Sadie McKee is a Pre-Code film starring Joan Crawford and Franchot Tone. It is a weird film in that is profers Crawford three bachelors to choose from, but it seems to want her to love the one most ill-suited to her. He’s a jerk, one who literally leaves her at the altar, but hey its true love so its all okay, I guess.
It isn’t a great film, but Crawford is great in it. You can read my full review at Cinema Sentries.
I’ve reviewed so many of these sets I don’t know what else to say about them. This one has three films from Republic Pictures directed by John H. Auer, whom I’d never heard of before.
The films are The Flame (1947) a melodramatic Double Indemnity-esque caper with too many characters and a couple of blondes I couldn’t tell apart. City That Never Sleeps (1953) is a docu-style drama filled with loads of interesting characters and some terrific noir cinematography. Hell’s Half Acre (1953) is an exotic noir set on the mean streets of Honolulu.
They are all pretty good, actually, and you can read my full review over at Cinema Sentries.
If you are of a certain age and a certain persuasion the you’ve probably got an image of Jennifer Connelly riding a mechanical horse in a white tank embedded in your brain. The image is from a lesser known John Hughes scripted movie, Career Opportunities. Kino Lorber just dropped the 4K UHD on us and I’ve got the review.
It isn’t a great movie, but it is definitely more than that endlessly Gif’ed image.
You can read the review here.
I forgot to post this last week. But the Five Cool things included the excellent Max series The Pitt, a very cool comic collection of Batman: Earth One, Season One of the wonderful Apple+ series Slow Horses, the also excellent Apple+ series Ted Lasso, a new collection of film noirs from Kino Lorber and Sturgill Simpson performing “Ripple” with an old recording of Jerry Garcia.
You can read all about it here.
I loved this movie as a kid. I quoted it endlessly.
“Would you say I have a plethora of pinatas?”
“You dirt-eating piece of slime! You scum-sucking pig! You son of a motherless goat!”
Etc. Me and my friends often did the Three Amigos salute – crossing our arms and gyrating our hips. It was a great movie.
Or so I thought back then. At some point I bought it on DVD via one of those cheap snapcase boxes but I didn’t actually watch it until years later when me and my wife were living in France.
When we first moved to Strasbourg we sublet a tiny little apartment from a young university student. She was spending the year studying in England so she let us the place on the cheap. She only had a single bed so she removed it. We eventually bought a surprisingly comfortable futon but for the first couple of weeks we slept on an air mattress with a tiny hole in it.
We’d blow it up of an evening (using an exhausting to use manual pump) and by morning it would be completely flat. In the middle of the night it would be about half full and the weight of both our bodies kept up slightly above the hard floor. But if someone would get up to go to the bathroom the weight of the other would flatten it leaving the sleeping person confused and irritated.
We only had one chair in that flat, and it was uncomfortable so we spent much of those first two weeks sitting on the floor, backs against the wall. I had brought a couple of those old DVD/CD binders full of movies and we would watch them on our laptop.
One of the first movies we watched was Three Amigos, probably because I had all of those fond memories and we wanted something funny to alleviate our discomfort.
Unfortunately, my memories didn’t match what we were watching and our discomfort remained. It was not an enjoyable viewing. So much so that I haven’t watched it again until last week. And only then because our Internet was crapping out, not allowing us to stream anything and so I needed a DVD from the 1980s.
Sadly, I am unable to say that the unenjoyable viewing in France was not due to our uncomfortable setting. As an adult I just don’t enjoy this film.
It was written by Steve Martin, Lorne Michaels, and Randy Newman (his only screenwriting credit, he also wrote songs for the film) and it has that disjointed SNL movie feel, but also that early Steve Martin throw all the jokes at a wall and see what sticks feel.
Chevy Chase, Steve Martin, and Martin Sheen play three silent movie stars who had a long run as the, you guessed it, The Three Amigos – gunfighters who protect the vulnerable. But their latest box office returns haven’t been great and the studio head sacks them when they demand higher salaries.
Meanwhile in some Mexican village a woman sees one of the Three Amigos films, thinks it is real, and sends a wire to them asking for help and offering a large sum of money. The message gets garbled in translation and our heroes believe she’s offering the cash for a performance.
You can see where this is going. The Amigos arrive put on a show and then the real bandits arrive. At first they decide to split, because they aren’t real heroes, but yada yada yada, they come back and save the day.
That’s a pretty good set up for a funny farce. And there are some good gags. I’m not gonna sit here and pretend I didn’t laugh. But I didn’t find it hilarious.
A movie like this needs a specificity about it, it needs to lay down a solid foundation for the gags to work. There just isn’t much here for the film to work with. We don’t really know the Amigos other than they are actors. Chevy Chase hardly does anything at all. Short and Martin do some funny stuff, all within their wheelhouse, but it never feels more than them just mugging their way through a movie.
And I’m not sure what they are satirizing – silent movies? People who pretend to be heroes but really aren’t? Other than a few funny bits the movie falls flat for me.
I know lots of people love this movie. And I admit I’m weird when it comes to comedy. But after this viewing I’ll be selling my DVD and I hope to never watch it again.
The Initiation feels like two different slashers thrown together in a way that does disservice to them both. The first part is a bit of a cliche but it is fun to watch. The other part is also a cliche but it is not fun, a bit of a mess and a kind of a slog.
College girl Kelly Fairchild (Daphne Zuniga) is pledging a sorority and for Hell Night her and her fellow pledges have been tasked with breaking into her father’s enormous department store and stealing the security guard’s clothes.
She’s also been having this terrible recurring nightmare about a strange man being burned alive in her childhood home. Unrelated to her story (or is it? – it definitely is) a man with a burned face breaking out of an insane asylum and starts killing people.
She gets cozy with graduate assistant Peter (James Read) of the psychology department who specializes in dreams. This is the part that’s a slow. He’ll analyze her dream and investigate her past and realize the connection between the dreams and the murders. But as an audience we figure that stuff out pretty quickly so the whole mystery he’s trying to solve isn’t mysterious at all.
The fun part of the film is the group of girls going to the department store and being killed off one by one. The deaths aren’t all that inventive and I’m being generous with the word “fun” here, but it is more more enjoyable to watch than the psychology nonsense.
As a certified horror fan and slasher enthusiast this is very much in my wheelhouse. I love films where characters are trapped in an en closed, but large space and have to face off against something horrible. This certainly doesn’t do anything new with it, and half the plot is a bit of a chore, but there is enough there to satisfy your hard core horror nerds.
Innerspace was the very first movie I ever saw in Letterboxd.
Quickly, for the few of you who may not know, letterbox is when they put those black bars on the tops and the bottom of the screen. They do that because movies are generally shot in a rectangular aspect ratio that fits the movie theater screen but does not fit the old square TV screens. To make it fit the square TV screen they had to cut off parts of the movie which is called Pan & Scan (pan is the cutting off of the sides, scanning is moving what you see within that cut image). Letterboxing added the black bars to make the image rectangular again thus allowing you to see everything the filmmakers wanted you to see.
I have a vivid memory of renting Innerspace and getting a little pre-movie title explaining what Letterboxing was. I did not understand it at all. I immediately noticed the black bars though. Me and mom complained about it heavily. But also, it did seem to make the movie look better somehow, more cinematic. Sometime later I watched The Empire Strikes Back in letterbox and I was hooked. I became a lifelong champion of the format. Nowadays pretty much everything is Letterboxd, even are TVs are formatted that way.
Anyway, when we plugged in Innerspace this past weekend that’s what I thought about.
Also, it is a pretty fun movie. It is some basic 1980s science fiction cheese but it has a good performance from Dennis Quaid and a hilarious one from Martin Short. And the special effects still hold up quite well.
Quaid plays Lt. Tuck Pendleton a great pilot whose also a bit of a hotshot and alcoholic. He volunteers for a special mission in which he’ll be shrunk down to the size of a pin head and injected into a rabbit. For science you understand.
Short plays Jack Putter a hypochondriac grocery store clerk. For *reasons* Tuck is injected into Putter’s body instead of the rabbit. Our heroes have to find a way of getting him out before his air runs out. Also, some bad guys want the machine Tuck uses to fly around inside Putter’s body.
The film is basically one long excuse to show off some cool effects of this little machine zooming around the inside of a body. Like I said they do hold up. I’m a sucker for classic practical effects. It also allows Short to show off his physical comedy. With the little ship zooming through is bloodstream and the like he has to make all kinds of animated reactions and he’s a master at that stuff.
The rest of the film is just silly 1980s action stuff and isn’t worth mentioning. Meg Ryan is always worth mentioning. She’s Tuck’s girlfriend but isn’t given much more to do than that.
I’ll always remember Innerspace for turning me onto the Letterbox format, but it is worth checking out all on its own.
Wong Kar-wai is one of those directors who is beloved by cinephiles (the Criterion Collection gave him an entire boxed set a few years ago) but who I’ve not really given his due. I’ve only seen three of his films. I loved two of them – Fallen Angels and Chungking Express, and was indifferent about the third – My Blueberry Nights. To be fair that last one was most people were indifferent about. I watched it because it starred Norah Jones whom I love. At the time I had no idea who Wong Kar-wai was.
But Chungking Express is fantastic. It explores the interconnected relationships between four random people living in a city of some seven million people. It has style to spare and loads of heart.
Criterion is giving it a 4K upgrade and I’m making it my pick of the week. With an asterix. That boxed set still looks really great, and I’m not sure this would be worth the upgrade if you already own it. I don’t but I’ll still probably save my money and buy it someday rather than this upgrade.
Also out this week that looks interesting:
Batman Ninja Vs Yakuza League: I love me some alternative Batman stories. There have been a few movies with Batman as a ninja and this one turns the Justice League into Yakuzas.
Sands of Iwo Jima 4K UHD: I’ve never seen any of the John Wayne WWII movies. I’ve always heard they were pretty bad, but I’d still like to give them a shot as I love his westerns.
Donovan’s Reef 4K UHD: This John Wayne films reminds me a bit of Hatari! in that it isn’t a western, it is set in an exotic location and its pretty light on plot but heavy on charm. It helps that it also stars Lee Marvin and the two of them are living happy bachelor lives in the South Seas until a pretty girl from Boston shows up.
The Good German 4K UHD: This Steven Soderberg take on Casablanca got terrible reviews when it came out but time seems to have improved people’s takes on it. I’m a big fan of the director but never got around to it, so now seems like the perfect opportunity.
The Eel: Radiance Films presents this Japanese film about a man who kills his wife when he finds her sleeping with another man. After a prison stint he returns home and tries to live a normal life. Complications ensue.
Heart Eyes: Modern slasher about a Valentine’s Day killer.
King of New York 4K UHD: Christopher Walken stars in this crime saga from Abel Ferrara. I watched it ages ago and wasn’t impressed but a lot of people I like like it so I may have to give it another go.
I suppose everyone of a certain age knows that scene in Flashdance. If you are of that age then you are already picturing it – Jennifer Beals on a stage in a skimpy outfit. She’s backlit so you can’t see her features but produces a lovely profile. She dances seductively as water pours down from above creating a splash dance if you will (and you probably shouldn’t).
It is an iconic moment, one that is embedded into my memory from my growing pubescent brain. Yet I’d never seen the movie until this past week. I was surprised to learn that scene comes very early in the film. There will be more dances, some of them more creative but none as sexy or iconic.
She plays Alexandra Owens a welder by day (which gives us plenty of actually very well lit scenes in which she sweats while sparks fly all around her) and a dancer by night.
She dances in a club inhabited by guys who wear trucker caps and drink Budweiser but who watch attentively as she does arthouse dances and never complain that she doesn’t bother to take her clothes off.
She likes dancing at the club but what she really wants to be is a ballet dancer. She has an elderly mentor who encourages her to apply at the prestigious dance academy but she’s intimidated by it as she’s a working class girl.
Her boss at the welding factory is twice her age and, again, her boss, takes a shine to her. At first she lets him know he’s twice her age and her boss and that’s definitely not appropriate, but naturally they wind up a thing anyway.
She’s also got a sister who is an ice skater, and a grumpy Dad. There is a lot going on in this film but none of it really adds up to anything. We never get to know any of the characters and there isn’t much in the way of development or tension or plot. Mostly it is an excuse for a lot of big dance numbers. To be fair those are quite enjoyable and they are set to some great 1980s pop music.
It was directed by Adrian Lynne who’d also direct 9 1/2 Weeks and Fatal Attraction and produced by Don Simpson and Jerry Bruckheimer (their first of many collaborations including Top Gun, Beverly Hills Cop, and The Rock) and that completely tracks as it has that beautiful sheen but empty center.
If you can turn off your brain and enjoy some sugary candy then this is an enjoyable distraction. But if you are looking for something more I’d look elsewhere.
Stuart Gordon directed Re-Animator (1985) and for that he will have my eternal gratitude. That film, along with Evil Dead II (1987) opened my eyes to gonzo horror that mixed crazy violence with comedy and gore, and my life was forever changed.
But while I absolutely adore Re-Animator I’ve never really taken to any of the other Stuart Gordon films I’ve seen. Dolls, his third feature film as a director, did not change that.
Dolls is part of an unrelated series of films about childhood toys that come to life that for some reason were very popular in the late 1980s. The special effects work with the puppets here is a lot of fun, but it comes in very late in the film, and unfortunately the build-up is a bit of a slog.
An obnoxious married couple with a precocious young daughter get stuck in a thunderstorm. A couple of punk girls are hitch-hiking nearby and are picked up by a doofus salesman. They too are trapped by the storm. All of these disparate people make their way into a strange old mansion where they are greeted by a kindly old couple.
Most of the characters are highly unlikable. The punks are petty thieves, and well, punks. The married couple constantly complain and are ridiculously mean to the little girl. The old couple are pleasant enough but of course they are in control of the killers dolls. What’s left is the salesman who is dumb and goofy and the precocious girl.
Naturally, the killer dolls kill the annoying characters first leaving the salesman and the girl to survive the night. Presumably creating and working the puppets was expensive so most of the film they are completely off screen. They don’t really appear until nearly 45 minutes into this 77 minute film. Once they do appear things become a lot of fun, but that’s a long 45 minutes where nothing much interesting happens before then.
I’ll argue that it is worth watching for those dolls. My wife is a doll collector and while she leans heavily into the Barbie world and these are more of the porcelain variety I still got a kick out of watching how they brought them to life (and then found creative ways to destroy them). I’m a huge fan of practical effects and they are well done here.
I just wish their was a better script that moved around the effects.
themidnightcafe.org 