A wonderful film, Hugo is a must see for me. And yes, I am interested in early cinema. Toward the end of the first time I saw "Hugo", I turned to my wife and told her if there was ever a film valentine for the cause of the preservation and restoration of old films, this was it. Of course, Martin Scorsese has for many years been very much involved in the rescue of old films through preservation and restoration, so it is something of an advertisement for a cause that he has been involved in. By the way, Turner Classic Movies on occasion shows Melies "A Trip to the Moon" (his most famous film), as well as a collection of his silent shorts. As is Hugo, it is all inventive stuff that my wife and I find quite interesting as these films are all building blocks for how cinema evolved.
Films Worth Viewing
- Thread starter zymurg
- Start date
A wonderful film, Hugo is a must see for me. And yes, I am interested in early cinema. Toward the end of the first time I saw "Hugo", I turned to my wife and told her if there was ever a film valentine for the cause of the preservation and restoration of old films, this was it. Of course, Martin Scorsese has for many years been very much involved in the rescue of old films through preservation and restoration, so it is something of an advertisement for a cause that he has been involved in. By the way, Turner Classic Movies on occasion shows Melies "A Trip to the Moon" (his most famous film), as well as a collection of his silent shorts. As is Hugo, it is all inventive stuff that my wife and I find quite interesting as these films are all building blocks for how cinema evolved.
"Let Me In"-Matt Reeves-2010
This is a Hammer Films production; I didn't know that they were still around. Of course this is the re-make of the Swedish film "Let the Right One In." This is still a pretty good film. If you haven't seen either of these films and you want a different take on Vampires; watch the Swedish film. It can be hard to find, so "Let Me In" is the same story with a few differences. Late in this film Oscar(Kodi Smitt-McPhee) discovers a picture of Abby (Chloe Grace Moretz) with her protector when he was quite young. I thought in the first film that Oscar might be turned into a vampire; this film implies that he will remain the protector/procurer for as long as he lives. This casts Abby in a darker light.
What I liked about both films is that the Abby character is emotionally a pre-teen. I know that is implausible; the general speculation is that she is 200 plus years old. Logically since her physical body doesn't age; why should she grow up mentally? When asked how old she is, Abby responds: "Twelve, but I've been twelve for a very long time." The film opens with the protector and blood procurer being rushed to the hospital with acid burns over 90% of his body. Abby climbs up to his room and drains his blood. He jumps/falls to the snow covered courtyard. The film then goes back two weeks to the arrival of Abby and her protector. Things go sideways from the start. Abby isn't getting her needed blood, and she meets and befriends Oscar which has its own dangers. Oscar is bullied by a threesome led by Kenny (Dylan Munette). The actor may be familiar because of his TV success ; "Saving Grace" is only one example.
Oscar discovers Abby's identity; the word vampire is used only once in the film. It troubles him,but his life is so unsatisfactory that a life on the run with Abby seems a viable alternative. Abby looks almost angelic until she attacks/feeds. The facial transformation is remarkable. When Abby kills the police detective, she knows she must move on, but she returns to deal with Oscar's bullies. The film ends with Abby concealed in a box on a train riding with Oscar. Destination anywhere, everywhere will be a temporary stop over.
This is a stylish novel take on vampires and it is well worth viewing.
This is a Hammer Films production; I didn't know that they were still around. Of course this is the re-make of the Swedish film "Let the Right One In." This is still a pretty good film. If you haven't seen either of these films and you want a different take on Vampires; watch the Swedish film. It can be hard to find, so "Let Me In" is the same story with a few differences. Late in this film Oscar(Kodi Smitt-McPhee) discovers a picture of Abby (Chloe Grace Moretz) with her protector when he was quite young. I thought in the first film that Oscar might be turned into a vampire; this film implies that he will remain the protector/procurer for as long as he lives. This casts Abby in a darker light.
What I liked about both films is that the Abby character is emotionally a pre-teen. I know that is implausible; the general speculation is that she is 200 plus years old. Logically since her physical body doesn't age; why should she grow up mentally? When asked how old she is, Abby responds: "Twelve, but I've been twelve for a very long time." The film opens with the protector and blood procurer being rushed to the hospital with acid burns over 90% of his body. Abby climbs up to his room and drains his blood. He jumps/falls to the snow covered courtyard. The film then goes back two weeks to the arrival of Abby and her protector. Things go sideways from the start. Abby isn't getting her needed blood, and she meets and befriends Oscar which has its own dangers. Oscar is bullied by a threesome led by Kenny (Dylan Munette). The actor may be familiar because of his TV success ; "Saving Grace" is only one example.
Oscar discovers Abby's identity; the word vampire is used only once in the film. It troubles him,but his life is so unsatisfactory that a life on the run with Abby seems a viable alternative. Abby looks almost angelic until she attacks/feeds. The facial transformation is remarkable. When Abby kills the police detective, she knows she must move on, but she returns to deal with Oscar's bullies. The film ends with Abby concealed in a box on a train riding with Oscar. Destination anywhere, everywhere will be a temporary stop over.
This is a stylish novel take on vampires and it is well worth viewing.
nwhoopfan
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Ever seen "Byzantium?" Another different take on vampires. I don't think they ever use the word in the film. Doesn't follow some of the typical traditions or tropes of the genre. Stars Saoirse Ronan and Gemma Arterton.
"Ip Man: The Final Fight"-Herman Yau-2013
This film covers Ip Man's life in Hong Kong from 1949 to the early 70's. It naturally features Wing Chun the martial arts style associated with Bruce Lee. Ip Man was a real martial arts master, but this movie focuses less on spectacular fights than the Ip Man trilogy. This film depicts the master as an honorable and modest man. His relationships with his students are key to the film. His first studio is on the roof of a restaurant. His wife comes but their son stays behind going to college. The relationship with his wife is humanizing. The sets seek to create Hong Kong of the 50's and 60's; they looked real. Ip Man turns inward after his wife leaves; she was unable to return because the border between Hong Kong and the mainland was locked down, Anthony Wong plays this idealized role; scholar, master with a caring heart, martial arts warrior with a conscience and self discipline, and great humility. The purpose was to humanize this great Grand Master. Wong does really well; he practiced Wing Chun for a year, and his presence draws the eye of the viewer, not by spectacular action, but by
a projection of strength and confidence. Early in the film he demonstrates Wing Chun to one of his future students telling him to knock him off a folded newspaper. Economy of movement, nothing flashy, just practiced expertise, the master easily wins.
I liked this film better than any of the other Ip Man movies. My view is not shared by critics or commentators, but I recommend this film. This is well worth a look.
This film covers Ip Man's life in Hong Kong from 1949 to the early 70's. It naturally features Wing Chun the martial arts style associated with Bruce Lee. Ip Man was a real martial arts master, but this movie focuses less on spectacular fights than the Ip Man trilogy. This film depicts the master as an honorable and modest man. His relationships with his students are key to the film. His first studio is on the roof of a restaurant. His wife comes but their son stays behind going to college. The relationship with his wife is humanizing. The sets seek to create Hong Kong of the 50's and 60's; they looked real. Ip Man turns inward after his wife leaves; she was unable to return because the border between Hong Kong and the mainland was locked down, Anthony Wong plays this idealized role; scholar, master with a caring heart, martial arts warrior with a conscience and self discipline, and great humility. The purpose was to humanize this great Grand Master. Wong does really well; he practiced Wing Chun for a year, and his presence draws the eye of the viewer, not by spectacular action, but by
a projection of strength and confidence. Early in the film he demonstrates Wing Chun to one of his future students telling him to knock him off a folded newspaper. Economy of movement, nothing flashy, just practiced expertise, the master easily wins.
I liked this film better than any of the other Ip Man movies. My view is not shared by critics or commentators, but I recommend this film. This is well worth a look.
I haven't seen it. I like the director. I hadn't heard of it; I watch a lot of vampire films and TV series
"Hellboy II: The Golden Army"-Guillermo del Torro- 2008
This is of course a sequel. There was supposed to be a third flick where Hellboy is supposed to bring the end of days. A third film came out this year to massive critical and box office failure. The original team had nothing to do with the 2019 version. This sequel is worthy of a couple hours of your time. Hellboy (Ron Perlman) is married and about to become a father; he doesn't know it. There is a two part prologue; the first part shows the young Hellboy being read a bedtime story about human conflicts with elves and the creation of the Colden Army of mechanical soldiers. The second part introduces us to Prince Nuoda (Luke Goss) the elven heir to the crown which controls the golden army. del Torro does his usual excellent job with the effects, but it is the characters which make this interesting viewing. There is a scene where Hellboy defeats one of his many gigantic supernatural foes and rescues a baby. The mother berates him and the police are going to arrest him. The crowd shouts and curses him. He is rescued by his wife Liz (Selma Blair), but she has to use her ability to create fire to do it. Hellboy is more than unsettled; he will never be accepted by most humans. This concept is expanded when he feels at home in a troll market under the pillars for the Brooklyn Bridge. This sets up the ending where he, his wife, and Abe Sapien walk away from their jobs with a secret government agency. Of course by this time he and his team have saved the world from the Golden Army.
This is a fun movie; there is silly humor like the scene where Hellboy and Abe are getting drunk on cerveza listening to "Can't Smile Without You." Hellboy has some good lines as do Abe and Liz. Tom Manning (Jeffrey Tambour) is both straight man and butt of some jokes. This is entertainment, but with not so subtle hints to larger problems. Some viewers prefer their escapism to be total, but I like the change of pace. Even Shakespeare inserted comedy in tragedy. I played the first grave digger in Hamlet. Enjoy yourself; it's better than Hellboy; don't expect more than a good time.
This is of course a sequel. There was supposed to be a third flick where Hellboy is supposed to bring the end of days. A third film came out this year to massive critical and box office failure. The original team had nothing to do with the 2019 version. This sequel is worthy of a couple hours of your time. Hellboy (Ron Perlman) is married and about to become a father; he doesn't know it. There is a two part prologue; the first part shows the young Hellboy being read a bedtime story about human conflicts with elves and the creation of the Colden Army of mechanical soldiers. The second part introduces us to Prince Nuoda (Luke Goss) the elven heir to the crown which controls the golden army. del Torro does his usual excellent job with the effects, but it is the characters which make this interesting viewing. There is a scene where Hellboy defeats one of his many gigantic supernatural foes and rescues a baby. The mother berates him and the police are going to arrest him. The crowd shouts and curses him. He is rescued by his wife Liz (Selma Blair), but she has to use her ability to create fire to do it. Hellboy is more than unsettled; he will never be accepted by most humans. This concept is expanded when he feels at home in a troll market under the pillars for the Brooklyn Bridge. This sets up the ending where he, his wife, and Abe Sapien walk away from their jobs with a secret government agency. Of course by this time he and his team have saved the world from the Golden Army.
This is a fun movie; there is silly humor like the scene where Hellboy and Abe are getting drunk on cerveza listening to "Can't Smile Without You." Hellboy has some good lines as do Abe and Liz. Tom Manning (Jeffrey Tambour) is both straight man and butt of some jokes. This is entertainment, but with not so subtle hints to larger problems. Some viewers prefer their escapism to be total, but I like the change of pace. Even Shakespeare inserted comedy in tragedy. I played the first grave digger in Hamlet. Enjoy yourself; it's better than Hellboy; don't expect more than a good time.
"the Queen of the Damned"-Michael Rymer-2002
This film combines two of Anne Rice's novels; Warner Brothers was running out of time on the option. No actors from "Interview With the Vampire" appeared in this film. Stuart Townshend plays Lestat; the pop star Aaliyah plays Queen Akasha, and Vincent Perez plays Marius. This slightly short of a disaster. The concept of an ancient statue of the first vampire brought to life by Lestat's music is the driving force of the movie. Lestat sleeps for one hundred years and wakes up and forms a band with himself as the lead singer. He is open about his being a vampire; somehow this band becomes the number 1 draw. At a huge concert in Death Valley assorted vampires arrive; many are ready to kill Lestat. His maker Marius comes to his aid, but he isn't safe until Queen Akasha appears. She has killed her husband (also a statue) and wants Lestat to become her new king.
Watching this film won't probably be the worst experience in your life, but this isn't something you should plan on doing, This is a miss.
This film combines two of Anne Rice's novels; Warner Brothers was running out of time on the option. No actors from "Interview With the Vampire" appeared in this film. Stuart Townshend plays Lestat; the pop star Aaliyah plays Queen Akasha, and Vincent Perez plays Marius. This slightly short of a disaster. The concept of an ancient statue of the first vampire brought to life by Lestat's music is the driving force of the movie. Lestat sleeps for one hundred years and wakes up and forms a band with himself as the lead singer. He is open about his being a vampire; somehow this band becomes the number 1 draw. At a huge concert in Death Valley assorted vampires arrive; many are ready to kill Lestat. His maker Marius comes to his aid, but he isn't safe until Queen Akasha appears. She has killed her husband (also a statue) and wants Lestat to become her new king.
Watching this film won't probably be the worst experience in your life, but this isn't something you should plan on doing, This is a miss.
"Crossroads"Walter Hill-1986
This film is often considered a hidden treasure or a guilty pleasure. Hill is a moderately well known director (48 Hours and Hard Times). The script is by John Fusco, a Waterbury native, he spent much of his teen years traveling the South as a blues guitar player. He received a GED and went to college first Mattatuck CC then NYU where he studied screenwriting. This script won a national contest, and he sold it for $250,000. Ry Cooder, noted blues guitarist, was brought on to handle the music. This is an outstanding score.
Ralph Macchio plays Eugene Martone. This is just after the first two Karate Kid movies. In the film Eugene is 17 years old and a student at Julliard playing classical guitar. At heart he is a blues fanatic. He has studied blues guitar and guitarists. He is particularly obsessed with Robert Johnson. Johnson recorded 29 songs on Vocalion in two sessions in 1936 and 1937. There was supposed to be a 30th song; Eugene wants to find it. He believes that Willy Brown, a classic blues harmonica player and friend and playing partner of Johnson, might be the only person who knows the song. Eugene discovers him at an old folks home. Willie Brown aka Blind Dog Thornton (Joe Seneca ) at first disdains this blues guitarist from Long Island, but after Eugene takes a job as a janitor they strike a deal. If Eugene breaks him out of the old folks home and takes him to Mississippi; Willie will teach him the song. There is no 30th song; Willie wants to get back to the crossroads so he can reclaim his soul from the devil. On the advice of Robert Johnson he sells his soul for a magical power to play the harmonica.
One of the most enduring legends in music history is that Robert Johnson sold his soul to the devil for the ability to play great blues guitar. The tale has Robert playing his guitar at a crossroads. The devil (Mr. Scratch) comes by. He tunes the guitar, and Johnson is suddenly a guitar legend. The basic story came through Son House, legendary country bluesman. Johnson couldn't play well; he was a disaster. He vanished and returned six months later, or maybe it was nine months; or perhaps a year later with guitar legend ability and a bunch of his own songs. Among these songs are 3 songs which fuel the legend: "Crossroads", "Me and My Devil", and "Hell Hounds on My Trail." The film opens with Robert Johnson meeting Mr. Scratch at the crossroads. It continues with the first of Johnson's recording sessions. One quick note on the recording sessions, Johnson plays with his back turned; supposedly to conceal his fingering. In the original recordings Johnson's voice sounds high pitched. This was because the recording was sped up so that a song could fit on the acetate master.
Willie and Eugene make it back to the crossroads where Mr. Scratch appears. A new deal is struck; if Eugene
can beat the devil's guitar player, Jack Butler (Richard Vai), then Willie will get his soul back. This sets up the great guitar duel; Eugene wins. I have left out Jamie Gertz(Francine) and a lot of other nice bits. Google this film or Robert Johnson and you will find more videos than you can reasonably handle. The film can be downloaded at 123. Try a few of the videos about the Robert Johnson legend, or perhaps the guitar duel. If you are a fan of the music; this is great. If you aren't; it's still ;very watchable. The legend appears in a Coen Brothers film, and the crossing's location is debated, but Johnson's grave is marked.
I spent much of the last week in colonoscopy land; I'm back and everything is working.
This film is often considered a hidden treasure or a guilty pleasure. Hill is a moderately well known director (48 Hours and Hard Times). The script is by John Fusco, a Waterbury native, he spent much of his teen years traveling the South as a blues guitar player. He received a GED and went to college first Mattatuck CC then NYU where he studied screenwriting. This script won a national contest, and he sold it for $250,000. Ry Cooder, noted blues guitarist, was brought on to handle the music. This is an outstanding score.
Ralph Macchio plays Eugene Martone. This is just after the first two Karate Kid movies. In the film Eugene is 17 years old and a student at Julliard playing classical guitar. At heart he is a blues fanatic. He has studied blues guitar and guitarists. He is particularly obsessed with Robert Johnson. Johnson recorded 29 songs on Vocalion in two sessions in 1936 and 1937. There was supposed to be a 30th song; Eugene wants to find it. He believes that Willy Brown, a classic blues harmonica player and friend and playing partner of Johnson, might be the only person who knows the song. Eugene discovers him at an old folks home. Willie Brown aka Blind Dog Thornton (Joe Seneca ) at first disdains this blues guitarist from Long Island, but after Eugene takes a job as a janitor they strike a deal. If Eugene breaks him out of the old folks home and takes him to Mississippi; Willie will teach him the song. There is no 30th song; Willie wants to get back to the crossroads so he can reclaim his soul from the devil. On the advice of Robert Johnson he sells his soul for a magical power to play the harmonica.
One of the most enduring legends in music history is that Robert Johnson sold his soul to the devil for the ability to play great blues guitar. The tale has Robert playing his guitar at a crossroads. The devil (Mr. Scratch) comes by. He tunes the guitar, and Johnson is suddenly a guitar legend. The basic story came through Son House, legendary country bluesman. Johnson couldn't play well; he was a disaster. He vanished and returned six months later, or maybe it was nine months; or perhaps a year later with guitar legend ability and a bunch of his own songs. Among these songs are 3 songs which fuel the legend: "Crossroads", "Me and My Devil", and "Hell Hounds on My Trail." The film opens with Robert Johnson meeting Mr. Scratch at the crossroads. It continues with the first of Johnson's recording sessions. One quick note on the recording sessions, Johnson plays with his back turned; supposedly to conceal his fingering. In the original recordings Johnson's voice sounds high pitched. This was because the recording was sped up so that a song could fit on the acetate master.
Willie and Eugene make it back to the crossroads where Mr. Scratch appears. A new deal is struck; if Eugene
can beat the devil's guitar player, Jack Butler (Richard Vai), then Willie will get his soul back. This sets up the great guitar duel; Eugene wins. I have left out Jamie Gertz(Francine) and a lot of other nice bits. Google this film or Robert Johnson and you will find more videos than you can reasonably handle. The film can be downloaded at 123. Try a few of the videos about the Robert Johnson legend, or perhaps the guitar duel. If you are a fan of the music; this is great. If you aren't; it's still ;very watchable. The legend appears in a Coen Brothers film, and the crossing's location is debated, but Johnson's grave is marked.
I spent much of the last week in colonoscopy land; I'm back and everything is working.
storrsroars
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Must've been one helluva a colonscopy to take up much of a week!
Anyway, never saw the film as I wasn't buying Macchio with guitar skills and found even the thought of that outrageous. But might have to watch it now after that review.
storrsroars
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Yeah, saw it when it first came out and reviewed it on some thread here. Was enjoyable enough to overlook obvious flaws.
Check this thread, Recently Seen in 2019, there have been at least a couple mentions of "Yesterday" in there. I might see it soon as well, if I do I will be giving it another mention.
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Quick Hits
"The Story of the Kinks"-Martin Brierly-2019?
This appears to have been made in the mid to late 80's. It relies on interviews of Ray Davies and his managers/agent. This is interesting if you liked the Kinks or want to know a little about about the third major English Invasion Group. There quite a few videos, a fair amount of history, but no real analysis.
"The Music Never Stopped"-Jim Kohlberg-2011
This is an independent film based on an Oliver Sacks' case. "The Awakening" is another more familiar example.
This an excellent film,quality acting, fine script, and an interesting story. Based on IMDb comments; this film is almost universally considered excellent. With the exception of J.K. Simmons (Henry Sawyer) and Julia Ormond (Dianne Daley) the cast isn't known. Lou Taylor Pucci (Gabriel Sawyer) is the center of the story. He leaves home in the uproar of the late sixties. He is out of contact with his parents for more than 15 years. He originally left home to go to the Village and play music. His parents are re-connected with him when he faces an operation to remove a massive brain tumor. The tumor is benign, but its removal will affect his ability to form memories. Henry becomes desperate to re-connect with his son. His attitude towards his lifestyle forced him out the door.
In his search for treatment he comes across an article written by Dianne Daley which shows how music can be used to enhance old memories, and perhaps to help form new ones. The film is centered around this treatment and the reconnecting of father and son. The son's favorite band is the Grateful Dead; the father's taste run more to 50's pop. He educates himself, and he wins free tickets to a sold out Dead concert. The father and son bond together for a great concert experience. The father dies of a heart attack. The film closes with the funeral. Gabriel tells his mother (Cara Seymour) the story of how he first heard this new Dead song. He was able to form a new memory.
This film could have gone wrong in so many ways. It easily could have sunk into sentimental sludge. The tenuous balance of relationships could have become stilted and false. There could have been a miraculous cure. None of these things happened. The music is used artfully. There is no actual filming at a live Dead Concert. With a basically invisible budget this quality almost never happens. My highest recommendation.
"The Story of the Kinks"-Martin Brierly-2019?
This appears to have been made in the mid to late 80's. It relies on interviews of Ray Davies and his managers/agent. This is interesting if you liked the Kinks or want to know a little about about the third major English Invasion Group. There quite a few videos, a fair amount of history, but no real analysis.
"The Music Never Stopped"-Jim Kohlberg-2011
This is an independent film based on an Oliver Sacks' case. "The Awakening" is another more familiar example.
This an excellent film,quality acting, fine script, and an interesting story. Based on IMDb comments; this film is almost universally considered excellent. With the exception of J.K. Simmons (Henry Sawyer) and Julia Ormond (Dianne Daley) the cast isn't known. Lou Taylor Pucci (Gabriel Sawyer) is the center of the story. He leaves home in the uproar of the late sixties. He is out of contact with his parents for more than 15 years. He originally left home to go to the Village and play music. His parents are re-connected with him when he faces an operation to remove a massive brain tumor. The tumor is benign, but its removal will affect his ability to form memories. Henry becomes desperate to re-connect with his son. His attitude towards his lifestyle forced him out the door.
In his search for treatment he comes across an article written by Dianne Daley which shows how music can be used to enhance old memories, and perhaps to help form new ones. The film is centered around this treatment and the reconnecting of father and son. The son's favorite band is the Grateful Dead; the father's taste run more to 50's pop. He educates himself, and he wins free tickets to a sold out Dead concert. The father and son bond together for a great concert experience. The father dies of a heart attack. The film closes with the funeral. Gabriel tells his mother (Cara Seymour) the story of how he first heard this new Dead song. He was able to form a new memory.
This film could have gone wrong in so many ways. It easily could have sunk into sentimental sludge. The tenuous balance of relationships could have become stilted and false. There could have been a miraculous cure. None of these things happened. The music is used artfully. There is no actual filming at a live Dead Concert. With a basically invisible budget this quality almost never happens. My highest recommendation.
storrsroars
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The "no real analysis" would be a major disappointment for any Kinks biopic.
I've often wondered if the Kinks would've had more success or less success if they hadn't been banned from performing in the US during the late 60s. Reason being, much of their catalog from 65-68 became UK focused and resulted in some incredible work that rarely saw light of day over here. Had they continued touring in the US, we might've just gotten more three-chord rockers and no "Days" or "Waterloo Sunset" (the latter reaching almost anthemic status in the UK).
Also, as a result of your mentioning this, I looked up some reviews. Apparently there's not much from the post-Lola to Arista period (69-76), which produced some dud concept albums, but also Schoolboys in Disgrace, which comprised most of the set the Kinks played in their one glorious appearance at the Jorgensen Center, which was a weird pairing of the Kinks with opening act Jean-Luc Ponty, and Ray thought he was in Hartford. And it didn't even sell out. I was there and still have a copy of the review from Daily Campus.
I haven't seen this film, but being a Kinkophile, I'll look for it.
EDIT: For anyone interested in Kinks@UConn, here's the article (sorry for quality of scan from 43 year old yellowed paper!)
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storrsroars
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and the rest:
I remember my older cousins being crazy about the Kinks in the mid and late 60's.
"Absolute Power"-Clint Eastwood-1997
I'm going to let the cat out of the bag early. I didn't like this film, but upon reflection don't pay attention to my opinion. Eastwood is a quality director. This was the 19th film he directed. He had already made a classic Western "Unforgiven" in 1992. He assembled one of the best casts ever. The script was an adaptation of a David Balsacci thriller. It was written by William Goldman one of the top screenwiters in recent memory. Eastwood has a reputation for being a highly efficient and painstaking director, not quite in the Hitchcock manner; he likes actors, and they like him, but given to meticulous planning. This film was brought in below budget and ahead of schedule.
Clint plays Luther Whitney, a semi retired world class burglar. He meticulously plans a job robbing billionaire Walter Sullivan (E.G. Marshall in his last role) while everyone is off in the Carribbean. Luther opens the film sketching in the National Gallery. He's quite good. He has a little exchange with an art student. This is an excellent beginning. It gets even better. Luther has really carefully planned this job. He defuses the alarm with seconds to spare. He goes right to the hidden room where the valuables are kept. He does pause to admire some of Sullivan's great art collection. It is clear that he doesn't plan to steal the art. His bag isn't big enough to hold even a single picture. No he has come for the jewels, and he finds a bonus; millions of dollars in cash.
That was the first false note for me; Sullivan is a man of impeccable reputation. There is no real reason for him to have all that cash.
The second false note comes quickly. Sullivan's wife hasn't left. Throughout the film Luther's care in planning and his patience is emphasized. How did he miss the wife staying behind? She returns to the mansion drunk with a drunk lover in tow. Luther watches unseen from the hidden room. there is rough sex which morphs into murder. The drunk lover is the president of the US (Gene Hackman); two secret service agents shoot the woman. They are accompanied by the chief of staff Judy Davis. This is a third plot hole in quick succession. There is no way a chief of staff would be a witness to the president's infidelity. The behavior of the agents is also suspect. The agents behave increibly; not only do they kill the woman, but they don't notify the police.
Some critics and viewers find Luther's escape unbelievable. I don't; Luther definitely knew the countryside around the mansion. Remember careful planning; so he had a huge advantage over Scott Glenn and Denis Haysbert. The investigation falls to a highly respected local lieutenant Ed Harris. The other major character, Laura Linney, is Luther's daughter Kate. Pretty great cast, right. The acting is pretty good and there is some snappy dialogue, but the plot holes keep coming.
They are too much for me to overcome. My opinion is not generally shared. I like many of Eastwood's films a lot. This one puzzles me. Watch it ad tell me what you think.
I'm going to let the cat out of the bag early. I didn't like this film, but upon reflection don't pay attention to my opinion. Eastwood is a quality director. This was the 19th film he directed. He had already made a classic Western "Unforgiven" in 1992. He assembled one of the best casts ever. The script was an adaptation of a David Balsacci thriller. It was written by William Goldman one of the top screenwiters in recent memory. Eastwood has a reputation for being a highly efficient and painstaking director, not quite in the Hitchcock manner; he likes actors, and they like him, but given to meticulous planning. This film was brought in below budget and ahead of schedule.
Clint plays Luther Whitney, a semi retired world class burglar. He meticulously plans a job robbing billionaire Walter Sullivan (E.G. Marshall in his last role) while everyone is off in the Carribbean. Luther opens the film sketching in the National Gallery. He's quite good. He has a little exchange with an art student. This is an excellent beginning. It gets even better. Luther has really carefully planned this job. He defuses the alarm with seconds to spare. He goes right to the hidden room where the valuables are kept. He does pause to admire some of Sullivan's great art collection. It is clear that he doesn't plan to steal the art. His bag isn't big enough to hold even a single picture. No he has come for the jewels, and he finds a bonus; millions of dollars in cash.
That was the first false note for me; Sullivan is a man of impeccable reputation. There is no real reason for him to have all that cash.
The second false note comes quickly. Sullivan's wife hasn't left. Throughout the film Luther's care in planning and his patience is emphasized. How did he miss the wife staying behind? She returns to the mansion drunk with a drunk lover in tow. Luther watches unseen from the hidden room. there is rough sex which morphs into murder. The drunk lover is the president of the US (Gene Hackman); two secret service agents shoot the woman. They are accompanied by the chief of staff Judy Davis. This is a third plot hole in quick succession. There is no way a chief of staff would be a witness to the president's infidelity. The behavior of the agents is also suspect. The agents behave increibly; not only do they kill the woman, but they don't notify the police.
Some critics and viewers find Luther's escape unbelievable. I don't; Luther definitely knew the countryside around the mansion. Remember careful planning; so he had a huge advantage over Scott Glenn and Denis Haysbert. The investigation falls to a highly respected local lieutenant Ed Harris. The other major character, Laura Linney, is Luther's daughter Kate. Pretty great cast, right. The acting is pretty good and there is some snappy dialogue, but the plot holes keep coming.
They are too much for me to overcome. My opinion is not generally shared. I like many of Eastwood's films a lot. This one puzzles me. Watch it ad tell me what you think.
"The Lincoln Lawyer"-Brad Furman-2011
The script by John Romano is based on a novel by Michael Connelly. Connelly is better known for his Bosch novels; he is a big favorite of mine. There is an original series on Amazon Prime which is pretty good. Mickey Haller ( Matthew McConaughey) is a slightly sleezy defense lawyer in LA. He does much of his business in a Lincoln. He goes from court to court in LA County defending clients; his most important is pay up front. A former client Earl (Lawrence Mason) drives the Lincoln. This practice began when Mickey's license was suspended for drunk driving. Mickey has a big money client recommended to him by Val (John Leguizamo) another ex-client. This individual Louis Rolet (Ryan Phillipe) is a major real estate broker. He was arrested for an attempted rape and severe bodily harm. Several other clients are folded into the plot most importantly a biker gang and a prostitute with a major drug problem. Mickey has a daughter by his ex wife Maggie McFierce (Marisa Tomei) an LA prosecutor. Tomei is a quality actress who has made too few films. Mickey's investigator is an ex Chicago cop Frank Levin (William H. Macey). As you might expect; the acting is first rate, and there is some excellent memorable dialogue: "You're nobody until somebody shoots you." The supporting characters are surprisingly well developed in plot sequences. The viewer is really placed inside Haller's life. The focus is on Haller but the viewer is an observer. There are many plot twists and turns. We meet a lot of interesting characters'character actors including Michael Pena, Bob Guiton, Josh Lucas, and Brian Cranston.
Without revealing more of the convoluted plot, I like this film quite a bit, perhaps more than I should. McConaughey was Connelly's choice for the role. It was an excellent choice. Sequels have been rumored, but as with the Bosch movies; this film made decent money but wasn't a box office smash. There are four other Haller novels, and he appears in at least half a dozen Bosch novels. Well worth viewing and a solid introduction to Connelly's work.
The script by John Romano is based on a novel by Michael Connelly. Connelly is better known for his Bosch novels; he is a big favorite of mine. There is an original series on Amazon Prime which is pretty good. Mickey Haller ( Matthew McConaughey) is a slightly sleezy defense lawyer in LA. He does much of his business in a Lincoln. He goes from court to court in LA County defending clients; his most important is pay up front. A former client Earl (Lawrence Mason) drives the Lincoln. This practice began when Mickey's license was suspended for drunk driving. Mickey has a big money client recommended to him by Val (John Leguizamo) another ex-client. This individual Louis Rolet (Ryan Phillipe) is a major real estate broker. He was arrested for an attempted rape and severe bodily harm. Several other clients are folded into the plot most importantly a biker gang and a prostitute with a major drug problem. Mickey has a daughter by his ex wife Maggie McFierce (Marisa Tomei) an LA prosecutor. Tomei is a quality actress who has made too few films. Mickey's investigator is an ex Chicago cop Frank Levin (William H. Macey). As you might expect; the acting is first rate, and there is some excellent memorable dialogue: "You're nobody until somebody shoots you." The supporting characters are surprisingly well developed in plot sequences. The viewer is really placed inside Haller's life. The focus is on Haller but the viewer is an observer. There are many plot twists and turns. We meet a lot of interesting characters'character actors including Michael Pena, Bob Guiton, Josh Lucas, and Brian Cranston.
Without revealing more of the convoluted plot, I like this film quite a bit, perhaps more than I should. McConaughey was Connelly's choice for the role. It was an excellent choice. Sequels have been rumored, but as with the Bosch movies; this film made decent money but wasn't a box office smash. There are four other Haller novels, and he appears in at least half a dozen Bosch novels. Well worth viewing and a solid introduction to Connelly's work.
ClifSpliffy
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we generally enjoy depression era films as they portray American culture and values put to the test. recently, we saw a visually attractive one titled 'so big,' 1931 I think. wonderful. have you seen this? thoughts?
I
I know that it is from an Edna Ferber novel. There was another version in the 50's which I believe I saw. The Stanwyck 30's version is virtually impossible to find. As far as I can tell it is not available on DVD. Did you find it on Turner Classic Movies? I checked the usual sources for streaming, and I couldn't find anything. I ran into something similar with the film "City of Lies." This film featured Brad Pitt and Forrest Whittaker; iy was supposed to be released to theaters in late 2018 or early 2019. The releasing company said they weren't going to make a theatrical release, but as far as I can tell it hasn't been released in any other forms. This film covers some of the same material as "Training Day" which is next up.
"Training Day"-Antoine Fuqua-2001
This is an interesting and controversial film. It is very loosely based on Raphael Perez's career and the whole Ramparts situation. Unusually for Hollywood, David Ayer is the only person to work on the script. It was filmed in the gang infested neighborhoods where the story is set. The film negotiated with T Rogers, the gang leader, for the right to film in the areas. He agreed and got several gang members on as extras. Denzil Washington (Alonzo) and Ethan Hawkes (Jack) are cast as the experienced narcotics detective and the hopeful rookie. Jack is experiencing a training day on the streets with his potential mentor. Jack is new to the force, an idealist, and recently married and even more recently a father. He is ambitious; he wants to have a successful career. He envisions a placement on this well known narcotics squad putting him on the road to becoming a detective. Alonzo isn't so transparent; however, when he forces Jack to smoke pot laced with PCP at gunpoint we are given a glimpse of his total perversity.
The film cost $22,500,000 to make and had a box office of over $104,000,000 word wide. The Quality Cafe was used as the initial meeting point; it appears in four other films. It features several rap stars in supporting roles. Dr. Dre is responsible for the sound track. This results in an outstanding sense of place. The sets were local houses and exteriors. There are some problems; many people cite the language 211 uses of the worst four letter word, and a casual use of demeaning language to women are omnipresent. The death toll is only two, but the violence is omnipresent. Corruption is a normal part of this world. The saving grace is the acting; Washington won the Oscar; Ethan Hawke was nominated for Best Supporting Actor. They were deserved. Is Washington over the top, yes, but in a creative way. Even at the end when his life is in doubt, he is still threatening:"King Kong ain't got s... on me."
No punches are pulled. This is dark, but with a flair. Alonzo is mesmerizing. He isn't liked;in fact he was despised by almost everyone. He is a validation of Machiavelli: "It is better to be feared than to be loved." Jack is tempted, but ultimately he sees Alonzo as worse than corrupt. Would Jack have really passed up the opportunity to execute Alonzo? Wasn't his taking the money the same as shooting Alonzo?
Well worth viewing, but I didn't find it enjoyable. Still it makes for riveting viewing.
This is an interesting and controversial film. It is very loosely based on Raphael Perez's career and the whole Ramparts situation. Unusually for Hollywood, David Ayer is the only person to work on the script. It was filmed in the gang infested neighborhoods where the story is set. The film negotiated with T Rogers, the gang leader, for the right to film in the areas. He agreed and got several gang members on as extras. Denzil Washington (Alonzo) and Ethan Hawkes (Jack) are cast as the experienced narcotics detective and the hopeful rookie. Jack is experiencing a training day on the streets with his potential mentor. Jack is new to the force, an idealist, and recently married and even more recently a father. He is ambitious; he wants to have a successful career. He envisions a placement on this well known narcotics squad putting him on the road to becoming a detective. Alonzo isn't so transparent; however, when he forces Jack to smoke pot laced with PCP at gunpoint we are given a glimpse of his total perversity.
The film cost $22,500,000 to make and had a box office of over $104,000,000 word wide. The Quality Cafe was used as the initial meeting point; it appears in four other films. It features several rap stars in supporting roles. Dr. Dre is responsible for the sound track. This results in an outstanding sense of place. The sets were local houses and exteriors. There are some problems; many people cite the language 211 uses of the worst four letter word, and a casual use of demeaning language to women are omnipresent. The death toll is only two, but the violence is omnipresent. Corruption is a normal part of this world. The saving grace is the acting; Washington won the Oscar; Ethan Hawke was nominated for Best Supporting Actor. They were deserved. Is Washington over the top, yes, but in a creative way. Even at the end when his life is in doubt, he is still threatening:"King Kong ain't got s... on me."
No punches are pulled. This is dark, but with a flair. Alonzo is mesmerizing. He isn't liked;in fact he was despised by almost everyone. He is a validation of Machiavelli: "It is better to be feared than to be loved." Jack is tempted, but ultimately he sees Alonzo as worse than corrupt. Would Jack have really passed up the opportunity to execute Alonzo? Wasn't his taking the money the same as shooting Alonzo?
Well worth viewing, but I didn't find it enjoyable. Still it makes for riveting viewing.
"The Thing From Another World"-Christian Nyby 1951
This is one of a half dozen significant films with science fiction or scientific/horror themes which were released in the '50's. We discussed "The Invasion of the Body Snatchers." Most of the best of these films were re-made; The Thing had a John Carpenter re-make which many of you have probably seen. This is the original. It was an RKO picture; they weren't known for quality productions. It is widely considered that Howard Hawks, the producer, had an outsized interest in the film. This has a cast of unknowns, but they do a more than competent job. This isn't filled with special effects. It holds up remarkably well; that is primarily due to the quality story and well constructed characterizations.
There was a large a large scientific team at the North Pole. They were supported by the US Air Force. Several disturbing messages from the Pole are received at the Air force base in Anchorage. A team is sent to investigate which includes a visiting journalist. It turns out that a flying saucer has landed/crashed close to the polar scientific site. It is embedded in the ice. The team develops a plan to get the saucer out of the ice. They use thermite bombs, but they cause the saucer to explode. This makes visible a body encased in ice. The balance of the film develops the story of results of freeing the body from the ice.
Google the film, and you will find several streaming options including archive.org. I will refrain from disclosing more of the plot, but this one is well worth your time particularly if you are interested in sci fi films. Highly recommended.
This is one of a half dozen significant films with science fiction or scientific/horror themes which were released in the '50's. We discussed "The Invasion of the Body Snatchers." Most of the best of these films were re-made; The Thing had a John Carpenter re-make which many of you have probably seen. This is the original. It was an RKO picture; they weren't known for quality productions. It is widely considered that Howard Hawks, the producer, had an outsized interest in the film. This has a cast of unknowns, but they do a more than competent job. This isn't filled with special effects. It holds up remarkably well; that is primarily due to the quality story and well constructed characterizations.
There was a large a large scientific team at the North Pole. They were supported by the US Air Force. Several disturbing messages from the Pole are received at the Air force base in Anchorage. A team is sent to investigate which includes a visiting journalist. It turns out that a flying saucer has landed/crashed close to the polar scientific site. It is embedded in the ice. The team develops a plan to get the saucer out of the ice. They use thermite bombs, but they cause the saucer to explode. This makes visible a body encased in ice. The balance of the film develops the story of results of freeing the body from the ice.
Google the film, and you will find several streaming options including archive.org. I will refrain from disclosing more of the plot, but this one is well worth your time particularly if you are interested in sci fi films. Highly recommended.
ClifSpliffy
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tcm last week. it was part of a similar block of films. asparagus !
"The Discreet Charm of the Bourgeoisie"-Luis Bunel-1972
In 1929 Bunel and Salvador Dali made "Un Chien Andalou". This short film, time estimates vary, was hugely popular with European intellectuals and is considered to be a surrealist masterpiece. The opening sequence where an eye is cut open is still considered one of the most shocking sequences in cinema history. The film ends with the two principal actors buried in sand up to their torsos. This is one of those films I saw in the college film society. I can't remember what was in the rest of the program. I hadn't viewed this film since until I checked it out on YouTube. It runs 21 and a half minutes. It is replete with shocking images'has no discernible plot, and for extras the two principal actors both committed suicide; thankfully not on screen. Itcould have been "Last Year at Marienbad" Alan Renais' convoluted new wave piece. Which I disliked pretty intensely. Well, I've spent a good deal of time and effort and I haven't written a word about the supposed feature of this commentary.
"Charm" features as part of the plot several of Bunel's dreams. "Un Chien Andalou" features both Dali's and Bunel's dreams. "Charm" has six principals of whom only Alejandro Rey is probably familiar. They try and have a meal together and they never quite make it. In the beginning it appears to be a mere mix-up of times. Later on the obstacles become more complicated. The attempts are often divided by scenes of the six walking down a deserted country road. Much has been written about this film attempting to answer to answer the simple question, what does it mean. It is supposed to be a criticism of the class. There are some obvious points relating to hypocrisy. The three principal male characters are all big time drug dealers. A bishop when giving last rites to a gardener discovers he murdered his parents. He proceeds to murder him with a shot gun. I could go on, but the central point is that this class is pretty despicable. It is important to acknowledge that the French bourgeoise is not the American middle class. It is closer to what is termed in
common parlence here as the elite. The film came out in a time of tumult and revolutionary fervor. It reflects a certain point of view. As cinema it is worthy of attention. It is well acted and shot. This is worth viewing,
but I understand if this may not be something you want to spend a couple of hours on. It's available on Amazon Prime.
In 1929 Bunel and Salvador Dali made "Un Chien Andalou". This short film, time estimates vary, was hugely popular with European intellectuals and is considered to be a surrealist masterpiece. The opening sequence where an eye is cut open is still considered one of the most shocking sequences in cinema history. The film ends with the two principal actors buried in sand up to their torsos. This is one of those films I saw in the college film society. I can't remember what was in the rest of the program. I hadn't viewed this film since until I checked it out on YouTube. It runs 21 and a half minutes. It is replete with shocking images'has no discernible plot, and for extras the two principal actors both committed suicide; thankfully not on screen. Itcould have been "Last Year at Marienbad" Alan Renais' convoluted new wave piece. Which I disliked pretty intensely. Well, I've spent a good deal of time and effort and I haven't written a word about the supposed feature of this commentary.
"Charm" features as part of the plot several of Bunel's dreams. "Un Chien Andalou" features both Dali's and Bunel's dreams. "Charm" has six principals of whom only Alejandro Rey is probably familiar. They try and have a meal together and they never quite make it. In the beginning it appears to be a mere mix-up of times. Later on the obstacles become more complicated. The attempts are often divided by scenes of the six walking down a deserted country road. Much has been written about this film attempting to answer to answer the simple question, what does it mean. It is supposed to be a criticism of the class. There are some obvious points relating to hypocrisy. The three principal male characters are all big time drug dealers. A bishop when giving last rites to a gardener discovers he murdered his parents. He proceeds to murder him with a shot gun. I could go on, but the central point is that this class is pretty despicable. It is important to acknowledge that the French bourgeoise is not the American middle class. It is closer to what is termed in
common parlence here as the elite. The film came out in a time of tumult and revolutionary fervor. It reflects a certain point of view. As cinema it is worthy of attention. It is well acted and shot. This is worth viewing,
but I understand if this may not be something you want to spend a couple of hours on. It's available on Amazon Prime.