Jigoku

Jigoku (Hell) (1960)

Runtime: 101 minutes

Directed by: Nobuo Nakagawa

Starring: Shigeru Amachi, Utako Mitsuya, Yoichi Numata, Hiroshi Hayashi, Jun Otomo

From: Shintoho

Pretty much what you'd expect from a movie whose title translates as “Hell”.

Even the Criterion Channel has some horror efforts and I may see another one on that platform this season. Jigoku is a famous Japanese film which may have been the first-ever “gory” feature anywhere in the filmmaking world-there's only a few graphic shots but they are pretty potent even in 2021.

This is most famous for its wild and striking depiction of Hell; the sometimes dated effects only add charm to this view of the underworld. But even before that things were pretty hellish for lead character Shiro. He is passenger in a vehicle that commits a hit & run manslaughter; his decision to not turn himself and his A-hole pal who drove the car... that results in many bad things happening to him, including an onslaught of deaths, some of which weren't deserved but many happened to miserable characters; talk about “collateral damage.”

The story has some flaws & a lull or two; for me, the final act set in Hell helps ease the sting of those sins—so does an appropriate musical score and nice, dramatic cinematography in the first two acts. It's a wild ride before the journey to Hades-after that, the movie be wildin' out. To merely state that this is grim and nihilistic is downplaying the tone of this motion picture. Yet it was done in a way where it wasn't a wretched slog or a punishing experience. To close this on a cliché, Jigoku is better seen than described.

The Ring

The Ring (2002)

Runtime: 115 minutes

Directed by: Gore Verbinski

Starring: Naomi Watts, Martin Henderson, Brian Cox, David Dorfman, Amber Tamblyn

From: Dreamworks

Why not start the season of scary movie watching right now?

After all, for years I've done this unofficially—I've never officially participated in the “Hooptober” festivities presented by Letterboxd user Cinemonster yet I've loved doing this on my own unconstrained by any rules and reading the lists/reviews of those that do participate. Furthermore, there's another Letterboxd deal created by someone else where people watch 99 horror movies in 3 months that began at the start of August. Thus, why the hell not start this now and conclude sometime in early November? Only at the end will I post my list and hopefully it'll be as eclectic as ever; as of now there's only a few films I am pretty certain will be on it.

As this is leaving both Netflix and the free section of Amazon Prime at the end of the month, might as well watch this now as not only do I rate the original Ring pretty highly, this is seen as the best of the American remakes of Pacific Rim Asian horror. In general the OG story is followed closely: a newspaper reporter and her son get pulled into a case involving a mysterious VHS tape that causes death seven days after anyone views it. This time, the little girl's name is Anglicized to Samara and horses are involved.

To its benefit, many of the scares in Ring are replicated here to a decent degree; thankfully the general idea of the OG work wasn't screwed up too badly. While lead mom Rachel Keller wasn't as likable as Reiko Asakawa and precocious children is a trope I am no fan of (the son is like 8 and yet refers to both his parents by their first names... “cute” it was not), otherwise this was a fine horror film. Of course, the original Ring is easy to track down and it does everything better, including the creepy vibe that permeates throughout. To its credit, the remake at least has performances from the likes of Naomi Watts & Brian Cox, not to mention Gore Verbinski before he declined once he started making Pirates of the Caribbean sequels, meaning he was good behind the camera. Moreover, they were able to create some decent scares/setpieces of their own—thus, this was still fine and from what I recall, if you love motion pictures with a gray/blue aesthetic...

Fort Apache, The Bronx

Fort Apache, The Bronx (1981)

Runtime: 121 minutes

Directed by: Daniel Petrie

Starring: Paul Newman, Ken Wahl, Edward Asner (RIP), Rachel Ticotin, Danny Aiello

From: 20^th Century Fox

RIP Ed Asner

As I had planned on seeing two movies today anyhow, it afforded me the opportunity to watch something then review it the same day news came out that a famous actor had passed away. In this case, I of course saw Asner in various films and TV appearances but the one I picked for the day was one that sounded appealing to me... a gritty police drama (which apparently inspired the popular 80's police procedural TV show Hill Street Blues) set in the Crappy New York City of Old.

Yeah, there's the elephant in the room that various people now don't like law enforcement-at least in the United States-for various reasons. Well, that topic was addressed here and it shows that little has changed. It's a police precinct in The Bronx where the area around it is a safe haven for everyone as if it's a Wild West military fort... it's a last chance dead-end sort of job where hardly anyone speaks Spanish despite the fact that while it's a melting pot of different peoples, many of them are Hispanic. Two cops are murdered, Asner comes in as the new head honcho who wants more results & the killer(s) caught, the crackdown causes the melting pot to simmer then boil over, there are riots, that's handled poorly... yeah, sometimes little has changed in the past 40 years. Plus, some of the cops here ARE bastards...

Hard-drinking cop Paul Newman isn't one of those bastards, nor is his nattily-dressed partner Ken Wahl. Their personal lives are also shown among the chaos. There are conflicts among the two when it comes to their new boss... among other things--Paul doesn't like all of the tactics Asner is using. This is a character piece where there are long conversations between two characters and it was always interesting to me. At the time, some thought that this was prejudiced against minorities (which is why there's actually a disclaimer at the beginning proclaiming that this doesn't represent everyone in The Bronx); I didn't exactly think that. The leading pair are shown doing a variety of tasks on the job... from delivering a baby and stopping a pimp slapping one of his “employees” to drug busts and a hostage situation.

As it feels like a holdover from the 70's, it is not always a happy movie, yet I was always enthralled. A score that often evokes the Latin feel of the area definitely helped, but so did a cast that included Newman, Wahl, Asner, Rachel Ticotin, Pam Grier in an non-glamorous role to Danny Aiello playing a prejudiced person in the middle of a NYC riot-why does that sound familiar? There were nice performances (not just from Old Ed) and it was a good last minute decision to “track this down.”

He's All That

He's All That (2021)

Runtime: 91 minutes

Directed by: Mark Waters

Starring: Addison Rae, Tanner Buchanan, Madison Pettis, some people I haven't heard of before, and my bae Rachael Leigh Cook

From: Netflix

I didn't think this movie was THAT bad... it would have been better if M. Night Shyamalan also did uncredited work on this script.

Yeah, the main reason why I subscribed again to Netflix was to see this as a Rachael Leigh Cook stan; both she and Matthew Lillard are in this although they don't play their She's All that characters. I didn't see this for Addison Rae... I've never watched any of her videos and I don't know why so many hate her aside from in general not liking the whole “influencer” thing-which is not something I'm a fan of either. Heck, I don't know why she became so popular-aside from what I presume is due in part because of her physical appearance.

She's All That is a very silly film yet at least it had heart, decent characters, a fair share of charm and felt more relatable than this remake. This is inferior in every way; Rae is not a good actress by any means, but her friend Kourtney Kardashian—she literally phoned in her small role and was absolutely terrible! Actually, there is something to condemn Ms. Rae for... her friendship w/ Kourtney Kardashian. Anyhow, the “loser” she has to make over is Robby from Cobra Kai, so he's an outcast because he's anti-social, wears punk T-shirts and is a fan of Jimmy Wang Yu movies... but he also works at a horse farm, knows the lyrics to a bad Katy Perry song-not that there's a GOOD Katy Perry song-and is ripped as hell; that's even more preposterous than teenaged Rachael somehow not being hot just because she wears glasses and doesn't do her hair.

I did cringe while watching this yet after hearing and seeing all the talk of this being an utter disaster... it wasn't that offensive to me. Of course, I am not a fan of the various things it celebrates, such as the influencer culture that it has mixed messages about. Or, the rampant product placement that was almost as blatant as in Rachael's Josie and the Pussycats, where it was done as satire. Or, me having to see a Kardashian attempt to “act”. Yet, while I more laughed at the movie than with it, I was able to guffaw at the questionable dramatic moments, the bad modern music, or how the original was able to do it better, or how this was from the guy that directed Mean Girls.

Yet it wasn't all bad; at least Ms. Cook was fine (not that I am the most impartial judge... * I am referring to her performance) and Lillard-is he still a meme like he was earlier in the year?-was the highlight-no spoilers as to why. Plus, this has two supporting characters that are Asian ladies who take each other to the prom, so for you wanting more LGBTQ+ representation... point is, I've seen worse Rachael movie and while I've never had the “pleasure” of experiencing those Kissing Booth movies, what I know of them those WOULD be ones I think were offensively bad. For all of He's All That's faults, at least I could howl with laughter that there was a random dance scene which was even more pointless than the one in She's All That, or a crummy dance version of Sixpence None the Richer's Kiss Me. Will this be a time capsule of 2021 like the original was of the late 90's? Not that I'll look upon 2021 as favorably as I do the late 90's.

I Revisited The Machete Movies

The first one is still a very good time even if the anti-immigration message of Robert De Niro's character doesn't seem absurd like it did in 2010... meanwhile, Machete Kills was meh in 2013--now, it's not very good and the majority of it was just annoying instead of fun. The Chameleon "character" was still as stupid as it was 8 years ago. It's a shame that movie was bad with all the talent involved. I'll be back Saturday.

Monster A Go-Go

Monster a Go-Go (1965)

Runtime: A LONG 68 minutes

Directed by: Bill Rebane... and Herschell Gordon Lewis

Starring: A bunch of people no one has ever heard of, for mostly good reason

From: B.I. & L. Releasing

NEVER watch this without the assistance of Joel and the bots.

Of course I've seen the classic MST3K episode but believe it or not, years ago I had seen this separate of that episode... and did so again last night. That will never happen again-the main reason why I would revisit something I recalled was a half star movie was that in the 8 ½ years (!) I've been here only 27 films had received the lowest possible rating for me. I do now try to avoid motion pictures that bad as there are literally thousands worth seeing that I would legitimately enjoy so why punish myself? But for those that have never seen this or even the episode of Mystery Science Theater 3000: Monster a Go-Go deserves a ½ star.

Its creation is far more interesting than the end product. Bill Rebane starting shooting this way back in 1961 but ran out of money so it was never completed. A few years later Herschell Gordon Lewis needed another movie to make up a double-bill at drive-ins w/ his Moonshine Mountain so with an entirely new cast this was completed. Besides that making this absolutely incoherent & confused, the combined efforts of these directors (who I say have made a few movies that are OK to better no matter their low-budget nature or flaws) created a mind-numbing experience that feels far longer than its 68 minutes.

An astronaut returning to Earth only to have been changed in space and he's now a killer and/or a monster... that has been done to better effect in such films as Xtro. Here, the astronaut has somehow been changed to a radiation-scarred Henry Hite, someone who was billed as “over 8 feet tall” but probably was “just” 7 foot 6. Then again, this movie has major events happen off-camera and a narrator (Rebane himself) tries unsuccessfully to tie everything together. It's a one camera shot so this is full of static shots, the sound is muddled, the plot is a whole lot of nothing, not one character you'll give a damn about—it's all so dull that even Joel and the bots at times struggled to provide the laughs. This is a production so dire that the sound effect of a phone ringing was obviously made by someone's mouth!

The fact that the ending is a giant wet fart was perfect for such a failed production; no matter what I view tonight, at least it will be an improvement.

 

Genocide

Genocide (Konchu Daisenso) (1968)

Runtime: 84 minutes

Directed by: Kazui Nihonmatsu

Starring: Keisuke Sonoi, Yusuke Kawazu, Emi Shindo, Kathy Horan, Chico Lourant

From: Shochiku

Japanese horror can be pretty bonkers. Now, this isn't the deranged insanity of Hausu... then again, what is? Rather, this movie that I saw on the Criterion Channel as long ago they put out the When Horror Came to Shochiku set—it is a convoluted tale that combines many different elements into what sounds at first like a simple tale of man vs. nature and nature getting revenge on man for polluting the Earth.

Get this: insects attack a United States military plane and result in an H-bomb being lost. That brings in Communist spies to a tropical island that is the main setting of this picture. There's also PTSD, shady American military, a love triangle, someone groping a woman (thankfully that was brief), a not so flattering portrayal of a Black man-from what I understand, this has been a longstanding issue w/ Japanese society-a nihilistic streak and a jaw-dropping reason for a character creating new poisonous insects of their own that is independent of all the other insects going buckwild... it can be found in other Letterboxd reviews so the reveal won't be revealed here, but it was a shocking reason that won't wear well for some I am sure. If that wasn't enough, there's also some psychedelic bits.

All of these wildly different elements combined together into a burgoo stew that isn't a masterpiece but is still good. With all the plotting and the runtime of only 84 minutes, of course there is nary a dull moment. I dare not spoil any other moments-instead I'll note that this dubbed movie has some amazing lines of dialogue. During the Spooky Season this year I'll view at least one other effort from the Japanese Shochiku studio; presumably they'll be more horror and less nutty than this but I hope to enjoy it nevertheless.

The Protege

The Protege (2021)

62% on Rotten Tomatoes (out of 81 reviews)

Runtime: 109 minutes

Directed by: Martin Campbell

Starring: Maggie Q, Michael Keaton, Samuel L. Jackson, David Rintoul, Ray Fearon

From: Lionsgate

It is understandable to me why not everyone has enjoyed The Protege. It does seem “rather European” in style at times; for certain it is measured and deliberate. The story is also not the most original, and at least once I did shake my head at an improbable moment/twist. Yet it happened to scratch certain itches and be a lot of fun for what it is.

The plot revolves around Maggie Q being raised to be an assassin by Samuel L. Jackson since he found her as a youth in Vietnam. Three decades later she has to return to Vietnam to not only seek revenge for a heinous crime, but also try and track someone down. Several things appealed to me besides the pacing: much of this was filmed in Vietnam and that is if nothing else a different setting from the norm-personally it also seems to be a lovely area in terms of scenery, both urban & rural. Having the leads by Q, Jackson and Michael Keaton definitely was an asset. Most importantly for action fans, it was shot in a mostly clear fashion & was satisfying whether it was martial arts, gunplay or other beats. It is also surprisingly graphic at times; limbs are broken, people fly through the air after shotgun blasts, multiple individuals are shot point-blank in the head, etc.

The mixed reaction it has received on Letterboxd and the disappointing United States box office performance: I get it, although I don't know if it was due to the marketing or what made this appealing to me only appeals to a small segment of the population. From hearsay this is better & more appealing than Reminiscence and as even the Paw Patrol movie has received more reviews on Letterboxd, I was happy to give this a shot. Note that the apparent best movie to come out the past few days (The Night House) will be seen in early September, which seemed like a better time for release anyhow. Unless you are like me and subscribe to AMC A-List or something similar, streaming may be the best option as this was more “pretty good” than “a must-see”. At least it was an action effort from at least a decent-sized studio (Lionsgate) that wasn't a disappointment.

Avengement

Avengement (2019)

Runtime: 87 minutes

Directed by: Jesse V. Johnson

Starring: Scott Adkins, Craig Fairbrass, Thomas Turgoose, Nick Moran, Kierston Wareing

From: Several different companies

Even darker than expected for a movie where Scott Adkins seeks avengement.

I subscribed to Netflix again—you may be able to guess what I'll be watching on that platform next weekend, even though I suspect that picture won't be too good. In the meanwhile, when I have the service I'll see a few genre efforts, including in the action realm. I've mentioned here and elsewhere that I need to see more Adkins and Jesse V. Johnson and once again Johnson did a quality job as the director, not to mention Adkins was credible as an ass-kicker.

It is not the most pleasant of tales-after all, when we see Adkins (playing a character named Cain) in the first act he's a hardened badass who just escaped from prison, has scars on his face and a grill that would impress Paul Wall. He holds various goons of the lead bad guy hostage in a pub; besides the violence becoming quite graphic at points, there is constant cursing (something I'm not always a fan of... at least this has some funny UK slang that is not too commonly heard by a Dumb Yankee like me) and it is a tale that involves family betrayal and a rather rotten brother.

Thankfully I thought it to be pretty good. Even with an improbable moment or two, what I wanted to see most-the action-was satisfying. Dudes get wrecked and all the action was shot in a clear fashion rather than it be quick cut or shaky-cam BS... that new G.I. Joe film this was not. There are many flashbacks which explain how the lead found himself in this predicament—before he was turned on then years of hard prison life Cain was far different. If you want a tough & gritty tale that has plenty of brutal action, this is a worthwhile genre effort on Netflix. It is a shame, though, that both Johnson and Adkins don't do big-budget action films... although Hollywood may ruin them both and they would also have to create the lame unexciting action beats we get far too often from the big studios.

The Ox-Bow Incident

The Ox-Bow Incident (1942)

Runtime: 75 minutes

Directed by: William A. Wellman

Starring: Henry Fonda, Dana Andrews, Anthony Quinn, William Eythe, Harry Morgan

From: 20^th Century Fox

A great movie and parable that just happens to be a Western.

This was another motion picture recorded on the DVR, a few weeks ago on the FXM Channel one morning. While it is currently on the Criterion Channel, it is nice to see something via other methods rather than streaming if I can. It is a highly regarded genre effort which is not typical (at least at the time) yet it could have worked in other genres with a few changes. However, it seems most appropriate for a Western as it uses some familiar tropes, including “frontier justice”, lynch mobs, a posse, etc. Lamentably, this is one of the many cases where I have to note how it seems that little has changed between the early 40's and now when it comes to such reactions. Just look at places like Twitter if you want to see people rush to judgment without all the facts present...

The leads are Gil Carter (Henry Fonda) and Art Croft (Harry Morgan); those pals roll into a small Nevada town in 1885. Soon, everyone there hears that rancher Larry Kinkaid not only had his cattle stolen, but that those thieves murdered him. Due to circumstances, a posse forms, although it's more a lynch mob. Some are gung-ho about hanging those SOB's while some say there shouldn't be a rush to judgment and those people need to be put on trial... while the rest are in the middle like Carter. Eventually three suspects are found and there are reasons to believe they are guilty, although it is weak evidence and no smoking gun. Carter is on the sidelines watching it, although he will probably be an audience surrogate in that he reacts and like the viewer their mind will eventually be made up on guilt or innocence.

Without revealing the outcome, this is a powerful piece which addresses topics that for certain are not any less relevant now. What if the majority believe that suspects are guilty and several signs (no matter how flimsy) seem to suggest that but afterwards are found to be innocent? Carter was one of a few characters here that had to wrestle with such a thought; it's a solid cast overall that includes Harry Morgan, Harry Davenport and early in his career Anthony Quinn, but both Fonda and Dana Andrews-as the lead of the suspects-are tremendous in their roles. At a mere75 minutes long there's little time wasted... in fact, the only thing which wasn't really needed was a brief subplot involving Carter's ex.

All the characters are interesting and play distinct personalities; it was fascinating to see everyone interact w/ each other. The final few minutes that are especially powerful help make this a great motion picture that as many have said would make for an excellent double-bill with 12 Angry Men.

Message From Space

Message from Space (Uchu Kara No Messeji) (1978)

Runtime: 106 minutes

Directed by: Kinji Fukasaku

Starring: Vic Morrow, Sonny Chiba (RIP), Philip Casnoff, Peggy Lee Brennan, Etsuko Shihomi

From: Toei

RIP Shin'ichi “Sonny” Chiba; if only I had picked a better film as a tribute...

Presumably many are familiar with Mr. Chiba's background, whether it be his 6 black belts in various martial arts, all the films he did in Japan or his appearance in Kill Bill. I won't dwell on that and note that instead I've seen him in a handful of pictures. The first two movies in the Street Fighter series are over the top goodness, and even better is Wolfguy-or to use its literal translated title: WOLFGUY: ENRAGED LYCANTHROPE-a bonkers tale where it's not really “Sonny Chiba plays a werewolf”--rather, it's “Sonny Chiba plays Wolverine”, which is still as awesome as it sounds. Among the choices I had (more on that at the end) I picked one that is available in VHS quality on YouTube; I was hoping for something that was at least campy... regrettably, it did not give me much aside from some laughs.

It may sound awesome to hear that RADIOACTIVE WALNUTS was the method which brought together all our heroes (OK, they were “space seeds” that were dispatched to find a bunch of random people but they were walnuts), that it was more than just the Earthlings who wore 70's clothes, that a space ship looked like a nautical vessel from the 1600's (?!) complete w/ sails, that someone had a laser whip, and that someone wore a Cutty Sark chef's robe... it's not a lot of fun when I've seen the story described as “soul-sucking”-it is not as thrilling as it sounds-the characters typically range from lame to intolerable, the effects for the most part look pretty bad, the white actors aside from Vic Morrow deliver rather lousy performances, and the story is just nonsense.

Worst of all in this case, despite his high billing Chiba doesn't even show up until more than an hour into this 106 minute picture. Starcrash is even worse than this overall, although I recall it being more fun... this is best not worth seeing unless you want to shake your head at some of the effects or note that it has a Superman IV level of understanding when it comes to someone flying through space outside a ship without a suit on. At least in the near future I'll start up my subscription again to Arrow's streaming service plus there are some Chiba obscurities I have on DVD--thus sometime in the near future I'll pay better tribute to Sonny.

I Revisited The Texas Chain Saw Massacre...

and it's still a great movie. It was awesome to finally see it on an August 18, as that's the date the events of the film occur. During the spooky season I'll see at least one entry in that franchise.

The Gypsy Moths

The Gypsy Moths (1969)

Runtime: 107 minutes

Directed by: John Frankenheimer

Starring: Burt Lancaster, Gene Hackman, Scott Wilson, Deborah Kerr, Bonnie Bedelia

From: MGM

If you can... rent this movie without reading the description provided by any streaming service! It spoils the final act.

It wasn't until a mutual reviewed this a few weeks ago that I even knew of its existence. A movie directed by Frankenheimer concerning a small troupe of skydivers who perform in small towns (they are known as Stunt Jumpers) and features the likes of Burt Lancaster, Gene Hackman, Scott Wilson-for you Walking Dead fans-Deborah Kerr, a young Bonnie Bedelia & some That Guy actors.... yes please!

The plot: the three lead actors perform in bucolic areas, such as the old Kansas home town of Malcolm (Wilson) where they happen to be 4th of July weekend and he has some relatives they can stay at. After the opening scene the entirety of this motion picture takes place there. As expected, all three have different personalities with Malcolm the most pensive, Joe (Hackman) the most brash, and Mike (Lancaster) the most confident. It's not the cheeriest picture... failed marriages, fear over a dangerous stunt, in-fighting, etc. Yet this contemplative drama that confidently takes its time was always interesting to me due to the character interactions, the quality performances and all the time spent getting to know them. That was why there was an impact when things went wrong.

Don't worry, there is a long stretch in the back half where the viewer gets to see all of their stunts; some may find it tedious but IMO it was all thrilling and except for some optical effects that may look bad by '21 standards, it was all actual skydiving tricks. Be that as it may, the drama and characters are the focus of this piece (the Wesley Snipes movie Drop Zone, this is not) and overall The Gypsy Moths was pretty good. Most amusing to me wasn't that this was filmed in Kansas towns not too far from my sister's current hometown (although that is interesting) but rather that early on a shot of what had to be a Playboy Magazine was blurred on the print I saw last night. Otherwise the movie wasn't edited in any way; aside from the scene at the club where women dance around wearing only panties & pasties, there's actual nudity a little later. I imagine there's an interesting story as to why a presumed dirty magazine was suddenly not OK to appear here.

 

Battle Royale

Battle Royale (Batoru Rowaiaru) (2000)

Runtime: I saw the 121 minute Special Edition

Directed by: Kinji Fukasaku

Starring: A bunch of random Japanese teens, plus Beat Takeshi

From: Toei

I am slaughtering a sacred cow here...

Note that it taking me more than 20 years to see this has no bearing on my rating; there are plenty of films I still want to view & it just takes the right time and place for it—plus, it took more than a decade for Battle Royale to arrive on US shores due to controversy. Last night I finally decided to see why this has so much love among everyone (including Tarantino) and afterwards, I am still pondering this...

It was one thing for me to not quite understand just why a totalitarian version of the Japanese government would want to try and kill off much of its younger generation even if they were rabble-rousers... but “satire” and all that so perhaps I should not dwell on that. It was another thing for me to try and care about the story when its tone was all wrong to me-including “humor” that was more a turn-off than anything else-and I did not care about any of these dumbass young teenagers, which included some bad actors. It was not a pleasurable or fun 2 hours seeing those “shocking” and “graphic” moments involving no one I cared for. In addition, among various story issues I've seen some criticism of who lives and dies & how “it was a product of male writers”-that is a worthy discussion point although I won't say on which side of the fence I'm on there.

I'll just shrug my shoulders and not spend time worrying why most others love this while this was a massive disappointment for me. It was wild that this was made by a man in his late 60's; however, give me his 1980 Virus (a downbeat picture which at least had a great cast and an intriguing story) or even the silliness of The Green Slim instead. Plus, Battles Without Honor or Humanity should be more up my alley-I'll find out in the future.

 

Up The Creek

Up the Creek (1984)

Runtime: 96 minutes

Directed by: Robert Butler

Starring: Tim Matheson, Jennifer Runyon, Stephen Furst, Dan Monahan, Sandy Helberg

From: Orion

Some people like this random 80's T&A comedy... including the person who asked me to buy the Kino Lorber Blu-ray for them. It's something they've always liked while the one time I saw it (back in the VHS days) my reaction was “meh”. I was able to watch the disc before they did, so as I really didn't recall just WHY I didn't like it-aside from not finding it all that enjoyable-this is what I did. Before I get started, it has to be noted that I've viewed some T&A comedies from after Animal House through the 80's... like everything else they were good, bad or indifferent. Revenge of the Nerds or Porky's is still funny to me despite how crass they can get and how some moments have aged poorly--life was just different back then.

Unfortunately, it not only was humorless except for sporadic laughs, lead character Tim Matheson was not a very likable lead... in fact, he was more like an asstagonist to borrow a phrase I haven't used in ages. For something featuring Otter and Flounder from Animal House, Pee Wee from Porky's and Betty from Revenge of the Nerds, at least I expected something more fun; instead, I don't give a damn about any of the main characters and the story is quite lame. John Hillerman shows up for one scene and explains that his school Lepetomane University (that reference to Le Petomane was funnier in Blazing Saddles) is the bottom of the barrel and as he wants the worst students to win the school something, so... he demands that they capture the crown at a collegiate whitewater rafting race. No, none of them appear to have any skill in this. Yeah, it's eye-rolling.

Plenty of dumb moments happen and while the preppy villains at least all look & act like D-bags (all of them might as well have been played by different versions of Billy Zabka) that was not enough when there are dire subplots such as the involvement of a military academy. It has a cute dog & a catchy soundtrack that somehow has a title song from Cheap Trick but when it was tame in terms of vulgarity to something like Revenge of the Nerds... I am surprised this even has its fans but if you are, at least the Blu looks pretty good.

 

Dementia

Dementia (1955)

Runtime: 55 minutes

Directed by: John Parker

Starring: Adrienne Barrett, Bruno VeSota, Ben Roseman, Richard Barron, Lucille Howland

From: J.J. Parker Productions

What was it that I saw last night?

Earlier in the year I stumbled upon the existence of this strange horror/film noir/experimental/avant-garde motion picture, not even an hour long. Due to a reason I'll explain later this sounded fascinating; somehow, I missed that this was on the Criterion Channel until I went through their list of what was leaving on the last day of the month and Dementia was on there.

The most noteworthy aspect is that this contains zero lines of dialogue-that's right, no lines are spoken at all. Instead, it's the images and music that try to tell this story; it's abstract and I'll best describe the scenario as “a random woman on Skid Row appears to be in Purgatory for a few hours and it happens to look like a large city at night.” She is forced to hang out w/ skeevy dudes (including Bruno VeSota, one of the two names of any note who were in this; the other was dwarf actor Angelo Rossitto who was in everything from Freaks to Mad Max Beyond Thunderdome), tries to avoid a cop that looks just like her late father, and is even at a jazz club where real life musicians Shorty Rogers and his Giants perform. It's all quite peculiar and while the noir aspects look nice, there are some gruesome moments for the time-no wonder that was one of the reasons this did not get released for a few years-and it has a great score which includes an ethereal vocal from famed ghost singer Marni Nixon-meaning that she actually was the singing voice for the likes of Natalie Wood in West Side Story and Audrey Hepburn in My Fair Lady but the story and plot I did not love.

Even if others love this more than I do, it's amazing to me that something this odd got released in 1955, then had another release two years later that had narration... from ED MCMAHON. I heard that ruined the mood this set, and I bet it did. That version was titled Daughter of Horror (why, I dunno) and more people likely know that than its original title for one reason only: it was the movie on the marquee in the original The Blob-no kidding. For all the flaws inherent in its wordless gimmick, it was still a motion picture I'll never forget.

 

Five Easy Pieces

Five Easy Pieces (1970)

Runtime: 98 minutes

Directed by: Bob Rafelson

Starring: Jack Nicholson, Karen Black, Lois Smith, Susan Anspach, Billy Green Bush

From: Columbia

For those I didn't drive away after my last review...

That's me, flaws and all. Even if plenty will disagree, there's quite a bit concerning modern movies that I don't find too appealing, which is why I don't see as many modern movies as most. In addition, at least I am not as flawed as Robert Eroica Dupea, as portrayed by Jack Nicholson in this motion picture. This is something I can lavish a plenitude of praise upon even if it is not a happy movie and the lead character makes no shortage of choices that the majority will think cast him in a rather poor light.

That stated, this methodically paced movie is not boring nor it is a slog following someone who breaks various hearts, including the other half of the toxic relationship he's in—Karen Black's tremendously-named Rayette Dipesto. Dupea eventually has to make his way back to the family compound in Washington State... he's from a well-to-do clan that's all great musicians but instead of using his given talents, he ran away and does backbreaking jobs such as working at oil wells. A devastating scene near the end does offer insight into his actions. Bobby is someone who is eager to cheat on his lady yet despite all his sins he was not a character I couldn't stand following. He was one of many fascinating people in this film.

The cast as a whole was solid and Karen Black delivered a noteworthy performance but it was Nicholson who carried this movie-this was one of the best performances I've ever seen him have and he had some excellent acting in some scenes. Some levity-such as the scenes involving Helena Kallianiotes and Toni Basil-as it was not easy viewing the lead's self-destructive tendencies nor the awkwardness of his family. Unlike what we get too often now, this was not an intolerable version of being off-putting and uncomfortable; rather, it was always fascinating.

Mix in a real 70's ending and this was a drama which was a serious journey that was rewarding. Many people probably will be able to relate at least in a small way to one (or more) aspects of Bobby's journey as shown here; I won't state on how much of this made me feel uneasy...

I Watched Another Overrated Modern Horror Film...

It was something with a tiny budget; it was 2019's Sator, and what a backstory it has: 

Oh, these pretentious horror movies...

I had the “wise” idea to not only see a horror movie last night so it could be discussed on Friday the 13th, but I picked one out I only know of because it's on Shudder and someone on another platform whom I don't even know personally recommended it in a review. I should have looked further into the film and realized it belonged in a category I am not a fan of. Far scarier for some reading this than anything in the movie will be some film opinions that many will strongly disagree with, if not find downright blasphemous.

This follows a few characters who live in the middle of the woods (the rural areas of California they filmed in were quite lovely, at least) and are clearly traumatized, because... well, the movie unfortunately is never that forthcoming with information and that is one of its many issues. Two of them are brothers and their grandmother-played by the director's actual granny-believes in the legend of an entity, the eponymous Sator. It's a general sort of evil spirit, in essence.

I hate to rip on a director who also did most of the work behind the scenes; it took years to make and was a passion project for him. Be that as it may, this had nothing aside from atmosphere and some striking images. The story was a whole lot of nothing (along with some preposterous moments) and by the end when hardly anything ever happened I did not feel this was a rewarding journey in any way. In terms of the acting, think Robert Bresson or Yorgos Lanthimos, which is NOT meant as a compliment. Some directors I never need to see a movie from just from reputation. A bunch of people acting monotone and flat, no thank you and why would I be interested in such a haughty and arrogant mindset from a (possibly) insufferable director? If I wanted to offend many mutuals I'd ask why DO many people-and not just on Letterboxd-find that appealing to begin with?

Plenty of times before I've complained about “heightened horror” and other similar work that typically doesn't do much for me and that isn't even including the reviews themselves for the likes of The Babadook, It Follows or Hereditary. Thankfully, the **really** putrid stuff like that Suspiria remake is usually avoided by me. Many of those movies are quite overrated and the main one I actually do think is great is The Witch; if only my opinion was the same on The Lighthouse... for various genres but especially horror, this is why I try but am not always successful at avoiding pictures I probably think are twaddle & full of disdain, as why waste time and be irritated at the same time? To list a musical example, thank goodness I found out about an LOL and baffling decision that came concerning a key element in Annette beforehand... But anywho, it's a shame I did not like this a lot more, as the general idea could have resulted in a fun ride.

Then again, imagine my shock when I looked online after the film and discovered some facts I am surprised I've not seen in any reviews. The performance from the director's mawmaw managed to seem real, because... it was. Not only did she have dementia-she passed away before this motion picture came out-and spend time in a psych ward, but she actually believed she communicated w/ some entity named Sator since 1968! My eyebrows were raised at this revelation. How haven't I seen anyone note how it PERHAPS may be in questionable taste to have your own grandparent who has long-term mental health struggles and maybe even full-blown Alzheimer's present her actual beliefs to everyone on camera? I would have been more OK with making a more traditional story from that idea (and one that wasn't S-L-O-W) with a bigger budget where someone who may not be in full control of their faculties is in a movie.

Of course, YMMV on that aspect or if you found this more rewarding than I did. After all, many people appear to love a motion picture that includes Rooney Mara eating a vegan chocolate pie for like 10 minutes straight or whatever that scene is... God bless all the motion picture fans who dig such things—it is really not for me.

Europa Report

Europa Report (2013)

Runtime: 90 minutes

Directed by: Sebastian Cordero

Starring: Sharlto Copley, Michael Nyqvist, Daniel Wu, Karolina Wydra, Anamaria Marinca

From: Several different companies

Once again I decided to do something different; besides seeing something made in the past decade or so, there has not been much in the way of science fiction for me since this past August. As I've known of this since it came out and it has a few recognizable names, off to Prime I went for the film.

At first you may think it is everyone's “favorite” subgenre, found footage. Thankfully, it's more a documentary style w/ found footage elements. Of course, this story may have been better told in a more traditional style or more linear, but... several professionals go on a private mission to Jupiter's moon Europa due to the possibility of microorganisms existing in the water underneath the ice that comprises part of the moon's surface. As expected, there's complications and life there is more advanced than expected...

This description may make you think this is a creature feature a la that Life movie from a few years ago starring Rebecca Ferguson and someone who apparently doesn't shower often... but it's not—rather, it inspires to be more. The movie is more a drama involving intelligent people who (usually) don't act too dumb and there are more realistic calamities that happen aside from what's on Europa. While the only people on the ship I recognized were Michael Nyqvist and Sharlto Copley, all those actors were fine. Even if this doesn't have the budget of something better like Gravity or Ad Astra, the grounded scientific vibe was something I could dig-sometimes spotty effects aside, some “Hey, wait a minute” moments & my assumption that someone in the cast was only available to film for a day or two.

At least this was something I don't regret spending 90 minutes with; perhaps more importantly it will inspire me to watch a little more sci-fi during these last few months of 2021, including more famous/highly regarded efforts. I'll be back later than usual on Friday the 13th... not due to any visits to Camp Crystal Lake but rather my schedule for the day.

The New York Ripper

The New York Ripper (Lo Squartadore Di New York) (1982)

Runtime: 93 minutes

Directed by: Lucio Fulci

Starring: Jack Hedley, Almanta Suska, Howard Ross, Andrea Occhipinti, Alexandra Delli Colli

From: Fulvia Film

Why exactly was Fucli preoccupied with Donald Duck?

September and October, I'll be watching plenty of horror films during “Hooptober” season, although I never officially participate in that. As of now there's little idea as to what will be on that list; there will be no shortage of possible entries so between now and then will also be some genre efforts, including (in)famous ones like this. It's a giallo/slasher (the former genre was a huge influence on the latter) which has plenty of gore for the slasher fans that dig such things; who knows what they-or anyone else-will think of a killer that talks like Donald Duck during taunting phone calls to the police or when he's killing young women! A bizarre quirk, even if there's an explanation for it—believe it or not.

A serial killer is targeting promiscuous women in New York City and attempting to stop this person is both a wearied older cop (who is happy to pay for the services of prostitutes!) and a younger college professor psychoanalyst; that's the basics, although there's also additional youths in a smart couple who are targeted. Now, The New York Ripper wallows in sleaze: besides the villain butchering young women in graphic detail, there are the shots of Times Square before it was cleaned up (The Crappy New York City of Old, I like to call it), a sex show is visited, another lady is not satisfied at home so places like this is where she gets her kicks at, one character randomly buys a Blueboy magazine but this has no bearing on anything and instead this person liking gay pornography was supposed to be “shocking” or “funny” or something else, I dunno...

Even though the Donald Duck thing is kind of...daffy—the movie is still effective for what it is. It has the blood for slasher fans, graphic moments, and even a few scenes of suspense as someone is being chased/hiding from someone. Unless you're offended by some aspect of this-which I won't fault you for-this was a pretty good time. As stated before, I prefer straightforward Fulci like this or Zombie (or Zombie Flesh Eaters or Zombi 2 or the dozen other titles it is known by) to something like The Beyond. It'd be a great double bill w/ the Joe Spinell Maniac; both are trashy NYC pictures which at least are well-made.

 

Trouble In Paradise

Trouble in Paradise (1932)

Runtime: 83 minutes

Directed by: Ernst Lubitsch

Starring: Miriam Hopkins, Kay Francis, Herbert Marshall, Charles Ruggles, Edward Everett Horton

From: Paramount

Romantic comedies-whether or not they involve love triangles-typically aren't my bag. That said, the director being Ernest Lubitsch and one of the two lead ladies being Kay Francis (someone I was charmed by in One Way Passage & Jewel Robbery) meant I probably wouldn't go wrong here, and I didn't.

Lubitsch was known for making “sophisticated comedies”-this adaptation of a Hungarian play fit in that category. Herbert Marshall and Miriam Hopkins are a master thief and pickpocket respectively who meet up in Venice and as they have mutual interests, the two become a couple. They scheme to scam Kay Francis, who is filthy rich as in essence she was the Estee Lauder of this universe. Of course, Marshall falls in love w/ Francis and this greatly complicates the scheme.

This was a charming movie; it was set in a lovely Art Deco world where several European cities are visited. There is some racy Pre-Code dialogue and editing plays a key role, whether it be the fast pace or to serve as the skeleton of more than one joke. The music, the costumes, the put-downs, the “rich folks” that come off as bickering fools... it's all an intoxicating mix and it'd be a shame for me to spoil the surprises or witty bon mots so I won't. Just note that it has a capable supporting cast (Charles Ruggles, C. Aubrey Smith, Edward Everett Horton) & seeing more Lubitsch wouldn't be a bad idea on my part.

The Hot Rock

The Hot Rock (1972)

Runtime: 101 minutes

Directed by: Peter Yates

Starring: Robert Redford, George Segal, Ron Leibman, Paul Sand, Moses Gunn

From: 20^th Century Fox

Afghanistan Banana Stand

This movie was actually watched for Letterboxd aesthetic reasons. You see, it wasn't the plan going in but after I posted my review for Shoot the Piano Player, I realized that if I saw one more motion picture that had a yellow/gold poster, my Recent Activity feed here would have four yellow/gold posters in a row. It'll be something to screenshot and chuckle about that this was a happenstance occurrence which turned into an amusing gag. There were several films I could have chosen but this was due to convenience (it's currently on the Criterion Channel) and a few months after the fact I could say RIP George Segal. He was great here in character, performance and camaraderie with the other main performers, especially other lead actor Robert Redford.

Redford played Dortmunder, someone who is let out of the state pen in the opening scene; that was not his first stint in prison. Segal played his brother-in-law Kelp, who ropes him into a scheme to steal a giant diamond from a museum. To garner more sympathy, the request was from a rich African who wishes the diamond returned to his country rather than it be stuck in a museum or it be claimed by another African country. There are... complications so there are actually multiple schemes done by the two leads plus Murch (Ron Leibman, not surprisingly playing a very exciteable character) and Greenberg-Paul Sand-escalating each time in seriousness and risk.

All the schemes are interesting and fun but the most important aspect of this heist comedy is the humor, and thankfully due to situation, dialogue & jokes the movie is pretty funny. Of course the two leads have plenty of banter w/ each other, some of it hostile. It was also nice seeing both Moses Gunn & Zero Mostel in prominent roles. I can't say for certain as none of them have been watched by me-from hearsay this is quite similar in tone to the Soderbergh Oceans picture so if you like those or Logan Lucky... likewise, perhaps one day I'll finally give those a shot. For certain those pictures won't have scores that are bitchin' like what Quincy Jones created here but hopefully they won't be wastes of time.

Shoot The Piano Player

Shoot the Piano Player (Tirez Sur Le Pianiste) (1960)

Runtime: 85 minutes

Directed by: Francois Truffaut

Starring: Charles Aznavour, Marie Dubois, Nicole Berger, Michele Mercier, Serge Davri

From: Les Films De La Pleiade

More movies should have had bawdy tunes sung by Boby Lapointe.

A little less than two weeks ago this was recorded on the DVR when it played on Turner Classic Movies. Last night I finally watched this heavily improvised picture where Truffaut was inspired by film noir and also loosely adapted a crime novel from David Goodis. On the surface it sounds simple-piano-playing man known as Charlie who works at a ramshackle bar in Gay Paree is roped into a dispute between two gangsters and one of his two criminal brothers after they show up at his job-but it is more complicated than that. Charlie is quite shy/introverted so he's unlucky at love; eventually you see that something horrible happened w/ a former partner. He had an unusual relationship with a prostitute (it involves her assisting in taking care of his youngest brother, still a child) and another gal is interested in him. Only then you get to discover he was a formerly famous pianist.

A director's second movie that was quite different from the first, not that structured and containing such contrasting themes... it could have crashed & burned but Truffaut was such a great director he pulled it off. A talented cast and nice music (always a must in a picture involving at least one musician) also helped. It was a rewarding journey and as someone who is the opposite of outgoing-for a variety of reasons-it was easy for me to sympathize with Charlie. Of course, I don't have criminal siblings but if only I could know ladies like Marie Dubois, Nicole Berger, and Michele Mercier! It was interesting that while the villains bellow on and on some horribly stereotypical beliefs concerning the fairer sex, Charlie is happy to be dominated by them/respects women and even his brother is happy to shove some A-hole to the ground when he backhands a lady.

Between this, Jules & Jim and The 400 Blows, exploring more of Truffaut's filmography should be one of my film tasks; as he only made 21 feature films before passing away at a way too young age of 52, it would not be a difficult task to watch all of those plus the short subjects he created. Shoot the Piano Player is a film and a title that has inspired others. It was mentioned in the liner notes of Dylan's album The Times They Are-a-Changin' and Elton John had his album Don't Shoot Me I'm Only the Piano Player. As this was a rather downbeat tale, I was happy for the greatest moment of light levity: in the first act out of nowhere a random gentleman in the bar played by Boby Lapointe jumps up and sings a catchy ditty where you only realize halfway through is a vulgar tale about a woman who is known as Framboise. To be frank, the mirth I derived from this club and that song may have caused me to rate this a little higher than I would have normally!

The Big Trail

The Big Trail (1930)

Runtime: 122 minutes

Directed by: Raoul Walsh

Starring: John Wayne, Marguerite Churchill, El Brendel, Tully Marshall, Tyrone Power, Sr.

From: Fox Film Corporation 

Yes, there was a 70mm widescreen film released in 1930.

Briefly, Fox had their Fox Grandeur system done in 70mm at a 2:10.1 aspect ratio (I know that will appeal to the small segment that loves unusual aspect ratios, ratio changes, etc.) and by far this was the most famous effort that used it. The Great Depression happened and as it would have cost money to put in brand new projectors for auditoriums... it died after this film and presumably most saw it in a 1:19.1 aspect ratio this was also filmed at which sometimes was the same scene from different angles and sometimes was brand new footage. Recently I got the Blu for cheap as it has both versions... of course what I am reviewing here is the Fox Grandeur cut, at a little more than 2 hours long.

This was John Wayne's first big role in Hollywood, and he got the part basically because of desperation on director Raoul Walsh's part; he saw Wayne at the studio one day and his look was enough to get the director's attention. A youthful John plays a cowboy in presumed 1840's Missouri who doesn't lead a wagon train to Oregon-basically, The Oregon Trail, although no one dies of dysentery... but rides along as he is friendly with Native Americans and is a great shot. Naturally he has a potential love interest in the convoy who isn't keen on him at first and of course there are villains hiding in the midst of said convoy. 

The most important aspect to note is that the scope of this was HUGE. There were like 150 wagons in the convoy, all of which are seen even if only several (colorful) characters are spotlighted, such as the Swedish guy who feuds with his mother-in-law or the bearded drunk that loves making animal noises. Speaking of that, dozens of animals are shown. The camera is typically medium shot or long shot to show off the scope of this production, all the people in front of the camera and the real life locations all across the West they filmed in. There's a river forded, an Indian attack, bad weather, and more. How grueling the trek was in real life was presented accurately here. That said, it's all a fun adventure that I know wouldn't have been the same if viewed in its 1:19.1 form. 

What could have been had this caught on... then again it probably was too ahead of its time, considering sound in pictures just arrived a few years ago. At least the 1950's brought us Cinemascope and a lens being the only equipment change needed for widescreen images. The Big Trail was more than just a curio ahead of its time. The Duke had to star in dozens of low-budget Westerns and pay his dues before John Ford cast him in 1939's Stagecoach—the rest is history.

Austin Powers In Goldmember

Austin Powers in Goldmember (2002)

Runtime: 94 minutes

Directed by: Jay Roach

Starring: Many of the main people from the first two, plus Michael Caine and Beyonce

From: New Line Cinema

Once again I see Austin Powers to be topical.

In this case it wasn't a phallic rocket from an incredibly rich dude that many people hate for valid reasons. Rather, what once again got Powers trending is a photo that accompanied an article Forbes tweeted out. A random 16 year old boy from the UK w/ an Arabic name is spotlighted because he's an entrepreneur and wants to start his own cryptocurrency. His wearing a dapper blue suit was what caused someone to replay he looked like “Timothee Chalamet playing Austin Powers.” Today, I am wondering if Mike Myers has started to think it was finally time to bring the character back...

If that does happen eventually, hopefully the 4th doesn't feel tired and lame like this does too often. Sure, there are enough chuckles where this wasn't a painful struggle to get through. But time travel AGAIN? Other lazy rehashes that even the movie comments on at one point? A bizarre villain who I just discovered a few days ago was based off of a strange Dutch dude who apparently was on the HBO show Real Sex way back when... but how many would have even known that in the early 00's? Would the Goldmember character actually have been funny if you get the reference? There are also way too many cameos.

At least Michael Caine was quite entertaining as Austin's superspy dad. As for Beyonce and her character Foxxy Cleopatra... she is no Pam Grier-heck, she was no Tamara Dobson. Mini-Me also brought some laughs yet overall this mess of a movie was only average overall. I mean, characters pop up out of nowhere and someone suddenly switches allegiances with little to no warning. If a 4th ever happens, let's hope it's better than this. Oh, and to think that of the cameos that people will look at differently in 2021 (Tom Cruise, Gwyneth Paltrow and Kevin Spacy in increasing cringe), the most uncomfortable moment was the reference to The Subway Diet and Jared Fogle being mentioned by name. I hate to end this review by reminding people of a sick, repugnant human being, but...

Beyond The Door

Beyond the Door (Chi Sei?) (1974)

Runtime: 106 minutes

Directed by: Ovidio G. Assonitis/Robert Barrett

Starring: Juliet Mills, Richard Johnson, Gabriele Lavia, Nino Segurini, Elizabeth Turner

From: A Erre Cinematogrica/Montoro Productions, Inc.

Because all Exorcist ripoffs should have a trippy funky/jazzy score...

For awhile now I have known of this movie; on a whim it seemed like last night would be an opportune time to use the Shudder service and check out something that I heard was quite wacky... and wacky this was at times. A woman in San Francisco has two young children in her family and out of nowhere becomes pregnant with the third, only it is the Antichrist. I probably don't need to state what else this was heavily “inspired” by.

This does have some scares/creepy moments that aren't just riffs on what it is cloning-this includes what could be called a twisted version of Toy Story. But what was most appealing was its strangeness. It was an Italian movie from Ovidio G. Assonitis so you should expect something peculiar anyway... this was beyond the pale at times. There's that score, which also sometimes has creepy sound effects. The opening is a black screen and you hear narration from... Satan! That's not the only time you hear them. A few times the picture stops as if you accidentally hit pause on the stream or disc; a curious decision there... and there are more than a few illogical things.

What I'll never forget about this: the behavior of the two young children the lead girl already has. The daughter is like 10 and yet has a dozen copies of the Love Story novel-an attempt at satire?-and totally talks as if she's an adult-that includes cursing. There's a son toddler-aged who always... drinks Campbell's green pea soup straight from the can with a straw?! Besides one of the many attempts by this production to thumb its nose at Warner Brothers (no wonder they got sued-and lost-for all the similarities to The Exorcist), it was one of those moments where the movie addressed it and there was even a hint that there'd be a reason given for the children & their bizarre behavior... only it doesn't happen. It's an Italian movie so of course there was also nonsense and unexplained moments.

Despite-or perhaps because of-its flaws, it was an entertaining horror film despite some slow spots. At least it did have enough horror moments for moi.

 

The Tall T

The Tall T (1957)

Runtime: 78 minutes

Directed by: Budd Boetticher

Starring: Randolph Scott, Richard Boone, Maureen O'Sullivan, Skip Homeier, Henry Silva

From: Columbia

Or: The Criterion Channel continues to curate to my tastes.

The past few months that channel has been killing it when it comes to adding some movies that I've either seen and wish more people would check out (Son of the White Mare and Nayakan are two examples), are the sort of thing I'd like to visit or revisit (Manhunter) or in this case, put up a series of cult favorites that I've seen part of and will watch at least a few more. In some cult circles, the Ranown Cycle is beloved; they are seven Westerns starring Randolph Scott that typically were written by Burt Kennedy and directed by Budd Boetticher. Seven Men From Now and Ride Lonesome I can attest are well worth seeing... so is The Tall T.

This was adapted from a story written by none other than Elmore Leonard; his influence could be felt. The plot was more complicated than just a tale of honorable stoic man Pat Brennan unwittingly becoming one of three kidnapped people. He ends up on a stagecoach which has a heiress and her new (slimeball) husband; suddenly a trio of bandits stop them and hubby actually reveals his father-in-law is filthy rich in an attempt to save his own skin. Lead bad guy Frank Usher (Richard Boone) was just one of the characters who had complex motivations-in this case he was not a brute like his two lackeys, one of whom was Henry Silva in an early film role playing a character named... well, I can't give the name as it can also be used as a racial slur! At times it was awkward hearing that word being yelled often.

It was fascinating watching those characters interact with each other, seeing heiress Maureen O'Sullivan (a meek Plain Jane) grow as a person, Usher vs. his two followers, and Frank keeping Pat around just because he has someone worthwhile to talk to. As the story was from Leonard, it was not a shock to me that this has dialogue which cracks like a whip along with some brutal moments. This was an easy 78 minute watch and whether or not you've seen anything else in the Ranown Cycle, I believe this is well worth a shot for the Western fans.

Jungle Cruise

Jungle Cruise (2021)

63% on Rotten Tomatoes (out of 270 reviews)

Runtime: 127 minutes

Directed by: Jaume Collet-Serra

Starring: The Rock, Emily Blunt, Jack Whitehall, Edgar Ramirez, Jesse Plemons

From: Disney

Matt Damon will be very unhappy to know that this contains an LBGTQ+ character...

It was not the plan before yesterday to even see this movie, let alone do so last night. However, the summer tradition happened and the air conditioning conked out-who knows when that'll be fixed. As I wanted to find a cool place to visit for a few hours, a cineplex in the Orlando area seemed like the way to go. As I've been on the actual Jungle Cruise ride at both Walt Disney World and Disneyland (the latter has been changed to become “more politically correct”; no comment on a new ride that I haven't been on) a few times-including a few months ago-it was worth a shot even with my feelings on how creatively bankrupt Disney is and all their other faults. At least the hot and sweaty setting matched what I have experienced at times throughout these past few summers.

As the ride itself is quite cornball-you're on a boat in a tropical location back in the day when such places were colonized by a European power and a tour guide utters the goofiest puns throughout-it should be no surprise that the movie would be the same. Aside from Dwayne making several of the same jokes, the movie is incredibly unsubtle (what accents Jesse Plemons and Paul Giamatti use in the film) and there are several moments I groaned at. It was clear they “borrowed” some things from Pirates of the Caribbean-including the supernatural aspect-as they want another franchise as popular as that was at one time.

Much of this was set in 1916 Brazil; Emily Blunt was the Strong Independent Woman type with a feckless brother. That wasn't subtle either but that can be said about various Hollywood movies (not to mention TV shows) in recent years; right or wrong some have had a backlash against it due to bluntness & bad characterization. Personally, here it wasn't that much of a turnoff; in fact, Johnson and Blunt really carried Jungle Cruise.

This is hokum but at least it did feel like an action-adventure picture of old in terms of tone and style. It's not Indiana Jones-thank goodness it was not mediocre or worse like the Pirates sequels either. No surprise this is the sort of picture that is appealing to a general audience. The film is pretty dumb but that is also a problem with Hollywood movies in recent years. There is an LGBTQ+ character who had a prominent role in this picture; it's only mentioned in one scene although at least it does explain character motivation. After yesterday we know that Matt Damon wouldn't have liked this character but besides that, the way that person was portrayed for much of the runtime can be questioned. Still, baby steps...

One last thing: this has more than one real life person as a character, although what was presented here was a bizarre alternate universe version of them. One was Spanish conquistador Lope de Aguirre, of Aguiree, the Wrath of God fame. Yes, this movie can be compared to something made by WERNER HERZOG.