Planes, Trains and Automobiles.

Review #879: Planes, Trains and Automobiles.

Cast:
Steve Martin (Neal Page), John Candy (Del Griffith), Laila Robins (Susan Page), Michael McKean (State Trooper), Kevin Bacon (Taxi Racer), Dylan Baker (Owen), Olivia Burnette (Marti Page), and Larry Hankin (Doobie) Directed by John Hughes (#046 - The Breakfast Club, #207 - Ferris Bueller's Day Off, #249 - Sixteen Candles, and #643 - Uncle Buck)

Review:
When it comes to great buddy films and great holiday films, this one will likely spring to mind. Martin and Candy are a great duo, in part because of how easy they seem to portray their roles, along with having some wonderful chemistry. But like other good comedies, there is also a good edge of drama as well, with a great sense of realness and charm within itself. Sure, there are good funny scenes (such as when the two learn about being robbed), but there are also good dramatic scenes, such at the motel and even near the end as well. The story structure is a familiar one, but it is executed in a fresh manner. The timing is excellent, with gags and secondary characters that serve their purposes well. It uses its scenery (mostly with snow) nicely, where everything seems real and looks real too. It's not a movie with mere caricatures, as both are equally likable in their own way, contributing their own kinds of emotion that makes for a film filled with depth. In short, this is a fine film that keeps itself in check, with Martin and Candy providing for many highlights that make for an excellent film.

Overall, I give it 9 out of 10 stars.

The Long, Long Trailer.

Review #878: The Long, Long Trailer.

Cast:
Lucille Ball (Tacy Bolton-Collini), Desi Arnaz (Nicholas 'Nicky' Collini), Marjorie Main (Mrs. Hittaway), Keenan Wynn (Policeman), Gladys Hurlbut (Mrs. Bolton), Moroni Olsen (Mr. Tewitt), Bert Freed (Foreman), and Madge Blake (Aunt Anastacia) Directed by Vincente Minnelli (#405 - The Reluctant Debutante, #510 - Father of the Bride, and #620 - Lust for Life)

Review:
Honestly, I'm not a big fan of I Love Lucy. If you've known me over the years I've done this show, you are aware that I tend to veer towards older movies (in fact, 510 (including this one) of the films reviewed by me were before 1990), but Lucy was never one of my go-to shows growing up, though I know of its reputation and of its long lasting length as reruns on television. The Long, Long Trailer was one of only three films released during the time it was on (with The Magic Carpet and Forever, Darling being the other films), and the story goes that MGM believed the film wouldn't be much of a success because of the fact audiences could see the duo on TV. However, the film turned out to be a success, in part due to the slapstick that is (somewhat) endearing to me and no doubt endearing to the audiences of the time as well. There is something about the movie that manages to feel so real, with location shots (such as Yosemite), and adequate enough timing without being too canned. The part with the rocks inside the trailer is one highlight for me, in part due to the timing of the right moment of when everything culminates. The other cast members are pretty decent, though it really is all about
Ball and Arnaz, whose chemistry helps the movie out. The trailer is an interesting set in it of itself, and it certainly is sizable enough to contribute to some fine gags. As a whole, it's a decent little movie that is endearing enough for at least one watch. It's not a hallmark of comedy by any means, but it is at least entertaining.

Overall, I give it 7 out of 10 stars.

Three Ages.

Review #877: Three Ages.

Cast:
Buster Keaton (The Boy), Margaret Leahy (The Girl), Wallace Beery (The Villain), Lillian Lawrence (The Girl's Mother), Joe Roberts (The Girl's Father), and Kewpie Morgan (The Emperor / Cave Man / Roman Thug) Directed by Buster Keaton (#757 - Seven Chances, #762 - College, and #805 - The Navigator) and Edward F. Cline.

Review:
This was the second starring role for Keaton, made three years after The Saphead and his first feature that he directed. The film was structured and shot as three separate shorts, as a form of insurance in case it did not work well as a feature, with the three films representing a different Age, from the Stone Age to Rome to the modern-day. The main prevailing theme in all three parts is the prevalence of love in society all-throughout time, with Keaton getting the girl in each story. In that regard, it is somewhat interesting (if not slightly repetitive), though the end result is a film that is moderately entertaining, but not really all that funny. In other words, you'll get some chuckles, but nothing is really that memorable (although Keaton escaping a prison due to his phone booth being towed out of the prison). Neither period really stands out entirely from the others, but they are fine for the course. Leahy is a decent lead, and Beery is a fair enough villain. It has good moments, but nothing that you could really say is rip-roaring hilarious, though Keaton is good as it gets. In a sea of Keaton films, this likely wouldn't be one I would recommend immediately, but it is adequate enough to see at least once.

Overall, I give it 7 out of 10 stars.

Red Zone Cuba.

Review #876: Red Zone Cuba.

Cast:
Coleman Francis (Griffin / Narrator), Anthony Cardoza (Landis / Fidel Castro), Harold Saunders (Cook), John Carradine (Mr. Wilson), John Morrison (Joe), George Prince (Cherokee Jack), Tom Hanson (Bailey Chastain), Lanell Cado (Ruby Chastain), and Charles F. Harter (Cliff Weismeyer) Directed by Coleman Francis (#744 - The Beast of Yucca Flats and #767 - The Skydivers)

Review:
It has been 50 years since Red Zone Cuba (made on a estimated budget of $30,000; also known as Night Train to Mundo Fine) was released (even though there really isn't a source that gives a definitive date, I'm doing it on this day as a "Turkey" gift to you at home for Thanksgiving Eve). This was the third and last film that Coleman Francis directed. It took me a while to recover from his last two films, but here we are nearly a year later. Oh boy, this film. Remember how Madea seemed like the breaking point for this show? Here's one that will shatter those thoughts and assemble them into jagged edges. It only makes sense that Francis also had to star in this film, because I guess no one could play a wretched lead other than him (if he had wanted to star in another film, he should've played the part of a talented director). The movie might good at one thing, which is the fact that it might poke a hole in the idea that a movie can be be so bad it's good. Believe it or not, this movie isn't very good, nor is it shot in Cuba (shocking, I know). There is some sort of plot within this, with a trio of main characters that are about as appealing as melted cauliflower. Francis is at least consistent with the sound quality once again, in that it is questionable at certain points. Carradine (in a guest starring role) appears briefly in the movie, even singing the title song "Night Train to Mundo Fine", which could be the perfect song to play right before a movie as strange as this. On second thought, strange is somehow too nice of a word to describe this film as. The fact that he is used as a framing device to set up the plot (that he has no connection to) is almost as ridiculous as the song.

There must really be some sort of thought process to make a movie that goes from "escaped convict" to "Bay of Pigs" to "mining metals". Oh sure, there's acting, in the sense that I'm enacting a decision to waste time on a movie that has a guy with a Brooklyn accent playing a character obviously meant to be someone else. Here's a highlight: Francis' character stating how he wants to go legit, and 20 seconds later he attacks Cardoza's character for not giving him a ring. Even something like a character who was left for dead suddenly reappearing at the end isn't the most ridiculous aspect of a movie that thinks parts of California can pass off as Cuba (another gripe: Black title letters on a dark greyish background). You might be wondering why I even decided to review the film on its 50th Anniversary. On top of the fact that I like honoring film anniversaries (and certain birthdays), I figured that it was time to finally finish the last of the Francis films and fully give an assessment on his "trilogy", which goes as follows: They are all terrible, with scattershot plots and more scattershot acting than you can shake a stick at. You could watch his films...or watch the MST3K versions. Even giving this film a 0 doesn't do this film justice: Watch at your own risk.

In any case, I wish a Happy Thanksgiving to all of you readers at home. Enjoy tomorrow, but also if you're having a "Friendsgiving" today. Look it up.

Overall, I give it 0 out of 10 stars.

Babes in Toyland (1934).

Review #875: Babes in Toyland.

Cast:
Stan Laurel (Stannie Dum), Oliver Hardy (Ollie Dee), Charlotte Henry (Little Bo-Peep), Felix Knight (Tom-Tom Piper), Henry Brandon (Silas Barnaby), Florence Roberts (Mother Widow Peep), Virginia Karns (Mother Goose), Pete Gordon (The Cat and the Fiddle), Angelo Rossitto (Elmer the Pig), Zebedy Colt (Willie the Pig), Payne B. Johnson (Jiggs the Pig), Marie Wilson (Mary Quite Contrary), Johnny Downs (Little Boy Blue), Alice Moore (the Queen of Hearts), John George (Barnaby's servant), Kewpie Morgan (Old King Cole), Ferdinand Munier (Santa Claus), Robert Hoover (Bobby Shaftoe), Charley Rogers (Simple Simon), Jean Darling (Curly Locks), Billy Bletcher (the Chief of Police), and William Burress (the Toymaker) Directed by Gus Meins and Charley Rogers.

Review:
Considering that I had never seen a Laurel and Hardy film in the near six year run of Movie Night, it only made sense to do this film right near the holidays. Based off the operetta of the same name, Babes in Toyland (later re-released under the title March of the Wooden Soldiers) is a fairly engaging movie that has a good deal of sets, imagination, and songs that really make for an entertaining watch. Laurel and Hardy have great chemistry and timing together, sharing rip-roaring scenes, such as the peewee scene. They also have some fine exchanges, along with some good wordplay. The rest of the cast is also pretty good, with Henry and Knight sharing a few songs and some chemistry together that contribute to make for such a lively and interesting film. The climax with the wooden soldiers is also pretty charming, filled with joy and some technical achievement, complete with Laurel and Hardy getting in on some fun. The costumes are also pretty good as well, with a world like Toyland being so creatively designed. There are different versions of the film (one of which cuts the film to 67 minutes from the original 77), with a colorized version also existing, which looks fairly decent, but if you're interested in the film, always try to find the best version for a movie as good-hearted as this.

Overall, I give it 8 out of 10 stars.

Doctor Strange.

Review #874: Doctor Strange.

Cast:
Benedict Cumberbatch (Dr. Stephen Strange), Chiwetel Ejiofor (Karl Mordo), Rachel McAdams (Christine Palmer), Benedict Wong (Wong), Michael Stuhlbarg (Dr. Nicodemus West), Benjamin Bratt (Jonathan Pangborn), Scott Adkins (Lucian), Mads Mikkelsen (Kaecilius), Tilda Swinton (the Ancient One), and Zara Phythian (Brunette Zealot) Directed by Scott Derrickson.

Review:
It's good to back in the theater again, and this time with friends to watch it with. When it comes to these Marvel films, it always seems that I can't not be surprised by the end product, no matter how good (or great) they usually are. There's always something to be surprised or amazed by, and the way that this movie universe is built makes for a diverse amount, and even if I don't know much about the comic book they usually end up being pretty good. The same can be said for Doctor Strange as well. It's an entertaining film, in part due to its cast and effects. Strange manages to change throughout the movie in terms of his manner, and Cumberbatch succeeds in conveying that, convincing in his mannerisms and timing, even getting time to say some quips. He's not as arrogant as Tony Stark for example, but he displays some sort of humility and some sort of charm. Ejiofor is also pretty good in portraying a character as rigid as the script allows him to be. McAdams isn't given too much to do, but at least she isn't meant to just be a love interest this time around, having a bit more independence and some sort of grace in the role Any movie that begins with "Shining Star" and "Feels so Good" wins at least some vote by me. The rest of the cast is exceptional, with Mikkelsen playing a fairly entertaining villain (even if half the time he's wearing what looks like glitter...long story), and Swinton and Wong are also pretty good, achieving some sort of mystical allure. The climax is also pretty good, demonstrating some creativity, with two credits scenes at the end that are also pretty well done (par for the course). The effects are where the film excels at, whether during some action or when Strange first meets the Ancient One. It looks really stunning, along with having a good fit with a film as mind-bending as this one, having some fun with the weirdness that goes on. There isn't technically a big bad villain to beat, but this film manages to still go along with a winning formula with its own kind of flair and own kind of imagination to succeed.

Overall, I give it 8 out of 10 stars.

Sherlock Holmes and the Secret Weapon.

Review #873: Sherlock Holmes and the Secret Weapon.

Cast:
Basil Rathbone (Sherlock Holmes), Nigel Bruce (Doctor Watson), Lionel Atwill (Professor Moriarty), Kaaren Verne (Charlotte Eberli), William Post Jr. (Dr Franz Tobel), Dennis Hoey (Inspector Lestrade), Holmes Herbert (Sir Reginald Bailey), Mary Gordon (Mrs. Hudson), and Henry Victor (Dr. Joseph Hoffner) Directed by Roy William Neill (#846 - Frankenstein Meets the Wolf Man)

Review:
This is the fourth of the Holmes series with the Rathbone-Bruce duo (with the previous three reviewed here previously: #583 - The Hound of the Baskervilles, and #721 - The Adventures of Sherlock Holmes, #798 - Sherlock Holmes and the Voice of Terror), premiering in Los Angeles in late December 1942. This film uses elements of the Doyle story The Adventure of the Dancing Men (actually just the code, but still), while taking place during the War, though this one is more of a spy flick. On the whole, it's a standard kind of flick that entertains in part due to Rathbone and Bruce, but also a relatively good climax. Obviously it's not a film to watch for faithfulness to Holmes stories (literally watch any other Sherlock adaptation), but the charm of the two actors along with a relatively sane plot make for good entertainment. I especially like how Holmes goads Moriarty on to drain his blood slowly, which is one of a few good moments in a climax that moves at its own pace. Obviously the tones of the war are prevalent once again (with a bombing test in the middle of the film), but there is some room for some sort of mystery. Atwill plays Moriarty fairly decently, stated with a good deal of coldness for an actor very prevalent in this era. Moriarty had already been portrayed in the series before (by George Zucco in the second film), but I suppose it's part of the tradition to reuse (or "revive") villains. The rest of the cast is okay, with some comic relief by Hoey and Bruce (the former would star in five more Holmes films), though the real focus is how the movie goes through the motions with some grace and some logic, with no real twist this time around. On the whole, it's an average film that would be nice for anybody looking to kill some time at 68 minutes, or just someone looking for some fine standard fare, with a bit of adventure for the time.

Overall, I give it 7 out of 10 stars.

A Madea Christmas.

Review #872: A Madea Christmas.

Cast:
Tyler Perry (Mabel "Madea" Simmons), Larry the Cable Guy (Buddy Williams), Kathy Najimy (Kim Williams), Chad Michael Murray (Tanner McCoy), Anna Maria Horsford (Eileen Murphy), Tika Sumpter (Lacey Murphy), Eric Lively (Conner Williams), JR Lemon (Oliver), Alicia Witt (Amber), Lisa Whelchel (Nancy Porter), and Noah Urrea (Bailey McCoy) Directed by Tyler Perry.

Review:
Has Movie Night gone under the hill? Is it reaching for anything now? Am I reviewing...a Christmas film in November? Actually, this is the first film I've done starring Tyler Perry, creator of things that likely clogged up TBS years back, because I can't remember anything about his shows. There really doesn't seem to be a consistent plot to this film...is it a movie about this family? Is it about doing a Christmas jubilee (because I guess it's the town's anniversary? Because that only applies to 25 or 50 year celebrations), or is about farming? A dam? For some reason, the farmer sell their crops on this jubilee...wha, you've never heard of selling crops in winter? Also, did you know that mayors can just fire teachers but can't read a contract to see its stipulations? Somehow, the movie keeps going in spite of itself. There must be a problem when Larry the Cable Guy is actually more endearing than Tyler Perry...the bar is set so low by so many lame and tired jokes that exist in some sort of vacuum. The movie doesn't even have much to do with Madea, which is a blessing covered in muck. There is some sort of anti-bullying plot...which ends with Lively's character punching Murray in the face...after the latter gets saved from a car wreck (don't worry, one of them apologizes...the latter one. Heck, they give the family a pie). Did I mention that one of the characters lied to their daughter about their dad being killed (instead, he jilted her for another woman)...and it doesn't really seem to be addressed again after that. It's like there are no consequences, where characters can just steal stuff from a store after being fired, tie up a kid to a wood board with Christmas lights, and flat out lie about a company giving a town money in front of the company's representatives. There isn't really a villain, which is somewhat surprising. I guess they decided that there needed to be more focus on padding itself out with repetitive dialogue. It fails as a comedy and it fails as a drama, having both no real sense of joy and also no sense of dramatic impact, respectively.

At the end of the day, this is already bottom of the barrel stuff that is also mixed in with bottom of the barrel Christmas stuff. I'm not a fan, but I'm sure some of the people who read this are fans, so I guess if you like Madea already, go right on ahead. Honestly, I don't understand this phenomenon (much like other trends in media), but that's how it goes.

Overall, I give it 3 out of 10 stars.

Cat on a Hot Tin Roof.

Review #871: Cat on a Hot Tin Roof.

Cast:
Elizabeth Taylor (Margaret "Maggie/Maggie the Cat" Pollitt), Paul Newman (Brick Pollitt), Burl Ives (Harvey "Big Daddy" Pollitt), Judith Anderson (Ida "Big Mama" Pollitt), Jack Carson (Cooper "Gooper" Pollitt), Madeleine Sherwood (Mae Flynn "Sister Woman" Pollit), and Larry Gates (Dr. Baugh) Directed by Richard Brooks

Review:
Can't say I expected to do this one (based off the play of the same name by Tennessee Williams, who already had his play A Streetcar Named Desire adapted into a film earlier in the decade), but sometimes college and this show mesh together (as opposed to being on different ends). At best, it is an alright movie, up to the standard of films of the time, though it isn't likely one of my favorites. Taylor and Newman certainly have fine chemistry together (even in scenes not so pleasant), with a fair amount of screen time dedicated to the two. It takes time to get interesting (with the plot and all, especially with lengthy scenes setting up the main characters), but the climax is fairly serviceable. The big highlight (and where it gets fun) is Burl Ives, who practically steals the show after he appears midway through. His insults are edged entertainingly, but he's not completely without some sort of humanity, and he does well to contribute the climax. The rest of the cast do an adequate job in their roles, having some sort of arc that works. The sets are also pretty fine, and the movie flows well at about 100 minutes. If you're looking for a fairly adequate adaptation of a play, I think this will work for you, as opposed to Williams, who reportedly told people waiting to see it that "This movie will set the industry back 50 years. Go home!" Regardless, while I don't think I'll watch it in the near future again, I think it is at least fine as its own thing. It has enough drama and atmosphere to work just neatly enough.

Overall, I give it 8 out of 10 stars.

The Narrow Margin.

Review #870: The Narrow Margin.

Cast:
Charles McGraw (Det. Sgt. Walter Brown), Marie Windsor (Mrs. Frankie Neall), Jacqueline White (Ann Sinclair), Peter Virgo (Densel), Gordon Gebert (Tommy Sinclair), Queenie Leonard (Mrs. Troll), David Clarke (Joseph Kemp), Don Beddoe (Det. Sgt. Gus Forbes), and Paul Maxey (Sam Jennings) Directed by Richard Fleischer.

Review:
With a cast of unknowns and a low budget, this is a film that manages to be a serviceable efficient little film noir. There is some sense of suspense within itself, not spending too much time wasting away, establishing characters without much effort. They have the characteristics of ones you might notice in other noirs of the time, but this manages to click at the right points in part due to its cast. McGraw is a pretty good everyman, and Windsor is also pretty alluring as well. They have a fine amount of banter mixed with bits of cynicism that is engaging enough to work. White is also pretty interesting, having some decent chemistry with McGraw. The rest of the cast also does fine (Maxey stands out in part due to his scenes with McGraw), and even the kid actor (Gebert) isn't too annoying. The train setting helps keep the movie compressed and interesting. There is some action (and at least one fight on a train), which is nice and dandy to watch. The twist at the end is pretty clever as well, not being too far fetched or too unknown. On the whole, this is a nice flick because of it goes through the motions in a satisfactory manner.  As such, the directing is good for the time, having some fairly decent shots and a fairly balanced plot that more often then not knows what it wants to be. Quite simply, if you like film noirs, old cinema, or movies that don't overstay their welcome, this is the one for you.

Overall, I give it 8 out of 10 stars.

D2: The Mighty Ducks.

Review #869: D2: The Mighty Ducks.

Cast:
Emilio Estevez (Gordon Bombay), Kathryn Erbe (Michelle McKay), Michael Tucker (Mr. Tibbles), Jan Rubes (Jan), Carsten Norgaard (Wolf "The Dentist" Stansson), Maria Ellingsen (Maria), Joshua Jackson (Charlie Conway, #96), Elden Henson (Fulton Reed, #44), Shaun Weiss (Greg Goldberg, #33), Matt Doherty (Les Averman, #4), Brandon Adams (Jesse Hall, #9), Garette Ratliff Henson (Guy Germaine, #00), and Marguerite Moreau (Connie Moreau, #18) Directed by Sam Weisman.

Review:
Though the first film isn't technically a great piece of film, it was at least (to me, anyway) a moderately entertaining movie that had some sort of charm to it, even among its hokey-ness. Maybe it was the hockey, or maybe it was just the way it flowed. But with the sequel (and its bizarre title), there doesn't seem to be as much faithful charm. It seems to be more a movie muddled it wants wants to be. There is nothing that seems convincing (in both characters and plot), with no real motivation to care about this team trying to win (the Junior Goodwill Games, of course). Norgaard is moderately entertaining as the villain (did you expect Iceland as the final opponent? Me either), fitting his nickname of "The Dentist" as well as one can. The slapstick and hockey don't really stand out from what you might expect, not really being entertaining enough to talk about (roping an opponent isn't as cool as it seems), going through the motions you'd expect. As a whole, it's a mediocre Disney film that would be good to watch once, but it isn't anything special enough to want to watch more than that.

Overall, I give it 6 out of 10 stars.

The Mighty Ducks.

Review #868: The Mighty Ducks.

Cast:
Emilio Estevez (Gordon Bombay), Joss Ackland (Hans), Lane Smith (Coach Jack Reilly), Heidi Kling (Casey Conway), Josef Sommer (Mr. Gerald Ducksworth), Joshua Jackson (Charlie Conway, #96), Elden Henson (Fulton Reed, #44), Shaun Weiss (Greg Goldberg, #33), M. C. Gainey (Lewis), Matt Doherty (Lester Averman, #4), and Brandon Adams (Jesse Hall, #9) Directed by Stephen Herek (#021 - Bill and Ted's Excellent Adventure and #502 - Man of the House)

Review:
What is it about this movie that inspires joy? It's not as cynically honest as The Bad News Bears (though it does have a similar premise), but there is a sort of charm to this film in its silliness. The characters are about as interesting as the movie allows them, with Estevez being good at being a grouch, with some sort of believably as a coach. There is at least a semblance of atmosphere, with some nice shots of Minnesota. It has its interesting moments (mostly involving hockey, with the flying V standing out), and though it ends like the way you would expect there is at least some sort of closure to the plot. Sure, the movie waddles between ridiculousness (especially when it starts quacking) and legitimacy, but it is serviceable. The villain (of sorts, played by Smith) is also serviceable in his ridiculous competitiveness. The movie is funny when it is being itself and not going for something inherently ridiculous. The child actors are fairly decent as well, with the varying kinds of of personalities that are in some way charming. I wouldn't say the movie breaks any real ground, but it is at least a good way to spend 100 minutes. Obviously there are other sports films to watch and obviously there are other kids films to watch, but I suppose that if you really need a fix of both Disney flicks and hockey this is the one for you.

Overall, I give it 7 out of 10 stars.

Alice, Sweet Alice.

Review #867: Alice, Sweet Alice.

Cast:
Linda Miller (Catherine Spages), Mildred Clinton (Mrs. Tredoni), Paula Sheppard (Alice Spages), Niles McMaster (Dominick 'Dom' Spages), Jane Lowry (Aunt Annie DeLorenze), Rudolph Willrich (Father Tom), Michael Hardstark (Detective Spina), Alphonso DeNoble (Alphonso), Gary Allen (Jim DeLorenze), and Brooke Shields (Karen Spages) Directed by Alfred Sole.

Review:
40 years ago (November 13, 1976) this film (originally known as Communion) was released, and I figured that it was time to get to reviewing it. From the beginning there is a certain kind of strange aura to everything, from the imagery to the characters, with DeNoble being one of the standouts in terms of creepiness. The mask used by the killer is especially creepy, in part due to how translucent it is. The scenes where the stabbings take place are great, in part because how sudden they are along with the fact that the movie builds up the right mood for it. I should note that the movie is set in the 1960's (filmed in Paterson, New Jersey), and the look of the movie helps make for a nifty mystery. The characters are written with a bit of cynicism to them, where authority figures aren't necessarily the ones easy to root for, which is a nice twist. The family dynamic is also riveting in its own right, because it plays a significant part in the plot while also making for fine drama. It even manages to have a good twist (thankfully not just placed at the end) which certainly leaves for some good thrill along with a bit of thinking to it. The music by Stephen J. Lawrence is also pretty good, having the right sense of chills and atmosphere, especially around the death scenes. The last one in particular is great, because it manages to seal the eerie nature of the movie with a semblance of macabre to everything.

Overall, I give it 8 out of 10 stars.

Nothing Sacred.

Review #866: Nothing Sacred.

Cast:
Carole Lombard (Hazel Flagg), Fredric March (Wally Cook), Charles Winninger (Dr. Enoch Downer), Walter Connolly (Oliver Stone), Sig Ruman (Dr. Emil Eggelhoffer), Frank Fay (Master of Ceremonies), Troy Brown (Ernest Walker), Maxie Rosenbloom (Max Levinsky), and Margaret Hamilton (Warsaw, Vermont Drugstore Lady) Directed by William A. Wellman (#349 - Wings and #494 - The Public Enemy)

Review:
In a time like this, Nothing Sacred manages to find its place in being relevant to the point where it is timeless, in part due to a neat simple story and some fun screwball comedy within its satire elements. This film is readily easy to find, due to it being in the public domain after its copyright registration wasn't renewed in 1965, so you can find it on the Internet (or other alternative manners) without problem. It should be noted that this was the first screwball comedy in color, along with Lombard's only film in Technicolor, and it certainly stands out. This was also a film that used effects such as rear screen projection (most notably during the scene where the characters arrive in New York via plane). Lombard and March certainly have a decent chemistry together, especially when they argue, which culminates with a "boxing" scene at the end. Lombard has a welcoming presence, being one easy to root for, certainly fitting the part with enough grace and charm to fit such a fun role, which she often called one of her favorites. Connelly certainly stands out as the exasperated newspaper head; one of my favorite parts is when he tells March's character some news with a cracked voice, obviously trying to hide exasperation, which is amusing. As one would expect there is enough fine little lines, with a fine balance of timing. The rest of the cast is also pretty good, even if the film is really all about Lombard and March, who seem to have a really good time. The satire excels in that it doesn't choke the fun of the film nor does it seem artificial. It's not a film that will make you deeply about journalism and the "big story", but it is a movie that would inspire at least one conversation, and I suppose that is all that counts.

Overall, I give it 9 out of 10 stars.

The Saphead.

Review #865: The Saphead.

Cast:
Buster Keaton (Bertie "The Lamb" Van Alstyne), Beulah Booker (Agnes Gates), Edward Connelly (Musgrave), Edward Jobson (Rev. Murray Hilton), Edward Alexander (Watson Flint), Odette Taylor (Mrs. Cornelia Opdyke), Carol Holloway (Rose Turner), Irving Cummings (Mark Turner), Jack Livingston (Dr. George Wainright), and William H. Crane (Nicholas Van Alstyne) Directed by Herbert Blaché and Winchell Smith.

Review:
This was Keaton's first starring role in a feature film, as he was recommended for this movie by Douglas Fairbanks, with this propelling him to stardom. This was not written by Keaton unlike some of his later films, but there is at least a decent enough story, albeit with a weight of melodrama that nearly crushes it. It takes a while for the plot to get to Keaton, in part due to having to set up the plot lines that will soon converge into such a strange mish-mash, with secret affairs, staying out to late to impress a girl (who is also your adopted sister), stock broking, and a last act that manages to show a bit of what made Keaton so interesting to watch. One of my favorite parts is him trying to keep his balance (of sorts) while at the stock exchange being bullied a bit by the other brokers, keeping his composure neatly enough. The movie is only really interesting when Keaton is around, showcasing his famed stoic expression and his grace that would make him a star. The rest of the cast isn't bad, being serviceable for this kind of silent film. The film takes a while to dig itself out of being a drama, but it is decently paced at 77 minutes. For 1920, it is a relatively decent movie, and it is fine to suggest this film for someone wanting to start getting into Buster Keaton films.

Overall, I give it 7 out of 10 stars.

Hot Water.

Review #864: Hot Water.

Cast:
Harold Lloyd (Hubby), Jobyna Ralston (Wifey), Josephine Crowell (Her Mother), Charles Stevenson (Her Big Brother), and Mickey McBan (Her Little Brother) Directed by Fred C. Newmeyer (#667 - The Freshman, #674 - Grandma's Boy, #758 - Safety Last!) and Sam Taylor (The Freshman, #727 - For Heaven's Sake, Safety Last!)

Review:
The last time I did a Harold Lloyd film was last November, and I figured that it was time once again, with around 20 days to Thanksgiving and such. This time around (in his 7th feature film) is an episodic kind of film, with three parts merged into one feature, as opposed to the plot driven Lloyd films (like Safety Last!, for example). The first part (involving him winning a turkey in a raffle and the ensuing ride home) is pretty well done, with the turkey naturally playing a good part in some fine gags. The second part (about Lloyd and some of the extended in law family going on a ride in a new car) is also well done. One moment that was pretty quirky was when the mother-in-law starts crying (because her wedding gift was broken - by an annoying little kid, naturally) and Lloyd consoles her by kissing her on the cheek...via a dog, of course. I do like that one of the inter titles talks about how the couple will soon have a new car to themselves...after 59 payments, of course. Naturally this was made in a time where neck ties were important to wear (I myself wear two ties), which leads to a fine little gag when he puts one on when driving. The gags are fun to watch as usual, with Lloyd being a good every-man. The last part (involving the mother-in-law sleepwalking around the house) is pretty funny with all of the misunderstandings by Lloyd, with a chase scene in the middle of a wind storm at his house. His hair even goes up near the end, which is a charming little shot. The movie itself is quick at 60 minutes, and if one is looking for a Lloyd film, this would fit the bill nicely.

So there was a baseball team that won the World Series on Wednesday (November 2nd), from Chicago. Must've been the White Sox. (Ha!) 
Congratulations to the Cubs, who I first referenced in my Sharknado (#625) review (back in 2014, when talking about the fact that the film was made meaning the Cubs would win in my lifetime...with a footnote saying I could live to be 100.), and now they finally did it. Strange year, this is. 

Overall, I give it 8 out of 10 stars.

Waxworks.

Review #863: Waxworks.

Cast:
Emil Jannings (Harun al-Rashid), Conrad Veidt (Ivan the Terrible), Werner Krauss (Jack the Ripper / Spring-Heeled Jack), William Dieterle (The Poet / Assad the Baker / A Russian Prince), John Gottowt (Inhaber der Panoptikums), Olga Belajeff (Eva-Maimune-Eine Bojarin) Directed by Paul Leni and Leo Birinsky.

Review:
Waxworks (known as Das Wachsfigurenkabinett in Germany) is an anthology film, with some fantasy and horror elements (yes, this another German "world cinema" film on Movie Night. Do not worry, other countries will get their due all in good time). Two main stories (Harun al-Rashid, Ivan the Terrible) and a closing one (Jack the Ripper/Spring-heeled Jack) are conveyed to us (with the framing piece being that the Poet must come up with backstories for the two wax figures), with Dieterle being in all three parts. The sets and costumes for the two main stories are spectacular, with fine cinematography work by Helmar Lerski. There is also a bit of neat color tinting as well. The first segment is pretty good, with a nice performance from Jannings that brings out some nice humor. It's the longer segment (by a few minutes), but it doesn't overstay its welcome too much. The second segment is also pretty interesting, with Veidt playing this villainous kind of role with a bit of lunacy that later turns into desperation, with the scene of him trying to reverse the hourglass being quite frantic, with his fate at the end being quite poetic. The final piece to close out the film is brief (around six minutes), but it is serviceable, even if it ends a bit like you'd expect (who could've dreamed that one up, I wonder), for the 20's anyway. Obviously it isn't likely realistic with world history facts, but there is a curiosity that the movie inspires within itself. Krauss does fairly well as the last villainous character. On the whole, this is a fine piece of work, weaving some enjoyable stories together with a good sense of style and flair for the time.

Overall, I give it 8 out of 10 stars.