Like a severe and utterly serious version of Stanley Kubrick’s 1964 satirical dark comedy Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, you would think that Fail Safe would have been the original release in theatres that was then later spoofed, yet that is not the case. Released approximately six months later in the same year, as you might imagine, it led to very poor returns at the box office – dare I say it (as the film deals with this subject matter)... it was a bomb! Despite that, over time, it has become a bonafide classic. Based upon Eugene Burdick’s 1962 novel of the same name and directed by Sidney Lumet (Dog Day Afternoon), he introduces us to our main players by way of little vignettes.
Controversial, edgy, tasteless and taboo are just a few words that have been used to describe the movie that I will be reviewing today. If there was ever a love it or loathe it film – this may be it. It has been chosen by the acclaimed company Criterion as being one of their ‘important classic and contemporary films’ and many film afficionados have lauded it, yet others have absolutely trashed it – with legend Roger Ebert proclaiming that it is "as nasty as it is lubricious, a despicable attempt to titillate us by exploiting memories of persecution and suffering". I will leave it to you to decide.
Sometimes, a film is able to transcend the era it was made in, truly making it feel as relevant and modern as when it was first released. Yet, others simply have not aged as well. This can sometimes create a rather difficult viewing experience – and that is somewhat the case with the 1928 western In Old Arizona. This western is one of the most important and influential films of the time –
Every once and a while, a writer devises a ghost story that is not mere horror or thriller, but expands the eerie vibe to a more intimate otherworldly friendship or romance. Two of my favourites are the oddball buddy comedy Blackbeard’s Ghost (released by Disney in 1968) as well as the 1990 romantic dramedy simply titled Ghost. I now have a third excellent film to add to this rather abstract list – the 1947 motion picture The Ghost and Mrs. Muir.
His name, Lucky Gagin . . . or Robert Montgomery for those of you who are looking for the actor portraying this anti-hero. Montgomery, the iconic star, also tried his hand at directing (for the second time), with this rather unorthodox film-noir, Ride the Pink Horse. Our lead walks off a bus and into the city of San Pablo, a Mexican border town that is getting ready to host an annual fiesta.
The horror genre has many incarnations. The two that seem to be most popular as of this point are the slasher flick (i.e. Saw) or the based-on-true-events-style ghost story – à la Paranormal Activity, The Conjuring and so on. From time to time we may see a more traditional, even Victorian-style ghost story such as Crimson Peak or The Woman in Black, but the film I am reviewing today is much harder to pigeonhole, as it is part searing psychological drama, which is then mixed with Gothic horror and a touch of thriller. It is Nicolas Roeg’s 1973 slow-burner of a picture, Don’t Look Now.
It is rather unusual to see a film-noir made in glorious Technicolor – though this is exactly what the 1953 crime thriller Niagara is. Director Henry Hathaway swaps the moody shades of black and white for strikingly vivid colours as we watch two couples cross paths in stunning 1950's Niagara Falls, Ontario (the film was almost completely shot on location).