: The Black Stallion (1979)

Watched:  03/17/2021

Format:  Amazon Prime

Viewing:  Unknown - at least third

Decade:  1980's

Director:  Carroll Ballard

This is a strangely perfect movie.

Watch Party Watch: Star Trek IV - The Voyage Home (1986)

Watched:  03/15/2021

Format:  Amazon Watch Party

Viewing:  Unknown

Decade:  1980's

Director:  Leonard Nimoy

Until Lower Decks and a few one-off episodes, one of the few attempts at light comedy/action in the Trek franchise, Star Trek IV: The Voyage Home  (1987) caps off the trilogy that started in Star Trek II: The Wrath of Khan, bringing our crew finally back to Earth after giving us the thrill of seeing them wandering the streets of 1986 San Franciso as a slightly disheveled away team.

I am 85% sure I've written this one up before, so I won't do it again.  It's the one with the whales.  

Faux-Doc Watch: A Mighty Wind (2003)

A Mighty Wind (2003) is not the same, tight-knit ensemble film we got in Waiting for Guffman, and doesn't have quite the laugh-per-minute ratio or Best in Show, but, man, is it watchable and weirdly moving.  Which, in itself is a trick.  

This one centers on a rush to put on a memorial show for a former producer and promoter of folk acts from the 1960's - and thus jumps the awkward bridge of time a lot of us saw on PBS in the 1990's as concerts of folk favorites like Peter, Paul and Mary became staples of fund-raising weekends - an attempt to appeal to the nostalgia of the boomers and their wallets.  

PODCAST: "Superman III" (1983) - a Kryptonian Thought-Beast PodCast w/ SimonUK, Stuart and Ryan

Watched:  03/01/2021

Format:  BluRay

Viewing:  Unknown

Decade:  1980's

Director:  Richard Lester

Other ways to listen

We assemble the finest trio possible to take on the third in the Salkind's Superman franchise - this one inexplicably very heavy on very adult comedian Richard Pryor. It's a future-shock story of the magic of computers and how they can make a Superman a grumpy gus. Join SimonUK, Stuart and Ryan as they get super excited over the sharp turn the franchise took into goofiness.

 

The Signal Watch PodCast · 140: "Superman III" (1983)- a Kryptonian Thought-Beast Episode w/ SimonUK, Stuart and Ryan

Music:

Main Title, The Streets of Metropolis - John Williams, Superman III OST

The Struggle Within/ Final Victory - John Williams, Superman III OST

 

Watch Party Watch: Staying Alive (1983)

Watched:  03/12/2021

Format:  Amazon Watch Party

Viewing:  I dunno.  First?  I don't remember 95% of this if I saw it.

Decade:  1980's

Director:  Sylvester Stallone

Staying Alive (1983) is the un-asked-for sequel to the 70's cultural phenomenon, Saturday Night Fever.  If you've not seen Saturday Night Fever in a bit, it's not all about Travolta as king of the disco, it's also a story about directionless young people, misdirected energy, and generational schizms in a traditional family.  

Staying Alive picks up six years later and is terrible.  

Look, the point of the first movie was realizing the world was bigger and better than a disco on a Saturday night, but six years later, Tony has made maybe incremental progress and danced his way to a 0% bodyfat physique.  Stephanie from the first film is just... gone.  She has a surrogate character in Jackie, who is doing her best to look like a JJazzercised  Anne Murray.  Jackie is Tony's friend with benefits.  I thought she was supposed to be the female lead from the first movie, but she is not.  So, we basically know nothing about her aside from the fact that she's a doormat who Tony steps out on and then TELLS HER ABOUT IT.

80's Watch: 48 Hours (1982)

Watched:  03/11/2021

Format:  Amazon Streaming

Viewing:  1st as an adult who could follow the movie

Decade:  1980's

Director:  Walter Hill!

D'aw, hell.  It's a Nick Nolte movie.

On the heels of Coming 2 America, Jamie began pondering what Eddie Murphy movies she hadn't seen, so she dialed up 48 Hours, the 1982 blockbuster starring Nick Nolte and a ready-for-stardom Eddie Murphy.   

Reviewing the movie about 40 years after the fact is a bit of a challenge.  This was in my lifetime, and I remember both the attitudes, the casual racism and names associated.  And, I did actually see this movie a couple of times as a kid, which... maybe wasn't great?  But in the 1980's, who was paying attention to what the kids were up to and we had easy access to HBO at our friends' houses.   

Cattrall Watch: Meet Monica Velour (2010)

Watched:  03/08/2021

Format:  Amazon Streaming

Viewing:  First

Decade:  2010's

Director:  Keith Bearden

I'm not really sure what qualifies as an indie film in this day and age, or even what constituted an indie movie in 2010 when Meet Monica Velour was released.  But it had been a while since I'd watched a lower-budget film like this one - and it almost hums with "this is an indie film" in a way the big studio releases I've been watching simply do not.  

The movie pitches itself as a "career high performance" for Kim Cattrall, and I'll argue - maybe!  I have only seen a fraction of her catalog, but she is, indeed, very, very good in this movie.  I totally get why she jumped at the chance to play this character, especially when the general TV and movie audience was associating her with her character on Sex and the City.  And, frankly, she nails it.  

Watch Party Watch: Any Number Can Play (1949)

Watched:  03/08/2021

Format:  Amazon Watch Party

Viewing:  First

Decade:  1940's

Director:  Mervyn LeRoy

Trying to be an Audrey Totter completionist, I had planned to watch this movie at some point, but just never got to it.  Had I known how many people are in the film, I probably would have watched it years ago.

Beyond Totter, the headline stars are Clark Gable and Alexis Smith, but there's also:  Barry Sullivan, Frank Morgan, Mary Astor, Wendell Corey, Leon Ames, William Conrad, and a whole bunch more you're going to recognize.  

I thought it was *fine*, but I just checked and - holy cats - do people seem to hate this movie.  There's complaints about "this movie takes place within a casino and doesn't moralize about gambling" which is... a take, I guess. It kind of misses or dismisses the actual morals of the film (don't forget your family on your way to #1, the path to friendship and respect is via truth, honesty and fairplay no matter what you do for a living), but don't let that get in the way of a good complaint.  

It's certainly not the first movie to show a man in crisis/ at the end of his rope and how it resolves in a single night as all the threads come together.  But it's the earliest one I've seen that I can think of.  Until I think of one I've seen from earlier.

I admit, the movie moved a bit slowly, and despite plastering Audrey Totter all over the poster, she honestly wasn't in it much.  Still, she's having fun playing the bad girl and fed-up wife (something she was doing a lot in this era) of Wendell Corey.  It's nothing I'd go out of my way to recommend, but once I clocked to what they were doing, I did enjoy it a bit more.

Anyway - it's a gamble to watch it.

90's Watch: Serial Mom (1994)

Watched:  03/07/2021

Format:  Amazon Prime

Viewing:  Third (so Jamie tells me)

Decade:  1990's

Director:  John Waters

In ye olde yesteryear of my first year of college, sometimes movie companies would bring films to campus before they were released and we'd see them for free.  I assume it was "word of mouth" programming, and/ or gave the marketing people some idea of how everything was about to go down, based on reaction.

My memory is that we all went apeshit for this movie.  It was new John Waters!  It had KATHLEEN TURNER!  It was sending up America's serial killer craze and the way things were covered in the media.*  

Jamie also tells me we watched it together, and I think I vaguely remember that from our early days of dating.  

Anyway, revisiting the movie 27 years later, it's aged oddly.  Not everything feels as sharp as it did at the time in the satire of suburban culture, but other parts feel just as fresh as they ever did.  Maybe not the least is the very end (SPOILERS) where, oh, shit, it turns out that person who skated through the real courts and the court of public opinion really is the nutjob they were accused of being. (END SPOILERS).  

Turner is *fantastic* in this movie.  She doesn't have to carry it - everyone is doing their part - but she's very funny, until she turns it up about halfway through, and then she's hysterical.  Turner was about 40 when this movie arrived (hair done to give her just the right slightly older look), and I have no doubt lots of "mom" roles were piling up for her as options.  If she was going to play a mom, this seems like the way to go.

The movie also features Sam Waterston as her husband, an unknown Matt Lillard as their son and Ricki Lake doing the most to make this feel like a John Waters movie as the daughter.  Justin Whalin (one of the Jimmy's from Lois & Clark) plays a pal, and Mink Stole appears as a neighbor.  And, famously, both Suzanne Somers and Patricia Hearts appear, as well as "I've gone legit" Traci Lords.  

The movie is rated-R for some gore, violence, language and nudity.  It's John Waters - I don't know what you expected.  Anyway - it's still very funny.  And, it's why, to this day, under my breath I still mutter "fuckin' Don Knotts...  he's the coolest" under my breath whenever Knotts appears on screen.

*I'm pretty sure the Tanya Harding thing was happening around the same time, so, really, between that and Jon Benet Ramsey, this feels soft on the media of the mid-90's.  

Comedy Watch: Coming 2 America (2021)

Watched:  03/06/2021

Format:  Amazon Streaming

Viewing:  First

Decade:  2020's

Director:  Craig Brewer

I saw Coming To America opening weekend in a packed theater.  For whatever reason, my mom thought that Eddie Murphy was a stitch, and we went as a family.  Over the years, I've probably watched Coming to America the most of any non-Christmas comedy, sometimes in whole, but certainly if you add up the chunks of time I've spent watching parts on cable.  In general, I feel like I know the movie pretty well. 

Jamie forewarned me that reviews for the sequel, realeased this weekend to Amazon, were lukewarm to unfavorable.  I haven't seen them.  We were going to at least try the movie.

Watch Party Watch: Deathsport (1978)

Watched:  03/05/2021

Format:  Amazon Watch Party

Viewing:  First

Decade:  1970's

Director:  probably best we not dwell on it

This is kinda the new bar for our Friday night watch parties.  We've sampled many flavors of movie over the year we've been in lockdown (we started off live-tweeting The Shadow on April 10th of 2020!) - and you never know how it's going to go.  But I took the advice of Nathaniel C, a guy who really knows his genre stuff, and chose Deathsport (1978) as our feature of the evening.

Do you like motorcycles?  Explosions?  Exploding motorcycles?  Plastic swords?  Iffy sci-fi dialogue and boobs?  Friends, Deathsport (1978) has all that and more.  It may lack plot, character, direction and a steadi-cam harness, but it doubles down on what it does have.  

Sometime in the distant future, after a nuclear war of some sort, matte paintings of cities will be ruled by guys who look vaguely like Johnny Cash's ill sibling.  The wastelands between will be inhabited by mutants (people with ping-pong balls cut in half and covering their eyes), and "rangers", an idea stolen awkwardly from Tolkein.  The city's will have something called "Deathsport", which is like a motorcycle stunt show with murder.  

I cannot stress enough that you can get a flashlight that will disintegrate people, horses and doors, but folks seem obsessed with using swords and motorcycles to do their murder.  I should mention - the swords are well intentioned - someone made them out of plexiglass and the basic concept is kind of cool.  Except they look exactly like plexiglass, and I have to assume they broke a few in production.  

With an inevitable dash of pretention, the "rangers" have their own code and manner of dialog that isn't inherently bad.  I've seen similar pulled off just fine in all kinds of sci-fi and fantasy, but here - it just isn't working.  And so it is very bad, indeed.  I don't know if it's the flat line delivery or that we keep seeing Carradine in a diaper and Uggs, but it just feels like no one was sure how it would or should work.  

The movie is titled Deathsport, but unlike, say, Deathrace 2000, there's very little Deathsport.  Deathsport is a gladiatorial game that David Carrdine and his lady-friend (Claudia Jennings) get thrown into as Rangers, versus city-dwelling Statesmen, who hate the Rangers.  They are mercilessly driven near by guys on dirtbikes - here called "Death Machines" - who ensure they are within sword range and very, very combustible.  Like, look at them funny or a strong breeze hits them just right, and they're blowing up with 5x the capacity their gas tanks could have mustered.  So many explosions, just blasting off everywhere.

I guess there's a story, but it doesn't matter.  An argument is made about a lack of fuel and remainin technology, but it doesn't play into the movie - kind of the opposite.  Instead, it's Richard Lynch taking his helmet off and chasing Carradine and Jennings across very familiar terrain if you've ever seen anything ever shot outside in Southern California.*  There's a slowly maddening head of a city who is just a dick, gets his while taking a moment to torture a nude lady with Christmas lights in PVC pipes.  It's a whole thing.

Maybe the most remarkable part of this very remarkable film is the sound, both music and sound effects.  I can kind of see why letting a cat run across your synth would seem like a fine idea for a score, and there's all kinds of music that gets inserted in - including sexy sax during a fight scene.  But the score is... just really something.  

I don't know who did sound design on this, but it was not Ben Burtt.  Someone chose a few sounds, did not pay attention to whether they would be awful if you had to hear them every time a motorcycle passed the camera, and then never reviewed their work before releasing the film.  It's some absolutely insane/ maddening stuff.  Every choice made to suggest the motorcycles do not sound like dirtbikes is a tragic mistake, and may the sound designer find peace, for they were clearly a tormented soul if this was working for them.

Anyway - highly recommended.

The Vasquez Rocks may be the single most filmed location on Earth.

Doc Watch: The Pixar Story (2007)

Watched:  03/01/2021

Format:  Netflix?

Viewing:  First

Decade:  2000's

Director:  Leslie Iwerks

Biggest complaint:  not enough Michero

A weird movie only in that it's already 14 years old, and it's interviewing Steve Jobs, Ollie Johnston, Frank Thomas, Roy Disney and I am sure others who are already passed since.  And, of course, this is well before Lasseter was shown the door.

But it does a phenomenal job of explaining how Pixar even happened.  Which was a wild mix of "right place/ right time" in the sense of chaos theory, and then key people who made some very right choices at the right time - from Lasseter to George Lucas to Steve Jobs to Bob Iger.  Heck, Tom Hanks' involvement and his delight at his involvement is evident.

Looking behind the scenes of what almost went wrong here or there is curious, but I wish they'd spent more time on Pixar story-management processes as part of the secret sauce.  They go into it very briefly and almost obliquely, but it's there.

Anyway, just to see who all was involved is a trip.  And, of course, to know what was coming after just heightens the joy of the thing.  And, of course, I am certain the place is no longer quite as "start-up-y" as the doc captured.  Sooner or later, efficiency needs and people needing to get home to kids is going to kick in.

But now I want to rewatch Monsters, Inc.  

Noir Watch: Odds Against Tomorrow (1959)

Watched:  02/28/2021

Format:  Noir Alley on DVR

Viewing:  First

Decade:  1950's

Director:  Robert Wise

A year or two ago, twitter-friendly comics artist and classic movie buff Patch Zircher suggested the film Odds Against Tomorrow (1959) my direction.  This last weekend, the film aired on TCM's Noir Alley, so I was able to get the Eddie Muller discussion to frame the production and story.

The talent in the movie is undeniable - Signal Watch faves Robert Ryan and Gloria Grahame star, along with Ed Begley Sr. and Shelley Winters, and Harry Belafonte, who I think Jamie was eager to see (me too, maybe for different reasons).  But the talent behind the camera is also entirely notable.  Expert filmmaker Robert Wise was listed as both Director and Producer, Abraham Polonsky was secretly the writer (but blacklisted at the time, did it under cover), Joseph C. Brun as cinematographer, and the great Dede Allen in an early job as editor.  

Noir Watch: Native Son (1951)

Watched:  02/28/2021

Format:  Noir Alley on TCM

Viewing:  First

Decade:  1950's

Director:  Pierre Chenal

Look, there's easily a book to be written about this movie, not a blog post.  It's a remarkable bit of cinema for a multitude of reasons.  

Based on a novel by celebrated author Richard Wright, and *starring* Richard Wright(!), the movie is maybe the most surprisingly frank depiction of the world a Black American lived within in mid-20th Century America captured on film at the time that I've seen.  Now - let me also say: it is very true I watch studio movies of the era, and have not had access to, and am not aware of, much of the independent Black cinema of the the 1940's and 50's, which I am sure had plenty to say and show.

But, look, this movie was never, ever going to get made in America at a studio - at least until the 1960's.  And so it wasn't.  Shot in Argentina to get around the Hayes Code, the movie does feature a good number of American actors, but not all of them are... the best.  And there's some serious ADR work happening over some of the rest of the talent that must have been local.  But - just imagine in 2021 hearing "we had to leave the country because telling this story was so controversial, the US just couldn't handle it".  I mean - that is not a great thing to have to say in a supposedly free society.

Doc Watch: The Go-Go's (2020)

Watched:  02/27/2021

Format:  Amazon Streaming

Viewing:  First

Decade:  2020's

Director:  Alison Ellwood

As a kid, I liked The Go-Go's as well as anyone who was, like, eight years old.  I thought they had catchy tunes and whatnot.  It was much, much later - probably in my late 20's that I was like "huh, actually, these are really, really solid pop songs."  And I gave them some reconsideration.   

Even back when I was a kid, I remember hearing "punk band" tied to The Go-Go's, and looked at Belinda Carlisle wearing pastels and with her hair up in a pony tail, and was like "what?"  But later started kind of putting the pieces together, but not really.

The Go-Go's (2020) documentary hit right around COVID and got a lot of festival play, but it's a tough year for something like that.  So, I was thrilled when it finally came to Amazon, because I would probably have just as likely paid for a ticket to see it in the theater.  

Neo-Noir Erotic Thriller Madonna Watch Party Watch: Body of Evidence (1993)

When I was 17 years old, and a curious kid, and back when movies had all sorts of content in them - I saw all sorts of stuff on the big screen.  In general, I think it was actually a good thing.  I learned about the adult world, how sex looked under professional lighting, and that my ex-girlfriend was right about that nice lady in the Crying Game the second she showed up in the film.

And since the video for Lucky Star, I'd also thought that nice lady rolling around on the floor seemed like a pretty good idea.  By early 1993, the videos for Vogue and Express Yourself had done nothing to dissuade me of this opinion, let alone when my pal, Phil, taped the HBO concert special of Blonde Ambition for me. 

In 1992, Rob, Scott and I had gone to see a sold-out showing of Basic Instinct on opening night (I thought it was "meh" - and I have 10,000 words on what this did to the notion of noir for a decade), and at the time we did not anticipate that Hollywood would see gold in them thar hills and spend the early 90's trying to recapture the magic in a series of erotic thrillers.  

Simultaneously, Madonna had found she quite enjoyed freaking out America's moms via the Like A Prayer controversy (which seems both inappropriate and stupid rewatching the video now), and decided she would now say the word "sex" a lot, very much upsetting Tipper Gore.  She liked it so much, she made a picture book about how much she liked the word, and in a field trip to the Houston Public Library downtown, we got one of the people who was already 18 to get it for us to all look at at the reference desk.  And, man, were the librarians cheesed.

Retro Space Opera Watch: Flash Gordon (1936) - listed as "Rocketship" on Amazon

Watched:  02/14/2021

Format:  Amazon Prime

Viewing:  First all the way through

Decade:  1930's

Directors:  Frederick Stephani, Ray Taylor 

So, this was a truncated film that cut together the story from the famed Flash Gordon serial from 1936 into a single film.  For whatever reason, it was called Rocketship on Amazon Prime.  

And, frankly, I really can't recommend it enough.  

90's Watch: Grosse Pointe Blank (1997)

Watched:  02/22/2021

Format:  Amazon Prime Streaming

Viewing:  Unknown

Decade:  1990's

Director:  George Armitage

This movie held up better than I expected.  It's still the same mess of wanting to be too many things that it was when I saw it in the theater, but it's still charming and still works.  

Something about the movie feels like a studio editor, who didn't care, came at it super hard, or there were just too many competing things occurring in the script to make it really gel.*  But the two stars, John Cusack and Minnie Driver, are charming and, frankly, non-standard enough in their approaches that they do a lot of heavy lifting just by being the leads.

Musical Watch: The Band Wagon (1953)

Watched:  02/21/2021

Format:  TCM on DVR

Viewing:  Second

Decade:  1950's

Director:  Vincente Minnelli

This isn't the world's best musical, but it's also aggressively about not being about anything (by way of being a traditional, vaudeville-style Broadway show, and proving THAT'S what people really want).  

It's been a long week, and I have a lot of things on the DVR, but Jamie didn't care what we watched, and I figured Cyd Charisse seemed like a great thing to watch.  

By the time this movie was filmed, Astaire was in his mid-50's, and the story seemed all but pointedly about him.  His character is a film song and dance man who has lost the spotlight.  By this point, musicals were far from dead, but maybe weren't at the height of their heyday.  He's playing someone maybe a few years younger than himself (convincingly) who returns to New York to work on a show with a husband and wife writing team (Oscar Levant and Nanette Fabray).  They get involved with the latest big-name of Broadway, who does *serious theatre*, but who wants to try a musical.  

You know he's fancy because he's doing that new-fangled Oedipus Rex show.  

They rope in a top-tier choreographer and his top-teir ballerina girlfriend played by Cyd Charisse.  

This isn't the only musical from around this time that feels like middle-aged people wrestling with the coming wave of American theater and dance and trying to take the piss out of it.  There's a kind of goofy number in White Christmas that's really the one that doesn't work trying to poke fun at what we now call "modern dance".  And, as I said up top, this one wants to remind us "please stop taking these new musicals seriously!  Your heart really just wants to see people dance for 90 minutes and end with a wedding!  Right?  RIGHT?"  

And, you know, sometimes that's true.  But you kind of want to say to the movie "my friend, you haven't seen *anything* yet.  Wait for the 60's.".  

The movie is probably most famous for its show-within-a-show-within-a-show interlude of Astaire playing a priavte eye in a sort of Chandler/ Hammer/ whatever mystery homage and an excuse for Charisse to sex it up a whole lot.  It's goofy as all get-out, and for the life of me, I can't figure out if it's full camp, a light spoof or someone trying to be quasi-earnest.  But... the "Broadway Melody" sequence it is not.  (By the way, this was written by the same folks who wrote Singin' In the Rain).

But, man, really, I'm not sure this sequence could have happened any earlier than 1953 or much later than '53.  Noir (not yet called noir) had been in theaters for almost ten years, and all I can think is that this was how it was interpreted by song-and-dance folks trying to be cool, daddio.  But... holy @#$%balls.

(also, look for when Julie Newmar walks right up to the camera!)

What *does* work, and beautifully, is the Dancing in the Dark number with Astaire and Charisse, which is the kind of number you want to see and remember with the talent they've lined up.  The pair are in amazing form, and it's the one time you kind of think "well... maybe" as you look at the romance they're trying to push between a man and a woman young enough to be his daughter.

That poor Cyd Charisse, such an ungraceful and plain girl.

On the flip side, there's this weird thing where they suggest that the writer-couple is on the skids and the wife has taken up with the big-deal actor/ director/ producer guy that never... gets resolved.  I guess we see a couple break up in slow motion, but just sort of from the edges?   Someone help me out here, because that was weird and dark and I can't find mention of it anywhere online.

Anyway, it's not my favorite film, but I was amazed how much of it I didn't remember.  A lot of people love this film, but... eh.  It's fine.  

RiffTrax Watch: Space Mutiny (1988)

Watched:  02/20/2021

Format:  Rifftrax on Amazon Prime

Viewing:  Oh, god... 4th?

Decade:  1980's

Director:  Let's let them live in peace

This movie isn't very good.  

Highly recommend checking out the RiffTrax version on Amazon Prime.  Watched primarily because JeniferSF had watched it, and it seemed like a good idea.  It was.