Month: April 2021

Cemetery Without Crosses

Cemetery Without Crosses is a 1969 movie directed by Robert Hossein.

WHAT HAPPENS?

A widow lures a gunfighter into a kidnapping plot in order to gain revenge on a powerful family.

ONE LINE REVIEW

Cemetary Without Crosses is an exceptionally unique, moody and somber Euro Western.

THE ACTORS

Michele Mercier and Robert Hossein are atypical leads for the genre but deliver brilliant understated performances. Mercier plays Maria, a widow seeking revenge against a powerful family responsible for her husband’s murder. Mercier creates a haunting presence throughout the movie – her eyes and pained but bold expressions convey both the determination and emptiness of her situation. As the movie progresses, she gains a sense of quiet power as her vengeance is delivered through Hossein’s Manuel.

Hossein is another intriguing choice for the genre. Lacking either the typical rugged or feminine traits of many Euro Western leading men, he offers an endearing and perpetually anguished persona. He’s not a physical presence There is something broken or unreachable in Manuel – accented by his slipping on a glove before a shootout. It’s as if Hossein’s character has to change into his role of a gunfighter – something he appears consciously removed from.

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Contempt

Contempt a.k.a. Le Mepris is a 1963 movie directed by Jean-Luc Godard.

WHAT HAPPENS?

The marriage between a screenwriter and his wife falls apart during a trip to Italy.

ONE LINE REVIEW

Contempt is a stylish, lush, honest but bleak portrayal of damaged relationships.

THE ACTORS

Michel Piccoli and Brigitte Bardot play Paul and Camille, a young couple whose relationship craters during the production of an Odysseus movie. Piccoli portrays Paul in a sort of suspended state: he takes on a writing job in lush Capri solely for financial gain, which stifles his creativity – and he learns his wife doesn’t love him anymore. Piccoli conveys a continual dread and depression about his life – which is brilliantly contrasted by the immaculate beauty surrounding him.

Bardot assumes the role of Camille, who after meeting Jack Palance’s churlish Jeremy – the producer of the movie – senses the downfall of her own relationship. Bardot’s character is interesting given her rapid emotional fluctuations – she expertly conveys a heavy sadness throughout the movie. She assumes a female role familiar in many Godard works, yet she maintains an appealing grace and power.

Palance and German director Fritz Lang round out the cast. Palance is terrific playing Jeremy – a producer who despises the artistic nature of filmmaking. He is fixated only on the erotic appeal of art, which translates to his continued pursuit of Bardot’s Camille. Lang plays himself – only here he is the director resigned to the commercial limits placed on his art. His dialogue – which he patiently delivers – serves to endorse the truths of the auteur, rather than its system of delivery.

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Money Movers

Money Movers is a 1978 movie directed by Bruce Beresford.

WHAT HAPPENS?

An armored car company is repeatedly robbed – often by those who work as security.

ONE LINE REVIEW

Money Movers is a lean, well-paced, authentic and funny Australian crime movie.

THE ACTORS

Terence Donovan stars as Eric Jackson, a security supervisor who masterminds an armored car robbery. Donovan is interesting as his character adopts a calming personality before turning into a ruthless robber. He contrasts well with Tony Bonner’s Leo, a new hire whose inexperience and love of poetry makes him a target. The cast is rounded out by the impulsive Bryan Brown, who portrays Eric’s brother Brian and Ed Devereaux’s Dick Martin, a former detective who foils the robbery.

THE DIRECTOR

Bruce Beresford creates a tight, well-paced crime narrative that gets all the little details right while adding some lighter moments. Throughout the movie, the actors getting robbed convey actual surprise, while the fighting and shootout scenes are sloppy and chaotic – echoing real life. The sequences where Eric fights off a group of thugs with his hands tied are both creative and stupidly funny.

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First Blood

First Blood is a 1982 movie directed by Ted Kotcheff.

WHAT HAPPENS?

A Vietnam veteran is harassed by local police and flees into the mountains, where he wages a one-man war.

ONE LINE REVIEW

First Blood represents the end of 1970’s filmmaking and birth of 1980’s super action heroes.

THE ACTORS

Sylvester Stallone portrays John Rambo, a withdrawn Vietnam veteran who finds himself harassed by police in a small mountain town. Stallone adds subtle layers of humanity to his character – at least until he retreats to the woods and becomes a one-man killing machine. Stallone easily pulls off the action scenes, yet is effective in conveying Rambo’s intense PTSD and the ingenuity of a man adapting to his environment.

Brian Dennehy is tremendous as Teasle, the town’s sheriff who instantly targets Rambo as a “drifter.” Initially, he defends his actions as keeping the town “boring”, but then escalates his actions once both his deputies are killed and state police and military intervene. Teasle’s deputies include memorable turns by Chris Mulkey and David Caruso. However, the scene stealer is Richard Crenna’s Trautman – who reveals himself as Rambo’s Vietnam squad leader. Crenna gets to deliver some wonderfully verbose and over the top dialogue.

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Get Carter

Get Carter is a 1971 movie directed by Mike Hodges.

Get Carter tells the story of Jack Carter, a London-based mobster who travels north to avenge the mysterious death of his brother. Michael Caine portrays Carter, who proves to be an intriguing mix of charm, raw anger, sadness and endless wit. Caine is phenomenal displaying all of these complex traits – his ownership of the character is impressive. Caine simply gritting his teeth creates danger.

Hodges creates a stylish narrative – the use of quick edits and long POV shots help to create interesting narrative sequences. Caine’s Carter is rescued by a “fairy godmother” in the form of Geraldine Moffat’s Glenda. Her dramatic shifting of car gears is mixed with their passionate encounter. The tone of the movie continually returns to grimy locales and the tragic darkness of pornography – leaving it difficult to invest in any of its characters.

THE BEST – The Opening Scene

I’m a sucker for an opening scene that lays out the entire story. In just a couple minutes, we learn that Jack has to travel North to learn of his brother’s death – against the wishes of his London mob mates. It’s a simple, pleasing and effective setup.

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Run Man Run

Run Man Run a.k.a. Corri uomo corri is a 1968 movie directed by Sergio Sollima.

WHAT HAPPENS?

Several groups of distinct personalities are pursuing stolen Revolutionary gold.

ONE LINE REVIEW

Run Man Run is a fun, adventurous Euro Western that showcases Tomas Milian’s physical and comic skills.

THE ACTORS

Milian revisits Cuchillo, his carefree, knife-throwing thief who originated in The Big Gundown. Too good-hearted to be considered a real anti-hero, Milian’s character is perfectly described by Chelo Alonso’s eternally frustrated Dolores: “Just look what I have to do to marry this tramp.” Milian plays up Cuchillo’s comic nature mainly through his expressive, rubbery face. However, he maintains the dangerous edge of a bandit with his precise and deadly knife attacks.

Alonso is terrific as Dolores, whose mission to marry Cuchillo is heightened when she learns of his connection to the stolen treasure. She is hilariously animated as his long-suffering love. Milian’s Cuchillo can only offer her a bounty of excuses: “If I leave you, it’s only to love you more when I come back.” Linda Veras is equally impressive as the domineering, self-righteous Penny – a Salvation Army “soldier” who schemes with her father to obtain the lost treasure.

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Across 110th Street

Across 110th Street is a 1972 movie directed by Barry Shear.

WHAT HAPPENS?

A daring robbery pits rival mobs against each other, while two New York City detectives try to solve the case.

ONE LINE REVIEW

Across 110th Street is a raw, authentic crime movie that features several standout acting performances.

THE ACTORS

Anthony Quinn and Yaphet Kotto rightfully deserve tremendous praise as Captain Matelli and Lieutenant Pope. Quinn represents the dying breed of slash and burn policing while Kotto is the procedural, intellectual ideal. Their exchanges anchor the story. Both are terrific and offer layered performances that explore both human vulnerability and the social and racial divides that permanently alter us.

However, the movie features a rich blend of supporting actors that define the era’s gritty style. Richard Ward’s Doc Johnson is brilliant as a Harlem mob boss who is a defacto power broker for both the Italian mob and police. Doc’s command of his authority is marked by a permanent calm. He casually refers to the volatile Nick as a “punk errand boy” and laughs as Matelli pulls a gun on him. His legend is forever secured – his gravelly voice chews out the truth: “I’m Doc Motherfuckin’ Johnson.”

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The Harder They Come

The Harder They Come is a 1972 movie directed by Perry Henzell.

The Harder They Come tells the story of Ivan Martin – played by Jimmy Cliff, a young Jamaican man who dreams of fame. He falls into a church camp before committing an assault. After recording an unreleased song, his crimes makes him a folk hero. Eventually, he runs afoul of police – leading to a cinematic final shootout. The movie is decidedly low budget but features an amazing atmosphere highlighted by Cliff’s incredible music.

THE BEST – Django

The Jamaican locals are captivated by Corbucci’s classic – particularly the first machine gun scene. It’s a fleeting moment but also significant given the movie’s ultimate ending.

THE BEST Part Two – The Clothes

Besides the music, the highlights of the movie are the incredible, vibrant clothes. As Martin’s progression occurs, his wardrobe blossoms. His clothes suggest he moves from street kid to legend.

THE BEST Part Three – Bandits

While the movie is often raw, it’s saved by some fun editing. There are quick cuts throughout the movie that enhance Martin’s ascent as a gangster legend. The best of these involve Cliff posing as an Old West outlaw – similar to a picture a kid would take at a fair.

THE BEST Part Four – The Ending

The cinematic quality of the movie’s ending is a loving nod to classic gangster stories of the 1930’s and 1940’s. Ultimately, the anti-hero has to fall but he does so with an appealing sentimentality.

THE WORST – Authority Figures

Religion and commerce are attacked throughout the movie. Basil Keane’s Preacher is portrayed as both oppressive and lecherous. As Martin lures Janet Bartley’s Elsa away from the church, Keane’s Preacher is outraged. However, we’re not sure if his anger is based in spirituality or something sexual. Bob Charlton’s Hilton – the record producer kingpin – is a coldly vicious businessman who exploits his talent. It’s only after Martin’s legend grows that his record is released.

FOX FORCE FIVE RATING – 3.75/5

The Harder They Come is a fun visual experience. The colors and energy are captivating and the movie’s soundtrack is phenomenal. While the production is raw and choppy, the movie presents a unique experience.

Sitting Target

Sitting Target is a 1972 movie directed by Douglas Hickox.

WHAT HAPPENS?

An inmate escapes from prison after learning his wife has left him.

ONE LINE REVIEW

Sitting Target is a raw crime movie that features a brilliant, intense Oliver Reed performance.

THE ACTORS

Oliver Reed inhabits Harry Lomart, a prisoner who seethes with rage after his wife declares she’s both pregnant and leaving him. Reed’s passion is endearing but he exhibits a dangerous rage. The initial scene with Jill St. John’s Pat is a frightening display as Reed’s Harry busts through a glass pane to choke her. Reed’s character maintains his intensity throughout but also shows a tender side. After their escape, he splashes like a kid in a bubble bath. The moment is fleeting as he is viciously tracking his ex-wife.

Ian McShane is fun as the sardonic Birdy, who breaks out with Harry. Birdy’s attitude alternates between carefree and a voice of conscious. The tone shifts darker as Harry secures a machine gun – an event that moves the plot into a deadlier place. Jill St. John is a scene stealer as Pat. Her ulterior motives reveal a character who is entangled with all sides of an emerging plot. As the movie progresses, she becomes the most intriguing character.

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Villain

Villain is a 1972 movie directed by Michael Tuchner.

WHAT HAPPENS?

A vicious mob boss runs afoul of Scotland Yard after he blackmails a member of Parliament.

ONE LINE REVIEW

Villain is an unsentimental British crime movie that features a brilliantly quirky Richard Burton performance.

THE ACTORS

Richard Burton chews up the screen as the menacing Vic Dakin, a mobster that is equal parts vicious and hopelessly devoted to his aging mother. Burton’s Dakin is surrounded by colorful thugs but owns every scene. He’s witty and stylish but commanding – his great one-liners are often followed by tone-changing, frightening glares. His loving relationship with his mother and complicated sexual encounters with Ian McShane’s Wolfe complete a truly unique gangster character.

Ian McShane leads a fun group of supporting actors. His Wolfe is a coy, debonair pseudo high class pimp entangled in a sexual relationship with Burton’s Dakin. He maintains a power over his girlfriends, loaning them out to snare politicians into manipulative traps. Yet Dakin pummels him after an episode in the bedroom. Nigel Davenport is the sophisticated Inspector Mathews who engages in a cat and mouse chase with Dakin. Numerous thugs round out the cast, including Joss Ackland’s ever-suffering Edgar.

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