- Awards
- 27
What is it about these crazy Isabelles? Adjani, Huppert and Rossellini - who'd win the battle?
What was the last film you watched?
- Thread starter Mel O'Drama
- Start date
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- Awards
- 24
Poor Isabella R. is not a crazy Isabelle, not even an Isabelle. Besides she has the Goddess DNA of her mum Ingrid in her veins...
- Awards
- 27
JULIE & JULIA (2009)
Dammit, I should have done this as a foodie double feature with the Peter Greenaway film.
Julie & Julia played brilliantly by Amy Adams and Meryl Streep is a very wholesome and charming film but I was a little bit disappointed to find out it was based on real people.
It doesn't make the film less entertaining, it's just that it looks (well, looked) like great fiction. It's sort of like discovering that a great song is a coverversion.
Maybe I should also watch Peter Strickland's Flux Gourmet , I'm sure that'll be 100% fictional.
- Awards
- 24
- Awards
- 9
I'm currently reading Maximilian Schell's autobiography "I fly over dark valleys (Ich fliege über dunkle Täler)" and of course "Judgment at Nuremberg" is mentioned as well as some anecdotes with his co-stars, but what I found most interesting about Schell's memories of this movie was his enthusiasm for the actor Norbert Schiller, who played a waiter who only had a few sentences to say, including the word " Schwalbenwinkel (Swallow's corner)", which Spencer Tracy found very amusing. Anyway, from the few sentences Norbert Schiller said, for which he was not even credited, Maximilian Schell realized that he must be a good actor and learned that the Jewish Norbert Schiller was a respected theater actor and director before fleeing to the USA. In the US he only had small roles, but Maximilian Schell cast him in three films that he directed. Despite photos of Norbert Schiller, I don't remember him as waiter in "Judgment at Nuremberg", but maybe people who have seen the film recently still can.
- Awards
- 27
Tonight was a child actors double feature.
PAPER MOON (1973)
Thankfully it isn't and the tone of the film is light-hearted and funny but also consistent it what it tries to achieve, with just enough bitterness around the edges.
The supporting cast in mostly small roles has helped making this a vibrant and lovely film.
BUGSY MALONE (1976)
I had seen this before but that was 40 years ago so I don't think it counts as a rewatch. The film doesn't need much description, just kids (ranging between 12 and 16 years old) mimicking adults in classic gangster tropes, and how could it not look fabulous. But someone had to come up with the idea first, and that was Alan Parker.
All the songs are fantastic but unfortunately not sung by the cast.
My favourite character is Dandy Dan played by Martin Lev, he looks convincingly nasty. Blousy Brown is supposed to be a "good girl" but she gave me Neely O'Hara vibes. And it's probably not relevant to this film but I think Jodie Foster should have played the lead role in a Barbara Stanwyck biopic.
The DVD picture is windowboxed (four black borders) and that always makes a bit challenging to find the perfect distance between eyes and screen.
PAPER MOON (1973)
Tatum is the youngest of the child actors, and the reason it's been sitting in my watch list is because I feared it would be awkwardly saccharine.
Thankfully it isn't and the tone of the film is light-hearted and funny but also consistent it what it tries to achieve, with just enough bitterness around the edges.
The supporting cast in mostly small roles has helped making this a vibrant and lovely film.
BUGSY MALONE (1976)
I had seen this before but that was 40 years ago so I don't think it counts as a rewatch. The film doesn't need much description, just kids (ranging between 12 and 16 years old) mimicking adults in classic gangster tropes, and how could it not look fabulous. But someone had to come up with the idea first, and that was Alan Parker.
All the songs are fantastic but unfortunately not sung by the cast.
My favourite character is Dandy Dan played by Martin Lev, he looks convincingly nasty. Blousy Brown is supposed to be a "good girl" but she gave me Neely O'Hara vibes. And it's probably not relevant to this film but I think Jodie Foster should have played the lead role in a Barbara Stanwyck biopic.
The DVD picture is windowboxed (four black borders) and that always makes a bit challenging to find the perfect distance between eyes and screen.
- Awards
- 9
FIVE EASY PIECES (1970)
I found it it to be an unremarkable film except for the famed diner scene, which made me clench my jaw. This scene is often viewed as a rebellion against the rigidity of the Establishment, when it's really just a male Karen giving some poor waitress a hard time for doing her job. I think this movie may be the Villain Origin Story of why Boomers were so insufferable to people working customer service.
I found it it to be an unremarkable film except for the famed diner scene, which made me clench my jaw. This scene is often viewed as a rebellion against the rigidity of the Establishment, when it's really just a male Karen giving some poor waitress a hard time for doing her job. I think this movie may be the Villain Origin Story of why Boomers were so insufferable to people working customer service.
- Awards
- 27
I've seen it described as "Jack Nicholson performing surprisingly good and Karen Black performing surprisingly bad" - and I kinda agree with that.
QUIZ SHOW (1994)
It's about an American TV scandal I had never heard of before, and I'm afraid it's the kind of scandal that hasn't aged very well from a 2024 point of view (and I'm not sure it looked more impactful thirty years ago).
The main problem is, it just isn't "sexy" enough. This isn't O.J. or Zodiac or any of the other bloody events that keep lingering on.
As for the loss of American innocence, the people who can relate to those innocent times are probably already dead.
Nevertheless, the actors have been given some character drama to sink their teeth into and that's the only thing that creates a sense of conflict in this story.
In short, Quiz Show offers nothing more than an elegant and well-made "TV movie" that says more about the innocence of the pre-internet and pre-MeToo era.
On a sidenote, I sensed a little bit of bromance between Charles Van Doren and Dick Goodwin but unfortunately there's no payoff.
- Awards
- 27
THE KILLING KIND (1973)
My favourite film discovered in the "grande dame guignol" thread, and I also think this is Curtis Harrington's most sophisticated work.
It is exploitative as most horror films are but we're given enough to chew on. There are some interesting ambiguities: the troublesome situation between mother and son creates a chicken and egg narrative (didn't mean to make it sound so literal) and this time I noticed something different about the rape scene.
Was he punished because he did it or because he couldn't perform?
Visually, it's a fabulous piece of melancholy-horror that worked so naturally in the 1960s and 1970s. Lots of sunshine coming through doors and windows that gives the scenes something ethereal.
It's also interesting that the theme of (sexual) repression spills over into other characters. In essence, it's PSYCHO if Norman's mother had actually been alive, except that there are more things going on that are not literally explained.
The ending was just as strong as I remembered and Ann Sothern is simply delightlful in the role of Thelma.
Ruth Roman gets top billing even if it's only a small supporting role, but her smoky voice is worth every second of it.
Her place is fabulous/horrific potpourri of fur, cristal, French antique and late 60s modern, and this made me think of one of the reasons why these films look so much better than modern films: the interiors.
Just look at any random film from the last 25 years and chances are that the characters live in very dull places (or sets). Yes I understand that people want to live in a more pratical space but it doesn't look very interesting on screen.
It's been a few years since I've watched it on youtube and I've wanted to see it again in better picture quality. I bought the first DVD I could find but that turned out to be exactly the same crap, probably the source for the upload.
Then I found out that Vinegar Syndrome, one of the distribution companies that specializes in restored versions of obscure/independent cult films, had released a bluray of The Killing Kind including a DVD disc.
It's still not perfect of course, but I think it's the best version we'll ever get.
Compare:
taken from youtube, previously posted in the grande dame guignol thread
hence why I had to use the exact same image from the DVD
The sound is perfect, and the first time I hadn't even noticed the beautiful theme by Andrew Belling (I'd post it here but youtube doesn't have it).
My favourite film discovered in the "grande dame guignol" thread, and I also think this is Curtis Harrington's most sophisticated work.
It is exploitative as most horror films are but we're given enough to chew on. There are some interesting ambiguities: the troublesome situation between mother and son creates a chicken and egg narrative (didn't mean to make it sound so literal) and this time I noticed something different about the rape scene.
Was he punished because he did it or because he couldn't perform?
Visually, it's a fabulous piece of melancholy-horror that worked so naturally in the 1960s and 1970s. Lots of sunshine coming through doors and windows that gives the scenes something ethereal.
It's also interesting that the theme of (sexual) repression spills over into other characters. In essence, it's PSYCHO if Norman's mother had actually been alive, except that there are more things going on that are not literally explained.
The ending was just as strong as I remembered and Ann Sothern is simply delightlful in the role of Thelma.
Ruth Roman gets top billing even if it's only a small supporting role, but her smoky voice is worth every second of it.
Her place is fabulous/horrific potpourri of fur, cristal, French antique and late 60s modern, and this made me think of one of the reasons why these films look so much better than modern films: the interiors.
Just look at any random film from the last 25 years and chances are that the characters live in very dull places (or sets). Yes I understand that people want to live in a more pratical space but it doesn't look very interesting on screen.
It's been a few years since I've watched it on youtube and I've wanted to see it again in better picture quality. I bought the first DVD I could find but that turned out to be exactly the same crap, probably the source for the upload.
Then I found out that Vinegar Syndrome, one of the distribution companies that specializes in restored versions of obscure/independent cult films, had released a bluray of The Killing Kind including a DVD disc.
It's still not perfect of course, but I think it's the best version we'll ever get.
Compare:
taken from youtube, previously posted in the grande dame guignol thread
hence why I had to use the exact same image from the DVD
The sound is perfect, and the first time I hadn't even noticed the beautiful theme by Andrew Belling (I'd post it here but youtube doesn't have it).
- Awards
- 27
With Christmas (movies) breathing down my neck I better hurry up and watch the last films-to-be-watched-in-2024 before I return to the TV series.
- Awards
- 27
SINGLE WHITE FEMALE (1992)
Another rewatch, just to see how it holds up.
After the obsessive ex-lover in Fatal Attraction and the obsessive fan in Misery, Single White Female further explores the stalker genre with an obsessive roommate/BFF.
I don't remember if I experienced any surprises when I watched it back in the early 90s, but after having watched countless similar stories in both film and television I anticipated there weren't going to be any shockers this time.
I think the best part in these stories are the moments when things get a little bit uncomfortable before it all spirals out of control, and I think that's why Notes On A Scandal is the best in the genre because it never stops being uncomfortable.
Nevertheless, Jennifer Jason Leigh plays it convincingly deranged and even though I could predict almost every beat I was entertained from start to finish.
It's also more erotic than the other stalker films.
Moodswings featuring Chrissie Hynde's State Of Independence plays over the end credits, and since I didn't remember this cover version I guess there was a surprise after all.
Another rewatch, just to see how it holds up.
After the obsessive ex-lover in Fatal Attraction and the obsessive fan in Misery, Single White Female further explores the stalker genre with an obsessive roommate/BFF.
I don't remember if I experienced any surprises when I watched it back in the early 90s, but after having watched countless similar stories in both film and television I anticipated there weren't going to be any shockers this time.
I think the best part in these stories are the moments when things get a little bit uncomfortable before it all spirals out of control, and I think that's why Notes On A Scandal is the best in the genre because it never stops being uncomfortable.
Nevertheless, Jennifer Jason Leigh plays it convincingly deranged and even though I could predict almost every beat I was entertained from start to finish.
It's also more erotic than the other stalker films.
Moodswings featuring Chrissie Hynde's State Of Independence plays over the end credits, and since I didn't remember this cover version I guess there was a surprise after all.
- Awards
- 20
Ghostbusters (2016)
I don't care what anyone says, I like this.
It's not strictly a remake, although there are obvious parallels; mostly they just take the concept and run with it
I like the vibe of it; the banter, especially between Kristen Wiig and Melissa McCarthy; the spaced-out performance of Kate McKinnon; and the way Leslie Jones's character seamlessly becomes the fourth wheel almost without the others realising.
The cameos by the original cast are well done but not really necessary.
The one thing I could do with less of is Chris Hemsworth who seems to be a combination of the Annie Potts, Sigourney Weaver and Rick Moranis characters from the first film. I think it might have been better to have had a Rick Moranis type as the dopey receptionist, and let Hemsworth play to his type as a hunky guy Wiig can crush on without any workplace harassment issues.
I can understand how the Ghostbuster aficionados (of which I am not one), after waiting years for Ghostbusters 3, were disappointed to get this instead (and a degree of mysogony cannot be ruled out either), but viewed as a standalone film - or even as an alternate dimension story within the franchise - I find it very entertaining.
I don't care what anyone says, I like this.
It's not strictly a remake, although there are obvious parallels; mostly they just take the concept and run with it
I like the vibe of it; the banter, especially between Kristen Wiig and Melissa McCarthy; the spaced-out performance of Kate McKinnon; and the way Leslie Jones's character seamlessly becomes the fourth wheel almost without the others realising.
The cameos by the original cast are well done but not really necessary.
The one thing I could do with less of is Chris Hemsworth who seems to be a combination of the Annie Potts, Sigourney Weaver and Rick Moranis characters from the first film. I think it might have been better to have had a Rick Moranis type as the dopey receptionist, and let Hemsworth play to his type as a hunky guy Wiig can crush on without any workplace harassment issues.
I can understand how the Ghostbuster aficionados (of which I am not one), after waiting years for Ghostbusters 3, were disappointed to get this instead (and a degree of mysogony cannot be ruled out either), but viewed as a standalone film - or even as an alternate dimension story within the franchise - I find it very entertaining.
- Awards
- 14
As do I, an excellent movie.
Night At The Museum Battle for the Smithsonian
Third time of watching this, and can honestly say... it was a hoot! Beginning to end the cast delivered to goods.
Historical figures galore, woven into comedy, romance (played out before sun-up) and a hat tip to some pioneering aviators. Amelia Earhart and the Red Tails.
Very enjoyable viewing indeed.
The star of the show... Amy stealing every scene as Amelia.
- Awards
- 44
Song For Marion (2012)
Another random watch of a film I'd never heard of. Sadly, in summarising the plot, Prime did give away something that would have been better to discover organically (especially since, despite its inevitability, the element in question didn't really take off until the film was over halfway through).
In terms of cast members, I immediately saw that Terence Stamp was the lead and that attracted me. Shamefully, I only really know him for two of his roles - Zod and Bernadette - but they're so unrecognisable from each other that it's clear he's a very versatile and talented actor. His role as Arthur here makes it a hat trick.
Arthur is difficult to summarise, but I'd describe him as a combination of Alf Garnett and Colonel Von Trapp: a man who is seen by most - including his own family - as a grumpy old git, whose emotions are hermetically sealed preventing him from getting close to anyone, but whose wife understands him and puts up with his grousing, giving as good as she gets. It's a wonderful performance from Terence, who holds viewer empathy by clearly getting across how trapped he is behind his own walls. In the wrong hands this could have been an unlikeable or even ridiculous character is actually one of tragedy and pain... but played in a way that's not overdone and so palatable and even enjoyable to watch.
The trailer began to play (muted) when I hovered over the title whilst deciding whether or not to watch. Then I saw Ann Reid and it became a no-brainer since I've yet to watch a film in which she appears that I don't enjoy. Her role is fairly small here, but certainly memorable. Most of her scenes are with Veronica from Brush Strokes.
Better yet, once I began watching, Christopher Eccleston's name appeared, quite high up in the billing. This excited me, since I've watched a number of his films this year - mostly those penned by Jimmy McGovern - which have really opened my eyes to his talent. He does great work here, particularly since the story is less from his point of view and his character spends much of his screen time reacting to others. It goes to show that a good performance can make all the difference.
Gemma Aterton was the most underwhelming element for me. It's difficult to pinpoint, but there's something that to me seems a little self-conscious about her performance. Mind you, I had the same feeling the only other time I've seen her, and that was when she was herself on The Graham Norton Show (she was alongside Matthew Perry and Miriam Margolyes when the latter told the story about creaming in her knickers when she met Laurence Olivier). I couldn't say it's a bad performance, but there's nothing about it that makes me think she was the only person who could (or should) have played this role.
Vanessa Redgrave was a big surprise for me. I either missed her name in the opening or quickly forgot it as I started seeing other names I recognised. I couldn't place the actress playing the title character and it wasn't until the credits rolled that I realised I'd been watching Vanessa. It's different from the kind of role I usually think of when seeing her name, but then that's why she's an actress.
Of course there's the inevitable redemption arc, but it's beautifully played and written with such humanity it never feels quite as manipulative as it probably is. I'm quite perverse about films toying with my emotions. I know that's one of their basic functions, but I always become irritated if I sense it happening (and yes - I realise this is probably one of a number of reasons why I felt empathy for Arthur) . Old people singing falls into this category, but I found myself defenceless. This film not only got me in the tear ducts, it got me multiple times. Damn it.
Another random watch of a film I'd never heard of. Sadly, in summarising the plot, Prime did give away something that would have been better to discover organically (especially since, despite its inevitability, the element in question didn't really take off until the film was over halfway through).
In terms of cast members, I immediately saw that Terence Stamp was the lead and that attracted me. Shamefully, I only really know him for two of his roles - Zod and Bernadette - but they're so unrecognisable from each other that it's clear he's a very versatile and talented actor. His role as Arthur here makes it a hat trick.
Arthur is difficult to summarise, but I'd describe him as a combination of Alf Garnett and Colonel Von Trapp: a man who is seen by most - including his own family - as a grumpy old git, whose emotions are hermetically sealed preventing him from getting close to anyone, but whose wife understands him and puts up with his grousing, giving as good as she gets. It's a wonderful performance from Terence, who holds viewer empathy by clearly getting across how trapped he is behind his own walls. In the wrong hands this could have been an unlikeable or even ridiculous character is actually one of tragedy and pain... but played in a way that's not overdone and so palatable and even enjoyable to watch.
The trailer began to play (muted) when I hovered over the title whilst deciding whether or not to watch. Then I saw Ann Reid and it became a no-brainer since I've yet to watch a film in which she appears that I don't enjoy. Her role is fairly small here, but certainly memorable. Most of her scenes are with Veronica from Brush Strokes.
Better yet, once I began watching, Christopher Eccleston's name appeared, quite high up in the billing. This excited me, since I've watched a number of his films this year - mostly those penned by Jimmy McGovern - which have really opened my eyes to his talent. He does great work here, particularly since the story is less from his point of view and his character spends much of his screen time reacting to others. It goes to show that a good performance can make all the difference.
Gemma Aterton was the most underwhelming element for me. It's difficult to pinpoint, but there's something that to me seems a little self-conscious about her performance. Mind you, I had the same feeling the only other time I've seen her, and that was when she was herself on The Graham Norton Show (she was alongside Matthew Perry and Miriam Margolyes when the latter told the story about creaming in her knickers when she met Laurence Olivier). I couldn't say it's a bad performance, but there's nothing about it that makes me think she was the only person who could (or should) have played this role.
Vanessa Redgrave was a big surprise for me. I either missed her name in the opening or quickly forgot it as I started seeing other names I recognised. I couldn't place the actress playing the title character and it wasn't until the credits rolled that I realised I'd been watching Vanessa. It's different from the kind of role I usually think of when seeing her name, but then that's why she's an actress.
Of course there's the inevitable redemption arc, but it's beautifully played and written with such humanity it never feels quite as manipulative as it probably is. I'm quite perverse about films toying with my emotions. I know that's one of their basic functions, but I always become irritated if I sense it happening (and yes - I realise this is probably one of a number of reasons why I felt empathy for Arthur) . Old people singing falls into this category, but I found myself defenceless. This film not only got me in the tear ducts, it got me multiple times. Damn it.
- Awards
- 27
FLUX GOURMET (2022)
It's an arty-farty black comedy that (to me) looks like the memoirs of one man's bowels: taboo, indulgence, conflicts and catharsis.
The film also tackles various mundane subjects wrapped in sophisticatedly deranged dialogue and constantly pleases the viewer with all kinds of abstract and grotesque imagery.
With all this weird stuff going on it's amazing to see how likeable the characters are, and I think it helps to make the film as accessible as possible.
The characters are a sonic catering collective (and I still have no idea what that means), their patroness Jan Stevens and a Greek guy who documents the project.
Flux Gourment also gives us the word "dossierge" and it really made my day.
Every time the patroness shows up, one of the artists says her name "Jan Stevens", probably as a nod to unnecessarily addressing in film and TV.
And if the film didn't need Asa Butterfield then it would still need an actor with the name Asa Butterfield. It simply belongs here.
The dossierge doesn't think of himself as a serious writer and mentions that even medication instructions need to be written by someone.
This made me think that I want to see a film about someone who writes enclosures for a sleeping pill manufacturing company, and played by Jake Gyllenhaal.
If you're fan of In Fabric then you'll also love Flux Gourmet.
It's an arty-farty black comedy that (to me) looks like the memoirs of one man's bowels: taboo, indulgence, conflicts and catharsis.
The film also tackles various mundane subjects wrapped in sophisticatedly deranged dialogue and constantly pleases the viewer with all kinds of abstract and grotesque imagery.
With all this weird stuff going on it's amazing to see how likeable the characters are, and I think it helps to make the film as accessible as possible.
The characters are a sonic catering collective (and I still have no idea what that means), their patroness Jan Stevens and a Greek guy who documents the project.
Flux Gourment also gives us the word "dossierge" and it really made my day.
Every time the patroness shows up, one of the artists says her name "Jan Stevens", probably as a nod to unnecessarily addressing in film and TV.
And if the film didn't need Asa Butterfield then it would still need an actor with the name Asa Butterfield. It simply belongs here.
The dossierge doesn't think of himself as a serious writer and mentions that even medication instructions need to be written by someone.
This made me think that I want to see a film about someone who writes enclosures for a sleeping pill manufacturing company, and played by Jake Gyllenhaal.
If you're fan of In Fabric then you'll also love Flux Gourmet.
- Awards
- 27
THE GIFT (2015)
An impulsive rewatch because I didn't remember much of the story or how I felt about it, which is usually very telling but I decided to do it anyway.
Definitely a low budget genre piece - it's as if they've put The Cable Guy, The Hand That Rocks The Cradle and Cape Fear in a blender - but the characters are written in such way that it makes me wonder how much of the revenge and comeuppance are justified.
Interesting arguments are given from both sides and the story doesn't offer much closure for these characters, and this element of Greek tragedy puts it a notch above the standard crazy-revenge flicks.
Jason Bateman is great as the a**hole husband who wants to control the narrative in a benign-but-almost-exploding "I understand what you're saying" kind of way.
The sets look typically-modern boring and colourless (although that didn't stop them from bragging about the wife's terrific decoration job) and since all the action happens there it's not an awesome picture to look at.
An impulsive rewatch because I didn't remember much of the story or how I felt about it, which is usually very telling but I decided to do it anyway.
Definitely a low budget genre piece - it's as if they've put The Cable Guy, The Hand That Rocks The Cradle and Cape Fear in a blender - but the characters are written in such way that it makes me wonder how much of the revenge and comeuppance are justified.
Interesting arguments are given from both sides and the story doesn't offer much closure for these characters, and this element of Greek tragedy puts it a notch above the standard crazy-revenge flicks.
Jason Bateman is great as the a**hole husband who wants to control the narrative in a benign-but-almost-exploding "I understand what you're saying" kind of way.
The sets look typically-modern boring and colourless (although that didn't stop them from bragging about the wife's terrific decoration job) and since all the action happens there it's not an awesome picture to look at.
- Awards
- 27
CLEOPATRA JONES (1973)
I don't know what a quintessential and original blaxploitation movie looks like, is it the type of film made for a black audience or comes the "ploitation" part from the fact that it was made for a mainstream audience?
Either way, Cleopatra Jones already looks like a subgenre of whatever the original genre is supposed to be. Apart from the violence it's sort of an early Charlie's Angels and all the different scenes - comedy, action, dialogue - carry the same weight and this takes a lot of energy out of it.
On the other hand, some of the more mundane dialogues kinda foreshadow the exploitation thereof in films like Pulp Fiction and Twin Peaks.
Technically speaking the film is well shot (to my eyes anyway) and the physical scenes are very entertaining especially the bitch slaps.
Tamara Dobson clearly knows how to wear a flamboyant outfit but the most memorable characters are the scenery-chewing Disney villains "Mommy" (Shelley Winters) and "Doodlebug" played by Antonio Fargas.
All things considered there's too much in it that falls between two stools, it needed to be better or worse.
CLEOPATRA JONES AND THE CASINO OF GOLD (1975)
Might as well get it over with. I've watched it in the early eighties and my impressions were mostly positive.
Casino Of Gold is devoid of whatever blaxploitation the first film had, and mostly caters to the mid-seventies popularity of the Kung Fu genre.
The tone feels a little bit more sinister (probably enhanced by the fact that we're in unknown territory) and unlike the first film it shows some skin, including the bums of the Johnson brothers.
Tamara Dobson does a double act with a Chinese actress and Stella Stevens replaces Shelley Winters as the lesbian villainess.
None of it is exciting and the sass is pure cringe.
The real star of the film is the casino itself, I love the sets and it's great to see how it gets torn down in the shootout climax, almost like a remake of the Poseidon Adventure.
The most intriguing stars are the extras, not visually but audibly. Rather than commenting on the events they stay "in character" and say the most peculiar things.
But it's still not a great film and it's also got the most boring intro song I've ever heard (although it improved over the end credits).
I don't know what a quintessential and original blaxploitation movie looks like, is it the type of film made for a black audience or comes the "ploitation" part from the fact that it was made for a mainstream audience?
Either way, Cleopatra Jones already looks like a subgenre of whatever the original genre is supposed to be. Apart from the violence it's sort of an early Charlie's Angels and all the different scenes - comedy, action, dialogue - carry the same weight and this takes a lot of energy out of it.
On the other hand, some of the more mundane dialogues kinda foreshadow the exploitation thereof in films like Pulp Fiction and Twin Peaks.
Technically speaking the film is well shot (to my eyes anyway) and the physical scenes are very entertaining especially the bitch slaps.
Tamara Dobson clearly knows how to wear a flamboyant outfit but the most memorable characters are the scenery-chewing Disney villains "Mommy" (Shelley Winters) and "Doodlebug" played by Antonio Fargas.
All things considered there's too much in it that falls between two stools, it needed to be better or worse.
CLEOPATRA JONES AND THE CASINO OF GOLD (1975)
Might as well get it over with. I've watched it in the early eighties and my impressions were mostly positive.
Casino Of Gold is devoid of whatever blaxploitation the first film had, and mostly caters to the mid-seventies popularity of the Kung Fu genre.
The tone feels a little bit more sinister (probably enhanced by the fact that we're in unknown territory) and unlike the first film it shows some skin, including the bums of the Johnson brothers.
Tamara Dobson does a double act with a Chinese actress and Stella Stevens replaces Shelley Winters as the lesbian villainess.
None of it is exciting and the sass is pure cringe.
The real star of the film is the casino itself, I love the sets and it's great to see how it gets torn down in the shootout climax, almost like a remake of the Poseidon Adventure.
The most intriguing stars are the extras, not visually but audibly. Rather than commenting on the events they stay "in character" and say the most peculiar things.
But it's still not a great film and it's also got the most boring intro song I've ever heard (although it improved over the end credits).
- Awards
- 20
Miracle on 34th Street (1947)
On this year's rewatch I noticed how much of Doris and Fred's courtship takes place off screen.
Kris and Fred have an agreement that Kris will try to win over Susan while Fred works on her mother. Well, we see a deal of the former, with Kris singing to Susan and teaching her how to pretend, but not much of the latter. There's a moment that especially struck me where Fred tells Doris he's reserved their table at Luigi's - clearly they're a regular thing now, but the lead up to that point is more implied than shown. Their relationship becomes pivotal to Kris fulfilling Susan's wish so in that way it's odd that it is not developed more obviously.
On this year's rewatch I noticed how much of Doris and Fred's courtship takes place off screen.
Kris and Fred have an agreement that Kris will try to win over Susan while Fred works on her mother. Well, we see a deal of the former, with Kris singing to Susan and teaching her how to pretend, but not much of the latter. There's a moment that especially struck me where Fred tells Doris he's reserved their table at Luigi's - clearly they're a regular thing now, but the lead up to that point is more implied than shown. Their relationship becomes pivotal to Kris fulfilling Susan's wish so in that way it's odd that it is not developed more obviously.
- Awards
- 5
6/10