The Enforcer (1951) is a murder for profit affair with a mastermind sitting at the top of the pyramid giving directives to desperate men without a motive, and staying protected from the law. Enter Humphrey Bogart, the lead playing a tough nosed district attorney tasked with the impossible in bringing the massive ring of hired hit men to justice.
… More The Enforcer (1951) a mad scientist noir
Aside from being hit repeatedly with her inner turmoil, the playful approach to the actual history of Monroe makes this even more of a bother. Instead of getting genuine scenes with Billy Wilder or when making The Asphalt Jungle, it’s again, glossed over to move the focus back to the pain. This approach is mind-numbingly boring to watch and there’s virtually no reason for me to ever return to this film in the future. … More Blonde (2022) is offensively one-note on Monroe, but the bigger offence is being incredibly boring
Three Outlaw Samurai (1964) is akin to a Hideo Gosha morality picture, simple in terms of concept, plot, and characters but relating a story of trauma hidden away from nobility. It’s ostensibly a story of the Shogun coming face-to-face with the hurt their greed has caused and having to reconcile with this fact. The wandering Samurai caught in the midst of a village conflict and his humanity rising to the surface narrative. … More Hideo Gosha’s “Three Outlaw Samurai” (1964) a brilliant use of the wandering Samurai trope
Don’t Worry Darling is an interesting concept for a film, with a strong setup early in the script that fails spectacularly to follow up on the premise. Despite some rather interesting ideas and (some) decent performances, the film is a walking contrivance. It’s hard to see past the pastiche and stylized set designs…
… More “Don’t Worry Darling” (2022) shows promise in concept, but comes up empty in execution
The Dead End Kids being sold with Humphrey Bogart, Crime School (1939) is the Warner Bros version of Dead End (1937). A cheap attempt to profit off the discovery of this group of Brooklyn teenagers with charm, comedic timing and acting instincts
… More Crime School (1939) the Warner Bros obvious Dead End (1937) knock-off
Many films have been made about the 47 Ronin story. No other piece of Japanese history has been portrayed this many times in 24 frames and Hiroshi Ingaki’s take is one of my favorites.
… More Capsule review: Chūshingura: Hana no Maki, Yuki no Maki (1962) – the best of the 47 Ronin
Barbarian surprised me with its subtlety. It’s a fairly traditional story with a great twist, but it doesn’t veer off too far from the average horror monster and setup. Regardless, Cregger holds the tension in creative ways, not allowing it to become so involved in the mystery in the basement until it’s necessary. It’s an excellent entry into the genre and hope we get to see more from him in the future … More Barbarian (2022) the surprise horror film of the year
Fall is cheap storytelling. A short film idea expanded into a feature-length. It’s got moments of sheer tension and others of unnecessary character building. The character backstories don’t make the film any worse, however, it’s so forced in the middle of what’s supposed to read as dread. There are far too many plot conveniences in a situation that’s supposed to be dire … More Fall (2022), the influencer survivalist thriller
Allowing Toshiro Mifune full range of the set to play around. It’s a marvelously fun performance featuring parts of romance, machismo, and genuine empathy, while splashing in stylish battle sequences. … More Red Lion (1969) Returns to a more familiar time in Toshiro Mifune’s career
Xavier Dolan’s family dramas are explosive, unrepentant pieces of art that pushes every tensile emotion to its limits. In this view, the script can come off a bit contrived, as we see how hard the writing is trying to invoke a heavy emotional response. It’s over bloated in emotional moments, reaching hard to pull that out of the audience. However, many of these moments resonate because it doesn’t devolve into melodrama. It’s mostly challenged and unacceptable. … More It’s Only the End of the World (2016) is Xavier Dolan at his most emotionally raw and confused￼
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