The Plausible Impossible

Not quite what I was expecting, but I still liked it. This was an episode of the TV series Walt Disney’s Disneyland, which aired on ABC in the 50’s. Walt himself was the host; in this installment, he talked about animation. The hope by me was that there’d be more talk about the process-sadly, that wasn’t the case.

I understand the thrill at the time of seeing two full cartoons (the Alice Through the Looking Glass riff Thru the Mirror and Donald’s Cousin Gus), scenes from Fantasia & Snow White and the Seven Dwarfs and even a deleted scene from Snow White on television; now, I can view all those separately-probably even that deleted, unfinished scene-elsewhere, I would have preferred more discussion on the animation process and its history. Alas… before anyone retorts, I do realize now that another episode (The Story of the Animated Drawing) sounds from description what I wanted from The Plausible Impossible.

I can’t get too mad at this. Truth be told, I’d also have preferred the words “implausible” and “impossible” not be used constantly but the new animation involving Donald Duck in a live-action world was nice and this program brought up various memories. Furthermore, there was still interesting information present-I was amused by the mentions of cartoon physics.

While it’s bittersweet knowing that my late mother watched Walt Disney’s Disneyland every week as a kid, Donald’s Cousin Gus (where Gus the Goose constantly ate, and consumed all of Donald’s food) I had on VHS as a kid and in a sign that perhaps I’m a little weird, most of the short was remembered by me despite the last viewing occurring sometime between 30 and 35 years ago. Thru the Mirror was new to me and was quite enjoyable as an acid-trip of a journey.

There is one last detail that was puzzling to me. Walt was discussing dragons and how the Chinese believed them… because dinosaurs? You see, he proclaimed that “perhaps” humans and dinosaurs lived at the same time… er, what? Was Walt Disney a Creationist?!

I Discuss Early Charlie Chaplin

This is 1915's A Night Out, specifically: 

This felt like the time to view a Charlie Chaplin short; not as many have been seen in terms of silent comedy shorts as with Keaton or Lloyd. A few days ago, a video was found on YouTube where the account compiled some of the shorts that Chaplin made with the Essanay Film Manufacturing Company after he left Mack Sennett due to a pay dispute.

Chaplin and Ben Turpin (i.e. the fellow who sadly had the worst case of crossed eyes you’ll ever witness) are buds who got obliterated drunk-hopefully, not of you tonight on New Year’s Eve reach this level of intoxication!-and stumble their way into a frou-frou restaurant, causing havoc with their antics. Among the ire that they raise is the head waiter portrayed by Bud Jamison, of course known to me for appearing in a few dozen Three Stooges shorts. They also interact w/ a woman who unwittingly for them was Jamison’s wife. That’s Edna Purviance in her debut; for those unaware, this would begin an 8-year run of her co-starring in more than two dozen Chaplin shorts.

Top-tier Chaplin, it is not. That recognized, this was early in Chaplin’s career and 1915 was early for everyone in cinema. Enough laughs & creative slapstick were present where I had a pretty good time. This wasn’t the first silent short I’ve witnessed which contained a rather abrupt ending, so I won’t be too miffed by that. I’ll hope that everyone had at least an alright 2025 and 2026 will be better for all of us. Hopefully none of us will be so intoxicated on any night that instead of brushing our teeth, we brush our shoes… still on our feet.

 

Repo Men

Repo Men (2010)

Runtime: in unrated form, 119 minutes

Directed by: Miguel Sapochnik

Starring: Jude Law, Forest Whitaker, Alice Braga, Liev Schreiber, Carice van Houten

From: Universal/Relativity Media

A movie I saw because it’s set in the far-flung future of… 2025. I’ve known this detail for awhile yet of course I’m me so the next to last day of ’25 is when a review is posted. I checked out the unrated cut of the movie… nevermind how I acquired this copy for my personal collection but I did.

The gimmick of the film is at least creative… if you ignore that Repo! The Genetic Opera did it first, albeit quite differently: in 2025, artificial organs are now popular. However, if you fall behind on paying for this expensive contraption, Jude Law will repossess the organs, meaning that those poor saps will occasionally die in the process. Of course, it’s a corrupt business; what misfortune for Ol’ Jude then when he needs an artificial heart.

In terms of predictions for how 2025 would turn out, of course not much of it was accurate. Then again, the filmmakers seemed more focus on aping Blade Runner than attempting to engage in accurate futurism. One detail unfortunately right: the opening of the film has a news report in the background concerning… trouble and the United States engaging in combat in Nigeria. I was like, “Dammit.”

The film has quite the eclectic cast: Law, Forest Whittaker (who he has wacky repartee with as his work partner), Alice Braga, Liev Schreiber, Carice van Houten, RZA, John Leguizamo, Yvette Nicole Brown. Plus, props for including the likes of Toots and the Maytals & Nina Simone on the soundtrack. Now, there are flaws throughout, various nitpicks that could be made. I did not love every narrative decision, and I’ll leave that comment hanging there without further elaboration.

Even with the negatives, overall I can still proclaim Repo Men as fine, at least in unrated form. The cast, the music, decent action (containing many gruesome moments), overall competence, the satirical moments, that was enough for me just giving it a passing grade. For certain, it was more enjoyable than too many of the movies that actually came out in 2025.

Spirits of the Dead

Spirits of the Dead (Histoires Extraordinares) (1968)

Runtime: 121 minutes

Directed by: Roger Vadim/Louis Malle/Federico Fellini

Starring: Terence Stamp (a belated RIP), Brigitte Bardot (just departed but I probably shouldn’t say “RIP” about them), Jane & Peter Fonda, Alain Delon

From: A few different French and Italian companies

A belated RIP to Terence Stamp… but perhaps I shouldn’t say “RIP” to Brigitte Bardot. I hate to make that statement but long before her death I know the controversies swirling over Bardot. No, not her campaigning for animal rights, which I support except when it’s extreme, and Bardot appeared to be fanatical concerning the topic. Rather, it’s her far-right beliefs and how many different “phobics” she has made public.

Without sparking any fiery arguments in the comments or otherwise cause an uproar, to list some examples, Bardot was against “race mixing” and has made hateful comments towards people that practice Islam… many here likely will vehemently disagree with her beliefs so the best I can do is say I feel bad for her fans, family, and friends. It’s a shame her legacy is even more complicated than typical for an old celebrity.

At the end I’ll tip my cap to Stamp, who passed away in August and I don’t know any controversies surrounding him. I saw this on the Criterion Channel; a surprise was that the print on the platform was DVD quality, if that. Has it ever been restored? That print is also the original and not the dubbed English print where none other than Vincent Price was the narrator.

I almost saw this during Spooky Season back in the fall; three legendary European directors (who I haven’t seen enough of, the entire trio) adapting obscure Edgar Allan Poe stories for an anthology sounded intriguing, even if like all anthologies the stories varied in quality. That was especially evident in the opening segment involving Jane and Peter Fonda where those real-life siblings portrayed cousins and Jane was enamored with her cousin…

Metzengerstein is hopefully a better story than what was portrayed here. On film, this was just dreadful-not to mention, dreadfully boring-and not entertaining to watch a rich crazy lady act repugnant nonstop. Between this and Barbarella wildly vacillating in quality & only succeeding in 60’s kitsch, there isn’t much inspiration to do a deeper dive into Roger Vadim’s filmography.

An improvement was Malle’s segment, William Wilson. Alain Delon has a doppelganger, and Bardot (this is the first time I’d ever seen her act, believe it or not) I guess was fine in her supporting part, although her wearing a black wig was unusual. This was more interesting, due to Wilson being a total heel from childhood to his adult life… I mean, “evil” is perhaps a more apt term. There isn’t much motivation to see more from Bardot despite her passing-no offense to her fans. She mainly plays what seemed like a never-ending card game w/ Wilson. I’m sure she’s a better actress than what she showed here.

Many-though not all-believe the finale was the highlight; I’d have to agree that Fellini’s Toby Dammit was by far the most interesting to me, due to Fellini’s direction and Stamp’s performance as the eponymous character. He’s an alcoholic actor in Rome who accepts a role for a SWEET Ferrari 330 LMB. Unlike the somnambulistic qualities of the first two segments, Dammit enthralled me. It’s by far the most interesting visually, the surreal touches, the imagery throughout, the score, the satirical moments, the identity of Satan… it was like I was awake again. Toby Dammit (which was just fun for me) can be found separately on the Criterion Channel and other places-and some will argue that’s the only segment you should tackle, me included.

This was a nice way to tip my cap to the late Terence Stamp. Sadly, I haven’t seen nearly enough from this talented actor. As a child of the 80’s and 90’s, I’ll forever know him best as General Zod. Despite knowing of various worthwhile roles he had for years, I never gave them a shot while Stamp was alive. Alas, I can view some of his films in ’26 with a Letterboxd audience that increases by the day. Also, I don’t know how many need recommendations that the Fellini films 8 ½, La Strada, and Nights of Cabiria should be watched by serious film fans, but that’s an opinion I have. Seeing more from him should also be done in 2026.

8MM

8MM (1999)

Runtime: 123 minutes

Directed by: Joel Schumacher

Starring: Nicolas Cage, Joaquin Phoenix, James Gandolfini, Peter Stormare, Anthony Heald

From: Columbia

This motion picture belongs in the category of “movie I saw soon after it came out on VHS, but never again until this second viewing now.” 8MM I recalled as something I liked despite the rather morbid subject matter-as 2025 is coming to a close, the movie can receive a nice rating despite the plot description of “private detective Nicolas Cage investigates what looks like a fake snuff film but is actually a snuff film.”

Grim, the film is. However, it isn’t so miserable and wallowing in depravity that the experience is a turn-off or was a grueling experience. This is from the writer of Se7en, to give a hint as to the tone. He is asked by a rich old widow to investigate an 8mm film her late husband hid in a safe. As Cage’s Tom has a wife and infant daughter at home, of course such a dark journey into illegal and gross pornography (or otherwise intense, given the S&M angle) would take a toll on him as he discovers the teen girl Mary Anne was murdered on film.

A quality cast was a huge asset for 8MM: Cage, Joaquin Phoenix as porn store clerk MAX CALIFORNIA, James Gandolfini, Peter Stormare, Catherine Keener as Tom’s wife, Anthony Heald, and briefly, Norman Reedus. This had to be the first time I’d ever see Reedus in anything. As this was a Joel Schumacher production that evidently had a $40 million budget but did not lose money at the box office, of course 8MM looked professional and wasn’t incompetent. Cage does do some yelling (Cage Rage) although it’s fitting for the particular scene and he wasn’t constantly OOT, delivering a quality performance.

Movies of this tone usually aren’t viewed by me; however, I was glad to finally revisit a picture I’ve thought of revisiting for a long while. I do know that there’s a 2005 direct to video sequel that of course only became a sequel because Sony bought the flick during production. Also of course, judging by hearsay the sequel isn’t that good, so I needn’t bother. In 2025, I can appreciate all the then-modern Sony devices throughout.

Moon

Moon (2009)

Runtime: 97 minutes

Directed by: Duncan Jones

Starring: Most of the time, it’s just Sam Rockwell and the voice of… Kevin Spacey

From: Sony Pictures Classics

I finally saw this movie after all the praise it’s earned over the past 16 years… due to messageboard discussion concerning Paul Rudd?! Someone in a thread mentioned how aside from his work in the Wet Hot American Summer movies, they only like certain moments from him when he’s in high-profile projects. I haven’t seen enough from him to judge for myself. Someone else mentioned Mute; only later did they elaborate that it was a change of pace for him… that didn’t turn out well. I then mentioned that much to my shame, I never stepped onto the rocket ship and gave Moon a chance despite its lofty praise. Well, that was enough for me to finally blast off.

Now, I realize even more than before what a fool I was for not giving the first movie of Duncan Jones a chance. Is he in Director Jail because the reaction to Warcraft and Mute wasn’t great? I’ll talk about that more at the end of the review but there isn’t much info on where he’s been all those years. A shame, as this was quite assured and confident for a debut. Much of the movie is Sam Rockwell alone on the Moon, creating energy for Earth. Whether or not the scheme presented in this version of the future is even feasible, I’d have to ask Neil DeGrasse Tyson…

Most of the movie is Rockwell’s Sam and his AI robot; yeah, I’m able to separate the art from the artist here despite the robot voice being provided by Kevin Spacey. Perhaps in ’09 I’d question a plot element or two, including the usage of AI robots on the Moon with only one human present. A few days away from 2026 beginning, I have no trouble believing a corporation would do such a thing in the future. Whether or not they should is up to you. Sam is contracted to work on the Moon for three full years-he does so despite having a wife & young daughter back on Earth.

I’ll be vague on the rest of the details as that’s especially important in this case and I was mostly spoiler-free all these years. I was happy about a modest-budget sci-fi movie with a small cast-thankfully for Moon, Rockwell nailed his role-nice practical sets, mature thought-provoking ideas, a nice score from Clint Mansell, and the vibes of science fiction cinema from decades past. Of course, GERTY the robot will remind you of HAL 9000 but so many have been inspired by 2001, it’s not a big deal for me. In addition, this reminded me of a sci-fi movie made after 2009 which has been seen by me and I wasn’t a fan-I can phrase it that way as longtime viewers will know that can apply to more than one science fiction movie made in the past 16 years!

While this should have been reviewed long ago, on the other side of the coin now I have a larger audience on Letterboxd that can read my high recommendation of the film. If you love mature sci-fi that isn’t focused on the action and instead want to see and think about cerebral story, give Moon a shot. As for why Duncan Jones hasn’t made a movie since 2018’s Mute… that’s still uncertain. Evidently, all this time he’s wanted to bring the comic book character Rogue Trooper to screen but that hasn’t happened. When your late father was David Bowie, I suppose working for a paycheck isn’t a chief concern.

 

The Flying Deuces

The Flying Deuces (1939)

Runtime: 69 minutes-heh heh

Directed by: A. Edward Sutherland 

Starring: Laurel & Hardy, Jean Parker, Reginald Gardiner, Charles Middleton

From: RKO

It’s been awhile (a little over a year) since viewing any Laurel & Hardy; as this is one of their most popular efforts on Letterboxd-at least in terms of views-that’s why this was selected even if there are Laurel & Hardy pictures that have higher ratings on this site.

The duo are in Paris; Hardy is in love w/ the daughter of an innkeeper. In fact, he has a ring to propose marriage-lamentably for him, this Georgette already is married. Hardy decides to take his own life; no worries, that isn’t in bad taste as you might fear. When that scene is awfully reminiscent of that millionaire attempting to commit suicide by jumping into a river… the scenario is funny if a little morbid. A member of the French Foreign Legion convinces them to join his service; of course, that gig isn’t as carefree as they naively assumed.

Perhaps I enjoy The Flying Deuces more than some-personally, laughter was frequent. From Laurel constantly banging his head against the angled roof of their room to the constant witty repartee of the duo, the hilarity of their feud w/ their commandant Charles Middleton (i.e. Ming from the Flash Gordon serials) & the finale which reveals why the title is The Flying Deuces… I had a lot of fun.

Yes, there are two random musical numbers-the latter is comedic in nature but the former is a serious song and dance bit which was odd yet at least was presented decently-and only afterwards did I discover this was a partial remake of 1931’s 4-reeler Beau Hunks, starring the duo w/ Middleton also portraying their commandant. Comedies of this flavor typically resonate rather well; if I was smart, Laurel & Hardy would become more regular in my rotation. There’s plenty that sounds interesting, including the latter days of their career.