Archive for 'Films 2012'

Films I saw in 2012

February 13, 2012 by Ronn Ives, under Films, Films 2012.

Films I Saw in 2012

 (New reviews are added each evening)

Watching Films is our way of fulfilling a deep-seated need

to nestle ’round the campfire listening to our Story Tellers. 

This is when and where we express our fears of the Unknown,

debate the Mystical, and find support for our assumptions about

the Sunlit World.

CODES: “again” = I’ve seen it before, “WOTO” = We Own This One, “IMDB” = my opinions also found on The Internet Movie Data Base site

Below are the majority of the films I’ve seen to date this year.  Those most recently viewed are placed at the top of each selected category.

Last updated: 5-17-12

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2012  MOVING PICTURES    *    NEVER enough time, SO many films ====================         =========================

1.
“FILMS THAT WILL CHANGE YOUR LIFE”

“Andersonville” (again, 1996):  – This is an historical re-creation of our own, true American tragedy – a P.O.W. camp during the Civil War – and what THAT experience demanded of those interned.  “Andersonville” is certainly an anti-war film and a true story, but it takes the time (168 minutes) to look within individuals for the complexity of dealing with horror… offering slivers of consolation when it can be found.  Although there are a few tiny problems with continuity, and compromises with its night lighting, the sets, costuming, makeup, and acting are ASTOUNDING and heart-rending.  This huge effort adds up to a major statement about the depths we humans can sink and heights we can reach when pushed far beyond that which our upbringings prepared us.  Its elegant ending brought me to one of the tearful moments I experienced in with fine work.  WOTO

“The Endurance” (again, 2000):  Documentary.  “In 1914, Sir Ernest Shackleton set sail on the Expedition with 27 men aboard, aiming to cross Antarctica. But when the vessel became stranded in frigid, deep waters (and crushing ice), the crew began a battle of the human spirit, testing the limits of endurance as they strove to overcome the debilitating setback.”  Miraculously, they succeeded in capturing the experience in journals and on film.  What is MOST profound about this story is what you learn from the mouths and diaries of survivors & their families, which leaves you gasping for air and feeling you can NEVER EVER AGAIN WHINE ABOUT A SINGLE THING in your cushy, little, safe, easy, pampered life.  This is one of the most difficult, torturous trials of life of all time.  These men were the toughest, bravest, most steadfast, determined humans to walk the Earth.  It BOGGLES my mind to think of what they faced and what they did in their attempts to survive.  Wow.  See this!  Get some perspective.  Find yourself without words.  WOTO IMDB

“Beijing Bicycle” (again, Chinese, 2002):  This is a “pure” film.  Don’t believe the blurb written about it: Two boys learn sharing through the use of one bicycle.  The blurb couldn’t be MORE WRONG.  This story has one of the smoothest, most linear, singularly focused goals I’ve experienced in a film since “The Field”.  There are no plot twists, no what-ifs, no “oh my god, I had no idea THAT was happening!” moments.  “Beijing Bicycle” is a simple, yet symbolic film about a young man who comes to the big city, gets a job as a bicycle messenger, and things quickly go from uncomfortable, to bad, to awful, to worse it seems.  “Guei” (the messenger) wasn’t raised to recognize the ways of a metropolis – which tries to chew him up piece by piece.  We get to “know” other characters who we believe (along with Guei) ARE who they appear to be.  “Beijing Bicycle” has to be the finest expression of what I would expect to be the current set of fears by those in China who see their future as an unknown, with the “replacement model” being the U.S.A. and/or (?) their long-time enemy, Japan.  This story expresses the huge doubts caused by the loss of Mao and the Communist-controlled way of life.  Even if it WASN’T perfect, it was familiar, and many of these “new world” issues did not happen Back Then.  Those who are (literally) “buying” into the free market concepts are losing their pride, identities, and souls.  Watch for the slow, steady transitions of situations and characters.  Watch for the symbols of decadence, unhealthy living, improper greed, corruption, and sadness – all within a small group of teens.  WOTO IMDB

“Don’t Look Back” (French/Italian, 2009):  Written and directed by Marina de Van, starring Sophie Marceau and Monica Bellucci, this film is going to do the “INKBLOT” on you, just like it did my wife and I.  She saw an eventual story line that helped clarify the superbly created disorientation.  I saw a psychological state in need of further transformation.  You will meet a woman and her family.  Her ability to recognize the reality she has come to accept begins to falter, then collapse.  She sets out on a journey to “understand”.  You see the entire world through her eyes.  You become just as disoriented.  It is very disconcerting, especially in this “era” of additional threats by Alzheimers disease.  Then again, is this a horror film, a sci-fi, a fantasy?  I say no.  I’m going to stand behind my opinion for now… but what I CAN say (with less vagueness) is the lead actors are amazing, especially Marceau, and you will be glued to “Don’t Look Back” even when confused.

“Stanley & Iris” (again, 1989):  Robert DeNiro and Jane Fonda star in this story about the working class Struggle with Life – hard working people who can just barely get by, each with their limits and lacks.  These two actors brought it to life.  Jane Fonda is AMAZING in this one, and it’s a real pleasure to see DeNiro in a subdued, gentle role.  I’m not a big fan of heavily scored films, but this one, by John Williams, for all of its sweeping orchestral work, seems somehow perfect.  “Stanley and Iris” is a story of common people with sad stories who work hard to find the joy.  WOTO

“The Graduate” (again, 1967):  Written by Mike Nichols and Buck Henry, directed by Mike Nichols, set décor by George Nelson.  Though VERY much OF its Time, “The Graduate” has held up surprisingly well over the last 45 years.  Its look at upper class wealth – the emptiness, hypocrisy, and pent-up frustrations – remains hilarious and tragic.  We are left “rooting” for the youngsters trying to find their way out of the maze of tantalizing, mind-numbing offers to continue status quo.  Was Dustin Hoffman ever really that young?  (Yes!)  Was Katharine Ross ever cuter?  (No!)  Was Anne Bancroft ever edgier?  (I’ll have to think about that…)  This film was somewhat shocking in its time, the subplots continue to make us squirm uncomfortably, and the social class / age divisions remain hilarious and awkward.  This time around I noticed some of the witty editing, camera uses, tiny continuity problems, and the terribly overused music by Simon & Garfunkle.  See if you can spot the one-second no-name premier of Richard Dreyfuss, and note the large number of character actors who would go on to have larger (not necessarily more respected) recognition.  WOTO

 “The Big Lebowski” (again, 1998):  Unique films come from the Coen Brothers, and this is one of them: a twisted comedy – dark, ridiculous, grounded in the common but far from it, these characters move within their little world like mice being tested in a maze by a sadistic, sarcastic, smart ass god.  Jeff Bridges, John Goodman, Steve Buscemi, Julianne Moore, John Turturro, Phillip Seymour Hoffman and others create a skewed but believable scenario of bowling, beer, and possible crime.  Oh, plus, this film MUST hold the world’s record for use of the word “fuck”… and every single time was absolutely necessary… at least in the world of “The Dude” and his buddies.  It’s all they got, man.  That… and their balls.  WOTO

“The Dresser” (1983):  I seem to remember hearing good things about this film back in ’83, but I never followed up on it.  Only now, 29 years later, have I seen it… and it is AMAZING.  Albert Finney and Tom Courtenay star as an aging, weakening Shakespearian actor and his incredibly dedicated assistant (“dresser”).  This story is a poem to the theater, very intense, sometimes funny, often pathetic and maddening, and very sad.  Set in WWII Britain, we follow a well-worn stage troupe as everyone tries to put on another performance of Shakespeare while outside German bombs fall and inside the leader (Finney) screams unreasonable demands and hallucinatory thoughts.  His collapse seems imminent… his assistant (Courtenay) thinks otherwise… and the curtain will rise in short order.  This film has nearly the intensity of “Who’s Afraid of Virginia Woolf”, if that tells you anything.  WOTO

“Hero” (again, 1992):  Full of stars and soon-to-be’s, this is a hilarious, witty, and cynical view of the media, fame, reputation, and truth.  In this one, Dustin Hoffman nearly matches his sleaze role as “Ratso” in “Midnight Cowboy”, Geena Davis is great as the driven tee-vee reporter, Andy Garcia is the opportunist who carries the lies, and everyone seems to be naively under our microscope.  “Hero” reminds me of “Wag the Dog” – ALSO a sharp commentary on hype and propaganda.  WOTO

“Rome Open City” (Italian, 1945):  Directed by Roberto Rossellini, cowritten with Federico Fellini.  Here begins Italian Neo-Realism in film making.  Created DURING WWII and only months after the German occupation of Rome, this is a rough, crude look at life there, then.  My short review is not the place or time to discuss how “Neo-Realism” came about, but I DO suggest some homework prior to viewing this work, which will give you needed insight and the start of an acquired taste.  The dvd put out by Criterion / Janus has some excellent special features about that era, interviews with Rossellini and others, and very insightful points of view on what set “the stage” for such a radical shift in film making.  As for the film, it has its powerful moments and scenes of good acting, but stands more for its contribution to change and history in Art.

“The Help” (2011):  It’s 1961-62 in Mississippi.  There are poor black servants and comfortable white employers.  A young woman – hoping to become a writer – wants to create book of interviews with black maids who describe their lives as second class, background help.  Okay.  We’ve seen plenty of films about 1950’s / 60’s segregation and integration.  We’ve seen plenty of films about the systemic racism found especially in the southeast U.S..  This story is powered from the viewpoint of the maids, and many of the scenarios are expected.  Many of the characters are essentially one-dimensional stereotypes: all the black adults are all heroically patient and tight-lipped in their suffering, and all the white adults are evil and stupid.  THIS did little for me.  HOWEVER, the acting of ALL the lead and support actors is SUPERB.  SO good, I’d see “The Help” again just for the acting.  Really.  The acting is SUPERB.

“The Killer Inside Me” (2010):  Casey Affleck stars as a 1950’s west Texas sheriff who begins to lead a double life which escalates as local pressures ask more and more from him, and his psyche descents into darker and darker places.  Adapted from Jim Thompson’s novel, and directed by Michael Winterbottom, costarring Kate Hudson and Jessica Alba, this is a low-key, fascinating, explosive character study most notable for the overlay of first-person narration (the thoughts of the sheriff).  It is a tense, sometimes violent film made even more so by the easy going lulls and the seeming perpetual drive of a distorted mind.  Affleck, Hudson, and Alba are fantastic.  There is a 1975 film version of this same novel.  I have not seen it.

“City Lights” (again, 1931):  I am not a die-hard fan of Charlie Chaplin, but this one – with its comedy and romantic pathos – along with “Modern Times” – a social satire – are both wonderful in their own ways.  “City Lights” was his last “silent” movie (though he wrote and used a recorded score and a few other sound effects as the bridge) into his “talkie” film career.  Chaplin’s sense of composition, choreography and timing can be wonderful, but watch out – he can really beat to death a joke.  His co-star, Virginia Cherrill, the Beautiful Blind Girl, is glowingly lovely and equals or betters Chaplin in subtle gestures, especially in close-up shots.  The story has a straight line, but weaves about as it gets there, with additional characters and scenarios providing pure entertainment in a contemporary, 1931 Art Deco urban environment.  It’s a wonderful “just go for the ride” comedy and romance with a knock-out ending worth the entire trip.  He also loads in a few comments about social class, World War I, the Depression era economy, and, in an almost dismissible way (to us now), a scene with integration of the races.  Chaplin was no slacker, that’s for sure.  WOTO

“Auto Focus” (2003):  Assuming this is an accurate biography, it’s a sad one indeed.  Bob Crane (Greg Kinnear), “star” of the lame 1960′s t.v. sit-com “Hogan’s Heroes”, is a mediocre talent awash in a growing self-delusion, and, has an addiction to porn.  His best friend – his “connection” (Willem Dafoe) – is a cutting edge video tech, who helps his obsession in new ways.  Everyone gets something from this deal… EXCEPT his wives (Rita Wilson, Maria Bello) and kids.  He’s a has-been in no time, but it takes years to finish the easily foreseen downward spiral.  Even Crane sees it coming.  He’s “addicted” and he’s not going to change.  He has plenty of time… but, at every turn, chooses to be doomed.  Lead actor Greg Kinnear is amazing.  He carries the film.  Willem Dafoe and Rita Wilson are also good.  This is NOT a film for kids.  If you have the Special Edition dvd including the documentary on the follow-up fourteen years later, make sure to watch it also.  WOTO

“Overnight” (2004):  Documentary.  This film follows a group of young men who are musicians.  During spare moments, one of them writes what he feels is a good movie script (called “The Boondock Saints”).  Overnight, they become “stars” on the rise, schmoozing and boozing with the big names.  Can they handle it?  Will the movie be produced?  Will their band get a cd?  This is a fascinating look aimed at one of the men who claims to be the leader, the spokesman, and the boss.  He has a foul mouth, a drinking problem, and an ego problem – yet it seems like everyone is rubbing his shoulders to make sure they get a piece of this or that action.  You will want to laugh, but you’ll mainly wince.  WOTO

d, because of seeing “Overnight”, I decided to rewatch “Boondock Saints” (which is my collection):

“The Boondock Saints” (again, 1999):  As violent as “Pulp Fiction”, with characters nearly as quirky and interesting, this story is one of cops, mafia, and vigilantes, but with a slant you probably haven’t seen before.  Sure, there ARE bad guys, and they do bad things… and SOMETHING needs to be done about them… but what, and by whom?  Willem Dafoe, Sean Patrick Flanery, Norman Reedus, David Della Rocco,
and Billy Connolly star in this Shakespearian/Peckinpahish/Tarantinoesque tale of Righteousness.  “The Boondock Saints” is a stylish film – almost too stylish, considering the barely and only occasionally comedic but always dark content – with scoring that is layered thick over the action.  DaFoe’s acting is totally quirky, over the top and enjoyable as a CIA Agent with no one to rein him in.  Think “Pulp Fiction” set on the mean streets of lower middle class Irish Brooklyn or Jersey City.  WOTO

“Men of Honor” (again, 2000):  I don’t use this term often:  INSPIRATIONAL.  Robert DeNiro does his usual, masterful job of being a complex hard ass.  Cuba Gooding Jr. knocked me out.  He was superb.  The concept is simple:  Don’t give up in the face of any adversity… and man, there was enough adversity here for a hundred men, but in this true story, it was all piled on one man.  If it weren’t a true story, it would be unbelievable.  Its Hollywood treatment (irrational/convenient editing, excessive/sweeping music score, speeches where there should be dialog, etc.), downgrades its real life truth – which is dramatic and real.  You WILL be both very ashamed AND very proud to be a member of the human species.  You will wish (and doubt) you have the courage and strength of Carl Brashear.  Through Gooding, Brashear gives you something for which you can aim.  DeNiro and Gooding (plus strong supporting actors, Michael Rappaport, Hal Holbrook, Charlize Theron…) give grit to what is otherwise silver screen sheen.  These actors and the truth behind “Men of Honor” are why I stand by this film.  WOTO

“The Interrupters” (2011):  This is a documentary about a group of ex-cons who decide to organize as a group to literally step between warring individuals, families, and gangs in Chicago.  It is intense, sad, frustrating, and hopeful.  It is ugly, pathetic, maddening, and – on the rare occasion – funny.  These people – the “Interrupters” – are NOT paid nearly enough to do what they do… but they did not join with money as their first goal.  They first need to right wrongs in which they were a part.

“Winterset” (1936):  First a stage play (winning the Pulitzer Prize) then a screenplay by the same writer – Maxwell Anderson – this early, pre-Noir-style work called for Depression Era fairness for those who suffered the most.  Set in dark stone hovels under the Brooklyn Bridge during a cold, relentless period of rain and sleet, we are first shown the problems immigrants faced in this country (a la Sacco and Vanzetti), then fast-fowarded to contemporary 1936.  We now understand the motives of the main characters (starring a young Burgess Meredith, Margo (who you may remember from Capra’s film “Lost Horizon”), Eduardo Ciannelli, Maurice Moscovitch, Paul Guifoyle, John Carradine, Mischa Auer, and Edward Ellis).  The sets are dark, dank, claustrophobic, and reek of stink and poverty.  The scoring supports nicely (nominated for an Oscar).  Scenes such as the people dancing on cobblestones to a calliope (and the resulting tension) add another desperate, almost surreal flavor.  Add in a touch of gangster / Greek tragedy, and a few moments of grandiose speeches (in the style of “Grapes of Wrath”).  For what could now be called its “overly expressive” moments, it keeps your attention, offers unique resolutions, is NOT dime-a-dozen entertainment, and has you thinking about it long after.  It received the Venice Film Award for photography.  Anderson also wrote “Key Largo” and “The Bad Seed”.  For me, this was a wonderful surprise of a film about which I’d never heard a word.  WOTO

“The Devil’s Double” (2011):  Part documentary, part recreated history, part fiction; this is a look inside the depraved life of Uday Hussein (son of Saddam) during the 1980’s (before the fall of Iraq’s regime).  Decadent, psychopathic, violent, self-serving… this only begins to describe the Hussein family.  We see their world through the eyes of a man forced to become a “double” for Uday.  It’s a true nightmare.  The production quality of this film is quite good.  Work with photography, lighting, scoring, and editing are effective.  Lead actors are strong.  Some of the visuals are not for the squeamish, but you cannot stop watching the surreal lives of these mortals delusional with power.  Continuity was occasionally questioned, but I might be mistaken.  Think of this as a Middle Eastern political kingdom gangster movie a la “The Godfather” based in fact.

“American Graffiti” (again and again, 1973):  Because of how its been used for the last forty years I’ve come to hate the “N” word, but this was perhaps the first “Nostalgia” film made by and for the Baby Boom generation.  As we reached our twenties, much of the 1960’s had gone increasingly sour for everyone.  John, Martin, Robert, and Malcolm were assassinated; Jimi, Janis, Jim, Tim, and Nick killed themselves; our cities were burning; Johnson and Nixon were yet to be confirmed as liars, and their Viet Nam war dragged on without a plan or an end in sight.  The tag line for “American Graffiti” seemed especially poignant: “Where were you in ’62?” – 1962 being chosen for its status as the “last year of innocence” before the assassination of J.F.K. – which was the beginning of the end of assumed optimism.  For its contemporary audience, “American Graffiti” was set a mere ten years earlier.  It gives us people, places, situations, and emotions common to many of us.  This film tells the story of a few teens in a small town on their last evening as a life-long Group of very close friends… a profound, frightening, and sad turning point each of us must face.  Futures loomed but there remained one last, thoughtful, panicky, manic night.  “American Graffiti” is usually not credited for its experiments and innovations (right up to its “epilogue”), but try and find a film that does it earlier.  George Lucas started with a bang.  WOTO

 “Bitter Harvest” (or “How Harry Became a Tree”) (Irish, 2001):  IMDB.com has this film listed as a drama.  Netflix: a dark comedy.  IMDB is correct.  Set in the small, rural village of Skillet, Ireland, in 1924, this is the story of stupid, petty people who make things worse for themselves on a daily basis.  We all know such folks, but it becomes interesting to watch their destructive processes when we are at a safe distance from the mess.  Beautiful photography and bleak landscapes provide the look for a damp, chilly, stick-and-mud existence pockmarked by petty thinking and the idiotic need for stimulation of any kind.  Well acted, beautifully lit, and fantastically designed ramshackle huts and décor set the tone to remind us our small ideas can lead to big results.

“I’ll Cry Tomorrow” (again, 1955):  Susan Hayward won Best Actress at Cannes, and an Oscar nomination for her role as Lillian Roth – a rising star who discovers booze.  She’s on a one-way slide downhill for much of this story, with glimmers of delusional alcoholic faith, earnest attempts to go straight, frightening bottoming-outs, and a stumble into AA.  Hayward and the supporting cast deserved all the attention they received.  This is the real stuff.  The acting is occasionally “theatrical”, but easily justified when seen as part of the characters’ personalities.

“Raising Victor Vargas” (again, 2002):  Grandma has the job of raising her three grandkids.  The parents are gone.  That’s all we know.  Victor is the oldest of the kids, and the role model.  They do not live under the best of circumstances, but traditional Grandma is determined to keep them decent.  Set in contemporary
ghetto lower east side NYC, “RRV” is a slice-of-life look at the typical struggles of typical teens during a typical week.  It is an intimate and honest look, with surprisingly subtle acting from new, young actors Victor Rasuk, Judy Marte, Melonie Diaz, Kevin Rivera, Silvestre Rasuk, and Wilfree Vasquez.  It has real heart, and finds a way to present it without cliches or banging you over the head.  Very nice.  WOTO

“Matchstick Men” (again, 2003):  Nicholas Cage, Alison Lohman, and Sam Rockwell star in this interesting story of con artists and the people they con, love, hate, or about whom they’re ambivalent… not to mention how they feel about themselves… not to mention the complexity of the con.  Cage plays another quirky character inside a twisty-turny but seemingly direct plot that provides interest and a few new thoughts about the nature of relationships.  All the leads and supporting cast do wonderful jobs, and some of the biggest surprises and loosest ends do get tied up at the very end, I promise!  WOTO

“Mr. Smith Goes to Washington” (1939):  Preceding “It’s a Wonderful Life”, “Mr. Smith…” is a huge, powerful, romantic, painful story of one small, naive man against the savvy big and many.  Jimmy Stewart is a patsy of a new Senator for the hardened, graft-filled U.S. Senate.  He has no clue what’s being done to him.  The “Machine” is chewing him up… and then the film gets rolling.  It is NOT a pretty sight.  This, like “It’s a Wonderful Life”, first appears to be full of overused, sugary ideas and lost ideals.  But the film won’t let you go when you reach that easy point.  You are pushed beyond your current little bitterness about what Life has delivered and begin seeing the Bigger Picture: We all matter, we all play a part, we all have potential, and we all must be brave.  And, it’s true.  Don’t let a 1939 film fool you.  THAT audience had been and was facing much tougher circumstances than for which WE in 2012 would seemingly ever have the guts.  Frank Capra was hitting his stride and speaking for all humans.  He made masterpieces, this was one of them, and you will be less without it.  WOTO

”State of the Union” (1948):  Originally a stage play (and in the film you can see and hear those roots), this movie version was created by Frank Capra.  Starring Katherine Hepburn, Spencer Tracy, Angela Lansbury, and a huge cast of character actors (often seen in Capra films), this is the story of an already powerful, wealthy man who, though hesitant, is convinced by political groomers and glommers he should run for President of the United States.  Slowly he is brought along to the point of … well, I’m not going to ruin it for you, but I will say the film is listed as a comedy – and there ARE comedic moments – but it’s mainly a very edgy, angry look into politics and greed.  I may prefer “Mr. Smith Goes to Washington” as another Capra work with similar interests, but “State of the Union” is a good, tough film that reminds everyone what America has tried to be when at its best.  And, it IS a primer for anyone who wants insight into the political system.

“Happy Times” (Chinese, 2002):  Though this film is billed as a “comedy”, and IS often funny, “Happy Times” begins with one scenario and attitude, and slowly, steadily changes into others.  You would be right to expect the director of “Raise the Red Lantern” – Zhang Yimou – to take you to thoughtful and emotional places within lives always more complex than unsophisticated stories allow.  This is a unique, funny, tender, aggravating, pathetic, maddening, warm, elegant, and sad look at just a few of us… who this time happen to be in China.  WOTO

“Another Earth” (2011):  Starring a rough beauty – Brit Marling – and William Mapother.  DON’T let the previews give you the impression this is just another “sci-fi” flick intended to entertain teenaged boys or twenty-something stoners.  No.  This is a quiet, meditative, moody piece about Life.  We all make mistakes, we’re all stupid, we all cause pain, and none of us should get off light.  Then, along comes an event you certainly never expected, and it appears to offer you a fresh start or at least a way out.  Do you take it?  This is a patient, sad story with secrets and scars.  Highly recommended, especially for people who already appreciate Bergman, Herzog, Ozu, or Wenders, and don’t demand a simple resolution.

“Young Adult” (2011):  Starring Charlize Theron (who continues to prove she is one of our finest actresses) and an entire cast of talent who does the writing, casting, acting, set designing, filming, etc..  This is the story of a dreary, deluded mess of a young woman who supposedly has “everything” – living the high life in the Big City of the “Mini-Apple” (Minneapolis) – yet feels empty.  She decides to return to her home town and relocate (or steal, if necessary) her glory days.  Every admirable aspect of this film is aimed at depicting the desperation of a person on the verge of collapse who seems determined to smash against reality until she is shattered.  Believe it or not, much of it is humorous in a dark, pathetic way – a VERY pathetic way – an EMBARRASSING PATHETIC way – where the choice is either laugh or cry, get on with life or end it all.  I highly recommend “Young Adult” as one of the best of 2011.

“Chinatown” (again, 1974):  One of the finest neo-Noir crime dramas of all time, it was directed by Roman Polanski, and includes great acting by Jack Nicholson, Faye Dunaway, John Huston, and a cast of wonderful character actors.  “Chinatown” has a webby, complex plot full of liars, cheats, and dead ends set in pre-WWII Los Angeles – a sleepy “little” town with growing pains caused by those who want to make the big money.  Made during the first American Art Deco REVIVAL, it uses great locations, and costuming that is solid but sometimes self-conscious.  Its overall tone is set right from the opening credits, and is carried through with costuming, score, lighting, props, and character details. (However, it does have a bad case of “clean car syndrome”, and I did spot one moment of discontinuity.  Hey, it’s a “sport” once you’ve seen a film 10 or 20 times…)  WOTO

“Birth of Flight” (British/Australian, 2010):  This is an 8 part, 7 hour documentary series on the history of airplanes.  Dull?  Hardly.  It’s packed full of spectacular, original film footage of every imaginable thing people thought they could get (and keep) in the air – from the wackiest (WHAT were you smoking?) to the most functional, beautiful, and powerful machines then on Earth.  It also looks at the people who designed, built, flew, and died for these grand efforts to stay aloft.  I can’t say anything kind for the scoring, but found the (South African?) pronunciation of some words interesting.  WOTO

“The Dark Corner” (1946):  Fine Noir thriller set in the gritty city of post-WWII New York – and the office of a down-n-out mug of an investigator who has his own history and ain’t all that proud of it.  Mark Stevens, Lucille Ball (BEFORE she was “Lucy”), William Bendix, and Clifton Webb star.  Lots of slam bang, hard shell, tough talkin’ men, wary women, shifty vixens, and weasely high hats.  And, expect some of the finest Noir lighting, shadows, textures, and compositions ever.  A feast of artistic black and white.

“Dear Zachary: A Letter to a Son About His Father” (again, 2008):  This is an extremely complex, increasingly painful yet hopeful, sad yet joyous story about Evil vs Good.  It is about Love and Hate, and the Law vs Vengeance.  It is about the deepest of sadness and all of our attempts to make sense of its cause.  I don’t want to discuss the details.  See this documentary.

“Fur” (2006):  You need to go into this film with every bit of your Suspension of Disbelief in place.  Don’t know what I’m talking about?  Look it up and come back.  For all of us who are admirers of Diane (DEE-ann) Arbus’ photography of the 1960’s-70’s, THIS FILM IS NOT actually about her – and it says so right up front … sort of – it’s “an imaginary portrait” of the period of her life before she picked up the camera and went all the way down the rabbit hole.  Yes, it provides an excuse for how her previous world might have pushed her along, but it’s all fantasy, so don’t get attached to it.  Well then, if it’s NOT really about HER, who IS it about ? … It’s about artists and anyone else trying to expand their horizons, especially those who begin to understand it will mean discarding the comforts of their old lives.  It’s for those people who have secrets and nowhere to share them; people who are FORCED to BE secrets and must respond; and, people who oppress others and should reconsider their behaviors.  This is about facing one’s uniqueness with courage.  Nicole Kidman is great as always.  WOTO

“Animation Legend: Winsor McCay (date?):  If you want to see superbly drawn animation now over 100 years old, you must go to Winsor McCay.  HE IS The Man.  There is such JOY in his invention of this new technique called “the moving ink pen animation”, you cannot resist this “simple” but elegant work.  Although I prefer his sequential-frame cartoons one would have seen in magazines and newspapers of the time (they are, of course, much richer and more complex), the fact he was willing to make 25,000 individual pen & ink drawings for a short animated film is amazing.  You will also see he was the Source of inspiration for ALL animation to follow – from Disney and the Fleischer brothers and Robert Crumb to scenes later used in early object animation such as “King Kong”.

“Radio” (again, 2003):  As film fans, we can become so full of contemporary expectations about what makes a good film AT THE MOMENT, that if we’re not careful, we could overlook a gem like “Radio”.  It doesn’t have a twisty plot, surprise ending, special effects, imaginary creatures, anyone dancing across tree tops, or blood splattering everywhere.  It’s a true story about two men – a football coach (Ed Harris), and a young man who exists on the edge of society (Cuba Gooding Jr.) in a small town.  Bless both actors for signing on to this effort.  If you need a strong, emotional reminder about Priorities in Life, and want to FEEL inspired… heck, even if you just want to FEEL… and FEEL A LOT… see “Radio”.  Debra Wenger and others do solid work in their roles, which in this case, is to support the greatness of Harris, and the blinding brilliance of Gooding.  THIS alone caused me to watch “Radio” twice in one week when I first encountered it.  WOTO

“The End of the Affair” (again, 1999):  Ralph (pronounced “rafe”) Fiennes, Julianne Moore, and Stephen Rea star in a Neil Jordan film about love, honor, weakness, perspective, and forgiveness in war-torn London during WWII.  On the surface, this is a romantic drama involving a “triangle”, but it goes much deeper and shows wise sensitivity to the real complexities of Life.  Moore is, as always, amazing, with Fiennes and Rea close behind.  This story requires attention from start to finish as it reveals various perspectives which slowly answer most of your questions.  It is a weighty film with lots of longing and darkness, rainy nights, V-1 bombs dropping from the rarely sunny skies of Britain, and people following people trying to understand other people.  The making of the film includes strong photography with an astounding sense of color, a rich (though somewhat unexplored) score, continuity and detailing of the highest order, and dialog that will make you wish you’d “thought of that” or that you could remember it next time it’s needed.  This film may end up in my top category yet…  WOTO

“Facing Windows” (Italian, 2003):  A young, working class couple encounters an older man who has lost his memory.  He ends up in their home.  Here discoveries are slowly made through splinters of his memories, scraps of paper, and the woman’s attempts at sleuthing.  Everyone has their secrets, everyone has their talents, everyone has their weaknesses.  This is an interesting, passionate, sad, and fulfilling story.  WOTO

“Kinsey” (again, 2004):  Liam Neeson and Laura Linney star as the awkward but intellectually curious couple who stumble into the long-needed idea of sex research – an investigation which continues to this day.  The process of their reaching the concepts, beginning the surveys, expanding the research, gathering “followers”, and fighting for funding is an interesting story.  Completely woven into this set of linear events is a second one: that of Professor Kinsey’s character – his childhood, sexual orientation, his Obsessive/Compulsive disorder, his inability to leaving his topics for the mundane niceties of dinner chat… which made him less and less someone to “invite”, and always present – the effects of his domineering and demeaning father, played brilliantly by John Lithgow.  Laura Linney is one of my favorite actresses, and she does not disappoint.  This is a truly great character study driving an interesting historical cultural shift.  WOTO

“Christ Stopped at Eboli” (Italian, again, 1979):  Directed by Francesco Rosi.  This is an interesting, quiet film about being imprisoned in a place no one would willingly go – in this case, the poorest, least productive and educated, most diseased, remote regions of southern Italy.  Set in Mussolini’s 1930’s Fascist environment, a political prisoner – an artist – urbane and educated – is banished to and must remain in such a place within his own country.  Here, his former cosmopolitan life is of little use.  He struggles with and learns from the local people who seldom have contact with the outside else except an occasional letter from relatives who escaped to America.  “Christ Stopped at Eboli” is worth your consideration on numerous levels – photography, acting, dialog, scoring, subtlety, and political implications.  My one constant problem with 70’s color films, especially Italian, is their quality of production.  Perhaps it was the growing use of video tape recording.  Plus, the dvd I viewed this time was a digitized copy of what I believe was a vhs copy of a vhs copy of the film, which had colors and lights and darks shifting, admirable but flawed translations, and an odd echo to some of the studio sound effects added later.  IF there IS a restored version, make sure it is your choice.  WOTO

“Half Nelson” (again, 2006):  Starring a very effective Ryan Gosling, and talented young actress, Shareeka Epps.  Gosling is a middle school teacher and a girl’s basketball coach.  Epps is his student and a loner, even on his b-ball team.  She seems to need him, and he responds by caring for her.  Then she makes a discovery about her teacher – her favorite teacher – someone almost like a friend.  She also has a mother who works double shifts as an EMT, and a “father” who is far from a good influence.  She has what she has.  THESE are the three adults in her life.  THESE are the adults who matter in her life.  Exactly WHO IS caught in this “half nelson” grip?  This is a low-key, nicely scored, grittily photographed, slow-to-reveal, slow-to-change story full of set-backs, little insights, sadness, and glimmers of decency and hope.  It is a very fulfilling experience.   WOTO IMDB

“Devil’s Playground” (documentary, 2002):  The title refers to the world OUTSIDE the Amish community – according to the Amish.  This is a look at much of Amish culture / religion in America, but focuses on the youth – especially those age 16 and above who are allowed to visit or join “the world” beyond their community, and experience as much of the Devil’s Playground as they choose.  This is the period (“Rumspringa”) in which they decide if they want to join the Amish church, and if so, make final preparations to forsake ALL outside life.  As you can imagine, it is both frightening and exotic for all of them, with terrible, predictable, and interesting results.

“Tsotsi” (again, South African, 2005):  Winner of the Academy Award for Best Foreign Film 2005, enter it knowing you’ll be slammed with stress… but don’t run away.  “Tsotsi” is totally worth your effort.  You will follow one teenager and his feral buddies, all existing (and nothing more) in the deepest squalor of shanty town Johannesburg, South Africa.  These “children” are worse than vultures, and for them life has no meaning, no value.  By pure, violent, chance, Tsotsi finds himself on a new road without a map.  His careening along MAY or may NOT lead towards a flawed version of Redemption.  I was absolutely riveted to this film, and amazed at the unique power offered by some of the scenes.  The acting by all, and especially by the young lead Presley Chweneyagae, was all-consuming.  I may put this film in my top category after another viewing or two.  WOTO IMDB

“Eames – The Architect and The Painter” (again, 2011):  This is a documentary, and a very good one.  It describes the complex career of designers Charles and Ray Eames, the brilliance of their ideas and products, their roles in these collaborations, the power and notoriety they gained, and the seldom-mentioned dark clouds in their relationship.  The film also contains LOTS of interviews with other designers who worked UNDER them.  Yes, you’ll meet a shish kabob of valid egos with their points of view – all intelligent people.  There is NO doubt that the Eames’ helped make Modernism a truly practical and reachable philosophy through their total involvement with Design, not mere decorating.  Immersed in everything from materials and prototypes to production and marketing, they DEFINE a True Design team.  See this and understand more.

“Micmacs” (French, 2009):  By the same director who did “Amelie” and “City of Lost Children”, Jean-Pierre Jeumet.  The man has a vision, that’s for sure.  Full of absolutely unique sets, costuming, scenarios, and character stories, “Micmacs” could be said to have its roots in “Snow White and the Seven Dwarfs” mixed with “Mission Impossible” mixed with “Mystery Men” and an appreciation for Tim Burton and steam punk… BUT unmistakably Jeumet.  This is a comedic suspense crime drama running on revenge and overflowing with fantastically grimy detail… but always funny.  Weird.  WOTO

“Bob Roberts” (again, 1992):  This is a wonderfully sarcastic and dark mockumentary of a political campaign in Pennsylvania, between the arch-conservative, faux-Dylanesque newcomer Bob Roberts (Tim Robbins), and the tired, seen-it-all incumbent, Senator Paiste (Gore Vidal).  Also cast are Allen Rickman, Helen Hunt, Susan Sarandon, Jack Black, John Cusack, and many other talents that make this a totally satisfying, snide look at politics, spin-meisters, and event coverage.  I was especially impressed with Giancarlo Esposito as the very intense Left wing investigator conspiratorialist.  In an ironic, possibly accidental manner, the film’s attempts to skewer the Right (well deserved) make it equally easy to analyze the Left for the same thematic flaws such as greed, power, hypocrisy, media manipulation, spotlight hunger, etc..  WOTO

“Racing with the Moon” (again, 1984):  Richard Benjamin directed Sean Penn, Nicolas Cage, Elizabeth McGovern (all still in their teens?!) (and in minor roles: Crispen Glover, Carol Kane, Michael Madsen, and Dana Carvey)… in this “showcase” film, where lots of talent got a major boost.  Set in 1942 in a small seaside village, and only weeks before two best friends ship out to the Marines and the fury of WWII, we share intimate, funny, pathetic, sad, frightening, and ambivalent moments with flawed but decent people we come to believe we know and deep down just have to like.  This is a bittersweet story – not sugary nor hopeless.  It’s rich with mixed emotions and that confusing, frozen summer between children and adults.  Scoring is appropriate and nicely demure, photography is somewhat contrived in spots, but that was 1980’s.  The “truth” of the simple story, sets, décor, costumes, dialog and the talented actors are why you will appreciate “Racing with the Moon”.  Think of it as a unique film with relationships to “Stand by Me” and “Summer of ‘42”.  WOTO IMDB

“The Nutty Professor” (again, 1963):  Jerry Lewis was funny…and then he went out of fashion and was no longer funny.  The world changed right under him.  I’ve never been a big fan of his, but one film stands far above the rest, and THIS is the one.  In case you’ve seen only the Eddie Murphy take-off, do DO NOT think one replaces the other.  They do NOT.  ALL films are “period pieces” – since they cannot escape the era from which they were born – but “The Nutty Professor” captures not only the best of Lewis’ sense of humor, but, by pure chance, a time soon doomed.  Begun in late 1962, and completed in early/mid 1963, “The Nutty Professor” arrived during the last few moments of what I consider the “1950′s”.  Within a couple of months of its release, our President would be assassinated – and America would change SO dramatically, we continue to feel it today.  (And, by the next year, the Beatles would arrive.)  The 1960′s began.  So, this film of Jerry Lewis’, depicting an isolated, cloistered nerd of a professor; properly dressed conservative students; and, a greasy-headed cigarette-sucking Hugh Hefner rat-pack style sexist, were images that died alongside John F. Kennedy.  This is a FUNNY film, I laugh a lot, and stare even more at the astoundingly cute Stella Stevens, but underlying the characterizations come a queasy feeling – which, by my personal experiences, were relatively accurate – and deserve little nostalgia.  WOTO

“Winter’s Bone” (again, 2010):  With a very talented cast of actors, strong scoring, great photography, sensitive audio, sets that may have not been sets, costuming and makeup that is dead-on perfect, and… well, you know how something can feel so real that you can’t imagine someone created it?  This is everything in “Winter’s Bone”.  Set in the far-back country of Appalachia amongst people who have never been nowheres and figure they’s all family somehow or another, this is an evenly paced, ever-intensifying story of poverty, desperation, and trying to hang onto it because that’s all you got.  Jennifer Lawrence, John Hawkes, Dale Dickey, and others star.  This film rightly won the “Grand Jury Prize” at Sundance Film Festival.  WOTO

“You Don’t Know Jack – the Life and Times of Jack Kevorkian” (2010):  Doctor Death.  Murderer.  Human Rights.  The Mercy Machine.  Dr. Kevorkian.  Assisted suicide.  I went into this film with three biases: 1) I always thought Kevorkian was right, but; 2) I thought he was THE worst person to represent him(self) to the public and courts; and 3) I knew Al Pacino would be GREAT.  I saw nothing to change my mind on any of those points.  Directed by Barry Levinson, also starring Brenda Vaccaro, John Goodman, Susan Sarandon, and Danny Huston, and with Pacino as good as he was in “Serpico”, this was a totally rich, occasionally funny (!), but mainly very serious and often sad look the suffering of people and one man who tried to find a solution.  This is a totally significant experience.  WOTO

3.
“Hey, relax and ride the sofa”

“High Crimes” (again, 2002):  Ashley Judd does another good job along with Morgan Freeman and Jim Caviezel, in this fairly standard whodunit thriller.  Unfortunately, who DID “it” comes too easy.  All you need do is to look in the exact opposite direction… then look back where you started.  THIS is now passing for Intricate Plot.  None the less, the lead actors are fun to watch while the plot twists in the ways you suspect.  WOTO

“Waiting for Superman” (2010): Documentary with a slant by David Guggenheim.  It is about the state of public education in America and what is or isn’t being done about its problems.  Some of the information is interesting and discouraging.  He follows a number of families with children determined to “make it” despite the condition of their local schools.  Here’s the set up: NO time is given to an in-depth look at the majority of parents who are uninvolved or discouraging in the education of their kids.  MOST of the focus is aimed at voting against public schools, city bureaucracies, and teacher unions – pushing instead for charter, magnet, and private schools, merit pay for teachers, and standards of learning exams for students.  I.e., let’s keep looking everywhere BUT in the HOME for the answers as to why kids ARRIVE to school with an existing sense of day care-itis, a general sense of dislike or distrust, a lazy and entitled attitude, and an all-around negative, hopeless attitude.  Are there problem teachers and administrators?  Yes.  Are their vested interests in not only the status quo but the industry of perpetual “new” ideas and promises?  Yes.  Are students affected by the school environment which is seven hours of their day?  Yes.  NOW let’s talk about the OTHER seventeen hours based at home… or is that just a little too close to home?

“The Fabulous Dorseys” (again, 1947):  Made as the Dorsey brothers careers were on the wane, this is a sometimes highly romanticized look at The Past, with a tougher eye as their careers advance.  The story isn’t the payoff here… it’s seeing the real musicians do their music “live” for the film.  If you like Big Band jazz, you’ll enjoy this movie.  Also showcased is Janet Blair, Paul Whiteman, William Lundigan, Sara Allgood, Arthur Shields, Art Tatum, Charlie Barnett, Henry Busse, Bob Eberly, Ziggy Elman, Stuart Foster, Helen O’Connell, and others.  WOTO

“A Sentimental Journey – America in the 40’s” (documentary, 1997):  Hosted by Charles Durning.  This 3 vhs tape set put out by Reader’s Digest has the weaknesses you would expect from R.D. – a mixed bag of skimmed subjects, less than super production qualities, interviews with some people who seem to have little to offer… and yet deep down, especially with what Durning delivers, it has a serious, soul-searching, somber and respectful tone that keeps this look at the 1940’s from dancing off into nostalgic delusion.  That’s why I stuck with it.  It has an emotional truth to it.  WOTO

“The Dish” (Australian, 2000):  Based on a true 1969 story, it is about a small town in Australia that maintained the “back up” radar dish for NASA – the only one on that side of the planet able to capture video images.  And, the FIRST MOON LANDING was about to be attempted.  “The Dish” is a low-key comedy set in something like an Aussie version of Mayberry, but because of the subject – near and very dear to many of our hearts – it also revives a sense of awe, excitement, and pride in humanity seldom felt by so many at the same moment.  THIS was a TRUE MILESTONE in Human History.

“The Hollywood Sign” (2002):  Rod Steiger, Burt Reynolds, Tom Berenger in a dark comedy crime/heist movie.  The three leads play actors who never made it, and eventually stumble across an opportunity to run a deal that will either make them rich or dead.  The humor is in their pitifully bad acting, naïve thoughts, and stupid mistakes.  The movie loses focus once in awhile when it tries to present the “humane” side of things.  Screw that.  Stick with the heist.  The story has a couple of fun plot twists as well.  WOTO

“Going in Style” (1979):  Totally entertaining in its dry, patient timing and humor … and what would you expect from George Burns, Art Carney, and Less Strasberg?  Three old guys, now roomies to save money, kill their time on park benches.  It’s an exciting day if they get to yell at a kid.  George comes up with idea – mainly to add pizzazz to their humdrum.  Rob a bank?  Ever done that?  No.  Which one?  How could it matter?  When?  Soon, why not?  How do you do it?  I dunno!  At this point, the story could go numerous ways, any one of which you might guess.  But, THIS one takes two paths: one funny, one sad.  It left me not only with mixed emotions, but mixed feelings about the film.  None the less, I enjoyed the journey.  WOTO

“In the Cut” (2004):  There are reasons to see this film:  Meg Ryan performs an unusual, interesting role as a plain-jane nobody living with hidden fantasies (perhaps THE dramatic role of her career to date); Jennifer Jason Leigh creates another of her patented, screwed-up women roles; and the fact this is a murky, almost hallucinatory, violent crime drama done by Jane Campion.  The story itself, by Susanna Moore, pulls a few too many obvious tricks to divert your attention from The Unknown Killer, but Campion takes it in a Noir-ish, swirling stew of lust, paranoia, and violence.  If it weren’t for the “diversionary” tactics used throughout the film, I’d have it in the next higher category.  WOTO

“Rango” (2011?):  This one isn’t by Pixar but Dreamworks, which puts it in second place, but… it has SOME funny, witty moments, and SOME beautifully drawn animation.  We are given the story of a reluctant Hero – a bug-eyed lizard who is forced into an adventure that will change his tiny life.  (Think Barney Fife.)  The dialog is loaded with 1) “adult” humor kids will not catch, 2) tons of other movie and actor references which would be fun to “notepad” with friends one evening (have a competition!), and 3) silly jokes everyone can enjoy.

“Danny Deckchair” (Australian, 2004):  In many ways a standard, predictable, romantic comedy, and certainly low budget in its special effects, this little film still has a certain charm and silliness you can enjoy.  A simple guy leads a typical working class life in suburban Sydney.  He TRIES, okay?  Still, he’s burning out.  He gets a hare-brained idea how to add excitement to his day… but it goes way above and beyond what anyone could have predicted.  Well, except that it IS predictable.  Sit back, float with it, take the trip.  Don’t ask much – and it WILL entertain.  WOTO

“Spy in Black” (1939):  In real life, 1939 was a tense year for Britain, Europe, and Scandinavia.  Hitler was already throwing his weight around, but only at those he knew were closer to defenseless.  He was a coward, not a fool OR a genius.  Still, he’d convinced all those concerned that if THEY would give him pieces of OTHER countries he wanted, he’d leave those concerned alone.  This line of crap actually worked, Russia got in on the action, and soon Czechoslovakia and Poland were swallowed up.  All through the 1930’s, with the writing literally on the walls and in the shop windows of “undesirables”, masses of humanity tried to escape the Nazis and their collaborators.  It was in THIS VERY TENSE, REAL environment that “Spy in Black” was set.  WWII had NOT begun (yet), so this story takes place in WWI, 1917, with who else but the British against the Germans.  This is a typically British – a low-key drama with lots of people slipping in and out of the dark and fog as spy versus spy versus counterspy.  There are some slick surprises in this Noir work.  WOTO

“The House on 92^nd Street” (1945):  This is a fresh-out-of-the-War retelling of a German spy ring in America who got hold of U.S. atomic bomb data in the early 1940’s.  VERY serious business.  The film is done in a semi-documentary, “Dragnet” style and, although heavy on the FBI propaganda pitch, is a true story using many of the real people and locations (with reenactments as needed).  I found it fascinating what and how – over seventy years ago – the Allied counter-espionage efforts accomplished without any such thing as computers, the web, etc..  This is NOT a film about lighting, acting, camera or sound work.  This is about information.  WOTO

“Mr. Deeds Goes to Town” (again, 1936):  Starring Gary Cooper and Jean Arthur, with the usual cast of character actors Frank Capra trusted, loved, and hired repeatedly, this is the story of a simple, small town man who is suddenly grabbed and thrown into the limelight, surrounded by wolves, and may very well be eaten alive.  Capra clearly likes the Every Man, and clearly dislikes opportunists, slackers, and cons, which shows in nearly every film he created.  What also shows is his love of the American ideal – and the people who acknowledge it is dream – but a dream worth trying to reach using the freedoms we try to improve.  “Mr. Deeds…” is perhaps the start of Capra’s social conscience films, and though rough around the edges, it is funny, quirky, disgusting, sad, and inspiring.  I view his films like I do other artists: each work is practice for the next.  For Capra, it all culminates with “It’s a Wonderful Life” – mature, balanced, finessed, subtle, yes inspiring, and very elegant right out to the edges.

“Joyless Street” (“Die freudlose Gasse”) (1925):  This is the silent film that introduced the world to Greta Garbo.  No doubt about it, she had something.  Her acting was unique, and she was luminously dark.  Add in dramatic lighting and photography – nearly Expressionist in its pre-Noir style.  Sadly, MY copy held the most inappropriate and completely disengaged baroque classical music as a score as has ever been forced upon a film.  And, it appears my version was essentially edited in half!   The ORIGINAL length is listed as 125 minutes.  Often, American theaters chopped the hell out of foreign films, assuming our “locals” couldn’t sit still for two hours… Either way, what you’ll get is are some stunning visuals, characters worth watching, and a classic, soapy, morality tale – this one set and made in Vienna during its Great Depression, which set a REAL “stage” for the opportunist Adolph Hitler.  WOTO

“Penthouse” (1933):  Starring Warner Baxter and Myrna Loy (in her first major role).  This is a very stylish, lightly dramatic crime whodunit set in the very Moderne penthouses of New York City.  Loy is clearly the shining star – cute, feisty, ready for anything.  Baxter can keep up, and is a good foil to her.  You can also expect some laughs with the Man Servant, and the Kingpin with a Heart.  “Penthouse” was done in a clear, shining, Art Deco Hollywood style.  WOTO

“Hugo” (2011):  This is an entertaining little fantasy about a boy who must find his destiny through the most literary and mechanized means imaginable.  It is a visual treat but has a predictable story.  It reminds me of other CGI and steam-punk projects, with too many bland characters but a couple great ones, and the entire work demands you suspend your disbelief or the continuity problems will drive you nuts.  Mainly, this film is a charming, emotional love poem to early film making – especially if you already know something of the history of films (and it does include “lessons” in the film).

“Wonderland” (2003):  This is a dramatic but fairly accurate recreation of the post-fame life of porn star John Holmes.  Is it a typical story of a shooting star?  Yes.  And, it’s made at an acceptable level.  Starring Val Kilmer, Kate Bosworth, Lisa Kudrow, Josh Lucas, and Dylan McDermott (the least believable), this is the story of the last phase of a tragic life and those taken down with it.  What adds MORE punch to this film is the second full-length disk, which is a true documentary about Holmes.  Seen together, they remind one how many bad choices can be made, who you associate with matters, and your delusions will assuredly collapse.  WOTO

“Dressed to Kill” (British, 1946):  Adapted from a Sir Arthur Conan Doyle book, this is another witty, above average whodunit starring  Basil Rathbone and Nigel Bruce – in where else but foggy London, with a slinky femme fatale and missing printing plates for the British five pound note!  Intrigue!  Murder!  Cat and Mouse moves!!  That’s all I need to say.  WOTO

“Witness” (again, 1985):  Sure, there are all the action/drama clichés, along with the patented Harrison Ford Pair-O-Facial Expressions.  Of course there’s a beautiful woman who gets naked, and bad guys with all kinds of guns.  Given this, don’t expect a truly unique experience, and yet, the SETTING – in an Amish community – DOES separate it enough from other films with otherwise same components.  Directed by Peter Weir.  Kelley Lynch, Lucas Haas, and if you watch closely, other eventual stars are in this entertaining story.  Just for fun, watch for a very young Viggo Mortensen.  Watch Kelly (the Amish love interest) Lynch’s makeup do flip-flops: if it’s a scene about the Amish, no make up; if it’s a scene about romance or sex, make up!  The Amish must be a bunch of hypocrites!  The scoring is, as my wife put it, “overbearing”.  It has that Eighties electronic sound, and is used in nearly identical fashion whether it is a pastoral, violent, thoughtful, or sexual scenario.  One size fits all.  Maurice Jarre did the score.  He’s usually better than that.  Danny Glover plays an evil man.  That’s a nice switch.  There are continuity problems, which are always fun to score when the film gets boring or predictable. There are a few extremely memorable scenes.   WOTO

“Public Enemies” (2009):  This is a fairly accurate recreation of the criminal life of John Dillinger.  Set in 1920’s and 30’s mid-America during the Great Depression, we watch Dillinger – one of the last surviving “romantic” bank robber / killers play cat-n-mouse with J. Edgar Hoover, Melvin Purvis, and the newly forming F.B.I..  Toss in the Love Interest, of course.  Fine.  Should be plenty.  Johnny Depp, Christian Bale (!), Marion Cotillard (!), Billy Crudup, Stephen Dorff, Giovanni Ribisi… what could go wrong?  Well, very little, but… despite some great actors, Michael Mann did not extract their best; despite great sets, Michael Mann had continuity flaws (including the Classic “instant-ON” tube radio); despite wonderful photography (but a very poor special effect), fine scoring, effective costuming, etc., Michael Mann’s effort left me… not cold, but cool.  Everything added up to about a 75% effort.  Something was always missing, that last, most important level: depth, soul, connectedness, fully expressed insight.  Missing.  You leave the film feeling “dramatized” but empty.  “Bonnie and Clyde” gets closer to the goal.  See that one (again).  WOTO

“The Debt” (2010):  Solid acting, strong and complex plot, dramatic scoring, good photography, sets and lighting… hey… what’s not to like?  Helen Mirren, Jessica Chastain, Sam Worthington, Ciaran Hinds, and Tom Wilkinson bring the story to a highly believable level.  But, if you know just a little about Israel’s policies and shadowy death squads that hunt escaped Nazis (to this day), you’d have to roll your eyes at the procedures used (in the plot) to successfully kidnap, maintain (!), and safely move an enemy until courtroom justice can be fairly administered.  Huh uh.  That’s way too much trouble.  Slip in, kill, slip out, never mention it.  Enemy: dead.   Next one on the list…

“Scarlet Street” (again, 1945):  Depending upon how you feel about Film Noir, you’ll either enjoy this one a lot, or want to put it in the category below.  Imagine Edward G. Robinson as a meek, mild, hen-pecked husband.  Difficult to do?  It was for me… for the first few minutes… and then his ability to create this character makes you forget his gangster roles.  Imagine Dan Duyrea as a sleaze ball.  Yes, he does a good job of THAT.  And finally, what about Joan Bennett as a VERY hot, beautiful, manipulative Noir broad?  No problem there.  None.  “Scarlet Street” is directed by Fritz Lang, who was my initial reason for seeing this film.  As it turned out, the story – albeit a tad longer than necessary? – is a dandy.  We have dark revenge, twisted irony, plot surprises, moral lessons, more darkness, and blinding, harsh glare all in the same steamy story.  WOTO

“Topper Returns” (1941):  This is a wacky farce whodunit starring Roland Young, Joan Blondell, “Rochester”, MM mm Carole Landis, and a couple of very cool cars.  The plot drags in spots and could’ve used someone with sharp scissors to trim it down, but it’s still fun.  WOTO

“Beaufort” (Israeli, 2007):  Oscar-nominated, a film about men in war… and yet it’s in THIS mediocre category of mine?  ‘Fraid so.  The film is divided into two emotional rivers – each draining strength off the other.  One: a reasonable look at a brotherhood of men caught in the bleak world of war – hours and days of mind-numbing boredom with occasional moments of absolute terror and devastation.  The other: a major desire to retell a recent (1999-2000) Israeli story to Israelis, with the built-in assumption the audience will be affected by not just what they see in the film, but what they know from the real and personal experiences.  Had THIS aspect been downplayed or kept absent, we’d have a better film along the line of (but not equal to) “Das Boot” and other claustrophobic, wall-climbing battle stories.  However, as it is, we – an international audience – are presented with a default one-sided story (you never even SEE an “enemy” soldier) missing a wiser look the broader understandings undistracted by the specifics which will not matter to the LARGER, “outside” audience.

“Vicky Cristina Barcelona” (2008):  Last night, my wife and I watched Woody Allen’s latest (?) film – improperly billed as a comedy.  It’s not funny.  Nor is it much of a drama.  It’s just sort of hangs there in the middle.  I viewed a group of people flounder along and fail to find resolutions for those things they claimed were banes of their existences.  After it was over, my wife said “Well, that was a one-time view”.  I tend to agree.  Nothing was bad, nothing was especially good (interesting), and nothing seemed to be learned or put into action by any of these characters.  I need to ponder it more, but I suspect I’ve already learned enough about this condition from people I’ve known in real life.  One way or another, I at least want to LEARN from an experience.  WOTO

 4.

Not Quite So-sofa but not quite Crap

“Shenandoah” (again, 1965):  Classic 1960’s moovie set a hundred years earlier (Civil War) but totally 1965-contemporary in its use of young tee-vee stars, fashionable hair-dos, issues of their day thinly disguising Issues of Our Day: women’s rights, integration, the peace movement, individual rights, governmental control… you name it.  This is Hisstory rewritten so we can talk to ourselves.  Go in with this understanding – AND a sense of humor – and you’ll enjoy much of it.  There are also the incredibly artificial, choreographed fight scenes, lacks of continuity and logic, lighting that requires total suspension of disbelief, and enough literary ironies to choke a family of nine.  One saving grace:  James Stewart acting circles around every other human near that camera.

“Mark of the Vampire” (1935):  If I say Bela Lugosi, you’ll get the wrong picture.  Think more along the line of Lionel Barrymore, director Tod Browning (who did “Freaks”), and set decorator Cedric Gibbons.  Yes, there’s silliness to this film, but the photography and lighting are wonderful, and there’s a super twist to the plot you will NOT see coming!  It’s not a great film, but has some good components.  WOTO

“The Mask of Fu Manchu” (1932):  You really need to be in a forgiving mood – and prepared to put your brain on a shelf – when watching 1930’s “serial” style movies.  If you see the name Boris Karloff, it’s a good warning.  Even if they put him in Chinese clothing, make his eyebrows pointy, and droop his eyelids, he’ll still have that cheesie-dramatic, English lisp of a voice.  The surprise here was Myrna Loy as his lovely but deadly Chinese daughter.  This was VERY hard to swallow.  I kept expecting her to fire off some witty wisecracks.  Then there was The Handsome Man, the Loving Father, the Dedicated Servant, the Mindless Slaves… et cetera… rounding out the “dramatic” cast.  The story and its construction are just silly.  So WHAT was there to enjoy?  The sets were done by THE Art Deco movie dresser Cedric Gibbons.  Not only is everything he touches full of style, but he does a weird, good job of never letting go of the Moderne style even when depicting Asian palaces, torture rooms (and these are dandies!), and ancient tombs.  Ya just gotta love that!  WOTO

“Murrow” (1985):  Starring Daniel J. Travanti, Dabney Coleman, Edward Herrmann.  The power is in the story of Edward R. Murrow, not in this particular telling.  The film has the look and low production qualities you would expect from 80’s television.  Editing is choppy, continuity has mistakes, photography is seldom more than the capture of images, acting is acceptable, special effects bad.  If you want to see a higher quality take on Murrow’s life, see “Good Night, and Good Luck”.  WOTO

“A Shot in the DarK” (again, 1964):  When I say “again”, I mean I’ve seen it before and just saw it again.  I saw this one in 1964 – and 2012.  Things change.  This is probably the least funny of the “Inspector Clouseau” series with Peter Sellers.  See ones with the title words “Pink Panther” in them.  They’re better.  However… Elke Sommer is STILL a Babe-O-Rama in this silly flik (despite most of her awkward hair dos), and restirs the heart (or something) of the 14 year old boy who first saw her on the screen 48 years ago.  A Sixties hottie, for sure!  WOTO

“Gung Ho” (1943):  If nothing else, I learned that “Gung Ho” is Chinese for approximately “Work Together”… but read on.  I have a larger point to make.  This is a WWII recreation of specially trained Marines aimed at taking the island of Makin (in the Pacific) during 1942.  The film was made only about 12 months later than the real events.  This means it was put together fast.  It was put together fast because “Gung Ho” was aimed at the public.  It was aimed at the public because we needed all the encouragement, steam, and faith there was to be found in the midst of a war we were still losing.  War films made DURING that war are unlike others.  These are made with a heavy hand.  There is no time for subtlety.  They are propaganda.  Every side concocts encouragement.  Every side wants their people to behave like a Team, to follow orders, and to inspire and threaten others to tow the line.  Every side wants to win, and no side is utterly convinced they are invulnerable.  (Those who are always see their own defeat.)  I like this genre of film because propaganda is of interest to me, and these movies tell a certain kind of “truth” that isn’t found outside their current era’s atmosphere.  That “truth” is told in two ways: 1) more and accurate details of people, equipment, and places (because the public was better informed and motivated), and 2) the emotional truth of that public is laid bare for us to see and question from the convenience of our cozy armchairs (“The only good Jap is a dead Jap” etc.).  If there IS such a thing as a Righteous War – if there IS such as thing as True Evil – and IF True Evil requires others to sacrifice themselves to defeat it – then I cannot fault “propaganda” as a method of refueling the disheartened, doubtful, and tired survivors.  Let the more balanced views come before or after the battle.  THIS is why I find such B-grade movies fascinating.  WOTO

“Wasted” (2002):  Texas teens – good, white suburban kids – addicted to heroin.  Produced by MTV, complete with its shaky camera video look, and having some of the script style of an After School Special, this is none the less a worthwhile film for the under-21, hopefully still reachable crowd.  Unfortunately, it nearly denies the nightmare of drug withdrawal.  Nick Stahl is good, Summer Phoenix is great, and others are also good in their relaxed, believable lead roles.  They were a pleasure to watch in their codependent, rationalizing, pathetic ways.  WOTO

“Ruthless” (1948):  Starring Zachary Scott, Louis Hayward, Diana Lynn, Sydney Greenstreet, Lucille Bremer, and Martha Vickers.  This is a pot-boiler cousin to “Citizen Kane”, where the good go bad, spend their lives in focused misery, and fail to find the way back to the heart.  Bitterness, conniving, existential dog-eat-doggery abound in this stylish-but-lower grade morality play.  WOTO

“Five Corners” (1987):  Have you ever met someone who tries their damnedest to be liked by everyone?  That’s this film.  It attempts to not only weave about seven different stories together, but be a nostalgia flick, a brutal drama, and a comedy.  Director Tony Bill just couldn’t handle it, I guess.  Lots of loose ends were left dangling for no good reason… there wasn’t even a sequel or action figures prepared for a follow-up.  Actors Tim Robbins and Todd Graff are acceptable at best, Jodie Foster does a better job, but it is only John Turturro who shines – and he’s a psychopath.  The sets are also very good.  The costuming is a little too self-consciously “1964”, the time in which this film is set.  See it for Turturro, or see it to kill time.   WOTO

“Seven Doors to Death” (1944):  Late WWII whodunit mystery with some snappy patter and characters set in what must have been considered the precursor to a shopping mall.  Lots of shots fired in the dark, women screaming, bodies hitting the floors, and plenty of doors cracking open and quietly closing.  Unfortunately, the story seemed muddled and not worth trying to “figure out”.  WOTO

“Music Within” (again, 2007):  This movie is based on the true story of the man who eventually came to lead the Americans Disability Act.  Here’s the good news:  some of the acting is pretty good.  Michael Sheen as “Art” is great.  GREAT.  Unfortunately, everyone else is mediocre, the “period” sets, cars, costumes, music, etc. are off as much as 10 years from the year claimed, other continuity problems exist, the story as told is shallow, too fast, and lacking in detail, the music score does the “let’s use hit tunes from that year” shtick, the vehicles have “Clean Car Syndrome”, and there’s a general made-for-tv, “edu-info” feeling to the “lessons” being crammed into this story.  All in all, this is an amateurish effort, and the only two reasons I have it in THIS category (not lower) is you may want to learn how the Disabilities Act came about, and watching Sheen is a tremendous joy.  WOTO

“The Russians are Coming, the Russians are Coming” (1965):  After a somewhat mysterious opener, the film takes off as a decent farcical comedy (with Carl Reiner, Eva Marie Saint, Alan Arkin, Brian Keith, Theodore Bikel and Jonathan Winters) but slowly morphs into an unabashed and obvious socially conscious drama.  Prepare to be slapped in the face with a mid-60’s “The Youth of the World is Our Only Hope” message.  I like this film for two reasons: the better comedic moments, and, its being a true Period piece implying our struggle out of the Cold War and into the Peace Movement…for all its naiveté.  WOTO

“Howl” (2010):  Using only audio records and transcripts of Allen Ginsberg and others, this is a highly “artistic” look at his creation and publishing of the poem “Howl”, and its ensuing court battle against censorship.  It is, in other words, a star-filled documentary of sorts, but filled with animation purporting to “illustrate” passages of the poem.  And there is the problem.  The animation is colorful, active, and flashy – demanding – which steals audience energy and focus from the Art it was obligated to support.  My wife ended up closing her eyes so she could focus on the content of the words.  I watched, but knew I was viewing animation made by an artist who did NOT (?) understand his/her role as an illustrator, and attempted to use “Howl” as an opportunity to prove THEIR own worth.  If any artist wants to show their personal best, they create their own work.  They do not ride on the famous backs of others and cast a shadow upon their clients.

It just hit the fan !!! 

“9 to 5” (again, 1980):  When countries go to war, they do this out of huge, apparently irreconcilable differences of opinion and perceived threats of unwanted change.  Each faction must paint a picture of the opposition as Wrong, with Evil Intent, and in Need of Defeat.  The Enemy must be simplified for easy hate.  The same can be said for factions of a culture in transition.  “9 to 5” is a classic example of flat stereotypes, goods vs evils, a simple story and a simple resolution.  The public will not understand or tolerate a more complex view of their current conditions.  This movie, at the beginning of the second decade of “’Feminism”, made every effort to propagandize but popularize serious issues with the pandering of a kindergarten teacher to children.  This movie was popular when it came out, despite theme songs and bad acting.  It did what it set out to do.  Now, with the distance of 32 years, it is embarrassing.  This is one Period Piece I don’t need in my collection.  If you’d like the dvd of “9 to 5”, I’ll GIVE it to you.  WOTO

“The Mysterious Mr. Wong” (1935):  Maybe you’re a Bela Lugosi fan?  Yes?  In that case, you won’t mind his playing an ancient Chinese man with a Transylvanian / Count Dracula accent, in New York City.  Expect a thin, unresolved plot, with lots of stereotypes, snappy patter, and stupid decisions to keep the action moving along.  Expect a bunch of American white guys with fu-man-chu moustaches and scotch tape to arch their eyebrows filling in the other Chinatown roles.  Anywhere you follow Bela, expect dumb to be there waiting for you.  This one has the depth of a Saturday afternoon serial.  WOTO

“Brand New World” (2004):  Once in awh I make a mistake.  Despite all the signs, my choices sometimes lead nowhere.  Guy Pearce, Ray Winstone, Jonathon Schaech, Julie Cox, Sammi Davis, Twiggy Lawson, Emily Lloyd… Music by Wendy Carlos… !!!  …and yet, NOWHERE.  Hidden somewhere in this small, awkward film was an attempt to describe women trying to deal with men who were ill-adapted soldiers of a recent war.  But mainly what you get is an uncooked shish kabob of poorly realized reality vs hallucination in the distant hope it can join the likes of “Apocalypse Now” mixed with “How I Won the War” and a dash of “M*A*S*H” but set in the Falklands (?) with British military and civilians “guarding” their success on a forlorn, sweepingly beautiful, bleak island.  THAT is the only reason to see this film: the landscapes.  Oh, and if you’re curious as to what Twiggy (THE “Twiggy”) looks like in 2004, this is your chance.  WOTO

“The Fourth War” (1990):  Once in awhile I make a mistake.  Despite all the signs, they sometimes lead nowhere.  John Frankenheimer.  Roy Scheider.  Jurgen Prochnow.  Harry Dean Stanton.  !!!  Nowhere.  The only good thing about bad films is they are fun to describe: It’s 1988 on the Communist border between Czechoslovakia and Germany.  Red and American guards sit bored in their own shanty encampments.  Along comes a loose cannon commander.  A Rogue.  Attitude.  Escalation.  All hell breaks loose.  The story becomes less and less credible until finally you feel like you’re watching “Rocky VIII”.  Continuity is thin-to-nonexistent.  Special effects were done by undergraduate set and pyrotechnic juniors.  Scoring – and let this be a warning to you for future choices – was by Bill Conti.  Think big, sweeping, relentless orchestral movements overstating the mundane and smeared upon inexplicable scenes in the style of “Chariots of Fire” meets “Star Wars” meets “Rocky I through XII” meets Italian Spaghetti Westerns in Oom Pah Pah Germany.  And then there’s The Ending.  A train wreck of an idea.  Just awful.  AWFUL.  Still, THIS was fun to write…  WOTO

“Road to Bali” (1952):  Technicolor shtick from start to finish with – if you’ve never noticed – the VERY gay “comedy” team of Bob Hope and Bing Crosby, along with the ONLY reason I watched this awful thing – Dorothy Lamour, sadly slathered in paint, rhinestones, and silks.  IF you love bad, rapid-fire, vaudevillian patter and songs, then you’ll love this post-WWII diversion from quality.  WOTO

“Ma and Pa Kettle go to Town” (1949):  Let me get the one “plus” out of the way… I bought this AND watched it to see location film of New York City in 1949, and Hollywood’s studio version of same.  If THAT is enough for you, then see this moovie.  If not, run like a McCoy with a Hatfield on your tail.  For those who DON’T know who Ma and Pa Kettle were, think precursors to The Beverly Hillbillies yet less animated and just as stupid and without the slightest concept of birth control.  The film quality is really nice.  (That’s sort of like saying your ugly brother is a very nice person…)  Continuity, on the other hand, is, well… what in the Sam Hill is that there whachacalltit ? “canteen doohickey”?  They’re riding in a taxi, taking in the sights.  It’s raining on the right side of the street, dry and sunny on the left side.  Hey, you take what stock footage was on the table at the moment.  They walk out of a restaurant.  It’s day time.  They take two steps, and it is night time.  “The Big Apple – A Weird and Scary Place!”  In Ma and Pa’s defense, I must say they’re not nearly as IRRITATING as Granny and Jethro.  WOTO

“Chuck Berry – Hail! Hail! Rock and Roll” (1986):  If you like old Chuck Berry recordings from the 1950’s, and don’t want to damage your feelings about them, DO NOT view this 1986 documentary!!  It’s always sad to see someone still relying on successes from 30, 40, 50 years earlier, and whose ego depends entirely on convincing others of the ongoing, living value of endless re-presentations.  If that isn’t enough, he’s disagreeable, nasty, self-centered, demanding, pompous, angry, and can’t sing a note.  (He’s always yelled / spoken his lyrics, if you think about it.)  His entire focus is on money and getting the show done so he can leave.  He can’t recall the date of the wedding anniversary with his wife, but can tell you what he made at a gig in 1952.  He’s mad people won’t pay him more for his pimped-up Caddies and Lincolns, he’s mad the world isn’t fair, he’s mad when someone else expresses an opinion, he’ll slug you if you say hi at the “wrong” time, and he’ll bore you to death with the same old shtick show after show after show after show….

6.

“Uh… Say WHAT?”

“Trekkies” (1999):  One moment you’re feeling sorry for them, then you’re laughing at them, and then you’re so embarrassed over their delusions you don’t know what to do.  This is a documentary about the people who LIVE “Star Trek” – who, like the Dead Heads, have no significant work or personal life, pattern their real lives after a tee-vee show, have a huge need to belong somewhere… anywhere, and find a pathetic consolation in this “world”.  Some of them are just goofy, some disturbed, but I suspect most are simply very, very lonely.  Yes, the Star Trek conventions pull in big bucks, and yes, most of the original stars have moved on to… well… um… nothing… so they’re “thankful” for this massive group of lost, adoring souls – these obsessive-compulsives – these costumed admirers – but, at the same time, you can see it in the aging ex-stars faces – they think the whole phenomenon is pretty twisted too…. except for a couple of them who have glorified the show themselves – and THAT gives you the creeps too.  WOTO

“Black Jesus” (1971):  There were a lot of C-grade “blackspoitation” flicks made during the late 60’s and early 70’s in the United States.  They were filled with afro-dos, pimped-out rides, poly-bells, us-against-thems, poor production values, and plenty of funky soul music.  Despite the title, this one does not fit the pattern.  First, it’s Italian, so the look is more “spaghetti western” than “grits in the city”.  Next, it’s set in the Belgian Congo.  Yes, there is a “struggle against the Man” theme, but it’s a quirky spin on the stories of Jesus the revolutionary.  The dialog is spare, the photography often beautiful (though I own a lousy, rough copy of a copy of a copy), the design made me wonder if its roots were a stage play, and the scoring was repetitive (without a lick of Funk).  I believe this one was made for an African audience which no doubt had a very different sensibility.  I was left feeling ambivalent as I shed my funky expectations and the copy’s poor presentation, and tried to reconsider what was clearly a low-budget film with plenty of weaknesses but demanded further interpretation.  WOTO

7.

“Guilty Pleasures”

(Okay, you caught me!)

“Gidget” (again, 1958):  If you’ve ever wondered about the origin of that name, it’s explained in this first (and “best”) installment of the “Gidget” series, starring Sandra Dee.  Cliff Robertson and James Darren also star as “surf bums”.  It’s a dopey moovie, but it has a silly, innocent sweetness to it that’s hard to resist.  “Francine” (“Gidget”) is a typical, flakey, bouncey, enthusiastic teenybopper of her time.  She’s surrounded by decency, guardians, tolerance, and rules which have her pinging around like a pinball in the social life at the summer beach.  Nothing is deadly, nothing is permanent, nothing blows up or burns down… though she does her darndest to make bust exercises work before the Big Luau in ten days.  Gidget has “adventures”.  You’ll meet the whole gang.  No one is an addict, killer, rapist, or willing to drive off the rocky coast.  The other easy-snack treats are the clothes, hair styles, cars, and décor.  You’ll even get The Four Preps performing on the sand in a horrifyingly mediocre hootenanny.  (Was there any other kind?)  Sandra Dee was tiny.  Her waist must have been sixteen inches.  I did a little homework.  She was a fashion model in New York (she could easily pass for Brigitte Bardot’s daughter), gave up that life, went to Hollywood to act and try to get straight from Anorexia.  She married Bobby Darin.  That last seven years.  He died at 36, she slipped into alcohol and drugs, never quite shook the Anorexia, and died at 62 of Renal failure… but she sure was cute forty seven years earlier.  WOTO

“Goldfinger” (again, 1964):  Sure, there’s the bosomy blonde babe who gets herself killed, stripped, and painted gold; there’s “Odd Job” the mute, guillotine-hat-throwing Korean with a smirk; and there’s a laser ray about to cut 007′s genitals right up the middle… but it’s the car…the Aston Martin DB5 with all the cool gizmos that keeps me coming back.  Sure, there’s the ass-slapping “Go away.  This is MAN talk.  That’s a good girl” James Bond; the fat, conniving killer Kraut Goldfinger; and OO7’s “Well, that’s James… boys will be boys!” boss.  And yes, there’s the Evil Babe “Pussy Galore” who can fly a plane, fight a man, and f*** to beat the band.  This is the BEST of the James Bond flix, bar none.  The Cold War never had it better.  Shaken, not stirred.  WOTO

“Marihuana” (again, 1936):  Moralistic story, decent production values for a grade-B movie with bad acting, but the Art Deco sets, fashions, dancing, and detailing are very cool.  You’ll watch innocent high school guys-n-gals fall prey to greasy headed, pencil-moustachioed older men who deal in drugs.  First it’s beer, then wine, then marihuana, THEN cocaine and heroin.  Yes, there’s full frontal nudity, near sexual scenes, shocking immoral situations, shocking scenarios… THIS one has it ALL… PLUS a major lesson to be learned in the end.  You’ll gawk and laugh all the way to being scared straight.  WOTO

“Shaft” (again, 1971):  “He’s a baaaaad muh thuh f/SHUTCHO MOUF!  Hey, I’m jus’ talkin’ ‘bout Shaft!  Then we kin dig it!!”  Okay, “Shaft” is a standard issue urban crime drama with poor production qualities (but damned good scoring by Isaac Hayes).  So what else is to like?  First, it’s FUNKY.  Wocka wocka right-on m’brutha FUNKY.  Second, and more importantly, it is a DEFINITIVE Period Piece created when our culture was flailing between Peace/Love and Violence/Hate, the Haves and Have Nots, the Whites and the Blacks, the Victims and the Victimizers… all while the Viet Nam war screamed from our tee-vees every night.  The Black Panthers were still around, gasoline was thirty cents a gallon, one seed of marijuana could get you twenty years in prison, and big horsepower and snub nose .38s were boss.  Everything, from the lingo and fashions to the relentless racial and social class hyper-awareness, pounds it home to you, baby.  THIS was 1971.  The Art Nouveau revival was fading, the Art Deco revival was starting up but Disco scene had yet to arrive from Europe.  The Space Age was OUR only communal pride, Nixon had yet to be caught, and our culture was wallowing in a mish-mash potpourri of nostalgic escapisms.  “Now” was just too much.  “Now” was not working.  Our youth culture icons were killing themselves faster than we could mourn, our only politicians offering hope were all murdered, our students were being investigated by the FBI and shot down by the National Guard.  Every thing was seen in black and white, and Black and White.  THIS was 1971.  You could feel your adrenalin pumping.  It was a VERY MIXED [up] time.  WOTO

“The Baby Sitter” (1969):  “Say, are you one of those ‘Hippie’ chicks?”  “Gee, I don’t know… I DO know I like to be FREE!”  This is what drive-in movie theaters were all about, baby!  A backseat excuse to test the springs.  And, if the drive-in was waaaay out in the country where no neighbors nosed around, you could flash some cute, thirty foot high titty-n-hiney to spice up your dopey ass, grab the money and run, grade D flik.  Does it really matter WHAT the story is?  Nah.  Not at all.  It’s tacky, low-budget, titty-lation for the youth of America who could not or would not enter the sticky floor world of downtown porno houses.  This is a justifiable “Cult Classick”…       (+ This from IMDB.com: “Patricia Wymer was a lovely, charming and vibrant bubbly blonde actress who only appeared in three enjoyably trashy low-budget exploitation features during her regrettably brief cinematic career. Patricia started out as a dancer on the short-lived groovy 60′s rock’n'roll music variety TV show “Malibu U.” (She’s one of the cute dancing girls featured in Leonard Nimoy’s amazing music video for the goofy novelty song “The Ballad of Bilbo Baggins.”) Wymer both graced the cover and did a nude pictorial for the August, 1968 issue of the adults only magazine “Best for Men.” In 1969 she acted in two movies: she’s a coven witch in the nifty horror outing “The Witchmaker” and was delightful in the titular starring part of sexy and radiant free-spirited hippie pixie Candy Wilson in the immensely entertaining drive-in blast “The Babysitter”.  Alas, following her typically lively and engaging portrayal of the eager and precocious Mindy Evans in the fun high school romp “The Young Graduates” in 1971 Patricia Wymer abruptly stopped acting and seems to have vanished altogether into thin air.”  WOTO

“Blonde Savage” (1947):  THIS one is almost “Hit the Fan” category, but there are a few things to lovehate about it: The Blonde isn’t a savage, first of all.  In fact, she’s  a very cute 40’s big band vamp if anything.  And, the “jungle natives” are a sad lot of black extras picking up some easy but stupid work, the special effects are laughable, the “logic” of the story keeps falling to pieces, you can “see” the script lines as they are “read” by all the actors, the characters are flatter than the Sunday Comics, and, well, this is a White Man’s World over there in the African jungle, let’s put it that way.  WOTO

“Hot Rod Girl” (1956):  This has it all:  Swingin’ Chicks and Chickens, Way Out Daddy-Os, juke boxes, hang outs, hot rods, dead youngsters, law breaking, drag strips, Chicago box cars and Ducktails and Elvis jelly rolls, a small town with concerned adults, more hot rods, southern California convertible life, and plenty of phony scenes with fake backgrounds, slow cars supposedly speeding, fast cutaways to create “action”, actors with stand-ins that don’t look a thing like the “stars”, fist fights without one connection, the Understanding Girlfriend, The Ditzy Broad, The Brooding Hero, The Trouble Making Punk, The Comic Relief (Frank Gorshin!), The Supportive Cop (Chuck Connors!)… man, this is one Way Out Scene, Baby.  And DIG that Hot Rod Girl in the brand new T-Bird!  See this one for the cars (the REAL hot rods of old), the concerns of 1956, and the wonderfully stagy environment in which these (mostly) wayward-but-good-hearted teens supposedly roam.  WOTO

“The Lost World” (silent, 1925):  The FIRST object animation film.  It’s pretty good too, considering.  I’ll bet it ASTOUNDED the 1925 audience!!  This story (by Arthur Conan Doyle) set the stage for all others – from King Kong (8 years later!) up to today.  THAT’S saying something.  Though full of laughable moments – only some of which were intentional – there are also scenes where you might just say “Dang!  That’s pretty good for nearly a hundred years ago!!”  WOTO

“The Giant Gila Monster” (1959):  Classic bad 50’s sci-fi drive-in movie fodder intended to provide an excuse for girl to slide over into the protective arms of her boyfriend behind the wheel.  Vanishing teenagers, the desert at night full of weird buzzing sounds, hot rods, monsters, hip talk, cool rods (the REAL thing!), and adults who do or don’t understand “kids nowadays”.  If you’re a hot rod fan, this one is a must.  WOTO

8.

“This isn’t a “Film”, but I don’t know where else to put it”

9.

“Your Suggestions”

1 Comment

A BIG QUESTION FOR YOU

January 17, 2012 by Ronn Ives, under Films, FILMS - 2006+, Films 2012.

What films have you seen at least THIRTY times, and, WHY?

Leave your answers here!  (Many were originally posted on Facebook):

• Dave JoachimBlues Brothers……….. good movie, great music.

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  Stu BechtelNemo…. love the grandbabies & seen it plenty of times.

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  Sonya HarmonJaws. I know, I know … but it’s not about the shark. The cinematography is gorgeous, and I love the relationship between Brody and his wife, as well as his camaraderie with Quint and Hooper. Go ahead. Judge away. LOLAlso? The Color Purple. No explanation necessary.

  8 hours ago · Unlike · 3
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  Pat Schoff GraggThe Wizard Of Oz. Brings back childhood memories from when we couldn’t watch it whenever we wanted, it was on once a year (signaling the start of the Christmas season). My sister, brother, and I would get soooo excited! Freshly bathed, in our pj’s, laying on the floor in front of the tv. My family was fond of Brach’s Malted Milk Balls (not the imposter, Whoppers), and as the music started we would hear mom dividing the bag into 5 bowls. Plink, plink, plink, plink, plink, pause, repeat. Goosebumps!

  7 hours ago · Unlike · 1
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  Eric HauseI’m with Sonya. Best adventure flick ever made.

  6 hours ago · Unlike · 1
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  Nancy Noll KolinskiThe Fifth Element: great writing + acting, so creative, amazing design – so much to look at!

  6 hours ago · Unlike · 1
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  FUTURES AntiquesI am LOVING this!! Go go go!!! Now I’ll add one of mine: “Eraserhead” by David Lynch.

  4 hours ago · Like · 1
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  FUTURES AntiquesOkay, Pat is right about “The Wizard of Oz”, and yes, I’m right there with the malted milk balls, too!

  4 hours ago · Like
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  FUTURES AntiquesLet me think… a THIRD would be… “Metropolis” by Fritz Lang.

  4 hours ago · Like
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  FUTURES AntiquesA FOURTH would be “It’s a Wonderful Life”.

  4 hours ago · Like
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  FUTURES AntiquesA FIFTH would be… “National Lampoon’s Christmas Vacation”.

  4 hours ago · Like
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  FUTURES AntiquesSixth, and in NO particular order by the way, “A Christmas Story”.

  4 hours ago · Like · 1
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  FUTURES Antiques‎”Little Fugitive”.

  4 hours ago · Like
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  FUTURES AntiquesI’m working my way towards 3-0 with “Napolean Dynamite” I think…

  4 hours ago · Like
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  FUTURES Antiques‎”Lolita” – second version, 1997.

  4 hours ago · Like
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  FUTURES Antiques‎”The Last Picture Show”.

  4 hours ago · Like
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  FUTURES Antiques‎”Hud”.

  4 hours ago · Like
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  FUTURES Antiques‎”Harold and Maude”.

  4 hours ago · Like
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  Andrew RobertsGood movies are like great comfort food, evocative of time, place and memories of friends and family.

  3 hours ago · Like · 1
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  Lisa MerninAnimal House, pure stupid fun!

  2 hours ago · Like · 1
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  Lisa MerninAlso, It’s a Wonderful Life, A Christmas Story, Wizard of Oz

  2 hours ago · Like
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  Lisa MerninGroundhog Day – duh!

  2 hours ago · Like
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  Lisa MerninThe Sound of Music – yeah, a musical

  2 hours ago · Like
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  Lisa MerninThe Shawshank Redemption

  2 hours ago · Like
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  Lisa MerninPlatoon

  2 hours ago · Like

 Ronn:

Oh yes!  “Animal House”!

Yes!  “Groundhog Day”!

And, “The Mystery of Kaspar Hauser”.

And, “The Long, Long Trailer”.

And, “Fistful of Dollars”.

And, “Annie Hall”.

And, “One Flew Over the Cuckoo’s Nest”,

And, “The Bridge on the River Kwai”,

And, “Lord of the Flies” (1963),

And, “Fail Safe”,

And, “Aguirre, the Wrath of God”,

And, “Waiting for Guffman”,

And, “Come Back Little Sheba”,

And, “The Grapes of Wrath”,

And, “Avalon”,

And, “Blow Up”,

And, “The Elephant Man”,

And, “The Life of Brian”,

And, “Anchoress”,

And, “Shane”,

And, “To Kill a Mockingbird”,

And, “Platoon”,

And, “On the Waterfront”,

And, “The Thin Red Line” (1998),

And, “Midnight Cowboy”,

And, “Anchorman – the Legend of Ron Burgandy”,

And, “Apocalypse Now”,

And, “The Miracle Worker” (1962),

And, “Dr. Strangelove”,

And, “Exotica”,

And, “The Secret of Roan Inish”,

And, “Tender Mercies”,

And, “Manhattan”,

And, “Schindler’s List”,

And, “The Last Temptation of Christ”,

And, “Lawrence of Arabia”,

And, “Edward Scissorhands”,

And, “Big Fish”,

And, “Flirting with Disaster”,

And, “Taxi Driver”,

And, “High Fidelity”,

And, “2001: A Space Odyssey”,

And, “Summer of ’42″,

And, …

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  Pat Schoff GraggCool Hand Luke. Cuz Paul Newman was HOT!!!

  8 hours ago · Like

5 Comments

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  Since 1991, FUTURES Antiques has dealt exclusively in the last century - OUR century - of Art, Design, Collectibles, and Cultural Artifacts.

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