TV review - "Upstart Crow"

 Ben Elton returns to the world of historical sitcom, though while this has some of the rhythms of Blackadder it is more warm hearted being a family/work sitcom. It's about Shakespeare the working writer, with a family in Stratford (good to see Pauline from Man about the House  as his mum), and associates in London.

David Mitchell is superb as the Bard. The other actors are fine too though no one quite hits the heights of say Tony Robinson. Some of it is very funny. Other times it gets repetitive. The episode where Hamnet dies - the second last one apart from the locked in special - is very moving. I wish they'd done another season where Will has a lot of success behind him but has to deal with getting old. Hilarious take on Ricky Gervais.tv

Book review - "Son of Any Wednesday" by Muriel Resnick

William Goldman alluded to this book in The Season though he didn't name names - he quoted the comment about all English directors being called Peter and the quote that the author had never read an Ibsen play. It was a little mean.

This is an entertaining book. I had a lot of fun reading it. Resnick decided to write a play after the failure of her last novel, feeling that it at least would get reviewed. She joins the Group Theatre writers workshop of Molly Kazan, writes something that she is told will be sellable (part for a star, one set, small cast)... pitches it to Greer Garson who turns it down, but it gets optioned quite quickly, money is raised quite quickly.

But then the troubles start. There's never enough money so more producers have to be brought in. They have troubles getting directors then when they geet them have trouble keeping them. George Morrison for instance keeps wanting changes and things added, and slows the play down. They keep getting people as they go before eventually getting Henry Kaplan.

They get a cast, after a lot of rejection but have trouble holding on to it. Sandy Dennis doesn't want Gene Hackman because he's not hot enough so they get Dick York who quits so they get Gene Hackman who does so well that Michael Rennie, the big star attached, gets jealous and quits so they bring in Don Porter.

There are nice reviews but a bad one from Eliot Norton makes everyone panic. They have trouble getting a theatre. Trouble with balloons the author wrote in. Mike Nichols pops in periodically and assures her it's fine but people still panic. Opening night goes terrifically well, the piee runs and runs and sells for a huge amount to the movies.

Triumph. Although exhausted.

Resnick lists the short runs of the next shows her cast and crew did which is a little mean, as it the appendix of all the people who turned down the play, but I guess she's entitled to.

This is like a season arc of Mrs Maisel where she wrote a play. She gets married to some dude during it too. I really enjoyed it.

Book review - "The Devil's Advocate" by Morris West (warning: spoilers)

 West's big international best seller. You can see its appeal - international subject matter, British lead, World War Two, sex, big issues. A terminally ill British priest is sent to a small Italian town to be devil's advocate in an investigation as to whether a man executed by commies in the war should be a saint.

The dead man was a British deserter - because when killing a sniper in Sicily he threw in a grenade, also killed a mum and baby. He roots a horny Italian woman, conceived a child, befriended a Jewish doctor, was lusted after by a richer hornier Italian woman... gets killed by the commies because he refused to leave the town. I mean the Commie partisan leader is reasonable, gives him a chance to go, says he wants to control the town and the Englishman hurts that... why not just go? Why be a matyr? He could just go away and come back? It didn't make sense to me. Maybe it did for Catholics.

I did enjoy the book. There's a different world - investigating whether to be a saint, but in post ww2 Italy. It poesn't shy away from the problems of the Catholic Church - the greed of the Vatican, the weird dogma, the poverty of the priests.  Doesn't shy away from sex - the women want dick, there's an English painter character who is gay and grooming a kid basically (the son of the dead man)... and while he is Bad he's also given a speech that is quite sympathetic.

I kept thinking the final miracle would be the hero priest would recover, but no he dies. I didn't quite believe the dead man's conversion to God or why he didn't leave but the novel is thought provking and readable. It embraces all the contradictions of the church while then coming down on the side of God

Movie review - "Love Story" (1970) ****

 Why did it work when so many other sobby movies don't? This is all hindsight of course. It had a memorable music score, came along when death was on the mind I guess (Vietnam, all that), used two very pretty stars, Ryan O'Neal and Ali MacGraw, Ali had a new look (haircut, glasses), it was visually different (Harvard, snow), had some different things (frolicing in snow, ice skating), was about the generation gap, has some pre marital sex and glimpses of nudity (bare shoulders) and a few four letter words... these help it age.

It's extremely well done. The dialogue has genuine zip. 

We don't find out Ali is terminally ill until something like 70 minutes in. That's very late in the day. But it packs a wallop because by then we care about them. Up until then they have believable clashes - he's rich, she's poor, she loves her dad, he fights with his, his dad cuts him off because of her, they struggle for money, she gives up her dreams to support him.

The final scene between them in bed is terrific. Ryan O'Neal is a great reactor, as Bob Evans said. MacGraw is very beautiful and effective. The lush music works. Arthur Hiller's direction was spot on - he kept the pace up, but knew when to slow down.

This movies are not easy to do. Nastily criticised by critics embarassed by emotion.

Movie review - "Fever Pitch" (1985) **

 Richard Brooks' last film as a director is an odd duck, about a sports jouno who investigates gambling and bcomes addicted. It's filmed in a short of campy film noir style, I'm not sure it's unintentionally campy, sort of like Sam Fuller/Russ Meyer even, with voice over and some over the top acting.

It feels like it needs to be shot in black and white. Or directed by someone else. Or... just better. I don't know. It's a weird film. Doesn't work. But it is interesting.  It's not a dumb movie.

There's a lot of spouting of facts and figures which might've been better to cut out. Maybe Brooks needed a co writer.

Ryan O'Neal is actually very good in the role as a tormented journo. I'm sorry for him it didn't work out.

Play review - "Any Wednesday" by Muriel Resnick

 Huge hit at the time. Not known much now. The film version flopped I think or underperformed. The film felt too late - the play must've been at just the right time. Just the right amount of sexiness.

It's in the vein of Norman Krasna or Voice of the Turtle - some misunderstandings but not a farce more a serious light comedy. Strong central situation - woman who is a mistress is turning 30, she sees her dude every Wednesday, she wants more. Two other characters come along - young man having a business dispute with her man, and the wife of the man.

It's handled with empathy and kindness. Unshowy, effective structure. Quite good. Not super funny but that' fine.

Movie review - "Irreconciliable Differences" (1984) ****

 Really excellent comedy-drama (you can't call it a rom com) which was Charles Shyer's debut as director although Nancy Meyers' influence is all over it, with a strong female voice. The first half is a brilliant take off of Bogdanovich and Polly Platt and Cybill Shepherd (though Bogdanovich didn't invent the dumping the wife and taking up with the starlet, the film nails its colours to the mast with Ryan O'Neal playing a film academic, and Sam Wanamaker as a cultured Roger Corman type - though clearly dealing with bigger budgets than Corman).

People who "discovered" Sharon Stone in Basic Instinct clearly hadn't seen this - she's brilliant as the gorgeous, manic, vulnerable girl; great funny nude scene where she takes her top off easily, but the highlight is her singing in the Civil War epic (I did wish her character had given evidence at the trial... I guess she didn't have to story wise I just wanted to see more of her).

Ryan O'Neal is simply terrific, one of his best performances. He always does best against strong women and here he's got Sharon Stone and Shelley Long (Drew Barrymore doesn't give him a hard time). Long is fabulous too, likeable but not afraid to go for the self obsession.

Like Shyer-Meyer's earlier Private Benjamin the last third is actually quite serious. Ryan O'Neal and Shelley Long are such narcissists they parcel their kid off to the housekeeper (who doesn't have much personality in the film it must be said), using her as a weapon in their fights against each other, ear bashing their kid about the other, basically not caring for being so self absorbed. This is very well done - I mean it's still funny but also grounded in reality and pain. (I could see Bogdanovich and Platt being upset by this bit - I don't think they'd ever been accused of dreadful parenting.)

The pain and seriousness (it ends with them getting along not getting back together) are probably what held this back from being a big hit; maybe also it was too "in". But it's a great movie.

Movie review - "Wish" (2023) **

 Some nice animation and tunes. The tunes don't seem to quite fir in the story. Maybe they did - I had trouble following the story. It's about a wizard/king (voiced by Chris Pine) who sets up an island kingdom where he grants people's wishes. I think he does when he can but when he can't he steals their wishes which is not nice but kind of minor league villainy. And the island people seem whiny because of they just want wishes.

The film impoves when Pine goes full villain. It lacks realised support characters - the most interesting thing about the lead is she looks like Meaghan Markle, but I had trouble telling the human characters apart (Pine's wife, lead girl's group of friends, lead girl's mum and grandad). It was hard to care.

The animated animals though had real spark - donkey, bear, rabbits, etc. The script needed a few more drafts - I felt that of Frozen 2 and Wrinkle in Time.

Movie review - "Partners" (1982) **

 The US success of La Cage Aux Follies prompted a brief boom in Hollywood gay themeed films of which this was one, probably the least remembered today. It's high concept - straight cop and gay cop team up to find gay killer in San Franscisco - sunk by its casting. The straight cop needed to be Clint Eastwood or Nick Nolte or someone so OTT macho that he is a fish out of water but instead there's pretty boy Ryan O'Neal who while IRL was a womaniser and boxer and man's man was also a pretty boy film star fave of the ladies who co starred twice against Barbara Streisand.  So it would've have been funnier watching Clint in leather trying to pick up, Ryan's not that funny.

Okay maybe O'Neal's casting could have worked if played off against a really strong gay character - a big drag queen say, someone unapologetically flamboyant. O'Neal did a great slow burn against Barbara Streisand. But John Hurt is meek, mild and sad, so it's not fun when O'Neal yells at him.

Maybe a more visusally impressive setting too might've helped like Miami or something. 

Support cast includes James Remar, Robyn Douglass (reminding us Galactica 1980 fans that she was beautiful and could act), Kenneth MacMillan.

Best scene is when homophobic cops arrest O'Neal, Hurt and skinny dippying gay. The murder mystery itself, involving Douglass, isn't bad.

Movie review - "Battle Beyond the Stars" (1980) **** (re-watching)

 Rousing score. Excellent script. Big heart. The other New World space flixs didn't have this heart. Richard Thomas' nerdiness is well used. Darlene F is adorable. Robert Vaughan is touching - great resentful death. All the mercenaries die so it has even more kick than The Magnificent Seven.

Just a great fast paced well written film.

TV review - "Fisk Season Two" (2022) ****

 Even better. Tightly plotted. More warm. Occasionally still prone to go OTT eg the current affairs plot I didn't like. But a real family feel.

Top Ten New World Pictures

(When Under Roger Corman)
(Have limited to films actually produced by New World)

1. Battle Beyond the Stars (1980)
2. Piranha (1978)
3. Hollywood Boulevard (1976)
4. Rock n Roll Nigh School (1979)
5. The Student Nurses (1971)
6. The Big Doll House (1961)
7. Summer School Teachers (1974)
8. Death Race 2000 (1975)
9. Saint Jack (1979)
10. Big Bad Mama (1974)

Yes I know there are no Jonathan Demmes on this list I just think other films are better.

Movie review - "Fast X" (2023) ***

 So... now Charlize Theron is good (or at least an ally), John Cena is good, Vin Diesel looks out of shape and bored, Michelle Rodgriguez looks bored, Ludacris and Tyrese look old, as does Sung Kang, Nathalie Emmanuel is... there, Jordana Brewster pops in. They have a return from Helen Mirren and Brie Larson comes along in as a bad ass female. Oh Scott Eastwood is in it briefly. Oh and Daniela Melchor is hot girl racer.

Film is saved and stolen by Jason Mamoa in a fabulously over the top, campy villain performance. It starts off slowly with too much Vin Diesel but gets better as it goes along. The film has a Mad Mad Mad Mad World quality about it with its sprawling cast, some funny lines and clever choreography. Total lack of realism.

It loses points fot being the first of a two parter. I think that hurt word of mouth.

Book review - "Putting It Together: How Stephen Sondheim and I Created "Sunday in the Park with George"" by James Lapine

 Done in the form of memoir and interviews so there's a lot of "you're great" "no you're great". The inception of the musical was relatively easy - Lapine was new but had some track record, met Sondheim, they got along, both clicked with the idea, they put on a workshop, which was picked up for Broadway. To be honest I was finding the book boring around this point but then previews went very badly as audiences did not like it, and there was pressure to change the show, but Sondheim and Lapine held the course. Mandy Patinkin was a bit of a sook, the work was difficult to pull off. Michael Bennett came along to give some useful technical pointers as opposed to anything philosophical (eg "Give the audience a chance to applaud after Patinkin's big song so they can show their approval").

Invaluable if you like this musical - the book includes a book of the musical, which is perhaps the best ever musical depiction of being an artist. Leonard Bernstein greeted people by French kissing them. I don't think Jerry Herman's acceptance speech at the Tonys about making hummable musicals was a big dig at Sondheim I think it was a defencsive call. Theatre people can be too touchy.

TV review - "Fisk - Season One" (2021) ***1/2

 Very, warm, accurate look at life in a suburban probate firm. In hindsight a great ABC show because it's about older people and dying. Kitty Flanagan is an engaging lead. Occasionally the playing of the guests is a little broad and there's a few too many unresolved plot strands - the latter issue would be fixed for the second season.

Movie review - "Trolls Band Together" (2023) ***

 Big fun psychedlic visuals. Some very, very funny gags and there's a lot of them. Enjoyable manufactured pop star villains with Amy Schumer stealing the show. Justin Timberlake embraces his past. The plot is very traumatic when you think about it (TImberlake has all these brothers who abandoned him, Anna Kendrik's father didn't tell her about the existence of a sister - to be fair this plot was clearly thrown in to give her something to do).  Good fun,

Possible hit movies Ryan O'Neal might've been good for 1980-85

 He was still a notable star from, lets say, 1980 until 1985, the period of So Fine, Partners, Irreconciliable Differences and Fever Pitch. He walked away from The Champ, was in line for The Thorn Birds and didn't do Frst Blood. What could he have been?

I went through the list of top box office films from 1980 to 1985. It was a period of franchises (Bond, Burt in a car), comedies

1980 - don't laugh but American Gigolo, Flash Gordon.Definitely Somewhere in Time, Altered States. 

1981 - Body Heat 

1982 - An Officer and a Gentleman, Night Shift, Best Friends

1983 - Trading Places, The Big Chill, High Road to China

1984 - Romancing the Stone

1985 - Jagged Edge

There were a number of movies with roles that would've suited a young Ryan O'Neal type - Ordinary People, Caddyshack, Endless Love, Young Doctors in Love, Taps,  Splash, Police Academy

Okay so there is my take out: there simply weren't as many star parts going that O'Neal would've been good for. Young O'Neal type roles, yes, plenty - that's what Tim Hutton, Tom Hanks, Steve Guttenberg got famous on. Young, funny handsome types. But leads in comedies went to more aggressive TV comedians like the SNL crowd, Richard Pryor, Michael Keaton and Steve Martin. 

There was also a sharp drop in female driven comedies/ melodramas. These were strong in the 70s still with Jane Fonda, Babs, etc. But in the 80s it was fairly grim.

Some actors did have careers that might've suited O'Neal. William Hurt roles - especially Body Heat - would've suited him to a T. Ditto Richard Gere. He could've easily played Tom Selleck parts.

But the biggest problem... I think he just didn't appear in enough quality productions. And it does tell. Like look at Jeff Bridges - flop after flop but he keeps appearing in good things whjch mitigates. So he remained a kind-of star.

I think that's the trick if a star - you won't be one forever, so just try to make as much quality stuff as you can.

Similarities between Ryan O'Neal and Burt Reynolds

 1. Both genuine athletes. Burt was a college football star. Ryan boxed most of his life.

2. Both became famous quite quick although only for a short time. Within a few years, Burt had Riverboat, Ryan had Empire.

3. Both became famous on TV shows. Burt on Gunsmoke, Ryan on Peyton Place.

4. Both had leads in a series of flops. Burt had more, a decade's worth, but Ryan had The Big Bounce and The Game.

5. Overnight success. Ryan first in Love Story but in Deliverance and White Lightning.

6. Peter Bogdanovich. Ryan had a strong association - three films plus playing the director in Irreconciliable Differences. But Burt had two, one with Ryan.

7. Made "safe" movies that backfired. Ryan had his early 80s dud streak of comedies. Burt had one a few years later with his flop 80s car films.

8. Late 80s unsuccessful attempt to change image. Ryan O'Neal tried and failed with Fever Pitch adn Tough Guys Don't Dance. Burt tried it with Heat, Malone, etc.

9. A long period as a non star. Ryan's was longer but then Burt was a bigger star and would've hurt more.

10. Never really came back. Burt Reynolds threatened to more often with Evening Shade and Boodie Nights but could never consolidate. Neither coul Ryan O'Neal despite Bones.

The two men were different in a lot of ways of course - Burt was a bigger star, Ryan never had a Hal Needham or turned director.But still thought was worth noting.

Movie review - "Candy Cane Lane" (2023) **1/2

 Combination of family Christmas movie and fantasty. Once the fantasy kicks in it's a lot of fun and Eddie Murphy is always a pleasure. There's a lot of plot.

Movie review - "Love Hate Love" (1971) **

 An ABC Movie of the Week from Aaron Spelling it gets off to an intriguing start by throwing us into the story - Lesley Anne Warren has dumped Ryan O'Neal for another dude, but then goes back to him when dude is revealed to be a creep. Then it shifts into woman and stalker story.

Downe is pretty and O'Neal's soulful good looks make him ideal for a thankless part.

Produced by Joan Harrison and written by Eric Ambler - it lacks the depth/flair of their features. It needs another twist or dimension or something.  Like to have Warren be into game playing, or have O'Neal be revealed to be a psycho or something.

Decent car chase at the end.

Movie review - "The Main Event" (1979) ***

 This film doesn't get a good wrap, unlike say What's Up Doc? with its non-auterist director (Howard Zieff) - as if Barbra Streisand isn't an auteur regardless of credit, and the basic plot was ripped off for Moonlighting and she and Ryan O'Neal are marvelous together.

O'Neal was at hs best with a strong female to bounce off against. He's great here. Believable as a boxer. Relaxed, Handsome. Does a fabulous slow burn. I don't think he had enough charisma on his own to hold the audience he needed someone to play off against.

Babs is funny. Frizzy hair, aerobics gear. They could've done a lot more with the character of her ex husband Paul Sand. And with the embezzling accoutant. Actually they could've done a lot more with the premise. The film was rewritten a lot and it shows. But the concept is there. The stars are there. They have fun. There's scenes in camp in the snow. The two have sexual chemistry. There's no dodgy power imbalance becanse she's so strong.

Patti d'Arbaville has some fun as O'Neal's girlfriend but really no one gets much of a look in.

Movie review - "Bootleg" (1985) **

 Queensland oddity. Low budget film from John Prescott who made a successful short. At heart this is a short film, or a fringe play - an undergraduate-esque experimental thing about a private eye (John Flaus) coming up to Queensland to find a missing girl, getting involved in hookers (including Carmen Duncan), corrupt cops (Ray Meagher, excellent), anti nuclear demonstrators (John Gregg) and various others. It grabs at various themes and ideas, never seems to develop any of them. But it is of interest.

Movie review - "Maestro" (2023) **1/2

 It looks gorgous. You can't fault the superb cinematography or design or costumes. The acting is very good - yes there are funny accents but that's how the real people talked. Of course the music is splendid.

The problem is, I think, this: Bernstein's life wasn't that interesting. He was queer, but the wife knew that, he took drugs and boozed, but that feels familiar. He wasn't, I don't know, blacklisted or shot or something.  He didn't feel worth of a two hour biopic. To me, at least, I totally recognise others will think differently.

Movie review - "Migration" (2023) **1/2

 Absolutely fine. Some really funny gags, like Awkwafina (who must have the record for appearances in animated films) getting run over. For all its admirable diversity behind the mike I note that the dad still seems to make all the decisions. Decent animation and colour. Story a little iffy. It seems to lack subtext. Why did they bother bringing Danny de Vito's character along he doesn't do anything?

Movie review - "What's Love Got to To with It" (2022) **1/2

 Jemima Khan has had a glamorous life - daughter of James Goldsmith, beautiful, married to Imran Khan, dated Hugh Grant, now screnwriter. Those things all would've been more interesting than this.

It's not bad. She provides an emphathetic view of Pakistani life, and sensitively handles arranged marriages verus Western love. Not a lot of romance - the two leads have no chemistry, the pakistan guy is a handsome lout but Lily James doesn't have a twinkle in her eye to make it work. Emma Thompson sparks itn up as do the older Pakistan actors, who are terrific - I didn't know these faces I'm sure they're experienced, they were great. The old ladies scolding modern ways was hilarious I would've liked more of that. It's not very funny.

Works best as a light drama, really. I mean, it's fine. I just would've preferred the story of marrying the captain of the Pakistan cricket team!

Movie review - "Final Cut" (1980) *

I can see why the Queensland Film Corp made it. It was genre. The makers had a track record from Crawfords. They would've hoped for something like Patrick.

But there's no Vince Monton, no Everett de Roche, no Richard Franklin. There's some good ideas - a couple film a mystery record producer who may be a killer. But it's confusing.

The film actually could have done with more sex and violence to liven it up.

It felt like those Robert Bruning TV thrillers of the late 70s.

There aren't even that many good views of Brisbane/Gold Coast.

Movie review - Crosstalk (1982) *1/2 (re-watching)

 Photography great. Nothing wrong with ripping off Rear Window. But they throw in 2001 with a computer becoming sentinent, and also I think a sort of conspiracy thriller about how to use the computer. So it becomes confusing. 

No sense of character differentiation between the girlfriend, nurse and even Gary Day. The others ham it up but at least they're different.

John Ewart is homicidal and also involved in the conspiracy for the computer? Does it tie together? I get lose.

Vince Monton must've wept when he saw his good work go to waste.

Movie review - "Bootleg" (1985) **

 Ah look good on them for having a go. It's not a feature, it's a smart arse short film in its heart of hearts. John Flaus is a PI looking into a missing girl up north. There's funny tunrs from Ray Meagher as a Queensland copper -  I thought his part would be bigger - and Carmen Duncan as a hooker. I could have sworn the guy at the end was Ian Skippen.

The film outstages its welcome pretty quickly but the fact it was a Brisbane shot film from the mid 80s is interesting.

Movie review - "Father of the Bride" (1991) **1/2

 Sweet. Very white. Lots of decor. Martin Short funny as is Kieran Culkin. Everyone charming. Maybe a little creepy viewed through a modern lens but Steve Martin is well cast. Diane Keaton doesn't do much I guess she was glad to be in a hit.

Movie review - "Ford versus Ferrari" (2019) ***

 Solid dad movie given intelligent treatment and first rate driving sequences. A bit annoying with its good ole boy hero and plucky millionaire underdogs, but it did happen, I guess.

Movie review - "Hamilton" (2020) ****

 Filmed theatre, but it's a grand show, lots of fun, very moving. I've got no fresh take on this. Daveed Diggs and Jonathan Groff steal the show but then they have the showiest parts.

Movie review - "Murder on the Orient Express" (2017) **1/2 (warning: spoilers)

 It's got that great title, setting and denoument. Ken Branagh directs in hyperactive mode. It's over the top. Some genuine stars (Johnny Depp, I guess Ken, Judi Dench, Michelle Pfeiffer, Penelope Cruz) mixed in with the next level down (Daisy Ridley) and some unknowns. The ending is emotional.

Movie review - "Father Goose" (1964) ***

 Cary Grant having fun as a boozy coastwatcher. It starts in Northern PNG, so I think Trevor Howard's naval captain is meant to be Australian but he's very British as are his offsiders.

Peter Stone worked on the script, which won an Oscar. Competently directed by Ralph Nelson. I always forget he directed it. 

I think Cary Grant wanted an Oscar, so channelled Humphrey Bogart in African Queen. He didn't get there. He's a little gruff, and boozy, but not that much - still tanned, and he gets pretty at the end. I didn't quite buy the romance with Leslie Caron other than they were film stars.

The girl characters could have been differentiated more. 

It's entertaining. Location filming in Jamaica but let down by crappy Universal studio scenes. Peter Stone worked on the script.

Movie review - "Kiss of the Vampire" (1963) ***1/2 (rewatching)

 Has its own magic. The lovely photography and art design despite the low budget. The Val Lewton shots of wind in the trees. The slow, but deliberate pace. The fact the cast is without stars. Who are these people?

There's a cult, witchcraft, a missing girl. The ingredients were fresher then. This was Hammer at its peak.

Movie review - "Wonka" (2023) ***1/2

 My expectations were low and it does drag but it goes off it its own direction, doesn't over do fan service, and carves out its own world, a combination of Cameron Mackintosh and Dickens. Timothee Chamalet is fine - not Gene Wilder or Johnny Depp but his own fresh faced creation.

It's got a good heart, a plucky orphan (that storyline worked for me esp reuniting with mum), people in prison basically doing washing, villains who are real threats, chocolate is amusingly swapped for drugs, Hugh Grant again steals every scene he's in.

Movie review - "So Fine" (1981) **1/2

 One of those movies I think people assumed would be a hit - Ryan O'Neal had just been in The Main Event, director Andrew Bergman was making his debut but had written Blazing Saddles and The In Laws. It has a sexy concept - academic dragged into the world of fashion via loan sharks, academic falls in love with wife of gangster (Richard Kiel).

There's a bunch of elements - O'Neal develops jeans that show the bum which are a sensation, then Kiel finds out his wife is cheating, they wind up crashing an opera. It's spread out over months when a more compressed time frame might be more suitable. Also it felt as though it was missing a character or two - a stuffy fiance for O'Neal, say, or for there to be more meat in the Warden-O'Neal relationship, or for Warden to be Barbara Streisand.

A funny ad, some funny moments. It doesn't quite jell. A young John Stockwell is a college student. Kiel gets to have fun, be cuckolded, go to the baths, sing opera. He would've loved this.

Movie review - "Waterloo" (1970) ***

 Expensive, full of detail for the military nerd. The spectacle impresses. I actually felt this might've been better in a longer version - you would've gotten to know the characters more. Mistake I think to start with Napoleon abdicating - better to start with him coming from Elba. 

Rod Steiger hams it up as Napoleon. Hell, why not. Chris Plummer has dry fun as Wellington. They look at each other through glasses. We hear their thoughts - I've never liked that method.

Best bit apart from the spectacular stuff: death of Michael Wilding. That of Jack Hawkins would mean more if we'd gotten to know him. Dan O'Herily yells entertainingly as Ney. Ian Ogilvy gets quite a number of close ups.

Ryan O'Neal Top Ten

In honour of his passing

1) Love Story - schmaltz, yes, but done with freshness, and he and Ali have genuine chemistry... he should've done The Champ

2) What's Up Doc? - channelling Cary Grant very well, he should've done it more often (Rob Lowe in Illegally Yours channelled Ryan in this)

3) Paper Moon - probably his best film and performance

4) Barry Lyndon - not an easy role, his contribution is often forgotten but at least the film has had a long tail

5) The Driver - nothing wrong with his performance at all I think audiences just didn't like him in these sort of roles

6)  Irreconciliably Yours - he's an absolute delight playing Peter Bogdanovich

7) The Main Event - very funny, he teamed marvellously well with Babs

8) Chances Are - a self effacing lovely support performance in a sweet film

9) The Thief Who Came to Dinner -the film isn't as pretty as it needed to be but O'Neal's work as fine

10) So Fine - as with The Driver his performance is actually fine, I think he was just miscast

Movie review - "Napoleon" (2023) **1/2

It's good where you would expect - the battle sequences: siege of Toulon, grapeshot, Austerlitz, Moscow, Waterloo, Pyramids. 

It's weak where you would expect as well - exposition being doled out, Napoleon and Josephine. 

The acting isn't great - Joaquin Phoenix is... fine, Vanessa Kirby does great pout but that's it, Rupert Everett seems all wrong as Wellington. I liked the guy who played Alexanda.

It looks terrific, the story is a littie monotonous, it focuses on the lead couple but doesnt give us much insight. 

The historical inaccuracies are fine. Sorry, that might be too dismissive of me for the nerds, but the film's other problems are more serious.

Movie review - "Babylon" (2022) ***

 Not hard in a way to see why it wasn't a hit - it's long, there's no real access point character (the lead, Diego Calva, should be this but he never seems to genuinely love Margot Robbie), there's things you could cut out, it is indulgent, things like elephant poo and Phoebe Tonkin peeing on a guy won't go down well...

But it is a valentine to cinema, Jean Smart's lovely speech to Pitt, very well acted, gorgeous to look at, lovely montage at the end, fantastic turns from Spike Jonze as the Curtiz like director, the first AD, the Dorothy Arzner type, the thumping music score.

Sometimes you feel a co writer would've helped - why make Li Jun Li a cabaret artist and title writer? - but it is definitely bold and interesting.

Movie review - "Seven Miles from Alcatraz" (1942) **

 Movie has an exciting set up - two crooks escape from Alcatraz and take over a household - loses some energy when they take over the house.

James Craig, who became MGM's back up Clark Gable, has a kind of muffled speaking voice, isn't quite right... I guess he's okay. I liked Bonita Granville.

The film needed people within the group to turn traitor -Craig's mate, say, or someone at the house. There's too many characters. 

This was fine. Not an undiscovered jewel but servicable.

William Dozier’s Slate at RKO

Re-read Richard Jewell’s excellent history(s) of RKO which includes an account of William Dozier’s short reign - the last time RKO really had bite.

Fascinating to look back at the slate... because of many of the choices were understandable.

There were colour remakes of earlier RKO hits:
- Back from Eternity (1956)
- The Brave One (1956)
- Bundle of Joy (1956)
- Stage Struck (1957)
- The Girl Most Likely (1958)

Star vehicles with old RKO names
- The First Travelling Sales Lady (1956) - with Ginger Rogers
- Death of a Scoundrel with George Sanders (1956)
- Public Pigeon No 1 with Red Skelton

Attempts to Launch New Stars
- The Unholy Wife (1957) with Diana Dors
- I Married this woman (1957) - with Dors and George Gobel

Two Fritz Lang noirs
- While the City Sleeps (1956)
- Beyond a Reasonable Doubt (1956)

War movies
- The Naked and the Dead (1958)

Westerns
- Tension at Table Rock (1956)
- Run of the Arrow (1956)

Adaptatios of TV plays
- The Young Stranger 
 
Arthur Lubin films

-Travelling Saleslady
- Escapeade in Japan 

But the films didn't work. I don't think any of them did.

Movie review - "Home Alone 2: Lost in New York" (1992) ***

 Better than I thought in part because while it remakes the first film in terms of structure it has enough points of difference: New York rather than the suburbs, a hotel rather than the house, a bird lady rather than old man (this story felt as though it lacked a beat - her being reunited with someone).

Creepy Trump is in it alas but I liked Eddie Bracken, Pesci and Stern and Culkin was such an amazing star.

Val Lewton Top Seven

 

Just finished watching Val Lewton’ ouevre - he made too few films to do a top ten so I’ll put forward a top seven.

1. Cat People (1942) - a film that created its own genre in a way, suggested horror on a low budget, with lashings of literature, a remarkable combination of talent (not just Newton but his whole team) at just the right studio, some dodgy actors mixed in with some that are perfect (eg Tom Conway), beautifully shot. These sort of movies are hard to do (eg the remake). A lot of people like Curse of the Cat People, which is an interesting film, though not for me.

2. I Walked with a Zombie (1942) - Jane Eyre in the West Indies, extremely effective, wonderful use of mood. When people talk Val Lawton horror they really mean this and Cat People.

3. The Seventh Victim (1944) - Satanists in New York City, handled brilliantly, with a career defining performance from Jean Brooks, and Tom Conway also terrific. May have done better commercially with a junkier title? I know The Leopard Man and The Ghost Ship have their fans, but I don’t count them as good as the others.

4. Isle of the Dead (1945) - my favourite Lewton movie title and setting (the Balkan War of 1912!), it shows Lewton learned from his mistakes making Mademoiselle Fifi (1944) (differentiate your characters more, if making a heavily European film have an American character to help American audiences)... great atmosphere, a brilliant Karloff showcase (as all his Lewton films were).

5. The Body Snatcher (1945) - more conventional in some ways than other Lewton horrors but splendidly done, a real actors showcase for Karloff and Henry Daniels, a lovely part for Bela Lugosi (it’s a shame Lewton didn’t use Lugosi on Isle of the Dead and Bedlam as well... may have helped him commercially)

6. Bedlam (1946) - it lost money, in part because it cost a lot, and doesn’t seem as beloved as the others but I think it’s fabulous - smart, literate, twisty, thrilling, Lewton’s most progressive work (thank you writer Ardel Wray), visually sumptuous, Karloff was never better. Goldfinger (1963) rips this off. I cannot believe RKO would not finance Lewton’s Blackbeard project starring Karloff, it would’ve been amazing.

7. Apache Drums (1951) - I’ve seen all the non horror films Lewton produced: Youth Runs Wild, Mademoiselle Fifi, My Own True Love, Please Believe Me and this. I know Lewton fans get defensive, and yes, the were cut, but most of them are not very good. I think the cuts may have made them worse but all had inherent problems: Youth Runs Wild didn’t have enough youth running wild, Fifi (though very interesting) had a wonky story and really needed a bigger budget, and My Own True Love and Please Believe Me demonstrate a spectacular inability to understand their genres, melodrama and rom com respectively (Common problem in the bad Lewton films - too many characters you can’t tell apart). Apache Drums is a solid B western, a siege story with an excellent climax that includes people singing ‘Me n of Harlech’ which the Apaches attach - Zulu ripped off this film.

Movie review - "Avalanche Express" (1979)**

 Remembered if at all for being the film which killed off Mark Robson and Robert Shaw. It's an old school spies on a train film, with an all star cast for TV sales. So there's Lee Marvin and Linda Evans and Mike Connors and Joe Namath.

Gene Corman and Monte Helman were called in to finish the movie and wound up doing more than they probably had to.  The opening scene where Shaw and Max Schell are speaking in dubbed Russian while their lips are clearly moving in English. That was a post production decision. Why make that decision? Ah, I wasn't there... maybe they had reason to. But why get rid of Shaw's voice for the whole film?

Why have Max Schell in such a bad disguise? Why have so many characters in the film? It'd be better if Marvin was up against It. He doesn't do that much. They should've killed off more people - Linda Evans (who does barely nothing, just sitting and chatting), Mike Connors, Joe Namath. They throw in Horsct Bucholz for good measure. Why not have one of our leads as traitors? Or two?

They needed to have this take place over a shorter period of time and have better reasons for not getting off the train. 

There is plenty of action. But it's both complicated and dumb. I really wanted to enjoy this - spies on a train. Terrific. But it's too loud, too many stars, too dubbed, and too silly.

Movie review - "Bedlam" (1946) ****1/2 (re-watching)

 A terrific film. Clever, handsome, beautifully shot, well researched. A career highlight performance from Boris Karloff as a Uriah Heep type figure. Shocking finale where he's bricked up - the hero and heroine let it go through. I'm not a massive Anna Lee fan but it's a gift part - beautiful, brave, spirited, driving the action. The hero kind of saves her but she does most of the work. He's interesting too - a Quaker.

Maybe would've done better with a murder or two extra. Bela Lugosi as a patient would have worked wonders. They could've told the exact same story just with extra violence/threat. 

Literate. Goldfinger ripped off the scene. I think the best Val Lewton maybe?

Podcast review - "The Secret history of Hollywood: Shadows"

 Entertaining look at the life and times of Val Lewton. Excellent narration. A lot of made up dialogue. Some of it doesn't seem real and Lewton comes across as a bit of a whiner and a victim but I really enjoyed it.

Movie review - "Please Believe Me" (1950) **

 One of the many (many) examples of why Dore Schary was not suited to run MGM. He took a fairly decent, basic idea (his, it must be admitted) - British girl inherits Texas ranch and is plagued by fortune hunters on the way over to the US - and piles bad decision upon bad decision. It's a vehicle for Deborah Kerr, not a natural comedian; Kerr has no set character to play other than placid (is she stuffy? bright? smart?); he assigns an ideal director (Norman Taurog) but a specutaculalr unsuitable producer (Val Lewton); he doesn't add colour or songs); foists his uninteresting support actors on it (James Whitmore).

Like that is the point? The fortune hunters hunting a fortune that doesn't exist makes the whole thing feel like a waste of time - we know up front there isn't a fortune. (Why not have them discover oil part way through.) The gangster to whom Walker is in debt is hardly a threat.

It's so dull. Strained. Charmless. Full of fake drama because it's all misunderstandings.

Kerr and Lawford show of their bodies in the pool I guess that's something. Maybe this plot would've worked with Esther Williams, colour, pools, dances and songs. Lawford suits it best - he was strongest as a second lead. Walker isn't quite comfortable but it's interesting to see Walker. Mark Stevens is dull - Van Johnson was cast then given a rest or something. The film needed his extra star power.

I think Dore Schary was ripping off RKO's Tom Dick and Harry. But that was simple - poor girl torn between current dull boyfriend, rich newbie and poor but exciting newbie.

Movie review - "Apache Drums" (1951) ***1/2 (warning: spoilers)

 Val Lewton's career ends on a strong note. It's not given a lot of love - if had been in horror and in black and white I think it would have, but it's a Universal Western from the unfancied Hugo but it's a realised film. The colour photography is beautiful though TBH it might've worked better in black and white - the superior last act in particular with the townsfolk holed up in a church and the unseen Apaches outside.

Still it's very effective. There's some solid B list star power - Steve McNallay is a gambler who loves good girl Colleen Gray who loves him but kind of is also drawn to decent dull blacksmith Willard Parler. Barry Fitzergerald's brother is a man of God who leads the sieged people singing 'Men of Harlech' - Zulu ripped off this film! Just as Goldfinger ripped off Bedlam! 

Plenty of intelligence. It feels like a realised movie in the way most non-horror Lewton films do. In hindsight, Universal was ideal for Lewton - like RKO is was a studio that wasn't up itself, and appreciated a bit of class on a budget. Who can blame Lewton for going to Paramount and MGM but if he'd gone to Universal imagine the movies he could've made...

Some slow bits but like the RKO Lewtons full of interesting touches. Poor old Willard Parker does nothing wrong and winds up with a spear in his back.

Movie review - "My Own True Love" (1949) **

 A woman torn between father and son is always a solid dramatic situation but this film muffs it. For starters she meets both father and son in this film and it happens quite close to each other. Secondly there's no sense of Phyllis Calvert being into the father or son, though she spends more time with the dad and hardly any with the son, so the triangle is lopsided. Thirdly Melvyn Douglas looks too young to play Philp Friend's dad - they should've been brothers. There's no real differentiation between father and son either. I guess the son has been through a harsh war service and lacks a leg - but they don't feel different. On paper there's this bond between Friend and Calvery because both were POWs but we don't feel it. They shouls have been POWs together.

Calvert is alright. She's shot lovingly. When she talks about working in the camps in Occupied France it's like she's talking about organising a fete.

Douglas does his leading man thing, Friend is okay. You can't say it's a badly acting film.

But it's dull. There's no life to it. It needed a bitch, or a swine, or zombies, or bombs. Someone to murder someone. Betrayal. It's boring.

Compton Bennett directs this, dully. The photography is nice. Arthur Shields, Barry Fitzgerald's brother, popus up as this sort of artist spy I think and it seems he might be important but he's not really. Shields would've been better in Douglas' part - someone old. You'd understand more the attraction to the son then.

Wandra Hendrix feels miscast as Douglas' daughter - Douglas seems too old for her too. Binnie Barnes has an interesting little part as a woman who has always been in love with Douglas. Maybe that character should've been the lead. Or the villain. Pick a lane.

I guess it's a bit different Douglas worked in the war as a documentary filmmaker but they do nothing witth that.

Val Lewton produced this. He struggled without horror, Val. This was so boring.

Goldie Hawn Top Ten

 In honour of her birthday

1) Foul Play - charming comedy-mystery. Farrah F would've killed it.

2) Private Benjamin - incredibly good. Really feminist third act.

3) Butterflies Are Free - Hawn's early roles were all the same but she's gorgeously entertaining in them. I'll pick this one.

4) Shampoo - a film I like better once I grew up. She's great in a terrific cast.

5) Deceived - no one remembers this thriller but I really liked it.

6) Overboard-really fun, sweet movie.

7) Protocol - used her star power for some good old Frank Capra consciousness raising

8) Housesitter - I wish she'd work more with Steve Martin

9) The Sugarland Express - Spielberg's first

10) First Wives Club - fun, she teams well with the others, they should've reteamed them

Joss Ackland Top Ten

 In honour of his passing, and in full acknowledgement I've only seen a smattering of his work:

1) Lethal Weapon 2 - may as well get it over with, but what a great villain

2) White Mischief - marvellous work, touching, awful, spoilt, scary

3) The Hunt for Red October - another scary foreigner

4) Royal Flash - one of the best, if not the best, things in this film

5) Villain - small role, great film

6) Saint Jack - another terrific film and small role but he's very good in it

7) It Couldn't Happen Here - I'm putting this in because it's so gloriously odd

8) The Apple - ditto

9) No Good Deed - not a good film, but he's good in it

10) Crescendo - I'm sure he was in better roles, definitely better movies, but he adds gravitas as a creepy chauffeur

Top Ten Hammer Horror Leading Ladies

 1) Ingrid Pitt - fabulous star, can't believe she only did two for the company, should've done a heap more

2) The Collinson Twins - a gimmick yes, not sure there was a second film in these two, but a fabulous gimmick

3) Raquel Welch - suited the world of Hammer better than you'd think - her successors in cave outfits never had the same impact

4) Ursula Andress - wonderful in her film, again should've done more with the company

5) Valerie Leon - bewitching, captivating, helps make her mummy film a classic, deserved another movie

6) Barbara Shelley - perfected the sad eyes, secretly-wants-it look, finally got an actual lead in Blood Island 2 but wasn't done justice - still, probably the woman who did best out of Hammer

7) Martine Beswick - had probably the best role for a woman in Hammer as Sister Hyde and did very well

8) Susan Strasberg - she never became the great actress that she was predicted to become but she was very good and developed a neat line in "woman who is terrified" that was very well used in Taste of Fear 

9) Stephanie Beacham - a bright light from a dim period for Hammer

10) Natassa Kinski- her presence is clearly problematic but she has genuine charisma and is perfectly cast 

Movie review - "Isle of the Dead" (1945) ***1/2 (re-watching)

 Val Lewton's career received a boost when RKO signed Boris Karloff, who adored the producer and gave him a lot of protection, resulting in three great films. This one is set in an exotic time and place for Western audiences - the Balkan Wars of 1912, with Boris as a Greek general stuck on an island.

Lewton has learned his lesson from Mademoiselle Fifi - this is another story about a group of disparate characters stuck together (there's even a girl who refuses to eat with a general), but this time there's a constant threat (plague), there's an American for audiences to identify with, and most importantly all characters are different: a grave robbing archeologist, feisty girl, smart doctory, shifty diplomatc.

This had more resonance for me post Covid, with its cut off people yelling at each other. There's a conventional romance and it could've done with a few more jump scares maybe?

Movie review - "Home Alone" (1990) ****

 No kidding. Four stars. I think it ages well. Big late 80s hair of course but Culkin is tremendous and the film has wonderful heart. That old actor got the role of a lifetime and delivered. Dan Stern and Jo Pesci are fun, Catherine O'Hara a lovely mother, John Candy brings it home. The little kids are so awful! It all works.

Movie review - "After Hours" (1985) ***

 Not a big hit but it made a profit at a time when Scorsese needed to show he could do that. The film is iconic in a way - say After Hours type adventures and people get what you mean.

Griffin Dunne is negaging and low key handsome as the lead - I'm surprised he didn't do more films as star, or maybe he did and I just didn't hear of them.

Dunne runs into a series of nutty women - topless sculptor Linda Fiorentino, well read burns victim Rosanna Arquette, lonely waitress Terri Garr, ice cream ventor Catherine O'Hara, lonely Verna Bloom - and some less odd men - bartender John Heard, gay dude,Cheech and Chong (in separate roles), door bitch to a punk club. Other people pop up in it like Bronson Pinchot.

The script is circular but quite clever in its set up and pay off.

Movie review - "Mademoiselle Fifi" (1944) **1/2 (warning: spoilers)

 Val Lewton's second non horror at RKO apart from Youth Gone Wild is a more realised effort - it doesn't feel cut about. Yet the public didn't go for it either.

The low budget was blamed though it's still a decent looking film. I wonder if maybe it was also:

- lack of star power. There's Simone Simon. That's about it. Tom Conway would've helped.

- possibly too foreign. The Franco Prussian War isn't very well known - surely this was the case in 1944. Maybe a good old map and narration outlining the situation would've hlped, ie. the Germans invaded, French were under occupation. Though also the situation isn't that analogous because the Germans weren't in France was long were they? And didn't France start that war?

- too many characters. Odd thing to say for a low budget film. But some characters are easy to identify - lecherous German officer, proud prostitute, French guy who is political (undercast John Emery)... but the rest, the French passnegers who go with the flow, all seem the same. There's like six of them or something, three couples, who all seem identical (one is played by Alan Napier). And there's identical Germans. In Stagecoach this didn't matter because all the characters were so different - gambler, alcoholic doctor, pregnant woman, stuffy banker, weedy dude.  Seriously, this would've been better with the cast halved.

- the coach people are thrown away in the last act and it becomes about Emery and Simon.  Could not they have used the support characters? There's all this stuff about ringing a bell.

In fairness, if Lewton had been able to get some of his original casting - Eric Von Stroheim as the German, George Sanders as the freedom fighter... this would've been better.

But you know it would've been better with Tom Conway and Jean Brooks instead of Emery and Simon.

Anyway, this isn't bad. It's better than Youth Runs Wild. It is just cluttered and confusing when it needn't have been.

It is cool that a Simon stabs a German to death and isn't captured.

Movie review - "Youth Runs Wild" (1944) ** (warning: spoilers)

 After his tremendous success with horror movies, RKO gave Val Lewton a few chances at non horror, neither of which worked out commercially and criticially. This was his juvenile delinquent film. It includes some of his stock company and was made by his regular collaborators.

The film I saw is apparently different from the original cut, changed after a poor preview - shades of Magnificent Ambersons. As with that the cuts didn't seem to work.

I'm sure Lewton's original version was better but there is something lacking here. His horrors worked because there was this constant underling menace. There's just sludgy drama hre.

For a film about juvenile delinquents there's all this emphasis on adults - Jean Brooks returns home to deal with her brother, Kent Smith is Brooks' husband (an injured soldier),  Lawrence Tierney is a local gangster. Bonita Granville as Tierney's girlfriend. Sam Arkoff and AIP learned how to do a juvenile delinquent film - focus on the kids.

Glen Vernon is Brooks' brother who goes off the rails. Vanessa Brown is his girlfriend. Some kids ride a fast car.

There's a lot of pearl clutching about how parents neglect their kids. Brooks opens a day care centre. Brown's parents kick her out and Granville gets her a job at a dodgy bar. Smith teaches kids how to do.

Kent Smith is dull and smug. Jean Brooks looks sad. Maybe the film should've had their characters meet and fall in love - would've given the piece some progress.

Vernon's surrounded by family - caring parents, a sister, her husband. So the point of the film that thse kids are neglected doesn't hold.

This film is so dull. Scenes go on forever. Kent Smith runs around trying to solve problems. The judge gives the kid into Smith's care but the kid gets into trouble... but there's no blow back on Smith.

Brooks is wasted - may as well cut her part out of the film, given it all to Smith. Or cut Smith out given it all to Brooks.

The one good bit is where there's a brawl at a club (Vernon hassling Brown who is working as a hostess) - that results in Granville being knocked on the head, and Granville dies. Her death bed scene is decent.

Why not use Tierney as a threat? Why not use Vernon's sassy friend more he seemed interesting.

There's hilarious propaganda at the end where Smith tells Brown about the work of Ruth Clifton (whose work setting up clubs for teens inspired the film).

This movie is fairly awful.

Movie review - "The Curse of the Cat People" (1944) *** (re-watching)

Some people like this film. It has some not very good actors - Jane Rudolph, and Kent Smith. Val Lewton gave a gig to Sir Lancelot as their butler! In Tarrytown! I guess a gig's a gig and there wasn't much else going for him.

Robert Wise got his first directing credit here although he only got it because the original director was fired.

The film has resonance if you know about Val Lewton's life (which I didn't appreciate until I heard a podcast on his career). The little girl is both young Lewton and his daughter, a little odd, lonely, living in a fantasy world. The weird old lady, ex actress, is based on Lewton's aunt, Nazimova.

It's touching the girl wants a friend. The dad, Kent Smith, is a moron. I think it would've been better if they'd killed off him or Jane Rudolph (probably the latter to be honest) and played a romance.

It feels cut about, lacks a really cohesive whole type drive.  The threat towards the girl feels contrived - the daughter who is angy at her doesn't feel as though she's really going to kill the kid. They throw in a storm.

It's interesting. I wish I'd seen the original version though (apparently onle exists). But the poor acting is the poor acting.

Movie review - "Behind the Rising Sun" (1943) **1/2 (warning: spoilers)

 The same writer and director as Hitler's Children cranked out this semi sequel - tells a similar sort of story about life in the enemy country, only Japan here instead of Germany. Once again it's set against the backdrop of a country turning increasingly fascist and focuses on a romance between a more liberal girl and a man who has a decent core but has descended into militariam... and sort of comes back via love for the girl.

All the yellow face is really distracting - Tom Neal is the guy, Margo (who was Mexican) is the girl, J Carrol Naish as Neal's dad. 

There's a number of American characters - Robert Ryan as some dude (who boorishly shoots at a cat, and fights on behalf of an American insulted by Neal), Gloria Holden as a female reporter whose face is slapped by Japanese soldiers, Don Douglas an an engineer (the closest thing to the Kent Smith part). Ryan is mostly in the film to take part in the fight scene.

Some scenes have tremendous power, such as a woman having her child ripped out of her arms and thrust into a comfort woman's station, Holden being tortured by Japanese secret police. 

And for all the yellowface it does attempt to present slightly more complex Japanese characters than normal for a film of this time.

But these are around the side. in Hitler's Children Bonita Granville was an activist. Here Margo is a liberal but mostly wants to get married. The escape of the Americans at the end felt a little contrived - would've been better if they'd died.

Movie review - "Five Nights at Freddys" (2023) **1/2

 A monster box office success - in part because I think people were in the mood, but also the immense power of its source material. My eight year old daughter was all over this she badgered me to see it.

It's fine. Acting adequate. Great to see Mary Stuart Masterton. I like Matthew Lilliard was in a hit. There's two teen girl characters who seem keen on Josh Hutcherson, who I thought was the girl's father but turns out to be older brother. Elizabeth Lail brings a lot of heart.

Direction is adequate but the animatronic creatures are a little spooky. There's a lot of Steven King vibes to it including a young kid with sort of psychic/special powers.

Movie review - "The Irishman" (2019) *** (re-watching)

 Thoughts:

- it's boring mostly

- lots of old man acting

- Joe Pesci steals the film - restrained, powerful, intense, he's great

- I liked the younger support 

- what's it about? The friendship between Al Pacino and Robert De Niro isn't real. De Niro is his lacky. He's Pesci's lacky. 

- maybe you could interpret this as the story of a man who is full fo crap and a fantasist a la King of Comedy - that would've been really interesting and you can see it here a little but you have to squint

 - you could also see it as the inability of servants to have proper friendships with their masters, but again you have to squint

- de Niro is a great actor but he's so Italian it's kind of silly he's in a film called the Irishman, he never seems Irish - it didn't matter in Goodfellas I felt it mattered here

- Anna Pacquin has seven words of dialogue and later de Niro complains he won't walk to her - that is genuinely hilarious

- other female "roles" include: wives who smoke and that's it, a daughter who cries and that's about it, a daughte who got married - there's a scene between de Niro and a blonde daughter which isn't bad but might mean more if we'd spent more time

- it repeats story beats constantly eg there's two scenes of Pesci telling de Niro they have to kill Pacino  - or scenes that could've been cut - there's so much that could've been cut

- for all it's flaws it's clearly made  by people with talent and has memorable moments like the build up to the murder of Hoffa, de Niro talking about Hoffa to a nice nurse who has no idea who Hoffa is, old Pesci being wistful in prison about killing Pacino - I enjoyed the last half hour but that was in part because of relief the film was over

Movie review - "Hitler's Children" (1943) ***1/2

 A sleeper blockbuster which made a fortune for RKO and propelled Edward Dmytryk into the top rank. Why was it so successful? It didn't have star factor, though the acting is fine (Tim Holt, Bonita Granville, Kent Smith). It took on the Nazis but so did many films. There's some OTT Nazi acting even for the time.

Trying to analyse it, I think the reason was this: it's a love story about young people. Tim Holt, raised to be a Nazi, falls for Bonita Graville, a German American who recognises the Nazis are wrong. So two young uns with strong point of view for their characters.

It offers career best roles for Tim Holt and Graville. He's a believable Nazi, whose conscience becomes pricked Granville is brave, spirited, beautiful - an anti Nazi in Germany.

Kent Smith lumbers through his role - he's okay I guess. The role is important, an American abroad, an audience surrogate. HB Warner as a Catholic Bishop is dull, giving a long speech - I kept waiting for the Nazis to shoot him.

But the rest is very good. Otto Kruger is excellent as a Gestapo officer who forgives Holt being soft on Granville then becomes vengeful. The pulpy quality suits the material: I mean, it's terrifying, Granville is torn away from her guardian and put into a camp, then later on women are sterilised, she escapes and his tortured, is whipped. Holt falls for her, he's put on trial, he makes a speech, is shot, she's shot. It's full on. Terrific stuff.

Dmytryk handles it all very well.

John Ford connections with Australia

Just finished Scott Eyman’s biography of John Ford, though I’d do a top ten. My top ten of films probably too obvious so here’s a top ten of John Ford connections with Australia

1) He directed Rod Taylor in Young Cassidy (1965), before falling ill and being replaced by Jack Cardiff - Ford and Taylor got along very well and I wish Taylor had hired Ford to make Chuka, Taylor’s attempt at producing
2) Ford was BFFs with Frank Baker, an Aussie in Hollywood (brother of Snowy Baker) - he worked for Ford for a number of years as an assistant and actor
3) Aussie John Farrow directed Hondo (1953) but star John Wayne disliked his work and got in Ford to shoot some extra footage
4) Donovan’s Reef (1963) - Ford directed South Sea shenanigans features some Australian sailors all played by Americans
5) They Were Expendable (1945) - tale of the US defeat in the Philippines includes a sequence where General MacArthur is taken off the island and sent to Australia

6) Before and during Maureen O'Hara was making Kangaroo (1952) in Australia, she says Ford sent her a series of very inappropriate love letters which O'Hara put down in part to the fact he was envisioning her in The Quiet Man (O'Hara later claims she busted Ford making out with a male actor so anyway...)

7) In the late 1940s Ford explored making a Western style film set in Australia Stingaree based on the novel of the same name

8) The Long Voyage Home (1940) had for some reason censorship troubles in Australia (https://trove.nla.gov.au/newspaper/article/167432598?searchTerm=%22john%20ford%22%20director%20australia)

9) Prisoner of Shark Island has two Aussies in the cast - JP McGowan and OP Heggie

10) Australian doco Kokoda Front Line won the Oscar for Best Documentary - but had to share it with Ford's Battle of Midway (and Moscow Strikes Back and Prelude to War - they couldn't make up their mind)

Book review - "Print the Legend: The Life and Times John Ford" by Scott Eyman

 Eyman can be counted on to do a good biography and he does very well by Ford - solid research, entertainingly written. Maybe a little easy on Ford's racism. And also doesn't cover the possibility of his homosexuality - it refers to crushes and possible affairs with women (Katherine Hepburn)... although these seem asexual. His torment, drinking, preference for male company, consistent use of Jeffrey Hunter (who is barely mentioned in the book).

I'm being salacious. The rest is well done. Ford wasn't always admirable but also was a genius. The most moving section is the end, with Ford longing to direct but also scared he'll be able to (there were some options), being feted, estranged from his son, with an alcoholic useless daughter.

Movie review - "Seven Keys to Baldpate" (1947) **1/2

 Philip Terry popped up in a few movies but is probably best remembered as Mr Joan Crawford (for a time). He's not overly charismatic, though he's not bad - I guess I was hoping for, I don't know, Tom Conway or something.

It's an RKO B which means it looks schmick. Lew Landers directs with competence - it's a dark deserted house, mystery guests. Jacqueline White is a competent leading gal, Eduardo  Cianelli a competent threat.

This started well but as it went on it got tired, Terry's lack of energy started to tell. The whole thing felt tired and rote. A really keen director and cast could've made something more of this.

Still, looks good.

Movie review - "The Ghost Ship" (1943) (re-watching) ***

 RKO got Val Lewton to make this in part to use a ship set - they weren't dumb, it's a spooky setting for a movie. I like this more on second viewing - its taste, intelligence and ambition is endearing, even if it lacks some jump scares.

Richard Dix is the weird ship captain whom no one else seems to notice is weird except a newbie.

The film lacks female interest, would've been better had they explained the crew's support and been about the one voyage where people couldn't get off the boat. But interesting, evocative.

Movie review - "Two O'Clock Courage" (1945) **1/2

 A B-picture but an RKO "B" so it's done with class and there's some names associated with it - a young Anthony Mann working his way up was the director, the star was Tom Conway who's a personal fave, and his female lead is Ann Rutherford from the Andy Hardy films. Jane Greer is in the support cast.

Rutherford was so likeably in the Hardy movies I'm surprised she never became a bigger name, though she did tend to overact. She's a cab driver (hello WW2 feminism) nwho picks up amnesiac Tom Conway. It stars off moody and more recogniseably Anthony Mann but becomes lighter There's a wisecreacking cop, Rutherford is an ex actress who pretends to be a reporter, Conway pretends to be a reporter. The dead person is a Broadway producer.

I loved Conway in the Val Lewton films. In a more conventional leading man part he doesn't have the lightness and humour of his brother George Sanders. He's still a solid B star - just doesn't have the twinkle. He's really most effecitve as a second lead I think.

Kim Hunter Top Ten

Kim Hunter... actress who I'm guessing not many people will recall what she looks or sounds like (she was very girl next door and her name means she gets mixed up with Kim Stanley) but was consistently good in an incredible amount of classics.

1) The Seventh Victim (1943) - brilliant Val Lewton devil worship movie

2) A Matter of Life and Death (1946) - Powell/Pressberger masterpiece

3) When Strangers Meet (1944) - crackerjack low budget noir, one of the best movies from Monogram

4) Streetcar Named Desire (1951) - she's Stella

5) Planet of the Apes (1968) - brilliant as Dr Zira in this and the two sequels

6) Lilith (1964) - fascinating Robert Rossen film with Jean Seberg's possibly best performance

7) The Swimmer (1968) - Burt Lancaster mid life crisis classic

8 )  Storm Centre (1956) - a brave anti-anti-Communist movie

9) The Young Stranger (1957) - moody teen drama based on TV play very well done

10) Tender Comrade (1943) - allegedly pro communist blockbuster

I can't think of any other actress with such remarkable credits, including an Oscar, who is so little remembered.

Movie review - "New York New York" (1977) **

 Martin Scorsese's famous cocaine fuelled misfire killed Liza Minnelli's career as a movie star (along with Lucky Lady and A Matter of Time) and left a magnificent title song. It starts bold and brassy with credits then has a cringy meet cute with Robert de Niro being a sex pest trying to get Minnelli's phone number. 

De Niro's character is really revolting - I think in part because the film was improvised so much, he's experienced at it and she isn't, so he overpowers her in the scenes. When she can sing it's even. 

Scorsese says this is a film about creatives. It's not, not really - it's about a possessive, controlling man. He stalks her, love bombs her, is possessive, controlling, abusive.

It's really, really unpleasant.  It gets better in the last third when de Niro leaves and the movie becomes essentially a series of production numbers, including the famous 'Happy Endings' which was removed. It's a whole film within a film like they would do in Singin in the Rain. Why did they cut that out and not those terrible abuse scenes which hit the same beat (he's possessive/jealous/mean). They could have trimmed that right back and put in more songs.

I'll say this for Scorsese - he doesn't glamourise domestic violence. But he shoves it down our throats.

Liza flashes her big eyes and can sing the hell out of anything but doesn't have much of a character to play. De Niro is possessive. The film needed a second lead. It has cameo turns from people like Lionel Stander and Dick Miller - it should have merged these.

Movie review - "A Night of Adventure" (1944) **

 Tom Conway's success as the Falcon and in the Val Lewton movies saw RKO give him the lead in a B, a remake of a 1934 film. He doesn't have a firm character to play - a smart lawyer, who neglects his wife. It's full of types from 1930s films, and while I love Conway maybe this would've been better with someone with more Broadway energy - Lee Tracy or someone. I did like Audrey Long. She's gorgeous and can act - she married Leslie Charteris IRL!

Oh and the plot is confusing. It starts off with Conway married to Long but always off doing things. So she runs off with an artist which is racy but it's 1944 so not that racy. Really they should have been separated at the start and about to divorce.

Then... the artist's ex wants to kill the artist, which is good... Conway tries to stop her, they struggle, gun goes off... then Conway leaves. Artist gets blamed. Conway defends him. Um... Really Conway should've been more responsible for the death instead of vaguely responsible (apparently his character was in the 1934 version) and he should've been keen to blame the artist so he could get his wife back and make a sacrifice at the end. Instead he lets the artist go on trial... so as to trap a gangster into giving evidence against his boss (this is said at the end). No pay off against the big gangster, or the artist... Conway only decides to do his plan after he discovers the murder scene has been tampered with in the papers... SO for a at least a day he let it slide.

A censored mess. They should've played it as a noir with Conway as a baddie who gets redemption.

Movie review - "The Seventh Victim" (1944) **** (re-watching)

 Mark Robson makes a beautiful directorial debut. Greenwich Village is spooky in the way New Mexico wasn't - helped by Kim Hunter's lovely work, excellent support including Tom Conway. The romantic male lead is balding, looks emaciated and was killed in World War Two which is interesting in its own way. Devil worshippers, believable cult, suicide. It's fascinating.

TV series "The Westener" - Ep 1 "Jeff" (1960) ***

 Those old Western TV series were so cheap - this is a couple of actors in a few sets, emoting. Brian Keith is a drifter, who turns up in a small town to rescue an ex "Jeff" a hooker in a destructive relationship with Geoffrey Keene - playing an Aussie I think with a great Aussie accent, he refers to fighting Percy Jackson.

Downbeat - Keene beats Keith in a fight, the girl stays. Warren Oates appears as a drunk.

Movie review - "The Leopard Man" (1943) *** (re-watching)

 The third Lewton horror. It lacks X factor - maybe a dash of exoticism, no Tom Conway or something. Dennis O'Keefe not quite right. The stoy is a more serial killer tale - murders are committed by a leopard... or are they.

The film perks up with its murders - there's three, quite well done. They figure out who done it quite quick.

This isn't bad. They figure out who the killer is quite quick. It feels like there's a few too many characters.

Movie review. - "Alice Doesn't Live Here Anymore" (1974) ***

 Still Scorcese's only feature that focuses on a woman - you think he might've done more because this won Ellen Burstyn an Oscar and was a hit. It's a modern updating of old 30s women's pictures with modern trappings.

It's still Hollywood. Her husband is a dipshit who threatens to hit wife and child so we don't feel bad when he dies early on. She finds an act two guy Harvey Keitel who turns out to be a married dipshit. 

Then act three she moves to another town and works in a diner and it becomes recogniseably Alice with Diane Ladd channelling Eve Arden and Kris Kristofferson as George Brent (he suited playing.a love interest, KK, because he seemed so comfortable in his skin and not overly charismatic as to pull focus). It really is a Joan Crawford movie. But it's lovely and done with empathy if a little long.

The kid is excellent. Jodie Foster rocks up again as a girl who befriends him. Wish her part had been better.

I'm surprised how populist it is. I mean it ends with a public declaration of love in a diner with extras looking on and clapping when they kiss.  I mean, it was turned into a sitcom.

Mind you it's a Scorsese so there's still domestic violence - full on from Harvey Keitel, mild from Kris Kristofferson.

Movie review - "I Walked with a Zombie" (1943) **** (re-watching)

 Val Lewton whinged about his pulpy titles that RKO management assigned him - they are of course part of these film' charm. Some thoughts:

- so wonderfully creepy with gorgeous low budged cinematography and use of wind, cane fields, mute woman

- Jane Eyre is a great basis for a horror movie

- acting competent except Tom Conway who is superb - he brought so nuch to these films

- progressive in many ways for its time: sensible female doctor, black maid who is not an idiot

- great shocks like the appearance of the black guy.

A very classy movie.

Movie review - "Old Dads" (2023) **1/2 (warning: spoilers)

 Wanted to like this - I had a kid later in life, raised her in LA. Some of it is spot on but the film never seems to get its rhythm right. Sorry it's not nice to call a headmistress a c*nt even if she turns out to be a money grabbing crook. I get that people can be appalling these days but also some things didn't ring true - having to apologise to all the parents.

Other bits more effective - the awful milennial who sacks everyone, the whiny parents, the annoying people on scooters, the scene where BIll Burr gets assistance in an argument from a random lady only for her to go on a racist rant... this gives an indication of maybe what the film should be... because while there's plenty of over the top political correctness there's entire media networks devoted to mocking political correctness - it's not hard to find an outlet against what he's railing against (unless... which would have been interesting... he's appalled by those people). 

The humour is meant to be based in reality but is played broadly, absurdly - it would play better on stage maybe. But all the way through I kept thinking "Judd Apatow makes this stuff look easy and it's not it's very hard."

Bill Burr does have star factor. Bobby Canavale tries to be funny too much.

Musical soundtrack - "Golden Rainbows"

 Listened to this because of the discussion about this in Wiliam Goldman's The Season. The songs are quite good, very well sung. The opening track is a banger and there's catch ballads. You can see this being fun. I'm sure Goldman's comments on the book were accurate.

Movie review - "Cat People" (1942) **** (re-viewing)

 Listening to a podcast about Val Lewton so thought I'd watch this again. Thoughts:

- lovely intelligent, treats audience smart, literate

- quite sexy: Simone Simon shows a bare back in a bath, Jane Rudolph is in a swimsuit, the whole plot is about sex

- some excellent performances: Simon is very good (lonely, little, scary, plucky) and Tom Conway is great fun as a lecherous shrink - Kent Smith and Jane Rudolph are dull but they have to be

- it's low budget yes but it's also a studio film so the photography is terrific, the sets, technical qualities

- very well done, stylish and well made.

Charles Bronson Top Ten

 For fun

1) Once Upon a Time in the West (1969) - no one missed Eastwood

2) The Great Escape (1963) - touching, sad, likeable, complex

3) The Magnificent Seven (1960) - as above

4) Machine Gun Kelly (1958) - Corman gave many people his break - here was Bronson

5) The Dirty Dozen (1967) - I think he was getting sick of being a second lead by now but he was so good at it

6) The Mechanic (1972) - made with such skill it's a jolt to realise Michael Winner did this

7) Hard Times (1975) - brilliantly used by Walter Hill - if only they'd teamed again...

8) Death Wish (1974) - he became a caricature but this is a juicy role and he handles it well

9) Four For Texas (1962) - he gets bested too often but he's fun in a fun film

10) From Noon Til Three (1976) - a love letter to Jill Ireland, very sweet

TV review - "Better Things Season 1" (2016) ****

 Acutely observed, warm, funny, unexpected. The coolest single mum on TV? Louis CK did so much great stuff. Pamela Adlon has a cult of guys into her. Deservedly.

Movie review - "Who's that Knocking at My Door" (1968) ***

 Full of energy, talent and verve. There's Harvey Keitel as the first in a long line of toxic male protagonists in Scorsese films, with his sex and religious hang ups, hanging out with dead beat mates, tormented by Catholicism, creepy with women whom he treats as Madonnas/whores. 

Zita Bethune is the woman (called "The Girl"). She's lovely. All the acting is good. Funny riffs on John Wayne and Jeffrey Hunter in The Searchers. There's long scenes with boorish friends crapping on.

The nude scene, put in at the recommendation of buyers, does perk things up. Scorses learned his lesson - for Mean Streets, which this has a lot in common with (bars, deadbeat mates, madonna/Whores) he added gangters and nudity.

It's very interesting, made by someone with talent, doesn't quite hang together as a feature. I gave it three stars considering the low budget.

Movie review - "Bringing Out the Dead" (1999) ****

 Spiritual sequel to Taxi Driver about another figure dealing with nutters at night - in this case a paramedic. Sunken eyed, restrained Nicolas Cage is perfect in the lead, as a Scorsese/Schrader hero par excellance, a man tormented with guilt.

Patricia Arquette is typically excellent in an understated way. Ving Rhames heaps of fun as a religious driver, Tom Sizemore electric as a manic driver, John Goodman and Marc Antony a great. (The film's stucture is basically Cage and three different partners over three nights, with some other plots threaded through).

It lacks the primeval aspect of Taxi Driver - the "rescue" of Jodie Foster, building up to a big shoot out. This builds to Cage stopping Sizmore beating someone up, and then allowing someone to die. (Immaculate acting on Cage's face then by the way.)

It's warm and heart affirming despite the dodgy world. Scorsese had a kid around this time, maybe that was it.

Movie review - "The Color of Money" (1986) **

 Does anyone talk about this film any more? It was a big deal at the time. Newman finally getting an Oscar. Scorsese doing something commercial. Tom Cruise doing something classy. Eric Clapton. Mary Elizabeth Mastrantonio winning the reviews. You couldn't go near a pool table for a few years there without people flipping around the pool cues like Cruiser.

I was getting sick of Scorcese's needle drops but this has dumb 80s soundtrack-itis. It was dull. So dull.

Good actors. Newman was fine - no one begrudged him an Oscar, though he'd been better in lots of other movies. Mastrantonio is excellent. So too is Cruise.

I guess the characters are interesting. But they just sort of hang around. The one memorable scene is when Newman realises he's been hustled by Forest Whitaker. That was effective.

There's some Scorsese flourishes like zooms and Italian Americans yelling (Cruise, Mastranotonio) - when Newman joins in it's not as fun.

I remember watching this at the cinema when I was a kid and feeling guilty I didn't like it because the reviews told me to like it. I was wrong to feel guilty this simply isn't very good. And they spent so much time on preparing it, too.

Movie review - "Legend" (1985) **

 I get the cult. It looks terrific. No one went to see it. Lots of imagination. Tom Cruise before having his teeth fixed. Mia Sara. Goblins.

It's simple and also confusing. Cruise is fine but anyone could've played the role. Mia Sara is pretty but again generic. 

Maybe I should see it again. I don't really want to. This isn't a useful review is it? But it's an honest one.

Movie review - "King of Comedy" (1982) ****1/2 (warning: spoilers)

 Gosh this is a good film. I was turned off Scorsese with all his violence and redemption but presented with an excellent script by him he rises to the occasion. No whip pans, needle drops, people smashing up people in bars, nagging wives.

It's a slow burn cringe comedy about an obssessed stalker who winds up kidnapping a late night talk show. Jerry Lewis has a terrific role as the host, emotionally dead, wound up, stressed, abused by strangers in the streets. Robert de Niro is excellent as a pestering all too believable type. Sandra Bernhard is X factor as de Niro's deranged accomplice - she has so much danger and excitement.

It's a superb script from Paul D. Zimmerman. I love who it plays with time and reality. I get why it wasn't a hit. But it's great. I actually love that de Niro's character makes it in the end (although it could be fantasy, I love that too). It's a movie that was very ahead of the curve.

The Joker really copied this didn't it, right down to the black girlfriend.

I love the cameo from Tony Randall as the host who takes over and Scorsese as the director. Gore Vildal and Shlley Winters are guests on the show - shame they couldn't have been on it too!

Oh, Shelley Hack is in this and she's geat.

Movie review - "Silence" (2016) ***1/2

 It's got a fascinating world - Japanese Christians being persecuted in the 17th century - and a terrific set up two priests (Andrew Garfield, Adam Driver, both ideally cast) set out to find their mentor (Liam Neeson) who has gone missing. (Sidebar: I'm surprised WW2 Allied propaganda didn't use stories of persuctions of Christians in Japan. Maybe they did.)

There's also an intriguing Japanese character,a. former Christian who repented who is their guide. But once that's set up in the first ten minutes the film doesn't really have any more ideas. Japanese Christians are glad to meet them, but also scared. They are persecuted and killed. Martin Scorsese gets to do lots of violent scenes that he likes of Christians being crucified, burned, tortured, decapitated, in amognst the long running time and minimal female presence.

I really liked the ambiable Japanese politician who does great evil, an all too recognisable type from history. It's well acted, looks terrific, with lovely photography, sets, costumes, etc.

It just suffers from lack of structure and character development.  The last third is strong. I really liked it. It was dramatic conflict not just repetitive torture. It's just that middle section.

Garfield and Driver go full actor. Both seem like priests, Garfield goes believably nutty. I wonder if the film would've done better had they just thrown rocks at him for half an hour. (How long did Driver go without sex for?) I think it was a mistake to allow them to have Portugese accents. Also the piece could've done with some humour - it comes in the end, I guess.

I wonder if Mel Gibson ever considered filming this novel it feels right up his alley with its suffering and violence. He might've ensured a better structure too

Movie review - "Mean Streets" (1973) ***1/2

 Not my cup of tea though I appreciate the talent, the authenticity, the pace.

Maybe I've seen too many imitators - slice of life coming of age dramas with wanna be toughs yelling at each other. Film critics/buffs loved all the references - the autobiographical bits, the film references (going to see a Western, Harvey Keitel liking John Wayne).

So much of it feels familiar I think now because Scorsese did so many scenes of Italian Americans yelling at each other in bars with tracks playing in the background and bursts of violence. And the depiction of women is so, as he tends do to (madonna/whore).

I respect this film, I really do. I just don't like it that much. I generally don't when Scorsese wrote the script. I think it's mostly because de Niro's character is such a boor I don't care about him, Keitel has every right to get angry. Why support him? If people accept that relationship and feel for de Niro they'll enjoy this movie more.

Oh shout out to the fact a Roger Corman film is in this. Scorsece picked up enough Corman exploitation to make sure there's female nudity from Amy Robinson in the Breathless sequence (also I gather he had to include it in Who's That Knocking on My Door to sell it.)

Movie review - "Casino" (1995) *** (warning: spoilers)

 Many thoughts.

- Bits I liked. The milieu. The research.

- Too much smoking in lieu of acting.

- Robert de Niro and Joe Pesci aren't bad. But they are clearly bored. De Niro never seems into Sharon Stone. He never likes Pesci. Or his daughter. Or anyone. Anything. He gets fired up when he can't work in the casino I guess. Was this why he and Scorsese didn't work together for so long? Pesci goes through the motions too. He never seems to like de Niro or Stone. He has a moment at the end crying when his brother is killed.

- Sharon Stone is magnificent. Warm, compelling, sexy, touching, emphathetic. Steals the film. I wish she'd had better roles at her peak. Even here she's stuck in endless Scorsese yelling domestic scenes.

- I also liked the guy who plays Pesci's mate who kills him. He was putting in good work and had a fantastic worm turns moment at the end.

- Could have been trimmed. The journalism stuff. The yelling scenes.

- Always interesting direction - camera angles, colours, sounds.

 - Don Rickles terrific. Aparet from de Niro and Pesci the acting is very strong. And those two aren't bad just bored.

TV review - "The Only Murders in the Building" Season 3 (2023) ***

 Still fun, and Meryl Streep is always entertaining, though haven't we seen Paul Rudd play a mock version of himself before? Or just too many other actors do it? Selena Gomez seems bored. The mystery is fine. I love the Broadway stuff.

Movie review - "Riot" (1969) **

 A really strong director would've made this sing. Buzz Kulik can't bring it. It should be good: solid story, real life locations, taciturn Jim Brown teams well with more chatty Gene Hackman.

But it's so lethargic. No excitement in the riot, or suspense in the siege, or sense of urgency. All the elements are there. I think James Poe wrote a good script.

A disappointment.

Movie review - "Mission Impossible" (1996) **1/2 (re watching)

 This feels like it was made so long ago. The template is actually more influenced by Brian De Palma movies than I recalled - the opening fake out, the twists, the paranoia, split screens.

It doesn't feel as smoothly directed as his best films though. It feels choppy.  Cut about. Too often like a TV episode on the big screen. 

Emmanuel Beart is beautiful and enigmatic but had she already had work done? Some poor special effects. The script is better than the final movie.

Movie review - "Hairspray" (2007) **** (re-watching)

 Watching this and comparing my old notes my views hadn't changed - opening number could've used more dancing, the James Marsden character is underutilised, it slows when it's about the adults, it's glorious and fun with a great heart.

I was thinking of while watching it that somewhere out there someone was tweeting "white saviour" ruining everyone's good time.

But it's fun. So fun. I wish Hollywood would make more musicals.

Movie review - "Oz Great and Powerful" (2013) **

 Decent central idea - origin story for the wizard - but James Franco isn't as compelling a lead as say Johnny Depp would have been, and it's sluggishly paced despite some decent actors and visuals. Maybe it needed songs.

Michelle Williams looks pretty and smiles at Franco. Rachel Weisz is fine. Mila Kunis ditto though you're aware her most interesting work will come later.

The chatty chimp was adequate. The china doll touching. There's GI battles.

It was fine, I guess.

Brian De Palma films summary

The Wedding Party (1964) - comedy on an island, not very funny, interesting to see young de Niro and Jill Clayburgh, very French/British new wave influenced.
Murder a la Mod (1968) - interesting student feature only for completists but shows all his themes (voyeurism, Hitchcock references, satire, unfunny wacky comedy, women being murdered, stalking, fake outs, characters who make dodgy films for a living).
Greetings (1968) - would’ve meant more at the time, this is actually Cassavetes like rather than De Palma like, period piece, early showy de Niro performance.
Hi, Mom! (1970) - more polished than Greetings, maybe less effective, remarkable middle sequence (immersive theatre bit, you'll know it if you saw it) that I’m still processing .
Get to Know Your Rabbit (1972) - wacky comedy which proved Tommy Smothers wasn’t a leading man, very much of its time.
Sisters (1972) - terrific riff on Psycho, beautifully made, with great acting from Margot Kidder and Jennifer Salt, wonderful score.
Phantom of the Paradise (1974) - nutty, subversive, consistently interesting, some unfortunate humour gaps, can see why it's a cult.
Obsession (1976) - never quite gets in gear for me, Genevieve Bujold a perfect Hitchcock heroine but Cliff Robertson not as good... interesting and it made money but I prefer his other Vertigo riffs.
Carrie (1976) - the most emotional De Palma? Perfect marriage of director, author and star, Sissy Spacek and King giving this agonising heart missing in the director’s other movies - why didn’t he direct another King book?
The Fury (1978) - fun action-thriller which I had low expectations for and enjoyed a lot, couldn’t pick the twists
Home Movies (1979) - De Palma scratches his 60s-induced itch for wacky comedy and satire with his student film with stars - goes for too long but Keith Gordon centres it quite well
Dressed to Kill (1980) - De Palma nails it, perfect script, score, cast, direction - has tremendous heart too with the Gordon-Allen relationship - I think he knew he got a hole in one here and kept going back to the well
Blow Out (1981) - I get it. I get all of it. Beautifully made. Just mean. Didn't like it.
Scarface (1983) - like Blow Out, I get its appeal, it just doesn’t mean as much to me as others. I love the opening hour and the last fifteen minutes. The rest is a slog. It’s a film that doesn’t die wondering, I’ll say that, and Stone and De Palma match well.
Body Double (1984) - part Vertigo riff part screwball comedy, with one of De Palma’s best stars (Melanie Griffith) and worst (Caig Wasson) - he had gotten divorced just before this and TBH you can tell it feels like he made it in a bad mood
Wise Guys (1986) - sigh. Clearly a CAA pitch movie - would’ve sounded fun in short hand, hard going, a throwback to De Palma’s unfunny comedy in the 60s. He still hadn't learned how to do it.
The Untouchables (1987) - love it, my favourite film of his, every image and line of dialogue etched in my brain from when I saw it (except the John Ford sequence which I always forget it in there) - I wish Mamet had worked with De Palma again
Casualties of War (1989) - I like this more now than when I saw it in part bc I realise how depressingly accurate it is - and I appreciate the risks Michael J Fox took with his stardom
The Bonfire of the Vanities (1990) - overrated book which needed someone like Robert Altman though it’s the script rather than De Palma - probably his most racist film though that’s more Wolfe, than him I think
Raising Cain (1992) - De Palma forced back into making thrillers, uses his bag of tricks, some good moments though feels a little “I just need to make a successful film”
Carlito’s Way (1993) - terrific, I like it more than Scarface, wonderfully realised, maybe relies too much on Sean Penn’s character to propel the plot.
Mission: Impossible (1996) - I don’t think this series hit its stride until the 4th instalment (what a thing to write) but fun to watch.
Snake Eyes (1998) - I love this film, not many people do, but it feels very cohesive, Cage is a perfect De Palma hero
Mission to Mars (2000) - some good moments but not good, feels like a movie that would’ve been better on a third of the budget, you can smell the notes on it.
Femme Fatale (2002) - De Palma goes back to the thriller well, some excellent scenes and it’s a fun if silly movie.- his luck with female stars (so strong in the 70s and early 80s - Spacek, Allen, Griffith) had deserted him by now
The Black Dahlia (2006) - should’ve worked, doesn’t work, this was disappointing.
Redacted (2007) - good on him for making a gutsy movie even if he did just remake Casualties of War - some very silly scenes and very powerful ones.
Passion (2012) - casting not quite right, the bag of tricks is by now really overworked but I had more fun than I thought
Domino (2019) - some really interesting material in here, the leads should be the characters played by Eriq Ebouaney and Mohammed Azaay but they aren’t. Too much McBain type material.

Movie review - "Domino" (2019) **

 Brian De Palma's last feature film to date starts off as a McBain movie set in Copenhagen. Nikloaj Coster-Waldau is McBain, basically, whose partner is killed so he goes looking for payback. Carice Van Houten is from internal affairs. Oh and her real life partner Guy Pearce pops up.

Film buffs will enjoy the occasional De Palma bursts of flair and nods to other movies like the rooftops in Vertigo. There's some interesting ideas like the killer of the partner being an ex terrorist who is blackmailed into helping it from Guy Pearce, so he's got this sympathetic dimension. and Van Houten being pregnant with the partner's kid. These aren't developed.  

The leads should be the characters played by Eriq Ebouaney and Mohammed Azaay.

Movie review - "Operation Fortune" (2023) **

 Guy Ritchie action flick has a lot of nice things about it - Jason Statham doing his stuff, Hugh Grant again having a wonderful time as a villain, and most of al Aubrey Plaza as the perfect femme in the Richie world, sexy, smart, cool, etc etc.

It is a sluggish film though. Starts well but after a while it sinks in that the elements aren't exactly fresh - agents chasing after a Thing, the Thing changes hands, villain obsessed with a movie star, self referential jokes with a movie star playing a movie star (Josh Harnett in a role I wish Hugh Grant had played - or someone more lively).

It's all so easy for Statham and co. Like really easy. 

Turkish setting a little different.

Movie review - "Casualties of War" (1989) ***1/2

 Props for Michael J Fox trying to expand his range the moment he became a star - he went into Light of Day, Bright Lights Big City and this. The public liked none of them.

Props also to Brian de Palma for blowing his Untouchables chits on this.  Just think maybe he should've made it for less money - pulled back on the battle sequences.

Gosh this is full on. American soldiers lose a man, so kidnap a Vietnamese girl for their sex slave, repeatedly rape her, then go to execute her... it seems several times she might escape but she doesn't get there... and she dies. 

Sean Penn is excellent as an all too believable hill billy thug as is Don Harvey as his sidekick and John C Reilly and John Leguizmo as the easily influenced. Fox is very fine as well. All the acting is good. Thu Thuy Le is mostly required to scream and look scared but she's very effective. The rest of the Vietnamese are the standard Hollywood Vietnam War extras, either screaming or wailing.

I remember not liking this movie at all when I first saw it. My opinion is higher now - I guess I know more people like the characters, I certainly met enough at school. Ditto the officers whose instant reaction is to cover things up. This was all too believable.

The speech Fox gives after Cherry is killed is whiffy. The scene where Fox smacks Harvey in the face with a shovel is very satisfactory.