Thief's Monthly Movie Loot - 2024 Edition

Indeed.

Speaking of Dial M for Murder, what's everybody's feelings on A Perfect Murder? It's been a while, but I remember enjoying it a lot. I do think the last act was weak, but I remember thinking it was a pretty good way of adapting/updating the story with a more modern perspective.

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That statement is said more or less in jest by the President's physician at one point, but it could probably apply to how some characters in the film treat the President, but also to how society in general treats their elected officials. We put them up only to tear them down. To be fair, I'm probably one of the most cynical persons out there as far as politics and government goes, but I do acknowledge the excessive scrutiny and pressure that world leaders have to endure, and how that could feel like a situation where there's little chance to win, and lots to lose.

Seven Days in May follows President Jordan Lyman (Fredric March), who finds himself in that lose-lose situation after he agrees to sign a nuclear disarmament treaty with the Soviet Union. His intention to end the Cold War and try to bring peace to the world is seen as a weakness and a threat by General James Mattoon Scott (Burt Lancaster), who decides to lead a cabal of military leaders to organize a coup against the President. In the middle of the crossfire is the Director of the Joints Chief of Staff, Colonel "Jiggs" Casey (Kirk Douglas), who serves Scott but who's also able to understand Lyman's actions.

The fact that a 1960s political thriller about the threats of nuclear warfare, political backstabbings, and military coup d'etats still sounds ominously possible in the United States, even 60 years later, isn't lost in me. If the last 10 years or so have showed us anything is that all these threats are still very much present in 2024, but one thing that director John Frankenheimer and writer Rod Serling does is show us that both sides aren't necessarily right, but they aren't necessarily wrong either. There is some sound reasoning in Lyman's optimism, but there is some truth to Scott's concerns as well.

Part of that dichotomy being skillfully presented is on the script, but a big part also falls on the great performances from the three leads. Ever since I saw Out of the Past, it's been a delight to discover every Kirk Douglas' performance I've seen since. Meanwhile, Lancaster has become a recent favorite after catching up with a handful of his films in the past 2 or 3 years. March is one I'm not that familiar with, other than his great turn as Dr. Jekyll/Mr. Hyde, but I really liked him here. He has a great mixture of honor and vulnerability, at the same time that I found just right for the role.

As is usual with Frankenheimer's films, he does a great job of building up tension. It's worth noting that this is a political thriller and not an action film, so most of that is done through conversations and meetings. The fact that they work shows how skillful he is as a director. There is also some gorgeous cinematography in terms of how certain camera angles are used and how characters are positioned in certain scenes that I found to be quite effective.

The cast is rounded up by Martin Balsam as the White House Chief of Staff, Edmond O'Brien as an alcoholic senator, and Ava Gardner as Scott's former mistress; a relationship that is at the risk of being weaponized against the General. This, again, goes to show how anybody that is at the seat, or has their eyes on the seat, has to be ready because the attacks will come from when you least expect it, when you least expect it. We have the evidence right in front of our eyes, right now, where no past action or deed, no spouse or child, is off-limits to scrutiny. After all, the people do elect someone only to try to see how fast they can tear them down.

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I saw A Perfect Murder in the theater back in 1998. A friend wanted to see it, so I didn't know anything about it before watching it. As I watched it, I kept thinking that somehow I had already seen this movie, even though it was a new movie at the time. More than a hour into the movie, I finally realized that it was a remake of Dial M for Murder, and that was why I felt like I had seen it before.

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If I answer a game thread correctly, just skip my turn and continue with the game.
OPEN FLOOR.

Rock and roll, and music in general, is full of examples of "happy-sad" people. The "tortured poets department", so to speak Artists and musicians that were "happy being sad" and managed to make music and careers out of that, which is something that the main characters in this film embrace in their search for identity. They don't know who they are, happy... sad... pop... or not... whatever. They just want to play music.

Set in the mid-80's, Sing Street follows Conor (Ferdia Walsh-Peelo) as he embarks on this search for identity through music. When he is transferred to a new school because of his parents impending separation and divorce, he seeks refuge in forming a music band with some classmates. Conor's "muse" comes in the form of Raphina (Lucy Boynton), an enigmatic older girl who hangs in front of their school. After he dares to approach her, she agrees to appear in their music videos, which ultimately fuels their musical journey. On the sideline, there's also Conor's older brother, Brendan (Jack Reynor) who gives him frequent advice about music, life, love, and other stuff.

This film is directed and co-written by John Carney, who previously did another musical, Once. I'm a big fan of that one (you'll probably see it come up pretty high on my Musical Countdown Ballot) so I was looking forward to checking this one. Sing Street works both as a coming-of-age film, but also as a look into how musical tastes and preferences evolve and take shape. These characters are not only looking for a musical identity, but an identity overall while also struggling with their own personal situations.

The musical angle is on-point, with most of the songs being really catchy. I don't know if they will stick with me as much as the ones in Once did, but I enjoyed listening to them. I also appreciated the way the film shows the camaraderie and rapport between the band members, especially Conor and Eamon (Mark McKenna). The way they play that Lennon/McCartney vibe felt special, and I wish I could've gotten more of that symbiotic musical relationship as they both grow and evolve. They are growing, going through all the changes that teendom brings, which in many cases means you're going to be "happy-sad" and not sure of what you are or how you feel.

This is expanded also to more adult changes conveyed through Brendan, who's going through his own struggles, while maybe trying to channel things through Conor. That brotherly aspect between the two was something that didn't really hit me until maybe the last act. Not sure if it was a script issue, or just that I was more focused on the coming-of-age/music/romantic aspect of the story. Maybe that's why I felt like Brendan's frustrations in that last act, and how they relate to Conor came as a bit of a surprise, but the cast does a great job handling it leading into a very touching and poignant ending. Maybe you can call it "happy-sad", I don't know.

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That's how the titular character describes himself and his life. He's been through some rough times, but always finds a way to walk away, damaged but "unharmed", blessed by God perhaps. But how long can that last? and what will happen when judgment finally catches up with you? Those are some of the questions faced by the main character in Abel Ferrara's iconic thriller.

Bad Lieutenant follows the titular character (Harvey Keitel), a corrupt cop that revels in drugs, sex, and gambling; biting the bullet since he was a teenager. When a young nun ends up raped and tortured, the investigation puts him face to face with his own inner demons of guilt and regrets.

This is one of those films that's not a pleasant experience, which is totally the intention. The film transmits the seediness of the main character onto the screen, with a grimy look and vibe that you just want to shake off afterwards. We see LT, as he is often called, wallowing in all kinds of excesses in a way that's far from pretty and enticing. His actions being probably a reflection of his tortured soul.

One of my main issues with the film is how loose it is. Even though the rape of the nun acts like a throughline, the film mostly moves at its own free will, following LT as he does his things, while taking frequent pit stops to actually investigate. There are few solid supporting characters, which leaves us most of the running time focused on Keitel's character. I don't necessarily mind that, but I think the film would've benefitted from a more steady ground at some points.

Not only because it would make the story feel fuller, but also because it would give more weight to LT's struggles and the things that happen to him through. As it is, the film is more like a vibe, so you have to let yourself be drawn into that haze where LT operates. Keitel does deliver a powerful and enthralling performance, so if you're willing to bite the bullet, you'll probably enjoy the trip with him.

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Set in the Soviet Union in the middle of World War II, The Ascent follows two soldiers: Sotnikov and Rybak (Boris Plotnikov and Vladimir Gostyukhin), that end up away from their unit, injured, and lost in the wilderness. As they try to find their way back to safety, they seek refuge in the house of struggling mother Demchikha (Lyudmila Polyakova). As the Nazis draw closer, the three have to wrestle with the enemy, cold and hunger, as well as their own consciences.

This is a film I hadn't heard of before, but what a pleasant surprise it was. The story presents these characters thrust in an impossible situation where "crawling in shit" seems inevitable. The question remains in who is willing to do so, even when it means not being able to "wash it off" afterwards. That quote was from Sotnikov to Rybak; a warning not to try to appease the enemy and cooperate, but rather "to be true to yourself".

The story uses this as a really powerful religious allegory of forgiveness, betrayal, guilt, and regret. That struggle is exemplified by the two main characters and their fight to survive. The three lead actors do a great job of conveying the weight of their choices and the cost afterwards. Kudos also to Anatoli Solonitsyn who plays Petrov; a collaborator for the Germans that pressures them.

Aside from that, the film is beautifully directed. For those that don't know, director Larisa Shepitko was the late wife of Elem Klimov, who would go on to direct his own war tragedy in Come and See. Shepitko has a unique eye to capture the emotions of these characters and the tragic crossroad they find themselves in. When survival is on the line, the crawl might not seem like a bad choice, but can we bear not being able to wash it off afterwards?

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The Sin follows Aziza (Faten Hamama), a poor woman that has to work in the fields under harsh conditions. When her husband falls ill and is unable to work as well, the pressure to sustain the family falls solely in Aziza. After being raped by a guard and ending up pregnant, she is faced with some harsh decisions. Does she reveal what happened sacrificing both her dignity and her family's means of survival, or does she carry on risking shame and punishment in the future?

The titular "sin" might refer to an unwanted pregnancy, even if it was a result of rape. Although the Qur'an does condemn sexual violence, some conservative societies still put the stigma on the victim. However tough that might be, Aziza faces tougher choices down the road when she decides to hide the pregnancy. Choices that could lead to "sin", and as is believed by most religions, punishment and "eternal damnation".

As I was browsing for films from Egypt, this often came up as one of the most well-regarded films from the country. Considering the time and place it was made, it's understandable the impact it probably had. Even in more progressive societies nowadays, there are still films that shy away from addressing issues like rape, unwanted pregnancies, abortion, and suicide, or its religious/spiritual implications. So to have this come out from a Muslim country, back in 1965, is quite something.

Unfortunately, the film does take a while to even introduce the main characters, which doesn't really help us connect with them. Moreover, after the main plot point is more or less resolved, the film broadens the scope to use Aziza's situation as a way to address the working conditions of poor people in the country. Although I applaud the intention, I would've preferred the film to maintain a more focused micro-narrative on Aziza and her family, instead of the macro-narrative of the lower class working conditions in Egypt.

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It's so weird when that happens. I've maybe had this experience three or four times. For example, I was unaware that the film The Deep End was a remake of a film from the 40s called The Reckless Moment. When I just happened to watch The Reckless Moment last year I was like . . . "wait a minute!"

I really enjoyed The Ascent and was very sad to learn that the director had died so young. One of those things where you have to wonder how many good or even great films we lost.

Refused Classification follows Matt, Amy, and Pamela (Sam O'Sullivan, Gabrielle Scawthorn, and Bernie Van Tiel) as the three prepare to start a relationship. However, their intimate and personal moment is overseen by a strict monitor (David Whitney) who will ultimately assign an MPAA rating to their "scene". As they bargain for what to say or do and what not to, they start to question the need for such a rating.

The MPAA rating system was established in 1968 with the purpose of helping parents in determining what films were appropriate for their children. But how can you determine that? The MPAA does it by quantifying instances of violence, language, drug use, and sexual themes against strict metrics like saying the word "fu¢k" only once if you want a PG rating, but it can't be as a verb; or the biases against sexual content versus violent content (someone being shot can get a PG, unless blood pools underneath the body).

Director and co-writer Chris Elena described the short himself as "a 13 minute bisexual 'fu¢k you' to the MPAA & film censorship". But he surrounds this "fu¢k you" with a witty script, solid acting, and a creative execution. The three leads do a pretty good job and are 100% likable, while the Whitney character steals the show with his deadpan delivery of the rules of the MPAA. However, most of the effectiveness of the short goes to the script, which cleverly points out the ironies, contradictions, and flaws of the rating system in a way that's effectively thought-provoking.

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If anyone's interested...

Have you seen the documentary This Film is Not Yet Rated?

Nope. Worth a watch?

I think so. While it's a bit old at this point, it raises some really interesting questions about what it means to rate a film for "appropriateness". It brings up some of the points you mentioned (sex vs violence), goes into the way that queer sex is much more strongly enforced than straight portrayals, etc. But it also gets into the idea of who the people are on the board, and what qualifies them to even make those rating decisions.

I'm a huge fan. Some of the best usages of close-ups I've ever seen as you get a sense of reality and the inner realizations of the characters slowly dawning on them throughout the film. Great ending, in particular.

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I mainly like it for its final act, but I'd certainly recommend it.

Agree. The ending is a gut-punch.

"The Mountains of Mourne" is a song written by Irish musician Percy French. The above lyrics concerns Irish immigrants reminiscing about home after not finding what they were necessarily looking for in other places. The song also lends its title to this short from actor/filmmaker Jim Cummings which includes a fair amount of reminiscing, sadness, and nostalgia.

The short opens up with Jordan (Casey Thomas Brown), a social media influencer, walking into a hotel on a wheelchair. He is joined soon after by his brother Jim (Cummings) who has come to help him with something. The short stays true to Cummings' style and techniques for various reasons: first, because it is all shot in one take, but mostly for its smart mixture of tones ranging from comedy and drama.

As has been proved in most of his other projects, Cummings is a master in slowly revealing things to the viewer. As the short film progresses, he gradually gives you all the information you need about what's happening in a way that feels natural and organic. Finally, we have his acting talents and the way he can convey true heartfelt emotion and sadness. We put all of that together, and we get one of the most interesting filmmakers I have seen in recent years.

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Being a parent can be taxing and frustrating. We need to handle the usual stress of daily life, while also being responsible for the well being of our children. All of that can put an enormous pressure on parents to "act" like things are going well for the sake of the children, even when they necessarily aren't. That is the basis of this short film from Jim Cummings.

Hydrangea follows two parents, David and Hannah (David Henry Gerson and Hannah Elder) in what seems to be the shooting of an ad, along with their son Anthony (Toby Grey). However, when the director yells "cut", we can clearly see that things aren't what they seem and appearances are the rule.

This short gives you all the usual Cummings' trademarks: shot in one take, as we slowly get reveals of what's really going on. The short is a bit more serious than some of his other work, while also being a bit more bitter. But maybe that bitterness is meant to make us look within us and our daily life; see if we're "acting" or "not acting like anything".

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Life has a way of turning upside down in one second. The unexpected becomes reality, and all we have to latch onto are memories... of what was and what could've been. That is part of what lies beneath the surface of this short co-directed by real life couple Jim Cummings and Julia Bales, and written by Bales.

Us Funny follows Jim as he goes down "memory lane" remembering various key moments in his life with Julia; when they met, a dinner together. It is all beautifully portrayed by both Cummings and Bales, who excel in their roles. Cummings in particular has such a talent to portray a natural vulnerability, which is something that often comes up in his works.

The short also does what Cummings does best, which is to walk a fine line between tones and genres. Here, the fine line lies between romance and tragedy, and he walks that line like a master. What he presents here is a trip down "memory lane" of a couple that could be any couple; and sometimes the smallest thing or the biggest thing can get us on or off that "lane". It's up to us to decide if we move forward.

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The above quote is the plea from Grace (Annie Hamilton) to her family as she prepares to introduce her boyfriend, Cory (Joseph Lee Anderson). Her plea might seem loaded with guilt and shame, but the preceding 5 minutes of the short have already shown us a bit of how her family is.

Cory Comes to Christmas is another Jim Cummings short film where he shoots it all in one take. The skill he shows to move the camera around the house as we meet all these characters is tremendous. However, it is Hamilton's performance what carries the short as we see her run the gamut of emotions.

Introducing someone to your family is often plagued by awkwardness, but it gets more complicated when you're burdened by insecurities, shame, or problems from the past, which I think is the case here based on Grace's plea for her family to "pretend". As for Cummings, I don't need to pretend. I love him.

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