Thief's Monthly Movie Loot - 2024 Edition

Beetlejuice follows Adam and Barbara Maitland (Alec Baldwin and Geena Davis), a young couple that tragically end up dead and stuck in their country home. When an eccentric family from New York try to move in, they are determined to get them out, even if it means hiring the titular character (Michael Keaton) with the above credentials. But, do you think he's qualified?

This is a film I've seen lots of times since it came out. I still wouldn't consider myself a hardcore fan, but I've always enjoyed its odd and quirky approach. Which is why we decided to give this one a shot with the kids, and see how well they liked it. As far as I'm concerned, I've always thought the film makes some great use of set design, production values, makeup and costume.

The special effects might seem spotty nowadays, but the practicality of some of them is still quite impressive. This is particularly notable during the Maitland's visits to the "purgatory" waiting room, but also during the last act when Beetlejuice is finally unleashed. Also, I've always enjoyed the whole look and feel of Adam's town model, and how they recreate that look in full scale.

The other strong point from the film is the performances. Baldwin is a bit bland, but Davis is pretty good as Barbara, and so is Winona Ryder as Lydia, the daughter of the family moving in. But Keaton is clearly the show-stealer. He's obviously having a lot of fun with the role and it shows. Special points to the late Glenn Shadix as Otho who almost steals the film from Keaton.

The thing with Beetlejuice is that the whole logistics of how the character operates, how he traverses from one world to the other, how the Maitland's factor into that, why does he want to marry Lydia, what the Deetzes are trying to get out of this... well, it doesn't necessarily make a lot of sense. That doesn't mean it's not fun, but it certainly doesn't hold up to close scrutiny. I guess it's up to you to look at the film, check out his credentials and answer the question, do you think he's qualified?

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Set about a year before the events of A Quiet Place, Day One follows Samira (Lupita Nyong'o), a terminally ill woman trying to survive the first days of the alien invasion in New York City. She is joined in her survival journey by Eric (Joseph Quinn), an English young man that came to study law ("It's the one thing I was supposed to do"), but who will end up doing much more.

The film opens with Samira in hospice, reading the above "poem" during a group therapy; a showing of her pessimistic and bleak outlook on life. But as is usually the case, that shell is there to hide a person that has been, in many ways, beaten down. Aside from her illness, as the film progresses we find out that she lost her father in the same way. Plus, the fact that she's in a hospice tells us that she really has no one else in her life.

As the invasion starts and the aliens are unleashed, Sam is determined to get to Patsy's pizzeria to get one last slice of their pizza. Something that we find out later has a deeper meaning to her than just good pizza. It is quite rare and remarkable to get not only a horror film, but a horror prequel, that rely so much on emotional character development instead of plot, and yet here we are.

But a good story can only take you so far. The rest of the distance is carried by Nyong'o and Quinn, who are both great. Nyong'o has got to be one of the most expressive actresses I've seen recently. The way she uses her eyes is quite something. Plus, the way she and Quinn develop this chemistry to make this unlikely friendship work, in between alien attacks, is probably the strongest asset from the film.

I've really enjoyed all of the films from this franchise so far, and overall, I think I held them all at the same level. But I won't deny that the emotional arc from Sam might push this one just a smidge to the top for me. From seeing a place that smells like s-hit to how she's able to walk into a new day, and feel fine with what it brings, is remarkable.

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I liked it a lot when I first watched it, but the film declined somewhat throughout my second and third viewings. I don't think I'll rewatch it again. With my recent viewing, for instance, I was surprised by how little Keaton was in it.

Chopping Mall gives you just that. A bunch of horny teenagers being chased around a mall in the middle of the night by killer robots. The film starts with the presentation of the new security system to the mall public, which includes three robots programmed to stop criminals. After that, it introduces us to the cast of teenagers; four couples, that decide to stay at the mall for an impromptu party, only to end up terrorized by the robots.

This is one of those films whose cover I remember seeing at the video rental store all the time. However, I don't think I ever rented it (or if I did, I forgot). Anyway, it came up as a recommendation for the month, so I thought "why not?". If I were to use the cover or the title as a lead, I probably would've been disappointed. Like a friend said to me, "there's very little chopping". But if you read the premise, that's pretty much what it gives you.

Now, don't come to the film expecting great performances or character development, cause you won't get it. Pretty much all the teenagers are one-dimensional characters and half of them are a$$holes. None of the boys really stand out, except for Mike (John Terlesky) as the most a$$hole-y and Ferdy (Tony O'Dell) as the least a$$hole-y. As for the girls, Allison (Kelli Maroney) is the geeky, "virgin-like" one, which gives you a hint of how the plot will progress.

But putting the performances aside, the film does have enough throat slashings, back stabbings, electric zapping, and even an exploding head to please horror fans. In addition, the breezy runtime of 76 minutes makes it easier to stomach what would otherwise be an inept film full of inept characters. Not much of what the teenagers do make much sense, but to be fair, who here is used to being chased around a mall in the middle of the night by killer robots?

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Set in 1950s New York City, The Hudsucker Proxy follows Norville Barnes (Tim Robbins), a young and naïve business school graduate from Indiana. When the president of Hudsucker Industries unexpectedly commits suicide, board member Sidney J. Mussburger (Paul Newman) decides to install Norville as a "puppet president" in order to "inspire panic in the stockholder" to devaluate stocks.

I consider myself a big Coen brothers fan, but for some reason, this was still on my watchlist. As I was preparing for a podcast episode on the directors, I decided to give it a shot and I wasn't disappointed. The Hudsucker Proxy delivers the usual Coen mixture of deadpan and silly humor, with a bunch of colorful and zany characters and a healthy dose of whimsy to the story.

Robbins, just a few months away from his turn in The Shawshank Redemption, has the perfect aloof demeanor to make him look like both a "swell guy" and an "imbecile", while Newman is predictably great as the ruthless Mussburger. The cast is rounded out by Jennifer Jason Leigh as Amy Archer, a daring journalist who is determined to write a story about Norville, but ends up falling for him. Also, as is usual, the Coens surround their leads with an array of solid supporting characters like John Mahoney as Amy's editor or Bruce Campbell as a fellow reporter.

There is a certain playfulness to how things unfold on The Hudsucker Proxy, where even something as serious as a suicide is played lightly without feeling disrespectful. There is also a certain simplicity to its story of a man seen as a "jerk" or "imbecile" rising to the top and still succeeding against all odds. This simplicity extends to Norville's plan. Seeing him walk around showing this crumpled piece of paper with a circle drawn in it – "you know, for the kids!" – was enough to make me laugh.

After The Hudsucker Proxy, there's only one more Coen brothers film I need to watch (The Ladykillers). This one probably wouldn't crack my Coens Top 10, but it continues to prove why they are among my favorite directors and how tough it is to rank their films; because even at their "worst", they're still pretty swell.

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The Rocketeer first appeared in 1982, as a backup feature in the Starslayer series from Pacific Comics. In the relatively short time since its creation (30+ years), it has jumped around through multiple publishers, ultimately settling on IDW Publishing. Like its comic counterpart, the film adaptation had a rocky road as multiple studios turned down the project because, as creator Dave Stevens once said "in those days, no studio was interested at all in an expensive comic book movie." Despite the troubles to make it through, the comic continues and the film, although not the blockbuster they expected, has achieved a very healthy cult following.

Set in 1938, The Rocketeer follows Cliff Secord (Bill Campbell), a stunt pilot that stumbles upon a prototype jet pack that was stolen from Howard Hughes (Terry O'Quinn). In search for it are the FBI, a local crime gang, and a group of Nazi sympathizers. With the help of his mechanic friend (Alan Arkin), Secord assumes the identity of the Rocketeer to protect the jet pack. Meanwhile, he also struggles to keep his relationship with aspiring actress Jenny (Jennifer Connelly) afloat, as she is wooed by movie star Neville Sinclair (Timothy Dalton).

The first time I saw The Rocketeer was probably 20 or so years ago, but I've always held it close to my heart. What it lacks in star-power and budget, it makes up for in fun and charm. The film doesn't feel as pretentious or overtly serious as some recent comic films, but instead, is enjoyable, adventurous, and breezy. Campbell manages to strike a perfect balance between heroic will and charming naivete, while Dalton is perfect as the hammy Sinclair. Finally, Connelly makes the most of a somewhat underwritten role, while Arkin is solid as Secord's friend.

If I were to hold anything against the film, it would be that the last act has its fair share of contrivances. Fortunately, the script never takes itself too seriously and director Joe Johnston moves things along at a nice pace. The film doesn't intend to be too deep, and it is never that groundbreaking, but what it does, it does extremely well. I heard that there have been attempts of a remake. Let's hope that if it does come out, it's as entertaining as this one.

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For what it's worth, that's the review I wrote last time I rewatched it (2018), but my thoughts really didn't change much when I rewatched it with the kids a couple of weeks ago. I did bump the rating up half a star. An incredibly fun and entertaining film.

Speaking of The Rocketeer, am I the only one that thinks the Nazi short featured in it was chillingly effective?



*shudders*

Dreams are a mystery to us. Even with all our scientific and technological advances, we are still not sure how they came to be, what they are or what they mean; and yet, they can have a lasting effect on us. From something that can be intriguing to us, to something that can be terrifying and disturbing. Some times, a dream can be so affecting, so profound that science feels just like "nothing but a piece of trash" before it. That mystery, along with that intersection between science and dreams lies at the forefront of this animated Japanese film.

Paprika follows different groups that are trying to bridge that gap between dreams and science. There's the scientists that developed a device – the DC Mini – that allows them to actually view other people's dreams, to a mysterious "terrorist" that has stolen one of these to somehow become all-powerful. Somewhere in between, there's the titular character, Paprika, a dream alter-ego of scientist Atsuko Chiba (Megumi Hayashibara) who has been using the DC Mini "off the grid" to help some patients.

This was a recommendation from an online friend and my first film from Satoshi Kon. I've never considered myself an anime guy, but I decided to give it a shot. The film has many of the trademarks I usually associate with anime, but it is also a very unique premise that is also executed in a unique way. Paprika moves at a pace that makes you feel like the characters of the film, as if you were catching up on everything. As the manifestations of these dreams keep growing, the story becomes more weird and bizarre and it's interesting to try to figure out what's going on.

I would've wished that the characters and their relationships were better constructed, especially the relationship between Chiba and his co-worker and inventor of the DC Mini, Dr. Kōsaku Tokita (Tōru Furuya). Also, both Detective Konakawa (Akio Ōtsuka) and Dr. Osanai (Kōichi Yamadera) both of which are integral to the character of Dr. Chiba/Paprika, feel somewhat underdeveloped. However, the story seems to be more focused on the visuals and the style than fleshing out these relationships.

Regardless of those flaws, Paprika remains an intriguing film full of mesmerizing visuals and colorful characters, even if I wish they would've been better handled. It is still an interesting contrast of dreams and reality, and how we use the former to "escape", either consciously or not.

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28 years ago, in 1996, Twister hit theaters in the US. Following a ragtag team of tornado chasers led by the late Bill Paxton, the film became a big hit mostly on the strength of its action setpieces and special effects, but most definitely not because of its character development or dialogue. This popularity still led to a huge following, and even a Universal Studios ride (an incredibly dull one!) so it's surprising that it took this long for a sequel to come up.

Set in the same universe but barely referencing the original, Twisters follows Oklahoma native Kate (Daisy Edgar-Jones), a young tornado chaser and aspiring meteorologist with "a gift" to predict storms and tornadoes. When tragedy strikes her team during an intense tornado, she relocates to New York City to work for NOAA. That is until her friend and former colleague Javi (Anthony Ramos) lures her back to her hometown to help him with his new storm chasing company.

Overall, Twisters does what most sequels do; go bigger, as the title implies. This doesn't always equate to quality, but that doesn't mean that the film is not without its strengths. First of all, I found it interesting how the film puts our hero into what is essentially Cary Elwes team in the original. Javi is definitely not a bad guy, but his company follows the stereotypical "evil corporate" trope full of nameless/faceless drones. All while they look down at Tyler Owens (Glen Powell) ragtag team of colorful tornado chasers, which is pretty much a proxy of Helen Hunt's team.

There is some hints of nuance to Kate's trauma and the story does try to get something from it, but in the end, it mostly brushes them aside with one-liners like the one quoted above. Her predictable shift from one team to the other is even blatantly highlighted with an obvious change of wardrobe, while the film decides to fall back on action setpieces and special effects. In that regards, the film does bring the thrills; but as someone who isn't even a big fan of the original, there's not a lot to ride here.

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Set in feudal Korea, Pulgasari follows the titular creature, a Godzilla-like kaiju created by an imprisoned blacksmith and brought to life by his daughter, Ami (Chang Son Hui), creating a bond with her. Pulgasari then becomes an ally of the rebels against the region's oppressive ruler. Although the premise might not sound overly special, it is the story behind the production of the film what sets it apart.

Pulgasari's director, Shin Sang-ok, had been kidnapped along with his wife, by North Korea's "Supreme Leader" Kim Jong Il. An avid cinephile himself, Kim wanted the filmmaking couple to make propaganda films for the nation. Pulgasari ended up being Shin's last film for the ruler, before he escaped in 1986. As a result, Kim removed his name from the credits and the film was banned for several years.

Granted, the external information about its production doesn't really contribute to the film's quality, but it does add a certain layer to its story of oppressed people rebelling against their oppressors. That fact probably wasn't lost on Shin, or probably on most of the cast and crew involved on making the film. It's worth mentioning that Kim sought out Toho employees that had worked on Godzilla films to work on Pulgasari.

The film's special effects do look a bit dated, even by 1980s standards. They look more like 60s or 70s effects, but they still work to a certain degree. The war choreographies were well executed, and the overall production values were decent. In the end, Pulgasari might have its flaws, but it still makes for a historically interesting and overall fun watch; especially for fans of the kaiju subgenre.

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This is my summary for AUGUST 2024:

A film with a title that starts with the letters O or P: Paprika
A film from the 1980s: Chopping Mall
A romantic film: Spontaneous
A film from Wim Wenders (born August 14): Perfect Days
A film from North Korea (Liberation Day, August 15): Pulgasari


Other films seen, not for the challenge:

Rewatches and personal favorites: Rear Window, Alien, Conspiracy, Syriana, Tremors, Beetlejuice, The Rocketeer
Animated with the kids: Spy Cat, Luca, Guillermo del Toro's Pinocchio, Ciao Alberto, Dug's Special Mission
2024 Films: Civil War, A Quiet Place: Day One, Twisters
Other films: Organ Trail, Werewolf by Night, The Hudsucker Proxy


Not counting rewatches, it's evident that my top one was Spontaneous. Wonderfully unique and emotionally powerful. After that, there were a couple of great ones in the next spot: Civil War, Guillermo del Toro's Pinocchio... A Quiet Place: Day One managed to be better than the first two, although not by much. Perfect Days was a great introduction for me to Wim Wenders, and Organ Trail was a neat surprise.

Least favorite first-time watch would be a tie between Spy Cat, Chopping Mall, and Twisters. I would cut some slack to the former cause it's a kids movie, and maybe lean towards Twisters as my least favorite just because of it being a more disappointing experience. I mean, I kinda knew what I was getting into when I saw Chopping Mall so...

The Beta Test follows Jordan Hines (Jim Cummings), a talent agent in Hollywood that receives an invitation to a "no strings attached sexual encounter in a hotel room". Despite being engaged to Caroline (Virginia Newcomb) and weeks away from their wedding, Jordan is tempted to follow through not realizing that in this day and age, consequences won't go away anymore.

This is the third feature film from Cummings, and it follows a similar template by presenting us an ordinary and insecure lead character thrust into an extra-ordinary situation. I've seen his other two films and most of his short films, and Cummings always excels. Jordan is indeed insecure, but the actor/director does a great job of portraying how he tries to hide that; be it by smooth talking potential clients or abusing of his power with subordinates.

Another trademark of Cummings present here is that constant sense of awkwardness around the characters. They're never at ease, and there's always that feeling that somewhere, anywhere, something is boiling over. Finally, there's his mastery in mixing up tones and genres. The Beta Test might act like a sort of erotic thriller, but there's a lot of humor and comedy in it and, as usual, Cummings threads that needle perfectly.

Both Cummings and his colleague PJ McCabe have said that "the core theme was temptation" and as they wrote the script, the other themes came out. I do think they needed maybe a bit of restraint to focus the narrative. The film does have a lot to say not only about relationships, but also about social media, corporate Internet, data mining, and Hollywood, among other things, that it feels a bit muddled at times.

One thing is for sure, as I wrap up his feature filmography, Cummings has certainly become one of my favorite modern filmmakers. Not necessarily because of the quality of his work, which is there, but mostly because of his approach to the craft and how much passion and devotion he seems to put on his projects. The Beta Test is no exception. Although not as successful as his other films, it does show a desire to push through and step out of lines, and judging by how well his work is being received, it seems those consequences won't go away anymore.

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Set in a paradisiac island, Sissy-Boy Slap-Party follows a group of sailors who just can't stop slapping each other. Warned by an older men to not engage, they obviously can't help themselves once he leaves, which unleashes the titular and relentless "slap-party".

This is the second short film from Guy Maddin that I see, after The Heart of the World, and it follows more or less a similar template (at least stylistically). First, it is made to look as if it was shot in the early 20th Century, and second, it features a similar frenetic pace to it that kinda takes the short to another level.

There really isn't much to it, beyond what the title suggests. Everyone and everything is slapped, from faces, to bellies, butts, and everything in between. But it's shot in such a frantic haze of sweat and voyeurism that just adds to the obvious layers of homoeroticism, and you just can't help but look.

That's it. Lots of guys slapping each other. Seems simple, but like his other short, it's all in the execution. and the glee with which this short is executed was just too hard to resist.

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I've been in a bit of a slump as far as the podcast goes. I recorded this episode back in May, but it took me a while to edit and put it out. Anyway, I'm joined by my podcaster friend Stew, from SWO Productions, as we talk about the MCU. From the circumstances that brought up this "universe" and its beginnings with Iron Man, to the closure of the Infinity Saga, and the current struggles for the franchise. We also close with our Top 5 MCU films, so check it out:

The Movie Loot 108: The MCU Loot (with Stew from SWO Productions)

Also available on Spotify, Apple Podcasts, and other streaming platforms.

Hope you like it!

I really enjoyed The Beta Test, but my main critique was the same: there were so many ideas in here! I wish they'd honed in a bit more.

Stranger on the Third Floor follows reporter Mike Ward (John McGuire) who is about to testify on a murder trial, much to the chagrin of her fiancée Jane (Margaret Tallichet). But when one of Ward's neighbor turns out dead, he becomes the prime suspect. That is unless Jane can find the stranger that Mike had seen spying on the neighbor's apartment days before.

This is a film that is often mentioned as one of the first film noir. It has most of the typical ingredients; a mystery, narration, use of shadows and camera angles, and a lead character stuck in what seems like an impossible situation. Most of those elements, especially the ones that have to do with the direction and cinematography are expertly used here. There is a lengthy dream sequence towards the middle act that is quite impressive.

The film also has the advantage of a breezy runtime. At 63 minutes, it's quite easy to get through. However, even with such a brief runtime, the film does have an odd pace as it takes quite a bit to get things going. The whole setup takes pretty much the first two acts, while most of the key events are bunched in the last one, including the main murder. That results in things feeling somewhat rushed.

In addition, McGuire is not a very memorable lead. I did enjoy Tallichet, and liked how her character is more important to the plot than one might think. Then we have Peter Lorre, as the titular "stranger". He's one of my favorite classic actors and I always enjoy watching him in anything. One of those actors that always seems to be giving his all on every film, no matter where he hides.

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Rebel Ridge follows former Marine Terry Richmond (Aaron Pierre) as he's on his way to post bail for his young cousin. However, his journey puts him in the middle of a deep-seated corruption scheme in the small police force of Shelby Springs and right in the face of its corrupt police chief Sandy Burnne (Don Johnson). As they set out to make Terry's life impossible, he's determined to haunt the motherfu¢kers himself.

I've had my eye on director and writer Jeremy Saulnier since I got my eyes on Blue Ruin and Green Room, so I was kinda looking forward to this; and yet it's like I wasn't really prepared for how much this film ruled, and it seems that the world agrees with me. It is so satisfying to see a mid-budget *original* action/drama/thriller getting all this attention... with no big "stars" or big SFX/CGI; just a compelling story, great performances and characters, all while staying true to the director's style.

A big part of the success of this film has to be on Pierre's shoulders. Despite being cast mid-way through production after John Boyega stepped down, Pierre seamlessly stepped into the role of Terry and made it totally his. Calm, cool, collected, and yet full of fierce intensity ready to blow. But the rest of the cast is just as good, from Johnson's slimy police chief to Emory Cohen as his corrupt deputy and AnnaSophia Robb as the courthouse clerk that tries to help Terry.

But aside from the performances, there's some true mastery behind the camera here. The cinematography from David Gallego is great, but it is Saulnier himself who takes the cake as director, writer, and editor. The way he builds up the tension and the mystery around who Terry is, or what he might do, is so palpable that it comes off the screen. The dialogue is so on point that random quotes can't help but stick with you afterwards.

There are certainly traces of other films in Rebel Ridge (most notably First Blood), but Saulnier is skilled enough to honor those inspirations while carving his own path. His film is, in many ways, simple and yet it still manages to address complex issues like police brutality, corruption, and racism in a smart way. His characters might also seem simple, but they're all richly detailed in their simplicity, which makes it easier for us to root for Terry to haunt these motherfu¢kers himself.

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The Desolation of Smaug follows the journey of a young Bilbo Baggins (Martin Freeman), along with a group of dwarves as they try to reclaim their lost castle. Unfortunately, their former home has been reclaimed by the titular dragon. Their journey is further complicated by other creatures and characters in their pursuit.

A couple of years ago, I decided to take the dive with the first Hobbit film and, although I enjoyed it, the experience was a bit underwhelming. That probably explains why I hadn't ventured beyond. That is until one of my kids, who had just finished watching the original Lord of the Rings, decided to give this trilogy a shot, so I thought I'd join him in the journey.

The strengths and weaknesses of this second installment are similar to the ones from the first. There are some really solid performances, especially Freeman and Richard Armitage as the leader of the dwarves. Benedict Cumberbatch also does a nice job as the voice of Smaug, and most of the supporting cast does a solid job.

Unfortunately, the film can't help but feel like a "poor man's LOTR". There are similar beats to the story, characters returning, and a lot of winks to the original trilogy, some of which feel forced and unnecessary. To make matters worse, the special effects don't match those of the original, which is shocking considering that this was made about 10 years after. It all piles up for a significantly lesser experience.

Regardless of that, the film is still entertaining. Some of the action setpieces are effective, while others reek of too much CGI (a couple of scenes with Legolas come to mind). Another issue is that, other than Thorin, most of the dwarves still feel like interchangeable one-dimensional characters. There is one that they try to flesh out as he develops a relationship with an elf, but the fact that I don't even remember his name says it all (Kili?)

The main "weakness" of The Desolation of Smaug is that it has to live under the shadow of a vastly superior trilogy. Maybe comparisons aren't fair, but for a fan like me, it's impossible not to do it. Despite that, I can acknowledge it is a pretty solid fantasy film – slightly better than the original – with a solid cast and some pretty good setpieces.

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In January 1923, the primarily black town of Rosewood, in Florida, was destroyed resulting in the deaths of several men. This occurred after a white woman claimed that a black drifter had assaulted her, sparking a series of lynchings and riots resulting in the subsequent destruction of the small town. Like the 1921 Tulsa race massacre, this is hardly ever mentioned or discussed and if it weren't for TV, I probably wouldn't have found out about it.

Rosewood follows the events, primarily focusing on Mann (Ving Rhames), a drifter that has returned from war with the intention of buying land and settling in. When a white woman is beaten by her white lover, she claims that a black man assaulted her, which sparks the anger and racism of the townspeople. Caught in the middle of it is John Wright (Jon Voight), a somewhat sympathetic store owner, and Sylvester Carrier (Don Cheadle), the head of a slightly affluent black family.

I remember seeing this film on rental stores back in the day, but never rented it. It was actually around 5 or 6 years ago that I ended up reading about the real-life incident, which made me curious about the film. The film has a lot of things on its favor, but unfortunately tries to lean more into action, with Mann as some sort of a "bad ass", which undercuts what could've been an effective historical drama.

Rhames does a pretty good job with what he's given, and so does most of the cast. However, the film succumbs under the pretenses of stereotypical Hollywood-esque sensibilities, instead of staying true to the story. That's not to say that the film isn't tragic or that horrific things aren't properly portrayed; They are, but everything is underserved by an uneven tone and a weak script.

But going back to my initial statement, if it wasn't for films like these, or TV shows like Watchmen, who know if I would've found out about tragedies like this. It is because of that, that filmmakers should realize the power of their work in current times, and the best way to honor the real-life victims is to present the events in the best way possible.

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