Movies

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While I’m probably less harsh on the new films than some, I think this illustrates a bit of a trend as well. As time as gone by, I’ve really come to appreciate how awesome sauce CGI became in my life time. Some films and shows have aged vary differently based on their CGI, meanwhile Jurassic Park is one that has aged pretty well overall.

One of the things that I’ve noticed is that our norms of cinematography have changed with the times. Films like Spielberg’s benefit from a master at the helm, and we’ve more than a few great film makers. But some films as they age, you look at, and scratch your head at how they were filmed. A prime example for me was watching the original Terminator for the first time in some years, and thinking no one including James Cameron would shoot some of those scenes the same way because of how tech has changed. Some have also held up better or worse when you consider the budget, and the era behind those special effects. Some are obviously, because they had to figure out how the heck to shoot the scene at all.
Part of me appreciates how awesome CGI has become. Part of me debates what we will lose whole when generations of film makers come and go in the world it created. Jurassic Park kind of was a perfect storm between the state of technology and production talent. In the future, I’m sure we will continue to have story tellers using the camera with care, but I wonder what we’ll miss out on.
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There’s not a lot of films that make me feel like best movie ever, but The Mitchells vs The Machines rather had that effect. I’m pretty sure that it’s at least the best weird family adventure slash road trip movie ever made, lol. There is so much awesome in this movie I had to update my rather rarely updated list of favored movies. Hopefully sometime after the Netflix release, we’ll see it available on Blu-ray as well.

Remember the family that weirds together, saves the world together ;).

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Finding myself searching Netflix for something simple to watch, I was pleasantly surprised by a little cheese flick called The Warrior’s Gate. It’s stoic sense of humor and comfortable territory makes it entertaining, if not spectacular. Many movies exist that fit that bill, but are sometimes hard to find. Often mixed into the same bin as films that try to be something more than a cheesy enjoyable romp.

And then there’s the ending. With the ice cream, I’d say the twist is exactly as it should be. But warrior Zhao teaching the knights in the end……oh man was that a priceless finish.

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 Tonight’s movie was one I haven’t seen in quite a few years: Mr. Smith Goes to Washington. Still as great a film as I remember.

Most movies from the time period: I find tend to have a rather upbeat tone. Mr. Smith leads in with much of that upbeatness, and uses it to build something much darker as it crushes Stewart’s character like an egg. Brings tears to my eyes when Sander’s finds Smith at the memorial: ready to call it quits on all that huuy, and she encourages him to stand up and fight.

The good natured everyman isn’t a rare character in Capra’s films back then. But Jeff Smith is a curious one. Ever first to admit he shouldn’t be there: he’s quickly sucked in to a vacuum and torn apart by the political machine running his state. Edward Arnold and Claude Rains serve as the film’s direct villain’s, respectively as Jim Taylor the shots caller and Joseph Paine the Senator.

I kind of like how it shows the latter as beyond redemption. Senior Senator Paine quickly toes the machine’s line with every bit the villainy shy of physical assault, yet the good trickles through. He may have become compromised over the years, but isn’t so far gone as to be himself, a lost cause. Combined these lend a lot of weight to the big finish as Smith is hauled off the Senate floor.

Hmm, what was it Superman used to say? Truth, justice, and the American way? Yeah. Something like that. Makes sense that at the time, Mr. Smith Goes to Washington wasn’t well regarded by our Senate. On the flip side it also makes sense that The Library of Congress picked it as one of the first films for the NFR’s preservation effort.

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While I’m not a big fan of musicals: when Netflix suggested musical remake of The Producers, I filed it as “Yeah, I oughta get around to watching that.” Glad I did.

Early segments such as the beginning with Max and Leo aren’t my cup of tea. The more theater oriented sequences made me wonder if there is such a thing as a Mel Brooks I wouldn’t like. But by the time Will Ferrell and his favorite pigeon popped up, I was pretty sure it would be worth watching. Actually that pigeon might of been mye biggest laugh during the whole film, lol. Later on the choice of a more on stage style proves rather appropriate for many reasons.
By the time the opening night ends, and Franz shows up to shoot Max and Leo: we’re firmly in ROFLMAO territory all the way to the end. Nathan Lane’s performance was especially stellar throughout.
I find the whole concept terribly amusing. Two fools trying to make a play so bad that it has to flop, and boy howdy did they pick an idea for that plan. It’s actually a tougher sell that anyone would invest in their cockamamie play than it is that someone would actually make a flop with the intent to cook their books. But of course despite intentionally doing everything wrong: it somehow goes horribly right, and they’re all screwed, screwed, screwed. Hahah!
Plus it’s kind of a sweet that they manage to make fun of the old Nazis along the way. I can easily imagine some evil bastards rolling over in their grave at what a farcesical thing they made.
Makes me remember a quote I came across some years ago: “If you stand on a soapbox and trade rhetoric with a dictator you never win…That’s what they do so well: they seduce people. But if you ridicule them, bring them down with laughter, they can’t win. You show how crazy they are.”
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Generally, I’ve never had high hopes for Netflix films. Just that they would be entertaining. And then there’s The Old Guard. Now that was a good action flick.

Given the context, I also love how Copley’s wall. Tracking the people they’ve crossed paths with and the impact made by those saved.
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My mother had a habit of watching The Devil’s Advocate whenever it was on television, and was perhaps her favorite Al Pacino flick. Put Al in a movie and she would probably watch it: but The Devil’s Advocate was one she enjoyed. Personally, I had always tended to skip it; citing that it’s not my kind of subject matter. As a kid, I’d usually opt to be elsewhere and over the years have probably seen only bits and pieces in passing.
Seeing it pop up on Netflix: I finally opted to watch it. If I’ve ever seen the whole film straight through: it’s probably been around twenty years. I have to admit it’s easier to notice how great the film’s execution is than as a kid.
I rather love how Al’s character of Milton is so utterly insidious. As he warns Kevin, “He’s the one you never see coming”. Because that’s how things go to hell. How the notion of free will and temptation fit into the story is surprisingly well crafted. The ending is also pretty damned spectacular.
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Bruce Campbell Reveals Evil Dead 4 Title, Evil Dead Now

“It’s okay to pass it along to another idiot to try and stop evil from destroying the world. One idiot tried ⁠— he did pretty good”

Considering the caliber of idiot Ash Williams is: I think that’s a rather fair statement….lol. I’m curious to see what kind of idiot ends up filling his shoes.