Thief's Monthly Movie Loot - 2021 Edition

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A film with a title that starts with the letters K or L: Legally Blonde (2001) Review here. I wanted to like it more!
I haven't seen that film since it came out and the only thing I remember is an early scene where Reese kinda shots back at a bitchy rival, proving that she's actually "smart". But that's it. A complete blank, which is not a good sign.
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QUICKSAND
(1950, Pichel)
A film with Peter Lorre



"I feel like I'm bein' shoved into a corner, and if I don't get out soon, it'll be too late. Maybe it's too late already!"

"A kingdom was lost for the want of a nail", or so says a proverb that teaches about the impact that small deeds might have and how something seemingly inoffensive can escalate into unexpected tragedy. That's the kind of situation that has Dan Brady (Mickey Rooney) feeling like he's "bein' shoved into a corner" in this 1950's little film noir.

Quicksand follows Brady, a car mechanic that in his attempt to woo a mysteriously shady woman (Jeanne Cagney) finds himself ensnared in an escalating chain of disreputable and criminal acts. What starts as a seemingly innocent snatch of $20 out of his work's cash register spirals into theft, kidnapping, and maybe even murder.

This film was brought to my attention by Apex Predator and I was immediately intrigued by it. The film is very small scale in terms of goals and stakes, but that works to its advantage. Rooney is solid in the lead role, conveying that certain naive cockiness to the character, while Cagney is pretty good as "femme fatale" Vera. The cast is rounded out by Peter Lorre as the seedy owner of an arcade that has a history with Vera, and with whom Brady clashes in his descent.

Unfortunately, even though the film is relatively short (80 minutes), it does strain its length a bit. As good as Lorre is, his character's role is fairly small and is forgotten during the second half. The film also has a bit of a cliché and awkward last act/epilogue that might've very well been forced by the studio.

Despite those gripes, Quicksand still manages to be a fairly entertaining watch with solid performances and a very effective "noir-ish" atmosphere.

Grade:



Nice! I almost recommended that one but thought it might be too much of a "deep cut".
The way Rooney keeps digging his hole ever deeper starts to get borderline comical. At any point he could've just explained "OK look, here's what happened..." and saved himself the grief, but I still thought this was entertaining.
I mean, how many movies feature a Mickey Rooney/Peter Lorre fistfight? Not nearly enough, is the answer.
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Nice! I almost recommended that one but thought it might be too much of a "deep cut".
The way Rooney keeps digging his hole ever deeper starts to get borderline comical. At any point he could've just explained "OK look, here's what happened..." and saved himself the grief, but I still thought this was entertaining.
I mean, how many movies feature a Mickey Rooney/Peter Lorre fistfight? Not nearly enough, is the answer.
Haven't you been paying attention? This thread is 60% "deep cuts"

No, but seriously, it's a solid film. Rooney has that necessary "tough guy" charisma combined with naivete for the role, which kinda suits his 5'2" build. And the fact that Lorre is also 5'2", well, that makes it a perfect combination.



Haven't you been paying attention? This thread is 60% "deep cuts"
Ha, that's true but I also couldn't remember if Lorre got a bunch of screentime in that one, so I ultimately decided to skip it. Glad you found it anyway.



A film from the Criterion Collection whose number includes the #6 (i.e. 16, 506, 761): Invention for Destruction (1958) (#1016) Review here. Absolutely amazing.



As I mentioned a while ago, I was a guest at Piecing It Together Podcast, with David Rosen. We talked about Spiral and the films that we feel serve as "inspiration" for it.

Spiral (featuring Carlo from Thief's Monthly Movie Loot))

Check it out. It's also on Spotify, Stitcher, Apple Podcasts, and whatnot.



@Thief Out of curiosity, would you happen to have your podcast episode where you broke down the first couple kills in The Texas Chainsaw Massacre. I was wondering if I could show that episode to one of my friends on a different site. Speaking of which, would you be cool with me doing this?
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@Thief Out of curiosity, would you happen to have your podcast episode where you broke down the first couple kills in The Texas Chainsaw Massacre. I was wondering if I could show that episode to one of my friends on a different site. Speaking of which, would you be cool with me doing this?
Of course I'm cool with that. The more the merrier. Here is the link...

Thief's Monthly Movie Loot - Special Episode II (The Texas Chain Saw Massacre)

Or if he prefers Spotify, use this one.

Also, here is the general link for the podcast. From there you can browse all episodes and follow links to listen on Spotify, Google Podcasts, Podchaser, etc.

Thanks!



Of course I'm cool with that. The more the merrier. Here is the link...

Thief's Monthly Movie Loot - Special Episode II (The Texas Chain Saw Massacre)

Or if he prefers Spotify, use this one.

Also, here is the general link for the podcast. From there you can browse all episodes and follow links to listen on Spotify, Google Podcasts, Podchaser, etc.

Thanks!
Okay, thanks



DEEPSTAR SIX
(1989, Cunningham)
A film with the number 6 (Six, Sixth, etc.) in its title • A horror film



"We have no idea what type of marine life we're dealing with!"

That's the warning that marine biologist Scarpelli (Nia Peeples) gives to Dr. Van Gelder (Marius Weyers) when he orders to detonate a cavern in order to secure some underwater missile system. Of course, as is the case in this kind of films, Van Gelder pays no attention and the explosion unleashes an underwater sea creature that threatens the safety of the crew of the DeepStar Six, a US Navy underwater station.

DeepStar Six, the film, follows the crew that then has to deal with this creature, as well as dealing with their respective attitudes and agendas. The crew includes submarine pilot McBride (Greg Evigan) and love interest Joyce Collins (Nancy Everhard). As for the rest, well, they don't matter that much because the plot is so predictable, that 10 minutes in, you can probably guess who's gonna live and who's gonna die, who's the hero and who's a weasel ($20 if you said Miguel Ferrer).

And that's the main issue with the film. There's a certain laziness to it that pretty much neuters any potential effect that the film could have. From its obvious rip-offs of Alien to the amount of stupid exposition and decisions that the characters make. To make matters worse, for a film that's plagued by such a stupid script and dumb characters, you would've thought they would decide to jump right into the nitty gritty, the kills and the gore; but director Sean S. Cunningham decides to spend a whole hour with the empty banter between the members of the crew before the sh-it hits the fan.

Add to that the inability of director Cunningham to sustain any kind of tension and the choppy editing from David Handman, and you get a pretty mediocre creature film as a result. It is not a complete waste, though. Most of the performances are competent, even if the script and dialogue is stupid, but you get the sense that with some polish and a bit more care to the direction and script, this could've worked much better.

Grade:



The trick is not minding
DEEPSTAR SIX
(1989, Cunningham)
A film with the number 6 (Six, Sixth, etc.) in its title • A horror film





That's the warning that marine biologist Scarpelli (Nia Peeples) gives to Dr. Van Gelder (Marius Weyers) when he orders to detonate a cavern in order to secure some underwater missile system. Of course, as is the case in this kind of films, Van Gelder pays no attention and the explosion unleashes an underwater sea creature that threatens the safety of the crew of the DeepStar Six, a US Navy underwater station.

DeepStar Six, the film, follows the crew that then has to deal with this creature, as well as dealing with their respective attitudes and agendas. The crew includes submarine pilot McBride (Greg Evigan) and love interest Joyce Collins (Nancy Everhard). As for the rest, well, they don't matter that much because the plot is so predictable, that 10 minutes in, you can probably guess who's gonna live and who's gonna die, who's the hero and who's a weasel ($20 if you said Miguel Ferrer).

And that's the main issue with the film. There's a certain laziness to it that pretty much neuters any potential effect that the film could have. From its obvious rip-offs of Alien to the amount of stupid exposition and decisions that the characters make. To make matters worse, for a film that's plagued by such a stupid script and dumb characters, you would've thought they would decide to jump right into the nitty gritty, the kills and the gore; but director Sean S. Cunningham decides to spend a whole hour with the empty banter between the members of the crew before the sh-it hits the fan.

Add to that the inability of director Sean S. Cunningham to sustain any kind of tension and the choppy editing from David Handman, and you get a pretty mediocre creature film as a result. It is not a complete waste, though. Most of the performances are competent, even if the script and dialogue is stupid, but you get the sense that with some polish and a bit more care to the direction and script, this could've worked much better.

Grade:
I watched this when it first was released to vhs, and again a few years ago. Not a great movie at all, but man, that was one imaginative creature.



I watched this when it first was released to vhs, and again a few years ago. Not a great movie at all, but man, that was one imaginative creature.
And yet they didn't really do much with it, other than to have it shake from side to side in that underwater chamber where they first met it, and then that brief encounter above water at the end. It's that laziness that I mentioned that they didn't really seem to have either the budget, resources, or the desire to go beyond what was necessary to put a film out.



The trick is not minding
And yet they didn't really do much with it, other than to have it shake from side to side in that underwater chamber where they first met it, and then that brief encounter above water at the end. It's that laziness that I mentioned that they didn't really seem to have either the budget, resources, or the desire to go beyond what was necessary to put a film out.
I felt the creature itself was portrayed fine enough for what it was.
Now the characters? I couldn’t stand the way they were portrayed. Tried to capture that “Alien under water” vibe and it didn’t work.



Almost forgot to share this. For those interested, the latest episode of Thief's Monthly Movie Loot, Episode 39, dropped a couple of days ago. This time I have Ian, the host of Best Film Ever Podcast, as a guest and we talk about blockbusters in general, box office, "sequelitis", and the impact that big budget films have on cinema. We also talk about their podcast, Best Film Ever, and their success. I sing a bit also

Thief's Monthly Movie Loot 39: The Blockbuster Loot (with Ian from Best Film Ever Podcast)

As usual, we close sharing our Top 5 Blockbusters from this list (well, I cheated a bit)

Also, Spotify users can check it out here.



RED DOT
(2021, Darborg)
A film from Sweden



"You should have turned around long ago."

How often can you say that you've walked into a film completely blind, just a cover/poster and a short description, and be pleasantly surprised by it? Maybe back in the video rental days, but with the Internet and the constant bombarding of trailers, teasers, scoops, and news everywhere, it just doesn't happen often. But that's what happened last night to me as I browsed "Swedish movies" on Netflix and stumbled upon this neat thriller.

Red Dot follows a couple, David and Nadja (Anastasios Soulis and Nanna Blondell), as they head into a hiking trip to rekindle their relationship. Unfortunately, their romantic weekend is interrupted as they start being hunted and terrorized by an unknown shooter.

The laser dot from a rifle scope is what gives title to the film, as that's the first signal we have of the presence of an "enemy" watching them as they camp. But although the titular "red dot" is not seen much after, the dread of whoever's hiding beneath the trees and the mountains persists. The couple's struggle for survival is complicated by some unspecified tensions between them that surface as the film progresses.

This is a film that I can say caught me off guard for the most part, so if you get a chance to check it out, just don't give up with it until it's done. There are some logistic issues regarding the climax, so I wouldn't say it's great. But other than that, it was certainly a well done and competent thriller that packs a punch in the end.

Grade:



SUMMER CAMP
(2015, Marini)
A horror film • A film with the word "Summer" in its title



"You'll see when the kids arrive. At first they're like strangers, but after a few trust exercises, they're friends for life."

Let yourself fall into the arms of a friend, let a friend guide you while you're blindfolded, trust your friend to help you all get out of a human knot... those are classic examples of trust exercises frequently used at school, departmental meetings, and of course, summer camps. Like the name implies, their purpose is to build trust among people that aren't necessarily the best of friends in order to move forward and succeed in certain situations and environments.

Summer Camp follows three American counselors (Diego Boneta, Jocelin Donahue, and Maiara Walsh) sent to work on a summer camp in Spain. The film opens with them practicing one of those trust exercises, with one of the girls assuring her partner that them girls would "do it better". But a mysterious rage-inducing virus that starts spreading around will certainly put that trust to the test.

This is yet another film I walk into pretty much blind and still walk out pleasantly surprised. Despite treading familiar ground, it manages to pack a few surprises and subvert some of the typical tropes of the genre. Not only that, but it happens to be a lot of fun. The film is also cleverly staged in terms of how it sets up certain things that pay off later in surprising yet organic ways.

Aside from that, the film is competently made and the direction is solid. None of the performances are mind-blowing, but for the most part, they are good. Boneta is probably the best of the three leads, but the two leading actresses can hold their own. This might not break any records or blow many socks, but I'd say it's still worth a try.

Grade:



LIAR LIAR
(1997, Shadyac)
A film with a title that starts with the letters K or L • A film with a repeated word in its title • A film about fathers



Max: "My dad, he's a liar."
Teacher: "A liar? I'm sure you don't mean a liar."
Max: "Well, he wears a suit and goes to court and talks to the judge."
Teacher: "Oh I see. You mean he's a lawyer."
Max: *shrugs*

This exchange between 5-year-old Max (Justin Cooper) and his teacher is what opens 1997's Liar Liar; which is a hilariously ironic coincidence, not only for what actually happens on the film, but also for the typical stereotypes that are attributed to lawyers which might make most people go "yeah, it figures".

The film follows Fletcher Reede (Jim Carrey), a manipulative and conniving lawyer (and Max's dad) that tends to put his career and personal interests ahead, usually at the expense of his son. But things get complicated for him when, after missing his birthday, Max wishes that his father could not tell a lie for one day.

As we all know, the wish comes true, unleashing all kinds of crazy shenanigans for Fletcher who finds himself cornered by not being able to use his usual lies and tricks to manipulate the system and get ahead. This peaks at a climatic moment in court during the first half of the film when he screams "I CAN'T LIE!!", which he does more as a desperate cry for help, rather than any moral reckoning at this point.

I've seen Liar Liar dozens of times, from theater back in 1997 to last night, and it never fails to make me laugh. Smacked down in the middle of Carrey's previous crazy comedies (Ace Ventura, Dumb and Dumber) and his more serious dramatic attempts (The Truman Show, Man on the Moon, Eternal Sunshine of the Spotless Mind), this one manages to find a perfect balance between his physical comedy and the earnest family drama at its core, and he's pitch perfect in both.

Even though the logistics of how the wish works and how it affects Fletcher in certain situations, doesn't necessarily hold up to close inspection, that is ultimately not important. Carrey pretty much carries the film and makes it work. But he's also surrounded by a solid supporting cast. Another thing I noticed this time that I might not have paid much attention before was how good is Shadyac as a director, but he does have quite a good eye for camera placement and movement.

The script does go a bit overboard in some instances, the last act feels like a stretch, and the epilogue unnecessary, but as long as you're in for some crazy Carrey comedy with charm and heart, then I can't lie, this one's perfect for you.

Grade:



ACE IN THE HOLE
(1951, Wilder)
A film from the Criterion Collection whose number includes the #6 (#396)



Get this. There's three of us buried here ‒ Leo, me and you. We all wanna get out, and we're going to. Only I'm going back in style.

Ace in the Hole follows Chuck Tatum (Kirk Douglas), an ambitious but disgraced reporter that has been exiled from New York to Albuquerque for reasons that go from his alcoholism and womanizing to his work ethics (or lack of) and simply burning too many bridges. But he's determined to get back on the horse at any cost.

Opportunity strikes when a local man ends up trapped after a cave collapses and Tatum tries to manipulate the news and rescue efforts for his own advantage. It is with the above quote that he stakes his claim back to fame to the man's wife, Lorraine (Jan Sterling), a selfish and egocentric woman who's also eager to leave the small town for a better life.

This is my sixth film from Billy Wilder, and I have to say he's becoming one of my favorite directors. Not only is his direction great, but the script is full of snappy dialogue that's perfectly delivered by the cast. Douglas, an actor that 4-5 years ago I don't think I had seen anything other than Spartacus, has been surprising me with every performance I see. From his scene-stealing supporting performance in Out of the Past to his lead role in Paths of Glory, and now this.

Douglas is joined by Sterling, who perfectly conveys the weariness and disdain of a woman that's trapped, "buried" in a situation she wants out of. Porter Hall is also excellent as Tatum's no-nonsense boss, Mr. Boot, who also delivers some of my favorite lines of the film. There's also a sleazy sheriff that's neatly portrayed by Ray Teal, although at times he strays a bit into caricaturesque.

Aside from the performances, the film perfectly presents themes of media manipulation, exploitation, the ethics of journalism, and the overall seediness of the press, as well as how gullible the public can be. All circumstances that seem to be burying Tatum more and more. I think the very last act, as he tries to redeem himself, is stretched a bit too much, but I appreciate that the story didn't deviate from the tragedy of what preceded it; that of three people buried and unable to crawl out.

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