Release Date: May 4th, 1982 (USA Film Festival) Directed by: Carl Reiner Written by: Carl Reiner, George Gipe, Steve Martin Music by: Miklos Rozsa, Steve Goodman Cast: Steve Martin, Rachel Ward, Reni Santoni, Carl Reiner, George Gaynes
Aspen Film Society, Universal Pictures, 88 Minutes
“I hadn’t seen a body put together like that since I’d solved the case of the Murdered Girl with the Big Tits.” – Rigby Reardon
How is it that this film has existed for nearly forty years but I hadn’t even known of its existence until more recently. Maybe I saw it in video stores, as a kid, and it just didn’t jump out at me. However, being a lover of Steve Martin and classic film-noir, this felt like it could be something that was right up my alley.
In short, it most certainly was and I liked this movie a lot. However, it’s far from perfect and I think that its constant reliance on old film footage that features old film stars was really overused, even if that was the creative direction of the picture.
I loved seeing Steve Martin interact with the greatest stars of the silver screen and I certainly love that Humphrey Bogart’s version of Philip Marlowe was a big part of the story. However, some scenes came off a bit clunky and unnatural. But I guess it’s hard trying to make this feel more organic when Martin rarely has another actor to actually banter with. It’s hard reading a scene as it plays out and nailing that comedic timing.
Still, a lot of the jokes and one-liners in this movie were hilarious and Martin was the real high point of the film, making this much greater than it would’ve otherwise been.
The film looked stupendous, though, and Carl Reiner did a hell of a job behind the camera and managing the overall aesthetic of the picture. It matched with the classic film-noir clips quite well and in modern HD, this really looks crisp and pristine.
All in all, this was a weird but entertaining experiment. I can see why it might not have connected with mainstream audiences in 1982 and fell down most people’s memory holes but it still features a fantastic, memorable performance by Steve Martin in his prime.
Rating: 7/10 Pairs well with: other Steve Martin comedies of the ’80s and early ’90s.
Release Date: May 1st, 1963 (Italy) Directed by: Freddie Francis Written by: Josephine Tey, Jimmy Sangster Music by: Elisabeth Lutyens Cast: Janette Scott, Oliver Reed, Sheila Burrell, Alexander Davion, Maurice Denham
Hammer Films, 80 Minutes
“Now I need to drink some more.” – Simon Ashby
Last week, I watched Nightmare, another rare black and white movie from Hammer and also directed by Freddie Francis and written by Jimmy Sangster. While I enjoyed it and felt like it slightly missed the mark, I feel like this picture, which came out a year earlier, is a better film.
Granted, a lot of that credit could go to Oliver Reed, as his performance here is intense and enchanting. And honestly, this is one of many movies I can now point too and say, “That guy is an underappreciated and underutilized actor and here’s why!”
Something else that helps this movie is that it is horror but it also has a film-noir type plot about family inheritance, a once dead sibling returning, a psychotic narcissist trying to turn his sister insane, an incestuous subplot and more twists and turns than that silly road in San Francisco.
Even though this doesn’t feel like a typical Hammer Films movie, it’s kind of cool and does a lot with very little.
The end sequence is really well executed and in both noir and horror fashion, the asshole gets some good comeuppance.
I wasn’t sure what to expect going into this, as it’s one of the few Hammer films I haven’t seen but I was pleasantly surprised. Especially, when I just thought it’d be a lot like Nightmare. It definitely exceeded that decent movie and also provided a memorable performance by Reed.
Rating: 7/10 Pairs well with: other Hammer horror films of the ’60s.
Release Date: September 3rd, 1997 (New York City premiere) Directed by: David Fincher Written by: John Brancato, Michael Ferris Music by: Howard Shore Cast: Michael Douglas, Sean Penn, James Rebhorn, Deborah Kara Unger, Peter Donat, Carroll Baker, Armin Mueller-Stahl, Anna Katarina, Mark Boone Junior, Tommy Flanagan, Spike Jonze, Daniel Schorr (cameo)
“They just fuck you and they fuck you and they fuck you, and then just when you think it’s all over, that’s when the real fucking starts!” – Conrad
I don’t think that I’ve seen this since the theater but I remembered really liking the hell out of in the ’90s and I had always meant to revisit it because Fincher’s other two ’90s films (not named Alien 3) were pretty much masterpieces.
This one doesn’t live up to the quality and iconic status of Se7en and Fight Club but it is a good filling within the ’90s Fincher cinematic sandwich.
The big selling point for me, at least when this came out, was that it starred Michael Douglas and Sean Penn. The thought of seeing those two great actors together made this picture a “must see” for me. Plus, the trailer intrigued me.
For the most part, this is a thrilling ride where you don’t really see what’s coming and how deep this “game” will go. It gets bigger and more complex with each twist in the plot and it’s a lot of fun, seeing it play out.
The problem with the film, though, is knowing that it’s just a game. Granted, the movie does its damnedest to make you question that and it really pushes the bar in pushing Michael Douglas’ Nicholas over the edge. However, I thought that the big reveal was really obvious, even before I knew the ending. In fact, I thought it was obvious from the trailer but I still was captivated enough to see how far the story would push things.
Overall, the plot doesn’t disappoint but being that so many things are so over the top and elaborate, the picture leaves me with more questions than answers. It would’ve been cool to see how all of this was pulled off but you don’t really get that and just have to accept that this is just the work of powerful pranksters with unlimited funding.
From a visual standpoint, the movie looks good and I’d say it’s less stylized than Fincher’s other movies. I’m not sure if he felt like he needed to be more reserved in that regard or of it was the work of the producers. But out of all Fincher’s movies, this one is the least Fincher-esque, as far as the cinematography goes.
As should be expected, it’s a picture that is superbly acted and the leads are truly great, here.
In the end, this is still fun to watch, even after knowing what the ending would be. As I stated earlier, I knew it was just going to be a game beforehand but that doesn’t make it a bad thriller. The big thrills still work and this is an intense movie that still packs a punch.
Rating: 8/10 Pairs well with: other David Fincher films of the ’90s that aren’t Alien 3.
Also known as: Centralia (fake working title), Terror en Silent Hill (Argentina, Brazil, Colombia, Venezuela) Release Date: April 20th, 2006 (Hollywood premiere) Directed by: Christophe Gans Written by: Roger Avery, Christophe Gans, Nicolas Boukhrief Based on:Silent Hill by Konami Music by: Akira Yamaoka, Jeff Danna Cast: Radha Mitchell, Sean Bean, Laurie Holden, Deborah Kara Unger, Kim Coates, Tanya Allen, Alice Krige, Jodelle Ferland
“When you’re hurt and scared for so long, the fear and pain turn to hate and the hate starts to change the world.” – Dark Alessa
When this came out, it was the film that seemed like it bucked the trend of video game movies being shit, as far as adaptations and overall quality goes.
The Resident Evil films were their own thing and before them we had the Street Fighter movie, Super Mario Bros. and Double Dragon. I would say that the film that actually bucked the trend first, though, was 1995’s Mortal Kombat. However, Silent Hill is a much better film than that one and it works without having knowledge or appreciation of its video game series before seeing it.
In fact, I know several people that saw this film first, which then served as a gateway into the games due to the effect this movie had on them.
I used to watch this quite a bit after I bought it on DVD when it was first released that way. It’s probably been a dozen years since I’ve seen it but my fondness for it was still really strong and I wanted to revisit it. I also want to playthrough some of the earlier games too, which I might in the very near future.
Seeing this now was kind of cool because I was separated enough from it to see it with somewhat fresh eyes. I definitely see the flaws in it more than I did in 2006 but that could also be due to me not being as obsessed with the franchise as I was back then. Subpar sequels in both video games and film took the wind out of this once great property’s sails.
The film adapts elements of the stories from the first two games and sort of merges them while also doing its own thing. So it’s familiar enough for fans to immediately recognize but also takes some interesting turns that allow it to breathe and evolve in a different way.
I like the film’s story quite a lot, even if it does change some key things. Those things don’t break the film as its own body of work, though.
My biggest gripe about the film is the dialogue. It’s not terrible but there are some weird lines and some weird delivery, here and there. I’m not sure if that’s due to a language barrier due to the director, who also co-wrote the film, being French. I don’t know enough about him outside of his finished films that I’ve seen, which aren’t many.
However, the child actress delivers some lines with weird inflections on certain syllables that sound unnatural and a bit off. I don’t necessarily blame her, I blame the direction and the takes that were chosen to be used in the final film.
Overall, she did well essentially playing two different characters that were polar opposites of each other: one being good and innocent and the other being the absolute embodiment of evil. The requirements of her role aren’t easy for most adult actors and she did rather well considering her age and experience.
Moving on, some of the CGI effects look a little dated but for the most part, the film still looks great. There are just a few shots that look kind of weird.
The film as a whole looks incredible, however. Gans has a stupendous eye and from a visual standpoint, he captured the tone and aesthetic of the video game series phenomenally well. I am still really impressed by the scenes where the purgatory world dissolves into the Hell world.
Beyond that, I’m not a big fan of the ending but it fits well within the framework of what Silent Hill is. I guess there is a part of me that wanted something more optimistic but the ambiguous and strange ending leaves the viewer with more questions than answers. Also, that’s not a bad thing, some of my favorite movies do that but after the literal hell that the characters went through, it felt like more of a reward was needed.
I liked the cult aspect of the story and I definitely loved their end. As violent and incredibly fucked up as the climax was, it was also satisfying as hell after learning who these people really were. This movie doesn’t simply provide you with sympathy for the Devil, it makes you root for him… or in this case, her.
The last thing I want to mention is the music. The film recycles the score and iconic songs from the video game series. That might not work in the case of most film adaptations but it really amplified the effect of the film and its brooding, disturbing atmosphere. I think that I appreciated it even more now, as I kind of forgot how good the games’ music was.
Silent Hill is, hands down, one of the best horror movies in its decade, which was unfortunately a terrible decade for horror. But I think it would’ve been just as great in earlier decades, regardless of the higher quality of the genre.
Rating: 8/10 Pairs well with: it’s absolutely shitty sequel, I guess. But more importantly, the video game series. Specifically, the first three games.
Also known as: Here’s the Knife, Dear: Now Use It (alternative title), Satan with Long Lashes (Germany) Release Date: February 28th, 1964 (Germany) Directed by: Freddie Francis Written by: Jimmy Sangster Music by: Don Banks Cast: David Knight, Moira Redmond, Brenda Bruce, Jennie Linden
Hammer Films, 83 Minutes
“You found me out there, didn’t you? That part of it wasn’t a dream! Where does the dream finish and reality begin?” – Janet
This movie is a bit of departure in style from what one would expect from Hammer Films in the mid-’60s.
To start, it’s in black and white. Secondly, it doesn’t really star anyone of note or any of the regular faces that you’d see in a Hammer production during their peak.
However, this is written by Jimmy Sangster, who penned a lot of Hammer’s best scripts. It’s also directed by Hammer regular Freddie Francis. So there was at least a solid crew behind the camera.
Still, this isn’t quite what one would expect from a Hammer picture and that probably has a lot to do with why I hadn’t watched it until now. It’s not a bad film, by any means, but it’s unique and strange.
I found it mostly enjoyable, even if it wasn’t as fantastical and visually alluring as the studio’s typical output. This felt much more like a low budget indie horror movie of the ’60s and tonally, reminded me a lot of the black and white Roger Corman productions of the time, as well as Francis Ford Coppola’s Dementia 13.
The story is about a young boarding school student that has nightmares of her institutionalized mother haunting her. Because of her horrible dreams, the girl is expelled from school and sent back home. Once there, things get even worse.
While it’s an interesting enough setup, the story does feel a bit paint-by-numbers. It kind of goes in the direction you’d expect.
I did like the over-the-top acting in some scenes and actually thought that it was really effective, as the main character slipped further and further into madness.
Still, this is far from Hammer’s best and while it’s a neat experiment and departure from their style, it also shows that the studio was at its best when it was sticking to the great style it had already perfected.
Rating: 6/10 Pairs well with: other Hammer horror films of the ’60s.
Published: July 30th, 2019 Written by: Aleksandra Motyka Art by: Marianna Strychowska Based on:The Witcher novels by Andrzej Sapkowski
Dark Horse Comics, 106 Pages
I have reached the last comic story in The Witcher saga. Well, at least for now.
I’m sure that Dark Horse or eventually another publisher will do more in the future, as it continues to be a hot property, especially with the Netflix show and I’m assuming, future video games and maybe even novels.
While this wasn’t my favorite of the four stories I’ve read, it was still entertaining and a good amount of fun.
This also brought Dandelion into the comic book continuity and he’s a favorite character of mine from the only game I’ve played in the series, The Witcher 3: Blood Hunt.
This was done by a different creative team but they did just fine. The story was energetic and exciting while the art was also really good and pretty much consistent with the volumes that came out previously.
The plot was well constructed with a pretty good twist that I didn’t predict and it leaves you smiling with an amusing, satisfying ending.
All in all, for those who enjoy The Witcher mythos, this shouldn’t disappoint. Honestly, if you want to read the comics, I’d just buy the omnibus edition, as it includes all four of the volumes that have been published, thus far.
Rating: 7.5/10 Pairs well with: other Witcher comics.
Published: July 4th, 2017 Written by: Paul Tobin Art by: Piotr Kowalski Based on:The Witcher novels by Andrzej Sapkowski
Dark Horse Comics, 128 Pages
I thought that the previous Witcher comic lost a bit of steam from the first volume. However, this one picked things back up quite a bit and thus far, this is my favorite comic story that features Geralt of Rivia.
This was also the first comic book story to feature Ciri and Yennefer, as well.
At first, I was a bit annoyed by it, as it felt kind of random with multiple little plot threads weaved together without any real direction. However, this came together rather nicely and told a really solid tale.
The art is also pretty good and this series, now three story arcs deep, has been really consistent.
I liked what this plot evolved into and how it resolved. Overall, a good, fun read in The Witcher universe.
Rating: 8.25/10 Pairs well with: other Witcher comics.
Also known as: Seven (alternative spelling), The Seven Deadly Sins (working title) Release Date: September 15th, 1995 (New York City premiere) Directed by: David Fincher Written by: Andrew Kevin Walker Music by: Howard Shore Cast: Brad Pitt, Morgan Freeman, Gwyneth Paltrow, Kevin Spacey, John C. McGinley, R. Lee Ermey, Richard Roundtree, Richard Schiff, Mark Boone Junior, Michael Massee, Leland Orser, Hawthorne James, Reg E. Cathey, Charles S. Dutton (uncredited)
Cecchi Gori Pictures, Juno Pix, New Line Cinema, 127 Minutes
“Wanting people to listen, you can’t just tap them on the shoulder anymore. You have to hit them with a sledgehammer, and then you’ll notice you’ve got their strict attention.” – John Doe
I was blown away by this movie when I first saw it, back in the ’90s. I would watch it pretty regularly for about ten years. However, it’s been at least a decade since I’ve seen it and even though I knew I loved it, I somehow underestimated it and forgot how great it actually is.
Fincher made a solid trio of movies in a row in the mid-to-late ’90s between this, The Game and what I consider his magnum opus, Fight Club. Being that I still hadn’t reviewed these films, I figured I’d start with the first.
Fincher had a very distinct look with his movies and while it might not appear distinct and unique nowadays, that’s because a lot of less capable directors came in and stole his aesthetic. But imitation is the sincerest form of flattery, as they say. I would also add that theft is the weakest form of creativity but if you’re going to steal, steal from the greats.
While I’m not a massive Fincher fan, his later ’90s work is pretty fucking exceptional.
Se7en is well acted, well directed, looks incredible and features a story so dark, fucked up and mesmerizing that it’s hard to turn away from the screen, even if you’ve seen the movie a dozen times.
This motion picture is the result of having all the right people from top-to-bottom, behind and in front of the camera. As far as the actors go, they all played their parts perfectly. They felt like real people in a real situation. The relationships between the characters come across as genuine. I loved that the new partners were at odds with one another but knew they had a job to do in spite of their personal issues and differences in their approach to police work and their philosophies on the universe and our place in it.
The score by Howard Shore is one of the composer’s best and when you really look at his body of work, this included, he’s such a versatile composer that it’s sometimes hard to tell that you’re listening to his music. It’s always good but it never takes over a film and just blends in with it, accenting it in a great way.
Additionally, the songs used throughout the film are great, especially the tracks that were used by David Bowie and Nine Inch Nails, as they both fit absolutely perfectly within this picture’s atmosphere.
There’s nothing bad I can really say about this film. My only really gripe is that I’m not a huge fan of the ending. But I’m a traditionalist that doesn’t want the bad guy to win. While he meets his demise, his plan is executed to perfection and while I knew that Brad Pitt’s character was flawed by his emotions and idealism, there’s still that part of me that wishes he would’ve been stronger. Granted, I’ve never had my wife’s head put into a box. Also, this came out in the edge lord ’90s.
Rating: 9.5/10 Pairs well with: David Fincher’s other ’90s films not named Alien 3.