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Inside Out 2


We all know Joy, Sadness, Fear, Disgust, and Anger. Now meet the new emotions:


Fear
Sadness
Joy (but selfish)
And a third Fear


As my icon may tell you, I absolutely adore the original, but this one feels like a cash grab, with a direct to streaming level plot.


That said, the visuals are absolutely amazing. The amount of detail they put into the real world segments is some of the best CGI I've ever seen. I love the small details, like giving the teenagers small amounts of acne. Riley even has some faded acne scars on her cheek.


The plot does pick up a bit in the third act, and it still tugs at a few heartstrings, but it's an unnecessary rehash of the original, with "new emotions" that are really just slight variations of the originals.


"C+"





Civil War - (Alex Garland, 2024)

8.5/10. Jesse Plemons is everywhere it seems.... which is great, love this guy. Nick Offerman should have more screen time.
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The Exorcism - 5/10.

Slow burn that kinda fails at the end. I prefer Crowe in Popes Exorcist over this.
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Last Movie Watched: The Watchers (2024).
Last TV Show Watched: Ghosts US (S3:E4).






2nd Rewatch...Director Ron Howard's masterpiece, this 1995 Best Picture nominee is an often heart stopping docudrama about the doomed space flight that implies that it might have been doomed before it even happened. Howard tells this epic story from all viewpoints, not just inside that doomed capsule. It's still mind-blowing to me that the film received a Best Picture nomination and the director didn't even get a nomination. Howard also assembled one of the most perfect acting ensembles to serve this story. Ed Harris and Kathleen Quinlan received supporting nominations, but the entire cast works at the same level with one purpose...to serve this spellbinding story. This movie gets better with each viewing.







1st Rewatch---Didn't play as well as it did the first time. I really liked the intimacy of this re-telling of the comic book legend that initially focuses on Cal-el's issues dealing with who he is once it is revealed as well as the fact that, in this story, Lois Lane meets Superman before she meets Clark Kent, but a couple of plot points nagged at me throughout this viewing. I didn't really understand why it was so secretive about Jorel's plan to turn earth into another Krypton. And if Krypton was such a superior race of people, why did General Zod have to wait for Superman to reveal himself? As such an allegedly superior race, shouldn't they have been able to find him with minimum difficulty? The final pissing contest between Superman and Zod, which happens after Manhattan (Metropolis) is destroyed went on way too long and the final slap in the face to the viewer is in the final scene where we learn that, once again, Lois Lane is fooled by a pair of glasses. The film features first rate production values though. Henry Cavill is properly chiseled as the title character and the perfect marriage of actor and character is created with Michael Shannon and General Zod. Kudos as well to Russell Crowe as Jorel and Kevin Costner and Diane Lane as Jonathan and Martha Kent. The re-thinking of the legacy works, but it takes way too long to get where it goes.




Giant from the Unknown - 1958 scifi/horror featuring a number of familiar character actors including well traveled Western star Bob Steele and scifi veteran Morris Ankrum. The film opens in the mountain town of Pine Ridge, California where the locals are up in arms over cattle being found mutilated. A local rancher is the latest victim and there's talk of the deaths at Devil's Crag being supernatural in nature. The town's Sheriff Parker (Steele) orders everyone to stay away but suspects that geologist Wayne Brooks (Ed Kemmer) had something to do with the ranchers death. Archaeologist Dr. Frederick Cleveland (Ankrum) and his daughter Janet (Sally Fraser) show up in town to research a theory he has about a Spanish expedition that had traveled into Devil's Crag 500 years before.

A group called the Diablo Brigade had mutinied and split off from the main expeditionary force in search of gold and were led by a man named Vargas, AKA "The Diablo Giant". Brooks tells Dr. Cleveland about some Indian artifacts he found in the same area along with a lizard long thought extinct. It had been sealed up inside a rock and Brooks theorizes that it had been in suspended animation. That's the main hurdle the audience is expected to get past in order to buy into the movie. Once you're there the Diablo Giant is introduced and he's played by Buddy Baer, the brother of former heavyweight boxing champion Max Baer. To Star Trek fans he'll bear a passing resemblance to Lt. Worf. It's an interesting enough take on the typical monster-menacing-the-townsfolk trope but not enough to make for wall-to-wall thrills. Still though it wasn't completely inept. Having seen more than my share of ineffectual sci/horror entries I thought this was passable entertainment.

65/100





The Exorcism
(Joshua John Miller, 2024)

Not sure why this is getting such terrible ratings. I thought it was pretty average for an exorcism movie and Russell Crowe was good in it so I was happy.

I did prefer last year's The Pope's Exorcist over this one, if only because Crowe played a more likable character in it.




Ronin (1998)

1st rewatch. This is a good film and interesting. All the part players are good (especially De Niro and Reno). In my eyes it falls between a "Hard boiler" and out and out action film. Definately better on my second watch. With such an ensemble cast I think Frankenheimer tried to cram too much into it's running time.







5th Rewatch...This film has endless rewatch appeal for me and has become the film with my favorite Clint Eastwood performance (and his diection is nothing to sneeze at either). He plays a recently widowed war veteran who is one of the few caucasian residents in a racially charged Asian neighborhood who gets involved with a pair of Korean siblings and some dangerous Korean gangs. That scene at the neighbors' house where Walt is with a houseful of Koreans who don't speak English never gets old and the ending destroys me.
I think this film is wonderful Gideon, the Jamie Cullum refrain at the end always makes me bubble.



RIP www.moviejustice.com 2002-2010
The General (1926, Buster Keaton) - A+

And yes, Furiosa brought me there to revisit the classic silent picture that has been endlessly influential and the blue print for the action genre.





House of the Damned - I'll be honest and admit that I tried out this 1963 ‘Old Dark House’ horror thriller based mostly on the title. Architect Scott Campbell (Ron Foster) is hired by estate attorney Joseph Schiller (Richard Crane) to survey a secluded old mansion. He takes along his wife Nancy (Merry Anders) and when they stop at a local realtor to pick up a spare set of keys he informs them that the previous tenant reportedly disappeared without a trace. Schiller's wife Loy (Erika Peters) also eventually shows up followed by Schiller himself.

Even with a compact 62 minute running time the script still labors to have anything of great import transpire. There's the usual things going bump in the night, another disappearance (which is met by a perplexing lack of concern by just about everyone) and a sprinkling of arresting images but it fails to build up much suspense. You might also pass the time looking for a young, lank haired Richard Kiel. The black and white cinematography is clean and the interiors of the mansion stately but the acting, especially by Erika Peters, doesn't really add to the proceedings. The biggest problem you might have with this is the denouement which just sort of reveals itself in an anticlimactic way with no buildup or setup. Maybe this film's vitality was left on the cutting room floor, which would, of course, explain the running time.

40/100



Boiling Point (2021) -


This is an excellent "anxiety movie" in the same vein as Uncut Gems that occurs in a place where it is never in short supply: a restaurant kitchen. What’s more, there's tension in every facet imaginable, and thankfully, none of it seems contrived. Where to begin: the health score just got downgraded, the manager is more interested in the restaurant's social media presence than her employees' needs, a dishwasher is two hours late, a customer is berating the wait staff, a celebrity chef (Flemyng) with whom head chef Andy (Graham) has a strained relationship is not only there, but also with a food critic, one of the chefs is still learning English, etc. Oh, and it's the holidays. As the running time indicates, it's a lean and mean movie, but it manages to make time to humanize the key players without diluting the momentum. It's smart enough to do this right away with Andy failing to call his son - likely something that happens frequently - as well as in a wrenching closed-door scene where the manager breaks down and reveals her cluelessness after the staff berates her. The movie is filmed in one take, a technique that often calls too much attention to itself, but director Barantini and company put it to good use here. The action is perhaps too involving to ever remove you from it anyway, but I credit the movie for how elegantly it passes the baton, if you will, between each character of focus. As for the performances, this may prove the statement that the best acting occurs in close quarters, with Graham's sometimes Gordon Ramsay, sometimes Paul Hollywood and always on the verge of breaking down head chef being the standout. I was also impressed by Panthaki and Robinson, who play the most vocal and rightfully frustrated chefs.

The service industry is hell - especially when you add social media to the mix - which this movie ably reinforces. Filmed during the pandemic, Barantini and crew likely had the same kind of problems as the restaurant staff it depicts, especially since it prevented them from getting every take they wanted. While this chaos enhances the movie’s, it is rough around the edges here and there as a result. Other than that, it is a more than welcome addition to this subgenre the Safdies gifted us with, the impact on our blood pressure notwithstanding. Thankfully, now that the pandemic is over, it's nice that restaurant workers can breathe sighs of relief now (just kidding).



Chicago (2002)

-


Smaller in scale than I expected and not too long. I liked the cast and style, music was ok. I have a connection to the city having been born there so that's a plus. Having a crime element is good. The girl's skimpy costumes made the difference between a passing and a failing grade.



Society ennobler, last seen in Medici's Florence
A Man and a Woman Trilogy

Directed by Claude Lelouch
Starring Anouk Aimée and Jean-Louis Trintignant
  • A Man and a Woman (1966)
    90/100 (second view)
  • A Man and a Woman: 20 Years Later (1986)
    - 68/100
  • The Best Years of a Life (2019)
    + 73/100
In memoriam of just passed Anouk Aimée, I rewatched the masterpice of the sixties A Man and a Woman and decided that it is the moment to cover the whole Trilogy.
Considering the high level placed by the original film, naturally there are some issues with the next films, mostly with the second one, probably caused by the interfere of the American distributors (collaborators and hidden co-authors). I guess, that's why, in the third movie, the filmmakers don't count the events of the previous instalment.
Anyway, this trilogy is a must for the lovers of the art of cinema.

That was an absolute luck for all admirers that all the three personalities - Lelouch, Trintignant and Aimée - had so long lifetime to create this 50-years long project.
I wonder if The Before Trilogy was inspired by this one...

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Black Angel (1980)


Genres: Medieval, Fantasy, Short


While visually astonishing, the short film spent a lot of it's time slowly panning the beautiful scenery stripping the story and plot so bare that it felt like a 4-7 minute film stretched with slow camera pans to 20 minutes. The result was very pleasing on the eyes, and atmospheric, but left me wishing there had been a little more substance and a little less slow panning. I think with a film of this length you have to be extremely selective about each individual shot, and this felt like it took it's time where it should have added more substance to its scenes besides a lone knight wandering through the mystical wilderness. He's on his way to somewhere, and when he gets there he'll be on his way to somewhere else. Still, it's a nice gem, definitely worth watching. Some may even consider it an essential piece of cinema, especially for it's time and how influential it was.


Rating:






Umpteenth Rewatch...The most underrated Jack Lemmon/Neil Simon collaboration. Lemmon takes over a role that was originated on Broadway by Peter Falk playing a stressed out NYC executive who loses his job, then his apartment is robbed, his ever patient wife (Anne Bancrost) decides to get a job but she, too, gets fired in a couple of months while Lemmon is quietly having a nervous breakdown. It's the performances by Lemmon and Bancroft that raise the bar on this one. And if you don't blink you'll catch quick appearances from F Murray Abraham as a cabbie, M Emmett Walsh as a doorman, Ivor Francis as a shrink, and Sylvester Stallone as an alleged pickpocket.