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Is there? There’s definitely enough material for a play.



Apparently there is, most recently in 2012 starring Jessica Chastain:


https://en.wikipedia.org/wiki/The_Heiress_(1947_play)


I'd like to see that now. We'll see if they do another revival.
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X - I noticed something about Ti West's movies. At least the ones he's directed which is nine total. In every single instance the audience scores at RT were demonstrably lower than critics scores. Even this one. 75% audience as opposed to 94% critics. I've seen five of his nine and I thought I was an outlier because I was left a little bit underwhelmed by most of them. Even this one. It's not bad but there's nothing really original here. And I get that it's a homage to so many past horror classics and grindhouse films in general. I'd personally like to see what the end result would be if West relinquished control of the writing duties and maybe tried adapting a promising script. That way he could concentrate on directing it. I think that would give people a clearer sense as to his film making expertise.

A group of aspiring pornographers make their way to an isolated Texas farmhouse with the intent of filming a skin flick and tapping in to the burgeoning adult home video business. The elderly owner of the property has no clue as to their intentions but when his doddering wife wanders off and observes the group's activities it triggers an unexpected response.

You can basically tick off all the movie influences involved including Texas Chainsaw Massacre and Friday the 13th and West does a good job of recreating the exact vibe. Certainly clearer than anything Rob Zombie, for instance, attempted several times. But it doesn't really refine West's intent or even help define his particular skill-set. I think as far as his filmography goes this could be seen as Ti West in a holding pattern.

75/100



Pinocchio, i will be rating 7.5/10.



Victim of The Night




X - I noticed something about Ti West's movies. At least the ones he's directed which is nine total. In every single instance the audience scores at RT were demonstrably lower than critics scores. Even this one. 75% audience as opposed to 94% critics. I've seen five of his nine and I thought I was an outlier because I was left a little bit underwhelmed by most of them. Even this one. It's not bad but there's nothing really original here. And I get that it's a homage to so many past horror classics and grindhouse films in general. I'd personally like to see what the end result would be if West relinquished control of the writing duties and maybe tried adapting a promising script. That way he could concentrate on directing it. I think that would give people a clearer sense as to his film making expertise.

A group of aspiring pornographers make their way to an isolated Texas farmhouse with the intent of filming a skin flick and tapping in to the burgeoning adult home video business. The elderly owner of the property has no clue as to their intentions but when his doddering wife wanders off and observes the group's activities it triggers an unexpected response.

You can basically tick off all the movie influences involved including Texas Chainsaw Massacre and Friday the 13th and West does a good job of recreating the exact vibe. Certainly clearer than anything Rob Zombie, for instance, attempted several times. But it doesn't really refine West's intent or even help define his particular skill-set. I think as far as his filmography goes this could be seen as Ti West in a holding pattern.

75/100
Interesting.
I saw this as a major breakthrough for him, not only integrating his influences seamlessly enough to me that I felt like this film was one of them, but really bringing everything together and delivering all the way through for once.
This is still my second-favorite movie of the year.

By the way, watched your namesake last night, will be writing it up in my thread in a few days.



Interesting. I saw this as a major breakthrough for him, not only integrating his influences seamlessly enough to me that I felt like this film was one of them, but really bringing everything together and delivering all the way through for once.
Even though I used the term "holding pattern" I can see why some would see this as a progression of sorts. It's definitely a more polished product but I still feel we haven't heard him speak in his own distinctive voice. HIs previous outings did leave me a bit underwhelmed and came off a little ... I don't know ... featureless maybe? I guess what I'm trying to say is that I'm not sure the "quintessential Ti West" film exists.

By the way, watched your namesake last night, will be writing it up in my thread in a few days.
Cool. Looking forward to it.



I forgot the opening line.

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A United Kingdom - (2016)

Seretse Khama (David Oyelowo) is living in Britain, but is heir to the throne of the kingdom of what will be called Botswana - to Ruth Williams, he's just a jazz loving, handsome and intelligent guy. When they become inseparable, there's only one recourse - to marry, despite attempts from outsiders to bar the union. This is kind of like the real-life version of Coming to America, except our king's wife is white - and the fact that this marriage is biracial causes a world-wide political storm. Britain is dependent on South African gold at the time this is happening, and it's South Africa that does everything to try and oust Seretse - eventually getting him to travel to Britain, where he's refused entry back into his own country. Separated, the couple begin a campaign for justice that will last years. What we have here is some dull, uninspired filmmaking - but the story being told is so uplifting and rousing that you'll want to cheer by the time the film ends. A great love story that more people should really know about - it's history worth teaching.



6/10


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The Black Dahlia - (2006)

I've been fascinated with this ever since it came out and got some of the most scathing reviews I've ever heard. I was surprised by how average it really was - which I guess is an unpardonable crime for a filmmaker of Brian De Palma's status. It tries to pack a lot of the novel into it's two hours (this was originally envisaged to be a miniseries with multiple big stars, directed by David Fincher.) What we get has lackluster performances and a plot which constantly veers off track and loses what should have been a constant focus. There are many cul-de-sacs to get lost down, considering how many red herrings and reveals there are and Josh Hartnett isn't equipped to lead us in a story like this - we needed a little innocence, but someone with more clout. Freaky real life murder - a mystery that's fascinating, but not a lot of that comes through in the fictional account.

5/10


By Richard Amsel - Impawards, Fair use, https://en.wikipedia.org/w/index.php?curid=13769673

The Big Sleep - (1978)

What a bizarre thing this is. This version of Raymond Chandler's famous novel features an old Robert Mitchum as Philip Marlowe - all of the action transported to what was a contemporary setting in '78. It's also packed with big names - Oliver Reed, James Stewart, Edward Fox and Joan Collins to name just a few. Mitchum is far too old and ugly to play the detective - when young ladies are going ga-ga over him, it doesn't make sense, even in context. In any case, the actor doesn't appear to be present, and it feels like he's performing the role under hypnosis. The rest comes off like somebody is directing an amateur play, making this Big Sleep one of those bad movies you have to see to believe. I never knew this existed. It's Michael "Death Wish" Winner's baby - and an ugly baby to boot.

3/10
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Victim of The Night

By Richard Amsel - Impawards, Fair use, https://en.wikipedia.org/w/index.php?curid=13769673

The Big Sleep - (1978)

What a bizarre thing this is. This version of Raymond Chandler's famous novel features an old Robert Mitchum as Philip Marlowe - all of the action transported to what was a contemporary setting in '78. It's also packed with big names - Oliver Reed, James Stewart, Edward Fox and Joan Collins to name just a few. Mitchum is far too old and ugly to play the detective - when young ladies are going ga-ga over him, it doesn't make sense, even in context. In any case, the actor doesn't appear to be present, and it feels like he's performing the role under hypnosis. The rest comes off like somebody is directing an amateur play, making this Big Sleep one of those bad movies you have to see to believe. I never knew this existed. It's Michael "Death Wish" Winner's baby - and an ugly baby to boot.

3/10


I had no idea this exists.
So, I am a big fan of the novel. And of Chandler in general. But specifically the novel. I think the Bogie/Bacall film is a good film in a vacuum, but if you read the novel you'll understand why that film leaves a lot of meat on the bone that's hard to just let go of.
But this. I mean, part of me wants to see it because a film like The Long Goodbye is such a wonderful out-of-its-time interpretation of Chandler's source material... but on the other hand, this whole thing with like really old men, from a mating perspective (I mean Mitchum is SIXTY-TWO in this film), being a sexy draw for young women and easily commanding their affection, it really turns me off these days in most cases (one exception, oddly is Atlantic City with Burt Lancaster and Susan Sarandon, where that May/December thing for some reason feels like it makes some sense). And Mitchum was a fairly weathered-looking man by that point.
I dunno, I think I'll pass on this one, honestly.



I forgot the opening line.


I had no idea this exists.
So, I am a big fan of the novel. And of Chandler in general. But specifically the novel. I think the Bogie/Bacall film is a good film in a vacuum, but if you read the novel you'll understand why that film leaves a lot of meat on the bone that's hard to just let go of.
But this. I mean, part of me wants to see it because a film like The Long Goodbye is such a wonderful out-of-its-time interpretation of Chandler's source material... but on the other hand, this whole thing with like really old men, from a mating perspective (I mean Mitchum is SIXTY-TWO in this film), being a sexy draw for young women and easily commanding their affection, it really turns me off these days in most cases (one exception, oddly is Atlantic City with Burt Lancaster and Susan Sarandon, where that May/December thing for some reason feels like it makes some sense). And Mitchum was a fairly weathered-looking man by that point.
I dunno, I think I'll pass on this one, honestly.
Yeah, when I read that in the novel Philip Marlowe is 33 the discrepancy really stands out, and as you say, if anything Mitchum looks older than his age. He refers to General Sternwood as "the old man" and I think the odd comment like that should have been tweaked considering they both look the same age. But, as long as you know that this actually happened - you can add it to your mental file of cinematic oddities. I'll have to read the novel. I really need to see Atlantic City too - I've been wanting to see that for years.



Victim of The Night
Yeah, when I read that in the novel Philip Marlowe is 33 the discrepancy really stands out, and as you say, if anything Mitchum looks older than his age. He refers to General Sternwood as "the old man" and I think the odd comment like that should have been tweaked considering they both look the same age. But, as long as you know that this actually happened - you can add it to your mental file of cinematic oddities. I'll have to read the novel. I really need to see Atlantic City too - I've been wanting to see that for years.
The novel may shock you, it did me. Just in terms of the taboos it takes on despite it being 1939. They couldn't put any of it in the movie in 1946 so the movie follows the same beats as the book, more or less, but has a very different central plot.
I liked Atlantic City. Something about the way Lancaster is and the Sarandon's character makes it make a little more sense. Nice movie too. Louis Malle.



Bright light. Bright light. Uh oh.

Hot Water (Fred Newmeyer & Sam Taylor, 1924)
6.5/10
Grimcutty (John Ross, 2022)
5/10
A White, White Day (Hlynur Pálmason, 2019)
6/10
Speedy (Ted Wilde, 1928)
7/10

Speedy (Harold Lloyd) takes his date (Ann Christy) for a date at Coney Island before trying to save her dad's business and get Babe Ruth killed in his cab taking him to Yankee Stadium.
Slither (Howard Zieff, 1974)
- 6.5/10
Teenager (Gerald Seth Sindell, 1974)
5/10
Dressed to Kill (Roy William Neill, 1946)
6/10
The Good Boss (Fernando León de Aranoa, 2021)
6.5/10

Business owner Javier Bardem likes to micromanage his factory and employees' personal lives, but he finds ot can come back to bite him in the ass.
The Woman in Green (Roy William Neill, 1945)
6/10
Winterbeast (Christopher Thies, 1992)
- 5/10
Rosa Rosae: A Spanish Civil War Elegy (Carlos Saura, 2021)
6/10
I Know Where I'm Going! (Michael Powell & Emeric Pressburger, 1945)
+ 7.5/10

Desperate know-it-all Wendy Hiller tries to travel to a Hebrides island while navyman Roger Livesey takes some enjoyment in her getting her face smashed with water for her foolishness.
The Road to Galena (Joe Hall, 2022)
5.5/10
Corvette Summer (Matthew Robbins, 1978)
- 6.5/10
Togo (Israel Adrián Caetano, 2022)
5.5/10
The Sound of 007 (Mat Whitecross, 2022)
+ 6.5/10

History of James Bond's 60 years in movies is told through its music and songs by actors, critics, songwriters and singers, including Shirley Bassey who sang two including the iconic "Goldfinger".
Those Magnificent Men in Their Flying Machines (Ken Annakin, 1965)
7+/10
After Ever Happy (Castille Landon, 2022)
5/10
Halloween Ends (David Gordon Green, 2022)
5.5/10
High Noon (Fred Zinnemann, 1952)
7+/10

Just retired and married marshal Gary Cooper decides he must defend himself, his wife (Grace Kelly) and his town against outlaws who have arrived and sworn to kill him.
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Jungleland (2019)

This was a tight little story about 2 brothers (Charlie Hunnam and Jack O'Connell) trying to get ahead under difficult circumstances. They are dreaming of a fight career for the younger brother but he has had to turn to illegal fights due to the past of his brother/manager. Good interaction between the mains but a rather predictable last 3rd. Good I'd say, and doesn't hang around which is refreshing.








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



I forgot the opening line.

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Star 80 - (1983)

On August 14th, 1980 Paul Snider shot and killed Playboy Playmate and actress Dorothy Stratten - Snider was her husband, but Stratten had outgrown the small-time pimp and con-man, and had started a relationship with director Peter Bogdanovich. This film is a dramatic retelling of what happened, with Mariel Hemingway as Stratten and Eric Roberts as Snider - and being a true story, it's not an easy watch. There's a certain kind of discomfort you get, watching Roberts embody such a slimy character - and seeing his private moments only heightens that feeling. I wouldn't say that everything in this is precise, but Bob Fosse's film is interesting and intimate. It's primarily about control, and shows us a relationship that involves a modicum of love, but one that is mostly about the control Snider has over what he sees as his ticket to the big time. Does this man even have the ability to love? Some personality disorders preclude it, but his jealousy is real. Anyway, this film feels a little exploitative, so it's really hard to rate - it's a good film aside from that. It's structured in a faux-documentary kind of way, but crosses over into straight narrative to bring us this story directly.

7/10


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Troll Hunter - (2010)

I'm sorry, but I just don't get it. I've tried a few times, since this film was so warmly received on it's release - but a found footage film about trolls is too ridiculous for me to enjoy. It makes absolutely no sense - these massive creatures roaming around, and yet nobody really knows about them until this film crew tags along with a troll hunter and records his activities. It loses me as soon as we get to the first troll. My mind goes "too silly" and shutdown commences, where my mind still sticks with the film, but only in a 'lets get this over with' sense. They're that easy to kill but have lifespans beyond 1000 years? I can't invest myself at all. To all you Troll Hunter lovers reading (and I know there are many) - simply, no.

4/10


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Brüno - (2009)

I find Borat to be an extremely hilarious creation - a character for the ages. Brüno much less so. This film still has the requisite humour and the situations Sacha Baron Cohen gets his character in has me grimacing so much my face hurts after watching. That style, where he purposely develops extremely embarrassing and awkward moments, always sets me on edge. As usual, there are many moments where I can't help but express my surprise and fear out loud. But for all of the comedy and commentary on modern culture, Brüno still struggles a lot character-wise, and isn't as endearing as Borat. You get the feeling that this man is repeating himself here, and needs to move on to something new (but not Grimsby - that was awful) before he starts completely stuck.

6/10







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



The Stars at Noon - A drama, very strangely filmed. So far, the only movie I’ve seen that did this, but it’s set in Nicaragua, during the revolution in 1984. I found myself temporally shifted, inasmuch as the cast wears masks, even though there’s no covid in 1984. This touch added nothing to a movie that was inscrutable even before masking up.

Anyway…..it’s 1984 (not THAT one, however) and things are ugly in Central America. The main character, an American woman is either author or prostitute, depending on what moment this is in the plot line. Running afoul of the Sandinistas, meeting up with a British lover and doing her “other line of business” (prostitution) all play a role in this befuddling plot. There’s also an American, probably CIA, an Israeli agent, a cameo from John C Riley and lots of soldiers acting threatening. In case you’re not confused yet, part of it is in English, part in Spanish, some neither and some subtitled. Lots of dialog is muttered and easy to miss.

Well….how was it? It certainly was tense, and, as these movies go, of course, you don’t know who is a double or triple character, but really…really? I’m good with intrigue, seen lots of spy movies, but I don’t get the point of this. Yeah, love in the time of revolution, I know, but is it love or just sex…not sure about that either.

- For general intelligibility
- For cool looking actors and tension about what would happen






The Gentlemen, 2019

Raymond (Charlie Hunnam) is the right hand man to marijuana kingpin Michael (Matthew McConaughey), and as the film begins he is visited by sleazy reporter Fletcher (Hugh Grant). Fletcher has written an expose script of everything he knows about what's been happening in Michael's world over the last few months. As the two men talk, a complex story unfolds involving a local boxing coach (Colin Farrell), a wealthy potential investor (Jeremy Strong), Michael's wife (Michelle Dockery), a tabloid writer (Eddie Marsan), and an ambitious gangster (Henry Golding).

This is an enjoyable bit of crime fluff, anchored by a sprawling cast that's clearly having a good old time with their roles and a bouncy style that keeps the story moving along.

As a quick glance at the IMDb page of this film shows, there is a lot of talent on board here. Certainly one of the strongest aspects of the film is the way that it balances the screen time of all of its characters. We keep tabs on the different characters enough that you never forget what's going on with any of them.

Additionally, the cast all do a great job in their roles. Dockery is great as Michael's dryly sarcastic wife, Rosalind. Grant, Farrell, and Marsan are their usual reliable selves. Farrell channels some very fun dad energy as he attempts to manage a stable of genial but dim-witted boxers who also like to make their own rap videos.

The biggest surprise for me was Hunnam. Don't get me wrong, I think he's a very charismatic actor. But I think that he can be a bit inconsistent in his performances. I thought that he would be lost in this cast, but instead he ends up as the surprisingly solid center of the film. His Ray is a strong silent type, but in certain key moments he gives a physical movement or a line delivery that is unexpected.

I tried watching this film about a week ago and it really was not clicking with me so I bailed out around 30 minutes in. This time I was much more on its wavelength and watched it from beginning to end. I would give it a compliment that despite a lot of plot, it wasn't hard to keep track of what was happening. There are betrayals and revisions of scenes/information, and yet tracking it all was no big deal.

I was also surprised at the nature of the violence in the film, which was far less cruel than I expected. I've gotten kind of worn out on films in this genre throwing in shock violence as dark humor, like someone suddenly killing an animal or showing graphic beatings or fingers being cut off or whatever. I appreciated that the violence mostly matched the more bubbly tone of the movie.

The only real issue I had with the film was that at times the meta stuff it was doing was a bit too cutesy for me. Using the conceit that Fletcher is describing his version of events, there are several times that it's acknowledged that Fletcher is telling the more "sellable" version of events. This leads to things like scenes being replayed, scenes being "rewound", little hand-written notes popping up on the screen, and so on. On their own, the moments are okay, but taken as a whole it felt a bit forced at time. I think I may have enjoyed the film more without the whole "and it's a script!" plot framing device.

Definitely recommended!






Red Rocket, 2021

Mikey (Simon Rex) is an adult film actor who, having alienated his connections and associates back in LA, arrives via bus back to his small Texas hometown. After a contentious encounter with his wife Lexi (Bree Elrod) and her mother Lil (Brenda Deiss), Mikey convinces the women to let him crash at their home temporarily. Unable to find lawful employment, Mikey goes back to dealing pot. But things take a real turn when a young donut shop worker nicknamed Strawberry (Suzanna Son) catches Mikey's eye.

In director Sean Baker's films The Florida Project and Tangerine, there is an intense degree of suspense as the characters' triumphs play out. You absolutely know that whatever is going well in their lives, the other shoe is waiting to drop. The main difference with Red Rocket is that its central character is so loathsome that you kind of can't wait for the world to grind him underfoot.

I think that your response to this film will largely depend on whether or not you see its portrayal of Mikey as being empathetic or positive at all. I absolutely did not. In every single interaction in the film, we see that Mikey cares only about himself and not one bit about how his actions harm those around him.

As with all of his films, Baker populates this movie with characters who are complex and flawed. Lexi, who has her own history with adult movies and is forced to rely on Craigslist-based sex work to make money, should know better. But Mikey, despite his flaws, brings a familiarity that acts as a close-enough proxy to safety. The more we learn about Lexi, the more sympathetic she seems, even if it's clear that she makes poor decisions and that she has done her own share of harm. Neighbor Lonnie (Ethan Darbone) is thrilled to get to pal around with Mikey, not realizing that he's mainly being used as a pair of wheels. Lonnie lives with his widowed father and makes his own inexplicable choices.

Strawberry, though, stands out in the film because of all the people in the film, she's the one who shouldn't know better. Strawberry is at a turning point in her life, getting ready to turn 18 and venture out on her own. In her desire to be an adult, you can see how she imagines herself as being an equal to Mikey. As he continues to push on acceptable boundaries--flirting with her after learning her age, taking her to a strip club, having sex with her--she is unable to see these actions as inappropriate. Instead she is flattered that Mikey finds her mature enough for such pursuits. Unlike Baker's other films, we do not want our protagonist to succeed. Instead, the tension comes from wondering how much damage he will do before he is stopped, if anything can stop him.

This is a movie about a man grooming a young woman for sexual exploitation. Not just in the sense of pursuing a sexual relationship with her, but in dreaming of using her as a way back into the porn industry. There's a running joke about Mikey bragging about winning adult film awards and then being questioned about why he won when the woman did all the work in the scene. His answer that he's really always the one in control says a lot about his character and how he views the women he works with. And yet as openly gross as Mikey is, this is also kind of a movie about how this kind of grooming is able to happen. When Mikey crows that Strawberry is 17 and therefore "legal", Lonnie barely blinks an eye. While Strawberry's boss at the donut shop sees what is happening, she doesn't really do anything to stop it. Strawberry's parents are notably absent from the entire film.

Overall I did find the film to be pretty funny, despite the serious subject matter. Mikey's posturing is a constant source of cringe humor, especially a sequence where he insists on having Strawberry drive him to the home of a boy she dated so that he can threaten the kid. There are also some great moments from the supporting cast, especially Brittney Rodriguez as June, the daughter of the woman who Mikey gets his weed from. June is distinctly immune to any of Mikey's charms, and stands as a counter-point to Strawberry.

I do question a bit whether or not the film has to be as explicit as it is. There is relative parity in terms of who is nude and whatnot, but I don't know that so many scenes between Mikey and Strawberry were necessary. We are supposed to be upset by the way that Mikey plans to exploit Strawberry and her body and her youth, and yet it feels like the film is doing just that to a certain extent. In terms of how those scenes function---showing us Strawberry's infatuation with Mikey, showing us his behavior towards her--I don't know that they had to be as graphic.

Really good performances and I enjoyed the plot progression, as much as it felt like watching 122 minutes of a train wreck.