Track the Films You Watch (2008) (4 Viewers)

[Martin Teller]

That's good to know. Sometimes I feel like I'm butting into the Michael/Joe/Mario private thread.


Street of Shame - Mizoguchi's final film revisits one of his favorite themes: struggling women, specifically prostitutes. There is a feeling of repetition here, and it lacks the stunning emotional impact of his better films, but it may be his best work technically. It looks wonderful, and a lot of the camera setups are really interesting. The avant-garde music is an unusual touch as well, sparsely used but startling when you hear it. The story is briskly paced, managing to juggle a fairly large cast of primary characters without getting too confusing. It's too bad Mizoguchi didn't go out with a real whiz-bang movie, but it's good enough. Keep an eye out for Michiko's dad, who looks like a Japanese James Earl Jones. Rating: 8

 

[Joe Karlosi]

Of course, you're always good for a remark any time we have anything resembling a discussion (which we do all too rarely, by the way). It should occur more often around here... makes things less boring and one-dimensional.

 

[PatW]

Six Figures (2005) :star: 1/2

A dull, depressing story that had maybe one or two good ideas but that is it.

Warner is at the end of his ropes. He has an unsatisfying job and his probation period has just been extended. He's being blamed for the misappropiation of funds that his predecessor was responsible for. His wife's job is unsecure. He is being pressured to buy a house that he feels he can't afford. His mother-in-law hates him and belittles him at every turn and his own parents lack confidence in him. To top this all off, he is suspected of attacking his wife, by hitting her on the head with a hammer at her job. Even though he declares his innocence, the police believe he's guilty, as well as the mother-in-law and his own parents. This guy is a loser in every respect.

There was a couple of good performances here but the rest of the acting was quite poor. I hated the way this film was shot. There was no close-ups except for one or two shots and the rest of the movie was in long-shots. If the director wanted to alienate the audience he couldn't have picked a better way. Maybe that was his point, to illustrate exactly what his main character was feeling. I found it very annoying and was ready to turn this one off but I hung in there to the end. For a promising movie, it really was a waste of 100 minutes.

 

[Michael Elliott]

06/18/08

Raw Meat (1972) :star::star: Gary Sherman

British horror film about various people going missing in the subway system so an Inspector (Donald Pleasance) starts an investigation, which turns up an interesting myth. A hundred years earlier a group of construction workers fell victim to a cave-in. A few of them survived by eating the dead people and now the cannibals have found a way to the surface for new victims. This film has gained a small cult following over the years but I found it to be like too many British horror films; bad pacing, boring and a thirty-minute movie pushed to ninety-minutes. This film quickly got on my nerves because of how incredibly bad the pacing was and to make matter worse there are some incredibly long pacing shots, which just drag on forever. These pacing shots are used to show the underground layer and I'm sure these scenes were meant to build atmosphere but the only thing built here is pure boredom. There are a few decent kills but these are few and far between. One good thing about the film is Pleasance who turns in a fine performance. His comic timing adds some nice laughs to the film and his screaming for tea scene is very well handled. Christopher Lee shows up for one worthless scene and it's edited so poorly that there's only one single shot of him and Pleasance working together. The film was originally released as Death Line but no matter the title, the film remains boring. Sherman would go onto direct the much better Dead and Buried.

Public Hero #1 (1935) :star::star::star: J. Walter Ruben

Extremely strange film from MGM starts off as a prison drama then moves to a screwball comedy and then goes back to gangster action. An undercover cop (Chester Morris) gets inside of a prison where he befriends a gangster (Joseph Calleia) and soon the two bust out but the gangster gets shot. Near death, the undercover cops goes out to find the gangster's drunken doctor (Lionel Barrymore) but due to a storm they are forced to stay at a hotel where the cop falls for a young woman (Jean Arthur) who turns out to be the gangster's sister. After hearing the news, the cop must try to find a way to bring the gangster down without hurting the sister. This film is pretty much all over the map but it's still a greatly entertaining film that works on ever level that it tries. The prison stuff early on is very entertaining as is the gangster stuff at the end. There's a big shootout at the end, which ranks among the best I've seen from any of these early gangster films. Normally screwball laughs wouldn't fit into a film like this but Barrymore does a terrific job in the comedy department as the drunken doctor. The highlight has to be the scene where he accidentally gets dressed in Arthur's robe due to how drunk he is. Barrymore's comic timing is terrific throughout the film. Arthur is also very strong in her role and delivers a very memorable character and performance. The real star is Morris who is simply wonderful all the way through. He has a lot of roles to play here from the tough guy trying to enter the gang to the cop trying to bring down the bad guy but he also does a great job in the romantic department with Arthur. Calleia, Paul Kelly, Lewis Stone and George E. Stone add nice support as well. It's also worth noting that the film seems partially influenced by the John Dillinger case who of course was murdered after watching MGM's Manhattan Melodrama the previous year and that includes the ending here, which has been slightly changed but still takes place outside a theater.

Wings (1927) :star::star::star:1/2 William A. Wellman

The first Best Picture Oscar went to this thrilling WW1 drama from director Wellman. The film tells the story of poor boy Jack (Charles Rogers) and rich boy David (Richard Arlen) who are in love with the same woman, which causes the two to become bitter enemies. When WW1 breaks out the two are thrown together and quickly become friends, although David is too nice to let Jack know that the girl back home doesn't love him. Clara Bow plays the girl who is madly in love with Jack but he's too blind to see it. It's rather sad that this film is basically only remembered for winning the first Best Picture Oscar because it's an incredible film from start to finish. The action stunts are downright incredible to watch and the scenes in the sky are just as thrilling. The majority of the 139-minute running time takes place with all the action and there's never a dull moment. All of the action scenes are incredibly tense and full of great suspense including the terrific ending with the two lead men in action. The battle scenes on the ground are also very well executed. Not only does the action stuff work very well but so does the two love stories. The love story between the two friends as well as the love story with Bow. We've seen this type of love story in countless silent films but the performances and characters are so great that the story comes off very fresh. Both Rogers and Arlen are terrific in their roles and never miss a beat. Bow steals the film as the playful girl in love with Jack. The way Bow moves has enough sexual energy that you can't help but be fixated on everything she does. Her "nude" scene in front of the mirror is certainly among the highlights of the film. Henry B. Walthall appears briefly as David's father and Gary Cooper has a very impressive, if short, role. Also worth mentioning is the greatly comical scene involving the champagne bubbles. In the end this is another shining example of the mastery of silent cinema and just more proof that you don't need a computer to make great action scenes.

06/19/08

Inherit the Wind (1988) :star::star::star:1/2 David Greene

The second of three remakes of the 1960 Spencer Tracy/Frederic March film once again takes a look at the infamous Scopes trial. The film centers on a teacher who is arrested for teaching the theory of evolution. A religious prosecutor (Kirk Douglas) takes on the defender (Jason Robards) in a case about the right to think. I personally think that the 1960 film is one of the greatest movies ever made and it contains some of the most powerful actor of any movie ever made. It would be rather silly to go into the remake expecting anything as powerful but this film actually comes pretty close. The film has been slightly rewritten and it takes a look at the case from a different side but the movie remains quite powerful and contains some very good acting. The only real problem here is that the movie only runs around 96-minutes, which means we lose some character development. The actual real case has pretty much been proven as a fraud but it certainly makes for an interesting debate, which carries over very well to film. I think, like the original film, this one is a bit too one sided and shows the religious aspect unfairly but while saying this there's no doubt that the original trial showed evolution in an unfair way. As I said earlier, I think both Tracy and March delivered two of the most powerful performances in the history of film but Robards and Douglas do great work here. Douglas really gets into his character so much that you feel as if you're watching the real guy and not Douglas giving a performance. His speech in the church early on is among some of the best preaching I've seen from any actor or any real preacher. Robards was an excellent choice to go up against Douglas and he too delivers a strong performance and the two men together, during the final courtrooms scene, contain enough fireworks to really get your blood pumping. Darren McGavin, John Harkins, Megan Follows and Gene Simmons all add great supporting in their performances. In the end, this film is far from the 1960 version but it's still a very good little gem with great performances and an always interesting story.

Happening, The (2008) :star::star:1/2 M. Night Shyamalan

Shyamalan's latest has people on the East Coast killing themselves for no apparent reason. No one knows why the suicides are taking place but rumor has it that the only way to remain safe is trying to reach a safe zone further out west. Mark Wahlberg and Zooey Deschanel play a couple trying to figure out what to do. This certainly isn't a major film or a good one for that matter but I think it's a minor comeback for the director after the horrid The Village and Lady in the Water. I'm not going to ruin what is causing the "happening" but I'm sure some are going to be left with a major disappointment but I didn't mind it too bad. I liked the way the director handled the last days of man theory and for the most part I think he has made a quiet little film that is probably going to draw a lot of heat because it isn't loud and explosive and it doesn't contain anything large. This comes off like an old "B" movie from the 1950's that warns people about their actions and what could come if they don't take advice from those who know about the subject matter. With the secret of the film, it never really causes too much panic with the viewer, which I think is the film's major problem. With the last days of man theory the viewer needs to be on the edge of their seat throughout the entire film and that doesn't really happen. The suicide scenes early on are quite disturbing but they never really draw you into the film as much as they need to. Another problem with the film is the performance by Deschanel, which is downright horrible. At times I just had to laugh at some of her actions and sadly she's in the film all the time. Wahlberg comes off fairly good, although it's hard believing him in the role of a science teacher. John Leguizama has a small role as well but doesn't add too much to the film. In the end, I doubt very many are going to enjoy this film and I'm sure I'll be in the minority. It's not a great movie and it's not a good one but it is mildly entertaining and the director's handling of the material is interesting.

Stanley and Livingstone (1939) :star::star::star:1/2 Henry King

Spencer Tracy plays Henry M. Stanley, an American explorer and newsman who is given the job of traveling to Africa so that he can see whether or not the missionary Dr. Livingstone (Cedric Hardwicke) is dead. When Stanley shows up in Africa, after a year's journey, he finally finds Livingstone alive and sees that he's trying to bring religion to Africa as well as trying to educate the people. Since Africa is still seen as a mystery to the outside world, both men must convince the rest of the world that Africa isn't the "dark country" but a place that should be explored. I was extremely caught off guard with how well made and entertaining this movie was. I hadn't heard too much about it over the years but it was certainly a delight to finally watch it and discover it to be a real gem. I've heard that a lot of the story was made up or changed to make it seem better, which is fine with me since this is a movie and not a documentary. As a movie the film contains a very big heart towards the people in Africa, who at the time, were still being sold as slaves and looked at as cannibals. There's also a lot of nice footage of the jungles of Africa, although it's clear that neither Tracy or Hardwicke are ever there since they are never in the scenes. The production value of the fake Africa look very good and the direction is very strong throughout. It should go without saying but Tracy delivers another great performance and his final speech at the end is really heartfelt. You can really see the pride, passion and anger floating out of Tracy to the point where you'd think he was the real Stanley delivering his message. Hardwicke actually steals the film in his few scenes in the movie. The love and compassion he gives off is a great joy to watch. Nancy Kelly, Richard Greene, Henry Hull, Walter Brennan and Henry Travers all deliver nice supporting work.

 

[Mario Gauci]

Mike,


Re: WINGS (1927)

Although I’m a sucker for the ceremony itself, I’ve stopped being serious about the worthiness of an Oscar win long ago…even if, naturally, one cannot fail to mention that fact when posting a review or whatever. Anyhow, out of the 80 Best Picture Academy Award winners, only 3 have eluded me so far: WINGS itself, CIMARRON (1931; although I did acquire it twice along the way on VHS and DVD-R, I was disappointed in Anthony Mann’s 1960 remake…so I’m not exactly pining for the archaic original!) and CAVALCADE (1933).

Speaking of WWI aviation films, I have just come across a torrent file of Howard Hawks’ THE DAWN PATROL (1930) taken from a TCM screening of it under its alternate title, FLIGHT COMMANDER, which I guess was necessary to differentiate it from the more popular Errol Flynn/Basil Rathbone/David Niven 1938 remake (which is already available on R1 DVD). Interestingly, while my film guides give the Hawks version’s running time as being either 82 minute or 95, the version I acquired runs for 108 minutes (which actually tallies with the info on IMDB). Even if Hawks is my favorite American director, my viewing schedule is pretty stacked for the remainder of this month so I’m forced to push that much-desired viewing of THE DAWN PATROL till next month which, as it happens, marks the 25th anniversary of Luis Bunuel’s death which, needless to say, is my overall favorite auteur…


Re: PUBLIC HERO NO. 1 (1935)

It’s nice to see Michael “chasing” little movies such as this one or “following” the career of minor stars like Chester Morris. I’ve only seen a handful of his movies so far but THE BAT WHISPERS (1930) alone earns him a special little place in my heart; unfortunately, ALIBI (1929; the previous Roland West/Chester Morris joint venture) is another of those longed-for DVD purchases which has (quite literally) been accumulating dust in my storage cabinet due to jumbled priorities on my part and being dogged by perennial time constraints! Incidentally, another worthwhile film of Chester Morris’ that I am familiar with is FIVE CAME BACK (1939) which, seemingly like PUBLIC ENEMY NO. 1, offered a juicy part for our very own Joseph Calleia…


Re: STANLEY AND LIVINGSTONE (1939)

What little I know of this film myself comes from the Leslie Halliwell and Leonard Maltin film guides but it has never ever made the rounds on TV in my neck of the woods; the two stars in themselves and the prestigious director are enough to garner my interest but I’m also a sucker for historical and adventure films so this fits the “essential” bill in more ways than one for me. Hopefully, like his old pal Clark Gable, Spencer Tracy will one day be given his own DVD collection from the Fox stable…


Re: RAW MEAT (1972)

Before I became a torrent freak, I used to recklessly purchase practically every so-called “cult” horror flick that was being given a DVD release; although I was vaguely aware of this film from Alan Frank’s epic “Horror Films” book, it was actually as a direct result of my highly satisfying viewing of Gary Sherman’s DEAD AND BURIED (1981) – a complete blind purchase which I justified via the “Limited Edition” status of Blue Underground’s 2-Disc Set – that I picked up the bare-bones MGM disc of RAW MEAT. Despite Donald Pleasence’s amusing portrayal of the flustered police detective and the odd, creepily effective moment, I was underwhelmed by this one to be sure. To add insult to injury, I subsequently came across it in a couple of local DVD rental stores so, technically, I could have acquired it free-of-charge as it were. Oh, well – being an MGM disc, at least it was cheap enough…


Re: INHERIT THE WIND (1988; TV)

Two years ago, a former line manager of mine at my place of work turned me onto TV big-time when he provided me with Patrick McGoohan’s landmark series, THE PRISONER (1967-68) and I have been a fan of these old adventure TV series ever since.

Still, I can’t say that I have really beaten the stigma of made-for-TV movies as being inferior and, while it is O.K. for me to watch TV adaptations of classic literature – Arthur Conan Doyle, Alexandre Dumas, Victor Hugo, Edgar Allan Poe, Mary Shelley, Bram Stoker, Oscar Wilde, etc. – I still am not that comfortable with giving made-for-TV remakes of classic Hollywood films like (all courtroomers but that’s coincidental) WITNESS FOR THE PROSECUTION, TWELVE ANGRY MEN and INHERIT THE WIND their due. I really think that it isn’t because of snobbishness in itself on my part but perhaps because I feel that the (usually) veteran actors involved – like, say, Ralph Richardson, Deborah Kerr, Jack Lemmon, George C. Scott, Kirk Douglas and Jason Robards (to keep with the same examples given above) – were way past their prime when they starred in these TV productions; the fact that the general view is that these never really manage to impinge on the indelible memories of the originals is another factor against them. Anyhow, I appreciated your review, Mike, and, if anything I learnt that Kirk Douglas played the old Fredric March role and not the Spencer Tracy one as I had believed (without consultation)...


Re: THE HAPPENING (2008)

Every July, Maltese cinemas declare a “National Cinema Day” during which some 20 movies are screened from the early morning hours till late at night for, basically, a third of the usual ticket price. This year I plan on catching THE HAPPENING, THE INCREDIBLE HULK and SHINE A LIGHT at the very least – provided they are still playing by that time, which is still a fortnight away.

Not having been all that bowled over by THE SIXTH SENSE (1999) as most people seemed to be (even if it is still clearly his best film), I found its director’s subsequent decline less shocking perhaps. Despite the negative reviews which have met even his latest opus, I guess the drop in ticket price justifies willfully paying to watch a flop in the theater rather than wait for it to become available as a DVD rental…

 

[Michael Elliott]

I was under the same impression when I watched the film because I had read a review a few weeks ago where the reviewer said Douglas was in the Tracy role!!! I briefly mentioned this in my review but my grandfather was a preacher so I went to church countless times when I was younger and I've seen God knows how many preachers in my life. I must say that the fire and passion that Douglas showed here was among the greatest preacher I've ever witnessed.

 

[Mario Gauci]

Mike,


I somehow forgot to comment on the following titles in my last post:


Re: LE FOLIE DE DOCTEUR TUBE (1915)

This celebrated Abel Gance short was shown, together with two more film of his – AU SECOURS! (1924) and BEETHOVEN’S GREAT LOVE (1936) – on late night Italian TV and, thankfully, I managed to tape them but, as I said before, I have yet to watch them. Given that I recently also acquired A SONG TO REMEMBER (1945) and Ken Russell’s LIZSTOMANIA (1975), I guess it’s high time that I make them a triple feature with Gance’s Beethoven film one of these days…


Re: THE FOUR HORSEMEN OF THE APOCALYPSE (1921)

Indirectly, I have to thank Mr. Karlosi for acquiring this famous Silent film; since it was Joe who nudged me into collecting all of my HTF reviews in one neat, easy-to-find place (i.e. IMDB). Ever since I took that step, I haven’t stopped receiving e-mails from all over the world asking me to provide film buffs with copies of this and that rare movie! Just now, I have two such pending requests for films by Alessandro Blasetti and Miklos Jancso…

Anyhow, a few years back a certain HTF poster graciously provide me with a copy of an elusive Silent horror film, Rex Ingram’s THE MAGICIAN (1926); after watching it, I liked the film a lot myself and this was reflected in my HTF comments. Some time later, I received an e-mail from a Swiss fellow who was working on a documentary on the Irish film-maker and, naturally given the movie’s rarity, he begged me for a copy so that he could have first hand knowledge of THE MAGICIAN and not have to rely merely on books or the Internet. In return, he offered to provide me with the Rex Ingram titles I desired and that is how I landed copies (recorded off TCM France) of THE FOUR HORSEMEN OF THE APOCALYPSE, SCARAMOUCHE (1923; which I had caught earlier on TCM USA during my Hollywood sojourn) and MARE NOSTRUM (1925; of which I had actually owned a VHS copy once but which I subsequently foolishly erased)…

Being a long-time fan of the maligned Vincente Minnelli/Glenn Ford 1962 remake, it goes without saying that I loved every minute of the Rex Ingram/Rudolph Valentino version of THE FOUR HORSEMEN and I’d love to see both of these grand movies released in one Warners 2-Disc Set one day…


Re: THE BITTER TEARS OF GENERAL YEN (1933)

Although it has long been available on R2 as part of a Barbara Stanwyck collection, this is also still M.I.A. on R1 DVD but, thankfully, I still have my original PAL VHS!

A dozen years back, my father, my twin brother and I attended a short-term film appreciation course and, during a session on Screwball comedies, the eccentric university lecturer (he did not own a TV at home and buried himself in books instead!) claimed that THE BITTER TEARS OF GENERAL YEN was Frank Capra’s true masterpiece. Unfortunately, I have only watched the film once myself so far – many years ago right after purchase the VHS – but I do recall being very impressed with it at the time. Sadly, revisiting movies – even as acclaimed as this one – is a far more infrequent commodity right now than I would wish for…

Which, I guess, brings us right back where we started in that ongoing and multi-handed discussion which, ironically enough given its entertaining verbosity, owes its birth to the laconic character of John Rambo!

 

[Mario Gauci]

Seeing how I am a fan of vintage Hollywood classics, courtroom dramas and both Spencer Tracy and Fredric March, it follows that I am familiar with Stanley Kramer's 1960 film version and, in fact, I've watched it a couple of times (surprise, surprise). It's certainly one of the very best films of its type and also one of Kramer's finest "theme" pictures; still, I suppose that JUDGMENT AT NURMEBERG (1961) - which, as you know, is another courtroomer with Spencer Tracy - arguably stands as Kramer's greatest achievement overall.

To get back to that earlier Oscar discussion: although Tracy was deservedly nominated for his work here, I feel that March too should have been acknowledged in the same manner for his powerful and moving portrayal of the misguided "preacher". Also, it was nice to see a real-life couple - Mr. and Mrs. Fredric March - playing opposite eachother as a real-life couple! Not to mention having Gene Kelly in a rare dramatic role...

 

[PatW]

First Men in the Moon (1964) :star: :star: :star: 1/2

Interesting take on the H.G. Wells classic story. This story starts in the present, well the 1960's but the bulk of the story takes place in 1899 as in the book. This is another movie that utilizes the genius of Ray Harryhausen to good effect. Though certainly outdated, this movie is still vastly entertaining and one of several sci-fi or creature-features that I enjoyed as a kid.

Fool's Gold (2008) :star: :star:

A light romantic comedy, very light, that's okay in small doses but overstays its welcome very quickly. Matthew McConaughey is a treasure hunter and Kate Hudson is his divorced, love interest/partner. The only thing going for it was the chemistry between the two leads. Bimbo alert: there was a character here playing Donald Sutherland's daughter that I imagine could give bimbos a bad name. Extremely annoying character. I wasn't paying too close attention since my kids were watching it. My daughter suggested I watch it again. Fat chance.

 

[Tarkin The Ewok]

Re: People reading this thread

It's kind of amusing to think that someone might have a "Recommended by Brandon" section on a movie spreadsheet. My current approach to the thread is to read reviews of movies I've actually heard of and all the discussions. At this point in my movie-watching days, there's so many movies that I've heard of and are greatly acclaimed that I do not need to seek out hidden gems. If I ever get caught up on major releases, then I'll probably start reading the three to four star reviews of unknown films.

Re: Whether movies were better in days gone by

I don't think there's that much fluctuation in overall quality of movies across the decades, especially when you just consider the top 50 from each year. It is tough to measure popularity of current films and predict which of them will be seen as classics like Sleeping Beauty or The Wizard of Oz.

It would be interesting to compare 1939 with another landmark year from this decade: 2002 or 2003, perhaps. 2007 had some good movies, but it is far from the best year in spawning a truckload of popular or critical hits. Since 1939 is a year with some huge smashes, maybe it's not the best benchmark to use. 1950 vs. 2002 could be a very interesting contest.

Throughout the history of movies, some absolutely wonderful films have been made each year. They have had different obstacles to face in production and marketing, but a stellar movie from the 1930s is not inherently better or worse than a stellar movie made today.

 

[Michael Elliott]

Absolutely. But as you said, once you've seen the AFI Top 100 then you might as well move to the 101-200 list and so on.

 

[Mario Gauci]

06/19/08: BILLY TWO HATS (Ted Kotcheff, 1974) :star::star:

Given the fact that it doesn’t have much of a reputation, I had missed out on this Western countless times on Italian TV; however, since the film stars Gregory Peck, I was interested in it regardless – and, having last year caught up with SHOOT OUT (1971), another minor genre outing from him, it was high time that I got round to this one as well. Most Westerns made during this time were Revisionist and elegiac in tone; in this respect, screenwriter Alan Sharp seemed like the ideal choice (having had already contributed THE HIRED HAND [1971] and ULZANA’S RAID [1972]): however, the end result is merely a pleasant-looking and oddly pointless affair!

The plot develops into one long chase as an elderly Scottish bank-robber (Peck) and his young half-breed companion/associate (Desi Arnaz Jr. playing the titular character) are doggedly pursued by Sheriff Jack Warden. Along the way, they meet up with a reformed criminal and his squaw (the former, seemingly indebted to Warden, willingly joins him on the trail of the fugitive Scotsman – while the latter has compassion for the boy, who’s been caught but subsequently freed by Peck), a band of renegade Apaches, and an unhappy prairie couple (having been wounded, the star requires the man’s help to procure a buck-board to travel in – while Arnaz stays behind to look after the farm and the owner’s nervous mail-order bride). The latter relationship is quite movingly handled: the two innocents fall in love, a situation which Warden can’t bring himself to understand when he turns up; eventually, the trio take off to reach Peck – whose journey has been beleaguered with a raid by the traditionally hostile Apaches, and which has left him for dead. Ultimately, only the young couple survive: the woman pleads with the half-breed to be taken along, in spite of the intolerance this will undoubtedly provoke.

Old-fashioned and essentially dreary, the film is nonetheless fairly tolerable while it’s on. Incidentally, Norman Jewison served as co-producer on this one: curiously enough, he would never tackle the genre in his more regular capacity as director!


06/19/08: THE WIDOWER (Dino Risi, 1959) :star::star::star:

With this, I’ve begun an 8-film tribute to Italian director Risi – who passed away recently at the venerable age of 91. It features one of the country’s foremost stars in Alberto Sordi: personally, I tend to find his antics overbearing – but this is clearly a cut above his average vehicle and, accordingly, he delivers an excellent performance as an incompetent but proud lower-class man who only achieves success after marrying eminent society woman Franca Valeri (a popular comic actress who here matches Sordi, dominating and mocking her spouse – calling him “Cretinetti” (little idiot ) – at every turn, as well as being something of a philanthropist while refusing to finance any of Sordi’s own business schemes!).

Running parallel to its sharply-observed satire on industrialization and the class struggle, the film is a black comedy detailing the hero’s brush with the titular status. Starting with his recounting a dream where he joyously attends Valeri’s funeral, it later transpires that a train she was supposed to travel on has been derailed (so he takes over his wife’s legacy and starts making all kinds of changes, as well as installing working-girl mistress Leonora Ruffo in his house)…except that Valeri missed the fateful train – shades of Laurel & Hardy’s SONS OF THE DESERT (1933) in reverse! – and, to her husband’s horror, turns up at their residence in the thick of the funeral arrangements!! Going through a period of meditation at a convent (an incident probably borrowed from Luis Bunuel’s EL [1952]!), he devises an elaborate plot – involving a trio of associates – in order to get rid of her once and for all…but, of course, this too goes tragically awry (especially for Sordi himself!!). A very typical product of its era, the film is necessarily talky and frenzied in tone – but, nonetheless, emerges a stylish and often inspired comic offering (notably the bare-back dress worn by Ruffo throughout the funeral reception, exasperating a usually bubbly industrialist no end…but which doesn’t prevent the latter from making the girl his own mistress, if only for a short while!).

Incidentally, the star had a number of similar generically-titled vehicles – such as THE BACHELOR (1955) and THE HUSBAND (1958) – which would suggest a form of loose trilogy, though they all had different directors (and he played a different character in each). By the way, I have several other Sordi titles in my “Unwatched VHS” pile – including a quartet he directed himself…


06/19/08: WAR HUNT (Denis Sanders, 1962) :star::star:1/2

John Saxon has a memorable role as a black-faced, gun-crazy soldier who volunteers for solitary nightly ambushes on the enemy until he finally cracks up completely and wants to be left behind in Korea. The film also marked the screen debuts of Robert Redford (as the clean-cut rookie hero who stands up to Saxon’s fearsome grip on his unit), Sydney Pollack (a rare early acting stint for him as a sympathetic sergeant) and Tom Skerritt (as a cheerful sergeant); of course, the latter would later appear in the ultimate Korean War movie, Robert Altman’s M.A.S.H. (1970). Other cast members include Tommy Matsuda (as an orphaned Korean boy taken under Saxon’s wing and unwisely befriended by Redford), Charles Aidman (as the Captain who often covers for Saxon’s insubordination given the importance of the information he gathers from his nightly rounds) and Gavin MacLeod (who advises Redford to steer clear of the highly-strung Saxon).

Being set during the final days of the Korean War, the film features the deceptive and ironic musical interludes played on loudspeakers by the teasing enemy prior to the inevitable combat; despite its obviously modest budget and low-key nature, it is effectively shot in gritty, black-and-white by veteran cinematographer Ted McCord and nicely scored by Bud Shank. On the other hand, co-producer Terry Sanders was an award-winning documentarian who seemingly brought to the film an unusually sensitive and anti-militaristic outlook, while his brother Denis was an occasional feature film director – including the sci-fi/exploitation flick INVASION OF THE BEE GIRLS (1973) – who had previously co-written the screenplay for Raoul Walsh’s WWII epic THE NAKED AND THE DEAD (1958). Trivia note: reportedly, Francis Ford Coppola appears uncredited as a truck driver; also, the film’s associate producer (Noel Black) later became an erratic director himself – most notably of PRETTY POISON (1968).


06/20/08: GOLDEN NEEDLES (Robert Clouse, 1974) :star::star:

Despite bringing together a newly-born film star – Joe Don Baker, fresh from the box-office smash, WALKING TALL (1973) – and action director – Robert Clouse, of ENTER THE DRAGON (1973) fame – this a lamentably lackluster martial arts flick about the search for (or rather the chase after) a bronze statue which contains seven golden all-curing acupuncture needles which is craved by various parties.

Baker is a retired detective slumming it out in Hong Kong who is hired by an enterprising ‘cowgirl’ (Elizabeth Ashley) to look for the titular commodities on behalf of her mysterious employer. Baker comes in possession of the statue early on in the game but it is subsequently stolen from the house of an old Asian teacher of his who is murdered; consequently, he teams up with his colored partner Jim Kelly (saddled with an Afro hair-do typical of the era) in L.A. to go after the bad guys – with a little help from a butt-kicking Asian policewoman and her colleagues. Hollywood veterans Burgess Meredith (as the villainous old businessman who seeks immortality) and Ann Sothern (as a Hong Kong madam who takes punishment like a man to protect Baker) bring some much needed spice to the largely indifferent proceedings.

 

[george kaplan]

Story of Women

There are two types of people. The ones who love a well-acted, relentlessly dark, depressing film, dripping with melodrama from the first frame to the last, and those who don't. Put me in the second category. But if you're in the first, and you haven't seen it yet, I'd seek this out, as you'd almost certainly love it.

Help!

Not quite the masterpiece that A Hard Day's Night is, but with such great music and exuberance, this is a very pleasant way to spend an hour and a half.

 

[Michael Elliott]

06/20/08

Peach Girl, The (1931) :star::star::star: Wancang Bu

Chinese silent film tells the story of Miss Lim (Lingyu Ruan), a poor peasant girl who grew up with the rich soon to be King (Yan Jin). The two have been friends since childhood but both of their parents try to keep them apart since the rich can't be seen with the poor. Even after the girl gets pregnant, his parents will stop at nothing to keep them apart and her parents agree since the two sides could never be happy together. Apparently China made over 140 silent films in 1931 but I'm not sure how many are out there for viewing. This film really doesn't offer anything new storywise but from a historical viewpoint there are a lot of interesting things with this film. Since American cinema usually had whites playing Asians, it's refreshing to see real Chinese actors playing the parts. Another interesting aspect is that the film is silent even though most American films at this time had already switched to sound. The technical side of this movie is very beautiful to look at with its nice cinematography and great location shots. Lingyu Ruan is terrific in her role and it's really easy to see why she became the countries number one star. The pleasantness she brings to her character makes her easy to fall in love with and she also makes it very easy for us to care what happens to her character. Sadly, Ruan would kill herself four years after making this film and to make matters worse, a lot of her fans would follow by killing themselves. Original Chinese title: Tao hua qi xue ji.

Tunisian Victory (1944) :star::star:1/2 Frank Capra, John Huston, Hugh Stewart

This WW2 documentary was produced by the U.S. Army Signal Corps and the British Film Unit. Frank Capra and Hugh Stewart filmed and directed the majority of the movie but before it was released, parts of the print were damaged so John Huston went back and reshot those scenes. The documentary starts from the very beginning of this legendary battle until the victorious end when the Germans were forced out of Africa. If you've seen any of the various WW2 docs out there then you know what to expect. There's a lot of great action footage, which is probably why most people are drawn to these types of films. We also get a good understanding of the battle plan laid out by the British and we get to see how it went over so well to lead to a victory. The best moments of the film are when we see the soldiers celebrating Christmas. These scenes are very heart warming and it's great seeing the soldiers having fun in the middle of all the chaos that goes along with war. Winston Churchill and President Dwight D. Eisenhower appear in the film as well. Burgess Meredith does the narration of the American soldier.

Jupiter's Thunderballs (1903) :star::star:1/2 Georges Melies

aka Tonnerre de Jupiter, Le

Mildly entertaining trick film from Melies has him playing Zeus, the Greek God of Thunder. Zeus is trying to get his magical lightening to work but he's having problems with it. A group of dancing girls show up to give him a good time but he's mean to them and soon there's a price to pay. This short runs just over three minutes and to be honest that's a tad bit too long since the track shot doesn't happen until the very end of the movie. None of the stuff with the dancing girls is very entertaining so that makes the film get off to a rather slow start. When the actual trick takes place it makes it well worth the way as the joke is pretty funny.

Ten Ladies in One Umbrella (1903) :star::star:1/2 Georges Melies

aka Parapluie fantastique, La

Taking place in what appears to be meant as a circus sideshow, this film has Melies playing a magician who magically makes ten women appear out of an umbrella. This isn't one of the director's best films and it's not even that original since he has done previous films dealing with this subject matter but in the end it's still a pleasant enough little movie. The special effects are still very good and the magic tricks appear very fresh today even though these here are easy to spot on how they are being done. Melies himself is very energetic here and is a true delight to watch. Another added bonus is that the ten women are wearing clothing from different parts of the world, which also makes this a good time travel piece.

Jack Jags and Dum dum (1903) :star::star::star: Georges Melies

aka Tom Tight et Dum-Dum

Melies plays a magician who walks on stage to do a trick with a fake woman but another magician jumps on stage and tries to ruin his act. Before getting on with his own trick, Melies must first take care of the intruder. This is a very fast paced and entertaining film from the director who gets to show off his magic tricks but also throws in some nice humor as well. The highlight of the film is when Melies uses a hammer to knock the other magician through the floor. It's also worth noting that Melies appears here wearing a fat suit, which I believe is the first time I've seen him do this. A few nice jokes are made about his stomach getting in the way. The magic tricks involves the fake woman's head and Melies turning it into a bouncing ball.

Bob Kick the Mischievous Kid (1903) :star::star::star: Georges Melies

aka Bob Kick, L'enfant terrible

Melies plays a young kid who is quite the brat. This kid is in his room playing when a skull suddenly appears on his table. After destroying the skull the kid thinks that everything is going to be okay but soon after a man with a skull face shows up. This is a pretty interesting film from Melies as he actually does a good job playing the kid and delivers some very funny sequences including one with a hula hoop. The highlight of the film is without question the kid trying to destroy the skull, which leads to one of Melies nice magic tricks. The horror elements of a person being haunted by a skull wasn't anything new for Melies but he uses it to good causes here.

Extraordinary Illusions (1903) :star::star:1/2 Georges Melies

aka Illusions funambulesques

Georges Melies trick film has him once again playing a magician. His trick here is bringing a doll woman out on stage and then magically turning her into a real woman. That trick there is pretty good but I was more impressed with an earlier trick where Melies makes a table flip over countless times. The trick of Melies throwing the clothes on the woman is something he's done in previous films but the trick still works well here. I think a little more humor would have helped the film but there's no denying that the special effects still hold up quite well. The final trick of Melies turning invisible is impressive as well.

Alcofribas, the Master Magician (1903) :star::star: Georges Melies

aka L' Enchanteur Alcofrisbas

This Melies short takes place in what appears to be an abandoned cave. Inside the cave, Melies as well as another magician, try to create fire as well as bring a woman to life. This short runs just under four minutes and for the most part I found it boring. None of the tricks we see here are very original as they've been used in countless Melies films and I also found some of them quite lazy. There's one sequence where a woman rises into the air but it's so obvious how they are doing this trick that it never becomes entertaining. If you've never seen a Melies film then I'm sure you'll be amazed at the special effects but if you've seen several of his films then you'll notice that this one really doesn't hold up with his best work.

J'Accuse! (1919) :star::star::star: Abel Gance

The French masters 166-minute epic tells the story of two soldiers, Francois (Severin-Mars) and Jean (Romuald Joube), both in love with the same woman but she is married to the much older Francois but has an affair with Jean. This is very impressive film from French director Gance but I think it falls short compared to his two classic epics that would follow this one. I think this films biggest problem is its running time, which seems a tad bit too long especially a few of the talking scenes, which run on and on. On the technical side this film is nearly flawless with Gance taking the influence of Griffith and really pushing it to a new level. The most impressive thing in the film are the amazing war scenes, which are downright brilliant and they really make you feel as if you are a part of the action. The scenes with the men in the trenches contain some great atmosphere and the sense of dread runs throughout these scenes. The most famous sequence in the film, and in film history, is the "March of the Dead" sequence, which takes nearly twenty-minutes and comes towards the end of the movie. This is certainly one of the most eerie and haunting sequences in film history and the main reason this anti-war film is still remembered today. The way Gance points the finger at the folks who weren't in the war and either living it up having fun or making money off the war, comes off very creepy and the message is certainly right there on the screen. The effects used to show the dead walking are very well done and the atmosphere here is so thick that you'll feel as if you can feel them walking towards you. The performances are all very good with Mars and Joube really sticking out. As I said, I think the film runs a tad bit too long but this is still a very impressive film with one of the greatest sequences in film history.

06/21/08

Sisters (1973) :star::star::star: Brian DePalma

A low-key reporter (Jennifer Salt) witnesses a murder in her neighbors apartment but the cops won't believe her due to some negative stories she's written about them so she decides to try and solve the case herself. Through research she learns that the woman in the apartment is a siamese twin. Danielle (Margot Kidder) is a sweet and kind actress while the twin, Dominique (also Kidder) is a psychopath. After the reporter learns this she must then determine where the body is located so she hires a detective (Charles Durning). I went into this thriller knowing very little about it but if you know DePalma's work then you know he loves Hitchcock and tries throwing hints to that master's previous films. Rear Window, Rope and Psycho all play a major part in this story but I must say that DePalma relies so heavily on one of these films that it's easy to spot what's going on here within the first thirty-minutes. I'm really not sure why the director made is so obviously clear to what's going on and who the murderer is and he even goes as far as to play music from the Hitchcock film that gives away the ending to this movie. With that in the open, this is still a very stylish and neat little thriller that has a rather shocking and violent murder sequence where DePalma does a terrific job at building the suspense through some quick editing and brilliant use of split screens. Throughout most of the running time DePalma builds up the suspense level but it can never get too high simply because it's easy to spot what's going on and how it's going to be paid off. The performance by Kidder is really impressive as she does a great job at playing both "twins" in the film. Salt never gets the credit she deserves but she too is very good here and Durning also offers some nice humor in his few scenes. The score from Bernard Herrmann is wonderful and also helps to build some nice tension. In the end, this is a very impressive little film but I'm still scratching my head as to why DePalma ruins it so early with the homage to Hitchcock.

Dark Past, The (1948) :star::star:1/2 Rudolph Mate

Remake of 1939's Blind Alley follows the same story and really doesn't offer anything new. A criminal (William Holden) escapes prison and breaks into the home of a psychiatrist (Lee J. Cobb) where he holds him, his family and friends hostage. The psychiatrist decides to try and examine the criminal's mind in hopes that he can make him crack. The original version has Chester Morris playing the criminal against the brains of Ralph Bellamy and I think that version is much better. This remake really doesn't offer anything new, although a few of the characters are somewhat changed. In the original film it was a student who shows up at the house half way through while here it's been changed to a hunting buddy. The first film also managed to get the underlined theme of child abuse past the Hayes Office but that whole plot point has been axed in this remake. Both Holden and Cobb turn in good performances but once again, I think the original worked better. In this film Cobb comes off as a tough guy, as the actor was, and this really takes away from him trying to play with the criminal's mind because there is a scene where the doctor uses his toughness to take a situation over and this just didn't ring true. Nina Foch plays Holden's girlfriend but she adds very little to the film. In the end, this certainly isn't a bad movie but it has been watered down too much to where it can't compare with the original.

Lone Defender, The (Chapter 1) (1930) :star::star: Richard Thorpe

The Mystery of the Desert

Although Rin Tin Tin was one of Warner's top stars, when the sound era came in the studio felt that the dog was too old for stunts so he went over to Mascot to make this series. In this first episode, three bandits kill Rinty's (Rin Tin Tin) owner over a gold map but it turns out the old man didn't have it on him. The bandits then decide to kidnap the dog in hopes that he will lead them to it. This first chapter really doesn't have too much going for it but it was interesting enough to make me move onto the next one. The film doesn't contain too much action, although there is a bar room fight, which is one of the dumbest I've seen since it's obvious no one is getting punched. Rin Tin Tin is good in his scenes as he fights one man and then tries to escape from a group of outlaws.

 

[Martin Teller]

The Lives of Others - Kind of like The Conversation in East Germany. A little bit predictable, and I didn't really buy Weisler's transformation. But, it's a fine film, if not particularly mind-blowing. I thought it struck a good balance between the political and the humanistic. It could have ended 15 minutes earlier, without the whole epilogue/coda part. But then again, the final moment is a nice one. Rating: 8


The Arrival of Joachim Stiller - This is a somewhat eccentric film, not quite out there enough to be called "weird" but definitely not your run-of-the-mill movie. It fits into that category of enigmatic 70's films that are in the realm of mysterious horror, or scary mysteries. I was really, really into it at first but it felt kinda long and started to meander. The whole subplot about Siegfried the urinal artist could have easily been dropped entirely, especially since it was mostly played for stupid gags and had only the barest connection to the main thread of the story. Kumel does some interesting stuff though, and the film has a lot of retro charm. I came away with the impression that the novel is probably better, but the film was mostly worthwhile. Rating: 8


Mauvais Sang - My first Leos Carax film, and I thought it was wonderful. It's a little late to be considered "French New Wave", but there are definite debts here to Truffaut, Resnais, and Godard. The attention to detail and the insightful romantic themes of Truffaut, the poetic grandiosity of Resnais, and the freewheeling, "pure cinema" spirit of Godard. It adds to something touching, joyous yet melancholy, beautifully done with interesting cinematic techniques and great splashes of color. And it's wrapped around an intriguing crime story (shades of Melville and Dassin). Among a series of terrific scenes, the "Modern Love" sequence is unforgettable. Also, you've got to appreciate eye candy like Julie Delpy and Juliette Binoche (is there where Kieslowski got his casting ideas?). The AIDS analogy is unnecessary, but thankfully not given much attention. Rating: 9


Bari Theke Paliye - A young boy runs away from his stern father and experiences some adventures and hardships in Calcutta. I guess you could call it a kind of "Oliver Twist" story, except that most of the people he encounters are fairly benevolent. I didn't find the subject matter terribly interesting, but it's got a sweetness to it and it's easy to watch. It comes just after Ghatak's Ajantrik, and at times has a similar goofy sensibility. Lots of "bo-oing!" sound effects. Fortunately, not too much of that. The compositions and camerawork are exceptional. I think Ghatak has the edge over Ray in terms of visual style (although Ray's films tend to be more compelling and emotional). Rating: 7


Why Has Bodhi-Dharma Left for the East? - I felt like I ought to have enjoyed this more. The tranquility and natural beauty are reminiscent of Anh Hung Tran. But it was a bit boring. As an exploration of Buddhist philosophies, it works alright, but it seemed to be lacking a real human element, for the most part. Good to just sort of zone out to (like a Zen koan, I suppose) but not terribly engaging. Rating: 6

 

[Mario Gauci]

06/20/08: LOVE IN ROME (Dino Risi, 1960) :star::star::star:

The plot of this little-known but very well-made romantic drama (from the generic title, one could well mistake it for just another example of teen-oriented fluff which proliferated in Italy at this time!) anticipates high-profile works by acclaimed film-makers such as Joseph Losey’s EVA (1962) and John Schlesinger’s Oscar-winning DARLING (1965). Here, the femme fatale-ish heroine (who can’t bring herself to remain faithful to her true love for very long) is played by luscious French starlet Mylene Demongeot – in what is probably her most significant role; the hero by American Peter Baldwin, whom I best recall from THE GHOST (1963) – one of the better examples of Italian Gothic Horror.

As with the afore-mentioned EVA, the heroine has set her sights on a movie career: however, she only seems to be able to secure parts in low-brow peplums (of which Demongeot herself made a few!)…and, amusingly, one of the country’s foremost film-makers – Vittorio De Sica – turns up in a cameo as the flustered director of one of them!! Still, the real protagonist here is Baldwin – who, being an essayist, is made to provide first-person commentary to smooth over occasional gaps in the narrative (the events occur over a number of months at least); in fact, he’s himself involved with two other women during the course of the film – Elsa Martinelli (the film even begins with the two having a row at night in Rome’s famed Piazza di Spagna) and Maria Perschy (who happens to be the intelligent but virtuous daughter of a friend of Baldwin’s father, a lecher who numbers Demongeot among his flings!). Though given obviously subsidiary roles, both Martinelli and Perschy play flesh-and-blood characters rather than mere stereotypes (frustrated with Demongeot’s capricious nature, at one point the hero proposes to upper-class Perschy but is unable to follow it through); the cast also includes Claudio Gora (appearing as Perschy’s father) and, as two of the heroine’s copious conquests, Jacques Sernas and Umberto Orsini.

While the film is adult, perceptive and generally absorbing, it’s not quite in the same league as, say, the comparable work of Michelangelo Antonioni: its main flaw in this regard has to do with the contrived plotting of the latter stages, which renders the whole slightly tiresome by the end; on the other hand, the lighting (alternately gleaming and shadowy) is exquisite throughout – giving LOVE IN ROME not only a pleasingly polished look but a genuine sense of style. Incidentally, given Risi’s reputation for caustic humor, one welcomes the De Sica incident I referred to earlier amid all the gloom, or the subtle yet side-splitting image of a fat middle-aged man apathetically smoking and gulping down food (simultaneously) at a party while Baldwin is frantically trying to reach Demongoet on the phone; there’s also a cute in-joke, wherein the aspiring-actress heroine says she had already appeared in a film called POVERI MA BELLI (1957) – directed by none other than Dino Risi himself! – but that her part had ended up on the cutting-room floor!


06/20/08: ROLLING THUNDER (John Flynn, 1977) :star::star::star:

This is surely among the best of a glut of 1970s vigilante movies, one that has deservedly acquired a cult following with the years; incidentally, I recently watched another even more popular effort – WALKING TALL (1973).

Being co-written by Paul Schrader, this provokes natural comparisons with his earlier script for TAXI DRIVER (1976); while it’s certainly not up to that Martin Scorsese masterpiece (and lead William Devane is no Robert De Niro), the film can stand on its own – making the most of a simple but gripping storyline, and occasionally letting rip with intense and violent action. Still, like TAXI DRIVER, it places considerable emphasis on characterization – especially when dealing with the relationship between estranged Vietnam vet Devane and his self-proclaimed “groupie” Linda Haynes (undeniably one of the meatier female characters in this type of film): though occurring on a wholly different plane, one can’t help but recall the even more unlikely bond linking De Niro and teenage hooker Jodie Foster in the Scorsese picture. The supporting cast is well-assembled, too: Tommy Lee Jones is Devane’s equally alienated pal (who doesn’t bat an eyelid when asked by Devane to join him in the final fracas at a whorehouse – the hero having been maimed by a gang of rednecks when he refused to hand over a cache` of money during a in-house robbery, after which they cold-bloodedly murdered his wife and son); the villains, then, are led by James Best and Luke Askew.

The narrative typically develops into an odyssey – which is then given an all-too-abrupt ‘curtain’! – as Devane (with Haynes’ help, a proposal she soon comes to regret) sets out in single-minded pursuit down Mexico way of those who ruined his life; incidentally, the hero’s wife was on the point of leaving him for a local cop – who now attempts to stop Devane before he goes too far (but is himself the first to fall foul of the brutish yokels!). The film is also abetted by a wonderful Barry De Vorzon soundtrack which, curiously (given the general nihilism it underscores), includes the melodically elegiac tune “San Antone” – which, later, also backed the opening credits of another hidden gem of a film i.e. William Peter Blatty’s THE NINTH CONFIGURATION (1980).


06/21/08: VENGEANCE VALLEY (Richard Thorpe, 1951) :star::star:

Since watching a number of vintage albeit minor efforts from recently-deceased Hollywood legends (such as Richard Widmark and Charlton Heston), I have been on the alert in seeking out similarly ‘neglected’ outings featuring contemporaneous stars; this, then, is an early Burt Lancaster vehicle – a pleasant (especially in Technicolor) but perfectly ordinary Western, his first of numerous stints in the genre and which include a number of genuine classics (VERA CRUZ [1954], GUNFIGHT AT THE O.K. CORRAL [1957], THE PROFESSIONALS [1966]).

Anyway, as far as I can tell, this is Lancaster’s sole film for MGM (which gives the film typical gloss by also their customary blandness!): he plays a stoic ranch foreman, foster-son of crippled owner Ray Collins, who continually has to intercede for the latter’s ne’er-do-well offspring (Robert Walker) – married to a woman (Joanne Dru), but who has impregnated another (Sally Forest). For this reason, Lancaster goes out of his way to ease Forrest’s current predicament – a situation which, however, is misunderstood by the locals (and even more so by the girl’s revenge-seeking brothers, played by John Ireland and Hugh O’Brian); naturally, Dru herself doesn’t really love her husband but, rather, harbors affection for Lancaster – which he’s reluctant to return for fear of hurting both Walker and Collins (on the other hand, Forrest is admired from afar by timid ranch-hand Carleton Carpenter).

Still, as it turns out, Walker is beyond redemption: he’s jealous of his father’s affection for Lancaster, accuses the latter of wanting to usurp the inheritance which is rightfully his (when Lancaster proposes that Walker leave town and start afresh elsewhere in view of the scandal) – to the point that he coerces Collins to appoint him co-proprietor sooner rather than later (a position he exercises immediately when, hard-up for cash, he sells off a herd of cattle!); worst of all, he connives with Forrest’s brothers and a cattle-rustler (Ted de Corsia) – all of whom had fallen foul with Lancaster at some point – in order to get rid of the latter once and for all. Of course, his plans are foiled eventually – which sees the two ‘brothers’ facing off at the climax (a strikingly-handled scene coming from journeyman Thorpe); incidentally, Lancaster’s sturdy physique gets adequate mileage here: the star, in fact, is involved in a number of vigorous scuffles throughout.

Mind you, VENGEANCE VALLEY – scripted by Irving Ravetch, soon to become a genre stalwart, from a novel by popular Western scribe Luke Short – is brisk and reasonably enjoyable, and the performances surprisingly committed (giving the whole, if anything, an air of professionalism). Nevertheless, the film doesn’t amount to a memorable enough outing to secure much of a reputation for itself within the vast scope of this most ‘abused’ of American genres – incidentally, the fact that this particular title has unaccountably fallen into the Public Domain has only dampened its chances in this regard all the more…

 

[Michael Elliott]

You can't put down 4-stars without a review. So, what are your thoughts on this one? Since you gave it four stars I might just try to get this one on this week.

 

[PatW]

Recount (2008) :star: :star: :star: :star:

Interesting HBO movie that takes a hard look at the 2000 election in Florida and the inaccuracies of the ballot counting there. This movie is one-sided though it half-heartedly tries to present both sides. Being from Canada where our elections are won or lost in the space of two months or less, the American system is so fascinating. I saw this drama like most people played out on the tv and I don't know if this movie is a fair representation of what went on. I suspect it isn't, but it is a well-acted, fascinating watch.

Lost World (1960) :star: :star: :star:

This movie did have its moments but surely to God they could have come up with better looking dinosaurs. The only satisfying acting here was from Claude Rains and Vitina Marcus as the native girl. Still it's a treasured movie from my childhood and I still find it interesting enough to keep watching.

Death Ship (1980) :star: :star:

Not bad for a horror movie. In this one, eight survivors from a cruise ship come across a big black derelick laying stationary in the water. Feeling that they've found a means of survival, they board this ship and discover it is empty. Soon the ship comes 'alive' and a series of mishaps occur. You see this was a Nazi torture ship and the ship itself. seems to be carrying on with its evil master's agenda. Interesting story that would have fared better with different actors.

 

[Martin Teller]

I wouldn't give it 4 stars, but it's maybe the most "fun" of the Holmes movies. The whole thing is a nutty cat-and-mouse game.


First Man Into Space - When I saw that Criterion's "Madmen and Monsters" set was sitting on the library shelf, I knew instantly that what I needed was some cheesy, B-movie fun. There's no glossing over the film's shortcomings. The effects are cheap, the science is preposterous, the dialogue is bad, and Marshall Thompson is a poor man's Sterling Hayden. But it's ridiculous fun perfect for a lazy Sunday afternoon. The shorter a movie is, the more forgiving I tend to be, especially when I've got 20 others to watch. Predictable, yes, but in a comforting way. The cinematography is also much better than one would expect. I anticipate getting sick of these before the day is done, but for now, I'm looking forward to the next one. Rating: 7


The Atomic Submarine - Not very fun, all build-up for very little payoff. Hardly anything happens for the first 75% of the film. The alien is hilarious, though, and may well be the inspiration for Kang and Kodos from "The Simpsons". I also appreciated how the conflict between scientists & the military was far more sophisticated than, say, The Thing from Another World. Rating: 5


The Haunted Strangler - A decent spin on the Dr. Jeckyl/Mr. Hyde tale, good acting and generally not that bad. But it is forgettable, and requires you to be quite generous with your suspension of disbelief. Not a whole lot of action, either. Rating: 6


Corridors of Blood - This was certainly the "best" film in the box, in terms of the quality of production, the acting, the storytelling. It was suspenseful and compelling, with a noteworthy performance from Karloff and an apt parallel for modern drug addiction. But I can't help feeling a little disappointed. I was hoping for more campy silliness from this set, and only the "Monsters" portion delivered on that front, with the "Madmen" movies being closer to straight drama. Maybe I'll have to pick up some of those MST3K discs or something. I don't know why, I just have a craving for some goofy, old sci-fi/horror lately. Rating: 7


I watched all of these on my new, Samsung 52" LCD television and goddamn, they looked fantastic. This TV blows my old rear projection clunker out of the water.

 

[Sandro]

Out of :star: :star: :star: :star:

Wicker Man (2006) :star: :star:
This is the remake that became an immediate bad-movie classic. The film provides little entertainment and is unintentionally funny at various points with Cage giving a wretched performance. However, I must admit to being a little fascinated by the whole exercise mainly caused by the tension between director Neil Labute's intellectual ambitions for the script and his responsibility to the studio to deliver some horror scenes. The latter are incredibly poor and almost seem added in to the film as they do not advance the plot.

I Know Who Killed Me :star: 1/2
This idiotic film rides the coat-tails of the torture porn genre but is sunk by a really bad script and over-flashy direction.

The Borrower :star: :star: :star:
This cult sci-fi/horror has a goofy hook about an alien who rips off people's heads but is funny and energetic. This film needs a DVD release.

The Rapture :star: :star: :star:
If you are looking for something a little different then give this one a spin. It is a one-of-a-kind film that tackles topics such as religion, redemption, and the Rapture within the odyssey of one woman who is searching for meaning in her life. The style of the film is very quiet and matter-of-fact while dealing with events that are a little out of the ordinary, to say the least. This is the kind of film that provokes very different responses in people depending on their background and there are many different messages that can be got from it.

Winchester 73 :star: :star: :star: ½
Anthony Mann classic

Last Winter :star: :star: 1/2
Eco-horror film has a good set-up but never really goes anyway. Good Ron Perlman performance, good cinematography, unimpressive CGI.

Lucky Number Slevin :star: :star: 1/2
Clever-clever, Tarantinoesque crime drama that holds the attention but is annoying in places. If Lucy Liu's character were completely removed from the film then this would be much better.

White of the Eye :star: :star: 1/2
A bizarre crime thriller that devolves into a climax that is way over the top. Some people consider this a classic but I really do not see why.

Tales From the Crypt :star: :star: :star:
Amicus anthology is great fun.

Ghost in the Machine :star: ½
Very dated techno-horror movie has some similarities with such films as Shocker and Pulse (1988) but is even stupider. What is Karen Allen doing in this movie?