Stealers Wheel

From a modern perspective, it may not be immediately recognizable that the classic 1954 monster movie Godzilla was, in many ways, a product of its time. Highlighting the anxiety of the nuclear age at the height of The Cold War, the gargantuan reptile first appears after a hydrogen bomb test in the middle of the ocean. Even this occurrence that starts off the film is based on reality, as the United States tested a giant nuclear weapon on March 1st, 1954, under the code name Castle Bravo. Fishermen, who were outside of the radius, were hit by the fallout from the blast, being covered with copious amounts of coral and radioactive ash. One man died following the event, creating an onslaught of international press that questioned these tests (though, other articles impugned the men on the vessel, suggesting that they were spies).

It is rare that a sequel can match the quality of the first motion picture. Whether it is an effort to outdo the original, or simply an attempt to cash in on the popularity of the primary offering, it usually comes off as less original, with the story feeling lackluster – often blandly regurgitated. Yet, one film that is able to match its predecessor is James Wan’s 2016 horror flick The Conjuring 2. Written once again by Carey and Chad Hayes, along with director Wan and David Leslie Johnson, the story picks up with the spectre-hunting married couple, Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) dealing with their most famous case, the Amityville house. Lorraine sensed a horrible presence in that home, with the ominous figure resembling some sort of demonic nun. During this vision, she witnesses the death of her husband at the hands of the spook.

Taking characters from the classic western and transporting them into the modern age, Hell or High Water has its requisite share of cowboys, Indians, and cops and robbers, though it cleverly pairs the cowboy and Indian as two Texas Rangers hunting down a pair of outlaw bank robbers. Written by Taylor Sheridan and directed by David Mackenzie, the story follows brothers Tanner (Ben Foster) and Toby Howard (Chris Pine) as they travel through small Texas towns, robbing bank after bank as they go. Tanner, the older sibling, is a wild card criminal who has spent ten of his thirty-nine years behind bars. The brains of the operation, however, is Toby, a charming, clever man who meticulously plans each robbery. He has a melancholic aura, as the death of his mother, as well as a strained relationship with his ex-wife and two sons, has left him flapping alone in the wind.

Guillermo del Toro has quickly elevated himself to the level of super-stardom. The horror leaning director crafts loving stories that revolve around the monsters that haunt our nightmares, concocting vivid worlds that both touch our hearts as well as stop them – using stunningly crafted eerie atmospheres and shocking spectacles to succeed. So, I thought that I would reflect back on the director’s first motion picture, 1993's Cronos. Written and directed by the horror maestro, the film contains many of his staples that we have come to know and love – including rich characters, gothic horror elements, a fix of Ron Perlman, as well as countless other things.

Depicting the slow decline of a wealthy family, Orson Welles’ follow up picture to Citizen Kane, 1942's The Magnificent Ambersons, provides us with a melancholic reflection on how the more simple life of the nineteenth century transitioned into a more hurried, less enjoyable one as the new century was ushered in. We are transported into the socialite world of the Ambersons, a well-to-do American family living in the then small city of Indianapolis. Residing in a gargantuan mansion, the family sit at the top of the food chain when it comes to the pecking order in the area. Welles provides the voice-over narration as he introduces us to the family, including Isabel (Dolores Costello), daughter of patriarch Major Amberson (Richard Bennett), a young lady who is being courted by the thoughtful Eugene Morgan (Joseph Cotten). After a disastrous attempt at performing a serenade for her, the romantic man is shunned by the young debutante – she sees his failure as an ominous sign.