PodCast 228: "Terminator 3" (2003) - A Movies of Doom/ ArnieFest/ SimonUK Cinema Selection w/ Ryan

Watched:  01/08/2023

Format:  HBOmax

Viewing: Second

Decade:  2000's

Director:  Jonathan Mostow

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Si and Ryan are doomed to a fate they can't escape, It's time for more robots from the future. Kind of dumb robots, but robots nonetheless. It's the first post-Cameron sequel and maybe it cooked too long or something. But it has its good spots! But. Anyway.

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The Signal Watch PodCast · 228: "Terminator 3" (2003) - A Movies of Doom/ ArnieFest SimonUK Cinema Selection w/ Ryan

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Music:

Terminator 3 Theme - Marco Beltrami

Terminator Posts and PodCasts:

• Terminator 2: Judgment Day - blog post 2019
• Terminator 2: Judgment Day - podcast
• Terminator: Salvation
• Terminator: Dark Fate

Simon UK Cinema Series

The Signal Watch PodCast · SimonUK Cinema Series

Arnie Fest Playlist

The Signal Watch PodCast · Arnie Fest

Shatner Watch: Star Trek II and Shatner in Austin

 

O Captain!  My Captain!

Watched:  01/15/2023

Format:  uhhhh....  we watched the movie on a screen and then Shatner was there!  Right in front of us!

Viewing:  Movie - 1,000th, Shatner - First

Director:  Nicholas Meyer/ No one tells Bill what to do

I won't comment too much on the actual movie of Star Trek II: The Wrath of Khan (1982).  It was watching the movie with a 1000 people in an symphony hall.  Correction - watching it with 1000 Trekkies and Trekkers.  Both you and I have seen this movie dozens of times.  I will say this - it's easy to forget what Kirstie Alley was like on the big screen, but she certainly was a presence (RIP and good golly).  And, of course, seeing the ship-to-ship combat on the big screen is always a pleasure and needs to be more of what Star Trek does when it's not Strange New Worlds-ing.

90's Watch: Slacker (1990)

Watched:  01/15/2023

Format:  HBOmax

Viewing:  Unknown

Director:  Richard Linklater

I'm pretty sure I saw Slacker during a limited run in summer of 1990 in Houston.  Apparently wide release occurred in 1991, but I know I saw it in 1990.  So.  The film was part of the dawn of the indie film movement that would define film over the next decade.  In some minute ways, it also opened the door to Austin, TX as a cool, hep city - which is a designation which will eventually fuck up a city beyond all recognition, which is where we're at today with the Capitol City.

But in the summer of 1990, just moved from Austin to Spring, TX, somehow my brother and I talked our mom into driving us downtown Houston from our suburban enclave to see the movie.  To say "art film" is not my mom's bag is putting it mildly (it's more of a "what are you talking?" than an angry aversion), but she knew she'd see familiar sights as the movie was shot around the central core of Austin as it was then, and heard the movie was a comedy.  So.  We loaded into the GMC conversion van and made our way downtown.  I believe film-participant and former Butthole Surfers drummer Teresa Taylor (RIP) was in the audience with us, but could never be sure.

Doc Watch: Harlan County, USA (1976)

Watched:  01/14/2023

Format:  HBOmax

Viewing:  First

Director:  Barbara Kopple

One of the things I wonder about as The Kids have decided that labor movements are a fine idea and that they should unionize is if they're well educated on the incredibly bloody history of labor movements in the US.  I'm not recommending one path or the other (I am, but this isn't that blog) but things tend to get really dark when the operators see the minions getting organized.  

To a 20-something working at Starbucks in 2022 or 2023, it may seem like the good fight, but in the places Starbucks tends to exist, you can usually just pick up and go work somewhere else if the deal isn't what you want.  And, of course, 1972 is ancient history when old-timey things happened.  Like the events of the documentary, Harlan County, USA (1976) a film about striking coal minors in Kentucky and the various factors at play and persons involved. And it's as far removed from today's labor conversations and the way work once worked in the US as the Pullman Strike is to organizing baristas.

Watch Party Watch: The Woman in Green (1945)

Watched:  01/13/2023

Format:  Amazon Watch Party

Viewing:  First

Decade:  1940's

Director:  Roy William Neill

I wasn't expecting much, and this movie delivered not much!

Nah, it was... fine.  Especially as it was only 66 minutes.  You're in, you're out.  

Once again Basil Rathbone plays Holmes to perfection, and once again Nigel Bruce is playing Watson as a complete weirdo boob, setting the stage for a thousand imitators after.

I wish I'd noticed this was a wartime film, because it would have explained why the men in this movie, minus Rathbone, are all at least sexagenarians or older.  

Women are turning up around London - murdered!  And missing a finger!  Is a new Jack the Ripper on the loose?  One with penchant for ladyfingers?  

Holmes is brought in, and suspects (as always) Moriarty.  Anyway - it's a kind of clever Moriarty ruse.  He's having the frankly pretty good looking Hillary Brooke lure rich, society men to her flat where she hypnotizes them.  Moriarty slips a finger into their pocket and when they wake up, they think maybe they murdered someone and fall for a blackmail scheme.  It's... woefully overly complex and there's a bodycount that was always going to draw too much attention.  

Anyway - it's pretty okay!  But I will say - it takes a long, long time to get to the usual Holmes sleuthing, really to the point where I wondered aloud "this is the weirdest structure for a Holmes mystery".  But once it kicks into gear, there you are.

Friday Watch Party: The Woman In Green

We don't want to fall too far off pace, so on Friday we'll watch a Sherlock Holmes movie.  Because I like Sherlock and you can't stop me.  There are three women listed, I don't know who they are, and which will look swell in green (in black and white).  

I assume there's a mystery.  This is Sherlock Holmes.  But we're really here for Basil Rathbone and Nigel Bruce.  And mysteries.  And the *idea* of "green".  

Day:  FRIDAY THE 13th (of January, 2023)

Time:  8:30 Central, 6:30 Rain-Soaked Coast

Service:  Amazon

Cost:  Free if you have Prime

CLICK HERE FOR THE GAME TO BE AFOOT

(link ready 10 minutes before showtime)

Marilyn-Noir Watch: Don't Bother To Knock (1952)

Watched: 01/10/2023

Format:  TCM

Viewing:  First

Director:  Roy Ward Baker

Huh.  This was not at all what I was expecting.  

Essentially a movie about post-war trauma, wrapped up in a taught 76 minute, thriller-like package, it's maybe more *real* than the well-rehearsed, twitter-friendly approaches to mental illness we'd see in a film now.  It's a thriller without a villain, even though that doesn't feel like the set-up - and the movie absolutely has empathy in spades and as a reflection of a nation on the other side of the war, doesn't really have time for your finger-wagging.

Marilyn Monroe plays a woman new to New York City, whose uncle (Elijah Cook Jr.!) - an elevator operator in a hotel - has landed her a one-night job as a babysitter for a rich couple, the husband there to collect an award for his editorials.  While they're at the ceremony, they'll have Monroe watch over their daughter.

Anne Bancroft (in one of her first roles) is the lounge singer in the hotel, and while she's tried to break up with her sometimes boyfriend in the shape of Richard Widmark playing a cocksure airline pilot, he's shown up at the hotel and is looking to ignore her plans for a split.  

Screwball Watch: Ball of Fire (1941)

Watched:  01/07/2023

Format:  Criterion

Viewing:  First

Director:  Howard Hawks  

Skewing towards the end of the screwball cycle, Ball of Fire (1941) is an absolute g-d delight and another entry in the "yes, Stanwyck is that good" file.  

You would think the movie was made during the crush of the war as the large cast of supporting males are mostly over sixty, but also features Gary Cooper (43 here), Dana Andrews and Dan Duryea also popping up (Andrews and Duryea didn't serve for legit reasons).   Directed by Hawks with his usual flair, the script and story is by Billy Wilder in part, something I spent no small amount of time pondering while watching.  

Super Watch: Superman - The Movie (1978 - theatrical cut)

Watched:  01/06/2023

Format:  HBOmax

Viewing:  1,000,000th

Director:  Richard Donner

Superman: The Movie (1978) is the movie I've seen most of any film, enough so that I have it pretty well memorized.  At this point, I'd hesitate to say how many times I've seen the movie, but it's dozens and dozens of times.  At least 7 in the theater.  Intentionally, I haven't watched it much the past few years.  I mean, I'm trying to watch new-to-me movies, I can replay any scene in my head any time, I know the beats and jokes, and cool elements and emotions in every scene.  But I also know the plot holes, the mistakes, the dated issues with the film, where that's-a-doll, that's-how-that-shot-was-done, etc...  I even look for where extras were at a difference walking pace in various shots.  

What's probably most notable to modern film audiences is that a movie that plays it mostly straight for an hour has a hard jump in the second half to a far wackier vision of the world it establishes, moving from sci-fi epic to American Rockwell-esque pastoral to a cosmic sci-fi fantasy.  And then...  Metropolis, with hustling big-city folk, fast talking journalists, and Otis bumbling along.  And for the next 90 minutes, the movie is a mix of romance, screwball, camp and heroism.  There's something oddly Broadway-ish about that back 90 minutes - I mean, doesn't Miss Tessmacher seem like she needs an "I Want" song?  Because Lois gets one in spoken-word.

Neo-Noir Watch: The Driver (1978)

Watched:  01/01/2023

Format:  DVD

Viewing:  First

Director:  Walter Hill

I'm doing some prep work as SGH and I are in talks to do a podcast on Drive from about a decade ago.  At the time Drive came out, a lot of folks said "oh, this is influenced by The Driver from 1978."  And I'd always meant to go check that movie out.  

I think it's a definitive "well, maybe kinda sorta".  They are absolutely both movies about career criminal getaway drivers in LA.  Both are neo-noir.  But this is like seeing a movie about an assassin and seeing the next movie about an assassin and saying "well, clearly these two movies are same".  

Arguably, The Driver (1978) borrows from some of those assassin movies like Le Samourai or This Gun for Hire.  Rather than a hit-man, we have a guy with no past we'll ever learn about, who has locked up his life to protect himself and perfect his chosen profession - with the mechanisms he's used to protect himself actually creating a lockbox when things go sideways.  He has no friends, no family, no name.  He simply exists to do the job. 

The movie is clever about this - no characters have names.  Everyone is a role.  The Driver (Ryan O'Neal).  The Detective (Bruce Dern at his Bruce Derniest).  The Player (Isabella Adjani).  The Connection (Ronee Blakley).  And - and this is where this film deviates wildly from Drive - the film is about the game everyone is playing, openly acknowledged.  It's the world's greatest ARG.  There's no real stakes for the cops - win or lose, it's just spending tax dollars.  But for the folks playing on the high stakes criminal side, it's jail, death or being flat broke.  

Anyway - I enjoyed it.  I'd watch it again.  It's interesting in that it's both a bit more abstracted from a straight crime film, but also has nothing in particular that it's trying to say.  It's much more about how it's presenting a concept, and I'm down with that, too.  I suspect that when this came out, that approach was saying something, in itself.  But we've got a lot of water between 2023 and 1978.