pc95

Director Lanthimos has made better and much better movies than "Poor Things", sort of a twisted pseudo-ish Frankenstein ripoff juxtaposing a woman for man and including a perverse irredeemable story arc. The accompanying soundtrack is repetitive, and sometimes grating and obnoxious while the dialog can be interesting in an expository manner and dull at other times. However the story drive was fairly aimless and devoid of meaning with emotionless core. Not sure how Stone won an Oscar, as her performance is directly flat as mostly devoid of emotion, per Lanthimos direction. She does well enough per the absurd source material. But There's an air of smut though the mid-third of the runtime that is gaudy and uninteresting. Not a good outing compared to his other movies. 5/10 Give it a miss.

Just rewatched Ghostbusters on network TV (I almost never do that for any movie nowadays, but it had been a good 10 years for Ghostbusters). I didn't realize I had never reviewed Ivan Reitman's comedy-horror classic. Still remember sitting down late to the movie (seemed to be a bad habit of my Dad's back then) at our local theater in the summer of 1984. Ghostbusters is outstanding in its originality and features a strong comedic cast anchored by Bill Murray, in what I judge to be his best comedic work of his career, edging out "Groundhog Day". The writing and story is wonderfully fun - and I think people ought to mention the great music, soundtrack, and sounds of the movie. I've probably watched this gem about 100 times over my life. Good Halloween movie too.

Bestow it a 9/10

8/10.

With a cast and ensemble of satisfactory to great actors, director Robert M Young's "The Ballad of Gregorio Cortez" is a compelling chase story featuring notable performances from a younger lead Edward James Olmos and many journeymen (some now late) actors including James Gammon, Brion James, Bruce McGill, and Rosanna Desoto. I liked the realism of the movie to a certain degree, though the music seemed a bit out of place. Cinematography was competent, and you could relate to the injustice of what appeared to happen. From a time from which no-one now lives, director Young seems to want to give a fair shake to Cortez's sad story. Olmos is is up to the task to paint a human picture of a man in fear on the run unjustly, and the movie helps solidify Olmos career earlier. Deserving of a watch and entertaining. 7/10.

A bit of a throwback movie, director David Cronenberg's well known "The Fly" has been around awhile, and I finally rewatched it again for review. It had been at least 20 years since I last watched. It runs pretty quickly and at times kinda felt absurd, but Jeff Goldblum really put a stamp on and carried this sci-fi monster flick. You can see the chemistry with the actors Davis and Goldblum,, and he is one of the few actors to make a 6 ft Davis seem shorter. John Getz is along as kind of the bad guy, but not completely. The make-up and creature feature not quite as good as An American Werewold in London but pretty close for the 80s. Give it a 7/10.

(spoilers) One of the better horror movies of the 70s, "The Omen" follows the Exorcist in the religous larger production Supernatural horror genre. Its lower key and certainly 'in your face'. I liked the cast in Omen, especially Gregory Peck's stoicism, and a younger intrepid David Warner. Billie Whitelaw is good too as a baddy.

Director Richard Donner uses David Seltzer's story with good buildup. Right from the beginning we know the sinister is at hand with strange interations at the initial birth/events. And Certainly most memorable are the employment of photographs in the movie - wont completely give away but this was the 1st movie I'd seen using this novel idea. However there are a few poorly handled scenes, in particular some of the death scenes; these aren't easy to pull off anyway - and a cemetary set that looked too much like a set. These are smaller quibbles though. The Omen can now be called horror classic. Give it a 7/10.

(spoilers) Director Alexander Payne and his cohort Paul Giamatti are back in a beautiful period piece, 'The Holdovers" written by keenly by David Hemingson. This movie succeeds on several levels, the cast and direction is strong, and they did a marvelous job recreating the early 70s backdrop. The characters are interesting and varied. And as usual with good movies, there's really no weak performances from the leads to the smaller roles. The movie measures well to similar predecessor genre movies like "Dead Poets Society" and "Heaven Help Us" I espeically liked the later frank distilled conversation with Giamatti and and young newcomer Dominic Sessa as Pual and Angus, both struggling. Sessas has taken whole advantage of his opportunity. The Holdovers is rightfully up for a Oscar nod. 8/10.

(spoilers) Have been waiting awhile (over 2 years actually like everyone else) for director Villeneuve's continuation with Dune 2 and was not disappointed. 'Dune 2' is a formidable and at times spectacular cinema. I will say I liked its predecessor's pacing better than this one whose finale seemed a bit anti-climactic and off kilter. The stylized visuals give way to a cramped and dark-lit final set that seemed like a stage play oddly a bit out of place from some earlier beautiful, and intricate set designs.. Catching this on IMAX though was certainly worthwhile though. Javier Bardem fills in for the life and energy of the movie somewhat similar to Jason Momoa in the earlier film. Easily the best scene of the movie for me was the earlier fight scene with Harkonnen harvester, ground troops and Paul and Chani in serious battle , the fight choreography and melding of visual affects and sound was absoluately stunning and 1st rate putting even the Empire Strikes Back Hoth effects to shame. Was overall pleased with this entry and looking forward to Villeneuve's next picture, hopefully Science Fiction. Got the feelling more Dune will be on the way - looking forward to it. Give it a 7/10.

The other day I rewatched director Steve Lisberger's classic sci-fi fantasy, "Tron". I had loved it as a child for its look and music.

Realized I hadn't reviewed it. Detractors of 1982's Tron might argue its dated, and they might be right, but it may not be a fair argument. Effects keep getting incrementally better, and Tron is now over 40 years old. Anyway, there's a few things in Tron that stand out for me, and 'dated' effects are still beautiful as one of them. Loved the light-cycle and tank-chase as well as digital world- art come to life. Acting and direction are competent. The cast, mains to costars do a very good job. David Warner probably takes 1st prize as a great sleazy Lietinant to the Master Control Program. Bridges, Boxleitner, Morgan, on to Shores, Hughes, there's not one weak perfromance in the movie, a testament to Lisberger. Add to that wonderful 80s-ish period music that is a great enhancement to the feel and experience. Subtly though, I loved the pseudo-religous philosophy and love written into the dialog and interaction for users and programs. Its a lovely filial reverence that gives the move a unique quality. Now, I might've liked a bit more story epilogue but Tron is certainly now a classic, and I can still fondly recall my light blue Tron pajamas that I proudly wore to bed, and of course the arcade game to boot.

(spoilers) Finally a sequel worthy of its origins in the Predator series after so many duds or ho-hums.. It took some 25 years, but director Dan Trachenberg scores another fine movie after directing his debut 10 Cloverfield Lane. Here we have a nice mix of genres including Scifi and historical action coming together well in a creative mix. I enjoyed the cunning of the lead character, and the nod to the original with juxtaposition of hunted and hunter. Found this movie by surprise and its a winner - loved the French Fur trappers and Commanches in setting Predator affects and gore were fairly competently done, although you might have to suspecd belief a bit.

Director Phillip Borsos puts together a competent and handsome production of the life of turn of 19th century outlaw Bill Minor in his " The Grey Fox". Photography is outstanding, and while the story is grounded and slow-paced it features understated performances from nearly the entire cast. That points to Borsos' keen direction. One of the more interesting aspects of the movie is the emphasis on the speed of technology and changes in soceity of fast changing era late 1800s into 1900s. Indeed this must be something criminals who suffer long sentences experience not to some degree, but then it was emphatic and pronounced. Farnsworth and Burroughs create a nice romance on screen to add some depth. 7/10 - recommended.

(spoilers) I'd watched Lawrence Kasdan's "Body Heat" over 10 year ago, but didn't get around to reviewing it. Body Heat is one of Kasdan's best works both as a writer and director. Leads including support acting were all outstanding. The story is somewhat slow though rarely dull. Loved the locales in Florida and the early 80s. Enjoyed Danson and Preston injecting some shades of humor and levity. Music seemed fit for the content kind of like a James Bond movie somewhat with lots of saxophone. Kathleen Turner's character Matty has a burning energy, but what lurks behind it is far from benevolent, and Hurt's Ned is too far behind until too late. Dialog is very good, and Hurt is cynical but inquisitive. One of the best crime thriller's of the 80s as amongst the top of Kasdan's work. 8/10.

I absolutely loved Canadian production and director Matt Johnson "Blackberry". It was certainly one of the best movies of the 2023. I found some maybe unintended but spot on parallels to the classic "Office Space". Glen Howerton, Jay Baruchel, and indeed double dutying Matt Johnson score an extremely entertaining retelling of the rise and fall of Research in Motion Blackberry. Johnson probably deserves the most praise for his lovely and endearing caricatures of 'nerds'. Howerton and Johnson have created a wonderful semi-antagonist in Jim Ballsilie who gets painted in a poor light. Michael Ironside in for some Canadian star 'heft'. There were half a dozen guffaw scenes at least. What a great movie.

I had watched director Mike Nichol's "The Graduate" quite a few years earlier, but never reviewed it, so recently rewatched after a dozen or so years since last viewing. The movie is well ahead of its time, and is still very good. Great direction, and Anne Bancroft is particularly riveting and leads all in material created from a Charles Webb book. She is confident, alluring, and direct, a perfect antithesis to Hoffman's whiny, indecisive, and equivocating youth. In steps in young Katherine Ross, to add another dimension of naivity and wonder, and Nichols story arch dynamic rockets up. (spoiler) The only thing really detracting from the movie for me is its hurried and tied together finish. I might've preferred Braddock not getting what he desired. Still a great watch. 8/10.

With a pretty good production quality, strong group of actors, and referential source material, Norwegian director Ovredal seems to have all the ingredients for a strong horror movie in "The Last Voyage of the Demeter". The execution and result, however, doesn't bake into something as grand unfortunately. The pacing and lighting are not good, characters often do questionable or irrational actions given the circumstances, and there is little surprise. The movie comes out bland and fairly flat. Corey Hawkins and Liam Cunningham anchor a strong and capable group of actors, but the direction and lack of imagination can't pull the movie up into solid footing. Too bad as with better focus, pacing, and editing the movie becomes leaner and more effective - cut down on at-sea time, make the characters smarter, and add more preamble and epilogue. 6/10.

I'd seen this movie once before but didn't get around to reviewing. Director Sydney Pollack turned in one of his better projects. There's quite alot of cynical dialog and scroungy scenes of desperate folks. From a bygone era, dance marathons seem mostly foreign now in the the next century. Still the movie has a melancholic pull of people stretching their limits to make a small payday - much like almost most any recent era. There's quite a bit of good acting and actors on display. I liked the leads, but thought Susannah York and Bonnie Bedelia were particulalry good supproting cast. Gig Young won an Oscar for a larger than life persona and television-like personality. 7/10.

Had never watched director Jim sharmon's beloved "Rocky Horror Picture Show" which definitely feels like watching a video of a stage show musical- which is what it was based off. Although it seems to be a large part of the called story, I didn't care for the gratuitous strepteasing and black corsets. It seems to overstep its budget. Sets and costumes defeinitely showed their age. Some of the numbers were decent, while others kinda boring. By the end, the ~98min runtime felt too long. Overall a bit of disappointment. I liked Mel Brook's "Young Frankenstein" as a much better comedy from the same time period. Rocky Horror Picture Show seems to try too hard with too much 5/10.

I've seen Dirty Dancing (1987) a few times over the years, and finally getting around to reviewing....rewatched recently. The movie , written by Eleanor Bergstein and directed by Emile Ardolino is a fun watch with some dramatic flare but at times formulaic cliched. One of the problems of the movie is the director's choice of anachronistic music that doersn't reflect the picture's timeframe and setting. This isn't a deal-breaker but its distracting. The strengths of the movie are the well-done chemistry between leads Jennifer Grey and th late Patrick Swayze; there are some great dance-learning scenes that Ardolino takes the time to focus on interesting details like timing, balance, and presentation. These are important to understanding the effort and time needed to become good performers and some specifics of dancing. Anyway, the socio-economic class struggles are bit cookie-cutter unfortunately and.blase. It seems fairly perfunctory including dialog reflecting 'daddy's little girl' and 'rich vs poor'. Still focusing on Swayze's outstanding dancing and Grey's smile and charm help lift the movie to good footing. One of Swayze's biggest hits and most memorable roles, and certainly Grey's, overlooking its smaller flaws, Dirty Dancing still shows a pulse and performance energy that make it entertaining. 7/10.

Directed by Norman Jewison with an eye for excess and indulgence, the original Thomas Chrown Affiar has kinetic cinematagraphy, and a barrage of views of late 60s Boston. The 2 stars Dunaway (as Vicki Anderson) and McQueen (title character) demand the screen and seem to be enamored with one another. There is a caper at hand but for Jewison that seems to be the back story. (spoilers alert). Writer Trustman and Jewison are most nterested in who seduces who and the vogue/beauty of its stars, and while it makes for interesting entertainment initially, the mystery becomes binary and predictable. A couple of smaller quibbles, the dune-buggy scenes wore out their welcome and McQueen and director flunked the character's cardboard laughing takes. Dunaway steals the show wholly, though her charater isn't given the reins. And Paul Burke is great in his supporting role and reminds of William Shatner a bit with his directness. Jewison and his Thomas Crown Affair excels at frolicing but don't expect deeper meaning. 6/10.

Directed and adapted keenly by Mike Hodges, "Get Carter" is a somewhat bleak and angry tale of mystery and vengeance. Its mostly a mystery but turns up the violence its last 5th of runtime. The cinematography in it is outstanding - lots of grays, clouds, and what looks like winter - mornings and nights. Michael Caine takes on the mobster Jack Carter role with alot of scowling, and Carter's admission that he was the 'bad guy' in the family. Caine does a good job, although the fight scenes are a bit lacking to today's competence. Also liked Rosmarie Dunham and John Osbourne's supporting performances. Director Hodges has pulled well from Ted Lewis's "Jack Return's Home" - good writing with a fairly simple story. Women characters seem noticiably subjugated in their roles in the movie. There's a somber atmosphere in many scenes, and though over 50 years old and going, the movie is pretty good in its drive. The ending didn't seem surprising either. Small quibble, cinema didn't have blood right back then. 7/10.

An early 70s winner, late director Robert Altman's "McCabe and Mrs Miller" is a solid watch with outstanding photography, costuming and setting. A bit meandering of a story, but one with rustic western charm; indeed the setting was wonderfully put together. Stars Beatty and particularly Christie turn in good performances. The music a too folksy though for the given settings and could've been done without. I enjoyed the buildup and business talk and frivolty between the leads. The finale feels a bit perfunctory, though realistic, and glad they handled the outcome without a tied bow and ribbon - and let it go at that Good romantic Western though sound not too good - a bit of a letdown. Still solid 7/10.

Who cares. Big time dud of a movie. Turned off after15 min. It seemed obnoxiously pretentious with no cathartic value. I liked Shawn Wallace in Princess Bride, but here we have Shawn Wallace and Andre Gregory writing a 2 hr probably ad-libbed conversation to be filmed as Shawn Wallace and Andre Gregory. What was the converation about ? I didn't stick through to find out.... Started off with Wallace's inner thoughts and then sit down to dinner and Gregory droning on about traveling and bee-hives, end play......Sometimes I won't let a movie waste my time, and "My Dinner with Andre" certainly qualifies. There are worse movies out there but how this movie manages a 7.7/10 average is beyond me. Skip it....3/10.

Director Alan Parker's "Midnight Express" is another strong outing in the 'prison-movie' genre. Brought to screen competently by Oliver Stone, and referenced from a memoir by Billy Haynes, Parker's movie is dark witih twists and turns. At forefront is he very capable late actor Brad Davis who is turns in a anxious, burdened, crazed performance. Other veteran actors round out a great cast including John Hurt, Randy Quaid, Irene Miracle, and Paul L Smith. Parker implements a wonderful setting (shot mostly in Malta) and good editing. The side plots and violence is surgically placed, with an outstanding finale. I very much enjoyed Midnight Express, one of the better movies of 1978. Recommended 8/10.

Reportedly semi-autobiographical work 70s famous choreographer and stage director Bob Fosse. His movie here, "All that Jazz", billed as written by both Robert Alan Auther and Fosse, was also directed by Fosse. It has alot of visually impressive dance scenes and above satisfactory performance of Fosse's fictious self (psyeudonym'ed Joe Gideon), played by somewhat stoic Roy Schneider. The drive of the movie is how the main character is responsible for messing up his own life both socially but more so physically through apparent overwork, drugs, alcohol, and in the process creating prolific stage works and pouring his creative energy. This while his family pays the price. Roy Schneider turns in a good performace in his usual workmanlike ethos. I liked the visual creativity in dream-like sequnces and dance. Fosse though at times goes a little bit too zany and strange. Some of the process in stage competition is highlighted especially in the first half of the movie. It is certainly not a 'by-the-numbers' standard musical. What makes it visually interesting may stray a bit too far, but nonetheless worth a wtch.

7/10.

Co-written and directed by David Chou, I liked the Korean/French production of "Return to Seoul" for some very good cinematography although sometimes perplexing and juvenile behaivior of its lead 'Freddy' played well by Park Ji-Min was less than interesting. Still the years going by was an interesting add-on generating distance through time. There seems to be a common refrain I've read of in which adoptive children often have a building of desire to meet their biological parent(s). This is something for which a majority of people probably feel foreign - they are not adopted for starters. How do children who are adopted feel, and what factors in to their psychology and drive based on - perhaps as easy as knowing where you came from? For Chou, and other writers, their Freddy character states that she's happy or contect a couple times but her face betrays her words. Park Ji-Min successfully shows Freddy's torment well, and Freddy seems to lash out on occasion in her own personal relationships and friendships. I liked the melancholy state of affairs, though the pacing of the movie seemed to suffer from time-to-time 7/10.

I had not heard of 'Night Moves' directed by late director Arthur Penn until I ran across it in a top 10 list of 1975. Happy to report it lived up to its list selection. This is one of Gene Hackman's better films, and actresses Jennifer Warren and Susan Clark really deserve much credit for adding depth to the great screenplay and story by Alan Sharp. The writing is very good in this movie too. 'Night Moves' is a great mix of drama and caper-action, though its best parts are actually its dramatic scenes with Hackman and Warren and Clark. The caper aspect is satisfactory though not the strength in the movie. Note Catch a very young Melanie Griffith in a very early role too.