This is topic MOVIE OF THE DAY in forum The Afterlife at Film-Tech Forum ARCHIVE.
To visit this topic, use this URL:
https://ft-forum.com/ft/cgi-bin/ubb/ultimatebb.cgi?ubb=get_topic;f=12;t=000117
Posted by James R. Hammonds, Jr (Member # 673) on 01-01-2003, 02:03 AM:
Now that the quote game is over, and the four word game is not as popular as the three word game (the four word game was started as a joke anyway), its time for a new game of sorts.
This one is called MOVIE OF THE DAY.
I got the idea from a music site that I go to where someone posts their pick for Band of the day.
Here are the rules:
Only one post allowed in this thread per day.
The forums clock determines what day it is.
Midnight is the beginning of the day.
After I post the movie of the day for today, no one else can post in this thread until midnight (according to this forum's clock) January 2, 2003.
Try not to pick something too recent.
Thats what will keep this different from the reviews section, as most of the reviews in that forum are for more recent titles.
Ideally at least 5 years old.
Anything goes.
Any time period, and country, and even straight to video movies if you want.
Just try not to make it too well known and try to make it something that is easy to find in a video store.
Star Wars and Indiana Jones are not ideal candidates, but are not disallowed.
Try to provide some information on the movie you are posting as the movie of the day.
Main cast members, synopsis, year of release, and a mini-review are good.
This is really easy to do using the Internet Movie Database or The All Movie Guide
Please do not reply to any post in this thread.
I will make a new thread for comments.
So to get things started, here is the fist movie of the day.
HEART AND SOULS
Starring Robert Downey Jr, Charles Grodin, Alfre Woddard, Tom Sizemore, David Paymer, and Elizabeth Shue.
Director Ron Underwood follows up his crowd-pleasing hit City Slickers (1991) with this likable, feel-good comedy drama about a selfish businessman who discovers that he's permanently being followed by a group of ghosts. In 1959, a bus accident links the spirits of four fatally injured passengers to a newborn baby whose birth is caused by the crash. For 25 years, Milo (Tom Sizemore), Harrison (Charles Grodin), Penny (Alfre Woodard) and Julia (Kyra Sedgwick) remain bound to Thomas Reilly (Robert Downey Jr.), who believes the quartet to be imaginary childhood friends that have long since disappeared. When the four spooks suddenly realize that they are meant to use Thomas as a conduit to bring closure to their unfinished corporeal lives, they reemerge, causing Thomas to think that he's gone insane. As he becomes reattached to his supernatural companions, however, Thomas' innate decency asserts itself and he begins helping them to right the wrongs in their lives, allowing them to possess his body to achieve their goal of settling accounts and moving on into the afterlife.
I vaguely remember someone in my family renting this when it came out on video and I saw part of it on cable sometime in the past couple of months.
I bought it on Christmas day on VHS for $1.99 at a convenience store, but have not watched it again yet.
It is a funny, yet, touching movie that could make nearly anyone happy.
Not something I would want to watch alone though.
This may fall into the category of "date" movies.
Posted by Brad Miller (Member # 2) on 01-02-2003, 12:38 AM:
DEFENDING YOUR LIFE
"The first true story of what happens after you die."
Excellent movie. In my Top 10 of all time. You can check out the movie reviews forum for this one too.
Posted by Darryl Spicer (Member # 711) on 01-03-2003, 12:51 AM:
Fast Times at Ridgemont High
Posted by Bobby Henderson (Member # 840) on 01-04-2003, 12:03 AM:
ROBOCOP
A would-be trashy "B" flick turns out to be a satirical, yet very brutal, toungue-in-cheek kind of science fiction film. The original cut of the film got slammed with an X-rating by the MPAA. The DVD by Criterion is now out of print, but if you can find a copy I recommend you buy it. The commentary track is nearly as entertaining as the movie.
Posted by Darryl Spicer (Member # 711) on 01-05-2003, 12:20 AM:
To live and die in L.A.
Posted by Glenda Cockrum (Member # 542) on 01-05-2003, 11:15 PM:
The 5,000 Fingers of Dr T.
1953 Tommy Rettig?
the only Dr Suess piece to be done as a live action film.
"The Happy Finger Method"
Posted by Gordon Hedges III (Member # 863) on 01-07-2003, 03:18 AM:
The Hustler ![[thumbsup]](graemlins/thumbsup.gif)
THE HUSTLER (1961) : IMDb
Starring Paul Newman, Jackie Gleason, George C. Scott and Piper Laurie.
Truly one of my favorites and still a great film even at this time and age.
Posted by Mark Gulbrandsen (Member # 72) on 01-07-2003, 04:13 AM:
"The Titfield Thunderbolt" for sure......
This is how a railroad SHOULD be run!
Mark
P.S. Brad said....."The first true story of what happens after you die."
But Brad....you'd have to eat seafood if ya go to Judgement City!
Posted by Claude S. Ayakawa (Member # 1401) on 01-07-2003, 04:28 PM:
"BLACK NARCISSUS" (1947) With Deborah Kerr, Flora Robson and David Farrar. I was only 8 years old when our parents took my brother and my sister and me to see this movie and even as young as I was, I was not able to forget the stunning visual images of this film. It was not until many years later when I was almost twenty years old that I realize why I never forgot this film. I now have the movie on DVD and one of the things that make watching this excellent film is the very beautiful three strip Technicolor photography.
-Claude
Posted by Paul Linfesty (Member # 214) on 01-08-2003, 09:07 AM:
WINTER KILLS 1979. Directed by William Richert. Supposed to get a DVD release this year. A true looney tune of a movie, with Jeff Bridges trying to uncover the conspiracy that was responsible for killing his brother, the U.S. President. John Huston gives an over-the-top performance of his father (think Kennedy family). The film also has an over-the-top visual style. It's a hoot, but in a good way.
Posted by Gordon Hedges III (Member # 863) on 01-09-2003, 02:34 AM:
COOL HAND LUKE
COOL HAND LUKE (1967) : IMDb
Starring: Paul Newman (yes, another Newman flick)
quote:
Lucas (Luke) Jackson: I can eat fifty eggs.
Dragline: Nobody can eat fifty eggs.
Other Prisoner: You just said he could eat anything.
Dragline: Did you ever eat fifty eggs?
Lucas (Luke) Jackson: Nobody ever eat fifty eggs.
Other Prisoner: Hey, Babalugats! We got a bet here!
Dragline: My boy says he can eat fifty eggs, he can eat fifty eggs!
Other Prisoner: Yeah, but in how long?
Lucas (Luke) Jackson: A hour.
Other Prisoner: Well, I believe I'll take part of that wager!
Posted by James R. Hammonds, Jr (Member # 673) on 01-11-2003, 02:04 AM:
ANGUS
Starring: Charlie Talbert, Kathy Bates, George C. Scott, Ariana Richards, Chris Owen, and James Van Der Beek
High schooler Angus (Charlie Talbert), a jumbo-sized lad, seems underappreciated in all aspects of his life: he is a standout offensive lineman on the football team, but golden-boy quarterback Rick (James Van der Beek) gets all the accolades for his blood, sweat, and pass-blocking; he is also an outstanding student, but his classmates still regard him as a dork; the girl of his dreams (Arian Richards), Rick's girlfriend, seems to ignore him. Only when Angus musters the courage to put on a maroon tuxedo and head off to the school dance at the urging of his loving, free-spirit mom (Kathy Bates) does he finally get the recognition he deserves (as does Rick, who attempts to publicly humiliate Angus with a cruel prank). While the story is familiar, director Patric Johnson and the entire cast infuse the film with real warmth, making Angus a winner (as does its refreshing attitude toward violence).
Angus did decent, but not too well at the box office from what I remember.
I saw this in an empty auditorium on a Thursday night while waiting for our employee screening of SE7EN.
I had not originally planned on watching this movie, but I had seen the first few minutes that weekend and thought it was pretty funny, so I decided why not?
I fell in love with the movie instantly and nothing since has been able to top it as my favorite movie of all time.
Love Spit Love's "Am I Wrong?" was a good opening tune, and the marching band playing along made it even better.
I also nearly died when Melissa LeFevre picked Mazzy Star's "Fade Into You" as the song she and Angus would dance to.
I love that song.
I was able to relate to this movie really well, not because I was a fat kid (I wasn't), but because I was picked on a lot when I was a kid because I was an obnoxious hyperactive brad that no one liked.
You should rent this movie NOW!
Posted by David Stambaugh (Member # 1102) on 01-12-2003, 11:39 AM:
Thunderbolt and Lightfoot
1974. Jeff Bridges gives an amazing performance early in his film career. Clint Eastwood is in top form -- love that opening sequence of him preaching the gospel, then being shot at and chased out of the chapel by George Kennedy. Also loaded with great character actors like Geoffrey Lewis, Gary Busey, Vic Tayback, and Dub Taylor. A very good film, worth checking out if you've never seen it. A Michael Cimino film (writer & director). Photographed in Panavision; looks terrible in pan-and-scan, so try to find a letterboxed version if you can.
Eastwood: "You don't look so good, kid."
Bridges: "I believe you're right."
Posted by William Leland III (Member # 1400) on 01-16-2003, 11:48 AM:
Permanent Record
"High school Senior year. His suicide shattered their world. Their courage drove them to pick up the pieces."
I liked this 1988 teen high school drama movie. The first time I watched this move I was blown away by Keanu Reeves performance. The one scene that gets me is, when Chris(Reeves) is driving drunk almost hits Alans little brother and then falls apart in Alan's father arms. The scene is very powerful, I think.
A good rental for a date.
Posted by Mathew Molloy (Member # 666) on 01-17-2003, 04:17 AM:
GET CRAZY (1983) http://us.imdb.com/Title?0085551
IMHO this film is not only on par with Rock & Roll High School, it's twice the fun! It's a non-stop string of verbal and sight gags packed with the best B-actors, music and of course, Lou Reed.
Posted by David Stambaugh (Member # 1102) on 01-19-2003, 11:42 AM:
Zombie 1979, Italian, dubbed English. "From the Lucio Fulci collection". ("Zombie" was the US title; AKA "Zombie 2", "Island of the Flesh Eaters", etc. in other markets.) A low-budget flesh-eater fest, yet done with style and some originality. ![[Wink]](wink.gif)
Worth the rental price just for the underwater scene of a zombie wrestling with a shark. Maybe a classic of the genre. In scope, so find the widescreen DVD version if you can.
"It's the juju-man!!"
Posted by William Leland III (Member # 1400) on 01-21-2003, 02:09 AM:
Ninja Scroll
Plot Summary: A Journeyman ninja by name of Jubei stumbles upon a plague, an evil clan of demons, a national crisis, and a beautiful ninja girl.
This is a great Japanese animation movie. The story blows you away by having alot of built up to the characters, very detailed story. I think the animation is what really won me over. It's freaking great. I would recommend a 12 pack and watch this movie.
Posted by Don E. Nelson (Member # 1049) on 01-21-2003, 03:20 PM:
The Last Waltz" Get it on the newly released DVD. It has an 18 minute jam at the end that is great. Quite possibly the best photographed, set decorated, lighted and recorded concert film ever. Also the comentary by Robertson and Marty is a must for any fans of The Band's music, I was at the concert at Winterland in 1976, Thanksgiving day, and got to see Scorsese directing from an 80 page script, Vilmos Zigmond was running one of the big pedestal mounted Panavision cameras, Clapton was great, Dylan almost stole the show. Bill Graham served turkey dinner to 5000 guests and it only cost 25 bucks.Dylan flew in Alaskan salmon for the vnon meat eaters in attendance. Its the only full length 35mm print I own. At the begining of the film, it says, play this movie LOUD ![[Eek!]](eek.gif)
Posted by David Stambaugh (Member # 1102) on 01-31-2003, 12:55 PM:
Body Heat
1981. With Kathleen Turner, William Hurt, Ted Danson, Mickey Rourke, and the late Richard Crenna. Written & Directed by Lawrence Kasdan. Very steamy. "In the midst of a searing Florida heat wave, a woman convinces her lover, a small-town lawyer, to murder her rich husband." Kathleen Turner is hot, very hot. One of my all-time favorite films.
Posted by David Stambaugh (Member # 1102) on 02-02-2003, 12:00 PM:
The Right Stuff
1983. Although it's been a while since I've seen it, the film made a lasting impression on me. Depicts the early days of the US space program and the "hotshot" astronauts. A very good film that got the 70mm treatment. There's currently a lengthy discussion about it on rec.arts.movies.tech.
Posted by Paul Linfesty (Member # 214) on 02-10-2003, 12:21 AM:
PARTING GLANCES (1986).
While the same year's LONGTIME COMPANION grabbed more attention, this film felt more honest as a study of the AIDS epidemic as faced by the NYC gay communities. Shot in Super 16 and blown up to 35, the Bill Sherwood directorial debut told the story of a young man (Richard Gannoung) who was losing the two most important people in his life; his current lover (John Bolger) to an overseas job transfer) and his ex-lover (Steve Buscemi's film debut) to AIDS. The film is definitely low budget, but the dialog and emotions of the characters have a raw feel to them.
A remarkable film debut that would have served as the director's calling card to Hollywood had Sherwood not passed away from AIDS in 1990.
[ 02-15-2003, 02:19 AM: Message edited by: Paul Linfesty ]
Posted by John Scott (Member # 520) on 02-11-2003, 11:12 AM:
Murder By Death (1976)
Millionnaire Lionel Twain (Truman Capote) invites the five most brilliant private eyes to a dinner - and a murder. So, Sidney Wang (Peter Sellers), Dick and Dora Charleston (David Niven, Dame Maggie Smith), Jessica Marbles (Elsa Lanchester), Milo Perrier (James Coco), and Sam Diamond (Peter Falk) arrive at the remote castle serviced by Jamesir Bemsonmam, the blind butler (Alec Guinness). (Also starring Eileen Brennan, Nancy Walker, Estelle Winwood, and James Cromwell in his first feature film role)
Written by Neil Simon, the film parodies the Agatha Christie style potboilers and characters of her novels, as well as other famous mystery and film noir characters.
The film Clue owes most of its jokes to this very underated film.
Posted by Paul Linfesty (Member # 214) on 02-12-2003, 12:02 AM:
ANDY WARHOLS FRANKENSTEIN (AKA: FLESH FOR FRANKENSTEIN)(1974)
To know life, you must f**k death in the gall bladder. This informative philosophy of life is dispensed by the Baron (Udo Kier) to his assistant. And if there is any doubt in the audiences mind as to what a gall bladder looks like, it is quickly dispelled when the Baron graciously hold it out for all to see, especially revealing in the original 3-D format.
Warhol Factory veteran Paul Morrissey directs the deliciously over-the-top performances in this tribute to Hammer Studio horror films. Joe Dallesandro is the over-sexed groundskeeper who takes a job with the Barons bored wife/sister and discovers what happened to his best friend after a botched attempt to introduce him to the pleasures of hetero sex. Needless to say, he makes more than a few shocking discoveries in the Barons laboratory. This laughfest is a top recommendation for those dark and stormy nights. Preferably watching it well-imbibed.
[ 02-15-2003, 02:22 AM: Message edited by: Paul Linfesty ]
Posted by Paul Linfesty (Member # 214) on 02-13-2003, 12:04 AM:
HOT SUMMER (1967)
An EAST German socialist teen beach musical? Who would have thunk? Eastern bloc pop duo Chris Doerk and Frank Schobel make their screen debuts in this concoction that wraps rings around anything Frankie and Annette did for AIP. Zippy songs and dances are sprinkled into this universal story of the boys versus the girls, with romance winning out. All with some socialist messsages being "sneaked" in, such as those who leave are COWARDS (hmmm...reference to the Berlin Wall, anybody?) and that those who only do what THEY want can bring disharmony to the group. But it's all good-natured, and the technical quality of the film is as good as one would find in an average western film budget (strong composition and camera movement, snappy editing, etc).
This film was highlighted in the documentary EAST SIDE STORY, a look at the so-called "socialist musical' genre. It is available for rent on DVD.
[ 02-15-2003, 02:25 AM: Message edited by: Paul Linfesty ]
Posted by Paul Linfesty (Member # 214) on 02-14-2003, 12:03 AM:
SUSPIRIA (1977)
From Italian horrormaeister Dario Argento comes this style-over-substance masterpiece. But WHAT syle. Jessica Harper attends dance school in this grand Guignol-esque mansion that is really a front for a coven of witches. Great music score, creepy sets and effects.
[ 02-15-2003, 02:29 AM: Message edited by: Paul Linfesty ]
Posted by Paul Linfesty (Member # 214) on 02-15-2003, 01:48 AM:
DIVA (1981)
French film director Jean-Jacques Beineix made his debut with this wildly entertaining story of a young postman who takes a passion for a recording-shy opera singer almost to the fetish level. He's basically harmless, though, more than can be said about a very corrupt cop who mistakens the bootleg opera recordings made by the postman for tapes incriminating him. A fresh spin is given on the big chase sequence through the Paris subway system. A strong recommendation.
Posted by Paul Linfesty (Member # 214) on 02-16-2003, 12:02 AM:
THE ADJUSTER (1991)
Atom Egoyan's tale of an insurance adjuster who gives some "extra-added service" to the customers he serves. His wife is a movie censor for the state and secretly video records all the dirty bits to show to her mom. A wry look at a very real part of the human psyche. Voyeurism exists. It's natural. Deal with it. ![[Smile]](smile.gif)
Posted by Paul Linfesty (Member # 214) on 02-17-2003, 12:00 AM:
MISHIMA: A LIFE IN FOUR CHAPTERS (1985)
Paul Schrader directed this stunning look at one of Japan's best-known writers. What cemented Yukio Mishima's status in Japanese legend was the way he died. Claiming to be fed-up with the pacifism of post-war Japan, he and a loyal group of followers take over a military base and commit suicide. This film suggests deeper roots for this act and commitment to ultra-masculinity. The film features visualizations of some of his work, heavily stylized and accompanied by a Philip Glass score. Roy Scheider narrated the version I caught in theatres, but I understand this was replaced on the home video version.
Posted by Paul Linfesty (Member # 214) on 02-18-2003, 12:01 AM:
LAW OF DESIRE (1987)
Oscar nominee Pedro Almodovar directs this steamy Spanish comedy about sexual obsession. Antonio Banderas stalks gay director Eusebio Poncela after a one-night stand. Carmen Maura is hysterical as the director's transexual sister. The film is definitely not for all tastes, but if you enjoy pure hedonistic pleasure, this film is for you.
Posted by Paul Linfesty (Member # 214) on 02-19-2003, 12:00 AM:
RUBY IN PARADISE (1993)
Before she became a star and forgot to act, Ashley Judd starred in this gem of an indie film directed by Victor Nunez. Working during the season at a seaside tourist destination gift shop, she discovers her self worth as a human being. Low-key, subtle film-making style add to the reality of the situation.
Posted by Manny Knowles (Member # 1171) on 02-20-2003, 12:06 AM:
CAPRICORN ONE (Peter Hyams, 1978)
The film opens with three astronauts being taken out of their capsule just minutes prior to the launch of their flight to Mars. The countdown continues without a hitch and the flight is launched. Meanwhile the astronauts are escorted to a secluded soundstage in the middle of the desert where they are forced to fake the Martian landing. Everything proceeds without a hitch until the real spacecraft is lost on its return flight...
Take a look at that cast list!
Posted by Paul Linfesty (Member # 214) on 02-21-2003, 10:46 PM:
ED's NEXT MOVE (1996)
What a charming little film. A romance that creeps up on you. Matt Ross moves from the midwest to the Big Apple and pursues Callie Thorne, the object of his dreams. Great music score and songs about ordinary life.
Posted by Manny Knowles (Member # 1171) on 02-22-2003, 03:00 AM:
THE FIRST NUDIE MUSICAL (1976)
Featuring the songs:
"Dancing Dildos"
"Lesbian Butch Dyke"
And the lyrics...
"I'm not deformed / I'm not a cripple / So tell me / why won't you let me hold your nipple?"
I actually like this movie a whole lot. It's really laugh-out-loud funny at times. Cindy Williams (Laverne & Shirley) has a supporting role and Ron Howard has a cameo.
Posted by Kristin Wahlund (Member # 922) on 02-24-2003, 12:48 AM:
Welcome to the Dollhouse (1995)
Written and Directed by Todd Solondz
Tagline: Not all girls want to play with dolls.
Plot Outline: Insightful look at an unattractive 7th grader as she struggles to cope with un-attentive parents, snobbish classmates, a smart older brother, an attractive younger sister, and her own insecurities. Seventh-grade is no fun. Especially for Dawn Weiner when everyone at school calls you 'Dog-Face' or 'Wiener-Dog.' Not to mention if your older brother is 'King of the Nerds' and your younger sister is a cutesy ballerina who gets you in trouble but is your parents' favorite. And that's just the beginning--her life seems to be falling apart when she faces rejection from the older guy in her brother's band that she has a crush on, her parents want to tear down her 'Special People's Club' clubhouse, and her sister is abducted....
This is one of my most favorite movies, I can't even begin to describe how much I like this movie. It's awful, depressing, and funny. You need to have the right kind of "mind set" to watch this. Trust me its weird, and you'll love it!
Posted by Manny Knowles (Member # 1171) on 02-25-2003, 10:44 AM:
SOMEWHERE IN TIME (1980, Jeannot Szwarc, Universal)
Written by Richard Matheson (who wrote a lot of the great "Twilight Zone" episodes). Starring Jane Seymour and Christopher Reeve.
Roger Ebert once wrote about this film: "It's a wonder that in the hard-nosed decade of the 1980s that this film even got made at all."
"Somewhere in Time" was a commercial flop when it was originally released. Time and the phenomenon of home-video have both been kind to this tale of romance and time-travel. Over the years, the film has developed a strong cult following. Among the film's strong points are its beautiful cinematography, sumptuous scoring (at times haunting) and the on-screen chemistry that exists between the co-stars (including Christopher Plummer).
[ 02-26-2003, 06:41 PM: Message edited by: Manny Knowles ]
Posted by Chris Markiewicz (Member # 1415) on 02-25-2003, 04:57 PM:
Manny,
Read the book that "Somewhere In Time" was based on, "Time and Again" by Jack Finney. The idea of being able to travel through time by thought, without any fancy machinery, is fascinating. Finney was also the author of the original "Invasion of the Body Snatchers".
Chris
Posted by Manny Knowles (Member # 1171) on 02-26-2003, 09:12 AM:
The Secret of NIMH (1982, Don Bluth, MGM)
I know that the phrase has fallen into overuse, but "The Secret of NIMH" is a genuine animated classic. Directed (and co-produced) by ex-Disney animator Don Bluth has proven itself by continuing to please viewers of all ages.
"NIMH" tells the story of a recently-widowed field mouse whose son has pneumonia. The illness makes it very dangerous for her to move little Timmy and, yet, somehow she must find a way to evacuate him because "it's moving day" which, as we learn, is the day that the farmer starts the tractor and begins clearing the field where so many animals have taken up temporary residence.
With this film, and a totally different kind of mouse, Bluth succeeded in 'out-Disneying' the folks over at Disney who, it seemed, were still adrift so many years after Walt's passing. Bluth would go on to collaborate with George Lucas and Steven Spielberg to produce "The Land Before Time."
"The Secret of NIMH" is touching and suspenseful, featuring full animation and a great score by Jerry Goldsmith (and exactly one song, written by Paul Williams).
Voice artists include Hermione Baddeley, John Carradine, Dom DeLuise (stealing every scene he's in) and Peter Strauss.
The script was based on the popular children's book "Mrs. Frisby and the Rats of NIMH" by Robert C. O'Brien.
[ 02-27-2003, 10:42 PM: Message edited by: Manny Knowles ]
Posted by Manny Knowles (Member # 1171) on 02-27-2003, 11:55 AM:
Yentl (1983, Barbra Streisand, MGM)
A young Jewish girl disguises herself as a man in order to attend school. While there, she falls in love with one of the other boys. Trouble is, he thinks she's a boy, too....and, anyway, he's already in love. To complicate matters further, his girlfriend falls in love with Yentl (the imposter). And that's not all! You'd really have to check this movie out for yourself if you want to get the full effect.
Barbra Streisand stars and directs; she does some terrific work with the material. There are a number of very well-written musical numbers, all of which are presented as internal monologues or commentary on the narrative.
Streisand's co-stars are Mandy Patinkin and Amy Irving.
Songs include: "Where Is It Written?" "Papa Can You Hear Me?" "Tomorrow Night," "A Piece of Sky" and others.
Posted by Manny Knowles (Member # 1171) on 02-28-2003, 12:01 PM:
Do you want to play a game?
WarGames (1983, John Badham, MGM)
Ah, the eighties!
Remember when 8" floppy disks, dot-matrix printers and monochrome monitors were state-of-the-art computer technology? What about those modems that required you to put your telephone handset onto the little rubber thingies? Oh! Do you remember Gallaga, the video game? What about Ally Sheedy?
Well, they're all right here in this amazing little low-budget thriller starring Matthew Broderick as David Lightman, a teenage computer hacker who unwittingly hooks up with one the U.S. government's new supercomputer but mistakes it for a server belonging to a game manufacturer. At first, 'Global Thermonuclear War' appears to be just another harmless computer game. That is, until government agents start following David around. It becomes apparent that the game has tricked the government's war systems into thinking that the Russians are launching a full-scale attack...and it's up to David to convince the U.S. military that it was only a game before they launch a real 'counterattack' on the real Russians.
"WarGames" still holds up after almost two decades. The pacing is flawless, thanks to a solid script and an efficient production team. The production values are so high that it is difficult to imagine that this was actually a low-budget film. The opening and closing sequences should be counted among the most suspenseful scenes ever filmed.
As for acting, there is genuine chemistry between Sheedy and Broderick. Both are believable as high-school slackers and they do a credible job of developing an almost-transparent romantic subplot. It is also a joy to watch Dabney Coleman and Barry Corbin as the bickering military officials: The former is in favor of using computers to replace soldiers, the latter doesn't trust the big computer "any further than I could throw it."
Whether or not you're old enough to remember the eighties -- whether you loved or hated that era -- it doesn't matter. This film and its message are timeless.
[ 02-28-2003, 04:23 PM: Message edited by: Manny Knowles ]
Posted by Gracia L. Babbidge (Member # 582) on 03-01-2003, 02:19 PM:
Night of the Day of the Dawn of the Son of the Bride of the Return of the Revenge of the Terror of the Attack of the Evil, Mutant, Alien, Flesh Eating, Hellbound, Zombified Living Dead Part 2: In Shocking 2-D
Written and directed by Lowell Mason.
Formula: take the original Night of the Living Dead, erase the entire soundtrack, and overdub with riduculous dialog, and be sure to insert some very random scenes that do not in any way connect with a zombie movie.
Result: bizarre, potentially offensive, and downright amusing.
~*~*~*~*~*~*~*~*~*~
Right around Halloween, one of my roommates, and one of her co-workers rented this incredibly strange flick, and kept it out for a significant amount of time, watching it incessantly. If your sense of humor is warped, you'll probably get a kick out of it. (Although, I would recommend fast-forwarding past the randomly inserted scenes, as the overdubbed parts are what makes it so entertaining!)
Posted by Manny Knowles (Member # 1171) on 03-02-2003, 01:01 PM:
The Trigger Effect (1999, David Koepp, Universal)
"When Nothing Works, Anything Goes."
If you can make it past that weak tag-line, there's a good chance you'll be thrilled by this morality play by first-time director David Koepp, who also wrote the script.
Elisabeth Shue and Kyle MacLachlan star as a happily-married suburban couple whose lives are forever altered by a mysterious power failure. The story elaborates on a frightening notion that man-made utilities such as electricity are largely responsible for maintaining civilization. Beyond that, "The Trigger Effect" may even be arguing that civilization itself is artificial and, perhaps most importantly, that it is an incredibly fragile construct.
One of the great American auteurs of the horror genre (Wes Craven?) once said that there are only two types of horror stories: The monster is either "out there" or else he's "right here," within us or amongst us. "The Trigger Effect" falls easily into the latter category. Fans of Rod Serling's "Twilight Zone" may recognize this premise from the brilliant episode, entitled "The Monsters Are Due On Maple Street," in which a total power failure turns a lazy afternoon in suburbia into a night of terror. While the premises are indeed similar, the plots eventually follow somewhat divergent paths.
Posted by Manny Knowles (Member # 1171) on 03-03-2003, 12:39 PM:
The Outsiders (1983, Francis Ford Coppola, Zoetrope/WB)
"The Ousiders" belongs to many subgenres: It is a slice-of-life/coming-of-age/male-melodrama that deals with class relations. Specifically, it focuses on a group of so-called "greasers" who are a close-knit group of adolescents from "the wrong side of the tracks." The constant thorn in their side is the gang of wealthy socialite teenagers, the so-called "soc's."
When one of the younger greasers kills one of the rich kids, he and his best friend are urged to leave town and go into hiding. It is during this period of hiding that a great deal of character development occurs. The boys are ultimately redeemed -- at least in our eyes -- when they rescue a group of Sunday School children from a fire.
I remember loving "The Outsiders" as a teenager and going to see it several times at the theatre. Sadly, recent viewings always come up short of my initial experience. The good news is that "The Outsiders" amounts to at least the sum total of its parts. I suppose I should be grateful that there are numerous instances of on-screen chemistry. The trouble is that this kind of movie strives for alchemy. In that arena, it does not succeed.
Still, there is much to appreciate here:
Francis Ford Coppola is one of my favorite directors. I don't mean that to suggest that I'm a big fan of his movies. On the contrary, there are a number of his movies that are not to my taste. Instead, I am a fan of his craftsmanship -- Not what he makes but, rather, how he creates. In the case of "The Outsiders," this was the first movie to be completely shot and edited using consumer video equipment during rehearsals, a process that would stick with him. (The process can be observed in "The Making of 'Bram Stoker's Dracula.'")
Take a look at the ensemble cast assembled by Coppola for this film:
C. Thomas Howell
Ralph Macchio
Matt Dillon
Emilio Estevez
Tom Cruise
Patrick Swayze
Rob Lowe
Diane Lane
And, for any fans of Stevie Wonder, this movie gives us a great performance of a touching ballad.
As mentioned earlier: Despite its imperfections, there is much to like about "The Outsiders."
Posted by Manny Knowles (Member # 1171) on 03-04-2003, 11:51 AM:
Paper Moon (1973, Peter Bogdanovich, Paramount)
I get a great kick out of watching this movie. Ryan O' Neal stars as a travelling con man named -- of all things -- Moses Pray. Co-starring with her dad is Tatum O' Neal (in her first big-screen role).
"Paper Moon" opens with the funeral of Addie's mother. Addie never knew her father and so, to all intents and purposes, she is now an orphan. Moses reluctantly agrees to deliver Addie to her out-of-state aunt and uncle. Along the way, Moses decides to pull off a few scams and Addie -- streetwise beyond her years -- soon joins the act.
Tatum and Ryan take turns stealing scenes from one another and they are truly a joy to behold here. One of my favorite scenes is the "eat your Coney Island" exchange between these two. The scam routines are funny and the supporting players are terrific to watch.
Enter Madeline Khan as "Miss Trixie Delight."
Khan's very presence adds to the giggle factor and, in all truth, this segment must be seen to be fully appreciated. Equally hard-working are a pair of supporting cast members -- a hotel clerk and Miss Trixie's maid.
Music from the prohibition era and Bogdanovich's decision to film in black-and-white add to the timeless charm.
[ 03-05-2003, 04:59 PM: Message edited by: Manny Knowles ]
Posted by Manny Knowles (Member # 1171) on 03-05-2003, 05:38 PM:
Nice guys finish last. Meet the winners.
Dirty Rotten Scoundrels (1988, Frank Oz, Orion Pictures)
The year 1988 gave us (at least) three very effective comedies and this movie is one of them. The first two were "A Fish Called Wanda" and "The Naked Gun," both summertime releases whereas "Dirty Rotten Scoundrels" was a Thanksgiving release.
I just knew this movie was going to be something special the first time I saw the deceptively placid trailer which featured its stars Steve Martin and Michael Caine enjoying a leisurely stroll along the French Riviera. Both are dressed in matching white linen suits and Panama hats. The local flavor is accentuated by delightful background music. Then the narrator speaks:
"This holiday season, you and your family will want to see a movie that is uplifting. A movie that will restore your faith in the human spirit and warm the cockles of your heart..."
(or words to similar effect)
"...Well, if that is the kind of movie you will be looking for, then you won't want to see...Dirty Rotten Scoundrels."
Steve Martin gently nudges an old lady, pushing her into the water. The two men continue walking without missing a beat.
Fade out.
The plot of "Dirty Rotten Scoundrels" revolves around two con men played by Martin and Caine. Martin is a two-bit hustler, whereas Caine's scams are more polished and elaborate. The town is simply not big enough for the two of them, so they make a bet that whichever of them can succeed in relieving a certain young lady of her recent inheritance can have the town to himself; the loser agrees to leave town quietly. Glenne Headly is perfectly cast here as the vacationing American soap queen.
The shenanigans escalate scene after scene, as each tries to short-circuit and surpass the other's efforts to swindle their naive target. Watch for my favorite scenes involving a character named 'Ruprecht' and another involving a wheelchair and a riding crop.
For those who are interested in this sort of trivia: "Dirty Rotten Scoundrels" is a remake of the 1964 movie called "Bedtime Story," in which the leads are played by David Niven and Marlon Brando.
Posted by Manny Knowles (Member # 1171) on 03-06-2003, 05:02 PM:
Red Dawn (1984, John Milius, MGM)
John Milius never became as well-known as he could have become. He shares writing credit on "Apocalypse Now" and he wrote (uncredited) the hypnotic 'Indianapolis' monologue in "Jaws." He seems drawn to war stories or themes of extreme masculinity. After directing "Big Wednesday" and "Conan The Barbarian," he co-wrote and directed "Red Dawn."
This is another instance of solid ensemble casting. Patrick Swayze and C. Thomas Howell (both alumni of "The Outsiders") star in this gripping drama set against the backdrop of World War III. Charlie Sheen co-stars as Swayze's younger brother. This is a decidedly "boysy" flick but female co-stars Lea Thompson and Jennifer Grey manage to get in on a lot of the action, holding their own amidst all the flowing testosterone while injecting the occasional welcome dose of femininity. (Swayze and Grey would re-team to make "Dirty Dancing.")
We can add the first moments of this movie to the list of unforgettable opening scenes (we started with "WarGames" a few days ago). You will have to either trust me on this or see the movie for yourself; I won't spoil it for you by going into detail here.
Suffice it to say that this movie hits the ground running and rarely lets up. That isn't to say that "Red Dawn" is an action movie. That would be a mere half-truth. Sure, there are gun battles and explosions aplenty, but there is also a human-interest element here in the form of a coming-of-age subplot. The characters are well drawn and, as I recall, there is at least the illusion of great emotional depth and verisimilitude.
"Red Dawn" is one of those stories that could have gotten out of control very easily. Its shocking premise notwithstanding, the characters and situations are nonetheless archetypal. Thankfully, Milius maintains a strong sense of sincerity, plausibility and realism throughout.
If there is a complaint, it would be that there isn't more footage. There were two points in the movie where I got the feeling that a scene had been deleted. The ending also seems a bit abrupt.
[ 03-06-2003, 11:30 PM: Message edited by: Manny Knowles ]
Posted by Manny Knowles (Member # 1171) on 03-07-2003, 09:52 AM:
DeepStar Six (1989, Sean S. Cunningham, TriStar/Carolco)
At the tail-end of the eighties there were no less than three movies in production whose main plots involved undersea creatures harassing a small community of underwater miners. Of these films, "DeepStar Six" was the first to hit theatres. Meanwhile, 20th Century-Fox had James Cameron's blockbusting "The Abyss" still in its somewhat controversial production phase. MGM chimed in last with the forgettable "Leviathan." I guess Hollywood executives all had water on the brain at the time.
"DeepStar Six" is an underwater mining rig or something of that ilk. Maybe they are drilling for oil? Forgive me, it's been a while since I last saw this movie. Why they are actually down there is not terribly important in light of the fact that the movie opens while the crew is chatting over breakfast about how good it will be to get "topside." A relief crew is due any day now. This crew is tired; they are ready to bail. But something really bad happens. It all starts when two technicians in a minisub start tracking a large, fast-moving object. Their ship loses power, they get attacked and are never heard from again. So begins the nightmare of the remaining crewmembers.
"DeepStar Six" is a low-budget guilty pleasure for me. I like the opening credit sequence. We begin on the surface and descend to the ocean floor. The credits rise one-at-a-time from the bottom of the screen, as though we are passing them on the way down. The music during this sequence is appropriate and, overall, this is a good beginning because it sets the stage nicely. The effects in this pre-CGI monster movie looked a bit dated in 1989. Still, it is hard to imagine how "DeepStar Six" could have been very much better as a result of a bigger budget. Director Sean S. Cunningham was no stranger to creating thrills and chills on a shoestring budget. He had already made history with the original "Friday the 13th" which then held some kind of record of biggest return-on-investment for a major Hollywood release.
Greg Evigan (of TV's 'My Two Dads') and Nancy Everhard are the leads here. Miguel Ferrer ("Crossing Jordan") as the snivelling, whining and hard-lucked Snyder remains my favorite in this movie. Also present is Nia Peeples, who IIRC was something of a screen sensation back then. Whatever happened to her? If there are any fans of TV's "Riptide," watch for Thom Bray. Bray was great as 'Boz' on that show and it was good to see him again in "DeepStar Six" -- even if he was one of the first victims.
[ 03-07-2003, 04:43 PM: Message edited by: Manny Knowles ]
Posted by Manny Knowles (Member # 1171) on 03-08-2003, 06:26 PM:
Pippin: His Life and Times (1981, David Sheehan)
This is a television recording of a revival performance of "Pippin: His Life and Times." The show was originally directed and choreographed by Bob Fosse. I am told that this revival was a faithful homage to Fosse's production. Ben Vereen reprises his role as The Leading Player. He is joined by William Katt as Pippin.
"Pippin" is about a young Roman prince trying to overcome boredom and his frustration with being, essentially, an ordinary person. Pippin tries all sorts of different careers and lifestyles in a desperate attempt to "find himself" but, try as he might, he cannot shake his depression. Finally, he is faced with the only solution to his problem: If life sucks, then surely suicide must be the answer. Does he choose life or death?
At the time of this recording, William Katt was the star of the short-lived TV series, "The Greatest American Hero." He is in terrific physical shape here and his singing voice is very powerful and effective. Katt is perfect in this role.
Ben Vereen turns in a high-octane performance. As the Leading Player, he is our narrator and master of ceremonies. At times, he is charming, witty and entertaining while, at other times, he succeeds at becoming creepy and frightening.
The music and lyrics are by Stephen Schwartz whose credits include "Godspell" and, more recently, "The Prince of Egypt." Songs from "Pippin" include "Corner of the Sky" and "Morning Glow," both of which were covered by a very young Michael Jackson.
Adding to the delights of this live performance are special guest stars Chita Rivera and Martha Raye as stepmother Fastrada and grandmother Berthe, respectively.
The recording is available on home-video.
Posted by Manny Knowles (Member # 1171) on 03-10-2003, 02:03 PM:
Here is the Movie of the Day for yesterday, 9th March...
Apt Pupil (1998, Bryan Singer)
Teenage underachiever Todd Bowden has just survived the Holocost section of his senior year history class. He is certain that he knows where a wanted S.S. officer has been hiding out all these years. What does he Todd do? What would you do?
Inspired by the history lessons, Todd decides that he wants to hear more war stories from an actual eyewitness. Indeed, Kurt Dussander committed many of the notorious crimes against humanity. Dussander resists at first but he soon realizes that he has no choice; Todd will hand him over to the authorities if he doesn't share his stories. So begins the nightmarish alliance that bridges young and old, past and future.
"Apt Pupil" is based on a novella by Stephen King -- the same book gave us "The Shawshank Redemption" and "Stand By Me." Director Bryan Singer had just done a standout job with creating an immensely entertaining film, "The Usual Suspects." In light of the creative forces at work, some viewers went into "Apt Pupil" with high hopes and left somewhat dissatisfied. Admittedly, I was one such viewer when this film was initially released but having seen the movie again so many years later I can now enjoy it on its own terms; there is indeed a lot to like.
For instance, the symbiotic relationship between the retired Nazi and clean-cut American kid is frighteningly plausible, especially in light of recent sociological developments -- witness the rising numbers of skinheads and Aryan brothers, not to mention the horrific scenes of extreme violence, hate and intolerance that play out in high schools on more than a few occasions.
Bowden is played by Brad Renfro who is good in this role but not as convincing as he would later be in "Bully." In that instance, there was better material to work with. Sir Ian McKellan turns in a quiet, haunting performance as the retired Nazi officer Kurt Dussander. David Schwimmer (TV's "Friends" and "Band of Brothers") does some nice things with a small supporting role.
As one might expect, there is a great deal more internal character work in Stephen King's novella.
...Internet service was intermittent all day yesterday. If nobody posts a movie for today (Monday, 10th) I will post another one later on tonight.
Posted by Manny Knowles (Member # 1171) on 03-11-2003, 11:48 AM:
Titanic (1997, James Cameron, Paramount/20th Century-Fox)
It's hard to believe that James Cameron's "Titanic" is already five years old (the minimum age for Movie of the Day).
"Titanic" was an immediate box-office phenomenon. The gargantuan movie -- so costly that it required two major studios -- played to capacity on many screens in many cities and countries for many months. It topped box office score sheets despite the fact that it was over three hours in length and, thus, could not have as many scheduled showtimes as standard-length features.
To this day, people are curious as to why this movie was so passionately embraced. Obviously, there must be some Hollywood executives out there who would love nothing more than to have the ability to duplicate this success consistently and with regularity. Perhaps this is what motivated Warner Bros. to produce "The Perfect Storm" and, indubitably, this is at least part of the motivation behind Cameron's forthcoming "Ghosts of the Abyss." Amongst the most curious are those viewers who hated the movie and who REALLY don't get what all the fuss was about.
For starters, we have to look at the superficial points. Actor Leonardo DiCaprio and director James Cameron are both box-office draws. Cameron's name is certainly enough to attract attention but I think it is more than fair to suggest that Leonardo's involvement gave the movie a massive crossover appeal. In other words, teenage girls are not typically fans of Cameron (whose movies to date were decidedly adult-male oriented) but they certainly came out in support of their matinee idol. My own personal experience with the theatrical release of this movie was that repeat viewership was strong among that age group.
Next, we have the "bandwagon effect." There is an old adage: Nothing succeeds like success. Viewers who were turned away because the shows were sold out became even more anxious to see it. Television was inundated with programming about the movie or else about the real Titanic disaster. People who were not initially interested in seeing "Titanic" suddenly found themselves making time to go out and see the thing for themselves.
The Titanic disaster itself is also a box office draw. This tragic event is perhaps the most infamous disaster in recent history. Quite some years ago, a movie was made of the Hindenburg tragedy, and there are a fair number of documentaries that dissect that event. There is also actual footage taken of the airship as it burst into flames moments prior to its scheduled landing. So why aren't people drawn to that event in the same way that Titanic captures the imagination? One obvious difference is that the Hindenburg was a German vehicle. The airship was known as "the pride of the Third Reich," so there is little wonder that people aren't moved by the loss of the vehicle itself. In hindsight, it might even seem appropriate -- and even poetic -- that it should have been destroyed by fire over American soil. Titanic, on the other hand, was known as "the ship of dreams." The statement that "God himself could not sink her" is widely known and it should seem equally poetic that the ship sank on its maiden voyage. Why then do we seem to favor the memory of Titanic?
Perhaps the number of passengers is the key difference? Perhaps it is because the oceanliner took two hours to completely submerge whereas the airship exploded suddenly and was consumed in a much shorter period of time. As a result of the extended timeline and the relatively slower egress, there are more eyewitness accounts of the sinking of Titanic. True, there is actual footage of the Hindenburg explosion but, evidently, that cannot compare to hearing a first-hand account of someone who was actually on board -- someone who left people behind.
Without a doubt, the diversity of passengers ought to figure into this mystery. Hindenburg only offered first-class passenger service. All those aboard (with the exception of the German crew) were wealthy -- the idle rich on a leisure trip. For many, it is difficult to feel sorrow when such a group falls on hard times. That sentiment may not be morally correct but, nonetheless, it seems widespread. We often hear of the first-class accommodations available on Titanic but the same is true of its steerage compartment and this may well be the crucial bonding aspect: There is a link between the steerage passengers and the earliest American settlers. The vast majority of casualties came from the lower classes due to the slim odds of their gaining access to the scarce number of lifeboats. Chances are, if you or I were aboard Titanic we would have been travelling in steerage. Only a handful of us would have been able to afford first-class accommodations on either Titanic or Hindenburg. Thus, our ability to empathize with Titanic's passengers is greatly enhanced by the possibility that "it could have been us."
Posted by William Leland III (Member # 1400) on 03-13-2003, 09:02 AM:
Jaws
It's Jaws, need I saw anymore. I think this is one of John Williams best musical scores. I think it is very under rated, excluding Jaws theme. Great cast and great idea.
Posted by Manny Knowles (Member # 1171) on 03-21-2003, 05:14 PM:
Your Friends & Neighbors (1998, Neil LaBute)
Sex, sex and more sex -- that's all these yuppies seem interested in. Trouble is, none of these guys and dolls is getting any "satisfaction," if you know what I mean. The film's strength lies in the bold decision to actually depict and exemplify the unhappiness and the dissatisfaction. As I recall, we're never shown any "good sex." But, man! Do we ever get to witness some awkward moments in these bedrooms!?
Jason Patric (who also co-produced) gives the standout performance as an arrogant, self-absorbed, would-be alpha-male bachelor. The role is somewhat reminiscent of Christian Bale in "American Psycho" with the key difference being that this character is considerably less absurd. Nonetheless, the emotions and the sentiment are striking in their similarity. Writer-Director Neil LaBute has created one of the greatest monologues in recent cinema for this character and Patric delivers it beautifully. Also interesting to watch is Ben Stiller as he bestows a sense of dignity upon an otherwise pathetic character.
"Your Friends & Neighbors" approaches issues of sexual dysfunction from a decidedly masculine perspective and one might go so far as to say there is an air of mysogyny about the film. LaBute clearly has little patience or sympathy for hopeless romantics and intellectuals. In fact, those characters are the least realistic of his creations and, as a result, it is easy for him to punish them. They are the cinematic equivalent of a straw-man argument. On the other hand, LaBute seems heavily in favor of aggressiveness and confidence, also rewarding indifference and aloofness (characters with these traits have better sex-lives). Hence, it is tempting to conclude that LaBute is harboring a certain amount of hostility toward women -- he certainly seems to have a distaste for those characteristics that might typically be associated with feminity.
Note: The DVD appears to be out-of-print at the moment but I was able to score a used copy quite easily over at Amazon.com
[ 03-22-2003, 01:44 PM: Message edited by: Manny Knowles ]
Posted by Manny Knowles (Member # 1171) on 03-22-2003, 08:29 PM:
V: The Original Miniseries (1983, Kenneth Johnson)
Forget "Independence Day." This one came first and it's still better in many ways. It is true that the some of the visual effects in "V" were substandard even by 1983 standards, so "ID4" easily wins that prize but the truth is that Kenneth Johnson's sci-fi epic doesn't need to overwhelm us with spectacle because he has successfully created believable characters who are interesting to watch. "V" may be set against the backdrop of an alien invasion but Johnson has both feet on the ground and "V" is very much a study of the human condition.
A while back, I wrote about a movie called "Red Dawn" and how it belonged in some kind of Hall of Fame for having such a great opening. "V" belongs there, too. In fact, this is a show with many such memorable moments.
Be sure to brush up on your World War II history because "V" makes several allusions and draws parallels without apology. This is a story about monsters invading and how some people will rise to the occasion while others will be too weak to fight for themselves. Still others will be swayed by greed and ambition. I guess our writer-director saw no need to reinvent the wheel.
Enjoy!
Posted by Gunnar Johansson (Member # 1661) on 03-23-2003, 01:16 PM:
This is Spinal Tap (1984) http://us.imdb.com/Title?0088258
This is what life is like on the roads. Working with concert rigging this is a classic when getting ready. Interesting subplots include how come all their drummers mystically die, how come their amps go to 11, and a kind of John and Yoko story.
Unbelieavble, and an all time favourite
//Gunnar
Posted by Manny Knowles (Member # 1171) on 03-23-2003, 01:21 PM:
WOW!!! A DOUBLE-FEATURE!!!
The Boys in the Band (1970, William Friedkin)
"The Boys in the Band" is NOT a musical!
Indeed, it's a faithful adaptation of the play by Mart Crowley in which a group of gay friends gather at a surprise birthday party. What starts off as a rather funny comedy gives way to some pretty dramatic -- even scary -- stuff.
At the centre of the action is Michael, best friend of the guest of honor (possibly an ex-lover?) and the host of the party. Michael has recently given up drinking and smoking and it's a good thing -- we learn that he was an angry drunk. Actually, I believe the word was "hostile." Anyway, he's busy setting up for the party when he receives an unexpected phone call from Alan -- a friend from way back in his boarding-school days -- who happens to be in town overnight. There's just one problem: Alan is straight and has not idea that Michael is homosexual. More to the point, Michael does not want Alan to know that he is gay.
Now, more than ever, Michael needs a drink. Suffice it to say that it gets ugly. But along the way we meet the guests, all of whom are in rare form. The dialogue is chock-full of wit and humor and the first half of the movie is laugh-out-loud funny.
But this movie has a dark half. Literally. You can practically set your watch by it. The outdoor party gets rained out and the clan is forced to move indoors. It's a perfect metaphor for what follows as the guys become more subdued and introspective. The masks come off and we're left with a group of troubled individuals. And here we find the greatest critical flaw to be found in "The Boys in the Band."
Despite the fact that the dialogue and the acting are uniformly excellent, the fact is that the plot ultimately portrays all homosexuals as tortured souls for whom we should feel nothing but pity. The reason I say "all homosexuals" is because the invitees amount to a microcosm of gay life: there's the straight-acting schoolteacher, a fashion photographer, a flaming-raging nelly queen, a gay-for-pay hustler, an aging Jewish birthday boy and the guilt-ridden, alcoholic Catholic host (who spends beyond his means).
Watch as they tear each other apart. Watch as they turn on themselves. I'm not one to give away an ending, but it's little wonder that the mystery guest would decide to go back to his wife!
Having said all of that, I can still recommend "The Boys in the Band" for the fine dialogue and acting. Cliff Gorman (as Emory) has a great monologue in the second half wherein he describes the one man he has truly loved and then there is the entertaining chemistry between Kenneth Nelson (Michael) and Leonard Frey (Harold).
Obviously, Gunnar and I were typing at the same time!
Posted by Manny Knowles (Member # 1171) on 03-25-2003, 10:11 AM:
"OH NO!!! It's the afterlife!"
"I see dead movies."
Voice-over -- THE AFTERLIFE, Rated R. Some material may not be suitable. Starts Friday March 31st in theatres everywhere....and buy the DVD on Tuesday April 4th.
Posted by Patrick McDonough (Member # 1363) on 03-25-2003, 02:11 PM:
how about for old scifi War of the worlds...
Posted by Manny Knowles (Member # 1171) on 03-25-2003, 07:09 PM:
In the Company of Men (1997, Neil LaBute)
Issues. Neil LaBute has issues.
A few days ago, I reviewed his second film, "Your Friends & Neighbors" which I found to be entertaining, if symptomatic of a warped outlook on gender and sexuality. Today we travel back in time to cover writer-director Neil LaBute's debut effort which received a lot of critical recognition upon its release.
Certainly, "In the Company of Men" is an entertaining film. The situation and acting are plausible and I found the dialogue to be well written. Nonetheless, I found myself overwhelmed by the intense level of mysogyny and self-loathing that lies at the very core of this creation.
The plot concerns itself with two college buddies who are working together out-of-town for six weeks. Chad's wife has just left him and Howard's love-life has also recently gone into the toilet, leaving him with a distinct aura of impotence. Chad's negativity about the situation has imbued him with an intense, focused hatred toward womankind. Chad coaxes Howard into participating in a revenge plot wherein the two friends will alternately seduce one woman and then dump her right before their six weeks are up. Chad sums it all up by saying, "All right then. Let's go hurt somebody."
LaBute seems to be venting here and his follow-up film, "Your Friends & Neighbors" takes us to a whole new height of lowness. Still, his characters make great movie villains and those are often the most interesting and memorable characters.
It's just too bad that the apparent personal relationship between writer-director and his material continually threatens to overshadow anything that might be happening on-screen. It is, thus, debatable whether LaBute is a good filmmaker. On the one hand, his films seem more like personal expression. On the other hand, one is constantly aware of the creator of the fiction -- he often comes across as being manipulative when it comes to his characters, their thoughts and their actions. (In fairness, I should admit that his second film suggests that he is working to bring this tendency under control.)
Low-budget filmmakers might find this film an interesting object of study. Note that the presence of extras is usually implied on the soundtrack. Whether we are at a zoo, in a restaurant or at an office party there are rarely other bodies in the frame. The majority of scenes occur indoors and, as far as I can recall, there is no scored music. All of this, in addition to a small ensemble cast of unknowns, contributes to an overall reduction in budget. "In the Company of Men" transcends its budgetary limitations, relying on the strength of its bold message -- however twisted it might be. Solid, credible portrayals on the part of the three main perfomers keep the dialogue-driven scenes alive.
If I have one aesthetic complaint, it is that I felt myself wanting more closeups. I suppose that one could argue that this was a movie about distance and never really being able to get close to somebody but my gut reaction would be to reject that as making excuses for missed opportunities. After all, a lot of the dialogue would REALLY be an internal monologue and, thus, there is arguably a great degree of intimacy between the viewer and these characters.
Posted by Manny Knowles (Member # 1171) on 03-26-2003, 10:14 PM:
Mary Poppins (1964, Robert Stevenson, Disney)
I know what you're thinking: "Mary Poppins" isn't an obscure movie. You may be right. After all, it's a safe bet that many of you have seen the movie about a dozen times or more -- or, at least, once. "Mary Poppins" is one of those movies that you might never get to see simply because you feel as though you have already seen it on the basis of your exposure to certain component elements. Those of you who have never seen "Mary Poppins" probably know a little something about it. Perhaps you can hum a few bars of "A Spoonful of Sugar." You might know the word "Supercalifragilisticexpialidocious!" At the very least, you'd have to agree that the image of Julie Andrews sailing into a London neighborhood with the help of an umbrella is nothing, if not, an icon.
So today's pick isn't an obscure movie. No big deal...because "Mary Poppins," like so many of the great classics, has a lot more to offer in terms of its rich, coherent subtext and it is that obscure aspect that I want us to explore today.
But, first, we should at least skim the major plot points. First, we have the setup in which we find ourselves in London around the turn-of-the-century (1900) and the nanny of the Banks household is busy quitting and making a dramatic exit from the household. George Banks returns home from his job as a junior partner at the bank. He is boastful and proud of the ordered lifestyle he has fashioned for himself. When he learns of the nanny's sudden departure, he immediately sets about arranging for her replacement. The following morning he meets and hires Mary Poppins, unaware that she possesses magical powers. She is pleasant but forceful and immediately makes a connection with the children. As he learns of their outrageous adventures, George remarks that Mary Poppins is perhaps a little too cheerful and playful. After losing one or two arguments with her, George puts his foot down and insists that the sooner his children learn about adulthood and responsibility, the better off they will be. He takes them to work with him the following day. The children become frightened by the austere atmosphere and the aggressive and greedy manner of the senior partners and attempt to run away, creating a scene which nearly results in financial disaster for the bank. As a result, George loses his job. He returns home to his family and soon realises that he finally has time to spend with his children. Mary Poppins considers this another success story. She leaves quietly.
It is tempting to view this as a story about mischievous kids who are brought in line by a magical nanny. In fact, one might easily arrive at that conclusion given the sheer amount of time devoted to defining the children and their adventures with Mary. Not that such an interpretation would be incorrect. It's just that (to me, anyway) there is so much more to this movie than that. I prefer to think of "Mary Poppins" as a story about a father who is brought in line by a magical nanny because if we study the children we will find that they are not evil little monsters. In fact, nothing could be further from the truth. Jane and Michael Banks are delightful and pleasant. The first nanny quit because they supposedly "ran away" but this is simply not the case; they were chasing their kite. Even the constable later agrees "it was the kite that ran away." So, in fact, the first nanny simply had unrealistic expectations of children and, thus, had no business working with them in the first place. Jane and Michael feel guilt when she quits. They apologize and offer to help find a replacement. These children are constantly shown to be possessed of good hearts. Hence, it would be a waste of time to make a movie about bringing these kids in line -- they are models of decency.
Now, let us look at the father. A simple before-and-after ought to suffice. When we first meet him, he is rather full of himself and proud of his accomplishments and possessions. He has modeled his home life after his career at the bank. Indeed, his name is Banks. George is a man defined by his occupation. Not to put too fine a point on things, one could go so far as to say that Banks is preoccupied with this occupation. The children resent this and, when given the opportunity to invest in the bank, they declare that the money is for the birds (!) and run away. In contrast to his cocky arrival at the head-end of the movie, George's final return to the family is decidedly more humble. His attitude toward his family -- that they are his only real treasure -- stands in sharp contrast to what we witnessed earlier. In this way, George Banks undergoes the greatest transformation of all the characters in the show. I think the movie is (quietly) all about Mary's effect on the father.
Nobody has ever gone so far as to claim that Walt Disney was abused as a child but it has been reported that his father was emotionally detached and very strict, occasionally given to whipping as a means of discipline. It is also widely known that Walt grew to become a benevolent dictator, taking a very active role in the development of the movies he produced. Evidently he took a special interest in this film -- it is one of Disney's biggest productions. One wonders if Walt's love for "Mary Poppins" is due to the parallel between his own father and the one in his film. If so, then "Mary Poppins" might be seen as a page one rewrite of his childhood, as might Disneyland and his many other escapist creations.
I suppose I ought to discuss the aesthetic qualities of the film to round out my thoughts.
First and foremost, now would be a good time to state that "Mary Poppins" is a musical. The songs -- written by Richard & Robert Sherman -- are wonderful and memorable and they also happen to be quite varied, including delightful numbers like "A Spoonful of Sugar," "Jolly Holiday" and "Supercalifragilisticexpialidocious!" as well as haunting anthems like "Feed the Birds" and "Chim Chim Cher-ee" and the lullaby, "Stay Awake." Walt Disney was reportedly always brought to tears by "Feed the Birds." The Sherman brothers went on to win Oscars for their score and for the song, "Chim Chim Cher-ee."
Julie Andrews and Dick Van Dyke are perfectly cast in the starring roles, as are David Tomlinson and Glynis Johns as the parents of Jane and Michael Banks (believably played by Karen Dotrice and Matthew Garber). Julie Andrews earned the Oscar for Best Actress with her performance in the title role.
"Mary Poppins" received 13 Academy Award nominations, including Best Picture, Best Screenplay (Adapted) and Best Director and won in 5 categories.
One of those Oscar "wins" was for the dazzling array of visual effects showcased within the film. Mary Poppins can fly, she takes the children on an adventure in a cartoon world and to a floating tea party; chimney sweeps dance atop the roofs amid fireworks and her magic makes cleaning the nursery a snap. A wide array of special effects techniques are on display here and it is difficult to imagine any other studio achieving so satisfying a result.
So, there it is. "Mary Poppins" revisited.
Enjoy!
Posted by Michael Schaffer (Member # 1204) on 03-27-2003, 10:52 AM:
quote:
"Supercalifragilisticexpialidocious!"
Isn`t it "Supercalifragilisticexpialidacious!" ?
Posted by John Pytlak (Member # 331) on 03-27-2003, 11:07 AM:
Any stereo prints of "Mary Poppins" in circulation?
(Sorry, Simple question, so I didn't want to open a totally new thread).
Posted by Manny Knowles (Member # 1171) on 03-27-2003, 11:07 AM:
No, Michael. It isn't.
...and there's a whole SEPARATE THREAD FOR COMMENTS. Go find it next time! ![[Razz]](tongue.gif)
Posted by Michael Schaffer (Member # 1204) on 03-27-2003, 12:58 PM:
Where is it? I couldn`t find it. Maybe Brad deleted it. He probably thought it wouldn`t be needed. Since nobody usually reads the reviews, nobody makes comments.
Posted by Paul Linfesty (Member # 214) on 03-27-2003, 11:28 PM:
MIRACLE MILE (1988)
For those who can't wait for the next disaster flick blockbuster, here's another reason why genre films on a B-movie budget are far more entertaining. They HAVE to be. Creativity trumps special effects everytime.
The movie starts off as a sweetnatured boy meets girl at LA La Braea Tar Pits museum, boy loses girl because he oversleeps for the late night date at the 24 hour neighborhood diner, and boy tries to find girl when he picks up a ringing payphone outside the diner and gets a call warning the russian missiles will hit L.A. before dawn.
So begins the adventure of a (very) short lifetime. SEE! L.A. in a panic as more and more people learn of the incoming attack! Watch people scartch and crawl for survival. See our protaginist wonder why these missliles are taking so long in coming and SLOWLY realizing that, uh, oh! maybe he's the one responsible for the panic through the city.
The film stars Anthony Edwards and Mare Winningham. AND Denise Crosby! Fresh from her departure on Star trek: The Next Generation.
Posted by Adam Martin (Member # 641) on 03-28-2003, 12:02 AM:
Don't look at me. Paul made me post this.
Posted by Paul Linfesty (Member # 214) on 03-28-2003, 12:11 AM:
XANADU (1980)
Just what is it that makes this movie experience so special? I still havent figured it out, and I must have seen it about 5 or 6 times when it first came out. Is it the incredibly stunning animated glow surrounding Olivia Newton-John and her sisters, all revealed at the beginning of this musical fantasy to be Zeus daughters? Is it the charm that Michael Beck oozes in his frustrated artist role who want to fulfill his fantasy of opening a roller disco? Is it the sight of legendary Gene Kelly connect with the youth of America by skating at the disco after a passionate (yet unsuccessful) plea to bring back the big band era? Or is it the site of the abandoned Pan Pacific Auditorium, since burned to the ground?
Which one of these things?
You just HAVE to have respect for a movie in which Olivia and Michael turn into animated animals, birds and fish to show their romantic love for each other (by Don Bluth, no less
or more). Or the truly groovy costumes worn by everyone! Or the BIG finale with Olivia making more stunning outfit changes in a minute than Cher does in an hour. This follows the tearful pleading Olivia shows to daddy and mommy to let her see Michael just one last time. Michael ALSO got to plead for Olivia after he crashed into a Venice building wall and entered the world of the Gods. We know we are in Gods territory because of all the glowing animated bars of yellow light.
Truly a cinematic masterpiece, AND the best part of all is that you can buy it on DVD. Whats REALLY cool is that it opens with the Universal logo, with different airplanes circling the globe. It really gets you in the mood! For what, thats up to you. Dont delay, buy or rent today!
Posted by Steve Anderson (Member # 364) on 03-28-2003, 08:21 PM:
The Virgin Suicides by Sofia Coppola is a compelling film about the suicides of five sisters, ages 13 to 17, in suburban Michigan during the 1970s and the investigation by four teenage boys who loved them. Based upon Jeffrey Eugenides' novel, The Virgin Suicides is told from the boys' collective point of view. After the passage of many years, they still cannot come to grips with the tragedy. The movie has a strange dreamlike quality, reminiscent of another film about teenage girls, Picnic at Hanging Rock and is one of the most honest and thoughtful films I've seen about the desperate struggle of adolescents for acceptance.
Coppola creates a memorable picture of suburbia in the 70s with its frumpy dress, split-level homes, finely manicured lawns, and vapid middle class values. Though the exact reason for their suicide remains a mystery, it is clear from the outset that there is a failure of communication at home. The father (James Woods) is a passive high school teacher who always defers to "the missus" to make family decisions. The mother (Kathleen Turner) is an old-school disciplinarian who refuses to allow the girls to go out with boys, even to the school dance and makes Lux burn her rock albums when she stays out all night after the Homecoming dance. As further punishment, they are taken out of school and sequestered in their rooms where they become starved for human contact and affection. Mrs. Lisbon never tries to make any kind of genuine connection with her daughters or to understand their growing isolation.
The girls: 13-year-old Cecilia (Hanna Hall), 14-year old Lux (Kirsten Dunst), 15-year-old Bonnie (Chelsea Swain), 16-year-old Mary (A.J. Cook), and 17-year-old Therese (Leslie Hayman) are all blond and attractive, reflecting the beauty the boys find fascinating but unattainable. Unable to know or understand the girls, they become more obsessed with their fantasies, watching the girls through a telescope from a room across the street. Sadly, like all unfulfilled fantasies, their relationship is always from a distance and they never get to know the girls as people. When the girls are gone, their innocence and childhood is lost forever.
Posted by Paul Linfesty (Member # 214) on 03-29-2003, 12:00 AM:
VISIONS OF LIGHT: the Art of Cinematography
A must for anyone who cares about the art of cinematography, Visions of Light starts in the silent era, back in the days when sound was probably a piano or limited-size orchestra. It follows the progress of craft of motion imaging capturing ands gives a new appreciation of the art of black& white photography. By tracing technological advances (color, wide screen, faster film, natural lighting, composition, etc) it explores how images create emotion in its viewers. It delves into the work of the true innovators in the film industry.
Posted by Michael Schaffer (Member # 1204) on 03-29-2003, 06:37 AM:
quote:
it explores how images create emotion in its viewers.
...or the lack of.
Posted by Paul Linfesty (Member # 214) on 03-30-2003, 01:58 PM:
NASHVILLE (1975)
It was the summer of 1975 when industry predictors zeroed in on three summer films to achieve blockbuster status. Everyone is familiar with the one that many say changed the industry forever (Jaws). The two other films were more individual works, Norman Jewisons Rollerball (definitely flawed but great when compared to the remake) and Robert Altmans Nashville.
Nashville was heavily anticipated because it was in many ways the ultimate Altman film, his epic if you will. Altman was one of the many new breed of independent-minded filmmakers who broke out during the financial crisis affecting most Hollywood studios. Old style studio films no longer clicked with an increasingly diverse movie-going public. The studio heads couldnt get a handle on changing tastes. Many films popped up that these old-time execs hated, but they couldnt deny the boxoffice success of films like Easy Rider, Bonnie and Clyde, Midnight Cowboy and Altmans own MASH. So for a while these executives turned over the creative power to some highly talented, and sometimes indulgent directors.
Its hard to review a film like Nashville after all these years. One has to ask if the movie stands the test of time. When I saw it initially at San Francisos Northpoint Theatre, I was bringing with me attitudes and beliefs that were nurtured during that period of time. For Nashville is definitely reflective of the political upheavals of the time, in style if not specifics. Now, when I recently watched the DVD, I also question if I am experiencing it like new, or if I am reliving the same emotions I experienced when first seeing it (confession. I saw it four times on its initial release). Despite this, I think the film holds up very well, and can be seen as a document to the mood of the country at the time.
Nashville takes place during a 5 day period of time , with the country music scene representing a microcosm of the country at large. We are in the midst of political campaign by an independent presidential candidate. While many have dismissed this work as being anti-country (some of the characters come across as, well, buffoons, and the songs as parodies of C&W songs), the fact is that one can grow quite affectionate. These are real people, flawed and all, but they are still very human. For example, one country star is portrayed as publicity-seeking fraud, yet at the tragic conclusion of the film, he steps up to the plate and is shown as a hero, after all. The film also shows the strength of America in its ability to pull together and not accept defeat in the face of tragedy.
[ 03-30-2003, 09:26 PM: Message edited by: Paul Linfesty ]
Posted by Manny Knowles (Member # 1171) on 03-31-2003, 03:00 AM:
Okay, Paul...Let's go there. I'm going to jump on your bandwagon and chime in with a personal story that illustrates the importance of the historic context in which a movie is made. This example also foregrounds the personal perspective of the viewer.
Our MOTD is...
The Lost Boys (1987, Joel Schumacher, Warner Bros.)
"The Lost Boys" was designed to be a summertime blockbuster, and it was. The High-Concept synopsis would go something like this: Sam Emmerson is sure that his older brother's new best friends are a gang of teenage vampires. Throw in some rock music and an attractive cast...and voila!
But forget the plot -- let us now look at what lies at the heart of this seemingly-innocent movie. It's a subject that is near and dear to my heart. (No...not that!) I'm talking about homophobia. Now I know what you're thinking: There weren't any gays in "The Lost Boys." Ah, but there were! Sit tight, keep reading and prepare to be amazed! First let us decode the major components of the plot...
1. The story is set in California, home to at least two of the largest gay communities in the United States.
2. Lucy Emmerson is estranged from her husband. Apart from establishing this fact within the first ten minutes of the movie, the boys' father is never mentioned again. Anyone who is familiar with the stereotype that gay men had an overbearing mother and an absent father knows what this is all about.
3. The first victim is a security guard. America has come a long way since 1987 but, back then, the legality of homosexuality was (at best) questionable. The attack on the security guard can be seen to represent the opinion that homosexuals were a threat to the moral fabric of society.
4. There has always been a certain level of homoeroticism at work in vampire stories. Take for example, the relationship betwen Dracula and Renfield or Lestadt and his male companion (both of them, for that matter). While we're at it, we might as well consider the seduction of Evil Ed in "Fright Night." My point is that vampires seem to always need a male companion to see them through their eternal life. A female companion is usually an afterthought. The gang of vampires in "The Lost Boys" is almost exclusively male. The movie shows how the one female member is used to lure more male members into the group. Not only is she depicted as a "fag hag" but the movie supports the whole notion that gay men are actually out to "convert" unsuspecting straight men into homosexuals.
5. "The Lost Boys" makes a reference to a scene in "Rebel Without A Cause," in which a teenage boy named Plato (!) is clearly attracted to a guy named Jim...although, Plato likes to call him Jamie. The scene in question is the "chicken run" scene in which Jim takes on one of the local toughs in an all-out car race towards an oceanside cliff. In "The Lost Boys" the scene is played out with motorcycles. Such displays of machismo is on par with the whole notion of guys feeling the need to "check each other out." But the homage soon gives way to a scene that drives the point home even more clearly....
6. I am referring (of course) to the scene where David and Michael are dangling from the railroad bridge along with the other vampire kids. Along comes the train and the whole thing ventures frightfully close to the realm of pornography. The ensuing cocophany pumping, throbbing and ecstatic yelling soon give way to a quiet surrender as, one by one, the vampires "let go" and fall away into the foggy unknown. It's too much for Michael to resist. He "takes the plunge."
7. Michael's initiation involves drinking from a wine bottle that contains tainted blood. I should first point out the obvious phallic imagery of the wine bottle before discussing the significance of its contents. Blood and semen are closely related. The tainted blood is clearly a metaphor for AIDS which was first discovered among gay men just a few years before "The Lost Boys" went into production. The message here seems to be that homosexual men are the living dead.
8. Kid brother Sam enlists the help of The Frogg Brothers who dress in military gear and arm themselves with water pistols filled with holy water. Religion and the (U.S.) military have been enemies of homosexuals since time began.
9. Michael's heterosexual encounter with Star is the first step on the road to his recovery. The love scene paves the way for the sequence in which Sam and the Frogg Brothers prepare for the upcoming battle. They are joined by Michael, with Star and a child vampire. The impression is that Michael is now resolved to his fate as husband and father, both of which are outward manifestations (read: "proof") of heterosexuality and "normalcy."
10. Much importance is placed on the need to find and destroy the so-called "head vampire." If you imagine an organizational flow chart, the head vampire would most likely be positioned "on top." In order for this figure to be conquered, he must be impaled by a wooden stake. I find this interesting because the notion of penetration seems to equal defeat. Witness the ancient tradition of Turkish warriors who raped defeated soldiers to symbolize total conquest. The wooden stake is obviously a phallus.
11. Moments before his defeat, the head vampire chastises Lucy Emmerson by saying: "I told you. Boys need a father." None of this would have happened if Lucy had not left her husband and moved to Santa Carla (actually, Santa Cruz). In this way, the movie supports the myth that mothers must accept the blame if their sons become homosexual.
12. The title of the movie is obviously a reference to the Lost Boys in "Peter Pan" -- they will never grow up -- but in the context of this reading the title can be seen to have another meaning. The word "lost" has negative connotations. The song "Amazing Grace" uses the word to depict sinful transgressions from the Word of God (i.e. "I once was lost, but now am found."). The use of the word "boy" as part of the title stems from the idea that manhood is associated with heterosexuality, while homosexuality is a symptom of arrested development. The character "Jack" on the TV show "Will & Grace" is a more recent embodiment of this notion in popular culture.
There are many other instances of homophobia embedded into the plot of "The Lost Boys." Here are just a few of the smaller details:
1. In the scene where Sam is taking a bath, he is singing (in high falsetto) "I ain't got a man / I'm a lonely girl."
2. The other half of that scene takes place on the other side of the bathroom door -- Michael's teeth become enlarged and he attempts to attack his younger brother. Something about the teeth gets my attention -- maybe it's the enlargement factor or the fact that teeth are bones. Then there is the whole notion of penetration. Do you really need me to spell it out for you? Seriously, though...Notice how homosexuals are depicted as rapists and pedophiles. Worse, this would be an incestuous encounter. Thus, the idea that gays are mentally deranged sex offenders is upheld by the film.
3. Sam observes that Michael's fingernails have gotten longer.
4. The film closes with a cover of "Don't Let The Sun Go Down On Me" which was co-written and originally performed by Elton John who is openly bisexual.
5. Another song, "People Are Strange" (originally by The Doors) is featured prominently within the setup of the film. Here are some lyrics:
"People are strange when you're a stranger.
Faces look ugly when you're alone.
Women seem wicked when you're unwanted.
Streets are uneven when you're down."
I don't suppose I really need go too far into how gays -- particularly gay teens -- are made to feel like strangers, alone and unwanted. The song fits the scenario like a glove.
I can understand how preposterous this interpretation may seem in this day and age. For the gay community, present times are many times better than the 1980s. That decade saw a kind of 'moral reform' that kicked into high gear with the appearance of AIDS.
The sexual freedom of the 1970s came with a price in the form of a disease that was originally called GRIDS (Gay-Related Immunodeficiency Syndrome). Many prominent conservative leaders latched onto the idea that this disease was proof that "homosexuality equals death." These sentiments flourished under the Republican presidency of Ronald Reagan. GRIDS would be renamed and go on to claim the first tens of thousands of its victims before President Reagan would even acknowledge the disease publicly.
It is not my intention to insinuate that Hollywood people conspired to make homophobic movies. What is more likely is that "The Lost Boys" is merely symptomatic of the effects of the sociopolitical climate on the unconscious. Obviously, we cannot overlook the overwhelming importance of the individual viewer in this scenario. After all, this is an interpretation based on a certain singular point of view. Still, one cannot see what is not there.
So often, we tend to regard movies as concrete things. They are not. Movies are a form of expression and are, thus, open to interpretation. Writers and Directors are storytellers. Ancient storytelling functioned as a means of explaining the unexplainable -- Where did we come from? What happens when we die? What is the origin of the moon and the stars? Historically, most people choose to accept these stories for that they purport to be. Others will reject the stories as irrelevant or false. Quite often, however, we find ourselves negotiating these stories to determine the extent to which -- and the manner in which -- we deem them to be relevant. When these myths are dissected we discover a unifying ideology that defines the norm and, thus, places an individual within or outside of it. Close examination of contemporary mythology -- in this case, movies -- can serve as a kind of cultural barometer from one era to another.
In the case of Classical Hollywood Cinema, scholars have gone to great lengths to illustrate the manner in which straightness, whiteness and maleness are upheld as the de facto "triple crown" of humanity. "The Lost Boys" is a cautionary tale that clearly buys into these notions.
***
The above MOTD review is a paraphrasing of a much longer paper that I wrote while attending USC (circa 1995). The paper was entitled "Found In The Shadows: Homophobia and The Lost Boys."
[ 03-31-2003, 03:55 PM: Message edited by: Manny Knowles ]
Posted by Don E. Nelson (Member # 1049) on 03-31-2003, 01:58 PM:
Orphee (1949) French Film Jean Cocteau.
This really is a film to lose yourself in; "a lyrical feat of visual poetry with the majestic sense of a dream.". Sublimely imaginative and fluidly inventive. I will never forget one of the lines, ......."a world full of memories" wow.
As Greg Kihn used to say: They don't make em like this any more!
Posted by Don Bruechert (Member # 1538) on 04-02-2003, 08:52 AM:
For April 2, I would like to Nominate Silent Running
I think this is an awesome movie. Some day I hope to see it on the large screen, as I recall never seeing it on anything bigger than a TV set.
Concepts that were in this film way back in 1972 still exist today - the destruction of Earth's plant life and attempts to protect it by various environmental groups, the effects of budget cust on ongoing projects and various morality issues. This is not a cheesy special effects movie, no aliens show up and there are no shootouts. You will find what could very well be the predecessors to R2D2 in this movie, and most of it will be quite believable and easy to imagine happening. This movie stars Bruce Dern and Ron Rifkin among others.
Posted by Dan Lyons (Member # 1454) on 04-03-2003, 03:08 AM:
" You need a bit of, oooooh Shock Treatment !!!! "
Shock Treatment(1981) is not necessarily a sequal to the "Rocky Horror Picture Show", but is more like a look at the lives of Brad and Janet after their encounter with aliens several years prior.
Richard O'Brien and Patricia Quinn are once again featured as brother and sister, however they have assumed new identities.
Little Nell and Charles Gray also show up in this film.
This film is very relevant to modern society in that it is a satire on American culture and television; just look at the "reality" shows we have on now, this film was predicting the future!
Sadly, Fox claims to have no more prints, and will not make new ones, so fan conventions for this film are forced to use video projection. ![[puke]](graemlins/puke.gif)
Available on VHS, probably will never be released on DVD.
Danny
Posted by Gunnar Johansson (Member # 1661) on 04-03-2003, 03:51 PM:
Todays movie, if movie is the correct title, but itīs a classic, and it was shown in theatres (I think).
The song remains the same (1976) http://us.imdb.com/Title?0075244
Directed by Peter Clifton and Joe Massot, it shows whatīs supposed to be one concert with Led Zeppelin at the height of their career, but itīs actually at least three cout together (with additional footage) and also shows some of the bandmembers personal dreams and/or hallucinations as some sort of intermission or complimenting the film.
Itīs a documentary of the greatest rockīnīroll band ever, the way theyīre meant to be seen, live. Being to young, I didnīt have the pleasure, but this show really does it for me. I have the VHS and the DVD, and included are some of my favourite songs ever.
Must see.
In Concert And Beyond!
Sorry, but I unfortunately donīt have an analysis of gay (or any other) aspects in this film, but maybe Iīll get back to you with that
//Gunnar
Posted by Manny Knowles (Member # 1171) on 04-03-2003, 07:39 PM:
You know...
There is a reason why this thread is not called MOVIES of the day. It is called MOVIE (as in 1) OF THE DAY because the rules of this thread specify ONE movie per day.
It's a simple rule. I didn't make it, but it's the rule and so many of us have obeyed it for some time now. I don't feel it's asking too much to adhere to that rule. After all, it's the whole point of this thread in the first place.
There is a separate thread for comments but I have chosen to post this here because -- evidently -- nobody is reading that thread. Just last Friday, I posted a considerably more restrained version of this message.
If you really cannot wait until the next day to post your review then why not start up a separate thread in the Reviews section?
Annoyed,
Manny.
Posted by Don Bruechert (Member # 1538) on 04-04-2003, 02:08 AM:
I just got back from seeing a sappy love story kinda movie right now, so being in a sappy love story movie kinda mood, I submit Electric Dreams (1984) As the movie of the day for April 4th.
This is a movie about a boy, a girl and a computer that form a rather interesting love triangle. The computer can actually do quite a lot, considering it was 1984, and this movie has a kick-ass soundtrack by the Electric Light Orchestra. It is difficult to find, but I have a VHS copy I got off eBay and it is definately one of my favorite movies!
Posted by Don Bruechert (Member # 1538) on 04-05-2003, 07:30 PM:
Since someone requested it in chat the other night, and since I also think it is a great movie, for April 5th I nominate Explorers (1985) for the movie of the day.
Explorers is a kids movie, but it is very well done, and will easily keep adults amused as well. It is about a kid that dreams a way to build his own homemade spaceship, and then experiences the journey that it takes him on. I was definately entertained by this movie, and most of the little kids I know that watched it thought it was great. Of course this kid is also interested in a girl at school, and they find a way to integrate her into the plot as well. Try it, you'll like it!
Posted by Jon Miller (Member # 163) on 04-06-2003, 01:10 AM:
Silent Movie (1976)
Some fifty years after the talkies spelled an end to the silent movie, Mel Funn (Mel Brooks), Marty Eggs (the late Marty Feldman) and Dom Bell (Dom DeLuise) set out to revive the concept and create a modern-day silent flick in a gimmick to rescue a movie studio facing bankruptcy. Along the way, the trio become enmeshed in a host of wacky circumstances as they attempt to enlist the likes of Burt Reynolds, James Caan, Liza Minelli, and others to star in their little project. Meanwhile, the conglomerate of Engulf and Devour plots to take over and shut down the studio assisting the trio's project and also put a stop to the silent-movie revival, and nearly succeeds.
"Silent Movie" unreels in the style of a silent movie, intertitles and all, but in color (Brooks had his B&W fix in "Young Frankenstein") and with a modern orchestral score. Given the lack of dialogue, a wide assortment of sight gags, visual puns, and sound effects are employed to propel the story along. Some of the more memorable gags include...
- A fly in a restaurant patron's soup. Sounds pedestrian, until you see where the fly "flew" in from.
- A very bizarre high-speed wheelchair pursuit of Paul Newman across hospital grounds.
- A malfunctioning Coca-Cola vending machine which is later put to good use in a fight to rescue the film print form the Engulf and Devour goons.
- Marty Eggs serving as a highly unusual film reel.
- And, even though this movie is almost dialogue-free, a most unlikely character utters the sole spoken word in the soundtrrack.
Silent Movie also features a couple of projection booth scenes (a carbon-arc changeover booth!) near the end of the film.
Posted by Manny Knowles (Member # 1171) on 04-07-2003, 06:35 PM:
Movie of the Day for April 7th is...
Grease 2
Okay, okay -- it bombed at the box office. I originally hated this movie but the songs grew on me and now "Grease 2" has become one of my favorite guilty pleasures. I've probably seen "Grease 2" more times than "Grease" by now.
"Cool Rider" and "Girl For All Seasons" are among the great songs. "Rocka-Hula Luau" is among the worst this film has to offer.
See for yourself what all the fuss is about! Unfortunately, it's not available yet on DVD so VHS will have to do. ![[Frown]](frown.gif)
Posted by Manny Knowles (Member # 1171) on 04-08-2003, 09:04 AM:
Edward Scissorhands (1990, Tim Burton)
Tim Burton is possessed of a strong yet whimsical visual style and I consider EDWARD SCISSORHANDS to be among his best work.
SCISSORHANDS is a modern fairy tale about a boy who was built as a labor of love by an old inventor. Unfortunately, the old man died before he could finish Edward and this left him with scissors for hands. Edward goes on living a sheltered life in the abandoned mansion until he is "rescued" by a wayward Avon lady who adopts him and introduces him to civilization which, as it turns out, is not quite ready to cope with a man who has scissors instead of hands.
Johnny Depp captured a beautiful sadness in the main character. Diane Wiest, Alan Arkin and Winona Ryder are pitch-perfect in their portrayals of the gentle, well-meaning family that adopts Edward. The supporting cast of neighbors is also a bonus. It's a delight to find Vincent Price in a cameo as Edward's creator.
Posted by Gunnar Johansson (Member # 1661) on 04-09-2003, 04:24 AM:
I nominate for toadys movie (april 9):
Yellow submarine (1968) http://us.imdb.com/Title?0063823
A classic in musical entertainment, and damn funny too. I saw this on TV as a kid, and picked it up not too long ago, to watch over and over again...
Itīs got great music (Beatles being a personal favourite) and some really nice animations..
Itīs also got an interesting plot, with the Beatles trying to save a world (Pepperland) from going under, as they are being attacked by the Blue meanies
Classic comments like:
Ringo: Hey, I wonder what'll happen if I pull this lever.
Old Fred: Oh, you mustn't do that now.
Ringo: Can't help it. I'm a born lever-puller.
John: It's blue glass.
George: Must be from Kentucky, then.
John: It appears to be a group of fellas.
I just keep laughing, and enjoy the music. Itīs one of those films you can see over and over and over again. And then just one more time for good measure...
Hope you enjoy this one...
//Gunnar
Posted by Gunnar Johansson (Member # 1661) on 04-11-2003, 04:06 PM:
Not too many postings here the last few days... Hope it wasnīt my fault. Assuming it wasnīt me, Iīll take another swing, and nominate Bad Boy Bubby http://us.imdb.com/Title?0106341
All he needs is love
Bad Boy bubby is a movie set i Australia about a grown man who is kept severly subdued by his mother, she keeps him locked up, and wonīt let him out. After she dies he goes out into the world, and sees it all for the first time. He meets a lot of people and experiences many things.
I saw this in a filmfestival years ago, and was thoroughly confused, but I really liked it. Havenīt seen it since, but I have to go find it now, since it hopefully is the movie of the day. Perhaps some of our australian friends have seen and/or know something about it. It was bizarre but enjoyable, and questioned some of the things we take for granted in modern society...
//Gunnar
Posted by Manny Knowles (Member # 1171) on 04-12-2003, 07:14 PM:
The Goonies (1985, Richard Donner, Warner Bros.)
Ostensibly, "The Goonies" is a film about a group of kids from the wrong side of the tracks who embark on a treasure hunt in a desperate effort to save their homes from being foreclosed and bulldozed.
Underneath the high gloss of the production, we have a Freudian nightmare/fantasy that addresses the problems of adolescence and impending adulthood. The kids in the film are a depressed lot -- even the weather is crappy. Everyone's feeling down about having to pack up and move out. As a means of lifting the mood, they sneak into the attic -- always a cinematic analog for "the mind" or "memories" -- and there they discover a treasure map that once belonged to the infamous pirate, One-Eyed Willie.
Pause!
One-Eyed Willie? Yes, you read correctly. He's our clue. This movie is all about sexual adjustment.
Now I know that most people attributed the success of this film to Spielberg's involvement as Producer and Richard Donner's involvement as director. It's true that the film has a whimsical charm, good pacing, a really cool poster and a rockin' song by Cyndi Lauper but those are superficial attractions -- those things make you buy the ticket. The sexual connection is what makes "The Goonies" a classic and One-Eyed Willie is the key to our new-found awareness of this fact.
All right, I'll admit it: Moving sucks. But it's not the end of the world, either. First and foremost, what these youngsters are resistant to is change. Note that they are all in some phase of puberty which is a time that is marked by changes. Puberty sucks way worse than moving.
Almost without doubt, the pubescent transformation made a lot of us anxious about our physical appearance. It is a text-book expectation that teenagers will become alarmed -- possibly even depressed -- by growth spurts, "breaking" voices, acne and the appearance of body hair. The feeling is that their physique is out of control...stumbling and general miscoordination is common during growth spurts. There is also a great deal of anxiety about the end result : "Will I still be cute?"
What does all of this have to do with "The Goonies?" Well, it's all very simple, really. For this explains the significance of Sloth, the grotesque, malformed member of the Fratelli brothers. (By the way, the word "fratelli" is Italian for "brothers.") First, there are a few observations we ought to make about Sloth in terms of decoding him as the personification of puberty within the subtext of the film.
Sloth is neither man nor boy. He is in-between.
Sloth has difficulty speaking. So do many pubescent males.
Sloth's hair is going its own way.
Sloth's face is disfigured.
Apart from the children, only Sloth has a nickname.
Initially, the kids fear Sloth. He is first presented as an unseen threatening monster; a caged thing waiting behind a locked door. By the end of the film, he is embraced by the children. As far as the plot is concerned, this seems intended to resolve the problem of adolescence and the natural process of fear giving way to understanding and acceptance of self.
Seeing as how the film ends here, it almost goes without saying that "The Goonies" does not even begin to deal with the process of mourning the loss of one's childhood. Instead, the film tackles a problem that is closely related to the process of puberty. Namely, the psychological condition known as "sublation of the father." This is primarily a male phenomenon. Simply put, this is the process of downgrading one's father from being all-powerful and/or threatening "father figure" to becoming a mere mortal man who works for a living, pays bills and puts his pants on one leg at a time, just like the rest of us. This mental image of "dad" begins to change at the onset of puberty, typically when we start "hanging out" with persons other than our parents and family. The process is complete when we become independent adults with our own place to live -- no more of that "under my roof" crap -- and financial autonomy. Reunion and true bonding with the father usually follows the next logical steps in a typical man's life -- marriage and parenthood.
So let's look at the movie and see what we find...
The Walsh brothers have to face the fact that although their dad is a top-notch historian, he is no match for Troy Perkins' dad who has enough money to buy and transform the entire neighborhood. We like to think of our dads as being super heroes. The plot of "The Goonies" begins and ends with solving the problem of learning that one's dad is human, flawed and quite capable of failure. In this case, Mr. Walsh is also rendered as being "impotent." Indeed, our first vision of him is a shot in which he is trying to get his flag up! And that brings me (conveniently) back to One-Eyed Willie.
Prior to events that occur on-screen, Mr. Walsh had organized an exhibit at the museum. This introduced everyone to the town's history and the significance of One-Eyed Willie in terms of its history. Thus, from an intellectual standpoint, Willie belongs to Mr. Walsh. This is important because when the children find the lost treasure, they are essentially restoring Mr. Walsh's masculinity and rendering him potent once again.
Meanwhile, the characters Chunk and Sloth develop a bond that resembles brotherhood and parenthood. Chunk convinces his parents to adopt Sloth and the scene plays as though Sloth might actually be regarded as something closer to a pet. Thus it is implied that Chunk will be the primary caregiver to Sloth which would undoubtedly give him a glimpse of parenthood.
So we can see that "The Goonies" attempts to address some vitally important issues about the future, by taking us on a journey into the past. It's ingenious and I am certain that this is why the movie remains as relevant today as it was at the time of its creation.
Posted by Brian Zeisler (Member # 1333) on 04-14-2003, 03:28 AM:
MEET THE FEEBLES
IMDB REVEIW: http://us.imdb.com/Title?0097858
PETER JACKSON BACK IN THE DAYS BEFORE L.O.T.R.
EASIEST WAY TO DESCRIBE THIS MOVIE: THINK "THE MUPPET MOVIE" WITH A "R" OR "NC-17" RATING ![[sex]](graemlins/sex.gif)
Posted by Brian Zeisler (Member # 1333) on 04-15-2003, 05:03 PM:
nausicaa of the valley of the wind
imdb: http://us.imdb.com/Title?0087544
from the same great studio that brought you such greats as spirited away (much better sub-titled) and princess mononoke (also much better sub-titled), brings your this 1984 anime classic. in this reveiwers opinion, this best movie this studio has ever made. for those of your wanting a copy of this great film, send me an private e-mail.
Posted by Brad Miller (Member # 2) on 04-15-2003, 06:27 PM:
quote:
for those of your wanting a copy of this great film, send me an private e-mail.
Brian, if this is legally available in the United States, then post where it can be had here. If you are trying to sell pirated videos, allow me to show you to the door where our friend Jack Valenti will be waiting for you. ![[Mad]](mad.gif)
Posted by Sam Hunter (Member # 1119) on 04-15-2003, 09:14 PM:
My movie of the day is :ELECTRAGLIDE IN BLUE.
A very nice Robert Blake film and the ending will take you by surprise.
Released in 1973 and is about a Arizona Motorcycle cop who yearns to be promoted to Homicide detective. I was twelve years old when this movie was released and didn't pay a whole lot of attention at the time, too busy chasing girls around the drive in or something but I got to see it again on Movieplex a couple of months ago and got really absorbed into the story.
It has its slow points but otherwise a good movie.
Posted by Phil Hill (Member # 371) on 04-15-2003, 09:45 PM:
My movie of the day is "Revenge Of The Nerds II" http://us.imdb.com/Title?0093857
One of my favorite parts is when the nerds re-wire the neon sign of the "HOTEL CORAL ESSEX" to read "HOT ORAL SEX"! ![[beer]](graemlins/beer.gif)
>>> Phil
Posted by Brian Zeisler (Member # 1333) on 04-15-2003, 10:55 PM:
sorry, my bad. didnt mean sell, meant for free. you see the version released in the usa is 1/2 hour shorter that the original. i just think people should see it the way it was meant to be seen.
Posted by Brad Miller (Member # 2) on 04-15-2003, 11:20 PM:
For free still doesn't make it right Brian. One of your copies will sooner or later turn up into the wrong hands and be duplicated to no end.
Posted by Manny Knowles (Member # 1171) on 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!
Posted by Paul Linfesty (Member # 214) on 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 ]
Posted by Paul Linfesty (Member # 214) on 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.
Posted by Gunnar Johansson (Member # 1661) on 04-23-2003, 06:32 PM:
Itīs been sort of dead here the last couple of days, with Pauls brilliant exception, but hereīs 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. Itīs 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. Itīs titel is also indicative of the glorification of american society thatīs 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. Itīs not intended to offend outside of Sweden, and does not offend here. Itīs borderline of the "rule" but is one of the better swedish films in a while, and Iīll 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 itīs 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...
Posted by Manny Knowles (Member # 1171) on 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.
Posted by Paul Linfesty (Member # 214) on 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.
Posted by Paul Linfesty (Member # 214) on 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.
Posted by Paul Linfesty (Member # 214) on 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.
Posted by Bill Gabel (Member # 1105) on 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
Posted by Paul Linfesty (Member # 214) on 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.
Posted by Rachel Gilardi (Member # 1016) on 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).
Posted by Sam Wells III (Member # 1158) on 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...
Posted by Bill Gabel (Member # 1105) on 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) ![[Big Grin]](biggrin.gif)
A Classic from the era of the 70's.
Posted by Bill Gabel (Member # 1105) on 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
Posted by Manny Knowles (Member # 1171) on 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 ]
Posted by Manny Knowles (Member # 1171) on 10-12-2003, 12:06 AM:
Stripes (1981, Ivan Reitman)
A successful re-teaming of Ivan Reitman and Bill Murray. This time, instead of summer camp, STRIPES is set against the backdrop of the U.S. Army.
STRIPES is structured in two major segments -- basic training and the adventure behind the Iron Curtain.
It's actually a very well-made comedy with some fine writing and performances. I'm tempted to go so far as to declare STRIPES to be a timeless and relevant commentary on the military.
Posted by Michael Schaffer (Member # 1204) on 10-12-2003, 04:24 AM:
I just watched that a few days ago! What a coincidence! It is a really lame and badly timed comedy. I am sure Ramis, Reitman and Murray are glad they made Ghostbusters so they won`t be remembered for that. It is only interesting from a historic point of view, like "look what they did before".
Posted by Manny Knowles (Member # 1171) on 10-12-2003, 12:36 PM:
So...we're gonna totally blow off the COMMENTS thread this time around?
Posted by Mark J. Marshall (Member # 1409) on 10-13-2003, 02:55 PM:
I'm not sure what time it is on the server, but it's 3:40 in the afternoon here, so I should be safe.
Darby O'Gill and the Little People. Walt Disney, 1959, Dir. Robert Stevenson.
I haven't seen this movie in just about forever, but I remember watching it over and over as a kid. It always left me wondering what it would be like to run into a real leprechaun, and it was the subject of many games with the neighborhood kids growing up. I remember that seeing the black death coach always made my heart pound with excitement. A great film for kids, or kid-wanna-bes.
Posted by Paul Salley (Member # 740) on 10-17-2003, 03:59 AM:
Tampopo (1985)
http://us.imdb.com/title/tt0092048/
In this humorous paean to the joys of food, the main story is about trucker Goro who rides into town like a modern Shane to help Tampopo set up the perfect fast-food noodle restaurant. Woven into this main story are a number of smaller stories about the importance of food, ranging from a gangster who mixes hot sex with food to an old lady terrorizing a shopkeeper by compulsive squeezing of his wares.
Posted by Michael Schaffer (Member # 1204) on 11-08-2003, 04:15 PM:
The Draughtsman`s Contract
I think this is one of the greatest movies ever made, but I can`t really explain why... Anyway, it`s about a celebrated artist in England in the 17th century who makes a contract with a noble lady to draw her estate in exchange for certain "favors". It turns into a criminal story, but giving any details here would spoil it completely. Apart from the fantastic cinematography and the enormously original music by Michael Nyman, what makes this movie so special is that it contains about everything there is to be said about how we see or want to see things.
Posted by Manny Knowles (Member # 1171) on 05-23-2004, 10:10 AM:
5/23/2004
An Officer And A Gentleman (Taylor Hackford, Paramount, 1982)
Twenty (plus) years old, "Officer/Gentleman" still packs an emotional punch. In fact, this movie does not really show its age at all and I highly recommend it to anyone who still considers "Top Gun" to be the finest in military romance-dramas.
Don't get me wrong. "Top Gun" is a cool movie but I think it's safe to say that THIS is the level of excellence they were striving for.
Thematically, the two films are similar -- romance melodrama set against the backdrop of a U.S. Navy training program -- but "Officer/Gentleman" begins with a more finely crafted screenplay, bursting at the seams with plot and character development. A director would have to be some sort of genius to screw up with a script of this caliber. Fortunately, Taylor Hackford is not THAT KIND of genius. His direction of "Officer/Gentleman" strives for a sense of total honesty and credibility which I would say he achieves masterfully.
The film features what I would consider "a five-star, all-star cast" but the sense is that this is an ensemble piece and not a star vehicle per se. Richard Gere, Debra Winger, David Keith and Louis Gossett, Jr. deliver some of the best work of their ENTIRE careers in "Officer/Gentleman" and Louis Gossett, Jr. earned the Oscar for Best Actor in a Supporting Role for his outstanding performance as Sgt. Foley, the Drill Instructor.
The main focus of the story involves the plight of Zach Mayo (Richard Gere), a new enlistee to the U.S. Navy's Officer Candidate School (OCS) who dreams of someday becoming a fighter pilot. From the outset, Foley issues a clear warning to the soldiers that they should avoid becoming romantically involved with the local women, whom he charactarizes as a desperate bunch who will stop at nothing to trap a naval officer into marrying them. We learn that Foley is not exaggerating and, of course, our hero and his best buddy ignore the warning and hook up with two of the local girls.
Will they get trapped? Will they survive OCS?
Bust out the hankies and fire up that home-theatre system. Let your date see you cry and your bravery just might be rewarded.
Double-Feature idea -- Add "Top Gun."
Triple-Feature idea -- Add "Top Gun" and "The D.I." starring Jack Webb (of "Dragnet" fame) as an over-the-top Drill Instructor.
It's probably okay to forget about that old "Comments" thread now. Feel free to reply right here in this thread...but remember...there can be only one Movie of the Day!
[ 05-23-2004, 11:46 AM: Message edited by: Manny Knowles ]
Posted by John Wilson (Member # 269) on 07-15-2004, 02:55 AM:
The Goodbye Girl - 1977 Directed by Herbert Ross.
Richard Dreyfuss won the Oscar for Best Actor with his portrayal of the off-off-off-Broadway actor Elliot Garfield. Elliot comes to New York to star in Henry V for a director that's taking on a new slant on the story. Elliot arrives late at night to find the key gets into his sub-let apartment, but that the door's latched from the inside!
Inside is Marsha Mason playing Paula Macfadden Quinn Cummings playing her 10 year old daughter, Lucy. They don't want to move out (Paula's ex-boyfriend has sub-let the apartment without her knowledge) and Elliot has a lease in his pocket for the apartment and needs a place to stay out of the rain.
Excellent script and very funny romantic comedy that deserves a return look every few years.
Posted by John Wilson (Member # 269) on 07-20-2004, 11:14 PM:
Breaking Away - 1979 Breaking Away page at IMDB
Peter Yates directed and Steve Tesich scripted this brilliant coming of age film set in Indiana.
It tells the story of a young 17 year old boy named Dave Stoller (played by Dennis Christopher) who has a racing bike and would love to ride with the Italian 'Team Cinzano'.
So, he shaves his legs, calls himself Enrico Gimani, eats only Italian food, calls his cat 'Fellini' (although the cat's real name is Jake as his all-American Dad points out) and convinces a girl he likes he really is an Italian exchange student.
Also stars young Dennis Quaid and young Daniel Stern
One review I recall called this 'A cinematic breath of fresh air' I couldn't agree more. One of my all-time favourites.
Powered by Infopop Corporation
UBB.classicTM
6.3.1.2