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 - "Going My Way" (1944)

Fun fact: I grew up in the town where Bing Crosby lived, Spokane. One of our local theaters is named after him and every Christmas they play a marathon of a few of his movies, usually ending with "White Christmas." And yet I don’t think that theater, simply known as The Bing, plays the movies of his that I’ve seen lately, like the "Road to…" movies, or more recently the film that won Bing Crosby an Oscar, "Going My Way." You would think that film would have solidified itself as a Crosby classic but nowadays it’s not nearly as popular as "Holiday Inn" or "White Christmas." "Going My Way" is just as smaultzy and overly sweet as those films, so go figure.

"Going My Way" tells the tale of Father O’Malley (Crosby), a priest who is sent to a decaying church in New York to help the elder pastor (Barry Fitzgerald) and is to take charge of the affairs of the parish. The more traditional pastor and the more relaxed and unconventional priest don’t get along at first, but as Father O’Malley starts helping out around town by making the young delinquent boys into the church’s choir and a young woman thought to be a prostitute is given a new outlook on life by Crosby, the pastor starts to open up to him. It is easy to tell this film came out in the middle of World War II, showing that the battle back home is in good hands by men who put everyone else ahead of themselves and want nothing more than to make the world a better place, something Americans can aspire to be like and brings soldiers peace and comfort. Crosby is more relaxed and at peace in this role and the on-screen chemistry he has with Barry Fitzgerald is delightful, if a bit too sweet. Nowadays, "Going My Way" is harmless fun about a priest that genuinely wants to make the world better with an ending that you’ll either love or find contrived. It was good enough to win Best Picture in 1944, so I’d say it’s still worth a look.

Final Grade: B-

Movie Review - "Road to Utopia" (1946)

The “Road to…” movies are a rare breed of 1940s Hollywood cinema, desperately trying to get as much passed the censors as possible without ever breaking any codes. And while breaking the fourth wall has become more common over the years, you don’t see any movies made before 1960 doing it effectively…aside from the “Road to…” movies. They’re always a treat with Bing Crosby and Bob Hope dishing out one liners, ripping each other apart with insults, poking fun at their careers and Paramount, and desperately trying to win Dorothy Lamour over the other, like the two were bickering brothers trying to win the role of Deadpool. 

“Road to Utopia” gives you more of this and never lets up, trying to break the fourth wall more than any other movie. What separates “Utopia” from their other films, namely “Road to Morocco,” is that this film leans more on slap stick, with scenes involving Bob Hope sleeping with a bear or the pile of snow Hope sits on melting away as Lamour sings to him. “Morocco” balanced its slap stick and witty dialogue rather well, while “Utopia” has far more stunts and visual gags. At times, it has a lot more in common with Chaplin’s “The Gold Rush” than “Morocco,” though that could just be the similar setting and premise of two hopeless drifters trying to make it big in the Yukon during the gold rush. 

Still, “Road to Utopia” delivers on every front. The chemistry between Hope and Crosby is sizzling, the pacing gives the audience enough time to breathe between the jokes and more intense moments, and the comedy is even better than it was in “Morocco.” While the music isn’t as catchy, that’s not enough to distract from a fun time with one of the greatest comedic duos of all time. 

Final Grade: B+

Movie Review - "All This and Heaven Too" (1940)

Yet another Bette Davis period piece and yet another film that meant nothing to me. But unlike her other period pieces like "Jezebel," I can at least point to the reason why this film doesn't work - the whole film is set around a French governess (Davis) recounting her life story and all the juicy drama that unfolded when she was the caretaker of a Baron (Charles Boyer) and his family, including the romance that slowly formed between the two. As Davis tells this story to a bunch of American school girls, she goes into explicit and surprising detail about everything that happened, including bits and pieces that she wasn't around for and could never have known about even if she asked. It's not just that Davis is an unreliable narrator, but a narrator who knows everything despite being the main character in a story that doesn't have her in every scene, especially key scenes that involve the Baron and his wife (Barbara O'Neil) in private. If you stop and think about how Davis knows all of this, the whole timeline falls apart. This is just another forgettable period piece that doesn't expect its audience to think about the story.

Final Grade: D 

Movie Review - "The Life and Death of Colonel Blimp" (1943)

 
"The Life and Death of Colonel Blimp" is both an extensive history of Britian and the incurable love of English society and yet is a satire of that same society. This is shown perfectly through its main character Clive Candy (Roger Livesey), a caricuature of many leaders of the British army, who has bottomless pride for his country and his own ego, takes every opportunity to boast about his accomplishment, whether he's out hunting or discussing what he did turning the first World War, never stopping to listen to anyone but himself, and yet is one of the most lovable, hilarious characters from any non-comedy I've ever seen. This is a man fully engrossed in his own flaws that they become shining examples of his personality, making him a pillar of pride and love for England.

Beyond this, I would describe "The Life and Death of Colonel Blimp" as if "Doctor Zhivago" wanted to be funny. Much like "Zhivago" is a deconstruction of what it means to be Russian, "Colonel Blimp" proudly waves its patriotism and chivalry, even if it often comes back to bite some characters in the butt. Both films take a long look at a country's history, told mostly through one man, and all while showcasing some glorious cinematography that highlights the uniqueness of each countries landscape. But it is between the undeniable love for England and its hopeful look towards the future, even without knowing the outcome of World War II, that makes "The Life and Death of Colonel Blimp" a fascinating experience that recognizes its own country's flaws while lovingly embracing them, and I wouldn't want it any other way.

Final Grade: B+

Movie Review - "Great Expectations" (1946)

David Lean's "Great Expectations" is the definition of charm and class without ever having a character I would consider "classy." Lean's gothic take on Charles Dickens novel envokes haunting imagery of broken people trying to find a place in the world. At times, the film is tragic and bleak, especially in the decaying mansion of Miss Havisham that acts more like a graveyard for the living, where Miss Havisham can spend her time stewing and spinning her spiderweb. While other times, the film is rather corny when it focuses on the simple life of Joe the blacksmith, dim-witted and loyal, as he never stops praising his wife and adopted son, Pip (John Mills). But in the middle of all this is Pip, boy who starts out with nothing, becomes a man who gets everything he ever wanted, and yet never loses sight of his joy for life. Pip's journey is charming in how it plays with both of these vastly different worlds, turning what would have been another period piece into a timeless tale of what it really takes to be a gentleman.

Final Grade: A- 

Movie Review - "The Sea Hawk" (1940)

If you loved "Captain Blood," then "The Sea Hawk" has all of the same pirate loving qualities, as well as a charismatic yet sophisticated performance from Errol Flynn. "The Sea Hawk" also benefits from having captivatingly villains with some cunning strategic plans, while also being elevated by some gleefully evil acting from Claude Rains and Henry Daniell. And despite this being a black-and-white movie, there is some wonderful and surprising use of color in this movie that threw me for a loop. But the crowning achievement of "The Sea Hawk" is certainly its score by Erich Wolfgang Korngold and how it perfectly captures the awe and majesty of swashbuckling and adventures on the high sea. Korngold's scores influenced many of today's great composers, in particular John Williams, and you can hear just how much Korngold influenced scores like "Star Wars" and the Indiana Jones movie just by listening to the bold, sweeping music of "The Sea Hawk."

Final Grade: B+ 

Movie Review - "Easter Parade" (1948)

When I learned that Gene Kelly was originally given the lead role in "Easter Parade" but had to step out when he broke his ankle, and would instead be replaced by Fred Astaire, I realized just how different Kelly and Astaire's acting styles are, and how Kelly's forceful chauvanistic attitude would have made this movie insufferable. And yet, Astaire's grace and drive to focus on the show over romance makes the lead character so much more compelling after losing his broadway dance partner and gets so fed up with her that he's convinced he could pick a random chorus girl and make her the next big star, though it certainly helps that he "randomly" picked Judy Garland.

The plot reminded me a bit of "My Fair Lady," plucking one "nobody" off the street and turning them into a somebody. It also has a very similar feel to Garland's "A Star Is Born" as it chronicles her rise from learning the basics of Broadway to becoming the talk of the town. But "Easter Parade" benefits from a rather odd set of romances that at least one party always seems to be ignorant of. Along with Astaire and Garland, you also have his former dance partner (Ann Miller) and his best friend (Peter Lawford) who instantly falls for Garland. It's not so much a love triangle, as much as a love rhombus. This certainly adds another dimension to an otherwise average musical, with Astaire and Garland both in their element.

Final Grade: C+

Movie Review - "Take Me Out to the Ball Game" (1949)

"Take Me Out to the Ball Game" feels like a strange mix of "On the Town" and "An American In Paris" - it has the wit, style and dance moves of "On the Town" but Gene Kelly is back to being the creepiest guy in the world that can't stay away from women. As great as his dance moves are here, Kelly is so unlikable in how he treats other people, especially the female owner (Esther Williams) of the baseball team he plays for. He makes Pepe Le Pew look subtle and sophisticated by comparison. Beyond that though, the musical numbers are wonderfully choreographed and the songs are catchy and whimsical, so I can't say this is a bad movie. It's just that, of all the musicals Gene Kelly did, especially with films like "Singin' in the Rain" and "On the Town," this isn't his finest work, but is certainly still enjoyable.

Final Grade: C+ 

Movie Review - "On the Town" (1949)

For a lighthearted musical about sailors falling in love with total strangers and a city, "On the Town" excels at being fun and joyous the whole time. It often feels like a precursor to "Singin' in the Rain" with its elaborate dance numbers and choreography, while also feeling very much in tune with films like "West Side Story" in how it uses New York City as its own character. But what really sets this apart from those other films are the songs and how they feel like smooth poetry, especially when they're sung by Gene Kelly and Frank Sinatra.

The romances between the three main leads and the eccentric women they meet start out a little off-putting, especially between Sinatra and Betty Garrett as a crazed taxi driver that falls for him at first sight, but considering the spotaniety of the film and its characters, it fits everything else and has a lot of great comedic moments. Overall, you can see how "On the Town" influenced many other musicals like "Singin' In the Rain" and "The Sound of Music," and easily see why it is considered one of the more accessible and enjoyable musicals of all time.

Final Grade: A-

Movie Review - "My Favorite Wife" (1940)

Some comedies never sink their teeth into the vast well of creativity, while others dip their toes in it and do what they feel is safe with their premise. But every once in a while, a comedy will dive into it like an olympic gold medalist, not only trying everything it can with its unique premise but excelling at it every step of the way. "My Favorite Wife" is one of these screwball comedies, made by the same team that brought us "The Awful Truth," only this time it's even more ludicrious and even more hilarious. Irene Dunne plays someone who has been shipwrecked on a deserted island for seven years and just so happens to come back to society on the same day her husband (Cary Grant) is getting remarried. The film takes full advantage of this idea for both comedic and dramatic effect, as Grant bounces back and forth between his two wives and trying to break the news to his bride that his wife is actually alive, while Dunne tries to tell her children that she's their long-lost mother (while also keeping her own secrets from Grant). The result is a masterful comedy that only gets better as everything reaches its tipping point and a classic in the screwball comedy genre.

Final Grade: A- 

Movie Review - "The Man Who Came to Dinner" (1942)

Imagine if the Grinch was a drama critic. Now imagine that same critic broke his hip in your home and he blames you for it, so hedecides to subject you to his company until he is fully healed. This is the tragic comedy of "The Man Who Came to Dinner" - tragic for the family that has to live with this acerbic, angry critic Sheridan Whiteside (Monty Woolley), but a comedy for the audience as he takes every opportunity to throw a thesaurus' worth of insults at the family. This almost feels like a Shakesparian comedy at times, especially through Woolley's performance, practically bathing in the suffering of the family without ever coming across as maniacal. But when you throw in Bette Davis' role as his secreatary with a bite of her own, then you get a masterfully crafted film filled with wit, charm and even suspense.

Final Grade: A-

Movie Review - "The Bachelor and the Bobby-Soxer" (1947)

"The Bachelor and the Bobby-Soxer" is both comforting and uncomfortable at the same time. The plot revolves around an artist (Cary Grant) that has this whole town wrapped around his finger until the local judge (Myrna Loy) sentences him to be the boyfriend of her 17-year old sister (Shirley Temple). While the film never crosses any lines, there's just something about Shirley Temple infatuated with Cary Grant that rubs me the wrong way, especially when Temple and Loy are supposed to be sisters. The film is at its best when Myrna Loy's strict, no-nonsense judge starts falling for the free-loving bachelor and the hilarity that ensues. While the ending feels a bit rushed and forced, this is ultimately a harmless screwball comedy.

Final Grade: B

Movie Review - "Holiday Inn" (1942)

For a film that has one of the best singers of its time and one of the best dancers of its time, "Holiday Inn" fails to be anything more than just Hollywood cannon fodder. Even though they pit Bing Crosby and Fred Astaire against each other for the affection of the lovely Marjorie Reynolds, the film does a poor job of making either of these characters seem likable. They spend so much time butting heads and getting Marjorie's attention that they seem like despicable, selfish people. Though Astaire has some impressive dance numbers and Crosby gets to show off his singing chops, including the first time he'd sing "White Christmas," there isn't much else going for this one.

Final Grade: C-

Hundred-Word Review - "Johnny Belinda" (1948)

The only thing "Johnny Belinda" has going for it is Jane Wyman's jaw-dropping subtle yet heartfelt performance in which she communicates so much heartache and anguish without saying a word. Wyman plays a young deaf-mute woman on an isolated Canadian island, who the whole town labels as "the dummy," when the new doctor (Lew Ayers) makes an effort to communicate with her. While this is certainly a period piece that plays on the isolation and fears of the townsfolk, everything else is done with so little passion that it doesn't leave an impact, only Wyman's skill as a visual storyteller excelling.

Final Grade: C

Hundred-Word Review - "The Pirate" (1948)

Why is it that Gene Kelly keeps playing creepy, unsettling jerks in every movie, besides "Singin' in the Rain"? In "The Pirate," Kelly plays a traveling performer in the Caribbean, always trying to put the moves on every woman he sees, until he meets Manuela (Judy Garland) and tries to hypnotize her to fall in love with him, despite Manuela rejecting his offers every time. While the lengths that he goes to forcibly wins this girls' heart are absurdly entertaining, his whole act of wowing her felt chauvinistic and disgusting, making "The Pirate" overwhelmingly unsettling. It is incredibly out-dated.

Final Grade: C- 

Movie Review - "The Postman Always Rings Twice" (1946)

 

What makes Hollywood in the 1940s so fascinating from my perspective is the way morally taboo subject matters are addressed without ever even hinting at them. The strict Hayes code was in full force at this point, which included not showing a man and woman in bed together and a single kiss not lasting any longer than three seconds. Yet the era was still ripe with sexual tension and often feels more authentic and palpable than the movies of today, especially in film noirs such as "Double Indemnity," "The Big Sleep" and "The Postman Always Rings Twice" that serve as the backbone of the film noir genre.

"Postman" has a rather similar plot to "Double Indemnity" - a gullible naïve man falls for a beautiful blonde woman who convinces him that the only way they can be together is if he helps kill her husband. The difference in "Postman" is that this act of murder is more passionate and raw, done out of longing-ness for these two young lovers to be together, while "Double Indemnity" is done more with the money in mind, especially for the femme fatale.

Lana Turner plays Cora, a young woman who has had men chase her around her whole life and finally decides to settle down with a much older man who runs a diner in the middle of nowhere, Turner's vibrant yet subtle acting hinting that these two are in a one-sided relationship. The moment another man, Frank Chambers (John Garfield), shows her any sort of affection and kindness, she's ready to run off with him. Turner tows the line between seductive and alluring yet sympathetic and lonely, making her feel honest in her goal to be someone yet naïve enough to think that she's in control of her damaged life.

And yet, through all of this sexual tension, "Postman" hardly ever hints that Cora and Frank are intimate, turning their relationship into more longing and pining for each other rather than a fire and ice romance or even the sharp, witty dialogue of "Double Indemnity." Garfield and Turner create a relationship that seems to live in permanent limbo, both genuine in their affection but frustrated that it can't be more. Garfield is confused and always on-edge, while Turner is pitiful and vain, making for alluring yet volatile chemistry.

Overall, "The Postman Always Rings Twice" is a staple of 1940s film noir and is captivating in how raw and emotional its journey of toxic love can get. The performances from Turner and Garfield are sizzling with sexual tension, while the atmosphere is as shady and dark as they come. If you're looking for a similar experience to "Double Indemnity" but played more sympathetically, this is just as satisfying and savory.

Final Grade: A-

Movie Review - "Mildred Pierce" (1945)

Sometimes a genre choice can turn a downtrodden and repetitive story into a memorable and fascinating movie, like 1945's "Mildred Pierce." When I first heard the premise of this movie - the tale of a recently divorced mother (Joan Crawford) working her fingers to the bone so that her ungrateful, spoiled daughter (Ann Blyth) can live a luxurious lifestyle - I was reminded of "Imitation of Life" and the often unrecognized soap-opera-like struggle that Lana Turner's character goes through. But much to my surprise, "Mildred Pierce" turned all of that on its head by presenting its story as a film noir or thriller.

Instead of the mother's fight for her daughter's approval turning into a predictable tragedy, it turns into a mystery fueled by greed, jealousy and a lust for more power and control. Since the film opens up with the murder of man in Mildred's beach house, that sinister feeling is always lurking throughout this movie, even when she has the best intentions.

There's always an air of uncertainty to every action the titular character takes, whether she's really doing all of this for her daughter or if she has other selfish motives, like the sleazy men she keeps around that somehow keep back stabbing her at her most vulnerable moments. Yet, at the same time, there's charm and class throughout this film, as Joan Crawford masterfully plays the role of a hardworking mother who wants to earn the respect of everyone, even those who she has no reason to like.

At the center though, "Mildred Pierce" is about a family love that has been twisted out of shape so much that both mother and daughter have forgotten what love really looks like. Both characters are so caught up in their worlds, one of hard work and another of high class society living, that they can't see beyond that and will do whatever it takes to get the other to see it their way, inadvertently driving both further away from one another. They both feel that love is something that can be found in a store and has a price tag, which makes the tragedy of their honest actions even more heartbreaking.

Overall, "Mildred Pierce" is much better than I expected it to be. I went in thinking it would be similar to "Dark Victory" or "Jezebel" with more emphasis on family, and instead I got a gripping film noir about a hard working woman's life turning into something bitter. There is some stellar acting from Crawford and Ann Blyth, both selling every greedy and selfish turn masterfully. There is never a boring moment in "Mildred Pierce," which is very strange for me to say.

Final Grade: A

Movie Review - "The Ox-Bow Incident" (1943)

Part of the appeal of the western is the raw, unbridled battle between good and evil. This genre is a window to a time and place where men took the law into their own hands, where modern society and its rules weren't anyone's concern yet and we could be as barbaric, chaotic or strong as we wanted to be - the only code around was your own personal code of honor. But as exhilarating and rewarding as these movies can get, there are just as many westerns that turn these ideals on their head to give us a more tragic and sympathetic tale of the west. Films like "McCabe and Mrs. Miller" and "Unforgiven" pull this off wonderfully, but another great western morality tale is William A. Wellman's "The Ox-Bow Incident."

The film is set in a miniscule town in Nevada that has been devastated by cattle-rustlers lately. When the town gets word of another attack that leaves one of their kindest and most well-liked cattle farmers dead, they've all had enough of not doing anything and waiting for the law to bring in these evil-doers. So when most of the town folks find out where the cattle-rustlers are heading, they form a posse hell-bent on taking care of these murderers on their own, even though the sheriff is no where to be found and the local judge says that what they're doing isn't legal. Many others tag along, including passer-by Gil Carter (Henry Fonda), in an attempt to keep all this as level-headed and orderly as possible.

What follows is a tale about passion and anger overriding logic and civility. These men are quick to judge and act of their own accord, including the deputy sheriff who deputizes everyone in the posse despite not having that power, or the former civil war Major who takes command of the situation even though no one asked him to. They've lived in the west so long that they don't see how law and order can solve this situation - these dangerous men only understand bloodshed and swift action, so they must respond in kind.

But the strength of "The Ox-Bow Incident" comes from how you understand where the towns folk are coming from. They immigrated from all the corners of the globe to start a new life where decent and honest men could thrive, and now the only thing they've ever held dear is being taken away from them. These aren't bad people, they're just so caught up in their own sense of right and wrong that they've grown impatient and angry at the world. This is their way of lashing out.

Of course, that only makes this tragic tale even more sympathetic. Like watching a peaceful protest turn into an angry mob.

I would argue that "The Ox-Bow Incident" is one of the most important and significant westerns ever made. Because it was made in 1943, when the genre was just reaching its peak, this film challenged the status quo by muddling its morals and sense of right and wrong, to the point where you're not sure who to root for anymore. It shows a vulnerable and unpleasant side to a setting that is often romanticized and glorified, giving us possibly the most flawed yet human western tale of its time.

Final Grade: A