Always (1989).

Review #958: Always.

Cast: 
Richard Dreyfuss (Pete Sandich), Holly Hunter (Dorinda Durston), John Goodman (Al Yackey), Brad Johnson (Ted Baker), Audrey Hepburn (Hap), Roberts Blossom (Dave), Keith David (Powerhouse), Ed Van Nuys (Nails), and Marg Helgenberger (Rachel) Directed by Steven Spielberg (#126 - Close Encounters of the Third Kind, #168 - Raiders of the Lost Ark, #169 - Indiana Jones and the Temple of Doom, #170 - Indiana Jones and the Last Crusade, #302 - Indiana Jones and the Kingdom of the Crystal Skull, #351 - Schindler's List, #480 - Jaws, #563 - The Sugarland Express, #573 - E.T. the Extra-Terrestrial, and #642 - Jurassic Park)

Review: 
It has been said that this is one of Steven Spielberg's weakest films, but it is easy to admit that with regards to his resume prior to (and after) this film's release; it is also easy to see his love for the 1943 film A Guy Named Joe and the passion that he must've had to make a remake of it. Is this a flawed movie? Yes, but it is the kind of movie that can qualify as a guilty pleasure, for better or worse. The main cast is fairly enjoyable together, having good chemistry with each other (particularly in the first half); I liked Hunter the best in part because her hard but consistently believable tone works best against Dreyfuss and his flippish nature, though Goodman is a welcome comic relief. Johnson is fairly decent in his first co-starring role in a major film, though his chemistry with Hunter isn't as entertaining as the case with Dreyfuss. Hepburn (appearing in two scenes) is graceful as ever in her final film appearance. When it comes to showing the action with the planes (through aerial photography, rear projection and models) or when the movie wants to have some laughs, that is when the film is at its best; when it comes down to saying some of the dialogue about love and death, that is when the film nearly drowns itself in sappiness and sentimentality. At 123 minutes, it does feel a bit long with all of those awkward (but not manipulative) kind of lines, but I found the film made up for some of it with its fiery climax, with Dreyfuss and Hunter handling themselves quite convincingly. It's not a bad movie, but it is obviously not on the top of any totem pole of quality for Spielberg. The best things about the movie is what it isn't, needless to say. It's a nice harmless movie that works best for some, but likely not for others.

Overall, I give it 7 out of 10 stars.

Zabriskie Point.

Review #957: Zabriskie Point.

Cast:
Mark Frechette (Mark), Daria Halprin (Daria), Rod Taylor (Lee Allen), Paul Fix (Roadhouse owner), G. D. Spradlin (Lee's associate), Bill Garaway (Morty), and Kathleen Cleaver (Kathleen) Directed by Michelangelo Antonioni.

Review:
Zabriskie Point is a movie that goes on a search for the culture and feel of its time, and the result is that it still appears to wander aimlessly for its goal by the time the film gets to a conclusion. This was the second of three films that Antonioni (a famed Italian director who had previously won pretentious international film festival awards such as the Palme d'Or from Cannes and the Golden Lion from Venice prior to this film) made that was part of a deal with producer Carlo Ponti that was distributed by Metro-Goldwyn-Mayer (MGM) with full artistic freedom, with the other two being Blowup (1966) and The Passenger (1975); the title of the movie comes from a part of the Amargosa Range, located east of Death Valley in Death Valley National Park. The locations used throughout the film do lend themselves to some interesting shots and some standout cinematography by Alfio Contini.

It's hard to say why this is a movie I didn't find enjoyable. I think the answer lies within its execution of telling its story/message, which muddled any sort of enjoyment in watching it. What is it trying to say that you couldn't already find from watching footage from the actual era it wants to so badly invite itself into? You might as well watch a documentary on the culture of the times (or go up to someone who lived in that era and ask) over this. Frechettte and Halprin (both in their first ever starring roles) never seem to really come off as believable in their scenes together; I never got the feeling that I should care about their so-called love story nor what happens to them. Their first scene together involves him flying a plane over her car, with her going from upset to curious and smiling...and I guess there's a point in all of this. The supporting cast is fairly decent, but they aren't particularly memorable. Through its 112 minute run time, there isn't really a point where the movie is consistent entertainment. There is some action near the end, but it comes off just a bit too late to make much of an impact. It has nice looking scenes and a fairly interesting soundtrack (with music coming from Pink Floyd, Roy Orbison, the Rolling Stones and several others), but the film never clicks itself into something worth caring about. It has the pretensions of being a movie for the culture but without any of the zip needed to get across the finish line. It may work better for others more willing to let the film have some slack (or for people who understand the film better than I do), but I can't really give too much of a recommendation for the film as is. I can't be too harsh on it, but I also can't be to generous to it, either. You might find something from the film that I didn't, and that is understandable, even if I really couldn't find too much from it.

Overall, I give it 6 out of 10 stars.

Withnail and I.

Review #956: Withnail and I.

Cast:
Richard E. Grant (Withnail), Paul McGann ("...& I" - Peter Marwood), Richard Griffiths (Uncle Monty), Ralph Brown (Danny), Michael Elphick (Jake), Eddie Tagoe (Presuming Ed), and Daragh O'Malley (Irishman) Directed by Bruce Robinson.

Review:
How can a film feel (and look) so rough and yet manage to be such a gripping dark comedy cult classic? Made in England,  Based on Robinson's life in London during the late 1960s, there is something magnetic about watching Grant and McGann (both in their first film roles) throughout its 107 minute run-time that never ceases to be anything other than darkly amusing. They don't chew the scenery as much drown it with alcohol and manic energy that is amazing to watch play out, with numerous highlights (one of which being them trying to cook a chicken) throughout. It's interesting watch Grant play an eccentric alcoholic, who in real life has a health condition that makes him incapable of processing alcohol properly, and he certainly pulls off a great performance that is endlessly watchable. McGann (who also narrates the film at times) also does a commendable job, conveying the neurotic level-headedness (as one can be when paired with a character like Withnail) that makes him easy to watch. Griffiths does a fine job in being exuberantly larger-than-life, and his last scene with McGann is quite riveting in its exchange. The rest of the cast is also pretty good in their roles as well, contributing to some excellent lines (one particular line involving bald people). The look of the movie is also easy to highlight, in part because of how it achieves a time capsule look (with one quote saying they were "91 days from the end of this decade" near the end of the film), with the scenery also looking quite fitting for the movie. On the whole, this is a roller coaster ride of a movie, with Grant and McGann pulling off great performances in a film that stands out among the countless British films featured throughout Movie Night.

Overall, I give it 9 out of 10 stars.

Eating Raoul.

Review #955: Eating Raoul.

Cast:
Paul Bartel (Paul Bland), Mary Woronov (Mary Bland), Robert Beltran (Raoul Mendoza), Susan Saiger (Doris the Dominatrix/Nurse Sally Cummings), Lynn Hobart (Lady Customer), Richard Paul (Mr. Cray - Liquor Store Owner), Mark Woods (Hold-up Man), and John Shearin (Mr. Baker) Directed by Paul Bartel.

Review:
I admit that there is something undeniably appealing about black comedies, where if the material is handled and executed with the right kind of care or style, it can make for a good time. With a film as offbeat and as clever as this, this is a fairly satisfactory movie because of how it is with its tone and pace. Its manner of fact manner (with regards to the subject matter) and the chemistry of Bartel and Woronov stands out the most; they just have an easy connection with each other that doesn't come off as mismatched or out of place. Beltran is a welcome contrast between these two, being a good wedge, even if he probably should have had more screen-time. The supporting cast is fairly decent in being decadent for when the movie requires it, such as Saiger. The nonchalance about the dark things that are shown through the movie does not overstay its welcome nor become too grotesque. I wish the film was a bit longer, though, as it only lasts 83 minutes; if the film had spent more time with the mayhem, I think it would've probably been just a bit better. It at least has some decent satirical moments. The film is at the very least enjoyably wild enough to deserve a viewing or two, owing to how it shines as an independent film, being subtle and broad in the places that matter most, with a title that certainly lives up exactly to what it sounds like.

Overall, I give it 8 out of 10 stars.

Harold and Maude.

Review #954: Harold and Maude.

Cast:
Ruth Gordon (Dame Marjorie "Maude" Chardin), Bud Cort (Harold Chasen), Vivian Pickles (Mrs. Chasen), Cyril Cusack (Glaucus), Charles Tyner (General Victor Ball), Eric Christmas (Priest), George Wood (Harold's Psychiatrist), and Ellen Geer (Sunshine Doré) Directed by Hal Ashby (#636 - Being There)

Review:
It's not every day I encounter a movie that has a cult following, especially one that is as interesting as this one. How does this movie manage to be have an irresistible edge and connection? How can something with subject matter that qualify quite well for a dark comedy have a sort of charm to it? The answer is because of how it executes itself, from a wonderful cast to how it does not skip any beats. Its chase for happiness in a world that seems to repress (represented by Pickles and Tyner) still seems relevant today; sure the movie has scenes where Cort's character stages his death and attends funerals, but there is a spirited heart at its core, where you feel for this odd but ultimately competent kind of main character. The music by Cat Stevens is quite effective, being quite nice for the mood of the film ("If You Want to Sing Out, Sing Out" is undeniably memorable). Gordon and Cort have a certain zest to their scenes together, being quite entertaining in their scenes; one of my favorites is when they play-fight each other when the latter is being recruited to the Army, and they have an clever "exchange" of words with each other. Pickles does a fine job as well, reacting to her on-screen son's actions with a type of un-affectionate "sensible" manner that works as a good contrast for the movie; the other actors are fine as well, with Tyner being a good standout. This isn't a cynical kind of movie, nor is it a movie struck by being overly sentimental; it's a movie that is warming in its own way beyond a warped sense of reality - whether it be Harold's reality or not.

The way that the movie came to fruition is interesting. The film was sprung from a thesis that Colin Higgins (a UCLA film student and pool cleaner) developed, and he showed the script to his landlady, who happened to be the wife of a producer in Hollywood. After forming a production company and shopping it around at studios, it eventually landed at Paramount Studios. The movie was not a success when first released but overtime the movie developed a cult following due to its offbeat appeal, with one theater (Westgate Theater) showing the movie for over two years - 1,957 showings in total. Is this a movie for everyone? No, but it certainly has a undeniable sense of humor that manages to hit more than it misses while deserving its label of being a cult classic.

Overall, I give it 8 out of 10 stars.

The Lavender Hill Mob.

Review #953: The Lavender Hill Mob.

Cast:
Alec Guinness (Henry "Dutch" Holland), Stanley Holloway (Alfred "Al" Pendlebury), Sid James (Lackery Wood), Alfie Bass (Shorty Fisher), Marjorie Fielding (Mrs. Chalk), Edie Martin (Miss Evesham), John Salew (Parkin), Ronald Adam (Turner), and Arthur Hambling (Wallis) Directed by Charles Crichton (#428 - A Fish Called Wanda)

Review:
At 81 minutes, this is a capable heist comedy that manages to be clever along with amusing. This movie (made in the United Kingdom) won the Academy Award for Best Writing, Story and Screenplay (now known as Best Original Screenplay), and it's not hard to see why; the heist elements are crafted at a good pace, with the scheme to do the heist (converting the bullion into paperweights) is handy, with the idea having been thought up by the filmmakers when conversing with the Bank of London. Guinness and Holloway make for a good capable duo, particularly when they are just forming their plan, with credit to their expressions and the way they handle their lines. James and Bass and fairly capable contributors, being pretty crafty and amusing as well. The rest of the cast is pretty decent, but the real fun is seeing the movie execute itself with its situations. This is a light fun film that moves at a ready pace and works magic out of being engaging and not having a dull moment at any time. The film uses its locations well, with the Eiffel Tower sequence being pretty clever and entertaining, especially with Guinness and Holloway laughing down the tower steps. The climax is handled quite well, having its share of thrills but also moments of hilarious moments; the framing device the film uses in the beginning to tell the story does not hinder the suspense too much of wondering if Guinness will get away with the loot because of how engaging the movie is. This is a film that is easy to recommend watching due to its cleverness and charm.

Overall, I give it 9 out of 10 stars.

Chungking Express.

Review #952: Chungking Express.

Cast:
Brigitte Lin (Woman in blonde wig), Tony Leung Chiu-Wai (Cop 663), Faye Wong (Faye), Takeshi Kaneshiro (He Qiwu, nicknamed Ah Wu, Cop 223), Valerie Chow (Air Hostess), Chan Kam-Chuen (Manager of 'Midnight Express'), Kwan Lee-na (Richard), and Wong Chi-Ming (Man) Directed by Wong Kar-wai.

Review:
This is the 26th world cinema movie on Movie Night, but it happens to be the first from Hong Kong (Enter the Dragon (#587) was a Hong Kong-American production), with five languages being spoken during the film: Cantonese, Mandarin, English, Japanese, and Hindi. The original title is Chung hing sam lam (Chungking Jungle), which refers to the "concrete jungle" of a city, with one of the locations of filming being at Chungking Mansions. In any case, this isn't a movie meant for casual watching that challenges a viewer, but it does not bore them to death with puzzlement (or pretentiousness), with this being aided by the performances. There are two stories told in the film (with their similarities and differences), and they are both quite entertaining in how they operate on their own currents, save for one brief interconnecting moment.

The movie has a commendable style of filming and editing (with cinematography by Christopher Doyle and Andrew Lau) that is strikingly captivating to watch - the chase scenes in particular sand out for how they contrast with the other parts of the film. The first part (with Lin and Kaneshiro) is entertaining and interesting (especially with the scenes involving trying to find a specific pineapple can) as a quirky thriller, with Lin and Kaneshiro's scenes being lightly tender but neat nonetheless; I found the second part (with Chiu-Wai and Wong) pretty captivating, utilizing the chemistry of the two actors and music quite handily as a type of screwball comedy. Kam-Chuen has an amusing but useful presence through both parts (such as when opening a letter meant for someone else). I found the second part had a bit more weight and meat to it, while the conclusion is ambiguously interesting, just like you'd expect. It's not a perfect movie, but it is definitely an intriguing and entertaining kind of movie that shows flair along with elements of a story for the audience to watch play out, succeeding handily. It may last just 98 minutes, but it definitely feels like it earns each minute it lasts on screen.

Overall, I give it 9 out of 10 stars.

The Big Sleep (1946).

Review #951: The Big Sleep.

Cast:
Humphrey Bogart (Philip Marlowe), Lauren Bacall (Vivian Sternwood Rutledge), John Ridgely (Eddie Mars), Martha Vickers (Carmen Sternwood), Dorothy Malone (Acme Bookstore proprietress), Peggy Knudsen (Mona Mars), Regis Toomey (Chief Inspector Bernie Ohls), Charles Waldron (General Sternwood), Charles D. Brown (Norris), Bob Steele (Lash Canino), Elisha Cook, Jr. (Harry Jones), Louis Jean Heydt (Joe Brody), and Sonia Darrin (Agnes Lowzier) Directed by Howard Hawks.

Review:
This is the first film I've watched that was directed by Howard Hawks (he had done uncredited rewrites to The Thing from Another World (#519), and it is debatable on whether he had directed the film), and he does a good job at making a classic film noir. This was based off the Raymond Chandler crime novel of the same name, with the screenplay written by William Faulkner, Leigh Brackett & Jules Furthman; as such, the lines are snappy and effective at making for an incredibly capable thriller. The appeal of the movie is seeing the investigation is executed and not merely just seeing it be solved (Chandler himself was asked by the filmmakers who killed the chauffeur - he responded that he didn't know), with Bogart being quite adept at being the hard-boiled wisecracking detective without any real missteps. Bacall does a fine job in this dazzling role filled with spunk and charisma, and her chemistry with Bogart is undeniably entertaining to watch, in part because of how easy they flow together while on screen together, with the racehorse dialogue being quite suggestive along with energetic. Ridgely does a fine adversarial job; Vickers manages to make her loopy character stand out quite nicely. The rest of the cast are pretty convincing in their roles (such as Malone and Steele), serving finely when compared to the dynamic of Bogart-Bacall, which stands out almost as much as the mystery itself. The movie operates at its own pace, and while it may be a bit hard to follow at times the movie has an undeniable amount of fun entertainment to it all.

This movie was filmed prior to the end of World War II, but it was not released until after Warner Bros. released their backlog of war-related films. There are two versions of the movie. One cut (released only to troops in the South Pacific) lasts 114 minutes, while the released cut lasted 116 minutes. There are differences between the two versions, with scenes added in order to play up the Bogart-Bacall dynamic and portions were re-shot (one key scene cut involves Marlowe and a D.A in conversation); a consequence of this is that Pat Clark was unavailable for the re-shots, so Peggy Knudsen replaced her in the film. In any case, the earlier version apparently is more linear in plot but has less of Bogart-Bacall, so take that for what it's worth. It isn't a perfect movie, but it is at the very least a classic that should watched at least once for anyone who likes film noir, like I do.

Overall, I give it 9 out of 10 stars.

Master of the House.

Review #950: Master of the House.

Cast:
Johannes Meyer (Viktor Frandsen), Astrid Holm (Ida Frandsen), Karin Nellemose (Karen Frandsen), Mathilde Nielsen ("Mads"), Clara Schønfeld (Alvilda Kryger), Johannes Nielsen (Doctor), and Petrine Sonne (Laundress) Directed by Carl Theodor Dreyer.

Review:
This is the 25th film under the world cinema label (excluding Canada and the UK), with this being the second film from Denmark (the first being #740 - Himmelskibet), released as Du skal ære din hustru during original release, with the title translating to Thou Shalt Honour Thy Wife. Among all the silent films (roughly over 50), this one sticks out as a fine family drama that has a share of wit to it. The movie shines best when showing these characters and their emotions through their expressions and through subtlety. Dreyer uses his household environment to make an enclosing but fitting atmosphere. Despite not having many scenes outside the house, it never feels like a stage production, due to the actors. The movie take its time to show the life of the family and their daily ritual; it gets interesting after the film shifts its focus to the nanny. Meyer does a fine job as this rough patriarch lead while never becoming two dimensional in his manner of tone. Holm also shines in her matriarch lead role due to being easily relatable and fairly likable. Nellemose is pretty decent. Nielsen and Schønfeld are entertaining in their scenes of trying to confront Meyer. For me, when the core concept of a film that was released before my time (pretty much most films of the 20th century) can still apply and work in the current day, it acts a benefit to the movie's advantage. The movie manages to work as a commentary on the family household most of the time, never becoming too heavy handed while having a few times of levity. It's easy to recommend this one, whether for its worldly flavor or its wonderful execution - take your pick.

Well, if you didn't already know, Movie Night has now reached 950 reviews. I didn't want to make a big deal about it (besides the sticker), but in any case it is important because there are now only 50 reviews to go to the big number, 1,000. Hopefully the next batch of 50 will be as good as the other 19 batches of 50 have been.

Overall, I give it 9 out of 10 stars.

The First Auto.

Review #949: The First Auto.

Cast:
Charles Emmett Mack (Bob Armstrong), Patsy Ruth Miller (Rose Robbins), Russell Simpson (Hank Armstrong), Frank Campeau (Mayor Jim Robbins), William Demarest (Dave Doolittle), Paul Kruger (Steve Bentley), Gibson Gowland (The Blacksmith), E. H. Calvert (Elmer Hays, the inventor), and Barney Oldfield (Himself - The Master Driver) Directed by Roy Del Ruth (#395 - The Maltese Falcon (1931), #432 - The Babe Ruth Story, and #807 - The Alligator People)

Review:
The transition of technologies is always a strange one for certain types of generations to handle, whether from transitioning from landline phones to cellphones, or horse carriages to automobiles; the latter is featured here, and while the movie isn't anything too great it is at least acceptable entertainment. Contrary to the promoted billing, Barney Oldfield (pioneer automobile racer who also served as the technical coordinator for the movie) is neither the main star nor does he have too much on screen, aside from a scene where he drives an automobile at one mile a minute, which is quite fast for the time depicted in the film (1904); in real life he was the first to reach a speed of 60 mph (97 km/h). The film mostly revolves around Mack and Simpson and their conflict over the transition from horses to "horseless carriages", which works alright for the 75 minute run-time. Miller is fairly alright, though nothing too special. The rest of the cast is fairly decent in their roles. Mack was killed in a car accident while driving to work, which occurred near the end of filming, with the movie premiering three months later.

What is interesting about this silent film is that it has a Vitaphone sound-on-disc soundtrack, complete with a musical score and sound effects (synchronized to the movie) that also contains spoken words (three) and laughter at some points. This is a fairly adequate comedy-drama, having a few tidy gags while also being relatively serious enough without going too overboard; the climax has a few thrills, even if it sounds a bit odd: Simpson and Miller are attempting to get to the automobile race before Mack's car (filled with sulfur) explodes, while they are on horse carriage. The automobile action (such as the race against a horse and the races at the end) is neatly executed, and I imagine this will appeal to fans of old automobiles (one particular photo of Oldfield and Henry Ford is shown near the end, featuring the Ford 999). The whole transitioning technologies aspect of the plot is still fairly applicable now, albeit with a few changes (such as the climax). On the whole, this is a mildly entertaining movie that works best alongside other silent movies of the time while not requiring too much to invest in. It's not hard to recommend, if you're looking for a movie with some old-fashioned automobiles.

My condolences go out to the families of the seven members of the USS Fitzgerald who were killed in a collision this weekend. This especially hurts to write considering that Noe Hernandez, one of the men that died, came from my home city of Weslaco. No one should have to go through a saddening tragedy like this. They will be missed and they will never be forgotten; may they rest in peace.

Overall, I give it 7 out of 10 stars.

Mara of the Wilderness.

Review #948: Mara of the Wilderness.

Cast:
Adam West (Ken Williams), Lori Saunders (Mara Wade), Lelia Walsh (Mara Wade - Age Seven), Denver Pyle (Kelly), Theo Marcuse (Jarnagan), Roberto Contreras (Friday), Eve Brent (Mrs. Wade), Ed Kemmer (First Pilot), and Stuart Walsh (Second Pilot) Directed by Frank McDonald (#835 - Scared Stiff).

Review:
The wilderness leaves itself open to a variety of possibilities to set movies around, and this one certainly tries to use its location to make some fair quality entertainment. With this film (also known under the title Valley of the White Wolves), I can say that this is a decent movie that isn't really too special, but the main cast do pretty alright. West does a capable job, handling himself pretty well with the others; it's interesting to note that this was released just one year before he starred as Batman in the 1966 film and television series of the same name, which arguably stood out in people's minds more than his film roles. Saunders doesn't say too much, with her movements and facial expressions being feral-like that somewhat work, though at its heart the movie is more focused on adventure than the title character. Marcuse is the villain for the movie, and he certainly shows a brute nature of greed that is pretty effective. Contreras doesn't really have much to do, aside from reading lines one by one. For a film that lasts 91 minutes, it doesn't really seem to feel too long/short, though there isn't much in terms of chemistry between West and Saunders. The action scenes aren't too special; the scene with Saunders and Marcuse is okay, though there are quite a few cuts to Contreras' face before he turns on Marcuse (which you can guess pretty quickly); West's fights with Marcuse aren't long either, just having a quick resolution after some punches.  As stated by the end credits, this was photographed in the Deschutes National Forest, and the film does seem to work best when showing off the land, which looks quite beautiful, and it helps give the movie fine atmosphere.. While the movie isn't really anything too special, I can see this being acceptable family entertainment with some noteworthy talent involved; it may be a bit hard to find on DVD, but one can likely find it if one looks hard for it on the Internet. The level of enjoyment one finds in this can vary from either average to just a bit above average, depending on what you are looking for.

In any case, I wanted to do my own little tribute to Adam West, who had died one week ago. His work in the Batman series (and film - #177) is one that many people grew up with or heard about from their parents, and I can say that his portrayal stood out quite significantly. Rest in peace, Mr. West.

Overall, I give it 7 out of 10 stars.

He Walked by Night.

Review #947: He Walked by Night.

Cast:
Richard Basehart (Roy Martin/Roy Morgan), Scott Brady (Sgt. Marty Brennan), Roy Roberts (Captain Breen), Whit Bissell (Paul Reeves), James Cardwell (Sgt. Chuck Jones), and Jack Webb (Lee) Directed by Alfred L. Werker (#676 - Shock and #721 - The Adventures of Sherlock Holmes) and Anthony Mann.

Review:
This is an interesting type of film noir in the fact that it is shot in a semi-documentary tone that is also loosely based off the crime spree of Erwin "Machine Gun" Walker, who like the character in the film was a former police employee and World War II veteran that committed thefts and burglaries with police in Los Angeles roughly three years before the film was made. In any case, this is a police procedural that does not waste much time in establishing its story along with its choices in how to film it, from the narration that occurs throughout the movie to the cinematography by John Alton (who I previously mentioned in The Big Combo - #934) to the group of police characters (and small supporting cast) that are given focus. Werker (along with an uncredited Anthony Mann) gives fine direction to the movie, delivering tension and violence without overshadowing the story.

Basehart gives the gritty kind of performance for a movie bounding itself in reality and having no sort of frills, and it works quite well in serving its purpose. Brady and Roberts are fairly decent police leads, working the movie in a serviceable way. Bissell does a fine job in making this character feel gullible but not outright annoyingly weaselly. One thing to note is that Jack Webb was inspired by a conversation with Detective Sergeant Mary Wynn (who served as police technical advisor for the movie) to create Dragnet, which is the most notable and most influential police procedural drama that had separate runs on radio and television.  Reed Hadley provides the narration in an uncredited role, and he does a capable job, doing a fair job in making the movie seem accessible. There is a consistent type of pace in this 79-minute movie, where nothing seems over-extended past a logical conclusion nor too short; one highlight is the scene where they attempt to identify the suspect via building a composite, with numerous changes before it is finally finished. The ending scene in the sewers is a riveting finale that has the right balance of sounds, shadows and lights, with Basehart's expressions and movements being quite helpful in seeing the climax to its bitter end (which is not exactly like the events in real life, but no matter). This is a fine little gem that does it by the book and succeeds.

To any readers, I am experimenting with using hyperlinks for anytime a previous review is mentioned. With any luck, this will work out without any problems. Hope you enjoy it.

Overall, I give it 8 out of 10 stars.

Ivanhoe (1952).

Review #946: Ivanhoe.

Cast:
Robert Taylor (Sir Wilfred of Ivanhoe), Elizabeth Taylor (Rebecca), Joan Fontaine (Rowena), George Sanders (Sir Brian De Bois-Guilbert), Emlyn Williams (Wamba), Robert Douglas (Sir Hugh De Bracy), Finlay Currie (Sir Cedric of Ivanhoe), Felix Aylmer (Isaac of York), Francis de Wolff (Front De Boeuf), Norman Wooland (King Richard), and Basil Sydney (Waldemar Fitzurse) Directed by Richard Thorpe (#327 - Jailhouse Rock)

Review:
Based off the historical novel of the same name by Sir Walter Scott, Ivanhoe manages to shine as a fine piece of entertainment, filled with Technicolor spectacle and costumes to go with it. I can't say it's as good as The Adventures of Robin Hood (#505), for example, but it is at least a pretty interesting piece of work. Robert Taylor is a capable lead, managing to give off a commanding presence pretty quickly. An interesting fact is that Taylor, along with Thorpe and producer Pandro S. Berman, would later make two more films together in the next few years (Knights of the Round Table and The Adventures of Quentin Durward), forming an unofficial trilogy. Elizabeth Taylor does a fine job in this sweet but also capable character. Fontaine doesn't have as much to do, but she gives off a competent feel. The three form an interesting love triangle that does prove somewhat compelling, alongside the main plot, anyway. Sanders is the main adversary, and he does an alright job in making him somewhat three dimensional, particularly around the end of the film. The Norman-Saxon plot is decent, though nothing too special. Miklós Rózsa does a fine job with the music score, being quite heroic and quite fitting for the movie. The jousting sequence is well executed, and the battles are also pretty well done in capturing excitement and pacing.  Within its 106 minute run-time is a movie that balances a fine line between action and structure that does not drag itself too often, and while it may succeed more in the former than the latter, it definitely is worth consideration, with its spirit of thrills outweighing the risks.

Overall, I give it 8 out of 10 stars.

Smokey and the Bandit II.

Review #945: Smokey and the Bandit II.

Cast:
Burt Reynolds (Bo "Bandit" Darville), Jackie Gleason (Sheriff Buford T. Justice / Gaylord Justice / Reginald Van Justice), Jerry Reed (Cledus "Snowman" Snow), Dom DeLuise (Dr. Frederico "Doc" Carlucci), Sally Field (Carrie/"Frog"), Paul Williams (Little Enos Burdette), Pat McCormick (Big Enos Burdette), David Huddleston (John Coen), Mike Henry (Junior Justice), John Anderson (Governor), and Brenda Lee (Nice Lady) Directed by Hal Needham (#033  - Smokey and the Bandit and #034 - The Cannonball Run)

Review:
It's hard to believe it has been over 900 reviews (and six years) since I watched and reviewed Smokey and the Bandit. It is only fitting that I return to do the sequel, after all these days.

When I reviewed the first film in April of 2011, I called it a "load of fun", in part because it really was an enjoyable piece of entertainment. When it comes to the sequel, it is evident quite immediately that it is inferior in pretty much every way to the original. From the comedy to the stunts to the entertainment value to the heart, it is not only a disappointment but it is also a lazy kind of movie. Not only does this feel like a rehash of the first film, it is a bad imitation that only serves producers who wanted to make a profit of the Bandit name. Reynolds himself has admitted his displeasure with the film in interviews, stating how it was an unnecessary sequel, and I can't help but agree.

It's not so much that the actors are terrible, it's the writing that sinks the movie to a level that it never recovers from. Reynolds and Field have decent chemistry when they are simply allowed to interact and not have lines about why their characters broke up in the first place. It would've been better to just have them just be a couple then having this whole thing where they just argue (of course the parts before Field show up where the Bandit is a sad drunk aren't any better). The parts where Bandit has become a sort of folk hero don't really help the film as it does just be a lazy way of invoking the first film over and over again. Reed does a fine job as expected, with "Texas Bound and Flyin" being an adequate title song for the film (though obviously nothing tops "Eastbound and Down"). It's interesting to see Gleason back again, especially when he plays three characters in one scene (through trick photography), and his parts with Henry are useful enough. DeLuise is charming as always, but he doesn't really bring anything to the movie more than just a few Italian phrases; this happened to be filmed around the same time as The Cannonball Run, which while not exactly a great piece of work is easily better than this film, while also having better scenes of Reynolds and DeLuise. The fact that Williams and McCormick don't show up in the movie again after they recruit the main characters also doesn't help, considering they drive the plot (wanting an elephant delivered to a political convention). The fact that everything feels like a caricature doesn't help either.

The only trick that the film seems to have up its sleeve is a big sequence involving 50 cars and semi-trucks piling on each other in the desert, with destruction after destruction. However it only manages to come off as just going through the motions, feeling like a cartoon. The whole movie feels like a dumb cartoon, and it really seems to drag after the first hour or so. It's amusing (in a mocking kind of way) how they don't even end up delivering the elephant to Dallas on time, because of course not. It ends with Justice trying to chase them down on a bus, perfectly encapsulating the lazy nature of a film that comes and goes without a payoff. There are no real stakes, nor are there any moments where I felt like I needed to care about anything that happens. On the whole, the best thing I can say about the movie is that it makes the viewer want to see the original film again. I hope I didn't go too long with my critique, folks.

Overall, I give it 3 out of 10 stars.

Pat Garrett and Billy the Kid.

Review #944: Pat Garrett and Billy the Kid.

Cast:
James Coburn (Sheriff Pat Garrett), Kris Kristofferson (Billy the Kid), Bob Dylan (Alias), Richard Jaeckel (Sheriff Kip McKinney), Katy Jurado (Mrs. Baker), Chill Wills (Lemuel), Barry Sullivan (Chisum), Jason Robards (Governor Lew Wallace), R.G. Armstrong (Deputy Sheriff Bob Ollinger), Luke Askew (Eno), John Beck (John W. Poe), Richard Bright (Holly), Matt Clark (Deputy Sheriff J. W. Bell), Rita Coolidge (Maria), Jack Dodson (Lewellen Howland), Jack Elam (Alamosa Bill Kermit), Emilio Fernández (Paco), Aurora Clavel (Ida Garrett), Paul Fix (Pete Maxwell), L.Q. Jones (Black Harris), and Slim Pickens (Sheriff Colin Baker) Directed by Sam Peckinpah (#590 - Ride the High Country and #591 - The Wild Bunch)

Review:
It is easy to say that this is a movie that does not skew for morality within its main characters, who seem to have interesting chemistry with each other. Not only is it a Western, it also serves as a sort of tragedy, where former friends are now pitted against each other. This is a bittersweet movie, filled with grit and action that make for a movie that can be rewarding if one has the patience for it. Everywhere you look in this film has a raw connection in someway to violence, where even lawmen are not so different from the outlaw that they hunt down; this is a bitter film, but it is also a film that accomplishes in expressing the nature of what the Old West looked and felt. Watching this movie feels like a eulogy for the times and myths that have gone by, and while the movie may drag itself under its own weight at points, it definitely hits more than it misses.

Coburn and Kristofferson are a fine tandem when on screen together, with the former having a reliable cool nature and the latter having a good amount of charm to him; right from the first scene they just seem to have an easy connection, where it doesn't look like we need a dump of exposition in order to set the stage. Dylan (who also contributed to the music) plays a strange cipher of a character (being more of an observer than a participant in the bloodshed going on), but he definitely is noteworthy to watch, even when he is reading food cans on the shelf. The music in the movie is pretty effective with the tone of the movie, with "Knockin' On Heaven's Door" being a key highlight. The rest of the cast (some who make only brief appearances) are pretty effective, managing to serve the film well when needed. The opening of the film (in the special edition and Peckinpah's cut, but more on this later) where Garrett's death and the shooting of chickens by Billy and his gang intersplice with each other is quite interesting, having a strange violent beauty to it. This was filmed in the Mexican state of Durango (in part due to conflicts with MGM), and the sets contribute into making this a visual achievement; it's not so much that the Old West is glorified, but it definitely becomes a character in a movie that isn't above myths and showing the clash of the times, where freedom and safety (within profit) interact violently. There is a spirit to this movie that is unyielding in its passion, and it definitely works even after over forty years.

This was a movie that went through production turmoil, which resulted in Peckinpah's version not being seen for years due to conflicts with MGM (and more importantly James Aubrey, President of the company at the time) over budgeting and scheduling. After the film finished 21 days behind schedule and more than a million dollars over budget, Aubrey had the film cut from a preview version of 124 minutes to 106 minutes with numerous scenes cut (including the beginning scene) and six editors being credited (this edition was disowned by cast and crew). In 1988 (four years after Peckinpah's death), a preview version of the film was released by Turner Home Entertainment, which lasts 122 minutes. In 2005, Warner Bros released a special edition version, which incorporates elements of the two movies along with additional scenes, which lasts 115 minutes. In any case, the movie has gained a new status among respective audiences, in large part due to the versions that have come out in the past few years.

On the whole, what more is there to say? Watch the film in the right state of mind, and you may very well have a good time with a film that has only become a mistreated classic in the years following its original release. Is it for everyone? No, but it definitely has its own kind of appeal that outweigh nearly everything else.

Overall, I give it 9 out of 10 stars.

The Man from Planet X.

Review #943: The Man from Planet X.

Cast:
Robert Clarke (John Lawrence), Margaret Field (Enid Elliot), Raymond Bond (Professor Elliot), William Schallert (Dr. Mears), Roy Engel (Tommy the Constable), Charles Davis (Georgie, man at dock), Gilbert Fallman (Dr. Robert Blane), and David Ormont (Inspector Porter) Directed by Edgar G. Ulmer (#797 - People on Sunday and #803 - Detour)

Review:
This film was made in just six days, while being shot on sets that had previously been used for the 1948 film version of Joan of Arc; fog machines were used not only for mood but also used in order to cover up parts of the set that weren't exactly there. This is the kind of movie where atmosphere and charm outweigh its cheaply thin nature to make a fairly decent movie. Clarke is a capable lead, carrying the movie with a good ounce of sincerity. Field and Bond are also pretty decent; Schallert is fine in an adversarial role; the film doesn't tell us what he did that apparently should've got him "twenty years", but he captures the ambitious but flawed type pretty well - even if he is also used in order to explain the plot later on. The movie runs pretty decently, lasting just 70 minutes and not seeming to waste any of its time either.

The alien is somewhat unique in that he communicates by modulated musical sounds; you never see his whole body throughout the film (due to the lighting), but his facial effects are pretty decent. One strange thing to note is the fact that there is no credit given to the actor who plays the titular character; it has been rumored to either have been Pat Goldin or dwarf actor Billy Curtis, though nothing can be confirmed (if one wants to go by Wikipedia, anyway). As stated before, the atmosphere of the film is quite nice, with nothing looks ridiculously out of place. The plot is a bit strange, with the main motivation not revealed until the last 10 minutes and the ending lines not exactly making sense. Field's character states that the creature was friendly and wondering what would have happened had Schaller's character had not "frightened him"...except that the creature was trying to get his people to invade the planet in order to survive, while they turned others in the island into zombies. No matter how the alien seemed, the fact remains that him and the planet mutually wanted to survive by invasion. In any case, this isn't a great flick, but it is at the very least a quick little film that manages to be fairly entertaining and overriding its limitations, with a good part of the credit going to the cast but also to Ulmer and his direction.

Overall, I give it 7 out of 10 stars.

Wonder Woman (2017).

Review #942: Wonder Woman.

Cast:
Gal Gadot (Diana Prince / Wonder Woman), Chris Pine (Steve Trevor), Robin Wright (General Antiope), Danny Huston (Erich Ludendorff), David Thewlis (Sir Patrick Morgan), Connie Nielsen (Queen Hippolyta), Elena Anaya (Isabel Maru / Doctor Poison), Lucy Davis (Etta Candy), Saïd Taghmaoui (Sameer), Ewen Bremner (Charlie), and Eugene Brave Rock (Chief) Directed by Patty Jenkins.

Review:
Last year, Wonder Woman made her first live on-screen theatrical appearance in Batman v Superman: Dawn of Justice (#788), a movie that tried to set the stage for DC's own movie universe, though I would argue that it set the bar pretty low for future films to be better (as evidenced by Suicide Squad - #828). With this one, however, there is no question that this is a good film that manages to be quite consistent along with being well-crafted. The reason for this starts with Gadot and Pine, who have great chemistry and timing together; it's not so much that one doesn't do great without the other, but they certainly help the movie when they are interacting with each other (or the supporting characters). It shouldn't be understated that Gadot is wonderful as Wonder Woman, giving off an earnest performance that is easily likable and watchable; she is easily convincing in the action sequences, which helps the movie earn its wings in being good entertainment. The villains in the film aren't anything too special, but they are at leas serviceable entertainment, though the climax muddles them up a bit (no doubt due to the effects and the lighting clashing a bit). Regardless, they work for the film just fine, much like the trio that accompanies our main leads (Taghmaoui-Bremner-Brave Rock), who are easily watchable, while providing some light charm. Wright and Nielsen are also pretty good for the time they have on screen in the first half of the film.

The action scenes are pretty spectacular, with the sequences being executed well without becoming overstuffed (the climax is a bit big, but that makes sense for the end). The time period of the film (1918, near the end of World War I - called the "war to end all wars") was a neat choice in part because it gives the film different ground to tread (instead of being based off WWII like Captain America: The First Avenger (#060) did) while leaving shades of gray ambiguity. At 141 minutes, the movie runs at a useful pace, balancing its characters and scenes fairly well. The climax of the movie isn't particularly great (owing to a bit of muddy but workable tone that is somewhat cliche), though it doesn't hurt the movie too much. This is a movie that shines in sincerity, making its own mark in a world filled with comic book films. Is it a perfect movie? No, but it certainly is an fine achievement that I'm sure many were waiting for.

Overall, I give it 9 out of 10 stars.

Sherlock Jr.

Review #941: Sherlock Jr.

Cast: 
Buster Keaton (Projectionist / Sherlock Jr), Kathryn McGuire (The Girl), Joe Keaton (The Girl's Father), Erwin Connelly (The Hired Man / The Butler), Ward Crane (The Local Sheik / The Villain), and Ford West (Theatre Manager / Gillette) Directed by Buster Keaton (#757 - Seven Chances, #762 - College, #805 - The Navigator, and #877 - Three Ages, #908 - The General, and #926 - Our Hospitality)

Review:
This is the shortest feature length film that Keaton directed, lasting 45 minutes (shorter than Seven Chances by around ten minutes), but that does not mean that the film is any less developed or entertaining than his other films. In fact, this is one of his best films in the achievements that Keaton makes on a technical and comedy scale; the deadpan humor of Keaton along with the gags of slapstick are high caliber for him, but it also manages to be quite imaginative with its premise (established quickly, naturally) and execution. How many movies do you know where a character walks onto the movie screen? The part where he goes through numerous film scenes before he enters the mystery world is particularly clever. The second half of the film is more entertaining than the first half for me, perhaps because I like seeing Keaton playing a detective, albeit under certain circumstances (namely, a dream). Keaton and McGuire are fine together, but the real highlight is seeing his interactions with Connelly and Crane, particularly the billiard game sequence. It's just a nice exchange between the three, and it is a scene that proves crucial in the climax, which is neat. The stunts and effects are entertainingly executed (such as the suitcase trick, or the water basin stunt, with a mishap actually resulting in a fractured neck), with the editing being a key highlight. On the whole, this is a highly competently made film, filled with entertaining aspects and imaginative setups. This is an easy film to recommend, as this is one of Keaton's best.

Overall, I give it 10 out of 10 stars.