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Im Westen nichts Neues (2022)
Good, but misses the point
I have to question why the title of Remarque's novel was used for this film. I cannot overlook that this is the third film adaptation of All Quiet on the Western Front, and unfortunately the weakest version of the three.
Disappointingly, this film writes out so much of the source material to such a degree that it threatens the themes central to Remarque's book. Present in the first two adaptations but almost non-existent in the present was the main ensembles' lives before the war. While mundane, these portray their innocence before it was taken away by war. Removed too was when Paul returned home on leave, changed by the war and alienated from his former life. This version seems occupied only by the spectacle and realism they could create in its combat scenes. Horrific sure, but the losses of characters are less impactful when the audience knows far less about them, if anything at all.
Even more confusing were the decisions to add entirely new scenes. The only purpose of showing the armistice negotiations appears to be to engage in historical revisionism by painting the French as merciless, unreasonable villains driven by revenge and the German ambassadors as desperate peacemakers concerned with limiting bloodshed. It was also deemed necessary for whatever reason to have not one but two scenes of stealing food from a French farm, the second including an emotionless child that apparently had less qualms with killing that veteran soldiers. In one act of irreverence to the source material, the ending is outright replaced by yet another grandiose action scene. With all these revisions one has to wonder why not just make an original WW1 film if the book it is allegedly adapting is only an afterthought?
Despite all the critiques directed at how Remarque's work was interpreted-or in this case misinterpreted-here, the film did at least have engaging fight scenes. The action looked gritty and authentic to WW1. They succeeded in at least not glorifying war and death. Cast member went above and beyond in invoking terror and hopelessness by their verbal and physical acting talents. Had this been made apart from All Quiet on the Western Front, comparisons would be unnecessary and I would have far less qualms with it. But it was not and I just cannot place this above two far superior films and the book itself.
Nope (2022)
Pretentiousness
The one thing I can attest for Peele is that he is certainly original with his movies. But like with all his ideas since Get Out, he just do not seem to understand how to gel all of his thoughts into a coherent film.
Nope is teaming with symbolism and allegory. Most of these are facetious. Peele relies on the pretentiousness of his audience to neatly insert all these ham-fisted plot devices into something that can be loosely relatable to the story. The devices simply do not make sense in the story. He needs viewers to go beyond reasonable limits of interpretation otherwise his part family drama, part giant living alien spaceship, part 50 other things movie becomes as disjointed as many other works he has been connected to.
All that can be forgiven if the film was entertaining. It's not. Nothing happens for most of it, and the characters are not interesting enough to supplement that. Calling it a "slow burn" is a cop out. Again, Peele clearly has many ideas, but he lacks understanding on how much he can direct into a story or whether they belonged in his story to begin with.
One example, the alien needing its victim to see it is the dumbest thing I have witnessed in a film in recent memory. Why? How? Through its mouth? Oh, but it is an allegory to the horse and chimp, so it is okay. An allegory as deep as a puddle in the desert.
Carnosaur 2 (1995)
Aliens Meets Carnosaur
Carnosaur 2 is the best film of the franchise. Whether that says much for a mockbuster is for you to decide.
This sequel improves on everything from the first. The dinosaurs are choreographed and photographed far more competently. Gone are the embarrassing scenes from the first that look like guys trying to smother the actors with dino hand puppets. Gore and violence are raised, particularly during an infamous elevator scene that viewers of the film will instantly remember.
Although most qualities of Carnosaur 2, are ripped straight from Aliens, it lends an actual atmosphere and likable characters, both lacking from the original. Each character is mainly a cliche, but there is some playful banter and basic personalities between them to keep the viewer invested in what happens to them.
It is best to set different standards for a B-movie. It is cheap entertainment after all. The raptors too often threw their victims like WWE wrestlers. Footage from the first film was needlessly reused for the fight with the T-Rex. With more time and money, Carnosaur could have been the grittier, bloodier brother to Jurassic Park. Instead, after Carnosaur 2, the franchise became cheaper and lazier, destroying any identity it had in the first two films.
Carnosaur (1993)
Great Puppets, Disappointing Photography
I understand why John Carl Buechler lamented about how the puppets were utilized in Carnosaur. The puppets themselves look great, especially when the lighting and photography hides the obvious limitations. However, in a reoccurring theme for the movie, too often several scenes did not seem to understand how to film puppets. The dinosaurs and some of their body parts (mainly hands) appeared to change size out of nowhere. Other times, while watching the raptor move, it was blatantly obvious how it was being worked by a human hand. It is a shame because the dinosaurs were the best part of Carnosaur, at least when the director decided to film them correctly.
All this could be overlooked if Carnosaur was going for cheap, campy fun. But it appeared that it was attempting to take itself seriously. The plot was all over the place, and the characters are not very memorable. Seeing victims involuntarily spasming as the dinosaurs devour them was a good touch and genuinely disturbing. The gore appeared realistic enough to unsettle the viewer.
Carnosaur succeeded as a quick cash grab ahead of the release of Jurassic Park. But it was a missed opportunity for something more memorable. I repeat how terribly mishandled the puppets were. In brief flashes when puppetry, photography, and lighting came together you could mistake Carnosaur for a scene from Jurassic Park. Then moments later the film reminds you how rushed and amateurish it is with an obvious hand puppet bouncing up and down on the screen.
Aquaman and the Lost Kingdom (2023)
Landman and the Lost Kingdom
The whole film is just an exercise in mediocrity.
If you expected Aquaman to take place in water, you would only be half correct. For whatever reason, the directors believed the best way to use Aquaman and all his powers was on land. In a desert. In the jungle. In caves. Seemingly anything to avoid the ocean. The best fight scenes were in the ocean. Shocking, I know! Even then, they barely utilize the full range of Aquaman's powers. It seemed like I was watching a weaker version of the Hulk who happened to be good at swimming.
Next comes the "villain". His name is David. Very menacing, right? Oh no, here comes David! There is nothing remotely interesting about the character. He has a cliche motive to avenge his father by killing Aquaman. Never once did big scary David appear like a major threat. He is just there as something for Aquaman to fight and keep the runtime going.
There is nothing that stands out from this movie to set Aquaman apart from any other superhero. It just exists. The settings are always generic and/or underutilized. The CGI is uninspired. The dialogue sounds like it came from an AI being asked to write the script. There never felt like there were any stakes. I have no reason, even if I was a huge Aquaman fan, to care for literally any of the characters. If a superhero film is going to fail in all of that, at least make the action scenes entertaining. It cannot even succeed in that.
Just stay away from this film. It cannot pass even as mindless entertainment. I can only fathom that it was created as a no-effort cash grab by using the Aquaman name with a big-time actor.
Rampage (2009)
Good ideas for too short of a runtime
As bare-bones as Rampage is, in it are ideas that are even more topical now than when it came out in 2009. Disillusioned young men are growing in numbers across the country. Contributed to perhaps by the society they live in, these boys and men feel hopeless for the future and closed in by limited prospects. A few eventually retaliate against the society they blame their constant sense of dread for.
Rampage attempts to invoke those ideas with its "protagonist". This was certainly a film that could have done wonders with a more length to its runtime. Although we gain a basic understanding that the protagonist is disgruntled by society and his prospects in it, those issues are not fleshed out, and they really needed to be for what comes next.
What are we supposed to think when the protagonist goes on his rampage? Was their any message Uwe Boll actually wanted to convey with it? Or was it just a violent spectacle for the sake of that and nothing more? Rampage does not provide an answer. It does have a clever twist ending to go against what most viewers most likely expected the outcome to be for a mass murderer.
Whether intended or not, Rampage succeeds in at least making the viewer consider a major concern in American society. Too fantastical to be believable, it dared to portray a taboo subject. It can easily be described as one of Boll's best films.
Snowpiercer (2013)
Interesting premise, terrible execution
Literally the only good aspect of Snowpiercer is its premise. That is it. I may never have previously seen such a promising and interesting setting for a film be so horribly executed in every way.
I can distill belief for a sci-fi film. I do not need to understand why the last bastion of humanity had to be confined to a train. Still, that does not excuse every nonsensical decision the directors and writers made. The dialogue is flat. For an alleged dystopian film, I felt like I was watching a Disney production with the musical score. The actors, especially Chris Evans, delivered uninspired performances. I have absolutely no reason to care about any of these characters, and the film never puts in the effort to do so. It was painfully evident the director had no concept of developing a character.
Although the film is 2 hours, the pacing was somehow far too quick-and that failure is just impressive. Nearly no screen time is given to explore the setting and the daily lives of the characters. Their struggles. Their motivations. Anything at all beyond "back of train bad, front good". Each boxcar just serves as novel spectacles for the imagery and nothing else.
Snowpiercer may be the most frustrating film I ever watched. The potential was there. Yet, every single wrong decision was made. I cannot even consider it as "so bad it is good" movie. It just is bad. At everything.
Detective Knight: Rogue (2022)
I felt bad watching this
Whoever gave the green light to make this film, should be ashamed. Bruce Willis clearly for the past few years, even before his condition was made public, no longer had the competency to act. Yet studios still sign him to make these cheap DTV films to capitalize on his fame and make a few dollars.
Detective Knight's plot was entirely incoherent and uninteresting with no help from the bland characters. It was difficult watching any scene with Willis, as he can only mutter a few words and nod when spoken to. Unfortunately, due to his illness, his personality and charisma are gone. As a consequence, his supporting cast have to frequently say lines most likely meant for his character or respond in ways that hardly come across as an authentic conversation.
I cannot give any reasons as to why anyone should watch this film, even if you are a die-hard Bruce fan. His name is just being exploited here. Go rewatch him in his old glory, and avoid this at all costs.
The Thing from Another World (1951)
A dated, sometimes dull, sci-fi classic
"The Thing from Another World" remains relevant today, largely because of Carpenter's 1982 adaptation of Campbell's short story. Alone, it is not a bad film by any means, but without Carpenter it most likely would have been lost in the wave of better sci-fi films from the era.
The film starts somewhat promisingly with the uniqueness of the Antarctic setting and the intrigue in discovering a UFO. However, it takes a hit from an entirely unnecessary romance subplot that does not at all contribute to "TTFAW"'s plot.
The monster is expertly revealed, using the low visibility of the setting to build suspense, and intrigue mounts when more facts are gathered about it. It supposedly is highly intelligent, regenerative, and possesses super strength. Disappointingly, the monster barely ever exhibits any of this alleged intelligence and allows itself multiple times to be placed in vulnerable positions. Not once do the protagonists have to think too hard to outsmart their adversary.
Although I am mostly critiquing the film for its flaws, "TTFAW" was at times enjoyable. The fire stunts are still impressive for today. The mistrust and growing animosity between the army men and science team kept the plot from grinding to a halt when the monster was unseen. Unfortunately, whether fair or not, I cannot help comparing it to Carpenter's Thing, which created a far more threatening monster and utilized the entirety of the same kind of setting.
The Sunset Limited (2011)
Power of conversation
The Sunset Limited is a part of a micro film genre of conversational storytelling. Like My Dinner with Andre, arguably the most famous of its kind, this film involves two men in one space having a conversation for the entirety of its duration.
For some people, that simple premise may be a huge turn off. For others, they can appreciate the ideas, emotions, and complexities of two dramatically different individuals played by Tommy Lee Jones and Samuel L. Jackson. Jones, the suicidal professor, and Jackson, the ex-convict who saved his life after a suicide attempt, debate the meaning of existing, faith, knowledge, and suffering in the aftermath of the incident. Both actors masterfully and convincingly portray the contrasts of a highly intellectual, but hollow, man and his life saver, a man of conviction who, sometimes frustratingly to him, lacks the same eloquent vernacular as his counterpart.
As is best in most cases with these types of films, neither side is declared as "right". The importance of The Sunset Limited is to challenge the viewer to ponder the questions presented for themselves. Become immersed in the conversation; Jones and Jackson both have the presence to make you ponder and feel from start to finish.
Terror in a Texas Town (1958)
Fine acting in a Texas Town
Admittedly, I was drawn to "Terror in a Texas Town" to simply see someone get killed by an unusual choice for weaponry-a harpoon. What kept me engaged, however, was an overall solid acting performance by the whole cast, not just for a B-movie, but a film in general.
The beginning of the film is where it will also all end-in a final showdown-but how the characters reach that point will change how we the audience initially perceived them. Spencer Hayden plays the undeterred son looking for justice for the murder of his father; Nedrick Young, who I do not believe I had the pleasure of watching prior to the film, portrays a gunfighter who does the dirty work of a corrupt oil speculator. Young, in both his appearance and approach to his character, is reminiscent of a Humphrey Bogart performance.
Seems like a simple story of good guy vs. Bad, but screenwriter Dalton Trumbo, surely influenced by being blacklisted by Hollywood, creates thought-provoking characters that uplift the plot beyond just the hero out for vengeance. Director Joseph Lewis could afford to take risks, considering "Terror in a Texas Town" was to be his final film before retirement. Thankfully, he took this project, as this film differentiates itself from the hundreds of B-westerns of the 1950s/60s and deserves to be rediscovered by newer audiences today.
The Trust (2016)
Everything but the Finish
If I was rating everything but the last 20 minutes of "The Trust", I would call this film an under-the-radar gem. Instead, I can only recommend it for a solid performance by Cage with a warning that the end will leave you scratching your head.
Cage and Wood pair well in scenes together as they embark on a heist. Cage's character in particular has wit, occasional humor, and cold-hearted conviction, easily making him the standout of the film.
What's so disappointing about "The Trust" is that, after developing these characters for over an hour of runtime, the directors completely flip everything we thought we knew about one without any logic or justification for it. Without spoilers, I can only compare it to the characters of 1980s slasher films who make one unbelievably dumb decision after another-yes, it was that jarring to see. So many holes can be noticed in the final 20 minutes that it taints what was an otherwise enjoyable experience up to that point.
Willy's Wonderland (2021)
Cage spends Friday Night at Freddy's
Not much to go in-depth into about Willy's Wonderland. Nicholas Cage stars as a silent protagonist who lets violence and pinball do the talking. The premise is simple enough: Cage spends a night in an run-down family fun center beating the ever-loving hell out of possessed animatronics.
That's the best of the film. Seemingly unfazed by the killer animatronics, Cage goes about a routine of destroying each as they come to life one by one, taking breaks to drink soda and play pinball. Strangely enough, nothing explains his uninhibited behavior. Random characters are thrown into the fray, but the viewer has little reason to care as they make one dumb decision after another.
Cage is the highlight of Willy's Wonderland with his subtle facial expressions and brutal takedowns of each adversary. The choreography was done well enough, but the frequent odd choices for lighting and camera work obscures some of the action and leaves the viewer feeling high on LSD.
The film could have benefitted from a slightly longer runtime and better writers who could fully realize the potential of such an absurd, but unique, premise. Still, Cage's quirky performance makes Willy's Wonderland worth watching for some mindless fun.
Old Henry (2021)
The Western will never die
I was unfamiliar with director Potsy Ponciroli before Old Henry, but very familiar with accomplished actor Tim Blake Nelson for his performance in the Ballad of Buster Scruggs. Nelson. This is just the second directing credit to Ponciroli's name, and, if it is an indication of things to come, I hope he has a long career.
Ponciroli crafts a story that has been told many times before: a father with a troubled past wants to set a better example for his son. But how he tells this simple tale is what will set it apart from other films. Nelson as the title character has to be Ponciroli's best asset with his exhausted expression and meager appearance. Ponciroli must have understood American frontier life was unforgiving when he made his casting decisions, and Nelson's face in every scene conveys a lived experience very few actors of his caliber could.
A widowed farmer with nobody but his teenage son (Gavin Lewis) and hearty brother-in-law (Trace Adkins), Old Henry has a mysterious past that he would prefer to keep secret, but viewers with a basic knowledge of Old West history will surmise who he is before the definitive reveal. Comparisons may be easily to Clint Eastwood's character in Unforgiven: both are relics of a dead era, and live simple existences to escape their wicked ways. However, due to both their actions and unforeseen circumstances, the characters find themselves pushed into a corner left with little choice except violence.
Again, much like Unforgiven, violence is not glamorized in Old Henry. Characters meet brutal demises; Henry himself frequently conveys the seriousness of taking a life to his son. Although the twists, particularly Henry's identity, may force some viewers to just go with it, Old Henry overall is a grounded and mature Western. A true testament to how the genre can be adapted and continue to flourish to this day.
In a Valley of Violence (2016)
Fine ode to the westerns of old
I could tell from the opening credits, reminiscent of Soaghetti westerns, that this film was going to be a fun time. From the onset, viewers meet a drifter (Ethan Hawke) and his faithful dog companion who seems to be his only friend and a close one at that. On their journey to Mexico, the duo come across many peculiar characters in a town called a Valley of Violence.
The drifter does not instigate violence, but, when a tough guy (James Ransone) threatens his dog, he receives a beat down and public embarrassment. His father (John Travolta), the marshal of the town, wants to avoid any further confrontation. Travolta does not have a very convincing accent, but the film does not call for that. What In a Valley of Violence does well is incorporate the many aspects of Westerns from its long history: comedy, romance, melodrama, and, of course, violence. The characters can at times seem like over the top or caricatures, but this was intentional as an ode to the Western characters of old. Hawke as the mysterious drifter practices humility and non-violence, but can be absolutely merciless when threatened. Travolta appears to have had fun with his role which makes his presence on the screen all that more enjoyable.
In a Valley of Violence threads a fine line between seriousness and satire throughout its runtime to near perfection. Despite the western genre existing for well over 100 years, it still can produce creative ideas like in this film.
Falling Down (1993)
Michael Douglas at his best
Falling Down is unlike any other film I have seen. Plenty of movies satirize the society we live in exist, but so few incorporate as many aspects of it so seamlessly without having it feel forced at any point.
Who would believe all of it could be accomplished by a man just walking home? That man, known as "D-Fens" and played by Michael Douglas, has become alienated from society and finally reaches the end of his rope. Abruptly, he leaves his car on the highway and the journey home begins. Along the way D-Fens encounters many of the flaws he views in society, both in how it functions (or malfunctions) and the people populating it. Douglas portrays anguish and frustration so subtly, often times with facial expressions alone; D-Fens is not a psycho, he is a man overwhelmed by the belief he has done everything society has asked of him, and yet his life has culminated in dissatisfaction and ruin. A viewer can have such conflicting views on the character because everyone is familiar with the struggles of everyday life, but few would ever go as far as to fight against them.
On his journey, D-Fens will encounter greed, rigid codes, and hatred. Anyone who attempts to impede him gets met with violence, but Douglas's character gains no solace or joy from committing the acts. Instead, he just seems tired and confused-with a destination in mind, but no real plan anymore. All the while, a police sergeant nearing retirement, played by Robert Duvall, slowly puts the pieces together in his efforts to track D-Fens done and end his string of violence. Duvall is more than serviceable in the role, but Douglas rightfully steals the show in one of the best performances of his successful career.
Spider-Man: No Way Home (2021)
A lot of fun and missed opportunities
No Way Home easily has the biggest crossover spectacle in all standalone Marvel films. Three generations of the Spider Man and many of their foes all in one movie. The premise and the ability to actually bring it together had unlimited potential, but the actual final product mostly underwhelmed. Another kind of film like No Way Home seems highly unlikely making it all that more disappointing.
But here is the good. Tom Holland is a talented actor, and that is on full display when his character expresses grief and frustration. Of course, everyone likes the lovable dork Peter Parker can be, but these moments of conflicted feelings are more intimate and genuine, reminding us he is still mostly a kid. Although underutilized, Wilhelm Dafoe has not lost a step reviving his Green Goblin character, effortlessly transitioning between the good and dark side of Norman Osbourne. Nostalgia was the selling point of the film and admittedly it worked for me seeing Dafoe as the classic villain, as well as Tobey Maguire suit up as Spider Man one more time.
Unfortunately, Tobey and Andrew Garfield were criminally underutilized from their lazy introductions to the final scene. Besides one moment where the older and wiser Spider Mans consul the younger Peter, Tobey and Andrew were cut outs of their former hero selves. The dialogue many times was so basic and uninspired that I wonder if the writers simply did not know how to handle their characters. Each brought their own unique take to Spider Man, yet they were nurtured for the usual quips and cheap humor Marvel consistently falls back on. Even the fight scenes hardly had them collaborated as one. Just why?
Reliving the past for many will be enough to enjoy No Way Home. Despite the plot holes and at times flimsy writing, admittedly the ending was very well done. When Marvel allows itself to focus on the human condition behind the mask of the superhero, it generally excels and provides quality storytelling. No Way Home had those moments, just making me wish for more.
A Day to Die (2022)
Terrible action film exploiting Bruce Willis's name power
If you were expecting a Bruce Willis led story because his name and face appears on the cover, you would immediately be mistaken.
This is more of a warning than an actual review. The makers of A Day to Die intentionally falsely advertise Willis's presence in the film when he at best makes little more than a cameo in it. Willis is a talented actor and has been a huge box office draw for decades. He does not need to nor should he be associated with these films. Whatever the reasons behind it, this unfortunately seems to be a trend in his career that dates back to 2015 and progressed from there.
As for the "film", everything from the title to the action just tries to be generic and fails miserably at that. The only reasons I would recommend this A Day to Die are you are a Willis completionist or you enjoy torturing yourself with awful films.
Studio 666 (2022)
Campy and dumb, but that's the point
In interviews, David Grohl talks up Studio 666 as spontaneous moments of ingenious that eventually became a film. While the spontaneous part seems true, the ingenious part is an overstatement-and that is ok.
This is a low budget comedy horror film reminiscent of schlocky B-horror of the 80s. What you should expect are a basic plot, gory kills, and low brow comedy which it all delivers. Of course that should not absolve it of criticism for its otherwise unoriginal plot and amateur acting, but, for better or worse, that is the charm of making such a film.
Like everyone involved in Studio 666, do not take it too seriously. It knows exactly what it sets out to be, and does not try to be anything more with social commentary or really anything that requires you to think.
Attrition (2018)
Arguably Seagal's best film in over a decade
I have recently started watching Seagal direct-to-video films at random because they are infamously known for being terrible. Surprisingly, Attrition, while nothing spectacular, is actually a watchable and, at times enjoyable, film that I did not regret viewing.
Seagal must have been reinvigorated by writing the screenplay for the film. Never a good actor even at the height of his career, Seagal finally seemed to have found a role that he honed and put effort into-a kind of effort that I had not seen from him in years. His character, a former spec op turned healer and martial artist, also has far more unique qualities to it than the otherwise lifeless cutout tough guys in scores of other Seagal movies. Although his performance is nowhere near the high point of the film, it goes to show even an otherwise mediocre actor like Seagal can have good moments when he is passionate about the role.
What makes Attrition an actual worth-your-time experience, however, is the director Mathieu Weschler. I have no knowledge at all about his other works, but if he had a significant hand in the cinematography-praise to him. In one standout sequence, the viewer sees in reverse how a dismembered hand was removed from its victim. Perhaps I was not expecting anything from this film, but the execution of the scene truly impressed me. Weschler also mostly succeeds at making Seagal's fight scenes passable; still, it is obvious a stunt double takes over for most of the actual fighting.
Attrition is not without its faults: the dialogue can at times be cliche, the CGI blood is sloppy, and the dream sequences are frankly embarrassing. The tension is lacking too when none of the protagonists seem to take as much as a single hit from their opponents. But my most important take from it: I was entertained. Had Seagal taken work he cared for in the past, maybe a few of his "so bad they are good" movies could just be genuinely good movies.
Driven to Kill (2009)
Generic but entertaining Seagal
It would be unfair to compare this direct-to-video film with Seagal's big budget blockbusters of the 1990s. Knowing what Driven to Kill is-a B-movie-it is quite entertaining with a few missteps. It is no secret that Seagal starred in several cheap films in the late 2000s to the 2010s all with basically the same plot and varying efforts from the aging star. So many in fact that you can consider this era of his career a microscopic genre of its own.
Seagal plays a former Russian mob member seeking vengeance for the murder of his ex-wife and attempted murder of his daughter. But the plot is really secondary. Seagal's Russian accent-if you want to call it that-and wispy voice make for many unintentionally funny line deliveries. The fight scenes, especially the one a basement with gun dealers, were creative, but the tension can be hard to come by when Seagal hardly takes a hit or expresses any signs of pain. Still, if you are in the right mood to watch bad guys getting pummeled, Driven to Kill has it all.
There were truly some awful films made with Seagal as he entered the direct-to-video phase of his career. Driven to Kill, while generic, was one of his better efforts. Again, do not expect anything groundbreaking. Seagal was never known for his acting prowess. For a few people, myself included, the B movie action and unintentional parody is enough entertainment to give this film a watch.
South Park: Mr. Garrison's Fancy New Vagina (2005)
Even more topical today than then
South Park has succeeded for so long with, among other reasons, its scathing social commentary. In this episode, it challenges the notion that you can be whatever you "identify" as. Many people will be disgusted by the live action surgery scene-and that really was the point. The mutilation and ever increasing absurdity of characters' transformations were designed to be off putting. But in it all, there was a valuable message: learn to love ourselves for who we are. Of course, South Park does not present that in as pleasant of a way as I have. The jokes, as with many other episodes, are not for everyone, and that is ok.
More Dead Than Alive (1969)
Interesting, unusual, and sometimes a letdown
More Dead Than Alive tries to be different than most Westerns, and for that I commend it.
I was intrigued by the inclusion of Vincent Price as the promoter of a gun show. Price was a perfect choice for the role, adding a combination of eccentricity and friendliness toward the main character, Cain. Clint Walker, playing Cain, truly was a mammoth of a man, and his stoic demeanor does not do much different, but gets the job done. No longer is he the "Killer Cain" who gunned down 12 men, but rather an older, wiser man who wants to put his criminal days behind him after serving time. Paul Hampton (Billy) certainly had the most unusual and oftentimes annoying role, whether due to his acting or what the script called for. Billy has a glamorized idea of the Old West, while Cain tries to convey to him the realities of shooting, killing, and surviving. I was surprised More Dead Than Alive is not a Spaghetti Western because it certainly brings that vibe in its cinematography, grittiness, and soundtrack. There is not much in the way of violence after the first scene, but the uniqueness of each character will be more than enough to keep you entertained.
As to what the film does not execute so well: the time jumps. Sometimes it works, particularly when Cain has long conversations with Billy about his criminal past. However, when it jumps a season ahead into the future the audience can be left wondering how the plot progressed to such a point with not enough answers given. Still, all that could be forgiven if the last 10 minutes were not so unfulfilling and rushed. More Dead Than Alive desperately needed another 10-20 minutes to its runtime to flesh out the relationships between the characters and revise the ending. Since I do not give spoilers, I will leave it to you to see for yourself.
Chicago Calling (1951)
Respect for Dan Duryea
Prior to viewing Chicago Calling, I saw Dan Duryea in supporting roles in Woman in the Window, Scarlet Street, and Winchester '73 to name a few. Those were all unlikable villains with no redeemable qualities. With him as the star of Chicago Calling, I was skeptical if he could carry a film, particularly as a character I could sympathize with.
Duryea, however, proved he is far more dynamic than I previously thought. The premise is simple: a man who lost everything with only himself to blame needs money to receive a phone call that will tell him the condition of his daughter after a serious car accident. Duryea's character grieves, pities himself, and has periods of self-reflection all with compelling sincerity. Paired with him is the child actor Gordon Gebert, who has good chemistry acting alongside Duryea.
Chicago Calling will probably always remain an obscure film noir, but it is arguably the best of Duryea's career. I expected a typical film of the genre, and it exceeded my expectations. Duryea may not have the star power of Humphrey Bogart or Robert Mitchum, but do yourself a favor and watch a performance that greatly raised my opinion of him.
Candyman (2021)
Social commentary overtakes making an actual good movie
First off, social commentary can and always has been in films. Many have done it right: the anti-war All Quiet on the Western Front, racial dynamics in In the Heat of the Night, or revealing personal prejudices in Twelve Angry Men as some examples. Horror specifically can have powerful social messages: The Wicker Man, Mother!, etc. That being said, social commentary alone is not the problem here. The fact it is shoved down the audience's throat-telling them not so subtly you must agree or you are the problem-is.
A well-written story speaks for itself and, when social commentary is included, it has something the viewers can generally associate with or contemplate how it connects to the real world. The Candyman reboot fails in this horribly, especially compared to the original. Creating such unbelievably racist cops and overly preachy characters would work in satire, but this film actually tried to be taken seriously-and failed. Most inexcusably, the social message obviously took priority over the horror...in a (so-called) horror film.
Such significant faults take away from what was actually creative cinematography and a solid cast. Reboots lately have either been disappointing or look like they may be (I'm talking about you Texas Chainsaw Massacre). Candyman had a chance to be reborn in this century with classic scares and still deliver a powerful social message like the original. Unfortunately, it did not happen with this director, who seemed to forget what genre they were working in the entire time.