with those circumstances.
New Desk features Valentin as Sekretär Dürr, a clerk that apparently has just ordered a new desk for his office. Unfortunately, the desk is to tall for him making it unable for him to use it. But as the above quote says, he's determined to be happy despite of "the rain", and try to make it work one way or the other.
This is a very physical short relying on all the acrobatics the character has to pull to try to use the desk. This benefits a ton from Valentin's tall and "gangly" physique, as we see the contortions he makes to see if he can make it work. There's not much else to it, but I was happy as I watched it.
Grade: 3.5
THE DINOSAUR AND THE MISSING LINK
A PREHISTORIC TRAGEDY
(1915, O'Brien)
https://i.imgur.com/vfH2USJ.jpeg
"If you young gentlemen want any dinner, you'll have to go out and get it."
The Dinosaur and the Missing Link: A Prehistoric Tragedy follows three caveman: The Duke, Stonejaw Steve, and Theophilus Ivoryhead, as they try to woo a cavegirl, Miss Araminta Rockface, and win her heart. Things go awry when Wet Willie, a.ka. The Missing Link, appears near their cave.
This 5-minute comedic short film made with stop-motion animation was quite a surprise. The main reason was the impressive special effects by Willis O'Brien. It was only as I was writing this that I realized that he's responsible for the special effects for King Kong and The Lost World.
But aside from the special effects, the story is funny. There are several anachronistic jokes which made me chuckle and, even with such a short runtime, the story flows at a nice pace with three distinct acts, and a fun resolution to this "caveman love triangle".
Grade: 3.5
KRAZY KAT GOES A-WOOING
(1916, Herriman)
https://i.imgur.com/PpiXUHc.png
"♪ Under neet dy window - Ignatz I em waitink ♫"
There's nothing more beautiful than love, which is why the titular "kat" wants to serenade their "darlink" Ignatz. And what better response to a serenade than a brick in the head? That is more or less what happens in this simple animated short from 1916.
Like the title says, the short follows Krazy Kat's attempts to serenade Ignatz Mouse. It starts with Kat flying a plane and then stumbling upon a window he believes belongs to Ignatz. Unfortunately things go wrong in more ways than one.
It is interesting how, as soon as I saw the mouse throwing bricks to the cat, I was reminded of seeing some more "modern" version of this at some point as a child. But anyway, it is fairly simple but fun short. The animation is a bit crude, but very newspaper-like and, for the time, still pretty impressive.
Grade: 3
For anybody interested...
https://www.youtube.com/watch?v=dcP3KPsSKgs
https://www.youtube.com/watch?v=DkM1fLdyvx4
https://www.youtube.com/watch?v=BOD8ZS4drWU
https://www.youtube.com/watch?v=oMvxJR3HU18
THE TOWN THAT DREADED SUNDOWN
(1976, Pierce)
https://i.imgur.com/i3jwZJ3.jpeg
"Texarkana looked normal during the daylight hours. But everyone dreaded sundown."
In 1946, a serial killer dubbed as the "Phantom Killer" started terrorizing the residents of Texarkana. In a period of four months, he attacked eight people, murdering five of them. These crimes, and the fact that he was never captured, created an air of dread among the residents of the town who didn't dare to come out at night, something that inspired this film.
My first knowledge of this film was from how the look of the serial killer, with the bag over his head, inspired Jason Voorhees' look in Friday the 13th Part II (before he got the hockey mask), but I'd never seen the film before. I finally decided to check it out and I have to say it was a mixed bag.
The main thing with the film is that it doesn't know what it wants to be; whether it is a quasi-documentary, a crime thriller, a slasher, or a cop comedy. Most of the moments depicting the attacks of the serial killer are well executed and effectively scary, but then that is undercut by a goofy cop crashing cars in the creek, with wacky banjo background music.
The film also follows the efforts of Captain J.D. Morales (Ben Johnson) who is assigned to investigate the case, but the approach to his character is always distant and, like I said, quasi-documentary which doesn't let us identify with him. All this is worsened by an odd voiceover that narrates some of the events that are happening in the town.
It is that narrator the one who delivers the above statement on how the terrorized citizens of Texarkana dreaded sundown. The film does a decent job in building an eerie atmosphere of dread around the murders, which might warrant a viewing (especially for horror fans). Unfortunately, it is all neutered by an off pace, an awkward narration, cartoon characters, and a messy tone.
Grade: 2
DESPICABLE ME 4
(2024, Renaud)
https://i.imgur.com/mX6Wkju.jpeg
"Gru, you’re going to have to try to be less Gru-ish."
Felonious Gru is a supervillain. He's the "despicable" one in the title. The one that tried to steal the Moon in the first installment after getting into petty arguments with another supervillain over who is more supervillainous. However, after his expected turn towards good and three installments, it is expected that something will get lost in the shuffle if you want to stay in the vicinity of that premise... or so I'm told, since I haven't seen any other.
Despicable Me 4 is my first return to the franchise after seeing the original years ago. Of course, it was a theater outing with one of my kids so what am I to do? This one follows Gru being relocated with his family as part of a witness protection program after former school rival and fellow supervillain Maxime Le Mal escapes while threatening to turn people into cockroaches.
Gru and his family trying to readjust to their new lives at the idyllic Mayflower community is just one of the many subplots this film tries to juggle. Most notably, there's Gru's attempts to connect with his young son who seems to hate him. Meanwhile, Gru's minions are transferred to the Anti-Villain League headquarters where five of them are turned into superheroes as part of a new project. Finally, there's also the young girl who admires Gru and is blackmailing him into helping her start her supervillain "career".
The thing is that most of these subplots feel like loose strands that don't connect with each other. The family's struggles to fit within Mayflower falls into some very predictable "fish out of water" tropes, the thing with the young neighbor that blackmails Gru feels like a somewhat unnecessary detour while Maxine Le Mal's plan feels underserved. And let's not mention the five Minion superheroes, which feels like an entirely different film setting things up for an actual different film.
There are still moments of charm and moments of laughter in the film. Considering my expectations, I think I laughed or chuckled more than I expected, so the film is not a waste of time. But even with that, it can't help but feel a bit muddled, a bit messy, and perhaps a bit less Gru-ish.
Grade: 2.5
MALICE
(1993, Becker)
https://i.imgur.com/Sg5uf3j.jpeg
"You ask me if I have a God complex. Let me tell you something: I AM GOD."
The above is the closing line of an iconic monologue from Dr. Jed Hill (Alec Baldwin), a narcissistic surgeon sued for malpractice in this wicked neo-noir thriller. Malice follows Andy and Tracy (Bill Pullman and Nicole Kidman), a young couple whose lives are sent into a spiral after they meet "God". The above is probably the most iconic scene of the film, but the film still packs plenty of wicked lines and moments in what is, overall, a pleasant piece of "twisty" candy.
I remember renting this film back in the day and being "blown away" by its many twists and turns. Used to see it often back then, and for a while I think I brought it up as either my "favorite" film or "one of my favorites". Time passed and I hadn't seen it in probably 20 years or more. Rolling Stone's Peter Travers wrote on his review that the film had "no staying power", but this one still stuck with me something fierce, which is why I was looking forward to this revisit.
The story and the script were co-written by Aaron Sorkin, which is quite evident once you get a glimpse of the crackling dialogue and the intricated plot turns. The film starts off with the threat of a serial rapist that is terrorizing the campus where Andy works, but the film then takes you into a labyrinth of red herrings, misdirections, and again, twists and turns that when you turn your head to look back at, looks nothing like how it started.
But is all for good, cause most of those twists and red herrings are devilishly fun to see unfold. The 90's were full of these "sexy" neo-noirish thrillers, but I don't think many of them reveled as much as this one in how well they can fool you. Sorkin and director Harold Becker clearly had a lot of fun pulling the rug from under us, and I surely had a lot of fun stumbling on top of it.
A story like this has to come with a decent amount of suspension of disbelief, which is probably its main "setback". However, that doesn't make it any less fun. If anything, it makes it all the more fun, especially when you see Pullman, Kidman, and especially Baldwin chewing scenery like a madman. Surprisingly, the year before he had an equally iconic monologue in Glengarry Glen Ross. Watching those two back to back, I might believe him when he says he's God.
Grade: 4
PHOENIX74
10-02-24, 12:16 AM
I remember Malice as a movie that keeps morphing into something else, which kept me on my toes. I certainly isn't boring! Whatever it's dealing with in the moment, you think "Oh okay, this is what this movie is going to be about," but then the whole plot shifts and goes in a different direction.
I remember Malice as a movie that keeps morphing into something else, which kept me on my toes. I certainly isn't boring! Whatever it's dealing with in the moment, you think "Oh okay, this is what this movie is going to be about," but then the whole plot shifts and goes in a different direction.
Most definitely. That's how they keep pulling the rug from under us. Like...
...the serial killer/rapist subplot (featuring none other than Gwyneth Paltrow and Tobin Bell) is somehow resolved halfway through the film as, like you say, the plot shifts into something different every 30 minutes or so.
SUPERMAN II
(1980, Lester)
https://i.imgur.com/CBzyHiz.jpeg
"This 'super-man' is nothing of the kind; I've discovered his weakness ... He cares. He actually cares for these Earth people."
Superman II follows the struggles of Kal-El (Christopher Reeve) to adapt to normal life on Earth, which includes handling his feelings for Lois Lane (Margot Kidder). Meanwhile, a trio of Kryptonian criminals escape from their prison in space and decide to wreak havoc on Earth. As a result, Kal-El has to make some tough decisions if he actually cares for "these Earth people".
This, and the original, are some of those films that I used to watch often when I was a kid. I've always had fond memories of that, but for some reason, I hadn't seen the film in probably 20 years. I revisited the original a couple of years ago and it held up so well that I knew I will go back to this one as well sooner than later. Overall, it also held up rather well, although probably not as much as the original.
The story here is split in two, maybe three strands. First, you have Kal-El's attempts to live a normal life as "Clark Kent", as well as his relationship with Lois. Second, you have the threat from the trio of Kryptonian criminals led by General Zod (Terence Stamp). Finally, there's Lex Luthor (Gene Hackman) who manages to escape from prison determined to get revenge on Superman.
The thing is that the way that these three storylines are executed and intertwined doesn't necessarily make them fit in the best way. I read a bit more about the conflicts between original director Richard Donner and his replacement Richard Lester, but I don't know if that's the main reason for that disjointedness. Whatever the reason is, those three sometimes feel like three different films.
Even with that against it, the film is elevated by the performances. Reeve continues to be probably the best embodiment of who Superman should be, while also having some great rapport with Kidder. Stamp adds a nice touch of elegance and threat to his performance as Zod, and Hackman always seems to be having fun, even if his part is underwritten.
But aside from that, the film succeeds in transposing Superman's good-natured persona from the paper to the screen, much like the original did. That's obviously on the filmmakers, but a lot of it is on Reeve. The way that his performance exudes how Superman cares for "Earth people" is tangible, but the way that Reeve does it also shows how much he actually cared for this role.
Grade: 4
SOCIETY
(1989, Yuzna)
https://i.imgur.com/H5IzcEJ.jpeg
"You're going to make a wonderful contribution to society."
The above is the oft-repeated line heard by Billy (Billy Warlock) throughout this film. As the son of a wealthy family in Beverly Hills, there are expectations for him as he's ready to graduate high school and join, umm, society. But Billy feels like something is not right with his family and society itself which sends him in a weird spiral as he tries to find out what's going on.
Society was the debut film from Brian Yuzna. Already known for his work as a writer and producer for films like Re-Animator and Honey, I Shrunk the Kids, he wanted to make a film that leaned into body horror and gore; something that Society fits to a tee. His inspiration for one of the most climatic scenes on the film comes from a painting by Salvador Dalí called "The Great Masturbator".
The film's main themes are paranoia and mistrust, as Billy knows someone is out to get him. He is joined by Clarissa (Devin DeVasquez), a mysterious student he had a crush on at school. What he doesn't know is if Clarissa is also in on things, or if she's there to help him. That is paired with a general mistrust on the elite and the "high society" to give an ever-present of dread through all the film.
This film was brought up on the podcast by a couple of guest friends. Curiously enough, I don't think I had heard of it before, but they spoke highly of it so I was looking forward to finally checking it out. Granted, the film is not without its flaws, primarily some spotty performances and weak dialogue. But for the most part, Society is an effective body horror film with a good dose of humor.
The film does feel like it spins it wheels a bit as it builds up to that inevitable climax, so some of the detours it takes to get there feel, well, like detours. But the payoff is more than worth it. Yuzna went on to direct a bunch of direct-to-video and "cheap" looking horror films. I don't think I've seen any of those, but I get the impression that this freaky film might be his best contribution to society.
Grade: 3
FALL
(2022, Mann)
https://i.imgur.com/vTVI0lI.jpeg
"You have to do something that makes you feel alive."
That's sort of the mantra that climber Becky (Grace Caroline Currey) tries to live through. That is until her husband Dan (Mason Gooding) dies in a terrible climbing accident putting her on a freefall of depression and alcoholism. When her best friend and fellow "daredevil" Hunter (Virginia Gardner) comes to her with the idea for them to climb a 2,000-foot tower, the need to do something to "feel alive" becomes more compulsory.
If you've seen the trailer for this, or heard the basic plot, you can probably guess what you will get. Two friends trying to climb a tower, things go awry, lots of edge-of-your-seat, hair-raising moments, will they/won't they fall, etc. From that perspective, the film doesn't really disappoint. It is full of those kind of moments that make you feel all tingly in your tummy.
Fall was initially conceived as a short film, but director and co-writer Scott Mann decided to stretch it out into a feature. It's interesting that, despite the simple premise and the original idea for it to be shorter, the pace doesn't really feel that off. The way things unfold feels organic and structured well enough to justify the feature length runtime.
Sure, there are some plot contrivances and implausibilities that don't necessarily add up; and there are two developments – or "twists" – that you can pretty much see coming from a mile away, but I really didn't mind that much. The film delivered the expected thrills of the premise of a film titled Fall about two women climbing a rickety tower, and maybe then some.
When I decided to watch this, my main approach was to watch something where I didn't have to think much. So generally speaking, I didn't walk with a lot of expectations other than to shut my brain off. Maybe that factors into how I felt in the end, but I thought Fall was better than it had any right to be. Sure, the visceral aspect of the story and the thrill of what the lead characters are doing is front and center, but I was glad there was a bit more under the surface to make things feel alive.
Grade: 3.5
THE MONOLITH MONSTERS
(1957, Sherwood)
https://i.imgur.com/0AJPozR.jpeg
"Dave, if it is a meteorite, chances are it's been hurtling around our universe for a good many centuries. The answer to your question lies buried in those centuries. We'll just have to dig it out."
The Monolith Monsters follows the efforts of the citizens of the desert town of San Angelo, California to stop the threat that comes from the fragments of a large meteorite. As the residents try to figure out what's going on, the fragments start growing and spreading nearby town petrifying those that come in contact with it.
Had this on my watchlist for a while, not sure where I picked it up, but I was always intrigued by the premise. As goofy as it might sound, I thought there was something to seeing the different elements of small town America, from the small newspaper and paperboys to local construction workers and law enforcement, unite forces against an atypical threat that – despite the movie title – is not necessarily a monster, but more of a threat of nature.
Sure, the actions of the people doesn't really make much sense, and the film takes a while to get things going as we see our main characters go from here to there trying to figure out what's happening for about half of the runtime. But despite those flaws, the film has that 50's sci-fi/disaster/creature film charm to it that comes from scientists spewing dubious scientific mumbo-jumbo, a square-jawed leading man saving the day, and some miniature houses being destroyed.
The film features an ensemble cast, with square-jawed geologist Dave Miller (Grant Williams) and his teacher girlfriend Cathy (Lola Albright) at the center of things. But there's also a professor, a journalist, a doctor, the chief of police; again, all the different layers of small town America properly represented. None of them excel, but they're all competent. Les Tremayne and Trevor Bardette as the journalist and the professor were particularly fun to watch.
The Monolith Monsters is far from perfect. Its premise walks a fine line between silly and unique, and the way the threat is sometimes handled doesn't make it feel like a real threat. But if you can tolerate a slow moving disaster/creature film about the threat of slow moving rocks with a group of characters racing around the clock to find out how to stop it, then there's no need to dig anymore.
Grade: 3
BEETLEJUICE BEETLEJUICE
(2024, Burton)
https://i.imgur.com/7GWybQs.jpeg
"I swear the afterlife is so random."
Beetlejuice Beetlejuice follows Lydia Deetz (Winona Ryder) who is tormented by visions of the titular character, even though it has been almost 40 years since they last saw each other. Lydia, who is now the host of a successful supernatural talk show, is struggling with pill dependency, love, and a strained relationship with her daughter Astrid (Jenna Ortega). Things worsen when her dad dies in a freak accident, forcing Lydia to return home and face her past, however random they might seem.
About a month ago, we introduced one of our kids to the original, and he liked it well enough. So when the opportunity came to see the new one, we all jumped in. For the most part, even though the kid found some things to be creepy. I think he liked it. His mother and I? Ehhh, not so much. The film has several issues with it, but the main thing for me was that there was just too much stuff going on.
From Lydia's struggles with Astrid, or her relationship with his boyfriend/producer Rory (Justin Theroux), to Astrid's own relationship with a mysterious teen from the town or Lydia's mother, Delia (Catherine O'Hara), handling the death of her husband; and that's about half of what's going on. There's the threat of Beetlejuice's former wife (Monica Bellucci) stalking him and the mystery of what really happened to Astrid's father... again, it's just too damn much.
Beyond that, the film lacks the spark of the original. Most of the cast do a good job, but even Keaton feels a bit toned down. The film also lacks a solid audience proxy, like we had with Adam and Barbara in the original. Astrid is probably the one that comes closer, but again, since the focus of the film is all over the place, it's hard to latch on to her and her subplot feels massively underserved.
If anything, I think Catherine O'Hara is the one that shines the most. I thought the way they handled the Jeffrey Jones issue was extremely clever. I also appreciated the way they handled Delia's relationship with Lydia, not as teenager/stepmother, but now as two mature women. It's not something that the film dwells that much into, but they have a couple of exchanges that I really liked.
Just like the original, the film has some issues in terms of the logistics of how Beetlejuice operates. But again, the biggest issue from the film is that there's just too much stuff going on. Did I even mention Beetlejuice's team of zombie "shrinker" employees, or Willem Dafoe as a former action movie star now turned "ghost" detective that's hunting down Beetlejuice's former wife? Yeah, the afterlife is so random indeed.
Grade: 2
SHOCK
(1946, Werker)
https://i.imgur.com/O1xBJl6.jpeg
"The workings of the mind depend on so many things inside as well as outside."
The mind is indeed a mystery, even to doctors and scientists. Even in times of such technological advances, we can't understand the workings of the mind and how "inside" or "outside" things can affect it. Especially if those "outside" things include watching a murder, and then have the murderer end up as your doctor. That is the premise of this 1940s noir-ish thriller.
Shock follows Janet (Anabel Shaw) who accidentally witnesses a man murder his wife through a balcony window, which leaves her in a state of catatonic shock. In a stroke of chance, the doctor that is called up to examine her is the murderer himself, Dr. Richard Cross (Vincent Price). Upon realizing that she witnessed his crime, Cross is determined to do anything to keep her silent; even if it means having her committed.
I have plans to record a Vincent Price episode for the podcast soon, so I wanted to watch a bit more of what I had already seen. I think this one was recommended by ThatDarnMKS and it was indeed a treat. Even though there is no mystery as to "who did it", there is a pervasive sense of dread in regards of how far can Dr. Cross go to protect himself.
Shaw does a pretty solid job, at least for a character that spends most of her screentime in bed; but she makes the most of the moments she gets to shine. Lynn Bari, who plays Dr. Cross colleague and lover, is also great whereas Frank Latimore as the husband is a bit of a blank spot. However, if you've seen any Vincent Price film, you probably know that the main reason to watch them is Vincent Price, and this is no exception.
Price's performance is not as flashy and showy as others, but he still gets plenty of chances to be subtly menacing. What's more scary is that he's not playing a scenery-chewing villain, but rather an "everyday" man that has been pushed into a corner and has to get out. He can be anyone's doctor. Maybe the ending wraps things in a neat little bow, but the dread of those "outside" things that are beyond our control remains.
Grade: 3.5
THE LAST MAN ON EARTH
(1964, Salkow)
https://i.imgur.com/XCxkGM7.jpeg
"Is that all it has been since I inherited the world? Only three years. It seems like a hundred million. Yeah, I own the world. An empty, dead, silent world."
Imagine being the last man on Earth. Just you, living in an empty, dead, silent world. That is the premise of this film, which follows Robert Morgan (Vincent Price) who has managed to survive alone in a post-apocalyptic world where humans have been turned into zombie-like vampires. But is he really the last man on Earth?
This is yet another film I saw to put another notch on my Vincent Price belt. Unlike Shock, this is one I had heard often. The film is based on the novel I Am Legend, which was also adapted recently with Will Smith in the lead. I was actually quite surprised by how similar both films are. It is not an exact carbon copy, but it does feature most of the same story elements.
I also appreciated that the film has a more pensive and mournful vibe to it, instead of focusing on scares and thrills. Director Sidney Salkow makes an effort to show the toll that this isolated life has taken on Morgan's life, and Price does a pretty good job transmitting it. The few sequences of him dumping bodies in a firepit were quite striking.
I don't think it is a spoiler to say that Morgan is not, in fact, the "last man on Earth" (or at least the last "person"). The arrival in the last act of Ruth (Franca Bettoia) puts a spin on things. However, I don't think their interactions were properly executed. I liked the subtexts and themes of it, but I thought there was something lacking in the way it was written and/or acted.
Still, as far as Vincent Price films goes, this is one of the most notable cause he gets the chance to shine, alone, for more than half of the film. The ending is also quite powerful as we see how circumstances put to the test Morgan's "inheritance" and "ownership" of the world; a world that's still learning not to be as "empty" and "dead" as he saw it.
Grade: 3.5
EARTH VS. THE FLYING SAUCERS
(1956, Sears)
https://i.imgur.com/SsQ9KV9.jpeg
"When an armed and threatening power lands uninvited in our capital, we don't meet him with tea and cookies!"
Humanity has always been obsessed, and perhaps terrified, with the possibility of life in other planets. The notion that someone from outer space might visit us for whatever reason has captured the minds of many. This reached a particular height during the 1950s, when sightings of flying saucers, or disc-shaped vehicles, became the talk of the town. That possibility and threat is what feeds the premise of this 1956 sci-fi film.
Earth vs. The Flying Saucers follows Dr. Russell Marvin (Hugh Marlowe) and his wife Carol (Joan Taylor) as they try to stop the threat of a flying saucer invasion on Earth. Marvin, who is a scientist in charge of a space project himself, has to figure out a way to figure out what's happening. Things get complicated when the actual arrival of one of these saucers is met with immediate violence, instead of "tea and cookies".
I've been on a kick for "cheap", 50s sci-fi/horror films and this one fit that to a tee. From the grandiose title to the goofy costumes and special effects, it's hard not to love that. But Earth vs. The Flying Saucers does give a bit more than that. For example, there is a certain eeriness to the aliens appearance, even with their goofy space costumes. Their bizarre look and strength still have some impact.
Also, I like how the idea that Americans instant reaction to the "flying saucers" was violence is put forward, even if they don't dwell on it that much and the violence is ultimately "justified" by the plot. As is usual in these dated films, there are some stilted reactions and dialogues from the characters which don't necessarily match what is actually happening, but that doesn't mean they're meeting them with tea and cookies.
Grade: 3
ICE QUAKE
(2010, Ziller)
https://i.imgur.com/ZgqGqCz.jpeg
"These weren't tremors, Colonel. These were some kind of ice geysers. Fragments of ice blasted up out of the ground. It was like nothing I've ever seen before."
"An eruption of ice fragments? Are you sure?"
That's how geologist Michael Webster (Brendan Fehr) describes this sudden threat to his superior (Victor Garber). Something that he had never seen before, probably like this SyFy film. Ice Quake follows Michael's attempts to survive this "ice quake", along with his family, while also trying to prevent a catastrophe on Earth.
For some morbid curiosity, I decided to put this on Tubi as I was doing some other thing, so I'll admit that my attention span wasn't 100% here. Anyway, there are some, uhh, expectations when tuning into an Asylum film or a SyFy original. You either expect something big and bold (like big creatures or big disasters), absurdly outlandish (like Lavantula or Santa Jaws), or a combination of both.
Unfortunately, Ice Quake offers none of that. The threat here is mostly presented as just cracks and crevices opening on the ground, and "eruptions of ice" coming out unexpectedly. Needless to say, it lacks that big scope of, say, a meteor or a big creature, or the absurdity of a fire tornado full of two-headed sharks.
What we get is this mostly dull survival journey of this family as they try to stay safe, followed by a race against time to blow some explosives that will somehow stop the methane flow from creating this "ice quakes"...? Yeah, whatever. The thing is that it lacks the tension and thrill to make us care about anything, especially since we know how it will all end.
If anything, even though most of the performances aren't very good, they're not downright awful. I do wonder what the hell is Victor Garber doing in this, but the main issue is with the bad script and the bad dialogue. The fact that some of the performances are subpar just adds to how bad it is. But again, is not necessarily that it's bad. It's just that it's boring and dull, and sometimes, that's worse.
Grade: 1
And the hits keep coming, so this was another month in which I didn't do my usual challenge. But still, these were my watches.
So this is my summary for SEPTEMBER 2024:
2020s films: The Beta Test (https://www.movieforums.com/reviews/2490868-the_beta_test.html), Rebel Ridge (https://www.movieforums.com/reviews/2492476-rebel_ridge.html), Fall (https://www.movieforums.com/reviews/2493747-fall.html), Ice Quake (https://www.movieforums.com/reviews/2494191-ice_quake.html)
Films with the kids: The Hobbit: The Desolation of Smaug (https://www.movieforums.com/reviews/2492561-the_hobbit_the_desolation_of_smaug.html), Despicable Me 4 (https://www.movieforums.com/reviews/2493442-despicable_me_4.html), Beetlejuice Beetlejuice (https://www.movieforums.com/reviews/2493780-beetlejuice_beetlejuice.html)
Short films: Sissy-Boy Slap-Party, Three Little Pigskins (https://www.movieforums.com/reviews/2492601-three_little_pigskins.html), The Leviathan (https://www.movieforums.com/reviews/2492604-the_leviathan.html), Thirty Leagues Under the Sea (https://www.movieforums.com/reviews/2492948-thirty_leagues_under_the_sea.html), New Desk (https://www.movieforums.com/reviews/2492949-new_desk.html), The Dinosaur and the Missing Link: A Prehistoric Tragedy (https://www.movieforums.com/reviews/2492950-the_dinosaur_and_the_missing_link_a_prehistoric_tragedy.html), Krazy Kat Goes A-Wooing (https://www.movieforums.com/reviews/2492951-krazy_kat_goes_a-wooing.html)
Rewatches: Malice (https://www.movieforums.com/reviews/2493483-malice.html), Superman II (https://www.movieforums.com/reviews/2493709-superman_ii.html)
1950s sci-fi/creature films: The Monolith Monsters (https://www.movieforums.com/reviews/2493751-the_monolith_monsters.html), Earth vs. The Flying Saucers (https://www.movieforums.com/reviews/2494185-earth_vs._the_flying_saucers.html)
Vincent Price films: Shock (https://www.movieforums.com/reviews/2493857-shock.html), The Last Man on Earth (https://www.movieforums.com/reviews/2494150-the_last_man_on_earth.html)
Other films: Stranger on the Third Floor (https://www.movieforums.com/reviews/2492449-stranger_on_the_third_floor.html), Rosewood (https://www.movieforums.com/reviews/2492582-rosewood.html), The Town That Dreaded Sundown (https://www.movieforums.com/reviews/2493330-the_town_that_dreaded_sundown.html), Society (https://www.movieforums.com/reviews/2493723-society.html)
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Not a particularly strong loot, but still a lot of fun watches. Rebel Ridge was easily my favorite first-time watch of September.
The weakest first-time watch was easily Ice Quake.
THE TOWN THAT DREADED SUNDOWN
(1976, Pierce)
https://i.imgur.com/i3jwZJ3.jpeg
Grade: 2
Has anybody seen the 2014 remake of this? Is it something worth checking out?
THE MENU
(2022, Mylod)
Horror film from the 2020s
https://i.imgur.com/PnC76bX.jpeg
"You will eat less than you desire and more than you deserve."
The Menu follows the visit of Tyler (Nicholas Hoult), a young food enthusiast, and his date Margot (Anya Taylor-Joy) to the exclusive restaurant of eccentric celebrity chef Julian Slowik (Ralph Fiennes). They are joined in the secluded place by an assorted group of diners – a food critic, her editor, a wealthy couple, a fading movie star, among others – all of which will receive a series of shocking surprises through the duration of the meal.
I wish I would've seen this film without knowing anything about it. Back when everybody was talking about it and I saw the poster, I thought it would be a drama or something like that. But as time passed, I saw it mentioned on certain lists that didn't fit my impression of it. I could only imagine my reaction if I had gone in expecting some "elitist" drama and not what it actually is :laugh:
Regardless of that, I had a lot of fun with the film. The film takes great pleasure in revealing things by dropper, but it works marvelously. The sense of mystery and dread that oozes all through is so tangible that you can almost taste it. This is in great part thanks to Fiennes excellent performance as Slowik. The character manages to come across as both extremely clever and deeply troubled, and Fiennes navigates both sides expertly.
Most of the other performances were pretty good as well, especially Hoult and Taylor-Joy. The former has a boy-ish awkwardness that grows more awkward as the night goes on, while Taylor-Joy brings an inner fire that holds against Fiennes own. Kudos also to Hong Chau, who plays Elsa, Slowik's loyal assistant. If anything, I think that the three guys that played the young business partners were the weakest, but not by much.
The Menu manages to put in front of us a full course of good direction, expert editing, solid performances, and a clever and witty script that manages to be both terrifying and fun. Although I thought the buildup was masterful, I still felt the payoff was less than I desired and there are certain things in the last act that wrap up perhaps too conveniently, but in a way, I still think the film was more than I deserved.
Grade: 3.5
TRICK 'R TREAT
(2007, Dougherty)
Horror film from the 2000s
https://i.imgur.com/7cLJuvG.jpeg
"During the spookiest time of the year there are a few guidelines all ghosts and goblins should follow. Always stay on sidewalks. Never go to a strangers house, and never go out alone."
Halloween! Trick 'r Treat! We've all done it, right? So we've all probably heard some of the above "guidelines", something that either our parents or teachers constantly remembered us during that night. Trick 'r Treat is an anthology film that presents some stories of people that probably didn't stay on sidewalks, went to a strangers house, or went out alone, and how did things turn out for them.
Although all the stories take place in the same fictional neighborhood of Warren Valley, Ohio, and they all weave in and out of each other, the most common denominator across all of them is the presence of Sam, the little "demon" with the burlap sack on its head that appears in the poster. Even though he doesn't necessarily intervene directly in all stories, the sight of him looking at everything is a neat and scary little touch.
As is usual in all anthology films, some stories work better than others. The first one with Dylan Baker as a school principal handing out candies to kids was probably my favorite. There are a couple of wicked reveals on it that I thought worked great. The second one about a group of kids recounting the "Halloween School Bus Massacre" was good, but felt too distant. Ironically, Sam's actual story, which is the last one, is the one where I feel the director most needed to rein himself a bit in terms of what to show and what not to.
Again, the stories offer a couple of neat little reveals and there are several pretty effective jumpscares. The film also offers a bit of everything; from serial killers and werewolves to zombie-like kids and killer "demons", all out to give us the spookiest time of the year, if we don't follow the guidelines.
Grade: 3.5
GHOST STORY
(1981, Irvin)
Horror film from the 1980s
https://i.imgur.com/9eeKuQ2.jpeg
"I will take you places you've never been. I will show you things that you have never seen and I will see the life run out of you."
Ghost Story follows four elderly businessmen (Fred Astaire, Melvyn Douglas, Douglas Fairbanks Jr, John Houseman), founders of the Chowder Society in the small town of Milburn in New England. Every week, the four gentlemen get together to share tales of horror and ghost stories. But what happens when the lines between story and real life get blurred, and ghosts from the past bring the above statement?
The horror begins when the son of one of the four men dies in a horrible accident and under suspicious circumstances. As a result, his brother Don (Craig Wasson) returns to Milburn to investigate, which brings to the surface some strange revelations about his brother's fiancée (Alice Krige) and her involvement not only with Don, but with the four gentlemen.
It's interesting how I had never heard of this film before, especially considering the cast. That's the first thing that made me perk up when Wooley brought it up on his Halloween thread. His thoughts about it made it seem like something I might enjoy, plus he posted some nifty gore, so I thought "Why not?"
Generally speaking, I agree with most of Wooley's assessment. The film is a bit too long, the pace is a bit off, and the film drags a bit after the halfway mark. However, it does succeed in creating an eerie ambience and a general intrigue about what is happening. The few actual jump scares it has do feel like jump scares, if you get what I mean, but the special effects and makeup are effective, and they do the job.
I also appreciated the reasonings behind the haunting of these men, as it's not what you'd usually see in these kind of films. Unfortunately, there is a subplot about two escaped mental patients that becomes incredibly important in the last act, but it's so underwritten that it feels like a left field cheat. Still, the film succeeds in bringing the mood and the scares, even if it's in spurts.
Grade: 3
THE GIANT SPIDER INVASION
(1975, Rebane)
Horror film from the 1970s
https://i.imgur.com/m7cw3ar.png
"...and every creeping thing that creepeth upon the Earth shall be an abomination. Only the pure of heart shall be spared."
That's the warning that a priest gives to his followers in this creature feature from the 1970s. The quote actually comes from the book of Leviticus, and refers to things that the people of Israel shouldn't eat, but when read out of context, it does make for a creepy little warning about the things that ultimately come out creeping upon the Earth on this film.
Set in Merrill, Wisconsin, the film follows the attack of giant spiders that hatch from a meteor that crashes on a farm. For perspective, the film wasn't that well received back in the day, but regained notoriety when it was featured on an episode of Mystery Science Theater 3000. The film is also ranked as one of "the 100 most enjoyable bad movies ever made", and I think I have to agree with that.
The Giant Spider Invasion has some bad performances, worst dialogue, poorly conceived characters, weird direction, and campy special effects. Plus, it takes about 30 minutes until we see *a spider* and about 30 more minutes until we see a full giant spider. For a film called "The Giant Spider Invasion", that's not very good, but the film more than makes up for it on that last act.
The film decides to spend most of the time with Kester (Robert Easton), an abusive, money-grubbing redneck and his wife, while the few characters that are not reprehensible stay on the sidelines. There's Davey Perkins (Kevin Brodie) a young journalist who is dating Kester's sister-in-law who barely does anything, and ultimately Doctors Vance and Langer (Steve Brodie and Barbara Hale) who more or less take over halfway through.
Despite all its flaws, there's some fun to be had. Even with the campy special effects, there are some effective scares here and there, and the spiders do look creepy. Evidently, this is not a "good" film but I suppose that anyone that hits the "Play" button knows exactly what they're getting into. Personally, despite whatever the priest and Leviticus might say, this creepy crawlers are not an abomination.
Grade: 2
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.
GHOST STORY
(1981, Irvin)
https://i.imgur.com/9eeKuQ2.jpeg
Ghost Story follows four elderly businessmen (Fred Astaire, Melvyn Douglas, Douglas Fairbanks Jr, John Houseman), founders of the Chowder Society in the small town of Milburn in New England. Every week, the four gentlemen get together to share tales of horror and ghost stories. But what happens when the lines between story and real life get blurred, and ghosts from the past bring the above statement?
The horror begins when the son of one of the four men dies in a horrible accident and under suspicious circumstances. As a result, his brother Don (Craig Wasson) returns to Milburn to investigate, which brings to the surface some strange revelations about his brother's fiancée (Alice Krige) and her involvement not only with Don, but with the four gentlemen.
It's interesting how I had never heard of this film before, especially considering the cast. That's the first thing that made me perk up when Wooley brought it up on his Halloween thread. His thoughts about it made it seem like something I might enjoy, plus he posted some nifty gore, so I thought "Why not?"
Generally speaking, I agree with most of Wooley's assessment. The film is a bit too long, the pace is a bit off, and the film drags a bit after the halfway mark. However, it does succeed in creating an eerie ambience and a general intrigue about what is happening. The few actual jump scares it has do feel like jump scares, if you get what I mean, but the special effects and makeup are effective, and they do the job.
I also appreciated the reasonings behind the haunting of these men, as it's not what you'd usually see in these kind of films. Unfortunately, there is a subplot about two escaped mental patients that becomes incredibly important in the last act, but it's so underwritten that it feels like a left field cheat. Still, the film succeeds in bringing the mood and the scares, even if it's in spurts.
Grade: 3
Yeah, this sounds about right.
I like it a little more than you because this is so utterly in my wheelhouse but it has its shortcomings for sure. And I think there was a better movie to be made in the edit alone. Like, give me a razor and some tape and a few hours and I will give you a leaner, meaner version of this movie that will be a full star better.
Obviously the mental patient/squatter/cultist/thrall either has to be expanded on or excised completely and, given that both the characters in that thread only end up doing one thing that the ghost probably could have done, I wonder if this was only kept in on the insistence of Peter Straub, the author. I feel like any competent filmmaker, the director, the producer, even the studio stooges who watch and give notes, should have known that you either tell that story or you cut it. And, honestly, the movie would work, perfectly and in fact much better, if you took the movie exactly as it is but just cut their scenes out. And had the ghost appear in the back seat to deal with that one character. Big mistake.
And yeah, lemme just tighten up the two long flashback sequences a bit and with those two changes, you have a four-star ghost story. Alice Krige was so damn perfect as both the living woman and the ghost that you just don't need anything more.
But yeah, even though I enjoy it a bit more than you, I completely agree with your assessment.
TRICK 'R TREAT
(2007, Dougherty)
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Halloween! Trick 'r Treat! We've all done it, right? So we've all probably heard some of the above "guidelines", something that either our parents or teachers constantly remembered us during that night. Trick 'r Treat is an anthology film that presents some stories of people that probably didn't stay on sidewalks, went to a strangers house, or went out alone, and how did things turn out for them.
Although all the stories take place in the same fictional neighborhood of Warren Valley, Ohio, and they all weave in and out of each other, the most common denominator across all of them is the presence of Sam, the little "demon" with the burlap sack on its head that appears in the poster. Even though he doesn't necessarily intervene directly in all stories, the sight of him looking at everything is a neat and scary little touch.
As is usual in all anthology films, some stories work better than others. The first one with Dylan Baker as a school principal handing out candies to kids was probably my favorite. There are a couple of wicked reveals on it that I thought worked great. The second one about a group of kids recounting the "Halloween School Bus Massacre" was good, but felt too distant. Ironically, Sam's actual story, which is the last one, is the one where I feel the director most needed to rein himself a bit in terms of what to show and what not to.
Again, the stories offer a couple of neat little reveals and there are several pretty effective jumpscares. The film also offers a bit of everything; from serial killers and werewolves to zombie-like kids and killer "demons", all out to give us the spookiest time of the year, if we don't follow the guidelines.
Grade: 3.5
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.
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