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Mildred Pierce (1945)
Poor-little-rich-girl soap opera
This is essentially a poor-little-rich-girl soap opera, sitting in a murder mystery frame (probably unnecessary), but why carp when filmed as lush (some definite noir stuff) and performed as charismatically as this. In its sexual politics, it is dated as hell (not dated enough, frankly), but it adds to the appeal, arguably. It may seem like a female yarn for empowerment, but what the movie also is is a cautionary tale about the dangers of spoiling children. None of the characters (beyond the brilliant Eve Arden) are particularly endearing, but the sensational, iconic performance of Crawford as the title character means you're not going to let go once you're hooked.
The Big Heat (1953)
A great mystery that has been hard-boiled
In the long run, what hurt The Big Heat is the utter predictability of its story, with almost every plot point anticipated, but this noir is still so well made, so well directed by Fritz Lang and so well performed that they managed to lift the material to much higher heights. I loved her emotional approach with a few beautiful and moving scenes, but the highlight is her memorable characters and most of all her incredibly dark approach with a few unforgettable brutal scenes that are not excessive, but help to raise the stakes considerably. A great mystery that has been hard-boiled. Glenn Ford, Lee Marvin and Gloria Grahame are all beautifully performing their punchy dialog. It's a little sad to see a Fritz Lang film stripped of his earlier expressionist style, but he still serves very well this brutal content.
Night and the City (1950)
This can be recommended to everyone.
Absolutely classic film noir his very good and very influential film noir has been issued by Criterion in a remastered edition which well conveys the stark, expressionistic, brooding black and white cinematography. It stars Richard Widmark, in what many consider his best role, as a small-time hustler in London who, in trying to become a big shot in the underworld, weaves a destructive and ironic web around himself like a character in a Greek tragedy by trying to take over London's wrestling promotions. The acting in all supporting roles ranges from good to excellent, but the real star of the film is the London itself -- a bleak, grimy, angular underworld which is the opposite of the elegant or quaint London featured in so many films. Some critics have compared it to the landscape of bombed out Vienna in The Third Man, another expressionistic noir film about an American trapping himself in the decadence of a destroyed Europe. Night and the City also features what is probably the most gripping wrestling match ever put on film. Both great entertainment and a key film in the history of the noir genre, this can be recommended to everyone. Advisories: none in particular, though there are some adult situations.
Where the Sidewalk Ends (1950)
A brilliant story, part of the movie noir left over from the 1940s, starring two famous actors of noir: Tierney and Andrews. I loved the film.
I start to think that Preminger never made a bad black. (I even admire' Whirlpool,' which seems to turn off most people.) This one has a slightly higher genre-wise' purity' quotient; it lacks the' melo' in' Angel Face' and the drama of' Fallen Angel' (literally: there is hardly any music). It's also curious that Preminger refuses Dana Andrews the almost triumphant end that seems to be very imminent, instead settling for an unironic anticlimax to a movie filled with ironies. Yet Tierney is always locking in and low-key for her Preminger parts for an actress with so much sex appeal. What I like most about this particular black Preminger is his success in humanizing Andrews with almost no recourse to feelings. (The paternal ghost that haunts Andrews threatens to become a mistake when it starts to look like the key to Andrews ' character, but fortunately it's not over-emphasized and it's just a bit of the psychoanalytic padding you'll find in 90 percent of film noirs.) In this regard,' Where the Sidewalk Ends ' goes beyond' Laura' who wears her romanticism on her sleeve. A brilliant story, part of the movie noir left over from the 1940s, starring two famous actors of noir: Tierney and Andrews. I loved the film.
If you're looking for one of the worst horror movies you've ever made, you might be looking for Bones.
If you're looking for one of the worst horror movies you've ever made, you might be looking for Bones. In the title role of Snoop Dogg, Bones is an uneven mess and quite simply a bad film. This is a poorly made horror movie that has too many moments of clichés from other, better horror movies. On so many points, bones fail that you don't even know they were going to start. This is garbage, a poorly made horror film that has an interesting story, but is performed so poorly that it ends up being a waste of time. For a horror movie, this is a pointless excuse, and those who green light this piece of crap should drop out of the filmmaking business. So many times have been overdone the elements that form the plot, and the acting here is simply bad. The best way to describe this poorly crafted yarn of horror is to waste time. This is a boring movie that has nothing imaginative about its plot and the acting is clearly terrible. Okay, what are you expecting from Snoop Dogg, he's a lousy "actor" sucking his music, and his performance sucks even more. He should quit immediately because he is obviously a terrible "musician" and "actor." This movie is horrible, the acting is bad, and the plot has been done many times before, and it's done better. A horror film that will only be enjoyed by Snoop fans and I don't even know why.
The Animal (2001)
It's a mindless one joke movie that's so bad, and it can easily be considered one of the worst comedies ever made
The Animal is yet another pointless comedy by Rob Schneider that has only three funny scenes in the whole movie. Unfortunately he's a terrible comedian for Schneider. This movie is terrible and why this garbage has been made in the first place is beyond me. I think this movie is bad, and it's one of those comedies that doesn't really stand the time test. This is the kind of comedy film that has poorly built jokes and does nothing memorable that it really does. The film is just an opportunity to have a "career" in movies for Rob Schneider. This is so poorly built, poorly plotted, but the idea was quite interesting. If the script had been reworked and the jokes had been better off, and with a different lead, this could have been a good movie. Yet, after a while, this film ends up being a huge waste of time and becoming tired. The movie coasts on one joke for the film's entire length, and it just doesn't cut it down. I think this film should never have been made, and there have been much better comedies than this, looking back ten years since this crap was made. The Animal is one of those comedies intended for people who don't want their comedy to be intellectual, it's a mindless one joke movie that's so bad, and it can easily be considered one of the worst comedies ever made. Even the first two Pauly Shore trips (Encino Man and Son in Law) brought more fun than this, telling something about a film's train wreck.
Crude, uninspired cartoon
Crude, uninspired cartoon involving a superhero rabbit's adventures (named, appropriately enough, the American Rabbit) who is forced to confront a villainous jackal's framework. The American Rabbit's Adventures are strictly for the children, although it seems entirely possible that even here they will find little to embrace. The animation style is certainly subpar, which by contrast makes even the fastest straight-to-video release of Disney look amazing. The voice work is passable, but the dialog is atrocious; the action seems to pause every 15 minutes like clockwork, or so as an important message is doled out (i.e. winning is not all). And let's not even get into the parody of the outfit of the American Rabbit, which is basically an American flag sponsored by roller skates (maybe the getup be more than ' 80s?)
Road House (1989)
Road House tries to be a macho so hard that it becomes a parody of itself.
In his fantastic book of reviews of awful movies (Mike Nelson's Film Megacheese), Mike Nelson calls Road House "the one of America's finest movies. Obviously it stinks, but I think the producers meant it, and it was a great success." Road House also made its way into Bad Films We Love, Edward Marguiles and Stephen Rebello's fine compilation of the worst movies ever made. As a movie lover, I feel it's important to see the clunkers so I can appreciate the classic stuff. Part of me felt incomplete for not seeing Rowdy Herrington's 1989 anti-classic. When the time came to review it -- so that watching the movie felt somewhat legitimate -- I jumped at the chance. The verdict: In terms of sheer awfulness, I think 13th Child, SuperBabies: Baby Geniuses 2, and House of the Dead beat it. Oh, sure, Road House is bad. It's just not awestruck bad. The movie stars Patrick Swayze, white hot from Dirty Dancing at the time, as Dalton, a legendary bouncer brought in just outside Kansas City to clean up a rowdy bar. That bad is Dalton's ass? He is carrying with him his medical file. In his bare hands, he could kill a man. He can wear and get away with plissed trousers and a puffy mullet. True to his reputation, Dalton cleans the infamous Double Deuce, but his bartender firing angered the uncle of the child, the rich bully of the city (Ben Gazzara). As Dalton starts dating hot doc Elizabeth Clay (Kelly Lynch), the former girlfriend of the tyrant, things get worse for Dalton, and ass kicking is the only solution. Lots of kicking heads. I usually have no problem with that, but it's so hard for Road House to be macho that it becomes a parody of itself. Herrington and screenwriters David Lee Henry and Hilary Henkin (who later wrote Wag the Dog) forget that you're not saying machismo; it's not what you're saying. By overloading the script with "balls big enough to get into a dump truck," "ok, I'm sure I won't show you my cock," and the classic, "I used to guys like you in prison," Road House becomes the gayest thing next to a gladiator movie. It doesn't help frequent shots of the toned body of Swayze, which is on view more often than those of Lynch. Who made this film for? The answer: men (lots of battle scenes in the Double Deuce, apparently made from balsa wood) and girls (the toned of Swayze gets more screen time than Keith David). It's a questionable idea to create a date film with more testosterone, and Herrington and Henry wind up creating something from John Waters ' mind or a testosterone-heavy Todd Solondz. It's just not deliberate or kitschy. Road House resembles the Double Deuce's unruly guests, full of testosterone, wobbled, and taught about a ninth grade. Call this review a Dalton-style ass kicking.
Least noteworthy of all the Harry Potter films
Chamber of Secrets is perhaps the least noteworthy of all the Harry Potter films. Although I find it amusing how, as a child, the giant snake was what fascinated me most about this film, whereas now it's the dick-supreme performance of Jason Isaacs as Lucius Malfoy - getting older is a strange thing ...
I've seen great acting and production of amateur porn.
This has just been rented from Redbox. Halfway through the first scene I began to believe it was a joke. Redbox should reimburse me for the $1.50, and pay me another $10 for the 10 minutes I'll never get back (that's all I've barely done through). I've seen great acting and production of amateur porn. Even for these people, my television is humiliated.
Airplane Mode (2019)
This movie is full of memes, but they're all so old and awful since it was made in 2016. The movie is so poor that in one sitting I couldn't watch it. The special effects are also pretty bad and so many of the jokes are not even landing. And the yelling, gosh, crying so much. Instead of watching this movie for 80 minutes, just go bake something nice or learn a new skill, or just look at paint dry. Trust me, this is a better way to spend your free time and you're going to get more fun.
Square One (2019)
An innocent man was killed by Greed
There's no way that a rational person can watch this and conclude that Jackson has actually molested Jordan Chandler. Jordan never decided to testify against Jackson, nor does he help his present accusers. Jackson's FBI records listed in this film, but not the one showing Jordan clearly threatened the DAs with legal action if they tried to put him against Jackson on the stand. Tom Sneddon might well be concerned that if he makes a summons and Jordan is unable to avoid testifying that he would admit that he was not molested. His father coached Jordan to lie all in an effort to extort Jackson's 20 m. An innocent man was killed by Greed.
The Heiress (1949)
Very memorable movie
The Heiress is one of history's most cynical, heartless, and cold films-and I mean in the best way. It soon leads to a very cold-hearted, compelling drama that starts as a very romantic romance. Usually I don't like period pieces, especially about wealthy people (because I find it difficult to feel sorry for them), and I've never been really impressed with a William Wyler film enough to give it more than 80%, but The Heiress is an exception to both rules. Olivia De Havilland, like Bette Davis, is not exactly what you would call a "classic beauty" in the same sense as Rita Hayworth or Marilyn Monroe, but with her awe-inspiring talents as an actress, she compensates for that. The Heiress, for whom she received her second Academy Award, shows De Havilland at her best of all time, showing herself to be one of the Golden Age's most talented actresses. The work of Montgomery Clift is a bit stale, but supporting the roles of actors Miriam Hopkins and Ralph Richardson definitely compensates for the shortcomings of Clift. That, combined with a sharp razor script, filled with a lot of interesting plot twists, makes a very memorable movie.
A Face in the Crowd (1957)
I'm not particularly enjoying movies like A Face in the Crowd, I can respect it because it's well-made and timeless
A Face in the Crowd is a classic rag to wealthy story about a country bumpkin being interviewed for a local radio show, and he learns quickly that people appreciate his real-world attitude and playful musical style. I still struggle with such movies because they all seem to follow the same formula. It's that classic fame story that corrupts the once innocent man and makes him a monster. I can't count the number of films and TV episodes following this precise blueprint. There is usually some kind of substance abuse associated with the that notoriety, and possibly a love interest that can not acknowledge the fact that the person they love is changing for the worse. The only real mystery is whether at the end they will be saved or tainted by the fame they once sought. I'm going to admit that this is one of the best story versions, but it didn't have much to keep me entertained because I knew where it was going. The ensemble is what lifts A Face in the crowd over some of the lesser movies of "corrupting fame." Andy Griffith is so endearing with that perfect downhome charm, you can see why people love him immediately. Patricia Neal is perfect as the lovelorn girl who makes him become popular once he gets there. And as always, Walter Matthau is brilliant with a few jaw-dropping remarks, even though he was quite underused. There's a reason these reports are still being produced to this day because they still have relevance. That's one of the cool things about A Face in the crowd, it's got a timeless quality that makes it perform as well today as 62 years ago. In fact, I've noticed some similarities that rise to fame between Lonesome Rhodes and some famous people we all know today (I'd rather not mention who I'm talking about here by name). The point is, while I'm not particularly enjoying movies like A Face in the Crowd, I can respect it because it's well-made and timeless.
You're going to wet your pants watching this if you're a huge Tribe fan.
You're going to wet your pants watching this if you're a huge Tribe fan. If you're just like me a regular hip-hop fan, it's eight, it's fun. You get a playful, frank, intimate look at their origins, their rise and fall, and the relationships between the members and, in particular, the tension between the brilliant, messianic, somewhat oblivious Q-Tip and the headstrong, straightforward, more humane and related Phife Dawg, whose close childhood friendship and complementary talents generate much of the band's energy and atmosphere, but w
Wild Style (1983)
Put it simply, this is a piece of history in hip-hop
Put it simply, this is a piece of history in hip-hop. This is a must-have for any hip-hop fan with legendary performances from The Cold Crush Brothers and Grandmaster Flash (yes, he always kept his turntables in the kitchen). Because of the poor technical quality of the film itself and of course the diabolical acting, the only reason I couldn't give this a full 10 stars. But for that, you don't buy Wild Style, the real selling point is the historic nature of the performances.
Proverka na dorogakh (1986)
Endearing and suspensive film
During the Great Patriotic War, Lazarev(Vladimir Zamanskiy) was a sergeant who, once defected to the German army, now surrendered to young Mitka(Gennadi Dyudyayev) in the person of the Russian partisans. While most of them are cautious about him, not even offering a cigarette (probably for the best as they stunt your growth) and throwing him in the same cell with a young man who claims he's been gangpressed on a German firing squad, their leader Ivan Lokotkov (Rolan Bykov) sees some promise to use Lazarev. "Trial of the Bridge" is generally a second chance film. (Is it just me or does Lazarus ' title sound like Lazarus?) This is part of the intellectual debate that runs through the film, most of which takes place on the run with the partisans, making it more difficult for them to discern who is on whose side. They are not so much interested in abstract concepts like nationalism in any case, with a healthy disdain for authority, but in defending their ground, so do not laugh at the man who runs after his cow. Because his face is one of many memorable images in this endearing and suspensive film, including an expert use of close-ups.
Little Dieter Needs to Fly (1997)
Another entertaining Hertzog film
Another entertaining Hertzog film, telling the story of a German raised in the U.S. and fighting the vietnam war his memories of him being shot down and held captured for a couple of years and eventual escape, was also the basis for hertzogs film Rescue Dawn starring Christian Bale, which is also excellent. Dieter is an engaging topic and displays passion and excitement for whatever he talks about, and Hertzog's narration and questioning on class as usual, the doc does the story well and places us in the world of Dieters.
Grizzly Man (2005)
I forgot how much I like this documentary from Herzog.
I forgot how much I like this documentary from Herzog. Before I saw this, I didn't know anything about Timothy Treadwell, but knowing that this man called the "Grizzly Guy" was killed by grizzlies, I didn't know what to expect. Has he done more harm than good? Was he a man with the bears who thought he was one? Has he jeopardized the life of his girlfriend? Is he psychologically unstable? Was he just living his life doing what he felt he was doing? On video, he caught a few exceptional moments. Herzog took what he had captured and gave a story to the viewers.
White Heat (1949)
The real gangster is James Cagney. He's just that. In this movie there's so much going on emotionally that doesn't happen as much in similar crime movies. I still think The Public Enemy is my favorite of the 40s gangster movies, but in this picture I can't get over the creepiness of the demise of Cody Jerrett. In the same light of an Alex DeLarge or Ledger's Joker, there's something so erie about it. The happiness of his own death, a kind of freedom from his own insane. He's such a good antihero, Dangit, Cagney.
The Misfits (1961)
Compelling and well-acting character drama
Roslyn (Marilyn Monroe) is a beautiful divorcee who tries to redefine her life. She drops in with an elderly cowboy (Clark Cable), a frustrated pilot (Eli Wallach) and a rodeo rider who took a couple of kicks (Montgomery Clift) to his head. While enraptured by the character of these people and the scenery of the high country of Nevada, she and her new companions come to a moral disagreement over a decision to sell a dog food business some wild mustangs. The Misfits were sensitively written by Arthur Miller and directed by John Huston with economy, but it is best known before their sudden death as the last film featuring Gable and Monroe. While it is often studied as a metaphor of frontier spirit decline, The Misfits also works as a compelling and well-acting character drama.
Bus Stop (1956)
Unless you're a diehard Marilyn Monroe fan, it's definitely not essential viewing.
Bus Stop is a hillybilly love story between Beau, a stubborn, romantically-inexperienced rodeo cowboy in town, and Cherie, a showgirl he meets along the way. For Beau, love is a foreign concept, so when he finally finds it, he comes on a bit strong, demanding her hand in marriage within twenty-four hours. Strangely enough, the same thing that makes it somewhat watchable is what makes this classic painful to watch. That's Marilyn Monroe. I always love Monroe, I do. She was great in her minor role in All About Eve, and may well have been the best thing about Some Like It Hot, but it seems to me that her performing skills are (were?) very limited, especially when she tries to stray away from her ditzy blonde routine. I could say she tried hard, but the southern accent she couldn't handle. Despite her slightly irritating performance, however, some of the way she is still pleasant. I feel she's the only person who can make the performance unbearable. tolerable. Also mildly interesting is the story itself. It has its moments, but it is predictable and melodramatic for the most part. Both the direction and the script are good, but nothing to write about at home. Bus Stop goes through as a light entertainment, but there's nothing I'd like to see again. Unless you're a diehard Marilyn Monroe fan, it's definitely not essential viewing.
Icarus is two films brought together in an incoherent, messy movie.
In essence, Icarus is two films brought together in an incoherent, messy movie. The first discusses cheating in a way that is much more personal and fascinating. It was inspired in its approach by' Citizenfour.' The second is a geopolitical thriller that is much less interesting and more typical. The movie is well made and certainly significant, but in pace and structure it is very uneven and therefore it has not deserved its Oscar at all.
That's neither good for our music culture nor good for hip hop
Great documentary on a hip hop facet that is not getting as much credit as it deserves. Doug Pray sees DJing, or turntabling, not only as the core of hip hop music, but in its own right as a dynamic musical form. The interviews are great, and the footage of long past battles gives the film an authentic, subcultural feeling. But watching this film again in 2019, it's kind of sad to note that in the age of digital technology, turntabling has become a lost art. Who is scratching even these days? DJs do more on iTunes than they do on vinyl. Therefore, the subject of this film has become outdated in less than ten years. And that's neither good for our music culture nor good for hip hop.
Culloden is an amazing debut of one of history's most cruelly undervalued filmmakers.
Peter Watkins is a courageous filmmaker, seemingly passionate about revealing the silenced (in one way or another) and burning history stories. His debut in the greatest way presented this reality. Culloden is a terse movie whose plot plunges into the midst of a devastatingly one-sided battle and rises shortly after his death and ashes to investigate the aftermath. Therefore, in a way, Watkins is the savior of a history teacher. What he is doing is taking the skeleton, the historical structure, and magnifying his camera lens on it. He is interested in the many narratives on both sides of the conflict told by a broad variety of characters. He is thus not a filmmaker of tradition, but a humanist. It seems clear that Watkins removes the dust of history books to examine what is timeless: the relentless human spirit and its capacity to defy the destruction of reality, even in its most despicable ways, even in the face of violence and death.