So 29 years after our last dose of Bill and Ted, we get a sequel that is not needed for the story to feel complete, but feels like it is needed in these times. The world seems like it is a mess. Covid, violent protests, Political Division, and natural disasters galore. The whole planet could use a break and a movie like this fits the circumstances nicely. There is no agenda here, the closest the story comes to reflecting our times is the notion that reality as we know it is being threatened. Forget that silly coincidence and let the stupidity flow over you like a warm stream from a hot shower. The only way you will be changed by this is that you will have a slight smile on your face, and no memory of the world outside for 90 minutes. That is a reasonable respite for these times.
While Bill and Ted have aged physically in the story, their emotional growth is static. The two of them are joined at the hip, skimming through life, having missed the chance to turn their immense popularity at the end of the last film into something lasting. The problem may be expectations. Since they know that the future has been influenced by their work, they appear to have been chasing the dream of writing a song that will unify the world and bring balance. We all know how hard it is to fall asleep when we want to rather than when we need to. Nothing will keep you awake as much as thinking about how important it is for you to get to sleep. Well apply the same principle to just about anything else and it will be true there as well. In an effort to fulfill their potential, they have alienated their audience, isolated their life experience and generally grown less relevant. For the first twenty minutes of the movie, I felt that the characters and script were suffering from the same problem. The movie wants to be fun, but it takes a long time to set up the story, and by exaggerating some of the character traits by genetically passing them on, the screenwriters seem to be suffering from the same hubris.
Once the set up is out of the way, the movie feels a lot more easy/breezy and the dofuss fun begins. Creatively, there is not much here. As in the first film, historical figures are being collected, but this time for a band rather than a history project. Also, as in the second film, we return to Hell and have to figure out how to escape the afterlife. The return of William Sadler as Death is the most welcome call back to the previous films. The storyline of estranged bandmates coming back together is one of the few organic elements of the film that fits. Some other side plots such as the counseling session with their wives, the two princesses rescued from the first and second movies, may amuse but don’t connect well to the main story. If you thought Bill and Ted were deficient in IQ points back in 1989, it appears that there is no recessive gene, because the two daughters are even more vacuous. There were a few cute points about their similarities to the dads but combined with the story points, it does feel a bit like they are simply repeating themselves.
Alex Winter and Keanu Reeves don’t seem to have changed all that much. They are in on the joke and play it straight for us. Other returning characters seem to be there simply to show that the world we are seeing is an outgrowth of the previous films. Ted’s Dad, the boy’s Step Mother Missy, and the Joanna and Elizabeth, the wives/princesses, don’t do much for the story except provide continuity. I can’t decide if Dennis Caleb McCoy, the robot sent to kill Bill and Ted is more amusing or irritating. I think I got just enough laughs out of him to tip the balance slightly in his favor. I can tell you however, that as a
long time SoCal resident, San Dimas never appears as itself in this movie. There was one static shot in the credits of the real San Dimas High School, but all other physical similarities are non-existent.
The other thing that is missing from the movie is a song track that would be worth playing back. I did not notice any killer songs being used as background music, and the stuff that was supposed to be original, entirely lacked a hook. So how is it that after these criticisms, I can still say the movie was fun, thats simple. It is stupid and relishes it’s stupidity. I have no idea who Kid Cudi is, but I know that when he is given the exposition that is supposed to explain the physics of the plot line, it is supposed to be ironic. It was, because it is scientific mumbo jumbo spewed forth by a peripheral character, at an opportune moment, and we are just expected to let it go. I could do that, and did so with a number of other things in the film, because the two slackers and their cohort were making me smile and forget about the really dumb stuff happening in the world these days.
Because of Covid, I did not get to do a trip to see Jaws on the big screen this last July 4th. That’s right, we literally had “panic on the 4th of July.” Thanks Mayor Vaughn for that prescient moment. I did watch the new 4K version at home on that holiday, but this site caters to theatrical presentations for the most part, so I did not feel there was anything worthy to say at that time. Since then, I have relocated to Texas, just outside of Austin, and I am trying to find my feet in this new cinema community. It looks as if there will be many chances to see older films in a theater at a local hot spot for those activities, the Paramount in downtown Austin.
They were closed over the summer but recently re-opened and there is a series of popular classics scheduled for the next month or so, including this greatest adventure film of all time. The theater is an old style movie palace that has a mezzanine section and a balcony above the main orchestra level of the theater. We chose seats up here so we could get a better look at the walls, ceiling and boxes of the theater.
There are some intricate moldings around the proscenium, and the elaborate decor on the opera style boxes is lovely. Although modern theaters are comfortable with stadium seating and wider aisles, the presence of old style showmanship in these classic buildings makes a visit to see a movie special.
As usual, the “Quint” essential film of the 1970s played like gangbusters. The audience was not huge, probably because capacity is limited under the current times and people are required to wear masks. I did hear the four ladies behind us a few rows, laughing after gasping, which many people do to alleviate their anxiety. So it was clear the movie has lost none of it’s impact. The sudden arrival of Ben Gardner continues to cause people to jump, even when they know it is coming.
That is Amanda in the background, taking in the theater and taking a picture of the ceiling. I would not be surprised to find some of those on social media if you go looking in the right places. Anyway, popcorn was had, sodas were consumed and Hooper and Brody [spoiler alert] manage to make it back to the shore at the end of the film. In all, it was a successful Sunday afternoon that I hope to repeat frequently in my new hometown.
That should not be hard considering what is coming up in another couple of weeks. Somebody out there likes me.
This was probably the most anticipated film of the summer for a lot of people. Because of the Pandemic shutdowns, it got pushed back three times before finally making it to theaters this week. Bu all means, see this movie if you are interested, in a theater. The scope, photography and action sequences will be diminished if you choose to see this on a tablet, TV screen or heaven forbid, on a phone.
I want to start with a message that is also a warning. If, during the course of this Two and a half hour film, you need to visit the restroom or concession stand, and you are worried you will miss something that clarifies the story or advances the plot in the time you are gone, go ahead and go. Nothing explained in any five minute sequence during the film, will help you keep track of what the hell is going on in this movie. “Inception”, “Memento” and “Interstellar” all play with time and parallel events. If you ever had trouble following those concepts, which are reasonably well explained although still confusing at times, get ready to feel completely lost. For the first hour, things made sense and you could follow the logic of the world Christopher Nolan has created here. The premise is interesting and it contains the usual conundrums that time travel stories face. The problem is that about a third of the way into the film, two or three additional plot elements are introduced, each one with different time influences , and they all start influencing each other. Sometimes those effects are so complicated that a map would not help you. Events start moving faster and trying to keep up will be a waste of time if you are also trying to enjoy the movie.
There is nothing inherently wrong in having a complicated plot, if at some point you can make sense of how it all comes together, “Tenet” attempts that but largely fails to be coherent, even though several of the twists involve tricks you have seen a hundred times before in a time travel story. Ultimately, I think you can view this film as one loop in an event that has a limitless number of possible variations. Doing that will not make the story more satisfying however. I would have to see the movie several more times to pick out the inconsistencies and conundrums that pop up, but to be honest, Nolan himself doesn’t seem to care about them. He even has one of the characters say as much, fairly early in the film. Stop trying to make sense, let’s just let this wash over us. I can live with that, but it will leave Tenet as an exercise in style and film making, rather than a piece of cinematic art.
With a pre-title sequence that feels a lot like a Bond film, Nolan sets this up as an espionage story, that potentially would be confusing the way some double and triple cross stories can be, but it would still be grounded. As the science fiction element takes center stage, the tradition spy tropes get doubled back on with a wink and a nod to time travel twists we have seen before. I won’t spoil it for you, but during a heist scene, one character confronts another and we don’t see the second characters face in that sequence. You know that will play out again, and there will be a reveal.,,guess what’s coming.
John David Washington has just enough charisma to play the low key “Protagonist” of the story. The scene that shows off the potential of what might have been a solid spy film, involves his lunch with Michael Caine. It is not his fighting skill, or dramatic intensity that makes the scene work, rather, it is his bemused self confidence in the face of being judged by others. One place I don’t think he was quite successful at was the near romantic element of his relationship with the character played by actress Elizabeth Debicki. I can buy that he feels a sense of responsibility for her in a paternalistic way, but the embers of romance that are supposed to be the base of this are not there. He can sell that he cares, what is not clear is why he cares.
We get a pretty good preview of what the next Batman movie will be like because Robert Pattinson, plays a much more active Felix Leiter to Washington’s 007. I suspect, that as in most of the good Batman films, the quirky Bruce Wayne will not take a back seat to the brooding “Dark Knight”. Pattinson plays Neil, the mysterious counterpart to the Protagonist, and he has a light touch with the humor and enough presenter to sell the physicality.
You ready for a surprise? The actor who steals the movie is Kenneth Branagh. Taking the start he made on a similar character in the Jack Ryan film from a few years ago, Branagh manages to make a cartoon villain feel dangerously real. A kingpin of a Russian oligarch, it would be easy to just say the lines and have threats come off as empty bravado. Nolan gives Branagh actions to play that show us his ruthlessness, the actor adds a sense of menace to those lines, but never with the charm of a fictional character. Instead, the deadly earnestness of his performance is disturbingly real. The tiniest touch of humanity right at the end of the film paints just enough of a persona to make the character evn more real, and loathsome.
Filmed in some of the most beautiful locales in the world, it would be hard to fault the look of the picture. The movie is not overcut in the action scenes, but the parallel time tracks and reverse structure do require some frequent cuts in perspective that can get a bit confusing at times. The backward car chase sequence looks great, but when it is followed up on, instead of being clearer, it leads us to start questioning what we really saw before, but not in the good way that it is supposed to work.
At two and a half hours, despite a solid pace, the film feels long. Probably because of the plot conceit concerning inverted time elements. I loved “Memento” but it was less than two hours and the same kind of thing happens there. Adding another forty minutes to it would do to it what happens with “Tenet”, it makes you look at your watch and wonder how much longer it is going to go on. Maybe when it is serialized as a four hour mini-series, it will work better.
Christopher Nolan has one of the greatest imaginations in the film industry. There are terrific concepts in most of the movies he has made. There are simply too many times that we ravel on a tangent that takes up a chunk of time but might have been replaced with something simpler as just as easy to admire. The stacking Russian Doll story structure worked well in “Dunkirk”, it was clever in “Inception”, but it is simply overdoing it in this movie.
I probably sound like I am down on the film, I’m not really. I enjoyed it quite a bit. Pattinson and Washington invading a penthouse in India, or doing a heist at an airport freeport, were well staged action scenes. The inverted battle at the climax of the movie was spectacular to look at but mostly incomprehensible. The inverted stories are fine but when you start to retcon your own movie to change the outcomes, you create dilemmas that Solomon could not work out and algorithms that might give Einstein fits. See the movie, go with what is happening on the screen at any point and don’t try to make it make sense. That extra brainwork will distract from the moment, and it is the moments that make this movie worth seeing, not the plot.
We have had plenty of Jane Austin inspired films in the last few years, including a charming version of “Emma” earlier this year. It’s time for a change up, but not too big a change, so we will stick to 19th century English writes, but change genders, decades and primary locations. Who is in the mood for some Charles Dickens?
I’d not seen the trailer for this film before we went to the movies, in fact, I don’t even think I’d heard of it, but it was the weekend, theaters are opening up, and this was not “The New Mutants” so it became the designated choice for Saturday afternoon. From the start, you can tell this will be an interesting approach to telling the well worn story of David Copperfield. The opening of the film is set up like it was a lecture hall, and the audience was certainly more diverse than you would have seen in 1840’s London. That is one of the winning choices of the film makers. Casting was dictated not by historical accuracy or by Dickens’s description per se, but by the ability of actors to be charming in the roles that they are cast in. Our hero is portrayed as an adult by Dev Patel, not a traditional Englishmen of the stage. He is delightful in the role, and I have been a fan since “Slumdog Millionaire”. He has an earnestness that matches well with the Dickensian moods of our hero. I assume that the young Ranveer Jaiswal was chosen to play the young David Copperfield because he matched up with Patel in many ways, but the way that is most important is demeanor rather than appearance and that worked here.
Director/writer Armando Iannucci is familiar to me because of two films, “In the Loop” which was a MOTM on the LAMB three years ago, and “The Death of Stalin” which was widely hailed and recommended to me. Both films were solid comedies with a bent to them that is very distinctive, and that sensibility is also found in this movie, at least in a few spots. I had some reservations because the framing device and transition to the traditional narration felt a bit frantic and unclear at the beginning. It was as if the director was struggling to signal that this is a comedy, while still trying to retain the elements of Copperfield that are not really funny. The whole thing settles down after about ten minutes and the more straightforward narrative takes over. There are still plenty of the odd moments and stylings that Iannucci is well known for, but it fills the story rather than driving it as we go along.
I recognized Peter Capaldi, not from Dr. Who, which I don’t watch, but from “In the Loop” and the “Paddington” films. I thought he was a perfect Mr. Micawber, and every time he showed up the movie was funny again. Hugh Laurie, who plays Mr. Dick, was also a comforting comical presence. Both of these actors are capable of playing off absurd circumstances yet still pulling some poignant moments amid the craziness. My guess is that most of the cast will be far more recognizable to Brits than we colonists, because they all seem very good, so they probably work in television programming or theater that is more U.K. centered.
The casting of romantic counterparts in the film might be a little precocious since the point seemed to be to emphasize the lack of ethnocentricity, The actors are so good however, that what might have been seen as an affectation, turns out to be barely noticeable. Rosalind Eleazar as Agnes, a love interest for Patel, and the daughter of Benedict Wong’s Mr. Wickfield, crossed two ethic boundaries at once and we don’t care at all. This is the sort of casting I think would address the desire for diversity without drawing attention to the fact that you are trying to do that.
For a complicated story, the film is paced pretty well. I do think that the opening section with the awful Mr. Murdstone needed to fleshed out a bit more, but perhaps the youthful Copperfield isn’t where the writer found the most joy in the story. If you are able to see the film, by all means do so. I think it would be easy to peg the costumes for awards consideration at the end of the year. The clothes help make the characters easy to understand and entertaining simultaneously. Copperfield has some tragic moments but this production does not dwell on them, it acknowledges those points but move quickly to it’s objective, which is to amuse us. The return of the bookend devices toward the end of the film are much less jarring than at the start of the story and they finish things off nicely.
The drought was over last weekend, when I went to a theater to see a movie. after five long months of Covid-19 closures. That movie was ” Jurassic Park” a film that I’ve written about many times already. So there was not really a need to have an in-depth look at that film. This week however, I am celebrating a new film, being released in theaters and it is fresh for comment, “Unhinged”. This is a brutal piece of exploitation film making, featuring a major star in a basic plot, which gets a few nods to social relevance, but it is really designed to screw up the tension level and cause you periodic moments of revulsion. In other words, it was a great movie for me to get back to a theater and blogging.
Russel Crowe is the great white shark in this movie. I mean that figuratively for the most part, although his physical presence in film in the last decade have in fact suggested that Quint was right in assessing the weight of the opposition. Crowe plays a character listed in the credits as “The Man”, an interesting coincidence sine the last film posted on this site “The Naked Prey” also features the same credit for the lead actor. Ay one point the character introduces himself as Tom Cooper, so I’m going to refer to him by that name for the rest of this entry. Cooper is a disturbed man, who we know immediately is going to be trouble. There is a pre-title sequence that establishes with violence from a distance, that Tom has lost all sense of proportion or reasonableness. This may work against the story a bit in the long run because we are never going to listen to the perspective he articulates and the background set up in the title sequences will become irrelevant. Tom is a bad man who can feign politeness for a few moments but ultimately will reveal himself as a lost monster.
Actress Caren Pistorius has to carry most of the film herself by reacting to phone calls and traffic encounters. There are a few moments of human interaction but they pass by pretty quickly. This movie is likely to do for road rage acts of expression, what “Fatal Attraction” did for extra-marital affairs, scare the potential bird flipper away from such emotional outbursts. Although there is a self righteous payoff line at the climax of the film, the real coda happens a few minutes later when Caren is reminded of how this whole day turned into a nightmare for her in the first place. I don’t think we should all assume that the worst possible thing that could happen will be the most likely thing to happen, but a little perspective is not a bad thing. Unfortunately, because we know from the start how awful the antagonist is, that perspective will not get a hearing.
Trying to turn a road rage incident into a movie is possible. Spielberg did it fifty years ago with “Duel”. This script however goes in some very different directions based on the level of privacy we give up by using smart phones. I can’t say what technological innovations will make those plot devices irrelevant in twenty years, but there will certainly be something. Like people today who laugh at classic films that use the absence of a phone in a remote location as a plot device, someday, the content of phones will seem like an antiquated tool for storytelling. The movie suffers from a few of the traditional plot holes that these sorts of movies suffer from. The main protagonist makes some dumb choices, the villain has prescient sight, and abilities that are far deeper and quicker than the average person can manage. The cops, who in real life have helicopters chasing drivers who run after a bad traffic light call, can’t seem to get it together enough to track, pursue and capture a man that has committed multiple atrocities and continues to do so. This is movie story telling, not the real world.
Let’s put all that aside for a moment. Crowe plays the maniac with enough range to make the character somewhat compelling. The vehicle jump scares and action beats are always effective, and the resolution meets our need for retribution and recovery. It’s not a great movie, but it came at a great time for me. I can’t stay locked down forever, and escapist fare like this helps quite a bit. And as this poster tells you. I saw it in a theater.
[This post Originally appeared on the site “Fogs Movie Reviews”, which is now closed, in the Fall of 2013, It is being shared as part of my series of “Movies I Want Everyone to See”.]
Since the invention of film there have been a number of stories that feature man against nature. Those stories have often cast a group of men against a an overwhelming natural force; Hurricanes, fires, floods, the cold of the poles, the heat of the desert and the savagery of animals trying to eat and live. My own experience with such films include “Jeremiah Johnson”, “The White Dawn”, and “Man in the Wilderness”. In the American film experience, a number of these stories featured explorers or pioneers in the West, seeking to survive a trip through Indian lands, to build a new life for themselves or to profit from the natural resources they find on their journey. As part of the narrative there is often contact with other cultures and that contact takes a violent turn. Regardless of whether you sympathize with native peoples whose way of life is threatened or the intruder who sometimes acts foolishly and at other time heroically, these stories can be compelling and exciting. Westerns are littered with ill fated travelers being killed in brutal ways by Indian tribes they encounter (And of course the inverse is true as well, the intruders are not healthy for the native population either).
“The Naked Prey” takes a North American historical incident of this type and transplants it to a similar environment in Africa. An ivory hunting safari is waylaid as it engages in the slaughter of elephants. The hunters have managed to antagonize an indigenous tribe by failing to provide a tribute asked of them. The wisdom of the hunt manager was ignored and the bull headed financier of the expedition dismisses the tribesmen as beggars and thieves. The Western legend has John Colter, once a member of the Lewis and Clark expedition, captured by a Blackfoot tribe, being turned loose by his captors and hunted like an animal. He survived his nearly two week trek through the wilderness, naked and having had to kill several of his pursuers. The lead character in this film, billed as “Man” is the safari manager and has the Colter part.
This film takes the story to a credible location and adds some fascinating dimensions to the original legend. Cornel Wilde, was an actor who had been nominated for an Academy Award playing Chopin in 1946. The following years are mostly filled with low level parts in bigger pictures or starring roles in second level swashbucklers. He created his own production company and created several films before this piece of rousing adventure entertainment. Here he is the star, producer and the director and he does most of this while nearly naked on the set for the whole shoot. He was fifty two at the time and looked in good shape despite reportedly being sick with some local bug at the time.
The picture is pretty brutal for it’s time. There is quite a bit of blood involved, and the animal population of Africa appears to be threatened with near extinction given the frequency with which animals die in the course of the story. The images are not politically correct because the deaths of the safari members at the hands of the native tribe are gruesome and would do little to endear the people of that tribe to the rest of the world. I first saw this movie in the early 1970s and had nightmares over the grim method of execution chosen for one of the hunters in the safari. He is basically trundled up and encased in clay for the purpose of roasting alive over a fire. The thought of the torture is disturbing enough but it was visualized in a very realistic way and that made it all the more troubling. Wilde’s character is forced to watch the deaths of his compatriots and then is lead out to a spot where one of the tribesmen shoots an arrow down field and “Man” is given a head start to the spot where the arrow has landed. This is where the chase begins.
We know very little about the character. This was supposed to be his last expedition before he retires to his farm, he is apparently married as there is a moment when his wedding ring is eyed by the hunters as a potential prize, and his name may be Larry, since he was called that a couple of times by another member of the expedition. Most of what we learn about this character is shown through his wits and behaviors both before capture and as he is trying to escape. He has a keen ear and realizes something is wrong before their party is attacked. He was the one who rationally advised paying a small tribute to avoid insulting the natives. He also seems to despise the acts of his partners in killing elephants that are unadorned with ivory tusks. He could easily be one of those experienced trackers from a Western, who know some of the native lingo and cultures and often tries to guide self centered troops or pioneers through dangerous lands. Clearly an archetype, he makes it easy for us to sympathize with him in his run for survival.
The native hunters are certainly cruel by modern standards but they are also human. This is a pretty amazing film in that it manages to create character and story without being dependent on dialogue. After the first ten minutes, the only dialogue we get is spoken in a unique African dialect that is not sub-titled. We know what is going on by watching the faces and hearing the noises the characters make. The ten men that end up hunting “Man”, have emotional reactions to the death of their friends, they share moments of laughter and satisfaction, and they turn on one another as the chase becomes more and more deadly. All of this is accomplished without the audience having words to hang onto. It’s not the same as a silent film in which the actors might have to exaggerate to convey an emotion or idea, the story telling is more universal and that makes it easy for us to relate to, even when we can’t say exactly what the characters are saying.
The story becomes a version of “The Most Dangerous Game” and a nature film. Our hero manages to turn the tables on his pursuers so he ultimately does have some weapons and a loincloth. Still, he is alone in the wilderness and must manage to navigate treacherous terrain, dangerous wildlife and multiple human threats as well. Like most of these wilderness films, the character tries a variety of animals, insects and plants to survive on. He ends up having escargot made from giant crawling mollusks, and lizard and rat. The one antelope he manages to take down he loses to a predator higher on the food chain in this environment. There are a couple of humorous scenes that show him struggling to get some food so while the circumstances are dire, there is still a bit of humanity to entertain us.
The photography in this movie is sometimes spectacular. There are nicely composed shots of the chase through some interesting vistas and jungles. As night falls at one point there is a beautiful shot of the twilight sky, dark orange silhouetting the canopy of trees and hills in the foreground. There are also as many shots of animals as there are of anything else. A baboon turns the tables on a cheetah, just as our hero does the same on his pursuers. Birds are both beautiful and gruesome as they hover near the scenes ready to swoop in and feed on the entrails of other animals. There are several shots of snakes which might give you the creeps if snakes are your own fear. One noticeable mistake is giving a rattlesnake sound effect at one point to snakes that would not have that characteristic in Africa. If we were not immersed in the suspense of the story, it would be a pleasure to take in all of the sights as the film rolls through some great looking locations.
In the last quarter of the film, a long sequence involves “Man” showing that he really is someone to root for. He encounters another tribe that suddenly comes under attack from slavers. The harrowing episodes illustrate that the slave trade was one of the cruelest behaviors that human beings ever imposed on one another. Our hero helps a small girl escape from the scene by creating a dangerous diversion. Later she gets a chance to repay him and we have a brief respite from the grueling adventure and an opportunity to see humanity in a place where we might have despaired of it in the last hour. Throughout the film the hunters and the prey spar over space and distance. This is one of those films where the hunter wisely chooses when to run and when to fight. The fight scenes that do happen are usually believable in the context of the chase. “Man” gets the drop on his pursuers several times and makes the most of those opportunities. A dramatic use of fire allows him to put some space between himself and the chasers but also gives him a chance to taunt them the way that they have taunted him from the beginning. The struggles of the men chasing him set them back as much as his efforts do. The men are skillful trackers but they are not always as clever as the hero needs to be. A dramatic rift appears and it is clear that the hierarchy of the tribe is created by power and violence. Despite the murderous actions of the prey and the hunters, both sides develop a respect for their opposite. That respect may have existed to begin with since “Man” was given a chance in his torturous form of execution, but it is multiplied by the tenacity of his fight and the body count he builds in trying to return to a safe place.
I suspect that every viewer would imagine themselves in these circumstances and wonder if they themselves are up to the challenge. As a kid, loving adventure and the romance of an exotic place, we might hope to think we would be equal to the trek. An adult might wince with pain at the brambles and thorns that “Man” sometimes has to dodge and almost assuredly we would be grateful for the civilization that we enjoy rather than the brutality of the past we have managed to overcome. There are still places in the world where human beings treat one another in the most unimaginably brutal ways. A story like this gives us hope that we can overcome those hardships and strive to avoid ever being in such a situation ourselves. This is a tour de force performance from Cornel Wilde. He manages, without words for most of the film, to evoke strength and determination and ultimately humanity into a hellish world. As it was clearly his passion project he should get the lion’s share of the credit. It is interesting to me that the film received an Academy Award nomination for the script, which was certainly deserving, but that Wilde was ignored both as director and actor. This is the movie that I suspect he will best be remembered for. With a nod to the earlier African adventure “Zulu”, let me end this post with a salute to a valiant warrior, the late Cornel Wilde.
Richard Kirkham is a lifelong movie enthusiast from Southern California. While embracing all genres of film making, he is especially moved to write about and share his memories of movies from his formative years, the glorious 1970s. His personal blog, featuring current film reviews as well as his Summers of the 1970s movie project, can be found at Kirkham A Movie A Day.
Two years ago, I had the thought of looking at my collection of films and picking out some movies that would be perfect for a Summer evenings entertainment. With the current pandemic, most people have been streaming until their eyes are red, trying to fill the time that would normally be taken up by baseball games, family picnics, and a trip to the local movie house. People I have spoken too are binge watching gruesome murder mysteries, depressing true life documentaries and new films made for the streaming services (oh yeah, and Hamilton). Hey, I stream with the best of them, but I also still rely on my physical media to get inspired. So with an aim to keep the mood light, the family engaged and to dig a little into the past, here is an updated list for your Covid Summer Family viewing pleasure.
Tim Allen Comedies
Who Framed Roger Rabbit
Gender Bender Comedies
Old School Wedding Crashers
The Adventures of Sherlock Holmes Smarter Brother
The Hot Rock
The Big Stretch
The Legend of the Lone Ranger (1981)
Hallelujah, the drought is broken, at least for a bit. It has been 87 days since I saw a movie in a theater, and it was driving me a little mad. I know others have sacrificed so much more than I in this pandemic, but I can only speak to my pain, and not going to the movies was incredibly painful to me. Sure, it’s not like a disease, but ask anyone who gives up those things they love, it means something to them. Fortunately my addition is relatively innocuous so there was no physical danger, just mental anguish. How did this dam finally burst, especially since movie theaters are still not open? It’s simple, there is an nearly outdated concept called a “Drive-In”. It’e been twenty years since I went to a “Drive-In” theater, and that was for a special event for a local radio program at Halloween. It was twelve years prior to that when I last saw a regular feature at a drive-in. Yesterday, I saw a post while I happened to be on Facebook, and when I clicked the link, there was a trailer and information about where the movie was playing locally. That is if you think of 20 miles away as being local. I will get to the review in just a minute but a few more words about the Drive-In first.
The show was scheduled to start at 8:30 pm, so I left the house at &;30, and arrived at the destination pretty much ten before 8. The line of cars was four lanes wide, and backed up a block. It took twenty-five minutes to pay and get into the screening area. This complex had four screens, every screen had a full lot under the social distancing rules of one empty space on each side. So they could only be at 1/3 of their capacity. The line for the bathroom was slow and longer than most lines at Disneyland. The concession stand was also a long line, so I skipped both. I missed having popcorn more than trying to relieve myself, fortunately I was not in need as many others were.
Okay, enough about the experience, let’s talk about the movie. “Becky” is perfect Drive-In fare. It reminded me of some of the grindhouse style films that I did see in those venues when I was young and went to Drive-Ins regularly. It is a nasty piece of survival/revenge porn, that finds the most awful ideas, shows them to you, slathers on some blood, and then serves it up with enough inventiveness to make you cheer when the bad guys get their comeuppance. The premise is simple, a thirteen year old girl has to fight back against neo-Nazi escaped convicts. It is exploitation material, but it was not as lurid as many things you may have seen.
The cast features comedic actor Joel McHale, best known for the TV series “Community” , in a straight dramatic part as the father of 13 year old Becky. The two of them have been struggling since the death of her Mother, and he is trying to move on to a new relationship but Becky is having none of it. They cross paths with the ruthless Dominick, an Aryan Brotherhood type who has lead a band of four escaped prisoners to the cabin of Becky and her dad, They are seeking a key, which turns out to be a McGuffin, simply used to bring the victims into the sights of the predators. Dominick is played by another comedic actor form TV, Kevin James. The two sitcom actors acquit themselves fairly well in the dramatic roles, though James gets the meatier part and has a chance to ham it up a little bit.
The star of the film is Lulu Wilson, who I did not know but I have seen in “The Haunting of Hill House” net series. The character of Becky is traumatized from the death of her Mom, she is in rage at the choices her father is making about her life and his own, and finally, she has reached puberty and at the age of 13 has all the resentment and anger that that stage in life often brings. When you couple that with the traumas she witnesses on this weekend visit to the family cabin, you can begin to believe she is capable of doing some of the things that the story has her executing. Imagine Kevin McCallister, only without the comedy and you will get the idea. I poke in the eye in this film does not result in three stooges guffaws, but rather dangling eyeballs that will have to be operated on with blunt instruments in the kitchen. Motorboating will not be a sex game played between a woman’s breasts. Plowing the field is also not going to feel the same after witnessing this. Maybe the Joker can make a pencil disappear without all the blood, but Becky can get a lot of blood from pencils and especially a ruler.
Sure there are a few things that don’t make much sense. For instance, the movie starts like so many films do these days, at the epilogue instead of the beginning of the narration. We never know why the key is supposed to be in the house, or how Becky came to have it. It is also hard to believe that the little girl is strong enough to overcome at least some of the men in this film. The one sympathetic bad guy, played by wrestler turned actor Robert Maillet. Frankly, if I saw that guy coming for me, I’d lose it instantly, he is a monster. Surprisingly, he is a somewhat sympathetic character in the film. Ultimately, no one gets out of the scenario unscarred, and I guess that is the point. Well not really, the point is to take pleasure in the horrible things that happen to the horrible people. Some of the films playing on the other screens were comedies or Academy quality dramas. I was happy to be enjoying an exploitation film in its natural habitat. I almost felt like I was back in mine. Hopefully soon, but till then, all hail the drive in.
On a recent Lambcast I discussed my Top Five Animated Titles in Movies. I thought I would write a little about my thoughts and post them here so those of you who do not listen to the podcast can enjoy them as well.
My selections were narrowed so that the on line discussion did not wander into just credit sequences, but those where animation is a key component.
I tried to exclude titles where the text is animated but there are no additional artistic elements of the sequence. So I wanted artwork. Characters, background paintings, graphics that move are all considered. If there is storytelling that is a plus, but sometimes it just has to be cool in my view. The category is fairly elastic and anyone who wants to bend it to play is welcome.
Number 5. “A Fist Full of Dollars”
It was the start of Italian Westerns.
It is accompanied by Ennio Morricone’s theme
Stark two color contrast
Starts as White on Red, then switches to Black on Red, Then Red on Black,
The Gunshots signal each title card which also uses a two color contrast.
The images look rotoscoped and the silhouettes are graphically simple and clear.
I Cheated on Number 4 because there are two films in the series that use animation that would qualify for my list, but I did not want to limit myself to just one of the other
Number 4 “James Bond Films”
Dr. No was designed by Maurice Binder, who did 16 James Bond films. I could cheat again and just say that the gunbarrel sequence counts for all of them, but I wanted something more elaborate. Unlike other Bond titles which sometimes have limited animation over filmed elements, this was strictly a graphic animation using Modernist design and color elements to grab our attention.
The first part consists of flashing colored dots against a black background, occasionally breaking into typeface for the credits, all of it over the Monty Norman/John Barry 007 theme.
Then we get a series of rotoscoped images in color over the same black background, sometimes with multiple layers and images. Finally you get the silhouette images of the three blind assassins in black against a colorful background, and then a transition to the filmed characters.
Casino Royale goes a completely different direction. The work is by Daniel Kleinman who took over the task of doing the Bond films from Maurice Binder. Having done over a hundred music video promos for bands in the 1980s, he used computers to animate the graphic designs that were drawn and animate them in the titles. Most of this is as the background for some Daniel Craig Rotoscoped action shots. The Playing card graphics indicate a major part of the storyline without giving anything away. I was not originally a big fan of the Chris Cornell song, but it has grown on me quite a bit.
Number 3 Christmas Vacation
Kroyer Films, who had done the titles for the previous two adventures of the Griswolds, came up with the titles after they saw a cut of the film. They were stumped because most Christmas Traditions are already pariodied in the movie. After some beer at a nearby Pub, they came up with the idea of killing Santa Claus.
They use a combination of digital, hand drawn and 3D computer animation to make what is essentially a mini-cartoon to run the titles over. The song was not complete when they were working on the images so the titles were originally scored by Angelo Badalamenti and timed to work with the gags. The studio slapped the song on, replacing the score and Bill Kroyer felt it ruined the timing of the sequence. I however think that the charm of the song works well for setting up the story and in the long run the gags work regardless of the music.
Number 2 The Pink Panther
DePatie-Freleng Enterprises created the iconic comic character to represent the image that is supposedly visible in the stone. A flaw that looked like a leaping panther and the jewel has a pink tint to it.
It is a cartoon that features interaction between the Panther Character and a comic drawing of Inspector Clouseau. The cat and mouse chase elements are pretty straight forward but there is a difference in this title sequence, the characters also interact with the typeface credits as they appear.
The Panther Spins Robert Wagner’s name and it becomes a propeller, flying him off in an invisible plane. The cat then rubs up against Capucine’s name, as a cat is wont to do, the name drops out and the Panther falls over. The Panther Watches as the film title is revealed a few letters at a time and reacts with questioning expressions and then puts the last piece of the puzzle into place.
The nature of the character is revealed as title cards come up and the Panther tries to graffiti his name into the credits. This will set up the cartoon franchise for the next decade.
The character takes on the persona of a conductor for the music credit and gets yanked. There are also a number of line graphics that get animated as the title cards come on and off screen.
All of it accompanied by the fantastic title theme by Henry Mancini. The music and the action are synched up in this one perfectly.
Number 1 “Catch Me If You Can”
FLORENCE DEYGAS and OLIVIER KUNTZEL. Designed the title in the style of Saul Bass, who is mysteriously missing from my top five list. Flowing Typeface, smooth lines and a Jazz based score.
They used Stamp Cut images to design the action sequences, mimicking some of the crude techniques used by the lead character.
Characters are drawn with an eye to 1960s aesthetics. Clothes, furniture and color schemes, like teal and black with blue backgrounds. Sometimes it looks like a cocktail party and other times it looks like it could be poolside at a Miami Hotel.[When you add the Pink Graphics against the black backgrounds that is even more clear]. The typewriters and files that are shown also evoke a 60s theme.
The long shadows and fading bottom half of the graphics tell a story filled with mystery. The settings of the film ate introduced in the titles but once again, not much is revealed. You can clearly pick out two characters that represent Tom Hanks and Leonardo DiCaprio, and you can’t tell just from the animated graphics, who it is we should be rooting for. People who say John Williams music all sound the same, have never listened to this theme.