Redux - Special Edition: The Empire Strikes Back.

Review #114: The Empire Strikes Back.

Cast
Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia Organa), Billy Dee Williams (Lando Calrissian), Anthony Daniels (C-3PO), David Prowse (Darth Vader (voiced by James Earl Jones), Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), Frank Oz (Yoda), Jeremy Bulloch (Boba Fett), Alec Guinness (Obi-Wan Kenobi), and Denis Lawson (Wedge Antilles) Directed by Irvin Kershner (#004 - Robocop 2)

Review
In my original review (#114 - March 31, 2012), I had given the movie a 10/10 rating, and while I stand by the rating, I regretted not saying more about the movie. I barely mentioned the characters and effects at all, among other aspects that I should have talked more about. Because of this, I decided to finally make a Redux - Special Edition (which I did for A Christmas Story, Halloween, Licence to Kill, and On Her Majesty's Secret Service). Enjoy.

The Empire Strikes Back is often called the best installment of the original trilogy and one of the best sequels of all time, and with good reason. It raises the stakes along with the mood and tension in a degree that makes for an entertaining movie that eclipse the excitement and depth of the original film in some aspects. It's interesting that the beginning of the movie starts not only with a large-scale battle, but one that our heroes technically lose (in that they retreat). Sure, they had destroyed the Death Star, but the story (and the war) didn't end just because you can blow up a base (or two). It has been three years since they destroyed the Empire's space station, but the Rebels has moved on from celebrating in Throne Rooms to having to deal with getting a new base and adapting to the cold and the fear the Empire would find them. The music by John Williams is once again fantastic, ranging from tense (The Battle of Hoth) to mysterious (Yoda's Theme) to one that inspires dread (The Imperial March) to one that fits for the climax (The Clash of Lightsabers), with the music fitting the movie just perfect.

Of the (now seven) films, Empire Strikes Back is the only one that introduces key characters while not having any major ones die, and the movie still manages to be emotionally satisfying. Williams is certainly a welcome addition to the band of heroes, managing to have a certain aspect of intrigue along with conflict about the decisions he has to make. Yoda is an interesting case, depending on when you see him (prequels/originals), but in this he certainly has a mystique that evolves from seeming like an strange little hermit (in our first encounter watching him first meet Luke) to a wise master that seems to have more secrets than he lets on. I love the puppetry for Yoda because it never seems fake or off-putting to watch. The way it moves around along with the voice (by Frank Oz) fits well with a character as grand as Yoda.

It's interesting how popular Boba Fett (voiced by Jason Wingreen originally, though replaced by Temuera Morrison after 2004) became even though he doesn't have many lines to say (though he does have a crucial role), though his armor is admittedly interesting to look at.  The Emperor (voiced originally by Clive Revill but replaced by Ian McDiarmid in the newer editions starting in 2004) has only one scene in the movie, but he manages to have an important presence even when he isn't seen because even though Vader seems to be more in control (as opposed to Tarkin essentially having Vader on a leash in the previous one) of the Empire's wrath, he still has a Master to look to. Of course, one can't mention the movie without saying something about the Han-Leia dynamic, and the way their romance doesn't seem to override the movie or take away from it - because it seems natural and it makes the movie more interesting than it already is. Even the line of "I know" to Leia saying "I love you" works because it doesn't bog the movie down in melodramatic form of romance (which is something the prequels, in particular Episode II failed to do).

Once again, the effects (visual and sound) are impressive, but the fight between Vader and Luke is also a key highlight, with the lighting and steam creating a subdued atmosphere, for a fight sequence that is a key improvement over the last film in terms of tension and stunt choreography. The reveal of Darth Vader being Luke's father is a moment in which the movie manages to culminate all the emotional buildup of Luke having believed that his father was killed by Vader only to find out a harrowing truth (or was it?...of course it was) into a powerful moment that still is a great scene even when you've already seen the movie or know the mythology because it still manages to be a memorable and effective scene, serving as a great climax for the film. Ultimately, The Empire Strikes Back manages to be a dark, but entertaining movie that serves a great sequel to the original Star Wars film that while not ending on a high note for the characters, still has a hopeful outlook to continue onto more adventures.

Next up on Redux - Special Edition is the film that ended the story of our heroes...for a while on a peculiar note...

Overall, I give it 10 out of 10 stars.

Redux - Special Edition: Star Wars (1977).

Review Special Edition: #113: Star Wars.

Cast

Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia Organa), Peter Cushing (Grand Moff Tarkin), Alec Guinness (Obi-Wan Kenobi), David Prowse (Darth Vader (voiced by James Earl Jones), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), Phil Brown (Owen Lars), Shelagh Fraser (Beru Lars), Jack Purvis (Chief Jawa), Denis Lawson (Wedge Antilles), and Garrick Hagon (Biggs Darklighter) Directed by George Lucas.

Review

In my original review (#113 - March 30, 2012), I had given the movie a 10/10 rating, and while I stand by the rating, I regretted not saying more about the movie. I barely mentioned the acting at all, among other aspects that I should have talked more about. Because of this, I decided to finally make a Redux Review (which I had done for A Christmas Story, Halloween, Licence to Kill, and On Her Majesty's Secret Service). Enjoy this "Special Edition" version, if you will. 

Star Wars (also referred to as A New Hope) is a mythical tale that has entertained audiences all around the world for over 40 years, and the scope of its influence on cinema (and filmmakers) can't be understated. It's interesting how a space opera like this had been influenced by other movies such as The Hidden Fortress and Flash Gordon serials, but also works by Edgar Rice Burroughs. Star Wars at its heart is a fairy tale with the mythical nature of the characters, legends in an epic that is not set in the beginning, but rather the middle. You don't have to watch the prequels before seeing this because this film s manages to introduce itself and its story extremely well, right from the opening crawl. I remember watching this when I was around 13 years old, and I can recall that I didn't know much about Star Wars at the time (aside from the name), but the Battle of Yavin (amidst other scenes) managed to stick out the most in my head, even years later. Perhaps it was the memorability of the characters, or the music (by John Williams) being so in tune to the movie, with Binary Sunset being especially memorable, but other music works extremely well to the atmosphere of the film (Cantina Band) or with adventure with the Yavin sequence at the end.

The characters are interesting to watch interact with each other (particularly our main trio), which is more interesting than the actual acting with regards to the dialogue. While admittedly Hamill can come across as slightly whiny, the progression of his character throughout the trilogy means that it is worth it in the end. Ford is a charming rouge who (along with Chewbacca) manage to be entertaining from the first scene they are in, primarily because of the sheer magnetism of the duo. Fisher also does a fine job, alongside Cushing and Guinness (both already well-established actors of film), who are both memorable in their own ways. Cushing is the perfect actor to play a role that really is the main enemy of the film (as he is the one that commands the Death Star, orders the destruction of Alderaan), even with a Sith Lord at his side. Guinness manages to seal the mysterious wise aspects of an old warrior in his first few scenes while putting Luke onto the path of adventure (even if what he says is true from a certain point of view) and realizing what he must do to play his part in trying to bring down the Empire. It's interesting how David Prowse plays the physical aspects of Darth Vader, and he sure fits the imposing frame of a villain perfectly, with James Earl Jones' voice being quintessential for the character.

Even though the movie has had fixes over the years (most notably the "Special Edition" version), the effects are still impressive to me in the sense that I love the effort it must have taken to get the look and action right, such as the TIE fighter attack and how it was based off of dog fights from World War II. The fun isn't in the themes or the dialogue, but in the adventure that ensues, and how it satisfies you by just being a charming movie that doesn't need slogs of backstory to be enjoyable. You can watch this first instead of the prequels and still not be too confused because it isn't one to try and fill background information, rather it is one that has a story of its own with a mythos that would only get expanded upon in future installments.

Next up on the Redux Review / Special Edition: The sequel that many argue is one of the best sequels of all time...

Overall, I give it 10 out of 10 stars.

Superman IV: The Quest for Peace.

Review #787: Superman IV: The Quest for Peace.

Cast
Christopher Reeve (Superman / Clark Kent), Gene Hackman (Lex Luthor / voice of Nuclear Man)
Jackie Cooper (Perry White), Margot Kidder (Lois Lane), Jon Cryer (Lenny Luthor), Mark Pillow (Nuclear Man), Sam Wanamaker (David Warfield), Marc McClure (Jimmy Olsen), Mariel Hemingway (Lacy Warfield), and Damian McLawhorn (Jeremy) Directed by Sidney J. Furie.

Review
Simply put, this movie is terrible. Any which way you look at it, the movie fails at every level, from failing as a superhero movie to failing to make a plot or direction that works to failing be a movie of spectacle or excitement. To make a long review of this movie would be redundant, but a basic criticism will suffice for such a basic movie. The first (and easiest) flaw to notice is the opening credits, which are representative of both the cheapness of the production studio (Cannon Films) and the harbinger of a movie that goes downhill from there. As usual, Reeve (who contributed to the story for the film) does a fine job, and Hackman returns to make for an entertaining Luthor once again, but neither can save a movie bogged down by terrible, terrible film-making not just from directing, but from a (chopped-down) budget that can't support what the movie wanted to be. The effects are the ultimate final blow, with easily visible strings, a shot of Reeve "flying" towards the camera being repeated numerous times, and numerous other examples of futile attempts at penny pinching. At least Cooper, Kidder and McClure are back, though they don't really very interested in the movie, much like the rest of us. The less said about Cryer, the better. Nuclear Man is certainly a strange villain, looking like he was time-warped from the early 80's, especially with the silver nails, and the fact that he is voiced by Hackman is somewhat off-putting. The fights between him and Superman are downright laughable, and the solution to defeating him via moving the moon in front of the sun is the only perfect way to end such a silly climax.

What is interesting in all of this is the amount of footage that was cut from the movie. Originally, the movie was over 2 hours long, but due to a bad test screening, Furie cut over 30 minutes out of the movie, with a good portion of those scenes (but apparently not all of them) later resurfacing on DVD many years later. Almost all of them have a bit of degradation to them, and scenes meant to show special effects (such as one scene where Superman rescues a child from a tornado) are unfinished, and even the final intended scene, with Superman and Jeremy (a child who wrote him a letter wanting him to intervene in possible war) flying over the Earth isn't finished, with a red glow effect on them.

In the end, the movie has no hope, no substance, no luck, and most of all no budget, proving to be the death knell of the movie franchise for 19 years. I'd recommend the movie as a guide on what not to do with regards to budgeting, editing, and most importantly, presentation.

Overall, I give it 4 out of 10 stars.

Superman III.

Review #786: Superman III.

Cast
Christopher Reeve (Clark Kent / Superman), Richard Pryor (Gus Gorman), Robert Vaughn (Ross Webster), Annette O'Toole (Lana Lang), Annie Ross (Vera Webster), Pamela Stephenson (Lorelei Ambrosia), Jackie Cooper (Perry White), Margot Kidder (Lois Lane), Marc McClure as (Jimmy Olsen), and Gavan O'Herlihy (Brad Wilson) Directed by Richard Lester (#541 - A Hard Day's Night, #594 - A Funny Thing Happened on the Way to the Forum, and #785 - Superman II)

Review
There is nothing wrong with a bit of humor and/or slapstick. Some comic book movies even excel at moments of lightness in otherwise good films. Superman III is not one of those movies. It's a sad, desperate attempt of trying so hard to be both that it manages to fail at every turn. It's hard to tell when the first cracks appear, but it could be argued that it's either when Richard Pryor first appears, or when the title sequence is shamelessly put on the bottom of the screen so we can all see some slapstick immediately after Pryor shows up. Afterwards, the movie goes up and down from there. Reeve is the best part of the movie, carrying the movie even when you know it's already past the point of no return. He even gets to play a Superman who (briefly) becomes weakened by synthetic kryptonite (just go with it) and becomes...a Superman who fixes the Tower of Pisa and even drinks some alcohol (while flicking peanuts at beer bottles). It's a ridiculous aspect of the movie, but it gives Reeve something to do amidst the Pryor parts that really take up nearly 45% of the film. There's even a scene where the two "Supermans" fight each other, which while being ridiculous (especially in how it ends), is actually pretty interesting to watch.

The new villain this time around is played by Robert Vaughn, but he doesn't really stick out too much, coming off as a Lex Luthor stand-in. O'Toole is the new leading lady (by that I mean for only this film), and while she is relatively decent, she isn't given much to do, as compared to Kidder...who is essentially put on a bus early on. And then of course there's Richard Pryor. He's not inherently terrible, and he is somewhat funny, but he doesn't really feel like he should be in a Superman film. For most of the movie he is on the side of the villain(s), but the second that Superman is in actual danger, he switches sides, and it comes off as a dull surprise. The only thing that surprised me is the computer "robotizing" one of the characters near the end, but of course it's not permanent, so whatever (by the way, how does a computer who is supposed to know Superman's weaknesses not realize how a certain acid gets volatile under intense heat? Actually, forget it, the movie still stinks). The movie's biggest flaw is that there really is no spectacle to any of it. You never really care about anything that goes on, and nothing sticks out in this movie that you truly remember as a good thing. The main idea behind the movie isn't terrible, but the execution falls flat on its face.

Overall, I give it 5 out of 10 stars.

Superman II.

Review #785: Superman II.

Cast
Christopher Reeve (Clark Kent / Superman), Gene Hackman (Lex Luthor), Margot Kidder (Lois Lane), Terence Stamp (General Zod), Jackie Cooper (Perry White), Sarah Douglas (Ursa), Jack O'Halloran (Non), Ned Beatty (Otis), Valerie Perrine (Eve Teschmacher), Marc McClure (Jimmy Olsen), Susannah York (Lara), Clifton James (Sheriff), and E.G. Marshall (The President) Directed by Richard Lester (#541 - A Hard Day's Night and #594 - A Funny Thing Happened on the Way to the Forum)

Review
If you're interested in the review, skip this paragraph, as it does not pertain to the review, merely serving as a little bit of background...

If you remember my review from two years ago of the original Superman movie (#547), I had said that it was a fine epic that succeeded in nearly every way possible, with the most important being that it was entertaining. Naturally, the movie was a success, and Superman II (which had been filmed simultaneously with the first film) would soon follow...but not with Richard Donner, who was "replaced" from the film by the Salkinds producers a few months after the first film's release. Richard Lester was tasked to finish the film. The dispute over what footage of the movie is Donner's and so on continued for years, with a "Richard Donner Cut" made in 2006 that tried to restore (as much as possible) footage that Donner had shot, though he was not involved with that cut.

With all that in mind, Superman II still manages to be a decent sequel. While it isn't up to the same craft as the first film, Superman II is as least entertaining enough to work. The movie has elements of humor that veer into slapstick (no doubt added by Lester), which admittedly gets in the way of enjoying my favorite part of the movie: The climatic fight with Superman and Zod, Ursa & Non. While it is a good fight that takes up the last 30 (or so) minutes of the movie, it is marred by random aspects. One example is Superman throwing his emblem shield at Non, which mystifies me on the level of practicality. Reeve and Kidder do have good chemistry together once again, and the romance is at least watchable, even despite the fact that Superman can just erase memories with a kiss (if he chooses to, I suppose), which makes for a peculiar (if not extremely inevitable) reset. The movie takes time to get going in the sense that it is more fun with Zod and the others around. The effects, while a bit peculiar at times, fit the movie well enough. Stamp certainly makes for a standout villain in the sense that there finally is a villain who can match to the physical strength of Superman, alongside the fact that Stamp is entertaining to watch, especially when asking someone to kneel. I wish that the idea of Superman taking his powers away in favor of being with Lois could have been more than just a five minute blip that just passes through and is nearly forgotten, right up to the end, anyway. I do find it interesting that at the end of the movie, Superman beats up a trucker (the one who had beaten him up while he was temporarily human), because...I guess Superman really felt that he needed to get some sort of retribution. Superman II is a sequel that has its bogging flaws, but it shines just enough with charm and a little bit of magic to work.

As for the sequel...next time.

Overall, I give it 8 out of 10 stars.

10 Cloverfield Lane.

Review #784: 10 Cloverfield Lane.

Cast
Mary Elizabeth Winstead (Michelle), John Goodman (Howard Stambler), and John Gallagher, Jr. (Emmett DeWitt) Directed by Dan Trachtenberg.

Review
Once again, I'm back at the theater, and it figures I do it on the one day with a discount for tickets. The end credits for the movie lists eight people for the cast, with three of them being our main cast and the other five being (very) minor roles. The movie mostly takes place within a bunker, and the enclosed nature of the movie works really well, with the biggest strength being its cast, and for good reason. Winstead is interesting to watch interact with everything that happens around her, but she also is a capable heroine, which is nice. Gallagher is certainly not a bad part of this cast, and he does contribute to making the movie bit of humor without being annoying. The big highlight is John Goodman, mainly because of how effective he is in a thriller that relies on tension and fear, which all the cast succeeds at doing. It can be fun to watch at one moment and then turn dark another moment, with the movie getting better and better as it progresses. None of the characters are annoying in their motivations, nor inherently unlikable, which is also a plus. Even without the Cloverfield labeling (I'll get to the other Cloverfield soon), it works well on its own. The climax of the movie is a bit of a departure from the thriller aspects, but it does manage to make the movie keep its good footing going. Admittedly, the ending does leave room for a sequel, which I wouldn't mind because I'd like to see what other stories could be told, and that is the last sign a movie did its job.

Overall, I give it 8 out of 10 stars.

Hot Pursuit.

Review #783: Hot Pursuit.

Cast
Reese Witherspoon (Cooper), Sofía Vergara (Daniella Riva), Matthew Del Negro (Detective Hauser), Michael Mosley (Detective Dixon), Robert Kazinsky (Randy), Richard T. Jones (Detective Jackson), Joaquín Cosio (Vicente Cortez), John Carroll Lynch (Captain Emmett), and Jim Gaffigan (Red) Directed by Anne Fletcher.

Review
Watching this movie is like microwaving a dried out hot pocket near its expiration date: it will either make for a modestly enjoyable experience that you'll forget about conveniently later...or it'll just come off as a stale experience that you'll forget about conveniently later. In my case, this falls in the latter, but what was I expecting? It's difficult to come up with elements to get aggravated about, mostly because there are far better (or worse) movies to talk about. The movie is as cookie-cutter as it gets, with jokes that would be funny if they made sense. The characters/acting are nothing special, feeling like cliches of established cliches, and of course the duo is all bickering at first, but not as much at the end...I suppose. Witherspoon and Vegara never seem at all comfortable together, and any chemistry they could've had is weighed down by tedious plot device that make the movie seem more detailed than it really is. The comedy is not entirely obnoxious, but it just feels so bland that nearly any pairing could be in this "buddy film" without any changes to the plot. Near the end, I wonder if this would've worked better (or at least not as bland) as a drama...probably not. Let's do a little game:
I wish my mind could convince me that my friends care about me and not just merely tolerate me.
If you think there's a joke about Witherspoon looking like a little kid (because 5'1 people are so short), collect 10 points.
If you think there's a joke about Vergara being described as 45-50 years old on TV bullitens, collect 10 points.
If you think the movie is less than 90 minutes, collect 10 points.
If you think this game is an unnecessary exercise in trying to escape having to describe the movie in detail, collect 1,000 points.
While I like doing these reviews, I have a lack of energy to actually review, especially now. Sorry.
If you have 30 points, you either watched one trailer for it, or you flat out used conventional sense.
If you have 1,030 points...you are beyond correct. If you want to see a buddy film, literally google to see if there are other picks. If after exhausting all your options and stuck with no one around to watch it with (or stop you)...go to sleep. Or fix your film shelf. Or try and reach out to friends.
Yea, like that last one will ever happen. Seriously, I watch most of these films alone.
Overall, I give it 4 out of 10 stars.

Zootopia.

Review #782: Zootopia.

Cast
Ginnifer Goodwin (Officer Judy Hopps), Jason Bateman (Nick Wilde), Idris Elba (Chief Bogo), J.K. Simmons (Leodore Lionheart), Tommy Chong (Yax), Octavia Spencer (Mrs. Otterton), Jenny Slate (Dawn Bellwether), Shakira (Gazelle), Nate Torrence (Officer Benjamin Clawhauser), Bonnie Hunt (Bonnie Hopps), Don Lake (Stu Hopps), Alan Tudyk (Duke Weaselton), Mark Smith (Officer McHorn), Raymond S. Persi (Flash), and Maurice LaMarche (Mr. Big) Directed by Byron Howard, Rich Moore (#386 - Wreck it Ralph) and Jared Bush.

Review
Honestly, the movie exceeded my expectations. And it only makes sense that it comes from a movie ultimately all about how we perceive types of people...and the fact that it came at a time like this with regards to prejudice and stereotypes. It's not merely a buddy film, or a movie just with animals in a city, or even just a silly comedy, it's a clever movie on many levels that could appeal to anyone. Of course it helps the cast is enjoyable as well. Goodwin and Bateman have good chemistry together, being enjoyable to watch not just exchanging remarks, but actually in solving the case. The rest of the cast is also pretty enjoyable, making these characters (and animals) stand out. It's also a wonderfully animated movie, especially with shots of the city, but also the look of the animals. It's a movie that also doesn't hesitate to take risks with plot and characters, and it always kept me interested in what would go on next. The way the movie talks about prejudice and stereotyping is also well done, being neither over done nor underplayed, being utilized neatly. More importantly, this is a movie that works for both kids and adults, being a movie full of creativity and enjoyment that anyone can like.

Overall, I give it 9 out of 10 stars.

Mad Max: Fury Road.

Review #781: Mad Max: Fury Road.

Cast
Tom Hardy (Max Rockatansky), Charlize Theron (Imperator Furiosa), Nicholas Hoult (Nux), Hugh Keays-Byrne (Immortan Joe), Josh Helman (Slit), Nathan Jones (Rictus Erectus), Zoë Kravitz (Toast the Knowing), Rosie Huntington-Whiteley (The Splendid Angharad), Riley Keough (Capable), Abbey Lee (The Dag), Courtney Eaton (Cheedo the Fragile), John Howard (The People Eater), Richard Carter (The Bullet Farmer), and iOTA (The Doof Warrior) Directed by George Miller (#380 - Mad Max, #392 - Happy Feet, #493 - The Witches of Eastwick, and #707 - Mad Max 2)

Review
When it comes to action films, Mad Max: Fury Road will certainly come up as a discussion subject with regards to action movies that truly never let up, from beginning to end. Miller wanted to make a movie that was a continuous chase of cars and action...and he certainly succeeds. But the movie is more than that, it's a wonderland of spectacle and unique action. One of the characters has a guitar that doubles as a flamethrower, but the movie already has enough in terms of interesting characters, with the most interesting not entirely being Max, but Furiosa. Perhaps it has to do with her being a strong character who flat out takes command of the situation (and perhaps the movie) and never lets up in just being a compelling action hero (With a metal arm to boot), with her motive of redemption being especially interesting. Hardy is our new Mad Max, doing a good job at capturing the essence of a man haunted by his past (even awakening from a dream shaking), and thankfully there's never a moment where you're stuck wondering how it would've been with Gibson, which helps the movie gain more and more footing. The rest of the cast also does a good job, especially Keays-Byrne, who makes for an interesting villain. The wives (Kravitz, Huntington-Whiteley, Keough, Lee, Eaton) also do a fine job, interacting well with each other as well as rest of the cast. The movie (much like the other Mad Max films) looks great with regards to the environment and effects. The music by Tom Holkenborg (aka Junkie XL) is also well-done, matching the movie in great unison. It's a movie about survival and redemption, with home being the biggest motivation of them all. Whether it's a sequel or a reboot is irrelevant, the movie is a wonderfully octane experience that has more layers than meets the eye.

Overall, I give it 9 out of 10 stars.

The Witch (2015).

Review #780: The Witch.

Cast
Anya Taylor-Joy (Thomasin), Ralph Ineson (William), Kate Dickie (Katherine), Harvey Scrimshaw (Caleb), Ellie Grainger (Mercy), Lucas Dawson (Jonas), and Bathsheba Garnett (The Witch) Directed by Robert Eggers.

Review
It's been a week since the last review, so on a whim, I decided to look up films in the theater. Of the new ones in release, this one popped up that I hadn't heard of. After a bit of searching over what it was (including the fact that it had premiered at Sundance the year before), I decided to go see this film on a whim. Even though there were only a handful of people there to see with me, the movie was worth the price of admission. The movie (set in the 17th century) certainly has a good atmosphere and setting, while managing to have a fairly entertaining group of characters and not trying cliche techniques to scare the audience. The dialogue (which according to the credits is based off real journals and accounts of the time) takes a bit of time to get used to, but the actors manage to sell the movie and make the characters very believable. The child actors (Scrimshaw, Grainger and Dawson) are not too annoying, and they share a critical scene (Along with Taylor-Joy) that manages to be creepy. The movie certainly does take its time to get going, but the movie eventually gets its footing on the strength of the family dynamic and the interactions between all of them. It's not a movie to watch for blood/gore, but for the creepy tone that it manages to set up with such a simple premise. It's not a great horror film, but it is at least an entertaining movie that keeps itself going from beginning to end.

Overall, I give it 8 out of 10 stars.

Deadpool.

Review #779: Deadpool.

Cast
Ryan Reynolds (Wade Wilson / Deadpool), Morena Baccarin (Vanessa Carlysle), Ed Skrein (Francis Freeman / Ajax), T.J. Miller (Weasel), Gina Carano (Angel Dust), Brianna Hildebrand (Negasonic Teenage Warhead), Stefan Kapičić (Peter Rasputin / Colossus), Leslie Uggams (Blind Al), and Karan Soni (Dopinder) Directed by Tim Miller.

Review
I didn't know what to expect with Deadpool, but I decided to go with it not only because it had been nearly two months since the last time I went to the theater to watch a new movie, but because I wanted to see how an R-rated Marvel movie (the first one of those in quite some time) would pan out. Yes, a movie doesn't need to be R to be good, but restricting yourself to PG-13 (like some certain movies) doesn't help either, and this movie certainly pulls all the punches needed to make for a really entertaining movie. For all of the years that it took to get Deadpool onto the screen (and an appearance in X-Men Origins: Wolverine that I (and probably you) have no recollection of), it seems that it certainly was worth it with the end result, with the biggest reason for the movie's success being the script + Ryan Reynolds, both working a great pace to make a really funny, really offbeat lead character, who truly is the "Merc with a mouth".

The movie works at such a rapid pace (even when focusing on the origin part of Deadpool), and the cast works really together, especially Reynolds-Baccarin, and even Skrein (our villain) gets a few good barbs here and there. The movie is certainly not family-friendly (good!), but it isn't just flat out profanity, especially with the spectacular (if not gruesome) action. From the opening credits, the movie establishes itself as one with no real rules, and it goes on from there, completely going off-the-wall into a territory on a completely different level from other comic book films made by 20th Century Fox (or Marvel), especially when Kapicic and Hildebrand (according to Deadpool, the only two X-Men the studio could afford to put on screen) are in the picture. To spoil the movie is no fun, you need to see the movie in order to at least see if this...unique kind of bizarre movie is for you. And as it should be, stay for the end credits.

Overall, I give it 8 out of 10 stars.

Redux: RoboCop 3.

Redux Review #006: RoboCop 3.

Cast
Robert John Burke (RoboCop / Alex J. Murphy), Nancy Allen (Anne Lewis), Remy Ryan (Nikko Halloran), Rip Torn (OCP President), John Castle (Commander Paul McDaggett), Jill Hennessy (Dr. Marie Lazarus), Mako (Kanemitsu), C. C. H. Pounder (Bertha), Felton Perry (OCP Vice President Donald Johnson), Robert DoQui (Sgt. Warren Reed), Bruce Locke (Otomo), Bradley Whitford (Jeffrey Fleck), and Mario Machado (Casey Wong) Directed by Fred Dekker.

Review
Welcome to a Redux Review of the original RoboCop 3 film, which is a revised review meant to say more about the movie as a whole. The rating will stay the same, but I feel that this Redux is necessary (which I could say for a good deal the original batch of reviews). Not to worry, there will be new reviews on the way, but I feel that the upcoming Redux Reviews are necessary to help better the evolution of Movie Night, and to help alleviate the unintentional month long hiatus. Enjoy. 

Yes, RoboCop 3. If you've seen the other two Redux Reviews, I went into a good amount of words to express a variety of opinions for a movie that was really good...and the one that was a disappointment. With this, it's not hard to say why this movie isn't good, or even passable, though the younger me kinda thought it was okay (still, I gave it a 5, but even a mediocre movie can be enjoyable at times). With the third movie, the expectations are extremely low, and the fact that the movie was actually shelved (according to the 1992 copyright) due to the bankruptcy of Orion Pictures. In fact, the movie was filmed in buildings slated to be torn down for the 1996 Olympics (if there's an irony, I hope you find it) in Atlanta. Peter Weller did not want any part of this movie (deciding to do Naked Lunch and not have to deal with the bulky suit once again), and Nancy Allen did the movie only on the condition that she would be killed off (and probably some money too, but hey, I can't imagine why). There is also no more Dan O'Herlihy as the head of OCP, instead being replaced by Rip Torn. The makers decided to make the movie PG-13 oriented (because of the belief that kids were part of the fanbase - which I believe in the sense that kids watched because of their parents) instead of R, which meant lowering the amount of violence (in a sense). Once again, Frank Miller returned to write the story and screenplay (along with Dekker), but it doesn't matter all too much. Despite all of this...I can't say I hate this movie.

Don't get me wrong, it is a movie dead on arrival, with no chance at being anything but a lackluster movie made to try and make money (and failing)...but still. This is a movie where RoboCop not only fights robot ninjas, but also flies in a jet pack for the climax of the movie. I can't even be angry at the nondescript villain (easily the worst villain in the trilogy), because this is a movie that has nothing going for it. Burke is not exactly miscast as RoboCop, but after two movies with Peter Weller that were probably one of the best aspects for both movies, Burke comes off as less memorable and more robotic sounding. and he doesn't have much time to develop any chemistry with any of the characters. Rip Torn doesn't get much to do, but he is at least amusing in a thankless role. C. C. H. Pounder is mildly enjoyable, and Felton Perry does a reasonable (if not brief) performance once again. Of all the actors that had been in the other movies, Robert DoQui is my favorite, and I guess its probably because he just seems more at ease with being in these movies, whether good or bad. Mako is indeed in the movie...for maybe 5-10 minutes. Seriously, he says a few lines about how he will send his robot ninja (Otomo) to deal with the Resistance problem, and he bows to RoboCop at the end of the movie. I had forgotten about Remy Ryan and her computer whiz kid character...at the age of 8. Clearly, it was a preparation for Anakin Skywalker in The Phantom Menace, and I can't figure out which is worse. Naturally there's a character named Lazarus, because either a 9th grader thought of the name after learning it in English class, or because it sounded cool (you decide). Hennessey is okay, but no good (or great) performance can save a movie that looks destined for TV-movie status.

And yet, I can't help but laugh at the ridiculous aspects. For example, the jet pack scene. There had been foreshadowing (or outright hints) of it throughout the movie, and though it is first used as a way for RoboCop to charge himself (not as a phone, mind you), you just know it is coming. When it does happen (in the midst of a battle between OCP and the Resistance/cops), RoboCop takes his sweet time in getting to the crux of the fight (which already had punk mercenaries and a granny packing an Uzi)...and he promptly fires a rocket into an OCP tank that blows it up (and fires a few shots at some mercenaries), which apparently wins the battle. But my particular favorite is his confrontation with not one, but two ninja robots (because one's not enough, and I guess Kanemitsu sent 3 robots and not one as it implied)...and the kid programmer and Lazerus program two robots with swords to chop each other off in a matter of seconds. Remember how I said logic is dead? RoboCop 3 resurrects it, then it kills it all over again, complete with 90's cheese. Afterwards, RoboCop has to escape the self-destruct that activated when the two robots destroyed each other (okay), and the villain is stopped...by the flame discharge by the jetpack, which means he can't stop the self-destruct. The fact that this villain is such a non-threat that never comes off as having any sort of personality or brutality in him means you can barely enjoy his defeat.

Basil Poledouris does at least return to score the music, and while a good chunk of it is from the first film, it is refreshing to hear that main theme once again (after RoboCop shoots up his roof with his gun - yes I'm serious), even if the movie has no sense of emotional depth. At least it doesn't reset RoboCop to having to find his human side again, but I'm amazed at the ineptness of OCP still having to get Delta City off the ground, but the idea of a Resistance fighting off against corporate bad guys is exactly what you think it is. I can understand someone really hating the movie, but for me personally, it's a stupid (but silly) movie.

And so ends my Redux Recap Trilogy on the three RoboCop movies. I hoped you enjoyed the reviews, and I promise you there will be more material (including Redux Reviews on another famous trilogy covered once before), but especially new reviews, coming soon. Stay tuned.

Overall, I give it 5 out of 10 stars.

Redux: RoboCop 2.

Redux Review #004: RoboCop 2.

Cast
Peter Weller (Alex Murphy/RoboCop), Nancy Allen (Anne Lewis), Belinda Bauer (Dr. Juliette Faxx), Dan O'Herlihy ("The Old Man" / OCP President), Felton Perry (OCP Vice President Donald Johnson), Tom Noonan (Cain), Willard E. Pugh (Mayor Marvin Kuzak), Gabriel Damon (Hob), Galyn Görg (Angie), Stephen Lee (Officer Duffy), and Robert DoQui (Sgt. Reed) Directed by Irvin Kershner (#114 - The Empire Strikes Back)

Review
Welcome to a Redux Review of the original RoboCop 2 film, which is a revised review meant to say more about the movie as a whole. The rating will stay the same, but I feel that this Redux is necessary (which I could say for a good deal the original batch of reviews). Not to worry, there will be new reviews on the way, but I feel that the upcoming Redux Reviews are necessary to help better the evolution of Movie Night, and to help alleviate the unintentional month long hiatus. Enjoy. 

RoboCop 2. For me, it might actually be more disappointing than the third one because of the fact that even though it is better than RoboCop 3, the level of expectations/care is way, way less in that film than in this, a movie that resets Murphy into fighting (internally) the man-or-the-machine conundrum...that had been dealt with in the first film. The mood in this film is significantly more darker, and the violence is certainly more prevalent this time around. I do like the effects, especially with the climax, which is very impressive to watch. The movie does at least retain the Media Break/commercial interludes (my favorite being the one about Sun Block 5000, a blue sunscreen that causes skin cancer with frequent use), but it feels somewhat lacking in the most critical component: RoboCop.

The movie seems to focus more on the impending bankruptcy of Detroit (the movie did at least get one prediction true)...or the police strike...or the building of RoboCop 2...or the rise of Nuke, or pretty much anything that involves RoboCop being not as prominent this time around. Sure, he does get butchered into pieces and promptly gets restored...inputted with so many directives. I understand the idea behind it (example: RoboCop shooting at spots near a dude until he drops his cigarette...actually, that's just weird), but it barely goes anywhere due to RoboCop promptly frying himself and all of his directives. I guess its interesting that he does this willingly, but by that point, I was just waiting for RoboCop to be involved with taking down Nuke...which he does, technically. The movie isn't very enjoyable to watch, because there isn't much to root for, aside from RoboCop. I can't care too much for OCP and their troubles, and I can't care for the city's problems when the mayor resorts to taking drug lord money to pay off a debt...I could care about the police strike, if it wasn't for that it kinda just ends after RoboCop fries himself. The music by Leonard Roseman isn't terrible, but after a riveting score in the first film, having a theme in which a chorus sings out RoboCop's name is a bit much, don't you think? This isn't the 60's Batman theme (which is meant to be campy), you know. At least the movie continues the tradition of being filmed in Texas (this time being filmed in Houston - I guess Texan cities double well for Detroit?).

The acting this time around is fine, and I do like Weller, who seems like he really is trying to make the movie work, although he evidently had gripes with the third act, particularly with the lack of morality, in his words. Bauer is okay, but as for her character...I'll get to that shortly. O'Herlihy gets a chance to ham it up this time around, even yelling "BEHAVE YOURSELVES" to the two RoboCops near the end. It is a bit jarring to see the Old Man turn out to be evil, but I guess the plan of engineering a police strike to make the city default is one you have to conceal very well. Noonan does an alright job, but he doesn't have as much memorability as the previous villain. Granted, he does become RoboCop 2, but by then it's almost too late. And of course there's Gabriel Damon playing a foul-mouthed teenage member of Cain's gang that's also (probably, never counted) a murderer.

The idea of having the character in the movie comes off as both silly and flat-out ridiculously over-the-top stupid, especially when he takes over Cain's "empire" near the end. Actually, the worst scene is his death sequence, a scene that is absurd in the idea that anyone could feel any sympathy for this character - especially after he uses a lunch-box gun against cops. Sure, he's a kid that was killed (by Cain no less), but...nope, the sympathy card doesn't go that far. I'm aware that Frank Miller was hired to write the film, but his script (deemed "unfilmable" by the producers) was changed, though some of his ideas (such as Hob) stayed. I wonder whose idea it was to have RoboCop confront Cain (the second time) and have him play chicken with him on a motorcycle, though. Miller's words on the movie: "Don’t be the writer. The director’s got the power. The screenplay is a fire hydrant, and there’s a row of dogs around the block waiting for it."

My other gripe with the movie is the idea of putting a drug lord's brain into a cyborg body, using the drug as a way of controlling him (?!), because you can totally control someone who's bigger and stronger than you and is completely insane (you'd go insane if you were took off your ventilator and promptly see your head with only your eyes and brain to watch. Because what could go wrong-Yea, everything goes wrong for OCP really fast (what did you expect?!). Sure, the rest of OCP (minus Faxx, who picked the brain) probably didn't expect the result they got, especially after they sent the thing to murder the mayor and a group of city councilmen when trying to make a deal to save the city (I do like  Of course the Old Man displays a canister of Nuke right in front of RoboCop 2 when making a presentation about how the cyborg will rid the drug from the streets...and the crazed robot goes right for it. Logic is dead. Technically you could say the Old Man and Faxx get their comeuppance...in that they might go to jail. Whoopee, because that makes all of this mean-spirited mess worth it. It would be like if Boddicker went to jail instead of getting the sendoff that he got in the previous film (you know, the one that knew how to treat its characters).

For all the times I compare it to the first film, the movie isn't inherently terrible. It's just a very scrambled mess that comes off as too cynical and probably a bit too long (nearly 2 hours), while managing to be only mildly successful. It does have its moments, but it begs to be made with more competent storytelling, and that is the greatest crime of all.

We all know about the third one. And if you don't...you'll see. 
For the record, I didn't intend on writing over 1000 words for an inferior sequel, it just happened.

Overall, I give it 6 out of 10 stars.

The Longest Yard (1974).

Review #778: The Longest Yard.

Cast
Burt Reynolds (Paul "Wrecking" Crewe), Eddie Albert (Warden Rudolph Hazen), Ed Lauter (Captain Wilhelm Knauer), Michael Conrad (Nate Scarborough), James Hampton (Caretaker), Harry Caesar ("Granny" Granville), John Steadman (Pop), Charles Tyner (Unger), Mike Henry (Rasmussen), Jim Nicholson (Ice Man), Bernadette Peters (Miss Toot), Pepper Martin (Shop steward), Robert Tessier (Connie Shokner), Richard Kiel (Samson), Anitra Ford (Melissa), and Ray Nitschke (Bogdanski) Directed by Robert Aldrich (#105- What Ever Happened to Baby Jane?)

Review
Yes, I'm aware of the timing to be back. In any case, The Longest Yard is a movie I had wanted to review, but I only had recently got the chance to finally watch the film, and what better way to do it on Sunday? In any case, The Longest Yard has a gallery of characters that generate a good deal of laughs, especially Reynolds, who seems to be perfectly at home with this character, filled with that expressionist grin. It's a movie that pulls all the punches, having a good deal of fun, with its own edge of football violence that anyone can associate with the sport. One of my favorite scenes is where Reynolds and another inmate exchange pleasantries (if you'd call it that) of stacking mud onto their pants, with the two getting into a mud-fight. Somehow, seeing the Captain coming out of the car gets them all laughing (even the guards laugh), and I can't help but crack up at everybody having a good laugh in the middle of a swamp. I do love the introduction to the football game, complete with split images of multiple shots. This is a movie for anyone looking for a good time with Burt Reynolds and a bunch of inmates who while being pretty criminal (including at least one murderer), are at least interesting to watch try to play some football, which is fine by me. It's a brutal film, but it is a movie that knows what its doing, and it knows how to make you laugh.

Football players in this movie (because why not?): Joe Kapp, Ray Nitschke, Mike Henry, Pervis Atkins, Ernie Wheelwright and Ray Ogden.

Overall, I give it 8 out of 10 stars.

Redux: RoboCop (1987).

Redux #002: RoboCop.

Cast
Peter Weller (Alex Murphy / RoboCop), Nancy Allen (Anne Lewis), Ronny Cox (Dick Jones), Kurtwood Smith (Clarence Boddicker), Miguel Ferrer (Bob Morton), Dan O'Herlihy ("The Old Man"), Paul McCrane (Emil Antonowsky), Ray Wise (Leon Nash), Jesse D. Goins (Joe Cox), Calvin Jung (Steve Minh), Michael Gregory (Lt. Hedgecock), Robert DoQui (Sergeant Reed), and Felton Perry (OCP Executive Johnson) Directed by Paul Verhoeven.

Review
Welcome to a Redux Review of the original RoboCop film, which is a revised review meant to say more about the movie as a whole. The upcoming Redux Reviews are necessary to help better the evolution of Movie Night in all that has changed from its inception in 2010 to the present age - enjoy.

The initial thing that can be said about RoboCop, released on July 17, 1987, is that it showcased more than the sum of its parts from what you would have expected in its era, with layers of satire and emotional depth to make for a compelling movie. The action and violence is certainly entertaining in that goes over-the-top with great results. I remember seeing the scene where Murphy gets gunned down when I was barely a teenager, and even all these years later it still manages to leave an imprint on my mind because of how striking it is. One effect that certainly still ranks high on the memorability scale is the toxic waste infested Emil, right down to the collision with a car. The effects also are pretty well done, and the fight between ED-209 and RoboCop is impressive, right down to the end result (sure, the stairs part is cute, but the moment where one sees the eye of RoboCop exposed is just as striking). The music by Basil Poledouris is brilliant, being both triumphant and emotionally reaching at the right times, using synthesizer and orchestral music very well, with the music at the climax of the move working just right. Of course, there is plenty to say about the movie besides what one can say was enjoyable in imagery, because it is a movie that strikes at the heart of the age it was made in that still strikes a chord today because of how Paul Verhoeven and company succeeded in what they aspired to do despite the hard conditions of filming. The film was written by Edward Neumeier and Michael Miner, with the former being a junior story executive at Universal Pictures before aspiring to write screenplays, as inspired by him seeing the production of Blade Runner (1982); Miner came on Neumeier's radar because of a student video he did, which led to his idea of a robot-themed rock music video converging rightly with Neumeier's idea. Verhoeven, a Dutch director who had just moved to the States best known for films such as Soldier of Orange (1977) and Flesh+Blood (1985), was approached about directing the film after a handful of names dropped out of doing it, and he actually rejected it before his wife encouraged him to give the script a chance - the scene at the abandoned house hooked him onto doing it. The film was made for under $14 million and made roughly $53 million on original release, with its legacy growing in stature in the wake of analysis over its themes involving humanity and corporate policies.

You have to understand that the era of the 1980s had corporate people who were not above reading Japanese texts about killing more effectively. So, a movie involving a corporation taking the task of running a police department and trying to deploy products to rid crime like it was a cancer isn't exactly too off the deep end (one of the writers termed the movie as "fascism for liberals", so take that for what it is worth). The occasional newsbreak/commercials also help to serve the satire in its excesses and absurdity as well, considering that coverage of an ambush of cops with one gravely injured in the attack closes with a broadcaster going "Good luck" to them. The segments lighten up the movie when compared to the violence, which actually was toned down because of the MPAA deeming it an X rather than the R rating targeted...eight times; one can see the un-rated cut on home video now, fortunately.  Eventually, the movie also looks upon the humanity that starts to shine through the title character despite the attempts to strip it away and present it as product, one that results in a soulful and sobering film that could also be construed in religious tones, and Verhoeven has referred to the execution of Weller's character as like a crucifixion.

Weller had spent time studying mime after he managed to be cast in the film, one that had struggled to find a right lead actor because they wanted someone who was both a suitable size that wouldn't look awkward when the suit would be designed around them and also have a good jawline (of course, acting without having the face shown for most of it didn't exactly attract much help either). The studying did not help him much when the actual suit (made of flexible foam latex, polyurethane, and fiberglass) came around, because its bulky nature and long makeup time led to discomfort, complete with dehydration. Eventually, he worked out a more deliberate moving style to help deal with the costume, and it is evident to see how he managed to turn all of this into an excellent performance. He handles the one extended human sequence with warm gusto that you would expect from a cop drama before segueing into the main course handily; the humanity that was thought lost starts to come in bits and pieces that he handles with calm effectiveness, whether that involves him traversing through an abandoned house or the scene where he sees his own face in a reflection before wishing to be left alone. Allen (cast after Stephanie Zimbalist dropped out in preproduction) proves a fitting partner for certain moments to show his lingering humanity in earthy grace. 

It is the adversarial side that makes it all come together of course. Cox may have been known for nice-guy roles, but he sure chomps on this material for all of what it is worth, striking the heart of a great villain in believing in their righteousness to the bitter end no matter who gets struck in their wake. Gang leaders may be tough, but one hasn't seen nothing until he spooks a cocky executive with a few calm words and a hair-pull. O'Herlihy doesn't have a lot of screen time, but he certainly makes his presence felt as the head of corporate sharks. One of my favorite quirks is that Jones regards to the death of an employee via the ED 209 as a "glitch", and the Old Man is more angry at the "temporary setback". Ferrer elevates a corporate wolf-in-sheep's clothing into something charming in its smarminess, one that might have been an adversarial stooge in a different movie but instead ends up something different for satisfaction. Last but not least, Kurtwood Smith does a wonderfully evil job of making Boddicker more than just a cop-killer, with a look that was actually inspired by Nazi leaders. Sure, the execution sequence is a clear highlight, but my particular favorite occurs within a standoff during a negotiation, which involves a line like this: "Oooh. Guns, guns, guns! C'mon, Sal! The Tigers are playing... *slaps table* …tonight. I never miss a game." He has a manner to him that makes him more than just a common street thug, one who controls any scene he is in with confidence (later on, the character spits blood on his booking in jail, as suggested by Smith). The showdown at the end of the movie is riveting, showing the lasting conclusion of Verhoeven's "American Jesus" to its logical endpoint that Smith and company handle well.

The 102 minutes pass by with great execution by Verhoeven and company, as Rob Bottin and his special effects team (which included folks such as Phil Tippet) lend a great hand in making over-the-top spectacle in effects go hand-in-hand with the locations (shot in Dallas, TX alongside Pennsylvania and Long Beach) in seamless style. Sure, some might have had a problem with the violence, but I think it is necessary to understand our own human nature, as if satire is just something you can present in a vacuum or that the darkness of the human spirit isn't lurking within us. I didn't wince at the violence when I saw it years ago, I sure as hell don't see how one can wince at it now. Over three decades later, the legacy of the film is that none of the follow-ups that have passed in its wake have managed to top it in all of the aspects that made the original so striking. The 1990 sequel, with no Verhoeven or the original writers present, proved quite absurd in its continuation of corporate avarice while failing to reach the soulful highlights presented by the original in favor of ultra-violence that lacked a real third act. The 1993 sequel, now without its main star, was an ill-advised attempt at sanitizing the material for younger audiences that made for one hell of a movie to pick apart as a franchise killer. At any rate, the original 1987 movie aimed not for the strings of franchise-making or ultra violent fun but instead for a parable about how far one's humanity reaches even with the confines of a metallic body flung into pursuit for justice. It is a great action film, but it is also a well-done satire that still reaches the mark in corporate insanity and violent absurdity that makes it a movie for all time.

Overall, I give it 10 out of 10 stars.

The Seventh Seal.

Review #777: The Seventh Seal.

Cast
Gunnar Björnstrand (Jöns, squire), Bengt Ekerot (Death), Nils Poppe (Jof), Max von Sydow (Antonius Block), Bibi Andersson (Mia, Jof's wife), Inga Landgré (Karin, Block's wife), Åke Fridell (Blacksmith Plog), and Inga Gill (Lisa, blacksmith's wife) Directed by Ingmar Bergman.

Review
The Seventh Seal has been heralded as a classic of world cinema, so much so that it is hard to talk about it when others (with significantly more knowledge of film) have talked about the movie extensively. But in any case, these reviews are just my opinion, which you can take/not take for value. Welcome to Season 6 and 2016. 

The Seventh Seal (known in Sweden as Det sjunde inseglet) happens to be the first Swedish film reviewed on Movie Night, and it comes from Ingmar Bergman, who directed movies for over 50 years until his death in 2007. The movie can be grim (especially at the beginning and end), but it also has its insertions of humor and warmth (particularly with Poppe and Andersson, who represent hope even in times of death). The acting is well done, especially by Max von Sydow, who seems perfectly natural and makes for a performance anyone could root for in any decade. The most memorable scene is when Death first appears to Sydow's character, and Ekerot's look is especially chilling. Another memorable scene is the procession of the flagellants, and the expressions of the cast as the haunting scene proceeds around them. The dance of death ends the movie much in the way that everyone inevitably has to face, with no one being able to escape death. The movie looks great as well (due to the cinematography by Gunnar Fischer), having a stark and an appearance. Ultimately, this is a movie that doesn't cheat its audience, because it is a movie that makes one think without having to be spoon fed info, or just being a grim tale. Sure, it is a bleak movie with death, but it also has its touches of hope amidst the darkness that engulf us all.

Overall, I give it 10 out of 10 stars.

The Adventures of Buckaroo Banzai Across the 8th Dimension.

Review #776: The Adventures of Buckaroo Banzai Across the 8th Dimension.

Cast
Peter Weller (Buckaroo Banzai), John Lithgow (Lord John Whorfin / Dr. Emilio Lizardo), Ellen Barkin (Penny Priddy), Jeff Goldblum (New Jersey/Dr. Sidney Zweibel), Christopher Lloyd (John Bigboote), Lewis Smith (Perfect Tommy), Rosalind Cash (John Emdall), Clancy Brown (Rawhide), Robert Ito (Professor Hikita), Pepe Serna (Reno Nevada), Ronald Lacey (President Widmark), Matt Clark (Secretary of Defense), William Traylor (General Catburd), Carl Lumbly (John Parker), Dan Hedaya (John Gomez), and Vincent Schiavelli (John O'Connor) Directed by W. D. Richter.

Review

Here's what we can all agree is a "cult film". Buckaroo Banzai certainly have a mind of its own when it comes to being as offbeat and ambitious as possible. It has been described as a "science fiction romantic adventure comedy film", which is one heck of an classification, and it makes sense. Our main character is a scientist/neurosurgeon/rock musician/race car driver, complete with a bunch of assistants called the The Hong Kong Cavaliers. It's not an origin story as much as it feels like the middle of a much larger tale, especially with regards to our multi-talented lead. Weller excels as Banzai, mainly because of how he projects the hero, not being just an action hero, but also a smart quirky aspect to a quirky row of characters. Lithgow hams it up as well as anyone would when named "Lizardo", especially with that wig and teeth. The Cavaliers (Brown, Serna, Smith, Goldblum, Vera) and Lloyd (especially that makeup) are also pretty entertaining to watch as well. Weller and Barkin certainly have some entertaining chemistry together. The movie is certainly offbeat enough to work, although it is a shame that the movie did not succeed financially. It certainly has enough charm and fun in it. The effects still look pretty good for 1984, especially with the Lectroids, who look right for a movie as offbeat as this. The movie ends (naturally) with our heroes walking off together (with a killer end credits theme), announcing plans for a sequel that (so far) has never been made entitled Buckaroo Banzai Against the World Crime League. Ultimately, this is a movie that does what it feels makes sense, without regards to trying to being simple in any regard that you have to see for yourself.

Overall, I give it 8 out of 10 stars.

Shoulder Arms.

Review #775: Shoulder Arms.

Cast
Charlie Chaplin (Charlie, the Doughboy), Edna Purviance (French girl), Sydney Chaplin (Charlie's Comrade/The Kaiser), Jack Wilson (German Crown Prince), Henry Bergman (Fat German Sergeant/Field Marshal von Hindenburg/Bartender), and Albert Austin (American Officer/Clean Shaven German Soldier/Bearded German Soldier) Directed by Charlie Chaplin.

Review
Well, it's Christmas. I hope everyone enjoyed themselves (I slept a good portion of the day, though at least I ate well and had some good gifts). As such, I thought it fitting to end the day with a Charlie Chaplin movie. Shoulder Arms is a silent comedy set during World War I (released a month before the Armistice was signed), with Chaplin playing a "Doughboy", which was actually a term for members of the Army and Marines, so this time around he isn't playing the Tramp. As it turned out, this was Chaplin's shortest feature (at 44 minutes) ever released, and it's not a bad film. There's a good amount of gags that you'd expect from a Chaplin film, hits and all. One of my favorites is him hiding in disguise as a tree behind enemy lines (such a clever disguise, eh?). Of course him throwing Limburger cheese into the enemy trench (after putting on a gas mask) right into the face of a soldier is pretty funny as well. The movie flows well, and its likable enough to be entertaining for anyone. If you're looking for some brilliant memorable gags that lasts less than an hour, I'd recommend this.

Overall, I give it 8 out of 10 stars.

The Phantom of the Opera (1925).

Review #774: The Phantom of the Opera.

Cast
Lon Chaney (Erik, The Phantom of the Opera), Mary Philbin (Christine Daaé), Norman Kerry (Vicomte Raoul de Chagny), Arthur Edmund Carewe (Ledoux), Gibson Gowland (Simon Buquet), John St. Polis (Comte Philippe de Chagny), and Snitz Edwards (Florine Papillon) Directed by Rupert Julian (with additional uncredited work by Edward Sedgwick, Ernst Laemmle, and Lon Chaney)

Review

After a bit of shopping on the Eve of Christmas, I decided to watch a film that I had planned to do earlier in the year but had forgotten to. 90 years after its release, all of the cast members had died, but it was only last year that the final cast member (Carla Laemmle, playing a prima ballerina) died, which was also when Soundstage 28, a set made for the movie that was demolished. Naturally, the one scene that is most memorable is the reveal of the Phantom himself, makeup (created by Chaney himself) and all. It shocked audiences in 1925, and it still looks shocking now, in a way that CGI can never duplicate. Of course the sequence in color (with the Phantom as the Red Death, most notably) is also a highlight, particularly for the time it was shown in. It's a melodrama that lasts for...a run time that depends on what version you are watching. The original release was 101 minutes, but when it re-issued in 1930 with sound, it lasted 101 minutes. The version I watched lasted 107 minutes, so I guess I won out with the movie. The movie certainly sets itself well with regards to the mysterious aspects of the Phantom, but also with the character himself, presented as more than just someone who stalks the opera, but one of misery and hope, masked in deformity. Of course he also was once a prisoner on Devil's Island before he escaped, but still. Chaney truly dominates the movie, in part due to the makeup, but also his ability to act so well without sound. The chandelier scene is treated a bit low key (compared to other scenes), but it is enjoyable to watch a chandelier fall down, especially due to its size. This is a technical marvel in terms of its makeup by Chaney, but also a good horror film that was one of the first films in the Universal Monsters series. Go see it.

Overall, I give it 9 out of 10 stars.

Applause.

Review #773: Applause.

Cast
Helen Morgan (Kitty Darling), Joan Peers (April Darling), Fuller Mellish Jr. (Hitch Nelson), Jack Cameron (Joe King), Henry Wadsworth (Tony), and Roy Hargrave (Slim Lamont) Directed by  Rouben Mamoulian.

Review
Two things brought me to watch this film: It was from 1929, a year I had not reviewed anything from (the 1920's is the 2nd least covered decade in the 5 years Movie Night has been around. 1930 and 1910-1914 also haven't been covered, though the former has more feature films released in that year), but the critical reason was the fact that it was an all-talking backstage musical (a musical with the plot revolving around production of a play/musical) in 1929 that shot on location in Manhattan (with shots also done at Paramount's Astoria Studios in Queens), released two years after The Jazz Singer, a groundbreaking movie that was the advent for talkie movies, though even that film was a "part-talkie", a hybrid of silent inter titles and sound. (Lights of New York, released in 1928, was billed as the first all-talking picture). With Applause however, it is a sound film, effects and all.

One thing I like is the camera shots, particularly ones low on the ground (such as the wheels of a train moving across a track), ones showing the performance of the performers, but I also like this one shot midway through the film, in which you see only the legs of a few of our characters, with dialogue being spoken through it. Yes, it pans up to show faces, but I guess I like the idea of not having to show faces to get dialogue across. One of my favorite location shots is the one of the Brooklyn Bridge, but there are other nice shots as well, especially ones showing buildings all across Manhattan like the Wolworth (if you're wondering, this is occurring during a date atop a roof by two of our characters). Shots aside, the movie certainly has a charm to it, especially with the musical aspects, but also due to Helen Morgan, a singer turned actress in one of her first films with a big role, stealing the show. While the romance between Peers and Wadsworth could be characterized as "spur of the moment", it sure makes for good quirky charm. Applause is an interesting little movie that stands out for being a sound musical not bogged down by static sound or boring locations, instead being a movie of its own worth. It's not a great musical, but it is a charming movie, and for me that's more than enough.

Happy Festivus, everyone.

Overall, I give it 8 out of 10 stars.

Four Christmases.

Review #772: Four Christmases.

Cast
Vince Vaughn (Brad McVie), Reese Witherspoon (Kate), Robert Duvall (Howard McVie), Sissy Spacek (Paula McVie), Jon Voight (Creighton), Mary Steenburgen (Marilyn), Kristin Chenoweth (Courtney), Jon Favreau (Denver McVie), Tim McGraw (Dallas McVie), and Katy Mixon (Susan McVie) Directed by Seth Gordon.

Review
This movie is awful. If I wanted to, I could leave it that. But if I did, then someone might wonder why I only said it was awful and watch it for themselves (just go with the idea that people actually use these reviews as an influence). If you watch about 10-20 minutes of the movie, you will start to have a few questions:

1. Why do Vaughn and Witherspoon look really miscast as a couple?
2. Why can't they arrange the four families to meet at one place instead of having to go to all four in one day?
3. Why did I decide to watch this?
4. Are all romantic comedies like this?
5. Have you ever put a spending limit of $10 for each Christmas gift you gave someone?
6. Are there any likable characters in it?

The answers to the questions are as follows: Pass, Pass, Pass, Maybe, No and...Yes (Jon Voight, who is only in the movie for the last 20 (or so) minutes, and manages to be not only the least annoying character, but also the one who has the least screen time. Go figure.). None of the situations that are set up here are really that funny, feeling either standard or just downright odd. Tell me if this sounds like a goldmine of hilarity: Our main character getting tackled and wrestled with by his two other brothers, and this isn't just one time, no it happens (I think, I lost count) twice more. Of course the movie tries (read: tries) to phone in a happy ending, because I guess having the movie end with them not getting back together seemed not "cheery" enough for Christmas. This a movie that manages to be unlikable at times, but more often than not it's just boring. Why should I care about anything that goes on with these people? It fails as a comedy, it fails as a romance (chemistry clocks in at zero), it fails as a drama (read: last half hour), and its greatest failing is that it fails as a Christmas movie. This isn't a movie you watch to be cheerful around the holidays, this is a movie for people who honestly want to find any reason not to visit their relatives, because they very well may just be as crazy this year as the people in this laugh-forsaken movie. That, and apparently being married and having kids is the only way to be happy. I'd advise you to eat fruitcake before watching this over literally any Christmas movie. Except Deck the Halls. (Yes, I would watch Santa Clause Conquers the Martians again. Even Jingle All the Way). Stay away from this garbage.

Overall, I give it 3 out of 10 stars.

National Lampoon's Christmas Vacation.

Review #771: National Lampoon's Christmas Vacation.

Cast
Chevy Chase (Clark Griswold, Jr), Beverly D'Angelo (Ellen Griswold), Randy Quaid (Cousin Eddie), Juliette Lewis (Audrey Griswold), Johnny Galecki (Rusty Griswold), John Randolph (Clark Griswold, Sr), Diane Ladd (Nora Griswold), E. G. Marshall (Art Smith), Doris Roberts (Frances Smith), Miriam Flynn (Cousin Catherine), Cody Burger (Cousin Rocky), Nicholas Guest (Todd Chester), Julia Louis-Dreyfus (Margo Chester), and Brian Doyle-Murray (Frank Shirley) Directed by Jeremiah Chechik.

Review
Please forgive me for not having watched the two Vacation films released before this one. They (along with Vegas Vacation) will be reviewed in 2016. Probably.

Ah Christmas. It's a time of year in which families try to eat food and get along with each other...and other stuff, because I usually just stay home. But I can relate to at least a few things in the movie, particularly the sticky sap tree, and trying to get a collection of lights to work...though I can't say I ever had that many lights (of course I keep my lights on the tree). The characters are pretty much what you probably have in your own family (no I won't reuse this line later) on Christmas, from over-determined to...bighearted to (insert number) degree of grumpy relatives. Chase certainly sells Griswold's lingering madness well. D'Angelo (along with Lewis and Galecki) certainly make for a good cinema family. My favorite scene with them is the opening scene, especially the part about getting a big ol' Christmas tree in the forest. The buildup to it is pretty enjoyable as well (I can relate in a sense to dealing with drivers from the past with my dad). Sure, there are moments when bitterness and circumstance get in the way, but in the end, it's all full of cheer.

In the pile of Christmas films (which apparently is almost 40) I've reviewed in five years, Christmas Vacation has moments of hilarity, but the movie's real strength is the seasonal charm that the movie evokes, especially the enthusiasm of the main character. It's interesting how comedies like this can be christened Christmas classics, but I can see why. It's not a perfect movie, but it just fits the bill of being a Christmas movie that one can accept.

Overall, I give it 8 out of 10 stars.

Galaxina.

Review #770: Galaxina.

Cast
Stephen Macht (Sgt. Thor), Avery Schreiber (Captain Cornelius Butt), J. D. Hinton (Buzz), Dorothy Stratten (Galaxina), Lionel Mark Smith (Maurice), Tad Horino (Sam Wo), Ronald J. Knight (Ordric), Percy Rodrigues (Ordric's voice), Herb Kaplowitz (Rock Eater / Kitty / Ugly Alien Woman), and Nancy McCauley (Elexia) Directed by William Sachs.

Review
It only makes sense that a movie that homages/parodies sci-fi films like Star Wars (#113), Star Trek (#515), and Alien (#530) gets covered here. The movie was released two months before Dorothy Stratten was killed, and this was her only starring role. Her presence (aside from being the namesake of the movie) involves not speaking for about half the movie, which is a shame because the other cast isn't exactly exciting. Galaxina is a parody made from a 3 cent crackerjack box, rife with cheesy effects and cheesy acting that makes for a movie that thinks its more funny than it really is. None of the characters/actors are particularly interesting to watch, feeling like low-rent actors you would hire for a film project. The low-budget quality of the movie neither helps nor hurts the movie because you really could make the movie on any budget/effects and still have the same effect of not quite up to par jokes that make the movie feel like an eternity at 95 minutes. It's a movie that know it's a cheesy parody of other, better movies, with an R rating to make it seem "edgy"...or because it wouldn't be any funnier/less funnier rated PG (This was back before PG-13 was created). If you're in the mood for something fun with tinges (or rips) of sci-fi films...I'd recommend Starcrash (#755). Even if you want a parody from 1980, I'd recommend Airplane! (#664), released a month after this film that actually works.

In case you are wondering, yes it is indeed the 5th Anniversary of Movie Night. It's funny, I didn't really intend for this to last as long as it has, in the *calculates* 1,826 days of life. The reviews (I'd like to think) have managed to get better with time (especially with grammar), and while the rate of publishing reviews has decreased (from 082 in Season 1, 230 in Season 2, 202 in Season 3, 172 in Season 4, and 84 in the current Season 5. In fact, it wasn't until Season 3 when I moved the end date from around the anniversary to the end of the year.), I hope you've enjoyed the reviews. I'll try to keep 'em coming.

Overall, I give it 5 out of 10 stars.

Star Wars: The Force Awakens.

Review #769: Star Wars: The Force Awakens.

Cast
Harrison Ford (Han Solo), Mark Hamill (Luke Skywalker), Carrie Fisher (General Organa), Adam Driver (Kylo Ren), Daisy Ridley (Rey), John Boyega (Finn), Oscar Isaac (Poe Dameron), Lupita Nyong'o (Maz Kanata), Andy Serkis (Supreme Leader Snoke), Domhnall Gleeson (General Hux), Anthony Daniels (C-3PO), Max von Sydow (Lor San Tekka), Peter Mayhew (Chewbacca), Gwendoline Christie (Captain Phasma), Kenny Baker (R2-D2), and Tim Rose (Admiral Ackbar) Directed by J. J. Abrams (#009 - Star Trek, #150 - Super 8, and #665 - Star Trek Into Darkness)

Review
As I went to my local theater for the 17th time (over the course of this show) to see my first Star Wars movie in a theater, I wondered how it would go. I wondered it because though I adored the original trilogy, the prequel trilogy was not quite up to the charm and fun of the originals. But I realized that I didn't need a perfect movie to be happy, I just needed what I need in any film: A good experience. The anticipation of waiting for a movie to start is a good sign, especially being there an hour early and having a house that looks 80-85% crowded. Naturally, there was a bit of hollering when the movie started up, and even I felt a bit giddy.

And the movie was good, too. Like I said, I wanted a good experience, and I sure got one. I enjoyed every minute of it because it was a movie not bogged down by weight or its own characters, rather it was a movie that utilizes elements from the original trilogy with elements of its own to make a new mesh that works pretty well for itself. Instead of waiting for the old cast to get into the picture, you're instead invested into the new characters because they actually are pretty compelling. Interestingly, my favorite from this movie was BB-8, the new droid who really is so adorable and really fun to watch. Ridley and Boyega are interesting to watch, because they aren't rehashes of the past (per se), they are something Star Wars needed: new blood, to carry the torch on. But of course, Ford is fun to watch again, especially with Leia. (I can share one quote: "When have you ever been helpful? And don't say the Death Star." It makes sense in context to the banter) There's no point in saying anything about the plot, because you really should see it for yourself. The effects look really well because they don't seem too artificial because you actually care about the effects this time around. The movie works because you actually care about where it will go next (after all, Episode VIII and IX will be around the corner soon enough) and care about these characters. It has a good share of humor and fun, laced with finely tuned action and around the same charm you'd expect from a Star Wars film. Will you like it as much I liked it? I don't know. But I'd recommend seeing it.

Believe the hype. And may the force be with you.

Overall, I give it 9 out of 10 stars.

Snow White (1916).

Review #768: Snow White.

Cast
Marguerite Clark (Snow White), Dorothy Cumming (Queen Brangomar), Creighton Hale (Prince Florimond), Lionel Braham (Berthold - the Huntsman), and Alice Washburn (Witch Hex) Directed by J. Searle Dawley.

Review
While this is not the Snow White film everyone thinks about, this was the earliest feature adaptation, made 20 years before Walt Disney's version. Fittingly, this film was released on Christmas Day, so that's (technically) another reason to watch right around now. This was adapted from the 1912 play (which also had Clark as Snow White), which had been inspired from the classic tale by the Brothers Grimm written in 1812. It's interesting to see a movie made in 1916 (a year not previously covered here) and the ways that films were made, with regards to editing, effects, and even storytelling. The effort to make a movie is always impressive, but it also is impressive when it was made in a era where features weren't quite the norm they are now. The acting is much like a filmed stage play, which makes sense given the history. The inter titles are relatively well paced (when they aren't switching typefaces. One of my favorites come from the dwarves: "It's a Girl. I saw one once."). I especially love the names of the seven (Blick, Flick, Glick, Snick, Plick, Whick, and Quee). This film was considered lost until 1992, when it was found (with Dutch inter titles) and restored by the George Eastman Museum. While the movie may not be as notable as the Disney film, it did have one notable viewer: Walt Disney, who was inspired enough by this film that he made it the subject of his own version of Snow White 21 years later. The movie takes a while to get going, but it is well paced at about 60 minutes, so I'd recommend it to anyone looking for a different Snow White to watch around the Holidays.

Overall, I give it 8 out of 10 stars.

The Skydivers.

Review #767: The Skydivers.

Cast
Kevin Casey (Beth Rowe), Eric Tomlin (Joe Moss), Anthony Cardoza (Harry Rowe), Marcia Knight (Suzy Belmont), Bob Carrano (Bob), Michael Rae (Red), Jerry Mann (Bernie), Keith Walton (Jim the Photographer), Paul Francis (Pete), Titus Moede (Frankie Bonner), and Harold Saunders (Mr. Morgan) Directed by Coleman Francis (#744 - The Beast of Yucca Flats)

Review
It make sense the movie (also known as Fiend from Half Moon Bay and Panic at Half Moon Bay) is in black and white - it correlates with the lack of life in the movie. On the one hand, it could be argued it is less terrible than Beast of Yucca Flats...but that doesn't make it a film even remotely worth watching. Part of the problem is the lack of enthusiasm in the cast. You'll find more excitement in playing with an old View-Master. The skydiving scenes make me wonder how actual skydiving is, because it can't be as meaningless-looking as this film makes it seem to be. Nothing about this movie looks appealing because nothing in this movie looks like a movie that should even be made. One "positive" thing about the movie is that at least there is no narration to explain the plot. Of course the hokey soap-opera type plot nearly sucks out any "positive" result (by the way, was putting acid on a parachute a thing back in the day?). The movie lasts about 75 minutes, but I can't recommend the movie even with a length like that because there are quite literally dozens of films that last shorter and are better than this. Naturally, this was a film covered by MST3K, and I imagine that version is better than the actual film. The Skydivers manages to be "better" than The Beast of Yucca Flats by about an inch, but neither are particularly watchable. You can do better things with your time, like fiddling with your phone, doing household chores, reading past Movie Night reviews (wink wink), or learning how to actually skydive.

Notes: Apologies on forgetting to list the director on last night's review of "The Toll of the Sea", whose name was Charles M. Franklin.

Also, I got my final grades for my first semester of college. All A's.
I'll review Red Zone Cuba in 2016, BTW.
Overall, I give it 1 out of 10 stars.

The Toll of the Sea.

Review #766: The Toll of the Sea.

Cast
Anna May Wong (Lotus Flower), Kenneth Harlan (Allen Carver), Beatrice Bentley (Barbara 'Elsie' Carver), Priscilla Moran (Little Allen), Etta Lee (Gossip), and Ming Young (Gossip) Directed by Chester M. Franklin.

Review
Not only am I reviewing a 1920s film, I'm reviewing a movie filmed in Technicolor. In fact, this was the 2nd (two-color - red and green) Technicolor film made in Hollywood (the first being the now mostly lost film The Gulf Between - 1917), with this also being Wong's first starring role. The same process that this film was made under would later be used for the 1925 version of The Phantom of the Opera, The Black Pirate, it was utilized until 1928. The movie was thought to be lost in the 1967 MGM vault fire, but it was restored in 1985 by the UCLA Film and Television Archive from the original negative, though they did need to shoot the final four minutes due to that part being lost, even utilizing an original two-color Technicolor camera to capture shots of the Pacific Ocean, key to the climax, while also recreating the titles for the close sequence. The movie is based off the opera Madame Butterfly, which had been adapted twice prior to this film. It's interesting to look at the movie and the colors brought out by the camera (especially the greens), which makes it all seem like I'm looking at a painting come to life. The colorful look of the movie certainly seems to contrast with the gloomy tone, especially evident in Wong's expressions (and tears), especially near the end. She stands out among the rest of the actors (rightfully so), visually and in terms of acting, filled with grace, style, but also grief. It is a great movie? No, but it is at least a good one to watch, and given that it lasts barely less than an hour and is easily available to find, I'd recommend seeing it, alongside the technical achievements of color that the movie made in over 90 years ago.

Overall, I give it 8 out of 10 stars.

Fargo.

Review #765: Fargo.

Cast
Frances McDormand (Marge Gunderson), William H. Macy (Jerry Lundegaard), Steve Buscemi (Carl Showalter), Peter Stormare (Gaear Grimsrud), Harve Presnell (Wade Gustafson), Kristin Rudrüd (Jean Lundegaard), Tony Denman (Scotty Lundegaard), Larry Brandenburg (Stan Grossman), John Carroll Lynch (Norm Gunderson), and Steve Reevis (Shep Proudfoot) Directed by the Coen Brothers (#659 - True Grit)

Review
The movie opens with the following text: "THIS IS A TRUE STORY. The events depicted in this film took place in Minnesota in 1987. At the request of the survivors, the names have been changed. Out of respect for the dead, the rest has been told exactly as it occurred." The movie's credits utilize the "All persons fictitious disclaimer", but even with all of that, the movie seems so real, especially with the small-town setting. While only the opening scene takes place in Fargo, it is where everything comes together for Macy and the two kidnappers he hires in a plan that goes...let's just say awry. It's a movie that spruces itself up with interesting characters and brutal crime to make for a really engaging movie. McDormand does a fine job making a folksy, but effective detective that is enjoyable to see figure out the pieces in such a bizarre case. I don't know why, but the first scene with her (alongside Lynch) having breakfast and then leaving for work is one of my favorites, mainly because it isn't just a normal eat and go kind of scene, it feels very regular (of course, the scene ends with her needing the car to be charged, but with the setting it makes sense).

Macy does a fine job in such a panicky role of a man that tries (and fails) to make the best out of the situations he has gotten himself into. I especially like when he is trying to explain a (deliberate) mistake he made with regards to filing on forms (by smudging the numbers). You can see the desperation and the ways he tries to wiggle out, even with all the pleasantries exchanged between the two. Buscemi and Stormare have their own quirks as well, even if they aren't as pleasant as the rest of these "Minnesota nice" characters. I especially like the scene where Buscemi's character is trying to get Stormare to talk during their trip to Minneapolis. Maybe it's just the fact that he is doing this on a trip to kidnap someone, or the fact that I can relate trying to make conversation on a driving trip because I (admittedly) did that while my dad and I drove up to Oregon a few years back (though at least my trip did not end with...you know). Buscemi is the more talkative villain, but Stormare really does a good job of silent force that is probably the more efficient killer. On the whole, this is a movie that feels original because it does what it wants to do that utilizes dark comedy to great effect to make for a riveting, but still enjoyable flick.

Overall, I give it 10 out of 10 stars.

Black Rock.

Review #764: Black Rock.

Cast
Katie Aselton (Abby), Lake Bell (Lou), Kate Bosworth (Sarah), Will Bouvier (Henry), Jay Paulson (Derek), and Anslem Richardson (Alex) Directed by Katie Aselton.

Review
Well, this is a new one. This is the first film reviewed here that actually had a Kickstarter campaign, raising $33,501, while also premiering at the 2012 Sundance Film Festival, though it did not get released theatrically until 2013, with Aselton directing the film with her husband writing the story. While I can appreciate the effort it must've taken to make the movie, the same can not be said for the actual movie itself. In the span of 80 minutes, I can't really remember any time the movie felt thrilling that wasn't just old cliches. Granted, cliched tropes can work under the right mood. With this film, I felt nothing for any of the things that happened because I felt nothing for any of these characters. The acting is okay, but it can't save a movie that tries to be edgy and original, but comes off as a laundry list of horror-thriller flicks. It's a forgettable movie, though at least the creators seemed to enjoy making it.

Overall, I give it 5 out of 10 stars.

A Fool There Was.

Review #763: A Fool There Was.

Cast
Theda Bara (The Vampire), Edward José (John Schuyler, The Fool), Mabel Frenyear (Kate Schuyler, The Wife), Runa Hodges (The Child), May Allison (The Wife's Sister), and Clifford Bruce (Tom, The Friend) Directed by Frank Powell.

Review
We are near the end of the year, so I decided to touch upon a movie released 100 years ago in 1915, making it the earliest film ever reviewed on this show. What is interesting is that this is one of only four feature films (along with two short comedies) starring Theda Bara that still survives today, with most of her films having been destroyed in the 1937 Fox vault fires. Bara's nickname of "The Vamp" came about do the popularity of this film, representing her reputation for playing "vamps", has evolved into the femme fatale. One notable inter-title is "Kiss me, my fool!", which was likely considered risque in the 1910's. This was based off a play (by Porter Emerson Browne) that was inspired by a Rudyard Kipling poem. As for the movie itself, it's okay. It kinda drags in the beginning with regards to the setup for the main characters, but at least the movie runs okay at an hour. Bara is certainly interesting as the lead, having a distinctive look and flair to her. It's certainly easy to see how she became so popular back in the day, though the studio promotion of her (giving her an elaborate fake biography of her being from an exotic land, though she was actually born in Cincinnati) also certainly helped. The movie is certainly an interesting capsule into the 1910's, and while I wouldn't say it's good, I would at least recommend it for any silent film buffs looking to watch the woman known as The Vamp.

Overall, I give it 6 out of 10 stars.

College.

Review #762: College.

Cast
Buster Keaton (Ronald), Anne Cornwall (Mary Haynes), Harold Goodwin (Jeff), Flora Bramley (Mary's friend), Snitz Edwards (Dean Edwards), Carl Harbaugh (Crew Coach), Sam Crawford (Baseball Coach), and Florence Turner (Ronald's mother) Directed by Buster Keaton (#757) and James W. Horne.

Review
Oh the joys of reviewing a movie named College. It is only fitting that I review this movie two days before the second (and last) Final Class Exam that culminates the end of my first semester at my college. To be honest, my first thoughts were that this sounded a good deal like The Freshman (#667), with regards to the premise of a new college student trying to impress someone at a college despite being picked being on, with one of their ideas being to play sports. But I realized that this isn't exactly a tired trope because it still technically works today. The debate of focus of academia vs athletics evidently was even a hot topic in 1927 as it is now. But the movie isn't a discussion of that, it's Buster Keaton being involved in slapstick, with some fun title cards (such as Keaton's academic character talking about athletes such as "Ty Ruth" and "Babe Dempsey") and some highlights such as Keaton trying to play baseball (try being emphasized here) and track and field (My favorite part: Keaton not only misses jumping over a hurdle, he breaks it in half with his face) but also some drama as well. The actors certainly fit their parts well (with Snitz Edwards, who had been in Seven Chances fitting nicely as the beleaguered Dean), fitting the story just fine. One scene that doesn't really age well is the scene where he puts on black-face makeup in order to work at a diner. It doesn't last long (maybe about 3-4 minutes), but it's still strange that he even put it on in the first place. Racist? That's up to you to decide, along with noting the time this was made as well. Despite this, the movie holds up pretty well, and the heart of the movie makes for a relatively fine movie.

Overall, I give it 8 out of 10 stars.