Author: Brian J. Noggle

At Rob K.’s recommendation, I watched this film. I am easily led, you see, so be careful with your comments, gentle reader, as they may spur me to action.

So, the plot: In an alternative reality, in 1939, an intrepid woman reporter, Polly (played by Gwyneth Paltrow) investigates the disappearance of several scientists. As she’s doing so, a number of giant robots attack the city to extract resources. The authorities call upon Sky Captain, played by Jude Law, who is the leader of a band of mercenary pilots. Sky Captain manages to save Polly and disable one of the robots, which he takes to his base in the mountains for his science-and-engineering genius, played by Giovanni Ribisi, to study. Sky Captain and Polly follow the trail of the missing scientists to a base in the Himalayas and then to an island lair where Dr. Totenkopf’s minions have been building a rocket to take select animals and people and robots to another planet to begin anew as man on earth is bad. Unfortunately, the rocket’s acceleration at about 100km above the earth’s surface will kill all life on the planet.

As mentioned in the previous post, Sky Captain and the World of Tomorrow features a lot of CGI animation–the film was one of the first to feature a completely green-screen backlot, where scenery behind the actors is completely penciled pixeled in. As Rob said, it has aged well, but that’s because the animation was supposed to look a bit like a comic book and not as real as they could make at the time. So it’s not a jarring anachronism.

An interesting film, an especial treat if you’re familiar with the comic books of the 1930s (such as Doc Savage) with their tropes.

Angelina Jolie appears in the film wearing an eyepatch which in the comic books of the 1930s would not disqualify one from being a pilot. Bai Ling also appears in this movie–it is the first film I’ve seen her in since posting her picture in 2017. I thought it might be the first film I’d seen with her, but I’ve seen The Crow and Red Corner, so this is not the case. I just didn’t know then to associate the name with the actress at the time.

I don’t know where I bought this collection, but it looks to be fifteen films from the Blaxploitation era of the 1970s. And, to be honest, they’re not the best of them–one bets you could sell Shaft, Across 110th Street, Foxy Brown, Superfly, and a handful of other films singly–heck, I bought Get Christie Love! on a dollar DVD close to twenty years ago. But, you know, as I got into them, I discovered that they’re not so much Blaxploitation films as films with black casts.

As I’m going to drop a couple lines on each of them, I will tuck them below the fold.

Continue reading “Movie Reports: Urban Action Cinema collection” →

This is the Adam Sandler remake of the Burt Reynolds film from 1974. Sandler plays a former professional quarterback, in disrepute due to allegations of point-shaving, who breaks up with his girlfriend by stealing her car and leading the police on a chase. Sentenced to prison for his transgressions, the warden encourages–nay, encourages in italics which means demands that Crewe (Sandler) lead a prisoner team against the guards’ amateur league team.

Well, that tracks with the original (which I have not seen). The bulk of the film deals with Crewe gathering up a team out of the prisoners, including having to earn the respect of the other racial groups, and then playing the big football game.

It was an amusing film, not the top of Sandler’s work, obviously. It includes Chris Rock, Nelly, and Burt Reynolds as a long-time inmate who agrees to coach. And, of course, we’ve got Rob Schneider saying, “You can do it!” Which is what Sandleristas like to see.

Amusing, not world-shattering or world-changing, but maybe world-encouraging.

The cover indicates many markdowns in price: Presumably full-ish price somewhere, $7.99 at Vintage Stock, marked down at Vintage Stock to $3.99, and a buck at an antique mall. Which says something about how people have felt about keeping it in their film libraries. Rest assured, little DVD, that you have a forever home. At least until my estate sale. Which is not this year, I hope.

I picked this film up earlier this month after having watched Knocked Up late last month to see what I thought about other Jud Apatow movies.

This film stars Jonah Hill, Michael Cera, and Christopher Mintz-Plasse as high school friends (well, mostly Cera and Hill’s characters are–they keep the geeky other guy around because he has a fake ID and can score alcohol). They’re coming to the end of their senior year in high school and will have to go to different colleges–the first time they’ll have been separated since they were really young. They get invited to a party thrown by their attractive classmate (Emma Stone), so they plot to get alcohol, lower their inhibitions, and have sex with their crushes. Their plan goes awry when Fogell, the one with the fake ID, witnesses a liquor store robbery and is befriended by two fun-loving cops played by Bill Hader and Seth Rogen. Meanwhile, the other pair infiltrates a biker party to make off with some booze. Hijinks ensue, they make it to the party….

And although they could, they do not have drunken sex with their crushes.

So the film does have a bit of a mature, maybe even conservative cast as the kids learn that alcohol and sex are not really the ultimate ends of life. Which is nice.

However, the film is a little more crass and overt with a lot of the swearing and drinking that differentiate it from the youth party-centric movies of my youth (such as Weird Science which I saw over and over back in the day as it was on Showtime). And I got to thinking about how much of the youth party culture is fictional. I mean, I did not go to a lot of parties in high school (and only a handful in college). My boys haven’t seen it so far. I don’t think my wife was into it. But I do recollect that my West County girlfriend of the middle 1990s talked about her experience in high school, how on a Saturday night they would pile into cars and start following cars they recognized, eventually having a long train of cars because someone was going to a party, and all the rest would follow. Perhaps, then, the party-culture depicted in the films are more of an upper class thing, or perhaps I and my progeny are just oddballs who have been left out of it, probably to the better.

Oh, and shortly after watching this, I saw a headline in a British tab “‘I drew todgers as young Jonah Hill on Superbad – it earned me a fortune’. An interesting story about how small roles can lead to income years down the line. But hardly a fortune.

Gentle reader, over Memorial Day weekend (that long ago, sadly–I am far behind on my movie reports and not so much my book reports), I watched this single videocassette with three Cary Grant films which I bought in April. I’d had memories of the three-VHS set that I bought in 2008–and when I tried to watch it shortly thereafter, I encountered a problem with one of the videocassettes not tracking well at all, so I left it in my unwatched video cabinet for the last fifteen years.

So I was a little surprised that I had already seen the two first two movies. I bought Charade on a separate videocassette and watched it in 2015 (almost closer to 2008 than now). I’m not sure when I would have seen Penny Serenade unless either that videocassette of the 3-pack worked or I also bought and watched it independently in the interim. But I had never heard of the third film, Amazing Adventure also known as The Amazing Quest of Ernest Bliss.

They go in reverse chronological order: Charade is from 1963, the height of Grant’s older charmer era. The Penny Serenade comes from 1941, and Amazing Adventure is a British film from 1936 in a trimmed American release in 1937.

Charade finds an ex-pat American (Audrey Hepburn) planning to divorce her husband. But returning from holiday, she finds her Paris apartment bare and her husband has been murdered leaving the country. A helpful American, played by Cary Grant, lends support. Several old squad mates (including James Coburn and George Kennedy) of her husband’s show up looking for stolen war loot that they presume she has. A helpful American agent, played by Walter Matthau, tells her to look for the money and turn it over to him. And she learns that Mister Joshua (Grant’s character, not Gary Busey’s) is working with the squad mates. Maybe.

It has twists and turns, set pieces and a lot of early 60s Paris, including some scenes on the Seine filmed in the same locations as scenes from Frantic two decades later. And a happy ending between the older Grant and the younger Hepburn–whose age difference is a bit of a running joke through the film, as Grant is 59 and Hepburn is 33 in the film. To be honest, although she was the original manic pixie girlfriend archetype (well, original to those of us of a certain age who did not get into silent films until later), Hepburn really doesn’t do that much for me.

I have the soundtrack by Henry Mancini on LP, and although I have seen the film once before as I mentioned, I am more familiar with the music as I play the record more often than I’ve watched the movie.

Penny Serenade tells the story of a couple, Cary Grant and Irene Dunne, who marry when Grant’s journalist gets posted to Japan. They enjoy life in pre-World War II Japan (the film came out in April 1941, months before Japan attacked Pearl Harbor), living a bit beyond their means, when the wife becomes pregnant. During the 1923 Tokyo earthquake, though, she loses the baby and through cinemagic cannot have another. When they return to the states, he buys a newspaper in California and with the help of Applejack, a friend from New York, they try to make a go of it. The core of the movie is their adoption of a little infant girl with the comic movements of their first time with a baby, challenges in bathing the baby, and so on. Applejack comes from a large family, and in addition to being able to diagnose and correct printing presses with a whack, he can show them how to handle a baby. As she grows, they enjoy moments with her, including her participation in a Christmas program.

The story is told in flashback as the wife spins various records triggering these memories–it turns out that after the Christmas program sometime, the child took sick and died suddenly–this is revealed in a handwritten letter to the woman at the adoption organization, and important points should not be rendered in handwriting, Hollywood, as when viewed eighty years later a cheap, copyright-free transfer to a videocassette watched 35 years later, viewers will not be able to read the letter blurring upward on the screen. At any rate, the wife is leaving the husband who has become depressed and detached, but as Applejack readies to take her to the station, the woman at the adoption agency calls with another child for adoption, and the couple reconciles as the credits roll.

The ending of it was rather tacked-on, but I guess that was the whole reason for the frame story and perhaps the promotion of the records featured. But it ultimately was unsatisfying. Grant got one of his Academy Award nominations for the role, but I am not so sold on it.

Amazing Adventure finds Cary Grant playing a well-to-do bachelor who is challenged to live life as a commoner for a year without touching his money. He meets a young commoner, played by Mary Brian, and falls in love, holds a number of jobs, and learns some life lessons. It was not a particularly compelling film, but I’ve seen it now.

Now that I am getting into the older Cary Grant stage of my life, I should perhaps re-channel my inner Cary Grant. I have been dressing in jeans and t-shirts a pile lately (but collared shirts when leaving the house) because I’ve not been going many places these days. Perhaps I should spring for a couple more dress slacks and get back to dressing dapper even in my own home. Because that’s how men, at least men in the cinema in the first half of the last century, did it.

I bought this film at the Friends of the Springfield-Greene County Library book sale in April, but the real trigger to watching it comes from having later bought Lanie Kazan’s record. And she plays Nia Vardalos’s mother in the film–third billed after Nia Vardalos and John Corbett, that guy from Northern Exposure who was briefly the It-Guy for (over-)educated hunks at the turn of the century, so of course I picked it up right away. Not because of John Corbett, although I would have felt more like him seven or eight years earlier when I was the over-educated one with the mullet.

I did not see this film in the theatre, but I saw this film with…. Originally, I thought it might be before my beautiful wife, but the timing is not right. Unlike Get Shorty, this film clearly came out (and by clearly, I mean by checking its date) after we were together married. Apparently, she had seen it with the ladies at work (back in the day when we went to work and not to our separate home offices–oh, so long ago), and she then wanted to watch it with me. And we did.

So this was Nia Vardalos’s big shot. She wrote it, and she stars as Toula, an ugly duckling daughter of a Greek restaurant owner in Chicago who wants more than to be the dutiful daughter all her life. So she–with the help of her mother, played by Lanie Kazan as I mentioned, gets her father to allow her (Toula) to attend college to learn computers. She does and gets some work with a cousin’s travel agency. Along the way, she meets Ian (John Corbett), an English professor who is the only child of WASPy white-bread parents. They fall in love, and the cultures clash as she has a big, boisterous family compared with his mother and father as sole representatives of his family.

The humor comes from that culture clash as they prepare to wed with their (mostly hers) family’s help. She pokes fun at Greek heritage, and Ian’s parents, well, they’re stereotypes (archetypes?) of the sort who name their child Ian.

But, you know what? As a pretty white-bread whitey who grew up in the ghetto and in the trailer park instead of any side that could be called “upper,” I’m not offended because:

• I can laugh at myself and those who look like me.
• There’s no money for me in faking outrage.

At any rate, a pleasant and amusing way to spend a couple of hours.

Apparently, it proved lucrative for Nia Vardalos. She had a hit film that spawned a franchise (a couple of sequels over the decades including one that’s forthcoming) and a television show based on the movie. She’s also had a career with television appearances and small movie roles over the years, but she did not replicate the success of this film into leading role success in the cinema.

I would draw a parallel to my own creative career, gentle reader, but you’re here on this blog, and this blog is pretty much it.

I kind of remember the Pink Panther movies from my younger years. I’d like to say that I saw one of them at the drive-in with my parents. We went a couple of times when I was younger, sometimes my parents, my brother, and I, and at least once with my mother and her friend the country singer and her two boys. Enough to think we went all the time, kind of like how a handful of Christmases and holidays from my very younger years set the pattern. But going to the drive-in in the late 1970s was already trending toward an anachronism. I’ve thought about taking my boys down to Aurora for the drive-in there (and mentioned it to my beautiful wife while talking about this film, triggering Facebook ads for that very drive-in). But I am sure my boys would find the experience underwhelming. I also think that I saw parts of a Pink Panther film when we later at the home of the country singer, her husband the wedding singer, and their two boys, either on a sleepover or in the interim month between exiting the projects and decamping for Missouri at the end of the school year–I remember the bit about Inspector Clouseau’s butler attacking him. I also remember that Inspector Clouseau was a bit of a, what, trope? when I was younger. You’d say someone was a Clouseau who was stating the obvious or was making a bad deduction. And look at his attire on the cover: He was the inspiration for Inspector Gadget, ainna?

At any rate, with the title The Return of the Pink Panther, I thought it would be the sequel to the first film. But, no: This is the fourth in the original series of 11 films (with two 21st century rebooted movies starring Steve Martin instead of Peter Sellers). It came out in 1975, eleven years after the first. So I have no idea of whether I’ve seen bits of this film before–probably what was showing in the drive-in or on HBO at the time would have been later entries in the series.

So: Someone has stolen The Pink Panther, a large diamond with a flaw in it that looks like a leaping pink panther (not like the Owen Corning pitch cartoon character–the cartoon character originated in the titles for the film series) is stolen (again), and Clouseau is tasked with investigating (over the wishes of his commander, who has finally succeeded in getting Clouseau off of the force). His old nemesis The Phantom (Christopher Plummer) is suspected of the crime, but he did not do it–so he sets out also to find out who did. A number of humorous set pieces later (my oldest passed through while I was watching it and guffawed at a bit), and Clouseau is there when the culprit is revealed: the Phantom’s lover, who did it to spice up the retired Phantom’s life.

Uh, retroactive spoiler alert, but it is a 48-year-old movie that isn’t about the whodunit it but the cartoonish comic pieces, like when Clouseau enters the suspect’s hotel room and destroys it with a vacuum cleaner.

I don’t know that I have seen any of the other films or reboots in the wild, but I might pick them up in the future if they’re a buck or so (as this was when I bought it in April).