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Double Indemnity was actually my back-up choice for Phoenix, but someone else happened to nominate it for him anyway. It's weird that this happened three times, but it's also strangely comforting, since going into this HoF, I was not confident in my ability to recommend films haha...
Personal Recommendation Hall of Fame VI
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I might join one of these sometime in the future. They look fun.
Oh and Double Indemnity rocks.
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Double Indemnity was on my list for Phoenix but I've recommended it a couple times in previous HoF's so I went with Dances instead. I didn't want to win this thing anyway. Double Indemnity is THE noir film. Whenever someone says noir this is the movie that immediately comes to mind and I'd be surprised if I'm in the minority on that. It's almost a perfect film. For me, this and Sunset Boulevard are comfortably sitting atop the noir mountain.
I haven't seen the Tenant but it has been recommended to me a couple times, usually from folks who know that I think Repulsion is top two Polanski.
Gave Ratatouille a 3/5 and I don't remember a thing about it other than rats. Looks like 25 years of hard living is catching up to me.
The Innocents is another I recommend quite often, usually to people who say they don't like horror films. It's either this or Salo (it's art house horror - you'll love it. Trust me.) Another one I think is great and is usually a safe recommendation (The Innocents, not Salo) but I don't watch it often.
I loved Robert Mitchum's performance in Night of the Hunter but the movie itself is kind of underwhelming. It's one of them movies I want to love but can't get there. I also remember it feeling much longer than it is and that's not a good sign, usually. It looks good, but it's missing something to bring it all together. Haven't seen it in awhile so maybe I should try that one again.
I haven't seen the Tenant but it has been recommended to me a couple times, usually from folks who know that I think Repulsion is top two Polanski.
Gave Ratatouille a 3/5 and I don't remember a thing about it other than rats. Looks like 25 years of hard living is catching up to me.
The Innocents is another I recommend quite often, usually to people who say they don't like horror films. It's either this or Salo (it's art house horror - you'll love it. Trust me.) Another one I think is great and is usually a safe recommendation (The Innocents, not Salo) but I don't watch it often.
I loved Robert Mitchum's performance in Night of the Hunter but the movie itself is kind of underwhelming. It's one of them movies I want to love but can't get there. I also remember it feeling much longer than it is and that's not a good sign, usually. It looks good, but it's missing something to bring it all together. Haven't seen it in awhile so maybe I should try that one again.
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Being John Malkovich (1999)
Directed by: Spike Jonze
Starring: John Cusack, Catherine Keener, John Malkovich
From the basic premise, to the film's overall themes, and through each major story beat along the way, everything about Being John Malkovich was completely different from the preconceived image I had in my mind going into it. The film is highly imaginative, and contains odd, fantastic elements that are treated in such a nonchalant manner, that it never seems unreasonable. It was a pleasant surprise that in some ways in reminds me of Brazil, a film I'm rather fond of.
The writing is clever, amusing, and even occasionally laugh-out-loud funny. The mix of social commentary and personal drama is well balanced, and although I'm typically not a fan of love triangles, even that story worked well within the overall scope of the film. The actors all did a good job, and John Cusack in particular seemed perfect for his role, ditching his normal aesthetic and embodying the look and feel of creepy weirdos uncomfortably well.
Strangely - or perhaps appropriately, I think the best acting in the film wasn't by any of the main cast, but by the puppets and their puppeteer. Even without their symbolism and relevance to the film's themes, the marionettes were incredibly compelling. They were the perfect example of what the profession is capable of, showing that with the right choreography, music, and people at the helm, even lifeless puppets can give the audience an emotional performance.
The writing is clever, amusing, and even occasionally laugh-out-loud funny. The mix of social commentary and personal drama is well balanced, and although I'm typically not a fan of love triangles, even that story worked well within the overall scope of the film. The actors all did a good job, and John Cusack in particular seemed perfect for his role, ditching his normal aesthetic and embodying the look and feel of creepy weirdos uncomfortably well.
Strangely - or perhaps appropriately, I think the best acting in the film wasn't by any of the main cast, but by the puppets and their puppeteer. Even without their symbolism and relevance to the film's themes, the marionettes were incredibly compelling. They were the perfect example of what the profession is capable of, showing that with the right choreography, music, and people at the helm, even lifeless puppets can give the audience an emotional performance.
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Being John Malkovich is a strange movie. I was underwhelmed by it the first time I saw it, but I ended up buying the Criterion blu ray on sale and rewatching it. I enjoyed it a lot more the second time around.
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Malkovich, Malkovich!
Glad you enjoyed it, Cosmic.
Glad you enjoyed it, Cosmic.
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CODA (2021)
Directed by: Sian Heder
Starring: Emilia Jones, Troy Kotsur, Marlee Matlin
Even though La Famille Bélier was surprisingly better than I had expected, I honestly never would have watched CODA on my own accord. The only difference appeared to be changing the family's profession from farmers to fishermen, and to me that didn't seem like enough to justify a remake. Hearing that CODA had a more serious tone worried me slightly as well, given how the original needed humour to combat how clichéd its plot was.
However in a surprise turn of events, all of the American version's changes turned out to be vast improvements. It wasn't as melodramatic and over-the-top as La Famille Bélier, and its use of comedy was more realistically integrated, rather than having scenes that served no purpose other than to make a joke. There is also a distinct difference in regards to how sign language is treated, which can likely be attributed to CODA's casting of deaf actors in prominent roles, which was something the original failed to accomplish.
Ruby's interactions with her family are definitely the highlight of the film. The story contained nothing new or unexpected, but it was still a pleasant and heart-warming watch thanks to the performances of its main cast. Troy Kotsur was especially impressive, excelling at comedic relief just as well as he does with his more dramatic scenes. The romance sub-plot was significantly weaker than I remembered it being in Bélier, but that's just another change I think was for the better. It's fairly rare for a remake to improve so much on the original, but CODA definitely manages to hit all the right notes.
However in a surprise turn of events, all of the American version's changes turned out to be vast improvements. It wasn't as melodramatic and over-the-top as La Famille Bélier, and its use of comedy was more realistically integrated, rather than having scenes that served no purpose other than to make a joke. There is also a distinct difference in regards to how sign language is treated, which can likely be attributed to CODA's casting of deaf actors in prominent roles, which was something the original failed to accomplish.
Ruby's interactions with her family are definitely the highlight of the film. The story contained nothing new or unexpected, but it was still a pleasant and heart-warming watch thanks to the performances of its main cast. Troy Kotsur was especially impressive, excelling at comedic relief just as well as he does with his more dramatic scenes. The romance sub-plot was significantly weaker than I remembered it being in Bélier, but that's just another change I think was for the better. It's fairly rare for a remake to improve so much on the original, but CODA definitely manages to hit all the right notes.
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Not going to read that as I also have to watch CODA.
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Ratatouille (2007)
Directed by: Brad Bird
Starring: Patton Oswalt, Lou Romano, Ian Holm
I vastly prefer the look of traditional animation methods over computer-generated images, but even I have to admit that Ratatouille is a fantastic looking film. While the characters, both human and rodent, are highly stylized, many of the buildings have a more classic aesthetic, and the food is typically far more realistic in appearance, sometimes even approaching photo-realism. This artistic blend might sound jarring on paper, but they actually come together quite nicely. Perhaps an appropriate analogy would be that it's an unusual recipe masterfully executed by a talented chef.
Despite being impressed with the opening shots, the first fifteen minutes or so of the film didn't fully interest me. However the introduction of the other main characters, and the shift in focus to Remy and Linguini learning to cook and work together had me fairly engaged. I don't particularly care for the culinary arts, but there's something about cooking shows I find compelling, so whenever people were working in the kitchen, I was extra attentive.
The film started to lose me a bit approaching the final act, but that all changed when the restaurant had to cook for the critic. I absolutely loved every second of that. All the rats, the health inspector, the roller-skating – it all greatly amused me. Peter O'Toole's performance as Ego was amazing, and I could listen to him read his lines all day. The ending was almost too sweet for my taste, but considering it's effectively the dessert course to Ratatouille's heart-warming meal, perhaps those lingering flavours are just the right ones after all.
Despite being impressed with the opening shots, the first fifteen minutes or so of the film didn't fully interest me. However the introduction of the other main characters, and the shift in focus to Remy and Linguini learning to cook and work together had me fairly engaged. I don't particularly care for the culinary arts, but there's something about cooking shows I find compelling, so whenever people were working in the kitchen, I was extra attentive.
The film started to lose me a bit approaching the final act, but that all changed when the restaurant had to cook for the critic. I absolutely loved every second of that. All the rats, the health inspector, the roller-skating – it all greatly amused me. Peter O'Toole's performance as Ego was amazing, and I could listen to him read his lines all day. The ending was almost too sweet for my taste, but considering it's effectively the dessert course to Ratatouille's heart-warming meal, perhaps those lingering flavours are just the right ones after all.
Sh#t YES about O'Toole. Always adore that man, and he was, as he is, perfect. The entire cast did great. Patton Oswalt (Remy) and Lou Romano (Linguini) had an excellent connection. From the moment he stood outside the restaurant, unsure where to stash "Little Chef" and the entire blindfolded practice is a big favorite of mine.
Just great characters and voice acting all around.
Like Janeane Garofalo playing this gentle rosebud
So, YAY!
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CODA (2021)
Directed by: Sian Heder
Starring: Emilia Jones, Troy Kotsur, Marlee Matlin
Directed by: Sian Heder
Starring: Emilia Jones, Troy Kotsur, Marlee Matlin
Even though La Famille Bélier was surprisingly better than I had expected, I honestly never would have watched CODA on my own accord. The only difference appeared to be changing the family's profession from farmers to fishermen, and to me that didn't seem like enough to justify a remake. Hearing that CODA had a more serious tone worried me slightly as well, given how the original needed humour to combat how clichéd its plot was.
However in a surprise turn of events, all of the American version's changes turned out to be vast improvements. It wasn't as melodramatic and over-the-top as La Famille Bélier, and its use of comedy was more realistically integrated, rather than having scenes that served no purpose other than to make a joke. There is also a distinct difference in regards to how sign language is treated, which can likely be attributed to CODA's casting of deaf actors in prominent roles, which was something the original failed to accomplish.
Ruby's interactions with her family are definitely the highlight of the film. The story contained nothing new or unexpected, but it was still a pleasant and heart-warming watch thanks to the performances of its main cast. Troy Kotsur was especially impressive, excelling at comedic relief just as well as he does with his more dramatic scenes. The romance sub-plot was significantly weaker than I remembered it being in Bélier, but that's just another change I think was for the better. It's fairly rare for a remake to improve so much on the original, but CODA definitely manages to hit all the right notes.
However in a surprise turn of events, all of the American version's changes turned out to be vast improvements. It wasn't as melodramatic and over-the-top as La Famille Bélier, and its use of comedy was more realistically integrated, rather than having scenes that served no purpose other than to make a joke. There is also a distinct difference in regards to how sign language is treated, which can likely be attributed to CODA's casting of deaf actors in prominent roles, which was something the original failed to accomplish.
Ruby's interactions with her family are definitely the highlight of the film. The story contained nothing new or unexpected, but it was still a pleasant and heart-warming watch thanks to the performances of its main cast. Troy Kotsur was especially impressive, excelling at comedic relief just as well as he does with his more dramatic scenes. The romance sub-plot was significantly weaker than I remembered it being in Bélier, but that's just another change I think was for the better. It's fairly rare for a remake to improve so much on the original, but CODA definitely manages to hit all the right notes.
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I was not aware that Wages of Fear was The Sorcerer story. I've seen The Sorcerer and wasn't impressed but this... I loved this. Even the beginning half hour, which was a bunch of character setting was good and just flew by but once they start moving product it went next level fun.
I'm not going to say a lot about the plot except that four guys are to transport two truckloads of nitro glycerin through mountainous dirt roads for two thousand dollars apiece. It's a suicide mission. Thee company doesn't expect them all to survive. Three of the guys, Bimba, Luigi and Mario are solid dudes, they are well aware of what they're up against and are very resourceful. Jo, the gun toting, BMOC, former gangster, is a little bitch and I wish Mario had left him on the side of the road a few times. However, if Mario had done that we wouldn't have had one of the best moments of the film when Mario, also sick of Jo's crap, beats Jo down pretty good, then, when it's all over, Mario just slaps him one more time for good measure. Just completely demoralizes Jo. It was great. Gave a little tee-hee at that. Bimba and especially Luigi are two guys you'd love to have a beer with. Just lighting cigars and transporting explosives.
So the beginning was really interesting but once they hit the road the pacing of this movie is perfect. This is really one of the fastest two hours I can remember thanks in part to three great, high tension, scenes. The switchback scene was fantastic. Loved the close up shots of the wheels working, watching the ass end of the truck start sliding out towards the edge of a bridge, then, later, meeting a gigantic rock blocking the road and figuring out how to get through that and finally, finding a way to navigate an oil pit. All three scenes were top notch.
The acting is fine, I really enjoyed the cinematography and the ending sucks. Hard! The movie is five minutes too long. But I could watch this again and just turn it off at the 2:05 so I'm not gonna knock it any points for that because for just over two hours I was thoroughly enjoying this movie. Thanks to whomever selected this one. Easily one of the more entertaining movies I've seen from the 50's.
So glad to hear you loved this. So did I when I had the pleasure of getting it in the Second Personal Rec HoF. Fully agree with everything you said about this one.
I wrote, "Director Henri-Georges Clouzot knows when to use extreme angles, when to set up close-ups and when to give a more grand scale to what is occurring to this collection of desperate individuals where no one is the good guy. Nor is anyone truly bad, either. Just a very, highly dangerous job needs to be done, and Clouzot gives us four flawed men with pasts looking for enough cash to get the hell out of the crummy town they've been stuck in."
Really need to rewatch this one. And so many others lol
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OK, that was weird, this was the first one I responded to and she vanished, so,
I’m A Fugitive Of The Chain Gang
Unfortunately this is the first hall rec that really didn’t work for me at all. When I feel the age of an older film it usually is about the pacing. That was certainly the case here. It’s just a jump from plot point to plot point. At numerous times those jumps are marked by simply watching the pages of a calendar fall to the floor. I really don’t like that device at all.
When I thought this film would work for me is when we are spending time with the chain gang. There is so little time spent there I really didn’t get to enjoy it.
It’s a bummer. I don’t like being this negative, but this one was a let down.
That would be me. Sorry, man.
Both you and raul are complete and utter enigmas to me when it comes to these. You both always surprise me with what you like and don't. Still try though. Not well -- lol
I’m A Fugitive Of The Chain Gang
Unfortunately this is the first hall rec that really didn’t work for me at all. When I feel the age of an older film it usually is about the pacing. That was certainly the case here. It’s just a jump from plot point to plot point. At numerous times those jumps are marked by simply watching the pages of a calendar fall to the floor. I really don’t like that device at all.
When I thought this film would work for me is when we are spending time with the chain gang. There is so little time spent there I really didn’t get to enjoy it.
It’s a bummer. I don’t like being this negative, but this one was a let down.
That would be me. Sorry, man.
Both you and raul are complete and utter enigmas to me when it comes to these. You both always surprise me with what you like and don't. Still try though. Not well -- lol
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OK, that was weird, this was the first one I responded to and she vanished, so,
That would be me. Sorry, man.
Both you and raul are complete and utter enigmas to me when it comes to these. You both always surprise me with what you like and don't. Still try though. Not well -- lol
That would be me. Sorry, man.
Both you and raul are complete and utter enigmas to me when it comes to these. You both always surprise me with what you like and don't. Still try though. Not well -- lol
I was glad to see it even though I didn’t care for it. Sorry brother
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I was glad to see it even though I didn’t care for it. Sorry brother
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Collateral (2004)
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I caught up with Collateral when it appeared on the 2000s top 100 Countdown and thought it was pretty good - especially the set-up, which makes the first half so interesting. Slowly revealing just how ruthless Tom Cruise's character is was great. I really like the short villainous part Javier Bardem had in it. I rated it quite highly at the time.
I haven't seen CODA, but I've seen La Famille Bélier, which it's based on - which I thought was kind of average.
It's been way too long since I last saw Being John Malkovich, which I remember being another brilliantly written film from Charlie Kaufman (and credit too, to Spike Jonze.) I love most of Kaufman's stuff.
I haven't seen CODA, but I've seen La Famille Bélier, which it's based on - which I thought was kind of average.
It's been way too long since I last saw Being John Malkovich, which I remember being another brilliantly written film from Charlie Kaufman (and credit too, to Spike Jonze.) I love most of Kaufman's stuff.
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Latest Review : Le Circle Rouge (1970)
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I've not seen CODA but now I'm wondering why didn't anyone choose it for me?
That might be the first time I've seen someone review a remake of a foreign language film and like it better than the original.
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