Neo-Noir Watch: Collateral (2004)

Watched:  03/30/2025

Format:  Criterion

Viewing:  First

Director:  Michael Mann

There's half of an amazing character driven neo-noir in this film, and then half of an okay thriller.

I think it's the schizm of the two that makes for a frustrating viewing experience where one would be a delight and the other a pleasant enough film, but when the film shifts gears back and forth - and I usually don't mind tonal changes - it just feels like there's missed opportunity on that character study and the better film.  Collateral (2004) does get to sail on Michael Mann's slick directing and visuals (look, you can hire whatever DP, but it's Mann), and stellar performances from Jamie Foxx and Tom Cruise and a kick-ass set-up that feels rooted in some classic noir.

The movie also co-stars a wide array of names.  Jason Statham appears for about twenty seconds.  Debi Mazar as well (in our book, there's never enough Mazar).  Jada Pinkett-Smith appears.  Mark Ruffalo plays an LA cop uncovering what's going on in real time.  Javier Bardem.  Bruce McGill.  Peter Berg.  

Our set up is that Jamie Fox plays Max, a cabbie, who picks up a fare, who seems like a charming guy but is actually an assassin, Vincent (Tom Cruise) flown in from points unknown to take out a series of people.  Max just wants to squirrel away money for his dream of starting a limo company.

At the first hit, Fox is waiting in his cab for Vincent when he's suddenly involved in the proceedings.  Under threat by Vincent, he begins driving him from hit-to-hit.  And that could have been enough.  The relationship building between the two could have made for a taught thriller driven by the desires and motives of each - and the movie plays with that as they reveal more about themselves and get real about the weaknesses of the other.  

But movies have to movie, and so the back 1/3rd of the movie devolves into an action flick that really doesn't make much sense from Max's perspective and undercuts what could have been explosive character work.  There's a different last third of this movie somewhere that doesn't involve an extended chase sequence and Max becoming an action hero.

Cruise and Fox are both really great when they want to be (and both have phoned it in upon occasion).  And there are really good moments for both - I disagree with the take that Cruise is wooden here - that's just not true at all.  There's a fascinating character for both players, and once the movie isn't about the two talking it through, it loses steam even as the actual action ratchets up.

I'm not sure I entirely bought the scene with Felix (Bardem) and Max, but I like the idea well enough, and both sell it.  

But what I did like was the notion that Vincent really thinks he's helping Max, even if there's an 80% chance he's going to put a bullet in him by the end of the night.  His nihilistic viewpoint which enables him to do what he does has "freed" him, while Vincent believes he'll make his next move, but he won't.  It's some really good stuff as they bounce off each other.  And you can tell Cruise is leaning all the way into Vincent - and the possibility of opening up a little to Max, but if he does, does that mean Max is done for?  

It's good stuff.

I get why the movie gets the praise - because it's almost there for me.  But it all feels like an overly complex mousetrap at the end to get us to loop back to Vincent's anecdote, and that could have been done in two or three much cleaner steps.

Anyhoo - I actually liked it.  Or large parts of it.  And I am not one to complain about Michael Mann, but it does feel like I went from thinking "this movie is incredible" to "yeah, that was good" by the end.

Western Watch: True Grit (1969)

Watched:  03/29/2025

Format:  TCM on DVR

Viewing:  First

Director:  Henry Hathaway

I saw the Coen Bros.' remake in 2010, but I'd go ahead and recommend both.  This movie is *great*.  

True Grit (1969) is the one where, after Stagecoach happened way back in 1939, the Academy finally decided to give Wayne some flowers for carrying an industry for 30 years.  But he also earns it - this is Wayne in top form even as the era of the Western had already been transformed, and had become as much about the illusion of the Old West as anything else - and  Westerns as a major genre were winding to a close.  Wayne himself would be dead by the end of 1979.

You likely know the story - an Arkansas farmer/ rancher is killed while away from home, trading for horses in Fort Smith.  The murderer is his own employee.  His precocious and pious daughter, Mattie Ross, comes to town and recruits US Marshall Rooster Cogburn to come hunt down the man responsible.  Cogburn has a notoriously high kill count, a drinking problem and nothing going for him other than his ability to hunt down crooks.

A Texas Ranger (Glen Campbell!) is also looking for the guy they're hunting and lures Rooster away with a greater bounty.  Until the indefatigable Mattie Ross refuses to be left behind.

This movie has plot, certainly, but is really a character piece about two wildly different people with a common goal, and their growing sense of respect for one another.  The dialogue of the novel is deeply stylized, and this movie makes it largely palatable, even when it sounds a bit odd.  It's one of those movies where both leads are individually difficult, stubborn humans - Mattie as a young woman of unhinged principle with a naive-to-a-fault worldview, but still smart enough to be wily, and Cogburn an old survivor who has gone largely unloved and misunderstood - and makes you kind of love them both.

Mattie's refusal to shed tears and desire, rather, to see justice done - justice that serves her own rage - is fantastic.  Just as Cogburn's shift in his attitude to Mattie kind of perfect (I am unshocked John Wayne saw how he could mingle this idea with Red River and make The Cowboys in 1972).

I don't know how many movies Kim Darby is in, but it's surprising she wasn't a bigger deal in Hollywood after this.  She's really terrific.

Anyway, I dug it.  Sorry I took so long to see it.

Musical Watch: It's Always Fair Weather (1955)

Watched:  03/27/2025

Format:  TCM on DVR

Viewing:  Second

Director:  Stanley Donen/ Gene Kelly

It's Always Fair Weather (1955) is a weird and wildly uneven movie.  It's either having an astounding number like the whole sequence in the boxing gym where Cyd Charisse seems like magic, or its three dudes boring me to tears with their individual issues.  And, yes, I'd seen it before.

I get that the movie is trying to replicate the trio of guys from On the Town, and, according to IMDB trivia, that was the original plan, but Sinatra was having his studio issues, and Munshin was on the outs with Hollywood.  

But I think if this movie had just been about Gene Kelly's character, it would have worked a heck of a lot better.  Or if it had been able to bring back all six of the characters - sure.  Instead, we get this weird "men in crisis" story that just kind of lacks charm and even feels depressing.  

Western Watch: Red River (1948)

Watched:  03/26/2025

Format:  Prime

Viewing:  First

Director:  Howard Hawks

Who knew the highly regarded American Classic film would be pretty good?

Red River (1948) is a Howard Hawks post-war epic, one of a dozen John Wayne classics, and features a good number of the A-list supporting players of the era who show up again and again in different configurations through the 1960's.  

The film is also curiously myth-building for Texas history, and it's curious to see a movie made about it 80 years after the fact, rather than the additional near-80 that have since passed.  John Wayne plays a gunman who joins a wagon train in the years just prior to the Civil War going southwest out of St. Louis.  Somewhere in what would become the Oklahoma Indian Territory, Wayne decides to peel off and head South, crossing the Red River into Texas.  There a girl who begs to go with him (Coleen Gray*) but he says he'll send for her.  He's heading out into hard land with his pal, Groot (Western staple Walter Brennan).  

Marvel Cartoon Watch: "Your Friendly Neighborhood Spider-Man" on Disney+

I can't recall if Steven told me to watch Your Friendly Neighborhood Spider-Man first, or Jamie informed me we were going to watch it.  But watch it we did.  

I was a bit skeptical.  Marvel puts out a new Spidey cartoon almost every year, it seems, and then they disappear without much notice.  Someone is watching them, but whenever I dip in, it's hard for me to get into it.  Not so with this show.

YFNSM is 10 episodes, and it's the first time in a long, long time I got the vibes from a Spider-Man property that felt truly like the Spider-Man I liked in the comics growing up, and then in the Marvel Essentials I read in my 20's.  A working class kid of great intellect, a lot of imposter syndrome, and abilities that are as much curse as gift.  It takes place in an American New York with all sorts of people intersecting and interacting, and while there are people with strange technology and weapons, Spider-Man is really the only one with inherent powers and a secret to keep.

However, this is a very alt-universe version of Peter Parker and Spider-Man.

It's Morbin' Time: Morbius (2022)

Watched:  03/22/2025

Format:  FX Movies

Viewing:  First

Director:  Michael Espinosa

A movie whose reputation proceeds it, Morbius (2022) was met with critical derision, a fan base that showed up *ironically*, and a star who seemed to agree - we can all have a laugh at this movie.

I don't even really know what's wrong with Morbius - but, yes, the vibe is off.  Nonetheless, I'll speculate based on the final product.  

Unlike Madame Web, you don't have the immediate feeling "something is very, very wrong" in the first five minutes.  Morbius really takes its time to utterly fall apart and admit no one knew what to do with this character once they had him.

I'd even argue the first 1/3rd of the film is entertainingly campy - or at least made for a good laugh as I put it on whilst on the elliptical.  Jared Leto plays the very-ill but brilliant Michael Morbius, who we're to believe has grown to be a 30-something adult while requiring thrice-daily dialysis.  As a child, he befriends "Milo" - later played by Dr. Who's Matt Smith - and they have a working/ parental relationship with Jared Harris.  

90's Watch: Romy and Michele's High School Reunion (1997)

Watched:  03/22/2025

Format:  Prime

Viewing:  Unknown

Director:  David Mirkin

I have no notes.

This movie is hilarious from start to finish, is incredibly well written, well directed and has a cast that gets the assignment - starting with our two leads, to every supporting character.  It's not Citizen Kane, but that's also not the goal.  It's a flick that barely has any commentary and is just a situation with characters intended to derive comedy.  And that it does.

I have no idea if people saw this in the theater (we did, back in college).  But I assume everyone has since seen this since streaming or on basic cable.  If not, fix your heart and see Romy and Michele's High School Reunion (1997).  

If it's been a minute - Romy (Mira Sorvino) and Michele (Lisa Kudrow) are living in LA, hitting der clerb, and kind of drifting around but having a good time.  Heather, a former classmate (Janeane Garofolo), runs into Romy and informs her that there's a high school reunion of their school in Tucson.  Romy and Michele want to go, but slowly realize that maybe they haven't had the most productive ten years by many folks' measure.  

Of course, old crushes will be there, and folks who crushed on them (Alan Cumming and Justin Theroux).  And the mean girls from high school.  So, our heroes decide they need to come up with a story that will impress.

George Foreman Merges With The Infinite

This man of God is gonna also put you down for a 10-count

Boxer, father of many Georges, enthusiastic grill monger, Olympian, minister and generally good guy, George Foreman has passed.

Back in the 1990's, former 2-time Heavyweight Champion boxer (back when boxing was something we all kind of followed), George Foreman, became a staple of television as he began to market the George Foreman Grill.  I doubt many folks could tell you about Foreman's more famous bouts, but everyone knew that the grill was reasonably priced, could be used indoors, and let the fat just drip right out of your food and into a washable plastic tray.

Did I have one?  You know I did, and I used it on the regular from circa 1999-2007.

Foreman's boxing career is extraordinary.  He earned the Heavyweight Title in the 1970's, retired, became a man in the community and became a minister.  In the 80's, he came back in his late 30's and in the early 90's secured the Heavyweight title again, whilst in his 40's.  

Foreman and Ali in Zaire

Y'all can read up on it, because it reads like a movie.  Not least of which was Foreman's near-death experience and immediate religious conversion.  He became a minister and made a lot of difference to folks in the Houston area and beyond.

George Foreman was a lot of personality, like a lot of boxers of his generation (see: Ali).   And in the 2000's-era, generally just a beloved figure.  

I'm genuinely sad he's gone.  

Fantasy Watch: Dragonslayer (1981)

the rare fantasy movie that earns the art on the poster

Watched:  03/21/2025

Format:  YouTube

Viewing:  Unknown

Director:  Matthew Robbins

In an era before CGI, a lot of love, skill and money had to go into making FX movies, and it was often the difference between a Star Wars and a Starcrash.*  Dragonslayer (1981) was a VHS staple in our house back in the earliest days of home video when my folks thought *owning* a VCR was a crazy idea so we rented a VCR at the same time we rented a stack of movies from the grocery (shit was wild, kids).  

My opinion of the movie hasn't budged much since I watched it as a kid.  It's a gorgeous film with a miscast lead and spends too much time on being goofy at the beginning for the movie it wants to be at the end without enough connective tissue to make it all work.  Maybe because of The Once and Future King casting Arthur as a nerd, maybe because this movie has serious "Sorcerer's Apprentice" vibes, we're stuck with basically a nerd as our lead, which feels like it's a particular part of fantasy fiction.  Think of the near miss we likely had with Luke and Star Wars with writing, casting and editing (yes, we can always make any post a Mark Hamill appreciation post).  

I like the bones of the movie *a lot* - the lottery, the corrupt government, even a novice wizard trying to solve the dragon problem.  And, of course, the obviously female Valerian turning out to be a girl.  All good stuff.  I'd forgotten there's a whole bit about the church and the dipshit of a king sliding in and taking credit for the dragon's defeat.  That's some fascinatingly cutting social satire for a mainstream fantasy film.

But we're here for the dragon puppets, both Henson-y and stop-motion, and man, they still look amazing.  No kidding, because this was ILM in 1981 as all engines were really firing after Empire Strikes Back.  

Anyway, I like the film well enough, still.  I feel like they could have cut some business at the beginning, but I get why they did this for a more general audience and because fantasy fiction has a tendency to want to dick around before we get to the dark part.

I am sure the fact this was not CGI, even if it was computer-assisted will blow the minds of the youths, but I think it's a great example of state-of-the-art practical FX as I remember them as a kid.  And maybe why Star Wars, Dark Crystal and other contemporaries seemed so special.  This movie looks like a million bucks, and once you're in it, I think it's not half-bad.

I did read that Caitlin Clarke, who plays Valerian, passed back in 2004.  Y'all raise a glass to her.

*that said, I will defend Starcrash with my dying breath 

80's Watch: Arthur (1981)

Watched:  03/20/2025

Format:  DVD

Viewing:  First

Director:  Steve Gordon

Both Jamie and I were convinced we'd already seen Arthur (1981), but both of us realized at some point, maybe a 1/3rd of the way through the movie, that we must have started the movie and never finished it.  This doesn't happen very often, but it does happen.  SimonUK had popped around, promising not to bring a horror film, and this was his selection.

Anyway, Arthur was sort of a big deal when I was very young, but because it was about a raging alcoholic, I missed it.  Not that I think I would have understood it as a child.  Now, in 1981, that didn't stop The Chipmunks from including Arthur's Theme on The Chipmunks Go Hollywood.

And in this way, as a child, I knew all the words to Arthur's Theme.

In some ways, it's very much a classic comedy - something that would have been made during the Depression as a screwball comedy.  It's rich wackiness against rich stiffs and a working-class girl who meets a guy who so wealthy he can make all of her dreams come true.  

It also would make an interesting modern remake of sorts, as the signs of Arthur's stalled maturity materialize in a fantasy setting of random collectibles, train sets, etc... and it's not too hard to imagine that in 2025 terms, along with maybe a guy who won't lay off the weed.

Moore's performance is at an 11 at the start, which is a lot.   He's intentionally unlikable in his way, and it's not until Hobson enters as Arthur's butler/ father-figure that we see Arthur less through the eyes of people who are just temporarily dealing with him and instead with someone who cares about him.  What blew my mind was the timing of Hobson in pop culture (not quite a Wooster and Jeeves, but close), and the complete re-imagining of Alfred in the Batman comics that would occur with Frank Miller a few years later.  And, yeah, I can name another poor-little-rich-boy who also may be frozen in adolescence who sees his butler as his father...

I'm not sure John Gielgud as Hobson saves the movie, because it doesn't need that, but he absolutely wins the movie.  I think the scene with Moore and Susan's father under the moose head is one of the best comedy bits I've seen in a while.  And Liza is at her best - she's great in this as the waitress who dreams of being an actor.  She's really funny, as is Barney Martin as her father.  Or Ted Ross as Bitterman, the chauffeur.  

Anyway, I agree with Simon that the script is actually really solid, and I'll add it accomplishes the difficult task of making a lout loveable and believable when he does show he can do something when he cares.

I think the last time we got a comedy like this - that wasn't a very self-aware remake - may have been Billy Madison, which is just mind boggling.