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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Quick Letterboxd Thoughts: 10 Rillington Place (1971)

 Here's some quick Letterboxd thoughts for 10 RILLINGTON PLACE (1971):  https://boxd.it/1j0P3p

Although it spans most of Christie’s serial killing life, I enjoy how the film focuses on the events taking place with the Evans family.  I find too many biopics are all-inclusive and lose characterization.

I haven’t seen a lot of Attenborough’s films, but I’m beginning to see his range from POW, dinosaur enthusiast, to jolly old St. Nick.   However as shown in 10 RILLINGTON PLACE, when paired with the right camera shots, the actor is transformed into a very mesmerizing yet creepy character.  For example, when things are “normal,” the frame is upright and structured.  But once Attenborough switches from sweet old man to freaky serial killer, the camera tilts to some disorienting angles.

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Quick Letterboxd Thoughts: Seconds (1966)

 Here's some quick Letterboxd thoughts for SECONDS (1966):  https://boxd.it/1iXjP1

SECONDS is a frightening film exploring how one handles a second chance at life. 

Rock Hudson plays an old man who lived a comfortable and successful life.  However, he never pursued any of his dreams and desires.  Signing up with a “company,” he fakes his death so he can live a younger and more attractive lifestyle (Note: As we all know, never trust a company that wishes to remain anonymous, especially in a science fiction film).  However, a person can never change their essence, even if given a new body - The transition will be filled with consequences.

This film was shot in black in white by the great Jimmy Wong Howe.  I’m glad it was decided not to shoot in color - the imagery wouldn’t have been as effective.  In many ways, the ambience reminds me of early David Lynch.  

Adding in the quick and erratic edits, this film is quite unsettling.  In particular, the transformation sequences are terrifying and gruesome.  This includes the final phase, where Hudson’s gut-wrenching emotions are filmed with disorienting closeups.   Having recently watched RONIN, we see Frankenhiemer’s affinity for wide angle lenses - He can really capture depth of focus, adding multiple layers of action depicting the untrusting “company” watching Hudson’s every move.

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Quick Letterboxd Thoughts: A Simple Favor (2018)

Here's some quick Letterboxd thoughts for A SIMPLE FAVOR (2018):  https://boxd.it/1iTmJd

As the end credits were rolling for A SIMPLE FAVOR, I said to my wife, “This was a comedic version of GONE GIRL.”  My wife replies, “At least I’ll be able to sleep tonight.”

As the story progressed, I could foresee how this plot was going to unfold.  However, I didn’t care - Paul Feig’s dark comedy was quite entertaining.   The banter between Anna Kendrick and Blake Lively was fun and amusing.  Kendrick is the sweet girl you should like, but underneath her perky mom disguise, the audience (and her snarky parental peers) knows she’s hiding some demons.  Lively is the opposite - She’s a terrible mom, but since she carries this coolness, I found myself rooting for her.  Essentially she’s a more likable Regina George who didn’t inherit her lifestyle - She had to fight for it.

Finally I really enjoyed the soundtrack.  It has a hip soundtrack that fits these grandiose characters.  Also my ears definitely perked up when I heard the flamboyant horns of Chick Habit.  Just like it’s inclusion in DEATH PROOF, it’s usage is quite fitting for this film - It’s essentially a revenge song whose anthem sings “you’ll get yours.”

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Quick Letterboxd Thoughts: Texas Adios (1966)

 Here's some quick Letterboxd thoughts for Texas Adios (1966):  https://boxd.it/1iQTOz

A duo of brothers cross the Texas border seeking justice for their father’s death. Come to find out, the man they’re planning to capture is also the tyrant of the Mexican townspeople.  Luckily for some revolutionaries, their target is the same man. 

Besides the dubbing and lack of John Wayne, it feels like an American Western:  The town is very reminiscent of a Hollywood set.  It contains some very beautiful wide shots, but the panning camera movement makes it look like an American picture.  Watching an appreciation by Austin Fisher (see the Django Arrow Video release), TEXAS, ADIOS doesn’t follow the typical YOJIMBO model.  Instead of pitting rival gangs against each other, the hero teams up with Mexican revolutionaries and helps them fight for their freedom.

That being said, some Spaghetti Western elements emerge from the film.  With a close up of the hero’s eyes (a la Leone), we get a flashback of his father being killed and his mother being raped.  It turns out the man they’re hunting is also his brother’s father - This darkness definitely fits the bill of an Italian revenge flick.  Also, the picture stars Franco Nero.  Released a few months after DJANGO, this film was rebranded as a sequel even though it’s obviously a different character (named Burt).

Since the latest iteration of my Spaghetti Western craze, this has been the least interesting discovery. It’s a solid film; However there’s nothing too memorable and the film will slip through my memory banks.

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Quick Letterboxd Thoughts: Django (1966)

Here's some quick Letterboxd thoughts for DJANGO (1966):  https://boxd.it/1iLRSp

 

Django comes to town and takes advantage of two rival gangs.  Although he benefits from the feuding, his manipulation is more subtle compared to the man with no name from A FISTFUL OF DOLLARS. With that being said, Django, our hero, is still a ruthless and calculating character.   He taunts his enemies by carrying around a coffin - Inside is a machine gun used to lay dozens of men down into their graves.  Although stoic like Eastwood, he’s more of a lady’s man.  He can certainly entrap women with his deep blue eyes.

In contrast to the sly theatrics, the town takes place in one of the dirtiest sets I’ve ever seen in a spaghetti western.  Instead of dust and tumbleweed, we get wet mud - it sticks to everything.  However the brown mess makes a good contrast to the Southern Boy Gang.  Wearing vibrant red sacks over their  heads (essentially a fictionalization KKK),  the mud really makes their appearance pop off the screen. 

It’s been several years since I’ve rewatched this film.  Upon this viewing (from the recently released Arrow Video Blu-Ray), I decided to raise my rating by half a star.  Corbucci frames some really beautiful shots in a really ugly setting.  I also love the production design, including the collapsing bridge over quicksand.  Finally, whenever I hear the score, I can’t help but smile -  I get really excited knowing decades later, Tarantino composed his own scenes featuring these powerful musical themes.

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Quick Letterboxd Thoughts: The Ballad of Cable Hogue (1970)

Here's some quick Letterboxd thoughts for The Ballad of Cable Hogue (1970):  https://boxd.it/1iGLR1

Jason Robards is rising to the top of my all-time favorite actors.  Even though he wears a gruff demeanor, he exudes sentimentality that everyone adores (especially the audience).  As the perverted and immoral Preacher Josh proclaims: “He wasn’t really a good man, he’s wasn’t a bad man, but Lord, he was a man.”

Coming into this film, I prepared myself for a whole bloody affair.  Besides the massacre of a few reptiles and rodents, Peckinpah is restrained, subdued, and produces a film with a lot of heart.  Just like me, I don’t think Cable Hogue got the revenge he expected.  Instead, he truly achieves peace well suited for this ballad.

 

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Quick Letterboxd Thoughts: Romeo Is Bleeding (1993)

Here's some quick Letterboxd thoughts for ROMEO IS BLEEDING (1993): https://boxd.it/1iA537

This neo-noir was quite a delight.  If it wasn’t for Twilight Time, I’d probably never discover this film.  As always, Gary Oldman plays another diverse role, playing a crooked cop rather than the honorable Commissioner Gordon.  Loved the “Feeding the Hole” theme - Oldman’s character tried justifying his actions for money, but knew he’d never fill the void.  I also enjoyed the story framing at the beginning and end of the film - we know where he ends up, but have no idea how he got there. 

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Quick Letterboxd Thoughts: Cop (1986)

Here's some quick Letterboxd thoughts for COBRA (1986):  https://boxd.it/1itRUf

 

 

Once my wife overheard the first Stallone one-liner, she put down her book so she could watch this entertaining movie instead.  We thoroughly enjoyed this action flick where an LA cop flying solo takes down an entire gang of slashing serial killers.  Also, this is another film I can add into this year’s Christmas movie playlist.

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Quick Letterboxd Thoughts: Billy Two Hats (1974)

Here's some quick Letterboxd thoughts for Billy Two Hats (1974):  https://boxd.it/1inqoz 

The relationship between Gregory Peck and Desi Arnaz Jr.  reminded of me of the duo in Django Unchained - A European stranger morally guiding a “lower class citizen” through the Wild West.  This film was composed of some beautiful scenic shots (filmed in the mountains of Israel) and directed by the under appreciated Ted Kotcheff (I’m not sure if he’s considered an underrated director, but I believe his WAKE IN FRIGHT is a masterpiece). 

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Quick Letterboxd Thoughts: Emma Mae (1976)

 Here's some quick Letterboxd thoughts for Emma Mae (1976):  https://boxd.it/1igLXB

Beautiful transfer from Vinegar Syndrome - More of an outsider’s commentary rather than a Blaxploitation.  There’s no lack of action (Emma Mae Has fighting moves on par with Coffey), but it’s more of a social exploration of how one endures city life after being raised in the South.

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Quick Letterboxd Thoughts: Welcome Home Brother Charles (1975)

Here's some quick Letterboxd thoughts for Welcome Home Brother Charles (1975):  https://boxd.it/1ifrQt

 

Alongside the revenging “snake,” this blaxploitation contains a fair share of horror vibes, especially with the music.  One could argue it’s a precursor to the psychological horror films made by Jordan Peele.

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Quick Letterboxd Thoughts: Summer Lovers (1982)

 Here's some quick Letterboxd thought for Summer Lovers (1982):  https://boxd.it/1idCr1

 

Not my typical fare, but I enjoyed this quite a bit more than I should have.  Interesting study on a relationship - especially between (3) people.  Loved the soundtrack and location.

 

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Quick Letterboxd Thoughts: Ronin (1998)

 Here's some quick Letterboxd thoughts for Ronin (1998): https://boxd.it/1i9cw7

 

Great cinematography and car chase scenes.  Also, Frankenheimer utilizes a McGuffin that would make Hitchcock proud.

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Quick Letterboxd Thoughts: Cop (1988)

Here's some quick Letterboxd thoughts for COP (1988):  https://boxd.it/1hVOWT

Ohh James Woods... Would make a great double feature with 10 TO MIDNIGHT - A study on what rundown cops will compromise to put away a crazy serial killer.

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