A film noir with some eccentricities, The Big Steal (1949), directed by then third time film maker Don Siegel (who would go on to make such greats as Invasion of the Body Snatchers, Dirty Harry, and Escape from Alcatraz), plays like a long chase within a longer chase, while the meeting between gent and femme is something akin to a will they/won’t they screwball comedy. The usually laconic Lt. Duke Halliday (Robert Mitchum) is in quite the conundrum, as he has been robbed of a U.S. Army payroll totaling a whopping three hundred grand by swindler Jim Fiske (Patric Knowles). On the lam in Mexico (a rather rare noir location, also think Ride the Pink Horse and Touch of Evil), Halliday is on his trail... but the problem is, so is his superior – Captain Vincent Blake (William Bendix), who, of course, thinks it was actually the Lieutenant who ran off with the money.
Firing on all cylinders once again, writer/director James Gunn brings another entertaining, comedic, dramatic and all around fun feature with his 2017 Marvel sequel Guardians of the Galaxy Vol. 2. Though it doesn’t capture the pure lightening in a bottle/giddy exuberance that the first one brought fans (though it is rare to find a sequel that can be as original, unique and exciting), this more than serviceable sequel has plenty to offer. Bringing the same entertaining mix of soulful characters, sharp dialogue, quirky humour, and surprising emotional heft, it also adds some new personas, small twists and important revelations that fill in many teasers put out there three years ago with the first volume. Many terms and words immediately come to mind after watching this second feature: dissension amongst the ranks, internalizing pain, sacrifice, family, dancing and. . . David Hasselhoff???
Many of you have probably heard of, and may be watching, HBO’s stellar hit show, Westworld. An intriguing premise to say the least, quite a few people do not realize that it is actually based on a 1973 movie of the same name, written and directed by famed novelist Michael Crichton – his first foray into the world of film making. Set in the not so distant future, this sci fi flick is infused with a classic western twist, as guests head to an amusement park to live out their fantasies in one of three worlds (Roman World, Medieval World and of course, Westworld). With a hint of being a precursor to a dystopic world, we are introduced to our two leads, first time attendee Peter Martin (Richard Benjamin) and his more experienced friend – at least, in relation to the very realistic park, John Blane (James Brolin), in a spacious, futuristic plane on their way to the locale.
An intimate character study, 2016's Maudie, written by Sherry White and directed by Aisling Walsh, fuses familial drama with Canadian East Coast humour. Beginning in the 1930's, the story is based on the real life of Canadian folk artist Maud Lewis – the titular character is brought to vivid life by the ultra-talented Sally Hawkins. Born with a bad case of juvenile arthritis, Lewis is a woman of strong will due to her affliction. With a bad limp, awkward disposition and secret from her past, she is seen by the community at large as being different. . . also, a stain upon their family according to her holier-than-thou Aunt Ida (Gabrielle Rose) and overly patriarchal brother, Charles Dowley (Zachary Bennett). One example of his ways – he sells off their parents’ home soon after their death without even telling his sister beforehand.
Pulling its title from the novel (written by James Jones) that it is based on, Terence Malick’s 1998 film, The Thin Red Line, which was nominated for seven Academy Awards, brings together a who’s who ensemble cast to tell the tale of an intense World War 2 story set in the Pacific Theatre, specifically, the Guadalcanal Campaign. Over the past several weeks you have read about the filmmakers behind the Tribeca Audience Award winning movie, Here Alone – first, producer Noah Lang, and secondly screenwriter David Ebeltoft. Today’s Star Pick will feature the motion picture’s director, Rod Blackhurst. An up and coming director in the business, he has had great success from the beginning. The first time I came across some of his work, funnily enough, was by accident.
After a multitude of lackluster features, M. Night Shyamalan has returned to form with his most recent, more independent style foray, 2016's Split – a horror/thriller with an unexpected. . . or should I say, an expected twist (could it be that there is no real twist?). Featuring a tour de force performance from James McAvoy, the talented actor takes on the role of a plethora of very different personas, as his character has more than twenty split personalities. Ranging from a lisping young boy and grand British dame, to a fashion designer and Christopher Walken-like New Yorker, one of his splits, Dennis, kidnaps three teenaged girls, Claire (Haley Lu Richardson), Marcia (Jessica Sula), and Casey (Anya Taylor-Joy) from a public parking lot. Claire and Marcia are, for all intents and purposes, the popular girls in school – the type of gals that most cling to and the rest hate, while Casey is a lone wolf and outsider, her unusual ways forcing her to the periphery of the mainstream.
Gaining prominence during The Great Depression, it is no secret why the silly, farcical slapstick comedy of The Three Stooges was a hit with audiences – as their crazy antics onscreen were able to give those watching a short respite from their complicated, downtrodden lives. Signing on with Columbia in 1933, the trio of nyuksters we all now know (Larry, Curly and Moe) became ‘short film’ icons in 1934 (prior to this, it was Ted Healy and His Stooges), continuously developing new projects (sometimes with Shemp or others) until their last in 1970 (their stint at Columbia ended in 1959 with their 190th feature) – an impressive run to say the least. Their first short of 1937 (and twentieth overall), Grips, Grunts and Groans (a very Stoogey title) finds the impoverished triumvirate riding the rails. Fleeing after getting the better of a pair of railroad police, they find themselves in a wrestling and boxing club, somehow befriending a behemoth named Ivan Bustoff (Harrison Greene). Run by the mob, the gangsters have placed a whopping bet on their wrestler.