Also known as: The Lost Films of Orson Welles (UK TV title) Release Date: October, 1995 (Chicago International Film Festival) Directed by: Orson Welles, Vassili Silovic, Oja Kodar Written by: Orson Welles, Vassili Silovic, Roland Zag Music by: Simon Cloquet-Lafollye Cast: Orson Welles, Tim Brooke-Taylor, Charles Gray, Jonathan Lynn, Oja Kodar
Bayerischer Rundfunk (BR), Institut National de l’Audiovisuel (INA), La Cinquieme Boa Filmproduction Ag Zurich, 88 Minutes
When Orson Welles died in the mid-’80s, he left behind some unfinished work.
None of it really saw the light of day until the ’90s when his creative and life partner Oja Kodar started compiling these works together and teamed up with other creatives in an effort to release them in some form. This is one of those releases.
This first debuted in 1995 and it’s really an anthology of unfinished films. Although, it feels more like of an anthology of shorts due to it being a varied mix of stuff, mostly little segments or scenes.
Overall, this isn’t all that cohesive and plays like a video mixtape of random Welles ideas that were put to film but never truly realized or massaged into what they could’ve been. That certainly doesn’t mean this is bad but it feels more like peering into his creative process and his experimentation. Honestly, I’m not sure what his plan was, if any.
I guess it’s hard to interpret what’s here but it’s still entertaining and the man was a fucking legend.
I can see people that are unfamiliar with Welles or who don’t already appreciate his work not digging this film at all. That’s fine. But for those who are intrigued by the man’s creativity and charm, it’s a fun look into what could’ve been.
Rating: 7.5/10 Pairs well with: other Orson Welles documentaries and films, many of which have already been reviewed here.
Release Date: January 8th, 2005 (Las Vegas premiere) Directed by: Rob Bowman Written by: Zak Penn, Stuart Zicherman, Raven Metzner Based on:Elektra by Frank Miller Music by: Christophe Beck Cast: Jennifer Garner, Goran Visnjic, Will Yun Lee, Cary-Hiroyuki Tagawa, Terence Stamp, Bob Sapp, Jason Issacs (uncredited), Ben Affleck (cameo, scene cut)
“I like your bracelet, by the way. Do you know what those are? Here. They’re warrior beads. They’re from Indonesia. Centuries ago, you had to be the best fighter in your village to earn them.” – Elektra, “Wow. I bought’em off eBay.” – Abby Miller
I never wanted to see this because the trailer was a complete turnoff that made this film look like absolute schlock of the highest and worst caliber. Not good, cheesy schlock but the kind that’s so drab and pointless that it’s shocking it even got a theatrical release and wasn’t used to torture terrorists.
Having finally seen this, I wasn’t wrong. This is definitely a terrible movie, littered with atrocious special effects, generic and lifeless characters, as well as wasting the talents of the few good actors in it.
What’s even worse is that this doesn’t feel like it belongs in the same universe as 2003’s Daredevil, which was a pretty decent movie if you watch the Director’s Cut instead of the theatrical version. Hell, even Ben Affleck filmed a cameo scene to tie them together and for whatever reason, it was cut from the final version of this film.
What this does feel like is a made-for-TV SyFy movie of the week. It’s duller than a plastic knife left too close to an open flame with about as much personality and charm as a lobotomized sloth.
The only real silver lining in this is that Jennifer Garner looks absolutely stunning. But she’s always pretty stunning and one shouldn’t have to suffer through this deplorable production just to see her kick the shit out of people while being super hot.
Elektra is bad, really bad. I mean, I guess it’s better than 2004’s Catwoman but at least that film had some memorable moments. Everything in this film is completely forgettable.
Rating: 1.75/10 Pairs well with: the 2003 Daredevil movie, as well as other superhero films from the mid-’90s through mid-’00s.
Also known as: Confidential Report (UK) Release Date: June 27th, 1955 (Barcelona premiere) Directed by: Orson Welles Written by: Orson Welles Based on: original radio scripts by Ernest Bornemann, Orson Welles from The Lives of Harry Lime Music by: Paul Misraki Cast: Orson Welles, Robert Arden, Paola Mori, Akim Tamiroff, Michael Redgrave
Filmrosa/Cervantes Films/Sevilla, Warner Bros., 93 Minutes (Spanish version), 95 Minutes (public domain version), 98 Minutes (TCM print), 99 Minutes (Corinth version), 106 Minutes (The Comprehensive Version – The Criterion Edit)
“You are simply a fool. I will not ask you your price, because you have nothing to sell. But, still, I’ll make you an offer. I am going to give you something to sell. And, then, I will pay you for it. Come on. You have tried to threaten me with a secret that does not exist. Now, I will make you a present of a real one. The great secret of my life.” – Gregory Arkadin
Mr. Arkadin is an Orson Welles movie that has eluded me until now. While I’ve known of its existence since I was studying Welles in my high school film studies class, I knew that it was a film that had a half dozen different edits, lots of missing pieces and it wasn’t really a complete body of work.
It’s not quite a lost film, as a 95 minute version of the film has existed in the public domain for quite some time, but much of it was lost and even with the more recent Comprehensive Version, we still don’t have an edit of the film that is Orson Welles’ complete and realized vision.
The genesis of this film is pretty interesting though, as the story was adapted from a few episodes of the radio series The Lives of Harry Lime. Fans of Welles probably already know that he played the character of Harry Lime in Carol Reed’s film-noir masterpiece, The Third Man.
Additionally, Welles once referred to this film as the “biggest disaster” of his life. This was because he lost creative control after missing an editing deadline, which then led to the film’s producer taking over and eventually releasing several different edits of the picture. The multiple edits created a lot of confusion and none of the released versions of the film were done so with the approval of Welles.
The Comprehensive Version, which is the edition that I watched and am reviewing here was made by taking pieces from the multiple versions of the film and trying to re-edit them into a form that makes the most narrative sense. However, the film still doesn’t feel whole and it isn’t.
That being said, it’s kind of difficult to review a film that isn’t complete and ultimately, wasn’t a fully realized concept brought to life by the artist that created it.
But you can still see how good it was by seeing some of these segments come to life. Welles employed great cinematography and one can’t deny that the film looks good and consistent with the level of visual storytelling that his movies were known for.
It’s also finely acted, even if some moments might not feel as coherent as they should. That’s not the fault of the actors, that’s the fault of the producer and editor. Well, at least they should take the blame based off of their involvement in making a chopped up and messy version of what this was intended to be.
It’s sad that this film didn’t get to be seen in its best form. The most recent form that exists is seemingly the best and it is still watchable but it just makes me wonder how different Welles’ version would have been. Additionally, for those that don’t know the full story behind this film, how would they see it? As a bad movie, a confusing one or even as an example of Welles not being on his A-game?
Rating: 7.25/10 Pairs well with: Orson Welles’ other noir-esque pictures.
Release Date: December 10th, 1978 (Washington D.C. premiere) Directed by: Richard Donner Written by: Mario Puzo, David Newman, Leslie Newman, Robert Benton Based on:Superman by Jerry Siegel, Joe Shuster Music by: John Williams Cast: Marlon Brando, Gene Hackman, Christopher Reeve, Ned Beatty, Jackie Cooper, Glenn Ford, Trevor Howard, Margot Kidder, Valerie Perrine, Maria Schell, Terence Stamp, Phyllis Thaxter, Susannah York, Jack O’Halloran, Marc McClure, Sarah Douglas, Harry Andrews, Rex Reed (cameo)
Film Export A.G., Dovemead Limited, International Film Productions, Warner Bros., 143 Minutes, 127 Minutes (1980 video release), 151 Minutes (2000 restoration), 188 Minutes (Extended version)
Few films feel as vast and epic as the 1978 Superman film. This was also the first superhero movie where the comic book medium was actually taken seriously. Years before the Marvel Cinematic Universe, DC knocked it out of the park with this, the first real superhero movie.
It hasn’t aged too well and I’ve always had some issues with the story and the use of Superman’s powers in this film but this is still a true classic that opened a lot of doors for comic book films, even if it still took a long time for the genre to reach the level it has in the 2010s.
The thing that makes this film work is that it understands the spirit of Superman. It was made and written with great care, Christopher Reeve was fantastic in the role and for years, he was who I saw as the character, even when reading the comics. I know that some people had reservations about him and his portrayal of the character but he was wholesome and believable as far as creating the two personas: Superman and Clark Kent.
I was never crazy about Margot Kidder as Lois Lane but I see things differently now and I do like her take on the character. I like her attitude, her sass and her no nonsense persona. She feels like a tough New York girl (Metropolis in the movie) that can handle her own.
I was also never crazy about Gene Hackman as Lex Luthor, especially since he refused to shave his head. I also thought his scheme was goofy and bizarre but not completely outside of what classic comic books were. Looking at this in the context of the original source material, the scheme isn’t too far fetched.
As a fan of the character and the comics, I liked that Superman had his normal power set but the script was written in such a way that it invented powers just to solve problems in the movie. Like the scene where he flies so fast he changes the direction of Earth’s orbit to time travel back before Lois was swallowed into a fault was beyond stupid even for 1978. It created a lot of plot holes, not that some didn’t already exist. At this point it became pure fantasy nonsense, ignoring any sort of real science or staying grounded in the source material.
Richard Donner did a fine job as the director and this is also one of John Williams’ best scores of all-time. The music really set the tone and enhanced Donner’s visual style.
I loved the Krypton stuff in the beginning and Brando was great even if he wasn’t completely on his A game. However, the bit with General Zod and his crew feels unnecessary within this film, as they don’t have an effect on anything until the second movie. Sure, they contributed to Krypton’s problems, which led to its destruction, but they didn’t need to be on screen characters.
Despite my issues with the picture, it’s still damn good and a lot of fun. I also grew up watching this a lot and I can’t not feel nostalgic for it.
Rating: 8.25/10 Pairs well with:Superman II, the 1980 Flash Gordon.
Release Date: August 18th, 2015 (Los Angeles premiere) Directed by: Nima Nourizadeh Written by: Max Landis Music by: Marcelo Zarvos Cast: Jesse Eisenberg, Kristen Stewart, Topher Grace, Connie Britton, Walton Goggins, John Leguizamo, Bill Pullman, Tony Hale, Lavell Crawford
The Bridge Finance Company, Circle of Confusion, Likely Story, Merced Media Partners, PalmStar Media Capital, PalmStar Entertainment, Tadmor Entertainment, Lionsgate Films, 96 Minutes
“If I die, I’m going to do it stoned and smiling in my bed.” – Mike Howell
*Written in 2015.
I went into American Ultra with no expectations. Although I did like the chemistry between Jesse Eisenberg and Kristen Stewart in Adventureland and thought that it was Stewart’s best performance that I had seen.
So maybe their having worked together so well before is why they felt very comfortable in this movie and with each other. Their relationship felt natural and nothing seemed forced or out of place. As the two leads, Eisenberg and Stewart shined.
As far as the plot goes, this film doesn’t really tread new territory but it doesn’t need to. It is about a “fish out of water” sleeper agent for the C.I.A. who has woken up in an effort to save himself from the agency director who thinks he’s a dangerous dog that needs to be put down. In this film, the agent is a stoner with a lot of phobias. Of course, the phobias are all stuff that the agency put in his head in an effort to control him.
Eisenberg and Stewart are backed up by a great cast. Topher Grace plays the C.I.A. asshole that wants Eisenberg’s character dead. Then there is John Leguizamo who plays a friend and drug dealer. The great Walton Goggins shows up as a psychotic agent named Laugher. Bill Pullman plays a high ranking C.I.A. official that mixes things up in the end. Tony Hale a.k.a. Buster from Arrested Development plays another C.I.A. agent that is caught between doing good or doing evil. And then Connie Britton rounds out the cast as the C.I.A. agent who is trying to save the main characters.
The film was well shot, well edited, perfectly paced and came off as a lot of fun. It wasn’t a flawless film but it wasn’t littered with issues and even the unbelievable elements felt believable, in the moment, and that is what a director should strive for.
American Ultra was entertaining. It ends the summer movie season and it was at least a refreshing end to a summer full of a lot of crap. This wasn’t a big budget CGI fest yet it achieved much more than most of the other summer movies I had to sit through this year.
I guess it is left open for a sequel but one isn’t necessary. This isn’t a forgettable film but it doesn’t warrant any more installments. I liked it for what it was and the filmmakers should let it stand on its own. Besides, I don’t anticipate this being a sleeper hit.
At this point, I think a lot of summer moviegoers are suffering from tent pole fatigue. While this is a good contrast to the tent pole feature, it will probably suffer for the date it was released. If this were a late September or early October film, it may have had more of a chance for success. Instead, it shares the docket with Sinister 2 and Hitman: Agent 47 – all three of these will probably underwhelm at the box office between coming out on the same day and following a slew of mediocre summer movies.
Rating: 7/10 Pairs well with:Adventureland for having the same leads, as well as the Kingsman movies for some similarities.
Having participated in the 20th Annual Manhattan Short Film Festival, I wanted to shine a light on the ten finalists. I’ll break this review into two parts, covering the first block of films before the festival’s intermission and then the second block of films after the intermission.
What the film festival does, is it takes thousands of short films from all over the world, narrows it down to ten finalists and then lets the audience from all the participating venues vote on the winner for best film and best actor. Currently, there are more than 250 venues from six continents that participate.
Just Go! – action, adventure – Latvia (2017):
Release Date: September 28th, 2017 (Manhattan Short) Directed by: Pavel Gumennikov Written by: Pavel Gumennikov Music by: Michael Bahnmiller Cast: Aleksandrs Ronis, Toms Velicko, Jana Herbsta
This wasn’t one of my favorites of the film festival but it was a lot of fun.
The story follows a teen who lost his legs. He is smitten with a girl around his neighborhood. While he is talking to her, she has her purse stolen by two thugs. Without hesitation, the legless teen flies after the thugs in hot pursuit. First he uses his wheelchair, then his car, then moves with just his quick hands, then uses a skateboard and does everything he can to keep up with the thugs until finally being cornered by them in an alley.
The point of this short film is to show that there aren’t really disabilities but just abilities. It is a good representation of this idea and pretty much proves its point while being fast paced and exciting.
The teen wins out, the thugs are defeated and we get a happy ending with a little funny extra scene in the credits.
The teen in the film is actually a player on Latvia’s sitting volleyball team.
Mare Nostrum – drama – Syria (2016):
Release Date: October 26th, 2016 (France) Directed by: Rana Kazkaz, Anas Khalaf Written by: Rana Kazkaz Cast: Ziad Bakri, Zayn Khalaf
Georges Films, Syneastes Films, Philistine Films, 14 Minutes
At first I didn’t like this film. But the ending and the added context brought everything together like a finely woven tapestry.
Taking place in Syria, on the Mediterranean coast, the film sees a father basically terrify his daughter by throwing her off of a pier, again and again, trying to force her to learn how to swim.
You feel for the girl and understand her pain and the horror that this puts her through but you don’t fully realize why the father is doing this until you get to the end. It is really hard not to hate the father for what he is doing but it makes you understand what a parent’s tough love is and how he only wants his daughter to have a better life.
It also humanizes the struggle of those who are good people that are demonized as enemies because they just so happen to live in a part of the world that many consider a threat. But ultimately, the good people of these faraway lands are victims themselves.
Mare Nostrum is well shot and beautiful. It’s a short film that hopefully gets its message out to more people who might need a reminder that we’re all human beings with our own adversity to overcome.
Viola, Franca – drama, biography – Italy (2017):
Release Date: May 30th, 2017 (Poland) Directed by: Marta Savina Written by: Andrea Brusa, Marta Savina Cast: Antonio Bruschetta, Carlo Calderone, Claudia Gusmano
Viola, Franca was damn good and it is almost tied for first place overall with 8 Minutes, but I liked 8 Minutes just a bit more.
That being said, this is the more important of the two pictures and it tells the story of the real Sicilian women that fought against social injustice perpetuated by the Italian government and the Catholic church.
This is Franca’s origin story on how she came to resist what her church and her community tried to impose on her.
In the story, she rejects a despicable local man’s advances. He then waits for her father to go into town and he rapes her. Being that she is now seen as impure by the Catholic church and the community, she is pressured into marrying the very man that raped her. She decides that this is not the course that her life will go and she refuses to conform to the outdated and archaic ways of her culture.
Viola, Franca is the only period piece out of all these films and it feels like it has the highest production value. It employs stock music but the selections work well for the film and the landscape of Sicily is a breathtaking backdrop.
Claudia Gusmano gave the best acting performance in the entire festival.
In A Nutshell – animation – Switzerland (2017):
Release Date: June 9th, 2017 (Japan) Directed by: Fabio Friedli
In A Nutshell is the shortest of all the films in the festival. It is a scant 5 minutes but that’s all it needs to work.
There isn’t a story or actors or anything really, other than everyday objects being animated in an interesting way, showcasing their relation to one another. There isn’t much point to this other than showing these objects evolve from one thing to another forming a perfect metaphorical circle.
The film looks good and is well animated for what it is. But what it is a forgettable art piece reminiscent of a quick time killer segment from a public access children’s show.
Unfortunately, there isn’t a whole lot to walk away with.
8 Minutes – sci-fi, drama – Georgia (2017):
Release Date: September 28th, 2017 (Manhattan Short) Directed by: Giorgi Gogichaishvili, Davit Abramishvili Written by: Zaza Koshhadze, Mari Bekauri, Giorgi Gogichaishvili Cast: Slava Natenadze, Ani Bebia, Giorgi Sharvashidze, Donara Gvritishvili, Zanda Ioseliani
This ended up being my favorite film of the festival and not just because it went on last and was the freshest in my memory.
8 Minutes told an interesting tale and it really pulled you in.
The film is primarily about a father reconnecting with his son. The father is a career magician. However, the film is set in a time where the sun is about to burn out. In fact, the sun has already burnt out but it takes 8 minutes and 33 seconds for the effects to reach the Earth. This all takes place in that time frame.
The father and the rest of the world know that it is the last moments of life on the planet but the man’s son, who is off on a scientific expedition in the wilderness, doesn’t know what is about to happen. The man doesn’t tell his son but uses the final moments to try and touch him over the phone and to pull of his last great magic trick.
The film is sweet and well acted. It also utilizes some great cinematography and pulls off some magic tricks of its own.
As the world is crumbling and chaos ensues, a father and son find peace.
Also known as: Born Digital (Germany) Release Date: September 30th, 2015 (Switzerland) Directed by: Niklaus Hilber Written by: Niklaus Hilber, Patrick Tönz Music by: Diego Baldenweg, Lionel Vincent Baldenweg Cast: Fabrizio Borsani, Nicolas Heini, Zoë Pastelle Holthuizen, Beat Marti, Annina Walt, Chiara Carla Bär, Luna Wedler, Jérôme Humm, Benjamin Dangel
A Film Company, Leaves & Leaches Pictures, Synergetic Distribution, 92 Minutes
Amateur Teens was a pleasant surprise. I went into it knowing nothing about it and I didn’t check out a trailer first. I am glad that I didn’t, as going into a film blindly is really hard to do these days and I don’t think that it would have played out as effectively, had I known where this was going.
The unfortunate reality of film reviews, is that they are spoilers by nature, even if they claim they are “spoiler free”. The truth is, it is impossible to talk about a film without giving away something. I could state that this was a really good and worthwhile experience and leave it at that. If you want to go into this blindly, I’d stop reading now. Although, I will attempt to discuss the film without giving away too much.
The movie takes place in Zurich, Switzerland with a cast of teens that look and feel like real teenagers. This isn’t an overly done up Hollywood attempt at a dark teen drama. It isn’t full of actors who would look more at home hamming it up on the CW. The kids in this movie are real kids. Out of all the dark teen “coming of age” dramas that I have seen, Amateur Teens feels the most authentic. And man, can these kids act.
We follow a group of teens, all roughly 14 years-old, as they traverse through a young inexperienced life with the influences of peer pressure, social media and a digital age where everything revolves around sex and fame.
As the film progresses, we see a world where these teens play everything up for appearances. Their true feelings are rarely expressed among each other and when they are, they come with dire consequences. We come to discover the horror of our modern reality, as who these kids are, is who most people are since the advent of social media. Life is about creating and then living up to the ideal persona you’ve created on your Facebook profile. Never can you shows cracks, or weakness, or any sort of authenticity.
Mix that in with the complete inexperience these kids have regarding adult situations and you have a pretty twisted world. Now add in the fact that sex is just a button click away, throw in young male hormones, teenage impatience and the negative stigma that comes with the word “virgin” and you have the makings of a tragedy to be.
Amateur Teens has some really dark and unsettling moments but nothing so far outside of the box that it hasn’t been seen before. The real shocker, however, is that these kids are significantly younger than the teens in most dark teen dramas. What we have is middle school-aged kids, sort of left unrestrained by their parents, as they are raised and molded by all the influences I discussed above.
Having already been a middle school-aged kid several years ago, all of these influences (except social media) carried a lot of weight and with it, extreme peer pressure. The fact that this film deals with kids so young is brave. But it is also authentic. I’d have to say that this is the most accurate portrayal of early teen life that I have ever seen on film.
And despite all of its darkness, this film has great lighthearted moments and it also gives you hope for these kids, as they grow up in life and gain the experience that they lack. Being young is a mixed bag of new experiences and the awful realization that dire consequences exist for certain actions.
Amateur Teens does a fantastic job of showcasing the modern teenage reality. It also shows that life really isn’t all that different for kids wherever they’re from. As an adult, it was a reminder of all the things I hated about teen life and makes me happy that I am a fairly well-adjusted grown-up.