Hell or High Water

It may be a little early for Awards forecasting, but my dopler has been keen a couple of times in the last five or six years so I might as well take a shot with this film. I see at least two strong acting contenders and a screenplay nomination that will depend on what opens between now and the end of the year. This is easily the most Award worthy film I've seen this year so far and I am giving it my highest recommendation. If is manages to get to a theater in your neck of the woods, you should go and see it. It is not perfect in plotting but the dialogue is fantastic and the spine of the story is compelling and relevant.

We don't exactly know why, but two brothers are on a mission to rob a series of bank branches that belong to a local institution in Texas. The robberies are planned and there is a definite element of thinking to the strategy, but in execution, the robbers appear to be less than sharp.  The Texas Rangers become involved and a wily soon to be retired investigator has his own theories about how to flush the criminals out. That's as much of the plot as I'm willing to give up because there are some surprises along the way that you will not want to have spoiled for you. The context of hard times and the stubborn independent streak of West Texas make the film feel fresh in a dozen different places. There is much humor in the film but some of it will seem politically incorrect and might irritate SJW. There is a sense that things are not as they should be and that is partially due to race and class. In the end we are going to be conflicted because both sides in the conflict have given us something to root for.

There are three parallel relationships that keep our interest in the film, let's take them one at a time. First the two brothers in the movie could not be more dissimilar.  Chris Pine plays Toby Howard, the younger, very handsome brother who has always been a straight arrow, if not always a success. His older brother Tanner is a wild child, disowned by his mother, convicted by the state of various crimes, and probably guilty of patricide. Ben Foster has been an actor in the periphery of stardom for more than a decade. His Charlie Prince in the remake of " 3:10 to Yuma"  was a flashy part but not big enough to score with critics groups. This part should change that. Tanner is a truculent loser with a sense of self that is humorous at times and frightening in other moments. The two brothers bicker, reminisce, and joke with one another like brothers might. They have not always been close but they understand each other really well. Pine is excellent but his role is the less flashy of the two, and Tanner has some of the best one liners in the film. Both my daughter and I laughed hard at his umbrage when his brother tries to substitute Mr. Pibb for Dr. Pepper. He may not be the smart one, but he is the spark plug that makes this story compelling.

The second relationship that is important to our appreciation of the film is the partnership between the two Texas Rangers on the trail of the pair. Gil Birmingham is Alberto Parker, a Native American in the most cowboy job a guy can have. His partner is old timer Marcus Hamilton, a laid back Jeff Bridges. Marcus goes by instinct and cleverness. Alberto is the more traditional Ranger who sees tweekers  behind most of the crimes they investigate. It seems that these two are friends most of the time but the jabs they give one another are sometimes done without the sarcastic smile that would indicate that the speaker does not really mean what they are saying. Screenwriter Taylor Sheridan has a ear for what is real and what is tense.Their conversations range all over the place but are deepest when looking at the changing roles of different groups in Texas. Both of them know when they have been put in their place by a local waitress with definite ideas of what it is they should be ordering to eat. The importance of this relationship is what sets up the last of the three major pairings in the film.

Toby and Marcus are the third side of this triangle of male relationships. Bridges is using his gruff mumbling voice in this film, a lot like he did in the dud "R.I.P.D." from a few years ago. In that film the character was overdone but in this film the quirks are perfectly balanced with the thoughtfulness of the character. The gravel in the voice is less affectation and more earned. The climax of the film will surprise some people but not fans of 1970s films. The unfulfilled confrontation between the two smart guys in the film is some of the best character dialogue you will hear in movies these days. Bridges and Foster are exterior performances which is why they will get deserving notice but that should not overshadow Pine who becomes a better actor each time he is in a film. His work in this final scene will prove that to anyone willing to watch.

There were times in the film when I was reminded of watching one of those car chase films from the seventies. Not the cartoon ones in "Smokey and the Bandit" but the existential films like "Vanishing Point" or even "Dirty Larry, Crazy Mary".  The characters success or failure in the chase was not just a visceral thrill but a moment of significance to the story. The cat and mouse game being played in this film is for big stakes, and we can empathize with each side since they both take significant losses. Also like a 70s film, the scenes develop and build they don't simply start with a climax and show that. There is purpose behind all of the things that happen in the film. Having made the choice they did, the two brothers story plays out as it must, a tragedy and a double edged success. Bridges stands as the looming figure in the lives of the two brothers, and his quiet, ominous demeanor, is one of the great pleasures of this film.

They don't make Westerns much anymore and the old saying is they "don't make them like they used to". Well "Hell or High Water" is both a Western and made like they used to make them. It is thoughtful, violent, clever and performed at a level that will please audiences substantially. I could hear today's crowd react several times to moments in the film. They do so because they become invested in the characters. That sort of character driven story is hard to come by in the fast paced action films of the day. This movie will provide the opportunity to follow a story, care about all of the main players, and sit in suspense as we wait for the final moments. You will be hearing about this one again. Make sure you are ready to talk about it by seeing it.

Thelma and Louise 25th Anniversay Screening

At some point before this movie opened, I saw a trailer and both Susan Sarandon and Geena Davis were in a convertible with guns in their hands. At that point, without knowing anything further, I was in. The movie turned out to be a landmark Ridley Scott film that created a media sensation that kept people talking most of the summer. It was nominated for six Academy Awards (though not Best Picture) including nods for the two stars and the director. The end of the film was iconic and much parodied and it still packs a punch today. Although it is a road picture, it also subverts a lot of the traditions of such film stories.

I understand how it is seen as a feminist picture. The subject of how men relate to women in contrast to the way women relate to each other is explored in several interesting ways. Thelma's husband Darreyl, played by an excellent Christopher McDonald, is a possessive  but disengaged spouse. He sees only what his wife can do for him or how she effects the way he will be seen. Harlan and J.D. are both exploiters of women. One might be less violent and more polite than the other, but his perception of them is the same, they are target rich environments. Jimmy, a breakout role for Michael Madsen, and Detective Slocum, the surprisingly sympathetic Harvey Keitel , both want to help the women in their crisis but have difficulty understanding why they are being shut out in very different ways. [The next year they would be antagonists Mr. White and Mr. Blonde].

Sarandon is the older more mature of the two friends, and she is the one who is most wounded at the start but we never see it. Louise is a walking functioning example of PTSD. As we get hints about events in her past, her motivations and perceptions become more understandable to us. Legal or not, her actions that start the two off as fugitives would be applauded by most in the audience. Thelma is a tougher specimen to examine. She is all contradictions. She starts off timid, then becomes liberated, and then near catatonic. She says it best towards the end of the movie:

Thelma: "But, umm, I don't know, you know, something's, like, crossed over in me and I can't go back, I mean I just couldn't live."

At some point the empowerment of the two women overwhelms their sense of proportion. The patterns that preceded their adventures become paths they can't avoid. Louise is blinded by her past and Thelma is resentful of it. When people complain about the end of the film, they need to keep that in mind.  Thelma starts her rebellion and freedom from Darryl by simply not asking his permission. Like a teenager, she overdose the vices, drinking to excess, smoking, unencumbered sex and finally robbery. She is acting out against the father figures she sees in her life, especially the unpleasant spouse she has been trapped with. Louise runs because she has been conditioned to do so. She runs from the man who loves her, from the sympathetic police officer that wants to keep her from being killed and mostly she runs from her own past.

There is a star making turn by Brad Pitt in the film. If ever there was an example of lightning striking a career, this is it. He is all charm and hot looks and that is what blinds Thelma to his faults. Louise was suspicious from the beginning but she is that way with nearly everyone. Both women share the lead in making decisions at different points in the film. It's not important which one made which bad choice, what is important is that they are not going to let any man choose for them. That is the subversive message of the film. I am probably blinded by not being a woman, so some of their choices seem plain stupid to me, but that did not mean I was not entertained or fascinated by these women. Twenty-five years ago, I said to my wife when the film was over, "That was a hell of a movie". It's still true.

Bond In Motion

So a few weeks ago, I visited Great Britain for the first time. We were meeting a cruise and had only a day and a half in London to do some sightseeing. When looking on-line to find places to visit, my wife came across the page for the London Film Museum. Their current exhibit is a collection of vehicles on loan from EON Productions, that have been used in the making of James Bond films for the past fifty three years. This was easy, count me in.

 The museum was at one time known as the British Museum of Transportation, so when we directed the cab driver to the location we wanted, that's the way he referred to it. From the plaque above you can see it has in fact been re-christened.













The exterior is really just a storefront size space, you could easily miss it if you were not looking for the attraction, although like most tourist based locations, there is a barker out front occasionally, passing out flyers and encouraging pedestrians to enter.

We did not need the encouragement we had already purchased our tickets weeks before on-line. Actually arriving though got me all revved up again.As we entered the premises there is a large description on the wall of what the exhibit consists of.

The Upper mezzanine had a series of storyboards and a couple of props from early Bond Films, that's where we started our visit after a ride in a small elevator.

We tried to look more like tourists but without putting on an Aloha shirt and a straw hat, I don't think we could do a better job. 

When we arrived on the lower level, the Vehicle displays began. In the interest of brevity, I will limit the photos to one per film, but believe me, I an loaded for bear on this trip.

Goldfinger's Yellow Rolls Royce.

The Rolls used in "A View to a Kill", it was actually Cubby Broccoli's personal car that he lent to the production.

Dolores gives some perspective to the mini jet featured in the opening of "Octopussy".

For an invisible car, it was pretty easy to see this Aston martin from "Die Another Day".

Tracy's Thunderbird from "On Her Majesty's Secret Service".

The speedboat from "Live and Let Die".

The Lotus that doubles as a submarine in "The Spy Who Loved Me". 

The DB5 from Goldfinger and Skyfall.

The AMC spinning Hornet from
"The Man with the Golden Gun".

The amazing reversible Mustang from "Diamonds are Forever".

An Aston Martin with skis, from "The Living Daylights"

And this is SPECTRE's Rolls Royce, that delivers Bond and Madeline to Blofeld. 

There are many more images to share, I'm working on a video to post, but for now, eat your hearts out all you Bond fans who can't make it to London. Maybe it will tour and then you can geek out like I did.

Lambcast Movie of the Month: Streets of Fire Hosting

I am the Host for this Movie of the Month Podcast for the LAMB. Take a listen and enjoy.

Pete's Dragon (2016)

The other night, we decided to watch the 1977 Disney film of "Pete's Dragon". My kids watched it a lot when they were young and it seemed like a good thing to do in getting up for the remake that opened this weekend. As I watched it, I remembered how painful it was to experience back when the kids were four or five. It is looong. The songs are not memorable at all, and the actors either ham it up excessively or they are stiff as a board. Whatever the new film was going to bring us had to be better than this misbegotten piece of nostalgia that I hope never to have to sleep through, I mean watch, again.

Happily I can report that I was correct, this new version is a substantial improvement and will be an excellent family film for kids over the age of seven or eight. The one major reservation I have is that the film begins with a family vaction that goes dramatically wrong. It is traumatizing and the little guys might be scared and have nightmares about what happens. It is a scene that is done in the gentlest of ways but it is still tough to take when you are with your family. Once the opening five minutes is passed, the rest of the movie is a delight with some poignant moments of sadness but nothing that the kids won't have seen in a dozen other stories.

In a way, this is a different version of "The Jungle Book", with an orphan being raised by a wild anima but ultimately needing to be returned to a human society.  The animal in question does not really talk or sing but that does not mean that it does not emote. "Elliot" was a cartoon in the musical version and he was not always a creature that you could identify with. Ever since CGI has been used in movie special effects, Dragons have been a subject. From Dragonheart, to Reign of Fire, up through The Hobbit Films and Game of Thrones, these animals have been used as characters . Most of the time they are terrifying, sometimes they have voices but always they have been dangerous and scaly. The film makers here have managed to make a dragon lovable without stripping him of his dignity. Anyone who has owned a dog will see familiar expressions and behaviors expressed by Elliot. This is a story about a boy and his dog, who happens to be a dragon. The closest I've seen to this style dragon in the past is "the Luck Dragon" from "The Neverending Story". Elliot is furry and the face is expressive, I also liked the addition of his body colors changing in response to a particular touch.

Bryce Dallas Howard makes back to back appearances in consecutive years in movies featuring large animals run amuck. Unlike "Jurassic World", she is unlikely to get eaten, but her costar is a CGI invention. Robert Redford is in this film in a peripheral way, but as usual he is a welcome presence. I did not know that Wes Bentley and Karl Urban were in the film so that was a nice surprise. Young Oakes Fergley, who plays "Pete" is a good find for the part of a young child living in the wilderness who becomes a fish out of water in suburban/human surroundings. He is still very young so it is hard to say what his potential is but he is already a better actor than the child cast in the 1977 film.

There will not be any great twists in the story, it does feel in fact very much like an older Disney film when it comes to the plot. What makes it better than those creaky films like "Blackbeard's Ghost" or "The Love Bug" is the quality of the production and the actors involved. Everyone treats the story here seriously and the events that happen only stretch credibility a little bit at the climax. The last twenty minutes feels right out of a dozen other films even though the plot is different and the characters are not the same either. If you are a sentimental adult who can suspend their cynicism  for an hour and a half, or if you have kids and you want them to see a quality family picture, than "Pete's Dragon" should do the trick, and you won't have to get an annoying Helen Reddy song out of your head afterwards.

TCM Animal House

So here we are six years after I last posted about this film. "National Lampoon's Animal House" really does qualify as a classic film, in spite of how rude, irreverent and sometimes crass it can be. There were other wild comedies of the seventies but "Animal House" introduced the off the wall sensibilities of John Landis, The National Lampoon Staff that included Harold Ramis, and of course John Belushi. All you "Ghostbusters" fans out there, if there was no "Animal House" there would have been no "Ghostbusters".

The cast of this film is also amazing when you look back on it. It was Kevin Bacon's first movie, Tim Matheson moved to the Big screen from TV roles, Tom Hulce is launched onto the movie going public and Karen Allen is just three years away from Raiders. The story I have heard is that Donald Sutherland turned down a piece of the backend in favor of s straight paycheck, and if he had taken a piece of the action he'd have made a hell of a lot more from the small part he played.

This is my daughter Amanda's favorite comedy, primarily because it embodied the Spirit of Troy Trojan Marching Band's attitude about how to enjoy college life. My memories of it are incredibly positive but it is not just a nostalgia trip to see it. The movie still kills in the laughter department. Belushi was not a silent star but more than half his role consisted of his physical comedy rather than dialogue. The movie is eminently quotable, and because it was set before it's time in the first place, it has aged very well.

Here is the Band doing the Theme from Animal House [by the way, written by pop singer Steven Bishop, who appears as the guitar playing Romeo at the Toga party]

 


Somewhere, Amanda is in there, this was her last year playing for the Spirit of Troy before she graduated.

The Film Screens again this coming Wednesday, Now Take that Pledge pin off your uniform, drop and give me twenty, and go see this on the big screen.

Florence Foster Jenkins

A few months ago on a podcast that I listen to, one of the guests had a rant about some of the crappy films she saw on the horizon. Chief among them was this Meryl Streep starring vehicle. Based only on the trailer the podcast guest dismissed it as Oscar bait not worthy of even thinking about. Now I have never been put off by the fact that someone has an opinion, but it seemed a bit harsh at the time, even though the film did not strike me as something I felt I must see. I understand the sentiment, after all it does look like it is this years entry in the Streep slot for an Academy Award. The movie does come from director Steven Frears who has often been associated with some highbrow films that look like they are seeking attention, the thing is though, they usually deserve the attention. This film is no exception.

Had I listened to the advise of this blogger/critic I might have skipped over this film, as it is, that would have been a mistake. This movie has a lot going for it, especially the heart of the story which is very well told and entertaining as heck. Let's start with the elephant in the room, the star. We know that Meryl Streep can sing. "Ricki and the Flash", "Into the Woods" and "Mama Mia" have established that. So in a sense this film is the real acting challenge because Florence Foster Jenkins apparently could not sing. Streep is very convincing as the music lover with flat pitch and sight blinded by desire. It appears that much of the story here is true although substantially adapted to make a comedic-drama work on film. Maybe some of you will be familiar with the story of Mrs. Miller, an amateur singer who had success as a novelty recording artist in the 1960s. "Florence Foster Jenkins was her progenitor.

The real strength of the film however in in the performance of Hugh Grant, who reportedly came out of semi-retirement to work with Streep. As Jenkins husband St Clair Bayfield, he is his usual foppish English type but with a great deal of heart and wherewithal . At one point in the story it appears he is a cad, but as the film unwinds we learn that love is not always the thing that we define it as. Notorious for mugging on camera, Grant is more realistic in his facial expressions and more tender in his vocalizations than you have probably seen before. I have always been a fan of his but not necessarily because his acting was excellent but because he was well cast and charming. Today he impressed me as a thespian and I'm sorry to say that a film like this will generate more critical attention for the leading lady than for the gentleman.

Simon Helberg, from "The Big Bang Theory" is much more the traditional comic relief. As Cosmé McMoon, her pianist accompanist, he gets several chances to visualize the absurdity of what is passing for music. His performance is much quieter than you will see in the television series and there is more substance to it. One of the things that this movie does is imbue it's characters with real heart and Helberg has several scenes where his performance adds immeasurably to our acceptance of what is happening. Actress Nina Arianda is not a person I was familiar with, but she puts a lot of gusto in her role as Agnes Stark. She is a character that you might quickly dislike, but in the end she becomes a interesting champion for the music lovers that turn a deaf ear to our tone deaf heroine.

Maybe one of the reasons the film works for me is the setting. NYC in the period of WWII is maybe the most romantic time I can think of in American History. The modern aesthetic of clothes, architecture, music and culture are seemingly so perfectly balanced at this point. Any time perion that we ourselves have not lived through can be made to seem romantic, and the taxicabs, concert halls and dining rooms of hotels all look great in the set design of this movie. I know that Liverpool stood in for the streets of New York in several scenes, and that might seem odd except that Liverpool has sustained the look of that time period whereas NY has moved on, so in the end it works quite well.
Another reason I find the story compelling may be an addition made by screenwriter Nicholas Martin. In the film, one of the things that motivates Florence Foster Jenkins is her sympathy for American Servicemen during the war. As the character quotes Beethoven at one point  "Wrong notes are of little consequence, but to play without passion is inexcusable", Florence Foster Jenkins represents the kind of passion, for music and in the one case in the film, the military, that makes Beethoven's reported words real.

I am surprised as anyone at how much I enjoyed this film. I know I never had any hipster cred to lose anyway, but I suppose now my application for official hipster status will be automatically rejected in the future. I thought this was a sentimental and warm story, told with a great deal of humor and excellent performances from the leads. The movie looks grand and the director moves it along quite well without necessarily showing off. I'm glad to say that I "passionately" endorse this film, regardless of what my expectations might have been.

Suicide Squad

I'm not a comics guy as I'm sure I've said a couple of times before. My guess is that the number of people like me, those who will see a comic based movie without knowing the whole cannon, outnumber the people who can tell you that the eye-shadow on the Joker is inconsistent with the history established in volume 274 of the Dark Knight Series 3 featuring the four fingered Joker variation (or some such detail).  In other words, I'm not so invested in the characters that I can't handle change. There was a lot of talk when this film was being produced about whether it could meet the fans expectations. Other than Harley Quinn and the Joker, I've never heard of any of these characters, so maybe my opinion will be discounted by some because I am not invested. As the summer season came on, the buzz was that "Suicide Squad" would be the film to make the comic book fans happy. When the first reviews started coming in, there was a stampede of disappointment and negative word of mouth started to set in. From many of the critics, you would think this film was a bomb. The box office so far has to be comforting to the film makers in spite of the poor notices. But, from the view of this outsider, the film is largely successful in what it is attempting, and suffers from the same problem that all big action films do, a weak antagonist makes a weaker story.

We are fortunate that we do not have to wade through a series of stand alone films to be set up in this universe. The first half hour or so of the movie, inventories the characters, highlights their quirks, and establishes personality for them very effectively. These small vignettes are probably the most effective sequences in the movie. I will say that it was a bit of a give away that one member of the team is introduced when they are put together and there was no B Roll on their character in the first section. So guess which character will be sacrificed to show that the secret government agency in charge means business. There has also been talk that Jared Leto's Joker has been significantly excised from the film, that seems to be a lot of hot air. The Joker Character figures in one of the background stories, participates in a parallel story, and is part of the coda of the film. It is true he is not on the team, but that does not mean that his presence is insignificant.  Margot Robbie's Harley Quinn will certainly be the breakout character in the film and she can expect to explode in the business over the next few years. Miss Robbie is extremely watchable and carries off her part here with great panache.

Let's discuss a couple of weaknesses of the film. It turns out that the Big Bad the group has to face is created by the attempt to create the group in the first place. All of the characters are given such menacing  back stories that the quickness with which the authorities try to establish a working team seems unrealistic ( as if anything in this didn't already). There are a couple of actions that have to be done by the team that seem unnecessary, including the rescue of an unidentified figure at ground zero of the main fracas. It also makes no sense that the plan of action being followed involves a simple explosive device, when the secondary antagonist seems to be impervious to other weapons. Also, the idea that it could take out a member of the team also seems inconsistent with what has been established earlier. In other films, the duo of Jai Courtney and Joel Kinnaman would threaten to but me to sleep. Both of these guys have been charisma free in other films, but this time around they get a chance to shine a little and Courtney especially makes a favorable impression.

The main villain seems a bit of a stretch, but in the D.C. Universe they are working at creating, maybe it is plausible. The representation however is so horror film fetish bound that it looks ridiculous. At the climax of the film, the bad guy is basically doing the most stupid voodoo dancing and arm waving this side of the 1976 remake of King Kong.  The problem that happens when you give a character powers to make them a worthy opponent is that you also have to find a flaw that gives the heroes (sic) a chance. Things did not come together well in this regard and the confrontation feels like a giant CGI smackdown without much credibility.

The soundtrack is packed with music from the last fifty years so there will be plenty that audiences can relate to, although sometimes the choices seem a little hokey. The color palate of the film is neon without becoming overly cliched and tiresome. There is also a lot more humor in this film than the two films that preceded it in the MCU queue. There are some very clear tie ins to this years Batman v. Superman and Bruce Wayne has a couple of scenes that tie it together even more. Viola Davis is a stone cold hard ass as Amanda Waller, the covert intelligence officer responsible for the team.  There is a point where Will Smith's Deadshot asks facetiously, "and we're supposed to be the bad guys?", it is Waller's character that he is referring to. So I'm down with the characters and the performances for the most part. I also think the movie looks very solid. Where they lost me was in creating an obstacle for the team to overcome. It feels a bit too overheated. It may not be the widespread opinion, but I think this film is fine and it accomplishes what is needed, a set of premises for the film and an outrageous team being put together in a reasonable manner. Now all Ben Afflect has to do as Batman, is repeat the process, only recruit the Justice League members with a bit more elegance. Ignore the bad word, it's a solid film with some flaws but also a lot going for it.

Lights Out

Sometimes you see a trailer that works and you convinced beyond your better judgment that the film being advertised will live up to the 130 seconds you just watched.  Lights Out could have been one of those experiences,  if only it had sustained the opening segment of the movie. As happens all to often with horror films, once you get past introducing the premise,  the screenwriter hasn't figured out where to go.

This is a ghost story with an good concept to begin with. The spook can only be seen in the dark  and bright lights are exactly the kind of protection that every frightened kid imagines them to be. The real nightmare of the story however is the notion that mental illness has taken hold of the person you are dependent on and love, but there is nothing you can do about it.  A young boy and his older half sister, who has moved out because of these reasons, must try to cope with a system designed by legal experts rather than mental health professionals. If this had been a bigger part of the story,  the idea could be sustained.  This is a scare flick so suspense comes from jump cuts and creepy sounds rather than the mental horror of coping with a sick loved one.

The set up is fine as I said. An early spirit attack puts the boy in the awkward position of having to question his mom's sanity.  He turns to the estranged sister but her hands are somewhat tied by the legal system.  They try to get past those hurdles but the boogeyman interrupts. Drama turns into mechanical fear of the dark and what sudden thing we will see. When explanations are proffered,  the story starts to lose credibility and the answers make no sense anyway.  It turns into a game of hide and seek  with the spirit, and someone turns the lights off.

Surprisingly with a female lead,  and a theme strongly dependant on Mom, the most appealing characters are the two guys. The young brother gets our sympathy and he is the one with the most sense in the film. A casual boyfriend,  who thinks that the relationship is more than that,  is given a more appealing character than our heroine.  The mother is creepy at the right times,  but the background provided to explain the haunting is so thin, it doesn't really work. Mom got the short stick on character. Our lead, Teresa Palmer, does really try to deal with the situation as a real person might, but because her character is supposed to be rebellious and an isolate, it is sometimes hard to believe the things she is asked to do on behalf of the family she left.

The secret to the haunting is convoluted, preposterous, and not well explained. The discovery of the truth requires some pretty fantastic luck to start with. The more that it gets talked about though, the less sense it makes. The resolution to the plot depends on a psychic twist that is not well set up and is completely un-examined but it is the end of the story and no additional stinger is added to get a last minute jump. I did like the fact that it ends like a real story and not a horror film trope.

Hillary's America: The Secret History of the Democratic Party

Dinesh D'Souza is a provocateur for conservatives in much the same way Michael Moore is for liberals (or progressives). He is also becoming quite the entertainer along with his sometimes polemical political point of view. This is his third film in four years, and while it does include the usual talking heads and edited footage of public news footage, he has inserted a number of things into this film that make it more cinematic than strictly propaganda piece. As a result, it seems his documentaries have been financially successful if not politically so [President Obama was Re-Elected despite a big splash from D'Souza's first film "2016: Obama's America".

I personally am dismayed by the choices we are offered by the major parties this November. Donald Trump is a reprehensible huckster who has no knowledge of how government works and has the rhetorical skills of a nine year old on the playground. If someone is willing to make a movie exploring this point of view, I am willing to see it and offer my thoughts on it. Right now, the shoe is on the other foot. Hillary Clinton, who is likely to be our next President, gets shellacked by D'Souza in this film, and it will leave a mark, regardless of her margin of victory. The level of perfidy is unmatched by any American political figure since Aaron Burr, and that includes Tricky Dick Nixon. The voters will probably elect her but it looks like no one trusts her, she has some of the highest unfavorability numbers of modern polling. Maybe that will make some of D'Souza's more outlandish arguments easier to swallow. The self destructive choice we have before us will be more difficult when anyone see's this film, it is for partisans, but it also has some solid documentation to go with it.

All arguments are based on choice. The argument this film makes involve which interpretation of events you choose to believe. The contrast between the two parties, from an historical perspective, is largely accurate. The twist comes in how the reversal of roles was achieved. The film maker has forceful opinions about that. One of the things that he does effectively is bring in side stories and events that illustrate the position he is taking. The story of Ida B. Wells is a good example, it carries his theme on historical facts but it is dramatized in a very interesting recreation of history. The segments with Andrew Jackson leering at his female slaves and coldly ordering fierce punishments is a bit cheesy. Many of those sequences however are written directly from the words of the people involved, so it makes the point feel more real.

The start of the movie features a couple of things that show that this is an entertainment. A piano playing character singing a political screed ala Garrison Keillor is a tip-off that it is OK for us to laugh occasionally. The graphics in the titles convey humor and look very professional, so the quality of the film is unlikely to be challenged on cinematic competence [I'm sure most of the criticism will be political]. Just as Michael Moore inserts himself into the films he makes, D'Souza is a character in his movies. Here, he actually has a pretty good story hook to go with the points he is making. Having been convicted of violating campaign finance laws, he is punished in a manner that seems from his perspective, disproportionate to his offense. He uses the time he spends doing community service and sleeping in a correctional facility each night, as a framing structure for his premise that the political forces of the Democratic Party are the equivalent to a street gang.  

The goal of the movie is clearly to focus attention on the flaws that the writer/director sees in the Democratic party and their standard bearer this year. Most of the material is not particularly new but it is put together in a very effective way that could be persuasive to those who do not already have an opinion about the former Secretary of State. Her political opponents will cheer at the directness with which some of the claims are made and the use of first person testimony and tapes of Hillary's voice in regard to a rape case she handled years ago is damning.  The four part strategy of a criminal con plot, outlined by one of his fellow inmates, is most strongly demonstrated in the one point that says "deny, deny, deny". There are several examples of Hillary denying things that are later shown to be fundamentally true, but for which she continues to refuse responsibility for. Other segments require inferences that do not have the same degree of certainty to them. The viewers will be forced to accept his point, research the argument or ignore it entirely. You can see that if the first two are more likely results, D'Souza will consider his job accomplished. 

If Donald Trump had any real political instinct, or sense of what works when it comes to campaigning, you'd think he would plagiarize the script of this movie and not the words of FLOTUS. There are at least three sections near the end of the film that would make strong campaign ads and might move voters away from her, although it probably will not drive them to him. I rarely hear him make an argument, I only hear claims and insults from his campaign. You might not like or agree with D'Souza [and I know many of my friends on line who read these posts won't], but at least he is making an argument. 

The outcome of the election will depend on a policy choice you make; who should I vote for? This film supports the proposition that some one other than Hillary Clinton or any Democrat should be your choice. I can't say that the film will tip people in that direction for sure, but the secondary issues of fact and value are likely to be influential and that is at the heart of the movie. Let's face it, critics of Clinton will go to have their beliefs validated, and supporters of Clinton will stay away the movie to  avoid some cognitive dissonance. Here is the math:

 +

=

Star Trek Beyond

I will tell you up front, I'm a Trekker. I'm not the type to do cosplay or read every variation of the stories, official or unofficial, but I've been watching Star Trek since 1966 and I'm a fan of the show and much of the philosophy. I know that J.J. Abrams got a lot of s*** from fans because he emphasized the action more than the cerebral, although in the context of a two hour movie, I think that criticism is hollow, especially for Star Trek Into Darkness. I also thought the first film from 2009 was the best film of that year. There, I said it and you now can filter this post as you think fit. Star Trek Beyond is a major let down for me. I found it lacking in depth, confusing to follow, full of plot holes and guilty of all of the criticisms that people have made about the previous two films (minus the lens flare).

As I was traveling a couple of weeks ago, the electronic poster boards were big and ubiquitous in the London area for this film. I hated that I had to wait until we got home, almost a week and a half after it opened to see it. After seeing it however, I'm satisfied to be commenting on it a day later than my usual posts would go up because there is not much here to get excited about. I'd hoped that the influence of comedy writer and actor Simon Pegg would be enough to make the film feel more humanistic and emphasize the comradeship of the crew more. My guess is that the bits that were funny, he is responsible for, but the overall structure, plot and characters are the result of multiple hands and it is a mess. As usual, no spoilers here, but what the hell did the villain need with the macguffin when his weapons systems and technology are so easily able to defeat Star Fleet  vessels as demonstrated early in the film? The backstory and transformation of the character Krall makes almost no sense. There is a seed of an idea for a philosophical discussion of the need for conflict, but it basically goes nowhere except to become cliches in the mouths of both our heroes and the villain.

When the ship met it's end in Star Trek III, I was moved. When it has subsequently been destroyed or damaged  so substantially that they just rebuild it and move on to the next episode, there is a loss of engagement with the audience. This is one of the things that has been missing from the rebooted series, a sense of loyalty to the craft and the crew. Except for the main figures, everyone else is an extra that hardly bears mentioning much less mourning, they might as well all be wearing red shirts at the start of the story. Speaking of secondary characters, there is an explanation of the lead villain in the story, but the data on all of the other bad guys is not clear at all. A couple of them actually have names and it is not clear if they were with their leader when transformed or if they came from later groups or if they are indigenous and represent the pure form of the species. This film is in such a rush to get to the next action sequence that they don't bother with basic explanations and the ones that they do come up with are the techno gibberish that often fills the dialog of a Trek film, only now it is delivered at warp speed.

There are a few things that work pretty well in the film. I think the relationship between Spock and Kirk continues to develop and I liked that Bones and Spock end up spending time together. Karl Urban has been a great Dr. McCoy and he has all the best lines and comic moments in the film. The character of Jaylah is potentially a good add to the character mix but her dialog is often so "you Tarzan, me Jane" that the character mostly has to be appreciated for the action scenes. Since they have come up, let's talk about the action, it is a special effects and editing nightmare. It is often so dark you can't see what is happening, and the constant movement of the set, while interesting, renders perspective meaningless. It is very difficult to tell what is blowing up and what is causing it to do so. Sometimes you can't even say who is in the scene. The sequences are edited frantically, as is the style these days, which means there is almost no development of tension in any of those sequences. Everything is spectacle and narrative goes out the window. There is a long sequence with a motorcycle that was awkward and the effects shoots are not as well paired up with the live action as they need to be to sell it. This was at least one place where the quality of the visuals was not up to snuff. On the other hand, there are some solid mixes of make up and CGI effects to make some of the alien creatures seem real. I must say however that it sometimes feels like an extended version of the Cantina sequence from Star Wars.

So on the plus side you have some good visuals, and a few funny lines from Dr. McCoy and once in a while from someone else. On the negative side, you have a confusing story, a lack of character development (being gay and having a kid does not count if they are only props and not integrated into the story), plot holes that should make for some great YouTube parodies in the next few years. The movie also feels small, despite the size of the base they are ultimately trying to protect. There is no big issue except the bad guy wants to destroy things. Once again the old adage proves true, "You are only as good as the villain", and in this case, Idris Elba can't compensate for a poorly written antagonist. Look, it's still Trek and you should see it, but it is closer to "Nemesis" or "The Final Frontier" than I think anybody wants to admit.  

Ghostbusters 2016

OK, it's finally here and people can speak about it from an informed point of view rather than a knee-jerk reaction from internet trolls. I loved the original "Ghostbusters", and I had no problem with the idea of a reboot featuring women in the leads. The cast looked promising but I will say I am unfamiliar with the work of Kate McKinnon and Leslie Jones, but as alums of SNL they could be great or complete busts. The idea of putting together four funny women as a new crew of Supernatural fighters should work. The hate this movie generated however was amazing. The trailer has three times as many dislikes as likes and I've heard it is the most disliked video ever on YouTube. Many people are locked and loaded to hate this film, but I was not one of them.

As it turns out the haters are closer to the truth than are the naively optimistic. It is not something to hate but it is not very good. It seems strange with the talent and money spent putting it together that the film misfires so much. Most of the ways the movie fails have little to do with the cast or the concept but everything to do with the script and the tone. There are good things in the movie but they are passing elements rather than things that grow from the characters or the situations. The most laughs I had were in the end titles and it seems like they were just tossing in material they did not think would work in the film but for me was the stuff that worked the best.

Maybe the biggest problem is that no one will ever be able to reproduce the odd, karmic attitude and timing of Bill Murray in the original. This movie tries very hard to make the characters funny but it just feels flat almost in every scene. The opening sequence, which has none of the featured performers in it, is the best moment of the film. When the titles came up I was excited that the movie was getting started on the right foot. Kristen Wiig is a character so unsure of herself that she denies authorship of a book. Murray on the other hand was so self assured that every time something did not go as planned, you were amused by his reaction. Wiig's Erin Gilbert expects to be mocked and that just does not work for the movie. Melissa McCarthy on the other hand is mostly just progressively loud. When given the chance she can be great. She carried last year's "Spy" on her back very effectively. This performance feels more like one of those numerous comedies of hers that I have avoided in the last few years[Tammy, The Boss, Identity Theft].

In the plot of the movie, political forces get involved and it comes out of no where and it makes absolutely no sense.  Andy Garcia as the Mayor tries to thank and deny the Ghostbusters simultaneously. His annoying assistant seems to pop up every so often to divert the plot from the original point and basically for no reason at all. One of the reasons stuff worked in the original film was it was played in a somewhat serious vein. The Mayors office was interested in election year politics and the EPA guy was a bureaucratic weeny drunk on his own power. Every character the Ghostbusters interact with in this film are unrealistic and unconvincing. From the Department chair who thinks Princeton is not a prestigious enough school to get a recommendation from, to the Dean of the other institution who uses the middle finger as his primary form of communication and the Mayor who is so indifferent, nothing feels real. There are segments that feel cut and pasted into the story, there never is any drive behind the story as it develops. In spite of all the frenetic energy being put into this, I thought it was pretty lifeless.

When the original theme music is used in the film, you can almost convince yourself that there is something worthwhile happening on the screen. When you hear the theme from Fall Out Boy, you will want to cry because it mangles all that was fun in the Ray Parker Jr. original.   There are call backs and cameos throughout the movie. Keep your eyes open for familiar faces, except for Rick Moranis and Harold Ramis (RIP), everyone shows up for a bit and they are fun. It's just not enough to justify seeing the movie.

Lambcast: The Towering Inferno

KAMAD joins the Lambcast to discuss a 70s classic, the disaster spectacular "The Towering Inferno".

Swiss Army Man

Well I can safely say you have never seen anything quite like this. I've watched some strange stuff over the years, including films that I immediately loathed, despite their pretensions at philosophical depth. There have been horror movies that made no sense but I enjoyed them and there have been pieces of work that some have claimed as masterpieces that seemed like total crap to me. "Swiss Army Man" defies any categorization along those lines. It is coherent but ambiguous. There are pretentious elements to it but it never gets so self satisfied as to be annoying. I kept trying to think of comparisons to be made that would help someone decide to see this or not but all of those comparisons are inadequate in a number of ways. For instance, the most obvious hybrid/mash-up description of the film is that it is a cross between "Cast Away" and "Weekend at Bernies". That combination is technically on the nose but misses so much of what this film seems to be about that you would be lost using it as a compass.

Plot is not really the point of the film, it is really a long mediation on loneliness that uses a desert island scenario to kickstart our thinking on what the feeling of isolation really does to us. Along the way though, we are given plenty to laugh at and be horrified by. There are moments in this movie that are so over the top sincere that you wonder that anyone could take it seriously, and then you find yourself being caught up in one of those moments and in spite of your better judgement, going along with it. Many of you will have heard of this film being referred to as the "farting corpse" movie. I really think that short hand description will keep plenty of people who might find this interesting from coming out to see it. Again, while technically accurate, it is misleading.

As I sat watching the movie I also tried to figure out where it was going. I thought I had it nailed when I remembered an unusual episode of the "Twilight Zone",  An Occurrence at Owl Creek Bridge. It is actually a French Short film that Rod Sterling obtained for one time use. I was it in high school for an English class I was taking, and today, I kept thinking, that "Swiss Army Man" was an update of the concept; it isn't. They do have elements in common but the psychological/supernatural points that they share turned out to be minimal. I also thought I might be seeing a "Wizard of Oz" pay off, that turned out to be wrong as well. As I said earlier, this movie defies most conventional forms of description, and those that it doesn't, will result in a lack of understanding of the film. 

Weird, is not necessarily a hindrance to a movie but it is not a magic charm to make a movie good. As weird as this film is, I have a hard time putting my finger on the things that made it worthwhile to me. Paul Dano is an actor that I have seen heavily criticized on some other blogs. Apparently he irritates a number of people. I thought he was very sincere and emotionally connected in this film. There are obvious places where there could be histrionic techniques used to try and make his character either sympathetic or important. He relied on more natural tools and expressions to pull us in. Daniel Radcliffe appears to be taking plenty of risks with his career. This is maybe the biggest and he succeeds in making a somewhat animated corpse a character that we will care about and believe it or not, relate to. 

This film will not be for everyone. I recorded a Lambcast the other day, and one of the other participants, J.D. was making the point that if movies like this one are not supported by film audiences who protest the lack of imagination in Hollywood, they should shut the hell up. I'm not one of those people, although I have groused about some of the sameness end endlessly repeated sequels and plot lines of film fare. I also go out of my way when possible to see films that are clearly different. Over the years I have been irritated by some of those "unique" films. "The Tree of Life", "Black Swan" and "Beasts of the Southern Wild" jump immediately into mind and give me a headache remembering the painful experience. However, there are plenty of other films that I've sought out, things like "Sing Street" or "Win-Win" or "City Island" which make a gamble of the atypical so worthwhile.  "Swiss Army Man" falls into the later category. It was only playing on one screen in my neck of the woods, and only one screening a day, at 10:30 in the morning, but if you are bored with most of the films you are seeing this summer, this will take you out of that rut.

The Legend of Tarzan

As a character, Tarzan has been around for more than a hundred years. He is nearly as old as another literary creation of the era, Sherlock Holmes. It was inevitable I suppose that with the new digital technology at their fingertips, someone was going to do a new version of the Tarzan story. Robert Downey Jr. gets to be Ironman and Sherlock Holmes, but the new millennium and the nature of the character probably suggest that the new Tarzan be a different face, an actor who is competent but not well established as a star.  Enter Alexander Skarsgård, a handsome man with solid credits on high quality television programs and some supporting parts in other films. This is his chance to step up and become a star, if he can manage to sell us on the idea that he is an enlightened British Lord who started his life as an adopted member of a troop of Great Apes. It's a tall order to fill but he manages to do a credible job for a couple of reasons. First of all, Tarzan is not a character known for eloquence. He is not unsophisticated because as Lord Greystoke, he is a member of the House of Lords, but as the child of a savage world without humans for the most part, he has learned to communicate in subtle, non-verbal ways. Skarsgård, may have the fewest lines of the four major characters in the film, but it is not really noticeable because he says so much with his actions. Second, he is a close doppelganger for the young version of Christopher Lambert, who made his debut on the international film stage in the same character vehicle.

In a way, his resemblance to Lambert connects the two films that were made 32 years apart. Had "Greystoke, The Legend of Tarzan, Lord of the Apes" been a bigger success, this could easily have been the follow up film. A large section of the 1984 film, was devoted to the origin story of Tarzan. This film pays homage to that story but does not make it the focal point of the film. The structure of "The Legend of Tarzan" is mostly a straightforward narrative with occasional flashback sequences to provide exposition and context. It's a rather effective way of including the origin story without belaboring it. As a result, this movie feels fairly fresh and works as a stand alone episode in the story of our jungle pulp hero. The difference in tone is important. Unlike the Johnny Weissmuller films, which are  somewhat campy adventure stories, the Greystoke film of 84 sought to probe more deeply into what distinguishes man from beast. It had a solemn message about the savagery of colonial times but also about the duality of Lord Greystoke/Tarzan. This film touches ever so briefly on the later and spends most of it's time on the former. The plot concerns the exploitation of Africa bu European powers that are willing to use unscrupulous methods to achieve their objectives. Naturally, Tarzan stands in the way. Some of the 50s and 60s version of the Tarzan tale told the same kind of story.  "The Legend of Tarzan" takes the colonial period in Africa and uses it much like a James Bond thriller, with a plot to enslave a whole country by an evil figure being thwarted by our hero, while at the same time he saves the woman he loves. It's pretty good stuff but not very deep.

The three other main characters also bring something to the table that make this version of the legend even more successful. Quinton Taratino's favorite German actor of the last decade, is cast in another villainous role. After "Inglorious Basterds", he has been the heavy in a half dozen films. Most recently Christoph Waltz was the featured antagonist of James Bond in SPECTRE.  I'm fine with him collecting a paycheck but I hope he is able to expand his resume a little more. In this movie he is Leon Rom, an envoy of the King of Belgium, tasked with gaining access to the riches of the Congo, and using a plot against Lord Greystoke to do so. His scenes with Tarzan's mate when she is his prisoner, have a suitably creepy tone to them. There is one good moment where his eyes and voice express admiration for Jane, and for a moment he feels like a human and not just a cardboard bad guy, although he plays that cliched role well. Margot Robbie seems to have come out of nowhere in the last couple of years and is on the verge of exploding into mega stardom, if she can act as well as she looks a part. She will soon be Harley Quinn in a series of D.C. comic book movies and that will add fuel to the fire of her career.In this film she was solid. There was a great degree of sexual chemistry between her and Skarsgård. Tarzan and Jane look and sound like a couple who are in love and actually care about one another. Each is given an opportunity to show the desire they have for their partner in a non-lascivious way. She also gets some action scenes and as the dialogue intentionally lampoons, she is not just a damsel in distress.

The final major star of the film is somewhat surprising. What Samuel L. Jackson is doing in this film is not entirely clear. A black Doctor, as an envoy from the government of the United States personally selected by President Benjamin Harrison, he is an anachronism that defies story telling with one exception, he brings his personality to the movie. Jackson is a frequent spark plug for a moment of humor or dramatic intervention in the film. Amazingly enough, he manages to do this without once using the word that he is the foremost practitioner of in movie dialogue. It is frequently said that Samuel L. Jackson simply plays Samuel L. Jackson when he is cast, but I see differences in his tone and personality from film to film that do make his characters more distinctive. Just as in "The Hateful Eight", he is a Civil War veteran in this movie. Major Marcus Warren was a malevolent and hateful character, but George Washington Williams is sad and hopeful. The way he handles his six guns in this movie are completely different that the Tarantino chamber piece from last Christmas. The tone here is light and fun and he seems to care for humanity rather than despise it. I think you have to be a pretty good actor to sell the misanthrope of last year and the heroic side kick in this picture. Jackson does so and the movie benefits as a result. 

The look of the film is accomplished, blending CGI jungles and mountains with real backgrounds to effectively give the movie a sense of scope. Director David Yates, who did the last four Harry Potter films, is accomplished at moving exposition along with the action. That ability serves him well with this picture. While I might still prefer the Rick Baker ape make-up and costumes, the CGI animals in this film are impressive and make the impossible possible on film. I could have used more practical vine swinging, the CGI in these sequences draws attention to itself, but most modern audiences will accept it easily. 

I really wanted this film to be good, but after an early trailer, I thought it might end up as a special effects laden mess. I was pleasantly surprised and quite pleased with the results. I was out of town last week when it opened and I tried not to read anything about it. I did hear a few positive words from some media sources but they only raised my fear threshold. As it turns out, "The Legend of Tarzan" is a respectable addition to the legacy of Edgar Rice Burroughs on film and a mid summer treat that I would encourage anyone to see, but especially those who like the pulp characters of the past and want to see them live on to the future.

The Secret Life of Pets

Do you have a dog? Is there a cat sitting in your lap right now? Have you ever made bubble noises to a fish? If your answer to any of these questions is yes, than you will enjoy this film that speculates on how the other side of people pet relationships might feel about the connection. Ultimately, this movie is more for kids than I thought it would originally be, but it does pick out several of the things that we animal lovers believe about our friends and uses those to make us smile, laugh and worry.

I'm going to start with a cautious comparison here. The pets featured in this movie are much like the Toys featured in the Toy Story films. There is a major focus on how the humans relate to the subject of the film, and then there is a plot element about how the subject relates to other similar characters. Finally, there is a plot concerning the separation of the subject from it's human owner. Those are the basics of the story in the films I mentioned. The Toy Story films though, manage to build more heart and drama into their telling of the tale. Illumination Studio has created a nice design, and built in a number of gags to entertain us, but they miss the elusive spark that manages to make the Pixar films work so memorably [ at least most of the time].  This is a solid entertainment for certain, but it is not a classic that will be treasured by audiences down through the years.

We pet owners who have given voice to our furry and feathered and scaled pals over the years, both inside our heads and out loud, will have an easy time relating to this movie. Anthropomorphic conversations and interpretations of animal behavior are one of the delights in pet ownership. We get to project our own desires for the relationship onto the pet and there is basically no way we can be wrong. When an outcome is not as we predicted or wanted, we will come up with an internalized excuse and then put it in the mouth of our buddies. If that sounds like you, this movie will have a lot going for it. The main problem is that the humans disappear after the opening and only the animals remain. Instead of a thoughtful exploration of the connection that humans and pets make with one another, as last years Inside/Out did with families and our own feelings, we get an extended Road Runner cartoon. The plot is funny and manic and very entertaining, but it leaves all the nuance on the table.

Max is the star of the movie. He is a terrier voiced by Louie C.K., for the most part without any snark. When Duke, a oversized shaggy stray is interjected into his life, Max changes his demeanor in some ways and it looks like there will be an interesting story about the differences between animal and human nature to follow. What happens instead is that Max and Duke get thrown together in a buddy road comedy with a variety of complications tossed in. Both Max and Duke, voiced by Eric Stonestreet from Modern Family, seem like they are amiable dogs that have to resolve some differences. Those differences become mostly irrelevant when they are both pursued by animal and human antagonists, at which point, their behavior is basically interchangeable.

Kevin Hart provides the voice for a demented bunny and this is his third movie role this year and ninth in the last three years. The danger of over-exposure here is high, but since it is an animated character and the antics never have any sense of reality to them, his over the top manner is not really a problem for the movie. Albert Brooks is back in an animated film that is competing with his other animated film, "Finding Dory" this weekend. While not as egregious as last year's "Minions",  this movie does make repeated use of music cues from other films for the sake of getting the audience to connect emotionally with the story, rather than building a solid plot line. The one spot where it works effectively though, is in the sausage dream that the two main characters share, a better use of "We Go Together" from "Grease" cannot be imagined.

If you enjoy kids movies on their own, this is a peach of a film. If you are expecting something deeper, you may be disappointed but you will still be entertained. Don't let the fact that there is a "Minions" cartoon in front of this discourage you. "The Secret Life of Pets" may not rise to the level of "Despicable Me" but it sure as heck does not sink to the banality of that last film with the banana colored characters in overalls. If you have kids, definitely take them, if you are an adult, you can put this one off for a bit and not feel like you have been denied an important film, just like you skipped a candy bar that you would enjoy more at a later time.

The Obligatory July 4th Post on JAWS

Don't let the title fool you, it is not just an obligation it is a pleasure to see and write about the greatest adventure movie of the second half of the last century [and so far, the first Sixteen years of the current one.]

No film has been covered as in depth on this blog site as the original Steven Spielberg classic. If you go back a year to the 40th anniversary, you will see that I saw the movie on the big screen four times in 10 days and did a different post on each one of those visits. You will also be able to find an extensive collection of posts at the following: Jaws Week.

It is late however, and I have some obligations in the next few hours so I will keep this years comments short.

First, I think this may be the first time I saw the movie at the Egyptian Theater, a spot that has become my go to cinema for classic films, including several events each year at the TCM Classic Movie Film Festival. The popcorn is good, the butter flavor rich and they have Coke Zero. Oh yeah, they also have the coolest old school design on the Boulevard.

In introducing the program and telling everyone the rules of conduct, our host tonight asked how many people were seeing the movie for the first time. I was flabbergasted to see nearly a third of the packed house raise their hands. While it surprised this veteran of at least a hundred trips to Amity over the years, it also created a great expectation on my part. I had to ask myself if the film would still work on a fresh audience that is jaded by the speed and CGI of today's films. I can safely report that when Ben Gardner makes his final appearance in the movie, the screams were loud and people again levitated out of their seats.

When the shark first shows up in profile, there is another jump, and everyone still nervously laughs at Roy Scheider's ad-libbed classic line. There are two more great scares, a dozen moments of levity that all break the tension in glorious ways and you can tell they were all working tonight. Finally, there was a loud outburst of cheers and applause when the hero solves the problem of the shark in a most satisfying conclusion.

As always, I picked up a couple more tidbits of information during the screening. In the hundred times I've seen the movie, this was the first time I noticed the timeline continuity error in the police report for Chrissy's death and the date of the attack on Alex Kitner. Why I had not worried about it before is beyond me, but I think I'd go crazy if I worried about all those kinds of things. A movie is made up of a million moving parts and sometimes the cog in one section is out of synch with the gears in another section.

Something that bothers me a little more because it seems like it should be obvious. At dinner, when Quint is telling the story of the Indianapolis, I suddenly realize that he and Hooper have finished their meals and that Brody hasn't even touched his food. It may be the framing on the big screen that makes this more noticeable, or maybe because Shaw is so compelling when he does the monologue, you don't really take tour eyes off him much. So the Chief has a queasy stomach on the ocean with the more experienced sailors. That's one more small detail that is so brilliant in making these characters real and representative of their types in the story.

I also think that different prints or sound systems may emphasize some parts of the music or the dialogue a bit more from one screening location to another. After forty years, it's great to say the movie still succeeds and there are still small moments to discover.