Month: September 2021

Traitor (2008)

It’s hard to talk about this movie without revealing some of the twists and turns the plot takes. Don Cheadle is a Muslim, Sudanese-American who joins up with a terrorist organization and is thus tracked down by FBI agent Guy Pearce. It follows an unsurprisingly common thread for the early 2000s. I enjoy anything Don Cheadle is in and he carries this film on his back. Pearce manages a fairly decent portrayal as American law enforcement, giving Cheadle something to play against. Jeff Daniels and Archie Punjabi add quality in roles that could have been beefed up to the film’s betterment.

Crime of Passion (1956)

I haven’t watched a Barbara Stanwyck film in awhile and this was a pretty good one to revise my love. Babs is a news writer who against her better judgment falls in love and marries good-natured cop Sterling Hayden. She truly loves her husband but she hates the dull monotony that is the life of a suburban housewife in the 1950s. She instead directs her energy and ambition toward moving her husband up the ranks in his division. Raymond Burr is shrewd as the police inspector who sees behind her ruse and their chemistry in the film is truly excellent.

Heartbreakers (2001)

There’s a whole lot of unevenness in the story here that makes what could have been a really entertaining film about a mother-daughter con artist team into an overly-long mess with only occasional moments of good. The story takes too long to get started and some of the con parts are drawn out for way too long, while others are blink and you miss it. Sigourney Weaver is underutilized as the mother part of the duo and Jennifer Love Hewitt, squeezed into any number of mini dresses, is shoehorned into a love story with Jason Lee. I do really enjoy the power and energy Hewitt brings to her role and Weaver gets to show her comedic side. There is also a great mix of supporting characters played by a good number of well-known actors.

While the City Sleeps (1956)

Because all descriptions of this film first mention the Lipstick Killer, I went in thinking this was a classic film noir. Instead, it’s a behind the scenes look at power struggles within a news organization whose editors are competing to be the first to scoop the identity of the killer. It’s a cynical look at the news, where even the supposed hero of the story, TV anchorman Dana Andrews, is willing to cheat on his fiancĂ© and use her as bait in order to break the story. Ida Lupino, Thomas Mitchell, George Sanders, and James Craig battle for power within the organization, all under the machinations of the new corporation owner Vincent Price.

Lacombe, Lucien (1974)

Like my previous Louis Malle watch, Murmur of the Heart, the main character of this film is a teenager who seems to think the world owes him whatever he wants. After being turned down by the French Resistance, Lucien joins up with the German police where his interest in a Jewish woman shines a spotlight onto her and her family. Lucien is rough and his motivations are often indiscernible. The film does provide a look into a population not often shown in World War II films, non-heroic Nazi supporters in countries invaded by Germany.

Oscar Nomination: Best Foreign Language Film

The Blue Angel (1930)

I had started watching the English version of this but quickly switched to the superior German. Partially it was a better print, but also the story and actors seemed more naturally fit for German. Marlene Dietrich is shrewd and seductive as a cabaret singer performing at the titular location, but Emil Jannings is genius portraying the fall of a prim, sheltered teacher who spirals downward after meeting Dietrich’s character. It’s a shame the direction Jannings and his career not long after this film.

The Five Venoms (1978)

I watched this with the English dub and as far as I’m concerned, this is the only way to watch this for English speakers. It instantly sent me back to weekend afternoons watching movies on second tier local television stations. The current student of a kung-fu master is sent to uncover the identities of five former students, all who wore masks and fight with unique styles, who may be using their skills to rob a former colleague of his fortune. While there weren’t as many fight scenes as I’d expect, the mystery of who each character is and their alignment makes for an appealing martial arts-centered story.

The Good Shepherd (2006)

I might have seen this film about the birth of CIA counter-intelligence, but it is so dull that I barely remember it enough to write this review. Matt Damon is fine as the main character, whom the film follows from his college days being recruited by the CIA to his own son having the same experience. Most of the rest of the cast, filled with well-known names who drop relatively quickly in and out of the story, also are fine in their roles. Angelina Jolie is the exception, horribly miscast as Damon’s long-suffering wife. The story jumps back and forth between different time periods quickly and without much clarity, aside from poor aging makeup that somehow Damon managed to avoid.

Oscar Nomination: Best Achievement in Art Direction

Late Autumn (1960)

This makes an interesting companion to Late Spring, where Setsuko Hara is now the widowed mother of a reluctant to marry, unwed daughter. There’s the same wistful, gentleness that I’ve come to expect from many Ozu films, but now it’s in beautiful color and we have a younger, hipper generation battling with the same traditions that were seen in Late Spring. Yoko Tsukasa is delightful as the representative of this generation struggling against a trio of middle aged men, college friends of her father, who, along with almost everyone else she encounters, try to meddle in her personal life.

Michael Collins (1996)

I don’t know a whole lot about the fight for Irish independence, nor how accurate this film is to the life of the revolutionary leader, but even if he might have been too old to portray the titular character, Liam Neeson brings quite the Irish spirit to the role. He joined by Aidan Quinn form such a bromance that Julia Roberts, as their mutual love interest, fades into the background, a supremely uncommon feat. There is plenty of intrigue and tension in the battle for independence and Alan Rickman is great as always in the main antagonist (aside from the British) role. The beautiful Irish countryside and soundtrack do their best to encourage patriotic fervor to even casual viewers.

Oscar Nominations: Best Cinematography; Best Music, Original Dramatic Score

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