Killer at Large (2008)
Documentary directed by Steven Greenstreet, who earlier made one of my all time favorite documentary films This Divided State, and who sadly now is making a documentary series about Ke$ha. While the power of This Divided State owes much to the filmmakers good fortune of being near the right place, at the right time, and in a position to make a documentary about it, Killer at Large is a much deliberate and planned out effort, and thus lacking in the serendipitous spark of the earlier film. This is an anti-obesity documentary, it looks at the rise of an obesity culture in the United States, its likely future consequences for our sociality, the general unwillingness of the government and the food industry to do anything about it, and some possible solutions and alternatives, which are mostly small scale. There is some good montage work here, juxtaposing the government and food industry saying one thing and doing another, as well as a respectable group of talking heads. Its a good, short examination of the subject, though it didn't really tell me much I didn't already know. **1/2
Whispering Smith (1948)
Western staring Alan Ladd as the titular "Whispering Smith", who perhaps disappointingly speaks at a normal, conversational level throughout the whole film. Based on a novel by Frank H Spearman that had previously been made into a silent film staring H. B. Warner and would later be made into a television series staring this film star Alan Ladd. Luke "Whispering" Smith is a railroad detective whose pursuit of the train robbing Bad Barton Boys leads him to frontier town (Colorado or Wyoming I suspect) that happens to also be the home of a number of old associates, including his best friend Murry (Robert Preston) his wife Marian (Brenda Marshall) with whom Luke was once romantically involved and still harbors feeling for, and Bill Dansing (William Demarest) a kindly uncle figure. Murry of course gets mixed up with the Barton's and their patron an unscrupulous rancher played by Donald Crisp. This leaves both Marian and Luke torn, with the latter facing the moral dilemma between his loyalty to his old friend, his love for his old friends wife, and his obligation to the railroad. To no ones surprise Ladd will of course take the most noble course. Likable, predictable, and inconsequential. **1/2
The Pebble and the Penguin (1995)
A film made on the downward slope of Animator Don Bluth's career. I liked this more then I did the movie Rock-a-Doodle, which is generally regarded as marking the downward turning point in the quality of Mr. Bluth's work. The Pebble and the Penguin is less ambitious then most of the directors previous works, its just a standard cute penguin love story children's musical, which I think can safely be considered its own genera now. Martin Short voiced penguin loves Annie Golden voiced penguin, but romantic rival Tim Curry voiced penguin causes Short voiced Penguin to become lost at sea, and with the help of his new friend Jim Belushi voiced penguin he must make it back to the artic before the mating ceremony at which Short voiced penguin must present Golden voiced penguin with an engagement pebble. Featuring music by Barry Manilow, the only surprises this film boasts is the awkwardness of some of its contrivances. It kept my niece entertained though and its only 74 minutes long, so at least its watchable. **
Sunday, May 26, 2013
Saturday, May 18, 2013
Murder in the Air (1940)
The 4th and final of Ronald Reagan's "Bass Bancroft of the Secret Service" films, this is the one that I'd most wanted to see, given its later (real or imagined) connection to the president's "Star Wars" defense program. Murder in the Air is also the most problematic, even ridiculous film of the series, and that's saying something. At the start of the film we are made aware of a series of terrorist attacks in the United States apparently aimed at slowing the nations war production. Now it is important to remember that when this film was made the United States had yet to enter the second world war, in fact we hadn't even begun lend-lease to supply the British, though given the general disarray of the world at the time its not surprising that we may have up ticked our domestic arms production as a precaution. Also Germany and Russia were still allies in 1940, which I suppose is an important plot point here as the group trying to keep America neutral and disarmed (they somehow think terrorism is a good way of accomplishing this) is apparently Soviet backed (if I remember correctly this is implied but never stated), and later one the Russians would have given almost anything to get the United States involved agents the Germans as quickly as possible. There is here a "socialist" group of "patriotic" naturalized citizens that is serving as a cover for the terrorist activates. Among the things this group does is blow up a train (presumably hauling military equipment) in upstate New York, but they should have coordinated better because an expert terrorist the group wanted to use was aboard, and they killed him.
The terrorists name was Steve Cole and he had been deported from the United States after a prison sentence some years earlier, so he had to sneak back into the country and was disguised as a train hopping bum at the time of his death. Remarkably, given that somehow next to nobody is suppose to know what this known terrorist, convicted criminal, and deportee is suppose to look like (doesn't anybody keep photographic records?), the Secret Service manage to identify Steve, then surprise decide to send Brass Bancroft under cover as Mr. Cole to infiltrate the terrorists. Now this is a bad idea because they always send Bancroft under cover, and after the first film where he appeared on front pages throughout California and presumably across the nation in relation to a "undercover" job he did for the Secret Service his face should be well known. Which is why I was pleasantly surprised when one character does recognize him as a secret service man! Wow, how come that never happened before?
Anyway Bancroft as Cole is made aware of what the groups then primary objective is and what they want him to do. It seems some clever scientist types working for the US government have come up with what they call an Inertia Projector, and are going to be testing it on a mock invasion fleet from aboard a zeppelin. What the Inertia Projector is suppose to do is stop inertia, stop mechanical movement of plans, ships and things, so if an army can't move there tanks etc. its going to be very difficult to invade a country; kind of like how in theory the Star Wars missile defense system would prevent nuclear missiles from hitting their targets thus prevent nuclear Armageddon. Of course how the Inertia Projector works is never explained, other then that when the ray is pointed at say a plan or a car it causes the target vehicle to short out and crash or at least stop. Anyway the "socialist patriot group of naturalized citizens" wants to steal this weapon, and need explosive expert Coles help to blow up the zeppelin while another associate of the group absconds with the IP.
As you can tell from the three paragraphs above the plot here is surprisingly complicated and contrived, and I simplified it. The inertia Project is a comic book weapon, yet the Soviets desires in obtaining it are surprisingly real politic, while still marginal allies of the Germans as ideological foes Stalin must have never fully trusted them (he never fully trusted a lot of his own people) and by early 1940 the Russians had gotten most of the territorial concessions the Germans were likely to allow, so it would be helpful to be able to stop there advance with something other then generals population and winter. Plus the Russians worked better covertly then overtly in exporting there ideology so being able to prevent military response from countries they sought to undermined from within would be right up there ally. Though on the other hand if the United States had this weapon, as a neutral power it wouldn't pose much threat to them, and even if it was used on there machines the Russians had more then enough people to keep up a small arms fire defense of the mother country and its acquired territories. Yes I'm over analyzing, especially given lazy, slapdash impression the film leaves of how it was put together. While interesting as an oddity, Murder in the Air is also very much the last effort of a plaid out franchise, and that's something you can really feel throughout the film. *1/2
The terrorists name was Steve Cole and he had been deported from the United States after a prison sentence some years earlier, so he had to sneak back into the country and was disguised as a train hopping bum at the time of his death. Remarkably, given that somehow next to nobody is suppose to know what this known terrorist, convicted criminal, and deportee is suppose to look like (doesn't anybody keep photographic records?), the Secret Service manage to identify Steve, then surprise decide to send Brass Bancroft under cover as Mr. Cole to infiltrate the terrorists. Now this is a bad idea because they always send Bancroft under cover, and after the first film where he appeared on front pages throughout California and presumably across the nation in relation to a "undercover" job he did for the Secret Service his face should be well known. Which is why I was pleasantly surprised when one character does recognize him as a secret service man! Wow, how come that never happened before?
Anyway Bancroft as Cole is made aware of what the groups then primary objective is and what they want him to do. It seems some clever scientist types working for the US government have come up with what they call an Inertia Projector, and are going to be testing it on a mock invasion fleet from aboard a zeppelin. What the Inertia Projector is suppose to do is stop inertia, stop mechanical movement of plans, ships and things, so if an army can't move there tanks etc. its going to be very difficult to invade a country; kind of like how in theory the Star Wars missile defense system would prevent nuclear missiles from hitting their targets thus prevent nuclear Armageddon. Of course how the Inertia Projector works is never explained, other then that when the ray is pointed at say a plan or a car it causes the target vehicle to short out and crash or at least stop. Anyway the "socialist patriot group of naturalized citizens" wants to steal this weapon, and need explosive expert Coles help to blow up the zeppelin while another associate of the group absconds with the IP.
As you can tell from the three paragraphs above the plot here is surprisingly complicated and contrived, and I simplified it. The inertia Project is a comic book weapon, yet the Soviets desires in obtaining it are surprisingly real politic, while still marginal allies of the Germans as ideological foes Stalin must have never fully trusted them (he never fully trusted a lot of his own people) and by early 1940 the Russians had gotten most of the territorial concessions the Germans were likely to allow, so it would be helpful to be able to stop there advance with something other then generals population and winter. Plus the Russians worked better covertly then overtly in exporting there ideology so being able to prevent military response from countries they sought to undermined from within would be right up there ally. Though on the other hand if the United States had this weapon, as a neutral power it wouldn't pose much threat to them, and even if it was used on there machines the Russians had more then enough people to keep up a small arms fire defense of the mother country and its acquired territories. Yes I'm over analyzing, especially given lazy, slapdash impression the film leaves of how it was put together. While interesting as an oddity, Murder in the Air is also very much the last effort of a plaid out franchise, and that's something you can really feel throughout the film. *1/2
Sunday, May 12, 2013
Albuquerque (1948)
You know I think this is my first Randolph Scott film. He's an instantly likeable actor, and at the age of fifty when he made this flick he's far too old for the part, but it works. Scott plays Cole Armin, and man who "road with the Texas Rangers", but has now taken a stage coach to Albuquerque to a take a job working for an uncle (George Cleveland) he hasn't seen for ages. Uncle John Armin owns a shipping company that has a veritable monopoly hulling for the local mines. One potential competitor they have been able to keep at bay is run by a brother and sister pair Ted (Russell Hayedn) and Celia (Catherine Craig) Wallace. Celia is on the same stage as Cole, along with a number of others including Zuzu herself Karolyn Grimes, and George 'Gabby' Hayes whose apparently the physical inspiration for the design of "Stinky Pete" in Toy Story 2.
Anyway as you might suspect the stage coach is hold up, and as you might not expect the outlaws get away with the $10,000 Celia was brining from out east to help the business. Cole is not able to get the money back right then because he must save Zuzu when the spooked horses run away with her in the coach. That he saved the young girl leads Cole to a warm reception when he arrives in Albuquerque, though it cools down a bit when the townsfolk realize his connection to Uncle John. Uncle Johns not a good man, he's ruthless and charges too much for his services, but people pay because he manages to stomp out the completion. In fact the stage robbery was an effort to do just that, the outlaws worked for Johns chief henchman Lon Chaney Jr. When Cole discovers this he manages to get the $10,000 back from his uncle but at the cost of a permanent rift with the old man. Cole returns the cash to the Wallace's an becomes a partner in there business venture, and he brings 'Gabby' Hayes along because he's a character.
The Wallace's hope to land a contract hauling ore from a very difficult to get to mine, one so perilously located that Uncle John has refused to risk his teams on the mountainous run. But with Ted and 'Gabby' leading the wagons the good guys think they have a chance. Uncle John sneaks a mole (Barbara Britton) into the Wallace origination, but she feels torn once she starts to fall for Ted. We have a perilous race down the mountain and some gun play before the whole things done, and its a very satisfying if not groundbreaking western, helped a lot by the color cinematography. Likable like its lead I give Albuquerque a full ***
Anyway as you might suspect the stage coach is hold up, and as you might not expect the outlaws get away with the $10,000 Celia was brining from out east to help the business. Cole is not able to get the money back right then because he must save Zuzu when the spooked horses run away with her in the coach. That he saved the young girl leads Cole to a warm reception when he arrives in Albuquerque, though it cools down a bit when the townsfolk realize his connection to Uncle John. Uncle Johns not a good man, he's ruthless and charges too much for his services, but people pay because he manages to stomp out the completion. In fact the stage robbery was an effort to do just that, the outlaws worked for Johns chief henchman Lon Chaney Jr. When Cole discovers this he manages to get the $10,000 back from his uncle but at the cost of a permanent rift with the old man. Cole returns the cash to the Wallace's an becomes a partner in there business venture, and he brings 'Gabby' Hayes along because he's a character.
The Wallace's hope to land a contract hauling ore from a very difficult to get to mine, one so perilously located that Uncle John has refused to risk his teams on the mountainous run. But with Ted and 'Gabby' leading the wagons the good guys think they have a chance. Uncle John sneaks a mole (Barbara Britton) into the Wallace origination, but she feels torn once she starts to fall for Ted. We have a perilous race down the mountain and some gun play before the whole things done, and its a very satisfying if not groundbreaking western, helped a lot by the color cinematography. Likable like its lead I give Albuquerque a full ***
Saturday, May 4, 2013
Macabre (1958)
Early William Castle "horror" picture plays like an extended episode of The Alfred Hitchcock Hour. Producer/director Castle mortgaged his home to make this movie, and spiced up theatrical showings with an early gimmick, issuing each audience member a $1,000 dollar life insurance policy backed by Lloyds of London against their dying of fright in the theater. In all honesty this is not a scary movie, though there is one prop late in the film that's kind of freaky looking. This is really more a suspense film then a horror film, the plot revolving around a "race against time" to locate a young girl reportedly buried alive.
Set in the small town of Wetherby, presumably in California, William Prince plays Dr. Rodney Barrett. Dr. Barrett is a widower whose wife died five or so years ago giving birth to their daughter. Dr. Barrett wasn't there for his daughters birth because he was with his mistress, who now years later he plans to marry, much to the chagrin of his loyal nurse (Jacqueline Scott) who herself is in love with him. Shortly before the action of the film commences Dr. Barrett's blind sister-in-law has died, leaving his young daughter the sole heir to his Mr. Wetherby(as in the towns name) estate. Dr. Barrett however isn't much liked by the locals given the number of convenient deaths and his well known philandering, he is especially disliked by "local constable" Jim Tyloe (Jim Backus, likely the only person in the film you'll recognize). Shortly before late Nancy Wetherby's scheduled midnight funeral ("she lived her life in the darkness, its only fitting that she should be buried in it", says the father of his blind daughter), Dr. Barrett's loyal nurse receives a call from a stranger saying the Doctors daughter has been buried alive with only a few hours of air, so the frantic search begins.
Perhaps surprisingly there's really a lot going on in her, the action and back stories punctuated with flash back sequences. The best thing this movie has going for it is that you are aren't sure exactly what's going on an whose behind it, and there is a decent enough twist at the end. However the films lite on substance, it rushes around trying to make its self seem more important then it is, I think the gimmick was meant to put you in mind that what your seeing is freighting, though its really not very much. The movies watchable though and paved the way for more interesting and better Castle fair to come. **
Set in the small town of Wetherby, presumably in California, William Prince plays Dr. Rodney Barrett. Dr. Barrett is a widower whose wife died five or so years ago giving birth to their daughter. Dr. Barrett wasn't there for his daughters birth because he was with his mistress, who now years later he plans to marry, much to the chagrin of his loyal nurse (Jacqueline Scott) who herself is in love with him. Shortly before the action of the film commences Dr. Barrett's blind sister-in-law has died, leaving his young daughter the sole heir to his Mr. Wetherby(as in the towns name) estate. Dr. Barrett however isn't much liked by the locals given the number of convenient deaths and his well known philandering, he is especially disliked by "local constable" Jim Tyloe (Jim Backus, likely the only person in the film you'll recognize). Shortly before late Nancy Wetherby's scheduled midnight funeral ("she lived her life in the darkness, its only fitting that she should be buried in it", says the father of his blind daughter), Dr. Barrett's loyal nurse receives a call from a stranger saying the Doctors daughter has been buried alive with only a few hours of air, so the frantic search begins.
Perhaps surprisingly there's really a lot going on in her, the action and back stories punctuated with flash back sequences. The best thing this movie has going for it is that you are aren't sure exactly what's going on an whose behind it, and there is a decent enough twist at the end. However the films lite on substance, it rushes around trying to make its self seem more important then it is, I think the gimmick was meant to put you in mind that what your seeing is freighting, though its really not very much. The movies watchable though and paved the way for more interesting and better Castle fair to come. **
Friday, May 3, 2013
Dragnet (1954)
When most people think of Dragnet they probably think of the shows iconic 1960's run, but as a commercial property the series dates back to the late 1940's on radio and is periodically resurrected and revised. Creator Jack Webb helmed, both in front and behind the camera, the programs various incarnations until his death in 1982. Subsequent renderings included Dick Wolfs attempted revitalization ten years ago, and a 1987 comic film starting Dan Aykroyd and Tom Hanks that got a mixed reaction from critics and which the straight laced, though certainly not humorless, Webb probably would not have approved (too much smut humor). It was during the shows initial television run from 1951-1959 that Webb made its first theatrical rendering, 1954's Dragnet (in color).
Like its television counterpart the story portrayed in Dragnet is true (in broad outline) only the names have changed to protect the innocent (and allow Webb the artistic freedom to make various supporting characters rather odd ball). If only there were more odd-ball characters in this, that's a lot of what made the 60's version so awesome. There are some here, particularly a rather enthusiastic museum employee, but I suppose in keeping with an Eisenhower era ethos this is a more straight forward investigative drama. The crime being invested is a mob hit on a lower level figure who was wacked for skirting the organizations rules, or something like that the story itself wasn't really that interesting (though they do create some sympathy for the victim through the character of his one legged widow).
There was as subplot about a police women (Ann Robisnon) I quite liked, but on the whole the movies nothing special, I'd have rather watched three episodes of the show from the 60's. The only other thing of note I have to say about this movie was it was more violent then I'd expected, the opening sequence features a kind of intense murder, quick and kind of shocking, and Joe Friday hits a guy in questioning, that would earned him disciplinary action in any US police force today, truly a different era. Disappointing. **
Like its television counterpart the story portrayed in Dragnet is true (in broad outline) only the names have changed to protect the innocent (and allow Webb the artistic freedom to make various supporting characters rather odd ball). If only there were more odd-ball characters in this, that's a lot of what made the 60's version so awesome. There are some here, particularly a rather enthusiastic museum employee, but I suppose in keeping with an Eisenhower era ethos this is a more straight forward investigative drama. The crime being invested is a mob hit on a lower level figure who was wacked for skirting the organizations rules, or something like that the story itself wasn't really that interesting (though they do create some sympathy for the victim through the character of his one legged widow).
There was as subplot about a police women (Ann Robisnon) I quite liked, but on the whole the movies nothing special, I'd have rather watched three episodes of the show from the 60's. The only other thing of note I have to say about this movie was it was more violent then I'd expected, the opening sequence features a kind of intense murder, quick and kind of shocking, and Joe Friday hits a guy in questioning, that would earned him disciplinary action in any US police force today, truly a different era. Disappointing. **
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