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BankofMarquis (1832 KP) rated Anatomy of a Murder (1959) in Movies
Nov 30, 2018
One of the Best Courtroom Dramas of all Time
I have to admit, that (at times) the fun part of going to "SECRET MOVIE NIGHT" is the anticipation of not knowing what the film is. Sometimes the film is "good, not great" (like THE BLUES BROTHERS, BODY HEAT and A FACE IN THE CROWD) and other times it is a CLASSIC (Like CITIZEN KANE, THE APARTMENT and NETWORK). I am happy to report that this month's installment IS a classic, our old pal Jimmy Stewart in 1959's ANATOMY OF MURDER.
Directed by the great Otto Preminger, AOM is often referred to as the finest courtroom drama ever filmed. While I need to give that some thought, I will say AOM is right up there as one of the finest examples of a courtroom drama.
Starring Jimmy Stewart as "country lawyer" Paul Biegler, who is brought in to defend Army Lieutenant Manion (Ben Gazzara). Manion is accused of murdering a man that raped his wife (Lee Remick). The central mystery isn't "did Manion kill the man" (he did), it is more of "did he kill his wife's rapist or lover" and "will Biegler get away with the temporary insanity plea".
This is the kind of plot that we've all seen a dozen times on standard TV shows, but back in 1959, this type of film - and trial - was quite new and fresh and this film was "scandalous" in it's use of frank language. Remember, this is 1959 in Eisenhower "Happy Days" Americana, so hearing words like "bitch, panties, penetration, slut, sperm, bitch and slut" was quite shocking and led to many protests of the film.
Those who were turned off by the language and frankhandling of the subject matter lost out on an intriguing, well-acted, well-written and well-directed courtroom drama, where the verdict is up in the air right up until the foreman of the jury says "We, the jury, find the defendant..."
Jimmy Stewart is perfectly cast in the lead role of Defense Attorney, Biegler. Stewart brings an instant likableness and every man integrity quality to the role. His Attorney is down-to-earth but whip-smart, able to crack a joke to lighten the mood or explode in rage at an affront at a moment's notice. He goes toe-to-toe with Prosecuting Attorney Claude Dancer (a VERY young George C. Scott). Dancer is everything that Biegler is not, crisp, well-polished and arrogant. While it would have been very easy to paint these two characters as good (Stewart) and bad (Scott), Director Preminger and screenwriter Wendell Mayes shy away from this and show these two as fierce competitors playing a very serious game of chess - and this works very well, indeed. Both Stewart and Scott were nominated for Oscars for their work as Best Actor and Supporting Actor respectively.
The Supporting cast is superb, featuring such 1950's/early 1960's stalwarts as Arthur O'Connell (also Oscar nominated as Stewarts's alcoholic law mentor), the always good Eve Arden, Orson Bean and Katherine Grant. It also features three character actors in small roles (witnesses in the trial) who you would recognize from other things - Murray Hamilton (the Mayor in Jaws), Howard McNear (Floyd the Barber from Mayberry) and Joseph Kearns (Mr. Wilson in Dennis the Menace).
Special notice needs to be made for Lee Remick as the sultry and flirtatious woman at the core of the film. Remick is superb in this role, and that is fortunate, for if she wasn't believable in the "would she or won't she" role that she is asked to play, then the film could have easily fallen apart. But the real bright spot in this film is the scene stealing Joseph N. Welch as the Judge in the case. His performance as the judge is the perfect "third leg" to the Stewart/Scott stool, balancing charm, folksiness and strength in even portions (depending on what is needed to balance the other two).
Otto Preminger (LAURA, STALAG 17) is a Director who's name is beginning to fade into the dust of the past - and that's too bad, for he is a strong director who knows how to frame a scene and pace a film. Even though AOM is 2 hours and 40 minutes of talking, it never feels long or slow.
Two other aspects of this film need to be mentioned - the "jazz" score by the great Duke Ellington (which won a grammy) is perfectly suited to the themes and mood of this film and the opening title sequence (and movie poster) is reminiscent of an Alfred Hitchock film - and that is because they are done by frequent Hitchock contributor Saul Bass.
Nominated for 7 Oscars (it won zero, falling to the juggernaut that was BEN HUR that year), ANATOMY OF A MURDER is an intriguing courtroom drama that also opens the door to performers of the past. Well worth the time investment, should you run across it (it is frequently shown on TCM).
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
Directed by the great Otto Preminger, AOM is often referred to as the finest courtroom drama ever filmed. While I need to give that some thought, I will say AOM is right up there as one of the finest examples of a courtroom drama.
Starring Jimmy Stewart as "country lawyer" Paul Biegler, who is brought in to defend Army Lieutenant Manion (Ben Gazzara). Manion is accused of murdering a man that raped his wife (Lee Remick). The central mystery isn't "did Manion kill the man" (he did), it is more of "did he kill his wife's rapist or lover" and "will Biegler get away with the temporary insanity plea".
This is the kind of plot that we've all seen a dozen times on standard TV shows, but back in 1959, this type of film - and trial - was quite new and fresh and this film was "scandalous" in it's use of frank language. Remember, this is 1959 in Eisenhower "Happy Days" Americana, so hearing words like "bitch, panties, penetration, slut, sperm, bitch and slut" was quite shocking and led to many protests of the film.
Those who were turned off by the language and frankhandling of the subject matter lost out on an intriguing, well-acted, well-written and well-directed courtroom drama, where the verdict is up in the air right up until the foreman of the jury says "We, the jury, find the defendant..."
Jimmy Stewart is perfectly cast in the lead role of Defense Attorney, Biegler. Stewart brings an instant likableness and every man integrity quality to the role. His Attorney is down-to-earth but whip-smart, able to crack a joke to lighten the mood or explode in rage at an affront at a moment's notice. He goes toe-to-toe with Prosecuting Attorney Claude Dancer (a VERY young George C. Scott). Dancer is everything that Biegler is not, crisp, well-polished and arrogant. While it would have been very easy to paint these two characters as good (Stewart) and bad (Scott), Director Preminger and screenwriter Wendell Mayes shy away from this and show these two as fierce competitors playing a very serious game of chess - and this works very well, indeed. Both Stewart and Scott were nominated for Oscars for their work as Best Actor and Supporting Actor respectively.
The Supporting cast is superb, featuring such 1950's/early 1960's stalwarts as Arthur O'Connell (also Oscar nominated as Stewarts's alcoholic law mentor), the always good Eve Arden, Orson Bean and Katherine Grant. It also features three character actors in small roles (witnesses in the trial) who you would recognize from other things - Murray Hamilton (the Mayor in Jaws), Howard McNear (Floyd the Barber from Mayberry) and Joseph Kearns (Mr. Wilson in Dennis the Menace).
Special notice needs to be made for Lee Remick as the sultry and flirtatious woman at the core of the film. Remick is superb in this role, and that is fortunate, for if she wasn't believable in the "would she or won't she" role that she is asked to play, then the film could have easily fallen apart. But the real bright spot in this film is the scene stealing Joseph N. Welch as the Judge in the case. His performance as the judge is the perfect "third leg" to the Stewart/Scott stool, balancing charm, folksiness and strength in even portions (depending on what is needed to balance the other two).
Otto Preminger (LAURA, STALAG 17) is a Director who's name is beginning to fade into the dust of the past - and that's too bad, for he is a strong director who knows how to frame a scene and pace a film. Even though AOM is 2 hours and 40 minutes of talking, it never feels long or slow.
Two other aspects of this film need to be mentioned - the "jazz" score by the great Duke Ellington (which won a grammy) is perfectly suited to the themes and mood of this film and the opening title sequence (and movie poster) is reminiscent of an Alfred Hitchock film - and that is because they are done by frequent Hitchock contributor Saul Bass.
Nominated for 7 Oscars (it won zero, falling to the juggernaut that was BEN HUR that year), ANATOMY OF A MURDER is an intriguing courtroom drama that also opens the door to performers of the past. Well worth the time investment, should you run across it (it is frequently shown on TCM).
Letter Grade: A
9 (out of 10) stars and you can take that to the Bank(ofMarquis)
RəX Regent (349 KP) rated Hell's Angels (1930) in Movies
Feb 19, 2019
Big budget, elaborate air combat scenes which resulted in several deaths and Gimmick after gimmick… This has to be the Howard Hughes’ World War 1 epic, Hell’s Angels.
Where to begin?
Well, we follow the Routledge two brothers as they join the war effort and the Royal Air Corps. in 1914 and whilst one is a somewhat cowardly womaniser, his brother is the noble heroic type who spends the film being screwed over bey everyone in one way or another, but most notably by his girlfriend, Jean Harlow, who is so annoyingly wrong for him that it is a relief when he has heart is broken by her in the third act.
But like mots aspects of this plot, this is as messy and disjointed as everything else. We are given a story line to follow for two hours, as Hughes indulges his legendary love of flying to create some of the best dog fight sequences ever committed to film. They are real, epic and effective in conveying the thrilling danger of these world war one battles.
But this is a film of gimmick. Pushing the pre-code envelope with sex and bad language, this was originally conceived as a silent movie and was re-written and re-shot to become the sound movie whcih we have to today and there in clearly lies the problem. What we end up is a movie cobbled together, with silence sequences being converted to sound, the poor acting from its star James Hall as the idealistic Roy Routledge, Jean Harlow, replacing the original silent star Gretta Nissen for this sound version, excelling in her role as his trampy girlfriend and Ben Lyon as the weaker brother, Monte, but the real star of this show are the special effects.
But of the human stars, Harlow, presented here in the only colour footage known to exist of the tragic star, who would die at the young age of 26 just seven years later, probably delivers one of the best performances in the whole picture, certainly outshining her male co-stars.
Of the special effects though, the use of 2-tone Technicolor, which was actually shot with the Metrocolor system but processed by Technicolor, in one sequence as the group are all together at a party, as well as the classical use of tints during some other scenes, add a vibrancy to the project. But this also can have a jarring effect, especially as we leave the colour scenes and wrap up thet sequences in black and white.
But the model effects, notably the munition raid at the end and the Zeppelin bombing London scenes are spectacular, especially for the time. The other notable gimmick which has yet to be transferred to the small screen, was the original use of what was called Magnascope back in 1930.
This was obviously only used at high end theaters but this paved the way for what IMAX are doing now, by blowing up the aerial scenes into a larger screen format from the 1.20:1 ratio which the the rest of film was presented. But when you add all this up you have got a mess!
Magnascope, technicolor scenes, tinted scenes, daring aerial battles, a half arsed love story and an image of world war which was a kin to that of Michael Bay’s Pearl Harbor’s (2001) view of World War 2! But this is what this is. An early, lavish popcorn blockbuster, with little to offer but cinematic thrills, which it succeeds at without any doubt.
The action is great, the plot is mediocre to say the least but as film, it does offer a brief insight into how cinema audiences saw the Great War back in 1930 and you can not help but think that this audience was only nine years away from the next one as we watch this.
pictureBut the ending was grim, with noble ends rounding off a story of brotherly love and love of duty and country, seems overblown considering what we had had to sit through but still, by the end, is anybody really routing for the Routledge brothers to have a happy ending?
I certainly was not. But this ending is the nearest thing that this film has to a story arc, as is pays off the opening act where Roy risks his life fighting a duel for his cowardly brother against the very German officer who is about to have them executed.
Duty wins out and Monte sees the light at the end after a very melodramatic death scene.
But having said all that, this film is worth it for the action alone and for film buffs, the only colour footage of Jean Harlow.
Where to begin?
Well, we follow the Routledge two brothers as they join the war effort and the Royal Air Corps. in 1914 and whilst one is a somewhat cowardly womaniser, his brother is the noble heroic type who spends the film being screwed over bey everyone in one way or another, but most notably by his girlfriend, Jean Harlow, who is so annoyingly wrong for him that it is a relief when he has heart is broken by her in the third act.
But like mots aspects of this plot, this is as messy and disjointed as everything else. We are given a story line to follow for two hours, as Hughes indulges his legendary love of flying to create some of the best dog fight sequences ever committed to film. They are real, epic and effective in conveying the thrilling danger of these world war one battles.
But this is a film of gimmick. Pushing the pre-code envelope with sex and bad language, this was originally conceived as a silent movie and was re-written and re-shot to become the sound movie whcih we have to today and there in clearly lies the problem. What we end up is a movie cobbled together, with silence sequences being converted to sound, the poor acting from its star James Hall as the idealistic Roy Routledge, Jean Harlow, replacing the original silent star Gretta Nissen for this sound version, excelling in her role as his trampy girlfriend and Ben Lyon as the weaker brother, Monte, but the real star of this show are the special effects.
But of the human stars, Harlow, presented here in the only colour footage known to exist of the tragic star, who would die at the young age of 26 just seven years later, probably delivers one of the best performances in the whole picture, certainly outshining her male co-stars.
Of the special effects though, the use of 2-tone Technicolor, which was actually shot with the Metrocolor system but processed by Technicolor, in one sequence as the group are all together at a party, as well as the classical use of tints during some other scenes, add a vibrancy to the project. But this also can have a jarring effect, especially as we leave the colour scenes and wrap up thet sequences in black and white.
But the model effects, notably the munition raid at the end and the Zeppelin bombing London scenes are spectacular, especially for the time. The other notable gimmick which has yet to be transferred to the small screen, was the original use of what was called Magnascope back in 1930.
This was obviously only used at high end theaters but this paved the way for what IMAX are doing now, by blowing up the aerial scenes into a larger screen format from the 1.20:1 ratio which the the rest of film was presented. But when you add all this up you have got a mess!
Magnascope, technicolor scenes, tinted scenes, daring aerial battles, a half arsed love story and an image of world war which was a kin to that of Michael Bay’s Pearl Harbor’s (2001) view of World War 2! But this is what this is. An early, lavish popcorn blockbuster, with little to offer but cinematic thrills, which it succeeds at without any doubt.
The action is great, the plot is mediocre to say the least but as film, it does offer a brief insight into how cinema audiences saw the Great War back in 1930 and you can not help but think that this audience was only nine years away from the next one as we watch this.
pictureBut the ending was grim, with noble ends rounding off a story of brotherly love and love of duty and country, seems overblown considering what we had had to sit through but still, by the end, is anybody really routing for the Routledge brothers to have a happy ending?
I certainly was not. But this ending is the nearest thing that this film has to a story arc, as is pays off the opening act where Roy risks his life fighting a duel for his cowardly brother against the very German officer who is about to have them executed.
Duty wins out and Monte sees the light at the end after a very melodramatic death scene.
But having said all that, this film is worth it for the action alone and for film buffs, the only colour footage of Jean Harlow.
Gareth von Kallenbach (980 KP) rated Battle: Los Angeles (2011) in Movies
Aug 7, 2019
War movies depicting a group of soldiers against overwhelming odds are nothing new. For generations, moviegoers have been treated to cinematic recreations as well as new scenarios of fighting units in combat. Usually these films follow a typical formula that includes the tough and gritty commanding officer, the naïve new soldier, the one with a woman and children waiting at home, and one who has difficulties with combat. In the new movie Battle: Los Angeles a new twist is given to the formulaic troops-in-combat picture which produces a mixed bag of results.
Aaron Eckhart stars as Staff Sgt. Michael Nantz; a 20 year Marine who, after losing men on a recent mission, has decided that it is time for him to leave and has filed his retirement paperwork from the corps. While completing a training exercise, Nantz and a squadron of Marines at Camp Pendleton are activated for what they are told is an evacuation mission in order to clear Santa Monica and other area residents from a swarm of meteors which are scheduled to hit just off the coast.
Nantz is assigned to a new commanding officer who, like the men in his unit, is wary of Nantz as many believe that he got his men killed in his last assignment. Despite the misgivings of the new lieutenant, he agrees that Nantz offers a wealth of experience and should be just fine for a simple evacuation assignment.
However during the mission briefing, the Marines are informed that the meteors that are hitting off the coast of major cities around the world contain metallic centers and that this is very likely an invasion from an unknown force. While the Marines are deploying an otherworldly fighting unit emerges destroying everything in their path as they moved inland from the coast line. Unsure what they are dealing with, the military decides to carpet bomb the city in order to contain the alien threat and give Nantz and his unit three hours to enter the combat zone and evacuate civilians from a police station.
While the movie is for the most part the standard soldiers-at-war film which substitute’s aliens for the usual enemy forces, the strength of the cast and the solid action and special effects help the movie overcome many of its shortcomings. There is little character development in the film and scenarios that were introduced in some of the characters’ backstories early in the film were given little to no chance to develop once the shooting started.
I also had an issue with some of the tactics in the film. While it may seem nitpicking there were a few scenes where the soldiers didn’t follow logical courses of engagement until later in the film. I have had only the most basic of combat instruction from my brief time in the Air Force, yet I can think of at least four scenarios in the film where the unit failed to use the most logical options available in their combat situation. Of course any film dealing with an alien invasion is sure to have plot holes and yes I can quibble about the Air Force waiting three hours to bomb a heavily overrun area when containment would have been priority one in not allowing a hostile force that much time to entrench itself.
That being said it was an interesting and entertaining film. The enemy was sufficiently mysterious and dangerous enough to hold my interest and had me rooting desperately for the troops to rise up and strike back at the enemy. Michelle Rodriguez does fine supporting work in the role of an Air Force Tech Sgt. who may have the key to turning the tide of the battle. Eckhart is solid as the gruff but caring staff sergeant is equally strong and his unit of young corporals, including R&B singer Ne-Yo, are believable.
Director Jonathan Liebesman knows the core intention of this film is and in doing so provides enough action to keep the audience entertained throughout. despite some issues with pacing and plot. While it doesn’t have the epic feel of Independence Day, Battle: Los Angeles is a film that provides enough entertainment to make it one of the better alien invasion films ever made and one that I certainly would not mind seeing revisited in a future sequel.
3.5 stars out of 5
Aaron Eckhart stars as Staff Sgt. Michael Nantz; a 20 year Marine who, after losing men on a recent mission, has decided that it is time for him to leave and has filed his retirement paperwork from the corps. While completing a training exercise, Nantz and a squadron of Marines at Camp Pendleton are activated for what they are told is an evacuation mission in order to clear Santa Monica and other area residents from a swarm of meteors which are scheduled to hit just off the coast.
Nantz is assigned to a new commanding officer who, like the men in his unit, is wary of Nantz as many believe that he got his men killed in his last assignment. Despite the misgivings of the new lieutenant, he agrees that Nantz offers a wealth of experience and should be just fine for a simple evacuation assignment.
However during the mission briefing, the Marines are informed that the meteors that are hitting off the coast of major cities around the world contain metallic centers and that this is very likely an invasion from an unknown force. While the Marines are deploying an otherworldly fighting unit emerges destroying everything in their path as they moved inland from the coast line. Unsure what they are dealing with, the military decides to carpet bomb the city in order to contain the alien threat and give Nantz and his unit three hours to enter the combat zone and evacuate civilians from a police station.
While the movie is for the most part the standard soldiers-at-war film which substitute’s aliens for the usual enemy forces, the strength of the cast and the solid action and special effects help the movie overcome many of its shortcomings. There is little character development in the film and scenarios that were introduced in some of the characters’ backstories early in the film were given little to no chance to develop once the shooting started.
I also had an issue with some of the tactics in the film. While it may seem nitpicking there were a few scenes where the soldiers didn’t follow logical courses of engagement until later in the film. I have had only the most basic of combat instruction from my brief time in the Air Force, yet I can think of at least four scenarios in the film where the unit failed to use the most logical options available in their combat situation. Of course any film dealing with an alien invasion is sure to have plot holes and yes I can quibble about the Air Force waiting three hours to bomb a heavily overrun area when containment would have been priority one in not allowing a hostile force that much time to entrench itself.
That being said it was an interesting and entertaining film. The enemy was sufficiently mysterious and dangerous enough to hold my interest and had me rooting desperately for the troops to rise up and strike back at the enemy. Michelle Rodriguez does fine supporting work in the role of an Air Force Tech Sgt. who may have the key to turning the tide of the battle. Eckhart is solid as the gruff but caring staff sergeant is equally strong and his unit of young corporals, including R&B singer Ne-Yo, are believable.
Director Jonathan Liebesman knows the core intention of this film is and in doing so provides enough action to keep the audience entertained throughout. despite some issues with pacing and plot. While it doesn’t have the epic feel of Independence Day, Battle: Los Angeles is a film that provides enough entertainment to make it one of the better alien invasion films ever made and one that I certainly would not mind seeing revisited in a future sequel.
3.5 stars out of 5
Gareth von Kallenbach (980 KP) rated Operation Avalanche (2016) in Movies
Jul 15, 2019
You’ve heard me say it before. I’ll say it again. Before this year is out, I’ll say it in perhaps another article. The ‘found footage genre’ of movies was played out in perhaps its most notable appearance as well as its debut in the original ‘Blair Witch Project’. Now they’re gearing-up for another round of ‘beating a dead horse’ with a remake would you believe? However, I’m not here writing this article to go on and on and plague your eyes with an entire article complaining about the issue. No. Why you ask? For the unique reason which is since I’ve been writing reviews for movies, ‘Skewed & Reviewed’ has given me the good fortune to screen movies incorporating said genre that present ORIGINAL ideas. Today’s film for your consideration does so in the form of a unique period piece incorporating one of the most notorious conspiracy theories in the world with a pivotal moment in history. Not just in American history but global history.
July 20th, 1969. Less than 10 years after the Cuban Missile Crisis in the midst of the Cold War the great ‘space race’ between the two world superpowers, the Soviet Union and the United States, is on. NASA astronauts Michael Collins, Buzz Aldrin, and Neil Armstrong journey to the moon aboard the Apollo 11 spacecraft where Neil Armstrong becomes the first human being in history to set foot on the moon. That’s what the history books say. However, almost immediately after the crew of Apollo 11 returned to Earth there were many individuals on both sides who claimed not only was it not possible to land human beings safely on the moon and return them to Earth, but that NASA had faked the entire event in conjunction with other organizations and agencies within the American intelligence and military communities. This is where the basis for today’s film originates.
‘Operation Avalanche’ is an American-Canadian found footage/conspiracy thriller film directed by Matt Johnson who also starred in and co-wrote the film with Josh Boles. The film also stars Owen Williams, Jared Raab, Andrew Appelle, Madeleine Sims-Fewer, Krista Madison, Tom Bolton, and Sharon Belle. The film begins in 1967. The Central Intelligence Agency suspects that a Soviet mole has infiltrated NASA and is providing the Russians with information on American rocket technology. Four employees of the CIA are sent in undercover as a documentary film crew to determine if the agency’s suspicions are true and to determine the mole’s identity. Instead, what the discover sends shockwaves through the agency’s upper echelons and could potentially lead to a Soviet victory in the space race and bring to light one of the biggest conspiracies imaginable.
This movie is a brilliantly conceived and executed piece of film making. It not only includes historical news footage from the event, but combines it with a bit of guerrilla film-making. The film was shot in Toronto, Washington DC, and Houston, Texas. They were able to shoot on site at NASA by claiming they were shooting a documentary which was not entirely untrue. Essential they sort of broke the ‘fourth wall’ three times. The characters in the film were documentary film makers going undercover to shoot a documentary under the guise of a documentary film crew. The attention to detail from the locations, to the music, to the people themselves (how they looked, talked, and dressed) was something that one would imagine would’ve taken a larger budget. These folks pulled it off brilliantly essentially creating a period piece within the film. You get a genuine sense that the characters are who they act like they are in the particular time and place. Four CIA operatives looking to move up in the agency by moving themselves into place to be assigned to an undercover operation with low risk to themselves with the slight possibility of danger but then get caught up in a secret far bigger than anything they originally anticipated. The senses are heightened, the pace increases, and the conspiracy begins to unfold. The film is most definitely worth checking out. It kinda slows down a bit too much at certain points but all in all an excellent film. I’m going to give it 3 1/2 out of 5 stars. It’s certainly what I’d like to call a ‘thinking persons movie’. If you’re a fan of history, conspiracy theory, or both this film is certainly worth watching.
July 20th, 1969. Less than 10 years after the Cuban Missile Crisis in the midst of the Cold War the great ‘space race’ between the two world superpowers, the Soviet Union and the United States, is on. NASA astronauts Michael Collins, Buzz Aldrin, and Neil Armstrong journey to the moon aboard the Apollo 11 spacecraft where Neil Armstrong becomes the first human being in history to set foot on the moon. That’s what the history books say. However, almost immediately after the crew of Apollo 11 returned to Earth there were many individuals on both sides who claimed not only was it not possible to land human beings safely on the moon and return them to Earth, but that NASA had faked the entire event in conjunction with other organizations and agencies within the American intelligence and military communities. This is where the basis for today’s film originates.
‘Operation Avalanche’ is an American-Canadian found footage/conspiracy thriller film directed by Matt Johnson who also starred in and co-wrote the film with Josh Boles. The film also stars Owen Williams, Jared Raab, Andrew Appelle, Madeleine Sims-Fewer, Krista Madison, Tom Bolton, and Sharon Belle. The film begins in 1967. The Central Intelligence Agency suspects that a Soviet mole has infiltrated NASA and is providing the Russians with information on American rocket technology. Four employees of the CIA are sent in undercover as a documentary film crew to determine if the agency’s suspicions are true and to determine the mole’s identity. Instead, what the discover sends shockwaves through the agency’s upper echelons and could potentially lead to a Soviet victory in the space race and bring to light one of the biggest conspiracies imaginable.
This movie is a brilliantly conceived and executed piece of film making. It not only includes historical news footage from the event, but combines it with a bit of guerrilla film-making. The film was shot in Toronto, Washington DC, and Houston, Texas. They were able to shoot on site at NASA by claiming they were shooting a documentary which was not entirely untrue. Essential they sort of broke the ‘fourth wall’ three times. The characters in the film were documentary film makers going undercover to shoot a documentary under the guise of a documentary film crew. The attention to detail from the locations, to the music, to the people themselves (how they looked, talked, and dressed) was something that one would imagine would’ve taken a larger budget. These folks pulled it off brilliantly essentially creating a period piece within the film. You get a genuine sense that the characters are who they act like they are in the particular time and place. Four CIA operatives looking to move up in the agency by moving themselves into place to be assigned to an undercover operation with low risk to themselves with the slight possibility of danger but then get caught up in a secret far bigger than anything they originally anticipated. The senses are heightened, the pace increases, and the conspiracy begins to unfold. The film is most definitely worth checking out. It kinda slows down a bit too much at certain points but all in all an excellent film. I’m going to give it 3 1/2 out of 5 stars. It’s certainly what I’d like to call a ‘thinking persons movie’. If you’re a fan of history, conspiracy theory, or both this film is certainly worth watching.
Dianne Robbins (1738 KP) rated Still Alice (2015) in Movies
Mar 21, 2019
Kristin Stewart's character (3 more)
Alec Baldwin's character
Not true to the book
Watered-down Chen I read the book, I was immersed
Very disappointing
Contains spoilers, click to show
When I read the book, I was immersed with what it was like to have early onset Alzheimer's disease. It was horrifying and painful and I could understand the painful decisions Alice made and the complexity and beauty of the betrayal of her husband. None of this was portrayed in the movie. One of the most terrifying scenes in the book is when Alice mistakes a brown throw rug as a hole in the floor and is too frightened to get near it to answer her door or walk to her bathroom. She could not understand the texture of the rug and that she could simply walk across it. Instead, she curled up in fear and urinating on herself while waiting hours or days for someone to rescue her. Early onset Alzheimer's and the physical and psychological symptoms were not described as well as they were in the book so the film lacked real drama. Also, the relationships between Alice and her husband, Alice and her children, especially Kristin Stewart's character were extremely vague, so they didn't really make sense in the movie.
The only good thing in the film was Julienne Moore's performance. Even though the script was extremely watered down, Moore did the best she could with the material. If they had included more of what was in the book, Moore would have shined. She's an amazing actress and this role was meant for her. It's a shame the script didn't allow her to perform her heart out, which she would have done given the chance.
I'm disgusted by either the screenwriter or director who chose to leave out the most poignant aspects of the book and in their, and all filmmakers, choice to dumb down movies to appeal to the American public by always finishing with a happy ending. There is beauty in pain. There is beauty in death. There is beauty is release. Filmmakers should know that.
The only good thing in the film was Julienne Moore's performance. Even though the script was extremely watered down, Moore did the best she could with the material. If they had included more of what was in the book, Moore would have shined. She's an amazing actress and this role was meant for her. It's a shame the script didn't allow her to perform her heart out, which she would have done given the chance.
I'm disgusted by either the screenwriter or director who chose to leave out the most poignant aspects of the book and in their, and all filmmakers, choice to dumb down movies to appeal to the American public by always finishing with a happy ending. There is beauty in pain. There is beauty in death. There is beauty is release. Filmmakers should know that.
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Darren (1599 KP) rated Night School (2018) in Movies
Aug 6, 2019
Story: Night School starts when high school dropout Teddy (Hart) sees his future go up in smoke right after proposing to his beautiful successful girlfriend Lisa (Echikunwoke) seeing his job vanish and his future employment needing a GED, this forces Teddy to return to high school for a night school.
The former class enemy is now the principal Stewart (Killam) and doesn’t want Teddy in the class, he must prove to the teacher Carrie (Haddish) that he wants to study, while keeping his struggles a secret from Lisa, which sees him becoming friends with the rest of the class to pass.
Thoughts on Night School
Characters – Teddy has been working in sales working off each pay check to look like he has been living a better life, he has a successful beautiful girlfriend, his life changes when he career goes up in smoke and his failure to complete high school is holding him back in searching for a new job. He tries night school, which sees him needing to challenge himself instead of trying to get through quickly. Carrie is a teacher of the night school, she doesn’t take anything from any student, though she is committed to helping people learn. Even if her methods might finally get through to Teddy. Mackenzie and Jaylen are two of the members of the class that are trying to get their education too, with their own stories.
Performances – Kevin Hart does fall back into his normal routine where he tries to throw more of his comedy into a role, rather than showing us a real character, with real problems that should be taken a lot more seriously. Tiffany Haddish continues to show she is great at the fast-taking jokes, but this doesn’t work for the character. The supporting performance are all mostly comedians trying to get their jokes out too.
Story – The story follows a high school dropout that needs to get his GED so he can find a new job to continue living his life of luxury and keep his girlfriend, only this becomes more difficult than he could ever imagine. This is a poorly used story which could address a much bigger issue in education, where the students can suffer with learning disabilities and not get the help needed, it seems to focus on making a joke out of trying to better yourself instead of using the real issues that are meant to be giving these people more of a chance in the future. Even though it might not use this in the final part of the film, it also tries to paint the idea that you could only have a beautiful partner if you are successful. By showing education being a joke for Teddy it doesn’t help anybody that has ever struggled with education before and in the end this does just feel like a stand up routine instead of an actual story.
Comedy – If you want to see fast flowing jokes which feels more like a stand-up routine so if you like that you will get on with this film.
Settings – The film does use the high school settings to show where the learning was coming from and the low paying job that Teddy must take just to make ends meet.
Scene of the Movie – Graduation.
That Moment That Annoyed Me – The comedy.
Final Thoughts – This is a comedy that just misses on the fact the story should be taken a lot more seriously, sadly this could have elevated this film to a new level.
Overall: Unfunny comedy.
The former class enemy is now the principal Stewart (Killam) and doesn’t want Teddy in the class, he must prove to the teacher Carrie (Haddish) that he wants to study, while keeping his struggles a secret from Lisa, which sees him becoming friends with the rest of the class to pass.
Thoughts on Night School
Characters – Teddy has been working in sales working off each pay check to look like he has been living a better life, he has a successful beautiful girlfriend, his life changes when he career goes up in smoke and his failure to complete high school is holding him back in searching for a new job. He tries night school, which sees him needing to challenge himself instead of trying to get through quickly. Carrie is a teacher of the night school, she doesn’t take anything from any student, though she is committed to helping people learn. Even if her methods might finally get through to Teddy. Mackenzie and Jaylen are two of the members of the class that are trying to get their education too, with their own stories.
Performances – Kevin Hart does fall back into his normal routine where he tries to throw more of his comedy into a role, rather than showing us a real character, with real problems that should be taken a lot more seriously. Tiffany Haddish continues to show she is great at the fast-taking jokes, but this doesn’t work for the character. The supporting performance are all mostly comedians trying to get their jokes out too.
Story – The story follows a high school dropout that needs to get his GED so he can find a new job to continue living his life of luxury and keep his girlfriend, only this becomes more difficult than he could ever imagine. This is a poorly used story which could address a much bigger issue in education, where the students can suffer with learning disabilities and not get the help needed, it seems to focus on making a joke out of trying to better yourself instead of using the real issues that are meant to be giving these people more of a chance in the future. Even though it might not use this in the final part of the film, it also tries to paint the idea that you could only have a beautiful partner if you are successful. By showing education being a joke for Teddy it doesn’t help anybody that has ever struggled with education before and in the end this does just feel like a stand up routine instead of an actual story.
Comedy – If you want to see fast flowing jokes which feels more like a stand-up routine so if you like that you will get on with this film.
Settings – The film does use the high school settings to show where the learning was coming from and the low paying job that Teddy must take just to make ends meet.
Scene of the Movie – Graduation.
That Moment That Annoyed Me – The comedy.
Final Thoughts – This is a comedy that just misses on the fact the story should be taken a lot more seriously, sadly this could have elevated this film to a new level.
Overall: Unfunny comedy.
Connor Sheffield (293 KP) rated Evil Never Dies by Lesbian Bed Death in Music
Jul 24, 2017
New vocals are powerful (2 more)
Awesome Rock
More classic horror references\songs
New Vocals, same great Rock!
Sienna Venom is absolutely awesome as the new vocals for Lesbian Bed Death. I was introduced to this band at the time of Kittie Racchea being the vocalist and was saddened to hear she was departing from the band, but also couldn't wait to hear someone new take over and bring us the new era of LBD music. Myself, like many fans were not disappointed.
Sienna Venom is strong and sexy and that comes across in her vocals. Songs like Book of the Dead, Drag Me To Hell and Son of a Thousand Maniacs show her strong dominating attitude whilst songs like Evil Never Dies, and Make Your Wish, bring out the sexiness that comes with having a female as the lead vocalist. That's not to say that Male vocalist's can't sound sexy to certain audiences, but I am simply stating that this band has always been lead by female vocals and that those vocals have always shown strength, beauty and sexiness, and Sienna Venom is carrying on that tradition in her own new way.
Book of the Dead is a song about the Necronomicon from Evil Dead, and Son of a Thousand Maniacs, (Watch the music video) is inspired by and certainly has aspects of the Nightmare on Elm Street franchise. The horror movie connections have always been something I love about this band, and the lyrics are always brilliantly written and performed to a rocking beat, that'll easily get stuck on repeat in your head.
If you haven't listened to this album yet, then what are you waiting for? Watch the music video's above, and listen to the rest of the album. They're awesome and so is their music!
Sienna Venom is strong and sexy and that comes across in her vocals. Songs like Book of the Dead, Drag Me To Hell and Son of a Thousand Maniacs show her strong dominating attitude whilst songs like Evil Never Dies, and Make Your Wish, bring out the sexiness that comes with having a female as the lead vocalist. That's not to say that Male vocalist's can't sound sexy to certain audiences, but I am simply stating that this band has always been lead by female vocals and that those vocals have always shown strength, beauty and sexiness, and Sienna Venom is carrying on that tradition in her own new way.
Book of the Dead is a song about the Necronomicon from Evil Dead, and Son of a Thousand Maniacs, (Watch the music video) is inspired by and certainly has aspects of the Nightmare on Elm Street franchise. The horror movie connections have always been something I love about this band, and the lyrics are always brilliantly written and performed to a rocking beat, that'll easily get stuck on repeat in your head.
If you haven't listened to this album yet, then what are you waiting for? Watch the music video's above, and listen to the rest of the album. They're awesome and so is their music!
Gareth von Kallenbach (980 KP) rated The Wolves of Savin Hill (2014) in Movies
Aug 16, 2019
The indie movie, The Wolves of Savin Hill is a very fine directorial debut for John Beaton Hill. He also wrote this story where sentimentalities and brutality clash between two best friends who have lost touch over the years. In their youth, they made a promise youth that now haunts them as they are adults. In what results is a trial of what’s left of their friendship. In how this film treats the subject matter is like that of silent lucidity.
In what they have become, Tom (David Cooley) stayed in Boston only to grow up to be an alcoholic troublemaker and Sean (Brian Scannell) relocated to Los Angeles with Tom’s sister Emily to eventually work the beat as a cop with an axe to grind. Anyone who tries to mess with him often got the end of the stick. But when Emily is found dead and news reaches home, Tom goes to LA to confront Sean. The web of deceit he finds himself in is more than he can handle.
Cooley and Scannel deliver strong performances. The plot only gets stranger at every succeeding moment, and the draw this film creates gets viewers invested into wanting to understand the psyche of each of these leading men. Hill crafted a nicely enticing film that wraps two time periods together to reveal the darkest nature of what friends are willing to do for each other. The flashbacks are far more interesting than the now.
To reveal anymore information will only spoil the causality of how these two have to contend with each other. When this film hits more festivals, viewers can discover for themselves in what human nature means according to this filmmaker. The hills have eyes and what he sees may not be necessarily good.
In what they have become, Tom (David Cooley) stayed in Boston only to grow up to be an alcoholic troublemaker and Sean (Brian Scannell) relocated to Los Angeles with Tom’s sister Emily to eventually work the beat as a cop with an axe to grind. Anyone who tries to mess with him often got the end of the stick. But when Emily is found dead and news reaches home, Tom goes to LA to confront Sean. The web of deceit he finds himself in is more than he can handle.
Cooley and Scannel deliver strong performances. The plot only gets stranger at every succeeding moment, and the draw this film creates gets viewers invested into wanting to understand the psyche of each of these leading men. Hill crafted a nicely enticing film that wraps two time periods together to reveal the darkest nature of what friends are willing to do for each other. The flashbacks are far more interesting than the now.
To reveal anymore information will only spoil the causality of how these two have to contend with each other. When this film hits more festivals, viewers can discover for themselves in what human nature means according to this filmmaker. The hills have eyes and what he sees may not be necessarily good.
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