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 - "Cat Ballou" (1965)

By the 1950s, the western genre was beginning to fade, slowly but surely taking those same western stories of exploring an unknown frontier and setting them in the truly unexplored frontier – space, which would eventually create the sci-fi genre. By the 1960s though, the western was essentially dead in Hollywood (though not so much in Italy with Sergio Leone reinventing the genre). It had become a tired genre filled with cliches of cowboys roaming a land that had already been conquered, so Hollywood needed to do something new to keep the genre alive. And you can’t say that they didn’t try with "Cat Ballou," since it gave us one of the most memorable performances in a western with Lee Marvin’s drunk stumbling turned into an art form here.

"Cat Ballou" takes many of those tired Western cliches and turns them on its head – a female lead (Jane Fonda), bandits who actually want to be helpful instead of selfish and greedy, a town that loves its criminals more than its heroes, a savior who actually can’t do anything unless he’s drunk as a skunk. It plays with some of these effectively enough, though the best part of the movie is certainly Lee Marvin who shows that he has the slapstick comedy timing of Charlie Chaplin and the intensity of John Wayne. It gets even better since Marvin plays two roles, the bumbling hired gun who becomes surprisingly articulate once he’s got some booze in him, and a quiet assassin with a piece of silver over his nose, with Marvin making each of them his own man. But beyond this, there isn’t much to "Cat Ballou." It has a few laughs, but despite trying to buck with the western cliches, it falls into many of the same trappings as before, only usually saved by Lee Marvin giving one of the best performances of his career.


Final Grade: C+

Movie Review - "Goke, Body Snatcher from Hell" (1968)

"Goke, Body Snatcher From Hell" intrigues me more than it entertains me. The film follows the survivors of a commercial plane crash (after a supposed bomb threat). As we learn more about the survivors, including one of the passengers being the assassin of a recent deceased politician, they learn they were followed by an alien spaceship, helmed by blob-like goo who possesses the assassin and goes on a rampage, trying to suck the blood of all the survivors.

But what's more fascinating is "Goke"'s view on the world - political assassinations, the Vietnam War, pollution at an all time high, greed and ignorance causing men to turn a blind eye to all the horrors being committed. In the filmmaker's eyes, the world is hell and we're probably better off by having aliens come to end our suffering.

"Goke, Body Snatcher From Hell" is a Japanese horror film released in 1968, during the height of Japan's special effects boom, in particular the daikajiu genre and the Godzilla films. While I wouldn't describe this as a kaiju movie, it does seem like a direct response to Ishiro Honda's uplifting, positive Godzilla films. In those movies, mankind often puts their problems and differences aside to help solve a much bigger crisis, and emphasizes that we're all one people and should identify by that rather than our nations. But "Goke" almost seems insulted by that philosophy, and instead shows that mankind will never truly be at peace, as long as we remain prejudice and fearful of others, as shown by our numerous characters and their own pride or paranoia getting the best of them. And rather than mankind triumphing over evil aliens in Honda's movies, the aliens take advantage of evil mankind to conquer our world.

As someone who worships the Honda Godzilla films, I'm intrigued to see such a dramatically opposing view point. More than anything else, at least "Goke, Body Snatcher From Hell" makes for a fascinating companion piece to the Godzilla films at the time.

Final Grade: C+ 

Movie Review - "Midnight Cowboy" (1969)

"Midnight Cowboy," the story of optimisticly naive Texan Joe Buck (Jon Voight) moving to New York City in the hopes of getting rich off of sleeping with wealthy women, is just as much of a deconstruction of the western genre as it is a study of how the American dream is dying through our own compliancy. In this case, Joe is the prototypical hero cowboy, from the way he dresses and talks to the way he sets out to do what is right in his heart, Joe feels like he has New York in the palm of his hand, like a whole new frontier ready for the taking. And despite many setbacks, tragedies and hardships, Joe goes throught it all with wide eyes and an honest heart, always believing that he'll do the right thing, like the cowboys he grew up watching on television.

But the brilliance of "Midnight Cowboy" comes from Joe's optimistic outlook running up against a harsh world that doesn't care if you're honest or filthy. What starts out as a hopeful if misguided journey to do something with his life quickly turns to tragedy. It is painful to watch Joe slip so far, everything going wrong and somehow finding a way to make it worse. And yet, Joe remains hopeful, even as his best friend Ratso Rizzo (Dustin Hoffman) lets him live in his shack without electricity or heating as the winter months arrive. All this shows that the ideals of the cowboys and their "do the right thing" nature is hopelessly lost when morals hold no power.

Final Grade: A 

Movie Review - "BUtterfield 8" (1960)

I'm going to assume that the success of "BUtterfield 8" was largely dependent on when it was released, at a time when the sexual revolution was beginning. To put it bluntly, Elizabeth Taylor plays the town slut, who will openly have sex with any willing man yet refuses to be paid for this service or treated like a hooker or call girl, as she ends up dating a self-loathing married man (Laurence Harvey) and the two pick each other up as they fall more and more in love.

I say it's a product of its time because this was when women realized they didn't have to be the quiet housewives and were free to explore themselves just as much as men could. Nowadays, Taylor's performance would probably be analyzed as a byproduct of men ruining an innocent, fragile girls life to become another sex symbol, while others might see Taylor's performance as trashy and overly glorified. Even if Taylor does carry some superiority throughout the movie, it hardly ever seems justified.

I could not get into the spirit of "BUtterfield 8," as it psycho-analyzes everything more than your standard Chris Nolan movie, all while every character talks like they have multiple degrees in psychology. Then the film bounces back and forth between praising Taylor's life choices and demonizing it, especially with a long opening sequence of Taylor in a flimsy nightie parading around the apartment of her latest conquest.

Suffice to say, "BUtterfield 8" has not aged well. Taylor turns in a captivating performance as always and there's no denying her alluring appeal, especially since nearly every one of her lines is oozing with desire, but this gets uncomfortable after a while. I can see women in the 1960s loving the freedom Taylor offers, while men love looking at her. But now that we're in an age of sexual revelation and re-evaluation, as well as the "Me Too" movement, the atmosphere of this movie has certainly soured.

Final Grade: C-

Movie Review - "Z" (1969)

It is difficult to discuss "Z" in great detail, mostly because it is a political thriller based on real events in the 1960s. The film opens up with the statement that any characters looking or acting like actual people is not a conicidence, it was done intentionally. Even though the film is in French, "Z" has a fiery passion for Greek politics, as the film reflects actual events that happened in Greece, where a no-nonsense judge learns that a hit-and-run accident against a democratic Greek politician might be connected to the Facist government trying to assassinate him. All of this is based off of an actual assassination attempt on a Greek politician who opposed the military dictatorship in place in Greece at the time and the outrage that it sparked.

I say this is difficult because of how deeply expressive and outspoken "Z" is about what actually happened in Greece. This isn't like "The Great Dictator" where Charlie Chaplin pokes fun at Hitler and German society or bounces a large globe around like a beach ball, this is an outcry over a dictatorship murdering those who stand in their way and the helplessness the filmmakers feel.

The strange thing I've heard is that "Z" had a very dark sense of humor, but I guess that didn't translate well into English since I didn't laugh once, rather I was horrified to see the inner machinations of a dictatorship and the lengths they'd go to keep their power over the nation. I found "Z" to be a distrubing take on real life events that only got more unbearable as it goes on, as we find out just how deep the roots of the military's power goes. Even if the film was meant to be a satire, it never once plays anything for laughs, only horror.

Final Grade: A-  

Movie Review - "Cleo from 5 to 7" (1962)

French New Wave cinema has never been one of my favorite film movements, despite being one of the most important and artistic movements cinema has ever seen. These films are the definition of existentialism and prefer to ask long-winded questions about life, love and our purpose in the universe, not unlike Ingmar Bergman's films. This style has its place in asking important questions about what's truly important in life, but it's like watching the same well-crafted painting for two hours - you can admire the details and subilties, but it isn't enough to keep it interesting for that long.

"Cleo from 5 to 7" is one of the most widely known entires in the French New Wave, alongside "Breathless" and "The 400 Blows." But "Cleo" takes a vastly different angle, following one woman around Paris in real time as she waits for her test results to find out if she has cancer. She visits friends, sings, goes to bars and restaruants, all in an attempt to make her forget about her impending doom. So where other French New Wave films would meander and attempt to seem deep, "Cleo" focuses on a dying woman looking at life in Paris through an entirely new lense, wondering why she didn't see it like this before and if this will be the last time she gets to see the beauty of Paris. This certainly elevates "Cleo from 5 to 7" above other French New Wave films I've seen, elevated by a wonderfully captivating and heartbreaking performance from Corinne Marchand.

Final Grade: B 

Movie Review - "The Leopard" (1963)

"The Leopard" is an Italian period piece about a revolution in Sicily in 1860 where the middle class became the dominant power instead of the high society royalty that was as ancient as the city itself. The main character is played by Burt Lancaster, an aging prince who enjoys the lavish lifestyle he's been able to live proudly and arrogantly, believing more in the city of Sicily than its people, but slowly comes to realize that his reign and enjoyment is coming to an end. The soundtrack was composed by Mario Luoz, who also created the unforgettable sounds of "The Godfather," and his work here adds a lavish yet decaying atmosphere to the film that it so desperately needed, striking just the right emotional note.

I've been hesitant to watch "The Leopard" after I learned the version I have dubbed over all of Lancaster's lines in Italian, and it certainly hurt this version of the movie. While Lancaster conveys so much heartache and loss through just his intense facial expressions, something he has always been stellar at, his performance doesn't hit quite the right emotional notes due to his dubbing not always having the same intensity he would. No actor has ever been quite as passionate and outspoken in his roles as Burt Lancaster, and it feels like something is missing when it's not his voice.

Overall, "The Leopard" is a serviceable period piece. It captures the heartache of the upper class and the joy of the middle class wonderfully, achieved through production design, music and cinematography. Lancaster's performance works at certain moments, especially in the quieter scenes, but it doesn't work as well as it could have. The pacing is slow and arduous at times, and the fact that its over three hours can make this one a chore to sit through. Still, as far as Italian period pieces go, this is still elaborate and lavish.

Final Grade: C+ 

Movie Review - "A Man for All Seasons" (1966)

"A Man for All Seasons" feels much like a character study from Shakespeare, about a man who is conflicted between his religious beliefs and his personal beliefs and how that is always at odds with the church in charge of the most powerful country in the world. Paul Scofield plays the role of Sir Thomas More with quiet dignity while still having the strength to command a room, despite his opposition. As a period piece, it reminds me of "The Lion in Winter" with its castle design and regality, but the vibrant color palette of "A Man for All Seasons" is very much its own. Still, the best scenes are More standing up for himself to the much more powerful church, and there can be a lot of down periods outside of these scenes that start to lose my interest after a while. It is a beautiful tragedy, if a bit slow at parts.

Final Grade: C- 

Movie Review - "The Last Man on Earth" (1964)

If was one man left, I can't imagine a more fitting person than Vincent Price. In this production of Richard Matheson's "I Am Legend," Price tries to maintain his sanity despite the world turning into vampires. While later versions would use zombies instead of vampires, the core of Matheson's story remains as a testament to the human spirit in face of a certain demise, highlighted by a creepy yet melancholy performance from Price. The budget is small, but like "The House on Haunted Hill," the filmmakers make the most of it by highlighting the haunting writing and chilling performances.

Final Grade: B-

Hundred-Word Review - "Frankenstein Must Be Destroyed" (1969)

As my first exposure to the Hammer horror films, "Frankenstein Must Be Destroyed" is a wonderful mood setter that heavily departs from the Universal classics. The film tells a uniquely haunting tale that pays homage to the classic horror films while taking the disturbing imagery and twisted psyche of a mad scientist even further. The film is Gothic in style while dealing with the same themes of power and creation that every Frankenstein adaptation handles, amping up the blood and gore in ways Universal never could, all while focusing on the true monster of the Mary Shelly's novel - Dr. Frankenstein.

Final Grade: B+ 

Hundred-Word Review - "Funny Girl" (1968)

I get what "Funny Girl" was going for - a film about a woman (Barbara Streisand) who relies far more on natural talent, singing prowess and comedy than beauty or sex appeal set in a time when women couldn't be in show business if they weren't attractive. The problem is that this theme and period piece gets muddled by a rather forgettable and uninspired romance with a gambler (Omar Sharif). This plot keeps going around in circles, since Sharif and Streisand show little on-screen chemistry and seem rather distant. Now this forgettable film is only remembered for launching Streisand's film career.

Final Grade: C-

Hundred-Word Review - "Midnight Lace" (1960)

"Midnight Lace" plays out like a psychological thriller by Hitchcock, though without the flair for the dramatic, in both cinematography and storytelling. Doris Day plays an American heiress in London, who is threatened by an unknown assailant, though Day cannot convince anyone that he exists, including the police or her husband (Rex Harrison). While the filmmakers get you second-guessing our distraught protagonist through Day's outbursts and lack of evidence, the pacing never picks up beyond a dull roar to keep this thriller from going anywhere substantial. Effectively captivating as a guessing game, but doesn't have much else going for it.

Final Grade: C+

Movie Review - "Fail Safe" (1964)

It amazes me that "Fail Safe," a film about a mechanical failure that causes a bomber group carrying hydrogen bombs to head towards Moscow during the height of the Cold War, came out the same year as "Dr. Strangelove," a comedy with a nearly identical plot. It certainly speaks to the growing fears in the 1960s - what a nuclear war between the Americans and the Soviets would do to the planet, the concern that wars shouldn't be handled by politicians far away from fight, and that mankind was putting too much faith in machines and computers to handle wars when they're just as likely to fail as we are. The world was just as terrified as the characters in this movie, afraid that everything we know and care about could end just because of a few blips on a screen and a computer error. Which is why it's so fascinating to me that this and "Dr. Strangelove" so accurately capture those feelings, but do so in night-and-day manners.

"Dr. Strangelove" does this by portraying every character as incompetent, inept, and unqualified to handle the power to turn the planet into a nuclear wasteland, but then again it also says that no man is qualified to handle such extreme power. "Fail Safe" is more about how man would be unable to make the impossible decision of starting a nuclear war because of that destructive power, so we allow the computers to make that decision for us. The thrilling chase to stop the bombers is the result of that cold and calculated decision.

Once more, "Fail Safe" differs from "Dr. Strangelove" due to its strong moral center. Despite the mechanical failure that causes all this to happen, there's a strange bond shared between the Americans and the Soviets to show that neither side is a monster that wished for the destruction of the other. From the President (Henry Fonda) attempting to mediate the decision with Soviet officials, the group of senators discussing what can be done to help the Soviets, and the generals in Omaha actively working with the Soviets to bring down their own bombers, there's a strong sense of looking out for our fellow man in the darkest moments, even under indescribable pressure.

While I do think "Dr. Strangelove" is the better film for its absurdly relevant commentary, there's no doubt that "Fail Safe" is a strong and effective political thriller that does make you feel like the fate of the world is at risk. It is unnerving with its lack of a soundtrack and tight pacing. The film feels like an episode of "The Twilight Zone" at times, blurring the line between reality and fiction while always remaining thrilling and tense.

Final Grade: A-

Movie Review - "Cheyenne Autumn" (1964)

"Cheyenne Autumn" is another case where the story of how the film was made is far more interesting than the film itself, much like "Spartacus." This is the last western that John Ford ever made and was based on the true events of Northern Cheyenne Exodus of 1878, as group of nearly 200 Cheyenne Native Americans marched from their designated land in Oklahoma, given to them by the American government, back to their homeland in Wyoming.

Ford chose to make this his last western as a way to apologize to the Native American community after decades of portraying them as the heartless villains in his other westerns, such as "Stagecoach" and "The Searchers." Instead of the rugged cowboy risking his life to save a town or a girl from the clutches of the evil Indians, the roles are reversed - The Native Americans are the heroes for fighting for what they believe in, and the cowboys are the villains for trying to stop them.

That being said, "Cheyenne Autumn" takes a lot of artistic liberties with history, namely the path the Native Americans take to get back home being vastly different and the many side plots of other forces trying to stop them outside of the U.S. cavalry. And although Ford made this film as a way to show his love and passion for the Native American people, it is not without the Hollywood touch that tends to be a bit racist. Namely, several of the lead roles for the Native Americans are played by non-native actors, with the biggest one being Ricardo Montalban played Chief Little Wolf and Gilbert Roland as Chief Dull Knife.

So the whole idea of racial equality is muddy and unclear with this film - it's hard to promote a message about the power of Native Americans when you don't cast native actors in the lead roles.

Beyond this, "Cheyenne Autumn" has no sense of direction or plot. Large chunks of the film are dedicated solely to side plots that never connect to the main plot. This includes a nearly 20-minute sequence involving an elderly Wyatt Earp (played by Jimmy Stewart) hanging out in a saloon and playing poker. Earp never meets up with the Cheyenne, nor does anybody in the town he's in - it's all just comedic filler. Even the presence of Jimmy Stewart in this role doesn't help the meandering plot and dull pacing. But the biggest offender of this huge scene is that it isn't funny, thus wasting everyone's time in a film that's nearly three hours long.

As the final western made by John Ford, it is admirable to make this film as an apology to those who didn't need to be portrayed as the villains. Ford was the one to start the trend of Native Americans being the antagonists in most westerns, which would lead to so many things about cowboys and Indians. So to see the same man that started this trend come forward and say it was wrong of him to do gets my respect.

However, beyond this, there is nothing special about "Cheyenne Autumn." It is dull, without emotion or passion, and is a sign that the western genre was dying as the energy and flare for the dramatic is missing. If you're curious about this film, it's better just to read up on the behind-the-scenes than it is to actually watch this film.

Final Grade: D+

Movie Review - "The Courtship of Eddie's Father" (1963)

There's an innocent yet touching charm to "The Courtship of Eddie's Father" that really made it infectious and fun from start to finish, mostly powered by the relationship between its likable yet traumatized father and son (Glenn Ford and little Ron Howard). The joy they go through feels honest, while their conversations about life and dealing with death feel down to earth, all while they both deal with the lose of the person they cared about the most in the world. It never comes off as preachy or heavy-handed, finding the right balance between drama and comedy to make it heartfelt.

Glenn Ford plays Tom Corbett, who recently lost his wife, leaving him to raise their son Eddie (Ron Howard) alone in New York City. After the two take some time to adjust to their new lives without a wife and mother, Eddie decides that the only way they'll both be happy again is if they find another woman who can be both. Thus, Eddie decides to play matchmaker and find his father a new wife, whether he's ready for another relationship or not.

Ford plays the role of single father with dignity, strength and compassion, all while trying to keep up with Eddie's shenanigans. He is selfless in his pursuit to give Eddie the best life he can without his mother, despite both of them still being in a lot of pain over her lose. Little Ron Howard, yes the same Ron Howard that would directed "Apollo 13" and "Solo: A Star Wars Story," has far more class and charm than you would ever expect from a child actor, even out-acting Glenn Ford in some scenes about handling his mother's death. Together, they create a touching and inquisitive relationship that serves as the backbone of this movie, helping to keep everything in perspective.

Yet the film is as funny as it is charming, as Eddie over does it on the matchmaking and ends up finding multiple women who would all desire to be with his father. Eddie's innocence plays a key factor into all of this, taking a lot of what his father says to heart and dumping it onto these women in the classic child manner. Roberta Sherwood plays their live-in maid, who serves as the voice of reason as their lives get more and more chaotic and filled with women, all while she learns Spanish over a record. The standout amongst the many women is Stella Stevens as a would-be Miss America contestant afraid of socializing and embarrassing herself, who is surprisingly intelligent and sophisticated while taking everything in stride.

Overall, "The Courtship of Eddie's Father" perfectly balances the tragedy of losing a family member and the comedy of trying to find a quick replacement. It's built upon the relationship between it's two leads and how much they really care for one another, without sacrificing anything for laughs. Every performance is stellar, especially from the leads, and the film always feels honest and heartfelt. It'll have you smiling throughout, just like it did with me.

Final Grade: A- 

Movie Review - "Please Don't Eat the Daisies" (1960)

Fun fact - this is the first time I've watched a Doris Day movie. And from watching this one film, "Please Don't Eat the Daisies," I can see why she was such a beloved and charming actress. She is strong-willed, determined and passionate while remaining focused on her goals of raising a family and making a difference in her community. Day's performance is the highlight of the film, as she remains witty and calm throughout the chaos of her busy life, raising four small boys in a tiny New York City apartment while her husband (David Niven) gets roasted as the newest Broadway critic.

To be honest, this wasn't a film I took too seriously with any other characters, aside from Doris Day as she works through all these hardships, including moving into a new home out in the country, with a smile and a witty comment. David Niven is in the middle of all this chaos and loses his mind a couple times, but Day's character is right there to be his moral compass and guide him to be better than he is. As a result, their on-screen relationship is hot-headed and chaotic, but caring and rewarding at the same time.

Day plays the role as the kind of mother you would want to have help you through your most difficult times. She puts her own wants and desires aside to help her family without any resentment or animosity. Yet when she needs to get angry or upset, she'll strike back as hard as she can to stand up for herself. To her, being a mother is the greatest job in the world, but it isn't the only thing she can be.

Overall, I had a lot of fun with "Please Don't Eat the Daisies." It's not an overly complex movie, but it filled with laughs and clever set pieces, especially as Niven's character tries to make everyone happy only to make no one happy. Doris Day excels as the star of the show and leaves a great impression on the audience with little more than her charm and wit. A great little comedy with a stellar cast.

Final Grade: B+

Movie Review - "My Fair Lady" (1964)

"My Fair Lady" is based off the famous stage play, featuring one of the same actors to reprise their role on Broadway (Rex Harrison as the intelligent yet self-absorbed professor Henry Higgins), though nowadays seems more known for how it messed up its casting of the lead actress.

On Broadway, the role of Eliza Doolittle, the Cockney uncultured flower girl the professor takes in to teach her how to speak properly, was played by Julie Andrews. While Rex Harrison was immediately offered to play the same role, the studio didn't do the same with Andrews. Ultimately the studio gave the role to Audrey Hepburn, who could barely sing and had to be dubbed over during all of her musical scenes.

This actually worked out for Andrews, as it gave her a chance to play the role she has become well-known for - "Mary Poppins" which she won Best Actress for, while Hepburn didn't even get a nomination. And while "My Fair Lady" won Best Picture, among seven other Academy Awards, the poor casting choice has certainly tainted its legacy.

Beyond this though, "My Fair Lady" is a charming film about the class divide in England and how both the rich and poor divide themselves. There's an air of snobbishness to both Professor Higgins and Eliza, like they both think they're better than the other and their way of life is superior. Higgins preaches about intelligence and culture, while Eliza and her father (Stanley Holloway) see nothing wrong with a little hard work and adversity, and both are too stubborn or proud to give the other an inch, making their working relationship as fiery as their personalities and as loud as their screaming.

The music is as classical as its time period, showing off its colorful language and vocabulary while remaining whimsical and enchanting. It follows the pattern of speaking its music, rather than singing, especially from Rex Harrison as the music plays to his tune rather than the other way around, but that makes this musical even more unique and fascinating. Rather than the music serving as a emotional punch to many scenes, it showcases the power of the English language in all of its subtleties and complexities, much like what Professor Higgins is trying to do for Eliza. The music is a tool that, when used effectively, adds another layer of wit to this movie.

Hepburn is fine in the role of Eliza Doolittle, as I found her Cockney side endearing and oddly natural while her drive to improve herself is admirable. Even if Hepburn couldn't sing, its her non-musical scenes that really stand out.

Though the real star of the picture is Rex Harrison as Professor Higgins, who goes all in on being the most irredeemable man on the planet. He is set in his ways and refuses to budge for anyone, wanting to share his knowledge and insight with the rest of the world, though does so in the most condescending manner possible, all while giving Eliza endless reasons why he treats her like a worthless bug. He's a man who believes he's thinking with his heart, but cannot get past his own ego and intellect.

Overall, "My Fair Lady" is a charming experience with a sordid history. I have no doubt this would have been much better with Julie Andrews in the leading role, but on its own this film does not disappoint. Its strange use of singing works surprisingly well and the performances are stellar. As a film about the class difference, it has a unique way of going about it by showing that one side isn't necessarily better than the other. Even if this didn't win Best Picture, I'd still highly recommend checking this out.

Final Grade: B+

Movie Review - "Ocean's 11" (1960)

I don't say this too often, but there are remakes out there that are better than the originals, even if they are few and far between. Most of the best remakes are the ones that you probably didn't even know were remakes, like Brian De Palma's "Scarface" or Martin Scorsese's "The Departed" and even "The Maltese Falcon," the film that started the film noir genre, is a remake. These retellings often take these old fashion stories further than the originals ever could or tell them in a far more captivating way. In this case, the original Rat Pack's "Ocean's 11" pales in comparison to Steven Soderbergh's "Ocean's Eleven," mostly due to pacing and a lack of tension from the original.

These films do have nearly identical plots - A group of eleven highly trained professionals decide to pool their talents and cunning to simultaneously rob the biggest casinos in Las Vegas. In the original 1960 version, these men were part of the 82nd Airborne in World War II and are led by Frank Sinatra, while in the remake these men come from around the world and barely know each other while being led by George Clooney, both playing the titular Danny Ocean.

Both films boast an all-star cast for their times, with the 1960's version going all-in on singers-turned-actors like Frank Sinatra, Dean Martin, Sammy Davis Jr., and big name actors like Peter Lawford and Joey Bishop, while the remake of course had actors like George Clooney, Brad Pitt, and Matt Damon. Where they differ is how these characters interact, with the original going for a more natural and authentic feel. Their conversations are straight to the point and bare-bones, while the remake is full of wit and snappy-dialogue. Neither is inherently worse than the other, since their interactions set the tone for the rest of the film, but in a film that has to quickly set up eleven different personalities, it is nice to see some charisma.

But the biggest difference between these two films is the tension during their heists and how it is practically night-and-day. In the original film, these guys are nonchalant about everything, trying to look as cool as possible while robbing casinos. As a result, they make it look mundane and easy to rob the place that by the time the heist starts, the tension of their plan succeeding has all but faded. In the remake, they stress how impossible this task is and how they'll fail if they make one wrong move, with each scene racking up the suspense higher and higher. I don't get that these guys will fail their mission if they make one wrong move in the original, because they make it look so effortless.

Watching these two is like seeing some guy in a suit steal candy from a baby carriage like it was nothing, and then watching another guy being chased by the cops with a huge bag of money in hand, and see him steal the candy along the way.

Overall, "Ocean's 11" felt like a bore, especially compared to the Rat Pack's other big hit, "Robin and the Seven Hoods." It is your typical heist film with a slight sense of humor, but never to the point that it overwhelms the dry tone. Outside of Sinatra, Martin and Davis Jr., you don't get to know any of the other guys, to the point that side characters like the reformed mobster Duke Santos (Cesar Romero) and a drunk Shirley MacLaine have more character than half of these guys. There's nothing too special here, and I would highly recommend checking out the remake over this film any day.

Final Grade: C