Finally knocked off the only Craig Bond I hadn't seen (now down to one Moore left to complete all of Bond - A View to a Kill). It's not as bad as everyone says it is. :) Really, I thought the plotting was quite good and interesting, especially how Bond keeps getting himself embroiled in situations where he has no idea what's going on, just because he's following a lead related to something else. Olga Kurylenko is always enjoyable to…
Description on DirecTV's guide: “A reporter lets his publisher frame him for murder to show the fallacy of circumstantial evidence.” Yeah, there's no way THAT can go wrong. Which is a pretty good description of most noirs, but you can usually expect a bit of a boost with Fritz Lang films, and this one doesn't disappoint. I expected a twist in the end, but the twist that actually came was not remotely what I expected, and it was delicious.
It was pretty great seeing Robert Ryan (wound so tight I thought he was going to pop open any second) square off against Robert Mitchum (cool as a cucumber, but just as ruthless in his own way). It's organized crime + corrupt judges vs the one honest cop in the city, with a fun twist - Ryan's character is a loose cannon that his crime syndicate bosses can't figure out how to deal with either. Makes for a really entertaining…
My favorite kind of sci-fi is the kind that's very near future (or parallel), where the world is basically ours but with slight differences. That's pretty much the case here, where voice control of electronics is the norm, earpieces are omnipresent and inconsequential, and VI is just giving way to AI. It's certainly not the first time a filmmaker has explored what happens when humans enter a relationship with AI (I mean, that's what A.I.: Artificial Intelligence is about), but…
This was SO EXPRESSIONIST. I totally didn't expect that. For some reason I don't associate Ford with that, but then The Grapes of Wrath has a lot of fabulous chiaroscuro as well. But this is like M transposed to Ireland, except with an informer instead of child murderer, which admittedly, not as horrible but still gets him in a heap of trouble with "the organization" (which I think is resistance of some sort, but comes off like an underworld mafia).…
I looked up Karl Freund mid-way through this and it looks like while he didn't direct anything after this film, he was a major cinematographer from UFA to Hollywood (he did Metropolis, The Last Laugh, Dracula, Murders in the Rue Morgue, etc.), and it shows. This is basically a German Expressionist exploitation film, and I had a great time watching Peter Lorre go batshit in it.
How it entered my Flickchart:
Mad Love > El Mariachi
Mad Love < Dogma
I wasn't looking too forward to this one because I'm not a big Loretta Young fan, but it was the only one remaining on my DVR shorter than 75 minutes (which is all I can get through during naptime). And I was not wrong. This had a really interesting premise (a man with a heart condition thinks his wife and doctor are slowly murdering him so he writes a letter to the DA accusing them - when he dies, his…
Tight and simple little crime thriller, with a hard, almost cruel streak that worked for the film. Kidnapping, double-crossing, escaped bank robbers/killers, police in pursuit, girls with guns, and all in just over an hour.
HOW IT ENTERED MY FLICKCHART
The Threat > Hollywood Canteen
The Threat < The Stranger
The Threat < Gypsy
The Threat < Look Both Ways
The Threat > Un chien andalou
The Threat > Indie Game: The Movie
The Threat < Scrooged
The Threat > Super
The Threat > Stardust
The Threat > Sweeney Todd
The Threat < Where the Sidewalk Ends
Final #1571 out of 3521
This was pretty awesome - double-crossing dames, red herrings, paranoia, murder, Mitchum - can't really ask for more.
HOW IT ENTERED MY FLICKCHART
Where Danger Lives > El Mariachi
Where Danger Lives > The Stranger
Where Danger Lives > La Jetee
Where Danger Lives < Schindler’s List
Where Danger Lives > Pinocchio
Where Danger Lives < The Fifth Element
Where Danger Lives < Before Sunset
Where Danger Lives < Garden State
Where Danger Lives < Black Dynamite
Where Danger Lives < Jaws
Where Danger Lives < Headhunters
Where Danger Lives > Easter…
The beginning takes a bit longer than I'd remembered (it's probably halfway through before he becomes "captain" Blood), but the film still works like gangbusters, thanks to Flynn's charismatic performance (and bright support from de Havilland and a who's who of Warner stock character actors).
Anthony Mann is becoming one of those directors that I trust pretty implicitly. So far all his westerns AND noirs have been highly enjoyable, and this is no different. Granger and O'Donnell (fresh off of Nicholas Ray's young-lovers-on-the-run They Live By Night) are here again, and desperate again. Granger's attempts to fix that land him in hot water with both mobsters and police. Some pretty great scenes, including a highlight with Jean Hagen as a drunk showgirl.
"There's not enough kindness in the world."
Greenstreet + Lorre is pretty awesome. Zachary Scott acquits himself well in his screen debut as the titular Dimitrios, a slippery smuggler, but the flashbacks dealing with his story pale in comparison to anytime Greenstreet and Lorre are sparring on screen.