Petty-Crush

-alive, coiled, black & white, bruised, full of cold dread; all this and more in this extraordinary picture

-the set piece, the reason to see this film(other than the sustained paranoia) is the brain wash scene

+it effortlessly mingles together different shots, extras, tone, and shifts our emotions on a dime; if someone asked me to prove the power of editing, that quality which makes it unique to film, this would one of my first go-to’s

-Frank Sinatra (who apparently asked not to work until 11am, since he didn’t sleep till 5am) turns in a thunderous presence, that anchors everything

-most of these are first takes? Fucking wow

-I like how this film never forgets to be funny. The snake bit scene, the “are you an Arab” flirting, the way over the top karate exhibit

-it makes the soundless shootings all the more devastating

-I am gleeful at the brazen(ly true) suggestion that communists (or whatever enemy you want) tried to destroy a country through posing as anti-communists. The intent was the same; muddle everything, discredit everyone

+today (in the US) it’s diet republicans posing as liberals (or leftists, as you know them) while trying to neuter them; but the point still stands-“if [x] were a paid agent, he could not do more to harm this country than he's doing now”

-that may also describe a certain orange loser, too. And his enablers

-note how it’s not the sniper, but the inside dagger the anti-humanists want. Official power is the most damaging power

-this is the most startling satire of the film; take no one (in politics or otherwise) at face value, check your sources, prove a case. Read a book, read a book, reading a motherfucking book

-it’s a testament to the massive skill of director John Frankenheimer that I cannot decide whether this or the equally gobsmacking “The Train” is my favorite of his. Both are wonderful, in their own way

-a film is delightful (among other reasons) because the world that died is kept alive by watching it, yet that world is still pulsating, muttering, fighting the good fight.

-a delightfully odd sci fi/“we are not alone” film with marvelous scenes, screwball characters, and bountiful ideas

-it really digs deep into our hunger for spectacle at all costs and how you really can push an animal only so far (before they lash out)

-the visuals in this film are totally stunning: a delightful melding of the iconography of the western and the promise of the intergalactic unknown

-juicy parts to screen veterans Keith David & Michael Wincott too; it’s just good see them bite in

-one of my favorite moments is where the film ponders why it is to be a “bad miracle”; an awe inspiring moment that is absolutely destructive

+when poised as a question, the refrain “nope” is used as “I have no idea” but, honestly, that term, that impulse, that desire to escape the abominable, is also a good description of the “bad miracle”

-so why do they stay, linger near the danger? Because they got off before (barely) and in their hubris think themselves invincible, lost their connection to self safety, or because there is a utter desire to see weird shit

-there is also the small note of how loud mouths are openly welcomed in business & entertainment; and soft spoken competence is rarely held up high, even though it underpins everything

-the faint voiced resilience is what actor Daniel Kaluuya brings to Otis Jr (OJ); turning in a astounding performance

-he works with animals, and you can’t talk to them, you train with them, set an example for them, respect their boundaries. It is all action (and persistence), not talk

-again this works wonder on the ranch, but is not especially appreciated outside of it

-that respect OJ fosters, thinking of animals not as divine critters, but as beings who need autonomy and care, is what makes this film so deeply resonant

-indeed that character study, the leisurely first hour thrillingly deliberate in setting up the players, is intoxicating; and it all pays off, the ending is stronger for it

-Jordan Peele has created something really special here,(possibly my favorite of his) a film that belongs in the essential pantheon of sci fi and big ideas

-/-///——

-and now we delve into deeper waters, where story revelations are talked with cavalier hushes.

Look to the moon if ye wish to experience the stars unsoiled

-the “ufo” being an actual creature is terrific

-the tying in of the monkey attack of Gordy with the foolish mind to control Jean Jacket (the alien) every evening is beautiful, a magnificent touch

-I especially like how the character Ricky (Jupe to others) is obsessively dedicated to the limelight, even willing to dig up his infamous past to do so

-he is completely sure that because he (by the hair of Kong) survived that monkey massacre, he can conquer and treat any animal the same, and it costs him everything

-that moment where the ape looks to fist bump the child Jupe, then gets shot in the head…I love it

-I also dig the little moments where Jupe seems strangely hesitant to sell back the steeds, as if he was caught with his hand in the cookie jar (boy howdy is he)

-this motherfucker even invites his neighbors to see the event where he sacrifices their horses! The brazenness is in another galaxy

-it’s almost certainly the eating of the fake horse (with triangle line) that pissed off Jean Jacket, hence making her(?) show up an hour early and slurp everyone into death

+safety first, man

-sometimes you look danger in the eye(s); other times, mind your business

-I fucking dig the visual of the house getting blood rained on it

-I laughed when “Sunglasses at night” warped the reverb to the final frontier

-Keke Palmer rides that wave between annoying as shit, and rascally spunky. It’s a act where she lets it hang all out

-Brandon Perea is also skillful at playing a naive, so over-enthusiastic to please twerp

-but, yeah, Steven Yeun just kills it as Jupe. He presented all the complicated emotions of living for others.

He would be the shiniest star that everyone most remembers if not for Kaluuya also being here

-maybe that thought needs reworking though; it’s not about competition, personal glory, but (intergalactic) collaboration

When a good sci fi film (like this one) comes out, there is a rush to debate it among the greatest

Is it? I have no idea. But I truly adore it.

Who cares if (maybe) it’s not as great “Close Encounters of the Third Kind”? They are both well worth watching, both solar milk & honey to sci fi admirers.

Much like you can just enjoy “Colossus the forbin project” & “2001; a space odyssey”; they both scratch a certain itch the other cannot

-/-/-/—-

-for its moxie, it’s very personal mix of elements(the aforementioned extravagance of images, beasts of burden, and powerful performances), its sheer unbridled joy, I salute this film.

-/-//////—/

The design of this film’s world (especially at the start) is dazzling.

A lot of is very simple, such as Logan 5’s uniform being all black, with a splash/rectangle of grey in the chest. Pops right out.

The minimal thought/follow orders headspace of the sandmen and their desire to kill on command is intriguing.

Sex is now to be called up on a computer, and (it is implied) being gay is all groovy, baby.

The plastic surgery lab is delightfully creepy.

The carousel scene is trippy, and a kaleidoscope in motion.

This greatly underscore the mystery of what is the truth in this world. What have people given up for a finite amount of paradise. Genuinely compelling.

//-//-//—-

Here is a decision I really don’t get-the characterization of the old man.

The whole film has been building to an outside world, where people are allowed to live past 30, raw in nature. We see our sole survivor, in the dilapidated remains of the White House, surrounded by cats.

And yet…the old man is so feeble, so fucking boring, so aimless, that it almost makes the enforced age ceiling exciting by comparison. His existence is so dreary.

I think I get it. He’s been alone for years, possibly decades. He only had his parents to talk to, no children or young adults to exchange ideas with. And, of course, all those fucking cats are annoying as shit.

But, none of this is ever really given any more screen time or attention. The film doesn’t even attempt to mix this into the debate of the in universe; no “yes, you will live past 30, but this runs the risk of senility, exhaustion, and a numbing isolation”. Nothing!

They don’t even give this guy a name. So, I will. Let’s say…Saul.

Saul never has one interesting thing to say. He babbles in a way where it seems he would say the same thing whether it was an audience of 50 or none. He seems to barely register there is anyone around. His one desire seems to be wanting to be buried under the ground (if the alternative is being eaten by cats, then I agree).

Like, if you picked the most ageist opponent for Saul, could they possibly make him look any more useless?

This is just so underwhelming.

Obviously this a decision by the filmmakers, but what is even trying to be communicated?

There is nothing interesting about “dying young vs living longer than you think” being expressed here. Saul (to me) is handled with such a lack of care I have no idea what the point of including him was. He seems like the very definition of a place holder character. Where I spend time with him but gain nothing from it.

Wouldn’t it be awesome that his knowledge or vibrant personality makes the rest of the young dwellers rethink their existence? That they have to come to terms with and make a decision about how long to live?

As opposed to doing or wanting something vital he just…exists to occupy space. Lame.

An attention grabbing first half of a film comes undone by a gravitational strong force of apathy in the latter part.

-/-//—////

It’s kinda funny how easily flummoxed machines are in this world.

The food robot drifted to freezing humans, but gets totaled by one master blast.

The overlord computer that super aged Logan 5 fries itself when told that no sanctuary exists. The idea that hope is an imagined place, not real, is too much for its fragile little circuits.

I guess the only thing that we can put our trust in is the smoking body of Jenny Agutter as Jessica 6. Wowee.

-in the pantheon of “films that are absolutely amazing for the first hour then dissolve to nothing” this would be way up there , Mount Rushmore status

-totally worth seeing, but just know it drops off a cliff at one point

-but that first hour, fucking incredible

-it has quite a variety of scenes too, it’s not all one flavor

-what I was struck by was the “raindrops keep falling on my head” bicycle sequence

+it’s a cheerful, sweet section, that has the nerves to go into the deep end of “impossible to be serious because you are having so much stupid fun” pool

But it works. It is a delight from first minute to last

-I’m a little flabbergasted that this film, about two dudes robbing banks and killing bandits, was the birthplace for the song itself. Ahhh, the “whatever happens” attitude of late 60s films

-the scene where Butch returns to his gang’s hideout and has to deal with the usurper to his throne is rough, tough, and totally beautiful

-“whose idea was it to rob a train?!?”

‘[the usurper], Butch’

“Well…that’s just what we are going to do!”

-probably the biggest impact of this film was setting the stage for Robert Redford (as Sundance), his career, and his changing of the cinematic culture

+his introduction—in close up—playing cards, absolute poker face against someone (Sam Elliot) waiting for him to draw his gun but then that guy backs out when he realizes who Sundance is, just star making in the most unabashed way

-I think he totally steals the film out from Paul Newman, which given the former’s presence and easy going charm, is Olympian level skill

-easily my favorite part is the buildup towards robbing a safe with dynamite, particularly the 2nd time

-it really shows that you only need two scenes just a bit apart to make a forever memorable cinematic moment

-the timing on the extra dynamite for the 2nd time around safe is perfect; one of the biggest laughs I ever had in my life

-and from that high…the movie goes down

-it sure doesn’t look like it, the very next sequence with the super posse barreling out of the solo train car is staged beautifully

+it seriously looks like an intro to giant boss battle

Just a great use of the iconography of the western (horses, trains, pistols, hats)

-then we get to a super duper extended section of Butch & Sundance [B&S] running like hell from the super posse

-at first it seems like the comedy technique of something funny, goes on way too long, then funny again…but then it extremes even farther to a cinematic pacing land totally lost in fog

-if somebody made an edit of the film ending on “the fall will probably kill ya” scene, I think we have a contender for five best films of the sixties onward

-it just really feels like the perfect anti ending

-but, they keep on running

And running

And running

And running…..

-what really soured me was the section after, where B&S flee to Bolivia, is even less interesting

-I am absolutely astonished that writer William Goldman (and possibly director George Roy Hill) thought this was the reason to make the film

-this is like when an awesome band makes a new album, full of great songs…and then the title track is the weakest, most boring song on here

+and it ends the album (film)! This is what you are presenting as the best material-part?!?

-holy (creative) dissonance, Batman!

-like, wow, wow, wow, wow…this is the core that motivated you want to make this film?!

-as if to say

“see all that early stuff [sections of brownies, ice cream, candies]?!?

Well, now get ready for the real treat [unveils a small wet carrot]!”

+what a decision!

-anywho

-Kathrine Ross as Butch’s girlfriend is unforgettable; she elevates their scenes together to a new high,

they have a unforced tenderness, sometimes even bitter sweetness together

-which contrasts nicely with the rowdy bonding B&S have when alone and bickering

-I like the golden time scenes (with delightful score by Burt Bacharach),

and a part of me wonders whether it inspired the music memories in “Duck, You Sucker” (which I love even more, but then again that had the ace in the hole of Ennio Morricone composing)

-overall, this film is a real oddity in cinema history, and in the western genre in particular

-it contains some of the strongest *and* most bland moments the genre ever produced; real highs, real lows

+some directors apparently think its ultra money success set the genre on a slow death spiral, cultural impact wise.

Like it crawled to its death in the early 80s, but the bullet with the slow poison was placed in the body in 1969

-that’s just hyperbolic…but I can see why those feelings exist

-still, the material that is first rate in this film is really really really first rate. As good as it gets

-it soars, then it falls to earth with a splat

-a must see, a film barreling into Icarus path/fate with no hesitation, no quarter given.

-a sterling horror film from William Castle, from that period where he went from strength to strength

-having watched several of his pictures from the late 50s onward, I can heartily say he had a terrific bag of ideas and inspiration, on the screen and well as extracurricular activities

-he also, and this is important, kept it focused and fever pitched. It seemed below 90 minutes was his sweet spot for endless mirth. His grip on you was terrific.

-one of his best directed sequences in any film is here in the moment the son robs the grave of his father to get the ticket to riches. Its dread, cut to black, and genuinely horrifying screams leave an effective mark on the audience.

-at certain points, if you drop a viewer into sequences fifteen to twenty minutes in, you can tell he is riffing on Dracula, and it’s an inspired one too.

-I love when films from the mid 19th century drop into the 1800s with no attempt to fool anyone; this is clearly the 1960s take on ye old England, and it works all the better for it

-it’s funny to think of a time when a director is so well known that he can bookend the film with his own on screen appearance. That he is intoxicatingly silly at just the right angle helps.

-something I’ve noticed recently is that people think a film is weak if you can tell where the story is going.

No, that’s the sign of a motion picture (or any tale) working. We are waiting with bated breath to see Sardonicus’ face cause we know that mug is going to be freaky. We revel in it.

Not every story has to have a fool the audience twist. Then it just becomes a lack of vulnerability.

A film is underwhelming when the story is obvious and there is no energy or conviction to the telling. A problem Castle definitely does not have.

-Ronald Lewis plays one of the best good guys in Castle’s filmography. Often the bad guy got the whole spotlight, but here Lewis is equaling as compelling.

-so the gimmick for this picture is taking votes from the punishment poll(a glow in the dark card); thumbs down to punish Sardonicus, thumbs down to give him peace.

This allows Castle the on screen actor to ham it up. “The couple back there, is that one vote or two?”

Ultimately, Castle knew his audience, his fellow countrymen, and I’m sure you can guess what fate awaits the baron Sardonicus. Another well telegraphed triumph.

-a highly jubilant animated film, its twin strengths being its smart structure and boundless energy

-this is very much a musical, but full with so much action and whooshing camera movements, it won’t even register to a third of the audience

-personally, I can’t get into kpop. It’s not bad, it doesn’t frustrate or annoy me, it more often than not is just there, but I was so involved with these characters that I did not care

+the one song I really dug was “What it sounds like”, maybe it was auto tuned differently, more reverbed, or maybe it just came at one of the best moments in the film, but it had an impact no other song had on me

-the kids watching this film absolutely loved every second of it, and I suspect that this will be a soundtrack that has a generational impact

-the animation is bustling with lots of visually clever moments. It has an elasticity that I don’t see often in non 2d. Especially the faces, chock full of big brush strokes of emotion

-the film does have quiet, little moments (comparatively); when the gals eat a mountain of food, letting their bellies stick out. The cosmic joy with which they say “Couch! Couch!” When they reveal this group helps them not feel like unwanted freaks.

-in my timeline, I saw many an animated kids film with absolutely horrendous songs, the most banal shit, and the characters given no attention of loved behavior. This motion picture is like the anecdote to that; every frame has joy in it, and the songs are important to the characters fighting the world’s pain.

It sure beats the shit out of 98% of the animated films I grew up on

-the voiceless grinning tiger and insolent crow steal just about every scene they are in (“the tiny hat was for the tiger, the crow just keeps stealing it”)

-there is one element I really do not like in this film; the constant praise of the fans. It looks exactly like the human club in the real world and those people are populists full of reactionary slop. It shackles the group to the worst elements of humanity.

+but, then again, so do the real kpop (or really any pop) groups, and no film has to provide answers to bigots. Plus, really, this is the thinnest of pin heads to dance on, it’s a handful of sand in the tidal wave of awesome this picture provides

-I like how the film does provide the gals with self doubt, worry, fear of isolation; but does so in a complete pop art way, where it’s an emotion to drive through, not wallow in

-I’m starting to suspect again animation is just a better medium to do comic book stories than live action. We’ll see

-a delightful, lean 50s sci fi film about people hanging out around in the North Pole, shooting the shit..when a monster starts making trouble

-this motion picture feels much more packed with fun than its motorcycle speed 87 minutes would hint at. The world feels very lived in, very grooved on

+an aspect that helps is that rarely is a sentence finished without a smart ass comment or joking camaraderie interjection interwoven. Dialogue becomes not load bearing but alive and overlapped with joy

-the reporter trying to get a scoop is one of my favorite characters, particularly when he tells a scientist that he respects him but his readers would “find you full of wild blueberry muffins”

-women have something to do in this picture, not just type notes but play games with rope, sneak information to save the base, and make the captain go above the line of duty

-there is a definite thrill when they discover the spaceship in the ice, and form a circle to gawk at its length and circumference

-the music is excellent, a score by Dimitri Tiomkin that feels adventurous and thrilling

-and in the middle of all this, of talk of making a incredible discovery…oh yeah, a monster shows up!

-this film would have been good as just a human observation, but the creature kicks it up several notches

-every appearance of by it is varied and hair raising

-my favorite moment of the film is his second intrusion, when the lights go out, a door center frame gets opened, the light pours in creepy shadows; and then fire fire fire!

-it is undeniably a tremendous jolt, the kind of mood explosion that 50s black and white sci fi does so well

-there is a nice subplot of the head scientist being obsessed with communicating with the alien, with no concern at all for his (or the others) life

+there is a little in universe explanation that he is tired and running on no sleep, but more often then not this dips into the fear of scientists and their results, one highly contagious moral panic after the invention of the atomic bomb

-I can’t think of any other film from this era that so readily uses flamethrowers. It gives it a different atmosphere

-if one was to compile a lists of famous last lines in sci fi (or film in general) the “keeping watching the skies!” outro would rank highly. It is executed perfectly

-I’ve waited years to see this film, and it has the audacity to not only be a preposterous gimmick motion picture but also a good western in its own right.

Yeeeeeee-hawwwwwww!!!

-this film hit the early eighties like lightning bolt coming straight through the brain. After this, fucking everyone from Jason to Jaws had to do 3D flying at the screen.

-it is so shameless, that even the bewildering “Friday the 13th part 3(D)” looks positively sedated and cowardly.

-guns, gold, beans, cigars, snakes, even a fucking yo-yo, all of it will be in your face

-and yet it has further ambitions on its mind

-the flashbacks are wordless and carried through music and action, recalling favorably the all timer sequences in “Duck, You Sucker!”

-the brother villains are well inhabited. Actors Ricardo Palacios and especially Gene Quintano have delightful chemistry as the Thompson siblings (not twins). They have a very brothers Grimm type vibes