Disney Watch: 20,000 Leagues Under the Sea (1954)

Dang.  Just got done watching 20,000 Leagues Under the Sea (1954), and that is one dark, morally ambiguous kids' movie.  And as much as I remembered loving that movie before, and as much as I really loved it as a kid - dang, does that movie hold up.

When I was about 6, my mom read me either the full book of 20,000 Leagues Under the Sea, or a kid's adaptation.  Neither of us remembers which, because I have asked.  But she did remember I was sort of bonkers for the book.

As a kid, I saw the movie several times, and I know I watched it at least once at school, because the whole cafeteria full of kids watching the movies kind of went bananas.

What's not to like?

I swear, I'm not a car guy: Rolls Royce Phantom I Jonckheere Coupe

Holy smokes.  This is a cool car.

Before you ask, no... I've never seen this car in person.  I stumbled across it online.

But I like a good car museum.  The evolution of cars over the years is a fascinating thing to walk through, and to try to imagine the cars as new and modern during the time when they rolled off the assembly line and to wonder what our cars will look like in 50 years always sets me back a little.

TL;DR - why, no, I'm not going to see "Fantastic Four". Or "Deadpool".

A long time ago, in a galaxy far, far away, we got a comic book-related movie maybe once every year or three.  Marvel had, basically, no feature films at the theater, and even their attempts with The Punisher (1989) and Captain America (1990) went to home video or less.  Superman IV came out in '87, and Batman came out in '89, and as we entered the 90's, it seemed like there was a gradual increase as stuff like The Rocketeer, The Phantom and The Shadow got movies as well while the Batman franchise metastasized.  But it wasn't a full genre of tent-pole movies quite yet.

Circa 2000, I remember being shocked not just that someone made an X-Men movie, but that it wasn't absolutely horrible (it's not actually that good, really, but it's very watchable).  Really, that was the expectation.  If you went to see a comic book movie, you were going almost as an investment, not believing it would be good, but that if the movie made enough money, it would pave the way for better superhero movies.  And, in a way, it was a novelty.

People forget, movies like the Affleck Daredevil were way more common even then than a watchable Ant-Man is today.

And then Sam Raimi's Spider-Man demonstrated how you could do this if you really wanted to for the first time since Donner's Superman: The Movie.

80's Watch: Real Genius (1985)

I like this movie.  I still like this movie.

I saw it on VHS as a kid, and it was in heavy rotation at our house.  Highly quotable.  I remember being at a kid's birthday party in 6th grade-ish, and found out upon my arrival that this was what we were going to watch, and he got all sad I'd already seen it (why that mattered, I don't know), and I reassured him "man, I love this movie.  No problem." and all was well.

Let me get my problems with the movie out of the way, and then we'll all kumbaya around what I like.

Happy Birthday, Neil Armstrong - Reboot the Suit

Today marks the birthday of Neil Armstong, the first human to step foot on The Moon.

Next time you're feeling cocky, just remember, Neil Armstrong walked on that shiny thing up there that's affecting the tides and spawning werewolves.

I know Armstrong passed years ago, but why not get him a present?  He got you one.  He went to THE MOON.

There's a Kickstarter going on that's already reached it's financial goal.  The Smithsonian is raining funds to restore the spacesuit Neil Armstrong wore wandering around on THE MOON.

Now they're in stretch goals, and the big one is to raise funds to restore the Mercury suit for Alan Shepard, the first American in space.

Restored, we'll all be able to see these suits down at the Air and Space Museum in DC.  Already a pretty fantastic place, but who wouldn't want to see even better space displays?  And see the very suits of America's real life heroes?

Sure, you aren't helping some dweeb from BFE fund their dream project of a Yu-Gi-Oh fan film, but you are, you know, supporting things that actually matter and aren't a waste of time and resources.  I mean, just...   ugh.

If you're wondering why the Smithsonian needs to go to Kickstarter...  well, (a) it's a publicly funded institution, and we haven't been great about funding public institutions the past decade or so, and (b) what money they do have could also be allocated to work on less high-profile items as well as the suit, so you're making the Smithsonian budget go farther (further?).

Here's that link again.

Sci-Fi Watch: It Came From Outer Space

I'm always surprised by how many 1950's sci-fi movies I haven't seen.  Especially the bigger budget productions.  I certainly have no aversion to 1950's sci-fi.  I love the messaging, the aesthetics, the fact you could have a hero who was a younger person smoking a pipe and knitting their eyebrows a lot.

I'd heard of It Came From Outer Space (1953) at some point, and it's likely it makes an appearance in a 1970's or 1980's movie as a "late show re-run" movie our hero is watching, and which is a sly nod to what's coming later in the movie you're currently watching, but the name is so terribly generic for a sci-fi'er of the 1950's, I think it just bypassed me up until now.  It also doesn't star anyone I particularly care about (sorry to my cross-over readership of die-hard Russell Johnson fans).

Happy Belated Birthday, Myrna Loy!

August 2nd, 2015 marked Myrna Loy's 110th birthday!

Television Weekend: "Wet Hot American Summer - First Day of Camp" and "Penny Dreadful"

I don't often "binge watch" TV, but when you can get through a whole season of a TV show in four hours, sign me up.

The 2001-era movie, Wet Hot American Summer, has, apparently, become a staple of Netflix viewing.  Or something.  Because, for some reason, 14 years later, Netflix has doubled-down and produced 8 episodes of a TV show that should be insanely expensive to produce, just off actor's salaries.  My guess is that everyone is working at scale or something, because, really, what was a herd of mostly up-and-coming actors in 2001 are now established either in Hollywood or smaller comedy circles.  The Netflix series has also added a bucket-load of additional actors in other roles, including Jon Hamm (who has just shockingly good comedy chops, as he's demonstrated multiple times over the years), Michael Cera, and a few I don't want to spoil.

If you missed the original movie, the conceit was a play on "the summer camp picture", which was a staple of the 1980's, from comedies to horror films.   The adult-aged actors played 16-year-old camp counselors, and, Friday the 13th aside, worked not just aspects of those movies, but of camp, in general.*

The original movie squishes a lot into a relatively short running time.  It's a great ensemble piece playing out over the last day of camp as everyone concludes their unfinished business, from romance to preventing a rogue satellite from landing on the camp.  You're either with the movie or you're against it.

Rowdy Roddy Piper Merges With The Infinite

just look at that magnificent bastard

Working a crowd isn't easy, especially doing so as the bad guy.  But, man, somehow Rowdy Roddy Piper became not the villain people loved to hate - people just plain ol' loved him.

I don't follow wrestling now at all, and my window of interest when I was a kid was pretty narrow, so my viewership occurred primarily during that early 1980's window where the WWF was suddenly everywhere, and you had colorful characters like Jimmy "SuperFly" Snuka, George "The Animal" Steele, Mr. Fuji, the Iron Shiek, Andre the Giant and Hulk Hogan.

At age 8, I liked it a lot.  The plots were straightforward.  Mean Gene Okerlund had a cool, dry wit we all admired, and it was a lot like watching live-action comics, but only as complicated as the Hostess ads.  There were good guys and bad guys, and sometimes they switched.

Among the wrestlers I liked, I counted Rowdy Roddy Piper.  That guy had moxie.  He was hilarious, he didn't take anyone seriously, and he was just fun to watch.  I just assumed because I liked him he was a good guy who happened to talk trash or something.  He had a kilt, bagpipes, and a mouth that didn't really stop.  But, no, he was a bad guy.

In fact, his gig was more or less that he was the biggest SOB in wrestling, pretty keen with an insult or gag or low-blow.  All with a cocksure attitude backed up with wins, and a fanbase that adored the act.  The clips you watch now are, uh... un-PC, to put it mildly.  But he didn't need to be un-PC, he just needed to be a needling jerk.

In fact, he's been voted the best "heel" in wrestling multiple times.

That, my friends, is the sort of life goal I aspire to.

Noir Watch: Conflict (1945)

No one is going to accuse Conflict (1945) of being my new favorite movie.

It played a few weeks ago on TCM's Summer of Darkness, and I recorded it as I always like Sydney Greenstreet, but hadn't seen (or heard of) this movie.

As host Eddie Muller explained prior to the film, the movie disappeared in part because it's not a film in which Bogart plays the hero, even if he is the focal character and, in that way, the protagonist.  But he's a protagonist who has fallen out of love with his, admittedly not-terribly-fun wife and in love with her sister (played by Alexis Smith).

In order to clear the way to the sister, Bogart works out a pretty good plan to murder his wife (I mean, credit where it's due) while everyone believes he's not even ambulatory thanks to a car wreck.  From here, things get messier and messier, despite the fact that the entire movie feels like one long, telegraphed, inevitable conclusion.

Greenstreet actually plays a nice guy, so while I was delighted to see him...  you know, it's not going to be anyone's favorite Sydney Greenstreet performance.

Not exactly a forgettable movie, but one that feels well worn, plot wise, and certainly lacking in tension both due to the inevitable ending and because... really...  like a lot of movies, they sort of missed the whole element of people acting like people.   Though someone's wife and sister is missing, no one grieves, particularly.  No one is inconsolable and out of their minds.  Instead, they take a jaunty trips to the country and go out for nights on the town.   I dunno.  I don't need gnashing of teeth, but it almost seems like everything after the action of this movie and the horror Alexis Smith's character will feel upon learning the motives for her sister's murder, should have been included.

It's so weird that grieving rarely shows up on film in any significant way in so many movies, both then and now.  But especially in a movie shot during a war.

I do like the windy plotting and Bogart is actually very on point in his acting here (he's so much a presence, sometimes I forget the man actually can act).  But, Alexis Smith doesn't do much but look pretty, and everything else just feels like snapped in parts of a build-it-yourself plot and movie.