Vultural

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).

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.

Grant, Charles L - The Dark Cry Of The Moon

Part of a trilogy of horrors visiting Grant’s favorite locale, Oxrun Station.
In this outing, wolves descend. Or rather, wolf. The breed that lopes about under the full moon.
With Grant, deaths are invariably offstage and understated. Ditto erotic gropings.
(The clutch of Splatter Kids had arrived at this time [Ketchum, Skipp, Laymon, Schow, et al] and Grant was considered old-fashioned.)
Characters fall into potential monsters, likely victims, heroes and wannabees.
Professionally done, elements feel formulaic.
The narrative races along making this a quick read.

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

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.

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.

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.

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.

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.

Monterey Pop - 1968 - 8/10

For many, this is the peak, the moment the Summer Of Love bloomed.
This concert, especially the extended version, is artifact and testament to that moment.
The Fantasy Fair and Magic Mountain Festival came two weeks before Monterey, but scant little survives.
Monterey featured groups from San Francisco and Los Angeles, from Chicago, New York, England…
Watching, one sometimes catches the heady hope that a better world is at hand.
Sure, Woodstock was more massive and influential, but it came two years later.
It was also profit oriented, less idealistic.
As with most moments, they are precious because they don’t last. Then the memory fades.
This documentary, however, is a glorious reminder (and something of a myth) of three days in 1967.

Book Of Days - 1989 - 7/10

When tearing down a city wall, construction workers open up a view into the past.
The appears to be a medieval French village (though characters speak English).
(Mostly unseen) documentarians wander freely and question individuals.
Shepherds, merchants, a storyteller, the physician, share their lives, allow us to observe.
There is a theatrical element in this Meredith Monk film, but do not be put off by that.
Mesmerizing throughout, even breaking the fourth wall at times.
Highlights include a pageant, and the onset of the plague.

Inquietude - 1998 - 4/10
AKA - Anxiety

Portuguese arthouse film appears crafted to test the stamina of foreign film buffs.
Three sequential tales - extraordinarily slow - of unhappy, over-thinking worriers.
Famous father and son fear they may become forgotten.
Artist is concerned about fate of prostitute (courtesan) he is obsessed with.
Girl fears she cannot marry a boy from another village.
Dialogue is ponderous, fraught with meaning, dense with muddling layers.
Others around me dozed off.
Poster film for people who hate arthouse films.

X - 2022 - 6/10

1979, indie film producers opt to shoot their porno in rural Texas.
The crew rents a home from a frail, elderly couple and begin filming.
The porn “plot” is typical of the era: a disabled motorist encountering horny farmer’s daughters.
Throughout this slow burner, a fragrance of sultry dread builds.
Of which the crew seems unaware, until the tension boils over.

The homework for this is excellent. The TV preacher looks like Brother Lester Roloff.
Lone Star beer, blue eyeshadow, mini-skirts, tube tops.
One of the players, Mia, seems a cousin to another naughty innocent, Desireé Cousteau.
Unsettling to many viewers is likely the unpleasant contrast between youth and decrepitude.
Ripe and its inevitable rot into decay. No one envisions being grandpa after a few turns.

Rabbit Test - 1978 - 4/10

After a quickie, one night stand (actually on his back, atop a pinball machine) Lionel finds himself pregnant.
Comic implications ensue, especially after female shy Lionel meets a nice girl.
Written and directed by Joan Rivers (her lone directorial effort).
The premise has possibilities, and the cast is loaded with cameos of once-popular faces.
Biggest problem is there simply aren’t enough jokes, or flat out don’t land, or are beyond tasteless.
A brilliant comedian, Rivers would have been able to read a room and adjust.
Not here. Belly flop of a misfire.

Eddie The Eagle - 2016 - 6/10

Feel good biopic of unlikely celebrity of the ‘88 Calgary Winter Olympics.
Eddie Edwards has Olympic dreams, despite being far-sighted, ignored by teammates and country, and possessing limited funds.
He just wants to compete! And the Olympics are - supposedly - a celebration of amateur sport.
“Ski jumping," he decides. “Yeah, I can do that!"
Passable entertainment, the equivalent of sponge cake.

Alone - 2020 - 7/10

Still grieving, Jessica loads the U-Haul and embarks on the four day trip to relocate.
The route takes her off the main highways, and onto two lane roads in the Pacific Northwest.
Where, after awhile, she notices the same vehicle, same driver, following her.

“Hey, I’m sorry, there was a misunderstanding back there where I almost ran you off the road.”
Even female intuition wailing full bore doesn’t always measure up against a determined predator.
Outstanding example of how to craft a tense thriller on a budget.
Both leads are superb. Jessica shows more common sense than hundreds of movie screamers.
While Sam, a sketch of friendly, soft spoken mendacity, is the typical “ordinary guy.”

Blow Out - 1981 - 6/10

Travolta stars as a movie sound designer who accidentally records what seems to be a killing.
As he slowly understands what he has gotten himself into, professional silencers circle.
Travolta is very good, Lithgow as a villain is terrifying.
If you enjoyed Blow-Up (1966), this DePalma vehicle is a decent clone.
More visceral, definitely, also with more suspense, though Antonioni’s film left the viewer with a haunting unease and sense of foreboding, that this does not.

The Wolfpack - 2015 - 5/10

Exasperating documentary that offers more unanswered questions than insight.
Story of seven sheltered children growing up in lower east side New York.
Sheltered, as having over-protective parents (dad) in the extreme.
The kids were never allowed to leave the apartment or interact with dangerous New Yorkers.
What social skills they learned were from television and DVDs.
In the doc, they act out scenes from Reservoir Dogs and Pulp Fiction.
Straight off, seven kids, two parents, New York apartment - how can they afford rent?
Especially since the Peru born father never got a green card and never found work.
The boys speculate they own 5000 VHS and DVDs. How were those purchased?
There is a daughter, not shown. The boys confide they heard dad slap their mom.
Was there abuse going on? What sort?
Where was Child Protective Services?
One of the boys (I had trouble separating) mentioned Mom was paid for home schooling them.
Huh? New York pays home schooling parents? Enough for rent, utilities, food, clothes, etc … ?
Plus, how did they pay for doctor visits, the dentist?
The family story is odd to the point of bizarre, yet the storytelling is a rambling, incoherent jumble.
Much is unsaid, much may be invented.
Be wary when watching this one.

I, The Executioner - 1968 - 7/10
AKA - Minagoroshi no Reika // みな殺しの霊歌 / Requiem For A Massacre

The first murder was vicious.
The victim stripped, bound, gagged. Forced to write the names of the others.
By the second death, police suspected a serial killer.
Three other women meet. From fearful to dismissive. One wonders if deaths had to do with “that day”.
So do we. Yet the mystery of what and why is doled out in stages.
Camerawork is inspired throughout, from low ground angles to extreme closeups.
Makoto Satô is an intense, remorseless, deliverer of vengeance.
Gripping thriller, though the denouement … I dunno.

The Making Of A Legend: Gone With The Wind - 1988 - 8/10

Gone With The Wind, I have screened three distinct times. 1969, 1979, 1989.
The 30th anniversary, the 40th. and the 50th. Each time in a full-sized theater.
Even though I own a copy on Laserdisc (sealed) and DVD (sealed), I never felt right watching on TV.
The documentary on the making GWTW, however, I have viewed a dozen times.
Truly outstanding. Acquiring the rights, finding a Scarlett, director burnout, music issues, endless editing.
For movie buffs, this is spellbinding. For creative aspirants, this shows how difficult the process was for Selznick.
Absolutely irresistible.

The Undead - 1957 - 4/10

Roger Corman cheapie filmed inside an empty supermarket.
De-listed scientist, after having traveled in Nepal, hires a hooker (named Diana Love) to help with research.
No, not that kind of research. Hypnosis / regression into past lives.
Anyway, Miss Love drifts back to the Middle Ages and recalls she is imprisoned and scheduled for a beheading.
The “witch” accusation carries a heavy punishment.
Her “modern” soul gives her alter-ego escape advice, which results in altering the time line!
One of the best reasons to watch this flick is for “real witch” (sexy Allison Hayes) with her imp (Billy Barty).

If you didn’t get enough of Ms Hayes in Attack Of The 50 Foot Woman this has more bodacious goodies.
Acting in the modern sequences is wooden, lines poorly delivered.
Problems are less noticeable in the medieval era because everyone speaks a Shakespearean hybrid dialect.
Atmospheric score. Cheap, though OK special effects (don’t expect too much).
Mr Satan is a laissez faire bon vivant, and a cheerful pragmatic.

The Manor House Of Fear - 1927 - 6/10
AKA - Le Manoir de la Peur

The ruined manor lies behind the cemetery, and is said to be haunted.
So when the brooding stranger arrives, restores it, then moves in, the villagers know the Devil has come.
Silent film is high Gothic and crime. Superstition and thwarted love.
Pacing is brisk and the photography, especially night scenes, are extraordinary for their time.
The soundtrack was an electronic score of noise and blips, which I finally turned off.
Video elements were pretty good. Translated French inter-titles into English were by me.
Subs = https://subscene.com/subtitles/the-manor-house-of-fear/english/2800554

Fortune Teller - 2020 - 6/10

Tense horror short of the paper fortune teller.
You know, that innocent childhood playtoy?
Always unwise to peer into the future, I say.
Nevertheless, people never learn.
Subs = https://subscene.com/subtitles/the-fortune-teller/english/2798193

The Final Girls - 2015 - 7/10

Intelligent, funny, loving tribute to slasher films of the 80’s.
From opening “Camp Bloodbath” trailer, to synth music, tunes by Kim Carnes and Warrant, to key ingredients of masked psychopath, keen edged weapon, horny teenagers, empty campground, this film scores again and again.
Tone jumps from howlingly funny to bittersweet, often in a heartbeat.
The mother-daughter element, which breaks formula rules, is very potent.
What is so enjoyable is the script is whip-smart, ironic and reverent.
You can tell the creators have a true fondness for the genre.

DO NOT VIEW THE TRAILER!! It reveals the whole story and many of the surprise jokes.

Black Tight Killers - 1966 - 7/10
AKA - Ore ni Sawaru to Abunaize / 俺にさわると危ないぜ

Passenger invites the stewardess out to dinner.
While dining, she notices a man spying on them from the shadows.
Her date (the airline passenger), a war photographer, chases after the shadowy man.
Only to see him murdered in the alley by three women wearing leather jackets and black tights.
Meanwhile, the stewardess is kidnapped by the yakuza.
This is the first five minutes! The photographer is soon pursued by police, yakuza, American mobsters, and the lethal lovelies, the black tight killers.
The story - with a half dozen plots - explodes at breakneck speed.
Groovy music, wildly inventive camera work, and fountains of color.

One scene: Our hero, an often thickheaded sort, get rescued frequently.
A sportscar driving hottie bails him out then asks if she can spend the night,
“Because I spent all day playing golf and it’s too late to face my parents.”
Yes, he buys that excuse.
Once at his place, in bed, she’s cold. “Could you bring a blanket? And yourself?”
Naturally he takes advantage of the situation only to begin screaming in pain.
“Ninja trick,” she purrs, “octopus pot. Now talk.”
“You’re one of them! Oww!! You’re one of the black tight killers!”
“Talk. Or I tighten the octopus pot … like this. Tighten more and you die.”
Of course he talks. He shouts.
Just one of dozens of wild scenes in crazed spoof of action movies.