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A few reviews . . (film or TV) — Page 96

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The Sniper - 1952 - 6/10

Stray gunman shoots females on lonely San Francisco streets.
He is psychologically damaged, knows he needs help, surrenders to impulses nonetheless.
Reasons are unclear, though he does have a ball-busting female boss (mainly because he is a sorry worker).
Decent Noir, albeit preachy, being a high browed Stanley Kramer production.
Thoughtful use of locations.

If possible, get a version with Eddie Muller’s outstanding commentary.
Muller helms the Film Noir Foundation and is a lifelong San Francisco resident.
He talks at length about actors, locations and the similar (generally snubbed) Without Warning.

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Cunk On Shakespeare - 2016 - 6/10

You have a date with a theatre fan, and you don’t want to appear an idiot.
What better to do than to view this documentary on William Bartholomew Shakespeare.
Learn about the comedies, the historicals, the Shakespearicals.
The presenter in this, Philomena Cunk, is indeed, fortune’s fool
With perhaps more brains in her elbows than in her head.
Anyway, give this a quick watch beforehand, the better to impress your new squeeze.

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Aguirre, The Wrath Of God - 1972 - 8/10
AKA - Aguirre, der Zorn Gottes

Lost patrol of the conquistador, deep in the Peruvian jungle, hunting for fabled gold.
Fabled being an apt word, as the further downstream they journey, the more you realize this is fool’s gold.
There is resistance from Nature, which the patrol fail to prepare for, and from unseen human enemies.
The cinematography is astonishing, especially when you consider the limitations of equipment in the early 1970’s.
Klaus Kinski, as Don Lope Del Aguirre, delivers another career highlight.
Perhaps too slow for today’s staccato tempo, yet fully in keeping with the gradual descent.
Brilliant and inspired, My favorite of all Herzog films.

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All About Them - 2015 - 6/10
AKA - À Trois on y Va

Ménage à trois of provincial Millenniels.
Successful professional drops in on “friend,” discovering she now has a boyfriend.
No biggee. As soon as the boyfriend leaves momentarily, the girls kiss and grope each other.
Seems they have “old flame” history to which the male is ignorant.
No biggee there, either. When the boyfriend drives the other woman home, he propositions her.
She doesn’t exactly say no.
For the rest of the movie, the three cheat around on each other and suffer emotionally.
Rather disappointing as this contained all elements for a first rate farce.

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Fatherland - 1986 - 6/10
AKA - Singing The Blues In Red

1985, protest singer Klaus is being nudged out of East Germany.
True, he is offered choices: prison, recant, or the exit door.
Once in the West, music execs are quick to offer a recording deal.
He is a hot property, and the industry wants to take advantage while he remains hot.
Klaus is no innocent, however, and resists being treated as a commodity.
There is a subplot of Klaus’s father, a fellow musician, who defected a generation earlier.
Dialogue about and with the father is muffled or mumbled, leaving me unsure there.
Despite that, this is a film of outsiders / observers, who understand that whatever the ism (Communism, Capitalism, Nazism) they, and by extension us, will be exploited.

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Transgressor - 2022 - 6/10

Visiting a psychiatrist, a young man shares his troubled dreams.
Of when he had once, ages earlier, been Pharaoh.
And not a particularly pleasant Pharaoh, either.

Effective use of minimal sets, flashbacks, and strong voices.
Well done short, more supernatural than horror, of long simmering patience.
Subs = https://www.mediafire.com/file/artlbse6pa0tjmr/Transgressor_-_2021.srt

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Black Belt Jones - 1974 - 6/10

Lightweight (white-weight) Blaxploitation film.
Mafia gets winds of a future downtown development (back in the day, the term was Urban Renewal).
Mob buys properties, but one hold out is Pop’s Karate School.
The Feds have been after the mob for some time, and their finest agent, a buffed Jim Kelly, also happens to be the preeminent alumni of the school. How Kelly fit into his way-cool Jensen is beyond me,
Most of the fight sequences are well done. Kelly was a martial arts expert.
Too many juvenile scenes for my liking, though, as well as too much comedy.
This is not Black cinema with attitude, but feels aimed at the broader audience.

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The Bandit - 1946 - 6/10
AKA - Il Bandito

Ernesto, returning home at the end of World War II finds his home of Torino in ruins.
His mother is dead, sister missing. Jobs are scarce, and housing … good luck.
First act of is a grim Noir, subgenre Rubble Noir.
The narrative swerves into glossy, nightclub gangster mode, barely delving into that world.
Final act shifts back into Noir, with a fatalistic, if puzzling conclusion
Amedeo Nazzari, as Ernesto, could have played Errol Flynn in a biopic (though Flynn was very much alive and active at this time).

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Curse Of The Crimson Altar - 1968 - 5/10

After his brother goes missing, Robert sets off in search of him, and answers.
This takes him back to the family beginnings, and during the annual witch burning reenactments.
Robert, in a word, is a dunce, but he plugs along.
Superb sets, groovy 60’s goings on, and an unbeatable cast.
What could go wrong?

Well, the plot is inept. Worse, Robert the antique dealer, proves an utter boor.
He lacks social graces, his intelligence is lower than a fallen palm tree, and he imposes.
So much promise here, ruined by an extremely poor script.

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Internet’s Own Boy - 2014 - 7/10

Poignant documentary of Aaron Swartz, prodigy and Internet activist.
Swartz was part of the team who developed RSS web feed code (he was 14 at the time) and was instrumental in developing CC (creative commons copyright).
He landed in prosectorial crosshairs after uploading public information and knowledge that private corporations were charging for.
Perhaps his shining moment was rousing public opinion against the SOPA bill which was considered a done-deal.
Everyone who uses the Internet is indebted to him.
Film very good about showing what Swartz did, and one got a good feel for his personality.
Narrative brutally honest about Federal agents intimidating and coercing Swartz’s friends during interrogations.
No punches pulled when showing overzealous prosecutor, as well as dubious souls who have never been prosecuted (big bankers, a couple of familiar software guys), but stops short of highlighting MIT involvement and lack of intervention. Swartz might well be alive today had MIT acted better.
Very well done. Inspiring. Sad.

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To My Great Chagrin: The Unbelievable Story of Brother Theodore - 2007 - 7/10

“As long as there is death, there is hope.”
Stand up comedian, performance artist, revival preacher, ruined aristocrat, prophet, madman.
Theodore Gottlieb – Brother Theodore.
“It’s best not to be born at all.”
A biography told in fragments, disjointed, with unnamed voiceovers (MAJOR omission there).
Part documentary, part experimental theatre, part puppet play.
“We are all puppets in the hands of an insane puppeteer.”
Flawed, as this seems to spotlight the aesthete of the man, and not the man himself.
Arguably the last Weimar entertainer, and brother in arms with Emil Cioran.

“What this country needs is a dictator. I feel the time is right, and the place congenial. I will be strict but just. Heads will roll, and corpses will swing from every lamppost… Evil that succeeds is good. The coup is well in preparation.”

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Scream And Scream Again - 1970 - 6/10

Man jogging in busy downtown London collapses from an obvious heart attack.
When he wakes up, he’s missing a leg!
Later on, he wakes up with another missing leg!

OK, this film is about harvesting.
No, no, no. Next scene is in a fascist military regime. Spies and conspiracies.

Quick shift back to London where police are chasing after a brutal killer who’s targeting women.
Couple other threads stack this entertaining, if bewildering, horror thriller.
Vincent Price, Christopher Lee and Peter Cushing (don’t blink) headline a strong cast.
There is way too much going on. Defenders say filmmakers decided viewers were smart enough to connect the storylines. It seems a pieced together job, nonetheless.
The pace is rarely dull, there is nudity, chases, bloody killings, and enough plot jumps to keep your head spinning.
Not a great horror film by a longshot, but contains memorable scenes.
The jogger/patient is eerily unsettling.

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The Kiss Of Death - 1973 - 6/10
AKA - Du Nu // 毒女

After hours, a young mill worker is attacked and gang banged by five rogues.
Worse, at least one of them transmitted the deadly Vietnam Rose venereal disease.
She quits the textile mill, begins hostessing at a noisy club run by – whoa – Lo Lieh.
Who, in no time flat, teaches her kung fu, whereupon she starts hunting her assaulters.
Sleazy Cat III exploitation from the Shaw Brothers has good moments and oddball diversions.
For example, during club sequences I heard borrowed riffs “25 or 6 to 4” (Chicago) as well as “The Red And The Black” (Blue Öyster Cult). Distracting enough that I kept going, “What is this? I know this.”

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Lavalantula - 2015 - 4/10

Another gas vent that puts the mindless into entertainment.
This is a blatant riff or rip of the Sharknado franchise, even down to a “Finn" cameo.
Volcanoes erupt in Los Angeles and sheep-sized tarantulas scurry out.
These bugs attack and belch fire. Roasted human is tastier, one gathers.
Story is of a family trying to rescue scattered members.
The same template used in every single Sharknado sequel.
Derivative, mindlessly amusing, amateurish special effects - apparently intentional.
Lowest common denominator expectations apply as hipsters make crap for dumb customers.
Mind you, I did go “Whee!” when I found this.
Beware, there is a sequel.

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The Big Hit - 2020 - 7/10
AKA - Un Triomphe

They’re not exactly the ordinary troupe of actors.
Murderers, armed robbers, drug dealers.
Nevertheless, one works with the talent at hand.
Including convicts inside the penitentiary.
Then the director, the outsider, decides they can handle a real play.
Something along the lines of, say, “Waiting For Godot.”
Patience, frustration, deprivations, and the absurdness of life.
Sharp edged comedy with enough teeth to offset happy-days pandering.

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The Best Intentions - 1992 - 7/10
AKA - Den Goda Viljan

Bergman’s story about his parents, written a decade after a premature retirement.
(Turns out he had more fuel in the tank.)
A young seminary pupil falls in love with the rich daughter.
Marriage, and then he is assigned to a parish in northern oblivion.
Gorgeous looking film, cautionary in several ways.
Set in 1909, the romantic idealism of one character and the humorless discipline of the other may not resonate with many (though I know at least three couples in precisely this relationship).

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A Wicked Woman - 1958 - 6/10
AKA - Dokufu Takahashi Oden / Poisonous Woman / 高橋 お伝

Busy account of very lively girl, Oden.
After shoplifting a jewelry store, she is “apprehended” by a young policeman.
She begs him to let her rest at her home before going to the station.
At home, she enfolds him with the sticky petals and seduces him.
An official perceives her character and forces her into becoming both mistress and procurer for his slave trade.
Oh yes, she also has two husbands tucked away.
All in the first 30 minutes! Long takes make film feel slow at times, though.
Based - believe it or not - on a true individual.

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Lipstick - 1976 - 6/10

I remember watching this when it came out, disappointed that it was glossy exploitation.
Why rewatch decades later? IQ of Cheez Whiz, I suppose.
Fashion model catches the eye of her young sister’s music teacher.
Relationship quickly plunges down, “I thought her no meant yes,” territory.
Meaning forced sex and subsequent drama.
Then, as now, it can be maddeningly difficult for females to receive a fair judgment.
Ending(s) remain a one-two hop of implausible contrivances for me.
Breakout role, hoped for by Margaux Hemingway, boosted younger sister Mariel instead.

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The Girl Cut In Two - 2007 - 6/10
AKA - La Fille Coupée en Deux

Girl in question is local weathergirl chased by an aged roué and a young wastrel.
In the best ménage à trois traditions, the female attempts to navigate both males.
The provincial town is rather small, however.
The older man, a writer, frequents a sybaritic den with other dissolutes.
The younger man is spoiled, insecure, prone to violence.
Talky (as expected), laced with bedroom politics and petty rivalries.

Note - I braced myself for another French talk-o-drama.
During opening credits, I announced aloud,
“Look, Mathilda May!”
“Who’s that?” asked one of the girls.
“Brilliant thespian,” I said. “She starred in the classic Lifeforce.”
“Oh? Any good?”
“Unforgettable.”

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Expensive Women - 1931 - 6/10

Early Pre-Code melodrama opens with woman in lingerie chatting with friend in bathtub.
Plot meanders into bored rich types, quite the thing in the Great Depression, who drink and party all day.
Heiress Dolores Costello meets composer William Warren and they seem a good fit,

Until she meets his younger friend, a dashing but weak willed gentleman.
Affairs, guilt, oh-so-adult agreements while everyone drinks and dances and laughs.
With something like this I usually end up looking at gowns and set-design.
Interiors all seem to be so white back then.
Photography is period “silver screen” though all shots of Costello and her campy friend (Polly Walters) soft focus.
One of the party goers resembles Wini Shaw (“Lullaby Of Broadway") though I could find no confirmation of such.

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Crumb - 1994 - 7/10

First rate profile of Robert Crumb, cartoonist, historian.
From 1960’s San Francisco (Fritz The Cat, Big Brother’s “Cheap Thrills”) to his more personal comics after he relocated to France.
Not only Robert, but his family: Mom, and brothers Charles and Maxon. Talented, but dysfunctional.
Topics range from childhood, to obsessions, to scathing observations.
An ultimate outsider, who became successful.
Essential, especially for artists who are told they are “too weird.”

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Take A Girl Like You - 1969 - 6/10

British romantic comedy of cavalier bachelor Oliver Reed meeting Hayley Mills (AKA - Miss Virgin).
Story is scant more than flirting, groping, blue-balled frustration.
Noel Harrison plays rich playboy hoping to save his manor from council airport expansion.
He also displays a lighter touch with the ladies, most of whom (with the exception of Miss Mills) are eager for the impromptu romp, no matter the settings.
Very Swinging 60’s attitude pervades, though Reed seems way too old for the role.
To be fair, this was probably filmed in '68 and Reed would have been 30. He looks 45, however.
Watch for Penelope Keith as - surprise - a Tory poll worker.

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And Soon The Darkness - 1970 - 6/10

Slow burn thriller, set in rural France.
Two young English nurses are cycling through the countryside.
After an argument, they separate and one disappears.
From this point, tension mounts.
Strangers, the woods, even the language barrier, show how out of her depth is the single female.
At 90”, this still feels overlong, owing to slow pacing and limited narrative.
The French dialogue is NOT subtitled, which is a plus, as you are as lost as the tourist girls.

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Pictures Only - 2021 - 7/10

Louise faces a rent increase, AND her job at the Institute has been downsized.
Family depends on her income, and the classifieds aren’t enticing.
Then her friend Jo tells her Uncle Booker may be hiring.
That proves to be a major career shift.
Terrific slice of life short. Well cast with thoughtful costumes and set design.
This evokes the 1950’s. Clothes, hairstyles, and folks dressed to the nines.

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The Picture Of Dorian Gray - 2021 - 6/10

Oscar Wilde’s decadent tale plugs into the digital age.
Here, Dorian is a cross between a heavy tweeter and social influencer.
Followers increase exponentially, after Dorian’s dark bargain.
In this, however, his online image always stays fresh, charming, while his true face displays corruption.
An early Covid pandemic play attempt, and one of the better ones.
The narrative is composed of interviews and archival footage of Dorian, Basil and Sybil.
Those familiar with the source will notice, possibly delight in, the modifications to the narrative.