Gun Crazy

Gun Crazy is a 1950 movie directed by John H. Lewis.

Gun Crazy tells the story of a young gun-obsessed couple who go on a crime spree. John Dall and Peggy Cummins play the leads, Bart and Laurie, two outcasts who find each other. Dall is the rational, earnest, almost laconic half of the duo, while Cummins is impulsive, manipulative and at times, self-destructive. Their relationship avoids the hokey entanglements of the era and hints at a unique sexual tension. Lewis packs some intriguing innovations into his story – using realistic POV driving footage and staging some impressive long frame shots. The movie’s tone feels ahead of its time – it’s a dangerous, stylish film noir.

THE BEST – The Leads

Dall and Cummins are terrific throughout the movie. Dall gives his character a polish and appears peacefully calm, but there’s a craze resting behind his grin and smooth voice. Cummins’ Laurie is amazing as she continually manipulates Bart – through her vulnerability, sexual innuendo and desperation. The later scenes that contrast Cummins against Anabel Shaw’s Ruby Tare Flagler are brilliant. On the run from police, Bart and Laurie hide out at Bart’s sister’s house. A filthy faced, distraught Laurie deadpans: “Gee, what cute kids.”

THE WORST – The Clunky Courtroom Scene

To fully establish Bart’s character, we’re taken to a hearing where his juvenile fate is decided. After stealing a gun, he’s sent to a reform school – as decided in a lengthy courtroom scene, where all relevant exposition is introduced. It’s a necessary scene but feels long-winded.

FOX FORCE FIVE RATING – 4.25/5

Gun Crazy is an innovative film noir that maintains a quick tone and feels ahead of its time. The leads are terrific and the movie possesses a unique tone. A must watch.

REVISITED CLASSICS – 2001: A Space Odyssey

2001: A Space Odyssey is a 1968 movie directed by Stanley Kubrick.

It’s been a little over a decade since I last viewed 2001: A Space Odyssey, so I thought it would be interesting to see if my experience has changed. Here are my thoughts after another greatly enhanced watch….

THE SENSORY OVERLOAD

I’ve either forgotten, never realized or plain skipped over the movie’s first few minutes. Either all that or maybe I have a better TV in my life now….The opening moments creates a jarring, ear-splitting experience – a pattern continued throughout the movie. The sound of shrieking apes gathered around the monolith builds to a frenzy, taking you to the edge of sanity before yielding to the beautiful silence of Kubrick’s legendary jump cut. Later, the sonic intensity builds as the crew approaches the monolith before cutting through the screen.

EVOLUTION THROUGH THE BONE

In my peculiar head space, I couldn’t escape the thought of how relatively peaceful the apes’ existence appeared. There is a wonderful comfort in the simplicity of their lives – gathering as a family, playing – their life’s objective to find food. Compared to our evolved existence, their lives are the greater expression of freedom. However, the introduction of the bone and the violence that it implies forever alters their lives – as well as ours.

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The Inglorious Bastards

The Inglorious Bastards is a 1978 movie directed by Enzo G. Castellari.

The Inglorious Bastards tells the story of a group of escaped American prisoners who scheme their way into stealing a warhead. The movie features a classic men on a mission war narrative, contains endless shootings and explosions and is anchored by fun, quirky characters. Bo Svenson plays the cool Lieutenant Yeager, Peter Hooten is the snaky Tony, Fred Williamson the cocky Canfield and Michael Pergolani is the comedic Nick. The pacing, action and humor are superb throughout.

THE BEST – The Quirks

Any good World War II movie has to feature unique characters. Here, we see Williamson ask his rifle, “did you miss me, baby?” Pergolani is a walking supply depot, Jackie Basehart’s Burle is scared to death and Hooten’s Tony is continually plotting.

THE WORST – That Weird Romantic Ending

Hooten’s devious Tony, a pseudo mobster and conman, is smitten with Debra Berger’s Nicole – a nurse close to the Swiss border. Their relationship makes no sense and is based on two quick conversations. Yet, as the Bastards pull off their mission, Tony remains to reunite with his love. It’s an odd payoff – especially given the character’s unlikeable nature.

FOX FORCE FIVE RATING – 4/5

You can see the obvious influence this movie had on Quentin Tarantino. It’s funny, packed with action and features unique characters. A great watch.

The Big Gundown

The Big Gundown is a 1966 movie directed by Sergio Sollima.

WHAT HAPPENS?

A lawman pursues a peasant wanted for the murder of a young girl.

ONE LINE REVIEW

The Big Gundown is a raw, stylish Euro Western featuring two terrific acting performances.

THE ACTORS

Lee Van Cleef and Tomas Milian respectively star as unofficial lawman John Corbett and infamous bandit Cuchillo. Each actor gives what is probably their greatest Euro Western performance – which given their lengthy filmographies, is an impressive statement.

Van Cleef presents his usual stoic, sardonic toughness. He’s grim and measured but retains a maniacal edge. Yet he distinguishes himself in this role by showing decidedly human traits. Power broker Brokston will reward Corbett with a Senator position if he captures Cuchillo. Throughout the pursuit, Van Cleef’s character is continually tricked and needs help to accomplish his mission.

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Rocky Balboa

Rocky Balboa is a 2006 movie directed by Sylvester Stallone.

Rocky Balboa returns to the Rocky saga, as the aging boxer finds himself widowed and growing estranged from his son. Thanks to a computer simulation, Rocky receives another chance to fight for the heavyweight championship.

THE BEST – Stallone Gets to Act

Excepting the original, this is Stallone’s best acting job of the saga. He shines in a few strong scenes, including a dialogue in front of the athletic commission, exchanges with Geraldine Hughes’ Marie and a powerhouse speech to Milo Ventimiglia’s Robert. However, Stallone’s best moment comes as he’s flooded with emotion when he laments Adrian’s death. There’s genuine hurt and confusion that Stallone allows to the surface. It’s a brilliant moment – one of the best of the entire series.

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Wake in Fright

Wake in Fright is a 1971 movie directed by Ted Kotcheff.

WHAT HAPPENS?

A schoolteacher gambles his money away and is trapped in a remote town full of drunken, crazy locals.

ONE LINE REVIEW

Wake in Fright is a tense story of aggressive masculinity and isolation.

THE ACTORS

Gary Bond stars as John Grant, a highly educated and unhappy school teacher who finds himself stranded in a remote Outback town. Bond captures the character’s elitism and disdain, along with both a sense of fear and occasional jubilant bursts. Bond gives a tremendous performance – his expressive eyes signal the disgust and wonder of his new surroundings – it’s an intriguing performance.

Donald Pleasence leads the supporting cast as the alcoholic Doc Tydon. Pleasence creates a character that is indulgent, grotesque, witty and subtly terrifying. Physically, Pleasence embodies the chaos of the character – he’s filthy and exhibits no boundaries – there’s an extreme sense of danger emanating from his actions. At times, his character is completely revolting.

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The Crazies

The Crazies is a 1973 movie directed by George A. Romero.

WHAT HAPPENS?

The military attempts to contain a dangerous a viral bioweapon in a small Pennsylvania town.

ONE LINE REVIEW

The Crazies is a low budget horror movie that doubles as a critique of bureaucracy.

THE ACTORS

Lane Carroll could be considered the emotional core of the movie. She plays the pregnant Judy and is perhaps the only character who conveys true fright regarding the viral outbreak. Will MacMillan plays her husband David, a former Green Beret. Unfortunately, MacMillan and Harold Wayne Jones’ Clank look nearly identical – which causes confusion throughout the movie. Jones is easily the scene stealer as the mercurial Clank – an Army vet who develops a death wish. Lloyd Hollar’s Colonel Peckham is effective as the leader of the military operation. He shows some range and frustrated cynicism as the operation unravels.

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Death Rides a Horse

Death Rides a Horse is a 1967 movie directed by Guilio Petroni.

Death Rides a Horse tells the story of a young gunfighter and aging outlaw who form a loose alliance to track down the same bandits. Lee Van Cleef essentially plays his standard Western role – he’s a grizzled, cynical veteran of combat seeking revenge. John Phillip Law is the young sharpshooter out to avenge the death of his family by the same bandits Van Cleef is pursuing.

The movie presents a familiar EuroWestern formula, but it’s done well. Van Cleef commands a presence while Law is a likable and proficient hero. The cast of villains are both authentic and possess a stylistic sense of evil. Petroni creates a harsh, wind-swept environment but also adds flair with a series of technicolor flashbacks, some cool panning shots and the traditional Euro Western extreme close-ups.

THE BEST – Morricone

Ennio Morricone provides some brilliant, moody music throughout the movie – much of it borrowed by Quentin Tarantino for Kill Bill. Unlike other Euro Westerns, the music isn’t a hook and/or doesn’t create an atmosphere that the movie can’t match. It’s a beautiful blend.

THE BEST Part 2 – The Little Details

Petroni gives his characters some defining traits, as the lead character recognizes his family’s attackers. The four Aces tattoo, skull chain and jagged scars distinguish the movie’s antagonists from mere henchmen. Also, the story evolves to feature two archetypal villains – highlighted by Luigi Pistilli’s charismatic Walcott. There are fun touches found throughout – including a duel commenced by three piano key notes, a sweet trap door and plenty of fun one-liners – not to mention terrific action.

THE WORST – Sentimental Van Cleef

There are some awkward moments between Van Cleef and Law’s characters as the aging outlaw shows paternalistic empathy towards the young gunslinger. He references Law being the son he never had – possibly in an attempt to rationalize his own life. It’s an intriguing idea but it feels misplaced.

FOX FORCE FIVE RATING – 4/5

Death Rides a Horse is a moody, brutal but stylish Euro Western. Van Cleef turns in his usual solid performance and the cast of villains keeps things interesting.

Rocky – Five Star Favorites

Rocky is a 1976 movie directed by John G. Avildsen.

WHAT HAPPENS?

An aging club boxer gets a chance to prove himself against the heavyweight champion of the world.

ONE LINE REVIEW

Rocky is a beautiful American story about determination, pride and loneliness.

THE ACTORS

Sylvester Stallone stars in the lead role as Rocky Balboa, an aging, down on his luck club boxer. Stallone takes what could be a limited, cartoonish role and infuses the character with a unique earnestness. Physically, Stallone is born for the role – his unique face and slurred speech resemble a hardened prize fighter.

Talia Shire is terrific as Adrian, the meek, painfully shy pet shop worker who falls for Rocky. Her lack of confidence is intense, as she continually hides her face – never making eye contact. She ducks behind bird cages and scurries away when Rocky approaches. Her character later emerges as Rocky’s support system – her voice and self-esteem grow as the movie progresses.

The cast is rounded out by Burt Young and Burgess Meredith. Young is spectacular as the moody, alcoholic Pauly. His emotional breakdowns are stinging – he viciously snaps on his sister Adrian, then collapses in tears. Still, there is a lovable quality to Pauly – Young plays up the comic aspects of the character. Meredith is great as the crusty, cynical Mickey. He plays the character with absolutely no filter – he coldly dismisses Rocky before offering to later train him. It’s a complicated, tarnished relationship.

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Rocky V

Rocky V is a 1990 movie directed by John G. Avildsen.

Rocky V concludes the original saga as a suddenly broke Rocky faces brain damage and a splintering family. He begins to train a new protege, Tommy Gunn, who emerges as a target of greedy promoter George Duke. Rocky and Gunn’s relationship falters, which leads to a final showdown.

THE BEST – Stallone

Rocky V is certainly the weak link in the original saga but Stallone gives a solid performance. He’s given a significant amount of dialogue and while there are obvious stumbles, it’s a solid performance – especially as he navigates the evolution of the character.

THE BEST Part 2 – The Kid Gets a Name

For two straight movies, Rocky and Adrian’s son was only referred to as “the kid.” Worse, he was virtually abandoned in each movie while Rocky trained in far-off locations. In Rocky V, his family’s ill fortunes throw him into the streets of Philadelphia, where he struggles to survive. Needless to say, “Robert’s” a bit damaged emotionally. Sage Stallone does an admirable job as the lost Balboa son and contributes some of the movie’s more memorable scenes. His transformation from preppy, rich kid to street tough is a highlight of the movie.

THE BEST Part 3 – Pauly and Adrian Get Some Scenes

Talia Shire gives great effort throughout the movie but it’s obvious the hyper speed script does her no favors. She’s easily the most polished actor of the group but it never appears that she finds any footing here. Burt Young gets a couple of scenes to shine but a similar fate befalls him.

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