Release Date: August 30th, 1992 (UK – Edinburgh International Film Festival)
Directed by: James Foley
Written by: David Mahmet
Based on: Glengarry Glen Ross by David Mahmet
Music by: James Newton Howard
Cast: Al Pacino, Jack Lemmon, Alec Baldwin, Ed Harris, Alan Arkin, Kevin Spacey, Jonathan Pryce, Bruce Altman, Jude Ciccolella
GGR, Zupnik Cinema Group II, New Line Cinema, 100 Minutes
“You never open your mouth until you know what the shot is.” – Rocky Roma
As much as I like finance and business thrillers, as well as everyone in this incredible cast, I had never seen Glengarry Glen Ross until now.
Granted, I have seen most of the iconic scenes from the movie for years, as people have referenced and quoted this movie for decades now. I’ve probably seen the Alec Baldwin speech a dozen times whether it was sent to me via YouTube or clipped into something else I’ve watched. I almost know it verbatim but there’s much more to this movie than its most iconic, most quotable scene.
Narratively and visually, I’d consider this to be a neo-noir picture, as well as just being a great business flick. It has backstabbing, conniving and a crime plot but brings some mystery into the second half of the picture.
The neo-noir aesthetic is pretty clear with this film’s cinematography, especially in regards to the scenes shot at night or in the bar. Visually, it reminded me of the cinematography style of Robby Müller. Specifically, his work in The American Friend, Repo Man and Paris, Texas. The night scenes are full of high contrast between dark shadows and vivid lighting. The daytime office scenes, however, feel muted and a lot less lively, as if the office is a sort of colorless, boring hell.
The film’s plot surrounds the worst real estate office in a large company and how the four salesmen are pitted against one another for survival. The two who do the worst, will lose their jobs. With that, we see the worst parts of these men’s characters rise up from their apathy, as paranoia and survival instinct sets in over the course of two days.
The acting in this is absolutely stellar and it is completely a film driven by the astounding dialogue and masterful acting.
Having never seen this in its entirety, I didn’t know the ending. By the time I arrived there, it was like a real punch to the gut and I didn’t see the twist coming.
While many that are into business thrillers and movies about sales and finance are very aware of this picture, I feel like it’s grossly underappreciated amongst normies and general film buffs.
Pairs well with: other business and finance movies of the ’80s and ’90s.
Original Run: January 13th, 2021 (Internet)
Directed by: James Carroll, Tiller Russell
Music by: Brooke Blair, Will Blair
The Intellectual Property Corporation, Netflix, 4 Episodes, 189 Minutes (total)
I kind of just watched this on a whim on a day where I was hungover and not moving. I’m glad I did, as it was a really compelling documentary series on one of the sickest serial killers in my lifetime.
Netflix seems to do a real good job of either producing or finding great crime series to feature on their service. This one is no different and this chilling tale was so perfectly told and laid out over four episodes that it really made me want to delve into more of these Netflix offerings.
This story is incredibly gruesome and the series doesn’t shy away from showing you the details and images of the crime scenes. At the same time, I think it is necessary to properly paint the picture of this killer.
This also delves into the personal lives of the detectives on the case, the victims and their families, as well as showing how the evil killer became somewhat of a cult icon by weirdo serial killer worshipping groupies.
All in all, this was captivating, enthralling and definitely worth a watch if these type of stories are your cup of tea.
This is well produced, incredibly well executed and seemingly leaves no stone unturned.
Pairs well with: other crime documentary series on Netflix.
Release Date: August 9th, 1959
Directed by: Crane Wilbur
Written by: Crane Wilbur
Based on: The Circular Staircase by Mary Roberts Rinehart, The Bat by Mary Roberts Rinehart, Avery Hopwood
Music by: Louis Forbes
Cast: Vincent Price, Agnes Moorehead, Darla Hood
Liberty Pictures, 80 Minutes
“This is the Oaks, a house in the country which I’ve rented for the summer. As an author I write tales of mystery and murder, but the things that have happened in this house are far more fantastic than any book I’ve ever had published.” – Cornelia van Gorder
In a way, this movie almost plays like a proto-slasher film, even though it predates the genre’s peak by over twenty years. But it does feature a killer in the house, trying to get to two women holed up in the master bedroom.
Now there’s more to the story than just that but I kind of like how this hits those beats and does them fairly well, even though it’s hard to imagine that a person that wants to do these ladies harm would have much trouble getting to them, even with a bedroom door in the way. Also, the mysterious stranger has many opportunities that aren’t exploited.
The murderer in this film is actually really cool. It’s said to be a faceless man that murders women at night by using his steel claws to rip out their throats. The concept is gruesome for 1959 and it really sets a brooding tone. The visual look of the killer lives up to expectations, as he is shrouded completely in black, except for his claws.
Of course, the film wants you to suspect that the doctor character, played by horror icon Vincent Price, is The Bat. It’s a red herring, though, as the killer is revealed to be someone else.
I think that the best thing about this film is the acting. Agnes Moorehead proves she’s still got the chops and Price is as superb as always. Darla Hood is decent but she’s overshadowed by the mere presence of Moorehead. This would be Hood’s last movie and she was most known for playing Darla in the classic Our Gang short films.
All in all, this isn’t a great horror film but it boasted solid performances, a cool killer and it’s certainly entertaining.
Pairs well with: other Vincent Price horror films of the late ’50s.
Release Date: September 9th, 2020 (Germany – Fantasy Filmfest)
Directed by: Alister Grierson
Written by: Robert Benjamin
Music by: Brian Cachia
Cast: Ben O’Toole, Caroline Craig, Matthew Sunderland, Travis Jeffery, Jack Finsterer, Meg Fraser
Heart Sleeve Productions, Entertainment Squad, Eclectik Vision, 93 Minutes
“Hey, you know, what would be funny is if you tore this little asshole’s leg off, and then stuck it to yourself, and then walked upstairs as if nothing was wrong.” – Rex
I kind of just watched this on a whim, not knowing a thing about it, other than it was suggested after I watched Psycho Goreman.
The film is a mixed bag but it’s actually really amusing, fairly unpredictable and the lead actor is charismatic and damn good.
While I’ve seen dozens of psycho family movies and you probably have to, this one is at least fresh and unique. It adds some new ideas to the tired formula that make it a worthwhile experience.
For one, the main character has an imaginary friend that is really just himself. Also, this starts off with his action packed, heroic backstory, which takes up the entire first act but sets the stage for something very different than just being some rando that ended up in some crazy person’s house.
You never really know what all this is leading too, who you can fully trust or what surprises are going to pop up, as there are a few good ones.
I don’t want to say too much about the plot and the details within it because I went into this with no knowledge of the movie and I feel like having too much insight might have diminished the overall experience.
Now this isn’t great and I’m not sure how memorable it will be over time but it’s a solid time waster and better than what modern horror films tend to offer their audience.
This definitely isn’t PG-13 shit. It’s got good, gratuitous violence and with that, some entertaining, balls out sequences.
Pairs well with: other psycho family horror movies.
Original Run: September 13th, 1974 – March 28th, 1975
Created by: Jeff Rice
Directed by: various
Written by: various
Based on: The Kolchak Papers by Jeffrey Grant Rice
Music by: various
Cast: Darren McGavin, Simon Oakland, Jack Grinnage, Ruth McDevitt
Francy Productions Inc., Universal Television, ABC, 20 Episodes, 50-51 Minutes (per episode)
I’ve wanted to work my way through all the classic Kolchak material for quite some time. After reviewing the two television movies, I knew it was time to watch the television series, which only ran for a single season of twenty episodes.
Overall, I prefer the two films but the show is where the character and his world really come to life and start to develop its own mythos.
The show is a mixed bag of some great and some mediocre episodes. None of them are bad but some are a bit slow and felt like they were interesting concepts or ideas that didn’t live up to the level of the franchise at its best.
The episodes I dug most I truly loved, though.
Darren McGavin was born to play the role of Carl Kolchak and it’s hard to envision anyone else in the part, even though it was rebooted thirty or so years later with Stuart Townsend. I’ve never seen that version but I may track it down in order to review it. That show failed pretty quickly though and has less episodes than the original.
I think that the quality of the episodes being a bit shaky didn’t have so much to do with the monsters featured but had more to do with the creative teams that worked on them. Some stories felt rushed, some felt slow and the craftsmanship was sometimes lacking. For instance, in one episode the cinematography could look superb for 1970s television while in the following episode, it could look really pedestrian and half assed.
That’s not to say that the show didn’t have a consistent look and feel, it did. It’s just to say that it really stood out when a director would go the extra mile or when a writer took time crafting a solid, more fleshed out script. You could gauge which episodes were made with actual passion and love for the material.
Faults aside, I dig the hell out of this show and the two main characters within it. I love McGavin and Simon Oakland brought an extra level of gravitas. Plus, the two men have incredible chemistry.
While this is a franchise that seems almost forgotten in the early part of the 2020s, it is still historically significant. Without it, we probably wouldn’t have gotten other great, similar shows like The X-Files.
Pairs well with: the Kolchak movies before the show, as well as the reboot and The X-Files.
Also known as: The Corpse-Makers (working title)
Release Date: October 30th, 1963
Directed by: Sidney Salkow
Written by: Robert E. Kent
Based on: the novel by Nathaniel Hawthorne
Music by: Richard LaSalle
Cast: Vincent Price, Sebastian Cabot, Brett Halsey, Beverly Garland, Richard Denning, Joyce Taylor
Robert E. Kent Productions, Metro-Goldwyn-Mayer, 120 Minutes
“Your daughter is a fine specimen, too, isn’t she father? A specimen of the most deadly thing that was ever given life.” – Beatrice Rappaccini
While I’m not the biggest fan of anthology movies, this one is pretty good and it was better than I remembered.
I think that the last time I saw this was when it first came out on DVD, which had to have been more than fifteen years ago now.
I did remember the first two stories in this pretty fondly but I couldn’t recall the third and final act of the film. Seeing this now, I can see why, as it is definitely the weakest of the three.
However, the first two stories are both so good, that I can’t let the third one ruin the movie. Although, it probably should’ve gone first, as it sort of kills the movie’s momentum and pacing.
I’ve never actually read Nathaniel Hawthorne’s Twice-Told Tales, even though I own a pretty ancient copy of it. So I’m not sure if the order of the stories are the same in this film as they are in the novel. If so, I get why the film put them in that order.
Between the first two stories, it’s hard to pick a favorite, though, as both are wonderful.
I love Vincent Price in this but then again, when don’t I love the man? The first story might take a bit of an edge, however, as I really enjoyed his chemistry with Sebastian Cabot.
All in all, this was neat to revisit and it fits well with the tone of Price’s Edgar Allan Poe movies and another anthology with him in it from the same era, Tales of Terror.
Pairs well with: other ’60s and ’70s horror anthology films, specifically Tales of Terror, which also stars Vincent Price.