Mini Mini Reviews #2

“The Omega Man” (1971) – More or less, it’s a lame version of “The Last Man on Earth,” that exchanges all of its subtlety and tension for over the top goofiness and really poor effects. Grade: D+

“Moonstruck” (1987) – A very heartwarming romance with one of the more honest performances out of Nicholas Cage, while also proving how multi-talented Cher can be. Grade: B

“Cleopatra” (1963) – This should be the dictionary definition of extravagant and box office failure. The history behind “Cleopatra” is far more interesting than the movie itself, though that might be due to the four-and-a-half hour runtime. I wouldn’t have nearly as much problems with the film if it wasn’t the longest film I’ve ever watched and nothing about the film justifies that runtime. Grade: C

“The Death of Stalin” (2017) – A nice palette cleanser after “Cleopatra,” “The Death of Stalin” feels like the Russian equivalent of “Dr. Strangelove” focusing on incompetent idiots having to deal with problems they were never prepared for. Great dialogue, wonderful performances, and a hilarious pace that never lets up. Grade: B+

“Cornered” (1945) – A man travels to Argentina to find the Nazi who killed his wife, and the film utlimately becomes more about stopping that same Nazi from controlling some crime syndicate or something. It started out great and Dick Powell’s performance really captures the grief and pain he’s going through, but somewhere along the way the film loses its focus. Grade: C+

“Scoob!” (2020) – One of the best children’s movies in the last year, “Scoob!” is colorful, funny, loyal to the source material, and most importantly, fun. It takes Scooby-Doo to a more personal level than he’s ever been while still having a great sense of humor about it all. The opening is touching and the ensuing sequence where they remake one of the classic Scooby-Doo moments is great to see. Even though it’s aimed for little kids, there’s enough here for older fans of Scooby to enjoy this movie. Grade: B

“A Ghost Story” (2017) – Is it cliche to call this film haunting? One benefit I’ll give “A Ghost Story” is that, in the case of other thought-provoking indie films like “Under the Skin” I’d normally be bored out of my mind with so little happening in the film and even less pontificating. And while there are some annoyingly slow or nonsensical moments in “A Ghost Story,” the film really does drive home how distant, cold and worrisome death can be. It certainly has some bizarre artistic choices, but those choices do lead to a point that makes the whole piece worth it. Grade: C+

“Candyman” (1992) – This is a supernatural horror film way ahead of its time. Much like “The Twilight Zone,” “Candyman” uses myths and legends to talk about issues that plague society, and especially societies that often get unheard, especially in the 1990s. Wonderful writing, spectacular performances, some impressive cinematography, and horrifying effects, this one shows why the myth of Candyman has stuck with us for so long. Grade: A-

“I am a Fugitive from a Chain Gang” (1932) – For 1932, this film is as politically charged and controversial as Hollywood could be, taking a long, hard look at the dehumanization of the criminal justice system and how it defines those who have been in it. This film is brutally honest and horrifying for its time, but surprisingly thrilling, especially due to Paul Muni’s gripping performance as a man caught up in the mechanisms of a corrupt and petty form of justice, and how that changes him from the inside out. Grade: A+

“Horse Feathers” (1932) – Not the best Marx brothers comedy, but this one is certainly worth watching if only for the climatic football game where the brothers go all out. At times, it feels like a cartoon in how energetic and absurd they get. Grade: C+

“Gattaca” (1997) – A thought-provoking piece of speculative fiction, “Gattaca” explores every aspect of how humanity would change if we went all in on the genetic manipulation, both the good and the bad, especially how that would make the best of us possible but also create a new form of descrimination against those who didn’t have their genetics changed. It’s an effective triumphant story, sold by Ethan Hawke’s emotional performance, with some eye-opening world building. Grade: B+

“The Yearling” (1946) – This is your standard, run-of-the-mill boy and his dog story, except that it’s a baby deer instead of a dog, complete with a coming-of-age story about the boy fighting for his home and growing up a little faster than expected. The best part is certainly the boy’s father, played by Gregory Peck, who has the same likable charm we’ve come to admire from him in works like “To Kill A Mockingbird” and “Roman Holiday.” Grade: C

“Murder by Contract” (1958) – This is a barebones film noir about a hitman with a strict code that he adheres to, with a strange sense of superiority that gives him a rather cool edge. Aside from a memorable soundtrack and the coolness of the main character, this is your basic film noir. Grade: C+

“Da 5 Bloods” (2020) – Describing “Da 5 Bloods” as a strange mix of “Do the Right Thing,” “Apocalypse Now” and “The Treasure of the Sierra Madre” would not do this film justice. Much like all of Spike Lee’s best work, this film captures a great pain that is timeless in its relevance, in this case the mistreatment of black soldiers during the Vietnam War and how situations have not improved much since then. Most of this is sold through the tortured performance of Delroy Lindo, a man teetering on the edge of clarity and insanity, and a brilliant fusion of Fred C. Dobbs and Colonel Kurtz. It is eye-opening, impactful, thrilling, visually stunning, and it is Spike Lee in his element. Grade: A

“Underworld U.S.A.” (1961) – If “Mildred Pierce” is the perfect Mother’s Day film noir, then “Underworld U.S.A.” is the perfect Father’s Day noir, about how far one man will go to avenge his old man. What really hits home is that, while we never get to see the father alive, we see just how much he impacts our protagonist (Cliff Robertson) in his day-to-day life, making this a tribute to how much a father influences his son’s life in invisible ways. Grade: B

“San Francisco” (1936) – Aside from the spectacularly executed earthquake special effects and model use that followed that scene, nothing too extraordinary about “San Francisco.” Other than wanting to slap Clark Cable for being the most insensitive, smug, selfish prick on the planet, and that apparently D.W. Griffith co-directed it, which would probably explain why the film wants us to sympathize with the most unlikable man on the planet. Grade: C

“Tokyo Godfathers” (2003) – “San Francisco” could have learned a thing or two from this movie about taking characters that should be unlikable or despised and giving them dimensions, trauma and redemption. Everything about this movie flows together so perfectly, especially the broken homeless family healing each other through actions even they didn’t know they had in themselves. Grade: A-

“A Matter of Life and Death” (1946) – The best way I can describe “A Matter of Life and Death” is as a reverse “Wizard of Oz,” where real life is filled with bright technicolor and new opportunities to explore and love, and the fantastical is shot in black-and-white and is shown to be a dreary, monotonous bureaucracy. If you enjoy “Wizard of Oz,” you should definitely give this one a try. Grade: A-

“The Loneliness of the Long Distance Runner” (1962) – Certainly the most angsty, rebellious British film I’ve ever seen. It shows a darker, more honest look at the impoverished side of Britain and the hardships that those people carry. Grade: C+

“I was a Male War Bride” (1949) – One of the better examples of a love-hate relationship I’ve seen in Hollywood movies, where both partners (played by Cary Grant and Ann Sheridan) constantly try to one-up each other in the most showoff-y way possible, which gets on the other’s nerves, while always going out of their way to help the other whenever possible. It is odd that the titular plot of the film, about Cary Grant having to pose as a war bride, only comes in the last 40 minutes, but this light screwball comedy still works throughout. Grade: B

“Chariots of Fire” (1981) – On the complete opposite end of the spectrum from “Loneliness of the Long Distance Runner,” this film is all about proper Englishmen and devotion to that prim and elegant lifestyle above all else. Still, the most interesting thing about “Chariots of Fire” was the soundtrack, mostly because the electronic 80s music feels so strange when used for a film set in the 1920s. Grade: B-

“Earth vs. the Flying Saucers” (1956) – What pushes this film above other 1950s sci-fi movies is a few things. Ray Harryhausen’s effects work on the flying saucers breathes new life into something we often take for granted now, the final battle on Washington D.C. still holds up surprisingly well, especially when combined with other effects that aren’t stop motion, and the romance between the two leads (Hugh Marlowe and Joan Taylor) is charming and never overbearing, making the two leads some of the more likable protagonists in any 1950s sci-fi movie. Grade: B

“The 7th Voyage of Sinbad” (1958) – Going in, I thought the only thing of note was going to be Ray Harryhausen’s stop-motion effects, but there are a few other stand out things about this epic fantasy. Namely, Bernard Herrmann’s score is as good as any of his music for Hitchcock’s films, atmospheric and adds a new sense of scope to the many monsters Sinbad must defeat. Still, the Harryhausen’s effects steal the show and take on a life of their own, especially with so many different monsters here, such as a two-headed bird, multiple cyclops, a swash-buckling skeleton, and a fire-breathing dragon. Grade: B

“OSS 117: Cairo, Nest of Spies” (2006) – To be a truly great parody, you have to love what you’re parodying. “Cairo, Nest of Spies” might be the best parody since “Airplane!” because it doesn’t just nail the aesthetic, camera techniques, green screen effects and fight choreography of the James Bond movies, but the views and attitudes of the time period too, putting Bond’s gross misogynistic and insensitive views on full display to show just how out of date they are, without having the dimwitted, backwards spy who doesn’t know any better come across as unlikable. This spy parody blows all of the Austin Powers movies out of the water. Grade: A

Mini-Mini Movie Reviews

I picked a weird time to stop reviewing films. Apparently when this website stops publishing, a pandemic begins.

Over the last two months of silence, I’ve taken on some new responsibilities that have kept me away from film reviews, mostly a new job that allows me to work from home. And while I’ve been focusing all of my attention on that job, that didn’t stop me from watching the occasional film, including over 20 films I’d never seen before.

And while I don’t quite have the time to write full length reviews on all of them (including some that I watched over two months ago), I do feel like I should give my thoughts on all of them, even if it’s just one sentence on each. So I’m going to try something new by offering you some mini-mini-reviews. I’ll try not to make this a regular thing, but can’t make any promises.

“Paprika” (2006) – Imagine if “Inception” was animated by Miyazaki and was more of a psychological thriller about making literal dreams into reality, and throw in some anime insanity and you’ve got “Paprika.” Grade: B+

“Falling Down” (1993) – All it takes is one really bad day for some people to snap, and “Falling Down” pushes the envelope of how one man going on a rampage against the society could be any of us, pulled together by an off-the-wall performance from Michael Douglas. Grade: B+

“Crime Wave” (1954) – “What do you want? Christmas every day?” is one of the greatest and most quotable movie lines that no one talks about. Grade: B-

“Red Dragon” (2002) – A much scarier depiction of Hannibal Lecter than “Silence of the Lambs,” while never shying away from what makes him such a likable villain in the first place. Grade: B

“Monkey Business” (1931) – Aside from “Duck Soup,” this might be the best Marx Brothers film, with many memorable slapstick moments and gags that play so well with everyone stuck on a cruise ship. Grade: B



“Sanjuro” (1962) – Not the best Kurosawa film, and certainly a downgrade from its predecessor, “Yojimbo,” but it is serviceable as a lighthearted period piece about rival feudal gangs trying to seize power. Grade: C+

“Address Unknown” (1944) – If the Twilight Zone had been made in the 1940s, I could see the plot of this movie being an episode – how, with the right motivation, anyone could have been convinced to see the same views as the Nazis. Doesn’t work as well today, but at least it was killer cinematography. Grade: B

“Your Name” (2016) – This one gets confusing, going from a lighthearted comedy about supposedly random body swapping to a convoluted tale about time travel and spirituality. Beautifully animated and the characters are quite likable, just don’t think about it too hard. Grade: B

“Beyond a Reasonable Doubt” (1956) – One of the most twist-and-turn filled film noirs I’ve ever seen, this one constantly kept me on my toes, having you love and hate pretty much every single character. Grade: B+

“Lone Wolf and Cub: Sword of Vengeance” (1972) – Far more violent than I ever expected it to be and filled with a lot of odd creative choices that had me scratching my head. Grade: C-

“Night and the City” (1950) – The main character is one of the most detestable, loathsome people I’ve ever seen in a movie, and yet is somehow quite charming in his passion and enthusiasm, so convinced of himself that you can’t help but love him. One of the strangest but most watchable dynamics of any film noir. Grade: B+

“Collateral” (2004) – One of the more effective thrillers in recent memory, with a brilliant cast, a sharp script that hits every moment perfectly with its atmosphere, and never a dull moment. Grade: A

“Exorcist III: Legion” (1990) – The most underrated psychological horror film ever made, “Exorcist III” even surpasses the original “Exorcist” in many ways, with a wonderful crime piece that’ll keep you guessing, pitch perfect atmosphere, scares that are worth it every time and some wonderfully creepy acting from Brad Dourif, who could be the villain in every movie ever and I wouldn’t complain. Grade: A-

“Wicked Woman” (1953) – The most memorable part of this film noir is the opening theme song, performed by a guy who sounds like he’s melting. Grade: C+

“Gentlemen Prefer Blondes” (1953) – One of the best performances from Marilyn Monroe and one that perfectly blends music and comedy, only being outclassed by “Singin’ In the Rain” in that category. Grade: A-

“The Candidate” (1972) – I feel like this one was building up towards its final moments, where the whole picture becomes clear as a farce about people wanting to be politicians for power and fame and nothing else. Other than that, quite forgettable. Grade: C

“Victor/Victoria” (1982) – This one was a lot funnier than I thought it would be, though I should have expected as much when it was made by the same guy who directed “The Great Race.” Lots of great moments for Julie Andrews and Robert Preston. Grade: B

“Superfly” (1972) – “I’m Your Pusherman” is a surprisingly addictive song that this movie loved to death. Grade: B-

“Fallen Angel” (1945) – It makes for a fascinating companion piece with “Beyond a Reasonable Doubt,” as both are about Dana Andrews being convicted with a crime they may or may not have committed, while someone else may be pulling the strings of the crime. Grade: B-

“Dark City” (1998) – Perfectly blends together film noir and science fiction without ever feeling overwhelming, with some wonderful production design of philosophical questions that were better addressed in this movie than they were in “The Matrix.” Grade: B+

“Lone Wolf and Cub: Baby Cart at the River Styx” (1972) – Now this was more like it – still ultraviolent, but puts that violence to good use without ever coming across as grotesque or raunchy. Just a good ol’ samurai facing impossible odds and that’s really all I asked for. Grade: B-

“42nd Street” (1933) – Back when musicals were more of a spectacle than a story, “42nd Street” stands out for its elaborate dance numbers, unique cinematography and fun songs. I can see why this is often regarded as the first really great musical. Grade: C

“7 Faces of Dr. Lao” (1964) – You know, I could get behind the whole mystery comedy aspect of the movie with a mysterious stranger coming to town and using his powers to make everyone’s lives better, but then they had to make almost half of the film a western about land disputes and fighting the old west with newspapers. You know your movie is strange when the western aspects are weirder than one guy playing seven different roles, including Medusa, Pan and a talking clay-mation snake. Grade: C+

“The Crimson Kimono” (1959) – A surprisingly progressive film for its time, setting the tone for the buddy cop genre that would come 30 years later and discuss the trouble that come with interracial couples a decade before “Guess Who’s Coming To Dinner” would do the same thing. Still, it’s more of a police procedural than a film noir with some bold editing and camera techniques that makes this stand out from all the other films during this time period. Grade: B-

Movie Review - "Dracula" (1931)

While Universal was filming 1931's "Dracula" with Bela Lugosi, the studio was filming a nearly exact replica of the same movie, only with Spanish actors. They used the same script, storyboards and even the same sets. While the English version was filmed during the day, the Spanish version used the same sets and equipment at night.

And while one could argue that makes this the same movie as the Lugosi version, what separates the Spanish "Dracula" is the passion and drive of the Spanish cast and crew, especially Carlos Villarias as Count Dracula. While Lugosi demands your attention, Villarias steals your attention with his wide eyes and almost giddy mannerisms, like he loves every moment of being a vampire and thus commands ever moment. While the atmosphere doesn't quite hit the same high mark of the English version, there's no denying the spirit and pride for the Spanish audience that you can't help but love many of these performances.

Final Grade: B+ 

Movie Review - "Gone with the Wind" (1939)

So it's finally come to this.

I've been putting off watching "Gone with the Wind" for the better part of ten years, seemingly ignoring one of the most important movies ever made and the highest grossing when adjusted for inflation. And it wasn't because I thought I'd hate it or that it wouldn't live up to the hype, and it certainly wasn't because of the subject matter, but simply because of its length. At just slightly under four hours, I think it's safe to say "Gone with the Wind" is the longest film I've ever watched, while still firmly holding the belief that any movie over three hours becomes a chore after a while. However, never watching "Gone with the Wind" would be like never watching "Citizen Kane," so despite my reservations, I felt now was finally the time to sit down and watch this sprawling civil war epic and see just how this film has mesmerized audiences for 80 years.

And after those four hours just flew by, it is hard to argue against "Gone with the Wind" being one of the greatest films ever made. There's such a massive sense of awe and wonder in this brightly colored film, giving the movie the look of a classical painting come to life. At times, it feels like cinema was invented solely for this kind of movie, with its gorgeous back drops, breathtaking cinematography accompanied by a flurry of a score from Max Steiner, all while these larger than life characters shine brighter than the sun as their egos threaten to extinguish each other in a brilliant display that would rival a supernova. The only other movie that accomplishes all of this amazement just as well is "The Wizard of Oz," both released in 1939, though "Gone with the Wind" somehow feels even more fantastical than the land of Oz through the romance between it's two leads, Scarlett O'Hara (Vivien Leigh) and Rhett Butler (Clark Gable).

There is so much to love about these endearing characters, not the least of which being Leigh and Gable's witty banter and their undeniable fiery chemistry, but what I took away more than anything else was their authenticity. Despite the amazing production design, colorful dialogue and the many detailed depictions of the south during this conflicted time, none of that worked quite as well as the flawed yet strong characters of Scarlett and Rhett, how they always fumed and battled for supremacy like it was the only thing that mattered. They live every moment like it was their last, and we watch the highs and lows of that play out like any great tragedy with the most sincerity ever shown on screen.

Ultimately, "Gone with the Wind" is the ultimate cinematic epic, capturing a moment in time that was beloved and treasured, yet can never be again. The length doesn't feel nearly as awful as I thought, because no moment in this movie is wasted, adding to this grand picture that only cinema can offer. It is both sprawling, yet personal, covering an entire society while feeling like it was made for these two egotistical characters. To me, this film is the definition of "larger than life."

Final Grade: A 

Movie Review - "The Private Lives of Elizabeth and Essex" (1939)

I never thought I'd see a 1939 film were one of the biggest stars at the time would completely disappear in a role like it was the worlds greatest magic trick. But "The Private Lives of Elizabeth and Essex" certainily proved me wrong by turning Bette Davis into the living embodiment of Queen Elizabeth I. From the makeup and costumes to the mannerisms to the subtle way she holds herself around her subjects and around Lord Essex (Errol Flynn) in private, I never once thought I was watching an actress trying to imitate one of the most famous English queens. But what really sold me was her dialogue, how it was practically dripping with regret and loss, how it was killing her to be queen and how much she wants to just be a woman. There is so much heartache in those words and so much passion in Davis' performance that it makes her one of the most tragic characters in all of cinema.

It's too bad Errol Flynn's performance as her forbidden lover does not reflect this towering performance from Davis. Flynn gives the same type of macho, chauvinistic performance we've seen in "The Adventures of Robin Hood" and "Captain Blood," and his action hero one-liners and witty comments do not mix with Davis acting her heart out. At times, he feels like a child trying to perform Shakespeare alongside a professionally trained actress. I never once felt like these two were truly in love, though it was always Flynn at fault, never Davis. Overall, if you want to check out "The Private Lives of Elizabeth and Essex," watch it for Davis' performance, the beautiful technicolor cinematography and the elaborate outfits and makeup that all truly capture a more elegant time period.

Final Grade: C+ 

Movie Review - "Boys Town" (1938)

Compared to the hardened, thought-provoking films of today, "Boys Town" feels like a trip to get ice cream after a very big meal - sweet, comforting and pleasant, but you're already so full that you don't really want anything but you won't turn down ice cream. "Boys Town" is schmolstzy and cliche in all the best ways, filled with the same ideals and philosophies as its main character, Father Flanagan, who always believed that there's "no such thing as a bad boy." Everything about this movie plays to that idea, where this idealic town is practically paradise to hundreds of young boys, where they're always smiling and cheerful and nothing bad ever happens. And while the filmmakers don't skimp on the hardships Flanagan (Spencer Tracy) faced making Boys Town and the one troublemaker (Mickey Rooney) giving him a hard time, there's always an atmosphere that this is heaven for all boys, which plays better than expected thanks to Tracy's performance and the schmolstzy 1930s film style. It is a very pleasant and harmless movie about a kindhearted soul that wanted to make the world a better place.

Final Grade: B

Movie Review - "The Prisoner of Zenda" (1937)

The best way I can describe "The Prisoner of Zenda" is that it is "The Prince and the Pauper" as a 1930s action/adventure piece in the same style as "The Adventures of Robin Hood." Though while I say it has action, it really has just one big action piece during the climax and the rest is a lot of posturing and scowling. The film doesn't even take full advantage of a regular guy becoming a king, since everyone buys the act without a second thought. The film is straight-forward and has very little going for it outside of the climax, which is your typical swash-buckling affair but with a lot of props thrown in for good measure. Not the most fun 1930s adventure movie, but gets pretty exciting when it wants to.

Final Grade: C 

Movie Review - "Ninotchka" (1939)

It's difficult to put my finger on what makes an Ernst Lubitsch film so endearing, charming and memorable than most other films from their era, but if I had to guess it would probably be their overwhelming sense of freedom in the face of tyranny. Films like "To Be or Not to Be" and "The Shop Around the Corner" best exemplify this, but Lubtisch's "Ninotchka" is a good example as well. The film is filled with witty dialogue, exaggerated characters and a grand view of the world that is both heartwarming and thought-provoking. This is certainly best shown through the titular character, played by Greta Garbo, as a Russian sergeant focused soley on efficiency for the sake of her country, while she slowly but surely falls in love with Paris. Given her strict, no nonsense demeanor, I thought this would be an unlikable character, but the way she bounces off the other characters and Garbo's authentic performance, she is the best part of the movie. As far as Lubitsch films go, this isn't his best, but it still has that same charm that only he could supply.

Final Grade: B-

Movie Review - "Wuthering Heights" (1939)

"Wuthering Heights" is like that one baseball player that just rubs you the wrong way coming up to bat, hoping and praying that he'll strikeout and look like a fool, only for him to get a hit and surprise everyone. I went in to this movie not expecting anything, similar to films like "Jezebel" or "The Pirate" - just a period piece that people still like to talk about today. But I was pleasantly surprised by the passionate acting of Laurence Olivierand Merle Oberon and their devotion for one another, to the point that they'll ruin the others life if they can't be with each other, all while remaining authentic and powerful. It didn't it hit out of the park or do anything spectacularly, especially when Oberon's character changes her mind more frequently than her dresses and for the dumbest of reasons, but this was still an impressive picture. If you love period pieces or tales of lovers that cannot be, then I highly recommend "Wuthering Heights."

Final Grade: B

Movie Review - "Gunga Din" (1939)

"Gunga Din" is like one of those films that claims to fit into every genre, but doesn't do any of them very well. A jack of all trades, but a master of none. It's a historical piece set in 1880s India, but does very little to capture the look and feel of the era. It has Cary Grant in a leading comedic role, but he often feels awkward and doesn't get good reactions from the rest of the cast. It has large battle scenes, but they feel unimpressive even for its time. It has a romance with Joan Fontaine as practically the only female in the movie, and it often feels like an after thought to the filmmakers. Together, this makes for an epic that is at serviceable and best and boring at worst. Not one I'd put on again, but not terrible either.

Final Grade: C-

Movie Review - "The Awful Truth" (1937)

Imagine a Cary Grant screwball comedy only directed by the guy who brought the Marx Brothers to life. "The Awful Truth" plays out much like that, with a lot of witty improvisational comedy, as a pending divorced couple (Grant and Irene Dunne) do their best to ruin the others' romantic lives. This is quite possibly the funniest film centered around revenge that I've ever seen, as both partners get a chance to shine and have it get sent right back in their face like a cream pie. Dunne and Grant's chemistry makes this film hard not to love, as they switch between loathing and loving so easily. I'd even go as far to say that "The Awful Truth" works even better than "Bringing Up Baby."

Final Grade: A

Hundred-Word Review - "The Charge of the Light Brigade" (1936)

While "The Charge of the Light Brigade" has not aged as well as other Errol Flynn classics like "Captain Blood" and "The Adventures of Robin Hood," this film does have a massive historical epic scope, especially by 1936 standards. As the film retells the tragic yet heroic tale of the 27th Lancer division of the British army and their travels through India during war, the real highlights are the battle sequences and how its sprawling scope is put to great use, combine with frenetic editing and a pulse-pounding score from Max Steiner. Beyond that, this is an average adventure flick.

Final Grade: C 

Movie Review - "Island of Lost Souls" (1932)

In the context of 1932, "Island of Lost Souls" is a bold, experimental picture. This was before the time of "King Kong"'s effects and the scope of films like "Gone With the Wind" and "Wizard of Oz," and the most successful horror films were "Dracula" and "Frankenstein." And yet, this film features an elaborate yet modern mad scientist with more ambition than he does servants, hell-bent on seeing how far he can take his experiments on animals. The film does its best to adapt H.G. Wells' novel with the best technology and effects they could produce at the time.

That being said, "Island of Lost Souls" is incredibly dated. The dialogue and audio has that same scratchy, hard-to-understand tone that most films from the early 1930s had, and the makeup and effects on the many creatures Dr. Moreau (Charles Laughton) has experimented on are clearly just big guys with lots of hair glued on. The story has been simplified to focus on its big male lead Edward Parker (Richard Arlen) and we're given no reason to sympathize with the mad scientist that should be the focus of the story rather than being the antagonist that has only a few tricks up his sleeve.

The main reason to watch "Island of Lost Souls" these days is to see Charles Laughton play god in the most sadistic yet quiet way possible. He plays the role as if he were the puppet master, where he feels like he can manipulate everyone around him to his whim, toying with everyone without hardly ever raising his voice above a whisper. It comes across like he has everything calculated and planned, like this is all a game of chess to him and he's already won. His ambition is as big as his ego, and Laughton plays it with as much charm as we've come to expect from him.

Overall, "Island of Lost Souls" is fine if dated picture from the early 1930s that is bolstered by a great performance from Charles Laughton. As far as pre-Hayes Code horror goes, this one is about as grotesque as they could get at the time. At only 71 minutes long, the film flies by at a brisk pace and feels like it tells a two-hour long story in less than half the time. If you're a fan of 1930s horror or are curious how effects-driven films were done at this time, I'd suggest checking this one out.

Final Grade: C+

Movie Review - "Jezebel" (1939)

You know, sometimes all you need is one little piece of historical evidence to understand why a film is created. While I watched 1939's "Jezebel," I couldn't understand what this southern belle drama with Bette Davis was trying to achieve until I learned something crucial after watching the movie - "Jezebel" was made entirely from scratch as a way to compensate Bette Davis after she failed to the get the lead role in "Gone with the Wind."

Now everything makes perfect sense. The time period, the racial tension, the elaborate outfits and gowns, the dramatic almost operatic performances from Davis and Henry Fonda. All of it is a way of trying to give Bette Davis the same experience she would have got from "Gone with the Wind."

Full disclosure - I've never seen "Gone with the Wind." I realize this probably takes a few points off of my film buff card, considering it is regarded as one of the greatest films of all time and still holds the record for highest grossing film ever when adjusted for inflation. But I am always hesitant to watch any film over three and a half hours long, and this particular film is closer to four hours. At that point, the film is more of a chore to sit through than anything else. I plan to watch the whole film before the end of the year, but I'm in no particular hurry to do so. But my point is that I don't have a frame of reference to compare "Jezebel" to, other than similar Bette Davis films like "Dark Victory."

The film takes place in New Orleans shortly before the start of the civil war, as the spoiled southern belle Julie (Bette Davis) decides to make herself stand out among her fellow socialites in any way she can. This is often met with shock and scorn, much to the dismay of her fiancée Preston (Henry Fonda), who doesn't want anything to do with her after she wears a red dress to the big ball.

At first I was tempted to write this film off as another melodrama for the sake of melodrama, much like "Dark Victory" or to prove Bette Davis' acting ability, but there's a certain sense of charm and class to "Jezebel" that clues you in to why these trivial things were life-or-death matters back in the 1850s. The cold dead stares of everyone at the ball, all of them retreating from the happy couple like they have the plague, casts a bigger cloud over this film than all of the southern accents throughout this film. This really does feel like a world fueled by chivalry and class, and failure to live up to these standards has deadly consequences.

Overall, "Jezebel" is a fine little film that was made as a way to keep Bette Davis happy after not scoring possibly the role of a lifetime. It has that southern charm that only a film set in New Orleans can offer while building a nice world for itself. Davis does a fine job as always, while Fonda seems a bit lost and confused in this performance. Nothing too special about this one, except to see a different type of historical American drama.

Final Grade: C

 

Movie Review - "Captain Blood" (1935)

Whether you know it or not, most of the lore and well-accepted facts about pirates in film came from Michael Curtiz's "Captain Blood." The film is also responsible for launching the career of Errol Flynn, one of the first leading men in Hollywood that was often suave and heroic, but always charismatic, something we see a lot of in todays movies, especially from actors like Robert Downey Jr. and Dwayne Johnson. So basically, everything we love about pirates and blockbusters nowadays started with "Captain Blood."

Set in 17th century England, the film chronicles the rather unpredictable life of Peter Blood (Flynn), an Irish doctor, who performed his duties during the Monmouth rebellion and was convicted of treason when he helped a rebel heal. Rather than being put to death, Blood and the surviving rebels are instead sent by boat to the West Indies where they are sold as slaves to the local Englishmen. Eventually, Blood organizes as a way to get off their little island the only way that makes sense to him - by becoming pirates.

Most of the mythos about pirates that we all know and love today can be traced back to the joy Errol Flynn and his crew of brothers in arms feel as they loot, fight, drink and sail on the high seas. They immediately set up a code of honor among fellow pirates, splitting all of their earnings amongst each other and giving extra gold to those who lost a limb for the sake of the crew. But at the same time, they all show such delight when torturing others, especially Colonel Bishop (Lionel Atwill), who had bought most of them as slaves. This is a pirate life built on the highs and lows they all share together.

Watching "Captain Blood" shows me why I believe we enjoy pirate movies as much as we do, and it is in much the same vein as gangster movies - we're enraptured by their lust for more power, more wealth, in an attempt to satisfy their insatiable greed. Then again, what are pirates but gangsters of the sea? Except rather than fighting with guns and wise cracks, they fight with swords and witty remarks.

But what makes this film stand out is because of Errol Flynn's performance, easily able to bounce between dramatic moments of loss and heartbreak and moments of pure joy as he falls in love with the pirate lifestyle, all while feeling like the same caring selfless person he was at the beginning of the movie. Flynn gives this performance his all, always glowing with a radiating energy in his quieter moments with Olivia de Havilland that shows a vulnerable man who wants so much more out of the world. Flynn takes what could have been a simple swash-buckling role and turns it into a flawed man with a large sense of honor that is angry at the world.

Overall, "Captain Blood" is a great time and one of the best action pieces out of the 1930s. It sets the standard by which all other pirate movies are graded on, and still remains a charming Errol Flynn movie. If you're curious to see where pirates in Hollywood started from, or want to see the evolution of action stars throughout the decades, then this one is right up your alley.

Final Grade: B+

Movie Review - "Dark Victory" (1939)

Before soap operas could be broadcast daily on television, there had to be movies that gave viewers the same impact of a melodrama about eccentric people getting into life-and-death situations. One such film is "Dark Victory," a 1939 film staring Bette Davis, George Bent, Humphrey Bogart, Ronald Reagan and Henry Travers and its utterly manipulative and forced story, which follows a young selfish socialite (Davis) being diagnosed with a rare brain tumor and that she has only months left to live.

Her doctor (Brent) slowly starts to fall in love with her and believes he shouldn't have the power to say who lives and who dies, and so he doesn't tell her that she's dying, instead letting her lead her hedonistic lifestyle like she always has, without any knowledge that her end is coming very soon.

While this type of story can be quite an emotional rollercoaster, "Dark Victory"'s execution of this story is more eye-rolling and manipulative than it needed to be. The film is filled to the brim with clichés - her doctor was ten minutes away from retiring from brain surgery before she walked in, she has no regard for human life but loves her horses and dogs to death, and of course the classic doctor falling in love with his patient cliché, even though Davis and Brent's characters have next to nothing in common. But what really drives it all home is how forced it feels that the doctor has to hide her own faith from her for reasons that don't even begin to make sense.

The only reason he doesn't tell her that she's dying from the start is because the plot says so. Because they need half an hour of the doctor and her best friend (Geraldine Fitzgerald) hiding the truth from her while pretending like nothing is wrong, and then another half hour of Davis reacting to the truth. The movie would be so simple if she knew what was going to happen, and the last thing this film wants to be is simple.

If there is one positive out of "Dark Victory" it is the acting from everyone in the cast. I was surprised to learn that George Brent, Humphrey Bogart, Ronald Reagan and Henry Travers were all in the same film, but I was even more surprised to see that all of them turned out stellar performances. All of them felt like they were moments away from emotional breakdowns, or in Henry Travers case, breaking into tears.

But the real star of the show was Bette Davis, who sold this entire character and her wide range of character quirks, both subtle and over-the-top. She undergoes one of the most melodramatic metamorphosis' I've ever seen, and she never comes across as anything more than authentic and genuine, all while remaining strong and fiercely independent. She makes the big emotional scenes feel bigger and the sad moments stick in the back of your mind long after you've watched the film. Davis owns this role and she makes this a movie worth seeing.

Although, other than a great cast of actors, "Dark Victory" doesn't have much else going for it. The film feels dated and is more than a little manipulative. There were many times that the film tried to force an emotional response, and it often did not work. If you like cheesy and cliché melodramas that feel like something out of "General Hospital" or "Days of Our Lives," then you'll enjoy this one just fine. But besides that, the only reason I'd want to check out "Dark Victory" is because of its surprising amount of great performances.

Final Grade: C

Movie Review - "It's a Gift" (1934)

My first introduction to W.C. Fields was through "The Bank Dick," and I only ever remember Fields being a rambling, aimless Mr. Magoo-like character that left little to no impression me. It painted my perspective of Fields as an insult comedian on the same level as Groucho Marx or Rodney Dangerfield while still having a slight flare for visual comedy. This perspective changed entirely after I saw another of Fields' movies, "It's a Gift."

The W.C. Fields in this films is practically the polar opposite of the Fields I remember from "The Bank Dick" - quiet, low-tempered and rarely feels like the star of the show. While Fields still plays the main character, the middle-aged Harold Bissonette, he basically plays the straight man to an entire world that seems to go out of its way to screw with him. He has a nagging wife that is never satisfied, two kids that do not care about the world around them, he runs a small grocery store that is bombarded with angry or self-destructive customers, and his only employee is as stupid as he is sleepy. Most of this hour-long movie is little comedic vignettes as Harold becomes the center of bad luck and even worse timing.

From trying to shave in the morning at the same time his daughter is trying to put on makeup, to dealing with a blind and mostly-deaf customer while being yelled at by someone demanding something he doesn't even have, to Harold simply trying to get some sleep, everyone and everything goes out its way to make Harold's life nothing but misery. And yet he hardly ever complains. He doesn't whine or get angry, he merely accepts that this is the way the world works for him. Some of the funnier bits in the film are Field's nonchalant and accepting reactions to all the chaos that befalls him, like he's achieved a state of inner peace among the chaos.

Most of the sequences in "It's a Gift" are lifted straight from W.C. Fields' vaudeville routines, but each of them feel wholly unique and contribute to the larger story at play, as Harold trades in his life in the bustling crazy city for a quiet one where he can focus on just growing oranges. These are some of the best visual gags outside of a Charlie Chaplin film I've ever seen, and each one provides consistent laughs, with the visual jokes continually building off each other.

There's a lot of charm and heart in "It's a Gift" that makes me appreciate W.C. Fields far more than I did. While his visual gags are non-stop and string together nicely, his demeanor and attitude provides a pleasant contrast that never grows tiresome. While the story is bare-bones, the film works best as a series of vignettes tied together by a loose thread. For a film just barely over an hour, it sure manges to pack in a lot of comedy.

Final Grade: B+

Movie Review - "Destry Rides Again" (1939)

When I first heard that James Stewart was the lead actor in a western in the early part of his career of the 1930s, I was genuinely shocked that the wholesome every-man would play such a rough and tumble role. I was even more surprised to learn that Stewart plays a deputy sheriff who refuses to use his guns and wins the towns people over with law and order instead of barbarianism, despite everyone initially thinking he's crazy.

In other words, Jimmy Stewart is still playing the wholesome every-man in the unlawful old west. And the strange thing is that he makes it work.

"Destry Rides Again" is set in the old west town of Bottleneck, which is run by a corrupt mayor and a power couple who run the saloon that has a vice grip on the local farmers. The attractive German dance hall queen named Frenchy (Marlene Dietrich) lures in the boys, and her boyfriend Kent (Brian Donlevy) runs a rigged poker game that makes the farmers gamble away their land and property until it all belongs to Kent. The sheriff catches on to their game and gets shot in the back for his troubles. The town elects a new sheriff jokingly, the town drunk Wash Dimsdale (Charles Winninger). But much to the shock of the townsfolk (and me), Wash sets down the bottle and gives a grand speech about how he will clean up Bottleneck and make it a town worth living in.

Wash declares that he'll do it by bringing in the son of the famous gunslinger, Destry and make him his new deputy. But, as everyone quickly finds out, Destry Jr. (Jimmy Stewart) is not like his father. He's quiet, reserved and wants to solve every problem peacefully instead of with more violence. He walks around town without wearing any guns on him and tells lots of stories about people he knew and the kind of trouble they got into. But he shares a massive similarity to his father - he's damn good at his job.

The more I thought about the setup for "Destry Rides Again," the more I realize that it has a lot in common with "Mr. Smith Goes to Washington" - an official is killed in an unruly region, Jimmy Stewart is praised for being the young up-and-coming and is sent in to replace the official, but his wide-eyed innocence makes everyone see him as little more than a child wearing his dad's boots. Just replace the Senate from "Mr. Smith" with the old west and you've got "Destry Rides Again." It gets even weirder when you realize both films came out the same year, and the leading female had top billing over Jimmy Stewart in each movie, mostly because Jean Arthur and Marlene Dietrich were bigger stars than Stewart at the time.

Outside of Jimmy Stewart's lovable performance as Destry Jr., I adore this movies' charm and atmosphere. It takes the time to flesh out everybody in this town while having a sense of humor about everything. From the odd yet quirky Boris Callahan (Mischa Auer) to the heart-broken and homeless Claggett family, there is no shortage of colorful characters here. Yet even this its great slapstick comedy and wordplay, the film still finds time to have impactful and emotional scenes, the best one being the aforementioned fiery speech from the new sheriff to rile up the townsfolk.

Overall, I was extremely surprised by how much fun I had with "Destry Rides Again." It is a quirky western that is loaded with outstanding performances and a great atmosphere. Jimmy Stewart is his usual lovable self that never seems to grow old or tiresome and adds a great deal of heart and strength to this movie. I think the similarities to "Mr. Smith" make this film even stronger, making this one of the most memorable westerns I've ever seen.

Final Grade: A-

Movie Review - "White Zombie" (1932)

Show of hands - Who wants to watch a film about a Haitian voodoo master killing innocent people and then bringing them back to life as mindless zombies who just kind of stand around looking like their dog just walked away and may not be coming back, with almost incomprehensible dialogue and black face? No one? That does not surprise me in the least.

"White Zombie" stars Bela Lugosi shortly after he made it big with "Dracula" as the voodoo master with a Satan-like goatee and eye brows that would make Groucho Marx jealous. The best thing about his character is his name - Murder Legendre. More parents need to name their children 'Murder' just as a social experiment, especially when you have a last name that sounds like 'Legendary.' That is the best ridiculous movie character name I've heard since Chiper Rage from "After Earth."

The memorable image of "White Zombie" is of Lugosi's creepy stare right into the camera. Though the film uses it so often that feels less terrifying and more like Lugosi is giving a weird look to the guy who took the last of the fried rice at an all-you-can-eat buffet. Then there are times where Lugosi has to do this stare for extended periods of time, or has to literally walk into the camera, or has to have the camera zoom in on him for about a minute.

I'm starting to get the impression this movie did not have a whole lot going for it outside of Lugosi's face.

"White Zombie" falls into the same category as obscenely silly horror films like "The Brain the Wouldn't Die" or movies that you would see on "Mystery Science Theater 3000." It is a harmless movie that is extremely dated and is mostly just good for laughs nowadays. It is the best movie to perfect your Bela Lugosi impression, if you are into that.

Final Grade: D+

Movie Review - "Swing Time" (1936)

There are times where I love to think about how ridiculous movies can be at times. Moments where I take a step back from the stories and ask "How did we get here?" And when it comes to absurdity, no other movie does it quite like the Fred Astaire-Ginger Rogers musical "Swing Time."

The film opens with stage dancer and gambler Lucky (Astaire), who leaves his show early to get married into a rich family. But as he's leaving, his fellow dancers and "friends" keep Lucky distracted by saying he looks ridiculous on his wedding day without cuffs on his pants. They go through a clothing montage and play several rounds of dice and cards, until Lucky remembers the wedding. He ends up being over two hours late to his wedding and all the guests have gone home.

Right off the bat, I'm flabbergasted that Lucky calls these terrible people his friends. They keep him away from his own wedding, and his best chance at happiness and prosperity, just so that he'll stay. I was surprised Lucky didn't deck all of them in the face for making him miss his wedding.

But wait, it gets better.

As Lucky arrives at the church, he is greeted by his fiancée Mabel (Helen Broderick) and her father, who are both ready to disown him. After a smattering of words and insults, Lucky decides to bargain for Mabel's hand in marriage. The father says that no amount of money would persuade him to make Lucky his son-in-law. But then Lucky says the ludicrous number of $25,000 and he's suddenly on-board with this idea. This man is willing to sell his own daughter away for large sum of money, even though it was already established that he's got plenty of money.

It's a good thing "Swing Time" is a comedy, because the level of petty-ness and selfish-ness is off the charts. Everybody Lucky meets early on is only looking out for themselves, and will throw anybody they can under the bus to get ahead.

Of course, Lucky doesn't have $25,000, so he heads to New York City and decides to make all his money through gambling and casinos. Along the way, he bumps into Penny (Ginger Rogers), a dancing instructor, and the two butt heads until they both realize how great the other is at dancing.

It helps that I saw "Swing Time" after seeing "The Major and the Minor" and realized how quick-witted and uproarious Ginger Rogers can be, because that made every scene with her feel exciting as if the atmosphere was charged with sass and charisma. Not only is she a terrific dancer and can keep up with Fred Astaire, but she's always looking for an opportunity to tell a joke.

Outside of "Swing Time" the only other Astaire/Rogers movie I've seen is "Top Hat," and I greatly prefer "Swing Time" because of how entertaining it is outside of the dance numbers. There is a lot of great comedy and deceptions by Lucky that I found myself looking more forward to the non-musical scenes. And as far-fetched as the plot is, the whole idea of Lucky and Penny being surrounded by terrible people having to outsmart them makes this one worth checking out.

Final Grade: B