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Post by wmcclain on Aug 6, 2022 13:50:33 GMT
Your comments/ratings/recommendations/film posters are welcome and much appreciated! The title says "classics" but we are always interested to know what classic film lovers have been watching, whatever the material.  |
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Post by lostinlimbo on Aug 6, 2022 13:58:35 GMT
 Brenda Starr (1989) 5/10  Scene of the Crime (1949) 7/10  Ramrod (1947) 8/10  Murder Me, Murder You (1983) 8/10
More than Murder (1984) 8/10   The Ghost Galleon (1974) 6/10 repeat  The Big Clock (1948) 8/10  The Dirty Dozen (1967) 7/10 repeat |
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Post by wmcclain on Aug 6, 2022 14:11:15 GMT
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spiderwort
Junior Member
@spiderwort
Posts: 2,101
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Post by spiderwort on Aug 6, 2022 15:05:06 GMT
First viewings:Late Spring (Banshun) (1949):My first Yasujirô Ozu film, after all these decades (!), and it’s a beauty. The story of an aging widower who lovingly deceives his devoted daughter in order to convince her that she should marry, the film’s simplicity is inspiring, as is its humanity. I can’t wait to see many more of Ozu’s films, and I highly recommend this one, considered by many to be a masterpiece.  Salt of the Earth (1954):I’ve wanted to see this film for years, and I’m happy to say that it did not disappoint me. Written by Michael Wilson, directed by Herbert J. Biberman, and produced by Paul Jarrico, all of whom had been blacklisted due to their alleged involvement in communist politics, the film is a fictionalized account of a real strike by zinc miners in Grant County, New Mexico. Shot in a neorealism style, it used actual miners and their families as actors, along with a few Mexican and Hollywood actors (like Will Geer). One of the first films to advance the feminist social and political point of view, it’s also the only Hollywood film that was blacklisted(!). In 1992, it was selected for preservation in the National Film Registry. And the screenwriter, Michael Wilson, who worked under a nom de plume for years after he was blacklisted, finally, in 1984, was posthumously awarded the Oscar for writing A Bridge on the River Kwai, which had originally been given to its novelist, Pierre Boulle. Salt of the Earth is an exceptionally well done film, moving, inspiring, and important for is dramatic value and historical significance. I’m thrilled that I finally got to see it. Highly recommended. (Available on Prime Video, but the quality is better on free Tubi TV)
Salt of the Earth trailer:Arthur Miller: Writer (2018):An excellent documentary about playwright Arthur Miller, produced and directed by his daughter, Rebecca Miller (wife of Daniel Day-Lewis). Miller’s most popular works are the plays All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), and A View from the Bridge (1955), and his screenplay for The Misfits (1961). The film features interviews, conversations and activities with Miller and his children, his brother and sister, actress Joan Copland; also interviews with playwright Tony Kushner and director Mike Nichols. A thoughtful, intellectually stimulating journey through Miller’s life, including his marriage to Marilyn Monroe and his run-in with the House Un-American Activities Committee. An HBO original production. If you can find it and you love the theatre and films, it’s a must-see.  Journey to Italy (1954):An unhappily married couple attempts to find direction and insight while vacationing in Naples. An exceptional Roberto Rossellini film, which is saying a lot.  A Month in the Country (1987):Two traumatized World War I veterans (Colin Firth and Kenneth Branagh in his film debut) find peace and friendship as they uncover a mystery in the Yorkshire countryside. Along the way they encounter the local vicar’s young wife (Natasha Richardson), becoming a trio reflecting love and longing. A purposefully slow, almost elegiac film, it’s worth viewing for the cast alone.  J.W. Coop (1971)A former rodeo star gets released from prison and tries to make it again on the rodeo circuit, obsessed with winning the national championship. Produced, co-written and directed by Robertson, it has a gritty, authentic look and feel to it; it’s also an intriguing contrast between the cowboy world and the “hippie” generation. Worth a look for those who love the cast and/or rodeos.  Seven Chances (1925):Starring and directed by Buster Keaton in a funny, well-done film about a man who must be married by 7 o’clock in order to inherit $7 million. As a result he’s pursued by an avalanche of women who want to become his wife. A delight for Keaton fans.
Re-watches:The Ox-bow Incident (1942):Two drifters (Henry Fonda and Harry Morgan) join a vengeance-hungry posse eager to hang three men — Dana Andrews, Anthony Quinn, and Francis Ford — who find themselves in the wrong place at the wrong time. A great William Wellman western, one of the best of all time, with superb performances by all the cast. Received an Oscar nomination for best picture (why not many more is beyond me!). An absolute must-see.  The Window (1949):A childhood favorite that I still love today. The story of a boy who witnesses a murder, but his parents don’t believe him. Great cast, terrific script, lots of suspense, and solid direction by Ted Tetzlaff. Highly recommended. 
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Post by mikef6 on Aug 6, 2022 18:26:29 GMT
The Spoilers / Ray Enright (1942). A few trivia points: This was the fourth of five movies made from Rex Beach’s 1906 novel but the one to see if you are only going to see one; John Wayne, because he was borrowed from Republic for this Universal production, got billed third after Universal players Marlene Dietrich and Randolph Scott; it is a rare, perhaps unique, villainous role for Scott. In lawless Nome, Alaska during the Klondike Gold Rush, most disputes are settled by saloon owner Cherry Mallot (Dietrich) until a judge and his niece (Margaret Lindsay) show up along with a new gold commissionaire (Scott), mainly to hear lawsuits over gold mine claims. The judge and commissionaire, however, are out to rob claims themselves but don’t count on Roy Glennister (Wayne) standing against them. Exciting action ending with a spectacular five minute long fist fight between Duke Wayne and Randy Scott and their stunt doubles – although both actors, at their own insistence, did more than a few of their own stunts.    Days Of Wine And Roses / Blake Edwards (1962). “They are not long, the days of wine and roses / Out of a misty dream / Our path emerges for a while, then closes / Within a dream.” (Ernest Dowson, 1867-1900). They are not long for happy couple Joe and Kirsten Clay. Joe was already a heavy drinker but Kirs never touched the stuff until Joe introduced her to chocolaty Brandy Alexanders. Their downward spiral is a harrowing story with, surprising for a Hollywood movie, only a semi-happy ending. Jack Lemmon and Lee Remick give lived in performances. Jack Klugman and Charles Bickford are sturdy support. One of the essentials. On the National Film Registry.    Five Easy Pieces / Bob Rafelson (1970). After 10 years of low-budget motorcycle and horror movies, Jack Nicholson finally got recognized by critics and the public in 1969’s “Easy Rider.” The next year he sealed the deal and jumped to the “A” list with this performance as Robert Eroica (Bobby) Dupea, a troubled son of a wealthy classical music family. We first see him at work in in an oil field and going out with his c&w girlfriend Rayette (Karen Black). When he gets word that his father is dying, Bobby and Ray make their way up to Washington state to his family home where he has to confront father and siblings. In a picture below is featured probably the most famous truck stop waitress in movie history. An essential movie in the Nicholson filmography. On the National Film Registry.      Poirot. Season 13, Episode 1 “Elephants Can Remember” August 11, 2014. From the next to last novel of Agatha Christie. That book was followed by “Postern Of Fate” and, after her death, two other books originally written in the 1940s. Being one of her weakest novels, the screenplay punches up the complexity by adding a new murder and surprise murderer. David Suchet delivers his patented Hercule Poirot. A satisfactory movie length episode.    Secrets Of The Dead. Season 16, Episode 1 “After Stonehenge” October 26, 2016. In 1999, the site of a bronze age village was found in a swampy area north of Cambridge, England called Must Farm. After some early investigations that found the remains to be 3,000 years old in the Bronze Age, excavations began in earnest in 2015. Many artifacts became the earliest ever found in the U.K. There is an almost intact wheel and, more remarkably, a disc showing positions of the constellations and phases of the moon which inform of the date to begin planting. There is also evidence that these early people treated, spun, and weaved plant fiber into intricate textiles. All much more advanced than previously assumed. The village showed much evidence of being burned by hostile neighbors. The title was given by PBS when the documentary came to America but is a bit misleading because Must Farm had nothing to do with Stonehenge. The original BBC title was “Britain's Pompeii: A Village Lost in Time.” For the archeologist inside you.    Cyrano / Joe Wright (2021). Based on the 1897 play “Cyrano de Bergerac” by Edmond Rostand and subsequent 2019 Broadway musical. Peter Dinklage, also star of the Broadway production, plays the famous character who loves Roxanne (Haley Bennett) from afar fearing rejection because of a physical imperfection. When he finds out she is in love with a poetry challenged soldier, Cyrano offers to write the love letters for the tongue tied fellow. The songs are mostly pretty tuneless as if the singers were improvising the melody from a prose text. The best of the lot is a sad determination by three soldiers and chorus: “Where I Fall.” But that is not much of a distraction because most of the singing is calm and quietly done. Dinklage is outstanding. Ben Mendelsohn is the villain. Mendelsohn is a good actor, but I would like to see him as a sympathetic character, a good guy, for once, already.   
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Post by teleadm on Aug 6, 2022 19:42:59 GMT
Here is what Tele have seen lately... What Tele actually have done is sneezing a lot since I managed to catch a flue and with a little flue been listening to old CD's and now the movies I've seen lately:  House at the End of the Street 2012 A double murder took place at that house, now only a young relative lives there. Spooky but a bit too slow, though there was two really good scares that even made me jump. Too many holes in the story to make me satisfied by the end.  Killers 2010 directed by Robert Luketic This was awful, a sort of rom-com with a high body count. The only redeeming factor was Tom Selleck as a rather cool father-in-law. Ashton Kutchner must be one of the most boring actors ever. just saying his name and one is yawning.  Step Up 2006 directed by Anne Fletcher Standard story , bad boy makes good at dance academy, and followed by at least 4 sequels. While the story was predictable, there was a pulse and energy that I liked.  Speed 1994 directed by Jan de Bont Forget logics, pop popcorn, relax and just sit back and enjoy one of of the best action movies of the 1990's. Whatever made this one work is beyond me, plus a great villain in Dennis Hopper.  Midas Run 1969 directed by Alf Kjellin. Seeing Fred Astaire even in a minor movie like this is always a joy, as he plots to steal gold bullions from Switzerland that belongs to the Queen of England. Not a great movie but enjoyable thank to the cast  The Virgin Queen 1955 directed by Henry Koster Bette Davis as a woman of power, that role must have fitted her well, and she is more or less the whole show. Her banters with Sir Walter Raleigh sadly becomes boring after a while. Nice to see Jay Robinson as something else than Caligula  Tales of Ugetsu aka Ugetsu monogatari 1954 directed by Kenji Mizoguchi and based on old stories This was on another level than the rest of the movies this week. One of the great masterpieces of cinema, and to my mind not a difficult movie to watch and follow (with English subtitles) And that was my week |
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Post by teleadm on Aug 6, 2022 21:13:18 GMT
Your comments/ratings/recommendations/film posters are welcome and much appreciated! The title says "classics" but we are always interested to know what classic film lovers have been watching, whatever the material. Could it be one of the huge silent stars, using lesser make-up than usual, even maybe Gloria Swanson...
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Post by wmcclain on Aug 6, 2022 21:32:22 GMT
Your comments/ratings/recommendations/film posters are welcome and much appreciated! The title says "classics" but we are always interested to know what classic film lovers have been watching, whatever the material. Could it be one of the huge silent stars, using lesser make-up than usual, even maybe Gloria Swanson... It is Swanson. I think the title would be hard to guess, so will just identity it as: 
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Post by teleadm on Aug 6, 2022 21:45:13 GMT
Could it be one of the huge silent stars, using lesser make-up than usual, even maybe Gloria Swanson... It is Swanson. I think the title would be hard to guess, so will just identity it as: It was something about the eyes and eyebrows in the mirror image that somehow gave her away. The movie though I didn't even know were to begin guessing
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Post by politicidal on Aug 6, 2022 21:59:28 GMT
Repeat Viewings:
Only Angels Have Wings (1939) 9.5/10
The Tartars (1961) 4.5/10
First Viewings:
Stander (2003) 6/10
Mayday (2021) 3/10
Barricade (1950) 4/10
Assault on Precinct 13 (1976) 7/10
The World to Come (2020) 5/10
Megalodon (2018) 1/10
The Spiral Staircase (1946) 6.5/10
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Post by Doghouse6 on Aug 6, 2022 22:57:04 GMT
It is Swanson. I think the title would be hard to guess, so will just identity it as: It was something about the eyes and eyebrows in the mirror image that somehow gave her away. The movie though I didn't even know were to begin guessing I've always thought her profile was as distinctive as Barrymore's. Her features were angular, even sharp, yet delicate. I thought of Swanson myself, but decided I must be wrong because I didn't know she'd ever appeared so plain - almost dowdy - in a film. Well done, teleadm.
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Post by Chalice_Of_Evil on Aug 7, 2022 2:26:04 GMT
I had an X-cellent week of movie-rewatching/reviewing. X-Men 2 (2003). X-actly what a sequel *should* be. Contrary to popular belief, it was 2000’s X-Men (NOT 2002’s Spider-Man) that saved the superhero/comic-book movie genre after Joel Schumacher nearly killed it with Batman & Robin. Once again, Bryan Singer (no matter what you might think of him) shows the heights comic-book movies are capable of reaching with this sequel. ‘Dies Irae’ from Mozart's Requiem in D minor has never been better utilised than it is during this film's opening scene at the White House, which introduces the character of Nightcrawler (a blue demon-looking creature...with a TAIL, who might appear menacing/'bad', but is later revealed to be the complete opposite). He's a teleporter who can single-handedly take out a bunch of opponents as he 'BAMF's from one place to the next. I have yet to see teleportation brought to life onscreen more effectively than it is here. It remains one of the all-time BEST scenes in any comic-book movie EVER. While Wolverine’s having a stare-off with a wolf, trying to regain memories of his past/the experimentation that gave him his indestructible adamantium skeleton, we’re reintroduced to the other returning X-Men from the first film. Storm’s wig is fluffier/slightly less fake-looking; Jean’s having trouble controlling her powers which seem to be growing, Cyclops is still being severely underused (Singer might like James Marsden as an actor, but he obviously cares little for Cyclops as a character given how his screentime keeps decreasing with each movie), Rogue’s now together with Iceman/Bobby Drake, the character of Pyro/John has been recast and Professor X uses his telekinetic abilities to make an entire food court of people freeze/stop moving. The dynamics established in the first film are acknowledged (ie. Rogue’s attachment to Logan and the Logan/Jean/Scott ‘love triangle’), though not dwelled upon, as there’s other stuff going on such as the Mutant Registration Act being pushed, Mystique posing as the deceased Senator Kelly, and Brian Cox’s very human (but very dangerous) William Stryker launching an attack against the X-Mansion. This is another stand-out scene, as we’re not only treated to a glimpse of a new character’s power (the metal-skinned Colossus) but also Wolverine going into a ‘berserker rage’ against the attackers who may be considered the ‘bad guys’, but I was nevertheless thankful to for shutting up that one screeching mutant girl. It's weird that a school FULL of super-powered mutants are seemingly no match for a bunch of human guys with stun-guns (I guess this is why the mutants are mostly kids...because if they were adults, they'd wipe the floor with their enemies). Meanwhile, Magneto stages a fantastic escape from his plastic prison with the help of his trusty henchwoman, Mystique (it was nice seeing a non-blue/non-scaly Rebecca Romijn in one brief scene). Elsewhere, Jean/Storm track down Nightcrawler (of all the new characters, Alan Cumming’s was easily my favourite, as he brings a LOT to this role, managing to make Nightcrawler scary, sympathetic, and even funny with how he keeps introducing himself to people. He and Storm also have some good moments together, he proves an asset to the team, and although their comic-book connection is never acknowledged, it’s fun to see the two blue mutants, him and Mystique, briefly interact). They soon learn his attack on the President wasn’t of his own volition, as Stryker has a means of controlling mutants/making them do his bidding as evidenced by his own mutant henchwoman, Lady Deathstrike. Speaking of, poor Kelly Hu (like Rebecca Romijn before her in the previous movie) only gets ONE line of dialogue…but at least her fight with Wolverine helps make up for that. It’s definitely a stand-out (being about as intense/violent as a PG-13 film will allow). Another good scene is the one where Pyro makes it known just how dangerous the power of fire manipulation can be. Aaron Stanford plays the part well, and his exchange with Magneto is a good one. It must also be mentioned how very 'mean girl'-like the Magneto/Mystique pairing are towards Rogue regarding her unique hair...which they're responsible for (ignore them, Rogue. Your hair's great!). In most cases, this sequel gives us more of everything: more mutants, more fight scenes and more of the different powers displayed...except for Cyclops’ and Rogue’s, of course, which continue to be frustratingly underutilised. This brings me to the ‘negatives’ of the film: It's baffling why those^ two characters are wasted and the full extent of their powers aren't taken advantage of, the movie seemingly resorted to ripping off a line from Joss Whedon’s series Buffy the Vampire Slayer (replacing the word ‘Slayer’ with ‘mutant’) since they apparently didn't have him to supply the jokes this time, and I could’ve done without the blue-lizard-tongued mutant child/'kiddie humour'. Still, there's a LOT to like: Singer manages to keep things coherent (even when there's some weirdness involving mind-tricks/illusions), Hugh Jackman's Logan/Wolverine continues to steal every scene he's in, Patrick Stewart and Ian McKellen command the screen whenever they appear, Romijn's Mystique is fascinating to watch (look out for her amusingly rude gesture she gives the bad guys at one point) and, as mentioned, Nightcrawler makes one hell of a debut (such a shame the extensive/time-consuming makeup process put Cumming off returning). These movies have always excelled at is being about something deeper than just seeing 'cool powers' onscreen. The way the subject of those who are 'different' is tackled gives these films much more 'weight' than other previous superhero movies had (Iceman/Bobby 'coming out' to his parents as a mutant is one such example). The action, whilst impressive and expertly staged/shot, isn't the main focus of the movie which delivers its 'message' without being as ham-fisted/obvious as other more modern superhero movies. Although these films mightn't be the most accurate at translating the comic-books they're adapted from to screen, the 'differences' don't make them bad (though you have to wonder what they would've been like if they had stuck to the comics more closely). The movie's climax packs an emotional punch, whilst the ending shot promises more interesting/exciting things to come. (2006). X-pect the WORST and you’ll see it’s not quite as bad as everyone makes out. Right from the get-go you know this film’s different from the previous two by the lack of voiceover about mutation/mutants and opening credits sequence. Instead, we flashback to a time pre-Magneto when Erik Lehnsherr was still friends with Charles Xavier and the two of them looked like Oompa-Loompas with unnaturally smooth orange skin (thanks to de-aging CGI that was still in its early stages). They visit a young Jean Grey who proves uber-powerful and we're later told (through an exposition dump) developed a 'dual personality' (where'd this come from? The writers' BUTTS, obviously). Apparently-not-THAT-wise Professor X decided that suppressing the dark force/alternate personality inside Jean (which calls itself ‘the Phoenix’) was the 'best' course of action (he’s actually kind of a jerk in this movie, especially to Logan/Wolverine). We’re then introduced to young Warren Worthington III, who has angel wings (the young actor playing his kid self makes more of an impact in his few minutes onscreen than Ben Foster does playing the adult version who flies, saves his dad near the end, is the reason for a cure to mutation being created...and that’s about the only noteworthy things regarding his character). We zoom into his sawed-off wing stumps (ew!) and for some reason they've changed the awesome movie version of the ‘X-Men Theme’ from the previous film (while not as good as X2's theme, I still like the new version/think it's underrated). Those who’ve longed to see Sentinels in these films finally get their wish via a simulation in the Danger Room (well...at least the HEAD of one, anyway) fighting the X-Men we're familiar with (Wolverine, Storm, Iceman, Colossus and Rogue...whose power *should* be one of the best, but is presented as the lamest. Literally the *only* time we see it on display is when Colossus shares his ‘metal skin’ power to shield her from flying debris...she doesn’t even take the initiative to do it HERSELF!), plus Kitty Pryde/Shadowcat, who’s been recast AGAIN (Ellen Page plays the third version, after the character previously cameoed, curiously de-aging between films 1&2). Disappointingly, Nightcrawler (the stand-out new character from X2) is missing, but in his absence we get the reintroduction of Hank McCoy (who also previously cameoed, but is recast here with Kelsey Grammer) AKA Beast. He has a fun dynamic with Wolverine and Grammer makes the most of his role/screentime. Speaking of screentime, it appears that as Storm's has INCREASED, Cyclops’ has decreased and poor James Marsden’s appearance is little more than a cameo here. After one last exchange with Logan, we finally see a decent display of Scott's eyebeam power as he blasts Alkali Lake (obviously blaming it for Jean’s death)...just in time for him to seemingly be murdered by the apparently NOT-dead Jean (who grew her hair out whilst, in Xavier’s words, 'cocooned in telekinetic energy' under all that water). Meanwhile, Magneto’s busy recruiting the lamest of the lame evil mutants to fight ‘the cure’ he maintains is being forced upon them. His only interesting ally, Rebecca Romijn’s Mystique (who's always been a highlight), is sorely wasted/mistreated here, as she takes a cure-bullet for him and is then unceremoniously cast aside. Pyro, whose ‘characterisation’ is basically that of a school bully, has a moment where he takes note of how easily Magneto disposes of those no longer of use to him (even trusted sidekicks), but the rest of the time he’s pretty one-dimensional. His ‘battle’ with Iceman near the end is also rather simplistic/unimaginative, as they just fire flame and ice beams at each other...the only upside being Bobby becoming a literal Iceman. The rest of the time he spends hanging/ice-skating with Kitty instead of being there for his actual girlfriend. Speaking of, Rogue sees the cure as her chance to finally be able to touch others...and THANK GOODNESS for Logan telling her she shouldn’t be changing who she is just for some guy (although she maintains it’s what she wants). The movies did a major disservice to the Rogue character, always having her be 'reactive’ with her powers instead of 'proactive'...and then she gives them up. Anna Paquin wasn’t the problem…the writing/characterisation was. Both the character and actress deserved better. It seems the writers were far more interested in developing Kitty's character. Her ability to phase/make those she touches phase through things is another power that we only skim the surface of. Though she does get one amusing line when she insults Vinnie Jones’ Juggernaut...who’s already basically a joke. And Multiple Man? You’d think having someone who can replicate himself would be useful in a fight, but instead he just plays decoy and that's it. He and the rest of Magneto’s army are pretty useless. And, really, Jean/Phoenix is like a one-woman-army anyway, though she’s uncontrollable (Famke Janssen FINALLY gets to do something *interesting* with the role). Although some had issues with the scene midway through the movie (that’s both visually exciting and “WTF?!”-worthy in how shockingly it ends. The music also helps the moment feel 'epic'), I personally thought it was pretty ballsy. While Ian McKellen/Hugh Jackman/Halle Berry do their best to sell the emotion of the moment, one of the film's flaws is that other big/important moments aren't given nearly as much emotional weight. Other flaws include some attempts at humour falling flat, mutants seemingly thrown in just for the sake of it, and even the dramatic end battle could've been *more* than it was (admittedly, the visuals of Jean unleashing her full 'Phoenix force' are pretty spectacular and, again, the music adds a lot). For a film that tackles such important events in the X-Men world, with stakes so high, it’s quite the achievement to make them feel rather unsatisfying. But there's also good stuff sprinkled throughout, the last shot provides a nice bookend and this is the first superhero/comic-book movie I can recall with a post-credits scene. Although this film’s greatly disliked/regarded as a ‘joke’ now by most, I actually don’t think it's THAT bad nor is it the worst of the X-Men franchise. (2011). X-emplary effort. After X-Men Origins: Wolverine botched the franchise’s first prequel; it’s understandable why this movie was met with some trepidation. Thankfully, where that movie failed…this one succeeds, and unlike other prequels, it offers some surprises. Though we begin in familiar territory with an almost-shot-for-shot redo of the first movie’s opening, as young Erik Lehnsherr's separated from his parents, causing him to manifest his powers (bending a gate), this time we see there's more going on, as a scientist (played by Kevin Bacon) wants another demonstration of Erik's power, which he's unable to do until his mother is killed...THEN he shows what he's capable of (including crushing soldiers' heads with their own helmets). Meanwhile, a young Charles Xavier meets a young Raven Darkholme/future Mystique when she’s stealing food. They quickly become friends; we then fast-forward to them older, where Charles Xavier isn't quite what you'd expect. He’s chugging booze, using 'Heterochromia'/explanations of mutation to pick up women (the line from Annabelle Wallis' character, “Mutant and proud.”, which Raven starts out mocking, takes on a deeper meaning by film’s end) and there's a weird brotherly/sisterly-with-hints-of-maybe-more-dynamic between him/Raven. James McAvoy’s Charles is amusing in how NOT-like Patrick Stewart’s interpretation he is, but when the occasion calls for it, you can see the future Professor X in him. Too bad he didn't quit doing that stupid-looking-and-totally-unnecessary-two-fingers-on-his-temple gesture whenever he used his powers. Still, at least it’s wasn't as bad as grown-up Erik’s constipation face/jazz hands gesture he makes whenever controlling metal. Aside from that (and his wavering accent), Michael Fassbender's easily the film’s stand-out, as he brings SO much depth/nuance to the character. There's one particularly memorable scene in a bar where he shows just how ruthless he can be (the music/'theme' that plays whenever he unleashes his power adds a lot). His desire for revenge against his mother’s killer (now known as Sebastian Shaw, who’s a mutant that can absorb power and use it however he sees fit with devastating results) leads to him crossing paths with Charles...who saves Erik from himself. Like Stewart/McKellen before them, McAvoy/Fassbender quickly develop a believable/easy chemistry, you can totally buy them becoming friends...albeit ones with different outlooks on how humanity treats mutants. Together they go recruiting a handful of mutants (who we’ll never hear about again in the future, so you know they’re disposable) along with one we are familiar with, a young Hank McCoy (Nichols Hoult). After Charles inadvertently ‘outs’ him as a mutant-with-hands-for-feet, we soon learn Hank’s just as insecure about his mutation/appearance as Raven is, they bond, he asks her for her blood to create a ‘cure’ for them...then proceeds to unintentionally insult this girl he likes by suggesting she stay human-looking/essentially saying that nobody would EVER find her true form 'beautiful’ (this is just after she describes his true self as 'beautiful'). Way to go, champ! He pays the price for this, however (props to Hoult for making me feel sorry for Hank when he briefly got his wish of having normal-looking feet...only for it to go so SPECTACULARLY wrong), eventually transforming into Beast (the makeup/prosthetics for Kelsey Grammer’s version looked better). Some people apparently had issues with the scene where the young mutants bond, showing off their powers/selecting their 'code names'...but I personally didn't. It’s a fun scene, plus them quickly growing close proves important when Shaw attempts to turn them to the Dark Side, resulting in casualties. This shows how out-of-their-depth they are and leads to an enjoyable training montage, with Charles teaching them how to harness their powers/abilities. The sequence does a good job of displaying the powers of Hank (who, pre-transformation, can run really fast...but never does again post-transformation), Havok (unlike his brother, Cyclops, he hula-hoops his ‘plasma blasts’ at things...inadvertently setting everything-but-his-target alight until Hank builds him a suit that focuses his power more. Speaking of, what’s with Havok constantly insulting Hank/Beast? Especially after he made everyone colourful blue/yellow costumes that should please haters of the previous movies' all-black costumes) and Banshee (who screams 'sonic waves' that Charles tells him he can use to fly...which Erik proves with his much more blunt/direct approach than Charles’s). Erik 'helps' Raven too, suggesting she stop fighting her true self. Rebecca Romjin’s Mystique is a hard act to follow (her cameo here is much-appreciated), J-Law’s interpretation isn’t ‘bad’, just ‘different’. She’s younger/less confident, but has a lot of heart. The most disappointing thing about her is she doesn’t really use her abilities as effectively/kick as much butt as her future self will (like what the previous movies did with Rogue). Also on the X-Men's side is the LEAST-Scottish-person-named-MacTaggert-ever (remember Moira from The Last Stand? Hardly anyone does, probably). Rose Byrne does what she can with a rather thankless role, where her going ‘undercover’ requires her to be as non-covered-up as possible, and during the film’s climax, she unintentionally has a hand in Charles becoming forever wheelchair-bound (but as Charles points out to Erik, who’s busy blaming/choking Moira, *he's* the main one responsible). On the side of Evil, Kevin Bacon's clearly having fun playing Shaw, though his minions are even LESS interesting/memorable than future Magneto’s original Brotherhood of Mutants were (January Jones may look dazzling as Emma Frost in diamond form but she lacks ‘range’ in the acting department, red devil guy's certainly no Nightcrawler and tornado dude's a mute). The Cuban missile crisis serving as this movie's setting helps return things to 'basics'/more 'grounded' feel like the first film, character development is treated as more important than flashy powers (rightly so) and while the movie includes foreshadowing of/references to the other films (including an all-time-best Wolverine cameo/one-liner, and check out Magneto's 'dorky-looking helmet' he sports in the film's final scene!), it doesn't rely on them. I also appreciated the film's score throughout and the Take That song which plays over the end credits. First Class passes the prequel test by giving us what other prequels FAIL to (ie. something NEW which also respects what's come before) and deserves an 'X' for X-ceptional work. (2015). X-tra Rogue was what this film needed. The film’s beginning includes a Professor X voiceover and the opening credits sequence/theme like we’ve come to expect (which were all absent in First Class), as we’re dropped into the middle of this post-apocalyptic grim/dark future (with bright neon lights!) Xavier describes, where mutants are far fewer than they were and this has led to a surprising team-up between Xavier/Magneto (it’s good to see Patrick Stewart/Ian McKellen together again onscreen) along with familiar characters Wolverine, Storm (could her hair BE any shorter?), Iceman, Kitty Pryde, Colossus...and a bunch of new mutants we don’t know/care about who serve as cannon fodder (though Iceman gets the nastiest demise). However, it's a total “Psyche!” moment, as Kitty (once again showing off her delightfully amusing potty-mouth) soon reveals this was them warning their future selves. In this bleak future, Sentinels (which now resemble the Destroyer from 2011’s Thor) possess Mystique’s ability to change/adapt, giving them the various mutants’ powers (which they turn on them/kill them with). They gained her power because past Mystique assassinated Bolivar Trask (Peter Dinklage), who was experimenting on mutants, and she got captured/her blood was used. Xavier tasks Kitty (now possessing the unexplained power to send someone’s mind back in time to their past self’s body) with sending Wolverine (whose mind, which heals, is the only one that can handle such a distant/prolonged trip) back to prevent the assassination/creation of this unbeatable enemy. The 70’s setting provides some good humour (lava lamps! Water beds! Logan's butt! No internet! Okay, one of those mightn’t be 70’s-specific), as Future-Logan’s-mind-in-Past-Logan's-body has to navigate unfamiliar territory. He's surprised to find Charles (James McAvoy) walking and Hank (Nicholas Hoult) a non-hairy-Beast. Turns out they're using an unmentioned-until-now serum that suppresses their mutations (where was this when Rogue wanted to be able to touch people without putting them in a coma, HMM?). After Logan has essentially the same thing he said to Charles during his First Class cameo thrown back in his face, it takes some convincing to get this now-shaggy-haired/bearded young Xavier to help out. Eventually he does, but they require the services of Michael Fassbender’s Magneto...who's in prison for killing Kennedy (though he later reveals to Charles he was trying to SAVE him...because he was a mutant), so Logan seeks the help of Evan Peters’ Peter/Quicksilver (who’s treated like he's an old friend we should know). While most apparently think of the slow-mo sequence showing off Quicksilver’s super-speed as a film highlight, my ‘unpopular opinion’ is I prefer the MCU version, as this one’s powers are mainly just an excuse to show him pranking folks in between saving people. I’m much more interested in seeing J-Law’s Raven/Mystique FINALLY kicking major butt (like Rebecca Romijn’s version always did), since we got NONE of that during First Class. Raven’s now much more bitter, her ‘friends’ (ie. Magneto’s lame/forgettable crew from First Class) are dead after having been experimented on and she’s determined to put a bullet in Trask...except Magneto winds up putting a bullet in *her* (well, her leg) in a nifty display of his powers (whilst all this is happening, Logan momentarily loses his future self’s consciousness and he freaks out, not knowing where he is/WTF Beast is after Hank changes back to a furball. Thankfully, Hoult’s Beast makeup/prosthetics is somewhat-improved), and once again Erik's inadvertently responsible for screwing things up (first paralysing Charles, now spilling Raven’s blood that’s used for Sentinels). McAvoy, Fassbender, Lawrence and Hoult all firmly established the different dynamics between their characters in their previous film, and I enjoyed their interaction with each other (as well as Jackman’s Logan/Wolverine) the most in this film. The new characters introduced? Not-so-much. Although it’s nice seeing Ellen Page/Shawn Ashmore get to play more prominent/important roles as Kitty/Bobby than they did previously (plus, we finally see Iceman do his signature comic-book ‘ice-surfing’ move), it sucks for Rogue that those two are together after she took the cure to be with Bobby. However, 'The Rogue Cut’ shows she *still* somehow has her absorption power, and after Kitty’s inadvertently hurt by Wolverine when he lashes out (he has a habit of doing this, as Rogue can attest after him doing the same thing to her in the first film) as his mind's short-circuiting, Bobby FINALLY remembers his ex-girlfriend. He's apparently known ALL THIS TIME she’s being held in Cerebro at the old X-Mansion, but previous rescue attempts failed/were abandoned because of...tight security (really? You have SUPER-POWERS. Nothing should be ‘impenetrable’ for you!). Evidently, Bobby sucks. Iceman, Magneto and Xavier (who actually gets to *do* something instead of being taken out of commission/sidelined/vaporised) rescue Rogue, and she’s briefly reunited with her jerky ex...just in time for him to DIE AGAIN (at least it's while protecting/saving her, so he's not completely useless). Obviously, Kitty doesn’t take this news well (a shame that Ellen Page’s best acting was exorcised from the theatrical version) and Rogue 'borrows' her power, using it to keep Logan’s mind in the past. There's other less significant stuff added back in, some helps explain certain things, but what I really appreciated were all the little ‘character moments’ sprinkled throughout, which I thought added something extra to the film, fleshing out some character relationships/dynamics. ‘The Rogue Cut’ feels like a more 'complete' film. While the movies always did her character dirty, I still appreciated the bond between Anna Paquin's Marie/Rogue and Jackman's Logan/Wolverine, so I was thankful to see them together again (even if he was unconscious for it). While I really enjoyed First Class, Bryan Singer's return helped make this film what it was. He handles the action (the 'stadium levitation' sequence especially) and the time-travel shenanigans well, 'righting' the many 'wrongs' of The Last Stand with this film's ending (which is the only place we see Rogue in the theatrical version), the Jean/Scott cameos (plus Kelsey Grammer's Beast) were genuine surprises and, honestly, since it's all downhill from here...probably best to just pretend this movie's the TRUE ending for this iteration of the X-Men. |
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Post by claudius on Aug 7, 2022 10:59:25 GMT
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THE PRISONER OF ZENDA (1922) 100TH ANNIVERSARY Rex Ingram’s adaptation of the Anthony Hope novel (the 2nd film version after 1912) Starring Lewis Stone, Alice Terry, and Roman Navarro. Probably the only adaptation I’ve seen where the protagonist gets a duel with Black Michael. YouTube.
HOLLYWOOD THE GOLDEN YEARS THE RKO STORY (1987) “Episode Five: Dark Victory” 35TH ANNIVERSARY The penultimate episode focuses on the war, the rise of Robert Mitchum, Noir like OUT OF THE PAST and CROSSFIRE, the McCarthy Hearings & its Hollywood Blacklist on Ten of its artists, and Howard Hughes taking over. Interviews by Robert Mitchum, Jane Greer, Ginger Rogers, Edward and Jean Dymytryk, and Dore Schary. Bootleg DVD.
BUFFY THE VAMPIRE SLAYER (1992) 30TH ANNIVERSARY Before the series was this Joss Whedon screen-written film about a high school girl chosen to fight the vampires. Starring Kirsty Swanson, Luke Perry, Donald Sutherland, Rutger Hauer, Paul Ruebens, David Arquette and a young Hillary Swank. My first exposure was a trailer while seeing HONEY I BLEW UP THE KID on July 1992, and the theater poster showing a cheerleader holding a wooden stake. I saw a little bit more on VHS and TV the following year. For a time I was more open to watching this film rather than the TV series (at least until 2005). Amazon Prime.
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30TH ANNIVERSARY
-PRETTY SOLDIER SAILOR MOON (1992) “The Summer, the Beach, Youth and Ghosts” Filler episode of the girls in vacation. Japanese with English Subtitles ADV DVD.
-MYSTERY SCIENCE THEATER 3000 (1992) “Hercules Unchained” And this is where I became a BIG fan of the series. I had been watching it every weekend since February 1 1992 (mainly the Season 2 episodes, so I didn’t see much of the Gold S3 episodes until 1993); I felt it had the potential of being hilarious instead of being really fulfilled of it. And then this episode came, and I was ready for more from Season Four. MST3K’s first Hercules film, despite Tom Servo’s view of this film as a ‘turkey picked up by Joseph E. Levine’, is an entertaining film of its own with its production values and Mario Bava photography (Joel and the Bots adding commentary doesn’t hurt, though). Like the previous Steve Reeves film, which added Ulysses (dubbed by Buck Henry) to the Argonauts, this sequel (Reeves’ last as the demigod) puts Hercules into the works of Sophocles and Aesychlus as the strongman tries to avert civil war between Oedipus’ two sons over the throne of Thebes (even Joel and the bots infer to this artistic liberty, as they ad-lib Herc’s witnessing of Polynices’ talk with Oedipus in OEDIPUS AT COLONUS with “Cut! Hercules, please?”), but gets sidelined by the waters of forgetfulness and Queen Omphale (Sylvia Lopez, who died of Leukemia around the film’s release; Joel and the bots take no prisoners with comments about her looks). Like many MST3K episodes, the presentation omits several key scenes: the prologue showing Omphale getting/getting rid of a lover, the introduction of Eracles and his animals, Leartes getting his rescue party, Iole escaping Thebes but ending up in the Argives camp. I remember the difficulty recording the episodes back then. TV listings in those days did not mention episode titles, so I had to predict the episodes by memory of their order. I first recorded this in its more-edited form in THE MYSTERY SCIENCE THEATER HOUR (with future host Mike Nelson as Jack Perkins, commenting how his recent divorce has also allowed him to be “Unchained”). Eventually, I got my recording Memorial Day weekend in 1995. YouTube presentation of original Comedy Central Broadcast August 1 1992.
PERILS OF NYOKA (1942) “Chapter Six Human Sacrifice” 80TH ANNIVERSARY YouTube.
THE SLAYERS TRY (1997) “The Right Person in the Right Place! Amelia in the Village of Justice!” 25TH ANNIVERSARY Amelia and Gourry meet a group of elderly Super Sentai wannabes. They eventually meet up with Lina & gang (with Zelgaldis commenting the end of the silly episodes). Japanese with English Subtitles. Software Sculptor DVD.
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TENCHI MUYO MANATSU NO EVE (1997) 25TH ANNIVERSARY 1997 saw two productions based on the Tenchi Muyo! Series. A new TV series (with another different continuity) and this film which appears to be the OVA continuity with Kiyone. Both had a villainess with a Juraian past. Both had a new girl wanting Tenchi. Both ended with a new addition (and ignored by later continuity). I remember spotting the VHS at Suncoat in Christmas Eve 1997 (recognizing the characters from TENCHI MUYO IN LOVE). When June 2000 came, where I was watching the original OVA series for the first time, the VHS included a preview of this film. A few weeks later I bought the film. It has a Christmas theme about it, so I have included it to my Annual holiday viewing. Because of this- 23 years- this has been my most watched Tenchi story. Japanese with English Subtitles. Pioneer DVD.
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DOCTOR X (1932) 90TH ANNIVERSARY A Hard-boiled reporter snoops an institute for a Moon murderer. The first full length color horror film, starring Lionel Atwill, Lee Tracy, Fay Wray, Preston Foster, and Arthur Edmund Carew. I first read of the film from Everson’s CLASSICS OF THE HORROR FILM. Aside from clips on TCM I finally saw the whole film on an MGM/UA VHS in the millennium. I watched both the color and Black & White versions. Warner BluRay.
THE WONDERFUL WIZARD OF OZ (1987) “Princess Ozma’s Secret” 35TH ANNIVERSARY Ozma continues to deny her responsibility until she, Dorothy, and Scarecrow come to a Dark Dimensional Corridor that reveals a room full of a language carved in emeralds (a plot point is that the exterior of the city is fake, with the real gems being hidden somewhere). Ozma reads about her history and accepts her destiny to be Queen of Oz. Meanwhile the Nomes are on their way…Japanese with English Subtitles. Diskotek DVD
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EMMA (1972) “Part Three” 50TH ANNIVERSARY YouTube.
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BLOOD AND SAND (1922) 100TH ANNIVERSARY Rudolph Valentino silent about a Spanish bullfighter brought down by hubris. I remember in 1989 seeing THE BOOK OF LISTS 2 showing a still of Nita Naldi biting Rudolph’s hand, which made me think this was a Vamp film. Then I saw clips of the film from the docu THE LEGEND OF RUDOLPH VALENTINO the following year. YouTube.
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RUROUNI KENSHIN (1997) “Two Men at the End of an Era: Kenshin Vs Shishio!” 25TH ANNIVERSARY The fight of Kenshin VS Shishio begins at a factory setting (Shishio is harnessing petroleum for his future conquest). Shishio gets the upper hand biting Kenshin on the shoulder. Japanese with English Subtitles. Media Blasters AnimeWorks DVD.
Saw Parts Of:
SO I MARRIED AN AXE MIURDERER (1993) Amazon Prime.
Earliest film seen in July: THE BLACKSMITH (1922)
Latest film seen in July: THE HORROR FILMS OF MICHAEL CURTIZ (2021)
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Post by marianne48 on Aug 8, 2022 2:15:12 GMT
Rewatches:
History is Made at Night (1937)--Despite some comedic touches, mostly provided by supporting character Leo Carillo,
this is a tense melodrama about a wife attempting to escape her cruelly jealous husband. Jean Arthur is set up by her husband, Colin Clive, to be caught in a compromising situation, but it turns into an assault, a rescue by gallant passerby Charles Boyer, and a romantic night of gourmet food and tangoes with her rescuer. But things quickly turn very ugly when the husband plots revenge, including murder and a potential mass casualty disaster. Somewhat contrived drama and romance make this a memorable movie.
Animal Crackers (1930)--I first saw this in 1974 when it was re-released in theaters (due to copyright issues, it was not shown on TV with the rest of the Marx Brothers films). A little slow in pacing, and the romantic couple is basically a rehash of the one from their previous film, The Cocoanuts. Highlight: Groucho's "Captain Spaulding" number.
The Great Santini (1979)--Who needs monster movies when you can see something truly frightening--a character study of a dysfunctional parent? Like the following year's Ordinary People, featuring Mary Tyler Moore's portrayal of an icy, constantly grinning, unloving mother figure, this movie is a disturbing, semi-biographical (!) portrait of a father's relationship with his family. Robert Duvall's best performance, IMO, as a tough Marine pilot who can't lose the toughness when interacting in non-military relationships; sometimes he just comes off as sophomoric, but often he's frighteningly abusive to his family members in what he thinks is paternal dedication. A realistic portrayal of how some families operated in the "good old days" of the 1960s.
New watches:
Superstar (1999)--With the exception of Wayne's World, most of the movies made from Saturday Night Live
sketches seem like half-baked attempts to milk material for all it's worth, and it usually shows. This one at least tries a little harder, and it's one of the better ones. Based on Molly Shannon's intense geek character, Mary Katherine Gallagher, it's a lot of fun when it focuses on the teenage girl's fantasies about success, love, etc., although the story follows a predictable plot (kind of a rehash of Revenge of the Nerds) and the too-conventionally-happy ending is something of a copout. The SNL sketches of this character always seemed more scary and hilarious as Shannon performed her dangerously manic routines, and on film she's a little too tame. Still, it at least gives a little insight into the weird hopes and dreams of a repressed teenage girl (Shannon and Will Ferrell play teenagers--just go with it), and it's nice to see veteran actress Glynis Johns as Mary's grandmother, along with a pet dog that's ugly-cute. Donna Hanover (one of the ex-Mrs. Rudy Giulianis) has a brief role as Ferrell's mother. Shannon's recent memoir is worth a read, too.
The Whistler (1944) and The Power of the Whistler (1945)--These are two movies in a series based on a radio series of the time, The Whistler, which I'd heard about because of an episode of The Jack Benny Program which presented a parody of it ("I Am the Fiddler"). The plot of the Benny episode was actually more coherent than the plots of either of these two films. The first features Richard Dix as a suicidal man who hires a hit man to put him out of his misery, then changes his mind when his circumstances change. But the hit man, professional though he is, decides to have fun with him
by stalking the victim until he dies of fright (he read a book on the subject and wants to try it out). When the victim looks for the hit man to stop him, he ends up almost being murdered by someone else, bu he escapes. Then his secretary falls in love with him and tries to help him, but he ends up getting amnesia or something. The plot seems to be made up as the story goes along. Directed by William Castle, whose later film, The House on Haunted Hill, seemed more logical than this one.
In the follow-up film, The Power of the Whistler, Richard Dix (now as a totally different character), is clipped by a car and is assisted by a female passerby, who realizes he has amnesia (all of a sudden). She does what any sensible single young woman does in that situation--she takes him home to her apartment to figure out who he is. They begin to have romantic feelings for each other, of course, and she seems not at all concerned that every small animal that comes near him soon winds up dead. I don't know how popular this series was, but I'm thinking that maybe audiences watched it for laughs. Oh, and there's some mysterious narrator who whistles from time to time. I guess the radio show was a lot better.
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Post by wmcclain on Aug 8, 2022 20:39:27 GMT
Late Spring (Banshun) (1949):My first Yasujirô Ozu film, after all these decades (!), and it’s a beauty. The story of an aging widower who lovingly deceives his devoted daughter in order to convince her that she should marry, the film’s simplicity is inspiring, as is its humanity. I can’t wait to see many more of Ozu’s films, and I highly recommend this one, considered by many to be a masterpiece. The director's final film, An Autumn Afternoon (1962), is a nice companion to Late Spring (1949). The same actor plays the father. My review: An Autumn Afternoon (1962). And for the earlier film: Late Spring (1949).
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