Monday, July 24, 2017
Laurence Olivier: The Boys from Brazil
Gary Busey: The Buddy Holly Story
Jon Voight: Coming Home
Robert De Niro: The Deer Hunter
Warren Beatty: Heaven Can Wait
Saturday, July 22, 2017
Format: DVD from Northern Illinois University Founders Memorial Library on various players.
I can’t say that I was overly excited about the prospect of Jackie, a feeling that was intensified the moment Natalie Portman opened her mouth. It’s worth noting that I honestly have no idea what Jackie Kennedy actually sounded like. It’s such an unusual intonation, but it is evidently quite accurate. It’s just so strange, breathy and with words pronounced so oddly that it was difficult to get my mind around initially.
Jackie is, of course, less the story of Jackie Kennedy than it is the story of her experience after John F. Kennedy’s assassination. The film does jump in time a bit, although in the main it follows her life in those days after Kennedy was killed in Dallas. The frame of the film’s narrative is an interview she gives to an unnamed journalist (Billy Crudup). Scenes take place that come across more or less as her memories of those days, either being explained to this interviewer or in her own memory as he asks questions. I don’t mean to say that it’s dreamlike, but that it plays something like a flashback.
Friday, July 21, 2017
Billy Wilder: Double Indemnity
Leo McCarey: Going My Way (winner)
Otto Preminger: Laura
Alfred Hitchcock: Lifeboat
Henry King: Wilson
Thursday, July 20, 2017
Format: HBO Go on rockin’ flatscreen.
I still have a large number of movies that I need to watch, but the number is getting smaller and smaller. What this means for me is that availability at any given time is far reduced from what it used to be. I used to have tons of available movies to watch on NetFlix, but that’s no longer the case. What this means is I need to find targets of opportunity when I can. As it happens, I own a copy of About a Boy, but scrolled past it tonight, and didn’t have a host of other options. Nothing against the film; it’s just not what I was in the mood for, but I persevered.
Actually, it’s kind of a sweet movie. Will Freeman (Hugh Grant) lives the most carefree life that can be imagined. His father, years before, wrote a Christmas song that turned out to be incredibly popular, and Will has more or less lived off his father’s royalties that he has inherited. He has no job because he’s never needed one. What he’s really interested in is women, and even then he’s interested for just a few months before wanting to move on. Through the auspices of some friends, he’s set up on a blind date with a woman who turns out to be a single mom.
Wednesday, July 19, 2017
Format: DVD from NetFlix on rockin’ flatscreen.
When you see the poster for 1972’s The Other, it comes as no surprise that we’re going to be diving into the “evil child” subgenre of horror film. We will be treading much the same ground as in films like The Bad Seed or Village of the Damned. This is a member of another odd little subgenre, though: the evil twin movie. Yep. Two subgenres for the price of one.
Our twins are Niles and Holland Perry (played respectively by Chris and Martin Udvarnoky, neither of whom ever made another movie). We learn quickly that Niles is the good twin and Holland is the, well, initially mischievous twin and eventually the evil, murderous one. The two boys live in a farmhouse with their infirm mother (Diana Muldaur), their Aunt Vee and Uncle George (Norma Connolly and Lou Frizzell), the boys’ pregnant older sister Torrie (Jenny Sullivan), her husband Rider (John Ritter!), and their grandmother Ada (Uta Hagen). Also in the house is their cousin Russell (Clarence Crow), who they call Piggy Lookadoo. There’s no love lost between the twins and Russell.
Tuesday, July 18, 2017
Format: DVD from Sycamore Public Library on rockin’ flatscreen.
Grand Canyon earned some immediate cred from when in an early scene, Kevin Kline was driving down a street in Los Angeles singing along to “Lawyers, Guns, and Money.” Another Warren Zevon song (Searching for a Heart) shows up later in the movie. Any movie that’s going to favorably showcase a couple of Warren Zevon songs can’t be all bad. It can be mostly bad, but it can’t be entirely bad.
Grand Canyon wants desperately to be an “issues” movie. What it turns out to be is a lite version of Crash a decade and a half before Crash. The comparison is a completely natural one, and had Grand Canyon been released after Crash, no one would have bought it for a second. We’re going to get a number of disparate people thrown together and we’ll see what happens a little more than two hours later, and all of our characters are going to end up at our title destination at the end.