The Criterion Channel debuted this week and it’s an amazing streaming service. It’s everything that I want from a streaming service. Classic cinema, behind the scenes features and so much more. My watch list has enough to keep me busy for the next three years.
While the service is home to Criterion’s stable of cinema they also have special films available for limited time. This month’s is Columbia’s film noir collection. 11 dark and gritty film noirs to watch. I’ve watched the first on the list My Name Is Julia Ross. Continue reading “Sunday Matinee: My Name Is Julia Ross”
Before we get into this week’s Sunday Matinee, Shazam opened this weekend and from the sounds of it has done pretty good for itself. It’s been quite a while since the original Captain Marvel has graced the big screen and here’s my old post about his first adventures.
The Criterion Channel will soon be here, actually tomorrow April 8th and this was their last week of their free movie of the week to charter subscribers. This week’s movies were the 1979 John Woo kung fu film Last Hurrah for Chivalry and The Umbrellas of Cherbourg. Today’s Sunday Matinee is the early John Woo. Continue reading “Sunday Matinee: Last Hurrah For Chivalry”
As Criterion counts down to it’s April 8 launch of their new streaming service this week’s movie of the week happens to be an old Sunday Matinee, The Fabulous Baron Munchausen so I’m going back a week to last week’s movie of the week the excellent 1945 film noir Detour.
Directed by Edgar G. Ulmer the follows poor piano player Al Roberts (Tom Neal) is a disheveled burned out looking person. He gets dropped off at a diner where he hears a particular song. He flashes back to how he got to where he is. Continue reading “Sunday Matinee: Detour”
It’s no news to anybody Tim Burton’s films are hit or miss. I happen to appreciate some of his less celebrated work (Mars Attacks, Dark Shadows) and have no patience for some of his big hits (Alice in Wonderland, Big Fish). Dumbo sits somewhere in the middle, two thirds a sentimental triumph, one third an undercooked heist that would be more at home in a Michael Bay movie.
A more “realistic” take on the 1941 Disney classic, this Dumbo doesn’t have anthropomorphized animals (although all of them cameo or are referenced to, even those controversial crows). The story is driven by humans, specifically the Farrier family. The father, Holt (Colin Farrell), has returned from the war maimed and his spirit shattered. His kids have been forced to mature earlier than they should, while sheltered by the circus community. The three of them reconnect over a baby elephant with freakishly large ears.
Dumbo goes from pariah to main attraction the moment he starts using his ears to take flight. The act attracts the attention of a circus mogul (Michael Keaton), who claims to be an artist at heart, but turns out to be another greedy capitalist who Zuckerbergs everybody. Continue reading “REVIEW: Dumbo Doesn’t Fly, But Hovers”
This week’s movie of the week on The Criterion Channel is the 1989 documentary For All Mankind.
Directed by Al Reinert this doc looks at the Apollo progam and uses actually archival footage that NASA shot during the time and interviews with the astronauts and crew who participated in the program. Continue reading “Sunday Matinee: For All Mankind”
This week’s Criterion Collection streaming film is the 1970 film from writer/director/star Barbara Loden, Wanda.
Loden was an actress who worked in TV and film in the 1950s and 1960s. She was a cast regular on The Ernie Kovacs Show in 1956 and she starred in director Elia Kazan’s 1960 film Wild River and 1961’s Splendor in the Grass. She married Kazan in 1967 and while on vacation a mutual friend, Harry Schuster, offered Loden $100,000 to make her own movie. She wrote the script and couldn’t find a director including her own husband so she directed the film herself as well as starring in it. She made the film for $115,000 and while the movie did receive praise and it won Best Foreign Film at the Venice Film Festival in 1970, it was never given a wide theatrical release in North America. Continue reading “Sunday Matinee: Wanda”
Writer’s note: Much like with the all-female reboot of Ghostbusters, Captain Marvel has found pushback from the darkest, redest corners of the Internet. I wouldn’t normally be troubled by trolls or James Woods (I know, same thing), but some may bunch together less-than-glowing reviews with the rambles of individuals that feel threatened by Brie Larson’s activism or the idea of a feminist superhero. My critique is focused on the film exclusively and external considerations have no weight in my analysis.
Captain Marvel has a tall order to fill: It must bridge the cataclysmic events of Avengers: Infinity War with Avengers: Endgame and has to establish a hero not only capable of going head-to-head with Thanos, but also lead the super-team into a post Iron-Man era.
I’m here to tell you the film does complete the task, but doesn’t excel at it. Captain Marvel is a functional popcorn flick without much of an identity outside being proudly feminist. It’s surprisingly drab-looking for a Marvel Studios movie and the action sequences are perfunctory at best. The performances –not the plot– carry the film, a rarity for this universe. Continue reading “REVIEW: Captain Marvel Answers the Call”
The Criterion Collection is going to launch their own streaming service in April to take the place of FilmStruck. Charter members who signed up early have been treated to a free movie every week since the start of February. The first week it was Elaine May’s Mickey and Nicky. Week two saw Chungking Express. Week three was Saturday Night and Sunday Morning and Tom Jones. This week’s movie is Andrei Tarkovsky’s brilliant masterpiece Stalker.
Loosely based on the novel Roadside Picnic by Boris and Arkady Strugatsky this 1979 Soviet film is set in a future where something called the Zone has been created. The military have forbidden travel into the Zone but there are specialists called Stalkers who lead people into the Zone. They also collect special artifacts from the Zone and sell them on the black market. Continue reading “Sunday Matinee: Stalker”
In the final film of the series our “hero” Haruo finds himself on trial from the remaining Bilusaludo for killing MechaGodzilla city and thus killing all the Bilusaludo who merged with the nanometal in the last film. This act also essentially killed Haruo’s girlfriend Yuko who was partially merrged with the nanometal and has now been left brain dead. The remaining humans disagree with the trial saying that Haruo’s actions exposed the Bilusaludo’s intent to assimilate the Earth.
Meanwhile Haruo starts a relationship with Maina. He also discovers that the Exif, Methphies wants to bring the Exifs god to Earth to defeat Godzilla. Methphies starts converting the surviving humans into a cult worshiping his god. The Exif on the Aratrum (the spaceship carrying the last remaining humans) also begin gathering followers. Continue reading “Sunday Matinee: Godzilla: The Planet Eater”
The second film in the Godzilla anime movie trilogy, City on the Edge of Battle picks up right where Planet of Monsters left off. Quick recap. Godzilla has taken over Earth and the remaining members of the human race have fled the planet along with two alien races, the Exif and the Bilusaludo, on a spaceship called the Aratrum. Now they have returned and find that thousands of years have passed and the Earth has evolved because of Godzilla. A small group lead by Haruo Sakaki tried to kill Godzilla. Having believed to have killed Godzilla the group discovers that all they did was kill a baby Godzilla, the real Godzilla has grown much much bigger and is even harder to kill.
Haruo was injured in the attack against the real Godzilla and he wakes up in a hut. Humans have survived on Earth and become more primitive. A young woman named Miana saved Haruo. Miana’s twin sister Maina doesn’t like Haruo much but the two sisters use telepathy to talk to the survivors to find out what’s going on. Continue reading “Sunday Matinee: Godzilla: City On The Edge Of Battle”
I have watched a lot of Godzilla movies, just about all of them. With the exception of one or two I have seen most of the 35 films featuring Godzilla.
A couple of years ago Toho Studios decided to make an animated movie trilogy. These films are more futuristic sci-fi films than the previous Godzilla movies. Set in a world where humans have been chased off of Earth by Godzilla they have been travelling through space with two alien races, the Exif and the Bilusaludo. The aliens helped what was left of humans to escape and they have been traveling to a new planet for 20 years. Continue reading “Sunday Matinee: Godzilla: Planet Of The Monsters”
Director Brian De Palma had been making movies for several years, mostly dramas before he shifted gears and focusing on thriller/horror movies starting with 1972’s Sisters.
Sisters stars a young Margot Kidder as a French-Canadian model/actress who is trying to make it in New York City. She stars in a peeping tom talk show and goes out for supper with the other actor Phillip Woode (Lisle Wilson) who won dinner for two for his participation in the show. A creepy man shows up at the restaurant and demands that Kidder come home. Kidder claims the man is her ex-husband. The man, Dr. Emil Breton (William Finley) claims that he is her husband. He’s escorted out of the restaurant. Afterwards Philip and Kidder go to Kidder’s apartment where they spend the night. Continue reading “Sunday Matinee: Sisters”
Odds are you will come across a number of articles comparing Polar to John Wick. Pay no attention to them. Sure, they both revolve around (relatively) honorable hired guns whose employers turn against them, but the similarities end there. One loves dogs, the other one… you’ll find out.
Based on the graphic novel by Victor Santos, Polarrevolves around Duncan Vizla a.k.a. the Black Kaiser (Mads Mikkelsen). An accomplished hitman, Vizla is looking forward to his retirement, just days away. His plans come undone when the corporation that employs him would rather take him than pay him severance. The assassin doesn’t take the attempts on his life kindly and plans to take his grievances to the top.
If John Wick mopes the entire movie, the Black Kaiser is not above enjoying hard liquor or a roll in the hay, even if his companion has murder in her mind. He does however have a couple of regrets that reverberate throughout the film. Continue reading “Mads Mikkelsen Brings the Cool in Polar”
Social worker Ann Gentry (Anjanette Comer) has a new case. The Wadsworth family. Mrs. Wadsworth (Ruth Roman) has two grown daughters Germaine Wadsworth (Marianna Hill) and Alba Wadsworth (Suzanne Zenor) who live with her and her mentally disabled son Baby (David Mooney).
Baby is a grown man in his 20s but lives and is treated as an infant ever since his father left after he was born. The Wadsworth all live off of Baby’s disability cheques and none of them work. Ann seems to be obsessed with the case and constantly is checking in on the household and how Mrs. Wadsworth and her daughters treat Baby. Continue reading “Sunday Matinee: The Baby”
I have watched a lot of Hammer horror films over the years and in particular I have watched a lot of their Dracula films. Hammer made nine Dracula films in total and Christopher Lee only starred in seven of them.
The five that Lee starred in weren’t too bad. Some of them were better than others but overall the Dracula films weren’t as good as Hammer’s Frankenstein films. Today’s Sunday Matinee is Lee’s last Dracula film, 1973’s The Satanic Rites of Dracula.
All the Hammer Dracula movies were gothic period pictures until the 1970s when they foolishly decided to update the series with Dracula A.D. 1972. Peter Cushing returned as Van Helsing for the first time since the second film The Brides of Dracula which didn’t have Dracula in it at all. Dracula A.D. 1972 starts off with Dracula and Van Helsing fighting to the death on carriage which crashes and kills them both. A servant of Dracula buries some of his ashes near Van Helsing’s grave. 100 years later Van Helsing’s descendant and his granddaughter (Stephanie Beacham) are living in London. Van Helsing’s daughter hangs out with a group hippies, one who is Dracula’s servant’s descendant and they have a Satanic ritual that resurrects the Count into the 1970’s. Dracula makes some vampires. The police get involved and we find out that vampires can’t take a shower. Clean flowing water kills them. Yup. Vampires have to take baths. Eventually Van Helsing stakes Dracula in a final battle…again.
That leads us to The Satanic Rites of Dracula which takes place two years after Dracula A.D. 1972. MI5 has been spying on a Satanic cult that has several powerful members of Parliament. Their agent has been captured and tortured but he escapes and informs his superiors just before he dies. MI5 finds out that their boss is involved with the cult and decide to investigate off the books using Scotland Yard. Inspector Murray (Michael Coles) returns (he was the cop Dracula A.D. 1972) and suggests bringing in Van Helsing and his daughter (now played by Joanna Lumley). Van Helsing goes to talk to one of the members of the cult that he knows to be a prominent and Noble Prize wining scientist (Freddie Jones). The scientist has created a new super version of the bubonic plague. Van Helsing figures out that Dracula is back and running an evil corporation and the cult and intends to destroy the world.
The final fight is pretty weak and while Cushing would return one more time as Van Helsing, Lee was done with Dracula with this film. It’s not as terrible as the previous film, at times it’s pretty entertaining and Warner Archive has just released the movie on blu-ray.
After the success of Murder By Death writer Neil Simon and director Robert Moore would reteam for another comedy spoof this time focusing on the gritting film noir crime films starring Humphrey Bogart. Peter Falk would return playing a Sam Spade like character this time caught up trying to solve his partner’s murder while getting entangled in a Maltese Falcon like caper. Continue reading “Sunday Matinee: The Cheap Detective”
An old mansion in the country is getting ready for some guests for a special night. What makes the night so special is that there is going to be a murder and the guests are the greatest detectives in the world.
Written by Neil Simon and directed by Robert Moore this comedy pokes fun at the classic detective mystery. From the opening credits drawn by Charles Addams (whose art is also the movie poster) the film has a macabre but fun sense of humour. The blind butler Alec Guinness tries to get things ready for the guests while dealing with a deaf mute cook, Nancy Walker. Soon the guests start to arrive. Continue reading “Sunday Matinee: Murder By Death”
Spider-Man has a long history of being an animated cartoon starting from 1967. He reappeared in a 1981 cartoon series called Spider-Man and at the same in another series called Spider-Man and His Amazing Friends. Spidey would then have a long running series in the 1990s called Spider-Man followed by a short lived series called Spider-Man: The New Animated Series in 2003 which followed the continuity of the 2002 live action film.
In 2008 The Spectacular Spider-Man aired which was replaced with Ultimate Spider-Man in 2012. The current animated series, just called Spider-Man started 2017 and is still on the air. Phew that’s a lot of Spider-Man.
Granted, there is no shortage of Vincent van Gogh’s biopics. Just last year audiences were treated to the gorgeous, underwhelmingly written Loving Vincent. At Eternity’s Gate takes a different approach, one focused on Vincent’s drive, as opposed to his mental health. Of course the signposts are there, but the movie makes a noticeable effort to keep the assorted tragedies that befell Vincent at bay.
As per At Eternity’s Gate, Vincent (Willem Dafoe) was a man ahead of his time. This is not necessarily a good thing when you are a starving artist and impressionism is all the rage. Following advice by Paul Gauguin (Oscar Isaac), Van Gogh trades the increasingly toxic Parisian scene for the tranquility of Arles in the South of France.
While the painter clashes constantly with the town dwellers, the period is particularly prolific. During his time there, Van Gogh produces “Bedroom in Arles”, “The Night Café”, and a number of self-portraits. Unfortunately, his ongoing quarrels with friends and neighbours and his “break-up” with Gauguin send him on a downward spiral. Utter loneliness plays a bigger part on Van Gogh’s fate than any other factor, including mental unrest.
Director Julian Schnabel (The Diving Bell and the Butterfly) depicts Van Gogh as a delicate soul that’s easily rattled. Likely because of his background as a plastic artist, Schnabel succeeds at capturing the drive that kept Van Gogh going, despite the scorn of the general public and indifference of his peers. The filmmaker’s obvious regard for his subject is manifest throughout, to the point of keeping the self-mutilation bit off-screen (in fairness, the ear thing has become an obnoxious trope).
While 25 years older than the painter when he died, Willem Dafoe is perfect for the part, the right mix of helpless and mercurial. Less fortunate is the casting of baby-faced Rupert Friend as Van Gogh’s barely younger brother. Schnabel brings back actors from his previous films for supporting roles, but the one who fares the best is a new hire: Mads Mikkelsen as the priest who runs the asylum where Van Gogh is committed. Compassionate and all, he doesn’t think much of the artist’s work and lets him know it. A rare moment of levity in a film carrying a heavy heart. 3.5/5 prairie dogs.