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Post by delon on Feb 29, 2020 15:07:30 GMT
Comments/ratings/recommendations/film posters are welcome and much appreciated.
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Post by wmcclain on Feb 29, 2020 15:09:20 GMT
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Post by politicidal on Feb 29, 2020 15:31:04 GMT
The Tuskegee Airmen (1995) 6/10
Coriolanus (2011) 5/10
Good Will Hunting (1997) 9/10
That Forsyte Woman (1949) 4/10
Heartbreak Ridge (1986) 7/10
My Darling Clementine (1946) 4/10
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Post by mikef6 on Feb 29, 2020 16:18:45 GMT
“C”–Man / Joseph Lerner (1949). Laurel Films. Cinematography by Gerald Hirschfeld (Fail-Safe). That’s “c” for Customs, and also for this movie’s rating. The letter below “B.” This cheap clumsily made crime flic has so much wrong with it. First, and most importantly, an actor I like very much, Dean Jagger with the familiar voice and avuncular manner, is cast as a hard-boiled agent out for vengeance over the murder of his partner. I’m sorry, but as fine an actor as Jagger is, he can’t pull off hard-boiled and tough. He clearly can’t throw a punch that could hurt even me. Also, he gets beaten badly twice. How does he avoid brain damage? Anyway, a valuable necklace has been stolen while a wealthy American was vacationing in France. The murdered partner had been on the trail of the thief. Now, Cliff Holden (Jagger) has to retrace his partner’s steps to the killer. As if anybody cared. John Carradine is also in here as a familiar trope: the alcoholic surgeon who has been disgraced and has turned to using his medical knowledge for crime. One thing to look for – and it comes right after the titles – is location footage of 1949 New York City as Jagger walks down the streets returning to work after a vacation. Several commentators on both the database and on YouTube have commented – nostalgically, I think – about the dirty and unswept streets of post-war NYC. I’ll close with a story of Hollywood vicissitudes. This film was released in May 1949. Seven months later, in December, an “A” film hit, “Twelve O’Clock High” with Dean Jagger in a major role was released, winning Jagger a Supporting Actor Oscar. Such are the ups-and-downs of the movie business.  F.B.I. Girl / William Berke (1951). Lippert Productions. Cinematography by Jack Greenhalgh. Of course the “girl” in the title is not an F.B.I. agent but, as a narrator tells us, one of hundreds of dedicated young people who work in with the fingerprint files, pulling, sorting, and re-filing, the millions of fingerprint cards at headquarters. However, in Capital City, the governor of the state is concerned that a federal investigation is coming to town and would surly reveal that he is wanted for murder but has lived decades under an assumed name. The governor’s fixer, Drake (Raymond Burr), ensnares a young woman who works fingerprint. Threatening her brother, he forces her to steal the governor’s fingerprint card. Deceit and murder follow. Agents Stedman and Donley (Caesar Romero and George Brent) are on the case. They convince Shirley Wayne (Audrey Totter) to be the next person Drake forces on to steal so a trap can be set. This is shot very much in the “Dragnet” style with dialog spoken in a sort of even, emotionless tone – this is just routine, ma’am – until the final set-piece and trapping of the villains. Of course, Raymond Burr comes across as menacing even when speaking quietly and in measured tones.  Audrey Totter  Black Tuesday / Hugo Fregonese (1954). Leonard Goldstein Productions. Cinematography by Stanley Cortez (Night Of The Hunter). Vincent Canelli (Edward G. Robinson) and Peter Manning (Peter Graves) are on death row in state prison and execution day is tomorrow. But Canelli has a plan to escape even as he is being led to the electric chair. He must take Manning with him because $200,000 from his last bank heist has been hidden by Manning who is the only one who knows where it is. The escape goes off but Manning is seriously wounded and they leave with three hostages. Eddie G. really turns on the evil as a conscienceless remorseless killer. I think even Rico and Johnny Rocco (Robinson in “Little Caesar” and “Key Largo”) would be afraid of Canelli. Robinson was having problems in his personal life at the time. He had barely escaped the blacklist but still was not trusted (“graylisted”) sending him into a long “B” period. Also, his recently divorced wife had been psychological unstable and his son was having trouble with drugs and the law. He could have channeled his frustration with life into Vince Canelli. But, on the other hand, trying to find the line between life and art is often a risky business. Also featuring Milburn Stone as a priest taken hostage and Warren Stevens as one of Canelli’s torpedoes. This is a true film noir with the danger, cynicism and fate themes coupled with enclosed spaces containing deep shadows. Recommended viewing.  Edward G. Robinson and Old Sparky  Kiss Me Deadly / Robert Aldrich (1955). Parklane Productions. Cinematography by Ernest Laszlo. An essential in the film noir canon. Some writers consider it one of the finest movies of the 1950s. It is certainly a contender. Nominally based on Mickey Spillane’s novel of the same name, it is really a different story. Spillane is known for his striking opening chapters and shockeroo endings, sometimes held to the last sentence of the book. The movie follows that pattern as well as both having the killer go up in a conflagration. Ralph Meeker, playing Mike Hammer as a sociopath only in for himself instead of a righteous vengeful vigilante, is driving his sporty foreign convertible along a dark and mostly deserted highway. (One writer has identified Hammer’s car as an MG, but it is a 1951 Jaguar XK 120. Photo below.). He has to brake fast and run off the road when a woman, Christina (Cloris Leachman, very impressive in a small role), naked but for a trench coat, runs into the road in front of him. Hammer agrees to drive her to a bus stop but, in a sudden switch, jaggedly edited, he is run off the road again, drugged, his passenger beaten to death, and Hammer pushed off a cliff in his own car. Well, he is not going to lie still for this. After being warned off the case by several people, he just plows ahead. It seems Christina had a “whatsit” (the equivalent of Sam Spade’s “dingus” and Hitchcock’s McGuffin) that everyone wants and who will kill and torture to get it. The shocking ending, still very powerful, taps into ’50s atomic paranoia. It will rock your world.  Cloris Leachman   Mike Hammer in his Jaguar XK 120 at a roadblock  Raise Hell: The Life & Times Of Molly Ivins / Janice Engel (2019). Molly Ivins was a political columnist and commentator mainly for the Texas Observer and the Dallas Times-Herald. Her Times-Herald columns were syndicated nationally. A liberal in a conservative state Molly managed to make her points and skewer the right-wing but with a humor that did more to persuade that to divide (although plenty of Texans hated her just for existing). The documentary takes a merry jaunt through her life emphasizing the political conflicts and her endless store of one-liners. I first encountered her when I read her biography (with Lou Dubose) of the then governor of Texas, “Shrub: The Short But Happy Political Life of George W. Bush” (2000). She was born in northern California but raised in Houston, Texas. Her father was an authoritarian John Birch Society leader who later became very unhappy with his daughter, who was often rebellious. She went to prestigious Smith College and began her career in journalism took her to Minneapolis, back to Texas, to the New York Times (where she got into hot water writing the obit of Elvis Presley when she referenced his “chubby corpse” – the line was edited out), and then back to Texas for good. An excellent wordsmith and a rousing speaker (this film gives us many highlights), she died of breast cancer in 2007.  
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Post by hitchcockthelegend on Feb 29, 2020 17:21:31 GMT
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Post by MrFurious on Feb 29, 2020 19:26:38 GMT
The Big Sick(17) I Am Patrick Swayze(19)(doc)  ^^ Pawn Sacrifice(14) |
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Post by teleadm on Feb 29, 2020 19:36:31 GMT
Hello from Tele! These are the movies I've watched last week, trying to mix genres:  Dark and gritty movie based on a true story, surpricingly made by Jerry Bruckheimer and Touchstone, about a journalist searching the depths of the Irish mobs, and following where the money comes from and to, even up to the upper crusts. There is something that disturbs me, not storywise or the actors/actresses, it's how it was made, but I just can't pinpoint it.  Sorry for bringing up an old 1970 TV movie. It's a movie I remember as a kid storywise, old man sees a friend murdered, nobody believes him, except the murder. As a young lad I couldn't hear the difference between English and American English, and for years I've been searching bearded old English actors, Noel Purcell and even James Robertson Justice without coming any closer, since I thought it was a British TV movie. The old man with the beard was none other than screen legend Edward G. Robinson, found that out a few years ago, but finally got to see it again. Well there is a few rather big plot holes, and some great actors esambled, seeing old Edward I forgive it.  To use an old cliché, this one kept me on the edge of my seat. Gregory Peck has lost 2 years, or 2 days, or 2 hours or even less during a blackout. Nobody believes him exept some hoods that is chasing him for some reason he don't get, not even a psychriast believes him, but a private dick does. Those who chases Greg didn't expect Greg trying to find out by himself, so there is something fishy going on, but how? when? what? Greg and Walter Matthau as the private dick stands out in this, dare I say it, gem. Quincy Jones soundtrack is soooo smooth and elegant, and good location cinematography of old New York.   I love reading Agatha Christie mysteries and novels so I was delighted to know that this movie was based on one of her plays. Maybe I had vaughly heard about it but never connected it towards Christie. A big country estate with staff and trap doors, the new owners are expecting very important guests, but then there is a dead body too to take care of and hide. The absolutely wonderful Glynis Johns leads a cast of familar faces through this very theatrical and delightfull murder mystery. Old Astaire and Rogers equavilents of British Musicals Jack Hulbert and Cicely Courtneidge plays important parts too. Without being a great movie, I still enjoyed it! and Glynis is such a joy!  Trying something different to watch, our old site calls this a yakuza movie, but it isn't though crimes are commited. I haven't seen that many Japanese movies taking place in contemporary times of the 1960s, and damn what great cars they drove. Story wise it reminded me of Rebel Without a Cause in that there was a restless generation, maybe even clueless, parents are rich and seamingly don't care and if something goes wrong parents will always bail them out. Something made me watch this to the end, but at this point I sure would like someone with knowledge of Japanese movies, since I liked it, and thought it was a good movie. Cool jazzy and Rock n' Roll soundtrack too  Well why not an old western with Joel McCrea and lovely Virginia Mayo. To be honest Randolph Scott made the better western movies by the late 1950s, so this is just a sit back and enjoy movie for what it is, and nothing wrong with that! Good old Joel minding his own business suddenly gets shot, and his horse killed, but by who? A Tall Stranger with a fancy rifle and spurs. What surpriced me was how bloody it was, offcourse ketchup or something similiar, when men faught with knuckles they got bloody in their faces. This kind of movie is what it is and that's why I enjoyed it.   Directed by William Castle before his Horror movie days. Gene Barry plays a person who has come up with an idea, robbing the big oil companies with a few gallons that they won't notice, and make a fortune yourself. To finance it he goes to the local Mob head (Edward Arnold), though on the way falling in love with night club singer (Barbara Hale pre Della Street) in a blond wig a la Rita Hayworth in Lady Shanghai and even sings or mimes "Put the blame on mame" in a night club number. Good use of location shoots. Not in the top echelon of those tight movies of the mid 1950's crime movies that used a large city names in their titles, but still interesting. Thought there would have been another ending, ... Gene Barry was actually working undercover to break up a mob organization, but he did what he did by pure greed and nothing else  Alec Guinness and Jack Hawkins are favorite actors of mine! No matter what situation, even when bombed by enemies, Britts are always so polite and pus the kettle on. The whole history about the importance of Malta during WWII is very interesting, and it broke the knee of supplies for Rommel. An uninteresting love story between Alec Guinness (rare romanic role) and a local girl (Muriel Pawlow) and her mother (Flora Robson), sadly sort of sags the more interesting parts. Still not a bad movie, that uses a lot of newsreel footage.   aka The Man Who Changed His Mind, British horror but more science-fiction. Once again a genious is hiding somewhere, this time in Switzerland, with lots of props, can change minds by switching their brains, a sick old bright man can get a dumb hunks body and continue his work for the better mankind, at least that was the thought, and since it's Boris something must go wrong... Not a bad little science fiction movie with some marvelous sets. Seeing the Gainsborough lady smiling and nodding during the titles felt a bit strange for this kind of movie though. Well that was my week in that magical wonderland called movies!  Time for me to watch what all others have watched, with me latest pair of glasses! |
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Post by OldAussie on Feb 29, 2020 20:36:02 GMT
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Post by delon on Feb 29, 2020 21:13:54 GMT
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Post by Chalice_Of_Evil on Feb 29, 2020 22:07:09 GMT
Watched two very different films last week. The Danish Girl (2015). Ready or Not (2019). |
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Post by claudius on Mar 1, 2020 12:34:41 GMT
SATURDAY NIGHT LIVE (1980) “Kirk Douglas/Sam & Dave” 40TH ANNIVERSARY. Watching this in the month of his death. In his monologue, Douglas makes reference of becoming a grandfather via Michael. Sketches include a spoof of FANTASTIC VOYAGE, a ‘What If?’ of Spartacus flying a plane, and a commercial record of Kirk Douglas doing other people’s impression of him (way back in 1995 I thought Frank Gorshin’s Kirk impersonation resembled Jim Carrey). There are several audio snippets from Alex North’s SPARTACUS score. Universal DVD.
MOBILE FIGHTER G GUNDAM (1995) “Schwarz Rests in Grace! Domo’s Tearful Attack” 25TH ANNIVERSARY Domon and Kyoji have their final resolution. Japanese in English Subtitles. Bandai DVD.
THE COUNT OF MONTE CRISTO (2002) CoMC 175th ANNIVERSARY The most recent screen adaptation starring Jim Caviazel and Guy Pearce. Like many adaptations, the focus is more on Dantes’ imprisonment than his revenge (which is done more simplistic than the complex machinations of the novel and other adaptations). It should be noted that one major liberty- concerning Albert (here played by a young Henry Cavill)- had been done as early as 1912. First saw this in theaters in 2002. Buena Vista DVD.
YURI ON ICE (2016) Episodes 1-4, 8, 10, etc. English Dubbed. Funimation DVD.
ROCKY AND HIS FRIENDS (1960) “Jet-Fuel Formula Part 29 & 30” 60TH ANNIVERSARY Moose & Squirrel get to know Pottsylvania, “Fractured Fairy Tales” handles Cinderella while Mr. Peabody & Sherman meet Dr. Nobel. SonyWonder DVD.
SATURDAY NIGHT AT MARDI GRAS (1977) The infamous attempt by Lorne Michaels to take SNL to a locational setting on Prime-Time, guest-starring Penny Marshall, Carol Williams, Eric Idle, and music by Randy Newman. First read of the problem-plagued production from Jeff Weingold and Doug Hill’s book SATURDAY NIGHT. Ever since I got the DVD (from the Season Two Set) I’ve always watched this on every Fat Tuesday. Universal DVD.
DADDY LONG LEGS (1990) “Do You Hate Liars?” 30TH ANNIVERSARY Judy Abbott’s first day at school has her stretching the truth about her Orphanage past, setting up a character arc that will shape her for the remainder of the series. Japanese in English Subtitles. Bootleg DVD.
HOLLYWOOD (1980) “Comedy- A Serious Business” 40TH ANNIVERSARY And now we are at the second half of the documentary series on the American Silent Film. The subject begins on Mack Sennett and Hal Roach, then devoting most of its first Act on Charles Chaplin, climaxing with the rescue scene from THE KID (1921 scored by Carl Davis conducting Chaplin’s 1972 score for the film) with an interview by Jackie Coogan. The Second Act highlights Harold Lloyd, Buster Keaton, and Harry Langdon (the first two will become Kevin Brownlow-David Gill-Carl Davis Docu subjects as well). Bootleg DVD.
THE CABINET OF DR. CALIGARI (1920) 100TH ANNIVERSARY Probably the first Art Film, and the first original horror film (if one doesn’t consider the adaptations of DR. JEKYLL AND MR HYDE (1908, 1910, 1912, 1913), FRANKENSTEIN (1910), and THE GOLEM (1915)). Became aware of this from many Horror film books by Everson, Carlos, etc. First saw clips from a film analysis documentary series. Then saw the complete product a Video Treasures VHS on my Birthday in 1993. Kino BluRay.
THE ROSE OF VERSAILLES (1980) “Fersen a Farewell Rondeau” 40TH ANNIVERSARY. Japanese in English Subtitles. Right Stuf DVD.
AGATHA CHRISTIE’S MISS MARPLE (1985) “A Murder is Announced Part 1” 35TH ANNIVERSARY. BBC Video DVD.
JOJO RABBIT (2019) Taika Watiti’s THE TIN DRUM-esque dark comedy of an injured Hitler Youth viewpoint of the last days of the Third Reich. Amazon Prime.
BUFFY THE VAMPIRE SLAYER (2000) “Who Are You?” 20TH ANNIVERSARY Part Two has Buffy and Faith switching bodies and Willow & Tara having their first ‘sex’ scene (actually a magic spell that is kinda sexual). FoxVideo DVD.
GANKUTUSOU – THE COUNT OF MONTE CRISTO (2005) “Farewell Eugenie” 15TH ANNIVERSARY & CoMC 175TH ANNIVERSARY. Accidentally saw this one one day ahead (Leap Year playing a little havoc with the anniversary schedule, since 2005 didn’t have a Feburary 29). Japanese in English Subtitles. Geneon DVD.
IVANHOE (1970) “Time of Trial” 50TH ANNIVERSARY & 200TH ANNIVERSARY. SimplyMedia PAL DVD.
Earliest film seen this month: THE CABINET OF DR. CALIGARI (1920)
Latest film seen this month: JOJO RABBIT (2019)
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cschultz2
Freshman
@cschultz2
Posts: 91
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Post by cschultz2 on Mar 2, 2020 6:57:01 GMT
“The Invisible Man” Distributed by Universal Pictures, 124 Minutes, Rated R, Released February 28, 2020:
Those movie fans among us who grew up watching television reruns of the Universal library of classic horror movies from the 1930s and 1940s might remember “The Invisible Man” as one of the lesser monsters in the series.
With little of the sheer nightmare quality of, say, Dracula, Frankenstein, or the Creature from the Black Lagoon and below even the dusty, slow-moving Mummy in basic costume and makeup appeal, the Invisible Man was on an approximate level with, say, any of a half-dozen other crazy scientists...even though his voice characterization was supplied by superstars of the genre like Claude Rains and, later, Vincent Price.
That all might be about the change with Universal’s new reboot of the original James Whale horror picture from 1933. Released on February 28, “The Invisible Man” turns out to be a first-rate, new age horror masterpiece that transitions the hoary old monster into a genuinely horrific walking nightmare, with an emotional resonance relevant to the era of #MeToo and filled with chills and suspense worthy of a latter-day Hitchcock classic.
In ”The Invisible Man,” after enduring for too long a dangerously abusive relationship with a brilliant research scientist conducting experiments in optics, a young architect manages one night to flee her controlling spouse. But when he commits suicide shortly after her escape, a series of small occurances gradually cause her to suspect her former spouse is not dead, but disappeared.
Written and directed by Leigh Whannell, the Australian screenwriter behind 2004’s “Saw” and the first two “Insidious” movies (as well as the writer/director of “Insidious: Chapter 3”), “The Invisible Man” has little more than a nodding relationship with either the original classic 1933 picture from Universal or the 1897 science fiction novel by H.G. Wells on which it’s based. Instead, the new movie uses the conceit of the title character’s invisibility to recreate in the viewer’s mind a little of the genuine, powerless terror of anyone who’s ever experienced a controlling and abusive spouse, or a stalker.
A very unique type of horror picture, “The Invisible Man” is very aware of its incredible nature, and plays on the audience’s sense of disbelief to craft an airtight second reality, with the result of instilling in the mind of the viewer a very real feeling of dread, helplessness, and paranoia. The horror elements are there, but during the movie’s first half they’re so unexpected, and delivered so swiftly, that they’re gone before you’re even sure you saw them. The second half of the movie transitions into more traditional horror--the picture is a co-production of the Black Crypt of Blumhouse after all. But it’s all so expertly devised, and executed so breathlessly, that you likely won’t notice any difference until it’s all over.
“The Invisible Man” is anchored by Elisabeth Moss--the heroine from TV’s “The Handmaid’s Tale”--in a harrowing, heartbreaking, and surprisingly strenuous performance as the hapless young architect. This is not a glamorous role or a movie star turn--Moss throughout the course of the picture is chased, terrorized, drugged, jailed, beaten up, and pretty much everything else you might expect from the writer of “Saw.” But in a horror picture which in lesser hands might’ve used a second-string Scream Queen to provide gradually diminishing jump scares, Moss contributes an elusive element indeed--she’s a superbly talented actress, and invests her every scene with both empathy and dignity. Alfred Hitchcock would’ve been proud.
“The Invisible Man” also contains strong supporting performances from Aldis Hodge and Storm Reid as supportive friends, Harriet Dyer as Moss’ protective sister, Michael Dorman as the smarmy and manipulative brother of the disappeared scientist, and Oliver Jackson-Cohen of the web-based television series “The Haunting of Hill House” in a fairly brief characterization as the terrifying now-you-see-him, now-you-don’t title character.
“The Invisible Man” was originally planned as a project for actor Johnny Depp in Universal Pictures’ “Dark Universe” series of motion picture reboots of its classic horror films from the 1930s and 1940s. But when the premier film in the franchise (the 2017 reimagining of “The Mummy” starring Tom Cruise) bombed at the box office and lost some $95 million of the studio’s investment, plans for the Dark Universe series were scrapped in favor of individual remakes of selected titles from the Universal library.
Incidentally, magnificent clifftop dwelling of the title character in “The Invisible Man” is not a set or a matte painting but Headland House, an actual holiday rental in Mt. Pleasant, Gerringong, New South Wales, Australia. With four bedrooms, 4.5 baths, a kitchen, gymnasium, pool, and spectacular ocean view, the rental rates are around $2246 per night. Just thought you’d like to know.
Set in San Francisco but actually filmed in New South Wales, Australia, “The Invisible Man” is rated R for strong, bloody violence, and language concerns.
“John & Yoko: Above Us Only Sky” Distributed by Netflix Online Streaming Service, 89 Minutes, Not Rated, Streaming Now:
The entire world was on a first-name basis with John Lennon.
Already a European sensation by the end of 1963 as a result of a relentless recording, touring, and performing schedule with his rock ‘n roll music combo The Beatles, John along with his bandmates Paul, George, and Ringo (no last names required) burst onto the world stage on February 09, 1964 while America was still reeling from the recent assassination of a president. The Beatles performed a total of five songs on America’s coast-to-coast Sunday night television staple “The Ed Sullivan Show” that night...and just like that, the official mourning for President Kennedy was over, global Beatlemania had begun, and the world was never the same again.
Unlike every other rock ‘n roll phenomenon in entertainment history, the only way for John Lennon to go was up--“to the toppermost of the poppermost,” as he phrased it to the other Beatles: Global adulation, hoards of hysterical fans, critical legitimacy among classical music’s elite, a composing partnership with bandmate Paul McCartney that soon rivaled, and then exceeded, the cultural impact of Rodgers and Hammerstein, a retreat from the stage in pursuit of studio recording perfection, a quest for spiritual enlightenment at the feet of the Maharishi Mahesh Yogi, eventual disenchantment, and finally an acrimonious breakup of the band--all a day in the life of John Lennon.
Throughout his life, the one element fans learned they could always expect from John was simple, uninhibited, unembellished Truth. While the world occasionally wondered whether Lennon had lost his mind, he never quite managed to lose its grudging affection, often similar to that between a bewildered family and an eccentric uncle--an ability which enabled John to weather PR crises that would’ve ended the careers of other pop stars: The “butcher” cover of The Beatles’ “Yesterday...and Today” in 1966, the unguarded musing that same year about the relative popularity of Beatles and Jesus that created a tsunami of controversy in America, the nude portraits on 1968’s “Two Virgins”--all pure, unadulterated Lennon.
Directed by filmmaker, writer, and producer Michael Epstein, the Netflix documentary “John & Yoko: Above Us Only Sky” purports to take up John’s story from the breakup of The Beatles forward. Originally broadcast on the A&E Network in March 2019 and reportedly augmented with new footage for streaming on Netflix, “Above Us Only Sky” uses old archival footage and new interview materials with musicians, friends, and collaborators to create an insider’s account of John at home with his controversial second wife and artistic collaborator, Yoko Ono.
Part of the trouble with the picture is that more than a profile of Lennon’s artistic partnership with his second wife, “Above Us Only Sky” becomes a critical reevaluation of the legacy of Yoko Ono. Already a presence on the avant garde New York jazz scene prior to meeting Lennon (as the filmmakers emphasize more than once), the picture seems to subtly suggest Ono might have gained more gravitas as a legitimate artist without the distraction of her sometimes turbulent relationship with John. Epstein actually unearths an audio clip from one of John’s final interviews in which he acknowledges Ono’s participation as the co-composer of “Imagine,” the gentle, wistful Lennon song which over the years has become a sort of anthem for world peace.
Even with new talking head footage of Lennon friends and collaborators such as bass player Klaus Voorman (an old friend from early the early days, predating success or fame), drummer Alan White, and Lennon’s oldest son Julian, “John & Yoko: Above Us Only Sky” ultimately seems more about Yoko than John. Rather than The Woman Who Broke Up The Beatles, as posterity doggedly continues to view her, this revisionist account might’ve been more accurately titled “Portrait of the Artist as a Young Woman.”
But the most perplexing component of the documentary is the filmmakers’ steadfast refusal to include more than tantalizing snippets of John’s music. Despite having cast one of the longest shadows in all of pop music history, Lennon made only a small handful of live appearances on his own, and never embarked on a concert tour as a solo performer, without The Beatles. For that reason, any footage of Lennon performing his own compositions is pure, solid platinum...and almost completely absent from “Above Us Only Sky.”
One truncated interlude depicts Lennon recording (with fellow ex-Beatle George Harrison) the exquisite virtuoso guitar introduction of his minor post-Beatles masterpiece “Oh My Love,” but the clip arrives and departs so swiftly, and without fanfare or explanation, that the viewer can’t help feeling...well, cheated. And containing few such nuggets of gold, the rest of “John & Yoko: Above Us Only Sky” is mostly yesterday’s news. In a film about the enduringly fascinating John Lennon, the documentary manages to achieve the impossible--it’s boring.
While it’s always a pleasure to spend some time with John, almost without exception the archival footage presented in “Above Us Only Sky” is recycled from “Imagine,” the 1972 account of Lennon’s signature post-Beatles record album directed by Lennon and Ono themselves, and the similarly-titled “Imagine: John Lennon,” filmmaker Andrew Solt’s vastly superior 1988 documentary covering much the same period.
Future generations unfamiliar with Lennon’s enormous legacy might come away from “John & Yoko: Above Us Only Sky” scratching their heads in puzzlement, wondering, Who was this guy, and why was he special? As an artist, John Lennon’s most brilliant and enduring masterpiece was his life. This film should’ve included more of it.
“John & Yoko: Above Us Only Sky” is not rated, but is PG-13 in nature.
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Post by Lebowskidoo 🦞 on Mar 2, 2020 15:04:30 GMT
I didn't see any classic movies this week, just the following:  Bombshell (2019)  Kidman, Robbie and Theron is some bombshell casting, for damn sure. Theron seems to have physically morphed herself into Megan Kelly somehow. The movie itself meanders a lot, there never was that one great scene that really sells it, but the cast ramps it up so well you almost don't notice. Great to see Rob Delaney and Kate McKinnon get to strut their stuff. John Lithgow looks terrible, but then, he is playing Roger Ailes. Fox News is a cult and has contributed nothing good to America.  Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) (2020)  Let's just get this out of the way: This is not a Birds of Prey movie, this is a Harley Quinn spinoff movie that just happens to feature a few other female characters who work together, briefly, towards the end of the movie. Margot Robbie is a much bigger star now, and her character was the break-out character from Suicide Squad, so to play it safe, she is basically the whole show here. Not that it's a bad show. I had fun and enjoyed the movie. Huntress and Black Canary fans might feel slighted by their real lack of screen time. Once you just accept it's The Harley Quinn Show, it's all right. I liked that they used Black Mask as the main baddie, although I didn't truly buy Ewan McGregor as a sadistic madman. Chris Messina as the evil sidekick was a little more believable. How could they cast real life couple Mary Elizabeth Winstead and McGregor and not give them some cool scenes together? It was passable entertainment and my gripes were easy to overlook. DC is still grasping at whatever they think works in order to have another big hit franchise movie. I wish they had their own Kevin Feige to steer the ship but they are all over the place creatively. D-Tox (2002)  Stallone tries something different by appearing in a slasher flick. It had bad distribution and multiple title changes (Detox, Eye See You), but ya know, it's not bad. Loved the snowy setting and the mystery of who the killer was that I couldn't guess beforehand. Tramps (2016)  Boy meets girl, they go on an adventure and fall in love. Pretty much the plot of most movies since movies began, but this one seems real, and you get to see NYC on the ground, unlike most movies that only show the touristy highlights. Sweet chemistry between the two leads. Cave (2016)  Something is going to happen to these three cave explorers, but you're never sure what. This Norwegian movie keeps you guessing. The taglines for this paint it as a horror movie, but it seems like the wrong category, and a little misleading. It's very well done, the acting is great and the scenery can't be beat. I thought it wrapped up fairly okay but then the end credits state it will continue in Cave 2. Okie dokie then. The actor playing Adrian looks like a Norwegian Seann William Scott! Little Boxes (2016)  A bi-racial family moves from an idyllic Brooklyn to a small college town in Washington state, where everything starts to corrupt their happy family. The mostly white population is fascinated by their being from NYC and being new and bi-racial. The family finds the town to be more of a threat to their own wholesomeness than the big bad city. They also see supposed racism where there isn't any. This clash is both funny and sad, but seems like a pretty accurate depiction of the USA today. It's not really a message movie though, just showing how different people perceive things. It's a sweet little movie, really. Nelsan Ellis, this movie made me realize what a true talent we lost in him, he has a real presence as Clark's father, rest in peace. Dayveon (2017)  So real you could swear you're watching a documentary instead. Young Dayveon is depressed and drifting in his small, rural Arkansas town. Dealing with his brother's death and trying to find a way to go forward, where there aren't too many options. It's a pretty stark look at what is a reality for too many young people today. Chuck (2016)  The true story of Chuck Wepner, who lasted fifteen rounds with Muhammad Ali in the ring, only for it to ruin his life for many years afterwards. It's the inspiration for Rocky, it's too similar not to be, even though Stallone denies it. Liev Schreiber is just great as Chuck, he forces you to care about this man obsessed with his own brief fame. This whole movie kinda lured me in, I didn't really care whether I watched it or not, but the story and performances were too good to ignore. Plus, you get to see Jim Gaffigan do a bump or two and frolic with topless women! So 70's! My Dinner with Hervé (2018)  Peter Dinklage is nothing short of amazing as Hervé Villechaize! Alright, bad puns aside, he really is great. This was a dream project of his for awhile that finally came to be. Villechaize had many demons that we never knew about. Dead in a Week (Or Your Money Back) (2018)  The tone was just right in this dark comedy. Not too dark, not too light. Too funny to be taken seriously, but still twisted enough to satisfy my evil little heart. Tom Wilkinson and Marion Bailey were both so perfect in their roles, you just wanted it to work out for them both. Christopher Eccleston is on hand as a character from a Guy Ritchie movie who seems confused as to what movie he wandered into. His accent seemed pretty good to me. Not familiar with Aneurin Barnard or Freya Mavor but I really liked their on screen chemistry together. Bloody Birthday (1981)  Three evil brats, all born during the same eclipse, start murdering everyone they know, just wait until your father gets home! A bit too goofy to be truly chilling, although there are a few moments where it's just plain weird seeing little kids murdering folks. Have to give it points for being somewhat original in the classic slasher era though. Apparently I've seen this before long ago, but I have almost zero recollection of it. The school teacher's name is "Viola Davis!" Happy Birthday To Me (1981)  I saw this years ago but really couldn't remember it much, so once the twists and turns came, I was as surprised as the forgetful lead character.  Glenn Ford is not someone you'd expect to find in an early 80's slasher film, but here he is. The movie is one of the more beloved slashers of that era, and he lends some dignity to it. Which it could use, since it's poster features someone being shish-kabobed in the face! Speaking of the poster, it states that John will never eat a shish-kabob again, but there is no John in the movie. And the face on the poster doesn't really look like the character that this happens to, I guess to keep some suspense and mystery. This was a fun one, that brain surgery scene had me just squirming, way more than any shish-kabob deaths or whatever! Happy Death Day 2U (2019)  Another killer baby-faced person is out for blood, and I might need therapy after this. Seriously, after all the gore and schlock I've sat through over the years, and I get creeped out by this?  This sequel is equal to the original, maybe even superior. It expounds on the premise in ways you won't see coming. It was like a Peggy Sue Got Married / Scream mashup, with sprinklings of lots of science-y stuff, so hold on kids, it's gonna be a bumpy ride! Unexpectedly, this movie contains one of the squishiest mother / daughter scenes I've seen in a movie in a long time. I had to go kiss my mom afterwards, the feels were too real! Tell your mom you love her, it will freak her out! Hellboy (2019)  Being a big fan of Guillermo del Toro's Hellboy movies, I was not happy a third one was scrapped for this reboot, which is why I've probably put off seeing this until now. However, I love the character and was a little intrigued to see an alternate take on it. This movie does offer up plenty of Hellboy lore, having used multiple comic stories as source material. David Harbour was the totally perfect choice as Hellboy. There's plenty of blood and swearing too, which warms my evil little heart. Ian McShane is on hand to provide some of the swearing, once again, perfect choice! Then there's the noticeably dodgy CGI in some places, but very good in other places. The long-dead / recently revived / all-powerful evil witch-queen thing has been done to death. The production was interfered with by producers and decisions by the director were overlooked or ignored. This might help explain a lot. It's flawed, but still there's a lot to enjoy here too.  Killing Season (2013)  Travolta and De Niro (together, at last?) torture each other for the entire running time, and Travolta tortures the audience with his Serbian accent. De Niro's role was originally intended for Nicolas Cage. Wishing everyone a great movie week, see you all back here next time!  |
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Post by mikef6 on Mar 2, 2020 15:15:47 GMT
hitchcockthelegendWith The Lost Weekend, River's Edge, and Blue Velvet, you had some pretty tense times at the movies last week. Hope you could unwind over the weekend. 
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Post by bravomailer on Mar 2, 2020 17:02:13 GMT
Charade (1963) Director: Stanley Donen Starring: Cary Grant, Audrey Hepburn, Walter Matthau, James Coburn, George Kennedy 8/10 This film, set in Paris during the 60s, is a delightful blend of whodunnit, romance, and comedy. Audrey is a recent widow who learns her husband and OSS colleagues absconded with money during WW2 and the surviving colleagues are after the loot. Grant claims to be on her side but suspicions remain. The cinematography and lighting are wonderful. Can’t think of too many films that show off Paris any better - not even Breathless. Audrey was never more beautiful.  |
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Post by marianne48 on Mar 3, 2020 1:36:39 GMT
Darling (1965)-Julie Christie is a beautiful-on-the-outside, soulless-on-the-inside model who sleeps her way to the top of London's 1960s fashion scene.
Watchable as a time capsule of that time and place, but following the striving of its shallow anti-heroine to "be best" isn't so much fun; the performances of Christie and Dirk Bogarde make the movie, though.
Wait for Your Laugh (2017)--Documentary about the life and 90-year showbiz career of actress Rose Marie. Probably best known as Sally Rogers, the raspy-voiced, wisecracking comedy writer on The Dick Van Dyke Show who always wore that bow in her hair, the actress began in show business at the age of 4 (as "Baby" Rose Marie); her career went from vaudeville to radio to movies to TV to live musical revues with Rosemary Clooney. Along the way she reminisces about her co-stars, her resistance to the casting couch of the time; and the one great love of her life, her husband, musician Bobby Guy. We also find out the reason for the bow. A touching and enjoyable tribute to one of those personalities who was always a welcome presence on classic TV.
The Disaster Artist (2017)--If you liked Ed Wood and American Movie, you'll probably enjoy this. James Franco portrays a too-weird-to-be-true character named Tommy Wiseau, an aspiring actor and filmmaker who uses his
unlimited funds and lots of twisted charisma to bring to the screen his cinematic masterpiece, a drama called The Room. The meaning of the film's title is
not nearly as baffling as Wiseau himself; he can possibly best be described as a combination of Ed Wood, Andy Kaufman's clueless foreign character, and Borat. He gathers a cast of wannabe actors and pays for a crew to film his script; the crew spends much of their time in a state of befuddlement and dismay as they realize that Wiseau is more or less clueless about filmmaking, yet the filming continues. Lots of fun to watch the process of bringing the
semi-coherent mess of the film to completion, but some of this is pretty hard to believe--is this movie really that bad, and is Wiseau as strange as Franco makes him out to be? Well....
Yes, and yes. The only thing to do after seeing Franco's "making-of" movie is to watch the real thing....and The Room (2003) is, in fact, every bit as bad, and even worse. It's a true contender for the worst film ever made, outdoing anything by Ed Wood in terms of klutzy filmmaking. At least Wood's films had some kind of continuous storyline, and the actors tried with what little they had. If Wood had had the 1950s equivalent of the $6 million
Wiseau pumped into this film, he might have at least hired some script doctors, requisitioned some better sets, and might have even afforded someone along the lines of Ray Harryhausen to provide some decent special effects so that he could have made some decent B-movies.
In contrast, Wiseau's film doesn't so much resemble a movie as it does a filmed version of "Skit Day" in a class of sixth-graders. Much of it is just a disjointed series of scenes in which characters meet, discuss some kind of crisis or situation in a detached, affectless fashion, then the scene ends or is interrupted by a new situation. Lisa, the love interest, meets with her mother, who announces that she is dying of breast cancer with about as much
animation as she would use for a conversation about a BOGO sale at the local mall. Lisa reassures her listlessly that it's no big deal, she'll get well. Then this plot line is forgotten as they move on to the neighbor kid's attack by a gun-toting drug dealer. The film's star, Johnny (Wiseau) overpowers the drug dealer as Lisa and her mother lecture the neighbor kid about not using drugs. This plot line is also forgotten as Johnny and his friends decide to throw a football around. Then some other friend shows up and complains about the "tragedy" he's going through--he left his undershorts in Lisa's apartment and
her mother found them. These little scenes are apparently there to flesh out the main story--Johnny wants to marry Lisa, but she goes back and forth from having sex with Johnny (there's a sex scene which for some reason is repeated halfway through the movie--I guess Wiseau thought it was just that good, why not run it again?) to cheating on him with his best friend Mark. For no reason at all, she accuses Johnny of abusing her; Johnny tries to figure out what's going on by consulting the psychologist guy who hangs out on the roof (of course). Then Mark also consults the psychologist on the roof. Then Mark tries to throw the psychologist off the roof. Then things really get confused. Hi, doggie.
Highly recommended. No, really--this is the ultimate "so bad it's good" movie. Watch the two films as a double feature, or watch The Room with friends. Don't miss the interview with Tommy Wiseau on the DVD--yes, this guy is apparently for real. Oh, hi.
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Post by morrisondylanfan on Mar 3, 2020 2:21:05 GMT
Hi all,I hope everyone had a good weekend, and I've recently seen: Cinema of 2009:  Castle of Dreams 10 Driving back to a relationship Jalal had left on the tracks 3 years ago, editor/ director Reza Mirkarimi & cinematographer Morteza Hodaei listen in on what Jalal is returning to with jagged wide-shots from the inside of Jalal's car, which obscures the viewer from getting the full vision of the dusty path he is being pushed back into, with splinters of audio nailing the angered frustrations from those Jalal had left behind. Sitting in the car with Jalal and his children Ali and Sara for the majority of the title, Mirkarimi places the viewer in the middle seat with excellent Iran New Wave (INW) fluid panning shots darting between the pent-up emotions of Jalal landing on the rocks of Sara and Ali's grief and sadness. Turning the key on Jalal's life after the one-two-punch of being freed from jail and the wife who he had drifted apart from has suddenly died, the screenplay by Mohammad Davoudi and Mohsen Gharaie bring Neo-Noir grit to the INW, in Jalal (a excellent, hard-bitten Hamed Behdad ) being a loner figure who hits back at anyone who mutters questions over where he has been for the last 3 years, going as far as making excuses in order to avoid telling the kids in the back seat that his girlfriend is not just a "friend" sitting next to him. Reuniting with his own young children after leaving them behind years ago, the writers give Jalal and his kids Ali and Sara (played by the pitch-perfect Niousha Alipour and Yuna Tadayyon) fantastic Neo- Realist stylised INW dialogue, where the passage of time and disconnection they share weighs heavy in the brittle exchanges of Ali and Sara missing their deceased mum, and Jalal finding himself in relationships which he can't merely drive away from.  Parasite 10 Descending in the opening shot to the Kim household, co-writer/(with Jin Won Han) directing auteur Bong Joon Ho reunites with cinematographer Kyung-pyo Hong and builds a foundation which continues to explore Bong's major recurring theme of class, gliding upwards to the decadent Park household, balanced with long tracking shots down to the dirt-poor ground of the Kim's. Astonishingly building the Park house by scratch, Bong and his regular editor Jinmo Yang work in perfect synch with each other, as Bong's ultra-stylised panning shots over the reflecting surfaces of the Park's house are pinned by Yang's fluid editing slicing off the peel from each level of the Park house the Kim's begin to inhabit. Housing a magnificent ensemble cast, the screenplay by Bong & Han wisely avoid the option of the Park's=bourgeoisie scum,and the Kim's=the angelic poor, instead going for a more thoughtful study of class and capitalism, (major recurring themes of Bong) lit by wonderful con artist thrills, which get baked into a hauntingly bitter final bite. Covering the skyline/screen with the Park house, the writers open the door to the house being at a level of wealth which the Kim's (and others) will never be able to cross the divide to reach, leading to a intense doom-laden scramble to secretly retain control on the lowest level of the house,inside a location where everyone's attempt to keep a firm grip on their cut, leads to them all being parasites.  Earthquake Bird 7. Speaking Japanese for large parts of the film, Alicia Vikander impressively gives the appearance of Lucy Fly (what a name!) being at ease speaking the language (unlike the awkward, unsteady dialogue delivery actors from "the west" usually give in Bollywood flicks.) Sitting in a police room looking back at how she went from finding peace being alone to mingling with the wrong crowd and become a murder suspect, Vikander chips away at the ease Fly has with herself in a terrific turn, thanks to the confident mask Fly wears being cracked by Vikander into a increasingly disorientated state. Backed by a excellent jangling Industrial score by Leopold Ross/Claudia Sarne and Nine Inch Nails member Atticus Ross, writer/ director Wash Westmoreland & Chan-wook Park's regular cinematographer Chung-hoon Chung stylishly shake the growing disconnected mind-set of Fly in a immerse atmosphere of stylish shaking overlapping dissolves freezing on the shattered close-ups to Fly's fears of losing her mind. Dabbing the early peaceful time that Fly lives alone over the opening, Westmoreland's adaptation of Susanna Jones novel aims for psychological Thriller fears from the entanglement of Fly with her new friends, but misses the chance for successful doubt,by having the duo act shady from the start, and little room being given to establish why these two relationships are so important to Fly and end up causing her such distress, leading to this flick sadly not being a super Fly. Other flicks: Elektra, The Incredible Hulk & Gollum:  13 Going on 30 (2004)6 Whilst bringing Rink forward in time, director Gary Winick (who tragically died from brain cancer at just 49 years old) & cinematographer Don Burgess get their Rom-Com groove on with a ahead of its time sparkling dip into 80's nostalgia of Michael Jackson nightclub dancing, childhood partying to Talking Heads, and the changing glamour of Madonna. Covering Rink in a fashion mag workplace, Winick spreads the pages for a glossy Rom-Com atmosphere of darting panning shots towards Rink and Flamhaff's Meet Cute. Made just after she was Elektra in Daredevil,Jennifer Garner gives a bubbly turn as Rink,whose childish mind-set allows Garner to bring out misfit slap-stick. Later to join Garner in Comic Book movies with Black Panther,Ant-Man and as The Incredible Hulk, (plus a early cameo from Captain Marvel's Brie Larson,and Rogue One's Felicity Jones being the cover star of Rink's mag) Judy Greer, Andy Serkis and Mark Ruffalo give sparkling turns as Rink's pals,with Ruffalo bringing out a soft rugged charm as he falls for Rink going on 30. |
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Post by morrisondylanfan on Mar 3, 2020 2:28:43 GMT
Watched two very different films last week. The Danish Girl (2015). Ready or Not (2019). Hi COE! I hope you had a good weekend,and with also having recently seen her in a movie,how did you find the Danish that Vikander made to taste? From when I saw it in 2015. "For a man to submit to a women's gaze is unsettling." 7. Spending most of the film together, Eddie Redmayne and Alicia Vikander both bravely show their vulnerabilities in the elegant naked scenes,which focus on the emotional struggle that they are both facing.Standing by Lili Elbe at every stage of the operation,Alicia Vikander gives a superb performance as Gerda Wegener, (who in real life was a lesbian and had an open relationship with Elbe-something which the film sadly omits)as Vikander shows Wegener trying to keep a film grip on her emotions whilst supporting Elbe during her operations,but struggling to come to terms with the end of their marriage. Treating Elbe with the utmost sensitivity, Eddie Redmayne gives an excellent performance as Lili Elbe,thanks to Redmayne revealing Elbe's desire with a splendid delicacy,whilst displaying the overflowing anguish that Elbe gets from the reactions of those nearest to her.Adapting David Ebershoff's "loose" biographer of Wegener & Elbe,the screenplay by Lucinda Coxon rushes by the origins of Elbe & Wegener's relationship and goes straight to Einar Wegener revealing Lili Elbe.Whilst this approach does allow the title to focus on the challenges that Elbe faces,it sadly stops a foundation being built for the love and compassion that Elbe and Wegener have for each other,with Elbe showing little interest in Wegener's (her long-term partner) feelings on the matter,which leads to this film being a very elegant, but far from sweet Danish. My Hooper ranking: Les Mis Cats (such quality trash!) Danish.
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Post by morrisondylanfan on Mar 3, 2020 2:37:19 GMT
Happy Birthday To Me (1981) I saw this years ago but really couldn't remember it much, so once the twists and turns came, I was as surprised as the forgetful lead character. Glenn Ford is not someone you'd expect to find in an early 80's slasher film, but here he is. The movie is one of the more beloved slashers of that era, and he lends some dignity to it. Which it could use, since it's poster features someone being shish-kabobed in the face! Speaking of the poster, it states that John will never eat a shish-kabob again, but there is no John in the movie. And the face on the poster doesn't really look like the character that this happens to, I guess to keep some suspense and mystery. This was a fun one, that brain surgery scene had me just squirming, way more than any shish-kabob deaths or whatever! Wishing everyone a great movie week, see you all back here next time! Hi Leb,it looks like you saw some wonderful pulpy thrills. Happy Birthday To Me is actually one of my favourite Slashers, thanks to how much it leans into Giallo,and the macabre ending. This is how I found it to be in 2014: 8. Backed by an icy score from Bo Harwood,Lance Rubin and the former Mrs Stevie Wonder: Syreeta, (which got completely wiped for a "modern" score to be featured on the DVD) J. Lee Thompson gives the movie a strong Giallo cut,thanks to Thompson wrapping the killers (who looks far more built than the person its revealed to be!) hands in black gloves,and also displaying each of the creative killings (from a scarf to a kebab!) with splashes of burning reds.Along with the Giallo elements,Thompson uses Wainwright's brain surgery to give the title some unexpected Sci-Fi notes,with Thompson casting Wainwright's fragmented memories in startling,over-saturated colours,which create an uneasy mood over Wainwright's not being able to fully recognise reality. Completely re-writing the title just before production began (with special make-up effects artist Tom Burman also being rushed in for the films deadly set pieces,after Stéphan Dupuis had left just 3 weeks before filming) ,the screenplay by Timothy Bond and Peter Jobin strikes a fine (mostly cohesive) balance between tense teens in terror Slasher peril,with a bubbling psychological chiller.Coming up with the ending whilst the filming was near completion (talk about a troubled production!) the writers take the rather daring decision to keep away from any feel-good ending,by instead making the final candle one which is lit by a sinister flame. 
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