Quick Letterboxd Thoughts: Buchanan Rides Alone (1958)

 Here's some quick Letterboxd thoughts for BUCHANAN RIDES ALONE (1958):  https://boxd.it/1jP0dl

So far in my Randolph Scott & Budd Boetticher journey, TALL T has been my favorite.  However BUCHANAN RIDES ALONE is still a strong entry from this creative team.

Scott plays Buchanan - A cowboy in the wrong place at the wrong time (a town owned by three greedy brothers).  He gets mixed up in a murder, goes to jail, and loses all his money.  Thankfully, Buchanan ends up ok.  However I’m not sure we can attribute his survival to his strength and wit - Just as he was calamitous at the beginning,  he ends up lucky at the end!  Scott plays a very charming character (as usual), so we’re happy he survives. If it was any other actor, I’m not sure we’d be as empathetic for the protagonist.

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Quick Letterboxd Thoughts: The Social Network (2010)

 Here's some quick Letterboxd thoughts for THE SOCIAL NETWORK (2010):  https://boxd.it/1jIIV3

So there’s no murder in this David Fincher film?  

With great acting and enticing dialogue, Fincher maintains the audience’s attention for a potentially very boring story.  The editing is flawless - You never feel lost as the film bounces back and forth between two legal hearings and the development of Facebook.  Also, for a relatively low stakes plot (granted millions of dollars are on the line),  Trent Reznor and Atticus Ross’ score brings intensity to the images on screen.

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Quick Letterboxd Thoughts: Robot Jox (1989)

 Here's some quick Letterboxd thoughts for ROBOT JOX (1989):  https://boxd.it/1jHmd7

I wouldn’t place ROBOT JOX in my personal pantheon of films, but I appreciate its heart.  Without using CGI, the stop-motion effects are filled with creativity and imagination.  Although I prefer Guillermo Del Toro’s flick, ROBOT JOX would make a fun pairing with PACIFIC RIM.

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Quick Letterboxd Thoughts: The Asphalt Jungle (1950)

 Here's some quick Letterboxd thoughts for THE ASPHALT JUNGLE (1950):  https://boxd.it/1jFs39

ASPHALT JUNGLE is another essential directed by the great John Huston.  I’m always a sucker for procedural storytelling, but the stylized light and stark shadows create one of film history’s best caper sequences.  Also, told with deep focus lenses, you get a lot of unspoken narrative in a small frame.

As always, I love seeing Sterling Hayden on screen.  He’s a massive and intimidating man.  However, he’s able to earn the audience’s sympathy by acting in small, quiet, and emotional scenes.  As much as we’d like for our leading hooligan to wash away the dirt of the city life, Film Noir never allows this to happen.  Ending in the sunny fields of bluegrass country, the final frames are fatalistic and even ironic.

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Quick Letterboxd Thoughts: Ray Harryhausen: Special Effects Titan (2011)

 Here's some quick Letterboxd thoughts for RAY HARRYHAUSEN: SPECIAL EFFECTS TITAN (2011):  https://boxd.it/1jyX7x

Great interviews with Ray Harryhausen and the filmmakers he’s inspired.  Along with insights into his processes and art, Harryhausen reflects on the differences between stop-motion (Dynamation) and CGI.  Unfortunately, I’ve only seen snip-it’s from his films - However I now feel intrigued to explore his filmography.

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Quick Letterboxd Thoughts: White Lightning (1973)

 Here's some quick Letterboxd thoughts for WHITE LIGHTNING (1973):  https://boxd.it/1juwS9

Listening to the laugh of Burt Reynolds in WHITE LIGHTNING, you can’t help but hoot and holler along!

Released one year after DELIVERANCE, Burt is no longer Ned Beatty’s guardian angel.  Instead, he wants to make Ned’s life miserable as the dynamic Gator McCluskey.  Beatty plays a corrupt sheriff who murdered Gator’s brother in cold blood.  So how does Gator get revenge?  He runs moonshine!

As expected, this movie is action packed.  The stunt work is terrific ranging from fist fights, wrestling, guns, and car chases.  Whether it’s racing through the streets of town or maneuvering through the foliage of the backwoods, the cinematography and editing make these sequences a delight.  I believe most scenes take place on location - You sense the humidity dripping from the screen as every character is drenched with sweat.

As compared to DELIVERANCE, Burt is far more charismatic in this film.  He’s still a macho man, but carries a charm that everyone loves.  He also exhibits pizzazz with the ladies, something he didn’t get to reveal in his previously male-dominated film.  Although he’s rooted in his southern ways, Burt shows he’s  progressive in the environment he lives in.  He’s not a racist -  As he interacts with African Americans, he’s playful with the young and respectful to the old.  This makes a great foil with Beatty’s character who’s obviously a bigot. At the end of the day, the sheriff sinks and Gator knows how to stay afloat.

Tarantino obviously loves this film as he borrows Gator’s name in the 14 FISTS OF MCCLUSKEY.   But in particular, I’ll focus on the music:  When Gator gets into pressing situations, QT uses the same percussive sounds in KILL BILL when the Bride is encircled by the Crazy 88.  Also, QT uses Gator’s twangy theme in INGLOURIOUS BASTERDS to introduce the audience to the violent and quirky humor of Brad Pitt’s crew.  I’m always hesitant to watch Tarantino’s favorites.   I fear I won’t like them - But as always, I’m never disappointed.

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Quick Letterboxd Thoughts: Cleopatra Jones (1973)

Here's some quick Letterboxd thoughts for CLEOPATRA JONES (1973):  https://boxd.it/1jdmtp

I enjoyed CLEOPATRA JONES quite a bit.  Although tame compared to most blaxploitation flicks, I’d have no problem showing this to my daughter (no awkward “pimp” scenes).  Cleo is treated with respect - she’s a likable character, fashionable, strong, smart, and beautiful.  Plus she’s a super-spy who knows Kung-fu.  Back in the 70’s, I’m sure she was a role model to some little girls.

Although I prefer COFFY and FOXY BROWN, the production quality of this film is terrific (although I’m sure it had studio backing).  The aspect ratio is wide so you get a lot of action in the frame.  Also, the car chase scene was well executed - you have to love films that take advantage of the LA River.  I’m glad I picked up the Warner Archive disc - It really pops in image and sound.

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