Of all the Bond movies, this is the one I'd argue is the one most made for 13-year-old boys. It's got James Bond fighting Russians, engaging with a circus, dressing as a clown, gorilla, roustabout and knife-thrower within about 45 minutes of runtime. There's an all-girl island, a castle escape and a submarine that looks like a crocodile.
Not maybe coincidentally, I think I liked this one a lot more when I was 13 than when I was 41.
And, of course, the lead of the movie is the titular Octopussy (1983), a name sure to drive everyone into peels of uncontrollable giggling.
This isn't, by any stretch, one of the best Bond movies, and it may be one of the least memorable Bond films in general. It has a couple of good set-pieces, and a few set-pieces that probably sounded better than they were in execution, but mostly the plot is a bit whispy and blandly convoluted.
I've really embraced the idea that Die Hard (1988) is a Christmas movie.
In theory it takes place on Christmas Eve despite the fact the Nakatomi Corporation is having its holiday party on Christmas Eve, which... What Dickensian rules is your company playing by? And why is Holly leaving her kids at home with her poor nanny who probably has friends and family of her own she'd rather be with?
I had no intention of watching either of these movies this weekend, but we have basic cable and they were on. I have no further real explanation for what happened. I guess after watching X-Men: Apocalypse, it was just x-destined to x-be.
At this point, watching these early X-films serves as an interesting view of the state of the art for superhero films circa 2000 and 2003.
One mission I have for this site is to be the old guy telling the kids how it was back in the day - and if you're not pushing 40, you're not old enough to remember what breakthrough movies the first two X-films were for superhero comic books moving to the big screen. It's hard to understand in a universe with an Ant-Man movie what it was like to see Marvel's cinematic efforts suddenly take off after decades of embarrassing and half-assed attempts. It still wasn't Iron Man, which would totally change the game, but it was significant.
X-Men (2000) arrived shortly after Blade (1998) made a little-known (even by comic fans) character into a pretty great cinematic action hero. It didn't hurt that Wesley Snipes was pretty awesome in the role and he killed so, so many draculas. I still remember how nuts the crowd went for Blade when I saw it opening weekend, cheering and yelling in all the right places.
I was cautiously optimistic about X-Men. I knew director Bryan Singer from his 90's-classic Usual Suspects, a crime thriller that had garnered good reviews and rode the hip-crime-movie wave started by Tarantino to pretty great box office. It seemed inconceivable a superhero movie would receive a director of that sort as "serious" directors did not take on superheroes, or - at least they made it clear it was a lark for a paycheck.
We were asked to review Cry of the City (1948) by NathanC over at Texas Public Radio. Click on over there and read my review and Nathan's review of Boomerang (which I've never seen, but now I want to). A thousand thank-you's to Nathan. I had a great time watching the film (which I really, really liked. But I also think Mature and Conte are Mitchum cool.), and it was a great pleasure getting to contribute to TPR.org.
I'll post a draft of the review here in the future, but for now, please do click over to TPR.org
Note: I'm going to talk about HBO's 2016 series, Westworld, as a whole. If you're avoiding spoilers, this is not the place for you.
There's a great deal to like about the 10 episodes of HBO's sci-fi series, Westworld. It's been interesting to find out how many people haven't seen the original Westworld film by Michael Crichton - a name which is pobably just an echo to Millennials but which was a hosuehold name through the 1990's. I'll cop to having not seen (or don't remember seeing) Futureworld (1976) or the TV series Beyond Westworld (1980).
I am sure the original 1973 film felt like futureshock at the time, or maybe sci-fi silliness to many. The first time I watched it back before high school, which would have been the late 1980's, 70's hair-stylings aside, it seemed to work very well as a thriller, even if it didn't seem to run deep with the complexities of Blade Runner or other AI films. Well into the 1980's, our relationship with technology and computers wasn't as everyday as it's become, and fiction treated computers a bit like the genie's lamp right up through the late 1990's.
What the movie does that still holds up is create an adult theme park that is both impossible, yet seems like something that people would be up for whether we want to admit it or not if the wild success of Las Vegas is any indication. It's a world of sex and violence with only the most minor of repercussions as one fulfills fantasies and indulges whims in a familiar place, but one separated enough from our own day-to-day that you'd lose your bearings. And steeped in the inherent violence of the filmic west, it's a world in which you'd be more likely to shoot first and question later.
In many ways, the entire point of this movie is to show how Charles Xavier lost his hair. I mean, they had to do it sometime, so why not at the two-hour, ten minute mark of a very, very long movie where nothing really works very well?
I got into superhero comics when I was about 11 or 12, right about the time of the Mutant Massacre storyline in X-Men, X-Factor and New Mutants. Of the literally 10's of 1000's of comics I've read, the comics I read in that first year or two are pretty well burned into my brain. Just before I got into comics, the villain Apocalypse made his first appearance in X-Factor, and would show up again to exploit the injured Warren Worthington III, aka: Angel, and make him into the 1980's requisite "Wolverine of the group" when he returned to X-Factor. I actually really liked those comics.
The movie is set in it's own version of events, but that isn't so much a bug as a feature. While it's not the worst movie I've ever seen, it's just so weighed down with characters and not-terribly-interesting plot developments and a runtime it doesn't earn, it's hard to get excited about the movie.
Truly one of the giants of the 20th Century, John Glenn was part of the Mercury 7, America's first manned spaceflight program. He had served as a Marine in two wars and as a test pilot and would remain a Marine while working with NASA. He would become one of the most famous names in space exploration before continuing in public service as a US Senator, elected in 1974. He would leave the Senate in 1999.
As a kid, thanks in part to the film The Right Stuff, we spoke the names John Glenn and Chuck Yeager with reverence. These were the guys who lived the lives we dreamed of but didn't even aspire to. Even in college when I'd hear Glenn was associated with some political decisions I didn't agree with, you still said "well, man, he's John Glenn. I assume he knows what he's doing."
How the man was not elected President, I will never know. Bad timing in the Reagan-era, I guess.
In the Fall of 1998, I was recently graduated from college and running a distance learning broadcast studio at the University of Texas. News came down that NASA was sending Glenn back into space to test the rigors of space flight against the physiology of older adults. Whatever the excuse, man, it was amazing to see Glenn back in the suit, showing America how it could be done. I talked the instructor who was teaching at the time of the launch to let me pipe in a broadcast of the take-off, mostly because I wanted to see it, but he must have wanted to see it, too, because I watched it on my monitors while the space shuttle took off on the screens up in the classroom. No one said a word until they were safely out of the atmosphere.
Glenn lived to the age of 95. We will not see his like again in my lifetime.
Godspeed, good sir.
From the outstanding film The Right Stuff, played here by the always excellent Ed Harris:
Season 2 of Supergirl moved to The CW network, which was already home to DC's Arrow, The Flash, Legends of Tomorrow and iZombie, and the move has been nothing but good for the series, so far as I can tell. Whatever dictates Season 1 had upon it as a show on a major network, moving to the less-major CW Network has meant the show feels less like it's bucking TV formulas and now it's matching The Flash for melding DC lore with crafting it's own mythology and character arcs.
This season I've enjoyed the shake-up and escape from CatCo, especially if Cat Grant isn't even going to be around and the far more fulfilling role for Win. And, hey, Kara isn't being defined by which boy she'll pick, which is kind of remarkable on TV. While Alex's "coming out" storyline felt a bit rushed, crammed in there in-between cyborgs and fiery aliens, alien fight clubs and whatnot, it's interesting to see the show stake it's claim on big-tent "Supergirl is for everyone" and just move forward without turning the show into a melodrama we all have to slog through.
In fact, the CW shows are pretty remarkably good at not doing the things that TV has traditionally done that drove me crazy - namely: have have characters keep secrets from people they otherwise trust when keeping a secret makes literally no sense and drag it out over whole seasons of a show or until they just forget to resolve the storyline.
No lie, Jimmy Stewart is one of my favorite actors of all time. I've thought the guy was brilliant since high school when I caught Harvey on VHS. The Shop Around the Corner (1940) is a bit of pre-war brilliance on Stewart's part, working from a pretty great script under a renowned director and with an excellent cast working as a team.
It's true the movie is steeped in social constructs of the early 20th Century, and so may be dated in too many ways for many viewers, but I tend to think the conflicts and humor of the movie transcends those qualities. It's not a sweeping, amazing movie, but it is a good movie for putting on during the Yuletide Season for you and your sweet woogums.
