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chris-politz
Reviews
The Long Voyage Home (1940)
Really Enjoyed It
The Long Voyage (1940)
Home Director: John Ford
Starring: John Wayne, Thomas Mitchell, Ian Hunter, Ward Bond
Synopsis: The crew of the SS Glencairn, composed by lonely men, need to transport explosive ammunition from the United States to London, in the beginning of World War II. Along their journey, drunkenness, fights, suspicion, deaths, and trouble caused by the German planes, fill their lives. Only Ole Olsen (John Wayne) wants to change his life, moving back home to Stockholm, Sweden.
Thoughts: Based on Eugene O'Neil's Four Sea Plays. It takes place during the lend-lease era just prior to WWII when the US against international law smuggled munitions to the UK using merchant marine vessels. Men are hired, volunteer, or kidnapped into serving.
John Wayne plays Ole Olson, yet can hardly be viewed as the star. Thomas Mitchell, Uncle Billy from It's a Wonderful Life, plays Driscoll, and he runs the merchant marines aboard the Glencairn. He warns earlier on that it is hard for a man to leave the sea, which makes one presume that the life at sea calms a person's wanderlust. Instead the sea is both captive and escape.
Ole is different. He joined to earn money to care for his family, and return home. His fellow merchants are protective of him so he may complete his tour and return to his mother. Thus includes allegations of espionage, German Air Force attacks and attempts to rob and Shanghai him into slavery.
Lend-lease era began during WWI continuing through to the attack of Pearl Harbor. Instead of using military vessels to transport munitions for the mounting war effort civil vessels were used. It is was proven the sinking of the Lusitania and Britannia were used to transport during this era. It is alleged by historians that the Titanic, the third of three sister ships, also contained munitions.
Using civil craft was obviously a poor choice. The men aboard could not be armed, most were poorly educated (essentially warehouse workers on a boat) and rarely trained in military tactics.
Never heard of The Long Voyage Home. Eugene O' Neil no doubt wrote the play to underline the good proletariat level men who keep the economy going, while working with targets on their back.
As for a John Wayne movie? It's really a John Ford movie starring Thomas Mitchell. I was curious in most of the movie just how much English Wayne's Swedish character Ole understood. It's not until the last quarter when Wayne stumbled through his Swedish accent then gives it up that he speaks and even then it's exposition we already caught through the story.
John Ford tirelessly directs stories to give the audience a taste of it is like to be implicit strata in society, especially after his first hand witness to WWII. This is no different in The Long Voyage Home.
She Wore a Yellow Ribbon (1949)
Really enjoyed it.
She Wore a Yellow Ribbon (1949)
Director: John Ford
Starring John Wayne, Joanne Dru, John Agar and Ben Johnson
Synopsis: After Custer and the 7th Cavalry are wiped out by Indians, everyone expects the worst. Capt. Nathan Brittles is ordered out on patrol but he's also required to take along Abby Allshard, wife of the Fort's commanding officer, and her niece, the pretty Olivia Dandridge, who are being evacuated for their own safety. Brittles is only a few days away from retirement and Olivia has caught the eye of two of the young officers in the Company, Lt. Flint Cohill and 2nd Lt. Ross Pennell. She's taken to wearing a yellow ribbon in her hair, a sign that she has a beau in the Cavalry, but refuses to say for whom she is wearing it.
Thoughts: I could rant about this being a glorification of Manifest Destiny, however, it really isn't. It's a knee jerk reaction for individuals who haven't watched it. First of all, thus was a big budget RKO picture costing $1.5 million and it earned $2.7 million. It won Oscar's for best western script (that was a thing) and was the first film to successfully film monument valley in technicolor winning Winton C Hoch an Oscar.
It takes place days after the Battle at Little Big Horn and Wayne's Capt. Brittle has compounded missions: 1) lead a battalion including all women and children from their fort to leave for the east fir protection, 2) investigate who sold repeat fire Winchester rifles to Sitting Bull and Crazy Horse, 3) successfully end his commission with the army in five days, 4) plan how to potentially fight neighboring Native Nations (which Brittle negotiated peace).
Realize Western and War movies were considered heroic action movies from the 1920s-1968 (advent of new Hollywood). It was a very light hearted and fun movie. I'm sure kids and families walking out of theaters in 1949 were happy and enjoying it.
Likewise, the mission... is pointless, and I think that's the point. Brittle was ordered to leave his fort with the women and children instead of negotiating a truce and investigating the unscrupulous salesman test was selling arms to younger members of the native nations against their leadership.
This is an interesting subplot. Immature members of the native nations were the cause of Little Big Horn, according to the film, who attacked Custer without the orders of their chiefs. The rob stage coaches and rail to fund weapons purchased, according to the film, by one guy.
Does this lead to yet another "white savior" motif? No. Wayne's character meets with the older chiefs who like him were passing on leadership to the young men just as Wayne passes on leadership to is lower command. In conversation Wayne and the chief realize, together, that their role is not to retire, but to guide the next generation how to lead.
Great movie. Then again I'm a John Ford fan. Having watched and enjoyed wee Willie Winkie, stage coach, the prisoner of Shark island, the grapes of wrath, drums along the Mohawk, how Green was my Valley, the quiet man, Mr. Roberts, the searchers, the last hurrah and the Man who shot liberty valance.... Ford has so many stellar films.
Hardware (1990)
Overrated joke
Saw this when it came out. It had all these warnings and supposedly was a harder version of Terminator. Instead it was nonsensical, a mess of a production with a word of mouth that transformed it into a cult film. I will not call it a cult classic.
Somehow it's aged into popularity.
The story is a mess, it has horrible lighting, and truly seems like a New World Pivtures/American International Pictures rip off of Terminator.
Somehow the notoriety of this film got the director the opportunity of a career, which he caved in from running off from production and then tried to sabotage by going undercover to destroy production.
The factor this guy got other opportunities I'm shocked.
The Dark Knight (2008)
Die Hard 3 (1995) + Heat (1995) = Dark Knight
Sacrilegious, but:
John McTiernan's, Die Hard With a Vengeance (1995)
Synopsis: An anarchy obsessed terrorists creates an elaborate series of cat and mouse obstacles and riddles to hide the theft of gold reserves held in the New York Federal Reserve Bank, which he plans to explode in an attempt to destroy international markets, when asked why, "i simple want to watch all their gold fall to the bottom of the ocean."
The "genius" Christopher Nolan's, Dark Knight (2009)
Synopsis: An anarchy obsessed clown creates an elaborate series of cat and mouse obstacles and riddles to hide the theft of all the money from Gotham Federal Reserve Bank, which he plans to burn in an attempt to destroy international markets, when asked why, "I simply want to watch it all burn."
Call me crazy, but Dark Knight is a remake of Die Hard With a Vengeance mixed with the two action sequences/heists from Michael Mann's Heat (1995).
I challenge you two watch Dark Knight after Die Hard With a Vengeance and Heat and not down grade Nolan's "masterpiece."
Poison Ivy (1992)
42 years age difference; pre/viagra
Criterion's erotic thriller collection enticed me to see Drew Barrymore have an affair with Tom Skerritt. Barrymore was 17 at the time of release, Skerritt 59. That's a 42 year difference.
To put this into perspective Skerritt was 46 in 1979 when Alien released, in 1979 Barrymore was 4.
I watched it. My fault. I chose to watch it. Thought it was crap. Criterion made me rethink my expectation. It's not necessarily crap. It's just not good. Always want to pay for a speech therapist for Drew after watching her movies. Too bad for Melissa Gilbert. I'm guessing 1990s Roseanne, during her Coke years, thought this would catapult Gilbert's movie career.
It's Lolita if Lolita was best friends with the daughter of Tucker Carlson, and Lolita turned into a murderer to usurp the role of her best friend's mother all in an effort to create a loving family.
All the same, it's kind of cool to see Drew back in her drug addled days.
It has qualities of an independent 1990s new noir additionally attempting an initial Heathers vibe, yet negating the dark humor Michael Lehman and Daniel Waters succeeded with, their mocking of the politics of high school popularity, with an allegedly true story scripted by Melissa Goddard and Katt Shea.
Makes me wonder why 20-30 year olds weren't cast like normal high school movies over Barrymore (17) and Melissa Gilbert (17).
Is it watchable? Like a pre-viagra Lifetime movie with heavy ick factor. I wish I can say it was so bad it's good, but little girls playing erotic toys in an erotic thriller; yikes.
Granted Drew and I are the same age, so if I saw this in 1992 I may have fuzzed out the tracking on a few scenes, alas, no displays of nudity, and the one sex scene wisely swapped in Cheryl Ladd and careful edits kept a clothed Drew from a naked Tom. So if you want to see Tom Skerritt naked, have at it if you're a Mr. Skin aficionado.
Dune: Part One (2021)
Loved it, why isn't Lynch credited.
Did something odd yesterday.
Watched the 1980's David Lynch adapted screenplay of Dune as part of Criterion Channel's April 2023 David Lynch series. Dated due to special effects, but good nonetheless. After watching Lynch's adaptation I went right into watching Denis Villeneuve's.(2021) adaptation.
The production value, acting, conveyance of story and cinematography is greatly improved I was floored how identical the two scripts are. Sure, the source material is Frank Herbert's science fiction classic, however, I was gobsmacked about how on the line each script was the same. The only parts that were different were regarding Duncan and the Environmental Machine set piece, and the initial jump in fight between Paul and Jamis at the film's conclusion.
Excellent film.
Albeit, I was very surprised that the nearly direct remake of Lynch's script didn't earn him recognition.
As for Villeneuve's adaptation it's beautifully made. I only expect to watch a couple of minutes, but ended up finishing the entire movie. Started at 12am, not the best move. It just sucked me in.
Great contemporary sci-fi director, some of the best who's who of current cinema, and I couldn't take my eyes off it.
Eraserhead (1977)
Henry is the Eraserhead
Eraserhead (1977)
Plot/interpretation: Henry (Jack Nance) is dead. The entire film takes place in a rebirth of his consciousness after death. The film starts with his unblinking head and incredible hair. His mouth gapes open as one does at death to reveal his minuscule consciousness; the eraser head extending like a specter in to an unknown. Whereas the Man in the Planet, god archetype, uses mechanisms to keep Henry grounded and from enlightening his consciousness (or soul).
Henry's consciousness must be educated to move on. On his path there are obstacles to the enlightenment of his consciousness. None of which are helpers as he must grow his consciousness from with in him self.
He's interloped into the lives of the X family. The matriarch. Grandmother (Jean Lange), is stuck from her path due to dementia, Mrs. X (Jean Bates) is only focused on homogeneous expectations of a housewife, Mr. X (Allen Joseph) is only interested in personal satisfaction as exemplified by eating; even if it's a gross bird. Mary X (Charlotte Stewart) devoid of common sense and accountability is potentially Henry's most difficult obstacle.
She recently gave birth. It's questionable if it's Henry's, it's a grotesque brain stem of a baby with the head of a lamb fetus. Ironically, she too is an archetype. What she has is Henry's still forming consciousness. This manifestation of Henry's consciousness disgusts her, because as indicated in one night she can manifest several deplorable malformed consciousnesses at a time.
In Henry's life there are two far more important women than Mary X. The Beautiful Girl from Across the Hall (Judith Roberts) and the lady in the Radiator (Laurel Near). The Beautiful Girl offers the potential of earthly comforts whereas the Lady in the Radiator offers Enlightenment.
The first is indicated in their love scene where his consciousness is growing to the exasperation of the Beautiful Girl. The second is indicated in a dream where various consciousnesses fall from the sky, and are too mature to exist on. She sings a siren song to call Henry forward on his path, "In heaven everything is fine".
In the dream, however, Henry is at a witness stand, his growing consciousness in the dream world is symbolized by a bare rooted plant; no leaves, it is yet to bare fruit. Henry's head is decapitated and an indication that the baby's is his consciousness is revealed. Out of his neck grows his consciousness, and it's the baby. In the world he lives the baby consciousness is sick and conceivably dying. In the dream however his head is picked up, brought to a pencil factory, and mined to create (drum roll) Eraserheads for pencils. A quality control man draws a line, erases it, scatters the ash from the eraser and Henry awakens. His rooted plant is now at his bed side.
Here's where it gets cool, or trippy. Henry frees his Consciousness (baby) from its swaddling clothes. It looks like he is killing it. It festers with cyst like puss and ooze, then grows in size until his consciousness fills the room or arguably out grows the room. Electricity fill the air based on Henry's will contrary to will of the man in the planet. Everything goes bright white as he's greeted on a loving embrace by the Lady in the Radiator. He's succeeded in his enlightenment.
In truth, the film could've been named Dharma.
Thoughts:
In several interviews Lynch gave regarding Eraserhead he's said: It's his most spiritual, when asked to interpret he says no, and frequently will follow with: 1) what's the conversation you had afterward; that's the correct interpretation, 2) his golf ball example.
"I see the consciousness for most like a golf ball. If your consciousness is prepared to the size of a golf ball, you will interpret art as the size of a golf ball. As we mature and educate our consciousness we realize an ocean of possibilities." David Lynch, Majestic Theater, Boston
This is the core of so much of his work and the root of the lesson imbedded in Lynch's surrealism. Apparent in Twin Peaks, Mulholland Drive, Dune, Inland Empire. The idea of enlightenment starting from within and connecting to a unified theory of everything. Lynch's heart is big. His stories while often violent and nightmarish are passages through nightmares into new oceans of perspective and enlightenment.
It's philosophy and metaphysics through the medium of film.
Inland Empire (2006)
Urban Legends Perpetuated By Hollywood Myth Makers
Inland Empire (2006)
Plot:
The Phantom (Krzysztof Majchrzak) is part of a Polish urban legend, which was the basis of a cursed German film entitled 47, which is being remade as On High in Blue Tomorrows. The Phantom was a serial killer who would kidnap women, alleged prostitutes, keep them as sex slaves, and kill them when he was tired of them.
Nikki Grace (Laura Dern) is trying out for the lead role of Susan Blue in the remake, and just prior to receiving the call hiring her for the part she is visited by Visitor #1 (Grace Zabriskie) who was a survivor of the Phantom's reign of terror. She shares her story, which informs Nikki Grace of her character.
Nikki Grace is hired for the part by director Kingsley Stewart (Jeremy Irons) and co-starring with Devon Berk (Justin Theroux) cast as Billy Side. At which point they start reading lines, and the film switches into only showing scenes out of order with Sue Blue in them. This is disorientating, but that's what is happening. Therefore, we are piecing together an urban legend of the Phantom of Poland coming to Los Angeles haunting Sue Blue, until she herself is killed. All the while we as the audience are reminded that this is all just a film production as Lynch's camera pulls away to show Kingsley Stewart movie in the movie being made.
Shocked by the character journey Nikki Grace went through portraying Sue Blue she realizes the purpose of such a horrific thriller to be produced while watching a daily. While reviewing the daily she fantasizes going to the room 47 from the urban legend and killing the Phantom. Doing so frees all the women slain during his reign of terror. Her portrayal thus gave the women their voice, and their spirits, while remaining immortal in Nikki's memory, are able to celebrate their freedom from the legend. Meanwhile, visitor #1 tells Nikki about her escape from the phantom to rejoining her husband and son. All the once captured spirited of room 47 are freed and they celebrate their enlightenment from the curse.
(A thorough interpretation of Inland Empire written immediately after watching it for the first time on 4/2/2023.)
Thoughts:
Oddly, this film was avoided. Listened to others warn about it, accepted it should be skipped. What a mistake. It's a powerful Lynchian interpretation of urban legend myths and Hollywood's desire to exploit these myths, yet explained through the process of one actress creating her character and performing on her days on set.
The urban legend seems similar to the Russian "Red Ripper" serial killer regarding the twelve years of failed attempts to capture Andrei Chikatilo who sexually assaulted, murdered and mutilated at least 52 women in children between 1978-1990. Ripper seems likely, also consider "The Scorpion" Pawel Alojzy Tuclin a polish serial killer who kidnapped, sexually assaulted over time, and murdered 9 women from 1975-1983. The Scorpion's spree lines up with the number of women depicted in the room, and during the two dances. Albeit, they are not the only deaths remembered. Also included are Nico and the monkey, Laura Herring's character from Mullholland Drive, and the various mysterious visitors; all existing as ghosts from the production on Nikki's celebratory memories at the end.
Most reviews, more appropriate most synopsis, refer to the women as prostitutes. This is strongly misrepresented in their synopses as they are depictions of women who were victimized in assault and murdered. It's a jump to conclusion to summate prostitutes. Instead they are victims turned into urban legend that should be memorialized properly and not as liner notes to a serial killers kill count.
This is an idea or theme Lynch returns. Mary X (Eraserhead) who is clearly pregnant before meeting Henry, yet is scared to share the knowledge with her family, therefore, opts for the kind Henry instead. More blatant are the characters: 1) Dorothy Valens (Blue Velvet) kept as a sex slave for Frank Booth while her husband and son are imprisoned, 2) Laura Palmer (Twin Peaks) a victim of horrific abuse at home, which imprisons her into a life of crime as a respite from a possessed Leland Palmer. 3) Renee Madison (Lost Highway) being harassed with her husband Fred Madison's knowledge by the Mystery Man (Robert Blake); essentially a precursor to a kidnapping at the heart of Blue Velvet. 4) Although a stretch Betty Elms (Mulholland Drive) imprisoned herself in her obsession with her Rita.
Inland Empire interprets these themes, yet through the lens of a voyeuristic Sony video camera when the film is not being produced, and a slightly better quality when Kingsley Stewart is filming Nikki's Sue Blue scenes. This, however, goes against most noted by critics claiming it's all shot via home video, yet there's a clear difference between the voyeur quality off production vs scenes in production.
Another interesting connection to previous films is Justin Theroux portraying actors Adam (Mulholland Drive) and Devon Berk, which are so similar as characters it's arguably the same character in each.
Finally, it's wrong to interpret Lynch, because truly he does not illicit interpretation. He maintains that he "put it all there" for us to see in every film he creates. Indeed, that's the case with all of his films. To appreciate Lynch isn't to get a kick out of weirdness, but instead thank a transcendentalist mind who understands the process of truly knowing is up to us. Stress, pay attention. Inland Empire like all Lynch demands focus and intelligence from the audience. Something our minds sorely appreciate in exercise.
Struck by Lightning (1990)
Uplifting, appropriately funny film
In 1992 I had the fortune to live in Canberra, AU
Forget if I saw this in the theater (my faulty recollection perhaps) or film studies course at Erindale. The plot in the synopsis is off...
Synopsis: a Coach at the private school is fired due to some scandal. The coach is a self absorbed narcissistic a-hole. He buns around a bit until hired at a new school as their football (soccer) coach. In his head he's going to coach this team to defeat his previous school. He even plans the bout. Then he arrived at his new school to discover it's a special needs institute.
To my memory this is one of the most up lifting, appropriately funny films involving special needs I ever saw up to the point. Most hire actors to portray special needs, yet to my memory the talent is made up of special needs athletes.
Highly recommend this movie. This said I searched for a copy in the US for years.
Rent-a-Pal (2020)
Schizophrenia is a B
Let me help.
Rent-A-Pal is likely not real. The main character likely inherited schizophrenia from his father or it developed as a coping mechanism.
All the stuff about caregiving and getting locked in to Loneliness in the process is very real.
Truly, a decent study of the loneliness of a caregiver. Read several say the violent twist was sudden. It's brimming throughout.
I concur that the mom did a great job. However, everyone did a great job. Think Brian Folkins nailed the sorrow of isolation and anger caring for his mother. Amy Rutledge was in control as Lisa.
I assumed it was a Canadian film throughout. Floored it's a low budget out of CA.
Jennifer's Body (2009)
Deserves a reevaluation
Hands down one of the greatest horror comedies ever made, in its own right a horror masterpiece, and a rare female centric horror film. I'd pair it on a double or triple feature movie night with Ginger Snaps, Teeth, or Hard Candy.
If you're just wanting a tantalizing/objectification flic with Megan Fox nit the pic. Honestly I think she is terrifically under rated as an actress, and rightly should be given more films. Likewise, Amanda Seyfried is great.
This is really a film about two friends living through a toxic event and how the ptsd of tge event radicalized them. One becomes an avenging Angel the other her failed attempt at reason.
Watched this with my daughter and her smile throughout it made it a classic. Her words after "I love this movie."
As she should. It is a great horror and it has impeccable comedy chops.
Paul T. Goldman (2023)
Curb Your Cohen Brothers Television
Was I laughing at him, or with him? Honestly, it doesn't matter. I was laughing.
Likewise, I mentally heard the musics from Curb Your Enthusiasm, and a for minute or two I thought Paul was Timothy "Speed" Levitch. Then after another moment of anger that this wasn't a Cohen Brothers movie I cozied into my couch, and ended up binging the whole thing.
Is it real, not real? I'm confident it is real. No joke I got scammed by a woman, not to his extent, but man it got weird.
This is essentially a meta true crime reenactment starring many of the people who were initially involved. Part of which is Paul T Goldman putting together his story.
Terrifier 2 (2022)
What happens when you try to make a cult film...
Damien Leone's Terrifier is an undeniable cult extreme horror slasher film. It's best parts were the kill effects used in a few gratuitously gory moments within the first 20 minutes. Terrifier two is what happens when a Director attempts to create a cult movie intending a cult movie. Likewise the popularity of the first one and cult status I am sure made the Director think maybe I'll make a few bucks with this one.
Is Terrifier two good? I watched it. About when it came out. I remember all of the original cult film of Terrifier one, this one except for a magic warrior Angel girl(?) i've all but forgotten. Like any horror film intending to do a franchise the kill count was up. They weren't as original nor were they really originally original in the first film, but I remember not digging it as much.
I'm not saying this as a person who is anti-horror films. I do like them. Just like with any attempted franchise they get stupid as the girl. Part one was already stupid to begin with.
Should you watch it? Yeah watch whatever you want.
Also for me reviews on here for any horror movie that's between a six and a seven are the most fun. I gave this a six. In my experience a 10 star horror film is barely a horror film.
Terrifier (2016)
Gave a 7 because 6-7 star horror is the best
It's filmed in a way that truly shows off the special effects. It's hard to hide the kill gags with the lighting etc and truly it's a bizarre magic act what they visually get away with.
It is a generic slasher, but.... No Freddy or Jason movie was as brutally gory as Terrifier.
One of those where you say to yourself "it's not going to go there" and then it does.
Critiques about gore etc... it's a slasher post an era of gore porn, if not born out of gore porn.
Is it fun for horror fans? I wish it was back in the day and it was a cheap VHS on the rack back when it was fun to find a random horror film that was direct to video and br shocked by creative horror kill gags.
Is this any thing more than a cult horror film for horror film buffs? Absolutely not. And that's why horror film buff dig it.
Superman (1978)
Horribly biased meandering of a sensitive X'er
I grew up watching this movie. I'd say I watched it on its original release, but that would've made me two, yet I distinctly remember seeing it in the movie theater. A lot can be said about how it's slow moving and kids can't sit through it, but I not only sat through it, I continue to sit through it at least once a year. I'm not high and mighty when it comes to film. I watch them for what they are. High art or low art, it doesn't matter. I enjoy them.
Where Superman is different is that it is the first and is grounded in reality in as much as a superhero movie can be grounded. Richard Donner put so much heart into the story that could in present day be dark and brooding like Man of Steel, or a rehash like Superman Returns. Instead with all the darkness of an orphaned alien surviving the genocide of his people is as the heart, yet Superman is bright and optimistic.
Christopher Reeve and Margot Kidder in their most iconic roles (I hate the word iconic as it's overused, but it's correct here.). Most importantly Richard Donner crowding a movie with temperamental actors (Marlon Brando and Gene Hackman) immortalized these titans and introduced them to my generation.
I'd like to write a witty critique, but who cares. Im bussed as hell and love this movie so much I own the three hour version m, which is the one I watch. As great as MCU you seems it lacks the heart of this movie and DC has floundered due to Zack Snyder. If I were the producer all hero film productions would start by viewing this.
To close I'll state the obvious. Superman is always Superman just pretends to be human as Clark Kent.
A Christmas Story Christmas (2022)
Moved me
If your memory of the original was fags and set pieces only. Go rewatch. It's the story of a man looking back and reminiscing about his family and friends, but most most of all his love for his "old man." I saw the original in the theater; hard to believe. I'm close to Billingsly's age. I think we all try to re-enlist our holiday memories into the lives of our kids. However, in the end our old traditions mix with our new ones to create something wholly original.
All the old characters are back; only grown. Several of the set pieces and gags return; only subverted.
The core: Ralphie returns home for Christmas with his family after the death of his father. Likewise, he's given himself until New Years to succeed in authoring a published work.
It is very moving. We like Ralphie from the generation the movie premiered with are at the age of passing parents. Very clever zeitgeist moment. However, it's comically moving dealing with all these related issues coupled with being a father and husband simultaneously.
I grinned throughout the film. Teared up too.
Foundation (2021)
Read it; watched. Loved it.
Read several reviews. Had to nudge in.
The books of Asimov are great. He was a futurist. He left so much of his stories up to the reader.
In the 1950s these were easy books to read. In 2022, they are complicated.
This is great for a director and reader. We can create so much and see for ourselves what we wish. In the end it's the core plot.
This is not as complicated a plot as other claim. Nor was the book.
I think the show is very well done.
The bigger issue will be the viewers comparisons to lesser works of the genre that lifted portions and claimed primacy; ie space operas and superhero movies.
Wrong Turn (2021)
Don't expect mutant hillbillies
I watched expecting a dumpster fire of a film. If you watched it like I did I expected a stupid movie about mutant hillbillies. What I got was surprising and I enjoyed it a great deal.
The synopsis is a mistake and is a spoiler.
It's the story about a bunch of pretentious hipsters who thumb their nose against Appalachians and are as prejudiced against the Appalachians as they perceive they may be against them. They are giving warning as to the correct trail to take or not take. They ignore their warnings and bad things happen.
If you're expecting mutant hillbillies, that's not here. Instead you find a survivalist cult.
Couple this with the story of a father searching for his missing kid, which will cause you to wonder who is saving whom.
Thought this was way better. Also like the mental questioning regarding which society was better: reality or the foundation's.
Halloween Ends (2022)
I dug it.
Halloween (1978): Laurie is the innocent first "last girl" of the slasher era. Haddonfield was a quaint small town; a community. Everyone knows and looks out for each other.
Halloween (2018) and Halloween Kills (2021): Laurie is deeply traumatized by the events of 1978. It has altered her life to that of a survivalist/ dooms day prepper to protect her family, which made her lose her family. Haddonfield thinks she is crazy until the shape returns then falls into chaos. We are introduced to others from 2018 who are also deeply traumatized, which leads the town to turn into murderous mom violence.
Halloween Ends: Laurie forces her to confront her past and resolve her trauma allowing her to enjoy what's left of her life. Haddonfield's mob violence creates a potential next Shape, which is dealt with via Laurie's resolution. Heroic this reunites the city and Laurie can enjoy the rest of her life
Tons will complain about kill counts. Deaths were inventive. In a post Jaw world not exactly sure if inventive becomes stupid after a while.
Some will say it's just fatal attraction. I'd argue Allyson's story is a skillful flash back done present day in the story. Allyson's relationship with her stalker is an example of how Laurie's stalker began.
They stripped away the supernatural. Good. Watch parts 3-Resurrection. The society of Thorn became stupid. The pho-Freudian attempt to create back story to every slasher made some into anti heroes, and others goofy.
What Halloween has over all slashers is character development for their victims. 1978 gave enough on each victim to allow their deaths resonance.
What Halloween 1978, 2018, Kills and Ends does us demonstrate how different individuals and facets of society cope with tragedy. I'd argue that's the point of the series. The tragedy was 1978. Interpersonally by 2018 interpersonally 1978 affected Laurie and her family, altered Haddonfield for the worst, yet the events of End give the opportunity for the community to recover and be communal.
Watched as a stand alone is a mistake. Really, the four films are episodic and should be viewed that way.
Also look at the dates of some of these reviews. If they are pre release dates, which so many are, discredit them review.
Been watching these films for forty years. This was a satisfying end.
Blood & Donuts (1995)
Loved it. Need more from Holly Dale
Blood & Donuts (1995) dir. Holly Dale
I am getting to the point I am excited when I see a female director leading a Vampire movie. In this series of vampire films the standout is Stephanie Rothman's The Velvet Vampire (1971), Kathryn Bigelow's classic Near Dark (1987), and now Holly Dale's (1995) rom-com horror Blood & Donuts. I'd be wrong to exclude Catherine Harwicke's Twilight (2008), which although it's a film many critics and fans live to hate, is also a vampire film led by a female, and was cut by the production company, and subsequent sequels were taken from her, but hers set the tone and will be the only one of the series with lasting importance.
Male led vampire films go after as many nude and sex scenes as possible. Seems coupling sex with demon possessed undead creates sin/punishment therefore it's "alright". We see this in trashy slasher. Kids get nude, kids get punished for "sin."
While Jean Rollin may be the lead culprit in this type of exchange his films are female centric. Can't finish without seeing the make lead devoured in Fascination or marginalized like Living Dead Girl, however, women hated working for Rollin. Seems he was a creep, used directing to score with attractive women. His repertoire includes: Rape of the Vampire, Nude Vampire, Shivers (Orgasm) of the Vampire, School Girl Hitchhikers, The Demoniacs (essentially I Spit on Your Grave), seduction of Amy, Hard Penetration, Sexual Vibrations, Disco Sex, Hyper-penetration... in fact all his film are female exploitation coupled with violence.
Velvet Vampire has that too, but it really about a lonely female seeking companionship and turning sycophant. Kathryn Bigelow filmed toxic masculinity at its most volatile with Near Dark, and I'd argue a female is best when showing men at their worse and at the perils of toxic masculinity, which Bigelow comments on in Near Dark, Point Break, Zero Dark Thirty, Hurt Locker etc.
So strange of all the movies for me to write so much about it's Blood and Donuts (1995) die. By Holly Dale. First I love this movie. In the hands of female directors a vampire is not about sex, it's mythos is a warning: Be careful what you wish for.... In Rothman, Bigelow and Dale it's individuals trapped in immortality hated by everyone for their curse or miracle.
In Blood and Donuts Boya is the vampire. He is locked into immortality. He is locked into a triangle between a donut waitress and his previous familiar. Between thugs that want their payback and protecting the barista.
It is ridiculously low budget, but it's so good. It has moments where it's a Tarantino disciple, then it becomes itself. Strongly recommend it.
Likewise, write whomever you can to get Holly Dale signed to another directing gig. She has chops. Any tv show you've liked in the past 30 years she's directed on. That in itself is a successful track record.
Suspiria (1977)
Death or The Three Mothers' Quadrilogy
Mater Suspiriorum, the Mother of Sighs, is the oldest and wisest of the Three Mothers, her given name is Helena Markos. She is also known as The Black Queen; any mention of Helena Markos being one of the Three Mothers would not be made until Inferno three years later. Lela Svasta, who portrayed Markos in Suspiria, was uncredited. According to Jessica Harper, "the witch was a ninety-year-old ex-hooker Dario had found on the streets of Rome."
Markos, a Greek émigré, was exiled from many European countries and had written several books on a variety of arcane subjects. In 1895, she founded the Tanz Akademie ("Dance Academy" in German), a school for dance and the occult sciences, in the Black Forest outside Freiburg, Germany. The locals feared her, having intuited that she was a witch. As Markos' wealth grew, so did suspicion about her true nature. To avert this unwanted scrutiny, she faked her own death in a fire in 1905. Control of the academy, which became solely a ballet school, was said to have gone to Markos' prize pupil. In reality, this was Markos herself. (As the original Freiburg building "Haus zum Walfisch" the Akademie bears a plaque stating that Desiderius Erasmus once lived there.)
In Suspiria Markos is the Directress whose presence is concealed by her coven, headed by Madame Blanc (Joan Bennett). A young American, Suzy Bannion (Jessica Harper), discovers the hidden chambers beneath the school after several pupils are killed by Markos' proxies. The aged witch attempts to use her magic to kill the girl, but her powers - including those of invisibility, illusion casting, and telekinesis - prove insufficient due to her feeble state. Bannion defeats Markos by stabbing her through the neck. The witch's death causes the foundations of her home and coven to fail.
In The Mother of Tears, it is revealed that before the events of Suspiria, Elisa Mandy (Daria Nicolodi), a white witch, sought to challenge Markos' evil might. The two battled in Freiburg, and Markos slew both Elisa and her husband. According to Father Johannes (Udo Kier) in the third film, the battle left Suspiriorum "a shell of her former self". Elisa's daughter Sarah would later defeat Mater Lachrymarum in Rome.
In the 2018 remake of Suspiria, the roles of both Madame Blanc and Helena Markos, referred throughout as Mother Markos, are played by Tilda Swinton. Markos is depicted as an ancient, disfigured, centuries-old crone maintaining control over the coven and seeking to acquire a new, younger body as her current one is riddled in leprous sores, tumorous growths and immobile infants' limbs growing out of her own. In this version, it is revealed in the climax that Markos is a fraud and Susie Bannion (Dakota Johnson) is the real Mater Suspiriorum.
Essentially Susperia s 2018 remake is an expansion of the original film's story to incorporate the mythology created by Mater Tenebrarum (Inferno) and Mater Lachrymarum.
Mater Tenebrarum, the Mother of Darkness, is the youngest and most cruel of the Three Mothers. Her true name is not given; her home is located in New York City and was christened in 1910. The house's number is 49 and bears a plaque that states that Georges Ivanovich Gurdjieff once resided there.
In Inferno the character is portrayed by Veronica Lazar. She masquerades as Professor Arnold's nurse for much of the film. At the climax, Mark Elliot (Leigh McCloskey) descends into the bowels of her home to confront her. He learns that Arnold is, in fact, the architect Varelli, and essentially Tenebrarum's slave. Tenebrarum's bloodlust would ultimately be her own undoing, as one of her victims, a maid, was inadvertently responsible for the house catching fire in the midst of her death throes. When Elliot comes across her, Tenebrarum laments cryptically that "It's all going to burn down... just like before." Tenebrarum is perhaps referring to Suspiria's finale, during which Mater Suspiriorum is killed and her home eventually burns to the ground. After sealing the room, she laughs psychotically, makes an ambiguous speech, and disappears. However, her reflection remains in a mirror and bursts out moments later as the skeletal incarnation of Death. Elliot flees the room by breaking down the door. Tenebrarum is last seen in her skeletal form, screaming as burning debris of her home collapses around her, apparently perishing in the flames.
Mater Lachrymarum, the Mother of Tears, is the most beautiful and powerful of the Three Mothers. Like Tenebrarum, her true name is unknown. Inferno suggests that her home in Rome, Italy may be located near No. 49 Via Dei Bagni - the Abertny Foundation's Biblioteca Filosofica - when Sara (Eleonora Giorgi) notices a strange sweet smell in the air. In The Mother of Tears, Lachrymarum's home is revealed to be the Palazzo Varelli.
In Inferno Lachrymarum attempted to spellbind Mark Elliot during a music lecture in Rome. According to Argento, Ania Pieroni did not return to reprise her role as Lachrymarum in The Mother of Tears because "she now has five kids!"
Lachrymarum is portrayed by Israeli actress Moran Atias in The Mother of Tears. After the deaths of her sisters, the witch has been hibernating, and is awakened when Sarah Mandy (Asia Argento) opens the urn in which her most powerful relic, a red tunic, is stored. As her minions wreak havoc on the city above, Lachrymarum hides below ground in the catacombs of her Palazzo, regaining her strength. She is defeated when Sarah Mandy discovers her subterranean lair and rips and burns her tunic, causing the Palazzo to collapse. Lachrymarum is killed when an ornamental obelisk from the top of the building crashes into the ceremonial chamber, impaling her.
Mater Suspiriorum with Helena Markos, Mater Tenebrarum, and Mater Lachrymarum travel through talisman through space time to the final fight in Susperia (2018). Susperia (2018) is the careful culmination of four films. The three mothers battle for power as the "mother superior" or " Sorcerer Supreme". There is no way for Dakota Johnson to survive and it's through her innocence or grace that she successfully battles the motherhood and becomes the Mater Suspiriorum.
Epilogue:
Side stories to Argento's 40 year story
Frequent Argento collaborator Luigi Cozzi made The Black Cat (1989), which features a meta storyline in which an actress hired to portray "Levana, the Mother of Tears" is terrorized by the witch.
The story of the Three Mothers, and specifically that of Mater Suspiriorum, returns in a reimagined form through space time in Luca Guadagnino's 2018 remake of Suspiria.
In the 2018 film The Night Sitter, The Three Mothers are accidentally summoned by one of the children.
The Autopsy of Jane Doe (2016)
Really enjoyed this
Andre Ovredal follow up to Trollhunter.
Stars Brian Cox (the original Lector) and Emile Hirsch.
I found this movie hard to look away. Like many I'll put on a movie and then you with my iPhone. Not this one. I tried and lost a round of Plants v. Zombies.
Plot: quadrupole homicide leads police to expect Tommy Tilden to examine the cause of death. Of the four bodies one is nameless with no signs of outside trauma, yet nonetheless she is dead. The examiners need to find her cause of death.
I'm a sucker for small casts and films that allow great actors to show off, especially in a middle to low budget arena. This is essentially a murder mystery done from the perspective of the examiner with a supernatural twist.
Not a jump scare heavy film, nor is it a slasher. If that equates to horror for you, this is not your choice. Albeit 87 minutes in length Ovredal has great economic use of time whereas all 87 minutes are filled. There is not a second where one has time ADD away from the the screen. Sincerely, 87 minutes seems like 3 hours, and I say this positively because of how much goes on in the brief time.
Likewise, I appreciate that it doesn't go out of its way to give answers. Mistake of any mystery, which is what I'd call this more than horror, is to give away clues too easily. Every ounce of info we as the audience must work for it.
I thoroughly enjoyed it and will watch again.
Jurassic World: Dominion (2022)
Best of the World Trilogy
Two genetics story, one real (a agri-genetics company creating pest only they can prevent) one fake (dinosaurs). Couple with team Park investigating the malfeasances joining team World attempting to rejoin their family.
This one has little love. People tend to rate it as the worst Jurassic film. I'd argue this one actually has a more characterization than most, and is attempting to tell a story that's more than just dinosaurs chasing and eating people.
Honestly, with these that's all I'm expecting. Dinosaurs chasing people. Perhaps a trite love interests and message about working as a group leads to success. If that's all I get from Jurassic Park, it's expected.
Likewise, teams of Disney paid critics tend to trash anything that's not owned by Disney. So criticisms from critics responding to a medium nearly dead by streamers not only makes me roll my eyes, but also extend a message to New Yorker, Times, Chicago Tribune critics that they're cool with remakes of Toy Story from 1995 to resent, 20 remakes of Iron Man, and sequel trilogy that copied the original to the point it lost its fans. (This paragraph is to discredit critics)
Dominion is the best of the Jurassic World movies. The first was a remake of Jurassic Park but bigger, Fallen Kingdom went all sci network original movie. Compare to the Park trilogy 1-2 are great, but 3 has Pterodactyls so... lol
Just finished watching it on Peacock. Loved it. Had a lot of fun.
Holy Motors (2012)
We are all different at different seasons of life
Comparing Carax to Lunch is not appropriate. Lynch is Lynch. Lynch us comparable to Cronenberg, but even then he is his own drum. Lynch uses art to tell its own plot and generally creates dark expression of noir.
Carax is Pasolini, Noe, Ostlund, or more recent and a complement Ducourau.
Synopsis: the day in the life of Mr. Oscar who takes on nine separate lives like an actor everyday. Sadly, we never get to see him.
Seriously, I get it. This movie is strange. Everyone is telling you it is a movie as art. I 100% agree.
This is a movie for a movie buff with literally 1000s of films under their belt. We've seen everything. We know how it ends. Before the movie begins, even if we are excited, a part of us falls asleep at the wheel.
Hollywood endings, the Disney-ification of everything, movies by board room...
It's nice to be a movie buff and be off the rails in a Proustian drama.
How many of us live under masks of personae?
All of us? Maybe you're the special one lying out and the open and saying it's not you. You're an open book. Here's a secret, the people claiming to be open books hide the most.
Mr. Oscar is all of these things. In the morning he begs for existence, by lunch he is virtually laying a computer woman, then urges to kid nap a model, have a gunfight, self loath, and perhaps if luck beg forgiveness.
It is very Marcel Proust, which makes sense as they are countrymen.
Who are we at different ages and different times in our lives?
As for the title holy means sanctified and motor one or thing that motivates motor; a prime mover. In a sense all our actions are sanctified. If they exist they were allowed to happen both good and bad.
Annette (2021)
Loved this movie so much
This movie stayed with me like no other movie from last year. The critiques I read were all artist choice issues and do not apply.
Yes there's a puppet for the child. Both patents objectify their child until she is able enough to rectify the situation. Only then dies she become real.
Once they lose her she's no longer a toy, but a human.
From a year of multiple remake musical this was the few no IPs. It was original, and powerful.
Thanks to the Sparks Bros and Carax.
Watch it. Allow the weirdness to exist. Life is weird. Makes no sense. The reality of this film is that. Existence is weird. Celebrity is immature and not realistic existing for PR reasoning. Why wouldn't the way they treat their child be different.