Green Zone

"Green Zone" plays out as a war/thriller but is really built around the scams, for lack of a better word, that were the justifications for the Iraq War. 

Set in the early days of the war, the film follows Chief Warrant Officer Roy Miller (Matt Damon), who leads a team searching from site to site for weapons of mass destruction (WMDs) using information from a "credible source" that no seems to have ever actually seen. Eventually Miller becomes involved in a conflict between two camps in the US intelligence community, one of which wants to broker a deal with an Iraqi general, and the other that wants the general dead. The general knows the truth about the WMDs.

As an action film, "Green Zone" succeeds reasonably well. We have shaky camera work and rapid-fire editing creating a sense of chaos in both scenes of conflict as well as drama in scenes of confrontation between characters.

The film's critical look at the Iraq War, exploring the deception, misinformation, and the consequences of intervention end up a weakness. The story here suffers from its being compressed and simplified into a film form, centering around one low level officer who seems to run around doing whatever he wants, and two far over simplified military intelligence camps. The film strains mightily to hit almost every criticism of this period in US policy, resorting even at times to a mere few lines of exposition, at the cost of testing the suspension of disbelief. 

That said, Matt Damon delivers an adequate performance as Miller, a character torn between following orders and his growing doubts about the mission. There is suspense and several good action sequences. However real world situations such as this conflict are far more chaotic, at all levels, than the film portrays. And it seems highly unrealistic that an officer in the thick of things at that point in the war would be anywhere near the powers that be and the motivations for the actions as we now know them.

Perhaps they should have stuck with the action part and left more of the power struggles, political optics and outright profiteering of that time for a future film to delve into.

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Fog Island

"I'm sure you're all wondering why I invited you all out here."

This is another "collection of characters showing up to a creepy and isolated mansion at night" story. One of the guests is responsible for the murder of the host's wife. All of them have a history together involving a missing fortune they believe their host has hidden. Each guest, each shadier than the last, is giving a clue to a mystery set up by their host. The location of the missing money? Or something else? There's skeletons in the closets, and everywhere else. Suspicions run high. The guests turn on each other, and the bodies pile up.

The performances aren't great but are better than usual in this sort of thing. The actors aren't given much to work with in the cliche script. The ending however is surprisingly surprising. And surprisingly dark. It's worth waiting for as the film is only just over an hour. It's quick view.

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Tough Guys Don’t Dance

Ryan O'Neal is Tim Madden, an unsuccessful writer with some rather odd women in his life. He drinks too much and after an evening of particularly wild events, he has a new tattoo. Oh and a severed head turns up. He doesn't remember a thing. 

On the surface "Though Guys Don't Dance" is a neo-noir thriller with a con, a drug deal and a murder - actually several murders. The plot seems like a Coen brothers work, but this film isn't really concerned with plot. At its foundation is a small New England town, quiet in the off season. It's the sort of place a Steven King story could unfold. It also resembles a David Lynch setting; full of dark secrets just under the surface (score by Angelo Badalamenti by the way). The film's inhabitants are a strange bunch, all interconnected in complicated ways and all with their own individual craziness.

Let's call "Though Guys Don't Dance"... Quirky? It progresses in a nonlinear manner through flashbacks within flashbacks and narration. There's a dreamlike feel to much of it, as though at any moment it may turn out not to be real. The dialogue is stagey and almost Shakespearian in pacing at times. There's quite a lot of laughs, both at the darkness of the events, and at the shear audacity of this movie. The characters can't make up their minds whether to shoot each other, shoot themselves or just continue waiting for Godot.

It's confusing and incoherent. It's also brilliant and a joy to watch. Produced by Francis Coppola and American Zoetrope, "Tough Guys Don't Dance" was nominated for for four Independent Spirit awards, and four Razzies, in the same year.

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The Eiger Sanction

Jonathan Hemlock (Clint Eastwood) is a retired assassin who now lives a quiet life as an art history professor (oh sure that's convincing...). His past catches up with him when he's forced to return to his former employer under threats of reporting his priceless art collection to the IRS. Hemlock is assigned to infiltrate a group of climbers attempting to ascend the treacherous Eiger in the Swiss Alps. One of the climbers, we don't know who, is a Soviet agent that Hemlock must eliminate.

The film's most striking feature is its cinematography. The climbing sequence are all on location at Eiger mountain, Monument Valley and Zion National Park. The climbing is particularly amazing, and the highlight of the film. Watching, I often wondered where the camera could possibly be. In fact one mountaineer on the crew was killed during production at Eiger by falling rocks, something that also occurs in the film.

Eastwood's portrayal of a seasoned mountaineer is convincing and impressive. He insisted on having no stunt double and, having no significant climbing experience, had to train extensively for the role. The portion of the film portraying Hemlock training for Eiger includes footage that is actually Eastwood training in Utah prior to filming in Switzerland.

The plot is a bit convoluted at times. But it's entertaining to watch Hemlock navigate the dangerous world of international espionage, as Eastwood navigates this sort of American James Bond, complete with an extra helping of sexism and bigotry. There's a comically Hollywood insight joke, when meeting a sexy native American women, Eastwood mumbles "Fuck Marlon Brando".

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Captain Clegg

This "Citizen Kane" of supernatural tax evasion, set in the 18th century, is the story of a group of King's sailors who arrive in a coastal town to investigate reports of smuggling in the form of untaxed spirits (the liquid type). They end up encountering the dreaded, sinister and mysterious marsh phantoms. "Night Creatures" (also titled "Captain Clegg"), is a terrific Hammer film blending of adventure, pirates, mystery, marshes, bootleg gin and naturally the supernatural. 

The film's minimalist and rudimentary special effects are actually rather creative and genuinely creepy in their own way. The film's coastal setting and eerie atmosphere create an intriguing backdrop for this entertaining tale. Peter Cushing, known for such iconic roles in Hammer films, delivers a typically charismatic performance as the local vicar, with something to hide. And he'd have gotten away with it to if it weren't for those meddling kids and their stupid dog!

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Big Trouble in Little China

Here we have a very '80s action adventure staring Kurt Russell's hair. The film has achieved cult status over the years and remains a popular entry in John Carpenter's filmography. Coming a couple years after his more conventional, character driven "Starman, it's an over-the-top, campy extravaganza with supernatural elements, action sequences, and deliberate humor.

Jack Burton, a brash and cocky truck driver played to perfection by Kurt Russell. Russell delivers a charismatic performance, embodying the spirit of a classic Western hero who gets tangled up in an adventure in San Francisco's Chinatown. His performance is the film's highlight.

In "Big Trouble in Little China" Chinatown, or specifically secret catacombs under Chinatown, there lurks an ancient and powerful sorcerer, Lo Pan. Jack Burton finds himself caught up in the middle of a battle to defeat Lo Pan and get his truck back... er, I mean free two green-eyed women Lo Pan has kidnapped. The film is a big budgeted take on the tropes of Chinese centered exploration film, full of martial arts, magic, stereotypes and cliches.

The practical visual effects are fun, the soundtrack is of course on point, the action is good and the script is loaded with laughs. The whole is a call back to B-action movies, Westerns and creature features shifted into an '80s thriller. Whether the tongue in cheek tone of "Big Tro6in Little China" works is a matter of taste.

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Withnail & I

Two out-of-work actors, Withnail and Marwood, embark on a disastrous alcohol fueled holiday in the English countryside where they constantly assure everyone that they are not from London.

"Withnail & I" is the very blackest of British comedy, and a sort of very English "Fear and Loathing in Los Vegas". Carrying forward the tradition of "The Young Ones"_ into the '90s, these are slakers before that was a thing - with the unique spins that only England could put on the idea.

Richard Grant delivers a tour-de-force performance as the flamboyant, alcoholic Withnail. His character is a study in contrasts. He is both a charming and repulsive force of pure chaos. Paul McGann is equally effective as the more level-headed "I", dragged along on Withnail's wild adventure.

The film's humor is dark, witty, and often self-deprecating. But the film also slips seamlessly into the truly frustrating, tragic and sad. The characters' struggles with the meaninglessness of the trappings of modern (late '80s) life are conveyed with a biting irony. 

This is definitely one to revisit soon.

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Southern Comfort

The opening of this film is some master class film making. Set is perhaps the early '70s, a group of National Guardsmen are unloading into the middle of no place in a swamp. They are unserious weekend soldiers who don't care to be there, they don't all really get along and their officers are routinely mocked. Oh, and they only have blank ammunition, loads of it. We learn everything we need about the setup in the first two minutes.

The squad we follow is assigned to match off across the swamp from point A to point B. They spend a lot of time complaining and bickering and naturally become lost. A series of dumb mistakes and they find themselves hunted by local Cajuns, who actually know what they're doing.

The film's greatest strength lies in its atmosphere. The bayou setting, with its dense vegetation, murky waters, and eerie silence, creates a palpable sense of unease and isolation. The tension builds as the guardsmen realize their predicament and that their situation has become serious. They are incompetent strangers in a strange land. They don't speak the language, they're lost (literally and metaphorically) and they're shooting blanks. The Vietnam War allegory to pretty obvious.

The film features a solid cast with Keith Carradine standing out as the only level headed one in the group. The others, again we quickly learn, are strong, weak, dumb, impulse, crazy, etc. like seven dwarves. And that's a weakness in the film. We get the situation and a superficial characteristic for each man early on, and that's it. There's little depth to these people. They are as obvious as the metaphors of the film and the plot (we know full well what will unfold) suffers for it.

The locals are likewise superficial. They are mysterious "others" glimpsed through the trees, almost monsters in fact. This is likely deliberate, and the end sequence does attempt to add a human dimension to the swamp dwellers. But it's heavy handed and not enough. A missed opportunity... 

This is not a major criticism though. The film simply does a number of things well, but a couple things merely adequately. "Southern Comfort" is none the less an engaging and exciting film from a director that knows how to hold the viewers interest. And it is definitely well worth watching.

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The Lady from Shanghai

"Like the sharks, mad with their own blood, chewin' away at their own selves."

"The Lady from Shanghai" is a enigmatic and iconic film noir that remains a timeless illustration of love, betrayal and deceit. The film's intricate plot, striking cinematography, and memorable performances make it an all time great.

A rough Irish sailor, Michael O'Hara (played by Orson Welles himself), becomes entangled in a dangerous game of cat and mouse when he by chance meets the alluring Rosalie (Rita Hayworth). Their relationship escalates of course, and mysteries accumulate, leading to murder, a touch of blackmail, and some suspenseful courtroom action.

"The Lady from Shanghai" is renowned for its striking and innovative visual style. Welles, known for pushing the bounds of filmmaking technique, employs a variety of stylistic elements to create a visually arresting experience. The film's use of deep focus, shadows, and distorted perspectives serves the sense of suspense and mystery.

The film features strong performances from its lead actors. Welles delivers a charismatic and complex portrayal of Michael O'Hara, while Hayworth is captivating as the enigmatic Rosalie. The supporting cast also contribute to the film's overall success creating an array of highly memorable characters.

This is a complex film working a great deal of depth into its multilayered plot and the double crossing characters that populate it. The film's ending has been the subject of debate. It can be seen as classic tragidy. But may also be viewed ethically void. Regardless, there's twists that hold to viewer right to the end.

"The Lady from Shanghai" is a remarkable and definitive film noir. It's fascinating, visually impressive to say the least, and highly quotable. The writing is outstanding. This isn't a film that's easy to forget. Welles and his mirrors...

"Maybe I'll live so long that I'll forget her. Maybe I'll die trying."

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The Straight Story

Right from the beginning, the Angelo Badalamenti soundtrack signals that this is a David Lynch film. But "The Straight Story" may surprise some as a departure from his usual surreal and enigmatic work. This film, based on a true story, follows Alvin Straight, a man in his 70s and in declining health, as he embarks on a journey across the Midwest alone on his riding mower. His purpose is to see his estranged brother, Lyle, who has just suffered a stroke.

The film's quiet simplicity is its strength. There's no grand arc or dramatic twists. There's just one old man's determination and the kindness of the strangers he encounters along the way.

Richard Farnsworth, in his 70s himself at the time of filming, delivers a fully engaging and understated performance. The Alvin he portrays is past his best years but resilient; a man coming to terms with his past and present situation.

Despite the film's straightforward narrative, Lynch's signature touches are evident. The film's landscapes are both serene and haunting before a lingering camera. There's also a focus on small, off beat details, significant objects, and interesting people. And of course, the soundtrack.

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Court

This intriguing film is nothing short of meditative in its slow and deliberate pacing, as it explores the glacial progress of justice in India's court system.

Narayan Kamble is an elderly folk singer accused of inciting the suicide of a sewage worker. The charge is as serious as the case against him is absurd. His case winds its way through the labyrinthine process of a Mumbai court, delayed again and again, for months, for the most trivial of reasons. Eventually, even as it becomes clear that there is no credible evidence, in a Kafka-esque twist, the mere existence of the charges becomes itself evidence of the character of the accused.

"Court" is cleverly constructed. The actual courtroom scenes are aggravatingly brief. They are interspersed with sequences of the daily lives of the court officers in the weeks between hearings. Their mundane lives form a contrast to that of the accused, who is actually in jail the entire time.

"Court" is an unflinching view into the bureaucratic red tape, the petty rivalries, bigotry and the systemic injustices that permeate the legal process. This all unfolds in a completely understated way. There are no dramatic confrontations or explosive revelations; instead, the tension builds slowly, subtly, and relentlessly through pure frustration. The courtroom scenes are meticulously crafted, capturing the mundane rituals and the absurd nature of the proceedings. The performances are uniformly excellent and authentic.

Although "Court" is entirely a dramatization, it's hard not to be reminded of the documentary works of Frederick Wiseman. Recommended...

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The Beguiled

Set in the American South during the Civil War, a badly wounded Union soldier, John McBurney (Clint Eastwood), is taken in by a group of women and young girls at a secluded boarding school.

The film's tension arises from the interplay between McBurney, not exactly an upstanding gentleman, and the school's naive inhabitants. He becomes a captive object of desire for the young women, who are isolated from the outside world. The headmistress, Martha Farnsworth (Geraldine Page), is a complex figure, torn between her instincts, her partisanship and her own interests in the soldier.

"The Beguiled" is a more of a psychological gothic thriller than a western, with themes of power, manipulation, fear and desire. It's an odd tale that can be a bit uncomfortable in parts. Eastwood delivers a nuanced performance as the enigmatic soldier, capturing both his vulnerability and his cunning. 

There's intermixed voice over, and flashbacks, that feel as awkward as the script. The performances are all quite good though, and the cinematography is solid. While the film may not hold up with some of Siegel's other works, it is basically well crafted exploration of human nature and sexual tension.

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Magnificent Warriors

This is a Hong Kong action adventure with a blend of martial arts with espionage, and a historical setting.

During war between China and Japan. The Japanese army plans to build a poison gas plant near the town. Ming-Ming, skilled adventurer and Indiana Jones-a-like, teams up with a comic relief con man and some other locals to thwart their plans and save the city. Naturally this involves quite a lot of fighting, as these things do. There's even some very good small plane stunt flying sequences.

Michelle Yeo delivers a terrific performance as Ming-Ming, showcasing her martial arts skills and overall charisma. I was a little surprised that the Japanese weren't depicted a tad more ruthlessly. For the most part they seemed to act like they were just doing boring jobs and were were perfectly happy to just leave giving the slightest excuse.

This is an entertaining adventure with pretty reasonable production values. The only odd thing... And can't say it's giving much away because you know the heroes are going to prevail... Is that they end up getting rid of the Japanese by destroying the entire town.

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Kansas City

A stylish noir set in the 1930s and a love letter to the director's hometown... We have a blend of crime drama and vibrant musical performances.

Johnny (Dermot Mulroney) is a small-time thief who crosses paths with club owner and all around mobster Seldom Seen (an amazing performance by Harry Belafonte). His wife, Blondie (Jennifer Jason Leigh), hatches a daring scheme to free him from Seen's grip by kidnapping the wife (Miranda Richardson) of an influencial politician. Her plan is a little vague though and they end up on the run throughout the city, encountering a colorful cast of characters with Altman's signature interweaving stories.

The atmosphere of the film is its strength, more than the plot though. Altman masterfully recreates the era's ambiance, with its smoky jazz clubs, vintage cars, and stylish fashions. Music provides the backbone of "Kansas City", featuring a variety of strong, extended jazz performances by well known musicians.

The film feels a bit long, but it's hard to see even a moment that could be left out. It's all solid atmosphere and rich character development, with a bit of humor in the mix.

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Black Hawk Down

"Black Hawk Down" starts out fast, dropping right into the action. From there the visuals and plot become more rapid fire and hard hitting. By mid-movie it stops dragging and picks up the pace. Then in the last third the action kicks in.

Here we have an unflinching portrayal of a 1993 urban battle in Somalia that was a major turning point in international involvement in the civil war and humanitarian crisis there. We follow a group of U.S. Army Rangers and Delta Force operators on a mission in Mogadishu that quickly turns into a brutal fight for survival. 

The film's portrayal of the battle is remarkably authentic and technically accurate, thanks to extensive research and firsthand accounts from survivors. To Ridley Scott's credit, in spite of the technical detail, the action is not hard to follow. The intensity and chaos of the fighting are vividly captured. It also manages to develop compelling characters. The audience becomes invested in the soldiers' fates.

The cinematography is gritty and realistic, capturing the harsh environment of Mogadishu and the brutal nature of the fighting. The sound design is extremely good as well, making "Back Hawk Down" thoroughly immersive from beginning to end.

Ridley Scott has been said to be hit and miss. This one is a hit.

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High Noon

Gary Cooper is Marshal Will Kane, who has just married the woman of his dreams, Grace Kelly, and is hanging up his badge to ride off into the sunset. Word comes through that a dangerous outlaw he put away years before is out, and out for revenge. He's headed to town on the noon train, and he'll have his murderous gang with him. But the new marshal hasn't arrived yet! Kane annoys his new wife by deciding to keep the badge one more day, face the outlaws and protect the town.

Suspense builds as the film unfolds in near real time and the clock ticks down to noon. And Kane finds the men of the town unwilling to stand with him. He is left alone to face the enemy, as the townspeople turn their backs out of fear. Themes of isolation and betrayal immerge.

Gary Cooper delivers a powerful performance as the embattled marshal, and Grace Kelly is also outstanding, as usual. The film's score, composed by Dimitri Tiomkin, is instantly recognizable. And the cinematography is top notch with care and detail in every frame.

The film's focus on character development and moral dilemma sets it apart from other Westerns. The plot was seen by many as watching Kane sulk about begging for help from a bunch of cowards unwilling to stand up. John Wayne called "High Noon" unamerican. We know what that meant in 1952...

"You risk your skin catching killers and the juries turn them loose so they can come back and shoot at you again. If you're honest you're poor your whole life and in the end you wind up dying all alone on some dirty street. For what? For nothing. For a tin star."

Blue Collar

This film features quite a cast. Three autoworkers, Zeke (Richard Pryor), Jerry (Harvey Keitel), and Smokey (Yaphet Kotto) struggle to support their families and pay their bills against a background of systemic injustices, corruption and harsh economic reality. The film touches on economic stratification, union connections to organized crime, racism, urban decay and the decline of American manufacturing.

The strength of "Blue Collar" is its unfiltered depiction of the characters and their lives. The trio of actors deliver powerful performances, capturing frustrations, hopes, and dreams with authenticity. Pryor, in particular, delivers a standout performance, balancing just a slight touch of humor with a deep-seated anger and disillusionment.

In desperation to cover everyday expenses the characters' decisde to rob their union office in hopes of getting a couple thousand dollars ahead. While the money doesn't pan out, they accidentally end up in possession of records of significant corruption. They quickly find themselves well over their heads in dealing with to powers that be.

Plot aside, "Blue Collar" is an outstanding portrayal of the American working class in the late 1970s, an era of double digit inflation and the dawn of preditory consumer credit. It can be a bit bleak at times.

The end is a little abrupt and not completely satisfying. But then again this is the point afterall. The system will prevail. They never stood a chance.

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Paranoiac

"Paranoiac" is a psychological thriller from Hammer Films offering up deception and paranoia with a side of inheritance.

Simon Ashby is a reckless, hard drinking and brash young man living with his aunt, Harriet, and his sister, Eleanor. In a short time Simon will inherit his deceased parents substanial estate. But things are disrupted when Eleanor and Simon's brother, Tony, eight years dead, seems to return. Believed to have committed suicide years ago, Tony's reappearance throws the family, and the disposition of the estate, into uncertainty. Simon is convinced that Tony is an imposter. When even more mysterious events unfold, the plot takes a few twists and turns.

This is a pretty good one, dark and entertaining. The twists and turns are well-crafted, keeping things uncertain until the climactic ending. Paranoia, madness and the blurring of reality and illusion resonate throughout and the performances hold up well. Ok, a little predictable, but so what. While not as iconic as some of Hammer's films, it stands as a solid entry in the catalogue.

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10 Rillington Place

"10 Rillington Place" is a British thriller film based on the true story of John Christie, played by Richard Attenborough, a serial killer who murdered at least eight woman, including his own wife, in London during the 1940s and early '50s. Christie hide the bodies in various places in his home over many years. The film is a slow and deliberate, matter of fact style portrayal.

Richard Attenborough is a stunning as Christie. This is one of the most unsettling villainous portrayals I've seen. Attenborough's quiet demeanor and obviously deceptive charm is truly unnerving. 

John Hurt is outstanding as Timothy Evans, the husband of one of the victims who came to be wrongly accused. He is a simple working man, who can not read or write and who finds himself overwhelmed and powerless in the course of events. One disturbing aspect of the film is the miscarriage of justice that occurred when Evans was convicted. There's a sub-theme of the vulnerability of individuals in the face of a inadequate legal system, as in the real story police did rather bungle their investigation.

"10 Rillington Place" isn't a mystery, we know Christie is a killer right from the beginning. Nor is this a jump-scare sort of film. The film uses a quiet pacing to allow tension to build slowly as the viewer becomes increasingly aware of the depth of evil in the man, as Christie gradually unravels and loses control of his seemingly normal life.

I'm not usually a fan of abrupt endings with text epilogues telling us how things turned out, and this film has that. Then again this disturbing tale isn't one that could ever wrap up nicely and neatly. It works.

Fun fact... Not shown in the film is that Christie saved hair from his victims. When his crimes were finally uncovered, their were hair clumps that could not be matched to a known victim. It is likely that Christie murdered more women than were ever discovered.

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Guess Who’s Coming to Dinner

Joanna Drayton (Katharine Houghton) is a young white woman from a prominent white family with wealthy parents, who are white. She takes a trip to Hawaii and in just ten days becomes engaged to a well known doctor, John Prentice. The film opens as they return to San Francisco and stun Joanna's parents, Matt (Spencer Tracy) and Christina (Katharine Hepburn), with the engagement news. Oh, and Doctor Prentice is a "colored man" (Sidney Poitier). And it's 1967.

The Draytons liberal values are put to the test by their daughters enthusiasm for John. While supportive of their daughter's happiness, there's just something about John Prentice that they struggle with. Things go from awkward to comically awkward to even more comically awkward when Joanna invites John's parents (also unaware of the situation and equally not white) to fly up from Los Angeles and join them all for dinner. Awkward...

This is an entirely dialogue driven film with very limited settings (the Drayton house). Front and center are the biases, fears and the societal pressures surrounding interracial relationships. Race was a defining issue of America in the 1960s and the tensions in this film, softened by humor, would be all to poignant to period audiences.

The film offers a nuanced exploration of prejudice, examining both overt and subtle forms of racism. The Draytons, and John's parents, despite their liberal beliefs, struggle with their own preconceived notions, and fears for the future, highlighting the complexities of human nature in transitional times. While emphasizing the potential of love to transcend societal barriers and be a catalyst for progress, the film also uses the generational divide between the parents and children in their attitudes towards race. 

Spencer Tracy, Katharine Hepburn, Sidney Poitier carry this movie with outstanding performances. Poitier's dignified and commanding presence informs the plot, while his insecurities about his own parents linger. John's value of large scale social change in conflict with personal doubt in ones closest relationships highlight the core theme of the film. The entire supporting cast is likewise up to the material. "Looks Who's Coming to Dinner" is quite funny at times, but also seriously emotionally engaging from beginning to end. As a bonus there's a fair amount of on location footage of San Francisco in the '60s.

Much has changed since 1967, it can not be denied. As mentioned in the script for example, the central relationship of John Joanna was literally illegal in many states when this film was released. But just the same, "Looks Who's Coming to Dinner" is a story that could well play out today.

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Please Give

A character driven life in the city film... "Please Give" revolves around Kate (Catherine Keener) and Alex (Oliver Platt), a married couple who run an antique furniture store, and their teenage daughter. Their lives intersect with a colorful cast of supporting characters. Each character is in their own way navigating phases and transitions of life and relationships, satisfactions and dissatisfactions, including aging and even death.

The script is sharp and witty, filled with quick, insightful dialogue, cringes, chuckles and relatable moments. The characters are flawed and complex, making them both sympathetic and frustrating at times. Keener and Platt deliver strong performances, capturing the nuances of their characters with subtlety and depth. First world problems and middle class guilt, New York life, laughs, no car chases...

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Repo Man

"The more you drive, the less intelligent you are".

In the realm of cult cinema, "Repo Man" stands as a towering heap of subversive humor, a comedic odyssey of '80s American culture and the absurdities of modern life. Director Alex Cox blends punk rock sensibilities, sci-fi elements, and social commentary to create a hilarious and enigmatic film that has puzzled audiences for decades.

From the opening scene, Repo Man sets the tone with its irreverent approach. Otto, a quintessential middle class suburban punk rocker with a penchant for chaos, falls in with the Helping Hand Acceptance Corporation; repo men, a motley crew tasked with reclaiming repossessed cars amidst the gritty backdrop of Los Angeles. The film's humor is deeply rooted in its characters, each a caricature of society's fringes, from the world-weary Bud, Otto's grizzled mentor, to his colorful coworkers, regular "customers" and their obsession with acquiring a Chevy Malibu powered by aliens, or something....

Cox's script is laced with absurdist humor, seamlessly weaving surreal elements into the narrative. A recurring gag involving generic signage and labels adds a layer of satirical commentary. The film's humor carries a sharp edge, poking fun at consumerism, materialism, and the underlying anxieties of the Reagan era.

"Repo Man" is also deeply influenced by the punk rock culture of the time. The film's soundtrack features a vibrant mix of punk and new wave music, perfectly capturing the rebellious spirit of the characters and the 1980s. The music not only enhances the comedic moments but also serves as a commentary on the film's themes of alienation and anti-establishment sentiments.

Alex Cox's direction is both frenetic and stylish, capturing the energy of the punk rock movement and the chaotic world of the repo men. The film's editing is sharp and unpredictable, adding to the overall sense of urgency and absurdity. The cinematography, with its use of high contrast and grainy textures, effectively conveys the gritty underbelly of Los Angeles.

Repo Man is a film that revels in the strange and the subversive, challenging conventional notions of narrative and pushing the boundaries of what is considered normal cinema. For those who appreciate a unique and absurdist brand of humor, "Repo Man" is a treasure trove that will leave you quoting lines for years to come.

Fun fact... The man player the manager of the grocery store was the UCLA film school librarian. He wasn't popular with students, getting him beat up is an inside joke.

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Mysterious Island

A group of Union soldiers who escape from a Confederate prison in a hot air balloon, as one does. After a harrowing journey carried by a huge storm thousands of miles, they find themselves marooned on a mysterious pacific island. There, they encounter mysterious strange giant creatures, and a mysterious benefactor assisting them That benefactor eventually turns out to be Captain Nemo who is not quite as deceased as "20,000 Leagues Under the Sea" leads us to believe.

The show for this one is Ray Harryhausen's Special Effects: "Mysterious Island" is celebrated for its stop-motion animation effects, which bring the island's fantastical creatures to life in a way that was unprecedented for the time. There's the giant crab, the prehistoric "chicken," and of course the enormous bee. These enormous creature effects are impressive today, particularly for the enormous effort they required, and are a major draw for audiences. The innovative mat work is also not to be overlooked. The film's plot is a fairly simple adventure adventure that, on the other hand, is best not thought about too deeply.

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Savage Hunt of King Stakh

"We have more ghosts than live people."

This is a dreamlike Belarusian folk horror from 1980, set in 1900. It's a haunting, atmospheric slow burn tale of myth, superstition, and the supernatural. The film follows a young researcher of legends, Andrei Bielarecki, who ventures into the remote Belarusian countryside to investigate local folklore. He finds himself, on a dark and stormy night, at a secluded castle where he encounters remaining members of a family haunted by a centuries-old curse. The legend tells of King Stakh, a local ruler who was betrayed and murdered. Now, he and his huntsmen are said to roam the mash land, seeking revenge.

Pretty quickly bodies start to accumulate. Is it the long dead king? Or is there something else going on among the local colorful characters? Bielarecki receives plenty of warnings form the local authorities to clear out. 

"The Savage Hunt of King Stakh" is visually impressive, dripping with all things gothic, with lush cinematography and a haunting score. The Belarusian countryside serves as a backdrop for a chilling tale of folklore and superstition. The film's slow pacing allows the atmosphere to build slowly and steadily. 

The performances are solid, with the actors conveying a sense of dread and unease. The film's supernatural elements are handled with a sense of restraint, allowing the viewer's imagination to fill in the gaps. 

It's hard to image what the film industry must have been like in Belarus in the era of the Soviet Union. But if you enjoy this sort of horror, it's a terrific film for fall and winter nights. This is an experience.

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The Heroes of Telemark

This is a (somewhat) true story of a small group of Norwegian resistance fighters who risk their lives to sabotage a heavily protected Nazi heavy water plant during World War II. At one point the use of heavy water was believed to be a possible path to an atonic bomb. Disrupting the German atomic program was a major priority for the allies. 

The film stars Kirk Douglas as Rolf Skisakera, a Norwegian scientist who provides vital information about the plant and Richard Harris as Kåre Stenstad, a Norwegian resistance leader. Kirk Douglas's character is not entirely sympathetic. In fact he's, kind of a jerk. Some of this seems unnecessary to the plot, making me wonder if the role is based on the character of an actual person. 

The film is a suspenseful thriller more than a war movie. The action sequences are well-staged and tense, and the special effects, mostly miniature work I assume, are impressive. The the cinematography is quite good with what I assume to be extensive on location footage, capturing a stunning winter landscape. There's quite a lot of sneaking around in deep snow, repelling off steep cliffs and, of course, skiing. 

A small criticism I'd make is that the character's nationalities were handled inconsistently. The Germans spoke English when it was plot-convenient and German otherwise. When they spoke English an accent was included (not that it wasn't obvious who the Nazis were). The Norwegians however spoke with either some sort of vague "Norwegian" accent, or in a somewhat British accent (or an actual British accent where the actors were in fact British). Other Norwegian characters spoke in an American manner. Douglas used his normal voice throughout, for example. Because of this I didn't realize until quite a bit after Douglas's character appeared that he was in fact supposed to be Norwegian. 

Anyway, your basic "men on a mission" film, which also takes place during the Christmas season as it happens. So it's a Christmas movie.

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Death Rides a Horse

"Two lessons, my son. First, watch behind you. Second, count your shots - four bullets for one man, that's a waste."

A classic spaghetti western with a revenge tale and quite a memorable score, and featuring Lee Van Cleef... Bill Meceita (John Phillip Law) is a young man who witnessed the brutal murder of his family as a child. Fifteen years later, he sets out on a quest for revenge, seeking to find and kill the bandits responsible for the tragedy, each one with a tell tale identifying feature. The inexperienced but driven young man crosses paths with Ryan (Van Cleef), a seasoned gunslinger who is also seeking retribution against the same people after spending 15 years in prison. 

Law and Van Cleef deliver compelling performances with some memorable interactions. They bring their characters to life with intensity and nuance. The Ennio Morricone's score is a highlight of the film, providing a haunting and atmospheric backdrop to the action. The classic revenge narrative is well-executed and keeps viewers engaged and invested in the characters' journey. This western has it all.

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Night of the Comet

"Night of the Comet" is very, very '80s. Two sisters who survive a comet that wipes out most of the world's population. The film is part apocalypse, part zombies, part conspiracy, part exploitation, part comedy and all campy. 

The film is a product of its low budget era, with all the fashion, music, and aesthetics of the 1980s. I don't recall the '80s being quite so ridiculous, but I guess everyone thought it was, or wanted it to be.

Also, it's a Christmas movie.

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Seminole

We've all been there. You start a new job, show up on your first day, and find out your boss is a complete jerk.

"Seminole" is set in 19th century Florida, but is none the less a western. Directed by Budd Boetticher, the film stars Rock Hudson, Anthony Quinn, and Barbara Hale. There's also an appearance by The Professor, Russell Johnson.

Lieutenant Lance Caldwell (Rock Hudson) is a young officer is sent to Fort King in Florida where the army plans to force the Seminoles to the west. He's from the area. He learns his childhood friend, Osceola (Anthony Quinn), has become the chief of the tribe, and a resistance leader. While Caldwell desires peace with the Native Americans, his commanding officer is determined to use force to assure their relocation. Caldwell finds himself caught between his loyalty to the Army and the threat of violence.

While the film is fiction there is a framework of historical events. It provides a glimpse of the relationship between the U.S. government and Native American tribes, and the clash between the American frontier culture and the Seminole way of life. Misunderstandings and prejudices are central to the plot, with less, if slightly, of the common simplistic stereotypes. The Seminoles are peaceful, but not entirely innocent and the army are certainly not wearing white hats 

The performances of Rock Hudson, Anthony Quinn, and Barbara Hale are noteworthy. The Technicolor presentation is terrific. There's some excellent scenery and color costumes.

"Seminole" is a solid western that offers a compelling narrative and strong performances. While it may not be a masterpiece, it provides a satisfying view and a bit of suspense.

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Casino Royale

It seems Bond just happens to need the specific equipment he's given in each movie. For example, I don't recall him ever needing a defibrillator, but in this film he does. His car is equipped with one. Doesn't he ever get suspicious about this?

Anyway the 2006 "Casino Royale" marks a triumphant reboot of the James Bond franchise, introducing a grittier, grounded take on the spy that is somewhat closer to the blunt instrument Bond of the novels. Daniel Craig's portrayal of a young, inexperienced and reckless 007 is a breath of fresh air, setting a new standard for the character.

This Bond is less about gadgets and campy humor opting for a grounded and realistic approach. Craig to delivers a nuanced performance that showcases both Bond's casual ruthlessness and his determination. Mads Mikkelsen's portrayal of Le Chiffre, a terrorist financier, is one of the best villain performances in the series. His complex motivations and cruel, calculating nature make him a formidable adversary.

The film's ending has the tone of a cliffhanger, and yet is satisfying, leaving the audience eager to see more of this new James Bond.

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Juggernaut

"Juggernaut" is a '70s, and British (what more do you want?), disaster film following a luxury cruise ship, the "Britannic" (seriously?), which is taken hostage by a mysterious bomber calling himself "Juggernaut." There are seven highly complicated bombs on board and the secret to defusing them costs 500 thousand pounds. A team of bomb disposal experts is air dropped to the ship at sea while police at home work to find the bomber.

This film is all about tension and suspense. The pacing is deliberate, punctuated by a few humous moments (yes, including references to the Titanic), building anticipation as the characters race against time to prevent disaster. Stormy weather conditions add to the danger, and make working on the bombs more interesting. The acting is solid, with strong performances from Richard Harris, Anthony Hopkins (with hair), and Ian Holm (also with hair). Omar Sherif and his mustache are the ship's Captain.

This is definitely a better film than I was expecting. While the plot is relatively straightforward, it's the execution is enjoyable. The suspenseful atmosphere, coupled with the effective practical special effects, and an interesting ensemble cast for the passengers, makes for a nice blend of action, suspense, and a bit of mystery.

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The Desperate Hours

Here we have a classic '50s thriller featuring powerhouse performances from Humphrey Bogart (one of his last films) and Fredric March. The film centers around a typical suburban family held hostage by three escaped convicts. The film's themes of the fragility of suburban life, fear of crime and general paranoia would definitely resonate with audiences of the 1950s.

The narrative unfolds as three escaped felons, led by the charismatic and menacing Glenn Griffin (Humphrey Bogart), seek refuge in the home of Dan Hilliard (Fredric March), a respected businessman. They just need to lay low until Griffen's wife can arrive, at midnight, with money they need to stay on the run. As the hours tick by, the tension mounts as Hilliard must navigate the delicate balance of protecting his family while trying to outwit the dangerous intruders. Things get more complicated when it becomes clear that Glenn's control over his follow fugitives may not be so solid.

Bogart and March go head to head delivering tour-de-force performances. Bogart's portrayal of the cunning and ruthless Griffin is chilling and captivating. March, as the stoic and determined Hilliard, is equally impressive, showcasing the wide range of his acting ability.

The film is based on a stage play, and that's easy to see. There is that sort of deliberate pacing that can feel slow. But the limited sets provide a claustrophobic setting, confined mostly to the Hilliard household, creating a palpable tension. Wyler's direction is masterful, building suspense through subtle camera movements, sound design, and carefully paced storytelling. There are many amazingly well composed frames in this film.

Fun fact... In the Broadway production of "The Desperate Hours", Glenn Griffin was played by a young Paul Newman. For the film adaptation Wyler went with the bigger star, Bogart, who he also felt was more age appropriate.

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Last Train from Gun Hill

Matt Morgan (Kirk Douglas), a U.S. Marshal, is set to find the men that raped and murdered his wife. He soon finds out it was the son of his old friend, Craig Belden (Anthony Quinn). Belden, a rich and powerful rancher, refuses to turn his son over, leading to tense confrontation between the two former friends. Morgan determination to bring justice to his wife's killers, leads to a climactic showdown on the titular "Gun Hill."

Douglas and Quinn deliver outstanding performances, bringing depth and nuance to their characters. Their on-screen chemistry is palpable, adding to the film's dramatic tension. John Sturges's focus on character development is impressive. Through close-ups and carefully crafted dialogue, he delves into the inner turmoil and motivations of Matt Morgan and Craig Belden. The characters' personal journeys make them relatable and compelling as they are driven, like a train on tracks, to an inevitable showdown.

In these characters, Sturges forgoes traditional Western tropes through extensive moral ambiguity. The two men are not easily categorized as heroes or villains. Morgan, who is ostensibly represents law and order, is is an outsider here, driven by rage. Belden is a tragic figure, disappointed with his son, but unwilling to set aside his family ties. The actions of the two men are driven not by pure right and wrong, but by complex motivations, personal vendettas and loyalties. This forces the consideration of the complexities of justice and revenge.

"Last Train from Gun Hill" does not disappoint. The emotional range of Douglas's performance in the finale is masterclass.

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Coogan’s Bluff

Fish out of water Clint Eastwood as Walt Coogan, a rugged Texas - er, I mean Arizona deputy sheriff, who finds himself out of his element in the bustling metropolis of New York City. Coogan is tasked with extraditing an annoying criminal back to Arizona. But when he arrives in New York, he quickly discovers that the big city does things differently from back home. Coogan's straightforward, no-nonsense approach clashes with the by-the-book bureaucratic and cynical New York police force. When the man he was supposed to escort escapes, Coogan takes it upon himself to find the fugitive, over the objections of the local authorities. Along the way he encounters a colorful cast of characters.

Eastwood delivers a strong performance as the stoic and determined man-few-words Coogan, whose stubborn integrity and rugged charm, and slight naivete, make him a compelling protagonist. The film's gritty portrayal of 1960s New York City adds to its appeal. The film loaded with dated cliches, plenty of tropes, hippies, and, while the plot may be predictable, there's some good action toward the end. The supporting cast, practically a who's-who of 1970s character actors, provide adequate performances.

There's hints of the later Dirty Harry films here, but "Coogan's Buff" has a lighter feel to it. It almost plays like a made for TV is places

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Dawn of the Dead

"Night of the Living Dead" and "Dawn of the Dead" are ten years apart. And I can't say which one I like more. These are landmarks in horror, films that redefined and elevated the zombie subgenre to universally recognized popular culture. Both of these films are masterful blends of horror, social commentary, and even satire that continue to find fans in each new generation of viewers.

The first of these two films is thinly vailed commentary on race issues in America in the '60s. The second is about the absurdity of American consumerism. I have read that George Romero claims that he wasn't thinking of these things at the time. If so, it's quite a surprise. The themes are pretty hard to miss in both films.

"Dawn of the Dead" follows a group of survivors who seek refuge in a shopping mall as the zombie outbreak sweeps the nation. The mall becomes a microcosm of society, a place where the survivors play out a consumer fantasy of having everything at their fingertips. Of course at the same time danger always lurks, and often not from the undead.

"Dawn of the Dead" is extra fun for anyone that remembers what stores and products were in malls of the '70s. There's a lot of obsolete stuff and nostalgia in the film, and today malls themselves are their own kind of undead anyway.

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Time of Roses

It's always fascinating to see the way films visually represent the future. Usually, we see nothing more than "slicker" devices and faster means doing the same exact things done when the film was made, and very rarely anything genuinely new and not commonly imagined at that time. "Time of Roses", made in the '60s, and set in the 21st century, is one of the few such films I've seen that made the video displays flat. They got that right. When they get the day's news, the articles are individually selected according to the individual's profile. They got that right too. But when they actually read the news, the central information system has printed it out for them on sheets of paper. This film is loaded with gems like that, to say nothing of the inflatable furniture, the use of a slide rule and the backseat driving cars... 

Anyway, "Time of Roses" is considered to be Finland's first true science fiction film. It offers an exploration of memory, history, and the nature of identity in a modern society that tends totalitarian and suppresses focus on the individual. Made in 1969, against a backdrop of the social unrest of that time, the film presents a dystopian future, 2012, characterized by surveillance, conformity, and a superficial understanding of culture, individuality and freedom. As an interesting aside, they have a particular television channel where anyone is allowed to speak their mind. But it's not useful for social activism because no one watches it.

Anyway, we follow a documentary filmmaker set on creating a biographical film about an ordinary and unknown person from the past. Does such a film elevate the common person, or does it humble individuals of the present? A woman from 50 years before is selected almost almost at random from a photograph, and he sets to researching her life.

Remarkably, by chance (or is it?) the film maker finds an ordinary worker with an uncanny resemblance to the woman in everyway. He casts her in his dramatizations. As they work together on the project, lines between individuals, past and present, begin to blur. The protagonist's quest to create a truth about two women becomes a metaphor for society's struggle to reconcile its past with its present, and the individual with a rational collective.

"Alphaville" meets "Vertigo"...

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Pacific Rim

It seems like Guillermo del Toro can competently make any sort of film he likes. Here we have an over-the-top action movie that delivers exactly what it promises, and pretty much nothing else. You get colossal robots battling monstrously giant creatures from another dimension. 

The practical effects and CGI are top-notch, creating a believable and immersive world. The visuals are meticulously designed, with each creature possessing unique characteristics and abilities. The action sequences are exhilarating, with the robots and monsters engaging in intense, destructive battles that are both awe-inspiring and just just plain nuts.

I guess there's also a plot and some characters. The story revolves around the Earth's defense against colossal monsters, known as Kaiju, that emerge from the Pacific Ocean (for some reason). To combat these creatures, humanity has (of course) developed giant robots called Jaegers, piloted by pairs of humans connected through a neural bridge (because that's how it works). As the Kaiju threat intensifies, and the monsters get larger, a washed-up former Jaeger pilot and a promising young trainee are tasked with piloting an obsolete Jaeger as humanity's last hope. Charlie Hunnam and Rinko Kikuchi deliver acceptable performances as the jaeger pilots. Idris Elba adds a commanding presence as a veteran Jaeger commander.

"Pacific Rim" promises giant robot vs. monster battles, and it delivers. It's a visually stunning spectacle of an action movies. And just when you think it's over the top, there's more, bigger and crazier. I want to know how anything can be insured in the world of this film. And why is anyone living anywhere near the Pacific coast anymore? How come they don't nuke the monsters in the middle of the ocean when they emerge instead of waiting for them to get to coastal cities? And what about the... Oh look! A giant robot beating a monster with a cargo ship like it was a baseball bat!!

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Battle of the Worlds

"Battle of the Worlds" is a groovy '60s Italian sci-fi that imagines a classic alien invasion with its own cheesy charm. This midcentury cocktail of practical effects, stunning sets, and nonsensical science delivers a surprisingly engaging plot. Sure, it's dated, but it's far from your typical low-budget affair.

The film's extraterrestrial encounter draws parallels to 1953's "War of the Worlds," offering a different story but similar themes. While the science is outlandish, "Battle of the Worlds" boasts a solid cast, with Claude Rains delivering a standout performance as Professor Calderini, a scientist obsessed with the aliens. There's even a touch of humor in the script.

This is a fun and entertaining sci-fi film making a genuine effort to leave an impression.

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