Thursday, October 27, 2011

(NOIR) Dark City - 1950 *** 1/2




'Dark City' will never be one of the best film noirs, and if anything, having Lizabeth Scott in it really made it worse (every film I have seen with her in she has acted like a wooden, unexciting version of Lauren Bacall), especially when she spends a lot of her time singing and looking panic-striken. She has the most unexpressive face I have ever seen in a 'femme fatale' role and I'm sorry to say this but I don't think she can really act which leads a lot of her scenes to be quite flat.


Anyway, the main star is Charlton Heston who definitely can act, and he's pretty good as a nasty, petty hoodlum who runs an illegal poker racket. He's even more nasty when he gets tangled up in the death of one of the men he fleeced, and finds himself falling for the dead man's wife, despite being somewhat attached to Fran (Scott).


I love film noir, and this certainly falls into the category of a watchable one, but not a 'classic'. Interesting to see Charlton Heston in a nasty role when ultimately he would end up playing a whole series of good characters though.


(NOIR) The Prowler - 1951 ***



I kept seeing the very beginning part of this film being shown advertising scary or bizarre films and so thought it was about time that I saw it all the way through. It starts off well - a woman reports a prowler outside her window at home and 2 policemen arrive to speak to her. One becomes infatuated by her and tries to get her to run away with him, despite her being a married woman. Then certain unpleasant things happen and the story just suddenly goes downhill. Bit of a pity really because this is one of those sort of film-noir, sort of thriller movies that, if it were really good, you would be scared of on a Saturday night, but it ended up being far too ridiculous for that. Van Heflin is a good actor though, and Evelyn Keyes would end up acting in the hilarious 'The Seven Year Itch' in years to come.

Tuesday, October 25, 2011

Dr Terror's House of Horrors - 1965 ****



Christopher Lee and Peter Cushing in the same scene? Enough said.

But no, really, this is actually a very good Amicus production, and yes, there may be parts in the film that don't add up, but who cares, it's enjoyable and pretty eerie to boot.

Five men aboard a train are joined by the mysterious Dr Schreck (German for terror, hence Max Schreck) who presents them with a packet of tarot cards and offers to tell each of them their destiny. We are introduced to a variety of topics, including vampires, voodoo, werewolves, walking hands etc and nearly frightened out of our wits.

The twist comes at the end, as it always does in any Hammer or Amicus movie, and it is totally fitting. Cushing is almost unrecognisable in this because of his thick bushy eyebrows etc so it took me a while to work out it was him, but Christopher Lee is on top form, proud, intellectual and sophisticated.

The Devil's Backbone - 2001 ***



Guillermo del Toro is one of those interesting directors, because he can bring out either a masterpiece (Pan's Labyrinth) or a pretty dire effort (Cronos), as well as a load in between that don't sway you much either way.

The Devil's backbone was bizarre. And I won't deny that it had some very frightening parts, and one of the cutest little boys I've ever seen in a Spanish film, but the story didn't flow right for me, it didn't connect, and I think that is what let it down.

The young boy Carlos, is sent to an orphanage towards the end of the Civil War, and is given the bed of a boy named Santi who died due to a mysterious explosion in the orphanage years ago. Carlos begins to see him as a ghost, but no one else does, and he realises that this is Santi's way of trying to get Carlos to avenge his death, and in the process of doing so, he uncovers some rather terrifying facts about his new home, and the people who live in it.

Del Toro has obviously stolen quite a bit from this for his later work 'The Orphanage' which features several similar ghostly scenes which send shivers down your spine. The war going on around them is significant, but it doesn't quite overpower the story like it did in 'Pan's Labyrinth' and I feel too much time is taken up with pointless scenes that don't add much to the storyline.

Worth a watch for a die hard Del Toro fan however.

Blood Relatives - 1978 *



Of all the Chabrol films I have seen, I'm pretty sure that this is the worst. It's so unlike anything else that he has done, and maybe that's why I couldn't get my head around it. Donald Sutherland is usually quite an interesting presence in the film world, but I didn't connect much with his performance here. Obviously the fact that it is not a French film in french set in France probably has something to do with it, and I don't begrudge Chabrol for edging out of his comfort zone, but I really hope the next one of his that I see isn't like this, as it may halt my quest to watch every one of his films.

Sweet Smell of Success - 1957 *****






'Match Me Sidney', 'The cat's in the bag and the bag's in the river.'

This is probably one of the most quoted films I have ever seen. And one of the grittiest and nastiest portrayals of a columnist and his unashamed bullying and intimidating of his press agent who, despite his awful treatment, still idolizes and looks up to him, to the point where he will break up relationships and ruin people's lives to give him what he wants. It's terrifying in a way, the power of the newspaper, and the power one man can have over another man, but also utterly fascinating, with one of the most sleazy and memorable soundtracks of the 1950s, captivating New York at it's slimiest and slickest.

Lancaster is amazing to watch as the power hungry JJ, and Curtis is pitiful as the press agent Sidney Falco who can't seem to get a break, however hard he tries.

Although gritty to watch, and fairly uncomfortable, it cannot be denied that behaviour like this happens in the world of journalism, and the lengths some people will go to is astounding.

Lancaster and Curtis must be two of the greatest pairings to ever be seen on screen.






Sunday, October 23, 2011

The Tingler - 1959 ****



This is a totally bizarre film with the always wonderful Vincent Price.

This time, Vincent stars as a scientist who discovers a parasite that feeds on the fear of humans, named the Tingler (aptly named because it makes the victim's spine tingle when they are scared). After finding out that his friend's wife who is deaf and mute has died from shock, he sets out to discover the truth about her death.

It's very camp, but actually some scenes are very scary, and I did have to look away sometimes.

The tingler is the weirdest looking creation, sort of a cross between a person's spine and a large caterpillar and there is a particularly eerie scene in a theatre where the tingler is loose amoung the audience. Watch for Price, preferably on a rainy Saturday afternoon.


Saturday, October 22, 2011

The Baby - 1973 **



This is one of the weirdest films I have ever seen. Apparently a 'cult classic' I can only imagine it's because people are completely traumatised by it afterwards.

A young social worker goes to investigate a case involving a family's strange relationship with their baby, the only thing out of the ordinary is that the 'baby' is a 31 year old man.

It's one of those films that gives you the creeps and afterwards you feel a bit disturbed. I suppose it does satisfy 'cult' status but it's not something I would want to see again. Sort of makes you wonder why this film is so hard to find. It reminds me a bit of how I felt after watching 'Pink Flamingos', just like I wanted to drench myself in cold water to get rid of the shock. The only thing I did like was that the mother character sounds a cross between Joan Crawford and Shirley MacLaine. Bizarre.


(NOIR) The File on Thelma Jordan - 1950 *** 1/2



I have never heard of this film, but it kept coming up as a recommendation that I must see, and as I am on a film noir kick I decided that I had to. Plus it had Barbara Stanwyck who nearly always delivers a good performance and was directed by Richard Siodmak (who directed 'Criss Cross'). And she certainly did here. One of the lovely things about old films, and seemingly film noir at the moment, is that even when you think you've seen all the good ones, there are always dozens and dozens of unexplored gems left to enjoy.

Wendell Corey stars as Cleve, a DA who crosses the path of Miss Thelma Jordan when she appears at the station wanting to make a complaint about suspected burglars at her house which she shares with her aunt. This first meeting soon turns to an affair despite the fact that Cleve is married and Thelma has a complicated past of her own.

Soon afterwards, Thelma's aunt is found murdered, Thelma is on trial for the crime. And it is up to Cleve to untangle her from the mess.

Film noir certainly, and Stanwyck is known for playing the ultimate 'Femme Fatale (although interestingly I wouldn't cite her as one in this movie, as she has a complex and layered character that is not completely ruthless). Worth a watch.

(NOIR) Criss-Cross - 1949 ****



A very well done thriller-noir from director Richard Siodmak who went on to direct 'The Killers.'

Burt Lancaster gives a gripping performance as a man who gets caught up with his ex-wife and her mobster husband. It's not one of the best film noirs out there but it sure is worth a watch, and I think the academy award for acting in this film should go to the totally underrated Dan Duryea who steals practically every scene he is in. Yvonne DeCarlo is a beautiful femme fatale but I found her performance to be a bit wooden and her role probably would have to been better suited to someone like Claire Trevor or Gloria Grahame.

However, Lancaster is a good half good/half bad guy and I will have to check to see if he has been in any other film noirs of the 40s.

Friday, October 21, 2011

(NOIR) Woman in the Window - 1944 **** 1/2



A stunning offering from Fritz Lang starring the amazing Edward G. Robinson and the gorgeous Joan Bennett.

Robinson plays a professor named Richard who leads a comfortable yet uninteresting life with his wife and children. One evening he notices a beautiful portrait in a window opposite the men's club where he spent time with his friends. While staring at it he turns and comes face to face with the subject of the portrait, the glamourous woman who posed for it, and he soon finds out that his life will never be quiet and comfortable again.

I thought the ending was excellent and I really wasn't expecting it. This is what makes such a brilliant film noir; the shadows on the walls, the sultry woman, the shady bad guys and the subtly witty dialogue. They really don't make them like this anymore. They really had to act then. I'm happy to tick this off my list and I'm sure it will be a film I will be revisiting. Fritz Lang is a god. You know that anything with his name on has the sealed stamp of approval.

Julia's Eyes - 2010 ***



I saw Guillermo del Toro's name and thought 'it's going to be superb'. I wouldn't say it was superb but it wasn't a badly done movie. It's the story of a woman whose blind sister suddenly commits suicide. Or so everything thinks. But Julia doesn't. And she won't rest until she uncovers the mysterious truth, despite the fact that she is now starting to suffer with her own sight as well.

It's one of those teeth-clenching movies where you can see what is going to happen but the main character can't which always gets under my skin. Glad I've seen it.

La Rapture (The Breach) 1970 ****



I've never heard of this Chabrol film, and was blown away as usual. Chabrol is back on form. Or rather, his 1970s movies show him at his peak.

Stephane Audran is yet again the star, totally captivating and mesmerising the audience.

She stars as Helen, who runs away from home with her son after her mentally ill husband attacks them both one morning.

Leaving him in the care of a hospital, she rents a room in a boarding house across the road and meets the strange assortment of people staying there whilst waiting to obtain a divorce. Her husband goes back to live with his wealthy and manipulative parents who think that they can buy Helen's son with their money . They then hire a distant family friend to help them effectively 'get the dirt' on Helen to prove that she is not fit to look after her son.

The story is bizarre, surreal and everything you would expect a Chabrol to be. 1970s France has never looked so edgy and exciting.

Thursday, October 20, 2011

(HORROR) The Last Victim - 2011 **



First off, this is nothing to do with John Wayne Gacy's life story. It's a film based around a student who becomes obsessed with Gacy after deciding to research him for a project. He makes the decision to contact him to find out about his reasons for committing murder and gets some terrifying results. Nothing new here, just entertaining. But doesn't follow a specific 'serial killer' story.

Tootsie - 1982 ****



What a hilarious film.

Dustin Hoffman plays an unemployed actor who has a bad reputation in the business and realises that the only way he is going to get on television is if he disguises himself... as a woman!

Dustin Hoffman is almost unrecognisable as 'Dorothy' the wise-cracking and sharp talking character from the hospital soap opera who won't take any nonsense from anyone.

Jessica Lange plays his love interest who is blissfully unaware of the mixed-gender issue and sees 'Dorothy' as an amazing friend.

Brilliant movie, I was in stitches many times!

Sunday, October 16, 2011

The Leopard - 1963 **



At almost three hours long, this film sucked most of the enthusiasm I had originally mustered for it clean out my body.

I have no idea why Burt Lancaster was in this movie. This is an Italian movie, and Mr Lancaster most certainly isn't an Italian.

Added to which the movie had sub-titles but was dubbed as well. Pointless. I thought that a film so long would at least have had some endearing quality to it, but in my opinion it didn't.

I was not impressed and was just disappointed.

The Unknown - 1927 ****



What a superb film. Lon Chaney totally blew me away with his terrifyingly eerie characterisation of a burglar named Alonso who poses as an armless circus performer.

Joan Crawford is almost unrecognisable as Nanon, who becomes Alonso's love interest against her will. Alonso then sets up what he thinks is a cunning plan to win Nanon over, with drastic results.

The score that I heard with the film was spot on and the acting was simply amazing. The thing about silent movies is that you can spot someone who can't act a mile off because all you are relying on is their facial and physical expression. Films nowadays show us that most actors can't act very well indeed. The actors in this film can captivate you with a single glance, and without saying a word.

It was a horrifying thought to think that this film was almost lost, and was only found by fluke in a box named 'unknown' full of unknown films (how ironic).

This has set me off on an obsession with silent films.

Saturday, October 15, 2011

Night Train to Munich - 1940 ****



A gripping 1940s thriller from the excellent Carol Reed. Rex Harrison plays a British undercover officer posing as an entertainer who meets up with Margaret Lockwood and they both become embroiled in a terrifying plot to do with German concentration camps.

Reed always delivers on his films, and this was no exception. I have never seen Harrison play such a two-sided character before; one minute a sharp and arrogant German with a monocle, the next a charming and suave British performer who wooes Margaret Lockwood.

Lockwood and Harrison make a pretty good couple. I'm impressed.

Merci Pour Le Chocolat - 2000 ***



I was totally disappointed in this. Mainly because I have become such a big fan of Chabrol's work which is nearly always superb, and so for this to be below average was a big shock.

The only positive to the movie was that Isabelle Huppert was astounding and I could barely take my eyes off her when she was in shot, but that alone couldn't save this.

The story centres around Huppert and her husband and son. Her husband is a famous piano player (in French films there seem to be a lot of people who are piano players, especially in some kind of suspense thriller) and Huppert is the heiress to a Chocolate Factory.

One day an aspiring pianist has lunch with her mother, her male friend and his mother, and finds out that she was nearly switched as a newborn in hospital by Huppert's husband. Although her mother brushes it off she becomes paranoid that she is in fact the famous pianist's daughter (despite him having a son), and around about the same time, Huppert decides that she cannot have an extended member in her family.

As I said, Huppert is really the best thing going here, and although it is suspenseful it is no way near as good as some of Chabrol's earlier work (i.e 'Le Boucher') which was a great shame. However I shall strive to continue my search with watching his films.

Broadcast News - 1987 ***



Not a bad film actually, and Holly Hunter was excellent as producer to William Hurt and the love interest to Albert Brooks. This reminded me a bit of the other movie based on TV that I saw a while ago that I didn't think much of....

It's always interesting to see how much things have changed when watching a film that involves 'up to date' tv equipment. It looked totally out of place and totally unfashionable. HA! 'Network' is the name of the film I was trying to remember which to be honest was pretty dire in comparison to this.

Yet again another film that I put off watching when in fact it was well worth the wait. I need to start changing my assumptions on films.

Friday, October 14, 2011

Apologies

I apologise profusely to everyone for my lack of film reviewing recently, as certain things have stopped me from going crazy and reviewing everything like I usually do.
Rest assured, I shall be starting again from today to review each film I see again. I saw about 20 over the last 2 months which I didn't review and then felt it was too much one after the other. From now on I shall make a conscious effort to do it after I see each one, or two.
Thanks!
Fiona

The Man From Laramie - 1955 ****



This was my third western, and I have so far enjoyed every single one of them.

James Stewart is excellent as Mr Lockhart 'The Man From Laramie' who comes to the town of Coronato to avenge his brother's death. At the same time he gets caught up in the dodgy going's on in the town, where the 'Waggoman's (an influential ranching family) always seem to be in the centre of the trouble. He comes to blows with both the father and the sadistic son, and one particular scene involving Stewart's hand leaves you cringing for ages.

This was the last film that James Stewart did with director Anthony Mann, and I would now like to see his other efforts.