I don't know if this is blasphemous, but I like Noir Vincent Price better than Horror Vincent Price. He's great in Laura, even better in His Kind of Woman, and now I have The Web to admire him in. There's a bunch of others that I haven't seen yet, so I'm making a list. If you have more to recommend, please do:
Leave Her to Heaven (1945) Shock (1946) The Long Night (1947) Moss Rose (1947) The Bribe (1949) The Las Vegas Story (1952) Dangerous Mission (1954) While the City Sleeps (1956)
Price is delicious in The Web, but he's not the only one. This was my first Ella Raines movie and I'll be seeking out more of her stuff as well. It's a great thriller in which a naive lawyer (Edmond O'Brien) is suckered by a wealthy businessman (Price) into committing murder. That's a bit of a spoiler, but O'Brien figures it out quickly and most of the film focuses on how he's going to prove his innocence. William Bendix steals every scene he's in as the lead detective on the case. He reminds me of John Favreau in a really good way: serious, but kind of goofy and totally likeable.
Raines plays Price's secretary and I like the dilemma that she's in as she starts to trust O'Brien and distrust Price. O'Brien's character is horribly sexist - assuming, for starters, that she got her job simply because she's gorgeous - but the movie kind of steers into that by explaining that he's also really socially awkward. It doesn't excuse some of the things that come out of his mouth, but I like that it offers a reason for them beyond "1947."
Lethal Weapon (1987)
This has been on the list to show David for years, but it got bumped up a few months ago when we watched Silverado. David mostly knows Gibson from Braveheart, so there's a lot of catching up to do on that filmography.
I hadn't seen Lethal Weapon in decades, so I was pleased to see how much it holds up. I'd forgotten a couple of important plot twists, so the story kept me interested, but mostly it's about Gibson's performance as possibly-crazy Martin Riggs. There's some damn good acting in there. And of course his relationship with Glover's Roger Murtaugh, which provides much needed relief from the palpable grief surrounding Gibson's character.
Father of the Bride (1991)
I'm trying to remember why I finally pulled the trigger and bought this, but I'm glad I did. I think maybe we were talking about Martin Short or BD Wong and I realized that David needed to meet Franck Eggelhoffer and Howard Weinstein. Especially Howard Weinstein.
But even though theirs are the biggest performances in the movie, they're not the most important or best ones. I'd forgotten how much I love late-'80s-era Steve Martin (which this fits into more naturally than '90s-era Martin). He's right in the sweet spot between the desperate craziness of his early years and the melancholy of his later stuff. He's confident, he's physical... Watching this makes me want to revisit Roxanne and Planes, Trains, and Automobiles immediately.
And the rest of the cast is great, too. Diane Keaton doesn't have a ton to do, but she's exactly what the movie needs to balance out Martin's overreactions. And Kimberly Williams is lovely as someone torn between excitement about the next stage of life and fear of leaving the previous one behind. The movie focuses on Martin's character, but never forgets that there are other, real people making the journey with him.
Camp Midnight by Steven Seagle and Jason Katzenstein
I'm a big fan of Steven Seagle, monsters, and stories about summer camp. Camp Midnight helped me understand why I like the last two so much: they're both about outsiders and the struggle to fit in. Seagle and Katzenstein are insightful and entertaining about why that can be so hard.
Jam of the Week: "Don't Take the Money" by Bleachers
Sometimes you just need a big anthem that you can scream along to. Even better when it's a reminder to not sell out, but stick with your passions. Even more better when the video is funny.
Look, I wanna be mad at Mel Gibson and I am. But just like I'm mad at Tom Cruise and still go to his movies, I love Gibson's acting and I'm usually curious about what he's doing. Blood Father looked like a callback to what Gibson does best: playing unhinged heroes with a lot to lose.
In this case, he's an alcoholic ex-con with a lot to apologize for who's too far beyond redemption, but would settle for some peace in his later years. That goes out the window though when his estranged daughter calls him out of the blue in desperate need of money and help. When he offers it, he's pulled into a nasty situation with violent consequences.
I like that Gibson's character is drawn back into the criminal world, but he doesn't just settle in like he's always been there. He's old and weary and every step of the way it's clear that he's making sacrifices for his daughter. As the title gives away, it's a movie about parenthood that uses violence and crime to accentuate the extreme love that Gibson's character feels for his daughter. I liked it a lot.
La Belle et la Bete (2014)
I didn't make it to the theater last week and even if I had, the live action remake of Disney's Beauty and the Beast is more a curiosity than a must-see. But I've had this French version on my To Watch list for a while and by sheer coincidence it made it to the top just as the new one's coming out.
I've talked before about what I really like in this story, so any new interpretation has my attention, but I also totally dig Léa Seydoux (Mission: Impossible - Ghost Protocol, SPECTRE) and was attracted to the idea of seeing a French version of this French fairy tale. Also, the visuals are lush and imaginative.
It is an imaginative take on the story, but I was disappointed by the quality of the CG effects that are never quite believable. Some of the story changes are good (I love the explanation for why and how the Beast got to be the way he is), but others just seem like excuses for some over the top effects (that again, aren't that spectacular anyway). It's a worthwhile version of the story, but unfortunately not going to become a favorite one for me.
The Wild Life (2016)
Absolutely miserable. Didn't even finish it. I was warned, but you know what? "Nice job" to whoever put together that trailer. You got me. The trailer has fun music and cuts clips together in a way that looks like actual humor. The movie does none of that. It's dumbed down to five-year-olds and reminded me of an amateur Sunday School puppet show. Glad this was a Netflix DVD and not something I paid money to watch.
Henry V (1989)
I kind of gave up blogging about my British History in Film project. I'd like to get back to that. But I haven't given up actually watching the movies. I left off blogging about Edward II, but since then I've watched the mini-series World Without End (2012) that deals with fallout from the events of Edward II (as well as the Black Plague) and started The Hollow Crown, another TV series from 2012.
The Hollow Crown is a great idea. It presents Shakespeare's Henriad tetralogy as a complete story, using as many of the same actors from play to play as possible. Ben Whishaw (Q in the current Bond films) plays the tragic Richard II who's usurped by Rory Kinnear's (Tanner in the Bond movies) Henry IV. Jeremy Irons plays the aged Henry in Henry IV, Parts 1 and 2 with Tom Hiddleston as his son, the questionable Price Hal. At first, I wasn't sure how Richard II fit thematically with the other plays (other than just showing Henry IV's rise to power), but then Shakespeare helped me out with a line of dialogue explaining that IV is so worried about Hal because he sees in Hal the same traits that made IV want to take Richard's crown in the first place. It's a powerful story about fathers and sons, but also about duty and responsibility.
Before I watch the Hollow Crown version of Henry V, I wanted to revisit Kenneth Branagh's version, which made me realize nearly 30 years ago(!) that I actually could enjoy Shakespeare's history plays as much as I did Hamlet and A Midsummer Night's Dream. I've seen it countless times, but not recently, so it was great to see it again and especially fun to rewatch it now with all the backstory of the earlier plays finally in my mind. Branagh includes some scenes from those plays in Henry V as flashbacks and it was also cool when I watched those plays to recognize where I was for a moment.
Branagh's Henry V is still powerful and funny (so funny) and I'd forgotten how stirring Simon Rattle's score is. I used to have the soundtrack somewhere and need to find it again or rebuy it.
Anyway, looking forward to seeing how The Hollow Crown interprets it now.
Zorro (1957-61)
I'm on a huge Zorro kick lately and it's because of this show. I'm about halfway through the 39-episode first season and it is so awesome. Guy Williams is the definition of swashbuckling and perfectly plays the balance between dashing Zorro and passive Don Diego. Gene Sheldon is also delightful as Diego's mute manservant Bernardo and Henry Calvin is a joy as the good-hearted, but wrong-sided Sgt. Garcia.
I expected most of that, having watched an episode or two as a kid, but what I'd totally forgotten was the amazing sets and matte paintings. Disney threw some real money at this and created a wonderful fantasy landscape for southern California with all kinds of great cliffs and passes and skull-shaped mountains.
And I had no idea that the storytelling was so 21st Century. Each episode is more or less self-contained, but they also connect and build on each other to tell longer stories. The first 13 episodes pit Zorro against the ruthless Captain Monastario and I was shocked when he actually succeeded and that storyline ended. Then, just as Zorro's thinking of retiring, a new enemy shows up in the form of a secret society that uses eagle feathers to communicate. I'm in the middle of that story now and loving every minute of it.
It's got me wanting more Zorro, so I've been reading The Curse of Capistrano, the original Zorro story by Johnston McCulley that was serialized in All-Story Weekly. I'll report more on that later, but I'm very much enjoying it so far, too. It's briskly written and I'm surprised to be over halfway through without seeing one mention that Don Diego and Zorro are the same person. Once I finish that, I'll make a project of rewatching my favorite Zorro movies.
The Young Indiana Jones Chronicles (1992-93)
This year is the 25th anniversary of Young Indiana Jones, so I decided I should probably finally watch the whole thing. I was a fan back in the day, but its sporadic schedule made me miss a bunch of episodes and I finally just gave up.
The DVD collection (which is what's on Amazon Prime for me to watch) has Special Editioned them, but I don't really mind. They've taken out the framing sequences with the 90-year-old Indy and I'm kind of sad that those aren't available for me to watch if I want to, but I also didn't especially like them. And I do really like that the episodes are reorganized into chronological order instead of jumping around between 10-year-old and teenaged Indy.
David asked me if I recommend the show and I don't know that I do. Not unconditionally anyway. I'm enjoying it, but it's very different from the adventures of Harrison Ford. Each episode has its small mystery or adventure, but the focus is mostly on introducing a new place or historical figure. It's entertainingly educational; it's just not thrilling in the way that Indiana Jones is known for.
I'm partway into the 10-year-old's travels with his parents and governess as they follow Henry Sr on a lecture tour. We've been to three different parts of Africa, and a few places in Europe (Paris, Vienna, and Florence, so far). Highlights include Lukas Haas as Norman Rockwell, Danny Webb (Henry V) as Picasso, and Max Von Sydow as Freud.
Underground (2016-present)
Finally, I'm about halfway through the first season of Underground and am loving the show. It starts off as sort of a disturbing, Southern version of Downton Abbey. It never focuses long on the owners of the Macon plantation (which is good, because they're horrible), but there's instead a stark contrast between the lives of the house slaves and the field slaves. Neither group is well off, but they have different challenges that are fascinating to learn and think about.
Mixed into that story is another one about John Hawkes, the brother of the plantation's owner Tom. Both brothers are from the north, but where Tom has become a slave owner, John very strongly believes in abolition. So he and his wife Elizabeth consider becoming a part of the Underground Railroad and have to weigh the costs of participating in an illegal, but morally right endeavor.
Very quickly though, the focus of the show becomes an escape plan by a group of the Macon slaves. It's led by Noah, who's tried to escape once before, but managed to hide the fact even though he was caught. Smart guy and Aldis Hodge is absolutely captivating in the part. The rest of the group comes from a mixture of people hand-picked by Noah for their talents and/or abilities to get things that the group will need. And not all of them have the group's best interests at heart. Once they run, the show takes on a Walking Dead feel with slave hunters standing in for zombies. It's a brilliant show that constantly changes the way it tells its story so I'm always guessing and always intrigued.
Jam of the Week: "Burn the White Flag" by Joseph
As I try and make another go of this "7 Days in May" feature, one of the things I wanna do each week is share a song that's making me happy. This is one of my favorites from last year. It's rowdy, folky, and has hand claps. I'm a total sucker for hand claps.
I did pretty well with 2016 movies. In fact, my list of seen movies should be double the list of ones that I missed (assuming that I'm able to catch up on a couple of more this week like I plan). But I did miss a couple dozen that I wanted to see, so here those are; mostly to explain why some movies didn't make it into my rankings. As usual, I'm listing them more or less in the order that they were released:
1. Swiss Army Man
I don't know why I'm so fascinated with Daniel Radcliffe. I like the Harry Potter movies a lot and am enjoying the books (which I'm just now reading for the first time), but I'm not so huge a fan that I want to keep up with everything everyone Potter-related is doing. And yet, I'll see anything with Radcliffe in it.
Of course, the premise of a dead body who goes on adventures with a despondent man would intrigue me no matter who's playing the corpse.
2. Captain Fantastic
I feel like this can only end in heartbreak, but I love the idea of Viggo Mortensen experimenting with raising his kids outside of cultural influences and I really want to see the kids' stories once they have to interact with other people.
3. The Love Witch
Throwback to and parody of the lurid, semi-gothic horror movies of the '60s and '70s like what Hammer used to make. It just hit some festivals and had a small, limited release last year, so I'm waiting for it to hit home video. Hopefully by this Halloween.
4. The Wild Life
I heard almost nothing about this after it came out, which can't be a good sign. Of course, neither can the 15% on Rotten Tomatoes. But I'm up for a silly, animated version of the Robinson Crusoe story.
5. In a Valley of Violence
Neither Hawke nor Travolta are favorites of mine, but it's a Western and I did enjoy Hawke in the new Magnificent Seven.
6. Don't Think Twice
I'll see anything with Keegan-Michael Key at this point, but I'm also into exploring the politics when someone from an improv troupe hits it big and how that effects their relationships with the other members.
7. Hell or High Water
A modern-day Western with Ben Foster and Chris Pine.
8. The Red Turtle
Another animated movie about an island castaway. Probably not as silly as The Wild Life. The animation looks beautiful and I'm intrigued by its not having any dialogue. I love wordless comics, so I'm curious to see if I'll feel the same way about a wordless film.
9. Blood Father
Such mixed feelings, but this is exactly the kind of movie that I used to love Gibson in. I don't know if his offscreen issues are going to make this impossible to enjoy.
10. The Secret Life of Pets
Haven't heard good things, but the trailer made me chuckle.
11. Mike and Dave Need Wedding Dates
I love all four of the people on this poster. Keeping my expectations low, though.
12. Ghostbusters
I was pretty stoked to see this and support the idea of it, but early reviews (from people who were also expecting to enjoy it) dampened my enthusiasm. I've also heard really good reviews though, so I'm eager to see it and form my own opinion. I just didn't make it to the theater.
13. Pete's Dragon
The original is cute enough, but it never grabbed me like the fully animated Disney movies from that time did. I think I always resented the live-action elements of it. So a remake was never something that I cared about one way or the other, but I've heard a lot of great things, including that it's an improvement on the original story. If nothing else, it's got Karl Urban.
14. Ben-Hur
Morbid curiosity. I love the silent version from 1925 and enjoy the '59 remake. I expect nothing but even more diminishing returns, but want to see what changes have been made and what's been kept for a modern audience.
15. Swallows and Amazons
Hasn't been released in the US yet, as far as I can tell, but as soon as it is, I'm all over this story of a bunch of English kids on vacation who split into rival factions and have adventures.
16. Imperium
My love for Daniel Radcliffe overcomes my disinterest in stories about undercover agents and white supremacist groups.
17. La La Land
You put Emma Stone and Ryan Gosling in anything together and I'm there. Even more so if they're singing and dancing.
Hailee Steinfeld is another person on my Gotta Watch list. And I've finally come completely around on Woody Harrelson. Used to not care a thing about his films, but then he made Zombieland and he's become increasingly endearing to me since.
20. Inferno
I've never read Dan Brown and I only sort of liked the previous movies in this series (Wait... did I see Angels and Demons? I forget.), but I like them enough - and I like the genre enough - to give Inferno a look, too. And hey, Jyn Erso.
21. The Rendezvous
Speaking of whatever genre the Dan Brown movies are in, here's one with Kate Beckett.
22. Jack Reacher: Never Go Back
Really like the first one. Heard this isn't nearly as good, but what the heck. It's Tom Cruise running with a gun.
23. Rules Don't Apply
Snow White and Young Han Solo. And it'll be nice to see Warren Beatty again. And crap, look at the rest of that cast: Haley Bennett, Ed Harris, Oliver Platt... and those are just my favorites of that list.
24. Collateral Beauty
Was originally attracted to this as a feel-good, holiday film with some of my favorite actors in it, but I understand now that the trailer is completely misleading and that the movie itself is nuts (but not in a good way). So now I'm attracted to it as a crazy train wreck with some of my favorite actors in it.
In The Black Rose, Edward I (aka Longshanks) is portrayed as a reasonable and even compassionate man who wants to unite his broken country. That takes the form of trying to settle an anachronistic conflict between Normans and Saxons as well as some vague talk of stopping oppression in general. It's quite easy to like that Edward.
The Edward Longshanks in Braveheart is very different. He's also trying to unite the people of his island, but by ruthlessly taking them over. The truth is somewhere in the middle with the historical Edward making significant contributions to English law, but also squashing rebellions and trying to conquer Wales and Scotland. Braveheart focuses on the latter conflict, of course.
I like Braveheart a lot, but I don't always feel like I should. I don't think it's a problem with Mel Gibson, whom I always like on screen even if I have problems with him personally. My issue with the movie is that I feel manipulated by it. Between the speeches and the music and the super generic theme of Freedom, I can see exactly what the movie is doing to make me feel the way it wants me to feel. The thing is that it works and I usually do feel the way it wants me to. But I can also see the strings that it's pulling and that creates some dissonance for me.
It ultimately wins me over in spite of that, though. If all it had going for it was speeches and music and Freedom, I probably wouldn't like it, but it also has humor and - for me - more personal themes about loyalty and leadership. Those are things that connect with me about Braveheart.
But I still like Rob Roy better.
Next time: We met Edward's undependable son in Braveheart and lucky for us, someone wrote a play about him.
