The titular character in The Driver, played by Ryan O’Neal, doesn’t speak much. No one does really, except for Bruce Dern’s crazy detective out to get him. In fact, the film is so disinterested in information, that the sparseness actually becomes the point of the film. In fact, no one is ever even given a name.
I am definitely aging myself when I tell you that some of my fondest childhood memories were staying up way past my bedtime and catching some weird movie on one of the local channels at 2am or finding a weird VHS tape to rent at West Coast Video.
If you were to scroll through the list of podcasts that I listen to, you would notice something. Amidst all of the gaming, movie and old time radio podcasts, you would see a lot of True Crime podcasts. A lot. Probably more than is acceptable.
Mild-mannered man Tom Stall (Viggo Mortensen) becomes a local hero through an act of violence, which brings to light aspects of his past that will shake his family to its very core.
That is the easy way to describe this movie.
I’m not going to lie. I had a hard time beginning this review. I mean, how does one begin to describe Howard the Duck?
Guy Ritchie’s re-imagining of the King Arthur legend gets a lot more right than it does wrong. In fact, the ratio tips so far towards the positive that this really good film almost becomes excellent.
Our second installment of Bond finds him going up against the Russians in From Russia With Love. Again, I’m less familiar with the Connery Bond films, only having seen them a few times, but this movie was much better than I remembered. Where Dr. No had slow plodding moments, From Russia With Love was slicker and a far more exciting installment of the Bond series.
Christine, based on a true story, covers the final weeks of TV news reporter Christine Chubbuck’s life leading up to her live-on-television suicide in 1974. Rebecca Hall plays the titular character well, showing her professional and personal problems that may have led to that fateful decision.
Herzog’s documentary on connective technology feels capricious, only tangentially sticking to the timeline it tries to explore: the birth of the internet to the future of what it might become. The film varies scene to scene from flighty and amusing to unsettling and profound. It’s at times self-indulgent, at times brilliant, but all too much the former.
I have few memories of watching this movie, in fact, I hardly remembered any of it when I sat down to revisit this movie.Which made me both excited and apprehensive at the same time.
24 Hour Party People tells the story of the 80’s New Wave Liverpool music scene through the eyes of Tony Wilson (Steve Coogan), a journalist turned TV Presenter turned record label and nightclub owner.
Masque of the Red Death manages to mix B-movie Hammer horror camp with gorgeous production design. Shot in widescreen and vivid colors by Nicholas Roeg, it’s period piece that belies it’s low budget.
Alex de la Iglesia has shown in the past with Day of the Beast that he can present the absurd and insane in an entertaining manner. But only two words come to mind when thinking of this film: bloated and juvenile.
Closely Watched Trains is unconcerned about story. Instead, it focuses on the small moments that make up the big picture. The humor found in everyday life. The people and what motivates them to perform deeds big and small.
Right off the bat I’m going to say that there has never been a more devastating war film than Come and See. It was produced to commemorate the 40th anniversary of the Soviet victory against the Nazi’s in World War II. To call that a victory brings to mind images of smiles and cheers and flag-waving, but as this film makes perfectly clear, it was anything but that.
This film does not age well. It’s take on oriental mysticism is out-dated and the effects are obviously behind the times.
Normally, I’m always willing to give a film a pass on things like that, even going as far as to say I find them charming, but this one didn’t work for me.
This has a great setup. The film opens on death row. A well-spoken regal young man (Dennis Price) is in a cell writing his memoirs. It’s nearing the time of his execution for the crime of murder.
How did he get to this point? And why is he taking it so matter-of-factly? It was a long road that got him to that point, and the film starts from the beginning.
This film is a product of it’s time. A time when the Hayes code was on it’s way out and studios were churning out titillating cheapos to take advantage of audience’s new-found predilections.
It checks all the boxes: humor, sex, name-recognition, and to top it off, Goldfinger had come out the year before. I guess the studio didn’t think much else was needed.
Beyond the Black Rainbow opens with a vintage 70’s film strip. An advertisement for a cult-like wellness center, Arboria, that promises to deliver members true happiness.
Oh, how wrong they were. For the characters, and, unfortunately, for the viewer as well. This film is a slog. Its visual aesthetic is a claustrophobic second-rate Kubrick clone and its soundtrack is composed of the same brain-numbing repetitive sounds.
This film is anchored by the tension between two opposing genres. The first is a romance between has-been writer Dixon Steele (Humphrey Bogart) and his neighbor Laurel Gray (Gloria Grahame). The second is a murder of a young coat-check girl which may or may not have been committed by Dixon.
Scotland, PA stinks of an independent film of the time period. But that isn’t a bad thing! This updated Shakespeare tale tells the story of MacBeth but sets it in a small-town restaurant in the 70’s.