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The Treasure of the Sierra Madre - 10/10
Re-watch. But it was just on TCM, so I was fortunate enough to have a kid explain the movie to me!
P.S. Just like the false (Sally Fields) "You really really like me", no one in this movie ever says, "We don't need no stinkin' badges" (the actual line is "We don't have to show you no stinkin' badges")
Re-watch. But it was just on TCM, so I was fortunate enough to have a kid explain the movie to me!
P.S. Just like the false (Sally Fields) "You really really like me", no one in this movie ever says, "We don't need no stinkin' badges" (the actual line is "We don't have to show you no stinkin' badges")
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I agree. "Treasure" is a near perfect film. Everyone in the production knocked it out of the park. John Huston was really gettin' on a roll, and I loved his cameos near the beginning of the picture. It's impossible to watch the scene where Walter Huston does a little jig while laughing when most of their gold dust is lost, without laughing along with him. Great picture.
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Dolemite is My Name - (2019)
I'd never even heard of this before I went scrolling through the 2019 MoFo film awards and came across it. Dolemite is My Name is a fun, lighthearted look at the life of Rudy Ray Moore. Rudy has seen his chance for fame and fortune come and go after recording music and trying a miserable stand-up act at a local club - but after hearing a bum who constantly talks in a funny rhyming fashion he models his act after him, and this leads to remarkable success. Despite doing quite well with a series of comedy albums, Rudy isn't satisfied and next sets his sights on moviemaking. The film then spends a good deal of time showing us the troubled production of Dolemite - and the content and style immediately remind me of The Disaster Artist, which is a good thing, especially since Murphy and the rest of the cast are at their best. The low budget film turns into a fiasco, but it has so much charm that people flock to see it anyway - especially amongst fans of this particular man's brand of humour and "give anything a go" style. I was thrilled to see Eddie Murphy doing something good for a change, and Rudy Ray Moore is a wonderful subject to bring to life - down to earth, kind and desperate to succeed to the extent that he's never really sure how well he's doing. An everyday man trying to live his wildest dreams and fantasies in a crazy way. It gave me a great deal of pleasure and was heaps of fun.
8/10
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The Motorcycle Diaries - (2004)
The young Ernesto Guevara (future Che Guevara) once went on an epic motorcycle trip across the continent of South America with a friend of his, biochemist Alberto Granado. Guevara (Gael García Bernal) was only 23-years-old, close to completing his medical degree, and before his trip ignorant to the plight of the everyday, lower class workers across the different countries he'd travel. The two Argentinians have various adventures, help various people with their knowledge of medicine, and con a lot of people into buying them food and giving them shelter. The more the latter half of the trip progresses, the more Guevara sees how unfairly people are being treated - and the more his mind turns to revolution. The film provides us with insights into different cultures and the changing landscape is often wonderful to behold - it's well written and scored, with Gael García Bernal solid as always. Educational, and well worth watching.
7/10
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Smoke - (1995)
I have a time of day when I put movies on that I think won't matter all that much to me, but sometimes I make a big mistake and discover some gem that I never knew was out there. Smoke is one of those gems - the result of a collaboration between Joy Luck Club director Wayne Wang and writer Paul Auster. It features finely crafted performances from William Hurt, Harvey Keitel, Stockard Channing, Harold Perrineau Jr. and Forest Whitaker. Why didn't I know that this film was out there? It's based on one of Auster's short stories, which was expanded to include the world the story happened in, surrounding a tobacco shop that a certain Auggie Wren (Keitel) presides over - and it grows through the tenuous links between characters living in Brooklyn. Writer Paul Benjamin (Hurt) buys his cigars at the shop, and his life is saved by Tom Cole (Perrineau) who is estranged from father Cyrus (Whitaker) - in the meantime Ruby (Channing), Auggie's eyepatch-wearing girlfriend from 18 years ago, shows up with serious problems to do with a daughter he never knew he had. Friendship develops between all of these characters - but the film's real power is it's final scene, where in a 5 minute monologue Auggie tells Paul about what happened to him one Christmas when he went to return a wallet from a customer who stole from him. The rest of the excellence is in individual scenes which are so clever and full of meaning that they're each worthy of discussion, if anyone was willing to dissect them - and as I said, the great depth all of the actors add to proceedings. Turns out writer and director also received a lot of advice from Robert Altman, who Auster knew. A real surprise. There was a follow-up made and released the same year called Blue in the Face, made in an Altman-esque fashion.
8/10
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Ernest & Celestine -
In a world where mice and bears live side by side, but don't exactly comingle, our musician and artist heroes try to bridge the gap in this movie that's as short and sweet as it is charming and adorable. Like a certain elfin, North Pole-based toymaker, both Ernest the bear and Celestine the mouse feel like outcasts in their communities for not enjoying the roles their forebears (no pun intended) foisted upon them, the former expected to be a judge and the latter, believe it or not, a dentist. They cross paths - and more - while Celestine is trying to complete an assignment in her dental training she can only do on the left-hand path.
Since most of the animated movies I've seen lately are computer animated, taking in this one's distinctive watercolor style was a breath of fresh air. I especially like the animation during the action scenes, which recalls Bill Plympton's work for how chaotic and funny they are, especially when the crowds of authorities pursuing our heroes becomes so huge, it turns into a cloud of brown paint blotched with dozens of pointy ears. I listened to the English audio track, and all the performances are spot-on, my favorite being the barely recognizable Forest Whitaker as the starving and justifiably angry Ernest. As for the relationship between these two very different species, their uneasy upstairs/downstairs relationship provides good food for thought like the one in Zootopia does, which it might as well have inspired. The result is a sweet, thoughtful and most importantly fun story about how misery loves company and that features the kind of unlikely friendship recalling the best ones Shane Black came up with (but PG, of course). Oh, and if you also listen to the English audio track, keep your ears open for a certain married couple of comedy legends.
In a world where mice and bears live side by side, but don't exactly comingle, our musician and artist heroes try to bridge the gap in this movie that's as short and sweet as it is charming and adorable. Like a certain elfin, North Pole-based toymaker, both Ernest the bear and Celestine the mouse feel like outcasts in their communities for not enjoying the roles their forebears (no pun intended) foisted upon them, the former expected to be a judge and the latter, believe it or not, a dentist. They cross paths - and more - while Celestine is trying to complete an assignment in her dental training she can only do on the left-hand path.
Since most of the animated movies I've seen lately are computer animated, taking in this one's distinctive watercolor style was a breath of fresh air. I especially like the animation during the action scenes, which recalls Bill Plympton's work for how chaotic and funny they are, especially when the crowds of authorities pursuing our heroes becomes so huge, it turns into a cloud of brown paint blotched with dozens of pointy ears. I listened to the English audio track, and all the performances are spot-on, my favorite being the barely recognizable Forest Whitaker as the starving and justifiably angry Ernest. As for the relationship between these two very different species, their uneasy upstairs/downstairs relationship provides good food for thought like the one in Zootopia does, which it might as well have inspired. The result is a sweet, thoughtful and most importantly fun story about how misery loves company and that features the kind of unlikely friendship recalling the best ones Shane Black came up with (but PG, of course). Oh, and if you also listen to the English audio track, keep your ears open for a certain married couple of comedy legends.
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A BETTER TOMORROW
(1986, Woo)
(1986, Woo)
"I'm the cop, he's the thief. In the eyes of the law, we're on different paths."
A Better Tomorrow follows two brothers – Ho (Ti Lung) and Kit (Leslie Cheung) – that have followed "different paths". Kit aims to join the police, while Ho is one of the top members of a powerful Hong Kong triad, along with Mark Lee (Chow Yun-fat). Ho is planning to leave his life of crime, but he ends up being set up and sent to prison, while Mark ends up injured in a shootout which leaves him disabled and disgraced.
This is my first venture into John Woo's Hong Kong filmography, and it was quite a thing. Before this, my experience was limited to most of his 90's American efforts which I wasn't that crazy about, other than Face/Off. A Better Tomorrow feels like the birth of that, as he gives us lead characters with conflicts between them trying to get through them via over-stylized ultra-violence (and I mean that in a good way).
Grade:
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The Man with the Golden Arm (1955; Preminger)
In a world different than our own, Frank Sinatra doesn't do the Rat Pack/lounge singer thing instead concentrating on a successful acting career where he could end up as the Daniel Day-Lewis of his day.
As Frankie Machine (heh), Sinatra plays a guy who just got out of rehab who heads back to his life in the South side of Chicago where he runs into trouble. Perhaps it's the illegal gambling boss who needs him (the title refers to his skills as a card dealer) or maybe the drug dealer who sees money walking back in through the door. Or maybe it's his wheelchair bound wife who blames him for the car accident that left her like this; although she also would rather die than have him leave her side again. But he finds old habits are hard to break and finds himself tempted with easy fixes again as he tries to make a future for himself as a drummer.
Sinatra earns his second Oscar nomination here (the scene where he tries to go cold turkey is nomination worthy by itself). And Kim Novak as a former flame who is keeping an eye out for him now also does fine enough work.
But the film feels like it's as subtle as a "Say no to drugs" pamphlet. As his wife, Eleanor Parker is more often than not grating. And the film itself looks like it was a play filmed for TV.
I wanted to like this more, but I guess the flaws pushed it down a notch or two.
In a world different than our own, Frank Sinatra doesn't do the Rat Pack/lounge singer thing instead concentrating on a successful acting career where he could end up as the Daniel Day-Lewis of his day.
As Frankie Machine (heh), Sinatra plays a guy who just got out of rehab who heads back to his life in the South side of Chicago where he runs into trouble. Perhaps it's the illegal gambling boss who needs him (the title refers to his skills as a card dealer) or maybe the drug dealer who sees money walking back in through the door. Or maybe it's his wheelchair bound wife who blames him for the car accident that left her like this; although she also would rather die than have him leave her side again. But he finds old habits are hard to break and finds himself tempted with easy fixes again as he tries to make a future for himself as a drummer.
Sinatra earns his second Oscar nomination here (the scene where he tries to go cold turkey is nomination worthy by itself). And Kim Novak as a former flame who is keeping an eye out for him now also does fine enough work.
But the film feels like it's as subtle as a "Say no to drugs" pamphlet. As his wife, Eleanor Parker is more often than not grating. And the film itself looks like it was a play filmed for TV.
I wanted to like this more, but I guess the flaws pushed it down a notch or two.
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The Man with the Golden Arm (1955; Preminger)
In a world different than our own, Frank Sinatra doesn't do the Rat Pack/lounge singer thing instead concentrating on a successful acting career where he could end up as the Daniel Day-Lewis of his day.
As Frankie Machine (heh), Sinatra plays a guy who just got out of rehab who heads back to his life in the South side of Chicago where he runs into trouble. Perhaps it's the illegal gambling boss who needs him (the title refers to his skills as a card dealer) or maybe the drug dealer who sees money walking back in through the door. Or maybe it's his wheelchair bound wife who blames him for the car accident that left her like this; although she also would rather die than have him leave her side again. But he finds old habits are hard to break and finds himself tempted with easy fixes again as he tries to make a future for himself as a drummer.
Sinatra earns his second Oscar nomination here (the scene where he tries to go cold turkey is nomination worthy by itself). And Kim Novak as a former flame who is keeping an eye out for him now also does fine enough work.
But the film feels like it's as subtle as a "Say no to drugs" pamphlet. As his wife, Eleanor Parker is more often than not grating. And the film itself looks like it was a play filmed for TV.
I wanted to like this more, but I guess the flaws pushed it down a notch or two.
In a world different than our own, Frank Sinatra doesn't do the Rat Pack/lounge singer thing instead concentrating on a successful acting career where he could end up as the Daniel Day-Lewis of his day.
As Frankie Machine (heh), Sinatra plays a guy who just got out of rehab who heads back to his life in the South side of Chicago where he runs into trouble. Perhaps it's the illegal gambling boss who needs him (the title refers to his skills as a card dealer) or maybe the drug dealer who sees money walking back in through the door. Or maybe it's his wheelchair bound wife who blames him for the car accident that left her like this; although she also would rather die than have him leave her side again. But he finds old habits are hard to break and finds himself tempted with easy fixes again as he tries to make a future for himself as a drummer.
Sinatra earns his second Oscar nomination here (the scene where he tries to go cold turkey is nomination worthy by itself). And Kim Novak as a former flame who is keeping an eye out for him now also does fine enough work.
But the film feels like it's as subtle as a "Say no to drugs" pamphlet. As his wife, Eleanor Parker is more often than not grating. And the film itself looks like it was a play filmed for TV.
I wanted to like this more, but I guess the flaws pushed it down a notch or two.
I loved the theme song, and still hum it to this day.
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Loved this. Jesse Plemons is hilarious in it.
I loved it too, but I thought Billy Magnussen stole the show.
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Beavis and Butt-Head Do America - (1996)
Watching Beavis and Butt-Head Do America after being introduced to the pair with Beavis and Butt-Head Do the Universe showed me just how consistent things had been kept, despite the two movies being released nearly three decades apart. Their ignorance and immature nature is like a kind of innocence, and prevents me from disliking the pair - they always come out of outrageous situations unscathed, yet ultimately unrewarded with what they want most. When it's not TV or heavy metal (or, for Beavis, fire) it's "scoring" which they seem fated never to succeed at. There was some great animation during the psychedelic scene, and oodles of comical misunderstandings (a Beavis and Butt-Head staple.) Loved the scene where they come across a pair who are obviously their fathers - and how they never connect the dots, even though the dots spell it all out. I'm getting more and more into the Beavis and Butt-Head groove - and looks like I'll be getting more out of my Paramount+ subscription. I've always liked the Red Hot Chili Pepper's cover of Love Rollercoaster.
7.5/10
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Life as a House - (2001)
This one has stuck with me - I liked it. Kevin Kline is always great. Hayden Christiensen shows us where he developed his whole whiny, pouty, spoiled teenager schtick for his Anakin Skywalker ("It's not fair!!" - "I won't do it!!") and we get to see plenty of Mary Steenburgen. The story surrounding the performances is a little trite though. Cancer dad wants to spend his last few months with his recalcitrant son, and he forces said son to build a house with him. Strangely erotic, with solid performances.
6/10
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Jim & Andy: The Great Beyond – Featuring a Very Special, Contractually Obligated Mention of Tony Clifton - (2017)
When Jim Carrey decided to play his idol, comedy legend Andy Kaufman, he became the man he was portraying so completely the cast and crew working on the film went through an extraordinary experience. The biggest experience to be had, however, was in Carrey's mind. This is a pretty fascinating look behind the scenes of Man on the Moon, and I really need to see more of Andy Kaufman's various "happenings" and stuff because everything I've seen has either fascinated me or made me laugh. A very enjoyable and enlightening documentary.
8/10
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Beavis and Butt-Head Do America - (1996)
Watching Beavis and Butt-Head Do America after being introduced to the pair with Beavis and Butt-Head Do the Universe showed me just how consistent things had been kept, despite the two movies being released nearly three decades apart. (Holy shizz, I am old!)
By The poster art can or could be obtained from the distributor., Fair use, https://en.wikipedia.org/w/index.php?curid=55829540
Jim & Andy: The Great Beyond – Featuring a Very Special, Contractually Obligated Mention of Tony Clifton - (2017)
When Jim Carrey decided to play his idol, comedy legend Andy Kaufman, he became the man he was portraying so completely the cast and crew working on the film went through an extraordinary experience. The biggest experience to be had, however, was in Carrey's mind. This is a pretty fascinating look behind the scenes of Man on the Moon, and I really need to see more of Andy Kaufman's various "happenings" and stuff because everything I've seen has either fascinated me or made me laugh. A very enjoyable and enlightening documentary.
8/10
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BRIDESMAIDS
(2011, Feig)
(2011, Feig)
"You got to stop feeling sorry for yourself, cause I do not associate with people that blame the world for their problems. cause you're your problem, Annie, and you're also your solution."
They say that when it rains, it pours. A saying that highlights how when something bad happens, it is usually followed by more bad things. That is the situation in which Annie (Kristen Wiig) finds herself in this comedy. Bridesmaids follows Annie, as she prepares to fulfill her duties as one of the bridesmaids for her best friend Lillian (Maya Rudolph). But jealousy and chaos strikes when she meets Lillian's new "best friend" Helen (Rose Byrne).
I had heard some good things about this comedy, so while looking for something light to watch yesterday, I thought why not? The film follows a relatively predictable storyline. I mean, you can probably guess where things will go 10-20 minutes before they happen, but I appreciate the cast's chemistry and commitment. For the most part, those interactions work; especially with McCarthy, who is easily the most colorful of the characters.
Grade:
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THE AMAZING BULK
(2012, Schoenbraun)
(2012, Schoenbraun)
"No more failures!!"
The Amazing Bulk follows Howard's attempts to create this serum under orders of his girlfriend's father, General Darwin (Terence Lording), all while trying to keep his relationship with Hannah (Shevaun Kastl) afloat. But when he tries the serum on himself, he becomes "The Amazing Bulk", a super-strong purple creature that wreaks havoc on the city.
There's a mixture of incredulity and joy in witnessing something as ineptly made as this still make it through to the masses. The Amazing Bulk was filmed entirely in a green-screen stage with the director, Lewis Schoenbraun, substituting the background with stock images (some of which inexplicably include leprechauns). The performances are downright awful, and the overall story makes no sense.
Grade:
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Godfather II
Ire-watched this movie about a week after the first. It had been 15 years since I watched these movies and now I can appreciate them from a more mature perspective.
One of the few times in history where a sequel is as good as the first movie. Well, its part 2 of an adaptation rather than a sequel made to grab money. Overall, like the first one, its one of the best-executed movies ever. Together, the two godfathers remain the standard of 20th-century Hollywood filmmaking; they are unsurpassed monuments in what they want to be.
10/10 - absolutely nothing is wrong with this movie, like the 1st, they are like Miyazaki level of execution. I don't care much about gangster movies, but this one transcends the genre.
Ire-watched this movie about a week after the first. It had been 15 years since I watched these movies and now I can appreciate them from a more mature perspective.
One of the few times in history where a sequel is as good as the first movie. Well, its part 2 of an adaptation rather than a sequel made to grab money. Overall, like the first one, its one of the best-executed movies ever. Together, the two godfathers remain the standard of 20th-century Hollywood filmmaking; they are unsurpassed monuments in what they want to be.
10/10 - absolutely nothing is wrong with this movie, like the 1st, they are like Miyazaki level of execution.
I don't care much about gangster movies, but this one transcends the genre.
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Mother and Child - (2009)
You ever been watching a movie alone and wished there were friends there so you could discuss a certain scene or two? In Mother and Child Elizabeth Joyce (Naomi Watts) invites her elderly boss, Paul (Samuel L. Jackson) to her home for drinks, and gets him into bed before their drinks are even finished. She broke the age barrier, the race barrier and the boss/employee barrier all in one go - and the next morning, she flashes her neighbour from the balcony, and does him as soon as Paul leaves. All of this has nothing to do with what Mother and Child is about, but it gives some insight as to how interesting the characters in it are. Karen (Annette Bening) is "difficult" - an extraordinarily abrasive lady that Paco (Jimmy Smits) must tread lightly around at first (at one stage he explodes, calling her a "weirdo") - she loses her mother, who treated her nurse like her daughter, and her daughter like a stranger. In the meantime Lucy (Kerry Washington) longs to be a mother, and is at the front of the queue for adoption. All of these characters have to deal with the trauma that can sometimes be unleashed by a difficult adoption process - with mothers and daughters yearning for lost connections, and unsure over the painful process of giving their babies away. How that all unfolds is better seen by letting the plot unfold without having seen it, or knowing what happens - this film was good, and is certainly elevated by it's cast.
7/10
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Hook - (1991)
I'd have liked Hook a lot more if it wasn't for Robin Williams and his worn out adult-hyperactive-child schtick. Williams was, admittedly, born for this very role - but that's why I think Spielberg should have got someone else. When his Peter Pan remembers his past and reverts back to never-get-old Pan, it comes as no surprise, as we all knew where the actor would take his performance. What if it had of been Al Pacino? Jeremy Irons? Anybody from whom this act would have been novel and surprising? Another complaint of mine is that Hook reeks of art-by-focus group. "Kids love skateboards. They love basketball. Make sure to put both in the film." The more touching moments are overshadowed by sequences awkwardly inserted to pander to these non-story elements. Production design and art direction? Wow. Beautiful, and wonderful. Dustin Hoffman's Captain Hook is delightful, as is Bob Hoskins' performance. The overall tone though, feels gooey and insincere - pushed too far, and not grounded - exactly the same as what happened to Spielberg's 1941, where he'd let his creative juices overdo everything. Hook needed to be dialed back, and less frenzied. More wonder and magic, and less schmaltz.
4/10
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