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Reviews
Annie Oakley (1935)
Not My Annie
An autobiographical film about the life of famed sharpshooter Annie Oakley: from her humble beginnings to her star making turn in the Buffalo Bill's Wild West Show.
Barbara Stanwyck did not do those tough dames in Warner Bros to become into a woman defined by the Men around her. She kinda hates herself in this film. What whiplash
against her Pre Code work. This just falls so far left of her more famed works.
There is a lot to unpack here.
Firstly, this film is made to be a cutesy romcom of sorts. A central love triangle is added into the film that was defiantly leaning towards the stand in for Annie's real husband. It also did not help that she comes off d*ckmatized all throughout for him. It pretty much remove the element of surprise, the will they or won't they trope.
As already mentioned, the characterization of Annie here is so weird. They removed any indication of feminist ideal towards her. Its almost like she is pigeonholed into a pseudo humble housewife. It kinda drown down how revolutionary she is AND makes a point that she is docile.
Acting wise, I think most of the actors make do of what clearly is less materials. Stanwyck as always shines bright in a much less modern role. She literally is that girl that can lift material.
Not recommended.
Booba (2001)
Aged like Milk
Provincial Girl Booba wants to start anew in the metro after she inadvertedly kills her grandma. Once there, she faces assault for her voluptuous figure but as finds her way AND meet her lost sister along the way.
This really aged so bad.
Booba is probably the film that raised Quinto into National popularity in the Philippines but I could why.
As expected, the sexual dynamics in this film is so stilted AND of its time. Quinto's Booba is literally just sexist tropes: dumb, sexy and ungodly assaulted for it, and almost unable to function on her own. Her sexuality is so exploited in this that its kinda uncomfortable at times. She kinda was wh*red in this and I have not even discussed how her intellect is often demeaned in this. Ate is much better drawn. She clearly is a satire of Filipino Action film Antagonists AND work since its a sharply written parody AND her story stayed its the Antagonist lane. Though the Ugly jokes are just not it, not funny and not even witty.
As a soft positive, the main romance somewhat works BUT very choppily made. I think this is where Booba's comedy works the best (ie like infamous Paulie Hospital Scene) since it was a two way street that her sexuality is not openly assaulted on.
Not recommended.
Hey Babe! (1999)
Jolina Magdangal at Martin Agustin carries a very Bad Material
Practically a girl with an unholy belief with the superstitious tries to find her lucky one with the help of a local fortune teller. Unknowingly, one of his suitors is in cahoots with the same fortune teller and tries to shift his luck to her heart but things goes array before they could actually fall in love.
I really wanted to like it but its just too unpolished.
A very inconsistent direction from Bernal. Awkward Framing. Inconsistent vision, and a particularly weak script. Its style really read as a Vice Ganda films. It has its good moments but it feels insanely contrived. It tries too hard with its romance part, that it comes off as grating. To add more damage, the script cannot, for the love of god, modulate extreme cheesiness and dramatics of the film. It just feel far too forced and convenient at points. Its kinda sad that there's a great concept within this film BUT Bernal's visions is too amateurish and too inconsistent.
Personally, Jolina Magdangal at Martin Agustin really held this picture together. You could see why this stars were famous. They just have "IT", and you cannot look away when their on the screen and both are able to do both Cutesy and Dramatic when needed. I wished that they had a better material though.
Weirdly enough, this is a particular that I never really saw on Free TV. My guess is that Jolina was on an unofficial blacklist after she left ABS. This is literally what ABS loves to show on their empty timeslots.
Not recommended.
Species (1995)
Campy Stupid Mess
When a scientist discovers that their genetically modified half-human half-alien proves to be much different from their expectation, they decides to kill it before it fully matures. To their surprise, the Species they made is stronger and much faster than expected AND somehow managed to escape. Now, they made a group of investigator (including an EMPATH really) and scientists to help them hunt it out before she can be more.
This was campy stupid mess.
Girly just wants to have sex AND kills them if their not good enough. AND the kills in this is done in a laughable way. She literally just does it on a whim. There is no logic whatsoever. It makes it such a fun film.
And a bunch of Scientist that deserves to ride the ship from Aliens. Decorum everyone. This is not kumbaya camp lol. Also, not an EMPATH saving the day. Insane logical leaps.
Recommended.
Love Nest (1951)
A Fun Zip Zappy film with Sexist Undertones
When the war is finally over, a housewife surprises his returning Military husband by buying their Apartment Complex. To their surprise there seems to be more than a good investment behind it, especially with all those tenants.
A Fun Zip Zappy film. Perfectly reminisce the old good day of Screwball comedy. Pretty light by nature but the overlapping storylines really shines through. Its pretty tight for my standard AND does show a lot of great microcosm of how the fifties is presented today. I would say this really feels like a precursor to modern everyday TV family comedies to be honest.
Storywise, the biggest negative here is the latent sexism in the script. Marilyn Monroe's character were given double standards because she is unabashed feminine and seen as an 'enemy' (a common trope that will extend even up to this day) and Frank Fay's Lonelyhearts Scammer is given absolution by almost every character and by the film.
Acting wise, very standard for the leads. I do not see them really lifting the material but have enough chemistry to make this sticky plot at least work. I think you kinda see why Marilyn is a star. She really picks up the ante for a clear for nothing role. I even feel that Marilyn's role is so small and thankless that her poster inclusion is kinda ridiculous. Some of the actors had a significantly bigger role.
Overall, if you could see over the sexism, the zipzappy storyline kinda worked - even though its a bit of leap to begin with.
Another Country (1984)
HIfalutin and Lacks Clear Throughline within its Discourse.
I just watched a double feature of films about British Class and both perplexed me.
This one is even more confusing. Two friends, an Out Bennett and a staunch Communist Judd as their school traverse the controversial death of a caught Gay Student, Martineau. It causes a ruckus to a famous group of rich students as one member's rich parents wants out. This causes the group to try and raise Bennett's status but his flamboyant ways is causing strife within the group AND ultimately breaks his and Judd's life apart.
This is very well acted BUT again, this hierarchy's importance is a bit too foreign for me. In the Paradise Lagoon, it also has that weird there is a sense of Top Dog (Upper Class), and everything below 'decorum'. This had that but even more so confusing with all that weird sense of brotherhood.
Especially their action towards Bennett's sexuality. It is not openly dejected. At times, its even respected BUT I just cannot pin if its really a problem especially after his blackmailing was caught.
Also, why did Bennett expect his 'ascension' if he is truly knows he is problematic. I think, at a fault, the film romanticizes Bennett to a degree that his downfall does not stick for me. Its much written regardless AND I think he's the only one who did not see it.
Then, There is a weird sense of top dog in the group that feels underwritten especially towards Fowler - who they clearly hate BUT cannot for the love of god can't do anything about. There is clear numbers against him that I feel that really can pin the ending of the film.
Not Recommended. A bit convoluted for me. To much information is left in your own imagination AND the Memento Mori "We were Spy" plot does not add anything.
God though, British Actors was in their peak beauty. Elwes, Everett, and Firth looks godly in this.
Mary Jane's Not a Virgin Anymore (1996)
Beautiful Film from a Lost Nineties Director
This was better than expected.
Its practically just a girl and her life as a Teenager working in NYC in a small Movie Theater chain with a lot of colorful characters. She discover herself sexually through the help of her co-workers AND tries to you live life as she can.
Its the rawest of this Everyday Workplace comedies of nineties. It almost feels like watching a Warhol or borderline no budget filmmakers like Curt McDowell. Not well lit, filmed with not much quality film, and everything feels crummier than usual but it works because its sensible BUT there is a sense of knowing Mirth.
It also successfully drives a sense community and a randomness of working on a 9-5. Like having a 30 y/o co-worker bestie vibe with a demonic lynch-pin enemy nearby at the same time that more popular workplace films are missing (see Reality Vibes).
But yeah, it nose-dives after that certain twist AND never really finds footing.
Sarah Jacobsen mostly succeeds in creating a space of right enough raunchiness and vulnerability. Its kinda sad that she was unable to really have a big break after this as she died extremely young at 32. There is something beautiful in it to be honest until that twist.
Recommended but has faults.
Also a rundown of what the cast has been doing:
1. Marni Snyder Spoons- who played the Pregnant and Raped Grace, became a lawyer and tried to be a State Representative Philadelphia' 182nd District
2. Beth Allen - who played the Punk guitarist Ericka, actually was a Guitarist for bands like The Lucky13, Hot Patooties and still doing it.
3. Lisa Gerstein - who played lead Mary Jane, from the latest lead I got of her GoFundMe for Flounce Vintage. She might be the owner of that. She also has an interview for another vintage store in LA.
4. Bwana Spoons - who played the nerdy Ryan, is a very famous artist of Alien-like dolls. He has a website and all.
5. Andrew David DeAngelo - who played the insufferable alcoholic Matt, is now a self proclaimed Weed Expert.
6. No idea with Chris Enright, who played the dreamboat Tom, and Greg Cruikshank, the manager. They kinda just fall flat to earth. Chris Enright has work but mostly almost indie no budgets to be honest.
Twin Peaks (1977)
A view from the Rim of the World
Practically, a video collage of Al Wong delivering within Twin Peaks, California area. Its practically him showing the film as is, some section with half-the-film and then adding them up together. Sometimes, a few seconds apart, sometimes going back, then some glorious night time videos (sometimes in timelapse).
Sadly the allure of this is pretty much lost in time since people have dashcams and action cams. The night section though is gorgeous.
This is borderline just fun but feels so empty.
EDIT: Upon Google Mapping, it seems to be specifically hitting the road towards Rim of the World Hwy lol.
The Fortune (1975)
Boring Mess that Missuses its Great Cast.
The Fortune tells the story of two not-so-good conman and a rich heiress that they forced to get married with. When their ploy turns into banality, they try to just go for murder but they are just inept to even proceed.
This is as a bad as their 'plans'.
Also, how in the hell did this even made it to TSDPT. Apparently, this was at ranked with the 600s in the first two edition of the site.
This does not work. The comedy is missing, the story is driven by absolute absurdity AND tonally the actors and the script are mismatched.
I personally think Warren Beatty and Nicholson was horrendous in their respective roles. Beatty never really finds where the film is AND Nicholson is overcompensating for the 'funniness'. Oddly enough, Beatty seems to be not that good in Comedy. I hated all his 'comedies' of his I had watched. Only Channing tries to make do of the horrid script, but just has no real estate to work with. Its a thankless shrew character that is oddly so common in the 70s.
Not recommended.
Mothlight (1963)
Did not resonate with me
I got into watching experimental films of Michael Snow and really got into his weird story-less but pace driven films. Decided to watch this over some of Brakhage, which I think his peer AND I am not ready to watch his Morgue film yet again so decided to watch this defiantly shorter film.
I always forget that I watch this. Its literally a clip of Moth (and related object) pasted on a film per frame. I personally feel a bit unenthused really watching it. I guess I wish there was something that can make feel or think about. Its pretty random at that. Not much pattern, just a 'thematic' stuff. Its practically throwing stick and seeing what sticks on the screen.
Not my thing.
Georgia (1995)
Not a Masterpiece but just a Wonderfully told story with great performances
A film about the complicated personal life between two sisters: Sadie, the Problem Child (played by Leigh) and her much famous Country Star sister(Winningham as titular Georgia). When Sadie falls even harder times, she tries to rut her life with a shotgun marriage only for her to even fall lower. The sister's try to reunite and lives on.
I love how it just let things happens. Characters comes and go. Its not by any means a masterpiece but just a wonderfully told story pitched with great central performances. A simple yet delicate film about two sisters of two different path - which i found to be particularly moving.
Leigh and Winningham were great as the sisters who just try to make do of their situations. The writing can be interpreted by a novice actor as schlock cheese but in a way they were able to make it with a huge heart. Additional bonus on the singing too - which is divine.
Shockingly, Leigh was not nominated in that year's Oscar but then I saw the nominations. 1996 seems like a heavy year for Actresses. Winningham got her deserved nom in the Supporting Category.
Recommended.
The Flicker (1966)
Practically a torture film
Another escape to the experimental films of the mid-century. It practically is just a very long video of a title + a long sequence of black and white shots flashed in no particular order.
Practically, one of the most famous film of the Structuralist Film Movement, where form is inherently believed to make story.
Migraine inducing film. I literally had to stop every 2 to 3 minutes to refocus. Its practically a torture film if anything.
Otherwise, I actually want to ask an ophthalmologist why do the spots I see especially if I focus long enough is showing in arrays of white circles in black. Lol
Not Recommended.
Mamma Roma (1962)
Superbly directed, visually impeccable, performed to the highest level
Mamma Roma tells the story of a retired prostitute and her relationship with her son - whom she tries to shield away from the dark realities of life. Only for her life to be crushed when his former pimp/father of his son comes back to get her back into shady business
It was mistake to start with his Sex Comedies. Pasolini's craft was born the minute he held a camera. This and Accattone are supreme works of Cinema.
Superbly directed, visually impeccable, performed to the highest level without the non-sense quirk that hounded his more famous Trilogy of Life.
Mamma Roma is a later example of Italian Neorealism where Pasolini goes for grit. Similar to his marvelous Accattone, this really shows the directors knowledge of the working class, his love of his 'losers' and unflinching commentary against society at large.
Excited to watch Hawks and Sparrow next. This is so remarkable.
La sociedad de la nieve (2023)
Wished it tried to change up something especially with the timeline
Society of the Snow is follows a group of Uruguayan Soccer players and some close family members as they fly to Chile BUT ultimately fall into wreckage in the middle of the Andes with nothing but the snow and what little they had to survive.
In ALIVE(1993), much of it is turned into a Hollywood Story. A lot of 'removed' names for clear financial AND not artistic reasons. It also is centered towards a different character AND a much clearer intention and story. Survival AND Hope.
Society is definitely more visceral AND more factual in its approach. The *twist* is smartly conveyed AND its view point is dedicated to show the lost 'characters' in the earlier film. A Memento Mori perhaps.
It succeeds clearly, but its a matter of which you watched first.
Alive and Society is pretty much has the same point. Its was darkly difficult BUT they did their best with what they got. I think the changes clearly points towards Society to be more appreciated in time BUT I felt ultimately that it does not give anything new. Its awful BUT it is not unique enough for a higher rating BUT it deserves all the flowers it getting.
I think it will rightfully will replace ALIVE and represent all the victims and survivor in a more meaningful light that it deserves. It just is typically told. I do not think harshness of representation contributes towards a 'greater' film per se.
I personally wished it tried to change up something especially with the timeline, which would definitely change the vibe of the film. The twist can still happen let's be honest. In a way, things just happens.
Recommended.
Leaving Las Vegas (1995)
Tonally Failed Oscar Bait
Practically a failing alcoholic writer goes to Las Vegas for a last hurray. He develops a relationship with a troubled prostitute but his problematic ways come back to bite him and put their relationship on the brink.
I do not like this one.
Something about its execution really bothers me a lot. I personally felt like it kinda falls into Oscar bait territory. There is so much romanticism in this film for what it is. It is a heavy drama that leaps a lot of logic to create this mood of desolation.
Like while Sanderson(Cage) was an impulsive problematic drunk and was passionately shown as such , there is not much reason for Sera(Shue) to just take him in her life. The main gist here is that he did not have sex with her - but she was ultimately modulated by Shue - with levelheadedness AND all of my disbelief just falls apart.
Then the ending happened. The most pretentious pile of c***. That really tear what ever good will I have about this film. Ridiculous and ungodly off-putting.
Acting-wise, I personally think both of Shue's and Cage's character were well realized BUT the dynamic of the main romance is so weird. I just cannot get behind the overall performance. Its a tonal disjunct with these two people.
Not my cup of tea.
La tare (1911)
"Scenes from Life as it is"
There is no direct English wikipedia page for this but apparently La Tare is a part of a social drama serial "La vie telle qu'elle est" - WHICH translate to "Scenes from Life as it is". It focuses on 'daily life' and especially focuses on different issues affecting the lower class which was particularly early for its time, predating WB Social Dramas by almost 20 years.
This one is about a woman with a sordid past who rises above to become a Hospital Director only to be put down by the same petty bourgeois group that put her there.
Particularly held together by the wonderful performance of Renée Carl, who plays Anna, a former dance hall server *which is described as a place for loose woman*. While I think the moral problem of the film is clearly aged, If anything, she could just have denied it and acted of her honor(given how much she gave to the institution) BUT I found its commentary still sharp even to this day. In that those with wealth thinks they have higher moral high ground to the people they give alms for AND is willing to pull the rug on them. With the other lower class happily string them down with them.
Also, I found how plain this was especially since it was made before the explosion of tricks in Birth of a Nation. Its almost presented as a play. Scenes are framed statically and almost in the full frame , with characters just moving around the frame for action then end scene. As per my reading, it seems to be the style of Louis Feuillade - who is more known for his serials Judex and Les Vampires.
Recommended. Will try to watch more of the serial. The French Wiki versions seems to include it in their articles anyhow.
Queen Bee (1955)
Dull and Ungodly Drab of a Film
Difficult to summarize. Its practically about a group of Southern belles who actively tries to get around and up-end each other. When the leader of the pack, Queen Bee Eva meets another charming belle - she unpacks but ultimately sees the price.
Did not like this film.
It has that Telenovela bent to it BUT the writer sadly fell into creating an hyper-moral counterpart to the Joan's Queen Bee that just created this expected 'finality'. It really dampens the experience for me. There is clear moment you know even how convoluted that she'll lose. It makes it less compelling to be honest.
Also, I think there is something so weird how everyone in this film despises the Joan's "Queen Bee" but in the same time is afraid of her. I could not really enjoy the story since there is a weird way that they interact, especially since given how untrusted she is - how can anyone be that 'afraid' you know. Why can she be 'threatening' at all? There is no sense of her level of power in this film that it kinda perplexes me. There is something of gap in the story to make it 'sensible' to be honest.
Acting wise, Joan knows what kind of film is this BUT again I felt that the script is missing that touch of camp or suspense to make it at least fun. It read boring for me regardless of how amped the performances are.
Not my cup of tea. Fundamentally the story just lacks a certain bent to really work.
The Mad Miss Manton (1938)
The Girls Just Wanna Solve Crimes Fun!
The Mad Miss Manton tells the story of a socialite, through happenstance, saw a man possibly involved in a murder. The affair became tabloid fodder AND the police attached her name as a possible suspect. To clean her name out, she decides to string along her girlfriend to prove her innocence but the mystery it seems feels much more complicated than she initially realize.
I love Stanwyck but yeah, this was the film that I discover I might be breeching her lesser known works. Its not bad in any sense but this and her Gypsy Lee film, the Lady of Burlesque already is bordering fun but forgettable territory. I think this film in particular was better scripted (lots of fun zingers along the way) than most of her lesser fares.
Like in Lady Eve, I love the chemistry she had with Fonda. There is such a fun dynamic in their films. It just shows how comfortable are they with each other. Its kinda sad that other than Lady Eve, they haven't got other great pairings. They clearly ate the scenery together. Much more fun though is seeing Stanwyck's movie friends do the dirty work.
Recommended. Bumped down from 9 to 7.
Tubog sa ginto (1970)
Brocka's Hidden Gems
A film about a typical masculine family man who is embroiled with a secret - he is a homosexual. He tries to hide his true nature by exalting what society deems much more redeemable - be a lady's man, to the contempt of everyone involved. But things turns around when he discovers a gold-digging 'gigolo' that he could not refuse.
An interesting cultural artifact.
Brocka who is notorious for his homosexual content, really ups the ante with this one. It is explicit and ungodly afraid in its portrayal of Don Benito's d*ckmatization to Mario O'Hara's Diego. It also interestingly comments on expectations of toxic masculinity like how Don Benito would rather be seen as a playboy but anything homosexual. Or just how Ilagan's young Santi just conveys his wanting to have sex regardless of having an actual partner. How every character is just ungodly homophobic with little to no remorse of their want for violence against them. Even Diego really goes in the jugular.
In true Lino Brocka fashion, he went there AND did not care for subtlety. I think that is his true great strength. Even the ending was ungodly brutal. Ironically, the film ends with a Producer message for "Wholesome entertainment" - maybe Brocka shading that the ending was more of a moral high ground enforced to him. His dead, so no one knows.
On the other hand, I would criticize its choppiness in styling though. It kind of reminisce his classic Insiang - who is notorious for its choppy music cues and edits though I found the styling here a bit more distracting than usual. There were literal multiple edits that does not make sense at all lol. It jumps for no reason. The overall framing is also could be better. It really does feel a bit stagy at times. It does feel amateurish at times. This might be caused by the fact that I watched a BOTCHED 2hr version of the film.
Also, words like "dyahe" and "echos" existing in 1970. Did not know that. I taught they were at least nineties inventions to be honest.
Again, acting wise. Eddie Garcia and Mario O'Hara were walking in circles of everyone. They literally made this film. Kudos to for Jay Ilagan and Lolita Rodriguez.
Recommended.
Uptown Girls (2003)
Ungodly darker than expected
A rich orphaned daughter of a rockstar falls into hard times when her money manager swindle her remaining millions. With a little help of friends, she tries to recover and find herself baby sitting a similar rich daughter AND discover much more about themselves.
Let's just say this is a film of good choices.
Firstly, ungodly darker than expected. It really drives it through - which is personally shocking for the genre it is. It is by nature really placated as 'romcom' since it uses common tropes about personal growth but formally works as a Family film. The central plot of the film is about two women who somewhat mirrors each other's personal life AND how their situation forces them to make their decision without guidance.
It's so interesting especially in the beginning when Ray(Dakota Fanning) let's rip out her dire situation AND you have Molly(Murphy) just stood there like its not a problem since she was already there. It really drives a darker aura of the film. In fact, it really drives the idea that this women in the film just are forced to grow. There is moment that really takes me aback when Molly talks about the mom and how Ray is a kid - not an adult. She will make mistakes and if no one is there to really guide her emotions, she'll be making a lot of mistakes along the way. That really like resonated to me especially since she literally is in that situation.
AND the choice for Molly's imperfection is about her way of handling money is no longer 'ideal' is also a piqued choice. It never wants to inform the viewers that the changes here are in the 'Hollywood' way but it there is a definitive in her situation. AND She's fine with it - which is kinda comforting. She never was bitter and very accepting of the fact. It also posits that being fun and carefree is not a sign of immaturity but rather just a color of their personality - which is often not the case for films of this type. Again very piqued choice .
This film is so serious that what people give it credit.
Also, Dakota Fanning superstar! Its kinda sad she never had roles like this in adulthood. I think she could tbh.
My only real criticism of the film is that it lacks commentary on the Molly's Singer beau. He kinda went with a lot of things. He even has that ungodly dark #MeToo subplot. That definitely push this down a bit for the film's stronger main plot.
Highly recommended.
The Book of Life (1998)
Too full of it self to actually work.
In New Year's Eve before the new millenium, Jesus and Mary Magdalene goes back to earth and plans the apocalypse. On a bar, Satan co-horts with humans about the meaning of life AND tries to will them down with the impending but Jesus has more in his head to think about.
Hal Hartley is like the template of Indie Low Fi that really grinds my gears. Its just always so full of itself that I just crushes itself inward. This one in particular is more platitude than usual and it really grates. Its like watching a bunch of highschoolers talk about their philosophical leanings - its far too surface level and trying to be provocative without really going in.
It does not really help that the choices this film made really hypes up the corniness. The commentary is too dull. The performance is comically theatrical to a point that it borders camp (which is a Hartley staple) AND that goddamn cinematography makes me want to poke my eyes out. It just did not fit into the picture for me.
Not Recommended.
There's No Business Like Show Business (1954)
What a Waste of Good Talents
This film is about the life of a Vaudeville family, through the early 1920s to present - as they try to live and survive the rapidly changing landscape of theater. When the once young kids of the family reached their adulthood, they need to plan ahead as their are starting to go their own separate ways. Not until, a young and inspired ingenue's rise might help the old family go back to glory.
WTF is this. The songs are good, it mostly are jukebox version of famous Broadway songs era but the story deserves to be stuck in the 50's. What a waste of generally good talents. The story is just has old school dynamics that does not really fly well in our modern taste.
Its kinda sad since the musical numbers here are generally inspired. Its kinda insane how much template of Hoffman and Red Shoes really shows up in this film.
The main romantic drama of it all is just so head scratching. The guy's in this film is openly cheating in their other halves AND suddenly when Marilyn wants to work her way first before a family - it destroys you. Like Grow Up. They literally did not care for the sister's life when she's about to get married (Mitzi Gaynor) AND suddenly Marilyn is horrendous for choosing work first. In fact, only the sister here rises above the story.
Unpopularly, I am fine with the family portion of the film. Generally, Marilyn fans is particularly harsh how present it is BUT it is the strongest portion of the film. Its literally is the film. Its kinda insane how large its scope is. It again fell apart when the clear sexism rises in the film.
Acting wise, Love Marilyn and Ethel Merman. Ethel, a notorious Ham, really held herself here. I did not like her in one film I had seen her, but the difference here is so huge. She just know she in a film. Then Marilyn is Marilyn - she knows how to make a moment of bad material regardless. The others in the film is in general 'autopilot' - especially Donald O'Connor who has a great number scenes in the film.
Almost but not quite.
The Adventurer (1917)
Did not care for this
Practically shows the exploit of a convict who manages to escape his guard. During his escape, He falls into socialite's circle AND tries to woo over her overtly hypocritical (old) suitor. Hijinks proceeds.
I hate this one.
Its practically just Chaplin again running around amuck and trying to be the high moral ground cause he could in his film. Its far too convenient AND everything is almost in his favor - until the ending lol. It lacks a certain bent that I tend to really not like with most of his work. I also hate that people judge bystanders who can't swim and them not trying to save people - because they'll also drown. Like please girl, your judgmental for the wrongest reason.
Direction and Acting Wise, its very standard in styling and acting. The writing here is just so inspired.
Not my Cup of tea.
For All Mankind (1989)
Space Opera Documentary
For All Mankind is an Documentary 'Collage' of the all the American Space Missions (and one Russian) to Moon. It practically uses primary footage from different missions and real life recording of Astronauts create this smorgasbord story of how Men went to moon.
I just want to say that this was a delight.
Al Reinert, who is more famous for his writing in Apollo 13, really takes his material and really went through it. It was edited so flawlessly that if you actually do not read through the synopsis I would not be shocked if you'd think it was just about a single Mission. It just glides wonderfully. The way it edited different footage just feels like music to be honest. Its so perfectly pitched and paced that I sometimes just doze off the narration AND still enjoy this movie watching experience. It almost breeches Michael Snow Territory at times.
Highly Recommended. It works in many ways beyond just being a 'documentary'.
Raw Deal (1948)
Weirdly Narrated and A very confusing Romantic Subplot.
A double crossed convict plans his escape, with a little help from a big mafia boss who has other plans. When he was able to survive, he and his lover get in touch with his female lawyer who had fallen in love with him BUT the mafia boss has bigger plans ahead.
I personally did not care about this one.
Again, very convoluted. Twisted to the eons but does not have that moment that things suddenly makes sense. The Romantic subplot specially has an important albeit more nuanced role in this film AND I just think the actions of everyone involved is so stilted in my eyes. I just do not understand it AND everyone just defies sensible reasoning.
Then add that Noir of it all. It just does not really feel like the poetry this film is trying to narrate to us. Also, such an odd viewpoint for a film primarily focuses on the crime. Its was weird disjunct everytime she has narration that its just beyond the main narrative.
Its kind of sad given how competently filmed this was. It is biggest strength of the film. It has that classic Noir style but it just elevates the shadows and silhouette into something that truly pops off. Atmospheric to high heavens. From reading other reviews, I do agree that this is one of the few films that uses the 'outdoor' backdrop to create the moodiness of a classical Noir.
Acting wise, not much. Pretty standard for most of the leads. I think an early Raymond Burr is somewhat noteworthy as the big and imposing mafia boss who just wants to keep the money for himself. You really could look away when he is on screen. He was just that imposing in a John Goodman way.
Not my cup of tea.