The Wild Bunch (1969)- Paramount Summer Classic Film Series

 

It only happens occasionally but this is one of those times, a film will enter my regular blog posts, but also be included in the Strathmore film project. Strother has a minor part in his great 1968 Western directed by Sam Peckinpaugh, a man that Strother had worked with before and would work with again. Any film fan is familiar with the Wild Bunch and it's significance as part of the new Hollywood.

An elegantin Western sit near the end of the frontier days, the Wild Bunch is about the passing of old ways, and the violence that ensues. The film stars William Holden, Ernest Borgnine, Ben Johnson, and Warren Oats as a band of Outlaws whose competence is in question, and who is being pursued by a posse of prairie scum led by their former compatriot played by Robert Ryan. As surprising as it might seem there are themes of loyalty in the film, and when considering the nature of these men, loyalty is not one of the characteristics you would expect. In fact there is a clear example of such hypocrisy at the very beginning of the film. In escaping from the town and the trap that had been set for them, they abandoned their youngest member, to be set upon by the citizens after the others have escaped.

There is virtually no one in the film that could be described as an honorable person. Everyone is guilty of some form of murder or theft. However, there are moments when the bandits act with dignity, and a sense of a moral code, that seems so foreign to the way they act to the rest of the time. In addition to the issue of loyalty, the biggest theme seems to be autonomy. No one in the film, from the bandits to the Posse to the Mexican soldiers, wants to be told what to do or how to act. The desire to have command over your own decisions seems to be a strong motivator, especially for Holden and Borgnine.

Robert Ryan as an aging Bandit himself, now trapped into leading a posse against his former partners, is the poster child for the theme of autonomy. His inability to act in the manner that he wants, and the fact that he is forced to work with characters for whom he has disdain, is another driving force in the film. Two of the scum that ride with the Posse are TC and Coffer, played by Buddies lq Jones and Strother Martin. If there is anything close to comic relief in the film by these two losers, who bicker with each other like an old married couple over issues like whose bullet killed a victim in the streets, or which one of them gets to keep the boots of the latest dead man they have found. While Pike Bishop and Dutch Engstrom are hardly models of social nicety, they certainly Tower over the likes of Deke Thornton's mob of Misfits.

Sam Peckinpaugh  became famous for the stylized violence in his films, often featuring slow motion deaths. This is the film that probably initiated that reputation. The movie is bookended by two over the top shootouts, which feature Mass deaths in slow motion bullet holes and falls. If there is a third theme running through the film, it may be that violence is inevitable and inevitably futile. There is a coda to the film which also includes violence, but after the massacre of the Mexican troops and the Wild Bunch itself, Peck and Paul wisely allows the massacre of the Posse to occur off screen. So anyone who says that Peck and paw shows no restraint must have missed this last scene.

There's a lot more to the movie than the two big shootouts, but I'll leave that for another time. I have no doubt that I will return to the Wild Bunch for a separate entry on the Strother Martin film project. For now it's just a pleasure to have seen the film once again on the big screen, and bathe in the Macho themes and images that dominate this movie.

Superman (2025)

Comic book films continue to dominate the theatrical Marketplace in these times. We've already had two MCU films this year, Captain America Brave New World and the Thunderbolts / the New Avengers. This week it is the DCEU that gets an opportunity to reassert itself at the box office. The new phase of DCEU films, supervised by James Gunn, kicks off with a reboot of DC's Premier superhero Superman.

This newest version of Superman is different from both the 1978 Richard Donner film and the Zack Snyder films of a decade ago. The Christopher Reeve film was optimistic with a strong sense of humor based on characters, and the relationship between Superman and Lois Lane was at the center of the story. In the Zack Snyder version Superman and Lois finally get together, and it seems to make both of their lives miserable rather than fulfilled. There was almost no levity in these early DCEU stories.

This Superman is a true comic book version. There are heroes and villains from other worlds and dimensions. Lex Luthor continues to be the main antagonist, but he is operating in a world of science Foods the concept of a pocket universe, where you can store all kinds of things, like your enemy is for instance. There is a more typical story in the film, where Luther is going to benefit from a war that he is encouraging. To get to that objective however requires that his character utilize resources that seem far more valuable than any real estate he would acquire from his deal with one of the warring Nations.

Meanwhile, beast from other dimensions show up to threaten Metropolis, and give Superman and the other Heroes of the poorly named Justice gang, something to do when they are not fighting off Luther's plans. One of the Green Lanterns is part of this group, he's played by Nathan Fillion, and it appears to be an iteration that people who love comic books hate. I thought the character was repulsively Charming. Not someone you would want to spend time with, but someone who is perfectly capable of making good decisions and carrying them out. Two other Heroes appear in the Justice gang, Hawkgirl, has next to nothing to do in the film, so it's not quite clear why she has been made a part of the story. The super intelligent Mr. Terrific on the other hand, practically steals the movie with his clever approaches to problem solving, and sarcastically detached attitude.

Lois Lane, he's a big part of the story, in fact becoming an active player in attempting to Fort Luther and rescue Superman. Rachel Brosnahan," The Fabulous Mrs. Maisel", plays Louis as a resourceful reporter, who considers it her obligation to challenge Superman on his decisions, in spite of her relationship with him. Ma and Pa Kent also appear in the film, but unlike previous versions of the story, their presence is not meant to evoke Maudlin sympathy, but rather to illustrate the differences in nurturing parents and the role they play in creating the ethos of a person. So you can feel safe and watching the film, and being aware that there is no eminent death scene Superman's adopted father.

Frankly for me the main attraction in this film is a secondary character with no dialogue, who exists only in CGI, but still had more personality and humor than any of the human actors. Krypto, is Superman's dog, and he has powers very similar to the Man of Steel. Of course he is a dog and so his doggy personality largely dictates how those Powers get used. When Krypto gets the Zoomies, you can expect chaos to ensue. David Corn sweat who plays Superman / Clark Kent displays the perfectly correct attitude when his dog is taken. Is temper tantum is completely Justified, and Luther should know in the long run that he's going to pay for screwing around with someone's beloved pet.

There is a plot twist concerning Superman's Kryptonian parents, it really seems that odds with the mythology of the comic books and previous films. It Doesn't Kill the movie, but it does undermine our willingness to embrace this version of Superman the way we did when Christopher Reeves and Marlon Brando we're on the screen.

This is definitely a comic book movie, featuring cartoonish monsters, and science fiction premises that defy reality. The movie looks very good however, and I had fun for the 2 hours that I was watching it. I guess the easiest way to express my opinion about the movie is to say that I enjoyed it, but I was not enamored by it. 

Sorcerer (1977)-Paramount Summer Classic Film Series

 

One of the greatest films of the 1970s is also one that is largely forgotten. The reasons for this are complex but include the fact that this film came out in the wake of Star Wars, replaced that film on the Chinese Theater screen for only a week, and then was replaced itself by Star Wars. This was the film that no one knew what to do with, it's an action adventure film with protagonists who are all loathsome in some way. Their heroic actions are always mitigated by the fact that they are criminals, terrorists, fraudsters, and murderers. When your rooting interest is someone that you would avoid if you cross paths with them on the street, it's not hard to imagine that a film is going to struggle to find an audience.

“Sorcerer”, may be William Friedkin's best film, and he made “The Exorcist” and “The French Connection”. This sweat-laden, rain soaked, mud  encrusted thriller,  will not leave you with a warm feeling, but it will leave you with deep admiration for the director's skill at building tension and following characters through their true natures.

This was my first time seeing the film on the big screen. I only caught up with it on cable years later, and then finally when the remastered Blu-ray came out about a decade ago, I Revisited it andI appreciated the story. Seeing it in a theater however, is truly a great experience. There are sequences in this film that are so fraught with tension that I felt like sweating myself. Those of you not familiar, the main part of the story focuses on four displaced men, struggling in a poverty stricken Village in the nameless South American country, who take on the job of transporting volatile explosives 200 miles across the jungle.

The first half hour of the movie however, has nothing to do with the main adventure, it simply details what these four men were like before they came together in this anonymous part of the world. Each of their stories has a degree of vibrancy to it that makes their subsequent activities feel more important. Roy Scheider plays the displaced American, a gangster who is wanted by other gangsters for a crime back in the States. There is also a Palestinian terrorist, a French financier, guilty of a massive fraud, and a professional assassin as part of this team of drivers taking on this hellish task because they are desperate.

Perhaps the most amazing part of this film is that it was shot without CGI, or in a studio. The road that this group has to travel is filled with dangerous sinkholes, impossible to pass barriers, and a raging river with a rickety bridge that will give you nightmares. All of it is on screen and all of it is real to some degree. Of course some of the biggest threats come not from nature but from other men. There is revolution in the air, and there are criminal elements who take advantage of the Revolutionary impulses of others, to steal and kill.

Although we got backstories for all four of the drivers, Scheider remains our main protagonist, and our link to the civilization that seems largely out of reach In this jungle locale. As is typical in 1970s films, the ending of the story is downbeat, but not at all in a manner in which you expect. The inevitability of our guilt catching up with us is one of the main themes of the story. I'm not sure if that's a part of the original film  this movie is based on. I have seen that movie, but it has been a long time and I didn't have the context of this film to compare it to at the time.

So if you want to feel your sphincter tighten, and have your sympathies be conflicted, then you should make it a point to see this film. And of course if you get a chance to see it on the big screen you need to put your money down and go.

Deep Blue Sea (1999) Revisit -2025

 

Sometimes you just need shark movies to make your summer sing. I just saw “Deep Blue Sea" on the big screen a year ago and wrote about it then. I'm not sure that there's a lot to add. This Renny Harlan action film takes full advantage of an ocean location, and Genetically Enhanced sharks, to give us a few Frights, and suspense to sit through.

I can't wax poetically about the film the way my former co-host on the Lambcast can, but I can appreciate that this may be the second best Shark film ever put into theaters to make summer audiences happy that they paid their ticket price. The presence of Samuel L Jackson, makes the first half of the movie a lot more suspenseful than it really is. I do think that we could probably do with a prequel film that explores the Avalanche experience where Jackson's character survived. Spoiler alert: he doesn't have the same level of success with the sharks.

Thomas Jane as our hero Carter, does a great job looking well and acting frightened. When we get to the end of the film, it's a little bit more believable because this is the way he's been throughout the movie. LL Cool J makes a good impression as an actor, but they ran the rap song he did for the movie right before the film screened, I think moving into acting was the right choice. Maybe our favorite lines that we've quoted for years come from his advice that the perfect omelet is made with two eggs not three. I follow that advice whenever I'm making breakfast.

The Magnificent Seven (1960) Paramount Summer Classic Film Series

 

After having spent 2 hours in the presence of Cary Grant and Grace Kelly, one may wonder how any stars in another film could compete for our attention. The second film in our Sunday double feature answers the question in the most obvious way, multiplying the number of stars. Magnificent Seven gives us a half dozen great actors in a meaty part in a western. That's the way you follow up with star power.

Yul Brynner and Steve McQueen may not match Kelly and Grant straight up, but that's okay because they're also supported by James Coburn, Charles Bronson, Robert Vaughn, and Eli Wallach. There are also a few secondary level Stars that make the movie worthwhile as well, and Elmer Bernstein score is a star in its own right.

You probably already know that this is a remake of Seven Samurai but set in the West. It works really well as a band of mercenaries help a local Village fight off marauding Bandidos for 2 hours. There are several clever moments in the film, but there is one glaring plot problem. Eli Wallach's character grants the seven their weapons back after having caught them by surprise through the betrayal of one of the villagers. This was a mistake on a massive scale by the supposed brains of the marauding bandits. The only justification for it, is to allow Our Heroes to come back and claim victory. It's a head scratching plot point.

Regardless of that fault, leads in this film provide plenty of fireworks for the movie. This film actually made Steve McQueen a star, but James Coburn was not too far behind him. Most people who think that Charles Bronson was merely a tough guy face on the screen, should pay attention to his character Ark in this film. He gives a pretty good speech to the kids who have attached themselves to his character.

The assembly of the band of Heroes that takes place in the first part of the film is more interesting than the conflicts in the village. In the long run most of the characters get a chance to reflect their reason for being included in the band. A lot of people might think that the Italian westerns of Sergio Leone were the start of the anti-western, but the depressing circumstances of Our Heroes here, very well could have been a precursor to those themes. It just doesn't seem that being a gunfighter paid very well, or provided a comfortable lifestyle. Everybody in this film, from the villagers to the bandits to The Mercenaries seems depressingly miserable.

Regardless of their misery however, we get some pretty good gun fights, some clever twists, and maybe not A Fistful of Dollars but A Fistful of Stars. This film is never going to be as perfect as Seven Samurai, but it is pretty damn good.

To Catch a Thief (1955) Paramount Summer Classic Film Series

 

Another Hitchcock film for the Paramount classic summer film series 2025. I've seen To Catch a Thief before, but it has literally been decades since I last saw it and I remembered very little of it. I did remember a substantial amount of the Cary Grant Grace Kelly by play. And I did remember who the actual Thief was, but I'd forgotten the machinations that Grant's character had to go through to discover the truth.

The movie doesn't have the suspense of most of Hitchcock's films, but it does have a lot of romance and the spectacular location they probably made for a fantastic summer vacation for everybody involved. Just as a quick reminder Grant's character was a jewel thief before World War II, but became a resistance fighter for the French during the war, and was seemingly reformed. A new series of thefts from the resorts on the French Riviera point to him becoming active again as a criminal. He has to discover who is using his MO and try to vindicate himself.

It's easy to see how people in the 1950s, might not care very much about the plot of the film when they have these two exquisitely beautiful people to look at. Cary Grant and Grace Kelly may be the most magnetic couple on screen in that particular decade. The buy play between them is humorous, and if you've seen any of the Steven Soderberg oceans films, you'll have a good sense of where the humor in those films come from.

This was the first film of the double feature that we saw on a Sunday afternoon, and it was a delightful way to spend the late afternoon.

Jurassic World Rebirth (2025)

 

If you can get rid of most of the stupid things in the Jurassic Park Franchise, synthesize most of the best action beats, and cast it with a little flair, you will get a movie like this. It exists, it is fun while you watch it, but it is not essential, it does not say anything profound, and it still has plenty of stupidity that is fairly original. 

I don't know that there's much to say about a new Jurassic World film. After all you get dinosaurs chasing people, eating people, and people making sacrifices or showing themselves to be scum. So it's pretty much the same story every time out. The main variations involve the actors people and how are the characters  going to screw each other over. Oh and whether or not the dinosaurs are going to be interesting.

For the most part the dinosaurs in this particular Edition are interesting. The premise of the film has scientists in Pursuit of DNA from three specific varieties of dinosaur. One that is found in the ocean, one that is found on the land, and big surprise one that flies in the sky. That seems to set up a pretty straightforward path for our adventurers to travel.

Scarlett Johansson plays a mercenary who is tasked with getting the team there on to the island and then helping them secure the live DNA samples that they need. She has a team of Misfits, many of whom are really just food for the dinosaurs, an evil Overlord who is there to exploit nature, so we get some moral story included. And then there's a random family of shipwreck survivors who get included in the Expedition so that we can have kids and people who aren't used to carrying around heavy weaponry.

It's all creative enough fun to kill a Saturday afternoon in the summertime. There is a little bit of tie in to previous variations of the series. For instance we start off in Manhattan with a brachiosaur slowly expiring in a local park. There's a mild climate change theme, it mostly goes nowhere except to justify a trip to the equator. Marashala Ali is Johansson's Main support, and he's a good actor who is wasted in a largely thankless part. When we get to the climax of the film, we get the stupidest third act twist imaginable, and whatever suspension of disbelief we had up to this point is lost.

Anyway go ahead and turn off your brain, get yourself an extra large soda and don't worry if you have to run to the bathroom during the movie, you're not going to miss anything important. Because there's nothing really important here, just some fun watching dinosaurs chase and eat people.