10.

Review #1461: 10.

Cast: 
Dudley Moore (George Webber), Julie Andrews (Samantha Taylor), Bo Derek (Jenny Hanley), Robert Webber (Hugh), Dee Wallace (Mary Lewis), Sam J. Jones (David Hanley), Nedra Volz (Mrs. Kissell), Brian Dennehy (Don, the bartender), and Max Showalter (Reverend) Written and Directed by Blake Edwards (#329 - The Pink Panther, #481 - The Party, and #899 - A Shot in the Dark)

Review: 
"For someone who wants to practice his art in this business, all you can hope to do, as S.O.B. says, is stick to your guns, make the compromises you must, and hope that somewhere along the way you acquire a few good friends who understand. And keep half a conscience"

Blake Edwards was a good director when one was in need of a laugh. He had started a career in film as an actor, working in small parts beginning in 1942 (having turned 20), but he soon found more interest in being behind the camera instead. After serving in the United States Coast Guard, he started writing with Panhandle (1948), which he co-wrote and co-produced with John C. Champion. He made his debut in directing with television in Four State Playhouse (1953) and film with Bring Your Smile Along (1955), while having also been behind the creation shows such as Richard Diamond, Private Detective (1957-60) and Peter Gunn (1958-61). With a string of hits and misses, Edwards is best known for The Pink Panther film series, which he directed/wrote eight of the nine original films (1963-1993); additional highlights include Breakfast at Tiffany's (1961), Day of Wine and Roses (1962), and S.O.B. (1981).

The original actor intended for the title role was George Segal, who walked off the set right as filming began, apparently because he felt that Edwards was using the film and Segal to help give Andrews a revival (with a song and dance sequence being included for her). Beyond the fact that it never hurts to have more of Andrews (in her third collaboration with Edwards, her husband and first film in five years), it is amusing to think that music prodigy-turned-comedian/composer Moore stepped in and found a bit more footing in Hollywood roles because of such a silly decision. As for the film itself, it is a fair charmer that works well as a comedy of human nature - in this case, a crisis about reaching middle age and wanting something you just can't have. In this case, it just so happens to be a younger woman, and Moore is quite amusing enough to make his quixotic pursuit a reliably amusing one, one with a fine sense of timing whether with others or when left to other devices that make a comedy of predicaments. Although Andrews isn't in the film as much, she makes for some reasoned moments, just as bright and quick to resonate with care and a bit of singing to go as well. Derek (in her second film role that gained her a following while known primarily as the star of  numerous films directed by her husband John) makes a worthy match in being the ideal alongside having a touch of humor for when she is given to do for the climax. Webber makes for a cheeky presence in parts while Dennehy proves an interesting presence to pair with Moore to fill out the highlights of a decently packed cast. The gags are fairly more hit than miss (whether involving telescopes, the beach or passerby cars-and-phone calls), which go with a casual 70's flair for a fair curiosity. The film does run a bit long at 122 minutes, with a first half that runs a bit sillier than the second one, but there is enough amusement and charm present to make a useful capsule for its time with some relevance today about getting old and trying to fling away from it all - for better or worse.

Overall, I give it 8 out of 10 stars.

The list for next month of the 1980s...stay tuned.

Mary Poppins.

Review #1415: Mary Poppins.

Cast: 
Julie Andrews (Mary Poppins), Dick Van Dyke (Bert / Mr. Dawes Sr), David Tomlinson (George Banks), Glynis Johns (Winifred Banks), Hermione Baddeley (Ellen), Karen Dotrice (Jane Banks), Matthew Garber (Michael Banks), Elsa Lanchester (Katie Nanna), Arthur Treacher (Constable Jones), Reginald Owen (Admiral Boom), Ed Wynn (Uncle Albert), Reta Shaw (Mrs. Brill), and Don Barclay (Mr. Binnacle) Directed by Robert Stevenson.

Review: 
"That’s the real trouble with the world. Too many people grow up."

What is there to say that has not been said about one of Walt Disney's greatest triumphs? Winner of 22 Academy Awards, Disney was a pioneer of animation that created with his brother Roy one of the most powerful film companies of the world that in the span of nearly a century has gone from animation to diversifying in live-action, theme parks and other various ventures. He had an interest in drawing from an early age, doing various exercises such as copying cartoons and working with tools like watercolors. As he grew older, he delivered papers and took courses for drawing and cartooning at the Kansas City Art Institute. By the time he was 18, he had joined the Red Cross (arriving after the armistice that ended World War I) and found work as a commercial illustrator. He soon found interest in cel animation (as opposed to cutouts), and he soon joined forces with others like Ub Iwerks to make their own studio (Iwerks-Disney commercial Artists, which was short-lived, and Laugh-O-Gram Studio, which lasted two years). Although too late to save the studio, their last creation, inspired by Alice in Wonderland, led to eventual interest in creating a series of shorts (which led to the creation of a studio to distribute said films, originally named Disney Brothers Studio). Over the course of a decade, they would create numerous cartoons with Mickey Mouse being created in 1928. Disney yearned to expand the studio's range and money by making a feature of his own. He would soon plan the first feature-length cel animated film in Snow White and the Seven Dwarfs (1937), which would take three years to develop amidst arguments with his own brother and wife to try and talk him out of it that was thought to be a futile idea. Simply put, the film was a tremendous success, and several animated film classics would follow in its wake, and live-action segments and features would later follow, and this ended up being Disney's most successful project of the 1960s, one that appeals to both children and adults to this day, an achievement for everyone from longtime Disney director Robert Stevenson to its star in Julie Andrews.

The film was adapted from the book series of the same name by P. L. Travers, who wrote eight children's books featuring the character over a span of 54 years beginning in 1934. As early as 1938, Disney wanted to buy the film rights to the book (owing to his daughters loving the books), but Travers rebuffed efforts for years and years because of her doubts that a feature could do justice to her work (it did not stop CBS from doing a television play of the book in 1949 for their live telecast Studio One, however). In 1961, Travers allowed the rights to be purchased, although she demanded script approval rights (this however was not final draft approval). Considerable changes were made in settling things to film, such as the timeframe being shifted from the 1930s to 1910, a focus on two Banks children rather than four, and a significant lightening of the title character (characterized as slightly vain and stern in the books). The latter change, along with the decision to use animation in some parts and the music (she wanted period piece) did not ultimately please her; when approached in 1993 about turning it into a musical, her key stipulation was that no one who worked on the film be involved with it, although the subsequent stage show that premiered 21 years ended up utilizing the songs from Richard and Robert Sherman, who do tremendous work here (as they did for decades). When it came to star, one could not ask for a greater debut. Andrews had sang with her parents since she was ten years old and had risen to performing on the stage and Broadway by the time she was 19, noted for her work in My Fair Lady (1956) and Camelot (1960). It was the decision by Warner Brothers to pick Audrey Hepburn over her to star in the film adaptation of the former that led to Disney having the chance to have Andrews for this film. Her charm and grace are immediately present to view after seeing her first few scenes, one with a great singing voice and a warm spirit that always seems ready for an interesting time with the children while seeming authentic and firm no matter who she interacts, whether that means children or something odder. Van Dyke, a radio/Broadway/television star (sporting a "Cockney" accent), proves quite amusing to follow up with Andrews, an inviting presence that never seems out of place, whether that involves him singing "Chim Chim Cher-ee" or being part of a laugh riot on the ceiling with Wynn (who proves just as amusing in his one scene). Tomlinson accompanies the film as a capable stuffy authority that holds his own in inspiring curiosity on the other side of the hill (namely, reality). Johns, although not in the film too much, inspires a few flighty chuckles. Doctrice and Garbert do a fine job for the time needed, having that middle ground for child acting that isn't too knowing or annoying to write home about. The others fill in the details of curiosity quite nicely for quirks.

The songs are quite catchy, with one clear choice being "Supercalifragilisticexpialidocious" in driving a smile to one's face. The animation sequences are interesting, aided by a modification from Petro Vlahos in a Technicolor camera that mixed live-action and animation through what is known as the "Sodium Vapor Process", utilized in films such as The Parent Trap (1961) and The Birds (1963) that served as an alternative for bluescreen in order for more accuracy. There is plenty of imagination and charm to be found here, a film that can sing with the best of them in leaving an impression on its audience with its simple but efficient story of growing up without seeming too sentimental or abrupt through a ravishing 139 minute run-time. Behaving well doesn't mean not having fun, really. Could it have been more accurate to its source material, sure, but does it really matter? Is this not a magical film that accomplishes what it sets out to do for its target audience (i.e. anyone)? There is a magic here that one wishes to experience every now and then that make it an easy pick for its era and Disney's line of work.

Overall, I give it 10 out of 10 stars.

Movie Night: Despicable Me.

Review #241: Despicable Me.

Cast
Steve Carell (Gru), Jason Segel (Vector Perkins), Miranda Cosgrove (Margo), Russell Brand (Dr. Nefario), Kristen Wiig (Ms. Hattie), Dana Gaier (Edith), Will Arnett (Mr. Perkins), Elsie Fisher (Agnes), Pierre Coffin (Tim, Bob, Mark, Phil, and Stuart), and Julie Andrews (Marlena) Directed by Pierre Coffin and Chris Renaud.

Review
It's fitting to review this film, it really is. Why? Before watching ParaNorman yesterday, I saw some trailers for some films (Such as Hotel Transylvania and The Hobbit: An Unexpected Journey), but one trailer I saw was one for Despicable Me 2. It looked interesting given I hadn't watched the first one. Until today...Life's a weird thing (I'd say Irony but the word probably doesn't work here) And guess what? This film is interesting and does deserve a sequel. There I said it. The animation is alright (With this being from a new studio, Illumination Entertainment) Carell and the rest of the cast do a good job, with some fun moments. While it isn't in the ballpark of Pixar, it still holds its ground, working out well. Now then, what's next to be reviewed....What? Oh boy. This is gonna be one of those films...Countdown to 250: 10, 9...

Overall, I give it 8 out of 10 stars.

Movie Night: Shrek Forever After.

Review #209: Shrek Forever After.

Cast
Mike Myers (Shrek), Eddie Murphy (Donkey), Cameron Diaz (Princess Fiona), Antonio Banderas (Puss in Boots), Walt Dohrn (Rumpelstiltskin), Jon Hamm (Brogan), Jane Lynch (Gretchen), Craig Robinson (Cookie), Julie Andrews (Queen Lillian), and John Cleese (King Harold) Directed by Mike Mitchell.

Review
The last time I mentioned this movie was while back ago: I called it "Better, better then this film [Shrek the Third]" And...it hasn't really changed. The story feels less like the last two, trying to go back to the film series' roots. The acting is decent, yet we still after 10 years, feel for them. This is after all the last Shrek film (There were rumors that there would be a fifth, but it was decided to end the franchise with this, which was a good idea) It isn't as good as the first or second, but it at least is a fitting end to the film series. And yet it goes on in other ventures, such as a Musical, TV specials, a spinoff, comics, and more.

Overall, I give it 7 out of 10 stars.