Let me start with a few which don't need big write-ups and then move on to others which deserve a bit more discussion. Trust me; it's just a coincidence I give the first few the same rating.
Talladega Nights: The Ballad of Ricky Bobby (Adam McKay, 2006)
- I'll be the first to admit that this film has several laughs, but this is also one of those films which lessens the laughs by being overlong and repetitious. For example, Gary Cole is refreshingly un-PC as Ricky's dad, but he would have been even better if he didn't keep doing and saying so many disgusting things. He should have probably had half as many scenes. In fact, just because there are jokes and idiot characters doesn't mean you have to trot out every single thing you can think of. Try to show the best for the characters, the story and the movie, and leave the others on the cutting room floor. That's what the "Deleted Scenes" section of the DVD is for.
The Guilt of Janet Ames (Henry Levin, 1947)
- This film isn't exactly entertaining, but it's something akin to a film noir crossed with a variety show. It's a totally unrealistic, yet creepy and bizarre psychological "thriller" about how Rosalind Russell becomes psychosomatically paralyzed, and reporter Melvyn Douglas tries to "cure" her.
Solomon and Sheba (King Vidor, 1959)
- This film has an interesting back story. Tyrone Power began filming the role of Solomon, but died halfway through while filming a swordfight. Yul Brynner replaced him. Much of this film is silly and almost campy, but other sections are quite sincere and there are a few moments of sexiness and action which help to make it
almost watchable. I probably have a softer spot for it than most because I probably saw it on TV about five times before I was 12.
Dark Purpose (George Marshall/Vittorio Sala, 1964)
- Set in Naples, this is a romantic thriller which begins a bit slowly, but then the Gothic nature of the plot kicks in and most of the best scenes are saved for the last half. Basically, Shirley Jones comes with her boss, art appraiser George Sanders, to a huge estate, filled with art, owned by Rosanno Brazzi. Brazzi has a sick daughter (Giorgia Moll) who eventually becomes more important in the plot. Although Shirley falls in love with Rosanno, she cannot help but think there's something strange involving him and his daughter. Also, remember that he has a killer dog on the premises!
Good Times (William Friedkin, 1967)
This film is actually much better than its reputation. Much of it is silly and empty, but other parts are quite meaningful, and in the case of the Mickey Spillane spoof near the ending, pretty funny. Sonny and Cher are approached to make a movie. Sonny likes the idea, but Cher knows it won't turn out the way they'd want it. Sonny visits eccentric billionaire producer George Sanders and agrees to a contract, but when he hears the story idea, he says it's impossible for the married singing duo to make that film. Sanders explains that shooting will commence in 10 days, so that's how long Sonny has to come up with an alternative script.
I'll be the first to admit that the spoofs of westerns (
High Noon specifically) and jungle flicks are a bit unfunny, yet they at least have some good ideas and Friedkin (
The French Connection, The Exorcist), in his feature debut, already shows adeptness at shooting and editing scenes. Most of the best parts in the film are all in the last half hour, so try to stick with it if you invest the time to start watching. There is a legit message in this film which may have been more counterculture in the '60s, but remember now, Sonny Bono was elected to the U.S. Congress as a Republican, not to mention that he eventually became a Scientologist (!!).
P.S. Keeping with my idea that the film's final third is easily the best, the two best songs are sung in the final 10 minutes.
The Visit (Bernhard Wicki, 1964)
This is the kind of film I would love to see made more often. Millionaire Ingrid Bergman returns to her hometown amidst pomp and circumstance, even though most of the longtime residents ran her out of town twenty years earlier as a whore. Back then, she had a baby and claimed a certain Anthony Quinn was the father. Quinn made sure her character was impugned as a tramp by having other young men testify falsely that she slept with them. After giving birth, her baby was taken away (only to die within months) and she was forced to leave town. Meanwhile, Quinn married a rich woman and has become a prominent businessman in the community.
At the great dinner thrown in honor of her successful return to the town, Bergman announces that she will pay the town treasury "a million" and the citizenship of the town another "million", divided equally amongst themselves, if they agree to kill the Quinn character. The subsequent scenes speak loudly about human nature. I suppose the film could be seen as allegorical, but it works just as well as if you take it literally. Plenty of things happen, and I doubt you could predict all the twists and turns.
In Bruges (Martin McDonagh, 2008)
I watched this wonderful film tonight, and my first impression is a HIGH
. I'm going to wait to write it up after I watch it again. I will say that it's very impressive in almost every single regard. I laughed a lot and was very happy to find extreme depth to all the characters as well as a kind of internal logic which made me feel I could let a few "implausiblities" slide. I highly recommend this one.
,) well, that is because I'm not sure how to expand my thoughts other than "it's funny." Peter La Fleur (played by a perfectly cast Vince Vaughn) does seem like an "average Joe" and White Goodman (played by a perfectly cast Ben Stiller) is so freaking weird, but so freaking hilarious. The rest of the actors are also perfectly cast and everyone is highly beliveable. Sure the story is predictable and it is crude and rude, but you tell me that the bits of Gary Cole's Cotton McKnight and Jason Bateman's Pepper Brooks aren't hilarious.
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