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Black Adam (2022)
CALLING ADAM 12
I wanted to have this film arrested. I've come to the conclusion that the words like SHAZAM & KAZAAM are jinxed. It didn't work for Shaq and it sure didn't work for The Rock.
Just like The Rock, the CGI was on steroids. Someone needs to tell these tek geeks that just because you can doesn't mean you should. Let the film breathe and let the CGI take a vacation once in a while.
In terms of the acting, well apparently it went MIA. Additionally, the dialog did not provide any security blanket for the actors; such banal dialog seemed out of place in this make-believe land along with the various dialects and accents.
And oh that kid after a minute got on my ...you know what I am going to hold my criticism of him until he reaches puberty. I don't wanna be accused of child abuse.
I especially dislike the character played by that 007 refugee who is able to tell the future. In fact characters in films that are prescient are so annoying. If there is no mystery to life then why bother? What good is knowing the future if you can't do anything about it? But that's just a personal pet peeve. Man, he was a thorn in the eyes.
All the superheroes were so over the top if that is even possible for a superhero. Where's Batman when you need him, in fact I'll take his butler.
Also, all the killing in the film was overkill (pun intended) or at least the thematic tongue-in-cheek moralistic glorification of it was.
And what's with all the slo-mo and pausing? The style of this film was a cringe-fest. As far as the Director; apparently he kept all the directing to himself because he sure didn't give the actors or the film any of it.
However, not everything was bad. Some of the costumes were entertaining particularly that of the "Cyclone". The cheesy song serving as the theme for the kid's uncle was cute although I would have liked a different song like Rapper's Delight. Also the actress playing Adrianna occasionally delivered some fruits but eventually, the fruits dried up.
The best thing about the film is that supposedly it does end but fortunately, I didn't stick around to see find out.
What Bitch? (2020)
WE ALL BEEN THERE
This was just plain delightful. The kind of experience we all had or someone in our posse experienced. The film is based on a true tale and the acting is simple and effective and basically on the real. Also, the direction and production were skillful. The "LOLs" were non-stop and minutes after the film's ending my face refused to let go of the sonrisas. Additionally, the way the piece of ranchero music was used to enhance the action is brilliant. OK, all of a sudden I have the urge to do some shopping at a thrift store as well as an appetite for gumballs. Hopefully, I will not engage in any fisticuffs.
A Jazzman's Blues (2022)
CAIN & ABEL & EVE (The Remix)
CAIN & ABEL & EVE (The Remix)
This film is inspired by the Biblical story about Cain and Abel but with a bit of Eve and the Serpent Apple added into the mix.
The film is beautifully shot; and the costumes, music, dancing, and the 40's vehicles are entertaining elements indeed.
The story however is a gumbo bag of blues. We are talking racism, Jim Crow, betrayal, a marital affair, wife abuse, incest; corruption, and lost love; and those are the major chords.
The story is accompanied by narration via letters given to a White bureaucrat by a Black old woman in the hopes that a murder that occurred decades ago is solved. The flashbacks begin.
There are two brothers. Willie Earl the eldest is dad's fave son and can play a mean trumpet. The younger Bayou is illiterate and looked upon as being soft and not so smart. The father treats Bayou like an unwanted step-child, to say the least. The older brother joins the dad in the "bullyfication" of Bayou. However, the mom Hattie Mae is always there to defend Bayou. The loser dad jettisons the family to pursue a career as a musician and the older brother, later on, follows the dad's lead.
As it turns out Bayou is an amazing songbird and this becomes the saving grace for Bayou as well as his ingrate brother who just returned home and tries to hide his failure with braggadocio tales of triumphs.
Bayou meets a light-skinned Black female named Leanne and they start to fulfill each other's voids. They fall in love to the dismay of her parents. Leanne's conniving evil and also light-skinned mother then takes her away to find a better life elsewhere and leaves Bayou drowning in tears while her neanderthal father laughs at Bayou's distraught.
Eventually, Leanne and Bayou achieve success in their own way. Bayou via singing the blues and Leanne via effectively posing as a Caucasian and then marrying a promising rich White politician. On a suspend reality note; Leanne still looked like a light skin African-American with physical attributes and all so it is incredulous how she got away with it.
The brother Willie Earl thinks he is a star but ends up basically as a glorified sideman in his brother's band. This irks him to no end. He starts an intimate relationship with heroin and becomes a thorn in his brother's backside. Eventually, it causes Willie Earl to commit the ultimate betrayal.
Bayou and Leanne do cross paths again and renew their amorous ways. They ignore the warnings of family and friends and continue with their dangerous liaison. Leanne becomes pregnant and she maintains a vigil on the baby's skin color stressing out if it is becoming darker.
In the end, Bayou who is the protagonist; the good son, and the decent human being turns out to also be an emotional fool. Bayou bites the apple and his selfish actions lead to wrecking his mother's business; the death of two so-called bodyguards; the lives of his band-mates being jeopardized and unfortunately it leads to facilitating his own demise.
Bayou was a bit absent in the cap after all. As it is often preached in books, sermons, and speeches; let go of the ego.
Generally from an educational POV, nothing was said about the evils of racism and Jim Crow that haven't been expressed before in films or other platforms. There were no major profound insights into human relationships. As far as any redeeming qualities of the featured male characters; well they didn't fare well as bastions of morality or responsibility. They could have learned a thing or two from Hattie Mae.
The Black passing for White angle has been touched on before and I have no problem with it being explored again. However, in my opinion, it was done more effectively in other films like Shadows, Imitation of Life (with Fredi Washington), and even Show Boat albeit in the 30's/40's you often needed to use a White actress due to the attitudes of the times. Additionally, these days microscopes are more powerful and abundant and thus can be a formidable task for today's filmmaker when it comes to revisiting old themes.
Justice was not served in the case of Bayou's murder. Apparently, it will not ever be served if the Confederate flag on the bureaucrat's porch has anything to say about it thus the same ole same ole there. And of course, in regards to the bureaucrat, one is left with a Maury Povich moment.
Nevertheless, the film was an entertaining visual and musical hang. I don't regret watching it and Perry did superb work as a Director, however, in the end, I was left with this nagging thought, "What was the point of this film?"
Et Dieu... créa la femme (1956)
MILLION MERCI BARDOT!!!
I would have given this a 10 but there was too much of a story line.
This film is not porno; it is erotica at its finest. It is about an 18-year-old orphan named Juliette played by Bardot. She is living with a foster family who is about to send her back to the orphanage if she continues with her sexy alluring demeanor. Even foster grandpa in a wheelchair tries to get in some peeping action. First of all, back then could they actually do that? Force a woman at 18 years old to live in an orphanage until she is 21? Sounds like a plot hole to me.
Anyway, she is in love with a man who was only interested in a one-night stand. When she discovers this she rebuffs him. However in order to avoid going back to the orphanage and to get back at him; she marries his younger brother. Juliette then moves into the household consisting of three brothers and a mother. Things get a bit awkward rather quickly.
The film is directed by Roger Vadim, takes place in France, and the dialogue is in .... actually who cares. The important thing is that the sexiness really goes off the chart when she performs a mesmerizing sensuous dance to Afro-Cuban music.
This film has been an entertaining lustful and erotic adventure thanks to one of God's finest creations in Brigitte Bardot and to my wife who is asleep in the other room.
Ivanhoe (1952)
MISSED THE MARK JUST LIKE MOST OF THEIR ARROWS
I enjoy many films from yesteryear; the 50s, 40s, and before including the silent era. In fact, they are my fave decades of film watching and education. I can also put films in the context of an era or state of technology.
Having said all that; this film sucks. How in cinematic heaven did Ivanhoe get an Oscar nom for best picture? The acting; the script; the plot; the casting; and the battle scenes all missed the mark. And just when you thought it was safe to go back in the water; there's the singing. Yes, the singing by Robert Taylor was atrocious. If I didn't know any better I would think that lurking somewhere in the forest is Mel Brooks.
Now some of the costumes were passable mainly due to the magic of technicolor. It made them a bit more vivid. Also the sound design was quite good in the battle scene between Ivanhoe and De Bois-Guilbert. Other than that the only thing that keeps this from falling into a moat or from a 0-star rating is Joan Fontaine and Elizabeth Taylor for obvious reasons.
Julie (1956)
JULIE THEME SONG - BAD TO THE BONE
I just started watching the film and I almost choked on oxygen listening to that theme song. The worst fit for a movie ever. How in God's blue sky did it ever get nominated for an Oscar? That song belongs on a cheese and cornball platter not in a film about a woman being threatened by her husband. OK I'm going back to watching the film now that the song is over. Hopefully I can now start taking the serious themes seriously.
The Beatles: Get Back (2021)
THE FAB FOUR VS THE DRAB FOUR
This is just stunning footage and sound. They were all multi-millionaires and accomplished so much at this point. They did not need to invest so much energy, effort and emotions into the original project and to the project it eventually became. They did it despite all the drama and their fans have benefited.
Yes I understand it is long and periodically the Fab 4 can come of well .... like the Drab 4. There are quite a few cringe attacks but even those moments provide a unique magical peek into the creative process of these music geniuses and their compositions as well as the personalities behind the greatest and most successful band in history. Even so called "boring parts" are actually interesting if not mesmerizing.
If this film was a sequence of slick edits and squeezed into a standard 90 minute length then it would lose so much flavor. It would run stray off its historical value. It is so rare to see a film that also serves you up with a treasure trough of outtakes. I often find it educational and at times entertaining seeing what people, and restaurants throw out.
Personally I wish they make available all the film footage and audio recordings at one point in the near future. I'm sure the outtakes of the outtakes would be a neck twister sprinkled with controversial pearls.
As far as Yoko Ono; that is indeed a ruff watch even though for the most part she just sits there like a quiet storm. When she does open up her mouth, OMG it comes off like an attack of giant off-key cicadas. The gull of that human to dare jam with the Beatles.
Lennon and Ono are handcuffed to each other both mentally and physically. Yoko may be a rose to John but she is a thorn to the audience and I venture to say to the other band members and crew. Why in God's green earth would a woman or a man subject themselves never-mind others to a constant Siamese-twin existence.
In fairness to Yoko, the other members brought in visitors but the appearances were brief and unobtrusive relatively speaking. They stayed out of the way while the band was doing their thing. I'm sure a Psychologist could write volumes about John and Yoko. This is a classic example of a person not caring what other's think. Still, Yoko was part of their history and it was interesting to see that chapter.
Added treats included Billy Preston; vintage pics and home films of them as teens, Maharishi clips with Mike Love of the Beach Boys, George Martin; George's rainbow-esque guitar and pink pinstriped suit; John and Paul dancing together; the Yoko wannabe in Heather; John helping crew with moving equipment; John's happy announcement of Yoko's divorce; the partners of the other band members and their "bandter" in general. Also cool were the various impressions of other artist; versions of other classic songs: and themselves performing their classic songs as old men.
Off course the rooftop scene / performance marking their last performance together speaks for itself. CLASSIC!!!
Props to the Director for taking up such a daunting task of sifting through all those songs and footage.
If you're a Beatles fan but the film's length becomes a hard day's night then take advantage of today's technology. Just forward or speed it up to choice sections. In fact you can do a deep dive and edit it yourself.
Once Upon a Time in America (1984)
THE FLOW WAS GREAT BUT THEN THIS HAPPENED
Generally enjoyed this film (director's cut). The acting, direction, costumes and music was superb. It indeed was a visual and artistic success. A great production.
HOWEVER they dropped the ball with the "Deborah" rape scene.
Now earlier there was a staged "rape" scene with Tuesday Weld. It was more of a role playing scenario as presented in the film. The character wanted it and it was used as a payoff for her part in the robbery. I still have some issues with the way it was presented but I will give them the benefit of the doubt.
But the "Deborah" rape scene was real and went too far. Not only did it come off gratuitous and unsettling; it didn't jive in terms of the Robert De Niro character. Until that point the protagonist "Noodles' was one gangster that seem to have some semblance of morality. There was no indication that he would rape a woman he has known and loved since childhood who also is his friends' sister.
Maybe Leone was informing the audience that "Noodles' despite outwardly appearances is a sociopath however the scene comes off like is was trying to go for a cheap shock value.
Rape is ugly I get it but did the director have to be so explicit. Supposedly in the book the rape was foiled before consummation but in the film it sure went all the way. I just feel that the scene somehow broke the "4th" wall to a point of cringe.
Additionally "Noodles" did not pay a price for this crime. In the end he doesn't directly express remorse for the rape nor does "Deborah" or her brother refer to it in either words or in deeds. In other words "Noodles" gets away with the rape. He should have been the one to end up in the back of the garbage truck.
10,000 BC (2008)
Are the Humans Mice or Ants?
They loss me when these giant ass Woolly Mammoths ran away in mortal fear from humans whom come off like ants next to them. Now in all fairness they do say that Elephants are afraid of mice so perhaps they looked as these half naked men as a bunch of rodents with toothpicks.
The Hard Way (1943)
IDA LUPINO NAILED IT
Superb acting by Ida Lupino in this film about the pitfalls of show business. Joan Leslie also turned in a pretty good performance. The script and film was a bit lacking but Ida keeps you involved.
It seem that the films of that era were generally chauvinistic. The man is the hero and the woman always defers to the man. The most important thing for a woman is to get married and take care of her man. This film is stereotypical of that era. Personally I felt the "Helen Chermin" character was treated unfairly in the film and the "Paul Collins" character was treated as heroic for being somewhat of a selfish womanizing heel while. The "Katie Blaine" character was treated like a heroine although she was ungrateful and gullible artist who took no responsibility for her actions.
Bottom line, Ida Lupino is worth the price of admission.
Keeper of the Flame (1942)
AMAZING - LIFE IN 2020 IMITATES ART FROM 1942 (Almost)
This film is fascinating and insightful. It had me riveted through out but toward the end when the dark secrets started to be revealed, I literally fell out of my chair.
It was a forecast or an omen of the political crisis that we facing today. The beloved politician thought of as a hero who had the potential to be POTUS turns out to be an evil wanna be fascist. Fortunately for a freedom loving world he is killed in a car "accident". His wife who could have prevented his death allowed him to meet his well deserved fate in the name of justice and freedom.
If one did not know the year of this film; you would think they are talking about the clown prince of darkness, P-45. If ever there was an example of life imitating art, this is it. Now if only Melania would complete the the equation by ... mmm ....you know what, let me not go there. (G.F. - RIP)
Armored Car Robbery (1950)
LEGS DIAMOND
Pretty much a ho-hum affair. Not much mystery or drama or challenge or empathy for any of the characters. Inspector Clouseau could have solved this crime without any pratfalls. The saving grace are Adele Jergens' legs. They are pure diamond. Anyway did I mention about Adele's legs?
The Famous Ferguson Case (1932)
THE COLOR OF CHOICE
This film was a pleasant surprise. Unlike some films of that era it had plenty of substance to keep my mind engaged past "The End" and just enough style to keep my taste buds involved.
It did have it couple of speed bumps. In the beginning ; it had me running for my reading glasses and at one point; I was waiting for someone to ask me if they can hear an "Amen". However for the most part it was front page stuff.
Although made it 1932, it served as a premonition of the corporate sponsored goofiness to come not only with the tabloids like the National Enquirer but also with the established mainstream media outlets like the Washington Post, NY Times, CNN, MSNBC and of course Fox News. Sometimes it feels that these days when it comes to journalism; Yellow is now the color of choice.
Lady on a Train (1945)
DERAILED
Couldn't finish this film ... so ridiculously off track ... more perforations than a colander. I got off the train when she became Margot Martin and got slapped by Aunt Charlotte but I should have gotten off at Grand Central Station.
Cornered (1945)
ONE NOTE SOMBER
A frustrating almost two-hour mix of unlikely scenarios, story holes; and a clueless, obnoxious, one-note somber acting Dick Powell who likes to take showers in front of strangers. All of sudden I have a headache.
Jimmy the Gent (1934)
RICHER BY THE DOZENS
This flick was indeed a lighthearted fun romp. The "playing the dozens-esque" lines between the various characters are as priceless as a Walton family inheritance. The Fight of the Night honors goes to Davis and Cagney. Their sparring was as precious as a mother's love ... mmm ...well almost.
I can't wait for the next time someone tells me that they're thinking about me.
The Star (1952)
WHAT A MIRACULOUS GIFT
Baby Jane smooching Capt. McCluskey while a smiling Maria watches in joy!!! And they say there's no such thing as Santa Claus.
Old Acquaintance (1943)
SHAKE RATTLE AND ROLL
Davis shaking up Hopkins is sheer genius. An absolute treasure on to itself. In fact just read the synopsis then cue up to that scene and when the scene ends, just roll the credits.
Satan Met a Lady (1936)
NOT EXACTLY THE CHARLES LINDBERG CASE BUT CLOSE
They had to have kidnapped Bette Davis and forced her to do this film at gun point. For the studio to waste the time of this major star was indeed a crime. This flick was painful, I'm talking major "kaka". It probably single-handedly caused a drop of Trumpet sales during that period when it was released.
The only saving grace was Marie Wilson who played the role of the secretary, Miss Murgatroyd. I'm sure she was the inspiration for all those actresses who perform or do that stereotypical nasal ingenue dumb Blonde shtick.
Having said all that the film is still an amusing watch if you take a couple of hits of "devil's lettuce".
Deception (1946)
DON'T RAINS ON MY PARADE
When you have great actors, great production value, great cinematography, great music and a lot of rain; you tend to think you have a great film especially when it is shot in classic B&W. Well this film has all those elements but this film is stupid.
Davis, Henreid and especially Rains do an acceptable job but the "Come on, really?" story line inspires them to go dangerously near the top and at times over it.
I mean at one point Henreid starts choking Davis for practically having a fur coat in her closet. Maybe for PETA he would be a hero but for the "Me Too" movement, he would have come off as a heel to say the least.
Also Radcliffe (Davis) brings Novak (Henreid) into her luxurious to die for loft and without batting an eyelash; she nonchalantly tells him that she is not doing that well financially. I was waiting for her to whine about not being able to get good help these days.
Another time the horrible, sadistic and music obsessive Hollenius (Rains) was sitting in bed reading a Dick Tracy comic strip as if it was Mozart biography and used it as a weapon to insult Radcliffe. I'm surprised he didn't fart in the Key of C Minor. (BTW who in hell would name their kid Hollenious?)
This film is still worth viewing but only if you can handle a lie, are not a music teacher and most important of all that you bring an umbrella.
The Corn Is Green (1945)
Bette was Gold but ....
Bette Davis did an Oscar worthy performance and should have been nominated. She was brilliant. The rub is the story itself in particularly the ending which was a "coal mining" disaster and overshadowed her performance.
First of all the fact that Miss Moffatt was ready to conspire with others to keep the knowledge hidden from Morgan that he had a child for the sake of a "higher societal calling" in the form of an education was troubling.
Next that she agrees to adopt the baby and then tells Morgan that she will be moving way so that he may never see his child thus removing an obstacle to his path toward a higher station in life; is even more troubling.
Finally that Morgan despite his original and aggressive intention to raise his child capitulated and accepted Miss Moffatt's rationale to abandon his child, and then goes off to celebrate his hero status among the villagers; is ...well... let me put this way ...not exactly as virtuous as the film tried to make you believe.
Address Unknown (1944)
So You Wanna Be In Sho-Biz?
Becoming an actor is much more dangerous than you think.
Gojira (1954)
A GIANT OF A FILM
This film is an amazing and brilliant production even if it had been made today. The fact that it was made in '54 and not too long after the dropping of the A-Bombs on Japan; makes it that even more amazing, interesting and emotionally touching.
You can see how it has served as a blueprint and a template for so many films of this genre. Many have followed in its footprints but they have come up short.
One make think that on the surface it is a frivolous superficial monster flick but they would be horribly wrong. The story line, the symbolism, the acting, the technical aspects and the general production of this masterpiece is A-PLUS.
For Whom the Bell Tolls (1943)
The Bell Tolls For The Film
I gave this one star because there was only one "star" in the film and that was Ingrid Bergman. The youthful refugee from Casablanca was absolutely gorgeous and the camera/lighting team were on their A-Game during her close-ups. Additionally her cropped hair highlighted her beauty even more.
As far as the rest of the film, now I know why the bell was tolling. It was for this film! Hate to come off like a troll but this film was dead on arrival.
I don't know how this picture managed to receive so many Academy Award nominations. To start off the makeup of the non-Spaniard actors was dismal. It made them look like soiled Zombies meanwhile Bergman and Cooper always looked impeccable despite snow, bombs and dusty caves.
As mentioned earlier, Bergman looked stunning but her acting was basically a one-note samba. Not her fault, there was nothing there to work with other than chasing after Gary Cooper for kissing lessons.
Cooper was mediocre and the others were efficient but after awhile it became "enough already". Now Katina Paxinou and Akim Tamiroff's acting was the most interesting and entertaining but it was difficult to get past the make-up, the story line and the slow pace of the film. After awhile they all became such caricatures.
Now for a film that was about the Spanish Civil War and the protagonist was a English/Spanish language instructor; there was no Spanish spoken other than "Hola" and "Ingles'. Also the sets and location shots looked more from Montana than Madrid. This film could have taken place in Yugoslavia for all I know. One of the first war fatality in the film was the culture of Spain.
This film was a struggle to watch. They should have titled it, "FOR WHOM THE BELL TOILS".
Summer Stock (1950)
JUDY JUDY JUDY !!!
The whole ensemble does a fine job and Kelly is well Kelley, always amazing. The film however shines mainly due to Garland. Without her it is just another musical. Even her personal demons and studio pressure cannot mute her brilliance. Her performance of "Get Happy" in a tuxedo that displays the "gams" of life; is alone worth the price of admission. Judy Garland was indeed a unique and wonderful talent.