The Flight of the Phoenix (1965, Directed by Robert Aldrich) English 9

Starring James Stewart, Richard Attenborough, Hardy Kruger, Ernest Borgnine, Peter Finch, George Kennedy, Dan Duryea, Christian Marquand, Ian Bannen, Ronald Fraser

Cult Movies: Original disaster movie The Flight of The Phoenix rises from  the ashes - The Irish News

(9-Great Film)

Dramatic. Brutal. Character-driven.

Heinrich Dorfmann: Mr. Towns, you behave as if stupidity were a virtue. Why is that?

A cargo plane goes down in the middle of the Sahara desert, hundreds of miles off course and away from any apparent civilization. Its pilot, Captain Frank Towns (Stewart), navigator, Lew Moran (Attenborough), and many passengers face death from all directions: lack of resources, limited water, oppressive heat, and a hostile band of Arab thieves. One passenger, a German and a pariah among the men, Heinrich Dorfmann (Kruger), has an idea that he can rebuild a functioning aircraft, but its up to the others whether or not they put their faith in his unlikely plan. The Flight of the Phoenix is an outstanding survival drama and maybe the best film about leadership, ego, and disparate personalities forced into working together by brutal circumstance. Captain Towns is a proud man with decades of experience fueling his stubbornness, but perhaps there are things he doesn’t know, things the younger men can teach him. Lew is the mediator. He loves and respects his Captain but he suspects that they might need Dorfmann in order to survive. Dorfmann, meanwhile, is a tyrant when it comes to it. He’s petty, arrogant, confrontational, and it’s unclear whether he’s a genius or a madman. Captain Harris (Finch) is the stereotypical British soldier, stiff upper-lip, brave, adheres ceaselessly to the book, even when the elements make that book absurd. Ratbags (Bannen) is sarcastic and apathetic. Dr. Renaud (Marquand) is compassionate. Trucker Cobb (Borgnine) loses his mind. Standish (Duryea) leans on his religion, and Sergeant Watson (Fraser), perhaps the most-loathed character across all film, is a coward. These characters are what make The Flight of the Phoenix so compelling. When the action sequences do come, they’re riveting and impressive, but it starts and ends with the actors and the fine work they do.

-Walter Tyrone Howard-

(1,097)

Mon Oncle Antoine (1971, Directed by Claude Jutra) Québécois 6

Starring Jacques Gagnon, Claude Jutra, Jean Duceppe, Monique Mercure, Lynne Champagne, Olivette Thibault

Mon oncle Antoine (1971) | MUBI

(6-Good Film)

Measured. Bitter. Foreign.

Jos Poulin: To hell with them all! The English, Euclid, the undertaker, the priest, the boss, the whole gang. I’m getting the hell out.

Neither the whimsical jaunt nor the blissfully nostalgic piece I expected based purely on its title, Mon Oncle Antoine is surprisingly bitter. Sure, there are light moments and, at times, it takes on elements of the slice-of-life drama, which is what I anticipated goin in, but this film more accurately is about a young boy’s harsh coming-of-age in a harsh environment (Quebec, 1949). He lives with his Aunt and Uncle who run an undertaker business and flirts with the young shop girl, Carmen, that boards there. The story is quiet; the drama understated. By its end, all taken into account, you’ll notice that a lot actually does happen in this movie and there’s so much more that I feel that I missed or didn’t understand. There’s almost no context given by the film and I have no context of Canadian history, so Mon Oncle Antoine is especially foreign with very little to relate to. I wouldn’t be surprised if it grows with each viewing, but my first impression is that Mon Oncle Antoine is cold and bleak.

-Walter Tyrone Howard-

(1,095)

History is Made at Night (1937, Directed by Frank Borzage) English 6

Starring Jean Arthur, Charles Boyer, Leo Carrillo, Colin Clive, George Meeker, Ivan Lebedeff, George Davis

Antti Alanen: Film Diary: History Is Made at Night (1937)

(6-Good Film)

Melodramatic. Unique. Engaging.

Irene Vail: You’re right, Bruce. This time you’re right. This time there *is* another man.

Irene Vail (Arthur) has been faithful to her husband, Bruce (Clive), whose insecurity and jealousy have caused her to file for divorce, but Bruce is also obscenely wealthy. He hatches a blackmail scheme meant to keep her tied to him but instead introduces her to Paul Dumond (Boyer), a French waiter who’s suave personified. The two fall in love but Bruce’s jealousy and his wealth threaten to tear them apart. Shifting through tones skillfully, History is Made at Night, which starts as a sort of romantic comedy, goes in several surprising directions. I’m not much a fan of what I call the “weepies,” melodramas designed to induce tears, but Boyer and Arthur are magic together.

-Walter Tyrone Howard-

(1,093)

The Woman in the Window (2021, Directed by Joe Wright) English 4

Starring Amy Adams, Gary Oldman, Julianne Moore, Anthony Mackie, Wyatt Russell, Tracy Letts, Jennifer Jason Leigh, Brian Tyree Henry, Fred Hechinger

5 Things to Know Before Watching The Woman in the Window Movie

(4-Bad Film)

Clumsy. Butchered. Gaudy.

Anna Fox: You don’t think it’s paranoid if I wanna change the locks. Do you?

Who would have thought that a film written by Pulitzer-prize winner, Tracy Letts, directed by Joe Wright (Pride and Prejudice, Hanna), and starring Amy Adams and Gary Oldman, among others, could be this bad? I’ve read the book; a bestseller and a skillfully written page-turner. Following a former child psychologist, Anna Fox (Adams), agoraphobic after a family accident, who sees, or at least thinks she sees a violent murder across the street, The Woman in the Window is an excellently paced, diverting, and satisfying novel. Its adapation, despite a strong performance from Amy Adams, is clumsy, suspenseless, silly, and dull. I know that the film’s release was hit hard by last year’s covid outbreak, but did something happen during production as well? It’s an inexplicably bad movie. The characters are ill-defined. The cops are useless. The dialogue is full of exposition, and I’m not sure any of it makes sense. Had I not read the book, I don’t know that I’d follow what happened in the film. I probably wouldn’t care.

-Walter Tyrone Howard-

(1,077)

Presumed Innocent (1990, Directed by Alan J. Pakula) English 7

Starring Harrison Ford, Raul Julia, Brian Dennehy, Gretta Scacchi, Bonnie Bedelia, Paul Winfield, John Spencer, Sab Shimono, Bradley Whitford, Jesse Bradford, Jeffrey Wright

Presumed Innocent (Film) - TV Tropes

(7-Very Good Film)

Alluring. Intriguing. Deceptive.

Rusty Sabich: I’m going to need a lawyer, a very, very good lawyer, an expensive lawyer. It could break us.

Murder novels, like the one this film is based on, aren’t generally considered great literature, though they dominate the bestseller lists, and this attitude carries over to cinema as well. Very rarely will you see anyone receive an Oscar nomination for a murder mystery, because they very rarely offer any amount of depth. They go down easy and they usually satisfy, but how many murder mysteries have you seen or read more than once? Presumed Innocent is a murder mystery in the classic tradition and a courtroom drama with Harrison Ford playing Rusty Sabich, a lawyer investigating the brutal murder of his work colleague and mistress, Carolyn Polhemus (Scacchi). Soon, the evidence stacks up against him and he’s tried for the killing, while his wife, Barbara (Bedelia), who knows of his affair, stands by his side. Whether Presumed Innocent warrants and rewards a second viewing remains to be seen for me, but I’m confident that it’s, at the very least, a superior mystery film. It features a strong lead performance from Ford, a sure, seductive tone, and a rich sense of atmosphere to go along with a slowly surprising story.

-Walter Tyrone Howard-

(1,073)

Casablanca (1942, Directed by Michael Curtiz) English 9

Starring Humphrey Bogart, Ingrid Bergman, Claude Rains, Paul Henreid, Sydney Greenstreet, Peter Lorre, Conrad Veidt, S.Z Sakall, Dooley Wilson

Casablanca (1942)

(9-Great Film)

Classic. Immaculate. Beloved.

Rick: Here’s looking at you, kid.

Rick (Bogart), as I’m sure you know already, sticks his neck out for nobody. Heartbroken after a lost love affair in Paris, he’s become the enigmatic owner of a happening bar in Casablanca during World War II. While all around him people are scrambling and killing and stealing for a means of getting out of town and over to ally territory, Rick seems in his element. That changes when an old flame, Ilsa (Bergman), the one who broke his heart in Paris, shows up with her husband, Victor Laszlo (Henreid), a hero to the resistance movement. Casablanca is often proclaimed the best-loved or most cherished of Hollywood classics. It’s a strong testament to what the old studio system could do. Premier production values, invisible editing, great dialogue, and a terrific cast of characters matched with the right stars and character actors. Of course, Bogart and Bergman are immaculate but think about how invaluable the supporting cast is, right down to Sakall in his brief moments (The studio system had the best character actors). I resisted Casablanca for many years, perhaps partly due to my innate contrary nature, but also, I think, because its so famous and influential, so often imitated, that its components are almost cliche. It’s impossible for it to feel fresh at this point, but watching it again, I found myself admiring every aspect of its storytelling. It’s a great film, but you probably didn’t need to be told that.

-Walter Tyrone Howard-

(1,063)

El Cid (1961, Directed by Anthony Mann) English 7

Starring Charlton Heston, Sophia Loren, Herbert Lom, Raf Vallone, Jon Fraser, Geneviève Page, Douglas Wilmer

Facebook

(7-Very Good Film)

Grand. Bombastic. Earnest.

El Cid: You will soon be a King, you must start to think like one, any man can kill, only a King can give life!

Is it possible for a film to be bombastic and earnest? To feel that every single detail was done for effect, but by craftsman and artists who held this man, El Cid, Don Rodrigo Díaz de Vivar (Heston), in reverence. After all, some stories do warrant the epic treatment and his story is certainly one of them. During the 11th century, at a time when Spain was divided in war between the Moors (Muslim) and the Christians, El Cid united the country in order to protect it from North African invaders led by Ben Yusuf (Lom). All while personally struggling with the disdain of his wife, Doña Jimena (Loren), whose father he killed, at home. El Cid is dated in several ways, not all of them negative. On the one hand, the cast of Spaniard and Muslim characters is largely filled out by white actors (sometimes in blackface makeup as with Ben Yusuf). On the other hand, a film of this size and scope is a marvel to behold and one that simply will not likely ever be made again; not by Hollywood anyways. There are thousands of extras used and massive sets to admire. CGI is a tool for filmmakers to work with and a useful one, but there are two areas where it simply fails to measure up to the real thing: animals and crowds of people. Some might argue that El Cid is overly serious or even corny at times, but this is a real person and his real story. I was prepared to take it seriously.

-Walter Tyrone Howard-

(1,057)

The Caine Mutiny (1954, Directed by Edward Dmytryk) English 9

Starring Humphrey Bogart, Robert Francis, Van Johnson, Fred MacMurray, Lee Marvin, May Wynn, Tom Tully, Jose Ferrer, E.G Marshall

The Ace Black Movie Blog: Movie Review: The Caine Mutiny (1954)

(9-Great Film)

Tense. Stirring. Thoughtful.

Lt. Commander Philip Francis Queeg: Aboard my ship, excellent performance is standard, standard performance is sub-standard, and sub-standard performance is not permitted to exist – that, I warn you.

Captain Queeg, in the hands of Humphrey Bogart, is an unforgettable character. With maybe only thirty or so minutes of screen time, Bogart carves out a fascinating performance; petty, insecure, hypocritical, neurotic. If the question was simply is Queeg a bad leader, the answer would be obvious and the film would progress entertainingly but also superficially-much like the various versions of Mutiny on the Bounty. However, the battle in The Caine Mutiny is a legalistic one, and the question is whether or not Captain Queeg is psychotic. If sailors were able to overthrow any leader they deemed unworthy, I think very few ships would get anywhere and war is a bad time for mutiny. Everyone aboard the USS Caine hates Queeg’s guts, but it’s the executive officer, LT. Maryk (Johnson), and Ensign Keith (Francis), that make the fateful decision to relieve him of his duties. They’re court-martialed and stand trial for their lives, defended by LT. Greenwald (Ferrer), who isn’t even sure that he wants to win the case. This is an ultra-taut thriller with no action sequences, which is pretty amazing, and the perfect cast for each and every role. Ultimately though, the success of The Caine Mutiny depends on us despising Queeg as much as his crew does. Bogart was a short man with a massive screen presence. The Caine Mutiny is the first film I’ve seen him in that I thought of him as small. He’s such a perfect twerp, and when the film asks its big questions in the end, we’re forced to consider them through the flood of anger that the preceding hour and a half so adroitly stirred up in us.

-Walter Tyrone Howard-

(1,056)

Rope (1948, Directed by Alfred Hitchcock) English 9

Starring James Stewart, John Dall, Cedrick Hardwicke, Farley Granger, Joan Chandler, Constance Collier, Edith Evanson, Douglas Dick

rope 1948 이미지 검색결과

(9-Great Film)

Skilled. Clever. Suspenseful.

Brandon: I’ve always wished for more artistic talent. Well, murder can be an art, too. The power to kill can be just as satisfying as the power to create.

Two well-to-do, talented young men-Phillip (Granger) and Brandon (Dall)-believe that some people are fundamentally superior to others and have the moral right to commit murder. They start with a friend from college, David, hiding his body in a trunk in their apartment, and then inviting a small group over for a dinner party, as a game of sorts, but one of the people they invite is their old mentor, Rupert (Stewart), and he shrewdly catches onto them. The critical consensus on Rope seems to be that it’s good, not great Hitchcock, or, as some critic I can’t remember put it, “hardly top-shelf Hitchcock.” They all point to the technical expertise on display-one location, nine actors, and only a handful of shots done in long take. Rope is certainly a shining example of Hitchcock’s technical ability and creativity, but it’s more than just an experiment or a minor credit on the director’s long resume. I think Rope is top-shelf Hitchcock. It’s taut, expertly told, and fascinating, with one of James Stewart’s best performances. The whole ensemble of actors are perfectly matched, but I especially admire Stewart and Dall’s performances. Stewart, for once in his career, is essentially a supporting player whose charisma and presence quickly ratchet up the tension as soon as he walks on the stage. I’m only familiar with Dall from two films-this and Gun Crazy-but they’re great films and he’s tremendous in them both, here, all arrogance and psychotic smirks.

-Walter Tyrone Howard-

(1,054)

All About Eve (1950, Directed by Joseph L. Mankiewicz) English 10

Starring Bette Davis, Anne Baxter, George Sanders. Celeste Holm, Thelma Ritter, Marilyn Monroe, Hugh Marlowe, George Merrill, Gregory Ratoff

ALL ABOUT EVE: Life Imitating Art

(10-Masterpiece)

Sardonic. Intelligent. Classic.

Margo: Fasten your seatbelts, it’s going to be a bumpy night!

Margo Channing, played by Bette Davis, is a bonafide star of the theater- perhaps its biggest star-but Margo is getting older (past forty), and life for an actress after forty looks pretty bleak to her. Eve Harrington, played by Anne Baxter, is an ambitious, young nothing hoping to have center stage for herself. She works her way into Margo’s inner circle, affecting modesty and innocence, but she’s a wolf in sheep’s clothing, longing all the time to take Margo’s place. The crisscrossing stories of Margo and Eve’s careers make for a classic satire, one that seems like it could be as much about Hollywood as it is about theater. All About Eve’s also a stirring melodrama, beautifully written, beautifully performed, with a handful of classic characters. Bette Davis is a force of nature, Baxter’s breathy manner of speaking serves her pretentious, insincere character well, and George Sanders’ voice and demeanor almost single-handedly give the film it’s indelible, sardonic tone.

-Walter Tyrone Howard-

(1,048)