Street of Chance

This film noir plays out a bit like a Twilight Zone (not "Time Enough at Last") episode. Frank Thompson (Burgess Meredith), is hit on the head in an accident on the street. He remembers a prior life, but nothing of a more recent one. Next thing he knows dangerous men are after him. Police? Also someone's been murdered. But who, and why? And who's the blonde mixed up in this? If only he could remember... Meanwhile there's plenty of dimly lit streets, high camera angles, even higher contrast black and white cinematography and plenty of shadowy characters with sketchy stories.

This noir, with its unique twist on amnesia, is well worth a view.

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The Virgin Suicides

This film gets away with an aggressive mix of humor and completely serious dark subject matter by being hyper-stylized. It's an odd film, and Sofia Coppola's directorial debut. Adolescent awkwardness, societal constraints, repression, and tragic consequences...

Set in the idyllic suburban landscape of 1970s middle America, the enigmatic Lisbon sisters are five beautiful girls whose lives are shrouded in secrecy. A group of boys sort of collectively narrate the tale. They are both fascinated, frustrated and more than a little afraid when it comes to the Lisbon sisters. Most of the film is actually a flash back as the boys' future selves struggle to unravel the sisters' ultimate fate (which is in the title).

"The Virgin Suicides" is a dreamy, nostalgic film capturing the cringe of the 1970s. The film's soundtrack enhances its dreamlike quality as the psychological complexities of adolescence are served in healing portions. The Lisbon sisters are portrayed as both innocent and worldly, fragile and defiant. Their overly protective parents, while well-intentioned, are ultimately unable to understand their daughters' desires and frustrations. 

Notable performances by Kirsten Dunst as the oldest of the sisters, the anchor of the group. And James Woods is their father, and math teacher.

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River

This is a very small film with humor, heart, no budget and an innovative premise.

At a small, rural Japanese inn by a river, a cast of guests and employees is trapped in a two-minute loop of time. The premise is simple. The characters become confused, angry and desperate, emotional revelations and heartfelt moments ensue - in 2 minute bursts. Each loop is a unique opportunity for the characters to learn, develop their relationships and make different choices.

The short time loop create a sense of urgency and claustrophobia. It greatly limits the settings. But the film is quite funny, rather than stressful. Japanese films seem to have a way with blending tension with borderline slapstick.

The end of "River" is a bit rush and contrived. But the reason for the loop isn't at all the point. The arbitrariness ends up working just fine.

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From Here to Eternity

Set in the oh so innocent days (and nights) of just barely pre-Pearl Harbor Hawaii, we get a provocative film, pushing the boundaries of censorship with its frank depiction of sexuality, failed marriage, adultery and violence. A quite unflattering take on military life is tossed in for good measure. "From Here to Eternity" was controversial in 1953, when the Hays Code yet lingered. A "War movie" wasn't supposed to go where this film goes.

We have an exceptional cast, with each actor delivering a memorable performance. Burt Lancaster and Deborah Kerr's passionate love affair and scene on the beach is a cinematic icon. Montgomery Clift and Frank Sinatra are both excellent, as is the entire supporting cast. The film won 8 Academy Awards out of 13 nominations, including Best Picture, Best Director, Adapted Screenplay, and Best Supporting Actor (Frank Sinatra).

There was a rumor that Sinatra was cast due to his connections with the Mafia. And this is the basis for a sub-plot in "The Godfather". Montgomery Clift was an insufferable method actor. He learned to play the bugle, took boxing lessons and drank heavily during production (the last item being something he and Sinatra were pretty good at going in).

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The Last Emperor

"The Last Emperor" is a huge film, no other way to put it, spanning the first half of the 20th century through the life of, well it's right there in the title. With fantastic visuals, opulent sets and costumes, and a dramatic score this film conveys the grandeur and decay of the Chinese Empire and the rather rough birth of the modern Peoples' Republic.

The cinematography is breathtaking. From the Forbidden City and the stark realities of the Chinese Revolution, this is an epic. Yet it stays within the personal scale of the lives of a few individuals.

John Lone delivers a captivating performance as Pu Yi. We follow the emperor's transformation from a pampered child through re-education and the cultural revolution, to a disillusioned adult, to a nondescript elderly gardener. The supporting cast, including Joan Chen and Peter O'Toole, also deliver strong performances.

Great historical drama and simply great filmmaking. Settle in, this one is a long journey.

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The Virginian

A cowboy, Steve (comically nice guy with poor judgement), arrives in a Wyoming cowboy town after some time away. He quickly gets mixed up in a conflict involving a sketchy local cowboy dressed all in black, Trampas, and "Virginia", another cowboy with ideas about what cowboy might be behind recent calf rustling. Meanwhile Steve and Virginia go head to head for the attentions of the new school teacher.

The characters are largely off the shelf cliches, but I'd be disappointed if they weren't. This film literally ends with a ride into the sunset by the way. The performances are mixed. The stars are notably more natural than others. It's a bit silly in spots, but there's an unusual amount of actual outdoor settings, and legitimate herds, herding and cowboy stuff, all in nicely done Technicolor.

Not groundbreaking, but solid...

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To Sir, with Love

Sidney Poitier is quite an amazing actor. His screen presence is uttering convincing bringing a level to his characters that few actors approach. "To Sir, with Love" is often as one of his best performances . I suppose it is but he has several. In this one Mark Thackeray, a young engineer looking for work takes a teaching position in a challenging inner-city school, where it sounds like they'll hire just about anybody. 

You know the drill. Initially he is met with resistance and disrespect. His fellow teachers, cynical and burned out, are no help at all with the unruly working class students. But Thackeray gradually wins them over with his patience, understanding, respect and unwavering belief in their potential to be good adults.

The thing about Sidney Poitier is that he was never an amazing black actor. It's that he was always an amazing actor. This was a man that came to the barriers of race in his career, blew right past them and kept on going. Yet remarkably in his work, his character is never a positive role black man, but a positive role man. Race is addressed in these films, but it's never a dependent characteristic of the character - not a definitive part of the character's identity. At the same time, the character's race and the challenge it sets up is stated and acknowledged, as the environment which the character must deal deal with and move through. Poitier 's way of walking this fine line is something everyone should admire and aspire to.

Anyway, as a bonus "To Sir, with Love" also offers a glimpse into the social and cultural climate of '60s London. Fun stuff pop-culture stuff...

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The Last Picture Show

Set in rural Texas in the 1950s, the film follows the lives of two young men just leaving high school, Sonny and Duane (Timothy Bottoms and Jeff Bridges), as they navigate a transitional period of life in their bleak little town. The film's cinematography is outstanding. The high contrast black and white and slow pans across empty streets create a hopeless, melancholy mix of dull nostalgia and a sense of profound boredom in a world almost totally devoid of dreams. Interestingly we see nothing about the boy's families, parents and home life. It's just not important. 

The title, “The Last Picture Show”, refers to a run down theater that is one of the town's principle entertainments. "The movies", represent something to do for the young people, as well as a source of imagined opportunity and escape. Non of their imagined better lives pans out and more than their past did. And by the end of the tale, the theater closes. 

"I guess if it wasn't for Sam, I'd have missed it, whatever it is. I'd have been one of them amity types that thinks that playin' bridge is about the best thing that life has to offer."

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Whispering Smith

"One man behind the rock is worth three in the open."

"Whispering Smith" is an actual film noir Western, right down to the dialogue. Alan Ladd is a quiet and observant railroad detective unraveling (pretty easily) a series of train robberies. Robert Preston is his old friend, Murray, who's fallen in with a bad crowd. Of course Smith has a history with his old friend's wife. 

This is in color, and isn't in cinemascope or vistavision or any of those, but the camera work is quite good. There's heavy use of shadows and key lighting that would be right at home in any traditional film noir. The Vasquez Rock location is used, which is always fun to see. So, so much movie and television done there... In fact if you watch closely you realize that they ride around it a couple of times. Decent story, mediocre script, adequate performances, but Alan Ladd is always good.

Overall, a solid Western from classic Hollywood with a serious noir bent. Worth a view.

"If they'd be any other way, I'da played it differently. You know that, don't you? The only cards I had wee the ones you dealt me."

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Garbo Talks

A dying woman's wish to meet her lifelong idol, Greta Garbo. Her son spends the film trying to make that happen.

Anne Bancroft is the star attraction here as the ailing Estelle. We see her character's wit, vulnerability, and unwavering dedication to her principles, and to her fandom of Garbo. Ron Silver is her devoted son, Gilbert, who embarks on a quixotic quest to fulfill his mother's dream, at the expense of everything and everyone in his own life.

"Garbo Talks" is a nostalgic and charming film, and a love letter to both NYC and the bygone era of Hollywood glamour and cinematic magic. But in the end, as a film, it offers little more than character studies of, granted, interesting people that never form a cohesive story together. Garbo herself is clearly a sort of aspiration symbol, but for... What?

Gilbert's wife, played by Carrie Fisher, is treated pretty unfairly by the film. She didn't do anything wrong, and was supportive throughout. And yet Gilbert does nothing to save his marriage why? Instead he falls immediately for a random coworker out of simple lust. What does this have to do with Garbo?

So, yes, "Garbo Talks" is a heartfelt story of human connection and the importance of cherishing loved ones. But unfortunately this doesn't seem to extend beyond Anne Bancroft's role. Estelle is far and away the most interesting character as a woman with a lifelong obsession with progressive causes, fighting for the underdogs of society. And who is also hopelessly starstruck by the glamorous Hollywood imagery of Garbo.

It's not a bad film, but in the hands of any number of lesser directors it surely would have been. It simply should have been more. "Garbo Talks" is loaded with '80s fashion, hair and furniture though. So there's that.

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As Good as It Gets

Melvin Udall, a curmudgeonly novelist with obsessive-compulsive disorder, is played brilliantly by Jack Nicholson. This is probably the best portrayal of OCD I've ever seen on film, and one of the best portrayals of mental illness generally. 

Udall is also a hateful homophobic and deeply racist narcissist who seems completely incapable of empathy and has no verbal filter. He is profoundly unlikable. The way this film associates Udall's mental illness with his being a colossally abrasive ass is highly troubling.

That said, through the vehicle a cute dog, we are convincingly led to believe that there may be some hope for the man. But then we come to the crux of the story; he may want to be better, but in reality, it's as good as it gets.

Nicholson's portrayal of Melvin is iconic, capturing the character's abrasive nature and at least some underlying vulnerability. Helen Hunt delivers a touching performance as Carol, a single mother and waitress who forms an unlikely bond with Melvin. Greg Kinnear is perfect as Simon, Melvin's artist neighbor, bringing humor and heart. Cuba Gooding Jr. is terrific as the one person we keep hoping will beat the crap out of Udall.

For some viewers the relationship between Melvin and Carol may seem rushed and unconvincing. She spends much of the film, to the end, giving reasons that the two shouldn't even be friends much less anything else. And she is completely correct. The profound problems with Udell in particular, so adeptly portrayed by Nicholson, would seem to get sacrificed for the rom-com ending. But I'm not sure I see it that way. What we're being told here is that the perfect, even the "good" in fact, doesn't exist. It's as good as it gets. In that light, the film is actually kind of a downer.

"Some of us have great stories, pretty stories that take place at lakes with boats and friends and noodle salad. Just no one in this car. But a lot of people, that's their story. Good times, noodle salad."

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Spectre

Long runtime and a convoluted plot. 

"Spectre" feels like it's checking off 007 checkboxes. Let's see, we need three jumping off of buildings, six car crashes, one exploding watch, of course the destruction of an Austin Martin, etc... That said, it's not like it's a bad movie, not at all. It's a fun and engaging film with the signature mix of over the top action and humor (check that box). It also slides neatly into Daniel Craig's Bond story arc. If anything it's over weighted with being, in particular, a second part of "Skyfall", and a bridge to "No Time to Die".

"Spectre" is visually impressive, as we have come to expect. The film boasts excellent cinematography, with sweeping shots of iconic locations like Rome, Mexico City, and the Austrian Alps. It's a big film with top notch sound design.

Daniel Craig's performance as Bond is solid in this one, but he's given less to work with. Christoph Waltz as Blofeld is the best cast. He pulls off the character is few could; sinister and sadistic, but also polite and frankly likeable. 

It's not be the best Bond film ever made, but it's an entertaining ride.

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Under the Thicket

This is a nice, short cleverly animated film for the Halloween season... Great artwork and music for a very simple but memorable and melancholy story...

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Mad Max 2

The remarkable thing about Mad Max films, and especially this one, is how wildly implausible it all is. You really don't want to think too much about this world because it actually makes no sense at all. Yet somehow we all immediately recognizei it and accept it as completely sensible.

It's strange to think that there are lot of people that only know this franchise from the modern films and have never seen "Mad Max" or "Mad Max 2", films that were actually pioneering post-apocalyptic Visions.

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Lifeboat

An unlikely mix of survivors from a torpedoed ship are forced to coexist in a lifeboat with a German U-boat crewman (or is he?). As resources dwindle tensions build and the characters reveal their true natures, exposing prejudices and fears. 

If you're going to create a film's where the entire narrative is confined to the lifeboat, you better be good at some innovative camera work. Hitchcock certainly is. While less overtly suspenseful than some of his other works, "Lifeboat"bears the hallmarks of Hitchcock's direction, and a focus on character dynamics and psychological tension.

The talented cast, including Tallulah Bankhead, William Bendix, and Walter Slezak, all deliver compelling performances.

"Lifeboat" is a bit of an experiment. Some may find its dialogue-heavy nature to be somewhat tedious. But it's a rewarding, somewhat under the radar, Hitchcock from his early years that's well worth checking out.

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Death Wish

"Death Wish" raised a lot of eyebrows and was rather polarizing in 1974. Paul Kersey (Charles Bronson) is a mild-mannered architect whose life is shattered by a home invasion that leaves his wife dead and his daughter traumatized. Driven by grief and rage, Kersey slowly transforms into a vigilante, seeking justice on the streets of New York City.

The 1970s were marked by public fear rising urban crime rates, "Death Wish" tapped into a growing sense of fear and frustration with authority (and made Charles Bronson a star). The film's depiction of a seemingly powerless individual taking the law into their own hands resonated. Can individual violence be a solution to public violence? The film doesn't provide an answer. Viewers pondered the consequences (aside from several sequels) of Kersey's actions. 

The film captures the gritty bleakness of 1970s New York. Bronson's performance as the stoic and determined vigilante is iconic, and his character's transformation is compelling. The various street criminals can border on comic at times, somewhat like those in "The Warriors" or "A Clockwork Orange", and not in a good way. But it was the '70s afterall. 

Bonus point for a goofy Jeff Goldblum.

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Frankenstein

Discover the Thrill of the Un-Dead!

Your Ultimate Nightmare Vacation

Tired of the same old sunshine and sandy beaches? Craving a truly electrifying experience? Look no further than our exclusive stay at Frankenstein's castle! 

Your Nightmare Vacation Awaits!

Experience the thrill of being greeted by our resident monster! Don't worry, he's quite friendly... Mostly, for a creature stitched together from stolen body parts.

Witness the groundbreaking science (of questionable ethics) that brought life to the monster. Our expert guides will walk you through the gruesome details, complete with surplus parts to enjoy at home!

Embark on a thrilling flower-picking hike through the desolate wilderness and expressionistic scenery. Follow in the footsteps of the Creature. It's sure to involve sudden outbursts of rage!

Spend the night in the damp, creepy castle itself, complete with creaky floorboards, cobwebs, mysterious shadows, and the occasional midnight scream. 

Book Your Nightmare Vacation Today!

Warning:

*Tour may involve exposure to loud noises, lightening, and terrifying screams.

*Not responsible for any lost souls or unexpected loss of brains.

*Your safety is our priority, but we cannot guarantee protection from angry mobs of local villagers.

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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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