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PHOENIX74's Avatar
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I forgot the opening line.
10-30-21

By The poster art can or could be obtained from Universal Pictures., Fair use, https://en.wikipedia.org/w/index.php?curid=21792925

Public Enemies - (2009)

Michael Mann wants us to see where the money went, and that sometimes gets in the way of a threadbare story in Public Enemies. John Dillinger and his gang have been the subject of so many films that we kind of bypass a lot and just concentrate on enormous sets, costumes, cars and of course a lot of action. Johnny Depp doesn't really feel threatening and manly enough, though Stephen Graham as Baby Face Nelson holds his own. Maybe style over substance was the point, because the theme of this film partly consists of how image-conscious both Dillinger and FBI head honcho Hoover are. This tells us a story about the depression era crime wave in the U.S. in a very visual style, focusing on shoot-outs and Christian Bale's Melvin Purvis and his campaign to bring down Dillinger and his gang. Marion Cotillard - who was going through a hot-streak as an actress at the time, appears as Dillinger's girlfriend Billie Frechette.

6.5/10


By impawards, Fair use, https://en.wikipedia.org/w/index.php?curid=11064536

Once - (2007)

A chance meeting between two musicians ends up changing their lives - it's pretty easy to sum up the plot for Once, but it's the music and the bonds of friendship forged that makes this such a popular and enduring film. I've seen John Carney's popular Sing Street before, along with Begin Again. This is the first time I've seen Once and I enjoyed it very much.

8/10


By Pulse Advertising - Impawards, Fair use, https://en.wikipedia.org/w/index.php?curid=12790326

Michael Clayton - (2007)

I love the performances from every actor in this film - they had great material to work with from Tony Gilroy. This involves the high-stakes world of a law firm, and the firm's fixer, Michael Clayton. When Arthur Edens (Tom Wilkinson) breaks down and goes off his medication after finding out the pesticide company he's working for hid reports of the toxicity of their product the bleep hits the fan. Clayton is brought in, but unbeknownst to him, a couple of snoops have also been hired and are reporting to company representative Karen Crowder (Tilda Swinton). Crossed wires and alarm bells light a powder keg that some won't walk away from. Some great suspense which includes questions about morality in our modern fast-paced money-driven world. An interesting sub-plot involving addiction and redemption raise it another notch.

8.5/10
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PHOENIX74's Avatar
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I forgot the opening line.
10-30-21
Originally Posted by Takoma11
Watching Five Came Back, the documentary (on Netflix) about Hollywood directors who worked in different capacities in WW2 really reframed It's a Wonderful Life for me. I would genuinely highly recommend watching it before you rewatch It's a Wonderful Life.
Going to make sure I see that - and seeing as it's based on a large nonfiction book I might add it to my reading list as well.



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10-31-21
Halloween -1978

I think I saw this movie long ago or at least parts. I get confused between Myers, Jason and Freddie. Horror isn't my thing. I find too many of horror flicks either dumb, lazy or too gory to enjoy, at least the newer ones. Figured I'd give this one a go. I quite enjoyed it..at least as much as I enjoy a horror flick. You can see where movies after it were inspired by it clearly. It proves the most effective horror to me is gore free, it's just building suspense. Some of the movie is cheese ball, especially by today's standards but you can excuse it because it builds suspense so well. It's a clinic on how to use music in a film. That score is iconic. The movie works so well because the characters and story do feel authentic. Plus Myers is just a spooky classic character.

Horror usually gets bump down just because it isn't my favorite genre. I am sure the later movies stink.


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101 Favorite Movies (2019)



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10-31-21




SF = Z



[Snooze Factor Ratings]:
Z = didn't nod off at all
Zz = nearly nodded off but managed to stay alert
Zzz = nodded off and missed some of the film but went back to watch what I missed
Zzzz = nodded off and missed some of the film but went back to watch what I missed but nodded off again at the same point and therefore needed to go back a number of times before I got through it...
Zzzzz = nodded off and missed some or the rest of the film but was not interested enough to go back over it



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10-31-21
I finally watched the new Dune a couple of days ago (not on HBOMax, but in a theater as God intended), and as far as its (moderate) flaws go, I'd say the biggest one is with the movie's slightly unwieldy overall structure, where the first half spent a ton of time on character introductions, table-setting the central conflicts, and general world-building and exposition with the various cultures and technologies of the "Duniverse", while the second half was essentially an overlong extended climax, with the number of false endings used proving to be even more egregious than those of Return Of The King.

That being said though, I still liked the movie a good deal on the whole, and speaking of Lord Of The Rings, like that series, I think part two of this will be even better, now that part one's done a lot of the hard work of introducing us to this particular universe. For now though, I'll just say that, even as someone who's never read the book (or even watched the reportedly abbreviated Lynch adaptation), this Dune still did a good job of acclimatizing me to the iconic world that Frank Herbert created, as, despite the overall complexity of the story, I was still fairly engaged throughout, rarely at any serious loss as to what was going on, and besides that, it feels like a movie tailor-made for Villeneuve's strengths as a director, as both an overwhelming sensory experience (an attack by a massive sandworm on a Spice harvester stands out in particular), as well as a bold work of Science-Fiction, full of big, ambitious ideas, the kind that's made the genre a favorite of mine; bring on part two, baby!

Final Score: 8.5
Last edited by StuSmallz; 10-31-21 at 03:58 AM.



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Wallet Inspector
10-31-21
Originally Posted by Takoma11


The Guns of Navarone, 1961

A fleet of ships is on route to rescue a few thousand trapped British soldiers during WW2. The problem? Two large, long-range guns controlled by the Nazis threaten to destroy the rescue party. Enter Captain Mallory (Gregory Peck), who ends up leading a small assortment of men, including explosives expert Miller (David Niven), on a secret mission to destroy the guns by any means necessary. Part of the squad includes a man named Stavros (Anthony Quinn), who blames Mallory for a past tragedy and promises to kill him at the end of the mission.

Nominated for Best Picture in the year of its release, this film is one of those epic-yet-intimate stories that sucks you in on both the grand and minute scale.

What the film does so well through its entire run is thread together external threats with internal conflicts. The men are technically working as spies, not uniformed and rarely in touch with their contacts back in the military. To be captured by the enemy would mean not only the failure of the mission, but also execution for espionage.

In the external category, the men face not only the hostile Nazi forces, but also simply the logistical difficulties of navigating a relentless storm, scaling a nearly-vertical cliffside, and making their way through different towns and landscapes undetected.

Internally, the men deal with the challenge of having differing opinions as to how to accomplish their mission and what lengths they will go to in order to do so. When one of the men suffers an injury, the moral and practical aspects of the group are put under immediate strain: do they hamper themselves by carrying their fallen teammate, leave him behind to be cared for (in theory!) by the enemy, or end his suffering with a well-placed bullet. There are also conflicts between Mallory and Miller, sparring over the acceptable price to pay for success.

Generally speaking, I really liked the performances from all of the leads and the secondary characters. The action sequences are filmed on a grand scale, and the stakes feel very real. Finally, I appreciated the portrayal of people struggling with what it means to be a good person in the middle of a large-scale international conflict. One character will sincerely ask if their mission is worth a certain person's life. Left unspoken is the fact that thousands of other lives may depend on that mission. Personal loyalties and larger, national loyalties frequently clash.

I also appreciated the introduction of a resistance fighter named Maria (Irene Papas) and another young woman, Anna (Gia Scala) who has supposedly gone mute after being tortured by the Nazis. In one fell swoop, these two characters serve as a reminder that women (mothers, sisters, and daughters) were also a part of the war, and further that civilians were entwined in the conflict whether they liked it or not. Multiple times, the film shows us that in such a conflict, there is no such thing as sitting on the sidelines for most people. Of course, the film can't introduce a female character without introducing a romance, but whatever. They were solid characters and added that civilian-fighter aspect to the film.

I really didn't have many issues with this film. My one chief complaint would probably be that (trying to stay spoiler free, here!) at one point there is a really serious decision to be made, and the film sort of let the characters off the hook a bit. There's something a bit iffy about raising a serious moral question, and then allowing it to be resolved without forcing the characters to make an uncomfortable choice.

Really worth seeking out if you've not seen it before. It is on the longer side (2.5 hours) and I did feel myself losing steam a bit in the last 20 minutes or so. I sort of wish I'd watched it in two parts.

This is something of a childhood favourite, mostly because it's a favourite of my dad's and therefore meant it played a lot in our house. Haven't seen it in a few years but wouldn't mind giving it a rewatch. It's one of the best examples of this exact kind of war movie (one that's essentially an action movie but doesn't go full cartoon) which went out of fashion and never really came back. Interesting how sturdy J. Lee Thomson's direction is here, when he ended his career doing trash for Cannon Films (a descriptor, not a judgement).



If I have to pick a favourite out of the cast, I'd go with Anthony Quinn, but it helps that he's playing the most forceful character here (shades of Auda Abu Tayi). And the Dimitri Tiomkin score is great too.


If you share my soft spot for this genre, the "sequel" Force 10 from Navarone might be worth a watch. It's based on another Alistair Maclean novel featuring the characters played here by Peck and Niven, only they're played by Robert Shaw and Edward Fox in that movie. Not nearly as tightly directed, but has a fun cast and enough of the pleasures this kind of movie offers that I had a good time.



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10-31-21
Dune: 7/10

No ending



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10-31-21
The guilty: 8/10

I like this movie



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No one gets out alive: 5/10



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candyman: 6/10



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Night house: 7/10



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Redemption day: 6/10



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Eye without a face 3/10



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Intrusion: 7/10



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Capone: 6/10



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10-31-21
Cry Macho (2021)

This was a nice economical film by Clint. It's not gonna win prizes for being the best story in originality but it moves at languid pace that is quite satisfying. Bit like Eastwood himself these days I suppose! The lad who played Rafael, Mike's (Clint) charge while bringing him back from Mexico to be with an absentee father, was really good. Not great but eminently watchable if you fancy a small movie with a small story to tell.




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10-31-21
Originally Posted by Karka616
The guilty: 8/10

I like this movie
Danish or remake?



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Bright light. Bright light. Uh oh.
10-31-21

Army of Thieves (Matthias Schweighöfer, 2021)
6/10
Snakehead (Evan Jackson Leong, 2021)
+ 5/10
Carnival of Souls (Herk Harvey, 1962)
6.5/10
The Medium (Banjong Pisanthanakun, 2021)
6/10

If you watch this, you may think that Thailand is full of possessed idiots even if some are talented.
Having Wonderful Time (Alfred Santell, 1938)
6/10
The Witches AKA The Devil's Own (Cyril Frankel, 1966)
5/10
Best Foot Forward (Edward Buzzell, 1943)
6/10
The Scariest Story Ever: A Mickey Mouse Halloween Spooktacular! (4 Directors, 2017)
6.5/10

Mickey tells the kiddies a really scary story after they give the thumbs down to his version of Frankenstein.
Chernobyl: Abyss (Danila Kozlovskiy, 2021)
5.5/10
Exorcist II: The Heretic (John Boorman, 1977)
5/10
There Is No Evil (Mohammad Rasoulof, 2020)
+ 6/10
The Tomb of Ligeia (Roger Corman, 1964)
6.5/10

Vincent Price is obsessed by his late wife, who said she would never die, especially after he marries lookalike Elizabeth Shepherd.
The Curse of Frankenstein (Terence Fisher, 1957)
+ 6/10
Frankenstein Meets the Spacemonster (Robert Gaffney, 1965)
4/10
Tango Shalom (Gabriel Bologna, 2021)
6/10 R.I.P. Joseph Bologna
The Fly (Kurt Neumann, 1958)
6.5/10

Sci-fi/horror classic filled with iconic scenes, such as this one.
Paranormal Activity: Next of Kin (William Eubank, 2021)
6/10
White Zombie (Victor Halperin, 1932)
+ 5/10
Who Saw Her Die? (Aldo Lado, 1972)
6/10
Let's Scare Jessica to Death (John [D.] Hancock, 1971)
6.5/10

Wonderful as straight-up scary horror and as the disintegration of a diseased mind.
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10-31-21


Murder on the Orient Express, 1974

On an overnight train ride, one of the passengers (Richard Widmark) is killed in the night. But who among the many passengers (and crew!) is the guilty party? With the train trapped due to a freak snowstorm, Hercule Poirot (Albert Finney) is up against a ticking clock to find the murderer.

Oh, boy do I feel torn on this film. I really loved some parts of it, but struggled mightily with others.

To start with what I loved, the selling point of this film is the extensive cast, with names like Lauren Bacall, Ingrid Bergman, Sean Connery, Jacqueline Bisset, Anthony Perkins, Vanessa Redgrave, and Michael York. Everyone seems properly into the spirit of the whole thing, mostly striking the right note between the drama and comedy of the story. I also enjoyed quite a few of the supporting actors, including names I wasn't as familiar with like Jean-Pierre Cassell as one of the workers on the train.

Then there's the plot, which of course mostly owes its debt to the delightfully complex story created by Agatha Christie. We learn relatively early on that the dead man hid some very dark secrets, and Poirot has his work ahead of him sorting out just how all of the passengers fit into the bigger puzzle. This is the kind of mystery where everyone has something to hide, but who is genuinely guilty? To the film's credit, it is not hard to keep track of the sprawling characters, because each of them is given their own moments (especially in their inquisitions with Poirot) to be clearly defined.

I will give nothing away, but if you've read the book or seen any adaptation of this story, you know that the ending is incredibly satisfying and very emotional. I really loved the way that the film chose to portray the "final reveal"--I thought that it was very moving and moody and it was a real goosebumps moment.

There were a few things I didn't love, however. And with Christie's amazing foundation, it would be hard to make a BAD version of this story.

For starters, I felt very mixed about the way that information was visually portrayed. There are two very effective more extended flashbacks that are great. But during the film there are these frequent little flashbacks--sometimes literally just a flash of an image--and I didn't like the editing transition used for them. It felt disruptive.

I was also unsure what exactly was happening with the makeup on the characters. Some of the characters, like Bisset's character, are given a more natural look. But others, like Perkins or Finney, look like they've got five pounds of powder on their faces. It was incredibly distracting for me and frankly confusing.

Lastly, there's a decision in the last act that changes something from the book. On one hand . . . it does sort of work. But it also means losing out a detail from the original story that I thought was one of the most powerful details, and it was a moment I was anticipating that just never arrived.

Pretty good, but for me it's up against the book AND an excellent audiobook version I've encountered. Definitely recommended, though, especially for that final act.


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