Month: September 2021

Fat City (1972)

True 70s gritty realism here, Stacy Keach is a washed up boxer in Stockton, California who encounters young Jeff Bridges at a local Y and encourages him to take up the gloves. The film follows these two over a period of time as their boxing careers, and love lives, take opposite trajectories. Stockton is shown as a grim, depressing locale where the only jobs available are farm labor and the only entertainment is the local bar. In his early 30s, Keach somehow is as beat down as the city where he lives, whereas the only a handful of years younger Bridges is his exact opposite. Thus ends my unplanned mini Jeff Bridges marathon.   Sports

Oscar nomination: Best Actress in a Supporting Role

Feeling Through (2019)

Much better than my previous Oscar short watch, Feeling Through tells the story of a homeless young man who encounters a DeafBlind man needing assistance one night. I appreciate how the streets visually change from when the young man is safe with friends to when he’s alone trying to find a place to stay. Those struggles are nicely juxtaposed to the struggle the DeafBlind man experiences trying to get himself home safely.

Oscar Nomination: Best Live Action Short Film

American Heart (1992)

Directed by Martin Bell, starring Jeff Bridges, and set in Seattle, I really wanted to check this out. Bridges is an ex-convict trying to put his life back together while being saddled with a recently un-estranged teenage son. Indeed, the scenes with the teens on the streets feels a lot like they are attempting to be a fictionalized version of Streetwise. Unfortunately they feel extremely manufactured, the actors aren’t as charismatic as the kids of the documentary, and they are all brought down by a lackluster, whiny Edward Furlong performance. Bridges is unsurprisingly the best part of the movie and the reason why I stuck with it.

Real Steel (2011)

Fitting in well with the fighting films I’ve been watching, Real Steel is a cross between the Rocky and Transformers series, imagining 2020 as a year where robots have replaced humans in the sport of boxing. If only that were the biggest concern of 2020. Hugh Jackman is a former human boxer and wannabe robot champion owner who reunites with his estranged son after the son’s mom dies. Are orphaned children foisted on estranged parents in real life as often as they are in movies? The movie is super predictable. The son is of course a precocious wannabe owner himself and there’s a shoehorned love interest played by Evangeline Lilly. The only surprise was that I kept expecting a turn where the son wasn’t even his as Jackman was taken aback multiple times when he was told the kid was older than he expected.

Oscar Nomination: Best Achievement in Visual Effects

Curfew (2012)

While I haven’t yet seen any of other nominees from the year, I have no idea why this would be nominated for an Oscar, let alone win. A suicidal man reconnects with his family when he’s asked by his sister to watch his precocious nine-year-old niece for a few hours. It’s decently made (acting not bad, visually appropriately gritty, etc.) but the story comes across as a misguided PSA for a suicide helpline.

Oscar Win: Best Short Film, Live Action

Madhouse (1974)

Vincent Price is a successful horror movie actor whose young wife is murdered and he may be the murderer. More murdering ensues in this fairly by-the-book horror flick with the twists and turns being projected a mile away. But it has Vincent Price and his over-the-top look of horror whenever he discovers a body is worth the watch. It’s very similar to his turn on The Snoop Sisters and like that episode, there’s a bit of his older film footage to be seen interspersed in this film.  Horror

The Prowler (1951)

Like The Bicycle Thief, this film has you questioning to whom the titular character is referring. Evelyn Keyes is a woman who gets more than she bargained for when she calls the police after seeing a prowler outsider her bathroom window. The story takes some interesting twists and turns from Los Angeles to an old abandoned mining town. There’s also a rather creepy Van Heflin as one of the officers who arrive to investigate the prowling. Unfortunately, Keyes’s character is a bit of a dope whose motivations don’t make a whole lot of sense which brings the intrigue down a notch.

Thunderbolt and Lightfoot (1974)

After losing the spoils of their previous score, Clint Eastwood’s Thunderbolt is compelled to perform one more heist with his former gang. Jeff Bridges’s young hoodlum, Lightfoot, is brought along for the ride, despite the misgivings of pretty much everyone else. Most of the movie is a buddy flick with Eastwood and Bridges romping around Montana together, powered along by Jeff’s grating laughter. They have quite a bit of chemistry, though Bridges good-naturedly does most of the work while Clint provides plenty of scowls.

Oscar Nomination: Best Actor in a Supporting Role

The Offence (1973)

This really feels like a vanity project for Sean Connery playing a police harboring his own dark predilections who brutally attacks a suspected child molester under his watch. It’s a very bare bones production, set almost entirely in an interrogation room, and relies wholly on Connery’s performance. It’s very dark and difficult to watch. It’s also rather talky, as many stage adaptations are, which makes it a little less riveting than I’d hope, but Connery does give his all in his portrayal with a depth that isn’t seen in many of his later films.

All or Nothing (2002)

A fairly recently discovered love for Lesley Manville and really enjoying Secrets & Lies, my last Mike Leigh film, made me want to check this out when I saw that it was leaving Amazon Prime this month. This is a completely dreary story of British three working class who interact and drudge through life together. It’s tiring to watch as it seems none of these characters will ever find any joy and are just destined to grind through their days until the end, from one generation to the next. It is well acted, with Timothy Spall as Manville’s cab driving husband giving a particularly wearied performance.

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