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Author Topic: MOVIE OF THE DAY Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 04-18-2003 07:15 PM                     Star Trek II: The Wrath of Khan (1982, Nicholas Meyer, Paramount) STAR TREK II: THE WRATH OF KHAN is generally regarded as the best of the TREK movies, and for good reason. KHAN has so much to offer that a full critique of the film seems beyond even me at my most loquacious. My favorite aspects of this movie are, in no particular order... 1. KHAN's opening title sequence is simple but I find it particularly effective in terms of bringing about the psychological transportation out of the real world and into the diegesis of the movie. a) The starfield effect was achieved by aiming an ultra-high speed camera straight up at a warehouse ceiling and photographing a special explosive engineered to create lots of sparks that would drift downward toward the camera. When projected at normal speed -- in the context of the movie -- the effect is that we are (or the camera is) travelling through a fixed starfield. The opening sequence of SUPERMAN: THE MOVIE employs more aggressive visuals but performs the same function. The execution here is more hypnotic. b) James Horner's wonderful score begins with a single, quiet note which is an effective attention-getter, similar to the effect that an orchestra tuning has on a concert audience. Then the score begins in earnest with the STAR TREK fanfare, immediately launching into a composition that conjurs up the era of swashbuckling. Excellent passages for horns and strings. 2. This is a rich, intelligent script by Jack B. Sowards and Harve Bennett. On the surface, KHAN is a space adventure that resurrects a villain from the old TV show. It's a nice gimmick and, in these capable hands, it becomes a departure point for a commentary on the human condition which renders the film timeless and eternally relevant. Underneath, KHAN is about how we deal with the problem of time and its significance in relation to our mortality. Spock and Kirk were originally depicted as quasi-superheroes. Here, we see them as mortals: We meet Kirk on his birthday, longing for the adventure of his bygone youth and, of course, this is the film in which Spock dies (albeit triumphantly). Spock's eventual death near the film's ending is foreshadowed nicely in the training session that opens the film; this is a well-structured screenplay. As for Khan, one could say that time appears to have stood still for him. His anger has kept him strong and, unlike Kirk, he has no interest in the past but instead -- motivated by hate and revenge -- looks toward the future with eagerness. 3. "The Genesis Project" is a device that can take a desert planet and create, virtually overnight, a thriving, habitable environment. In the wrong hands, it could be used to completely wipe out a civilization. The Genesis Project is, thus, the filmic representation of many concepts applicable to the subplot (i.e. Kirk's midlife crisis). a) The biblical book of Genesis outlines the creation of the world and the earliest history of humanity. Genesis sets things in motion. In particular, it describes the beginning of Time. Kirk's problem is that he is facing the outer limits of his time and the end seems to be rapidly drawing near. This is perfectly symbolized by The Genesis Project, which compresses millions of years of planetary evolution into mere days. b) The Genesis Project also serves as a means of dramatizing the idea that we can choose to see a glass as half-full or half-empty. Similarly, we can choose to create or destroy. It also dramatizes the notion that "if life hands you a lemon, make lemonade." In short, it illustrates the importance of perspective, attitude and intent -- and how they can either enhance or upset our ability to process facts. c) The Book of Genesis also chronicles the dawn of human sexuality and procreation. Not coincidentally, Kirk is reunited with a former sexual partner who is in charge of The Genesis Project. He learns that he has a son. But, here again, we see Kirk faced with the problem of time: his son is a grown man. This drives home the point that we cannot stop time or reverse it. The best we can ever do is live in the present and look to the future. We cannot relive the past; we can only remember it. 4. As STAR TREK movies go, the acting has never been better. I attribute this to the terrific writing. Ricardo Montalban reprises his role as Khan and infuses the role with an impressive presence and energy, surpassing his performance in the original TV episode. KHAN also introduced audiences to Kirstie Alley who is perfect as the Vulcan, Lt. Saavik. Sadly, she did not return to portray Saavik in STAR TREK III and the role was recast. 5. The decision to hire Industrial Light & Magic for the visual effects came as a relief. The effects in the first STAR TREK movie lacked the organic, three-dimensional feel of STAR WARS and KHAN benefits tremendously from the dynamic production aesthetics of the crew at ILM. So...for those of you who always wondered why STAR TREK II is so widely hailed as the best TREK movie...now you know. Enjoy!  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 04-20-2003 01:40 PM                     Considering that today is Easter: King of Kings (1961) Seen as a follow-up to MGM's tremendously successful BEN-HUR, Samuel Bronston was contracted to produce a remake of the Cecil B. DeMille silent classic of the late twenties (the film that opened Grumaun's Chinese Theatre in Hollywood). While the film came nowhere close to the success of BEN-HUR, it is nevertheless a very good representation of "epic" filmmaking of the 60's roadshow mania. Master filmmaker Nicholas Ray took the helms of the story and tried to humanize Jesus. It has been noted this was the first major film to actually portray Jesus on screen (instead of in shadow) and it more-or-less works. Jeffrey Hunter does an able job of the Christ. Robert Ryan is a bit bombastic as John the Baptist. Siobhan McKenna gives a beautifully subdued performance as Jesus' mother Mary. Other performances run hot and cold. BUT... On a cinematic scale this film truly demonstrates the emotional power of the medium. Beautifully composed Technirama images and selective lighting of scenes help create a real feel of awe and reverance. While some may find Niklos Rota's score to be a bit manipulative, I think it partners well with the imagery. A lot of care went into the technical details of what the director was trying to achieve. [ 04-20-2003, 03:05 PM: Message edited by: Paul Linfesty ]  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 04-21-2003 06:58 AM                     Rock 'n' Roll High School (1979) Just one year after the big budget GREASE smashed some records, Roger Corman's B movie company unleashed this to the drive-in and grind houses across America. And unlike GREASE, this was a B flick that knew what it was, without the big-budget baggage that necessitated a hedging of the bet. Vince Lombardi High School has a new principal, Miss Togar (Mary Woronov). Her mission? To clean up the high school by ridding it of the subsersive rock 'n' roll music influence. Unfortunately, she more than meets her match in the form of Rif Randall (P.J. Soles), The Ramone's number one fan. Aided by her sidekick Kate Rambeau, Rif helps the school revolt against the mentally certifiable administrator. Director Alan Arkush helps bring a true anarchic spirit to the proceedings. The low budget B picture died a slow death, thanks to the major studios making B type films with A class budgets. Unfortunately, those super budgets required a "cleansing" of the spirit that made the B's so entertaining. With very little money, these films had to fall back on creativity and raw energy, something that got sucked out of the big league productions.  |  IP: Logged Gunnar Johansson Expert Film Handler Posts: 181 From: Gothenburg, Sweden Registered: Mar 2003 posted 04-23-2003 06:32 PM                        It´s been sort of dead here the last couple of days, with Pauls brilliant exception, but here´s my suggestion for the movie of the day, if you can find it: Fucking Åmål (1998) http://us.imdb.com/Title?0150662 Lukas Modysons debut film about teenage angst in suburbian/rural Sweden. English title was "Show me love" (probably to try and sell some more recirds of Robyn). With taglines such as: Jag ska aldrig mer bli ihop med nån. Jag ska bli celibat. (I shall never date another person, I shall become celibat(Roughly translated)) And plotline: Two teenage girls in small-town Sweden. Elin is beautiful, popular, and bored with life. Agnes is friendless, sad, and secretly in love with Elin. This fits nicely with the "out" at work thread posted recently (and maybe going offtopic a bit) and is really a good film. It´s a bit lost for identity for a while until it finally brings it home, with two young teenage girls finding small town life boring, and discovering what might turn out to be true love, and the price you have to pay for it. It´s titel is also indicative of the glorification of american society that´s been going on in swedish teenage culture for some time. Fucking is not a swedish word, but it sort of summarize the film with this "loan" from american language. It´s not intended to offend outside of Sweden, and does not offend here. It´s borderline of the "rule" but is one of the better swedish films in a while, and I´ll dom almost anything to promote homeland industry... If I had gone to filmschool instead of Engineering school I might have had a really good analysis of this film, but all I have is a gut feeling and instinct, and I really like it (despite "incidents" similar to Michael Moores" at swedish award show. Hope you can find it and enjoy. Hopefully it´s subtitled otherwise contact me and I+ll try to translate some of the more colourfull language (which is probably the first things we learn in a new language anyway). Regards a bit tired and some what intoxicated Gunnar who has just mixed yet another live band in a week of concerts building up to Walpurgis night in Gothenburg.... See you in the chatroom...  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 04-24-2003 06:27 PM                     Peggy Sue Got Married (1986, Francis Ford Copolla) Kathleen Turner does a capable job portraying time-travelling Peggy Sue who revisits (with some regret) her decision to marry her high school sweetheart, Charlie (Nicholas Cage). Jerry Leichtling and Arlene Sarner have constructed an entertaining story with some very interesting supporting roles. Watch for a young Jim Carrey as one of Charlie's high school friends. Although it could be classified as a comedy -- there are many funny moments -- there is an air of sadness about this film. On its most basic level, "Peggy Sue Got Married" deals with regrets, missed opportunities and Peggy's feelings of hopelessness and powerlessness to affect or change her own destiny. The score by John Barry is generally beautiful and, at its best moments, haunting.  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 04-25-2003 10:52 AM                     Time After Time(1979) D: Nicholas Meyer After the banality of the recent TIME MACHINE re-make, I thought it would be interesting to go back in time to this wonderful sci-fi romance thriller. The film surmises that H.G. Wells (Malcom McDowell) actually built the time machine he wrote about. Unbeknowest to him, the infamous Jack the Ripper (David Warner)is actually a good friend of his, and his machine is used for Jack's escape to modern day (circa 1979) San Francisco. Far from the socialist paradise that Wells had envisioned for the future, the Ripper finds himself at home. Of course, the film designs a plot device to allow Wells to retrieve the machine so he can track down the Ripper. Along the way, both men have met Mary Steenburgen (one of the screen's most shameslessly underutilized talents). One of the film's charms is the lack of reliance on special effects. For example, when it comes time to reveal who he really is (with a stunned Steenburgen uttering "a bigger crock of shit I never heard") his proof is quite simple. They go into the future a day to reveal tomorrow's newspaper sitting on a counter. No need for a spectacular (and nonsensical) orgy of special effects. Simplicity works here. Has Hollywood really gotten so lazy that they think story construction and truly felt emotions are not really that important anymore? Yes, they like to dazzle us with increasingly bland "been there done that" kind of effects. But they don't waste their time trying to stimulate our emotions or our intellect.  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 04-26-2003 10:23 AM                     Waiting for Guffman (1996) D: Christopher Guest From the director of A MIGHTY WIND and BEST IN SHOW comes Guest's first parody of a documentary (although he appeared in Rob Reiner's THIS IS SPINAL TAP). This hysterically funny documentary spoof chronicles the small town of Blaine, Missouri, and its staging of the town's 150th anniversary. The highlight is the musical production written and directed by a washed-up Broadway has-been, Corky St. Clair, who sees his vehicle as a way to make it to the top. How the desperate do dream.  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 04-27-2003 01:58 AM                     Sweet Charity (1969) D: Bob Fosse Bob Fosse directed this underrated 60's musical with Shirley MacLaine in her prime. There are many great production numbers here, including Big Spender, Rich Man's Fugue, Rhythm of Life, If My Friends Could See Me Now, and There's got to be Something Better Than This . Strong widescreen compositions and editing give the musical numbers their punch. A relief from the quick camera movements and even more cutting that mars today's movies. Not a great musical, but a heavily entertaining one.  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 05-01-2003 04:51 PM                     My Movie of the Day Pick is Blake Edward's S.O.B. (1981). A film-within-a film, about a director who has plan for a successful movie. After it been called the biggest Turkey that Hollywood has ever released. Alot of insider production jokes. http://us.imdb.com/Title?0083015  |  IP: Logged Paul Linfesty Phenomenal Film Handler Posts: 1383 From: Bakersfield, CA, USA Registered: Nov 1999 posted 05-09-2003 01:35 AM                     MYRA BRECKINRIDGE(1970) OK, so this movie is NOT yet out on DVD, and is OOP on VHS and LD, but it has been showing up lately on SHOWTIME and FOX Movie Channel (where I first saw it, letterboxed, natch!) Based on Gore Vidal's wicked satire of the motion picture industry, Myra Breckinridge became Fox's first film to be slapped with an X rating (Beyond the Valley of the Dolls quickly followed. While the film stars Raquel Welch in the title role, Mae West was able to grab top billing for what was a limited supporting role. Welch should probably seek out a channeler to send West a belated thank you note. For Myra Breckinridge belongs on a list of all-time bad movies. And not movies that are so bad, they're good, either. But movies that are so bad, they are BAD! So why the recommendation? Because of the thirty some years that have passed, this movie is STILL so bad that its bad, but this adds to the entertainment factor, in that it raises the question of how could studio minds have been so jaded as to think any of this was entertaining. First we have Rex Reed as Myron Breckinridge, so desperate to let the woman out of him, he is willing to put his "masculinity" in the hands of a stoned John Carradine. While turning down the good doctor's offer of a circumsicion ("it's cheaper, you know"), an impatient Myron insists in getting it over with, even after being warned "once we cut it off, it won't grow back." Then, after an opening credit sequence featuring Myra and Myron dancing the streets of Hollywood Blvd. a Shirley Temple song ("SMILE"), Myra takes over as she claims to be Myron's widow and determined to claim her inheritance of a shady acting academy run by John Huston. Her ultimate goal, however, is the "destruction of the last vestigal traces of traditional manhood from the race." And boy, does she mean that. When a particularily homophobic acting student states that a man should ball chicks, she gives him his medical check-up (why an acting teacher should be doing this is never explained). On goes the strap-on, and Myra rides him like a cowboy rides a bronco. And in case we miss the point, clips from rodeo movies are intercut with the "action." And Welch, much to her credit, is far more lively in this one scene than she has ever appeared in any film before or since. As a matter of fact, many fox film classics get intercut with many scenes in this movie. A sort of Fox version "That's Entertainment!" Myra wasn't just interested in men, however. Farah Fawcett, in her movie debut, played the object of Myra's affections. Unfortunately for Myra, Farah wasn't as adventuresome as she had hoped. Another future TV star, Tom Sellick, made his movie debut here as one of talent agent Mae West's stud puppies. When one realizes that West was pushing 80 when she made this film, some of her more salicious comments seam all the more revolting (example: she's told an actor she's introduced to is 6 feet 7 inches. she says, "never mind about the six feet, just tell me about the 7 inches") ewwwwww. Anyway, I hope this review encourages film lovers everywhere to petition FOX to put out a super special edition of this 1970 masterpiece. Im sure Tom, Farah, and Raquel would love to contribute to a commentary track.  |  IP: Logged Rachel Craven Madam Moderator Posts: 2190 From: Pensacola, FL Registered: Dec 2000 posted 05-30-2003 07:50 PM                     NEWSIES A Thousand Voices. A Single Dream. In 1899, New York City got its news from an army of ragged orphans and runaways, called newsies. They sold the newspapers of Joseph Pulitzer, William Randolph Hearst, and other great publishers. Like many of his friends, newsie Jack Kelly dreams of a better life far from the hardship of the streets. But when Pulitzer and Hearst raise distribution prices at the newsies' expense, Jack finds a cause to fight for, and must decide between his dreams and his newfound responsibility. A true Disney musical, inspired by the real hike of newspaper prices at the turn of the century Newsies is a good crowd pleaser at any age. I used to be obsessed with this movie when I was about 12 years old and must have watched it easily over 50 times...haven't seen it in a couple of years so maybe I'll stick it in the VCR when I get home. Great performances by Christian Bale (Film: Reign of Fire, American Psycho, Laurel Canyon, Little Women, Swing Kids), David Moscow (Film: Just Married, Riding in Cars with Boys Big), Luke Edwards (Film: American Pie 2, Little Big League, The Wizard -- TV: MTVs "Undressed"), Max Casella (TV: Doogie Howser -- Film: Ed Wood, Analyze This, and Dinosaur) and Marty Belafsky (Film: A Mighty Wind, Men in Black 2, Pearl Harbor).  |  IP: Logged Sam Wells III Film Handler Posts: 3 From: Columbus, Ohio USA Registered: Feb 2002 posted 06-02-2003 03:18 PM                     The Long Ships (1963) http://us.imdb.com/Title?0057259 Richard Widmark, Sidney Poitier, Rosanna Schiaffino There is a legend about a great bell, called "The Mother of Voices," made of pure gold, three times the size of a man, made by monks many years ago...  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 06-05-2003 05:57 PM                     HAROLD and MAUDE (1971) Paramount Pictures The love of a 20 year old boy for an 80 year old woman is the basis for a macabre comedy that borders on the distasteful but always manages to be entertaining in the hands of veteran Ruth Gordon and yound Bud Cort. director Hal Ashby, formerly an Academy Award winning editor, displayed a similar flair for the offbeat humor with the "Landlord" and doesn't let the situation get out of hand very often. Great Cat Stevens score. The DVD features two original trailers (One Very Anti-War, but not used) A Classic from the era of the 70's.  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 06-06-2003 11:23 AM                     THE LOVED ONE (1965) MGM It is hard to place any kind of meaningful description to this film because it takes cultural, social & moral ideals and stomps on them. The casting of the film goes againist type. The acting is superb, intense and at times intentionally campy and over the top. Terry Southern is one of the credited screenwriters. B&W Cinematography by Haskell Wexler. Edited by Hal Ashby Directed by Tony Richardson Cast: Robert Morse Jonathan Winters Milton Berle James Coburn John Gielgud Liberace Roddy McDowall Robert Morley Rod Steiger  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 10-11-2003 03:06 AM                     Lame-O-Rama! You guys are so weak for letting this thread drop. Anyway...today's pick is: Meatballs (1979, Ivan Reitman) This movie still makes me laugh out loud at times. Overall, "Meatballs" is a very satisfying comedy. Bill Murray stars as a whacky camp counsellor. It's an inspired performance and I was relieved to find that the film has stood the test of time. Murray plays "Tripper," the head counsellor at Camp Northstar. Working alongside Tripper is a rag-tag bunch of counsellors in training. When they're not busy marshalling the kids through a day of activities, they find time for sexual exploration or else they find ways to torment their boss, Morty. A wonderful, light tone is maintained throughout "Meatballs" and one gets the sense that this movie was probably great fun to work on. The production is essentially Canadian, including director (Reitman) and the location as well as most of the cast. Although "Meatballs" can be seen as a star vehicle for SNL superstar Bill Murray, I must say that it comes across as an ensemble piece. This is at least partially due to some good character development in the writing. In particular, there is a fair sense of personality as far as the Northstar counsellors and some of the campers. Murray's character forms two special friendships: The first is with co-counsellor "Roxanne," who becomes Tripper's love-interest; the second is with "Rudy," a misfit camper. Rudy's story -- and the film -- culminates with a brief, but dramatically effective, cross-country race at the Intercamp Olympiad and, in fact, the film is admirably structured. "Meatballs" also features some fine examples of music and songwriting. The main title song Are You Ready For The Summer sets the upbeat tone of the movie and a poigniant piece like Moondust is a rare and welcome find in a broad comedy such as this. For those of you who have never seen "Meatballs" you should run right out and get hold of a copy. If it has been a while since you last saw it -- why not give it another whirl? [ 10-11-2003, 03:06 PM: Message edited by: Manny Knowles ]  |  IP: Logged

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