Grab Bag: Fist of Fury / The Chinese Connection, The Lion in Winter, Alice

Look at me! I'm back! Writing about movies once again, now with an all-new, all-Chicago-y backdrop. I still don't have the internet yet, so updates may still be sporadic, but I haven't stopped watching movies in my absence. I think I have like 30 movies piled up to talk about, including some real-deal classics.

Fist of Fury / The Chinese Connection, by Lo Wei, 1972

Much like Enter the Dragon, I'm pretty sure I watched The Chinese Connection when I was a kid, but I don't really remember it. Bruce Lee plays, well, a Bruce Lee-type who returns to his home town to find his master murdered by Japanese bad guys. Bruce Lee then kicks everybody's ass to avenge his teacher and prove Chinese superiority. I can't think of too much more to say about it right now because I'm a bad writer, but it's good stuff.

The Lion in Winter, by Anthony Harvey, 1968

Well, I didn't have much to say about Fist of Fury, so hopefully I can make up for that with the next two.

I said I watched some true classics, and this is one of them. Peter O'Toole and Katherine Hepburn star as King Henry II and his wife Lady Eleanor in this vicious adaptation of the play of the same name.

The Lion in Winter follows the machinations and maneuverings of an aging Henry and Eleanor, their three children, Richard, Geoffrey, and John, in determining the succession of the British Crown. Henry wants his youngest, the snivelling John on the throne. Eleanor wants the eldest, the kingly Richard (Anthony Hopkins in his first movie role). Geoffrey, the middle child, wants Geoffrey on the throne, but nobody else seems to care. Backstabbing, eavesdropping, and manipulation abounds. It's like watching two hours of the most epic domestic dispute of all time.

The characters are all thoroughly wretched people who care for little outside of themselves, but they're thoroughly wretched interesting people, especially O'Toole's Henry. Hepburn won a well-deserved Oscar for her performance.

I didn't know what this movie was going to be like when I started it, and I did not expect it to be so dark and filled with such acidic dialogue. I assume it's a fairly straight adaptation of the play. The family kind of reminded me of the Lannisters in A Game of Thrones. The Lion in Winter is thoroughly engrossing. The writing and the performances pull you in and don't let go for the entire 2 hour plus running time.

Alice, by Woody Allen, 1990

When I was 21 or so, I discovered the films of Woody Allen and never looked back. Like most comedy guys, I prefer the early, zany stuff, but I still appreciate a lot of his later work, all the while yearning for the Woody Allen of old. I've seen the majority of his films, though I've fallen off in recent years. Every once in a while, I look into one of the movies I've overlooked. Alice is one of those movies.

Alice is one of his whimsical fantasy comedies, along the lines of The Purple Rose of Cairo or Midnight in Paris, two of my favorite post-Manhattan Allen films. It is the story of Alice, (Mia Farrow) an unhappy rich housewife who lives a boring, struggle-free life. When she is recommended to a Chinese holistic healer, he gives her all sorts of magic herbs that allow her to fly around the city, speak to ghosts, turn invisible, and so on. Through these she is able to see herself and others in a new light and can make the changes that will allow her to live the life she had intended for herself.

Alice was a decent enough movie, but I wouldn't even put it in my top 10 Allen films. I guess it was said to be a riff on Alice in Wonderland, but really, the only similarity is that she ingests things that give her powers. I also found Allen's take on the mystical Chinese healer to be pretty outdated and borderline racist, in that way where grandpas are racist even when they don't realize it. Still, it has some really fun and funny moments, and it's better than some of his films. I would say check out Alice, but only if you have already seen all the really great Woody Allen films and feel the need to watch more.

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I was hoping to have time for more reviews but this entry alone has taken me days to put together! Things will be calming down in the next week or so, and hopefully I can get back to a regular schedule by then. See you soon!

Grab Bag: Diary of a Lost Girl, Transatlantic Tunnel, Series 7: The Contenders

Hey, sorry I haven't updated in a while. I'm in the midst of a big cross-country move. I'll still post reviews whenever I can, but I'm guessing they'll be a little less frequent for the time being.

Diary of a Lost Girl, by Georg Wilhelm Pabst, 1929

I challenge you to watch Diary of a Lost Girl and not fall in love with Louise Brooks. Louise Brooks was a silent movie star in the 1920's whose hairstyle became a big fashion thing. When sound movies started happening, she's one of many who didn't make the transition (see: The Artist), but before giving up completely, Brooks went to Germany and starred in three more silent films by director Georg Wilhelm Pabst.

Diary of a Lost Girl is a silent masterpiece, starring Brooks as Thymian, a girl raped and impregnated by her father's associate. When she refuses to marry him because she doesn't love him, her parents give her baby away and places Thymian in a cruel and abusive boarding school. And so on. Lots of tragic, horrible things happen to Thymian, and she stays strong throughout it all, showing love and compassion in the face of a cruel, uncaring society.

I really loved this movie. The storytelling is timeless (except for the no sound thing, I mean, that kind of dates it), and Louise Brooks is great. Totally worth watching. In fact, I think it's essential. I want to see her other films now too, especially the ones with Pabst.

Transatlantic Tunnel, by Maurice Elvey, 1935

"The Tunnel" was a 1935 British science fiction film chronicling the building of an underground tunnel beneath the Atlantic Ocean from London to New York City. Somewhere along the way, they picked up the word "Transatlantic", which was added to the title for the US release.

The movie actually treats the subject matter rather realistically, and spends much time on the difficulty, danger, personal toll, and great expense of such a massive undertaking. The narrative takes place over a period of many years.

Though I did not think it was a very good movie, I found Transatlantic Tunnel's very existence interesting. You don't hear of a lot of science fiction films from the 1930's, and this might be the only one I know of that actually tries to project an accurate future. The idea of building a tunnel between the continents has been proposed and explored in the past as far back as the late 1800s, and found to be physically possible but not worth the time, money, resources, effort, and danger inherent in building it. They use televisions a lot in the movie, which I thought was cool, since they weren't widely available for another 15-20 years.

I probably wouldn't recommend Transatlantic Tunnel, unless you're interested in the history of science fiction. It's more of an interesting artifact than anything else.

Series 7: The Contenders, by Daniel Minahan, 2001

I remember when Series 7: The Contenders came out. I was only 18, and it was the peak of the reality TV boom. I thought the idea of a satirical movie about a reality show where people were given guns and given a legal pass to kill each other was really cool. It IS the kind of idea a teenager would find really cool. I never got to see the movie, though. Until now.

It's pretty corny stuff, man. The story was rather silly and contrived, and the execution was trying to emulate the feel of a reality show, but it just didn't feel slick and polished enough. It could have gone so much further. I'll give it a few points, though. There are a couple of good moments. Some nice bits of irony here and there. A couple of surprising twists and some original ideas. I liked that the people were no-name actors, who just looked like real people. The soundtrack by the alternative band Girls Against Boys was decent, I always kinda liked them. The biggest, most pleasant surprise for me, though, was a brief appearance by a pre-Arrested Development Will Arnett as an MC for the reality show.

It's not worth watching for that, though. He doesn't ride around on a Segway or do an impromptu magic show to the Rocky IV music. Series 7: The Contenders has its moments, but there are better satires about reality TV out there. Just watch The Truman Show. Or if you want a reality TV thing with killing, watch Battle Royale or The Hunger Games.

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Well, this wasn't the greatest bunch of movies. Diary of the Lost Girl was lovely, though. That's the one to watch. More to come as soon as I can!

Grab Bag: Children of Men, Topkapi, Uncle Boonmee Who Can Recall His Past Lives

Children of Men, by Alfonso Cuaron, 2006

OK, everyone! You can all rest easy. I have finally seen Children of Men. Alfonso Cuaron's dystopian masterpiece about a man (Clive Owen) who must find a way to save the first child to be born in eighteen years is every bit as breathtaking as I'd hoped. What I love most about Cuaron's work (Harry Potter and the Prisoner of Azkaban, among others) is his complete commitment to the believability of the worlds he creates. Even his most fantastical worlds are always jammed with small details, often down to the most mundane things, which contribute to making the movie feel utterly real. The war scenes in Children of Men almost feel like a documentary. As the first movie ever to make me cry with the line "Pull my finger", what choice do I but to name Children of Men one of the best movies of the last decade?

Topkapi, by Jules Dassin, 1964

This is one of those cool-as-hell 60's heist movies like The Italian Job or The Thomas Crown Affair, where a bunch of likeable crooks get together to steal something very valuable for the thrill of it all. It's funny, really smartly plotted, and the heist itself is a hoot to watch them pull off. Peter Ustinov won a best supporting actor Oscar for his role as a small time crook brought in as a patsy but later recruited as a full partner in the heist. I'm sure this is one of the movies Steven Soderbergh had in mind when he made Ocean's 11, and there's a wire acrobatics scene that I'm certain inspired the one in Mission: Impossible. Topkapi is definitely worth checking out.

Uncle Boonmee Who Can Recall His Past Lives, by Apichatpong Weerasethakul, 2010

I'll stand by those last two movies, but Uncle Boonmee Who Can Recall His Past Lives is definitely one of those films that falls into the "Not For Everyone" category. Winner of the 2010 Cannes Palme d'Or award, Uncle Boonmee is the story of a terminally ill man in the last few days of his life, looking back at his past lives, and spending time with his family, including the ghost of his wife, and his son who went missing years before and has now returned as a human-ape hybrid creature. See? Not for everyone.

I can't say I loved it, but I found it strange and fascinating and inscrutable, and I would be interested in watching it again to see if I could decipher it a little more. The highlight for me was the scene at the dinner table where Boonmee's entire family is reunited for the first time in 19 years. The movie is rich with Thai, (or rather a specific region of Thailand) folklore and spirituality, with strong themes of death, change, and rebirth at the forefront. Again, I must stress, this movie is probably not for everyone, but if you ever wanted to see a romance between a woman and a catfish, this movie might be the one for you.

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All three of these movies are worth your time, but Children of Men is essential viewing. I can't believe it took me six years to get around to it. Don't be like me!

Grab Bag Movies that Start with 'The' Edition: The Sci-Fi Boys, The Twilight Samurai, The Baxter

I've been watching a ton of movies lately. Already 20 in July alone! It's because I'm moving in August and I won't have nearly as much time to watch movies once I get there. Anyway, here's another Grab Bag of mini reviews. Stay tuned for even more!

The Sci-Fi Boys, by Paul Davids, 2006

This is a look back at the early days of special effects and science fiction movies, and how a generation of young fans revolutionized the industry. It has interviews with lots of important figures, such as John Landis, Roger Corman, Forrest J. Ackerman, Peter Jackson, Dennis Muren, Ray Harryhausen, and Rick Baker. Lots of neat moments, including footage from old home movies by these creators as young fans.

The Sci-Fi Boys is a very loving and nostalgic look back at the old days of science fiction, B-Movies, and special effects. I liked it, but it's a subject I'm already interested in. It could have been livelier. There are actually some documentaries on B-movies that I liked much better than this. Check out Not Quite Hollywood and Machete Maidens Unleashed by Mark Hartley.

The Twilight Samurai (Tasogari Seibei) by Yoji Yamada, 2002
This movie is sooooo moving! The Twilight Samurai is the story of Seibei Iguchi, a low-ranking samurai with no ambitions to rise in the ranks. His only priority is taking care of his two young daughters (they lost their mother to consumption) and his senile mother, who doesn't even remember him. When his master assigns him with the dangerous task of killing an exiled samurai who refused to commit ritual suicide, Iguchi must obey or face a similar situation for himself.

The Twilight Samurai is a really beautiful movie. It won best picture in Japan and was nominated for the best foreign film Oscar here in America the year it came out. It's a vivid and realistic portrayal of what life must have been like at the end of the age of the samurai. Everybody should watch this movie. Be warned, though: It just might make you cry.

The Baxter, by Michael Showalter, 2005
Wet Hot American Summer is one of my favorite comedies, and I like to check out any and everything by the guys behind it. I had heard mixed things about Michael Showalter's The Baxter, so I've been avoiding it in fear that I might not like it. Well, those fears were unfounded, because it was a decent little movie, with a lot of little laughs.

Showalter plays Elliott Sherman, a nice guy who lives to be what he called a "Baxter", the guy who women settle for when they can't get the guy they really love. He finds himself in that very situation when he meets Caroline (Elizabeth Banks), and gets himself stuck in a romantic entanglement with her, her perfect high school boyfriend (Justin Theroux), and the temp that he falls for (Michelle Williams). It's kind of a deconstruction of the tropes of the Romantic Comedy genre, and it's kind of just being silly.

The Baxter isn't a great movie, it's really just OK, but it has a very good cast, including the above mentioned people, and smaller roles by Paul Rudd, David Wain, Ken Marino, Michael Ian Black, and Peter Dinklage. Showalter is one of those comic actors who can make me laugh just by making a face or delivering a line a certain way, and he got me a lot in this. If you like Wet Hot American Summer, The Baxter might be worth your time, especially since pretty close to everybody involved in that turns up in this too.

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That will be all for today. Twilight Samurai is my recommendation this time. Thanks for reading!

Grab Bag Smoochies Edition: The Pajama Game, A Farewell to Arms, As Tears Go By

Got three more reviews. These movies all have romances at their center, so I guess that's kind of a theme.

The Pajama Game, by Stanley Donen and George Abbott, 1957
Ok, I admit I wasn't prepared for The Pajama Game. I knew little about it when I pressed play. I just saw that Stanley Donen directed it, and hey, I love Bedazzled. And I saw that Doris Day was in it, and with that title, I assumed it was going to be like Pillow Talk or something (which I've never seen either but have an idea in my head of what it's like). Well, instead, it was a musical about... unions.

The Pajama Game is about a guy (John Raitt) brought in to oversee a pajama factory who falls for the girl (Doris Day) who represents the workers in the union. She's fighting for a 7 1/2 cent raise and he's just trying to prevent a labor dispute, and their relationship gets in the middle of it.

I'm not one of those guys that goes "UGH, musicals". In fact, I quite like them. This one had some pretty good numbers in it, with catchy songs, though I thought some of them went on for way too long and did little to advance the story. Overall, I don't think The Pajama Game was really my thing, but I could see how the Broadway show of it might have been pretty fun.

I'm glad I watched it, though, because of all the decades of American cinema, the one I'm least knowledgeable of is definitely the 1950's, and this was a film from that period that I wouldn't have normally thought to watch. So it was worth it.

A Farewell to Arms, by Frank Borzage, 1932
A classic, Best Picture nominated adaptation of Ernest Hemingway's story, A Farewell to Arms is a tragic love story between an American ambulance driver and an English nurse set in the backdrop of the first World War. I've never read any Hemingway, so I can't judge it based on any knowledge of him, though I did read on the Wikipedia entry that the film is less pessimistic.

I enjoyed A Farewell to Arms a great deal. Helen Hayes and Gary Cooper were both very good in the leads. I totally bought into the love story. But the best part of the movie for me was the beautiful and dense black & white cinematography, for which it won an Oscar. I would recommend the movie for that alone.

As Tears Go By, by Wong Kar-Wai, 1988
I've been reluctant to watch more of Wong Kar-Wai's films for quite some time. I saw Chungking Express many years ago and loved it, and then I watched Ashes of Time and didn't care for it at all. I know he's one of the most acclaimed and respected directors out there, but I was unsure where I stood with him, after that.

His debut film, As Tears Go By, falls somewhere in the middle of those two for me. It's one of his most successful films over in Hong Kong, but I don't think it wears it's age very well. It screams 1988 in just about every way imaginable, all the way down to a Chinese cover of 80's cheese ballad "You Take My Breath Away". The cover of The Cranberries' "Dreams" in Chungking was much much better, in my opinion.

As Tears Go By is the story of Wah (Andy Lau), a mob enforcer, who is good at his job, which from what I gather is collecting money from other mob guys and beating the shit out of those that don't have it. He keeps himself out of trouble by following the chain of command and laying low. His brother, Fly (Jackie Cheung), on the other hand, is all talk and no game. His belligerent attitude gets him in trouble time and again, and it's up to Wah to keep him in line and protect him from those who hate him (EVERYONE). You already know from that set up that things aren't going to end well for these two, right?

Meanwhile, Wah is tasked with letting Ngor, a distant cousin (Maggie Cheung), stay at his place while she is visiting Hong Kong for medical reasons. They connect with each other and soon fall in love, even though she knows the world he lives in. I never felt that creeped out by the cousin thing, because it was pretty well established that she's not that closely related (Wah never even knew she existed), and found myself rooting for them to work out.

The movie is decent. Wong Kar-Wai's talent is on full display, though not as honed as it comes to be, and with a pretty low budget. His films always have such sharp and vivid colors. There are a lot of reds and blues in this, and his reds are very red and his blues are very blue. It got a ton of award nominations in Hong Kong, and won for art direction, which is unsurprising.

I found the little brother character pretty hard to bear, but I think that was sort of the point. He won the Hong Kong best supporting actor award for it. He was super insecure from having Andy Lau as a big brother, and wouldn't we all be? There's a part where Andy Lau shoves a gun down the front of a guy's pants and pulls the trigger. He doesn't hit anything, but he makes it clear that he could have. How can you live up to that?

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Boy, I didn't expect that last one to be so long. That was practically a full review itself, wasn't it? These mini reviews were supposed to save me some time! Oh well, I had fun writing it. Hope you enjoyed. I've got a lot more movies to talk about, including some new releases here and there, and even one that is only playing festivals here in America.

Thanks for reading!

Grab Bag: Peeping Tom, Hopscotch, Where the Sidewalk Ends

Three more movie reviews coming your way. No theme today, just some good old movies that I think are all worth your time. Enjoy!

Peeping Tom by Michael Powell, 1960

Mere months before Alfred Hitchcock's Psycho was released here in the states, a somewhat similar film was released in England, to much less acclaim: Michael Powell's Peeping Tom. The story of a cameraman who kills women in order to preserve the look in their eyes at the moment of their death, Peeping Tom is a bit edgier than Psycho, focusing less on the Hollywood thrills and twists and turns that Hitchcock preferred and instead takes a more subdued, realistic, and well, British approach.

I actually may have liked Peeping Tom better than Psycho, if that's possible. Mark Lewis, the killer character played by Carl Boehm, is a more realistic portrayal of the psychology of a serial killer than Anthony Perkins as Norman Bates. He is less charming than Perkins, and is more of the quiet, strange man who lives upstairs. As a child, his psychologist father filmed him at every moment of the day, often intentionally scaring him to record his reaction. There's a very unsettling sexual subtext to the footage and Mark's reaction while watching it. There's a lot of sexual subtext throughout.

Upon release, Peeping Tom tanked, but over the years, the critical reception for it has completely turned around. Now regarded by many as a masterpiece, it was a bit ahead of its time, I think, and people didn't know what to make of it. Anyhow, this movie is a must. Check it out, if you haven't. It would make a perfect double feature with Psycho.

Hopscotch by Ronald Neame, 1980
Whew, look at that poster. That is not a movie I would want to see. Perhaps not the ideal marketing campaign for Hopscotch, but then again, what do I know?

Hopscotch is the story of Miles Kendig (Walter Matthau), an experienced CIA field agent who is punished for no good reason by his superior, and put on a desk job. To get back at them, Kendig runs off, goes into hiding, writes a tell-all book exposing all of his dirty laundry, as well as the CIA's and the KGB's, and threatens to publish.

The movie is a smart, funny, and spirited chase movie, as Kendig leads his CIA superior (Ned Beatty) and replacement (Sam Waterston) on just to mess with them. It's unpredictable, since Kendig keeps his plan under wraps, even to the audience. I like the low tech, analog aspect. Spy movies with crazy technology are cool, but there's something really fun about it all being done the old fashioned way. It's sort of like Tinker Tailor Soldier Spy in that way, but, you know, funny. Walter Matthau is great here as always.

Where the Sidewalk Ends, by Otto Preminger, 1950

This has nothing to do with the Shel Silverstein book. It's a film noir, and a good one, at that.

Where the Sidewalk Ends is about Mark Dixon (Dana Andrews), a hotheaded detective, recently demoted for his violent impulses. When investigating a murder at an underground gambling house, Dixon is sent to question a possible but unlikely suspect, one that he shouldn't have much problem with. Well, Dixon ends up accidentally killing the guy.

He attempts to cover it up, but things only get worse from there, as he takes a liking to his victim's estranged wife and father-in-law, a cab driver prone to exaggerating stories. How far can Dixon carry his guilt? When will the lies pile up too high?

Where the Sidewalk Ends is a satisfying film noir, though in the end, it's a lot less nihilistic than some of its peers. I always wonder when I see a film noir end with anything but the darkest of outcomes if this was a compromise with someone at the studio. Not necessarily, I know, but I bet there are many cases where it is.

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That's all for today. I've got a lot more stuff to review, so I'll try to have three more tomorrow.

Grab Bag Robert Edition: Enter the Dragon, Bad Company, The Hustler

By coincidence, all three of the movies I'm reviewing today are directed by guys named Robert. It's a theme!

Enter the Dragon, by Robert Clouse, 1973

I remember when I was a little kid and Bruce Lee was the bomb. I knew he was the greatest long before I ever saw a single one of his movies. He's still the bomb, as it happens. I haven't seen Enter the Dragon in probably close to 20 years, so all I really remembered was that Lady from Shanghai style fight in the house of mirrors, and the claw marks on Bruce Lee's chest and cheeks.

One thing that struck me about Enter the Dragon is how, in an effort to reach all the demographics they could, the producers made a movie that mixed as many genres as they could (martial arts, crime movie, spy movie, blaxploitation), and was strangely racially diverse for its time. I'm not saying it's not exploitative, but it was kinda cool that there was a Chinese guy, a black guy, and a white guy fighting in this tournament on equal ground. I liked the villain with the fake hand that had various weapon attachments too. I guess I forgot about that guy. But Bruce Lee was coolest of all.

Bad Company, by Robert Benton, 1972

I don't think I've ever seen Jeff Bridges this young before. So I guess that's cool. Sort of like seeing young Beau Bridges in that old Hal Ashby movie, but, you know, better.

Bad Company is a western starring Barry Brown as a young, well-to-do, educated lad, sent west by his parents to save him from conscription and certain death in the Civil War (Vietnam parable, anyone?). On his way, he crosses paths with a fellow kid named Jake (Bridges) and his gang of teenage thieves, also avoiding the war, cheating and stealing their way west. Barry joins up with Jake's gang and gets into all sorts of trouble, though he still tries to keep on the straight and narrow.

It's a pretty good movie. Better than I expected, anyhow. Bridges is awesome as always in a sort of loveable rogue role. I liked the way it starts with them as mortal enemies, becomes a buddy movie, before they become mortal enemies again and then buddies. It was also pretty violent and dark with a surprisingly high good guy body count, showing us just how wild and dangerous the west can be. This movie is worth checking out, I'd say, though it's not great.

The Hustler, by Robert Rossen, 1961

Now THIS is great. A legitimate classic, by all accounts.

This is the story of Fast Eddie Felson (Paul Newman), a pool hustler with a desperate need to prove himself by beating Minnesota Fats (Jackie Gleason). Along the way, he makes some enemies, and finds a fragile love in Sarah (Piper Laurie), a sad alcoholic woman.

The performances are all around excellent, but I especially loved George C. Scott as Bert Gordon, who takes it upon himself to manage Fast Eddie. The dialogue is incredible, too. It makes you wish more movies nowadays were written this well, or at least in this manner. I also loved the cinematography, which won an Oscar. There's an amazing continuous shot that follows Sarah around a party. We see just how much of a wreck she is as she finishes three entire drinks in a single take. Much of the movie is shot around a pool table, but it never stops being interesting. You'd think there would only be a limited way to shoot a game of pool, but they keep you involved.

Out of these three movies, this is the big one. If you haven't seen The Hustler yet, you definitely should.

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So there you have it. If I was to base it off of these three movies, I would say that guys name Robert are pretty good directors.

Grab Bag: Werewolf of London, Machine Gun McCain, Seven Chances, The Treasure of the Sierra Madre, The Landlord

Hey, everyone! Time for another grab bag of reviews. I'm tired of being so behind, so I'm writing short reviews for several movies instead of long reviews for one. The movies have little to nothing in common with each other, they're just whatever I've watched recently. Got five more for you here. Enjoy!

Werewolf of London by Stuart Walker, 1935

A Universal monster movie starring Henry Hull as a renowned botanist attacked by a wolf on an expedition to Tibet looking for a rare flower. Back in England, he begins to transform, but is able to hold off the transformation with the flower he acquired. That is, until the specimens are stolen.

There's some pretty cool stuff in Werewolf of London. I liked the fantastical plant specimens that Hull's character has collected. They were great looking props. Also, I liked a transformation sequence where he's walking and each time he walks behind something in the foreground, he's a little further along. The makeup isn't as cool as The Wolf Man, though, which came a little later. The ending is actually a pretty clear influence on that of An American Werewolf in London, though the latter improved upon it.

Machine Gun McCain by Giuliano Montaldo, 1969

An Italian gangster movie shot on location in America and using Hollywood stars in the lead roles. John Cassavetes stars as Hank McCain, a tough-as-nails convict sprung from prison to pull a job on some mobsters in Vegas. As you'd expect when you're dealing with the mafia, it doesn't end well. The cast also features Peter Falk as a gangster trying to horn in on the Vegas territory, and Britt Ekland as a girl McCain meets and marries right away, who helps him out with his heist. The highlight of Machine Gun McCain, though, is the score by the great Ennio Morricone. Pretty cool tough guy movie. It screened at Cannes.

Seven Chances by Buster Keaton, 1925

Buster Keaton stars as a junior partner at a law firm that is having financial difficulty. When his uncle dies, he is given the chance to inherit seven million dollars, but only if he is married by 7:00 on his 27th birthday, which happens to be that day. He then proposes to every woman he knows, but circumstances always thwart him. The first half has a lot of smaller laughs, though there are a few racial and ethnic jokes that don't age well.

The second half is where Seven Chances becomes the Buster Keaton comedy you've been waiting for. After inadvertently causing every eligible woman in town to want to kill him, Keaton goes on the run, pulling one incredible physical stunt after another. He dodges rocks in an avalanche, gets lifted high up into the air by a crane, and so on. Keaton was and still is unparalleled when it comes to physical comedy and stunts. Definitely worth watching.

The Treasure of the Sierra Madre by John Huston, 1948

This is another one of those movies that probably deserves a full review of its own. One of the all time greats. John Huston directs his The Maltese Falcon star Humphrey Bogart as Dobbs, a broke and down-on-his-luck American in Mexico, looking for a bit of money to get by. When he and his buddy meet an old prospector (played by John Huston's father Walter Huston, who won an Oscar), the three of them hatch a plan to go off and dig for gold, strike it rich, and live it up.

As their plan succeeds and they get richer and richer, Dobbs gets bitten by the greed bug, becoming more and more paranoid and suspicious of his partners. By the end of the movie, Bogart's greed is his own undoing.

I wasn't too into The Maltese Falcon, though I respected its importance in cinema history. I didn't even care that much for Bogart in it. But I think he's fantastic in this. He gives a varied and rich performance, steering his character through comedy, adventure, and tragedy, and slowly transforming into a bit of a monster. Walter Huston is awesome too, in a fantastic role that is often referenced and parodied in pop culture to this day. I love getting to see movies like this for the first time. I've been watching movies my whole life, yet I still have a lot of catching up to do.

The Landlord by Hal Ashby, 1970

Hal Ashby's first film, stars a young Beau Bridges as a privileged, well meaning white guy who buys a run down tenement in Brooklyn with the intention of evicting the residents and fixing it up. He soon finds himself personally involved with the black tenants of the building, who often can't even afford to pay the rent, much to the dismay of his rich, racist family.

The Landlord is decent, but not great. Ashby's distinct visual style and his social conscience are on display here, but as a filmmaker, he's not quite there yet. He tackles issues of racial and class disparity pretty fearlessly, though. The next year would bring his first true classic, Harold and Maude, and The Landlord can be seen as a stepping stone to that, and of mild interest if you're a fan of Ashby's work.

Grab Bag: Alice, The Fury, Hissatsu!, Gift Shop

Hi, folks! I took a week or so off, but now I'm back. Today I'm going to do something a little different. I know this is highly unorthodox, but I'm getting tired of being way behind, so today I'm going to post brief mini reviews for a few movies. I won't be going as "in depth" as I normally do (which isn't very in the first place). Just a paragraph or two per movie. OK, here goes!

Alice Doesn't Live Here Anymore by Martin Scorsese, 1974

I feel kind of bad not devoting a whole review for this, but ugh, I'm so bogged down. By coincidence, I watched this on the day before Mother's Day, which was totally appropriate. It stars Ellen Burstyn as Alice, a wife and mother living a suffocating existence, who is given a chance to start a new life with her son in a new town. After his breakthrough with Mean Streets, Martin Scorsese proves himself a truly versatile director, making a movie that's both romantic and brutally honest at the same time.

The performances are aces, especially Ellen Burstyn in the title role. Even to this day, it's not often that so much respect is given in movies to women over 30. Harvey Keitel manages to first charm and then terrify in his small part. Also, Alfred Lutter is utterly believable as Alice's obnoxious kid. He might have a smart mouth on him, but I think he's going to turn out OK, because he totally listens to T. Rex and Mott the Hoople.

The Fury by Brian De Palma, 1978

As a follow-up to his massive hit Carrie, Brian De Palma made another thriller about teenage psychics. Kirk Douglas stars as a government agent whose psychic son is kidnapped by a dirty fellow agent looking to turn him into a living weapon. Douglas finds and enlists the help of an unstable psychic girl (Amy Irving) to rescue his son.

This movie was a lot of fun, doubling as both a horror movie and a paranoid conspiracy thriller. It was pretty cool seeing a 60-plus Kirk Douglas still kicking ass in chase sequences and stuff. John Cassavetes plays the villain, and this was the first movie I'd ever seen him in, but it won't be the last. Also, the score by John Williams is fantastic, maybe one of his best non-Spielberg/Lucas scores. I used to think I didn't like Brian de Palma, based on the small number of his movies I'd seen, but now that I've seen some more, I understand what his fans see in him. At least in his earlier films. I still just don't like The Untouchables, guys. Sorry. Maybe I'll revisit it someday.

Hissatsu! (Sure Death!) by Masahisa Sadanaga, 1984

This is the first samurai movie I've ever seen from the 80's, and it was pretty crazy. I hear it's part of a popular series, but I haven't learned much about the sequels. It follows a group of assassins who pose as local merchants, who have to fend off another group of killers trying to take them out by killing them first. It was enjoyable and quite silly. Everybody had killing techniques that fit the jobs they work in their civilian identities. The score is weird too, sometimes it sounds almost like an Ennio Morricone spaghetti western score, other times, it's straight-up funky, and other times it almost sounds like 70's Sesame Street music or something. I enjoyed it, but I think I enjoy every samurai movie. It's nowhere near the same class as the ones of the 50's and 60's, and it doesn't have the crazy stylized hyperviolence of the 70's ones.

Exit Through the Gift Shop by Banksy, 2010

A fascinating, funny documentary on the worldwide explosion of the Street Art movement. It follows Thierry Guetta, an eccentric French-American vintage clothing store owner, his growing obsession with the guerrilla artists leaving clever and often thought-provoking tags on the sides of buildings and elsewhere, and his eventual rise to fame as a street artist himself, Mr. Brainwash. Much of the story focuses on Shepherd Ferry and the anonymous Banksy, two of the artists at the forefront of the movement. Much speculation has gone into how much of this documentary is true and how much is a hoax or a prank. It's legitimately difficult to tell where the line is drawn between reality and comedy, or if there even is one. Captivating and entertaining stuff.

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Well, I think four reviews is enough for now. I'll probably post another group of reviews tomorrow. I hope you enjoyed the change in format!