The Drowning Pool (1975)

Thank god for Paul Newman. The plot of these Harper films are so convoluted and would be worthless without him. Of course, I would not be watching them if he weren’t the star. In this one, we have our private eye travelling to Louisiana in order to investigate who is blackmailing an ex-fling of his (played beautifully by Joanne Woodward). While down there, he instead gets drawn into intrigue involving an oil magnate and a missing account book. There is a drawn out climax in a pool of sorts and a young Melanie Griffith overacts with a poor Southern accent.

The Wages of Fear (1953)

Desperate men will undertake desperate acts. Four Europeans, stuck in a South American desert town where the only way out is by plane and the only way to afford a ticket is to have jobs not afforded to foreigners, learn for themselves when they are offered the chance to earn $2000 to transport nitroglycerine through perilous roads in order to extinguish an oil well fire hundreds of miles away . A good percentage of the film is spent with the men in town: their relations with each other, the desolation of the location, and the stranglehold the American oil company has over all of the town’s inhabitants. Once the trucks get on the road, there is not another film that exhibits as much tension. There’s the sense that the watcher themselves need to be careful as possible to get the vehicles safely to their destination. I didn’t even realize I was holding my breath until they had safely passed one obstacle or another.

Aliens (1986)

I believe there are some who feel that Aliens is superior to Alien. For me, the two don’t compare. They illustrate the stark contrast between films of the 1970s and what was made in the mid-1980s. Where Alien was more shadowy and dark in portraying the same location, Aliens is all bombastic, large, and in your face. Sigourney Weaver’s Ripley, dragged along on a mission to supposedly annihilate the xenomorphs for good, is completely shoehorned into a mother role, though it does create a nice parallel for the big ending. Bill Paxton and Jenette Goldstein are both massively over the top as part of the Marine crew. Paul Reiser is spectacularly oleaginous portraying the ultimate in capitalistic greed. Again the moral of the story is you should really listen to Ripley.  Scifi  Horror

Oscar Wins: Best Effects, Sound Effects Editing; Best Effects, Visual Effects

Oscar Nominations: Best Actress in a Leading Role; Best Art Direction-Set Decoration; Best Sound; Best Film Editing; Best Music, Original Score

The Stunt Man (1980)

I enjoy watching films within films movies as much as anyone, but there’s so much about this story of an accused murderer on the run from the police who gets hired as a stunt man that makes not a lick of sense. I’m not an expert, but none of the actual filming seems to follow how anything would ever be done to maintain any type of safety or continuity in a film. The performances are all over the top, none more than Peter O’Toole as the deranged director. Steve Railsback looks so much like Charles Manson in this (not surprising that he was cast in that role for Helter Skelter). Within the plot of the film, him showing up wouldn’t have been all that odd.

Oscar Nominations: Best Actor in a Leading Role; Best Director; Best Writing, Screenplay Based on Material from Another Medium

The Long, Hot Summer (1958)

I find it impossible to believe this isn’t another straight-up Tennessee Williams adaptation featuring Paul Newman. All drawn-out Mississippi drawls, extra large estates, and familial dramas, it even contains the stereotypical bloated patriarch, here played with extra ham and bad makeup by Orson Welles. Newman is all sparkle and charm as the alleged criminal who comes to town, who ends up driving a further wedge into the father-son relationship between Welles and Anthony Franciosa. It’s great as always to see Paul’s chemistry with Joanne Woodward, though I really wish someone would have ruffled up her hair at some point during the movie. Though under-utilized, Angela Lansbury and Lee Remick bring quality to their small roles.

Phone Swap (2012)

Seeing that Netflix has a bunch of Nollywood films, I’ve been wanting to check a few of them out. This one is a light romantic comedy about two strangers from disparate backgrounds who accidentally trade phones during an airport mishap. The quality in story, acting, and visual quality are all similar to a Hallmark holiday movie. It’s all cute and watching the journeys of the main characters is engaging, but it’s also very predictable.

Night Train to Munich (1940)

This is not officially a sequel nor a remake of Hitchcock’s The Lady Vanishes, but it is written by two of the same authors, features the same pair of supporting characters, and shares their early World War II time periods. Here, we have Margaret Lockwood playing the daughter of a Czech scientist who needs rescuing by Rex Harrison’s British intelligence officer. Directed by Carol Reed, it has a different tone than the earlier film during both its lighthearted and more serious scenes. They make for a great way to compare the works of two fantastic directors.

Oscar Nomination: Best Writing, Original Story

Rocky III (1982)

I am incredulous that Eye of the Tiger didn’t win the Oscar for Best Song. The song is so evocative of the entire Rocky series that I’m betting there are people who think it came from the original rather than a second sequel. The movie itself could be used as a stand-in for any individual Rocky story: hero loses the first battle only to use that humiliation to come back stronger and more ready for the final battle, insert montages throughout. Mr. T’s Clubber Lang might be one of the best villains of the series. III firmly moves the series from the gritty realism of the original’s 1970s setting to the upcoming brash Cold War propaganda of Rocky IV.  Sports

Oscar Nomination: Best Music, Original Song

The Razor’s Edge (1946)

This story of a man searching for the meaning of life after his experiences during World War I is much stronger when his transcendence is told through the mirror of his various acquaintances rather than when it’s explicitly showing Tyrone Power’s journey. It’s a little peculiar that W. Somerset Maugham himself, played by Herbert Marshall, is a supporting character who seems to know more about the ways of the world than any of the other characters. That seems to be faithful to the source material Gene Tierney is very beautiful as usual, but her soul is very dark and conniving in this one. Clifton Webb is entertaining as a snobbish older member of Power’s circle. Anne Baxter is given more to do with a role that has her at the top of society falling to the very bottom. I’m very curious to compare the 1984 Bill Murray version to this one, despite the former’s reputation.   Best Picture Nomination

Oscar Win: Best Actress in a Supporting Role

Oscar Nominations: Best Picture; Best Actor in a Supporting Role; Best Art Direction-Interior Decoration, Black-and-White

Promised Land (1987)

I suppose the premise of this film is to explore the different experiences that three classmates have at Christmastime a short time after graduating high school. I say suppose because Jason Gedrick and Tracy Pollan are in one film, one about a former teenaged couple who had completely different college experiences but realize they are still in love with each other. With the other story, we have Kiefer Sutherland and Meg Ryan who seem to have been told to improvise their own bat crazy story but make sure it somehow crosses paths with that other story. It turns out about as bad as you’d expect.  Holiday

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