Mini-Review: Max & James & Danielle

This film is available to stream on Fandor. For those of you who are not familiar with Fandor, it’s frequently referred to as Netflix for cinemaphile. In essence, what Netflix was and always should have been. Fandor is available for a free trial period and can be subscribed to on a discounted annual basis rather than a higher recurring monthly fee.

This is a video essay by director Mark Rappaport who has made a name for himself through his cinema-loving feature and short docs. The marvelous thing about this particular title is that there is a significant dalliance in speculative fantasy true paramours of film engage in but can only adequately explore via video and picture editing.

In this film Rappaport discusses the phases of the career of Max Ophüls. In particular it examines his work with James Mason in the United States, and another favorite, Danielle Darrieux in France. The speculation comes in wherein Rappaport imagines the three collaborating in an imagined film.

With both this imagined past, that reflects Ophüls imagined Golden Age Vienna, and Rappaport’s parenthetical narration style, this is an enjoyable quick doc that should be a decent primer on his style.

My eBooks now on Nook!

One of the big projects of me for 2015 was getting my ebooks that already existed in better shape. They are now, and can be found on Amazon worldwide.

Part of that project was supposed to include making the existing books available on other platforms as well.

Fast forward to now and phase one of that process is complete: The Isle of Helyr and The Bloodmaster Trilogy both are available on Nook for purchase.

It’s the same cheap $0.99 either way, so get reading!

iBooks to follow!

Updates: April 14, 2016

An update on this site is long overdue. Heck, a post in general is long overdue. Since October the struggle for any cinephile has faced has been very present for me: what matters more life or film? Clearly without life there is no film. However, those obsessed with film don’t always grasp that fully. Two new phases of my life are being entered to: fatherhood (in it, in a foster kind of way), and being a licensed driver (working on it – and originally from New York so that explains that).

I had a good deal of the gap in new material filled with re-spliced material but alas they lapsed. But things are in the works both here and elsewhere they’re just a bit slower-going. Here are some examples.

The first in line will be reviews for two short documentaries by Mark Rappaport.

Followed by a Blu-Ray review of a previous Oscar winner for Best Foreign Language film now out on Blu-ray.

Then a Blu-ray review of a horror film starring the late great Christopher Lee, to not narrow it down too much!

Batman-Superman Logo (DC/Warner Bros.)

Also, I’ve begun ruminating on the latest caped crusader film. Hint: I was enveloped by the sheer vacuity of it, then when I realized why I was really mad.

Aside from writing projects here, I also have outside writings in various stages of development. I definitely need to kick into high gear. And when I do you’ll hear about it here. One recent development you will not can be found here.

BAM-Awards-2015

I have every intention of writing up the BAM Awards for the 21st time in 2017, I just need to do a lot of year-end catch-up.

If a hiatus is needed in the future for another work it will be announced beforehand.

Speaking of hiatuses, my The Tin Drum posts, are a white whale I’m determined to chase down also.

Game of Thrones (2011, HBO)

More is sure to come as balance, much like winter on Game of Thrones, is coming to my life.

Rewind Review: Charlie St. Cloud

Despite the fact that both the trailer and the synopsis of Charlie St. Cloud make it quite apparent that Charlie (Zac Efron) will lose his brother (Charlie Tahan) his brother in a tragic car accident the film still manages to be quite compelling which is rather impressive in and of itself. When one of the more crucial and emotionally wrenching facts about a film is a given the picture starts behind the eight ball but it manages quite nicely.

Another surprising element, without giving too much away, is that there is a twist within the telling of this tale but the nice thing about it is that the twist acts as part of a frame and not the lynchpin of the tale. Unlike many films which rely on a twist ending this one incorporates it into the storytelling without having the quality of the film hinge on whether or not you like the twist. In a sense the twist does not necessarily lie to you. While the rules of the preternatural visions are a bit hazy for much of the film by the end you’ve untangled them and see that what lies within the framed tale is still very much worth seeing.

In just over 10 minutes you get a sense for who Sam (Tahan) is and also the relationship that he and Charlie share. It is a good example of cinematic shorthand and what is also refreshing to see is that it was somewhat realistic. Due to the age difference Sam was frequently roughhousing with Charlie’s friends and didn’t have the cleanest vocabulary. However, just because it wasn’t Disneyfied saccharine doesn’t mean you didn’t feel the true emotions belied by the insults and punches thrown.

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The editing in this film is particularly strong not only in terms of making the story flow but especially allowing the story to have emotional impact. Prime examples of this are in the flashback sequences and in the car accident. Particularly the latter as it demonstrates the power of sound and does not sensationalize events but knows instead the power of the human imagination.
Another interesting thing is that this film had Look At You style casting in which a familiar face you haven’t seen in a while pops up in an unexpected film as a supporting character. There is Kim Basinger, who plays the boys’ mother. Her involvement is also early on as the story does do a time jump of five years, which is not easy to pull off. It is well handled particularly when Charlie hears “You haven’t changed a bit.” It’s stock dialogue but it is a concern that needs addressing when you take a character from high school senior to someone who should be just out of college and have the same actor play both with little to no change in appearance. There’s also Ray Liotta who plays a small but pivotal role as a paramedic who Charlie runs into later on by chance. There’s also Donal Logue as Tess’s (Amanda Crew) mentor, you may know him from the series Grounded for Life. Lastly, there’s Augustus Prew who I hadn’t seen in quite sometime and who most may only remember as Rachel Weisz’s unstable son in About A Boy, does the line “She doesn’t fancy him, she only fancies me!” being screamed ring a bell? All these supporting characters play a very important role in adding dimension just beyond the two main relationships of the film namely Charlie-Sam and Charlie-Tess.

While being supported by a very capable performance by Amanda Crew, the film is called Charlie St. Cloud and for good reason. Efron dominates the film and carries it with ease. For the first time in a while you see him playing a fully-rounded character and not just rounding out a rather simple one. It’s a side of him many may not know existed between all the High School Musicals and Hairspray, it might not be the better one but it is strong nonetheless. Regardless it’s a strong wrenching performance. If Efron can find musical work that can let him play a layered character we can see him at his fullest potential but the film musical is still on life support.

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What was also good to see was Burr Steers’ name as director. This marks his third feature and I’ve seen all of them and they are rather different from each other. First, there was a the sharp-witted, acerbic Igby Goes Down which was one of the best films of 2002. Then there was last year’s Efron star vehicle 17 Again, which while nothing special did have its moments of escaping the formula. While it’d be great to see of Steers has another writer/director gig in him it is good to see his versatility.

Overall, this was a cinematically and viscerally pleasing tear-jerker that is definitely worth seeing.

8/10

Poverty Row April: Tangled Destinies (1934)

Introduction

This is a post that is a repurposing of an old Poverty Row April post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically depending on the theme. Enjoy!

Tangled Destinies (1934)

If you’ve ever seen a murder mystery weekend episode of a sitcom, the gag is that invariably a real murder ends up occurring. This is the kind of tale that inspired that charade because for the most part it plays out like one of those tales, minus the subterfuge. The set-up is fantastic: an emergency landing of a small plane during a storm forces the passengers to seek refuge in a nearby empty house. The storm causes power surges and ample opportunity for the mysterious murderer/crook to strike.

There are some Pre-Code twists to it that will leave you guessing, and the occasional not-suitable-for-the-21st-Century comment, but the film does well to build and develop its mystery and buck expectations.

8/10

Poverty Row April: Mystery Train (1931)

Introduction

This is a post that is a repurposing of an old Poverty Row April post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically depending on the theme. Enjoy!

The Mystery Train (1931)

Here again you get another misnomer. This film is not so much a mystery, but what it does have enough of is sufficient levels of intrigue. Also, it has what few of these titles have had and that’s a clear and distinct structure that works very well in its running time. Prior to the inciting incident two set of circumstances are perfectly drawn, thus so are motivations. This propels the film through much of the second act.

Fate, and a climax that is not quite as thrilling as the start bring it down slightly, but the way it does end is interesting, but it is is a very entertaining film.

7/10

Poverty Row April: Sex Madness (a.k.a Human Wreckage)

Introduction

This is a post that is a repurposing of an old Poverty Row April post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically depending on the theme. Enjoy!

Sex Madness a.k.a. Human Wreckage (1938?)

This title opens up more of the idiosyncrasies that Poverty Row titles had. Extant copies of the film do not have all the titles in front of them, therefore the director and release year are left in some doubt. Next, many of these films would have entered the public domain by now anyway, though many others were never copyrighted. Lastly, I noticed that the distributor as per the IMDb is the company that handled States’ Rights Distribution. Essentially, these small production companies, in order to find more screens, would then have these distributors act as subcontractors to barter podunk screens in certain states for them. Long story short, it’s the wrong company.

Now, I had planned, when I had more grandiose goals for this theme, as I typically do when these things start; to see more exploitation films of this era. However, I got at least this one. In all honesty, two things happened: firstly, while shocking for its era the title still proves hyperbolic, which isn’t shocking. Second, though highly melodramatic, the film for the most part was much better than I could’ve expected. It’s a bit bald-faced but it does put its didacticism in story elements and disguises its PSA DNA pretty well. If it had just not broadcast one key point I could’ve passed it.

5/10

Poverty Row April: The Phantom Express (1932)

Introduction

This is a post that is a repurposing of an old Poverty Row April post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically depending on the theme. Enjoy!

The Phantom Express (1932)

As I read and downloaded titles I noted the proclivity for the word phantom in titles. It must’ve scored well in marketing research of the day, it gives an air of mystery and intrigue. Sadly, no film I saw with the word phantom in it had either featured a ghost or been any good. This one at least accomplished the latter and is a highly entertaining tale. It’s not a whodunit so much as a “howdunit” as the perpetrators are revealed early. The film concerns a man who derails a train attempting to make an emergency stop causing many fatalities. He claimed there was an oncoming train he wanted to avoid, there was no record of this supposed train so it was dubbed “The Phantom Express.” The investigation into the mystery, the repeated incidents, the reveal along with explicatory closing monologue are all great. The effects work, mainly miniatures, may look primitive now, but is well done for the time and budgetary constraints. It’s really captivating stuff.

10/10

Poverty Row April: Oliver Twist (1933)

Introduction

This is a post that is a repurposing of an old Poverty Row April post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically depending on the theme. Enjoy!

Oliver Twist (1933)

Again there’s a disparity of running time between what I saw and what the IMDb lists. Having said that an extra 10 minutes wouldn’t have made this version feel any less like a Cliff’s Notes version of Oliver Twist. I come dangerously close to breaking my own fanboy ethos here, but even in strictly cinematic terms the treatment is a bit rushed, for a tale that can be such an epic and sprawling one. Oliver’s walk to London for example is one scene as opposed to a montage. Some of the casting choices are quite strange, namely The Artful Dodger, and disbelief has to be suspended throughout due to the fact that Dickie Moore is an American in London. There are enjoyable elements to it, mostly due to the bones of the tale, and being a Monogram film it is higher rent than most, but still feels a bit slipshod.

5/10

Rewind Review: Grown Ups

Introduction

As those who know me, and if such a person exists, cyberstalk me, know I created this blog after writing on another site, which shall remain nameless, for a while. The point is, I have material sitting around waiting to be re-used on occasion I will re-post them here. Some of those articles or reviews may have been extemporaneous at the time but are slightly random now, hence the new title and little intro, regardless enjoy!

Grown Ups (2010)

The film Grown Ups starts simply enough. It shows what may be the apex of these five friends lives collectively (a championship basketball game). It uses the death of their coach effectively to not only reunite these somewhat estranged friends but also to introduce them to us.

While this film passes with marginal colors one way in which it does excel is in that it it is rare for an all-star cast (granted how much of an all-star cast is open to some debate) to fit together this comfortably within the confines of a feature film. Some of that familiarity is due in part to the fact that Sandler, Rock, Spade and Schneider were contemporaries during the last true halcyon days of Saturday Night Light but Kevin James doesn’t fall by the wayside and fits in very comfortably with the aforementioned foursome.

The bottom line is that the film is funny, quite funny in fact. It absolutely revels in the nearly lost art of the one-liner especially in the one-line put down and as a straight comedy it works with absolutely no question. The film has other designs, however, and in trying to see those designs through that’s where some its failings shine through.

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One oddity, though not entirely a bad thing, is that the sports angle of the film is almost entirely subjugated. It is ultimately a good thing because then it might’ve wandered into the uncomfortable mildly funny Semi-Pro area and that would’ve been bad.

What that angle might’ve done for the film is drive it a little bit because the pace does struggle a little bit in the second act as each character, as head of the household, deals with their own issues. This slight lack of focus and insisting on inclusion rather than having the protagonist, Sandler, be a more driving force than he is does hurt things slightly.

The two things outside of just being funny that this film really tries to tackle head on are somewhat intertwined. They are: returning children to simpler pleasures and away from technology and modernity and not always putting career before family. These are both illustrated through the Hayek- (credited in this film as Salma Hayek Pinault) Sandler relationship. Things develop slowly and are infrequently at the forefront but because they are not developed quickly and addressed immediately the film lags slightly even though the resolution to these issues are ultimately satisfying.

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Another side-effect of the basketball being pushed into the background is that the antagonist and antagonism in general aren’t very present. The conflicts, when they occur, are typically intra-relationship. The antagonizers are the team they beat in said championship game years ago, thus making the lessening of the game seem an odd choice, until you see how it turns out, which in the end does fit the bigger picture but you just wish so much talk and time wasn’t spent on the rematch if it ultimately would not matter.

Looking at it from a purely comedic perspective it is a funny film and if you’re just out for a laugh it is enjoyable, if you want to have your cake and eat it too, meaning get a great movie along with the chuckles, you may go hungry.

6/10