The Good German (2006)

 In 'The Good German', an inconsequential mystery set in Allied occupied Berlin in the summer of 1945, director Steven Soderbergh imitates the look and style of director Michael Curtiz. Other then some language and a sex scene this black and white film looks like a Hollywood production from the era in which it is set, even down to imperfections in the lighting. Unfortunately that is all this movie is, an imitation, and not even a very interesting one. George Clooney is bland, Cate Blanchet plays Marlana Dietrich, and Toby McGuire plays an asshole. *  

The Power of the Dog (2021)

 Based on the 1967 novel of the same name by Thomas Savage, 'The Power of the Dog' is set in 1920's Montana, though it was filmed in New Zealand, which looks more then passably like eastern Montana. Watching this film it had a taste to it, like when your having a food you haven't had in a long time and it just tastes so good, the old familiar flavor is just so satisfying, that's how this movie felt. This is a smart, serious, subtle film which says so much even while it says so little. The movie doesn't spell things out for you, much is implied while little is out right spoken. When I finally made a mental connection regarding the twist, it was near thrilling. 

Solid performances all around, with particular stand out work from Benedict Cumberbatch, Kirsten Dunst, and Kodi Smit-McPhee. Though I must says that Jesse Plemons spoken word to character development ratio is off the charts, he does so much with so little. After 'Licorice Pizza' I think this is my second favorite of the best picture nominees this year. ****

Seven Men from Now (1956)

'Seven Men from Now' is a solid revenge western, beautifully shot in color. A former sheriff hunts down the seven men responsible for the hold up that killed his wife. The lead part was written for John Wayne, whose Batjack Pictures produced it. However come shooting time Wayne was busy making 'The Searchers', so his part went to an aging Randolph Scott. Scott got his best notices in some time for this, and it lead to a mini career revival making B+ Westerns for director Budd Boetticher. 

Gail Russell, reputedly a former mistress of Wayne's plays the female lead. This was the alcoholic actresses first film in five years, but it's a fine performance, you'd never know what a wreck her personal life was by what shows up on screen. Russell would appear in three more films before being found dead in her in apartment, an empty vodka bottle at her side, at the age 36. Lee Marvin plays Scott's frienemie. 

This is what I will sometimes call a 'four star, three star movie', there is nothing deep or original to it, but it's just executed so finely that there is a deep satisfaction to watching it. I was so pleased with the ending I had a big grin on my face. ***

 

Finger of Guilt (1956)

 'Finger of Guilt' or by its original British title 'The Intimate Stranger' stars Richard Basehart as an American executive working at an English studio who is being stalked by or has amnesia about an affair with a young actress (Mary Murphey). Faith Brook plays Basehart's wife, whose father played by Roger Livesey is the melancholy studio head. A puzzle film,  I didn't know what was really happening until very near the end. I liked the smooth score by Trevor Duncan, which is rather different from other film scores of the time. The guy who plays Basehart's assistant looks like a young Thomas S. Monson. **1/2

If This Be Sin (1949)

 'If This Be Sin' or by it's original British title 'The Dangerous Age' is a melodrama based on the 1937 play 'Autumn' by Margaret Kennedy (best known for her novel 'The Constant Nymph'). It is a love quadrangle between a prominent English lawyer (Roger Livesey), his wife (Myrna Loy), his law partner (Richard Green, best known for playing Robin Hood for a 143 episode on British TV in the 1950's) and his daughter (Peggy Cummins, the year before her best remembered role in the 1950 noir 'Gun Crazy'). Movie get's surprisingly raw. The best line in the thing is when Loy is querying Cummins on how long she's loved Green and is answered "Since I first met him, before Dunkirk". *** 

Vice Versa (1948)

 I've decided to do a mini-marathon on the films of Roger Livesey, a distinguished English actor of theater background. Till this point I had known him purely from his appearance in three Powell/Pressberger movies ('The Life and Death of Colonel Blimp', 'I Know Where I'm Going', and 'A Matter of Life and Death'), I loved him in each of these. 

I'm starting with the 1948 film 'Vice Versa', which while I recognized the title was surprised to find has the same plot as the 1988 film 'Vice Versa' staring Judge Reinhold and Fred Savage. Both movies are based on an 1882 novel of the same name by Thomas Anstey Guthrie. This is a body swap story where a strict father and a mildly rebellious son switch places, via a magic stone, and learn that each other don't have it as easy in their lives as they had previously supposed. 

The story is adapted and directed by Peter Ustinov, rather playfully, the opening titles which riff on the old music hall is a delight. It's mock imperious British, a bit racist in an early sequence, some goofy visual sensibilities, and an absurdist air throughout.  

Livesey's having a good time, he does this kind of part well, pompous, but aware of and a little above his own pomposity, all in an amused way. The younger of the two is played by Anthony Newley, who would go on to be a successful composer and lyricist, penning hits for the likes of Sammy Davis Jr. and Shirley Bassey, as well as writing the songs for 'Willie Wonka and the Chocolate Factory', and marrying for a time Joan Collins. Kay Walsh is the adult female lead, and the junior one a 15 year old Petula Clark, who would go on to be a big pop star in the 60's with hits like 'Downtown' and 'A Sign of the Times'. 

This is simply better then the remake made 40 years after, and is a great example of the looney school of British comedy. **1/2

The Batman (2022)

 'The Batman' is the 9th theatrically released, live action film to feature Batman as it's principle character since 1966. Some things it does well is to treat it's fantastic villain's, The Penguin, The Riddler, more realistically then we've seen before, they are not wildly costumed cartoon characters. The return to The Dark Knight's detective roots is also apricated, as well as the general noir feel of the thing. Otherwise I find little to recommend in this movie.

If Christopher Nolan's 'The Dark Night' was a riff on Michael Mann's ' Heat', then Matt Reeves 'The Batman' is a riff on David Fincher's 'Seven'. This a 'hunt the serial killer' film that happens to have Batman in it as the lead detective, with Jeffery Wright ably assisting as Jim Gordon by way of Felix Leiter. 'The Riddles' presented throughout are not particularly challenging, 'the revelations' often feel forced, contrived clichés, such as the identity of 'Cat Woman's' father. 

Of the large cast everybody does a decent enough job but they aren't straining any muscles, the paths they follow are well worn, as will be the muscles of your rear after it's exhausting three hour run time. 'The Batman' not only wants to be 'The Dark Knight', it want's to be Nolan's entire Batman trilogy in one dose. The numbness extended to the entire theater experience, it was very quite, there are very few jokes so very few giggles, and the set pieces produced nary an ohh or aww. I was surprised when a few people clapped at the end. Had Nolan not made his movies this film would probably have felt innovative, but because he did it feels imitative. The illusions to hurricane Katrina at the end comes 3 presidencies too late, though I did kind of like the idea of the Riddler as head of a Q-Anon type group. 

'The Batman' is simply an extra long retread of things we've seen before, there is nothing really exceptional about it. **