Horror Catch-Up Watch: Candyman (1992)

Watched:  08/29/2021

Format:  Amazon

Viewing:  First

Decade:  1990's

Director:  Bernard Rose

Interesting.

So help me, from 1992 until about, oh, 2016, I thought Candyman (1992) was just another quick, cheaply produced horror entry along the lines of (forgive me) Leprechaun.  I really thought it was horny teens saying "Bloody Mary" in a mirror and getting murdered, and that seemed.... stupid.  I don't really care about a lot of horror, and that seemed like a good one to not care about.

In college (1993) I lived on the "arts" floor in Jester West, and our two study lounges had large murals painted on the walls from students past.  One room had kinda Nagel-esque pictures of pianos or something, and the other had a (not amazing) mural of Jimi Hendrix.  One day, a very nice girl from my floor came in there while I was studying and was upset she couldn't use the other room for one reason or another, and I said "well, you can study here.  I'm just reading." and she said "Nope.  That mural looks like Candyman."  And I was like "from the horror movie?"  She nodded and backed out and that was that.  

Strong reaction, that, I thought.  

Regret Interaction Watch: "Burlesque" (2010)

Watched:  08/27/2021

Format:  Amazon Watch Party

Viewing:  Kind of first/ Kind of second

Decade:  2010's

Director:  Steve Antin

I had never seen the beginning or end of Burlesque (2010).  A few years back I had a barber/ stylist who had set up a salon in her house, and instead of the mirror in front of you, she had a television.  And one time I went in and watched a huge chunk of Burlesque, because she'd get distracted by the movie or TV show she was watching, and what should have been a 20 minute haircut (my hair is so boring, I call the style "The Continental"), turned into a nearly 90 minute journey every time.  

Anyway - she was into the movie, and I know lots of people are.  But I come bearing bad news.  Burlesque is a super terrible film that has so much money and star power thrown at it, it looks like it should be good and people kind of accept that maybe it is.  But it isn't.

Ed Asner Merges With The Infinite

Actor and icon Ed Asner has passed at the age of 91.

Asner was a fixture of television - I remember him on reruns of The Mary Tyler Moore Show when I was a kid, just like everyone else.  But he was massively prolific.  In no way do I identify Asner with a specific role or era.  He simply was a fact of entertainment.  

The most surprising role I saw him take was as the voice of Granny Goodness on Superman: The Animated Series.  I still remember watching the cartoon when Jamie was in the hospital and her mom was reading a magazine, and she looked up at the TV and said "is that a guy voicing that woman?" and I said "that's Ed Asner" and she put down her magazine and took in some Fourth World mayhem.

He had some kind of relationship with comics and sci-fi, because he also voiced Daggett on Batman: The Animated Series, as well as voices on Spider-Man, Freakazoid and certainly Disney's Gargoyles.  The last thing I saw him in was in Season 2 of Doom Patrol.  

But the man played everything, up to and including Santa Claus in holiday staple Elf.  Just one of those actors that when he showed up, we'd be pointing at the TV and saying "is that Ed Asner!?"  Always good, always spot on in whatever he did, and seemed like a delight of a man.

I'm very sorry to see him go.

Return to Swashbuckle Watch: The Mask of Zorro (1998)

Watched:  08/27/2021

Format:  Amazon Prime

Viewing:  Unknown

Decade:  1990's

Director:  Martin Campbell

Having had just watched 1940's The Mark of Zorro, it seemed like a good idea to check out other iterations of the character.  I've been watching episodes of the low-budget 1990's TV show, but the last big splash Zorro made at cinemas were the two films starring Antonio Banderas and Catherine Zeta-Jones.

The Mask of Zorro (1998) came out just as I graduated college, and was considered kind of a minor action triumph at the time of its release.  It doesn't speak to the future of superhero film, instead playing like the best of the best of the pulp-hero films of the 1990's, but this movie and it's sequel The Legend of Zorro, spoke to the weird world building and return to franchises that would become a staple of media by the 2010's.  

For some reason, this movie is about Don Diego de la Vega failing and the shenanigans coming to an end, with two decades spent in a jail cell.  It's frankly a lazy and unbelievable scenario that Don Rafael would not have seen Zorro killed, as bloodthirsty as this film portrays its villains, but it does prop up the rest of the story - which also doesn't make a ton of sense.  In the melee, Don Diego sees his wife accidentally shot, and Rafael yoinks the baby, taking her with him as he runs off to Spain as the Mexican Revolution of 1821 will unseat him and possibly see him killed by revolutionaries.  

Friday Watch Party: BURLESQUE (2010)

So, I used to go to this woman's house to get my haircut, and she took forever because she was watching TV or movies while she cut my hair.  And the one that kind of broke me was the 2010 attempt at being good, Burlesque.  I didn't see all of it, but I saw enough of it.

First problem:  your lead is not a professional actor.  

Second problem:  somehow the movie makes seasoned actors seem like they, too, cannot act.  

Third problem:  the movie was written and directed by a guy whose credits included doing, like, two Pussycat Dolls videos

Feature, not a bug:  the movie is complete nonsense.  

Starring:  CHER, Alan Cumming, Peter Gallagher, Stanley Tucci, Kristen Bell, Julianne Hough, and Christina Aguilera AND MORE

DAY:  Friday, 08/27

TIME:  8:00 PM Central, 6:00 PM Pacific

Streaming Service:  Amazon Watch Party

Link to movie here (it's working now, H)

Swashbuckle Watch: The Mark of Zorro (1940)

Watched:  08/26/2021

Format:  TCM on DVR

Viewing:  First

Decade:  1940's

Director:  Rouben Mamoulian

I'm fully down with the idea of Zorro.  Back in the 1970's and 80's, the character was still relatively popular as our parents had come up on Zorro movies and the Disney television show.  We got a cartoon and Zorro the Gay Blade.  I did watch some reruns of the Disney show, and in 1990 I watched the first season or two of Zorro on the Family Channel.  And, I quite liked the two Antonio Banderas/ Catherine Zeta Jones films.

Somehow I'd never watched this movie.  Ironically, I once owed dozens of dollars in late fees on the movie when I rented it in college and lost it in my apartment (it somehow got kicked under the bed), but I never got to see it before I found and returned it.  So, here we are.  

Superman & Lois Season 1 - That Went Okay

Well, that went better than expected.  

If you watched, I invite you to jump into the comments.

It's hard to wrap up talking about an entire season of a television show, but I can say without reservation that it was considerably better than I figured we'd get.  I've done some due diligence - I watched *most* of Smallville, all of Supergirl to date, several seasons of The Flash, about 2.5 seasons of Legends of Tomorrow, and plenty of crossovers between the shows.   The CW DC shows are great to watch on the elliptical when there's a shortage of O2 headed to your skull, but none of it's working on the level of Watchmen or name-your-prestige-show.  

At this point, I've seen some remarkable comics adaptations on TV as well as the movies.  I'm still reeling from what Marvel has delivered on Disney+.

I didn't mind that DC and CW were afraid to take on a Superman show.  After all, Superman should be a movie-level property, even if Superman has traditionally employed serial and multi-episodic formats in radio, cartoons, television and more.   I mean, the Fleischers were so certain of this notion, they asked for a ridiculous budget to make Superman cartoons, and someone gave them that money.  And, 80 years later, those cartoons still look insanely good.  Superman: The Movie was massively expensive and, man, it's a singularly beautiful movie.  You can see how the character fell from grace as sequels worked with lower budgets, limping through Superman 4.  

But, as rocker David St. Hubbins observed:  It's such a fine line between stupid and clever.

PODCAST: Jurassic Park (1993) - a Signal Watch Canon Episode w/ Jamie and Ryan

Watched:  08/20/2021

Format:  HBOmax

Viewing:  Unknown

Decade:  1990's

Director:  Steven Spielberg

For more ways to listen

and 18 year old me also noticed the movie had lizards or something

We were so preoccupied with whether or not we could talk about the biggest movie of the 90's, we didn't stop to think if we should.

Jamie and Ryan take you on a (nsfw) podcast 28 years in the making! Join us as we splice together opinion, facts and memories to recall the gigantic beast of a movie that crashed down on an unsuspecting public and changed everything! We'll talk about how this movie was a moment of evolution for the film industry and entertainment, and how we (J & R) became fascinated with a movie about a day at the park not going super great. And, who makes khaki shorts work.

The Signal Watch PodCast · 158: "Jurassic Park" (1993) - A Signal Watch Canon Episode w/ Jamie and Ryan

Music:

Jurassic Park Theme Revised - Jamie M. "Goldenpipes" Steans

Theme from Jurassic Park - John Williams

Jurassic Park End Credits - John Williams

Jurassic Park Theme Revised - I'm not really sure

Signal Watch Canon

The Signal Watch PodCast · The Signal Watch Canon

Noir Re-Watch: The Big Heat (1953)

Watched:  08/22/2021

Format:  TCM on DVR

Viewing:  Unknown

Decade:  1950's

Director:  Fritz Lang

It's possible to say that The Big Heat (1953) is one of my favorite films.  I've seen it plenty, will watch parts of it when it pops up on TCM or wherever, and I think about parts of it a lot when considering other films.  I found it when I was discovering Gloria Grahame, and she's absolutely part of why I always come back to the movie.  She's so dang good in this movie as gangsters moll Debby Marsh - a plucky girl who has compromised a lot so she doesn't sink back into poverty.   To me, while she's very different from movies to movie, "excellent" is typical for the era from Grahame- but some consider this to be her final "great" performance.  Okay.  Fair enough.  She had some issues.  But what a way to leave a mark in cinema.

But I'm also fascinated by the story of the cop who spends his days and nights "white knighting" and not participating in the rampant corruption of his police department, only to lose his wife and... snap.  Like, Glenn Ford's Dave Bannion is not okay through a big part of the film.  It's an unusual fall from grace for a Hayes Era film, and while Bannion never quite breaks the Hayes Code, he sure seems like he might here and there.  

It's also got Lee Marvin in an early role, just filling up the screen and seeming like a whole lot more than the psycho second banana he's supposed to be, and playing it with a cool believability that his peers on screen aren't yet able to muster.

Anyway, I've written about this one before, and it's be a kick to podcast at some point.  So I'll duck out here.  But if you haven't seen it, give it a chance.  It feels remarkably modern for something 70 years old.

  

70's Thriller Watch: Klute (1971)

Watched:  08/18/2021

Format:  TCM on DVR

Viewing:  First

Decade:  1970's

Director:  Alan J. Pakula

In, I believe, 1996 the assistant manager at Camelot Records found out I was a film major.  

"Have you seen Klute?" she asked.

"No.  What is it?"

"Jane Fonda.  Donald Sutherland.  She's a hooker and he's a detective."

"Huh.  I'll need to check that out."

She'd check in weekly, really, to see if I'd seen it yet, and to be truthful, every time I went to rent it at I Love Video, it was checked out.  Or lost.  I didn't know, but it wasn't in.  But, yeah.

So, here we are, Jill.  25 years later, I finally watched Klute (1971).

Well, Klute is, actually, a very good movie.  Two thumbs up.  I dug it.  Nice, grimy pre-punk New York, Donald Sutherland nailing quiet intensity that I am sure made someone swoon.  Fonda maybe a little patrician for the role, but that's kind of the point, I think.  

Sutherland does play a private investigator, John Klute, searching for an executive who went missing a long time before.  The clues are scant, except for a letter that matches several that a call girl (Fonda) received, shortly after getting beat up by a john she barely remembers, one of a sea of faces.