Not My Demographic Watch: To All the Boys - Always and Forever (2021)

Watched:  02/18/2021

Format:  Netflix?

Viewing:  First

Decade:  2020's

Director:  Michael Fimognari

Look, this movie was never aimed at me, is not now aimed at me, and is not for me.  I have many questions, concerns and complaints, mostly around the fantasy imaginary boyfriend who celebrates every choice the lead character makes. But - also - the movie feels remarkably... lazy and toothless.

Previously, I'd only ever seen the first half of the first of these movies, and the lead's obsession with 80's movies felt kinda goofy and broke the "do not show a better movie inside your movie" rule.  This one decides to reference The Big Lebowski, and I hope the director was just doing this for fun, because a 20-something year-old dope-heavy satire of Chandler mysteries spoofed here is... man, it's kinda wild. 

Musical Watch: Swing Time (1936)

Watched:  02/17/2021

Format:  TCM on DVR

Viewing:  First

Decade:  1930's

Director:  George Stevens

What with the freeze on here in Austin, Jamie requested we watch something we didn't have to follow closely and wouldn't be depressing.  Well, I happened to have recorded Swing Time (1936), a famed Fred Astaire/ Ginger Rogers collaboration.  

We did NOT have to pay much attention to the movie to follow the film.

just a couple of Hollywood hoofers

Uh, look.  I just don't have the time, energy or headspace to give the movie proper consideration.  It has a cute, very 1930's plot about plucky underdogs finding their way to the big time and glamour through dance.  Unfortunately - the big show stopper number they give Astaire to show off his talents is a minstrel number in black face, and... you know... sometimes dealing with the racism of our forebears is a real fucking bummer.  Like, you're just going about your business and cheering on the two lovebirds of the picture, and then Astaire turns around and starts slathering on blackface, and you're like "COME ON, MOVIE."  

Anyway - already exhausted and not wanting to deal with nonsense, it was not welcome and kind of threw me off from the admittedly lovely final dance sequence ending.  The movie is a good, light-hearted musical romance.  I very much enjoyed the lead and supporting characters, and it was fun.  Oh, and, yes, I hope you like the song "The Way You Look Tonight", because this movie loves it.

I've seen other Astaire movies, but few Ginger Rogers films, and she really was perfect for the screen for what they were doing.  Lovely, all the grace you read about, and perfectly paired with Astaire.  

and she knew how to wear a gown

And, hey, she was pretty funny, too, in her own right.  

Anyway - its' worth watching at some point from an historical and entertainment persepctive, but be aware of the "oh god, this is super racist" 10 minutes or so that I would more than understand would be a solid reason not to watch the film.

Watch Cattrall Party Watch: Split Second (1992)

Watched:  02/12/2021

Format:  Amazon Watch Party

Viewing:  First

Decade:  1990's

Director:  Tony Maylam

JeniferSF take on same.

I picked this movie as a Watch Party because it looked like exactly what it was - a 1990's sci-fi Rated-R actioner that wasn't taking itself very seriously, but mostly because it co-starred Kim Cattrall, and after last week's Mannequin 2 viewing, I was like "we should have watched the one with Cattrall", so here we are.

Split Second (1992) is not a good movie.  A quick check after the film finished confirmed what I suspected - the movie had multiple voices seemingly at battle with one another, including star Rutger Hauer having input as they went along.  So, because the story is all over the place - and the story is basically them trying to figure out who (and then what) is killing people, nothing makes sense and nothing matters.

The answer is:  it's a big, Giger-Alien knock off that is maybe invisible, or moves very fast, or something.  They never really say.  I do know they hide the monster till the very end of the movie, but it's featured on the poster?  

We have an odd-ball pairing of the bookworm cop who has credentials that make him seem like maybe the police is a weird place for him to wind up, and Rutget Hauer, who is a loose cannon cop with self-destructive tendencies who clearly needs to be on leave, but they keep him on the streets because... well, in 2021 it'd be because the police unions will be damned before they suggest maybe someone isn't fit for duty.  Here we get a police sergeant just yelling at Hauer and telling him he's dangerous and whatnot, and then handing him back his badge.

Finally Watched It Watch: The Last Picture Show (1971)

Watched:  02/09/2021

Format:  TCM on DVR (from, like, April)

Viewing:  First

Decade:  1970's

Director:  Peter Bogdanovich

So, I always knew this movie had a stellar reputation.  And, it's totally earned.  So earned, I'm not going to talk about it here.  Maybe on some future viewing.  

I *do* find the fact the father of a girl I dated in college was really, really pushing me to watch this movie to be a curious choice in making suggestions for the beau of your precious darling, but good on you, sir.  Good on you.

Accidental Watch: Keep Your Powder Dry (1945)

the tagline is not remotely what this movie is about

Watched:  02/08/2021

Format:  TCM

Viewing:  First

Decade:  1940's

Director:  Edward Buzzell

Knowing it was Lana Turner's 100th birthday and TCM was running a marathon, I flipped over to TCM on the cable dial, and was just putting on this World War II movie about women in the WACs starring Turner, Laraine Day and Susan Peters... and then the movie ended and I realized I watched the whole thing.  

Anyway.  I guess that happened.  It was not bad!

Watch Party Watch: V.I. Warshawksi (1991)

Watched:  02/08/2021

Format:  Amazon Watch Party

Viewing:  First

Decade:  2020's

Director:  Jeff Kanew

When V.I. Warshaswki was advertised in 1991, I remember thinking "but... what is the hook?"  Like, I wasn't all that much into detective movies, and by 1991 already, the notion of a woman in an ostensibly male-oriented job wasn't... all that novel.  Especially when you had a big-ticket actor like Kathleen Turner showing up.  If she wanted to be a lady sous chef or neurosurgeon, okay.  

By hook I mean: I couldn't tell you much about the actual crimes or mysteries of the Lethal Weapon franchise, but I could talk about the cast and the character interactions.  I didn't pay money to see Mel Gibson solve a crime - I had detective and cop shows on every night of the week.  I paid money to see Mel Gibson and Danny Glover be pals and do their thing.  I hate to say it, but in 1991 and 2021, "but she's a lady!" is not much of a hook. Maybe in 1981?   

Lynda Carter Watch: Bobbie Jo and the Outlaw (1976)

they misspelled Lynda Carter's name.  Well done, person in 1976.

Watched:  02/07/2021

Format:  TCM on DVR

Viewing:  First

Decade:  1970's - and very much so

Director:  Mark L. Lester.  Go figure!

So, this came up on Prime, and I'd been meaning to watch it because it starred a pre-Wonder Woman Lynda Carter (reason enough), and then I found out it co-starred Marjoe Gortner, who you may remember from Starcrash.  And then the movie started and it said it was directed and produced by Mark L. Lester, and my brain about melted, because he's the guy who brought us one of my favorite movies: Commando.

Here's the thing - I wasn't expecting a ton out of this movie and was pretty sure I wouldn't finish it - but it was... okay?  Fine?  Nowhere the disaster I was expecting.  Like, it's a legit movie trying to do a thing, and it's competent, which I figured it would be when I saw Lester's name attached.  Which, honestly, was maybe a little disappointing, because I figured it was going to be terrible enough for a Friday night screening.  But, alas, it is not.  

Bobbie Jo and the Outlaw (1976) is part of the trend of movies that's -frankly - existed since the gangster pictures of the 1930's, but returned in force as stories of misfit individuals railing against normalized society (and winding up on the wrong side of the law).  The genre exploded with the counter culture adopting the idea with Cool Hand Luke and Bonnie and Clyde in 1967, and this movie borrows heavily from the latter film.

Bobbie Jo is a car-hop in New Mexico when she meets Lyle Wheeler, a smart but possibly crazy guy who idolizes Billy the Kid.  She's had it with her nagging mother and humdrum life, and decides Marjoe Gortner is her ticket out.  As one does.

The movie does a pretty good job of bringing the "crime spree" part up a bit later in the movie, letting Bobbie Jo and Lyle find their groove, do some peyote, and get up to basic shennanigans before it becomes clear Lyle stole the very cool muscle car their driving, and he's got no real jobby job.  They recruit Bobbie Jo's sister, her boyfriend and a nerdy pal and hit the road, eventually deciding to do some crimes - which Bobbie Jo is *delighted* about.  It's all fun and games.

There's a Buford T. Justice cop that goes in hot pursuit (which frankly makes no sense as he'd be leaving his jurisdiction, the FBI is nowhere to be seen, and he winds up accidentally killing a bunch of innocent people - which is never mentioned again).  

Anyway, the movie is predictable enough, because it wants to show that an outlaw like Lyle is too good or too much for this world, and Lynda Carter must survive in order to mourn him, gorgeously.  

It does feel a bit too reminsicent of Bonnie and Clyde at times, but I'm not entirely sure how you avoid the comparisons when it's two stories of outlaw lovers robbing places and trying to stay ahead of the law in the open spaces of the West.  You're gonna face some convergent evolution, even if you never saw Bonnie and Clyde.  

Watching the movie does make you wonder: wait, how was Lynda Carter *not* a bigger deal when she hit Hollywood?  Famously, she had less than $100 left when she was cast for Wonder Woman and otherwise wasn't finding any work.  This film was released in 76', and WW originally aired in 75', and I'm honestly not sure which shot first.    Wonder Woman premiered in late 75 and this movie came out in March of 76' and was an indie picture, so could have take a while to get assembled.  But before all that, her work is spotty.

Carter can sing, she can dance, she can act, and she - frankly - looks like Lynda Carter.  Maybe she didn't have the right mid-70's earthy qualities movies were looking for?  She's more old school in her approach than, say, Faye Dunaaway, but it sure *seems* like someone would have been smart enough to work with her.  Carter's part here is underwritten - she's mostly there to tell the audience that Lyle is sympathetic and not a sociopath (he is obviously a charistmatic sociopath, but I'm not sure the movie knows this, and thinks he's romantic).  But if you're more used to the polished Lynda Carter, it's a kick to see her getting high and playing with guns.  

Anyway - for a movie I was expecting to mostly suffer through, it was okay.  Maybe not the first thing I'd direct you to, but.  Anyway. 

Watch Party Regret Watch: Mannequin 2 - On the Move (1991)

Watched:  02/05/2021

Format:  Amazon Watch Party

Viewing: First

Decade:  1990's

Director:  Stewart Raffill

This movie wasn't very good.  Jenifer agrees.

These days, if a movie does well, studios understand that if they're going to make a sequel to a popular-ish film, the *best* thing to do is to try to go bigger and better.  Give the audience a reason to get them to come back.  However, Mannequin 2: On the Move (1991) is very much of the era where the reason for a sequel to exist was so that as many pilot fish left over from the first film can gorge themselves on the good will of the first movie and not care at all if the sequel will be worth the film it's printed on.

Pretty much nobody is back from the first movie - and I don't just mean Andrew McCarthy and Kim Cattrall.  The actual producers, up and down, aren't the same.  The director is new.  You have the same store as the location, and you have Meshach Taylor back as "Hollywood".  That's it.  So no one cares, no one is trying, and the end product may be less than ideal.

Anyway, there MUST have been a script, because there are costumes and whatnot, so someone knew what they'd need for shooting.  But it sure doesn't feel like there's a script - it feels like people dicking around in front of the camera.  Except for Kristi Swanson, who is actually at least trying here (despite a bizarre wig that seems inspired by a Rick James groupie's hair).  And, yeah, Meshach Taylor, but he was kind of dicking around in the first movie, too.

But there's only small bits in the 90 minute run time that actually reach the level of "funny bit" or "joke that might make one crack a smile".  The rest is weird mugging no one asked for and maybe one of the lest charismatic leads I can remember in anything that wasn't one of those movies with people fighting in a sci-fi wasteland.  And the weird thing is:  normally that guy is fine.  He's been in lots of stuff - stuff you've seen.  But here - he's working with nothing, and I guess that was a problem.

I don't regret making other people watch the movie.  At least we all suffered together.

Ida Watch Party Watch: Jennifer (1953)

Watched:  02/01/2021

Format:  Amazon Watch Party

Viewing:  First

Decade:  1950's

Director:  Joel Newton

Co-watched w/ JeniferSF

A thriller which lifts elements from plenty of Gothic mysteries, borrows from noir, and has an ending that's maybe whatever the opposite is of deus ex machina, Jennifer (1953) has some great things going for it, but was not my cup of tea, exactly, but I found myself actually fairly wrapped up in the mystery.

Starring the lovely and talented Ida Lupino, with photography by James Wong Howe (one of the best to ever DP a movie), it still feels oddly like a B- picture, and maybe it was.  The film runs (blessedly) short, relies upon a small cast where Lupino is the biggest star, and we see only a handful of locations.   

Lupino wasn't quite done with movies at this point, and two of my favorite of hers follow this one: Private Hell 36 and the phenomenal The City That Never Sleeps.  She'd just come off two great films with Robert Ryan, Beware, My Lovely and the icy On Dangerous Ground.  By the time she hit her 40's in the late 1950's, she was more or less transitioning to TV where she'd remain for the rest of her career - as, at the same time, she took to directing as much or more than acting.*

Noir Watch: The Breaking Point

Watched:  01/28/2021

Format:  Noir Alley on DVR

Viewing:  First

Decade:  1950

Director:  Michael Curtiz

Based on a Hemingway novel I haven't read,* To Have and Have Not, The Breaking Point (1950) stars John Garfield, Phyllis Taxter and a smooth as hell Patricia Neal - all under the direction of the great Michael Curtiz.  

I honestly thought I'd seen this one, so I let it sit on my DVR - but I hadn't.  It bares very little resemblance to the film that borrows the novel's name, the famed Bogart and Bacall vehicle, which I recommend.  You could double-bill them and it'd be an interesting ride.  

As I understand it, the movie strays from the novel in several key ways, but as a noir - it fits perfectly when it comes to theme and occasionally dabbles in the look and feel, which is a tough sell when you have a lot of daytime story on boats and piers.  But.  

Garfield plays the captain of a fishing charter who, paired with his pal Wesley (Juano Hernandez), is scraping by in tough times.  They pick up a wealthy client who ditches them and his lady-friend, Patricia Neal, in Mexico without payment.  Forced into a corner, Garfield agrees to take on a group of Chinese immigrants to smuggle into the country - but things go poorly.  From there, things just keep escalating.  Because: noir.

As a noir, it fits like a glove.  Our character is forced into a corner, gets in over his head doing something he doesn't want to do.  Neal isn't a femme fatale, but she's a fascinating distraction and her appeal demonstrates Garfield's duality, when he has Phyllis Thaxter at home, offering love, support and a way out.  

Honestly - it's just a damn good movie, surprisngly progressive with some of its characters, and has maybe one of the gut-punchiest endings I can remember seeing in a movie in off TCM in a long time.  The themes are absolutely universal/ timeless.  Garfield is so *human* in the film, his driving insecurities and stubbornness in the face of reality so relatable (at the expense of the people who love him), it's a remarkable feat of story, script, acting and direction.  

Highly recommended.

*I've only read a smattering of Hemingway, but I don't have time for the "he wasn't that good" chatter the kids are so fond of. Your inability to relate to any fiction where people don't have access to a television that is not YA fantasy is not my problem.

Musical Watch: Pal Joey (1957)

Watched:  01/26/2021

Format:  TCM on DVR

Viewing:  First

Decade:  1950's

Director:  George Sidney

So, sometimes you watch a movie and it doesn't work out.  I did take a note that this movie, on paper, seems to have everything going for it, but it isn't well remembered.  Which, you know, can often mean something.  Starring Frank Sinatra, Rita Hayworth and Kim Novak, and from George Sidney who has a list of quality directorial credits as long as your arm, it shoud have been a cinch.  But.

Pal Joey (1957) could be retitled Pal Joey - A Study in The Male Gaze or That's Problematic!  And this is coming from the guy who stands on soapboxes about modern audiences learning from and understanding the societal frameworks of a year in which a film was released.  

But we don't get thirty seconds into the film and our hero is being accused of trying to both get a minor drunk and maybe sleep with her.  Another two minutes in and blatant racism.  And then 90 minutes of misogyny and every possible shot they can get of the female form.

Noir Watch: Witness to Murder (1954)

Watched:  01/23/2021

Format:  Noir Alley on DVR

Viewing:  First

Decade:  1950's

Director:  Roy Rowland

I think Jamie has become a full Barbara Stanwyck fangirl, and that's a feature, not a bug.  So, I used that to leverage spending our Saturday night watching Witness to Murder (1954), a great small-scale thriller with two terrific leads in Stanwyck and George Sanders - an actor I realize I may see in more movies by happenstance than anyone else.  

Our plot seems derived from Rear Window, but this movie came out just before the Hitchcock classic, and the structure is very different.  Before the credits finish rolling, Stanwyck awakens in the night and happens to look across the way out her window just in time to see a neighbor choking a woman to death.  Naturally, she calls the police, but the murderer, George Sanders, has figured what's happening and manages to stash the body when the cops drop by.

From here it's a game of cat and mouse, with Stanwyck certain of what she saw, but with no evidence to back her up and Sanders out-maneuvering her, and, in fact, beginning to plot against her.

The real villain of the movie is, curiously, 1950's attitudes about gender roles and women and their crazy lady brains not being good like man brains.  Curiosuly, this is focused through our upright cop/ love interest played by Gary Merrill (who never actually seems worthy of the attention of Stanwyck, but we'll just let that one go), as well as his parter played by Jesse White and the police Captain.  Sanders is able to leverage their "well, she has a crazy lady brain" predisposition against Stanwyck repeatedly and to to great effect.  

Muller took time in his post-movie wrap up to give modern critics a bit a knuckle-wrap for calling the movie "unrealistic", and I can't be sure how I would have thought of the film had he not made sure we thought hard on this before and after.  But here's what I know (SPOILERS) - putting inconveniently brash or argumentative spouses and children in psych wards was all the rage for a good chunk of the 20th century.  With psychology on the rise in post-war America, and using science as a blunt instrument, it didn't take much to get someone tossed in a hospital.  

It's played up for dramatic effect, I guess, but I think the most frustrating bit is that Stanwyck keeps cozying up to the detective who "wants to believe her", but just can't.  And, frankly, the script and Sanders himself do a great job of giving him the upper hand as the devious sociopath versus Stanwyck just being smart and plucky.  But, yeah, you want to have Stanwyck just give that cop the business, and it just doesn't happen.

IE: I agree with Muller that this movie is not "unrealistic" in how folks dismiss a single, late-night witness to a murder that doesn't appear to have happened to a body that no one has seen.

You don't need me to tell you Stanwyck is great in this, or that Sanders is terriific as the killer (and, btw, he's a Nazi, too!).  The direction is fine, but with John Alton as the DP, the movie looks like a million bucks based on some of those set-ups alone.  

I find myself digging thrillers like this.  This same script would have turned into something tedious by the late 1980's and through to today, with a post, Athony Hopkins killer and a chase scene that would go on for, like, a year.  I feel like Crawford's Sudden Fear is in a similar vein of small-scale thrillers from this era, or even Lupino and Ryan in Beware, My Lovely.  

Here's to hoping Jamie continues to volunteer her time for more Stanwyck pictures, because Barbara made, like, 100 movies.  I'm sure we'll keep finding good stuff.

Angry Animal Watch: Day of the Animals (1977)

Watched:  01/22/2020

Format:  Amazon Watch Party

Viewing:  First

Decade:  1970's

Director:  William Girdler

I think the *weirdest* thing about this movie is that it genuinely feels like famed filmmaker James Nguyen of Birdemic fame may have taken inspiration from Day of the Animals (1977) for his 2010 opus.   The second weirdest thing is seeing Leslie Nielsen in what was likely one of his last dramatic roles before drifting into his particular brand of comedy (of which I am a tremendous fan).  

This movie is not a sequel to, but is a spiritual partner to, 1976's Grizzly by the same director and both films feature Richard Jaeckel (a classic "oh, THAT guy" actor).   Both are about humans in the woods with animals out of control, I guess.  But the scale here is much larger/ more hilarious.

Our plot:  a bunch of people have signed up for a "survivor's" trek through the wilderness, but are all dressed like they're headed for the supermarket.  Over the course of a few days they'll rough it in the mountains of California, but reports are coming in that animals are acting funny.  We're introduced to our parade of stereotypes/ tropes, all of whom explain who they are as they come down the exposition line at the beginning.

Well, crazy thing, the ozone is bad something something, higher elevations, and the animals have become homicidal.  I mean, MORE homicidal.*  They particularly have it in for us slow-moving humans.   

Anyway - the movie is a bit of a mess, but has two major thrusts - 1) the escalating attacks on the walking person buffet, and 2) the interpersonal conflict that needs to arise in any of these films.  In our case, it's the increasingly irritable ad man played by Nielsen who winds up shirtless and baying at the moon before the film is over.

There's an indication that things have gone awry in the sleepy mountain town where our adventure begins, but the budget wasn't there to show too much of that, so all we get is the aftermath and the indication that SOMETHING happened.  But, yeah, there's a storyline for the Sheriff that just abruptly ends.  We sort of get a story about a little girl who is maybe the only survivor of... something?  And a deeply unsatisfying story about a pair of quarreling lovers that, against all common sense, leave the group after being attacked by a goddamn wolf.  And, man, why anyone would follow Leslie Nielsen's character in this movie is impossible to understand.  

And, yes, for reasons unexplained, the entire multi-day crew of people has no radio to call down in need of help.  Which seems like an oversight.

But the women's hair and make-up remains on point despite a half-a-week of running from cougars.

Anyway - what the movie does have are frequent animal attacks, and from a wide array of animals.  If you're like me and enjoy movies about people losing to the Wild Kingdom, and only a few escaping to look traumatized afterwards: I have a great movie for you.

*Animals tend to eat other animals and people if you give them a chance, really.  

Noir Watch: The Strange Affair of Uncle Harry (1945)

Watched:  01/15/2020

Format:  TCM on DVR (Noir Alley)

Viewing:  First

Decade:  1940's

Director:  Robert Siodmak

I'd been wanting to see this one for a while, so I'm glad it came on Noir Alley.  Directed by Robert Siodmak (one of those names that means this should be, minimum, pretty good), starring George Sanders, Ella Raines and Geraldine Fitzgerald and - a more recent interest - produced by Joan Harrison - it had a lot of elements that made it worth at least a look.

The Strange Affair of Uncle Harry (1945) centers on a man aging into permanent bachelorhood as he pays the way for and cares for his two sisters - one a widow and the other an invalid.  The family fortune disappeared in the Depression, leaving the siblings scraping by in the rambling house that is a reminder of better times.  "Uncle Harry" (Sanders) meets a co-worker in from New York (Ella Raines) and the two spark an interest.  

However, one of the sisters isn't quite ready to let Harry go.  And things get weird.

The movie was made at the tail end of WWII (released pretty much the weekend after VJ Day), so it's got some similarities to other WWII-era films in that the cast is female-centric and the dashing male lead is George Sanders.  It takes place in limited spaces (based on a play, so there's that) and overall feels initimate and somewhat scaled down.

It's as easy to call this a melodrama as a noir, but I can see why Joan Harrison would have been interested in the script.  The characters are interesting and imperfect - no one (not even Raines) is a saint, and there's some genuine weirdness going on that goes beyond just sisterly affection.*  But, at the same time, Raines' character feels shockingly direct regarding her interest in Harry - she's no coy young lady, even when asked specifically to play that role.

As I thought - direction and performances were terrific, Sanders is in great form, and Geraldine Fitzgerald is note perfect.  But despite the actual warning not to spoil the ending they literally tag onto the end of the movie, I'll say:  the studio enforced ending that led to Harrison's parting with Universal and Siodmak shooting the bird at the studio is... awful.  The movie builds and builds to something absolutely mind-scrambling, and then... we get this cheesy ending.  But, you know, when they were wrapping this thing up, we were still fighting in Japan.  I get that maybe they wanted something that wasn't so depressing.

So, it makes it hard to actually recommend the movie.  It's a solid film right until, literally, the last minute, and then everything falls apart.  Did not like.

During the intro and outro, Eddie was joined by scholar Christina Lane - who has too many credentials for me to get into here - but she's an accomplished film academic.  I just picked up Lane's book on Joan Harrison and plan to crack it this weekend.  So - while I've seen a lot of Harrison's movies over the years, I'm looking forward to reading about the actual woman who made them happen (I also recently picked up Phantom Lady on BluRay and keep intending to show it to Jamie, and then I forget).

*that lady in the negligee is not the romantic subject of the film

Française Regarder: Amelie (2001)

Watched:  01/13/2021

Format:  Amazon Streaming - CBS All Access

Viewing:  First

Decade:  2000's

Director:  Jean-Pierre Jeunet

I think if I'd seen this when it came out, I would have been in my 20's, the techniques used would feel fresher, the gnome thing would not yet have been co-opted by a travel company and become a well know spokesperson, and I would have also walked out of the cinema dazed and delighted, feeling like I'd seen *something*.  Alas, now I am old, and my heart turned to stone.  The whimsy of youth is not what it was, nor the CGI of yesteryear.  

Amelie (2001) is very, very cute.  I bare it no ill will - it sets out to do a thing - a sort of almost magical realism thing - and incorporate CGI and other visual effects to give us picture-book insight into what the characters are going through.  And, in a very weird way, it's like a better version of some goofy 90's stuff like The Butcher's Wife where a particular person in a neighborhood makes all of the kooky characters go through a change before that character goes through a change themselves and we all learn a lesson about love/art/being silly.  You also get similar characters in, say, Batteries Not Included*, but no magical fairy girl to make it all happen.

The movie is not about falling in love.  Like most movies that pitch themselves that way, it's a movie about infatuation that kinda works out.  And that's okay - there's a place for that.  THAT it does very well.  It's two whack jobs circling each other until they finally collide.  Not my cup of tea, but it didn't fail.

It's genuinely better than most of the "neighborhood" movies in technique, ideas, visuals, etc...  but I just didn't really ever care about anyone on the screen.  Including Amelie.  And we are supposed to adore Amelie.  And, at age 26, I would have been *very* into a lovely girl with a Louise Brooks bob and who was demonstrably, cripplingly quirky.  Now...  eh.  

And, per the movie, I need a little bit more than a well edited beginning where they're literally telling as much as they're showing.  At the end of the day, you're telling a story or stories, and, aside from Amelie's father, I didn't get any sense of *closure* with the other characters.  Things happen, yeah - but we have whole storylines started that don't really go anywhere.  It feels like glimpses of anecdotes you never quite get to hear completed.  We spend so much time setting them up, and then... 

That said - I know people are bananas for this movie, so I'm missing something.  

*which has little mechanical aliens and is just adorable

Watch Party Watch: Evil Brain from Outer Space

Watched:  01/11/2021

Format:  Amazon Watch Party

Viewing:  First

Decade:  1960's 

Director:  Koreyoshi Akasaka, Akira Mitsuwa, Teruo Ishii

So...  this movie starts off weird as hell, which I salute, then goes to goofy fun and TONS of action.  All of which I salute.  

Apparently this is the third in a series of Japanese kids movies about a fellow name of "Starman" who hails from "The Emerald Planet" and is here to save humanity from interplanetary threats via kicking ass and taking names.  He doesn't have a secret identity, even though he changes from his work-a-day coat and tie into a pretty terrific super ensemble that has a kicky antenna and "not a cape" attached to his arms for added flair.

The effects are better than you figure, the stunts out of this world, and while the movie makes little sense, at least it moves fast and is cool as hell.

Count me as a convert to this whole Starman scene.

Oh, and, yes, there's an evil brain.  from outer space.

 

Trek Watch: Star Trek - Nemesis (2002)

Watched:  01/06/2021

Format:  Amazon Streaming

Viewing: First

Decade:  2000's

Director:  Stuart Baird

So, this movie wasn't very good.

To be clear - all my favorite ST:TNG people are back (even Wesley Crusher), and they're all good.  The movie even co-stars a very young Tom Hardy, Ron Perlman and good ol' Dina Meyer.   But.  The very premise doesn't make a lot of sense, it weirdly includes what amounts to a rape scene of Troi (handled in the most ham-fisted and traumatizing way possible) which comes from nowhere and is seemingly there only to motivate Troi in the final reel to play Space Ouija Board to find the baddies.*  

But, yeah, Star Trek: Nemesis is about off-brand Romulans and a clone of Captain Picard (Hardy) picking a fight with Picard by planting an early-model of Data on a nearby planet.  They seem to have a modestly large-sized ship that, for reasons I was not clear on, will somehow overtake all of Earth's defenses if the Enterprise crew doesn't stop them.

Inspirational Watch: Eddie the Eagle (2015)

Watched:  01/02/2021

Viewing: First

Decade:  2010's

Format:  Disney+

Director:   Dexter Fletcher

"Based on a true story" is more or less Hollywood speak for "we got the three things you remember about this event right, and everything else doesn't bear up to a quick Wikipedia check".  It doesn't mean this or others movies aren't worth watching, but always always always Google the subjects of "true story" movies after finishing a film.  It's inevitably more interesting than what's in the movie.

I do not remember the 1988 Calgary Olympics at all.  I was 13 and lived in Texas where none of the sports existed, and didn't watch much TV at that time in my life.  Jamie was actually at those Olympics, so she remembers the actual events and guy.   I think I vaguely remember watching hockey.  

Eddie the Eagle (2015) is a fine movie - a decent one for kids and adults.  Unlikely guy goes to the Olympics to compete - and the glory is in trying.  I've spoiled nothing - you can still watch.  Everything is very color-by-numbers and has the edges removed.  I mean, it's fine - I enjoyed it for what it was.  

Christmas Noir Watch: Cover-Up (1949)

Watched:  12/23/2020

Format:  Noir Alley on TCM

Viewing:  First

Decade:  1940's

Director:  Alfred E. Green

An insurance detective comes to a small town to look into the apparent suicide of a wealthy man with a considerable settlement coming to the benficiaries.  Arriving in town, he finds everyone hated the guy, it sure looks like murder, and everyone - including the foxy young lady he met on the bus on the way in, are in on a cover-up.  Thus, the name of the movie.

Stars William Bendix and Dennis O'Keefe.

The ending is weird and super chipper.  

PODCAST: "Wonder Woman 1984" - a Kryptonian Thought Beast Episode w/ Stuart, Jamie and Ryan

spoiler: the movie was not released in October

Watched:  12/25/2020

Format:  HBOmax

Viewing:  First

Decade: 2020's

Director:  Patty Jenkins

For more ways to listen

Our elite team of nerds comes together to discuss the hottest ticket on HBOmax and at the cinema. Is she a wonder? Has the world been waiting for her? We try to step inside the characters as we ponder what the film did and why, and, does it work? If you WISH someone could get to the bottom of this film - look no further! We're in our satin tights fighting for the right answers! 

The Signal Watch PodCast · 134: "Wonder Woman 1984" (2020) a Kryptonian Thought Beast episode w/ Stuart, Jamie and Ryan

Music: 

Themyscira - Hans Zimmer, Wonder Woman 1984 Soundtrack