Saw Babylon tonight, a fantastically disordered movie where everyone is going 110%. Highly recommended.
I watched an excellent double feature on AMC tonight: Kubrick’s Paths of Glory (1957) followed by The Caine Mutiny (1954).
I saw Paths of Glory not too long ago, but I always seem to watch it when I catch it- it’s a great movie, especially for its day. Stark, raw, unflinching; all it needed was a few F-bombs and it could fly today. I hadn’t seen The Caine Mutiny in years. I forgot how amazing Bogart is in that last scene.
7 Women And A Murder. Italian murder mystery on Netflix with some humor, amazing costumes, and sets. All of the ladies do good work, but the mystery isn’t as engaging as, say, a Knives Out movie. One of the actresses had clearly had a lot of facial plastic surgery which was pretty distracting. Worth watching to pass the time or if you speak Italian ( I always feel I’m missing half the movie if I go with dubs or subtitles, but I must).
Legend of Molly Johnson (Hulu)- Very dark but good performances and striking landscapes. Bring tissue - well worth the time.
We watched Get Shorty for the umpteenth time. Obviously, it’s a favorite – loan sharks and drug dealers who really would rather be movie producers. My family quotes this movie frequently, dropping “Cadillac of minivans” and “the smog is the reason the sunsets are so beautiful” (plus 4 or 5 f-bombs) into conversation.
Last night was two supernatural horror movies back-to-back – a little Horror Fest at Chez Wolfpup. I recommend them both, but I likes me a good horror movie now and then. Not for those looking for highbrow artsy stuff, but those who enjoy suspense and a few scares will probably like them.
First was The Black Phone, from 2021. About a psychotic kidnapper who’s been picking off and murdering local kids, with supernatural overtones. Much the kind of thing Stephen King might have written, but not related to King at all in this case.
Next was Smile (2022) about a physician in a mental hospital who, after witnessing a patient kill herself, becomes increasingly consumed by frightening visions and begins to fear she may do the same herself. A jump-scare kind of movie solidly immersed in the supernatural. I must say that although the film has a wide cast of characters, it’s the kind where there’s an intense focus on one lead character, which undoubtedly makes the role tough and stressful. In this case, that lead character is played by Sosie Bacon (daughter of Kevin Bacon) and she does a terrific job.
Well, it was written by Stephen King’s son so not surprising it has similarities to King’s work.
Thanks, I had not realized it was based on a short story by Joe Hill, King’s son. Frankly I was unimpressed by his collaborative work with Stephen on Sleeping Beauties, but the story line on The Black Phone was pretty good. There’s also the fact that the actual script is an adaptation written by others.
Owen King did Sleeping Beauties with Steve. Joe has several books of his own.
…and which Peter Stone did an uncredited rewrite on. But to me it doesn’t have the same feel as the other two.
Yep, Joe Hill is following in his father’s footsteps. Owen Hill is…not.
I watched Slumberland tonight with a couple friends. It’s good film with more heart than you might expect from the trailer, and Marlow Barkley really does a good job for a kid. (she also looks a lot like Saoirse Ronan which really threw me). It has Kyle Chandler and Chris O’Dowd in it too, and they rarely fail to entertain.
Are you talking about Owen King, the other one of Stephen King’s sons? He has followed in Stephen King’s footsteps. He is also a writer, although not as prolific as Stephen or Joe or Tabitha (Stephen’s wife). On the other hand, Stephen King’s daughter Naomi more clearly has not followed in any of their footsteps, since she is a minister and not a writer.
A completely incidental note is that I’ve read one of Joe Hill’s novels and gotten his signature on his novels on two occasions when I met him.
I really wanna see this one.
Just the whole idea of an entire film centered on women talking feels subversive. Then add in the compelling subject matter. I’ll add it to the list.
(I love 12 Angry Men so you just sold me.)
Yeah. I was left grasping for a theme. It really did seem allegorical to me. It felt significant that the entire community watched the whole thing unfold without intervening. But at the end of the movie, I wasn’t really sure what the point was. And I couldn’t really tie it to anything universal. Just left feeling sad.
Wildcats’ compelling story obscures the fact that it is a documentary. A troubled vet finds solace working with Peruvian ocelots. The cats are the stars of the show. Beautifully filmed and well told, but it is not an animal movie for children. It interweaves the problems of PTSD with those of predator reintroduction.
For me, viewing Wildcat was a rewarding experience.
Just my snarky way of saying I don’t like Owen’s work. Joe Hill, on the other hand, wow! I would love to meet him too.
A delayed review for My Octopus Teacher, I think I saw a different film from the rest of the reviewers.
An uncivilised and uncaring creature befriends then betrays an octopus.
It made me so fXXking angry, and continues to prove the Spitting Image song: “I never met a nice South African” true. I mean, he basically convinces this creature to come out, with the assumption that he’ll protect it, then films it getting attacked by othe creatures as if he’s a real wildlife documentarian rather than a fXXking psychopath.
I don’t envy anyone trying to make their own mark in the same field as a famous relative. If you succeed, to some extent people will assume your name helped you, which is true. But there are obviously talented people with famous parents.
Murder on the Orient Express (1974), directed by Sidney Lumet. An outstanding film, for several reasons. I enjoyed the direction and especially the photography, but, at this point in time, it’s common knowledge that the real attraction is the acting of the film’s stellar cast. In this regard, Roger Ebert made a couple of smart-ass observations that are among his best, IMO (which is saying a lot):
What I liked best about this movie is its style, both the deliberately old-fashioned visual strategies used by director Sidney Lumet, and the cheerful overacting of the dozen or more suspects.
It ends with a very long scene in which Poirot asks everyone to be silent, please, while he explains his various theories of the case. He does so in great detail, and it’s fun of a rather malicious sort watching a dozen high-priced stars keep their mouths shut and just listen while Finney masterfully dominates the scene.
So, very good movie, but my mind wandered after a while, and I remembered the same thing happening the other times I’d tried watching it. I don’t care for such heavy use of flashbacks, although it’s an integral part of this film and might grow on me on next viewing. The main problem for me are the accents of some of the actors. Albert Finney, who’s among my favorites in other films, grunts and growls his way through his character’s Belgian accent, and I didn’t even have to check online to know that Martin Balsam was from New York City (the Bronx). Neither did a bad job, but I found both accents to be distractions. Although I lost interest and started doing something else, I noticed actress Wendy Hiller having a ball with her character’s facial expressions, and I had to laugh at a few points and ask, “Who is that?” Big revelation for me, and I’m eager to see more of her work.