The Most Dangerous Game (1932)

Adaptation of the Richard Connell story about a big game hunter who captures and hunts fellow humans on an island off the cost of Brazil. Film is kind of exposition heavy, so the actual hunt of Joel McCrea and Fay Wray takes up a disappointingly small percentage of screen time.. The whole movie is made however by Leslie Banks sinister, slightly over the top Russian Count (he does crazy eyes quite well). Satisfying at a mere 63 minutes, I recommend the colorized version which I think makes Fay Wray seem strangely more attractive then she usually does. A couple of good chase moments towards the end, especially the camera work during the charge through the swamp. Thumbs Up.

Up in the Air (2009)

Jason Reitman had originally intended an adaptation of author Walter Kirn’s 2001 novel about a flight-hopping “career transition counselor” to be his directorial debut, but other movies came to the four and only recently has he been able to complete his pet project. The production delay has provided fortuities for the young Reitman (son of Ghostbuster’s director Ivan) in two major ways: Firstly it allowed him to hone his directing techniques in other quirky films like Juno and Thank You For Smoking. Second it allowed his film to come out in a time when perpetual layoffs have come to take a real affect on the American psyche (in fact Reitman liters his film with actual laid off workers playing the men and women our lead characters fire in the course of the story).

George Clooney is our central character Ryan Bingham, a man who fires people for a living and luxuriates in an existence free from emotional attachment (he even works periodically on a self help book about how to avoid commitments in life). This character is a little reminiscent of the one Clooney plays in Micheal Clayton, somewhat estranged from his family, and highly skilled in an unpleasant job. Tonally of course the film is lighter then Clayton, yet melancholy. There are a number of themes in the film but those having to do with Bingham’s realizations about his loneliness in life, and how he’s failed to ’man-up’ are the ones I felt drawn to. I’d even place this film in that somewhat hard to defined quasi-genera of men-reluctantly-learning-to-face-up-and-try-to-be-men films, which runs the spectrum from the fatherhood subtext of Matchstick Men, to Judd Apatow’s various man-boy comedies. I Should point out that all the women are really good in this film too, Vera Farmiga as Clooney’s love interest, the always intriguing Melanie Lynskey, Amy Morton who does a lot with a small part as Clooney’s older sister, and of course Anna Kendrick, who I’ve developed a crush on. Solid film, creative, sufficiently subtle, of course timely, and by far my favorite of Jason Reitman’s films to date. Thumbs Up.

Outrage (2009)

Simply put this is a documentary on closeted American politicians who vote anti-gay. Documentary film maker Kirby Dick has made the subject of hypocrisy and the need to expose hypocrisy the paramount concern of his work, and feeling that a gay politician who votes against his own people (as it were) should know better, he proceeds to name names. Now this is a very sensitive subject outing, both in the gay and straight communities, and to do so in a film presents many issues, not least of which that you might be wrong. All the recent big names (both alleged and confirmed) are here, including former Idaho Senator Larry Craig (a recording of whose interview with a Minnesota police officer post men’s room bust begins the film), Florida’s current governor, U.S. senate candidate and possible presidential aspirant Charlie Crist, Former New York City Mayor Ed Koch, and of course New Jersey’s former chief of state Jim McGreevey.

The film has been criticized for making claims that are hard to substantiate, though it seems that Dick has been very vigilant about trying to source his claims, though the credence you’ll give a charge often boils down to whether or not you believe a handful of alleged ex-boyfriends and one night stands. The films also been criticized for focusing almost exclusively on men (the only Lesbian politician in the film is openly one, Wisconsin Congresswomen Tammy Baldwin), and Republicans. However when acknowledge the crux of the film, which is hypocrisy, this all makes since. The Republican party has taken up the anti-gay cause in a way the Democratic party has not, and since the film doesn’t concern itself with alleged closet cases who have not been public about, and insistent on voting against an expansion of gay rights, then the scope of the film is going to fall squarely on a handful of largely older, Republican men. I don’t really know how I feel about everything presented in the film, but certainly its interesting in a tablody sense, and dose open up a relevant, if inherently awkward piece of public dialogue. Thumbs Up.

Moonstruck (1987)

Deservingly well thought of romantic comedy from 1987 is expertly done, not often laugh out loud funny, but consistently amused smile funny. The acting, the script, the direction, the tone, all of it just works. It’s a straight forward film, though its charms are subtle and just have to be seen to be appreciated. Sometimes you just really like something but you can’t fully explain why (a theme of the movie no less), so I shant waste words save to recommend this, surely one of the best, most satisfying romantic comedies every made. Thumbs Up.

Thou Shalt Not: Sex, Sin and Censorship in Pre-Code Hollywood (2008)

Documentary is good tie-in to previous movie (it should be there on the same disc). Informative short introduction to pre-code film, what it is, its importance, and lots of good film clips for examples. The only unfortunate thing about this documentary is that most of the films it references are not available on DVD, thus disappointing me. Thumbs Up.

Night Nurse (1931)

Enjoyably seamy pre-code flick stars Barbara Stanwyck as the aforementioned night nurse, Ben Lyon as a good hearted bootlegger, Joan Blondell as your request Joan Blondell character, and Clark Gable as an evil Chauffeur. The first half hour of the film is a not particularly interesting prologe of how Stanwyck’s character becomes a nurse, meets Ben Lyon ect. (you do get a far bit of the workings of an early 30’s hospital however, which is neat to see). After this introduction the film gets into its real plot, a fascinating and seedy bit of business involving wild fifth avenue parties, starving trust fund heirs, and a coke fiend doctor named Milton A. Ranger. These pre-production code enforcements films still have an ability to shock and fascinate, they subvert our expectations of older movies and show us a more real seeming 1930’s then we’d get just a few years later when the Breen office we excreting firm control. This is a great movie to get into pre-code films with because it contains so many of that quasi-genera’s common elements, from cynical characters, to child abuse, to gangester violence, to drug and sex refrecnes, to Joan Blondell; yet the films still ‘clean’ enough that you could watch it with your mother. Thumbs Up.

See Also: Reefer Madness (1936)

My Boy Jack (2007)

While doing a play with Edward Herrmann in the 1980’s English actor David Haig was first made aware of his resemblance to the British author and imperial apologist Rudyard Kipling. So endowed Haig searched for a project that would let him play Kipling, finding none he began his own search for a story worth telling about the iconic author, and found it in the military service of the man’s son Jack. Severly myopic John “Jack” Kipling should never have been allowed to serve, but strings were pulled and the young man was commissioned a second lieutenant, only to be killed 2 weeks into his service on the continent, one day after his 18th birthday.

My Boy Jack is the story of how John Kipling’s famous father helped got him into the service, how he pressured him, though at the same time Jack was also rearing to go in order that he might step out from behind the shadow of his father and make his own accomplishments (Jack here is appropriately played by Daniel Radcliffe). It is also the story of the affect of Jack’s death on the rest of the Kiplings. Jack was listed as missing in action and it took a great deal of time before the family learned his fate. This is well acted as we expect of British drama’s, Carey Mulligan (who is Oscar nominated this year) being a standout as Jack’s sister. One of the great things about the film is that its not all that epic, it's a story about a family in war time that just happens to endure the extra stress of being famous. Thumbs Up.

Brotherhood: Season 2 (2007)

This show is still good, smartly written, well acted, gritty, vaguely Homicide like. Sad to see Stivi Paskoski go, but Brían F. O'Byrne is a good addition to the cast. Particularly impressed with Ethan Embry’s arc this season, he’s an under appreciated actor. Thumbs Up.

Trog (1970)

Joan Crawford’s last movie is a dry “horror” film that aims for the whole misunderstood Frankenstein/ King Kong vibe. Trog is a rather unconvincing looking Troglodyte or “missing link”, unfrozen from his underground lair after seismic disturbance in England. Joan Crawford is Dr. Brockton, a conveniently located expert in primate behavior who studies Trog and attempts to keep him safe from hostel locals, including Michael Gough as an asshole politician. The most interesting part of this film is Crawford’s performance, she plays it straight and somehow rises above the material, as her daughter Christiana once commented Joan invested in every part the emotional intensity of her Oscar winning portal in Mildred Pierce, whether the project warranted it or not. Still not worth your 91 minutes unless your particularly interested in Crawford. Thumbs Down.

Zizek! (2006)

Documentary on Slovenian cultural theorist and advocate of Lacanian psychoanalysis Slavoj Zizek. Zizek is an entertaining guy, he’s smart, he’s funny, he’s contrarian, a likable pessimist. Zizek would probably prefer to be known for his theories rather then his slightly outsized personality, but Zizek’s Zizek and you get the whole package. My favorite scene in the film is when he’s analysis his son’s play and finds him “narcissistically amused”, very “precise” in his “destruction”, and even “progressive” as Zizek sights two of his toy’s as a kind of proto-lesbian couple (it’s all in good fun though don’t get the wrong idea, he seems pretty good with his kid, roughly 6 at the time of this documentary). Only about 70 minutes or so long it’s a fun, rather informal portrait of an interesting man and an unusual thinker. Thumbs Up.

The Lord of the Rings (1978)

I have a soft spot in my heart for the mystical 1970’s animated version of The Hobbit, ballady songs and all. Released the following year The Lord of the Rings is a visually odd adaptation of the first two books in J.R.R. Tolken’s trilogy. An uneven mixture of animation and some live action, there’s an awful lot of rotoscoping and the visual elements don’t always blend well, sometimes glaringly so. A very formal and obviously condescended version of the story it lacks the heart of The Hobbit, or even the existentialism of its animated sequel The Return of the King. Bizarre curio, it did surprisingly well on its initial release, though critics were mixed. A film which screams being ambitious beyond either the technical abilities of its time, or maybe just its budget. Also John Huston’s voice isn’t in this one, so rip off. Thumbs Down.

Niagra (1953)

Odd, richly colored semi-noir about a fem fatale (Marilyn Monroe) who plots to killer her neurotic husband (Joseph Cotton) to be with her lover (Richard Allan), and an Ohio couple (the perceptive Jean Peters, and kind of goofy Max Showalter) who are drawn into events by virtue of there proximity. The movie fails on most counts, its feels a little hodge-podge, even tired, and everybody seems surprisingly bland, certainly Joseph Cotton’s done better versions of this desperate character in the past (see Shadow of a Doubt, or The Third Man). The only thing that works well in the film is the bit at the end where Peters and Cotton are in a boat threatening to go over the falls, that’s genuinely exciting and well done, surprisingly nuanced even. Other then that and the excellent travel log you get of locations in and around the falls in the early 1950’s, a total dud. Thumbs Down.

The Road (2009)

There’s been a far amount of apocalyptic films lately, but Australian director John Hillcoat’s adaptation of Cormac McCarthy’s novel The Road, is probably the most depressing in the whole genera. A film for those who feel Bergman too upbeat, it has an unequaled and penetrating aura of futility, hopelessness and despair. The film concerns a nameless father and son (Viggo Mortensen & Kodi Smith-McPhee respectively, both excellent) scavenging for food, fuel and heat in the aftermath of an unspecified and continuing ecological disaster that has killed off all plant life, animal life, and the vast majority of humans. Set roughly seven years into the disaster the Earth is a dull ashen gray place of dead trees and broken buildings, the sky is ever overcast, earthquakes are frequent, and as Mortensen notes near the beginning, cannibalism has started to become a problem. I was expecting more battles with cannibalistic survivalist in this film as that’s such a troupe of the genera, and while there are some close encounters the horror of the film is not so much in the blood, as it is the utter sense of loss and futility. Seven years into the death of the world and its perfectly possible no one lives to see the 10th.

Most survivors who haven’t gone over to cannibalism are to weak to do much of anything, and its pretty obvious to all that there is nothing to be done. The most fascinating, character motivating thing about Mortensen’s nameless wander is his love for his son, and his seemingly psychological inability to give up. He says again near the beginning of the film that the child is his warrant, born to his now presumably dead wife (her fate is never fully explained) months into these bitter end times, Mortensen has done everything in his power to keep him alive, eating vestiges of canned food, crumbs of grain, a few dead insects. He knows that he’s only delaying the inevitable, a smart once sophisticated and successful man he’s not prone to illusions about most things, yet he simply must keep his son alive, despite having no really ‘good’ reason to. He keeps a gun with two bullets for what he assumes will be their eventual mutual suicide when things become just to harsh, or escape from the cannibals to unlikely, yet he questions if he’ll be able to do it when the time comes. His refusal to give up, and his sons embodiment of what remains of innocence and decency, serve I suppose in and of themselves as the only things of ultimate value in the film. In what I must call an atheistic movie, where there is no rhyme or reason for what happened, no foreordained triumph of good over evil, no hope of civilization, let alone the human race surviving beyond a handful of more years, it is the thought that some men might maintain a little of their decency, of their humanity in spite of all this, and not give in to nihilism, that constitutes the spiritual core of the film. This an extremely well done, profound movie, but so tense, even draining that I feel the odd compulsion to both recommend, and advise against seeing The Road. If your up for it though you won’t soon forget it. Thumbs Up.

This Film is Not Yet Rated (2006)

Documentary filmmaker Kirby Dick manages the impressive feat of being both eminently reasonable yet combative in this exposé of the American film rating system. In the United States most theatrical films are rated by the Motion Picture Association of America (or MPAA) an industry financed group whose primary purpose in rating films was to have been to avoid imposed government censorship. Unlike the ratings systems in many countries the MPAA is notoriously secretive about its film rating process, offering few guidelines (which are often arbitrarily enforced) and shielding the identities of the film raters themselves (said on the MPAA website to all be parents of children ages 5-17). In his film Dick hires some private investigators to uncover the identities of the raters, many of whom turn out to not even meet the MPAA’s own stated criteria for the job. The movie also features interviews with various filmmakers who feel their work has been unfairly treated by the MPAA in the past.

Among the more fascinating facts in this genuinely intriguing documentary is how the MPAA has consistently applied tougher standards to independent and homosexual material then to studio financed and much heterosexually oriented material (foreign art films that get NC-17’s while teen raunch feasts get passes to as general and audience as PG-13’s). Also surprising is that two members of the clergy (a Catholic and an Episcopalian Priest) are members of the MPAA’s appeal board, where filmmakers who think their films designated rating to be unfair get a generally futile chance to have it overturned (though to be ’fair’ films that re-edit ‘for content’ can often get another rating). A great idea for a documentary, informative, well executed, and surpassingly likable, though by virtue of its subject matter not for all tastes, but for me it’s Thumbs Up.

Brotherhood: Season 1 (2006)

Gritty Showtime series centered on the Irish-American Caffee brothers, Rhode Island state senator Tommy, and ambitious mobster Michael. The shows main theme appears to be loyalty, family loyalty, loyalty to ones mob boss or political patron, and loyalty to ones lower-middle class ethnic neighborhood. A violent series, where characters make many questionable to outright evil decisions, yet keeps you emotionally commited to, and even rooting for its characters. This is only possible through good writing, and some excellent performances from the able cast, headlined by Jason Isaacs and Jason Clarke, but also featuring Finnula Flanagan, Annabeth Gish (cast against type) and Ethan Embry (also cast against type).

A highlight of the first season are three very well executed sequences melding nearly the entire cast, which expertly intertwine the series impressive number of continuing story lines. The first is at a fundraiser for a decaying city movie theater, the second at the memorial service for victims of a bus crash (dropped on us literally from out of nowhere in episode 9 it changes much of the dynamics of the show), and finally the seasons final episode set entirely at a wedding reception. I’d seen the first few episodes of this series a couple years ago as they were included as extras in the Dexter Season 1 DVD set, and had been considering continuing the program for some time. I’m glade I did and intended to watch the reset of the series three seasons in fairly rapid order. Obviously not for everybody, but if you like Dennis Lehane novels and Martin Scorsese you'll probably like this show. Thumbs Up.

City of Ember (2008)

I’m a big fan of bleak children’s films (been waiting for years for The Mouse and His Child to come out on DVD for years), so City of Ember seems an obvious fit for my tastes. Based on the children’s novel by Jeanne DuPrau, the movie concerns Ember, a deteriorating underground city which is home to the decedents of the survivors of an unspecified ecological disaster 200+ years earlier. Ember’s purpose should have been served by the time the films main narrative picks up, but a combination of ignorance and corruption keeps the settlements denizens ensconced underground, when they should be moving top side to start the world over. Two tweens (the good Saoirse Ronan, and the interchangeable Harry Treadaway) however stumble upon the remains of the city’s exist instructions and the conspiracy of complacency perpetrated by large gutted mayor Bill Murry (in a rather ambiguous performance where I can’t tell if he’s having fun or phoning it in, but such is Bill Murry).

Much of the film doesn’t bear close scrutiny, the city’s exist plan seems very poorly throughout and designed by an engineer for an amusement park, and a lot of details and character motivations seem lacking. That being said the film is well paised, the set design is fantastic, Martin Landau’s present, and I was genuinely curious as to the resolution of the mystery. An imperfect, uneven film, but I was still thinking about it the next day and am even considering reading the book, so it certenly got something right. I’d say see it if for no other reason then its willingness to break the mold of most children’s movies, and be a little smart. Thumbs up.