The Lusty Men (1952)

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“In any case, this film isn’t a Western. It’s really about people who want nothing more than a home of their own. That was actually the great American dream at the time, and in all the statistical questionnaires that ask what Americans aim for, 90% always gave the answer: ‘Owning a home of my own.’ And that’s what the film’s about.” – Nicholas Ray   Jeff McCloud (Robert Mitchum) is an aging champion rodeo rider who, after one too many falls from an angry horse, finds himself limping back to his dilapidated childhood home. After sharing some pat cowboy wisdom with the current owner, Jeremiah Watrus (Burt Watrus), he meets Louise and Wes Merritt (Susan Hayward and Arthur Kennedy, respectively), there to take another look at the home. They’re ranchers, saving up for a place of their own, and have had their eye on the Watrus place for some time. Wes harbors some bronc ridin’ dreams of his own, and soon he not only wants Jeff’s childhood home, but Jeff’s friendship, mentorship, and former career. Meanwhile, Jeff is pretty sure he wants Wes’ wife. It may seem like a standard melodramatic love triangle, but beyond their attractions, desires, comforts and dreams, there’s one other thing that links these three people together: they’re children of the Depression, all still with one foot in the past, the memories of growing up poor and rootless families in a disjointed America always playing in their minds, even when they don’t say anything — and … Continue reading

Autómata (2014)

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Automata ★★½ / ★★★★★ Director: Gabe Ibáñez Millennium Entertainment (Official Site) 110 Minutes In Theaters October 10, 2014 (Limited) – It’s the year 2044, and thanks to a series of devastating solar storms, the world’s population has been slashed to only 22 million, most of whom are confined to the sunbaked shell of a former metropolis. Forced to rely on 1990s-era technology for their communication systems, society has nonetheless benefitted from the creation of a series of robots, the Autómata Pilgrim 7000, meant to serve and protect humans. Produced by the ROC Corporation, these robots are programmed with two strict protocols: they cannot harm any living being, and they are unable to alter themselves or other robots. Jacq Vaucan (Antonio Banderas), one of ROC Corp’s insurance investigators, is too burned out on his job to realize there is a problem with the Autómata, even as he checks out a claim filed after a robot kills a family’s loyal little dog. But soon he’s in a laboratory looking at a second Autómata, one shot by a police officer (Dylan McDermott) who swears he saw the robot repairing itself. All the scientists chuckle, sure the officer was either mistaken or high, but finally Jacq gets it through his world-weary head: something has gone very wrong. Autómata, the science fiction thriller from Gabe Ibáñez, is a striking film that boasts impressive visuals and special effects. It’s also a film that has the good sense to acknowledge the inevitable Blade Runner (1982) comparisons almost … Continue reading

The Two Faces of January (2014)

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The Two Faces of January ★★★½ / ★★★★★ Director: Hossein Amini Magnolia Pictures (Official Site) 96 Minutes In Theaters September 26, 2014 (Limited) – Rydal (Oscar Isaac) is a young American ex-pat in Greece, a part-time tour guide and full-time grifter who finds himself intrigued by a couple vacationing on the island. Chester MacFarland (Viggo Mortensen) notices Rydal’s stares, and his plucky young wife Colette (Kirsten Dunst) makes an introduction; soon, the trio are holidaying together, Chester impressed with Rydal’s ingenuity while Rydal, somewhat despite himself, sees Chester as a father figure. Signs of intergenerational conflict and Rydel’s rather indulgent Oedipal complex show almost immediately, but there is no polite sidestepping of these issues for the trio: Chester finds himself in deep trouble and Rydel is enlisted to help, propelled by vague notions of heroism and profit. Soon, Rydel is in as much trouble as Chester is, and they are all on the lam. The Two Faces of January is a languid, mature thriller that boasts a gorgeous retro feel. There are plenty of nods to Agatha Christie and Tom Clancy here, elements of Alfred Hitchcock and Carol Reed as well, all tied together with impeccable framing and a classic 1960s British look — think Ted Moore or Geoffrey Unsworth — courtesy cinematographer Marcel Zyskind. Just as in any good thriller, as the plot unfolds, so too do the characters, our ostensible hero revealing himself to be self-absorbed and emotionally stunted, our alleged villain with a maturity and understanding that … Continue reading

Spenser: For Hire – Now on DVD from Warner Archive

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Former boxer turned police officer turned private eye, Spenser — no first names please, he’s got an air of mystery to maintain — has just lost a client, a former hooker who was shot by the henchmen of the gangster trying to bring her back into his fold. Hired the next day to find the missing wife of a rich real estate developer, Spenser discovers this businessman is also involved with the same gangster, while the developer’s wife has, somewhat shockingly, taken up with a group of revolutionaries. “Promised Land,” the pilot for the television series Spenser: For Hire (1985), is a fine adaptation of Robert B. Parker’s novel of the same name, though slimmed down for its hour-and-a-half runtime — expected, certainly, but something that Parker’s longtime fans have often criticized. In the books, Spenser is a complicated man; in the show, Spenser (Robert Urich) is still complicated, but in that television sort of way, by which I mean he’s more human than almost anyone else on television was in the mid-1980s, but less human than, well, actual humans. That’s not to say “Promised Land” is middlebrow television, because it certainly is not. Spenser, an educated, liberal — usually — makes it clear he pro gun control, pro feminism, anti racist, pro LGBT rights, and more. It’s somewhat shocking to watch this telefilm today, given the shift in our culture which would make the Spenser of “Promised Land” an instant enemy for many on the political right, a controversial … Continue reading

Honeymoon (2014)

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Honeymoon ★★★½ / ★★★★★ Director: Leigh Janiak Magnolia Pictures/Magnet Releasing (Official Site) 87 Minutes In Theaters September 12, 2014 (Limited) – “Amongst all the savage beasts, none is found so harmful as woman.” John Chrysostom, as quoted in The Bridal Bed (Joseph Braddock, 1961)   Newlyweds Bea (Rose Leslie) and Paul (Harry Treadaway), suffering from acute hipsterism and chronic adorableness, make their way to a belated honeymoon spent at her family’s vacation home, a cabin located, as they say, in the woods. It’s a silly premise, and it’s to first-time director Leigh Janiak’s credit that Honeymoon overcomes such a dire opening to become an intriguing, tight little film. Once the newlyweds arrive at the lakeside cabin, their enthusiasm unsurprisingly turns into an awkward period of adjustment, each revealing some slightly off-kilter habits and weird turns of phrase. When the couple run into Bea’s childhood friend Will (Ben Huber) and his sickly wife Annie (Hanna Brown), things turn from awkward to uncomfortable. Paul is responsible for most of this attitude change. Very early on, he seems to be experiencing a perverse kind of buyer’s remorse, marriage triggering some very unappealing and base behaviors in him. Her physicality unsettles him; her self-reliance baffles him. By the time Bea is found in the middle of the night, naked and freezing in the woods after an episode of sleepwalking, he only briefly considers she may be in trouble, and instead suspects she had been hooking up with Will. Clearly, it took precious little for … Continue reading

The SBBN TSPDT1K Update

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This is my They Shoot Pictures, Don’t They 1000 Greatest Films update, the last of the dull end-of-summer update posts for SBBN. I haven’t seen nearly as many of the films on my TSPTD1K list (or the supplemental Scorsese and IMDb lists) as I’ve wanted for various reasons, mostly because I’ve been spending a lot of time this year watching Kevin Brownlow’s Hollywood series, as well as The Story of Film. They are both excellent but at about an hour per episode, they really cut into my layin’ around time. TSPDT1K Recently Watched: 22. ANDREI RUBLEV (Andrei Tarkovsky / 1966 / USSR / 185m / Col-BW) 80. JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (Chantal Akerman / 1975 / Belgium, France / 201m / Col) 128. WOMAN UNDER THE INFLUENCE, A (John Cassavetes / 1974 / USA / 155m / Col) – had not seen the whole thing 379. STRANGER THAN PARADISE (Jim Jarmusch / 1984 / USA / 90m / BW) 462. DEVILS, THE (Ken Russell / 1971 / UK / 109m / Col) – instant review: Holy mother of god 592. DEAD MAN (Jim Jarmusch / 1995 / USA, Germany / 121m / BW) 839. FORT APACHE (John Ford / 1948 / USA / 127m / BW) The IMDb Top 250 recently watched: #6 The Dark Knight (2008) #14 Inception (2010) #16 Star Wars (1977) #49 The Departed (2006) #105 Batman Begins (2005) #170 There Will Be Blood (2007) #176 The King’s Speech (2010) #178 The Hunt … Continue reading

The End-of-Summer Boring Administrative Update

A few notes about SBBN that I’ve been putting off until there’s enough for one big post that’s easier to skip: * Recently, the blog has had a couple of periods of downtime due to some glitches which no one at my webhost can identify. My theory is that the most recent WordPress updates aren’t compatible with a few old posts that were imported from Blogger. I think I’ve found all the posts with errors, but if you get an Internal Server Error on any post, please drop me an email at staciakj (at) outlook so I can check into it. Thanks. * Part of the reason for my absence is that a blog is a lot of work nowadays, not in the posting but just in keeping the site running smoothly. There are always WordPress updates, there’s downtime and glitches, and worst of all, the spammers and hackers are relentless. Let me share a little glimpse at the hacking attempts I deal with: That’s just one of three anti-hacking add-ons I use, coupled of course with various other methods of keeping the blog from being hacked. Each one of those 9300 blocked IPs represents someone — mostly script kiddies and hackers, but also the occasional disgruntled individual — who tried to brute force hack into the blog by guessing the password. They try so steadily that nearly 10,000 attempts have been racked up since I reset this batch of stats eight months ago. Nearly 1600 attempts per month, or … Continue reading

Warner Archive: The Winning of Barbara Worth (1926)

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When it came to attracting the eye of some of the biggest silent screen legends, Vilma Bánky had no peer. After acting in a few films in her native Hungary, producer Samuel Goldwyn spied her in 1925 and persuaded her to come to Hollywood. She agreed, and became an immediate sensation. First paired with Ronald Colman in the hit The Dark Angel (1925), she went on to play against Rudolph Valentino in two of his most famous films, The Eagle and The Son of the Sheik, before returning to costar yet again with Colman in The Winning of Barbara Worth (1926). And if being romanced on screen by Valentino and Colman wasn’t enough, take note: the other rival for her affections in Barbara Worth was none other than Gary Cooper in his first featured role. The Winning of Barbara Worth is gorgeously shot by legendary cinematographers George Barnes, already an established quantity in Hollywood, and Gregg Toland, who was just starting out. Filmed in Black Rock Desert near the towns of Trego, Winnemucca and Gerlach, many locals were hired as extras, and ranchers were paid to round up their livestock and bring them in for several scenes. The conditions were brutal, with temperatures reaching up to 124°F, and sandstorms and thunderstorms rolling in with alarming frequency. There were injuries, fisticuffs and alarming issues with some of the genuine cowboys hired on, a few of whom ended up in jail. Based on the best-selling book by Harold Bell Wright, adapted by … Continue reading

Warner Archive: Arrowsmith (1931)

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In 1931, producer Samuel Goldwyn was in a real bind. His film The Unholy Garden had been a complete disaster from start to finish, enraging Ronald Colman, Goldwyn Pictures’ star actor, who never quite got over having been contractually forced to appear in the film. A horrifying production, terrible reviews and even worse box office receipts plagued the film. As Goldwyn’s biographer A. Scott Berg put it, “The Unholy Garden would forever stand as the worst blot on the records of everyone involved with it.” It was that kind of bad movie. When Goldwyn chose Sinclair Lewis’ award-winning novel Arrowsmith for Colman’s next film, he did so with nothing but good intentions and hopes of repairing both his and Colman’s reputations. In choosing Arrowsmith, however, he immediately (and surely inadvertently) saddled the film with it’s own reputation of, as Self-Styled Siren put it, being “dull Oscar-bait.” Where there is an award, there will be award bait, and it’s true that Arrowsmith fits that bill to an extent. The biggest flaw of this cinematic adaptation — and perhaps the reason no studio producer was interested in the novel in the first place — is that paring the story down meant the little nuance Lewis’ novel possessed was lost in on-the-nose dialogue and visuals, with not a simile or metaphor to be found. As my beloved Mordaunt Hall said in the New York Times on Arrowsmith’s release: This highly praiseworthy translation of the career of Martin Arrowsmith, M. D., may seem a … Continue reading

Elsewhere: The Doomed to Repeat the Past Edition

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Some sad and frustrating news: According to Michael Blake, Universal plans to tear down the historic Stage 28. Inside Universal has more about the closure, and the rumor that the demolition is to make way for more theme part attractions. There’s a petition to save the stage here, already at 1,400 signatures as of this posting. Those curious about the history of the stage might want to check out my article on Stage 28 for the Universal Backlot Blogathon in 2012. — After shamefully neglecting the blog for mumblemumble weeks, I have several scintillating updates coming in the next few days. First, the links; later, the rants. Maybe. I dunno, guys, it’s late in the summer and it’s too hot to have any emotions. Wait, is tickled an emotion? Because I’m absolutely tickled to announce that, as of this month, I’ve joined Next Projection as a writer/critic. Check out my first few articles here: * The Bride of Frankenstein (1935) review for Second Coming: Cinema’s Greatest Sequels * Dead Man (1995) review for Strange Paradise: The Cinema of Jim Jarmusch * Child of God (2013): Despite the middling to poor reviews this film got on the festival circuit, I had hopes that it would be worthwhile. Those hopes were misplaced. – While I no longer write columns for ClassicFlix, I still do monthly DVD reviews: * My August DVD review: The Big House (1930) – And finally, some interesting links to waste I mean spend your time on: * A … Continue reading