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Fear Street: 1994, 2021

Set in 1994 (duh ), the film follows a group of teenagers living in a town called Shadyside who begin to experience frightening and strange events. Deena (Kiana Madeira) is dealing with a break up with her girlfriend, Sam (Olivia Welch). Deena's younger brother, Josh (Benjamin Torres) is obsessed with the town's violent and murderous past (Shadyville has been dubbed Murder Capital, USA). Also along for the ride are blunt drug dealer Kate (Julia Rehwald) and her oddball friend, Simon (Fred Hechinger).

I think I'm probably just about the ideal target audience for this film: I grew up in the 90s, read the Fear Street books, and I'm into horror. That said, I found this movie really strange and I think a lot of it comes down to the film trying too hard. It all starts with the first ten or so minutes of the film, which include something like 8 or 9 separate needle drops. There's an unbecoming desperation to it. "Hey!!!! Do you remember this song?! What about this song? And this one?!?!?!" It feels like a commercial for a "greatest hits of the 90s" album or something.

Style aside, I honestly struggled with the characters. Like, A LOT. I know we've discussed before that characters don't need to be likable for a film to work. But a lot of the heft of the film depends on the viewer caring whether or not the main characters do or do not get skewered by a masked killer. But darn if they weren't all just so whiny, or amoral, or just flat personalities. Only the character of Simon manages to achieve a level of oddness that approaches being endearing. The rest of the crew mostly seemed obnoxious to me.

I was also kind of baffled by the film's portrayal of the central lesbian couple. I don't know how the creators of this film remember the 90s, but a casual gay couple. In high school?! Aside from a few smirks from some jocks and a disapproving glare from Sam's mom, there is no hint that these girls experience any friction. Shadyside isn't exactly portrayed as some very progressive community, and the general acceptance of their romance frankly doesn't feel right. I'm not saying that the film needed a bunch of scenes of gay bashing or bigoted behavior--the film is about the supernatural horror plot, not their romance--but there's something almost misleading about the way that their relationship is portrayed. For example, when they have a big fight about their break-up, it's never even mentioned that their sexuality was a source of stress. I dunno. It also leads to this weird dynamic where Simon, who clearly would normally be the gay best friend-type sidekick, is just stranded in this strange undefined/asexual zone (because two lesbians and a gay man would clearly be too much!). It's not offensive, to be clear, just . . . .confusing.

As for the horror itself, there were a few effective sequences. The ghost-mask killer is frightening in certain parts. I was surprised at how violent and brutal some of the killing sequences were. Because I am at heart a very superficial person, I did enjoy the way that some of the scenes were lit with neon blue and red lighting. It added a surreal note that the film should have pushed much more strongly.

I'll definitely finish the trilogy, but much in the same way that I read some of the less impressive Fear Street books--just to find out how it all ends.




SAMSON AND DELILAH
(1949, DeMille)
A film from Cecil B. DeMille
-- recommended by Caroline (from Defining Disney --



"Your arms were quicksand. Your kiss was death. The name Delilah will be an everlasting curse on the lips of men."

Samson and Delilah follows the two titular characters as they develop a troubled and fractured relationship. Samson (Victor Mature), a Hebrew struggling between the enslavement of his people and his commitment to a Philistine woman, ends up a fugitive when he's seduced by Delilah (Hedy Lamarr), who's resolved to avenge her scorn.

Most people will probably know the story, so it's up to Mr. DeMille to fill the screen with his accustomed spectacle, and I'm happy to say that he delivers in that aspect. The production values, set design, and special effects on this film are top-notch. There is a particular seamlessness to how the fights and the action setpieces occur that is impressive for the time.

Grade:



Full review on my Movie Loot
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I forgot the opening line.

By Republic Pictures - source, Public Domain, https://commons.wikimedia.org/w/inde...curid=45102952

Rio Grande - (1950)

Okay film about a Cavalry Regiment protecting settlers against Apache attacks, and a daring raid across the U.S./Mexico border to rescue kidnapped children. Seeing this after Fort Apache and Stagecoach makes me a little weary of Indians getting shot and falling off horses. This film was made out of necessity as Republic Pictures wanted Ford to make another Western before embarking on his next labour of love, The Quiet Man.

6/10


By May incorporate artwork by Clement Hurel - see Nollen, Scott Allen (2013) Three Bad Men: John Ford, John Wayne, Ward Bond, McFarland, p.*352 ISBN: 9780786458547. - Public Domain, https://commons.wikimedia.org/w/inde...curid=18565484

The Quiet Man - (1952)

Stunningly beautiful in more ways than one - a film about a man who returns to his birthplace, allured by it's serene perfection, but somewhat nonplussed by all the traditions, rules and customs he's met by. I would have said John Wayne is a little miscast as Sean Thornton, but Danny Peary awarded him the (alternate) Oscar for best Actor - it's a great role and I'm sure he appreciated it. The Oscars it did win in all actuality were for cinematography and Ford as best director. Great love story and comedy. Really enjoyed it.

8.5/10


By "Copyright © 1962 Paramount Pictures Corporation and John Ford Productions, Inc." - Scan via Heritage Auctions. Cropped and lightly retouched from original image; see upload history below for unretouched original., Public Domain.

The Man Who Shot Liberty Valance - (1962)

Wow - this might actually go down as one of my favourite Westerns, competing against the likes of 3:10 to Yuma, High Noon and Unforgiven. James Stewart plays Ransom Stoddard, a senator and lawyer returning to a town he once lived in - just in time for the funeral of old friend Tom Doniphon (John Wayne). Here, he's waylaid by reporters sniffing out a story, and he finally decides it's time to come clean about something he's famous for - the shooting of Liberty Valance (Lee Marvin). Stewart and Wayne are terrific as two opposite ends of a spectrum - a person who believes in the law, and the other in frontier justice - but the real standout is Marvin, oozing an evil, threatening aura to the extent that I can nearly smell his sweat along with the booze and tobacco he probably reeks of. It all comes together with great meaning and drama, the tension leaving one on the edge of their seat. The end of my little John Ford festival reaches it's climax with what I believe will be my favourite of all his films - though Stagecoach and The Quiet Man are right up there.

10/10


By IMP Awards / 2014 Movie Poster Gallery / The Grand Budapest Hotel Poster (#2 of 17), Fair use, https://en.wikipedia.org/w/index.php?curid=56637353

The Grand Budapest Hotel - (2014)

My pick for a little movie day yesterday with a friend, she hadn't seen it and this in indeed one I love more than many others - charming, wonderful and oh so pretty. The best Wes Anderson has produced so far in my reckoning. More to say about this one at a later date.

10/10


By Impawards.com, Fair use, https://en.wikipedia.org/w/index.php?curid=24228730

Fantastic Mr. Fox - (2009)

I was delighted she chose to watch this next, because it's been on my watchlist for ages. A really charming family film with awesomely cute stop-motion animation. Based on the children's novel by Roald Dahl. She liked this, but felt there were some scenes that were unnecessarily extraneous. It never drags though, at a fast-paced 87 minutes. I'd love to know what kids think of this one - though it really is a film for any age.

7/10


Fair use, https://en.wikipedia.org/w/index.php?curid=3906669

Antonia's Line - (1995)

Her pick - this time one she knows and loves and which I'd never heard of. Antonia's Line won the best foreign language Oscar in 1996. It takes place in a village which is home to Antonia (Willeke van Ammelrooy) - and to which she returns after the Second World War with her daughter. It's a strange village - it's populated by the insane (one lady howls at every full moon, one man never leaves his apartment,) the intellectually disabled and the cruel. Her mother (who is apparently all three of these things) dies and her daughter delights in imagining all the statues and religious icons coming to life. We follow Antonia's family as her daughter has a child of her own, and that child grows up and in turn has her own daughter. Being such a crazy village, there is no end of drama and death - but Antonia seems to find peace in such a place, and she dies content (that's no spoiler - the film begins with her last day on Earth.)

I'm still trying to figure out how I feel about this film - the kind of film (like Legends of the Fall) which takes place over a great deal of time. It never drags, and is always eventful. Antonia seems a little aloof, but her family, at the very least, is a sane anchor in such an unusual place. It's worth rewatching and enjoying.

6.5/10



You can't make a rainbow without a little rain.

By "Copyright © 1962 Paramount Pictures Corporation and John Ford Productions, Inc." - Scan via Heritage Auctions. Cropped and lightly retouched from original image; see upload history below for unretouched original., Public Domain.

The Man Who Shot Liberty Valance - (1962)

Wow - this might actually go down as one of my favourite Westerns, competing against the likes of 3:10 to Yuma, High Noon and Unforgiven. James Stewart plays Ransom Stoddard, a senator and lawyer returning to a town he once lived in - just in time for the funeral of old friend Tom Doniphon (John Wayne). Here, he's waylaid by reporters sniffing out a story, and he finally decides it's time to come clean about something he's famous for - the shooting of Liberty Valance (Lee Marvin). Stewart and Wayne are terrific as two opposite ends of a spectrum - a person who believes in the law, and the other in frontier justice - but the real standout is Marvin, oozing an evil, threatening aura to the extent that I can nearly smell his sweat along with the booze and tobacco he probably reeks of. It all comes together with great meaning and drama, the tension leaving one on the edge of their seat. The end of my little John Ford festival reaches it's climax with what I believe will be my favourite of all his films - though Stagecoach and The Quiet Man are right up there.

10/10

I'm usually hit or miss with western movies, but The Man Who Shot Liberty Valance is one of the best. It made it onto my list for the Westerns Countdown.
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Victim of The Night

By May incorporate artwork by Clement Hurel - see Nollen, Scott Allen (2013) Three Bad Men: John Ford, John Wayne, Ward Bond, McFarland, p.*352 ISBN: 9780786458547. - Public Domain, https://commons.wikimedia.org/w/inde...curid=18565484

The Quiet Man - (1952)

Stunningly beautiful in more ways than one - a film about a man who returns to his birthplace, allured by it's serene perfection, but somewhat nonplussed by all the traditions, rules and customs he's met by. I would have said John Wayne is a little miscast as Sean Thornton, but Danny Peary awarded him the (alternate) Oscar for best Actor - it's a great role and I'm sure he appreciated it. The Oscars it did win in all actuality were for cinematography and Ford as best director. Great love story and comedy. Really enjoyed it.

8.5/10
One of my favorite movies ever. Just gives me the happiest.



The Old Ways (2021)

Kind of an interesting premise, but the execution is quite shabby. No good scares, and even if the ways are old, the film is definitely modern in a bad way.

--
Aram (2002)

A (slightly) political thriller about Armenians and Turks. It has its moments, but it's quite uneven. The family drama feels forced. Not a very popular film in Turkey, I'd guess.

--
Hell Night (1981)

A silly B-horror with Linda Blair (sadly, no nudity). Far too long and a good example of a bad American horror from the 80s.
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Fear Street: 1994, 2021

Set in 1994 (duh ), the film follows a group of teenagers living in a town called Shadyside who begin to experience frightening and strange events. Deena (Kiana Madeira) is dealing with a break up with her girlfriend, Sam (Olivia Welch). Deena's younger brother, Josh (Benjamin Torres) is obsessed with the town's violent and murderous past (Shadyville has been dubbed Murder Capital, USA). Also along for the ride are blunt drug dealer Kate (Julia Rehwald) and her oddball friend, Simon (Fred Hechinger).

I think I'm probably just about the ideal target audience for this film: I grew up in the 90s, read the Fear Street books, and I'm into horror. That said, I found this movie really strange and I think a lot of it comes down to the film trying too hard. It all starts with the first ten or so minutes of the film, which include something like 8 or 9 separate needle drops. There's an unbecoming desperation to it. "Hey!!!! Do you remember this song?! What about this song? And this one?!?!?!" It feels like a commercial for a "greatest hits of the 90s" album or something.

Style aside, I honestly struggled with the characters. Like, A LOT. I know we've discussed before that characters don't need to be likable for a film to work. But a lot of the heft of the film depends on the viewer caring whether or not the main characters do or do not get skewered by a masked killer. But darn if they weren't all just so whiny, or amoral, or just flat personalities. Only the character of Simon manages to achieve a level of oddness that approaches being endearing. The rest of the crew mostly seemed obnoxious to me.

I was also kind of baffled by the film's portrayal of the central lesbian couple. I don't know how the creators of this film remember the 90s, but a casual gay couple. In high school?! Aside from a few smirks from some jocks and a disapproving glare from Sam's mom, there is no hint that these girls experience any friction. Shadyside isn't exactly portrayed as some very progressive community, and the general acceptance of their romance frankly doesn't feel right. I'm not saying that the film needed a bunch of scenes of gay bashing or bigoted behavior--the film is about the supernatural horror plot, not their romance--but there's something almost misleading about the way that their relationship is portrayed. For example, when they have a big fight about their break-up, it's never even mentioned that their sexuality was a source of stress. I dunno. It also leads to this weird dynamic where Simon, who clearly would normally be the gay best friend-type sidekick, is just stranded in this strange undefined/asexual zone (because two lesbians and a gay man would clearly be too much!). It's not offensive, to be clear, just . . . .confusing.

As for the horror itself, there were a few effective sequences. The ghost-mask killer is frightening in certain parts. I was surprised at how violent and brutal some of the killing sequences were. Because I am at heart a very superficial person, I did enjoy the way that some of the scenes were lit with neon blue and red lighting. It added a surreal note that the film should have pushed much more strongly.

I'll definitely finish the trilogy, but much in the same way that I read some of the less impressive Fear Street books--just to find out how it all ends.


Yeah...this is one of those series that color blind/gender blind hurts it. The first part is by far the weakest part, I sincerely hope they do another trilogy but don't make the same mistakes.





Sea Fever (2019)


My favorite movie is The Thing, Sea Fever is basically a remake of The Thing pretty much plot point to plot point. Even though we're talking about basically a video game with changed skins it's still a solid well made film for several reasons.

1. CGI is limited, the monster is borderline animated and would likely have the same effect.

2. The kill order is solid...it's not a predictable order of cast mates leaving the story.

3. The acting/characters are fine...even though we get some diversity (I don't think Irish fishing boat would normally just have the two Irishmen on it) however the cast did work and the lead is serviceable.

The bad part is the plot has a massive hole in it that ruins it a bit. And it's very much like The Thing.







Malice in the Palace

Didn't really learn anything new. Seemed like a project that tries to clean up one of the Ex. Prod.'s name - Jermaine O'Neal, which I don't think really needs cleaning up. I never understood his suspension. Don’t want to get decked by a monster of a man in a melee stay off the court in the middle of a melee. The first part covers O'Neal's early career and how the Pacers team was built with a bunch of talented but slightly off kilter players. Pretty much creating a bomb of personalities. All you need to do is mix in a rivalry with some red ass Detroit Pistons and it's ready to blow. The second half is about the fight which is and always has been the Ron Artest show which never should have happened except that the coaches wanted to make a point. Why were the starters still in? I've always liked Artest but good lord every decision he makes at the end of that game was wrong starting with fouling Wallace. I think Wallace overreacted but something tells me Artest was the kind of guy that brings things out of you that other players might not. Frustration and a couple other things (which they go into) obviously played a part in Wallace reacting how he did but why do you hard foul that guy, in that situation, unless you’re looking to start something? The one thing the show gets into that I've always agreed with was the treatment of the players by the media and the league after it happened. It was bad. I'm not suggesting the players should have roughed up a few fans but, as Chris Rock would say - "I understand."




Return to Babylon (2013)
Hey, just to let you know I watched this the other night after reading your post on it. Found it very fun and enjoyable!

I think the best thing is just how well they did with the look of the film technically, given the proper tools they used. They really captured the authentic look of the films of that time, and I think there was a heartfelt desire from the makers to pay a genuine tribute to the films and stars of that time. I particularly loved the soundtrack. My only complaints were the tendency for it to become somewhat repetitious from about the midway point, and of course some factual oversights. Otherwise, I thoroughly enjoyed it as did those watching it along with me. For what it was I say they did a great job and I think they deserve a higher recognition. In other films, the only thing I know that really comes close in quality to my mind in this genre would be Woody Allen's Zelig, which I really enjoyed also.

Thanks very much Doc for bringing this to my attention. Really enjoyed it.

7/10



The Ipcress File


Great cold war, spy thriller.



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Blood & Donuts -


After waking up from a 20-year slumber, a vampire, Boya (Gordon Currie), gets wrapped up in the lives of Molly (Helene Clarkson), a donut shop waitress and Earl (Louis Ferreira), a mob-pursued taxi driver in a movie I obviously don't have to describe as quirky. Another case in point: what genre does this movie belong to? Is it a horror? Is it a dark comedy? Is it a noir? Is it a romance? The answer is yes to all four and it does a pretty good job at each one.

Boya, like Angel - who the character reminded me of - is approachable and terrifying when he needs to be, the latter thanks to makeup and special effects that hold up despite the movie's low budget and age. I was also pretty invested in the gangster subplot, and even though it's not totally clear why they are so interested in Earl, I appreciate that the movie let me fill in the blanks. This subplot also provides most of the comedy, as does the hapless Earl himself - whose unusual accent may be the actor's natural one but sounds like what would happen if Christopher Walken spent a few weeks vacationing in Madeira - as well as whenever Boya pursues rodents, his preferred source of food. As for the romance between Boya and Molly, it's not my favorite aspect of the movie, mostly because it's not as developed, but I at least enjoyed the performances of Currie - who I liked in general - and Clarkson whenever they were together, and I believe they have good chemistry.

After all of the blood has been drank and the donuts have been eaten, does this movie have anything to offer besides quirk? It does for how it ends up having a decent take on a theme common to vampire stories: the cost of immortality. Besides Currie's strong performance indicating that it's more curse than blessing, there's the character of Rita (Fiona Reid), one of Boya's victims from the last time he was awake, who's essentially the movie's true villain for how she constantly reminds Boya that what he did to her hardly improved her situation. Also, as Rita and Boya's preference for mice indicates, being a vampire is hardly a boon to forming and maintaining healthy and meaningful relationships. I still wouldn't rank this as one of the very best vampire movies I've seen, but it's far from the worst. It's the most unique one, if anything. Oh, and David Cronenberg makes a rare acting appearance as one of the gangsters and he's very good in it.



Yeah...this is one of those series that color blind/gender blind hurts it. The first part is by far the weakest part, I sincerely hope they do another trilogy but don't make the same mistakes.
I don't think that the colorblind/gender-blind aspect is the problem. I think it the fact that they did it in a way that didn't make sense. (Unless that's maybe what you mean).

Blood & Donuts -


After waking up from a 20-year slumber, a vampire, Boya (Gordon Currie), gets wrapped up in the lives of Molly (Helene Clarkson), a donut shop waitress and Earl (Louis Ferreira), a mob-pursued taxi driver in a movie I obviously don't have to describe as quirky. Another case in point: what genre does this movie belong to? Is it a horror? Is it a dark comedy? Is it a noir? Is it a romance? The answer is yes to all four and it does a pretty good job at each one.

I still wouldn't rank this as one of the very best vampire movies I've seen, but it's far from the worst. It's the most unique one, if anything. Oh, and David Cronenberg makes a rare acting appearance as one of the gangsters and he's very good in it.
I have a huge soft spot for this film. Like you say, it has some issues. But I think it's really special and I find it very memorable. It's deft handling of the blend of genres and the likable central cast are its strengths.



Hey, just to let you know I watched this the other night after reading your post on it. Found it very fun and enjoyable!

I think the best thing is just how well they did with the look of the film technically, given the proper tools they used. They really captured the authentic look of the films of that time, and I think there was a heartfelt desire from the makers to pay a genuine tribute to the films and stars of that time. I particularly loved the soundtrack. My only complaints were the tendency for it to become somewhat repetitious from about the midway point, and of course some factual oversights. Otherwise, I thoroughly enjoyed it as did those watching it along with me. For what it was I say they did a great job and I think they deserve a higher recognition. In other films, the only thing I know that really comes close in quality to my mind in this genre would be Woody Allen's Zelig, which I really enjoyed also.

Thanks very much Doc for bringing this to my attention. Really enjoyed it. 7/10
Glad you enjoyed it, James. I was immediately taken in by the mood and style of the film, which lasted to about midway as you mentioned. Too bad about the mini budget, and I hope others will take a stab at silents, because it's almost a separate art form in comparison to talkies.

When I lived in Hollywood during the late '60s, there was a wonderful Silent Movie Theater on Fairfax Ave., which exclusively showed movies, shorts, and other material from that wonderful era. For a $1.50 you could watch a one reeler, a feature, perhaps a specialty film-- all in one evening. And the popcorn was the best. I saw some of the great silents, and was bowled over.

I used to read up on the films by studying Joe Franklin's Classics of the Silent Screen book. This was 30 years before the internet. Then I'd go down to view the films live at the theater-- all shown with the proper camera on the proper sized screen. What a thrill that was! I doubt that the theater is still there, but it ought to be!



I have a huge soft spot for this film. Like you say, it has some issues. But I think it's really special and I find it very memorable. It's deft handling of the blend of genres and the likable central cast are its strengths.
I did like it, but 3 popcorns seems about right. Had the relationship between Boya and Molly been better written and developed, I would have rated it higher. Plus - correct me if I'm wrong about it being good, fellow donut lovers - but Boya orders a kiwi donut? Eww.



Samson and Delilah [1949] follows the two titular characters as they develop a troubled and fractured relationship. Samson (Victor Mature), a Hebrew struggling between the enslavement of his people and his commitment to a Philistine woman, ends up a fugitive when he's seduced by Delilah (Hedy Lamarr), who's resolved to avenge her scorn.

Most people will probably know the story, so it's up to Mr. DeMille to fill the screen with his accustomed spectacle, and I'm happy to say that he delivers in that aspect. The production values, set design, and special effects on this film are top-notch. There is a particular seamlessness to how the fights and the action setpieces occur that is impressive for the time.

Grade:

Full review on my Movie Loot
Wow, what a great blast from the past! Believe it or not my mother took me to see it when I was 6 years old (general release in 1950). In those days all films were either G or PG. I'll never forget it. But I was so shocked and saddened when "Vic Manure" pushed those pillars apart and brought down the temple and killed everyone including himself. They all deserved it but he... Hedy Lamarr was one of the most gorgeous women to ever appear in films. And Mature was at the height of his popularity. Great film.





By May incorporate artwork by Clement Hurel - see Nollen, Scott Allen (2013) Three Bad Men: John Ford, John Wayne, Ward Bond, McFarland, p.*352 ISBN: 9780786458547. - Public Domain, https://commons.wikimedia.org/w/inde...curid=18565484

The Quiet Man - (1952)

Stunningly beautiful in more ways than one - a film about a man who returns to his birthplace, allured by it's serene perfection, but somewhat nonplussed by all the traditions, rules and customs he's met by. I would have said John Wayne is a little miscast as Sean Thornton, but Danny Peary awarded him the (alternate) Oscar for best Actor - it's a great role and I'm sure he appreciated it. The Oscars it did win in all actuality were for cinematography and Ford as best director. Great love story and comedy. Really enjoyed it.

8.5/10


By "Copyright © 1962 Paramount Pictures Corporation and John Ford Productions, Inc." - Scan via Heritage Auctions. Cropped and lightly retouched from original image; see upload history below for unretouched original., Public Domain.

The Man Who Shot Liberty Valance - (1962)

Wow - this might actually go down as one of my favourite Westerns, competing against the likes of 3:10 to Yuma, High Noon and Unforgiven. James Stewart plays Ransom Stoddard, a senator and lawyer returning to a town he once lived in - just in time for the funeral of old friend Tom Doniphon (John Wayne). Here, he's waylaid by reporters sniffing out a story, and he finally decides it's time to come clean about something he's famous for - the shooting of Liberty Valance (Lee Marvin). Stewart and Wayne are terrific as two opposite ends of a spectrum - a person who believes in the law, and the other in frontier justice - but the real standout is Marvin, oozing an evil, threatening aura to the extent that I can nearly smell his sweat along with the booze and tobacco he probably reeks of. It all comes together with great meaning and drama, the tension leaving one on the edge of their seat. The end of my little John Ford festival reaches it's climax with what I believe will be my favourite of all his films - though Stagecoach and The Quiet Man are right up there.

10/10
Both thumbs way, way up for these two films. I agree with your assessment on both, although "Quiet" was a 10 for me. Both films are always good for re-watches.