So today I am talking about the batman. I grew up being a huge batman fan as reads almost anything connected to the batman often. This movie recently came out on March 4. Between bus adverts, viral campaigns, and truck loads of merchandise, the new movie is causing quite a stir. The only way you will have avoided it is if you have spent the last couple of weeks actively dodging the hype machine. The movie is called The Batman and it is directed by Matt Reeves. The film stars Robert Patterson, Zoë Kravitz, Paul Dano, Colin Farrell, Jeffrey Wright, and Andy Serkis, John Turturro and Barry Keoghan(cameo as joker) The batman sees the Dark Knight cross paths with the Riddler, Catwoman, and Penguin and Carmine Falcone and Gordon as also many other smaller roles such as joker(spoiler alert)he is played by Barry Keoghan as its so short and brief in movie. I will put spoiler tags on spoilers but I want remain as spoiler free but some key things do make movie even more the true batman movie of all time. The movie kicks off on Halloween thus a nod to one of the greatest batman storylines of all time as also he was a teacher of matt reeves at school. The perpetrator of the murder is long gone, but they have left a riddle at the scene of the crime. This riddle makes it clear that this murder was not an accident, nor the result of a burglary gone wrong, this was a carefully planned and meticulously orchestrated death as he often leaves clues at the scene of his crimes in form of riddles. As batman looks into the crimes finds self at Iceberg Lounge – a seedy nightspot run by Oswald ‘Ozzy’ Cobblepot, better known to the criminal underworld as the Penguin. The origins of that element started in batman comics in the 1990’s as it has been the base of where he does his crimes for years which is a seedy nightspot run by Oswald ‘Ozzy’ Cobblepot, better known to the criminal underworld as the Penguin it’s not just the Penguin that Batman crosses paths with, as he also meets club worker and part-time cat burglar Selina Kyle. Normally starting movies have origin points and origin stories as this movie assumes you know these icons by now as batman has been around for ages by this point in history. I am simply amazed by its marvelous acting by stars Robert Patterson, Zoë Kravitz, Paul Dano, Colin Farrell, Jeffrey Wright, and Andy Serkis, Serkis, John Turturro and Barry Keoghan(cameo as joker) as all of these roles. We see the batman aka the dark knight aka vengeance cross paths with the Riddler, Catwoman, and Penguin and Carmine Falcone and Gordon. . The penguin is played by Colin Farrell as he is a more comirelief that may make you laugh a bit but he is simply a mobster that was working for Carmine Falcone(spoiler) as he is simply a funny relief to the darkness of others but he can also be very bad too.
The Riddler is played by paul dino as he is the main lead villain of movie as he simply is marvelous this isn’t your grand-dad’s the riddler as he really comes off as a threat. Robert Patterson plays vengeance aka batman aka the batman as he simply is marvelous as he really isn’t Bruce yet as that side isn’t even out to him yet but he simply is amazing in the movie form start to finish. Catwoman is played by Zoë Kravitz as she is simply amazing in her performance as she gives out a comic-book take on her in many ways as also a big reveal her dad is Carmine Falcone(spoiler) Carmine Falcone is played by John Turturro as he is played like the character in comics to every point of view as feels like the true version of him as he also plays key role into the Riddler plot in the movie as he is the rat brought into the light.(spoiler).
Matt reeves direction as has captured the true nature of batman in his early years as this movie showcases many layers that comic book fans of batman will know for ages as he is a huge batman comic book fan and Matt Reeves was a screenwriter student for Jeph Loeb, as he directs this movie with such passion and love for the character you feel it almost come to life as it’s the fans true-version realized to screen to a perfection unlike anything else you ever seen on the screen.
The production design is like a comic-book as its one of the best ever done in film ever as you feel like a more grounded batman comic page coming to life on the screen. The musical score has been one of weakest things in most recent batman movies but this one is amazing as it captures tone of the batman to a tee as it’s by Michael Giacchino’s as his dark symphony for the batman captures the tone perfectly. As you will know many nods to batman comics form batman court of owls to long Halloween and zero year and many others. The waynes play key part into movie too as but his dad as sins of father’s as mom is never shown but hinted in movie as his dad is shown in brief videos running mayor of gotham on projector (spoiler) as both play roles as he covers up the truth about Bruce’s mom family’s of insanity to and Carmine Falcone’s dad as he did one mistake that cost him forever as he was a good man as even good men have moments of weakness.(spoiler) as it may be why they died.(it’s a twist on the story that changes batman but also a bold idea).
5/5 This is the true batman movie for batman fans since childhood but also works as one of best movies about batman ever that feels like a batman comic come to life on the screen.(yes many spoilers in end point so please see movie soon if you wish avoid so many spoilers). I thank you for joining me today to review this wonderful modern classical modern movie review today.
Flash Gordon which is Mike Hodges-directed as produced by Dino De Laurentis as he produced science fiction spectaculars and other movies as it doesnt play down its pulp roots at all as its really a remake of the serial as cutting down on many of the excess of the orginal serial form the start.
Its story following the paths previously established by “Flash Gordon” comic strips and serials, the 1980 film introduces its audience to the handsome, blonde toolbox, Flash Gordon, who is pressed into action to save the Earth as this movie was orginally to made by lucas before Dino De Laurentis started its production which would you know would direct a huge hit that blew the world apart which took so many cues and homages form flash gordon and other classic movies. Yes you can owe a huge thanks to flash gordon serials to inspiring one of the biggest box office hit series of all time star wars. it all started with flash gordon. flash gordon started the star wars unverse in the mind of George Lucas as he was a boy watching these serials becoming inspired by them which would later shape the future of movies to come for ages as flash gordon 1980 would come out after it debuted on the screen.
Hodges plays up the inherent corniness of the character with dialogue that feels right out of the comic strip and a production that is flashy and spiritedly rendered. Whether some of its low-rent looking elements are born out of artistic statement, limitation of resources, or lack of skill may be in the eye of the beholder, but the production combines roughly hewn effects, costumes, and vistas with some that are strikingly rendered on screen that looks like it came right out of a comic strip. The cast plays the sci-fi silliness at full, scenery-chewing volume. Max Von Sydow, Melody Anderson, Topol, Timothy Dalton, and Brian Blessed play their parts with fully-committed energy. Their lack of winkiness keeps the film from becoming mired in self-aware camp. Sam J. Jones, as Flash, may have the least interesting role as all of the cast give out such remarkable performances for what they were given on the screen. as for moment everyone almost adores is the queen battle scene in which flash gordon rushes to save the day. it simply is a remarkable dream as queen does one of the most rocking soundtracks of the 1980’s.
This not a serious “Flash Gordon,” yet it crackles with energy, unassuming adventure, and comic strip-derived fun. There is a certain earnestness to the affair that keeps the film from becoming a comedy and illustrates a dedication to form, tone, and story. Elevated by a strong supporting cast, the music of Queen, and the celebration of its roots as it truly stands out as a classic cult classic hit for all time.
5/5 classic movie as even its flaws its quite remarkable as my review copy was an arrow 4k blu-ray which is a remarkable edtion that truly makes this classic shine even more on your screens. Its a truly fun classic gem. Flash gordon may have started on the smaller pages of pulp comics then made it to serials then a movie in the 1980’s that started out as luca’s orginal plans for a movie. It truly is a remarkable feat for this icon. So thanks for joining in my review today.
John Williams is probably the only composer whose music is very known to almost everyone. John Williams career has lasted snice the 1950’s. He is among my favorite composers of all time list as he always tops it as i can almost name so many of his soundtracks top of my head. So today i join you to review The Killers (1964) which has a wonderful soundtrack by John Williams for The John Williams Blogathon.
The Killers (1964) or the Killers 64 was a remake of an earlier noir classic movie of the same name. It was orginally set to be a tv show on nbc but as they saw the final product they deicided againist that option to choose to release it on the big screen. The decision proved to be a beneficial one, as the film performed well at the box office and earned Lee Marvin a BAFTA Award for Best Actor. As it changed everything which helped make it feel like its own thing instead being a remake of a classic movie.
The diffrences between 1946 version and 1964 version as the former 1946 version opens at the diner. The former opens with a Hopperesque diner, and culminates with the shooting of boxer Swede Anderson in a seedy motel. Clean and professional, like clockwork. The latter takes place at an institute for the blind, where hitmen Charlie (Lee Marvin) and Lee (Clu Gulager) saunter through the lobby, bullying hapless patients in the place. It shows you form start that the killers 64 has something else on its mind. It savors the anarchy of its lawless characters and invites us to do the same. The overriding mood of the original was doom, but here, it’s psychotically gleeful to the killers.
The rest of the film unfolds with similar irreverence as the 1946 orginal killers movie. Charlie and Lee are confused by the ease with which Johnny North accepted his fate, and decide to look into his past. They already got paid, so they kill time by looking up Johnny’s best friend Earl (Claude Atkins) and on/off girlfriend Sheila (Angie Dickinson). What makes the hese interrogation scenes so memorable is not the discovery of information, but the brutish way Charlie and Lee go about getting it. These are the men that ended Johnny’s life and here they are dangling Sheila out of a window because she’s refusing to disclose his secrets as it truly stands out on flim.
Coon’s screenplay was quietly radical in terms of how it stitched seemingly incongruent noir tropes together. In the past, hitmen had been dismissed as loners or psychopaths, doomed to die before the final reel. By contrast, private detectives were seen as trustworthy, and given access to exclusive information. Charlie and Lee are given the access of the more congenial private detective, but their homicidal tendencies lead them to abuse their power and belittle their various witnesses. We never know what they’re going to do next, and the result is as sickening as it is exciting as this screenplay really is something boldly new. If there’s one element of The Killers ‘64 that pales in comparison to the original, it’s the casting of Ronald Reagan as the antagonist. Reagan is the gangster who romances Sheila and pushes Johnny into the heist, despite not possessing the moxy to do either as he really does nail the role down greatly. He’s hopelessly outmatched in scenes opposite Cassavetes, and given that he retired from acting soon after the film’s release, one can assume his heart wasn’t invested in his work.Fortunately, the limitations of Reagan’s performance are salvaged by the finale, where Siegel delivers some of the most brutal and stylized directorial work of his career as it is his best work on screen yet still limiting overall compared to others in this remarkable flim. The soundtrack of this movie as done by john willams is quite good as does really work for this remarkable flim.
The Killers ‘64was one of the first noir remakes to go into production, and it’s a testament to its quality that it remains one of the finest. The decision to use the original premise as a jumping off point for another story was inspired, and the nimble execution by Siegel and Coon qualifies it as some of their best work. The 1946 version may still have the upper hand as its one of finest noir classics all time yet this remake and movie stands the test of time as its quite a gem of a movie. 5/5 A classic movie that stands test of time.
I thank you for joining me today to review this classic movie as i hope to catch you again soon for another review soon.
The Untold Story of the Women Who Transformed the World of Disney and Made Cinematic History “From Snow White to Moana, from Pinocchio to Frozen, the animated films of Walt Disney Studios have moved and entertained millions. But few fans know that behind these groundbreaking features was an incredibly influential group of women who fought for respect in an often ruthless male-dominated industry and who have slipped under the radar for decades.In The Queens of Animation, bestselling author Nathalia Holt tells their dramatic stories for the first time, showing how these women infiltrated the boys’ club of Disney’s story and animation departments and used early technologies to create the rich artwork and unforgettable narratives that have become part of the American canon. As the influence of Walt Disney Studios grew—and while battling sexism, domestic abuse, and workplace intimidation—these women also fought to transform the way female characters are depicted to young audiences.With gripping storytelling, and based on extensive interviews and exclusive access to archival and personal documents, The Queens of Animation reveals the vital contributions these women made to Disney’s Golden Age and their continued impact on animated film making, culminating in the record-shattering Frozen, Disney’s first female-directed full-length feature film as this is what the book is about as today i review this wonderful book.
Queens of Animation by Nathalia Holt Review
I grew up loving Disney animation yet I haven’t heard the stories of many things Disney hidden form us until i read books about them as i learned more about them and their past I learned from books like Walt. Until The Queens of Animation: The Untold Story of the Women Who Transformed the World of Disney and Made Cinematic History. I remembered my love of Mary Blair and thought, Nathalia Holt has something here. I wanted to know the names and the contributions of these unknown women. This book was a wonderful read that enlightened me about these women that never got their due for their work with Disney as you may wonder the names of these animators or creators as you may have heard of Mary Blair whom is considered walt’s greatest artist and designer of artwork for Walt Disney for his movies and parks. Holt concentrates on the women’s careers but includes enough biographical information to make them real and sympathetic. I was so moved to read about Mary Blair’s abusive marriage. Holt also does a stellar job of explaining the rising technologies that would impact animation, eventually eliminating the jobs of hundreds of artists. We learn about Walt’s interest in each story that inspired the animated movies and the hard work to develop the story, art, and music, along with the conflicts and competition behind the scenes. I learned so many interesting facts! Like how Felix Salten’s novel Bambi: A Life in the Woods was banned in Nazi Germany because it was a metaphor for Anti-Semitism! How Mary Louise Weiser originated the grease pencil, one of the many technologies Disney developed and perfected or quickly adapted as she created that object which was used widely by his artists. I loved the story of Fantasia. Bianca Majolie presented the music selections to Walt, including The Nutcracker Suite’s Dance of the Sugar Plum Fairy and the Waltz of the Flowers. Tchaikovsky’s The Nutcracker ballet had never yet been produced in the United States at the time! The male animators did not want to work on illustrating fairies (they instead created the Pastoral Symphony’s centaurs and over sexualized centaurettes, including an African-American servant who was part mule instead of horse).as they refused work on faries they left that to the women to work on those things. Choreographer George Balanchine was touring the studio with Igor Stravinsky, whose The Rite of Spring was included in Fantasia, and he loved the fairies in the Dance of the Sugar Plum Fairies. Fifteen years later he debuted The Nutcracker at the new Lincoln Center and it became a Christmastime annual tradition. Holt also shares the story of Mary, a talented artist known for her watercolor style work. She managed to get a job at Disney because her husband worked there, but her talent made her a favorite of Walt’s, which then led to jealousy and resentment from her co-workers, including her husband. At one point, Walt personally invites her to a highly coveted work trip, and her husband practically throws a tantrum because his wife got to go and he didn’t. Mary’s one of the few women in this book where we get a much deeper sense of her life beyond her work at Disney, and Holt paints us a heartbreaking portrait of Mary’s unhappy marriage. I love how Holt highlights how important female friendships were for the women who worked at Disney, and how challenging it was sometimes when broader issues challenged those friendships. One example is the animators’ strike in the mid-20th century, where a pair of animators who were close friends found themselves on opposite sides on the strike. They also happened to be roommates, and so went in to work together every morning, with one of them joining the picket line and the other crossing it. Holt does a good job in showing how even those who didn’t strike were likely aware of the injustices the strikers were fighting against, but they were too scared of losing their jobs to join the picket line. It’s a troubling, at times rage-inducing, history, and I’m just happy that this book finally turns a well-deserved spotlight on these women’s work. Thankfully, the book ends on a happy note, with the story of Frozen, which was the first Disney animated feature film written, directed and led by women. I loved reading about the sister summit that the film’s team organized, where women throughout the company came together to share stories about sisterhood and their loving-and-complicated relationships with their sisters. I remember watching Frozen with my sister, and how much we both related to Elsa and Anna’s relationship. Thanks to this book, I know now that that’s largely because of the women of Disney sharing their own experiences of sisterhood, and more importantly, because of the team of Frozen listening to these experiences, and bringing them to life in Elsa and Anna. There’s likely a long way to go for Disney — and to be fair, lots of other companies — to be truly inclusive for women. Hopefully, books like this help begin to bridge that divide, and raise awareness of how much women have been doing for years, and how much their accomplishments have been minimized in favor of their male colleagues so we can work towards a better tomorrow. As this book is a marvelous book to read from start to finish that will enlighten you upon something you never knew about in the past.
Guillermo del Toro is one of the most interesting filmmakers and beloved flimmakers in the world today, and he has held that position in our minds and hearts since we saw the little masterpiece called El espinazo del diablo (The Devil’s Backbone) . as I am highly fond of Pan’s Labyrinth. As today i will talk about this classic movie again as i look upon its traits and talk about the marvelous set-work and designs of this wonderful world among other things.
It is okay to begin with a spoiler about the movie as many already know this scene as she dies at start of the movie. What Guillermo del Toro made with laberinto del fauno (Pan’s Labyrinth) is a dark and twisted fairy-tale that follows the orginal traits of grimm tales fairy-tales. This movie is wonderfully designed with rich sets and wonderful colors and tones that really make this wonderful flim come to life as you are immersed fully into the picture you yourself become lost in the labyrinth in question with her as you feel like you are trying follow her out of it or further into it. El laberinto del fauno is easily one of the most accomplished and memorable movies of the decade. It was so important to del Toro that the film is made that he lost 40 pounds when making it, dealing with the stress and pressure deriving from lack of time and money as he was really stressed out making this classic movie. The film is one of the ultimate favorite of film critics and millions of inspired audience members around the globe. However you choose to interpret it, the experience of watching it remains equally rewarding. In fact, the very fact numerous interpretations are legitimate only adds to the charm and efficiency of this bizarre materialization of a unique vision and unparalleled style.
Raúl Monge’s storyboards for Guillermo del Toro’s El laberinto del fauno.
What i showed you above was all form the flim as some looks upon some set pictures and the storyboards with a youtube video talking about this classic movie. As you see this movie really has such amazing depth to it. Guillermo del Toro has combined his love of strange creatures, ghosts and Gothic horror stories with a deep literary sensibility to create genre films uniquely his own. In movies like Pan’s Labyrinth, Hellboy and Pacific Rim, monsters are not just scary but soulful as they truly stand out as somethng special as i feel his most special to me is Pan’s Labyrinth. Ofelia is a fantastic protagonist. She is a girl you automatically want to protect from the horrors around her and that investment is where this film garners its strength from real and imagined evils of this movie. The heavy symbolism of this movie that notes down many grim classic fairy-tales with shades of Alice in wonderland and the red shoes scene at end. The faun seems to be both good and evil; what are we to make of a huge pile of used shoes, especially worrisome in the time of the Holocaust? The film is visually stunning. The creatures do not look like movie creations but like nightmares (especially the Pale Man, with eyes in the palms of his hands). The baroque organic look of the faun’s lair is unlike any place I have seen in the movies when the giant frog delivers up a crucial key in its stomach as something so moving and timeless about the creature-work of this movie. He invents from scratch, or adapts into his own vision a fairy-tale that is forever timeless. Del Toro says in a commentary that Ofelia is “a girl who needs to disobey anything except her own soul.” The whole movie, he says, is about choices. The powerful acting of everyone is another amazing highlight of this movie with amazing visuals and story-telling it’s something that is forever remembered upon for all time. Guillermo Del Toro released what is arguably his masterpiece in 2006 as he described by the director as the most personal movie I’ve made”, it’s a wondrous merging of history – war-torn Spain, 1944 and fantasy as he weaved an adult fairytale of a young girl’s coming-of-age amid fascism, full of horror and hope, loaded with allusion and allegory that tells a classic tale of that you will marvel upon on the screen.
What’s so magic about Pan’s Labyrinth, despite its obvious surreal elements, is how it combines old-fashioned fairytales, the type we all grew up with and wanted to be a part of since we were little, with the horrifying realities of the world we live in. Of course, the war-based events are hardly magic in the sense of what’s actually happening, but I believe beneath the surface, there’s a certain beauty to this film that’s not very apparent, but quite mesmerizing. I like to think it’s a film about our own personal fantasies and how we try to find comfort and salvation in them, speaking especially to those who feel detached from reality and their everyday experiences. I came to this conclusion after a very specific shot during the film’s climax, which made me question what I had seen prior to that – did it happen, was it even real…? While Pan’s Labyrinth can’t quite be classified as an horror movie, it’s nothing short of terrifying. I would say i Liken the song by Jefferson airship to the crazy ride you have upon the movie as the movie is a very twisted tale that takes you deep into a maze as song talks about Alice in wonder-land which has very much same type of feeling of a girl exploring upon a dark fantasy.
The atmosphere’s always very heavy and tense after all, the film takes place in a war setting. What’s ironic is that it weren’t even the creatures that provoked fear; it was Sergi López’s phenomenal performance as Captain Vidal. This was a character that oozed hatred and despicability, but even if it’s not the best example, I’ll say that he’s to this movie what The Joker was to The Dark Knight it’s just plainly impossible to imagine it being as good without him, or even imagine it at all. It may look like a regular small film, but it’s actually a very special piece of art that combines the ugliness that can be found in the nature of men with the graphic horrors of the fantasy world – an unusual mixture that leads to a beautiful and heartfelt, yet absolutely horrifying in certain ways, story, wonderfully captured and realized by Guillermo Del Toro as this movie truly is amazing as it stands among the best movies of all time. This movie stands out as a classic that stands out as a true classic that lasts the test of time.So i hope you enjoyed my talk aboout this marvelous movie today as catch you soon for another talk soon as i will give insight to flash gordon soon as my copy of movie comes in to me. So catch you soon
Whether or not you believe it is the greatest year of all for the Hollywood studio system, the wonder of 1939 is the sheer depth of its bench. On a ten-movie best-picture ballot, the Oscars found no room to nominate such worthy contenders from that year as Raoul Walsh’s live-wire gangster memorial The Roaring Twenties; George Cukor’s all-star The Women; or Howard Hawks’s Only Angels Have Wings described even at the time as “magnificently directed” by the hard-to-please Graham Greene. And on a list of 1939’s top-grossing films, you have to go down, way down, all the way to number nineteen by some tallies, to get to Universal Pictures and its biggest smash of the year, Destry Rides Again as with many form 1939 this movie is among many other classics such as gone with the wind and wizard of oz. I am reviewing Destry Rides Again on what would have been her birthday today as i feel i amy also present a small tribute to her along with a second review of another classic gem she stared in for her birthday today on what would’ve been her 120th birthday i felt this movie would be a good movie to highlight her greatly as a performer. As i will also review some other films she starred in for her 120th birthday.
Destry Rides Again: Riding High review
The tropes of the Western are so engrained and parodied, that it’s a delight to see a 1930s Western using them so self-consciously to explore both their serious and comic potential. The film that inspired Blazing Saddles begins as outrageous parody, with the hyper-violent town of Bottleneck pictured as having punch-ups and gunfights in the street, and horses riding in and out of the Last Chance Saloon. But this near-cartoonish introduction gives way to a film that surprisingly takes its stakes seriously, even as it plays with the genre/ Bottleneck is a deeply corrupt town. Saloon owner Kent (Brian Donlevy) runs any number of rackets, protected by the Mayor (Samuel S. Hinds) and supported by bar singer Frenchy (Marlene Dietrich). When Kent’s goons murder the old sheriff, town drunk Wash (Charles Winninger) is given the badge in the saloon which functions as the town’s public forum and hall – to the uproarious cheers of the locals, who see Wash as an easy sap to continue conducting their business under. However, Wash’s surprising respect for the badge – he immediately vows to sober up, and does so leads to a different outcome. Wash summons Tom Destry Jr (James Stewart), son of a famous lawkeeper, to town, and is immediately disappointed. Destry is a quietly spoken, drawling man who doesn’t even carry a gun, and is first seen helping a lady, Janice (Irene Hervey), out of a coach with her parasol and canary. Destry doesn’t believe in guns, and instead uses his wits to uphold the law. But that law, when it upholds cheats and scoundrels such as Kent, is there to be defended as well, and one of the film’s shocks is when Destry supports Kent in his claim to a ranch that he tricked a poor rancher into signing over to him in the eyes of the law, the claim is good.
Destry Rides Again is touted as a comedy, and it does have plenty of that, but it’s also a unique Western for its time because it couches manliness in the form of Stewart’s down-home charm. The film begins by showing us a rough saloon town. Gun shots, drunks, and angry men ring through the streets of Bottleneck. We enter the saloon, where everyone is happily singing “Little Joe the Wrangler” (which also makes an appearance in the first section of the Coen Brother’s The Ballad of Buster Scruggs). In this saloon we meet Frenchy, Marlene Dietrich’s character, who has accepted her seedy character as the one that will help her survive.
Even Destry’s oddball feminist touches, such as the climax in which sisterhood saves the town from a possible bloodbath, would have echoes in later films such as William A. Wellman’s Westward the Women (1951). And heaven knows Destry’s most famous scene, that all-out catfight between Merkel and Dietrich, has been imitated time and again, from the MGM musical The Harvey Girls (1946) to 1971’s Les pétroleuses, where Claudia Cardinale dukes it out with Brigitte Bardot—who is playing the daughter of a (male) outlaw named, what else, Frenchie. James Stewart plays Destry to perfection. I would say everyone in its cast is simply wonderful in their roles in this charming movie.
I adore this movie’s charm and atmosphere. It takes the time to flesh out everybody in this town while having a sense of humor about everything. From the odd yet quirky Boris Callahan (Mischa Auer) to the heart-broken and homeless Claggett family, there is no shortage of colorful characters here. Yet even this is great slapstick comedy and wordplay that still finds time to have impactful and deep dramatic moments and scenes as this movie is simply a classic that you should watch again and again as simply few movies match this level of charm that you can watch again and again
Happy 120th birthday to Marlene Dietrich.
Glamour. Defined in the dictionary as: an air of compelling charm, romance, and excitement, especially when delusively alluring. For me, and I am assuming for many of you, glamor is what initially attracted me to the world of classic film. I would say my love of flim began as child as i was always attacted to movie magic as i find no art-from as magical as a movie to take you away to a new world. From Technicolor film stock to gauze-covered lenses, movies from yesteryear rejected the aesthetics of reality in favor of a more stylized world where anything was possible and everything was glamorous. And no star represented this world of glamour and illusion more than birthday girl, Marlene Dietrich as few actress are simply this lovely or enchanting to watch upon the screen as some 120 years later we still adore this wonderful screen legend. In 1930’s as she was procalimed the most Glamourus woman of all time by many as few women could be like her upon the screen as she was able break all the rules due to her Glamour. So to to reflect upon 120 years of this wonderful legend upon the screen.
Shanghai Express review
A beautiful temptress re-kindles an old romance while trying to escape her past during a tension-packed train journey Starring Marlene Dietrich, Clive Brook, Anna May Wong, Warner Oland, and Eugene Pallette Based on the story by Harry Hervey. With a Screenplay by Jules Furthman that is directed by Josef von Sternberg that was distributed by Paramount Pictures. Marlene Dietrich is at her wicked best as Shanghai Lily, a courtesan whose reputation brings a hint of scandal to a three-day train ride through war-torn China. On board, she is surrounded by a motley crew of foreigners and lowlifes, including a fellow fallen woman (Anna May Wong), an old flame (Clive Brook), and a rebel leader wanted by the authorities (Warner Oland) as this movie showcases her at her best in her pre-code era. Marlene Dietrich is an amazing actress as this movie showcases her at her best as you see her skills as an actress on screen showcased as this movie also has some amazing looking cinematography that really can steal the show at times. Anna May Wong also can be very amazing in this wonderful movie. In addition to Marlene’s acting, Shanghai Express is the the greatest all of her movies to show off her extreme beauty. I don’t know exactly what it is that von Sternberg did to make her look so lovely in this film, but he solidified her place as one of the most captivatingly stunning women of the 1930’s.Shanghai Express is an emotional film that showcases Josef von Sternberg’s incredible directorial abilities. The film won an Academy Award for Lee Garmes for cinematography, although Marlene Dietrich often commented on von Sternberg’s involvement. Dietrich considered the beauty of the movie to have been due to von Sternberg and his artistic genius. Whoever was responsible certainly is entitled to an immense amount of praise for this wonderful gem of a movie.
THE SCARLET EMPRESS review
The Scarlet Empress is a grand Hollywood production, filled with romance, melodrama, and amazing studio work. The production design is amazing, cluttered in small details but all so beautiful. The costumes too are fantastic and varied. This is a film of big dresses and large, elaborate sets. Telling the story of the young life of Catherine the Great allows The Scarlet Empress to bask in a visual splendour of Russian style. Marlene Dietrich plays the lead character, initially as someone innocent, naïve, and joyful. Later on Catherine grows up to be ruthless and ambitious, and Dietrich gets to abandon her sweetness in the first half to become her usual confident, sultry self. Josef von Sternberg directs the film was a passion, embracing the excess allowed in a story of royalty. There are darker angles to The Scarlet Empress too, such as a montage of torture and war early on that probably wouldn’t have been allowed had the film been made a year later, when the Hays Code was more strictly enforced. There’s a theme of destiny in The Scarlet Empress, as Catherine is set on the path towards greatness. She does not see the peasants of her world, and lives a rather fairy tale life, which the film plays into with its visuals. Even soldiers are just playthings of the powerful here, rather than real people. The film has intertitles providing historical context and exposition, which gives the film a sense of significance even though the story does not adhere to fact at all. Instead we get a fun rendition of Russian history, with a great central performance and tonnes of visual flair that truly stand out among her flims as she truly is at her best performance as this movie is a showcase for her talent and the great skill of Josef von Sternberg as this movie is a treat to watch upon the screen.
The Devil is a Woman (1935) review
The Devil is a Woman is the last of the six Josef von Sternberg-Marlene Dietrich movies made at Paramount. It’s reasonable to refer to them as the von Sternberg-Dietrich movies. She was his collaborator, his muse and his lover. These movies would quite simply have been unthinkable without her and without her von Sternberg would certainly not have made them. It’s also of course, like the other five movies, an expression of von Sternberg’s particular aesthetic principles. He described the previous film, The Scarlet Empress, as “a relentless excursion into style” and that pretty accurately describes all the von Sternberg-Dietrich movies. While Dietrich was a fine actress she was not in these movies to act – she was there simply to be Marlene Dietrich, to be the centrepiece of a visual extragavanza. Fittingly, The Devil is a Woman is a film about sexual obsession, and the price of such obsession. The Devil is a Woman was based on the 1898 novel The Woman and the Puppet by Pierre Louÿs. Louÿs was a product of the fin de siècle Decadence and one of the great French writers of erotic literature. It’s certainly not difficult to see why von Sternberg would have been attracted to his work.Marlene Dietrich stars as a Marlene Dietrich type: a seductive woman who bleeds men dry for her own amusement while modeling outrageous outfits and enjoying the lawless free-for-all of Spanish Carnival. An older, disgraced military officer warns his young friend about the dangerous seductive powers of all women, then of Dietrich’s soul-draining (and money-draining) villainy in particular. It’s a cinematic trope that dates at least as far back as Theda Bara’s iconic role as The Vamp as this movie showcases her doing that kind of thing that many others did in that day. It may not be the best of their movies the duo did but it simply a fun movie that you will enjoy to watch her give out a marvelous performance upon the screen. It is simply a classic movie you will enjoy to watch often upon the screen.
I choose flims to highlight at her peak as she was simply at her peak with Josef von Sternberg-Marlene Dietrich movies as she starred in many wonderful roles after this peak that are simply classics such as touch of evil among others she starred upon screen. 120 years later we still adore her work as simply to honor her on her 120 birthday. So until next time i will leave you with more movie magic to touch upon in the future.
The Devil Rides Out, known as The Devil’s Bride in the United States, is a 1968 British horror film, based on the 1934 novel of the same name by Dennis Wheatley. It was written by Richard Matheson and directed by Terence Fisher. The film stars Christopher Lee, Charles Gray, Niké Arrighi and Leon Greene. The Devil Rides Out is possibly is one of my truly favorite horror movies all time. Today i review the movie for The Third Hammer-Amicus Blogathon.
The Devil Rides Out is one of those classics in the horror cannon where everything just works in spite of how incredibly silly and hammy it could all be for its subject matter. The Legendary Hammer Horror directors Terrence Fisher’s adaption of Dennis Wheatley’s devil rides out novel of the same name. The script was written by equally legendary writer/screenwriter Richard Matheson and is a much more subdued and serious horror film compared to Fisher’s other works for the studio. It’s much of a psychological horror then a full out horror movie. The movie is a classical psychological horror classic that really stands out with its acting and direction and acting and talents all at the top of hammer horror.
The devil rides is a splendid example of Hammer Films operating at the height of their powers, The Devil Rides Out released as The Devil’s Bride in the U.S. to avoid being confused for a western is pure classic horror as its come. Christopher Lee, in a role he has long claimed as a personal favorite. The Devil Rides Out wasn’t a big hit at the box office and isn’t nearly as well known as it should be, but it regularly appears near the top of most fan polls of Hammer’s best movies all time.
It was Christopher Lee, himself an avid collector of works on the occult and a fan and friend of Wheatley’s, who spurred Hammer on to make a film based on his works as he truly plays out of one of the finest roles he played upon the screen. The Devil Rides Out also stands apart in its supporting cast, eschewing the regular Hammer stock company as that cast is simply marvelous to watch upon the screen play out their respective roles with such amazing charm and acting skills in their roles they play on the screen. I would this is a fun thriller to watch form start to finish.
The Devil Rides Out is perhaps unlikely to be particularly scary for anyone that loves horror movies as but its such a wonderfully crafted out thriller that is as well as a fascinating oddity in Hammer’s horror catalog as it stands out among them as so diffrent form so many of its counterparts done by hammer horror with wonderful acting that makes its such a wonderful thriller you will adore to watch again and again.
Today I talk about Take a Giant Step for The American Experience on Film Blogathon! as it reflects upon the many things about america in this movie that stars many amazing stars. There is many diffrent parts to the American Experience which can be reflected upon in many movies so lets review this wonderful gem. I would love thank the wonderful host of event n also ask you check the many other posts of the event linked in picture below. so lets review this gem
Take a Giant Step had previously been on the fringes of my radar, mainly due to it being a Globe nominee for Supporting Actress (much more on that shortly) I had seen it on criterion channel recently as it had a headliner area based on movies starring ruby Dee. This review may contain spoilers. Black high schooler Spencer Scott (Nash) gets expelled for arguing with a white teacher and smoking in the bathroom after leaving the classroom. Too ashamed to tell his father (Frederick O’Neal) at work, he goes home and tells his troubles to his beloved grandmother (Estelle Hemsley). As he does so, a group of his white classmates drop by, and he confronts them about not coming around more often. When one of them reveals that his girlfriend’s father is a racist, Spencer angrily throws them out. He then borrows money from “Gram,” packs a bag, and goes across town to the black neighborhood, which his parents had moved out of in order to give him more opportunities.
He ends up at a bar, where he first chats with a group of prostitutes anxiously trying to round up clients, and then with a young woman (Ellen Holly) he’s attracted to. He suggests they form a relationship, and perhaps even marry, but she reveals that she’s already (unhappily) married, and looking for an evening’s diversion. Now rather tipsy, he leaves and encounters the prostitutes, one of whom, Violet (Pauline Meyers), takes him home with her, but he hardly computes her intentions and leaves, having haggled a dime out of her for bus fare. He goes home, where he’s confronted by his father and mother (Beah Richards), who’ve heard from the school; his father is enraged to the point of violence, while his mother is aghast at his talking back to a white person. After a heated argument, Spencer goes to his room, and Gram confronts his parents, arguing they’ve been too focused on giving him material advantages to attend to his emotional needs. They back down and attempt to reconcile with him, but the exertion of the day causes Gram to have a fatal heart attack, leaving Spencer devastated.
Some days later, he’s telling his troubles to Christine (Ruby Dee), the Scotts’ housekeeper, and she opens up about her own past, including the loss of her husband and stillborn child. Spencer confesses his attraction to her, and it’s ambiguous as to whether she reciprocates. But since the family no longer needs a housekeeper, Mrs. Scott lets her go, then tells Spencer that she invited some of his friends over for cake and ice cream. He argues with her, claiming she’s trying to bribe them, and runs out, catching up to Christine. He asks to go with her, but she talks him down and bids him farewell. He goes home, where he has a hesitant but civil reconciliation with his friends and a warmer one with his mother.
Riding the tide of teen flicks that followed Rebel Without a Cause, Take a Giant Step touches on similar tropes of youthful angst, but through the vantage point of a newly desegregated student population. Honestly, the script for the film – written by Louis S. Peterson from his play as it plays like rebel without a cause but with a look upon the racism of the time. Take a giant step is a coming of age movie where the passionate teen has justified cause to rebel and angst against. There is a point in all of our lives where we learn about the racism that exists in the world. ‘Giant Step’ brings to light those prejudices through the experiences of Spence, a black 17 year old boy raised in middle class suburbs who seems like any other boy. This movie is a must see movie that you has such wonderful acting and direction that you should watch today. I Enjoyed talking about this movie as it’s a wonderful gem
William Cameron Menzies’ frightening portrayal of a Martian menace is blessed with his own fantastic production design, brilliantly weaving a world from a child’s perspective as this fun b-movie is fades form memory as i review this movie also the 1986 remake as also i do a modern remake of it with mar’s attacks all three movies really are the mar’s invading us idea given to us in each a differnt way as the 1950’s era was a ripe era for scfi b-movie as such given on on the Forbidden Planet DVD we see watch the skies which talks about how it was about the fears of the time. So i begin b-movie month with my frist b-movie review of this month.
Invaders from Mars has a simple setup, but is executed with such precision and strong performances that it goes above and beyond the expected alien invader scenario as the simple story is really such a deeper story beyond the core simple idea of aliens landing to invade our planet. a young boy named David. When he wakes the next day he notices that his father has a wound on his neck and is acting strange. After noticing the same mark on other townsfolk he realises that they’ve been taken over by Martians. He then has to try and convince the local authorities of his inherently outlandish tale and put a stop to the menacing Martians but its so much fun to watch it unfold on screen with such wonderful performances as we see it form a child’s outlook of the invasion of mars. It really plays on the fears of the 1950’s as we see this movie play upon the fear of the other which was a common idea for this era of movie.
Low angles make adults appear as giants, while the mutant Martians seem even more imposing and a multitude of adept tracking shots bring the whole thing to vivid, alarming life, due in no small part to John F. Seitz’ wonderful cinematography. Even the production design becomes more nightmarish as it goes on (again by Menzies himself who had a long and successful career in that area with films like Gone With The Wind), where innocuous locations like the rooms of David’s house and the trees behind it gradually become more alien. It’s not just the alien menace or the humans in their control, the very world around him is threatening now. It’s that dreamlike quality that really sets Invaders From Mars apart. That unearthly green glow that bathes the Martian spaceship, the newly twisted and warped trees that surround it, the malevolent but ethereal sound design as the aliens capture new victims, it all feels like one big hallucination or nightmare, a hazy fever dream of the end of the world as this mvoie showcases some of the best of the b-movie of this era as its a fun classic you will enjoy so much to watch unfold on the screen.
Invaders From Mars (1986) remake review
Tobe Hooper’s Invaders from Mars is A remake of William Cameron Menzies’ 1953 science-fiction/horror classic which was scary remake of it i might add as this movie really pumps up the horror of the aliens to 11 as tobe takes the helm to give us a very wonderful spin upon the classic story of that orginal movie. The film focuses on David Gardner (Hunter Carson) a young boy who’s become convinced he’s seen a alien spaceship land in the sand pit behind his house which the cops do not believe as many others dont at frist as the case when people start changing to aliens we begin see them acting differntly then before.
The remake stars Hunter Carson (son of filmmaker L.M. Kit Carson and actress Karen Black) as the boy, David Gardner, who begins to suspect something’s wrong with his folks when he sees his mom (Laraine Newman) consuming heavily salted raw hamburger, and his dad (Timothy Bottoms) swilling down scalding hot coffee laced with a fistful of saccharine tablets. When David notices his science teacher Mrs. McKeltch (Louise Fletcher) is even testier than usual, and that she’s sporting the same bandage on the back of her neck as his parents, he confesses his suspicions to the school nurse, Linda Magnusson (played by Black). Soon, the two of them are exploring an fantastic underground lair/spacecraft, populated by gangly, toothy creatures and a tentacled brain known as The Supreme Intelligence.
Tobe Hooper’s Invaders From Mars is an anomaly among the 1980’s remakes of 1950’s B-Movie Horrors because it doesn’t attempt to make its source material frightening for a later era so much as it is interested in recreating the feeling of watching those films in the 50’s, with all the attendant creepiness and paranoia. Invaders From Mars uses the best available talent (Dan O’Bannon, John Dykstra and Stan Winston among them) to make an intentionally artificial out-of-time world, where everything seems not so much fake as it does made. This is a world not of our own, but made from and out of Sci-Fi Schlock of old. That Hooper turns around and makes the subtexural threat not communism but the return of 1950’s America, a return to rigid, bland conformity, a counter-revolution against the liberation movements of the 1960’s, the promised land of the Reagan Revolution as this movie as shows how the flaws of this era of idealism was such a flawed notion of returning back to this era. this is Hooper’s own response and follow-up to Poltergeist, a dark revisiting of the suburban nuclear family wherein the danger comes from both without and within, that it could infect your family, infect educational institutions, infect the military and the police, infect lines of communication, that it could infect you. That was what it felt like to be a kid in the 1980’s, where you could revolt into an uncaring void or attempt to hide and wait it out and hope that nuclear annihilation did not rain from the skies or get accidentally unleashed at home. Invaders From Mars, by really knowing and inhabiting the 1950’s Moviescape as this movie is simply a classic movie.
Mars Attacks! review(remake of invaders form mars as much making fun of those movies)
Mars Attacks! is Tim Burton’s love letter to all of the b-movie sci-fi flicks that were littered throughout the fifties. Having already honored the cult filmmakers of the period with Ed Wood but this love letter is also in part a remake of invaders form mars but in a very modern way that is used to mock that notion in a way.
One of those movies is Mars Attacks! This crazy invasion story is possible one of Burton’s underrated and unseen gems that literally owned my television back in the nineties. Starring a weird collection of stars, as you can imagine, it centres on, well, Mars attacking. Obviously centred mainly in America, this bobble headed aliens come to take over and Earth finds itself having to defend as the movie as much a love letter to the 1950’s b movie as much making fun of it. Supposedly a parody of Alien invasion movies, Tim Burton’s insane spoof is much more than that, it’s an homage. Sending up the likes of It Came From Outer Space and more, Mars Attacks! sublimely tackles the visual inaccuracies of science fiction fare and blows them up on a larger scale. The comedy not only comes from the mockery, but from Burton’s crazed mind teaming with Jonathon Gems to create a film that works on its own hyperactivity, ballsiness, and dark humour that crafts out such a fun b-movie gem of its own. What’s more Burton added a star studded event and catapulted Mars Attacks! into this oddly surreal movie. A film that sees Pierce Brosnan, Jack Black, Sarah Jessica Parker, Danny DeVito, Martin Short, Natalie Portman. and many more all striving to survive this humanity ridding ghouls is ridiculous in itself. Not to mention that Jack Nicholson plays the President (and a sleazy rodeo business man in Last Vegas,) what more could you ask for? The cast is hilariously huge, which adds much to the spectacle. It’s more of a bonus that 99% of the characters are heinously unlikeable so watching them meet the impending doom is undeniably satisfying as i feel this b-movie classic should b watched upon repeat often upon the screen as i find joy watching this movie mock so many of the movies i adore watching often form the 1950’s as i hope you enjoyed my frist review of b-movie month.
Face-Hugging Dreams of Breathing: Ridley Scott’s ‘Alien
Visionary and terrifying, Ridley Scott’s Alien hybridized the horror and science-fiction genres in 1979 to effectively launch a new subgenre, and countless clones have since borrowed from its DNA. Space-aged operatics and laser battles have no place in this imaginatively designed film, whose mounting tension still contains fearsome intensity and whose visual ambitions still evoke awe. Scott’s artistry still amazes us even some 41 years later as this year as you see this movie showcases a new style of scfi flim that would be copied by so many movies.
H.R. Giger’s alien design’s in alien really showcase many of alien movie’s amazing style and look for its dark and creepy world. Of course, Alien was not the first film about a killer creature from space, nor was it the first haunted house-type story in which characters are hunted down and systematically slaughtered, nor would it be the last. Screenwriter Dan O’Bannon later admitted, “I didn’t steal Alien from anybody. I stole it from everybody!” From the radio beacon of unknown origin in Forbidden Planet (1956) to the escalating alien scares in It! The Terror from Beyond Space (1958) to the claustrophobic setting of The Thing from Another World (1951), the film is not without its influences all would make this classic gem into something that takes form past of movies yet setups dna for future movies.
Floating in the silence of space, inside the Nostromo lights flicker on and computers scroll incoming transmissions. The crew of seven is awakened from their hyper-sleep as many of the shots of this movie is shot so wonderfully by scott’s wonderful handy cam work that captures dark and creepy world of alien. Scott’s technique lends Alien distinction amid its respective genres at the time; rather than have the alien leap at the viewer from the start, he builds suspense through a meticulously controlled intensification of anxiety. Take the sound design and the careful juxtaposition of agonizing, dominating silence and jarring bursts of audible terror. The Nostromo’s crew moves about the quiet ship in virtual silence, their dialogue limited at first.
Scott’s technique lends Alien distinction amid its respective genres at the time; rather than have the alien leap at the viewer from the start, he builds suspense through a meticulously controlled intensification of anxiety.Scott’s moody treatment of the plot is counterbalanced by his talented ensemble, who gives the film an unmistakable human dimension in the coldness of space. Wage slaves all, the Nostromo’s crewmembers behave like interstellar working stiffs, led by their mellow captain, Dallas (Tom Skerritt). Second in command is the good-humored Kane (John Hurt), host to the alien organism. Next in line is warrant officer Ripley, who tries to quarantine Kane, but her adherence to protocol is defied by the icy science officer, Ash (Ian Holm), who allows Kane onboard. On the sidelines and informing the audience’s reactions are edgy navigator Lambert (Veronica Cartwright), and maintenance men Parker (Yaphet Kotto) and Brett (Harry Dean Stanton), who quibble tirelessly about getting paid less than their fellow crew members. Most impressive is that the youngest actor among them is Cartwright at 29. If Alien were made today by another filmmaker, it may have been populated by the time’s youngest and hottest stars. Scott’s intention, however, was to find a cast that could bring natural performances to an unnatural setting.
Beyond the excruciating tension, what remains so haunting about the film is how little it tells us about the alien, its origins, life cycle, and even its physical makeup. Its metamorphosis from parasite Facehugger to embryo Chestbuster to predatory Alien attacks its victims on multiple levels. In one way, it acts like a disease, invading the body and destroying from within. In another very suggestive way, it penetrates the body both in its parasitic and predatory forms. As Ash observes, “A perfect organism of steer horror that really will scare you as the alien is a creepy monster of terror as its lack of humanity it envokes anytime on the screen. The way the Facehugger implants its embryo recalls ichneumon wasps who lay their eggs on or inside their prey, while the alien’s tongue-like Pharyngeal jaws emerge from its mouth and call to mind a Moray eel that invokes many of the artwork of iger’s original illustrations to the screen in such a surreal and creepy manner.
the producers’ original decision to cast Cartwright as Ripley. This last-minute choice became a fateful one for Weaver, whose career has been long-associated with the Alien franchise, having appeared in four entries through 1997. More significantly, though, Weaver’s initial presence as an iron-willed heroine afforded audiences a tough and noble hero, whose femininity was downplayed but not altogether absent. For decades, Weaver would be the only actress in Hollywood who could headline an action film, while her dramatic and genre work remained steady: she played an ironic damsel in the Ghostbusters series, earned two Oscar nominations in 1988 playing Dian Fossey in Gorillas in the Mist and a relentless business executive in Working Girl, explored arthouse drama with Roman Polanski’s Death and the Maiden (1997) and Ang Lee’s The Ice Storm (1997), and remains forever linked to the science-fiction and horror genres since this breakthrough performance. One of the great pleasures of watching Alien is witnessing Weaver grow into a star right before our eyes as she gives out such a marvelous performance as such of her performance is a breakout in this movie.
Much has changed about the science-fiction and horror genres in the thirty years since Alien’s release as a flim like alien would be revealing so many details earlier as also cast younger stars to play the key roles in its wonderful cast. Alien is a profoundly influential work and a lasting classic. The risks taken by this film make it a rarity, while its methods yield a paradigmatic specimen whose combination of genre thrills, bound by great artistry and innovation, have yet to be bested by imitators that still lasts the test of time.