Vultural

Snodgrass - 2013 - 6/10

1991, John Lennon is behind in rent and applying for a lowly job.
Some still remember him. “You’re the guy who quit the Beatles!”
This version of the Beatles, however, without Lennon, never quite made it.
Lennon views those around him as dim fools, the man, the wad - - - Snodgrasses.
Angry, sarcastic, bitter, venting when no one gives a damn.
Ian Hart excels as 50 year old washout, spitting rage, cocksure that the lads never ought to have compromised and agreed to sing that “How Do You Do It” trifle.
Unpleasant “what if” story - except - this John still breathes in 1991.

Two Of Us - 2000 - 7/10

In 1976, Paul drops in on John at the Dakota.
The story “speculates” on what they discuss, later do.
Film omits two other persons who are there that day, Linda and Yoko.
This smacks of a small play, but is enjoyable and well acted.
Aiden Quinn has, perhaps, the tougher part playing Paulie.
His Paul is well grounded, worldly, and not merely the “cute Beatle.”
John, holed up in his Dakota fortress, is troubled by demons, though when they go outdoors, the prankster emerges.
Few tunes, by the way.

3% - 2016 - 6/10

Unwashed masses teem and struggle “Inland,” while “Offshore” is an undreamed utopia.
The concept of meritocracy, often espoused, is here carried out.
Via “the Process” each coming-of-age bracket are put through mental, physical, psychological tests.
Only 3% pass, and they are allowed to journey to Offshore.
Elysium … or Soylent Green?
Slow going 8-part parable from Brazil (in Portuguese, so find subs, if necessary).
Backstories of unlikable characters unfold.
E04 was “Lord Of The Flies” excitement, yet E05 ground to a standstill.
Near future look is heavy on dystopia, light on SciFi.
Budget and script-writing limitations apparent.
Doors left open for a second season.

The Day Of The Jackal - 1973 - 8/10

I recently watched Speakerine, set in the early 1960’s, and it was fair enough.
Nevertheless, for a top tier intrigue thriller of that era, try this -

Brilliant adaptation of Ludlam’s thriller.
Edward Fox peerless as “the Jackal,” hired by the OAS to assassinate DeGaulle.
Film is three narratives: French intelligence. British intelligence. The Jackal.
Agencies have difficulty dealing with the lone wolf, outside the compromised OAS.
Each side adjusts, but the assassin is resourceful.
Exceptional editing throughout. At two hours plus, the film never drags.
I cannot imagine this being made today without gadgets and booming music.
Riveting from beginning to end.

Kisses - 2008 - 7/10

Dylan and Kylie live in dysfunctional households. One endures physical violence, the other abuse of another sort.
One afternoon, they flee and hop a ferry to Dublin. (Yes, a road movie of sorts.)
Fun under the lights, contrasts with predators in shadows.
Dublin proves too hard. No surprise since the characters are aged 10 and 11.
Another, more iconic Dylan appears in a white hat and offers advice.
A small gem.
Friends with sensitive ears - foul language galore.

Last Train Home - 2009 - 7/10
AKA - 归途列车

Excellent documentary about Chinese migrant workers who jam trains every New Year to go back to the village and their families.
Shows the sweatshop conditions of two garment worker parents contrasted with the lush village they left behind.
No preaching or soapbox. This is how it is.
Parents toil, making clothes for Westerners, so their kids can attend school and have a chance at a better life.
Shot in Guangdong before and after the Beijing Olympics, and before the financial meltdown in 2008.
An unsettling future if one can look beyond today’s horizon.
Planet Antfarm.

Speakerine - 2018 - 6/10

Brief French series set in 1962.
Christine is a broadcasting institution. She announces upcoming programs.
What she longs for is her own show, a woman’s show. By women, about women, for women.
An early strike for representation and equality. Anticipate male resistance.
Into the mix are a budding network alliance between France TV and US networks, terrorist activities from the OAS, family drama, and a large manor house where alpha males entertain underage plaisirs du jour.
Oh, and a malicious, unscrupulous rival bent on shoving Christine from her throne, no matter the means.
Six episodes stitched nicely.

The Last Black Man In San Francisco - 2019 - 7/10

Meandering film about ownership, property, status, memory, family.
In the Fillmore district, long before gentrification excluded all but the affluent, Jimmie’s granddad built the family house, roof to cellar, by himself. Later, Jimmie’s father lost it.
Since then, Jimmie has acted as guerilla caretaker, tending the house whenever occupants are away.
It took me a good half hour to realize what was going on here.
Then I became engaged, though wondering why the police were never summoned, even when Jimmie is clearly painting the house exterior!
Ever so subtly, however, layers of deception begin to fall away.

Kings Of Pastry - 2009 - 7/10

Documentary about winning the red/white/blue collar of the Meilleur Ouvrier de France.
The finest pastry craftsmen of France.
To say competitors were obsessive would be an understatement.
I had friends who perched on the edge of their chairs watching this.
Me? I found the tone a bit cool, the creations out there.
The final event is always the sugar creation, very fragile creations that shatter easily.
Worth watching if confection (creating or eating) is your thing.

Tapas - 2005 - 6/10

Four minor storylines weave in and out of a minor tapas bar in Barcelona.
Characters ache for love, say goodbye to love, find love.
Random assortment of types and ages.
Mild diversion.
STILL … If a movie is titled Tapas (or Tapas Bar) then, damnit, there ought to have been a lot more food!
This flick serves tiny portions of prep work and dining appreciation.
¿Muy gusto? Nada.

Interpol - 1957 - 6/10
AKA - Pickup Alley

The underrated Victor Mature stars as a federal agent chasing a narcotics ring.
Small fry are easy enough to catch, and for the criminal organization, easy to replace.
The top man has never been seen. His name, perhaps an alias, is McNally.

Trevor Howard is memorable as the smooth, calculating mastermind, seen above with Anita Ekberg who acts as courier, bait, decoy, whatever is necessary.
Filmed between London and the US, but also includes jaunts to Lisbon, Naples, Rome, this recalls To The Ends Of The Earth (1948), but that was more procedural and this more character driven.
Watchable throughout, though I did find myself starting to root for the narcotics ring.

Vorse, Mary Heaton - Sinister Romance

Seven stories from 1906 - 1926 by a prolific writer, though her forays into supernatural were rare.
Few of these are as overt as ghost tales or vampire lore. These are, more often, residual echoes.
In “The Mirror Of Silence,” new owners move into Thorn House. They, and their busy-busy friends are loud, devoid of grace and empathy. After a fashion, the occupants sense, all too palpably, that the house disapproves.
“The Pavilion Of Saint Merci” is another house, more sinister this time out, with a ruinous history.
Moira often lapses into a rapturous spell in “The Other Room,” for she possesses second sight. Such souls can be challenging to live with, let alone love, especially those who would fetter them to the ordinary world.
Sinister Romance is a quiet collection, though melancholy pervades.
Jessica Salmonson provides an excellent introduction, as well as biographical details of Vorse.
I still pick up Ash-Tree books when I can. Volumes by female authors are generally more available and more affordable.
Often that holds true with other presses, as well. I’m unsure why male readers of horror and strange still harbor faint prejudices.

Model Shop - 1969 - 6/10

George’s bad day is a continuation of what appears to be a streak.
His girlfriend wants to discuss their relationship, the repo man wants his MG, his finances are zilch, and he expects a letter, any day now, from the draft board.
For all that, he gets out of bed and hustles, hopes to borrow money, if anything to save his car.
Moody study of a man marking time nicely catches Southern California at the end of the 60’s.
George, mixing with the creative class, doesn’t know what he wants, only what he doesn’t want.
Stone-faced Gary Lookwood (2001) strikes one as too old for the role.
Director Demy’s original choice was a young unknown. Harrison Ford.

Wild Grass - 2008 - 5/10
AKA - Les Herbes Folles

French twaddle by Alain Resnais.
Marguerite has her purse stolen, Georges finds her cash empty billfold outside his car.
Before turning it over to the police, he goes through her cards and photos and grows obsessed.
Obsession turns into stalking.
These are not teenagers. He is around 65, she is 53.
After Marguerite complains, police warn Georges off.
Then Marguerite begins stalking him!
Shallow, utterly implausible, sheer nonsense.

Boundaries - 2018 - 6/10

80 tear old dad phones his estranged daughter after he is ejected from his senior center.
Seems his gardening hobby, though lucrative, was considered illegal.
He makes his daughter a deal: Drive me down to my other daughter in Los Angeles, and I’ll pay my grandson’s private school tuition.
The road trip follows, from Washington state to Los Angeles, with a few stops.
For adult diapers, for stray dogs, and to make marijuana drops.
The gardening hobby, which he excelled in harvesting primo cannabis.
If you buy the premise that there is still a market for homegrown in states where reefer is legal, then you are halfway to enjoying this implausible, feel-good adventure.

Fallen Angel - 2007 - 6/10

Dark, three chapter series with Emilia Fox and Charles Dance.
Child kidnappings, severed limbs, and a locked freezer. Part, the first. Or parts.
The following segments contain flashbacks, detailing the creation of a monster.
Much of this will be horrifying to parents.
The ending stretched plausibility.
Note - This is not an American production.
Outside of the States, children characters exist and suffer much as actual children.

A bit off topic, sorry.
Are there suggestions for Linux users?
Or would answers be distro specific?

The Fifth Cord - 1971 - 7/10
AKA - Giornata Nera per l’Ariete

From the opening, a disguised voice starts to narrate hoped for murders.
The point-of-view gaze sweeps the swank party.
Participants, soon enough, become victims.
While the police regard a troubled news reporter, he is given a long leash.
Confusing Giallo (like most of them, actually), boasts an unusual style.
Rather than the garish colors, this utilizes reflections, shadows, glass barriers.

Ms Fisher’s Modern Murder Mysteries: S01 - 2019 - 6/10

Spinoff / reboot of the Miss Fisher franchise suffers by comparison.
Set decades after Miss Fisher’s adventures, a low born niece inherits her aunt’s mantle.
She has no detective skills, is somewhat of a fish out of water, yet is soon part of the Adventuresses.
A love angle is forced in, yet the leads have no chemistry.
Indeed, the girl who plays Ms Fisher has no presence for the camera whatsoever.
Set in the early 60’s, the “look” and songs feel correct, but I am unsure. I suspect Australia, like the States, lagged England in fashion, style and creativity at that point.
At four episodes, it might provide a Fisher fix for grieving fans, especially after the Miss Fisher dud movie.

Miss Fisher’s Murder Mysteries: S01 - 2012 - 6/10

Feel-good detective series set in 1920’s Australia.
Phryne Fisher, rich, bored, decides to start her detective agency, and each week solves or helps the police solve a baffling case.
By chance, the main inspector is handsome and single. Who’ve thunk that?
Vintage music, vintage cars, though no one would possibly call Miss Fisher’s morals vintage.
The lady does like her conquests.
Series is a programmer, but lacks the gore and cynicism of current crime fare.
Enjoyed it for what it was, though females around me swooned at the costumes.
As referenced, Miss Fisher is wealthy and her posh clothes reflect that.

Paris - 2008 - 5/10

Text on the box referenced Woody Allen’s Manhattan.
Not even close. This was more like one of Altman’s lesser, ensemble works.
I wanted to like this, but it was an unsatisfying meal.
Multiple plots, many characters, scant narrative advancement, limited resolutions.
As always with these type of films, certain stories vanish. Others (including the less interesting tales) unfold.
Excellent photography of Paris.
Perhaps a date flick. Over two hours.

Memories Of The Alhambra - 2018 - 6/10
AKA - Alhambeuraui Gungjeonui Chooeok // 알함브라 궁전의 추억

Polished K-drama should appeal to gamers and VR adopters.
A young designer develops an immersive game set in Granada.
Two CEO’s of rival tech firms are casually interested.
The game itself soon shows to have a few bugs.
Deadly bugs, as in lethal, especially as virtual bleeds into reality.

Worse, the higher one progresses it is nigh impossible to log off.
The main protagonist is not the young developer, but one of the rival CEO’s.
To be blunt, the guy is an arrogant jerk. He is rude, dismissive, and untrustworthy.
Opening episodes suffer the K-drama disease of “cutesy,” as characters behave and act like thumb-sucking seven year olds. This dissipates, but it is cringe worthy.
Soon enough, skills are honed, and a quest is undertaken.

Spanish locations are stunning.
Three quarters in, the series flags. Energy, momentum, invention, all dip noticeably.
The ending – not to spoil – was an exhausted failure. Not that it was even an ending, it was an attempt.
The creative team shrugged “good enough” and delivered a finale that felt dishonest.
Inside joke: Gamers are permitted to make allies, one of our protagonist’s most loyal allies goes by the handle of “City Hunter.”

City Hunter - 2011 - 6/10
AKA - 시티헌터

Jin Pyo seeks revenge on government officials who betrayed and murdered his black ops team.
He kidnaps an infant, then trains him for 20+ years to be his instrument of revenge.
Trouble is … the child grows into preferring justice over vengeance.
Revenge is a staple of K-dramas, and the father figure, Jin Pyo, clutches a toxic form of it.
Choreographed action every other episode, martial arts predominate over gunfire.
The love story (hello - this is a K-drama!) is corny and annoying, though characters grow on one.
At 20 episodes, this is overlong and padding is evident.
Emotional entanglements get quite involved by the last act.
Despite a so-so score, I watched to the end and enjoyed.

Joanna - 1968 - 5/10

Swinging London flick, very time and place centered.
Young girl (late teens) arrives in London, ostensibly to pursue arts classes, instead to revel in the loose Mod morals and laissez-faire life. Meaning, bang a lot of rich or artistic blokes. Luv em and leave em.
While Joanna comes across as gullible or foolish, she is neither.
She lacks purpose and has few values. Momentary pleasures suffice … for a time.
Gaudy 60’s piece is awash in excessive makeup, flamboyant fashions, and London exteriors.
Narrative chronology bops with flashbacks and dream sequences, jarring at first.
Music by Rod McKuen, one number by Scott Walker.
Dated novelty at this point, perhaps when it was released.
A lot was going on in '68, and this seems a frothy throwback.
Donald Sutherland terrific as young lord, seizing the last rays.

Frozen - 2010 - 7/10

No, this ain’t the sing-along kiddie film.
Three college friends spend all Sunday skiing.
Evening, the hill is closing because of approaching storms. They beg for one last lift ride …
Things go wrong.
These are not “slasher” teenagers that you want dead.
All are real, funny even, but unwise to the notion that there are consequences to risky decisions.
A clinic on how to make a great thriller using a lift chair. A 50 foot drop. Freezing sleet. Frostbite. 3 degrees. And the realization that the mountain is only open on weekends and that Friday is a long way off.
After all that, events go quite dark for our characters.