Reviews And Otherwise: Recent Episodes
Terry McCarty
Reviewing William Wyler’s final film, a bleak statement about irresolvable racism in the American South, plus Ernst Lubitsch’s final film at Paramount, a screwball comedy in which Claudette Colbert teaches seven times wed playboy businessman Gary Cooper how to value the institution of marriage.
Films from the Action Couple of the moment: Ana De Armas enters the John Wick universe as Tom Cruise finishes an almost three-decade run as IMF agent Ethan Hunt.
Reviewing a lesser-known Humphrey Bogart circus/carnival film, John Farrow’s teaming of Ray Milland and Barbara Stanwyck—and Willian Shatner going Full Shatner as a grifter/gigolo who also is a psychopathic killer in early 1970S Tampa.
New David Cronenberg film about death (and other obsessions) reviewed, plus Nicolas Cage going Down Under and not fitting in with a quite territorial clique of surfers.
A few words on the thankfully under-rewarded EMILIA PEREZ, plus reviews of Errol Morris’s return to true crime and Bong Joon-Ho’s return to science fiction that satirizes egocentric humans callously exploiting other humans in their employ.
Awards Season episode featuring films celebrated (I’M STILL HERE, THE BRUTALIST and A COMPLETE UNKNOWN) and ignored (THE ROOM NEXT DOOR and OH, CANADA).
Quick opinions of the first half of WICKED, the slept-on THE OUTRUN and estate-approved documentaries on Christopher Reeve and Humphrey Bogart.
Veterans Robert Zemeckis and Francis Ford Coppola emerge with technically audacious films which have generally been received with indifference/disdain.
Reviewing the film du jour by Coralie Fageat which, somehow, fails to confront the epidemic of Botoxed facelifting forced on most women working in show business, as well as enabling by other women in executive positions. At the beginning, Demi Moore’s 1996 film STRIPTEASE is mentioned to contrast the indulgence of the male gaze with the alleged boldness of her extended nudity (plus that of Margaret Qualley) in this motion picture.
Reviewing the fast-paced distillation of the ALIEN franchise, plus the dumped-by-Neon teaming of Jessica Chastain and Anne Hathaway and, finally, Daisy Ridley going full Hillary Swank as champion 1920s swimmer Gertrude Ederle.
Reviewing Nanette Burstein’s simplifying overview of Elizabeth Taylor, favoring iconic star status over in-depth career insights. Also, some comments on Martin Scorsese’s tribute to the legendary British filmmaking duo Michael Powell and Emeric Pressburger.
A few words about Laurent Bouzereau’s documentary of Faye Dunaway, which makes a case for her best screen performances, while trying to downplay or rationalize her irritability as part of getting the job done.
Examining Yorgos Lanthimos’s trifecta of thematic overlap smothered in cleverness, currently favored over Kevin Costner’s more thematically challenging epic Western. Also: Alicia Vikander as Katherine Parr stands her ground against Jude Law’s Henry VIII in the uneven but worthwhile FIREBRAND.
Offering context as to how HOOPER, a 1978 Burt Reynolds/Hal Needham ode to stuntpeople, and THE FALL GUY, a Lee Majors/Glen Larson 1980s TV series about a crime-solving stuntman, gave birth to an “original” would-be blockbuster.
Mammoth victory lap documentaries usurped by modest Jerry Lee Lewis chronicles dumped by A24. Plus THE BEEKEEPER/WICKED LITTLE LETTERS/THE MINISTRY OF UNGENTLEMANLY WARFARE.
Alex Garland’s opaque on purpose Divided America epic, plus easier to grasp monster and demonic fare.
Reviewing this year’s first surefire blockbuster plus Ethan Coen and Tricia Cooke’s lesbians on the road comedy, which will likely find a larger audience via streaming.
Discussing 50s noir films including I DIED A THOUSAND TIMES, PICKUP and ROADBLOCK. Also, a few words about the black-and-white version of GODZILLA MINUS ONE, which complements its 1954 ancestor GOJIRA.
Bradley Cooper takes a technical leap forward in his biopic of Leonard Bernstein, but it’s Carey Mulligan’s performance as wife/partner Felicia that saves this from being merely awards aspirant.
Paul King of PADDINGTON fame combines with the Harry Potter/Fantastic Beasts production team to give viewers Timothee Chalamet as young Willy Wonka in a not-magical-enough origin story.
Discussing what, as of mid-December, are the best 2023 releases I’ve seen—along with honorable mentions and one watchable underachiever.
Nick Broomfield’s Brian Jones documentary and Emerald Fennell’s satirical comedy/drama have this in common: English estates where people come to premature ends.
Reviewing David Gordon Green’s flawed but not bad addition to the EXORCIST franchise, the latest Scorsese (very good, but too soon to know where it will stand in his canon) and Alexander Payne’s return to form after the misfire of DOWNSIZING.
Anton Corbijn’s documentary about the record cover photo/design company which, in its lifespan, proceeded from the psychedelic 60s to the careless Imperial Rock Star period of the late 70s before punk, synthpop and music videos hurried its demise. Also, the understandably dumped by Lionsgate COBWEB—Samuel Bodin taking a good premise and botching it by over reliance on exaggeration and shoutouts to infinitely better films
Reviewing the DC Latinx superhero film which is a big budget homage to mediocre Cannon Films 80s fare, plus a new documentary about people irradiated by nuclear weapons tests ranging from the 1950s to 1992.
Eulogizing William Friedkin’s career, with attention paid to THE DEVIL AND FATHER AMORTH and the dual versions of RAMPAGE (plus sidebar on J. Lee Thompson’s 10 TO MIDNIGHT).
Reviews of three movies which demand theatrical viewing: MISSION: IMPOSSIBLE DEAD RECKONING PART ONE, ASTEROID CITY and INDIANA JONES AND THE. DIAL OF DESTINY.
At this writing, audiences are actively avoiding seeing Andy Muschietti’s THE FLASH during its theatrical release. Here are a few thoughts about the serpentine, tone-shifting route of the pre-James Gunn DCEU (not counting the Christopher Nolan/Matt Reeves BATMAN quartet), multiverse mania, what does work in THE FLASH and the conclusion that the less-broad Zack Snyder approach to Barry Allen/Flash is, in hindsight, preferable.
Reviewing the new Stephen King adaptation, Mary Harron’s conventional, cliched take on Salvador Dali’s 1970s and contextualizing Glenda Jackson’s British and American successes.
Reviewing the latest example of Disney remaking its classics and the new comedy of manners from Nicole Holofcener.
Russell Crowe, last seen by me as a killer road rage driver, classes up a new entry into the almost five-decade exorcism religious horror genre. Also, May Pang, John Lennon’s lover and working companion from 1973 to 1975. states her case for being a positive influence on Lennon during a period often mischaracterized as nonstop partying.
Reviews of Ben Affleck’s AIR and Jesse Atlas’s ASSASSIN-the final Bruce Willis film to be released.
Like TOP GUN: MAVERICK, the latest version of the John Wick fight/kill saga is an example of critics and audiences going gaga over undeniable filmmaking skill and craftsmanship.
A few words on the noneventful-on-purpose 2023 Academy Awards ceremony, plus comments on sequels CREED III (good) and SCREAM VI (uneven).--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Reviewing Neil Jordan’s MARLOWE, with a discussion of how Robert Mitchum’s two 1970s films as Philip Marlowe are the spiritual ancestors of Liam Neeson’s performance.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Reviewing THE WHALE and mentioning, among other things, Brendan Fraser’s earlier venture into prestige filmmaking (GODS AND MONSTERS).--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Discussing three of this year’s Academy Awards nominees, as well as the omissions of Danielle Deadwyler (TILL) and DECISION TO LEAVE.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Tribute to the actress/filmmaker/artist/politician who passed away at 95 earlier this week. Her 1964 film WOMAN OF STRAW, with Sean Connery and Ralph Richardson, is reviewed.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Reviewing the ambitious new films of Damien Chazelle and Noah Baumbach.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Discussing James Cameron’s visually brilliant, dramatically undernourished sequel—plus predecessors Georges Méliès and Tom Laughlin of BILLY JACK fame.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Discussion of underseen films/TV from this year including PETIT MAMAN, THE BANSHEES OF INISHERIN. ARMAGEDDON TIME, THE FABELMANS, the Robert Downey documentary SR., and Ethan Hawke’s THE LAST MOVIE STARS.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Comparing and contrasting two satires of the oftentimes nefarious rich. With references to Ken Adam, Peter Greenaway and THE LAST OF SHEILA.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Discussing two casualties of this awards season (though Ana De Armas may yet receive Globes/Academy attention). Plus—relating to AMSTERDAM—mention of an actual fascist takeover in Washington film, the William Randolph Hearst production GABRIEL OVER THE WHITE HOUSE.--- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Reviewing Ryan Coogler’s flawed but intermittently compelling sequel which doubles as a tribute to the late Chadwick Boseman.
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Reviews of SHE WILL, RESURRECTION, BARBARIAN and WATCHER—plus a few more thoughts on TAR.
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Todd Field’s lengthy, though noncommittal (except to tilt in the direction of public indignation over the exposure of private sins) #MeToo epic about a soon to be disgraced symphony conductor (Cate Blanchett).
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Reviewing Walter Hill’s return to the Western genre, plus discussing the early work that ensured a long, if sometimes uneven, career.
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A few words on Billy Eichner’s gay romcom BROS—a film that doesn’t deserve its vigorous rejection by the mass audience marketplace.
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Quick reactions to David Bowie as interpreted by Brett Morgen, Greg Mottola and Jon Hamm reviving the FLETCH franchise, Olivia Wilde’s uneven, but great-looking sophomore film and an overlooked Louise Fletcher performance (1983’s BRAINSTORM).
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Recommending Howard Zieff’s 1973 crime comedy SLITHER, with James Caan, plus reviews of Baz Luhrmann’s ELVIS and the conspicuously recycled THE BLACK PHONE.
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Discussing JURASSIC WORLD: DOMINION, how THE LOST WORLD Is the actual worst of the sextet and a few words on behalf of Joe Johnston’s neglected JURASSIC PARK III.
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Two very diverse filmmakers revisit their pasts: Michael Bay makes a return to his 90s mega-action heyday and David Cronenberg again combines body horror with stylized social commentary.
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Reviewing the latest installment of Tom Cruise demonstrating his indestructible star power, plus brief comments on must-see non-blockbusters HAPPENING and MEN.
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Survey of the cinematic year which shifted mainstream cinema from downbeat adult fare to triumphant escapism. Films discussed include ROCKY, SLAP SHOT, SMOKEY AND THE BANDIT, STAR WARS, THE SPY WHO LOVED ME, ROLLING THUNDER, SEMI-TOUGH, JULIA, THE TURNING POINT and CLOSE ENCOUNTERS OF THE THIRD KIND.
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Review of Dan Kwan and Daniel Scheinert’s spinning top family saga which has fine lead performances, but overindulges to its detriment.
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A self-interview mentioning my earliest movie experiences, my first foreign film, taking a film class with Baird Whitlock (who shares a name with a Joel and Ethan Coen character, being an AFI volunteer amidst future Oscar and Tony winners and favorite film and music podcasts.
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Reviews of Pixar’s metaphor for a 13-year-old Canadian/Asian girl’s adolescence, Adrian Lyne’s belated return to the erotic thriller genre and Sean Baker’s Texans hanging out (in multiple senses) followup to THE FLORIDA PROJECT.
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Matt Reeves reactivates the Caped Crusader in a two hour film wearing a baggy three hour epic suit.
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Reviewing Joe Wright’s overlooked CYRANO, plus the fifth SCREAM and HERE BEFORE—a character study of a mother convinced the little girl next door is the reincarnation of her deceased daughter.
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Discussing the animated documentary FLEE and Paul Thomas Anderson’s deservedly praised LICORICE PIZZA.
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Review of Jennifer Lopez’s return to the romantic comedy genre.
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Overview of the Academy Awards Best Picture nominations plus some observations on other categories.
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Discussion of Woody Allen’s RIFKIN’S FESTIVAL, the first episode of W. Kamau Bell’s docuseries WE NEED TO TALK ABOUT COSBY and how to regard quality of work and public plaudits while being aware of problematic/toxic behavior at the same time.
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Discussing Pedro Almovodar’s very good showcase for Penelope Cruz, plus hit and/or miss social commentary fare from Adam McKay and Michael Showalter.
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Reviewing Fran Kranz’s photographed stage play MASS and Joel Coen’s technically brilliant but dramatically underwhelming adaptation of Shakespeare’s MACBETH.
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Reviewing Lin-Manuel Miranda’s assured (sometimes Fosse-esque) directorial debut and the annual George Clooney-directed Prestige Movie.
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New reviews of Maggie Gyllenhaal’s directorial debut and Mike Mills’s first film since 20TH CENTURY WOMEN.
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Discussing Lana Wachowski’s resurrection of THE MATRIX, which attempts to thread together meta jokes/references and conventional fan service.
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Catching up with the Nicolas Cage indie crossover PIG, as well as reviews of SWAN SONG (Mahershala Ali), Guillermo Del Toro and Kim Morgan’s NIGHTMARE ALLEY and Aaron Sorkin’s BEING THE RICARDOS.
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Reviewing the now little known 1961 political drama with Dean Martin as a co-opted Southern governor—and Paul Verhoeven’s drama on the intersection of sexuality and 17th-century religion.
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A few words on the new WEST SIDE STORY, and where it fits into the Steven Spielberg canon (mainly the Spielberg of late who aspires to William Wyler/George Stevens status).
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Discussing Pablo Larrain’s SPENCER and Kristen Stewart’s sure-to-be win of the Best Actress Academy Award.
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A few words on Ridley Scott’s pop culture banger about machinations and murder in the world of high fashion.
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A few words about Kenneth Branagh’s coming-of-age in Northern Ireland cinematic memoir—which, hopefully, won’t receive AMPAS neglect like last year’s MINARI.
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Discussing Jane Campion’s new film, which has fine acting and period ambience but is more reigned in and over controlled than its admirers realize.
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Three of the films which may be competitive in acting and directing categories during this awards season.
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A few remarks about passing up the recent glut of Marvel TV series, only to return for a Disney+ showing of the IMAX-enhanced SHANG- CHI AND THE LEGEND OF THE TEN RINGS.
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Three period films with different aims: reviving the prestige historical drama, reactivating the dormant subgenre of Black Westerns and a colorful character study of immersion/survival in problematic 1960s London.
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Discussing horror movies that aren’t as well-known as the genre staples—from Lionel Atwill’s gruesome pre-code MURDERS IN THE ZOO to Frankie Avalon playing an adult in 1970’s HORROR HOUSE.
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Covering the dutiful Denis Villeneuve retread of DUNE and Todd Haynes’s more exciting guided tour of seminal art rock/protopunk band The Velvet Underground.
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The latest resurrection of prolific killer Michael Myers, courtesy of David Gordon Green, Danny McBride and Blumhouse; guessing that next year’s HALLOWEEN ENDS won’t be the end of Michael if money can still be made.
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Discussion of NO TIME TO DIE plus two of its predecessors in mixing high drama into the license to kill plus escapism formula (THE LIVING DAYLIGHTS and THE WORLD IS NOT ENOUGH).
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Review of Paul Schrader’s latest fillm THE CARD COUNTER, the latest in his God’s Lonely Man narratives. Plus the non-artistic, but occasionally effective sequels to the first two Carpenter/Hill HALLOWEEN films (kudos to Danielle Harris).
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Begins with tribute to the late Michael K. Williams, mentioning his role in John Leguizamo’s CRITICAL THINKING. Also reviews of Clint Eastwood’s latest curtain call CRY MACHO and Nia DaCosta’s sequel/reboot to CANDYMAN.
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Reviewing the faux BLADE RUNNER Irish science fiction ZONE 414 with Guy Pearce, plus Noah Baumbach’s MR. JEALOUSY (1997) and Claude Chabrol’s A DOUBLE TOUR (1959) with the late Jean Paul Belmondo.
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Discussing the new documentary BITCHIN’: THE SOUND AND FURY OF RICK JAMES and the Leos Carax/Sparks experimental musical drama ANNETTE (plus predecessors PENNIES FROM HEAVEN, NEW YORK NEW YORK and DANCER IN THE DARK).
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Beginning with a discussion of horror director Lucio Fulci’s Italian Western costarring Franco Nero and George Hilton. Also discussed: Liesl Tommy’s misfired authorized Aretha Franklin biopic RESPECT and Gracie Otto’s anecdotal rock documentary about George Martin’s decade-long AIR recording studio in Montserrat (UNDER THE VOLCANO).
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Discussion of Lisa Joy’s neo-noir romance REMINISCENCE and Lewis Gilbert’s wife-killer noir CAST A DARK SHADOW, plus Tom McCarthy’s Americans in trouble abroad character study STILLWATER.
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Reviews of the mildly entertaining legal drama/caper comedy NAKED SINGULARITY and the artificially contrived CODA, which was a Sundance favorite but plays less well on big-screen TV.
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Discussing the Matt Yola-directed documentary WHIRLYBIRD, which is receiving an under-the-radar VOD release. The film profiles Bob (now Zoey) Tur and then-wife Marika Gerrard and how their often sensationalist coverage of Los Angeles stories (usually via helicopter) had an ultimately negative effect on local TV news.
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Reviews of James Gunn’s sequel/reboot THE SUICIDE SQUAD and ROADRUNNER, Morgan Neville’s controversial take on chef/author/travelogue host Anthony Bourdain.
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Discussing the new documentary about Val Kilmer’s life and career—plus a sidebar on actor George Peppard, who had a Kilmer-like trajectory from prestige acting school training to being primarily regarded as a handsome personality star.
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On Hulu’s Rick Rubin-guided tour of Paul McCartney as Beatle, Wing and solo artist.
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Returning from a hiatus prompted by a hospital stay, here are brief comments on Questlove’s SUMMER OF SOUL, Liam Neeson’s action programmer trifecta of THE ICE ROAD, THE MARKSMAN and HONEST THIEF, and the surprisingly not bad SPACE JAM sequel.
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Reviewing two new VOD releases (HOLLER, THE DRY) plus Steven Soderbergh’s latest venture into noir (NO SUDDEN MOVE, playing on HBOMAX) and Joseph Lerner’s recently rediscovered and restored 1950 noir GUILTY BYSTANDER.
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Reviews of Chris McKay’s THE TOMORROW WAR (another Paramount blockbuster offloaded to Amazon Prime) and Neil Burger’s young adults going wild in space VOYAGERS, which cribs a little from George Lucas’s THX-1138.
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Discussing the FAST AND FURIOUS films I’ve seen (counting spin-off HOBBS AND SHAW) and crediting the series longevity to FAST FIVE (best of) changing format from street racing sagas to blue-collar MISSION: IMPOSSIBLE mixed with DIE HARD.
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ONCE UPON A TIME IN HOLLYWOOD, now getting a novelization, has become Quentin Tarantino’s TITANIC—a theme park viewers love to visit many times (and counting). Is this at the expense of discovering newer, more diverse filmic voices? Plus, some qualms on my part over mythologizing the Hollywood workplace without understanding the racism and narrow thinking that can be found there.
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Discussion of Edgar Wright’s tribute to the brothers Mael—plus a few tangentially related films such as the Ramones END OF THE CENTURY, Fishbone’s EVERYDAY SUNSHINE, A BAND CALLED DEATH and selected Julien Temple-directed documentaries.
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Begins with overview of Clint Eastwood’s 70s Westerns (with special attention paid to THE BEGUILED), then segues into genre deconstruction, defined as unconventional stories/aesthetics/directorial choices. Films discussed include McCABE AND MRS. MILLER/BUFFALO BILL AND THE INDIANS (Altman), BAD COMPANY (Robert Benton and David Newman), THE LIFE AND TIMES OF JUDGE ROY BEAN (John Huston, John Milius), ZANDY’S BRIDE (Jan Troell), THE MISSOURI BREAKS (Arthur Penn, Thomas McGuane, Marlon Brando), and PAT GARRETT AND BILLY THE KID (Sam Peckinpah, Rudolph Wurlitzer).
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Discussion of the simultaneous theater/streaming releases RAYA AND THE LAST DRAGON and IN THE HEIGHTS. Also mentioned: how HBOMAX gets more criticism than Disney+ and how both WB and Disney hide the viewership numbers and streaming grosses from the trade press and mainstream media.
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First of a sporadic series of episodes about the decline of the Western genre in the 1970s. John Wayne, reluctant to stretch the boundaries of his image, made two Westerns which, more or less, did just that (TRUE GRIT, THE COWBOYS). Otherwise, he cranked out programmers for his core audience—both Westerns and cop films not departing markedly from his Western persona. Films from this period that go slightly out of the corral (BIG JAKE, McQ) are discussed. Also, his two final films (ROOSTER COGBURN, THE SHOOTIST) in the Western genre are discussed—plus Wayne’s farewell to playing his Western persona as a pitchman for both a headache remedy and Great Western Bank.
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Begins with discussing two types of sequels—the ones that build on the artistic success of their predecessors and the mediocre kind offloaded to directors who care more about making studio release dates. The third CONJURING film is the latter, and A QUIET PLACE PART II is, thankfully, the former.
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Discussion of six films (Too Late For Tears, Woman On The Run, The Scar aka Hollow Triumph, The Devil Thumbs A Ride (shoutout to Barry Gifford’s book of film noir essays sharing the same title), Kiss Tomorrow Goodbye (now known mainly for co-star Barbara Payton, who later became part of a scandalous, violent triangle—Karina Longworth and poet Michael Shepler’s differing approaches to Payton’s life story are mentioned) and Fritz Lang’s less loved followup to THE BIG HEAT—the bleak HUMAN DESIRE, reteaming Glenn Ford and Gloria Grahame.
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Ten films either so bad they’re good or good mistakenly classified as bad. Includes Westerns starring William Shatner and Marty Robbins, Bette Davis and Ernest Borgnine as bank robbers disguised as hippies, Roger Corman underwater and in outer space, Doris Day and Richard Harris as spies in the cosmetics industry, Jane Fonda and Donald Sutherland’s counterculture CANNONBALL RUN, the indescribable THE MANITOU and 50s pop star Fabian as Pretty Boy Floyd
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Capsule reviews of WRATH OF MAN, DREAM HORSE, ROCKFIELD: THE STUDIO ON THE FARM and ARMY OF THE DEAD.
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