What Was The Last Movie You Watched?

[Touchofevil]

John Carpenter's They live! (1988)

“I am here to chew bubblegum and kick @$$ and I am all out of bubblegum.” Cheesy as all get out, but still entertaining.

 

[Touchofevil]

Man on Fire
As usual, Denzel shines.

 

[Trenchfriend]

John Carpenter's They live! (1988)

“I am here to chew bubblegum and kick @$$ and I am all out of bubblegum.” Cheesy as all get out, but still entertaining.

MARRY AND REPRODUCE

But, in the german synchro it's far less cheesy!
He has the much more serious voice of Manfred Lehmann (voice of Bruce Willis).

 

[Fading Fast]

Of Human Bondage from 1934 with Bette Davis, Leslie Howard, Kay Johnson and Frances Dee

It is painful, truly painful, to watch how horribly cockney waitress Bette Davis treats deeply in love with her and handicapped (club foot) medical student Leslie Howard time and time and time again.

Sure, Howard should have snapped out of it, but the heart sometimes won't stop. Davis, though, isn't using her heart when she continues to twist Howard into knots, sometimes for material gain and, sometimes, more cruelly, just for sport.

When you despise, deeply despise, a character who feels real, something powerful is happening on the screen. Young Bette Davis delivers a tour de force performance as the selfish, merciless, yet also, self-destructive girl from the wrong side of the tracks who almost ruins sensitive and kind medical student Leslie Howard.

Howard's club foot makes him, in the language of the day, a cripple. Shy around women, something clicks in Howard's head and heart when he sees Davis waiting tables.

Her rudeness and indifference to him only fuel his passion more. When she dates another man, it drives him crazy. When she laughs in his face or tells him she has no feelings for him - even mocks him for being a "cripple -" he just absorbs the blows and keeps coming back.

When she goes off with another man, he pines for her even when he finally meets a nice woman who genuinely cares for him. Obsession is not rational.

It gets worse. When the man she went away with impregnates and abandons Davis, Howard ignores his kind girlfriend and supports Davis and her child, despite her still not willing to even date him.

When she, then, leaves him for his best friend and, later, returns discarded, he all but bankrupts himself to help her once again. When she wrecks his apartment and burns the last bonds he has for his medical school tuition (he has to drop out), he seems finally over her, but not really.

Even after all that, and now dating yet another very nice woman, when Davis shows up with tuberculosis, he ignores his new girlfriend to come to Davis' aid once more. It's awful, but oddly believable.

Howard, late in, acknowledges his obsession is without reason, but he can't stop. When his club foot is surgically corrected, it seems like it will be his epiphany moment - he's now no longer a "cripple -" but it isn't.

Based on W. Somerset Maugham novel (good source material doesn't hurt), Of Human Bondage is a brutal portrayal of the destructive power of an unhinge love obsession, especially when the object of that obsession viciously and mercilessly wields that power against its victim. Sure, there's a lesson here: don't become obsessed with a horrible person. Now, tell that to the person who's obsessed and see well it works.


N.B. The scene where Howard is trying to study his medical school book, but all he sees is Bette Davis on the pages is, literally, taken right out of Victor Hugo's 1831's Hunchback of Notre Dame. Almost everything has an antecedent somewhere.

 

[Harp]

^^^The Homeric aphorism: Aphrodite robs the wits of the wise, sooer prudent

Hugo's Quasimodo possessed a great wisdom, telling the knight he was "lucky somebody loves you."
And the ending still makes me cry. With maturity, if not necessarily wisdom, comes hard truth.
I was once told in youth a man has the right to make a fool of himself over a woman once in his life.
I confess here I've made a fool of myself twice in this regard, lessons hard learned and Cupid's golden arrow
turned iron rust pulled amidst anguished pain. Seared me like a knife. My own fault, and on serious reflect
I admitted to myself that I had not always been kind to women, ashamed at myself for a youthful thoughtlessness
which I still regret and never forgave myself for.

The Lawrence Harvey-Kim Novak later version Of Human Bondage I have seen.

 

[Trenchfriend]

BOY!

And the old versions of the great tracks!

OLD SPA!!

ZANDVOORT!

BRANDS HATCH!

 

[Fading Fast]

BOY!

And the old versions of the great tracks!

OLD SPA!!

ZANDVOORT!

BRANDS HATCH!

And Françoise Hardy.

 

[Touchofevil]

John Carpenter's They live! (1988)


MARRY AND REPRODUCE

But, in the german synchro it's far less cheesy!
He has the much more serious voice of Manfred Lehmann (voice of Bruce Willis).

The cheesiness doesn’t bother me, it is a B or C movie and is still entertaining. It has Rowdy Roddy Piper so it would have to be cheesy and entertaining at the same time. I stop to watch it whenever I stumble across it.

 

[Bushman]

I tried something I'd never done before: Indiana Jones marathon in black and white! I also watched them in chronological order instead of release order, another first for me. Indy looked amazing in black and white. Out of all of them, Raiders looked the best. I think it's the grainy film stock that sold it for me. It wouldn't be as good if it was super smooth film, or if the grain had been digitally removed for the 4K release.

Certain things about it still made it stick out as "80s movies" such as certain visual effects, clothing cuts, or hair styles (Willie's '80s frizzy hair, for example). All in all, though, it was very enjoyable and most of the movies would definitely work reimagined as being from the 1930s. I think the way Spielberg shot Raiders, and the low grain of the film stock, made it the most recognizably 1930s in style. I found that Crystal Skull worked the least well in black and white. The camera movements, film stock, lighting, etc were too "modern" to pass as a 1950s movie.

 

[Fading Fast]

The Bachelor Party from 1957 with Don Murray, E.G. Marshall, Jack Warden and Carolyn Jones


The Bachelor Party is a 1950s noir-style film with a kitchen-sink drama overlay, but its characters are average Americans, not gangsters, conmen, molls, corrupt politicians or people on the mental edge. Back then, the country embraced noir with its shady characters, but judging by this film's obscurity, 1950s America wasn't ready to have its regular men's and women's angst and insecurities exposed raw on film.

But that is exactly what happens in The Bachelor Party. Filmed in black and white and shot on location in New York with its gritty and grimy streets, subway and bars, we follow a few "average" young men trying to force fun out of a bachelor party, but instead they begin to offer up their dark thoughts and feelings.

It's not cheery, but it is real. If you've ever been out on a night where a bunch of guys are trying to have a good time, but it just isn't coming together, so it takes a turn toward frustration and introspection, you'll recognize that night in The Bachelor Party.

Five guys from "bookkeeping" at the same company go out after work to have a bachelor party for the one getting married the next day. It starts okay at the first bar - drinks, jokes, camaraderie - but a sort of ennui and sadness sets in after they go back to one guy's apartment to watch porn films (yup, this is not a "wholesome 1950s" movie).

Even though it's early, nine-thirty or so, the party is at risk of breaking up as the married guys talk about getting home to their sick kids or going to their night-school classes, while the one bachelor in the group tries to rally them to the next bar.

He succeeds, but the ongoing dispiriting vibe and additional alcohol bring out more complaints. The guy getting married tells a sad tale about how he was pressured by his family and fiance to propose, but doesn't really, truly want to get married. One of the married guys reveals that his doctor wants him to move to a warm dry climate for his asthma, but he can't as he needs every dollar of his salary to keep his kid in college.

The young married guy going to night school admits he's burned out and resentful of his wife as he feels trapped at twenty five, especially as she just told him she's pregnant. And they all fear that "IBM machines" will replace them (and, in time, they'd be right).

As the night drags on, the gripes and disaffection grow. The groom walks away from, without having touched, his friends-provided prostitute (yup, this is not a "wholesome 1950s" movie). He then admits to one of his buddies he's a virgin, but since his wife is a widow, he's afraid he'll disappoint her sexually.

Later, the one with the newly pregnant wife stops home for additional cash only to get into an argument with his wife about her having an abortion. The word isn't used, but there is no doubt what they are discussing.

Finally, at the last bar at three in the morning, the bachelor who has kept the party going all but admits he goes out so much because he gets painfully lonely at home by himself night after night.

As if all this isn't enough, there's a small side story about an intellectual bohemian, piquantly played by Carolyn Jones. She admits to one of the guys she's just met and agreed to go to bed with that she sleeps around because she can't stand to be alone at night. (No, she and the lonely bachelor don't "find each other." It's definitely not "that" kind of movie.)

No one is a crook, gangster, deranged killer, etc., - your typical noir characters. These are regular people, some of whom you'll recognize, adjusted for 1950s norms, in your co-workers and friends today. It's real; it's raw; it's demoralizing and it's a look at America you didn't often see in a 1950s movie theater.

There is a Motion Picture Production Code happy ending slapped on in the last two minutes, but audiences easily saw through that. The Bachelor Party's real achievement happens in the other ninety minutes when it gives America a not-pretty view of five regular guys in Manhattan.

 

[Harp]

^^^Thoreau's quip: men lead lives of quiet desperation came to mind reading this yet another
excellent review of a film never seen....features my kid fantasy girl, Carolyn Jones, exquisite rose
of my heart whose beauty strikes lightning in memory. What-a-woman.

But the busted flush bachelors out on the town bachelor party hearty strikes as too formulaic musing,
mooning, overall drag ass feel sorry for oneself Freudian slip Hollywood horseshit script job; all critique
spot on but personally nada zip zero stuff for this confirmed Irish bachelor.
Milton has definite application-the mind is its own place and can make a Heaven of Hell or a Hell of Heaven.
Or, as Holmes intoned, if a man sees life through Pancho Sanza's eyes, he sees that life.

A guy can meet the right gal at the wrong time-happened to me, and mistakes made in youth-happened
to me, and dumbass idiocy, happened to me; still the white collar insecure corporate denizen on the cusp
of bachelorhood-marriage regretful intoxication should hang one on and forget the bride.
A week long hangover with tomato soup is the way ta go.

 

[Fading Fast]

^^^Thoreau's quip: men lead lives of quiet desperation came to mind reading this yet another
excellent review of a film never seen....features my kid fantasy girl, Carolyn Jones, exquisite rose
of my heart whose beauty strikes lightning in memory. What-a-woman.

But the busted flush bachelors out on the town bachelor party hearty strikes as too formulaic musing,
mooning, overall drag ass feel sorry for oneself Freudian slip Hollywood horseshit script job; all critique
spot on but personally nada zip zero stuff for this confirmed Irish bachelor.
Milton has definite application-the mind is its own place and can make a Heaven of Hell or a Hell of Heaven.
Or, as Holmes intoned, if a man sees life through Pancho Sanza's eyes, he sees that life.

A guy can meet the right gal at the wrong time-happened to me, and mistakes made in youth-happened
to me, and dumbass idiocy, happened to me; still the white collar insecure corporate denizen on the cusp
of bachelorhood-marriage regretful intoxication should hang one on and forget the bride.
A week long hangover with tomato soup is the way ta go.

Ms. Carolyn Jones in "The Bachelor Party." She was outstanding in her small role.

 

[Harp]

Ms. Carolyn Jones in "The Bachelor Party." She was outstanding in her small role.
View attachment 342268

As Morticia Adams in the iconic The Adams Family her grace, beauty, and elegance is/was unforgettable.
Carolyn's beauty struck lightning thunderbolts directly at my pubescent heart leaving me forever smitten.

 

[Fading Fast]

The Truth about Cats and Dogs from 1996 with Janeane Garofalo, Uma Thurman and Ben Chaplin

This is either a terrible movie or a bad-but-okay movie as, at times, I couldn't stand it, but at other times, I found it mildly amusing. I think I liked it more when I first saw it twenty-plus years ago.

It's an awkward riff on the Cyrano de Bergerac story where Ben Chaplin mistakes ditzy model Uma Thurman for smart-but-plain-looking radio-talk-show-host Janeane Garofalo. He's attracted to Garofalo's brains and Thurman's looks - sigh.

The girls then allow the mistake to continue in a kinda-sorta plan to get Chaplin to fall in love with Garofalo, but of course, he falls in love with Thurman as that is whom he believes he's dating (plus, she's Uma freakin' Thurman). This, naturally, causes a rift between Garofalo and Thurman as, shocker, both girls now want Chaplin.

Yes, that's the story and it is as stupid as it sounds. Most movies ask you to suspend reality to some extent, but The Truth About Cats and Dogs, often, asks you to be an idiot. (I'm ignoring the syllogism about being an idiot and still watching the movie.)

Yet, darn it, just when I was fed up with The Truth About Cats and Dogs and about to shut it off, some cute scene or funny dialogue exchange would keep me watching, despite the movie being a series of cliches.

Thurman is only "dumb" because she's so beautiful she's never had to develop her mind - sigh. Garafalo is a vet because animals don't care what you look like and she's a radio host because your viewers can't see you - sigh again. Thurman's last boyfriend abused her because she has no self esteem. Garafalo lives with a cat and too many candles to avoid having a personal life that she believes will be filled with rejection.

It's ridiculous, but Garafalo, Chapman and Thurman are good in their roles and the movie has its fun parts wrapped inside all its stupidity. Thurman's sincere-but-clueless attempts to improve her mind - as when she struggles, with dictionary in hand, to read just one page of a philosophy book - is a hoot. I'd almost like to say I just hated the movie, but have to admit, irritated as I was at times, I did watch the entire nonsensical thing and chuckled occasionally while doing so.

 

[Worf]

"Fatherhood" - Kevin Hart stars in this barely above a Hallmark Movie tale of a single dad trying to raise his daughter alone. This is NOT a comedy but a "dramady" and Hart dials back 90% of usual rapid fire lunacy in an attempt to play it straight. He pulls it off fairly well but the schizophrenic nature of the film's script does him no favors. Still there are points where I want to cry and times where I do laugh out loud. But there's not enough of either to make the film truly satisfying. If you've Netflix give it watch if you've exhausted all else.

Worf

 

[Touchofevil]

The Blue Gardenia on TCM’s Noir Alley this morning. Entertaining enough, but I have watched better and a lot worse.

 

[Harp]

View attachment 342331
The Truth about Cats and Dogs from 1996 with Janeane Garofalo, Uma Thurman and Ben Chaplin

This is either a terrible movie or a bad-but-okay movie as, at times, I couldn't stand it, but at other times, I found it mildly amusing. I think I liked it more when I first saw it twenty-plus years ago.

It's an awkward riff on the Cyrano de Bergerac story where Ben Chaplin mistakes ditzy model Uma Thurman for smart-but-plain-looking radio-talk-show-host Janeane Garofalo. He's attracted to Garofalo's brains and Thurman's looks - sigh.

The girls then allow the mistake to continue in a kinda-sorta plan to get Chaplin to fall in love with Garofalo, but of course, he falls in love with Thurman as that is whom he believes he's dating (plus, she's Uma freakin' Thurman). This, naturally, causes a rift between Garofalo and Thurman as, shocker, both girls now want Chaplin.

Yes, that's the story and it is as stupid as it sounds. Most movies ask you to suspend reality to some extent, but The Truth About Cats and Dogs, often, asks you to be an idiot. (I'm ignoring the syllogism about being an idiot and still watching the movie.)

Yet, darn it, just when I was fed up with The Truth About Cats and Dogs and about to shut it off, some cute scene or funny dialogue exchange would keep me watching, despite the movie being a series of cliches.

Thurman is only "dumb" because she's so beautiful she's never had to develop her mind - sigh. Garafalo is a vet because animals don't care what you look like and she's a radio host because your viewers can't see you - sigh again. Thurman's last boyfriend abused her because she has no self esteem. Garafalo lives with a cat and too many candles to avoid having a personal life that she believes will be filled with rejection.

It's ridiculous, but Garafalo, Chapman and Thurman are good in their roles and the movie has its fun parts wrapped inside all its stupidity. Thurman's sincere-but-clueless attempts to improve her mind - as when she struggles, with dictionary in hand, to read just one page of a philosophy book - is a hoot. I'd almost like to say I just hated the movie, but have to admit, irritated as I was at times, I did watch the entire nonsensical thing and chuckled occasionally while doing so.

Always considered Janeane Garofalo cute. Caught her interview or whatever with Mel Gibson
eons ago at some Oscar nite related thing. JG is a liberal smartass and gave Mel a cheap shot.
Mel gave it right back at her. Surprise live feed but a touch revealing about both Gee and Mel,
got the impression neither is a nice person.

 

[Edward Reed]

That's My Baby! 1944 ‧ Comedy/Drama ‧ 1h 8m
Absolutely horrendous! AVOID!

I enjoy watching B movies from the 30s and 40s and don't mind the occasional dud but this was an absolute F. total dud.
the head of a comic publishing firm (Minor Watson) is suffering from a bad case of the blues, and to cheer him up, his daughter (Ellen Drew) and her beau (Richar Arlen) bring into his home a whole host of vaudeville acts, with no success. Not until they discover what it was in his past that has not allowed him to even smile in some twenty years.

its painful nonsense and not even fun let alone funny. lol! oh well...

 

[Touchofevil]

Garafalo was great in the episode with Alan on Two and a Half Men.

 

[Edward]

“I am here to chew bubblegum and kick @$$ and I am all out of bubblegum.” Cheesy as all get out, but still entertaining.

Not to mention probably more relevant in today's mindless consumerist society than ever it was.

I tried something I'd never done before: Indiana Jones marathon in black and white! I also watched them in chronological order instead of release order, another first for me. Indy looked amazing in black and white. Out of all of them, Raiders looked the best. I think it's the grainy film stock that sold it for me. It wouldn't be as good if it was super smooth film, or if the grain had been digitally removed for the 4K release.

Certain things about it still made it stick out as "80s movies" such as certain visual effects, clothing cuts, or hair styles (Willie's '80s frizzy hair, for example). All in all, though, it was very enjoyable and most of the movies would definitely work reimagined as being from the 1930s. I think the way Spielberg shot Raiders, and the low grain of the film stock, made it the most recognizably 1930s in style. I found that Crystal Skull worked the least well in black and white. The camera movements, film stock, lighting, etc were too "modern" to pass as a 1950s movie.

Interesting idea. Be fun if it were possible to render Crystal Skull in technicolour, which I suspect had it been a 'real 50s' film from the year in which it is set (57, if memory serves?) it would have been. Those stills from Raiders look fab in B&W; must try that sometime.

This weekend I watched a couple of films, one I've been waiting a long time for instreaming, another a chance spot. The first was The Dead Don't Die. A fun little film, a slice of Twin Peaks or Fargoesque small town America, but dealing with zombies. Great ensemble cast, and a kooky but fun plot with an element that in part reminded me of Repo Man. I did think they could have done more with Iggy Pop (I'd sort of like to have seen more of him in a speaking role), but he was fun as a zombie. There's a very clever little scene in the diner on the banality of unthinking, engrained racism in a way that's not normally explored on film. The only really duff note was the meta-gag about Adam Driver knowing what was coming up because he'd read the script; I supposed it might have worked as a sort of comedia meets Airplane throwaway, but extending it to a two-minute conversation with Bill Murray really falls flat. Both great performances, just nothing they could have really done to make that a good gag. Still, it's a small niggle in an otherwise great film which feels like quite a fresh take on a genre that's been done hard over the last decade or so.

The other film I chanced across while hunting for Brendan Gleeson pictures on Prime was The Yank. In the main it's a forgettable, lazy romcom about an Irish-American who goes to be a best man at a wedding in Ireland after having been dumped by his "Irish" girlfriend - and ends up meeting a Greek girl instead of the 'Irish wife' his family want. The plot is thin and hugely predictable within the first thirty seconds, but there's a lot of humour to be had in the contrasting of diaspora expectations and Ireland as it really is by 2013ish when the film is set.