Rope

Alfred Hitchcock's "Rope" is a technical marvel, and a daring experiment exploring dark angles of human nature. Students Brandon Shaw and Philip Morgan commit a premeditated murder as an intellectual exercise, convinced their own superiority exempts them from common morality. They then host a dinner party, concealing the body in a chest in the same room where their guests are gathered.

Hitchcock creates mounting tension throughout the film. The audience is aware of the crime that has been committed right in the opening scene. The suspense builds as we watch the two men struggle to maintain their composure and avoid suspicion. 

Hitchcock's decision to shoot the film in one place, in long, uninterrupted takes, creates immediacy and claustrophobia. The audience becomes a virtual guest at the dinner party hosted by the murderers. There is no musical score.

The film's psychological depth is explored through the characters of Brandon and Phillip and their motivations. Brandon, the more intellectual of the two, is driven by a Nietzschean philosophy of the Übermensch, believing himself to be beyond the constraints of morality. Phillip, on the other hand, is more emotional, seeking validation through Brandon's approval.

The performances in the film are superb. John Dall and Farley Granger are convincing as the two murderers. James Stewart is excellent as Rupert Cadell, a guest at the party who comes to suspect that something is amiss. 

The choice of Stewart in this role, a teacher who planted the seeds of Brandon's unorthodox views, is an interesting one. Audiences were taken aback by the kindly and consummate hero speaking of the justification of homicide of the inferior by the superior. Indeed Stewart has an awkward feel about him in "Rope". James Mason is mentioned in conversation in the script. Mason is far and away the more obvious choice for the role of Rupert. That Mason's name is dropped in conversation feels very much like a Hitchcockian jab at critics after the quite deliberate choice of Stewart in a role that questions good and evil as mundane and proletarian concepts.

"Rope" probably isn't the best entry point for viewers new to Hitchcock. But it is a terrific film.

"I just want to decide who lives and who dies." - Crow T. Robot

Night of the Living Dead

This spare black-and-white masterpiece defined the zombie genre and introduced a new level of realism to American film. Its ongoing impact on popular culture is undeniable.

Aside from the obvious subject matter, the film's low budget allowed for innovative approaches to storytelling and an unflinching portrayal of violence. Perhaps out of necessity, or perhaps instinctively, Romero takes a vérité approach, creating a gritty and atmospheric experience that mixes well with the horror of the Film's events 

The film's use of race and class in exploring the breakdown of social structure resonated with contemporary audiences. I have read that George Romero says he was not thinking of themes of racial tension when he made this film, in 1968 no less. I just can't believe that.

Romero has also said that race was not a factor in casting of Duane Jones, in spite of a black man leading in such a film was quite groundbreaking and raised some eyebrows. Jones, by far the best actor in the film, spent much of his subsequent career in theater, teaching acting, and promoting African American actors. He distanced himself from "Night of the Living Dead" and apparently did not like to talk about his role as Ben when he was recognized by students.

"Night of the Living Dead" may seem a little campy today. But it is a landmark film that has influenced countless horror movies that followed. Its impact on popular culture is undeniable, and its themes of fear, death, and societal decay continue to be relevant. 

Funny thing though, after all that argument, he ends up barricaded in the cellar anyway.

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The Phantom of the Opera

Hammer Films' take on "The Phantom of the Opera" includes quite a lot of actual opera, with a blend of gothic horror in the mix. A nicely done aesthetic in Technicolor sets the stage, but a mediocre film.

This one is leans more toward character drama, or perhaps mystery, than horror as such. Otherwise it's about what one expects from Hammer, more less, less mostly. Bit slow in places, adequate performances, harmless. The phantom here is no Lon Chaney.

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The Hitcher

Rutger Hauer delivers a truly iconic, reference level performance as "John Ryder", an enigmatic and murderous hitchhiker tormenting the young protagonist, Jim Halsey (C. Thomas Howell). Hauer's portrayal of Ryder is a mesmerizing and disturbing blend of evil and unmitigated violence. His character is one of the most memorable villains in horror cinema.

The film's narrative is driven by a relentless sense of dread, as Jim finds himself trapped in a very serious game of cat and mouse with Ryder. The suspense is palpable, and the film's non-stop stress keeps viewers on the edge of their seats. 

"The Hitcher" manages to quickly create, and maintain, a nearly constant sense of dread and fear throughout the film right to the credits. To briefly touch on just one element, the cinematography is a significant contributor to its suspenseful atmosphere. There's a stark, realistic style that highlights the film's violent tone. The warm color pallet compliments the dusty desert settings. Wide-angle lenses in close quarters create a sense of claustrophobia in confrontations between Jim and the Hitcher. There's also extra low and high angles that create their own emotional impact in key scenes. The camera often moves with a character (Jim), from behind, prepping the viewer to expect a reverse cut to his menacing pursuer. But the cut usually doesn't occur - this is a simple and effective technique for maintaining stress levels, used throughout the movie.

Despite being released over three decades ago, "The Hitcher" remains a powerful and disturbing film. "What do you want?" the hitcher is asked. What does evil want? Does the question even make sense?

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When the Daltons Rode

 Old school western with a surprising number of extras in the crowd scenes... "When the Daltons Rode" is a fictional portrayal of the Dalton brothers with action, gunfights and an annoyingly hefty bit of humor both corny and goofy.

Broderick Crawford as the charismatic and rebellious Bob Dalton, stealing the show with his energetic performance. Brian Donlevy also delivers a solid performance. Randolph Scott is Randolph Scott, rather nerdy young lawyer version. The characters are weak for such a strong cast. I like to picture roles like this one as the prior life of the western characters Scott plays later as an older actor.

The film isn't real long and gets right to the point. The plot is straightforward but effective enough, following the Dalton brothers' descent into outlawry after a series of unfortunate events. There's several well-choreographed action sequences, classic stunts, robberies, an angry mob, and a climactic shootout.

I have a family connection to the Daltons. Make no mistake the film takes some creative liberties with the historical outlaws, to say the least. But it manages to capture the spirit of classic Hollywood's Wild West.

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Perfect Days

"Why can't everything just stay the same?"

A serene film that invites the viewer to slow down and appreciate beauty in the ordinary... A middle-aged public toilet cleaner in Tokyo, leads a simple, routine-filled life. Through his meticulous rituals, love of music, and quiet observation of the world around him, the film offers a meditation on mindfulness, solitude, dignity and joy in simple things.

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John Wick: Chapter 3 – Parabellum

John Wick takes down countless enemies with guns, lots of guns.... Note to film makers; while fun, including a famous line uttered by the same actor in a thematically similar but superior film does not make your own film better.

In "John Wick: Chapter 3 - Parabellum" after events of the prior installment, John Wick finds himself with a bounty on his head and the target of assasines worldwide. He proceeds to dispatch the opposition not just with guns, but with knives, a horse, a book, assorted home furnishings and more. That's pretty much the film, non-stop. The dog is fine in this one though.

The film's sleek cinematography, neon aesthetic, and meticulous attention to detail create a stylish visual world. The sound design is outstanding of course. For plot and character development, chapter 3 just leans on chapters 1 and 2. John Wick takes down enemies in ever increasingly creative ways. The end. Parabellum... I assume from the title that this is all just setup for chapter 4.

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Constantine

Keanu Reeves, the man who once graced the silver screen with such profound wisdom as "Whoa," has come a long way. Here he brings us a supernatural thriller in which he smokes far too much. As the film illustrates, smoking is an extremely difficult habit to control, and being as emotionally troubled as Constantine is certainly doesn't help. 

The film, a masterpiece of subtlety and nuance, follows Constantine as he navigates a world teeming with demons, angels, and smoke both first and secondhand. It's a gripping tale of questioning the nature of good, evil and nicotine addiction.

The special effects are the star of the show, particularly the innovative use of CGI to make highly realistic cigarette smoke. Pretty much everything smokes in this film. The plot, on the other hand, is a bit of a smoke screen.

Smoking has been shown to lead to heart disease, high blood pressure, cancer, visions of hell and interactions with an array of demons. In extreme cases smoking can even lead to confrontations with Lucifer himself. Remember kids, John Constantine is a fictional character. Battling the supernatural all day and night may look cool, but it's not. It may seem like it's just one after work, or one or two with drinks on Saturday nights, but before you know it it's a pack a day and your debating the finer points of redemption with an archangel. You're going to lose that one. Save your health, and your soul, don't smoke.

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Marooned

Directed by John Sturges, this follows three Apollo era astronauts who find themselves stranded in orbit after a problem during their return to Earth from a trip to an orbital station. As their oxygen supply dwindles, a desperate race against time, both in space and on Earth, unfolds to get them back safely. Comparison to Apollo 13 (the mission and the film) are fair game..

The timing of this film is interesting. The first manned Apollo flight, Apollo 7, launched in October of 1968. "Marooned" was released in 1969, so viewers were familiar with the Apollo spacecraft and equipment. "Marooned" is set in a hypothetical near future of the space program as it was understood at that time. The space station for example, launched as the top section of a Saturn V, was an early Apollo idea that was never built. The later Skylab platform did work that way however. Overall, since "Marooned" goes to significant effort to be realistic, it's interesting to see what it has right, and what's just a bit off. It's uncommon for a film that is essentially a futuristic adventure, be so grounded in specific contemporary technology. As a bonus, it features an experimental aircraft of a type that was quite popular at the time.

Notably "2001 A Space Odyssey" also came out in 1969, and I can only assumed over shadowed "Marooned" significantly. There are parallels in the realist style of the special effects. 2001 is superior, it goes without saying, but the miniature effects in "Marooned" are actually quite good. It's not the sort of thing audiences were used to seeing.

As to the film itself, it's so busy trying to be realistic that it simply fails to create a sense of urgency. The ticking clock of the astronauts' dwindling oxygen supply, and an approaching hurricane, should provide plenty of suspense. But the treatment of the challenge as a technical, engineering and even bureaucratic, problem (which is to say realistically) sucks the energy out of the plot. 

The cast is quite good though. Gene Hackman, Richard Crenna, and James Franciscus bring convincing depth and emotion to their roles as the stranded astronauts. Gregory Peck of course is great as the NASA administrator leading the rescue effort.

In spite of its flaws, "Marooned" captures the zeitgeist of the late 1960s space race. Its fictionalized account of a potential space disaster, is rather fascinating. This one is an interesting product of its time, and not terrible, if a rare miss for Sturges. Of course the movie also includes quite a lot of smoking.

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Earthquake

"Earthquake" is a classic disaster film that shows the destruction of Los Angeles as well as its age. This one was pretty close to the first of a run of the large cast disaster films that filled theaters in those days. There's a solid ensemble cast of '70s stars including Charlton Heston, Ava Gardner, and George Kennedy, and more. Performances are adiquate, but the real star is the earthquake of course.

The personal dramas and romantic subplots are comically contrived and melodramatic, as was the practice at the time. But, as I said, the star is the destruction spectacle anyway.

For its day, the film's special effects were quite good and hold up surprisingly well for the most part. There's a mix of self-destructing sets, miniatures and matte work that are (mostly) convincing. During a flooding sequence the miniatures are jarringly less realistic though, perhaps done by a different group. Also there's at least two uses of an out of place animated red spatter that is sure to get an out loud laugh from contemporary viewers.

1974 is before Lucas Film's THX program that triggered significant upgrades to theater sound systems. Movie audio was frankly pretty bad. "Earthquake" a new gimmick in the form of "Sensurround sound" that was supposed to add to the drama by literally shaking the theater. I saw "Earthquake" on its initial release when I was, I guess, early double digits. I remember Sensurround being a bit underwhelming. It's basically just a bass rumble during the earthquake scenes. The recent Blu-ray has a typical '70s barely stereo, low dynamic range, soundtrack but it does have a standout low end tone during the action. Nice touch...

Walter Matthau cameos as a colorful drunk in a bar, credited as "Walter Matuschanskayasky".

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I Walked with a Zombie

Following on the heels of "Cat People", and a similar film in some ways, this classic features suggestion, subtlety, dread and mystery rather than overt scares...

A lush, tropical setting of a Caribbean plantation provides a stark contrast to dark and disturbing undercurrents. The cinematography is stunning, with shadows playing a crucial role in heightening the suspense.

While setup as a gothic horror movie, it delves into themes, of post-colonialism and the complexities of mental illness in a surprisingly serious manner. The conflict between scientific rationalism and old-fashioned superstition is front and center. All in a wrapper of some fantastic camera work...

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To Catch a Thief

This one lacks the suspenseful edge of most of Hitchcock's works from this period, but it does have a luxurious atmosphere, witty dialogue, and especially an immense visual appeal. The cinematography is all about the French Riviera, from winding mountain roads, to beaches, to the ocean side villages. This is one great looking film.

Alfred Hitchcock's "To Catch a Thief" is basically a stylish and elegant crime caper and mystery. Cary Grant Is retired jewel thief John Robie and Grace Kelly as the glamorous (naturally) American heiress Frances Stevens dead set on... well "catching" him. The pair's on-screen chemistry adds the romantic spark to the suspense of the story, with just the right touches of humor, usually at Grant's expense. Grant's suave performance is a masterclass in effortless cool, while Kelly's elegance and poise perfectly complement his character.

Cary Grant was married five times, but there were long rumors of his having relationships with men off and on. Keeping this in mind wile watching "To Catch a Thief" adds a layer of meaning to several classic lines and situations. Hitchcock was notorious for poking fun at his male leads. If something in the script seems to be a jab at Grant's sexuality, it is.

There are shades of "Vertigo" and "North By Northwest" in the unusual camera angles and composition. The drama of the final rooftop chase is especially tense, and beautifully shot, as only Hitchcock could do. There's also of course the usual completely useless and easily duped police.

"You ought to be spanked with a hairbrush and sent back to school - public school - where they could pound some sense into you during recess."

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The Point

A young boy named Obilio lives in a town where everything is required to have a point. Having a round head, Obilio and his very good dog Arrow are banished to the Pointless Forest. During their journey they encounter an array of characters, eventually coming to realize that everything in fact has a point afterall.

Themes of conformity verses individuality, and the search for meaning and place - suitable for audiences young and old.

The surreal animation style is distinct, with bold lines and vibrant colors. There's a visually interesting and cohesive aesthetic that's very '70s. Voiced by Ringo Star, Paul Frees and Dustin Hoffman, music and story by Harry Nilsson, what more can we ask?

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Bringing Out the Dead

This by far most underrated Martin Scorsese film takes its name from, of all things, a Monty Python sketch. 

Frank Pierce (Nicolas Cage, in one of his best performances) is a New York City paramedic working night shifts in Hell's Kitchen. You might say he's under a lot of stress. He struggles with the constant exposure to senseless death and suffering, and the seemingly impossible task of saving lives. "Bringing Out the Dead" is a visceral exploration of that trauma as Frank's stress disorders and insomnia lead to hallucinations and flashbacks. 

Scorsese's signature style is on full display in this film, with its gritty urban setting, frenetic pace, and intense close-ups. The director captures the claustrophobic atmosphere of the ambulance and the chaotic energy of the streets. The film's visual language is a nightmarish reflection Pierce's deteriorating mental state. This isn't a relaxing film.

Cage delivers a powerful performance as this man overwhelmed who begs his boss to fire him on a daily basis. The supporting cast, including John Goodman and Ving Rhames, also delivers strong performances.

"Bringing Out the Dead" is at it's heart a meditation on life and the human condition. Those who appreciate Scorsese's style and are willing to delve into a dark world will find it rewarding. This was one of the best films of 1999, an extremely strong year for movies.

"Don't make me take off me sunglasses."

The Crow

Eric Draven, a rock musician is somehow resurrected a year after he and his fiancée are brutally murdered. He's now finds himself to be indestructible and he's out for some payback. 

The film's dark (and it is literally a dark film, very dark), brooding atmosphere and Gothic imagery contribute to its uniquely creepy style. As a bonus the story is constructed around Halloween. The film's soundtrack, featuring songs by Nine Inch Nails, Pantera, and The Cure, adds to its intensely early '90s atmosphere. So much so in fact that some viewers may see "The Crow" as dated or even campy. Then again, that also contributes to its charm and appeal.

Brandon Lee's performance as Eric Draven, forever The Crow, is haunting. It's hard to see this film objectively since he was tragically killed by a fragment of a blank during late stage filming. This adds a layer to the viewing experience that is impossible to ignore.

"The Crow" was to be Lee's big breakthrough. Even if this film has weaknesses, he clearly had talent. It seems likely he would have gone on to do some interesting work. We can only imagine.

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World War Z

Action, spectacle, more action, zombies. All imagery and suspense, light on characters and plot, and that's ok sometimes.

The film boasts impressive fast-zombie horde scenes. The sheer scale and intensity of these sequences make "World War Z" worth watching. The film's story meanwhile, while being somewhat "off the shelf", takes place all over the world, contributing to the sense of urgency and scale.

There's an easy cinematic technique to make a scene feel crowded with action. The camera views the actors normally, but people (or zombies ) move quickly in both directions across the shot close in so they're blurs of arms and torsos. "World War Z" does this a lot, like really A LOT. It's an effective technique, but like all filmic tricks it gets annoying when you start to see it. 

I'm told the film takes significant liberties with the source material. Maybe all they wanted was the title, that happens. Anyway, it's a fun movie, with a bit of a different take on the genre.

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The Mule

Aging, regret, driving a pickup and the easy money... Of Clint Eastwood's "old man" films, this one isn't the strongest. It unfolds in a matter of fact way that doesn't quite evoke a level of caring about the character. But it is an entertaining film that definitely holds the viewers interest throughout just the same. I sometimes imagine that this is what Eastwood's Man With No Name would be like in his '70s. He's seen all he cares to, still doesn't really fit in anywhere and is happy enough just going his own way. He is superficially charismatic and likable, but really kind of a jerk.

"Mule" is based on the true story of a 90-year-old WW2 veteran who become one of the most prolific drug mules for a Mexican cartel. He was also a horticulturist known for hybridizing new flower breeds, particularly daylilies. He was arrested in 2011.

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Nostalgia

There isn't a single frame in this film that you couldn't frame and hang on the wall.

Tarkovsky's "Nostalgia" is a highly contemplative and visual exploration of time and memory. The film follows a Russian writer, Andrei, who is ostensibly writing a book about the life of a Russian composer. As part of his research Andrei travels to an Italian town for a few days, as his subject did. As he navigates the unfamiliar landscape, people and local tradition he becomes increasingly consumed by a sense of homesickness and existential longing.

The film's title is a direct reflection of its central theme. The Russian word for something like nostalgia is toska, which, as is often the case, does not directly translate to English. Toska encompasses a wider range of emotions than nostalgia. It can refer to a deep-seated longing, sadness, or yearning that can arise from various sources, such as homesickness, loneliness, or a sense of unfulfilled potential. It often carries a spiritual or existential dimension. It can be a feeling of profound melancholy or a sense of being disconnected from home. The concept is deeply rooted in Russian culture and literature, and it has played a significant role in shaping Russian identity. "Nostalgia" reflects this. 

Tarkovsky's films are often characterized by their slow pace and contemplative atmosphere, and "Nostalgia" is no exception. The film's surreal imagery highlights the passage of time and the ways in which the places, people and memories of the past shape the present.

Tarkovsky's films are also renowned for their stunning visuals. The film's cinematography is characterized by long takes, sweeping shots, and a focus on natural light. These visual elements contribute to the film's contemplative atmosphere and evoke a sense of poetic timelessness

This film is an experience. Its meaning is open to a wide range of interpretations, left to the viewer, untranslatable.

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Aces High

You'd think there'd be more WW1 aviation films.

Lieutenant Croft (Peter Firth) is a young and idealistic pilot who joins the Royal Flying Corps. He finds himself under the tutelage of the experienced and somewhat cynical Major Gresham (Malcolm McDowell), an ace pilot. As Croft becomes immersed in dangerous aerial combat, he confronts the realities of war and his potentially short lifespan.

There's a strong cast. Malcolm McDowell delivers a powerful performance as the enigmatic and alcoholic Major Gresham, while Peter Firth portrays Croft with a convincing mix of youthful idealism and eventual disillusionment.

While not strictly historical, the film does a commendable job of capturing the atmosphere and challenges faced by pilots during the war. There's probably some inaccuracy in the specific types of planes used but this is nitpicking. The film is otherwise a bit uneven in spots. There's some odd montages, and overly long segments. The ending may feel somewhat abrupt. 

The film's aerial sequences are the star attraction here. We see the drama of period dogfights, and a variety of aircraft.

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The Brides of Dracula (1960)

Good grief why does no one listen to Van Helsing from the start? They could have saved themselves so much trouble.

This is a sequel to Hammer's take on Dracula that had featured Christopher Lee. Dracula is gone, Lee is not in this, but Peter Cushing is back as Van Helsing. Baron Meinster, the replacement vampire played by David Peel, is charismatic but just not as compelling as Lee's Dracula. Thankfully this film focuses more on Cushing.

"The Brides of Dracula" is peak Hammer Horror just the same. There's several excellent, nicely detailed sets, eirie forests and a classic castle, plus a supporting cast that gets it done. It's not iconic, but the gothic atmosphere and romantic touches make this a worthy addition to the series.

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The Wolf Man (1941)

Larry Talbot (Lon Chaney Jr.) is a young man who returns to his family's ancestral home in Wales. While there, he is bitten by a werewolf, setting off a tragic chain of events. 

Gothic atmosphere, moody cinematography, ground breaking makeup effects... Films like this are the origins of pop culture Halloween traditions, not to mention there's a pretty good story and a tight, efficient script. Bela Lugosi is terrific in the film, but his appearance is all too brief. 

I do have a little trouble with Claud Rains playing Lon Chaney's father. They seem quite close in age. In reality Rains was just 17 years older.

"The Wolf Man" is not a complex movie, but it's ongoing influence on popular culture, particularly in this, the Autumn season, can not be overstated.

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WNUF Halloween Special

Yes kids, this is what television was like.

"WNUF Halloween Special" is a found-footage horror film that pays a pitch perfect homage to 1980s local television broadcasts. A local news crew investigates a supposedly haunted house on Halloween night. Oooo.... Scary!

The film's creators meticulously recreate the look and style of 80s television, including the grainy video quality, local commercials, and dated news anchors. Heavy on nostalgia, satire and cringe, this unique film is a mad genius tribute to a simpler time.

"Christmas is right around the corner!"

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The Abominable Dr. Phibes

There's strange '70s neo-deco disco aesthetics, musicological themes, revenge murders based on the plagues visited on Egypt, and the detectives get all the comedy lines. 

Vincent Price is a disfigured organist, believed dead after a car crash, who seeks revenge on the surgeons who failed to save his wife. His plots are bizarre and ridiculously elaborate, and yet he manages to stay just ahead of Scotland Yard through most of the film.

Some details of "The Abominable Dr. Phibes" are a mess. There's questions... But the film is just so ridiculous on the face of it that it just doesn't matter. It's a dark and twisted tale, with more than a touch of camp, that plays like an episodic album of gothic macabre set pieces.

Just to add to the oddity, since the character is using extensive prosthetics, Vincent Price does not move his face through the entire film.

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The Haunted Palace

Dark of night, check.

Thunder, check

Waist high fog, check.

Ruined old cemetery, check.

Curse, check.

Lovecraftian legends, check.

Vincent Price, check.

Here we have a classic horror from cult master Roger Corman, based loosely on a piece by Edgar Allan Poe. Ancestral curses with a touch of reincarnation...

Vincent Price is Vincent Price, in a dual role as Charles Dexter Ward, a man who inherits his family's ancestral home, and Joseph Curwen, a warlock who was burned alive a hundred years before. Ward is tormented as he slowly becomes possessed by Curwen's evil spirit for dark purposes.

The film's Gothic setting, with the eerie mansion and perpetually dark, perpetually fog-shrouded landscapes, creates a timelessly creepy atmosphere. There's some great opening credits too. It's just the thing for Halloween season.

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Tucker and Dale vs. Evil

This is a nice blend of classic horror tropes with plenty of dark comedy. There's gruesome deaths played for laughs, a creepy cabin in the forest and endearingly naive characters. Tyler Labine and Alan Tudyk deliver outstanding performances as Tucker and Dale, two ridiculously innocent hicks who are simply minding their own business and trying to enjoy a peaceful vacation at their secluded cabin. A group of college students arrive nearby who aren't in the movie they think they are. Tragicly, absurd misunderstandings ensue and the bodies pile up.

A fun film with laughs, low budget gore and a happy ending... Although it's light fare, for those so inclined "Tucker and Dale vs Evil" can also be interpreted as social commentary on class and stereotypes, but I preferred to just laugh at it. It's a one-gag film, but it's a good gag.

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Sleepy Hollow

The Autumn atmosphere of this film is close to perfect. From the visuals, to the costumes, to Danny Elfman's (of course) soundtrack, and more "Sleepy Hollow" is about as Halloween as you can get. Of course it has Christopher Lee and Christopher Walken to lend horror credibility. Martin Landau appears briefly. 

Johnny Depp is memorable performance as Ichabod Crane, a bookish New York City attorney sent to the mysterious Sleepy Hollow to investigate a series of gruesome murders. Depp's portrayal of Crane has just the right touch of the comical to lighten the supernatural.

The plot on the other hand unfolds mostly by happenstance and convenience as the film rushes from one set piece to the next. There's a lot of thundering hoofbeats, flickering firelight, gothic settings and fog. The story seems like an after thought. Maybe this is fine since atmosphere is what the movie brings. The production design is exceptional. But simply put, there's virtually no story arc.

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The City of the Dead

Classic horror, fog, Christopher Lee, a jazzy soundtrack, mysterious New England village... Despite its obvious low budget, "The City of the Dead" manages to create a creepy, atmospheric viewing experience perfect for Halloween.

Nan Barlow, a young student researching witchcraft, travels (at night) to the eerie and remote town of Whitewood (on the advice of Christopher Lee). What could possibly go wrong? There, she encounters a coven of witches who have been practicing dark rituals for centuries. As Nan delves into the town's sinister history, she becomes unfortunately entangled in dangerous events, etc. Her brother and boyfriend investigate her disappearance.

Christopher Lee delivers a strong performance as the enigmatic Professor Driscoll, a scholar with a dark secret of his own. Venetia Stevenson as Nan Barlow is also commendable. I was puzzled by some of the actors' accents. I realized halfway through that it was the British cast doing their best at speaking New England.

Not a masterpiece, but a thoroughly gothic mood.

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The Green Knight

This film's medieval tone is its greatest strength. The attention to detail is evident in every frame, from costumes and sets to language and dialogue boldly creates quite an authentic interpretation of the style of medieval storytelling.

David Lowery's "The Green Knight" is visually stunning, atmospheric as a reimagining of the 14th-century Arthurian poem Sir Gawain and the Green Knight. Other than actually being a film, this isn't a "modernization" as such. We follow Sir Gawain, a young and ambitious knight of King Arthur's court, as he embarks on a perilous quest to confront the Green Knight, an otherworldly figure who challenges him on his honor to an exchange of life and death.

Masterful direction creates a film that is striking and immersive. The landscapes are outstanding, capturing the mystery of the medieval world. The visual and sound design are meticulous, transporting the viewer to a fictional time of knights when honor is paramount. And the film's score is haunting as well, adding to the atmosphere of dread.

A fantastic experience in every sense...

In medieval storytelling, everything is symbolic. The plot is not concerned with "what really happened" in the linear way that we're used to. Each segment of the story reflects a moral lesson about the world, nature and the divine. It's a world where all things have a place and a role, and a sensibility in context. It's probably best not to "figure out" this film, but rather just to let it unfold and ponder it for awhile.

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The Lost Missile

In 1958 it seems everyone was obsessed with missiles, jets, space and nuclear weapons. "The Lost Missile" has all these things in a peak Cold War bundle of paranoia. 

An unidentified missile is hurtling towards Earth at tremendous speed, threatening global destruction. As nations scramble to intercept it, the missile's trajectory poses a catastrophic threat to New York. A team of scientists, races against time to develop a countermeasure before the missile strikes. Believing an attack is underway, the world's nuclear arsenal scrambles.

While the film's special effects are dated but creative. The acting and writing leave much to be desired. The technology in the film is way off base. Much of the story happens through dramatic narration. 

The film's strength lies in capturing the anxieties of its era. The Cold War provides a backdrop of fear and uncertainty to a story that seemed quite realistic at the time. There's also some pretty good stock footage of period aircraft, and Civil Defense action. In fact "The Lost Missile" is probably a third stock footage. The film itself manages, surprisingly, to have a moment of suspense at the end, but overall the stock footage is the best part.

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Train to Busan

"Train to Busan", zombies on a train... it's an action spectacle with remarkable emotional depth. The claustrophobic setting of a speeding train becomes a battleground for survival, where the infected aren't the only threat.

The film delivers intense, fast-paced action. The confined spaces of the train are used to maximum effect, creating brutal hand-to-hand combat and nail-biting chases. The action is violent, but not gory, lending a realistic feel. The infected are fast and relentless, adding a new layer of terror to this traditional genre.

"Train to Busan" is also concerned with the human condition through themes of class conflict and the consequences of placing profit above good stewardship of the natural world. The selfish actions of some characters highlight the stark contrast between those who prioritize personal needs and those who hold onto compassion. The outbreak itself is presented as a consequence of human tampering with nature, adding an underlying environmental message as seen in much of recent Korean cinema.

Prepare to be emotionally invested. The journey towards Busan is not just a physical one, but a quest for the best of humanity. With zombies.

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The Maltese Falcon

This is the quintessential film noir that set the standard for the genre. It follows the gritty, cynical private detective Sam Spade (Humphrey Bogart) as he becomes entangled in a dangerous web of lies and deceit surrounding the mysterious Maltese Falcon, a priceless, jewel-encrusted statuette.

A femme fatale client, the alluring but deceptive Brigid O'Shaughnessy (Mary Astor), hires Sam Spade and his partner to find her missing sister. But when his partner is murdered, Sam finds himself caught in a deadly game involving a group of eccentric and ruthless criminals, all desperate to possess the falcon. 

The film is renowned for its dark, shadowy cinematography, and sharp, witty, filled with cynical undertones. There's of course quite a memorable cast of characters, including the menacing Kasper Gutman (Sydney Greenstreet), the nervous and twitchy Wilmer (Peter Lorre), and the enigmatic Sam Spade. 

Fun fact, Humphrey Bogart actually supplied his own, outstanding, wardrobe for the role of Sam Spade.

Another fun fact, what ultimately became of the Maltese falcon statue props, among the most iconic props is American film history, is a mystery.

"We didn't exactly believe your story, Miss Wonderly. We believed your 200 dollars. I mean, you paid us more than if you had been telling us the truth, and enough more to make it all right."

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Murder on the Orient Express (1978)

Sidney Lumet's adaptation of "Murder on the Orient Express", is a fun view capturing the suspense, intrigue, and colorful characters of the source material with quite a star-studded cast. Albert Finney (all but unrecognizable) delivers a memorable performance as the eccentric Belgian detective, Hercule Poirot. His meticulous approach to solving the murder and distinctive appearance steal the show. There's an outstanding ensemble cast, including Lauren Bacall, Ingrid Bergman, Sean Connery, Jacqueline Bisset, John Gielgud, and more. There's just the right touch of humor in the script to make it tilt toward comedy without giving away the seriousness of the matter of murder at hand.

The film's setting is almost entirely on the train, the luxurious Orient Express. The opulent train cars and the snowbound landscape create isolation and suspense. Lumet takes full advantage to spare no detail. Lumet's economical film making style is on full display with every shot well composed and every detail available made apparent. No gimmicks.

The film's strong performances, cinematography, and satisfying conclusion make this version a classic, even if you already know who done it.

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Life of Pi

A young boy named Pi Patel who survives a shipwreck and finds himself lost at sea in a small boat along with an impressive CG Bengal tiger. 

This is a fairy-tale of a film with remarkable cinematography throughout. The effects depicting the tiger and other animals are seamless.

"The Life of Pi" may be a bit corny at times. But it's also a memorable and melancholy adventure in belief, the nature of storytelling and imagination. It's a generally beautiful film that holds up remarkably well. This sort of film is why we love movies.

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The Old Oak

"The Old Oak" is a fading pub that still serves as an important center, as all good pubs do, for a local working class community decimated by economic shifts away from its industrial glory days. The towns' people and pub regulars all have their own personal challenges, history and general hard feelings. The arrival of Syrian refugees kicks off the narrative, prejudices and misunderstandings surface. The bitter and disenfranchised blame the government and other powers that be, and resent the change the new comers represent. 

The film gradually reveals the humanity and resilience of its characters, as they find common ground and ultimately become a stronger community, together.

"The Old Oak" is not at all subtle in its themes of diversity and community emerging in the face of economic and social upheaval. It pretty much just straight up tells us what it's about. Hope is what the powerful take away to maintain their power. The three symbols of hope in the film (a small dog, the life of a missing father in Syria and the back room event space of the pub) all suffer a similar fate in the course of the story. But together the community bonds in new ways, rejecting the view of those that would "kick down" in their frustration with their lot. Add in some blatant religious loss and redemption analogies... "The Old Oak" receives criticism for its messaging being pretty obvious, but I don't see a problem with that. It's a good film.

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Sword of Sherwood Forest

Hammer Film's early take on a classic Robin Hood adventure... We have lush Technicolor, pretty good performances, unconvincing sword fights, dated humor, political intrigue and horse chases. 

Richard Greene as Robin Hood sets the tone for the character. Peter Cushing delivers a memorable performance as the thoroughly despicable Sheriff of Nottingham, a role he reprised in a sequel of sorts in 1964.

The plot is a little thin, but it's an enjoyable afternoon matinee just the same.

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Rocketman

This is a musical biopic on the life and career of Elton John. The film offers a captivating tale of the singer-songwriter's journey from a shy child prodigy to the flamboyant superstar that we all know.

Taron Egerton delivers a powerhouse performance. His portrayal is nuanced and vulnerable. We witness the artist's struggles with his childhood experiences, addiction, fame, and identity. The entire supportibg cast is also excellent. 

The film is a true musical, regularly shifting into surreal numbers integrated into the narrative, showcasing John's iconic songs. The film's style is a good fit to the material; John's almost fantasy life. As far as I know, none of the music used was an Elton John recording. And my only real complaint is that the vocals, while close, don't sound like Elton John to me. This was often distracting during the film. This is a minor issue though for an overall enjoyable movie.

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The Hunter

Loosely based on an actual person, Steve McQueen is Ralph "Papa" Thorson, a veteran bounty hunter who finds himself targeted by a criminal he once helped put away. As Papa navigates threats, rounds up the wanted and deals with his personal life, the film maintains a balance between action and drama. This doesn't always work well as the character ends up borderline unlikable. But there are a number of very good chases and well placed comic touches. McQueen's iconic cool and charisma shine, even in a less-than-ideal role. A young LeVar Burton is quite good in a small supporting part as a bonus.

In what I can't help but feel is a bit of fun at McQueen's expense, Papa is portrayed as a terrible driver. In chases he also ends up driving a combine harvester, of all things, and a clunky tow truck. McQueen was a legendary gear head that often did his own stunt driving in his films.

"The Hunter" is Steve McQueen's final film and while not one of his strongest, it's definitely worth a view. He died not long after this film's release.

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The Ladykillers

Classic British comedy... A gang of criminals, posing as classical musicians, rent rooms from a sweet elderly widow, Mrs. Wilberforce. Their plan is to use her lopsided home as a base for a major robbery. The robbery itself goes, mostly, fine. But Mrs. Wilberforce's innocent curiosity and general bumbling soon threaten to unravel their carefully planned escape.

A brilliant ensemble cast makes "The Ladykillers" the timeless film it is. Alec Guinness leads as the suave and manipulative Professor Marcus, the leader and mastermind of the criminal gang. His performance is a study in comedic timing and understated menace. 

The film's humor is subtle yet effective, relying on witty dialogue, physical comedy, and the clash of personalities between the criminals, each with very different personalities, and their unsuspecting landlady. The plot is suspenseful without losing sight of comedic elements.

Fun fact... The director's choice of Katie Johnson for the role of Mrs. Wilberforce was initially rejected on the grounds that she was too frail for the production. A younger actress was cast instead but she unfortunately died before filming began and Johnson got the part after all.

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The Party

Blake Edwards at his best, "The Party" is farcical masterpiece featuring the inimitable Peter Sellers.

A humble Indian bit part actor, somewhat prone to clumsiness, is accidentally invited to, and unleashed upon, a lavish Hollywood party. His innocent presence sets off chain reactions of comedic mishaps as he unwittingly disrupts the carefully curated social gathering. It's a simple setup, that allows us to see in pure form what Sellers and Edwards can do, without need of a plot. "The Party" has an experimental feels to it. Just the same, Sellers's portrayal is nothing short of brilliant, capturing the character's befuddled innocence and his unique ability to wreak havoc.

"The Party" is filled with colorful characters, outrageous situations, slapstick humor and dripping with late '60s modernism, color, fashion and style. The film perfectly balances chaotic energy with moments of desperate awkwardness. The ensemble cast only adds to the the comedic chaos. Fun for the whole family...

Audiences in 1968 where already familiar with the more character driven Inspector Clouseau vehicles (by and large superior films) as "The Party" came out right in the middle of that series. In fact Sellers appeared as Clouseau in another release that very year. That's surprising considering the clear parallels in comic stylings and definitely something that wouldn't happen today.

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The Golden Blade

Here we have a delightful Technicolor escapade in the world of Hollywood Arabian fantasy. Rock Hudson is Harum, a young man seeking revenge for his father's murder, when he stumbles upon a very special sword. Oh, and a princess. Thrills, heroism, romance, magic and off the shelf political intrigue...

Rock Hudson brings a charismatic and dashing presence to the role of Harum, making him a likable and, even in a film like this, a believable hero. Piper Laurie turns in a spirited pwrfomance as the Feisty Princess in the habit of posing as a commoner (TM). It's handy for her, and for Harum, that her guards are utterly useless.

Stereotypical, melodramatic, predictable, nostalgic, colorful, loads of fun... There's some very, very funny dialogue in this, given what we know about Rock Hudson today. Hollywood wasn't subtle in hindsight.

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5 Card Stud

A whodunit with a twisty, suspenseful and slightly predictable plot played out as a western with a lighthearted tone... It's a Dean Martin after all.

A poker game, gone wrong in a small gold rush town leaves a new comer lynched for cheating. Soon the other players begin to turn up dead one by one, each in a gruesome and unusual manner (related to hanging). The remaining players work to uncover the identity of the killer before they become the next victim. The whole mystery is meant to parallel a poker game but the film is a little weak in making that connection.

Dean Martin gives a solid performance as Van Morgan, a gambler and lady's man caught up in the deadly game. Robert Mitchum is of course creepy as an enigmatic preacher, new in town, with his own agenda. Roddy McDowall delivers a memorable performance as a young hothead and general loose cannon. Yaphet Kotto has a part with some good lines, it's interesting to see him in something like this.

It's not quite a comedy, but well crafted and doesn't take it too seriously.

"A man's gotta be a damn fool once in a while. It proves he's still alive."

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Bad Lieutenant

As the title suggests, Harvey Keitel is a bad New York police lieutenant. He gambles, he drinks, he does drugs, he's a bad father, he's a bad friend, he's irresponsible with firearms, he has bad personal hygiene practices and he hardly does any police work. He's just awful. 

The film starts out showing how terrible he is at his job. He soon slides into being really awful. From there things take a downward turn.

"Bad Lieutenant" takes gritty and unflinching police drama to a new extreme. Corruption, addiction, depravity and the generally bad behavior go without saying. The man even drives badly. Harvey Keitel delivers a tour-de-force performance as the morally bankrupt police detective who is unnamed in the film. It is disturbing and at times hard to watch, but this may be the best performance of Keitel's career. His portrayal is masterclass acting showcasing desperation, self-loathing, and moments of fleeting humanity.

Abel Ferrara's signature style of realism and unflinching violence, is on full display in "Bad Lieutenant". The film's atmosphere is dark, oppressive and unsettling. You just have to wonder how some films ever get made...

"Vampires are lucky, they can feed on others. We gotta eat away at ourselves."

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Chicago Confidential

Mobsters are taking over a windy city labor union for various illegal enterprises. An honest union officer is framed for the murder of the union's accountant before the accountant can blow the whistle. Steve Farrell (Brian Keith), is the DA that brings the appearently strong case against the man. But something doesn't smell right and it's not yesterday's deep-dish. After learning that a critical piece of evidence was faked, he becomes determined to uncover the truth behind the murder. 

"Chicago Confidential" is an adiquate, entertaining and fairly short film noir with a thin theme of city politics and plenty of classic thugs doing thug stuff. Brian Keith displays a strong performance as the determined district attorney, while the supporting cast is up to the vehicle, without being outstanding. There's a few examples of really interesting camera work, but the film is mostly conventional, if a little heavy on the close-ups. It's also worth noting some good establishing shots of period Chicago landmarks in the opening.

The film features two expansive scenes of technologies relatively new to audiences in the '50s. The first is a detailed explanation of what makes two fingerprints match. The other was the use of an elaborate setup of two oscilloscopes to compare two voice recordings on tape (tape itself was only in common use for maybe ten years at the time). The voice comparison, the key clue that the murder was a setup, as the film portrays it seems unlikely to work in reality. But the film is optimistic about the technology.

The film features bombastic narration particularly at the beginning, and the end. It seems intended to give a sense of gravity and news/documentary to a film that didn't have the budget to achieve that feel in other ways. It's borderline annoying.

One last rant... I'm always amazed at the power of law enforcement in these films. Police often effortlessly, for example, roadblock every exit from the city and whatnot. In "Chicago Confidential", one phone call grounds all air traffic at the city's airport. No questions asked.

In the end (which is a shootout at the airport), "Chicago Confidential" is not an iconic film noir, but is a solid crime drama with a few interesting touches. Worth a view, a little over 70 minutes...

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Witness for the Prosecution

"Don't mind Janet it's just that she's terribly Scotch."

Members of the jury, Leonard Vole (Tyrone Power) is on trial, accused of murdering a wealthy woman. It doesn't look good. His defense is complicated by the testimony of his seemingly cold and uncaring wife, Christine (Marlene Dietrich). Charles Laughton delivers a tour-de-force performance as Sir Wilfrid Robarts, the eccentric and brilliant lawyer defending Vole. His dramatic flair and sharp wit are a highlight. Marlene Dietrich is equally captivating as Christine, whose enigmatic demeanor adds to the presentation.

In summation, "Witness for the Prosecution" is a masterful courtroom drama from Billy Wilder. Wilder's screenplay is filled with witty and intelligent dialogue and details, adding complexity and humanity to the characters and even simple extras in the background. The theme is dark and the case suspenseful, reflecting the seriousness of the charges, while judicious use of humor keeps the film without objection. Wilder's direction is confident and thorough, as always.

The plot is full of turns and reveals. The climax of the trial is particularly entertaining, an easy verdict.

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