Rate the Last Movie You Saw

[Theli]

Yeah I gotta say I'm a bit jealous, the last drive-in here closed years ago.

[srboone]

The I-70 Drive-In opened for the summer this weekend. Didn't get a chance to go, but it's onmy list of things to do this summer.

[Theli]

Well I had promised to review this movie, though I had forgotten for weeks. It took me 3 sessions of an hour and a half to finish it, but Fritz Lang's Mabuse: the Gambler (1922) is a masterpiece! It is a long film, and though some of this is due to it being silent and thus uses a more visual storytelling style that takes more time to develop, as well as the need for pauses when intertitles appear, it is actually a long freaking story! Even if it was adapted to film now I bet it would run well over three hours. It is a complex story of a man, Dr. Mabuse, whom wears many guises, both literally (in the film he wears multiple disguises) and metaphorically. Dr. Mabuse commits multiple crimes throughout the film including, but not exclusively, stock market fraud, theft, gambling, arson, and murder. Even there Dr. Mabuse's evil doesn't stop, his goal is not just wealth, but power. He seeks to control the city, and does his best to cause as much chaos as he can. To achieve these goals Dr. Mabuse will sink to any level, even betraying the woman whom loves him. And how does he achieve all these evil feats? By trade Dr. Mabuse is a psychiatrist, and one whom is well versed in the art of hypnotism. Also it helps that the chief inspector is a dolt, a persistent one, but still a dolt. At his core, though, despite his over the top evil deeds, Dr. Mabuse is an abusive, misogynistic, drunken, egomaniacal, sot, and his corrosive attitude destroys all it touches. From the stories I've read, I wouldn't be surprised if Dr. Mabuse represented Lang himself to a certain degree. What's amazing is how much we, as the viewer, learn of Dr. Mabuse. It is difficult in a silent film to develop a character well, but in a film that reaches just over four and half hours, this feat is achieved.

To add to this sprawling character study, and study of corruption and crime itself, is Lang's trademark dark and brooding style. He was one of the proponents of the expressionist style, and it's on show here, but still his style is less extravagant and distorted as say Robert Wiene or F.W. Murnau films from the same era, or even his later masterpiece, Metropolis. It is also an early example of the crime films he came to excel at later in his career after moving to America to avoid persecution in Germany for his Jewish heritage. This film features perhaps even more debauchery than it's censored American successors. Dr. Mabuse: The Gambler features multiple scenes of violence, murder, nudity, gambling and drinking. Much of which would have been quite taboo in the U.S. at the time and some of which was outrigt banned for decades to come. It doesn't quite have the same social conscience that many of Fritz Lang's later films had, but it does feature one of his favourite themes, explored in multiple of his films, Fury and Scarlet Street especially, his predilection against capital punishment, and the belief that man punishes himself with regret and remorse more than anyone else can through other methods.

What is perhaps the most amazing feat of this film is the way it keeps the viewers attention with constant intrigue and new plots. The pace never lets up. Like most other Fritz Lang films it features a much higher budget than his other compatriots' films. It features multiple long shootouts, bombings and explosions. As well as amazing and inventive set pieces for the casinos and burlesque houses. The visual style and compelling story mixed absolutely perfectly. I had to stop multiple times to take breaks, but it wasn't because I wanted to. After the first session I was at work with the film on my mind all day, as soon as I got home it was time for session 2, then the loathed necessity for sleep and work early the next morning. I kid you not, until I saw it's end I couldn't get this movie off my mind.

If you can handle silent film, and you have the patience for a four and a half hour story, then you must check this movie out. Even if you have to take a break because of its massive scope, make sure you come back because you won't regret it. It's a one of a kind movie, in the best kind of way.

[srboone]

I have a lot of the the Dr. Mabuse films on DVD, but haven't watched them. But you've inspired me! Thanks for the great review.

[Tommy]

I've watched a few four hr+ silent films and honestly think they work better at longer lengths than do talkies but I also prefer B&W films so take my opinion with a grain of salt all you color junkies out there Of the Mabuse films, I've only seen The Testament of Dr. Mabuse and it is amazing, we need more Fritz Langs today!

[Theli]

Thanks guys, glad you liked the review. After watching it I've been itching to check out the Testament of Dr. Mabuse. Gonna have to order it from the Criterion collection.

[srboone]

Neighbors: Not nearly as funny as it thinks it is. Comparing this movie to Animal House is a joke--it's not even in the same league. New parents Seth Rogen and Rose Byrne are forced to live next to a fraternity house and deal with it's members that include Zac Effron. A constant barrage of dick and sex toy jokes (which is what passes for great humor these days), Neighbors plays like a themed SNL show that never seems to find it's groove. The jokes range form bad to offensive (with the occasional good joke lost in all the shenanigans), all of which I chuckled at, but there was nothing particularly memorable about any of them. And I kept wondering about the relations this frat had with others in the neighborhood. That being said, Rogen is quite good at playing...Seth Rogen, Rose Byrne agains shows the masterful comic timing she displayed in Bridesmaids and Zac Effron makes quite an impression with his first foray outside the box of his High School Musical image in terms of characterization.

Animal House this is not, and it doesn't reach the silly heights of Revenge of the Nerds; but it succeeds where PCU (the 90's version of AH) does not in presenting jokes that are actually funny on some level.

Beats rearranging my sock drawer--which is what I probably would have been doing instead.

2.5/5

[srboone]

Maleficent: The "real" story of Sleeping Beauty is revealed as Disney continues it's modern mission to deconstruct its classic image with this new take on an old fairy tale. Full of stale story ideas, 2nd-rate CGI and miscast actors, Maleficent's redeeming value is the magnificent Angelina Jolie. In what would have otherwise been her signature role (had this movie been made by a studio other than Disney), she delivers a great screen performance and outclasses every aspect of this movie (all the way down to the dreary cover of "Once Upon a Dream" played over the end credits), bringing passion and COM-passion to the role of one of Uncle Walt's most hated and enduring villians. Call this one a great missed opportunity and skip the 3-D and IMAX treatments. (Unless, like me, you're an AMC Stubz member and trying to get your $5 bonus bucks for seeing 3 of 6 big summer blockbusters in 3D IMAX. )

2/5

[TJCams]

Maleficent: The "real" story of Sleeping Beauty is revealed as Disney continues it's modern mission to deconstruct its classic image with this new take on an old fairy tale. Full of stale story ideas, 2nd-rate CGI and miscast actors, Maleficent's redeeming value is the magnificent Angelina Jolie. In what would have otherwise been her signature role (had this movie been made by a studio other than Disney), she delivers a great screen performance and outclasses every aspect of this movie (all the way down to the dreary cover of "Once Upon a Dream" played over the end credits), bringing passion and COM-passion to the role of one of Uncle Walt's most hated and enduring villians. Call this one a great missed opportunity and skip the 3-D and IMAX treatments. (Unless, like me, you're an AMC Stubz member and trying to get your $5 bonus bucks for seeing 3 of 6 big summer blockbusters in 3D IMAX. )

2/5

Interesting insight Squire.... I went and saw this in 3D IMAX with my wife on Saturday night - I thought the story was pretty good, and yes Angelina Joli played her part great. For me, the visuals in 3D were very good. Certainly wasn't the greatest movie I've ever seen, but we enjoyed it.

[srboone]

Glad you enjoyed it, because I wished I'd enjoyed it more. I just kept thinking the whole time that this couldn't have been what the movie looked like on paper. And I've never been a fan of Sharlto Copley. I liked neither him nor Elle Fanning in the movie. My favorite special effects in the movie were of the animals that Sam Riley's character transformed into making human gestures. Those were very good. My least favorites were of the three good fairies. They looked like bobble heads on a regular-sized body with a blown up background to make them appear small.

[TJCams]

I do agree with fairies comment! The one I knew the face, but couldn't figure it out until I got home and used IMDB to discover it was Juno Temple. For me - spending that kind of money to see it in Imax 3D, I have to be really selective. We don't go out to the movies very often because it costs quite a bit here.

[Theli]

I watched The Underworld (1927) early this morning. This is an early Josef Von Sternberg silent film and at least seemingly, the first ever gangster flick. The opening begins with a bang and a bank robbery. It's the story of Bull Weed, a bit of a philanthropist thief, and his small crew, Rolls Royce, Slippy and Bull's girl Feathers. Despite Bull's giving ways, he has made enemies in the underworld and Buck Mulligan is one of them. Buck has the hots for Bull's girl and will stop at nothing to get her. The story ultimately leads to one hell of a climax that I'm sure influenced gangster flicks like Scarface (1932) and, er, Scarface (1983). It also features a forgiving and sympathetic denouement that would do the crime maestro, Fritz Lang, proud.

Sternberg's directing is a little awkward at times. The film uses several quick edits that is unusual for silent flicks, and lacked a bit of flow that most German silent films have in spades. Also some of the camerawork and acting just came off as strange and amateurish at times. The film starts to hit it's pace around halfway, and I think Sternberg's directing tightens up a bit around that point. What Sternberg does incredibly right though is create a certain style and attitude for his gangsters, probably researched thoroughly by Sternberg himself, whom spent time simply observing people, and has been aped and imitated in almost every gangster flick since. He also experiments a bit with some darker cinematography and excellent use of shadow play, ala German expressionism or American Noir (yet to come).

Overall this was a great flick, and very inventive and ahead of its time. Any small detractors it may have, are quickly forgotten as the story and character's grab your attention and won't let go. Check it out!

[srboone]

When the A/C in your house goes out, you go somewhere with A/C. But then, I'd go to the movies, anyway:

Edge of Tomorrow: Finally, a big-budget actioner that is worth the price of an IMAX 3D ticket! This movie is part Groundhog Day, part Children of Men, part Independence Day, Part Aliens and part Starship Troopers--but in the end, it is its own animal. Tom Cruise plays Major William Cage, an Army Public Relations Specialist, forced into combat and fated to relive a doomed D-Day-like invasion over and over again. The audience learns what is going on as the characters do and events have new meaning each time they are repeated. Great special effects, intelligent screenplay by Christopher McQuarrie, with an outstanding supporting cast. But what makes this movie work is Cruise himself. Cage is one of the best roles of his career--definitely the most complex--and Cruise is more than equal to the task. And it's simply astonishing how good Emily Blunt is playing a cold-blooded killer. A third act spark between Blunt and Cruise is used to provide the impetus for the film's finale, but the blood and thunder of the first two acts coupled with the crisp direction of Doug Liman makes for an intense, exciting movie. It won't stay with you long after the final credits role, but for it's two-hour runtime, it might be the best ticket this summer.

4.5/5

[Theli]

I hope you guys like bricks of text about old movies, 'cause here's another one!

I watched The Maltese Falcon (1941) again last night. What an a amazing flick. I remember the first time watching it the ending blew me away. The murder mystery takes second place to the intrigue around the black bird, but it's always in the back of the viewers mind, and clearly in the forefront of the protagonist Sam Spade's. It's the story of a couple of private dicks, Spade and Archer, who get hired by a dame to track a mysterious man, Mr. Thursby. Archer winds up dead, and a whole slew of characters begin to show up with all sorts of interesting and dangerous propositions. What is the Maltese Falcon, and why is everyone searching for it? And what did it have to do with with the death of Sam Spade's partner, Miles Archer?

Dashiell Hammett's novel had been adapted to film twice before, once in 1931, pre-code, which was too risque for audiences at the time (apparently) so was remade into another film which floundered called Satan Met a Lady, with Bette Davis. Which, though I have yet to watch it, I understand that with much of the content editted to be PC lost much of it's plot and drive. However in 1941 John Huston hit paydirt with his monumental adaptation of the landmark novel. As I haven't seen the other adaptations I can't compare in tone and execution, I have however read the book. The novel is rather dry and straight forward, and the film mostly plays it straight, maybe too straight, in the sense that they actually downplay the gay elements of certain characters from the novel. Because of the film code's new rules and regulations, the sexual innuendo is not outright, nonetheless it is there. Sam Spade is not a simple good guy hero. He is willing to use people to get what he wants, and one of his tools is sex appeal. There is a sordid history behind Spade and Archer, and Archer's wife that is never fully explored in the novel or film, but hints at Spade's womanizing ways. The violence is quick and understated. There is more vitriol in the words spoken than the action's taken. Which is just the way gunless Sam Spade likes it.

What elevates this film, at least in a historical standpoint, above the other adaptations is a solid cast and crew. Humphrey Bogart is at his best here. He plays Sam Spade's chameleon like character to a T. When he needs to be tough, he's tough. When he needs to play ball, he does. When sex appeal is needed he'll use that too. A favourite scene of mine is Sam playing up his tough attitude to Gutman, and when he leaves his hands are literally shaking. It's not just Bogart though that plays aces in this film. One of my other all time favourite actors shows up for an intriguing role, Peter Lorre plays Joel Cairo, another person searching for the Maltese Falcon. Cairo is an interesting character in the sense that he could be ruthless, but he achieves most of his negotiations through whimpering and pleading and small amounts of civility. Lorre's diminutive stature and furtive movements suit Cairo's character perfectly. Though the gay element of his character is severely diminished, Lorre's portrayal adds a certain flamboyant flair that helps to compensate for the missing element. The icing on top of this top notch actor cake has to be Sydney Green as the jolly portly Kasper Gutman. A truly ruthless collector, who has a love for violence and volatile attitudes, but also loves to joke and kid. His role makes this film. You hate him, and love him. In some ways he's almost the comic relief to this consistently dark film, which is odd considering he is the prime antagonist.

The multi-faceted characters and execution thereof is a prime reason why this film is so fondly remembered today, but even with the best actors you cannot make a good film without a solid director, and that's where John Huston comes in. What is truly astounding is that this is Huston's first film as director, though he had some experience in films before. His tone and execution for this film are top notch. Sometimes cited as the first noir film (simply not true), you can see the expressionist influences that are common in noir films, but mostly it's the dark attitude of the characters and story that make this a noir film. Even the best of characters have flaws (well maybe not Effie). Sam's a drinker and a womanizer, who isn't afraid to get violent when necessary, and more than likely the same would have gone for his partner Miles Archer. The rest of the cast is a sordid bunch already ensconced in crime before even showing up at the Spade & Archer detective agency. But none of them are outright evil either. They all have their vices, mostly the Falcon, but they are not straight up murderers or crooks, killing at will. How Huston manages this complex cast of characters, giving each their space to develop, as well as making them believable, is amazing. It is a somewhat complicated story, but with Huston as the ringleader it unfolds at just the right pace to keep the viewers guessing, but not confused. One fo the ways this is achieved is through long uncut shots, letting the characters and actors act normally, believable. There is multiple long uncut scenes of Sam Spade rolling cigarettes, lighting them, then smoking them. Cairo's furtive jittery movements, and Gutman's hilarious attitude changes through long scenes are also nice little elements one wouldn't get to appreciate in a modern film with all it's quick edits and is the main reason for these characters being believable. Their lives aren't cut into 2-10 second pieces. John Huston went on to direct many more extremely successful films, noir classics like Key Largo (still gotta see) and Asphalt Jungle (fantastic), but also many other style of film like The Unforgiven, The Misfits and Heaven Knows, Mr. Allison.

If you haven't seen this movie yet, ask yourself why. I bet you don't have a good answer. So remedy that right away!

[mhatchett]

Sold!! Thanks for the good review, I'm on my way too see it this weekend!!
Mike