The 27th General Hall of Fame

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I'm surprised that Safety Last is doing so poorly so far. It's rated an 8.1 on imdb, is on Ebert's great movies list, and is part of the Criterion Collection. I guess it goes to show that you never know how a film is going to do in these halls, regardless of its reputation elsewhere.
I think that it's a film that is iconic, but to a modern eye not quite as engaging. I gave it essentially a 7/10, not far off it's 8/10 IMDb score. Its main strength is its gags, and there's not so much of a narrative to get sucked into. I think it kind of lives or dies by how much you get into the rhythm of it.



I think that it's a film that is iconic, but to a modern eye not quite as engaging. I gave it essentially a 7/10, not far off it's 8/10 IMDb score. Its main strength is its gags, and there's not so much of a narrative to get sucked into. I think it kind of lives or dies by how much you get into the rhythm of it.
Yeah, that makes sense.



I'm surprised that Safety Last is doing so poorly so far. It's rated an 8.1 on imdb, is on Ebert's great movies list, and is part of the Criterion Collection. I guess it goes to show that you never know how a film is going to do in these halls, regardless of its reputation elsewhere.
Silents - and old movies in general - just aren't my cup of tea. The only silent I love is The Cabinet of Dr. Caligari. I also quite liked The Kid and The General, but have no idea if they would hold up to rewatches.

Even without the cat thing, I don't think I would've rated Safety Last! higher than 2.5 and that's if I was feeling generous.



I'm surprised that Safety Last is doing so poorly so far. It's rated an 8.1 on imdb, is on Ebert's great movies list, and is part of the Criterion Collection. I guess it goes to show that you never know how a film is going to do in these halls, regardless of its reputation elsewhere.
i've only seen two Lloyd's now but yeah i much preferred The Freshman tbh.





My Dog Skip, 2000

Willie Morris (Frankie Muniz) is small for his age and friendless, living in a small town during WW2. To help with his maturity and his social isolation, his parents (Diane Lane, Kevin Bacon) get Willie a dog, Skip. Skip begins to open up Willie's life to connect with other kids his age, as well click with a girl he likes (Caitlin Wachs).

I have to say, in all honesty, that if this film had come out when I was like 10 or 11, it would probably be a nostalgic favorite. My expectations were pretty low---especially with that cover of the dog staring at the toilet and Muniz giving a "whatcha gonna do?" shrug--but I didn't dislike the film it all, nor was it as cloying as I was expecting.

Strength-wise, I do like Muniz as an actor. I liked him on Malcolm in the Middle, and I think he's capable of both comic timing and some more serious dramatic moments. The film also has a pretty decent supporting cast, including Lane and Bacon as the parents and Luke Wilson as Willie's next door neighbor who ends up going overseas to fight in the war. The dog was charming, and clearly very well-trained so that scenes could play out without a ton of editing cuts.

The downsides are all what you expect in a "family film." Even with the caveat that the film is highly subjective to Willie's experience, there are a lot of plot elements that are touched on a bit too lightly. I was never entirely satisfied with how Willie's father was handled as a character---from his reluctance to let Willie have a dog to finally feeling like he is a young man. This is a father who wants his son to "man up," but he gives him a stuffed animal as a birthday present? It just didn't make sense. Likewise, plots involving the neighbor Dink, the issue of racial segregation in their town, and even the bullying Willie receives feel incomplete.

If you want someone to feel real strong feelings about a plot involving someone who loves an animal, I'm basically your best bet. So I was emotionally invested in the film. And, yeah, thanks to the blessings of the hormonal cycle, I cried many times. (Like, I cried when he took the puppy out of the carrier at the beginning and I was like "Uh, oh," because I knew that heralded much unearned crying to come!). I do think that in many moments---often just some of the montages of Willie and Skip playing together--the film does capture the way that a pet can really bring out a strong side in a child. That having a focus and responsibility can be really great for some kids, especially those who aren't as socially adept.

I can see how this would be a Sandlot-esque favorite for someone who was a kid when it first came out.






Demons, 1971

Gengobei (Katsuo Nakamura) is a samurai who needs money to buy himself back into good standing. While his loyal servant, Hachiemon (Masao Imafuku) manages to raise the money for his master, Gengobei becomes conflicted when he learns that the woman he loves, Koman (Yasuko Sanjo) needs a debt paid before she can marry. Against his much better judgment (and the very vocal protests of Hachiemon!), he pays the money. Soon, though, he learns the whole situation was a scam masterminded by Koman and her husband, Sangoro (Juro Kawa). Out his 100 ryo and his lover, Gengobei sets out on a path of bloody revenge.

Absolutely loved this one.

Whoever said "Hell hath no fury like a woman scorned" needs to sit down and have a hot sake with Gengobei. As the film goes on---and more and more bodies pile up, some of them innocent---Gengobei just keeps digging himself deeper and deeper. His sense of self-righteousness fuels him past the point where the original crime bears any resemblance to the horror show he rains down on anyone he deems responsible for it.

From a filmmaking point of view, my favorite aspect was definitely the way that the film creates a highly subjective experience, usually from Gengobei's point of view. The tone is set for this in the very first sequence, which turns out to be a dream. From there, scenes play out only to cut back and for us to realize that they are scenarios that Gengobei is playing out in his head. Through these visions we get a glimpse of who Gengobei wants to be, as well as his initial impulses. Most often these sequences are fantasies, such as imagining the bloody outcome of poisoning his scammers, or earlier when he imagines heroically bursting into the room to pay Koman's debts. Other times, a moment will play over and over again. Are these moments that are being seared into Gengobei's memory? Moments that he is having trouble processing? Even when I didn't 100% understand the intention behind some of these shots, I loved the dreamy element that they added to the film. I often will imagine conversations or replay interactions in my head, and it was really cool seeing that mental process portrayed so well on screen.

Much like how I felt about Magical Girl, it's interesting to see the way that something that begins feeling like a drama or thriller morphs into the horror realm. Slowly but surely, the movie just keeps crossing boundaries. This is not just true of the film itself in terms of gore, but also in terms of the characters. It's like everyone's morality just cuts loose, and people who have only showed one kind of deception or aggression will suddenly really cross a line that you didn't see coming.

The only downside for me was that everyone, well, kind of is awful in their own ways. Awful or annoying. Sometimes both. Now, the story is so compelling that this doesn't derail the movie at all. But it was hard not having anyone to really root for. There's a short stretch where it appears that
WARNING: spoilers below
aside from their scamming, Koman and Gengobei might just be this nice young couple who had to do one unscrupulous thing to get out from under some debt. Instead we go from that impression to them offing Koman's brother because they accidentally poisoned him.
. I would have almost preferred that they stay in that former mode, because I think it would have added more horror to what was happening. As the film stands, there's kind of a Bay of Blood thing happening. Everyone is so awful that it diminishes your investment in their ultimate fates.

That said, the film has an incredible, unrelenting pace. It's the kind of movie where I thought I was like 20 minutes in and instead it was 50---it just flies by. It all builds to a conclusion that might feel a bit contrived if it weren't for the fact that it's such a perfect gut-punch that all you can do is give the whole thing a slow clap.

It also looks AMAZING, with great use of black and white and the contrast between light and shadow. The use of overhead shots, multiple layers of depth to shots, and the liberal use of dramatic sprays of blood make for a movie that looks great from the first shot to the last.




Let the night air cool you off
My Dog Skip

spoilers ahead


None of this worked for me. First of all, f*ck this film for trying to coast by on having a dog being cool and then dying as it's only thing. I mean, I guess they try to give some sort of Disney Channel tv movie message in there somewhere, but the only thing that makes you feel anything is the dog dying because most people have experienced something like that and it f*cking sucks, but this whole film was a set up for that to be the punch, and the whole set up sucked and didn't earn what would inevitably be an emotional ending because regardless of how sh*tty the movie is, that's still going to make you feel bad. Slap in some half-hearted race relations sh*t where somehow of course the main character was on the right side of history about for good manipulative measure. The music was overbearing. Kevin Bacon sucked in this. Luke Wilson sucked in this. Harry Connick Jr. especially sucked in this. And it's melodramatic as all get out. That said, the worst thing about this movie is that just doesn't have anything to add. I mainly hated this film because there was nothing interesting to see or hear.

Hopefully the nominator of this of film loves it, because I would hate to think I sat through that for no reason. At least if the person who nominated it loves it, I have done my part in giving their out of the ordinary nomination a fair shake. I know at some point I will nominate something that others won't get or like at all, this was that film for me. This was my Themroc.



One Cut of the Dead (2017)


This was kind of a weird one, in many ways, actually. First, it has the problem that everyone keeps saying how it needs to be seen without knowing anything, but that already means there's a twist, and considering how poopy the start is, the twist is obvious. Then again, if you didn't expect that twist, you'd probably quit the film somewhere during the first 40 minutes.

The second issue, as hinted above, is that the film's structure is very viewer unfriendly. The first part of the film is garbage, but weirdly enough, it's garbage for a reason. Is the payoff worth sacrificing more than a third of the film? In my opinion, no. Especially when the second part isn't too good either.

The third issue is about rating the film. The last part, which is also the shortest, is funny as hell. It requires the earlier segments to work, but I still think there needs to be another way to do this. It's still a rare kind of film that gets better all the time toward the end, but despite this positive aftertaste, I can't fully forgive the first hour or so. Maybe it's a film that grows on me with time as you forget all the bad parts.

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Baby Face -


I've only seen Barbara Stanwyck in this movie and Double Indemnity, but I still think she is one of my favorite actresses. The way she conveys what she is thinking with a single glance is electrifying. This movie, which I enjoyed a lot, is an ideal fit for her talents. Effective at being a feminist and anti-capitalism tale, not to mention one that's hardly an endorsement for Nietzsche, watching Lily's identity and humanity slip away as she seduces her way to the top is heartbreaking. Also, like Lily's glances, I like how these losses manifest in subtle ways from her being nostalgic about her speakeasy roots - which she sadly must pretend to be joking about - to the song that companion Chico always sings. Oh, and how telling is it that it all comes crashing down - literally, in the case of Lily's employer - as soon as Courtland accepts her marriage proposal, which is something she actually wants? I also have to give credit to the ending, which the producers apparently changed from a much darker one, but I still wouldn’t be surprised if it made a few 1933 audience members scratch their heads since it's hardly a "Hollywood" one. I love that with Courtland's life hanging in the balance combined with the likelihood that Lily - and her husband, if he survives - will be doing a lot of time, it's the worst situation they've found themselves in. Then again, it manages to be the best one at the same time. All in all, this is a very satisfying tale about the dangers of sacrificing one’s soul to make it in America that does not surpass the one Orson Welles and company gave us eight years later, but it’s still a worthy companion to it.



Re: One Cut of the Dead, I don't know. I really didn't have any issues with the first 40 minutes, at least not to the point of wanting me to turn it off. I've seen my fair share of cheap and crappy films, so maybe that factors in? Anyway, I never felt like I had to "push through" that part. I just found it funny, and when the last act kicks in, I found it yet even more funny and clever for all the reasons you all know.
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Baby Face (Alfred E. Green, 1933)
Imdb

Date Watched: 01/17/22
Rewatch: No.


I came into this viewing last night with very low expectations. I don't have a very good history with watching movies from the 30s, I don't have a very good history with watching movies nominated by edarsenal, and so far my experience watching movies in this Hall of Fame has not exactly been good.

But I actually had a good time with this. I don't know how much of that is because of those low expectations but this was good. I might've appreciated more development of some of the supporting characters (we don't really get to know anybody but Lily), but on the other hand the lack of that helped to keep the pace snapping along. I also quite liked the concept of someone turning their s***ty circumstances around and becoming the predator rather than the prey and the way that the movie didn't really vilify her actions.

I don't know if this is something I'll ever want to revisit, but it was an enjoyable one time experience at least.

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Re: One Cut of the Dead, I don't know. I really didn't have any issues with the first 40 minutes, at least not to the point of wanting me to turn it off. I've seen my fair share of cheap and crappy films, so maybe that factors in? Anyway, I never felt like I had to "push through" that part. I just found it funny, and when the last act kicks in, I found it yet even more funny and clever for all the reasons you all know.
Admittedly, the first time I saw the film I did start to get tried of the opening scene. I found it amusing at the start, but felt like it started to drag towards the end. So I totally get why a lot of people find that 40 minutes hard to get through, especially if they don't usually watch low budget horror comedies. But the second time watching it, knowing how the final act plays out, that scene just flew by and was highly entertaining.



Hopefully the nominator of this of film loves it, because I would hate to think I sat through that for no reason. At least if the person who nominated it loves it, I have done my part in giving their out of the ordinary nomination a fair shake. I know at some point I will nominate something that others won't get or like at all, this was that film for me. This was my Themroc.
I love that so many of you hate this film, after all the pretentious and exploitative films I've had to sit through that a quality family film hurts so many of you tickles me.





True Romance (1993)
Directed By: Tony Scott
Starring: Christian Slater, Patricia Arquette, Michael Rapaport

True Romance features a fantastic cast of supporting characters, many of whom only have a single scene or two. These actors rotate in and out of the film at such a steady pace that it's actually quite humorous. Luckily it's a joke that doesn't get old, because as a viewer you're always provided with something new and exciting.

The downside to this rush of great, fleeting characters is that the main performances seem weaker in comparison. Though initially a little grating, Patricia Arquette has her moment latter in the film, but Christian Slater was just okay from start to finish. He didn't bother me too much though, and the only thing I can say I actually disliked was that main theme.

I haven't heard every single piece of music Hans Zimmer has ever composed, but I'm confident in saying that True Romance's theme is the worst he's ever written. To me, it doesn't suit any of the scenes it accompanies. But again, that's a fairly minor critique, and for such a ridiculous film, it does make sense to have an equally odd soundtrack. It was a fun watch regardless.

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Brad Pitt plays Floyd, one of my favourite characters the first time I saw this film.
Pitt only has a few lines, but he was my favourite. He exists in his own chill bubble, and the contrast between his slow pace and how fast everyone else in the film moves is just perfect.



Let the night air cool you off
I love that so many of you hate this film, after all the pretentious and exploitative films I've had to sit through that a quality family film hurts so many of you tickles me.



Love Kill Bill, but I wasn’t going to vote for both. Thought one would be higher but this is quite a jump and that surprises me.

Wall-E is another really good Pixar that I saw once, liked, but didn’t vote for.
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Love Kill Bill, but I wasn’t going to vote for both. Thought one would be higher but this is quite a jump and that surprises me.

Wall-E is another really good Pixar that I saw once, liked, but didn’t vote for.
Someone been creeping