12 Angry Men (1957)

Basic murder case.  Troubled kid.  Murdered father.  Easy math.  He was labeled guilty before the trial ever started.  That’s what the jury thought also, until Juror #8 (Henry Fonda) voiced his opinion.  “I’m not sure,” he said.  “Well, there were eleven votes for guilty. It’s not easy to raise my hand and send a boy off to die without talking about it first.”

A man’s life is important enough for some time and consideration.  It’s not that Juror #8 is some saint or savior but just that he has the humanity to take his role seriously.  “I’m not saying he’s innocent, I’m saying it’s possible.”  From the very beginning there was apathy.  Take the judge: “Premeditated murder is the most serious charge tried in our criminal courts… …The death sentence is mandatory in this case…”  He speaks with a yawn in his throat.  I remember thinking, is this for real?  Then, when #8 suggests, “let’s talk about it, give him an hour at least.”  “Sure, we can do that.” everybody says, and they begin “stalling” time so they can at least say they considered “for an hour.”  Don’t they get it?

My favorite is Juror #4 (E.G. Marshall).  Unlike most of the others, he intelligently processed the details and carefully thought through the situation to come to the conclusion that he was guilty.  He wasn’t motivated by baseball tickets, animosity, prejudice, indifference, fatigue, or a stuffy room.  He calmly presented his reasons and argued his point in a civilized manner.

Then, of course, there’s Juror #3 (Lee J.  Cobb).  He’s the “Yeah, what he said!” man of the bunch.  It’s going to take some tough prodding to convince him.  Man, what excellent acting though.

Have you ever witnessed an argument amongst friends or colleagues and just plain enjoyed it?  Whether friendly or not, arguing can be very amusing and entertaining.  You wish, “Gee, why can’t I think that quick?”  This movie is for you. Essentially, it’s nothing but a bunch of old men arguing.  There are plenty of satisfactory shutdowns e.g. “I beg pardon…” “‘I beg pardon?’ What are you so polite about?”  “For the same reason you aren’t.  It’s the way I was brought up.”  or  “Anyone in his right mind would blow his stack.  He was just trying to bait me…”  “He did an excellent job.”  The dialogue is the best part. “You keep coming up with these great sayings!  Why don’t you send ‘em in to a paper – they pay three dollars apiece!”  Okay, I’m done quoting now.

There are four scenes in 12 Angry Men:  Outside the courthouse, the courtroom, the jury room, and the wash room.  That’s it.  And the first two hardly count.  It isn’t easy to pull off a full length feature film in one room but this doesn’t miss a beat.  You can feel their sweat, you sense their rising tempers and their growing fatigue.  The claustrophia settles in on the audience themselves.  I give Sidney Lumet a big gold star for directing, he knew how to set a mood.

This movie has aged well and remains influential to modern-day filmmaking.  Like I said, watch this if you enjoy a good debate. 10/10

Champagne (1928)

What is this: name that tune classical edition?  I heard some “Liebestraum,” some “Clair de Lune” … Beautiful stuff.   Too bad it does absolutely nothing for the story.  I was already very opinionated about the importance of music and sound to affect the mood of the film.  This film reiterates my position.  Without the usual musical cues, the mood gets lost in translation.  The march begins while the characters laugh in a bedroom.  It’s light and airy when she’s obviously depressed.  I never knew when to be happy or sad or worried.  So I usually just laughed.

Champagne is about a spoiled heiress Betty (Betty Balfour) (also the only character with a name) who uses her father’s (Gordon Harker) airplane to meet up with her lover (Jean Bradin) on a ship and run off together.  Though apparently she’s not supposed to do the marriage arrangements otherwise groom-to-be will get angry and lose the desire to get hitched.  Our fourth character is a mysterious man (Ferdinand von Alten) whom Betty had met while her boy was seasick and stuck in bed and revisits the scene many times throughout the movie.

The tables definitely turn when her disapproving father announces that he has lost their entire family fortune.  Betty attempts to sell all her jewelry only to be robbed in the process.  Totally broke, they have to rough it and unfortunately for the father, little Betty can’t cook well enough for a dog.  She ultimately finds work at a restaurant where she meets up with the mysterious man and boyfriend one last time…

Etc. I’m having a hard time writing this review because I was as far from interested as I could be.  Don’t get me wrong – I gave it my all, I sat through the entire thing and tried my best to appreciate what little I could.  My biggest irritant was by far the music, though I can’t really blame Hitchcock for that.  I’m sure he had no intention of placing nearly 50 classical pieces to play at random throughout his entire work.  I suppose there’s nothing terribly wrong for the story, just the pace.  The acting is fair.  The only thing commendable is innovative visual technique.

I really hope I don’t have to watch this again.  That’s all. 2/10

Shattered Glass (2003)

Warning: Your viewing experience can be absolutely exceptional if you watch knowing nothing about this film’s plot or the real events it depicts.  That is the best kind of movie watching and this film deserves that sort of attention.  Suffice it to say that this is a rewarding two hours and if you have not already seen it you should stop reading immediately and go rent this.  Right now.

At the dawn of the internet there’s The New Republic – referred to as the in-flight magazine of Air Force One.  Its youngest reporter, Stephen Glass (Hayden Christensen), is the man.  He always knows just what cards to play, what compliment to throw and what joke to tell to be loved, admired, and respected by everyone.  He’s charming, he’s witty, he’s unfallingly polite, and he’s on every other magazine’s hot list.

Chuck Lane (Peter Sarsgaard) is the new editor of the acclaimed magazine and he’s got it rough after replacing the beloved Michael Kelly (Hank Azaria).  When the news team of the online newspaper Forbes Digital brings to light potential discrepancies in Glass’s recent article “Hack Heaven”, Lane is faced with the gruelling challenge of getting to the bottom of it.  Sarsgaard received a Golden Globe nom for best supporting actor in this role and he is, indeed, phenomenal.  Scene after scene he hits it without a single misstep, though I am partial to a rather stirring moment near the end in which he coolly storms into the building wearing his black leather jacket, perfectly timed to Mychael Danna’s magnificent score.

The story is nothing short of fascinating.  Layer upon layer it sucks you into its web of possible lies and deceit.  It raises some important questions about journalistic ethics, though it may not answer the ultimate question of “what is driving this kid?”  It’s a complex character study with no real rhyme or reason to his actions because pathological liars don’t always have reasons.  It gets even better after it’s over and you can find out for yourself just how accurate the film’s events were, and more importantly how accurate Christensen’s performance was.  Say what you want about this kid and Star Wars, but he is excellent in Shattered Glass.  You may argue that he’s just as whiny as ever but this time it fits his character.  Or perhaps you think he’s finally found his niche.  Either way, he’s great – so I wouldn’t give up on him just yet.  Featured on our DVD copy is the “60 Minutes” interview with the real Stephen Glass and after watching that I can safely say that Darth Vader hit it right on the mark.

Other notable performances go to Hank Azaria, Chloe Sevigny, Rosario Dawson, and Steve Zahn in his small role (I could watch that guy in anything).  The acting isn’t the film’s only strength, though.  First time director Billy Ray creates a riveting drama that captivates its audience better than any other movie I’ve seen in years.  It deserves a place right next to All the President’s Men as the greatest journalism movies ever made with a perfect, witty script and a satisfying end to boot.

I could watch this movie a thousand times, it’s that sharp. 10/10

“If it was sunny outside and Steve and I were both standing outside in the sun and Steve came to me and said, ‘It’s a sunny day,’ I would immediately go check with two other people to make sure it was a sunny day.” ~Chuck Lane on Stephen Glass

Blackmail (1929)

It took me fifteen minutes to figure out what the hell was going on… but once I finally found my whereabouts I was pleasantly surprised.  It began (both the film itself and production) as a silent but was later changed into a sound feature film, one of the very first British talkies.  (It was later released as a complete silent, something I have yet to see).  Blackmail is based on the play by Charles Bennett of the same title and the plot is just that.  Blackmail.  Starring the ever enchanting and delightful Anny Ondra as well as John Longden, Blackmail starts cooking when Alice White (Ondra) ditches her boyfriend detective Frank Webber (Longden) for a date with a Mr. Crewe (Cyril Ritchard), an artist she had agreed to meet.  Their “meeting” takes them to Mr. Crewe’s private studio where Alice naively flirts the night away, unaware for much too long of Mr. Crewe’s obviously lewd intentions.  Unaware, that is, until he attempts to take advantage of her and she stabs him to death.

The following day Frank is assigned to investigate the mysterious murder case.  He immediately discovers Alice’s connection after finding her glove in the studio.  He, unfortunately, is not the only one who knows of Alice’s involvement.  Local thief Tracey (Donald Calthrop), who had seen her with Mr. Crewe the previous evening, comes to confront Alice and Frank at her father’s shop in attempts to, you guessed it, blackmail them.  The film concludes with a surprisingly intense chase-scene and a satisfying end.

Chronologically speaking this is my “first” favorite.  For a film made in 1929, I was genuinely invested, genuinely frightened for our leading lady, and genuinely intrigued by its plot.  One scene in particular stands out to me.  After Alice has returned from her rather horrifying evening, she’s sitting at the kitchen table with her parents.  Another woman in the room is commenting on the murderer’s choice of a knife, and each time the word is uttered Alice’s eyes get a little wider.  The word is emphasized to the point that you can practically see it typed in bold-face on the screen.  Soon all we (and Alice) hear is “knife… Knife, KNIFE…” until she drops a knife onto the table.  It’s so perfectly tense.

I think the thing I’m most impressed with is how gripping the story is.  Many other films of this time period are far from that (The Farmer’s Wife for one).  And, I mean, if we’re comparing this to something like Speed of course it isn’t similarly jam-packed with action.  Nevertheless, from beginning to end it moves quickly and captures your attention.

Though stunted by awkward lip-syncing (talkies were too new to dub over in post production, and her Czech accent was too thick to suit), I am delighted with Anny Ondra.  She’s as cute as they come, I also enjoyed her in The Manxman.

Overall, Blackmail is a well-made early talkie, worthwhile to any film historian or movie lover and essential to a Hitchophile. Hitch-storian? Hitchmaniac? We'll work on that later. Anyway, the beginning is misleading, but stick with it for fifteen minutes.  It picks up.  7/10

p.s. Hitchcock’s trademark cameo in this is a new personal fave.

Prince of Persia (2010)

The story goes something like this: Dastan (Jake Gyllenhaal) is an Aladdin-like street urchin who, after a random act of courage, finds himself as the newly adopted son of the king of Persia (Ronald Pickup).  Fifteen years later, after he and his foster brothers Garsiv (Toby Kebbell) and Tus (Richard Coyle) attack the neighboring city of Alamut where Princess Tamina (Gemma Arterton) reigns, Dastan is wrongly accused of murdering the king and turns fugitive.  The rest of the movie depicts his adventures in the sand (and through time) with his new princess travelling companion, Tamina and the mysterious nature of the dagger he now possesses.

I went into this movie with extremely low expectations but exiting the theater, I can’t quite say that it’s bad!  Compared to other video games to film?  Yeah, it isn’t that horrible.  In fact for once its video game qualities were the reasons to SEE it, not the reasons to AVOID it.  Mike Newell’s (HP and the Goblet of Fire) direction manages to pull everything together in a satisfactory manner that is better than your average VG flick.  The script is blah, the acting is meh, – but it isn’t rotten.  Jake Gyllenhaal was yummy as the impossibly buff protagonist, and the video game sequences were stylish and entertaining.  The plot was surprisingly original, well paced and full of lots of fun stuntwork.  I had a good time, no joke.  I’m not sure if I was more entertained by the film or the audience I was with – all of whom were at the edge of their seats with anticipation laughing, screaming, gasping, the whole works – but either way it was a pleasant and enjoyable two hours.  Beware the notable eye-liner infestation on our leading lady and none other than Sir Kingsley.  I’ll probably never see it again but I don’t regret having seen it once.  I’d give a solid 8/10 for entertainment value but when considering all factors I’ll give it a 5/10 overall score.

And heck, it’s gotta be better than The Last Airbender!  Or so I’m told.

Star Wars Episode I: The Phantom Menace (1999)

So I think it’s about time I did a Star Wars marathon review-fest.  To start off: I. Am. A. Star. Wars. Nut.  I grew up watching the original trilogy and they still remain some of my all-time favorite movies.  Another thing you should know: I am not a prequel-hater.  I prefer the original trilogy, yes. Definitely yes. But I think George Lucas gets a lot of crap thrown at him for prequels that really aren’t that terrible.  There are many things to like.  Sure there are bad aspects which I will discuss in my reviews, but so do a lot of good movies.  The original movies are classic, with the perfect blend of character, action, a wicked plot, and heart.  The prequels are just good movies.

So on to The Phantom Menace…

This takes place about 30 years before A New Hope (or if you want me to get really nerdy.. that’d be 30 years BBY – Before Battle of Yavin).  Two jedis, Qui Gon Jinn (Liam Neeson) and Obi Wan Kenobi (Ewan McGregor) are sent to settle a dispute between the Trade Federation and the planet of Naboo.  When things go sour, they narrowly escape and set off to warn Queen Amidala but the Federation are already starting to take over.  While helping to protect the Queen they land on the planet Tatooine where Qui Gon and the Queen’s handmaiden, Padme (Natalie Portman) meet young Anakin Skywalker (Jake Lloyd) who helps them get parts to repair their ship.  He ultimately joins them on their way to Coruscant, where they hope to settle their issues once and for all.

I have such a clear recollection of going to see this in the theater.  I was just 9-years-old but I still knew the Star Wars universe backwards and forwards.  In the opening scenes, I still remember the excitement I felt at hearing the older jedi with the long ‘do speak the name of “Obi Wan” to the younger jedi with the funny pony tail.  Yes!  Obi Wan!  I had no idea what the plot was going to be about at the time, so I felt a certain security early on to find a favorite character on board.

Many, many viewings later I still get a kick out of it.  Though with that I now notice different things. Like corny dialogue.  Yeah, okay.  I’ll try not to repeat this several times so let’s just consider it understood that the script is not, how shall I put it, its strongest point.  Yeah, I get it. Let's just move on from it, okay? SO WHAT. Luckily we get some early lightsaber action to move it along to better things.

Oh sorry, did I say better things?  Excuse my hastiness.  The better things will have to wait until we get this big walking mistake out of the way.  Jar-Jar Binks (Ahmed Best) is the WORST thing to ever happen to the Star Wars franchise.  Worse than corny dialogue.  Worse than Hayden Christensen and Jake Lloyd put together.  As Qui Gon put it, “The ability to speak does not make you intelligent.”  Jar-Jar should have just bolted at that insult then and there to spare us from his obscene presence.  Though his real opportunity to be written off came just a scene later – by allowing him to receive the “pune-ishment” he deserves.  But no.  He’s got himself a “life debt” with Qui Gon.  Really Qui Gon?  Do you NEED to hold this Gungan just because you saved his life?  Do you really expect him to help you out in return? I’m pretty sure you can save your own skin a lot better.  *Sigh*  I’m pretty sure that Jar-Jar is the one thing that everyone can reach an agreement on.  Terrible.  I mean doesn’t George Lucas know that “ex-quueeze me” is from Full House of all things?  Shutting up now.

Side note: Would you get a hold of the Queen’s wardrobe?  Holy I’ve never seen anything so big and extravagant.  It’s also fun to see some small Keira Knightley action in there too, even if she is covered in white makeup and feathers.

Now to the better things.  Better thing number 1: The Nubian cruiser.  It’s pretty slick, ain’t it?  I mean, nothing rivals the Falcon but this beast is pretty!  Better thing number 2: R2-D2 is still kicking trash, just look at how he outlasted every single other droid to save the ship.  Man, he rocks.

Tatooine is still as ugly as ever.  I also remember going “Hey!  That’s Luke’s dad!  Darth Vader!”  And again, things are so much better when you’re nine.  Jake Lloyd may be a cute kid but he’s not terribly talented.  Frankly though, I don’t mind him.  At least he had some spirit – which is more than you could say for Hayden Christensen.  I think he was a good symbol of innocence.  It was like, how could he turn evil, ya know?

Better thing number 3: C-3PO (albeit a naked C-3PO).  The dynamic droid duo is (almost) reunited once more!

Better thing number 4: The podrace.  This is the first highlight of the movie.  From the announcing of the contestants to the explosions, Tuskan raider chants, and familiar Jawa jabber – this is nothing but intense and entertaining film watching.  I can’t say it’s better than Ben Hur‘s chariot race (though it is uncannily similar) but this is still awesome.  A little long, perhaps.  But awesome.

From then on out we get some more lightsaber action with Darth Maul (Ray Park), an introduction to then Senator Palpatine (Ian McDiarmid) with an oddly familiar voice, some political intrigue, and best of all the introduction to the jedi council.  Yoda (Frank Oz), and Mace Windu (what’s this – Samuel L. Jackson in a Star Wars movie??) are two other excellent factors to the prequel trilogy.  I had an Episode I Encyclopedia and I loved learning about all of the different jedis on the council.  Don't judge me!

Better (and final) thing number 5: The jedi-battle with Darth Maul.  Being a martial artist myself I delight in watching Ray Parker.  This is the best part of the movie, and one of the best moments in the entire series.  It’s excellently choreographed and perfectly set to John Williams’ “Duel of the Fates.”  What a sick battle, and where can I get me a double sided lightsaber?  It’s too bad Obi Wan had to finish Maul off because we could have used his awesomeness in a few more movies.

Other notes… Acting: This is Natalie Portman’s worst of the trilogy.  I actually really like her as an actress, but she was really wooden this time around.  I do think that Ewan McGregor was an excellent choice for a young Ben Kenobi, or rather a young Alec Guiness.  He too improves in the subsequent movies but he’s pretty good in this one.  Liam Neeson isn’t bad either.  As I mentioned earlier Jake Lloyd may not have been the ideal choice but he isn’t terrible, IMO.

The special effects, scenery, and plot are all great.  We already knew that Anakin Skywalker was once good but here we learn that he had a destiny to fulfill.  He was “the chosen one.”  He was supposed to bring balance to the force.  The story is great, it’s a shame the script didn’t match up.

All in all I think it’s a good introduction to the saga setting up better things to come.  I actually enjoyed it a lot better than the last time I watched it, though it still remains my least favorite of the six.  It doesn’t have the same heart of the original trilogy but it’s still a good, enjoyable movie.  6/10

Family Plot (1976)

So there are worse movies that director Alfred Hitchcock could end his career on.  Family Plot is no Psycho, but it’s entertaining.

We’ve got two plot lines goin’ on: 1) A phony psychic/spiritualist lady, Madame Blanche Tyler (Barbara Harris), and her boyfriend George Lumley (Bruce Dern) are our main duo.  After a séance with an elderly millionaire, she offers Madame Blanche $10,000 to find a certain Edward Shoebridge, her long-lost nephew.

2) Eddie Shoebridge!  Or rather, Arthur Adamson (William Devane) and his girlfriend Fran (Karen Black).  They’re the kidnappin’, jewel-collecting, wanted couple. It starts getting interesting when the two paths begin to intersect through George’s investigation of the mysterious (and seemingly dead) Shoebridge.

From an historical standpoint, this movie is very interesting.  Hitchcock has created something with a much more modern edge when comparing it with his earlier classics – I’d go so far as to say that it doesn’t age as well.  The expletives give it a real 70′s feel though they still seem rather risque for Hitch and dare I say out of place.

There’s gotta be a word for this movie, and the word that comes to mind is… kooky.  Kooky characters, kooky grave yards, kooky plot, kooky psychics, kooky car chases… it’s just kooky!  But that isn’t a bad thing,  it still has many Hitchcockian qualities that raise it a level above mediocre.  There are some well crafted scenes, my favorite being the garage scene at the end though man, did you get a hold of that car chase?  It’s a lighthearted mystery much like his The Trouble With Harry.  If you’re a die hard Hitchcock fan, you should definitely see this.  I may even like it better than something like Foreign Correspondent and it’s definitely better than Topaz.  If you like plain ol’ 70′s movies, you might enjoy it as well.  If you don’t fall into either of these categories… I recommend this with reserves.

But really, it’s a riot.   A fine and satisfactory end to a magnificent career. 6/10

On the Waterfront (1954)

“You don’t understand, I coulda had class!  I coulda been a contender, I coulda been somebody, instead of a bum, which is what I am.”

Everyone’s heard this quote before.  Everyone.  It’s been torn apart and parodied endlessly, and much of its magic has been lost by over use.  This scene, however, between Charlie and Terry Malloy is magical.  It’s one of the most finely crafted scenes in all the movies.  Everyone also knows that Marlon Brando is an excellent actor but he is not just an actor.  He was a person, a creator, an artist.  His spontaneity and sincerity are so genuine and truly unique for the time.  This scene (and movie) proves just why he is one the greatest actors to ever grace the screen.

On the Waterfront is one of “those movies.”  Like Casablanca, The Godfather, or Gone with the Wind… it’s a critically acclaimed classic that everyone “should” see.  Blah blah blah.  My initial thought was more like, “Okay, let’s get this over with so I can say I’ve seen it” which is really how many treat classic movies.  But is it REALLY worth it?  The answer is yes, yes, yes!

I love On the Waterfront because when I’m watching I am somewhere else.  Even though it’s nearly 60-years-old it still feels fresh.  I turn off the TV and I lean back and think to myself “wow, that was a good story” and then I want to tell everyone about my experience.  It’s a very emotional story, beginning with a death only 5 minutes in.  Terry Malloy (Brando) plays an ex-fighter who now tends pigeons and runs errands for big-bad Johnny Friendly (Lee J. Cobb).  After receiving a subpoena, he is faced with the choice of whether or not to stand up to his union bosses.  It’s a story about hope, fear, redemption, love, dissapointment, anger, and courage.

This movie is my precious gem.  It’s a film that most people from my generation have (sadly) never seen but anyone over 40 has seen it 10 to 30 times.  I love when people ask me what my favorite movie is and I respond “On the Waterfront” and they go, “Ohh yeah… I think I’ve heard of that one, yeah.”  (I’m speaking to kids my age, here.  If you are a fellow movie blogger, yeah I know.  You’ve most likely seen this movie).  But anyway, if I have no other cinematic influence on my friends I hope that I can share this must-see classic with them.  I’ve loved Star Wars and other movies since birth but this was the film that really opened my eyes to the possibilities of an actor, and to all that a classic movie could offer to a kid.  You could say it turned me from a movie goer to a true movie lover; turned movies from sheer entertainment to pieces of art.

Terry Malloy is a hero.  Think about the scene where Terry decides to tell Edie (Eva Marie Saint) that it was he who set her brother up to be killed (albeit unknowingly).  9/10 rom coms/drams today would have done it differently.  Edie would have found out in some way that didn’t disclose the entire story painting Terry in a bad light, hate him for being dishonest and then somehow make-up because she was overreacting.  Kiss and all is better.  What I love here is his complete honesty.  He knew, with the help of Father Barry (Karl Malden), that he needed to tell her.  He knew that she needed to know.  So what does he do?  He runs immediately down the hill and he tells her the truth!  This is not famous like the contender scene or the end but it is beautiful.  We hear no dialogue, just the train speeding by echoing the screaming in Edie’s head.  She’s upset (duhh), then runs away in horror and Terry’s left standing there alone and hurt.  It is the epitome of consequences for our actions, even unknowing actions.

Each and every character is excellent, and the acting superb.  Terry is a hero.  Edie is kind and loyal.  Their relationship is one of the best in cinema, they are definitely in my top best screen couples.  Father Coogan is faithful and serviceable: “If you think Christ is not on the Waterfront…” Johnny Friendly is a powerful, angry pawn.  Charlie (Rod Steiger) is a good brother, it’s just that no one knew it yet.

Elia Kazan gives us exactly what he wanted.  Loosely based off his own experience, he paints a picture of what it’s like to stand up.  His directing decisions create something wonderful.  I must also credit Leonard Bernstein’s score – the music is moving and perfectly set.  It’s odd that I rarely compliment the musical score in my reviews since I truly believe that music and sound is absolutely essential to the tone and theme of the movie.  Leonard Bernstein is a master and this film wouldn’t be the same without his emotional contribution.

On the Waterfront is just another story, just another movie.  But this movie changed me.  10/10

aw, pa

I’ve recently been watching The Andy Griffith Show Seasons 1-3.  When it comes to old school sitcoms, The Dick Van Dyke Show takes the cake in my book.  I’ve seen every episode several times and I continually laugh at its timeless humor, good comedic acting (I love me some Mary Tyler Moore), and funny situations.  Andy has its funny moments, mostly with Barney Fife (Don Knotts) but it’s not up to par with the excellence of DVD(haha).  The one absolutely GREAT thing about  Andy is the cute little kid named Ronny Howard.

That is until he lost all his hair, turned director, and started winning those Oscars.  Ron(ny) Howard has directed some of my very favorite movies from Apollo 13 to A Beautiful Mind to Parenthood.  He has made his mark in the cinematic universe as one of our finest directors.

But before all that, he was not such a bad actor either.  His most memorable role is without doubt Steve inAmerican Graffiti, but he also starred in the series Happy Days with Henry Winkler.  Before all THAT he was Opie Taylor, the cutest kid in Mayberry.  Lately I’ve been tuning out to most of the Andy eps that my mom watches but I always watch if it’s about Opie.  In my opinion, he’s one of the greatest kid actors to pass through the screen and especially on TV.  He doesn’t just recite his lines, but he listens to what the other characters are saying and treats the scene like a scene out of real life.  I’ve heard that he and Andy Griffith had a good relationship, and Andy Taylor the character was a good father model.

Hold that thought.

One of the WORST 50′s shows, Father Knows Best does nothing but prove that Father doesn’t always know best, or at least this father doesn’t.  I’ve seen two seasons of this show and its so covered in cheese you can’t even see the crust on that pizza. Not only is it cheesy and corny but it’s ridiculous!  I stopped watching for good when Father and Mother knows best teach Betty that she shouldn’t learn to be an engineer, she should dress in her pretty dresses instead so that she can IMPRESS the intelligent engineering guy.  Whatev.  However, it all comes to a hilarious end when I read that Billy Gray (Bud) was later arrested for possessing marijuana, and Lauren Chapin (Kathy) became a heroin addict and prostitute.  Not that I should be rejoicing in their poor future lives, but I KNEW that Mr. Knows Best was full of crap.  I don’t think I need to cover twice what happened to little Ronny Howard, but let’s just say his future turned out a lot differently than the other two.

I’m not even sure what point I’m trying to make with this.  That Andy Taylor is a better father than Jim Anderson?  (yes).  That Ron Howard is a good actor and director?  (and better than those other two kids combined).   That trivial bits of information that have nothing to do with anything are a lot of fun?  (sure).  See, this is why I suck at writing.  I sit at the computer, something pops into my head, I decide on a whim to write about it without any direction in mind.  Oh well.  I’ve come this far, I might as well publish it.

2012 (2009)

So I saw this in theaters here in Tahiti.  Since I had only seen it in French – I decided to see it once more in English.  Turns out I had no need.  This isn’t a terrible movie, but it isn’t a good one either.  Predictable with a capital P – right down to the order in which characters die.  It's another Roland Emmerich symphony à la Day After Tomorrow (2004) and Independence Day (1996). There’s no arc, no emotional development – just burn, flood, and collapse.  I’m sure I have no need to unveil the plot because it’s nothing more than the world as we know it will come to an end on December 21, 2012.  This is king of disaster movies, combining any and all natural horrors imaginable.  The narrative takes us along the path of Jackson Curtis (John Cusack) and the relationship with his children and estranged wife (Amanda Peet).  Through a series of miracles he manages to save them and his wife’s new boyfriend (Thomas McCarthy) from a collapsing Los Angeles.  Annnnd a collapsing Yellowstone.  Annnnd a collapsing Las Vegas.  Good thing the boob doctor (boyfriend) knows how to fly planes!

There’s the political side of the story.  Turns out the government has been aware for three years already of the oncoming disaster.  We’ve got the good hearted President (Danny Glover) who dies alongside his country (oops, sorry if I ruined it for you…) and the do-what-it-takes Chief of Staff (Oliver Platt).  Through many generous donations from snobby billionaires, ginormous arcs have been built and hidden in China with hopes to preserve what is possible of mankind.  And a few animals.  It’s just Noah’s arc on steroids.

I love John Cusack and I’ll see him in anything but even he gives a half-hearted performance (though he is nonetheless likeable).  All in all it’s a ridiculous end of the world film, but if you dig that kind of stuff I won’t stop you from watching it.  It delivers what we expect it to deliver, and there’s something to be said for that. 5/10

Jamaica Inn (1939)

When Mary (Maureen O’Hara) goes to stay with her aunt and uncle at a place called Jamaica Inn, she finds herself in the middle of a shipwrecking gang.  You know – people who cause shipwrecks for a profit.  Anyway, she overhears them complaining of their short supply of profit in the recent past and suspicion falls on a newcomer, Jem (Robert Newton).  When they find a large amount of money on his person, they knock him out and set to hang him.  That is before Mary gets to him first.  They escape together… hide… come back… there are shots…. people get captured… somebody dies… …other things like that.

The other major character is Sir Humphrey (Charles Laughton) the local squire and also the big bad demanding man who receives the contraband and keeps a large amount of money for himself.  Though Laughton is a good actor, he is pretty overkill in this role, and pretty obnoxious.  He moves his mouth too much.

I have little to say about this film because frankly I wasn’t very interested.  It’s a fine story and I’d love to see it remade someday.  Maureen O’Hara is young, and though she isn’t my favorite she does her part.  It’s also interesting because the book was written by Daphne Du Marier, the author of Rebecca which Hitchcock also adapted and is one of his greatest works – his only Best Picture winner.  I watched it because it was Hitchcock, and now I can check it off my list.  I accomplished what I came to accomplish.  The end.  3/10