1946 - 20th Century Fox
Directed By Alfred L. Werker
SYNOPSIS
Janet Stewart (Anabel Shaw) goes to San Fransisco to meet her returning POW husband (Frank Latimore.) She gazes out her window at witnesses a man murdering his wife. She goes into a severe shock. Her psychologist (Vincent Price) just so happens to be the murderer... and he will stop at nothing to make sure she is unable to tell.
MY THOUGHTS
Vincent Price shines in an average b-movie.
The film is a part of the Fox Film Noir series and like many of those entries, calling it 'noir' is a little iffy. The extreme shadowing and unique camera angles are barely evident here. Perhaps it's due to the film's b-movie status and quick shooting schedule. It was shot in just 19 days.
Thematically it does fit the noir category. Murder and deceitful characters are essential noir elements. The film seems more than a little influenced by Hitchcock's Spellbound.
Shock is also able to create and maintain a decent level of suspense throughout... though calling the film 'Shock' is a bit misleading. Janet Stewart may be in shock, but the film is not shocking at all. It's rather routine instead.
The characters spout all sorts of psychological jargon and theories. Some of it seems real, while the rest seems as phony as the technobabble in 50's sci-fi B-movies.
Vincent Price is able to spout the occasionally silly babble without seeming ridiculous. Whether in horror films or otherwise, Price always shined playing dark shady roles. The roles seemed to always be written to be 'all bad' yet Price is always able to make them seem more human and real. This is one of them, and he's a delight to watch.
All in all, it's an entertaining film, if a bit predictable.
Country singer Bad Blake (Jeff Bridges) has led a rough life on the road... too much booze, smokes and ex-wives. He meets a young journalist (Maggie Gyllenhaal) and falls for her and her 4 year old boy (Jack Nation.) After a car accident, Bad finds out his destructive lifestyle is killing him and stops touring. His relationship inspires him to write songs for the first time in years... but his alcoholism stands to doom their coupling.
MY THOUGHTS
A ho-hum movie containing an amazing performance.
You cannot begin to discuss this film without singling out the amazing job by Jeff Bridges. Bad Blake is created wholly in the flesh and seems to be a real person like Waylon Jennings who just happens to have an invisible camera on him as he goes about his life. Bridges' bushy beard ages him perfectly to give him that look of a man that lived a rough life.
It may not be his single best performance, but it's up there. Bad Blake is the sort of flawed, troubled character that Oscar likes to single out come awards time, so Bridges finally won his first statue for this film.
Who knew he could sing so well? If he wasn't such a great actor, I would definitely say he missed his calling.
The music is outstanding. It's sad what passes for country music these days doesn't hold a candle to these songs. Music producer T-Bone Burnett was also responsible for the soundtracks to O Brother Where Art Thou? and Cold Mountain (among others) and this collection of songs is just as strong.
Storywise, the film offers little new. It's your typical troubled musician story that plays like a dramatized version of VH-1's Behind The Music. The script feels like it's puzzled, unsure whether to tell a plot-driven story or deliver a character study... so it does a bit of both and moves at an unsteady and unsure pace.
The Bridges/Gyllenhall relationship is a bit awkward, as is their chemistry.The whole 'lonely single mother looking for any man's attention' cliche is in full effect. But that doesn't bring the film down... and in fact helps flesh out the Bad Blake character.
Crazy Heart is not a very original tale, but it's one that is made great by Jeff Bridges amazing portrayal.
Two decades after an alien mothership breaks down over Johannesburg, government agent Wikus (Sharlto Copley) is put in charge of moving the alien refugees to a new camp. Wikus is exposed to biotechnology and is slowly turning into one of the aliens. In order to be cured, he must team up with an alien and get some missing fuel to return the alien drop-ship to the mothership.
MY THOUGHTS
At it's best, science fiction is able to tackle contemporary social issues and address them in an abstract way, and bring the viewer (or reader) new insight.
The original Star Trek TV series is one great example. Because the writing was so strong, it was enough to make you forget how bad many of the sets looked, hammy performances, bad special effects. The show was able to make subtle, yet powerful, statements about racism, the Cold War, Vietnam and dozens more issues. With it's sci-fi bent and subtle storytelling, the show was able to slip this commentary right under the nose of the TV censors, who would have completely rejected the episodes and keep them off the airwaves.
District 9 boldly attempts to be relevant and meaningful in the same way... but fails. The film flaunts it's views on racism and xenophobia within the first few moments, completely without any subtlety and never lets up.
It's like being repeatedly bashed in the head by a croquet mallet. Once is enough, but it keeps hammering away until you've bled out.
The camera never passes up a chance to linger on the 'no non-human loitering' signs - clearly a take on the old 'white's only' signs in 20th century America. The film is set in South Africa, no stranger to racial problems in recent times. The alien's camp resembles any refugee camp you'd see on the news or even a WW2 concentration camp. This message would have been as easily tackled in a 5 minute short.
Especially with it's setting, no doubt the screenwriters got help from this book:
The social commentary is grafted onto a basic action plot that's as unrealistic as any Steven Seagal movie. The wimpy, nerdy (not to mention sick and injured) Wikus is able to escape from an underground quarantine lab in "the most guarded building in the world." Unlikely.
With the entire world alerted to his escape, he is able to go into hiding. Wikus (now add malnourishment to his list of woes) and an alien return to the same heavily guarded building, break in, and take the vital fuel for the alien's ship and are able to escape again with relative ease. The authorities know exactly where they are headed yet cannot stop them. Preposterous.
This fuel that they go get is also somehow responsible for turning Wikus into an alien. How?
When things begin to look very grim, some sort of alien mechanical suit magically shows up for Wikus to wear which looks like the lovechild of Ripley's mechanical suit from Aliens and a Michael BayTransformer. Ugh.
A 'clever' way to write yourself out of a script jam.
We're introduced to the characters and situations in a documentary style*, which ultimately feels just like the reality garbage people are force-fed every night on television. I, for one, avoid television for this reason and despise the fact its creeping into cinema. The film forgets this as the plot gets going but reverts to the documentary style whenever it slows down. (*I hate to use the term 'cinema verite' here because style and subtlety are so crucial, which are completely lacking in District 9)
District 9 never fails to cut to 'live news footage' to make a statement about the overeager news media. Somehow their news tickers are able to report things like 'massive casualties' mere seconds after an incident happens. Any reputable news source would wait to confirm information like that before putting it out there (even Fox News!) So.... is it commentary on the media... or poor writing/filmmaking? You decide.
None of the human or alien characters are remotely interesting. Sharlto Copley (as Wikus) does a decent job, but Wikus is pretty much an asshole and an idiot at the beginning of the film, so when he's infected, we don't give a crap. Every other character is one dimensional. Even Wikus' close alien ally, Christopher, isn't given much personality. It's hard to feel bad for the aliens because we never really get to know any.
The bloody action and special effects are nicely done, especially considering the film's small budget. District 9 is well paced and picks up steam, moving like a roller-coaster. But it's not enough to save the film.
It is absolutely ridiculous District 9 was nominated for a Best Picture Oscar, but then again so was Crash, which also tackled racism with the subtlety of a nuclear bomb blast.
District 9 is the type of film that morons would claim as being meaningful and important.
Battleship Potemkin, about the 1905 Russian Revolution, remains revolutionary to this date. Popularizing the use of montage, it's hard to think of any film since that doesn't owe at least a small debt to this classic.
It's been a favorite of mine and I was eager to see how a film of it's vintage would look in hi-def.
I was pleasantly suprised to see how strong and vivid the images are, despite being 85 years old.
Sure, there are several heavy lines that do crop up in the film and heavy grain throughout (as it was made) but the film has never looked better. The quality of the new transfer shows vastly more details than any beat-up old print you'd see in a film class or on some budget DVD.
Facing the scissors of many censor boards through the years, Battleship Potemkin has gone through several versions.
Few records survive of the first cut of the film, or even its second official version showcased at its 1926 premiere in Berlin, so historians have painstakingly restored the film to make a close approximate of those early versions. The intertitles also changed through the years, and this version returns them to their originals.
The 1926 version featured its own original score performed by an orchestra and that is what you hear on the soundtrack. The music is very dynamic and newly recorded with slight adaptations to fit the pacing/editing of this new version. The score is vastly superior to any public domain version of the film with random music that doesn't fit the action.
You can learn about the music and film restoration from a 40-minute documentary included on the disc. Some photo galleries are also included showing behind-the-scenes photos and movie posters.
Battleship Potemkin is one of the best silent films and Kino International has done an excellent job steering it into this 21st century blu-ray world.
A documentary that looks into the short and turbulent career of The Doors in the late 1960's and early 70's.
MY THOUGHTS
Oliver Stone's 1991 film The Doors painted front-man Jim Morrison as a drug-fueled monster.
The film angered the surviving band-members who actually participated in the film and felt screwed over by Stone. This probably kept them from telling the definitive Doors story for nearly 20 years.
When You're Strange is that definitive story and differs from your average rocumentary. All the footage featured is vintage film of the band, much of it rare and previously unseen. There's no modern day talking heads like music journalists telling us how great the band was, or band members looking back with rose-colored glasses on the 'good old days.' All the interviews used are from back in the day when the events happened. Johnny Depp narrates the film's poetic prose, keeping in nature with Morrison's lyrics. But his monotone delivery makes him sound thoroughly bored, detracting from the documentary.
The Doors music is used in generous portions, from the biggest hits to deep album tracks, and uses rare live tracks and the familiar studio ones.
The tensions inside the band and their troubles (like Morrison's Miami incident) are not glossed over and are portrayed matter-of-factly and given equal time with the band's high points. (no pun intended) Jim Morrison appears more as an actual person with problems, unlike the beast in Oliver Stone's tale.
When You're Strange offers very little new info to die-hard fans of the group apart from the footage.
I would have liked if they carried the film beyond the death of Jim Morrison. The band actually continued on and made two albums as a trio before calling it a day. The style of the documentary probably would prevent this however, with the media being less-interested in the band following Morrison's death, resulting in fewer interviews and footage of this era.
For fans of The Doors, When You're Strange offers a definitive history of the band and unseen footage, but little else. For newcomers to the band, the film is a great introduction.
Former baseball pitching great Luis Tiant returns to his native Cuba for the first time since the rise of Castro. He finds much has changed in 46 years and reconnects with family members and friends he left behind in order to fulfill his (and his father's) dream.
MY THOUGHTS
Lost Son Of Havana tells a tale that would be way too hard to believe if it was a fictional film.
The ups and downs and struggles of Luis Tiant's life on and off the field seem almost too outrageous to be real, but they were and this film is able to pull all the elements of his life together and create a meaningful film.
Luis Tiant is an unusual person to spotlight in a documentary. We don't get much insight to him, because he is more reserved than you'd expect the subject of a film to be. But when he does show emotion, it's powerful.... especially when he sees family members again for the first time in decades. Lost Son delves very little into his personal life (outside the trip) and what he's been up to since his playing days.
It does offers a great overview of Tiant's career in the majors from making it as an Cleveland Indian and suffering a career-ending injury, only to rebound and (as a member of the Boston Red Sox) have a starring role in the 1975 World Series. He again finds himself twice more in the minors and makes it back to the majors by sheer determination and reinvention. Two of his teammates, Carl Yastrzemski and Carlton Fisk, offer insight into his success.
We're also treated to Tiant's father's career as a pitcher in the Negro Leagues. Despite his overwhelming success, he wasn't able to parlay that a Major League career, even though he was playing at the time Jackie Robinson broke the color barrier.
Lost Son shows the squalor that is everyday life in Havana, without ever getting preachy. The images are enough. Apart from a brief refresher course in how Castro came to power, politics isn't overtly mentioned. Former Senator George McGovern is interviewed and he was instrumental in getting Castro to release Tiant's parents and let them come to America and finally see their son pitch (and spend their final years.)
I was too young to experience Tiant's career and did not know much of his story (and none of his father's) and the film certainly filled all the gaps in my knowledge about him... as well as providing a heart-warming and uniquely true story.
When his brother is killed, kung-fu master Black Dynamite (Michael Jai White) declares war on the drug pushers in his neighborhood as he searches for those responsible. The conspiracy may even extend all the way to the White House... but Black Dynamite is game!
MY THOUGHTS
The absolute PERFECT tongue-in-cheek homage to 1970's blaxploitation films.
As a fan of the genre, it's great to see others who have a great affection for it and can give it the proper send-up.
Everything is played perfectly straight, a la The Naked Gun. This gives it an authentic feel that matches its actual 1970's counterparts, but what happens plot-wise is far too outrageous to be believable... but the characters believe. The 1975 blaxploitation parody Dolemite is very similar in tone to this film and Black Dynamite does pay homage to that classic many times.
It also matches it's 70's era brothers visually. The film uses very grainy film stock and lighting that apes the low budget originals. Sometimes a boom mic will appear in shot or the editing will be intentionally bad. Along with costumes and locations and spot-on music, the film could almost be billed as a "lost" film from the 1970's.
The humor of Black Dynamite is often very subtle, but if you 'get it' you'll often howl from the general silliness.
Black Dynamite is the perfect love letter to the often marginalized blaxploitation genre.
When his son is senselessly killed during a gang initiation, mild-mannered Nick Hume (Kevin Bacon) goes for vengeance. After killing one gang member, the gang soon discovers his identity, which has great consequences for Nick and his family. Nick's thirst for vengeance keeps him going until he can kill every last member of the gang... or die trying.
MY THOUGHTS
The parent/family revenge genre is a very limited one plot-wise and every film invariably gets compared to the king, Death Wish, and Death Sentence is no different.
Kevin Bacon is a far more realistic 'everyman' than Charles Bronson could ever be. Bacon is much more believable an an insurance executive than Bronson's architect. It makes his transformation from average dad to Rambo much more dynamic than Bronson's, who doesn't really change at all.
You can easily sympathize and understand Nick Hume's pain and desire for revenge. But by the end Bacon's character goes too far and even shaves his head Taxi Driver-style before his final assault. Nick winds up becoming no better than his foes. Kevin Bacon handles both sides of the role equally well and delivers one of his better performances.
The film creates a great balance between the two families.The ordinary, loving, suburban Humes and the dark, grimy, inner city Darleys. The first gang member killed by Bacon happens to be the younger brother of leader Billy Darley. He feels as much affection for his little brother as Nick Hume feels for his dead son. The only person Billy Darley answers to his father, Bones, who employs his gang. There is no love lost between the two and the Billy/Bones relationship is the exact opposite of the Humes. Garrett Hedlund (as Billy) and John Goodman (as Bones) are both amazing in their dark and often frightening portrayals.
Action rules the film and it's loaded with many exciting battles and chases. The most memorable is the gang's first attack on Hume. He's walking down the city street and they wind up chasing him nonstop through back alleys, a couple grimy buildings and finally through a parking garage. The camera is always moving, following or leading the characters through the chase which brings a lot of immediacy to the scene and you feel you're right there in the middle of it. The whole garage sequence is seemingly done in one shot. The camera cleverly moves around the levels of the garage via cranes to achieve this.
The violence is very real,brutal, and very bloody with limbs getting blown off. Not for the squeamish!
Significant plot holes and gaps in logic do weigh the film down.
There's enough probably cause to arrest Bacon's character for killing the first gang member, not to mention the second but the police do nothing through most of the film. The gangbanger was killed just hours after he was released from custody because Bacon refused to testify against him. That would be enough to raise some suspicions but none are raised.
Bacon escapes from his police-guarded room at a hospital, which the police catch on after a few minutes. The most logical place for the cops to search would be his home. That's where he goes and seemingly spends significant time (maybe overnight) without any visits from the cops. He then drives around in his own car and is not stopped by officers, who would no doubt by then have an APB out on him for his arrest.
Bones chides the gang for getting the murder of Hume's son in the papers. They later bemoan that when one of them dies, they never get a mention in print. The gang massacres the Hume family and kills a few cops in their quiet suburban neighborhood. Definitely a front page story... but Nick shows up later and they're shocked he's still alive. Maybe they canceled their subscription?
These issues (and others) are so prominent that they can pull you out of the story if you let them.
Despite many flaws, Death Sentence is better than your average revenge-film and filled with exciting and brutal action.
Just one year ago I set out to share my love of film with the world. I didn't realize I would tackle so many films... I've posted over 200 reviews. (#214 will come shortly after this post.)
As for the future of Blues In The Night, expect some more theme weeks and other special post in the near future.
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